Issue link: http://www.e-digitaleditions.com/i/56382
John andGeorgeHastieGibson, to contribute examples of their craft to theCapitol's architectural program. Meigs' choice to embrace this luxurious material brought broad exposure towhat had been a neglected art form, and subsequently increased demand for stained glass in state buildings.1 John and George Gibson crafted eighteen stained-glass skylights, four stained- glasswindows, and numerous ornamental door andwindowlights for the Capitol. Though nearly half of that is lost, fine examples remain as a testament to their talents, including theirmost spectacular extant public commission— the Capitol's grand staircase skylights. THE SKYLIGHTS THE GIBSONS HAD completed a number of commis- sions for the Capitol when on August 4, 1859, Meigs requested they submit designs for 12 skylights, including four that would complete his vision to provide a grand public access to the Senate and House chambers. Meigs, obviously pleased with the Gibsons' skills, sought that proposal without competitive bidding.2 A month later the brothers presented Meigs with their proposal for "rich Stained Ornamental glass." It was immediately accepted. The grand staircase skylights would cost $400.00 each, and although Meigs thought the price "very reason- able," lack of appropriations prevented installation until November 30, 1860, over a year after the proposal had been approved.3 TheGibsons' decorative glasswas to be inserted Figure 2. Among the sixteen different fruits and vegetables painted for the central roundels are red and green grapes, cherries, pears, peaches, a strawberry, and amelon seen in this example fromthe westHouse side staircase. into iron frames designed by ThomasU.Walter, architect of the Capitol Extension. In Walter's scheme, each 8 x 16 foot skylight was divided into forty-nine rectan- gular, triangular, and trapezoidal sections surrounding three centrally placed large circular panels (fig. 1). Elaborating onWalter's plan, theGibsons inserted lead came frames to hold four oval and four small circular glass panels in each skylight. BothWalter's large roundels (decorated circular panels of glass) and theGibsons' additions, vividly paintedwith a lush array of botanically accurate plants, are focal pointswithin the skylights. This well-planned aesthetic scheme demonstrates that the brothers' design skills went well beyond their technical capabilities. If the skylights catch the eye, it is the vibrancy of the painted botanicals that holds it (figs. 2-4). In the central roundel of each skylight the painter masterfully evoked the rich and varied textures of succulent fruits and vegetables, ranging from glistening grapes and prickly pineapples to pebblymelon seeds. Further exhibiting his talent, the artist embellished the remaining forty roundels and oval sectionswith an abundant variety of multi-colored flowers. Moreover he accurately depicted all phases of a flower's life cycle, fromtight buds to drooping stems and dried calyx, thus enhancing the naturalismof his compositions. Naturalismwas not theGibsons' only area of virtuosity. The skylights showthe 12 THE CAPITOL DOME WINTER 2012 ALL COURTESY FEMENELLA & ASSOCIATES