Jan., 1919. Annual Report of the Director. 293 



been so apt and their display so nice that no discussion need be entered 

 into to add to their clarity. 



The subtlety of so large a group fairly escapes expression in words. 

 A broad balance has been obtained for the whole by reversing the poses 

 of the two end figures and the similarity in the poses of the four centre- 

 most figures. The light and shade have been studied for their effect in 

 diffused light, and calculation had to be made for the position sixty-five 

 feet above the spectator. In the placing of the figures in relation to the 

 surrounding space, as in fact throughout most of the architecture of the 

 building, the Greek rhythm of 1 '.2 has been observed. 



While in the sculptor's treatment of the group there is this rhythm, 

 this subtle balance and calculation of light and shade, there is withal a 

 very correct uniformity. The decoration about the heads has a certain 

 general similarity in its suggestion of a nimbus, but how infinitely varied 

 in its detail and individual in its application! In all the figures the law of 

 f rontality is strictly observed ; a knee may be bent or the head inclined, 

 but the frontal line remains straight. The dress, although partaking more 

 of the quality of costume than of drapery, shows in its treatment a 

 reasoned use of the latter tendency with the Dorian chiton as a point of 

 departure. The architectonic quality is also observable here in the 

 insistent verticals of the folds with their suggested evolution from a 

 columnar form. The details of costume are infinitely varied, and upon 

 repeated examination the figures reveal great fertility of invention and 

 richness of detail. 



Much of the finest characterization has been reserved for the heads, in 

 which the varied treatment of the eyes and mouth, the most expressive 

 parts of the face, epitomizes the calmness or passion, the mysticism or 

 nobility associated with each generality which the marble strives to 

 present. The sculpturesque form in which the hair is cast in the figures of 

 the "Four Points of the Compass" is particularly fine, and this interest- 

 ing conventionality serves to give strength to the neck, a point which may 

 also be remarked with reference to the caryatid figures. 



The four interior figures are placed in the great central hall of the 

 museum. This immense room, three hundred feet long and lighted from 

 above, is entered from either end through a large arch. Each of the 

 arches is flanked by tall engaged columns, with entablature decoratively 

 used, and upon each stands a symbolic figure. The symbolism of these 

 figures makes a subjective application of the building's use and suggests 

 the various activities whose inspiration will lie within its walls; Natural 

 Science and the Dissemination of Knowledge flanking one archway, 

 Record and Research the other. 



These figures appear first at a great distance and are placed where 



