to the purposes of the building, the architecture, and the construction of the pendentive dome itself. A white-marble terrace describes a complete circle just above the four arches of the dome, the railing of which is a repetition of the actual one which finishes the top of the walls of the building itself; above a vibrating blue sky, with touches of salmon pink; in the pendentives four seated female figures, representing the Arts of Sculpture, Decoration, Embroidery, and Design. Between the figures and above the arches are urns with cactus, from which vines and flowers are trailing, thus uniting the composition. The treatment is mural--broad, flat tones within the severe contours. Above, in the sky, faint in color and harmonizing with the sky itself, four cherubs are having a merry-go-round with pale ribbons. The pendentives of the adjacent dome, painted by Mr. E. H. Blashfield, are filled by four winged genii, representing the “Arts of Metal Working.” The “Armorer’s Craft” is personified by a helmeted figure; the “Brass Founder” and “Iron Worker” by two half-nude youths, one holding an embossed trencher, the other a hammer, while a maiden, in the closely clinging gown of the fifteenth century, with a statuette in her hand, symbolizes the “Art of the Goldsmith.” The extreme points of the pendentives are filled by appropriate attributes, a pair of gauntlets, brass workers’ tools, a horse-shoe, and a medal. Behind the figures, and a little above their heads, is a frieze of Renaissance scroll work, and the whole composition is bound together by flying banderoles and by the sweep of the widely extended wings. The centre of the dome is occupied by two winged infants supporting a shield. The general color scheme comprises a series of peacock blues, greens, and purples, brilliant white tones in wings and frieze, and pale blue of the sky as a background to the composition. The sculpture groups on the roof of the Woman’s Building, and the elaborate pediments executed by Miss Alice Rideout, with the Caryatides, by Miss Enid Yandell, were early finished and in place. The same is true of Lorado Taft’s graceful groups and friezes which adorn the Horticultural Building, and of Mr. John J. Boyle’s realistic and expressive embodiments of ideas suggested by the fertile theme of Transportation, and ranged in almost bewildering profusion around the building which bears that name. The regiment of statues on the Machinery Building, by Mr. M. A. Waagen and Mr. Robert Kraus, those on the Electricity Building, by Mr. J. A. Blankingship and Mr. Henry A. MacNeil, the statue of Franklin, by Mr. Carl Rohl-Smith, together with scores of other works of more or less importance, would, if listed, make a long catalogue of [Illustration: FEMALE FIGURE FROM W. L. DODGE’S DECORATION IN THE ADMINISTRATION BUILDING.]