Issue link: http://www.e-digitaleditions.com/i/311502
31 Brumidi was able to fresco the frieze, derrick or not. In December, Brumidi notified Architect of the Capitol Edward Clark (fig. 4) that, while he would continue to work in his studio, "In this very cold weather I am com- pelled to suspend the work in the Rotunda where the heating is not enough to prevent frost at the surface of the morter [sic], that not remain soft long enough upon the wall for absorbing the colors . . . causing injury to the work." 18 Meanwhile, a writer for American Architect and Building News worried that Brumidi, "now almost about to leave the world," would be unable to complete the frieze, as it would be nearly impossible to secure an artist who could finish it for him. 19 Another reporter testified to Brumidi's unparalleled skill: "ere is scarcely room for difference in regard of the excellence of these frescoes in black and white. e designs are noble and graceful, and the execu- tion is wonderful. e frescoes are perfect to the degree of optical illusion. It is difficult to persuade a stranger that the work is not in relief." 20 In the spring, Brumidi was back on the scaffolding, much to the relief of many in the Capitol. The sub- ject of another Washington Post interview in April 1879, Brumidi escorted the reporter to his studio to view the remaining frieze cartoons. He explained that the last scene, "e Discovery of Gold in California," would lie adjacent to the small allegorical panel preceding the first American history scene. ("So the gold-digger . . .will steal up behind Columbus and tell him there is gold in the New World," the reporter mused.) Painting half a figure a day, Brumidi estimated that he would complete the proj- ect within five years. "'Do you not find the work beyond your strength?' asked the reporter. 'Oh, no, I am not so strong as once. I cannot walk well, or stand, but my arm has lost nothing; my hand and my eye are as good as ever. It is my life-long work.'" 21 In June, Mary Clemmer Ames, the noted Washington correspondent, listed the Capitol's early-summer charms, including viewing the "venerable" Brumidi without the "hurrying crowds." 22 ose artist sightings were short- lived, however, as respiratory illness drove him from the city. Brumidi explained his absence in a letter to the ar- chitect of the Capitol. "A short time before I was attacked by the Asthma and finding no reliev [sic], was advised to leave the City by Dr. ompson, and decided to come here [to Orkney Springs, VA]. I only suffered only during the night which was very fortunate as it permitted me to work in the day. I have completed three Cartoons representing the treaty of William Penn, Settlement of New England which comprises two cartoons. I have brought one with me on which I work every day; I find the air a great benefit to me the water also and, expect to be able to continue the Fresco very soon. . . . Very respectfully, C. Brumidi." 23 Less than a week later, Brumidi returned to Washington, writing, "[I am] ready to procede [sic] the work in fresco (with your permission) three Cartoons are near completed. I am improved in the general health, that was the object of my trip and not the pleasure." 24 Another letter to Clark on September 29th, though, revealed that Brumidi, who was paid ten dollars for each day he worked, worried about money in addition to his health. "Dear Sir, I recived [sic] the visit of Dr. Taylor and I hope to obtain much benefit from his prescription; but my sickness proced [sic] more by the mental than fisical weaknes [sic], because my mind is much worried by the terrible future prospect of starvation as soon as my bad health prevent me to do the daily work, having Safe [sic] nothing in the past, when the fortune pro- vided me with very profitable works . . . . Now sickley [sic] and old, with 26 years service as an Artist in the Capitol, I ask the confort [sic] of to be replaced in the Roll, as a reward for my work, and gain again the tranquility of the mind." 25 Two days after requesting job security, Brumidi tumbled from his narrow platform. According to a Washington Post reporter, who interviewed Brumidi at his home later that night, "He was seated in his well-known chair, perched upon the second stage of his platform, and leaning over to give a finishing touch to a figure which was almost out of his reach, his chair slipped off and turned over. e artist, who has been almost helplessly feeble for a long time, man- aged to grasp a rung of the ladder" between the platform's two stages. "He was fortunately seen by Officer [Hum- phrey] Lamon, of the Capitol Police, in the dome above, who promptly came to his rescue, arriving just in time to save Mr. Brumidi, whose strength was exhausted." 26 Fig. 4. Architect of the Capitol Edward Clark oversaw Brumidi's work in the Capitol. Clark served in office from 1865 un l his death in 1902. BRADY-HANDY PHOTOGRAPH COLLECTION, LIBRARY OF CONGRESS THE CAPITOL DOME SPRING 2014