Issue link: http://www.e-digitaleditions.com/i/311502
floor beneath. e chair upon which he sat in order to paint had been pushed backward on the small platform, and as his assistant was absent, there was no one on the scaffolding to rescue him." 30 In the same year, H.J. Kennedy, the Capitol's chief guide, provided a more mut- ed version of the incident, leading one to suspect the truth lies somewhere between Brumidi's description and the later account: "He was hauled up to the frieze and had a habit of placing his chair on a box. One of the legs of the chair slipped from the box and Brumidi was thrown back- ward, his body striking a support used in the scaffolding. He did not fall, however, but was shaken up, and as he was an old man it was rather severe on him. Men went to his assistance at once and he was brought down, but in a day or two he resumed his work as usual." 31 Kennedy was correct that Brumidi returned to the fresco the next day, but it was only for one day. According to the Sun, the artist painted for a time from the platform, then "became nervous and was forced to suspend. He has doubts that he will be able to finish the work on which he is engaged, though he thinks he can complete the cartoons on papers, so that others can transfer them to the walls." 32 Brumidi, in fact, did continue in the studio, even as his health deteriorated. Later in November, he reported to Apparently, George McCauley, a Capitol guide, also raced to the scene. As one onlooker noted, "is gentleman went from the floor of the rotunda, risked his own life in passing around three of the pillars on their narrow ledges in time to assist Mr. Lamon, who was nearly exhausted at the moment, in his efforts to save the painter." 27 e Baltimore Sun provided a similar account, "e chair that he sits on, which is on his suspended scaffold, fell over, throwing him forward. He managed to hang on to the side of the scaffold until assistance reached him, when he was pulled up . . . . On account of his advanced age the shock was so great that there is no telling how much it will affect him." 28 Brumidi himself described the "miraculous escape" in yet another petition for admittance on the regular payroll. Referring to himself in the third person, he stated: "Upon the 1st day of October he was engaged at work upon the Historic Painting in fresco, in the Frieze of the Rotunda of the Capitol, and while sitting upon a temporary scaffold, and near its edge the chair turned from under him and threw him over; he caught the round of a ladder and, remained suspended by the strength of his arms for the space of fifteen minutes [emphasis added], till officer Lammon descended from the top of the Dome to the scaffold and called two men from the floor of the Rotunda to assist in the rescue of your petitioner." 29 Writing in 1902, the author of e National Capitol, George C. Hazelton, gave this portrayal: "e watchman just below the canopy, who was accustomed to follow with his eyes the progress of the artist, saw him fall, and run- ning down the long flights of steps, succeeded in rescuing the old gentleman as he clung nearly exhausted to the ladder, or he would have fallen and been dashed to pieces on the Fig. 5. Brumidi was buried at Glenwood Cemetery in an un- marked grave in the Germon family plot of his American wife, Lola Germon. This marker was placed in 1952 through the efforts of Myrtle Cheney Murdock, author of a pioneer- ing book about Brumidi's artwork. Fig. 6. Filippo Costaggini was chosen to con nue the frieze following Brumidi's death. Brumidi recommended him be- cause of his similar Italian training. ARCHITECT OF THE CAPITOL 32 THE CAPITOL DOME SPRING 2014 PHOTOGRAPH BY RON WILLIAMS