House and Garden 
panels, one figure. The groups and 
single figures each are complete and fit 
in their panels ; together they form a 
complete composition that does not in¬ 
terfere with and is not disturbed by the 
division of the window by the mullions. 
The window by Kenyon Cox is 
divided by one mullion. Each space 
contains a figure; but the mullion 
cuts through the clouds and the trees 
and the figures. It seems a picture 
accidentally seen through a window, 
and one is tempted to peer around 
the mullion, to see, if he can, the 
parts that are hidden by it. It does 
not fit the place ; and that it is other¬ 
wise a very good picture, makes it 
more regrettable that the first element 
of decorative composition should 
have been neglected. The design by 
Bryson Burroughs, for the Newark 
High School, is for a window whose 
awkward shape, a long rectangle 
flanked by two high rectangles, makes 
a related composition difficult, and 
the division into three parts has been 
frankly accepted. The central rec¬ 
tangle is occupied by a group of In¬ 
dians, and the others by independent 
minor groups, all boldly treated. 
The window for the Chicago Uni¬ 
versity by E. P. Sperry is an elaborate 
composition which, except for the 
same neglect of the divisions as in Mr. 
Cox’s window, is very well handled. 
Besides these, there are excellent car¬ 
toons and color designs for windows 
hy Maitland and Helen Armstrong, 
F. S. Lamb and Joseph Lauber. 
Among the paintings that are 
rather pictures than decorations, is 
one by Benson, of a peacock and two 
figures, on which the coloration of the 
peacock controls the tones of the entire 
picture. There are two striking panels by F. 
D. Marsh, “Bridge Building” and “The 
Span of Steel,” ironworkers massed in nearly 
symmetrical groups on beams silhouetted 
against an angry sky, giving a feeling of 
great height and space. In the decorative 
paintings, properly so called, there is a pre¬ 
dilection for gay and playful groups and 
coloring that is more akin to the spirit of 
Watteau than that which produces elaborate 
allegorical compositions. There are some 
lunettes by Walter Shirlaw that are somber 
in tone and line, and two paintings for the 
Senate Chamber at Trenton, by W. B. Van 
Ingen, in a severe academic style; but the 
greater number of the exhibits in this section 
are more unrestrained, such as, for in¬ 
stance, the sketches for theatre decorations by 
