OUR NATION'S VALHALLA.
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��the cupola above the fine dome paint- ed in caissons, or panels, with long, leaf patterns between in imitation of the Pantheon at Rome. Above the south corridor, where once was the Speaker's chair, in the tympanum of an arch sweeping from east to west is a colossal plaster of the Goddess of Liberty modeled to be executed in marble by Causici, a pupil of Canova, in 1829, an eagle at her right hand and the frustrum of a column on the left, and entwined about it several times, the head toward the west, is the serpent — emblem of wisdom. Below on the entablature is an eagle with outspread wings.
Over the north entrance is an exquis- ite marble design and work by Cha's Franzoni, in 1S30, at a cost of $16,000.
The lovely Muse of History, a slight graceful figure, stands in the winged car of Time [his skeleton form with extended wings and scythe, at the prow in relief — the lamina of seven yards long feathers visible in front] that rests in its course over the globe, on which are carved the signs of the Zodiac, the wheel of the car forming the face of the clock. Her head is held one side in 'istening attitude as she looks on the proceedings beneath, one foot is on the deck to raise the knee to sup- port the large volume, the right hand yet in suspense what record to make on the waiting page. The fair face was dusty from travel, the hair in puffs of curls on each side braided, and the back hair in the Grecian coil, the drap- ery blown by the wind floating behind from the fair arms, the robe looped 0:1 top of the shoulder and girdled in at the waist.
The House of Representatives occu- pied this beautiful hall 32 years.
In the early days of the Rebellion soldiers were quartered here, and the readers of the Atlantic Monthly will remember Theodore Winthrop's narra- tive of its occupancy by the 7th New York Regiment. Then it was baptized and forever consecrated by use as a hospital for the wounded and sick sol- diery.
��At the suggestion of Hon. Justin S. Morrill, of Vermont, then in the House, a paragraph in an appropriation bill — a "rider," but an honest, honorable "rid- er" — no political sneak — culminated July 2, 1864, in the appropriation of the Hall to its present use, each state being invited to send two statues, eith- er in marble or bronze. Rhode Island was first to act, New York and Massachusetts closely followed, and other states have taken prelim- inary action. In this year of grace, 1880, May, the Hall contains fourteen statues, three of bronze, the others in marble ; and the plaster copy of Vir- ginia's Washington. There are six or eight oil portraits on the walls, that of Lincoln in gold mosaic sent from Ven- ice. On the west side of the south corridor is Mrs. Ames' bust of Lincoln, on the east that of Pulaski, the Polish patriot, and of Crawford, the sculptor.
There are several curious echoes to which the attention of visitors is often called, that the lover of art could wish elsewhere.
Massachusetts occupies the first place on each side of the entrance from the rotunda. On the right is the beautiful statue familiar to visitors at Mt. Auburn, of her first Governor John Winthrop "landing with the charter 1630" as in- serted on the east side, the name of the state on the west, and "John Win- throp " on the panel of the swelled front of the highly polished base. The well- poised, youthful figure — Hope look- ing afar — the right foot on shore, the left yet on the landing plank, the ship's cable coiled around a tree-trunk on the right, seems caught in the very act of walking exactly rendered.
The left hand [the arm covered by an outer round thick collared cloak falling behind] clasps a Bible to his heart, the right falls carelessly to the side holding a long thin roll and a riund engraved and rather embossed disk, the charter and seal of the Colony.
The face is beautiful, serene, illum- inated, the brow broad, the lower face narrow, the eyes full and remarkably expressive, Roman nose, lips clean, but
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