Kepoet of Board of G-eneeal Managees. 95 



absence of such policy or cohesion and agreement upon the part of 

 different States made it a foregone conclusion that the treatment of tlie 

 territory alloted to the States must result at the best in architectural 

 confusion. Througli the employment of the style of Italian Renais- 

 sance, it also became possible to make use of the roof as a garden, with 

 pots and shrubbery, from which a commanding view of the lake and 

 surrounding exhibition (enjoyed by none of the other buildings) could 

 be obtained. 



The area of the State building was 14,538 square feet exclusive of 

 terrace and porticos, which covered an additional area of 3,676 square 

 feet. Tlie length of the building proper was 154 feet, and, includ- 

 ing porticos, 214 feet. The depth of the main building was 89 

 feet, and, including terraces and steps, the extreme depth was 142 

 feet. The height of the building from grade to cornice was 63 feet 

 2 inches, and to the apex of the tower roofs, 96 feet. The roof, 

 consisting of two platforms surmounted by belvederes, covered an 

 area of 14,000 square feet, and was reached by an elevator from the 

 entrance hall of the building. The external aspect of the building, 

 while in the main based on the lines of the Villa Medici, varied 

 radically from it in many points. First, in the grand staircase and 

 terrace at the main approach : second, on the line of the first floor in 

 the circular porticos flanking the state apartments at east and west ; 

 third, in the detail of the building throughout, especially the frieze of 

 boys l)earing garlands, taken from the Farnesina palace, other details 

 from the Spada palace ; and again, in the roof, which, barring the 

 belvederes, was wholly flat. This roof was furnished with earthen- 

 ware jars brought over expressly from Naples and Perugia. These 

 jars weighed from 60 to 600 pounds each, and are identical with 

 those used on every Italian villa and many of the palaces from Genoa 

 to Naples. The importation of these great flower pots was the first 

 considerable one ever made to this country and formed one of the 

 greatest embellishments of the building, and they were immediately 

 copied by the main exhibition in staff, as the chief adornment of the 

 terrace balustrade in the Court of Honor. 



In the modeling of the details of the external ornamentation of the 

 building, the best museum examples were carefully followed so as to 

 secure correct style. At the main entrance were four Eoman candel- 

 abra reproductions from the museum at Naples, and from the Barberini 

 palace in Rome were taken two designs in antique sculpture from 



