Issue link: http://www.e-digitaleditions.com/i/311502
Ex. Doc. No. 43, House of Representatives, 35th Cong., 1st Sess., included in "Documentary History of Art Commissions 1858-1911," (Compiled for the Office of the Superintendent of the U.S. Capitol), pp. 747-49. See also, Wolanin, Brumidi, pp. 95, 96, 97 ns. 37-40 and 42; and omas P. Somma, e Apotheosis of Democracy, 1908-1916: e Pediment for the House Wing of the United States Capitol (Newark, Del., 1995), pp. 38- 39, 126 ns. 105-11. 22. Fortune, Franklin and His Friends, esp. pp. 4-9, 67, 160. 23. Ibid., pp. 27-28. See also, Brooke Hindle, e Pursuit of Science in Revolutionary America, 1735-1789 (Chapel Hill, 1956), esp. pp. 248-79. 24. Erffa and Staley, Paintings of Benjamin West, p. 153 and cat. no. 620, p. 620. 25. Ibid., p. 507. 26. Fortune, Franklin and His Friends, p. 128. 27. Ibid., pp. 130, 133. 28. Ibid., p. 128. See also, Antonello Gerbi, e Dispute of the New World: e History of a Polemic, trans. Jeremy Moyle (1955; rev. ed., Pittsburgh, 1973). 29. Leroy was an obstetrician who "probably attended Madame David at the birth of her first child." David por- trays the doctor "as an intelligent and refined man, dressed in fine clothes, writing at his desk leaning on a volume of Hippocrates's Marbi mulierium ('e Diseases of Woman'), lit by a quinquet lamp-a recent invention that gave illumina- tion equal in strength to a dozen candles." Lavoisier was an "eminent experimental physicist and chemist," Marie-Anne his "indispensable assistant." Experimental equipment is given great prominence in the double portrait and includes a gasom- eter, a simple barometer, a pneumatic trough and a glass flask with a stopcock. See Simon Lee, David (London, 1999), pp. 78, 127-29. 30. Dora ornton, e Scholar in His Study (New Haven and London, 1997), p. 40. 31. Ibid., pp. 1-2. 32. See Gisela M. Richter, e Portraits of the Greeks (Ithaca, N.Y., 1984), pp. 103, 105, 131. 33. The subject of the other portrait statue from Pennsylvania is John P. G. Muhlenberg, sculpted by Blanche Nevin. See Compilation of Works of Art and Other Objects in the United States Capitol (Washington, D.C., 1965), pp. 206, 223. 34. "e Fine Arts," Daily Evening Telegraph (Philadelphia), Mar. 25, 1880, p. 6. 35. "Pennsylvania's Contribution to the National Hall of Sculpture," American Architect and Building News, July 16, 1881, p. 25. 36. John H.B. Latrobe, May 14, 1888, reprinted in John Edward Semmes, John H.B. Latrobe and His Times, 1803-1891 (Baltimore, 1917), p. 31. N otes 1. Kirkpatrick Sale, e Fire of His Genius: Robert Fulton and the American Dream (New York, 2001), p. 2. 2. Ibid., pp. 2-3. 3. Joseph J. Ellis, After the Revolution: Profiles of Early American Culture (New York, 1979), pp. 25, 35. 4. Ibid., p. 30. 5. Ibid., pp. 37-38. 6. Barbara A. Wolanin, Constantino Brumidi: Artist of the Capitol (Washington, D.C., 1998), p. 138. 7. Michael Quick, American Portraiture in the Grand Manner, 1720-1920 (Los Angeles, 1981), p. 170. 8. For a full identification of everyone depicted in the painting, see ibid., p. 170. 9. Wolanin, Brumidi, pp. 73, 75, 80-81. 10. Ibid., pp. 80-81. 11. omas Hamilton Ormsbee, Collecting Antiques in America, 3d ed. (1940; New York, 1962), pp. 130-31. 12. See Janet R. Houghton to Barbara A. Wolanin, Sept. 3, 1998, and Object Worksheet, both in Records of the Architect of the Capitol, Washington, D.C.; Wolanin, Brumidi, p. 226; and Ormsbee, Collecting Antiques in America. 13. Helmut von Erffa and A llen Staley, The Paintings of Benjamin West (New Haven and London, 1986), cat. no. 532, p. 454; and Richard Murray to Barbara A. Wolanin, Dec. 10, 1998, Records of the Architect of the Capitol. 14. Constantino Brumidi Voucher submitted for fresco of Robert Fulton in the Patent Corridor [$500.00], AOC Voucher Book, Works of Art, v. 11, AOC Archives. 15. On a more personal level, Brumidi also may have identified with the image of West as a fellow expatriate artist enjoying the final years of a long and illustrious career. 16. Wolanin, Brumidi, pp. 49-50. 17. Ibid., p. 82. 18. Ibid., pp. 100, 102. 19. Ibid., p. 102. 20. For more information on the pose of melancholy, see Erwin Panofsky et al., Saturn and Melancholy: Studies in the History of Natural Philosophy, Religion, and Art (New York, 1964); Brandon Brame Fortune, Franklin and His Friends: Portraying the Man of Science in Eighteenth-Century America (Washington, D. C., 1999), pp. 23, 163 n. 9; Ludmilla Jordanova, Defining Features: Scientific and Medical Portraits, 1660–2000 (London, 2000), pp. 41-42; and omas P. Somma, "e Problem with Public Art: Henry Kirke Brown's inking Negro (1855) from His Pedimental Design for the United States Capitol," in American Pantheon: Sculptural and Artistic Decoration of the United States Capitol, ed. Donald R. Kennon and omas P. Somma (Athens, Oh., 2004), pp. 118-21. 21. "Report of the United States Art Commission," Feb. 22, 1860, 27 THE CAPITOL DOME SPRING 2014