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WOMAN IN ART at Oxford, also the martyrdom of Tyndale, bound to the stake, and his last words, "Lord, open the eyes of the king." The third panel pictures Henry VIII signing the permission for the sale and reading of the Bible throughout England, also the horrible hypocrisy of the king, his grant for free use of the Bible being followed by persecution of all who read and began to think for themselves. This the artist exemplified by the martyrdom of Anne Askew, a type of the women who were also ready to die for the Truth. Her last words were, "Rather deathe than false to Faithe."

These panels led to a fourth, undivided, of figures of charging knights in armor who embody the spirit of civil wars. The march of enlightenment is carried onward in two small panels seven feet square; the fifth shows George Fox on his Mount of Vision; the sixth is William Penn in his study at Oxford—the college of Tyndale.

The panels were on exhibition at the celebration of the hundredth anniversary of the founding of the Pennsylvania Academy of Fine Arts, which is Miss Oakley's Alma Mater. They won for the artist a special gold medal from the Academy.

Miss Oakley's treatment of her subjects is simple, clear, and her color scheme marks her work for enduring admiration.

We have gone into this much of description of the work of Miss Oakley because it is an inspirational work of her mind, that has delved into history of the most vital importance to our American commonwealth; a pictured history of the principles to be tested and accepted into the body politic of our nation—and ultimately of the world.

For the decoration of the Senate Chamber, Miss Oakley extended the subject of founding a state to "The Creation and Preservation of the Union." The entire frieze for the Senate Chamber comprises forty-five panels. The drawings and studies for this monumental work were on exhibition at the Corcoran Gallery, Washington, D. C., and in a number of our large cities. To give an idea of the thought and work on the cartoons required—not to mention the weeks and months of arduous painting on the scaffold—we cite the subjects of two or three. No. 31 impersonates Greed by the recall of the heartless Slave Driver; No. 32 shows the slave driven by Fear; No. 33 depicts the Supreme Manifestation of Enlightenment in International Unity, which seems a fulfillment of a prophecy of William Penn. And these are the words that accompany it: "He carried me away to a great and high mountain, and showed me that Great City...And He showed me a pure River 193