Pennsylvania Capitol Preservation Committee

Room 630 Main Capitol Building

Harrisburg, PA 17120

717-783-6484 • Fax: 717-772-0742

http://cpc.state.pa.us

© 1/2005 CPC-017

Preserving aPalace of Art

P E N N S Y LVA N I A C A P I T O L P R E S E R VAT I O N C O M M I T T E E

2 0 0 4 A N N U A L P R O J E C T R E P O RT

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TABLE OF CONTENTS

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Featured Capitol Artists. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Chairman’s Message and Committee Member Listing . . . . . . . . . . . . . . . . . . . . . . . . . 6

Committee Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Historic Timeline—On This Day In History. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Pennsylvania’s Civil War Treasures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

rotunda Exhibition: “Capitol Artists”. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

History Under Foot—The Capitol’s Moravian Tile Pavement. . . . . . . . . . . . . . . 30

special events and awards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

preserving pennsylvania’s rare books . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Lost and Found. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Gifts and Collectibles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Mission Statement. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Gifts and Collectibles Order Form. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Photography Credits. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

The Pennsylvania Capitol Preservation Committee

proudly presents the four th in our special series of annual

project reports leading up to the 2006 celebration of the

Capitol’s 100th Anniversary.

An enor mous amount of talent went into creating the

artwork that adorns the Pennsylvania State Capitol. Our

2004 report pays tribute to five of the Capitol artists—each

of whom in his or her own way contributed to the beauty of the

Capitol, and the great history of our Commonwealth.

“ARCHITECTURE” BY WILLIAM BRANTLEY VAN INGEN

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Edwin Austin Abbey was one of themost celebrated artists of his day .Born in Philadelphia, he brieflystudied at the Pennsylvania

Academy of the Fine Arts underC h r i s t i a nS c h u e s s e l e .Before he wastwenty yearsold, Abbeyenjoyed abrilliant careeras an illustratorof poetry anddrama for Harper’sWeekly. In the late1870s Abbey leftfor England to pursue a career as a lar ge-scale histor ypainter. While therehe was elected to theRoyal Academy andadmitted to the elite artistic circle of the Pre-Raphaelites.

As a r esult of his gr owing r eputation,Abbey was invited by American sculptorAuguste Saint-Gaudens in 1890 to produce whatwould become his most famous commission, themural cycle “The Quest for the Holy Grail,” forthe McKim, Mead, and White Boston PublicLibrary, which was completed in 1901.

In 1902 Abbey received his largest commission—decorating the r otunda andHouse, Senate, and Supreme Court Chambersin the Pennsylvania Capitol. He executed the

Capitol murals at his studio in England. Byspring 1908 Abbey completed the rotundamurals, which were exhibited at theUniversity of London. They received the highest acclaim as King Edward VII himselfexpressed regret that these magnificent paintings were leaving England. In 1909

the rotunda murals were shipped toHarrisburg and placed

at the collar of theinterior dome.

WhenAbbey died

s u d d e n l y in 1911, his

widow admin-istered the

completion andi n s t a l l a t i o n

of the HouseChamber murals.The artist hadcompleted threeworks; a fourthhad been partially

complete and wasfinished by Er nestBoard, a member of

Abbey’s studio, under the supervision of JohnSinger Sargent. Only one mural had been executed for the Senate Chamber entitled, “The Camp of the American Army at V alleyForge, Febr uary 1778.” Completed in 1910,this painting had originally been placed in theSenate Chamber . As a result of Abbey’ suntimely death, it was r emoved and hung onthe north wall in the rear of the HouseChamber where it remains today.

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George Grey Bar nard was asculptor hailed as theMichelangelo of his time. Born in Bellefonte, Pennsylvania, his

family moved to the Midwest where from ayoung age Barnard was interested in creatingform with his hands. At age nineteen, Barnardenrolled in the Chicago Art Institute andencountered the works of the Renaissancemaster Michelangelo, who henceforth becamehis idol and source of inspiration.

Within a year , Barnard had sold a portrait bust of a child for $300, and set off forParis to advance his artistic training. He studied four years at the Ecole des Beaux-Arts. At the Ecole, he lived in impoverishedconditions as a recluse totally obsessed withhis sculpting—a fur ther analogy to hisRenaissance counterpart.

Barnard’s first patron was AlfredCorning Clark of Singer ManufacturingCompany fame. Clark commissioned severalmonumental sculptur es until his death in1896. After experiencing financial dif ficulties,it wasn’t until 1902 that Bar nard’s career wasrevived with the commission for the sculpturalgroups at the Pennsylvania Capitol.

Barnard acquired a love of artfrom the Middle Ages during hisyears in France spent working onthe Capitol gr oups. Hespent much of hisspare time collectingmedieval sculpture. In fact, hewas able to pay for some of the supplies neededto complete the Capitol sculptures by sellingantiques to wealthy patrons in the states.Barnard’s years of collecting eventually resulted

in the building of The Cloisters, which waslater purchased by John D. Rockefeller anddonated to the Metropolitan Museum of Art.

The Capitol groups were finished in1910, shipped from France to Harrisburg forinstallation, and officially unveiled on October 4, 1911. They represent a significant component of his artistic evolution. Barnardsaid “in that plan I had concentrated a life of study and thought.” At his request, George

G r e y B a r n a r d was buried inHarrisburg tobe near to whathe consideredhis finest work.

F E A T U R E D C A P I T O L A R T I S T SF E A T U R E D C A P I T O L A R T I S T S

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Henry Chapman Mercerwas born in Doyles-town,Pennsylvaniaand attended Harvard

University and the University ofPennsylvania Law School.

Although he was admittedto the Philadelphia bar ,Mercer never practicedlaw but turned his intereststowards a career in pre-historic archaeology.

From 1894 to 1897,Mercer was Curator ofAmerican and Pre-historicArchaeology at The

University of PennsylvaniaMuseum, Philadelphia. Aturning point in his life camein 1897 upon seeing a jumbleof old agricultural tools andhousehold utensils for sale.Mercer realized how quicklyAmerican pr e-industrial history was being destroyedby the modernization of the world. He began to “rummage the bake-ovens,

wagon-houses, cellars, haylofts,smoke houses, chimney-corners, and garrets” for what historians would later call “Americana.”

Mercer collected all kinds of Americanartifacts and tools from hoes and forks to plowsand potter y. In 1913 he began work on a museum to house his growing collection of morethan 25,000 objects. Today there are over 40,000tools of more than sixty early American craftsand trades displayed in the Mercer Museum.

As part of his collecting, Mercer becameinterested in the pottery of PennsylvaniaGermans. Concerned that this craft was dyingout, Mercer apprenticed himself to one of thefew authentic potters in upper Bucks

County to learn all about clays, glazes, and kilns. In 1899 Mercer built the MoravianPottery and T ile Works, which still operates in Doylestown today.

By 1900 Mercer had become an importantfigure in the Arts and Crafts movement in America. In 1903 he received his largest commission—tiling the first floor of thePennsylvania Capitol. The approximately 16,000square feet of tiles include nearly 400 mosaicsthat run chronologically from Indian activitiesand artifacts to more modern devices like automobiles and the telephone. Interspersedthroughout these figurative inlays are mosaicsrepresenting Pennsylvania’ s native flora and fauna.

V iolet Oakley knewfrom an early agethat she wanted tobe an artist. She

developed her talent by studyingat the Art Students League inPhiladelphia and various institutions abr oad duringher summer vacations. Muchof her talent was fostered through self-directed lear ning by studying andcopying the oldmasters.

Oakley’s familymoved to Philadelphia in1896 where she enteredHoward Pyle’ s illustra -tion class at DrexelInstitute. She flour-ished under Pyle’ stutelage and soonbecame one ofAmerica’s most popularillustrators, designingcovers for Century Magazine ,

Collier’s Illustrated W eekly, Everybody’s M agazine,St. Nicholas , and Woman’s Home Companion .Oakley also gained reputation as a talentedstained glass designer.

In 1902 Pennsylvania Capitol architectJoseph Huston asked Oakley to paint thirteenmurals for the Governor’ s Reception Room.Huston believed that choosing Oakley would“act as an encouragement of women and theState.” Oakley’ s commission signified a milestone in American art history as the largestpublic commission given to a woman up to thattime. It also allowed her to transcend the conventional female roles of portrait and genrepainters, and to pursue a successful career in theprestigious, but overwhelmingly masculine fieldof mural decoration.

Oakley received much publicity through-out her work on the Governor’ s ReceptionRoom. The murals won her the Gold Medal ofHonor from the Pennsylvania Academy of theFine Arts in 1905, making her the first woman toreceive this distinction.

After Edwin Austin Abbey’ s death in1911, Oakley r eceived the commission to com-plete the contract for the Senate and Supr emeCourt Chambers. She painted a total of forty-three murals for the Pennsylvania Capitol.

William Brantley V an Ingenwas born in Philadelphia andstudied at the PennsylvaniaAcademy of the Fine Arts as a

pupil of Thomas Eakins and ChristianSchuessele. After completing his studies at theAcademy, he moved to New Y ork wher e heapprenticed under three noted stained glassartists: John La Far ge, Francis Lathr op, andLewis C. Tiffany.

Van Ingen was also a noted and prolificmuralist. He was best known in ar tistic circlesfor his commission by the U.S. Government topaint five murals in the Panama CanalAdministration Building. He also received

commissions to paint murals in the Library ofCongress in W ashington, D.C., New JerseyState Capitol, U.S. Mint in Philadelphia, andfederal buildings in Chicago and Indianapolis.

Van Ingen was awarded the PennsylvaniaState Capitol commission in 1902, and chose torepresent Pennsylvania’s religious developmentthrough fourteen painted murals that reside inthe lunette spaces of the Capitol’ s first floorsouth corridor . He also designed the twenty-four circular opalescent stained glass windowslocated in the House and Senate Chambers,which symbolize Pennsylvania’ s history , art, science, and industry.

After receiving a commission from financier, Charles T. Yerkes to make a Japaneseroom for his New Y ork residence, V an Ingenvisited Japan and made extensive studies inJapanese art. He also painted murals for privateresidences in Philadelphia.

During 1937-1938, under a Depression-era grant fr om the federal government’ s WorksProgress Administration, V an Ingen createdmore than 4,500 square feet of murals for theUniversity at Albany in Hawley Hall.

Although best knownfor his ar tistic accom-plishments, V an Ingenwas also a str ong advocate of pr eservingNew Y ork’s publicparklands. He lecturedand wrote on thetopic and ser vedas chairman of the parkscommittee ofthe New Y orkGrand Jur orsAssociation.

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CHAIRMAN’S MESSAGE

ADMINISTRATIVE STAFF

Ruthann Hubbert-Kemper,Executive Director

COMMITTEE MEMBERS

Vice ChairmanJohn R. Bowie,Governor’s Appointee

SecretaryThomas B. Darr,Supreme Court Appointee

TreasurerDavid G. Argall,Representative

Gibson E. Armstrong,Senator

Louis J. Appell, Jr.,Governor’s Appointee

Fred Belardi,Representative

Donald T. Cunningtham, Jr.,Secretary, Department ofGeneral Services

Barbara Franco,Executive Director, Historical& Museum Commission

P. Michael Sturla,Representative

Michael A. O’Pake,Senator

Harold F. Mowery, Jr.,Senator

Beatrice Garvan,Governor’s Appointee

John N. Wozniak,Senator

It has been another exciting, successful, and productive year for theCapitol Preservation Committee. W e wer e sorry to lose Commi tteemembers, Senator Hal Mowery and John W esley, both of whom

retired, but fortunate to gain member Barbara Franco, Executive Directorof the Historical and Museum Commission.

We undertook several large pr ojects throughout the year in conjunction with the Department of General Services, such as the restoration work on the basement areas of the Capitol, including the installation of terrazzo floors and replication of the historic light fixtures. We also placed four original Mercer tile mosaics along with fieldtile back in the original Treasury Room floor.

The yearly conservation maintenance of the Barnard Statues,Hartranft, and Mexican War monuments was undertaken, helping to ensure that these precious outdoorsculptures will survive our sometimes harsh Pennsylvania winters.

We also finished the conservation work on the Senate first floor areas and the South Entresol andthird floor level, and began the North Light Court restoration project, one of the last major public spacesthat was pending the completion of the sur rounding floors. The Committee also completed r estorationin the North Office Building’s Senate Hearing Rooms.

In addition, we opened an exciting new exhibit in the main r otunda focusing on the major ar tistsof the Capitol—Barnard, Abbey, Oakley, Mercer, and Van Ingen—and their amazing artwork that theyleft for all Pennsylvanians. Next year’s exhibit, set to start in March 2005, will catalog the life’ s work ofCapitol artist Edwin Austin Abbey.

We held several special events and exhibits, such as a commemoration of the 100th anniversary ofthe Capitol Cornerstone Ceremony including an exhibit of the cornerstone contents. In October , weexhibited some of the state’s collection of rare books during the course of Pennsylvania Archives W eek,to showcase this invaluable collection that is desperately in need of conservation and a more suitablefacility. These are just a few highlights of the Committee’ s ongoing conservation and maintenance workwithin the Capitol Complex.

As we move closer to October 4, 2006, the 100th anniversary of the Capitol’ s dedication, we welcome you to come see what is often termed one of the most beautiful state capitol buildings inAmerica. The Committee members and staf f are proud to serve as custodians for your State Capitol—Pennsylvania’s “Palace of Art.”

CHAIRMAN PAUL I. CLYMER,REPRESENTATIVE

Ruthann Hubbert-Kemper, Executive DirectorDavid L. Craig, Sr. Preservation Project Manager Tara A. Pyle, Executive SecretaryJohn Blessing, Facility Coordinator/MessengerChristopher R. Ellis, Preservation Project ManagerCarla E. Wright, Administrative AssistantJason L. Wilson, Research HistorianAmanda Lane, InternRichard E. Saiers, Communications SpecialistDaniel E. Markle, Computer Systems AdministratorBarbara H. Strobridge, Preservation Project ManagerSue A. Ellison, Controller/Personnel Supervisor

ON THIS DAY IN HISTORY…

minutes, after which the ar tisan would rinse themetal by brushing on distilled water . To dry, thechandeliers were wiped down with cotton ballsand then each was dried with cotton rags. This method allowed the polychrome finish toremain intact.

Committee conservators performed cursorypaint analysis on the ornate ceiling, whichrevealed that the ceiling had a faux wood grainfinish. However , fur ther investigation revealedthat the flat panels wer e tr eated dif ferently. Thepanels containing rosettes were over painted witha deep red, while the lozenge-shaped panels wereflogged using a light amber -toned glaze. This scheme was adopted in restoring the ceilingas it matched the rest of the rooms’ original documented finishes.

Before painting, the ceilings were preparedby removing flaking paint and filling in cracks and

small surface inconsistencies, followed by a gentlesanding. To achieve the historic appearance, theceiling’s rosettes were gilded with aluminum leafand coated with a gold-tinted shellac.

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NORTH OFFICE BUILDINGHEARING ROOMS

In June 2004 the Capitol Preservation Committeebegan a restoration project for areas in the Senatehearing rooms of the North Office Building. Aswork commenced with life safety upgrades, theCommittee assisted with the car e and r estorationof the rooms’ historic elements.

In order to upgrade the electrical wiring andto install the pipe for futur e fir e suppr essionupgrades, it was necessary to temporarily removewood elements within the r ooms such as wall

panels, beams, and piers. Each wood element wascarefully r emoved and labeled for storage whilethe life safety work commenced. If necessary, anyelements that wer e discover ed to have had damage, such as a split in the wood, wer erepaired. Prior to reinstallation, all wood elementswithin the rooms were restored.

In addition to the wood elements, the bronzegrills at the air handler (HV AC) units wer e alsoremoved, repaired, and restor ed. Many of theornate grills contained ar eas wher e pieces of thedecorative elements had br oken off, possibly fromyears of accessing the enclosed controls for the

units. In fact, a number of thesepieces were found within the enclo-sure when the grills wer e r emoved.The broken pieces, which were eitheroriginal or recast, were reattached tothe grille using a one-quarter -inchstainless steel rod at the joint on therear of the grille with epoxy.

The four large historic chande-liers were also carefully removedand taken offsite for conservationcleaning. The pr ocess began byapplying a solution comprised of onepercent V ulpex and distilled water .The solution was left on for five

HEARING ROOM ONE–BEFORE

HEARING ROOM ONE–AFTER

PREPARING CEILING ROSETTE FOR LEAFING

January 26, 1904A dusting of snow falls in Harrisburg,remaining on the ground for the next

four weeks. Work on the Capitol’s exterior is suspended due to cold weather.

February 1904Architect Joseph Huston asks

artist Edwin Austin Abbey to serve as a consultant for the color schemes and

gilded ornamenting of the Capitol.

March 1904Deliveries of steel lath begin along with the plastering of the first floor corridor ceilings. Warmer weather

allows exterior work to resume.

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ON THIS DAY IN HISTORY…

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Hearing rooms two and three underwent asimilar restoration process. One unique challengewas incorporating the sprinkler heads into sidewalls. T o accomplish this, some of the woodenrosettes were removed and reinstalled after theircenters were drilled to accommodate the newsprinkler heads. The remaining part of the projectincluded the entry hall and main corridor to thehearing rooms. The dir t and wax build up on themarble walls and wainscot was removed using aliquid marble-cleaning pr oduct. It was appliedwith a soft bristle br ushand allowed to dwell for appr oximately ten minutes. Upon removal,using plastic putty knivesand rinsing with clean distilled water , the ar eaappeared streaky andsomewhat hazy due to anunknown material that hadbeen applied to the marblewalls in the past decades.A second application wasrequired following thesame procedures, and afterpolishing this methodyielded favorable results.

The ceiling of the corridor between thehearing rooms contained a nonhistoric lining,which was separating at the joints. Upon itsremoval, cracks were skim coated and paintedaccording to analytics, and elements were paintedwith bronze powder, which was the historic finishfor the rooms. The Committee’ s restoration workon the decorative elements within the hearingrooms revitalized these spaces, revealing theiroriginal splendor.

History of the North Office BuildingThe North Office Building was historically part of the Capitol complexexpansion plan, which began in 1911.Headed by the Capitol Park ExtensionCommittee, the construction of moreoffice space was needed to meet thedemands of the growing state bureau-cracy. Arnold W. Brunner, a New YorkCity ar chitect, was selected to designthe extension, and architects W illiamGehron and Sidney Ross continued thework after his death in 1925. The NorthOffice Building was completed in 1929.

The new complex structures weremeant to comple -ment the existingCapitol building,while maintaining adistinct style oftheir own. The Brunner Planfavored concise, geometriccity planning in the Neo-Classical style. The NorthOffice Building is a six-stor ystructure graced with Ioniccolumns that flank the northeast side of the Capitol.The interior design reflectsthe Art Deco style of that erawith highly decorativeabstract for ms, geometric

shapes, and intense colors, celebrating modernityand technology . For this reason, it is markedly different from the American Renaissance style ofthe Main Capitol.

The hearing rooms were constructed in1928-1929 within the North Office Building, andwere originally used by the Commonwealth’ sPublic Utility Commission. Several changes haveoccurred within the building since its construction.Utility systems were upgraded and the installation of air conditioning ducts resulted in

the use of suspended ceilings, hiding many ornate elements. Decorative plaster ceiling elementswere painted over with insensitive tr eatments.Sometime over the course of the variousupgrades, the drapery was replaced and the seatschanged from wood to metal. The geometric pat-terns of the ceiling wer e painted white and palegreen with bronze colored rosettes. In 1986, dueto the construction of the East Wing, the windowson the south elevation of hearing rooms one andthree were walled off to eliminate the view of theparking garage on the other side of the wall.

CONSERVATORS REFINISHING WALLS

REVIEWING PAINT ANALYSIS FOR CORRIDOR

HEARING ROOM ONE IN 1928

RESTORING A TILED PATHWAYOF CAPITOL HISTORY

The Capitol Preservation Committee, in conjunc-tion with the Department of General Services,conducted a project to restore a suite of rooms onthe first floor southwest, now currently utilized bythe House Majority Leadership staff. Keeping as closely as possible to the room’ s original appearance, a decision was made to recreate thecashier’s cage and replicate the Moravian tile flooron a smaller scale. As such, four tiled-clay mosaicsfrom the original floor were reinstalled under therestoration project. These four mosaics, The Raccoon #412; Bullfrog #416; Potter T errapin#330; and Indian Panther #416 remain the onlyknown existing mosaics from the original floor.

The 1906 Moravian T ile floor within thecashier cage originally held twenty mosaics representing mammals, reptiles, birds, and r ockdrawings that ar tist Henr y Mer cer r ecorded earlier at Safe Harbor along the SusquehannaRiver. It is believed that the Treasury’s tile floor was

removed sometime in the latter half of the 1940s.Decades later, four of the original twenty mosaicswere found in a storage space under the StateStreet Bridge and rescued by the Committee.

The undertaking to recreate a portion of theMoravian Tile floor in the vestibule of room 113required the creation of more than four thousandfield tiles to for m the main part of the floor .Fortunately the Committee was able to commis-sion the same company who produced them in1906, the Moravian Pottery and TileWorks, which remains in operationtoday in Doylestown, Pennsylvania.

As a guideline for placementof the four historic mosaics, theCommittee considered room sizeand function, furniture layout, andoriginal locations documented fromMercer’s field notes on the floorplan. The contractors who laid thefloor took meticulous care in recre-ating subtle characteristics inherentof the Arts and Crafts style, whichwas used in Mer cer’s original workon the Capitol’ s first floor corridor .Following the installation, the floorwas sealed and coated with a protective finish.

ON THIS DAY IN HISTORY…ON THIS DAY IN HISTORY…

April 12, 1904Governor Pennypacker pledges to speed upconstruction and uses his influence as head

of the Board of Commissioners of PublicGrounds and Buildings to secure board

approval of Huston’s design submissionsfor additional decorative work.

May 5, 1904A large crowd gathers for the cornerstone-

laying ceremony—the highlight of theCapitol construction in 1904. Governor

Pennypacker, the Capitol BuildingCommission, Architect Huston, and

contractor George Payne all participate.

June 7, 1904Commissioners open bids for

“special schedule” and determine that John H. Sanderson, a Philadelphia

furniture dealer, is the “lowest” bidder and awards him the contract.

July 27, 1904The Harrisburg Patriot reports that theCapitol’s chambers and committee rooms

will be ready by January 1 for the upcoming 1905 legislative session.

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History of the Old Treasury OfficesWhen completed in 1906, much of the space in theCapitol building was allotted to house governmentoffices and agencies. One such division was theTreasury Department, which handled the state’ sfinancial assets, just as it does today.

At the time, the department was allocatedrooms 113, 116, 117, and 118. Room 116 func-tioned as the cashier’ s office while the StateTreasurer and his staff occupied rooms 117 and118. Room 113 was the main clerical room andwas accessible to the public for monetary transactions. The room was adorned in highlyornate detail like much of the Capitol, but wasdesigned to blend functionality with exquisitedécor. This is most evident in a partitioned lobbyon the east wall of the corridor that acted to separate employees from public patrons with asizeable bronze and marble screen. This structurewas supported by marble piers crowned with lightglobes and constructed of grille windows surmounted by br onze anthemions, a classicalGreek pattern of radiating leaves. This area wasfurther distinguished by an extension of Moraviantile flooring that led from the House corridor.

HOUSE MAJORITY LEADERSHIP STAFF SUITE–AFTER RESTORATION

1906 TREASURY DEPARTMENTLAYING FIELD TILE BY HAND

ON THIS DAY IN HISTORY…

August 12, 1904Progress on the south hyphen continues

as the brick Cobb Capitol is refacedwith granite blocks.

August 1904Masons and plasterers walk off the job

and strike for fifteen days.

August 23, 1904Huston authorizes the manufacturing of10,000 yards of carpet for the Capitol.

September 1904Roofers and tile men go on

strike for 30 days.

room 115. Many of these changes turned out to betemporary solutions at best, and by 1946 builderswere redoing much of what had just been renovated five years earlier. They removed two ofthe east-west partitions from the north side andreplaced them with a north-south partitioninstead. This succeeded in creating two officesalong the west wall of the room, allowing accessfrom the southern side of the room. Alterationsalso included the removal of original chandeliers,which were replaced with fluorescent lights andsuspended ceilings. These modifications were toaccommodate new air conditioning ductwork,although window air conditioner units remainednecessary.

Another major remodeling took place justtwo years later and the area ceased to be theLegislative Reference Library . It is believed thatthis undertaking included the removal of theMoravian tile floor, which was originally installedin the vestibule of room 113. Eventually the roomwas subdivided along with r ooms 115, 116, and117 to be used by the House of Representative’ sMajority Leadership staff.

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The T reasury Rooms’ condition remainedconsistent until 1912 when the bronze cashier’ scage was extended to the end of the room to accom-modate more patrons. In1913 a circular staircasethat led from basementroom nine was installedfor additional staff andstorage purposes.

By 1925 the statebureaucracy was experi-encing rapid growth andthe Treasury Departmentwas granted room 140,which is located directlyacross the corridor . TheHouse Majority Caucusoriginally inhabited theserooms, but they moved tothe thir d floor of theCapitol, and were givenrooms 326 thr ough 331,which were consolidatedinto a single lar ge space. At that time the House wasunder the dir ection of Speaker Thomas Bluett,and the state’ s chief executive was Gover norGifford Pinchot.

To prepare room 140 for financial use, asteel and concrete vault was built along the west-ern wall between the existing entrances. The vaultwas made with the most innovative technologiesand included a steel door , seventy-five panels ofmirror glass, and tear gas installation. Steel pierswere added in the basement directly beneath thevault to compensate for the unanticipated weight.

In 1926 a door opening was added betweenrooms 111 and 113 and the br onze cashier’s cagewas removed from room 113 entirely . Then i n1927 thr ee bronze grills were installed in room113 while seven were fitted to room 140.

These conditions remained largely the sameuntil 1939 when the Finance Building was

constructed in the Capitol Complex under the Brunner Plan. This building was to house allof the T reasury Department and its

sub-agencies. By 1940the move was com-plete and the Treasury vacated the Capitolbuilding permanently .Room 140 wasreturned to the HouseMajority Caucus caus-ing the vault, tellers’screens, and partitionsto be removed. Theroom was repaintedand a new dais wasconstructed, which isstill in use today.

Room 113 hadserved the T reasuryfor many years and considerable effort wasnecessary to modify

the earlier changes.

In 1941 an east-westpartition was created to dividethe room into a north andsouth side. The north side wasreduced to three offices by theconstruction of two more east-west partitions. Concurrently ,the western area of the southside was made into four smalloffices using wood and glasspartitions, while the eastern side became theLegislative Refer ence Bur eauLibrary. From the years 1942to 1946, the souther n end wasonce again partitioned east towest, reducing the room’s floorspace, but enlar ging adjoining

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RESTORED EXTENSION OF MORAVIAN TILE FLOOR

TREASURY VAULT

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degrees of vicious, often desperate combat, sometimeseven hand-to-hand. While the veterans who experiencedthis horrific struggle have passed on, these invaluableartifacts remain as testament to the nature of mid-eighteenth century warfare.

In the post war years, after the conflict was decided,Pennsylvania’s men-in-arms presented their colors backto the Commonwealth at a lar ge ceremony on July 4,1866 in Philadelphia. General George G. Meade gavethe keynote address and officially handed over the collection to Gover nor Curtin. The banners were thentransported back to the old state arsenal, and in the1870s placed in a special flag room adjacent to the stateCapitol. The collection r emained safe in the newExecutive, Library, and Museum Building when in 1897the state Capitol building burned.

By 1911 it was determined by state officials to buildlarge br onze cases in the main r otunda of the newCapitol building to house the Commonwealth’ s CivilWar flag collection. On June 14, 1914 a parade steppedoff from the old library and museum building with some300 Civil W ar veterans, original color bearers in manycases, carrying their furled standards. The flags weregingerly placed in the new flag cases and it was here thatthey remained for approximately seventy-five years.

In 1981 the 87th reenactment group expressed adesire to raise funds and conserve its original banner forposterity. Though the original color had deterioratedalmost beyond salvageability, a record banner for the orig-inal regiment was conserved. However, the 87th served animportant role in heightening the awareness of the need forimmediate conservation of the entire collection.

The newly created Capitol Preservation Committee,along with bipartisan support of House leaders, began aproject of sponsorship and conservation of the collectionin 1984. By 1992 the entire collection, now numberingsome 400 flags, was completely conserved and stands asone of the most r emarkable single collections of battleflags in the country . With the success of Pennsylvania’ sproject of flag conservation and a one-of-a-kind symposiumon battle flag conservation, many states across the nationbegan their own state-sponsored conservation projects.

The Commonwealth of Pennsylvania’ s collection ofstate-issued battle flags serves as an invaluable windowinto the nature of Civil W ar battle, and the horrors ofCivil War combat. Many of the colors were riddled withbullets and torn by shells. Staffs have been completelybroken in two, sometimes three pieces, and in-the-fieldsplices and repairs are evident. Blood stains and powderburns remain as sobering reminders of the gruelingordeal, and the sacrifices made by the 620,000 men whopaid the ultimate price.

The entire collection of Pennsylvania Civil War flagsis available for tours by the public, via appointment. T oschedule a tour of the collection, or for more informa-tion, contact the Committee at 717-783-6484 or visit ourwebsite at http://cpc.state.pa.us.

Look for a fr ee copy of the Committee’ s updated CivilWar Flags booklet in Summer 2005.

VETERANS MARCH ALONG THE STREETS OF HARRISBURG ON FLAG DAY 1914

“...The hopes, dreams, and fears of Civil W ar soldiers and a nation atwar are encapsulated within their silken folds...”

Whether the vision of young SergeantBenjamin Crippen shaking his fist at advancing Confederates, or a stage of fiery

shot and shell illuminating the first color to be plantedupon the ramparts, the image of Civil W ar battleflags isone of the most prevalent in Civil W ar iconography .Most all the hopes, dreams, and fears of Civil W ar soldiers and a nation at war ar e encapsulated withintheir silken folds, and they have been the subject ofcountless photographs, paintings, and articles.

The lifeblood and spirit of any Civil War regiment wasits regimental standard. Not only was the flag the pointupon which a regiment would rally in times of desperation,but it served as a visible sign of what was occurring on theturbulent, ever-changing battlefield. In a time before radio

communication, the flag was the point on which the regiments’ communication hinged, and therefore largelydetermined the ebb and flow of battle.

Numerous states north and south provided regiments with their own state-issued colors, while thenational government and many small American commu-nities did the same. The Commonwealth of Pennsylvaniaappropriated money to outfit the majority of its 215 regiments with flags emblazoned with the state Coat ofArms and lettered with the regimental designation. Attimes, war gover nor Andrew G. Curtin would personally travel to a regiment’ s location to present thenew colors to its colonel.

As the war wound on, most regiments at one time oranother became embroiled or entangled in varying

Pennsylvania’s CIVIL WARTREASURES

Repulse of Gen. Johnson’s Division by Gen. Geary’s White Star Division. BATTLE OF GETTYSBURG, JULY 3, 1863 BY PETER FREDERICK ROTHERMEL, OIL ON CANVAS, CIRCA 1868

2005 FLAG BOOKLET AND

ROTUNDA FLAG CASE

17

ON THIS DAY IN HISTORY…

September 8, 1904Huston requests, and the Commission

approves, postponement of the final decora-tion of the House and Senate Chambersuntil after the 1905 legislative session.

September 10, 1904Five laborers are injured when a

scaffold in the rotunda collapses and falls twenty-seven feet as they were

hauling a 1,000-pound girder from the Senate Chamber.

September 24, 1904Workers proceed in setting granite around

the drum of the Capitol’s dome.

18 19

CAPITOL BASEMENTRESTORATION

With each new phase of life safety upgrades beingconducted throughout the Capitol building by theDepartment of General Services, the CapitolPreservation Committee has simultaneouslyrestored portions that were architecturally orartistically integral to the building’ s history. Aftertwenty-two years of Committee restoration projects and ten years of work in conjunction withthe Department’ s life safety projects, the majorrestoration and rehabilitation of all public and private spaces in the Capitol building are concluding with the work in the basement.

The basement area has often been considered a very utilitarian type of space with little thought of aesthetics. Over the years, sus-pended ceilings, boar d and batten wall paneling,ranch molding, vinyl asbestos floor tiles, and modern lighting fixtures have been installed, robbing the basement of its original character.

Those who have not visited the basement forsome time are in for a big surprise. Under the latest project, the basement has been stripped oflater modifications and r eturned to many of itsoriginal 1906 finishes. After removing most of the suspended ceiling in the basement r otundaarea, an ornate coffered ceiling was exposed. (The Senate page r oom, covering the remaining

ornate rotunda, is planned to be removed in thefuture.) Paint analysis identified the historic paintcolors for the entire basement. It was discoveredthat originally all basement doors and trim wereoak instead of mahogany, which was traditionallyused throughout the rest of the building. The original stain color for the oak was matched andused throughout the entire basement including thenew rotunda enclosures for the snack bar. Period,historically-inspired lighting fixtures were alsoadded in the corridors.

The most monumental change to the basement was the removal of the asbestos vinyltiles, which were abated and replaced withdurable terrazzo flooring. T raditionally, terrazzowas concrete slurry mixed with marble chips thatwas poured, then ground down to a polished finish. Today, marble chips are still used, but theconcrete slurry has been replaced with long-lasting epoxy . T errazzo was chosen for its durability since the basement has the highest traffic of delivery carts and pallet jacks.

In addition, there is precedent for the use of ter razzo in the building. W ith the exception of the Capitol’ s first floor (Moravian tile), the second floor outside the Lt. Gover nor’s of fice(marble), and the fifth floor (vinyl tile over concrete), the remaining public corridors are allterrazzo. In fact, the pattern for the basementfloor was developed using these public corridors

as inspiration. Even the size of the chips used increating the mixture matches the historic terrazzochip mixture.

An ornate pattern was chosen for the moredecorative basement rotunda so that following theremoval of the Senate page room it will serve as asecondary rotunda press conference and exhibitarea for the use of legislators and the public. Thecolors in the basement floor were chosen by theCommittee using existing Capitol historic finishes.The warm burnt sienna faux finish used thr ough-out the Capitol’ s public corridors inspired thefloor’s border. The golden ocher color was chosenas an accent color to the sienna, and the yellow-green roof tiles inspired the green accent colorused in the rotunda. W ith the completion of thenew terrazzo floor , the transformation of the basement will finalize the Capitol’s restoration.

BASEMENT RESTORATION BEFORE AND AFTER: ABOVE–ROTUNDA; LEFT–SOUTH CORRIDOR

five-year, renewable maintenance project, theCommittee will be able to sustain the hard workand achievements of the last twenty-two years.

A primary focus will be on all of the publiccorridor spaces and includes semi-annual generalcleaning of plaster , finished canvas and marble,walls, beam drops, soffits, moldings, bronze andmarble surfaces, finished wood work, painted artwork, light fixtures, and miscellaneous architectural materials and finishes.

The work extends from floor to ceiling leveland includes all surfaces which collect and harbordust, dirt, and debris, including horizontal andinclined ledges, frame and molding edges and profiles, fixtures, and accessories. The project also includes the cleaning, polishing, and relamping of existing ornamental chandeliers,sconces, and wall mountedlight fixtures.

Once a year , thisproject will also addressgeneral r epairs to the public corridor finishes.This includes r epairs tomarble, canvas, paint andglazed finishes, wood andwood finishes, gold leaf -ing, and stenciling. Eachyear the Committee willidentify all necessary repairs. Year one is expectedto have the most extensive r epairs because nomaintenance has occurred since the projects have

ended. Successive yearsshould prove to be minimalin comparison to year one.The purpose of having thiscontinuing project is sothat the condition of thebuilding never returns tothe neglected conditionthat was endured for someseventy-five years prior tothe restoration.

SOUTH WING RESTORATION:THIRD AND ENTRESOL FLOORS

As with the Capitol basement project, theCommittee also restored historic areas on the thirdfloor in rooms 308B and 308E, concurrent withthe Department of General Services’ life safetyupgrades.

Originally, room 308B was the office of theSecretary of the Commonwealth with room 308Eserving as its reception room. Both rooms havefull-height mahogany wainscot and ornateplaster ceilings. Since 1906 both of therooms’ ceilings have been redecorated,obscuring the original finishes. Under thisproject, the ceilings were restored to theirhistoric colors based on paint analysis anddestrata conducted by the Committee.

Likewise, on the Entr esol floor, ornateceilings in rooms 508 and 509 were alsorestored. These rooms were originally used asconference rooms for the dental and medicalcouncil. A partition wall was installeddecades ago, adding part of the public corridor into this suite of offices. Historicfloor plans and paint analytics confirmed this

by resulting in a color scheme that identicallymatched the corridor.

Room 509, originally an Assembly Roomcontaining a dais and seating for approximatelyseventy-five people, posed an interesting challenge. In 1939-1940 this room was totallyremodeled and joined with room 510 by eliminating a north/south partition wall. This

expanded space was converted for use as theJustice Department Library . In addition tocustom-madebookcases andstudy alcoves,a new ornateplaster ceilingwas installed.Unfortunately,in the early1960s morea l t e r a t i o n swere made anda new par titionwall between 509 and 510 was erected. Atthis time, the ornate ceiling in room 510 wasalso covered with a flat plaster ceiling.

However, after considering the merits of theornate ceiling, upon examination it was found tobe in good condition and was adaptively restored.

MAINTENANCE OFCAPITOL FINISHESAND FIXTURES

The gr eatest for m of historicpreservation is continuedmaintenance. This summer ,the Capitol Pr eservationCommittee took a major steptowards eliminating the needto conduct a large-scalerestoration of the Capitol inthe future. By initiating a

ON THIS DAY IN HISTORY…

September 30, 1904Huston reports that the finish

plastering is almost complete in the chambers and that the woodwork will be installed

within a week.

October 2, 1904Harrisburg Planing Mill, main supplier for

the Capitol’s millwork, now operates dayand night to turn out the woodwork.

Huston and Charles Wetter, partner ofGeorge Payne who built the Capitol,

inspect the job site.

October 25, 1904The Board of Commissioners and Public

Grounds and Buildings awards Payne andCompany a change order to their contract

to finish the Capitol’s attic, creating additional office space for newly established state departments.

20 21

PAINT EXPOSURE DESTRATA WINDOWS

ROOM 308 IN 1906

TORN WALL CANVAS

DAMAGED MAHOGANYFLOOR MOLDING

NORTH CORRIDOR, 1ST FLOOR

ON THIS DAY IN HISTORY…

November 1904Laborer Lucas A. Hoelle was killed when he fell twenty-six feet through an opening

in the Senate floor. He was the fifth man killed since construction began.

November 3, 1904Governor Pennypacker adds an element of humor, as reported by the HarrisburgTelegraph, with his suggestion, that if the

Capitol were not ready, the Legislaturecould meet outside along the Third Street

side of Capitol Park. He mentioned asprecedents the English barons at

Runnymede and the Druids, “who always had open air services.”

BARNARD STATUARYMAINTENANCE

The initial assessment of the year -four mainte-nance work for the Barnard statuary showedlittle to no changes in the overall condition ofthe two groups. Both groups were cleaned withan anti-microbial treatment to hinder yearlybiological growth. The minor loss of dispersedhydrated lime (DHL), a compound used to fillminor cracks and fissures, was noted. Theseareas, largely those most exposed to the elements,were cleaned and refilled. To further protect theseareas, a natural hydraulic lime (NHL) cap was

placed over the DHL in vulnerable areas, whichwill help to protect the areas that are directlyimpacted by driving rain and snow . During theinspection, a pr eviously r epaired patch showedsigns of failure on the bas-relief of the northgroup. The patch was removed and replaced.

Previously, molds were taken from six loca -tions on the north group to enable replacement ofselected damaged carved elements. Highly figuredelements that had been pr eviously broken andrepaired a number of times were molded and plaster models were made to allow for later re-carving using the pointing method.

This year , the damaged elements wereremoved and the newly carved elements were installed. Among the new carvings, visiblefrom below , is the replacement of the

Teacher/Philosopherfigure’s scroll, thumb,and finger . The NewYouth figures receiveda right hand to thefemale figure and aproper left hand for themale figure. In addi-tion, as part of thisyear’s work, theCapitol Preservation

Committee repointedthe sculpture’ s granitebases and lead capswere installed on hori-zontal joints at the top ofeach base.

At the end of thisyear’s maintenancework, the sculpturalgroups remain watertight and pr oblemfree—prepared to facethe harsh winter elements of Harrisburg’s variablewinter weather patterns.

MEXICAN WAR MONUMENTMAINTENANCE

The inspection of the Mexican W ar Monumentduring year thr ee of the maintenance pr ojectrevealed very little changes in its condition. Theexamination included allmortar joints, dispersedhydrated lime fill (DHL)injections, and the per-formance of consolidantsapplied during the firstyear of the project.

In the spring, newdamage to one of theeagle’s heads on thenorthwest corner of the

monument was discovered. It had completely broken off and was found lying on the gr ound. Areplacement head was modeled and installed aspart of this year’s maintenance work.

In August the monument narrowly escapedwhat could have been massive damage, when apowerful thunderstorm blew over an adjacenthundred-year-old ash tree. The tree was noted ona 1919 topographical map, which civil engineerE.W. Cowden wr ote was 2.2 feet in diameter .Based on that calculation, it is believed the treewas planted circa 1870.

The entire monument was gently cleanedand rinsed using filter ed water at hose pr essure.An anti-microbial solution was again applied tothe few areas that showed new biological growth.The holly bushes planted during last year’ s main-tenance frame the granite base of the monumentproviding lush gr een foliage. The Committee’ scommitment to providing a five-year cyclicalmaintenance pr ogram for the Mexican W arMonument has proven successful, leaving themonument in excellent condition.

22 23

IDENTIFYING DHL FILL LOSS

ATTACHING REPLICATED THUMB AND FINGER

REPLICATED SCROLL, THUMB, ANDFINGER AFTER RESTORATION

MEXICAN WAR MONUMENT NARROWLY ESCAPED STORM DAMAGE

INSPECTING REPLICATED EAGLEHEAD AFTER RESTORATION

2524

In May 2004 the Ca pitol Preservation

Committee opened the “Ca pitol

Artists” exhibition in the Ca pitol’s main

rotunda. This e xhibition, which is the

fourth in our special series planned to

celebrate the Ca pitol’s 100th

Anniversary in 2006, will be on displa y

in the rotunda’s four large e xhibit cases

through February 2005.

An enormous amount of talent

went into crea ting the artw ork tha t

adorns the P ennsylvania Sta te Ca pitol.

Some artists w ere already famous in

their own right; others w ere less known

and became recognized for their work in

the Capitol. In either case, each of the

Capitol artists in his or her own way con-

tributed not only to the beauty of the

Capitol, but also to the grea t history of

our Commonwealth.

This e xhibition fea tures fiv e

Capitol artists— George Grey Barnard

(1863-1938); Edwin A ustin Abbey (1852-

1911); Violet Oakley (1874-1961); Henry

Chapman Mercer (1856-1930); and

William Brantley V an Ingen (1858-

1955)—and offers a rare glimpse a t

works produced before, during, and

after their Capitol commissions.

Our Ca pitol Artists e xhibition

represents only a fraction of the talent,

from an amazing group of artists, com-

missioned to crea te artwork for one of

the most ma gnificent sta te ca pitols in

the country.

As we move toward the Capitol’s

100th Anniversary Celebration in 2006,

the Committee is planning exhibits that

reflect the past 100 y ears of Ca pitol

history so tha t visitors and bu ilding

occupants alike can learn more a bout

the Capitol’s important milestones.

A) Republique Francaise Honneur Et Patrie Medal, 1870,Gold medal with ribbon, great-grandson Dirk A.D. Smith

B) Model for 13 rue de la Grande Chaussée, c. 1900, P enand watercolor on paper (photograph), grandson GeorgeGrey Barnard II

C) Emerging Bust of Abraham Lincoln, 1923, Marble,Glencairn Museum; and National Institute of Arts & LettersMedal, 1936, 14k gold, great-grandson Dirk A.D. Smith

D) Repubublica Argentina Centenairo Dela Independencia,1910, Bronze medal, great-grandson Dirk A.D. Smith

E) Untitled Sketch of Female Form, c. 1900, P encil onpaper (photograph), grandson George Grey Barnard II

F) “The Builder,” 1935, Bronze, grandson George GreyBarnard II

G) Promotional Poster for The Cloisters, c. 1945, Printedpaper (photograph), grandson George Grey Barnard II

H) “The Bull Dog in Lincoln,” c. 1900, Pencil on paper(photograph), grandson George Grey Barnard II

I) “Fairfield Abbey” by Spy for Vanity Fair Magazine, Dec.1898, Lithograph, Capitol Preservation Committee

J) Abbey “O, Mistress Mine where are you roaming,” 1884, Printed paper, Capitol Preservation Committee; and“Sketching Rambles in Holland,” 1884, Book, CapitolPreservation Committee

K) Bust of Violet Oakley, 2004, Composite reproduction,Original sculpted by Michel de Tarnowsky (1870-1946), The Museum of the Art Schools of Nice, France

L) Abbey “The Deliverer,” 1936, Printed paper, CapitolPreservation Committee

M) Oakley Stained Glass Dome, 1907, From CharlesYarnall Townhouse, c. 1999, Photograph, CapitolPreservation Committee

N) Oakley The Ladies Home Journal, Nov. 1897, Magazine,Capitol Preservation Committee

O) Sample Box featuring “Castle Acre” Tiles, c. 1900, Woodand earthenware tiles, The Moravian Pottery & Tile Works

P) Pitcher, c. 1830, Wheel-thrown earthenware, The Mercer Museum

Q) Grain Shovel, c. 1850, Wood, The Mercer Museum

R) Ice Skates, c. 1810-1820, Wood and iron, The Mercer Museum

S) Fonthill, Mercer's castle-like home built between 1908and 1910, c. 1990, Photograph, Spruance Library

T) Mercer's Original Sketch Book, c. 1897, Book, Spruance Library

U) Sketch for “Seal of the New York Press Club” Panel,1909, Graphite and charcoal on paper (photograph), The Moravian Pottery and Tile Works

V) Butter Churn, c. 1830, Wood and iron, The Mercer Museum

W) “Construction of the Spillway at Gatun Dam,” PanamaCanal Administration Building Mural Series 1993, Oil oncanvas (photograph), niece Marian Van Soest

X) “Liberty and Prosperity” Mural Series from New J erseyState Capitol, Senate Chamber 1903, Oil on canvas (photograph), Office of Legislative Services

Y) Mosaic from U.S. Mint Building in Philadelphia, Depicts ancient Roman methods of coinage, 1901, Glass mosaic (photograph), niece Ruth Wait

Z) Van Ingen Visiting Japan, c. 1898, Photograph, niece Ruth Wait

aa) “War and Navy” Library of Congress Mural, 1896, Oil on canvas (photograph), Library of Congress

A

B

C

D

I

L

E

F

J

K

H

QOS

P

G

T

R

W

Y

aa

X

Z

MN

U

V

NORTH LIGHT COURTRESTORATION

During late summer and fall 2004 the CapitolPreservation Committee began restoration workin the North Light Court area of the Main Capitolbuilding. Documentation shows that the lightcourt areas had been refurbished in 1940 as partof a comprehensive repainting of the Capitol’ spublic corridors. More specifically, the marble hadnever been poulticed and polished since theCapitol’s construction.

The project involved cleaning the groinvault interstitial spaces above the skylights, result-ing in the removal of fifty-six bags of debris thatover the course of the last one hundred years hadaccumulated in this space. At the onset of therestoration, a conditions assessment was completed at each floor , noting examples such ascracked or displaced plaster , paint flaking, damage from water infiltration, and cracks or gapsin the wood elements.

Before cleaning the white marble surfaces,balustrade, and columns, light and gloss meter

readings were taken at several locations, followedby a two-step cleaning process. First, a nonacidiccleaning gel was applied to the surfaces with softbristle brushes, and then rinsed of f with spongesand water. Due to the lack of maintenance that themarble had received since its installation, thismethod largely removed only surface soil. Thesecond method of poulticing was employed toremove deeper embedded stains. A blend of dryabsorbent clays and mild detergent was mixedwith water. After achieving a spr eadable consis -tency, conservators applied the poultice to themarble using a plasterer’ s trowel to a uniformthickness. A thin film of polyethylene was lightlypressed to the poultice and sealed at the edges.After being left in place for twenty-four hours, thepoultice was removed and the marble wassponged clean with water to r emove any r esidueand neutralize the surface. The final step was

polishing and involved applying Italian Craftsmanpolishing cream with a soft cloth in a circularmotion, then buffing to a brilliant luster.

More than 240 elements were sampled todetermine the historic finishes within the lightcourt area. Conservators began by conductingmicroscopic analysis of all paint samples in order

to deter mine the original1906 finish. In addition,many years’ wor th of over -

paint was chemically removed at select locations,creating paint exposur e destrata windows toreveal the historic finish underneath. The dataobtained from these procedures was then used toestablish a palette for the finishes used during therestoration process.

The leadedglass skylights situ-ated in the ceilingof the light courtwere also restored.Before they wer eremoved and takenoffsite, the condi-tion of the windowswas thor oughlyphotographed anddocumented, including each panel’ s orientation.The panels were hand washed and repairs weremade to the glass and lead cames, which had shifteddue to the immense flexibility of lead over time.

ON THIS DAY IN HISTORY…

November 4, 1904The Harrisburg Patriot and

the Philadelphia Press issue stories questioning whether the building would be ready for the General

Assembly on time.

November 7, 1904Huston reports that half the marble in

the Senate Chamber has been set, and thechamber will be completed within ten days.

The House Chamber and its anterooms will be finished by December 1.

November 21, 1904Huston backs off from his earlier projections after visiting the shops

of marble subcontractor R.C. FisherCompany in New York, learning

the marble for the House and Senate Chambers will not be

ready until December.

November 25, 1904The Public Ledger reports that the

windows are being glazed in the chambersand that the stained glass for the oculi

windows has been delivered to the building for installation.

2726

NORTH LIGHT COURT–DURING RESTORATION

NORTH LIGHT COURT–BEFORE RESTORATION

POULTICING AND CLEANING MARBLE

RESTORATION OF DECORATIVE FINISHES

REMOVED LEADED GLASS SKYLIGHT—BEFORE RESTORATION

ON THIS DAY IN HISTORY…

December 1904Commission members are inspecting

the construction site almost daily; Huston and Payne make weekly inspection trips to the Capitol.

December 7, 1904The Philadelphia Press, Philadelphia

Inquirer, and Harrisburg Telegraph reportthat some of the mahogany woodwork in thelegislative chambers and committee roomsdid not meet Huston’s specifications and

would have to be replaced after the session.

December 14, 1904Edwin Austin Abbey contracts directly with the Board of Commissioners of

Public Grounds and Buildings to providepaintings for the House and Senate

Chambers, the Supreme Court Room, and four circular panels for the pendentives

of the dome for $50 per squar e foot.

To be continued…

The damage was concentrated at the eastwall of the Gallery , near the circular opalescentstained glass window entitled “Printing Press” byWilliam Brantley V an Ingen. When the nonhis-toric canvas was removed, mold was found grow-ing on the underlying plaster . During mitigationof the mold, a microbiocide general disinfectantwas applied.Once the moldwas eradicated,the plasterworkwas completedby prepping andfilling in minorcracks and sur-face inconsisten-cies, followed bysanding. A wall covering primer/sealer was rolledonto the wall, along with a heavy-duty adhesivebefore applying the new canvas. Gold leaf wasapplied to the window surround and burnished,allowing the space to return to its original state.

29

Replacementglass was onlyinstalled for areasthat containedmultiple fractureswhere safety and integritywere a concern.Fortunately, the

same factory that made the glass when the Capitolwas constructed is still in existence. The WissmachGlass Company in Paden City , West Virginia wasused for the replacement pieces, which enabled theCommittee to remain true to the historic fabric ofthe original stained glass.

Originally the dome above the skylights provided natural light, however, over the years mechanicalequipment was installed above theglass that obstructs the light. T oday,the leaded-glass panels are backlit witheight, four -foot fluorescent light fixtures. In addition, twenty-four halfmoon bronze lighting fixtures in theLight Court were rewired, relamped,and put on a dimmer switch and timing control device.

Plaster Restoration in the House GalleryDamage was discovered in the HouseGallery space, which was caused byreoccurring roof drainage and waterinfiltration. It was determined that thescope of the work would involveremoving the existing damaged wallcanvas and plaster , making the neces-sary repairs, and restoring decorativefinishes to match the existing adjacentfinishes.

28

RUBBING FROM SKYLIGHT FOR REPLICATINGBROKEN PIECES OF LEADED GLASS

NORTH LIGHT COURT AND SKYLIGHTS–AFTER RESTORATION DAMAGED PLASTER AROUND “PRINTING PRESS” OPALESCENT STAINED GLASS WINDOW

MOLD FROM WATER INFILTRATION

3130

In olden days, farmers would grab a largebunch of wheat or rye with the left hand,and with the right, they would cut the grainnear the ground using a slender , serrated sickle. They would then set the collected pile on the ground, and wait foranother worker to gather the grain. By handa farmer or laborer with a sickle alone couldharvest one third of an acre of grain per day.Later a scythe with a cradle attached wasdeveloped that allowed piles to be stackedas the grain was cut. The grain cradleincreased one person’ s pr oduction anywhere from one and one half to threeacres per day. Later, Scottish native PatrickBell (1826) and V irginia’s CyrusMcCormick (1831) would create and stan-dardize the American reaper so that the oldmanner of reaping by sickle would largelydisappear. The invention of the reaper wasone of many in the agricultural revolution ofthe nineteenth century.

Doylestown native Henry C. Mercersought to picture within his tiled floor forthe Pennsylvania Capitol the heritage andfolk life of Pennsylvania. Mercer conductedexhaustive research on the methods utilizedby early Pennsylvanians and took manyblack and white photographs, which helater used in constructing his mosaic tiles. Incontrast to the actual mosaic, the historicblack and white photograph of a man reaping with a sickle (shown on right)demonstrates the detail and craftsmanshipMercer devoted in cr eating the mosaics forthe tiled pavement of the Capitol.

Reaping with the Sickle

When the earliest European pioneers cameto Pennsylvania, they br ought with themlong-bitted or bladed axes (like the onedepicted above on the left). These axes, which pr eviously had not been used to clear entir e for ests in Eur ope, pr ovedawkward and clumsy in felling massiveAmerican old gr owth for ests due to their unbalanced weight. By 1730 the colonists had modified their axe design and American blacksmiths wer e

now pr oducing shor t-bladed, heavy-polled (the driving weight) axes called“pitching” or “tr ee felling” axes. It was this and several other types of smaller carpentering axes with which America’ svirgin for ests would be timber ed, and the American-style log cabin would bebuilt. The evolution of the Eur opean axe is just one way in which early pioneers transformed Eur opean traditions and technology to fit American needs.

The Axe and Its Ancestor

33

of Pennypacker Mills, Montgomery County .Afterward, the crowd was treated to “cornerstonecake,” as our interpretation of the ceremony substituted icing for mortar spread atop a largecake symbolizing the cornerstone.

A Look Back at the Historic 1904Cornerstone Laying CeremonyThe cor nerstone cer emony was the highlight ofthe Capitol construction in the spring of 1904.Unlike the groundbreaking, which had beenalmost a private ceremony, the cornerstone layingdrew a lar ge crowd. Governor Pennypacker , theeight members of the Capitol BuildingCommission, architect Huston, andconstruction contractor GeorgeF. Payne all participated.

The Governor headed a small procession tothe palm-decorated stand, where the cornerstonelaying occurred. W ith him were his private secretary and the contractor’ s men carrying themetal memorial box, which he had kept in his private office until the time for the ceremonyarrived. The box was covered on all sides withinscriptions, giving the names of the members ofthe Capitol Commission, the ar chitect and con -tractor, the heads of the state departments, sena-tors and members of Congress from Pennsylvania.

Newspaper accounts of the event var y.One reported that several short

speeches were delivered; another reportedthat there was no speechmaking. Whatever thecase, the ceremony was a very simple affair thatlasted only about ten minutes. It consisted mer ely

100TH ANNIVERSARY OFCAPITOL CORNERSTONELAYING CEREMONY

May 5, 2004 marked the one-hundredth anniver-sary of the cornerstone laying ceremony for theState Capitol Building. In honor of this historicevent, the Committee hosted a commemorationceremony along with the premier of a special exhi-bition in the Capitol rotunda that featured replicasof items placed in the 1904 cornerstone.

The outdoor ceremony was held near themain entrance to the Capitol. CommitteeChairman Rep. Paul Clymer ser ved as master ofceremonies along with Lt. Governor Catherine

Baker Knoll who delivered a proclamation andassisted with the pr esentation of a mock centennial cornerstone box. Also participating inthe cer emony wer e Stanley and T ilda Hunting,the grandchildren of Capitol architect Joseph M.Huston; Ron Boice, first person interpr eter ofGovernor Samuel W . Pennypacker; and theCentral Dauphin High School Jazz Combo whoprovided the musical entertainment.

Stanley Hunting, who bears a strikingresemblance to his grandfather , por trayed theCapitol ar chitect alongside Ron Boice (as Governor Pennypacker) re-enacting thespreading of mortar on the cornerstone using theoriginal trowel from the 1904 ceremony , courtesy

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RUTHANN HUBBERT-KEMPER, LT. GOVERNOR CATHERINE BAKER KNOLL, AND RON BOICE

TILDA AND STANLEY HUNTING, REP. PAUL CLYMER, LT. GOVERNOR CATHERINE BAKER KNOLL, AND RON BOICE

RON BOICE (AS GOVERNOR PENNYPACKER), REP. PAUL CLYMER, AND LT. GOVERNOR CATHERINE BAKER KNOLL

ORIGINAL TROWEL USED BY GOVERNOR PENNYPACKER AT 1904 CORNERSTONE LAYING

35

of the placing of the memorial box in the hollowstone by Huston and Payne and the laying of abed of cement for the capstone by GovernorPennypacker. The corner of the center wing, justto the right of the main entrance por tico, wasselected as the location for the cornerstone. A fterthe box had been placed in the stone, Hustonhanded the Governor a silver trowel with anebony handle and the Governor started to heapmortar on the box that was covered with a canvaswrapper tied with violet ribbon. The silver trowelused by the Governor bore the following inscrip-tion on the blade:

This trowel was used by Governor Samuel W .Pennypacker to lay the memorial box in the cornerstone of the Capitol building atPennsylvania, May 3,[sic] 1904. Architect, JosephM. Huston. Contractors, George F. Payne & Co.Architect Huston did not approve of

Governor Pennypacker ’s technique and Hustonlaid aside his silk hat and proceeded to spread the mortar for him. Once this task was properly completed, Payne directed the steam crane whichswung and lower ed the two-and-one-half-ton capstone into place. Proudly floating on the cable

of the steam crane was a new American flag. The application of the capstone was completed bythe firm of Charles H. Parson, the granite setters.

The discrepancy of the date on the trowelresulted from the governor’s attendance at the St.Louis W orld’s Fair . The fair featured thePennsylvania Building, designed by Philip H.Johnson, which was loosely modeled around theplans for the new State Capitol. Pennsylvania’ srepresentation at the fair and stature among stateswas so important that Governor Pennypackerinsisted on being there opening day on April 30,1904, ultimately delaying his return to theCapitol’s cornerstone ceremony by one day.

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CPC RECEIVES AWARD INHISTORIC PRESERVATION

Preservation Pennsylvania, in partnership withthe Pennsylvania Historical and MuseumCommission, named the Capitol PreservationCommittee as the recipient of the F . Otto Haasaward, part of the 2004 Pennsylvania’ s HistoricPreservation Awards. The awards were presentedat a ceremony held at The State Museum inHarrisburg on May 4, 2004, followed by a recep -tion in the Capitol’s main rotunda.

Since 1979 the annual preservation awardshave recognized significant contributions in thefield of historic preservation made by both individuals and organizations. This award honorsnoted preservationist and philanthropist F . OttoHaas (1915-1994) as standing recognition of hisservice and contributions to historic preservation.It is Pennsylvania’ s highest honor given in recognition of outstanding contributions topreservation made by an individual or group.

“During the past twenty-two years theCapitol Preservation Committee has completed

more than sixty projects along with establishingcyclical maintenance programs to preserve theState Capitol Building, truly one of Pennsylvania’smost magnificent treasures,” said CommitteeChairman Rep. Paul Clymer . “It is a great honorfor the Capitol Preservation Committee to receivethe 2004 F. Otto Haas award and to be recognizedby the two foremost respected preservation insti-tutions of Pennsylvania.”

According to Executive Director RuthannHubbert-Kemper, the Committee’ s goal has beento complete the restoration in time to celebrate theCapitol’s 100th anniversary in 2006. “By acceptingthis honor we recognize all the dedication by ourmembers, staff, and the multitude of artisans andcraftspeople who have recreated and conservedthe grandeur of one of the truly beautiful andunique capitols in the nation,” said RuthannHubbert-Kemper.

The Capitol building serves as an icon of theState, representing history , government, and therichness of our “common wealth.” The CapitolPreservation Committee is proud to serve as itshistoric guardian and custodian.

1904 CORNERSTONE LAYING CEREMONY

CAPITOL PRESERVATION COMMITTEE: REP. DAVID ARGALL, BEATRICE GARVAN, SEN. HAROLD MOWERY, SEN. MICHAEL O’PAKE, THOMAS DARR, JOHN BOWIE, ROBERT GLENN, BARBARA FRANCO, RUTHANN HUBBERT-KEMPER, AND REP. PAUL CLYMER

THE PENNSYLVANIA BUILDING AT THE CLOSE OF THE FAIR

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The Capitol Preservation Committee in conjunc-tion with the Office of the Speaker of the House,the Department of Education, and the Departmentof General Services is proud to be a supporter ofthe relocation and renovation of the State Libraryof Pennsylvania’s Rare Books Room.

As the forerunner of the modern StateLibrary, the Commonwealth’ s collection of rarebooks contains some exceptionally rare and historic manuscripts, maps, and printed volumes.The collection ranges in timeframe from 1493 withthe oldest holding, The Nuremberg Chronicle, tothe early twentieth century and also containsOfficial Minute Books of the colonial GeneralAssembly along with the original reference materials used to create the early laws of theCommonwealth.

Some other holdings present in the libraryare the first Pennsylvania Assembly Bible, theoriginal Assembly collection of 1745, early reli-gious texts from Ephrata Cloister, numerous earlyBenjamin Franklin publications, and an extensivecollection of early Pennsylvania imprints andnewspapers such as the Pennsylvania Gazette.

As part of the Rare Books Room renovationproject, an ar ea under the basement floor of theState Library Building was braced with new pil -ings meant to absorb and bolster the weight of avault to be constr ucted to house theCommonwealth’s collection of rare books. Inanother collections area directly under this newlyconstructed vault, there are other valuable works

in a collection considered to be “transitionallyrare.” These 90,000 + volumes do not yet meet“rare book” guidelines or are second and third edi-tions, however, are quite valuable to our historyand are currently housed in the basement area ofthe State Library Building, where light, heat andhumidity controls are inadequate. While ther e isnot space in the proposed vault for all of the tran-sitionally rare materials, an adaptation to thedesign will capture more square footage, properlycondition the environment, and permit all rare col-lections to be housed in the new facility .

In its entirety the Commonwealth’ s collec-tion of rare books is one of the most important andrare collections in the United States and thePennsylvania State Library is unique as one of theonly libraries that holds the majority of the books,publications, and newspapers that influenced thewriting of the important documents that governour nation. For this r eason the CapitolPreservation Committee urges public and privatesupport for the r enovation of the Rar e BooksRoom to pr eserve this ir replaceable collection for posterity.

36 FUTURE SPACE FOR RARE BOOKS ROOM

THE PENNSYLVANIA GAZETTENEWSPAPER, 1773

FIRST PENNSYLVANIAASSEMBLY BIBLE

WOODCUT PRINTS

SELECT WORK OF WILLIAM PENN 1771; FRANKLIN’S POLITICAL WORKS 1779; NUREMBERG CHRONICLE; JOHNSON’S DICTIONARIES

FOUND: 1936 SCRAPBOOK OFCAPITOL PHOTOS

In the fall of 2004, local bookdealer and collector , W illiamH. Thomas of Mechanicsburg,Pennsylvania, found anddonated to the Committee ahistoric scrapbook contain-ing information about theCapitol. Mr . Thomas hasbeen a loyal friend to theCommittee since it wasestablished in 1982 bydonating and pr oviding

leads on Capitol artifacts. As recognition for hiscontinuing efforts, the Capitol Preser vationCommittee honored Mr. Thomas with a citation at

the full committee meetingon October 26, 2004. Thepresentation was made byChairman Rep. Paul Clymerand Executive DirectorRuthann Hubbert-Kemper.

No Ordinary ScrapbookThis unique piece of historywas assembled in 1936 byHarrisburg resident CharlesW. Whisler during the

38 39

Each year we use this section of our projectreport to highlight newly “found” discov-eries that relate to the Pennsylvania

Capitol as well as items that the Committee is stillin sear ch of, but r emain “lost.” Finding lostCapitol items is one of the most rewarding challenges for us, which complements the significant preservation work being done through-out the Capitol. Y ou can help by sharing knowledge about other historic artifacts that mayhave originated fr om the Pennsylvania StateCapitol by contacting the Committee. The impor -tant task of preserving the history of our belovedCapitol is one that benefits all Pennsylvanians andgenerations to come.

LOST: HOUSECHAMBERCHANDELIERS

Originally when theCapitol was first built, theHouse Chamber con-tained eight chandeliers(a larger set of four located on the ceilings’ souter perimeter along

with four smaller chandeliers located in the center). In 1912 during the installation of EdwinAustin Abbey’ s “Apotheosis of Pennsylvania”—the enormous painting on the central south wall ofthe House Chamber—two of the smaller chande-liers wer e r emoved because they obstr ucted theview of visitors in the gallery. The whereabouts ofthe chandeliers following their removal remains amystery, and therefore, the Committee would beappreciative to learn of any new information as wecontinue to compile documentation about theCapitol’s history.

WILLIAM THOMAS, RUTHANN HUBBERT-KEMPER, AND CHAIRMAN PAUL CLYMER

HOUSE CHAMBER IN 1906

CLOSE-UP VIEW OF LOST CHANDELIER

cleaning and repointing of the Capitol and StateMuseum buildings (the latter was renamed theSpeaker Matthew J. Ryan Legislative OfficeBuilding in 1999). Whisler served as senior engineer on the project, which was conductedbetween May and December of 1936.

Most unique is the incr edible amount ofdetail Whisler capturedin his thir ty-six-pageCapitol memento. Themajority of the pagesare devoted to eight-by-ten-inch black andwhite photographs thatcapture the two build -ings—before, during,and at completion ofthe pr oject (much like one of the Committee’sfinal project reportswould appear today). Not just ordinary snapshots, the photographs wer e taken byrenowned local photographer S.W . Kuhner t.Known for aerial and architectural photogra-phy in and around Central Pennsylvania,Kuhnert’s photographs are today valuable andhighly collectible with the State Museum housingone of his larger collections.

Other important aspects of the scrapbookinclude newspaper clippings about the progress of

the project; handwritten notes detailing whatmaterials and methodologies were used during thecourse of the project; and autographs rangingfrom then Governor George Earle to project engineers and contractors including the PiccirilliBrothers.

One of the pages includes a detailed photograph of the Barnard statuary at theCapitol’s front entrance, which in September 1936were being cleaned and preserved by the PiccirilliBrothers—the same New Y ork firm who hadinstalled the statuary in 1911. Amidst the documentation, we discover ed details about howthe statuary were cleaned, which included sand-

blasting and theapplication of a coatof beeswax andparaffin. Impor tantdetails such as thesegive the Committeean understanding ofthe maintenancehistory along withbetter insight as to the statuary’ s

present condition and stability requirements. Thisinvaluable r esource will become part of theCommittee’s permanent collection of historic doc-umentation and serve as a research source nowand to future Capitol preservationists.

40 41

FOUND: 1910 SWEET’SCATALOGUE OF BUILDINGCONSTRUCTION

In the spring of 2004, Committee architectHyman Myers shared his copy of the 1910Sweet’s “Catalogue of Building Construction”after noticing that it contained information relat-ing to the Pennsylvania Capitol Building.

On page 328 the catalogue features a listing for the WM. F. Remppis Company in theornamental metal work section. The WM. F .Remppis Company had fabricated the orna-mental ir on work of the Capitol. The firm’ sPhiladelphia office was located in theWitherspoon Building, which was the samebuilding where Capitol architect Joseph M.Huston’s office was housed.

The listing shows several illustrationshighlighting the beautiful and artistic quality ofthe company’s work for some of its prominentcustomers. Included ar e two interior shots featuring the Capitol’ s cast-iron light wells andstaircases.

An excerpt fr om the listing r eads: “The WM. F. Remppis Company is at all timesready to furnish the architect, contractor , orowner with complete estimates for all classes ofwork, and to submit special designs upon

request. For the convenience of our manyout-of-town clients we have fitted upcommodious quarters, equipped withwriting materials, phones, stenographer ,and all the accessories of a modern office,which they are cordially invited to use astheir headquarters while visitingPhiladelphia. Our plant is moder n inevery r espect, and we ar e pr epared toexecute orders of any magnitude, with theutmost promptness.”Since 1906 Sweet’s has been the number

one reference source for architects, engi-neers, and contractors. These generouslyillustrated old catalogues are a treasuretrove of information and history.

1936 SCRAPBOOK (ABOVE) AND PHOTOS FROM SCRAPBOOK (BELOW)

42 43

CommemorativeOrnaments2002 Liberty Stained Glass OrnamentA beautiful collectible, this stained glass reproduction is handcrafted in the U.S.A. Each ornament is elegantly packaged in a custom, gold-embossed gift box with an informationalbrochure and red ribbon. Conveying universalsymbols of hope, freedom, and patriotism, Libertyis the perfect gift or decoration that you will beproud to display all year. Date inscribed. 4 3⁄8"diameter with a 1⁄2" hook. $17.50

2001 Angel of LightOrnamentCommemorating the“Angel of Light” statuesthat adorn the GrandStaircase in the Capitolrotunda, this limited edi-tion piece is crafted frompewter. Inscribed with “2001Angel of Light” at the base,the ornament measures 4"high, with a cut crystalbead like those used on theactual statues. A statementof authenticity accompanieseach gift-boxed ornament.$16.50

2000 Commemorative Millennium OrnamentFeaturing a gold finished depiction of the CapitolDome exterior, with a cut-out center that revealsan etched and enameled view of the interior.Measures 4" x 2 3⁄4" and is packaged in a gift boxwith an informational card detailing the domestructure, history, and artwork. $12.50

1st Edition, 1999 Capitol Ornament A three-dimensional ornament featuring theCapitol’s West Elevation and Dome. Measuring 3 1⁄4" x 2 3⁄4", the ornament is finished in etched 24-karat gold with complimenting enamel colors.Beautifully gift boxed with a detailed informationcard. $11.50

AccessoriesLapel Pin featuring Violet Oakley’s “Divine Law” MuralOne-inch-squaregold pin with claspfeatures Capitolartist Violet Oakley’s“Divine Law” muralfrom the SupremeCourt Room in thePennsylvania StateCapitol. .94¢

NEW! Illuminated Capitol Glass EtchingThis unique collectible features a detailed glassetching of the Capitol building on a 5" x 7.25"crystal clear glass seated in a r osewood piano finished illuminated base. The illumination ispowered by a long-lasting LED board located inthe wooden base. $75.99

Historic Window PulleysThese original window pulleys weresaved during the 1983 windowrestoration of the the Matthew J.Ryan Building—the oldest building in the CapitolComplex. Exclusivelyoffered by the CapitolPreservation Committee,this handsome conversa-tion piece makes awonderful paper-weight or decorativeitem for your officeor home. The solid bronze pulleys aremounted on an oak base along with a dated brassname plate, and measure 6" x 4.25" x 2.25".Quantities are limited, so don’t miss this one-of-a-kind opportunity to own a unique pi ece of history! $32.99

CoastersBurgundy leather coasters with gold-foilembossed Pennsylvania Senate emblem. .99¢ each or 2 for $1.50

PublicationsA Sacred Challenge: Violet Oakley and thePennsylvania Capitol MuralsBeautifully illustrated with more than 200 images, “A Sacred Challenge” provides amazing insight about Oakley’sentire life’s work, her journey to becomeone of the most respected artists inAmerica, and features highlights of theCommittee’s 1992 Capitol murals’ con-servation project. 168 pages; hardcover. NEW Special Price! $39.95

Advance the Colors Volumes I & IIDocumentary history of the collection of battle flags carried by the 215Pennsylvania regiments that served the Union Army during the Civil War. The hardcover set includes 640 pages, 471 color photographs, 135 black and white photographs, maps, appendices, and bibliography. Set: $50.00 Single: $30.00

The Executive, Library andMuseum Building: A CapitolTreasure Celebrates 100Years, 1894-1994Printed to commemorate the centennial of the oldest buildingin the Capitol Complex, this 82-page soft cover documents thehistorical and aesthetic signifi-cance of the building now knownas the Speaker Matthew J. Ryanbuilding. $5.00

A Valuable Collection of Neat Books WellChosen: The Pennsylvania Assembly LibraryThis 48-page hardcover is a manuscript writtenabout the rare books housed in the State Library,which were ordered for the use of the GeneralAssembly by Benjamin Franklin. Authored byBarbara E. Deibler, former State Library rare books librarian. $9.95

Flag Symposium ProceedingsBound papers presented at the 1987 symposium sponsored by thePennsylvania Capitol PreservationCommittee. Nationally recognized professionals in the field of Civil Warhistory and textile conservation discusstopics including history and research,conservation, and funding for large flag collections. $15.00

Guidebook to the Tiled Pavement in thePennsylvania CapitolA reprint of Henry Mercer’s 1908 guidebook thatdescribes the 400 mosaics of the Capitol’s tilefloor. Also includes a map of the floor with thelocation of each mosaic. $9.95

Handbook of the New Capitol of PennsylvaniaA reprint of Charles Caffin’s original guide-bookto the Capitol detailing changes to the buildingand the lives of the artists who helped create a“Palace of Art.” $9.95

Pennsylvania in the Spanish American WarA unique look at the Spanish American War from the Pennsylvaniaperspective. Outlines the state’s role inthe war along with an overview of theconflict. $12.95

PENNSYLVANIA CAPITOL PRESERVATION COMMITTEE • HTTP://CPC.STATE.PA.US PRODUCT INFORMATION: 717-783-6484 • 9 AM TO 4:30 PM (EST)

GIFTS AND COLLECTIBLESSale proceeds help restore the Pennsylvania Capitol Building

44 45

Video CollectionThe BarnardStatuary ProjectIn addition to theirartistic beauty andintimate connectionwith the Capitol, the Barnard Statuary represents more than75 years of stoneconservation history.This video documentsthe Committee’s1998 conservationproject in amazingdetail, showing all

facets of the conservation process and the impor-tant work being done to preserve this incredible,historic work of art for future generations. Approx.16 minutes, color, VHS, 1998. $20.00

Capitol Rotunda and DomePreservationThe Committee’sfirst large-scalerestoration projectinvolved extensiverepairs to theCapitol dome andconservation of the Edwin AustinAbbey murals in the rotunda. Suspendedby a web of scaf-folding erected more

than 220 feet from the rotunda’s Moravian tilefloor, conservators worked downward, completingthe restoration by cleaning, repairing, and intricately repainting and reapplying gold metallic leaf to the decorative ceiling, walls, and elaborate embellishments. Approx. 30 minutes, color, VHS, 1987. $20.00

Major Artists ofthe CapitolThe artwork of theCapitol was executedby some of the best-known artists of theearly 20th century.This video highlightsthe remarkable worksof Edwin AustinAbbey, VincentAlfano, George GreyBarnard, DonaldMacGregor, VincentMaragliotti, Henry

Chapman Mercer, Violet Oakley, Roland HintonPerry, and William Brantley Van Ingen. Approx. 15 minutes, color, VHS, 1997. $20.00

Oaks Cloister—The Home ofCapitol ArchitectJoseph HustonTour this impressiveturn-of-the-centurymansion, which hasretained the samegrandeur as whenJoseph Huston livedthere. Located inhistoric Germantown,Pennsylvania, Oaks Cloister is an

eclectic blend of English Tudor and Chalet influ-ences. It remained in the Huston family until1955 when it was bought by Reverend WilburGouker and his wife Loice. The Goukers, whoworked tirelessly to preserve the rich history ofOaks Cloister, generously opened their home tothe Committee, making this film possible. Approx.23 minutes, color, VHS, 1994. $20.00

The Preservationof a State TreasureIn addition to providing historicalbackground infor-mation on theCapitol, this videopresents several of the Committee’srestoration andpreservation proj-ects including: theCapitol dome andEdwin Austin Abbeymurals, bronze

doors, Civil War Flags, Barnard statuary, VanIngen stained glass windows, Moravian tile floor,and many others. Approx. 45 minutes, color,VHS, 1992. $25.00

The Restorationof CommonwealthIn 1997 theCommittee beganthe painstakingprocess of restoringthe once magnificentCommonwealth statueto its originalgrandeur. More thannine months later, a weather-damagedCommonwealth wastransformed to adazzling beacon

standing majestically atop the Capitol dome.Approx. 16 minutes, color, VHS, 1998. $20.00

Note Cards

Metallic Holiday Note CardsElegant royal blue metallic with an embossed goldseal featuring the Capitol Rotunda decorated for the holidays. Blank inside. Folded size 5" x 7".Box of 12 cards: $12.00Sold individually: $2.25

Capitol Holiday Greeting Cards (Blank)Outside card greeting: “Greetings from the StateCapitol of Pennsylvania” Blank inside. 10 cardsper box. Folded size: 4 1⁄2" x 6".Box of 10 cards: $10.00Sold individually: $1.50

Capitol Holiday Greeting Cards (Printed)Same as above with inside greeting: “Warmestthoughts and best wishes for a Happy HolidaySeason and a Happy New Year!”Folded size: 4 1⁄2" x 6". Box of 10 cards: $10.00Sold individually: $1.50

Capitol Artistry Note CardsTwo of each image included in a pack of 10 color-ful cards: Paring Apples Moravian Tile Mosaic byHenry Chapman Mercer; The Pennsylvania StateCapitol Building and Grounds competition sketchby Architect Joseph Huston; The Camp of theAmerican Army at Valley Forge February 1778mural by Edwin Austin Abbey; Divine Law mural by Violet Oakley; Liberty stained glass window by William Brantley Van Ingen. Folded size: 4 1⁄2" x6 1⁄4". $12.00

PENNSYLVANIA CAPITOL PRESERVATION COMMITTEE • HTTP://CPC.STATE.PA.US PRODUCT INFORMATION: 717-783-6484 • 9 AM TO 4:30 PM (EST)

Posters and Prints

1902 Capitol Competition Sketch by Joseph M. Huston Historic PrintThis beautiful fine-art reproduction is printed on a 19.5" x 30" sm ooth, white,100% rag-based paper with a thickness of 308 gsm. The printing method utilizes pigment inks, which provide a long-lasting print life and define the distinction of a true fine art reproduction. Only 206 numbered, limited editionprints will be made, accompanied by an official Certificate of Authenticity.$100.00

Civil War FlagsIn 1982 the Committee began its mission to “Save the Flags,” by establishing a Civil War conservation facility. This poster features 18 original Pennsylvania flags bordering an historic photograph depicting the reunion of Union and Confederate veterans at Gettysburg. $14.15

Violet Oakley MuralsOakley’s 43 murals for the Pennsylvania State Capitol are not only beautiful, but profound. Illustrating her deep spiritual faith and personal interpretation of history, this poster features “The Founding of the State of Liberty Spiritual,”Governor’s Reception Room (1906); “The Creation and Preservation of theUnion,” Senate Chamber (1920); and “The Opening of the Book of Law,”Supreme Court Room (1927). $14.15

Moravian Tile Floor MapFeatures approximately 400 mosaics of the Capitol’s tile floor, which depicts the history of Pennsylvania. Map provides the location of each mosaic. $4.00

(Photographic prints of the art in the Capitol ar e also available in a variety of sizes. Please call for a free catalog.)

46

Ornaments 2002 Liberty Ornament $17.50 $

2001 Angel of Light Ornament $16.50 $

2000 Millennium Ornament $12.50 $

1999 Capitol Ornament $11.50 $

Accessories Lapel Pin featuring Violet Oakley’s “Divine Law” Mural .94¢ $

NEW! Illuminated Capitol Glass Etching $75.99 $

Coasters NEW Special Price—.99¢ each or 2 for $1.50! $

Publications A Sacred Challenge: Violet Oakley and the Pennsylvania Capitol Murals NEW Special Price! $39.95 $

Advance the Colors Vol. 1 $30.00 $

Advance the Colors Vol. 2 $30.00 $

Advance the Colors Set (Vols. 1 and 2) $50.00 $

A Valuable Collection of Neat Books Well Chosen: The PA Assembly Library $9.95 $

The Executive, Library & Museum Building: A Capitol Treasure Celebrates 100 Years $5.00 $

Flag Symposium Proceedings $15.00 $

Guide Book to the Tiled Pavement in the PA Capitol (Reprint) w/Map $9.95 $

Handbook of the New Capitol Building of PA $9.95 $

Pennsylvania in the Spanish American War: A Commemorative Look Back $12.95 $

Video Collection The Barnard Statuary Project Video $20.00 $

Capitol Rotunda and Dome Preservation Video $20.00 $

Major Artists of the Capitol Video $20.00 $

Oaks Cloister: The Home of Architect Joseph Huston Video $20.00 $

The Preservation of a State Treasure Video $25.00 $

The Restoration of Commonwealth Video $20.00 $

Note Cards Metallic Holiday Note Cards (Cards are blank on inside) 12 Per Box $12.00 $

Single Metallic Holiday Note Card $2.25 $

Capitol Holiday Note Cards (Please circle: PRINTED or BLANK) 10 Per Box $10.00 $

Single Capitol Holiday Note Card (Please circle: PRINTED or BLANK) $1.50 $

Capitol Artistry Note Cards, 10 Cards Per Pack $12.00 $

Posters & Prints NEW! 1902 Capitol Competition Sketch by Joseph M. Huston Historic Print $100.00 $

Civil War Flag Poster $14.15 $

Violet Oakley Poster $14.15 $

Henry Chapman Mercer Moravian Tile Floor Map/Poster $4.00 $

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PHOTOGRAPHY CREDITS

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Page 1: Capitol Preservation Committee

Page 2: Capitol Preservation Committee

Page 3: George Grey Barnard Estate

Page 4: The Mercer Museum (Henry C. Mercer); Archives of American Art (Violet Oakley)

Page 5: Marian Van Soest

Page 8: John Rudy

Page 9: John Rudy (Hearing Room One, after); Capitol Preservation Committee (preparing ceiling)

Page 10: Capitol Preservation Committee

Page 11: Pennsylvania State Archives

Page 12: Capitol Preservation Committee (laying tile); John Rudy (Room 116)

Pages 13-14: Pennsylvania State Archives

Page 15: Capitol Preservation Committee (restored tile floor); Pennsylvania State Archives (Capitol construction)

Page 16: State Museum of Pennsylvania

Page 17: Pennsylvania State Archives

Page 18: Brian Foster (basement before); Capitol Preservation Committee (basement after)

Page 19: Brian Foster (basement before); Capitol Preservation Committee (basement after); Pennsylvania StateArchives (Capitol construction)

Page 20: Pennsylvania State Archives (room 308 in 1906); John Rudy (north corridor); Capitol Preser vationCommittee (paint exposure)

Page 21: Capitol Preservation Committee (floor molding and tor n canvas); Pennsylvania State Archives (Capitol construction)

Page 22: Capitol Preservation Committee

Page 23: Capitol Preservation Committee (Mexican War Monument); Pennsylvania State Archives (Capitol construction)

Page 26: John Rudy (North Light Court unrestored); Capitol Preservation Committee (poulticing marble)

Page 27: Capitol Preservation Committee

Page 28: Capitol Preservation Committee (rubbing from skylight); John Rudy (North Light Court restored)

Page 29: Capitol Preservation Committee

Pages 30-31: The Mercer Museum

Pages 32-33: Brian Foster

Page 34: Pennsylvania State Archives (cornerstone laying); Capitol Preservation Committee (Pennsylvania Building)

Page 35: Brian Foster

Pages 36-37: Capitol Preservation Committee

Page 38: Pennsylvania State Archives

Page 39: John Rudy

Page 40: Capitol Preservation Committee

Page 41: Hyman Myers

Pages 42-45: Brian Foster (ornaments, coasters, bookends, notecards and posters); Capitol Preservation Committee (publications and video collection)