Christopher Columbus and His Monument Columbia / being a concordance of choice tributes to the great Genoese, his grand discovery, and his greatness of mind and purpose

by Unknown

THE BRONZE DOOR AT WASHINGTON.

This is the main central door of the Capitol at Washington, D. C., and on it is a pictured history of events connected with the life of Columbus and the discovery of America.

The door weighs 20,000 pounds; is seventeen feet high and nine feet wide; it is folding or double, and stands sunk back inside of a bronze casing, which projects about a foot forward from the leaves or valves. On this casing are four figures at the top and bottom, representing Asia, Africa, Europe, and America. A border, emblematic of conquest and navigation, runs along the casing between them.

The door has eight panels besides the semicircular one at the top. In each panel is a picture in alto-relievo.

It was designed by Randolph Rogers, an American, and modeled by him in Rome, in 1858; and was cast by F. Von Muller, at Munich, 1861.

The story the door tells is the history of Columbus and the discovery of America.

The panel containing the earliest event in the life of the discoverer is the lowest one on the south side, and represents "Columbus undergoing an examination before the Council of Salamanca."

The panel above it contains "Columbus' departure from the Convent of Santa Maria de la Rábida," near Palos. He is just setting out to visit the Spanish court.

The one above it is his "audience at the court of Ferdinand and Isabella."

The next panel is the top one of this half of the door, and represents the "starting of Columbus from Palos on his first voyage."

The transom panel occupies the semicircular sweep over the whole door. The extended picture here is the "first landing of the Spaniards at San Salvador."

The top panel on the other leaf of the door represents the "first encounter of the discoverers with the natives." In it one of the sailors is seen bringing an Indian girl on his shoulders a prisoner. The transaction aroused the stern indignation of Columbus.

The panel next below this one has in it "the triumphal entry of Columbus into Barcelona."

The panel below this represents a very different scene, and is "Columbus in chains."

In the next and last panel is the "death scene." Columbus lies in bed; the last rites of the Catholic church have been administered; friends and attendants are around him; and a priest holds up a crucifix for him to kiss, and upon it bids him fix his dying eyes.

On the door, on the sides and between the panels, are sixteen small statues, set in niches, of eminent contemporaries of Columbus. Their names are marked on the door, and beginning at the bottom, on the side from which we started in numbering the panels, we find the figure in the lowest niche is Juan Perez de la Marchena, prior of La Rábida; then above him is Hernando Cortez; and again, standing over him, is Alonzo de Ojeda.

Amerigo Vespucci occupies the next niche on the door.

Then, opposite in line, across the door, standing in two niches, side by side, are Cardinal Mendoza and Pope Alexander VI.

Then below them stand Ferdinand and Isabella, King and Queen of Spain; beneath them stands the Lady Beatrice Enriquez de Bobadilla; beside her is Charles VIII., King of France.

The first figure of the lowest pair on the door is Henry VII. of England; beside him stands John II., King of Portugal.

Then, in the same line with them, across the panel, is Alonzo Pinzon.

In the niche above Alonzo Pinzon stands Bartolomeo Columbus, the brother of the great navigator.

Then comes Vasco Nuñez de Balboa, and in the niche above, again at the top of the door, stands the figure of Francisco Pizarro, the conqueror of Peru.

Between the panels and at top and bottom of the valves of the door are ten projecting heads. Those between the panels are historians who have written Columbus' voyages from his own time down to the present day, ending with Washington Irving and William Hickling Prescott.

The two heads at the tops of the valves are female heads, while the two next the floor possess Indian characteristics.

Above, over the transom arch, looks down, over all, the serene grand head of Columbus. Beneath it, the American eagle spreads out his widely extended wings.

Mr. Rogers[55] received $8,000 for his models, and Mr. Von Muller was paid $17,000 in gold for casting the door. To a large portion of this latter sum must be added the high premium on exchange which ruled during the war, the cost of storage and transportation, and the expense of the erection of the door in the Capitol after its arrival. These items would, added together, far exceed $30,000 in the then national currency.