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4 THE CAPITOL DOME SPRING 2014 Fig. 5A. Gaspare Landi, Mee ng of Hector and Andromache, 1794. PUBLIC DOMAIN PHOTOGRAPH, THE ATHENAEUM Fig. 4A. Constan no Brumidi, Pieta, 1837–42, one of four marble reliefs in the Weld-Clifford Chapel, Church of San Marcello al Corso, Rome. VASARI STUDIO FOTOGRAFICO the eminent sculptors under whom he studied, it is quite possible that he did. In any case, he demonstrated a sophisticated understanding of three-dimensional form and of the way light plays on it, as evident today in his trompe l'oeil sculptures and reliefs in the Capitol. A decade later, in 1849, he created four statues, two low reliefs, and a Last Supper in low relief in marble for Count Maxwell in England. 7 Soon after he began working at the Capitol, he sketched a design for the bronze railings of what today are called the Brumidi Staircases. He also sketched designs for benches, mirrors, and other decorative objects. Although he clearly possessed a good understanding of sculpture, Brumidi was primarily known as a painter, and much of his study at the Accademia di San Luca was devoted to drawing and painting. Beginning in 1817, shortly before Brumidi started his studies, the president of the academy was Gaspare Landi, a neoclassical painter of Canova's generation (fig. 5A). His rich Venetian color may be reflected in Brumidi's own vivid color and tex- ture (fig. 5B). When he was 17 years old, Brumidi won a second prize for a copy of a cupid by Landi. e next year, he was recognized for a copy of another painting by Landi. Apparently eager to increase his skills, Brumidi was among the students who signed a petition to draw and paint from a live nude model. 8 Nevertheless, his talent in copying masterpieces later led to commissions to copy a Trinity by Guercino in Santa Maria delle Vittoria, an Assumption by Annibale Carraci in Santa Maria del Popolo, and a St. Francis in Ecstasy by Domenchino in Santa Maria del Conception. His faithful copies may have replaced the deteriorated originals in some of the churches. In 2006, Brumidi's signature was found on a copy of the Guercino Trinity during its cleaning. 9 Brumidi's well-developed skill in copying paintings by others served him well at the Capitol, which required him to create faithful portraits of many long-dead American heroes. 10 One of Brumidi's major painting teachers was Baron Vincenzo Camuccini, who was known for history paint- ings and portraits in the neoclassical style (fig. 6A). He served a second term as president of the academy from 1822 to 1827. Camuccini admired Nicolas Poussin and Raphael and was a friend of Jacques Louis David. He was close to the Pope, so it is possible that he recommended Brumidi for work in the Vatican. 11 At the end of his life, Brumidi was called "the Michelangelo of the Capitol," but, more correctly, he should be called "the Raphael of the Capitol," because the High Renaissance painter so ad- mired by his teacher was his greatest inspiration. His love of Raphael may have been reinforced by the revival of early SPRING 2014