Handbook of the new Library of Congress

by Unknown

BACON.
BY JOHN J. BOYLE.

Each figure is winged, as representing an ideal, but the wings, which overlap each other regularly throughout, serve mainly to unite the composition in a continuous whole, and in no case have been allowed to hamper the artist in his effort to make each figure the picture of a living, breathing man or woman. Four of the twelve figures, it will be observed, stand out more conspicuously than the rest on account of the lighter tone of their drapery—Egypt, Rome, Italy, and England. They occupy respectively the east, south, west, and north points in the decoration, and furnish another instance of the stress that has been laid, throughout the Library, upon the four cardinal points of the compass which govern the axial lines of the building, and which in turn have been enriched and dignified in the final decorative scheme of the interior. Each of these axial figures is painted in a more rigid attitude than those beside it, and forms, as will be noticed, the centre of a triad, or group of three, each of the flanking figures leaning more or less obviously toward it. It should be noted that there was no intention on the part of the painter to magnify the importance of the four figures thus represented over any of the others. The emphasis of color is solely for decorative purposes. The arrangement being chronological, Mr. Blashfield was unable to exercise much control over the order in which each figure should occur, and still retain his original selection of countries.

Egypt is represented by a male figure clad in the waistcloth and cap with lappets so familiar in the ancient monuments. The idea of Written Records is brought out by the tablet he supports with his left hand, on which is inscribed in hieroglyphics the cartouche or personal seal of Mena, the first recorded Egyptian king; and by the case of books at his feet, which is filled with manuscript rolls of papyrus, the Egyptian paper. Besides the idea of Writing and Recording, Mr. Blashfield brings out the fact that the Egyptians were among the first who held the doctrine of the immortality of the soul. The figure holds in the right hand the Tau, or cross with a ring head, the emblem of life both in this world and beyond it; and on the tablet behind his feet is the winged ball, the more familiar symbol of the same idea.

Judea is shown as a woman lifting her hands in an ecstatic prayer to Jehovah. The over-garment which she wears falls partly away, and discloses the ephod, which was a vestment worn by the high priests, ornamented with a jewelled breastplate and with onyx shoulder clasps set in gold, on which were engraved the names of the Twelve Tribes of Israel. On the face of a stone pillar set beside her is inscribed, in Hebrew characters, the injunction, as found in Leviticus, xix, 18: Thou shalt love thy neighbor as thyself—a sentence selected as being perhaps the noblest single text contributed by the Jewish race to the system of modern morality. In her lap is a scroll, containing, presumably, a portion of the Scriptures; and at her feet is a censer, typical of the Hebrew ritualism.

THE HUMAN UNDERSTANDING.—BY E. H. BLASHFIELD.

The figure of Greece is distinctly suggestive, so far as attitude and drapery are concerned, of one of the beautiful little Tanagra figures of terra-cotta—so called from the ancient Greek town in which they were first discovered—which are so familiar to students of Greek art. A bronze lamp is set beside her, and in her lap is a scroll—the emblems of wisdom. Her head is crowned with a diadem—possibly with a reference to the City of the Violet Crown, Athens, the Mother of Philosophy.

Rome, the second axial figure, wears the armor of a centurion, or captain in a legion. A lion’s skin, the mark of a standard-bearer, is thrown over him, the head covering the top of his casque. The whole conception is that of the just but inexorable administration of Rome founded upon the power of its arms. One foot is planted upon the lower drum of a marble column, signifying stability. His right arm rests upon the fasces, or bundle of rods, the typical emblem of the Roman power and rule. In his right hand he holds the baton of command.