The Wisconsin Capitol -- Official Guide and History

**************************************************************************
USGENWEB ARCHIVES NOTICE:  These electronic pages may NOT be
reproduced in any format for profit or presentation by any other
organization or persons. Persons or  organizations desiring to use
this material, must obtain the written consent of the contributor, or
the legal representative of the submitter, and contact the listed
USGenWeb archivist with proof of this consent. The submitter has given
permission to the USGenWeb Archives to store the file permanently for
free access.  http://www.usgwarchives.net/

Contributed by Tina S. Vickery

20:46 3/20/01
***************************************************************************


The Wisconsin Capitol -- Official Guide and History
Edited and Published by Christian A Holst, Madison, Wisconsin
Second Edition Revised and Enlarged.  New Illstrations.
Price 35 cents
Copyright 1919, By Christian A. Holst, Madison, Wis.

HISTORICAL SKETCH OF THE STATE CAPITOL

Wisconsin territory, previously a part of Michigan territory, was
organized at Mineral Point, July 4, 1836.  The first legislature met
at Old Belmont, (now Leslie, La Fayette county October 25, 1836, in a
building rented from John Atchison.  It was a two-story and attic
frame building, forty-two feet by twenty-five feet, with a square
battlemented front.  The timber was bought at Pittsburg, sent down the
Ohio and up the Mississippi to Galena by steamboat, and drawn overland
by teams to Belmont, thirty miles.  It has passed through several
hands, and the old building was know as "Noah's Ark," because it
housed so many families.  In 1888 it was moved about one hundred feet
north of its original position, and used for a barn.

A movement was started in 1906 to buy and restore the old building,
but the bill failed in the legislature.  Meanwhile, the original site
has been designated by a marker, erected in 1912 under the auspices of
the Federation of Women's Clubs; landmarks' committee.  This was
unveiled on October 7, 1912.  In 1917 the Legislature made an
appropriation to purchase the old site and to restore the building.

A long struggle took place at Belmont over the location of the
permanent seat of government, but finally Madison, then merely a town
on paper, was chosen through the influence of James Duane Doty, who
had been a federal circuit judge up to 1832 for that portion of
Michigan territory lying west of Lake Michigan.  The prospective town
received its name in honor of James Madison, the fourth president of
the United States.  The following June work was begun on a Capitol
building, whose corner stone was laid with appropriate ceremonies on
July 4, 1837

The stone for the first state house came from Maple Bluff, and was
ferried across Lake Mendota to the foot of North Hamilton street.  The
inside finish was sawed from oak timber grown on the hill where the
governor's residence now stands.  The building was one hundred and
four feet long, fifty-four feet wide and thirty feet high above the
water table.  It was a substantial structure, which in architectural
design and convenience of arrangement compared favorably with
contemporary capitols of adjacent and older states.  The cost of the
structure was $60,000.  The architect was Stephen V. Shipman of
Madison, who was Major of the First Wisconsin Cavalry in the Civil
War.

After twenty years, this Capitol proved inadequate to the growing
wants of the State, and to relieve the crowded condition the
legislature of 1857 provided for its enlargement .  The work began in
the fall of 1857, and continued from year to year until 1869 when the
dome, (the most satisfactory portion of the structure was completed.

In order to proved additional space for the State Historical Society,
the Supreme Court, the State Library, and the increasing staffs of the
state officers, the legislature of 1882 appropriated $200,000  for the
construction of two transverse wings, on the north and south sides of
the original building.

The structure, when finally completed, (the south wing fell while in
process of construction, killing eight workmen,) measured two hundred
and twenty-six feet from east to west, and three hundred and ninety-
six feet from north to south.  From the base to the eagle upon the
flagstaff, the height was two hundred and twenty-five feet.  The
general plan was that of a cross, two corridors intersecting at the
rotunda.

Realizing that again the Capitol no longer fully served its purpose,
the legislature of 1903 appointed a building commission to take into
consideration the construction of a new and larger Capitol.  Hardly
had the commission begun with its initial arrangements when a
disastrous event, the fire of February 27, 1904, which destroyed a
large part of the interior of the building, called for immediate
action.  The matter was taken up with vigor.  In 1905 plans for a new
building were submitted to the Legislature.  However, on account of
the comprehensiveness and expense of the building required by the
plans recommended, the Legislature rejected them and directed the
commission to select an architect, secure plans, and proceed to the
erection of a building under certain limitations ass to size and
expense.

Pursuant to these directions, the commission caused a program to be
prepared which was presented to five leading architectural firms, who
were invited to submit sketches, embodying their suggestions, for a
building.  After a careful study and analysis of the plans submitted,
those of George B. Post & Sons of New York were accepted as having the
most merit from a practical and artistic point of view.

The financial limitations imposed, together with the necessity of
housing the government during the erection of the building, made it
necessary to  extend the construction over a number of years, only one
wing being built at a time.  The west wing having suffered the most
from the fire, it construction was first undertaken.  Work was begun
late in 1907.  It was completed in 1909, and made ready for the
Legislature of that year.  The other wings were erected in the
following order:  the east wing, 1908-1910; the south wing, 1910-1913;
and the north wing, 1914-1917.  The central rotunda and dome 1911 -
1915.

The new Capitol occupies the site of the old structure as follows:  in
length from north to south, exclusive of steps and portico of the old
building, thirty feet; from east to west, two hundred feet; in height,
from basement to top of flagstaff of the old structure, fifty-four and
one-half feet.

The Capitol Park is seven hundred  and ninety-two feet square,
cornering on the cardinal points of the compass.  It contains fourteen
and four-tenths acres, and is handsomely situated on an elevation
commanding a view of the Lakes Monona and Mendota and the surrounding
Four Lakes country.

THE WISCONSIN STATE CAPITOL

Set like a gem in the clasp of four silver lakes and encircled by a
zone of perfect beauty, Madison is a city of many attractions. Like a
queen enthroned the city rises majestically above Lakes Mendota and
Monona, whose waters lave the shores of the isthmus on which it
stands. In the heart of the city, on an eminence rising gently from
the lakes to a height of seventy feet, is Capitol Square; in reality a
park eight hundred feet square, shaded by elms and oaks, and adorned
with beds of shrubbery and flowering plants. On this site of singular
beauty stands the stately Capitol building, a monument to the glory of
the Badger State.

THE EXTERIOR

THE WISCONSIN STATE CAPITOL, cruciform in plan, is built entirely of
White Betel Vermont granite, which alone of all the granites compares
with marble in whiteness and general appearance and is the hardest and
most durable stone used. In order to equalize the difference in the
level of the park and give the building a greater appearance of
symmetry, it was placed on a formal terrace surrounded by a balustrade
of the same white granite, on which pedestals are provided for lights
and appropriate groups of statuary. Its design has been so studied by
the architects that from every point of view, its composition is
satisfying to the most critical, and the ever-varying lights and
shades on its snow white surfaces are a constant delight to the eyes.

The four equal wings face the four diagonal streets of the City which
lead from the cardinal points of the compass and at the ends of which
are entrances for pedestrians. The formal approaches and entrances,
however, are from the ends of the four avenues, two of which lead to
the lake, in the axes of each of which are driveways approaching the
building and terminating in porte cocheres under the grand staircases
which lead to the first story of the pavilion, situated in the re-
entrant angles formed by the wings. The pavilions provide spacious
vestibules, giving direct access to the rotunda. They are crowned by
flat granite domes, above which arises the podium wall forming the
base upon which the barrel of the great dome rests. The barrel is
treated as a circular Corinthian Arcade, through the arched windows of
which floods of mellow light enter the rotunda.

The podium, or terrace, is surrounded by a granite balustrade
affording the first resting place for visitors ascending into the dome
and gives a magnificent view of the city of Madison from an elevation
of ninety feet above the ground. At a slightly lower level, an
interior balcony encircles the rotunda from which an impressive view
of the interior of the great structure is obtained. From the podium,
the ascent to the dome is by means of spiral staircases, built within
the thickness of the wall of the barrel of the dome. From the
staircases a view of the surrounding country, ever widening with the
ascent, may be enjoyed through a series of exterior windows as well as
intermediate views of the rotunda. At a height of one hundred and
fifty feet from the ground floor, an exterior balcony with granite
balustrade supported by the colonnade, affords the next resting place.
From this level two inclined stairways lead up between the outer and
inner domes to the highest interior observation point at an elevation
of one hundred and eighty-four feet, immediately below the crown of
the dome. Here visitors may look through the eye of the "Coffer Dome"
(thirty feet in diameter) into' the great rotunda below. Above the
crown of the coffer dome, a single spiral staircase leads up into the
lantern, which at the level of two hundred and thirty-five feet is
encircled by a balcony with a single high. granite balustrade. From
here the view is truly wonderful; but it is surpassed in splendor by
the panoramic view of the surrounding country of gently rolling hills,
winding rivers, and silvery lakes, obtained from the platform provided
within the lantern, ten and one-half feet in diameter and fifteen feet
higher, which is inclosed on all sides by windows. In order to reach
this great height, two hundred and fifty-five feet above the ground
floor level, visitors have to mount two hundred and fifty-two steps
above the last landing of the elevators of the attic story of the
wings, or three hundred and sixty-seven steps from the ground floor of
the building.

The four wings each one hundred and twenty-five feet in width, eighty-
five feet in height and one hundred and eighty-seven feet in length,
terminate in stately, dignified porticoes composed of Corinthian
columns, supporting pediments in the tympanums of which are groups of
granite statuary by America's most distinguished sculptors, who with
the fine inherent artistic skill of genius have kept all the
sculptural work of the pediments in beautiful harmony with the
Renaissance architecture of the building. The subjects selected for
each of these groups correspond to the principal use of each wing

STATUARY IN THE FOUR PEDIMENTS

EAST PORTICO

In the east wing is the supreme court room, where the final
interpretation of the laws of the state is made. It is, therefore,
appropriate that law should be made a leading consideration of the
pediment over the entrance to this wing. The central and main figure
of the group is Liberty, holding a torch in her right hand to
enlighten Justice, and a shield in her left protecting Truth. Both
Justice and Truth are seated, the former holding the scales and the
latter a mirror, symbols of justice and truth. To the right of Justice
are two figures, the older resting his right hand on the table of
stone of the decalogue, and the younger shielding the table. On the
left are also two figures, Anglo-Saxon in type, carrying and caring
for the Magna Charta. To the extreme right of the observer is a group
engaged in reading the laws or statutes of the country, and to the
left a family group in which the mother is shown as inculcating the
principles of right living, upon the children. The former group is
concerned with the written law, the latter with the traditions that
have given character to the race. Liberty is placed in the center in a
commanding position, indicating the importance of the east wing of the
Capitol in that it contains the Executive Department, as well as the
department of the highest State Court. The group is the work of the
late Karl Bitter.

WEST PORTICO

The west wing shelters the assembly, that part of government which is
most representative of all resources and activities of a state, and
for this reason Mr. Bitter here symbolized the resources of the state.
In the center is a female figure representing the state, and in
throwing back her veil she proclaims that her resources are only
partially developed. The horse, the ox, the sheep, etc., represent the
wonderful advantages Wisconsin offers for stock and dairy industries.
Domesticated animals of the highest type, for which the state is
admirably adapted and already famous, form a conspicuous part of the
group. Agricultural interests are typified by the growing wheat
through which the animals are being led, and by the corn harvested and
evidently being saved for seed. No doubt it represents pure bred corn,
which has already done much for Wisconsin. Forest products are seen in
the lumber being carried by another figure, as well as by the walls
forming part of the background of the scene. The wealth of lakes and
rivers is shown by the two figures toward the left, handling fishing
nets and securing the haul. Hunting finds its symbolism in the Indian
and his dog. The badger at the extreme left represents the emblem of
the state.

SOUTH PORTICO

Mr. Weinman chose for the pediment of this wing, which houses the
senate, such powers as should dominate so important a body as the
Senate of a great state. The central figure in the group symbolizes
Wisdom and follows the ancient usage of representing that virtue by a
female figure. Thought and reflection are inseparable attributes of
wisdom, if, indeed, they are not the material that develop into
wisdom. The artist represents thought by the winged skull in the left
hand of Wisdom and reflection by the mirror in her right. Back of the
central figure is a mass of foliage, suggesting the value of wide
knowledge in the exercise of wisdom. Immediately to the right is a
standing figure, holding in the left hand an equilateral triangle
which appropriately represents equity. The corresponding figure on the
left carries a square signifying rectitude. On the right are three
seated figures, symbolizing executive power, meditation, and prudence
in the order given. Prudence is shown with a scroll in her right hand
and resting on a casket of documents, indicating the need for
knowledge of what has been attempted heretofore and the result
accomplished. Success depends upon the use made of the experience of
others, as well as that of our own. To the left are also three figures
in similar attitude to those on the right and represent the calmness
and caution of diplomacy, the earnestness of eloquence, and the clear
vision of progress. The winged ball in the left hand of the figure on
the extreme left of the group symbolizes Progress.

NORTH PORTICO

For the pediment of the north wing, the celebrated sculptor, Attilio
Piccirilli was chosen. It is a grouping of figures representing the
attributes of civilization. It links Wisconsin with all the past. It
is expressive of the great original flat "Let there be light." The
various figures of the group are symbolical of that light of learning
to which the thought and wisdom of all the centuries have contributed.
The genius of a poem or statute consists not in what is actually
described, but what it suggests, and this group of statuary suggests
the story of human history from the earliest times up to the present
day. It is a beautiful story written in stone, an interesting and
elevating sermonette on the progress of the ages in the realms of
industry, philosophy, and the fine arts, and on the ennobling power of
religion.

The central figure holding a tablet on which is written the
inscription "Sapientia," or wisdom, represents enlightenment. The
character of this enlightenment is indicated in the other figures of
the group. The female figure leaning on the rake symbolizes
agriculture, man's first and mightiest task, subduing the earth and
changing the wilderness into fruitful fields. The mother and child
symbolize maternity, the home or family, which is the foundation of
society and the strength of a nation. She is approaching the shrine of
Wisdom, seeking knowledge to instruct and guide her child, the child
in which lies the hope of the future of the race. The tremendous
responsibility involved in this task, the seriousness and
conscientiousness with which the mother is applying herself, is
strikingly brought out by the artist in the pose of the figure. Her
personal interest in the progress of her husband, who typifies labor,
and whom she is guiding toward Enlightenment for wisdom, is finely
suggested by her hand resting on his shoulder.

On the extreme right are two figures, male and female, symbolizing the
fine arts, music, poetry, and the arts of design.

The group of two figures on the extreme left, male and female,
represent philosophy, geometry, and the sciences in general.

The group immediately to the left of the central figure symbolizes the
idea of mechanics or physics. Electricity is the female figure,
leading the engineer, who, in turn, is guiding and supporting the
mechanic to "Sapientia."

The group also illustrates comradeship, brotherly love, and the
religious principle.

STATUARY GROUPS AROUND THE GREAT DOME

In the competitive drawings the architects indicated four tourelles or
miniature domes at the base of the great dome, resting on the podium
wall. These were later omitted, and in their place the Capitol
Commission obtained, without additional cost, four beautiful groups of
statuary overlooking the corner pavilions, which add materially to the
pyramidal effect of the beautiful architectural composition. These
symbolize fundamental characteristics of the state and its people, to
which may be attributed its growth and prosperity. Each of the four
groups of statuary around the dome consists of three figures-the
middle or chief figure in each case being placed on a raised base and
standing about twelve feet high. The two minor figures are seated and
about six feet in height and supplement the idea rep-resented by the
major figure. The two minor figures are connected by an eagle with
outspread wings. This device is common to each of the groups. They are
cut from Bethel Vermont granite, and are especially worthy Of Study by
the lover of the symbolic and beautiful. Wisconsin is fortunate in
having these master-pieces of Karl Bitter, whose untimely death in
1915 deprived America of one of her greatest sculptors.

OVERLOOKING MONONA AVENUE

On approaching the Capitol from Menena avenue,  a beautiful  group
representing  "Faith" is seen. The activities of tile human mind (to
not stop with observation, nor even with utilizing the material
collected by other minds. These furnish the raw material, as it were,
of mental products more refined than those that find their completion
in the senses or even in tile intellect. Understanding is on a higher
plane of mental life than sensation and faith is on a still higher
plane than understanding. The artist, no doubt, intended by this group
to symbolize religious faith. Bowing the head in obedience to divine
and civil law, with a posture expressing, love and charity as well as
firmness and strength, -that is the attitude in which the artist
represents each member of this group. By placing this group over the
main entrance to the building, the artist wishes to bring home the
truth that religion is, above all, the force to develop good
citizenship.


WISCONSIN AVENUE

This group represents "Prosperity and Abundance." It is composed of
female figures the center one standing by a vase which is overflowing
with rich fruits, while she is extending the right hand in an attitude
of giving. Each of the other figures bears a cornucopia which is the
usual symbol of plenty. Fertility of soil and climatic conditions
determine largely the returns for agricultural effort and these in
turn determine prosperity in general. Wisconsin is wonderfully favored
in this respect. Her soil is rich and her climatic salubrious. From
her many varied industries a great stream of wealth flows through the
various channels into the homes of her people, enabling them to
provide comfortably for themselves as well as for the maintenance and
development of their government whose protection they receive.

WEST WASHINGTON AVENUE

This group represents "Strength." The central figure holds in one hand
a short sword and in the other a shield, and shows man ready for his
country's defense. Of the subordinate figures, one bears a club and
the other a hammer, implements pertaining to such industrial acts as
require endurance and muscular strength. Man can achieve little
without a fair endowment of bodily vigor; the more liberal the
endowment, other things being equal, the greater his possibilities of
achievement. One of the figures, powerful in appearance, is
represented as being blind, suggesting that physical strength alone is
not sufficient to serve efficiently and to defend successfully the
state and country. But when supported and directed by knowledge its
value is increased a thousand fold for service and defense.


EAST WASHINGTON AVENUE

This group represents "Knowledge." The central figure shows a man in
his prime contemplating a globe representing the earth. He is
evidently engaged in the serious task of putting meaning into what he
sees. The world's riddles reveal their significance only to him who
bends his efforts to their solution. Original study is supplemented
and enriched by by the recorded observations and experiences of the
past, and the artist testifies to the value of this source of
information by representing two men earnestly pursuing the records
that are preserved in the scrolls or books open before them. These
represent the inherited stores of knowledge, both in practical and
speculative lines.

Strength, prosperity, and abundance are indeed great blessings, but
without knowledge they are of little value and cannot be properly
enjoyed. And knowledge guided by religious faith can only result in
more telling and efficient service.

It is this inner significance, this almost breathing quality of life
in the material, which gives to these groups by the late Karl Bitter
their marvelous beauty and grandeur.

STATUE SURMOUNTING THE GREAT DOME

Resting on the great white dome is "The Lantern," encircled by a
colonnade of the Corinthian order. On it stands the gilded bronze
statue, "Forward," symbolizing this word, which is the State motto. It
is fifteen feet and four inches in height, weighing over three tons.
This graceful figure bears on the crest of her helmet, at the height
of three hundred feet, the badger, emblem of the State of Wisconsin.
The right hand points forward, to express the meaning of the motto,
while the left hand holds a globe surmounted by an eagle. It is the
work of the celebrated sculptor Daniel Chester French.

It is interesting to know that Mr. French built a temporary studio on
the cliffs of the Hudson River, where some two hundred feet above the
valley he worked and modeled his figure so that he might judge of its
proportion and attitude from a proper distance below.

THE DOME

The dome is the wonder of the building. On the outside it dominates
the four wings and rises two hundred feet above them. It is
interesting to know how the dome is covered and by what process the
granite blocks are anchored to the steel frame-work. As a foundation
for the granite, book tile resting on T-irons are riveted to the
trusses, thus forming a bed for the stone. The granite blocks are then
laid over the book tile, and anchored to the steel trusses with bronze
anchors put in hot to keep them snug, and then doweled to the stone
below.

The dome has three podium roofs, where it is possible to walk around
the dome on the outside.

It is the only granite dome in the United States, and second highest
in America, the dome of the Capitol at Washington, D. C., being
several feet higher. There are approximately two thousand five hundred
tons of steel in the dome.

THE CAPITOL GROUNDS

The approaches with their white granite copings and steps are
completed. The semi-circular seats of the same material, the bronze
flower vases and delicately modeled bronze drinking fountains are in
place, and appropriate shrubbery planted in accordance with the
architects' designs.

It is hoped that funds may be available to complete the architects'
conception for the setting of this wonderful building, by the
provision of statuary groups to flank the grand stairways to the four
pavilions, and also groups of statuary on the balustrade of the
terrace upon which the building stands.

SYSTEM OF LIGHTING

The lighting of the exterior of the building is obtained by a series
of lights on the balustrades of the terrace and along the approaches
to the building. On the top of' the end of each wing, concealed
batteries of powerful searchlights, forty-eight in number, are
installed and so focused as to provide an equally brilliant
illumination of the dome from all points of view. Lights also flank
the entrance at the ends of the wings.

THE INTERIOR

The Capitol Building is built upon classical lines, both exterior and
interior, and is a fine sample of Roman Renaissance architecture.
Ample circulation is provided within the building, and the treatment
of the grand stairways in each of the four wings is unusual, in that
they do not obstruct the circulation or view on the ground floor or
first floor, but, on the contrary, on entering the end of either wing,
an unobstructed vista is obtained to the extreme end of the opposite
wing, a distance of four hundred and thirty-four feet. On the other
hand, on entering the building by way of the pavilions which are the
main entrances, an impressive view of the rotunda is immediately
obtained, another unusual and most attractive feature.

The noble proportions of the great dome are of themselves impressive,
its diameter being seventy-six feet, and its height from the ground
floor to the ceiling painting in the crown of the coffer dome, two
hundred feet. The relation of the rotunda to the grand stair halls of
the wings, however, is such that together they constitute part of one
great composition of which the dome forms the central point of
interest.

The four immense arches, which open into the vaulted stair halls of
the wings, are supported in the rotunda on a Corinthian entablature,
the frieze of which is in dark rose Numidian marble, resting on
columns and pilasters of green Tinos marble, imported from Greece. The
material was selected on account of its color and texture, to
harmonize with the many beautiful Wisconsin granites which have been
used with fine decorative value in the rotunda and grand stairhalls.
The walls of the rotunda, stair halls, and principal corridors are
finished with harmonious, soft-toned yellow Kasota stone from the
quarries of Minnesota, not far from the Wisconsin border.

Over the piers and between the four arches in the rotunda are
pendentive brackets, which make the transition from the octagonal form
of the rotunda to the circular form of the dome above. The pendentives
are decorated by four panels of glass mosaic of grat artistic merit
and are the works of the well known artist, Kenyon Cox. These panels
are twelve feet high and have an average length of twenty-four feet,
and are made up of approximately four hundred thousand pieces of
glass, executed by the Decorative Stained Glass Co., New York, under
the personal supervision of Mr. Cox. The introduction of this form of
glass mosaic decoration is of unusual interest, as it is the first
time it has been attempted on so large a scale in America. The effort
of the artist to attain to something of the splendor and purely
decorative properties of the Byzantine mosaics, while giving to the
figures and ornament a style more in harmony with the purely
Renaissance character of the building, has been wonderfully
successful. Any attempt at pictorial effect has been carefully
avoided. The artist gives the following description of his works:

"The ornamental parts of the scheme are alike in all four pendentives.
Each pendentive has a colossal seated figure on a gold ground,
surrounded by a circular border based on the fasces with its reeds and
crossed ribbons. On either side this central circle is a panel of oak
foliage, and the whole panel is surrounded with a simple guilloche
border in gold and purple. The four figures symbolize the three
divisions of the powers of the state,  -the legislative, the executive
and judicial, -and liberty, the foundation of all power in a free
country.

"LEGISLATION is represented as a powerful old man with a long beard,
reminiscent of the accepted type of Moses, the first law giver. He has
a yellow gown and a blue mantle, his left hand rests upon the table of
law, while his right holds the stylus with which he has been writing.
His seat is supported by a sphinx symbol of wisdom."

"GOVERNMENT, the executive power, is a man in the vigor of his age
armed and holding a leading staff in his right hand. His left hand
rests upon a great sword, sheathed and bound, only to be drawn in case
of necessity. He wears a buff leather cuirass, ornamented in gold, a
scarlet tunic, and a crimson cloak with broad collar."

"JUSTICE is represented in the purely judicial function of weighing
the one cause against the other, the sword of punishment being left to
the executive arm of the government. Seated upon a lion throne, she
looks forward in abstracted mood, while with either hand she tests the
weights in the scales of the balance which is let down from heaven.
She is robed in scarlet and reddish purple. While the attitude chosen
for the figure is unusual, it is not without precedent, the hint for
it having been taken from a fresco by Giotto in the Arena Chapel at
Padua."

"LIBERTY wears the traditional Phrygian cap of red, but is otherwise
dressed in two shades of green, color of youth and hope. With her left
hand she guards the ballot box, while with her right she points upward
as if to say that 'Under a republican form of government, the voice of
the people is the voice of God."'

Over the pendentives is the circular entablature, of which the cornice
supports the visitor's gallery, already referred to. Above it, in the
barrel of the dome, is a Corinthian colonnade, between the columns of
which are large windows lighting the rotunda. The colonnade carries
the coffer dome, in the crown of which is the beautiful painting, a
masterpiece in ceiling decoration by the distinguished artist, Edwin
Howland Blashfield. Mr. Blashfield was chosen for this work on account
of his talent and experience in ceiling painting. In order to get the
right perspective on a curved surface, he made a huge wooden bowl
about six or seven feet in diameter, as a model for the completed
dome. After the model was finished, he enlarged it to the right size,
which is thirty-four feet in diameter. Each of the floating figures is
approximately thirteen feet high, which is hard to realize when seen
from two hundred feet below, as it is in such perfect scale and
harmony with the surrounding architecture. The technique and detail of
the picture has been considered as Mr. Blashfield's best. The subject
of the canvas is the "Resources of Wiconsin," and it is worth the most
careful examination.

Mr. Blashfield describes his work as follows:

"The design for the dome crown is a symbolization of Wisconsin
enthroned upon clouds and wrapped in the folds of the American flag.
She holds the escutcheon of the state with the coat of arms of
Wisconsin upon it, and in her right hand a scepter of wheat. Around
and below her are female figures, holding up specimens of the
productions of the state, lead, copper, tobacco, fruit, a fresh water
pearl," etc.

The Blashfield decoration in the ceiling of the dome is admirably
lighted, indirectly by day from the windows between the interior and
exterior domes, and by concealed electric lights at night. The
lighting of the upper part of the rotunda is effected by a series of
electric lights concealed behind the cornices at various levels with
powerful reflectors so arranged as to throw the light in the center of
the rotunda, which becomes so diffused that dark shadows are obviated,
and many varied and pleasing effects are obtained.

THE CORRIDORS

The floors of the corridors are laid with marbles, chiefly from the
United States, though foreign countries constitute a considerable
share. Vermont, Georgia, Tennessee, the Lake Champlain region, and
Missouri are also well represented among the marbles seen in the
corridors, both in the floors and in the supporting pillars of the
ground floor halls. There are some very handsome designs in marble in
the floors, particularly in the first floor in the pavilions, and in
the corridors by the entrance to the department of insurance, board of
control, the supreme court, and the treasury and secretary of state
departments. It will pay any one to spend time in studying the designs
in marble found in the floors. Throughout the building, the visitor is
attracted by the wonderfully interesting combinations of color and
form arranged by the architect.

The form of the main stairs and main corridors, the arrangement of
elevators, secondary stairs, etc., is identically the same in each
wing.

THE INTERIOR DECORATION

The Interior Decoration, with the exception of the Assembly Suite and
the Executive Reception Room, is the work of Mack, Jenney & Tyler of
New York, who, in constant consultation with the architects, have
achieved a most satisfactory and harmonious result in point of color,
in which the use of gold has been so handled that it has produced the
desired effect of richness while retaining the feeling of simplicity
and good taste which is the keynote of the architecture of the
building.

The most interesting portions of their work in the building are the
ceiling of the Restaurant in the basement, the ceiling of the Senate
Parlor, the vaulted ceilings of the third floor and the circular
vestibules on the first floor.

THE EXECUTIVE CHAMBER

The Reception Room, with its lobby, which also gives access to the
Governor's suite, occupies the first floor of the East wing. The
reception room is designed in the Venetian Renaissance style, its
general color scheme and treatment inspired by the beautiful council
chamber in the Doge's palace in Venice. The ceiling and mural
paintings are the work of Hugo Ballin, who was first selected for the
ceiling decorations on account of his wide reputation as a Venetian
colorist, and later the mural decorations were also awarded to him.

The circle in the center, nine feet in diameter, represents "Wisconsin
surrounded by her Attributes, Beauty, Strength, Patriotism, Labor,
Commerce, Agriculture, and Horticulture."  The beauty of the State is
symbolized by a young woman occupying the center of the painting.  Its
youth is appropriately expressed by the child, and strength by the
sprig of oak in the child's left hand.  The patriotism of Wisconsin is
typified by the stars and stripes showing above and below the central
figure.  Labor is symbolized by the reclining figure grasping the
handle of the tool intended for the use of the unskilled workman.  The
tall prophet-like figure beside a bale of merchandise, with a trident
in one hand and a mariner's compass in the other, represents commerce
by water, the method of transportation in early days, and the semi-
nude figure, leaning on the same bale of goods, symbolizes the more
modern methods of commerce by land.  The lactometer in the left hand
of this figure typifies the importance of the dairy products in the
commerce of Wisconsin.  The female figure in yellow silk, carrying
flowers and fruit, standing under a luxuriant growth of vines,
represents the richness of the State's agricultural and horticultural
resources.  A familiar quotation from the Declaration of Independence
above the picture proclaims the inalienable right of every citizen to
life, liberty, and the pursuit of happiness.  It is flanked b two
panels; that to the left, facing north, "the Seeker of Knowledge at
the Shrine of Wisdom," and that to the right, "Labor, attended by the
Spirits of Rain and Sunshine."  The subjects of the other panels are
"Pioneering," "Charity," "Invention," "Justice," Religious Tolerance,"
and "Art."  The two semi-lunettes above the clock depict "War" and
"Peace."

The mottoes are "The Will of the People is the Law of the Land," "The
Progress of the State is born in Temperance, Justice, and Prudence,"
and the "Tempus Edax Rerum," (Time the devourer of all things).  The
smaller panels display the State motto "Forward."

The murals are decorative paintings, illustrating important events in
the history of Wisconsin.  The painting between the doors of the south
wall represents Lieut. Alonzo H. Cushing, Gen. Edward S. Bragg, Gen.
John C. Starkweather, and Mrs. Cordelia A. P. Harvey, surrounding a
symbolic figure representing "Unity," the spirit of the Civil War.

Lieut. Alonzo H. Cushing of Waukesha county was killed at Gettysburg.
While suffering from a wound that was doubtless fatal, he fell,
defending his battery from the furious onslaught of Pickett.  Lieut.
W. B. Cushing, who destroyed the rebel ironclad Albemarle at Plymouth,
N. C., on Oct. 27, 1864, was a brother. The officer in the center of
the group is Gen. Edward S. Bragg as he appeared in the early days of
the war. He earned undying fame for himself and honor for Wisconsin as
Commander of the Iron Brigade in the Army of the Potomac. Gen. Bragg
died in 1912, mourned by all Wisconsin, and beloved by every member of
that wonderful fighting machine, The Iron Brigade, three regiments of
which were from Wisconsin.

On the right is a likeness of Gen. John C. Starkweather of Milwaukee,
the first colonel of the first regiment that left Wisconsin for the
Civil War. Col. Starkweather was promoted to brigadier-general for
bravery before being mustered out.

On the left stands a figure of Mrs. Harvey, widow of the governor who
lost his life while on a mission of sympathy and relief to those
Wisconsin troops who had suffered at Shiloh. He had occupied the
governor's chair only three months when duty called him to Pittsburg
Landing to minister to the wounded of the battle of April 6, 1862. On
his way back to his own state, he accidentally fell into the Tennessee
River and drowned. After a time Mrs. Harvey gave her untiring efforts
to the project of building military hospitals in the north. She
convinced President Lincoln that the welfare of troops from the north
demanded that this be done, and he issued an order for the erection of
a military hospital in Madison. The order is represented in the
painting by the roll Mrs. Harvey holds in her hand. After the close of
the war, the hospital, being no longer needed for military purposes,
was made a home for soldiers' orphans and Mrs. Harvey became its
superintendent. This explains the children in the painting.


Around each of these names clusters an endless amount of the most
heroic incidents in any history.


The painting on the left as one enters (west wall) represents "The
Landing of the First White Man, Jean Nicollet, in the state, then a
French territory, in 1634." To the right as you enter (west wall),
"The Closing Scene of the Winnebago War in 1827," when Red Bird, chief
of that tribe, surrendered to Major Whistler, near Portage.

The Winnebago war was caused by an unfortunate misunderstanding on the
part of the Indians. Some of the tribe had been confined in jail at
Ft. Crawford for a trivial offense, but shortly afterward were
transferred to a different fort. When the Indians found these
prisoners there no longer, they at once assumed that the whites had
killed them and decided on retaliation. One of the first victims was
an old soldier by the name of Liplap, living in the village of Prairie
du Chien. The Indians then started for the home of a Frenchman by the
name of Gagnier, who occupied a cabin on the outskirts of the village
with his wife and two little daughters. Mrs. Gagnier saw the Indians
coming toward the house, and thinking to appease them, she stepped
inside to find them something to eat. Before returning Red Bird had
shot Mr. Gagnier, killing him. When Mrs. Gagnier saw what had been
done, she rushed at one of the Indians, Wekaw by name, and wrenched
his musket from him, but it was of the flint-lock variety and she was
unable to use it. She then escaped to the village with the older of
the two children, being unable to take both of them with her. Wekaw
was greatly mortified at allowing a woman to take away his musket, and
in revenge scalped the little girl. The child lived, however, became
Mrs. Cherrier of Prairie du Chien, and died only a few years ago.


Col. Henry Dodge with the militia hastened to the relief of the
village. Major Whistler, who was stationed at Fort Howard with a
detachment of United States Troops, came up the Fox River and headed
off the Indians in their attempt to escape up the Wisconsin. They were
met at Portage by Major Whistler's command and given the alternative
of surrendering the guilty Indian or going into a fight that seemed
almost certain to result in the destruction of the entire tribe.
Wisely, they elected to surrender and were accordingly imprisoned in
Fort Crawford. Red Bird died in prison in 1828; the other two were
sentenced by the territorial court to be executed, but they were
eventually pardoned by the president. The painting shows the three
Indians unarmed and under escort. Red Bird is offering Major Whistler
a peace pipe, and carries a flag of truce on the pole in his right
hand.

In the left space between the windows on the east wall: "Increase
Allen Lapham," father of the weather bureau. The right space between
the windows (east wall) "Col. Joseph Bailey" of Red River fame. In
early lumbering days Bailey was a rafts-man on the Wisconsin and
Chippewa rivers, where he had learned the use of wing dams in
controlling water on rapids. During the Red River expedition in 1864,
Admiral Porter's fleet of eleven gunboats found itself hung tip above
the rapids at Alexandria, La. The regular army engineers decided that
it would in all probability take a year to release the fleet. Col.
Bailey offered to do the job in three months, but, as might be
expected, his proposition was ridiculed and rejected. After long
waiting, however, and serious deliberation, he was permitted to try
his plan and it proved so successful that in eleven days, using dams,
he had a sufficient flow of water to carry the fleet over the rapids.
It is for this achievement that the allegorical figure is crowning him
with a laurel wreath. Admiral Porter paid Col. Bailey the highest
possible compliment when he said this was the greatest engineering
achievement in history. In recognition of this memorable achievement,
the officers of Admiral Porter's fleet presented Col. Bailey with a
splendid silver service, which is now on exhibition in the State
Historical Museum.

The space in the left corner (east wall) "Wisconsin's First Capitol at
Belmont" in 1836. The space in the right corner (east wall)
"Wisconsin's Capitol, which was partially destroyed by fire in 1901,
occupying the site of the present Capitol." In the narrow spaces at
the entrance under the clock are depicted the "Four Seasons and Signs
of the Zodiac." The two paintings on the north wall represent the lake
of the morning, Monona, and the lake of the evening, Mendota. Mr.
Ballin says that these two panels were suggested and executed under
the inspiration of Longfellow's poem on the four lakes surrounding
Madison:

"Four limpid lakes, four naiades, Or sylvan deities are these, In
flowing robes of azure dressed, Four lovely handmaids that uphold
Their shining mirrors, rimmed in gold To the fair city of the West."

This poem was written by Henry W. Longfellow to accompany two pictures
of Madison and its lakes by the artist Thomas Moran. The pictures were
shown at the Centennial Exposition at Philadelphia in 1876. The poem
will be found in any complete edition of Longfellow's poems.

Mr. Elmer T. Garnsey, who decorated the Reception Room and Lobby, made
a special trip to Venice before executing the work, and together these
artists have produced a rich Venetian effect quite unique in America.

In a recent article in a leading magazine, Louis Untermeyer, a New
York artist and critic, characterizes this room as a miracle in rich
porphyry and gold. He says: "Altogether this room will be one of the
most striking things in America; it will take rank with the finest
imaginative thought we have ever produced, and in sheer force of color
it surpasses them all. It will answer in the highest sense the
peculiar demands of decoration, -a thing which some of our most
inspiring sets of paintings do riot begin to fulfill. These paintings
are both a justification and a prophecy of Hugo Ballin, the artist as
decorator."

The room is finished in wood, painted in rich color of brown,
resembling the Egyptian porphyry which is used in the veneer in that
room, with the ornament brought out by the use of gold glazed down to
produce an antique effect. It is lighted by three arched windows with
exterior balconies overlooking the east approach through the park. It
is twenty-two feet by forty-two feet six inches and has a large
fireplace with mantel and over mantel of Botticino marble. The
fireback and andirons are also Venetian in character. The floor is of
teak wood from India, with handsome inlaid border. Three beautiful
Persian rugs have been selected for it which harmonize in color with
the decorations of the room. The furniture is French walnut,
especially designed by the architect, in the carving of which the arms
and emblem of the state are artistically executed.

THE PRINCIPAL ROOMS

In designing the Supreme Court Boom, the Senate Chamber, the Assembly
Chamber, and the Hearing Room, on the second floor, the architects
have given attention to the acoustic proper-ties of each, and while
avoiding the effects which might have been produced by domical
ceilings on account of their doubtful acoustic properties, they have
produced rooms not only of singular practical merit, but of great
beauty and stateliness. Each of these rooms is preceded by an ante-
room lobby, finished to harmonize with it, which is separated from the
grand stair hall by ornamental grill screens. The remainder of this
floor iii each wing is devoted to the dependencies of each branch of
the legislature, and provides suitable parlors, consultation rooms,
private offices, and business suites, with elevator and service stair
accommodations.

SUPREME COURT ROOM

The Supreme Court Room, situated on the second floor of the east wing,
is square in plan, its dimensions being forty-two feet by forty-three
feet by thirty feet high. It is lighted by a large central ceiling
light of low-toned leaded glass work set in a flat coffered ceiling to
prevent reverberation. The walls are finished in Italian Botticino
marble ten feet six inches high, in which are large panels of selected
golden veined Formosa marble, which comes from the quarries in Wetzlau
near the River Lahn in Germany. The large pilasters are of Breche
Coraline marble from Italy, a very beautiful marble with a purplish
veining, which color is also recalled in the Formosa panels. Behind
the judges' bench in front of the wainscot is an interesting
treatment, recalling the old choir stalls of the Italian Renaissance,
the columns being of Benou marble from France, with cornice and seats
of Botticino. The Capitals of these columns are of white marble from
Hagerstown, Maryland, the only known marble resembling the celebrated
Carrara marble in whiteness and general appearance.

On entering the room a visitor cannot fail to be impressed by its
dignified character with its solid mahogany furniture and woodwork. It
is the masterpiece of a master of architect's art; it is chaste in
style, and indescribably beautiful in its pure simplicity. It has been
regarded by thousands of visitors as the most beautiful room in the
building, and one of the most beautiful court rooms in America.

The marble panelling in the walls is a marvel in nature coloring. No
brush could produce such delicate tints and such variety in shades and
designs as is here displayed. The panels of Formosa marble give the
observer a new insight into the beauties that the Creator has hidden
in the depths, to be revealed by the industry and the artistic sense
implanted in man. The shafts of the pillars behind the chairs of the
justices must not be over-looked.

Surrounding the Supreme Court Room are the judges' suites, finished in
quarter-sawed oak, while the lobby is finished in light Botticino
marble, with decorative panels of yellow Sienna marble.

On the third floor, over the court room, is situated the State Law
Library, connected by elevator and stairs to the corridors surrounding
the Supreme Court Room, communicating with the judges' offices, and
also by elevator to the Attorney General's Department on the first
floor. A reading room is provided for the general public in connection
with the library.

THE MURAL PAINTINGS IN COURT ROOM. In the four mural paintings, nine
feet by eighteen feet six inches, in this magnificent room, Albert
Herter has kept the color scheme of the marble referred to, to a
remarkable degree, and has handled the subjects given to him by the
justices of the Supreme Court in a masterly manner.

The paintings represent "The Appeal of the Legionary to Caesar
Augustus;" "The Signing of the Magna Charta;" "The Signing of the
Constitution;" "The Trial of Chief Oshkosh by Judge James Duane Doty."
These illustrate the Laws of Rome, England, the United States, and
Wisconsin.

"As one enters, the dais that carries the judges' bench lies directly
in front and the painting designed for the wall above his honour's
head represents the American law. The signing of the Constitution of
the United States in 1787 may be called the founding of our law
.......

"The scene is Philadelphia; Washington is in the chair behind a table
on a low dais. To the right foreground are Madison, with cloak on arm,
and Alexander Hamilton, standing. Farther back near Washington stands
Jefferson talking to another delegate whose back is turned. In the
group of four men standing to the left in the foreground, the
characteristic face of Benjamin Franklin gives a familiar look. His
unpowdered hair hangs loose about his neck."

"The painter has not attempted to introduce all or even a large part
of the delegates to that convention to the scene, prefer-ring for
artistic effect a central distant group and nearer groups to right and
left."

"The light waistcoats and white stockings of those to right and left
form notable masses of higher light. The scene of colours is well
adapted to the general effect of the marble between which the picture
lies."

"Although Washington holds a central position and is separate from the
other figures, lie has not been given a heroic pose. On the contrary,
the painter has shown him leaning on his elbow with left hand under
his chin, in a natural, easy attitude, as if to symbolize the citizen
who is a president only for a term of years."

"On another wall is a picture called the English Law, the example
being the signing of the Magna Charta in 1215, the place an open tent
on the meadows of Runnymede. The subject was chosen as a fitting
pendant to the Signing of the American Constitution, for the partial
liberties writing by Cardinal Stephen Langton and the barons from King
John in the thirteenth Century were added to little by little, until
perfected in this land nearly six centuries later."

"King John sits at one end of a table before the royal canopy, and by
his furious face and clenched hand expresses the violence lie is doing
to his real thoughts, the effort he is making while submitting to the
demands of his revolted subjects."

"A mail-clad knight, standing at the other end of the table, seems by
his gesture to enforce the necessity of his yielding. Behind this
knight are other barons. Behind the seated king are the bishops of
London and Dublin and other prelates."

"The groups are very happily disposed. The painting is the finest of
the four as to picturesqueness of setting, as to composition, and as
to the quiet expressiveness of king and rebels. Glimpses of the still
waters and verdant fields of the Thames valley are seen behind the
tent. In the immediate foreground is the sward, f till of flowers, on
which the flooring has been placed."

"The third picture, entitled the Roman Law, above the door by which
one enters is taken from a little-known episode in the life of Caesar
Augustus Octavius, the legend of a legionary who fought for Augustus
in his youth and was involved in a case for slander, or for some
violence committed. The legend or story runs that Scutarius, such is
the name given him by one Roman historian, came to the autocrat and
said: "I fought for you, and you must fight for me." Augustus Caesar
acknowledged the obligation, and caused himself to be carried in his
litter to the basilica where he claimed the centurion Scutarius as his
client, and proposed to defend him. As Augustus was the religious,
civil, and military head of the world at the time, it was really
rather as judge than as advocate that he made his appearance."

"The painter shows him, beardless and by no means old, reclining in
his litter, with his bearers, lictors, and other attend-ants near by,
while the judges are seated along a colonnade behind which rise the
statues of orators. On the right stands Scutarius in helmet, cuirass
and greaves, having his shield on his arm, while with uplifted arm he
argues his cause. Groups of senators are in the background. Suetonius
does not report that Scutarius won his case. It was not necessary."

"The fourth painting is local in subject and relates an episode in the
early history of Wisconsin, when the Indians and settlers came to
blows. It is the trial of Chief Oshkosh for the murder of another
Indian not of his tribe. The place is a large cabin built of wood,
with wide brick fireplace. The Judge whose name was Doty, sits to the
right in a simple wooden chair. Oshkosh stands opposite with folded
arms, proud bearing and stern face, as he conducts his own defense.
Trappers, voyagers, and Indians form the audience. It is recorded that
Oshkosh proved that he acted in accordance with the Indian laws, and
won his case. The case, however, established a precedent in favor of
the spirit rather than of the law."

"In these wall pieces, Mr. Herter has shown what is necessary to
success in mural paintings: willingness and ability to subordinate the
canvass to the architecture. Observe in the Signing of the
Constitution how the columns and panels of the historic room where the
Charter was signed fall into line with the interior where the picture
is. The simple architecture on the canvas contrasts pleasantly with
the more elaborate design of the Supreme Court Room. Note again how
the more elaborate architecture in the picture of Roman law suits the
same interior. It is, however, in the management of colours that Mr.
Herter does most to harmonize the canvases with the hall they
embellish."

THE HEARING ROOM


The Hearing room is situated, like the other principal rooms, on the
second floor, and is in the north wing. It is used for hearings of the
State Railroad Commission and other important gatherings which
otherwise might have to be held in the Senate or Assembly Chambers.

The design of this room is very different from that of the other
three. It is carried out in a brilliant, yet harmonious, color scheme,
the walls being of yellow Verona marble with selected Monte Rente
Sienna panels between pilasters forming the panels. The wall base and
floor border is of Porte d' Or Italian marble, which is black and
gold. The room is treated with a coved ceiling, and in the cove are
painted decorations by C. Y. Turner of N. Y. City, representing the
four methods of transportation in Wisconsin from the earliest colonial
times to the present day, the first being "Transportation by Indians
with Horses;" the second, "By Trappers in Canoes;" the third, "By
Stage Coach;" and the fourth, "Modern Transportation by Steam and
Motor." The decorations by Mr. Turner are carried out in a brilliant
color scheme in which the yellow note of the Verona marble
predominates. Two of the paintings are about twenty-five feet long and
(seven feet high, the other two are about twenty feet long and seven
feet high.

The artist gives the following description of his paintings:

"The first panel, opposite the door, represents a party of Indians on
horse back, on an upland, striking the trail. The subject is adapted
from a photograph, by permission, made in the National Park."

"The second panel to the right represents a Trading Station on the
borders of a lake. The Whites and Indians are bargaining for furs, a
great industry carried on during the early settlement of New France.
The canoe is the means of Transportation during that period."

"The third panel represents the Colonial Period; the use of the stage
coach which was universally used before the Rail Roads were
introduced. The coach is halted at an inn and the horses changed; some
of the passengers alight."

"In the fourth panel a modern harbor is shown, in which are introduced
The Steamship, Railway Trains, The Automobile and Aeroplane.
Passengers are alighting from the train and automobile to take a ferry
to the ship."

"The various passengers are grouped and arranged to illustrate the
subjects chosen and to picturesquely decorate the spaces, and color to
harmonize with the room."

THE ASSEMBLY CHAMBER

THE ASSEMBLY CHAMBER is situated on the second floor of the west wing,
and is approximately seventy-three feet by sixty-eight feet by forty-
one feet high. It is lighted from above by means of a large circular
ceiling light of low toned leaded glass. On the four sides of the room
are very flat elliptical arches with pendentive bracketing between.
The speaker's desk and platform occupy the north side, the wall behind
the desk and platform being wainscoted in carved oak, above which is a
mural painting by Edward Howland Blashfield, representing "The State
of Wisconsin; its Past, Present, and Future," the canvas being sixteen
feet six inches by eighteen feet six inches.

The visitors' gallery occupies the space under the three remaining
arches, which are supported on Breche Violette Italian marble columns,
which separate the main auditorium from the entrance lobby and
corridors, which in turn give direct access to the loggia on the west
front and the assembly parlor on the south side of the wing. The walls
of the chamber are finished with South Dover marble, a soft creamy-
white New York marble, the finish of the oak and furniture being a
soft natural one. The decoration of this room as well as that of the
assembly parlor an dits dependencies was done by Elmert T. Garnsey.

The walls of the lobby are lined with Botticino Italian marble, with
matched panels of light Sienna marble. The whole length of the lobby
is brought into correct proportion by the introduction of columns of
Royal Tennessee marble.

The Assembly parlor is finished in Circassian walnut panelling, with
mantels of Sienna marble at the ends and marble tile floor.

The artist has prepared an interpretation of the painting, and a copy
of that interpretation is found in the room. The description reads as
follows:

"The decoration is entitled 'Wisconsin.' The setting is a pine forest
with an effect of late afternoon sunlight-the westering sun. A female
figure, symbolizing Wisconsin, is seated-on a rock among figures which
are intended to suggest her past. Around her, with aquatic plants
twined about their heads and bodies are women, standing and seated,
symbolizing Lake Superior, Lake Michigan, and the Mississippi river,
the bodies of water by which Wisconsin is surrounded. Beside the
figure of the latter is seated Father Claude Allouez, and behind her
are Nicollet, Radisson, Des Groseilliers, Le Sueur, and De Langlade.
Further to the right is a color guard from one of Wisconsin's
regiments of '61. Opposite Wisconsin a female figure 'Today' points
through the woods toward the Capitol, which is dimly seen in the
distance. Behind her is the 'Present' typified by figures of
lumbermen, miners, and farmers with their families. At the extreme
right of the picture is a squaw with an Indian who shades his eyes
from the light, suggesting the order of things entirely passed away,
and at the extreme left a figure symbolizing the 'Future' shelters her
little 'Lamp of Progress' with her band and listens to a figure of
'Conservation of Force' who tells her to take care of her trees.

Since the painting was placed on the wall a badger has crept in and
made himself at home."

An electric voting machine has been installed in the Assembly Chamber.
By the use of this system each member of the Assembly sitting at his
desk may instantly record his vote yes or no upon any question
submitted to the body, and the record of the vote appears at once upon
the board which is placed in front of the gallery on the east side of
the chamber. On the desk of each member is a device by which lie can
tell how he has voted without reference to the board. Any number of
changes may be made until the vote is closed; the changes will not
interfere with or affect the computing of the device. When the vote is
announced closed by the Speaker, the Chief Clerk, by merely opening a
switch, shuts the entire system off making it impossible to manipulate
the keys until the machine is again cleared. The result of the vote
will show immediately at the Speaker's and Clerk's desk when the
switch is thrown. A permanent photo-graphic record of the entire board
with the names of the members and their respective votes is also at
once made and is avail-able in twenty-four seconds.

This voting system, invented by B. L. Bobroff, a consulting engineer
from Milwaukee, Wisconsin, is entirely new and the first one to be
used in the world.

THE SENATE CHAMBER

THE SENATE CHAMBER occupies the corresponding location in the South
Wing on the same floor, and is connected by a private passage way
through the southwest pavilion to the Assembly Chamber. It is an
unusually attractive room, circular in plan, thirty-one feet in
diameter and thirty-one feet six inches high, with galleries for
visitors on three sides. It appeals to the visitor as a model in
proportion and in the handsome marbles of its massive pillars and its
beautiful walls. The walls are of Italian Tavernelle marble, a soft
tone, cream yellow, with a great deal of texture, but very little
veining. The columns and pilasters are of Escalette marble from
France, very rich and beautiful, in which many colors are harmoniously
blended. Behind the president's platform there are three panels,
between the free standing columns, in which are mural paintings by
Kenyon Cox, each being eleven feet six inches by seven feet two
inches. The three together form on composition, representing "The
Marriage of the Atlantic and Pacific," symbolic of the opening of the
Panama Canal. While the paintings are strong in color, they were
studied to be placed between the free-standing columns, and admirably
accomplish their decorative purpose, adding materially to the beauty
and dignity of the chamber. The artist provides the following
interpretation:

"The three panels are to be taken as one picture, symbolizing the
opening of the Panama Canal. In the center, America enthroned, blesses
the union of the two oceans. The Atlantic, typified by the figure of
Neptune, places a ring on the finger of a goddess with a steering oar,
who represents the Pacific. Below two children support the shield with
the arms of the United States.

"In the side panels Peace and Commerce welcome the nations of the
world to the ceremony. To the right, behind the Atlantic, Peace
welcomes France with the palette of art, Germany, with the book of
Science, and Great Britain. A muscular boatman drags at the barge with
gilded figurehead. In the opposite panel Commerce, with the attributes
of Mercury, beckons to Japan and China, behind whom is a figure
symbolizing the Semitic races. Seated in the prow of the boat is the
garlanded figure of Polynesia. A water nymph of the local stream plays
beside the barge."

Before leaving this part of the building, the visitor should look into
the Senate parlor to see the mahogany furniture and walls, and to take
especial note of the decorations and of the mantels and plinth of
Greek marble. This, too, is related to the Greek marble in the dome,
but is more distinct and of a finer grade. It is hard to conceive
anything in the way of marble more strikingly beautiful than this.

The ceiling decoration is, probably, the finest in this country. The
work comprises four panels, two central ones being allegorical, and on
each end a decorative scheme in gold and color with a cherub in each
corner holding a border of garlands. The two central panels are
featured with figures representing Diligence and Wisdom,
characteristic, according to tradition, of the solons. Surrounding
these are six other figures representing Fidelity, Truth, Science,
Knowledge, Strength and Forethought.

The cornice is done in elegant gold border effect, glazed down to
harmonize with the soft tones in the color scheme, and when the
draperies for the windows are in place the room will be one of the
most luxurious in the entire building.

THE RESTAURANT. The Capitol Commission has provided, in the center of
the basement immediately underneath the rotunda, a large room designed
to give facilities for a restaurant with proper kitchen, serving
pantry, etc. This room with its walls and piers of white Eschallon
marble, and ceiling by Mack, Jenney & Tyler, is worthy of inspection.
It is interesting to note that this marble was first specified and
imported from Italy and delivered in Milwaukee, to be used in the
Assembly Chamber, but was rejected by the architects as not up to the
required standard, and it was then decided to use South Dover marble
instead. The material was later procured from the importers and used
in the restaurant for the same cost as that of the Kasota Stone.

There are many other rooms in the building worthy of inspection which
have not been particularly described, as, for instance, the parlors,
the private offices, and suites of committee rooms. provided for the
use of senators and assemblymen; the consultation room for the
justices and their suites of offices; the legislative and reference
library; and the "Memorial Hall" for the use of the Grand Army of the
Republic, with war relics, portraits of Wisconsin soldiers, and the
treasured battle flags of Wisconsin regiments in the Civil War and
other wars. The business offices of the many departments housed in
this building will also bear inspection, all of which have been
specially designed to meet the administrative requirements, in a
simple and dignified manner.

HEATING AND VENTILATING

Great care has been taken to design as complete a system as possible
for the heating and ventilating of the building. It is heated by
direct steam heating apparatus, and the radiators are concealed under
the windows in wooden and metal enclosures. Entirely independent from
the direct heating system, is a complete system of ventilation which
supplies whatever warm air is needed, in addition to that furnished by
the direct system. The air is supplied to the various rooms by fans in
the basement, and exhausted from the same by fans in the attic of each
wing. The intakes for the fresh air are situated in the pedestals on
the podium terrace, which carry the groups of statuary. The fresh air
is drawn through the shafts, extending from the base of the dome to
the basement, where it is passed through air filters and washers, and
then over heating coils from which it is distributed to all parts of
the building. The temperature of the air and its moisture and quantity
are regulated by an electric automatic apparatus, and each room is
also provided with thermostatic heat regulation.

SWEEPING SYSTEM. A vacuum sweeping system has been installed in the
building with outlets conveniently located to reach all rooms and
corridors.

REFRIGERATION. A refrigerating plant has been installed in the
basement which provides ice water from the deep well on the property
to many drinking fountains, which are conveniently located in the
building, and outside the building on the terrace.

ELECTRIC WIRING. Wires have been installed for telephones and
telegraph, bell calls, night watch, and automatic clock service.

CLOCK SYSTEM. This system is so constructed that one hundred and
sixty-eight clocks are running in unison with one master clock. Each
minute air is compressed along through the pipes to each clock moving
the hands every minute.

CAPITOL COMMISSION OF WISCONSIN

The Capitol Improvement Commission consisted of R. D. Marshall, 0. H.
Ingram, E. R. Reynolds, H. W. Chynoweth, J. B. Winslow, J. A. Van
Cleve and Governor Robert M. La Follette.

After the passage of Chapter 516, Laws of 1905, the Commission was
reduced to five members, Justice R. D. Marshall and Chief Justice J.
B. Winslow resigning.

On the resignation of E. R. Reynolds, George H. D. Johnson was
appointed Commissioner. The Commission then consisted of President 0.
H. Ingram, J. A. Van Cleve, George H. D. Johnson, H. W. Chynoweth, and
Governor J. 0. Davidson. Mr. Chynoweth (died and William F. Vilas was
appointed. Later he died and Magnus Swenson was appointed. Succeeding
J. 0. Davidson as governor, Francis E. McGovern became, ex-officio,
member of the Commission. To fill the vacancy caused by the death of
George H. D. Johnson Alfred C. Clas was appointed.

The Commission now consists of 0. H. Ingram, President; J. A. Van
Cleve, Magnus Swenson, Alfred C. Clas, Governor E. L. Philipp, Ex-
officio, and Lew F. Porter, Secretary.

MARBLES AND GRANITES USED IN THE INTERIOR OF THE CAPITOL

ALL FLOORS

Walls in main corridor, all wings except west, in grand stair halls
and rotunda	
STONE		NAME			QUARRIED
Limestone	Kasota			Minnesota 

Walls in main corridor, west wing            
Limestone	Mankato			Minnesota

Door trims, wall bases, and balustrades in principal corridors, grand
stair halls and rotunda	
Marble	  	Hauteville		France 

Balusters in grand staircase	
Marble		Hawkins Co. (Brown) 	Tennessee

Treads and risers of main stair cases.  Wall base, treads and risers
in secondary stairs.	
Marble		Meadow Gray		Tennessee

ROTUNDA

Sixteen piers supporting circular gallery
Granite		Labradorite		Norway

Pilasters behind the 16 piers of Norway Labradorite
Granite		Montello		Marquette Co.

Pilasters in corridor encircling rotunda, ground floor
Granite		Wis. Green		Marathon County

Baluster in central gallery balustrade
Marble		Levanto 		Italy

Large columns and pilasters, greem Frieze, brown, above columns
Marble		Tinos No. 3		Greece

Frieze, brown, above columns
Marble		Numidian		Algiers

Decorative design in center of rotunda floor
Marble		Sienna, several varities	Italy

Surrounding center design
Marble		Several varieties	Europe

GROUND FLOOR

Columns between entrancee lobbies and main corridors, and wall base in
entrance and office corridors
Marble		Napoleon		Missouri

Colums separating main corridors from stair halls
Marble 		Roseal			Tennessee

Piers in grand stair halls		
Granite		Wis. Green		Marathon Co.

Part of floor in entrance lobbies, main and secondary corridors
Marble		White Rutland		Vermont

Border to floor in entrance lobbies, main and secondary corridors
Limestone	Athens			Joliet, Ill.

Secondary border to floor
Marble		Lyonaise		Vermont

FIRST FLOOR

Piers above the Wis. green mentioned above
Granite		Waupaca Red		Waupaca Co.

Piers in connecting corridor about rotunda
Granite		Athelstane Gray		Marinette Co.

Matched wall panels in main corridors, and fountain in lobby of
governor's recepttion room
Marble 		Sienna, several varities	Italy

Mantel in executive chamber	
Marble		Botticino		Italy

Fireback in fireplace in Governor's reception room
Marble		Champville		France

Part of floor in main and secondary corridors
Marble		White Rutland		Vermont

Secondary border in floor	
Marble		Sylvan Green		Vermont

Floor in office corridors
Limestone	Athens			Joliet, Ill.

Border to floor in office corridors
Marble		Pink Tenn.		Tennessee

Wall base in office corridors
Marble		Napoleon		Missouri

SECOND FLOOR

Pink frieze in cornice above entrance to lobbies of legislative
chambers
Marble		Numidian 		Algiers

Plaques bearing inscriptions over doorways to senate, assembly,
supreme court and audience chambers
Marble		Sienna			Italy

Columns at entrance to lobbies of legislative chambers
Granite 	Wausau Red		Marathon Co.

ASSEMBLY CHAMBER, PARLOR AND LOBBY

Lobby
Marble		Botticino		Italy

Panels in lobby and mantels in parlor
Marble		Sienna			Italy

Columns in lobby
Marble		Royal Tenn.		Tennessee

Columns and pilasters in chamber
Marble		Breche Violet		Italy

Walls of chamber
Marble		South Dover		New York

Wall in the base parlor
Marble		Verde Antique		Vermont

SENATE CHAMBER, PARLOR AND LOBBY	

Walls and pilasters in lobby.  Walls in chamber
Marble		Tavernelle Fleuri	Italy

Large columns and pilasters in chamber
Marble		Escalette		France

Mantels and wall base in parlor
Marble		Verte Antico		Greece

SUPREME COURT CHAMBER AND LOBBY

Chamber and lobby
Marble		Botticino		Italy

Panels in lobby
Marble		Sienna			Italy

Large pilasters in chamber
Marble		Breche Corralline	Italy

Columns in rear oof judge's platform
Marble 		Benou			France

Capitals and bases of columns	
Marble		Hagerstown		Maryland

Register faces
Marble		Roseal			Tennessee

Matched panels	
Marble		Formosa			Germany

AUDIENCE CHAMBER

Audience chamber, north wing
Marble		Yellow Verona		Italy

Wall base, audience chamber
Marble		Porte D'Ore		Italy

Panels between pilasters
Marble		Monte Rente Sienna	Italy

SECOND FLOOR (continued)

Pilaster flanking stairs on second floor
Granite		Pike River Red		Marinette Co.

Part of floor in main and secondary corridors
Marble		White Rutland		Vermont

Border in floor
Marble		Verde Anique		Vermont

Floor in office corridors 	
Limestone	Athens			Joliet, Ill.

Border to floor in office corridors
Marble		Pink Tenn.		Tennessee

Wall base in office corridor
Marble		Napoleon		Missouri

THIRD FLOOR ATTIC

Wall bases and floor border in office ccorridors
Marble		Meadow Gray		Tennessee

BASEMENT

Walls of restaurant
Marble		White Eschallion	France