Mr. Pearce’s panels in the north corridor are notable examples of decorative color. The positive tints are clear and fresh against soft backgrounds of secondary greens and violets. The composition, except in the panel of _The Standard-Bearers_, leans to the pictorial rather than to the decorative method. Perhaps _Labor_ and _Religion_ combine the two methods most happily. In the former the lines of the limbs repeat and relieve each other most agreeably. There is enough sameness of movement to emphasize the sharing of toil, sufficient difference to suggest individual effort. There is a suggestive contrast in _Religion_ between the man’s awe and the woman’s placid confidence. He recognizes the mystery, she the comfort of fire. A germ of the love of the beautiful is shown in the choice for an altar of the curious stone which they have propped up so unstably, and yet with so much affectionate care. In the east corridor, Mr. Alexander’s six panels are to be taken as so many fragments cut from the picture of the ages. They are terse and vigorous; they compel our interest. The figures are dramatic, in the true sense that they are doing something simple and natural, while their local surroundings, like the old chorus, interpret the significance--in some cases, from the standpoint of to-day, the insignificance--of the act. For, by the exercise of keen imagination, and through the resources of his technique, the artist has rendered with pathetic vividness the dumbness and isolation of early man and the unresponsiveness of his surroundings. With the skill of an expert dramatist, he has developed the growing permanence of the record, and the widening of the circle of influence, and led up to the climax when the written speech of one becomes the property of all. In Mr. Walker’s panels, Nature and not Humanity is the inspiration. In his largest panel, she is exhibited in the unrestraint of stream and rock and verdure. Yet she is represented in Mr. Walker’s paintings not so much for her own sake as for the inspiration which she lends to the mind of the poet. It is Nature viewed through the medium of the imagination--Nature refined by the alchemy of human emotion. In the opposite panel, man’s relation to Nature is introduced; in a suggestion of the old idyllic, pastoral life, with a hint, too, on one side of the panel, of man’s creative genius, the stately edifice into which, working upon Nature’s plan, he has built his own personality. The scheme is completed by the smaller panels in which the artist has suggested the various moods of lyric poetry, as illustrated by the special genius of Shakespeare, Milton, Tennyson, Emerson, Keats, and Wordsworth.