Upstairs, in the corridors beyond the arcades, the marble impression is prolonged in the mosaic floors, delicate in their play of color, and splendid in their very spaciousness. But the main impression is still that of painted ornament. In the adjacent galleries marble is continued in the floors, but the chief architectural interest here is in the stucco work. It is true we are attracted by the painted lunette at the end, but simultaneously we feel how superbly framed it is by the vista of vaulted ceiling. The importance of the four pavilions is emphasized by painted compositions, but here again an equipoise of interest is maintained by the mosaic floors, and the beautiful lines of the stucco, which weave the octagon of walls into the circle of the vault. Beneath the great central dome of the Rotunda all these forces are massed with excellent judgment. The dome itself rests upon massive columns of Numidian marble connected by two tiers of arcades of Sienna marble; mounts up in successive gradations of stucco, from bold accentuation to tender elaboration, till it melts into the calm of Mr. Blashfield’s painting and ends in the dreamy spirituality of his figure in the cupola. In the little corridors to the north and south of the Entrance Hall the architect has epitomized his methods. They are miniature _éditions de luxe_, in which arch and vault, marble, stucco, mosaic, and pictures are blended with the daintiness of an Elzevir. THE SCULPTURE. Including under Sculpture the plastic, carved, and bronze work, it will be convenient to consider the sculpture of the Rotunda by itself and apart from that of the rest of the building, for it consists mainly of statues linked together by a common thread of thought, while elsewhere the motive is solely decorative.