Evening star. [volume] (Washington, D.C.) 1854-1972, 1896-08-08

the beginning, and the matter of extra dec
Grafton later on was left for execution as
circumstances and funds permitted. The
leading scu1ptors and painters of this coun-
Try were called IN for aid and consultation
and were found to be not only willing, but
eager and delighted to cooperate. 1t was
proposed that here was a chance for them
to show what they could do; and although
the funds available for the purpose were
limited. they entered into the project with
spirit and alacrity. Acc ordingly commits
sions for the more important spaces We're
distributed among the American artists
named above. at much lower rates (by rea-
son OF It's being public buildng) than they
would have accepted from individuals or
private corporations, and the remaining
rooms and the general plan of color treat
ment were delegated to Elmer E. Garnsey.
who was engaged at stipulated salary to
organize the corps. assisted by Charles
Caffin and f. J. Holslag of New York and
w. Mills Thompson of Washington, while
the important function of passing upon pre-
liminary studies and final designs. Of max
ing timely suggestions and keeping track Of
the general system of decoration, in con-
nection with the officer in charge, was in
trusted to Edward P. Casey, son of the late
general, as architect. The actual decoration
of the walls was begun April l, 1885, and
the fruits. exceeding all expectation, are
now apparent.
The Figure Composition.
Their richness impresses the visitor at
the very entrance. Within a distance of
twenty steps from the threshold of the
main vestibule are fully a hundred colored
figure compositions, by Vedder, Shirlaw,
Benson, Barse, Pearce, Alexander, Red,
Maynard. Martin and Walker. In the
In Mediate vicinity are twenty more, by
Simmons and McEwen. and in the same
rail- are TO be seen the works of half a
dozen sculptors, including Warner Mac
Monies and Martiny.
passing glance at these works is cue-
Cot t,li
Vedder's pictures, for example, consist
Of five semi-Circular panels or lunettes, in
the wide passageway between the stair
hall and the rotunda, executed in Oil upon
canvas. framed in marble and mounted
on white lead. typifying Good Government
and Bad Government Pearce's pictures
are also lunettes. illustrative of The Fam
lily. McEwen adorns a number of panels
with representations Of the Greek heroes
Of mythology and history, and Walkers
work is a series of pictures commemora-
tive of Lyric Poetry. Simmons has nine
panels illustrative Of the Nine Muses. Cox
has done two panel pictures, Art and
Science. Melchers has executed two anal
ogous companion pictures, Peace and War.
Maynard has made four pictures represent
ing Adventure. Discovery, Conquest and
Civilization. with group in the center
of the ceiling suggesting Valor, Fortitude,
Courage and Achievement. Dodge has
painted similar series representing Music,
Art, Literature, Science and Ambition.
Gutherz has covered another series Of pam
els with beautiful represent ations Of Light
In various conceptions. Garnsey and
Dodge hs We executed four panels typical
Of Earth, Air. Fire and Water, the ceiling
in the same room displaying Apollo driving
his chariot, surrounded by ornamental en-
blems illustrative OF the elements
A Noble Architecture.
Even the outer shell Of this display is a
vehicle of high art. The building itself,
archtecturaly, is a noble fabric Of uni
form. cleaning white granite, a pure ex-
ample of the Italian renaissance, rectan-
gular in form. three stories high, 40 feet
long by $40 feet wide, occupying two city
blocks and covering nearly four acres,
with stately pavilions projecting at the
corners, and the east and west fronts en-
riched with majestic monolithic columns