USA > Washington DC > Washington DC > Historical sketches of the ten miles square forming the District of Columbia : with a picture of Washington, describing objects of general interest or curiosity at the metropolis of the Union. > Part 8
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The artist, Segnior Valaperti, was but a short time in America, the most of which he spent in Washington. He was retiring in his habits, and of a melancholy temperament, associating with few persons, and with those but seldom. Soon after the completion of this chef d'œuvre he dis- appeared, in a mysterious manner, and has never boen heard of since. About a month after his
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The Capitol-Representatives' Hall.
disappearance a body was found in the Potomac, which was thought from certain resembiances, to be his, (though this was never satisfactorily ascer- tained, ) and hence it has been conjectured that in a fit of melancholy, he threw himself into the ri- ver, and thus put an end to his unhappy life .- Such has often been the melancholy fate of genius.
In front of the chair, and immediately over the entrance, stands a beautiful statue in marble representing History, recording the events of the nation. She is placed on a winged car, which is in the act of rolling over the globe, on which is figured, in basso relievo, the signs of the Zodiac, and the wheel of the car is the face of the clock of the Hall, finely designed and beautifully executed. The whole was done by Signeir Franzoni, another meritorious Italian ar- fist, who also died in this city. Between the co. lumns is suspended fringed drapery of crimsoned marines, festooned near the gallery, to limit the sound and assist the hearing. A magnificent portrait of Lafayette, at full length, painted by a French artist, and a most admirable likeness of that patriot, decorates a panel on one side the log- gia, and indicates to the legislative body to whom it has been presented, that the corresponding pa- nel on the opposite side could not be more appro- priately filled than by the portrait of him who
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The Capitol-Senate Chamber.
achieved the liberties and secured the indepen- dence of his country. Between the columns, at their base, are placed sofas for the accomodation of those who are privileged to enter the Hall, and within the bar, in a semi-circle fronting the Speak- er's chair, are seated the Members of the House, each of whom is furnished with a mahogany desk, armed chair and writing materials.
The Senate Chamberin the North wing is of the sama semi-circular form-75 feet in its greatest length and 45 high -- a screen of Ionic columns, with capitals, after those of the temple of Miner- va Polias, support a gallery to the East, and form a loggia below-and a new gallery of iron pillars and railings of a light and elegant structure, pro- jects from the circular walls-the dome ceiling is enriched with square caissons of Stucco.
The walls are covered with straw colored drape- ry, between small pilasters of marble in the wall. Columns of breccia or Potomac marble, support the eastern gallery.
The upper gallery on the east side was remov- ed in 1828, and a light, airy, and beautiful one as mentioned above, erected along the semicircle fronting the President's chair, supported on small iron colunins, handsomely bronzed, with a railing in front, of the same material and color. The re- moval of the dark and heavy mass of stone which
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The Capitol-Rotundo-Sculpture.
formed the upper gallery has thrown into the cham- ber a proper degree of light, which it wanted be- fore; and the new and tasteful gallery renders it more convenient to the members, by accommoda- ting those who would otherwise be on the floor .- The access, to it, however, is somewhat objection- able, as are most of the stair-cases in the building. They are rather confined and dark, for so spacious and :magnificent an edifice as the Capitol. A stair case is susceptible of great architectural beauty; and in the construction of such a building the op- portunity to display that beauty should not have been neglected.
The Rotundo occupies the centre, and is 96 feet in diameter, and 96 high. This is the principal en- trance from the East Portico and West stair, and leads to the legislative halls and library. This room is divided in its circuit into panels, by lofty Grecian pilasters or antæ, which support a bold entablature, ornamented with wreaths of olive-a hemispherical dome rises above, filled with large plain caissons, like those of the Pantheon at Rome, The panels of the circular walls are appropriated to paintings and bas relieves of historical subjects. We shall begin with the sculpture:
1. - Preservation of Capt. Smith by Pocahontas.
The group, in the pannel over the Western en- trance of the Rotundo, was executed by Mr. Ca-
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The Capitol-Rotundo-Sculpture.
pellano, who, like Mr. Causici, was a pupil of the celebrated Canova. This pannel contains a group of five figures, representing the moment when Captain Smith was in the act of being despatched by the order of Powhatan, but was saved by the generous interposition of Pocahontas, the daught- er of the chief. Capt. Smith, in his narrative, furnishes the following sketch of this incident -- which took place in " 1506:"
" Having feasted him (Capt. Smith) after their best barba- rous manner they could, a long consultation was held, but the conclusion was, two great stones were brought before Powha- tan: then as many as could layd hands on him dragged him to them, and thereon layd his head, and being ready with their clubs to beat out his brains, Pocahontas, the king's dearest daughter, when no intreaty could prevail, got his head in her arms, and layd her own upon his to save him from death: whereat the emperor ( Powhatan) was contented he should live to make him hatchets, and her bells, beeds and copper."
This design is partly taken from a rude engra- ving of this event, in the first edition of Smith's History of Virginia. Captain Smith, attired in the military dress of the age, is represented re- clining on his elbow, with his body extended on the ground, ready to receive the death blow from the war-mace of an Indian who stands near his head. The chief (Powhatan) who is seated in the centre behind, is motioning with his hand, in consequence of the interposition of his daught- er, who is hanging over Smith to protect him from
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The Capitol-Rotundo-Sculpture.
the blow, to another Indian, who stands at the feet of the captive, ready to assist his companion in completing the work of death. The war-mace of the Indian, is, however, resting on his shoul- der. Why then is the command given to him, and not to the other, who is preparing to strike? Although the composition of this group is good, and the figures very well executed, yet there is an evident want of truth in their delineation and cos- tume. The face and head-dress of Pocahontas are somewhat Grecian, and the features of Powha- tan are less like an Indian than an European .- The whole piece is certainly very rich and orna- mental; but the objections made, will, we think, strike every one who sees it, and may hereafter present no little difficulty-when the progress of of civilization, the increase of white population, and other causes, shall have reduced the children of the forest to a small and scanty remnant-in ascertaining which is the true representation of the Indian physiogomy, form, and costume, from the specimens thus furnished by our artists .- At present, it may easily be determined; but hereafter, when the Indian shall have disappear- ed from our wilds, it will be next to impossible to decide, by a reference to the figures, sculptured in the panels of the Rotundo, between which so great a discrepancy appears to exist.
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The Capitol-Rotundo -- Sculpture.
2 .- Landing of the Pilgrims on Plymouth Rock.
On the pannel over the door leading to the East- ern Portico, the subject of Mr. Causici's chisel is intended to commemorate the Landing of the Pil- grims on Plymouth Rock. The group consists of four figures, in bold relief-the " Pilgrim," his wife and child, and an Indian. The Pilgrim, in the costume of the carly part of the 16th cen- tury. is represented in the act of stepping from the prow of the boat, to receive from the hands of an Indian, in a kneeling attitude, on the rock before him, an ear of corn, tendered by the native in the most friendly manner. A mixed expression of he- sitancy and gratitude is visible in the countenance of the Pilgrim, who appears to doubt the since- rity of the Indian, whose aboriginal-features form a fine contrast to those of the Puritanical. and suf- fering adventurer. Behind, in the boat, looking towards heaven, with an eye and attitude of de- votional gratitude, for deliverance from the suffer- ings and hardships of the voyage, stands his wife, w hose interesting countenance bears marks of these "watchings and fastings" shared in common with the intrepid band. Near her, their little son, ac- tuated by the mingled emotions of fear and won- der, holds his father's arm, and seems desirous to prevent his landing. The Indian is happily met face to face by the Pilgrim, seated on the rock,
-
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The Capitol-Rotundo-Sculpture.
and in front of the prow of the boat, freighted with the adventurers, inscribed " 1620."" 'The prominent features of the Pilgrim are probably the best executed in the group, though we are a- ware that the Indian, who is a very striking ob- ject in the composition of the picture, from his brawny form and his peculiar position on the rock, appears in bolder relief, and may, by many, be viewed with most gratification .- It is stated in the History of New England, and it may not be out of place here to repeat it, that the identical rock on which the Pilgrims first landed, has been broken up into fragments, and one part of it plac- ed in the centre of the town of Plymouth, where it is known by the name of " Forefather's Rock," and is visited with a degree of veneration by all New Englanders.
3. - Conflict between Boon and the Indians.
On the panel over the door leading to the Re- presentatives' Hall, Daniel Boon, (the pioneer and intrepid backwoodsman,) in his hunting shirt, is the hero of the group, which consists of three fi- gures, him-elf and two Indians.
The scene, from the bows of a forest trec waving over the heads of the figures, is intended to carry the mind of the spectator into the recesses of the wilderness, where it is supposed the occurrence, which the work commemorates, took place. Boon
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The Capitol- Rotundo-Sculpture.
having just discharged his rifle, and despatched an Indian, who lies coiled up at his feet, is instant- ly attacked by another, who aims a deadly blow with his tomahawk, which Boon averts, by elevat- ing his rifle with his left hand, while his right draws the " long knife," or couteau de chasse, which is to terminate the dreadful combat- drawing, at the same time, his arm a little back, to give force to the fatal thrust, aimed at the war- rior's heart-his Indian antagonist brandishing in his right hand the deadly tomahawk, ready to descend with fatal vengeance.
The attitude of the dead Indian at the foot is well executed. He reclines on his side, with his knees drawn up towards his breast, and his head resting on his hands which he seems to have plac- ed, open, one above the other. Strong contortions are visible on his countenance-his eyes are closed in death, and about his lips revenge is plainly imprinted, while in his side is seen the gaping wound that laid him prostrate. A more natural counterfeit of death is seldom produced.
All these figures are of colossal size. The first idea that strikes the observer, on viewing this com- position, is the extraordinary action which the artist has thrown into the piece: the bold relief which the chisel affords, in executing the human figure. is here employed to great advantage: the intre-
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The Capitol-Rotundo-Sculpture.
pidity and resolution of Boon's countenance, ap- pears to have been given to very life; whilst the frantic face and vigorous frame of the savage, has received full justice from Causici's chisel -- finely contrasting the cool intrepidity of the hero, with the ferocity of the savage.
We have only to regret, that in the present in- stance, the artist had so limited a field for his work : to have given full scope to the design, more than double the space appropriated would have been necessary; but over this he had no control. We have no doubt that this effort of his genius will be admired as long as a taste for the arts conti- nuc. It forms a beautiful and interesting embel- lishment to our National Capitol, that no spec- tator, who reverts to the struggles and bravery of our backswoodmen, in the early settlement of the western wilderness, can view with indifference.
The incident of this piece of sculpture took place in 1773, which, we perceive, is, in commemora- tion, carved on the tree overhanging the group .- The profile likeness of Boon which it presents, in the vigor of life, was taken from a portrait by Hardinge, an artist of acknowledged merit, now In the hands of an engraver.
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The Capitol-Rotundo-Sculpture.
4 .- Penn's Treaty with the Indians.
On the panel over the Northern entrance, Wil- liam Penn, the founder of the colony of Pennsyl- vania, is here represented under the spreading Elm, near Philadelphia, (which has been rendered so remarkable by the event.) in open and friendly negotiation with two Indians, and in the act of presenting a treaty of 1682. The elder Indian chief in his hand carries a large calumet, or pipe peace, listening attentively to the talk of the younger red man; whilst Penn patiently watches the effect of the discourse. The quaker habilia- ments of Penn, with the broad brimam d hat, &c., are, of course, in proper keeping; and the simplici- ty, candor, and honesty of his countenance, a tolera- ble effort of the chisel; but the artist (Gevelot, a a Frenchman) has not received very general ap- probation for his work; for contrasted with the animated and spirited efforts of Causici and Ca- pellano, in the neighboring panels, it is thought heavy and dull, in its execution.
The wreaths and festoons of flowers in the other panels, constitute the minor ornaments of sculp- ture in the Rotundo. In the centre of these flo- ral wreaths, however, instead of the Eagle, is pla- ced the heads of Columbus, Sir Walter Raleigh, La Sale, and Cabot, to aid in preserving the me- mory, as well as the features of those distinguish-
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The Capitol-Rotundo.
ed men, to whom the world owes so large a debt of gratitude.
An intelligent critic has, in a public print, made the following remarks on the productions of the chisel of Causici and Capellano: though differing in opinion on some points, we submit them to our readers-
" The design of both these groups is good, but the execu- tion appears to be somewhat unsatisfactory, arising either from the nature of the material or the limited time in which the work was performed. There is an appearance of roughuess or want of finish about the figures, that lessens the effect they might otherwise have produced. The countenance and dress of the Pilgrim, and the form and attitude of the Indians in the first group mentioned, are not exactly such as we might have ex- pected from the genius of Mr. Causici. The Pilgrim looks rather too insignificant, and the Indian is too colossal, and his attitude too awkward. But the physiogomy and character of' the savage are well portrayed in all his Indian figures. Both he and Mr. Capellano have, however, fidlen into a gross error in giving them so much muscle, and in placing the muscle, in some instances, in the wrong place. It is found, upon a close and accurate examination, that the body of a male Indian is as smooth, and devoid of every appearance of muscle, as that of the most delicate white female: and this may be easily accoun- ted for from the indolent and mactive lives they usually lead. The labor that would give exercise to their muscles, and ren- der them prominent, is thrown upon the female, whose desti- ny it is to perform all the toil and drudgery which appertain to that rude and miserable condition of society."
9
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The Capitol-Rotundo-Paintings.
Description of the Four Pictures, from Revolu- tionary Subjects, painted by order of the Gor- ernment of the United States, by Col. Trumbull.
NOTE-The following facts are condensed from an " account of the circumstances," which gave birth to their origin --- Col. TRUMBULL, the Artist was one of the Aids-de-Camp of Gen. WASHINGTON in the first year of the Revolution, (1775,) and in the sucereding year 1776, was deputy Adju- tant General of the Northern Department under Gen. Gates. Ilaving a natural taste for drawing, in which he had already made some progress, Col. Trumbull took the resolution of cultivating that talent, with the hope of' thus binding his name to the great events of the revolution, by becoming the gra- phic historiographer of them, and of his early comrades.
With this view, he devoted himself to the study of the Art of Painting, first in America, and afterwards in Europe; and in the year 1756, he produced in London, his first consuie- rable historical work, the death of Gen. Warren, at the bat- tle of Bunker's H !!! l.
John Adams, afterwards President of the United States, Was at that time their Minister to London, and Thomas Jeffer- son held the same rank in Paris: the Artist was known to both these eminent men, and this his first patriotic work of Art, was seen and appreciated by both: he communicated to them his intention of painting a series of Pictures, in com- memoration of the principal events of the Revolution, pre- serving, as far as possible, faittial portraits of those who had been conspicuous actors in the various scenes, as well as ac- curate details of the arms, dresses and manners of the times, with all of which he had been familiar.
In the autumn of 1789, the Artist returned to America, to pur- que his patriotic work. He found President Washington,
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The Capitol-Rotundo-Paintings.
and many other distinguished characters in New York, then the seat of government, and having procured their portraits in the several compositions for which they were intended, he travelled through various parts of the country from New Hampshire to South Carolina, in search of others; and, in 1794, had nearly completed the collection of portraits, views of places, and all the various materials necessary to the ex- ecution of his plan.
In the year 1816, Congress were pleased to pass a resolution authorizing him to execute the four works which are now to be described, just thirty years after he had painted the Bat- tle of Bunker's Hill.
These paintings, therefore, are not to be regarded as having their origin in that resolution. They already had long ex- isted, and little more was required than to give to the small prototypes larger and more conspicuous dimensions. Had not the preparatory steps been already taken, the work would have been impracticable, for even then most of the characters were dead, scenes, dresses, arms and manners were all changed, and it was impossible for human art to have produced any other than pictures of the imagination, destitute of that authenticity and truth, which give to these works their peculiar value.
Few men now doubt the powerful moral effect produced on the human mind by the art of painting, when devoted, as it is here, to the commemoration of great events and eminent men. No American can contemplate these scenes of na- tional glory, thus brought distinctly before the eye in all the semblance of reality, without feeling a strong impulse to e- mulate in some laudable effort the virtues ot his forefathers. And it must require a powerful exertion of depraved prin- ciples to pass from the contemplation of these great exam- ples of pure, unbending, incorruptible patriotism and self- devotion, to the perpetration of any base or selfish purpose.
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The Capitol-Rotundlo-Paintings.
Panel No. 1 .- Declaration of Independence.
To preserve the resemblance of the men who were the authors of the Declaration of Independ- ence, signed on the 4th July. 1776, was an essen- tial object of this painting. Important difficulties presented themselves to the artist at the outset, for although only ten years had then elapsed since the date of the event, it was already difficult to ascertain who were the individuals to be repre- sented. Should he consider the fact of having been actually present in the room on the 4th of July, indispensable? Should he admit those only who were in favour of, and reject those who were op- posed to the act? Where a person was dead, and no authentic portrait could be obtained, should he admit ideal heads? These were the questions on which Mr. Adams and Mr. Jefferson were con- sulted, and they concurred in the advice, that with regard to the characters to be introduced, the signatures of the original act, (which is still pre- served in the office of state, ) ought to be the gene- ral guide. That portraits ought, however, to be admitted of those who were opposed to, and of course did not sign, as well as of those who voted in favor of the Declaration, and did sign it, par- ticularly John Dickinson of De'aware, author of the Farmer's Letters, who was the most eloquent and powerful opposer of the measure; not indeed
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The Capitol -- Rotundo-Paintings.
of its principle, but of the fitness of the act at that time. which he considered premature. And they particularly recommended, that wherever it was possible, the artist should obtain his portrait from the living person; that where any one was dead, he should be careful to copy the finest portrait that could be obtained; butin case of death, where none could be obtained (and there were many such instances, for anterior to the Revolution the arts had been very little attended to except in one or two of the cities. ) he should by no means admit any ideal representation, lest, it being known that some such were to be found in the painting. a doubt of the truth of others should be excited in the minds of posterity; and that, in short, abso- lute authenticity should be attempted, as far as it could be attained.
The artist was governed by this advice, and spared neither labeur nor expense in obtaining his portraits from the living men. Mr. Adams was painted in London; Mr. Jeferson in Paris; Mir. Hancock and Samuel Adams in Boston; Mr. Ed ward Rutledge in Charleston, South Carolina; Mir. Wythe at Williamsburgh in Virginia; Mr. Bartlett at Exeter in New Hampshire, &c. &c.
In order to give some variety to his composition, he found it necessary to depart from the usual practice of reporting an a ", and has made the whole committee of five advance to the table of
-
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The Capitol-Rotundo-Paintings.
the president, to make their report, instead of having the chairman to rise in his place for the purpose: the silence and solemnity of the scene, offered such real difficulties to a picturesque and agreeable composition, as to justify, in his opin- ion, this departure from custom and perhaps fact. Silence and solemnity he thought essential to the dignity of the subject. The dresses are faithful- ly copied from the costume of the time.
The room is copied from that in which Congress held their sessions at the time, such as it was be- fore the spirit of innovation laid unhallowed hands upon it, and violated its venerable walls by mo- dern improvement, as it is called.
The artist also took the liberty of embellishing the back ground, by suspending upon the wall, military flags and trophies, such as had been taken from the enemy at St. John's, Chambly, &c. and probably were actually placed in the hall.
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The Capitol-Rotundo-Paintings.
Names of those, of whom Portraits are preserved in the Paint- ing of the Declaration of Independence.
1 George Wythe, Virginia. 125 George Clymer, Penn'a.
2 William Whipple, N. H. 26 William Hooper. N'th Ca.
3 Josiah Bartlett, N. Hamp. 27 Joseph Hewes, North Ca. 4 Benjamin Harrison, Va. 28 James Wilson, Peansyl'nia. 5 Thomas Lynch, South Ca. 29 Francis Hopkinson, N. J. G Richard Henry Lee, Va. 30 John Adams, Massachu'tts. 7 Samuel Adams, Massac'tts 31 Roger Sherman, Conn.
S George Clinton, New-York 32 Robert R. Livingston, N. Y. 9 WAliam Paca, Maryland. 33 Thomas Jefferson, Virg'ia. 10 Sarauel Chase, Maryland. 3+ Benjamin Franklin, Penn. 11 Lesis Morris, New-York. 35 Richard Stockton, N. J. 12 William Floyd, New-York. 90 Francis Lewis, New York. 13 Arthur Middleton, S'th Ca. 37 John Witherspoon, N. J. 14 Thomas Hayward, S'th Ca. SS Samuel Huntington, Conn. 15 Charles Carrol, Maryland. (39 William Williams, Conn.
16 George Walton, Georgia.
10 Oliver Wolcott, Conn. 17 Robert Morris, Penn. i1 John Hancock, Mass'setts. IS Thomas Willing, Penn. 12 Charles Thompson, Penn. 19 Benjamin Rush, Penn. 13 George Reed, Delaware. 2 Elbridge Gerry, Mass. it John Dickinson, Delaware. 21 Robert Treat Payne, Mass. 15 Edward Rutledge, S'th Ca. 2! Arraham Clark, N Jersey.
16 Thomas Mckean, Penna. 23 Stephen Hopkins, R Island. 47 Philip Livingston, N. York, 2+ William Ellery, R Island. I
Panel No. 2-Surrender of General Burgoyne ,
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