Constantino Brumidi, Michelangelo of the United States Capitol

by Myrtle Cheney Murdock

CAPITOL DOME

The huge fresco on the canopy of the Dome of the Capitol Building is signed “C. Brumidi, 1865.” In the Annual Report dated November 1, 1863, of Thomas Walter, Architect of the Capitol (1851-1865), we find this reference to the Dome canopy:

“The cartoons for the picture on the canopy over the eye of the inner dome are being prepared, and its execution will be commenced as soon as the iron work which is to receive it can be put in place.”

Certain letters in the National Archives between Brumidi and United States officials shed interesting light on the 1862 negotiations relative to the Dome Canopy. Extracts from these letters follow:

From Tho. U. Walter, “architect of extension and new Dome,” to Constantino Brumidi, August 18, 1862: “It is intended to have a picture 65 ft. in diameter painted in fresco on the concave canopy over the eye of the New Dome. I would thank you to furnish me with a design for the said picture at your earliest convenience.... You will also submit with the design an estimate of the cost of executing it in real fresco painted on the fresh mortar.”

From Constantino Brumidi to Tho. U. Walter, September 8, 1862. “...I herewith submit to you my design for the fresco picture to be painted on the Canopy of the New Dome of the United States Capitol. The six groups around the border represent, as you will see, War, Science, Navigation, Commerce, Manufacture and Agriculture. The leading figures will measure some 15 feet. In the center is an apotheosis of Washington surrounded by allegorical figures of eminent men of the times of Washington, which latter will be likenesses.

“As this picture will be seen at a height of 180 ft. the painting must be of the most decided character possible. It will cover 4664 sq. ft. and will be worth $50,000 to execute it including the necessary cartoons and every expense pertaining to the painting.”

From Tho. U. Walter to Constantino Brumidi, December 24, 1862. “Your letter of the 8th of September was duly received, together with your design for the proposed picture in fresco, for the canopy over the eye of the New Dome of the United States Capitol. The design meets my entire approval. It has also the approval of Major B. B. French, the Commissioner of Public Buildings. I sent it to the residence of the Hon. Caleb B. Smith, the Secretary of the Interior, where it has been for several weeks. Mr. Smith also expresses himself entirely satisfied with the design. I am therefore free to give it my official approval with but one condition and that is that you will consent to execute it at a greatly reduced cost.

“I am aware, as you have expressed to me in conversation that there is no picture in the world that will compare with this in magnitude and in difficulty of execution, being painted on a concave surface, and I am also aware that it covers about eight times more surface than Mr. Lentze’s picture which cost $20,000. But in view of the exigencies of the times I do not consider that we would be justified in expending so large a sum as $50,000.

“Should you execute this work it will be the great work of your life: it will therefore be worth on your part some sacrifice to accomplish so great an achievement....”

From Constantino Brumidi to Tho. U. Walter, December 27, 1862: “...I have come to the conclusion to expedite a settlement as to the price of the painting to be executed on the canopy over the eye of the Dome of the United States Capitol by reducing my offer to $40,000, which is lower, considering the subject, the curved form of the surface on which it is to be painted and the square feet of painting it contains than any real fresco picture ever painted....”

From Tho. U. Walter to B. B. French, “Distributing Agent of United States Capitol,” December 29, 1862: “...I consider the price ($40,000) exceedingly low in view of the fact that it contains 4664 square feet, that it is all to be painted on a curved surface, and that Mr. Brumidi is the only real fresco painter in this country capable of executing the work. The design is probably the grandest and most imposing that has ever been executed in the world and Mr. Brumidi has proved by his real frescoes in the Capitol extension (all of which were painted by his own hand) that he is fully equal to the task. The grandeur of this picture, the great distance at which it will be seen, and the peculiarity of its light will render it intensely imposing.”

From B. B. French to Tho. U. Walter, January 5, 1863: “...as there is confessedly no artist in the United States, capable of executing a real fresco painting as it should be done, especially so important a work as the one in contemplation, except Mr. Brumidi, and, as we know from experience his excellence in that art, I do not see how we can do otherwise than employ him....”

From Tho. U. Walter to Constantino Brumidi, March 11, 1863. “...I have the honor to inform you that your design for painting the Canopy over the eye of the aforesaid new Dome is adopted. And, inasmuch as Congress has made the appropriation for the completion of that work you are hereby authorized to proceed at once with the aforesaid canopy painting....”

Two letters, one from the Department of the Interior to the Capitol Dispensing Agent and the other from the Architect of the Capitol to the Department of the Interior should be quoted at this time as they verify amounts paid the artist and the length of time used in the actual painting of the Dome canopy.

From J. P. Usher, Secretary of Interior, dated Nov. 6, 1863.

“...$10,000, one fourth the entire cost of the work (for painting the canopy over the eye of the new dome of the Capitol in real fresco), has already been paid to Mr. Brumidi. I am of the opinion that the progress which has been made does not justify any further payments at present. You will therefore suspend any advances to Mr. Brumidi until further orders.”

From Thomas U. Walter, Architect U. S. Capitol, dated December 3, 1864.

“As the canopy for the picture over the eye of the new dome is ready for Mr. Brumidi and as he is now about to commence to work, I deem it proper to say that he has not received any payment on account of his contract since November 6, 1863, and that in the interim he has been occupied in perfecting the full-size cartoons, which are now ready for the work. I, therefore, respectfully recommend that payments to him be resumed in accordance with his contract and that they be continued as the work progresses until he shall have received the aggregate sum of $30,000, after which no further payments to be made until the work is completed and approved.”

In the Annual Report dated November 1, 1865, of Edward Clark, Architect of the Capitol (1865-1902), we find reference to the completion of the canopy:

“The picture over the eye of the Dome is all painted in, but the artist is unwilling to have the scaffolding removed until the plastering is thoroughly dry and the picture toned. As it will at times be viewed by gas light, he wishes to have the opportunity of trying it by this light before dismissing it from his hands.”

The following report by Edward Clark written in longhand to the Secretary of the Interior and dated November 1, 1866, is preserved in the National Archives:

“The fresco picture over the eye of the Dome has been exposed to view by taking away the scaffolding. It is not, however, finished as the artist intends to soften down the harshness at the joinings of the plastering. He was under the impression that these imperfections would disappear when the surface became dry. He holds himself in readiness to do the proper toning and blending whenever the scaffolding is in place for the painting of vault of the Rotunda.

“I would call attention to the necessity of ornamenting the ‘Belt’ between the second and third cornices of the Rotunda. The original intention was to enrich this member in basso-relievo, but it is deemed advisable to have it painted in fresco in imitation of basso-relievo. Mr. Brumidi has submitted a design for its embellishment in this manner consisting of a series of natural pictures arranged in a chronological order. It is hoped this subject may receive attention, and that his design may be adapted or modified or other designs invited for this decoration from artists of acknowledged merit.”

Brumidi was sixty years old at the completion of this Dome Canopy. He had made 4,664 square feet of fresco in eleven months’ time on the inner surface of the Capitol’s Dome. This Canopy is 65 feet in diameter, has a concavity of 21 feet and displays its heroic figures as life-size from the floor of the Rotunda, 180 feet below.

The artist called this painting on the Dome canopy “The Apotheosis of Washington.” The outstanding figure is that of our first President attended by Liberty and Victory. Circling the center of the canopy are thirteen female figures in draperies of pastel beauty, bearing a ribbon-like banner which displays our treasured motto, “E Pluribus Unum.” The colors increase in brilliance and depth toward the outer borders of the canopy, blending finally into the intense hues of the six heroic groups about the base.

In these groups we find Minerva, Goddess of Arts and Sciences, as the center of her allegorical group; Ceres, of Agriculture; Mercury, messenger of the Gods, symbolizing Commerce; Vulcan, the God of Mechanics; Neptune, God of the Marine, and Armed Liberty with shield and sword, symbolizing War.

S. D. Wyeth says, “The fresco of Brumidi (on the canopy of the Dome) arrests the gaze as though the sky had opened and it were permitted to look into the beyond.” Wyeth, later, in referring to the same Dome canopy described it in this way: “Clouds of gold, azure and rose seem hanging there spanned by a rainbow, and, floating among them, forms of exquisite beauty. Grand mythological figures, symbolizing Force and Progress, appear there too, titanic, majestic—almost appalling with their great significance.”

A letter from Architect Clark to Artist Brumidi, dated September 18, 1865, should be quoted in order to appreciate Brumidi’s reply one day later:

“I learned in an interview with the Honorable Secretary of the Interior, this morning, that he was very anxious to have the picture over the eye of the Dome finished if possible by the meeting of Congress.

“You informed me when I first saw the work in relation to your July bill, that it was your intention to get it done by that time, and I was surprised to hear from you on Saturday morning last, that this was not likely to be done. You stated that you were unwilling to have the scaffoldings taken away before you had the advantage of trying it by gas light. In this you are certainly right, and I have to inform you that arrangements can be made to give you light whenever you need it.

“Please reply as to when it is likely you will have the picture done.”

Brumidi’s reply in which he tells of the final touches to this huge fresco is still preserved. In this letter the old artist’s concern for the proper finishing and lighting of his masterpiece is uppermost in his thought. The letter follows:

Washington, Sept. 19, 1865

Mr. Clark, Architect of the
Capitol Extension
Dear 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 am
Your Obedient Servant
C. 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 wrote the 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.”