Bi-centennial history of Albany. History of the county of Albany, N. Y., from 1609 to 1886. With portraits, biographies and illustrations, Part 103

Author: Howell, George Rogers, 1833-1899; Tenney, Jonathan, 1817-1888
Publication date: 1886
Publisher: New York, W. W. Munsell & Co.
Number of Pages: 1452

USA > New York > Albany County > Albany > Bi-centennial history of Albany. History of the county of Albany, N. Y., from 1609 to 1886. With portraits, biographies and illustrations > Part 103

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THE GOVERNOR'S ROOM is sixty feet long by forty wide; the walls are wainscoted to a height of fifteen or sixteen feet with mahogany, arranged in square panels surmounted with a band of carving and a carved molding above. The space between this and the ceiling of mahogany is covered with

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hangings of Spanish leather, which harmonize, in its soft tones of golden-brown, and red, and olive, with the mahogany. On one side of the room is an enormous fire-place having a shelf and several emblematic panels of elaborate carving about it. The ceiling is composed of beams, which divide the space into panels, having rails perforated in the form of a quatrefoil surrounding the panel. There are convenient arrangements to connect with the offices of the executive attendants and the bill room by small doors in the paneling, and altogether the room is well adapted to the recep- tion of persons having business to transact with the Governor and his assistants.

THE CORRIDOR OF COLUMNS .- Ascending from this floor by the commodious and easy running elevator, we find ourselves in a corridor similar to that previously described, which leads into a broader one, running east and west along the north side of the Senate Chamber. This last-named corridor, which is after plans furnished by Mr. Eidlitz, is entirely lined and vaulted with sandstone, and has a row of columns in the center, above which there is a double-arched vault extending to either wall. Upon this spacious corridor open the main doors leading to the Senate Chamber.

THE SENATE CHAMBER, in the richness and variety of its decoration, is equaled only by the famous St. Mark's Cathedral in Venice. Its treat- ment was assigned to Mr. Richardson, and of his success there can be no question. The space in which he had to work was sixty feet in breadth, nearly one hundred in length, and about fifty in height. He has reduced the plan of the room to a nearly square form, cutting off from either end of it the lobbies, above which are placed the gal- leries, opening on the chamber proper. These lobbies, opening from the corridors, are simple in treatment. Yet by a slight similarity in detail they, in a measure, prepare the eye for the Senate Chamber itself. They are wainscoted with a light marble, arranged panelwise in slabs and rails, and are ceiled with quartered oak. From the west lobby opens the Lieutenant-Governor's room, com- fortably fitted up with a carved and polished ma- hogany wainscot and fire-place, and an oak ceiling supported on corbels of marble. By the arrange- ment of the galleries over the lobbies, the actual floor space of the Senate Chamber proper is re- duced to about sixty feet by fifty-five. Entering on this floor by the main doorway from the vaulted corridor above described we first see the south wall, from which the chamber is lighted by three large openings rising from a level with the floor and six lesser openings near the ceiling. Two of the large windows are filled with disks of stained glass, which shade from browns and rubies near the floor through olives and golden hues to the semi- circular tops, which are filled with varied iridescent and opalescent tints. The central window is ob- scured by the reredos behind the president's desk, which rises to the spring of the window arches, but does not cover the semicircular window- head, which, like the others, is filled with many -.

hued opalescent glass. The stained glass has been used not only to add brilliancy of color, but to avoid the glare of light that has proved so objec- tionable in some of the other rooms. These win- dows are arched, and the stone moldings above and below them are carved with intricate and deli- cate patterns of interwoven lace-like forms, and a carved band of stone divides the lower part of each window from the semicircular upper light. The capitals of the angle columns are more heavily cut into conventional forms taken from oak leaves and other foliage. The wall space be- tween the windows, as far up as the spring of the arches, is of Knoxville Tenn., marble, a reddish- gray stone not highly polished, though having a smooth finish.

THE MEXICAN ONYX PANELING .- Above the three arches of the lower windows for about twelve feet (perpendicular), the wall is paneled with Mex- ican onyx. These panels are cut into slabs three feet square and are separated, or rather framed, by slightly convex rails of Sienna (Italy) marble, the mottled reds, yellows, and browns of which con- trast with the tints of the onyx. For additional support the slabs are backed up with slabs of ordi- nary marble. The variety of color displayed in the onyx is very remarkable, the prevailing tints being mottled and semi-translucent whites, cream colors, sea-water, olive and ivory. These tints are broken and waved by lines, striæe and splashes of raw Sienna coloring, rosy brown, and numberless shades of other neutral browns, some inclining toward red and some toward green and even blue, while the surface everywhere varies in play of light and shade of semi-opacity and translucence. The various slabs, no two of which are alike, are arranged with a certain idea of contrast, but never formally nor with regularity of counter-change. They are laid haphazard with a motive. The dividing rails of Sienna marble are of colors that harmonize ad- mirably with those of the onyx, being principally yellows of a soft golden character and reddish- brown mottled, the intensity of which is varied in every piece, and sometimes approaches so nearly the color of an adjacent slab of onyx as to melt into it. Both panels and rails are highly polished. Above this paneling is a string course of simply carved marble, and above this is the upper tier of windows, six in number. The shape and treat- ment are similar to those of the lower windows. The wall space above these windows is filled in with lead, heavily gilded, constituting a sort of frieze. The ornament of this is a carefully studied design of arabesque or floral pattern, beaten out or em- bossed by means of hammers, stamps and dies of various sizes and shapes, thus affording a varied play of light and shade on the gilt surface. This field of gold, being absolutely neutral, adapts itself to the color of the surrounding objects, and in the elevation and depression of its beaten and stamped surface supplies the complementary colors neces- sary to complete the color harmony of the whole chamber. Above the broad frieze . of beaten gold, and terminating the wall are the massive carved beams of oak, more than four

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feet in depth, which constitute the framework of the ceiling. These great beams are supported on stone corbels sunk into the walls and projecting under the beams. The corbels are carved into bold and vigorous forms derived from foliage and flowers. The main beams divide the ceiling into long, narrow, rectangular spaces running from east to west, and these spaces are divided into lesser rectangular spaces running north and south, which are again divided in half by smaller beams and form squares, which are still further divided by rails into four square panels each. Half way between the east and west walls is the main entrance of the corridor, and on either side of this entrance are two great open fire-places jutting out into the room. The doorway and fire-places are constructed of marble, as is the space between them. The open- ings of the fire-places are about six feet in height, and something more in breadth. The cheerful effect of these, when filled with blazing logs, the flames of which are reflected on the polished onyx and marble from all sides of the room, may well be imagined. Above the fire openings are to be carved legends or symbolical devices. Above these are the broad faces of the chimney-breasts, which are to be cut in bas-relief, with representations of historical or legendary scenes, emblematical of or illustrating the legislative character of the room. The whole chimney-pieces are about half as high as the room, reaching to the string course below the gold frieze. Above the doorway and wall space of Knoxville marble, we see the wall space up to the frieze covered with the Mexican onyx panel, and like the frieze, in greater extent of sur- face than elsewhere. Above the onyx and inclosed within the frieze is a long rectangular space, which may be filled in with mural painting of some allegorical subject fitted to the place.

THE COURT OF APPEALS. - Nine spacious rooms are assigned for the Court of Appeals, six in the third or principal story, three in the fourth or gal- lery story, the two stories being connected by an ornamented iron staircase. The Court-room is in the southeast corner over the executive chamber, and is 35 by 53 feet and 25 feet high. It is finished in quartered red oak, timbered ceiling of the same material, with carved beams and deep recessed panels. The five window openings are finished with Knoxville marble, the arches resting on carved trusses and columns recessed into the angles formed by the jambs and outer belting, terminating in CARA ornamental trusses. A deep carved wood string in line with the trusses, and the carved capitals of the marble columns divide the oak paneling on the walls into two parts. The framework of the upper section is filled in with large plain panels, and the intention is to decorate, by gilding, the rails. The panels are designed to be painted in varied designs to harmonize with the wood-carving. The lower section below the window arches stands upon a molded base and is filled in with double raised panels and sub divided longitudinally by carved string courses, containing between them a section of vertical fluted work, in which are fixed at inter- vals, in carved frames, the portraits of the judges,

many of which hung in the Court of Appeals' room of the Old Capitol. On the west side of the room is a recessed fire-place of large dimensions, over which is displayed the arms of the State, carved in the oaken panels of the mantel over the recess. The recess of the fire-place is lined with Sienna marble, and has a bench on either side of the fire-place of the same material. The lintel over the fire-place is also of Sienna marble, richly carved and extending across the whole recess. Resting on the lintel is a large panel composed of several choice specimens of Mexican onyx skill- fully arranged. The Judge's bench has been care- fully designed in style and form to suit the require- ments and wishes of that honorable body. The front is divided into panels set in framework; the panels are exquisitely carved in varied designs and separated by ornamental balusters, the whole rest- ing on a molded base. Carved in the center panel are the arms of the State. There is a medallion convex of carved grotesque heads located along the projecting top. Perhaps no room in the build- ing is better adapted to its purpose than this.

THE SOUTHEAST, OR SENATE STAIRCASE Occupies a space fifty-two by fifty-two, and one hundred and fourteen feet high from basement to the top of the walls. The stairs start on the ground floor on the south side and extend to the gallery story. The great platforms and steps are of Dorchester sandstone. Each story is divided into two sec- tions by spacious intermediate platforms midway in each story, extending the whole distance be- tween the north and south walls, a distance of fifty feet by twelve feet wide. The stairs are of easy ascent and grand and dignified in appear- ance. The upper landings of the stairs on each story are on platforms extending the whole length between the walls by fourteen feet wide, resting on the walls at either end, and supported at the cross- joints by massive molded granite girders. The west walls on the ground and entrance stories form a continuous line of niches, divided by piers and columns, embellished with molded brass and carved caps. The west wall in each of the four stories is pierced by large openings, through which light is admitted to the staircase from the court. The eastern wall in the entrance and main stories is provided with balconies, the platforms placed on a level with the tiled floors of the corridors adjoin- ing. These balconies serve both as useful and or- namental features, and are approached through the openings made in the east wall, as heretofore de- scribed. The openings are spanned by pointed arches, the two outer arches extending over the steps. The faces of piers and arches are decorated by incised ornaments, the under side of arches by flowing lines of tracery, terminating in grotesque heads and figures. The north and south sides of the wall are each divided into two openings, which are spanned by arches springing from the massive piers at the ground floor, up to and against the piers resting upon the caps of the center columns, from which the upper span of arches spring, to and against the piers of the various landings. These arches are constructed at an angle conforming to

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the angles of the steps, and supporting the same. The vertical faces and soffits are decorated in a similar manner as the arches heretofore described, with the exception of the lower section, in which spandrels are formed, filled in with geometrical tracery.

Resting on the arches, continuing up the steps, and forming the coping over the same, is a molded string course, up the face of which is a deeply re- cessed and richly carved decoration. This coping and decoration extends along a level with all the platforms, and is divided by the piers at the angles. The coping, up the steps and along the platforms, is surmounted by a beautiful balustrade worked in geometrical figures and foliage ornaments, on which rests a heavy molded hand-rail. *

* * This great monumental work is believed to be without parallel on the face of the globe.

STONE-WORK .- The following description of the stone-work used on the New Capitol was kindly furnished the editor by Mr. James J. Mitchell, Superintendent of Granite Work. It puts on rec- ord facts of abiding interest in the history of this great building that can be found nowhere else. It is the statement of a skillful practical mechanic, who has been on the work from the beginning, given in his own clear language.

I came here October 8, 1870, when the foun- dation was being built, from Washington, D. C., where I had been employed as a stone-cutter on the United States Capitol and other public build- ings. At that time the building was under the management of a commission, of which the Hon. Hamilton Harris was Chairman. The corner- stone was laid June 24, 1871, by the Masonic fraternity. After the laying of the corner-stone, measures were taken to push forward the con- struction with the greatest rapidity. I worked as a stone-cutter on the building until May 25, 1872, when I was appointed assistant foreman of stone- cutters, which position I held until 1876, when Mr. Reynolds, who had been principal foreman, died. I was appointed his successor. In 1883 I was further promoted to Superintendent of Gran- ite Work by Commissioner Perry.

In my department are employed almost two- thirds of the whole force on the building, the total of which is about eight hundred and fifty men. In my office are two clerks, one messenger and one assistant.

The average number of men employed yearly since 1870, is 1,100. Of the different kinds of stone used in its construction as follows: For foundation, Tribes Hill and Kingston limestone, also Fall River and Saratoga granite, and Potsdam sandstone for bond stone. The basement is flag- ged with bluestone from Ulster County.

The water table is of Dix Island, Me., granite; the corner-stone, weighing ten tons, is also of this material. It is situated in the northeast corner of the building. It was contemplated at one time to construct the whole building of Dix Island, Me., granite, but it was found to be too expensive.

The next five courses around the entire building are of Yarmouth, Me., granite. It was condemned on account of having been found to contain iron, thereby causing discoloration, which is plainly visible, and is a great eyesore. From the fifth course upward the entire exterior structure is com- posed of Hallowell white granite, a fine, if not the finest building material in the world.

In the north and south entrances halls, ground floor, the first story of the main tower and cor- ridors, granite from Keene, N. H., is used, not including the arches. In the east and west entrance halls, Hallowell granite, with polished granite columns from Fox Island, Me., is used.

The great columns in the Assembly Chamber are red granite from Stony Creek, Conn., while the bases and capitals are Tuckahoe, Westchester County, marble. The remainder of the Chamber is entirely of Dorchester, Ohio, and Belleville, New Jersey, red sandstone.

In the corridors of the south side we find, in the wainscoting, marble of almost every hue, prin- cipally from Lake Champlain. The base-band and cap-courses, also the jambs, are of dark brown- stone from Newark, N. J. On the next two floors above, the same materials are used in the wains- coting. In the room formerly intended for the Court of Appeals are red granite columns and pilasters of great beauty from the Bay of Fundy, Nova Scotia.

The bases, capitals and arches in the Chamber supporting the floors of the Assembly Chamber, are of white marble from Tuckahoe, Westchester Coun- ty. The wainscoting is of Ohio sandstone and Dorchester sandstone. The carving in the oak panels is of rare beauty.

The stone used in the Governor's Room is Knox- ville marble, highly polished and carved. The marble lintel in the fire-place is of exquisite finish, consisting of oak leaves and stems of the most in- tricate design. The wainscoting and ceiling in this room are of red mahogany.

The Senate Chamber is regarded as one of the most beautiful legislative chambers in the world. The principal material used in this chamber is Knoxville, Tennessee, marble. The red granite columns and pilasters are from Jefferson County, New York. They are surmounted by capitals of extraordinary delicacy and workmanship, of Knox- ville, Tennessee, marble. The north and south walls, above the string-course, are lined with Mex- ican onyx and Sienna marble-the onyx forming the panels, the Sienna, the styles and rails. These materials are the most costly in the market. The great arches are also of Sienna, elaborately carved.

The large mantels in the Senate Chamber are very elaborate, consisting of sculptured cherubs, animals, foliage, etc., in deep relief. They are very massive, and, when finished, will be one of the features of the already gorgeous and costly Chamber.

The lobbies and ante-rooms are finished with Knoxville, Tennessee, marble, as also the Lieuten- ant-Governor's Room, except the wainscoting, which is of mahogany.

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The main corridor on this, the principal floor, and the one above the gallery, are very striking to the visitor, who passes though trhem before enter- ing the Senate Chamber, where he finds a different style of architecture.

The materials in these corriders are Dorchester and Ohio sandstone, the architect of the latter evi- dently preferring sandstone, as it seems to be al- ways used where his designs are to be found.

The carving in these corridors, especially in the gallery, is of exquisite design and execution, treated by master hands.

The new Court of Appeals, situated in the south- east corner, is a fine room. The windows are trimmed with Knoxville marble; the wainscoting and ceiling is of oak, elaborately carved; the rail- ing in front of the clerk's desk is a feature. The fire-place is very rich; the materials are Mexican onyx and Sienna marble, and quite unique.

A very beautiful, if not the most beautiful, man- tel, so far as material is concerned, is in the Clerk's Room, Court of Appeals. It is of variegated green Lissoughter marble. The other two in the same suite of rooms are of exquisite design and finish, and are composed of Little Island and Middleton B marble.

The wainscoting in the east corridor is different from that of the south corridor. The base-board and cap are of Belgian black marble; the panels from East Tennessee, and Greot (French) marble. Lake Champlain marble is also used.

The northeast staircase is entirely composed of Dorchester sandstone. The style is in harmony with the Assembly Chamber, being very rich in detail.

The southeast staircase, now building, will be a magnificent work when completed. The material used is red Scotch Corsehill sandstone; the col- umns.of. Peterhead, Scotch, granite. Fox Island and Quincy granite are also used.

In the Parlor of the Assembly, a beautiful mantel of East Tennessee marble is constructing; also, in the Committee Room of Ways and Means.

The following is a list of the different kinds of stone used in the construction of this building:

Granite : Fall River, Mass .; Saratoga, N. Y .; Dix Island, Me .; Yarmouth, Me .; Hallowell, Me .; Fox Island, Me .; Mount Waldo, Me .; Rockcliffe Island, Me .; Keene, N. H .; Red Stony Creek, Conn .; Red Peterhead (Scotch); St. John's, Bay of Fundy (N. S.); Quincy, Mass.

Marble: Lake Champlain; East Tennessee; Ger- man; Virginia, variegated; Knoxville, Tenn .; Sienna; Mexican onyx; Black Belgian; Irish, varie- gated; Flavirco; Tuckahoe, Westchester County; Pennsylvania dove color; White Italian; Greot, French; Vermont, variegated; Glen Falls, black; Middleton black, Little Island; Lissoughter.

Sandstone: Potsdam and Dorchester, Ohio; Red New Jersey; Red Scotch; Corsehill.

Brownstone: Newark, N. J.

Limestone: Tribes Hill; Kingston.

Bluestone: Ulster County.

Previous to the construction of this building, it was doubted by many architects that granite could

be treated by the workmen in such a delicate man- ner as the elaborate carving on the different parts of the exterior demanded. The carving on the gallery story of the small towers could scarcely be treated with greater delicacy in any material than it is in the Hallowell granite. The tympanum in the dormers on all sides of the building demon- strate beyond a doubt, that in the hands of skillful workmen there is hardly any kind of ornament which cannot be wrought in this granite.

The dormers on the north, south, and west sides of the central court are, perhaps, the strongest evidence that can be adduced of the delicate treat- ment and beautiful finish that this granite will bear. The coats of arms sculptured on them took months to complete. Heraldic emblems are, in my judgment, the most difficult ornaments to exe- cute out of granite in order to get the proper effect, as the smallest defect in any part would destroy the whole.

The most skillful mechanics have been gathered to this building. It has been my constant desire to encourage and foster mechanical and artistic talent wherever I found it. To do this, while con- tending against the importunities of politicians, has indeed been a hard task, and under the circum- stances, it is little less than a miracle that the great work has so successfully been prosecuted.

The great gable on the west front is elaborately ornamented. The loggia is one of its principal features. The tympanum is enriched with disks, crossed and roseated, forming a diaper or drapery of extraordinary beauty. Over the string-course, and flanking the arches, stand the Winged Lions of Babylon. Below the spandrels are sculptured in bas-relief the figures of Justitia and Puritas. Sur- mounting the whole is a massive finial, riclily carved in deep relief, and stamping the whole as one of the best pieces of work ever executed out of granite in this or any other country.

ISAAC G. PERRY.

To Mr. Isaac G. Perry has been entrusted the work of carrying forward the construction of the finest and most expensive building in this country, and the third most expensive in the world-the New Capitol at Albany. The history of Albany, and of the great structure itself, would be incom- plete without a sketch of his career.

Born in Bennington, Vermont, in 1822, Mr. Perry is in his sixty-third year, though his robust frame and strongly-marked features would indicate that he was much younger. Much of his early life was passed at Keeseville, Essex County, New York, where he received his education and acquired a knowledge of the details of that which was to be his life work. After a time he removed to New York City, where he made a success of his occu- pation, and remained until he was induced to take up his residence in Binghamton, N. Y., where he obtained a wide reputation as a builder and archi- tect.

The most important of his works before the Capitol, was the Binghamton Asylum for the In-

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sane, a fine specimen of Elizabethan architecture. Next only in importance was the new Court House at Scranton, Pa., an elegant structure in the medi- æval style adapted to modern requirements. Near- ly all of the modern built buildings in Bingham- ton-and they are numerous and beautiful, as well as substantial-are from his designs, as well as many equally attractive ones in other cities.

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Bi-centennial history of Albany. History of the county of Albany, N. Y., from 1609 to 1886. With portraits, biographies and illustrations, Part 103

Author: Howell, George Rogers, 1833-1899; Tenney, Jonathan, 1817-1888 Publication date: 1886 Publisher: New York, W. W. Munsell & Co. Number of Pages: 1452

Author: Howell, George Rogers, 1833-1899; Tenney, Jonathan, 1817-1888
Publication date: 1886
Publisher: New York, W. W. Munsell & Co.
Number of Pages: 1452