The other ornamental design we found very appropriate and direct, as we studied the pedestal. There was the ship that used to go round the horn, with the torches that suggested civilization, and, at the back of the pedestal, the flaming sun that celebrated the Golden Gate. In the rotunda we found Paul Bartlett, represented again by the equestrian statue of Lafayette, in full uniform, advancing sword in the air. It unquestionably had a magnificent setting, though it suffered by being surrounded by so many disturbing interests. "The director of the Fine Arts Department cared enough about this figure to have it duplicated for the Exposition. It's a good example of the old-fashioned heroic sculpture, where the subjects take conventional dramatic attitudes." The ceiling of the rotunda displayed those much-discussed murals by Robert Reid. Up there they seemed like pale reflections. "You should have seen them when they were in Machinery Hall. Then they were magnificent. But the instant they were put in place it was plain that the effect had been miscalculated. At night, under the lighting, they show up better. Judged by themselves, apart from their surroundings, they are full of inspiration and poetry. Only a man of genuine feeling and with a fine color-sense could have done them. But in all this splendor of architecture they are lost." On examining them in detail we found that they covered an extraordinarily wide range of fancy, graceful and dramatic, even while, save in one panel, they showed an indifference to story-telling. One group celebrated "The Birth of European Art," with the altar and the sacred flame, tended by a female guardian and three helpers, and with a messenger reaching from his chariot to seize the torch of inspiration and to bear it in triumph through the world, the future intimated by the crystal held in the hands of the woman at the left. Another, "The Birth of Oriental Art," told the ancient legend of a Chinese warrior who, seated on the back of a dragon, gave battle to an eagle, the symbol relating to man's seeking inspiration from the air. "Ideals in Art" brought forward more or less familiar types: the Madonna and the Child, Joan of Arc, Youth and Beauty, in the figure of a girl, Vanity in the Peacock, with more shadowy intimations in two mystical figures in the background, the tender of the sacred flame and the bearer of the palm for the dead, and the laurel-bearer ready to crown victory. "The Inspiration in All Art" revealed the figures of Music, Architecture, Painting, Poetry and Sculpture. Four other panels glorified the four golds of California, gold, wheat, poppies and oranges, a happy idea, providing opportunities for the splendid use of color.