In 1982, two years before I began my survey of all 56 counties for the state historic preservation office, I took on a very meaningful and fun assignment—developing an interpretive tour of the recently restored Montana State Capitol. Jim Mc Donald’s firm in Missoula had developed a comprehensive study nd they and the many partners and contractors restored the grand spaces of this turn of the twentieth century building.
Designed by the firm of Bell and Kent, the Capitol is a jaw-dropping public space, which spoke of the state’s dreams and ambitions at its beginning. No matter how jaded you might be about politics and politicians today just a walk through the corridors of grandeur, and power, of the Capitol will remind you that democracy does matter and we the people continue down the demanding path of making ourselves rise up to democracy’s promise.
Plus the 1982 project was just a great learning experience. I worked most closely with Jennifer Jeffries Thompson, then the education curator at the Montana Historical Society, plus it became a way to meet and learn from the SHPO staff then, led by Marcella Sherry, and the architect Lon Johnson and architectural historian Pat Bick. Governor Ted Schwinden and his staff were great and I always appreciated the interest shown by Senate Republican leader (and future governor) Stan Stephens. Senator Stephens always wanted me to lead his groups through the building, but I never knew if that was because he thought I had something to say or that everyone always liked to hear me say it, with my southern accent echoing in the chambers and hallways.
I learned so much because the Capitol was full of magnificent western art depicting pivitol moments in state history, as understood by state leaders one hundred years ago. Everyone (my celebrities included actors Clint Eastwood and Robert Duvall) wanted to see Charles M. Russell’s depiction of the Lewis and Clark expedition at Ross’s Hole in the House chamber. My favorites however were the series of historical paintings by Edgar Paxton in the legislative lounge and office area.
Paxson’s portrayal of Sacajawea showing the way at Three Forks—artistic license acknowledged—was always a favorite teaching opportunity for in a painting of 100 years ago Paxton depicted a reality—the presence and importance of a Native American woman and an African American slave, York—at a time when historians of the west had difficulty even acknowledging their existence in history.
I also liked the scope of Paxton’s narrative and the prominence of the Native American stor..u even to the surrender of Chief Joseph, which would have been fairly recent history when Paxton carried out his work.
The Senate Chamber taught other stories, from the process of voting and government to the story of the three Georgians who left the South in the midst of the Civil War to find riches in Last Chance Gulch, now Helena, and on to the massive Sioux and Cheyenne victory over George Armstrong Custer’s Calvary at the Battle of Little Big Horn.
While I had stopped in at the Capitol several times in the last decade, I did not really explore. My trip this summer found many more history lessons throughout the building.
The statue of the Mansfields were an effective complement to the earlier statues for Wilbur F. Sanders and Jeanette Rankin, which had booth stood in the Capitol when I worked there in 1882 and 1983. I also really like the bronze bell added in honor of the state’s centennial. Both the Mansfields and the bell allow you to take visitors into Montana’s late twentieth century history.
Then the women history murals, titled Women Build Montana, are just delightful, and inspiring. Installed in 2015 the murals by Hadley Ferguson add new layers of history and meaning to the grand old Capitol. Of course there is much more to the art and architecture of the State Capitol than what I have highlighted here. The Montana Historical Society maintains an excellent website that gives you all of the details you would ever need. But I hope that you do will visit the Capitol if you haven’t recently. Some 36 years after I first discovered its history, art, and architecture it still has many lessons to teach.
which once hung in the Richland County Courthouse in Sidney (and now displayed at the Mondak Heritage Center in Sidney) and the numerous murals that graced new post offices and federal buildings across Montana, the one below from Dillon demonstrates
that the arts program of the 1930s stretched across Montana, from Sidney to Dillon.
When I lived in Helena in the first half of the 1980s, of course I noticed murals, such as one above on the state’s important women’s history on Last Chance Gulch, which itself had various installations of interpretive sculpture to tell the story of a place that had been so “renewed” as to lose all meaning.
Another northwestern Montana town–the gateway town of Eureka on U.S. Highway 89. uses a mural to set the scene of a quiet, peaceful place no matter the season:
The Montana State Capitol was my first heritage project in the state–the Montana Department of General Services worked with the Montana Historical Society to have me prepare an interpretive guide to the capitol, and then set up the interpretation program, following an excellent historic structures report prepared by the firm of Jim McDonald, a preservation architect based in Missoula.
When I worked at the capitol, of course I passed daily by other state government buildings, and rarely gave those “modern” buildings another thought, except perhaps for the museum exhibits and archival collections at the Montana Historical Society. Years later, however, what seemed unbearably recent in the early 1980s were now clearly historic. One of my MTSU graduate assistants, Sarah Jane Murray, spent part of a summer last decade helping develop a inventory of the buildings and then, finally, in 2016 the Montana State Capitol Campus historic district was listed in the National Register of Historic Places.
The Capitol Annex (1910) was the first building added to the capitol campus, and its restrained classicism came from the firm of Link and Haire.
The nearby Livestock Building (1918) is like the annex, complimentary of the capitol’s classicism but also distinguished in its own Renaissance Revival skin. Link and Haire were the architects.
The mammoth Sam W. Mitchell Building (1948-50) reflected the post-World War II interpretation of institutional modernism and its mammoth scale challenged the capitol itself, especially once a large addition was completed at the rear of the building in 1977. The architect was Vincent H. Walsh of Helena.
Another Link and Haire building on the campus is the Board of Health Building (1919-1920), which continues the pattern of more restrained architectural embellishment that shaped the look of the government buildings in the middle decades of the century. 
The Cogswell Building (1954-55, 1981) is another Vincent H. Walsh design, again reflecting the stripped classicism institution style often found in Cold War era public buildings.
While the capitol campus took form on a hill about a mile east of Last Chance Gulch, the state’s governor still lived downtown, in the Queen Anne-style “mansion” originally built by miner and entrepreneur William Chessman and designed by the St. Paul firm of Hodgson, Stem and Welter. The state acquired the house in 1913 to serve as the residence for the governor and his family, and it remained the governor’s “mansion” until 1959.
It was the opportunity to be the curator of this house museum that attracted my newlywed wife Mary Hoffschwelle that led me to come with her to Montana. She was born in Billings; I had never been west of Dallas. But then over 25,000 miles of driving, visiting, and looking in Montana transformed me, and led not only to the 1986 book A Traveler’s Companion to Montana History but now this Montana historic landscape blog. Fate, perhaps. Luck–I will take it any day.
I am speaking instead of the wide range of images and themes that visually interpret the town’s and county’s history. Finding public art murals about the open landscape once dominated by the Blackfeet Indians and the buffalo is not surprising–communities often embrace the deep history of their land.
That Cut Bank also has a large expressive mural about the Lewis and Clark Expedition is not surprising–murals about Lewis and Clark were installed across several towns during the bicentennial of the expedition in the first decade of this century. East of Cut Bank is Camp Disappointment, one of the more important sites associated with the Corps of Discovery.
Nor is it surprising to see communities commemorate their homesteading roots, and the importance of agriculture and cattle ranching.
But I was surprised, pleasantly, by the number of murals that also documented the town’s twentieth century history, whether it is the magnificent steel trestle of the Great Northern Railway just west of the commercial core, or a mural that reminded everyone of the days when the railroad dominated all traffic here.
It is this first half of the 20th century feel that the murals interpret–the era that actually built most of the historic buildings you find there today–that I find so impressive and memorable about Cut Bank, be it people on bicycles or what an old service station was like.
Space matters when you interpret the built environment, and these various murals reflect not only a sense of town pride and identity they also give meaning to buildings and stories long forgotten.
City as one large tourism funnel. After spending a good part of 2006-2007 working with local residents and the Great Smoky Mountains National Park about the heritage and preservation of Gatlinburg, Tennessee–one of the most notorious gateways into any national park–I learned to look deeper than the highway landscape and find some real jewels in each of these Glacier National Park gateway communities.
At Hungry Horse, however, I did leave the highway and explored the marvelous landscape created by the Hungry Horse Dam and Reservoir, a mid-20th century project by the U.S. Bureau of Reclamation. The agency justified the dam as a hydroelectric power project for a growing Flathead County and as a boost to local irrigation. The irrigation side of the project–the real reason the agency exists–never happened and Hungry Horse today is an electric power and recreational project.
I appreciated the vastness of the concrete arch dam–the 11th largest concrete dam in the United States–as well as the beauty of Hungry Horse Reservoir, an under-appreciated tourism asset as anyone in Flathead County will tell you. But again, I let just the size and impact of the dam distract me from some of the details of its construction that, today, are so striking.
I am concerned, however, about news in September 2015 that Reclamation has contracted for updates and renovation at the Visitor Center–let’s hope that the classic 1950s look of the property is not sacrificed.
Architect Kirtland Cutter of Spokane was the architect and the chalet design was actually just a smaller scale and less adorned version of the Idaho State Exhibition Building that he had designed for the 1893 World’s Fair in Chicago. Cutter is one of the major figures of the Arts and Crafts Movement in the American Northwest and we will look at another of his buildings for the railroad and Glacier in the next post about Lake McDonald Lodge.
Hot Springs, off from Montana Highway 28 on the eastern edge of Sanders County, was a place that received little attention in the survey work of 1984-1985. Everyone knew it was there, and that hot springs had been in operation trying to lure automobile travelers since the 1920s–but at that time, that was too new. The focus was elsewhere, especially on the late 19th century resorts like Chico Hot Springs (believe or not, Chico was not on the National Register of Historic Places in 1984). This section of what is now the reservation of the Consolidated Salish and Kootenai Tribes was opened to homesteaders in 1910 and first settlement came soon thereafter. The development of the hot springs as an attraction began within a generation.
Due to the 21st century fascination from historic preservationists for the modern movement of the mid-20th century, however, Hot Springs is now squarely on the map as a fascinating example of a tourist destination at the height of the automobile age from the 1930s to 1960s.
Not everything fit into this mold, naturally. There remains a representative set of gable-front shotgun-form “cabins” that housed visitors staying for several days and various one-story buildings served both visitors and year-round residents.
The loss would be significant because few mid-20th century buildings in Montana, especially rural Montana, are so expressive of the modernist ethos, with the flat roofs, the long, low wings and the prominent chimney as a design element. Then there are the round steel stilts on which the building rests.
As this mural suggests, today Hot Springs embraces its deep past as a place of sacred meaning to the Confederated Salish and Kootenai. And it continues to try to find a way to attract visitors as a 21st century, non-traditional hot springs resort.
Imagine my pleasure to be there for the theatre’s grand opening May 19, 2012. Not only had the community raised the funds to repair and reopen the business, they also took great pains to restore it to its earlier architectural glory. Such an achievement for a town of just over 3,000 residents–when you consider that the next city south on Interstate I-90 is Anaconda with its monument Washoe Theatre, I immediately began to think of future “movie palace” trips. What a treat, both for the experience and architecture.
In that same trip to Deer Lodge, I noted how the community had recently enhanced the National Register-listed W. K. Kohrs Memorial Library (1902), one of the region’s great Classical Revival buildings by the Butte architectural firm of Link and Carter (J.G. Link would soon become one of the state’s most renowned classicists), by expanding the library
with an addition to the side and behind the commanding entrance portico. Although it has proven to be difficult for such a small town to keep the library professionally staffed, the care they have shown the exterior and interior indicate they understand the value of this monument from the past.
Then add in the impressive examples of turn of the 20th century church architecture, represented by the Cotswold Gothic stone work of St. James Episcopal Church, the more former Tudor Revival of the 1st Presbyterian Church, and the more vernacular yet
Nestled where Montana Highway 287 encounters U.S. Highway 287 in the southern end of Madison County, Ennis has changed in significant ways in the last 30 years. Its earlier dependence on automobile tourism to Yellowstone National Park has shifted into the favor of population growth and development in this portion of the county.
The iconic Ennis Cafe, always a favorite place back in the day of the statewide work, remains, with a new false front emphasizing the wildlife and open spaces of this area. That place, along with several classic watering holes, served not only locals but the
of a section of the highway where you will encounter magnificent views of the Madison River Valley and open ranch lands.
Let me just jump right in: I do not know of another town in Montana that has done more with the concept of heritage development than Butte in the last 30 years. Heritage development, in brief, means that a community identifies the stories and places that define their past and sense of identity and then uses them as tools for community revitalization and growth. The stories and places must be authentic, meaningful, real–fake pasts don’t get you very far. In 1981, out of fears that its storied and nationally significant history would be lost in the haze of late 20th century urban renewal and economic change, Butte created as part of local government the Butte-Silver Bow Archives–everyone I knew were excited about its potential and its early discoveries at the time of the state historic preservation plan work in 1984-1985. Now that institution is one of the key rocks upon which Butte’s future lays. Above is the conversion of a historic firehall into the modern archives/heritage center the institution is today–in itself a great example of adaptive reuse and historic preservation at work.
a vibrant institution, always in touch as its community room hosts other heritage groups and special programs throughout the year. The archives is just around the corner from one of the most important, and solemn, places in the city, the location of the Butte Miners’ Union Hall, which was bombed in 1914.
Heritage development has become part of the basic sinews of Butte. Along with its active archives board, the city also maintains an effective historic district commission, and provided seed money for several key projects over the past generation. The Original Mine site below, the city’s first copper mine, not only serves as part of the city’s public
Today the Granite Mountain site is one of the best interpreted mining properties I have encountered. The miners’ stories are told–often with the words they were able to write down before dying from the lack of oxygen–and their multiple ethnic backgrounds are acknowledged, and celebrated.
The interpretive memorial overlooks the mine, and is located high over town. But when I visited in May 2012 a school group was there too, along with visitors like me.
All of these efforts considerably enhance earlier efforts at public interpretation, be they along Interstate I-15 and its overview of Butte or the visitor center maintained just off the
interstate by the local chamber of commerce. The center, yet another change in the last 30 years, is an attractive reproduction of a classic railroad depot design. It also provides a useful perspective of the city from its south side, giving special prominence to the soaring clock tower of the historic Milwaukee Road depot.
The Berkeley Pit in 1984 was a giant hole in the earth, with a viewing stand. It too now has a more comprehensive heritage experience with a small visitor center/ museum adding to the public understanding of the massiveness and significance of the pit.
Montana's Historic Landscapes 