The stairs have brought us to a wide gallery upon the main floor of the building. We are now on a level with the windows under which we passed, and leaning over the marble rail can look back across the intervening hall into the open court beyond, toward the huge clock-face on its farther side. This is the stranger's point of view unquestionably, and it may be doubted if even the most studious frequenter of the library will ever proceed to his work without lingering a moment here. The decorations of the gallery-wall which closes in the staircase have likewise been entrusted to the famous Frenchman. This portion of his work, already finished, has lately been exhibited in Paris; and, most happily, he has chosen for its subject the Muses acclaiming Genius, the Messenger of Light. The central door, between the panels, is the principal entrance to Bates Hall; while at either end the gallery expands into a small vaulted corridor. That on the right leading to the Delivery Room door, above which stands a winged Venetian lion of early date, is brilliantly decorated by Elmer E. Garnsey, who also supplied the paler tints for the raised staff-work in the staircase and Bates Hall ceilings.

Here the style is Pompeian, with a deep-red groundwork and elaborate borders in lighter colors, similar to those designed by Raphael for the loggie of the Vatican. The details, exquisitely drawn, attract the eye at once, and the color scheme is harmonious and pleasing. Passing through this corridor, we stand in what may be called the centre of the whole system—the service-room from which the forces of enlightenment are drawn for home use.