International studio (26.1905)

"THE CONTEMPLATIVE SPIRIT OF THE EAST"
of the building is constructed is heightened by
columns of Breche Violette marble standing out
against the panels of Pompeian red in the walls.
The Corinthian capitals are treated with a sober
gold. The corridor is lighted from above, as seen
in the view above on this page, the sides being occu-
pied with various offices. The lunettes along the
corridor, three on a side, twelve in all, are by Elmer
E. Garnsey,who, under the architect, Cass Gilbert,
had general direction of the decorative work. At
the extreme further end over the doors of the Sen-
ate stands the lunette by Kenyon Cox, EAe
o/ EiMA, while over the doors of the
Supreme Court is the work of Henry O. Walker,
EAe .Sacred Efawie, both shown herewith.
Mr. Walker's lunette, as contrasted with Mr.
Cox's, typifies the spirit of action of the West.
The central figure, Ec-Jgy, has lighted a torch
at a smouldering lire kept alive by the crouching
figure at the right, FMfer&cy, and with it is lighting
a lamp held by the floating figure at the left, Eo-
The expression and attitude of the cen-
tral figure show the addition she makes in passing

on the experience of
the past to the future,
the added thought of
the present. Violet
greys in the rocks
and shadows of the
painting repeat the
contrast of the
Breche Violette pil-
lars to the surround-
ing yellow limestone.
The central figure is
clad in red, that on
the right in green, on
the left in blue. Of a
different character,
but full of a dignity
and repose appro-
priate to the subject
and the use, is Mr.
Cox's work facing
this at the opposite
extremity of the pas-
sageway, a painting
excellently massed
and rich in colour.
The background is
in blue and the cen-
tral figure in strong
blue and white; the
supporting figures in
old crimson; the seat in the tone of the prevail-
ing stone. A sharp note of black is struck in the
back of the book and in the bridle.
Edwin Howland Blashfield's paintings for the
Senate Chamber we had occasion to discuss and
present in illustration in the February issue of THE
INTERNATIONAL STUDIO at the time of their exhibi-
tion in New York City. In place they show how
thoroughly the artist has tuned his performance
to its surroundings and kept within the proper
limits of the mural function. The yellow stone here
is a foil for Fleure de Peche marble, rather more
violet in its varied tinges than the Breche Violette.
In the lunette seen in place in the Senate Chamber
on a preceding page, Pfcec Ex^ HfwMexofa
the red and white of the centre is supported
by cool tones verging to blue; the Manitou lunette
is cool with white and green running to soft reds
and greys.
Edward Simmons is still at work on decorations
for the rotunda. His paintings will fill four irreg-
ular shaped panels in the pendentives above the
entablature, where the transition is made from

KENYON COX

LXXXVII