Chapter C: Brumidi

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_.

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, was employed 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.

Color Reproductions

OF

Brumidi Frescoes

in the United States Capitol

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.)]

“CERES, the Goddess of Harvests and the Fields, with the Horn of Plenty, is in the center. _Young America_, with Liberty Cap, of red, the _bonnet rouge_ of 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. _Flora_ is gathering flowers, and, hovering near, is a cherub. Beyond is _Pomona_ with a basket of fruit.”

WYETH--1866]

“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]

“MERCURY, the Protector of Travellers and Merchants, holds in his hand a bag of gold, to which he is directing the attention of _Robert 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]

“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]

“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]

“FREEDOM, terrible in vengeance, with upraised sword, is striking down Tyranny and Kingly Power. They are overcome, and flee from her wrath in dismay; with them is Anger, and also Vengeance and Discord bearing the incendiary torch. An angry Eagle, striking with his beak, is fighting for, and by the side of, Freedom.”

“WASHINGTON, the Savior of his Country, apotheosized, appears seated in majesty. On his right is the Goddess of Liberty, and on his left is a winged idealization of Victory and Fame, sounding a trumpet, and in triumph displaying the victor’s palm. Forming a semicircle are thirteen female figures, representing the thirteen States.”--WYETH--1866]

Of the five portraits in color of Washington’s first cabinet, painted by Brumidi on the walls of the President’s room, that of Thomas Jefferson is considered by many to be the most lifelike. Brumidi gave Jefferson the favored location beneath the portrait of George Washington, thus bestowing honor on the Secretary of State, the highest ranking Cabinet officer. The delicate graceful carvings of the picture frame are another Brumidi delusion. Both the portrait and the frame are painted in oil on dry plaster. Mr. Fairman suggests that there is enough resemblance between the Brumidi Jefferson and the Trumbull Jefferson in _the Declaration of Independence_ in the Rotunda “upon which to base a theory that Brumidi was at least influenced by the work of Trumbull.”]

Brumidi was paid $500 for this mural of Washington-Jefferson-Hamilton on the south wall of the Senate Reception Room as indicated by an 1873 voucher. Portions of two empty medallions showing in this reproduction beyond the “decorative figures in light and shade (chiaroscuro)” remind us of Brumidi’s sorrowful words in 1874: “Now many panels remain empty, disfiguring the elaborate ornaments and gilded mouldings around them, which sooner or later must be completed.”]

This Cornwallis-Washington mural on the wall of the House of Representatives Chamber was criticized in 1857 as “unsuited to halls of deliberation where calm thought and unimpassioned reason are supposed to reside.” For architectural reasons, however, the painting will presently be removed from the House Chamber to a spot more accessible to ardent friends of Brumidi. On the strap of the brief case, lower right, is the famous Brumidi signature, “C. Brumidi, artist. Citizen of the U. S.” (Brumidi’s Dome Canopy signature can be found on page 52.)]

Brumidi’s choice of Benjamin Franklin as an American statesman to represent “History” in the decorative scheme of the frescoed ceiling of the President’s Room is appropriate. It may be that one of the half dozen sheets of parchment shown in the picture is meant to represent the Declaration of Independence, and the five others to represent the Constitution of the United States. Franklin helped to write both of these immortal documents. It has been said that Franklin is here at once easily recognized since this picture contains “all the characteristics of his many portraits and statues which are generally known.”]

Of the five frescoed lunettes in the larger Appropriations Committee Room of the Senate painted by Brumidi, the “Storming of Stony Point” is probably the most colorful. A voucher signed by Brumidi and dated October 19, 1871, reads, “For painting in fresco three panels in Committee Room on Military Affairs, Senate Wing, U. S. Capitol, viz: Washington at Valley Forge, Storming of Stony Point, Boston Massacre, @ $1000 each.” Said Senator Voorhees in 1880, “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.”]

The laying of the Atlantic cable, with its great significance, has been painted by Brumidi into two Capitol frescoes. “Telegraph” is Brumidi’s own title for this lunette painted as a part of the ceiling fresco in the District of Columbia Committee Room of the Senate. The beauty, freedom, and plenty of America extending a welcome across the seas, as here portrayed, was always in the heart of the artist. The working sketch for this lunette was among the Brumidi paintings stored in a Washington bank vault for forty years.]

One of four Madonnas from the frescoed ceiling of the President’s Room, Senate Annex.]

The Artist’s Compensation

Preserved today in the Capitol’s Brumidi file is a statement signed by Brumidi in 1874, but written in the third person “Relative to his Employment at the Capitol.” A portion of that statement follows:

“At one time Brumidi was employed in decorating the Capitol at the same compensation allowed Congressmen, and when that compensation was increased that benefit was also extended to him. At the breaking out of the Civil War Captain Meigs was promoted, and all the work at the Capitol was suspended but Senator Foot, Chairman of the Senate Committee on Public Buildings and Grounds, as an exception retained Brumidi at work, and placed his name on the roll of the Senate official employees.

“After the war some paintings were completed under the orders of the Secretary of the Interior, and the Committee on Public Buildings and Grounds, executed by contract under the control of the Architect of the Capitol, but many long interruptions occurred, and much valuable time was lost for want of available appropriations.

“Now many panels remain empty, disfiguring the elaborate ornaments and gilded mouldings around them, which sooner or later must be completed; also that large frieze in the Rotunda sketched by order of Captain Meigs before the war, and intended to represent the history of the country.

“The artist Brumidi humbly proposes to proceed with the work on the economical system of daily wages as the only manner to avoid the inconvenience of interruptions for want of available appropriations.”

Known evidence seems to indicate that Brumidi died poor. This has led many to believe that the Government of the United States did not pay him sufficiently for his services. Even George C. Hazelton stated in 1903, “The late artist’s designs (for the frieze) were promptly appropriated without remuneration to his family for the thought and labor which they contained.” Were it not for the fact, already quoted, from the Report of the Architect of the Capitol for October 1, 1881, that the designs for these sections of the frieze were left by Brumidi only in small size and that Mr. Costaggini had to make the full sized cartoons, we might not recognize Hazelton’s error of statement.

It is well to remember that Mr. Brumidi was working on a per diem basis ($10.00 a day) during the last few years of his life when his labors were interrupted by sickness. It is well to remember also that the artist worked for $8.00 per day during the years 1855 and 1856. During 1857, 1858, 1859, 1860, and part of 1861, he worked also on a per diem basis, but at a salary of $10.00 per day. Monthly vouchers for these years, averaging about two hundred sixty dollars per month and signed “C. Brumidi,” are preserved today by the Architect’s office. In fact, most of the money paid the artist by the Government of the United States during his twenty-five years of service is recorded in voucher form and each voucher signed “C. Brumidi.”

From 1861 to 1872 were Brumidi’s best years financially, these being the years he received contract prices for his paintings.

On March 11, 1863, Mr. Brumidi signed a contract with the Government to paint the Canopy of the Dome for $40,000.00. (This contract is preserved in the Capitol Brumidi file.) A portion of a letter written by the Secretary of the Interior, dated November 6, 1863, refers to this contract:

“In March last an agreement was entered into with Mr. C. Brumidi for painting the canopy over the eye of the new dome of the Capitol in real fresco at an entire cost, including the cartoons and every other expense of not over $40,000, payment to be made in monthly bills as the work progresses, not to exceed $2,000 each.”

According to the old vouchers in the Architect’s office, the artist was actually paid $39,500 (chiefly in $2,000 installments) between 1863 and 1866, five hundred dollars having been withheld until the canopy should be declared finished. Brumidi died before this five hundred dollars was paid.

The years 1872, 1873, and 1874 were still contract years, but they were lean years, as only six vouchers totaling $2,350 can be found that were issued to the artist during those three years, and we find no Brumidi vouchers in the architect’s file for the years 1875 and 1876.

With the beginning of 1877, however, Brumidi was evidently re-employed at the Capitol at the rate of $10 per day as shown by two old “Time Books” which indicate month by month the hours worked and the total amount earned by the old artist from January 1877 up to the time of his death on February 19, 1880. These Time Books consistently carried Mr. Brumidi as fresco artist among its employed personnel of laborers, masons, plasterers, finishers, and painters. A Brumidi letter written to Architect Clark July 16, 1879, is the artist’s own verification that the Government of the United States paid him consistently for art work during his last years

Profiled midst laurel, fruit, flowers, and birds, Horatio Gates is one of twenty American profiles painted by Brumidi, each set in its own panel, on the basement walls of the Senate Annex. The many bird decorations used to adorn these walls are so accurate that bird enthusiasts have been known to identify as many as sixty species. Senator Voorhees of Indiana knew of Brumidi’s love for birds and made reference to it in this manner: “He (Brumidi) loved these birds as a father loves his children and he often lingered in their midst as if a strong tie bound him to them.”]

when much of that work had to be done in his studio because of failing health. The 1879 letter follows:

“I received yesterday the visit of Mr. McTynchon, and I was glad to
show him the progress of my work in the cartoon for the Dome, that
your kindness permits me to proceed it at my studio at home.

“I have completed the cartoon of the Treaty of William Penn, also
the retouching of the cartoon of Pizzarro, making the light
permanent with glue as I did at the large cartoon of Columbus.

“I have commenced the cartoon of the settlement of New England.

“I hope you and your family will enjoy your summer residence, and I
will continue to progress with my work hoping to give you the
desired satisfaction.

“With my best regards to Mrs. Clark, and family, I remain”