tself as well as of its ornamentation. This
principle applied with rare talent to the covering of the two domes of
the palaces has given a very curious and interesting result. This
covering is composed of enamelled tiles of more than 600 varieties which
are not superposed one upon another, but butt together side by side, and
form a mosaic rather than a covering of tiles. Each dome contains about
50,000 pieces arranged in ninety rows and twelve divisions. The general
tone is blue. The principal ornamental motive consists of a cartouche
which bears in the centre two large letters "R.F." in gold. The
cartouche stands out on a background of cream-white, bordered with a
meander. The effect is very brilliant and chatoyant. At the base of each
dome twenty-four vases in pottery, three metres high, are arranged on
the consoles of the attic which supports the roof, and in which are
pierced bull's-eyes decorated in tones of blue and natural terra-cotta.
The domes of the pavilions at the angle of the palace on the side of the
Seine are in the same way covered with enamelled porcelain tiles. This
is a new product invented by M. Parvillee and has a great decorative
richness. Above each bay of the two palaces is repeated a terra-cotta
frieze two metres high, which bears children holding cartouches and
standing out from a golden background. Pillars between the bays are
encased in terra-cotta fluted panels with interlacements of laurel and
oak leaves. The ironwork of these pillars is exposed and encloses the
terra-cotta work like a Spanish net, with very original effect and very
interesting constructive frankness. Finally, the balustrade crowning
each palace is also of terra-cotta, and is formed of small pilasters and
between them is repeated a _motif_ of bucklers bearing lions' heads. The
balustrade is composed of 7,500 pieces and weighs 450,000 kilogrammes,
and covers a space of 2,000 square metres.

Independently of the exhibit indicated by its name and character, the
Palace of the Liberal Arts encloses one of the great curiosities of the
Exhibition of '89; that is the "retrospective history of labor and
anthropologic science." "The aim of this exhibit," said M. Jules Simon,
in a report which he made as the president of the Superior Commission,
June 15, 1888, "is to instruct the public in the history of the
processes of manual and mechanical labor, which in the passage of
centuries have resulted in the modern industrial utensils used