by Henry Ives Thompson (1840-1906); 33. Theodore Sedgwick, Mass. (1746-1813), Speaker 6th Congress, by Edgar Parker, after Stuart.

In the adjoining Lobby Parlor, hanging on the N. and S. walls respectively, are two large paintings by Albert Bierstadt (1830-1902): 1. Entrance into Monterey; 2. Discovery of the Hudson. (These formerly hung in the Hall of Representatives.) Also on N. wall are the following portraits: 1. (W. end) Joseph G. Cannon, by William T. Smedley (18581920); 2. (E. end) Champ Clark, by Boris Gordon.

Returning to the western staircase (which, like the eastern staircase of this Wing, has steps of white marble, with balustrade and wainscoting of variegated Tennessee marble) we pass (facing foot of staircase) a bronze bust of Be-SheckKee, a Chippewa Chief, modeled by Joseph Lasalle, from original marble by Francis Vincenti. Opposite, on wall above landing and occupying the entire width, is the widely known mural painting, *"Westward the Course of Empire Takes Its Way," by Emanuel Leutze (1816-68). The importance of this painting, undeniably fine though it is, was much exaggerated in the early years after its acquirement. As late as 1869 one enthusiastic critic asserted, "This painting is the greatest work of art in the possession of the Government, and one of the grandest in the world."

The scene represents a train of emigrants crossing the Rocky Mountains. From the summit of the range which they have reached, a glorious view stretches out to the westward. The title is borrowed from Bishop Berkeley. Leutze received $20,000 for this painting.

Below Leutze's painting is a long, narrow fresco,_also by Leutze, representing the Golden Gate of San Francisco. In the borders (on N. and S. walls) are portraits of Daniel Boone, the pioneer of the southwest, and Captain William Clark, of the Lewis and Clark Expedition to the Columbia, 1803-06. Opposite (second floor) is a portrait of Chief Justice John Marshall, copy by Richard Norris Brooke (1847-), from original by W. D. Washington..

To reach the visitors' galleries we turn left to N. corridor. Here the doors on our right open respectively into: 1. Members' Card Gallery; 2. Ladies' Gallery; 3. Gentlemen's Gallery; 4. Ladies' Gallery; 5. Members' Family Gallery. The remainder of the gallery contains reservations for the Diplomatic Corps and for members of the Press, the latter being on the S. side, directly above the Speaker's chair.

The Hall of the House of Representatives is a rectangular chamber, slightly larger than that of the Senate Wing, measur

ing: length 139 ft., width 93 ft., height 36 ft. The ceiling is of cast iron, the central portion being filled with glass panels, forming a large sky-light, and decorated with the coats-ofarms of the different states and territories. The designs for this ceiling were made by Johannes Adam Oertel (1823-1909). The Speaker's desk occupies a raised position against the southern wall. To his left sits the Doorkeeper, and to his right the Sergeant-at-Arms, whose symbol of authority is the Mace, which, when the House is in session, occupies a marble pedestal to the Speaker's right.

The Mace resembles the fasces of ancient Rome, and consists of a bundle of black rods bound together with silver bands. It is sur mounted by an eagle resting on a globe, both of silver. The Sergeantat-Arms must carry this Mace whenever executing the commands of the Speaker. When the House is in committee of the whole the Mace is placed upon the floor. This symbol of authority has been used uninterruptedly since its adoption by the House in the First Congress.

To R. and L. of the Speaker's desk are full length portraits: 1. Washington by Vanderlyn, after Stuart; 2. Lafayette, by Ary Scheffer (1797-1858). The latter was presented to Congress by the artist in 1825. At W. end of S. wall is a large fresco by Brumidi, depicting an incident at Yorktown, "Cornwallis suing for Cessation of Hostilities under Flag of Truce." This painting, admittedly one of Brumidi's poorest works, is one of the very few which he chose to sign. It was the artist's personal gift to Congress.

Opposite the Speaker's desk, over the main entrance to the House, is the famous bronze clock surmounted by figures of a Pioneer and an Indian, modeled by William H. Rinehart (1825-74).

From the Visitors' Gallery we continue E. to the East Gallery Corridor and East Staircase. Opposite stairs, on W. wall, are three portraits: in center, *Henry Clay, by John Neagle (dated 1843); on L., Gunning Bradford, Jr., by Charles Wilson Peale; on R., Charles Carroll of Carrollton, by Chester Harding (1792-1866).

Over stair Landing, east wall, hangs a large painting by Frank B. Carpenter (1830-1900), "The Signing of the Proclamation of Emancipation," by President Lincoln, September 220, 1862.

I.

The figures, representing President Lincoln and his Cabinet, are all portraits. They are grouped as follows, beginning from the left: Edwin M. Stanton, Secretary of War; 2. Salmon P. Chase, Secretary of the Treasury; 3. Abraham Lincoln; 4. Gideon Welles, Secretary of the Navy; 5. William H. Seward, Secretary of State; 6. Caleb B. Smith, Secretary of the Interior; 7. Montgomery Blair, PostmasterGeneral; 8. Howard Bates, Attorney-General.

In Main Floor Corridor, W. wall, facing stairs, is a marble statue of *Thomas Jefferson, by Hiram Powers (cost, $10,000). Turning S., we reach the East Vestibule of the House Wing, at the entrance to which (east end) are the second pair of Crawford Bronze Doors (compare p. 75). The designs for these doors, left unfinished at Crawford's death in 1857, were completed by William H. Rinehart, who also made the plaster models. They were cast by M. H. Mossman, of Chicopee, Mass.

The sculptures comprise six panels and two medallions, the subjects being as follows:

Left Door, Upper Panel: Massacre of Wyoming, July, 1778; Middle Panel: Battle of Lexington, April 19, 1775; Lower Panel: Presentation of Flags to Gen. William Moultrie for his defence of Sullivan's Island, Charleston Harbor, June 28, 1776; Medallion: Death of General Montgomery, in attack on Quebec, Dec. 31, 1775.

Right Door, Upper Panel: Declaration of Independence, July 4, 1776; Middle Panel: Paris Treaty of Peace between the United States and Great Britain, Sept. 3, 1783; Lower Panel: Washington's Farewell to his Officers in New York, Dec. 4, 1783; Medallion: Benjamin Franklin in his Study.

Returning to North Corridor, we pass at N. E. corner a Committee Room which formerly, when devoted to Military Affairs, contained a collection of fifteen paintings of famous American Fortifications, by Col. Seth Eastman. These paintings were removed about fifteen years ago to the new Military Affairs Committee Room, in the Senate Office Building, Room 451 (p. 365).

The north passage leading from the House Wing to the central building contains a branch of the Western Union Telegraph Co. Note at N. and S. ends of this passage, on sides of entrance arches, four medallion frescoes by Brumidi, containing the only examples of the artist's many landscapes which even the casual visitor readily identifies; S. end (R.) Washington's Tomb; (L.) The Washington Monument; N. end (R.) Mount Vernon; (L.) Arlington.

From here we enter at once Statuary Hall:

h. Statuary Hall

This hall, which is still essentially the same as designed and reconstructed by Latrobe after the partial destruction of the Capitol by the British, was until 1859 the House of Representatives. It occupies the site of the earlier House of Representatives as first planned by Thornton, which differed from Latrobe's design in being an oblong parallelogram. In its time it was considered the most artistic room in the Capitol, and it is said that during the burning of the Capitol,

one of the British officers remonstrated against the destruction of so beautiful a room. The structure as it now stands is semi-circular, with a diameter of 96 ft., and with a parallelogram on the S. side 73 x 35 ft. Its height to the top of the entablature is 35 ft. and to the apex of the domed ceiling 57 ft. Its semi-circular colonnade is supported on 14 monolithic Corinthian columns of Breccia of Potomac variegated marble, with capitals of Italian marble modeled from the monument of Lysicrates. Eight other similar columns form a screen on the southern side and support a lofty arch adorned with an eagle, said to have been sculptured from life, the work of an Italian named Valperti, whose subsequent suicide was attributed to chagrin at the unfavorable criticism made of his only art contribution to the Capitol. The original paneled ceiling of the dome and the surmounting cupola, adapted from the Pantheon at Rome, was the work of another young Italian, Bonani, who died soon after their completion. The ceiling, however, was rebuilt in 1901, and none of Bonani's work remains. Beneath the arch, just above the position occupied by the Speaker's desk, is a plaster model of Liberty proclaiming Peace, by Enrico Causici. Opposite, above the door opening from the Rotunda, stands the historic *Clock, emblematic of the Flight of Time, the design of which is said to have been drawn by Latrobe. It bears the signature, "Carlo Franzoni, 1819.” The central figure, symbolizing the Genius of History, was modeled from a daughter of Giuseppe Franzoni. She stands erect in a winged Chariot of Progress which is rolling over a globe encircled by a belt bearing the signs of the zodiac. The wheel of the chariot forms the dial of the clock.

This room is rich in historic associations; it was here that President Madison took the oath of office; it was here that Clay, Webster, the younger Adams, Calhoun and Randolf and a host of other leading American statesmen first won their laurels in fiery and often acrimonious debates; and it was here that ex-President John Quincy Adams, in his old age, fell at his desk, stricken with paralysis during a session of the House. The spot, in the S. W. portion of the room, is marked in the pavement by a small circular brass tablet set in the middle of the 12th white marble square, counting E. from the statue of Stockton. Adams died two days later, Feb. 23d, 1848, in the adjoining room of the Clerk of the House.

The only essential differences in this chamber when it was occupied by the Representatives are as follows: the Speaker's chair and