The herald., 1893-08-15
WORK Of WOMEN'S HANDS,
The Features of the W0men's
Building at Chicago.
Its Architectural, Decorative and
Exhlbitive Attractions.
Some Incomprehensible Paintings-Ths
Scope of the Buildings The Va
rious Rooms - Interest,"
ing Comment.

CHICAGO, Aug. S.-The relative beaut
OF the woman's building to that of tn
other worlds fair structures is subjec
much discussed at Jackson park by th
men as well ss the women. The sterne
sex all pronounce it lust like tn
women," but az none OF the gentler Sc,
have ever been able by coaxing, persuad
ing or threatening to find the "why'
they can take it as a compliment o.
otherwise and smile or weep.
ltwould be hard to give ones first inn
preston or in fact any impression OF the
woman's building. There are beautiful
flowers that are scentless and beautiful
women that are unlovsble." 1t is q long
low, unpretentious pile extending some
400 feet from north to south with width
Of about one-hslf. Many arches aud pill
lars take from the general severe and
classic linea of the building, while the
rose-tinted walls of the loggias, the
glowing urns OF plants upon the balus-
trades, the roof gardens and their or
iental awnings soften and enhance the
original architectural plan. The IL
groups, elk casts each of "Hope" and
"Oharity," modelled by Miss Alice Ride
out OF California, surmount and dignity
| the upper cornice, which ie in turn sup
ported by the symmetrical Carytides of
Miss Nina Wsndell OF Kentucky. For it
would never have done to have any sem-
blance of q man about this building; 80
even the Atalantes were substituted by
Carytides. The pediments of the east
ern and western entrances are known az
| the "GlOrihcation of Woman's Work, 1"
and are also the creation of woman.
The flower beds bordering the build.
ing were planted and laid out under the
personal supervision of the French
florist, M. Lemoyne. The latter is the
head gardener of Paris, and to him
much of the famed grandeur OF the gar
dens and boulevards of the French capi-
tai is due.
Approaching through what is called
the water entrance, spacious vestibule
some 70x65 feet is found with on either
side large triple paintings from the
"brush'' OF two English artists. The
subjects are good. but are very much
spoiled in the execution; neither one
was evidently meant to be viewed at
short range, and the proper distance
cited by an art critic ia 20 or so feet for
one and an eighth OF q mile for the
other. The canvasses embrace six rep
reseutations, Tending Aged, Florence
Nightingale. Hospital of Crimean War,
Motherhood, Presentation of Diplomas
to Graduates, Women of London Uni
versity, Care of the Young, kindergsr-
ten scene, and Needlework, medieval
tapestry workers.
An immense court or hall reaching
through the height of the structure
covered with skylight and some 240x66
as to dimensions runs through the
building and is its main feature. In the
center plsshing fountain is half con-
csaled by verdsnt palms and delicate
tronds and aecentuated by the cleaning
from its midst. Mrs. .WlhsIow, Lne
renowned eoother OF the universal in
fant, Lucretia Mott. the social reformer.
Elizabeth Cady Stanton and Susan b.
Anthony, the woman's rights and suf-
frsgists who were uuhappily not born
men; bucolic poem in etoue called
The West, and that victim OF what
might have been Maud Muller. This
hall is lined with the irest paintings by
women that the committee has been
eble to secure, and if they are truly the
productions of tina persons whoee sig-
natures are affixed they certainly reflect
great credit on the sex. The color tone
throughout is creamy white and the
needed pillars raising their slender
columns in classic beauty to the arch
itrave are also unlimited. just above,
the frieze is emblazoned in letters of
gold on the pure background with the
names OF the worlds famous women OF
ancient and modern times. The ends
bear only one inscription each, the north
space reading President Bertha M.
Honore Palmer, MDCCCXClll. the
south architect, Sophia b. Hayden,
Boston.
The court is filled with cases contain
ing all sorts of things, no doubt very
valuable and remarkable, but which lew
seem to pause to inspect. 1t is IRON
here, too, that the much discussed tym-
panums Of Mrs. MacMonnies and Miss
Csssatt can be seen in the best light.
Now while these two 30 called mural
paintings were ordered at the same
time, to be precisely the same si2e and
shape and occupy relative positions in
the same hall, and the commission
placed in the hands and at the gentle
msrcies to make or to mar OF two
women artiets supposed to be best quail
fed for ouch an undertaking, there was
certainly some direiul mistake in their
execution, as they are decidedly
antagoristic to one another. 10
begin with, the figures in one are
large, in narrow border, while
the other is more massive border,
heavy panels and medallion than pic
ture, the figures themselves being quite
small. The school OF art. too, is en-
tirely remote, Miss Cassatt following up
her reputation as an employer OF strong
colors and lavishly laying on vivid
greens, pure blues and brick reds, while
Mrs. MacMonnies leans towards the
new styles of "washy" paintings, giving
a soft, light and silyery effect. The
subjects themselves have been very
much criticised, and though the motive
for each and every one has been repeat
edly explained, it is hard to see what
important epoch in woman's life is por..
trayed in the panel showing small
band of dishevelled ''petticoats" en-
gagged in the pursuit of an elusive fe-
male in md-air with hall dozen or 30
excited ducks bringing up the rear. II
the fleeing specter had just escaped
from Stockton and her followers had
been clad in red hosiery, the picture
might have been Understood, IT not the
motive. In another bevy OF airiiy at
tired girls are assembled on an exceed.
ingly green stretch of lawn which should
have been placarded keep OIL the
prassn To exnlain such remarkable