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