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Five of the Senate chamber mural panels, designed by Violet Oakley, will
be publicly exhibited in her studio, at Cogslea, Aliens Lane, to-morrow, and
are shown in this extempore diagram of the Senate wall as Nos. 4, 6, 7, 8 and 9.
Panels 1 and 2, on the opposite wall, have not yet been begun; and panels 3
and 5 have been merely sketched. This diagram is not drawn to scale, nor as to
the actualities of the Senate rostrum wall, but gives the actual relationship of
the new decorations. Panel No. 4 is the Washington panel. No. 6 the Lincoln,
No. 7 the armies of the earth. No. 8 the slaves of the earth, and No. 9 the unity
panel, the culmination of the series.
PAINTINGS TO BE
SEEN IN EXHIBIT
{Continue*! From First l'agc.]
Sngr of ' the legislative session in
January.
The murals now ready for public
view are part of Miss Oakley's Capitol
commission, which not only includes
the nine paintings for the Senate
Chamber, but the Supreme Court
Chamber as well, which latter work
Miss Ualtley has not yet begun, though
she has roughly planned out her
scheme of treatment and sketched out
the general idea. So far as the Sen
ate Chamber goes, out of the nine
panels needed to decorate the great
green and gold chamber, there are still
tour paintings to be carried out, minor
details of the general decorative
scheme, the tive which are soon to be
put up being the most important,
since they make up the decoration on
the wall back of the President's rost
rum, where they will make a brave
display, since they are historic and
symbolic pictures of the highest order.
Noble in conception, brilliant in execu
tion, they are undoubtedly the most
extraordinary mural paintings that
have ever been designed for any pub
lie building in America, not only from
the point of view of their spiritual
intent and meaning, but from that of
the content, the pictorial design and
the working out in colors.
The General Scheme
In detail the scheme for the Sen
ate Chamber is as follows:
For the entrance wall the artist has
planned two large panels; the first,
No. 1, representing "The Protest of
the Friends Against Warfare" in the
Colonial period, the famous story of
the lifted latchkey, which gave the
Indians free access to a Quaker home
at night and so overcame their hos
tility, will figure in this historic
sketch. The second panel. No. 2,
represents "The Protest of the Friends
Against Slavery," In 1778, and will
deal pictorially with the manumission
of slaves in Pennsylvania. Neither of
these panels is yet begun. Facing
them on the rostrum wall are to be
seven superb mural paintings, five of
which are now ready and will make up
the principal decoration of the cham
ber. The unfinished ones are: No. 3,
Washington marching with his troops
through Philadelphia on the way to
Brandy wine, 1777, the troops carry
ing branches in order to hide their
lack of proper uniforms and bad con
dition. Number 4, the departure of
the troops from Harrisburg (Camp
Curtin) in 1801, which tells pictorially
of the most famous historical episode
of the war of the Rebellion. Dealing
with war as these do, they, with the
five pictures just finished, are con
ceived by Miss Oakley as part of a
great scheme of symbolism which is
a true apotheosis of peace or the
unity of the nations through their
common brotherhood and the mutual
relationships as William Penn dream
ed was possible when he sought to
free all Europe from war, or of se
curing "peace by war," since he be
lieved in other ways and methods of
reaching the end he longed for.
Consequently all the paintings in
their decorative scheme lead up to
the great central panel, No. 9, which
spans the arches of the rostrum wall
and is devoted to the idea of the su
preme manifestation of enlighten
ment in international unity, the recog
nition of the unity of the kingdom of
God and the moral and material
world through peace. This panel is
nine feet high and the figure of Unity,
a woman bending over the waters of
life, which are flowing out from the
golden throne, is the one colossal note
in the entire decoration and the point
of reference for the whole scheme.
This symbolic panel is based on this
text, which illuminates it along the
margin: "And He showed me a pure
river of water of life" (Unity) "clear
as crystal, proceeding out of the
throne, and on either side of the river
was there the tree of life and the
leaves of the tree were for the heal
ing of all nations." • • "And
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* ~~ )
Traveling Sets
GORGAS •I
X. Third St. Penna. Station I
WEDNESDAY EVENING,
the kings of the earth did bring their
glory and their honor into it."
As interpreted in design and color
you see the tremendous figure of a
woman kneeling at the loot of the
throne in the most vivid Hhade ot
ultramarine blue. The figure is ma
jestic and her uplifted hands axe
stretched out toward the groups to
the right und left, which represent
the nations and the people paying
homage and ottering up tneir tribute.
On the right the kings, in crimson and
gold and embroidered cloaks, are
noiding up their crowns, while a
Dante-like ligure ofters to the people
the Iruit of the tree of lite, who, black
and white, are represented as being
removed of ail their shackles; while a
woman in white as' Wisdom holds open
to them the book of enlightenment.
On the.other side the learned of the
earth, the scholars in their blacK
robes of the law and the professions,
the scholars in red, the surgeons,
trained nurses are all making the su
preme sacrifice to the idea of Unity;
while at the extreme left the weapons
are being visibly beaten into pruning
hooks and plowshares in a giant lorge.
Architectural details in the way oi
arches give delightful, lndetinlte, and
the crowding figures, with lifted hands
all actuated by the same impulse,
have a sort ot orchestral unison, the
whole panel being extremely dignified
and impressive and rich in gold and
contrasting colors.
Wasliington and Lincoln
This panel of Unity, while it domi
nates the scheme, will not perhaps be
as popular as the two arched panels,
numbered 4 and 6, which are im
mediately below It and to the right
and left of the President's seat In the
Senate Chamber, since these panels
deal In the case of No. 4 with Wash
ington and in the case of No. 6 with
Lincoln. Here the treatment of the
historic episode will enhance Miss
Oakley's reputation, since a liner
Washington and a nobier Lincoln
would be hard to And. The legend for
the Washington group represents the
scene when Washington said: "Let us
raise the standard to which the wise
and honest can repair. The event is
in the hand of God," at the opening
of the Constitutional Convention in
May, 1787, while the line for the Lin
coln group is from the Gettysburg
address ot November, 1863: "It is for
us, the living, rather to be dedicated
* * * to the unfinished work."
In the Lincoln group the President
is represented as standing with folded
arms, looking down from a platform
upon those who have crowded to hear
him. Except Lincoln, none of the
groups on the rostrum or on the
ground are likenesses. They are typi
cal in character and costume of the
people of the period, the most human
accent in the group aside from Lincoln
being a widow in black with her fair
haired son, while soldiers life-size, in
front, with the colors of the flag, carry
the eye by a spiral line back into the
vista of a panoramic landscape in
which troops innumerable seem to be
part. All the accessories are, how
ever, quite secondary to the slightly
bowed head of Lincoln, which is full
of humility and great sorrow, while
an expression of rupture and exalta
tion lightens those before him.
As a contrast to this solemn and
somber Lincoln panel that represent
ing Washington may be said to be
almost gay. Everything about it
breathes confidence in the future and
hope for the consummation of the
Union. At the foot of th© speaker's
stand, which details the familiar
background of the interior of Inde
pendence Hall, Franklin, in a gorge
ous bronze-green coat, James Wilson
in dull red and Madison in vivid blue
are seen seated at a table, while on
the steps in a vigorous right-to-left
swirl are Patterson, of New Jersey, in
golden buff; Hamilton, nearest to the
President, in red and the two Mor
rises, Gouverneur and Robert; while
to the left Dickinson is seated, also in
a gorgeous green coat, and Randolph
in blue, the man who didn't sign is
represented sitting with bowed head.
Washington stands with the left hand
uplifted as if he had lifted it from his
heart, and is supposed to be uttering
the sentences which rim the arch.
In these pictorial panels mural dec
oration in America reaches its high
est level, and their popularity is like
ly to be very enduring, especially when
the ingenuity with which the painter
has introduced a colored boy, a ser
vant, in a rich brown-gold suit, at the
foot of Franklin, who is there osten
sibly to hand him a pile of books, but
is really meant to indicate the fatal
element that the race brought Into our
national history. Curiously enough
having other purposes in view, there
is not a colored person In the Lincoln
panel, as a more conventional treat
ment might have suggested would in
dubitably be the case.
Armies and .Slaves
When one turns from these three to
the spandrel, the semi lunettes on
either side of the great central panel
of Unity, one comes again to the
symbolism of the painter, since No 7
is devoted to the idea of the armies
of the earth, who foolishly struggle
to secure peace through war, and the
legends that illuminate this panel are
"The kingdom of unity suffers violence
and the violent will take it by storm '
with this from Isaiah: "As a dream of
a night vision, so shall the multitude
of all nations be that fight • •
that fight against her and her mu
nitions." "They shall look upon me
whom they have pierced."
This is a gorgeous panel in color
showing the various armies of the na'
tlons, with bayonets fixed, pressing
forward, groat battleships with their
military masts, the smoke of guns and
burning places rising high in the sky
with the standards of the principal
nations adding color to the scheme
I while the leader, with rapt face In
i holding up his sword, showing that
[he has surrendered to the Idea of
unity, or of peace through other
means than war, through the supreme
manifestation of enlightenment In In-
I . ,
"The Live Store" Open Every Night Until Christmas Rj|
SANTA'S TALK
Where Is the "Christmas Store"?
Vou Can't Fool Clever
Old Santa -- ™ He's
Looking straight at you when
ff he says for mine I'll go to
"DOUTRICH'S"
IB' because IVe been there before I know the square-dealing
jjj||you get there I know I didn't always do my shopping
there —but somehow NOW I can't get used to any other
store—
WTFUW* " l r 11-
Go With me and I'll show you why—just listen to
this quiet talk. ,
In the first place the very moment you enter that store you feel at
home —and do you know they are more accommodating there, many a time I've been late and
found the salesmen going home, but they always insisted that they were not in a hurry, they'd
rather wait on me —so you see I don't want to take any chances in going anywhere else because
I get all, and more, than 1 pay for there, in the extra courteous treatment I receive.
Another thing— I forgot to tell you— if you don't want to
buy it's all the same everybody cheerful and courteous (but I must say I near
ly always buy) now you've had my honest convictions —Do you wonder why
most people go there?
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Market St. Penna.
ternatlonal matters, as Penn laid It
down.
opposite this panel and balancing
It in a reverse lunette are represented
the slaves and tollers of the earth,
with this legend: "They did set over
them taskmasters to afflict thefti with
burdens, but the more they afflicted
* •<
HAREUSBURG TELEGRAPH
them the more they multiplied and
grew." "I have surely seen the
afflictions of my people, and have
heard their cry, and I will redoem
them with an outstretched urm and
with great Judgments." While the
armies of the earth are presented as
If scaling fortification, the slaves of
the earth are represented as carry
ing up chests and burdens from the
disembarked products on the seashore.
At sea are the old-fashioned sailing
vessels, headlands in the distance and
this all treated very simply, with the
dark skins of the people, makes an
extremely agreeable panel, almost
DECEMBER 13, 1916.
Egyptian In character.
Both of these panels have a tre
mendous rhythmic pictorial effect in
a spiral treatment of the design, the
one culminating In the rush of the
soldiers and of their banners Into the
smoke that assails the sky, while In
the other the burdened slaves climb
a rocky steep and the taskmaster wltn
his whip curves it up into the skyllni
and gives the keynote of the wholi
composition. Both balance beautft
fully with the other five panels, as
the color schemes hanging togethel
and giving the central panel of Unit#
Its proper Importance
9