Around the statuesque simplicity of Mr. Shirlaw’s _Sciences_ flows a sinuous play of lines, and their broad masses of color reflect the surrounding tints, so that these panels are more than punctuations; they are at once the focus-points and distributing centres of the whole corridor. There is a geometrical plan apparent in the building-up of the figures. Often the main lines intersect diagonally, and one is tranquil, the other energetic; there are centres of repose and of movement to which these lines converge; and these are also the points of main interest in the symbolism of the picture. In _Mathematics_, for instance, the line of the nude position, suggesting the naked accuracy of figures, leads up to the calm, frank face; while the more intricate line of the drapery winds across diagonally, and merges in the convolutions of the scroll, with its hint of abstruse calculations. The arrangement of the draperies, indeed, is invariably worthy of close attention. Compare the stem-like lines and petal-shaped folds which cling to the form of _Botany_, with the successive eddies that circle round _Astronomy_. In Mr. Reid’s panels the sensitive vibration of color and the luxurious lines eloquently express the delight of the Senses. But there is no note of decadence. There is so much decision in the drawing, free expansion in the masses of form and color, and such energy in the flashing color of the drapery, that we feel in these beautiful women, not the enervation of pampered senses, but merely a moment’s pleased suspension of activity. This is least noticeable in the elegant deliberation of _Taste_; it is finished to a delicate point in the exquisite conception of _Touch_. This is a picture of an instant of arrested energy, shown in the forward lean of the body, and the momentary stillness of the outstretched arm on which the butterfly has alighted. In a moment the insect will be gone, the limbs will relax and vibrate again with active life. Throughout, it is enjoyment of the senses, not abandonment to them, that the artist has depicted. What may be called the debonair quality of Mr. Barse’s figures is very noticeable. It is due not only to the purity of type, and to the tenderness and simplicity of the coloring, laid on so flatly in two or at most three tones; but mainly to the sensitive elaboration of line. The figures are of ample proportion, and the draperies voluminous, but the artist’s appreciation of the value of line in mural decoration does not stop with the broad effects. He weaves into his draperies a diaper of delicate folds, each of which counts. In this way, by contrasting the smooth portions with the comparative intricacy of others, he gives to his figures, notwithstanding their simplicity, a certain richness, a quiet assertiveness, and a most agreeable refinement.