HOUSE OF REPRESENTATIVES CHAMBER
A most revealing side light on the Cornwallis-Washington mural on the south wall of the House of Representatives Chamber, earlier referred to, is brought forth by an anonymous letter written on December 14,
SPRING
One of four pleasing groups on the ceiling of the Old House Agriculture Committee Room is this Brumidi conception of spring. The four seasons on this ceiling make up Brumidi’s first fresco in the Capitol Building—painted in 1855. What appear to be sculptured figures and attached moldings surrounding the center panel in this picture are actually painted decorative borders on a flat surface. It was probably the tender hues of spring on this ceiling that led Congressman Curtis to say in 1860, “What, sir, can be more beautiful than the fresco work in the room of the Agriculture Committee?”
1857, to Captain Montgomery C. Meigs, Superintendent of Construction, two days before the House met in its new “Hall of the House of Representatives.” The letter protesting this contract follows:
“Dear Sir:
It will be news to you, I dare say, to learn that there is a party organizing to effect your removal from the Superintendent of the Capitol extension and I take leave to say to you that the wall painting, ‘The Surrender of Cornwallis,’ is considered inappropriate and the execution execrable, in view of all of which I suggest to you to have the painting wiped out.
Your friend and supporter,
Officious”
Since Captain Meigs could not reply directly to “Officious” he gave vent to his feelings by penning a note on the above letter. This note gives among other things an idea of the speed with which Brumidi was able to work under pressure. The note follows:
“One of many indications. The picture is as good as could be painted in six weeks. It serves to show what the effect of painting on the panels will be which is all I intended. It cost little and I have not the least objections to a better painting being by Congress put over it, but it is the best that could be done at the time and no more time was at my immediate disposal.
M. C. M.”
In 1859 a Congressional Committee voiced a criticism which undoubtedly refers also to the Cornwallis-Washington painting in the House Chamber. They said,
“Far greater sobriety should be given to these Halls in their general effect, so as to render them less distracting to the eye. Few are aware how disturbing to thought the display of gaudy, inharmonious colors can be made. This very quality renders such combination of colors unsuited to halls of deliberation where calm thought and unimpassioned reason are supposed to reside.”
Mr. Curtis of Pennsylvania rose again in the House of Representatives on June 15, 1860, in defense of Brumidi’s art but with special reference to the House fresco. Said he,
“I have heard with some regret appeals made to the prejudices of the country in regard to the specimens of art taste displayed about this Capitol; and I have been surprised that no one connected with this Branch of service has risen upon the Floor to do justice to those who have devoted their lives and energies to the embellishment of our public buildings. What is more splendid than the fresco in some of the halls and passages around the Senate Chamber and especially the emblem of Religion in the President’s
THE PRESIDENT’S ROOM
With its richness of design, its beauty and delicacy of color, the President’s Room represents Brumidi’s supreme effort “to make beautiful the Capitol” of the United States. Facing the portrait of Hamilton we see reflected in the giant golden mirror the portrait of Samuel Osgood. Reflected also are the ceiling frescoes of Vespucius and Religion and the treasured mahogany table at which Abraham Lincoln and many other Presidents have signed legislative bills. The mahogany clock at one time had hands of gold until a souvenir hunter carried them home. Today all sightseers get no further than a railing at the doorway.
Room? And in this Hall, where do you find room to criticize the combination of colors which you see around you? It is easy to invent a popular criticism and find fault; but I would like to see some of these gentlemen who are so conversant with matters of taste and art as to speak with the assurance of masters, bring forward some design, some specimen from their superior genius that they would themselves insert in place of that which they see around them.”