They knew that Lola Germon had married Brumidi when she was about eighteen years old; that Laurence was their only son; that the beautiful Lola had modeled for many of the Capitol paintings; and that at one time, as Mrs. Brumidi, Lola attended a White House reception with her artist husband, in the most beautiful gown he could afford to buy.

The hallowed old album in which Lola had chosen to preserve her treasured Brumidi memories held many pictures of Brumidi, of Laurence, and of the young Lola, but for the most part all pictures were undated and unmarked—all, save one. On the back of a photograph of a very beautiful young girl (Lola Germon) were these words, written in a childish hand, “This is my lovely mama.”

Four small unmarked photographs on the last pages of the old album are of special interest since they are reproductions of religious paintings. It was my guess that they were photographs of Brumidi’s working sketches for church decorations—and to date two of these have been identified. The huge fresco over the main altar in St. Stephen’s Church in New York, some 70 feet in height, is the same “Crucifixion” as that in the little photograph in Lola’s album, and the large fresco over the main altar in the Cathedral of St. Peter and Paul in Philadelphia is the same “Crucifixion” scene only with outstanding figures of Saint Peter and Saint Paul at the foot of the cross.

MILDRED THOMPSON’S COLLECTION

Mildred Thompson, Lola Germon’s great-grandniece, later salvaged a packet of old letters and legal documents from Laurence Brumidi’s trunk now stored at the home of a relative, all of which helps to unravel the tangled Brumidi story.

A deed to certain Washington property dated November 19, 1864, and signed by Constantino Brumidi and wife, Lola V. Brumidi, is the earliest document found containing Lola’s signature. The latest document in this Thompson collection signed by Lola as Mrs. Brumidi is an indenture signed by both Constantino Brumidi and Lola V. Germon Brumidi borrowing $2,500 in 1870. The next document in point of time bearing Lola’s name in this collection is a letter written to Mrs. Lola V. Walsh, 911 G St., N. W., on March 22, 1879, by a Washington lawyer announcing that he had obtained a loan of $3,500 on the premises at 921 G St. (where the old artist later died) and stating that since the deed conveying the property to Lola was in his possession she could take charge of the property and begin her repairs at once.

Sometime, then, between 1870 and 1879 Lola was evidently divorced from the Italian artist and married to a Mr. Walsh. Tax receipts, insurance receipts, and interest statements in this same Thompson collection, signed by Lola and dated from 1880 to 1892 indicate that Lola V. Walsh married a Mr. Kirkwood sometime between August 31, 1891, and August 30, 1892, at which later date a fire insurance receipt bears the signature, Mrs. Lola V. Kirkwood.

The packet of documents from Laurence’s trunk contains also the following valued items:

(1) Two letters written by “C. Brumidi” to the Architect of the Capitol—one, dated August 26, 1876, and the other dated November 26, 1879, the latter being probably the last letter ever written by the artist to the Architect. These two letters were no doubt given to Laurence from the Brumidi file by Architect Clark himself. (2) Two letters written to C. Brumidi by Senator Morrill of Vermont—one, dated May 19th (probably 1865) and the other, dated June 20, 1878. (3) A

business letter from a Washington lawyer to Laurence in Paris in 1893, forwarding to him certain papers to be signed which would ultimately give him $600 from his mother. (4) Laurence’s application in Washington for a loan of $5000 in August, 1895. (5) Consummation of that $5000 loan in September, 1895, by Laurence’s mother. (6) A letter from a London artist to Laurence in Washington in 1897 in which the Londoner wrote, “I hope you are increasing your bank account and that some day we will see you back again as I suppose you long to be. Now brace up. I don’t think you will ever be happy outside Paris or Italy.” (7) Two letters from Lola V. Kirkwood to Laurence in Washington in 1902. (8) A photograph of the original working sketch of the Dome Canopy. (9) An old clipping entitled “His Wife His Model.” (10) The Bible given to C. Brumidi by the American Bible Society when the artist landed in New York in 1852.

The two Brumidi letters kept through the years by Laurence will be quoted in full, as they are further proof that Brumidi was paid by the Government of the United States for his work on the Rotunda frieze designs during his last years even when confined by illness to his studio. Brumidi’s conscientious effort to make each day profitable to his government as well as to himself is also a part of the following letter:

The following 1879 letter to Architect Clark is the only one found written by the artist himself after his almost fatal fall from the frieze on October 1, 1879:

Senator Morrill’s friendship for Brumidi is forever recorded in the following two letters written to the artist:

(This letter must have been written after May, 1865, as that was the date Edward Clark became Architect of the Capitol.)

Lola Germon Kirkwood was about sixty years old and Laurence Brumidi was forty-one when the following two letters were written from the mother to the son:

The photograph of the original working sketch for the Dome Canopy saved through the years in the trunk of Laurence Brumidi is clear and the figures very distinct. This photograph no doubt was mounted for the purpose of registry in the District, for beneath the picture is the following printed notation:

“Entered according to act of Congress in the year 1866 by Constantino Brumidi, in the Clerk’s Office of the District Court of the District of Columbia.”

On the back of this picture is an Internal Revenue stamp cancelled on May 12, 1866. It was the original of this photograph, oil on canvas, some thirty-six inches in diameter, which was among the Brumidi paintings found in 1919 in Washington after being stored away for forty years.

As we examine closely the characters portrayed on the small photograph of Brumidi’s original working sketch for the Rotunda canopy, or on any canopy photographs taken in the Rotunda, the figure of Columbia is outstanding. Columbia is pictured as armed Liberty with “sword, shield, and angry eagle driving out tyranny, pestilence and fear.” However, it is the faded old clipping that Lola saved with the 1866 photograph that adds the romantic luster to Columbia in this Dome Canopy design, especially since we remember the exact words of Mildred Thompson: “Aunt Lola always said she modeled for Freedom in the Dome Canopy.” The faded clipping is quoted in full:

“Visitors to the Capitol who admire the beautiful decorative work to be seen in the rotunda and in the corridors, especially on the Senate end of the building, will find additional interest in the work of the artist when they learn the source of his inspiration for many of the female figures that appear in the designs.

“The aged artist, Brumidi, whose brush did most of the most beautiful of the decorative work of the Capitol, married in Washington, D. C., Miss Lola Germon, a young lady well known for her beauty, which has been perpetuated in many of the paintings executed by her husband. Features a little too well rounded to be thoroughly classic, black hair, a fair complexion and blue eyes, together with a shapely form, were the characteristics of Mrs. Brumidi. She was greatly admired not only for her beauty of person, but for her qualities of mind, which made her a general favorite in that city. One of the figures in the ceiling of the rotunda is said to be an exact likeness of the artist’s beautiful wife, while most of the figures he painted in the Capitol portray some of her characteristics.”

The old Bible given to Mr. Brumidi by the American Bible Society in 1852 when the artist landed in New York no doubt was originally saved by Lola Germon for her son Laurence. On the inside front cover are these words written in the C. Brumidi hand:

“Constantino Brumidi from Rome, Italy, arrived in New York, America, the 18th of September, 1852. Presented to me by the American Bible Society.”

The only other writing in the Bible is the following on a blank page for births—also in the C. Brumidi hand:

BRUMIDI WORKING SKETCHES

Brumidi’s technique is of great interest. First, he executed his design in color on a small canvas in oil. This he termed a working sketch. Then he drew the large outline figures which he called cartoons with the miniature oil before him. These large cartoons served as stencils through which he dusted powder or charcoal, thus outlining his groups quickly upon the wall or ceiling.

The Brumidi working sketches found in Washington during recent years are in a wonderfully fine state of preservation, whether they have come directly from the hand of Lola Germon or from Laurence Brumidi’s storage cache found in 1919, or from other sources. Most of the canvases have in no manner been restored or retouched but the colors are soft and true and pleasing. Those art lovers who fear that certain Capitol decorations may have suffered by “restorations” have but to compare the Capitol fresco with its working sketch to be reassured.

Mrs. Ashmun Brown owns working sketches for four of the frescoes in the Capitol Building, “History,” “Physics,” and “The Three Graces” in the District of Columbia Committee Room of the Senate, and for the “Cornwallis-Washington” mural in the House of Representatives Chamber. Mrs. Brown also has the Brumidi working sketches for four of his religious paintings.

In addition to being the grandniece of Lola Germon, Mrs. Brown is the wife of the late Ashmun Brown, the Washington correspondent who wrote the Capitol officials back in 1925 advising them that an auction of Brumidi paintings was scheduled, and urging the Government to investigate the treasures. Mrs. Brown received four of her Brumidi paintings direct from Aunt Lola Germon, and five more were purchased at the auction in 1925. She regrets not having bought, at that auction, the two portraits of Lola Germon by Brumidi, as these two paintings have not yet been found.

Mrs. Harvey Hunt who attended the Brumidi auction of 1925 with Mrs. Ashmun Brown, purchased four of the Brumidi paintings. Two of these are working sketches of cherubs, one bearing the Brumidi signature; another, a sketch of Lola Germon used for “Prudence” in the Senate Reception Room; and the fourth, an oval landscape much like those painted on the walls of the main corridor on the ground floor of the Senate Annex.

Mrs. Hunt being a grandniece of Lola Germon gave three of her treasures to a grandnephew of her Aunt Lola so today three of these working sketches are in the home of Mr. and Mrs. Frank B. Germon.

Mrs. McCook Knox owns the two original working sketches for “Telegraph” and “Columbia Welcoming the South Back into the Union”—“Telegraph” being one of four large lunettes in the main District of Columbia Committee Room of the Senate while the fresco depicting the Civil War theme covers the ceiling in this Committee’s ante-room. This ante-room was originally the Senate Sergeant at Arms’ office.

Mrs. Knox purchased her oil studies from Mr. H. O. Bishop. Her study of “Telegraph” was reproduced in the Washington Star in 1919 as one of the originals stored away for 40 years. Both of the above mentioned pictures now owned by Mrs. Knox were purchased by Mr. Bishop at the C. G. Sloan auction rooms in 1925.

Captain Alexander Macomb, U. S. Navy, inherited nine Brumidi working sketches from his father, Colonel Augustus C. Macomb. These paintings can be traced to the same Captain Meigs with whom Brumidi carried on early correspondence. Being such a prolific painter, Brumidi, no doubt, remembered his friends generously with original sketches.

At the death of General Meigs in 1892, his Brumidi originals were given to a nephew, Lieutenant Augustus C. Macomb, who later became a Colonel in the United States Army. The present Captain Alexander Macomb who now owns the nine Brumidi working sketches has given them the best of care through the years. Two of these Macomb canvases are the working sketches for frescoes in the Appropriations Committee Room of the Senate—“The Battle of Lexington” and “The Storming of Stony Point.” A third canvas is the sketch of the entire groined arch in the ceiling of the Senate Reception Room and displays the four allegorical groupings—“Liberty,” “Plenty,” “War,” and “Peace.”

Captain Macomb tells how his father traveled from one army post to another over a quarter of a century taking with him his family and his household possessions and always the beautiful Brumidi paintings went along. Those nine Brumidi originals hung in an adobe house at Ft. Huachuca, Arizona, from 1900 to 1905.

Mrs. Edmund B. Montgomery who owns the working sketch for the Dome Canopy, now has it hanging in Collingwood near Mount Vernon where it can easily be seen by visitors. This Dome Canopy sketch, some 35 inches in diameter, was also in the “storage find” of 1919 and sold at auction, according to Mrs. Ashmun Brown, for $300 in 1925. This sketch is definitely authenticated by means of the circular photograph saved in Laurence Brumidi’s trunk and bearing the Internal Revenue Stamp dated May 12, 1866. It is indeed fortunate that we have located not only the original working sketch of this Dome Canopy but a photograph of this sketch made in 1866 originally owned by the artist himself and saved for us by Laurence Brumidi, son of the Capitol fresco painter.

Warrenton House owns, and has on display in Warrenton, Virginia, the working sketch of the group painting in the Senate Reception Room—Washington, Jefferson and Hamilton in consultation. This small painting about ten inches square no doubt was originally sold at the Sloan auction in 1925.

Mrs. Murray Russell is the owner of two portraits done by Brumidi. These are of added interest as Brumidi treasures because of the story attached to them. The paintings portray the grandparents of Mrs. Russell—Mr. and Mrs. Andrew J. Joyce. According to Mrs. Russell, it was her grandmother’s brother, John Norris, a student in Rome around 1850 studying to be a priest, who influenced Brumidi to come to America with him in 1852. Brumidi is reported to have lived at the Joyce home in Washington at one time and so great was his appreciation for this haven that he painted the portraits of his benefactors, Mr. and Mrs. Andrew J. Joyce.

Ceylon M. Boswell purchased at auction several years ago the portrait of a woman. The painting bore the Brumidi signature and has hung in the Boswell home where it has received excellent care. By means of a small photograph in Lola Germon’s album, we have been able recently to identify the likeness as that of Mrs. Edward Clark, wife of Mr. Clark who was Capitol architect during most of the time Brumidi painted at the Capitol Building.

Two paintings in the Washington, D. C., home of Dr. Edward C. Morse have been in the family since about 1875. One is the portrait of Dr. Morse’s maternal grandfather bearing the Brumidi signature, while the other is a copy of the famous “Titian’s Daughter.” The latter bears no signature but both pictures have been known as Brumidi’s through the years. Each bears the label of having been originally framed by “McElroy’s Art Store, 1003 Pennsylvania Avenue, Washington, D. C.”

Miss Charlotte Clark, late of Sandwich, Mass., granddaughter of Edward Clark, Architect of the Capitol from 1865 to 1902, had inherited from her parents two family

portraits painted by Brumidi. One of these is the portrait of Mrs. Edward Clark holding her small son, Watson Clark. The other is that of Edward Clark’s twin daughters.

In Lola Germon’s old album are two small faded photographs, one of Mrs. Clark and baby, the other of twin girls. These two pictures were evidently used as studies at the time Brumidi painted the large portraits for the Clark family.

Edith Smith Hawes has inherited the working sketch for the altar mural, “Crucifixion,” in St. Stephen’s Church, New York City. It was given to Mrs. Hawes’ father, Amzi Smith, by Brumidi during the years Mr. Smith had charge of the Senate Document Room.

Mrs. Hawes remembers having heard her father tell often of his close friendship with the Capitol artist. Her father’s most vivid story told of Brumidi’s hasty visit one day to the Senate Document Room and how the artist said to her father, “Amzi, please sit down and put your hand on the arm of that chair.” Mr. Smith obeyed. Mr. Brumidi sketched rapidly. As the artist left he called back, “Here I go to put Amzi Smith’s hand on Thomas Jefferson.” “And,” says Mrs. Hawes, “I still visit the Senate Reception Room to see my father’s hand on the great Jefferson.”

The Sisters of the Visitation Convent in Bethesda tell that in January, 1878, Sister Aloysius Gardiner of the Visitation Convent on Connecticut Avenue and L Streets, where the Mayflower Hotel is now situated, celebrated the “Silver Jubilee of her profession.” At that time her uncle, Mr. Philip Simms of New Orleans, wishing to commemorate the event in a fitting manner, employed the artist, Constantino Brumidi, to paint a large picture for the Convent chapel. The subject was “The Apparition of our Lord to Saint Margaret Mary.” The canvas measured 17 feet in height with the figures life-size.

The painting was done by Brumidi in the Distribution Hall of the old Convent school and then hung in the chapel over the altar for forty-one years. In 1919 when the old Convent was sold and the Sisters moved to their new Convent in Bethesda, Maryland, the Brumidi painting was found to be too large for the new chapel so it was given to Holy Trinity Church, Georgetown, where it still adorns a side wall near the altar.

St. Aloysius Church in the Capitol City displays three paintings by Brumidi—the large mural over the central altar and two

medallions over the side altars. The church is especially proud of the central mural as Brumidi painted into the picture the likeness of Father Sestini, architect of the church and friend of Brumidi.

The diary of the St. Aloysius Church has the following entry dated October 3, 1859, “Today the picture over the main altar is finished and the last scaffolding is removed from the church.”

Another entry in the church diary of interest to us here is dated February 19, 1880, “Father Sestini came in the evening in response to a letter sent him by Mr. Brumidi’s adopted son, telling him that his master was dying and wished him present but Father Sestini was too late as he (Mr. Brumidi) had already died in the morning. The eminent artist and Father Sestini are intimate friends and it was through their united efforts that St. Aloysius Church received the beautiful pictures it now possesses. Though Mr. Brumidi was not always a practicing Catholic he was induced to practice his religious duties during the last year of his life by Father Sestini. May he rest in peace.”

The author was able to identify in St. Stephen’s Church in New York, another Brumidi painting—a life-size portrait of the Christ, displayed in a gilded frame. St. Stephen’s had no written record and no word-of-mouth record that this outstanding portrait had been done by Brumidi but always the painting had occupied a choice location in the church because of its strength and beauty. One of the little photographs of religious groupings saved by Lola Germon in her old album of memories served as identification for the New York portrait to the satisfaction of the author and to the surprise and gratification of the pastor.

THE BRUMIDI DESK

The Brumidi desk was given by the Italian artist to George Strieby at the time of the artist’s death. Mr. Strieby not only was a friend of Brumidi’s but was employed to help the artist with the huge mural in St. Aloysius Church. The desk was cherished by Mr. Strieby and at his death was given to his son, Philip. During the lifetime of Philip the Brumidi desk occupied an honored place in the young Strieby household. At Philip’s death a relative cleaned out the old desk, without the knowledge of Mrs. Strieby, and burned certain of Brumidi’s famous “cartoons” that had been used in making the Capitol frescoes in the President’s Room and which had been stored through the years in the secret compartment of the old artist’s desk. However, Mrs. Philip Strieby continued to watch over the desk with consistent vigilance—out of sentiment for her husband, her father-in-law and Brumidi.

It was of great interest to Mrs. Strieby to learn that I had found the name of George W. Strieby listed as “fresco painter” in the two old Time Books in the Architect’s office at the Capitol which books consistently give the earnings both of Strieby and of Brumidi during the last three years of Brumidi’s life—1877, 1878, and 1879. In many instances the Strieby signature followed the Brumidi signature in the old Time Books in spite of an otherwise alphabetical listing of Capitol employees. All of this lends credence to the story of Mrs. Strieby that Philip’s father loved the old artist, helped him through his last hard years, and finally shared responsibility for the burial of Brumidi in Glenwood Cemetery.

The Brumidi desk is of Cuban mahogany on wild cherry, made around 1820. It has recently been restored with great skill by Charles McGahan who has given it a fine finish and a dignified beauty that speaks of Brumidi and his art.

The old desk is on display in Congressman Murdock’s office—held in trust for Mrs. Strieby until such time as it can be a part of a Brumidi memorial cared for by the Government of the United States. Mrs. Strieby died one week after urging the author to take over responsibility for the desk. She did not live to see the restored beauty of Brumidi’s last gift to Grandfather Strieby, but she was happy knowing that her obligation to Brumidi and to his good friend, Grandfather Strieby, had been fulfilled.

NATIONAL RECOGNITION

The Congress of the United States recently voted an appropriation which provided a marker and perpetual care for the long lost grave of Constantino Brumidi in Glenwood Cemetery. This legislation was signed by President Truman on June 30, 1950. The marker will soon be put in place with appropriate ceremony and loving tribute.

Even the best 1950 eulogy to Constantino Brumidi, however, cannot surpass the simple statement of appreciation and understanding offered on the Floor of the Senate of the United States soon after the death of the great artist. Said Senator Voorhees of Indiana on February 24, 1880:

“Mr. Brumidi was engaged at the time of his death on what he regarded as the greatest work of his life. He was unfolding with the magic of genius in the Dome of the Capitol the scroll of American history, from the landing of Columbus to the present day. He earnestly desired to live long enough to complete this vast conception. But he has left an empty chair, and his great design unfinished, as others have done and will continue to do in other places.

“At no distant day some memorial will be erected in some appropriate place in the Capitol to his memory. He who beautifies the pathway of life, who creates images of loveliness for the human eye to rest upon, is a benefactor of the human race. He will be crowned by the gratitude of his own and of succeeding generations. In the older countries of Europe, where the profession of art has a higher rank than here, Brumidi would have had a public funeral, and his remains would have been deposited in ground set apart for persons of distinction. In England he would have had a place and a tablet in Westminster Abbey.

“It matters little, however, whether we or those who come after us do anything to perpetuate his memory. The walls of this Capitol will hold his fame fresh and ever increasing as long as they themselves shall stand.”

Supplement

Above list presumably compiled by Charles E. Fairman, Art Curator, U. S. Capitol, who was present at the time the boxes containing the Brumidi Paintings were opened.

BRUMIDI CAPITOL DECORATIONS

HOUSE OF REPRESENTATIVES COMMITTEE ROOM

(Old Agriculture Committee Room)

Wall Frescoes

• Calling of Cincinnatus from the Plow
• Calling of Putnam from the Plow to the Revolution

Ceiling Fresco Groups

• Spring
• Summer
• Autumn
• Winter

Medallion Heads in oil (wall)

• Washington
• Jefferson

Scenes in Oil (wall)

• Cutting Grain with a Sickle
• Harvesting Grain with a McCormick Reaper

“Painted in 1855” (from a statement left by Brumidi)

HOUSE OF REPRESENTATIVES CHAMBER

Wall painting (working sketch saved by Lola Germon)

“Washington at Yorktown receiving the officer sent by Cornwallis to ask a two days’ cessation of hostilities.”

“C. Brumidi, artist,
Citizen of the U.S.”

Letter to Superintendent of Capitol Extension, December 14, 1857

PRESIDENT’S ROOM, SENATE EXTENSION

Symbolic Fresco Groups (ceiling Madonnas)

• Executive Authority
• Legislation
• Liberty
• Religion

Life-size Ceiling Portraits in Fresco

• Brewster (Religion)
• Columbus (Discovery)
• Franklin (History)
• Vespucius (Exploration)

Ceiling to Floor Panels with Portraits of Washington’s First Cabinet

• Thomas Jefferson, Secretary of State
• Edmund Randolph, Attorney General
• Henry Knox, Secretary of War
• Alexander Hamilton, Secretary of Treasury
• Samuel Osgood, Postmaster General

Oil Portrait of George Washington (decorative)

“Will be finished by the next meeting of Congress” (From Architect’s Report, Oct. 27, 1859)

CAPITOL DOME

Apotheosis of Washington (Fresco)

(working sketch sold in 1925 auction)

• Washington
• Freedom
• Victory
• 13 Female Figures

Emblematic Groups (Fresco)

• Agriculture (Ceres)
• Mechanics (Vulcan)
• Commerce (Mercury)
• Marine (Neptune)
• Arts and Sciences (Minerva)
• War (Freedom)

“C. Brumidi, 1865”

Architect’s Report, November 1, 1865

SENATE APPROPRIATIONS COMMITTEE ROOMS

SOUTH ROOM (OLD MILITARY AFFAIRS COMMITTEE ROOM)

Large Lunettes (Wall Frescoes)

• Boston Massacre, 1770
• Battle of Lexington, 1775 (working sketch saved by Capt. Meigs)
• Death of Wooster, 1777
• Washington at Valley Forge, 1778
• Storming of Stony Point, 1779 (working sketch saved by Capt. Meigs)

Frescoed Ceiling

• Victors’ Wreaths, Shields, and Emblems of War
• Medallion Head of Liberty

NORTH ROOM (OLD NAVAL AFFAIRS COMMITTEE ROOM)

9 Panels in oil (walls)

• Female figures with Navy attributes

Ceiling Frescoes

• Marine Gods and Goddesses

Ancient Porticoes in oil (wall)

Architect’s Report, November 1, 1871

Letter to Architect Clark, May 1, 1871

SENATE RECEPTION ROOM

(Name not changed)

Allegorical Groupings in Fresco (ceiling)

Groined Arch (working sketch saved by Capt. Meigs)

• Liberty
• Plenty
• War
• Peace
• Circular Arch

• Prudence
• Justice
• Temperance
• Strength

Panels in chiaroscuro (walls)

• Decorative Figures

• Wall Centerpiece in Oil (working sketch owned by Warrenton House)

• Washington in Consultation with Jefferson and Hamilton

Architect’s Report, November 1, 1872

Letter to Architect Clark, May 1, 1871

SENATE DISTRICT OF COLUMBIA COMMITTEE ROOMS

LARGE ROOM (DECORATED FOR SENATE LIBRARY)

Allegorical Groups (Ceiling Frescoes)

• Geography
• History (working sketch saved by Lola Germon)
• Telegraph (working sketch sold at 1925 auction)

Decorative Groups (Ceiling Frescoes)

• Three maidens each (working sketch saved by Lola Germon)

SMALL ROOM (OLD SERGEANT AT ARMS OFFICE)

Allegorical Designs (Wall Frescoes)

• Secession and Products of North and South
• War and Strife
• Rods United—“E Pluribus Unum”
• Implements of War Destroyed

Ceiling Fresco

“Columbia Welcoming the South Back into the Union” (working sketch sold in 1925 auction)

“C. Brumidi, 1876.”

Architect’s Report, November 1, 1875

CORRIDORS, GROUND FLOOR, SENATE ANNEX

SOUTH CORRIDOR

• 8 Studies in oil (Animals)
• 8 Ovals in oil (U. S. Shields)

“PATENT CORRIDOR”

Wall Frescoes

• Robert Fulton (called also “Palisades of the Hudson”)
• John Fitch (working on model of steamboat)
• Benjamin Franklin (in his laboratory)

Brumidi Voucher, 1873

NORTH CORRIDOR

Profiles in oil (Medallions in wall Panels)

• Jonathan Trumbull
• Daniel Morgan
• Israel Putnam
• Horatio Gates
• Thomas Mifflin
• Silas Deane
• Joseph Warren
• Richard Montgomery
• Thomas Jefferson
• Benjamin Franklin

Large Fresco, “Signing of the First Treaty of Peace with Great Britain, 1782”

• John Adams
• Benjamin Franklin
• John Jay
• Henry Laurens
• Richard Oswald (for Great Britain)

Large Fresco, “Cession of Louisiana”

• Robert Livingston
• James Monroe
• Barbe-Marbois (for France)

Architect’s Reports, November 1, 1874, and November 1, 1875

WEST CORRIDOR

13 Oval Landscapes in Oil (Walls and Ceiling)

12 Signs of the Zodiac (ceiling)

Profiles in oil (Medallions in wall Panels)

• John Hancock
• Francis Hopkins
• Robert Livingston
• Roger Sherman
• John Jay
• Robert Morris
• Charles Thompson
• Charles Carroll

Large Fresco, Bellona, Roman Goddess of War

Vaulted Ceilings, Walls and Pilasters (Style of 15th Century)

Architect’s Report, November 1, 1875

MAIN CORRIDOR

14 Oval Landscapes in Oil (Walls and Ceiling)

Large Portraits in Oil (Walls)

• Justice Story
• Chancellor Kent

Profiles in Oil

• Andrew Jackson
• Henry Clay

Imitation Sculpture

• Chancellor Livingston

Brumidi Voucher, August 21, 1878

THE SENATE FOREIGN RELATIONS COMMITTEE ROOM

Large Medallions (Profiles of Committee Chairmen)

• North wall—Henry Clay, Chairman, 1834 to 1836
• South wall—William S. Allen, Chairman, 1845 to 1846
• East wall—Simon E. Cameron, Chairman, 1871 to 1877
• West wall—Charles W. Sumner, Chairman, 1861 to 1871

Brumidi Voucher, June 21, 1874

CAPITOL ROTUNDA

Frieze Frescoes in Imitation Sculpture

(Seven finished by Brumidi)

• Landing of Columbus 1492
• Entry of Cortez into Mexico 1521
• Pizarro’s Conquest of Peru 1533
• Midnight Burial of DeSoto 1541
• Pocahontas Saving John Smith 1606
• Landing of the Pilgrims 1620
• Penn’s Treaty with the Indians 1682

Frieze Frescoes in Imitation Sculpture

(Original Designs made by Brumidi)

• Scene in Plymouth Colony 1620
• Peace Treaty, Oglethorpe and the Indians 1732
• Battle of Lexington 1775
• Reading of The Declaration of Independence 1776
• Surrender of Cornwallis at Yorktown 1781
• Death of Tecumseh 1813
• General Scott’s Entry into Mexico 1847
• Discovery of Gold in California 1848

Architect’s Reports, October 1, 1877; October 1, 1880; October 1, 1884

BRUMIDI VOUCHERS

1855