;«IA •''/■.' Jlt^aca, ^em ^orfc COLLEGE OF ARCHITECTURE LIBRARY cornel) University Library NA 4412.M6M66 Minnesota State Capitol number. 3 1924 015 361 375 The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924015361375 TH^ CHIC;^ao - MIN2^^E^l>OLIS — ST. F»^UL. - NEW YORK October 1905 j^ j^ j^ Price $2.00 Special design for Minnesota 5tatd Capitol Approved by CASS GILBERT HARDWARE CONTRACTORS Architects and Builders should remember that ■vve make a specialty of of contracting for Fine Builder's HardTvare We give every job our careful personal atten- tion, insuring your get- ting the best for your money. GARDNER HARDWARE CO. 304-306 Hennepin Ave. MINNEAPOLIS CAPITALS IN COMPO AND CEMENT Architectural Decorations OF EVERY DESCRIPTION Capitals for Exterior. Also Oak and Birch in Classic and Modern Designs. Ceilings, Cornices, Coves, Friezes, Etc. The Decorators' Supply Co. ai5 South Clinton St., Chicago, ill. HAROLD JOHNSON, B 216=217 Lumber Exchange, MINNEAPOLIS You Have Tried the Rest Now Use the Best CAREY'S MAGNESIA CEMENT ROOFING WE ALSO CARRY Special Vulcanite Pure Asphalt Roofing ^ Turtle Back Rubber Roofing \A^. S- IMOTT OOIVI DEERE a WEBBER BUILDING Finest Office and" Warehouse in the Northwest 21,300 Square Feet Rooffing Used 200-206 FIRST AVE. S. Sole Northwestern Agents. MINNEAPOLIS, MINN. to ■*t^. ^' Unr. The Western Architect AN ILLUSTRATED MONTHLY JOURNAL DEVOTED TO ARCHITECTUREAND ALLIED ARTS Entered November 24th, 1902, at Minneapolis, Minn., as second-class matter, .under act of Congress, March 3, 1879. Vol. 4 OCTOBER 1905 No. 10 THE WESTERN ARCHITECT IS PUBLISHED ON THE 15TH OF EACH MONTH BY THE WESTERN ARCHITECT PUBLISHING CO. (Incorporated.) F. A. GREENLAW, General Manager. ROBERT CRAIK McLEAN, Editor. Devoting an entire] number of an architectural jour- nal to the illustration and description of one structure, un- less the subject is of paramount interest, would scarcely be just to the mass of subscribers, but we feel that in set- ting' forth the details of the new Minnesota State Capitol in as complete a form.as the many difficulties we have had to encounter through a national strike of printers will allow, we are excusable in this instance, because of the importance of work presented. While there is nothing extraordinary in this edition excepit its size, it in some degree indicates the policy of the Western Architect, which is to illustrate only the best examples of contemporaneous architectural art. In this we do not mean mere structure, but every example of premier excellence from landscape to paintings that is produced in the United States, giving preference to no artist because- of his name, or locality because of its pop- ulation. Every endeavor and influeiice is used to search these out, together with text matter of^ equal value. But it is only with the sympathetic co-operative assist- ance and suggestion of the , members in the profession that this' standard of excellence and representative' value can be maintained. The subject of architectural competition has for the past thirty years been an active cause of controversy, be- ginning with the doubt in the minds of those in the pro- fession whose artistic instincts found in the contest for financial gain something- repugnant and extenetive, to a auiesition whether it was professional to even discuss corrDpetitiions in larchitectural meetings. This high plan of ethical procedure, particularly in public work, soon decended to the level of a "scramble for jobs" in which the methods of the lobyist entered more largely into the result than the architectural talent displaved in the design. It took long years of effort on the part of the architectural societies and journals tO' counteract this ; and now, while not eradicated, the practice of obtain- ing designs by equitable competitions is becoming so well establisihed that the former method is the exception rather than the rule. The gradual education of the public is not alone the cause, for the disaster that follows any other course has been so often experienced as to become a powerful deterrent. To issue an "invitation to compete for plans" that gives no surety of proper judgment or equitable tr'eatment, at once bars those issuing it from obtaining any but the most mediocre services in design and plan. These obtained, the' manipulation of contracts follows, and money is spent for buildings that never, in arti-or pur- pose, meet the requirements of the people, and while there are many reasons why it is- better to appoint a known architect than trust to a competition to produce one that is unknown, there are other reasons why public structures will always be designed through competitions, until the profession in general, as son-ie few do now, refuses to enter them under any consideration. Next to the importance of forming competition invi- tations for public buildings upon lines acceptable to the architectural profession, come those structural forms that ensure the greatest security against fire. The fallacy that is creeping into structural methods through the re- vival of the use of cement and its undoubted fire resisting quality, is creating a divergence from safe and practical fireproofing, and allowing the name of "fireproof" to be applied to structures that are not even slow burning. The Capitol is an example of the highest form of fire- proofing as it -is of design and decoration, and its hollow tile walls, ceilings and partitions give not a fancied but a real security to the property of the state. Alrieady the manifest wealth of the, west has begun tO' appear in the erection of public buildings, and if these are designed by .architects chosen for their Idesigning ability, and if the hollow tile methods thait every conflagration has proven the most oerfect safeguard be used in their con- struction, these 'will give both- beauty and security to the center of the state or county activities. THE WESTERN ARCHITECT THE NEW MINNESOTA STATE CAPITOL AT ST. PAUL. INNESOTA, in the completion of her State Capitol, has placed herself first among the states' of the Union in point of art, as she has long- held a premier position in her natural beauty and coiii- rniercial ad)vancem/ent. WWile 'there are other Western states still in the Egyptian darkness of inartistic capitols, the designs for which were controlled by the 'selfish interests of the lob- byist and the willful ignorance of those who have charge of the people's interests, Minnesota, through a board of comrnissioners that were at once honest and practical, secured, through a properly organized comoetition, the services of one of the most talented architects the country has produced. It is notable that the last expression of architectural design in public buildings should be made in k Western state. The capitol of Connecticut at Hartford and that of New York at Albany, stand first in point of design in the East. The picturesque capitol of Tennessee at Nash- ville, built befone the war, stands as an example of the pure design adopted from classic forms that produced the National Capitol at Washington, that of O'hio at Columbus and many of the old country residences throughout the South. But ;it is the decoration and embellishment of the interior that gives to this building its main value from an art standpoint in contemporaneous design. The design of the architect in selecting stones of harmonious shad'es and texture, working in conjunction with the artists who produced those compositions that may be considered merely decorative, has given to the State of Minnesota an educational feature that for gen'e- rations will be a liberal education in architecteral design and decorative art to the peoDle of tihie state. A celebrated architect once said, "competitions are a, necessary evil and must be Irecognized." This is the 'fundamental principal underlying all corripetitions for architectural work. That competitions are an evil and must NOT be recognized is also held by a large number of the best practitioners who refuse to enter them-, but all reputable architects make it an inviolable condition that when a competition is proposed it must be according to certain rules that have been found absolutely necessary for their proper guidance, and to secure their adherence to equitable lines. This position taken by the profes- sion not only gives architects the only chance possible for receiving proper treatment but is singularly ef- fective, as any other course is almost sure to end in un- desirable structures of mediocre design coupled with all the evils w'hich arise from the mal-administration that is sure to follow any raanipiulation of a competition for architectural services. W'hen any othier course than that prescribed by the architectural code is pursued in inviting competition in design for public buildings, it is direct evidence of a desire to manipulate public contracts, or From Painting by S. H. Andrews. SAINT PAUL, MINNESOTA, IN 1856, Showing the Old Capitol THE WESTERN ARCHITECT - Photo by Edmund A. Brush. DETAIL OF SENATE CHAMBER. DETAIL IN SENATE CHAMBER. THE WESTERN ARCHITECT an- ignorance that is bad on the pjart of those in charge of the peoples' interests. The new Capitol of the State of Minnesota is the direct result of the strict observance of the ethical rules established by architects for the proper guidance of competitions. In the instructionis to architect's issued by the commissioners April 15, i8q=; the fundamental points of this code were incorporated. Such as: Competing architects must be guaranteed that the commis- sions for the execution of the work will be given to the archi- tect whose design is placed first by the judges in the comp-^- tition. But these were the rules of Kihe second competition, and were not contained in the first, which was abandoned in consequence, as soon as it became apparent that ar- chitects of reputation could not be secured under its provisions. The experts employed by the board were Photo by Edmund A. Brush. INTERIOR OF DOME FROM CENTER OF DOME ROTUNDA. The face of the drawings must be left entirely free from all distinguishing marks or characters that will afford a clue to the author. Drawings must be accompanied by an envelope contain- ing the name and address of the author, to be opeiied only by the judges, and after the competition has been decided. In judgment on the designs, the Board of Commissioners will be advised by a competent committee of one or more architects of reputation, who are not competitors. Edmund M. Wheelright of Boston and Henry Ives Cobb of Chicago. Their choice of the design by Cass Gilbert of St. Paul was ado'pted by ithe board as the de- sign for the Capitol, which was then estimated to cost $1,500,000 but ultimately cost about $4,000,000. The commissioners appointed to take charge of the work for the state were, Channing Seabury, Chairman, H. W. Lambeston, George A. Du Toit, C. H. Graves, THE WESTERN ARCHITECT u 3 ui S in £9 3. S .SP M < Cd X H O H tn Id > < .J a, S -W H O u CeI H THE WESTERN ARCHITECT 9 E. E. Corliss, John DeLaittre and James McHench, the latter dying shortly after the oommission was formed. Frank E. Hanson was elected secretary, and the -practi- cal work of the commission has remained in the hands of the chairman and secretary, and to the faithful and patriotic work of these two gentlemen the state owes the successful competition of the building in .every material sense. Its art stands a monument to its architect, but the securing of the nieoessary funds, their prompt use and careful expenditure (which is phenomenal in the his- per cent On the second, land two per cent on the remain- der, with $5,000 upon the completion of the work as an honorarium. Although the fee of five per cent as a minimum charge for architectural services has been held as "usual and proper", and must be paid to obtain the services of many, it is a business ratlier than an ethical rule, and so long as the competition is equitable and the professional status is maintained in other respects, the reduction of the fee by a sliding scale, as in this case, is not objectionable in a professional sense. DETAIL OF CEILING DECORATION IN SECOND STORY ROTUNDA CORRIDOR. tory of state-houses) in the hands of Channjng Sea- bury and the secretary should be remembered with gratitude ;aind appreciation by every citizen of the state. The sum of $3,000 was set aside to be awarded as premiuiTJs in the competition. The design taking first prize was awarded no premium other than the award of the building, the amount being divided between -the sec- ond, third, fourth and fifth prize designs. Five per cent was paid on the first $500,000, of the total cost, four This consummation of a labor by the commissioners in charge of the erection of the Capitol for the people of tlie state, covering ten years of responsibility such as has never bieen laid upon any other of her citizens, was only accomplished through their business ability aided by the highest degree of patriotism, and sustained loyally by the representative;s of the people in the legislature. Against them were massed miany difficulties, some, like the steady increase in the cost of labor and mater- ial, had to be met by an increased cosit in the structure, 10 THE WESTERN ARCHITECT but which, as all the labor and most of the material was a product of the state the citizens who paid the taxes received back in profits. This was not always discern- ible to the caroing critics who opposed, and for that mat- ter still oppose, every move made by those in charge of the Capitol. It was only the other day that a local sheet printed a criticism on the restaurant in the basement beniefit of the state, and the completed work will stand a monument to their faithful service when their critics, with their petty jealousies and greed, will be forgotten. In the rapid rise of prices through many delays in construction, it is natural that the first estimate of $1,500- 000 was lost sight of ; and then as the building progress- ed and the work in other notable structures, such as the DETAIL OF CEILING DECORATION IN FIRST FLOOR ROTUNDA CORRIDOR. of the Capitol, placed there entirely for the benefit of visitors and the state employes, stating that "three prices were charged, the prices referred to being as low as those of the lowest priced ' restaurant in the ■ city. Through ten years tliiese staite siervantis have been com- pelled to endure similar criticisms, but to their honor it can be said that they have never deviated froim the line of procedure which they knew to be for the ultimate Congressional Library, the State House of Boston, and the Boston Public Library, showed a desire by the peojle that the art side of die nation's progress should be re- presented in its decorations, the cost, which at first seemed adequate, was from year tO' year increased to meet the bettermenits that from luxuries had risen to necessities. But it is probable that no other structure in the United States of its size and stability cost as little money, nor THE WESTERN ARCHITECT ]1 presents so much that will be penmanently available and beneficial to the people as an educational factor as this newly completed state house of Minnesota. While by photographs, which in mechanical execution cannot be surpassed, taken largely from points of view selected by the architect, or his representative, Mr. Geo. H. Carsley (who' as superintendent of the work through- out should receive a full measure of credit) the interior and exterior are fully illustrated, some of the dimensions may help to give a better comprehension of the size and main features of the Capitol. The extreme length, east and west, is 432 feet 10 inches, not including the entrance steps. The width, .through the CMitral portion, from norrh to south, not including the entrance steps, is 228 feet 3 inch- es. The average width of the eaist and west wings is 120 feet. The average width of the north wing is 106 feet 6 inches. The: extreme height of the dome from the ground is 220 feet. The average heig*ht of the outside walls from the terraoe level is 69 feet. The average depth of outside walls from the grade terrace to bottom of footings is 14 feet. The total cubical contienits is 5,060,955 cubic feet. A sub-basement is provided under the entire building, insuring a dry basement floor, as w|ell as providing space ioT the piping and madiinery. The basement story is practically above ground, having all the window sills above the terrace level. Entrances to the basement are provided at the soutli front, at the east and west ends, tsand on each side of the north wing. Tlie basement contains ifclie rooms of the state histori- cal society, the offices of the board of health, the dairy commissioner, etc. The elevators — two on either side of the main entrance^start from tihis floor. The first story has entrances in the center of each facade, opening into large vestibules and corridors lead- ing to the rotunda, the main corridors lextending the full width of the building, east and west, and north and south. The rotunda is 60 feet in diameter, and opening from it are the inain stair halls and corridors. Stairways rise from this floor to the second stor^', these stairways being located in the center of the east and west wings, and on the main axial line of tllie building. The first story is occupied by the administrative offices, including the offices of the governor, secretary of state, attorney general, state treasurer, auditor, etc. On the second floor are placed the senate chamber, the house of representatives and the supreme court, with the working part of the library, the judges' chambers and the principal committee rooms. The senate chamber is a domed room, 55 feet square, and located in the center of the west wing. Tlie supreme court room is located in a corresponding position in the east wing and is somiewhat smaller than the senate. The supreine court room also has a domed and vaulted ceiling, and both of these rooms 'are lighted from above by great skylights deisigned to conform to the shape of the ceiling. Tlie house of represenrt;atives is placed in the north wing, and is a semi-circular room entirely surrounded by galleries. Thie ceiling of this iroom lis in the form of a half-dome, penetrated by great arches opening into the galleries at the third floor level. The extreme width of tfhe house of representatives at the floor level is /'';/ feet, the extreme width at the gallery line being loi feet. This room is lighted from the top, and by win- dows above the gallery line at each side. JURISPRUDENCE. By Daniel Chester French. Copyright by D. C. French 12 THE WESTERN ARCHITECT o ai o o H < Q O H U E-i III I s < h O Cd o H b O a o X H •8 h » U D O o THE WESTERN ARCHITECT 13 On each side of the house of representatives pri- vate corridors extend from the main 'corridors to the re- tiring rooms, and afford additional lobbies for the use of the members of the house. There are private corridors, also, on each side of the senate and supreme court, giving access to the various committee rooms and other apartments which will be used in conjunction therewith. The working part of the law librar^'- and the librarian's room are also located in the second story, adjacent to the supreme court. The Itlhird story contains additional committee rooms, meeting room for state boards, and the main part of the law library. The galleries of the senate and the house Constructively, the Capitol, as in its embellishments, is the latest expression in modern design. Its frame work is of steel, set in walls of brick and stone, and sup- ported by columns of granite and miarble. It is fire- proofed both in floors, partitions and roof, by the Nation- al Fireproofing Company's system and every part of the steel framework is protected with hollow tile, the only cor- rect, and economical, and practical method by which the steel frame work can be adequately protected from fire, and successfully resist its encroachments. In a struc- ture so valuable as a state capitol while the initial cost of the building is large, its decorations would be insig- nificant beside the loss that can occur to the archives of the state where any less adequate or untried method of HISTORV-ARCH CARTOON IN HOUSE OF REPRESENTATIVES. Drawing by W. A, Mackay, Designs by Elmer E. Garnsey. of represientatives are, as before stated, in this story, and are made accessible by special stairways and by corridors leading from the eilevaitors. Each story is amply provided with general and spe- cial toilet rooms located at convenient .points. The height of the several stories is as follows : Base- ment story, 12 feet i'n the clear. First story, 17 feet in the clear. Second story, 16 feet in the clear. Third story, of the general level is 12 feet in the clear, varying in the more important rooms. The height of Ithe senate is 55 feet. The height of the supreme court is 47 feet. The height of the house of representatives is 50 feet. fire-proofing is used. The arches that span from steel girder to steel girder, and form a sound proof, dry and at the same time light construction for the tile floors, defy any weight that can be placed upon tliem or any fite that they can be subjected to. This construction is augmented by the Gustavino system of sofits which show their peculiar adaptibility in the groined ceilings of the lower corridors, and the arch under the rotunda, but are concealed in the dome, which is largely con- structed upon .his principle, by the exterior marble and interior decoration. The exterior of the Capitol is one of special beauty, standing as it does on a rise of ground, with sloping lawns, around the base of St. Cloud, Minnesota, gray 14 THE WESTERN ARCHITECT « S -= 5 to <; P5 U M S H to o w o D O in W o H Q <( W iJ en a: W N w K H Q Z < in w OS w > o u z Q THE WESTERN ARCHITECT 15 POWER PLANT. Generators Built and Installed by Electric Machinery Co., Minneapolis. granite, and the superstructure and dome of white Georgia marble. Set in this framework of green it gives to the eye at first glance am impression of Greek purity and massiveness with the delicate modeling of the Taj Mahal. In form the design does not even sug- gest either, but in material, and light and shade, and its fidelity to prooortion, one looks through the mental spec- trum and finds here its nearest comparision. The mechanical equipment is very complete, and is commensurate with the importance of the structure. The powerhouse is located 300 feet distant and is connected with the building by a timnel. The boilers, engines, elec- tric generators, electric lig'hting nlant are all located in this building. Among other accessories the building is eciuipped with the Cutler Mailing System' consisting of two U. S. Mail chutes emT)tying into receiving boxes of cast bronze, made from arc^hitect's snecial design, and pro- vided, as required by the Post Office Department, with locks by means of which the use of the chute in the different stories is controlled by the postmaster. By this means one of the chutes mlai^ be closed while it is being cleaned or repaired, while the mail service of the building is continued by means of the other. It was only after the structural building was com- pleted that the subject of decoartion was seriously con- sidered. It was found that the fine grained Minnesota stone called Kasota, which formerl" had been used to some extent in a rough shape, was susceptible to a fine satin polish and its rich cream shade was extremely de- corative. This was therefore used for the main stair- way, wainscoating, etc., and blends well with other stones and rriarbles. It was in the purely decorative feature that the ar- chitect and commissioners won their greatest success. Deeming it unwise to give tb a building, that had so many admirable architectural features, destined to represent in its entirety all that was best in architectural design, construction and equipment, and the official center of a great state, a commonplace decoration, it was decided to represent the wealth and cultureof the people by such an interior as the best art of the countr^f could furnish. Tlie services of every artist of note in the line of mural work was engaged, and the result is an embellishment that will remain an art heritage to the peoote of other generations. While it gives to the nresent the proud saise of proprietorship in the best that the country has pro- duced in decorative art. While other states will emu- late, there will be few that can surpass this Minnesota building, but each state and icounty, in the design and de- coration of their buildings, will take lessons from this, so that not only the state but the country at large owes much to those who have built so well. Of the thousands who visit the Capitol, each will leave with a higher appreciation of deconative and con- structive art, and to those who look into the neasons of things not only the architect and the commissioners will be credited with the beatity of the structure, but each craftsman who contributed to its completion will come in for his miead of praise. 16 THE WESTERN ARCHITECT s < s u Id < Z w < H ■< ai O M K E-' •< H O W z z S M THE WESTERN ARCHITECT 17 THE COLOR DECORATION OF THE MINNESOTA CAPITOL. By Elmer E. Garnsey. N view of the importance of color in architecture, and the necessity of some know- ledge of architectural desi'gn in decorative painting, it would seem that something of the one might be taught in our architectural schools, and that the study of at least the elements of the other should have place in our art schools. Not that either school should becomje hybrid in character, nor the student be embarassed by a multi plicitv of ideas; on the contrary architecture is pictoral in no small degree, questions of color are constantly brought before the architect, frequently to his distressT while the lack of the simplest notions of architectural tradition on the part of the painter or illustrater who essays mural nainting, is unhappily apparent,'jpn more than one wall of our recently decorated buildings. The architectural student should gain at least a knowledge oi the harmonious association of colors and textures; the student of pai'nting know at least the orders and the traditional use of architectural ornament. The finer distinctions of tone and value sought by the painter of pictures may demand not only a rarer talent, but a more intense study and observance than the arch- itectural student may command, and the student at the OLD STATE CAPITOL. art school may find the T-square and triangle less to his liking than the brush ; but without trespassing upon the special work of either, both m.ight acqui're such el- emental knowledge of that which is essential in both arts, which would add greatly to the appreciation of all the arts that are fine. It recently befel that in a class of forty young men, in an American school of architecture, that only six knew even the names of the primary and secondary colors; and with this fact in mi'nd, it is hardly to be wondered at that the association of brick and stone, of various colors, is so frequently a source of artistic anguish, in our parti-colored build- ings. In the case of the mural pointer, he too often Drawn by A. R. WIillett. ' Designed by Elmer E. Garnsey rejoices in the strength of his drawing and is glad in vibrancy of his colors, whi'je he is a pigmy in scale, and a beggar for a border. i This may seem quite fundamental, and it is. It is in the fundamental that we are too often at fault, the architect being as ignorant of color as is the painter of architectural design. The subject may seem also to be foreign to the matter of the color decoration of the Minnesota Capitol, upon which subject the editor of the Western Architect has asked me to write; but it does offer the clue upon which the success of the color decoration depends, namely, the appreciation of color and the knowledge of its harmonious use, on the part of the architect of the building, Mr. Cass Gilbert. From the beginning of his studies of the plans of the Capitol to its completion, this phase of the work has apparently never been over-looked, nor its importance underestimated. In the selection of constructive ma- terials, their texture and color, in planning for the general color scheme and its details of figure composi- tions and ornament, the finish and patina of woodwork and metal-work, he has exhibited not only his -own 18 THE WESTERN ARCHITECT f 'i .,. f$ "■W. FT i -^^f. ^ Jt^_ THE WESTERN ARCHITECT 19 cultivated taste, but a fine appreciation of the re- sources of tlie artists who have assisted him. In the selection of a local stone, called Kasota, for the general interior finish of the rotunda and corridors. Mr.Gilbert not only recognized the beauty of a material hitherto used only for foundations and retaining walls, but provided, at a very reasonable cost, a basis of color and tone of great beauty, upon which the working out of the entire color scheme most happily depends. It is slig'htly uneven in color, grayish buff, with a kind of sub- dued golden tone, and is everyhere finished with a hon- ed, not polished, surfaceT - Upon this foundation the architect has developed, in logical sequence, richer values of stone and marble, through Istrian and Hauteville, into the superb marbles of Skyos, breche-violette and fleur-de-peche, brilliant and variegated, with highly polished surfaces sufficiently splendid for a king's palace, none too magnificent for the Capitol of a sovereign American State. The rotunda beneath the dome, is built of Kasota stone, up to and including the four great arches which spring from the piers supporting the dome; so that there is here a great mass of this beautiful material forming piers, arcade, pilasters, walls and entablature. Four pairs of polished- granite columns support the great entablature where it spans the arches, the two pairs on the long axis are gray, those on the trans- verse axis a rich. bronze-brown color, not unlike certain of the antique porphyry shafts one sees in the Roman forum. These all have gilded capitals. The frieze in JUSTICE. Drawn by A. R. Willett. DesisQed by Elmer E. Garnsey the entablature is of Minnesota jasper, forming a rich binding course. Panels of Sienna marble are inserted in the piers above the four niches, and seats of Skyros Prawing by W, A. Mackay RECORDS. Designed^by Elmer E. Garnsey Arch Cartoon in House of Represbntativeb 20 THE WESTERN ARCHITECT o n o a u ft S EO S M 9 O tn h O H 2 O H < E-i ai X H O < D a < 3 -> S < o H < U « £ THE WESTERN ARCHITECT 21 marble, flanked by bronze candelabra standing on the floor against the piers, complete the structural color scheme. The four large spandrils between the arches are to be fitted with paintings by Mr. Edward Simmons. COURAGE. Drawn by A. R. Willett. Designed by Elmer E. Garnsey Above these spaces the drum of the rotunda up to the base of the dome is painted in tones recalling the stone color below; the enriched members in the entablature and the railing of the balcony encircling the dome are rendered in dull gold. The dome is divided into twelve vertical panels, painted in deep blue, the dividine ribs and the crown which they support in dull gold; so that the mass of grey orange stone color, heightened with gold, finds its- complemjentary in the deep blue dome above. Shallow penetrations at the base of the dome form lunettes over each of the twelve windows, in which are represented the signs of the Zodiac, painted on car- touches supported by sturdy boyish figures. The great spherical electrolier, suspended from the center of the dome, lends a witchery of light to this in- terior in the early evening; when daylight ahd electric- ity strive for the mastery ; when elusive violet shadows and golden reflections dance along the walls and play over the dome. But at night, when all lights are out save that which steals up through the heavy glass pan- els of the bronze star imbedded in the center of the ro- tunda floor, and the watchman and his lantern are out of sight, mysterious shadows seem to float out of the arched recesses, advancing and receding with weird eflfect, while the vast dome swings overhead, as vag- uely blue as Capri's grotto. at midnight. The great system of corridors on the first floor, en- circling the rotunda and extending from end to end of the building, the arteries of this architectural body have vaulted ceilings and walls of Kasota stone up to the impost line, or, in somie cases, piers of stone, with intervening plaster panels. In design the painted dec- oration takes up and carries over the lines of the piers, accents the lines of the cross-vaulting, and borders the penetrations. In detail the ornament consists of bands of fruit and grain, panels of color in circles of hexagons, with conventional bands and borders. The Kasota stone gives the color key, and the ground of the vault- ing is solidly painted in the lighter and grayer tones of the stone. The larger panels are in blue or violet, complementary to the stone color, the ornament in gray greens, reds and yellows, which either force the stone color to a stronger note by contrast, or prolong its own quality along the vault. All of this work which comes into direct relation to the stone construc- tion is rendered with but little modelling, and with a quality of finish that 'is slightly reminiscent of mosaic- work. The wall panels between the piers are in Pompeian red, with borders in ivory and yellow, painted in heavy color or "impasto." The surface of these panels is finished with a dusty patina, then waxed and polished to about the same lustre as'the stone which frames them. Against these surfaces the bronze candelabra with cream-white globes appear with fine effect, their brilliancy reflected in the glowing red of the panels. This Pompeian scheme is carried through all the first story corridors, with varied detail of ornament. Mr. Gilbert remembered Venice when he designed FREEDOM. Drawn by A. R. Willett. Designed by Elmer E. Garnsey the Governor's Reception Room, with its high wainscot and elaborately carved wood-work. The carving is in dull gold, the background picked out in old blue and red. Above the wainscot the wall space, about six feet high, is panelled by richly decorated pilasters, 22 THE WESTERN ARCHITECT Designed by Elmer E. Garnsey, DAIRY Photo Copyright by Curtis Painted by Arthtr Willett. Designed by Elmer E. Garnsey. HORTICULTURE. Photo copyrighted by Curtis & Cameron. THE WESTERN ARCHITECT 23 which spaces are receiving paintings by Messrs Frank J. Millet, Douglas Volk, R. F. Zogbaum and Howard Pyle. The subjects are historical, relating to the Discovery of the Falls of St. Anthony, the Indian treaty of Traverse des Sioux, and Minnesota's proud share in the battles of the Civil War. The ceiling and cornice of this room is entirely in dull gold, with some picking ont in dull blue and green in the cornice ; so that the work of the painters will be set off to excellent advan- tage, becoming pictures framed in gold, and less mural in character than the paintings elsewhere in the build- ing. Heavy electroliers with prismatic glass pendants hang from the ceiling, and window-hangings of red with gold applique, and a red rug complete the color scheme, the general effect of which is decidedly "official" in character. The second or "grand floor" of the Capitol is reached by two stone and marble staircases, which ascend from either side of the rotunda, on the miain axis of the build- ing. These are built of Hauteville with balusters and panels of Skyros marble on the landings. Ow the sec- ond floor, surrounding the stair openings, stand eigh- teen great polished breche-violette columns, with Hauteville bases and gilded Corinthian capitals, all sup- porting the entablature of Kasota stone which runs en- tirely through these halls and the rotunda. The effect of these beautifully veined shafts, with an indescribable variety of color, running through delicate yellows, violets, greens and grays, with an occasional band or spot of gray purple, is superb. The staircase is roofed by a barrel-vaulted metal skylight, filled with a simple pattern in slightly amber glass, giving a delicate golden tone to the light that floods these spaces, mellowing and uniting the effect of the vari-colored marbles and decorations. At the farther end of the skylight in each hall, a large lunette offers an admirable space for a mural painting ; and these opportunities have been splendidly realized by the artists commissioned to fill them. The lunette at the Supreme Court end is by Mr. Kenyon Cox, that at the Senate end by Mr. H. O. Walker. There are also six smaller lunettes in each hall, at the base of the skylight vault, filled with paintings repres- enting the various .industries and activities of the State. These were designed by the writer, and executed un- der his direction by Mr. Arthur R. Willett. Each staircase is surrounded, on the second floor, by a corridor, with the marble columns and balustrade on the staircase side ; the opposite walls carry pilasters, corresponding with the columns. In the ceilings beams carry over from columns to pilasters, with deep coffers betw£en. The ground of the coffers is in deep blue, the rosettes and decorated moldings around them in dull gold, with gilded light clusters in the center of each coffer. Between the pilasters are two rows of wall panels ; the upper row have a gilded ground, upon which are inscriptions in red letters. Those in the Senate corridor relate to government and patriotism and those in the Supreme Court corridor to justice and law. These are nearly all from the speeches or writ- ings of great Americans, and some of them from cele- brated Minnesotans. The lower row of panels are much larger, and have a ground of Pompeian red with rich borders of grain, fruits and flowers characteristic of the Northwest. These panels ate highly polished, the remainder of the painting in flat, stony tones. The vista through these corriders and across the rotunda, from, one end of the building to the other, is of the most splendid character. The atmosphere is gol- den in tone, ranging from the dull ochres in the stone below to the gilded capitals above, and this is accented by the complementaries of the violet in the columns and the sumptuous color in the painted decorations^ The entrance to the Senate is at the end of the Stair- case Hall, through a vestibule raised three or four steps above the main floor. At each end of the vestibule are niches in the wall, which are painted in Pompeian yellow, with borders in Greek detail ; the remainder of the walls and ceiling in gray and blue tones, with fret borders. The Senate Chamber is lighted from the eye of the dome which crowns it, and is square in plan. Opposite the entrance is the desk of the presidinf officer, on a raised dais ; and above this is the arched opening of a gallery for spectators, and a similar arch and gallery is above the entrance door. On the right and left walls are lunettes, corresponding with the arches, and these are filled with two splendid mural paintings by Mr. E. H. Blashfield. The pendentives between the arches are decorated with painted compositions of figures and ornament, representing respectively Freedom,, Courage, Justice and Equality. These are in lower tones of color than the lunettes, as being subsidiary to the important decorations. The general color scheme of this room is a low toned ivory, with gold-colored panels in the dome, and gilded stucco enrichments. A band of old blue is carried around the frieze just below the impost line, upon which is an inscription in gold in which the lettering counts as an ornament, filling the entire width of the frieze. The wall panels below this entablature recall the color of the marble, and have gilded borders of fret-pattern. The columns and cornice above the Presiding Officer's desk, and the door architraves and base are of fleur de peche marble, with strong accents of dull violet breaking into a creamy ground. The four niches at the base of the piers are elaborately dec- orated with blue and gold, and the wall panel behind the Presiding Officer's desk is covered with a Venetian pattern in gold, on a ground of deep blue. The capitals of the pilasters and the principal members in the archi- trave are also gilded. There is a subdued richness of color and tone in this room, which has been accom- plished by the association of several artists, whose pur- pose has been to achieve a harmonious result, rather than the exploitation of the individual. - Imttnediately behind the Senate,, and communicating with it by leather doors, is the Senate Retiring Room, 24 THE WESTERN ARCHITECT Designed by Elmer E. Garnsey. THE CHASE. Photo copyrighted by Curtis & Cameron, Painted by Arthur R. Willett. Designed by Elmer E. Garnsey. SOWING. Photo copyrighted by Curtis & Cameron. TSninfAfA Kir &T1.T.UITII 13 VI/tt T WTT. THE WESTERN ARCHITECT 25 a lounging-room for the statesmen during recess. Tlie length of this room is equal to the< width of the Senate, its width about one-third its length. The outer wall has tall French windows, opening on an outside balcony, and a fire-place is built at each end of the room. The ceiling is quite elaborate in design, with three medallions with heavily modelled frames, out- side of which a diaper pattern in low relief i's carried out to the cornice. This ceiling is entirely rendered in dull gold, the medallions in violet blue, with paint- ed borders of oak and laurel. The wall is panelled above the wainscot, the panels covered with an elab- orate pattern in dull gold, on a deep crimson ground. The gilding and ground color has been glazed down to the tone of a fine old book-binding, and is in har- mony with the old crimson and gold of the window hangings and carpet. The Supreme Court Room is at the opposite end of the building from the Senate, corresponding with it in plan, but somewhat smaller in size. It alsoi is square and lighted from its dome, be- neath which are four lunettes, slightly recessed. Two of these spaces have received paintings by Mr. John La Farge, who i's now at work on the other two. The subjects are "The Moral* and ^Divine Law," "The Relation of the Individual tcTthe State," "The Record of Precedents" and "The Adjustment of Conflicting Interests ;" a series of superb compositions, in the splendid color that noi other modern seems capable of producing, and the possession of which would be suf- ficient to make this building distinguished, if it had no other claim to artistic excellence. The general color of the room is about that of Caen stone, with gilded panels in the doime, and a restrained use of gold on the principal architectural members, the decoration by Mr. La Farge's paintings being amply sufficient. The House of Representatives is in the north wing of the Capitol, on its transverse axis, and is entered from the second floor, directly behind the rotunda. It is semi- circular in plan, with the entrance in the center of the curved side. The Speaker's desk is opposite the door, and above it a great elliptical arch spans the chamber and opens above into a public gallery. There is an elaborate skylight in the center of the ceiling, and from this a great coved surface descends to the galkry level. This cove is pierced by five: arches opening into galleries on the curved side of the chamber. A broad frieze encircles the sky- light, the ground of which is gilded, and painted ornament is carried over this surface in ivory, green and red. The pendentives between the arches also have a gold ground, with elaborate designs of oak, laurel, cartouches, eagles, etc. The penetrations are in rich blue, with decorations in green, red and gold. The walls and ceilings of the galleries are painted in tones of dusty blue, making them recede in efifect, froim the more important frontispiece of arches in the foreground. The great arch above the Speaker's desk bears inscriptions in gold, quotations from Thomas Jefferson and Patrick Henry, and at each end, above the supporting piers, are colossal painted figures, representing Records and History, painted by Mr. W. A. Mackay, under the direction of the writer. The wall panels are in gr-ay red, with borders of dull yellow, and the capitals of the marble columns are gilded. On 'either side of the Speaker's dais doors open into the House Retiring Room, which has a high oak wain- cot, a Numidian marble mantel, and long windows open- ing into an exterior balcony. The ceiling is beamed, with carved soifits and supporting brackets. All the or- nament is rendered in dull gold, and the ceiling spaces be- tween the beams are in old blue. There is a wide frieze above the wainscot, uppn which is painted in subdued colors a conventionalized forest scene, great tree-trunks with foliage above, characteristic plants and flowers at the bottom, with an occasional glint of sunlight playing be- tween the trunks in the distance. Above the fireplace a painted cartouche bears this inscription fronr Francis Bacon, "MiCasure not dispatch by the times of sitting, but by the advancement of business." The corridors which surround the dome on the third floors have vaulted ceilings, with penetrations and small domes at the four corners. Bands of conven- tional ornament are carried along the constructive lines of this vaulting, and the points opposite the four arches are emphasized by figure paintings, represent- ing the four seasons. Two large wall lunettes oppo- site the dome arches bear panels with inscriptions, sup- ported by large figures representing "Agriculture," "Mining," "Stockraising" and "Transportation." In the above rather bare account of the color dec- orations of the Minnesota Capitol, hardly more than an enumeration of its parts has been attempted. In- deed the beauty and interest of the building lies in its appeal to the eye ; criticism must be based upon actual study of it as a visible whole. To the visitor with some knowledge and appreciation of architecture the intention of its architect is easily apparent; to create a structure that would fittingly house a state govern- ment ; to provide ample and rational circulation through its various departments; and, while making its prac- tical requirements adequate,; to clothe the whole in as much beauty as the limitations of money and available ability would permit. That so much of this has been accomplished is due to his own arduous and sympathic labor, and the loyal assistance of the artists who have worked with him. But no small share of the success of the work should be credited to the Board of Capitol Commissioners, a body of citizens who' have labored with honesty of purpose and intelligent effort, in spite of criticism, with little reward save the knowledge that their work would stand as an expression of their responsibility to. the State ; and it is the State, present and future, that will acknowledge the debt it owes these gentlemen, of whose accomplishment it i's deservedly proud. 26 THE WESTERN ARCHITECT STONECUTTING. Designed by Elmer E. Garnsev Photo copyrighted 1905 by Curtis & Cameron. Painted by Arthur R. Willett. LOGGING. Designed by Elmer E. Garnsey. Photo copyrighted by Curtis & Cameron. THE WESTERN ARCHITECT 27 AN ARTIST'S IMPRESSION OF THE MINNESOTA CAPITOL.* By KENYON COX. St. Paul is a typical Western city, ragged in its out- lines, in its aspect a mjixture of raw uilitarianism with a certain desire for display — the kind of city that has grown too fast, and whose citizens have been tooi much occupied with industry and trade and the creation of wealth tO' have leisure for the cultivation of art. Yet in that city has grown up In a few years, one of the most imposing and beautiful of modern clasic buildings, sumptuous yet severe, a model of good taste and re- straint. When its white dome first swims into view there is a shock of surprise, then a rapidly gi^owing delight in its pure beauty, and as one studies the build- ing, inside and out, the surprise and the delight in- crease. One leaves it with regret and with the hope of return, and it takes its place in one's memory with other works of art that have made a deep impression. It is, henceforth, one of the elements of one's artistic culture. The dome itself is one of the happiest, in line and proportion, of the derivatives fromj St. Peter's, its re- lations of height to width, of colonnade to vault and vault to lantern, bei'ng peculiarly right and satisfying, while its free, hand-drawn curve is both robust and subtle. The drum is divided' intoi twelve segments by double columns with entablatures of just the right pro- jection, and between the groups of columns are pedimented windows of simple and noble form. Above is a broad band encircling the base of the vaulting, and from this band marked exter'nal ribs soar clear to the balustrade surrounding a lantern composed of twelve columns equally spaced. Between the ribs are two ranges of dormers, breaking slightly the swelling curve of the vault. In all these arrangements the reminis- cence of Michelangelo's master- work is, of course un- mistakable, but the difference in scale has allowed, or dem(anded, a difference in proportion of parts, and it is the advantage taken of this which gives the dome an ai'r of originality and an individuality of its own. It is not a small dome — it ranks, as to size, with the Paris P'antheon and St. Paul's in London — but it is small compared to Michelangelo's colossus and it has there- fore been possible to give it greater lightness^, partic- ularly by detaching the columns around the drum But, without more technical knowledge than is at the disposal of the pai'nter, it is useless to attempt furthur analysis or to try to give reasons why. One can only state roughly the impression it makes — an impression of dignity and grace and, above all, of supreme ele- gance and distinction. One feels that it is admirable, one knows that it i's beautiful, and one must rest con- *From the ARCHITECTURAL RECORD for August 1905. Reprint- ed through the courtesy of its Editor and Mr. Cox. tent with, that — ranking oneself, for once, with the general public to whon^ the artist appeals rather than with the brother artists, who can understand the means employed and the skill which has employed them. There is, however, one element of its charm which is, to the painter, of capital importance : that of its material. This is no dome of painted iron or gilded copper, it is of solid masonry, and the material is gray- white marble. In luminosity, in texture, in tenderness of gradation, in sweetness of light and shade, there is nothing which so nearly approaches the beauty of human flesh as does marble, or which afifords so' per- fect a means of displaying forml; and this great dome is a vast piece of sculpture upon which the light falls as carressingly as upon the white breast of the Venus of Milo, while, seen at a distance, it seems of the colors and almost of the very substance of the sky, into which it melts like a snow-peak on the horizon. If the dome itself is one of the finest of modern creations, the composition of it with the building which it crowns seems to me more entirely successful than in any other important example which I can recall. The dome of St. Peter's, as we all know, seems to hold no relation to the facade, and neither in St. Paul's nor in the Paris Pantheon is the relation of the two entirely satisfactory. The combination, in the latter, of a great Renaissance dome above a rigidly classic pediment strikes one as peculiary inappropriate and barbaric. Even the Invalides — where the dome and the rest of the building are much better united.by the leading lines of the'^facade and the grouping of the columns^seems a trifle narrow and high-shouldered; and the flat tri- angle of the pediment, here reduced to its lowest terms and composing well all below it, is yet not altogether in 'harmony with the- great .^curves above. Mr. Gilbert has felt the incongruity of the, pediment with the dome and has abandoned the pediment entirely, as he has all reminiscences of Greek construction, and his building is an entirely harmonioius piece of Romlan Renaissance. He has felt the need of a spreading base from which the dome shall soar, and has so arranged his plan as to give him a long parallelogram accented' by projectio'ns at either extremity, under low glass domes, and by a more pronounced salient in the middle which appears as the base of the great dome itself, the importance of this centra:l feature being increased by giving it an ex- tra attic story, windowless, but ornamented by sculp- ture. This central pavilion is itself divided into three parts, with massive pier-like ends and an open loggia between them,' and as the loggia is two stories high the horizontal division of the pavilion repeats, on a larger 28 THE WESTERN ARCHITECT scale, the triple division of the jvings. A glance at the exterior views which illustrate this edition will show better than many pages of description how admirably the coupled columns, with the statues above them, carry down the lines of the superstructure, how de- lightfully the round arches echo the great curves above, how the entire composition is bound into a perfect whole. A detail of great beauty is the fourfold use, twice on the central pavilion, once on'each of the end pavilions, of a form of window-pediment not elsewhere occurring on the facade. place upon the pedestals provided as adjuncts to the grand external stairway, are less essential to the unity of the composition and may, perhaps, be waited for with some equanimity. It is less easy to speak of the interior, both because it is necessarily a more complicated subject, each im- portant room requiring, logically, a separate treatment, and because I must confess to some haziness as to many important parts of the plan. In general it is clear enough — a great central rotunda, the Supreme Court room at one end and the Senate chamber at the THE QUADRIGA— From the Plaster Model. By Daniel C. French and Edward C. Potter. Copyright 1905 by Daniel C. Frencli. The crowning feature of the design is yet lacking, a quadriga, which is to be executed by Messrs. French and Potter. It is easy to imagine how advantageously it will replace the pediment ordinarily relied upon for a central accent, and how superbly it will complete, while enriching, the composition. It is probable that the terminations of the pier-like ends of the central pavilion should also be considered as pedestals for groups of sculpture ultimately to be placed there ; but such groups, like those which may eventually fiLd a other, e:ach under its glass dome, and between the ro- tuntlaand these rooms two great staircase wells, many columned, surrounded by corridors and by offices. Just where in the scheme is the great room of the House of Representatives provided for? Memory re- fuses to make it clear to me, and I have promised to write my personal impressions. At any rate those- impressions would be of little worth as to the logic and ingenuity of the interior planning, and can have value only as regarxis the picturesque quality of the result. THE WESTERN ARCHITECT 29 This result is determined, largely, by the use of color, whether in the actual material i employed, the orna- mental painting, or the introduction of mural decora- tions by our best artists. These paintings occupy much the same position of importance and are as es- sential to the complete expression of the architect's idea as the sculptural features of the exterior. If the outside of the building may be considered as a great piece of sculpture, of which the quadriga will be the most important single detail, the inside may, in like manner, be thought of as a great piece of painting, cul- minating in the lunettes by Blashfield and La Farge. Of course one does not mean that this interior is not designed as thoroughly as the exterior, or that it would not be interesting if it were executed thrO'Ughout in HISTORV By Daniel Chester French. Copyright by D. C. French. CHARITY. By Daniel Chester French. Copyrighted 1905 by D. C. French gray stone, but it is not so executed. The architect has desired an effedt of sumptuousness and subdued splendor, and has become a colorist as well as a draughtsman. His distinction i's that he has never allowed richness to degenerate into gaudiness or beauty of m3.terial to. disguise beauty of design. If he has handled color like a painter, he has done so like one of the old painters, whose work, though it may lose much by translation into black and white, yet retains its es- sential quality in a wood-cut. Of the color-scheme as a whole, the dominant note is the full, warm tone of a yellow limestone, a Minne- sota product, with which the piers and arches and walls are faced, not in thin veneerings but in solid blocks of masonry. It takes a beauti'ful but not too 30 THE WESTERN ARCHITECT TRUTH By Daniel Chester French. Copyright 1905 by D. C. French. brilliant polish, and its color and texture are delightful to the eye. It is most appropriate that it should be so used in the Capitol of the State which produces it, and most fortunate that so admirable a material should have been at hand. Its warmth is contrasted with the grays and violets of granites and marbles, enriched with the sparing use of gold on capitals and galleries, and the result is a triumfphant chord of color, delicate, yet so powerful as to make the problem of supplement- ing it a difficult one for the painter. The general effect of the interior upon any one who enters the building is, of course, determined by the ro- tunda and the staircase wells, whi'ch are so connected as to form one great composition, and by the corridors and subsidiary staircases. The separate rooms, how- ever important or beautiful in themselves, are yet separate rooms, each with its own composition and its own scheme or ornament, and while thev reinforce the general impression already gained they do not make it, The Supreme Court room and the Senate chamber are square, the room of the House of Representatives is nearly semicircular. The Court room, whi'ch is to con- tain Mr. La Farge's four lunettes, typifying the de- velopment of law, was not sufficiently complete, when I saw it, to judge of its final efifect, but any room which contains such a painting as his "Sinai" cannot fail to be profoundly impressive. Mr. Blashfield's great paintings in the Senate chamber were, on the other hand, in place, and one could properly appreciate their WISDOM. By Daniel Chester French. CoDvrieht by D. C. French. THE WESTERN ARCHITECT 31 thoroughly workmanlike composition, their dignity of aspect, and their entire harmony with their surround- ings — ^qualities sO' much more important, from a dec- ■ orative point of view, than that beauty of parts which was evident when they were exhibited in New York. The Representatives' chamber is to contain no import- ant individual paintings, but has been decorated by Mr. E. E. Garnsey, who. had charge of the ornamental painting throughout the building. The illustrations which accompany this article will show how well he has used his great knowledge of ornament, and how much he has enhanced the beauty of the architecture. His treatment of the vaulting of the staircase leading from the basement to the first floor seems to me particularly felicitous and adds greatly to the piquancy of vista. The Governor's Reception Room has been conceived on the lines of a Venetian council chamber, with heavy, gilded mouldings intended toi frame historical pictures rather than decorations. The paintings will be executed by F. D. Millet, Douglas Volk, Howard Pyle, and others. The rotunda is 142 feet clear from the first floor pavement to the top of the inner vaulting, and sixty feet in diameter. The floor swells slightly in the middle, with pleasant effect, to make room for the shallow vault below, and contains a star-shaped light for the base- ment. Around it is an arcade of sixteen round arches and sixteen square piers, of severe and noble form, which support the open balustrade of th_ second floor galleries. The second floor is the principal one and in rgtunda and staircase halls the second and third floors are treated as one. Here the rotunda is octagonal in form, with four closed sides and four open ones, the closed sides showing a round-headed niche between flat pilas- ters, the open- ones two colossal columns with twenty- foot shafts. The entablature runs continuosly above columns and pilasters and the penetrations are spanned, above this, by round arches. East and west these penetrations open on to the great staircase halls, north and south onto the second floor corridors, circulation on the third floor being provided for by light metal gal- leries between the columns. Above the entablature the transition is made from the octagon to the round, and in the pendentives are four irregular shaped panels' which are to be filled with paintings bv Mr. Simmons, while the vaulting above, with its twelve divisions, is painted with ornament by Mr. Garnsey. The compo- sition of all this is stately and might seem rather cold except for the color treatment, but the use of the buflf stone already spoken of, set off with bits of brighter marbles and contrasted with the dark purplish gray of the granite columns, giVes it a sober richness. Such i's, as nearly as a painter can describe it, the newest of our monumental buildings — a building which can hardly fail of a great influence in the artistic edu- ■ cation of the West. Others of the mighty, growing commonwealths of that vast region will be stirred to I, emulation, and the Minnesota State Capitol will be a COURAGE. By Daniel Chester French. J^ Copyright 9051 by D,'C. French. permanent lesson to theni in the difiference between splendor and mere costliness. When one thinks of some of the prodigiously expensive public buildings in the Eastern States — it is scarcely necessary to naine them — one is conscicjus of the great happiness of these Western communities in arriving later at wealth and power and the desire of appropriately displaying them. That every dollar of the millions appropriated for this building has been honestly spent, and for value re- ceived, is creditable to the people and the politicians of the State; that the value has been received not only i'n honest building and good material but 'in beauty and taste and art is their good fortune. 32 '& THE WESTERN ARCHITECT Photo by Edmund A. Brush. THE MINNESOTA STATE CAPITOL Cass Gilbert, Architect, New X o H ^< in S ert, Architect View from Top of Main StaiecaseI I > z 5 3 o H u .-e in S 1^ O £ in Is-- ass /6. Photo bs EDiiVim A. Ubcsh Supplement to The Western Archltedl October, 1905 MINNESOTA STATE CAPITOL Cass Gilbert, Architect Detail of Main Stairway ir- Photo by Edmund A. Bbush JVipplement to The Western Archlledl October, 1905 MINNESOTA STATE CAPITOL Cass Gilbert, Architect View of Main Stairway Ig. o i- (O o z o u SI T - < z V l-l o H < u 5< in S <=§ H CS in " 2" ,Z 3 <1 'G a & ^ o 3 (o Q il^ leme tern ber, J s.^6 11 Photo by Edatund A. Bbubh J\jpplement to The Western Architedt October, 1905 MINNESOTA STATE CAPITOL Cass Gilbert, Arcliitect Rotunda— Second Story ■x-d O H Ul 01 ; nngn^ x: lo - y o < ? 1 = -- § S I rhota bf Edmund A. Bbusb J'upplement to The Western Architect October, 1905 MINNESOTA STATE CAPITOL Cass Gilbert, Architect ViBW IN Rotunda— Second Story ■Z. 2- Photo br Edmund A. Bbush /upplemenl to The Western Architedl October, 1905 MINNESOTA STATE CAPITOL Cass Gilbert, Architect Detail of Rotunda— Second Story Photo by Edmund A. Bbttbh J^pplement to The Western Architecft October, 1905 MINNESOTA STATE CAPITOL Cass Gilbert, Architect Detail in Rotunda— Second Story '01 i-f- S' o o ►J O H w "S H O 1/5 S [i] rt z " a r i: o M ►J o H < 4) o - H O Q „ -t Photo by Edmund A. Bbush Supplement to The Western ArchitecJl October, 1905 MINNESOTA STATE CAPITOL Cass Gilbert, Architect Speaker's Desk— House of Representatives JupGEs' Consultation Room Photo by Edmund A. Brush Jupplement to The Western Architerf^ October, 1905 MINNESOTA STATE CAPITOL Cass Gilbert, Architect Fireplace in Judges' Consultation Rooii Detail in Judges' Conslltation Room 3/ Photo by Edmund A. Bbush Supplement to The Western Architedt October, 1905 MINNESOTA STATE CAPITOL Cass Gilbert, Architect Mantel in House Retiring Room o H ^ y, < «j jz W y H tf in o O „ to S c < - I £ ^- a u3 o a. «3 *t H 3-* > O H < V H O O „ en " Z o o C ^ _u aX y- SH ■^ ^a Jl-^ o o o o o H E - < -i u .-s ^< <=§ Q „ Photo by Edmund A. Bkush yupplement to The Western Architect October, 1905 MINNESOTA STATE CAPITOL Cass Gilbert, Architect Corner of Governok's Keceition Ruom ^7 o u ►J O H < S w "S H r H b ^ Si frl CO Z s a o H :^8 3&' Photo by Edmund A. Brdsh Supplement lo The Western Architedt October, 1905 MINNESOTA STATE CAPITOL Cass Gilbert, Architect East Corridor Opposite Main Stairway -^1 Photo by Edmund A. Brush Supplement to The Western Architedt October, 1905 MINNESOTA STATE CAPITOL Cass Gilbert, Architect \iEw Through Axis— Second Story 1-0 Photo by Edmusd A. Brush Supplement to The Western ArchitecTl October, 1905 MINNESOTA STATE CAPITOL Cass Gilbert, Architect Detail OF Dome Corridor— Third Story Detail of Balustrade— Main Stairway 4-( Photo by Edmunu A. BkCSH Juppleirent to The Western Architedt October, 1905 MINNESOTA STATE CAPITOL Cass Gilbert, Architect Main Si airway Leading to Ground Floor Photo by Edmund A. Brush Jupplement to The Western Architsdl October, 1905 MINNESOTA STATE CAPITOL Cass Gilbert, Architect Main Stairway to Ground Floor ^3 O H H O O „ in " M a < CO < G I- r: ' i3 S ii Ok 01 Q 2 &,« C -+4-. OS K o u o H u a ut <^. in s <^ o „ in in [t] IB z " Zi ^< 2: H P ^ ■-' J ^ B^ O J3 ^^6 'fL Photo by Edmund A. Brush /upplement to The Western Architedl October, 1905 MINNESOTA STATE CAPITOL Cass Gilbert, Architect Detail of Ball over Main Pavilion Timbrel \'auli over Rotunda \ Best Pavement Lights Floor Lights Vault Lights Skylights Obtained by the installation of "Bar= Lock" Galvanized Wrought Steel Construe- tion **3"=Point Prisms and "Arch Plain" Lights STORE OF JACOB REED'S SONS, PHILADELPHIA, PA. Price & McLanahan, Architects. "Bar-Lock" Galvanized Wrought Steel Pavement and Floor Light Construction ' with Patented "3"'Point Prisms and "Arch Plain" Lights were used. Greatest Strength Durability Water Tight Rust-Proof Now being Specified by Most of the Leading Architects and Engineers in the Country For Further Particular* or Name of Representative in Your Section , Address AMERICAN BAR = LOCK COMPANY OFFICES and WORKS: 26th St. and Pennsylvania Ave., PHILADELPHIA, PA. CAUTION :-Any person using or selling any infringement of this Company's patents will be promptly prosecuted.