Constantino Brumidi, Michelangelo of the United States Capitol

by Myrtle Cheney Murdock

Also before there was any thought of a publication the Architect of the Capitol, the Hon. David Lynn, made available to me the Brumidi files for study. The interest and courtesy of Mr. Lynn and his assistants always spurred my efforts. The Sergeant at Arms of the Senate, the Hon. Joseph C. Duke, and the Sergeant at Arms of the House, the Hon. Joseph H. Callahan, have at all times shown their concern for the Brumidi project by making available to the author the services of their offices.

I have needed and greatly valued the sincere interest of the Capitol Guides and their leader, Harry Nash, who has been a Brumidi enthusiast during his thirty-five years’ work as a guide in the Capitol Building of the United States.

The Congressional services of the Library of Congress have shown great enthusiasm for the Brumidi research by tracing willingly every suggested clue and in addition often have launched forth on what seemed completely hidden trails and emerged with valuable materials. I am remembering at the moment the late George H. Milne of the Congressional Reading Room whose appreciative feeling for Brumidi and his art helped to bolster my early enthusiasm. The National Archives is another such human service in our governmental set-up. It was personal appreciation for Brumidi on the part of a group of employees of the National Archives that led to the finding of so many public documents vital to this study.

I wish to acknowledge especially the services of the National Gallery of Art and the National Collection of Fine Arts. These two galleries have had a continuing interest in the unfolding Brumidi story. The officials of the National Gallery of Art not only have been willing consultants concerning the materials for an art book but have commissioned their fresco expert to climb to the top of the Capitol Dome to examine minutely the 4,664 square feet of Brumidi painting. When the expert pronounced the Canopy “real fresco,” the National Gallery sincerely shared my own joy at this verification. A special debt of gratitude goes to the Director of the National Collection of Fine Arts, Thomas M. Beggs, for his splendid introduction to this Brumidi memorial volume.

Because of Brumidi’s twenty-five years’ service within the Capitol Building of the United States, the nation’s Public Printer, the Hon. John J. Deviny, of the Government Printing Office, delegated Frank H. Mortimer, Director of Typography and Design, to make available to the author consultation and advice upon the many problems connected with the publication of an art book. Mr. Mortimer and Mr. Warren W. Ferris of the Division of Typography and Design have carried their help far beyond the limit of duty. Their feeling for the subject matter of the book that makes known the forgotten Capitol artist, and their desire to show forth his work with the best possible arrangement and design, are partly responsible for the dignified beauty of this volume.

Many individuals throughout the Capital City have helped materially by their Brumidi enthusiasm, their sincere good wishes and by their active interest in locating Brumidiana outside the Capitol Building. Mildred Thompson, the great-grandniece of Mrs. Brumidi, the former Lola Germon, has carried on consistent research of her own into the Germon family which has verified many dates and other facts concerning the Capitol artist. James H. Rowe, grandnephew of Lola Germon Brumidi, has performed an outstanding service to the author by making available to her the working sketches for the Rotunda Frieze. His desire to make known his treasure by sending the priceless scroll across the continent is deeply appreciated, although the sketches arrived almost too late to have even one of the fifteen included on the last page of the book’s supplement.

Washington clubs and organizations have displayed their love for the Capitol Building of the United States by supporting in every possible way the author’s over-all plan to make known the forgotten Capitol artist. Native Washingtonians together with recent arrivals have been eager to visit the Capitol Building and to be shown the Brumidi frescoes. These same Brumidi friends have also helped to promote the marking of the artist’s lonely grave in Glenwood Cemetery.

Members of the Washington Press have been especially understanding and helpful. Editors, correspondents and reporters alike have combined to tell the American people about this Capitol artist and his great love for American liberty. This sincere spirit of cooperation and feeling for Brumidi is acknowledged appreciatively.

Congressman Murdock has consistently encouraged the Brumidi research through the years. His continued patient interest has helped immeasurably. To him and to Martha Wing go my last measure of gratitude for their persistent combing of the manuscript for minute error.

It is a warm and friendly feeling of indebtedness that I have toward those who have made appraisals in writing for this volume: Mr. Beggs adds new appreciation for the Italian artist; Architect Lynn sees Brumidi an integral part of the Capitol Building; and Virgil Perry pays tribute to the author and to the book in a manner to make us proud. All of this courtesy, however, is above and beyond friendship. It is a vital part of the Memorial to Constantino Brumidi.