Evening star., 1936-11-22

those of the left door-commemorate
great European makers Of fine books,
while the panels of the right door are
dedicated to eminent American print
ers.
In the first series, beginning with
the top panel. are the craft marks Of
Johann Fust and Peter Schoeffer,
partners of the immortal Gutenberg.
Fust, or Faust. viii be remembered
as that engaging rascal who is said
to have sold his soul to the devil and
who went about Europe peddling his
Bibles with an industriousness that
strikes one as incompatible with the
idleness usually attributed to allies
of Beelzebub.
The next panel down is replica
of the printers mark Of Geoffroi
Tory, a French printer and engraver
of the early sixteenth century. Be-
meath that is the craft mark of Will
liam Morris, whose Kelmscott Press
marked the beginning of the renais-
sance Of printing.
In the second series, on the right
door, is the symbol of Juan Pablos,
Mexico City, 1889, which forms the top
panel. Next in order, the panel is
dedicated to Stephen Daye, printer, OF
Cambridge, Mass, 1899; William Nut
head of Virginia, 1852, and William
Bradford of Pennsylvania, 1885. The
third panel of the right door is q
replica of the colophon Of Bruce Rog-
ers Of Indiana, 1900.
THESE bronze doors are locked
every night by an especially de-
signed tumbler combination lock
which Is controlled by . secret dial
hidden beneath the ring handle OF
the left door. Only Mr.. Parma, the
curator of the collection, and his first
assistant are familiar with the combi-
nation.
The doors were designed by Pierson
and Wilson, under the guidance Of DR..
Herbert Putnam, librarian Of Con-
gress, with Mr. Parma contributing
the suggestion and selection of the
printers marks to be included in the
panels.
Behind these massive bronze doors
hang smaller doors covered in leather,
designed with nailheads of dull nm
ish. These open into the first part
of the reading room, which has been
rallied of by means of a velvet rope,
to be used as an exhibition room.
The entire reading room, includ-
ing this entrance exhibit space, is
said to have been inspired by the
architecture Of Independence Hall in
Philadelphia. It is typically Colonial
in style, with high vaulted ceilings
supported by beautiful arches and the
square fluted pillars of the Colonial
or Federal type of architecture.
The entire finish is in . rich and
subdued ivory-tone enamel with which
the soft blue velvet rugs and blue and
silver brocade drsperies at the high,
wide windows at the end Of the room
facing the entrance doors blend har-
moniously. The entire effect OF the
room, with its walnut furniture and
softly shaded reading lamps, Is one
Of luxury and tranquility. more than
OF q private drawing room than OF .
public library.
Directly beneath the tall windows
stands the administration desk, As
unobtrusive as any single piece OF fur
niture in the room and quite lack.
ing q business or official appearance.
In the exhibit space are glass cases
in which book exhibits are changed
from time to time.
At present the smaller glass cases
lining the walls Of the exhibit room
contain q showing Of children's books
printed in America before 1900, q
"Doctrina Breve" printed in Mexico
City In lS43 on the first press estab.
lished in America, 100 years before
presses were established in the Eng
lish-speakins Colonies, the first such
having been set up In Cambridge In
1640. and other interesting, quaint or
rare books.
WITHIN the reading room proper
w the extraordinary consideration
that has been given for the security
Of the material and the comfort and
supervision Of those consulting 1t is
at once apparent. Walnut hles In
form the reader of the contents OF the
hidden stacks, and from these he
makes his selection, imparts his re-
0fest tn onA of the aSsistai1tS ready