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 Chapter 9/Demand-Side Equilibrium: Unemployment or Inflation?

CHAPTER 9
DEMAND-SIDE EQUILIBRIUM:
UNEMPLOYMENT OR INFLATION?
TEST YOURSELF
1. From the following data, construct an expenditure schedule on a piece of graph
paper. Then use the income-expenditure (45° line) diagram to determine the
equilibrium level of GDP.
Income Consumption Investment Government Net Exports
Purchases
3,600 $3,220 $240 $120 $40
3,700 3,310 240 120 40
3,800 3,400 240 120 40
3,900 3,490 240 120 40
4,000 3,580 240 120 40
Now suppose investment spending rises to $260, and the price level is fixed. By how
much will equilibrium GDP increase? Derive the answer both numerically and
graphically.

FIGURE 1

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 Chapter 9/Demand-Side Equilibrium: Unemployment or Inflation?

The original equilibrium GDP is at Y = 3,800, where spending equals output. This is
shown by the intersection of the lower of the two expenditure lines in the graph above
with the 45° line. The MPC calculated from the data is 0.90, so the multiplier is 10. If
investment spending rises by $20 (to $260) the equilibrium GDP will increase by $20×10
= $200, which is represented by a vertical shift (by $20) to the upper expenditure function
in the diagram.

2. From the following data, construct an expenditure schedule on a piece of graph

paper. Then use the income-expenditure (45° line) diagram to determine the
equilibrium level of GDP. Compare your answer with your answer to the previous
question.
Income Consumptio Investmen Government Net
n t Purchases Exports
$3,600 $3,280 $180 $120 $40
3,700 3,340 210 120 40
3,800 3,400 240 120 40
3,900 3,460 270 120 40
4,000 3,520 300 120 40

In question 2, the marginal propensity to consume is lower than it was in question 1 (0.6
versus 0.9), but in this case there is induced investment (investment which changes as
GDP changes), while in question 1 investment was constant. The two changes cancel
each other, and the expenditure schedule is the same in both questions. So Figure 1
applies to Question 2, and the equilibrium GDP is 3800.

3. Suppose that investment spending is always $250, government purchases are $100,
net exports are always $50, and consumer spending depends on the price level in the
following way:
Price Consumer
Level Spending
90 $740
95 720
100 700
105 680
110 660
On a piece of graph paper, use these data to construct an aggregate demand curve. Why
do you think this example supposes that consumption declines as the price level rises?

© 2016 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part, except for use as permitted in a license
distributed with a certain product or service or otherwise on a password-protected website for classroom use.
 Chapter 9/Demand-Side Equilibrium: Unemployment or Inflation?

FIGURE 2

At lower prices, the real value of money and other assets that are denominated in money
terms is higher. Since wealth influences consumption, at lower prices consumption is
higher.

4. (More difficult) Consider an economy in which the consumption function takes the
following simple algebraic form:
C = 300 + 0.75DI
and in which investment (I) is always $900 and net exports are always –$100.
Government purchases are fixed at $1,300 and taxes are fixed at $1,200. Find the
equilibrium level of GDP, and then compare your answer to Table 1 and Figure 2. (Hint:
Remember that disposable income is GDP minus taxes: DI = Y – T = Y – 1,200.)

Y = C + I + G + (X – IM)
C = 300 + 0.75DI
C = 300 + 0.75(Y – 1200)
C = 300 + 0.75Y – 900
C = -600 + 0.75Y
Y = -600 + 0.75Y + 900 + 1300 – 100
Y = 0.75Y + 1500
0.25Y= 1500
Y = (1/0.25)  1500
Y = 4  1500 = 6000

This algebraic model yields the same equilibrium GDP as Table 2. (The solution is also
given in the Appendix.)

© 2016 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part, except for use as permitted in a license
distributed with a certain product or service or otherwise on a password-protected website for classroom use.
 Chapter 9/Demand-Side Equilibrium: Unemployment or Inflation?

5. (More difficult) Keep everything the same as in Test Yourself Question 4 except
change investment to I = $1,100. Use the equilibrium condition Y = C + I + G + (X –
IM) to find the equilibrium level of GDP on the demand side. (In working out the
answer, assume the price level is fixed.) Compare your answer to Table 3 and Figure
10. Now compare your answer to the answer to Test Yourself Question 4. What do you
learn about the multiplier?
Y = C + I + G + (X - IM)
C = 300 + 0.75DI
C = 300 + 0.75(Y - 1,200)
C = 300 + 0.75Y - 900
C= -600 + 0.75Y
Y= -600 + 0.75Y + 1,100 + 1,300 - 100
Y = 0.75Y + 1,700
0.25Y = 1,700
Y = 4 × 1,700 = 6,800
This algebraic model yields the same equilibrium GDP as Table 3 and Figure 10 in the
chapter.
Compared to the answer to Test Yourself Question 4, we find $800 more in GDP from a
$200 increase in I. Thus this question demonstrates that the multiplier of 4 applies to
changes in I as well as to changes in C.

6. (More difficult) An economy has the following consumption function:

C = 200 + 0.8DI
The government budget is balanced, with government purchases and taxes both fixed at
$1,000. Net exports are $100. Investment is $600. Find equilibrium GDP.
What is the multiplier for this economy? If G rises by $100, what happens to Y? What
happens to Y if both G and T rise by $100 at the same time?
Y = C + I + G + (X – IM)
C = 200 + 0.8(Y – 1000)
C = 200 + 0.8Y – 800
C = –600 + 0.8Y
Y = –600 + 0.8Y + 600 + 1000 + 100
Y = 1100 + 0.8Y
0.2Y= 1100
Y = 5(1100) = 5500
The multiplier is 5. If G rises by $100, Y will increase by $500 (5  $100). Table 9-3 and
Figure 9-10 in the text. This question demonstrates that the multiplier applies to changes
in I as well as changes in C.
If G and T each increase by $100 Y will increase by $100 as demonstrated below:
Y = C + I + G + (X – IM)
C = 200 + 0.8(Y – 1100)
C = 200 + 0.8Y – 880
© 2016 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part, except for use as permitted in a license
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 Chapter 9/Demand-Side Equilibrium: Unemployment or Inflation?

C = –680 + 0.8Y
Y = –680 + 0.8Y + 600 + 1100 + 100
Y = 1120 + 0.8Y
0.2Y= 1120
Y = 5(1120) = 5600

7. Use both numerical and graphical methods to find the multiplier effect of the following
shift in the consumption function in an economy in which investment is always $220,
government purchases are always $100, and net exports are always -$40. ( Hint: What
is the marginal propensity to consume?)
Income Consumption Consumption
before Shift after Shift
$1,080 $ 880 $ 920
1,140 920 960
1,200 960 1,000
1,260 1,000 1,040
1,320 1,040 1,080
1,380 1,080 1,120
1,440 1,120 1,160
1,500 1,160 1,200
1,560 1,200 1,240

FIGURE 3

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 Chapter 9/Demand-Side Equilibrium: Unemployment or Inflation?

The graph above indicates that equilibrium GDP rises from 1,320 to 1,440, or by 120.
The oversimplified multiplier formula can be used in this case. The marginal propensity
to consume can be calculated between any two income levels. The numbers in the table
above show that each $60 of additional income leads to $40 more in consumer spending,
so the MPC is 40/60 = 2/3, and the multiplier is 1/[1 - (2/3)] = 3. So a shift in
consumption of 40 should raise equilibrium GDP by 120, which it does.

DISCUSSION QUESTIONS
1. For more than 30 years, imports have consistently exceeded exports in the U.S.
economy. Many people consider this imbalance to be a major problem. Does this
chapter give you any hints about why? (You may want to discuss this issue with
your instructor. You will learn more about it in later chapters.)
Some problems are created by the trade deficit. Since net exports are a component of
aggregate demand, the trade deficit represents a reduction in aggregate demand. On the
other hand, there are some advantages to the trade deficit. (These features will be
discussed in future chapters. The trade deficit allows U.S. absorption of goods and
services to exceed production. Also, it facilitates the inflow of foreign capital that covers
the shortage of savings that would otherwise be caused by a federal government deficit).

2. Look back at the income-expenditure diagram in Figure 3 and explain why some level
of real GDP other than $6,000 (say, $5,000 or $7,000) is not an equilibrium on the
demand side of the economy. Do not give a mechanical answer to this question.
Explain the economic mechanism involved.
At any level of GDP other than the single equilibrium, total spending differs from the
amount of production. Hence inventories change, and producers have an incentive to
change the level of output.

© 2016 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part, except for use as permitted in a license
distributed with a certain product or service or otherwise on a password-protected website for classroom use.
 Chapter 9/Demand-Side Equilibrium: Unemployment or Inflation?

3. Does the economy this year seem to have an inflationary gap or a recessionary gap?
(If you do not know the answer from news reports, ask your instructor.)
The answer depends upon the current state of the economy but for the years leading up to
2011, the most appropriate answer would be a recessionary gap.

4. Try to remember where you last spent a dollar. Explain how this dollar will lead to a
multiplier chain of increased income and spending. (Who received the dollar? What
will he or she do with it?)
The answers will, of course, vary. Most students probably spent their last dollar at a retail
store. The money went into the pocket of the proprietor, an employee or a supplier of the
store, who probably spent some portion of it on other goods or services.

ANSWERS TO APPENDIX A QUESTIONS

TEST YOURSELF
1. Find the equilibrium level of GDP demanded in an economy in which investment is
always $300, net exports are always –$50, the government budget is balanced with
purchases and taxes both equal to $400, and the consumption function is described by
the following algebraic equation:
C = 150 + 0.75DI
(Hint: Remember that DI = Y – T.)
Y = C + I + G + (X – IM)
C = 150 + 0.75(Y – 400)
C = 150 + 0.75Y – 300
C = –150 + 0.75Y
Y = –150 + 0.75Y + 300 + 400 – 50
Y = 0.75Y + 500
0.25Y= 500
Y = 4  500 = 2,000

2. Referring to Test Yourself Question 1, do the same for an economy in which

investment is $250, net exports are zero, government purchases and taxes are
both $400, and the consumption function is as follows:
C = 250 + 0.5DI
Y = C + I + G + (X – IM)
C = 250 + 0.5DI
C = 250 + 0.5(Y – 400)
C = 250 + 0.5Y – 200
C= 50 + 0.5Y
Y = 50 + 0:5Y + 250 + 400 + 0
Y = 0.5Y + 700
0.5Y= 700
Y = (1/0.5)  700
Y = 2  700 = 1400
© 2016 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part, except for use as permitted in a license
distributed with a certain product or service or otherwise on a password-protected website for classroom use.
 Chapter 9/Demand-Side Equilibrium: Unemployment or Inflation?

3. In each of these cases, how much saving is there in equilibrium? (Hint: Income not
consumed must be saved.) Is saving equal to investment?
Saving is equal to disposable income minus consumption.
In Question 1: S = (Y - T) - C
S = (2,000- 400) - [-150 + 0.75(2000)]
S = 1,600 - (-150 + 1,500)
S = 1,600 - 1,350
S = 250
S is not equal to I.
In Question 2: S = (Y - T) - C
S = (1,400- 400) - [50 + 0.5(1,400)]
S = 1,000 - (50 + 700)
S = 1,000 - 750
S = 250
In Question 2, S is equal to I. The difference is that X and IM are equal in Question 2 but
unequal in Question 1.

4. Imagine an economy in which consumer expenditure is represented by the following

equation:
C = 50 + 0.75DI
Imagine also that investors want to spend $500 at every level of income (I = $500), net
exports are zero (X – IM = 0), government purchases are $300, and taxes are $200.
a. What is the equilibrium level of GDP?
b. If potential GDP is $3,000, is there a recessionary or inflationary gap? If so, how
much?
c. What will happen to the equilibrium level of GDP if investors become optimistic
about the country’s future and raise their investment to $600?
d. After investment has increased to $600, is there a recessionary or inflationary
gap? How much?
(a) Y = C + I + G + (X – IM)
C = 50 + 0.75(Y – 200)
C = 50 + 0.75Y – 150
C = –100 + 0.75Y
Y = –100 + 0.75Y + 500 + 300 + 0
Y = 0.75Y + 700
0.25Y= 700
Y = (1/0.25)  700
Y = 4  700 = 2800
(b) There is a recessionary gap of 200.
(c) The last five lines in 4(a) above are replaced by:
Y = –100 + 0.75Y + 600 + 300 + 0
Y = 0.75Y + 800
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distributed with a certain product or service or otherwise on a password-protected website for classroom use.
 Chapter 9/Demand-Side Equilibrium: Unemployment or Inflation?

0.25Y= 800
Y = (1/0.25)  800
Y = 4  800 = 3200
(d) There is now an inflationary gap of 200.

5. Fredonia has the following consumption function:

C = 100 + 0.8DI
Firms in Fredonia always invest $700 and net exports are zero, initially. The
government budget is balanced with spending and taxes both equal to $500.
a. Find the equilibrium level of GDP.
b. How much is saved? Is saving equal to investment?
c. Now suppose that an export-promotion drive succeeds in raising net exports to
$100. Answer (a) and (b) under these new circumstances.

(a) Y = C + I + G + (X – IM)
C = 100 + 0.8(Y – 500)
C = 100 + 0.8Y – 400
C = –300 + 0.8Y
Y= –300 + 0.8Y + 700 + 500 + 0
Y = 0.8Y + 900
0.2Y = 900
Y = 5 900 = 4,500
(b) S = (Y – T) – C
S = (4,500 – 500) – [–300 + 0.8(4,500)]
S = 4,000 – 3,300 = 700, which is equal to investment, so S = I.
(c) Now X - IM = 100, so the last four lines of 5(a) above are replaced by
Y = –300 + 0.8Y + 700 + 500 + 100
Y = 0.8Y + 1,000
0.2Y = 1,000
Y = (1/0.2)  1000
Y = 5  1,000 = 5,000
S = (Y – T) – C
S = (5,000 – 500) – [–300 + 0.8(5,000)]
S = 4,500 – 3,700 = 800
Now, S is not equal to I.

DISCUSSION QUESTIONS
1. Explain the basic logic behind the multiplier in words. Why does it require b, the
marginal propensity to consume, to be between 0 and 1?
The multiplier works through consumer spending and disposable income. When
autonomous spending in the economy rises, this increases income paid to the factors of
production, such as labor. When labor receives more income, disposable income rises,
and therefore, consumption rises. This fuels more spending and income payments. Since
people consume only a fraction of each additional dollar earned, the multiplier process
eventually stops when the economy reaches its new equilibrium.
© 2016 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part, except for use as permitted in a license
distributed with a certain product or service or otherwise on a password-protected website for classroom use.
 Chapter 9/Demand-Side Equilibrium: Unemployment or Inflation?

In order for the multiplier process to work, the marginal propensity to consume must be
greater than 0 and less than 1. If it were equal to zero, then workers would not increase
consumer spending when income rises, so there would be no multiplier effect. If the
marginal propensity to consume were greater than 1, then the multiplier effects would
never stop and the economy would never reach an equilibrium where expenditures equal
income.

2. (More difficult) What would happen to the multiplier analysis if b = 0? If b = 1?

See answer to previous question. If b = 0, then the multiplier would be equal to 1. That is,
there would be no multiplier effect because a $1 change in expenditures would lead to a
$1 change in income. If b = 1, then the multiplier would be infinite, so that the economy
would never reach an expenditure-income equilibrium.

ANSWERS TO APPENDIX B QUESTIONS

TEST YOURSELF
1. Suppose exports and imports of a country are given by the following:
GDP Exports Imports
2,500 $400 $250
3,000 400 300
3,500 400 350
4,000 400 400
4,500 400 450
5,000 400 500
Calculate net exports at each level of GDP.

GDP Exports Imports Net Exports

2,500 400 250 150
3,000 400 300 100
3,500 400 350 50
4,000 400 400 0
4,500 400 450 –50
5,000 400 500 –100

2. If domestic expenditure (the sum of C + I + G in the economy described in Test Yourself

Question 1) is as shown in the following table, construct a 45° line diagram and locate
the equilibrium level of GDP.
GDP Domestic
Expenditures
$2,500 $3,100
3,000 3,400
3,500 3,700
4,000 4,000
4,500 4,300
5,000 4,600
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 Chapter 9/Demand-Side Equilibrium: Unemployment or Inflation?

In Figure 4, the intersection of the lower expenditure line with the 45-degree line shows
an equilibrium GDP of 4,000.

FIGURE 4

3. Now raise exports to $650 and find the equilibrium again. How large is the multiplier?
In Figure 4, the intersection of the upper expenditure line with the 45° line shows an
equilibrium GDP of 4,500. (The lower expenditure line shows the solution to Test
Yourself Question 2, with a GDP of 4,000.) Exports have risen by 250, and GDP has
risen by 500, so the multiplier is 2.

DISCUSSION QUESTIONS
1. Explain the logic behind the finding that variable imports reduce the numerical value
of the multiplier?
Variable imports imply that consumer spending on imports will change when income
changes. When consumers experience an increase in disposable income, they consume
not only more domestic goods (consumption), but more foreign goods as well (imports).
Consider how an increase in government spending would affect the economy. In a closed
economy without variable imports, consumers would increase consumption spending on
domestic goods because their disposable income rises, leading to a multiplier effect. In
an economy with variable imports, disposable income rises, causing consumers to spend
more on both domestic goods (increasing consumption) and imported goods (reducing
net exports). Within the formula Y = C + I + G + (X – IM), the reduction in net exports
partially offsets the increase in consumption of domestic goods, reducing the multiplier
effects.

© 2016 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part, except for use as permitted in a license
distributed with a certain product or service or otherwise on a password-protected website for classroom use.
Exploring the Variety of Random
Documents with Different Content
 GALLERY 83: Edouard Manet, Gare Saint-Lazare,
dated 1873

Overlooking Paris’ Saint-Lazare railroad yards, this sun-drenched

scene is the first major picture Manet executed out-of-doors. Though
influenced by his friends, the impressionists Monet and Renoir,
Manet’s disciplined temperament rejected impressionism’s less
structured effects. The rigid lines of the iron fence, for example, act
as a foil for the figures’ curves. The little girl, whose interest lies on
the rail yards behind, forms a subtle tension with the woman who
gazes out at the viewer. The color scheme, with its reversal of
colors, serves both to unify the pattern and to underscore the
separation of the two figures: the full womanly figure is dressed in
blue accented with white, whereas the childish figure is in white
accented with blue.
 GALLERY 90: Auguste Renoir, A Girl with a Watering
Can, dated 1876

Wanting to capture the dazzling colors found in strong sunlight, the

impressionist painter Renoir intensified the natural hues of reality to
a greater vibrancy on canvas. The green of the grass depicted here
is more intense in hue than that which one might expect to find in
nature, and the gravel path sparkles like gems. In calculating the
juxtaposition of color, the artist placed pale blue-green shadows on
the child’s face to heighten her rosy complexion. In addition, the
blurred impressionist brushstrokes create the effect of shimmering
sunlight dissolving form and detail. Once in response to criticism
about his work, Renoir said, “There are enough things to bore us in
life without our making more of them.”
 GALLERY 86: Claude Monet, Rouen Cathedral, West
Facade, dated 1894

Monet, a founder of impressionism, became obsessed with the

variations with natural light. From 1892 to 1895, he recorded in a
series of paintings a medieval French cathedral as it appeared at
different times of day or under different weather conditions. In over
thirty canvases of Rouen Cathedral, Monet’s analyses of light on the
cathedral’s surfaces resulted in iridescent colors and thick paint
textures that are visually sensational yet highly naturalistic. 27
Here, in early morning, the church shimmers lavender and
violet, the stone of the upper portions glowing in the rich red-orange
of the rising sun. Another from the Rouen series, showing the church
in the yellow-white heat of the afternoon, is also in this room.
GALLERY 85: Edgar Degas, Four Dancers, painted c.
1899

One of Degas’ own favorite works, this, his last major oil painting,
has a chalky texture reminiscent of the pastels he frequently used.
Studying the strong patterns in Japanese prints as well as the
snapshot effects of photography, this superb draftsman often
designed his paintings with an angled point of view or created an
off-center balance, cutting off figures by the frame edge. With the
increasing abstraction of his late style, Degas here used a black
outline which not only separates the gestures of the dancers but also
accents their red apparel, intensifying the theatrical effect.
GALLERY 85: Paul Cézanne, Still Life, painted c. 1894

Most evident in this painting is the tension between what is, on the
one hand, a rendition of nature and, on the other, Cézanne’s
deliberate organization of the shapes into a rhythm of forms. The
swirls and eddies of the blue drapery are reflected in the curves of
the apples, peppermint bottle, white linen, and carafe. At the same
time, horizontal or vertical lines dominate along the edge of the
table, the molding of the back wall, and the neck of the bottle,
creating a linear grid that offsets and balances the curving lines. The
blue-green tonality, in addition to the geometric patterning, further
demonstrates the artist’s intent to visually organize and unify.
Indeed, for the sake of unity, Cézanne has even distorted the carafe
by swelling it out on one side, pulling it deeper into the folds of the
fabric.

28
 20th-Century Art
(Gallery 76 and West Stair Hall)

Flattened shapes, strong outlines, unmodulated hues, and

pronounced pigment textures have been among the central devices
of many twentieth-century painters. Artists have often abandoned
the direct imitation of reality, preferring instead to work through
complex problems of pictorial design to express human feelings. A
tremendous diversity of artistic styles has resulted, emerging in
tempo with the rapid changes of modern society and technology.
The National Gallery’s present collection of modern art concentrates
on the French school prior to World War I, the period when Paris
was the cultural center of Europe.

With the opening of the East Building, the National Gallery will have
increased space for the display of contemporary art.

GALLERY 76: Pablo Picasso, Family of Saltimbanques,

painted in 1905
Obsessed in 1905 with the theme of the circus, Picasso sought the
company of performers not only as potential subjects for his
paintings but also as companions. Their agility and grace delighted
him; their gypsy lives intrigued him, as did their professional pursuit
of the fine art of illusion. The circus family in this painting is
assembled in a lonely landscape devoid of any living thing. Their
static poses suggest that each member, caught up in reverie, is
unaware of the others. A sense of equilibrium is maintained,
however, in the compact shape of the five figures at the left
balanced against the single figure in the right foreground. The pastel
tints of red, violet, and blue, moreover, create an aura of elegiac
melancholy. Although Picasso has abandoned the predominantly blue
palette of his earlier, more pensive work, the Family of
Saltimbanques still exudes a feeling of pathos and isolation. (The
thirteen paintings by Picasso in the National Gallery represent the
major phases within the first half of Picasso’s career.)

29

GALLERY 76: Georges Braque, Still Life: Le Jour,

dated 1929
Although common, everyday items, the objects in this painting are
not shown in an everyday arrangement. Rather, through a precise,
rational manipulation of shapes, the artist has so structured the
objects as to arrive at a fresh understanding of their reality. The
pitcher and the wineglass, for example, are each shown as an
overview of the rim (presenting one angle of vision) and a profile
view of the object’s body (presenting a second angle of vision);
these and other aspects of the objects are combined to reveal a
new, but nonetheless accurate, perception of the object. And, as
Braque intended, it is this flattened perception that, throughout the
composition, constantly reminds us of the two-dimensional surface
of the canvas. Braque’s geometric compositions—which to outraged
critics were nothing more than “cubes”—were one aspect of a style
known as cubism which developed shortly after the turn of the
century.

WEST STAIR HALL: Salvador Dali, The Sacrament of

the Last Supper, dated 1955

Known neither for his Christian themes nor for simplicity of

organization, Dali has in this painting moved away from the
surrealism that preoccupied him during his earlier years. The
composition of the Last Supper is clearly defined in two main planes:
foreground action and background scenery. The placement of the
figures is symmetrical with a mirror-image repetition of the same
figures from one side of the painting to the other. The men, their
faces hidden, are more the idealized participants in a timeless
Eucharist than specific men of a specific time and place. The strange
translucent enclosure—a geometrical dodecahedron—is meant to be
understood as part earthly, part celestial. The enigma of this
intellectual and complex painting centers finally in the all-embracing
arms—symbolic of the heavens and of the creator, who is seen as
youthful rather than patriarchal but whose face is hidden.

30
 Decorative Arts
As objects for daily use, the decorative arts allow a close insight into
cultures of the past. Among its holdings, the National Gallery has an
extensive collection of European furniture, tapestries, and ceramics
from the fifteenth and sixteenth centuries as well as medieval church
vessels and Renaissance jewelry. In addition, there is a fine selection
of eighteenth-century French furniture—including many pieces
signed by cabinetmakers to Louis XV and Louis XVI and, of historic
interest, the writing table used by Queen Marie Antoinette while she
was imprisoned three years during the French Revolution (gallery
55). The Gallery also contains a large collection of Chinese
porcelains, including porcelains from the Ch’ing Dynasty of the
seventeenth and eighteenth centuries.

Until the East Building is completed, only a few selected works can
be placed on exhibition in the galleries.
 Prints and Drawings
The collection of prints and drawings at the National Gallery contains
about fifty thousand examples from the fifteenth century to the
present time. Included are drawings by Dürer, Rembrandt, Rubens,
and Blake, as well as a wide range of prints by the major graphic
artists of the Western World. The National Gallery’s collection
incorporates an extremely fine selection of early Northern woodcuts
and engravings and one of the most important groups of eighteenth-
century French prints, drawings, and book illustrations outside of
France. There is also an excellent group of early manuscript
illuminations.

Visitors may examine prints and drawings not on exhibition by

appointment with a curator in the Department of Graphic Arts.

31
 Index of American Design
The Index of American Design is a collection of watercolor
renderings of objects of popular art in the United States from before
1700 until about 1900. The renderings represent American ceramics,
furniture, woodcarving, glassware, metalwork, tools and utensils,
textiles, costumes, and other types of American craftsmanship.
There are some seventeen thousand renderings and about five
hundred photographs. These are available for study, by
appointment. The works themselves may be loaned to organizations
for exhibition outside the Gallery.

32
 GENERAL INFORMATION
The National Gallery is open to the public every day in the year
except Christmas Day and New Year’s Day. Admission is free at all
times.

HOURS
Regular: Weekdays, 10 a.m. to 5 p.m.; Sundays, 12 noon to 9 p.m.

Summer: During the summer months the regular hours are extended
to 9 p.m. Dates for the beginning and termination of evening hours
are announced on Gallery information boards and in the Gallery’s
monthly Calendar of Events.

ART INFORMATION DESKS

There are two art information desks: one at the Constitution Avenue
entrance on the Ground Floor; and the other at the Mall entrance
near the Rotunda on the Main Floor.

CHECKROOMS
Free checking service is provided near the entrances. All parcels,
briefcases, and umbrellas must be checked.
PUBLICATIONS SERVICE
Reproductions and catalogues of the collections are sold in the
publications salesroom on the Ground Floor near the Constitution
Avenue entrance. Books and catalogues, postcards, color
reproductions, framed reproductions, original color slides,
recordings, portfolios, sculpture reproductions (including jewelry),
note folders, and other publications are available.

TOURS
Gallery talks and free tours of the collection are given by the
Education Department.

An Introductory Tour, lasting about 50 minutes, covers the Gallery’s

highlights. It is offered at 11 a.m. and 3 p.m., Monday through
Saturday, and at 5 p.m. on Sunday.

The Tour of the Week, lasting about 50 minutes, concentrates on a

specific topic or on a special exhibition. It is given at 1 p.m., Tuesday
through Saturday, and at 2:30 p.m. on Sunday.

The Painting of the Week, a 15-minute gallery talk on a single 33

picture in the collection, is scheduled at noon and 2 p.m.,
Tuesday through Saturday, and at 3:30 and 6 p.m. on Sunday.

Special appointments for groups of 15 or more people can be

arranged by applying to the Education Department at least two
weeks in advance.

Recorded tours, one offering a selection of the Director’s choice of

paintings and another discussing works in various galleries, may be
rented for nominal fees.
LECTURES
Lectures by visiting art authorities, and occasionally by members of
the Gallery staff, are given at 4 p.m. on Sunday afternoons in the
Auditorium.

The subjects are often grouped to form a series treating a single

aspect of art history. Admission is free and no reservations are
required. The A. W. Mellon Lectures in the Fine Arts, a special series
commissioned by the National Gallery, which are subsequently
published in book form, take place during the spring.

FILMS
Free films on art are presented on a varying schedule. For further
information on tours, lectures, and films, consult the Gallery’s
Calendar of Events.

CONCERTS
Free concerts are given in the East Garden Court every Sunday
evening at 7 p.m. (with the exception of the summer period from
late June to late September). Concerts are given either by guest
artists or by the National Gallery of Art Orchestra under the direction
of Richard Bales. The programs, with intermission talks or interviews
by the Gallery staff, are broadcast live over WGMS-AM (570) and FM
(103.5). Seats, which are not reserved, are available after 6 p.m.

CALENDAR OF EVENTS
The monthly Calendar of Events listing special exhibitions, lectures,
concerts, and films at the National Gallery of Art will be sent to you
regularly, free of charge, if you fill out an application at either
information desk.

34

EXTENSION SERVICE
A variety of educational materials suitable for schools, colleges, and
libraries can be borrowed from the Gallery. Color slide programs,
with accompanying audio cassettes, texts, and study prints, cover a
wide range of subjects. A number of films, including “Art in the
Western World” and “The American Vision,” are available. All
material is lent free of charge except for return postage. For
information, apply to the office of the Extension Service.

SLIDE LENDING SERVICE

Slides of the Gallery’s collection are available as loans to
organizations, schools, and colleges without charge. For information,
apply to the slide library in the Education Department.

PHOTOGRAPHY OF WORKS OF ART

Photography for personal purposes, with or without flash, but not
with a tripod, is permitted throughout the Gallery unless signs in a
particular area indicate to the contrary. Application for permission to
use a tripod should be made to the Photographic Services Office,
Monday through Friday, exclusive of legal holidays.
PERMITS TO COPY WORKS OF ART
Easels and stools are provided without charge for those individuals
who have secured permission to copy works of art in the Gallery.
Application for permits should be made at the Registrar’s Office.
Letters of reference and examples of work are required before
permission to copy may be granted. No special permission is
required for sketching without easels if only nonliquid materials,
such as pencil, ballpoint pen, or crayon, are used.

CAFÉ/BUFFET
The café/buffet is open every day of the year except Christmas Day
and New Year’s Day. It is located at the Concourse level and may be
reached from the Main Floor via the East Garden Court and East
Lobby or from the 4th Street Plaza.

Regular hours: 10 a.m. to 4 p.m. on weekdays and Saturdays, and 1

p.m. to 7 p.m. Sundays.

Summer hours: During the period when the Gallery is open 35

until 9 p.m., the café/buffet remains open until 7:30 p.m. on
weekdays and Saturdays. Sunday hours are 1 p.m. to 7 p.m.

SMOKING ROOMS
Two lounges are provided for smoking: the smoking room on the
Ground Floor and the Founder’s Room on the Main Floor near the
Rotunda. Smoking is also permitted in the café/buffet but is strictly
prohibited in all halls and exhibition galleries.
RESTROOMS
Restrooms are located on the Ground Floor, at the top of each
staircase near the Rotunda on the Main Floor, and at the Concourse
level.

FIRST AID
An emergency room, under the supervision of a trained nurse, is
available for first-aid treatment in case of accident or sudden illness.
It is located on the Ground Floor near the entrance to the
Auditorium. The guards will direct visitors to this room on request.

WHEELCHAIRS • STROLLERS
Strollers for small children and wheelchairs are available from the
guards at both entrances without charge. Attendants for pushing
wheelchairs are not available.

TELEPHONES
Pay-station telephone booths are on the Ground Floor near the
stairways, on the Main Floor near the Rotunda, and at the Concourse
level.

GUARD REGULATIONS
The guards are under orders not to permit visitors to touch the
paintings or sculpture under any circumstances. Fountain pens with
fluid ink may not be used in the galleries. Smoking is forbidden in
the exhibition areas.

PLANTS AND FLOWERS

Flowers and plants in the courts are grown in the National Gallery’s
greenhouses and are changed frequently by the Gallery’s
horticultural staff. There are special floral displays at Christmas and
Easter in both the Garden Courts and the Rotunda.

Board of Trustees 36
The Chief Justice of the United States, Chairman
The Secretary of State
The Secretary of the Treasury
The Secretary of the Smithsonian Institution
Paul Mellon
John Hay Whitney
Franklin D. Murphy
Carlisle H. Humelsine
John R. Stevenson

Officers and Staff

President: Paul Mellon
Vice President: John Hay Whitney
Director: J. Carter Brown
Assistant To the Director for Music: Richard Bales
Assistant To the Director for National Programs: W. Howard
Adams
Assistant To the Director for Public Information: Katherine
Warwick
Assistant To the Director for Special Events: Robert L. Pell
Construction Manager: Hurley F. Offenbacher
Planning Consultant: David Scott
Assistant Director/Chief Curator: Charles Parkhurst
 Curators:
American Painting: William P. Campbell
Dutch and Flemish Painting: Arthur Wheelock
French Painting: David E. Rust
Graphic Arts: Andrew C. Robison
Italian Painting, Northern and Later: Sheldon Grossman
Italian Painting, Early: David Alan Brown
Northern European Painting To 1700: John Hand
Sculpture: Douglas Lewis, Jr.
Spanish Painting: Anna M. Voris
Twentieth-century Art: E. A. Carmean, Jr.
Curator of Education: Margaret I. Bouton
Head, Extension Program Development: Joseph J. Reis
Head, Art Information Service: Elise V. H. Ferber
Chief Librarian: J. M. Edelstein
Editor: Theodore S. Amussen
Head Conservator: Victor C. B. Covey
Chief, Design and Installation: Gaillard F. Ravenel
Chief, Exhibitions, Loans and Registration: Jack C. Spinx
Registrar: Peter Davidock
Head Photographer: William J. Sumits
Treasurer: Lloyd D. Hayes
Assistant Treasurer: James W. Woodard
Administrator: Joseph G. English
Assistant Administrator: George W. Riggs
Personnel Officer: Jeremiah J. Barrett
Secretary and General Counsel: Robert Amory, Jr.

Gifts and Bequests

The Board of Trustees has full power to accept gifts, bequests, or
devises of works of art, money, or other personal or real property,
and either absolutely or in trust. Gifts and donations to the National
Gallery of Art are deductible for Federal income tax purposes within
the limits provided by law, and are welcomed in amounts of any size.

★U.S. GOVERNMENT PRINTING OFFICE: 1976 O—207-802

37

Main Floor
Services
Men’s Room
Women’s Room
Checkroom
Information
Telephone
 Elevator and Stairways
To: 1 Ground Floor
4th Street Entrance
To: Concourse
Café/Buffet
Mall Entrance

Ground Floor
Services
Women’s Room
Men’s Room
Checkroom
 Information
Telephone
First Aid
Facilities for the Handicapped
Sales Shop
Special Exhibitions
Constitution Avenue Entrance
4th Street Entrance
Auditorium
Elevator and Stairway
To: 2 Main Floor
To: Concourse
Café/Buffet

38
Main Floor
Schools of Painting
Central Italian and Florentine Renaissance
North Italian and Venetian Renaissance
17th and 18th Century Italian
Spanish
Flemish and German
Dutch
17th and 18th Century French
19th Century French
British
American
Special Exhibitions
 Sculpture
West Garden Court
Rotunda
East Garden Court
Mall Entrance

Address:
National Gallery of Art
6th Street and Constitution Avenue N.W.
Washington, D.C. 20565
Telephone:
(202) 737-4215
Cable Address:
NATGAL
Pennsylvania Avenue
Constitution Avenue
7th Street
U. S. Capitol
 Transcriber’s Notes
Silently corrected a few typos.
Retained publication information from the printed edition: this
eBook is public-domain in the country of publication.
In the text versions only, text in italics is delimited by
_underscores_.
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