than the exterior. But "pretty is that pretty does" was a favorite
maxim of the Revolutionary dames; and the remarkable energy shown by
their fair descendants, under the presidency of Mrs. E. D. Gillespie,
in carrying through this undertaking will impart to it new force. The
rule is quite in harmony with it that mere frippery should be avoided
within and without, and the purely decorative architect excluded with
Miss McFlimsey. The ground-plan is very simple, blending the cross and
the square. Nave and transept are identical in dimensions, each being
sixty-four by one hundred and ninety-two feet. The four angles
formed by their intersection are nearly filled out by as many sheds
forty-eight feet square. A cupola springs from the centre to a height
of ninety feet. An area of thirty thousand square feet strikes us as a
modest allowance for the adequate display of female industry. For the
filling of the vast cubic space between floor and roof the managers
are fain to invoke the aid of an orchestra of the sterner sex to keep
it in a state of chronic saturation with music.

[Illustration: UNITED STATES GOVERNMENT BUILDING.]

Reciprocity, however, obtains here. The votaries of harmony naturally
seek the patronage of woman. Her territorial empire has accordingly
far overstepped the narrow bounds we have been viewing. The Women's
Centennial Music Hall on Broad street is designed for all the musical
performances connected with the exposition save those forming part of
the opening ceremonies. This is assuming for it a large office, and we
should have expected so bold a calculation to be backed by floor-room
for more than the forty-five hundred hearers the hall is able to seat.
A garden into which it opens will accommodate an additional number,
and may suggest souvenirs of _al-fresco_ concerts to European
travelers.