r north side, of Memorial Hall, and is
the first portion of the fine-art department that meets the eye of
one coming from Horticultural Hall. It is of comparatively temporary
character, being built of brick instead of the solid granite that
composes the pile in front of it. Its architectural pretensions are of
course inferior. It is the youngest of all the exposition buildings,
the present spring witnessing its commencement and completion. The
drying of such green walls in such manner as to render them safe for
valuable pictures has been compassed by the use of "asbestos" brick,
which is said to be fire- as well as water-proof. Failure in this
regard would be of the less moment, inasmuch as a great proportion
of the contents will be drawings and engravings. In interior plan the
extension will closely imitate the main building.

Memorial Hall, as its name implies, contemplates indefinite
durability. What Virginia and Massachusetts granite, in alliance with
Pennsylvania iron, on a basis of a million and a half of dollars,
can effect in that direction, seems to have been done. The facade,
designed by Mr. Schwarzmann, is in ultra-Renaissance; the arch and
balustrade and open arcade quite overpowering pillar and pediment. The
square central tower, or what under a circular dome would be the
drum, is quite in harmony with the main front so tar as proportion
and outline are concerned; but there is too much blank surface on
the sides to match the more "noisy" details below it. This apart, the
unity of the building is very striking. That its object, of supplying
the best light for pictures and statuary, is not lost sight of, is
evidenced by the fact that three-fourths of the interior space is
lighted from above, and the residue has an ample supply from lofty
windows. The figures of America, Art, Science, etc. which stud the
dome and parapet were built on the spot, and will do very well for the
present. The eagles are too large in proportion, and could easily fly
away with the allegorical damsels at their side.

The eight arched windows of the corner towers, twelve and a half by
thirty-four feet, are utilized for art-display. Munich fills two with
stained glass: England also claims a place in them. The iron doors of
the front are inlaid with bronze panels bearing the insignia of the
States; the artist prudently limiting himself to that modest range of
subjects in recognition of the impossibility of eclipsing Ghiberti
at six mont