Dakota farmers' leader. (Canton, S.D.) 1890-19??, 1910-07-08

OhCy ll0NO SGAS LII NlICil WOl
they received the hearty accord of
Contractor o. II. Olsen, Supervisor
Samuel III. Lea, Architect G. e. Bell,
and Decorator William G. d VS.,
who we're apparently much interested
in giving the people of the state good
work and an artistic building in
which the state could take pride, as
were the representatives of the state
in securing such a structure.
The building is constructed of
brown sandstone for the first story,
with the rest Of Bedford limestone,
land is over 800 feet in extreme length
and one-third that in width in the
central portion. 1t stands on a COM
manding em%inence, and is one of the
most prominent landmarks for the
traveller entering the city on the
Northwestern road, arriving from
! either the east or west.
In the interior decorations the
building shows at It's best. The
rotunda is a picture in itself. The
general color effect is ivory, blue, tan
and gold, harmonizing with the
marble wainscot and columns, and
"a planned under the personal sup
ervision Of William G. Andrews. The
mural paintings by Edward Simmons
represent the family, mining, agricul-
ture and stock raising. Filling the
circular panels on the pendentives of
the dome are heroic size figures on a
solid Roman gold background, the
color blending with the general deco
rative scheme.
The lunette at the head of the mas
sive marble main stairway represents
the beginning of commerce. The
white trader is shown seated on his
canoe which he has drawn from the
stream and is dealing with an Indian
for a robe spread out before him.
In the governors reception room
the color effect is in deep olive tones.
All the ornament is in relief finished
in Florence gold. The furniture in
the room is massive, uncolored ma
hogany upholstered with leather.
The rug and draperies are in shades
OF green harmonizing with the walls.
In the mural painting in this room,
by Edward Fl. Blashfeld, South Da-
kota is represented as a beautiful
woman in the spot light, with the
figure of hope floating over her and
pointing forward.
Trappers and settlers are beating
back and overcoming the Indians who
are clinging to her garments, attempt
ing to impede her progress. Outlaw
ny represented by a dark and hooded
figure is scuttling away into the dark
ness. In the background prairie
schooners of the early settlers are to
be seen making their way across the
prairie. The picture is a strong one
and attracts the attedJion of all.
In the supreme court room the gen
eral color effect is in browns, Jams
and gold. The mural painting by
Charles Holloway represents the
estate of Justice" This is emblem
attic of justice of the early middle ages.
in the center the Spirit of Mercy, on
each side of the guardians of the law
demanding their penalty, while be-
fore them kneel the despairing and
the remorsefully guilty.
The color effect In the senate room
is green, ivory and gold, harmonizing
with the marble wainscot and col
umns. The mural painting by Chas.
Holloway is a symbolical treatment of
the subject Of the Louisiana purchase.
The center group tells of the acquisi-
tion Of the territory of Louisiana by
America from France. Louisiana is
represented as an Indian woman over
whom America is placing the flag OF
state, and from whom the garment of
France has fallen. France by her side
holds a copy Of the treaty by which
the purchase was ratified. The back.
ground is suggestive of Spain and the
flowers of France tell of the past.
The mural painting Of Charles
Holloway, tells of General William
Ashley's trip up the Missouri in 1923.
1t represents a scene at the close of a
fight with the Indians, in which Jede-
diah Smith. n of the party is kneel.
ing in prayer before starting out for
rescue for the party, knowing he must
make his way among hostile Indians.
1t is claimed to have been the first
prayer ever offered up by a white man
in the territory of Dakota.