Chapter C: Brumidi

Senator Morrill’s friendship for Brumidi is forever recorded in the following two letters written to the artist:

Washington, D. C., May 19th

“I expected to have returned in time to see you on Saturday. I am
so well pleased with what I have that more seems unnecessary.
Possibly I may in the fall or winter do a little something on the
Library. If you choose to put some heads on canvas for that object
you can do the three heads enclosed and get one more of Clark or
such as you choose.”

JUSTIN S. MORRILL

(This letter must have been written after May, 1865, as that was the date Edward Clark became Architect of the Capitol.)

United States Senate Chamber June 20, 1878

“I was surprised upon reaching home this morning to find an oil
painting in my parlor, being a copy by your son Laurence, from
Guidorini.

“It is quite a pleasing picture, and considering the short time he
has attempted any work of this kind I think it betokens a talent of
which his father may reasonably be hopeful.

“Of course he cannot expect to equal you with your forty years of
experience.

“I am just leaving the city and have only time to render to him my
thanks.”

JUSTIN S. MORRILL

Lola Germon Kirkwood was about sixty years old and Laurence Brumidi was forty-one when the following two letters were written from the mother to the son:

Home (Richmond), May 29, 1902

“The check and ‘heads’ came safely, and would have been
acknowledged sooner, but I hoped to write a longer letter, and
waited for a more encouraging mood, but none came.

“I wish I could sell them for you but an art man told Mr. Kirkwood
this was a poor city for such sales, the people being too poor. You
see they are just about recovering from the results of the civil
war. Then besides people want large showy things. In other words,
they want big things for little money. They are beautiful but if I
had to buy them I would too want something larger.

“I am sorry you sent anything you put so much work on. I thought I
made myself plain. I wanted something big too. Even a landscape
thrown roughly on. There would have been likely no visitor here to
have told good work, and if asked I would have said it was sent me
by a young student. But if I should get a chance to sell, you know
how glad I shall be. I am quite sure if Whitney, Morgan, Carnegie
or any of those great rich men were properly approached they would
give perhaps thousands of dollars for the original copy of the
dome, alone. I should think it would be a great thing for them to
have in their private gallery. In the meantime why don’t you try a
letter to these men?”

MOTHER

Home (Richmond), October 9, 1902

“I am sorry to hear you have been again sick, and thought as much
when the letter came a little later than usual.

“Yes, when the lawyer’s letter came I found myself disappointed,
though I had promised myself not to be. If we had of gotten any
money you could easily put through that claim at Congress and could
also have made money out of those sketches of your father’s dome
pictures and others. It takes money to make money, unfortunately.

“I have always tried to coax you to keep up correspondence with
Elena. I don’t know why it is but I have lived in the hope that the
agent may sell enough of your father’s pictures in the fall to give
you some comfort for the rest of your life. I should think the
sketch of the dome alone would do that. And then I feel the moment
you did not of necessity require it you would be able to sell as
many of your own as you would desire. Keep up good spirits.”

With love as ever,
MOTHER

The photograph of the original working sketch for the Dome Canopy saved through the years in the trunk of Laurence Brumidi is clear and the figures very distinct. This photograph no doubt was mounted for the purpose of registry in the District, for beneath the picture is the following printed notation:

“Entered according to act of Congress in the year 1866 by Constantino Brumidi, in the Clerk’s Office of the District Court of the District of Columbia.”

On the back of this picture is an Internal Revenue stamp cancelled on May 12, 1866. It was the original of this photograph, oil on canvas, some thirty-six inches in diameter, which was among the Brumidi paintings found in 1919 in Washington after being stored away for forty years.

As we examine closely the characters portrayed on the small photograph of Brumidi’s original working sketch for the Rotunda canopy, or on any canopy photographs taken in the Rotunda, the figure of Columbia is outstanding. Columbia is pictured as armed Liberty with “sword, shield, and angry eagle driving out tyranny, pestilence and fear.” However, it is the faded old clipping that Lola saved with the 1866 photograph that adds the romantic luster to Columbia in this Dome Canopy design, especially since we remember the exact words of Mildred Thompson: “Aunt Lola always said she modeled for Freedom in the Dome Canopy.” The faded clipping is quoted in full:

“Visitors to the Capitol who admire the beautiful decorative work to be seen in the rotunda and in the corridors, especially on the Senate end of the building, will find additional interest in the work of the artist when they learn the source of his inspiration for many of the female figures that appear in the designs.

“The aged artist, Brumidi, whose brush did most of the most beautiful of the decorative work of the Capitol, married in Washington, D. C., Miss Lola Germon, a young lady well known for her beauty, which has been perpetuated in many of the paintings executed by her husband. Features a little too well rounded to be thoroughly classic, black hair, a fair complexion and blue eyes, together with a shapely form, were the characteristics of Mrs. Brumidi. She was greatly admired not only for her beauty of person, but for her qualities of mind, which made her a general favorite in that city. One of the figures in the ceiling of the rotunda is said to be an exact likeness of the artist’s beautiful wife, while most of the figures he painted in the Capitol portray some of her characteristics.”

The old Bible given to Mr. Brumidi by the American Bible Society in 1852 when the artist landed in New York no doubt was originally saved by Lola Germon for her son Laurence. On the inside front cover are these words written in the C. Brumidi hand:

“Constantino Brumidi from Rome, Italy, arrived in New York, America, the 18th of September, 1852. Presented to me by the American Bible Society.”

The only other writing in the Bible is the following on a blank page for births--also in the C. Brumidi hand:

Constantino Brumidi born in Rome, July 26th, 1805, by Stauro
Brumidi of Shiliatra, province of Arcadia in the Peloponnesus
(Greece) and Ann Bianchini of Rome.

Daughter, Maria Elena Brumidi born in Rome the 15th of August 1832.

Sons, Joseph Brumidi, born in Rome, 17th January, 1842; Laurence S.
Brumidi born in Washington, D. C. (America) May 12th 1861.

BRUMIDI WORKING SKETCHES

Brumidi’s technique is of great interest. First, he executed his design in color on a small canvas in oil. This he termed a working sketch. Then he drew the large outline figures which he called cartoons with the miniature oil before him. These large cartoons served as stencils through which he dusted powder or charcoal, thus outlining his groups quickly upon the wall or ceiling.

The Brumidi working sketches found in Washington during recent years are in a wonderfully fine state of preservation, whether they have come directly from the hand of Lola Germon or from Laurence Brumidi’s storage cache found in 1919, or from other sources. Most of the canvases have in no manner been restored or retouched but the colors are soft and true and pleasing. Those art lovers who fear that certain Capitol decorations may have suffered by “restorations” have but to compare the Capitol fresco with its working sketch to be reassured.

Mrs. Ashmun Brown owns working sketches for four of the frescoes in the Capitol Building, “History,” “Physics,” and “The Three Graces” in the District of Columbia Committee Room of the Senate, and for the “Cornwallis-Washington” mural in the House of Representatives Chamber. Mrs. Brown also has the Brumidi working sketches for four of his religious paintings.

In addition to being the grandniece of Lola Germon, Mrs. Brown is the wife of the late Ashmun Brown, the Washington correspondent who wrote the Capitol officials back in 1925 advising them that an auction of Brumidi paintings was scheduled, and urging the Government to investigate the treasures. Mrs. Brown received four of her Brumidi paintings direct from Aunt Lola Germon, and five more were purchased at the auction in 1925. She regrets not having bought, at that auction, the two portraits of Lola Germon by Brumidi, as these two paintings have not yet been found.

Mrs. Harvey Hunt who attended the Brumidi auction of 1925 with Mrs. Ashmun Brown, purchased four of the Brumidi paintings. Two of these are working sketches of cherubs, one bearing the Brumidi signature; another, a sketch of Lola Germon used for “Prudence” in the Senate Reception Room; and the fourth, an oval landscape much like those painted on the walls of the main corridor on the ground floor of the Senate Annex.

Mrs. Hunt being a grandniece of Lola Germon gave three of her treasures to a grandnephew of her Aunt Lola so today three of these working sketches are in the home of Mr. and Mrs. Frank B. Germon.

Mrs. McCook Knox owns the two original working sketches for “Telegraph” and “Columbia Welcoming the South Back into the Union”--“Telegraph” being one of four large lunettes in the main District of Columbia Committee Room of the Senate while the fresco depicting the Civil War theme covers the ceiling in this Committee’s ante-room. This ante-room was originally the Senate Sergeant at Arms’ office.

Mrs. Knox purchased her oil studies from Mr. H. O. Bishop. Her study of “Telegraph” was reproduced in the Washington _Star_ in 1919 as one of the originals stored away for 40 years. Both of the above mentioned pictures now owned by Mrs. Knox were purchased by Mr. Bishop at the C. G. Sloan auction rooms in 1925.

Captain Alexander Macomb, U. S. Navy, inherited nine Brumidi working sketches from his father, Colonel Augustus C. Macomb. These paintings can be traced to the same Captain Meigs with whom Brumidi carried on early correspondence. Being such a prolific painter, Brumidi, no doubt, remembered his friends generously with original sketches.

At the death of General Meigs in 1892, his Brumidi originals were given to a nephew, Lieutenant Augustus C. Macomb, who later became a Colonel in the United States Army. The present Captain Alexander Macomb who now owns the nine Brumidi working sketches has given them the best of care through the years. Two of these Macomb canvases are the working sketches for frescoes in the Appropriations Committee Room of the Senate--“The Battle of Lexington” and “The Storming of Stony Point.” A third canvas is the sketch of the entire groined arch in the ceiling of the Senate Reception Room and displays the four allegorical groupings--“Liberty,” “Plenty,” “War,” and “Peace.”

Captain Macomb tells how his father traveled from one army post to another over a quarter of a century taking with him his family and his household possessions and always the beautiful Brumidi paintings went along. Those nine Brumidi originals hung in an adobe house at Ft. Huachuca, Arizona, from 1900 to 1905.

Mrs. Edmund B. Montgomery who owns the working sketch for the Dome Canopy, now has it hanging in Collingwood near Mount Vernon where it can easily be seen by visitors. This Dome Canopy sketch, some 35 inches in diameter, was also in the “storage find” of 1919 and sold at auction, according to Mrs. Ashmun Brown, for $300 in 1925. This sketch is definitely authenticated by means of the circular photograph saved in Laurence Brumidi’s trunk and bearing the Internal Revenue Stamp dated May 12, 1866. It is indeed fortunate that we have located not only the original working sketch of this Dome Canopy but a photograph of this sketch made in 1866 originally owned by the artist himself and saved for us by Laurence Brumidi, son of the Capitol fresco painter.

Warrenton House owns, and has on display in Warrenton, Virginia, the working sketch of the group painting in the Senate Reception Room--Washington, Jefferson and Hamilton in consultation. This small painting about ten inches square no doubt was originally sold at the Sloan auction in 1925.

Mrs. Murray Russell is the owner of two portraits done by Brumidi. These are of added interest as Brumidi treasures because of the story attached to them. The paintings portray the grandparents of Mrs. Russell--Mr. and Mrs. Andrew J. Joyce. According to Mrs. Russell, it was her grandmother’s brother, John Norris, a student in Rome around 1850 studying to be a priest, who influenced Brumidi to come to America with him in 1852. Brumidi is reported to have lived at the Joyce home in Washington at one time and so great was his appreciation for this haven that he painted the portraits of his benefactors, Mr. and Mrs. Andrew J. Joyce.

Ceylon M. Boswell purchased at auction several years ago the portrait of a woman. The painting bore the Brumidi signature and has hung in the Boswell home where it has received excellent care. By means of a small photograph in Lola Germon’s album, we have been able recently to identify the likeness as that of Mrs. Edward Clark, wife of Mr. Clark who was Capitol architect during most of the time Brumidi painted at the Capitol Building.

Two paintings in the Washington, D. C., home of Dr. Edward C. Morse have been in the family since about 1875. One is the portrait of Dr. Morse’s maternal grandfather bearing the Brumidi signature, while the other is a copy of the famous “Titian’s Daughter.” The latter bears no signature but both pictures have been known as Brumidi’s through the years. Each bears the label of having been originally framed by “McElroy’s Art Store, 1003 Pennsylvania Avenue, Washington, D. C.”

Miss Charlotte Clark, late of Sandwich, Mass., granddaughter of Edward Clark, Architect of the Capitol from 1865 to 1902, had inherited from her parents two family

The Dome fresco shown at right could not have been photographed from any spot in the Rotunda because all six allegorical groups about the center “Apotheosis of Washington” are here shown without obstruction. This reproduction is from a photograph of Brumidi’s working sketch of the Dome which is mounted on ornamental cardboard, said photograph on cardboard having been saved through the years in Laurence Brumidi’s trunk. The photograph was apparently mounted in this manner for registration purposes in the District Court as the cancelled stamp on the back is marked, “Internal Revenue, Proprietary, May 12, 1866.”]

portraits painted by Brumidi. One of these is the portrait of Mrs. Edward Clark holding her small son, Watson Clark. The other is that of Edward Clark’s twin daughters.

In Lola Germon’s old album are two small faded photographs, one of Mrs. Clark and baby, the other of twin girls. These two pictures were evidently used as studies at the time Brumidi painted the large portraits for the Clark family.

Edith Smith Hawes has inherited the working sketch for the altar mural, “Crucifixion,” in St. Stephen’s Church, New York City. It was given to Mrs. Hawes’ father, Amzi Smith, by Brumidi during the years Mr. Smith had charge of the Senate Document Room.

Mrs. Hawes remembers having heard her father tell often of his close friendship with the Capitol artist. Her father’s most vivid story told of Brumidi’s hasty visit one day to the Senate Document Room and how the artist said to her father, “Amzi, please sit down and put your hand on the arm of that chair.” Mr. Smith obeyed. Mr. Brumidi sketched rapidly. As the artist left he called back, “Here I go to put Amzi Smith’s hand on Thomas Jefferson.” “And,” says Mrs. Hawes, “I still visit the Senate Reception Room to see my father’s hand on the great Jefferson.”

The Sisters of the Visitation Convent in Bethesda tell that in January, 1878, Sister Aloysius Gardiner of the Visitation Convent on Connecticut Avenue and L Streets, where the Mayflower Hotel is now situated, celebrated the “Silver Jubilee of her profession.” At that time her uncle, Mr. Philip Simms of New Orleans, wishing to commemorate the event in a fitting manner, employed the artist, Constantino Brumidi, to paint a large picture for the Convent chapel. The subject was “The Apparition of our Lord to Saint Margaret Mary.” The canvas measured 17 feet in height with the figures life-size.

The painting was done by Brumidi in the Distribution Hall of the old Convent school and then hung in the chapel over the altar for forty-one years. In 1919 when the old Convent was sold and the Sisters moved to their new Convent in Bethesda, Maryland, the Brumidi painting was found to be too large for the new chapel so it was given to Holy Trinity Church, Georgetown, where it still adorns a side wall near the altar.

St. Aloysius Church in the Capitol City displays three paintings by Brumidi--the large mural over the central altar and two

“St. Charles Borroméo giving Holy Communion to St. Aloysius Gonzaga” is the title of this Brumidi picture, painted in 1859, which is over the main altar of the St. Aloysius Church, Washington, D. C. Brumidi gave to the kneeling figure at the extreme right the features of Father Benedict Sestini, S.J., professor at Georgetown College, Architect of St. Aloysius Church and close friend of Brumidi. Mrs. Stephen A. Douglas is said to have modeled for the beautiful mother of St. Aloysius. Brumidi’s own likeness, faintly painted, can be identified in the center background beneath the ciborium held by St. Charles Borroméo. The present low altar of St. Aloysius Church lays bare the lower part of the Brumidi mural which was intended to be covered permanently by the original high altar.]

medallions over the side altars. The church is especially proud of the central mural as Brumidi painted into the picture the likeness of Father Sestini, architect of the church and friend of Brumidi.

The diary of the St. Aloysius Church has the following entry dated October 3, 1859, “Today the picture over the main altar is finished and the last scaffolding is removed from the church.”

Another entry in the church diary of interest to us here is dated February 19, 1880, “Father Sestini came in the evening in response to a letter sent him by Mr. Brumidi’s adopted son, telling him that his master was dying and wished him present but Father Sestini was too late as he (Mr. Brumidi) had already died in the morning. The eminent artist and Father Sestini are intimate friends and it was through their united efforts that St. Aloysius Church received the beautiful pictures it now possesses. Though Mr. Brumidi was not always a practicing Catholic he was induced to practice his religious duties during the last year of his life by Father Sestini. May he rest in peace.”

The author was able to identify in St. Stephen’s Church in New York, another Brumidi painting--a life-size portrait of the Christ, displayed in a gilded frame. St. Stephen’s had no written record and no word-of-mouth record that this outstanding portrait had been done by Brumidi but always the painting had occupied a choice location in the church because of its strength and beauty. One of the little photographs of religious groupings saved by Lola Germon in her old album of memories served as identification for the New York portrait to the satisfaction of the author and to the surprise and gratification of the pastor.

THE BRUMIDI DESK

The Brumidi desk was given by the Italian artist to George Strieby at the time of the artist’s death. Mr. Strieby not only was a friend of Brumidi’s but was employed to help the artist with the huge mural in St. Aloysius Church. The desk was cherished by Mr. Strieby and at his death was given to his son, Philip. During the lifetime of Philip the Brumidi desk occupied an honored place in the young Strieby household. At Philip’s death a relative cleaned out the old desk, without the knowledge of Mrs. Strieby, and burned certain of Brumidi’s famous “cartoons” that had been used in making the Capitol frescoes in the President’s Room and which had been stored through the years in the secret compartment of the old artist’s desk. However, Mrs. Philip Strieby continued to watch over the desk with consistent vigilance--out of sentiment for her husband, her father-in-law and Brumidi.

The Dome of the Capitol Building of the United States actually symbolized to Constantino Brumidi “life, liberty, and the pursuit of happiness.” In return for that liberty and security this Italian refugee dedicated himself in service to his adopted country. He spent the last twenty-five years of his life “making beautiful the Capitol of the one country on earth in which there is Liberty.” His crowning effort was the huge canopy in color--4,664 square feet of concave fresco--covering the inside of the Dome of the Capitol of the country he had learned to love.]

It was of great interest to Mrs. Strieby to learn that I had found the name of George W. Strieby listed as “fresco painter” in the two old Time Books in the Architect’s office at the Capitol which books consistently give the earnings both of Strieby and of Brumidi during the last three years of Brumidi’s life--1877, 1878, and 1879. In many instances the Strieby signature followed the Brumidi signature in the old Time Books in spite of an otherwise alphabetical listing of Capitol employees. All of this lends credence to the story of Mrs. Strieby that Philip’s father loved the old artist, helped him through his last hard years, and finally shared responsibility for the burial of Brumidi in Glenwood Cemetery.

The Brumidi desk is of Cuban mahogany on wild cherry, made around 1820. It has recently been restored with great skill by Charles McGahan who has given it a fine finish and a dignified beauty that speaks of Brumidi and his art.

The old desk is on display in Congressman Murdock’s office--held in trust for Mrs. Strieby until such time as it can be a part of a Brumidi memorial cared for by the Government of the United States. Mrs. Strieby died one week after urging the author to take over responsibility for the desk. She did not live to see the restored beauty of Brumidi’s last gift to Grandfather Strieby, but she was happy knowing that her obligation to Brumidi and to his good friend, Grandfather Strieby, had been fulfilled.

NATIONAL RECOGNITION

The Congress of the United States recently voted an appropriation which provided a marker and perpetual care for the long lost grave of Constantino Brumidi in Glenwood Cemetery. This legislation was signed by President Truman on June 30, 1950. The marker will soon be put in place with appropriate ceremony and loving tribute.

Even the best 1950 eulogy to Constantino Brumidi, however, cannot surpass the simple statement of appreciation and understanding offered on the Floor of the Senate of the United States soon after the death of the great artist. Said Senator Voorhees of Indiana on February 24, 1880:

“Mr. Brumidi was engaged at the time of his death on what he regarded as the greatest work of his life. He was unfolding with the magic of genius in the Dome of the Capitol the scroll of American history, from the landing of Columbus to the present day. He earnestly desired to live long enough to complete this vast conception. But he has left an empty chair, and his great design unfinished, as others have done and will continue to do in other places.

“At no distant day some memorial will be erected in some appropriate place in the Capitol to his memory. He who beautifies the pathway of life, who creates images of loveliness for the human eye to rest upon, is a benefactor of the human race. He will be crowned by the gratitude of his own and of succeeding generations. In the older countries of Europe, where the profession of art has a higher rank than here, Brumidi would have had a public funeral, and his remains would have been deposited in ground set apart for persons of distinction. In England he would have had a place and a tablet in Westminster Abbey.

“It matters little, however, whether we or those who come after us do anything to perpetuate his memory. The walls of this Capitol will hold his fame fresh and ever increasing as long as they themselves shall stand.”

Supplement

READING LIST

BOOKS

BROWN, GLEN. _History of the United States Capitol_, Washington, D.
C., Government Printing Office, 1900-03.

FRY, SMITH DUNBAR. _Thrilling Story of the Wonderful Capitol
Building and Its Marvelous Decorations, Washington_, D. C., 1911.

FAIRMAN, CHARLES E. _Art and Artists of the Capitol of the United
States_, Washington, D. C., Government Printing Office, 1927 (69th
Congress, 1st Session, Senate Document 95).

FRY, SMITH D. _Fry’s Patriotic Story of the Capitol_, Washington,
D. C. Rufus H. Carby Printing Company, 1911.

HAZELTON, GEORGE C. _The National Capitol, Its Architecture, Art,
and History_, New York, J. F. Taylor and Company, 1903.

HEPBURN AND A COMMISSION, _Documentary History of the Construction
and Development of the United States Capitol Building and Grounds_,
Washington, D. C., Government Printing Office, 1903-04 (58th
Congress, 2nd Session, House Report No. 646).

KEIM, DE B. RANDOLPH. _Keim’s Capitol Interior and Diagrams_,
Washington, D. C. McGill & Witherow, 1874.

WYETH, S. D. _Description of Brumidi’s Allegorical Painting within
the Canopy of the Rotunda_, Washington, D. C., Gibson Bros.,
Printers, 1866.

ROMANO, FILIPPO AGRICOLA, _Report of Restorations of the Vatican
upon Those Painted by the School of Raphael_. Printing House of
Crispino Puccinelli, Rome, 1842.

DENNISON, ELEANOR E., _The Senate Foreign Relations Committee_.
Stanford University Press, 1942.

NEWSPAPERS

_The Washington Post_

“Death of Brumidi,” Feb. 20, 1880.

“Historical Frieze in Capitol Finished after Many Years,” Jan. 16,
1921.

_The Washington Star_

“Funeral of Constantino Brumidi,” Feb. 21, 1880.

“The President’s Room at the Capitol,” April 13, 1913.

“Artist Is Restoring Capitol’s Great Paintings,” April 13, 1919.

“Brumidi Paintings Found in Washington after a Search of Forty
Years,” Nov. 2, 1919.

“Moberly Restoring Brumidi Decorations at Capitol,” Aug. 14, 1921.

_The Daily Evening Telegraph_

“Death of Brumidi,” Feb. 19, 1880.

“Constantino Brumidi,” Feb. 20, 1880.

_The New York Daily Tribune_

“The Decoration of the Capitol,” May 17, 1858.

“The Decorations of the Capitol,” Signed Guglielmo Gajani, May 31,
1858.

PUBLIC DOCUMENTS

AMERICAN ARTISTS. “Memorial to the Senate and the House of
Representatives of the United States,” Washington, D. C.,
Government Printing Office, March 3, 1859. (35th Congress, 2nd
Session, Report No. 198.)

CURTIS, CARLTON B. “Defence of Italian Art,” Congressional Globe,
Washington, D. C., Government Printing Office, June 15, 1860.

HARRIS, CONG. “Condemning Brumidi Art,” Congressional Globe,
Washington, D. C., Government Printing Office, June 15, 1860.

LOVEJOY, OWEN. “Ridicule of Brumidi,” Congressional Globe,
Washington, D. C., Government Printing Office, May 19, 1858. (35th
Congress, 1st Session.)

MORRILL, SENATOR JUSTIN S. “Eulogizing Brumidi,” Congressional
Record, Washington, D. C., Government Printing Office, Feb. 24,
1880.

SHEPPARD, CONG. HARRY. “Poems by Carlyle on Brumidi,” Congressional
Record, Washington, D. C., Government Printing Office, March 31,
1944.

VOORHEES, SENATOR. “Eulogizing Brumidi,” Congressional Record,
Washington, D. C., Government Printing Office, Feb. 24, 1880.

REPORTS OF CAPITOL ARCHITECTS

MEIGS, CAPTAIN M. C.

Annual Report, Oct. 27, 1859, Washington, D. C., Government
Printing Office. (Completion of President’s Room.)

WALTER, THOMAS U.

Annual Report, Nov. 1, 1863, Washington, D. C., Government Printing
Office. (Beginning of Dome Canopy.)

CLARK, EDWARD

Annual Report, Nov. 1, 1865, Washington, D. C., Government Printing
Office. (Completion of Dome Canopy.)

Annual Report, Nov. 1, 1870, Washington, D. C., Government Printing
Office. (Senate Reception Room.)

Annual Report, Nov. 1, 1871, Washington, D. C., Government Printing
Office. (Military Affairs Committee Room.)

Annual Report, Nov. 1, 1872, Washington, D. C., Government Printing
Office. (Senate Reception Room.)

Annual Report, Nov. 1, 1874, Washington, D. C., Government Printing
Office. (“Signing of First Treaty with Great Britain.”)

Annual Report, Nov. 1, 1875, Washington, D. C., Government Printing
Office. (“Session of Louisiana,” and “Bellona.”)

Annual Report, Nov. 1, 1877, Washington, D. C., Government Printing
Office. (Rotunda Frieze.)

Annual Report, Nov. 1, 1880, Washington, D. C., Government Printing
Office. (Death of Brumidi.)

Annual Report, Nov. 1, 1881, Washington, D. C., Government Printing
Office. (Brumidi’s small-sized cartoons.)

MISCELLANEOUS

BRUMIDI LETTERS--Compiled by the Architect’s Office of the Capitol.

BRUMIDI LETTERS--Saved by Laurence Brumidi.

BRUMIDI ALBUM--Saved by Lola Brumidi.

BRUMIDI VOUCHERS--Compiled by the Architect’s Office of the U. S.
Capitol. (July 3, 1855, to Feb. 19, 1880.)

DICTIONARY OF AMERICAN BIOGRAPHY (Authenticated Article on
Brumidi).

ENCYCLOPEDIA AMERICANA (17 lines on Brumidi).

TIGHE, JOSEPHINE GILLENVATER--“Brumidi, Michelangelo of the
Capitol.” Fine Arts Journal, Aug. 1910.

THIEME AND BECKER--Short Sketch of Brumidi.

Brumidi Paintings Found in Washington after a Search of Forty Years.

BOX 1

1 Framed Picture, Five Female Figures 1 Framed Picture Panel 1 Framed Picture Panel 1 Framed Picture, Woman and Man 1 Oval Portrait (Mrs. Brumidi) 1 Large Picture, The Five Senses (Same as at Museum)

BOX 2

1 Sketch, Child Study 1 Framed Bust Portrait, Female 1 Study, Cross 1 Study, Presentation in the Temple 1 Painting, Mother and Child 1 Sleeping Child 3 Studies 1 Sketch for Dome Ceiling 1 Sketch, Transportation 1 Oval Sketch, Nuts and Trees 1 Portrait of Washington, after G. Stuart 1 Framed Study 1 Portrait Boy Franklin 1 Oval Portrait of Mrs. Brumidi 1 Portrait Study, Prayer 1 Circular Canvas, Design for Ceiling of Dome

Above list presumably compiled by Charles E. Fairman, Art Curator,
U. S. Capitol, who was present at the time the boxes containing the
Brumidi Paintings were opened.

BRUMIDI CAPITOL DECORATIONS

HOUSE OF REPRESENTATIVES COMMITTEE ROOM

(_Old Agriculture Committee Room_)

_Wall Frescoes_

Calling of Cincinnatus from the Plow Calling of Putnam from the Plow to the Revolution

_Ceiling Fresco Groups_

Spring Summer Autumn Winter

_Medallion Heads in oil_ (_wall_)

Washington Jefferson

_Scenes in Oil_ (_wall_)

Cutting Grain with a Sickle Harvesting Grain with a McCormick Reaper

“_Painted in 1855_” (_from a statement left by Brumidi_)

HOUSE OF REPRESENTATIVES CHAMBER

_Wall painting_ (_working sketch saved by Lola Germon_)

“Washington at Yorktown receiving the officer sent by Cornwallis to
ask a two days’ cessation of hostilities.”

“C. BRUMIDI, artist,
Citizen of the U.S.”

_Letter to Superintendent of Capitol Extension, December 14, 1857_

PRESIDENT’S ROOM, SENATE EXTENSION

_Symbolic Fresco Groups_ (_ceiling Madonnas_)

Executive Authority Legislation Liberty Religion

_Life-size Ceiling Portraits in Fresco_

Brewster (Religion) Columbus (Discovery) Franklin (History) Vespucius (Exploration)

_Ceiling to Floor Panels with Portraits of Washington’s First
Cabinet_

Thomas Jefferson, Secretary of State Edmund Randolph, Attorney General Henry Knox, Secretary of War Alexander Hamilton, Secretary of Treasury Samuel Osgood, Postmaster General

_Oil Portrait of George Washington_ (_decorative_)

“_Will be finished by the next meeting of Congress_” (_From
Architect’s Report, Oct. 27, 1859_)

CAPITOL DOME

_Apotheosis of Washington_ (_Fresco_)

(_working sketch sold in 1925 auction_)

Washington Freedom Victory 13 Female Figures

_Emblematic Groups_ (_Fresco_)

Agriculture (Ceres) Mechanics (Vulcan) Commerce (Mercury) Marine (Neptune) Arts and Sciences (Minerva) War (Freedom)

“C. BRUMIDI, 1865”

_Architect’s Report, November 1, 1865_

SENATE APPROPRIATIONS COMMITTEE ROOMS

SOUTH ROOM (OLD MILITARY AFFAIRS COMMITTEE ROOM)

_Large Lunettes_ (_Wall Frescoes_)

Boston Massacre, 1770 Battle of Lexington, 1775 (working sketch saved by Capt. Meigs) Death of Wooster, 1777 Washington at Valley Forge, 1778 Storming of Stony Point, 1779 (working sketch saved by Capt. Meigs)

_Frescoed Ceiling_

Victors’ Wreaths, Shields, and Emblems of War Medallion Head of Liberty

NORTH ROOM (OLD NAVAL AFFAIRS COMMITTEE ROOM)

_9 Panels in oil_ (_walls_)

Female figures with Navy attributes

_Ceiling Frescoes_

Marine Gods and Goddesses

_Ancient Porticoes in oil_ (_wall_)

_Architect’s Report, November 1, 1871_

_Letter to Architect Clark, May 1, 1871_

SENATE RECEPTION ROOM

(_Name not changed_)

_Allegorical Groupings in Fresco_ (_ceiling_)

Groined Arch (working sketch saved by Capt. Meigs)
Liberty
Plenty
War
Peace
Circular Arch
Prudence
Justice
Temperance
Strength

_Panels in chiaroscuro_ (_walls_)

Decorative Figures

_Wall Centerpiece in Oil_ (_working sketch owned by Warrenton
House_)

Washington in Consultation with Jefferson and Hamilton

_Architect’s Report, November 1, 1872_

_Letter to Architect Clark, May 1, 1871_

SENATE DISTRICT OF COLUMBIA COMMITTEE ROOMS

LARGE ROOM (DECORATED FOR SENATE LIBRARY)

_Allegorical Groups_ (_Ceiling Frescoes_)

Geography History (working sketch saved by Lola Germon) Telegraph (working sketch sold at 1925 auction)

_Decorative Groups_ (_Ceiling Frescoes_)

Three maidens each (working sketch saved by Lola Germon)

SMALL ROOM (OLD SERGEANT AT ARMS OFFICE)

_Allegorical Designs_ (_Wall Frescoes_)

Secession and Products of North and South War and Strife Rods United--“E Pluribus Unum” Implements of War Destroyed

_Ceiling Fresco_

“Columbia Welcoming the South Back into the Union” (working sketch
sold in 1925 auction)

“C. BRUMIDI, 1876.”

_Architect’s Report, November 1, 1875_

CORRIDORS, GROUND FLOOR, SENATE ANNEX

SOUTH CORRIDOR

_8 Studies in oil_ (_Animals_) _8 Ovals in oil_ (_U. S. Shields_)

“PATENT CORRIDOR”

_Wall Frescoes_

Robert Fulton (called also “Palisades of the Hudson”) John Fitch (working on model of steamboat) Benjamin Franklin (in his laboratory)

_Brumidi Voucher, 1873_

NORTH CORRIDOR

_Profiles in oil_ (_Medallions in wall Panels_)

Jonathan Trumbull Daniel Morgan Israel Putnam Horatio Gates Thomas Mifflin Silas Deane Joseph Warren Richard Montgomery Thomas Jefferson Benjamin Franklin

_Large Fresco, “Signing of the First Treaty of Peace with Great
Britain, 1782”_

John Adams Benjamin Franklin John Jay Henry Laurens Richard Oswald (for Great Britain)

_Large Fresco, “Cession of Louisiana”_

Robert Livingston James Monroe Barbe-Marbois (for France)

_Architect’s Reports, November 1, 1874, and November 1, 1875_

WEST CORRIDOR

_13 Oval Landscapes in Oil_ (_Walls and Ceiling_)

_12 Signs of the Zodiac_ (_ceiling_)

_Profiles in oil_ (_Medallions in wall Panels_)

John Hancock Francis Hopkins Robert Livingston Roger Sherman John Jay Robert Morris Charles Thompson Charles Carroll

_Large Fresco, Bellona, Roman Goddess of War_

_Vaulted Ceilings, Walls and Pilasters_ (_Style of 15th Century_)

_Architect’s Report, November 1, 1875_

MAIN CORRIDOR

_14 Oval Landscapes in Oil_ (_Walls and Ceiling_)

_Large Portraits in Oil_ (_Walls_)

Justice Story Chancellor Kent

_Profiles in Oil_

Andrew Jackson Henry Clay

_Imitation Sculpture_

Chancellor Livingston

_Brumidi Voucher, August 21, 1878_

THE SENATE FOREIGN RELATIONS COMMITTEE ROOM

_Large Medallions_ (_Profiles of Committee Chairmen_)

North wall--Henry Clay, Chairman, 1834 to 1836 South wall--William S. Allen, Chairman, 1845 to 1846 East wall--Simon E. Cameron, Chairman, 1871 to 1877 West wall--Charles W. Sumner, Chairman, 1861 to 1871

_Brumidi Voucher, June 21, 1874_

CAPITOL ROTUNDA

_Frieze Frescoes in Imitation Sculpture_

(Seven finished by Brumidi)

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 Indians 1682

_Frieze Frescoes in Imitation Sculpture_

(Original Designs made by Brumidi)

Scene in Plymouth Colony 1620 Peace Treaty, Oglethorpe and the Indians 1732 Battle of Lexington 1775 Reading of The Declaration of Independence 1776 Surrender of Cornwallis at Yorktown 1781 Death of Tecumseh 1813 General Scott’s Entry into Mexico 1847 Discovery of Gold in California 1848

_Architect’s Reports, October 1, 1877; October 1, 1880; October 1,
1884_

1855

July 3, 1855--Fresco work, extension of U. S. Capitol, April 1 to
June 30, 1855; 78 days @ $8 per day--$624.00

Aug. 2, 1855--Fresco work, extension U. S. Capitol, July 1 to July
31, 1855; 26 days @ $8 per day--$208.00

Nov. 30, 1855--Fresco work, extension U. S. Capitol, Aug. 1 to Nov.
30, 1855; 105 days @ $8 per day--$840.00

1856

Mar. 4, 1856--Fresco work, Agricultural Committee Room, Dec. 1,
1855, to Feb. 11, 1856; 62 days @ $8 per day--$496.00

Color and Brushes, Agricultural Com. Room; 8 paintings @
$13.50--$108.00

Fresco work, extension U. S. Capitol, Feb. 12 to Feb. 29, 1856; 16
days @ $8 per day--$128.00

June 26, 1856--Designs and cartoons, Capitol Extension, Ceiling
Fresco work, March 1 to 31 May, 1856; 79 days @ $8--$632.00

1857

Jan. 9, 1857--Fresco work, extension U. S. Capitol, June 12 to Dec.
31, 1856; 183 days @ $8 per day--$1,464.00

July 6, 1857--Fresco work, extension U. S. Capitol, April 1 to June
30, 1857; 78 days @ $10 per day--$780.00

Nov. 4, 1857--Fresco work, U. S. Capitol Extension, Sept. 1 to Oct.
31, 1857; 53 days @ $10 per day--$530.00

Dec. 4, 1857--Fresco work, U. S. Capitol Extension, Nov. 1 to Nov.
30, 1857; 25 days @ $10 per day--$250.00

1858

Jan. 6, 1858--Painting rooms, U. S. Capitol Extension, Dec. 1 to
Dec. 31, 1857; 27 days @ $10 per day--$270.00

Feb. 3, 1858--Painting rooms, U. S. Capitol Extension, Jan. 1 to
Jan. 31, 1858; 26 days @ $10 per day--$260.00

Mar. 5, 1858--Painting rooms, U. S. Capitol Extension, Feb. 1 to
Feb. 28, 1858; 24 days @ $10 per day--$240.00

Mar. 31, 1858--Fresco work, U. S. Capitol Extension, Mar 1 to Mar
31, 1858; 27 days @ $10 per day--$270.00

Sept. 1, 1858--Painting rooms, U. S. Capitol Extension, Aug. 1 to
Aug. 31, 1858; 26 days @ $10 per day--$260.00

Sept. 30, 1858--Painting rooms, U. S. Capitol Extension, Sept. 1 to
Sept. 30, 1858; 26 days @ $10 per day--$260.00

Nov. 1, 1858--Painting rooms, U. S. Capitol Extension, Oct. 1 to
Oct. 31, 1858; 26 days @ $10 per day--$260.00

Dec. 1, 1858--Painting rooms, U. S. Capitol Extension, Nov. 1 to
Nov. 30, 1858; 26 days @ $10 per day--$260.00

1859

Jan. 1, 1859--For services during month of December, 1858; 27 days
@ $10 per day--$270.00

Feb. 1, 1859--For services during month of January, 1859; 27 days @
10 per day--$270.00 (One day overpaid. Corrected in Mar. voucher)

Mar. 1, 1859--For services during month of February, 1859; 24 days
@ $10 per day--$240.00

Mar. 31, 1859--For services during month of March, 1859; 27 days @
$10 per day--$270.00 (Less 1 day overpaid in January)--$260.00

May 1, 1859--For services during month of April, 1859; 26 days @
$10 per day--$260.00

June 1, 1859--Fresco work, U. S. Capitol Extension, May 1 to May
31, 1859; 26 days @ $10 per day--$260.00

Aug. 1, 1859--Fresco work, U. S. Capitol Extension, July 1 to July
31, 1859; 26 days @ $10 per day--$260.00

Sept. 1, 1859--Fresco work, U. S. Capitol Extension, Aug. 1 to Aug.
31, 1859; 27 days @ $10 per day--$270.00

Oct. 1, 1859--Fresco work, U. S. Capitol Extension, Sept. 1 to
Sept. 30, 1859; 26 days @ $10 per day--$260.00

Nov. 1, 1859--Fresco work, U. S. Capitol Extension, Oct. 1 to Oct.
31, 1859; 26 days @ $10 per day--$260.00

Dec. 1, 1859--Fresco work, U. S. Capitol Extension, Nov. 1 to Nov.
30, 1859; 26 days @ $10 per day--$260.00

1860

Jan. 2, 1860--Fresco work, U. S. Capitol Extension, Dec. 1 to Dec.
31, 1859; 27 days @ $10 per day--$270.00

Feb. 1, 1860--Fresco work, U. S. Capitol Extension, Jan. 1 to Jan.
31, 1860; 26 days @ $10 per day--$260.00

Mar. 1, 1860--Fresco work, U. S. Capitol Extension, Feb. 1 to Feb.
29, 1860; 25 days @ $10 per day--$250.00

Apr. 6, 1860--Fresco work, U. S. Capitol Extension, Mar. 1 to Mar.
31, 1860; 27 days @ $10 per day--$270.00

May 1, 1860--Fresco work, U. S. Capitol Extension, Apr. 1 to Apr.
30, 1860; 25 days @ $10 per day--$250.00

June 1, 1860--Fresco work, U. S. Capitol Extension, May 1 to May
31, 1860; 27 days @ $10 per day--$270.00

July 2, 1860--Fresco work, U. S. Capitol Extension, June 1 to June
30, 1860; 26 days @ $10 per day--$260.00

Aug. 1, 1860--Fresco work, U. S. Capitol Extension, July 1 to July
31, 1860; 26 days @ $10 per day--$260.00

Sept. 1, 1860--Fresco work, U. S. Capitol Extension, Aug. 1 to Aug
31, 1860; 27 days @ $10 per day--$270.00

Oct. 1, 1860--Fresco work, U. S. Capitol Extension, Sept. 1 to
Sept. 30, 1860; 25 days @--$10 per day--$250.00

Nov. 1, 1860--Fresco work, U. S. Capitol Extension, Oct. 1 to Oct.
31, 1860; 27 days @ $10 per day--$270.00

Dec. 1, 1860--Fresco work, U. S. Capitol Extension, Nov. 1 to Nov.
30, 1860; 26 days @ $10 per day--$260.00

1860--Vouchers Nos. 21, 12, $4,000.00 (For work on Dome Canopy
cartoons)

1861

Jan. 1, 1861--For services in painting from Dec. 1 to Dec. 31,
1860; 26 days @ $10 per day--$260.00

Feb. 1, 1861--For services in painting from Jan. 1 to Jan. 31,
1861; 27 days @ $10 per day--$270.00

Feb. 28, 1861--For services in painting from Feb. 1 to Feb. 28,
1861; 24 days @ $10 per day--$240.00

Apr. 1, 1861--For services in painting from Mar. 1 to Mar. 31,
1861; 26 days @ $10 per day--$260.00

May 1, 1861--For services in painting from Apr. 1 to Apr. 30, 1861;
26 days @ $10 per day--$260.00

June 1, 1861--For services in painting from May 1 to May 31, 1861;
27 days @ $10 per day--$270.00

1863

Aug. 4, 1863--For work on Cartoons for fresco painting over the eye
of the new Dome--$2,000.00

Aug. 4, 1863--For services, painting in fresco, from May 9 to June
30, 1863; 45 days @ $10 per day--$450.00. Less income tax, 45 days
@ 24c per day--$10.80--$439.20

Aug. 31, 1863--For work on Cartoons for fresco painting on canopy
over the eye of the New Dome--$2,000.00

Sept. 30, 1863--For work on Cartoons for fresco painting on canopy
over the eye of the New Dome--$2,000.00

1864

Dec. 3, 1864--For work on Cartoons for fresco painting on canopy
over the eye of the New Dome--$1,000.00

Dec. 3, 1864--For services, painting in fresco in Sergeant-at-arms
room, U. S. Senate, from July 1 to July 31, 1863; 26 days @ $10 per
day--$260.00. Less income tax of $10.49--$249.51

1865

Aug. 1, 1865--For work on the Fresco painting over the Eye of the
New Dome, month of July--$2,000.00

Aug. 31, 1865--For work on the Fresco Painting over the Eye of the
New Dome, month of August--$2,000.00

Dec. 1, 1865--For work on the Fresco Painting over the Eye of the
New Dome, from Sept. 1 to date--$2,000.00. Vouchers 21, 5,
11--$2,500,00.

1866

Apr. 18, 1866--For work on the Fresco Painting over the Eye of the
New Dome from Dec. 1, 1865, to Jan. 16, 1866--$2,500.00. Vouchers
1, 6, 7, 8--$8,000.00

June 9, 1866--Balance of contract price of $40,000 for Dome Canopy,
less $500.00 retained until Picture is properly toned and
blended--$9,500.00

1867

Nov. 20, 1867--For finishing the ceiling of the Post Office Room of
the U. S. Senate, as per authority of the Secretary of the
Interior, dated Aug 13, 1866, for designing and painting three
panels and three corner groups of figures, all in real
Fresco--$4,989.00

1870

Nov. 22, 1870--For decorating South wall of Senate Reception
Room--$1,000.00

1871

May 7, 1871--For approximate estimate for painting one panel in the
Room on Military Affairs of U. S. Senate--$500.00

July 8, 1871--For approximate estimate for painting one panel in
the room of Military Affairs of the U. S. Senate--$250.00

July 17, 1871--For decorating one Lunette on the South wall of the
Senate Reception Room--$1,000.00

Aug. 28, 1871--For approximate estimate for painting in fresco on
walls and ceiling of Senate Committee Room on Military
Affairs--$1,000.00

Oct. 19, 1871--For painting in fresco 3 panels in Committee Room on
Military Affairs, Senate Wing, U. S. Capitol, viz: _Washington at
Valley Forge_, _Storming of Stony Point_, _Boston Massacre_, @
$1,000 each--$3,000.00

For painting in Fresco 3 groups of children over doorways--$300.00

Nov. 23, 1871--For decorating three panels consisting of figures and medallions in the Reception Room of U. S. Senate--$2,000.00

1872

Nov. 2, 1872--For approximate estimate for painting medallion in
Committee Room of Foreign Affairs of the Senate and for decorating
the Senate Reception Room--$250.00

Nov. 29, 1872--For approximate estimate for painting picture of
Washington, Jefferson, and Hamilton on the walls of the Senate
Reception Room--$250.00

1873

May 26, 1873--For approximate estimate for painting portraits of
Washington, Jefferson and Hamilton on the walls of the Senate
Reception Room--$500.00

Nov. 28, 1873--For painting in Fresco the picture of Robert Fulton
in the Senate Wing, in passage in front of the room of Committee on
Patents--$500.00

1874

June 21, 1874--For painting four medallion portraits in the
Committee Room of Foreign Affairs, U. S. Senate, @ $50
each--$200.00

Nov. 11, 1874--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--$600.00

Painting a medallion bust in the same room--$50.00

1877

TIME BOOK ENTRIES

March 1877--12½ days @ $10 per day--$125.00 April 1877--12½ days @ $10 per day--$125.00 May 1877--15½ days @ $10 per day--$155.00 June 1877--13 days @ $10 per day--$130.00 July 1877--25 days @ $10 per day--$250.00 Aug. 1877--27 days @ $10 per day--$270.00 Sept. 1877--25 days @ $10 per day--$250.00 Oct. 1877--27 days @ $10 per day--$270.00 Nov. 1877--25 days @ $10 per day--$250.00 Dec. 1877--13 days @ $10 per day--$130.00

1878

TIME BOOK ENTRIES

Jan. 1878--13½ days @ $10 per day--$135.00 Feb. 1878--12 days @ $10 per day--$120.00 Mar. 1878--13 days @ $10 per day--$130.00 Apr. 1878--26 days @ $10 per day--$260.00 May 1878--27 days @ $10 per day--$270.00 June 1878--25 days @ $10 per day--$250.00 July 1878--26 days @ $10 per day--$260.00 Aug. 1878--27 days @ $10 per day--$270.00 Sept. 1878--25 days @ $10 per day--$250.00 Oct. 1878--16½ days @ $10 per day--$165.00 Nov. 1878--26 days @ $10 per day--$260.00 Dec. 1878--25 days @ $10 per day--$250.00

Aug. 24, 1878--For painting in Fresco the portraits of Justice
Story, Chancellor Kent, at North end of Basement story--$400.00

For painting Bust in light and shade of Chancellor Livingston at
same location--$100.00

1879

TIME BOOK ENTRIES

Jan. 1879--27 days @ $10 per day--$270.00 Feb. 1879--24 days @ $10 per day--$240.00 Mar. 1879--26 days @ $10 per day--$260.00 Apr. 1879--26 days @ $10 per day--$260.00 May 1879--26 days @ $10 per day--$260.00 June 1879--25 days @ $10 per day--$250.00 July 1879--26 days @ $10 per day--$260.00 Aug. 1879--24 days @ $10 per day--$240.00 Sept. 1879--26 days @ $10 per day--$260.00 Oct. 1879--27 days @ $10 per day--$270.00 Nov. 1879--25 days @ $10 per day--$250.00 Dec. 1879--26 days @ $10 per day--$260.00

1880

TIME BOOK ENTRY

Jan. 1880--27 days @ $10 per day--$270.00

BRUMIDI EARNINGS BY YEARS

1855 $ 1,672.00 1856 1,364.00 1857 3,024.00 1858 2,080.00 1859 2,870.00 1860 7,140.00 1861 1,560.00 1863 6,439.20 1864 1,249.51 1865 8,500.00 1866 20,000.00 1867 4,989.00 1870 1,000.00 1871 8,050.00 1872 500.00 1873 1,000.00 1874 850.00 1877 1,955.00 1878 3,120.00 1879 3,080.00 1880 270.00 ---------- Grand Total $80,712.71

The availability of the priceless scroll of working sketches for the Rotunda Frieze has been too late for detailed study at this time and almost too late for a place in this Brumidi book. However, the sketch of the Landing of the Pilgrims reproduced above gives the reader an opportunity to make his own comparisons between one working sketch and its actual rendition in fresco on the belt encircling the Rotunda of the Capitol, as appears on page forty-four.

James H. Rowe, grandnephew of Lola Germon, owns these working sketches for the Rotunda Frieze. The groupings, as planned by Brumidi and sketched on a long and narrow piece of brown wrapping paper, frequently spliced, bears the Brumidi signature and is dated 1859. This prize scroll, thirteen inches wide and some thirty feet long, was given to Mr. Rowe by his grand aunt, Lola Germon. It has been well protected.

The outline drawings themselves are executed in sepia water color with shadows in black and high lights in white. The original titles given to these scroll groupings and written by Brumidi in pencil beneath each sketch vary somewhat from the list preserved in the Architect’s office of the Capitol, yet the subject matter is essentially the same. Brumidi’s title for this “vast conception,” so far as I know, appears in no other record.

At the beginning of the scroll is the artist’s own penciled legend for the Rotunda Frieze, “America and History.”

THIS STUDY OF “_Constantino Brumidi_, MICHELANGELO OF THE
UNITED STATES CAPITOL,” WAS PUBLISHED BY THE MONUMENTAL
PRESS, INC., WASHINGTON, D. C., DECEMBER 1950.