Constantino Brumidi, Michelangelo of the United States Capitol — Rumi — John Shaqi
Constantino Brumidi, Michelangelo of the United States Capitol
Rumi · en
“Also for three more panels in the walls of the Senate Military
Committee room in real fresco with three battles of the American
Revolution, and many other small paintings above a door and at the
ceiling, for the completion of the ibid room, for the sum of
$5,300.”
C. BRUMIDI
New York City
“I read in the Herald the adjournment of the Congress and an extra
session of the Senate will meet again for the tenth of May.
“I think that in this present temporary recess, will be the time to
give orders to the plasterer to finish the panels in the Reception
Room, as the oil work will require the wall to be perfectly dry,
and of course three or four weeks. Every plasterer can do it smooth
like the others already painted.
“I am in attendance of your answer about it, and some information
of Senator Wilson’s decision on the subject, for the fresco of this
room, to prepare some sketch and cartoons.
“I am at work in St. Stephen’s Church and I wish to proceed with it
till you will call me for work in the Senate or if you think
necessary an excursion to fix this preparatory work or directions
to the plasterer.”
C. BRUMIDI
The 1871 letter quoted above, written from New York, is the only
reference in a Brumidi letter of the Brumidi file in the Architect’s
office to any painting of Brumidi’s outside of Washington. It seems to
have been proven, though, beyond a doubt that _The Crucifixion_ in St.
Stephen’s Church in New York is one of at least four such sacred
paintings. The picture of _Saint Peter_ and _Saint Paul_ was painted in
the Philadelphia Cathedral; _The Holy Trinity_ was done in the Cathedral
at Mexico City, and _The First Communion of Saint Aloysius_ was placed
above the altar in the old Saint Aloysius Church in Washington.
A study of the Saint Aloysius mural brought to light a letter written by
Brumidi in Italian to Father Sestini of Georgetown University back in
1855. Father Sestini is said to have been such a close friend of
Brumidi’s that the artist included the Father in his fresco of St.
Aloysius. This letter to Father Sestini, translated by Father Geib of
Georgetown University, is reproduced in its entirety, it being the only
communication found from Brumidi to a Father in the Catholic Church. The
letter to Father Sestini follows:
November 11, 1855