THE SMITHSONIAN INSTITUTION 
approved, and the formal laying of the cornerstone took 
place in the fall of 1916. 
It was expected that approximately two years would 
be required for the completion of the building, but shortly 
after work was started, America entered the World War, 
and progress thereafter was necessarily slow. In fact, the 
building was not entirely completed and ready to receive 
the collections, by this time numbering well over 6,000 
objects, from the executors of the Freer estate, until late 
in 1920, four years after the laying of the cornerstone. 
The building which Mr. Freer provided to perma¬ 
nently house his art treasures is an architectural master¬ 
piece. Constructed of pink granite in the style of the 
Florentine Renaissance, the exterior is both dignified and 
pleasing. Measuring 228 feet in frontage by 185 feet 
in depth, it is of modest dimensions though imposing 
through its simple dignity. Its single main story consists 
of a number of individual interconnecting galleries of 
various sizes, surrounding an open central court approxi¬ 
mately 65 feet square. This court is one of the beautiful 
features of the building. It is entirely open to the sky 
and faced on all sides by covered corridors. The court 
itself is laid out with walks, gardens, and fountains, and 
for a time a number of live peacocks lent a touch of 
exotic beauty. 
The galleries themselves are arranged with the greatest 
care so as to secure the best possible lighting, background, 
and general effect. Each artist represented is given, where 
practicable, an individual gallery, in order that his work 
may be considered as a whole rather than in part. The 
basement contains the administrative offices of the staff, 
carefully designed studios, an auditorium for lectures, and 
storage rooms. 
In 1919, with the building drawing on toward comple¬ 
tion, Mr. Freer was taken ill, and his death came on 
September 25, 1919. Regarding this sad event, Doctor 
Holmes, Director of the National Gallery, wrote: 
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