panels in these doors, representing "History" and "Ethnology," are the work of R. Hinton Perry.*

On the south of the building, alongside of the marble steps leading to the lower path, were, during the exposition, Andersen's equestrian groups called "Progress." The broad marble stairs, 40 feet in width, between two flanking pedestals, lead up to the southern portico, 61 by 17 feet, embellished by 10 Greek Doric columns. The stairs are one inch higher in the middle than at the sides, giving what the Greeks used so much, curved instead of straight lines.

The columns are the same proportion as those of the Parthenon, and are made in three blocks of solid marble, about three feet six inches in diameter at the base.

In the center, at the foot of these stairs and the terrace landing, during the exposition, was Elwell's statue "Intelligence," a female figure sitting on a throne. A ball in the left hand represented the divine and perfect law out of which crude man came. In order to receive this perfect divine law of intelligence, man must crucify himself, therefore the crucifix. An open book on the lap of the statue represents natural intelligence among men. The feet of the goddess In

*These beautiful bronze doors, one of the most notable features of the building, merit a further word. The subjects and style of execution were long under consideration by President Langdon, and the leading sculptors of America were consulted. The design was made by J. Woodley Gosling, designer for the Henry Bonnard Bronze Company of New York, who worked it out from the sketches and suggestions by Mr. Langdon. The sculptor was R. Hinton Perry and the plaster cast was made by Ellison, Kitson & Co. of New York. The bronze was cast by the Henry Bonnard Bronze Company and, including the transom, weighs 3,900 pounds. The work is twelve feet six inches high and six feet three inches wide. Each door, or gate, weighs 1,200 pounds. The panel of the right-hand gate is decorated with a female figure emblematic of Ethnology. In her hands are gracefully held a skull and Indian implements of peace and warfare. The opposite panel contains a female figure representing History. One hand has pushed back a veil and shades her eyes while she peers into the future. A lamp in her right hand is emblematic also of History's searching into the dark places of the past for knowledge. The figures are beautifully molded and constitute the chief charm of the work. Beneath each figure is the inscription: "These Gates the Gift of Andrew Langdon to the Buffalo Historical Society. A. D., M. C. M." Above the doors, in a bronze transom of classic Greek design, is set the seal of the society. It is supported on one side by a reclining figure emblematic of Science, and on the other by a similar figure, carrying a palette and brush, representing Art. Science bears a globe in her hand. The work as a whole is of a high order of merit.

telligence rest on a stool with swine's feet, representing the lowest form of natural intelligence.*

The building is located on sloping land on the axis of a semi-circle, in the northwest corner of the park, adjacent to Elmwood Avenue, and is best seen from the park bridge. Advantage is taken of the sloping ground to make a bicycle entrance to the basement, under the portico stair, at grade level. There are likewise entrances at ground level from the eastern and western terraces directly into the basement statuary hall, while to the north the entrance is up a flight of steps to the first floor, leading into the lobby which gives access to what was used, during the exposition, as the Governor's room at the east end; a committee-room at the west end, to cloak-rooms or offices and toilet-rooms to the north; as well as entrances to all other rooms to the south.†

Back or south of the lobby, or between the audience hall to the west, and the library to the east, is the grand hall, opening out on the southern porch. The hall of statues is under this, and the dining-room is under the library. The rooms of the first floor are 15 feet high, and the audience hall seats 250 persons.

The grand hall has a black marble floor, wainscoting, columns and door trim of the same material, and the decoration for the exposition period was gold and royal purple. It is the largest room in the building, opening up into the upper floor.

The second floor runs up into the roof, making the rooms 18 feet high. It is entirely lighted by skylights and is intended to be used for museum purposes, such as the Cluny Museum in Paris.

On the landing at the head of the stairs the circuit of the

*This and other perishable figures that adorned the exterior of the building during the summer of 1901, emphasized the architectural beauty of the structure, and suggested the great desirability of statues of suitable subjects, as permanent adjuncts.

† On taking possession of the building at the close of the exposition, the Historical Society removed the northern partition of the lobby, on either side of the north entrance, thus adapting the building better to its own purposes. For this feature of the interior as it stands, therefore, the architect is obviously not responsible.

five museum rooms may be made without retracing one's steps.

The smaller rooms are proposed to be called the Lincoln and Washington rooms, and the long room between is arranged for bronzes, statuary, etc., seen from all parts of the museum floor. These upper rooms have Tennessee marble floor, pedestals, etc., and green side walls.*

There are spandrels, lunettes, and panels waiting to be painted or decorated through the generosity of our citizens. The architect has given the canvas found over the central lunette. It was painted by Tabor Sears. The vertical radius is emphasized by a principal figure, “The Muse of Niagara,” typifying in a single figure the artistic expression of the various forms of literary, musical, or artistic work, which the inspiration of Niagara has prompted, or may suggest for the future. This is significant, inasmuch as the falls have been painted, and praised in literature, and so long as the falls are impressive and magnificent they will be a subject for future production. The genii at each side represent, first, the irrigation of the earth, in the form of a child with the waterhorn; second, the consequent fruition of the earth, represented by a child weaving a fruit garland. The background is the Niagara Falls, and the primeval shore.

The outside pediment to the south is void of statuary, waiting for a donation, and the exterior blocks of solid marble over the window openings are ready to be carved at some future date. Bear in mind that the Parthenon, which was finished 2500 years since, or 436 B. C., cost $3,000,000 and was made beautiful and historic through its statuary and friezes. Lord Elgin carried away 200 feet of the frieze, the statues of the Parthenon, and everything he could lay his hands on. These marbles are now to be seen in the British

Museum.

The Historical Society building is absolutely fire-proof, built at a cost of $175,000, including everything as it stands.

*The building has been redecorated since the Historical Society took possession. The grand hall is finished in olive greens and gold, the lecture hall in cream and ivory tints, the library and dining room in yellow and brown ochre, and the museum and art gallery rooms on the second floor in greens.