a trifle too modern; not because Mr. Lukeman has taken up a modern note and rung variations on it, but because he has over-emphasized the drapery rather than the character. We hazard the guess that, since few who see the building know who Manu was, and since on that account strong abstract characterization would have been as acceptable to them as feigned portraiture, Mr. Lukeman had a fine opportunity to create a credible abstract; perhaps he did indeed intend, in hiding. the figure and almost hiding the face in the shadow of the hood, to convey rather the personification of mystery, as his lawgiver is the only one of the ten who is purely legendary. The statue depends for its effect, more than do the other figures, upon the time of day that it is lighted; much of the time the face is in shadow, but in the afternoon the sun, striking the features, brings them out in a picturesque aspect. And since the use of shadow in architectural sculpture is something of which the possibilities are hardly known in this country, Lukeman has at least made a successful experiment therein —an experiment which may serve as a text for other sculptors to work upon.

It must be borne in mind that, although Mr. Lord has more than once in the press and in speeches emphasized the value of an architect's being able to select his sculptors, and this building is probably far more successful for that reason than it would be had these sculptors been assigned their subjects by competition, yet it is still a problem to be solved, in this country, as to whether a number of sculptors can, without very special effort, produce a perfectly harmonized ensemble. The main difficulty is that the point of view as to treatment frequently differs in the minds of divers artists. Had Mr. Lukeman, for example, designed all the figures on the attic, the figure of "Manu" might have been in perfect keeping with the rest, which also might have been suggestive in treatment. But in contrast to Mr. Hartley's realistic treatment of "Alfred the Great" Mr. Lukeman's" Manu" seems a trifle out of key.

The last figure is that of "Justinian," by H. K. Bush-Brown. Pediment groups by M. M. Schwartzott are above the windows of the entranceway; they are rather small in treatment, and represent

"Morning," "Night."

A tympanum group, "The Triumph of Law," by Charles Niehaus (who modeled the group on the Dewey Arch entitled "The Return "), surmounts the six columns of the Twenty-fifth Street portico. It is full of symbolism; here are the tablets of the law, a crescent moon, a ram, Father Time with his scythe, an owl, tablets of the law, etc., etc.

At the Madison Avenue end of the building four caryatides by Thomas Shields Clark, representing the four seasons, support the cornice. They could, perhaps, have more severity of line and thus be more fully supporting elements, but they have much beauty in detail and proper repose.

arms

Above them the group "Peace," by Carl Bitter, surmounts the cornice over the Madison Avenue end. The goddess's are lifted and she holds up an olive branch supporting a cornucopia; below her, at her right, is a seated woman's figure, almost nude, holding a fasces; but this figure is a trifle disturbing, seeming almost about to rise, and the imminence of such action in a cornice figure of course arouses in the spectator a fear that it may fall. The arms of the figure" Peace " are bent at an ugly angle, and its drapery is not pleasingly disposed; the pose of the seated man is alert and may be seen well from the sidewalk, and, like Mr. French's men, the figure is well modeled.

It will be remembered that Mr. Bitter modeled the dramatic group of Uncle Sam's marine gunners in the thick of the fight representing "The Combat " on the Dewey Arch, and we are prone to think that Mr. Bitter will in the future distinguish himself as the sculptor of the nude male figure.

To the left (north) of this group is the figure of "Confucius," by Philip Martiny (author of "The Call to Arms" on the Arch). It is perhaps a conventional Chinaman rather than a great conception of the philosopher, but the hands are expressive and the folds of the embroidered robes are finely modeled. Martiny is a pupil of St. Gaudens, and is now at work on a monument to the late Garret A. Hobart, for Paterson, New Jersey.

To the left is the figure of "Moses," by William Couper (author of the panel

"Protection of our Country " on the Arch), a gentleman more debonair than Michelangelo's creation, but wearing the same dressing gown and having an unmistakable Angelo wrist.

Opposite the doorway, on entering the building, we see a narrow frieze painted in flat masses of primary greens, yellows, and blues in the Pompeian manner. It is "The Law of Nations," by H. Siddons Mowbray, and shows his high craftsmanship. With peculiar chronology, it begins

with " Mosaic Law;" then follows "Egyptian," "Greek," and "Roman," Law of the Abstract," "Byzantian," "Norman," and "Common" law. Connecting the different periods is a purely decorative winged female figure carrying part of a scroll which meanders through the successive panels. Perhaps the decoration is stiff and flat, and the more animated groups of Robert Reid (" Peace," " Justice," and "Prosperity") and of W. L. Metcalf ("Justice" and The Punishment of

Lighting the court-room we find a round dome of white and amber glass, designed, with the side windows, by Maitland Armstrong. Three large panels face the judges' dais, and behind it is a frieze by Kenyon Cox, connected with these panels by sixteen upright small frieze panels by Joseph Lauber, typifying the attributes of Righteous Judgment, Truth, Perspicuity, etc., and two long panels by George W. Maynard, representing the seals of the State and city of New York. The last, we understand, were hastily executed, this artist not having been called in till the last minute; they are, indeed, less decorative than Mr. Maynard's figures in the Waldorf café, but they have color quality sufficient to connect them satisfactorily wirh the other decorations. Mr. Lauber's figures are in some places pretty and graceful, if not strong nor particularly mural.

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They represent "The Attributes of the Law." On the north wall, left, and adjoining the frieze by Kenyon Cox, is "Moderation;" then, in regular order to the right, follow "Veneration," " Perspicuity," "Eloquence," "Reticence," "Research," Research," "Unity," and "Fortitude." On the south wall, "Justice," "Truth," "Philosophy," "Courage," "Patriotism," Logic," Knowledge," and "Prudence." Four end panels represent the "Four Cardinal Virtues;" "Moderation" or "Temper ance" holding up the restraining bridle and curb-bit as a symbol; Fortitude," a young man, one arm resting upon the hilt of a sword entwined with oak, the other resting on two volumes, the uppermost being inscribed "Lex Suprema," the lower "Lex Civitatis," signifying readiness to defend the Supreme Law of the country as well as the Laws of the Locality. "Justice" is represented by a -female figure upholding, instead of the traditional scales, a tablet with the inscription "Diligite Justitiam qui Judicatis Erram" (Pay diligent love to Jus

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ure.

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tice, ye who adjudicate the affairs of this earth). Prudence" is in an attitude of admonition, holding in one hand a compass as a symbol of exactness and meas"Truth" is represented in the traditional way, holding up the mirror to nature. Philosophy" is a man of advanced years, a scroll across his knee, contemplating a skull held in one hand, while in the other he holds a sprig of apple-blossom, the flower which precedes the fruit; the idea being to represent Philosophy as concerned with the entire question of existence. Logic" was considered worthy of a place along with Philosophy," which was meant to embrace all its subdivisions as framed by Aristotle. "Courage" is the young David, with stone and sling; "Patriotism," a boy holding the shield and sword of his protector; "Knowledge," a female figure bearing the lighted torch and a tablet. with the inscription "Fax Mentis Incendium Gloria" (The torch of the mind is the flame of glory). "Veneration of the Law" is a young Roman bearing the tablet "Lex" and firmly grasping a sword in its defense; "Perspicuity," a female figure upholding and gazing through a transparent sphere; "Eloquence," in the act of pleading, document in hand; "Reticence" in a firm posture drawing a veil across his mouth; "Research" is a female figure studying several tomes; "Unity," a youth holding two swords together by the blades, the blades not crossed-also supporting a bundle of

staves.

"Statute Law," "Plenty Rewarding Industry," and "Peace and Commerce are by Kenyon Cox. His firm draughtsmanship, the graceful lines in the drapery, a thoughtfully wrought out composition with striking symbolism, indicate a master workman. When he introduces a laurel wreath, a cornucopia, an hour-glass, a fasces, a plumet, caduceus, oak-branch, and an oar, he paints these symbols without going to that extreme of flatness which suggests the oilcloth pattern, or, on the other hand, to that realism which belongs to the easel picture.

Edwin H. Blashfield shows his familiarity with the Renaissance detail in his large panel-the right-hand one of the three facing the judges' dais. No familiar modernity of type is discordant with

The lawyers wear black gowns, which the red seals, pendent from the record books they hold, relieve. With these simple colors in the main figures of the group, the artist uses color lavishly in the green toga of the Roman, the bishop's ("Canonical Law") purple robe and crooked staff, and in the long-haired Anglo-Saxon's

Copyright by Curtis & Cameron

"CONFUCIUS," BY PHILIP MARTINY

("Common Law") brocade, which is richly figured. Two nude children in the foreground hold escutcheons entwined with streamers bearing the legend "Uphold the right, prevent the wrong."

The left-hand panel is E. H. Simmons's "Justice of the Law"-"Justice," erect and alert, with her arms about the shoulders of Peace" and "Plenty." "Plenty" holds fruit, and to her right are a workman and his wife with her baby in her arms, and at her feet is a young child playing with a rabbit (the animal with its pink eyes particularly well painted) and a fox. A spray of lilies lies at the feet of

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Peace," whose gaze is riveted on a male figure typical of "Discord," held back by "Fear." Two boys in the foreground support a shield and a fasces; wingless cherubs, holding books of law, and one holding a pair of scales as well, and encircled with ribbons which give them a buoyant effect, hover over "Justice." The fully patterned draperies of "Peace" and "Plenty" have given Mr. Simmons a chance to display some brilliant brush work; this panel is perhaps technically the best painting in the room. Its russet-tinctured tones are in perfect tune with the particolored marble of the walls, and there is that uncertainty about the pattern that asserts itself and then is lost in a modeling shadow, which belongs to the best kind of easel picture, and yet realism of texture of the stuff is not carried so far that the canvas ceases to be mural. In the faces there is much thought displayed; the expression of "Peace" is one of calm reliance, and the general pose of her head is quite monumental. It is a head that might be selected for its intrinsic beauty, and published as a fragment. The head of "Justice" is well poised, but the arrangement of the hair, suggestive of the Zaza rôle, is perhaps a trifle too modern.

"Justice" stands, as in the panels, in the middle of Mr. Walker's central panel, but instead of the floating figures above we see the inscription painted in gold on a yellow ground, "Doth Wisdom not cry, and Under