To the left of the central throne are three figures representing, as one may see by the names in the streamer above them, respectively Industry, Peace, and Truth, the friends and supporters of Law; while to the left Mr. Dielman introduces three other figures typifying Fraud, Discord and Violence, the enemies of Law. Industry and Violence are represented as male figures; the other four as female. Very appropriately, the first group seems to be advancing unafraid toward the throne of the Goddess; while the figures to the right shrink terrified from her presence. The emblems which distinguish the various figures are easily understood: Industry with a wheel and hammer; Peace with an olive-branch and crown of olive; Truth with the lilies; Fraud, represented as a withered hag; Discord, with disordered hair and garment, and holding a pair of knotted serpents; and Violence, in a steel cap with the blazing torch lying on the ground before him. [Illustration: GOVERNMENT.--BY CARL GUTHERZ.] Mr. Dielman’s second panel represents _History_. The titular figure, that of a woman of great charm and beauty, stands in the centre holding a pen and a book. On either side are marble tablets bearing the names of great historians--Herodotus, Thucydides, Polybius, Livy, Tacitus, Baeda, Comines, Hume, Gibbon, Niebuhr, Guizot, Ranke, Bancroft, Motley. At the foot of one tablet is a laurel wreath, for peace, and on the other side an oak wreath, for war--the twin topics of history--each accompanied by a palm branch, the general reward of success. On either side of the panel extends a marble bench on which are seated two female figures representing Mythology and Tradition, the predecessors of history. Mythology, the expounder of the ancient tales of the gods and heroes, stands for theories of the system of the universe, in token of which she holds in her right hand a globe of the earth. Beside her is a sphinx--the female sphinx of the Greeks, not the male sphinx of Egypt--suggesting the eternally insoluble Riddle of the World. At the other end of the panel, Tradition, an aged granddame, relates her oldwives’ tales to the boy who sits listening before her. The figure represents the whole body of mediæval legend and folk-tale. Reminders of a past age are brought out in the distaff she holds in her lap, the Romanesque capital on which the boy sits, the harp he holds in his hand--with its reference to the wandering minstrel of the Middle Ages and his store of tales--and in the shield, very likely the text of the story which is being told, which leans against the tablet. In the background of the panel, seeming to float amidst the clouds, are three ancient buildings, an Egyptian pyramid, a Greek temple, and a Roman amphitheatre--signifying the three nations of antiquity in which History was most highly developed.