school, is not of great help in pictures intended to be viewed from a
great distance. His decorations present very little opportunity for the
eye to rest upon them, and they are altogether too involved, in their
turbulent compositions. Their color is not unattractive, no matter how
cold, and of sufficient interest to atone for the lack of dignified
design. The subjects of all of these are by no means unattractive, and a
description of them reads far better than the pictures look.

The birth of European art is symbolized in the first panel. There are
five dominant figures, grouped about an altar on which burns the sacred
fire. An earthly messenger leans from his chariot to receive in his
right hand from the guardian of the flame the torch of inspiration,
while with his left hand he holds back his rearing steeds. In front of
these a winged attendant checks for an instant their flight. The central
figure, the guardian of the altar, still holds the torch, and below her
are three satellites, one clasping a cruse of oil, another pouring oil
upon the altar, while she holds in her hand a flaming brand, ready to
renew the flame should it falter, a third zealously watching the fire as
it burns. Opposite these a figure holds a crystal gazing-globe, in which
the future has been revealed to her, but her head is turned to watch the
flight of the earthly messenger.

The birth of Oriental art is symbolized in the second panel. The forces
of the earth, wresting inspiration from the powers of the air, are
pictured by a contest between a joyous figure in ancient Chinese armor,
mounted upon a golden dragon, combating an eagle. A female figure under
a huge umbrella represents Japan, while on either side are two other
Oriental figures, in gorgeous attire, symbolic of the long periods of
Oriental art.