building, such as the Reichstag building, was astonishing and can be described as progressive in view of the further developments in architecture. Nevertheless, the construction was highly controversial throughout its construction period. With its original height of 67 meters, the dome was higher than that of the Stadtschloss, Berlin. In the construction commission for the Reichstag building sat competitors who were inferior to him in the competition. Kaiser Wilhelm II called the Reichstag building Reichsaffenhaus , (Reich monkey house), which, however, also referred to the democratic legal form of parliamentarism. A key scene of the dispute between Wallot and Wilhelm II is a visit by Wilhelm II in Wallot's studio. During his visit, Wilhelm grabbed a pen, edited the floor plan of the Reichstag building only to then tell the eighteen-years older Wallot “My son, this is how we do it.” Wallot replied "Your Majesty, that will not work!" In addition, the building commission made several major changes to the building, since not only the wishes of the Prussian government but above all those of the German Kaiser Wilhelm II, Friedrich III. and Wilhelm II had to be considered. In 1889, Wallot had already thought about the interior design and contracted the painter Franz von Stuck (two monumental ceiling paintings) and the sculptor Adolf von Hildebrand (two ballot boxes). When the drafts were presented on in the Reichstag on 1 March 1899 and were to be voted on, there were tumultuous scenes. The spokesman of the critics was the Philipp Ernst Maria Lieber of the Center Party from Bad Camberg. The rejection was so great that Wallot resigned the same day as head of the Decoration Commission. Thereupon Lieber was accepted in this commission. The designs of the paintings and the urns have disappeared from this day. Probably since Wallot had rejected in 1889 a change request Wilhelm II, the relationship between the two was disturbed. The emperor refused the architect, despite different recommendations, several awards. In 1894, Wallot received only the small gold medal, not the Roter Adlerorden, but only the title of Geheimer Baurat instead of the great gold medal of the Große Berliner Kunstausstellung he was awarded in 1894 for his services to the Reichstag. At the same time he accepted teaching assignments at the Dresden Academy of Fine Arts and at Dresden University of Technology, which he held until 1911. In Dresden, the new building of