Preserved today in the Capitol’s Brumidi file is a statement signed by
Brumidi in 1874, but written in the third person “Relative to his
Employment at the Capitol.” A portion of that statement follows:
“At one time Brumidi was employed in decorating the Capitol at the same
compensation allowed Congressmen, and when that compensation was
increased that benefit was also extended to him. At the breaking out of
the Civil War Captain Meigs was promoted, and all the work at the
Capitol was suspended but Senator Foot, Chairman of the Senate Committee
on Public Buildings and Grounds, as an exception retained Brumidi at
work, and placed his name on the roll of the Senate official employees.
“After the war some paintings were completed under the orders of the
Secretary of the Interior, and the Committee on Public Buildings and
Grounds, executed by contract under the control of the Architect of the
Capitol, but many long interruptions occurred, and much valuable time
was lost for want of available appropriations.
“Now many panels remain empty, disfiguring the elaborate ornaments and
gilded mouldings around them, which sooner or later must be completed;
also that large frieze in the Rotunda sketched by order of Captain Meigs
before the war, and intended to represent the history of the country.
“The artist Brumidi humbly proposes to proceed with the work on the
economical system of daily wages as the only manner to avoid the
inconvenience of interruptions for want of available appropriations.”
Known evidence seems to indicate that Brumidi died poor. This has led
many to believe that the Government of the United States did not pay him
sufficiently for his services. Even George C. Hazelton stated in 1903,
“The late artist’s designs (for the frieze) were promptly appropriated
without remuneration to his family for the thought and labor which they
contained.” Were it not for the fact, already quoted, from the Report of
the Architect of the Capitol for October 1, 1881, that the designs for
these sections of the frieze were left by Brumidi only in small size and
that Mr. Costaggini had to make the full sized cartoons, we might not
recognize Hazelton’s error of statement.
It is well to remember that Mr. Brumidi was working on a per diem basis
($10.00 a day) during the last few years of his life when his labors
were interrupted by sickness. It is well to remember also that the
artist worked for $8.00 per day during the years 1855 and 1856. During
1857, 1858, 1859, 1860, and part of 1861, he worked also on a per diem
basis, but at a salary of $10.00 per day. Monthly vouchers for these
years, averaging about two hundred sixty dollars per month and signed
“C. Brumidi,” are preserved today by the Architect’s office. In fact,
most of the money paid the artist by the Government of the United States
during his twenty-five years of service is recorded in voucher form and
each voucher signed “C. Brumidi.”
From 1861 to 1872 were Brumidi’s best years financially, these being the
years he received contract prices for his paintings.
On March 11, 1863, Mr. Brumidi signed a contract with the Government to
paint the Canopy of the Dome for $40,000.00. (This contract is preserved
in the Capitol Brumidi file.) A portion of a letter written by the
Secretary of the Interior, dated November 6, 1863, refers to this
contract:
“In March last an agreement was entered into with Mr. C. Brumidi for
painting the canopy over the eye of the new dome of the Capitol in real
fresco at an entire cost, including the cartoons and every other expense
of not over $40,000, payment to be made in monthly bills as the work
progresses, not to exceed $2,000 each.”
According to the old vouchers in the Architect’s office, the artist was
actually paid $39,500 (chiefly in $2,000 installments) between 1863 and
1866, five hundred dollars having been withheld until the canopy should
be declared finished. Brumidi died before this five hundred dollars was
paid.
The years 1872, 1873, and 1874 were still contract years, but they were
lean years, as only six vouchers totaling $2,350 can be found that were
issued to the artist during those three years, and we find no Brumidi
vouchers in the architect’s file for the years 1875 and 1876.
With the beginning of 1877, however, Brumidi was evidently re-employed
at the Capitol at the rate of $10 per day as shown by two old “Time
Books” which indicate month by month the hours worked and the total
amount earned by the old artist from January 1877 up to the time of his
death on February 19, 1880. These Time Books consistently carried Mr.
Brumidi as fresco artist among its employed personnel of laborers,
masons, plasterers, finishers, and painters. A Brumidi letter written to
Architect Clark July 16, 1879, is the artist’s own verification that the
Government of the United States paid him consistently for art work
during his last years
[Illustration: HORATIO GATES
Profiled midst laurel, fruit, flowers, and birds, Horatio Gates is one
of twenty American profiles painted by Brumidi, each set in its own
panel, on the basement walls of the Senate Annex. The many bird
decorations used to adorn these walls are so accurate that bird
enthusiasts have been known to identify as many as sixty species.
Senator Voorhees of Indiana knew of Brumidi’s love for birds and made
reference to it in this manner: “He (Brumidi) loved these birds as a
father loves his children and he often lingered in their midst as if a
strong tie bound him to them.”]
when much of that work had to be done in his studio because of failing
health. The 1879 letter follows:
“I received yesterday the visit of Mr. McTynchon, and I was glad to
show him the progress of my work in the cartoon for the Dome, that
your kindness permits me to proceed it at my studio at home.
“I have completed the cartoon of the Treaty of William Penn, also
the retouching of the cartoon of Pizzarro, making the light
permanent with glue as I did at the large cartoon of Columbus.
“I have commenced the cartoon of the settlement of New England.
“I hope you and your family will enjoy your summer residence, and I
will continue to progress with my work hoping to give you the
desired satisfaction.
“With my best regards to Mrs. Clark, and family, I remain”