vLENS continued from page 15 chandelier of such uniqueness. I don’t know what to think as I focus on the rings of the chandelier which are made of tiles and there looks to be swastika symbols on them. I question this and point it out to my sister, the receptionist over hears me and explains the true meaning of the swastika symbol and hands me the hotel’s brochure full of information on the history of the hotel and the features within. This one of a kind chandelier made of wood, copper and glazed tile is suspended with chains and war spears adorn the top. It has hung from decorative rafters for over 80 years. The fixture is “teepee shaped and made of copper clad wooden rings. These rings are decorated in authentic Sioux patterns. The symbol resembling the swastika, long used by Native Americans since prehistoric times is present on the glazed tiles adorning the inside and outside rings. The swastika is one of the most ancient of all symbols and used as a symbol for peace, life and good luck. It represented the revolving sun, fire or life. Lighted copper torches are throughout the rings, providing the primary light source for the lobby. The Sioux symbols are through out the hotel and present on the lobby floor tiles is the “Sacred Four Directions”. The Lakota Sioux people believe their four sacred powers are derived from the four directions. The north (white) is a symbol for the “Cleansing Snow”. The east (red) is the home of the “Morning Star”, which gives us “Daybreak Knowledge”. The south (yellow) is the home of “Warm Winds”, which replenishes the growth of the land. The “Thunder Being”, at home in the west (black) gives strength and power in time of trouble. Looking upward to the ceiling are large wooden rafters and the Sioux designs are between the open beams, using bright colors. These patterns are of the traditional “box and border” design. Eight plastercast busts of Indian men hold the beams crossing the high ceiling. I turn towards the fireplace and snap a few shots. Looking closer I see there are some etching in the wooden mantle. I refer to the hotel’s brochure as to the meaning of this. The mantle is decorated with the brands of local ranchers. The fireplace is made of Black Hills stone and is one of three similarly designed in the world. The huge rock chosen for the keystone was carefully selected for its resemblance to a buffalo head. High up on the wall on one side of the fireplace is a large painting of Alex Johnson and on the other side are two buffalo heads. I ask about the balcony and the carved wooden railing and the receptionist clarifies that that is the second floor and directs me to the stairs. The mezzanine bannister was carefully cut and stained by wood craftsmen. From this height you get a clear picture of the lobby and the overall magnitude of its size and the architecture and Lakota Sioux symbols that were so thought out by Alex Johnson. Alex Carlton Johnson (1861-1938), vice president of the Chicago and Northwestern Railroad, was founder of this grand hotel that bears his name. An admirer of Native Americans, he spoke of “a shrine and tribute of the Sioux Indian Nation”. He was a great admirer of the Black Hills of South Dakota and the Lakota Sioux Tribes that called the area home. He dreamed of building a “Showplace of the West,” a tribute to the Native Americans and the Black Hills that surrounded him. The structural design is a successful blend of two spirits: the heritage of the Plain Indians and the Germanic Tudor vLENS continued on page 21