design, the central symbolic design being sufficient to identify the particular service without the use of additional word designation.

On the reverse for the Organized Reserve is the Minute Man from the Organized Reserve Crest which appears on all Organized Reserve Regimental colors and standards and is the only accepted design to represent this particular service, on and over a circle of thirteen stars all centered within the inscription "ARMED FORCES RESERVE" placed around and near the outer rim. The thirteen stars in this instance have been added to make the composition conform to the bulk of composition appearing in the other designs.

On the reverse for the National Guard is the National Guard Insignia centered within the inscription "Armed Forces Reserve" placed around and near the outer rim. Two designs were submitted.

On the reverse for the Air Force Reserve is the crest from the Air Force seal centered on a heraldic fountain symbol with the inscription "Armed Forces Reserve" placed around and near the outer rim.

On the reverse for the Naval Reserve is the center design without background of the Navy Department Seal centered within the inscription "Armed Forces Reserve" placed around and near the outer rim.

On the reverse of the Marine Corps Reserve is the Marine Corps insignia centered within the inscription "Armed Forces Reserve" placed around and near the outer rim.

On the reverse of the Coast Guard Reserve is the central design of the Coast Guard seal without inscription centered within the inscription "Armed Forces Reserve" placed around and near the outer rim.

The Ten Year Device, An hour-glass with a Roman numeral "X" superimposed thereon of bronze, 16-inch in height.

The Commission considered the models individually. Professor Hudnut then offered the following motion: "Mr. Chairman, I move the designs be approved and that we congratulate the artist and the Department on a very excellent job." Professor Belluschi seconded the motion. The models were thereupon approved unanimously.

YOUNG AMERICAN MEDALS

Mr. Arthur E. DuBois, Chief of the Heraldic Branch, Research and Development Division, Office of the Quartermaster General, Department of the Army, accompanied by the sculptor Thomas Hudson Jones, submitted at the meeting of the Commission of Fine Arts, held on February 26, 1952, a memorandum, and models for two medals as follows:

(a) Young American Medal for Service (Obverse).

(b) Young American Medal for Bravery (Obverse).

Thomas Hudson Jones, sculptor. Executed in accordance with authorized legislation, Public Law 638, 81st Congress:

The models to be of gold approximately the size of the United States Half Dollar. The reverse of the medals is to consist of engraving only.

On the obverse of the Medal for Service is an eagle rising, wings displayed and inverted, grasping an open scroll of honor in his talons and encircled by the inscription Young American Medal for Service.

On the obverse of the Medal for Bravery is a laurel wreath surmounted by a bow with drawn arrow (signifying speed in action).

The ribbons for the medals have not been approved (a different ribbon for each medal).

Young American Medal for Bravery

The Commission inspected the models and were well satisfied with them. The models were approved, and Mr. DuBois was informed accordingly.

BRONZE PLAQUE FOR THE BLAIR HOUSE

At a meeting of the Commission of Fine Arts, held on May 19, 1952, the Secretary reported that on May 13th an urgent request was received from the Department of State for advice regarding the design of a bronze plaque to be placed on Blair House. Dedication of the plaque was scheduled for May 21st by President Truman. It was to commemorate Leslie Coffelt, who gave his life in the defense of the President of the United States on November 1, 1950. The donors of the plaque were the National Sojourners, a Masonic Military Fraternity. The dimensions were 15 inches by 20 inches. The location had been approved by the Public Buildings Administration.

The Commission took note of the fact that the sculptor member of the Commission, Mr. de Weldon, had approved the design of the plaque, as there was insufficient time to bring the design to the attention of the Commission at this meeting, and they ratified his action.

PORTRAIT OF MRS. GROVER CLEVELAND

Ta meeting of the Commission of Fine Arts, held on December 10, 1948, Vice Chairman Finley presented the following memorandum for the information of the Commission:

While in New York during the month of October, I visited Mrs. John Amen, daughter of President and Mrs. Grover Cleveland, at Mrs. Amen's apartment on Park Avenue. Mrs. Amen showed me the portrait of her mother by Zorn.

It is a handsome portrait, measuring forty by fifty inches, showing Mrs. Cleveland in a white silk dress. It would be a most suitable portrait to represent Mrs. Cleveland at the White House. Mrs. Amen stated that she did not wish to give the portrait during her lifetime, and did not indicate what the eventual disposition might be. She will be very glad, however, to have a copy made for the White House at any time, if some organization wished to do so. I spoke with the President of the National League of American Pen Women, who said they might present such a copy at some time in the future, but did not make a definite commitment.

The Commission took no further action at this time, excepting to express their appreciation of the memorandum from Mr. Finley.

During a meeting of the Commission of Fine Arts held on the afternoon of July 20, 1950, at the National Gallery of Art, the Commission inspected a portrait of Mrs. Grover Cleveland by Gregory Stapko (being a copy of an original portrait from life, by Zorn, which is the property of Mrs. John Amen and is on temporary exhibition at the Gallery). The National League of American Pen Women proposes to give the copy of this portrait to the White House. The Commission regarded it "a faithful copy" and approved it. A report was sent, accordingly, to Mrs. Cloyd Heck Marvin, President of the League of American Pen Women, National Press Club, Washington, D.C., and

the portrait was subsequently installed in the White House.

PORTRAIT OF FORMER SECRETARY OF AGRICULTURE ANDERSON

Pursuant to action taken by the Commission of Fine Arts at the meeting on December 10, 1948, photographs of portraits by Alfred Jonniaux, former Belgian court painter, were sent to the painter member of the Commission, Mr. Sterne, for comment.

Mr. Sterne reported that he had inspected the photographs and that he considered Mr. Jonniaux qualified to paint the proposed portrait. In this opinion the Commission concurred at a meeting held on January 10, 1949, and the Department of Agriculture was informed accordingly.

In response to a request received from the Department for additional names of artists considered qualified to paint the portrait of former Secretary of Agriculture Anderson, the Commission recommended the following.

Mr. Franklin Watkins, 683 Fifth Avenue, New York City,

Mr. Louis Betts, 912 Fifth Avenue, New York City,

Mr. Gardner Cox, 88 Garden Street, Cambridge, Mass.,

Mr. Sidney E. Dickinson, 154 West 57th Street, New York City.

At a meeting of the Commission of Fine Arts, held on March 16, 1949, on the recommendation of the painter member, the Honorable Maurice Sterne, the Commission approved the portrait of former Secretary of Agriculture Clinton P. Anderson, by Alfred Jonniaux. The portrait, which measures about four and one-half feet by three feet, is to be placed with the collection of portraits of former Secretaries in the Department of Agriculture.

PORTRAIT OF GEORGE WASHINGTON

At a meeting of the Commission of Fine Arts, held on January 6, 1950, Chairman Clarke brought to the attention of the Commission a letter received from the Secretary to the President, Mr. Hassett, dated November 29, 1949, expressing thanks and appreciation by President Truman of the gift of the Portrait of George Washington, by Gilbert Stuart from Mr. and Mrs. Charles Shipman Payson, of New York. The portrait was "a gift to the Nation in memory of their son, Daniel Carroll Payson, who was killed in action while a member of the armed forces in World War II."

The letter from Secretary Hassett concluded by asking:

Will you be good enough to express to Mr. and Mrs. Payson the President's deep appreciation of their action in presenting this valuable portrait to the Nation? Accordingly, Chairman Clarke sent the following letter:

November 30, 1949. MY DEAR MR. AND MRS. PAYSON: The Commission of Fine Arts was pleased to recommend to the President of the United States that the handsome portrait of George Washington by Gilbert Stuart, which you offered as a gift to the Nation in memory of your son, Daniel Carroll Payson, be accepted for the decoration of one of the State Rooms in the White House.

I am advised that the President is delighted, indeed, to accept this portrait for the purpose stated. Be assured that it gives the members of this Commission the greatest satisfaction to know that a painting of such quality and importance has been given to the Nation for the White House. It is a notable and generous gift, one that will be appreciated by many who will view the portrait at the White House throughout the years to come.

Sincerely yours,

the Headquarters of the Girl Scouts of the United States of America, New York City, as follows:

November 22, 1950.

DEAR MR. LATHROP: The Commission of Fine Arts met yesterday and agreed to recommend acceptance of the gift of the "Portrait of Mrs. Hoover" by Miss Lydia Emmet for the White House.

I have sent the portrait to Blair House for the President and Mrs. Truman to see, and they also are very happy, indeed, that the portrait will become part of the White House Collection.

I understand that you also wish to clear the matter with Mr. Hoover and, after that has been done, I shall be glad to help you in any way that I can in making the presentation to the White House.

I want to say again how delighted I am to know that such an excellent "Protrait of Mrs. Hoover" will at last hang in its proper place in the White House. We are all grateful to the Girl Scouts of America for making it possible.

Sincerely yours,

Under date of March 26, 1952, the Commission received the following letter, addressed to the Chairman:

DEAR MR. FINLEY: The portrait of R. D. W. Connor, the first Archivist of the United States, about which the Archivist wrote you on September 21, 1950, and to which you replied on September 26, 1950, will be completed and ready for delivery on April 7, 1952.

In the contract with Mrs. Nash it was stipulated that the "acceptance of the painting will be subject to the approval of the Archivist's Committee and the Fine Arts Commission." I am writing now to ascertain whether the Commission will wish to view the painting at the artist's studio, at the National Archives Building hung in place in the Conference Room, or at the National Gallery of Art.

Your early advice in regard to this matter will be appreciated.

Sincerely yours,