The Pavilion of The Netherlands is inevitably reminiscent of the Peace Palace of The Hague, by natural association of ideas and because of the spirit of its central mural painting, "The Arts of Peace." It is therefore an interesting fact that Hermann Rosse, the artist who painted this imposing work, and, indeed, designed the entire interior decoration of the pavilion, was also muralist and decorator of the Palace of Peace. The pavilion walls and hangings - steel blue, olive green and silver grey, relieved by quaint conventional stencils of orange trees and tulips and severe shields of the four divisions of the kingdom - has a broad, cool puritanism that lends itself well to the rich depth of the painting. Holland holds high the image of Peace, surrounded by the peace-nurtured arts and industries on whose support all human welfare rests. Among them stand not only representatives of trades and crafts, with their symbols and implements, but also the Art of Motherhood and the Art of Play shown by a happy child. Ships of all ages in side-panels and background tell of the maritime history of Holland which so largely and peacefully colonized the world. Beneath the painting is a comforting and inspiring legend. Penn's Treaty with the Indians Pennsylvania Building The Pennsylvania Building was designed with the patriotic purpose of enshrining the Liberty Bell. The Bell stands in a loggia between two wings, the architectural motif following that of Independence Hall. On the walls of the loggia are two mural lunettes of distinction by Edward Trumbull of Pittsburg. Their deep glowing color and massive grouping mark Mr. Trumbull a worthy pupil of his master, Frank Brangwyn. "Penn's Treaty with the Indians," here given, shows William Penn and the foremost of his shipmates on "The Welcome" making with Chief Tamanend and his braves the Treaty of Shackamaxon in 1683, the treaty that never was broken. The plainness of the kindly Friends, the barbaric splendor of the Indians, the deep green of the overarching Treaty Elm and the lovely typical Pennsylvania landscape have enduring attraction. The panel is in contrast with Mr. Trumbull's vigorous and burning modern picture, "The Steel Workers," on the opposite wall. In the reception room of this building are seven delightful small panels by Charles J. Taylor, showing the early life of Pennsylvania villages. They are painted in the quaint style of old colonial decorations and have charm, humor, naivete and beauty too pleasing to be overlooked. Return from the Crusade Court, Italian Pavilion