The Bottineau pioneer. (Bottineau, N.D.) 1885-1895, 1889-12-14

the s~oft-colored stained glass with the vel
low light Of the incandescent lamps. This
hall contains 500 seats, and as in the audi
forum the tiers are ranged high above each
other, so that from every one is a good view
of the stage ~obtainable.
In the office part Of the building and the
main entrance thereto Georgia marble is
much used; throughout the other parts in
the public rooms a lavish use is made OF
rich foreign marbles, such as Siena, Nu-
indian and jaime Saint Beaume, also Mex
lean ONYX and fine woods. In each case
thew furnish the basis for the other wall
decorations, which either by contrast or
analogy of tones harmonic with the nat
ural cOlors.
Under the tower is the main entrance to
the Auditorium, leading into a
with walls and ceiling of marble, directly
under the foyer. From it are four passage
ways leading to the parquet, and on the OPP
posite side three broad flights of stairs to
the foyer.
The stage is 11S feet wide and 70 feet deep.
Its scenery and settings by far the most
complete and elaborate in the country.
Opening from the foyer are the ladies' re-
firing and the gentlemen's smoking rooms,
each spacious and luxuriant in appoint
ments. There are forty boxes in the two
tiers on either side. An ornamental railing
separates them from each other, and in
front are draperies corresponding n color
to the prevailing tones of the general deco
ration.
The great organ is at the right ofthe stage,
almost entirely concealed from view by in
genious and ornamental devices. The total
number of seats is 4,O51, but as economy Of
space has not been studied, in addition to
the occupants of these, fully 5000 more
people can be accommodated. Here the
color design is grand in its simplicity, gold
and graded tones Of old ivory alone being
employed. Stained glass in colors accord
ing with the general tone of decoration is
also used.
On the side walls and over the proscenium
arch are three large allegorical paintings
expressive of natures great law of harmony.
The central painting consists mainly of tig-
ures symbolizing different emotions and
sentiments. The types of exultent and
downcast despair, careless childish glee and
the calm submission Of old age, of joy and
grief, of strength and weakness, all are
there. From the dawn to the twilight, the
growth and decadence Of nature are ex-
pressed. In the central group is the type of
the present, holding a Tyre in her hand, the
symbol of song. For this Is the theme Of
the painting: 1.-THE utterance of life is q
song, the symphony of nature" As from
the mountain top in the twilight n looks
down on the peaceful valley and sees the
river, winding hither and thither, through
meadows and clumps of trees, past human
habitations and out into the solitude of the
plains, but ever a clear, distinct silvery line.
so the theme of the song Of life is inter"
woven through all the range of human pas
sions that form its accompaniment: The
allegory of hope, the m~elancolico of grief,
the appassionamento of intense emotion,
the andante of resignation.
In the side paintings the solitary poet
one, at break of day, he stands on the bank
Of a gentle stream, the sky suffused with the
bright tints that herald the rising sun. the
soft fresh green grass, the budding trees, and
the carol of awakening birds betokening the
early spring This is the morning of life,
the allegretto of the song, and from the po-
cts heart bursts forth the joyous response:
of life and love-"
On the opposite side is the andante-the
dirge. Here in bleak autumn, the bare
trees standing out against the cold, gray
sky. the brown, sere leaves budding close
to the ground, seeking refuge from the ed
dying winds, nature stripped of her glorious
garments, puts on the shroud and prepares
for her last long rest.
Sadly the refrain echoes in the poets
soul: "a great life has passed into the
tomb, and there awaits the requiem of win
ter's SHOWS"