Issue link: http://www.e-digitaleditions.com/i/56382
It is, however, the enamel-painted portions of the skylights that suggest an exceptional level of expertise. Credit for thosemay go toGeorgewho by 1851was officially referred to as a "Glass Painter." George possibly learned enamel painting while associated withWailes' studio, but there was another available resource. The techniques employed in the Capitol's floral roundels have affinities with Figure 7. JohnGibson, ca. 1865, as pictured in themembers' album of the St. Andrew's Society, a philanthropic organization for whichGibson served numerous roles including president. COURTESY, ST. ANDREW'S SOCIETY, PHILADELPHIA porcelain painting, a craftwhere floral decorations flourished. Scottish glass stainer William Cooper summarized the relationship between the crafts in his book the CrownGlassCutter andGlazier'sManual: "Except in name, painting on glass has no resemblance to any other department of the pictorial art but that of porcelain." Cross-over between the crafts has been documented for painters associated with the EnglishWorcester porcelain factory, and it is proposed that George could have been exposed to and perhaps even trained under painters from the closed (1848) Derby porcelain factory, some ofwhomresided inNewcastle. Further supporting the supposition that George was familiar with the methods employed by porcelain painters is that his daughter,Margaret, is listed in the 1900U.S.Census as a "China Decorator." Although china or porcelain painting was one of the acceptable female professions during the 19th century, Margaret Gibson's occupation was surely not merely a coincidence.13 J.&G.H.GIBSON 1855? -75 JOHN'S MASTERY OF THE painted surface and success in the stained-glass field had already established theGibson name in PhiladelphiawhenGeorge joined John's "glass staining & decorative establishment," probably in 1855. The following June, after noting that John "does a good business," R. G. Dun & Company, America's first commercial reporting agency, revealed John "also is connectedwith his Bro.Geo.H. as J.&G.H.GibsonGlass Stainers."Dun's agentmoreover augmented his report to note that theGibsons' "display g[oo]d Taste&Skill . . . are engaged in decoration of Chambers&other buildings. [and]They buymuch of theirmaterial inNewYork."14 Records reveal that the Gibsons glazed state capitols, courthouses and other public buildings, but the U.S. Capitol's glass stands alone as their only identified extant public commission, and much of that has disappeared as well. Beyond the Capitol, only a handful of the Gibsons' religious and domestic windows survive. Stained glass is a fragilemedium.Deterioration, natural disasters, and our collective desire to replace that which is "out of fashion" have all contributed to the loss of much of this delicatematerial, leaving fewexamples bywhich tomeasureAmerica's early achievements in the field.15 Documents of the firms' commissions sadly reveal little about the brothers' artistry, but attest only to the success of their firm, ranked in 1871 by an unbiased critic as "one of the leadingHouses in this line in Phila[delphia]."One can glean the artistic merit of their work by the aesthetic standards of their clients. Thomas U. Walter, architect of theU.S.Capitol Extension,was one.His commission ofGibson stained glass for his own Italianate residence in theGermantown section of Philadel- phia suggests the appreciation of a discerning eye.16 SKYLIGHTS TO BECONSERVED THE RARITY OF THEIRWORK todaymakes J.&G.H.Gibsons' grand staircase skylights all themore significant. Not only does their work enhance our understanding and 16 THE CAPITOL DOME WINTER 2012