The East Foyer is of Roman travertine marble. The two striking black Palmarian marble columns are surmounted with white capitals carved with an abstracted Flame of Life motif found also in the bronze lintels above the doors. Passing through to the colorful Storz Fountain Court,
one notices the thunderbird motif, its wings outspread, on the fountain, in the frieze beneath the balcony, in the corners of the ceiling, and in the wing-shaped light fixtures. The Moravian floor tiles include symbols for literature, music, architecture, and painting.
Beautiful marbles are used lavishly throughout the building. The corridors adjacent to the galleries are of white Botticino marble with Badger Pink floors. A diversity of floor materials was used in the galleries so that the changes in texture would prevent fatigue to visitors' feet. The marble wainscoting also differs from gallery to gallery and includes such varieties as Frasnes Rose, Notre Dame du Rocher, and Loredo Chiaro.
One of the most striking features of the building is the Witherspoon Concert Hall.
Here ornamentation is kept to a minimum, and the opulent St. Genevieve Rose and Westfield green marbles create the elegance and richness of the space. The light fixtures are a most unusual feature. The light in the basketweave ceiling of St. Genevieve Rose, the entrance foyer echoes the sunburst in the floor.
The only room in the Museum paneled with wood is the Founder’s Room,
which connects the north and south galleries. Here the thunderbird motif dominates the ceiling and is reflected in the light fixtures. This room was specifically dedicated to George Joslyn: the ivy design in the windows was ordered by Mrs. Joslyn as a special remembrance for her husband.