The only parallel to these instances of frequent shifts in the local art world is the case of a painting entitled “Love and Life,” presented by the English artist, George F. Watts, to our Government. Mr. Cleveland, who was President at the time, hung it in the White House, but the prudish comments passed upon it by visitors led to its transfer to the Corcoran Gallery of Art. In the Roosevelt administration it made three trips, first to the White House, then back to the Corcoran Gallery, and then to the White House again, where it rested till President Taft came in, only to be rebanished to the Corcoran Gallery. President Wilson had it returned to the White House, and there it is at the present writing. Although there has never been in Washington a definite scheme for the location of statues, which have been planted, hit or miss, wherever space offered, accident has arranged a few of them so as to form a rather remarkable historical series. Starting with the Washington National Monument, in honor of the foremost figure in the Revolution and the President who set in motion the machinery of the embryo republic, we pass directly northward to the White House, home of all his successors in the Presidency and emblematic of the civil government which emerged from the War for Independence. A few hundred feet further northward stands the statue of Andrew Jackson, the hero of the War of 1812, the first fought by the United States as a nation. About a half-mile more to the north we reach the statue of Winfield Scott, the general whose capture of Mexico City ended the second foreign war in which the nation engaged. All that is needed to complete this remarkable procession is a memorial arch on Sixteenth Street heights, to the soldiers and sailors on both sides of the Civil War which cemented the Union begun under Washington.