Issue link: https://www.e-digitaleditions.com/i/1180196
14 THE CAPITOL DOME of the United States Capitol, Donald R. Kennon and Thomas P. Somma, eds. (Athens, OH, 2004), pp. 204–219. Carol Mattusch also graciously shared her work, "The New World Discovers the Old: Brumidi, The U.S. Capitol, and The Classical Past," a paper delivered at the symposium, "The Fourth Rome: Roman and Italian Influences on the Art, Architecture, and Culture of Wash- ington, D.C. and the U.S. Capitol," U.S. Capitol Historical Society, 1 Oct. 2004 (publication forthcoming). 2. For this quote from Brumidi, see Wolanin, Constantino Brumidi, p. 9, and Burton, To Make Beautiful the Capitol. 3. For more history on Brumidi's "audition" painting and his hiring by Meigs, see Wolanin, Constantino Brumidi, pp. 52–59, 66–67. 4. For example, two different floating groups on the south wall of the tablinum in the House of the Dioscuri were painted against blue back- grounds: Bettina Bergmann, "A Tale of Two Sites: Ludwig I's Pompejanum and the House of the Dioscuri in Pompeii," in Returns to Pom- peii: Interior Space and Decoration Documented and Revived, 18th–20th Century, Shelley Hales and Anne-Marie Leander-Touati, eds. (Stockholm, 2016), pp. 211–212, figs. 9.36–37. 5. For the incident with West and references about it in Meigs's journals as well as the sub- jects of the murals, see Wolanin, Constantino Brumidi, pp. 68–9 and note 18. 6. For the post-antique popularity of these floating figures, see Nancy H. Ramage, "Flying Maenads and Cupids: Pompeii, Herculaneum, and Eighteenth-Century Decorative Arts," in Rediscovering the Ancient World on the Bay of Naples, 1710–1890, Carol C. Mattusch, ed. (Washing- ton, DC, 2013), pp. 162–76. On floating figures in the ancient world, see Hérica N. Valladares, "Four Women from Stabiae: Eighteenth-Cen- tury Antiquarian Practice and the History of Ancient Roman Painting," Antiquity Recovered: The Legacy of Pompeii and Herculaneum, eds. Victo- ria Coates and John Seydl (Los Angeles, 2007), pp. 73–93, and Hérica Valladares, "Pictorial Paratexts: Floating Figures in Roman Wall Painting," in The Roman Paratext: Frame, Texts, Readers, Laura Jansen, ed. (Cambridge, UK, 2014), pp. 176–205. 7. For a summary of original discoveries in the Casa del Naviglio (located in Region VI, block 10, doorway 11/VI.10.11 in Pompeii), see Mario Pagano and Raffaele Prisciandaro, Stu- dio sulle provenienze degli og getti rinvenuti negli scavi borbonici del regno di Napoli, (Naples, 2006), p. 136. For extensive photographic documentation on the current state of the Casa del Naviglio, see "Pompeii in Pictures," https://www.pompeii- inpictures.com/pompeiiinpictures/R6/6%20 10%2011.htm (accessed 9 Jan. 2019). 8. Zahn also published two subsequent vol- umes under the same title in 1844 and 1862. 9. For a biography of Wilhelm Zahn see Alfred Gotthold Meyer, "Zahn, Wilhelm Johann Karl," in Allgemeine Deutsche Biographie, herausgegeben von der Historischen Kommission bei der Bayerischen Akademie der Wissenschaften, 44 (1898): 668–670, https://de.wikisource.org/w/index.php?tile=AD- B:Zahn,_Wilhelm_Johann_Karl&olid=2510231 (accessed 9 Jan. 2019). For Zahn's publications and their contribution to color lithography, see Arnd Hennemeyer, "Wilhelm Zahns Pompeji- Publikation: eine Inkunabel der Farblithografie," in Maltechnik & Farbmittel der Semperzeit, (Munich, 2014), pp. 98–123. 10. Wolanin, Constantino Brumidi, p. 240. 11. Jane Brown and Gregory Jones, "The English Struwwelpeter and the Birth of Inter- national Copyright," The Library, ser. 7, v. 14, 4(2013):393–396. 12. Library of Congress, Catalog of the Library of Congress, 1849, p. 865. 13. These elephant folios must have survived the infamous fire of 1851, perhaps because their large size meant that they were stored in a different area than the regular collections. In a letter of 25 Dec. 1851 to Congress, Librarian of Congress John S. Meehan reports that "about twenty thousand volumes of books that were in the law room and in the two rooms adjoining the saloon of the library are safe" (as quoted in William Dawson Johnston, History of the Library of Congress, Volume I, 1800–1864 (Washington, DC, 1904), p. 278. 14. Letter from Edward Clark (Architect of the Capitol) to Senator Justin S. Morrill says: "When the books for Brumidi arrives [sic], I will dispose of them as you request" [AOC Letter- book 1873, pp. 247–248]. 15. Wolanin, Constantino Brumidi, pp. 18–19. 16. For the role of Meigs as a patron of the arts, see Barbara A. Wolanin, "Meigs the Art