THE WOMANS BUILDING
                                        AND
                     WHAT IS TO BE SEEN IN IT.
   The Woman’s Building in style is of the Italian Renaissance; its fine proportions, scholarly composition, and practical detail is the result of the young architect, Miss Sophia B. Hayden, who won the first prize put in competition for this work. The finishing touches which add beauty and grace to the building are the caryatides of Miss Yandell and the pediments and groups of Miss Alice Rideout.
   The purpose of this leaflet is to help the public to see, know, and comprehend what the women of the world have placed here as their tribute toward the ro.unded completion of the greatest exposition the world has yet seen.
   In entering the building at the south door the department is reached first where many of the foreign countries have installed their exhibits. In the southeast corner is Germany. Here the Princess Frederick Carl of Prussia and the wives and daughters of Germany have honored their invitation to join with the women of the world in this Columbian World’s Fair by showing their strength, intelligence, and skill in science, art, education, and industry. Fifty pictures and as many fans— most of which have been awarded prizes— found in the rotunda speak to us of her women artists; five hundred books (now in the library), a gift to our library, tell us of her authors. Women’s associations under the protectorate of two grand duchesses; the Lette and Pestalozzi; Froebel Verein from Berlin, under the high protectorate ofthe Empress Frederick; various works of charity; the popular kitchen and household schools of Mrs. Morgenstern; kindergartens and schools too numerous to mention, with that of the lace industry, have added their best to this exhibit.
                                  CEYLON.
    Little Ceylon comes next, with its exquisitely carved pillars of ebony and teak wood, its aromatic tea, and interesting, intelligent small women.
                                   SPAIN.
    Spain is near neighbor, her exhibit attractively displayed in a Moorish pavilion. Here can be seen the sword of Her Majesty Queen Isabella of Spain, together with portraits of Isabella and jewels which belonged to her.
    There are pictures of royalty wrought in hand embroidery so finely executed that a magnifying glass is required to trace the stitches.
                           NORWAY AND SWEDEN
Come forward with their display of chased copper utensils, glass etchings and designs, chased silver cups, lace-work, embossed leather, book and portfolio covers, a history and biography of women artists and musicians, and works of women composers. 
    Wonderful skill is represented in the exhibit made by Mrs. Lea Ahlborn of Stockholm in the art of numismatics. Her engraved medals and bronze reliefs are worthy of careful study.
                             JAPAN AND SIAM.
    Japan and Siam have brought their quota, in vases, screens, silver articles, gold lace garments, and educational text-books in Siamese.
                                   ITALY.
    Sunny Italy chose the industry by virtue of her climate— hers to demonstrate the evolution of womankind — the text-ile art. The women of Italy did not appeal to their sovereign in vain. Her Majesty Queen Margherita contributed the world-renowned laces of the House of Savoy, which have never before left Italy, and also a portrait of herself, in token of her interest and favor in this undertaking. Herein can be seen samples of this industry from before the Christian era to the nineteenth century.
    All interested in this study can find in “A Guide to Old and New Lace in Italy,” by Countess Cora A. Slocomb di Brazza, a full and complete history of lace-making.
                                 FRANCE.
    France, always responsive, always beautiful in her representations, is not disappointing in the Woman’s Building. There are exquisite paintings in porcelain, French wax dolls showing styles in dress for centuries, fabrics, etc.
    Her contributions to the record rooms of statistics covering hygienic, social, industrial, and cooperative associations, religious organizations, and woman’s work testify to the interest taken by the women of France in the step forward in this nineteenth century of the women of the world.
    In the north end of the building is the English exhibit. Here is found beautiful paintings, embroideries, laces, carvings, illuminating brass-work, leather and enameled work, modeling, marquetry, mosaics, etchings, and fashion plates, patented inventions, and repouss6 work.
    A hat platted by Queen Victoria’s deft fingers; the needlework of the London school-girls; art needle-work ; the English nursing-school in the upper gallery is of great interest. A model of a proposed leper colony for Siberian lepers, from Kate Marsden, with curios of her 7,000-mile journey through Siberia, can be found in the south end of the building. The magnificent exhibit of books can be found in the Woman’s Library.
    Russia shows an exhibit of woman’s work from herImperial Highness the Grand Duchess Elizabeth Feodorowna, from the city and government of Moscow.
    New South Wales, snugly tucked in between Russia and Great Britain, brings her gift from the taxidermist, her wares from the ceramic artist, her products of the forest and jungles in rugs and mats of skins and fur. There are, also, laces and embroideries, sculpture and paintings deserving notice.
    In the department of applied arts we call attention to a case in the ceramic space wherein is exhibited the old-gold Chinese enamel, under the name of chryso-ceramic — an art that has been lost for centuries, and which has been rediscovered by the Healy sisters of Washington, D. C., after years of incessant toil and experiment. The Woman’s Building is honored by having the first opportunity to bring this lost art before the public in an exposition.
    In a case adjoining is an exhibit showing the jewel china decoration of Anna S. Dodge of Milwaukee, delicate, chaste, and beautiful in every detail.
    Mrs. M. J. Sherrett of Washington, D. C., has also an exhibit in this department which lovers of artistic china decoration will do well to study.
    Mrs. S. S. Frackelton of Milwaukee, who has given many years to study and experiment in ceramic art, has honored women by the fruit of her labor, which is on exhibition here. Particular attention is called to an example made of common stone-ware, salt-glaze, decoration of olive branches .and fruit, the only piece, as far as we know, purchased by the Philadelphia Art Museum. Mrs. Frackelton is also the inventor of an electric kiln for firing china, which is on exhibition in the process room.
    The Misses E. H. Heath & Co. of Buffalo, N. Y., have a wondrously beautiful exhibit of flowers made of paper, lampshades, bon-bon boxes, bouquets and wreaths for table or room decoration. No better opportunity could be offered forstudents of decorative art than is given in this department Here are found the best specimens in the art from the New York Associated Artists, from the Decorative Art Society of Baltimore, and the Decorative Art Society of New York.
    In the double-story arcade of the rotunda are found the mural paintings of Mrs. MacMonnies and Miss Cassatt for the tympana at the ends of the main gallery. These panels are fourteen feet high and fifty-eight feet long.
    On the main floor can be seen the marbles of Miss Blanche Nevins, of Maud Muller, Vinnie Ream Hoxie’s “Miriam,” “The West,” and “America,” Adelaide John-sen’s “ Susan B. Anthony,” “ Elizabeth Cady Stanton,” “ Lu-cretia Mott,” and “ Dr. Winslow.” Bernhardt’s (Mme. Sarah) marbles, busts, and bas-reliefs are worthy of attention, and many other marbles referred to in the catalogue.
    Of the statuary, the large bronze figure of Lief Ericssen> the Northman who discovered America in the year iooo, by Miss Anna Whitney, notably deserves attention. It is found in the west entrance.
    The exhibit of paintings, many of them, in this hall is interesting in the highest degree. One of Marie Bashkirt-seff, two boys,“Jean and Jacques,” which is mentioned in her journal, and is one of the paintings upon which her fame rests.
    Throughout the entire building the exhibit of needlework, lace-work, embroidery, and artistic decorations can not be too highly commended.
    And not the least interesting feature is the thoroughly artistic presentation of these exhibits. No unprejudiced eye can but discover the superiority manifested in many lines of work here represented.
    Particular attention is called to an exhibit of silk designed by Mrs. Candace Wheeler. The lesson of this exhibit, as well as many others, is not a handsome display of silk that can be found in any store, but that the designs were from awoman’s brain, that she receives her royalty on such designs for every yard of silk manufactured, and that here is an industry open to women. Many a mother will say, “ My daughter shall go to the school of applied arts. She too shall become a master in this industry.” It is through these silent forces, that are pointing the way to a higher plane attainable to women, that the fruit of this great Exposition is to be gathered.
    The ethnological room, leading off from the eastern entrance, is full of interest to the student.
    The Smithsonian loan exhibit of the work of women in savagery is the first exhibit any government ever made of women’s work alone. To Prof. J. Browne Goode and to Prof. Otis T. Mason do the women of the world owe a debt of gratitude for their perseverance in carrying through this project, which required the overriding of many difficulties.
    A careful study of this exhibit will reveal the history and the beginning of many of the industries of the world.
    The earliest form of looms and weaving, specimens of the first knives known, the primitive dressing of skins and hides, the aboriginal pottery, tells its story of who were the first weavers, spinners, cutlers, tanners, potters, and other various industries that space will not allow carrying out, and tells its own story why the Government of the United States placed this exhibit in the Woman’s Building, to give emphasis to the onward march of human industries, and to indicate the starting point from whence has come the vital force of evolution.
    Attention is specially called to the bark or tapa cloth. On this cloth can be read the legend of printing and lithography. Silently the breath of these two arts swept over the world from these fore-women, until the vibrations in the air struck the ears of a Dufray or a Senefelder; to-day these two arts are in their exultant glory, and the women have come forward to claim their share in the birthright.    In the case of exquisitely wrought basketry can be read the beginning of the science of forms in space; every geometrical figure known has been wrought out by these women, and this weaving could be multiplied a thousand times without finding a basket duplicated.
    The collection of ancient and modern laces in this room of Mr. Thomas Wilson, of the Smithsonian Museum, shows specimens of rare value, reaching back to prehistoric times, from savage tribes, and the finest and best of modem laces. We call especial attention to this exhibit to those studying the history of lace-making. A casual observer might pass this exhibit by with a glance, but every student will appreciate what Mr. Wilson did for the Woman’s Building when he sent his collection, which has been to him the work and research of years.
    The ethnological exhibits on the east side of the room, from the women of South America and from Alaska (Mrs. Delany’s collection), are full of interest. The loan to this collection from Mr. Ed. E. Ayer of Chicago is of the rarest excellence.
    In this room is also found the intensely interesting exhibit of Mrs. M. French-Sheldon of African trophies gathered during her sojourn and travels through East Africa.
    No one can give careful attention and study to the exhibits in this room without seeing that both men and women have given careful thought toward honoring women by bringing forward the thought and work of early ages that has gone on and multiplied into the magnificent fruitage of the day. And to them is praise and honor due for having so notably assisted in making the Woman’s Building the exponent of woman’s industries. The only thing to be regretted is that many go through the building without gaining a hint from the lessons here given out.
    The attention of the public is especially called to a part of the Woman’s ethnological exhibit which on account ofspace will be found in the Government Building1, consisting of several cases of women represented by lay figures in the various industries in which they began the world’s work. The first spinning, weaving, pottery-making, basketry, etc., here exemplified and in rounded completeness finishes the first exhibit ever offered to women by any government.
    The patent room joins the ethnological room. One thing the Commissioner of Patents failed to do was to carry out the resolution passed by Congress, that an exhibit be made from the Patent Office of models showing woman’s work in invention.
    An opportunity was missed by this Government of making an exhibit never undertaken by any government, which in itself would have been unique, instructive, and a compliment to the educational exhibit of the Smithsonian Institution, showing the evolution of woman’s inventive genius. The four thousand models in the Patent Office from women inventors show that women have walked in thought side by side with men; not only since this Government protected priority in thought and put its stamp upon it, but since the morning stars sang together, women have thought, worked, and waited for this day. They have had to rely upon their own exertions to bring an exhibit together of woman’s patents, and it is by individual enterprise alone that the Board of Lady Managers has been enabled to make the fair showing that is on exhibition in this room.
    The scientific department shows that women have made long strides in their research in the sciences.
    Mineralogy, botany, geology, and zoblogy have unlocked their secrets to these students, and new fields for work have broadened.
    Mrs. A. D. Davidson has an extraordinary collection of fossils and minerals, to which special attention is called.
                           THE WOMAN’S LIBRARY.
When the Woman’s Building had so far advanced inmaterialization that practical suggestions were in order for putting it into the best organized condition, New York, California, Connecticut, Kentucky, North Carolina, Ohio, and Alabama came forward, each selecting their own rooms for furnishing and decoration.
   New York assumed the responsibility of the Woman’s Library. Not only did she do the State and women credit by its superb and artistic decoration, but also added to the literary exhibit, as nearly as possible, a complete historic and chronological record of the work of women of the State.
   As New York has issued a pamphlet detailing this work, it will be omitted in this leaflet, although a sketch of the decoration of the room is most properly inserted.
      CEILING OF LIBRARY OF WOMAN’S BUILDING, PAINTED BY DORA WHEELER KEITH, NEW YORK.
   This ceiling recalls that of some old Venetian palace in richness of coloring and style of composition, although the subject belongs to and is kept strictly in its place as a part of a great public library. It is composed of five large ovals, or medallions, holding groups or single figures, the spaces between being filled with connecting design, or bands of gilded ornament.
   The central oval is surrounded by white lilies bound into a sheaf-like border — leaves and flowers crowded together by crossing bands of ribbons. This flower border incloses a group of figures representing Literature, Science, and Imagination.
   Literature is a lovely seated figure of a woman. Science, also a seated figure, is impersonated as a man in a scholar’s gown, while Imagination, an angelic creature, with widespread wings, stands back and between the two, but nearest Literature, as if influencing and claiming kindred with her.
Behind the group stretches an idyllic landscape, blue with sapphire blues, and green with emerald and chrysoprases—greens and blues which melt into each other like the lights and shadows of great depths of water.
    In this grouping of Literature, Science, and Imagination one seems to see the true impersonation and relations of each. Literature, a noble and dignified woman; Science, a man strong with knowledge and truth; while beautiful Imagination spreads her wide wings in attendance and does not fly, but remains a part and power with them.
    Between this central oval with its rim of lilies and the Venetian border which incloses the square of the ceiling are painted long loops and folds of drapery, changing from blue to green, and carrying out the tints of sky and landscape. These draperies are held by winged babies and garlands of water lilies, and inclose, at the four corners, medallions representing the different functions and parts of Literature.
    History, Romance, Poetry, and the Drama take their places in these medallions in characteristic significance, and in subject and color harmonious with the whole. The Venetian border which incloses the composition, full of curves and semi-curves of ornament, ending in heads and tipped with wings of cherubs or of griffin, is painted upon an underground of gold, which glints here and there through the changes of tint and gives a wonderful irradiation of color and strength to the general effect of the ceiling.
    The wall which skirts the ceiling carries a beautiful frieze of modeled plaster, colored like the wall in water greens, but touched in with gold in all projections of ornament.
    The bookcases are surmounted with a continuous wide and dark oak paneling, carved with the utmost grace and delicacy, a paneling dating from the sixteenth century. The panels are carried out by the lines of the bookcases, and the furniture has been designed upon the same models.
    The large group of windows on the west of the room aresimply leaded glass, with medallions holding the arms of the United States.
    The color of the room is its crowning charm, being a subtle play of water-tints, greens, green-browns, blue-greens, and brown-blues intermingling as they do in nature, and with the same quiet restfulness of effect, not a spark of color which is not softened by association or heightened by contrast with some relative tint, and assisting in a harmony not often found in even the most studied interior.
    In addition to the 2,500 volumes donated by the women of New York, the number now in the library is seven thousand odd, and accessions are being made daily.
    Twenty-three countries and nineteen languages are now represented, not counting curios and polyglots. All the States save nine have sent in contributions.
    New York has not been behindhand in responding to the noblesse oblige of her title, the Empire State, and by taking this most glorious work upon her shoulders has, by her enthusiasm and her unflagging zeal and generosity, given much to the inspiration that has made this Woman’s Library a surprise to those who projected it.
    A relative order is enforced, so that when Alabama has taken up her position at one end of the line we shall be sure to find Wisconsin bringing up the rear, and so little Bohemia with her noble 307 volumes shall touch elbow with France, the next in alphabetical order of the foreign countries.
    We still say let each State and country swell its numbers, till metes and bounds are far out-passed. The more overflowing, the more rejoicing among the Board of Lady Managers, who are looking forward to a well-ordered representative collection of women’s books as a memorial to the efforts of the women of ’93.
    The arrangement of the catalogue will be classified, showing at a glance on what subjects women have been most prolific as writers.    An index of authors will refer to the pages on which each author’s works appear, and also, as far as possible, will give certain distinctive details of each author’s literary life. The value of such a catalogue prepared for such a representative collection will be a permanent one, and should make it worth placing on the shelves of every library in the country as a bibliography of women's writings.
    This work has been placed in the hands of Miss Edith E. Clarke and her able assistants, who have already four thousand odd in the card catalogue complete ready for use.
    The arrangement strictly by States and countries on the shelves show very plainly what each country and State has contributed to literature.
    Of all these sections New York easily leads with her 2,500 volumes. New Jersey and Pennsylvania lead the other States in a neck-and-neck race with 350 to 400 volumes. Little District of Columbia proves her compactness with richness of intellect by a plump 100 volumes, and the works of writers on the press, as represented by the Woman’s National Press Association and individuals, carried out in folio form; while haughty and intellectual Massachusetts has so carefully weeded out the tares that, perhaps, much of the wheat went also, leaving only 100 choice works in aristocratic loneliness.
    In this cosmopolitan collection we have 200 volumes from Sweden, 300 from Norway, 500 from Great Britain, 800 from France, 500 from Germany, 130 from Italy, and 50 from Japan.
Connecticut, with her collection of books, has furnished an exhibit of the various translations, forty-two in all, of Uncle Tom’s Cabin, by Harriet Beecher Stowe. A bust of her, also, by Annie Whitney of Boston, which occupies a place on the cabinet containing her books. There is also in the Connecticut collection a book of compositions compiled in the Seminary of Catherine Beecher, in which are found thefirst school-girl compositions of Harriet Beecher Stowe and Fanny Fern, written in 1816.
    There are pages of autograph manuscript from English, American, and Swedish authors; among them an autograph letter of Queen Victoria.
    The “ Hiawatha ” statuette by Miss Edmena Lewis, the only colored sculptor among women, is a feature of this collection.
    There is also a chaste and beautifully executed bust of Lucy Stone, by Annie Whitney, which adorns the shelves of the New York exhibit.
    Two winged standards at either end of the room contain pictures and autograph letters of the celebrated queens and literary celebrities of the world. This almost priceless exhibit was loaned by Mr. and Mrs. John Boyd Thacher of New York; it is one of the greatest of the many attractions of the library.
    In the two rooms adjoining the library are the record rooms, which contain the statistics showing woman’s share in the industrial, educational, and scientific world.
    Attention is also called to the wood carved panels that surround these rooms, carved by the young women of the different States.
    The room adjoining was furnished by the women of Connecticut. Chaste and delicate in every detail.
    In this room is the exhibit of Miss S. A. Scull of Washington, D. C., pictures in art of Greek mythology. The pictures are rare and beautiful beyond description, having been photographed by Miss Scull, who made a journey to Greece for this especial purpose.
    The next room, the homespun room, is from the Old Pine State, North Carolina, which is fitted up for the use of the women of the press.
    The Model Kitchen at the north end is a popular resort. The lessons in cooking by Mrs. Rohrer have been one of thenotable features of the Woman’s Building. This enterprise has been inaugurated and carried on by the women of Illinois, and no unstinted praise is due them for this auxiliary work which has called for so much thought, work, and money from these women, but which will be honored in the time to come by the women over the land in a hundred ways, doing homage to our national emblem.
   The assembly room at the north end has been, during the summer, the trysting place for noted women and interesting gatherings. Every morning, at eleven o’clock, instructive lectures and talks have been given by the representative women of the world. Mrs. Gov. Eagle of Arkansas and her able co-workers have arranged the programmes, so that no break has occurred in these educational and instructive meetings. And who can estimate what the fruitage will be from this summer’s seed-sowing in this assembly hall? Much of this good work has been carried over into the afternoon, under the skillful guidance of Mrs. Helen Barker.
   The beautiful platform furniture in this room was from the women of Mobile. The artistic stained glass windows, back of the platform, were from the women of Massachusetts.
   There is also on the walls, surrounding this room, a remarkable collection of photographs of noted women of all ages, collected by Miss Helen Blackburn of England. Probably a more complete collection was never shown.
   The women of California have given a representation of a room decorated and finished in the redwood of California.
   In the frieze we have illustrated in panels California scenes, and decorations and portierres in poker painting by California’s young artist, Miss Lilian O’Hara; also a collection of musical instruments from the early Pacific Coast, and curiosities of the islands of the Pacific.
 The Cincinnati room, which is next, is rich in wood-carv-ings and china-painting. The pottery committee, Mrs. ex-Gov. Noyes and Miss Louise McLaughlin, have carried out their representative exhibit in every detail. The club together have over two hundred specimens of their work.
    The frieze surrounding the wall is the work of Miss Agnes Pitman. The whole room taken together is an object lesson in art, also carrying with it the record of accomplishment, by industry, perseverance, and a purpose, along the lines of work on which an entry has been made.
    The Kentucky room is finished and furnished in old Colonial style, in white and gold. Portraits of well-known women and furniture of “ye olden time.”
    One of the most gratifying of all the results of this Woman’s Building is the unanimity, the zeal, the prompt response shown in answer to the nation’s call by the women of the various States, one that is very easily overlooked, but the story will be read and the influence will be felt when this young world will have grown old with age, and the women who have sowed to-day can afford to let other generations reap the harvest.
    At the south end of the gallery is the organization room. The space in this large room is divided off by brass poles and silk curtains of a steel blue, producing a unique and pretty effect. These sections have been appropriated by societies and clubs from all parts of the United States. Each club has its own special exhibit showing the trend of its work by literature ready for distribution and in various ways. An opportunity is here given to extend their influence, increase membership, etc. Every society has the privilege of choosing days for special representation of its cause in the assembly room, and great good has already resulted by the members at the headquarters coming into touch with the workers in philanthropy, religion, temperance, and literature. Let it be remarked here that the Woman’s Building is the only one in the Exposition grounds where forethought and foresight provided for assemblies, large or small; a feature that has won great credit to the projectors.    In the southeast corner of the building is the room where the Board of Lady Managers hold their meetings. The chairs in this room were presented to the Woman’s Building by the women of Texas. In this room is the memorial Virginia Dare desk. It is made of wood from Roanoke Island, in North Carolina, where the first English settlement was made by Sir Walter Raleigh, and where Virginia Dare, the first white child was born on American soil. The carved panels were all done by a young North Carolina girl.
    Beyond this room is the private office of the president of the Woman’s Board, Mrs. Bertha Honord Palmer. The room was decorated and furnished by the women of New Jersey. The furniture is old Colonial heirlooms. The walls are gracefully draped with the fish-nets made by the women on the New Jersey coast.
    If the exhibits in the Woman’s Building fulfilled no purpose but a momentary presentation of good, beautiful, or indifferent impressions upon the sight-seer, all this work would be as naught; but if it carries the lesson to the observer of the advance women have made in the lines of work they have undertaken; that they have entered new fields; that the seed-sowing has been done and the harvesting has begun; that the specific points of excellence receive equal commendation to the weak points’ condemnation; that the summing up be put upon a broad and just basis— then will the president and members of the Board of Lady Managers, with the women of the world as backers in the work, who have put three years of labor and energy into it, be willing and glad to be judged by the result.
                               MARY S. LOCKWOOD.