of inclusion is obtained by semi-circular walls of growing
mesembryanthemum.

Around the entablature of the noble octagonal rotunda are repeated Bruno
Louis Zimm's three panels, representing "The Struggle for the
Beautiful." (p. 114.) In one, Art, as a beautiful woman, stands in the
center, while on either side the idealists struggle to hold back the
materialists, here conceived as centaurs, who would trample upon Art. In
another, Bellerophon is about to mount Pegasus. Orpheus walks ahead with
his lyre, followed by a lion, representing the brutish beasts over whom
music hath power. Back in the procession come Genius, holding aloft the
lamp, and another figure bearing in one hand the pine cones of
immortality, in the other a carved statue which she holds forward as a
lesson in art to the youth before her. In the third panel appears
Apollo, god of all the arts, in the midst of a procession of his
devotees bearing garlands. Between the panels are repeated alternately
male and female figures, symbolizing those who battle for the arts.

On an altar before the rotunda, overlooking the lagoon, kneels Robert
Stackpole's figure of Venus, representing the Beautiful, to whom all art
is servant. The panel in front of the altar is by Bruno Louis Zimm, and
pictures Genius, the source of Inspiration. Unfortunately, this fine
altar has been made inaccessible; it can be seen only from across the
lagoon. (p. 137.) The friezes decorating the huge circular flower
receptacles set around the base of the rotunda and at intervals in the
colonnade are by Ellerhusen. Eight times repeated on the lofty columns
within the rotunda is "The Priestess of Culture," a conventional but
pleasing sculpture by Herbert Adams.

Above, in the dome, Robert Reid's eight murals, splendid in color, are