SENATE APPROPRIATIONS COMMITTEE ROOMS

Washington, Sept. 19, 1865Mr. Clark, Architect of theCapitol ExtensionDear Sir:Your letter of yesterday was received and you will do a great favor to me in referring to the Honorable Secretary of Interior, that about my painting in the Canopy of the Dome, I am working at present the last group, and for the next week I have finish to put in color every figure upon the fresh mortar.That remains to do for the completion of it will require only five or six weeks, but must do it in the proper time, when the mortar will be perfectly dry, and the colors do not have any more changement.This last work will cover the connections of the pieces of plaster, put up in sections at every day, and giving more union to the colors at the said junctions for to obtain the artistic effect.It is the general rule in doing this kind of work to avoid the damp atmosphere of the winter season, but I will do this last finish as soon as the weather will permit, early in the spring, as always I have done in every other painting in real fresco in the Capitol and everywhere.Also would be inadvisable to show that large painting without the proper light, because the windows of the dome are in the rear part of the painting and must be placed the reflectors already calculated in the Capitol’s original plan.I hope when the appropriation will be passed by the Congress the said reflectors, and the gas apparatus will be completed, and I will be ready for my part.I am always at work but I ask only the bill of August last, and you can assure the Honorable Secretary of the Interior that I never will claim any other bill after this, till my work will be entirely completed.With respect I amYour Obedient ServantC. Brumidi

Washington, Sept. 19, 1865

Mr. Clark, Architect of theCapitol ExtensionDear Sir:

Your letter of yesterday was received and you will do a great favor to me in referring to the Honorable Secretary of Interior, that about my painting in the Canopy of the Dome, I am working at present the last group, and for the next week I have finish to put in color every figure upon the fresh mortar.

That remains to do for the completion of it will require only five or six weeks, but must do it in the proper time, when the mortar will be perfectly dry, and the colors do not have any more changement.

This last work will cover the connections of the pieces of plaster, put up in sections at every day, and giving more union to the colors at the said junctions for to obtain the artistic effect.

It is the general rule in doing this kind of work to avoid the damp atmosphere of the winter season, but I will do this last finish as soon as the weather will permit, early in the spring, as always I have done in every other painting in real fresco in the Capitol and everywhere.

Also would be inadvisable to show that large painting without the proper light, because the windows of the dome are in the rear part of the painting and must be placed the reflectors already calculated in the Capitol’s original plan.

I hope when the appropriation will be passed by the Congress the said reflectors, and the gas apparatus will be completed, and I will be ready for my part.

I am always at work but I ask only the bill of August last, and you can assure the Honorable Secretary of the Interior that I never will claim any other bill after this, till my work will be entirely completed.

With respect I amYour Obedient ServantC. Brumidi

Apparently negotiations with Brumidi for painting the Dome fresco began with the letter from Tho. U. Walter, “architect of extension and new Dome,” dated August 18, 1862. Brumidi was authorized to proceed on March 11, 1863. On December 3, 1864, Tho. U. Walter wrote that the canopy for the picture over the eye of the Dome was ready for the artist and that Mr. Brumidi was “about to commence to work.” On November 1, 1865, Edward Clark, Architect of the Capitol, reported that the picture over the eye of the Dome was all painted in but that Mr. Brumidi was unwilling to have the scaffolding removed until the plastering was thoroughly dry and the colors had no more “changement.”

On January 9, 1866, Edward Clark wrotethe following letter to James Harlan, Secretary of the Interior:

“I have the honor to state that we are now making preparations to take down the scaffolding over the eye of the Dome to reveal Brumidi’s picture. It becomes necessary to have some canvas, or other strong material to place under the scaffolding to catch the dirt, etc., that would otherwise fall to the floor of the Rotunda which might cause inconvenience, perhaps accident.

“It is possible that some old sails might be borrowed from the Navy Yard for that purpose, and I therefore respectfully ask that you make a request to the Hon. Secretary of the Navy for the loan of such as may be necessary for this purpose which will be returned as soon as this work is done.”

On the walls of the Senate Military Committee Room—now one of the Committee Rooms on Senate Appropriations—are to be found five large frescoes, lunettes in shape, depicting scenes from American history. These pictures are filled with action and American atmosphere and could have been painted only by a lover of American liberty. The artist gave these titles to his five American lunettes: “Boston Massacre,” “Battle of Lexington,” “Death of General Wooster,” “Storming of Stony Point,” and “Washington at Valley Forge.”

The frescoed ceiling in this Senate Committee Room is conventional in design with victors’ wreaths, shields and other emblems of war predominating. Here we have such outstanding color combinations as to lead many Brumidi enthusiasts to vote this ceiling the Capitol’s best. In this room also are six outstanding panels, rich in color and different in design, displaying American arms of different periods. Never were guns, pistols, sabers, tomahawks, and flintlock rifles displayed with so much beauty and elegance—and the sword across the shield in the center is said to be a copy of one owned by Washington. (Keim attributes these panels to another Capitol artist.)

The north room used by the Senate Committee on Appropriations was decorated for the old Senate Committee on Naval Affairs. The design is that of a Pompeian fresco with marine gods and goddesses scattered about the ceiling and with ancient porticoes and antique vessels adorning the walls. Nine panels in oil with symbolic womanly figures in flowing robes against dark blue backgrounds to represent various attributes of the Navy finish the wall decorations.

On February 24, 1880, Senator Voorhees of Indiana referred to the Brumidi decorations of these two rooms in these words:

“Almost every committee-room announces to the eye by historical or allegorical paintings in fresco the duties to which it is dedicated. Who ever passed through the room of the Committee on Military Affairs without feeling that the very genius of heroism had left there its immortal inspirations? Who would mistake in after ages the use to which the room for the Committee on Naval Affairs had been devoted? The painter has told the whole story in a silent but in an undying language.”

An 1858 newspaper tells that the following statement was posted that year in the Senate Committee Room on Naval Affairs for the “edification of visitors”:

“Senate Committee on Naval Affairs—The decorative paintings of this room are a specimen of the manner in which the ancient Greeks and Romans ornamented their splendid buildings, some of which are still extant in the precious monuments of Pompeii andthe baths of Titus. America with the sea divinities are painted on the ceiling in real fresco. These mythological figures are delineated agreeably to the poetical descriptions we have received of them, and they are Neptune, the god of the seas, Amphitrite, his wife, Aeolus keeping the winds chained to the rocks, Venus the daughter of the Sea, Oceanus with crampfish claws on his head, Thetis, his wife, and Nereus, the father of the Nereids, drawn by Glacus, and the Tritons by marine horses or swans, or else mounted as sea-monsters.”

Brumidi decorated also the reception room of the Senate where constituents may still call upon their Senators—and admire the ceiling frescoes of the old artist. This room has a vaulted ceiling with two arches. The circular arch has a frescoed center of children and clouds with allegorical groupings about the center designed to represent Prudence, Justice, Temperance and Strength portrayed as beautiful madonnas with pink cheeked children. Four allegorical scenes in the groined arch hold forth Liberty, Plenty, War, and Peace, in the purity of other madonna-like groupings.

The walls of the Senate Reception Room have many empty and unfinished panels but the “elaborate ornaments and gilded mouldings around them” lend their own beauty to this room. The outstanding Brumidi work in the Senate Reception Room is a large centerpiece in oil on the south wall showing George Washington in consultation with Thomas Jefferson and Alexander Hamilton. At either side, according to Brumidi, are “decorative figures in light and shade (chiaroscuro).” The old voucher of 1873, signed by Brumidi, and indicating the sum paid for this mural in the Senate Reception Room, follows:

“For approximate estimate for painting portraits of Washington, Jefferson and Hamilton on the walls of the Senate Reception Room—$500.00.”

Two of the Brumidi letters written in 1871 not only date the frescoes in the Senate Reception Room and those in the Military Committee Room of the Senate already described, but also name a lump sum paid the artist for at least a part of this work. These two letters written to the Architect of the Capitol Building and dated 1871 follow:

“In reply to your request about the completion of the decorative figures in light and shade (chiaroscuro) at the three panels in the reception room of the Senate according to that already painted in the last year.“Also for three more panels in the walls of the Senate Military Committee room in real fresco with three battles of the American Revolution, and many other small paintings above a door and at the ceiling, for the completion of the ibid room, for the sum of $5,300.”C. Brumidi

“Also for three more panels in the walls of the Senate Military Committee room in real fresco with three battles of the American Revolution, and many other small paintings above a door and at the ceiling, for the completion of the ibid room, for the sum of $5,300.”

C. Brumidi

New York City“I read in the Herald the adjournment of the Congress and an extra session of the Senate will meet again for the tenth of May.“I think that in this present temporary recess, will be the time to give orders to the plasterer to finish the panels in the Reception Room, as the oil work will require the wall to be perfectly dry, and of course three or four weeks. Every plasterer can do it smooth like the others already painted.“I am in attendance of your answer about it, and some information of Senator Wilson’s decision on the subject, for the fresco of this room, to prepare some sketch and cartoons.“I am at work in St. Stephen’s Church and I wish to proceed with it till you will call me for work in the Senate or if you think necessary an excursion to fix this preparatory work or directions to the plasterer.”C. Brumidi

New York City

“I read in the Herald the adjournment of the Congress and an extra session of the Senate will meet again for the tenth of May.

“I think that in this present temporary recess, will be the time to give orders to the plasterer to finish the panels in the Reception Room, as the oil work will require the wall to be perfectly dry, and of course three or four weeks. Every plasterer can do it smooth like the others already painted.

“I am in attendance of your answer about it, and some information of Senator Wilson’s decision on the subject, for the fresco of this room, to prepare some sketch and cartoons.

“I am at work in St. Stephen’s Church and I wish to proceed with it till you will call me for work in the Senate or if you think necessary an excursion to fix this preparatory work or directions to the plasterer.”

C. Brumidi

The 1871 letter quoted above, written from New York, is the only reference in a Brumidi letter of the Brumidi file in the Architect’s office to any painting of Brumidi’s outside of Washington. It seems to have been proven, though, beyond a doubt thatThe Crucifixionin St. Stephen’s Church in New York is one of at least four such sacred paintings. The picture ofSaint PeterandSaint Paulwas painted in the Philadelphia Cathedral;The Holy Trinitywas done in the Cathedral at Mexico City, andThe First Communion of Saint Aloysiuswas placed above the altar in the old Saint Aloysius Church in Washington.

A study of the Saint Aloysius mural brought to light a letter written by Brumidi in Italian to Father Sestini of Georgetown University back in 1855. Father Sestini is said to have been such a close friend of Brumidi’s that the artist included the Father in his fresco of St. Aloysius. This letter to Father Sestini, translated by Father Geib of Georgetown University, is reproduced in its entirety, it being the only communication found from Brumidi to a Father in the Catholic Church. The letter to Father Sestini follows:

November 11, 1855“I was displeased at not having been in my studios when you came to talk to me about the painting to be done in Baltimore. Concerning this, I shall be interested to know whether the Church has a flat ceiling, since in that case the painting could be easily executed on canvas, and later on, be placed against the said ceiling; this being the only way I can actually do anything in the service of the Society (of Jesus), since my contracted engagements for the Capitol do not let me move away from Washington, having also to offer my assistance to other artists of decorative painting and fresco, who work under my direction.“If, therefore, there would be room for a picture (frame), as large as might be its size to be placed in the said way, I could paint it in tempera and produce the same appearance of a fresco. This is all I can promise in the circumstances in which now I am, and you would not attribute the objections already expressed to a lack of good will. Meanwhile, I profess myself entirely obliged for the favors I have at all times received from the Society (of Jesus).“I repeat myself respectfully your most obliged servant,Constantino Brumidi”

November 11, 1855

“I was displeased at not having been in my studios when you came to talk to me about the painting to be done in Baltimore. Concerning this, I shall be interested to know whether the Church has a flat ceiling, since in that case the painting could be easily executed on canvas, and later on, be placed against the said ceiling; this being the only way I can actually do anything in the service of the Society (of Jesus), since my contracted engagements for the Capitol do not let me move away from Washington, having also to offer my assistance to other artists of decorative painting and fresco, who work under my direction.

“If, therefore, there would be room for a picture (frame), as large as might be its size to be placed in the said way, I could paint it in tempera and produce the same appearance of a fresco. This is all I can promise in the circumstances in which now I am, and you would not attribute the objections already expressed to a lack of good will. Meanwhile, I profess myself entirely obliged for the favors I have at all times received from the Society (of Jesus).

“I repeat myself respectfully your most obliged servant,

Constantino Brumidi”

A certain anonymous letter from the Brumidi file in the Architect’s office at the Capitol should be quoted at this time. It was written on April 8, 1857, addressed to Mr. Walter, Architect of the Capitol, and shows Brumidi the target for more criticism. This crude and biased letter is quoted in full:

MAIDENS OF THE NAVYThe unrolled map of ocean shoreline, the compass, and the telescope carried by the Maidens of the Navy, advance the naval theme in the old Senate Committee Room on Naval Affairs. Seven other such panels of exquisite design and color complete the wall decorations of this room. The simulated pillars with seaweed carvings and pearl ornaments are as deceptive as the sea shell cornucopias on the ledge at the pillars’ base. All are painted in oil on a flat surface of dry plaster.

MAIDENS OF THE NAVY

The unrolled map of ocean shoreline, the compass, and the telescope carried by the Maidens of the Navy, advance the naval theme in the old Senate Committee Room on Naval Affairs. Seven other such panels of exquisite design and color complete the wall decorations of this room. The simulated pillars with seaweed carvings and pearl ornaments are as deceptive as the sea shell cornucopias on the ledge at the pillars’ base. All are painted in oil on a flat surface of dry plaster.

“The protegé and a kind of informer of Cap’t. Meigs, an Italian painter, Brumidi, paid $6 daily by Government, did three pictures for the churches of New York and in Georgetown and for which he received a good pay in hours and during the time which he had no right to dispose of.... His friend is paid too for the thing that he does not understand nor he attends to, yet all this is allowed and tolerated. What do you say about it? Shall we make public notice in papers or will you attend to it?”

Brumidi painted four large, bronze-colored medallions on the walls of this room, each medallion recording the profile of a noted chairman of the Foreign Relations Committee.

On the north wall is Henry Clay of Kentucky who served the Committee as chairman from 1834 to 1836. On the south wall is William S. Allen of Ohio, Committee chairman from 1845 to 1846. The east wall portrays Simon E. Cameron of Pennsylvania, who was chairman from 1871 to 1877, while on the west wall is Charles W. Sumner of Massachusetts, chairman from 1861 to 1871.

The voucher paying Brumidi for this work, dated June 21, 1874, reads as follows:

“For painting four medallion portraits in the Committee Room of Foreign Affairs, United States Senate, @ $50 each—$200.”

Two of these Senate Annex rooms, the District of Columbia Committee Rooms, have unusual frescoed ceilings—that of the larger room being equal in workmanship to that of the President’s Room. Since this large Committee Room was originally set apart as a Senate Library the groupings were chosen with that in mind, for there the artist has represented Geography, History, Physics, and Telegraph. In each group is the Brumidi Madonna and the artist’s distinctive cherubs. The walls of this room were never finished but the ceiling colors are as brilliant today as though painted yesterday.

In the files of the Architect of the Capitol is to be found a collection of original Brumidi letters. Among these are two referring to the Library decorations, both written in 1858—one by a draughtsman, Johannes Oertel, to Mr. Brumidi, and one by Mr. Brumidi to Captain Meigs, then superintendent of Capitol construction. The old artist apparently bothered not to answer ridicule and art criticism but a “direct reproach” on the discharge of his duty did not go unchallenged. The two letters follow:

From Mr. Oertel to Mr. Brumidi:

“With much surprise I learned that last Saturday you had commenced to paint the ceiling at the Senate Library. This room, as you are aware, was assigned to me by Capt. Meigs. I had consequently made preparation to begin it, and have spent much time in doing so. The work is now useless, and my labor in vain.

“Common courtesy should have induced you to consult me before beginning yourself. I cannot conceive the propriety of your taking work out of my hands, to which by commission I was fairly entitled. I must regard it as an unjust interference with my rights, which rights I shall endeavor in the future to guard from invasion.”

From Mr. Brumidi to Capt. Meigs:

“On the 26th of April 1858, I received from Mr. Oertel the enclosed letter, which is very remarkable for the injurious sentiments it contains.

“I remember very well our conversation

HISTORYThis Brumidi color lunette in the District of Columbia Committee Room of the Senate, a part of that room’s frescoed ceiling, was given the name “History” by the artist. All paintings in this room were done with the thought of a decorative motif for a Senate Library. The allegory in this lunette might suggest Young America writing her history, confident and undisturbed either by war or time. If this room has a Brumidi signature it has not yet been found.

HISTORY

This Brumidi color lunette in the District of Columbia Committee Room of the Senate, a part of that room’s frescoed ceiling, was given the name “History” by the artist. All paintings in this room were done with the thought of a decorative motif for a Senate Library. The allegory in this lunette might suggest Young America writing her history, confident and undisturbed either by war or time. If this room has a Brumidi signature it has not yet been found.

that you had invited a draughtsman to come to Washington to help me with my cartoons. Some days after, in the beginning of last year (1857), Mr. Oertel presented himself and told me he was the artist intended to assist me with my designs. I inquired of him if he could paint. He answered no, that he was only a draughtsman. In proof of this assertion he showed to me an oil painting of small dimension, representing the head of St. Paul. Such was his only experiment in coloring.

“After this I gave him the measure of six circles on the pilasters in the Navy Room, to make a corresponding number of portraits of celebrated men in the American Navy, intending to paint them myself. After that day I did not again see Mr. Oertel, because he had received orders from you to make the designs for the stained glass in the House of Representatives. In consequence of which order I could not have his services. I have never yet received the designs for the aforesaid portraits, therefore, I made them myself, also the cartoons for my other work, intending to execute them when the weather was favorable.

“Not being able to work in the room of the Committee of War, as it is at present occupied, nor in the ante-chamber of the Senate as there are many workmen employed there, I commenced in the Senate Librarynot having received any information that the frescoes there were intended for Mr. Oertelnor could I think that an artist who himself has confessed that he had no practice in painting could think of executing pictures in fresco which is undoubtedly the most difficult of all varieties of painting.

“If for about fifteen months Mr. Oertel had been under your immediate orders, I could not again employ him without a new order from you, notwithstanding I have only painted one panel in the Library, and if you desire that Mr. Oertel shall make his first experiment in fresco in the aforesaid room, there still remain three vacant panels.

“In everything concerning the work in the Capitol Extension, it is my duty to receive orders and whatsoever observations may be needed only from you. So that I pray you please to make known to Mr. Oertel that neither he nor any other person has authority to send me such an insolent letter, containing as it does a direct reproach on the discharge of my duty, and I consider he has done me a serious injury.”

Although this Senate Library was begun by Brumidi in 1858 it would seem that only one lunette was finished at that time and that negotiations for its completion were again resumed on August 12, 1866, when Mr. Brumidi wrote the following letter to Architect Clark itemizing the completion costs:

“...The three panels in the ceiling, painted in real fresco representing allegorical subjects, corresponding to the original plan, and to the other already painted by myself, for $1,500 each, making an amount of $4,500—and 500 dollars more for painting all the figures and ornaments in the same ceiling in correspondence with the others, making a total cost of $5,000.

“The enclosed account at the old price of daily wages was presented by me to put under consideration what would have been the cost of the work if it had been completed six years ago. The mentioned persons, Peruchi and Geier were employed expressly one to help me as an artist, and the other to serve me in preparing the cartoons, the colors, and to assist me in my private studio as well as in the Capitol, and they having nothing to do with the plasterer who fixes the mortar in the wall, always furnished by the government.”

Architect Clark’s reply a few days later was short and to the point, “I do not considerthere is three times as much to do as has already been done.”

Brumidi painted in the Capitol Building throughout the entire war between the States. In the little ante-room of the Senate District of Columbia Committee Room, originally the office of the Sergeant at Arms of the Senate, is his only effort to picture that conflict. This small room has four allegorical designs painted about its upper walls and one large fresco in the center of the ceiling. This fresco is signed, “C. Brumidi, 1876,” and represents “Columbia Welcoming the South Back into the Union.”

On the east wall is “Secession”—the breaking of the fasces, and the rival products of the North and South; on the south wall is war and strife; on the north wall the implements of war are exchanged for those of peace, while on the west wall the fasces are again united with the words “E Pluribus Unum.”

These two Senate Committee Rooms present a great contrast in brilliancy of color. The somber tone of the smaller room might be due to its date of execution, it having been finished only four years before the artist’s death. The larger room is said to have had a bit of restoration at one time during the two restoration periods that some of the Brumidi frescoes have had in the Capitol.

Charles Ayer Whipple was employed in 1919 to restore some of the Brumidi paintings especially in the basement corridors in the Senate Annex. This artist is recorded to have said at that time, “The Brumidi decorations are second to none in the whole world.” In 1921 Charles E. Moberly also did some restoration of Brumidi paintings but his work was chiefly in the House Committee Room where a fire had marred the side walls, and in the Reception room of the Senate where a bomb explosion in the early days of World War I damaged the walls and ceiling.

The Senate Appropriations Committee Rooms earlier referred to are entered from the West Corridor on the ground floor of the Senate Extension. Above the door leading into these Committee Rooms is the Brumidi fresco of Bellona, the Roman goddess of War, with her stacked guns, flag-draped cannon and silent drum and trumpets at her feet. This West Corridor with vaulted ceiling is elaborately decorated in 15th Century style, thought to have been inspired by the Loggia of Raphael in the Vatican at Rome, that portion of the Vatican at one time said to have been restored by Brumidi. In the Capitol’s West Corridor are studies of birds, butterflies and children. Among the humming birds, cardinals, bluejays, and robins are 13 exquisite landscapes and inimitable medallion profiles of John Hancock, Francis Hopkinson, Robert Livingston, Roger Sherman, John Jay, Charles Thompson, Charles Carroll and Robert Morris. In a special ceiling design are the twelve signs of the zodiac in fields of Pompeian blue.

Senator Voorhees made the following appreciative reference to Brumidi’s West Corridor designs:

“The poetry of the artist, if I may so express it, had also its field of display. To one who recalls the great forests of the West before they were swept away, the birds and the specimens of American animals with which he has adorned a portion of this Capitol must be a source of unceasing enjoyment. The birds especially are all there, from the humming-bird at an open flower to the bald eagle with his fiery eye and angry feathers. I have been told that the aged artist loved these birds as a father loves his children and that he often lingered in their midst as if a strong tie bound him to them.”

The North Corridor is equally as colorful as the West Corridor. Here we find painted on the walls, parrots and quail, lizards and chipmunks, squirrels and mice in their own habitat and color, midst every kind of flower and fruit imaginable. Children dance about the trailing arbutus, lilies of the valley, morning glories, columbine, bleeding hearts and peonies. Panels adorned with clusters and baskets of fruit—purple grapes, pineapples, peaches, plums, currants and cherries help to frame medallion profiles of Daniel Morgan, Jonathan Trumbull, Horatio Gates, Israel Putnam, Thomas Mifflin, Silas Deane, Richard Montgomery, Joseph Warren, Thomas Jefferson and Benjamin Franklin.

In this corridor also are two large frescoes above other Committee room doors. “The Cession of Louisiana,” picturing Livingston, Monroe and Barbe-Marbois in the act of negotiating the Louisiana purchase, is at the west end of this corridor. At the east end of this corridor is “The Signing of the First Treaty of Peace with Great Britain in 1782” in which likenesses of Richard Oswald, John Adams, Henry Laurens, John Jay and Benjamin Franklin are portrayed.

A voucher, signed by Brumidi, and dated November 11, 1874, has been found referring to this treaty picture:

“For painting in Fresco over the entrance of the room of the Committee of Foreign Affairs, the picture of the Signing of the First Treaty with Great Britain—$600.”

On the upper walls of the Patent Corridor at the extreme east end of the North Corridor are large frescoes of Fulton and his invention on the Hudson, Fitch working on a steamboat model, and Franklin in his laboratory, while the ceiling displays many small designs of patents important to the American people. Roses of all colors, conventionalized or in tall graceful vases, predominate in this corridor decoration. Brumidi is reported to have said that his “Palisades of the Hudson” in the Robert Fulton fresco were not strong enough in perspective and that he hoped some day to have time to strengthen that portion of his painting.

A Brumidi voucher dated November 28, 1873, helps to verify the fact that the Fulton painting is a fresco:

“For painting in fresco the picture of Robert Fulton in the Senate wing, in the passage in front of the room of the Committee on Patents—$500.”

The Main Corridor on the ground floor of the Senate Extension is said to follow the Byzantine style of decoration with subdued backgrounds that display to perfection 14 more oval-shaped landscapes of marvelous depth and beauty. At the extreme north end of the corridor are the profile portraits of Andrew Jackson and Henry Clay, large frescoes of Justice Story and Chancellor Kent and a bust of Chancellor Livingstone executed in imitation sculpture.

THREE GRACESFour such groups of Graces in varying attitudes and color combinations are used by Brumidi as corner motives on the frescoed ceiling of the District of Columbia Committee Room of the Senate. So delicately beautiful are the pastel shades in the maidens’ drapery that the studies of graces are equally as popular as the lunettes which they separate. Again, all frames and intricate moldings are painted on a smooth ceiling surface. The working sketch for these Graces is reproduced in black and white on page 79.

THREE GRACES

Four such groups of Graces in varying attitudes and color combinations are used by Brumidi as corner motives on the frescoed ceiling of the District of Columbia Committee Room of the Senate. So delicately beautiful are the pastel shades in the maidens’ drapery that the studies of graces are equally as popular as the lunettes which they separate. Again, all frames and intricate moldings are painted on a smooth ceiling surface. The working sketch for these Graces is reproduced in black and white on page 79.

Two vouchers signed by Brumidi and dated August 24, 1874, fix the date, price and style of painting in the north end of this main corridor:

“For painting bust in light and shade of Chancellor Livingston at north end of basement story—$100.”

“For painting in fresco the portraits of Justice Story and Chancellor Kent at north end of basement story—$400.”

There is also a South Corridor on this ground floor of the Senate Extension done in the same subdued Byzantine style with eight large studies of animals in oval frames painted in oil on the walls and eight other ovals of the same size displaying in each the United States shield.

Two facts concerning Brumidi disturb us at this point in some such way as Smith D. Fry evidently was disturbed back in 1912 when he wrote his “Story of the Capitol.” Mr. Fry apparently satisfied his own wonder in these words:

“Many people inquire how it was possible for Brumidi to accomplish such an enormous amount of art work. The great designer and decorator prepared his colors according to methods known only to himself. They were mixed or triturated by employees under Brumidi’s direction. Leslie and others covered the walls with backgrounds, under Brumidi’s direction. Other near artists made outlines, according to directions of the tireless worker. But all of the artistic work was finished by the hand of the matchless Brumidi himself. That the name of Brumidi and the story of his wonderful work have not been known to the American people is not due to lack of appreciation but to the fact that there has been no one with time and acquaintance with his work to tell the people about it.”

On the frieze of the Rotunda Brumidi did his last work in the Capitol Building. This frieze is a belt nine feet wide which circles the Rotunda 58 feet from the floor. The Rotunda is 300 feet in circumference. On October 1, 1877, the Architect of the Capitol gave the following report, “The belt of the Rotunda intended to be enriched with basso relievos is being embellished in real fresco representing in light and shadow events in our history arranged in chronological order, begining with the Landing of Columbus and ending with a period of our Revolutionary history to be decided later.”

According to Brumidi’s signed statement of 1874, earlier quoted, “That large frieze in the Rotunda was sketched by order of Captain Meigs before the war,” but the artist was 72 years old before he actually was allowed to begin painting the frieze in the difficult Rotunda location.

He had in mind fifteen historical scenes planned to cover fifteen divisions of the frieze and from his file of letters we know how desperately he worked to finish these frescoes before sickness should compel him to lay aside his brush. The following four short letters to the Architect of the Capitol during Brumidi’s last months show the heroic effort made by the artist to complete his frieze:

Washington, D. C., October 15, 1878“I have returned at home, having improved enough and I am translating in large proportion the cartoon of Pocahontas, and if Monday the plasterer is ready to proceed with the panel of DeSoto I desire to go on in that work, if my health will permit me, as I hope.”C. Brumidi

Washington, D. C., October 15, 1878

“I have returned at home, having improved enough and I am translating in large proportion the cartoon of Pocahontas, and if Monday the plasterer is ready to proceed with the panel of DeSoto I desire to go on in that work, if my health will permit me, as I hope.”

C. Brumidi

Washington, D. C., December 27, 1878“In this very cold weather I am compelled to suspend the work in the Rotunda where

Washington, D. C., December 27, 1878

“In this very cold weather I am compelled to suspend the work in the Rotunda where

WASHINGTON AT VALLEY FORGEAnother lunette painted by Brumidi high on the walls of the old Senate Committee Room on Military Affairs was named by Brumidi, “Washington at Valley Forge.” This portrayal of our Revolutionary General was evidently painted with these words of Washington in mind: “We have this day no less than 2,873 men in camp unfit for duty because they are barefooted and otherwise naked ... numbers are still obliged to sit all night by fires.” (December 23, 1777.) Could the two soldiers with Washington be Brumidi’s conception of Baron Steuben and Lafayette?

WASHINGTON AT VALLEY FORGE

Another lunette painted by Brumidi high on the walls of the old Senate Committee Room on Military Affairs was named by Brumidi, “Washington at Valley Forge.” This portrayal of our Revolutionary General was evidently painted with these words of Washington in mind: “We have this day no less than 2,873 men in camp unfit for duty because they are barefooted and otherwise naked ... numbers are still obliged to sit all night by fires.” (December 23, 1777.) Could the two soldiers with Washington be Brumidi’s conception of Baron Steuben and Lafayette?

the heating is not enough to prevent the frost at the surface of the mortar, that does not remain soft long enough upon the wall for absorbing the colors till the piece of the day would be completed, causing injury to the work; for this reason I ask the permission to suspend the fresco work for some weeks until the weather will be not so cold.“I am proceeding with the cartoon of The Landing of the Pilgrims, where I have no need of the laborer’s assistance.”C. BrumidiOrkney Springs, August 11, 1879

“I am proceeding with the cartoon of The Landing of the Pilgrims, where I have no need of the laborer’s assistance.”

C. Brumidi

Orkney Springs, August 11, 1879

“In the month of July you agreed to my request to draw the cartoons in my studio.“A short time before I was attacked by the asthma and finding no relief, was advised to leave the City by Dr. Thompson, and decided to come here. I suffered only during the night which was very fortunate as it permitted me to work in the day. I have completed three cartoons representing the treaty of William Penn and Settlement of New England which comprises two cartoons. I have brought one with me on which I work every day. I find the air a great benefit to me, the water also and expect to be able to continue the Fresco very soon.”C. Brumidi

“In the month of July you agreed to my request to draw the cartoons in my studio.

“A short time before I was attacked by the asthma and finding no relief, was advised to leave the City by Dr. Thompson, and decided to come here. I suffered only during the night which was very fortunate as it permitted me to work in the day. I have completed three cartoons representing the treaty of William Penn and Settlement of New England which comprises two cartoons. I have brought one with me on which I work every day. I find the air a great benefit to me, the water also and expect to be able to continue the Fresco very soon.”

C. Brumidi

Washington, D. C., August 18, 1879“Saturday 16th I returned in the city, and ready to proceed with the work in fresco (with your permission). Three cartoons are near completed. I am improved in the general health, that was the object of my trip and not for the pleasure.”C. Brumidi

Washington, D. C., August 18, 1879

“Saturday 16th I returned in the city, and ready to proceed with the work in fresco (with your permission). Three cartoons are near completed. I am improved in the general health, that was the object of my trip and not for the pleasure.”

C. Brumidi

LANDING OF THE PILGRIMSOf the fifteen historical groups planned by Brumidi for the frescoed frieze encircling the Rotunda, the “Landing of the Pilgrims” is the one in which the attitude of prayer predominates. This frieze is 9 feet wide and 58 feet from the Rotunda floor. Brumidi was 72 years old when he began its execution but he had drawn the plans probably twenty years earlier.

LANDING OF THE PILGRIMS

Of the fifteen historical groups planned by Brumidi for the frescoed frieze encircling the Rotunda, the “Landing of the Pilgrims” is the one in which the attitude of prayer predominates. This frieze is 9 feet wide and 58 feet from the Rotunda floor. Brumidi was 72 years old when he began its execution but he had drawn the plans probably twenty years earlier.

But this last task he set for himself was too great. Of the fifteen scenes Brumidi planned, he finished the following six:Landing of Columbus, 1492;Entry of Cortez into Mexico, 1521;Pizarro’s Conquest of Peru, 1533;Midnight Burial of DeSoto, 1541;Pocahontas saving John Smith, 1606;Landing of the Pilgrims, 1620.

PENN’S TREATY WITH THE INDIANSThe seventh group, chronologically, on the Rotunda frieze is “Penn’s Treaty with the Indians.” It follows the “Landing of the Pilgrims” in Brumidi’s design. It was while working on this group that Brumidi fell on the scaffolding and was never able to return. The three Indians at the right were left unfinished, the lighter background marking the spot from which Brumidi fell.

PENN’S TREATY WITH THE INDIANS

The seventh group, chronologically, on the Rotunda frieze is “Penn’s Treaty with the Indians.” It follows the “Landing of the Pilgrims” in Brumidi’s design. It was while working on this group that Brumidi fell on the scaffolding and was never able to return. The three Indians at the right were left unfinished, the lighter background marking the spot from which Brumidi fell.

The artist had the seventh scene,Penn’s Treaty with the Indians, 1682, more than half finished when he fell from the suspended chair from which he worked and was forced to hang by his arms from a ladder until workmen made the rescue. The last few months of his life he worked at his studio on the frieze cartoons. Edward Clark, Architect of the Capitol, makes reference to the unfinished frieze in his Report of October 1, 1880. Said he at that time, “But little progress has been made on the frescoes of the belt in the Dome, owing to the illness and death of the late Constantino Brumidi. Philip Costaggini, an artist of acknowledged merit, educated in the same school as the former artist, is now engaged on these frescoes.” One year later, however, on October 1, 1881, Mr. Clark made the following report:

“Mr. Costaggini has painted in fresco on the belt of the Rotunda the “Settlement of New England,” “Oglethorpe and the Indians,” left unfinished by Mr. Brumidi, and he is now engaged on the “Reading of the Declaration of Independence.” It is proper to state here, that Mr. Brumidi made the designs for these sections only in small size and Mr. Costaggini has had to make the eight remaining full size cartoons.”

When Mr. Costaggini finished the work of executing the Brumidi designs on the Rotunda frieze he had space enough left to accommodate two compositions of his own choosing. Since his designs were never sanctioned by Congress, Mr. Costaggini died in 1907 leaving an unfinished frieze.

A third artist, Charles Ayer Whipple, wasemployed in 1918 at daily wages to restore some of Brumidi’s paintings on the walls of the Ground Floor Corridors at the Capitol and to make a sample painting on the unfinished frieze. This trial painting he called “The Spirit of 1917.” The Committee charged with final decisions concerning the frieze at that time decided against Whipple’s further effort.

In 1925 Mr. Whipple referred to his frieze painting in a letter to the Architect of the Capitol, a portion of which follows:

“As you know I painted a group of figures in the frieze with the permission of the Library Committee, to prove that I understood the ancient method of Fresco painting, that is, the method of Michelangelo in the Sistine Chapel in Rome. The frieze is painted in that method and of course must be completed in the mode of the great Italian Master, that of “lime painting on wet plaster.” Mr. Whipple died in 1928. The frieze is still unfinished and still of current interest.

On August 17, 1950, the President of the United States signed a Joint Resolution, H. J. Res. 21, “To provide for the utilization of the unfinished portion of the historical frieze in the Rotunda of the Capitol to portray (1) the Civil War, (2) the Spanish-American War, and (3) the birth of aviation in the United States.”

Each new effort to finish the Rotunda Frieze is a testimony to the artist, Brumidi, and to his inimitable work. Should an artist well schooled in the Italian fresco process not be found to finish the frieze it is the author’s thought that the problem might be solved by adorning the blank portion of the Rotunda belt with a memorial inscription to Constantino Brumidi.

BRUMIDI’S FRESCOED CANOPY IN THE EYE OF THE DOMEThe Dome Canopy as here pictured was photographed from the exact center of the Rotunda, 180 feet below. Unavoidably, the balcony around the Eye of the Dome hides the outer portion of all six allegorical groups. In order to make individual “close-ups” of these groups our photographer went to the top balcony of the Dome at night, carrying his own lighting equipment. His six kodachromes, each made at a distance of 65 feet, the diameter of the Dome at this point, follow:(S. D. Wyeth’s six-page booklet, printed in 1866, gives the “Description of Brumidi’s Allegorical Painting within the Canopy of the Rotunda.” Since Brumidi finished this canopy in 1865 we may reasonably suppose that Wyeth’s interpretations came directly from the artist. For this reason Wyeth’s own legends are quoted on the following six pages.)

BRUMIDI’S FRESCOED CANOPY IN THE EYE OF THE DOME

The Dome Canopy as here pictured was photographed from the exact center of the Rotunda, 180 feet below. Unavoidably, the balcony around the Eye of the Dome hides the outer portion of all six allegorical groups. In order to make individual “close-ups” of these groups our photographer went to the top balcony of the Dome at night, carrying his own lighting equipment. His six kodachromes, each made at a distance of 65 feet, the diameter of the Dome at this point, follow:

(S. D. Wyeth’s six-page booklet, printed in 1866, gives the “Description of Brumidi’s Allegorical Painting within the Canopy of the Rotunda.” Since Brumidi finished this canopy in 1865 we may reasonably suppose that Wyeth’s interpretations came directly from the artist. For this reason Wyeth’s own legends are quoted on the following six pages.)

AGRICULTURE“CERES, the Goddess of Harvests and the Fields, with the Horn of Plenty, is in the center.Young America, with Liberty Cap, of red, thebonnet rougeof France, having under his control a pair of vigorous horses hitched to an American Reaper, in conscious pride is exhibiting his skill. The background is a luxuriant mass of prolific vegetation.Florais gathering flowers, and, hovering near, is a cherub. Beyond isPomonawith a basket of fruit.”Wyeth—1866

AGRICULTURE

“CERES, the Goddess of Harvests and the Fields, with the Horn of Plenty, is in the center.Young America, with Liberty Cap, of red, thebonnet rougeof France, having under his control a pair of vigorous horses hitched to an American Reaper, in conscious pride is exhibiting his skill. The background is a luxuriant mass of prolific vegetation.Florais gathering flowers, and, hovering near, is a cherub. Beyond isPomonawith a basket of fruit.”

Wyeth—1866

MECHANICS“VULCAN, the old stalwart Tubal Cain of Grecian mythology, is the colossal genius of this group. His right foot rests on a cannon. Machinery, forges, mortars, and cannon balls, strewn around, remind us of forging thunderbolts, as well as of combat with, and victory over, the giant forces of nature, and making them subservient to human will and purposes.”Wyeth—1866

MECHANICS

“VULCAN, the old stalwart Tubal Cain of Grecian mythology, is the colossal genius of this group. His right foot rests on a cannon. Machinery, forges, mortars, and cannon balls, strewn around, remind us of forging thunderbolts, as well as of combat with, and victory over, the giant forces of nature, and making them subservient to human will and purposes.”

Wyeth—1866

COMMERCE“MERCURY, the Protector of Travellers and Merchants, holds in his hand a bag of gold, to which he is directing the attention ofRobert Morris, the Financier of the American Revolution. It was he who guided to a successful issue the entangled pecuniary embarrassments of our country in its struggle for independence. Alas! for himself, he died a bankrupt, and in confinement for debt. Boxes of merchandise, and bales of goods, with men at work among them, are to be seen. Two sailors point to a gunboat in the distance.”—Wyeth—1866

COMMERCE

“MERCURY, the Protector of Travellers and Merchants, holds in his hand a bag of gold, to which he is directing the attention ofRobert Morris, the Financier of the American Revolution. It was he who guided to a successful issue the entangled pecuniary embarrassments of our country in its struggle for independence. Alas! for himself, he died a bankrupt, and in confinement for debt. Boxes of merchandise, and bales of goods, with men at work among them, are to be seen. Two sailors point to a gunboat in the distance.”—Wyeth—1866

MARINE“NEPTUNE, in marine state, bearing his trident, in his car, accompanied by his charioteer and attendants, is emerging astonished from the deep. The beautiful Aphrodite (Venus), born of the sea foam, half risen from the waves, holds in her hand the Atlantic cable, given her by a winged cherub, and is about dropping it into the sea.”—Wyeth—1866

MARINE

“NEPTUNE, in marine state, bearing his trident, in his car, accompanied by his charioteer and attendants, is emerging astonished from the deep. The beautiful Aphrodite (Venus), born of the sea foam, half risen from the waves, holds in her hand the Atlantic cable, given her by a winged cherub, and is about dropping it into the sea.”—Wyeth—1866

ARTS AND SCIENCES“MINERVA, the Goddess of Wisdom, stands gloriously prominent, with helmet and spear, as she springs, full grown, from the brain of Jupiter. In meek attitudes, but with glowing faces, attentive to her teachings, are Benjamin Franklin, Printer and Philosopher, Robert Fulton, of Steamboat renown, and S. F. B. Morse, the generally acknowledged inventor of the Magnetic Telegraph. There are also boys, with wondering eyes, and expressive gestures, listening to the instructions of a school teacher.”—Wyeth—1866

ARTS AND SCIENCES

“MINERVA, the Goddess of Wisdom, stands gloriously prominent, with helmet and spear, as she springs, full grown, from the brain of Jupiter. In meek attitudes, but with glowing faces, attentive to her teachings, are Benjamin Franklin, Printer and Philosopher, Robert Fulton, of Steamboat renown, and S. F. B. Morse, the generally acknowledged inventor of the Magnetic Telegraph. There are also boys, with wondering eyes, and expressive gestures, listening to the instructions of a school teacher.”—Wyeth—1866

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