Vital research, extending over a period of years, necessarily touches
many people. At the culmination of any valued study an author suddenly
finds himself indebted to countless individuals. Fashioning a mosaic
from the life of Constantino Brumidi in spite of many missing pieces has
been no exception. I find myself humble before my corps of helpers.
After a dozen years of assembling the Brumidi life story it suddenly
became urgent that the material should be in printed form. At the same
time it also became apparent that publishing a Brumidi volume featuring
the artist’s Capital frescoes in color might never be realized, due to
the initial cost of such a book. At a crucial moment, two Foundations,
who wish to remain anonymous, became interested in the Capitol artist
and were anxious to help the project. Their timely grants influenced
beyond measure the final decision that such a publication could be
attempted. I acknowledge this valued assistance with deepest gratitude.
Years before this publication was conceived I began collecting
reproductions of the Brumidi Capitol frescoes. The book itself makes use
of this collection together with many color reproductions by the same
nationally known photographer, Theodor Horydczak. The Brumidi
frontispiece by Brady was made by Mary Evans of the L. C. Handy Studios.
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.