“A plain coat or two of whitewash is better, in the opinion of this committee, for a temporary finish than the tawdry and exuberant ornamentation with which many of the rooms and passages are being crowded.... An eagle and the National flag may be discovered occasionally amidst the confusion of scroll work and mythological figures presented to the eye; but the presence of conventional gods and goddesses, with meaningless scrolls and arabesques, albeit they may be wrapped in the red, white and blue, will never suggest to the American, as he wanders among the halls and committee rooms, any idea to touch his heart or to inspire his patriotism.... Should he seek an explanation from those who are manufacturing the cumbrous levities which everywhere appear through the building he will be eminently fortunate should he find among them one who speaks the English language.” The real fight of the petitioners was evidently against the employment of a foreign artist. However, this was not expressed openly in the Memorial but the select committee of [Illustration: DISCOVERY The theme of Brumidi’s ceiling fresco in the President’s Room, as portrayed by Christopher Columbus, is that of “Discovery.” This subject is intensified by use of the globe and map in the cherub detail above the portrait. At upper left is a segment of the medallion, “Executive Authority,” and at the right a portion of another medallion, “Liberty.” The four small decorative medallions at the portrait corners are State seals. At the upper left is Vermont; at upper right, Kentucky; lower left, Arkansas, and lower right, Michigan.] five from the House of Representatives made the open accusation. Said they in their Report, “The Committee have not been informed that American artists have been engaged upon the embellishment of the Capitol, but they have been made painfully conscious that the work has been prosecuted by foreign workmen under the immediate supervision of a foreigner. As a consequence the Committee find nothing in the design and execution of the ornamental work of the Capitol, thus far, which represents our own country, or the genius and taste of her artists.” This unjust criticism of Brumidi found expression in the New York Daily Tribune for May 17, 1858, through that paper’s Washington correspondent. The New York attack on the artist, however, was answered in the Tribune for May 31, 1858, by Guglielmo Gajani, a friend of Brumidi’s. Extracts of this defense of Brumidi follow: To the Editor of the New York Tribune: