gestive of the first contact of the white race and the red; the marble group in the tympanum of the Senate portico is significant of what the coming of the new race was to mean for the old. The subject (by Crawford) is American Development and the Decadence of the Indian Race. In the centre stands America, in the effulgence of the rising sun, bestowing honor instead of gifts upon General Washington. On the right are Commerce, Education, Mechanics and Agriculture. On the left the Pioneer, the Hunter, a dejected Chieftain, and an Indian mother with her babe mourning beside a grave. In the wall above the Senate entrance are marble figures of Justice and History (by Crawford), and the door is the Crawford bronze door described on page 51. Tour of the Capitol.-A convenient program for seeing the Capitol is to study first the Rotunda, then to visit in succession the Hall of Statuary, the House and its committee rooms, the Supreme Court, the Senate and its rooms, the west portico for the view. Study the Capitol plan below. Note the magnificent marble corridors and stairways of the extensions; the pilasters, columns and capitals, sculpture and frescoing; the tessellated floors, and the vistas through the windows, giving glimpses of the city and the Washington Monument, the Library, and the Capitol itself. The Rotunda.

The Rotunda in the centre of the main building is the room to which one usually comes first, and it is a convenient point from which to visit the various parts of the Capitol. The north door leads to the Supreme Court Room and the Senate Chamber; the south door to the National Statuary Hall and the Hall of Representatives; the east door (Rogers Bronze) opens on the portico, and the west door leads to the west entrance.

THE CAPITOL Consists of a main or central building (from which springs the dome) and two extensions, north and south, connected with the central building by corridors. It has three stories-basement, principal story and attic - and the roof is surmounted on all sides by an ornamental balustrade. In the central building are the Rotunda, the Supreme Court Room, Committee Rooms, and the National Statuary Hall. The north extension contains the Senate Chamber, and is known as the Senate Extension The south extension contains the Hall of Representatives, and is designated as the House Extension

NORTH FRONT

Rotunda Paintings.-The Rotunda is an immense circular hall, 97 2/3-ft. in diameter, and rising clear from floor to inner shell of Dome and canopy, 180-ft. above. Light is admitted through the 36 windows of the peristyle. The walls are adorned with paintings, sculptures and frescoes, and the vaulted canopy top above the eye of the Dome glows with color. The eight oil paintings in the panels of the hall have for their subjects memorable scenes in the history of the continent and of the United States. The key to each picture hangs beneath it. They are:

Landing of Columbus on San Salvador, Oct. 12, 1492. (By Vanderlyn.) Discovery of the Mississippi by De Soto, 1541. (By W. H. Powell.) Baptism of Pocahontas, Jamestown, Va., 1613. (By John G. Chapman.) Embarkation of the Pilgrims from Delft-Haven, July 22, 1620. (Weir.) The scene is the deck of the Speedwell, and the incident is that described by Bradford: "Their Reverend pastor, falling downe on his knees (and they all with him), with watrie cheekes commended them with most fervente praiers to the Lord and His blessing."

The Declaration of Independence, Philadelphia, July 4, 1776. (By John Trumbull, of Connecticut.) The scene is the hall of the Continental Congress. John Hancock, President of the Congress, is seated at the table, and in front of him stand the Committee of Five-Thomas Jefferson, John Adams, Benjamin Franklin, Roger Sherman and Robert L. Livingston.

The Surrender of Burgoyne, Saratoga, Oct. 17, 1777. (By Trumbull.) General Burgoyne, attended by General Phillips, offers his sword to General Gates, who declines to receive it, but invites the British officers to enter his marquee and partake of refreshments.

Surrender of Cornwallis, Yorktown, Oct. 19, 1781. (Trumbull.) The painting represents the moment when General O'Hara and other officers of the British army, conducted by General Lincoln, are passing the two groups of American and French guards, and entering between the two lines of victors.

The Resignation of General Washington, Dec. 23, 1783. (Trumbull.) Washington's surrendered commission is preserved in the State Department, and the uniform of Commander-in-Chief worn on this occasion is shown among the Washington relics in the National Museum. After taking an affectionate leave of his old comrades at New York, General Washington proceeded to Annapolis, where Congress was then sitting, and there resigned his commission, divested himself of all authority, and retired to private life The surrendered commission is preserved in the State Department, and the uniform of Commander-in-Chief worn on this occasion is shown among the Washington relics in the National Museum.

The Trumbull paintings have peculiar interest and value because the figures in them are authentic portraits. Col. John Trumbull, an aide-de-camp of Washington, "having a natural taste for drawing, took the resolution of cultivating that talent, with the hope of thus binding his name to the great events of the Revolution by becoming the graphic historiographer of them and of his comrades." With this view he devoted

himself to the study of the art of painting, first in this country and then in Europe. To John Adams, then Minister to England, and Thomas Jefferson, Minister to France, he communicated his ambitious design of painting a series commemorative of the principal events of the Revolution, preserving faithful portraits of its conspicuous actors, and accurate details of scenes, dress and arms. He painted Adams in London and Jefferson in Paris, and at the house of Jefferson the French officers who were to be included in the Yorktown picture. He was given sittings by Washington and others in New York, at that time the seat of government, and then traveled through the country, from New Hampshire to South Carolina, collecting portraits and other materials. In 1816, after more than thirty years of preparation, he was commissioned by Congress to paint the four great pictures now in the Rotunda-works which at once are held priceless for their portraits of the Fathers of the Republic, and are a realization of the artist's high ambition.

Sculptures. In the arabesques above the paintings are sculptured portraits of Columbus, Raleigh, Cabot and La Salle (by Capellano and Causici); and above the doors are sculptures of the landing of the Pilgrims, Pocahontas Rescuing Capt. John Smith, William Penn's Conference with the Indians, and Daniel Boone in Conflict with the Indians. (These are by Causici, Capellano and Gevelot.)

Rotunda Frieze. At a height of 65-ft. above the floor, and encircling the wall, here 300-ft. in circumference, runs a fresco (by Brumidi and Costaggini) in imitation of high relief, illustrating periods of the history of the continent. America is depicted with Indian and eagle, standing with History, who records on her tablet the progress of events. The subjects are: Landing of Columbus, Cortez and Montezuma in the Temple of the Sun, Pizarro in Peru, Burial of De Soto, Rescue of Capt. John Smith, Landing at Plymouth Rock, Penn's Treaty with the Indians, Settlement of New England, Oglethorpe and the Muscogees, Battle of Lexington, Declaration of Independence, Surrender of Lord Cornwallis, Death of Tecumseh, the American Army Entering the City of Mexico, California Gold Mining. The series is to be completed.

The Canopy overhanging the eye of the Dome, at a height of 180-ft. above the Rotunda floor, is 65-ft. in diameter, and gives a field of 4,640 square feet for Brumidi's colossal allegorical fresco, depicting the Apotheosis of Washington. (See description on a following page.) The gallery, which encircles the hall just beneath the canopy, is a whispering gallery, wherein two persons standing on opposite sides 65-ft. apart, may distinctly hear one another speaking in whispers.

The Statues are of Lincoln, Jefferson, Baker, Grant and Hamilton.

Edward Dickinson Baker, of Oregon, 1811-1816; Fought in Mexican War; Senator from Oregon; commanded a brigade at Ball's Bluff, Oct. 21, 1861, and was mortally wounded. (By Horatio Stone.)

Ulysses Simpson Grant, 1822-1885. Lieutenant-General in the Civil War and commander of the Union armies; President 1869-1877. (By Franklin Simmons. Presented by the Grand Army of the Republic.)

Alexander Hamilton, of New York, 1757-1804. Officer in Revolution; exerted important influence through the Federalist in securing adoption of the Constitution; President Washington's Secretary of the Treasury; author of our financial system. A panel in the Senate Bronze Door commemorates Hamilton's gallantry at Yorktown, when be led an advanced corps to the storming of a British redoubt. (By Stone.)