PHILOSOPHY.
BY BELA L. PRATT.
In front of each of the great piers of the Rotunda is an engaged column, so called because it is not quite clear of the mass behind it, which serves as the ultimate support of a statue placed between the arches upholding the dome. In height, base, and capital, it is the same as the pier with which it is connected, and, like it, is sheathed in Numidian marble, but not so dark in tone, since the burden resting on the column includes no part of the dome, and is therefore much lighter than that borne by the pier.
The engaged columns, however, join with the piers to carry an elaborate entablature some seven feet in height, which, finding its way in and out of the alcoves from pier to pier, completely encompasses the room. The color of the entablature, which is entirely of stucco, is a cream or ivory white, like the dome, touched sparingly with gold. The mouldings, which are of the usual Greek patterns employed in Renaissance architecture, are very rich and heavy. The topmost member of the cornice is boldly projected upon a series of modillions, the soffits between being ornamented with rosetted coffers—gilt on a blue ground. The frieze is enriched with an arabesque of Renaissance ornament in relief, including antique urns and lamps; garlands enclosing tablets; and winged half-figures. The general design of the frieze, as of all such work in the Library, is by Mr. Casey as architect; the individual figures, however, were modelled by Mr. Weinert.
The Symbolical Statues.—The eight statues set upon the entablature over the engaged columns represent eight characteristic features of civilized life and thought. From the floor to the plinth or base on which they stand is a distance of fifty-eight feet; each is ten and a half feet, or, including the plinth, eleven feet high. All are of plaster, toned an ivory white to match the general tone of the stucco decoration throughout the room, and are effectively placed against the plain red pendentives of the dome as a background. The title of each is inscribed in gilt letters in a tablet in the frieze below. Beginning with the figure directly to the right as one enters the west gallery of the Rotunda, the order is as follows: Religion, modelled by Mr. Theodore Baur; Commerce, by Mr. John Flanagan; History, by Mr. Daniel C. French; Art, by a French artist, Mr. Dozzi, after sketches by Mr. Augustus St. Gaudens; Philosophy, by Mr. Bela L. Pratt, who modelled the granite spandrels of the Main Entrance; Poetry, by Mr. J. Q. A. Ward; Law, by Mr. Paul W. Bartlett; and Science, by Mr. John Donoghue.
SHAKESPEARE.
BY FREDERICK MACMONNIES.
Nearly all bear some appropriate and distinguishing object. Religion holds a flower in her hand, seeming to draw from it the lesson of a God revealed in Nature. Commerce, crowned with a wreath of the peaceful olive, holds in her right hand a model of a Yankee schooner, and in her left a miniature locomotive. History has a book in her hand, and with an obvious symbolism holds up a hand-glass so that it will reflect things behind her. Art is unlike the other figures in being represented as nearly nude. She is crowned with laurel, and bears a model of the Parthenon. Beside her is a low tree, in the branches of which are hung a sculptor’s mallet and the palette and brush of the painter. Philosophy is a grave figure with downcast eyes, carrying a book in her hand. The garment of Poetry falls in severe lines, which suggest the epic and the more serious forms of the drama, rather than the lighter aspects of the Muse. Law has a scroll in her hand; a fold of her robe is drawn over her head to signify the solemnity of her mission; and beside her is the stone Tablet of the Law. Science holds in her left hand a globe of the earth, surmounted by a triangle. In her right hand is a mirror, not, like History’s, turned backward, but held forward so that all may perceive the image of Truth.
Above each statue the pendentive of the dome is occupied by a group in plaster, sculptured by Mr. Martiny, consisting of two winged geniuses, modelled as if half flying, half supported on the curve of the arches, and holding between them a large tablet carrying an inscription in gilt letters. Above the tablet is a pair of crossed palm-branches (meaning peace), and below are the lamp and open book symbolical of learning, these last being surrounded by an oak-wreath, typifying strength—the whole group thus signifying the power and beneficence of wisdom.
The inscriptions were selected by President Eliot of Harvard University, who several years before had furnished the memorable sentences carved upon the Water Gate at the World’s Fair in Chicago. Each is appropriate to the subject of the statue below it.