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: