UNITED ST A TES 

SENATE


CA T ALOGUE OF FINE AR T 

UNITED ST A TES 

SENATE


C A T ALOGUE OF FINE AR T 

By
William
Kloss



and



Diane
K.
Skvarla


Foreword
by


The
Honorable
Tom
Daschle


and


The
Honorable
Trent
Lott


Introductory
Essay
by
William
Kloss


To
the
surprise
of
many
visitors,
the
interior
of
the


United
States
Capitol
abounds
in
magnificent
art
that


rivals
its
exterior
architectural
splendor.
The
fine
art


held
by
the
U.S.
Senate
comprises
much
of
this
treasured


heritage.
It
spans
over
200
years
of
history
and
contains


works
by
such
celebrated
artists
as
Augustus
Saint­Gaudens,


Hiram
Powers,
Daniel
Chester
French,
Charles
Willson
Peale,


Gilbert
Stuart,
Walker
Hancock,
and
Alexander
Calder.
The


United
States
Senate
Catalogue
of
Fine
Art
represents
the
first


comprehensive
effort
to
illustrate
and
interpret
this
rich
trove


of
paintings
and
sculptures.


For
the
benefit
of
serious
art
historians
and
art
enthusiasts
in
general,
this
volume
provides
previously
unpublished


information
on
the
160
paintings
and
sculptures
in
the
U.S.


Senate.
Each
work
of
art—from
portraiture
of
prominent
senators
to
scenes
depicting
significant
events
in
U.S.
history—is


illustrated
with
a
full­page
color
photograph,
accompanied


by
an
essay
and
secondary
images
that
place
the
work
in
historical
and
aesthetic
context.


The
Senate’s
art
continues
to
grow
and
evolve.
Its
most


recent
acquisitions
are
documented
here
for
the
first
time.
Also


featured
in
this
catalogue
is
the
Senate’s
oldest
continuing
art


collection,
the
Vice
Presidential
Bust
Collection,
which
honors


those
individuals
who
have
served
as
president
of
the
Senate.


In
his
introductory
essay,
art
historian
and
principal
author
William
Kloss
provides
a
comparative
perspective
on
the


collection
as
he
discusses
the
highlights
of
the
Senate’s
art.


Compiled
by
Senate
Curator
Diane
K.
Skvarla,
this
publication
is
the
definitive
new
resource
on
the
fine
art
in
the


United
States
Senate.

William Kloss, art
historian,
curator,
and
consultant,


has
taught
and
lectured
for
25
years
in
seminars
and


on
tours
in
the
United
States
and
abroad
for
the


Smithsonian
Institution,
the
National
Trust
for
Historic


Preservation,
and
many
fine
arts
institutions.
He
is
the


author
of
numerous
books
and
catalogue
essays,
including
Treasures
from
the
National
Museum
of


American
Art;
Treasures
of
State;
More
than
Meets
the


Eye:
The
Art
of
Trompe
l’Oeil;
This
Tranquil
Land:


Hudson
River
Paintings;
Samuel
F.B.
Morse;
The


Figural
Images
of
Theodor e
Robinson;
Modern


American
Realism;
and
Art
in
the
White
House:
A


Nation’s
Pride.
He
has
served
on
the
Committee
for


the
Preservation
of
the
White
House,
a
presidential
appointment,
since
1990.


Diane K. Skvarla has
been
Senate
curator
since


1995.
She
directs
the
U.S.
Senate’s
museum
program,


including
preservation
and
restoration
projects,
and


various
educational
endeavors.
She
began
her
career
in


the
office
in
1979,
first
as
museum
specialist,
then
as


associate
curator.
She
organized
the
Senate’s
bicentennial
exhibition,
“A
Necessary
Fence...:
 The
Senate’s


First
Century,”
and
the
accompanying
publication
and


poster
exhibit,
which
won
awards
from
the
Society
for


History
in
the
Federal
Government
and
the
American


Association
for
State
and
Local
History.


FRONT
COVER:
(large
image)
Eagle
and
Shield
by
unknown
artist


(ca.
1834);
(thumbnails,
left
to
right)
John
Adams
by
Eliphalet
Frazer


Andrews
(1881);
Be sheekee,
or
Buffalo
by
Francis
Vincenti
(1856);


Hattie
Caraway
by
John
Oliver
Buckley
(1996);
Henry
Wilson
by


Daniel
Chester
French
(1885/1886);
George
Washington
by
Gilbert


Stuart
(ca.
1796­1798);
Telegraph
by
Constantino
Brumidi
(ca.
1862);


Gerald
R.
Ford
by
Walker
Kirtland
Hancock
(1985);
Henry
Clay
by


Henry
F.
Darby
(ca.
1858).


BACK
COVER:
(thumbnails,
left
to
right)
Roger
B.
Taney
by
Augustus


Saint­Gaudens
(1876/1877);
Justin
Morrill
by
Jonathan
Eastman


Johnson
(1884);
Blanche
Kelso
Bruce
by
Simmie
Knox
(2001);


Casimir
Pulaski
by
Henry
Dmochowski
Saunders
(1857);
West
Point,


New
York
by
Seth
Eastman
(1875);
Lafayette
Foster
by
Charles


Calverley
(1879);
Thomas
Jefferson
by
Thomas
Sully
(1856);
Charles


G.
Dawes
by
Jo
Davidson
(1930).

UNITED ST A TES 

SENATE


CA T ALOGUE OF FINE AR T 
For
the
people
of
the
United
States,


in
whose
name
these
works
are
held,


and
the
senators
who
serve
them.


UNITED ST A TES 

SENATE


C A T ALOGUE OF FINE AR T 

Catalogue
by


William
Kloss


Diane
K.
Skvarla


Introductory
Essay
by


William
Kloss


Edited
by


Jane
R.
McGoldrick


Prepared
under
the
direction
of
the


U.S.
Senate
Commission
on
Art


U. S. 
GOVERNMENT
PRINTING
OFFICE


WASHINGTON, 
D. C.:
2002

107th
Congress,
2nd
Session


Printed
pursuant
to
40
United
States
Code,
Section
188b


Includes
bibliographical
references
and
index.


U.S. SENATE COMMISSION ON ART 

Chairman:


Senate
Document
107–11


Tom
Daschle,
South
Dakota


Vice
Chairman:


Trent
Lott,
Mississippi


Robert
C.
Byrd,
West
Virginia


Christopher
J.
Dodd,
Connecticut


Mitch
McConnell,
Kentucky


Executive
Secretary:


Jeri
Thomson


THE OFFICE OF SENATE CURA TOR 

Curator:
 Diane
K.
Skvarla


Associate
Curator:
 Melinda
K.
Smith


Administrator:
 Scott
M.
Strong


Historic
Preservation
Officer:
 Kelly
Steele


Registrar:
 Deborah
Wood


Associate
Registrar:
 Jamie
Arbolino


Museum
Specialist:
 Richard
L.
Doerner


Curatorial
Assistant:
 Amy
Elizabeth
Burton


Staff
Assistant:
 Clare
Colgrove
Hobson


Principal
photography
by
Erik
Kvalsvik
and
Charles
H.
Phillips.


All
paintings,
sculpture,
prints,
and
historic
photographs
are
from
the
Senate
unless
otherwise
noted.


Images
have
been
used
with
the
consent
of
their
respective
owners.
No
replication
of
copyrighted


material
may
be
made
without
permission
from
the
copyright
holder.


Library of Congress Cataloging-in-Publication Data 

United States. Congress. Senate. 

United States Senate catalogue of fine art / catalogue by William Kloss, Diane K. 

Skvarla ; introductory essay by William Kloss ; edited by Jane R. McGoldrick. 

p. cm. 

“Prepared under the direction of the U.S. Senate Commission of Art.” 

Includes bibliographical references and indexes. 

1. Art, American--Catalogs. 2. Statesmen--United States--Portraits--Catalogs. 3. 

History in art--Catalogs. 4. Art--Washington (D.C.)--Catalogs. 5. United States. 

Congress. Senate--Art collections--Catalogs. I. Title: Catalogue of fine art. II. Kloss, 

William. III. Skvarla, Diane K., 1957- IV. McGoldrick, Jane R. V. United States. 

Congress. Senate. Commission on Art. VI. Title. 

N6505.U479 2002 

709’.73’074753--dc21 

2002035785


Frontispiece:


The
main
entrance
to
the
Senate
Chamber



is
flanked
by
portraits
of
two
respected


Senate
leaders:
Democrat
Joseph
Robinson


of
Arkansas,
left,
and
Republican
William


Allison
of
Iowa,
right.


(1999
photograph)

Contents


Foreword
...........................................................
 xi


The
Honorable
Tom
Daschle
and
The
Honorable
Trent
Lott


Preface
 .............................................................
 xiii


The
Honorable
Jeri
Thomson


Where
History
Meets
Aesthetics:



Reflections
on
the
Art
in
the
United
States
Senate
......................
 xvii


William
Kloss


Notes
to
the
Reader
 .................................................
 xxxi


Catalogue
of
Paintings
and
Sculpture
 ...................................
 1


Appendices
 .........................................................
 435


Appendix
A—Chronological
List
of
Vice
Presidents,
and


Location
of
Marble
Busts
in
the
Vice
Presidential
Bust
Collection
 ..................
 436


Appendix
B—Key
to
The
Battle
of
Fort
Moultrie


by
John
Blake
White .................................................
 437


Acknowledgments
...................................................
 438


Diane
K.
Skvarla


Notes ...............................................................
 441


Selected
Bibliography ................................................
 447


Index
of
Artists ......................................................
 476


Index
of
Subjects
....................................................
 479

Foreword


I

t’s
happened
to
both
of
us
many
times.
We’ll
be
walking
through


the
Capitol
building
with
a
group
of
visitors
who
appear
awestruck


by
the
incredible
works
of
art
all
around
them.
Invariably,
someone


will
ask,
“How
long
did
it
take
for
you
to
stop
being
stunned
by


all
of
this?”
We
tell
them
the
truth:
No
matter
how
many
times


you
walk
through
the
Capitol,
you
never
stop
being
amazed
by
its
beauty


and
awed
by
its
grandeur.


The
United
States
Capitol—“the
People’s
House”—is
many
things.


It
is
an
internationally
recognized
symbol
of
freedom
and
democracy,
a


major
tourist
attraction,
and
a
hectic
workplace
bustling
with
senators


and
their
constituents,
staffers,
visiting
dignitaries,
children
on
field
trips,


journalists,
and
an
amazing
assortment
of
others.
What
some
people
don’t


realize
is
that
the
Capitol
is
also
a
remarkable
national
museum.
Painted


on
its
walls
and
ceilings,
carved
into
marble,
molded
from
metal,
and


hung
along
its
walls
are
extraordinary
works
of
art
by
many
of
America’s


greatest
artists—from
Gilbert
Stuart,
the
renowned
18th
century
painter


whose
portraits
of
George
Washington
have
become
American
icons,
to


Alexander
Calder,
the
20th
century
artist
famous
for
his
massive
kinetic


sculptures.
It
is
also
home
to
works
by
many
other
famous
artists—from


portraitists
Thomas
Sully
and
Rembrandt
Peale,
to
sculptors
Thomas
Crawford,
Augustus
Saint-Gaudens,
and
Walter
Hancock.


This
catalogue
marks
the
first
time
in
its
more
than
200-year
history
that
the
United
States
Senate
has
showcased
its
entire
art
collection


in
a
publication.
As
senators,
members
of
the
Senate
Commission
on
Art,


and
as
Americans,
we
are
proud
to
share
it
with
you.
We
are
also
grateful


to
the
dedicated
Senate
staff
who
worked
for
years
to
produce
it.
Our


hope
is
that,
through
this
catalogue,
we
can
share
the
Senate’s
treasures


with
citizens
of
America
and
the
world
who
cherish
the
values
of
freedom


and
democracy
that
are
depicted
so
powerfully
in
the
works
of
art
on


these
pages
and
seen
throughout
the
Capitol.
If
you
visit
the
Senate,
we


urge
you
to
use
this
catalogue
as
your
guide
to
the
priceless
and
beau"

tiful
symbols
of
our
national
heritage
that
you
will
see.
If
you
are
unable


to
visit
the
Capitol,
we
hope
this
book
will
enable
you
to
enjoy
the
art


of
the
Senate
on
your
own.


In
1855
a
brilliant,
56-year-old
painter
named
Constantino
Brumidi—


an
Italian
immigrant
who
has
been
called
“America’s
Michelangelo”—


began
decorating
the
walls
and
ceilings
of
the
Capitol.
He
was
still
at


work
on
the
project
25
years
later
when
he
died.
He
is
reported
to
have


Catalogue of Fine Art xi 
said,
“My
one
ambition
and
my
daily
prayer
is
that
I
may
live
long
enough


to
make
beautiful
the
Capitol
of
the
one
country
on
earth
in
which
there


is
liberty.”
As
diverse
as
the
works
in
the
Senate
art
collection
are,
they


are
all
creations
of
men
and
women
who
love
America
and
the
princi"

ples
for
which
this
nation
stands.
Their
love,
combined
with
their
stun"

ning
artistic
mastery,
is
why
we
have
never
stopped
being
in
awe
of


the
beauty
of
this
building—and
likely
never
will.


We
 are
proud
to
share
these
works
with
you.
We
hope
you
will


enjoy
them
and
be
inspired
by
them,
as
are
the
millions
of
people
who


visit
the
Capitol
each
year.


The
Honorable
Tom
Daschle
 The
Honorable
Trent
Lott


Majority Leader, United States Senate Republican Leader, United States Senate 

Chairman, Senate Commission on Art Vice Chairman, Senate Commission on Art 

xii United States Senate 
Preface


I

n
both
my
roles
as
executive
secretary
of
the
United
States
Senate


Commission
on
Art
and
as
secretary
of
the
Senate,
it
is
my
priv"

ilege
to
present
the
United States Senate Catalogue of Fine Art.


This
catalogue
highlights
160
works
of
fine
art
in
the
Senate.


Representing
the
Senate’s
first
comprehensive
effort
to
publish


the
complete
history
of
these
paintings
and
sculptures,
it
follows
in


the
century-old
tradition
of
Glenn
Brown’s
History of the United States 

Capitol, an
exhaustive
1900
study
of
the
building’s
art
and
architec"

ture,
and
Charles
Fairman’s
1927
publication,
Art and Artists of the 

Capitol of the United States of America.


The
United States Senate Catalogue of Fine Art builds
on
these
and


other
publications,
and
provides
extensive
new
documentation,
vintage


photographs,
and
color
images
of
each
work
of
art.
The
volume
pres"

ents
detailed
information
on
both
the
subject
and
the
artist,
as
well
as


acquisition
data
and
curatorial
critique.
It
is
a
significant
resource
for


those
interested
in
the
history
of
the
Senate
and
the
heritage
of
its
art.


Many
individuals
were
involved
in
the
project,
and
they
are
all
to


be
commended
for
their
tireless
efforts.
The
curator’s
acknowledgments


provides
an
extensive
list
of
individuals
and
institutions
whose
work
is


appreciated
and,
beyond
that,
whose
dedication
has
created
a
treasure.


The
Senate
Commission
on
Art’s
jurisdiction
encompasses
paint"

ings
and
frescoes,
sculpture,
historic
furnishings,
architectural
features


of
historic
importance,
and
memorabilia.
The
Commission
is
composed


of
the
Senate
leadership:
the
majority
and
minority
leader,
president
pro


tempore,
and
chair
and
ranking
member
of
the
Senate
Committee
on


Rules
and
Administration.
Working
together,
they
have
placed
a
high


priority
on
conservation
and
preservation,
along
with
the
acquisition
of


Senate-related
artifacts,
and
the
commissioning
of
appropriate
works
of


art
for
display
in
the
Capitol.
Each
of
them
has
helped
make
this
book


possible.
We
thank
them.


I
have
been
privileged,
as
have
other
secretaries
of
the
Senate,
to


serve
the
Commission
as
executive
secretary.
And
in
my
role
as
secre"

tary,
I
know
that
this
catalogue
is
a
collaborative
work
of
the
Senate


Commission
on
Art
and
the
Senate’s
Office
of
the
Curator.
The
curator


is
responsible
for
the
day-to-day
care
and
protection
of
the
Senate’s
col"

lections
and
implementation
of
the
Commission
on
Art’s
authority
and


direction.
The
professionals
in
the
Curator’s
Office
have
a
challenging


task—to
provide
the
high
standards
of
museum
care
in
a
building
that


Catalogue of Fine Art xiii 
Second floor corridor, Senate wing. 

(Maroon Photography, Inc. 1993) 

xiv United States Senate 
serves
as
the
working
seat
of
the
legislative
branch
of
government,
a


building
that
receives
millions
of
visitors
each
year.


Senate
Curator
James
R.
Ketchum
made
great
strides
during
his


quarter-century
tenure,
including
the
restoration
of
the
Old
Senate
and


Old
Supreme
Court
Chambers.
The
present
curator,
Diane
K.
Skvarla,
directs


a
curatorial
staff
that
continues
an
extremely
professional
program,
focusing


on
the
care,
preservation,
and
interpretation
of
the
collections.


Special
appreciation
must
be
extended
to
the
Government
Printing


Office,
our
printing
partner
once
again.
The
GPO
shared
many
of
the


long
days
and
nights
that
the
curator’s
staff
spent
to
bring
this
catalogue


to
the
citizens
of
the
United
States.
I
recommend
that
each
reader
of


this
volume
spend
time
with
the
curator’s
acknowledgments.
The
list
is


long,
but
this
book
could
not
have
been
completed
without
the
col"

laboration
of
all.


In
March
1965,
Senate
Majority
Leader
Mike
Mansfield
addressed


the
Senate
on
a
matter
that
he
considered
most
disturbing.
In
firm,
strong


tones,
he
warned
his
colleagues
that
“the
priceless
benchmarks
of
our


society
and
its
history
which
have
been
entrusted
to
us
for
safekeeping”


stood
in
danger
of
loss
through
neglect
and
indifference.
Asserting
that


“Congress
has
a
responsibility
to
see
to
it
that
they
are
passed
along


unscathed
and
undiminished,”
he
reminded
members:
“These
paintings,


books,
furniture,
statues
and
other
historic
items
belong
to
all
genera"

tions
of
Americans,
past,
present,
and
future.
Their
preservation
is
a


responsibility
which
cannot
be
taken
lightly,
for
once
marred,
lost,
or


destroyed
they
can
never
be
replaced.”


In
1968
the
Senate
established
the
Senate
Commission
on
Art
and


gave
it
the
responsibility
to
“supervise,
hold,
place,
protect,
and
make


known”
all
works
of
art
and
historic
objects
in
the
Senate
wing
of
the


U.S.
Capitol
and
Senate
office
buildings.
I
am
ever
mindful
of
this


directive,
and
I
seek
to
ensure
that
the
Senate’s
works
of
art
are,
in


the
words
of
Senator
Mike
Mansfield,
“passed
along
unscathed
and


undiminished”
for
future
generations
to
enjoy.
To
the
senators,
officers,


and
staff
who
have
helped
preserve
this
unique
collection,
I
owe
special


thanks
and
gratitude.


The
Honorable
Jeri
Thomson


Secretary of the Senate and Executive Secretary 

to the Senate Commission on Art 

Catalogue of Fine Art xv 
East grand stairway, Senate wing 

(Maroon Photography, Inc. 1993) 

xvi United States Senate 
Where
History
Meets
Aesthetics:
Reflections


on
the
Art
in
the
United
States
Senate


by William
Kloss


The
art
in
the
U.S.
Senate
was
acquired
principally
for
its


public,
patriotic,
and
commemorative
characteristics.
Not


conceived
as
a
conventional
art
collection,
the
Senate’s
art


instead
was
intended
to
serve
a
grander
purpose.
It
was


to
commit
to
posterity
the
persons
and
events
of
our
national


history,
centered
upon
the
institution
of
the
Senate
and
on
the
founding


of
the
Republic.
Not
surprisingly,
portraits
are
a
prominent
feature
of


the
collection.


Precisely
because
the
Senate’s
art
collection
was
formed
for
set


purposes
of
state,
of
honoring
individuals,
and
decorating
the
most
impor"

tant
government
building,
it
may
be
seen
as
a
paradigm
of
public
art


in
the
United
States.
Although
the
collection
has
many
20th-century


works—some
quite
modern
in
character—it
is
overwhelmingly
a
19thcentury
collection.
As
such,
it
reflects
the
political
and
artistic
values
of


the
century
during
which
the
American
legislature
defined
itself
and
began


to
redefine
America’s
place
in
the
world.


A Review of the Collection 

Today,
the
visitor
to
the
Capitol
finds
an
impressive
array
of
art


within
the
building.
Ceremonial
rooms,
private
offices,
hallways,
and
the


legislative
chambers
are
filled
with
a
diverse
collection
of
paintings
and


sculptures.
A
tour
of
the
Senate
wing
might
begin
with
the
Old
Supreme


Court
Chamber,
the
first
significant
room
to
be
completed.
The
space


originally
served
as
the
Senate
Chamber
from
1800
to
1808.
Architect


Benjamin
Henry
Latrobe
proposed
extensive
modifications
to
the
area


in
1807,
which
included
moving
the
Senate
to
the
second
floor
and
con"

structing
a
chamber
for
the
Supreme
Court
on
the
ground
floor.
It
is
one


of
the
finest
examples
of
Latrobe’s
extant
work
in
the
Capitol,
small
but


imposing
in
its
gravitas,
in
its
evocation
through
classical
architectural


language
of
the
fundamental
activity
of
the
Court:
weighing
legislation


against
the
Constitution’s
precepts
to
create
an
authoritative
foundation


for
the
body
of
law.


Sculpture 

In
the
Old
Supreme
Court
Chamber,
Justice (1817)
by
Carlo
Franzoni


is
one
of
the
earliest
works
of
permanent
decoration.
The
neoclassical


style
was
still
dominant
in
Europe
and
the
young
Italian
artist
brought


it
with
him
to
America,
where
it
met
with
wide
acceptance.
With
the
 Justice


Catalogue of Fine Art xvii 
John
Jay


Oliver
Ellsworth


John
Marshall


style
came
the
iconographic
system
of
allegory
and
symbol
so
well
suited


to
it
and
so
well
understood
by
educated
Americans
of
the
time.
With


expository
directness,
Franzoni’s
figures
and
their
attributes
leave
little


doubt
about
their
essential
meaning—Justice—even
for
the
modern
viewer


unaccustomed
to
the
language
of
symbol.
Franzoni
died
shortly
afterward,


and
no
native
American
sculptor
had
yet
appeared.
However,
around


1820,
a
young
stonecutter
named
John
Frazee,
recently
arrived
in
New


York
City,
saw
a
cast
from
an
ancient
classical
sculpture
in
the
American


Academy
 of
 Fine
 Arts.
 Applying
 to
 John
 Trumbull,
 president
 of
 the


Academy,
for
instruction
in
sculpture,
Frazee
was
told
that
“there
would


be
little
or
nothing
wanted
in
this
branch
of
art,
and
no
encouragement


given
to
it
in
this
country,
for
yet
a
hundred
years!”1
Undeterred
and
with


only
limited
guidance,
Frazee
became
the
young
nation’s
first
sculptor


in
marble,
and
one
of
his
finest
works—a
bust
of
Supreme
Court
Chief


Justice
John
Jay—soon
appeared
beside
Franzoni’s
Justice.


In
this
venerable
room,
mounted
on
marble
brackets
placed
against


piers,
are
busts
of
the
three
men
confirmed
as
the
earliest
chief
justices


of
the
Court.
These
busts
are
also
the
three
earliest
portrait
sculptures


in
the
Senate,
which
may
be
evidence
of
the
meteoric
rise
of
the
prestige


of
the
Supreme
Court
under
Chief
Justice
John
Marshall.
The
busts,
pre"

senting
three
contrasting
styles
in
American
sculpture
in
the
1830s,
are


John
Frazee’s
John Jay (1831),
Hezekiah
Augur’s
Oliver Ellsworth (ca.
1837),


and
Hiram
Powers’s
John Marshall (1839).
The
prominence
of
portrait


sculpture
in
public
civic
centers
typifies
the
western
tradition
since
GrecoRoman
times.
In
America,
it
is
certainly
a
manifestation
of
the
continual


reference
 to
 the
 Roman
 Republic
 as
 the
 prototype
 of
 the
 American


Republic.
Because
the
significant
personages
of
ancient
Rome
were
usually


carved
in
marble,
and
because
Roman
sculptural
decoration
was
often


an
integral
part
of
public
architecture,
portraits
in
sculpture
must
have


seemed,
instinctively,
to
have
been
the
proper
medium
for
the
principal


building
of
the
American
Republic.


Frazee’s
excellent
bust
of
John
Jay
is
resolutely
neoclassical,
both


in
style
and
conception,
fusing
the
distinctive
Roman
formal
traits
to
an


equally
Roman
projection
of
intellectual
and
moral
character.
The
littleknown
Augur
is
one
of
those
unique
American
artists
whose
lack
of


formal
training
seems
to
have
liberated
them
in
their
manner
of
inter"

pretation.
His
likeness
of
Oliver
Ellsworth
exhibits
an
exaggerated
but


memorable
naturalism—he
looks
like
a
provincial
Laurence
Olivier—


xviii United States Senate 
combined
with
a
harsh
stylization,
which
might
be
called
New
England


neoclassicism.
Powers,
the
last
of
the
trio,
succeeded
admirably
in
one


of
his
first
important
commissions.
He
modeled
a
movingly
naturalistic


head
of
Marshall
in
the
last
year
of
his
34-year
tenure
as
chief
justice,


carving
it
in
stone
in
Italy.
Powers
placed
the
head
on
a
bust
draped


simply
and
symmetrically
in
the
neoclassical
manner.
The
combination


of
modes
is
similar
to
Augur’s
but
far
more
sophisticated,
and
it
ranks


very
high
in
American
portrait
sculpture.
All
of
these
works
thoroughly


embody
the
dignity
of
the
office
they
represent;
they
were
an
auspi"

cious
beginning
for
the
Senate’s
art
collection.


Three
portrait
busts
from
the
1870s
present
a
very
similar
range
of


choices.
The
portraits
are
Charles
Calverley’s
Lafayette Foster (1879),
Martin
 Lafayette
Foster


Milmore’s
Charles Sumner (1875),
and
Augustus
Saint-Gaudens’s
Roger 

B. Taney (1876–77).
The
most
surprising
is
Calverley’s
remarkable
neo"

classical
bust
of
the
acting
vice
president
after
Lincoln’s
assassination.


Though
carved
long
after
the
heyday
of
neoclassicism,
the
style
is
not


reactionary,
because
in
Calverley’s
hands,
it
is
so
perfectly
suited
to
the


character
of
the
sitter
as
perceived
by
the
artist.
There
is
not
an
ounce


of
interpretative
or
stylistic
rhetoric
in
this
work,
nor
is
it
an
arid
stylistic


exercise.
It
is
an
utterly
authentic
sculpture
by
an
artist
who
may
deserve


greater
appreciation
than
he
has
received.


In
his
bust
of
Charles
Sumner,
Milmore
(like
Powers)
perched
a
nat"

uralistic
head
atop
neoclassically
draped
shoulders,
but
the
combination


is
unpersuasive.
The
head,
however,
is
so
expressive
of
the
passionate
 Charles
Sumner


nature
of
the
antislavery
senator
that
it
triumphs
over
the
toga.
The
bust


of
Taney
by
Saint-Gaudens
(based
on
a
likeness
by
William
Henry
Rinehart)


may
also
be
compared
to
Powers’s
Marshall in
its
naturalism
and
in
its


frontal
symmetry,
but
Saint-Gaudens
has
exchanged
neoclassical
drapery


for
modern
dress
and
blank
eyeballs
for
drilled
pupils
that
accentuate


the
realism
of
the
head.
More
significantly,
Saint-Gaudens
imbues
Taney’s


features
with
an
introspective,
emotional
character,
approaching
the
intense


pathos
of
the
painted
portraits
by
Thomas
Eakins
in
the
last
decades
of


the
century.
The
Taney
and
Marshall
busts
can
be
easily
compared
by


visitors
to
the
Capitol
since
they
are
both
located
in
the
Old
Supreme


Court
Chamber.


Among
the
best-known
American
sculptures
of
politicians
is
a
pair


of
small,
full-length
bronzes
of
Daniel
Webster
and
Henry
Clay,
the
two
 Roger
B.
Taney


great
“persuaders”
of
the
Senate
during
the
second
quarter
of
the
19th


Catalogue of Fine Art xix 
century.
Modeled
by
Thomas
Ball
in
1853
and
1858
respectively,
they


are
located
in
the
second
floor
corridor
leading
from
the
Old
Senate


Chamber
toward
the
new
Chamber.
No
senators
have
been
more
written


about
or
more
deservedly
so.
Their
oratorical
powers
fascinated
public


and
politicians
alike.
So,
apparently,
did
their
cranial
characteristics,


due
to
the
public’s
fascination
with
phrenology—the
then-popular
study


of
the
conformation
of
the
skull
as
indicative
of
mental
faculties
and


character.
Oliver
Dyer,
in
his
1889
recollections
of
great
senators
he


had
known,
wrote
of
Clay:


The
effect
of
Clay’s
oratory
was
much
enhanced
by
the
peculiar
conformation
of


his
forehead
and
that
portion
of
his
head
which
lay
above
it.
His
perceptive
organs


projected
far
out,
the
crown
of
his
head
was
unusually
high,
and
a
grand
curvilinear


line
swept
from
the
frontal
sinus
between
his
eyes


to
the
apex
of
his
head.
This
peculiar
conforma"

tion
gave
him
a
commanding,
eagle-like,
soaring


expression
 which,
 in
 combination
 with
 his


glowing
features,
his
blazing
eyes
and
his
fiery


eloquence,
 sometimes
 excited
 the
 beholder’s


imagination
until
he
seemed
to
be
rising
in
the


air
with
the
orator.2


The
massive
head
of
Webster
never


ceased
to
fascinate
the
public.
And
Dyer,


writing
of
this
“last
and
greatest
personage


of
whom
I
have
to
treat,”
expounded
fully


upon
it:


Webster’s
 head
 was
 phenomenal
 in
 size,
 and


beauty
of
outline,
and
grandeur
of
appearance....


His
brow
was
so
protuberant
that
his
eyes,
though


unusually
 large,
 seemed
 sunken,
 and
 were


likened
unto
“great
burning
lamps
set
deep
in
the


mouths
 of
 caves.”
 But
 large
 as
 his
 Perceptive


organs
were,
his
Reflectives
bulged
out
over
them.


His
causality
was
massively
developed;
and
his


organ
of
comparison,
which
was
larger
even
than


his
 causality,
 protruded
 as
 though
 nature,
 in


Henry
Clay
 Daniel
Webster
 building
Webster’s
head,
having
distributed
her


superabundant
 material
 as
 well
 as
 she
 could,


found
at
the
last
that
she
had
such
a
lot
of
brain
matter
left
on
hand,
that,
in
despair,


she
dabbed
it
on
in
front
and
let
it
take
its
chance
of
sticking;
and
it
stuck.
The


head,
the
face,
the
whole
presence
of
Webster,
was
kingly,
majestic,
godlike.3


xx United States Senate 
After completing Webster and before commencing Clay, Ball traveled to Italy to further his knowledge of sculpture. Coincidentally, just 

at that time (1855–56), the Italian sculptor Francis Vincenti was engaged 

on decorative work in the Capitol extension. Given the significant opportunity to model and then carve the portrait busts of two venerable visiting American Indian chiefs, Be sheekee (or Buffalo) and Aysh­ke­bahke­ko­zhay (or Flat Mouth), he proved himself a sculptor of high ability. 

Although Vincenti today remains a tantalizingly obscure figure, his two 

busts rank with the finest 19th­century portraits of Native Americans. 

Forceful in their characterizations and skillfully elaborate in their detailed 

headdresses, they are among the exceedingly rare portrait sculptures Be sheekee, or Buffalo 

of the first Americans. 

By the time Hiram Powers finished his full­length statue of Benjamin Franklin in 1862, a quarter of a century after his bust of John 

Marshall, he was at the height of his fame—and his $10,000 fee reflected 

his success. The statue is important because it shows Franklin in contemporary rather than classical Roman clothing. Only in his less 

frequent full­length figures did Powers abandon the neoclassical 

drapery with which he always clothed his marble busts, whether 

of ideal or real subjects. The large format and contemporary 

costume allowed Powers to infuse the portrait with a complex 

and humanized personality. 

After the Senate had settled into the new Chamber in the 

north extension of the Capitol, after the Civil War had ended 

and the upheaval of Reconstruction had passed, after the Centennial celebration in Philadelphia, the senators at last turned 

their attention to the empty niches on the upper walls of the 

large room and to the commissioning of sculptures of past vice 

presidents to fill them. The earliest of these subjects, of course, 

had to be modeled and carved posthumously, like Powers’s 

Franklin. Always a problematic project for an artist, the first two 

vice presidents received unequal treatment. The bust of the 

second vice president, Thomas Jefferson (1888), carved in Rome 

by Moses Ezekiel, is very successful technically and is conceived 

in large forms that project well in the Chamber. On the other 

hand, although Ezekiel’s model for the likeness, whether a sculpture or a painting, has not been surely established, it seems clear 

Catalogue of Fine Art xxi 

Benjamin Franklin 
Thomas Jefferson 

John Adams 

Henry Laurens 

that the absence of a live sitter resulted in a slightly awkward portrait 

that does not look quite like any other Jefferson. 

However, the comparison of this bust with that of the nation’s first 

vice president, John Adams (1890) by Daniel Chester French, makes clearer 

French’s achievement. The bust conveys the intelligence and resolution 

of the man who presided over the Senate in New York and Philadelphia, and whose deciding vote against a 1794 bill to suspend commerce 

with Great Britain helped to prevent war. If French’s Adams (in a niche 

above the vice president’s chair) looks rather more genial and animated 

than Adams customarily did, it may perhaps be due to his model: Gilbert 

Stuart’s portrait of Adams as president, begun in 1798 (National Gallery 

of Art, Washington, D.C.). 

Paintings 

Although the paintings in the U.S. Senate are less prominently displayed in the public spaces than the sculptures, they include some of 

the oldest and most significant pieces in the collection. One painting 

worthy of close attention is the somber portrait of Henry Laurens (1781 

or 1784), painted when he was a prisoner in the Tower of London by 

the English artist Lemuel Francis Abbott. The eventful life of Laurens 

exemplifies the powerful conflicts felt by loyal British subjects in America 

at the time of the Revolution. He had seen his Charleston, South Carolina, 

home ransacked during protests against the Stamp Act (he was wrongly 

suspected of possessing stamped paper). Then he had served in the 

Continental Congress, becoming its second president. Laurens sailed 

for Holland to negotiate a treaty with the first European nation to recognize the sovereignty of the United States, but his ship was taken by 

the British, and he was imprisoned as a traitor to England. While in 

captivity, he issued two pro­British petitions yet also commissioned this 

portrait in which he proclaimed (in the letter he holds) his determination “in the last event to stand or fall with my country [America].” 

Knowledge of this personal history lends resonance to Abbott’s strong 

portrait, sparking our appreciation for a time when soaring hopes were 

dogged by uncertain dangers and patriotism was not a simple reflex 

but a dauntingly complex decision. 

It was George Washington, as president of the fledgling government in Philadelphia, who in effect selected the first architect of the 

projected Capitol building in the new capital of Washington, D.C., and 

xxii United States Senate 
die before the Capitol came into use, he would be prominently 

commemorated in the building. Ultimately, he would soar over 

the entire structure in Constantino Brumidi’s huge painting of 

Washington’s Apotheosis that fills the great dome of the Rotunda. 

But other paintings of the Father of His Country would enter 

the Capitol during the 19th century, and two of Gilbert Stuart’s 

replicas of his canonical “Athenaeum” head of Washington—the 

it was he who laid the cornerstone. Although Washington was to 

life portrait painted in April 1796 in Philadelphia—were among 

them. These fine examples are known as the Chesnut and the Pennington portraits. The two Stuarts in the Senate’s collection exhibit considerable differences, showing how Stuart could vary his formula in the 

replicas, perhaps trying to inject them with conjured life in the absence 

of the sitter. 

Stuart lamented that he had been unable to get the president to 

unbend, even to smile, on this occasion. He is said to have tried “to 

awaken the heroic spirit in [Washington] by talking of battles.” He had 

even recklessly remarked: “Now, sir, you must let me forget that you 

are General Washington and that I am Stuart the Painter,” which elicited 

the response, “Mr. Stuart need never feel the need of forgetting who he 

is, or who General Washington is.”4 Stuart—whose conversation delighted 

many sitters, John Adams among them—failed utterly to engage the first 

president. Nonetheless, the occasion resulted in the most famous portrait in American art history, one that Stuart replicated dozens of times 

in the remaining 30 years of his life, since it was a proven moneymaker 

and Stuart was chronically in debt. 

It has been asserted ad nauseam that the president’s impassive reserve 

in this portrait was the result of a new pair of false teeth. Although the 

uncomfortable teeth explained the rather puffy appearance of Washington’s 

jaw, there was a far more significant motive behind Washington’s studied 

aloofness. The necessity of beginning the new nation in as nonpartisan 

an atmosphere as possible had inevitably led to the near­unanimous selection of Washington as first president. A very young guide in a historical 

museum was once heard to say: “They needed heroes in those days.” 

Well, they had them, and none more adulated than George Washington. 

But the general longed to retire to his beloved Mount Vernon. He acquiesced in a first term, and even more reluctantly in a second, but he chafed 

under its constraints. When partisan attacks upon him finally did occur, 

Catalogue of Fine Art 

The Apotheosis of Washington by Constantino 

Brumidi, 1865. 

(Architect of the Capitol) 

xxiii 
he sometimes exploded—in private. In public, he was invariably impassive, above the political fray, a pose that must have taken a considerable 

emotional toll upon him. He knew perfectly how to assume the role that 

the situation demanded of him and to appear unmoved by 

petty or inconsequential matters. 

Another Washington portrait, a remarkable work by 

Charles Willson Peale, George Washington at Princeton 

(1779), currently hangs in a constricted location at the top 

of the west staircase of the north wing where it is seen 

(or passed) by the legislators daily but noticed by relatively 

few visitors to the Senate. Unfortunately, except for the 

Capitol Rotunda and the walls above the staircase landings in each wing, public spaces for displaying paintings 

in the Capitol are less suitable for proper viewing than are 

the spaces for sculpture. 

One of the finest paintings in the Capitol, George 

Washington at Princeton is the principal portrait of the hero 

as a military leader. The artist had served with the general 

at the battle so recently fought, and had known its uncertain ebb and flow. Yet Peale poses the general imperturbably beside a captured Hessian cannon; hat in hand; 

horse, groom, and battle standard behind him. The selfpossession of the pose is matched by an expression of 

benevolence, not braggadocio. This replica (perhaps the 

first) by Peale of his most popular painting was almost 

certainly purchased for Louis XVI, king of France, whose 

financial aid was invaluable to the American cause. Taken 

to France by the returning French ambassador, the painting 

passed into private hands after the king’s execution during 

the French Revolution. In time, the work returned to 

America. Exactly a century after it was painted, the Senate resolved 

to purchase the painting, which had been on display at the Smithsonian 

Institution, and in 1882 the work was moved to the Capitol. From the 

colony to the king to the Capitol, the painting has had an unpredictable 

but thoroughly appropriate history. This supremely confident image 

of the commander­in­chief after a critical victory in the War for Independence is one of the finest of the numerous replicas Peale painted 

George Washington at Princeton 

xxiv United States Senate 
of
the
life
portrait
originally
commissioned
for
the
Pennsylvania
Statehouse
(now,
Independence
Hall).


The
most
venerable
among
the
images
in
the
U.S.
Senate
of
George


Washington
is
Rembrandt
Peale’s
Patriæ Pater,
a
posthumous
portrait
in


which
the
great
man
is
imagined
as
a
godlike
figure
poised
in
an
inde"

terminate
ethereal
space
behind
an
illusionistic
stone
window,
beyond


time,
enshrined
in
memory.
Although
Rembrandt,
eldest
son
of
Charles


Willson
Peale,
had
painted
the
president
from
life
in
1795,
the
Senate’s


portrait
and
its
replica
and
variants
were
the
conscious
result
of
synthe"

sizing
the
finest
extant
likenesses
of
Washington
into
an
ideal
that
would


rise
above
any
of
them.
It
was
greeted
with
enthusiasm,
and
seemed


destined
to
hang
in
the
Capitol
building.
It
is
the
earliest
painting
of


Washington
to
enter
the
collection;
the
work
was
purchased
in
1832
to


preside
over
the
original
Senate
Chamber.
The
painting
had
already
been


briefly
displayed
at
the
Capitol
immediately
after
it
was
painted,
in
early


1824.
Although
Washington’s
head
is
just
about
life-size,
the
monumental


canvas
(6
x
41

⁄2
 feet)
produces
a
tremendous
effect.
The
strong
relief
of


the
idealized
head
carries
clearly
from
the
gallery
above
the
presiding


officer’s
dais
to
the
viewers
on
the
Chamber
floor.
Although
the
portrait


was
removed
from
the
site
when
the
Supreme
Court
moved
there
in
1860,


and
never
hung
in
the
new
Senate
hall,
it
was
permanently
returned
to


its
original
location
in
1976
when
the
Old
Senate
Chamber
became
a


museum
room,
no
longer
regularly
used
for
official
business.


Rembrandt
Peale
had
adopted
elements
of
French
neoclassicism


during
his
stay
in
Paris
(1808–10),
and
his
ideal
image
of
Washington


might
be
dubbed
“heroic
neoclassicism,”
but
that
style
was
not
the
recurring
force
in
American
painting
that
it
was
in
sculpture.
The
reason:
There


were
no
available
painted
ancient
classical
models
in
portraiture
as
there


were
classical
sculptures,
which
dictated
the
preference
for
neoclassical


sculpture.
Of
the
better
known
American
painters
who
adopted
neo"

classicism,
John
Trumbull
and
Gilbert
Stuart
came
to
it
naturally,
being


of
the
same
generation
as
Jacques-Louis
David,
the
principal
French


neoclassicist.
John
Vanderlyn
and
Rembrandt
Peale
were
a
generation


younger
and
encountered
neoclassicism
as
students
in
Paris.
All
practiced


the
style
only
briefly,
while
it
was
still
fresh
in
Europe.
Although
it
was


a
style
that
could
never
prevail
over
the
American
realistic
tradition
in


painting,
it
could
blend
with
it.


George
Washington
(Patriæ
Pater)


Catalogue of Fine Art xxv 
The
portrait
of
Joseph
Gales
(ca.
1844)
by
George
P.A.


Healy,
painted
while
Hiram
Powers’s
neoclassicism
reigned
in


American
sculpture,
is
a
case
in
point.
Healy
was
then
employed


by
King
Louis
Philippe
of
France,
where
the
late
neoclassicism


of
J.A.D.
Ingres
was
still
popular.
Healy’s
penetrating
likeness


of
one
of
the
most
fascinating
and
influential
men
in
Washington,


D.C.,
is
faithful
to
the
descriptive
realism
of
American
portrait


painting,
yet
it
has
similarities
to
the
male
portraits
of
Ingres
of


the
preceding
decade.
It
marks
a
meeting
point
of
these
two


styles,
where
the
realism
of
one
could
meld
almost
impercep"

tibly
with
the
idealism
of
the
other.


Joseph
Gales
(together
with
his
colleague,
William
Seaton)


edited
the
National Intelligencer for
half
a
century.
It
was
the


leading
political
newspaper
in
the
country,
one
which
spoke
for


many
administrations
while
also
publishing
the
congressional


debates.
In
this
latter
role,
Gales
was
a
prominent
figure
in
the


Joseph
Gales
 Senate
and
the
House
for
decades.
Joseph
Gales
certainly
had


strong
 political
 opinions
 but
 high
 standards.
 Carefully
 balanced


reporting
kept
the
paper
going,
even
during
hostile
administrations,
though


not
without
some
serious
fights.
In
the
long
run,
the
integrity
of
the
pub"

lisher
was
reflected
in
the
integrity
of
the
publication.
Gales
had
a
striking


head:
large
and
broad,
crowned
with
thick
hair
and
accented
by
keen


black
eyes.
He
was
gracious,
polite,
and
easygoing
in
manner,
but
also


a
shrewd
man
of
strong
convictions,
as
evidenced
by
one
of
his
late
edi"

torials
(ca.
1857)
that
addresses
topics
that
still
preoccupy
us
today—


violent
street
crime
and
handguns:


The
moral
causes
of
this
cheap
contempt
in
which
human
life
is
held
among
us...are


seen
in
the
extravagant
notions
of
personal
rights
and
personal
independence
which


are
fostered...by
the
perversion
of
our
political
doctrines,
[and]
by
the
laxity
of
parental


discipline....
 And
out
of
this...
has
grown
an
equally
extravagant
notion
respecting


the
rights
of
self-defense,
which
turns
every
man
into
an
avenger,...
[and]
renders


him
swift
to
shed
blood
in
the
very
apprehension
of
danger
or
insult.
As
partly
the


cause
and
partly
the
effect
of
this
indifference
to
human
life,
the practice of going 

armed with concealed and deadly weapons,
has
well
nigh
become
one
of
our
social


habitudes.
The
only
conceivable
object
of
course,
in
thus
carrying
these
instruments


of
death,
is
to kill:
the
violent,
that
they
may
perpetrate
their
misdeeds
with
impunity;


the
peaceful,
under
the
plea
that
the
habit...
has
become
a
dire
necessity
under
the


reign
of
license
and
disorder....
 But,
whatever
the
motive
and
whatever
the
excuse


for
this
dangerous
custom,
it
is
one
that
should
not
be
tolerated
in
any
community


xxvi United States Senate 
which
has
emerged
from
the
condition
of
savages,
and
professes
allegiance
to
law


and
order.

5


The
physical,
personal,
and
intellectual
aspects
of
Joseph
Gales
are


convincingly
caught
by
George
P.A.
Healy,
whose
style
a
19th-century


critic
characterized
as
“rugged”
and
“forcible,”
vigorous
and
emphatic,


and
well
attuned
to
a
sitter’s
personality.6


■■■■ 

The
necessary
emphasis
on
portraits
in
the
Senate
greatly
limits


the
inclusion
of
other
subjects.
This
is
most
apparent
in
the
neartotal
absence
of
landscape
paintings.
Landscape
painting
is
sometimes
regarded
as
19th-century
America’s
most
significant
artistic


contribution.
But
the
only
example
of
pure
landscape
in
the
Senate


is
François
Régis
Gignoux’s
Niagara, The Table Rock—Winter (ca.


1847).
As
such,
it
comes
as
a
welcome
respite
in
the
steady
parade


of
portraits.
The
French
painter
worked
for
30
years
in
America,


and
in
this
grand
picture
of
the
grandest
of
American
natural
won"

ders,
he
recorded
his
own
humility
in
the
face
of
nature.
Gignoux


included
an
artist
with
portfolio
at
the
bottom
of
the
scene.
Although


the
painting
has
no
narrative
content,
the
artist
has
added
sym"

bolic
commentary—an
American
eagle
and
a
fantastic
cathedral


of
ice
rising
toward
the
crest
of
the
falls.
To
discover
the
divine


presence
in
the
unspoiled
American
landscape
was
second
nature


to
poets
and
painters,
and
Niagara
Falls
in
particular
was
seen
as


a
national
symbol,
as
proof
of
divine
favor
toward
America.
Imagine


listening,
for
instance,
to
the
Reverend
Edward
T.
Taylor’s
speech


in
Buffalo
in
1860:


After
you
have
said
Niagara,
all
that
you
may
say
is
but
the
echo.
It
remains
Niagara,


and
will
roll
and
tumble
and
foam
and
play
and
sport
till
the
last
trumpet
shall
 Niagara,
The
Table
Rock—Winter


sound....
 So
with
this
country.
It
is
the
greatest
God
ever
gave
to
man....
 It 
is 
our


own.
God
reserved
it
for
us,
and
there
is
not
the
shadow
of
it
in
all
the
world
besides.7


The
series
of
Army
posts
painted
by
Seth
Eastman
in
the
early


1870s
were
conceived
of
as
a
historical
record
of
the
post-Civil
War


period.
Although
not
pure
landscape,
they
are
all
situated
convincingly


in
their
particular
settings.
Those
settings
were
sometimes
known
firsthand
by
the
artist
through
his
prior
military
postings,
but
there
is
no


evidence
that
any
of
Eastman’s
forts
were
painted
on
site.
However,


Catalogue of Fine Art xxvii 
Hubert
H.
Humphrey,
Jr.


Charles
G.
Dawes


Eastman
was
a
skillful
artist,
and
there
is
nothing
perfunctory
about


the
landscapes.
They
are
of
particular
interest
because
they
cover
a
wide


geographical
range
of
the
United
States,
from
the
southwest
to
the
Cana"

dian
border
to
the
Florida
Keys,
and
thereby
reflect
the
post-war
sense


of
an
expanded
and
unified
nation.
Modest
and
understated,
they
yield


more
information—and
more
artistic
pleasure—than
might
be
expected


from
a
cursory
glance.


The Place of the Modern 

It
has
been
stressed
that
the
Senate’s
art
collection,
in
its
most
impor"

tant
and
characteristic
works,
is
a
collection
of
19th-century
art.
That
it


also
contains
sculptures
and
paintings
of
quality—occasionally
of
the


highest
quality—from
the
20th
century
is
obvious.
Nonetheless,
the
style


that
had
been
so
well
suited
to
the
largely
commemorative
needs
of
the


Senate
was
still
preferred
and
fostered
by
the
now-conservative
taste
that


often
guided
commissions.
Of
course,
the
dichotomy
between
an
insti"

tutional
adherence
to
19th-century
stylistic
traditions
and
the
radical
stylistic


innovations
of
the
20th
century
mirrored
the
situation
found
elsewhere


in
the
world
of
art.
Museums
and
corporations,
dealers,
collectors,
and


artists,
were
all
confronted
with
a
seemingly
stark,
threatening
choice


between
the
old
and
the
new,
and
there
was
no
shortage
of
excellent


conservative
artists
who
disliked
rupture
and
opted
for
the
continuity
of


a
familiar
tradition.


In
the
early
1980s,
California
Governor
Jerry
Brown
created
a
stir


by
having
his
official
portrait
for
the
capitol
at
Sacramento
painted
by


Don
Bachardy
in
a
“modern”
style.
An
online
guide
to
the
California


State
Capitol
posted
by
the
Sacramento Bee described
the
effect:


Former
Gov.
Jerry
Brown
chose
to
have
his
mug
mapped
onto
an
abstract
oil
painting.


Between
calm
and
conservative
portraits
of
his
peers,
Brown’s
face
peers
out
of
gray


bars
and
drips
of
red
paint.8


Of
course,
the
portrait
is
not
“abstract”
(nor
cubist
nor
expres"

sionistic,
as
other
critics
have
declared).
Those
are
merely
code
words


for
“modern”—indicating
not
what
Brown’s
portrait
is,
but
what
it
is
not.


It
is
not
a
classic,
formal
portrait.


It
was
to
avoid
such
stylistic
clashes
that
the
Joint
Committee
on


the
Library
commissioned
20th-century
art
that
reflected
the
tradition


of
the
19th
century.
Similarly,
the
Senate
Committee
on
Rules
and
Admin"

istration
and
the
Senate
Commission
on
Art,
which
later
assumed
the


xxviii United States Senate 
responsibility
of
acquisitions
of
art,
continued
this
pattern.
Thus,
the


collection
became
increasingly
divorced
from
the
mainstream
of
recent


American
art.
The
public
at
large
endorsed
the
conservative
tradition,


and
the
popular
press
often
encouraged
a
humorous
or
condescending


attitude
toward
modern
art.
Despite
such
attitudes,
there
are
instances


in
the
collection
where
an
artist
has
quietly
made
a
bow
in
the
direc"

tion
of
20th-century
styles.
And,
rarely,
an
indisputably
modern


artist
will
have
achieved
the
rank
of
a
modern
old
master
whose


works
are
deemed
worthy
of
official
patronage.
As
cases
in
point,


three
strongly
contrasting
works
from
the
final
quarter
of
the


20th
century
indicate
the
divergent
strengths
to
be
found
in
recent


additions
to
the
collection.


To
the
casual
glance,
the
estimable
marble
portrait
of
Hubert


H.
 Humphrey,
 Jr.
 (1982),
 by
 Walker
 Hancock
 is
 thoroughly


traditional.
Yet
there
is
a
spare,
clean
quality
to
the
lines
and


surfaces
of
the
bust
that
does
not
stem
from
past
neoclassicism


but
 arguably
 from
 the
 reductionism
 of
 some
 early
 modernist


sculptors
after
World
War
I.
Hancock
was
a
traditionalist
but
recep"

tive
 to
 modernism.
 His
 moving
 Pennsylvania Railroad War 

Memorial (1950)
in
Philadelphia’s
Thirtieth
Street
Station,
for


example,
is
indebted
to
Jacob
Epstein
and
what
has
been
called


his
“bearable
modernism.”9
The
simplicity
of
the
Humphrey
bust


has
parallels
in
many
modern
sculptures.
Specifically,
it
may
be


compared
to
Jo
Davidson’s
works,
including
the
Senate’s
portrait


of
Charles
G.
Dawes.


Aaron
 Shikler’s
 large
 painting
 of
 Mike
 Mansfield
 (1978)


stands
out
as
a
delightful
anomaly
among
the
Senate
portraits.


Neither
the
standard
bust
nor
the
formal
frontal
full-length,
it
is


a
three-quarter-length
portrait
with
the
subject
posed
in
profile,


at
once
more
imposing
in
size
and
more
accessible
in
person"

ality
than
many
of
its
fellows.
Cropping
Senator
Mansfield
at
the


knees
brings
him
closer,
while
having
him
look
away
from
the


artist
and
the
viewer
(with
a
friendly
smile)
eliminates
much
of


Mike
Mansfield the
egocentric
self-consciousness
inherent
in
the
posing
process.


This
is
not
so
much
a
matter
of
artistic
style
as
contemporary
casual"

ness,
suggesting
comparisons
to
an
artist
of
wide
popularity:
Norman


Rockwell.
The
Shikler
work
has
the
aura
of
a
magazine
cover—affable,


yet
dignified.


Catalogue of Fine Art xxix 
Alexander
Calder’s
Mountains and Clouds (1986)
has


no
true
parallel
in
the
Senate’s
art
collection.
It
is
the
most


unabashedly
modern
work
in
the
collection,
by
a
major


artist
whose
abstraction
has
always
proved
acceptable
to


a
wide
spectrum
of
the
population,
and
whose
choice
for


the
 commission
 therefore
 met
 with
 little
 resistance.
 It


dominates
the
Hart
Senate
Office
Building’s
great
atrium.


An
immense
presence,
it
has
felt
overbearing
to
some.


However,
anyone
who
saw
the
atrium
before
the
muchdelayed
installation
of
the
sculpture
can
hardly
think
that


it
looked
better
empty.
Not
merely
vacant,
but
vacuous,


the
original
space
took
on
meaning
with
the
arrival
of


Calder’s
last
work.
It
is
composed
of
a
“stabile”—the
moun"

tains—and
a
mechanized
“mobile”—the
clouds,
and
it
is


entirely
black,
in
contrast
to
the
white
marble
interior.
Every


other
sculpture
in
the
Senate
is
conceived
as
a
decora"

tive,
often
symbolic,
adornment
to
the
architecture.
This


piece
is
conceived
as
its
equal,
in
a
monumental
balancing


act
 between
 the
 architecture
 and
 the
 art.
 Although
 it


represents
neither
“justice”
nor
any
other
abstract
concept,


its
elemental
natural
forms
are
just
as
appropriate
to
a


Mountains
and
Clouds
 building
 dedicated
 to
 the
 formulation
 of
 a
 democratic


nation’s
laws
as
any
classical
symbol.
In
its
soaring
stability
capped
by


swirling
infinity,
it
reflects
the
heroic
imagination
of
Calder.
Perhaps
equal


to
the
greatest
of
the
traditional
works
in
the
collection,
it
speaks
an


utterly
different
stylistic
language.
The
Calder
could
not
easily
coexist


with
the
works
within
the
U.S.
Capitol
building
itself,
but
the
modern


and
the
traditional
are
grand
complementaries
in
the
collection
of
the


U.S.
Senate
as
it
stands
at
the
beginning
of
the
21st
century.


■■■■ 

xxx United States Senate 
Notes
to
the
Reader


Introduction 

The
art
in
the
Senate
owes
its
present
form
primarily
to
the
Joint


Committee
on
the
Library,
established
by
an
act
of
Congress
in
1802.


As
evidenced
by
its
name,
the
Joint
Committee’s
first
duty
was
to
main"

tain
the
Library
of
Congress,
but
it
also
supervised
the
acquisition
of


art
for
the
Capitol,
the
White
House,
and
the
public
squares
of
Wash"

ington,
D.C.
The
committee
became
especially
active
in
the
selection


of
sculpture
and
painting
after
the
middle
of
the
19th
century.
At
that


time,
the
U.S.
Capitol
had
been
greatly
expanded,
following
the
design


of
architect
Thomas
U.
Walter,
to
create
an
imposing
new
dome
and


two
large
new
chambers
for
the
legislature.
A
massive
campaign
was


under
way
to
decorate
the
building
to
reflect
the
newfound
importance


of
the
United
States
in
world
affairs.


The
collection
of
art
in
the
Senate
has
taken
shape
through
sev"

eral
means.
Some
pieces
have
been
purchased
and
others
have
been


specially
commissioned.
At
times,
donors
have
offered
important
works


of
historical
significance,
and
many
of
these
have
received
judicious


approval
and
become
welcomed
additions
to
the
collection.


A
mainstay
of
the
Senate’s
fine
art
is
the
Vice
Presidential
Bust


Collection.
The
Joint
Committee
on
the
Library,
acting
under
a
reso"

lution
of
May
13,
1886,
began
commissioning
busts
of
the
vice
presi"

dents
to
occupy
the
niches
in
the
new
Senate
Chamber.
After
the
first


busts
filled
the
20
niches
that
surround
the
Chamber,
new
additions


were
placed
throughout
the
Senate
wing
of
the
Capitol.
The
collection


chronicles
the
individuals
who
have
served
as
vice
president
and
pays


tribute
to
their
role
as
president
of
the
Senate.
It
also
provides
a
unique


survey
of
American
sculpture
from
the
19th
century
to
the
present.


While
the
Senate
has
long
recognized
the
role
of
the
vice
presi"

dent,
it
recently
established
the
Senate
Leadership
Portrait
Collection


to
honor
presidents
pro
tempore
and
majority
and
minority
leaders
of


the
Senate.
Additionally,
an
awareness
of
the
value
of
diversity
and
the


contributions
of
those
historically
overlooked
have
led
to
commissions


of
United
States
Senators
Blanche
Kelso
Bruce
and
Margaret
Chase
Smith.


Thus,
the
history
of
the
Senate
and
the
nation
continues
to
be
told
through


the
Senate’s
art
program.


While
much
of
the
art
in
the
Senate
dates
from
the
19th
century,


it
was
not
until
more
recently
that
the
Senate
took
direct
responsibility


Catalogue of Fine Art xxxi 
for
the
care
and
protection
of
these
artifacts.
In
1968
the
U.S.
Senate


Commission
on
Art
was
established
to
oversee
the
art,
historical
objects,


and
architectural
elements
in
the
Senate
wing
of
the
Capitol
and
Senate


office
buildings.
The
Office
of
Senate
Curator
was
subsequently
estab"

lished
to
develop
and
implement
the
museum
and
preservation
programs


for
the
U.S.
Senate
on
behalf
of
the
Senate
Commission
on
Art.
The
office


collects,
preserves,
and
interprets
the
Senate’s
fine
and
decorative
arts,


historic
objects,
and
architectural
features.
Through
exhibits,
publica"

tions
and
other
programs
the
office
educates
the
public
about
the
Senate


and
its
collections.


Arrangement of the Catalogue 

Catalogue
entries
are
arranged
alphabetically
by
subject,
with
some


subjects
having
multiple
entries
by
different
artists.
Every
entry
con"

sists
of
a
brief
introduction
to
the
life
and
career
of
the
person
and/or


the
event
depicted,
information
about
the
creation
and
acquisition
of


the
piece,
and
a
short
description
of
the
artist’s
life
and
major
works.


Each
piece
is
further
documented
with
the
title,
artist’s
name
(when


known)
and
dates,
medium
of
the
work
and
date
of
completion,
dimen"

sions,
signatures
and
inscriptions,
acquisition
information,
and
an
acces"

sion
number.


Completion Dates 

The
completion
date
refers
to
the
year
the
final
form
of
the
work


was
achieved.
In
most
cases,
the
artist
has
signed
the
artwork
and
this


date
is
used;
otherwise,
the
date
is
determined
by
primary
documen"

tation
that
states
when
the
work
was
completed.
Whenever
possible,


modeled
and
carved
dates
are
included.
Dates
assigned
conform
to
the


following
system:


1800
 year
of
completion


ca.
1800
 completed
sometime
around
1800
(plus
or
minus
5
years)


ca.
1800–1825
 completed
between
approximately
1800
and
1825


1800/1801
 completed
in
either
1800
or
1801



xxxii United States Senate 
Dimensions 

Dimensions
are
in
inches
followed
by
centimeters,
height
followed


by
width.
For
sculptured
works,
depth
is
given
last.
If
the
base
was
cre"

ated
by
the
sculptor
as
an
integral
part
of
the
composition,
it
is
included


in
the
overall
dimensions.
Measurements
for
paintings
are
by
sight
(unless


noted
otherwise),
and
represent
the
maximum
dimension
in
the
stated


direction.


Signatures and Inscriptions 

Signatures
and
inscriptions
are
transcribed
exactly
as
they
appear


and
include
only
those
markings
that
were
made
or
directed
by
the
artist


or
foundry.
All
markings
are
described
from
the
viewer’s
point
of
view


(unless
noted
otherwise).
Illegible
or
reconstructed
marks
are
enclosed


in
brackets;
line
breaks
are
indicated
by
a
forward
slash.
Unusual
inscrip"

tion
marks
may
include:


ARA
 Associate
of
the
Royal
Academy
(United
Kingdom)


fecit,
fe.,
f.
 (Latin,
fecit).
Made
by


pinxt.,
pinx
 A
term
signifying
“painted
by”


Sc.,
Sculp.
 Sculptor,
Engraver


An
upper
case
V in
place
of
a
U is
common
for
early


inscriptions


Catalogue Numbers 

U.S.
Senate
accession
numbers
identify
each
piece
of
art
with
a


unique
control
number.


This
volume
reflects
the
U.S.
Senate
fine
art
holdings
as
of
September


2002.
Additional
information
on
the
art
is
available
through
the
Office
of


Senate
Curator.


Catalogue of Fine Art xxxiii 

Next page: 

Old Senate Chamber 

(1998 photograph) 

V


John
Adams


(1735–1826) 

John
Adams,
the
first
vice
president
and
 The
Senate’s
oil
portrait
of
John
Adams
by
Eliphalet
F.
Andrews


second
president
of
the
United
States,
 is
a
reverse­image
copy
of
a
George
P.A.
Healy
work
now was
born
in
Braintree
(now
Quincy),


Massachusetts,
into
a
family
noted
for
 owned
by
the
Corcoran
Gallery
of
Art
in
Washington,
D.C.


public
service.
As
a
young
man,
Adams
 Andrews
was
a
successful
portraitist
in
the
late
19th
century


practiced
law
while
taking
an
active
role
 who
supplied
several
government
agencies
with
images
of in
local
politics.
He
attacked
the
Stamp


Act
of
1765,
becoming
an
increasingly
 famous
Americans.


avid
and
prominent
resister
of
British
 For
more
than
a
century
after
the
founding
of
the
United
States,
por­


authority.
Yet
in
defense
of
liberty—in
this
 traits
of
military
figures,
early
presidents,
and
other
heroes
were
in
high
 case
against
mob
violence—Adams
in
 demand.
Gilbert
Stuart,
for
example,
might
paint
a
hundred
replicas
or
 1770
agreed
to
represent
the
British


soldiers
accused
of
murder
in
the
Boston
 variants
of
his
life
portraits
of
George
Washington,
but
there
would
still


Massacre.
Although
their
subsequent
 be
room
for
hundreds
more
copies,
as
well
as
copies
of
copies
by
artists
 acquittal
angered
some
patriots,
the


politically
independent
Adams
won
 of
varying
degrees
of
skill.
In
this
instance,
the
highly
accomplished
George


enough
approval
to
secure
a
seat
in
the
 P.A.
Healy
in
1860
copied
Stuart’s
1800/1815
portrait
of
Adams—now
in


Massachusetts
assembly
later
that
year.
 the
collection
of
the
National
Gallery
of
Art
in
Washington,
D.C.—for
a
 An
avowed
supporter
of
American
 commission
by
Thomas
B.
Bryan
of
Chicago,
who
had
purchased
several independence,
Adams
was
elected
a


delegate
from
Massachusetts
to
the
first
 other
presidential
portraits
from
the
artist
that
same
year.
 and
second
Continental
Congresses.
As
a
 The
Healy
copy
in
turn
was
copied
by
Andrews,
who
then
sold member
of
the
committee
that
drafted
the


Declaration
of
Independence,
Adams
led
 his
version
to
the
federal
government
through
Architect
of
the
Capitol


the
debate
that
ratified
the
document.
 Edward
Clark.
Possibly
commissioned
by
Clark
on
behalf
of
Congress,


Thomas
Jefferson
acknowledged
Adams
 it
is
an
odd
work
in
two
respects:
First,
the
composition,
as
noted,
is as
the
Declaration’s
“pillar
of
support
 reversed,
a
decision
and
process
that
would
entail
a
great
deal
of
effort. on
the
floor
of
Congress,
its
ablest


advocate
and
defender.”1
 Second,
Andrews
later
professed
no
clear
memory
of
painting
the
copy.


During
the
war
years,
Adams
held
 Andrews
was
born
in
Ohio
and
trained
in
Düsseldorf,
Paris,
and various
diplomatic
appointments
in
Europe
 Berlin.
He
moved
to
Washington,
D.C.,
following
the
election
of
his and
returned
briefly
to
Massachusetts
in


1779
to
help
draft
the
state’s
constitution.
 friend
Rutherford
B.
Hayes
as
president.
Andrews
subsequently
estabWith
John
Jay
and
Benjamin
Franklin,
he
 lished
the
art
instruction
program
at
the
Corcoran
Gallery
of
Art
in
1877 negotiated
the
provisional
articles
of


the
peace
treaty
with
Great
Britain
that
 and
served
as
the
art
school’s
director
from
1887
until
1902.
He
became


ended
the
War
of
Independence,
and
he
 a
greatly
admired
teacher,
but
as
an
artist
he
was
less
distinguished.


later
became
the
first
U.S.
minister
to
 His
work
as
a
portraitist—and
there
was
a
great
deal
of
it—seems
to Great
Britain
from
1785
to
1788.
As
the


popular
candidate
of
the
New
England
 have
consisted,
in
large
part,
of
copies
of
portraits
(the
capital
city
is


Federalists,
Adams
was
twice
elected
vice
 replete
 with
 them).
 In
 her
 book
 Ohio Art and Artists,
 Edna
 Clark


president
under
George
Washington.
After
 remarked,
“He
knew
more
than
he
painted.” 1


Washington’s
retirement,
Adams
was
 It
is
hard
to
imagine
why
Andrews
would
choose
to
reverse
the elected
president
in
1796.


Adams’s
presidency
was
dominated
 figure
in
this
painting
of
Adams.
He
did
not
do
so
in
his
other
copies,


by
strife
within
his
cabinet
over
relations
 so
far
as
is
known.
Otherwise,
he
stays
close
to
Stuart’s
composition. between
the
United
States
and
France.


Vice
President
Thomas
Jefferson
and
his
 Comparison
of
the
Andrews
and
Healy
copies
with
the
original
leads


Republican
supporters
sympathized
with
 to
the
conclusion
that
Healy,
a
skilled
copyist,
is
faithful
to
Stuart
both


France;
the
opposition,
led
by
Adams’s
 in
handling
and
in
characterization.
Andrews
also
retains
the
character,


2 United States Senate 
John Adams 

Eliphalet Frazer Andrews (1835–1915) 

after
George
Peter
Alexander
Healy
(1813–1894)
after
Gilbert
Stuart
(1755–1828)


Oil
on
canvas,
1881



29
5

⁄8
 x
24
3⁄4
 inches
(75.3
x
62.9
cm)


Unsigned


Purchased,
1881



Cat.
no.
31.00005


Catalogue of Fine Art 3 
John
Adams—continued 

rival
within
the
Federalist
Party,
Alexander
 but
his
Adams
is
less
immediate,
less
vital.
His
modeling
is
effective,


Hamilton,
favored
military
action
against
 but
his
brushwork
is
thicker
and
more
opaque
than
that
of
Stuart
or
 the
French.
Adams
sent
peace
commis­


sioners
to
France
and
preserved
United
 Healy.
For
instance,
the
edge
of
the
white
shirt
is
a
long,
unsubtle


States
neutrality—but
at
a
personal
cost.
 brushload
of
paint,
and
the
mass
of
hair
is
generalized
and
heavy.
Stuart’s


Alienated
from
the
Federalists
for
avoiding
 trademark
transparency
of
touch
is
absent.
In
addition,
in
Stuart’s
painting,
 war
with
the
French
and
abandoned
by


the
populace
for
his
reluctant
support
of
 the
left
forearm,
cuff,
and
hand
seem
almost
an
awkward
afterthought;


the
repressive
Alien
and
Sedition
Acts,
 Andrews
suppresses
the
arm
(now
the
right)
still
more.
However,
the


Adams
lost
the
presidency
to
Thomas
 silvery
sheen
on
Adams’s
forehead,
a
mannerism
of
Stuart’s
later
years, Jefferson
in
the
election
of
1800.


Adams
retired
from
public
life
and
 is
very
neatly
imitated
not
only
by
Healy
but
also
by
Andrews.


spent
his
final
years
at
the
family
home­ On
March
21,
1881,
Eliphalet
Andrews
announced
in
a
short
note


stead
in
Quincy.
There
he
drafted
lengthy
 to
Edward
Clark,
“I
have
the
copy
of
John
Adams
finished
and
would
be
 letters
to
friends
and
former
colleagues,


including
a
notable
15­year
correspon­ pleased
to
show
it
to
you
before
returning
the
original
to
the
Corcoran


dence
with
one­time
opponent
Thomas
 Gallery.”
But
on
July
2,
1910,
in
response
to
a
query
from
Elliott
Woods,


Jefferson.
Both
men
died
on
July
4,
 superintendent
of
the
U.S.
Capitol
building
and
grounds,
Andrews
wrote,
 1826,
the
50th
anniversary
of



American
independence.
 “I
do
not
remember
having
painted
a
portrait
of
John
Adams
although
I


may
have
done
so
as
I
have
painted
many
public
portraits
for
govt.
in


Washington.
If
I
did
paint
it,
it
must
have
been
done


during
the
life
of
Chief
Architect
Clark
and
if
so
it
would


undoubtedly
have
been
copied
from
the
one
in
the
Corcoran
Gallery
of
Art,
copied
by
George
P.A.
Healy
from


the
 original
 Gilbert
 Stuart.
 I
 do
 remember
 Mr.
 Clark


having
given
me
an
order
for
some
portrait.”


The
 final
 sentence
 here
 may
 suggest
 that


Andrews
was
commissioned
for
the
copy.
As
for
forgetting
the
painting,
Andrews
was
not
only
prolific,


he
was
also
75
years
old.
Twenty­nine
years
had
passed


since
he
had
painted
the
work.


This Gilbert Stuart 1800/1815 life portrait of 

President John Adams was copied by George 

P.A. Healy in 1860. 

(Gift of Mrs. Robert Homans, Photograph © 2000 Board of 

Trustees, National Gallery of Art, Washington) 

4 United States Senate 
Eliphalet F. Andrews based his portrait of 

John Adams on this George P.A. Healy 

painting, which is a copy of Gilbert Stuart’s 

1800/1815 portrait. 

(Corcoran Gallery of Art, Washington, D.C., Museum Purchase, 

Gallery Fund) 

Catalogue of Fine Art 5 
John
Adams—continued 

This
bust
of
the
first
U.S.
vice
president
occupies
a
commanding
place
in
the
Senate
Chamber.
It
sits
almost
directly


above
the
rostrum
used
since
1859
by
vice
presidents
while


presiding
 over
 the
 Senate.
 Daniel
 Chester
 French
 was


awarded
the
commission
for
the
bust
of
John
Adams
in
May


1886.
The
piece
was
modeled
at
French’s
New
York
studio,
pointed
in


Carrara,
Italy,
and
finished
in
New
York.
It
was
placed
in
the
Senate


Chamber
in
1890.


When
the
Joint
Committee
on
the
Library
originally
authorized
the


Senate’s
Vice
Presidential
Bust
Collection
in
1886,
the
first
announced


commissions
honored
five
men:
the
three
former
vice
presidents
then


living—Chester
A.
Arthur,
Hannibal
Hamlin,
and
William
A.
Wheeler—


and
the
first
two
holders
of
the
office—Adams
and
Thomas
Jefferson.


Sculptors
for
the
living
vice
presidents
were
selected
based
on
the
subjects’
suggestions;
artists
to
represent
Adams
and
Jefferson
came
from


the
sitters’
home
states.
French,
although
born
in
New
Hampshire,
had


been
raised
in
Massachusetts
and
initially
trained
there.
He
produced
his


first
public
work,
the
famous
Minute Man, for
the
town
of
Concord.


French
agreed
to
execute
the
bust
of
John
Adams
for
the
standard
$800
fee
that
the
Senate
had
determined.
He
worried,
however,


that
the
sum
might
not
be
adequate
to
attract
other
artists
of
note.
He


wrote
to
Architect
of
the
Capitol
Edward
Clark,
“I
consider
it
an
honor


and
worth
a
good
deal
to
have
a
bust
of
mine
in
so
important
a
position.
I
do
not
know
how
many
sculptors
you
will
find
who
will
look


at
it
in
the
same
way.”


French
rejected
existing
sculptures
of
Adams
as
unsuitable
models


for
 the
 Senate
 bust,
 commenting
 that
 they
 were
 not
 of
 the
 correct


proportions
for
the
niches
in
the
Senate
Chamber.
On
being
pressed


further
to
find
a
model
to
copy,
French
wrote
to
Clark
in
July
1886,
“There


is
an
absurd
bust
in
Faneuil
Hall,
Boston,
that
was
taken
late
in
life
and


looks
like
a
silly
old
woman,
and
there
is
another
in
the
church
at
Quincy


that
was
probably
made
after
his
death
and
is
not
necessarily
authentic.


I
should
not
want
to
copy
either
of
them.”


French
sought
another
visual
resource.
Although
it
has
been
suggested
that
he
probably
drew
on
the
oil
portraits
of
Adams
by
Charles


Willson
Peale,
John
Trumbull,
and
Mather
Brown,
a
comparison
suggests


otherwise.
French
chose
to
sculpt
Adams
as
an
older
man
than
the
figure


6 United States Senate 
John Adams 

Daniel Chester French (1850–1931) 

Marble,
1890


31
1

⁄4
 x
28
x
18
inches
(79.4
x
71.1
x
45.7
cm)


Unsigned


Inscribed
(centered
on
front
of
base):
JOHN
ADAMS


Commissioned
by
the
Joint
Committee
on
the
Library,
1886


Accepted
by
the
Joint
Committee
on
the
Library,
1890


Cat.
no.
22.00001


Catalogue of Fine Art 7 
John
Adams—continued 

Marble busts of the earliest vice presidents 

encircle the gallery of the Senate Chamber, 

including the one of John Adams, second 

from left. 

(1999 photograph) 

8 United States Senate 
seen
in
those
paintings—indeed,
older
than
he
appeared
during
at
least


his
first
term
as
vice
president,
if
not
his
second.
Adams
also
wears
his


own
unadorned
hair—distinctive,
winglike
puffs—instead
of
the
fashionable


peruke
or
powdered
hair
of
earlier
years.
It
seems
most
likely
that
French


used
the
superb
portrait
of
Adams
begun
by
Gilbert
Stuart
in
1800
but,


to
the
consternation
of
the
family,
not
completed
and
delivered
until
1815


(p.
4).
This
painting,
now
in
the
National
Gallery
of
Art
in
Washington,


D.C.,
had
remained
in
the
Adams
family
and
was
lent
by
them
(with
an


Abigail
Adams
portrait,
also
by
Stuart)
to
the
1889
Centennial
Celebration
of
George
Washington’s
inauguration.
French
would
certainly
have


seen
the
Stuart
painting
at
that
time,
the
year
in
which
he
was
working


on
his
bust
of
Adams.


If
anything,
French
offers
a
less
idealized
Adams
than
does
Stuart.


For
instance,
the
folds
of
material
at
the
bottom
of
the
vest
suggest
the


girth
that
led
Adams
to
be
dubbed
“His
Rotundity.”
The
creases
and
wrinkles
of
the
face
are
also
stressed
more,
and
the
face
is
expressive
and


full
of
humanity.
Although
the
downturned
corners
of
Adams’s
mouth


suggest
the
acidity
of
his
personality,
they
also
carry
the
promise
of
an


ironic
wit.
The
frontality
of
the
bust,
with
only
a
slight
turn
of
the
head,


is
emphasized
by
the
high,
bladelike
coat
collar
that
frames
and
accents


the
face.
It
projects
a
briskness,
a
sculptural
analogy
to
both
the
sharp


intellect
and
the
sharp
tongue
that
characterized
Adams.
But
then
French


softens
and
enriches
his
presentation
of
the
head
by
cushioning
it
within


a
triangulation
of
the
elaborate,
improvised
lateral
hair
puffs
and
the


blossoming
shirtfront.
This
bust
matches
the
description
of
Adams
by


a
contemporary
(who
was
looking
at
the
Stuart
portrait):
“Age
has
given


a
softness
and
mellowness
to
the
countenance...
without
losing
the


characteristic
vigor
of
former
years.”1


French,
one
of
the
premier
sculptors
of
his
day,
was
principally
concerned
with
expressing
naturalism
in
the
human
form,
in
contrast
to
the


neoclassical
idealism
of
his
predecessors.
Noted
for
his
public
monuments,


allegorical
sculptures,
and
portrait
busts,
the
popular
and
prolific
artist


is
most
celebrated
for
the
Lincoln
Memorial
in
Washington,
D.C.,
dedicated


in
1922.
He
also
executed
the
Senate’s
bust
of
Vice
President
Henry
Wilson


(p.
428)
and
a
full­length
marble
statue
of
Michigan
Senator
Lewis
Cass


in
the
U.S.
Capitol’s
National
Statuary
Hall
Collection.


Catalogue of Fine Art 9 
Spiro
Theodore
Agnew


(1918–1996) 

Spiro
Theodore
Agnew,
the
39th
vice
 I

n
1992
the
Senate
Committee
on
Rules
and
Administration
agreed


president
of
the
United
States,
was
born
 to
commission
a
marble
bust
of
Spiro
Agnew
for
the
Senate’s in
Baltimore,
Maryland.
Agnew
served
in
 Vice
Presidential
Bust
Collection.
Whereas
ordinarily
the
bust the
U.S.
Army
during
World
War
II
and


was
awarded
a
Bronze
Star.
In
the
1950s,
 would
have
been
commissioned
shortly
after
Agnew
left
office,


after
establishing
a
law
practice
in
the
 the
circumstances
surrounding
his
departure
resulted
in
a
lengthy Baltimore
suburbs,
Agnew
became
active


in
local
politics.
From
1962
to
1966
he
 delay.
In
a
letter
to
then­Rules
Committee
Chairman
Ted
Stevens,
Agnew

served
as
Baltimore
County
executive—the
 noted
that
although
his
staff
and
the
staff
of
the
architect
of
the
Capitol


first
Republican
to
hold
that
office
in
the
 had
begun
discussing
the
subject
prior
to
his
resignation,
nothing
fur­ 20th
century—and
was
elected
governor
of


Maryland
in
1966.
Two
years
later
Richard
 ther
had
transpired.
The
eventual
decision
to
commission
the
bust
was


Nixon
chose
the
relatively
unknown
Agnew
 based
on
historical
precedent:
The
1886
Senate
resolution
establishing


to
be
his
vice
presidential
running
mate.
 the
collection
calls
for
a
marble
bust
of
each
vice
president
to
be
installed Despite
allegations
of
financial
misconduct


leveled
at
the
governor,
the
Nixon­Agnew
 in
the
Capitol
without
reservation.



ticket
won
by
a
narrow
margin.
 Architect
of
the
Capitol
George
White
recommended
North
Car­


As
vice
president,
Agnew
was
known
 olina
sculptor
William
Behrends
for
the
commission,
and
Agnew
approved for
his
strong
criticism
of
antiwar
demonstra­ this
selection.
Behrends
relied
on
period
photographs
of
the
former
vice tors
and
his
comments
on
bias
in
the
news


media.
Shortly
after
his
reelection
in
1972,
 president
to
portray
him
as
he
appeared
during
his
term
in
office.
The


Agnew
faced
charges
of
past
bribery
and
 sculptor
also
visited
Agnew
for
four
sittings
during
the
summer
of
1993 tax
fraud
dating
from
his
governorship.
He


resigned
from
office
on
October
10,
1973,
 in
Ocean
City,
Maryland,
where
the
former
vice
president
spent
part
of


pleading
no
contest
to
tax
evasion.
He
was
 each
year.
Behrends
noted,
“He
was
a
good
model,
easygoing,
relaxed.


fined
$10,000
and
given
a
suspended
 And
he’s
a
great
subject
for
marble.
He’s
got
that
nose,
that
strong
face.”1


prison
sentence;
the
government
agreed
not


to
prosecute
him
on
charges
of
bribery
and
 The
artist
traveled
to
Italy
to
select
the
marble,
and
carved
the
piece
at


extortion.
After
he
was
disbarred
in
Mary­ his
studio
in
Tryon,
North
Carolina.


land,
Agnew
moved
to
Rancho
Mirage,
 Behrends
is
represented
in
public,
private,
and
corporate
collec­
 California,
where
he
conducted
business
in


international
trade
and
wrote
his
memoirs
 tions
throughout
the
country.
Works
by
the
artist
include
a
monumental


and
a
novel.
Agnew
died
in
1996.­ bronze
bust
of
Andrew
Johnson
at
the
Tennessee
State
Capitol
building,


a
statue
of
Henry
Ford
II
in
Detroit,
and
a
seven­foot
bronze
figure
of


Ben
Hogan
for
the
Georgia
Golf
Hall
of
Fame
in
Augusta.
Behrends


has
twice
been
awarded
the
Richard
Portrait
Prize
by
the
National


Sculpture
Society.


The
bust
of
Agnew
was
unveiled
at
ceremonies
held
at
the
Capitol


on
May
24,
1995—almost
22
years
after
Agnew
left
public
office.
The


former
vice
president
was
moved
by
the
occasion,
and
his
voice
broke


more
than
once
during
his
address.
Agnew
made
no
mention
of
his
resignation
but
instead
focused
on
the
office
he
once
held,
commenting,


“I’m
not
blind
and
deaf
to
the
critics
that
feel
this
is
a
ceremony
that


Vice President and Mrs. Agnew and Senator should
not
take
place.
This
ceremony
has
less
to
do
with
Spiro
Agnew


Ted Stevens at the unveiling ceremony at the than
the
office
I
held,
which
was
conferred
upon
me
when
the
Amer­ Capitol in 1995. 

(U.S. Senate Photographic Studio) ican
people
elected
and
re­elected
me
vice
president
of
the
United
States.”2


10 United States Senate 
Spiro T. Agnew 

William F. Behrends (born 1946) 

Marble,
modeled
1993,
carved
1995


27
1

⁄2
 x
23
1⁄8
 x
13
3⁄4
 inches
(69.9
x
58.7
x
34.9
cm)


Signed
and
dated
(on
left
side
of
base):
W.
BEHRENDS
1995


Commissioned
by
the
Senate
Committee
on
Rules
and
Administration,
1992


Accepted
by
the
Senate
Committee
on
Rules
and
Administration,
1995


Cat.
no.
22.00043


Catalogue of Fine Art 11 
Nelson
Wilmarth
Aldrich


(1841–1915) 

Nelson
Wilmarth
Aldrich,
a
U.S.
represen


tative
and
senator
from
Rhode
Island,


defended
business
interests
throughout
his


political
career.
Born
in
Foster,
Rhode


Island,
Aldrich
was
elected
as
a
Repub


lican
to
the
U.S.
House
of
Representatives


in
1878
and
entered
the
U.S.
Senate
in


1881.
In
the
late
1890s,
Aldrich
assumed


a
key
role
as
one
of
“The
Senate
Four”—


Aldrich,
William
Allison
of
Iowa,
Orville


Platt
of
Connecticut,
and
John
Spooner
of


Wisconsin—who
dominated
the
Senate
for


a
decade.


As
chairman
of
the
Senate
Finance


Committee,
Aldrich
presided
over
tariff


legislation
at
a
time
when
tariffs
provided


the
federal
government’s
principal
source


of
income.
He
coauthored
the
PayneAldrich
Tariff
Act
of
1909,
which
raised


tariff
rates
on
many
imports
and
stirred


protests
from
progressive
reformers.
In
the


wake
of
the
Panic
of
1907,
he
sponsored


the
Aldrich­Vreeland
Act,
permitting
the


U.S.
Treasury
to
lend
currency
to
banks


during
fiscal
crises.


In
his
final
Senate
years,
Aldrich


chaired
the
National
Monetary
Commis


sion.
His
Aldrich
Plan,
providing
for
flex


ible
cash
reserves,
was
the
forerunner


of
the
Federal
Reserve
System.
A
powerful


floor
leader,
Aldrich
played
a
major


part
in
shaping
the
legislative
programs


of
the
administrations
of
both
Theodore


Roosevelt
and
William
Howard
Taft.


After
serving
in
the
Senate
from
1881


until
1911,
Aldrich
retired
to
Providence,


Rhode
Island.
He
died
in
1915
in
New


York
City.
Aldrich’s
grandson,
Nelson


Aldrich
Rockefeller,
served
as
vice
presi


dent
of
the
United
States
from
1974


to
1977,
and
his
great­grandson,
John


D.
Rockefeller
IV,
took
his
oath
as
a
U.S.


senator
from
West
Virginia
in
1985.


Vice
President
Nelson
Rockefeller
commissioned
artist
Paul


Kiehart
to
make
a
copy
of
his
favorite
portrait
of
his
grandfather
and
namesake,
Nelson
Aldrich,
for
donation
to
the


U.S.
 Senate
 Collection.
 Executed
 in
 1976,
 the
 picture


replicates
 a
 1911
 life
 portrait
 by
 the
 Swedish
 painter


Anders
Zorn;
the
original
belongs
to
the
National
Trust
for
Historic
Preservation
and
hangs
at
Kykuit,
the
Rockefeller
family
home
in
Pocantico


Hills,
 New
 York.
 Zorn’s
 other
 portrait
 works
 include
 philanthropist


Andrew
Carnegie,
located
at
the
Carnegie
Institute
in
Pennsylvania;
First


Lady
 Frances
 Folsom
 Cleveland,
 on
 display
 at
 the
 Isabella
 Stewart


Gardner
Museum
in
Boston;
and
President
William
Howard
Taft,
in
the


White
House
collection.


Born
in
Pennsylvania,
Kiehart
studied
at
the
Pratt
Institute
and
the


Art
Students
League
in
New
York
before
conducting
an
apprenticeship


in
conservation.
Primarily
a
restorer
of
paintings,
Kiehart
conserved
a


number
of
pieces
in
the
Samuel
H.
Kress
Collection.
This
collection
was


eventually
donated
to
institutions
throughout
the
country,
with
the
largest


portion
going
to
the
National
Gallery
of
Art
in
Washington,
D.C.


During
his
career,
Kiehart
has
been
commissioned
to
copy
portraits.


In
1986
he
was
asked
to
execute
a
portrait
of
West
Point
Superintendent
Major
General
Richard
Delafield
after
an
oil
on
canvas
painting
by


Henry
Peters
Gray
in
the
United
States
Military
Academy
Collection.
The


cadet
class
of
1981
donated
the
Kiehart
painting
to
West
Point,
where


it
is
now
on
display.


The Senate Four, left to right, Orville Platt, 

John Spooner, William Allison, and Nelson 

Aldrich met informally at Aldrich’s Newport, 

Rhode Island, estate in 1903. 

(U.S. Senate Historical Office) 

12 United States Senate 
Nelson Aldrich 

Paul Peter Kiehart (born 1913) 

after
Anders
Leonard
Zorn
(1860–1920)


Oil
on
canvas,
1976


44
7

⁄8
 x
34
inches
(114
x
86.4
cm)


Unsigned


Gift
of
Vice
President
Nelson
Aldrich
Rockefeller,
1977


Accepted
by
the
U.S.
Senate
Commission
on
Art,
1977


Cat.
no.
32.00020


Catalogue of Fine Art 13 
William
Boyd
Allison


(1829–1908) 

Although
he
was
born
in
Ashland
County,
 S

oon
after
William
Allison’s
death,
the
Senate
passed
a
resolu­


Ohio,
William
Boyd
Allison
served
Iowa
 tion
authorizing
the
Joint
Committee
on
the
Library
to
memo­
 as
a
U.S.
representative
and
senator
for


43
years.
After
helping
to
found
the
Ohio
 rialize
their
former
colleague.
An
existing
oil
portrait
of
Allison


Republican
Party,
but
losing
a
bid
for
 by
Wilbur
Reaser
was
immediately
purchased
from
the
artist.


prosecuting
attorney
for
Ashland
County,
 Nothing
is
known
about
the
circumstances
under
which
Reaser
 Allison
moved
to
Iowa
in
1857.
He
was


elected
to
the
U.S.
House
of
Representa­ came
to
paint
Allison’s
portrait.



tives
in
1862
and
served
four
terms.
In
 Like
Allison,
Reaser
was
born
in
Ohio
but
later
moved
to
Iowa.


1872
Allison
succeeded
in
his
bid
for
the
 He
studied
drawing
and
painting
at
the
San
Francisco
Art
Institute
and
 U.S.
Senate,
where
he
served
continuously
 at
the
Académies
Julian
and
Colarossi
in
Paris.
The
artist
won
gold
 from
1873
until
his
death.



A
political
moderate
and
a
master
of
 and
silver
medals
at
the
California
Exposition
in
1894
and
a
prize
at


conciliation,
Allison
helped
frame
successful
 New
 York’s
 National
 Academy
 of
 Design
 in
 1896.
 He
 became
 a tariff
compromises
and
steered
a
middle


course
between
protectionism
and
reform.
 successful
painter
of
public
figures.
In
addition
to
his
portrait
of
Senator


Representing
Midwest
farmers,
he
sought
 Allison,
Reaser
executed
likenesses
of
Senator
Carroll
Smalley
Page,


to
reduce
tariffs
on
the
manufactured
goods
 held
by
the
Statehouse
of
Vermont;
Secretary
of
Agriculture
James they
needed
in
quantity.
In
the
currency


debate
then
sweeping
the
nation,
Allison
 Wilson,
located
at
the
State
Historical
Society
of
Iowa
in
Des
Moines;


successfully
balanced
conservative
and
 and
 Rutgers
 University
 President
 Merrill
 Edward
 Gates,
 owned
 by


inflationist
demands
by
offering
an
 Amherst
College
in
Massachusetts.
 amended
version
of
a
House
bill
proposed


by
Congressman
Richard
P.
Bland
of
Mis­


souri.
Allison
weakened
Bland’s
bill,
which


provided
for
free
and
unlimited
coinage
of


silver,
to
one
that
allowed
specific
limited


coinage.
Allison’s
version
became
the


Bland­Allison
Act
of
1878.



For
some
twenty­five
years
Allison


chaired
the
Senate
Appropriations


Committee.
In
1897
he
succeeded
John


Sherman
of
Ohio
as
chairman
of
the


Republican
caucus.
Allison
declined


cabinet
posts
in
the
administrations
of


Presidents
Garfield,
Harrison,
and


McKinley,
preferring
to
exert
national


leadership
from
the
Senate.
He
won
his


state’s
Senate
primary
in
June
1908,


but
he
died
in
Dubuque,
Iowa
shortly


thereafter.


Iowa Senator William Allison. 

(Library of Congress, Prints and Photographs Division) 

14 United States Senate 
William Allison 

Wilbur Aaron Reaser (1860–1942) 

Oil
on
canvas,
ca.
1908


41
5

⁄8
 x
33
5⁄8
 inches
(105.7
x
85.4
cm)


Signed
(lower
right
corner):
W.A.
REASER


Purchased
by
the
Joint
Committee
on
the
Library,
1909


Cat.
no.
32.00004


Catalogue of Fine Art 15 
America’s
First
Moon
Landing


(July 21, 1969) 

Apollo 11,
which
was
launched
into
 This
 oval
 mural
 commemorating
 America’s
 Moon
 landing


space
from
the
Kennedy
Space
Center,
 embellishes
the
Brumidi
Corridors
in
the
Senate
wing
of
the Florida,
began
its
epic
voyage
to
the


Moon
on
July
16,
1969.
On
board
were
 Capitol.
The
mural’s
three
main
elements
are:
the
rocket
that


Commander
Neil
A.
Armstrong,
Lunar
 propelled
the
astronauts
into
orbit;
astronauts
Neil
Armstrong


Module
Pilot
Edwin
E.
”Buzz“
Aldrin,
Jr.,
 and
Buzz
Aldrin
planting
the
United
States
flag
on
the
Moon, and
Command
Module
Pilot
Michael


Collins.
After
24
hours
in
lunar
orbit,
the
 with
the
lunar
module
Eagle in
the
background
and
the
space
capsule


command/service
module,
Columbia,
 Columbia circling
the
Moon;
and
a
view
of
Earth
as
seen
from
the
Moon.


separated
from
the
lunar
module,
Eagle.
 Although
the
 Eagle landed
on
the
Moon
in
the
afternoon
of
July
20, Armstrong
and
Aldrin
began
their
descent
 Armstrong
and
Aldrin
did
not
erect
the
flag
until
the
next
morning,
which to
the
lunar
surface
in
the
Eagle while


Collins
stayed
behind
to
pilot
the
 explains
why
the
scene
is
dated
July
21,
1969.


Columbia.
The
lunar
module
touched
 Muralist
Allyn
Cox
painted
the
work.
The
son
of
artists
Kenyon down
on
the
Moon
at
Tranquility
Base
on
 and
Louise
King
Cox,
Allyn
Cox
was
born
in
New
York
City.
He
was July
20,
1969,
at
4:17
P.M.
EDT. Arm


strong
reported,
“The
Eagle has
landed.”
 educated
at
the
National
Academy
of
Design
and
the
Art
Students
League


At
10:56
P.M.,
Armstrong
stepped
 in
New
York,
and
the
American
Academy
in
Rome.
Cox
began
receiving onto
the
lunar
surface,
becoming
the
first


person
to
walk
on
the
Moon.
“That’s
one
 commissions
for
murals
after
his
return
from
Italy
in
1920.
His
earliest


small
step
for
man,
one
giant
leap
for
 public
works
are
in
the
collections
of
the
William
A.
Clark
Library
in


mankind,”
declared
Armstrong.
Aldrin
 Los
Angeles
and
the
University
of
Virginia
Law
School
in
Charlottesville. then
followed
Armstrong,
and
the
two
men
 In
1972
the
U.S.
Senate
Commission
on
Art
directed
that
a
mural conducted
a
variety
of
tasks
and
experi


ments.
They
later
rejoined
the
Columbia,
 commemorating
the
Moon
landing
be
commissioned
and
placed
in
the


and
the
entire
crew
returned
to
Earth,
 Capitol’s
Brumidi
Corridors,
which
were
originally
decorated
between landing
in
the
Pacific
Ocean
southwest
of


Hawaii
on
July
24.
The
Apollo 11 mission
 1857–78
by
Italian­born
fresco
painter
Constantino
Brumidi,
who
left


was
the
culmination
of
a
decade
of
human
 several
areas
unfinished.
In
1974
Cox
prepared
and
submitted
his
design


space
exploration.
 for
America’s First Moon Landing, July 21, 1969.
He
received
advice


The
space
program
and
the
dream


of
landing
a
man
on
the
Moon
gained
 and
 assistance
 on
 artistic
 and
 technical
 decisions
 from
 museum


momentum
during
the
1960s,
following
 professionals
 at
 the
 National
 Aeronautics
 and
 Space
 Administration


President
Kennedy’s
historic
speech
 (NASA),
the
Smithsonian
Institution’s
National
Air
and
Space
Museum before
Congress
on
May
25,
1961.
On


that
day,
Kennedy
proposed:
“I
believe
 and
National
Portrait
Gallery,
and
the
U.S.
Capitol.
Cox
executed
the


that
this
Nation
should
commit
itself
to
 final
work
on
canvas
in
his
studio
and
in
April
1975
the
mural
was


achieving
the
goal,
before
this
decade
is
 completed
and
installed.
 out,
of
landing
a
man
on
the
moon
andreturning
him
safely
to
the
earth.”
1
 Five
 Earlier,
in
1952,
Cox
rendered
scenes
to
fill
out
the
last
three
panels


months
and
10
days
before
the
end
of
the
 of
the
panoramic
frieze
in
the
Capitol
Rotunda.
From
1973
until
his
retiredecade,
Armstrong
and
Aldrin
fulfilled
 ment
in
1982,
Cox
painted
the
ceilings
of
the
Capitol’s
first
floor
House Kennedy’s
goal
for
the
nation.
 corridors
with
scenes
depicting
the
development
of
Congress
and
the


growth
of
the
nation.
This
work
was
completed
by
his
assistant,
Clifford


Young.
In
remarks
in
the
Congressional Record that
year,
Cox
was
hailed


as
“the
American
Michelangelo”
for
his
Capitol
murals.1
The
artist
is
also


represented
in
the
U.S.
Senate
by
a
portrait
of
Henry
Clay
(p.
72)
in
the


Senate
Reception
Room.


16 United States Senate 
America’s First Moon Landing, July 21, 1969 

Allyn Cox (1896–1982) 

Oil
on
canvas
applied
to
wall,
1975


34
x
18
inches
(oval)
(86.4
x
45.7
cm)


Signed
(lower
right):
Allyn
Cox


Commissioned
by
the
U.S.
Senate
Commission
on
Art,
1974


Accepted
by
the
U.S.
Senate
Commission
on
Art,
1975


Cat.
no.
35.00001


Catalogue of Fine Art 17 
Chester
Alan
Arthur


(1829–1886) 

The
21st
president
of
the
United
States,
 Chester
A.
Arthur
had
just
completed
his
presidential
term


Chester
Alan
Arthur
held
no
elective
office
 in
1885
when
the
Senate
adopted
the
resolution
establishing before
his
selection
as
James
Garfield’s


vice
president
on
the
Republican
ticket.
 the
Senate’s
Vice
Presidential
Bust
Collection.
As
a
former


Arthur,
a
lawyer,
was
active
for
many
 vice
president,
Arthur
was
consulted
and
asked
to
name


years
in
party
politics.
He
had
served
as
 a
sculptor
to
model
his
likeness,
with
the
proviso
that
he
 quartermaster
general
of
the
New
York


state
militia
during
the
Civil
War.
In
1871
 choose
an
artist
from
New
York
State.
Arthur
asked
that
the
renowned


President
Ulysses
S.
Grant
appointed
 Augustus
Saint­Gaudens,
then
at
the
height
of
his
artistic
career,
execute


Arthur
collector
of
the
Port
of
New
York,
 his
likeness.
Initially
Saint­Gaudens
declined
the
commission,
which
was a
position
he
held
for
seven
years
until


the
Hayes
administration
ousted
him
for
 offered
for
the
$800
standard
fee
determined
by
the
Senate.
After
Arthur’s


failure
to
carry
out
reforms.
 premature
death
that
same
year,
however,
Saint­Gaudens
reconsidered


Arthur
was
selected
as
Garfield’s
 and
in
July
1887
agreed
to
sculpt
the
bust. running
mate
in
the
1880
presidential


election
in
an
effort
to
win
New
York
elec­ It
is
regrettable
that
Saint­Gaudens
hesitated
because
the
bust
has


toral
votes
and
to
pacify
certain
elements
 the
appearance
of
a
posthumous
portrait;
life
sittings
would
surely
have


within
the
party.
Arthur
served
as
the
 improved
the
result.
But
during
the
years
1886
to
1892
the
sculptor
was 20th
vice
president
for
only
a
few
months


when
a
deranged
assassin
shot
Garfield,
 engaged
in
a
rush
of
work,
including
some
of
the
finest
he
created.
In


mortally
wounding
him.
Garfield
died
on
 1887
his
standing
portrait
of
Abraham
Lincoln
was
unveiled
in
Chicago’s


September
19,
1881
and
the
following
 Lincoln
Park
and
The Puritan was
formally
presented
in
Springfield, day
Chester
A.
Arthur
assumed
the
presi


dency.
Despite
a
background
in
machine
 Massachusetts.
Saint­Gaudens
also
was
working
on
the
figure
(often


politics,
the
new
president
championed
 called
Grief)
for
the
Adams
Memorial
in
Washington,
D.C.’s
Rock
Creek


the
Civil
Service
Reform
Act
of
1883,
 Cemetery.
Saint­Gaudens
wrote
to
Architect
of
the
Capitol
Edward
Clark and
his
administration
won
recognition
 in
July
1887
concerning
the
press
of
other
business.
Regarding
the
Arthur
 for
honest,
efficient
government.
TheRepublican
Party,
unhappy
with
Arthur’s
 bust
the
artist
wrote
that
he
could
“make
no
promise
as
to
the
date
at


failure
to
adhere
to
partisan
principles,
 which
I
can
deliver
it.”


refused
to
renominate
him
in
1884.­

Within
two
years
of
leaving
the
White
 As
a
result
of
these
circumstances,
the
commission
was
something


House,
the
former
president
fell
ill
and
 of
an
afterthought
that
was
not
pondered
and
labored
over
in
the
sculptor’s


died
at
the
age
of
57.
 customary
way.
Even
though
the
bust
is
a
competent
work
that
more
than


holds
its
own
in
the
Senate
Chamber
gallery,
it
might
be
called
a
“noble


abstraction.”
The
simplicity
of
the
broadly
disposed
costume
(wide­lapeled,


double­breasted
coat;
demure
cravat
with
stickpin;
and
wing
collar)
and


the
proportionately
broad,
frontal
bust
combine
for
a
dignified
effect.
When


these
characteristics
are
extended
to
the
head,
however—where
little


incident
is
revealed
in
the
smoothly
modeled
face,
moustache,
or
hair;


the
eyes
have
no
directed
gaze;
and
the
expression
is
empty—dignity
turns


toward
monotony.
The
bust
looks
noticeably
more
impressive
when
seen


from
a
lower
vantage
point,
which,
of
course,
is
usually
the
case
in
the


Senate
gallery.


18 United States Senate 
Chester A. Arthur 

Augustus Saint-Gaudens (1848–1907) 

Marble,
1891


30
x
29
x
15
3

⁄4
 inches
(76.2
x
73.7
x
40
cm)


Unsigned


Inscribed
(centered
on
front
of
base):
ARTHUR


Commissioned
by
the
Joint
Committee
on
the
Library,
1887


Accepted
by
the
Joint
Committee
on
the
Library,
1892


Cat.
no.
22.00020


Catalogue of Fine Art 19 
Chester
Alan
Arthur—continued 

Nearly
five
years
elapsed
between
the
artist’s
formal
acceptance


of
the
commission
and
the
Senate’s
receipt
of
the
completed
bust.
The


work
was
delivered
to
the
Capitol
in
early
1892
and
placed
in
a
gallery


niche
in
the
Senate
Chamber.


Augustus
Saint­Gaudens
is
considered
one
of
America’s
preeminent


artists.
He
profoundly
influenced
the
course
of
sculpture
in
this
country


by
rejecting
the
formality
of
the
neoclassical
ideal
and
creating
an
original


American
style—one
of
heroic
realism.
He
brought
the
medium
of
bronze


to
new
heights,
and
his
portrait
reliefs
were
brilliantly
modeled
and


unrivaled.
His
collaboration
with
various
architects
established
a
unique


approach
to
outdoor
monuments
that
incorporated
multiple­figure
compositions
within
a
distinct
architectural
framework.
His
early
art
training


included
an
apprenticeship
as
a
young
boy
with
a
cameo
carver,
classes


at
the
Cooper
Union
and
at
the
National
Academy
of
Design
in
New


York
City,
and
studies
in
Paris
at
the
Petite
École
and
later
at
the
École


des
Beaux­Arts.
His
first
major
commission,
the
Farragut Monument 

in
New
York
City,
established
Saint­Gaudens
as
a
dominant
force
in


American
art,
a
position
he
held
throughout
the
late
19th
century.
Other


public
commissions
followed,
culminating
in
what
is
considered
his


masterpiece,
the
 Robert Gould Shaw Memorial in
Boston.
Although


gravely
ill
during
his
last
years,
Saint­Gaudens
was
still
able
to
create


such
notable
works
as
the
Stevenson Memorial at
Saint
Giles’s
Cathedral


in
Edinburgh,
and
the
beautiful
ten­
and
twenty­dollar
Liberty
gold
coins.


The
artist
is
further
represented
in
the
Senate
by
a
bust
of
Chief
Justice


Roger
B.
Taney
(p.
356).


20 United States Senate 
Augustus Saint-Gaudens with his model 

of The Puritan, completed in 1887, the 

same year he was commissioned to 

sculpt the Senate’s bust of Vice President 

Chester A. Arthur. 

(U.S. Department of the Interior, National Park Service, 

Saint-Gaudens National Historic Site, Cornish, NH) 

Catalogue of Fine Art 21 
Aysh­ke­bah­ke­ko­zhay,
or
Flat
Mouth


(ca. 1774–ca. 1860) 

A
powerful
Ojibwa,
or
Chippewa,
chief
 While
on
delegation
business
in
Washington,
D.C.,
in


in
the
Leech
Lake
area
of
present­day
 1855,
Aysh­ke­bah­ke­ko­zhay,
together
with
his
col­
 Minnesota,
Aysh­ke­bah­ke­ko­zhay,
or
Flat


Mouth,
visited
the
nation’s
capital
in
1855
 league,
 Be
sheekee,
 sat
 for
 a
 portrait
 in
 clay
 by


as
a
member
of
the
Indian
delegation
from
 sculptor
Francis
Vincenti,
who
was
then
working


the
Midwest.
The
tribal
leaders
were
 on
decorations
for
the
extension
to
the
U.S.
Capitol. brought
to
Washington
to
negotiate
land


treaties.
Aysh­ke­bah­ke­ko­zhay
spoke
on
 Seth
Eastman,
a
U.S.
Army
artist
then
assigned
to
the
Indian
Bureau


behalf
of
his
people
in
negotiating
the
ces­ (p.
128),
brought
the
two
Native
American
leaders
to
the
Capitol.
A
key


sion
of
more
than
ten
million
acres
in
 purpose
of
the
portraits
was
to
provide
lead
sculptor
Thomas
Crawford
 north­central
Minnesota—a
land
package


that
included
the
headwaters
of
the
Missis­ with
realistic
models
for
depictions
of
Native
Americans
in
sculptural


sippi
River.
The
Native
Americans
received
 groups.
Aysh­ke­bah­ke­ko­zhay
was
probably
about
81
years
old
when


more
than
one
million
dollars
in
funds
and
 he
posed
for
Vincenti.
 services,
but
aspects
of
this
cession
and


others
in
the
region
continued
to
figure
 Vincenti’s
treatment
of
Aysh­ke­bah­ke­ko­zhay—unlike
his
bust
of


in
government
discussions
with
Native
 Be
sheekee—is
primarily
descriptive
of
appearance,
less
concerned
with


Americans
for
the
next
hundred
years.
 the
animating
spirit.
The
eyeballs
are
blank,
not
drilled;
the
mouth
benign; Aysh­ke­bah­ke­ko­zhay
(other
English


spellings
are
also
known)
means
“bird
with
 and
great
attention
has
been
given
to
the
grand
nose
and
curiously


the
green
bill”
in
the
Ojibwa
language.
 emphatic
lower
lip
that,
one
assumes,
gave
the
chief
his
nickname.
The


“Flat
Mouth”
did
not
derive
from
this
 upper
ears
are
slit
and
simply
ornamented.
His
blanket
is
also
more
simply native
name
but
was
instead
an
English
 conceived
than
that
of
Be
sheekee,
and
the
horizontal
turban
would
not translation
of
the
nickname
“Gueule


Platte,”
applied
by
early
French
traders.
In
 particularly
attract
the
eye
were
it
not
for
the
startling
braidlike
material


1911
Smithsonian
Institution
ethnologist
 that
appears
to
gush
like
a
fountain
from
both
sides
of
the
turban.
The James
Moody
characterized
the
great


leader
as
“probably
the
most
prominent
 young
Capitol
sculptor
Lot
Flannery
years
later
recalled
seeing
Vincenti


Ojibwa
chief
of
the
upper
Mississippi
 at
work
on
this
bust—both
as
it
was
being
modeled
during
sittings
at


region
from
at
least
1806,
when
he
held
 Wren’s
Hotel
and
then
as
it
was
being
carved
about
1855. council
with
Lieutenant
[Zebulon]


Pike...
probably
to
his
death,
which
 In
addition
to
what
has
been
written
about
Vincenti
in
the
entry


seems
to
have
occurred
about
1860.”
 on
Be
sheekee
(p.
38),
a
few
facts
or
surmises
may
be
added
to
his
brief


history.
His
Italian
first
name
was
probably
Francesco.
He
is
known
to


have
worked
on
the
Capitol
decorations
from
1853
to
1858.
For
his
work


on
the
two
portrait
busts
he
was
paid
six
dollars
a
day
from
building


construction
funds.
Though
this
might
seem
an
inconsequential
reward


(Sarah
Ames,
for
example,
would
be
paid
$1,500
for
her
bust
of
Lincoln


just
12
years
later),
it
should
be
understood
that
Vincenti
was
being
paid


as
an
exceptionally
skilled
artisan,
not
as
an
artist.
Captain
Montgomery


C.
Meigs,
superintendent
of
the
Capitol
extension,
confirms
this
in
a
letter


written
to
Vincenti
on
October
17,
1854.
The
letter,
apparently
in
response


to
Vincenti’s
proposal
to
travel
to
Italy
to
import
additional
skilled
stonecutters
for
work
on
the
Capitol,
states:
“Let
them
understand
that
skillful


workmen
get
from
$2.50
to
$2.75
per
day
of
ten
hours
work,
and
that


22 United States Senate 

Aysh-ke-bah-ke-ko-zhay in 1855. 

(Minnesota Historical Society) 
Aysh-ke-bah-ke-ko-zhay, or
Flat Mouth 

Francis Vincenti (dates unknown) 

Marble,
modeled
1855,
carved
1855–1856


22
3

⁄4
 x
21
5⁄8
 x
14
1⁄2
 inches
(57.8
x
54.9
x
36.8
cm)


Unsigned


Purchased
by
the
U.S.
government
with
funds
appropriated


for
the
extension
of
the
United
States
Capitol,
ca.
1856


Cat.
no.
21.00001


this
is
to
be
the
inducement. . . .”1


Compared
with
those
wages,
Vincenti
was
well
paid.


After
his
work
on
the
Capitol,


Vincenti
went
south
to
Richmond,


Virginia,
where
he
worked
for
the


Richmond­born
Edward
Valentine


for
a
time.
Some
years
later,
Valentine
reported
encountering
Vincenti


in
Paris.
Vincenti
may
have
been


among
the
many
stone
carvers
and


sculptors
who
worked
on
Parisian


projects
ordered
by
Napoleon
III


and
 his
 Prefect
 Baron
 GeorgesEugéne
 Haussmann,
 particularly


the
new
opera
house
that
was
constructed
 and
 decorated
 between


mid­1861
and
1869.


For
many
years,
the
identities


of
both
the
subject
and
the
artist


of
this
bust
remained
unknown.


Early
in
the
20th
century,
the
architect
of
the
Capitol
conferred
with


anthropologists
at
the
Smithsonian


Institution
 in
 Washington,
 D.C.


Inquiries
among
elderly
Ojibwa
in


Minnesota
confirmed
the
bust
as


a
 portrait
 of
 Aysh­ke­bah­ke­kozhay,
whose
turban
and
pierced


ears
with
silver
pendants
indicated


an
Ojibwa
man
of
high
rank.
At
the


same
 time,
 sculptor
 Flannery


relayed
his
memories
of
Vincenti


working.
With
the
bust’s
identity


confirmed,
the
architect
provided


a
suitable
marble
pedestal.


Catalogue of Fine Art 23 
Howard
Henry
Baker,
Jr.


(born 1925) 

Howard
Henry
Baker,
Jr.,
was
the
first
 On
Howard
Baker’s
retirement
from
the
Senate
in
1985,
the


popularly
elected
Republican
senator
from
 principal
entrance
to
the
Republican
leader’s
suite
in
the Tennessee,
serving
in
the
U.S.
Senate


from
1967
to
1985.
Born
in
Huntsville,
 Capitol
(S–230)
was
designated
the
Howard H. Baker, Jr., 

Tennessee,
Baker
joined
the
U.S.
Navy
 Room by
Senate
resolution.
One
year
later
The
Dirksen


during
World
War
II
and
later
practiced
 Congressional
Center
in
Pekin,
Illinois,
lent
this
portrait law
in
his
home
state.
For
most
of
his
life


he
was
surrounded
by
politicians—both
his
 of
Baker
by
Herbert
Abrams
for
display
in
the
suite.
Abrams
had
completed


father
and
his
stepmother
served
in
the
 the
portrait
in
1984,
although
he
later
modified
it
on
several
occasions.


U.S.
House
of
Representatives.
His
father­ In
the
painting
Baker
is
shown
seated
in
the
Old
Senate
Chamber,
the in­law,
Everett
McKinley
Dirksen,
was
a


member
of
both
the
U.S.
House
of
Repre­ historic
meeting
place
of
the
Senate
from
1810
to
1859.


sentatives
and
the
U.S.
Senate,
where
he
 In
1999
the
Senate
Commission
on
Art
created
the
Senate
Leadserved
as
Senate
minority
leader
from
 ership
Portrait
Collection
to
honor
presidents
pro
tempore
and
majority 1959
to
1969.


Elected
to
the
U.S.
Senate
in
1966,
 and
minority
leaders.
Interest
in
memorializing
Senate
leaders
had
been


Baker
quickly
rose
through
the
ranks.
His
 sparked
by
the
Leader’s
Lecture
Series,
in
which
former
leaders
share


calm
and
witty
style
gained
him
public
 their
insights
with
current
and
past
members
of
the
Senate.
Senator
Baker
 recognition
when
he
served
as
vice
chair­ was
the
honored
guest
at
the
leader’s
lecture
in
1998
when
he
spoke
 man
of
the
Senate
Select
Committee
on


Presidential
Campaign
Activities,
also
 about
his
years
as
majority
leader.
Although
the
Senate
already
owned


known
as
the
Senate
Watergate
Com­ several
paintings
of
former
leaders,
Abrams’s
likeness
of
Baker
was
the
 mittee.
He
is
remembered
for
having


pointedly
asked,
“What
did
the
president
 first
piece
acquired
after
the
Senate
Leadership
Portrait
Collection
was


know
and
when
did
he
know
it?” 1
 In
 officially
established;
The
Dirksen
Congressional
Center
donated
it
to


1977
Baker
was
elected
Senate
minority
 the
Senate
in
2000.


leader.
The
following
year
his
persuasive
 Abrams
is
a
noted
portraitist
who
has
been
awarded
numerous
com­
 demeanor
was
instrumental
in
the
pas­


sage
of
the
Panama
Canal
Treaty,
which
 missions
in
the
Washington,
D.C.,
area.
He
is
represented
in
the
White


called
for
the
gradual
transfer
of
the
 House
collection
with
paintings
of
Presidents
Jimmy
Carter
and
George
 canal
to
Panama.


Baker
was
a
candidate
for
the
Repub­ H.W.
Bush,
as
well
as
First
Lady
Barbara
Bush.
Other
portraits
by
the


lican
presidential
nomination
in
1980
but
 artist
include
Congressman
John
Rhodes
of
Arizona
in
the
U.S.
House


lost
to
Ronald
Reagan.
He
became
majority
 of
Representatives,
Secretary
of
the
Treasury
Donald
Regan
at
the
Trealeader
in
the
new
Republican­controlled


Senate,
but
he
did
not
seek
reelection
in
 sury
Department,
and
Generals
William
C.
Westmoreland
and
Bruce


1984.
Instead,
he
returned
to
Tennessee
to
 Palmer,
Jr.,
at
the
Pentagon
in


practice
law.
Although
Baker
considered
a
 Arlington,
Virginia.
Abrams’s second
run
for
the
presidency,
he
put
aside


those
personal
ambitions
in
1987
to
serve
 portrait
 of
 Senator
 James


the
Reagan
administration
as
White
House
 Eastland
(p.
106)
is
also
in
the


chief
of
staff.
He
then
returned
to
private
 Senate
Collection.


law
practice
in
Tennessee
and
Washington,


D.C.
In
1996,
after
the
death
of
his
first


wife,
Joy
Dirksen,
he
married
Nancy


Landon
Kassebaum,
then
a
senator
from
 Promising an “objective and even- Kansas.
In
2001
he
was
appointed
U.S.
 handed” investigation, Senator

ambassador
to
Japan.
Senator
Baker
is
an
 Howard Baker, left, casts his vote with 

avid
photographer,
and
has
published
two
 Senator Sam Ervin, right, during the 

books
illustrating
his
work.­ 1973 Senate Watergate hearings. 

(U.S. Senate Historical Office) 

24 United States Senate 
Howard Baker, Jr. 

Herbert Elmer Abrams (born 1921) 

Oil
on
canvas,
1984


49
1

⁄2
 x
39
1⁄2
(125.7
x
100.3
cm)


Signed
and
dated
(lower
right
corner):
Herbert
E
/
Abrams•
 /
’84


Gift
of
The
Dirksen
Congressional
Center,
2000


Accepted
by
the
U.S.
Senate
Commission
on
Art,
2000


Cat.
no.
32.00038


Catalogue of Fine Art 25 
Alben
William
Barkley


(1877–1956) 

Known
affectionately
as
“The
Veep”
both
 S

on
of
Kyösti
Kallio,
a
popular
Finnish
president,
Kalervo
Kallio


during
and
after
his
years
as
vice
presi­ studied
art
in
Helsinki,
Paris,
and
Rome.
He
gained
early
recog­ dent
of
the
United
States,
Alben
William


Barkley
also
served
as
a
U.S.
representa­ nition
for
his
portrait
busts,
including
one
of
Jean
Sibelius,
the


tive
and
senator
from
his
home
state
of
 great
Finnish
composer
of
“Finlandia”
and
other
tone
poems


Kentucky.
Born
near
Lowes,
in
Graves
 on
national
subjects.
 County,
Barkley
was
elected
to
the
U.S.


House
of
Representatives
in
1912
after
 Kallio
came
to
the
United
States
in
1949.
That
year
he
won
an
interserving
as
prosecuting
attorney
and
judge
 national
sculpture
competition
for
a
memorial
bust
of
James
Forrestal,


in
McCracken
County.
He
remained
in
the
 the
nation’s
first
secretary
of
defense,
for
placement
in
the
new
military House
until
his
election
to
the
U.S.
Senate


in
1926.
 headquarters
building,
the
Pentagon.
Washington,
D.C.,
became
Kallio’s


A
staunch
Democrat
who
was
much
 permanent
address.
Alben
Barkley
and
a
host
of
American
notables
sat


beloved
for
his
humor
and
goodwill,
 for
him,
including
former
Presidents
Herbert
Hoover
and
Harry
S.
Truman, Barkley
was
Senate
majority
leader
from


1937
through
1947
and
minority
leader
 scientist
Albert
Einstein,
and
labor
leader
John
L.
Lewis.
Praising
Kallio’s


from
1947
to
1949.
As
Harry
S.
Truman’s
 talent
for
producing
dramatic
likenesses,
Time magazine
wrote
of
the


running
mate,
he
was
elected
the
35th
vice
 sculptor
in
1951:
“Petrified
history,
not
self­expression,
is
his
province,
 president
on
the
Democratic
ticket
in
1948.
 and
he
commands
it
well.”1
 Following
his
term
as
vice
president,


Barkley
returned
to
the
Senate,
where
he
 In
1957
the
Senate
formally
commissioned
a
portrait
bust
of
Barkley


represented
Kentucky
until
his
death
in
 for
the
Vice
Presidential
Bust
Collection.
When
the
bust
was
unveiled


1956.
His
years
in
the
Senate
exceeded
 on
April
29,
1958,
Lyndon
Johnson,
then
Senate
majority
leader,
spoke those
of
any
other
Kentuckian.


in
 remembrance
 of
 “The


Veep.”
His
words
also
might


have
applied
to
the
artist
who


commemorated
the
vice
president.
Said
Johnson,
“He
had


the
rare
gift
of
looking
into


the
heart
of
his
fellowmen.”2


Jane Hadley Barkley unveils the bust of 

her late husband at ceremonies held at 

the Capitol, 1958. 

(Reprinted from The Washington Post, April 29, 1958, by 

permission of the D.C. Public Library) 

26 United States Senate 
Alben W. Barkley 

Kalervo Kallio (1909–1969) 

Marble,
modeled
1957,
carved
1958


27
3

⁄4
 x
25
x
14
7⁄8
 inches
(70.5
x
63.5
x
37.8
cm)


Signed
(under
subject’s
truncated
left
arm):
Kalervo
Kallio


Commissioned
by
the
Senate
Committee
on
Rules
and
Administration,
1957


Accepted
by
the
Senate
Committee
on
Rules
and
Administration,
1958


Cat.
no.
22.00035


Catalogue of Fine Art 27 
Isaac
Bassett


(1819–1895) 

Isaac
Bassett
began
his
Senate
career
in
 I

n
1876
members
of
the
Senate
commissioned
artist
Freeman
Thorp


December
1831,
at
the
age
of
12,
when
 to
paint
a
portrait
of
Isaac
Bassett
as
a
“testimonial
of
their
per­
 he
was
appointed
by
Daniel
Webster
to


serve
as
the
institution’s
second
page.
Bas­ sonal
regard
and
of
their
high
appreciation
of
the
intelligence,


sett’s
father,
Simeon
Bassett,
was
a
Senate
 the
promptness,
the
accuracy,
and
the
conscientious
fidelity”
that


messenger
at
the
time,
and
young
Isaac
 had
exemplified
Bassett’s
45
years
of
service
up
to
that
point.
 frequently
accompanied
him
to
the
U.S.


Capitol.
Isaac
Bassett
later
recalled,
“on
 In
his
memoirs
Bassett
himself
describes
the
simple,
touching
pres­


one
of
these
visits...Daniel
Webster
 entation
ceremony:


called
me
to
him
and
took
me
up
in
his
lap


and...
said
to
me:
‘My
little
man,
would
 Soon
after
the
adjournment
of
the
Senate
on
the
3rd
day
of
August
1876,
Mr.
Ferry,
the


you
like
to
be
made
a
page?’”
 President
of
the
Senate,
came
up
to
me
and
said,
“Captain,
I
want
to
see
you
for
a
few


Promoted
to
messenger
in
1838
and
 minutes
in
the
Marble
Room.”
I,
in
my
usual
way,
said,
“Certainly,
sir,”
and
made
a
polite


to
assistant
doorkeeper
in
1861,
Bassett
 bow.
He
then
put
his
arm
in
mine
and
led
me
to
the
Marble
Room,
and
to
my
surprise,


worked
in
the
Senate
Chamber,
attending
 I
saw
quite
a
crowd.
He
turned
my
attention
to
a
portrait
that
had
been
covered
over nearly
every
legislative
session
until
his


death
in
1895.
He
was
deeply
esteemed
 and
made
this
remark,
“Look
at
that
picture
and
see
if
you
can
recognize
it.”
I
must


by
senators
and
fellow
employees
alike
for
 confess
that
I
never
was
so
embarrassed
in
my
life
before....
 I 
knew
not
what
to
say,


his
discreet,
faithful,
and
dedicated
service.
 for
I
was
taken
by
surprise,
not
knowing
that
any
such
thing
was
in
contemplation;
it


“I
have
tried
to
do
my
duties
and
act
hon­ was
kept
a
perfect
secret
from
me....
 How
can
I
express
my
kindness
to
all
of
the


estly,”
he
wrote,
and
for
this
the
Senate
 senators?
Words
cannot
do
it;
my
heart
overflows
with
gratitude
to
them
all.


honored
him
with
gifts
and
testimonials
on


several
occasions.
By
the
1880s
the
elderly
 Exactly
how
Thorp
completed
the
painting
without
arousing
Bassett’s


Bassett,
with
his
long
gray
beard
and
dig­ suspicions
is
unknown.
Perhaps
the
artist
worked
from
a
photograph, nified
bearing,
had
become
an
icon
of
the
 because
there
is
an
existing
image
of
Bassett
that
resembles
the
painting. gentlemanly,
statesmanlike
qualities
that


represented
the
Senate
at
its
best.
He
was
 In
1991
Elizabeth
Rummel
Crosby,
Isaac
Bassett’s
great­granddaughter,
 a
willing
subject
for
newspaper
reporters,
 donated
the
painting
of
Bassett
to
the
 cartoonists,
and
photographers,
always


ready
to
regale
anyone
who
would
listen
 U.S.
Senate.


with
stories
of
the
Senate
in
“olden
times”
 Thorp
was
born
in
Ohio
and


and
of
the
great
men
who
had
served
then.
 worked
extensively
in
photography Bassett’s
most
abiding
legacy
to
the


Senate
is
the
manuscript
he
left
behind
at
 before
turning
to
oil
painting.
Over


his
death,
which
provides
an
unparalleled
 the
years
he
executed
a
number
of


view
into
the
institution
during
the
19th
 portraits
 of
 prominent
 individuals, century.
Hoping
to
have
a
memoir
of
his
 including
 the
 Senate’s
 painting
 of Senate
experiences
published
posthumously
“to
give
the
public
the
benefit
of
 Abraham
Lincoln
(p.
262).
Seven
of


these
years
of
observation
among
public
 Thorp’s
works
are
also
located
in
the men,”
he
made
copious
notes
and
com­


piled
a
rich
array
of
newspaper
clippings
 House
wing
of
the
Capitol.


describing
the
Senate’s
people,
traditions,


and
procedures.
The
book
was
never


published.
However,
the
manuscript


survived,
faithfully
preserved
by
Bassett’s


descendants
and
eventually
donated
to


the
U.S.
Senate.
 Isaac
Bassett
was
photographed



at
Mathew
Brady’s
Pennsylvania


Avenue
studio,
date
unknown.


(U.S. Senate Collection, Gift of Ms. Anjanette 

Vail Van Horn) 

28 United States Senate 
Isaac Bassett 

Freeman Thorp (1844–1922) 

Oil
on
canvas,
1876


29
1

⁄2
 x
24
1⁄2
 inches
(74.9
x
62.2
cm)


Signed
and
dated
(lower
right):
Thorp
/
1876


Gift
of
Elizabeth
Rummel
Crosby
(great­granddaughter
of
Isaac
Bassett),
1991


Accepted
by
the
U.S.
Senate
Commission
on
Art,
1991



Cat.
no.
31.00017


Catalogue of Fine Art 29 
The
Battle
of
Chapultepec


(September 13, 1847) 

Toward
the
end
of
the
Mexican
War


(1846–48),
U.S.
forces
marched
into
the


interior
of
Mexico,
intent
upon
capturing


the
capital
city.
The
western
approach
to


Mexico
City
was
protected
by
Chapul


tepec,
a
fortified
hill
that
rose
some


200
feet
above
the
city
plain.


Atop
this
rocky
bluff
stood
the
fortress


of
Chapultepec,
once
a
palace,
but
now


used
as
the
Mexican
military
academy.
On


the
morning
of
September
13,
1847,
after


a
day’s
bombardment,
General
Winfield


Scott
ordered
American
troops
to
storm
the


fortification.
By
mid­morning,
General


Nicolás
Bravo
and
his
Mexican
troops


remaining
in
the
citadel,
including
the


cadets
of
the
academy,
capitulated.
Six


of
the
teenage
cadets,
who
chose
death


rather
than
surrender,
are
honored
for


their
courage
to
this
day
in
Mexico
as
the


Niños Héroes (boy
heroes).
Mexico
City


fell
on
September
14,
and
the
war
soon


ended.
U.S.
Marines
still
wear
a
red
stripe


on
the
trousers
of
their
dress
uniform
to


commemorate
the
Battle
of
Chapultepec.


This 1892 engraving shows The Battle of 

Chapultepec as it hung in the west grand 

staircase in the Senate wing until 1961. 

(Reprinted from Barksdall, A Hand-book of Washington. 

Philadelphia: Allen, Lane & Scott, 1892) 

I

n
1857,
as
part
of
Captain
Montgomery
C.
Meigs’s
program
to


decorate
rooms
in
the
newly
constructed
Capitol
extension,
James


Walker
was
commissioned
to
recount
in
oil
on
canvas
the
American
capture
of
the
Mexican
fortress
at
Chapultepec.
The


commission’s
 execution
 was
 briefly
 delayed
 when


Congress
passed
a
bill
requiring
that
all
works
of
art
for


the
extension
be
selected
by
a
commission
of
three


distinguished
artists
and
approved
by
the
Joint
Committee
on
the
Library.
The
project
proceeded,
however,
and
the
painting
was
delivered
to
the
Capitol


in
1862.
Walker
received
$6,137.37
for
his
work.


Evidence
suggests
that
the
picture
was
originally


commissioned
for
use
in
the
meeting
room
of
the


House
Military
Affairs
Committee.
However,
with


the
decision
to
engage
Seth
Eastman
to
create
the


series
of
fort
pictures
for
that
space,
The Battle of 

Chapultepec was
relocated
to
the
west
staircase


of
 the
 Senate
 wing.
 In
 1982
 the
 painting
 was


loaned
to
the
Marine
Corps
Museum
at
the
Washington
Navy
Yard
in
Washington,
D.C.


Born
in
England,
artist
James
Walker
spent


most
of
his
life
in
New
York
City
but
was
living


in
Mexico
City
at
the
outbreak
of
the
Mexican
War.


He
was
forced
into
hiding
for
six
weeks
until
he


eventually
made
his
way
behind
American
lines.
Walker
subsequently


served
as
an
interpreter
for
U.S.
troops
and
was
present
at
the
storming


of
Chapultepec.
Therefore,
he
was
uniquely
qualified
to
undertake
this


commission.
His
composition
shows
the
consultation
between
General


John
Anthony
Quitman,
who
led
the
storming
of
Chapultepec,
and
the


officers
of
his
advanced
division
prior
to
the
attack.
Walker’s
treatment


of
details,
including
military
uniforms,
is
highly
accurate.
His
other


military
history
paintings
include
The Battle of Lookout Mountain and


The Battle of Gettysburg.


30 United States Senate 
The Battle of Chapultepec (Storming of Chapultepec) 

James Walker (1819–1889) 

Oil
on
canvas,
1858


93
1

⁄2
 x
210
inches
(canvas)
(237.5
x
533.4
cm)


Signed
and
dated
(lower
left):
James
Walker
1858


Commissioned
with
funds
appropriated
for
the
extension
of
the
United
States
Capitol,
1857


Accepted
by
the
U.S.
government,
1862


Cat.
no.
33.00010


Catalogue of Fine Art 31 
The
Battle
of
Fort
Moultrie


(June 28, 1776) 

Just
days
before
the
signing
of
the
Declara­ J

ohn
Blake
White’s
 The Battle of Fort Moultrie “portrays
in
a


tion
of
Independence
in
1776,
the
Battle
of
 spirited
manner
the
famous
battle...
fought
and
won
against
a Fort
Moultrie
(then
known
as
Fort
Sullivan)
 formidable
British
fleet...
just
six
days
prior
to
the
Declaration resulted
in
a
significant
American
victory


over
the
British.
Earlier
that
year,
a
crude
 of
 Independence,”
 wrote
 Octavius
 White,
 the
 artist’s
 son.


palmetto­log
fort
had
been
built
on
Sul­ Octavius
White
donated
this
work
to
the
U.S.
Senate
in
1901.
 livan’s
Island
as
a
first
line
of
defense
for


Charleston,
South
Carolina.
On
June
28,
 He
gave
it
to
the
nation,
he
said,
“that
the
sons
may
know
how
their


the
formidable
British
fleet,
under
the
 fathers
fought
to
secure
the
precious
boon
of
liberty.”1


command
of
Sir
Peter
Parker,
attacked.
 The
painting
presents
a
view
of
the
battle
from
inside
the
Amer­ The
small
American
force,
led
by
Colonel


William
Moultrie,
held
its
position
despite
 ican
fort,
with
the
British
fleet
firing
at
full
force
in
the
background.
The


all­day
shelling.
Moultrie
later
described
the
 artist
inserted
portraits
of
William
Moultrie
and
Francis
Marion
in
the
right


scene
as
“one
continual
blaze
and
roar;
 center
foreground.
William
Jasper
is
seen
defending
the
fort’s
flag.
At
the and
clouds
of
smoke
curling
over
.
.
.
for


hours
together.”1
 Even
though
the
British
 center
background,
along
the
perimeter
wall
of
the
fort,
is
the
artist’s
own


had
far
superior
firepower
at
their
disposal,
 father,
Blake
Leay
White,
who
is
thought
to
have
participated
in
the
battle.


the
spongy
palmetto
logs
and
sand
that
 White
based
his
portraits
on
existing
likenesses
in
South
Carolina
family comprised
the
American
fort
absorbed


most
of
the
enemy
shells
before
they
could
 collections
and
on
his
memory.
According
to
White
family
tradition,
the


explode.
During
the
bombardment,
the
fort’s
 artist’s
father
and
General
Marion,
known
as
the
“Swamp
Fox,”
owned


flag—a
distinctive
silver
crescent
on
a
blue
 adjoining
plantations.
The
young
artist,
it
was
said,
would
sit
on
Marion’s field—was
shot
down
by
the
British.


Ignoring
heavy
gunfire,
Sergeant
William
 knee
during
visits.



Jasper
retrieved
the
standard
and
replanted
 In
1899
Octavius
White
had
presented
three
other
Revolutionary


it
on
the
fort’s
rampart.
At
nightfall,
the
 War
paintings
by
his
father
to
the
Senate:
Sergeants Jasper and Newton defeated
British
withdrew.


The
American
victory
ensured
the
 Rescuing American Prisoners from the British (p.
202),
General Marion 

safety
of
the
port
of
Charleston
and
won
 Inviting a British Officer to Share His Meal (p.
268),
and
Mrs. Motte 

many
people
over
to
the
patriot
cause.
 Directing Generals Marion and Lee to Burn Her Mansion to Dislodge Before
this
battle,
General
George


Washington
had
had
little
success
in
the
 the British (p.
290).
Although
White
drew
inspiration
for
these
works


North.
The
American
triumph
at
Sullivan’s
 from
a
biography
of
Francis
Marion
as
recounted
by
Parson
Mason
Locke


Island
showed
that
the
South
could
wage
 Weems,
the
artist’s
source
for
the
Fort
Moultrie
painting
is
less
clear.
 a
successful
campaign.
It
stood
as
a
sym­ John
Blake
White
was
born
in
Eutaw
Springs,
South
Carolina.
He bolic
declaration
of
independence
from


the
British,
preceding
the
signing
of
the
 studied
law
in
Charleston
and
in
1800
traveled
to
England
to
pursue
an


actual
document
by
less
than
a
week.
 art
career
under
the
guidance
of
American
artist
Benjamin
West.
White


Soon
after
the
victory,
the
fort
was


renamed
in
honor
of
William
Moultrie,
 returned
to
the
United
States
three
years
later
and
continued
to
paint


who
was
later
promoted
to
general.
John
 historical
subjects,
portraits,
and
miniatures.
His
work
was
exhibited
at


Rutledge,
then
president
of
the
South
 the
Boston
Athenaeum,
New
York’s
National
Academy
of
Design,
the
Apollo Carolina
assembly,
presented
Sergeant


Jasper
with
his
dress
sword
for
his
bravery
 Association
for
the
Promotion
of
the
Fine
Arts,
and
the
South
Carolina


and
offered
him
an
officer’s
commission.
 Institute,
where
he
received
a
medal
for
best
historical
painting.
He
was


Jasper,
however,
declined
the
commission
 a
founder
of
the
South
Carolina
Academy
of
Fine
Arts.
Although
White as
inappropriate
for
a
man
of
humble
ori


gins.
The
blue
and
silver
crescent
flag
that
 never
gained
the
artistic
recognition
he
desired,
he
painted
in
his
leisure


Jasper
replanted
during
the
battle
later
 time
until
about
1840,
while
practicing
law
in
Charleston.
He
also
served


served
as
the
inspiration
for
the
South
 in
the
South
Carolina
state
legislature
and
wrote
several
plays. Carolina
state
flag.


32 United States Senate 
The Battle of Fort Moultrie 

John Blake White (1781–1859) 

Oil
on
canvas,
1826


31
1

⁄2
 x
49
1⁄2
 inches
(80
x
125.7
cm)


Signed
and
dated
(lower
right
corner):
B.
White
/
1826


Gift
of
Octavius
A.
White
(son
of
the
artist),
1901


Accepted
by
the
Joint
Committee
on
the
Library,
1901


Cat.
no.
33.00004


Catalogue of Fine Art 33 

Note
to
the
reader:
A
key
to
the
painting
The 

Battle of Fort Moultrie by
John
Blake
White
can


be
found
in
the
appendix
of
this
catalogue.

The
Battle
of
Lake
Erie


(September 10, 1813) 

“We
have
met
the
enemy
and
they
are
 William
 Henry
 Powell,
 an
 Ohio
 artist
 who
 had


ours—two
ships,
two
brigs,
one
schooner
 studied
 with
 Henry
 Inman
 in
 New
 York
 City,
 and
a
sloop.”
With
this
simple
victory
mes­ received
a
coveted
commission
in
1847:
the
last
 sage
to
General
William
Henry
Harrison,


commander
of
the
U.S.
forces
in
the
North­ of
 the
 historical
 paintings
 for
 the
 U.S.
 Capitol


west
Territory,
Commodore
Oliver
Hazard
 Rotunda.
His
subject,
Discovery of the Mississippi Perry
announced
his
defeat
of
the
British


fleet
at
the
Battle
of
Lake
Erie.
This
battle,
 by De Soto A.D. 1541,
was
completed
in
1853.
As
Henry
Tuckerman


one
of
the
most
unusual
in
American
naval
 wrote
in
his
1867
Book of the Artists,
it
was
“a
commission
bestowed


history,
ensured
American
control
of
the
 upon
him
rather
in
deference
to
his
Western
origin
than
because
of Great
Lakes
during
the
War
of
1812
and
 priority
of
claim
in
point
of
rank
or
age.”1
 That
is,
the
new
political secured
the
country’s
tenuous
hold
on


the
Northwest.
 clout
of
the
Northwest
Territory
had
made
itself
felt.
This
national
sucCommodore
Perry’s
victory
was
quickly
 cess
led
his
home
state
to
commission
Powell
in
1857
to
paint
Perry’s enshrined
as
one
of
the
heroic
military


events
of
the
early
American
Republic.
The
 Victory on Lake Erie for
the
rotunda
of
the
Ohio
Statehouse
in
Columbus.


famous
engagement
on
September
10,
 The
work
was
completed
in
his
New
York
City
studio.
The
artist
let
it


1813,
was
initiated
by
Perry’s
flagship
 be
known
that
he
had
used
as
models
men
from
the
Brooklyn
Navy
 Lawrence,
named
after
James
Lawrence,
the


commander
of
the
recently
captured
Chesa- Yard
and
had
sought
authenticity
in
all
the
nautical
details
of
the
picture,


peake.
Lawrence’s
dying
words,
“Don’t
give
 an
effort
for
which
he
was
praised.
The
picture
was
installed
in
Columbus


up
the
ship,”
inspired
the
nation
and
Perry.
 in
1865,
whereupon
the
Joint
Committee
on
the
Library
commissioned
 Those
words
were
stitched
onto
Perry’s


battle
flag,
which
flew
over
the
Lawrence.
 Powell,
on
March
2,
1865,
for
a
painting
“illustrative
of
some
naval


As
the
battle
began,
Perry
placed
the
 victory,”
to
be
placed
at
the
head
of
the
east
stairway
in
the
Senate


Lawrence
at
the
head
of
his
fleet.
The
 wing
of
the
Capitol.2
 It
seems
certain
that
he
was
expected
to
repeat
 Caledonia
and
the
Niagara,
as
well
as
six


other
ships
of
various
sizes,
fell
in
behind.
 his
Ohio
Statehouse
subject
on
a
larger
scale.
He
did
so,
painting
it
in


For
reasons
that
have
never
been
deter­ a
temporary
studio
inside
the
U.S.
Capitol
and
completing
it
in
1873.


mined,
the
faster
Niagara
remained
behind
 For
this
version,
it
appears
that
Powell
used
as
models
workers
then
 the
slower
Caledonia,
and
the
Lawrence


sailed
into
the
battle
virtually
unsupported.
 employed
at
the
Capitol.


Perry
was
then
forced
to
fight
the
entire
 Powell
chose
as
his
subject
the
moment
when
Perry
made
his
way


British
fleet
with
only
the
Lawrence.
 from
his
severely
damaged
flagship,
the
Lawrence, in
a
rowboat
through After
an
intense
bombardment
of
two


and
a
half
hours,
the
Lawrence
fought
the
 enemy
fire
to
the
Niagara.
Powell
enlarged
the
crew
of
the
boat,
showing


British
fleet
to
a
standstill,
though
the
ship
 six
 oarsmen,
 a
 helmsman,
 Perry,
 and
 Perry’s
 13­year­old
 brother,
 itself
was
severely
damaged
and
four­fifths
 Alexander,
who
served
as
Perry’s
midshipman.
Sources
do
not
agree
on of
its
crew
were
killed
or
wounded.
In
a


daring
move,
Commodore
Perry
aban­ whether
Alexander
in
fact
accompanied
his
brother
in
the
rowboat,
but


doned
his
shattered
ship
and
climbed
into
 it
must
have
seemed
an
irresistible
addition.
In
the
painting,
Alexander


a
rowboat
with
four
crewmen.
He
took
with
 grasps
his
brother’s
coat
as
if
to
pull
him
to
sit,
as
the
helmsman
also him
his
battle
flag,
which
he
draped
over


his
shoulders.
The
boat
set
out
for
the
brig
 urges
with
a
gesture.
Perry
does
not
carry
his
battle
flag;
the
artist
chose


Niagara,
braving
heavy
gunfire.
Perry
 instead
to
fly
the
Stars
and
Stripes
from
the
boat’s
bow.
This
is
stirring,


boarded
the
ship,
took
command,
and
 if
inaccurate,
as
the
“colors”
were
not
taken
from
the
Lawrence.
One


turned
the
Niagara
directly
toward
the


British
ships.
The
encounter
was
confusing
 of
the
oarsmen
is
an
African
American.
Although
Tuckerman
identifies


and
bloody,
but
brief.
The
damaged
British
 him
as
“Perry’s
black
servant,
Hannibal,”
who
responds
to
a
near­hit
in


flagship
Detroit
attempted
to
swing
around,
 “evident
consternation,”
his
inclusion
is
more
likely
dictated
by
the
date


34 United States Senate 
Battle of Lake Erie 

William Henry Powell (1823–1879) 

Oil
on
canvas,
1873


201
1

⁄8
 x
319
1⁄2
 inches
(510.9
x
811.5
cm)


Signed
and
dated
(lower
left
corner):
W.H.
Powell.
/
1873


Inscribed
(centered
at
top
of
frame,
on
central
crest):
We
have
met
the
enemy
and
they
are
ours
/
Oliver
H.
Perry


Inscribed
(centered
at
bottom
of
frame,
on
cartouche):
BATTLE
OF
LAKE
ERIE
/
September
10th
/
1813
/
painted
/
by
/
W.H.
Powell


Commissioned
by
the
Joint
Committee
on
the
Library,
1865


Accepted
by
the
Joint
Committee
on
the
Library,
1873


Cat.
no.
33.00008


of
the
painting—immediately
post­Civil
War
and
emancipation—than
by
 and
its
rigging
became
entangled
with
that


the
reality
of
1813.3
 of
the
Queen
Charlotte,
rendering
both


ships
helpless
against
the
onslaught
from

In
addition
to
the
heroic
figures
in
the
rowboat,
Powell
shows
three
 the
Niagara.
In
short
order,
the
smaller


figures
on
the
abandoned
 Lawrence,
along
with
a
dead
sailor
in
the
 British
ships
also
succumbed,
and
a
mere


flotsam
between
brig
and
boat
and
a
doomed
figure
in
the
water
at
the­ 15
minutes
after
boarding,
Perry
had


achieved
an
extraordinary
victory.
With


right
side.
To
judge
from
the
flags,
three
British
ships
are
clustered
from
 it
the
British
supply
line
to
the
Western


the
left
to
the
center
in
the
background,
and
five
American
ships
are
 frontier
was
severed,
and
within
the
month


the
British
and
their
Indian
allies
were grouped
from
the
center
to
the
right.
Many
sailors
are
seen
in
those
 decisively
defeated.

ships.
Powell’s
most
expressive
work
is
found
in
the
indistinct
background,
seen
through
gunsmoke
and
haze;
in
the
water;
and
in
the
corpse


atop
the
tangled
flotsam.
Powell
sacrifices
spatial
unity,
however,
by


ignoring
the
middle
ground.
Thus,
the
diagonal
that
is
meant
to
lead


Catalogue of Fine Art 35 
The
Battle
of
Lake
Erie—continued 

the
eye
from
the
Lawrence through
the
rowboat
to
the
distant
Niagara 

fails
to
do
so,
despite
Perry’s
rhetorical
pointing
gesture.


Although
the
commodore’s
heedless
action
of
standing
in
the
boat


had
exposed
him
as
he
headed
for
the
Niagara,
“Perry’s
luck”
became


William
Powell’s
1865
painting,
Perry’s
 legendary.
The
heroic
stance,
as
presented
by
Powell,
may
seem
over­


Victory
on
Lake
Erie,
hangs
in
the
rotunda
 done
to
the
modern
viewer,
but
it
was
not
out
of
step
with
dramatic


of
the
statehouse
in
Columbus,
Ohio.
 conventions
of
the
period.
For (Ohio Historical Society) 

example,
 Emanuel
 Leutze’s


Washington Crossing the 

Delaware portrays
 George


Washington
similarly.


The
Leutze
canvas
was


exhibited
in
New
York
in
1851


and
again
in
1853,
and
it
was


all
but
universally
praised
for


showing
 the
 hero’s
 determined
purpose.
Likewise,
in


describing
 Perry’s
 action
 in


the
earlier
version
of
Powell’s


Perry’s Victory on Lake Erie in


the
 Ohio
 Statehouse,
 Tuck!

erman
 revels,
 “[Perry]—the


central
figure,
the
soul
of
the


picture—is
standing
with
outstretched
 arm,
 and
 resolute


and
 confident
 look,
 unconDetail:
top
of
frame.
 Detail:
bottom
of
frame.


scious
of
his
handsome
little


brother,
who
tugs
at
his
dress,
or
of
the
deprecating


gesture
of
the
helmsman
to
make
him
sit
down
and


avoid
the
terrible
exposure,
of
which,
in
the
excite!

ment
of
the
moment,
he
is
unaware.”4


Right:


The
Battle
of
Lake
Erie
dominates
the
east


grand
stairway
of
the
Senate
wing.
Commodore


Oliver
Hazard
Perry’s
message
to
General


William
Henry
Harrison
announcing
the
defeat


of
the
British
is
inscribed
on
the
walnut
frame.


(1999 photograph) 

36 United States Senate 

Besheekee,
or
Buffalo


(ca. 1759–1855)


Born
on
Madeline
Island
in
Lake
Superior,
 The
 Senate
 possesses
 a
 remarkable
 pair
 of
 busts
 of


near
the
present­day
Red
Cliff
reservation
in
 Be
sheekee
 (Buffalo)
 and
 Aysh­ke­bah­ke­ko­zhay
 (Flat Wisconsin,
Be
sheekee
was
a
distinguished
 Mouth;
p.
22)
by
the
virtually
unknown
Italian
sculptor leader
among
the
Ojibwa,
or
Chippewa,


people.
The
name
“Be
sheekee”—from
the
 Francis
Vincenti.
These
Native
American
leaders
came
to


Ojibwa
language—was
variously
tran­ Washington,
D.C.,
in
1855
as
part
of
a
delegation
respon­ scribed
into
English;
other
forms
appearing


in
print
in
the
19th
century
include
Pee­Che­ sible
for
negotiating
a
treaty
with
the
United
States
government.
On


Kir,
Bezhike,
and
Pezhiki.
Americans
of
 February
 17,
 1855,
 Captain
 Seth
 Eastman
 (who
 was
 also
 an
 artist;


English
heritage
called
him
“Buffalo”
or
 p.
128)
wrote
to
Captain
Montgomery
C.
Meigs,
superintendent
of
the “Great
Buffalo,”
whereas
the
French
used


“Le
Beouf.”
 Capitol
extension,
that
the
two
Ojibwa
Indians
were
in
the
city
and


Introduced
to
fur
trapping
as
a
means
 would
consent
to
having
their
portraits
modeled
in
clay,
after
their


of
trading
for
European
goods
in
the
17th
 business
was
finished.


century,
the
Ojibwa
became
dependent
on
 The
request
for
Be
sheekee
and
Aysh­ke­bah­ke­ko­zhay
to
pose
 a
system
that
ultimately
depleted
their


resources
and
drove
them
west.
Be
sheekee
 undoubtedly
came
from
Meigs,
who
wished
to
ship
some
models
of


was
chief
of
the
La
Pointe
band
of
Ojibwa,
 Native
Americans
to
Rome
for
the
guidance
of
Thomas
Crawford
(p.
88),
 located
on
Lake
Superior
in
Wisconsin;
he
 the
artist
then
modeling
figures
for
the
east
pediment
of
the
Senate
por­
 also
led
all
the
Lake
Superior
and
Wis­


consin
bands
of
Ojibwa
during
much
of
this
 tico.
(Whether
the
clay
models
or
plaster
casts
from
these
two
specific


cultural
transformation.
The
United
States
 works
ever
reached
Crawford
is
not
recorded.)
Meigs
wrote
in
his
journal,
 government
encouraged
native
people
to


concede
mineral
rights,
and
by
the
1850s
 “Vincenti
is
making
a
good
likeness
of
a
fine
bust
of
Buffalo.
I
think
I


these
groups
were
under
increasing
pres­ will
have
it
put
into
marble
and
placed
in
a
proper
situation
in
the
Capitol


sure
to
relinquish
most
of
their
traditional
 as
a
record
of
the
Indian
culture.
500
years
hence
it
will
be
interesting.”1


land
and
agree
to
live
on
reservations
as


well.
Be
sheekee
traveled
to
Washington,
 Meigs
further
commented
about
Be
sheekee:
“He
is
a
fine­looking
Indian,


D.C.,
in
1852
and
1855
as
part
of
official
 with
character
strongly
marked.
He
wore
in
his
headdress
5
war­eagle


Native
American
delegations
to
discuss
and
 feathers,
the
sign
of
that
many
enemies
put
to
death
by
his
hand.”2


sign
treaties
with
the
U.S.
government.


During
his
first
visit,
Be
sheekee
met
with
 Vincenti
was
among
the
talented
stonecutters
who
arrived
from
Italy


President
Millard
Fillmore
to
successfully
 to
work
on
the
decorative
carving
for
the
new
Senate
and
House
wings,


settle
a
number
of
grievances.
In
1855,
 which
were
then
being
constructed.
Some
of
these
men
were
especially
 together
with
Aysh­ke­bah­ke­ko­zhay,


another
Ojibwa
chief,
and
14
other
Native
 accomplished;
clearly
Vincenti
was.
A
young
American
sculptor
working


Americans
from
Minnesota
and
Wisconsin,
 at
the
Capitol
observed
Vincenti
modeling
the
bust
of
Aysh­ke­bah­ke­


Be
sheekee
negotiated
a
land
cession
treaty.
 ko­zhay
at
the
Wren
Hotel
and
afterward
carving
the
marble
bust
in
a
 He
died
the
same
year
and
is
buried
at
La
 Capitol
workshop,
so
it
is
likely
that
Vincenti
modeled
both
busts
and
 Pointe
(Madeline
Island),
Wisconsin.


carved
the
marbles
as
well.
Considering
that
the
Capitol
stonecutters


generally
worked
from
the
designs
of
others,
Vincenti’s
skill
at
modeling


is
somewhat
surprising,
though
nothing
is
known
of
his
training.


The
sculpture
of
Be
sheekee
was
modeled
from
life
the
year
the


chief
died.
Voucher
records
show
that
in
February
1855
Vincenti
paid


$5.00
to
“an
Indian
chief—Besheke
having
taken
his
bust—in
three
days.”


The
portrait
is
supported
by
a
columnar
pedestal
on
which,
in
addition


to
decorative
moldings,
Vincenti
deftly
carved
the
image
of
an
Ojibwa


38 United
States
Senate

Be sheekee,
or
Buffalo


Francis
Vincenti
(dates
unknown)


Marble,
modeled
1855,
carved
1856


24
1

⁄2
 x
20
1⁄5
 x
15
inches
(62.2
x
52.1
x
38.1
cm)


Inscribed
(on
back
of
subject’s
left
shoulder):
Be
sheekee


Purchased
by
the
U.S.
government
with
funds
appropriated
for
the
extension



of
the
United
States
Capitol,
ca.
1856


Cat.
no.
21.00002


Catalogue
of
Fine
Art
 39 
Besheekee,
or
Buffalo—continued


This 1843 lithograph of Be sheekee is titled 

Pee-Che-Kir, A Chippewa Chief. 

(Reprinted
from
McKenney
and
Hall,
History of the Indian 

Tribes of North America, vol.
2.
Kent,
Ohio:
Volair,
1978)


war
shield.
Behind
the
shield,
and
mostly
obscured
by
it,
appear
a
bow


and
arrows
and
a
rifle.
The
face
of
the
shield
is
dominated
by
a
peace


pipe
adorned
with
feathers
that
transforms
the
implements
of
war,
and


by
extension
the
bust
that
surmounts
it,
into
an
emblem
of
peace.
From


a
frontal
head,
Be
sheekee’s
drilled
eyes
direct
a
forceful
gaze
slightly


up
and
to
his
right,
in
an
attitude
of
imperturbable
alertness.
There
is


nothing
of
frailty
in
the
ancient
head,
and
Vincenti
modeled
the
expressive
face
firmly
and
broadly,
even
while
faithfully
recording
the
facial


idiosyncrasies.
The
elaborate
headdress
undoubtedly
attests
to
the
sitter’s


importance,
as
do
the
large
ornaments
suspended
from
the
slit
ears.


Feathers
are
attached
to
the
back
of
the
head,
and
five
short
cylinders


project
hornlike
on
the
crown
of
the
head.
Perhaps
indicative
of
wooden


originals,
they
are
shown
as
if
strapped
to
the
head
by
a
band
that
ties


under
the
chin
in
a
bow.
The
long
braids
of
hair
and
strings
of
beads


are
 vigorously
 carved,
 animating
 the
 stoic,
 penetrating
 likeness
 of


Be
sheekee.
 This
 formidable
 Native
 American
 was
 also
 called
 Great


Buffalo,
and
the
adjective
was
clearly
deserved.


Documentary
evidence
suggests
that
the
marble
was
carved
in
early


1856.
The
piece
has
been
on
view
in
the
U.S.
Capitol
since
its
creation.


In
1858
a
related
portrait
bust
was
created
in
bronze
by
sculptor
Joseph


Lassalle,
foreman
of
the
Capitol’s
bronze
shop
between
1857
and
1859.


Not
a
replica
of
the
Vincenti
marble,
but
rather
a
new
work
based
closely


on
the
original
clay
model,
Lassalle’s
bust
is
displayed
in
the
House
wing


of
the
Capitol.


Right: 

The pedestal for the bust of Be sheekee 

includes a peace pipe adorned with feathers 

on the Ojibwa war shield. A bow, arrows, 

and rifle—other implements of war—are 

also depicted. 

40 United
States
Senate

Catalogue
of
Fine
Art
 41 
John
Cabell
Breckinridge


(1821–1875) 

First
elected
to
the
U.S.
House
of
Represen­ I

n
1896
the
Joint
Committee
on
the
Library,
acting
under
a
May


tatives
from
his
native
Kentucky
at
the
age
 13,
1886,
resolution,
authorized
the
purchase
of
a
bust
of
Vice
 of
29,
John
Cabell
Breckinridge
became


the
country’s
youngest
vice
president
when
 President
John
C.
Breckinridge.
On
advice
from
the
Breckinridge


he
was
elected
on
the
Democratic
ticket
 family
and
Kentucky
Senator
Joseph
Clay
Stiles,
sculptor
James


with
James
Buchanan
in
1856.
Breckin­ Voorhees
was
selected
for
the
project.
A
year
earlier,
Voorhees
 ridge
served
as
the
14th
vice
president


during
a
turbulent
era
dominated
by
the
 had
completed
the
Senate’s
portrait
bust
of
Vice
President
Richard
M.


issue
of
slavery.
While
he
defended
the
 Johnson
(p.
222).
His
model
of
the
Breckinridge
bust
was
promptly


right
of
individuals
to
make
their
own
terri­ approved,
and
the
work
was
soon
carved
in
marble. torial
laws,
he
also
counseled
against


secession
and
appealed
for
national
unity.
 Talented
and
versatile,
Voorhees
was
a
writer,
poet,
actor,
and


Following
a
North­South
split
in
Democ­ sculptor.
He
also
completed
studies
of
Thomas
Jefferson
and
Napoleon


ratic
ranks,
Breckinridge
was
nominated
 Bonaparte,
commissioned
by
the
State
Department
for
the
St.
Louis for
president
in
1860
by
the
Southern


faction
on
a
pro­slavery
platform.
After
 World’s
Fair
in
1904.
For
21
years,
Voorhees
acted
as
personal
secrelosing
the
election,
he
completed
his
term
 tary
to
his
father,
Senator
Daniel
W.
Voorhees
of
Indiana.
The
artist’s


as
vice
president
and
returned
to
Kentucky
 memorial
bust
of
his
father,
completed
as
late
as
1928,
was
created
to upon
Lincoln’s
inauguration.


Breckinridge
then
served
Kentucky
 honor
the
senator’s
work
in
support
of
funding
a
Library
of
Congress


in
the
U.S.
Senate
from
March
4,
1861,
 building,
which
opened
in
1897.


until
his
expulsion
in
December
of
that


year
for
support
of
the
Southern
cause.


Breckinridge
joined
the
Confederate
army


and
attained
the
rank
of
major
general


before
becoming
secretary
of
war
to
the


Confederacy
in
1865.
Following
military


defeat,
Breckinridge
lived
abroad
for
three


years.
After
being
granted
amnesty,
he


returned
to
the
United
States
in
1868
and


practiced
law
in
Kentucky
until
his
death.


Indiana artist James P. Voorhees. 

(Architect of the Capitol) 

42 United States Senate 
John C. Breckinridge 

James Paxton Voorhees (ca. 1855–1936) 

Marble,
1896


30
x
28
x
16
inches
(76.2
x
71.1
x
40.6
cm)


Signed
and
dated
(on
subject’s
truncated
right
arm):
JAMES
/
PAXTON
/
VOORHEES.
/
Sc.
A.D.
1896


Commissioned
by
the
Joint
Committee
on
the
Library,
1896


Accepted
by
the
Joint
Committee
on
the
Library,
1896


Cat.
no.
22.00014


Catalogue of Fine Art 43 
Blanche
Kelso
Bruce


(1841–1898) 

Born
into
slavery
in
1841,
Blanche
Kelso
 I

n
an
effort
to
enhance
the
collection
with
portraits
of
women
and


Bruce
became
the
first
African
American
to
 minorities
who
served
the
U.S.
Senate
with
distinction,
the
Senate
 serve
a
full
term
in
the
U.S.
Senate,
as
well


as
the
first
African
American
to
preside
 Commission
on
Art
approved
the
commissioning
of
portraits
of


over
the
Senate.
One
of
11
children,
Bruce
 Blanche
Kelso
Bruce
and
Margaret
Chase
Smith
(p.
338)
in
October


was
born
near
Farmville,
Virginia,
and
was
 1999.
Senator
Christopher
Dodd,
chairman
of
the
Senate
Committee
 taken
to
Mississippi
and
Missouri
by
his


owner.
Just
20
years
old
when
the
Civil
 on
Rules
and
Administration
and
a
member
of
the
Senate
Commission


War
began,
Bruce
tried
to
enlist
in
the
 on
Art,
proposed
the
acquisition
of
Senator
Bruce’s
portrait,
with
the
strong


Union
army.
At
that
time,
the
army
did
not
 support
of
Majority
Leader
Tom
Daschle
and
Republican
Leader
Trent


accept
black
recruits,
so
instead
Bruce


turned
to
teaching;
he
later
organized
the
 Lott,
also
members
of
the
commission.
An
advisory
board
of
historians


first
school
in
Missouri
for
African
Ameri­ and
curators
was
established
to
review
the
artists’
submissions
and
pro­


cans.
He
briefly
attended
college
in
Ohio
 vide
recommendations
to
the
Senate
Commission
on
Art.
Washington,
 but
left
to
work
as
a
porter
on
a
riverboat.
 D.C.,
artist
Simmie
Knox
was
selected
in
2000
to
paint
Bruce’s
portrait.
 In
1869
Bruce
moved
to
Mississippi
to


become
a
cotton
planter.
Active
in
Missis­ With
few
images
of
Bruce
existing,
Knox
relied
on
a
Mathew
Brady


sippi
Republican
politics,
he
served
as
 photograph
of
the
senator.
The
portrait,
completed
in
2001,
was
unveiled
 supervisor
of
elections,
tax
assessor,
sheriff,
 in
the
Senate
wing
of
the
Capitol
at
ceremonies
held
in
September
the
 superintendent
of
education,
and
sergeant


at
arms
of
the
state
senate.
In
1874
the
 following
year.
 Mississippi
legislature
elected
him
to
the
 A
graduate
of
the
Tyler
School
of
Art
at
Temple
University,
Knox U.S.
Senate
where
he
served
until
1881.


In
the
Senate,
Bruce
was
a
member
of
 taught
art
at
various
colleges,
universities,
and
public
schools
while
conthe
committees
on
Pensions,
Manufactures,
 tinuing
his
painting
career.
Initially
an
abstract
artist,
he
has
concentrated


and
Education
and
Labor.
He
chaired
the
 on
portraiture
in
recent
years.
Knox
has
painted
politicians,
judges,
reli­ Committee
on
River
Improvements
and
the


Select
Committee
to
Investigate
the
Freed­ gious
and
civic
leaders,
educators,
athletes,
and
entertainers.
He
feels
a


man’s
Savings
and
Trust
Company.
He
sup­ strong
commitment
to
commemorate
individuals
who
have
changed
the


ported
desegregation
of
the
army,
protec­ course
of
our
history,
including
Frederick
Douglass,
educator
Mary
McLeod tion
of
African
American
voting
rights,
and
 Bethune,
voting
rights
activist
Fannie
Lou
Hamer,
and
Martin
Luther
King, more
humane
treatment
of
Native
Americans.
Bruce
encouraged
increasing
the
dis­ Jr.
“Without
these
people,
I
don’t
think


position
of
western
land
grants
to
African
 I’d
probably
be
sitting
here.
They
have Americans.
On
February
14,
1879,
Bruce
 made
life
a
little
better
for
all
of
us,” became
the
first
African
American
to
preside
over
the
Senate.
 he
once
said.
Other
notable
portraits
by


Bruce
worked
devotedly
to
gain
rights
 the
 artist
 include
 those
 of
 Supreme for
African
Americans.
After
leaving
the


Senate,
he
was
appointed
registrar
of
the
 Court
Justices
Ruth
Bader
Ginsburg
and


U.S.
Treasury
by
President
James
Garfield.
 Thurgood
Marshall,
and
the
official
porAt
the
Republican
convention
of
1888,
 trait
 of
 President
 William
 Jefferson
 Bruce
received
11
votes
for
vice
president.
 Clinton
in
the
White
House
collection. He
was
appointed
recorder
of
deeds
for


the
District
of
Columbia
and
later
was
a


member
of
the
board
of
trustees
of
Howard


University.
Bruce
died
in
Washington,
 This 19th-century photograph by Mathew

D.C.,
in
1898.
 Brady is one of only a few original images 

that exists of Blanche Kelso Bruce. 

(Library of Congress, Prints and Photographs Division) 

44 United States Senate 
Blanche Kelso Bruce 

Simmie Lee Knox (born 1935) 

Oil
on
canvas,
2001


45
3

⁄4
 x
40
inches
(116.2
x
101.6
cm)


Signed
and
dated
(lower
left
corner):
Simmie
Knox
/
2001~


Commissioned
by
the
U.S.
Senate
Commission
on
Art,
2000


Accepted
by
the
U.S.
Senate
Commission
on
Art,
2001


Cat.
no.
32.00039


Catalogue of Fine Art 45 
Constantino
Brumidi


(1805–1880) 

Constantino
Brumidi’s
frescoes
and
murals


can
be
found
throughout
the
U.S.
Capitol.


His
most
accessible
and
brilliant
creations


include
the
allegorical
fresco
The
Apothe


osis
of
Washington
in
the
canopy
of
the


Rotunda
and
the
extensive
frescoes
and


murals
in
the
Brumidi
Corridors.
These
hallways
on
the
first
floor
of
the
Senate
wing


are
some
of
the
most
ornate
and
creatively


decorated
public
spaces
in
the
nation.


Inspired
by
Raphael’s
loggia
in
the
Vat


ican,
Brumidi’s
work
in
the
corridors
is


unique
in
integrating
classical
imagery


with
patriotic
American
themes.


Born
in
Rome
of
Italian
and
Greek


parentage,
Brumidi
trained
in
drawing,


painting,
and
sculpture
at
Rome’s
presti


gious
Accademia
di
San
Luca.
By
1840,


these
artistic
skills
were
put
to
good
use


when
Brumidi
and
several
other
artists


were
commissioned
to
restore
the
richly


decorated
frescoes
in
the
Vatican
Palace.


Brumidi’s
career
blossomed
with
commis


sions
for
portraits
and
frescoes
in
several


churches
and
palaces.
Following
a
pardon


by
the
pope
for
his
role
in
the
republican


revolution,
Brumidi
immigrated
to
the


United
States.
Five
years
later
he
became


a
naturalized
citizen.


Brumidi
was
hired
to
decorate
the


Capitol
extension
with
murals
and
fres


coes.
His
Capitol
frescoes
were
probably


the
first
true
frescoes
to
be
painted
in
this


country.
Brumidi
continued
to
embellish
the


walls
of
the
Capitol
for
the
next
25
years.


Brumidi’s
last
years
were
spent
painting


the
historic
scenes
in
the
Rotunda
frieze.


Proud
of
his
achievements,
the
artist
is


reported
to
have
remarked:
“My
one
ambi


tion
and
my
daily
prayer
is
that
I
may
live


long
enough
to
make
beautiful
the
Capitol


of
the
one
country
on
earth
in
which
there
is


liberty.”1
 He
died
on
February
19,
1880.


JIMILU mason, left, and Myrtle Cheney 

Murdock, author of the first book on Brumidi, 

at the dedication ceremony for the bust of 

Constantino Brumidi, April 30, 1968. 

(Architect of the Capitol) 

46 

I

n
1966
the
U.S.
Congress
authorized
the
creation
of
a
portrait


bust
honoring
Constantino
Brumidi
that
would
be
displayed
in


the
Brumidi
Corridors.
The
legislation
was
spurred
in
part
by


renewed
appreciation
of
Brumidi
following
publication
of
a
biography
on
him
written
by
Myrtle
Cheney
Murdock,
the
wife
of


an
Arizona
congressman.
Sculptor
JIMILU
mason
was
awarded
the
commission
in
early
1967;
she
based
her
likeness
of
Brumidi
on
photographs
taken
during
his
life.
The
Joint
Committee
approved
the
plaster


model,
 and
 the
 image
 was
 translated
 into
 Carrara
 marble
 in


Pietrasanta,
Italy.
JIMILU’s
bust
of
Brumidi
was
unveiled
in
the
Capitol


Rotunda
in
1968
at
dedication
ceremonies
attended
by
congressional


leaders
and
the
ambassadors
of
Italy
and
Greece.


JIMILU,
of
Alexandria,
Virginia,
is
known
for
her
portrait
and


figurative
sculptures.
Her
mother,
Rose
d’Amore
Mason,
was
of
Italian


heritage,
a
legacy
that
spurred
JIMILU’s
interest
in
obtaining
the
Brumidi


commission.
Her
father
was
former
Federal
Trade
Commissioner
Lowell


B.
Mason.
JIMILU
mason’s
other
works
include
busts
of
Chief
Justice


Frederick
M.
Vinson
in
the
U.S.
Supreme
Court
building;
Speaker
Samuel


Rayburn
at
the
Smithsonian
Institution’s
National
Portrait
Gallery;
John


F.
Kennedy
at
the
North
Carolina
Museum
of
Art;
and
several
busts
of


Lyndon
B.
Johnson,
including
one
in
the
Senate’s
Vice
Presidential
Bust


Collection
 (p.
 218).
 Her
 bronze
 sculpture
 of
 the
 groundhog


Punxsutawney Phil occupies
a
place
of
honor
in
the
town
square
of


Punxsutawney,
Pennsylvania.


United States Senate 
Constantino Brumidi 

JIMILU mason (born 1930) 

Marble,
modeled
and
carved
1967


29
5

⁄8
 x
32
3⁄8
 x
23
3⁄4
 inches
(75.2
x
82.2
x
60.3
cm)


Signed
and
dated
(on
back
of
subject’s
right
shoulder):
Jimilu
Mason
/
©1967


Commissioned
by
the
Joint
Committee
on
the
Library,
1967


Accepted
by
the
Joint
Committee
on
the
Library,
1967



Cat.
no.
21.00003


Catalogue of Fine Art 47 
James
Bryce


(1838–1922) 

Born
in
Belfast,
Ireland,
James
Bryce
distin­ S

ir
William
Reid
Dick
executed
this
bust
of
Lord
James
Bryce


guished
himself
in
history,
law,
politics,
 around
1922
for
presentation
to
the
American
people.
The
bust and
diplomacy.
For
more
than
20
years
he
 had
been
commissioned
by
officials
of
the
Sulgrave
Institution taught
civil
law
at
Oxford
University,
and


from
1880
to
1907
he
was
a
Liberal
Party
 in
 London
 to
 honor
 their
 former
 member.
 The
 Sulgrave—


member
of
Britain’s
House
of
Commons.
 composed
of
prominent
men
from
Great
Britain,
Canada,
and Bryce
served
in
the
last
cabinet
of
Prime


Minister
William
Gladstone
and
was
chief
 the
United
States—promoted
friendly
relations
among
the
three
countries.


secretary
for
Ireland
under
Prime
Minister
 In
1922
a
Sulgrave
official
indicated
by
letter
to
Senator
James


Henry
Campbell­Bannerman.
James
Bryce
 Wadsworth
of
New
York
that
a
delegation
headed
by
Sir
Charles
Cheers became
British
ambassador
to
the
United


States
in
1907.
He
had
visited
the
country
 Wakefield,
former
lord
mayor
of
London,
would
soon
visit
America.
The


many
times
before
and
was
the
author
of
 delegation,
he
wrote,
would
be
“presenting
to
the
American
people
and


The American Commonwealth (1888),
an
 unveiling
statues
of
Edmund
Burke,
the
Elder
Pitt,
and
two
busts
of
Lord analysis
of
American
political
institutions. 

During
his
six
years
as
ambassador
to
 Bryce.”
Both
Bryce
busts
were
by
Dick,
who
was
considered
“the
most


the
United
States,
Bryce
became
popular
 eminent
of
the
British
sculptors.”
One
of
the
busts
was
to
be
unveiled


with
the
public
as
well
as
with
official
 in
Trinity
Church
in
New
York
City.
The
institution
desired
to
place
the Washington.
When
he
retired
in
1913
from


his
diplomatic
service,
Britain
awarded
him
 other
bust
of
Bryce
in
Washington,
D.C.,
on
the
Senate
side
of
the
U.S.


the
title
of
viscount
and
appointed
him
 Capitol.
The
Joint
Committee
on
the
Library
authorized
acceptance
of


representative
to
the
Hague
Tribunal,
a
 the
bronze
bust
of
James
Bryce
in
August
1922,
following
a
poll
of
its
 court
that
arbitrates
international
disputes.
 members
by
the
committee
chairman,
Senator
Frank
B.
Brandegee
of
 Following
World
War
I,
Bryce
worked
to


establish
the
League
of
Nations.
His
final
 Connecticut.
The
bust
was
officially
unveiled
in
the
Senate
wing
of
the


published
work,
Modern Democracies Capitol
at
ceremonies
held
that
October.

 (1921),
analyzed
the
present
and
future



of
self­government,
comparing
the
United
 Dick
was
renowned
during
his
lifetime
as
a
sculptor
of
portrait


States
with
other
democratic
nations.
In
his
 statuary.
His
important
works
include
a
massive
bronze
statue
of
Franklin


last
speech
in
the
House
of
Lords
in
1921,
 Delano
Roosevelt
in
Grosvenor
Square
in
London;
the
equestrian
statue Bryce
urged
the
acceptance
of
the
treaty
 of
Lady
Godiva
in
Coventry,
England;
and
likenesses
of
the
British
royal that
established
the
Irish
Free
State.
He


died
in
England
the
following
year.
 family.
Dick
served
as
president
of
the
Royal
Society
of
British
Sculptors
from
1933
to
1938.
He
was
also
an
associate
[ARA]
of
the
Royal


Academy
of
Arts—a
select
society
of
40
members
dedicated
to
promoting


the
arts
of
design—and
later
achieved
the
status
of
royal
academician


and
trustee
of
the
academy.
He
was
knighted
by
King
George
V
in
1935.


The
Sulgrave
Institution
ceased
to
exist
as
a
separate
body
in
the


1920s.
Since
1914
it
had
maintained
Sulgrave
Manor,
George
Washington’s


ancestral
home
in
England.
The
property
had
been
purchased
by
a
British


peace
committee
and
presented
as
a
gift
to
the
people
of
Great
Britain


and
the
United
States.
Shortly
after
the
Sulgrave
officials’
trip
to
the
United


British ambassador to the United States States,
the
Sulgrave
Institution
became
the
Sulgrave
Manor
Board,
which


James Bryce addresses a crowd in New continues
to
run
the
manor
as
a
museum.


York State, July 1909. 

(Library of Congress, Prints and Photographs Division) 

48 United States Senate 
James Bryce 

Sir William Reid Dick (1879–1961) 

Bronze,
1922


30
3

⁄4
 x
18
3⁄4
 x
13
1⁄8
 inches
(78.1
x
47.6
x
33.3
cm)


Signed
and
dated
(on
back
of
subject’s
left
shoulder):
W.
Reid
Dick
ARA
1922


Gift
of
Sir
Charles
Cheers
Wakefield
for
the
Sulgrave
Institution
of
Great
Britain,
1922


Accepted
by
the
Joint
Committee
on
the
Library,
1922


Cat.
no.
24.00001


Catalogue of Fine Art 49 
Aaron
Burr


(1756–1836) 

Aaron
Burr
led
a
highly
controversial
polit­ The
German­born
sculptor
Jacques
Jouvenal
studied
and


ical
career
that
culminated
in
one
term
as
 worked
abroad
until
he
immigrated
to
the
United
States
 the
third
vice
president
of
the
United
States.


Born
in
Newark,
New
Jersey,
Burr
fought
in
 in
1853.
After
two
years
in
New
York
City
he
moved
to


the
Revolutionary
War
and
practiced
law
 Washington,
D.C.,
where
he
was
hired
to
carve
decorative


before
turning
to
politics.
He
served
as
a
 architectural
 details
 for
 the
 new
 extension
 of
 the
 U.S.


U.S.
senator
from
New
York
from
1791
to


1797,
and
received
the
vice
presidential
 Capitol.
The
sculptor
later
turned
to
portraiture,
and
in
1893
he
was


nomination
from
the
Republican
Party
in
 awarded
the
Senate
commission
for
a
bust
of
Aaron
Burr.
Despite
what


1800.
Burr
tied
with
Thomas
Jefferson,
and
 many
viewed
as
ignominious
conduct
by
the
former
vice
president,
the
 the
election
was
thrown
to
the
U.S.
House


of
Representatives
for
a
decision.
After
 Joint
Committee
on
the
Library,
acting
under
an
1886
resolution,
directed


holding
36
votes,
the
House
finally
chose
 that
the
Burr
likeness,
along
with
four
other
vice
presidential
busts,
be


Jefferson
as
president
and
Burr
vice
presi­ acquired
for
display
in
the
Senate
Chamber.
Burr,
like
every
other
vice
 dent
by
a
one­vote
margin.
This
resulted
in


the
passage
of
the
12th
Amendment
to
the
 president,
had
carried
out
his
duties
as
president
of
the
Senate
and
there­


Constitution,
which
requires
the
electoral
 fore
deserved
to
be
honored.


college
to
use
separate
ballots
for
president
 Jouvenal
likely
based
his
sculpture
on
John
Vanderlyn’s
1802
oil and
vice
president.


In
July
1804
Burr
mortally
wounded
his
 portrait
of
Burr
or
on
one
of
the
many
engravings
of
the
painting
available


political
opponent,
New
Yorker
Alexander
 at
the
time.
Vanderlyn’s
portrait,
which
depicts
Burr
in
profile,
became


Hamilton,
in
a
duel
in
Weehawken,
New
 the
standard
likeness
of
the
vice
president
and
was
widely
disseminated
 Jersey.
Indicted
in
New
York
and
New


Jersey,
Burr
fled
to
the
South.
When
Con­ in
engraved
form.
George
Parker,
Hezekiah
Wright
Smith,
and
J.A.
O’Neill


gress
reconvened
in
November
of
that
year,


Burr
returned
to
Washington,
D.C.,
to
complete
his
duties
as
president
of
the
Senate.


He
was
never
tried
for
Hamilton’s
death.


Increasingly
isolated
from
his
party,


Burr
failed
to
be
renominated
as
vice
president
and
also
lost
a
bid
for
governor
of


New
York
State.
With
his
political
career


in
decline—and
heavily
in
debt—Burr


promoted
a
scheme
to
form
a
republic
in


the
Southwest.
For
this
conspiracy,
Burr
was


arrested
in
1807
and
tried
for
treason;


however,
he
was
acquitted
of
the
charges.


He
left
the
United
States
and
spent
the
next


four
years
in
Europe,
avoiding
creditors
and


promoting
various
personal
projects.
Burr


returned
home
in
1812
and
resumed
his


New
York
law
practice.
Although
he


avoided
the
political
arena,
he
maintained


an
interest
in
the
western
and
southern


territories
and
in
the
future
of
Mexico.
The


former
vice
president
died
in
1836
at
Port


Richmond,
Staten
Island.! This 1802 painting of Aaron Burr by John 

Vanderlyn was widely distributed in engraved 

form and may have been the inspiration for 

the Senate’s bust of the vice president. 

(Collection of the New-York Historical Society) 

published
renderings
of
Burr
based


on
Vanderlyn’s
portrait.
Jouvenal’s


marble
bust
of
the
vice
president


was
completed
in
1893
and
placed


on
view
in
the
Senate
Chamber
the


following
year.
The
artist
is
also


represented
in
Washington,
D.C.,


by
 a
 full­length
 sculpture
 of


Benjamin
Franklin
in
front
of
The


Old
 Post
 Office
 Pavilion,
 on


Pennsylvania
Avenue,
N.W.


50 United States Senate 
Aaron Burr 

Jacques Jouvenal (1829–1905) 

Marble,
1893


30
1

⁄4
 x
26
1⁄4
 x
16
1⁄2
 inches
(76.8
x
66.7
x
41.9
cm)


Signed
(on
back
of
subject’s
left
shoulder):
JOUVENAL


Commissioned
by
the
Joint
Committee
on
the
Library,
1893


Accepted
by
the
Joint
Committee
on
the
Library,
1893


Cat.
no.
22.00003


Catalogue of Fine Art 51 
George
Herbert
Walker
Bush


(born 1924) 

George
Herbert
Walker
Bush,
43rd
vice


president
and
41st
president
of
the
United


States,
entered
politics
following
a
career


as
an
oil
development
executive
in
Texas.


Born
in
Milton,
Massachusetts,
Bush
was


elected
as
a
Republican
representative
from


Texas
in
1966,
serving
until
1971.
Over


the
next
seven
years,
he
held
appointive


national
posts,
including
U.S.
ambassador


to
the
United
Nations,
chairman
of
the


Republican
National
Committee,
chief


liaison
officer
to
the
People’s
Republic


of
China,
and
director
of
the
Central


Intelligence
Agency.


Bush,
who
had
served
as
a
U.S.
Navy


pilot
in
the
Pacific
during
World
War
II,


was
a
popular
candidate
for
the
presiden


tial
nomination
in
1980.
When
Ronald


Reagan
won
the
nomination,
Bush
was


selected
by
Reagan
as
his
running
mate.


Winning
on
the
Republican
ticket
that


year,
Bush
was
reelected
vice
president


four
years
later.
In
1988
Bush
was
elected


president
of
the
United
States
and
served


one
term.
He
was
defeated
for
reelection


in
1992
and
retired
to
his
home
in
Texas.


President George H.W. Bush and Walker 

Hancock at the unveiling ceremony in 

the Capitol Rotunda, June 27, 1991. 

(George Bush Presidential Library) 

This
marble
bust
of
George
H.W.
Bush
was
formally
unveiled


on
June
27,
1991.
Bush
was
one
of
14
vice
presidents
to


become
 president
 and
 the
 only
 sitting
 chief
 executive


to
watch
as
his
vice
presidential
portrait
was
dedicated.


Commissioned
 by
 the
 Senate
 Committee
 on
 Rules
 and


Administration,
the
bust
was
the
42nd
to
be
included
in
the
Senate’s


Vice
Presidential
Bust
Collection.


President
Bush
sat
for
renowned
sculptor
and
octogenarian
Walker


Hancock,
a
long­standing
friend
of
the
Bush
family,
at
the
White
House


in
1989.
Hancock
worked
from
measurements
and
from
125
photographs
he


took
 during
 the
 sitting,
 adding
 final


touches
later
that
year
at
Camp
David.


Noting
 Bush’s
 “very
 fine
 head,”
 the


artist
called
his
subject’s
features
“very


strong
and
sculptural.”1
 The
life­size


bust
was
modeled
by
Hancock
in
clay,


and
a
plaster
cast
made.
It
was
carved


in
Carrara
marble
in
Pietrasanta,
Italy,


and
unveiled
at
the
Capitol
the
day


before
Hancock’s
90th
birthday.


Dedicated
to
understanding
and


expressing
the
character
of
his
subjects,


Hancock
received
much
acclaim
and


many
awards.
He
gained
wide
 Walker Hancock takes measurements of 

attention
for
the
Stone Moun- President George H.W. Bush in the Oval 

tain Memorial outside
Atlanta,! Office of the White House, July 1989. 

(George Bush Presidential Library) 

Georgia,
 a
 69­foot­high
 bas­


relief
memorializing
Confederate
leaders
Jefferson
Davis,
Robert


E.
Lee,
and
Stonewall
Jackson.
He
also
created
the
40­foot
bronze


Pennsylvania Railroad War Memorial in
Philadelphia.
Among


Hancock’s
numerous
portrait
sculptures
are
busts
of
Vice
Pres­


idents
Gerald
R.
Ford
(p.
126)
and
Hubert
Humphrey
(p.
194),


which
are
also
in
the
Senate’s
Vice
Presidential
Bust
Collection.


52 United States Senate 
George Bush 

Walker Kirtland Hancock (1901–1998) 

Marble,
modeled
and
carved
1990


24
1

⁄2
 x
20
7⁄8
 x
12
1⁄4
 inches
(62.2
x
53
x
31.1
cm)


Signed
and
dated
(on
base
under
subject’s
truncated
right
arm):
WALKER
HANCOCK
1990


Carver’s
mark
(centered
on
base
at
back):
GIUSEPPE
LANDI


Commissioned
by
the
Senate
Committee
on
Rules
and
Administration,
1989


Accepted
by
the
Senate
Committee
on
Rules
and
Administration,
1991


Cat.
no.
22.00042


Catalogue of Fine Art 53 
John
Caldwell
Calhoun


(1782–1850) 

John
Caldwell
Calhoun
served
as
both
a
 When
artist
Constantino
Brumidi
designed
the
walls


U.S.
representative
and
senator
from
South
 of
the
Senate
Reception
Room
in
the
mid­19th
cen­
 Carolina,
and
as
the
seventh
vice
presi­


dent
of
the
United
States.
Calhoun
was
 tury,
he
planned
five
decorative
plaster
panels,
each


born
near
Calhoun
Mills,
Abbeville
District
 to
contain
portraits
of
“illustrious
men.”
Brumidi


(now
Mount
Carmel,
McCormick
County),
 never
completed
the
mural
decorations
for
the
room,
 South
Carolina.
After
practicing
law,
and
 and
the
ovals
remained
blank.
In
1955,
by
resolution
of
the
U.S.
Senate,
 serving
in
the
state
house
of
representa­


tives
from
1808
to
1809,
Calhoun
was
 a
committee
was
created
to
choose
five
outstanding
former
senators


elected
to
the
U.S.
House
of
Representa­ whose
likenesses
would
fill
the
ovals.
Senator
John
F.
Kennedy
of
Mass­
 tives
in
1810.
There
he
became
one
of


Speaker
Henry
Clay’s
principal
lieutenants
 achusetts
chaired
the
committee
as
it
sought
counsel
from
historians,


and
a
leader
of
the
warhawks,
a
group
of
 political
scientists,
and
senators.
From
more
than
60
nominees,
the
com­


young
congressmen
who
advocated
war
 mittee
unanimously
selected
three
19th­century
senators:
Henry
Clay
of
 with
Great
Britain.
As
chairman
of
the


House
Foreign
Affairs
Committee,
Calhoun
 Kentucky
(p.
72),
Daniel
Webster
of
Massachusetts
(p.
418),
and
John


introduced
the
declaration
of
war
against
 C.
Calhoun
of
South
Carolina.
It
also
chose
two
20th­century
senators,


Britain
in
June
1812.
He
served
as
secre­ Robert
M.
La
Follette,
Sr.,
of
Wisconsin
(p.
242)
and
Robert
A.
Taft,
Sr.,
 tary
of
war
under
President
James
Monroe


from
1817
to
1825,
was
elected
vice
pres­ of
Ohio
(p.
354).
The
committee
reported
its
recommendations
to
the


ident
with
John
Quincy
Adams
in
1824,
 full
Senate
in
May
1957,
and
later
that
year
a
commission
was
estab­


and
was
reelected
vice
president
on
a
 lished
to
oversee
the
creation
of
the
portraits.
A
formal
unveiling
of
the
 ticket
with
Andrew
Jackson
in
1828.



To
further
his
opposition
to
high
pro­ completed
works
was
held
on
March
12,
1959.


tective
tariffs,
Calhoun
devised
a
doctrine
 Maryland
artist
Arthur
Conrad,
a
graduate
of
the
Yale
School
of
Fine


of
nullification
whereby
states
could
 Arts,
based
his
painting
of
John
C.
Calhoun
on
a
life
portrait
by
George declare
federal
laws
null
and
void
within


their
borders.
When
President
Jackson
 P.A.
Healy
in
the
collection
of
the
Virginia
Museum
of
Fine
Arts
in
Richthreatened
to
use
military
power
to
enforce
 mond.
Healy
created
the
portrait
as
a
preparatory
study
for
a
larger
and


a
federal
law
nullified
by
South
Carolina,
 later
painting,
Webster’s Reply to Hayne.
In
both
of
Healy’s
works,
Cal­ Calhoun
broke
with
Jackson.
Calhoun


resigned
the
vice
presidency
in
December
 houn
is
shown
seated
in
the
vice
president’s
chair
in
the
Senate
Chamber.


1832
in
order
to
fill
a
vacancy
in
the
U.S.
 It
was
from
this
seat
that
Calhoun
presided
in
1830
during
the
famous


Senate.
A
powerful
advocate
for
the
 Webster­Hayne
debate
over
the
nullification
doctrine. Southern
position,
Calhoun
supported
the


institution
of
slavery
and
the
right
of
slave­ Conrad
began
his
portrait
of
Calhoun
in
his
studio
and
completed


holders
to
extend
the
practice
into
the
 the
work
after
it
was
installed
in
the
Senate
Reception
Room.
He
later


western
territories.
 executed
a
replica
of
the
Senate’s
portrait
for
the
county
courthouse
in Calhoun
resigned
from
the
Senate
in
 Abbeville,
South
Carolina. 1843
planning
to
run
for
president,
but


instead
he
served
briefly
as
secretary
of


state
in
the
cabinet
of
President
John
Tyler.


He
was
reelected
to
the
Senate
in
1845


and
remained
there
until
his
death
in
1850.


Calhoun—along
with
Daniel
Webster
and


Henry
Clay—was
part
of
the
“Great
Triumvirate”
of
the
Senate’s
Golden
Age.


54 United States Senate 
John C. Calhoun 

Arthur E. Schmalz Conrad (1907–1975) 

Oil
on
canvas
applied
to
wall,
1958


22
5

⁄8
 x
19
1⁄2
 inches
(oval)
(57.5
x
49.5
cm)


Unsigned


Commissioned
by
the
Senate
Committee
on
Rules
and
Administration,
1958


Accepted
by
the
Senate
Committee
on
Rules
and
Administration,
1959


Cat.
no.
32.00009


Catalogue of Fine Art 55 
John
Caldwell
Calhoun—continued 

A merica’s
premier
19th­century
photographer,
Mathew
B.


Brady,
sold
this
painting
of
John
C.
Calhoun
by
Henry


Darby
to
the
federal
government
in
1881.
Financial
reversals
had
forced
Brady
to
part
with
this
and
two
other


prized
oils,
those
of
Henry
Clay
(p.
76)
and
Daniel
Webster


(p.
420).
The
three
had
hung
together
in
a
prominent
position
in
Brady’s


elegant
photographic
gallery
on
the
corner
of
Broadway
and
Tenth
Street,


in
New
York
City.
Of
the
Calhoun
portrait,
an
impressed
New York Times 

reviewer
noted,
“The
ragged,
wiry
character
of
the
face
marking
nervous


energy,
[and]
the
overhanging
brow
and
broad
intellectual
development


[capture]
Calhoun
at
a
glance.”1


In
1849
or
1850,
shortly
before
his
death,
John
C.
Calhoun
and
his


daughter,
Florence
Clemson,
had
stopped
by
Brady’s
gallery
to
have
a


daguerreotype
 made.
 The
 picture
 was
 intended
 to
 satisfy
 his
 granddaughter’s
request
for
an
image
of
him
for
her
locket.
Calhoun,
now
nearing


70,
had
lost
his
youthful
vigor.
Wrote
Brady:
“His
hair,
which
in
his
younger


days
had
been
dark,
and
had
stood
frowningly
over
his
broad,
square


forehead,
was
now
long
and
thin
and
combed
back,
falling
behind
his


ears.
His
most
outstanding
feature
was
his
eye
which
startled
and
almost


hypnotized
me!”
During
intervals
of
posing,
Brady
noted
that
Calhoun’s


daughter
“delicately
arranged
her
father’s
hair
and
the
folds
of
his
coat. . . .”2


Later,
Brady
was
to
claim
that
artist
Henry
Darby
had
been
present


for
the
photography
session,
making
a
study
for
the
painting.
The
evidence


is
fairly
convincing,
however,
that
Darby
based
his
portrait
on
an
existing


Brady
daguerreotype
rather
than
on
direct
studies
from
life.
The
two
often


teamed
up
in
this
fashion,
using
a
process
by
which
glass
negative
copies


of
 the
 daguerreotypes
 were
 projected
 onto
 sensitized
 canvas,
 then


“enhanced”
with
oil
paint.


The
inscription
on
the
reverse
of
the
canvas—“Calhoun
/
from
Life


by
Darby
/
H.
F.
Darby
/
1858”—appears
to
be
contradictory.
Calhoun


died
in
1850,
making
an
1858
life
portrait
an
impossibility.
By
1858,
Darby’s


studio
and
Brady’s
photographic
gallery
were
located
within
the
same


block
of
Pennsylvania
Avenue
in
Washington,
D.C.
No
reference
to
the


oil
portrait
occurs
until
that
year,
when
it
was
exhibited
at
Brady’s
National


Photographic
Art
Gallery
in
Washington,
D.C.,
and
again
in
1859,
when


it
was
shown
in
New
York
City
at
the
National
Academy
of
Design.
In


1860,
one
year
later,
the
painting
was
displayed
in
Brady’s
New
York
Gallery


on
Broadway.
Therefore,
it
is
likely
that
the
inscription
date
is
correct


56 United States Senate 
John C. Calhoun 

Henry F. Darby (1829–1897) 

Oil
on
canvas,
ca.
1858



49
3

⁄4
 x
35
5⁄8
 inches
(126.4
x
90.5
cm)


Signed
(lower
left
corner):
H.
F.
DARBY


Inscribed
(on
back
of
canvas,
centered
at
bottom):
Calhoun
/
from
Life
by
Darby
/



H.
F.
Darby
/
1858


Purchased
by
the
Joint
Committee
on
the
Library,
1881


Cat.
no.
32.00003


Catalogue of Fine Art 57 
John
Caldwell
Calhoun—continued 

and
that
the
painting
was
indeed
made
from
Brady’s
daguerreotype,
instead


of
from
life.


Henry
Darby
led
a
varied
career,
from
self­taught
portraitist
to


ordained
minister.
Records
also
indicate
that
he
was
an
art
teacher,
served


on
the
National
Arts
Committee
in
Washington,
D.C.,
and
designed
religious
altarpieces
and
clerical
attire.
While
few
of
his
portraits
and
none


of
his
later
historical
and
religious
paintings
survive,
his
work
can
be


found
in
the
collections
of
the
Museum
of
Fine
Arts,
Boston,
and
the


Munson­Williams­Proctor
Institute
Museum
of
Art
in
Utica,
New
York.


The Senate’s painting of Daniel Webster 

hung prominently in Mathew Brady’s 

photographic gallery along with portraits 

of Henry Clay and John C. Calhoun, as 

illustrated in this wood engraving by 

Albert Berghaus, 1861. 

(National Portrait Gallery, Smithsonian Institution) 

58 United States Senate 
The Senate’s portrait of John C. Calhoun 

may have been based on this 1849/1850 

daguerreotype by Mathew Brady. 

(Library of Congress, Prints and Photographs Division) 

Catalogue of Fine Art 59 
John
Caldwell
Calhoun—continued 

Theodore
Mills
was
the
son
of
the
noted
sculptor
Clark
Mills,


who
was
renowned
for
his
bronze
equestrian
statue
of


Andrew
Jackson
in
Lafayette
Park
in
Washington,
D.C.
Completed
in
1853,
it
was
the
first
equestrian
statue
erected
in


the
United
States,
as
well
as
the
first
bronze
sculpture
made


in
this
country.
Clark
Mills
established
his
foundry
in
Maryland,
where


he
later
cast
Thomas
Crawford’s
Statue of Freedom for
the
U.S.
Capitol


dome.
Both
Theodore
and
his
brother,
Theophilus,
assisted
their
father


in
his
projects,
and
both
became
sculptors
in
their
own
right.


In
the
1840s
in
South
Carolina,
Clark
Mills
developed
a
method


of
using
life
casts
from
the
faces
of
his
sitters
in
order
to
simplify
the


production
of
portrait
busts.
His
1846
bust
of
John
C.
Calhoun,
purchased


by
the
city
of
Charleston
and
at
that
time
considered
the
best
likeness


of
Calhoun,
was
made
from
such
a
life
mask.
That
mask
was
used
40


years
later
by
his
son
Theodore,
who
actively
petitioned
the
Joint
Committee
on
the
Library
for
the
commission
of
the
Senate’s
official
vice


presidential
bust
of
Calhoun.
That
Theodore
Mills
had
been
born
in
South


Carolina
was
in
his
favor,
because
attempts
were
traditionally
made
to


choose
a
sculptor
from
each
vice
president’s
native
state.
Mills
submitted


a
plaster
model
and
earned
the
commission
in
1895.


Theodore
Mills’s
likeness
of
Calhoun
shows
him
as
slightly
gaunt,


but
there
is
no
sign
of
the
tuberculosis
that
ravaged
the
statesman
in


his
last
years.
The
face
is
most
memorable
for
the
deeply
drilled
eyes,


which
seem
to
express
somber
preoccupation.
The
resolute
head,
strongly


symmetrical,
appears
almost
to
sit
on
the
luxuriant
roll
of
whiskers
that


lies
beneath
the
jaw.
The
costume
of
shirt,
cravat,
waistcoat,
and
topcoat
is
encircled
and
partly
overlaid
by
a
cloak
whose
heavy
folds
lend


an
air
of
classical
gravitas
to
the
bust.
Beyond
the
verifiable
likeness


and
brooding
quality,
however,
Mills
adds
little
to
suggest
the
powerfully
conflicting
characteristics
of
this
controversial
figure
who
played


such
a
central
role
in
19th­century
American
history.


Theodore
Mills
and
his
father
also
modeled
a
life
mask
of
Abraham


Lincoln
just
60
days
before
the
president
was
assassinated
in
1865.
That


mask
was
eventually
donated
to
the
Carnegie
Museum
of
Natural
History
in
Pittsburgh
by
Theodore
Mills,
then
a
preparator
in
the
museum’s


exhibits
department.
Already
known
for
his
Native
American
groups,


the
artist
was
hired
in
1898
to
create
similar
figures
for
the
Pittsburgh


museum.
Mills
died
in
Pittsburgh
18
years
later.


60 United States Senate 
John C. Calhoun 

Theodore Augustus Mills (1839–1916) 

Marble,
modeled
ca.
1887,
carved
1896


30
1

⁄4
 x
28
1⁄2
 x
17
1⁄2
 inches
(76.8
x
72.4
x
44.5
cm)


Signed
(under
subject’s
truncated
right
arm):
THEO.
A.
MILLS


Commissioned
by
the
Joint
Committee
on
the
Library,
1895


Accepted
by
the
Joint
Committee
on
the
Library,
1896


Cat.
no.
22.00007


Catalogue of Fine Art 61 
Hattie
Ophelia
Wyatt
Caraway


(1878–1950) 

Hattie Ophelia Wyatt Caraway, born in I

n
 August
 1993,
 Senators
 Dale
 Bumpers
 and
 David
 Pryor
 of


Bakerville, Tennessee, was the first woman Arkansas
proposed
to
the
Senate
Commission
on
Art
that
a
por­ elected to a full term in the U.S. Senate. 

Following her marriage to Thaddeus H. trait
of
Hattie
Caraway
be
considered
for
the
Senate
wing
of
the


Caraway in 1902, she settled in Jones- Capitol.
The
request
met
the
acquisition
policy
guidelines
estabboro, Arkansas, where her husband lished
by
the
commission
in
1976:
Caraway
had
been
out
of
office
 became a U.S. congressman and later a 

U.S. senator. Upon her husband’s death in for
more
than
21
years,
and
historians
who
studied
the
senator’s
polit1931, Hattie Caraway was appointed to ical
career
agreed
that
she
would
be
an
appropriate
subject
for
the


take his place in the Senate as a Democrat Senate’s
collection
of
commemorative
portraits. from Arkansas. She subsequently won a 

January 1932 special election to finish her The
Hattie
Caraway
Portrait
Committee
was
subsequently
formed


late husband’s term. She ran for reelection in
Arkansas,
with
the
wives
of
Senators
Bumpers
and
Pryor
serving
as


to a full term later that same year, with honorary
cochairs.
This
committee
selected
four
Arkansas
artists
for
con­ Louisiana Senator Huey Long stumping 

Arkansas on her behalf. The 1932 cam- sideration.
The
Senate
Commission
on
Art—on
the
recommendation
of


paign was one of the most colorful in a
three­member
advisory
panel
comprising
museum
curators
from
the


modern American history. Long’s effort Smithsonian
Institution
and
the
White
House,
and
a
professional
artist— worked: Caraway became the first woman 

ever to be elected to a six-year term in the chose
Arkansas
painter
John


U.S. Senate. O.
Buckley
for
the
commisCaraway initially spoke so infre- sion.
 The
 Caraway
 portrait quently in the Senate that she became 

known as “Silent Hattie.” As she grew was
initially
unveiled
at
cermore comfortable in her role, Caraway emonies
in
April
1996
at
the


emerged as a fiercely partisan supporter Arkansas
Statehouse
in
Little


of New Deal legislation, seconding the 

nomination of President Franklin Roosevelt Rock
and
also
in
Jonesboro,


for reelection at the 1936 Democratic Arkansas.
 The
 portrait
 was


National Convention. She was the first then
 unveiled
 at
 the
 U.S.


woman to preside over the Senate—on 

May 9, 1932—and the first to chair a Capitol
on
June
24,
1996.


Senate committee (Committee on Enrolled Buckley,
 who
 is
 from


Bills, 1933–44). Although she was Little
Rock,
holds
a
master’s reelected in 1938, she failed to win 

renomination in 1944. After leaving the degree
in
fine
arts
from
the


Senate, Caraway served on the United University
of
Texas
at
Austin


States Employees’ Compensation Commis- and
has
taught
studio
courses sion from 1945 to 1946 and on the 

Employees’ Compensation Appeals Board in
painting
and
drawing
at
the


from 1946 until her death in 1950 University
of
Arkansas.


in Virginia. 

This photograph was one of several images 

that artist John O. Buckley consulted for the 

Senate’s painting of Hattie Caraway. 

(© The New York Times) 

62 United States Senate 
Hattie Caraway 

John Oliver Buckley (born 1941) 

Oil
on
canvas,
1996


39
1

⁄2
 x
29
3⁄4
 inches
(100.3
x
75.6
cm)


Signed
(lower
right
corner):
J
O
Buckley


Gift
of
the
Hattie
Caraway
Portrait
Committee,
1996


Accepted
by
the
U.S.
Senate
Commission
on
Art,
1996


Cat.
no.
32.00028


Catalogue of Fine Art 63 
Henry
Clay


(1777–1852) 

The
“Great
Compromiser,”
Henry
Clay,
a
 One
of
the
leading
sculptors
of
the
post­Civil
War
period,


native
of
Virginia,
moved
to
Kentucky
at
 Thomas
Ball
began
his
artistic
career
as
a
painter,
but
 the
age
of
20
and
settled
in
Lexington.­

There
he
practiced
law
with
great
success,
 by
1850
he
had
turned
to
sculpture.
He
quickly
estab­


aided
by
his
sharp
wit
and
nimble
mind.
In
 lished
 a
 reputation
 in
 this
 new
 medium
 with
 small


1806,
after
a
stint
in
the
Kentucky
legisla­ plaster
statuettes
and
portrait
studies.
His
first
work,
a ture,
he
was
elected
to
fill
the
unexpired


term
of
a
U.S.
senator
who
had
resigned.
 cabinet­size
portrait
bust
of
Swedish
singer
Jenny
Lind,
won
such
favor


Clay
took
the
seat,
although
he
was
four
 that
Ball
could
not
produce
replicas
swiftly
enough.


months
younger
than
the
constitutional
age
 Following
a
period
of
study
and
work
in
Italy
from
1854
to
1857, requirement
of
30.
In
1807
he
again
was


elected
to
the
Kentucky
legislature,
where
 the
artist
returned
to
the
United
States
and
soon
began
a
monumental


he
eventually
served
as
Speaker.
Clay
 bronze
 equestrian
 statue
 of
 George
 Washington
 for
 Boston’s
 Public


spent
most
of
the
years
from
1811
to
1825
 Garden.
Also
at
this
time,
he
executed
this
statuette
of
Henry
Clay
as
a in
the
U.S.
House
of
Representatives,
where
 companion
piece
to
the
small
bronze
of
Daniel
Webster
(p.
414)
he
had he
was
elected
Speaker
his
first
day
in


office.
Almost
immediately
Clay
made
a
 completed
five
years
earlier.
“To
me
it
was
not
as
successful,”
wrote


name
for
himself
as
one
of
the
warhawks,
 the
artist
about
his
Clay
statuette.1
 Ball’s
opinion
is
not
one
generally the
young
politicians
who
fueled
anti­British


sentiment
and
helped
bring
about
the
War
 acknowledged
when
the
two
works
are
compared,
however,
because


of
1812.
In
1814,
he
served
as
one
of
the
 his
Clay
has
precisely
the
animation
that
his
Webster
lacks.


commissioners
negotiating
the
Treaty
of
 A
relaxed
pose,
both
alert
and
poised,
shows
Clay’s
tall,
lanky
body Ghent,
which
ended
the
war.
During
his


years
in
the
House,
the
well­respected
Clay
 to
good
effect.
Clay
seems
to
turn
toward
his
audience
while
unrolling


was
elected
Speaker
six
times.
 the
pages
of
a
speech
or,
more
probably,
a
resolution.
The
distinctive


It
was
during
his
time
in
the
U.S.
 head
is
vigorously
modeled,
with
broad
mouth,
straight
nose,
wide­spaced House
that
Clay
urged
that
the
United


States
become
the
center
of
an
“American
 eyes,
and
an
expansive
brow
bracketed
by
markedly
depressed
temSystem,”
joined
by
all
of
South
America,
to
 ples.
At
the
opposite
end
of
the
body
are
Clay’s
remarkably
large
feet.


wean
the
country
away
from
dependence
 The
attention
to
accuracy
in
the
feet,
as
in
the
head,
is
characteristic
of on
the
European
economy
and
politics.
He
 Ball
and
is
found
also
in
the
costume.
Yet
somehow
the
detail
in
the dedicated
much
of
his
career
to
a
high


protective
tariff
on
imported
goods,
a
 costume
is
not
distracting,
as
it
is
in
the
Webster
statuette.
Creases
and


strong
national
bank,
and
to
extensive
 stretches
are
fitted
to
a
governing
rhythm
and
contribute
to
the
whole improvements
in
the
nation’s
infrastructure.
 effect.
Ball
clearly
profited
from
his
study
of
Italian
sculpture. In
1825,
after
an
unsuccessful
cam


paign
for
the
presidency,
Clay
was
 The
statue
is,
of
course,
posthumous:
Ball
had
no
more
opportuappointed
secretary
of
state
under
John
 nity
to
take
Clay’s
likeness
from
life
than
he
had
Webster’s.
His
sources
 Quincy
Adams.
He
served
in
that
position


until
1829,
and
was
subsequently
elected
 were
 the
 existing
 paintings,
 sculptures,
 and
 lithographs
 of
 the


to
the
U.S.
Senate.
From
1831
to
1842,
 statesman.
For
instance,
Joel
T.
Hart,
another
American
sculptor
then


and
again
from
1849
to
1852,
Clay
dis­ active
in
Florence,
had
completed
his
life­size,
full­length
marble
statue tinguished
himself
as
one
of
the
Senate’s
 of
Clay
in
Italy
during
the
1850s.
Hart
had
become
Ball’s
good
friend, most
effective
and
influential
members.


Clay
earned
the
sobriquet
“Great
 and
Ball
must
have
been
intimately
familiar
with
the
statue,
which
may


Compromiser”
by
crafting
three
major
leg­ have
been
the
inspiration
for
creating
his
own
likeness
of
Clay. islative
compromises
over
the
course
of
30
 The
abbreviated
column
beside
Clay
signifies
Fortitude,
as
it
does years.
Each
time,
he
pulled
the
United


States
from
the
brink
of
civil
war.
In
1820
 for
Ball’s
statuette
of
Webster.
(The
classical
personification
of
“Fortitude”
later
acquired
the
column
as
an
attribute
from
the
biblical
account


64 United States Senate 
Henry Clay 

Thomas Ball (1819–1911) 

Bronze,
1858


30
7

⁄8
 x
12
x
10
3⁄4
 inches
(including
base)



(78.4
x
30.5
x
27.3
cm)


Signed
and
dated
(on
lower
back
of
drapery):



T.
BALL
Sculp.
Boston
1858


Inscribed
(on
back
of
base):
PATENT
assigned


to
G
W
Nichols


Gift
of
The
Charles
Engelhard
Foundation
in


honor
of
Senator
Mike
Mansfield,
1987


Accepted
by
the
U.S.
Senate
Commission
on


Art,
1987


Cat.
no.
24.00007


Catalogue of Fine Art 65 
Henry
Clay—continued 

and
1821,
he
used
his
role
as
Speaker
of


the
House
to
broker
the
Missouri
Compro


mise,
a
series
of
brilliant
resolutions
he


introduced
to
defuse
the
pitched
battle
as


to
whether
Missouri
would
be
admitted
to


the
Union
as
a
slave
state
or
free
state.


Although
he
owned
slaves
himself,
Clay


anguished
about
slavery,
which
he
called


a
“great
evil.”
He
believed
slavery
would


become
economically
obsolete
as
a


growing
population
reduced
the
cost
of


legitimate
labor.
Under
Clay’s
compro


mise,
Missouri
was
admitted
as
a
slave


state
and
Maine
as
a
free
state.


In
1833
Clay’s
skill
again
was
tested


when
South
Carolina
passed
an
ordinance


that
nullified
a
federally
instituted
protec


tive
tariff.
Although
President
Andrew


Jackson
urged
Congress
to
modify
the


tariff,
he
threatened
to
use
federal
troops


against
South
Carolina
if
the
state
refused


to
collect
it.
Despite
a
long­standing
enmity


toward
Jackson
and
with
a
deep
commit


ment
to
high
tariffs,
Clay
ended
the
crisis


by
placating
both
sides.
He
introduced
a


resolution
that
upheld
the
tariff
but
prom


ised
its
repeal
in
seven
years.


The
argument
over
slavery
flared
once


again
in
1850
when
Congress
considered


how
to
organize
the
vast
territory
ceded


by
Mexico
after
the
Mexican
War.
As
in


1820,
Clay
saw
the
issue
as
maintaining


the
balance
of
power
in
Congress.
His
per


sonal
appeal
to
Daniel
Webster
enlisted


the
support
of
that
great
statesman
for


Clay’s
series
of
resolutions,
and
civil
war


was
again
averted.


Clay
died
in
1852.
Despite
his
bril


liant
service
to
the
country
and
three
sep


arate
campaigns,
he
never
attained
his


greatest
ambition—the
presidency.
A
man


of
immense
political
abilities
and
extraor


dinary
charm,
Clay
won
widespread


admiration,
even
among
his
adversaries.


John
C.
Calhoun,
whom
he
had
bested
in


the
Compromise
of
1850,
once
declared,


“I
don’t
like
Clay....
I
wouldn’t
speak
to


him,
but,
by
God!
I
love
him.”1


of
Samson
sacrificing
himself
to
save
the
Hebrew
people
by
pulling
down


the
columns
supporting
the
Philistines’
temple.)
The
two
or
three
papers


Clay
holds
may
have
had
a
specific
reference
to
a
resolution
he
offered


in
the
House
in
1821
as
Speaker.
Throughout
his
life,
Clay
remained


famous
for
his
resolution
in
support
of
emerging
South
American
colonies


“struggling
to
burst
their
chains.”2
He
is
still
honored
in
South
America


for
his
passionate
support
of
independence
there.


As
he
had
with
his
statuette
of
Webster,
Thomas
Ball
claimed
and


assigned
the
patent
for
“a
new
and
useful
design
for
a
statuette
of
Henry


Clay”
to
George
W.
Nichols
of
New
York
City
on
November
9,
1858.


Nichols
turned
again
to
the
Ames
foundry
in
Chicopee,
Massachusetts,


for
the
casting.
The
pragmatic
drawing,
prepared
by
the
examiner
for


the
U.S.
Patent
and
Trademark
Office,
is
keyed
with
letters
referencing


Ball’s
description
in
the
patent
application.


Thomas
Ball’s
career
continued
to
flourish,
and
he
received
many


lucrative
commissions
throughout
his
life.
His
public
monuments
include


the
Emancipation Group in
Lincoln
Park
in
Washington,
D.C.,
statues
of


Charles
Sumner
and
Josiah
Quincy
in
Boston,
and
the
sculpture
of
Daniel


Webster
for
New
York’s
Central
Park.
Other
bronze
copies
of
the
Clay


statuette
are
in
the
collections
of
the
White
House,
the
North
Carolina


Museum
of
Art
in
Raleigh,
and
the
Newark
Museum
in
New
Jersey.


66 United States Senate 
Catalogue of Fine Art 

On November 9, 1858, Thomas 

Ball assigned this patent for his 

statuette of Henry Clay to George 

W. Nichols of New York City. 

(Courtesy U.S. Patent and Trademark) 

67 
Henry
Clay—continued 

The
Senate’s
bronze
bust
of
Henry
Clay
was
executed
by
artist


Henry
Kirke
Brown
in
September
1852,
three
months
after


the
great
statesman’s
death.
The
cabinet­size
bust
came
into


the
possession
of
Isaac
Bassett
(p.
28),
assistant
doorkeeper


of
the
Senate,
around
that
same
year.
In
his
unpublished


remembrances,
Bassett
noted
that
he
acquired
it
through
Asbury
Dickins,


secretary
of
the
Senate,
and
that
it
was
used
by
William
H.
Dougal
(with


the
profile
facing
left)
for
the
frontispiece
of
the
Obituary Addresses on 

the Occasion of the Death of the Hon. Henry Clay,
published
by
Congress


in
1852.
It
also
appears
to
have
been
used
as
a
model
for
a
memorial


medal
of
Clay
struck
about
1855.
The
bust
remained
with
Bassett’s
heirs


until
purchased
by
the
Senate
Commission
on
Art
in
1990.


Brown
began
his
art
career
as
a
painter,
studying
with
portraitist


Chester
Harding
in
Boston.
He
later
became
interested
in
sculpture
and


traveled
to
Italy
in
1842
to
study
and
work.
Less
convinced
than
many


of
his
contemporaries
as
to
the
benefits
of
European
classical
training


for
American
artists,
Brown
returned
to
New
York
City
four
years
later,


where
he
established
a
studio
and
small
foundry.


Brown’s
bust
of
Clay
is
obviously
a
commemorative
work,
but


whether
it
was
commissioned
by
a
patron
is
not
known.
More
likely,


given
its
reduced
size,
it
was
produced
on
speculation,
in
the
hope
that


a
market
for
casts
of
the
sculpture
would
materialize.
The
bust
has


received
little
notice,
perhaps
because
it
was
soon
overshadowed
by


the
equestrian
statue
of
George
Washington
in
Union
Square
in
New


York
City
that
followed
and
is
considered
Brown’s
best
work.


An
earlier
version
of
the
bust
in
the
collection
of
the
Newark


Museum
in
New
Jersey
is
dated
June
1852
and
appears
to
have
been


completed
around
the
time
of
Clay’s
death
on
June
29.
But
Clay
had


been
ill
for
six
months
before
his
death,
so
the
work
probably
was
not


modeled
from
life.
Other
versions
of
the
Clay
bust,
also
dated
1852
to


commemorate
 Clay’s
 death,
 are
 in
 the
 Smithsonian
 Institution’s


National
Portrait
Gallery
in
Washington,
D.C.,
and
the
Special
Collections
of
the
University
of
Kentucky.
All
were
cast
from
molds
made
from


the
same
clay
model.


Because
Brown
had
little
opportunity
for
a
life
sitting
with
Clay,


the
question
of
his
source
for
the
clay
model
arises.
The
most
noted


sculpture
of
Clay
was
one
by
Joel
T.
Hart
(1847),
which
probably
served


as
the
stimulus
for
Thomas
Ball’s
1858
posthumous
portrait
of
Clay


68 United States Senate 
Henry Clay 

Henry Kirke Brown (1814–1886) 

Bronze,
1852


16
1

⁄4
 x
9
1⁄2
 x
6
inches
(41.3
x
24.1
x
15.2
cm)


Signed
(on
back
right
side):
H.K.
Brown
Sculptor
/
Sept.
1852


Purchased
by
the
U.S.
Senate
Commission
on
Art,
1990


Cat.
no.
24.00009


Catalogue of Fine Art 69 
Henry
Clay—continued 

(p.
64).
The
conception
is
very
similar
to
Brown’s,
and
it
may
well


have
been
his
starting
point,
too.
But
there
were
also
many
portrait


paintings,
prints,
and
daguerreotypes
of
the
“Great
Compromiser”
to


guide
Brown.
Clay’s
contemporaries
considered
him
a
difficult
subject
for
artists.
The
British
writer
Harriet
Martineau
observed
in
1838


that
“no
one
has
succeeded
in
catching
the
subtle
expression
of
placid


kindness,
mingled
with
astuteness.”1


Henry
Kirke
Brown
deserves
credit
for
making
posterity
believe
in


the
visual
truth
of
his
Henry
Clay.
The
reduced
size
of
the
head
results


in
a
concentrated
naturalism.
Clay’s
distinctive
features—the
narrow,
highdomed
skull;
finely
structured
eye
sockets;
aquiline
nose;
high
upper
lip;


wide,
thin
mouth;
and
especially
the
side
of
the
face—are
modeled
with


variety
and
nuance.
The
flesh
appears
malleable,
the
shifting
planes
of


the
 face
 are
 carefully
 followed,
 and
 the


striking
network
of
veins
in
the
forehead
and


temples
carries
special
conviction.


In
terms
of
post­Civil
War
sculpture,


Brown
is
a
major
presence
in
the
nation’s


capital.
 In
 addition
 to
 the
 Clay
 bust


owned
by
the
Senate,
he
is
known
for
his


equestrian
statues
of
Nathanael
Greene
and


Winfield
Scott,
and
portrait
statues
in
the


U.S.
Capitol’s
National
Statuary
Hall
Collection
 of
 George
 Clinton
 of
 New
 York,


Nathanael
 Greene
 of
 Rhode
 Island,
 and


Philip
 Kearney
 and
 Richard
 Stockton
 of


New
Jersey.


Henry Kirke Brown’s bust of Henry Clay 

was illustrated on the title page of the 1852 

bound obituary addresses for the statesman. 

(Library of Congress) 

70 United States Senate 
This portrait medallion executed by Charles 

Cushing Wright around 1855 bears a striking 

resemblance to the Senate’s portrait bust. 

(National Portrait Gallery, Smithsonian Institution) 

Catalogue of Fine Art 71 
Henry
Clay—continued 

I

n
1955
the
Senate
decided
to
honor
five
of
its
most
significant


former
members
by
commissioning
their
portraits
for
permanent


display
in
the
Reception
Room
adjacent
to
the
Senate
Chamber.


The
 portraits
 were
 placed
 in
 oval
 medallions
 on
 the
 walls


originally
planned
for
likenesses
of
“illustrious
men”
but
left


vacant
when
Constantino
Brumidi
painted
the
room
in
the
mid­19th


century.
A
committee
chaired
by
Senator
John
F.
Kennedy
of
Massachusetts
was
formed
to
choose
the
five
outstanding
members;
Henry


Clay,
Daniel
Webster
of
Massachusetts
(p.
418),
and
John
C.
Calhoun


of
South
Carolina
(p.
54)
were
easily
selected.
The
committee
had
difficulty
determining
the
final
two
subjects,
but
eventually
agreed
on
Robert


M.
La
Follette,
Sr.,
of
Wisconsin
(p.
242)
and
Robert
A.
Taft,
Sr.,
of
Ohio


(p.
354),
both
Republicans.


Following
the
selection
of
the
five
senators,
a
special
Senate
commission
was
charged
with
choosing
American
artists
to
paint
the
five


portraits.
The
commission
was
composed
of
the
architect
of
the
Capitol,


the
director
of
the
National
Gallery
of
Art,
and
the
chairman
of
the


Commission
on
Fine
Arts.
In
1953
New
York
muralist
Allyn
Cox
had


been
hired
to
complete
the
frieze
in
the
Capitol
Rotunda
left
unfinished
since
the
1880s;
now
he
was
chosen
to
supervise
portraits
for


the
Reception
Room,
assuring
visual
harmony.
Cox
would
also
paint


the
Henry
Clay
portrait.


The
commission
originally
intended
the
portraits
to
be
painted


directly
onto
plaster
in
the
Senate
Reception
Room.
However,
Cox
persuaded
them
that
the
portraits
should
be
executed
on
canvas,
which
could


then
be
attached
to
the
wall.
The
commission
also
altered
its
plan
to


have
the
portraits
painted
simultaneously
in
the
Reception
Room.
Instead,


the
artists
worked
on
the
portraits
in
their
own
studios,
gathering
at
the


Capitol
to
put
the
finishing
touches
on
the
paintings
after
installation.


The
commission
recommended
that
Cox
base
his
likeness
of
Clay


on
George
P.A.
Healy’s
portrait,
now
owned
by
the
Virginia
Museum
of


Fine
Arts
in
Richmond.
The
Healy
portrait
was
created
during
a
two­month


sitting
in
1845
at
Clay’s
Kentucky
home,
Ashland.
Healy
found
that
Clay,


with
his
quickly
changing
moods
and
expressions,
was
a
challenge
to


capture
on
canvas.
Clay
was
delighted
with
the
result,
however,
stating:


“You
are
a
capital
portrait
painter,
Mr.
Healy.
You
are
the
first
to
do
justice
to
my
mouth,
and
it
is
well
pleased
to
express
its
gratitude.”1


72 United States Senate 
Henry Clay 

Allyn Cox (1896–1982) 

Oil
on
canvas
applied
to
wall,
1958


22
5

⁄8
 x
19
1⁄2
 inches
(oval)
(57.5
x
49.5
cm)


Unsigned


Commissioned
by
the
Senate
Committee
on
Rules
and
Administration,
1958


Accepted
by
the
Senate
Committee
on
Rules
and
Administration,
1959


Cat.
no.
32.00007


Catalogue of Fine Art 73 
Henry
Clay—continued 

Right: 

The portrait of Henry Clay by Allyn Cox is 

displayed on the south wall of the ornate 

Senate Reception Room. 

(1999 photograph) 

Senator John F. Kennedy at the unveiling 

ceremony for the Senate Reception Room 

portraits, March 12, 1959. Attendees, seated 

left to right, include Vice President 

Richard Nixon and Senators Everett M. 

Dirksen and Lyndon B. Johnson. 

(John F. Kennedy Library) 

Born
in
New
York
City
in
1896,
Allyn
Cox
apprenticed
to
his
father,


the
artist
Kenyon
Cox,
working
on
murals
for
the
Wisconsin
State
Capitol.


He
later
studied
at
the
National
Academy
of
Design
and
the
Art
Students
League
in
New
York
City,
and
at
the
American
Academy
in
Rome.


In
1952
Cox
began
an
association
with
the
U.S.
Capitol
that
was
to
last


throughout
his
life.
In
addition
to
his
work
in
the
Capitol
Rotunda
and


his
portrait
of
Henry
Clay,
Cox
was
commissioned
to
depict
the
first


landing
on
the
Moon
for
a
panel
in
the
Senate’s
Brumidi
Corridors


(p.
16),
and
his
many
murals
of
historic
scenes
and
personalities
decorate
the
ceiling
and
walls
of
the
first
floor
corridors
on
the
House
side


of
the
Capitol.
Dubbed
“the
American
Michelangelo,”
Cox
died
of
a
stroke


in
1982,
just
five
days
after
attending
a
ceremony
held
in
his
honor
on


September
21
in
National
Statuary
Hall
at
the
Capitol.


74 United States Senate 

Henry
Clay—continued 

Henry
F.
Darby,
who
painted
this
portrait
of
Henry
Clay,


shared
a
studio
with
noted
painter
Samuel
Colman
in


the
late
1850s.
What
little
is
known
of
Darby
comes
from


Colman’s
recollections
and
Darby’s
own
writings,
now


in
the
collection
of
the
Oneida
Historical
Society
in
New


York.
These
include
correspondence
and
a
journal
he
wrote
at
age
65


for
his
daughter.


Born
in
North
Adams,
Massachusetts,
Darby
was
self­taught,
except


for
brief
instruction
from
itinerant
painters.
According
to
one
account,


he
was
painting
in
oils
by
1842,
when
he
was
13.
Evidence
of
his
precocity
is
found
in
a
fascinating
painting,
The Reverend John Atwood and 

His Family, in
the
Museum
of
Fine
Arts
in
Boston.
Here
Darby’s
style


is
that
of
a
determined
New
England
limner,
and
the
group
portrait,


fully
signed
and
dated
1845,
is
a
remarkable
achievement,
compelling


in
its
realism.


In
1847
Darby
became
a
teacher
at
the
South
Carolina
Female
College
in
Barhamville.
He
soon
returned
north,
where
he
lived
in
New


York
City
and
Brooklyn
from
1853
to
1860
and
displayed
portraits
at


the
annual
exhibitions
of
the
National
Academy
of
Design.
In
1859–60


he
showed
paintings
of
John
C.
Calhoun
and
Clay.
Darby,
who
was
briefly


married,
divided
his
time
between
Brooklyn,
his
wife’s
family
home
in


Brownsville,
New
York,
and
Washington,
D.C.
He
was
a
deeply
religious


man,
and
the
death
of
his
wife
in
1858
impelled
him
to
abandon
portrait
painting.
After
placing
his
young
daughter
in
the
care
of
his
wife’s


family,
Darby
studied
for
the
ministry,
and
in
1865
he
became
deacon


of
St.
John’s
Episcopal
Church
in
Whitesboro,
New
York.
In
1869
he


sailed
to
England,
where
he
briefly
served
the
Anglican
Church.
He
had


returned
to
America
by
1873,
when
records
place
him
at
Saint
Saviour’s


Church
in
Bridgeport,
Connecticut.
Later
he
moved
to
New
York
City.


Darby
continued
to
paint—mainly
religious
themes—and
he
exhibited


works
as
late
as
1882
at
the
Utica
Art
Association.
Few
of
these
later


works
survive.
Age
brought
failing
health,
and
the
artist
took
up
residence
with
his
daughter
in
Fishkill,
New
York,
where
he
died
in
1897.


The
portrait
of
Henry
Clay
is
simply
conceived:
a
three­quarterlength
figure
is
seated
in
a
wooden
armchair.
Darby
has
placed
the
chair


at
a
slight
angle
to
the
picture
plane,
next
to
the
corner
of
a
covered


table.
On
the
table’s
surface
lie
some
sheets
of
paper
and
a
quill
pen.


Darby
has
positioned
Clay’s
head
to
the
right
of
center,
and
he
has


76 United States Senate 
Henry Clay 

Henry F. Darby (1829–1897) 

Oil
on
canvas,
ca.
1858


49
1

⁄4
 x
39
3⁄4
 inches
(125.1
x
101
cm)


Signed
(lower
right
corner):
H.
F.
DARBY


Purchased
by
the
Joint
Committee
on
the
Library,
1881


Cat.
no.
32.00002


Catalogue of Fine Art 77 
Henry
Clay—continued 

Mathew Brady’s daguerreotype of Henry 

Clay, ca. 1849, may have been the source 

for Henry Darby’s painted portrait. 

(The Museum of Modern Art, New York. 

Gift of A. Conger Goodyear) 

devoted
most
of
his
attention
to
the
precise
and
convincing
modeling


of
it.
Brightly
lit,
the
superb
face
radiates
intellect
and
self­control.
The


hands
are
at
rest
but
are
expressive
and
pictorially
pleasing.
The
large


canvas
tends
to
dissipate
the
focus;
Clay’s
suit
and
the
background
are


monotonous
(doubtless
they
have
darkened
over
time).


The
stark
presentation
of
figure
against
dark
ground
hints
at
the


pictorial
source
of
the
portrait:
a
daguerreotype
of
Clay.
The
painting


was
apparently
created
by
projecting
a
collodion
plate
onto
a
sensitized


canvas,
then
painting
over
the
image
in
oil.
The
effect
is
precisely
that


of
an
enlarged
photograph.
Mathew
Brady,
who
owned
this
painting


and
Darby’s
portrait
of
John
Calhoun
(p.
56),
and
from
whom
the
Senate


acquired
both,
wrote
in
1881
that
he
had
made
a
photographic
portrait


of
Clay
in
1850
and
that
“Darby
made
his
study
at
the
same
time
for


the
oil
painting.”
But
several
scholars
believe
instead
that
a
photograph,


attributed
either
to
Brady
or
to
the
Boston
firm
of
Southworth
and
Hawes,


was
Darby’s
main
source.
Brady
did
not
say
that
Darby
painted
his
portrait
of
Clay
in
1850,
only
“his
study.”
The
actual
portrait
was
probably


painted
nearer
to
the
date
of
its
1860
exhibition
at
the
National
Academy


of
Design
in
New
York
City.
Likewise,
Darby’s
portrait
of
Calhoun
(which


Brady
associated
with
an
1849
photographic
session)
is
signed
and
dated


1858,
and
the
Clay
may
date
from
the
same
time.


Darby’s
portraits
of
Clay
and
Calhoun
are
among
the
earliest
to


owe
 their
 composition
 (and,
 to
 some
 extent,
 their
 appearance)
 to


assistance
from
photography.
The
invention
of
photography
had
a


notable
effect
on
portrait
painting.
Initially,
at
least,
it
reinforced
the


descriptive
naturalism
that
was
already
a
common
trait
of
19th­century


portraiture.
And
for
patrons
of
lesser
means,
it
became
a
replacement


for
painted
portraits,
including
miniatures.
While
some
painters
feared


the
competition
from
photography,
many
artists
agreed
with
the
opinion


of
painter­photographer­inventor
Samuel
F.B.
Morse,
who
observed
in


1839:
“Art
is
to
be
wonderfully
enriched
by
this
discovery.
How
narrow


and
foolish
the
idea
which
some
express
that
it
will
be
the
ruin
of


art....
 Nature,
in
the
results
of
Daguerre’s
process,...
shows
that
the


minutest
detail
disturbs
not
the
general
repose.”1


78 United States Senate 
Marble busts of vice presidents and portraits 

of notable senators are displayed in the 

second floor corridor of the Senate wing. 

Left to right: Paintings of Daniel Webster, 

Henry Clay, and John C. Calhoun. 

(1999 photograph) 

Catalogue of Fine Art 79 
George
Clinton


(1739–1812) 

A
key
figure
in
the
growth
of
the
nation
 S

culptor
Vittorio
A.
Ciani
received
the
commission
for
a
marble


from
the
Revolution
to
the
War
of
1812,
 bust
of
Vice
President
George
Clinton
under
authority
of
a George
Clinton
of
New
York
served
four
 Senate
resolution
approved
in
1886.
Ciani,
an
Italian
citizen years
as
vice
president
under
President


Thomas
Jefferson
and
three
more
under
 who
maintained
a
studio
in
New
York
City,
based
his
work


President
James
Madison.
Born
in
Little
 on
the
best­known
likeness
of
the
vice
president:
an
oil
on Britain,
New
York,
Clinton
was
an
active


member
of
his
state’s
anti­British
faction
 canvas
portrait
by
Ezra
Ames.
In
December
1893
Ciani
wrote
Architect


and,
in
1775,
a
New
York
delegate
to
the
 of
the
Capitol
Edward
Clark
that
he
had
completed
the
clay
study
model.


second
Continental
Congress.
He
served
as
 The
finished
work,
in
marble,
was
installed
in
the
Senate
Chamber
in a
brigadier
general
in
the
Continental
army


during
the
Revolutionary
War,
helped
frame
 1894
as
part
of
the
Vice
Presidential
Bust
Collection.
Ciani
is
also
known


New
York’s
state
constitution,
and
was
 for
sculpted
works
in
St.
Bartholomew’s
Church,
Grace
Church,
and


chosen
as
the
state’s
first
governor.
 Columbia
 College—all
 in
 New
 York
 City—and
 at
 The
 Breakers,
 the During
his
six
consecutive
terms
as


governor,
from
1777
until
1795,
Clinton
 Newport,
Rhode
Island,
home
of
the
Vanderbilts.
In
1897
Ciani
received


proved
effective
at
managing
trade
and
 the
cross
of
the
Crown
of
Italy
for
historic
merit
from
King
Humbert.


public
welfare
issues.
He
was
an
advo­


cate
of
state
sovereignty
who
vigorously


opposed
the
federal
Constitution,


believing
that
it
reduced
New
York’s


power
in
relation
to
other
states.
His


views,
put
forth
in
a
series
of
letters


signed
“Cato,”
were
published
in
the
New


York
Journal.
These
so­called
Cato
letters


received
spirited
replies
from
Alexander


Hamilton,
writing
in
the
Daily
Advertiser


under
the
pen
name
“Caesar.”


Clinton
declined
to
stand
for
reelection


in
New
York
in
1795
but
returned
to
the


governorship
for
a
seventh
term
in
1801.


Elected
fourth
vice
president
of
the
United


States
three
years
later,
Clinton
then


sought
the
presidency
in
1808.
Instead,
he


was
reelected
vice
president
under
James


Madison.
Clinton
died
in
office
in
1812.


The Senate’s marble bust of George Clinton 

is based on this 1814 painting by Ezra Ames. 

(Collection of the New-York Historical Society) 

80 United States Senate 
George Clinton 

Vittorio A. Ciani (1858–1908) 

Marble,
modeled
1893,
carved
1894


29
1

⁄4
 x
27
x
18
1⁄4
 inches
(74.3
x
68.6
x
46.4
cm)


Signed
(on
base
under
subject’s
truncated
left
arm):
Victor
A.
Ciani
/
Sculptor
N.Y.–


Commissioned
by
the
Joint
Committee
on
the
Library,
1893


Accepted
by
the
Joint
Committee
on
the
Library,
1894


Cat.
no.
22.00004


Catalogue of Fine Art 81 
Schuyler
Colfax


(1823–1885) 

Schulyer
Colfax
served
as
a
U.S.
represen­ I

ntending
to
commission
a
marble
bust
of
Schuyler
Colfax
for


tative
from
Indiana,
and
as
the
17th
vice
 the
Senate’s
Vice
Presidential
Bust
Collection,
the
Joint
Com­
 president
of
the
United
States
during
thefirst
term
of
President
Ulysses
S.
Grant’s
 mittee
on
the
Library
requested
a
preliminary
clay
model
from


administration.
Born
in
New
York
City,
 Indiana
sculptor
Frances
M.
Goodwin
in
1896.
Born
in
New­


Colfax
grew
up
in
Indiana
where
he
 castle,
Indiana,
Goodwin
had
studied
with
famed
sculptor
Daniel
 became
owner­editor
of
a
prominent
news­ Chester
French
at
New
York’s
Art
Students
League
and
at
the
Art
Insti­
 paper,
the
St.
Joseph
Valley Register.
He


was
an
active
Whig
until
that
party
dis­ tute
of
Chicago.
The
former
vice
president’s
widow,
Ellen
Colfax,
liked


solved
in
the
1850s;
he
then
redirected
his
 the
preliminary
model
Goodwin
submitted.
On
her
recommendation, energy
toward
the
new
Republican
Party
in
 the
committee
approved
the
piece,
and
Goodwin
began
work
on
the his
adopted
state.


First
elected
to
the
U.S.
House
of
Rep­ bust
that
same
year.
 resentatives
in
1854,
Colfax
became
an
 Ellen
Colfax
visited
the
sculptor’s
Chicago
studio
regularly,
making influential
member
and
a
strong
antislavery
advocate.
He
was
elected
Speaker
 suggestions
that,
as
she
put
it,
“will
aid
her
in
modeling
a
faithful
likein
1863
and
served
until
1869,
when
he
 ness.”
The
Piccirilli
Brothers
of
New
York
translated
Goodwin’s
clay
model


assumed
the
vice
presidency
under
Grant.
 into
marble,
and
the
Joint
Committee
on
the
Library
authorized
acquisi­ After
serving
one
term,
he
lost
his
bid
for
 tion
in
February
of
1897.
The
work
was
placed
on
view
immediately
in renomination
in
1872.
Implicated
in
the


Crédit
Mobilier
scandal,
a
fraudulent
 a
gallery­level
niche
of
the
Senate
Chamber.
 financial
scheme
associated
with
thebuilding
of
the
Union
Pacific
Railroad,­

Colfax
faced
a
loss
of
public
support.­

Although
he
denied
charges
against
him,­

and
a
motion
to
impeach
him
failed,
thescandal’s
aftermath
eclipsed
his
risingpolitical
career.
The
vice
president
finishedhis
term
as
a
discredited
man;
he
wasnever
to
hold
political
office
again.
Colfaxretired
to
his
home
in
South
Bend,
Indiana,­

frequently
traveling
to
give
public
lectures.­

He
died
in
Minnesota
in
1885.
­

Indiana artist Frances M. Goodwin. 

(Architect of the Capitol) 

82 United States Senate 
Schuyler Colfax 

Frances Murphy Goodwin (1855–1929) 

Marble,
1896/1897



30
3

⁄8
 x
29
3⁄4
 x
18
3⁄4
 inches
(77.2
x
75.6
x
47.6
cm)


Signed
(on
subject’s
left
front
jacket):
Frances.
M.
Goodwin.


Commissioned
by
the
Joint
Committee
on
the
Library,
1896


Accepted
by
the
Joint
Committee
on
the
Library,
1897


Cat.
no.
22.00017


Catalogue of Fine Art 83 
Calvin
Coolidge


(1872–1933) 

Calvin Coolidge served as the 29th vice During
the
first
few
months
of
President
Calvin
Coolidge’s


president of the United States from 1921 administration,
the
chief
executive
sat
for
sculptor
Moses until his succession to the presidency in 

1923 upon the sudden death of President Dykaar
at
the
White
House.
Dykaar,
who
also
sculpted


Warren G. Harding. A quintessential New First
Lady
Grace
Coolidge,
exhibited
models
of
the
first


Englander, Coolidge was born in Plymouth couple
 at
 the
 Smithsonian
 Institution
 in
 Washington, Notch, Vermont. He studied and practiced 

law in Northampton, Massachusetts, held D.C.,
in
January
1924.
According
to
the
Washington
Herald, “The
bust


local and state legislative office, and was of
Coolidge
is
to
be
executed
in
marble,
which
Moses
Dykaar
himself


elected lieutenant governor, ultimately will
cut...
[and]
is
destined
for
the
Capitol.”
However,
it
was
not
until becoming governor of the state. As Mas- two
years
later
that
Dykaar
was
contracted
for
a
marble
bust
of
the
presi­ sachusetts’s chief executive, Coolidge 

attracted national attention when he dent
for
the
Senate’s
Vice
Presidential
Bust
Collection
based
on
his
plaster


opposed a 1919 Boston police strike with model.
The
sculptor
had
earlier
executed
a
bust
of
Thomas
Marshall
for the words, “There is no right to strike 

against the public safety by anybody, any- the
Senate
for
which
he
had
been
paid
$1,000—a
fee
$200
greater
than


where, any time.”1 was
customary,
due
to
increased
transportation
costs
for
marble
during


Coolidge was nominated as Harding’s World
War
I.
Dykaar
again
received
the
higher
commission
price
for
the running mate in 1920 in a political revolt 

against “bossism,” and assumed the vice bust
of
Coolidge.


presidency in 1921. Following the presi- Dykaar,
 a
 Lithuanian­Russian
 immigrant,
 had
 attended
 drawing


dent’s death, Coolidge was sworn in as the school
in
his
native
Vilnius,
later
studying
at
the
prestigious
Académie 30th president of the United States by his Julian
in
Paris.
Preferring
his
subjects
to
be
animated
while
posing,
Dykaar father, a Vermont justice of the peace. 

Untouched by the scandals of the Harding had
difficulty
with
the
taciturn
Coolidge,
who
sat
“silent
as
the
Sphinx.”


administration, Coolidge was elected presi- But
Coolidge
did
provide
a
few
lighter
moments.
A
1931
article
discusses dent in his own right the following year. 

His policies were strongly pro-business: He the
sittings:
“Sometimes
Coolidge
would
tell
a
joke,
in
his
cold,
grim


favored tax cuts and a restrained, laissez- Yankee
way,
but
he
was
at
his
best
when
he
wiggled
his
ears.”1


faire role for government. Coolidge did not The
same
year
that
Dykaar
was
awarded
the
Coolidge
commission, seek reelection in 1928. In his retirement, 

he wrote various articles, as well as his his
work
was
exhibited
at
the
Smithsonian
Institution’s
new
National


autobiography. He died in 1933 in Museum
in
Washington,
D.C.
(now
the
Natural
History
Museum).
Dykaar


Northampton, Massachusetts. executed
the
Coolidge
bust
in
marble
at
his
New
York
City
studio
in
1927;


it
was
placed
in
the
Capitol
without
ceremony
two
years
later.
At
that


time,
it
was
the
only
statue
of
a
living
person
exhibited
in
the
building.


While
the
sculpture
was
being
installed
in
the
Senate
wing,
part
of
the


left
ear
was
broken.
It
was
repaired
shortly
afterward,
redamaged
in
1943,


and
repaired
again
that
same
year.


Prior
to
his
contract
with
the
Joint
Committee,
Dykaar
used
his


plaster
model
to
create
marble
busts
of
Coolidge
for
Amherst
College


and
the
Forbes
Library,
both
in
Massachusetts.
Although
he
donated
the


Moses Dykaar poses with his portraits of model
to
the
Smithsonian
in
1929,
he
then
borrowed
it
in
1931
and
never


President and Mrs. Coolidge. The artist returned
it;
the
model’s
present
location
is
unknown.
Other
busts
by
 created a second version of the Calvin Dykaar
in
the
Senate
are
those
of
Vice
Presidents
Thomas
R.
Marshall
 Coolidge bust for the Senate. 

(Library of Congress, Prints and Photographs Division) (p.
276)
and
Charles
Curtis
(p.
90).
Also
at
the
U.S.
Capitol
are
Dykaar’s


busts
of
House
Speakers
James
“Champ”
Clark
and
Nicholas
Longworth.


84 United States Senate 
Calvin Coolidge 

Moses A.Wainer Dykaar (1884–1933) 

Marble,
modeled
1924/1925,
carved
1927



27
x
23
x
12
inches
(68.6
x
58.4
x
30.5
cm)


Signed
and
dated
(on
subject’s
truncated
left
arm):
MOSES
W.
DYKAAR
/
1927


Commissioned
by
the
Joint
Committee
on
the
Library,
1926


Accepted
by
the
Joint
Committee
on
the
Library,
1928


Cat.
no.
22.00029


Catalogue of Fine Art 85 
Courage


Above
the
west
entrance
in
the
Senate
 A November
1938
structural
report
on


Chamber
is
a
carved
marble
relief
titled
 the
condition
of
the
roof
over
the


Courage,
depicting
a
male
warrior
locked
 north
and
south
wings
of
the
Capitol
 in
battle
with
a
serpent.
Sculptor
LeeLawrie,
the
designer
of
the
panel,
 revealed
 major
 deficiencies
 and


described
the
imagery
in
a
1951
letter
 hazards,
 and
 recommended
 the
 to
Architect
of
the
Capitol
David
Lynn:­

“Courage
symbolizes
our
nation,
which
 complete
removal
of
the
ceilings
in
the
Senate
and


unflinchingly
battles
Evil
and
vanquishes
 House
Chambers.
In
1940
Congress
approved
funds


it.
I
used
the
biblical
symbol
for
Evil,
 to
replace
the
roofs,
and
temporary
ceiling
supports the
serpent.”
 were
 installed
 in
 the
 Chambers.
 Because
 of
 a


shortage
of
materials
and
skilled
labor
during
World


War
II,
however,
the
work
was
delayed
until
1949.


By
 the
 time
 construction
 began
 on
 the
 Senate


Chamber
 ceiling,
 a
 more
 sweeping
 remodeling


scheme
 had
 been
 approved.
 It
 called
 for
 the


Chamber’s
elaborate
mid­19th­century
style,
characterized
as
“Victorian,”
to
be
replaced
with
an
early


Federal­period
look.


New
sculptural
embellishments
were
recommended
in
the
Report of the Commission of Fine 

Arts,
1944–1948, but
the
sculpture
for
the
Senate


Chamber
was
not
laid
out
in
detail.
Thus


Maryland
 sculptor
 Lee
 Lawrie,
 who
 was


awarded
a
commission
for
panels
to
be
mounted
above
the
three


entrance
doors
in
the
Chamber,
was
given
latitude
in
his
selec­


tion
of
subject
matter.
“I
tried
to
illustrate
the
qualities
Wisdom,


Patriotism,
and
Courage
in
the
designs,”
he
later
wrote,
explaining


his
choices.
(See
also
Patriotism p.
306,
and
Wisdom p.
432).


The
pieces
were
carved
in
place
by
three
different
artists
based


on
Lawrie’s
plaster
models.
Bruno
Mankowski
of
New
York
City


sculpted
the
relief
of
Courage over
the
west
entry.



Lawrie
was
born
in
Germany
but
moved
to
the
United
States


shortly
after
his
birth.
A
prolific
sculptor,
he
was
considered
“Dean


of
American
Architectural
Sculpture.”
The
artist
was
responsible


The relief of Courage is located above the for
the
sculptural
elements
on
most
of
the
buildings
designed
by


west entrance to the Senate Chamber. American
architect
Bertram
G.
Goodhue.
In
the
1955
American
Sculp­ (1999 photograph) 

tors
Series,
Lawrie
was
noted
as
“a
sculptor
who
believes
that
architecture
provides
the
most
reasonable
place
for
expressions
of
the
sculptor’s


86 United States Senate 
Courage 

Lee Oscar Lawrie (1877–1963) 

Marble,
modeled
and
carved
1950


33
x
68
1

⁄2
 inches
(83.8
x
174
cm)


Unsigned


Commissioned
by
the
Architect
of
the
Capitol,
1950


Accepted
by
the
Architect
of
the
Capitol,
1950


Cat.
no.
25.00008


art.”1
Of
Lawrie’s
more
than
300
commissions,
ecclesiastical
themes
are


most
prominent.


Other
works
by
the
artist
include
sculptures
located
at
the
Bok
Singing


Tower
in
Lake
Wales,
Florida;
the
Chapel
at
West
Point
Military
Academy


in
West
Point,
New
York;
the
Nebraska
State
Capitol
in
Lincoln;
St.
Thomas


Church
in
New
York
City;
the
Harkness
Memorial
Quadrangle
at
Yale
University
in
New
Haven,
Connecticut;
and
the
figure
of
Atlas in
front
of
the


International
Building
at
Rockefeller
Center
in
New
York
City.


The
artist
is
well
represented
in
Washington,
D.C.,
where
his
works


include
bronze
doors
for
the
John
Adams
Building,
Library
of
Congress;


large
relief
panels
for
the
National
Academy
of
Sciences
Building;
the


south
entrance
portal
of
the
National
Shrine
of
the
Immaculate
Conception;
a
memorial
relief
at
The
Octagon
Museum;
and
a
portrait
of


George
Washington
at
the
National
Cathedral.
In
addition,
Lawrie
modeled
eight
classical
panels
that
were
cast
in
plaster
for
installation
in


the
East
Room
of
the
White
House,
as
part
of
the
Theodore
Roosevelt


renovation
of
the
house
in
1902.


Catalogue of Fine Art 87 
Thomas
Crawford


(1813/1814–1857) 

Thomas
Crawford
is
remembered
by
the
 This
marble
bust
of
sculptor
Thomas
Crawford
by
Tommaso


U.S.
Senate
not
for
any
political
accom­ Gagliardi
was
purchased
for
the
Capitol
in
1871
for
$100.
 plishments,
but
for
his
central
role
as
thesculptor
of
neoclassical
figural
groups
for
 The
Joint
Committee
on
the
Library
bought
the
work
from


the
U.S.
Capitol.
Crawford’s
massive
 Hannah
 Denmead,
 whose
 family
 owned
 a
 stonecutting


Progress of Civilization fills
the
pediment
 studio
in
Washington,
D.C.,
at
Maryland
Avenue
and
Second
 above
the
east
front
of
the
Senate
wing,­

while
a
marble
copy
(the
badly
deterio­ Street,
N.E.
The
Denmeads
apparently
acquired
the
bust
when
Gagliardi


rated
original
was
removed
in
1974)
of
his
 departed
the
city
for
Italy
in
the
late
1850s.


Justice and History (p.
232)
surmounts
the
 Born
in
Rome,
Gagliardi
was
apprenticed
to
the
sculptor
Pietro Senate
doors
of
the
east
portico.
He
also


designed
the
bronze
relief
doors
at
the
east
 Tenerani
(a
pupil
of
Antonio
Canova)
and
was
briefly
employed
by


portico
entrances
to
both
the
Senate
and
 Thomas
Crawford
in
Italy.
Gagliardi
immigrated
to
the
United
States
for


House
wings.
Finally,
Crawford
created
the
 political
reasons,
arriving
in
1855.
Work
was
just
beginning
on
the
exten­ giant
Statue of Freedom that
tops
the
 sion
to
the
U.S.
Capitol,
and
Gagliardi
found
employment
for
three
years Capitol’s
central
dome.


Little
is
known
of
Crawford’s
earliest
 carving
statuary
designed
by
Crawford
for
the
Senate
wing.
This
is
ceryears,
but
he
is
thought
to
have
been
 tainly
the
period
when
Crawford’s
bust
was
created,
possibly
following born
in
New
York
City.
He
studied


drawing
and
was
apprenticed
to
a
wood
 the
master
sculptor’s
untimely
death
in
1857.


carver
before
joining
the
noted
New
York
 Some
of
Gagliardi’s
contemporaries
disputed
his
ability
as
a
carver,
 stonecutting
firm
of
John
Frazee
(p.
204)
 although
the
bust
of
Crawford
would
seem
to
discount
these
detrac­ and
Robert
Launitz.
The
latter
encouraged
 tors.
Ironically,
Captain
Montgomery
C.
Meigs,
superintendent
of
the Crawford
to
study
in
Rome,
and
the


young
sculptor
traveled
there
in
1835,
 Capitol
extension,
recalled
in
his
journal
that
Crawford
himself
had


the
first
of
many
American
artists
to
do
 written
to
him
about
Gagliardi.
According
to
Meigs,
Crawford
called so.
In
Italy
Crawford
studied
with
the


preeminent
Danish
neoclassic
sculptor
 Gagliardi
“nothing
but
a
rougher­out”
and
“no
more
fit
to
finish
a
statue


Bertel
Thorwaldsen.
Crawford
established
 than
he
is
to
be
President
of
the
United
States.”1
 However,
Lot
Flana
reputation
in
1843
with
the
statue
 nery,
an
American
sculptor
who
worked
with
Gagliardi
at
the
Capitol, Orpheus and Cerberus, now
at
the


Museum
of
Fine
Arts
in
Boston.
Senator
 described
him
in
a
1910
letter
as
“a
tiger
in
marble
cutting.”


Charles
Sumner
of
Massachusetts
was
 Gagliardi
returned
to
Europe
shortly
after
his
time
at
the
Capitol.


an
early
friend
and
helped
the
sculptor
 He
later
founded
a
school
of
sculpture
in
Tokyo,
where
his
discovery obtain
commissions
throughout
his
career.
 of
an
important
quarry
earned
him
the
Japanese
government’s
grati­ As
Crawford’s
reputation
grew,
com


missions
followed—so
many
that
for
a
time
 tude.
Gagliardi
maintained
a
close
friendship
with
the
Piccirilli
brothers,


his
busy
studio
consisted
of
12
rooms
and
 successful
New
York
carvers,
and
through
them
secured
a
number
of 50
assistants.
Crawford
won
several
com


petitions,
including
one
for
a
massive
 important
commissions
worldwide.
He
traveled
extensively
in
Asia,
was


equestrian
statue
of
George
Washington
 remembered
as
a
“brilliant
conversationalist,”
and
ended
his
days
at


for
the
grounds
of
the
statehouse
in
Rich­ ease
in
a
Tuscan
villa.2


mond,
Virginia.
Tragically,
Crawford
didnot
live
to
see
its
completion,
nor
the
instal
­

lation
of
all
his
U.S.
Capitol
work.
At
theheight
of
his
productivity
(he
had
createdmore
than
60
statues),
Crawford
died
of
abrain
tumor.
He
was
only
44
years
old.
­

88 United States Senate 
Thomas Crawford 

Tommaso Gagliardi (1820–1895) 

Marble,
ca.
1855–1858


27
x
22
x
13
1

⁄8
 inches
(68.6
x
55.9
x
33.3
cm)


Signed
(on
back
of
subject’s
right
shoulder):
T.
GAGLIARDI.
FECIT


Purchased
by
the
Joint
Committee
on
the
Library,
1871


Cat.
no.
21.00004


Catalogue of Fine Art 89 
Charles
Curtis


(1860–1936) 

Born
near
Topeka,
Kansas,
Charles
 S

culptor
Moses
Dykaar
submitted
a
plaster
model
of
Charles


Curtis—who
would
become
a
U.S.
repre­ Curtis
to
the
vice
president
in
1932
and
received
approval
to sentative,
senator,
and
vice
president—


was
directly
descended
from
White
Plume,
 execute
the
bust
in
marble
for
the
Senate’s
Vice
Presidential


a
Kaw
chief,
and
Pawhuska,
an
Osage
 Bust
Collection.
Born
in
Lithuania,
Dykaar
studied
art
in
Paris,


chief.
During
his
boyhood,
Curtis
lived
for
 where
he
soon
gained
a
reputation
as
a
sculptor
of
note.
After three
years
with
his
maternal
grandmother
 immigrating
to
the
United
States,
he
established
himself
as
a
master on
the
Kaw
reservation
near
Council


Grove,
Kansas.
As
the
government
pre­ sculptor
of
expressive
portrait
busts.
“Just
a
handsome
or
a
pretty
face


pared
to
remove
the
Kaws
to
Indian
Terri­ will
not
do,”
Dykaar
told
a
reporter
in
1932.
“It
isn’t
the
likeness
that tory
(present­day
Oklahoma),
young


Curtis’s
grandmother
urged
him
to
seek
 counts
in
sculpture.
We
try
to
make
the
physical
features
we
carve
in


educational
and
career
opportunities
away
 marble
show
the
mental
and
spiritual
attributes
of
the
person,
and
if


from
the
tribe.
Following
high
school
in
 we
do
not
do
that
we
fail
utterly.”1


Topeka,
he
studied
law
there
and
at
theage
of
21
was
admitted
to
the
bar,
soon
 Unlike
many
sculptors,
Dykaar
carried
out
his
own
translations
of


rising
to
county
attorney.
 models
into
marble,
but
he
died
before
he
could
undertake
the
final


In
1892
Curtis
was
elected
to
the
U.S.
 work
on
his
likeness
of
Curtis.
The
sculptor’s
widow
arranged
for
the House
of
Representatives
and
was
returned
 well­known
New
York
firm
of
Piccirilli
Brothers
to
make
the
carving, six
times.
He
moved
to
the
U.S.
Senate
in


1907
to
fill
an
unexpired
term.
Closely
 and
it
was
delivered
to
the
Senate
in
1935.


identifying
with
his
ancestry,
Curtis
 Dykaar
also
created
busts
of
Calvin
Coolidge
(p.
84)
and
Thomas authored
legislation
beneficial
to
Native
 Marshall
(p.
276)
for
the
Senate’s
Vice
Presidential
Bust
Collection.
His Americans
during
his
20
years
in
the


Senate.
He
also
served
as
chairman
of
the
 vigorous
marble
sculptures
of
prominent
early
20th­century
Americans


Committee
on
Indian
Depredations.
Curtis
 can
 be
 found
 at
 the


was
an
indefatigable
political
organizer;­

he
became
party
whip,
and
was
majority
 Smithsonian
Institution’s


leader
between
1925
and
1929.
One
of
 National
Portrait
Gallery


his
proudest
achievements
in
the
Senate
 in
Washington,
D.C.,
and
 was
his
effort
to
gain
passage
of
the
19thAmendment,
granting
women
the
right
to
 in
a
number
of
other
col­


vote.
Elected
31st
vice
president
with
 lections
 throughout
 the


Republican
Herbert
Hoover
in
1928,
Curtis
 United
States.


served
one
term
before
being
defeated
forreelection.
He
then
returned
to
the
practiceof
law
in
Washington,
D.C.,
where
he
diedin
1936.­

Charles Curtis in his vice presidential office 

in the Senate Office Building. 

(Library of Congress, Prints and Photographs Division) 

90 United States Senate 
Charles Curtis 

Moses A.Wainer Dykaar (1884–1933) 

Marble,
modeled
1929,
carved
1934


23
x
21
x
13
inches
(58.4
x
53.3
x
33
cm)


Signed
and
dated
(on
subject’s
truncated
left
arm):
MOSES
/
DYKAAR
/
1929


Commissioned
by
the
Joint
Committee
on
the
Library,
1934


Accepted
by
the
Joint
Committee
on
the
Library,
1935



Cat.
no.
22.00031


Catalogue of Fine Art 91 
George
Mifflin
Dallas


(1792–1864) 

George
Mifflin
Dallas
was
a
U.S.
senator
 Henry
Jackson
Ellicott
won
the
Senate’s
commission
for


from
his
home
state
of
Pennsylvania
and
 a
portrait
bust
of
George
Mifflin
Dallas
for
the
Vice
Pres­


the
11th
vice
president
of
the
UnitedStates.
Born
in
Philadelphia,
Dallas
studied
 idential
Bust
Collection.
The
artist
was
born
in
Anne


law
and
was
admitted
to
the
bar
in
1813.
 Arundel
County,
Maryland,
a
descendant
of
Marylander


He
then
became
private
secretary
to
Albert
 Andrew
Ellicott,
who
surveyed
the
national
capital
city
 Gallatin,
U.S.
minister
to
Russia.
Returning
 for
George
Washington
in
1791.
Henry
Ellicott
studied
at
the
National
 to
Philadelphia,
Dallas
held
office
asmayor,
then
was
U.S.
attorney
for
the
 Academy
of
Design
under
Emanuel
Leutze
(famous
for
his
painting


eastern
district
of
Pennsylvania.
He
was
 Washington Crossing the Delaware)
and
was
recognized
particularly
 elected
in
1831
to
fill
the
14
months
of
theunexpired
term
of
Pennsylvania
Senator
 for
monuments
and
military
statuary.
Among
his
well­known
works


Isaac
D.
Bernard.
He
chose
not
to
run
for
 are
the
equestrian
statues
of
Civil
War
General
George
B.
McClellan


reelection,
but
remained
active
in
Pennsyl­ in
Philadelphia
and
Winfield
Scott
Hancock
in
Washington,
D.C.
In
1889
 vania
state
politics.
In
1837
PresidentMartin
Van
Buren
appointed
Dallas
envoy
 Ellicott
moved
to
Washington,
where
he
became
chief
modeler
and


and
minister
to
Russia,
an
office
he
held
 sculptor
for
the
federal
government.
The
Dallas
bust
was
created
during


for
two
years.
 the
spring
of
1893,
received
soon
after
at
the
U.S.
Capitol,
and
placed Dallas
was
James
K.
Polk’s
running


mate
on
the
1844
Democratic
ticket
that
 on
view
in
a
niche
at
the
gallery
level
of
the
Senate
Chamber.


defeated
Whig
Henry
Clay.
In
his
capacityas
president
of
the
Senate,
Vice
PresidentDallas
cast
a
tiebreaking
vote
repealing
an
 A
daguerreotype
of
George
Dallas


existing
protective
tariff.
Although
tradi­ from
the
studio
of
Germon,



tionally
known
as
a
protectionist
during
his
 Penabert
&
Fredricks,



Senate
years,
he
supported
the
adminis­ ca.
1856
–1857.


tration’s
efforts
to
reduce
tariffs,
and
 (Library
of
Congress,
Prints



defended
his
actions
as
appropriate
to
 and
Photographs
Division)


public
sentiment.
­

As
U.S.
minister
to
Great
Britain
from


1856
to
1861,
Dallas
conducted
negotia


tions
leading
to
the
Dallas­Clarendon


Convention,
which
sought
to
settle
conflicts


between
the
two
countries
over
relations


with
Central
America.
He
also
resolved
an


historic
dispute
with
Great
Britain
over
that


nation’s
search
of
American
vessels.
In


retirement,
the
former
vice
president
wrote


a
biography
of
his
father,
Alexander
J.


Dallas,
secretary
of
the
treasury
from


1814
to
1816,
and
published
volumes
of


his
own
letters
and
opinions.
He
died
in


Philadelphia
in
1864.


92 United States Senate 
George M. Dallas 

Henry Jackson Ellicott (1847–1901) 

Marble,
modeled
and
carved
1893


30
x
27
3

⁄4
 x
15
inches
(76.2
x
70.5
x
38.1
cm)


Unsigned


Commissioned
by
the
Joint
Committee
on
the
Library,
1893


Accepted
by
the
Joint
Committee
on
the
Library,
1893


Cat.
no.
22.00011


Catalogue of Fine Art 93 
Charles
Gates
Dawes


(1865–1951) 

Accomplished
in
the
fields
of
law,
finance,
 With
 directness
 and
 insight,
 renowned
 portrait


and
government
service,
Charles
Gates
 sculptor
Jo
Davidson
has
captured
the
intelligence
 Dawes
served
a
single
term
as
vice
presi­ and
purposefulness
of
one
of
the
fascinating
figures
 dent
under
Calvin
Coolidge
between1925
and
1929.
Born
in
Marietta,
Ohio,
 of
20th­century
American
political
life.
Davidson,


Dawes
studied
law
in
Cincinnati,
prac­ who
was
an
acquaintance
of
Charles
Dawes,
was
 ticed
in
Nebraska,
and
tried
his
hand
­

at
both
public­utility
management
and
 selected
to
execute
the
statesman’s
likeness
for
the
Senate’s
Vice
Presi­


banking.
He
served
as
comptroller
of
the
 dential
Bust
Collection.
He
completed
the
Dawes
bust
in
his
Paris
studio


currency
for
the
U.S.
Treasury
from
1898
 in
1930
and
shipped
it
to
Washington
in
January
1931.
Although
it
was
 to
1901,
and
by
1902
he
had
organizedhis
own
bank,
the
Central
Trust
Company
 promptly
installed
in
the
Senate
wing
of
the
U.S.
Capitol,
the
Joint
Com­


of
Illinois.
 mittee
on
the
Library
did
not
authorize
payment
to
the
sculptor
until
1935.



Dawes
later
distinguished
himself
as
 Davidson
sets
a
lean,
sober
head
above
the
wing
shirt
collar
that a
U.S.
Army
officer
during
World
War
I,


coordinating
supply
procurement
and
dis­ was
Dawes’s
sartorial
trademark.
Together
with
the
pipe
and
centrally


tribution
for
both
American
and
allied
 parted
 hair,
 this
 idiosyncratic
 collar
 signifies
 in
 Dawes
 a
 man
 who


troops
and
rising
to
the
rank
of
brigadiergeneral.
In
1921
Dawes
becamethe
first
director
of
the
Bureau
ofthe
Budget,
and
in
1925
heshared
the
Nobel
Peace
Prizewith
Sir
Austen
Chamberlain
forleadership
of
the
reparationscommittee
that
stabilized
Ger
­

many’s
postwar
finances.
­

As
30th
vice
president
and


presiding
officer
of
the
Senate,


Dawes
was
critical
of
certain


Senate
practices,
especially
the


filibuster,
which
allows
for
unlim


ited
debate.
Neither
he
nor


Coolidge
sought
reelection
in


1928,
and
Dawes
subsequently


was
appointed
ambassador
to


Great
Britain,
a
post
he
held
until


1932.
In
that
year,
Dawes


became
chairman
of
the
Recon


struction
Finance
Corporation,


and,
until
his
death
in
1951,
he


was
a
leading
Chicago
banker.


Dawes
wrote
several
books,


including
Notes
as
Vice
Presi


dent,
1928–1929.


Charles Dawes poses for the camera, having 

just been nominated for the vice presidency 

on the Republican ticket, August 25, 1924. 

(Library of Congress, Prints and Photographs Division) 

delighted
in
ignoring
tradition
and


cutting
through
red
tape
in
search


of
efficiency.


Davidson
was
principally
a


modeler
in
clay,
whose
work
often


remained
in
that
medium
or
was


cast
 in
 bronze.
 He
 did
 carve


marble,
and
the
Senate
may
have


required
such
a
bust
to
complement
the
marble
pieces
already
in


the
vice
presidential
collection.
In


any
 case,
 Davidson
 would
 have


worked
 with
 clay
 initially,
 and


some
 of
 the
 naturalistic
 detail


characteristic
of
Davidson’s
modeling
would
likely
have
been
lost


in
 the
 translation
 into
 marble.
 A


restrained
realism
is
apparent
in
the


neck
and
face,
and
the
structure
of


the
 skull
 is
 carefully
 rendered,


especially
 the
 eye
 sockets
 and


brow.
It
is
surprising
that
the
pupils


of
 the
 eyes
 are
 not
 drilled
 or


incised,
but
in
many
of
Davidson’s


clay
heads
the
eyes
are
veiled
in


94 United States Senate 
Charles G. Dawes 

Jo Davidson (1883–1952) 

Marble,
1930



17
7

⁄8
 x
19
x
9
inches
(45.4
x
48.3
x
22.9
cm)


Signed
and
dated
(on
back
of
subject’s
right
shoulder):
Jo
DAVIDSoN
/
193o


Commissioned
by
the
Joint
Committee
on
the
Library,
ca.
1929–1931


Accepted
by
the
Joint
Committee
on
the
Library,
1931


Cat.
no.
22.00030


Catalogue of Fine Art 95 
Charles
Gates
Dawes—continued 

shadow
and
perhaps
not
incised.
What
is
mysterious
in
the
rougher
clay


becomes
expressionless
in
marble.
The
artist’s
reputation
for
speed
in
modeling
and
for
spontaneity
of
pose
is
confirmed
by
the
skewed
position


of
jacket
lapels
and
tie,
resulting
from
the
turn
of
the
sitter’s
head.


Davidson
was
widely
admired
and
treated
as
a
social
equal
by
many


of
the
illustrious
men
and
women—from
James
Joyce
to
Helen
Keller—


whom
he
modeled.
He
was
fascinated
with
portraiture,
and
he
was
even


more
captivated
by
the
personalities
of
his
sitters:


My
approach
to
my
subjects
was
very
simple.
I
never
had
them
pose
but
we
just
talked


about
everything
in
the
world....
As
they
talked,
I
got
an
immediate
insight
into
the


sitters....


....
 I
often
wondered
what
it
was
that
drove
me
to
make
busts
of
people.
It
wasn’t


so
much
that
they
had
faces
that
suggested
sculpture....
What
interested
me
was
the


people
themselves—to
be
with
them,
to
hear
them
speak
and
watch
their
faces
change.1


Davidson
instinctively
responded
to
dominant
personalities
and
usually
produced
a
convincing
fusion
of
the
physical
and
intellectual
or


spiritual
aspects
of
his
sitters.
His
strong
portrait
of
Charles
Dawes
is


no
exception.


Among
Davidson’s
most
famous
works
is
a
seated
portrait
of
writer


and
art
patron
Gertrude
Stein,
whose
massive
bulk
inspired
Guy
Péne


du
Bois
to
write,
“Miss
Stein
in
this
portrait
might
be
the
mother
of
us


all.”2
 Stein,
in
turn,
wrote
a
“prose
portrait”
of
Davidson,
which
was


published
in
Vanity Fair. A
fast
worker,
Davidson
never
reverted
to
formulaic
renderings
but
always
allowed
the
subject’s
character
to
speak


through
the
art.


A
marble
likeness
of
Vice
President
Henry
Wallace
by
Davidson


(p.
384)
is
also
in
the
U.S.
Senate,
and
Davidson’s
full­length
statues
of


Senator
Robert
M.
La
Follette,
Sr.,
and
humorist
Will
Rogers
are
located


in
the
U.S.
Capitol’s
National
Statuary
Hall
Collection.


96 United States Senate 
Photographer Man Ray captures sculptor 

Jo Davidson at work in his studio as he 

sculpts the clay model of author Gertrude 

Stein, 1922. 

(National Portrait Gallery, Smithsonian Institution © 2000 

Man Ray Trust/Artists Rights Society, NY/ADAGP, Paris) 

Catalogue of Fine Art 97 
Everett
McKinley
Dirksen


(1896–1969) 

Everett
McKinley
Dirksen
was
born
in
 I

n
1968
artist
Richard
Harryman
made
an
offer
to
Senator
Everett


Pekin,
Illinois,
and
represented
his
home
 Dirksen
to
paint
his
likeness.
A
willing
Dirksen
sat
for
the
artist
 state
as
both
a
U.S.
representative
andsenator.
After
studying
law
in
Minnesota,
 in
 the
 spring
 of
 1969.
 Harryman
 worked
 on
 the
 portrait


Dirksen
enlisted
in
the
U.S.
Army
and
 throughout
the
summer
and
completed
it
a
few
weeks
before
 served
in
World
War
I.
He
returned
to
 Dirksen’s
death
on
September
7,
1969.
The
portrait
was
given
 Pekin
in
1919,
entered
local
politics,
andwon
a
seat
on
the
city
council
in
1926.
Six
 to
Dirksen’s
son­in­law,
Senator
Howard
Baker,
Jr.,
who
hung
it
in
his


years
later,
he
was
elected
as
a
Repub­ Republican
leader’s
suite
in
the
Capitol.
In
1984
Baker
asked
Harryman


lican
to
the
U.S.
House
of
Representatives,
 to
make
three
replicas
of
the
portrait.
The
following
year,
after
his
 bucking
the
Democratic
landslide
of
1932­

that
was
fueled
by
Franklin
Roosevelt’s
first
 retirement,
Baker
donated
one
of
these
replicas
to
the
Senate.
The
other


presidential
campaign.
 two
pictures
were
given
to
The
Dirksen
Congressional
Center
in
Pekin,


In
Washington,
D.C.,
Dirksen
com­ Illinois,
and
to
the
Capitol
Hill
Club
in
Washington,
D.C.
In
addition pleted
law
school
at
night
and
was


admitted
to
the
bar
in
1936.
He
served
 to
portraits,
Harryman
paints
people
and
scenes
of
the
Chesapeake


in
the
House
for
16
years,
where
he
was
 Bay
region.


known
for
his
independence
and
moderatepolitical
views.
An
eye
disease
kept
himfrom
running
for
reelection
in
1948.
Twoyears
later,
after
recovering
from
theserious
ailment,
Dirksen
ran
for
a
U.S.­

Senate
seat
and
defeated
Senate
Democ
­

ratic
leader
Scott
Lucas,
thereby
beginninga
second
career
in
politics.
In
1959,­

Dirksen
was
elected
Republican
leader
ofthe
Senate,
and
during
the
ensuing
decadehe
helped
shepherd
through
the
Senatesuch
legislation
as
the
Limited
Nuclear
TestBan
Treaty
of
1963
and
the
1964
CivilRights
Act.
­

During
the
1960s,
Dirksen’s
strong,


effective
leadership
made
him
among
the


most
powerful
and
respected
Republicans


in
Washington.
Dirksen
was
quick­witted


and
an
artful
persuader,
but
his
greatest


asset
as
a
statesman
was
his
ability
to


compromise
and
change
his
position
on
an


issue
while
never
compromising
his
convic


tions.
He
remained
the
Senate
Republican


leader
until
his
death
in
1969.
Speaking


at
his
memorial
service,
his
son­in­law,


Senator
Howard
Baker,
Jr.,
of
Tennessee,


compared
Dirksen
to
Abraham
Lincoln:


“Both
men
understood
with
singular
clarity
 Senator Everett Dirksen’s oratorical skills were 

that
a
great
and
diverse
people
do
not
 legendary: he was known as the “Golden Voice 

speak
with
a
single
voice
and
that
adher­ of the Senate.” 

ence
to
rigid
ideology
leaves
little
room
for
 (U.S. Senate Historical Office) 

compromise
and
response
to
change.”1


98 United States Senate 
Everett McKinley Dirksen 

Richard Hood Harryman (born 1928) 

Oil
on
canvas,
1984


39
1

⁄2
 x
29
3⁄4
 inches
(100.3
x
75.6
cm)


Signed
(lower
right
corner):
Harryman.


Gift
of
Senator
Howard
Baker,
Jr.,
1985


Accepted
by
the
U.S.
Senate
Commission
on
Art,
1985


Cat.
no.
32.00025


Catalogue of Fine Art 99 
John
Adams
Dix


(1798–1879) 

A
man
of
many
and
diverse
accomplish­ Painter
Imogene
Morrell
created
her
life­size
portrait
of
John


ments,
John
Adams
Dix
distinguished
 Adams
Dix
several
years
after
the
statesman’s
death.
While himself
during
a
long
public
career.
Born
 the
inspiration
for
her
painting
is
unknown,
it
bears
a
striking in
Boscawen,
New
Hampshire,
Dix
saw


military
service
in
both
the
War
of
1812
 resemblance
to
Daniel
Huntington’s
1879
portrait
of
Dix


and
the
Civil
War.
He
read
law
and
was
 (located
at
the
New­York
Historical
Society).
An
engraving admitted
to
the
bar
in
Washington,
D.C.,
 by
Alexander
Hay
Ritchie,
after
the
Huntington
portrait,
appears
in
the in
1824.


Dix
moved
to
Albany,
New
York,
in
 two­volume
book,
Memoirs of John Adams Dix, compiled
in
1883
by


1830
and
became
active
in
state
politics.
 the
subject’s
son,
Morgan
Dix. A
Jacksonian
Democrat
and
member
of
the


so­called
Albany
Regency,
he
was
later
 Morrell’s
paintings
of
Dix
and
a
larger­than­life
image
of
former


appointed
adjutant
general
and
secretary
 President
James
Garfield
were
the
subject
of
a
lengthy
petition
addressed


of
state
for
New
York.
He
was
then
elected
 to
Senator
John
Sherman,
chairman
of
the
Joint
Committee
on
the
Library. to
complete
the
unexpired
term
in
the
U.S.


Senate
of
Silas
Wright,
Jr.,
and
served
from
 Some
30
signers
of
the
petition,
including
senators
and
representatives,


1845
to
1849.
An
outspoken
abolitionist,
 called
for
the
purchase
of
the
two
paintings.
The
petition,
now
in
the


he
ran
unsuccessfully
for
New
York
State
 National
Archives,
refers
to
the
Dix
portrait
as
“carefully
drawn
and
 governor
as
a
Free
Soil
candidate
in
1848.
 painted,”
stating
that
“every
muscle
and
vein
shows
the
highest
degree Dix
then
entered
the
business
world,


serving
at
various
times
as
president
of
 of
artistic
finish.”
The
acquisition
of
Morrell’s
works
was
urged
both


several
railroads,
including
the
Mississippi
 because
of
her
contributions
to
the
“scientific
study
and
practice
of
Art &
Missouri
and
the
Union
Pacific.
In
1861


President
James
Buchanan
named
Dix
sec­ in
this
Country”
and
because
of
her


retary
of
the
treasury.
During
the
Civil
 subjects’
 historical
 importance.


War,
Dix
served
in
the
Union
army,
rising
 The
disposition
of
the
Garfield
pic­
 to
major
general.
From
1866
to
1869
hewas
American
minister
to
France.
Although
 ture
 is
 unknown,
 but
 the
 Joint


a
Democrat,
Dix
gained
the
Republican
 Committee
on
the
Library
acquired


nomination
for
governor
of
New
York
and
 the
likeness
of
Dix
in
1883.
 won,
filling
that
post
from
1873
to
1875.­

He
spent
his
final
years
in
New
York
City.
 A
respected
painter
of
his­


A
classical
scholar,
Dix
translated
several
 torical
subjects,
Morrell
studied
in


ancient
Latin
texts
for
private
circulation;
 Dusseldorf
 and
 Paris.
 She
 lived
 


many
volumes
of
his
speeches
and
travelreminiscences
also
were
published.
Fort
 in
 Washington,
 D.C.,
 from
 1877


Dix,
New
Jersey,
is
named
in
his
honor.
 until
 her
 death
 in
 1908.
 She


exhibited
works
at
the
Philadelphia
 Centennial
 Exhibition
 in


1876,
and
in
1879
helped
establish


the
National
Academy
of
Fine
Arts


in
Washington,
D.C.


This 1879 painting of John Adams Dix by 

Daniel Huntington is thought to have served 

as a model for the Senate’s portrait of the 

senator by Imogene Morrell. 

(Collection of the New-York Historical Society) 

100 United States Senate 
John Adams Dix 

Imogene Robinson Morrell (ca. 1818–1908) 

Oil
on
canvas,
1883


48
3

⁄4
 x
38
3⁄4
 inches
(123.8
x
98.4
cm)


Signed
and
dated
(lower
left
corner):
Imogene
ROBINSON
MORRELL.
/
1883


Purchased
by
the
Joint
Committee
on
the
Library,
1883


Cat.
no.
32.00014


Catalogue of Fine Art 101 
Eagle
and
Shield


In
1782
Congress
adopted
the
Great
Seal
 I

t
is
difficult
to
document
the
origin
of
the
Senate’s
gilded
wood


of
the
United
States,
which
featured
an
 Eagle
and
Shield,
which
currently
adorns
the
dais
in
the
Old
 American
bald
eagle
with
wings
proudly


spread.
William
Barton,
one
of
the
Great
 Senate
Chamber.
An
1809
plan
for
the
room
shows
that
archiSeal’s
designers,
explained
that,
“The
 tect
Benjamin
Henry
Latrobe
intended
to
hang
an
eagle
crest


Eagle
displayed
is
the
Symbol
of
supreme
 and
elaborate
canopy
over
the
vice
president’s
desk.
His
drawing Power
&
Authority,
and
signifies
the
Congress.”1
 It
is
not
surprising
that
the
eagle,
 also
includes
an
oval
cartouche
or
escutcheon
of
unspecified
design


which
occupies
such
a
prominent
position
 on
the
eagle’s
breast.
However,
Latrobe’s
bird,
with
drooping
wings,


on
the
seal,
was
meant
to
symbolize
con­ lacks
the
majesty
and
drama
of
the
soaring
eagle
that
exists
today
in gressional
strength.
The
Articles
of
Confederation,
ratified
the
previous
year,
had
 the
Old
Senate
Chamber.
It
is
unclear
whether
his
design
ever
became


established
Congress
as
the
only
federal
 reality—any
evidence
would
have
been
destroyed
when
British
troops


authority,
assigning
to
it
alone
many
of
 burned
the
Capitol
in
1814. the
powers
that
the
Constitution
of
1787
 Further,
records
of
the
art
in
the
Old
Senate
Chamber
are
notably later
divided
among
three
separate


branches
of
government.
 scarce.
The
first
reliable
evidence
of
an
eagle
and
shield
located
in
this


Shortly
after
the
seal’s
adop­ room
appears
in
an
1838
article
in tion
the
eagle
became
a
symbol,


not
just
for
Congress,
but
for
the
 the
Daily
National
Intelligencer.
It


nation
as
a
whole.
The
eagle
 describes
a
“rich
burnished
shield,


soon
began
appearing
on
fab­ with
an
outer
margin
in
the
old rics,
coins,
buttons,
furniture,
and


ships’
figureheads.
As
successive
 French
style,
surmounted
by
an


events
inflamed
patriotic
fervor—
 eagle
of
the
size
of
life”
hanging


from
the
adoption
of
the
Constitu­ above
the
vice
president’s
dais
in tion,
to
George
Washington’s
 the
 room.1
 From
 this
 report
 it
 inauguration,
to
the
War
of


1812—a
profusion
of
eagles
 appears
that
the
shield
we
know


spread
throughout
the
American
 today
existed
from
at
least
1838, decorative
vocabulary.


The
shield
is
no
less
important
 although
 the
 official
 records


in
American
iconography.
First
 remain
unclear
on
the
matter.
In


appearing
in
1782
as
the
escutch­ 1846,
Senate
records
indicate
pay- eon
on
the
eagle’s
breast
in
the


Great
Seal,
the
shield
proved
an
 ment
 for
 “taking
 down
 curtains


apt
metaphor
for
the
recently
 and
drapery
&
irons
for
Eagle
&


united
nation.
The
pales,
or
ver­ shield.”
The
eagle
and
shield
also tical
stripes
on
the
shield,
symbolize
the
original
13
colonies
 appear
 in
 two
 mid-19th-century


standing
as
one.
They
support—
 engravings:
 Thomas
 Doney’s


and
at
the
same
time
are
joined


by—the
chief,
or
field
at
the
top
of


the
shield,
which
represents
the


United
 States
 Senate
 Chamber,


published
 in
 1846,
 and
 Robert


unifying
authority
of
Congress
 Whitechurch’s
 The
 United
 States


under
the
Articles
of
Confederation.
Like
the
eagle,
the
shield
also
is
more
 The
Supreme
Court,
which
occupied
the
Old


Senate
Chamber
for
75
years,
moved
the


Senate,
A.D.
1850,
dated
1855.
In


broadly
associated
with
patriotism
and
the
 shield
to
the
Chamber’s
entrance
while
the


strength
of
American
democracy.
 eagle
remained
inside.


(Life, July 2, 1951 © Arnold Newman / Getty Images) 

102 United
States
Senate

Eagle
and
Shield


Unknown artist 

Gilded
wood,
ca.
1838


53
1

⁄2
 x
72
x
23
inches
(135.9
x
182.9
x
58.4
cm)


Unsigned


Acquisition
undocumented


Cat.
no.
25.00003


Catalogue
of
Fine
Art
 103 
Eagle
and
Shield—continued


addition,
Senate
records
note
that
in
1847
a
John


Wagner
was
paid
$10
for
“carving
&
gilding
1
scroll


for
eagle,”
although
the
Whitechurch
engraving
shows


no
such
ribbon
in
the
eagle’s
beak.


After
the
Senate
left
the
room
and
moved
into


its
new
Chamber
in
1859,
the
Supreme
Court
of
the


United
States
used
the
space.
Photographs
from
this


period
show
that
the
shield
was
placed
in
the
outer


vestibule,
over
the
door
to
the
Chamber,
while
the


eagle
remained
in
the
room.
The
ornate
canopy
that


hung
over
the
vice
president’s
desk
was
removed,
and


President’s Chair &c. Senate U.S. (detail)
by
 the
eagle,
now
perched
on
a
ribbon-draped
horizontal


Benjamin
H.
Latrobe,
1809.
In
his
drawing,
 bar,
was
affixed
to
the
gallery
balustrade
above
the
chief
justice’s
desk.


Latrobe
shows
an
eagle
with
an
oval
cartouche
 The
Court
occupied
the
room
until
1935,
when
it
moved
to
its
new
building surmounting
the
presiding
officer’s
dais.


(Library of Congress, Prints and Photographs Division) across
the
street
from
the
Capitol.
For
several
more
decades
the
Eagle


and
Shield
remained
in
the
same
locations
they
occupied
during
the
Court


years—the
eagle
inside
the
room
on
the
gallery
balustrade,
and
the
shield


outside
over
the
Chamber’s
door.
In
1976
the
two
pieces
were
reunited


inside
the
room
for
the
restoration
of
the
Old
Senate
Chamber.


Numerous
artistic
renderings
of
eagles
are
found
in
the
United
States


Capitol,
but
the
Eagle
and
Shield
in
the
Old
Senate
Chamber
has
become


the
enduring
symbol
of
the
Senate.
In
1838
Daniel
Webster
immortalized


the
Senate’s
eagle
as
an
icon
of
American
patriotism
when
delivering
one


of
the
impassioned
speeches
for
which
he
was
famous.
From
the
floor


of
the
Senate,
with
the
gilded
eagle
gazing
down
on
him
from
above
the


vice
president’s
dais,
he
proclaimed,
“We
have
made
these
struggles
here,


in
the
national
councils,
with
the
old
flag,
the
true
American
flag,
the
Eagle,


and
the
Stars
and
Stripes,
waving
over
the
chamber
in
which
we
sit.”2


104 United
States
Senate

In
his
1846
engraving
of
the
United
States


Senate
Chamber,
Thomas
Doney
depicted
the


eagle
and
shield
above
the
canopied
dais.


Catalogue
of
Fine
Art
 105 
James
Oliver
Eastland


(1904–1986) 

James
Oliver
Eastland,
widely
known
as
 The
Senate
Commission
on
Art
approved
the
commissioning


“Big
Jim,”
served
in
the
U.S.
Senate
for
 of
a
portrait
of
James
Eastland
in
October
1999.
Eastland’s 36
years.
Eastland
was
born
in
1904
in


Mississippi’s
Sunflower
County.
After
 record
for
the
longest
consecutive
service
as
chairman
of

practicing
law
and
serving
two
terms
in
 the
Judiciary
Committee
and
his
position
as
president
pro


the
Mississippi
legislature,
he
returned
 tempore
led
to
the
decision
to
honor
the
former
senator.
 to
his
birthplace
to
run
the
family
cotton
 An
advisory
board
composed
of
historians,
curators,
and
a
former
East- plantation.


In
1941
Eastland
was
appointed
to
fill
 land
staff
member
was
established
to
review
artists’
submissions
and
to


a
vacancy
in
the
Senate
created
by
the
 provide
 recommendations
 to
 the
 commission.
 Herbert
 Abrams
 was death
of
Democrat
Pat
Harrison—on
the


agreement
that
he
would
not
run
in
the
spe­ selected
to
paint
Eastland’s
portrait
and
received
the
commission
in
2000.


cial
election
to
be
held
three
months
later.
 Abrams
completed
the
portrait
in
2001.
Eastland
is
depicted
in


During
his
short
term
as
a
senator,
Eastland
 the
Judiciary
Committee
Room
in
the
Dirksen
Senate
Office
Building,
 earned
credit
for
his
work
on
agricultural


issues
and
built
a
reputation
that
enabled
 where
the
legendary
senator
spent
so
many
years.
Little
has
changed


him
to
run
in
the
Democratic
primary
the
fol­ in
the
room
since
Eastland’s
tenure,
and
Abrams
shows
the
original
1950s


lowing
year
and
to
defeat
his
replacement.
 walnut
paneling
and
lighting
fixtures.
Of
particular
note
is
Eastland’s After
his
election
to
the
Senate,


Eastland
served
on
the
Agriculture
and
 trademark
cigar.
In
executing
the
portrait,
Abrams
consulted
numerous


Judiciary
Committees.
In
1956
he
became
 photographs
gathered
from
state
and
local
archives.
Former
colleagues  ̊ chairman
of
the
Judiciary
Committee,
a
 and
staff
members
of
the
senator
assisted
by
critiquing
the
portrait
as
 post
he
held
for
22
years,
9
months,
and
 it
was
being
created.
 26
days—among
the
longest
continuousservice
of
any
Senate
committee
chair.
 Known
for
his
portraits
of
prominent
Americans,
Abrams
has


Eastland
also
chaired
subcommittees
on
 painted
presidents,
cabinet
members,
generals,
governors,
senators,
 internal
security,
immigration,
and
soil
con­ business
and
civic
leaders,
and
 servation
and
forestry.
He
servedas
president
pro
tempore
from
 famous
 personalities.
 The
 artist


1972
to
1978.
 studied
in
New
York
City
at
the Eastland
was
known
for


standing
firm
in
his
beliefs.
Senate
 Pratt
Institute
and
the
Art
Students


Majority
Leader
Mike
Mansfield
 League.
He
has
taught
art
and
lec"


of
Montana
observed
that,
once
 tured
 extensively.
 In
 1997
 he
 having
taken
a
position,
JamesEastland
“proved
almost
impossible
 received
an
honorary
doctorate


to
move
and
indeed
it
requires
 from
Johns
Hopkins
University.


nearly
the
entire
Senate
to
budge
 Abrams’s
 portrait
 of
 Senator
 him.”1
 Senator
Eastland
asserted
atthe
end
of
his
long
career,
“I
voted
 Howard
H.
Baker,
Jr.,
(p.
24)
is


my
convictions
on
everything.”2
 also
in
the
Senate
Collection.


He
resigned
from
the
Senate
inDecember
1978
to
give
his
suc
­

cessor,
Thad
Cochran,
a
few
extradays
of
seniority.
Eastland
died
inDoddsville,
Mississippi,
in
1986.­

Herbert Abrams poses in his Connecticut 

studio with the completed portrait of 

James Eastland, 2001. 

(Courtesy of Herbert E. Abrams) 

106 United States Senate 
James Eastland 

Herbert Elmer Abrams (born 1921) 

Oil
on
canvas,
2001


43
1

⁄2
 x
29
1⁄2
 inches
(110.5
x
74.9
cm)


Signed
(lower
left
corner):
Abrams•


Commissioned
by
the
U.S.
Senate
Commission
on
Art,
2000


Accepted
by
the
U.S.
Senate
Commission
on
Art,
2002


Cat.
no.
32.00040


Catalogue of Fine Art 107 
Leiv
Eiriksson
Discovers
America


(A.D. 1000) 

Leiv
Eiriksson,
also
known
as
“Leiv
the
 L

eiv Eiriksson Discovers America A.D. 1000 depicts
the
bold


Lucky,”
is
often
credited
as
the
first
Euro­ Norse
sea
captain
commanding
his
men
as
they
first
sight
the
 pean
to
visit
North
America.
Born
in
Icelandin
approximately
A.D.
980,
he
spent
most
of
 shores
of
the
New
World.
A
group
of
“Norwegian
Friends
of


his
life
in
Greenland,
where
his
father,
Erik
 America,”
organized
by
Dr.
Alf
Bjercke
of
Oslo,
presented
the


the
Red,
founded
the
first
European
colony.
 painting
to
the
people
of
the
United
States.
At
a
March
23,
 According
to
one
Norse
saga,
Eiriksson
 1936
ceremony
in
the
Capitol’s
National
Statuary
Hall,
the
painting
was
 landed
on
the
eastern
coast
of
NorthAmerica
by
accident.
In
this
story,
Eiriksson,
 said
to
celebrate
the
first
Norse
immigrant
to
this
country
and
to
com"


converted
to
Christianity
by
King
Olaf
I
 memorate
the
fact
that
a
Norseman
was
the
first
European
to
set
foot
 while
visiting
Norway,
sails
off
course
onhis
return
to
Greenland
to
proselytize
for
his
 on
American
soil.
Senator
Alben
W.
Barkley
of
Kentucky
and
House


new
faith.
A
more
reliable
saga
claims
that
 Speaker
Joseph
W.
Byrns
accepted
the
work
on
behalf
of
the
U.S.
Con-


Eiriksson
intentionally
voyaged
to
North
 gress.
The
Joint
Committee
on
Arrangements
that
was
established
for
 America
after
hearing
of
the
new
land
fromanother
mariner,
who
sighted
the
continent
 the
ceremony
was
made
up
of
senators
and
representatives
of
Norwe"


but
did
not
disembark.
In
either
case,
 gian
descent.


Eiriksson’s
accounts
of
his
discoveryinspired
several
Norse
colo
­

nization
attempts
over
thenext
decade.
­

During
his
North
Amer


ican
adventure,
Eiriksson


and
his
men
went
ashore
in


several
different
places,
and


he
named
the
various


regions
he
encountered


Helluland
(Flat
Stone
Land),


Markland
(Wood
Land),
and


Vinland
(Wine
Land).
The


exact
location
of
Eiriksson’s


New
World
landfall
is


unknown;
geographers
and


historians
have
placed
it


variously
between
Labrador


and
the
Chesapeake
Bay.


The
most
likely
present­day


location
for
the
ancient


Vinland
seems
to
be
Nova


Scotia
or
Newfoundland.


This 1893 painting of explorer Leiv Eiriksson 

by Christian Krohg was the inspiration for the 

Senate’s painting by Per Lasson Krohg. 

(Photo: J. Lathion, © Nasjonalgalleriet) 

108 United States Senate 
Leiv Eiriksson Discovers America A.D. 1000 

Per Lasson Krohg (1889–1965) 

after
the
original
by
his
father
Christian
Krohg
(1852–1925)


Oil
on
canvas,
1936


67
x
102
inches
(170.2
x
259.1
cm)


Signed
and
dated
(lower
right
corner):
EFTER
/
C.
KRohg
/
1893
/
VED
/
P.
KRohg
/
1936



Gift
of
the
Norwegian
Friends
of
the
United
States
of
America,
1936


Accepted
by
joint
resolution
dated
March
18,
1936


Cat.
no.
33.00009


The
painting
is
a
copy
by
Norwegian
painter
and
muralist
Per
Krohg


of
an
1893
work
by
his
father,
Christian
Krohg
(1852–1925).
The
orig"

inal
(9
feet
by
18
feet
in
size),
which
was
initially
exhibited
at
the
Chicago


World’s
Columbian
Exposition
in
1893,
currently
hangs
in
the
National


Gallery
in
Oslo.


Per
Krohg,
who
was
born
in
Oslo
and
studied
with
his
father
and


French
impressionist
Henri
Matisse,
taught
at
the
Academy
of
Art
in


Oslo.
Exhibitions
of
Per
Krohg’s
work
attracted
wide
notice
in
Paris,


Berlin,
Copenhagen,
and
other
world
capitals.
His
paintings
are
on
dis"

play
at
the
Phillips
Gallery
in
Washington,
D.C.,
and
at
the
United
Nations


Headquarters
Building
in
New
York
City.


Catalogue of Fine Art 109 
Oliver
Ellsworth


(1745–1807) 

A
U.S.
senator
from
Connecticut
and
third
 Born
in
New
Haven,
Connecticut,
Hezekiah
Augur
was
the


chief
justice
of
the
United
States,
Oliver
 son
of
a
carpenter-joiner
who
discouraged
the
boy
from
 Ellsworth
was
described
by
a
contempo­ undertaking
a
manual
occupation.
Instead,
he
directed
his
 rary
as
“tall,
dignified,
and
command­


ing.”1
 Born
in
Windsor,
Connecticut,
 son
to
the
dry
goods
trade.
Though
a
failure
as
a
merchant,


Ellsworth
was
educated
at
Yale
and
 Augur
invented
a
lace-making
machine
that
brought
him
 Princeton.
He
practiced
law,
served
as
a


judge
of
the
Connecticut
Superior
Court,
 some
financial
security.
Meanwhile,
he
pursued
wood
carving
on
his


and
was
politically
active
during
the
 own.
In
1823
Augur
followed
the
advice
of
Samuel
F.B.
Morse
to
carve


Revolutionary
War.
For
six
years
he
repre­ directly
in
marble.
When
his
marble
bust
of
Apollo
was
exhibited
in
 sented
Connecticut
in
the
Continental



Congress.
Later,
as
a
delegate
to
the
Con­ New
York
City,
critics
hailed
the
self-taught
sculptor
as
“the
Yankee


stitutional
Convention,
he
helped
shape
the
 Phidias,”
recalling
the
greatest
artist
of
ancient
Greece.



Connecticut
Compromise,
which
assured
 Augur
continued
to
sculpt
portrait
busts
and
classical
groups
in
New
 each
state
equal
representation
in
the


Senate
and
population­based
representa­ Haven.
His
most
respected
and
widely
known
work
before
his
bust
of


tion
in
the
House
of
Representatives.
 Ellsworth
was
the
marble
group,
Jephthah and His Daughter (ca.
1828–32),


After
ratification
of
the
Constitution,
 which
illustrates
a
cautionary
tale
from
the
Old
Testament
(Judg.
11:34–35). Ellsworth
was
elected
to
the
first
United


States
Senate;
he
served
from
1789
to
 These
half
life-size
figures
were
exhibited
in
Washington,
D.C.
In
this


1796.
A
wise
figure
whose
authority
in
 way
Augur
might
have
come
to
the
attention
of
the
Joint
Committee
on


the
Senate
was
said
to
surpass
even
that
 the
Library,
which
commissioned
the
likeness
of
Ellsworth
in
1834.
The
 of
Henry
Clay,
John
C.
Calhoun,
and


Daniel
Webster,
Ellsworth
reported
the
 fact
that
the
sculptor,
like
the
sitter,
was
a
Connecticut
native
likely
played


first
set
of
Senate
rules
and
drafted
the
bill
 a
part
in
the
decision.


organizing
the
federal
judiciary.
John
 Modeled
between
1834
and
1837,
this
startlingly
bold
likeness
of
 Adams
considered
Ellsworth
the
“firmest


pillar”
of
Washington’s
administration.2
 the
long-deceased
chief
justice
typifies
Augur’s
New
England
neoclas-


When
appointed
chief
justice
of
the
 sicism.
The
emphatically
modeled,
rugged
features
appear
to
radiate
from


United
States
Supreme
Court
in
1796,
 the
blank
eyes
that
seem
unusually
large
because
of
the
arching,
angular
 Ellsworth
resigned
from
the
Senate.



In
1799
Ellsworth
was
named
diplo­ eyebrows
presiding
over
the
face.
This
angularity,
echoed
in
the
facial


matic
commissioner
to
France,
a
temporary
 folds
descending
from
the
nose
and
the
forthright
structure
of
the
jaw,


assignment
that
permitted
him
to
continue
 is
repeated
in
the
larger
forms
of
collar
and
cloak
that
support
the
head. his
position
with
the
Court.
He
was
then
 It
is
not
known
what
source
Augur
consulted
for
the
sitter’s
appear- sent
abroad
to
negotiate
a
treaty
with


Napoleon
Bonaparte.
The
demands
of
the
 ance,
but
his
style
clearly
derives
from
the
wood
carving
that
the
artist


trip
apparently
contributed
to
a
breakdown
 pursued
until
1823.
He
approached
marble
with
more
boldness
than
 in
the
chief
justice’s
health.
After
completing
 subtlety,
and
with
a
certain
daring
skill—as
seen
in,
for
example,
the
 his
mission,
Ellsworth
wrote
to
President


John
Adams
on
October
16,
1800
to
resign
 deeply
cut
jabot
and
ornamental
ruffles
on
the
front
of
the
shirt.


as
chief
justice.
Returning
to
America
the
 The
blank
eyeballs
that
commonly
appear
in
American
neoclassic
 following
spring,
Ellsworth
served
on
the


Connecticut
Governor’s
Council
and
later
 sculpture
resulted
from
a
misconception
about
Greek
and
Roman
prac"


accepted—but
then
declined—the
chief
jus­ tice.
The
paint
that
once
in
a
very
naturalistic
way
completed
ancient


ticeship
of
the
state
supreme
court.
Semi­ eyes
(when
they
were
not
carved
or
inlaid)
wore
off
with
time,
leading
 retired,
Ellsworth
remained
in
Connecticut


where
he
died
in
1807.! to
the
incorrect
emulation
of
the
blank
eye
by
latter-day
artists.
The
bust


is
believed
to
be
Augur’s
last
piece
of
sculpture,
although
he
lived
another


20
years.


110 United States Senate 
Oliver Ellsworth 

Hezekiah Augur (1791–1858) 

Marble,
ca.
1837


26
1

⁄4
 x
26
3⁄4
 x
17
inches
(66.7
x
67.9
x
43.2
cm)


Unsigned


Commissioned
by
the
Joint
Committee
on
the
Library,
1834


Accepted
by
the
Joint
Committee
on
the
Library,
1837


Cat.
no.
21.00005


Catalogue of Fine Art 111 
Charles
Warren
Fairbanks


(1852–1918) 

A
prosperous
Indianapolis
attorney
who
 Neoclassical
sculptor
Franklin
Simmons
specialized
in


was
active
in
the
Republican
Party,
 depicting
Americans
and
American
history,
though
he
 Charles
Warren
Fairbanks
served
as
botha
U.S.
senator
from
Indiana
and
26th
vice
 spent
most
of
his
career
in
Rome.
Born
and
raised
in


president
of
the
United
States.
Born
in
 Maine,
 Simmons
 briefly
 studied
 under
 John
 Adams


Union
County,
Ohio,
Fairbanks
was
a
 Jackson
in
Boston.
For
two
years
in
the
mid-1860s,
the
 keynote
speaker
at
the
1896
Republican
 sculptor
 lived
 in
 Washington,
 D.C.,
 and
 modeled
 Civil
 War
 officers
 National
Convention
that
nominatedWilliam
McKinley
for
president.
In
that
 Ulysses
S.
Grant,
William
T.
Sherman,
and
David
G.
Farragut.
Soon
after-


same
year,
Fairbanks
was
elected
to
the
 ward,
Simmons
moved
to
Rome,
where,
like
others
of
his
generation,
 U.S.
Senate,
where
he
served
from
1897­

to
1905,
chairing
the
Committee
on
Immi­ he
was
attracted
by
the
availability
of
materials
and
assistants
and
by


gration
and
the
Committee
on
Public
 the
creative
environment.


Buildings
and
Grounds.
 Charles
Fairbanks
was
vice
president-elect
in
1905
when
he
sat A
leading
conservative,
Fairbanks
was
 for
the
bust
intermittently
during
visits
to
Washington.
The
sculptor,
who nominated
for
the
vice
presidency
on
the


1904
ticket
with
Theodore
Roosevelt.
Upon
 had
previously
created
busts
of
Vice
Presidents
Hannibal
Hamlin
(p.
180)


election,
Fairbanks
resigned
from
the
 and
Adlai
E.
Stevenson
(p.
344)
for
the
U.S.
Capitol,
apparently
believed Senate.
Although
he
was
a
favorite
son


candidate
for
the
Republican
nomination
 that
his
proposal
for
a
likeness
of
Fairbanks
had
been
officially
accepted.


for
president
in
1908,
Roosevelt
secured
 But
when
the
completed
bust
of
Fairbanks
later
arrived
in
Washington


the
nomination
for
his
secretary
of
war,
 from
 Rome,
 Architect
 of
 the William
Howard
Taft.
In
1916,
when
Fairbanks
was
again
the
favorite
son
from
his
 Capitol
Elliott
Woods
informed
the


home
state,
he
reluctantly
accepted
the
 sculptor
that
the
Joint
Committee


vice
presidential
nomination
on
the
Repub­ on
the
Library
had
not
officially lican
ticket
with
Charles
Evans
Hughes.


After
their
defeat
in
the
election,
Fairbanks
 sanctioned
the
commission.
The


returned
to
private
life.
He
died
in
1918.
 bust
 of
 Fairbanks
 therefore


remained
in
storage
at
the
Wash"

ington
 Custom
 House
 for
 two


years.
Finally
the
vice
president


notified
the
committee
that
selec"

tion
of
Simmons
as
the
sculptor


was
“entirely
satisfactory”
to
him.


The
marble
bust
of
Fairbanks
was


approved
and
placed
in
the
Senate


Charles Warren Fairbanks in 1904, shortly Chamber
in
1909. before he assumed his duties as the 26th 

vice president. In
 addition
 to
 the
 three


(Library of Congress, Prints and Photographs Division) busts
and
four
statues
by
Simmons


in
the
U.S.
Capitol,
the
artist
is
rep"

resented
in
Washington,
D.C.,
by
the
Peace Monument at
the
base
of


Capitol
Hill
and
the
equestrian
statue
of
General
John
A.
Logan
at
Logan


Circle.
The
artist
left
a
sizable
collection
of
his
work
to
the
Portland


Museum
of
Art
in
his
native
state
of
Maine.


112 United States Senate 
Charles W. Fairbanks 

Franklin Bachelder Simmons (l839–l9l3) 

Marble,
1905


36
x
25
x
16
7

⁄8
 inches
(91.4
x
63.5
x
42.9
cm)


Signed
and
dated
(on
back
between
subject’s
shoulders):
FRANKLIN
SIMMONS
/
1905



Commissioned
by
the
Joint
Committee
on
the
Library,
1908


Accepted
by
the
Joint
Committee
on
the
Library,
1909


Cat.
no.
22.00026


Catalogue of Fine Art 113 
Millard
Fillmore


(1800–1874) 

Millard
Fillmore,
a
successful
Whig
politician
from
New
York
State
and
a
member


of
the
U.S.
House
of
Representatives,


became
the
12th
vice
president
and


13th
president
of
the
United
States.
Born


in
Locke
(now
Summerhill),
New
York,


Fillmore
was
assisted
in
his
early
political


career
by
Thurlow
Weed,
a
Whig
strategist
and
political
leader
in
New
York.


Fillmore
served
in
the
U.S.
House
of
Representatives
during
the
years
1833
to
1835


and
1837
to
1843.
As
chairman
of
the


Committee
on
Ways
and
Means,
Fillmore


was
active
in
framing
the
protective
Tariff


of
1842.
He
ran
successfully
as
the
Whig


candidate
for
vice
president
in
1848
with


Zachary
Taylor.
As
president
of
the
Senate,


Fillmore
presided
over
the
debates
on
the


Compromise
of
1850,
a
series
of
measures


introduced
by
Henry
Clay
to
address


slavery
and
territorial
issues.


On
July
9,
1850,
President
Taylor


died
from
what
his
doctors
diagnosed
as


“cholera
morbus.”
A
day
later,
Fillmore


was
sworn
in
as
president
of
the
United


States.
In
his
attempt
to
achieve
legislative
closure
on
the
Compromise
of
1850,


Fillmore
signed
the
Fugitive
Slave
Act,
a


part
of
the
compromise
developed
by


Clay.
Shortly
thereafter,
the
president


approved
a
$100,000
appropriation
for


the
enlargement
of
the
Capitol,
considered
a
necessity
due
to
space
limitations.


Fillmore
was
responsible
for
selecting
the


manner
by
which
the
Capitol
would
be


extended—approving
the
design
for
large


north
and
south
wings—and
choosing


the
architect,
Thomas
U.
Walter.
He
also


laid
the
cornerstone
for
the
extension
on


July
4,
1851.


Fillmore
failed
to
win
the
Whig
presidential
nomination
in
1852
and
four
years


later
ran
as
an
unsuccessful
presidential


candidate
of
the
American,
or
KnowNothing,
Party.
Fillmore
retired
to
Buffalo,


New
York,
where
he
became
the
first


president
of
the
Buffalo
Historical
Society


and
the
first
chancellor
of
the
University


of
Buffalo,
a
post
he
held
until
his
death


in
1874.


New
York
sculptor
Robert
Cushing
executed
this
bust
of


Millard
Fillmore
for
the
Senate’s
Vice
Presidential
Bust


Collection
in
1895.
Although
little
documentation
on
the


commissioning
exists,
it
can
be
assumed
that
the
Joint


Committee
on
the
Library
contacted
Cushing
under
the


auspices
of
the
1886
resolution
authorizing
the
collection.
Born
in
Ire-


land,
Cushing
studied
with
New
York
sculptors
John
Q.A.
Ward
and


Randolph
Rogers
before
establishing
his
own
studio
in
New
York
City.



Noted
in
his
day
for
his
sculpture
of
prominent
men,
Cushing


sculpted
a
bust
of
New
York
politician
John
Kelly
that
once
occupied


a
place
of
honor
in
Tammany
Hall.
The
artist
is
also
known
for
his
public


statues,
which
included
abolitionist
Garrett
Smith
and
mission
priest


John
Drumgoole.


According
to
Cushing’s


correspondence,
 preserved


at
 the
 Capitol,
 the
 artist


searched
extensively
for
direct


visual
information
to
inform


and
 guide
 his
 likeness
 of


Millard
Fillmore.
Ultimately
he


relied
 on
 engravings
 dating


from
 the
 former
 president’s


lifetime
and
on
a
“scientific


bust”
 of
 Fillmore
 borrowed


from
 the
 New
 York
 firm
 of


Fowler
and
Wells.
This
firm


led
the
American
phrenolog"

ical
movement,
which
touted


the
careful
examination
of
the


conformation
 of
 a
 person’s


skull
as
a
means
of
reading


character
traits
and
presumed


mental
capacity.


Cushing’s
 clay
 model


was
translated
into
marble
in


Italy
and
placed
in
the
Senate


Chamber
in
1895.


New York artist Robert Cushing. 

(Architect of the Capitol) 

114 United States Senate 
Millard Fillmore 

Robert Cushing (1841–1896) 

Marble,
modeled
1894,
carved
1895


30
1

⁄4
 x
26
1⁄2
 x
18
inches
(76.8
x
67.3
x
45.7
cm)


Unsigned


Commissioned
by
the
Joint
Committee
on
the
Library,
ca.
1894


Accepted
by
the
Joint
Committee
on
the
Library,
1895


Cat.
no.
22.00012


Catalogue of Fine Art 115 
First
Reading
of
the
Emancipation


Proclamation
by
President
Lincoln


(July 22, 1862) 

Members
of
Abraham
Lincoln’s
cabinet
 New
York
artist
Francis
Bicknell
Carpenter
believed
that


gathered
at
the
White
House
on
July
22,
 the
Emancipation
Proclamation
was
“an
act
unparalleled 1862,
to
hear
the
president
read
his
draftof
the
Emancipation
Proclamation.
Written
 for
moral
grandeur
in
the
history
of
mankind.”1
Carpenter


by
Lincoln
alone,
without
consultation
from
 had
a
deep
respect
for
Lincoln’s
action,
and
it
was
he


his
cabinet,
the
proclamation
declared
 who
had
the
impulse
to
capture
it
on
canvas,
to
exalt that
all
persons
held
as
slaves
in
states


that
were
still
in
rebellion
on
January
1,
 the
moment
of
the
first
reading
of
the
proclamation.
About
a
year
after


1863,
“shall
be
then,
thenceforward,
 the
preliminary
proclamation,
Carpenter
acted
on
this
impulse.
He
asked


and
forever,
free.”
 Illinois
Representative
Owen
Lovejoy
to
arrange
for
him
to
paint
the Initially,
Lincoln
was
concerned
only
 subject
at
the
White
House—in
fact,
to
set
up
a
studio
there
(eventu" with
preserving
the
Union,
but
he
had


become
increasingly
sympathetic
to
the
call
 ally,
in
the
State
Dining
Room).
On
February
6,
1864,
Carpenter
met


for
abolition
as
the
Civil
War
progressed.
 Lincoln,
and
the
project
began.
His
extraordinary
extended
residence Determined
to
move
forward
with
his


cause,
the
president
met
with
his
cabinet
 in
the
White
House
resulted
in
the
Senate’s
painting
and
in
the
informon
September
22
to
refine
his
July
draft
 ative,
sometimes
moving,
1866
memoir,
Six Months at the White House 

and
announce
what
is
now
known
as
the
 with Abraham Lincoln.
 Preliminary
Emancipation
Proclamation.
In
 Lincoln,
concerned
above
all
with
the
preservation
of
the
Union, this
document,
he
issued
an
ultimatum
to


the
seceded
states:
Return
to
the
Union
 drafted
the
proclamation
in
part
as
a
political,
in
part
as
a
military,
strat"

by
New
Year’s
Day
or
freedom
will
be
 agem.
Because
it
had
the
potential
to
recruit
former
slaves
for
the
Union
 extended
to
all
slaves
within
your
borders.


When
the
secessionist
states
ignored
this
 army
while
weakening
the
Confederacy,
the
proposed
proclamation
had

warning,
Lincoln
issued
the
final
proclama­ the
immediate
support
of
Secretary
of
the
Treasury
Salmon
P.
Chase


tion
on
January
1,
1863.
 and
Secretary
of
War
Edwin
M.
Stanton.
Although
faced
with
resistance Although
it
is
considered
one
of
the


most
important
documents
in
American
his­ from
Attorney
General
Edward
Bates,
who
was
unsympathetic
to
full


tory,
the
Emancipation
Proclamation
did
 equality
for
African
Americans,
and
Postmaster
General
Montgomery


not
immediately
end
slavery
in
this
 Blair,
who
was
certain
that
it
would
lead
to
defeat
in
the
fall
elections,
 country—that
was
only
achieved
with
passage
of
the
13th
Amendment
to
the
Consti­ Lincoln
had,
according
to
Carpenter,
“resolved
upon
this
step,
and
had


tution
on
December
18,
1865.
The
procla­ not
called
them
together
to
ask
their
advice,
but
to
lay
the
subject-matter


mation
applied
only
to
slaves
living
in
 of
a
proclamation
before
them.”
The
draft
was
read
and
“various
sug" those
states
that
had
seceded;
it
did
not


affect
those
states
still
in
the
Union.
Most
 gestions
were
offered.”
Secretary
of
State
William
H.
Seward
thought


importantly,
Lincoln’s
ability
to
make
good
 the
proclamation
should
be
delayed
until
“you
give
it
to
the
country


on
the
Emancipation
Proclamation
was
 supported
by
military
success.”2
Lincoln,
persuaded
by
Seward’s
opinion, dependent
on
a
Union
victory.
But
the


proclamation
fundamentally
transformed
 put
the
document
aside
temporarily.


the
character
of
the
war
and
set
a
national
 In
September,
however,
after
the
Battle
of
Antietam,
Lincoln
decided


course
toward
the
final
abolition
of
slavery
 to
wait
no
longer.
He
finished
the
second
draft
of
the
proclamation
and in
the
United
States.
 convened
the
cabinet
on
September
22.
Carpenter’s
recital
of
Lincoln’s


account
continues:
“I
determined,
as
soon
as
it
[the
rebel
army]
should


be
driven
out
of
Maryland,
to
issue
a
Proclamation
of
Emancipation....


I
made
the
promise
to
myself,
and
(hesitating
a
little)—to
my
Maker....


I
do
not
wish
your
advice
about
the
main
matter
.
.
.
[for]
I
already
know


the
views
of
each
on
this
question....
 I 
am 
here. 
I
must
do
the
best
I


116 United States Senate 
First Reading of the Emancipation Proclamation by President Lincoln 

Francis Bicknell Carpenter (1830–1900) 

Oil
on
canvas,
1864


108
x
180
inches
(274.3
x
457.2
cm)


Unsigned


Gift
of
Elizabeth
Thompson,
1878


Accepted
by
joint
resolution
dated
February
1,
1878


Cat.
no.
33.00005


can,
and
bear
the
responsibility
of
taking
the
course
which
I
feel
I
ought


to
take.”3
 The
proclamation
was
published
that
same
day
and
it
took


effect
on
January
1,
1863,
affirming
the
emancipation
of
slaves
in
all


states
still
in
rebellion.


Thus,
the
painting
deals
in
its
subject
matter
with
a
significant
his"

torical
crisis,
though
the
mood
is
static
and
calm.
Modern-day
viewers


may
need
to
be
reminded
that
Carpenter’s
work
treats
one
of
the
core


issues
in
preserving
the
Union:
freedom.
To
memorably
convey
the
mag"

nitude
of
this
historic
decision
was
beyond
the
ability
of
Carpenter,
whose


ambition
was
not
matched
by
his
artistic
talent
or
training.
The
quality


of
the
painting
does
not
do
justice
to
the
significance
of
the
subject,


but
not
for
lack
of
commitment
or
energy
on
Carpenter’s
part.
With
the


president’s
full
cooperation
in
his
endeavor,
Carpenter
arranged
for
the


dramatis personae—Lincoln
and
his
cabinet—to
be
photographed
in


Catalogue of Fine Art 117 
First
Reading
of
the
Emancipation
Proclamation


by
President
Lincoln —continued 

KEY TO THE PICTURE 

THE MEN ACCESSORIES 

1. PRESIDENT LINCOLN. 9. Photograph of Simon Cameron, Ex­Sec. War. 

2. WILLIAM H. SEWARD, Secretary of State. 10. Portrait of Andrew Jackson. 

3. SALMON P. CHASE, Secretary of Treasury. 11. Parchment Copy of the Constitution. 

4. EDWIN M. STANTON, Secretary of War. 12. Map of Seat of War in Virginia. 

5. GIDEON WELLES, Secretary of Navy. 

6. EDWARD BA

the President receives calls upon official business. 

House, in which all Cabinet meetings are held, and in which 

The room is the Official Chamber of the White 

TES, Attorney­General. 

7. MONTGOMERY BLAIR, Postmaster­General. 

8. CALEB B. SMITH, Secretary of Interior. 

13. Map showing Slave Population in gradulight and shade. 

14. War Department Portfolio. 

15. Story’s “Commentaries on the Constitution.” 

16. Whiting’s “War Powers of the President.” 

17. New York Tribune. 

18. Two volumes Congressional Globe. 

Mathew
 Brady’s
 studio
 and
 again
 in
 the
 White


House.
He
also
heard
the
story
of
the
evolution
of


the
proclamation
from
President
Lincoln
himself.


In
 six
 months
 he
 had
 completed
 his
 heroically


scaled
work.
Carpenter
intentionally
avoided,
as
he


wrote,
“imaginary
curtain
or
column,
gorgeous
fur"

niture
or
allegorical
statue.”4


Depicted
in
the
painting
are,
from
left
to
right:


Edwin
 M.
 Stanton,
 secretary
 of
 war;
 Salmon
 P.


Chase,
secretary
of
the
treasury;
President
Lincoln;


Gideon
 Welles,
 secretary
 of
 the
 navy;
 Caleb
 B.


Smith,
secretary
of
the
interior
(standing);
William


H.
Seward,
secretary
of
state
(seated);
Montgomery


Blair,
 postmaster
 general;
 and
 Edward
 Bates,


attorney
general.
The
setting
is
Lincoln’s
office,


which
also
served
as
the
Cabinet
Room.
(This
is


the
site
and
approximate
size
of
the
Lincoln
Bedroom
today.)
The
president
had
indicated
to
Car"

penter
each
person’s
position
in
the
room
on
the


day
of
the
first
reading.
The
artist
had
found
the


placement
“fortunately
entirely
consistent
with
my


purpose.”5
 On
the
other
hand,
Carpenter
wrote,


“there
was
a
curious
mingling
of
fact
and
allegory This key to Francis B. Carpenter’s painting 

indicates the principal figures and various 

objects in the room. It first appeared in the 

artist’s book about his experiences at the 

White House. 

(Reproduced from Carpenter, Six Months at the White House with 

Abraham Lincoln. Lincoln: University of Nebraska Press, 1995) 

in
my
mind,
as
I
assigned [emphasis
added]
to
each
his
place
on
the


canvas.”
He
continued:


There
were
two
elements
in
the
Cabinet—the
radical
and
the
conservative.
Mr.
Lin"

coln
was
placed
at
the
head
of
the
official
table,
between
two
groups,
nearest
that


representing
the
radical;
but
the
uniting
point
of
both.
The
chief
powers
of
a
gov"

ernment
are
War
and
Finance:
the
ministers
of
these
were
at
his
right—the
Secretary


of
War,
symbolizing
the
great
struggle,
in
the
immediate
foreground;
the
Secretary
of


the
Treasury,
actively
supporting
the
new
policy,
standing
by
the
President’s
side....


To
the
Secretary
of
State,
as
the
great
expounder
of
the
principles
of
the
Republican


party...would
the
attention
of
all
at
such
a
time
be
given....
The...
chief
officers


of
the
government
were
thus
brought
in
accordance
with
their
relations
to
the
admin"

istration,
nearest
the
person
of
the
President,
who,
with
the
manuscript
proclamation


in
his
hand,
which
he
had
just
read,
was
represented
leaning
forward,
listening
to,


and
intently
considering
the
views
presented
by
the
Secretary
of
State.6


118 United States Senate 
It
took
Carpenter
six
months
to
create
his
15-foot-wide
canvas.
In


an
1866
letter
to
the
artist,
Secretary
of
War
Chase
remarked
on
the
com"

position
of
the
work,
noting
that
he
and
Stanton
appear
symbolically


on
Lincoln’s
right
in
the
painting,
having
“thoroughly
endorsed
and


heartily
welcomed
the
measure,”
while
those
cabinet
members
who
had


at
first
“doubted,
or
advised
delay,
or
even
opposed”
the
proclamation


appear
on
Lincoln’s
left.7


Carpenter’s
discussion
of
the
factions
within
Lincoln’s
cabinet
must


be
assumed
to
have
come
from
the
president
himself,
although
it
seems


remarkably
candid
because
all
the
cabinet
officers
were
still
serving


(except
Caleb
Smith,
who
had
died
in
1864).
Two
other
men
are
rep"

resented
in
the
painting:
portraits
of
Simon
Cameron
and
Andrew
Jackson.


In 1864 Francis B. Carpenter commissioned 

the American artist Alexander Hay Ritchie to 

complete a steel engraving of his historical 

painting. President Abraham Lincoln signed 

on as the first subscriber, requesting an 

artist’s proof. 

Catalogue of Fine Art 119 
First
Reading
of
the
Emancipation
Proclamation


by
President
Lincoln —continued 

Cameron,
former
secretary
of
war
and
the


man
who
had
nominated
Lincoln
for
the


presidency,
 is
 seen
 in
 a
 portrait
 at
 the


extreme
left.
A
portrait
of
Jackson
by
Miner


Kellogg
(virtually
invisible
today)
appears


in
the
center
of
the
painting
and
is
located


today
in
the
White
House
collection.
Like


Lincoln,
Jackson
was
considered
a
preserver


of
the
Union
for
his
role
in
the
Nullifica"

tion
Crisis
of
1832.


Two
 cabinet
 members
 had
 strong


reactions
to
the
painting.
Secretary
Chase


(who
claimed
to
remember
“not
the
slightest


trace
of
such
meeting”)8
complained
that
the


“whole
picture”
was
“subsidiary
to
Seward


who
is
talking
while
every
one
else
either


listens
or
stares
into
vacancy.”9
Seward
himself
felt
that
Carpenter
had
not
chosen
a
truly


important
 subject
 and
 that
 the
 Lincoln


administration’s
 great
 achievement
 was


the
preservation
of
the
Union.


Perhaps
the
least
successful
aspect
of


the
painting,
as
it
presently
appears,
is
the


head
of
Lincoln
himself.
Although
it
may


be
said
to
embody
probity
and
purpose,
it


is
also
the
most
wooden
portrait
among
the


group
of
eight
men.
When
First Reading is


The Senate’s painting, First Reading of the compared
with
the
steel
engraving
of
the


Emancipation Proclamation by Francis B. 

Carpenter, on display in the Supreme Court painting
made
by
Alexander
Hay
Ritchie,
it
is
apparent
that
some
sigChamber in the Capitol in 1958. nificant
alteration
has
been
made
to
the
head.
The
fault
is
that
of
the


(Architect of the Capitol) artist,
in
whose
possession
the
painting
remained
for
a
dozen
years.


During
this
time,
he
made
so
many
revisions
to
heads
and
to
details


that
the
painting
finally
looked
very
different
from
the
engraving
that


had
popularized
it.
Carpenter’s
much-revised
Lincoln
became
a
weaker


portrait
than
he
had
originally
achieved.
Two
restorations
in
the
first


half
of
the
20th
century
seem
to
have
produced
further
alterations,
but


conservation
of
the
painting
in
1991
removed
the
later
overpaintings.


Despite
abrasion
and
other
damage,
the
result
is
a
stronger
painting
than


120 United States Senate 
has
been
seen
for
decades.
Lincoln’s
hair
is
more
natural
and
more
in


accord
with
the
engraving,
but
the
face
still
bears
a
hardness
that
must


be
attributed
to
Carpenter’s
reworking.


The
painting
has
strengths—for
instance,
Seward’s
head
in
pure


profile
is,
surprisingly,
the
strongest
in
the
group.
Sculpturally
modeled,


it
is
unified
and
forceful.
One
suspects
that
because
Seward’s
figure
was


essentially
a
background
one,
Carpenter
ignored
it
while
“improving”


his
painting,
thus
leaving
intact
an
excellent
likeness,
a
relaxed
and


expressive
characterization.
Although
abraded,
the
portrait
of
Secretary


Blair
(standing,
second
from
right)
is
also
well
executed.


After
completion
in
1864,
the
painting
was
temporarily
exhibited


to
the
general
public
in
the
East
Room
of
the
White
House
and
then
in


the
Rotunda
of
the
Capitol.
It
received
a
good
deal
of
praise
in
the
pop"

ular
press—although
there
were
dissenters—and
it
enjoyed
a
national


tour.
Lincoln
himself
declared
the
painting
a
success.
“In
my
judgement,”


he
commented,
“it
is
as
good
a
piece
of
work
as
the
subject
will
admit


of... and
I
am
right
glad
you
have
done
it!”10


Nonetheless,
the
government
made
no
move
to
acquire
Carpenter’s


First Reading for
the
nation.
Finally,
in
1877,
Elizabeth
Thompson
of


New
York
City
bought
the
canvas
from
the
artist
for
$25,000
and
offered


it
as
a
gift
to
the
nation.
On
February
12,
1878,
the
69th
anniversary


of
Lincoln’s
birth,
Congress
met
in
joint
session
to
formally
accept
the


work.
Carpenter
attended
the
session,
hearing
tributes
to
himself
and


his
benefactors
delivered
by
Representatives
James
Garfield
of
Ohio,


who
 had
 been
 a
 major
 general
 in
 the
 Union
 army,
 and
 Alexander


Stephens
of
Georgia,
former
vice
president
of
the
Confederacy.
In
its


handsome
original
frame
with
the
seal
of
the
United
States
and
the
rising


sun
decorating
the
corners,
the
painting
hangs
today
in
the
U.S.
Capitol


over
the
west
staircase
in
the
Senate
wing.


Catalogue of Fine Art 121 
The
Florida
Case
before
the
Electoral


Commission


(February 1877) 

The
United
States
faced
a
major
electoral
 During
the
summers
of
1877
and
1878,
well-known
por
"

challenge
with
the
disputed
Hayes­Tilden
 trait
painter
Cornelia
Adèle
Fassett
was
permitted
to
set" election
of
1876.
Democratic
candidateSamuel
J.
Tilden
won
the
popular
vote
for
 up
a
temporary
studio
in
the
U.S.
Capitol’s
Supreme
Court"

president
on
November
7
by
a
250,000­ Chamber
while
the
Court
was
not
in
session.
Her
aim"

vote
margin.
Preliminary
Electoral
College
 was
to
paint
a
group
portrait
of
the
Electoral
Commis
 tallies
predicted
that
Tilden
would
defeat


Rutherford
B.
Hayes,
his
Republican
oppo­ sion’s
1877
meeting
in
the
room.
The
artist’s
recognition
of
the
historic


nent.
However,
the
ballots
of
four
states—
 significance
of
this
event
merits
praise.
She
deserves
attention
more
for


Florida,
Louisiana,
South
Carolina,
and
 her
ambition,
however,
than
for
her
artistic
achievement.
The
federal Oregon—were
called
into
question.
Each
of


these
states
subsequently
posted
two
sets
of
 government
did
not
commission
the
painting;
Fassett
created
it
inde


certified
election
results,
one
favoring
the
 pendently.
That
she
had
to
wait
seven
years
before
Congress
agreed
to


Democrats
and
the
other
favoring
the
 buy
it
for
$7,500
(much
less
than
her
original
asking
price),
and
endure Republicans.
A
total
of
20
electoral
votes
 public
criticism
of
the
painting
from
newspapers,
as
well
as
from
the were
in
dispute.
Of
these
votes,
Tilden


needed
only
one
to
become
president;
 Pennsylvania
Academy
of
the
Fine
Arts,
attests
to
her
determination
and


Hayes
would
have
to
successfully
claim
all
 endurance.
Fassett
was
a
competent
painter
of
miniature
portraits
and 20
of
them
to
defeat
his
opponent.
With
the
 her
painting
was
admired
for
its
realism.
But
the
organizational
demands country
still
reeling
from
the
Civil
War
and


the
election
cutting
to
the
heart
of
contin­ of
such
an
ambitious
group
por


uing
sectional
conflict,
a
peaceful
resolution
 trait
taxed
her
abilities.
Composi
 was
crucial.


An
impasse
continued
well
into
January
 tionally,
The Florida Case before 

1877,
with
neither
side
willing
to
concede
 the Electoral Commission appears


the
election.
The
responsibility
for
resolving
 rather
stilted.


the
conflict
rested
with
Congress.
But
while


the
U.S.
Constitution
gives
Congress
certain
 Fassett’s
painting
has
one
sig


election
responsibilities—namely,
that
both
 nificant
precedent
in
American
art:


the
Senate
and
the
House
of
Representatives
 Samuel
F.B.
Morse’s
The Old House 

must
be
present
as
the
electoral
certificates
 of Representatives, completed
 in submitted
by
each
state
are
counted—it


gives
no
guidance
as
to
what
Congress
 1822.
 That
 much
 larger
 painting


should
do
if
the
validity
of
these
certificates
 shows
a
similar
space,
the
House is
disputed.
Finally,
on
January
29,
1877,


Congress
created
a
special
electoral
com­ Chamber,
from
the
same
viewpoint


mission
to
review
the
four
states’
ballots
and
 as
later
selected
by
Fassett:
the
left


to
determine
the
final
outcome
of
the
elec­ side
of
the
room
and
slightly
above tion.
The
commission
was
composed
of
15
 the
head
level
of
those
on
the
main members
drawn
evenly
from
both
parties
 C.
Adèle
Fassett’s
self-portrait
was
based
on


among
the
Senate,
the
House
of
Representa­ a
Mathew
Brady
photograph
of
the
artist.
 floor.
This
allowed
a
clear
view
of"

tives,
and
the
Supreme
Court
of
the
United
 (Architect of the Capitol) many
faces.
Fassett
certainly
knew States,
together
with
a
single
independent
 Morse’s
painting,
because
it
had
recently
(1874)
been
displayed
at
the justice
to
ensure
partisan
balance.
David


Davis,
the
independent
justice
first
chosen,
 Corcoran
Gallery
of
Art
in
Washington,
D.C.


declined
to
serve,
and
he
was
replaced
 The
Morse
painting
is
the
masterwork
of
an
excellently
trained
artist, by
Joseph
P.
Bradley,
a
justice
appointed


to
the
bench
as
a
Republican
but
who
was
 deft
at
handling
complicated
perspective
constructions
and
large
groups


acceptable
to
the
Democrats.
 of
figures.
Where
Morse’s
figures
form
subgroups
around
a
central
focus,


Fassett
crowds
most
of
her
figures
into
receding
rows.
Even
the
face


122 United States Senate 
The Florida Case before the Electoral Commission 

Cornelia Adèle Strong Fassett (1831–1898) 

Oil
on
canvas,
1879"

60
x
75
inches
(152.4
x
190.5
cm)"

Signed
and
dated
(lower
right
corner):
C.
Adèle
Fassett
/
1879"

Purchased
by
the
Joint
Committee
on
the
Library,
1886"

Cat.
no.
33.00006"

meant
to
attract
our
attention,
William
M.
Evarts,
counsel
for
Hayes,
is


nearly
lost
standing
amid
a
sea
of
faces.


In
fairness,
Fassett
includes
nearly
three
times
as
many
figures
as


Morse
into
a
much
smaller
architectural
space,
and
does
so
on
a
much


smaller
canvas.
But
Fassett
includes
virtually
every
person
who
was
rel


evant
to
the
political
crisis,
as
well
as
other
prominent
figures
in
the


capital
city.
James
G.
Blaine,
for
instance,
who
had
unexpectedly
lost


Catalogue of Fine Art 123 
The
Florida
Case
before
the
Electoral
Commission —continued


The
Electoral
Commission
held
its
first
 the
Republican
nomination
to
Hayes,
appears
at
the
lower
foreground


public
hearing
on
February
1,
1877,
and
 of
the
picture
(below
the
standing
Evarts),
his
handsome
face
turned
 deliberations
continued
for
nine
days.
Leg- to
the
viewer.
Also
present
is
the
banker
and
art
collector
William
Wilson islators,
cabinet
members,
the
press,
and


prominent
men
and
women
of
Washington
 Corcoran,
seen
in
the
row
just
below
the
commissioners,
fourth
from


society
crowded
into
the
Capitol’s
Old
 the
left.
Fassett
took
some
artistic
license—not
all
of
the
individuals


Senate
Chamber
(then
serving
as
the


Supreme
Court’s
regular
meeting
place).
 depicted
attended
the
hearings.
Some
of
the
faces
were
based
on
existing


The
long
and
bitter
debate
began
with
the
 photographic
portraits
by
Mathew
Brady.
Several
relevant
Brady
phoFlorida
case.
Although
Tilden
had
almost
 tographs
survive,
including
one
of
Fassett
herself.
 certainly
won
in
the
electoral
balloting,


Republicans
prevailed
and
the
commis- Among
the
256
persons
in
Fassett’s
painting,
more
than
60
are


sion’s
vote
went
to
Hayes.
Subsequent
 women.
Some
are
wives
or
daughters
of
political
figures;
others
are
pro­


voting
also
followed
party
lines,
with
 fessionals.
Fassett
included
17
female
journalists
in
the
press
gallery
and
 Bradley,
the
“independent”
justice,
joining
 at
least
one
painter
in
addition
to
herself
on
the
main
floor,
Imogene
 the
Republicans.
By
the
findings
of
the


commission,
Rutherford
B.
Hayes
received
 Robinson
Morrell.
Morrell,
prominently
placed
directly
behind
Evarts,


all
of
the
disputed
votes,
and
thus
the
 had
studied
in
Paris
with
Thomas
Couture,
had
recently
exhibited
at
 required
one-vote
margin
over
Tilden.


Though
Democrats
at
first
protested,
they
 the
Philadelphia
Centennial
Exposition,
and
had
settled
in
Washington,


ultimately
accepted
the
decision
on
the
 D.C.
Morrell’s
portrait
of
John
Adams
Dix
(p.
100)
hangs
in
the
Senate.



promise
that
federal
troops
would
be
 Fassett,
in
front
(right
of
center),
holds
her
sketchbook,
in
which
she
 removed
from
the
South
and
Reconstruction


brought
to
an
end.
Congress
declared
 has
drawn
Evarts’s
head.



Hayes
the
victor
on
March
2,
just
two
days
 One
of
the
most
prominent
professional
women
in
Washington,
D.C.,


before
his
term
began.
 at
the
time
was
the
writer
Mary
Clemmer
Ames.
Her
just­published
Ten


Years
 in
 Washington:
 Life
 and
 Scenes
 in
 the
 National


Capital,
as
a
Woman
Sees
Them
vigorously
advocated
for


woman
suffrage
and
equality.
Ames
sits
in
the
lower
right


corner
of
the
painting,
looking
at
the
viewer,
immediately


below
the
great
Frederick
Douglass,
champion
of
African


American
equality.
Fassett
clearly
introduced
her
own
concerns
into
this
document,
enlarging
its
record
as
a
turning


point
in
American
political
life.


Adèle
Fassett
was
born
in
upstate
New
York.
She


experimented
with
miniature
painting
and
studied
art
in


Paris.
After
an
early
career
in
Chicago,
Fassett
moved
to


Washington,
D.C.,
in
1875,
where
she
painted
successful


The
Old
House
of
Representatives,
painted documentary
portraits
of
notable
government
figures.
Her


by Samuel F.B. Morse in 1822, was the artistic 1876
group
portrait
of
the
Supreme
Court
justices
was
exhibited
at
the


precedent for Adèle Fassett’s Electoral


Commission.
 Philadelphia
Centennial
Exposition.
It
is
now
in
the
collection
of
the


(Corcoran Gallery of Art, Museum Purchase, Gallery Fund) Supreme
Court
of
the
United
States,
along
with
her
portrait
of
Chief
Justice


Morrison
R.
Waite.


124 United
States
Senate

Gedney,
Photo-Lith.


(Digital Reproduction by the Office of Senate Curator, 1998) 

Catalogue of Fine Art 125 
Gerald
Rudolph
Ford,
Jr.


(born 1913) 

Gerald
Rudolph
Ford,
Jr.,
the
40th
vice
 Gerald
Ford
selected
sculptor
Walker
Hancock
to
execute


president
and
38th
president
of
the
United
 his
likeness
for
the
Senate’s
Vice
Presidential
Bust
ColStates,
was
born
in
Omaha,
Nebraska,­

and
grew
up
in
Grand
Rapids,
Michigan.
 lection.
The
artist
had
earlier
completed
a
bust
of
Hubert


As
a
young
man,
he
practiced
law
in
 Humphrey
(p.
194)
for
the
collection.
Ford
sat
for
Han-


Grand
Rapids
and
then
served
in
the
U.S.
 cock
in
mid-1983
at
the
Ford
home
in
California;
the
sit-
 Navy
during
World
War
II.
Discharged
in
 tings
took
place
over
several
days,
with
the
artist
also
taking
photographs
 1946
as
a
lieutenant
commander,
Ford


was
elected
to
the
U.S.
House
of
Repre­ and
measurements
of
Ford’s
head.
Hancock
later
noted:
“I
had
meals


sentatives
in
1948;
he
served
continuously
 with
him
and
was
constantly
in
his
company,
so
that
I
felt
that
I
was for
13
terms,
eventually
becoming
House
 well
acquainted
with
him
by
the
time
I
left.”
The
artist
wrote
to
Archi- Republican
leader.


In
1973,
following
Vice
President
 tect
of
the
Capitol
George
White
following
the
sittings:
“He
has
a
splendid


Spiro
Agnew’s
resignation,
President
 head
for
sculpture,
and
I
am
fortunate
in
being
assigned
to
model
this Richard
Nixon
nominated
Ford
to
replace


Agnew
under
the
terms
of
the
recently
rati­ bust.”
The
sculpture
was
carved
in
Washington,
D.C.,
by
Vincent
Palumbo,


fied
25th
Amendment
to
the
Constitution.
 master
stone
carver
at
the
Washington
National
Cathedral,
and
was
ded"

(Until
1967
the
Constitution
did
not
pro­ icated
in
1985
at
ceremonies
held
at
the
Capitol
and
attended
by
Ford. vide
for
a
midterm
vacancy
in
the
vice


presidency.)
Ford
was
subsequently
con­ One
of
the
most
distinguished
classical
portrait
sculptors
of
the


firmed
by
Congress
but
served
as
vice
 20th
century,
Walker
Hancock
is
represented
by
many
important
sculp"

president
for
less
than
a
year.
When
 tures
in
Washington,
D.C.,
including
busts
of
Chief
Justices
Earl
Warren
 Nixon
resigned
in
August
1974
amid
alle­ and
Warren
E.
Burger
at
the
Supreme
Court
of
the
United
States,
and
 gations
stemming
from
the
Watergatescandal,
Ford
was
sworn
in
as
president.
 the
 monumental
 seated
 figure
 of
 James
 Madison
 at
 the
 Library
 of


In
1976
he
was
nominated
as
the
Repub­ Congress.
Two
of
Hancock’s
works
are
displayed
at
the
National
Cathe"
 lican
candidate
for
president
againstformer
Governor
Jimmy
Carter
of
Georgia;
 dral:
a
larger-than-life-size
bronze
statue
of
Abraham
Lincoln
and
the


Ford
lost
the
election
by
a
narrow
margin.
 figure
of
Christ
above
the
altar.
Hancock
also
completed
a
third
bust,


He
retired
to
Rancho
Mirage,
California.
 that
of
George
H.W.
Bush
(p.
52),
for
the
Senate’s
Vice
Presidential
Bust


Gerald
Ford
is
the
only
person
to
hold
the
 Collection.
 In
 1981
 Hancock
 was
 awarded
 the
 National
 Sculpture offices
of
vice
president
and
president


without
being
elected
to
either
position.
 Society’s
 Medal
 of
 Honor,
 and
 in
 1989
 President
 Bush
 presented


him
with
a
National
Medal
of
Arts


“for
his
extraordinary
contribution
to


the
art
of
sculpture,
and
for
demon"

strating
the
enduring
beauty
of
the


classical
tradition.”1


Attending the unveiling ceremony at the 

Capitol with President Ford are sculptor 

Walker Hancock, right, and carver Vincent 

Palumbo, left, 1985. 

(Courtesy Gerald R. Ford Library) 

126 United States Senate 
Gerald R. Ford 

Walker Kirtland Hancock (1901–1998) 

Marble,
modeled
1984,
carved
1985


26
x
22
x
12
1

⁄4
 inches
(66
x
55.9
x
31.1
cm)


Signed
and
dated
(on
subject’s
truncated
left
arm):
WALKER
HANCOCK
1984


Carver’s
mark
(under
subject’s
truncated
left
arm):
C
V.
V.
PALUMBO
/
1985


Commissioned
by
the
Senate
Committee
on
Rules
and
Administration,
1983


Accepted
by
the
Senate
Committee
on
Rules
and
Administration,
1985



Cat.
no.
22.00039


Catalogue of Fine Art 127 
Principal
Fortifications
of
the
United
States


(1870–1875) 

During
the
late
18th
century
and
through
much
of
the
19th


century,
 army
 forts
 were
 constructed
 throughout
 the


United
States
to
defend
the
growing
nation
from
a
variety


of
threats,
both
perceived
and
real.
Seventeen
of
these


sites
are
depicted
in
a
collection
painted
especially
for


the
U.S.
Capitol
by
Seth
Eastman.
Born
in
1808
in
Brunswick,
Maine,


Eastman
found
expression
for
his
artistic
skills
in
a
military
career.
After


graduating
from
the
U.S.
Military
Academy
at
West
Point,
where
offi"

cers-in-training
 were
 taught
 basic
 drawing
 and
 drafting
 techniques,


Eastman
was
posted
to
forts
in
Wisconsin
and
Minnesota
before
returning


to
West
Point
as
assistant
teacher
of
drawing.
Eastman
also
established


himself
as
an
accomplished
landscape
painter,
and
between
1836
and


1840,
17
of
his
oils
were
exhibited
at
the
National
Academy
of
Design


in
New
York
City.
His
election
as
an
honorary
member
of
the
academy


in
1838
further
enhanced
his
status
as
an
artist.


Transferred
to
posts
in
Florida,
Minnesota,
and
Texas
in
the
1840s,


Eastman
became
interested
in
the
Native
Americans
of
these
regions


and
made
numerous
sketches
of
the
people
and
their
customs.
This


experience
prepared
him
for
his
next
five
years
in
Washington,
D.C.,


where
he
was
assigned
to
the
commissioner
of
Indian
Affairs
and
illus"

trated
Henry
Rowe
Schoolcraft’s
important
six-volume
Historical and 

Statistical Information Respecting the History, Condition, and Prospects 

of the Indian Tribes of the United States. During
this
time
Eastman
also


assisted
Captain
Montgomery
C.
Meigs,
superintendent
of
the
Capitol


Brevet Brigadier General Seth Eastman. extension,
in
securing
the
services
of
several
Native
Americans
to
model


(Library of Congress, Prints and Photographs Division) for
the
sculptors
working
on
the
1850s
addition
to
the
building.


In
1867
Eastman
returned
to
the
Capitol,
this
time
to
paint
a
series


of
nine
scenes
of
Native
American
life
for
the
House
Committee
on
Indian


Affairs.
Eastman’s
talent
and
his
special
knowledge
of
the
subject
cer"

tainly
qualified
him
for
the
commission,
which
was
obtained
for
him
by


House
Ways
and
Means
Committee
Chairman
Robert
C.
Schenck
of
Ohio.


Schenck,
a
former
Civil
War
officer
who,
like
Eastman,
was
retired
for


disability
during
the
war,
believed
American—not
European—artists
should


receive
the
Capitol
commissions.
In
introducing
a
resolution
urging
the


hiring
of
Eastman
for
the
project,
Schenck
remarked:


We
have
been
paying
for
decorations,
some
displaying
good
taste
and
others
of
tawdry


character,
a
great
deal
of
money
to
Italian
artists
and
others,
while
we
have
Amer"

ican
talent
much
more
competent
for
the
work.
Among
others...is
General
Eastman,


128 United States Senate 
who...is 
more 
of 
an
artist
in
all
that
relates
to
the
Indians,
except
possibly
Catlin


and
Stanley,
than
any
we
have
had
in
this
country....
If
assigned
to
this
duty
Gen"

eral
Eastman
will
draw
his
full
pay
as
lieutenant
colonel,
instead
of
as
on
the
retired


list,
making
a
difference
of
about
$1,200
or
$1,500
a
year.
For
at
the
most
$1,500
a


year
we
will
secure
service
for
which
we
have
been
paying
tens
of
thousands
of
dol"

lars
to
foreign
artists,
and
we
will
get
better
work
done.1


Schenck’s
resolution
was
approved
by
the
House
but
tabled
by


the
Senate.
Nevertheless,
the
retired
Eastman
was
placed—by
special


order
of
the
War
Department—on
“active
duty”
so
that
he
could
be
com"

pensated
for
creating
works
of
art
for
the
Capitol.
He
finished
the
nine


paintings
in
1869.


In
1870
House
Military
Affairs
Committee
Chairman
John
A.
Logan


of
Illinois
proposed
that
Eastman
produce
17
canvases
depicting
army


forts.
It
is
indicative
of
the
post-Civil
War
sentiment
in
America
that
Logan


specified
that
Eastman
was
not
to
paint
battle
scenes;
indeed,
the
mood


of
these
forts
set
in
landscapes
is
serene,
even
nostalgic
to
some
degree.


Never
a
well
man,
Eastman
was
aged
and
ailing
by
the
time
he
received


the
commission,
and
it
is
not
known
if
he
visited
the
forts.
He
had
been


stationed
at
several
of
them
during
his
military
career,
and
as
a
trained


topographical
draftsman
he
probably
had
plans,
elevations,
and
even


photographs
of
the
forts
at
his
disposal.
Eastman
completed
the
series


between
1870
and
1875.


Charles
E.
Fairman,
longtime
curator
of
the
Capitol,
was
slightly


dismissive
of
Eastman’s
fort
paintings.
He
thought
they
were
“probably


more
valuable
as
examples
of
historical
accuracy...
than
for
purely
dec"

orative
purposes.”2
 He
explained
that
it
was
important
that
knowledge


concerning
government
fortifications
should
be
easily
accessible
and
these


pictures
“contain
desired
information
and
also
relieve
acceptably
what


might
otherwise
be
blank
spaces
upon
an
uninteresting
wall.”3
Yet
without


touting
Eastman’s
paintings
as
masterpieces,
it
is
still
possible
to
value


them
as
considerably
more
than
repositories
of
“desired
information.”


For
many
years,
the
fort
paintings
hung
in
the
House
Military
Affairs


Committee
Room,
first
in
the
Capitol
and
later
in
the
Cannon
House


Office
Building.
During
the
late
1930s,
they
were
returned
to
the
Capitol


for
public
display.
Of
the
17
paintings,
eight
are
located
in
the
Senate,
 Note to the reader: Although the entire series of 

while
the
others
are
on
display
on
the
House
side
of
the
Capitol.
Eastman
 Seth Eastman’s 17 fort paintings is reproduced on 

the following pages, written commentaries are 

was
working
on
the
West
Point
painting
when
he
died
in
1875.
 confined to the eight paintings in the Senate wing. 

Catalogue of Fine Art 129 
Fort
Defiance,
Arizona


Of
Seth
Eastman’s
fort
series,
this
is
the
only
painting
of


an
army
post
in
the
Southwest.
Located
at
Canyon
Bonito


about
seven
miles
north
of
Window
Rock,
Arizona,
Fort


Defiance
was
established
in
1851
to
create
a
military
pres"

ence
in
Navajo
Country.
It
was
built
on
valuable
grazing


land
that
the
federal
government
then
prohibited
the
Navajo
from
using.


As
a
result,
the
appropriately
named
fort
experienced
intense
fighting,


culminating
in
an
unsuccessful
1860
attack
by
the
Navajo.
The
next
year,


at
the
onset
of
the
Civil
War,
the
army
abandoned
Fort
Defiance.
Con"

tinued
Navajo
raids
in
the
area
led
the
army
to
send
Kit
Carson
to
impose


order.
 His
 “solution”
 was
 brutal:
 thousands
 of
 starving
 Navajo
 were


interned
in
Fort
Sumner,
New
Mexico,
and
much
of
their
livestock
was


destroyed.
The
Navajo
Treaty
of
1868
allowed
those
interned
to
return


to
a
portion
of
their
land,
and
Fort
Defiance
was
reestablished
as
an
Indian


agency
that
year.
It
was
during
the
development
of
the
fort
into
an
agency


that
Eastman
depicted
the
site
in
his
painting,
but
the
evidence
of
the


picture
suggests
that
he
never
visited
the
post.


At
the
base
of
a
butte,
a
small,
rudimentary
block
of
one-story


log
and
sod
buildings
stands
on
a
foreground
plain.
A
dark
gorge
divides


the
butte,
and
a
road
emerges
from
it.
In
contrast
to
the
lush,
grassy


grazing
land
that
typified
Fort
Defiance,
in
the
painting
everything
is


barren
and
inhospitable.
The
land
is
the
color
of
sandalwood,
and
there


is
little
contrast
in
the
sky.
It
is
tempting
to
enumerate
the
buildings


because
they
are
the
focus
of
the
scene.
Low
barracks
fill
most
of
the


small
space,
but
one
may
discern
kitchens,
latrines,
open
tents,
distant


cattle,
wagons,
and
about
30
human
figures,
including
a
group
of
soldiers


drilling
in
the
yard.


The
scene
is
prosaic
and
matter-of-fact,
and
this
is
probably
why
it


seems
to
embody
the
true
sense
of
an
outpost.
Surprisingly,
the
feeling


is
similar
to
that
captured
by
some
20th-century
films—the
bleak
setting


of
the
Western
genre,
but
without
the
Native
American
and
army
con"

flict. The
decision
to
omit
all
battles
from
Eastman’s
series
of
fort
paint"

ings
explains
this
departure
from
the
bitter
reality
of
life
at
Fort
Defiance.


130 United States Senate 
Fort Defiance, Arizona 

Seth Eastman (1808–1875) 

Oil
on
canvas,
1873


21
5

⁄8
 x
31
1⁄2
 inches
(54.9
x
80
cm)


Signed
and
dated
(lower
left
center):
S.
E.
/
187[3]


Commissioned
by
special
order
of
the
U.S.
War
Department,
1867


Presented
to
the
House
Committee
on
Military
Affairs,
1875


Cat.
no.
33.00011


Catalogue of Fine Art 131 
Fort
Delaware,
Delaware


The
low
block
of
this
large
fort
is
poised
between
sky
and


water,
its
tranquil
reflection
contributing
to
the
pleasantly


calm
effect
of
Seth
Eastman’s
depiction.
The
sky
is
filled


with
gently
animated
clouds,
and
a
sure
handling
of
the


space,
from
the
darker,
skillfully
detailed
foreground
to
the


light-filled
distance,
marks
the
whole
painting.


Fort
Delaware
was
built
on
Pea
Patch
Island
in
the
Delaware
River,


below
Wilmington
and
New
Castle,
Delaware.
The
first
fortification
on


the
island
was
constructed
soon
after
the
War
of
1812
to
protect
Philadel"

phia
and
its
harbor
as
well
as
the
dynamite
and
munitions
plants
near


Wilmington.
It
was
demolished
in
1833.
The
present
structure
was
erected


between
1848
and
1859,
becoming
the
largest
fort
in
the
country.
During


the
Civil
War,
beginning
in
1862,
the
island
became
a
prison
for
cap"

tured
Confederates
and
local
Southern
sympathizers.
They
were
housed


not
in
the
fort
proper
but
in
wooden
barracks
that
soon
covered
much


of
the
island.
Most
of
the
Confederates
captured
at
Gettysburg
were


imprisoned
there.
By
August
1863,
there
were
12,500
prisoners
on
the


island;
by
war’s
end,
it
had
held
some
40,000
men.
The
conditions
were


predictably
notorious,
and
about
2,900
prisoners
died
at
Fort
Delaware.


Although
the
benign
appearance
of
the
postwar
fort
in
Eastman’s
painting


might
have
seemed
ironic
to
late
19th-century
viewers,
it
is
also
true


that
Delaware’s
guns
never
fired
a
shot
during
its
entire
history.


132 United States Senate 
Fort Delaware, Delaware 

Seth Eastman (1808–1875) 

Oil
on
canvas,
1870–1875


24
3

⁄8
 x
35
3⁄8
 inches
(61.9
x
89.9
cm)


Signed
(lower
left):
S.
E.


Commissioned
by
special
order
of
the
U.S.
War
Department,
1867


Presented
to
the
House
Committee
on
Military
Affairs,
1875


Cat.
no.
33.00012


Catalogue of Fine Art 133 
Fort
Knox,
Maine


Maine
 was
 repeatedly
 involved
 in
 northeast
 border


disputes
with
British
Canada,
and
the
area
between


Castine
 and
 the
 rich
 lumber
 city
 of
 Bangor
 was


invaded
and
occupied
by
the
British
during
the
Amer"

ican
 Revolution
 and
 the
 War
 of
 1812.
 Despite
 the


Webster-Ashburton
Treaty
of
1842,
which
adjusted
the
boundary
to
avert


the
possibility
of
war,
Fort
Knox
was
established
in
1844
to
protect


the
Penobscot
River
valley
against
a
possible
future
British
naval
incur"

sion.
Named
for
Major
General
Henry
Knox,
America’s
first
secretary


of
war
and
a
native
of
Maine,
the
fort
garrisoned
troops
from
1863
to


1866,
and
again
in
1898,
but
never
saw
military
action.


As
is
customary
with
Seth
Eastman,
a
quiet,
subtle
skill
is
at
work


here.
He
adjusts
his
tonal
palette
to
convincingly
construct
both
the
sit"

uation
of
the
fort
and
the
other
objects
within
the
space.
The
fort—a


complex
geometric
structure—is
in
good
repair,
yet
no
human
is
visible


in
or
on
the
fort.
There
is
a
sense
of
abandonment
reflective
of
the
fort’s


history.
The
sailboat
and
rowboat,
whose
occupants
are
observers
of
this


little-used
 remnant
 of
 the
 nation’s
 military
 past,
 heighten
 the
 mood.


Eastman
was
aware
that
the
fort
had
little
history—no
real
story
to
tell—


and
he
cleanly
and
matter-of-factly
embeds
the
granite
structure
in
the


Maine
landscape.


134 United States Senate 
Fort Knox, Maine 

Seth Eastman (1808–1875) 

Oil
on
canvas,
1870–1875


24
1

⁄4
 x
35
1⁄2
 inches
(61.6
x
90.2
cm)


Unsigned


Commissioned
by
special
order
of
the
U.S.
War
Department,
1867


Presented
to
the
House
Committee
on
Military
Affairs,
1875


Cat.
no.
33.00013


Catalogue of Fine Art 135 
Fort
Mackinac,
Michigan


F ort
Mackinac
is
located
on
Mackinac
Island,
Michigan,
in
the


narrow
waterway
between
Lakes
Huron
and
Michigan,
very


near
the
present
border
with
Canada.
During
more
than
a


century
as
an
active
military
post,
the
fort
changed
ownership
several
times
and
participated
directly
in
only
one
con"

flict,
the
War
of
1812.
British
soldiers
built
this
outpost
in
1781,
on
a
high


limestone
bluff
overlooking
the
Straits
of
Mackinac.
The
isolated
post


provided
much
needed
protection
and
support
for
the
Great
Lakes
fur


trade.
In
1783,
following
the
American
victory
in
the
Revolutionary
War,


the
fort
became
United
States
property.
However,
the
British
remained


for
another
13
years
in
an
attempt
to
control
fur
trade
in
the
upper
Great


Lakes.
In
1796
they
evacuated
the
fort
in
accordance
with
the
terms
of


Jay’s
Treaty,
and
the
American
army
occupied
and
repaired
the
aging


outpost.
When
the
United
States
declared
war
on
Great
Britain
in
June


1812,
the
British
attacked
and
recaptured
the
fort,
holding
it
until
the


Treaty
 of
 Ghent
 ended
 the
 war
 and
 returned
 the
 post
 to
 American


possession.
The
fort
sat
idle
during
the
Civil
War
and
thereafter
was
irreg"

ularly
garrisoned
by
troops
until
1895,
when
it
was
finally
closed.


The
painting
successfully
conveys
a
place
and
climate
quite
dif"

ferent
from
the
other
locations
in
the
fort
series.
Like
a
walled
town,


the
elevated
structure
consists
of
separate
buildings
within
the
walls.


At
the
right,
outside
the
fort,
is
a
very
large
house.
At
the
foot
of
the


steep
hill
are
three
houses,
then
a
stone
wall
with
a
gate,
and
finally


the
shore
with
a
rudimentary
jetty.
A
canoe
approaches
the
jetty.
A
large


fishing
boat
is
on
the
shore,
partly
covered,
with
a
fisherman
in
atten"

dance.
 The
 looming
 cloud
 in
 the
 darkening
 sky
 warns
 of
 an


approaching
storm,
whose
advance
winds
have
stirred
the
water
of
this


safe
harbor
into
small
whitecaps,
occasioning
this
small
flurry
of
activity.


In
the
distance
at
the
left,
beyond
the
point,
the
viewer
glimpses
a


steamship
and
a
sail
on
Lake
Michigan.
For
the
weather-bearing
clouds,


Seth
Eastman
has
employed
blended
swirls
of
blue-black
paint
in
an


improvisatory
pattern.
It
is
clear
from
the
painting
that
the
island
is
pop"

ulated,
if
sparsely,
but
there
is
no
evidence
of
the
very
slight
military


presence
that
was
still
there
in
1872.


136 United States Senate 
Fort Mackinac, Michigan 

Seth Eastman (1808–1875) 

Oil
on
canvas,
1872


24
3

⁄4
 x
35
1⁄2
 inches
(62.9
x
90.2
cm)


Signed
and
dated
(lower
right
corner):
S.
E.
/
1872


Commissioned
by
special
order
of
the
U.S.
War
Department,
1867


Presented
to
the
House
Committee
on
Military
Affairs,
1875



Cat.
no.
33.00014


Catalogue of Fine Art 137 
Fort
Scammel
and
Fort
Gorges,
Maine


F ollowing
the
War
of
1812,
the
Army
Corps
of
Engineers
proposed
that
a
fort
be
built
on
Hog
Island
Ledge,
in
Casco


Bay
at
the
entrance
to
the
harbor
at
Portland,
Maine.
Named


for
the
colonial
proprietor
of
Maine,
Sir
Ferdinando
Gorges,


it
was
constructed
to
support
existing
forts,
including
Fort


Scammel
built
on
nearby
House
Island
in
1808.
Congress,
however,
did


not
fund
construction
of
Fort
Gorges
until
1857.
The
walls
of
the
fort


were
begun
the
next
year,
and
when
the
Civil
War
broke
out
in
1861,


work
quickly
advanced.
It
was
completed
in
1865
as
the
war
ended,


a
granite
reminder
of
what
might
have
been.
A
modernization
plan
was


begun
in
1869,
but
funding
was
cut
off
in
1876,
with
the
third
level
of


the
fort
still
unfinished.
Seth
Eastman
painted
his
canvas
during
this


final
phase.


Eastman
gave
Fort
Scammel
and
Fort
Gorges
equal
emphasis
in


his
sweeping
view.
On
the
distant
waters
of
the
bay,
the
viewer
glimpses


the
activity
of
sailboats
and
a
steamboat,
as
well
as
construction
cranes


behind
both
forts.
This
painting
is
unusually
complex
among
the
works


in
the
series,
in
both
design
elements
and
narrative
implications.
For


example,
the
large
pier
at
the
lower
right,
its
pilings,
and
the
rock
and


piling
at
the
center
are
strongly
drawn
and
tightly
composed.
The
pier


is
animated
by
11
figures,
standing
or
seated,
who
have
gathered
there.


Eastman
conveys
the
specifics
of
place
with
attention
to
the
dress
and


posture
of
the
figures
and
the
structure
and
age
of
the
pier.
The
lounging


atmosphere,
the
casual
note
of
the
ladder
leaning
against
the
small
shed


at
the
right,
and
the
motionless
boat
with
inactive
occupants
at
the
left


all
suggest
a
backwater
where
time
stands
still.
Again,
Eastman
seems


to
compare
the
foreground
idleness
with
the
idleness
of
the
forts
and


with
dreams
of
battles
never
fought.
The
mood
is
greatly
enhanced
by


the
large
sky,
with
a
variety
of
cloud
formations
tranquilly
painted
in


pale
gray
tints.


138 United States Senate 
Fort Scammel and Fort Gorges, Maine 

Seth Eastman (1808–1875) 

Oil
on
canvas,
1872


24
5

⁄8
 x
35
5⁄8
 inches
(62.5
x
90.5
cm)


Signed
and
dated
(lower
right
corner):
S.
E.
/
1872


Commissioned
by
special
order
of
the
U.S.
War
Department,
1867


Presented
to
the
House
Committee
on
Military
Affairs,
1875


Cat.
no.
33.00015


Catalogue of Fine Art 139 
Fort
Taylor,
Florida


The
federal
government
broke
ground
on
Fort
Zachary
Taylor


in
1845,
the
same
year
that
Florida
became
a
state.
Progress


was
extremely
slow
because
of
the
remote
location
at
Key


West
harbor
and
the
tropical
climate.
The
former
made


obtaining
 building
 materials
 difficult,
 and
 the
 latter


brought
yellow
fever
and
hurricanes.
Although
its
completion
was
thus


delayed
until
1866,
the
fort
nonetheless
played
a
significant
part
during


the
Civil
War
by
intercepting
blockade-running
ships.
It
may
have
been


this
role,
as
well
as
Fort
Taylor’s
physical
setting,
that
inspired
Eastman’s


unusually
expressive
painting.


This
is
one
of
the
more
striking
paintings
in
the
series
because
of


the
ambitious
and
dramatic
atmosphere.
The
fort
is
solid
and
inert,
its


flag
positioned
in
the
exact
center
of
the
image.
The
sky
is
a
mauve-gray


concoction
with
darker
cloud
trails
at
the
top.
The
water
is
windblown


and
dynamic,
swirling
around
the
foreground
buoys
and
composed
in
a


counterpoint
of
movement
with
the
sky.
The
huge
fort
is
suspended


between
sky
and
water,
slightly
left
of
center,
with
carefully
drawn
sailing


vessels
balancing
the
picture
to
the
right.
Only
a
small
portion
of
land
is


visible
on
the
left.


140 United States Senate 
Fort Taylor, Florida 

Seth Eastman (1808–1875) 

Oil
on
canvas,
1870–1875


21
5

⁄8
 x
31
1⁄2
 inches
(54.9
x
80
cm)


Unsigned


Commissioned
by
special
order
of
the
U.S.
War
Department,
1867


Presented
to
the
House
Committee
on
Military
Affairs,
1875


Cat.
no.
33.00016


Catalogue of Fine Art 141 
Fort
Trumbull,
Connecticut


I

n
1775
Governor
Jonathan
Trumbull
recommended
the
building


of
a
fortification
at
the
port
of
New
London
to
protect
the
seat


of
the
government
of
Connecticut.
Built
on
a
rocky
point
of
land


near
the
mouth
of
the
Thames
River
on
Long
Island
Sound,
the


fort
was
completed
in
1777
and
named
for
Governor
Trumbull,


who
served
from
1769
to
1784.
In
1781
during
the
Revolutionary
War,


the
fort
was
attacked
and
captured
by
British
forces
under
the
command


of
Benedict
Arnold.
In
the
early
19th
century,
the
fort
was
redesigned


and
rebuilt
to
meet
changing
military
needs.
The
present
fortification


was
built
between
1839
and
1852
as
a
five-sided,
four-bastion
coastal


defense
fort.
During
the
Civil
War,
Fort
Trumbull
served
as
an
organi"

zational
center
for
Union
troops
and
headquarters
for
the
14th
Infantry


Regiment.
Here,
troops
were
recruited
and
trained
before
being
sent
to


war.
Today,
the
fort
serves
as
a
public
park
and
tourist
attraction.


Seth
Eastman
imagines
a
windless
day
on
the
river
below
the
fort


as
the
setting
for
a
quiet,
pleasant
scene.
The
everyday
aspects
of
this


painting—the
boaters
and
people
on
the
shore—are,
to
our
eyes,
of


greater
interest
than
the
fort.
Many
of
the
carefully
detailed
figures
(10


in
all)
seem
to
be
regarding
the
fort,
and
the
viewer’s
attention
is
held


in
this
foreground
area
by
the
keenly
observed,
finely
painted
rocks


and
water
grasses.
The
apparently
abandoned
fort
seems
clearly
a
thing


of
the
past,
now
merely
part
of
the
pastoral
scenery.
The
lack
of
mili"

tary
activity
is
emphasized
by
a
small
figure
leaning
casually
against
the


wall
of
the
fort
at
the
right.


142 United States Senate 
Fort Trumbull, Connecticut 

Seth Eastman (1808–1875) 

Oil
on
canvas,
1870–1875


24
3

⁄8
 x
35
1⁄4
 inches
(61.9
x
89.5
cm)


Unsigned


Commissioned
by
special
order
of
the
U.S.
War
Department,
1867


Presented
to
the
House
Committee
on
Military
Affairs,
1875


Cat.
no.
33.00017


Catalogue of Fine Art 143 
West
Point,
New
York


Neither
signed
nor
dated
by
the
artist,
this
is
the
painting


Seth
Eastman
was
completing
when
he
died
in
1875.
The


painting
is
unique
in
the
series
because
the
fort
is
not


seen
except
at
its
perimeter
gun
placement.
Instead,
the


viewer
stands
just
above
this
small
proscenium
and
looks


out
at
a
scene
of
the
Hudson
River.
The
setting
was
familiar
to
19thcentury
Americans
from
the
large
number
of
paintings
and
prints
of
it


already
existing.
West
Point
was
not
an
active
fort
at
this
time.
In
1802,


after
its
crucial
Revolutionary
War
role
in
preventing
a
British
advance


down
the
river
to
New
York
City,
West
Point
became
a
military
academy


under
the
patronage
of
President
Thomas
Jefferson.


Even
before
the
Civil
War,
West
Point
had
become
a
tourist
des"

tination
because
of
its
fame,
its
proximity
to
New
York
City,
and
its


picturesque
location.
In
the
painting,
a
woman,
escorted
by
a
cadet,


tours
the
grounds.
This
work,
alone
among
the
fort
paintings,
shows


some
military
activity—the
cadets
are
learning
to
prepare
a
cannon
for


firing.
An
officer-instructor
stands
second
from
the
left;
two
boys
ram


the
charge
home
in
the
large
cannon’s
barrel.
Two
smaller
pieces
of


ordnance
are
also
shown.
But
it
is
the
Hudson
River,
its
high
banks


framing
the
water
where
pleasure
boats
cruise,
that
draws
the
eyes
away


from
the
busy
foreground
and
into
the
serene
distance.


144 United States Senate 
West Point, New York 

Seth Eastman (1808–1875) 

Oil
on
canvas,
1875


24
1

⁄4
 x
35
1⁄8
 inches
(61.6
x
89.2
cm)


Unsigned


Commissioned
by
special
order
of
the
U.S.
War
Department,
1867


Presented
to
the
House
Committee
on
Military
Affairs,
1875


Cat.
no.
33.00018


Catalogue of Fine Art 145 
Principal
Fortifications
of
the
United
States —continued 

Fort Jefferson, Florida by Seth Eastman, 1875. Fort Lafayette, New York by Seth Eastman, 1870–1875. 

(House Fine Arts Board. Photo courtesy Architect of the Capitol) (House Fine Arts Board. Photo courtesy Architect of the Capitol) 

Fort Mifflin, Pennsylvania by Seth Eastman, 1873. Fort Rice, North Dakota by Seth Eastman, 1873. 

(House Fine Arts Board. Photo courtesy Architect of the Capitol) (House Fine Arts Board. Photo courtesy Architect of the Capitol) 

146 United States Senate 
Fort Snelling, Minnesota by Seth Eastman, 1870–1875. Fort Sumter, South Carolina (before the war) by Seth Eastman, 

1871. (House Fine Arts Board. Photo courtesy Architect of the Capitol) 

(House Fine Arts Board. Photo courtesy Architect of the Capitol) 

Fort Sumter, South Carolina (after the bombardment) by Seth Fort Sumter, South Carolina (after the war) by Seth Eastman, 

Eastman, 1870–1875. 1870. 

(House Fine Arts Board. Photo courtesy Architect of the Capitol) (House Fine Arts Board. Photo courtesy Architect of the Capitol) 

Catalogue of Fine Art 147 

Fort Tompkins and Fort Wadsworth, New York by Seth Eastman, 

1870–1875. 

(House Fine Arts Board. Photo courtesy Architect of the Capitol) 
Lafayette
Sabine
Foster


(1806–1880) 

Connecticut
Senator
Lafayette
Sabine
 L

afayette
Foster’s
widow
presented
this
marble
likeness
of
her


Foster
served
as
president
pro
tempore
of
 husband
to
the
U.S.
Senate
in
1885.
Sculptor
Charles
Calverley the
Senate
from
1865
to
1867.
Because
of


his
position,
Foster
considered
himself
the
 of
Albany,
New
York,
created
the
bust
several
years
before


acting
vice
president
upon
the
death
of
 Foster’s
death.
Foster
may
have
commissioned
the
work
with


President
Abraham
Lincoln
and
the
 the
intention
of
presenting
it
to
the
Senate
to
commemorate swearing
in
of
Vice
President
Andrew


Johnson
as
president.
Foster’s
claim
was
 his
service
as
acting
vice
president.


never
officially
recognized,
however.
 Although
Charles
Calverley
was
45
years
old
when
he
carved
the


Born
in
Franklin,
Connecticut,
Foster
 bust,
it
was
nonetheless
an
early
work.
Calverley
began
his
career
as studied
law
and
established
a
legal
prac­ an
independent
sculptor
at
the
age
of
35.
He
apprenticed
for
seven tice
in
Norwich,
Connecticut,
where
he


became
editor
of
the
Whig
newspaper,
the
 years
 in
 “a
 one
 horse
 marble
 shop”
 in
 Albany,
 New
 York,
 before


Norwich
Republican.
Prominent
in
the
 becoming
an
assistant
to
the
noted
sculptor
Erastus
Dow
Palmer.1
 FifConnecticut
legislature,
he
served
three


years
as
Speaker
of
the
state
house
of
rep­ teen
years
later,
in
1868,
Calverley
moved
to
New
York
City.
There
he


resentatives.
In
1854
he
was
elected
to
the
 established
himself
almost
exclusively
as
a
carver
of
marble
portrait


U.S.
Senate
as
a
Republican;
he
served
 medallions
and
busts.
Even
though
Calverley
produced
more
than
250 for
12
years.
Following
an
unsuccessful


reelection
bid,
Foster
became
professor
of
 works
during
his
lifetime,
it
is
difficult
to
form
a
balanced
assessment


law
at
Yale
College
before
returning
to
the
 of
his
style
and
achievement.
Most
of
the
portraits
familiar
from
the


state
legislature,
where
he
was
elected
 scattering
of
published
reproductions
are
naturalistic
and,
in
works
after Speaker.
Foster
subsequently
resigned
to
 1890,
rather
prosaic. become
associate
justice
of
the
Con­


necticut
Supreme
Court,
where
he
served
 The
 bust
 of
 Lafayette
 Foster,
 however,
 is
 a
 notable
 exception.


from
1870
to
1876.
During
his
judicial
 Calverley’s
choice
of
the
neoclassical
style
is
remarkable
so
late
in
the
 service,
Foster
ran
unsuccessfully
as
a


Democratic
candidate
for
Congress.
He
 century,
but
much
more
remarkable
is
his
success
in
it.
Not
just
Greco"

resumed
his
law
practice
after
retiring
his
 Roman
in
type
but
also
in
spirit,
this
Foster
is
like
a
bust
of
Homer
or


seat
on
the
state
supreme
court.
He
died
in
 Seneca.
(In
fact,
it
can
profitably
be
compared
with
the
Homer—a
Roman


Norwich
in
1880.
 copy
of
a
Greek
head—in
the
Museum
of
Fine
Arts
in
Boston.)


The
bust
convincingly
projects
probity
and
dignity,
and
is
severe


in
the
best
sense.
The
head,
large
in
comparison
with
the
torso,
is
pre"

sented
frontally,
but
a
slight
turn
eases
the


severity.
The
eyes
are
lightly
drilled,
bal"

ancing
animation
with
sobriety.
The
firm


mouth
appears
clearly
through
the
buttery


modeling
of
beard
and
moustache.
The


torso
is
conceived
like
a
classical
herm


(armless,
 quadrangular,
 and
 tapered


downward),
but
it
is
adorned
with
a
light,


The Senate’s bust of Lafayette Foster has subtly
 carved
 drapery
 in
 the
 classical


characteristics similar to this marble bust manner.
Throughout,
Calverley
combines


of Homer, ca. 150 B.C. suppleness
of
modeling
with
distinct
linear (Henry Lillie Pierce Fund. Courtesy, Museum of Fine Arts, Boston. 

Reproduced with permission, © 1999 Museum of Fine Arts, accents
to
infuse
unexpected
life
into
the Boston. All rights reserved.) 

148 United States Senate 
Lafayette Foster 

Charles Calverley (1833–1914) 

Marble,
1879


22
x
15
1

⁄2
 x
12
1⁄4
 inches
(55.9
x
39.4
x
31.1
cm)


Signed
and
dated
(on
subject’s
back):
C.
CALVERLEY.
SC.
1879.


Gift
of
Martha
Lyman
Foster
(widow
of
Lafayette
Foster),
1885


Accepted
by
Senate
resolution
dated
February
19,
1885


Cat.
no.
21.00006


Catalogue of Fine Art 149 
Lafayette
Sabine
Foster —continued 

Right: unfashionable
neoclassical
style.
This
is
an
especially
memorable
likeThe bust of Lafayette Foster is displayed in ness
of
Foster,
embodying
the
description
by
writer
Mary
Clemmer
Ames the Vice President’s Room in honor of his!

position as acting president of the Senate. of
“Foster
of
Connecticut,
that
most
gentle
gentleman,
who
went
from


(1999 photograph) the
Senate
bearing
the
good
will
of
every
Senator
whatever
his
politics.”2


The
bust
was
not
officially
commissioned
by
the
Senate,
but
was


formally
accepted
by
Senate
resolution
dated
February
19,
1885.
Tem"

porarily
 displayed
 in
 the
 Senate
 Chamber
 adjacent
 to
 the
 presiding


officer’s
chair,
it
was
later
permanently
mounted
on
a
marble,
wall-hung


pedestal
for
display
in
the
Vice
President’s
Room
of
the
Capitol.


Calverley
worked
increasingly
in
bronze
from
the
1880s
on.
He


portrayed
 in
 bronze
 one
 of
 his


most
important
subjects—the
poet


Robert
Burns—in
full-length,
bust,


and
 medallion
 form.
 The
 fulllength,
nine-foot
seated
statue
of


Burns
 was
 unveiled
 in
 Albany’s


Washington
 Park
 in
 1888.
 The


bronze
bust
of
the
poet
is
in
the


Metropolitan
 Museum
 of
 Art
 in


New
York
City,
a
gift
of
Andrew


Carnegie.
The
majority
of
Charles


Calverley’s
works
have
not
been


identified;
the
Albany
Institute
of


History
and
Art
owns
the
largest


collection
of
his
sculptures.


Senator George Moses, seated, and Secretary 

of the Senate Harry Sinclair in the Vice Pres!

ident’s Room. The bust of Lafayette Foster is 

displayed in the background, 1924. 

(Library of Congress, Prints and Photographs Division) 

150 United States Senate 

Benjamin
Franklin


(1706–1790) 

Benjamin
Franklin
was
born
in
Boston
 One
of
the
best-known
American
sculptors
of
his
day,


and
learned
the
printing
trade
as
his
 Hiram
Powers
began
his
career
as
a
modeler
of
wax brother’s
apprentice
before
he
moved
to
 figures
 in
 Cincinnati,
 Ohio.
 In
 1834,
 under
 the Philadelphia
in
1723.
Within
10
yearsFranklin
acquired
his
own
press,
wrote
 patronage
 of
 Cincinnati
 lawyer
 and
 horticulturist


and
published
the
popular
collection
of
 Nicholas
 Longworth,
 Powers
 moved
 to
 Washington, witticisms
and
practical
advice
known
as


Poor Richard’s Almanack, and
became
 D.C.
Longworth’s
influence
inspired
Powers
to
make
busts
of
Andrew

owner
of
the
Pennsylvania Gazette.
 Jackson
and
other
prominent
citizens.
As
his
talent
increased,
Powers


Franklin,
as
a
founder
of
the
American
 decided
to
move
to
Florence
in
1837,
where
he
established
himself
as
 Philosophical
Society,
initiated
numerous
 an
outstanding
sculptor.
 social
improvements
and
displayed
akeen
interest
in
science.
One
of
his
inven­ Because
of
Powers’s
renown,
Congress
included
in
the
Civil
Appro"


tions
was
the
Franklin
stove
(which
 priations
Act
of
1855
a
provision
that
charged
the
president
of
the
United improved
on
the
function
of
the
fireplace);
 States
to
“contract
with
Hiram
Powers,
for
some
work
of
art
executed he
conducted
groundbreaking
experi


ments
with
electricity
as
well.
 or
to
be
executed
by
him,
and
suitable
for
the
ornament
of
the
Capitol.”


Franklin
became
increasingly
active
 A
maximum
sum
of
$25,000
was
authorized.
Senator
Salmon
P.
Chase


in
public
affairs
after
1754,
the
year
he


represented
Pennsylvania
at
the
Albany
 of
Ohio,
who
introduced
the
legislation,
commented
on
Powers’s
talent:


Congress.
Convened
by
the
British
to
 “Let
the
renown
of
the
great
sculptor,
whose
works
honor
this
country


settle
affairs
with
the
Iroquois,
the
con­ and
his
age,
be
the
sufficient
recommendation. . . .” 1


gress
also
took
up
the
matter
of
closer
ties
 Powers
immediately
offered
his
allegorical
female
nude
America among
the
colonies.
Franklin
proposed
a


plan
of
union,
which
was
adopted
by
the
 for
the
$25,000.
However,
when
pictures
of
the
statue
were
seen,
its


delegates
but
rejected
by
both
Great
 similarity
to
Thomas
Crawford’s
Statue of Freedom, intended
for
the


Britain
and
the
colonial
governments.


In
1757
Franklin
was
sent
to
London
 new
dome
of
the
U.S.
Capitol,
discouraged
the
sculpture’s
selection.


for
what
would
be
the
first
of
a
series
of
 Powers
then
offered
a
choice
among
several
heroic
portrait
possibili"


diplomatic
missions
on
behalf
of
the
 ties:
 likenesses
 of
 George
 Washington,
 Benjamin
 Franklin,
 Daniel
 colonies.
He
was
subsequently
elected
­

as
a
delegate
to
the
second
Continental
 Webster,
or
John
C.
Calhoun.


Congress,
becoming
a
member
of
the
com­ The
contract
finally
executed
between
Powers
and
President
James


mittee
charged
with
drafting
the
Declaration
 Buchanan
in
1859
specified
two
statues—one
of
Benjamin
Franklin
and
 of
Independence.
During
the
RevolutionaryWar,
Franklin
went
to
France
to
negotiate
a
 one
of
Thomas
Jefferson—for
the
sum
of
$10,000
each.
The
standing


treaty
of
alliance,
emerging
as
a
favorite
 statue
of
Franklin
arrived
at
the
Capitol
in
November
1862
and
was


personality
of
the
French.
Later
he
served
as
 placed
at
the
foot
of
the
east
staircase
of
the
Senate
wing.
The
Jefferson
 a
member
of
the
commission
that
draftedthe
treaty
ending
the
Revolutionary
War.
 statue
was
installed
at
the
foot
of
the
east
staircase
in
the
House
wing


Upon
his
return
to
America,
Franklin
 the
following
year.
 became
president
of
the
executive
council
 The
benignly
impressive
statue
of
Franklin
includes
a
prominent
 of
Pennsylvania
and
in
1787,
at
the
age
of81,
was
the
senior
delegate
to
the
Constitu­ allusion
to
the
power
of
lightning,
depicted
in
the
tree
trunk
upon
which


tional
Convention.
His
last
years
were
spent
 he
rests
his
left
elbow.
A
deep
channel
is
scored
in
the
trunk
from


at
his
home
in
Philadelphia.
 top
to
bottom.
Between
1748
and
1752,
working
with
his
theories
on


electricity,
Franklin
devised
the
lightning
rod
to
protect
homes
and


public
buildings
from
destruction.
The
invention
made
his
name
famous


to
a
vast
public
at
home
and
abroad,
a
fame
further
magnified
by
his


152 United States Senate 
Benjamin Franklin 

Hiram Powers (1805–1873) 

Marble,
1862


97
1

⁄2
 x
34
7⁄8
 x
21
5⁄8
 inches
(247.7
x
88.6
x
54.9


cm)


Signed
and
dated
(on
right
side
of
base):



H
POWERS
/
Sculp.
1862


Inscribed
(on
front
of
base):
FRANKLIN


Commissioned
(appropriated
by
an
act
of


Congress
approved
March
3,
1855)
by


President
James
Buchanan,
1859


Accepted
by
the
U.S.
government,
1862


Cat.
no.
21.00008


Catalogue of Fine Art 153 
Benjamin
Franklin —continued 

1766
arguments
to
the
British
Parliament


resulting
in
the
repeal
of
the
infamous


Stamp
Act.
Painted
portraits
of
Franklin


frequently
include
a
flash
of
lightning
in


the
background,
but
the
Powers
likeness


appears
 to
 be
 the
 only
 sculpture
 to


attempt
 this
 iconographical
 reference.


The
American
sage
is
shown
in
a


cogitative
pose,
hand
on
chin,
standing
at


rest.
 He
 appears
 middle­aged,
 and
 it
 is


likely
that
Powers,
working
a
century
later,


chose
to
show
Franklin
at
the
early
apogee


of
his
renown
in
the
mid­1760s.
Powers’s


art
was
often
cool
and
aloof,
but
here
he


created
a
plausible
and
dignified
likeness,


imbued
with
a
great
deal
of
humanity.


This
 life­size
 statue
 of
 Franklin


depicts
him
wearing
a
contemporary
costume.
In
his
busts,
Powers
favored
classical
or
quasi­classical
drapery,
but
in
his


full­length
portraits
he
depicted
costumes


appropriate
to
the
sitter.
Here
the
costume


is
in
the
English
style
of
about
1750
to


1765
(although
Powers
called
it
“the
continental
suit”).2
 The
sculptor
introduced


interesting
naturalistic
details,
such
as
the


wrinkles
in
the
hose
and
the
tuck
in
the


pocket
 flap
 where
 Franklin’s
 thumb


intrudes.
Such
details
are
particularly
comHiram Powers, far right, his family, and pelling
in
marble,
and
because
they
are


studio personnel and their wives pose in the not
fussy,
the
appearance
is
ordered
and


garden of the artist’s Florence residence, 

around 1856. The artist’s model of Franklin clean.
 The
 most
 striking
 item
 is
 the
 three­cornered
 hat,
 in
 fashion


appears in the background. throughout
the
18th
century,
especially
before
the
French
Revolution.


(Photo detail. Wunder, Hiram
Powers:
Vermont
Sculptor,


1805–1873.
Newark: University of Delaware Press, 1991. Although
the
cocked
hat
was
often
worn
at
a
rakish
angle,
Powers’s


Reprinted with permission of Associated University Presses) Franklin
wears
his
soberly,
horizontally.
This
costume
was
not
arbitrary


or
imagined.
In
the
interest
of
documentary
accuracy,
Powers
arranged


through
a
Boston
friend
to
obtain
items
of
Franklin’s
clothing,
loaned


for
the
purpose
by
his
descendants.


154 United States Senate 
Franklin’s
pose
is
common
in
painted
portraits
and
ancient
sculpture,
where
the
subject
is
depicted
leaning
on
a
tree
trunk
or
spear,
for


example.
Powers
devised
a
variation
on
the
pose
that
is
a
striking
departure
from
tradition:
The
figure’s
firm,
supporting
leg
is
in
the
center


(between
trunk
and
outer
leg),
while
the
outer
leg
is
relaxed,
further


from
the
tree
trunk.
The
inner
leg
becomes
the
central
support
for


Franklin’s
torso,
establishing
a
strong
vertical
that
rises
straight
to
his


left
hand
and
his
head.
It
is
an
almost
literal
expression
of
Franklin’s


celebrated
sagacity
and
rectitude.
Powers
also
makes
a
pleasing
compositional
congruence
between
the
curve
of
Franklin’s
right
leg
and
the


strong
curve
of
the
lightning
channel
in
the
tree
trunk.


Most
important
is
the
artistic
source
Powers
consulted
for
Franklin’s


features.
It
was,
indirectly,
the
great
head
of
Franklin
created
by
JeanAntoine
Houdon
in
1778.
The
English
sculptor
John
Flaxman
made
a


plaster
cast
(ca.
1801–02)
from
Houdon’s
original,
and
it
was
given
to


the
American
Philosophical
Society
in
1802.
Powers’s
friend
Richard


Henry
Wilde
managed
to
obtain
a
copy
made
from
Flaxman’s
cast
and,


in
1847,
sent
it
on
to
Powers
in
Florence,
together
with
a
painted
miniature
and
engraved
portraits
of
Franklin.
The
1847
date
draws
attention


to
the
fact
that
as
early
as
1844
Powers
was
maneuvering
to
seek
a


federal
contract
for
a
statue
of
Franklin
for
the
Capitol.
When
Powers


found
that
these
negotiations
were
proceeding
very
slowly,
he
began


work
on
a
plaster
model
of
Franklin
for
the
city
of
New
Orleans.
The


city
was
unable
to
procure
sufficient
funds
for
a
commission,
but
luckily


the
federal
contract
materialized
in
1858,
by
which
time
the
plaster
model


for
the
statue
was
almost
finished.
The
Senate’s
marble
sculpture
was


signed
and
completed
in
1862.


Powers
subsequently
executed
a
duplicate
of
the
Franklin
piece


for
the
city
of
New
Orleans
after
adequate
funds
were
raised,
and
he


later
created
several
busts
based
on
the
same
model.
In
addition
to
the


Thomas
 Jefferson
 statue
 commissioned
 at
 the
 same
 time
 as
 that
 of


Franklin,
Powers
is
also
represented
in
the
Capitol
by
a
bust
of
Chief


Justice
John
Marshall
(p.
272)
in
the
Old
Supreme
Court
Chamber.


Hiram Powers found inspiration in JeanAntoine Houdon’s 1778 plaster bust of 

Benjamin Franklin. 

(Philadelphia Museum of Art) 

Catalogue of Fine Art 155 
Joseph
Gales,
Jr.


(1786–1860) 

For
a
half
century
before
the
Civil
War,
 S

hortly
after
the
retirement
of
Joseph
Gales
from
the
National


Joseph
Gales,
Jr.,
played
a
significant
 Intelligencer,
 an
admirer
wrote,
“As
an
editor,
Mr.
Gales
has
 role
in
recording
the
debates
of
the
U.S.


Senate.
Gales
was
born
in
England
and
 few
equals
in
the
United
States,
and
no
superior.”
The
source,


immigrated
to
the
United
States
as
a
child
 one
Oliver
H.
Smith,
further
volunteered
that
Henry
Clay
had


with
his
parents.
He
learned
the
printing
 considered
Gales,
after
John
Quincy
Adams,
to
be
the
man
who
 trade
and
stenographic
skills,
and
in
1807


Gales
moved
to
Washington,
D.C.,
where
 “knew
the
most
of
our
country,
and
its
prominent
men.”
Smith
offered


he
joined
the
National
Intelligencer
news­ a
description
of
Gales
that
accords
well
with
the
Senate’s
portrait
by


paper
and
began
reporting
congressional
 George
P.A.
Healy.
In
physique,
he
wrote,
“Mr.
Gales
is
about
the
common
 proceedings.
When
the
Intelligencer’s


founder,
Samuel
H.
Smith,
retired
in
1810,
 hight
[sic],
well
made,
broad
face,
remarkably
large
head,
prominent,


Gales
took
over
as
owner
and
editor
of
the
 square
forehead,
heavy
coat
of
hair. . . .” 1


paper,
in
partnership
with
his
brother­in­ This
handsome,
assured
portrait
commemorates
Gales’s
role
in
the law,
William
W.
Seaton.


At
first,
Gales
was
the
Senate’s
sole
 famous
Senate
debate
between
Robert
Young
Hayne
and
Daniel
Webster


reporter,
and
Seaton
reported
on
the
 in
1830.
South
Carolina’s
nullification
doctrine,
formulated
by
Vice
Pres­


House
of
Representatives.
The
Intelligencer
 ident
John
C.
Calhoun
and
put
forward
in
a
Senate
speech
by
Senator
 supported
the
Jefferson,
Madison,
and


Monroe
administrations,
and
Gales
and
 Hayne,
posed
an
important
test
for
the
Union.
Webster,
having
decided


Seaton
were
selected
as
the
official
 to
answer
Hayne,
asked
Gales
to
report
his
speech.
Gales’s
shorthand


printers
of
Congress
from
1819
to
1829.
 notes,
as
copied
by
his
wife
and
revised
by
Webster,
became
the
his­
 In
addition
to
printing
government
docu­


ments,
they
began
compiling
their
reports
 torical
source
for
the
instantly
famous
address.
Gales
soon
thereafter


of
floor
debates
and
publishing
them
in
the
 adopted
the
stirring
closing
words
of
Webster’s
reply
to
Hayne—“Liberty


Register
of
Debates,
a
forerunner
of
the
 and
Union,
now
and
forever,
one
and
inseparable!”—and
printed
them
 Congressional
Record.
Gales
also
served


as
mayor
of
Washington,
D.C.,
from
1827
 above
his
editorial
column
from
that
time
forward.


to
1830.
Gales
and
Seaton
flourished
 George
P.A.
Healy
was
already
a
successful
and
prolific
portraitist


during
the
“Era
of
Good
Feelings,”
a
 when
he
created
this
likeness
of
Gales.
The
artist
had
shown
evidence


period
of
relative
political
complacency,


but
after
Congress
was
split
between
the
 of
talent
at
an
early
age
and
was
encouraged
by
the
prominent
painter


Whigs
and
Democrats,
the
partners
lost
 Thomas
Sully.
Healy
later
moved
to
Paris
and
established
himself
as
an


their
official
patronage.
The
National
Intel- internationally
known
portraitist
patronized
by
royalty
and
the
upper
 ligencer
continued
to
be
published
until


1868;
Gales
died
in
1860
and
Seaton
 class.
He
returned
to
the
United
States
in
1842
and
spent
much
of
his


retired
in
1864.
 time
in
Washington,
D.C.,
on
numerous
portrait
commissions.


A
related
historical
painting
by
Healy,
Webster’s
Reply
to
Hayne,


was
originally
commissioned
by
King
Louis
Philippe
of
France.
Healy


had
suggested
the
subject
to
the
king
in
the
summer
or
fall
of
1843.


Louis
Philippe
envisioned
a
museum
in
the
former
royal
palace
at
Versailles
that
would
be
dedicated
to
the
ideals
and
individuals
of
modern


republicanism
in
Europe
and
America.
To
that
end,
he
had
already
sent


Healy
 back
 to
 America
 in
 1842
 to
 paint
 portraits
 or
 copy
 existing


portraits
of
American
statesmen
for
his
museum.
Webster’s
Reply
to
Hayne


was
destined
for
the
same
site.
But
with
the
fall
of
Louis
Philippe
in


1848,
that
project
was
suspended.
In
1852
the
painting
was
exhibited


156 United
States
Senate

Joseph
Gales


George Peter Alexander Healy (1813–1894) 

Oil
on
canvas,
ca.
1844


35
5

⁄8
 x
28
3⁄4
 inches
(90.5
x
73
cm)


Unsigned


Purchased
by
the
U.S.
Senate
Commission
on
Art,
1984



Cat.
no.
31.00016


Catalogue
of
Fine
Art
 157 
Joseph
Gales,
Jr.—continued


at
Faneuil
Hall
in
Boston,
where
it
has
remained.
In
his
monumental


canvas,
painted
some
20
years
after
the
event,
Healy
included
not
only


the
members
who
witnessed
the
debates,
but
also
individuals
he
knew


or
admired
who
were
never
present.
He
situated
Joseph
Gales,
recorder


of
the
historic
event,
fairly
prominently
in
the
center
background.


Gales’s
portrait
is
not
a
study
for
the
large
history
painting,
but
a


carefully
finished
independent
portrait
derived
from
such
a
study.
Artists


engaged
on
paintings
that
contained
likenesses
of
many
notable
individuals
were
frequently
able
to
increase
their
earnings
by
painting
separate
finished
portraits
commissioned
by
each
sitter.
Webster’s
Reply
to


Hayne
resulted
in
135
such
portraits.
Marie
de
Mare,
granddaughter
and


This 1854 lithograph of Joseph Gales by biographer
of
the
artist,
wrote,
“As
Healy
hoped,
many
of
the
sitters


Leopold Grozelier was based on the Senate’s ordered
their
portraits
as
painted
in
the
picture,
and
many
ladies
appeared


portrait of the famous journalist. 

(National Portrait Gallery, Smithsonian Institution) at
his
studio
dressed
in
becoming
1830
costumes
resurrected
from
their


Gales
is
pictured
behind
a
balustrade,
his
forearm


resting
on
the
rail.
The
head
is
set
high
on
the
canvas,


which
helps
to
reinforce
the
appearance
that
Gales


is
standing,
although
he
is
shown
only
half­length.


The
notebook
and
pen
he
holds
allude
generally
to


his
profession
as
a
recorder
and
reporter
of
congressional
debates,
and
circumstantially
to
his
role


in
the
Webster­Hayne
debate.
Yet
the
setting
created


by
 Healy
 is
 more
 decorative
 than
 specific
 to
 the


Senate
 Chamber,
 where
 the
 debate
 took
 place.
 A


maroon
drapery
is
behind
Gales,
pulled
back
to
reveal


an
abbreviated
landscape
of
sky
and
trees.
Against
this


dark
background,
Gales’s
silver­gray
hair
and
warm
flesh


tones
stand
out
strongly,
and
the
expressive,
intelligent


attic
trunks.”2
A
number
of
the
life
studies
were
painted
during
the


spring
and
summer
of
1844,
and
the
Senate’s
portrait
of
Joseph


Gales
 is
 presumed
 to
 have
 been
 made
 then.
 Gales
 later


acquired
the
portrait,
which
became
a
favorite
likeness
and


remained
in
the
family
until
the
Senate
purchased
it.


head
is
offset
by
the
white
and
lilac
cravat
with
a
striking


zigzag
stripe.


158 United
States
Senate

For
the
next
50
years,
Healy
worked
on
both
sides
of
the
Atlantic.


His
painting
Franklin
Urging
the
Claims
of
the
American
Colonies
before


Louis
XVI
won
a
gold
medal
at
the
Paris
International
Exposition
of
1855,


and
he
was
the
first
American
artist
invited
to
contribute
a
self­portrait


to
the
Uffizi
Gallery
in
Florence.
In
failing
health,
Healy
moved
back


to
America
in
1892.
He
died
two
years
later
in
Chicago.


Catalogue
of
Fine
Art


In 1851 George P.A. Healy completed his 

monumental painting Webster’s Reply to 

Hayne. Joseph Gales can be seen in the 

center background. 

(Courtesy Boston Art Commission 1999) 

159 
James
Abram
Garfield


(1831–1881) 

A
U.S.
representative
from
Ohio
and
20th
 I

n
1965
Marie
J.
Niehaus,
daughter
of
sculptor
Charles
Niehaus,


president
of
the
United
States,
James
 bequeathed
her
father’s
bust
of
President
James
Garfield
to
the
 Abram
Garfield
was
born
near
Orange,
 United
States.
She
asked
that
the
piece
be
displayed
in
the
Pres­ Ohio.
Before
entering
political
life,


Garfield
was
a
professor
at
Western
 ident’s
Room
of
the
U.S.
Capitol,
along
with
the
bust
of
President


Reserve
Eclectic
Institute
(now
Hiram
Col­ William
McKinley,
already
in
the
room.
The
Joint
Committee
on lege)
and
served
as
its
president
from


1857
to
1861.
Elected
to
the
Ohio
senate
 the
Library
accepted
the
Garfield
bust
as
a
gift
from
the
Niehaus
estate.


as
a
Republican
in
1859,
he
gained
popu­ Born
in
Cincinnati,
Ohio,
and
trained
in
his
home
state
and
at


larity
as
a
persuasive
speaker
in
support
of
 Munich’s
Royal
Academy,
Niehaus
was
Cincinnati’s
logical
choice
to
create abolition.
During
the
Civil
War,
Garfield


joined
the
Union
army,
performed
coura­ the
city’s
memorial
to
the
slain
president
following
Garfield’s
death
in


geously
in
battle,
and
rose
to
the
rank
of
 1881.
The
resulting
standing
figure
of
Garfield,
modeled
in
1883
as


major
general
before
resigning
in
1863.
 Niehaus’s
first
commission,
led
immediately
to
commissions
for
Ohio’s He
then
served
in
the
U.S.
House
of
Repre­ two
contributions
to
the
National
Statuary
Hall
Collection
in
the
U.S. sentatives
from
1863
to
1880.
An
oppo


nent
of
currency
inflation
and
excessive
 Capitol:
Garfield
and
former
gov­


tariffs,
Garfield
was
chosen
House
 ernor
William
Allen.



minority
leader
in
1876.
The
followingyear
he
played
a
key
role
in
the
election
of
 Marie
Niehaus
stated
that
her


President
Rutherford
B.
Hayes
by
serving
 father
executed
the
Senate’s
bust


on
the
electoral
commission
that
ruled
on
 of
Garfield
at
the
same
time
as
his


contested
ballots
from
several
states.
­

Although
elected
to
the
U.S.
Senate
 full­length
sculptures
of
the
presin
1880,
Garfield
never
took
his
seat.
 ident.
Lucretia
Garfield,
the
widFollowing
a
lengthy
deadlock
at
the
 owed
 first
 lady,
 is
 said
 to
 have Republican
convention,
he
was
unani


mously
nominated
for
the
presidency
as
a
 consulted
on
the
modeling
of
the


compromise
candidate.
He
won
the
elec­ works.


tion
but
served
as
president
for
only
four
 After
 the
 Garfield
 commismonths.
Garfield
was
fatally
shot
at
the
 sions,
 Niehaus
 primarily
 worked Pennsylvania
Railroad
depot
in
Wash


ington,
D.C.,
by
Charles
Guiteau,
a
dis­ abroad
in
a
Rome
studio.
In
1892


appointed
office
seeker.
Public
outrage
 he
 executed
 a
 particularly
 note­ over
the
loss
of
President
Garfield,
who


lingered
for
11
weeks
before
dying,
led
 worthy
pair
of
bronze
relief
doors


to
the
creation
of
the
Civil
Service
system
 for
New
York
City’s
Trinity
Church,


to
manage
U.S.
government
employment
 and
in
1893
he
exhibited
with
dis­ more
effectively.
! tinction
at
the
World’s
Columbian


Exposition
in
Chicago.
Niehaus
is


represented
today
by
10
sculptural


pieces
 in
 the
 U.S.
 Capitol;
 the


Senate’s
busts
of
Garfield
and
Vice


President
Daniel
D.
Tompkins
(p.


The full-length statue of President Garfield 368)
are
among
them.
His
public


by Charles Niehaus is located in the Rotunda sculptures
are
located
in
numerous


of the U.S. Capitol. cities
in
the
United
States.
 (National Statuary Hall Collection, Architect of the Capitol) 

160 United States Senate 
James A. Garfield 

Charles Henry Niehaus (1855–1935) 

Marble,
ca.
1885


30
1

⁄4
 x
24
3⁄8
 x
18
1⁄4
 inches
(76.8
x
61.9
x
46.4
cm)


Unsigned


Bequest
of
Marie
J.
Niehaus
(daughter
of
the
sculptor),
1965


Accepted
by
the
Joint
Committee
on
the
Library,
1965


Cat.
no.
21.00011


Catalogue of Fine Art 161 
James
Abram
Garfield —continued 

I

n
1883
a
Tiffany
and
Company
representative
wrote
to
Secretary
of
State
Frederick
T.
Frelinghuysen
on
behalf
of
Antonio


Salviati,
a
well­known
Venetian
maker
of
mosaics
and
art
glass.


The
letter
stated
that
Salviati
wished
to
donate
a
specially
made


mosaic
memorial
portrait
of
President
Garfield
to
the
United
States.


The
portrait
had
been
designed
as
a
companion
piece
to
an
existing


portrait
of
Abraham
Lincoln
(p.
260),
which
was
given
to
Congress
in


1866
by
the
same
firm.
Following
temporary
exhibition
in
Boston
at
an


arts
and
industries
fair,
the
Garfield
mosaic
was
formally
accepted
by


a
concurrent
resolution
in
May
1884.


Salviati,
whose
manufacturing
company
was
largely
responsible


for
 the
 rebirth
 of
 Venetian
 glasswork
 during
 the
 late
 1800s,
 created


mosaics
in
a
medieval
style
that
found
favor
among
designers
of
buildings
and
memorials.
In
London,


Salviati’s
 mosaic
 murals
 were


installed
in
the
Albert
Memorial
at


Kensington
Gardens,
and
in
the


cupola
of
St.
Paul’s
Cathedral.
In


the
United
States,
Salviati
mosaics


decorate
 the
 church
 and
 the


museum
on
the
campus
of
Stanford
University
in
California.


The mosaic portraits of James Garfield, left, 

and Abraham Lincoln, right, hung for many 

years on the third floor of the Senate wing 

of the Capitol, 1974. 

(Architect of the Capitol) 

162 United States Senate 
James A. Garfield 

Antonio Salviati (1816–1890) 

Enamel
mosaic,
1882



25
x
23
inches
(oval)
(63.5
x
58.4
cm)


Signed
and
dated
(on
right
side,
above
subject’s
shoulder):



Dr.
A.
SALVIATI
/
VENEZIA
1882


Gift
of
the
artist,
1884


Accepted
by
concurrent
resolution



dated
May
19,
1884


Cat.
no.
39.00002


Catalogue of Fine Art 163 
Giuseppe
Garibaldi


(1807–1882) 

Giuseppe
Garibaldi
rose
from
modest
 After
Giuseppe
Garibaldi’s
death
in
1882,
a
group
of
Wash­


beginnings
to
become
one
of
Italy’s
fore­ ington,
D.C.,
residents
of
Italian
descent
formed
the
 most
military
heroes.
Born
in
1807
in
Nice,


Garibaldi
became
a
sailor,
a
merchant
cap­ Society
for
a
Monument
to
Garibaldi.
They
commissioned


tain,
and
an
officer
in
the
Piedmont­Sardinia
 Giuseppe
Martegana,
an
Italian
artist
living
in
Paris,
to


navy.
In
1834
he
fled
to
France
after
partic­ create
a
bust
to
commemorate
the
patriot.
In
a
letter
to ipating
in
an
unsuccessful
mutiny,
fomented
 the
president
of
the
Senate
dated
December
14,
1887,
Dr.
Tullio
de in
part
to
spark
a
republican
revolution
in


Piedmont­Sardinia.
By
1836
Garibaldi
was
 Suzzara­Verdi
offered
the
Garibaldi
bust,
executed
in
Italian
marble,


living
in
South
America,
where
he
gained
 to
the
United
States.
He
asked
on
behalf
of
the
society
that
it
be
accepted fame
as
a
revolutionary
mercenary
fighting
 “as
a
link
in
the
chain
of
sympathy
that
all
free
men
feel
for
the
cham­ in
Brazil
and
Uruguay.


In
1848
Garibaldi
set
out
for
Italy
 pions
of
liberty
and
popular
government.”
The
work
also
was
presented


with
his
band
of
“Redshirts.”
Garibaldi
 as
an
expression
of
Italian
achievement
in
sculpture.
On
August
23, and
his
men
joined
the
Risorgimento, a


movement
to
unify
the
disparate
Italian
 1888,
the
Senate
approved
the
acquisition,
resolving
that
“the
Senate


states
by
wresting
Italian
territory
from
for­ of
the
United
States
expresses
its
sense
of


eign
powers.
A
spirited
defense
of
Rome


against
the
French
army
in
1849
and
a


heroic
escape
from
Austrian
forces
further


increased
Garibaldi’s
fame.
His
republican


sympathies
did
not
endear
him
to
the
monthe
 patriotism
 and
 liberality
 which


prompted
this
noble
gift
from
these


adopted
citizens
of
Italian
birth,


and
extends
to
them,
the
coun­
 archs
of
the
Italian
states,
however,
and


Garibaldi
found
himself
once
again
exiled.
 trymen
of
the
great
champion
of


Garibaldi
returned
to
Italy
in
1854,
 Italian
liberty,
the
assurance
of


entering
the
service
of
Piedmont­Sardinia
 the
admiration
of
the
people and
subsequently
driving
the
Austrians
 of
this
land
for
his
noble
life out
of
northern
Italy.
In
1860
he
captured
Sicily
and
Naples
in
the
hope
of
 and
distinguished
deeds.”1


uniting
the
entire
peninsula
under
Victor


Emmanuel
II,
the
king
of
Piedmont­Sardinia.
However,
his
immense
popularity


and
republican
sentiments
prevented
him


from
attaining
an
official
role
in
the
new


kingdom
of
Italy,
proclaimed
in
1861.


Garibaldi’s
continued
popularity
and


effectiveness
as
a
military
commander
 Italian patriot Giuseppe Garibaldi, 1880. inspired
Victor
Emmanuel
to
turn
to
him
 (Library of Congress, Prints and Photographs Division)

repeatedly
for
assistance.
Garibaldi


headed
two
private
expeditions
against


papal
Rome
in
1862
and
1867,
and
in


1866
he
led
an
Italian
army
in
yet
another


victory
over
the
Austrians,
acquiring


Venice
for
the
Italian
Kingdom.
After
a


final
campaign
in
1870–71,
in
which
he


assisted
the
French
in
the
Franco­Prussian


War,
Garibaldi
retired.
Though
crippled


by
rheumatism
and
old
injuries,
he
was


secure
in
his
reputation
as
the
greatest
military
leader
of
the
Italian
Risorgimento.
He


died
on
the
island
of
Caprera
in
1882.


164 United States Senate 
Giuseppe Garibaldi 

Giuseppe Martegana (dates unknown) 

Marble,
ca.
1882–1887


32
x
24
1

⁄2
 x
14
inches
(81.3
x
62.2
x
35.6
cm)


Signed
(centered
on
subject’s
back):
Martegana


Gift
of
the
Society
for
a
Monument
to
Garibaldi,
1888


Accepted
by
the
Joint
Committee
on
the
Library,
1888


Cat.
no.
21.00007


Catalogue of Fine Art 165 
Ulysses
S.
Grant


(1822–1885) 

Ulysses
S.
Grant,
the
18th
president
of
the
 Artist
William
Cogswell
painted
this
portrait
of
President


United
States,
graduated
from
the
U.S.
Mil­ Ulysses
 S.
 Grant
 during
 Grant’s
 first
 term
 in
 office.
 itary
Academy
in
1843,
and
then
served


in
the
Mexican
War
alongside
many
future
 According
to
Laura
Cooke,
the
widow
of
Henry
Cooke


Confederate
officers.
Disillusioned
with
 (the
original
owner
of
the
portrait),
Cogswell
worked
in


military
life,
he
resigned
his
commission
in
 a
studio
improvised
at
the
Cooke
family
home
in
Wash­ 1854.
For
the
next
six
years
he
worked


with
little
success
as
a
farmer,
real­estate
 ington,
D.C.
Grant
was
an
intimate
friend
and
frequent
visitor
there.


broker,
and
customs­house
clerk,
eventually
 Laura
Cooke
reportedly
termed
the
painting
“a
most
speaking
likeness


settling
as
a
clerk
in
his
father’s
leather
 to
the
General,
so
considered
by
himself,
and
all
who
saw
it.”
Henry goods
store.


At
the
outbreak
of
the
Civil
War
in
 Cooke’s
brother,
New
York
financier
Jay
Cooke,
called
the
Cogswell


1861,
Grant
accepted
command
of
an
 portrait
“the
best
picture
of
Grant
in
existence.”
The
Senate
acquired


infantry
regiment
in
the
Illinois
militia.
Early
 the
painting
in
1886,
one
year
after
Grant’s
death.
 successes
earned
him
promotion
to
the
rank
 A
favorite
during
the
Grant
administration,
the
self­trained
Cogswell of
major
general
in
the
regular
army
from


President
Abraham
Lincoln.
In
1862,
when
 also
painted
a
large
group
portrait
of
the
president
and
his
family,
now


his
poor
judgment
cost
13,000
casualties
 in
the
collection
of
the
Smithsonian
Institution.
The
artist
had
a
studio


at
the
Battle
of
Shiloh,
the
public
clamored


for
his
dismissal.
Lincoln,
however,
refused
 in
New
York
City
for
many
years
and
also
traveled
extensively;
in
Hawaii


to
relieve
him,
claiming,
“I
can’t
spare
this
 he
painted
portraits
of
King
Kalakaua
and
Queen
Liliuokalani.
Cogswell


man—he
fights.”1
 Grant’s
brilliant
victory
 portrayed
 other
 prominent
 individuals,
 including
 President
 William
 at
Vicksburg
the
following
year
restored
his
 McKinley,
 General
 Philip reputation
and
prompted
Lincoln
to
award


him
command
of
all
Union
troops.
His
 Sheridan,
 naturalist
 Louis


aggressive
strategies
led
to
Union
victory
 Agassiz,
California
Governor
 in
1865,
making
Grant
a
national
hero.



Grant
reluctantly
accepted
the
Repub­ Leland
Stanford,
and
banker


lican
presidential
nomination
in
1868,
 Jay
Cooke.
The
official
White


easily
winning
the
subsequent
election.
 House
 portrait
 of
 Abraham He
was
reelected
in
1873,
but
suffered


deep
embarrassment
when
several
ill­ Lincoln,
as
selected
by
Preschosen
advisors
were
caught
in
acts
of
 ident
Grant,
was
painted
by


corruption.
Nonetheless,
he
remained
a
 Cogswell;
 it
 remains
 in
 the military
hero
in
the
public’s
eyes.


Grant
narrowly
lost
the
Republican
 White
House
collection.


nomination
for
president
in
1880,
and


four
years
later
a
bad
investment
once


again
tainted
his
name
and
ruined
him


financially.
Grant
was
diagnosed
with


throat
cancer
in
February
1885
and,
desperate
to
provide
a
legacy
for
his
family,


he
worked
feverishly
on
his
memoirs,
 William Cogswell painted Ulysses S. 

completing
the
task
just
four
days
before
 Grant and Family in 1867, a year 

his
death
on
July
23,
1885.
The
two­ before he completed the Senate’s 

volume
work
attracted
wide
acclaim
and
 portrait of the president. 

(National Museum of American History, Smithsonian 

went
on
to
become
a
best­seller.
 Institution) 

178 United States Senate 
Ulysses S. Grant 

William F. Cogswell (1819–1903) 

Oil
on
canvas,
1868


29
x
24
inches
(oval)
(73.7
x
61
cm)


Signed
and
dated
(lower
left):
W.
Cogswell
/
1868


Purchased
by
the
Joint
Committee
on
the
Library,
1886


Cat.
no.
31.00009


Catalogue of Fine Art 179 
Arthur
Pue
Gorman


(1839–1906) 

Identified
with
the
U.S.
Senate
through
 L

ouis
Dieterich’s
portrait
of
Arthur
Pue
Gorman
was
presented


much
of
his
life,
Arthur
Pue
Gorman
began
 to
the
Senate
by
Gorman’s
family
in
1943.
At
a
dedication his
career
as
a
page
in
the
House
of
Rep


resentatives
in
1852
and
later
transferred
 ceremony
in
the
Capitol
that
year,
the
oil
painting
was
unveiled


to
the
same
post
in
the
Senate
through
the
 by
Arthur
Gorman
Lambert,
the
senator’s
grandson.
Senator


influence
of
Stephen
A.
Douglas.
He
went
 George
 Radcliffe
 of
 Maryland
 introduced
 the
 resolution on
to
hold
a
series
of
staff
positions
in
the


Senate,
eventually
becoming
Senate
post­ directing
the
acceptance
of
the
portrait
and
acted
as
master
of
ceremonies,


master.
In
1866,
because
of
his
support
of
 while
Majority
Leader
Alben
Barkley
accepted
the
portrait
for
the
Joint


the
unpopular
President
Andrew
Johnson,
 Committee
on
the
Library.
 he
lost
the
postmastership.
Gorman,
bornin
Woodstock,
Maryland,
returned
to
his
 Born
in
Germany,
Dieterich
moved
with
his
family
to
Baltimore


home
state,
where
he
held
appointive
and
 as
a
youth.
Although
he
was
primarily
self­taught,
he
also
studied
at


elective
positions,
becoming
a
leader
in
 the
 Maryland
 Institute
 of
 Art,
 where
 he
 later
 became
 an
 instructor.
 the
state
Democratic
Party
and
a
member
 Dieterich
maintained
a
studio
in
Baltimore
for
many
years.
Before
exe­ of
the
state
legislature.


Elected
to
the
U.S.
Senate
from
Mary­ cuting
the
Senate’s
portrait,
the
artist
completed
two
earlier
paintings


land
in
1880,
Gorman
chaired
the
Demo­ of
Gorman
that
are
in
the
collections
of
the
Maryland
State
Archives cratic
National
Committee
in
1884
and


directed
Grover
Cleveland’s
successful
 and
the
Maryland
Historical
Society.


presidential
campaign.
Gorman
lateropposed
the
president’s
tariff
policy,­

provoking
Cleveland’s
enmity.
During
hislong
Senate
career,
Gorman
was
consid
­

ered
an
outstanding
party
leader;
heserved
as
chairman
of
the
Democraticcaucus
in
both
the
majority
and
minority
­

in
an
era
before
formal
floor
leaders.­

Although
his
1898
reelection
bid
wasunsuccessful,
Gorman
returned
to
theSenate
in
1903.
He
again
chaired
hisparty’s
caucus,
a
position
he
held
until
­

his
death
in
1906.­

The portrait of Arthur P. Gorman was 

unveiled at the Capitol in 1943 by Arthur 

Gorman Lambert, left, with Maryland Senator 

George Radcliffe, right, in attendance. 

(Library of Congress, Prints and Photographs Division) 

176 United States Senate 
Arthur P. Gorman 

Louis P. Dieterich (ca. 1841/1842–1922) 

Oil
on
canvas,
1911


45
1

⁄2
 x
33
3⁄8
 inches
(115.6
x
84.8
cm)


Signed
and
dated
(lower
right
corner):
L
Dieterich
/
1911


Gift
of
the
family
of
Senator
Arthur
P.
Gorman,
1943


Accepted
by
the
Joint
Committee
on
the
Library,
1943


Cat.
no.
32.00019


Catalogue of Fine Art 177 
Elbridge
Gerry


(1744–1814) 

Elbridge
Gerry,
who
was
born
in
Marble­ The
bust
of
Vice
President
Elbridge
Gerry
was
among
the


head,
Massachusetts,
was
a
U.S.
repre­ second
group
of
works
ordered
by
the
Senate
as
part
of
 sentative
and
the
fifth
vice
president
of


the
United
States.
He
originally
joined
the
 the
 Vice
 Presidential
 Bust
 Collection
 for
 the
 Senate


family
mercantile
and
shipping
business,
 Chamber.
The
commission
was
initially
offered
to
sculptor


and
later
became
involved
in
anti­British
 Thomas
Ball,
who
turned
it
down
because
of
prior
com­ activity.
He
supported
the
revolutionary


activist
Samuel
Adams
and
served
as
a
 mitments.
Herbert
Adams—now
considered
one
of
the
great
American


member
of
the
Massachusetts
Committee
 sculptors
of
the
late
19th
century—was
then
approached.
In
his
early


of
Correspondence,
the
first
and
second
 thirties
at
the
time,
he
was
already
recognized
for
portrait
busts,
with Provincial
Congresses,
and
the
Committee
 honorable
mentions
awarded
to
him
at
the
1888
French
Salon
and
at of
Safety.
In
1776
Gerry
was
elected


as
a
member
of
the
second
Continental
 the
1889
Universal
Exposition.
Though
born
in
Vermont,
Adams
was


Congress,
a
position
he
held
almost
con­ a
longtime
Massachusetts
resident.
He
thus
suited
the
Senate’s
effort
 tinuously
for
10
years.
He
signed
both


the
Declaration
of
Independence
and
the
 to
secure
sculptors
from
vice
presidents’
home
states.
Adams
accepted


Articles
of
Confederation.
As
a
delegate
 the
commission,
creating
first
a
clay
model
and
then
a
plaster
cast
that


to
the
Constitutional
Convention
of
1787,
 was
translated
into
marble
in
Paris
and
finished
by
the
artist
at
his
studio. Gerry
feared
an
overly
powerful
central


government
and
refused
to
sign
the
new
 The
completed
bust
was
placed
in
the
Senate
Chamber
in
July
1892.


federal
Constitution.
Following
the
docu­ The
portrait
is,
of
course,
posthumous,
but
it
is
logical
to
assume


ment’s
ratification,
however,
he
pledged
 that
Adams
intended
to
depict
Gerry
as
vice
president—that
is,
between his
support.


Gerry
was
elected
to
the
U.S.
Con­ the
ages
of
68
and
70.
If
the
sculptor
knew
that
Gerry
was
in
very
poor


gress
in
1789
and
served
for
two
terms.
 health
during
his
tenure
(with
a
shrunken,
skeletal
appearance,
according


He
ran
for
governor
of
Massachusetts
sev­ to
a
contemporary),
Adams
understandably
ignored
that
fact.
Despite
 eral
times
before
winning
the
election
of


1810.
During
his
term,
Gerry
oversaw
a
 his
decrepitude,
Gerry
loved
society,
and
his
charm
and
fine
manners


politically
motivated
restructuring
of
state
 made
him
a
favorite
of
the
capital’s
hostesses,
Dolley
Madison
among


voting
districts,
which
disproportionately
 them.
Indeed,
by
most
accounts
his
“relentless
socializing”
contributed
 benefited
his
party.
His
opponents
pub­


lished
cartoon
figures
of
a
salamander­ to
his
debility.


shaped
election
district
and
coined
the
 Adams
presumably
read
descriptions
of
Gerry’s
personality,
as
well


term
“Gerrymandering.”
Thus
Gerry’s
 as
accounts
of
the
vice
president’s
political
ideals
and
activities.
Cer­
 name
was
forever
linked
with
the
practice
 tainly,
this
likeness
is
remarkable
for
its
congeniality.
As
viewers,
we
 of
creating
an
irregularly
shaped
district


through
partisan
maneuvers.
 are
treated
to
a
witty,
charming
face.
His
head
cocked
slightly
forward


As
James
Madison’s
running
mate
for
 and
to
the
side,
Gerry
looks
to
his
left
with
eyebrows
raised
as
though his
second
term,
Gerry
was
elected
vice


president
of
the
United
States
in
1812.
A
 listening
to
a
pleasant
companion.
We
seem
included
in
this
intimate


supporter
of
the
War
of
1812
and
a
loyal
 society
because
Adams
has
made
the
height
of
the
head
the
same
as


ally
of
the
president,
Gerry
defended
the
 that
of
the
torso,
producing
the
effect
of
a
close­up.
The
deeply
drilled administration
during
the
controversies
of


wartime
even
as
his
health
began
to
fail.
 pupils
enhance
the
impression
of
animation
and
intelligence.


He
died
in
office
in
November
1814
and
 Recently
returned
from
five
years
in
Paris,
where
he
studied
and


was
buried
at
Congressional
Cemetery
in
 worked
in
the
atelier
of
the
then­famous
and
highly
accomplished
aca­ Washington,
D.C.
A
lavish
monument,


designed
by
New
York
sculptors
William
 demic
sculptor
Antonin
Mercié,
Adams
had
learned
his
trade
thoroughly.


and
John
Frazee
(p.
204),
was
erected
 The
marble
bust
of
Gerry
is
fluently
carved,
with
no
fussing
over
detail.


there
in
his
memory.
 The
flowing
cravat
and
remarkably
deep
undercutting
of
the
proper


172 United States Senate 
Elbridge Gerry 

Herbert Samuel Adams (1858–1945) 

Marble,
modeled
1891/1892,
carved
1892


32
1

⁄2
 x
28
x
18
1⁄4
 inches
(82.6
x
71.1
x
46.4
cm)


Signed
and
dated
(under
subject’s
truncated
right
arm):
HERBERT
ADAMS
/
MDCCCXCII


Inscribed
(centered
on
front
of
base):
GERRY


Commissioned
by
the
Joint
Committee
on
the
Library,
1891


Accepted
by
the
Joint
Committee
on
the
Library,
1892


Cat.
no.
22.00005


Catalogue of Fine Art 173 
Elbridge
Gerry—continued 

left
 coat
 lapel
 lend
 tactility
 and
 immediacy.
 Adams
 requested
 and


received
a
viewing
of
the
intended
location
for
the
bust
in
a
corner


niche
of
the
Senate
gallery.
He
must
have
used
this
knowledge
to
his


advantage
by
turning
Gerry’s
head
away
from
the
corner
in
this
natural,
communicative
pose.


In
addition
to
the
Gerry
bust,
Adams
is
remembered
for
completing


the
bronze
doors
of
the
Jefferson
Building
of
the
Library
of
Congress


(left
unfinished
at
the
death
of
sculptor
Olin
Warner)
and
for
a
figural


bronze
fountain
for
McMillan
Reservoir
Park
in
Washington,
D.C.
Other


notable
works
by
the
artist
include
statues
of
William
Ellery
Channing


in
Boston,
William
Cullen
Bryant
at
Bryant
Park
in
New
York
City,
and


John
Marshall
at
the
Cleveland
Courthouse.


174 United States Senate 

Massachusetts artist Herbert Adams. 

(Reprinted from Art and Archeology, January 1922. 

Archaeological Institute of America) 
The Senate’s bust by Herbert Adams resembles 

this widely published 1798 drawing by John 

Vanderlyn. The image portrays Elbridge Gerry 

14 years before he was elected vice president. 

(Courtesy of the Fogg Art Museum, Harvard University Art 

Museums, Louise E. Bettens Fund) 

Catalogue of Fine Art 175 
John
Nance
Garner


(1868–1967) 

John
Nance
Garner,
a
U.S.
representative
 Howard
Chandler
Christy,
a
popular
illustrator
and
painter


and
32nd
vice
president
of
the
United
 who
was
famous
for
his
chic
“Christy
Girls”
and
piquant
 States,
was
born
in
Red
River
County,


Texas.
He
served
in
the
Texas
state
legisla­ nudes,
also
had
a
sober
and
serious
side.
Indeed,
later


ture
and
in
1902
was
elected
as
a
Demo­ in
life
he
reduced
his
illustration
contracts
in
order
to


crat
to
the
U.S.
House
of
Representatives,
 devote
 more
 time
 to
 painting
 landscapes,
 historical
 where
he
distinguished
himself
as
an


expert
parliamentarian.
Known
as
“Cactus
 scenes
(including
the
large
mural
Scene
at
the
Signing
of
the
Constitu-


Jack,”
the
plainspoken
and
unpretentious
 tion
of
the
United
States
in
the
east
staircase
of
the
U.S.
Capitol’s
House


Garner
displayed
simple
tastes
and
a
 wing),
and
portraits.
Christy
painted
John
Nance
Garner
in
1937
during
 pragmatic
style.
He
was
elected
minority


leader
in
1929
and
became
Speaker
two
 Garner’s
second
term
as
vice
president.
The
75th
Congress
approved


years
later
when
his
party
won
control
of
 the
purchase
of
the
portrait
the
following
year
and
authorized
$2,500


the
House.
 for
the
purpose.
 At
the
Democratic
National
Convention
in
1932,
Garner
was
a
leading
can­ Garner
was
about
64
when
this
painting
was
created.
According


didate
for
the
presidential
nomination
until
 to
Christy’s
representation,
he
was
a
robust
figure
with
a
massive
head


he
was
persuaded
to
withdraw
in
favor
of
 and
a
thick
neck.
A
1943
marble
bust
of
the
vice
president
by
James
 Franklin
Roosevelt.
To
avoid
deadlock
at


the
convention,
Garner
accepted
the
vice
 Earle
Fraser,
also
in
the
U.S.
Senate
Collection
(p.
170),
offers
a
similar


presidential
nomination,
albeit
reluctantly.
 depiction.
The
bushy
eyebrows
and
thick,
wavy
hair
appear
in
both
por­


Although
he
later
expressed
dissatisfaction
 traits,
but
Christy’s
version
idealizes
the
sitter
more
than
Fraser’s
does,
 with
the
vice
presidency,
describing
it
as


“the
spare
tire
on
the
automobile
of
gov­ making
Garner
less
fleshy
and
downplaying
his
hooked
nose.
Christy’s


ernment”1
 and
“not
worth
a
bucket
of
 Garner
is
a
pleasant,
frank,
unpretentious
personality
that
brings
to
mind


warm
spit,”2
 Garner’s
political
acumen
 Roosevelt’s
appellation
for
his
vice
president:
“Mr.
Common
Sense.”
The
 proved
highly
valuable
in
his
role
as


president
of
the
Senate.
Garner
served
 pugnacity
and
political
tenacity
evidenced
by
Garner
during
his
nearly


two
terms
and
was
considered
one
of
the
 four
 decades
 as
 congressman,
 Speaker,
 and
 vice
 president
 is
 more


most
influential
20th­century
vice
presi­ apparent
in
Fraser’s
likeness,
while
it
has
been
moderated—made
man­
 dents.
Having
broken
with
Roosevelt
in


1937
over
the
president’s
controversial
 nerly—by
Christy.
Certainly,
there
is
nothing
in
Christy’s
portrait
to
sug­


attempts
to
pack
the
Supreme
Court
with
 gest
the
opposition
that
Garner
expressed
for
Roosevelt’s
controversial


New
Deal
sympathizers,
Garner
did
not
 “court­packing”
plan.
When
it
was
introduced
on
the
floor
of
the
Senate
 join
Roosevelt
when
he
ran
for
an
unpre­


cedented
third
term
in
1940.
Instead,
the
 in
February,
the
vice
president
held
his
nose
and
“gave
an
emphatic


vice
president
retired
to
Texas,
where
he
 ‘thumbs­down’
sign.”1


enjoyed
the
role
of
political
pundit
until
 The
artist
chose
an
unusually
large
format
for
the
seated
three­ his
death
in
1967.
 quarter­length
portrait,
and
he
justifies
it
by
both
the
bulk
of
his
sitter


and
the
freedom
of
his
painterly
technique.
The
latter
is
comparable
to


that
of
John
Singer
Sargent,
especially
in
the
varied,
broadly
painted


area
of
light
gray
in
the
upper
left
background
and
in
the
loosely
painted,


but
convincingly
powerful,
hands
resting
on
the
massive,
ornate
armchair.
Despite
these
accomplished
details,
Christy’s
portrait
falls
short


of
Sargent’s
virtuosity,
as
evidenced
by
the
inconsistent
relationship


between
figure
and
ground
(Garner’s
right
side
is
pushed
forward
by


166 United
States
Senate

John
Nance
Garner


Howard Chandler Christy (1873–1952) 

Oil
on
canvas,
1937


45
5

⁄8
 x
38
3⁄4
 inches
(115.9
x
98.4
cm)


Signed
and
dated
(lower
left
corner):
Howard
Chandler
Christy
/
1937


Purchased
by
the
U.S.
Senate
with
funds
appropriated
by
Public
Law
723,
75th
Congress,
1938


Cat.
no.
31.00007


Catalogue
of
Fine
Art
 167 
John
Nance
Garner —continued


The portrait of John Nance Garner was 

displayed in the Vice President’s Room in 

the Capitol during the vice presidency of 

Gerald Ford. 

(U.S. Senate Historical Office) 

the
light,
but
his
nearer
left
shoulder
sinks
into
the
dark
shadow)
and


by
inconsistent
technical
skill
(Christy’s
virtuosity
is
displayed
in
the
head,


hands,
and
background
but
abandoned
in
the
costume).


Also
remembered
for
his
series
of
army,
navy,
and
Liberty
Loan


posters
during
World
War
I,
Christy
painted
many
prominent
individuals,
including
Presidents
Harding,
Hoover,
and
Coolidge.
His
full­length


portrait
of
First
Lady
Grace
Coolidge
is
in
the
White
House
collection,


as
is
his
reproduction
portrait
of
Rachel
Donelson
Robards
Jackson,
wife


of
President
Andrew
Jackson.
In
addition,
Christy’s
paintings
of
House


Speakers
William
Bankhead
and
Henry
Rainey
also
hang
in
the
U.S.


Capitol.
Other
important
likenesses
by
this
artist
include
those
of
Chief


Justice
Charles
Hughes
and
Amelia
Earhart.


168 United
States
Senate

Vice President John Nance Garner and 

Speaker William Bankhead pose with 

their portraits and artist Howard Chandler 

Christy at the U.S. Capitol, March 10, 1937. 

(Library of Congress, Prints and Photographs Division) 

Catalogue
of
Fine
Art
 169 
John
Nance
Garner —continued


J

ames
Earle
Fraser,
one
of
the
most
highly
respected
American


sculptors
of
the
early
20th
century,
studied
at
the
Art
Institute


of
Chicago
and
the
École
des
Béaux­Arts
in
Paris.
He
became


an
apprentice
and
assistant
to
the
renowned
Augustus
SaintGaudens,
initially
in
Paris
and
later
in
Cornish,
New
Hampshire.


Fraser
subsequently
established
a
studio
in
New
York
City,
where
he


began
a
prolific
career
creating
medallion
reliefs,
allegorical
sculpture,


and
statues
of
prominent
Americans.
One
of
the
artist’s
earliest
and


best­known
works,
The
End
of
the
Trail,
depicts
an
exhausted
Native


American
warrior
on
his
mount.
Other
major
pieces
include
sculptures


of
Thomas
Jefferson,
Alexander
Hamilton,
and
Benjamin
Franklin,
as


well
as
reliefs
for
the
American
“Buffalo”
nickel—a
bison
on
one
side


and
a
Native
American
profile
on
the
other.
In
the
U.S.
Capitol,
Fraser’s


busts
of
Theodore
Roosevelt
and
John
Nance
Garner
are
in
the
Senate’s


Vice
Presidential
Bust
Collection,
and
three
plaster
reliefs
by
his
sculptorwife,
Laura
Gardin
Fraser,
are
located
in
the
House
Chamber.


The marble bust of John Nance Garner by More
than
25
years
after
he
sculpted
Theodore
Roosevelt
(p.
320)


James Earle Fraser was unveiled in the Senate for
the
Vice
Presidential
Bust
Collection,
Fraser
was
selected
to
execute
 Reception Room on April 16, 1943.­

(Library of Congress, Prints and Photographs Division) a
bust
of
Vice
President
John
Nance
Garner.
The
vice
president
sat
for


Fraser
during
1937
and
1938.
Fraser
was
selected
for
the
commission


because
he
usually
worked
quickly
and
required
few
sittings,
but
it
was


1943
before
the
artist
finally
submitted
his
work
for
Senate
approval.


Fraser
initially
executed
two
preparatory
plaster
busts
for
consideration.


According
to
the
artist,
the
vice
president
liked
“the
quiet
one,”
while


Fraser
and
his
artist
friends
preferred
the
second
version.
Fraser
wrote


to
Architect
of
the
Capitol
David
Lynn:
“I
believe
you
also
liked
the
one


I
like.
Is
there
any
reason
why
I
should
not
take
the
one
I
prefer?”
While


Lynn’s
decision
is
unknown,
a
choice
was
made
between
these
two


versions
in
1941,
and
Fraser
signed
a
contract
for
$1,000
to
supply
the


finished
marble.
More
than
two
years
passed
before
the
completed
bust


arrived
at
the
Capitol.
The
sculptor
blamed
the
delay
on
the
press
of


other
work
and
on
the
difficulty
of
locating
superior
marble
cutters
during


war
time.
Among
other
projects
then
claiming
his
attention
were
two


mammoth
outdoor
groups
commissioned
for
the
entrance
to
Rock
Creek


Parkway
near
Memorial
Bridge
in
Washington,
D.C.


170 United
States
Senate

John
Nance
Garner


James Earle Fraser (1876–1953) 

Marble,
1943


34
x
28
x
16
1

⁄2
 inches
(86.4
x
71.1
x
41.9
cm)


Signed
(on
subject’s
truncated
right
arm):
J•E•
 FRASER•


Commissioned
by
the
Joint
Committee
on
the
Library,
1941


Accepted
by
the
Joint
Committee
on
the
Library,
1943


Cat.
no.
22.00032


Catalogue
of
Fine
Art
 171 
Elbridge
Gerry


(1744–1814) 

Elbridge
Gerry,
who
was
born
in
Marble­ The
bust
of
Vice
President
Elbridge
Gerry
was
among
the


head,
Massachusetts,
was
a
U.S.
repre­ second
group
of
works
ordered
by
the
Senate
as
part
of
 sentative
and
the
fifth
vice
president
of


the
United
States.
He
originally
joined
the
 the
 Vice
 Presidential
 Bust
 Collection
 for
 the
 Senate


family
mercantile
and
shipping
business,
 Chamber.
The
commission
was
initially
offered
to
sculptor


and
later
became
involved
in
anti­British
 Thomas
Ball,
who
turned
it
down
because
of
prior
com­ activity.
He
supported
the
revolutionary


activist
Samuel
Adams
and
served
as
a
 mitments.
Herbert
Adams—now
considered
one
of
the
great
American


member
of
the
Massachusetts
Committee
 sculptors
of
the
late
19th
century—was
then
approached.
In
his
early


of
Correspondence,
the
first
and
second
 thirties
at
the
time,
he
was
already
recognized
for
portrait
busts,
with Provincial
Congresses,
and
the
Committee
 honorable
mentions
awarded
to
him
at
the
1888
French
Salon
and
at of
Safety.
In
1776
Gerry
was
elected


as
a
member
of
the
second
Continental
 the
1889
Universal
Exposition.
Though
born
in
Vermont,
Adams
was


Congress,
a
position
he
held
almost
con­ a
longtime
Massachusetts
resident.
He
thus
suited
the
Senate’s
effort
 tinuously
for
10
years.
He
signed
both


the
Declaration
of
Independence
and
the
 to
secure
sculptors
from
vice
presidents’
home
states.
Adams
accepted


Articles
of
Confederation.
As
a
delegate
 the
commission,
creating
first
a
clay
model
and
then
a
plaster
cast
that


to
the
Constitutional
Convention
of
1787,
 was
translated
into
marble
in
Paris
and
finished
by
the
artist
at
his
studio. Gerry
feared
an
overly
powerful
central


government
and
refused
to
sign
the
new
 The
completed
bust
was
placed
in
the
Senate
Chamber
in
July
1892.


federal
Constitution.
Following
the
docu­ The
portrait
is,
of
course,
posthumous,
but
it
is
logical
to
assume


ment’s
ratification,
however,
he
pledged
 that
Adams
intended
to
depict
Gerry
as
vice
president—that
is,
between his
support.


Gerry
was
elected
to
the
U.S.
Con­ the
ages
of
68
and
70.
If
the
sculptor
knew
that
Gerry
was
in
very
poor


gress
in
1789
and
served
for
two
terms.
 health
during
his
tenure
(with
a
shrunken,
skeletal
appearance,
according


He
ran
for
governor
of
Massachusetts
sev­ to
a
contemporary),
Adams
understandably
ignored
that
fact.
Despite
 eral
times
before
winning
the
election
of


1810.
During
his
term,
Gerry
oversaw
a
 his
decrepitude,
Gerry
loved
society,
and
his
charm
and
fine
manners


politically
motivated
restructuring
of
state
 made
him
a
favorite
of
the
capital’s
hostesses,
Dolley
Madison
among


voting
districts,
which
disproportionately
 them.
Indeed,
by
most
accounts
his
“relentless
socializing”
contributed
 benefited
his
party.
His
opponents
pub­


lished
cartoon
figures
of
a
salamander­ to
his
debility.


shaped
election
district
and
coined
the
 Adams
presumably
read
descriptions
of
Gerry’s
personality,
as
well


term
“Gerrymandering.”
Thus
Gerry’s
 as
accounts
of
the
vice
president’s
political
ideals
and
activities.
Cer­
 name
was
forever
linked
with
the
practice
 tainly,
this
likeness
is
remarkable
for
its
congeniality.
As
viewers,
we
 of
creating
an
irregularly
shaped
district


through
partisan
maneuvers.
 are
treated
to
a
witty,
charming
face.
His
head
cocked
slightly
forward


As
James
Madison’s
running
mate
for
 and
to
the
side,
Gerry
looks
to
his
left
with
eyebrows
raised
as
though his
second
term,
Gerry
was
elected
vice


president
of
the
United
States
in
1812.
A
 listening
to
a
pleasant
companion.
We
seem
included
in
this
intimate


supporter
of
the
War
of
1812
and
a
loyal
 society
because
Adams
has
made
the
height
of
the
head
the
same
as


ally
of
the
president,
Gerry
defended
the
 that
of
the
torso,
producing
the
effect
of
a
close­up.
The
deeply
drilled administration
during
the
controversies
of


wartime
even
as
his
health
began
to
fail.
 pupils
enhance
the
impression
of
animation
and
intelligence.


He
died
in
office
in
November
1814
and
 Recently
returned
from
five
years
in
Paris,
where
he
studied
and


was
buried
at
Congressional
Cemetery
in
 worked
in
the
atelier
of
the
then­famous
and
highly
accomplished
aca­ Washington,
D.C.
A
lavish
monument,


designed
by
New
York
sculptors
William
 demic
sculptor
Antonin
Mercié,
Adams
had
learned
his
trade
thoroughly.


and
John
Frazee
(p.
204),
was
erected
 The
marble
bust
of
Gerry
is
fluently
carved,
with
no
fussing
over
detail.


there
in
his
memory.
 The
flowing
cravat
and
remarkably
deep
undercutting
of
the
proper


172 United States Senate 
Elbridge Gerry 

Herbert Samuel Adams (1858–1945) 

Marble,
modeled
1891/1892,
carved
1892


32
1

⁄2
 x
28
x
18
1⁄4
 inches
(82.6
x
71.1
x
46.4
cm)


Signed
and
dated
(under
subject’s
truncated
right
arm):
HERBERT
ADAMS
/
MDCCCXCII


Inscribed
(centered
on
front
of
base):
GERRY


Commissioned
by
the
Joint
Committee
on
the
Library,
1891


Accepted
by
the
Joint
Committee
on
the
Library,
1892


Cat.
no.
22.00005


Catalogue of Fine Art 173 
Elbridge
Gerry—continued 

left
 coat
 lapel
 lend
 tactility
 and
 immediacy.
 Adams
 requested
 and


received
a
viewing
of
the
intended
location
for
the
bust
in
a
corner


niche
of
the
Senate
gallery.
He
must
have
used
this
knowledge
to
his


advantage
by
turning
Gerry’s
head
away
from
the
corner
in
this
natural,
communicative
pose.


In
addition
to
the
Gerry
bust,
Adams
is
remembered
for
completing


the
bronze
doors
of
the
Jefferson
Building
of
the
Library
of
Congress


(left
unfinished
at
the
death
of
sculptor
Olin
Warner)
and
for
a
figural


bronze
fountain
for
McMillan
Reservoir
Park
in
Washington,
D.C.
Other


notable
works
by
the
artist
include
statues
of
William
Ellery
Channing


in
Boston,
William
Cullen
Bryant
at
Bryant
Park
in
New
York
City,
and


John
Marshall
at
the
Cleveland
Courthouse.


174 United States Senate 

Massachusetts artist Herbert Adams. 

(Reprinted from Art and Archeology, January 1922. 

Archaeological Institute of America) 
The Senate’s bust by Herbert Adams resembles 

this widely published 1798 drawing by John 

Vanderlyn. The image portrays Elbridge Gerry 

14 years before he was elected vice president. 

(Courtesy of the Fogg Art Museum, Harvard University Art 

Museums, Louise E. Bettens Fund) 

Catalogue of Fine Art 175 
Arthur
Pue
Gorman


(1839–1906) 

Identified
with
the
U.S.
Senate
through
 L

ouis
Dieterich’s
portrait
of
Arthur
Pue
Gorman
was
presented


much
of
his
life,
Arthur
Pue
Gorman
began
 to
the
Senate
by
Gorman’s
family
in
1943.
At
a
dedication his
career
as
a
page
in
the
House
of
Rep


resentatives
in
1852
and
later
transferred
 ceremony
in
the
Capitol
that
year,
the
oil
painting
was
unveiled


to
the
same
post
in
the
Senate
through
the
 by
Arthur
Gorman
Lambert,
the
senator’s
grandson.
Senator


influence
of
Stephen
A.
Douglas.
He
went
 George
 Radcliffe
 of
 Maryland
 introduced
 the
 resolution on
to
hold
a
series
of
staff
positions
in
the


Senate,
eventually
becoming
Senate
post­ directing
the
acceptance
of
the
portrait
and
acted
as
master
of
ceremonies,


master.
In
1866,
because
of
his
support
of
 while
Majority
Leader
Alben
Barkley
accepted
the
portrait
for
the
Joint


the
unpopular
President
Andrew
Johnson,
 Committee
on
the
Library.
 he
lost
the
postmastership.
Gorman,
bornin
Woodstock,
Maryland,
returned
to
his
 Born
in
Germany,
Dieterich
moved
with
his
family
to
Baltimore


home
state,
where
he
held
appointive
and
 as
a
youth.
Although
he
was
primarily
self­taught,
he
also
studied
at


elective
positions,
becoming
a
leader
in
 the
 Maryland
 Institute
 of
 Art,
 where
 he
 later
 became
 an
 instructor.
 the
state
Democratic
Party
and
a
member
 Dieterich
maintained
a
studio
in
Baltimore
for
many
years.
Before
exe­ of
the
state
legislature.


Elected
to
the
U.S.
Senate
from
Mary­ cuting
the
Senate’s
portrait,
the
artist
completed
two
earlier
paintings


land
in
1880,
Gorman
chaired
the
Demo­ of
Gorman
that
are
in
the
collections
of
the
Maryland
State
Archives cratic
National
Committee
in
1884
and


directed
Grover
Cleveland’s
successful
 and
the
Maryland
Historical
Society.


presidential
campaign.
Gorman
lateropposed
the
president’s
tariff
policy,­

provoking
Cleveland’s
enmity.
During
hislong
Senate
career,
Gorman
was
consid
­

ered
an
outstanding
party
leader;
heserved
as
chairman
of
the
Democraticcaucus
in
both
the
majority
and
minority
­

in
an
era
before
formal
floor
leaders.­

Although
his
1898
reelection
bid
wasunsuccessful,
Gorman
returned
to
theSenate
in
1903.
He
again
chaired
hisparty’s
caucus,
a
position
he
held
until
­

his
death
in
1906.­

The portrait of Arthur P. Gorman was 

unveiled at the Capitol in 1943 by Arthur 

Gorman Lambert, left, with Maryland Senator 

George Radcliffe, right, in attendance. 

(Library of Congress, Prints and Photographs Division) 

176 United States Senate 
Arthur P. Gorman 

Louis P. Dieterich (ca. 1841/1842–1922) 

Oil
on
canvas,
1911


45
1

⁄2
 x
33
3⁄8
 inches
(115.6
x
84.8
cm)


Signed
and
dated
(lower
right
corner):
L
Dieterich
/
1911


Gift
of
the
family
of
Senator
Arthur
P.
Gorman,
1943


Accepted
by
the
Joint
Committee
on
the
Library,
1943


Cat.
no.
32.00019


Catalogue of Fine Art 177 
Ulysses
S.
Grant


(1822–1885) 

Ulysses
S.
Grant,
the
18th
president
of
the
 Artist
William
Cogswell
painted
this
portrait
of
President


United
States,
graduated
from
the
U.S.
Mil­ Ulysses
 S.
 Grant
 during
 Grant’s
 first
 term
 in
 office.
 itary
Academy
in
1843,
and
then
served


in
the
Mexican
War
alongside
many
future
 According
to
Laura
Cooke,
the
widow
of
Henry
Cooke


Confederate
officers.
Disillusioned
with
 (the
original
owner
of
the
portrait),
Cogswell
worked
in


military
life,
he
resigned
his
commission
in
 a
studio
improvised
at
the
Cooke
family
home
in
Wash­ 1854.
For
the
next
six
years
he
worked


with
little
success
as
a
farmer,
real­estate
 ington,
D.C.
Grant
was
an
intimate
friend
and
frequent
visitor
there.


broker,
and
customs­house
clerk,
eventually
 Laura
Cooke
reportedly
termed
the
painting
“a
most
speaking
likeness


settling
as
a
clerk
in
his
father’s
leather
 to
the
General,
so
considered
by
himself,
and
all
who
saw
it.”
Henry goods
store.


At
the
outbreak
of
the
Civil
War
in
 Cooke’s
brother,
New
York
financier
Jay
Cooke,
called
the
Cogswell


1861,
Grant
accepted
command
of
an
 portrait
“the
best
picture
of
Grant
in
existence.”
The
Senate
acquired


infantry
regiment
in
the
Illinois
militia.
Early
 the
painting
in
1886,
one
year
after
Grant’s
death.
 successes
earned
him
promotion
to
the
rank
 A
favorite
during
the
Grant
administration,
the
self­trained
Cogswell of
major
general
in
the
regular
army
from


President
Abraham
Lincoln.
In
1862,
when
 also
painted
a
large
group
portrait
of
the
president
and
his
family,
now


his
poor
judgment
cost
13,000
casualties
 in
the
collection
of
the
Smithsonian
Institution.
The
artist
had
a
studio


at
the
Battle
of
Shiloh,
the
public
clamored


for
his
dismissal.
Lincoln,
however,
refused
 in
New
York
City
for
many
years
and
also
traveled
extensively;
in
Hawaii


to
relieve
him,
claiming,
“I
can’t
spare
this
 he
painted
portraits
of
King
Kalakaua
and
Queen
Liliuokalani.
Cogswell


man—he
fights.”1
 Grant’s
brilliant
victory
 portrayed
 other
 prominent
 individuals,
 including
 President
 William
 at
Vicksburg
the
following
year
restored
his
 McKinley,
 General
 Philip reputation
and
prompted
Lincoln
to
award


him
command
of
all
Union
troops.
His
 Sheridan,
 naturalist
 Louis


aggressive
strategies
led
to
Union
victory
 Agassiz,
California
Governor
 in
1865,
making
Grant
a
national
hero.



Grant
reluctantly
accepted
the
Repub­ Leland
Stanford,
and
banker


lican
presidential
nomination
in
1868,
 Jay
Cooke.
The
official
White


easily
winning
the
subsequent
election.
 House
 portrait
 of
 Abraham He
was
reelected
in
1873,
but
suffered


deep
embarrassment
when
several
ill­ Lincoln,
as
selected
by
Preschosen
advisors
were
caught
in
acts
of
 ident
Grant,
was
painted
by


corruption.
Nonetheless,
he
remained
a
 Cogswell;
 it
 remains
 in
 the military
hero
in
the
public’s
eyes.


Grant
narrowly
lost
the
Republican
 White
House
collection.


nomination
for
president
in
1880,
and


four
years
later
a
bad
investment
once


again
tainted
his
name
and
ruined
him


financially.
Grant
was
diagnosed
with


throat
cancer
in
February
1885
and,
desperate
to
provide
a
legacy
for
his
family,


he
worked
feverishly
on
his
memoirs,
 William Cogswell painted Ulysses S. 

completing
the
task
just
four
days
before
 Grant and Family in 1867, a year 

his
death
on
July
23,
1885.
The
two­ before he completed the Senate’s 

volume
work
attracted
wide
acclaim
and
 portrait of the president. 

(National Museum of American History, Smithsonian 

went
on
to
become
a
best­seller.
 Institution) 

178 United States Senate 
Ulysses S. Grant 

William F. Cogswell (1819–1903) 

Oil
on
canvas,
1868


29
x
24
inches
(oval)
(73.7
x
61
cm)


Signed
and
dated
(lower
left):
W.
Cogswell
/
1868


Purchased
by
the
Joint
Committee
on
the
Library,
1886


Cat.
no.
31.00009


Catalogue of Fine Art 179 
Hannibal
Hamlin


(1809–1891) 

Hannibal
Hamlin
served
for
nearly
50
years
 Hannibal
Hamlin
was
one
of
three
former
vice
presidents


as
a
U.S.
representative
and
senator
from
 who
was
alive
in
1886
when
the
U.S.
Senate
passed
a
 Maine,
and
as
15th
vice
president
of
the


United
States.
Hamlin
began
his
political
 resolution
 establishing
 a
 Vice
 Presidential
 Bust
 Col­


career
in
the
state
legislature
where
he
 lection
for
display
in
the
Senate
Chamber.
The
Joint


served
three
terms
as
Speaker.
In
1843
he
 Committee
on
the
Library
subsequently
asked
each
of
 moved
to
the
U.S.
House
of
Representatives.
 these
three
men
to
designate
a
sculptor,
and
Hamlin
selected
Maine
 During
his
two
terms
in
the
House
of
Repre­


sentatives,
Hamlin
played
an
important
role
 native
Franklin
Simmons.
Although
Simmons’s
studio
was
in
Rome,
the


in
the
debate
over
slavery.
In
1846
he
 sculptor
agreed
to
model
Hamlin
from
life
in
Maine.
Simmons’s
depar­
 joined
forces
with
other
antislavery
mem­


bers
to
propose
an
amendment
that
would
 ture
for
the
United
States
was
delayed,
however,
while
he
worked
on


prohibit
slavery
in
any
territory
taken
from
 a
statue
of
the
American
poet
Henry
Wadsworth
Longfellow
for
the
city


Mexico
as
a
result
of
the
Mexican­American
 of
Portland,
Maine.
After
finally
holding
sittings
with
Hamlin
in
1888,
 War.
Representative
David
Wilmot
intro­


duced
the
measure
that
became
known
as
 Simmons
finished
the
marble
bust
by
May
of
1889.
It
was
placed
in
the


the
Wilmot
Proviso,
while
Hamlin
intro­ U.S.
Capitol
in
August
of
the
following
year.
A
replica,
also
executed


duced
a
proviso
of
his
own.
Neither
 by
Simmons,
is
now
at
Hebron
Academy
in
Hebron,
Maine.
 measure
succeeded.


In
1848
Hamlin
won
election
to
the
 A
member
of
the
so­called
second
generation
of
American
sculpU.S.
Senate.
Troubled
by
the
Democrats’
 tors
in
Rome,
Franklin
Simmons
was
awarded
many
commissions
during


increasingly
pro­slavery
stance,
he
nonethe­ a
long,
active
career.
The
state
of
Rhode
Island
selected
him
to
execute
 less
maintained
his
party
loyalty
until
1856.
 a
full­length
statue
of
Roger
Williams
for
inclusion
in
the
U.S.
Capitol’s That
year
Maine
Republicans
persuaded


him
to
become
their
gubernatorial
candi­ National
 Statuary
 Hall


date.
After
his
election
he
resigned
from
the
 Collection.
 Simmons


Senate
to
serve
as
governor
of
Maine,
but


left
that
post
after
less
than
two
months
to
 also
 sculpted
 busts
 of


return
to
the
Senate.
In
1860
Hamlin
suc­ Adlai
E.
Stevenson
(p.


cessfully
ran
with
Abraham
Lincoln
on
the
 344)
 and
 Charles
 W.
 Republican
presidential
ticket.
Although
as
 Fairbanks
 (p.
 112)
 for
 vice
president
Hamlin
ably
presided
over


the
Senate,
he
failed
to
win
renomination
 the
Senate’s
Vice
Presi­


four
years
later
when
the
Republicans
 dential
Bust
Collection.


chose
the
war
Democrat
Andrew
Johnson



as
Lincoln’s
running
mate.
In
1868
Hamlin


was
reelected
to
the
Senate,
where
he


served
for
12
years.
Following
a
brief


period
from
1881
to
1882
as
U.S.
minister


to
Spain,
he
retired
from
public
life.



Hamlin
died
in
Bangor,
Maine,
in
1891.


In 1924, at her Maine home, Ellen Hamlin 

and her great­granddaughter Louise pose by 

a replica of the Senate’s bust of her late husband, Vice President Hannibal Hamlin. 

(Architect of the Capitol) 

180 United States Senate 
Hannibal Hamlin 

Franklin Bachelder Simmons (1839–1913) 

Marble,
1889


29
x
26
3

⁄8
 x
15
1⁄2
 inches
(73.7
x
67
x
39.4
cm)


Signed
and
dated
(centered
on
subject’s
back):
FRANKLIN
SIMMONS
/
ROME
1889


Commissioned
by
the
Joint
Committee
on
the
Library,
1886


Accepted
by
the
Joint
Committee
on
the
Library,
1889


Cat.
no.
22.00015


Catalogue of Fine Art 181 
John
Hancock


(1737–1793) 

Best
known
as
the
bold
first
signer
of
the
 Born
in
New
York
State,
Horatio
Stone
was
a
physician
before


Declaration
of
Independence,
John
Han­ turning
to
sculpture
and
relocating
to
Washington,
D.C.,
in
 cock
played
a
key
role
in
the
formative
 1848.
 Attracted
 to
 the
 developing
 federal
 city
 by
 its
 years
of
the
American
nation.
Born
in


Braintree
(now
Quincy),
Massachusetts,
 expanding
market
for
decorative
sculpture,
Stone
practiced


Hancock
became
a
successful
merchant
in
 his
craft
successfully
and
became
active
in
the
politics
of
 Boston,
where
he
rose
to
prominence
in


local
politics
and
the
pre­Revolutionary
 the
city’s
artistic
community.
In
1856
the
Joint
Committee
on
the
Library


movement.
As
president
of
the
Massachu­ commissioned
Stone
to
furnish
a
full­length
marble
statue
of
John
Hancock


setts
Provisional
Congress
from
1774
to
 for
the
Senate
extension
to
the
Capitol.
The
U.S.
government’s
Works
of
 1775,
and
as
Massachusetts
delegate


and
president
of
the
second
Continental
 Art
Fund
paid
the
artist
in
a
series
of
installments
beginning
in
1856
and


Congress
from
1775
to
1777,
the
 continuing
until
1861,
when
the
Hancock
figure
was
completed.


wealthy
and
outspoken
Hancock
rallied
 Stone
helped
establish
the
Washington
Art
Association
and
was
 support
for
the
cause
of
independence.
 president
of
the
organization
during
its
five­year
existence.
The
group
 Following
the
Declaration
of
Indepen­


dence—which
circulated
abroad
with
 resented
the
large
number
of
foreign
artists
employed
to
embellish
the


only
Hancock’s
signature—Hancock
 Capitol’s
new
extension
that
was
being
constructed
during
the
late
1850s.
 strove
to
be
named
commander­in­chief
of


the
army.
When
passed
over
in
favor
of
 Under
Stone’s
leadership
in
1858,
the
association
organized
a
protest


George
Washington,
Hancock
resigned
 that
included
a
memorial
to
Congress
seeking
an
art
commission
“com­


the
presidency
of
the
Continental
Con­ posed
of
those
designated
by
the
united
voice
of
American
artists...who


gress.
He
became
increasingly
involved


in
state
politics
and
in
1780
was
elected
 shall
be
the
channels
for
the
distribution
of
all
appropriations
to
be
made


the
first
governor
of
the
Commonwealth
of
 by
Congress
for
art
purposes,
and
who
shall
secure
to
artists
an
intel­


Massachusetts.
Hancock
died
in
office
 ligent
and
unbiased
adjudication
upon
the
designs
they
may
present
for
 while
serving
his
ninth
term.
 the
embellishment
of
the
national
buildings.”1
This
led
to
the
formation


of
a
short­lived
art
commission
that
made
general
recommendations
on


Capitol
art;
the
commission
never
achieved
the
importance
hoped
for


by
Stone
and
his
fellow
artists.


Stone’s
statue
of
John
Hancock
was
placed
in
the
Capitol
in
1861.


For
more
than
20
years
it
occupied
a
temporary
base;
in
1883
a
permanent
pedestal
was
constructed
of
granite
quarried
on
the
Hancock
family


farm
in
Lexington,
Massachusetts.
In
1912,
following
passage
of
House


Concurrent
Resolution
58,
a
cast
was
made
of
the
Hancock
statue’s
head


so
a
replica
could
be
presented
by
the
Society
of
the
Sons
of
the
Revolution
of
Massachusetts
to
their
home
state.
Stone’s
full­length
statues
of


Alexander
Hamilton
and
Edward
Dickinson
Baker,
a
U.S.
representative


from
Illinois
and
U.S.
senator
from
Oregon,
also
are
displayed
in
the


Capitol
as
part
of
the
National
Statuary
Hall
Collection.


182 United States Senate 
John Hancock 

Horatio Stone (1808–1875) 

Marble,
1861


88
3

⁄4
 x
33
1⁄2
 x
25
inches
(225.4
x
85.1
x
63.5
cm)


Signed
and
dated
(on
base
under
subject’s
left
leg):



Horatio
Stone,
/
Sculp’t
1861.


Inscribed
(on
base
centered
at
front):
HANCOCK


Commissioned
by
the
Joint
Committee


on
the
Library,
1856/1857


Accepted
by
the
Joint
Committee
on
the


Library,
1861


Cat.
no.
21.00009


Catalogue of Fine Art 183 
Carl
Trumbull
Hayden


(1877–1972) 

Carl
Trumbull
Hayden,
a
U.S.
representative
Congressional
efforts
to
memorialize
Senator
Carl
Hayden


and
senator
from
Arizona,
was
born
in
 began
in
1969
upon
his
retirement.
They
culminated
in
1983
 Hayden’s
Ferry
(now
Tempe),
Arizona.


Educated
at
Stanford
University,
Hayden
 with
a
Senate
concurrent
resolution
providing
for
a
por­


worked
in
the
family
flour­milling
business
 trait
bust
to
be
placed
in
either
the
Senate
wing
of
the
U.S.


and
served
as
sheriff
of
Maricopa
County.
 Capitol
or
in
one
of
the
Senate
office
buildings.
To
satisfy
 He
was
elected
as
a
Democrat
to
the
U.S.


House
of
Representatives
when
Arizona
 the
resolution,
Arizona
Senator
Barry
Goldwater
proposed
that
an
existing


became
a
state
in
1912;
he
remained
in
the
 bronze
bust
of
Hayden
by
Stafford
Rolph
be
replicated.
This
bust
was


House
until
1927,
when
he
began
the
first
 approved
by
Hayden
after
its
execution
in
1969
and
was
acquired
by
 of
seven
terms
in
the
U.S.
Senate.
Hayden


rarely
spoke
on
the
floor,
preferring
to
work
 the
Bureau
of
Reclamation.
It
is
displayed
at
the
Carl
Hayden
Visitor’s


behind
the
scenes
in
committee.
He
consid­ Center
at
Glen
Canyon
National
Recreation
Area
in
Page,
Arizona.


ered
himself
a
“workhorse”
rather
than
a
 Although
Rolph
offered
to
create
a
new
bust
from
a
compilation
of
 “show
horse,”
and
concentrated
his
efforts


on
western
water
and
transportation
proj­ photographs
of
the
senator,
he
suggested
to
Goldwater
that
a
duplicate


ects.
He
was
floor
manager
of
the
bill
that
 of
the
visitor’s
center
sculpture
might
produce
a
more
accurate
likeness


established
the
Grand
Canyon
National
 because
Hayden
had
sat
for
the
original.
The
decision
was
made
to
copy
 Park,
and
he
sponsored
the
19th
Amend­


ment
to
the
Constitution
giving
women
the
 the
existing
bust,
as
Goldwater
had
proposed.
During
1985
the
Tallix


right
to
vote.
As
chairman
of
the
Senate
 Foundry
of
New
York
cast
the
second
bust;
it
retains
the
date
of
the
orig­


Appropriations
Committee
from
1955
to
 inal
model—1969.
The
replica
was
dedicated
and
placed
in
the
Russell
 1969,
Hayden
won
praise
from
members



of
both
parties
for
being
a
master
of
com­ Senate
Office
Building
on
April
17,
1986.
The
bust
was
appropriately
located


promise.
He
also
served
as
president
pro
 in
the
northwest
corner
of
the
building
on
the
first
floor,
near
the
office


tempore
from
1957
to
1969.
 that
Senator
Hayden
had
occupied
for
more
than
20
years.
 At
a
testimonial
dinner
in
1961,


President
John
F.
Kennedy
remarked
of
 At
the
unveiling,
Roy
Elson,
Senator
Hayden’s
administrative
assisHayden:
“Every
Federal
program
which
 tant
and
close
friend,
commented,
“I
feel
that
Carl
Hayden
would
still


has
contributed
to
the
West—irrigation,
 oppose
any
memorial
to
himself—not
out
of
any
false
modesty—but power
and
reclamation—bears
his
mark.


And
the
great
Federal
highway
program
 because
of
his
oft­expressed
belief
that
only
those
who
have
been
dead


which
binds
this
country
together
.
.
.
in
 for
half
a
century
or
more
should
be
so
honored.”
Elson
continued:
“But


large
measure
is
his
creation.”1
 Hayden
 I
am
proud
that
what
would
have
been
his
veto
has
been
overridden,
 retired
to
his
home
in
Tempe,
Arizona,
in


1969
after
serving
an
unprecedented
56
 for
Carl
Hayden
was
more
than
a
man.
He
was
an
epoch.”1


consecutive
years
in
Congress.
He
died
in
 A
successful
architect,
Rolph
pursued
a
parallel
career
in
sculpture.


1972
in
Mesa,
Arizona.
 He
was
a
Chester
Dale
Fellow
at
the
National
Gallery
of
Art,
and
his


sculptural
works
are
located
at


the
 Smithsonian
 Institution’s


National
Portrait
Gallery
in
Washington,
D.C.,
and
in
numerous


private
collections.


The Senate’s bust of Carl Hayden is a copy of 

the bust executed by Stafford Rolph in 1969. 

The original is on display at the Carl Hayden 

Visitor’s Center in Page, Arizona. 

(Photograph by Heidi Roth) 

184 United States Senate 
Carl Hayden 

Miles Stafford Rolph III (1936–1997) 

Bronze,
1985


20
1

⁄2
 x
9
1⁄2
 x
8
3⁄8
 inches
(52.1
x
24.1
x
21.3
cm)


Signed
and
dated
(on
subject’s
lower
left
lapel):
STAfford
/
Rolph
‘69


Commissioned
by
the
Joint
Committee
on
the
Library,
1983


Accepted
by
the
Joint
Committee
on
the
Library,
1986


Cat.
no.
24.00005


Catalogue of Fine Art 185 
Thomas
Andrews
Hendricks


(1819–1885) 

Thomas
Andrews
Hendricks,
a
U.S.
repre­ I

n
1886
Ulric
S.J.
Dunbar
requested
permission
to
submit
a
por­


sentative
and
senator
from
Indiana
and
the
 trait
model
of
Thomas
A.
Hendricks
to
the
Joint
Committee
on
 21st
vice
president
of
the
United
States,


was
born
near
Zanesville,
Ohio.
Raised
in
 the
Library,
suggesting
that
those
who
knew
Hendricks
could


Shelby
County,
Indiana,
Hendricks
served
 recommend
improvements
to
this
model
before
it
was
carved


in
the
Indiana
house
of
representatives
and
 in
marble.
In
a
letter
to
the
committee,
Dunbar
advised
that
 senate
before
winning
election
to
the
U.S.


House
of
Representatives
in
1851.
He
held
 because
no
work
from
life
could
be
created
of
the
late
vice
president,


office
for
two
terms,
and
in
1855
President
 “the
sooner
a
bust
is
secured
after
the
decease
the
better
his
linea­


Franklin
Pierce
named
him
commissioner
of
 ments
can
be
recognized
and
criticised
[sic]
by
his
friends.”
Architect
 the
Department
of
Interior
General
Land


Office.
As
a
U.S.
senator
from
1863
to
 of
the
Capitol
Edward
Clark
reviewed
the
model
and
submitted
his


1869,
Hendricks
was
part
of
a
small
 positive
recommendations,
for
what
he
deemed
a
credible
likeness,


Democratic
minority
and
strongly
opposed
 to
the
Joint
Committee
on
the
Library.
Although
the
Senate
had
approved
 Republican
plans
for
Reconstruction.
Hen­


dricks
served
as
governor
of
Indiana
from
 that
busts
of
former
vice
president’s
be
placed
in
the
Senate
Chamber


1873
to
1877,
and
although
he
was
often
 gallery
in
1886—the
same
year
Dunbar
submitted
his
model—it
was


named
as
a
potential
presidential
candi­ not
until
four
years
later
that
a
bust
of
Hendricks
was
authorized.
Dunbar
 date,
he
never
secured
the
nomination.


After
an
unsuccessful
bid
for
the
vice
presi­ was
ultimately
awarded
the
commission,
and
the
finished
bust
was


dency
in
the
disputed
Hayes­Tilden
election
 placed
in
the
Senate
Chamber
in
August
1890.


of
1876,
Hendricks
won
the
position
as
 Dunbar’s
bust
of
Hendricks
seems
to
reflect
the
last
few
years
of
 Grover
Cleveland’s
running
mate
in
1884.


He
died
after
serving
only
eight
months
as
 the
vice
president’s
life,
when
he
was
plagued
by
poor
health
and
con­


vice
president.! flicts
within
the
Democratic
Party.
The
sculpture
is
a
straightforward,
sober


likeness
with
a
degree
of
honest
naturalism
evident
in
the
furrowed
brow


and
the
careful
depiction
of
three
moles
near
the
mouth.
Together
with


the
elaborately
drilled
pupils,
this
simple
realism
generates
the
feeling


of
a
disillusioned
and
unwell
man.


Dunbar
was
born
in
London,
Ontario,
in
1862.
After
working
in


Philadelphia,
he
settled
in
Washington,
D.C.,
where
he
became
a
prolific
maker
of
portrait
busts
as
well
as
full­length
figures,
executing
more


than
150
pieces
during
his
lifetime.
In
addition
to
the
Hendricks
bust,


the
 artist
 sculpted
 the
 Senate’s
 marble
 portrait
 of
 Martin
 Van
 Buren


(p.
378)
for
the
Vice
Presidential
Bust
Collection.
Dunbar
also
created


an
imposing
bronze
of
Alexander
Robey
“Boss”
Shepherd
and
the
Ross 

Memorial for
the
District
of
Columbia
building.
Other
works
by
the
artist


are
held
by
the
Corcoran
Gallery
of
Art
and
the
Smithsonian
Institution’s


National
Portrait
Gallery
in
Washington,
D.C.
Dunbar’s
sculptures
were


exhibited
at
the
Atlanta,
St.
Louis,
Buffalo,
San
Diego,
and
San
Francisco


Expositions,
as
well
as
the
Sesquicentennial
Exposition
in
Philadelphia.


A daguerreotype of Thomas A. Hendricks 

by the Mathew Brady studio, after 1863. 

(Library of Congress, Prints and Photographs Division) 

186 United States Senate 
Thomas A. Hendricks 

Ulric Stonewall Jackson Dunbar (1862–1927) 

Marble,
modeled
1886,
carved
1890


29
1

⁄4
 x
27
x
17
inches
(74.3
x
68.6
x
43.2
cm)


Unsigned


Commissioned
by
the
Joint
Committee
on
the
Library,
1890


Accepted
by
the
Joint
Committee
on
the
Library,
1890


Cat.
no.
22.00021


Catalogue of Fine Art 187 
Patrick
Henry


(1736–1799) 

Patrick
Henry
was
born
in
Hanover
County,
 The
earliest
portraits
of
Patrick
Henry
appear
to
have
been


Virginia.
Elected
to
the
house
of
burgesses
 painted
by
the
Sullys—Lawrence
and
his
younger
brother
 in
1765,
he
became
a
leader
in
Virginia’s
 Thomas.
Lawrence
Sully’s
1795
miniature
of
Henry,
thought
 opposition
to
the
Stamp
Act.
In
1775,
as


sentiment
for
independence
rose,
Henry
 to
be
a
life
study,
passed
down
in
the
Henry
family
and
is


addressed
the
second
revolutionary
conven­ now
owned
by
the
Mead
Art
Museum
of
Amherst
College
 tion
of
Virginia
while
its
members
debated
 in
Massachusetts.
In
1851
Thomas
Sully
painted
a
half­length
portrait
of
 putting
the
colony
into
a
state
of
defense.


His
speech
galvanized
Virginians
to
 Henry
now
owned
by
the
Virginia
Historical
Society
in
Richmond;
the


appoint
a
militia,
with
Henry
as
its
chair­ Senate’s
portrait
by
George
Matthews
is
a
copy
of
the
Thomas
Sully
painting. man.
Forever
after,
Americans
have
remembered
Henry
for
his
courageous
patriotism.
 The
documentary
history
regarding
the
Senate’s
acquisition
of
the


As
the
movement
for
independence
 Henry
portrait
is
incomplete.
It
likely
was
purchased
by
the
Senate


grew,
Henry
served
as
a
delegate
to
both
 while
Matthews
was
employed
at
the
Capitol—intermittently
over
a the
first
and
second
Continental
Congresses
 50­year
 period—as
 a
 painter
 and
 restorer
 of
 art.
 Yet,
 the
 earliest
 and
was
largely
responsible
for
the
estab­


lishment
of
a
colonial
militia.
He
helped
 reference
to
the
portrait
does
not
appear
until
an
1891
letter
from
Archi­


draft
a
constitution
for
the
new
state
of
Vir­ tect
of
the
Capitol
Edward
Clark
to
Librarian
of
Congress
Ainsworth
 ginia
and
served
as
its
first
governor
from
 R.
Spofford,
which
lists
artwork
owned
by
Congress.
A
1926
anecdotal
 1776
to
1779,
when
Thomas
Jefferson


succeeded
him.
After
serving
again
as
 account
adds
Washington Post illustrator
Barney
Hughes
to
the
cir­


governor
from
1784
to
1786,
Henry
was
 cumstances
surrounding
the
painting’s
creation.
Matthews
and
Hughes
 elected
to
the
Constitutional
Convention
of


1787,
but
he
declined
to
attend.
At
the
 apparently
shared
a
studio;
Hughes
was
reported
to
have
“touched
up”


Virginia
ratifying
convention,
he
opposed
 the
 Matthews
 portrait
 of


the
federal
Constitution,
believing
it
to
be
 Henry,
 making
 it
 more
 a
threat
to
state
sovereignty.
Subsequently,


Henry
was
among
those
most
responsible
 acceptable
 to
 a
 disinclined


for
adding
a
bill
of
rights
to
the
Constitu­ acquisition
committee.



tion,
and
with
the
bill’s
passage
he
gave
 Born
in
1857
in
Tappa­
 his
support
to
the
amended
Constitution.
 hannock,
Virginia,
Matthews
 Returning
to
a
successful
law
practice,


Henry,
in
failing
health,
declined
several
 studied
in
Paris
in
the
early


federal
appointments.
At
George
Wash­ 1880s.
In
his
American
work,
 ington’s
request,
he
ran
successfully
for
the
 he
concentrated
on
Southern
 Virginia
house
of
delegates
in
1799
but


died
before
assuming
office.
 historical
figures.
His
portrait


of
John
Paul
Jones
(p.
226)


was
acquired
for
the
Capitol


in
1890.


The Senate’s portrait of Patrick Henry 

is based on this 1851 painting by 

Thomas Sully. 

(The Virginia Historical Society, Richmond, Virginia) 

188 United States Senate 
Patrick Henry 

George Bagby Matthews (1857–1943) 

after
Thomas
Sully
(1783–1872)


Oil
on
canvas,
ca.
1891


29
1

⁄2
 x
24
5⁄8
 inches
(74.9
x
62.5
cm)


Signed
(lower
left
corner):
G
MAtthews


Acquired
by
employment
of
the
artist
at
the
U.S.
Capitol,
ca.
1891


Cat.
no.
31.00011


Catalogue of Fine Art 189 
Garret
Augustus
Hobart


(1844–1899) 

A
prominent
lawyer,
successful
business­ While
 serving
 as
 vice
 president,
 Garret
 Augustus


man,
and
popular
politician
in
his
home
 Hobart
was
asked
by
the
Joint
Committee
on
the
 state
of
New
Jersey,
Garret
Augustus


Hobart
became
the
24th
vice
president
of
 Library
to
select
a
sculptor
to
execute
a
marble
bust


the
United
States
in
1897.
Born
in
Long
 of
himself
for
the
Senate’s
Vice
Presidential
Bust


Branch,
Hobart
served
in
the
New
Jersey
 Collection.
The
committee
acted
according
to
the state
assembly
from
1872
to
1875,
rising


to
the
post
of
Speaker.
Later
he
was
presi­ recently
adopted
Senate
resolution
of
January
6,
1898,
which
expanded


dent
of
the
state
senate.
His
dedication
to
 the
collection
beyond
the
Chamber’s
gallery­level
niches
to
allow
placethe
Republican
Party,
as
well
as
his
wide­ ment
of
the
busts
in
the
“Senate
wing
of
the
Capitol.”
Hobart,
however, ranging
business
pursuits,
led
to
Hobart’s


popularity
in
New
Jersey
and
to
his
selec­ delayed
the
decision
and
died
without
having
made
a
recommendation.


tion
as
the
vice
presidential
candidate
at
 In
1900
the
committee
asked
the
deceased
vice
president’s
widow,
Jennie


the
GOP
convention
of
1896.
Elected
on
 Tuttle
Hobart,
for
a
referral;
she
chose
distinguished
sculptor
Frank
Edwin
 the
ticket
headed
by
William
McKinley,


Hobart
became
a
close
friend
and
advisor
 Elwell,
a
New
Jersey
resident.



to
the
president.
Hobart
died
in
1899,
 Fine
arts
juries
at
the
World’s
Columbian
Exposition
in
Chicago
in


before
completing
his
term
in
office.
The
 1893
had
awarded
Elwell’s
sculptural
groups
a
gold
medal.
Previously day
after
his
death,
New
York
Governor
 he
had
sculpted
the
Senate’s
bust
of
Vice
President
Levi
P.
Morton
(p. Theodore
Roosevelt
said
of
Hobart’s


accomplishments:
“What
he
did
was
done
 288),
along
with
many
other
works.
Elwell
prepared
the
plaster
model


not
by
force
of
position,
but
by
force
of
 for
the
Hobart
bust
in
his
New
York
City
studio,
and
the
well­known character,
his
rare
tact,
his
extraordinary


common
sense,
and
the
impression
of
sin­ marble
cutters,
Piccirilli
Brothers,
translated
the
model
into
marble.
Elwell


cerity
he
created
upon
every
man
with
 wrote
to
then­acting
Architect
of
the
Capitol
Elliott
Woods
in
June
of


whom
he
was
brought
in
contact.”1
 1901:
“There
is
however
a
slight
dark
spot
on
the
lapel
of
the
coat
on


the
right
side
facing
the
bust,
but
it
is
of
no
account,
in
fact
I
think
that


the
marble
is
superior
to
the
Morton
bust
in
color.
The
face
is
entirely


clear
with
the
exception
of
a
very
slight
dark,
near
the
hair.
It
is
remarkable
that
so
large
a
piece
of
marble
should
have
come
out
so
well.”


Jennie
 Tuttle
 Hobart
 was
 pleased
 with
 the
 resulting
 bust
 and,


according
to
the
artist,
commented
in
a
letter
to
him,
“I
think
that
no


one
could
have
made
a
better
likeness
than
you
have
made.”
Following


Mrs.
Hobart’s
official
approval,
the
completed
marble
bust
was
placed


in
the
U.S.
Capitol
in
1901.


Elwell
wrote
and
lectured
on
the
importance
of
art
in
society,
and


later
 served
 as
 curator
 of
 statuary
 at
 New
 York
 City’s
 Metropolitan


Museum
of
Art.
His
last
major
works,
completed
in
1907,
were
the
symbolic
figures
of
Greece and
Rome for
the
United
States
Customs
House


in
New
York
City.


Vice President Garret Hobart in his 

ceremonial office in the Capitol. 

(Library of Congress, Prints and Photographs Division) 

190 United States Senate 
Garret Augustus Hobart 

Frank Edwin Elwell (1858–1922) 

Marble,
modeled
1900,
carved
1901


37
x
33
x
21
1

⁄2
 inches
(94
x
83.8
x
54.6
cm)


Signed
and
dated
(on
base
at
left):
F
▲ E
▲ ELWELL
▲ Sc.
/
1901


Commissioned
by
the
Joint
Committee
on
the
Library,
1900


Accepted
by
the
Joint
Committee
on
the
Library,
1901


Cat.
no.
22.00024


Catalogue of Fine Art 191 
Cordell
Hull


(1871–1955) 

Cordell
Hull,
who
served
in
both
houses
of
 S

culptor
George
Conlon
was
born
in
Lonaconing,
Maryland,


Congress
and
came
to
be
known
as
the
 to
a
working­class
family,
and
sought
employment
at
an
early
 “Father
of
the
United
Nations,”
was
born



in
Overton
(now
Pickett)
County,
Tennessee.
 age
in
the
Allegany
coal
mines.
There
the
aspiring
artist
was


Hull
was
a
member
of
the
Tennessee
legis­ reported
to
have
made
a
bust
of
Maryland
Governor
Edwin


lature
from
1893
to
1897,
and
he
later
 Warfield
from
the
plastic
clay
that
was
used
to
plug
holes
in
 served
in
the
U.S.
Army
during
the
Spanish­ the
mine
walls.
Impressed
by
the
portrait,
the
governor
helped
Conlon
 American
War.
After
tenure
as
a
circuit


court
judge,
he
was
elected
as
a
Democrat
 launch
his
art
career.
After
attending
the
Maryland
Institute
College
of


to
the
U.S.
House
of
Representatives.
During
 Art
in
Baltimore,
Conlon
was
awarded
the
prestigious
Rinehart
Schol­
 his
House
terms,
from
1907
to
1921
and


1923
to
1931,
Hull
took
particular
interest
 arship,
allowing
him
to
study
in
Paris
at
the
Académie
Julian
and
the


in
taxation
and
tariff
programs.
He
wrote
 Académie
Colarossi.
While
in
Paris,
he
assisted
Paul
Bartlett
in
designing


the
first
federal
income
tax
bill
in
1913,
 a
sculptural
group
for
the
House
pediment
of
the
U.S.
Capitol.
With
 sponsored
estate
tax
legislation,
and
called
 the
outbreak
of
World
War
II
in
Europe,
Conlon
returned
to
America,
 for
a
reduction
in
trade
barriers.


Hull
was
elected
to
the
U.S.
Senate
in
 where
he
continued
sculpting.


1930
and
resigned
three
years
later
when
 It
is
said
that
Conlon
admired
Cordell
Hull,
and
records
indicate he
was
appointed
secretary
of
state
by


Franklin
D.
Roosevelt.
In
this
post,
Hull
 that
after
his
return
from
France,
the
artist
sought
a
meeting
with
the


emphasized
international
economic
policy
 secretary
of
state
to
gain
approval
to
model
his
portrait
bust.
Conlon


and
was
responsible
for
reciprocal
trade
 was
subsequently
provided
space
at
the
Corcoran
Gallery
of
Art
in
Wash­ agreements
with
a
number
of
nations.
He


also
helped
formulate
the
Good
Neighbor
 ington,
D.C.,
for
sittings
with
the
secretary.
Once
the
clay
model
was


policy
with
Latin
America.
When
World
 completed
and
Secretary
Hull
had
announced
his
resignation
in
1944,


War
II
broke
out
in
Europe,
Hull
worked
 the
Cumberland (Maryland)
Evening and Sunday Times decided
to


with
Roosevelt
to
provide
aid
to
the
Allied


nations,
despite
opposition
from
isolation­ honor
Hull
by
presenting
Conlon’s
bust
to
the
nation.
In
a
joint
resists
in
Congress.
With
the
entry
of
the
 olution,
adopted
on
December
4,
1944,
Congress
authorized
the
Joint


United
States
into
the
war,
Hull
turned
his
 Committee
on
the
Library
to
accept
the
newspaper’s
gift.
The
bronze attention
to
the
development
of
a
 bust
of
Cordell
Hull
was
unveiled
 world
organization
to
maintain


peace
for
the
future.
He
resigned
 in
the
Senate
Reception
Room
the


as
secretary
of
state
in
1944
 following
year.
 because
of
ill
health,
but
his
efforts


to
build
international
alliances
 Among
 Conlon’s
 public


were
not
forgotten;
Hull
was
 sculptures
are
a
bust
of
General


awarded
the
Nobel
Peace
Prize
 John
 Pershing
 at
 the
 National in
1945.
That
same
year,
he
was
 Headquarters
 of
 the
 American appointed
senior
advisor
to
the


U.S.
delegation
attending
the
San
 Legion
in
Indianapolis,
Indiana,


Francisco
conference
that
formally
 and
 a
 memorial
 monument
 in


ratified
the
United
Nations


Charter.
In
his
retirement,
Hull
 Biarritz,
 France.
 Conlon’s
 work


continued
to
reside
in
Washington,
 also
 is
 owned
 by
 the
 Maryland


D.C.,
where
he
died
in
1955.
 Historical
Society.


Sculptor George Conlon poses with his 

clay model of former Secretary of State 

Cordell Hull, 1944. 

(AP/WIDE WORLD PHOTOS) 

192 United States Senate 
Cordell Hull 

George Conlon (1888–1980) 

Bronze,
1944/1945


28
3

⁄8
 x
21
x
13
5⁄8
 inches
(72.1
x
53.3
x
34.6
cm)


Signed
(on
right
side
of
base):
CONLON


Inscribed
(on
subject’s
lower
left
front
torso):
Cordell
Hull


Gift
of
the
Cumberland (Maryland)
Evening and Sunday Times, 1944


Accepted
by
the
Joint
Committee
on
the
Library,
1944


Cat.
no.
24.00002


Catalogue of Fine Art 193 
Hubert
Horatio
Humphrey,
Jr.


(1911–1978) 

Hubert
Horatio
Humphrey,
Jr.,
a
U.S.
sen­ Muriel
Humphrey,
wife
of
Hubert
Humphrey,
selected


ator
from
Minnesota
and
the
38th
vice
 the
noted
sculptor
Walker
Hancock
to
execute
the
bust
 president
of
the
United
States,
was
born



in
Wallace,
South
Dakota.
After
working
 of
her
late
husband
for
the
Senate’s
Vice
Presidential


briefly
as
a
pharmacist,
he
taught
at
 Bust
Collection
after
visiting
the
artist
at
his
Massa­


Macalester
College,
and
was
elected
 chusetts
 studio
 in
 October
 1979.
 The
 contract
 was
 mayor
of
Minneapolis,
Minnesota.
He
first


came
to
national
attention
as
an
advocate
 delayed
for
more
than
a
year,
however,
because
Hancock’s
fee
was
higher


of
a
strong
civil
rights
plank
in
the
Democ­ than
the
amount
initially
approved
for
the
bust.
In
the
end,
the
Senate


ratic
presidential
platform
of
1948.
That
 Committee
 on
 Rules
 and
 Administration
 agreed
 to
 pay
 Hancock’s
 same
year,
Humphrey
was
elected
to
the


U.S.
Senate.
Although
well
known
for
his
 requested
commission.
Muriel
Humphrey
first
reviewed
photographs
of


oratory
skills
and
impressive
legislative
 the
clay
bust,
which
subsequently
was
approved
with
minor
adjustments.



record,
Hubert
Humphrey
was
perhaps
 Like
other
makers
of
portraits
for
the
Senate,
Hancock
was
working
 best
loved
as
the
“Happy
Warrior”
for
his


generosity,
irrepressible
spirit,
and
lack
of
 at
a
disadvantage:
His
subject
was
deceased.
Hancock
said
in
a
1998


ruthlessness.
A
passionate
reformer,
he
 letter
that
“it
was
necessary
to
work
entirely
from
photographs
with
the


supported
nuclear
disarmament,
social
 help
of
criticisms
from
members
of
his
[Humphrey’s]
family
and
others
 welfare
programs,
and
the
interests
of
 who
knew
him.”
Despite
the
available
photos
and
films,
Hancock
failed
 farmers
and
small
businesses.


Humphrey
served
in
the
Senate
until
 to
achieve
the
animation—not
to
mention
the
ebullience—that
charac1964,
when
he
was
elected
vice
president
 terized
Humphrey
in
his
halcyon
days.
Such
criticism
may
be
unfair, on
the
Democratic
ticket
with
Lyndon
Baines


Johnson.
In
1968
he
ran
as
the
Democratic
 though,
because
by
the
end
of
his
life
Humphrey
had
suffered
many


nominee
for
president,
losing
narrowly
to
 political
and
personal
disappointments.
The
likeness
is
nonetheless
strong


Richard
Nixon
in
a
campaign
complicated
 and
sympathetic,
and
the
artist
seems
intent
on
showing
a
man
of
deep by
the
nation’s
polarization
over
the


Vietnam
War.
Humphrey
returned
to
the
 reflection,
not
the
impassioned
orator
and
advocate.


Senate
in
1971.
The
Senate
later
created
 Hancock
chose
a
nearly
frontal
pose
with
the
head
very
slightly


the
post
of
deputy
president
pro
tempore
for
 tilted
upward
to
the
left,
and
the
gaze
of
the
complexly
drilled
and
incised him,
and
when
he
grew
gravely
ill
in
1977,
 eyes
is
remote,
even
visionary.
Elsewhere,
naturalistic
detail
is
suppressed
 both
the
Senate
and
the
House
held
un­


precedented
sessions
in
his
honor.
After
 in
the
simple
planes
of
the
clothes
and
even
in
the
carefully
observed


Humphrey’s
death
in
1978,
his
body
lay
 face.
The
artist
seems
to
have
selected
the
eyes
as
the
locus
of
the
irre­
 in
state
in
the
Capitol
Rotunda.
 pressible
essence
of
Humphrey’s
character,
with
all
else
subordinated


to
that
choice.


The
bust
was
carved
by
the
firm
of
Cav.
Ferdinando
Palla
Sculptore
in
Pietrasanta,
Italy,
under
Hancock’s
supervision.
It
was
formally


unveiled
in
the
Capitol
in
1984
at
ceremonies
attended
by
Humphrey


family
members.
The
bust
of
Vice
President
Humphrey
was
the
first
commission
the
Senate
awarded
to
the
sculptor.
He
later
completed
busts


of
George
H.W.
Bush
(p.
52)
and
Gerald
Ford
(p.
126)
for
the
Vice
Presidential
Bust
Collection.
Hancock,
born
in
1901
in
St.
Louis,
studied
and


taught
at
the
Pennsylvania
Academy
of
the
Fine
Arts,
where
he
headed


the
sculpture
department
for
nearly
40
years.
He
received
many
honors


during
a
long
and
illustrious
career,
including
the
National
Medal
of
Arts.


194 United States Senate 
Hubert H. Humphrey, Jr. 

Walker Kirtland Hancock (1901–1998) 

Marble,
modeled
and
carved
1982


24
7

⁄16
 x
22
3⁄4
 x
13
3⁄4
 inches
(62.1
x
57.8
x
34.9
cm)


Signed
and
dated
(on
subject’s
truncated
left
arm):
WALKER
MANCOCK
[sic]
1982


Commissioned
by
the
Senate
Committee
on
Rules
and
Administration,
1980


Accepted
by
the
Senate
Committee
on
Rules
and
Administration,
1984


Cat.
no.
22.00038


Catalogue of Fine Art 195 
Andrew	Jackson	

(1767–1845) 

Andrew
Jackson
was
a
national
hero
for
his
 I

n	1824	Thomas	Sully	painted	a	study	portrait	from	life	of	Andrew	

defeat
of
the
British
at
New
Orleans
in
the
 Jackson.	The	hero	of	the	Battle	of	New	Orleans	was	by	then	a War
of
1812.
He
was
born
in
what
is


today
Lancaster
County,
South
Carolina,
 U.S.	senator	and	a	Democratic	nominee	for	president.	Two	decades	

and
later
moved
to
what
is
now
Nashville,
 later,	Jackson’s	ill	health	prompted	Sully	to	copy	his	1824	study	

Tennessee.
In
1796,
after
serving
as
a
dele­ portrait;	the	replica,	which	closely	resembles	the	study,	was	com­ gate
to
Tennessee’s
first
Constitutional
Convention,
Jackson
was
the
first
person
elected
 pleted	shortly	before	Jackson’s	death	in	April	1845.	It	is	now	owned	by	

to
the
U.S.
House
of
Representatives
from
 the	National	Gallery	of	Art	in	Washington,	D.C.	Sully	used	the	replica	as	

the
state
of
Tennessee.
The
following
year,
 a	model	to	create	a	full­length	portrait	of	Jackson	as	the	battle	hero	(this he
won
a
seat
in
the
U.S.
Senate
but
soon


resigned
for
personal
and
financial
reasons.
 painting	is	now	owned	by	the	Corcoran	Gallery	of	Art	in	Washington,	

From
1798
to
1804
he
served
as
a
supe­ D.C.).	The	National	Gallery’s	portrait	was	long	assumed	to	be	the	origrior
court
judge
in
Tennessee,
then
retired
to
 inal	1824	life	study	until	it	was	discovered	that	the	artist	had	not	purchased live
the
life
of
a
country
gentleman.


When
war
broke
out
in
1812,
Jackson
 the	linen	on	which	it	was	executed	until	the	mid­1830s.	The	original	1824	

returned
to
public
life
as
a
military
leader
 study	was	privately	owned	by	Mrs.	Breckenridge	Long	in	1940,	but	its	

and
rose
to
the
rank
of
major
general.
His
 current	location	is	unknown.	

1815
defeat
of
the
British
at
the
Battle
of


New
Orleans
won
him
widespread
fame;
 The	portrait	now	in	the	U.S.	Senate	was	painted	several	years	after	

he
became
the
South’s
great
hero
and
was
 Sully’s	other	Jackson	portraits,	probably	in	the	late	1850s.	Though	it	is	

affectionately
known
as
“Old
Hickory.”
 clearly	based	on	the	1824	and	1845	likenesses,	it	differs	from	these	works	 After
serving
briefly
as
governor
of
Florida
 in	three	distinct	ways.	First,	the	canvas	is	considerably	larger,	a	result when
it
was
admitted
as
a
new
U.S.
territory
in
1821,
Jackson
returned
to
the
 of	a	later	mounting	of	the	original	canvas	on	another,	increasing	the	

Senate
and
in
1824
ran
for
president
 size	by	four	inches	at	the	sides	and	top	and	by	six	inches	at	the	bottom. against
Henry
Clay,
John
Quincy
Adams,


and
William
Crawford.
The
House
of
Repre­ This	expansion	necessitated	painting	an	addition:	the	dark	cloak	below	

sentatives
decided
the
election
in
favor
of
 the	collar	(which	has	darkened	into	an	

Adams,
because
no
candidate
had
an
elec­ undefined	mass).	 toral
majority.
Jackson
possessed
the
largest
 Second,	 the	 pose	 is	 slightly	 popular
vote,
but
he
narrowly
lost
the
elec­


tion
despite
his
supporters’
charges
of
a
 altered.	 The	 characterization	 shifts	

“corrupt
bargain”
between
the
Clay
and
 from	poetic	and	introspective	to	vig­	 Adams
adherents.
Four
years
later,
Jackson
 orous	 and	 engaged.	 The	 head	 tilts	 was
elected
to
the
first
of
two
terms
as
the


seventh
president
of
the
United
States.
 more,	throwing	the	chin	completely	out	

Beloved
by
his
supporters
as
a
 of	the	vertical	centerline.	The	chin	also	

champion
of
the
common
man,
Jackson


met
with
controversy
during
both
of
his
 is	painted	more	emphatically,	with	a	

terms.
A
principal
topic
early
in
his
 strong	highlight,	which	subtly	alters	the	

administration
was
nullification,
as
South
 appearance	of	the	face	when	compared Carolinians
threatened
to
nullify
federal


tariffs
they
found
oppressive—or
secede
 with	the	1824	and	1845	Sully	paintings.	

if
not
permitted
to
do
so.
The
president
 Third,	Sully’s	mature	style,	as	seen	

made
clear
that
he
stood
firmly
for
the


Union,
and
he
fought
hard
to
pass
a
tariff
 in	the	1824	and	1845	Jackson	portraits,	 This 1845 portrait of Andrew Jackson 

act
to
resolve
the
issue.
The
debate
over
 is	not	congruent	with	that	of	the	Senate	 by Thomas Sully is a replica of the 

artist’s original 1824 life portrait. nullification
and
states’
rights
continued
 painting.	In	the	latter,	the	paint	surface	 (Andrew W. Mellon Collection, © 1999 Board of Trustees, 

into
the
1832
presidential
campaign,
and
 is	built	up	and	emphatic,	exaggerating	 National Gallery of Art, Washington, D.C.) 

196 United States Senate 
Andrew Jackson 

Attributed to Thomas Sully (1783–1872) 

Oil	on	canvas	mounted	on	board,	ca.	1857	

29	1

⁄4	 x	24	1⁄4	 inches	(74.3	x	61.6	cm)	

Unsigned	

Purchased	by	the	Joint	Committee	on	the	Library,	1922	

Cat.	no.	32.00018	

Catalogue of Fine Art 197 
Andrew	Jackson—continued 

only
eased
the
following
year
with
the


passage
of
a
compromise
tariff
engineered
by
Henry
Clay.


Jackson’s
long
fight
against
a
bill
to


recharter
the
Bank
of
the
United
States
was


also
a
source
of
political
conflict
during


the
1832
campaign.
His
anti­bank
stance


appeared
democratic
to
voters,
however,


and
Jackson
was
elected
to
a
second
term,


defeating
Henry
Clay,
who
supported
a


national
financial
institution.
Jackson,
who


wanted
to
ensure
the
demise
of
the
bank,


subsequently
withdrew
federal
monies
and


deposited
them
in
state
banks,
an
action


thought
to
have
contributed
to
the
economic
Panic
of
1837.
In
addition,
Jackson


would
later
receive
criticism
when
thousands
of
Native
Americans
were
forced
to


relinquish
their
land
and
relocate
to
Indian


Territory
(now
Oklahoma).


A
strong
chief
executive
who
expanded


the
power
of
the
presidency,
Jackson
also


exerted
significant
influence
over
the
Democratic
Party.
After
dictating
his
choice
of
a


successor
(Martin
Van
Buren),
Jackson


retired
to
his
country
home,
the
Hermitage,


near
Nashville.
He
died
there
in
1845.


Thomas B. Welch copied one of Thomas 

Sully’s paintings of Andrew Jackson in 

order to complete this 1852 engraving. 

the	appearance	of	the	hair	and	the	eyebrows,	as	well	as	the	chin,	creased	

cheek,	and	forehead.	In	contrast,	Sully’s	1824	and	1845	Jacksons	are	painted	

with	a	light	touch—a	fluidity	of	brushwork	that	creates	an	effect	of	transparency.	In	the	Senate	painting,	one	finds	repeated	shapes	and	insistent	

rhythms	(for	instance,	in	Jackson’s	hair)	that	are	not	found	in	the	earlier	

portraits	and	do	not	seem	typical	of	Sully.	In	addition,	the	skin	tone	is	

swarthy,	a	tone	not	typical	of	the	artist	or,	for	that	matter,	of	Jackson.	

Engraver	Thomas	B.	Welch	introduced	many	of	the	stylistic	exaggerations	found	in	the	Senate	painting	(especially	in	the	hair,	eyebrows,	

and	facial	furrows)	in	his	1852	engraved	copy	of	Sully’s	earlier	likenesses.	

Although	Sully	might	have	replicated	an	engraving	of	his	own	painting,	

it	is	also	possible	that	the	Senate	painting	was	copied	from	Welch’s	

engraving	by	another,	unidentified	artist.	

The	provenance	of	the	Senate	painting,	on	the	other	hand,	appears	

to	support	an	attribution	to	Sully.	On	June	6,	1872,	Garrett	C.	Neagle,	

son	of	the	artist	John	Neagle	and	grandson	of	Thomas	Sully,	wrote	to	

Architect	of	the	Capitol	Edward	Clark	to	confirm	receipt	of	two	Sully	paintings	that	Garrett	Neagle	had	sent	to	the	Joint	Committee	on	the	Library.	

The	paintings,	a	portrait	of	Andrew	Jackson	and	one	of	Thomas	Jefferson	

(p.	212),	“painted	by	Mr.	Thos.	Sully	in	the	years	1856	and	7,”	were	being	

offered	for	sale	by	Neagle	for	$300	each.	According	to	Neagle,	the	Jackson	

portrait	was	“painted	from	studies	taken	from	life”	and	was	considered	

a	fine	likeness	of	the	former	president.	After	Sully’s	death	on	November	

5,	1872,	Neagle	wrote	that	the	portraits	now	“should	be	worth	to	Congress,	at	least	$500	each.”	Clearly,	Garrett	Neagle	had	no	doubt	about	

the	authenticity	of	the	portraits,	although	he	stood	to	benefit	financially	

from	their	sale.	

The	Joint	Committee	on	the	Library	considered	the	matter	at	leisure	

and	in	May	1874	purchased	the	Jefferson	portrait	(for	only	$200)	and	

returned	the	Jackson	painting	to	Neagle.	Half	a	century	after	Neagle’s	

first	offer,	a	New	York	art	firm	offered	the	Jackson	portrait	again	to	

the	U.S.	government.	This	time	the	Joint	Committee	on	the	Library	

authorized	its	purchase	on	March	1,	1922,	for	$1,200.	

Right: 

The Senate’s painting of Andrew Jackson 

once hung in the office of the secretary of 

the Senate in the Capitol. 

(1999 photograph) 

198 United States Senate 

Henry	Martin	Jackson	

(1912–1983) 

Henry
Martin
Jackson—popularly
known
 This	bronze	portrait	bust	of	Henry	Jackson	was	donated	to	

by
the
nickname
“Scoop”—was
born
in
 the	 U.S.	 Senate	 in	 1987	 by	 Helen	 Hardin	 Jackson,	 the Everett,
Washington.
Jackson
practiced


law
in
his
hometown
and
became
prose­ senator’s	widow,	and	the	Henry	M.	Jackson	Foundation.	Sevcuting
attorney
of
Snohomish
County
in
 eral	years	earlier	the	foundation	had	commissioned	a	bust	

1938.
Two
years
later
he
was
elected
to
 of	Jackson	from	artist	Wendy	Ross	for	display	at	the	Henry the
U.S.
House
of
Representatives
as
a


Democrat,
where
he
served
for
the
next
 M.	Jackson	School	of	International	Studies	in	Seattle.	In	an	April	10,	1987,	

12
years,
briefly
chairing
the
Committee
 letter	to	Senator	Wendell	Ford,	chairman	of	the	Senate	Committee	on	Rules	

on
Indian
Affairs.
Jackson
won
election
to
 and	Administration,	Helen	Jackson	wrote,	“A	second	cast	of	the	bust	was the
U.S.
Senate
in
1952.


Throughout
his
long
and
distinguished
 also	commissioned	with	the	hope	that	it	might	be	placed	as	a	memorial	

Senate
career,
Jackson
focused
his
efforts
 to	Scoop	somewhere	in	the	Capitol	or	in	one	of	the	Senate	office	buildon
two
issues:
energy
and
the
environment,
 ings	where	he	spent	so	much	of	his	life	and	career	in	public	service.” and
national
security.
He
served
as
chair­ The	bronze	bust	was	cast	by	Wegner	Metal	Arts	Foundry	in	Fredericks­ man
of
the
Committee
on
Interior
and


Insular
Affairs
and
its
successor,
the
Com­ burg,	Virginia,	and	formally	accepted	and	placed	in	an	alcove	in	the	Russell	

mittee
on
Energy
and
Natural
Resources;
in
 Senate	Office	Building	during	a	ceremony	on	November	19,	1987. this
capacity
he
was
uniquely
positioned
to
 An	internationally	recognized	artist,	Wendy	M.	Ross	received	her address
the
natural
resource
concerns
of


his
Washington
state
constituents.
He
was
 master’s	degree	from	the	Rhode	Island	School	of	Design	in	1973.	Her	

instrumental
in
passing
conservation
and
 public	portrait	commissions	include	a	monumental	bronze	bust	of	Jus­ energy
legislation
throughout
the
1960s
 tice	William	O.	Douglas	for	the	Supreme	Court	of	the	United	States,	and and
1970s,
and
drafted
the
landmark


National
Environmental
Policy
Act
of
1969.
 a	second	version	at	the	C&O	Canal	National	Historical	Park	in	Washington,	

Also
an
advocate
for
strong
national
 D.C.,	and	a	full­length	statue	of	Congressman	Philip	Burton	overlooking defense,
particularly
with
regard
to
the


Soviet
Union,
Jackson
was
a
member
of
 the	Golden	Gate	Bridge	in	San	Francisco.	Her	larger­than­life­size	seated	

both
the
Joint
Committee
on
Atomic
Energy
 figure	of	George	Mason	for	the	George	Mason	Memorial	in	Washington,	

and
the
Armed
Services
Committee,
and
 D.C.,	was	unveiled	in	2002.	Ross’s	abstract	steel	works	are	located	in gained
a
reputation
as
an
expert
on


nuclear
weapons
and
defense
issues.
 many	 public	 and	

Well
respected
by
his
colleagues
in
the
 private	 collections.	

Senate,
Jackson
was
considered
a
front­ In	 2002	 she	 comrunner
for
the
Democratic
vice­presidential
 pleted	 a	 horizontal nomination
in
1960,
but
John
F.
Kennedy


offered
the
nomination
to
Lyndon
Johnson
 100­foot	 welded	

instead.
In
announcing
the
news
to
the
 steel	sculpture	facing press,
Jackson
remarked,
“No
one
should


enter
politics
unless
he
is
a
good
sport
.
.
.
 Boston	 Harbor	 on	

I
will
do
whatever
Senators
Kennedy
and
 the	Grand	Staircase	

Johnson
want
me
to
do.
I
will
do
everything
 of	the	Boston	World	

a
good
sport
should
do.”1
 That
year
he
 Trade	Center. served
as
chairman
of
the
Democratic


National
Committee.
He
later
ran
unsuccessfully
for
the
Democratic
presidential


nomination
in
1972
and
1976.
Senator
 Wendy Ross, left, and Helen Hardin 

Jackson
died
in
office
on
September
1,
 Jackson, right, at the unveiling of 

1983,
ending
a
congressional
career
that
 the heroic-size bust of Senator Henry 

spanned
more
than
four
decades.
 Jackson, November 19, 1987. 

(Architect of the Capitol) 

200 United States Senate 

Sergeants	Jasper	and	Newton	Rescuing	

American	Prisoners	from	the	British	

(August 1779) 

About
two
miles
north
of
Savannah,
 J

ohn	Blake	White,	in	his	painting	Sergeants
Jasper
and
Newton


Georgia,
in
August
1779,
two
patriots
 Rescuing
American
Prisoners
from
the
British,	depicts	the	daring dramatically
rescued
a
desperate
group
­

of
Americans
held
prisoner
behind
British
 rescue	recorded	by	Parson	Mason	Locke	Weems.	Though	styl	­

lines.
Now
legendary,
this
Revolutionary
 ized	and	rife	with	patriotic	romanticism,	White’s	account	is	lessWar
incident
was
recounted
by
Parson
 fanciful	than	most	artistic	renderings	of	the	event,	including	a­ Mason
Locke
Weems,
who
also
popular
­

ized
the
fabricated
tale
of
George
Wash­ Currier	and	Ives	engraving	titled	The
Rescue.	In	White’s	depiction,	theington
and
the
cherry
tree.
Although
 two	sergeants	stand	with	the	muskets	they	have	snatched	from	the	British.­

scholars
have
not
been
able
to
verify
 The	young	father	who	inspired	the	rescue	holds	his	son,	while	his	wife­ Weems’s
account
of
the
rescue,
it
­

appears
to
be
essentially
accurate.
 sinks	to	her	knees	in	gratitude.	Recounted	Weems:	“Directing	her	eyesThe
story
involves
General
Francis
 to	 Jasper	 and	 Newton...	she	 ran	 and	 fell	 on	 her	 knees	 before	

Marion
and
two
of
his
scouts.
Known
as
 them...	crying	out	vehemently,	‘Dear	angels!	dear	angels!	God	bless	you! the
“Swamp
Fox,”
Marion
commanded
 God	Almighty	bless	you	for	ever!’”1	 guerrilla
operations
in
South
Carolinathroughout
the
Revolutionary
War.
The
 The	 Senate,	 by	 resolution	 of	 February	 17,	 1899,	 accepted	 thescouts—William
Jasper,
who
had
previ­ painting,	Sergeants
Jasper
and
Newton
Rescuing
American
Prisoners
from
 ously
distinguished
himself
at
the
Battle
 the
British.	Octavius	White,	son	of	the	artist,	presented	this	work,	along­ of
Fort
Moultrie,
and
John
Newton—­

observed
a
group
of
about
10
American
 with	two	other	paintings	by	his	father:	General
Marion
Inviting
a
British


prisoners
while
visiting
Jasper’s
brother,
a
 Officer
to
Share
His
Meal
(p.	268)	and	Mrs.
Motte
Directing
Generals
 loyalist
encamped
with
the
British
forces.
 Marion
and
Lee
to
Burn
Her
Mansion
to
Dislodge
the
British
(p.	290).­ The
Americans
were
about
to
be
sentdownriver
for
trial
at
Savannah
and
prob­ Two	years	later,	Octavius	White	donated	a	fourth	work	by	his	father,­

able
execution.
Sergeants
Jasper
and
 The
Battle
of
Fort
Moultrie
(p.	32).­ Newton
were
said
to
have
been
particu
­

larly
moved
by
the
plight
of
a
young
man
 This	painting	of	Sergeants	Jasper	and	Newton,
as	well	as	John	Blakeaccompanied
by
his
grief­stricken
wife
and
 White’s	painting	of	General	Marion	and	the	British	officer,	were	engravedchild.
The
two
scouts—who
were
dressed
in
 by	John	Sartain	for	popular	sale.	They	were	widely	distributed	by	the­ civilian
attire
and
trained
to
move
throughthe
woods
undetected
to
gather
information
 Apollo	Association	for	the	Promotion	of	the	Fine	Arts	in	the	United	States,­

and
intercept
British
patrols—hid
and
fol­ a	subscription	organization	better	known	by	its	later	title,	the	Americanlowed
the
party
as
it
headed
to
Savannah.
 Art­Union.	For	an	annual	fee,	members	would	receive	engravings	of­ Without
arms,
they
waited
at
 selected	 works	 as	 well	 as	 the­ a
watering
hole
in
hopes
ofwaylaying
the
British
escort.
 opportunity	 to	 win	 originalsAs
the
guards
rested
their
 through	raffle	drawings.	The	asso	­ guns,
Jasper
and
Newtonoverpowered
them,
took
the
 ciation’s	choice	of	the	White	paintmuskets,
and
freed
the
 ings	for	distribution	gave	them	a	

grateful
prisoners.
 broader,	 national	 audience.	 The	

same	two	paintings	also	appeared	

on	Confederate	banknotes	issued	

This
1861
Confederate
banknote
reproduces
 in	 1861	 by	 South	 Carolina,	 theJohn
Blake
White’s
painting
of
Sergeants


William
Jasper
and
John
Newton.
 home	state	of	John	Blake	White.­

(Private Collection) 

202 United
States
Senate

Sergeants
Jasper
and
Newton
Rescuing
American
Prisoners
from
the
British


John Blake White (1781–1859) 

Oil	on	canvas,	date	unknown24	1

⁄8	 x	29	inches	(61.3	x	73.7	cm)­

UnsignedGift	of	Octavius	A.	White	(son	of	the	artist),	1899­

Accepted	by	the	Joint	Committee	on	the	Library,	1899­

Cat.	no.	33.00003­

Catalogue
of
Fine
Art
 203 
John	Jay	

(1745–1829) 

John
Jay
of
New
York
City
was
the
first
 The	inscription	on	this	bust	of	John	Jay	signifies	the	true	

chief
justice
of
the
United
States.
Descended
 measure	of	John	Frazee’s	heartfelt	republicanism.	At	first	 from
two
wealthy,
influential
families,
Jaypracticed
law
until
he
became
immersed
 perplexing,	the	abbreviated	final	words	“Am.	In.	55	”	actu­	

in
the
politics
of
the
American
Revolution.
 ally	stand	for	“in	the	55th	year	of	American	Independence.”	

He
was
a
delegate
to
both
Continental
 A	truly	fine	achievement,	Frazee’s	bust	of	John	Jay	is	worthy	 Congresses;
in
1778
he
was
elected
presi­ of	a	new	nation	that	looked	to	the	Roman	Republic	for	inspiration	and	 dent
of
the
second
Continental
Congress.
­

In
1779
Congress
appointed
Jay
minister
 historical	confirmation.	It	is	simple,	resolutely	frontal,	and	very	Roman,	

plenipotentiary
to
Spain,
where
he
was
 both	in	its	stylization	of	the	commanding	head	and	in	the	drapery.	 asked
to
seek
aid
and
recognition
for
theAmerican
cause.
In
the
spring
of
1782
Jay
 In	1831	Congress	appropriated	$400	“for	employing	John	Frazee	

joined
Benjamin
Franklin
in
Paris
to
nego­ to	execute	a	bust	of	John	Jay	for	the	Supreme	Court	room.”	Frazee	had	

tiate
peace
with
England.
Playing
a
leading
 sought	 the	 commission	 through	 New	 York	 Congressman	 Gulian	 role
in
the
negotiations,
Jay
signed
theTreaty
of
Paris
on
behalf
of
the
United
 Verplanck,	chairman	of	the	House	Committee	on	Public	Buildings.	A	

States.
Upon
his
return
home
in
1784
he
 bill	was	submitted	authorizing	$600	to	be	paid	to	Frazee	for	the	bust’s	

discovered
that
he
had
been
appointed
 creation.	By	the	time	Congress	authorized	the	expenditure	a	year	later,	 secretary
of
foreign
affairs,
and
he
served
 the	sum	had	been	reduced	to	$400.	Although	Frazee	was	disappointed	 through
the
transition
to
the
new
govern
­

ment
in
1789.
A
strong
supporter
of
the
 by	the	amount,	he	was	pleased	at	the	opportunity,	writing	Commis­	

new
Constitution,
Jay
wrote
many
persua­ sioner	of	Public	Buildings	Joseph	Elgar	that	it	was	“the	first	instance sive
essays
for
The Federalist. 

Selected
as
chief
justice
in
1789,
Jay
 where	our	Government	has	voluntarily	bestowed	its	patronage	on	an	

presided
over
the
Supreme
Court
until
 American	genius,	in	this	department	of	the	arts.”	Even	though	Congress	

1795.
The
most
important
case
before
the
 had	authorized	Frazee	to	execute	the	Vice	President	Elbridge	Gerry Court
during
these
years
was
Chisholm v.
 monument	for	the	Congressional	Cemetery	in	the	early	1820s,	the	artist Georgia, in
which
the
Supreme
Court


upheld
the
right
of
citizens
of
one
state
 did	not	consider	that	memorial	a	work	of	fine	art.	

to
sue
another
state.
In
1794
Jay
went
 Frazee	derived	his	portrait	from	a	1792	life	bust	by	Giuseppe	 abroad
again,
this
time
to
avert
threat
­

ened
war
with
Britain
over
a
number
of
 Ceracchi.	The	gifted	Italian	sculptor	had	come	to	Philadelphia	in	1791	

grievances,
including
occupation
of
 (the	government	had	just	relocated	there)	to	vie	for	a	congressional	

western
military
posts
and
trade
restric­ commission	to	make	an	equestrian	statue	of	George	Washington.	In	 tions.
The
Jay
Treaty
of
1794,
although
 the	end,	the	commission	was	never	awarded,	but	Ceracchi	did	not	 unpopular,
was
approved
by
the
U.S.


Senate.
At
the
close
of
his
career,
Jay
 squander	his	time	in	America.	He	modeled	clay	busts	of	a	number	of	

served
two
terms
as
the
second
governor
 important	figures,	including	Washington,	Jefferson,	Hamilton,	and	Jay. of
New
York.
Afterward,
he
declined


renomination
to
the
Supreme
Court
and
 Ceracchi	returned	to	Italy	soon	after	taking	Jay’s	likeness	and	transretired
to
his
farm
in
Katonah,
New
York,
 lated	his	models	into	marble	over	the	next	two	years.	

where
he
died
in
1829.
 For	his	model,	Frazee	probably	borrowed	a	version	of	Ceracchi’s	

bust	owned	by	the	Jay	family	(it	is	thought	to	have	been	the	terracotta	

portrait	now	preserved	at	the	Supreme	Court	of	the	United	States).	Although	

he	relied	on	Ceracchi	for	the	accuracy	of	Jay’s	features,	Frazee	moved	

decisively	away	from	the	striking	naturalism	of	his	model	to	a	distinctive	

neoclassicism.	Two	plaster	heads	of	Jay	at	the	New­York	Historical	Society,	

once	thought	to	be	by	Ceracchi,	are	now	judged	to	be	by	Frazee.	These	

204 United States Senate 
John Jay 

John Frazee (1790–1852) 

Marble,	1831	

30	x	21	5

⁄8	 x	12	1⁄4	 inches	(76.2	x	54.9	x	31.1	cm)	

Signed	(on	front	of	console):	J.	Frazee,	fecit	

Inscribed	(on	subject’s	back):	Executed	by	J.	Frazee,	to	order	of	Congress	1831;	Am.	In.	55	

Commissioned	by	the	Joint	Committee	on	the	Library,	1831	

Accepted	by	the	Joint	Committee	on	the	Library,	1832	

Cat.	no.	21.00010	

Catalogue of Fine Art 205 
John	Jay —continued 

intermediate	studies	attest	to	the	gradual,	deliberate	distancing	of	Frazee’s	

style	from	Ceracchi’s.	The	departure	is	particularly	interesting	because	much	

of	Frazee’s	work	is	indeed	naturalistic	in	style.	But	in	this	case,	the	artist,	

who	resented	the	bestowal	of	American	patronage	upon	European	sculptors,	was	determined	to	create	a	clearly	contrasting	bust	of	Jay,	despite	

his	enforced	reliance	on	Ceracchi’s	precedent.	

The	neoclassicism	of	the	Jay	bust	is	most	apparent	in	the	hair,	

the	eyes,	and	the	costume.	Although	Jay’s	son	Peter	Augustus	declared	

Frazee’s	portrait	“an	excellent	likeness,”	there	were	some	significant	

differences	between	the	man	and	the	marble.	The	chief	justice’s	hair	

had	receded	considerably	by	1794,	virtually	to	the	center	of	the	crown	

of	his	head.	But	the	Roman	precedent	dictated	a	full	helmet	of	tightly	

curled	hair,	in	a	style	never	affected	by	Jay.	And	although	Jay	

was	naturally	reserved,	even	aloof,	the	pronounced	solemnity	

of	his	expression	here	also	is	a	bow	to	Roman	portrait	sculpture.	Where	Ceracchi	incised	the	eyeballs	in	his	head	of	Jay,	

Frazee	introduced	blank	eyeballs,	which	were	standard	in	19thcentury	neoclassical	sculpture.	Moreover,	the	costume	is	Roman	

in	both	works,	but	Frazee’s	is	more	elaborate	and	theatrical	

in	design.	

It	is	significant	that	Frazee,	an	artisan	stonecutter	by	trade,	

was	fully	able	to	translate	his	own	clay	models	into	stone.	He	

had	every	reason	to	be	as	faithful	as	possible	to	the	model,	and	

in	the	Jay	bust	his	carving	is	technically	distinguished.	From	the	

weighty	folds	of	drapery	to	the	subtly	modeled	head,	Frazee	is	

in	command	of	his	material	and	his	concept.	Considering	that	he	

was	the	first	American	sculptor	to	work	in	marble,	and	that	this	

commission	was	the	first	ever	awarded	by	Congress	to	a	nativeborn	sculptor,	his	achievement	was	remarkable—and	he	knew	

it.	Writing	to	Congressman	Verplanck,	the	artist	predicted	that	the	

bust	“will	be	more	admired	I	know	than	any	piece	of	fine	art	that	

has	ever	appeared	at	the	Capital.	 I	cannot	be	mistaken	in	my	

One
of
several
plaster
studies
of
John
Jay
 judgment.”	Others	agreed.	When	exhibited	in	New	York	(where made
by
John
Frazee,
1831.


(Collection of the New-York Historical Society) it	was	seen	by	“upwards	of	four	thousand	visitors	a	day,”	according	to	

contemporary	newspaper	accounts),	the	bust	was	pronounced	“delicate	

and	beautiful”	by	the	New York Mirror.1	And	when	installed	in	the	Supreme	

Court	Chamber	in	the	Capitol,	the	Washington Globe concluded:	“We	have	

206 United States Senate 
John
Frazee
based
his
portrait
of
John
Jay


on
a
Giuseppe
Ceracchi
bust,
most
probably


this
1792
terracotta
version.


(Collection of the Supreme Court of the United States) 

seen	nothing	of	the	kind	in	this	country,	either	from	the	chisel	of	a	native	

or	foreign	artist,	superior	in	finished	performance.” 2	

Although	the	commission	aided	Frazee’s	career,	it	did	not	lead	to	

further	congressional	work	for	the	artist.	Perhaps	this	was	because	Frazee	

complained	in	print	(through	another	writer)	that	he	had	received	insufficient	“remuneration	for	such	a	work.”3	 Instead	the	sculptor	went	on	

to	execute	a	number	of	commissions	for	the	Boston	Athenaeum,	including	

a	bust	of	Chief	Justice	Joseph	Story.	In	1835	Frazee	executed	at	least	

two	marble	replicas	of	the	original	Jay	bust.	Today	one	is	located	in	

New	York’s	City	Hall;	the	other	is	in	the	collection	of	the	U.S.	Department	of	State.	Several	other	plaster	versions	by	Frazee’s	own	hand	existed	

in	the	19th	century,	but	they	have	since	disappeared.	

Catalogue of Fine Art 207 
Thomas	Jefferson	

(1743–1826) 

Father
of
the
Declaration
of
Indepen­ The	bust	of	Thomas	Jefferson	was	one	of	the	first	executed	

dence,
the
multi­talented
Thomas
Jefferson
 for	the	Senate’s	Vice	Presidential	Bust	Collection.	The	comachieved
perhaps
his
greatest
renown
as
 mission,	authorized	under	a	Senate	resolution	of	May	13, a
political
theorist
and
spokesman
for


democracy.
He
was
born
in
what
is
now
 1886,	was	awarded	to	sculptor	Moses	Ezekiel.	Ezekiel	was	

Albemarle
County,
Virginia,
studied
law,
 in	Rome	when	he	received	the	first	of	several	letters	from	

and
was
admitted
to
the
Virginia
bar
in


1767.
He
served
in
the
Virginia
house
of
 Architect	of	the	Capitol	Edward	Clark,	requesting	a	proposal	for	a	bust	

burgesses
from
1769
until
it
disbanded
in
 of	Jefferson.	Clark	first	wrote	to	Ezekiel	on	May	24,	1886,	and	the	sculptor	

1774.
Virginia
sent
Jefferson
to
the
 responded	with	an	offer	on	June	6,	on	the	assumption	that	he	was	being second
Continental
Congress,
where
he


was
elected
to
the
committee
charged
with
 commissioned	for	more	than	one	work.	Clark	corrected	him	in	a	letter	

drafting
a
declaration
of
independence.
 of	June	23,	which	also	included	the	approximate	dimensions	desired	

Although
he
was
assisted
by
John
Adams,
 for	the	Jefferson	bust.	Ezekiel	accepted	the	commission	on	July	21,	stated Benjamin
Franklin,
and
others,
Jefferson
 his	usual	fee,	but	candidly	concluded,	“I	will	leave	the	matter	of	price was
the
document’s
primary
author.


Jefferson
served
in
the
Virginia
state
 with	you	and	be	satisfied...as 	I	would	like	to	have	the	commission,	

legislature
from
1776
to
1779,
and
he
 having	at	present	no	work	on	hand	and	needing	it.”	The	commission	 was
governor
between
1779
and
1781.
 was	confirmed	on	August	2,	and	just	over	two	years	later,	on	September After
the
Revolutionary
War,
he
carried


out
various
assignments
abroad,
including
 12,	1888,	Ezekiel	announced	that	he	had	completed	the	bust,	which	“will	

serving
as
minister
to
France.
When
he
 I	hope	give	you	perfect	satisfaction.”	The	bust	was	shipped	from	Italy returned
home
in
1789,
he
accepted
the
 in	January	1889,	then	transferred	by	railroad	from	New	York	by	March post
of
secretary
of
state
in
George


Washington’s
first
administration.
Fol­ 23,	and	received	at	the	Capitol	soon	afterward.	

lowing
a
brief
retirement
from
public
 Like	other	sculptors	then	engaged	in	carving	portraits	of	deceased	 service,
Jefferson,
representing
the


Republicans,
ran
for
the
presidency
in
 vice	presidents	for	the	Senate’s	Vice	Presidential	Bust	Collection,	Ezekiel	

1796.
According
to
the
election
rules
of
 needed	a	model,	an	earlier	portrait	on	which	to	base	his	likeness.	If,	

the
day,
he
finished
second
to
Federalist
 as	has	been	suggested,	he	derived	the	features	from	those	of	the	full­ John
Adams
and,
as
a
result,
was
designated
the
nation’s
second
vice
president.
 length	statue	of	Jefferson	by	Pierre	Jean	David	d’Angers,	presented	to	

This
outcome,
in
which
the
president
and
 the	United	States	in	1834	by	Uriah	P.	Levy,	it	is	not	known	when	he	

vice
president
represented
opposing
par­ could	have	seen	it.	Ezekiel	was	living	in	Rome	and	did	not	return	during ties,
would
prove
unique
in
U.S.
history.


As
vice
president,
Jefferson
devised
 the	period	of	this	commission.	

the
Manual of Parliamentary Practice Despite	 the	 uncertainty	 about	 Ezekiel’s	 model,	 the	 work	 does	

guidebook
for
the
Senate’s
presiding
 resemble	the	David	d’Angers	statue,	but	with	an	odd,	compressed	appear­ officer
that
is
still
relevant
today.
Meanwhile,
he
prepared
for
a
second
run
for
 ance.	Here,	Jefferson	looks	a	bit	like	a	handsome,	genial	young	clergyman.	

the
presidency
in
1800.
This
time,
he
tied
 The	long	neck	is	factually	accurate,	the	wavy	hair	more	carefully	coiffed	

in
electoral
votes
with
his
opponent,
Aaron
 than	in	some	other	portraits.	The	recessive,	pushed­back	shoulders	prob­ Burr.
After
36
ballots,
the
House
of
Representatives
chose
Jefferson
as
the
country’s
 ably	were	meant	to	suggest	that	the	great	statesman	was	clasping	his	hands	

third
president.
 behind	his	back.	(It	is	also	possible	that	the	block	of	marble	at	Ezekiel’s	

The
most
significant
accomplishment
of
 disposal	was	too	small	to	accommodate	broader	shoulders	or	upper	arms.) Thomas
Jefferson’s
first
administration
was


the
Louisiana
Purchase
in
1803,
which
 The	steeply	vertical	coat	lapels	emphasize	the	long,	slender	torso	of	the	

doubled
the
size
of
the
United
States.
 tall,	lanky	Jefferson.	

208 United States Senate 
Thomas Jefferson 

Moses Jacob Ezekiel (1844–1917) 

Marble,	1888	

29	1

⁄2	 x	20	x	16	1⁄8	 inches	(74.9	x	50.8	x	41	cm)	

Unsigned	

Commissioned	by	the	Joint	Committee	on	the	Library,	1886	

Accepted	by	the	Joint	Committee	on	the	Library,	1889	

Cat.	no.	22.00002	

Catalogue of Fine Art 209 
Thomas	Jefferson —continued 

Reelected
triumphantly
the
following
year,
 The	bust	is	very	competently	carved,	demonstrating	why	the	now­	

Jefferson
spent
much
of
his
second
term
 neglected	Ezekiel	was	honored	and	respected	in	his	day.	There	is	 attempting
to
protect
American
rights


against
British
and
French
interests
by
in­ fluency	to	both	the	modeling	and	the	carving.	The	sense	of	the	body	

stituting
a
trade
embargo,
an
effort
that
 beneath	the	coat	and	vest;	the	crisp	clarity	of	buttons	and	creases,	of	

proved
largely
unsuccessful.
 lacy	shirtfront	and	cravat;	and	the	organic	rhythms	of	the	hair	achieved	 In
1809
he
retired
to
his
rural
Virginia
 only	with	the	chisel,	not	the	drill,	all	attest	to	a	decisive	skill. home,
Monticello.
There,
he
championed


higher
education
by
founding
the
University
 Sir	Moses	Ezekiel	was	one	of	America’s	most	prolific	late	19thof
Virginia,
and
pursued
wide­ranging
inter­ century	sculptors.	He	was	born	in	Virginia,	served	in	the	Civil	War, ests
in
the
arts
and
sciences.
Jefferson
is


considered
one
of
the
most
versatile
men
of
 then	studied	in	Cincinnati	and	later	in	Berlin,	where	he	became	the	

his
age,
one
much
respected
for
his
signifi­ first	American	to	receive	the	prestigious	Prix	de	Rome,	for	his	bas­relief	

cant
contributions
to
political
statesmanship
 Israel.	Knighted	by	the	Italian	government,	the	artist	established	a	life­ and
philosophy.
He
is
also
recognized
for
 long	studio	in	Rome	(in	a	section	of	the	ancient	Baths	of	Diocletian), his
scholarship
and
skill
in
architecture,


music,
botany,
and
agriculture.
Jefferson’s
 yet	retained	his	American	citizenship	and	a	studio	in	Cincinnati.	In	1879	

personal
library
was
the
foundation
for
the
 William	W.	Corcoran	commissioned	Ezekiel	to	design	statues	of	great Library
of
Congress.
 artists	and	sculptors	to	fill	11	niches	in	the	facade	of	the	original	

Corcoran	Gallery	of	Art	(now	the	Smithsonian	Institution’s	Renwick	

Gallery)	in	Washington,	D.C.	Today	many	of	these	sculptures	are	displayed	at	the	Norfolk	Botanical	Gardens	in	Virginia.	Other	full­length	

Ezekiel	statues	of	Jefferson	are	found	at	the	University	of	Virginia	and	

at	the	Jefferson	County	Courthouse	in	Louisville,	Kentucky.	Ezekiel’s	

Confederate Memorial is	located	at	Arlington	National	Cemetery;	his	

bronze	statue	of	Edgar	Allan	Poe—often	considered	his	finest	portrait	

statue—can	be	seen	at	the	University	of	Baltimore’s	Law	School;	and	

his	Religious Liberty, commissioned	by	the	Independent	Order	of	B’nai	

B’rith	for	the	Centennial	Exhibition	of	1876,	now	stands	on	the	grounds	

of	the	National	Museum	of	American	Jewish	History	in	Philadelphia.	

The	artist	received	honorary	titles	from	three	European	countries.	

210 United States Senate 
Artist Moses Ezekiel relaxes while 

visiting his brother in Ohio, ca. 1912. 

(Archives of American Art, Smithsonian Institution) 

Catalogue of Fine Art 211 
Thomas	Jefferson —continued 

A merican	artist	Thomas	Sully	traveled	to	Monticello	in	March	

1821	to	capture	a	likeness	of	Thomas	Jefferson.	Sully	was	

on	commission	to	paint	a	portrait	of	Jefferson	for	the	U.S.	

Military	Academy	at	West	Point,	which	Jefferson	established	while	president.	Jefferson	lightly	observed	that	Sully	

might	find	“the	trouble	of	his	journey	and	the	employment	of	his	fine	

pencil,	as	illy	bestowed”	on	his	elderly	person.	But	Sully,	after	two	weeks	

of	sketching	and	painting	the	great	man	at	Monticello,	“left	the	place	

with	the	greatest	reluctance.” 1	

The	immediate	result	of	that	visit	was	a	half­length	oil	painting	

(the	torso	not	completed	until	1830)	of	the	former	president	that	is	one	

of	Sully’s	finest	achievements.	Sully	subsequently	sold	the	painting	to	

William	Short,	Jefferson’s	former	secretary.	Short,	in	turn,	bequeathed	

the	picture	to	the	American	Philosophical	Society,	a	scientific	organization	that	Jefferson	had	presided	over	from	1797	to	1814.	This	painting,	

in	Philosophical	Hall,	Philadelphia,	served	as	the	study	for	the	West	Point	

commission—a	full­length	portrait,	still	owned	by	the	Academy,	which	

Sully	finished	the	following	year.	

Sully	painted	two	replicas	of	the	half­length	painting	in	1856.	Both	

are	listed	in	a	hand­written	register	of	portraits	created	by	Sully.	No.	884	

in	the	register	was	painted	for	the	actor	Edwin	Forrest	between	December	

6	and	11,	and	No.	885	was	painted	“for	myself”	(“second	copy”)	between	

December	11	and	29.	No.	885,	which	remained	in	Sully’s	possession	during	

his	lifetime,	must	be	the	one	offered	for	sale	to	Congress	in	1872	by	the	

artist’s	grandson,	Garrett	C.	Neagle,	for	$300.	The	Joint	Committee	on	

the	Library	took	no	action,	and	after	Sully’s	death	later	that	year	Neagle	

raised	his	asking	price	to	$500.	The	committee	haggled,	and	the	painting	

was	acquired	for	$200	in	1874.	

In	1856	Sully	was	in	his	seventies,	which	probably	accounts	for	

a	noticeable	hardness	in	the	handling	and	harshness	in	the	coloring	of	

the	Senate’s	painting,	characteristics	not	found	in	the	original.	Despite	

the	loss	of	the	artist’s	youthful	finesse,	the	replica	retains	the	extraordinary	dignity	and	repose	of	the	original.	The	magisterial	head,	with	

prominent	brow	and	large,	deep­set	eyes,	is	serenely	poised	above	the	

torso.	Jefferson	is	wearing	a	white	shirt,	a	black	coat,	a	glimpse	of	a	

bright	crimson	waistcoat,	and	a	greatcoat	trimmed	with	sable	furs	given	

to	him	by	Tadeusz	Ko ́sciuszko	(p.	240),	who	had	received	it	from	Czar	

Paul	I	on	his	release	from	prison	in	St.	Petersburg.	The	waistcoat	provides	

212 United States Senate 
Thomas Jefferson 

Thomas Sully (1783–1872) 

Oil	on	canvas,	1856	

28	1

⁄2	 x	23	5⁄8	 inches	(72.4	x	60	cm)	

Unsigned	

Purchased	by	the	Joint	Committee	on	the	Library,	1874	

Cat.	no.	31.00006	

Catalogue of Fine Art 213 
Thomas	Jefferson —continued 

an	effective	note	of	color,	repeated	in	the	shadows	above	the	eyelids.	

Behind	the	head,	Sully	has	painted	a	vague	sky	effect	with	his	favorite	

robin’s	egg	blue,	mingled	with	tawny	hues.	

In	several	of	Sully’s	Jefferson	portraits	(though	not	the	Senate	version),	the	subject	stands	majestically	beside	a	marble	column	from	the	

U.S.	House	of	Representatives.	The	symbolism	is	significant:	Jefferson	

was	closely	involved	in	the	construction	of	the	new	Capitol	building,	

and	he	insisted	that	architect	Benjamin	Henry	Latrobe	use	the	Corinthian	

order	for	the	new	House	Chamber.	The	president	was	keenly	aware	of	

the	importance	of	evoking	the	Roman	aesthetic	and	its	association	with	

a	republican	form	of	government.	

Thomas	Sully	was	the	leading	American	portrait	painter	in	the	

romantic	style	during	the	first	half	of	the	19th	century.	He	was	born	in	

England,	moved	to	the	United	States	with	his	family	at	the	age	of	nine,	

and	lived	in	both	South	Carolina	and	Virginia	during	his	youth.	Sully	

studied	briefly	with	Gilbert	Stuart	in	Boston	and	in	1808	took	up	permanent	residence	in	Philadelphia.	He	later	traveled	to	London,	where	

he	 was	 influenced	 by	 the	 work	 of	 Benjamin	 West	 and	 Sir	 Thomas	

Lawrence.	On	his	return	to	Philadelphia,	Sully	began	a	long	and	successful	career	painting	the	fashionable	men	and	women	of	the	day;	he	

produced	more	than	2,000	portraits	during	his	70­year	career.	

One	important	replica	by	Sully	of	his	half­length	portrait	of	Jefferson—	

this	one	a	bust­length	likeness—was	formerly	owned	by	President	James	

Monroe	and	is	now	on	permanent	loan	to	the	University	of	Virginia	from	

the	 Jefferson	 Literary	 and	 Debating	 Society.	 The	 location	 of	 another	

Jefferson	portrait,	once	owned	by	the	Marquis	de	Lafayette,	is	unknown.	

Sully’s	likenesses	of	Jefferson	became	standard,	and	many	later	artists	and	

engravers	replicated	them.	

A	painting	of	Andrew	Jackson	attributed	to	Thomas	Sully	is	also	in	

the	Senate	(p.	196).	In	addition	to	his	portraits,	Sully	created	landscapes,	

history	paintings,	and	fanciful	compositions.	He	was	a	respected	teacher,	

and	 his	 treatise	 on	 painting	 methods,	 Hints to Young Painters,	 was	

published	posthumously.	

214 United States Senate 
This full-length portrait of President 

Thomas Jefferson was executed by 

Thomas Sully in 1822. 

(West Point Museum Collection, United States Military Academy) 

Catalogue of Fine Art 215 
Andrew	Johnson	

(1808–1875) 

Andrew
Johnson,
a
U.S.
representative
and
 F or	the	Senate’s	Vice	Presidential	Bust	Collection,	Andrew	

senator
from
Tennessee
and
vice
president
 Johnson’s	daughter,	Martha	Johnson	Patterson	of	Greeneville, and
president
of
the
United
States,
was


born
in
Raleigh,
North
Carolina.
A
tailor
 Tennessee,	reviewed	photographs	of	various	portrait	models	

by
trade,
Johnson
displayed
a
powerful
 of	 her	 father.	 She	 selected	 one	 by	 sculptor	 William	 C.	

speaking
ability.
His
support
of
the
working
 McCauslen	of	Washington,	D.C.	 classes
advanced
a
career
in
local
andstate
politics.
Johnson
was
elected
to
the
 In	writing	to	Senator	George	Peabody	Wetmore	of	Rhode	Island,	

U.S.
House
of
Representatives
in
1842
and,
 chairman	of	the	Joint	Committee	on	the	Library,	Patterson	noted:	“I	am	

after
serving
as
governor
of
Tennessee,
was
 no	critic,	but	think	I	am	the	best	judge	and	hope	my	preferences	will elected
to
the
U.S.
Senate
in
1857.
The


only
Southern
senator
who
did
not
with­ be	considered.”	In	actuality,	Johnson’s	modest	daughter,	who	was	the	

draw
from
Congress
after
the
outbreak
of
 wife	of	Senator	David	Trotter	Patterson	of	Tennessee,	had	both	an	artistic	

the
Civil
War,
Johnson
introduced
a
suc­ eye	and	strong	political	credentials	for cessful
Senate
resolution
declaring
the
war


to
be
not
an
oppressive
measure,
but
rather
 such	a	task.	During	her	father’s	years	

an
action
for
the
defense
and
maintenance
 in	office,	she	served	as	White	House	

of
the
Constitution
and
the
Union.
 hostess	in	place	of	her	invalid	mother.	 Appointed
military
governor
of
Ten­ In	 1866–67	 the	 president’s	 daughter nessee
in
1862,
Johnson
kept
the
state


under
Union
control
after
Northern
victories
 personally	directed	extensive	remodat
Forts
Henry
and
Donelson,
and
at
Shiloh.
 eling	 and	 redecorating	 at	 the	 White The
National
Union
Convention
nominated


Johnson
to
be
Abraham
Lincoln’s
vice
presi­ House.	While	exploring	the	attic,	she	

dential
running
mate
in
1864.
Sworn
in
as
 discovered	a	series	of	forgotten	porthe
16th
vice
president
in
March
1865,
he
 traits	of	Presidents	John	Quincy	Adams, became
the
17th
president
of
the
United


States
six
weeks
later
when
Lincoln
was
 Van	Buren,	Tyler,	Polk,	Fillmore	and	

assassinated.
Johnson
surprised
many
by
 Pierce	by	famed	portraitist	George	P.A.	

adopting
Lincoln’s
lenient
Reconstruction
 Healy.	 The	 series,	 commissioned	 by policies.
As
a
result
he
met
with
increasing
 Congress	in	1857,	had	been	interrupted congressional
opposition
from
Radical


Republicans,
who
demanded
federal
protec­ by	the	Civil	War,	with	the	completed	 Andrew Johnson was photographed by 

Mathew Brady between 1860 and 1875. tion
of
the
freedmen
of
the
South.
When
 but	unframed	paintings	relegated	to	the	 (Library
of
Congress,
Prints
and
Photographs
Division)
 Johnson
suspended
Secretary
of
War
Edwin
 attic.	 When	 Patterson	 showed	 her	 Stanton,
the
House
of
Representativesswiftly
voted
for
the
president’s
impeach­ father	her	discovery,	the	delighted	president	secured	an	appropriation	

ment,
charging
that
he
had
violated
the
 for	framing	the	portraits.	Patterson	then	had	the	works	hung	in	the	trans­	 Tenure
of
Office
Act.­

On
March
5,
1868,
the
Senate
 verse	hall	on	the	state	floor	outside	the	state	parlors	in	1867.	

convened
as
a
court
of
impeachment
 Now,	more	than	three	decades	later,	the	president’s	daughter	again	

to
consider
removing
Johnson
from
the
 exerted	her	influence.	Her	choice	of	the	Ohio­born	McCauslen	was	

presidency.
The
effort
failed
by
a
single
 heeded.	On	February	23,	1900,	Wetmore	authorized	McCauslen,	who vote
to
achieve
the
two­thirds
majority


necessary
to
convict
the
president.
 had	already	depicted	Vice	Presidents	William	R.	King	(p.	238)	and	John	

Johnson
did
not
run
for
reelection.
After
 Tyler	(p.	376),	to	execute	the	bust	of	Andrew	Johnson	for	the	Senate’s	 leaving
office,
he
again
became
active
­

in
Tennessee
politics.
Although
Johnson
 memorial	series.	

returned
to
the
Senate
in
1875,
he
diedwithin
months
of
taking
office.­

216 United States Senate 
Andrew Johnson 

William C. McCauslen (1860–1929) 

Marble,	modeled	and	carved	1900	

32	x	28	1

⁄2	 x	18	5⁄8	 inches	(81.3	x	72.4	x	47.3	cm)	

Unsigned	

Commissioned	by	the	Joint	Committee	on	the	Library,	1900	

Accepted	by	the	Joint	Committee	on	the	Library,	1900	

Cat.	no.	22.00016	

Catalogue of Fine Art 217 
Lyndon	Baines	Johnson	

(1908–1973) 

As
36th
president
of
the
United
States,
 I

n	1959,	finding	it	impossible	to	persuade	Lyndon	Johnson	to	slow	

Lyndon
Baines
Johnson
pushed
through
 down	and	pose	for	her,	sculptor	JIMILU	mason	of	Alexandria, Congress
more
major
legislation
than
had


been
passed
during
any
presidential
term
 Virginia,	used	photographs,	as	well	as	her	memory	and	imagisince
Franklin
D.
Roosevelt’s
New
Deal.
 nation,	to	create	a	small	bronze	caricature	of	the	statesman	when	

Born
near
Stonewall,
Texas,
Johnson
 he	was	Senate	majority	leader.	The	humorous	piece,	titled	On 

was
appointed
that
state’s
director
of
the


National
Youth
Administration
by
Roosevelt
 the Run, depicted	Johnson	in	frenzied	motion,	with	a	telephone	to	his	

in
1935.
Johnson
held
this
position
for
two
 ear.	Soon	afterward,	JIMILU	received	a	second	challenge:	to	sculpt	a	bust	

years
until
winning
a
special
election
to
fill
 of	Johnson	to	serve	as	the	prize	in	a	congressional	bet	regarding	a	base­ a
vacancy
from
Texas
in
the
U.S.
House
of
 ball	season	opener.	For	this	bust,	Johnson	permitted	JIMILU	occasional Representatives.
A
Democrat,
he
was
reelected
five
times
and
served
until
1949,
 sittings	over	the	next	six	years	as	he	became	vice	president	and	then	

when
he
became
a
U.S.
senator.
Johnson
 president.	These	sittings	took	place	primarily	at	the	White	House,	though became
Democratic
whip
in
1951
and


floor
leader
in
1953.
He
lost
a
bid
for
the
 on	one	occasion	the	work	was	transported	via	Air Force One to	Texas,	

Democratic
nomination
for
president
in
 where	the	artist	continued	the	modeling	at	Johnson’s	ranch.	Commenting	

1960
but
accepted
John
F.
Kennedy’s
offer
 on	the	sittings	at	the	White	House,	JIMILU	wrote: to
be
his
running
mate.
Elected
37th
vice


president,
Johnson
promoted
the
presi­ It	is	unusual	for	anyone	to	understand	how	difficult	it	is	to	sit for a portrait.	It	is	hard	

dent’s
programs
and
served
as
chairman
 work	and	often	a	surprise	as	to	what	is	required.	President	Johnson	was	no	different.	

of
the
National
Aeronautics
and
Space
 I	believe	he	thought	it	was	enough	for	me	just	to	be	in	the	same	room....	At	first	

Council
and
the
President’s
Committee
on


Equal
Employment
Opportunities.
 the	many	visitors	were	distracting	and	it	was	almost	impossible	to	keep	him	still.	Finally,	

Following
Kennedy’s
assassination
on
 I	realized	that	it	was	the	visitors	who	were	keeping	him	animated,	making	it	possible	

November
22,
1963,
Johnson
assumed
the
 for	me	to	focus	on	my	work.	

presidency.
Committed
to
carrying
forth
thelate
president’s
programs,
Johnson
actively
 JIMILU’s	clay	model	was	cast	in	plaster,	then	in	bronze.	John	Walker,	

supported
passage
in
Congress
of
the
 who	was	then	director	of	the	National	Gallery	of	Art	in	Washington,	D.C.,	

groundbreaking
Civil
Rights
Act
of
1964.
 termed	the	bronze	bust	“an	excellent	likeness	with	a	very	lively	sur­ He
outlined
an
extensive
program
of


economic
and
social
welfare
legislation
 face.”1	 Though	Johnson	was	reported	by	the	Associated	Press	to	have	

designed
to
fight
poverty
and
create
what
 quipped	to	JIMILU,	“I	must	say	you	certainly	got	the	large	Johnson	ears,”	

he
called
“The
Great
Society.”
Elected
 he	actually	considered	the	finished	bronze	bust	a	favorite	likeness.2	 So	

president
in
1964,
he
worked
zealously
for
 pleased	was	he,	in	fact,	that	he	presented	miniature	copies	in	simulated reform,
engineering
passage
of
Medicare


legislation,
the
Voting
Rights
Act
of
1965,
 bronze	to	close	friends	and	various	heads	of	state.	

funds
for
his
War
on
Poverty,
and
other
leg­ Shortly	after	the	bronze	bust	was	completed,	Johnson	selected	 islation.
Domestic
achievements,
however,­

were
soon
overshadowed
in
the
public
mind
 JIMILU	to	execute	his	portrait	for	the	Senate’s	Vice	Presidential	Bust	

by
the
country’s
role
in
the
Vietnam
War.
 Collection.	Using	the	existing	bronze	as	her	model,	JIMILU	traveled	to	

Johnson
did
not
seek
reelection
in
1968.
 Italy	where	she	oversaw	translation	of	the	piece	into	Carrara	marble. He
retired
to
his
ranch
in
Stonewall,
Texas,


where
he
died
in
1973.

 The	Senate	accepted	the	completed	work	in	July	1966,	but	it	was	not	

placed	in	the	Senate	wing	of	the	Capitol	until	May	1979	when	the	bust	

of	his	predecessor,	Vice	President	Richard	M.	Nixon,	was	also	installed.	

The	sculptor’s	earlier	bronze	model	for	the	marble	bust	is	displayed	at	

218 United States Senate 
Lyndon B. Johnson 

JIMILU mason (born 1930) 

Marble,	modeled	and	carved	1966	

24	1

⁄2	 x	20	3⁄4	 x	12	3⁄4	 inches	(62.2	x	52.7	x	32.4	cm)	

Signed	and	dated	(on	back	of	subject’s	right	shoulder):	Jimilu	Mason	/	©1966		

Commissioned	by	the	Senate	Committee	on	Rules	and	Administration,	1966	

Accepted	by	the	Senate	Committee	on	Rules	and	Administration,	1966	

Cat.	no.	22.00037	

Catalogue of Fine Art 219 
Lyndon	Baines	Johnson—continued 

President Lyndon Johnson continued 

working uninterrupted while posing 

for sculptor JIMILU mason in 1965. 

Here, he consults with Senator William 

Fulbright, left, and speech writer Harry 

McPherson, right. 

(Yoichi R. Okamoto, LBJ Library Collection) 

the	Lyndon	B.	Johnson	Library	in	Austin,	Texas,	as	is	her	caricature	On 

the Run. JIMILU	 also	 executed	 the	 bust	 of	 Constantino	 Brumidi	

(p.	46)	in	the	Senate.	Her	other	portrait	works	include	the	official	bust	

of	United	States	Chief	Justice	Frederick	M.	Vinson	and	a	bust	of	Chief	

Justice	John	Jay,	both	in	the	collection	of	the	Supreme	Court	of	the	

United	States;	and	life­size	busts	of	author	William	Faulkner	at	Fisk	University	in	Nashville,	Tennessee,	Senator	Richard	Russell	at	the	University	

of	Georgia	in	Athens,	and	Senator	John	C.	Stennis	at	the	John	C.	Stennis	

Space	Center	in	Hancock	County,	Mississippi.	

220 United States Senate 
President Lyndon Johnson poses with the 

clay model for his original bust, along with 

the artist, various advisors, members of his 

cabinet, and the press, 1965. 

(Yoichi R. Okamoto, LBJ Library Collection) 

Catalogue of Fine Art 221 
Richard	Mentor	Johnson	

(1780–1850) 

Born
near
present­day
Louisville,
Kentucky,
 On	March	4,	1895,	the	Joint	Committee	on	the	Library	

Richard
Mentor
Johnson
made
history
as
 authorized	the	purchase	of	a	bust	of	Richard	Mentor	 the
nation’s
ninth
vice
president—and
thefirst
and
only
vice
president
elected
by
the
 Johnson	for	the	Senate’s	Vice	Presidential	Bust	Collec­	

U.S.
Senate.
As
a
young
man,
Johnson
 tion.	Soon	afterward,	James	P.	Voorhees,	son	of	Senator	

practiced
law,
served
in
the
Kentucky
state
 Daniel	W.	Voorhees	of	Indiana,	a	member	of	the	com­	 legislature,
and
was
elected
in
1806
as
aDemocrat
to
the
U.S.
House
of
Representa­ mittee,	submitted	a	model	for	a	bust.	The	younger	Voorhees	received	

tives.
He
retained
his
House
seat
during
 the	 commission;	 he	 later	 sculpted	 the	 bust	 of	 John	 C.	 Breckinridge	 	

his
service
in
the
War
of
1812,
in
which
 (p.	42)	for	the	Senate’s	Vice	Presidential	Bust	Collection.	 he
distinguished
himself
as
a
militaryofficer.
He
sustained
extensive
injuries
 Voorhees’s	bust	of	Johnson	has	surprising	vitality,	considering	that	

during
the
Battle
of
the
Thames,
in
which
 it	was	the	work	of	an	unknown	sculptor	who	based	his	posthumous	like­	

Johnson’s
Kentucky
volunteers
claimed
an
 ness	on	a	portrait	painted	more	than	50	years	earlier.	The	Johnson	bust	 American
victory
on
October
5,
1813.


Johnson
entered
the
U.S.
Senate
as
a
 is	unmistakably	modeled	after	the	1843	life	portrait	by	John	Neagle,	now	

Democrat
in
1819,
where
he
advocated
 owned	by	the	Corcoran	Gallery	of	Art	in	Washington,	D.C.	Neagle’s	work	

abolishing
imprisonment
for
debtors.
He
 was	exhibited	at	the	World’s	Columbian	Exposition	in	Chicago	in	1893,	 supported
President
Andrew
Jackson,
whoaided
his
nomination
for
vice
president
in
 where	Voorhees	might	have	seen	it.	However,	it	was	owned	during	this	

1836
as
Martin
Van
Buren’s
running
mate.
 period	by	Phoebe	Warren	Tayloe,	the	widow	of	prominent	Washingtonian	

Because
none
of
the
vice
presidential
can­ Benjamin	Ogle	Tayloe.	Presumably,	Voorhees	would	have	had	ample	 didates
received
an
electoral
majority,
theSenate,
under
the
terms
of
the
12th
Amend­ opportunity	to	study	the	Neagle	painting	at	her	home	in	Lafayette	Square	

ment,
awarded
the
office
to
Johnson
on
 during	the	elder	Voorhees’s	residence	in	the	capital.	

February
8,
1837.
Johnson
ran
again
with
 The	effectiveness	of	the	over­life­size	bust	is	achieved	through	broad	 Van
Buren
in
1840,
but
they
were
defeated


by
William
Henry
Harrison
and
John
Tyler.
 masses	forcefully	presented.	The	sculptor	has	emphasized	the	frontal	

Johnson
served
briefly
in
the
Kentucky
 expanse	of	a	torso	framed	by	widely	spaced	lapels	and	squared	off	at	

legislature
before
his
death
in
1850.
 the	bottom.	It	supports	a	noble	head	with	simple,	strongly	stated	features	

and	a	splendidly	stylized	mane	of	hair,	deployed	like	storm­tossed	waves.	

The	treatment	of	the	hair	is	instructive;	although	it	is	clearly	based	on	

Neagle’s	portrait,	that	portrait’s	suavely	painted	coif	is	replaced	by	boldly	

carved	tufts.	This	treatment	thoroughly	invigorates	the	head	and	supports	

English	author	Harriet	Martineau’s	observation	that	“his	hair	wanders	all	

abroad.”1	At	the	same	time,	Voorhees	intentionally	reduces	the	fleshiness	

of	the	face	as	Neagle	recorded	it,	removing	some	trace	of	the	years	intervening	since	Johnson’s	retirement	and,	perhaps,	reminding	viewers	of	“Old	

Dick’s”	storied	service	in	the	War	of	1812.	The	heroic	aura	is	seconded	

by	a	technical	detail.	A	dot	of	marble	is	left	at	the	front	upper	edge	of	

each	drilled	eye:	The	effect	at	a	distance	is	that	of	reflected	light—and	

of	flashing	eyes.	

The Senate’s bust of Richard M. Johnson was 

inspired by this 1843 portrait by John Neagle. 

(Corcoran Gallery of Art, Washington, D.C., Museum Purchase) 

222 United States Senate 
Richard M. Johnson 

James Paxton Voorhees (ca. 1855–1936) 

Marble,	modeled	and	carved	1895	

31	1

⁄4	 x	30	x	16	1⁄4	 inches	(79.4	x	76.2	x	41.3	cm)	

Signed	and	dated	(under	subject’s	truncated	left	arm):	J.	P.	Voorhees	/	‘95.	

Commissioned	by	the	Joint	Committee	on	the	Library,	1895	

Accepted	by	the	Joint	Committee	on	the	Library,	1895	

Cat.	no.	22.00009	

Catalogue of Fine Art 223 
John	Paul	Jones	

(1747–1792) 

A
Scotsman
by
birth,
seaman
John
Paul
 Created	in	1904,	this	bronze	bust	of	John	Paul	Jones	was	a	

Jones
emigrated
to
the
American
colonies,
 gift	of	the	United	States	Naval	Academy	Museum	to	the	 moving
to
Philadelphia
at
the
outset
of
theAmerican
Revolution.
With
the
help
of
influ­ U.S.	Congress.	The	Masonic	Lodge	of	the	Nine	Sisters	in	

ential
friends,
he
obtained
a
lieutenant’s
 Paris	 had	 commissioned	 French	 sculptor	 Jean­Antoine	

commission
in
the
Continental
navy.
A
year
 Houdon	in	1780	to	model	a	marble	portrait	bust	of	its	illus­	 after
his
promotion
to
captain,
Jonesreceived
from
Congress
command
of
the
 trious	member	at	age	33.	So	pleased	was	the	naval	hero	with	Houdon’s	

ship
Ranger.
Sailing
to
France,
he
staged
 effort	that	over	several	years	he	ordered	some	16	plaster	replicas	from	

daring
raids
on
British
vessels
and
seaports.
 Houdon.	Jones	presented	these	replicas	to	distinguished	friends,	such	 Jones
took
command
of
a
French
vessel
in1779,
renaming
it
the
Bonhomme Richard as	George	Washington,	Thomas	Jefferson,	Benjamin	Franklin,	and	the	

(Poor Richard), in
honor
of
Benjamin
 Marquis	de	Lafayette.	The	Senate’s	bronze	copy	was	cast	from	one	of	

Franklin,
who
was
much
beloved
by
the
 these	important	plaster	portraits,	now	in	the	collection	of	the	National	 French.
On
September
23
of
that
year,­

Jones
encountered
a
large
British
convoy
 Academy	of	Design	in	New	York	City.	The	Joint	Committee	on	the	Library	

led
by
two
heavily
armed
ships,
the
Serapis accepted	the	bust	of	Jones	and	designated	that	it	be	placed	in	the	east	

and
the
Countess of Scarborough.
Although
 lobby	on	the	gallery	floor	of	the	Senate	wing.	The	gift	was	made	through	 his
vessels
were
the
less
formidable,
thecourageous
Jones
was
able
to
outmaneuver
 the	office	of	Secretary	of	the	Navy	John	L.	Sullivan.		

the
British
and
force
a
surrender
in
one
of
 This	bust	was	one	of	20	copies	made	in	1904	from	the	same	plaster	

the
fiercest
battles
in
naval
history.
 portrait.	Bronzes	cast	by	Aubry	Brothers	of	New	York	went	to	the	Navy	 Jones
became
a
popular
hero
in


France
following
this
victory
and
did
not
 Department	in	Washington,	D.C.,	and	to	the	U.S.	Naval	Academy	Museum,	

return
to
Philadelphia
until
1781.
He
next
 located	in	Annapolis,	Maryland;	plaster	versions	were	given	to	the	Corcoran	

took
command
of
the
America,
a
74­gun
 Gallery	of	Art	in	Washington,	D.C.,	the	South	Kensington	(today	the ship
of
the
Continental
navy.
When
thenavy
disbanded
at
war’s
end,
Jones
served
 Victoria	and	Albert)	Museum	in	London,	and	the	Trocadero	Museum	in	

as
a
collections
agent
abroad
for
monies
 Paris.	In	1905	the	Trocadero	bust	was	used	to	identify	Jones’s	disinterred	

owed
to
the
Americans.
In
1787
he
was
 remains,	which	were	then	transferred	to	Annapolis	and	subsequently	 awarded
a
Gold
Medal,
the
only
suchhonor
presented
to
a
naval
officer
for
 entombed	in	the	crypt	of	the	chapel	at	the	Naval	Academy.	

service
during
the
Revolution.
Jones


returned
to
Europe,
where
he
sailed
in
the


service
of
other
nations,
though
he
wrote


to
Thomas
Jefferson
that
he
could
“never


renounce
the
glorious
title
of
a
citizen of 

the United States.”1
 He
later
died
in


France
in
1792.
The
chapel
at
the
U.S.


Naval
Academy,
in
Annapolis,
Maryland,


contains
what
are
believed
to
be
his


remains,
transferred
there
in
1905.


224 United States Senate 
John Paul Jones 

Jean-Antoine Houdon (1741–1828) 

Bronze,	modeled	1780,	cast	1904	

27	1

⁄8	 x	19	1⁄2	 x	10	7⁄8	 inches	(68.9	x	49.5	x	27.6	cm)	

Signed	and	dated	(on	subject’s	truncated	right	arm):	Houdon	1780	

Founder’s	mark	(on	subject’s	truncated	left	arm):	AUBRY	BROS	CO	 /	FOUNDERS.	N­Y.	

Gift	of	the	U.S.	Naval	Academy	Museum,	1948	

Accepted	by	the	Joint	Committee	on	the	Library,	1948	

Cat.	no.	24.00003	

Catalogue of Fine Art 225 
John	Paul	Jones —continued 

George	Matthews	based	this	image	of	naval	hero	John	Paul	

Jones,	 painted	 about	 1890,	 on	 a	 portrait	 by	 Charles	

Willson	Peale.	The	older	painting	is	part	of	the	large	Peale	

collection	at	Independence	National	Historical	Park	in	

Philadelphia.	In	the	painting,	Jones	wears	the	French	

Order	of	Military	Merit,	presented	to	him	by	Louis	XVI	in	1780.	Peale	

is	thought	to	have	executed	his	life	study	around	1781,	following	Jones’s	

triumphal	return	from	France.	

Born	in	Virginia,	Matthews	had	studied	in	Paris	with	portrait	painter	

Carolus	Duran	in	the	1880s	before	concentrating	his	career	in	and	around	

Washington,	D.C.	Historian	and	architect	Glenn	Brown	reported	in	his	

documentary	volume,	The History of the United States Capitol,	that	the	

Matthews	portrait	of	Jones	was	purchased	directly	from	the	artist	on	April	

3,	 1890.	 But	 the	 Congressional Record shows	 that	 discussions	 about	

acquisition	of	the	painting	took	place	both	earlier	and	later	than	that	

date.	The	painting	was	in	“the	care	of	the	Navy	Department”	when	

deliberations	 began	 in	 March;	 the	 Senate	 passed	 a	 bill	 to	

purchase	the	portrait	in	September;	and	the	House	followed	

suit	in	February	1891.	

Fond	of	historical	subjects,	Matthews	is	known	for	

his	depictions	of	Lee and His Generals, The Battle of 

the Merrimac with the Monitor,	and	Last of the Wooden 

Navy.	The	artist’s	many	portrait	subjects	ranged	from	

Abraham	Lincoln	to	Jefferson	Davis.	Matthews	is	

further	represented	in	the	U.S.	Senate	by	a	portrait	

of	Patrick	Henry	(p.	188).	

This ca. 1781 painting of John Paul Jones 

by Charles Willson Peale served as the 

model for the Senate’s portrait of the 

naval hero by George Matthews. 

(Independence National Historical Park) 

226 United States Senate 
John Paul Jones 

George Bagby Matthews (1857–1943) 

after	Charles	Willson	Peale	(1741–1827)	

Oil	on	canvas,	ca.	1890	

44	x	32	inches	(111.8	x	81.3	cm)		

Unsigned	

Purchased	by	the	Joint	Committee	on	the	Library,	ca.	1890	

Cat.	no.	31.00012	

Catalogue of Fine Art 227 
Justice	

One
of
the
oldest
works
of
art
in
the


Capitol
is
the
plaster
relief
Justice
by


Italian
artist
Carlo
Franzoni.
This
allegorical
group,
located
in
the
Old
Supreme


Court
Chamber,
is
dominated
by
the


figure
of
Justice
dressed
in
classical


attire,
with
scales
upraised
in
her
left


hand
and
her
right
hand
resting
on
an


unsheathed
sword.
The
sculpture
displays


Franzoni’s
thorough
understanding
of


visual
iconography
and
personification.


Justice
is
the
leader
among
the
“cardinal”


virtues
(the
others
are
Prudence,
Fortitude,
and
Temperance),
because
she


regulates
the
actions
of
citizens
individually
and
in
society.
In
Franzoni’s
relief,
as


is
customary,
she
holds
scales—signifying


impartiality—and
a
sword,
emblematic


of
her
power.


The
absence
of
a
blindfold,
which


has
become
a
ubiquitous
element
in


western
portrayals
of
Justice,
makes
this


depiction
distinctive.
As
early
as
the
16th


century,
Justice
was
portrayed
blindfolded


to
reflect
impartiality.
In
his
1789
treatise


Iconology,
George
Richardson
defined


the
meaning
of
this
symbolism:
“The
white


robes
and
bandage
over
her
eyes,
allude


to
incorrupt
justice,
disregarding
every


interested
view,
by
distributing
of
justice


with
rectitude
and
purity
of
mind,
and


protecting
the
innocent.”
1
 Why
Franzoni


chose
an
unconventional
approach
is


unknown.
One
American
writer
in
the
late


19th
century,
in
discussing
another


unblindfolded
image
of
Justice
in
the


Capitol,
surmised
“that
with
us
justice
is


clear­sighted
respecting
the
rights
of
all.”2


Franzoni’s
relief
features
two
birds.


The
first
is
an
owl,
a
principal
attribute
of


the
Roman
goddess
Minerva,
signifying


wisdom.
(As
a
war
goddess,
Minerva
was


the
defender
of
just
causes.)
In
Renaissance
art,
the
owl
is
often
perched
on
a


stack
of
books
to
symbolize
learning.
But


here,
the
owl
is
carved
on
the
front
leg
of


Justice’s
chair
while,
instead,
an
American
eagle
perches
on
law
books.
The


eagle’s
head
turns
back
toward
Justice,


whose
head
turns
toward
a
nude,
winged


After	the	British	burned	the	U.S.	Capitol	on	August	24,	1814,	

architect	Benjamin	Henry	Latrobe	immediately	oversaw	

reconstruction	efforts.	As	part	of	this	project,	he	engaged	

Italian	sculptor	Carlo	Franzoni	to	create	the	only	piece	

of	 permanent	 decoration	 in	 the	 new	 Supreme	 Court	

Chamber:	a	relief	sculpture	of	Justice.	The	piece	was	to	be	mounted	

directly	opposite	the	bench	and	the	seats	of	the	justices.	

Two	preliminary	sketches	exist	for	the	figure	of	Justice,	but	it	is	

unknown	whether	they	date	from	before	or	after	the	damage	to	the	

building	by	the	British.	The	sketches	depict	some	of	the	same	iconographic	details	seen	in	the	Justice relief,	although	the	final	figure	and	

composition	are	different.	The	drawings	appear	to	be	by	either	Giuseppe	

or	Carlo	Franzoni.	Giuseppe,	Carlo’s	older	brother,	had	actually	been	

engaged	by	Latrobe	to	model	Justice	for	the	pre­fire	Capitol	in	1809.	It	

is	not	known	if	Giuseppe	Franzoni’s	Justice was	ever	completed,	because	

that	version	of	the	Supreme	Court	Chamber,	along	with	the	Senate	and	

House	Chambers,	was	destroyed.	Giuseppe	Franzoni	died	suddenly	in	

1815;	the	following	year,	Carlo	arrived	from	Italy	to	work	on	the	Capitol.	

Carlo	Franzoni	apparently	began	executing	the	relief	of	Justice 

shortly	after	his	arrival,	because	payments	were	made	to	various	models,	

beginning	in	1816,	for	sitting	for	

the	sculpture.	Mary	Ann	Warren	

and	Eliza	Wade	each	received	a	

payment	 of	 $25,	 while	 Prince	

Williams	received	$10	“for	my	boy	

Henry	sitting	10	times	for	Mr.	Franzoni.”	It	is	unknown	why	Franzoni	

used	three	models,	as	only	the	figures	 of	 Justice	 and	 the	 Genius	

appear	in	the	final	composition.	

The	plaster	frieze	was	completed	

in	1817	and	placed	in	a	semicircular	lunette	on	the	west	wall	of	

the	Supreme	Court.	The	work	has	

This 1819 painting of Carlo Franzoni was 

executed by Pietro Bonanni, an Italian 

painter working at the Capitol. 

(Architect of the Capitol) 

228 United States Senate 
Justice 

Carlo Franzoni (1788–1819) 

Plaster,	1817	

53	1

⁄4	 x	127	1⁄4	 inches	(135.3	x	323.2	cm)	

Unsigned	

Inscribed	(under	arm	of	chair,	below	seated	Justice):	8	May	1817	

Commissioned	by	the	Commissioner	of	Public	Buildings,	ca.	1816	

Acquisition	undocumented	

Cat.	no.	25.00001	

Catalogue of Fine Art 229 
Justice —continued 

Genius.
The
guardian
spirit
of
the
new
 yet	to	be	restored	to	its	original	appearance,	although	a	preliminary	physnation,
the
Genius
holds
and
points
to
a
 ical	investigation	indicates	the	early	presence	of	jade	green	and	royal tablet
inscribed
“The
Constitution
of
the!

U.S.”
Behind
the
Genius’s
head
is
a
sun­ blue	paint	instead	of	the	current	azure	background	coloring.		

burst,
symbolizing
Truth,
whose
light
 Franzoni	also	produced	the	brilliantly	imaginative	and	successful	

reveals
all.
 Car of History for	the	House	of	Representatives.	The	deserved	fame	of	

this	work	and	its	much	more	prominent	location	have	unfortunately	

diminished	the	reputation	of	Justice.	Charles	E.	Fairman,	curator	of	the	

Capitol	in	the	early	20th	century,	even	insinuated	that	the	relief	might	

not	be	by	Franzoni.	A	comparison	of	

the	distinctive	and	confident	modeling	

of	the	drapery	in	the	two	works,	however,	leaves	little	doubt	that	one	artist	

is	responsible	for	both.	Carlo	Franzoni	

died	unexpectedly	at	the	age	of	30	on	

May	12,	1819,	only	three	years	after	

arriving	 in	 the	 United	 States.	 His	

remains,	 and	 those	 of	 his	 brother	

Giuseppe,	 are	 interred	 in	 Oak	 Hill	

Cemetery,	in	Washington,	D.C.	

These preliminary sketches of the figure 

Justice were executed by either Giuseppe 

or Carlo Franzoni about 1809–1816. 

(Library of Congress, Prints and Photographs Division, original 

drawings unlocated) 

230 United States Senate 

Justice	and	History	

In
September
1850
Congress
appropriated


$100,000
for
expansion
of
the
United


States
Capitol.
Philadelphia
architect


Thomas
U.
Walter
was
selected
to
design


and
construct
the
addition.
In
1853
the


project
was
transferred
to
the
Army
Corps


of
Engineers
under
the
direction
of
Secretary
of
War
Jefferson
Davis.
While
Walter


remained
as
architect,
Montgomery
C.


Meigs,
a
36­year­old
captain
in
the
Corps


of
Engineers,
was
named
superintendent
of


the
Capitol
extension
and
placed
in
charge


of
the
construction.
Meigs
believed
that
the


extension
should
be
decorated
in
a
highly


elaborate
style
to
rival
the
great
buildings
of


Europe,
and
he
and
Davis
worked
together


to
make
the
Capitol
a
showcase
of
the
arts.


As
part
of
that
effort,
Meigs
asked


artists
Hiram
Powers
and
Thomas
Crawford
to
submit
designs
for
sculpture
for
the


new
pediments
planned
for
the
Senate
and


House
extensions
and
for
the
areas
above


the
adjoining
doorways.
Crawford
submitted
a
series
of
designs
for
the
projects.


For
the
Senate
doorway,
he
proposed
a


grouping
of
two
reclining
female
figures:


Justice
and
Liberty.
He
received
the
commission,
and
in
his
final
drawing
he


changed
Liberty
to
History.


In
Crawford’s
Justice and History,
Justice,
the
figure
to
the
right,
is
half
reclining


and
heavily
draped
like
a
Roman
matron
at


a
banquet.
She
supports
a
large
tome
with


the
words
“Justice,
Law,
Order”
and
rests


her
right
elbow
on
the
visible
portion
of
a


globe
draped
with
the
stars
and
stripes.


Her
right
hand
holds
the
scales
of
justice,


which
lie
loosely
on
the
edge
of
the
base,


their
chains
slack.
The
History
figure
has


long
flowing
hair
crowned
with
a
laurel


wreath.
She
holds
an
open
scroll,
with
the


top
draped
over
a
plinth,
on
which
the


words
“History
July
1776”
are
inscribed.


When	the	Capitol	building	was	transformed	by	the	

grand	 architectural	 extension	 and	 new	 dome	

designed	by	Thomas	U.	Walter	in	the	1850s,	only	

Constantino	Brumidi	was	awarded	more	important	

commissions	 for	 its	 decoration	 than	 Thomas	

Crawford.	Crawford	was	contracted	to	provide	an	enormous	amount	of	

sculpture	for	the	building:	bronze	doors	for	the	eastern	entrances	to	the	

House	and	Senate	wings,	the	marble	pediment	sculpture	for	the	Senate	

wing	and	a	statuary	group	for	the	main	Senate	entrance,	and,	ultimately,	

the	pinnacle	of	the	entire	Capitol,	the	bronze	Statue
of
Freedom
 atop	

the	dome.	(For	his	many	contributions	to	the	Capitol,	Crawford	is	memorialized	with	a	bust	[p.	88],	displayed	in	the	Senate	wing.)	

Crawford	had	been	apprenticed	to	a	wood	carver	at	the	age	of	

14.	By	about	1832,	he	was	employed	by	the	prominent	New	York	stonecutting	firm	operated	by	John	Frazee	and	Robert	Launitz.	There	he	was	

assigned	 the	 customary	 work	 on	 gravestones	 and	 mantelpieces	 and	

assisted	in	the	execution	of	portrait	busts.	Crawford	also	enhanced	his	

artistic	development	by	sketching	casts	from	the	collection	of	the	National	

Academy	of	Design.	In	1835	he	moved	to	Rome	and	became	the	first	

American	sculptor	to	settle	there	permanently.	Once	in	Rome,	he	gravitated	quickly	to	the	studio	of	Bertel	Thorvaldsen,	perhaps	the	most	

famous	sculptor	of	his	day.	Thorvaldsen’s	neoclassicism	was	the	most	

important	influence	on	Crawford.	In	1839	Crawford	gained	widespread	

acclaim	for	his	statue	Orpheus,	which	led	to	numerous	commissions	for	

allegorical	and	mythological	figures.	

While	construction	of	the	Capitol	extension	was	still	under	way,	

Montgomery	Meigs,	superintendent	of	the	Capitol	extension,	was	busily	

attending	to	the	decorative	commissions	as	well.	In	August	1853	he	wrote	

to	Crawford	in	Florence,	principally	about	the	pediment	and	doorway	

on	the	east	front	of	the	new	Senate.	“I	do	not	see	why,”	he	claimed,	“a	

Republic	so	much	richer	than	the	Athenian	should	not	rival	the	Parthenon	

in	the	front	of	its	first	public	edifice.”	Crawford	responded	at	the	end	of	

October,	describing	his	ideas	for	the	pediment	and	for	the	two	allegorical	figures	over	the	doorway—Justice
and
Liberty—and	concluding,	“My	

price	for	the	whole	of	them	is	$20,000.”	The	offer	was	approved	by	Jefferson	 Davis,	 secretary	 of	 war,	 and	 accepted	 by	 Meigs	 in	 a	 letter	 of	

November	30,	1853.	In	the	initial	design,	Liberty	wore	a	pileus,	the	cap	

worn	by	freed	slaves	in	ancient	Rome,	and	Justice	held	a	bundle	of	rods	

232 United
States
Senate

Justice
and
History


Thomas Crawford (1813/1814–1857) 

Marble,	modeled	1855–1856,	carved	ca.	1858–1860	

46	x	134	x	26	inches	(116.8	x	340.4	x	66	cm)	

Unsigned	

Commissioned	with	funds	appropriated	for	the	extension	of	the	United	States	Capitol,	1853	

Accepted	by	the	U.S.	government,	1860	

Cat.	no.	25.00002	

Catalogue
of
Fine
Art
 233 
Justice	and	History—continued


Justice and History, ca. 1863, before 

installation over the Senate doorway. 

(Architect of the Capitol) and	an	ax,	Roman	symbols	of	authority.	Jefferson	Davis	was	satisfied	

with	the	overall	design,	but	he	objected	to	the	symbolic	Roman	elements,	

which	he	felt	were	inappropriate	iconography	for	America.	Both	Meigs	

and	Davis	asked	Crawford	to	change	some	of	the	details	but	to	maintain	the	basic	composition.	Crawford	agreed.	“I	have	changed	the	Liberty	into	a	figure	of	History	(and	thus	avid	[sic]	the	‘cap’),”	he	responded	

to	Meigs.	In	July	1860,	Crawford	was	paid	the	agreed­upon	price	of	$3,000	

for	“modelling	in	plaster	and	cutting	in	marble	Statues	of	‘Justice	and	

History’	including	marble.”	

Of	all	the	sculptural	projects	awarded	to	Crawford	for	the	new	

extension,	Justice
and
History
seems	to	have	been	almost	an	afterthought.	

First	conceived	(by	Meigs)	as	a	relief	sculpture,	it	became	not	only	the	

subject	of	disagreement	over	the	symbolic	attributes	but	also	part	of	an	

ongoing	gentlemanly	controversy	over	whether	it	and	the	other	sculptures	should	be	carved	(or,	if	bronze,	cast)	in	Europe	or	America.	In	

addition,	it	was	continuously	postponed	in	favor	of	larger,	clearly	more	

significant	projects.	The	planned	placement	of	the	figures	was	not	very	

advantageous.	Perched	on	a	cap	supported	by	massive	brackets	above	

the	bronze	door	of	the	Senate	wing,	east	portico,	with	their	heads	overlapping	the	windowsill	behind	them,	they	lacked	a	proper	stage.	Their	

back­to­back	reclining	position	suggested	a	placement	within	a	small	

tympanum,	but	no	such	framing	element	was	provided.	

234 United
States
Senate

Allegorical	 figures	 were	

certainly	 not	 new	 in	 American	

sculpture,	and	neoclassicism	was	

the	 favored	 “high”	 style	 among	

academically	 trained	 European	

and	American	sculptors.	For	many	

viewers,	 the	 classical	 style	

embodied	a	rigorous	intellectual	

and	moral	integrity	that	suited	the	

ideals	 of	 the	 new	 republic.	 But	

there	was	in	the	young	country	

only	a	small,	classically	educated	

audience	 for	 the	 allegorical	

content.	If	simple	enough,	it	was	

acceptable,	but	sometimes	allegory	

failed,	as	with	the	notoriously	negative	 public	 reaction	 to	 Horatio	

Greenough’s	colossal	half­nude	statue	of	George	Washington,	which	

prompted	Meigs	to	caution	Crawford	in	a	1853	letter:	

Permit	me	to	say	that	the	sculpture	sent	here	by	our	artists	is	not	altogether	adapted	

to	the	taste	of	our	people.	We	are	not	able	to	appreciate	too	refined	and	intricate	

allegorical	representations,	and	while	the	naked	Washington	of	Greenough	is	the	theme	

of	admiration	to	the	few	scholars,	it	is	unsparingly	denounced	by	the	less	refined	

multitude.	Cannot	sculpture	be	so	designed	as	to	please	both?	In	this	would	be	the	

triumph	of	the	artist	whose	works	should	appeal	not	to	a	class	but	to	mankind.	

Clearly	this	is	not	a	condescending	attitude,	for	Meigs	was	determined	that	the	Capitol	and	its	decoration	should	be	admired	by	the	“less	

refined	multitude.”	He	gave	Constantino	Brumidi	the	painter	more	leeway	

in	the	matter	of	allegory	than	he	was	willing	to	allow	Crawford	the	sculptor,	

perhaps	because	sculpture	principally	adorned	the	exterior	of	the	building	

and	thus	was	seen	by	more	people.	It	was	the	large,	multi­figure	pediment	that	most	preoccupied	both	Meigs	and	Crawford	in	this	discussion,	

and	Crawford	proved	quite	amenable	to	satisfying	Meigs’s	concerns:	“I	

fully	agree	with	you	regarding	the	necessity	of	producing	a	work	intelligible	to	our	entire	population.	The	darkness	of	allegory	must	give	place	

to	common	sense.”1	 What	applied	to	the	pediment	applied	as	well	to	

Justice
and
History.	The	simplified	allegories	of	book,	globe,	scales,	and	

scroll,	certainly,	were	clear	to	the	multitude	and	easily	appreciated.	

Justice and History with extensive 

deterioration evident, 1957. 

(Architect of the Capitol) 

Catalogue
of
Fine
Art
 235 
Justice and History—continued 

The completion of Justice and History was long delayed. A year 

after the contract was concluded, Crawford had done no more than send 

sketches to Washington, and on December 13, 1854, he asked Meigs’s 

permission to postpone modeling them until the dimensions of the 

doorway had been firmly decided. On June 10, 1855, he wrote that he 

would “immediately proceed with the group.” By November, the figures were apparently in process, though not complete, and on May 21, 

1856, he reported to Meigs that the models were entirely finished. Now 

he was awaiting approval or rejection of his request to have 

them carved in marble in Italy, where he could supervise the 

production. In a subsequent letter to Meigs, Crawford complained 

of a problem with his left eye. This illness, a tumor, rapidly worsened, and over the next months, although he was able to do 

some finishing work on his colossal model of Freedom for the 

Capitol dome, it was apparent that Crawford’s ability to sculpt 

was seriously affected. 

A letter of April 1, 1857, from the ailing artist to Meigs, 

asked for an advance in order to buy the marble to carve the 

figures. Meigs, who “had supposed from [Crawford’s] former 

Detail showing damage to Justice, 1957. 

(Architect	of	the	Capitol)		 letters that they were underway,” nonetheless agreed to make the funds 

available.2 By then the cancer had spread to Crawford’s brain and, 

despite medical treatment in Paris and London, he died on October 

10, 1857. Neither Justice nor History had been carved. Crawford had 

always urged Meigs to allow the carving of his marbles and the casting 

of his bronzes to be done in Rome. Meigs, on the other hand, had 

wanted them to be executed in the United States, to give native carvers 

and casters much­needed experience. Meigs prevailed for all of Crawford’s works but Justice and History. 

Crawford’s widow, Louisa Crawford, who took over her husband’s 

business affairs after his death, asked Meigs to allow Justice and History to be carved from Carrara marble in Italy, in part because “there 

are no duplicates cast, and...if lost they are irretrievably gone.” Meigs 

relented, and the marbles were made in Italy between 1858 and 1860. 

The two pieces were shipped to the United States in 1860 and installed 

three years later above the Senate entrance on the east front of the Capitol. 

Meigs’s acquiescence on the carving location proved unfortunate, 

for of Crawford’s marble sculptures at the Capitol, only Justice and 

History deteriorated severely, eroded by the elements. By the mid­20th 

236 United States Senate 
The marble reproduction of Justice and 

History above the Senate pediment, 1974. 

century,	the	head	of	History
and	the	face	of	Justice
were	nearly	gone,	 (Architect of the Capitol)

and	the	figures	were	severely	flaked	and	cracked.	In	1974	they	were	

removed	and	heavily	restored;	Francesco	Tonelli	of	the	Vermont	Marble	

Company	carved	copies	of	the	originals.	Tonelli’s	marble	reproduc	

tions	were	installed	in	the	original	location	above	the	Senate	doorway,	

and	the	repaired	 Justice
and
History
 was	placed	on	display	inside	

the	Capitol.	

Catalogue
of
Fine
Art
 237 
William	Rufus	de	Vane	King	

(1786–1853) 

An
elected
official
and
a
diplomat,
William
 L

ittle	is	known	about	the	career	of	artist	William	C.	McCauslen.	

Rufus
de
Vane
King
was
a
U.S.
representa­ Born	in	Steubenville,	Ohio,	he	appears	to	have	received	some tive
from
North
Carolina,
a
U.S.
senator


from
Alabama,
and
13th
vice
president
of
 formal	training	as	a	painter	but	was	self­taught	as	a	sculptor.	

the
United
States.
He
was
born
in
Sampson
 It	is	unknown	how	McCauslen	came	to	the	attention	of	the	

County,
North
Carolina,
and
practiced
law
 Joint	Committee	on	the	Library	to	execute	the	marble	bust before
winning
a
seat
as
a
Democrat
in
the
 of	 William	 R.	King	 for	 the	 Senate’s	 Vice U.S.
House
of
Representatives.
He
servedin
the
House
from
1811
to
1816
and
then
 Presidential	 Bust	 Collection.	 In	 1896	

resigned
to
hold
diplomatic
posts
abroad
 McCauslen’s	model	was	approved	by	 in
Naples
and
St.
Petersburg.
­

In
1818
King
settled
in
Alabama,
 the	 committee,	 and	 the	 finished	

where
he
became
active
in
the
movement
 work	was	placed	in	the	Capitol	

for
statehood
and
was
a
delegate
to
the
 that	same	year.	McCauslen	also	 state­organizing
convention.
He
was


elected
to
the
U.S.
Senate
after
statehood
 completed	marble	busts	of	John	

was
achieved.
He
served
from
1819
to
 Tyler	 (p.	 376)	 and	 Andrew	

1844,
when
he
resigned
to
become
min­ Johnson	(p.	216)	for	the	vice ister
to
France.
Returning
to
the
Senate
in
 presidential	series. 1848
to
fill
a
vacant
seat,
he
remained


Ohio artist William C. McCauslen. 

(Architect of the Capitol) 

in
office
until
1852.
While
in
the
Senate,


King
held
the
office
of
president
pro


tempore
for
seven
years.


He
was
elected
vice
president
under


Franklin
Pierce
in
1852,
though
tubercu


losis
and
failing
health
dampened
the


victory.
King
traveled
to
Havana,
Cuba,


in
hopes
of
regaining
his
health,
but
he


soon
realized
he
would
not
be
well


enough
to
return
to
Washington
in
time


for
the
inauguration.
By
special
action


of
Congress,
the
oath
of
office
was


administered
to
King
in
Cuba.
He
sailed


for
home
in
April
1853
and
died
the
day


he
arrived
in
Alabama,
having
served


less
than
two
months
as
vice
president.


238 United States Senate 
William R. King 

William C. McCauslen (1860–1929) 

Marble,	modeled	and	carved	1896	

33	1

⁄2	 x	26	5⁄8	 x	15	3⁄4	 inches	(85.1	x	67.6	x	40	cm)	

Signed	and	dated	(under	subject’s	truncated	left	arm):	W.	C.	M’Causlen.	/	’96.	

Commissioned	by	the	Joint	Committee	on	the	Library,	1896	

Accepted	by	the	Joint	Committee	on	the	Library,	1896	

Cat.	no.	22.00013	

Catalogue of Fine Art 239 
Tadeusz	Andrzej	Bonawentura	Ko ́sciuszko	

(1746–1817) 

sciuszko,
 T Tadeusz
Andrzej
Bonawentura
Ko ́
 he	sculptor	of	Tadeusz	Ko ́sciuszko’s	bust	for	the	Capitol

a
Polish
hero
of
the
American
Revolutionary
 was	also	born	in	Lithuania,	then	part	of	Russian	Poland.	 War,
was
born
near
Novogrudok,
in
the
 Henry	Dmochowski	appended	Saunders	to	his	name	upon	 Grand
Duchy
of
Lithuania.
Educated
inWarsaw,
Poland,
he
received
additional
 his	arrival	in	America	about	1853.	A	successful	portrait	

military
and
engineering
training
in
France.
 sculptor,	he	spent	almost	a	decade	in	this	country.	 Kosciuszko
came
to
America’s
aid
in
1776­  ́­

and
was
commissioned
a
colonel
of
engi­ The	Joint	Committee	on	the	Library	acquired	the	marble	bust	of	

neers
in
the
Continental
army.
His
strategic
 General	Ko ́sciuszko	in	1857	for	$500.	The	artist	wrote	Captain	Montgomery	

abilities
contributed
to
General
Horatio
 C.	 Meigs,	 superintendent	 of	 the	 Capitol	 extension,	 that	 his	 bust	 of Gates’s
victory
over
British
General
John


Burgoyne
at
Saratoga
the
following
year.
 Ko ́sciuszko	had	been	“modelled	and	executed	in	American	marble	by	

Kosciuszko
spent
more
than
two
years
at
  ́
 myself	after	the	best	known	authorities,	engravings,	medals,	medallions,

West
Point,
strengthening
fortifications
on
 etc.,	in	my	possession.	As	the	General	was	not	a	handsome	man,	and the
Hudson
River.
From
1780
to
1783,
after


leaving
West
Point,
he
served
with
General
 his	virtue,	courage	and	goodness	were	the	prominent	characteristics	of	

Nathanael
Greene.
At
the
end
of
the
war,
 his	physiognomy;	it	was	a	task	of	no	common	difficulty	to	make	his	likeCongress
awarded
Kosciuszko
the
rank
of
  ́ ness,	and	at	the	same	time	an	attractive	object	of	art.” brigadier
general
for
“long,
faithful
and


sciuszko
 In	the	previous	year,	Saunders	had	exhibited	his	bust	of	Ko ́sciuszko meritorious
services.” 1
 In
1784
Ko ́


returned
to
Poland,
where
he
subsequently
 at	the	Pennsylvania	Academy	of	the	Fine	Arts	in	Philadelphia;	between	

led
his
compatriots
in
resistance
against
 1853	and	1857,	Saunders	showed	some	67	busts,	medallions,	and	bas­ Russian
domination.
Appointed
commanderin­chief
of
the
Polish
armed
forces
in
1794,
 reliefs	of	prominent	Americans	and	Europeans	at	the	academy.	His	works	

Kosciuszko
was
defeated
at
the
Battle
of
  ́
 also	were	exhibited	during	that	period	by	the	Washington	Art	AssociaMaciejowice
and
imprisoned
in
Russia.
 tion	in	Washington,	D.C.	In	1863,	following	the	deaths	of	his	twin	daugh­ After
his
release,
Kosciuszko
visited
  ́

America,
where
he
received
a
triumphal
 ters	and	then	his	wife,	Saunders	

welcome.
He
died
in
Switzerland
in
 returned	to	Poland,	where	he	died	

1817,
still
working
for
Polish
freedom.
 fighting	for	the	liberation	of	his	

country.	A	marble	bust	of	Revolutionary	War	hero	Casimir	Pulaski	

by	Saunders	(p.	310)	was	acquired	

by	Congress	in	1882,	nearly	two	

decades	after	the	artist’s	death.	

Engraving of Tadeusz Ko ́sciuszko by H.H. 

Houston, after Joseph Grassi, ca. 1796. 

(National Portrait Gallery, Smithsonian Institution) 

240 United States Senate 
Tadeusz Ko ́sciuszko 

Henry Dmochowski Saunders (1810–1863) 

Marble,	1857	

36	3

⁄8	 x	27	5⁄8	 x	17	3⁄4	 inches	(92.4	x	70.2	x	45.1	cm)	

Signed	and	dated	(on	base	under	subject’s	truncated	left	arm):	H•D•SAUNDERS•1857	

Inscribed	(centered	on	front	of	base):	T•KOSCIUSZKO	

Purchased	by	the	Joint	Committee	on	the	Library,	1857	

Cat.	no.	21.00012	

Catalogue of Fine Art 241 
Robert
Marion
La
Follette


(1855–1925) 

A
leader
in
the
20th­century
Progressive
 I

n
1955,
by
resolution
of
the
Senate,
the
Special
Committee
on
the


movement,
Robert
Marion
La
Follette
was
a
 Senate
Reception
Room
was
established
to
select
five
outstanding U.S.
representative,
governor,
and
U.S.


senator
from
Wisconsin,
and
an
unsuc­ persons
who
had
served
as
members
of
the
Senate.
Their
likecessful
candidate
for
the
presidency.
La
 nesses
would
be
placed
in
the
room’s
medallion
ovals
that
were


Follette
was
born
in
the
town
of
Primrose,
 left
vacant
in
the
mid­19th
century
by
artist
Constantino
Brumidi. Wisconsin,
the
son
of
settlers
from
Kentucky.
Admitted
to
the
bar
in
1880,
he
 Chaired
by
Senator
John
F.
Kennedy
of
Massachusetts,
the
committee
sought


entered
the
U.S.
House
of
Representatives
 the
counsel
of
historians,
political
scientists,
former
senators,
and
other


in
1885.
After
three
terms
in
the
House,
he
 public
figures
in
the
selection
process.
The
committee
had
little
trouble was
elected
governor
of
Wisconsin
and


served
from
1901
to
1906.
As
governor,
 selecting
the
first
three
senators—both
the
members
and
their
historical


La
Follette
pushed
for
a
direct
primary
 advisory
panel
unanimously
chose
the
“Great
Triumvirate”
of
Henry
Clay


system,
tax
reform
legislation,
railroad
rate
 (p.
72),
Daniel
Webster
(p.
418),
and
John
C.
Calhoun
(p.
54).
However, control,
and
other
measures
known
as
the


“Wisconsin
idea,”
collectively
aimed
at
 the
committee
had
far
greater
trouble
selecting
the
final
two
senators.


weakening
the
control
of
party
bosses
and
 The
historians
polled
selected
George
Norris,
a
Nebraska
Republican,
but


turning
over
public
administration
to
popu­ Norris
was
still
too
controversial
a
figure
to
meet
the
committee’s
require­ larly
elected
leaders.


Nicknamed
“Fighting
Bob,”
La
Follette
 ment
 for
 selection
 by
 unanimous
 vote.
 After
 much
 deliberation,
 the


continued
to
champion
Progressive
causes
 committee
chose
Robert
M.
La
Follette,
Sr.,
of
Wisconsin
and
Robert
A.


during
a
Senate
career
extending
from
 Taft,
Sr.,
of
Ohio
(p.
354)
for
the
remaining
paintings. 1906
until
his
death
in
1925.
He
strongly
 Artist
Chester
La
Follette,
son
of
William
L.
La
Follette,
the
sen­ supported
the
17th
Amendment,
which


provided
for
the
direct
election
of
senators,
 ator’s
first
cousin,
actively
sought
the
commission
to
paint
the
senator’s


as
well
as
domestic
measures
advocated
 portrait
for
inclusion
in
the
“Five
Outstanding
Senators”
series.
He
based by
President
Woodrow
Wilson’s
administration,
including
federal
railroad
regula­ his
representation
on
an
earlier
study
he
had
made,
which
he
described


tion
and
laws
protecting
workers
rights.
 as
a
“free
adaptation”
of
a
photograph
taken
in
1922
by
John
A.
Glander


La
Follette
worked
to
generate
wider
 of
Manitowoc,
Wisconsin.
In
addition,
according
to
a
nephew
writing public
accountability
for
the
Senate.
He


advocated
more
frequent
and
better
publi­ in
the
Columbia,
South
Carolina,
newspaper
The Columbia (SC) State 

cized
roll
call
votes
and
the
publication
of
 in
1996:
“Uncle
Chester
remembered
seeing
his
cousin
speaking
in
Yankee


information
about
campaign
expenditures.
 Stadium
and
obtained
a
press
photo
that
gave
a
direct
frontal
view,
pro­ Early
in
his
Senate
career,
the
Wisconsin
Republican
broke
with
leaders
of
 viding
a
different
perspective
from
the
[Glander]
photo.” 1
 The
portrait


the
Grand
Old
Party
and
rarely
voted
 was
executed
in
the
artist’s
New
York
City
studio
and
then
applied
to


along
party
lines
thereafter.
In
1911
he
 the
wall
of
the
Senate
Reception
Room
at
the
same
time
as
the
four
other helped
found
the
National
Progressive


Republican
League,
whose
members
rallied
 portraits.
Artist
Allyn
Cox
supervised
the
project
and
final
placement
of


around
him
as
the
logical
candidate
to
 the
paintings
in
the
fall
of
1958.
A
formal
unveiling
ceremony
was
held


wrest
the
Republican
presidential
nomina­ on
March
12,
1959.
 tion
from
President
William
Howard
Taft.


However,
La
Follette
lost
his
bid
when


many
supporters
switched
their
allegiance


to
Theodore
Roosevelt
who,
after
failing
to


win
the
Republican
nomination,
ran
unsuc­


cessfully
on
the
third­party
Progressive,
or


Bull
Moose,
ticket
in
1912.


242 United States Senate 
Robert M. La Follette 

Robert Chester La Follette (1897–1993) 

Oil
on
canvas
applied
to
wall,
1958


22
5

⁄8
 x
19
1⁄2
 inches
(oval)
(57.5
x
49.5
cm)


Unsigned


Commissioned
by
the
Senate
Committee
on
Rules
and
Administration,
1958


Accepted
by
the
Senate
Committee
on
Rules
and
Administration,
1959


Cat.
no.
32.00010


Catalogue of Fine Art 243 
Robert
Marion
La
Follette —continued 

La
Follette
led
a
small
but
influential
 Right: 

group
of
Progressives
in
the
Senate.
As
a
 Robert
La
Follette’s
portrait,
far
right,
is


result
of
the
close
margin
between
the
two
 displayed
in
the
Senate
Reception
Room
in


major
parties,
the
Progressives
held
power
 one
of
the
five
oval
medallions
planned
for


portraits
of
“illustrious
men.” out
of
proportion
to
their
small
numbers.
 (1999
photograph)

Also
the
leader
of
the
pacifist
block
in
the


Senate,
La
Follette
opposed
American


involvement
in
World
War
I.
In
1924
he


was
nominated
for
president
by
the


League
for
Progressive
Political
Action


and
polled
five
million
votes.
Exhausted


by
the
rigors
of
the
campaign,
La
Follette


died
the
following
year
in
Washington,


D.C.
His
son,
Robert
M.
La
Follette,
Jr.,


succeeded
him
in
the
Senate,
thus


carrying
on
the
reform
tradition.


Artist
Chester
La
Follette
next
to
his
painting


of
Senator
Robert
La
Follette,
copied
from


the
portrait
commissioned
for
the
Senate


Reception
Room.


(Reprinted
from
The Columbia (SC) State,
March
29,
1996)


244 United States Senate 
Catalogue of Fine Art 245 
John
Langdon


(1741–1819) 

A
Revolutionary­
and
Federal­era
leader,
 I

n
submitting
a
resolution


New
Hampshire
native
John
Langdon
was
 in
 1916
 authorizing
 the
 one
of
the
first
two
senators
from
his
state.­

Born
in
Portsmouth,
he
became
a
suc­ commission
of
a
portrait
of


cessful
owner
of
seagoing
merchant
ves­ John
 Langdon,
 Senator


sels,
and
he
served
as
a
member
of
the
 Jacob
 Gallinger
 of
 New
 Continental
Congress
in
1775
and
1776.
 Hampshire
 commented
 that,
 as
 A
year
later,
while
Speaker
of
the
NewHampshire
house
of
representatives,
he
 the
first
president
pro
tempore
of


was
credited
with
saving
the
colonial
 the
 Senate,
 “Langdon
 deserved
 forces
from
disaster.
Langdon
personally
 some
recognition
on
the
part
of
 financed
the
New
Hampshire
militia,­

making
possible
the
defeat
of
the
British
at
 the
Senate
of
the
United
States.”1


the
Battle
of
Bennington.
With
General
 Artist
 Hattie
 Burdette,
 who
 was
 John
Burgoyne’s
troops
threatening
from
 educated
at
Washington,
D.C.–area
 the
west,
the
state
lacked
an
adequatetreasury
to
defend
itself.
At
a
troubled
 art
schools,
was
selected
to
paint


meeting
of
the
state
assembly,
Langdon
 the
portrait.
Burdette’s
likenesses
 arose
and
pledged
“$1,000
in
hardmoney”
and
$3,000
in
silver
and
saleable
 of
George
Washington
and
Gen­


rum
to
create
the
necessary
fund.
 eral
Lafayette
had
been
exhibited
 James
Sharples,
Sr.,
completed
this
pastel


portrait
of
John
Langdon
about
1795–1800. Langdon
was
chosen
president
of
New
 in
 Paris
 at
 the
 French
 Colonial
 The
Sharples
image
was
subsequently Hampshire
in
1785,
was
a
delegate
to
the


federal
Constitutional
Convention
in
1787,
 Exposition
of
1931;
other
works
 copied
by
Samuel
Sartain.


(Independence National Historical Park) 

and
became
governor
of
New
Hampshire
 by
 her
 were
 held
 by
 the
 Navy


in
1788.
Elected
to
the
U.S.
Senate
from
 Department
 and
 by
 Washington New
Hampshire
in
1788—the
first
session
 and
Lee
University
in
Virginia.
The
artist
also
produced
a
number
of
 under
the
federal
Constitution—heserved
until
1801
and
has
the
 informal
charcoal
character
portraits
of
politicians,
which
were


president
pro
tempore.­ used
for
campaign
purposes.
 distinction
of
being
the
first


From
1805
to
1809
he
 Burdette’s
oil
of
John
Langdon
for
the
U.S.
Capitol


again
served
as
gov­ is
believed
to
be
based
on
an
historic
engraving
of
the


ernor
of
New
Hamp­ senator
by
Samuel
Sartain,
after
an
18th­century
pastel
 shire.
Declining
theDemocratic­Repub­ by
James
Sharples,
Sr.
A
notice
in
the
Washington
D.C.


lican
nomination
 Sunday
Star
of
October
15,
1916,
described
the
com­


for
the
vice
presi­ pleted
portrait:
“It
is
a
strong
face
with
well
defined
 dency
in
1812,­

Langdon
retired
 features,
but
kindly
expression.” 2
 The
painting
was


from
politics.
He
 accepted
by
the
Joint
Committee
on
the
Library
the


died
in
Portsmouth­ same
year.
 in
1819.


The
Senate’s
painting
of
John
Langdon
is


believed
to
be
based
on
this
engraving
by


Philadelphia
printmaker
Samuel
Sartain.


(Reprinted from Dictionary of American Portraits. New York: 

Dover, 1967) 

246 United
States
Senate

John
Langdon


Hattie Elizabeth Burdette (1872–1955) 

Oil
on
canvas,
1916


29
1

⁄4
 x
24
1⁄4
 inches
(74.3
x
61.6
cm)


Signed
(lower
right
corner):
HEBurdette


Commissioned
by
the
Joint
Committee
on
the
Library,
1916


Accepted
by
the
Joint
Committee
on
the
Library,
1916


Cat.
no.
32.00023


Catalogue
of
Fine
Art
 247 
Henry
Latimer


(1752–1819) 

Henry
Latimer,
a
U.S.
representative
and
 I

n
1916
Delaware
artist
Clawson
Hammitt
created
the
Senate’s
porsenator
from
Delaware,
was
born
in
New­ trait
of
Henry
Latimer
after
an
18th­century
work
by
famed
French
 port,
New
Castle
County,
Delaware.


Trained
in
medicine,
Latimer
served
as
a
 engraver
Charles
Saint­Mémin.
That
same
year,
the
Joint
Committee


mobile
surgeon
in
the
Revolutionary
War.
 on
the
Library
accepted
by
resolution
the
portrait
and
one
of


After
the
Franco­American
victory
at
York­ Latimer’s
father,
James
(p.
250),
also
by
Hammitt.
The
paintings town,
he
returned
to
medical
practice
in


Wilmington
and
became
active
in
politics.
 were
gifts
of
Henry
Latimer’s
granddaughter,
Mary
R.
Latimer,
who
had


A
founder
of
the
Federalist
Party,
Latimer
 previously
presented
a
similar
portrait
of
the
senator
by
Hammitt
to
the


was
elected
to
the
Delaware
state
house
of
 state
of
Delaware.


representatives
and
became
its
Speaker.
 Hammitt
studied
with
Thomas
Eakins
in
Philadelphia
and
trained Several
years
later
he
successfully
contested
the
election
of
his
opponent
to
the
 with
both
Benjamin
Constant
and
Jules
Lefebvre
at
the
Académie
Julian


U.S.
House
of
Representatives
and
was
 in
Paris.
Most
of
Hammitt’s
work
remains
in
Delaware;
he
created
a
number seated
by
action
of
the
House
in
1794.
He
 of
portraits
of
Delaware
statesmen
for
the
Old
State
House
collection
in resigned
the
following
year
to
serve
out


the
unexpired
term
of
George
Read
in
the
 the
state
capitol
at
Dover.
 U.S.
Senate.
Reelected,
Henry
Latimer


served
for
six
years
but


then
resigned
in
1801.


Some
contended
that
this


action
resulted
from
disillusionment
over
the
political
tactics
of
his
opponents,
still
bitter
over
the


contested
election
seven


years
earlier.
In
one


episode
of
political


hijinks
after
Latimer’s


retirement,
his
enemies


fired
a
cannon
loaded


with
potatoes
and
herring
in
response
to
a


statement
misattributed
to


Latimer
that
“the
laboring


classes
lived
too
well
to


be
happy
and
should
be


reduced
to
the
fare
of
the


Irish.”1
After
retirement
 The Senate’s portrait of Henry Latimer is 

from
political
life,
Latimer
 based on this 1798 drawing of the senator 

confined
his
work
to
 by Charles Saint-Mémin. 

(Courtesy of the Pennsylvania Academy of the Fine Arts, medicine,
making
signifi­ Philadelphia. Gift of Robert K. Cassatt) 

cant
contributions
to
the


people
of
his
state.


The portraits of Senator Henry Latimer, 

right, and his father Delaware County Judge 

James Latimer, left, once hung on the third 

floor of the U.S. Capitol. 

(1999 photograph) 

248 United States Senate 
Henry Latimer 

Clawson Shakespeare Hammitt (1857–1927) 

after
Charles
Balthazar
Julien
Févret
de
Saint­Mémin
(1770–1852)


Oil
on
canvas,
1916


29
1

⁄2
 x
24
1⁄2
 inches
(74.9
x
62.2
cm.)


Signed
and
dated
(lower
right
corner):
Clawson
S.
Hammitt
/
1916


Gift
of
Mary
R.
Latimer
(granddaughter
of
Henry
Latimer),
1916


Accepted
by
the
Joint
Committee
on
the
Library,
1916


Cat.
no.
32.00013


Catalogue of Fine Art 249 
James
Latimer


(1719/1720–1807) 

James
Latimer
was
born
in
the
north
of
 Clawson
Hammitt’s
painting
of
James
Latimer
is
a
copy
of


Ireland.
In
1736,
as
a
young
man,
 a
life
portrait
by
American
artist
Charles
Willson
Peale.
The
 Latimer
immigrated
with
his
family
to


Chester
County,
Pennsylvania.
Later
he
 original,
now
in
the
collection
of
the
Pennsylvania
Academy


entered
the
shipping
business
in
Philadel­ of
the
Fine
Arts
in
Philadelphia,
was
executed
in
1788.
An


phia,
sailing
twice
a
year
to
his
native
 earlier
Hammitt
copy
of
the
Peale
portrait
was
presented country.
After
his
marriage
in
1749,


Latimer
moved
to
Newport,
Delaware,
 to
the
state
of
Delaware
by
Mary
R.
Latimer,
the
descendent
who
also


where
he
operated
flour
mills
and
 gave
to
the
U.S.
government
this
portrait
and
one
of
U.S.
Senator
Henry


shipped
grain
and
produce
to
markets
 Latimer
(p.
248),
James’s
son.
 in
Philadelphia
and
the
West
Indies.
­

Latimer
served
with
a
Delaware
regi


ment
during
the
French
and
Indian
War
and


was
a
lieutenant
colonel
of
militia
during


the
Revolutionary
War.
He
was
a
member


of
the
council
of
safety
for
New
Castle


County
in
1775
and
for
the
state
during
the


winter
of
1776–77,
when
he
provided
aid


to
General
George
Washington’s
army


encamped
on
the
Delaware
River.
Latimer


was
later
elected
a
justice
of
the
court
of


common
pleas
and
the
orphan’s
court
of


New
Castle.
In
1787
he
presided
over


Delaware’s
convention
to
ratify
the
U.S.


Constitution.
Latimer
gained
national


prominence
when
Delaware
became
the


first
state
to
act
on
behalf
of
the
document.


The Senate’s painting of James Latimer is 

based on this 1788 portrait by Charles 

Willson Peale. 

(Courtesy of the Pennsylvania Academy of the Fine Arts, 

Philadelphia. Bequest of Robert Cathcart Latimer) 

250 United States Senate 
James Latimer 

Clawson Shakespeare Hammitt (1857–1927) 

after
Charles
Willson
Peale
(1741–1827)


Oil
on
canvas,
ca.
1914


35
1

⁄2
 x
28
1⁄2
 inches
(90.2
x
72.4
cm)


Signed
(lower
right
corner):
Clawson
S.
Hammitt


Gift
of
Mary
R.
Latimer
(great­granddaughter
of
James
Latimer),
1916



Accepted
by
the
Joint
Committee
on
the
Library,
1916


Cat.
no.
31.00013


Catalogue of Fine Art 251 
Henry
Laurens


(1724–1792) 

Henry
Laurens,
a
patriot
and
statesman,
 This
painting
of
Henry
Laurens
depicts
the
statesman
as
he


was
born
in
Charleston,
South
Carolina.
 appeared
in
1781
during
his
15­month
political
imprison­
 A
leading
merchant
in
that
city,
Laurenslater
owned
and
managed
several
planta­ ment
in
the
Tower
of
London.
Inscribed
in
the
upper
left


tions.
He
got
his
start
in
politics
when
he
 corner
of
the
canvas
are
the
words
“Hon:
Henry
Laurens,
/


was
elected
to
the
commons
house
of
 Pres:
of
the
American
Congreƒs.
/
(Painted
1781.
while
in
 assembly
in
1757.
Laurens
lived
inLondon
beginning
in
1771,
but
returned
 the
Tower.)”
Officials
at
the
Corcoran
Gallery
of
Art
in
Washington,
D.C.,


to
South
Carolina
three
years
later.
There
 brought
the
painting
to
the
attention
of
the
Joint
Committee
on
the
Library


he
was
elected
a
delegate
to
the
first
 in
1886.
The
committee
acted
to
acquire
the
picture
from
London
dealer
 provincial
congress
and
later
became
its
 Henry
Stevens
&
Son
after
the
Corcoran’s
founder,
William
W.
Corcoran,
 president.
He
served
in
the
ContinentalCongress
from
1777
to
1780
and
suc­ declined
to
do
so.


ceeded
John
Hancock
as
its
president.
 In
this
accomplished
portrait,
Laurens
looks
away
from
the
viewer In
August
1780,
en
route
abroad
to


negotiate
a
treaty
and
loan
with
Holland,
 and
slightly
upward
while
holding
a
letter
in
his
left
hand,
his
arm
resting


Laurens
was
captured
off
Newfoundland
 on
a
table.
A
dark
red
curtain
hangs
diagonally
behind
him,
opening


by
the
British
and
was
confined
for
15
 to
a
view
over
his
left
shoulder
of
a
castellated
building
that
represents months
in
the
Tower
of
London.
Because


he
was
held
on
suspicion
of
high
treason,
 the
Tower,
where
the
portrait
was
painted.
The
face
is
convincingly
and


Laurens
could
not
be
exchanged
as
a
 expressively
modeled.
The
dignified,
sober
expression
befits
Laurens’s


military
prisoner
of
war.
During
his
diffi­ political
importance
and
his
unpromising
situation,
both
of
which
are cult
confinement,
he
wrote
two
pro­British
 concisely
stated
in
the
inscription
in
the
upper
left
corner
of
the
painting. petitions,
although
he
maintained
his


commitment
to
the
patriot
cause.
These
 The
letter
that
Laurens
holds
in
his
hand
contains
these
words:


submissive
petitions
were
sharply
criti
­

cized
in
America.
 I
have
acted
the
part
of
a
fait[hful]
/
subject.
I
now
go
resolved
still
to
labour
for
/


Laurens
was
eventually
released—in
 peace
at
the
same
time
determined
in
the
/
last
event
to
stand
or
fall
with
my
country./


exchange
for
Lord
Cornwallis—and
he
 I
have
the
honour
to
be
/
Henry
Laurens


joined
Benjamin
Franklin,
John
Adams,­

and
John
Jay
in
Paris
to
negotiate
the
arti­ When
acquired
for
the
U.S.
Capitol
in
1886,
the
portrait
was
ascribed


cles
of
peace
with
Great
Britain.
Laurens
 to
John
Singleton
Copley.
That
attribution,
however,
is
not
compatible
 then
acted
as
unofficial
minister
to
England
 with
the
style
of
the
small,
full­length
portrait
of
Laurens—now
in
the until
1784,
when
he
returned
to
New
York


and
reported
to
Congress.
In
declining
 Smithsonian
Institution’s
National
Portrait
Gallery
in
Washington,
D.C.—


health
and
suffering
heavy
wartime
prop­ that
Copley
painted
just
after
Laurens
was
released
from
prison
in
1782.
 erty
losses,
Laurens
retired
to
his
home
on
 Instead
of
Copley’s
crispness
of
contour
and
strong
impasto,
the
Senate’s South
Carolina’s
Cooper
River
until
his


death
in
1792.
 portrait
is
distinguished
by
softness,
both
in
the
free
contours
of
the


coat
and
in
the
broad,
malleable
planes
of
the
face.


It
is
known
from
Laurens’s
correspondence
that
he
was
painted


while
in
the
Tower
by
one
“Mr.
Abbot
[sic]”
of
20
New
Cavandish
Street,


Portland
 Place—certainly
 Lemuel
 Francis
 Abbott.
 During
 this
 period,


Abbott
was
indeed
active
in
London,
where
he
specialized
in
half­length


portraits
of
diplomats
and
military
figures.
His
style,
as
known
especially


from
numerous
paintings
in
the
National
Portrait
Gallery
in
London,
is


so
close
to
the
style
of
the
Senate
painting
that
there
is
little
doubt
that


Abbott
painted
it.


252 United States Senate 
Henry Laurens 

Lemuel Francis Abbott (ca. 1760–1802) 

Oil
on
canvas,
1781
or
1784


31
x
25
inches
(78.7
x
63.5
cm)


Inscribed
(upper
left
corner):
Hon:
Henry
Laurens,
/
Pres:
of
the
American
Congreƒs.
/



(Painted
1781.
while
in
the
Tower.)


Purchased
by
the
Joint
Committee
on
the
Library,
1886


Cat.
no.
31.00010


Catalogue of Fine Art 253 
Henry
Laurens —continued 

A
complication
is
introduced
by
another
letter
that
Laurens
wrote


in
June
1784
before
his
return
to
America.
He
tells
his
daughter
that


his
agent,
Mr.
Bridgen,
“intends
to
get
a
Copy
of
the
painting
by
Mr.


Abbot
[sic]”
and
“has
called
upon
me
for
the
fragment
of
the
Letter
which


was
 or is intended to be [emphasis
 added]
 marked
 on
 the
 picture.


Enclosed
you
will
find
it
as
accurately
penned
as
memory
serves
at
the


distance
of
near
ten
years.”
It
may
be
inferred
that
Abbott
had
not
added


the
text
of
the
letter
to
his
1781
Tower
portrait—or
that
Laurens
was


not
sure
that
he
had.
Since
he
then
asks
his
daughter
to
take
a
copy


of
this
inscription
to
Abbott
“and
speak
to
him
respecting
the
copy
of


the
picture,”
he
surely
means
to
commission
Abbott
to
paint
a
replica


of
his
1781
life
portrait.
There
is
no
reason
to
doubt
that
the
Senate


portrait
is
an
original
by
Abbott—either
his
1781
painting
from
life
or


his
1784
replica.


The
enclosure
that
Laurens
sent
to
his
daughter
has
not
survived.


Obviously,
the
quotation
recalled
after
a
decade
referred
to
something


Laurens
had
written
before
the
American
Revolution,
something
of
which


he
remained
proud.
Like
many
colonials,
particularly
in
South
Carolina,


where
the
British
ties
remained
strongest,
Laurens
was
torn
by
conflicting


loyalties.
In
the
same
passage
in
his
letter
to
his
daughter,
Laurens
makes


that
clear:


If
I
have
a
desire
of
transmitting
my
memoirs
to
Posterity,
it
is
in
shewing
[sic]
that
I


acted
a
faithful
part
to
my
King
that
I
labored
for
continuing
Peace
and
Friendship


with
my
Brethren
and
fellow
Subjects
that
at
the
hazard
of
my
Life
and
Fortune
I
rejected


all
Temptations
to
abandon
my
Country
in
the
day
of
her
distress,
but
I
had
no
thought


even
of
this
till
it
was
called
for.


In
the
headlong,
unpunctuated
rush
of
Laurens’s
words
of
1784,


something
of
the
passionate
conflict
that
the
statesman
felt
as
revolution
approached
is
reborn.
That
he
chose
his
pre­Revolutionary
words


as
his
motto
on
a
portrait
representing
his
darkest
hour
is
both
a
patriot’s


creed
and
a
reminder
of
how
the
choice
between
king
and
conscience


had
been
thrust
upon
him.


254 United States Senate 
Catalogue of Fine Art 255 
James
Hamilton
Lewis


(ca. 1863–1939) 

James
Hamilton
Lewis
served
the
state
of
 Without
ceremony,
this
oil
likeness
of
J.
Hamilton


Washington
in
the
U.S.
House
of
Represen­ Lewis
by
Louis
Betts
was
hung
in
the
U.S.
Capitol
 tatives,
and
the
state
of
Illinois
in
the
U.S.­

Senate.
Born
in
Danville,
Virginia,
Lewis
 in
November
1940.
A
formal
unveiling
was
post­


spent
most
of
his
youth
in
Georgia.
In
 poned
until
the
Illinois
delegation
could
be
present


1885,
however,
he
left
the
South
and
 following
the
fall
congressional
recess.
The
portrait
 moved
to
Seattle,
where
he
established
alaw
practice
and
became
active
in
territo­ was
presented
by
the
senator’s
widow
to
the
Joint
Committee
on
the


rial
politics.
After
Washington’s
admission
 Library
shortly
before
it
was
exhibited
in
the
Senate
wing
of
the
Capitol.



to
the
Union,
Lewis
was
elected
in
1896
to
 The
precise
date
and
circumstances
of
the
picture’s
execution
are
 the
U.S.
House
of
Representatives.
There


he
argued
for
recognition
of
Cuba’s
inde­ not
known.
Betts
was,
however,
a
skilled
copyist
who
spent
a
number


pendence
and
for
the
establishment
of
the
 of
years
studying
and
working
in
the
mode
of
Europeans
Frans
Hals


Mount
Rainier
area
as
a
national
park.
 and
Diego
Velasquez.
Betts
may
have
copied
a
photograph
of
Lewis
that After
losing
both
his
congressional


seat
in
1898
and
a
subsequent
bid
for
 was
published
in
1940,
the
year
after
his
death,
for
the
portrait
closely


the
U.S.
Senate,
Lewis
moved
to
Chicago,
 resembles
this
image.


where
he
once
again
became
active
in
 A
successful
portraitist,
Betts
grew
up
in
Chicago
and
was
espe­ Democratic
politics.
In
1913
he
was


elected
to
the
U.S.
Senate
from
Illinois,
 cially
identified
with
that
city,
though
he
achieved
recognition
in
capithe
last
senator
chosen
by
that
state
legis­ tals
both
here
and
abroad.
As
a
student,
he
trained
under
his
father,
Edwin


lature
before
the
ratification
of
the
17th
 D.
Betts,
and
later
with
William
Merritt
Chase
at
the
Pennsylvania
Academy Amendment,
which
provided
for
the
direct
 of
the
Fine
Arts
in
Philadelphia.
A
1923
art
journal
observed:
“[Betts] election
of
senators.
Lewis
became
the


first
Democratic
whip
of
the
Senate.
He
 employs
 no
 accessories
 to


was
defeated
at
the
end
of
his
first
term
 heighten
 his
 effects....
 He


but
won
another
term
in
1930
and
wasreelected
in
1936.
Lewis
resumed
his
role
 has
 only
 one
 aim...to 
set


as
party
whip
during
his
second
and
third
 down
on
canvas
for
all
time


terms.
He
was
an
authority
on
the
U.S.
 what
 manner
 of
 man
 or


Constitution
and
on
foreign
affairs,
and
­

a
skillful
legislative
tactician.
Lewis
stood
 woman
or
child
is
before
him


out
among
his
contemporaries
for
his
 as
he
or
she
is
revealed
to
him


eloquent
oratory
and
courtly
manner.
 by
 the
 spirit
 which
 gleams
 He
died
in
office;
his
funeral
service
­

was
held
in
the
Senate
Chamber.
 from
the
eyes.”1


Betts
 maintained
 a


studio
in
New
York
City.
He


was
awarded
a
bronze
medal


at
the
St.
Louis
Exposition
in


1904
 and
 numerous
 other


prizes
 in
 succeeding
 years.


The
 National
 Academy
 of


Design
presented
him
with
a


gold
medal
in
1931.


This photograph of Senator J. Hamilton Lewis may 

have been used for the Senate’s portrait. 

(Reprinted from The National Cyclopedia of American Biography. New 

York: James T. White & Company, 1940) 

256 United States Senate 
J. Hamilton Lewis 

Louis Betts (1873–1961) 

Oil
on
canvas,
date
unknown


39
1

⁄2
 x
28
7⁄8
 inches
(100.3
x
73.3
cm)


Signed
(upper
left
corner):
Louis
Betts


Gift
of
Rose
Douglas
Lewis
(widow
of
J.
Hamilton
Lewis),
1940


Accepted
by
the
Joint
Committee
on
the
Library,
1940


Cat.
no.
32.00015


Catalogue of Fine Art 257 
Abraham
Lincoln


(1809–1865) 

Abraham
Lincoln,
16th
president
of
the
 Frustratingly
little
is
known
about
the
life
and
career
of
Sarah


United
States,
guided
the
nation
through
 Fisher
Ames.
Born
Sarah
Clampitt
in
Lewes,
Delaware,
she
 its
devastating
Civil
War
and
remainsmuch
beloved
and
honored
as
one
of
the
 moved
at
some
point
to
Boston,
where
she
studied
art.
She


world’s
great
leaders.
Lincoln
was
born
in
 spent
time
in
Rome,
but
whether
she
studied
formally
there


Hardin
(now
Larue)
County,
Kentucky.
He
 is
not
known.
Wife
of
the
portrait
painter
Joseph
Alexander
 moved
with
his
family
to
frontier
Indiana
in
 Ames,
she
produced
at
least
five
busts
of
President
Lincoln,
but
the
cir­
 1816,
and
then
to
Illinois
in
1830.
After


serving
four
terms
in
the
Illinois
legislature,
 cumstances
of
their
production
are
not
well
documented.
While
Ames


Lincoln
was
elected
as
a
Whig
to
the
U.S.
 was
able
to
patent
a
bust
of
the
16th
president
in
1866,
the
drawings
were House
of
Representatives
in
1846.
He
did


not
seek
reelection
and
returned
to
Spring­ later
destroyed
in
a
U.S.
Patent
and
Trademark
building
fire.


field,
Illinois,
where
he
established
a
 As
a
nurse
during
the
Civil
War,
Ames
was
responsible
for
the


statewide
reputation
as
an
attorney.
 temporary
hospital
established
in
the
U.S.
Capitol
in
Washington,
D.C. Although
unsuccessful
as
a
Whig
candi


date
for
the
U.S.
Senate
in
1855,
Lincoln
 One
source
reports
that
through
this
position
she
knew
Lincoln
“in
an


was
the
newly
formed
Republican
Party’s
 intimate
and
friendly
way,”
but
she
also
might
have
met
the
president


standard­bearer
for
the
same
seat
three
 through
her
activity
as
an
antislavery
advocate.1
Regardless
of
the
origin years
later.
In
that
race,
Lincoln
captured


national
recognition
by
engaging
Demo­ of
their
association,
it
likely
led
to
formal
sessions
with
Lincoln,
in
which


crat
Stephen
A.
Douglas
in
a
dramatic
 Ames
was
able
to
sketch,
and
perhaps
model,
his
features.


series
of
public
debates,
but
Lincoln
ulti­ Author
Mary
Clemmer
Ames
(no
relation
to
the
artist)
compared
one mately
lost
to
Douglas
on
election
day.
 of
the
sculptor’s
renderings
of
Lincoln
with
Vinnie
Ream’s
full­length
statue In
1860
Lincoln
was
elected
the


nation’s
first
Republican
president.
By
the
 of
the
president
in
the
Capitol
Rotunda:


Mr.
Lincoln’s
living
face
was
one
of
the
most
interesting
ever
given
to
man.
.
.
.
 Mrs.


Sarah
Ames,
in
her
bust
of
Lincoln...has 
transfixed
more
of
the
soul
of
Lincoln
in
the


brow
and
eyes
of
his
face
than
Miss
Ream
has
in
all
the
weary
outline
of
her
many
feet


of
marble....
But
any
one
who
ever
saw...
his
living
humanity
must
thank
Mrs.
Ames


for
having
reflected
and
transfixed
it
in
the
brows
and
eyes
of
this
marble.2


This
effusive
praise
by
Mary
Clemmer
Ames
is
not
entirely
unwarranted.
The
head
of
the
Senate
bust
of
Lincoln
is
serene
and
poised,


the
gaze
level,
and
the
whole
work
is
finely
idealized.
The
pupils
of


the
eyes
are
only
lightly
drilled,
lending
a
slight
remoteness
to
the
face,


and
the
toga
associates
Lincoln
with
the
greatly
admired
Roman
republic.


In
1868
the
Joint
Committee
on
the
Library
purchased
this
bust


of
Lincoln
from
Sarah
Fisher
Ames
for
$2,000
for
the
Capitol.
The
Massachusetts
Statehouse,
Williams
College
Museum
of
Art,
and
the
Lynn


Historical
Society—all
in
Massachusetts—and
the
Woodmere
Art
Museum


in
Pennsylvania
hold
additional
busts
of
the
president
by
Ames.


Other
known
works
by
the
artist
include
a
plaster
bust
of
U.S.
Grant,


Delaware native, Civil War nurse, and which
was
exhibited
at
the
1893
Chicago
World’s
Columbian
Exposisculptor Sarah Fisher Ames. tion,
and
busts
of
American
diplomat
Anson
Burlingame
and
railroad (Architect of the Capitol) 

engineer
Ross
Winans.
Ames
died
in
1901
in
Washington,
D.C.


258 United States Senate 
Abraham Lincoln 

Sarah Fisher Clampitt Ames (1817–1901) 

Marble,
1868


35
x
25
1

⁄4
 x
13
1⁄2
 inches
(88.9
x
64.1
x
34.3
cm)


Signed
and
dated
(centered
on
base
at
back):
Sarah
Fisher
Ames
Sculpt
/
1868


Purchased
by
the
Joint
Committee
on
the
Library,
1868


Cat.
no.
21.00013


Catalogue of Fine Art 259 
Abraham
Lincoln —continued 

time
of
his
inauguration
in
March
1861,
 Created
 as
 a
 memorial,
 this
 mosaic
 portrait
 of
 President


seven
Southern
states
had
seceded
from
the
 Abraham
Lincoln
was
a
gift
to
the
United
States
from
Italian
 Union,
formed
their
own
separate
govern
­

ment,
and
inaugurated
Jefferson
Davis
as
its
 artist
and
businessman
Antonio
Salviati.
The
mosaic
was


president.
Concerned
with
preserving
the
 the
work
of
the
firm
of
Salviati,
Burke,
and
Company
of


Union
from
dissolution,
Lincoln
presented
an
 Venice
and
London.
The
House
of
Representatives
passed inaugural
address
that
was
conciliatory
in


nature,
assuring
that
slavery
would
not
be
 legislation
accepting
the
gift
on
July
24,
1866,
and
the
Senate
immedi­


abolished
where
it
then
existed.
But
one
 ately
concurred.
Almost
20
years
later
Salviati’s
firm
gave
a
similar
portrait


month
later,
when
Confederate
forces
 to
 the
 United
 States
 in
 memory
 of
 the
 nation’s
 second
 assassinated
 opened
fire
on
Charleston’s
Fort
Sumterwhile
Congress
was
in
recess,
Lincoln
acted
 president,
James
A.
Garfield
(p.
162).


decisively.
He
called
up
the
militia;
pro­ The
gift
of
the
Lincoln
portrait
came
early
in
Salviati’s
career,
which


claimed
a
blockade;
and
suspended
the
 was
dedicated
to
restoring
to
prominence
the
medieval
art
of
mosaic.
 writ
of
habeas corpus,
which
ensures
acitizen’s
right
to
be
brought
before
a
court
 Salviati
founded
his
“laboratory
of
mosaic
art”
in
Venice
in
1859.
He
showed


before
imprisonment.
The
war
that
ensued
 his
works
in
1861
at
a
national
exhibition
in
Florence
and
in
1863
at
an


lasted
for
four
years,
during
which
time
 industrial
exposition
in
Vienna.
Doubtless
the
gift
of
the
Lincoln
portrait
 Lincoln
assumed
greater
executive
power
 was
both
an
honest
expression
of
appreciation
for
the
life
of
Lincoln—
 than
any
previous
U.S.
president.
­

Of
all
Lincoln’s
actions
during
the
Civil
 described
by
Salviati
as
“one
of
the
world’s
greatest
heroes”—and
an
effort


War,
he
is
perhaps
best
remembered
for
 to
promote
his
work
internationally.
In
the
years
that
followed,
Salviati the
Emancipation
Proclamation,
which
he


issued
on
January
1,
1863.
Although
it
did
 exhibited
at
major
expositions
in
Paris,
Naples,
London,
Milan,
and
Boston,


not
abolish
slavery
nationwide,
it
put
slave­ where
he
won
numerous
gold
medals
and
diplomas
of
honor.
At
the
1862


holders
on
notice
and
gave
the
conflict
an
 London
Exposition,
the
British
press
touted
“the
superiority
of
the
enamel undeniable
moral
imperative.
When
Lincoln


work...
and
mosaics
sent
by
the
Salviati
establishment
in
Venice.”
The was
reelected
in
1864,
the
war’s
end
was


in
sight,
and
the
president
urged
leniency
 Salviati
company
developed
a
reputation
for
producing
exquisite
mosaic


toward
the
Southern
states.
His
plan
for
 portraits
of
both
ancient
and
modern
subjects
and
for
undertaking
vast postwar
reconstruction
advocated
the


forming
of
new
state
governments
that
 mural
decorations
for
palaces
and
churches.


would
be
loyal
to
the
Union,
a
plan
later
 Antonio
Salviati
died
in
Venice
on
January
25,
1890,
leaving
his


adopted
by
President
Andrew
Johnson.
 business
to
his
two
sons.
The
firm’s
mosaic
work
occupies
important
archi­ Lincoln’s
presidency
ended
abruptly
when


he
was
shot
by
John
Wilkes
Booth
on
April
 tectural
spaces
in
St.
Paul’s
Cathedral,
the
Houses
of
Parliament,
and


14,
1865,
in
Washington,
D.C.’s
Ford’s
 Westminster
Abbey
in
London,
and
in
the
Albert
Memorial
Chapel
at


Theater.
Lincoln
died
the
following
day.
 Windsor
Castle
in
England.
In
the
United
States,
the
Stanford
Memorial


Church
at
Stanford
University
in
California
is
decorated
with
massive
Salviati


mosaics.
The
exterior
of
the
north
facade
depicts
Christ Welcoming the 

Righteous into the Kingdom of God;
when
completed
in
1901
it
was
the


largest
mosaic
in
America.
The
devastating
1906
San
Francisco
earthquake


destroyed
this
priceless
work,
but
it
was
recreated
from
the
original
drawings,
preserved
in
Italy,
several
years
later.
Salviati’s
company
continues


today
to
produce
glass
art
of
the
highest
quality.


260 United States Senate 
Abraham Lincoln 

Antonio Salviati (1816–1890) 

Enamel
mosaic,
1866


22
3

⁄4
 x
20
1⁄4
 inches
(oval)
(57.8
x
51.4
cm)


Unsigned


Gift
of
the
artist,
1866


Accepted
by
concurrent
resolution
dated
July
25,
1866


Cat.
no.
39.00001


Catalogue of Fine Art 261 
Abraham
Lincoln —continued 

According
to
artist
Freeman
Thorp,
this
portrait
of
Abraham


Lincoln
was
originally
executed
in
approximately
1879


from
life
sketches
in
a
specially
created
studio
on
the


fourth
floor
of
the
Senate
wing
of
the
U.S.
Capitol.
Four


decades
later
the
portrait
was
purchased
from
Thorp
for


the
Capitol.
At
the
time
of
its
acquisition
in
1920,
Thorp
described
in


a
letter
to
the
Joint
Committee
on
the
Library
the
intensity
with
which


he
had
observed
Lincoln:
“I
studied
him
very
carefully
and
thoroughly


from
life
just
before
his
inauguration,
and
later
at
the
White
House
and


at
Gettysburg
when
he
made
his
famous
address,
sketching
him,
making


a
descriptive
delineation
such
as
artists
use,
memorizing
his
expres­


sion
 and
 how
 he
 looked
 when
 animated.”
 The
 artist


believed
that
these
observations
allowed
him
to
create


an
accurate
portrait
of
the
president,
and
that
“it
would


be
impracticable
for
any
future
portrait
painter
who
had


not
known
him
in
life
to
put
the
real
Lincoln
on
canvas.”


By
a
Senate
resolution
approved
April
5,
1920,
the


Joint
 Committee
 was
 directed
 “to
 engage
 an
 artist
 of


reputation
and
ability
to
paint
an
oil
portrait
of
the
late


Abraham
Lincoln,
former
President
of
the
United
States,


and
to
place
the
same
in
the
Senate
wing
of
the
Capitol


building,
at
a
cost
not
to
exceed
$2,000.”1
 Several
weeks


later,
 the
 committee
 authorized
 payment
 of
 $2,000
 to


Freeman
Thorp
for
his
portrait
of
Lincoln.
While
an
1872


newspaper
 article
 acknowledged
 that
 some
 viewers


considered
Thorp’s
portraits
“too
dark,”
the
writer
suggested


that
this
feature
instead
gives
the
works
a
“richness
of
tone,”


lending
facial
expressions
a
“wonderful
distinctness.”2


Over
the
years,
Thorp
painted
a
number
of
portraits
of
prominent
Americans,
including
several
other


U.S.
presidents.
The
Smithsonian
Institution’s
Inventory


of
American
Painting
and
Sculpture
lists
46
works
by


Thorp;
eight
of
these,
including
the
painting
of
Lincoln,


are
now
held
within
the
U.S.
Capitol.
Thorp’s
other
work


in
the
Senate
is
the
oil
portrait
of
Assistant
Doorkeeper


Isaac
Bassett
(p.
28). Artist Freeman Thorp with his portrait of 

Abraham Lincoln, 1920. 

(Architect of the Capitol) 

262 United States Senate 
Abraham Lincoln 

Freeman Thorp (1844–1922) 

Oil
on
canvas,
ca.
1879–1920


29
3

⁄8
 x
24
3⁄8
 inches
(74.6
x
61.9
cm)


Signed
(upper
and
lower
right
corners):
Thorp


Commissioned
by
the
Joint
Committee
on
the
Library,
1920


Accepted
by
the
Joint
Committee
on
the
Library,
1920


Cat.
no.
31.00008


Catalogue of Fine Art 263 
Willie
Person
Mangum


(1792–1861) 

Willie
Person
Mangum
was
born
in
Orange
 Willie
P.
Mangum
was
president
pro
tempore
of
the


(now
Durham)
County,
North
Carolina.
He
 Senate
when
this
portrait
by
James
Reid
Lambdin
 studied
law,
became
a
superior
court
judge,
 was
painted.
The
work
was
apparently
commis­
 served
in
the
U.S.
House
of
Representativesfrom
1823
to
1826,
and
moved
to
the
U.S.
 sioned
by
Mangum
or
his
family
because
it
was
sent


Senate
in
1831.
Originally
a
Jacksonian
 to
Walnut
Hall,
Mangum’s
home
in
North
Carolina,
 Democrat,
Mangum
opposed
protective
tar­ shortly
after
it
was
executed.
The
painting
remained
in
the
Mangum
family
 iffs
and
instead
supported
states’
rights.
In1834,
he
broke
with
Andrew
Jackson
over
 until
it
was
acquired
by
the
Senate
in
1978.
According
to
correspon­


several
issues,
especially
the
removal
of
fed­ dence
in
the
Willie
Person
Mangum
Papers
at
the
Library
of
Congress,
 eral
deposits
from
the
Bank
of
the
UnitedStates.
Mangum
resigned
from
the
Senate
 Lambdin
asked
to
use
a
committee
room
in
the
basement
of
the
U.S.


in
1836
after
refusing
to
carry
out
voting
 Capitol
as
a
studio
whenever
the
space
was
free.
Permission
was
granted


instructions
from
the
North
Carolina
legisla­ in
early
March
1844,
and
Lambdin
soon
wrote
Mangum
to
arrange
for
 ture,
which
the
Democrats
controlled.
Hispolitical
views
were
particularly
well
 sittings.
The
work
was
finished
in
three
months.



received
in
South
Carolina,
where
he
won
 Mangum’s
magnetic
personality,
charm,
and
political
acumen,
as


all
11
electoral
votes
for
president
of
the
 reported
by
his
contemporaries,
are
effectively
captured
by
Lambdin.
 United
States
in
the
1836
election.­

Mangum
was
elected
in
1840
as
a
 Seated
on
a
chair,
the
senator
looks
steadily
at
the
viewer,
his
straight


Whig
to
fill
the
Senate
vacancy
caused
by
 mouth,
aquiline
nose,
and
broad
forehead
conveying
intelligence
and


the
resignation
of
Bedford
Brown.
He
was
 dignity.
Only
the
warm
flesh
tones
and
the
slight
elegance
of
the
curls subsequently
reelected
and
served
until


1853.
As
president
pro
tempore
of
the
 ornamenting
his
right
temple
modify
this
direct
depiction.


Senate
between
May
1842
and
March
 A
prolific
painter,
James
Reid
Lambdin
was
born
in
Pittsburgh,
Penn1845,
he
was
(under
rules
of
the
time)
next
 sylvania,
studied
in
Philadelphia
with
Thomas
Sully,
and
returned
to
his
 in
line
for
the
presidency
since
President


John
Tyler
did
not
have
a
vice
president.
 native
 city
 in
 1827.
 There,
 in
 the
 manner
 of
 Charles
 Willson
 Peale,


Mangum
was
an
astute
political
leader,
 Lambdin
painted
portraits
and
established
a
private
museum
containing


an
effective
debater,
and
a
powerful
cam­ both
art
and
natural
history.
Beginning
in
1859,
he
served
on
the
com­ paigner
with
personal
charm
and
mag


netism.
A
close
friend
of
Daniel
Webster’s,
 mission
to
oversee
the
decoration
of
the
U.S.
Capitol
extension.
He
was


Mangum
helped
persuade
the
Massachu­ the
father
of
artist
George
Cochran
Lambdin,
who
was
admired
for
his


setts
senator
to
make
his
famous
“Seventh
 still­life
paintings.
 of
March”
speech
during
the
Compromiseof
1850
debates.
When
he
failed
to
winreelection
in
1852,
Mangum
returned
toNorth
Carolina,
where
he
practiced
lawuntil
his
death
in
1861.­

264 United States Senate 
Willie P. Mangum 

James Reid Lambdin (1807–1889) 

Oil
on
canvas,
1844


29
7

⁄8
 x
24
1⁄4
 inches
(75.9
x
61.6
cm)


Unsigned


Purchased
by
the
U.S.
Senate
Commission
on
Art,
1978


Cat.
no.
32.00022


Catalogue of Fine Art 265 
Michael
Joseph
Mansfield


(1903–2001) 

Michael
Joseph
Mansfield,
a
U.S.
senator
 This
striking
painting
of
Mike
Mansfield
is
unusual
in
the
confrom
Montana
and
U.S.
ambassador
to
 text
of
Senate
portraiture.
It
owes
its
idiosyncratic
appearance Japan,
was
born
in
New
York
City
and
 to
the
nature
of
its
commission
and
execution,
which
was moved
as
a
child
to
Montana.
He
leftschool
during
World
War
I
to
join
the
navy
 initiated
not
by
the
Senate
but
by
The
Charles
Engelhard


and
later
served
in
the
army
and
the
 Foundation.
The
foundation
hoped
that
the
completed
por­
 Marine
Corps.
He
then
returned
to
Montana
 trait
would
be
accepted
by
the
Senate
and
hung
in
the
Mike
Mansfield
 to
work
in
the
copper
mines.
After
he
com
­

pleted
his
education,
Mansfield
taught
Latin
 Room
(S–207),
which
had
been
named
in
Mansfield’s
honor
by
Senate


American
and
Asian
history
at
Montana
 resolution
in
September
1976.
When
Mansfield
was
asked
to
have
his
 State
University,
his
alma
mater,
and
then,­

in
1942,
won
a
seat
in
the
U.S.
House
of
 portrait
painted
before
his
retirement
from
the
Senate,
he
declined,
stating:


Representatives.
After
a
decade
in
the
 “When
I’m
gone,
I
want
to
be
forgotten.”1
Aware
of
the
senator’s
widely


House,
he
was
elected
as
a
Democrat
to
the
 known
dislike
of
sitting
for
his
portrait,
Jane
Engelhard
reasoned
that
he U.S.
Senate,
where
he
served
until
hisretirement
in
1977.
Mansfield
became
 might
be
persuaded
to
do
so
in
a
more
relaxed
setting.
Engelhard
there­


Democratic
whip
in
1957
and
majority
 upon
invited
both
Mansfield
and
Aaron
Shikler
to
her
Florida
home
for


leader
in
1961;
he
holds
the
record
as
the
 the
1977
Christmas
holiday,
where
the
senator
was
told
that
Shikler
had
 longest­serving
floor
leader,
having
served
 come
to
paint
his
hostess’s
portrait.
Feigning
illness,
Engelhard
asked
 16
years.
During
his
tenure
as
majority


leader,
Mansfield
played
a
key
role
in
the
 Mansfield
to
sit
for
the
artist
in
her
stead,
since
Shikler
had
come
to
Florida


passage
of
major
civil
rights
and
voting
 expecting
to
work.
The
plan
succeeded,
and
Mansfield’s
evident
comfort rights
legislation
and
in
enacting
Lyndon


Johnson’s
Great
Society
programs.
He
also
 is
reflected
in
the
casual
nature
of
the
portrait,
which
was
completed
in


became
a
critic
of
the
war
in
Vietnam
and
 1978.
The
painting
was
loaned
to
the
Senate
for
the
Mansfield
Room
immean
architect
of
the
special
Senate
committee
 diately
after
its
completion,
and
it
was
formally
donated
in
1996. that
investigated
the
Watergate
scandal.
 The
commanding
three­quarter­length
pose,
with
the
face
near
pro­ After
he
retired
from
the
Senate,


Mansfield
served
as
ambassador
to
Japan
 file,
is
immediately
softened
by
the
naturalness
of
the
folded
arms,
the


under
Presidents
Jimmy
Carter
and
Ronald
 familiar
note
of
pipe
in
hand,
and
the
genial
facial
expression.
Likewise, Reagan,
becoming
the
longest­serving


ambassador
in
that
post.
He
retired
in
 the
formality
of
a
dark
blue
suit
and
tie
is
countered
by
the
high­toned


1988,
and
later
became
an
advisor
on
 background.
This
light
foil—a
complex
mélange
of
blue,
gray,
and
white


the
Far
East
until
his
death
in
2001.
 over
a
pinkish
underpaint—creates
almost
the
effect
of
a
silhouette.
Shikler


takes
full
advantage
of
the
contrast
by
painting
the
contour
of
Mansfield’s


clothes
with
a
fluid,
loose
touch
that
is
especially
interesting
on
the
back


of
the
coat,
where
the
wrinkles
resulting
from
the
folded
arms
create
a


rippling,
energetic
passage
that
engages
the
eye.
Likewise,
the
artist
noticed


the
distention
of
the
knees
of
the
trousers
and
included
it
as
an
effective
accent
to
close
the
bottom
of
the
portrait
less
abruptly.
The
strong


shape
of
the
skillfully
painted
hand
and
pipe
does
much
to
stabilize
the


somewhat
over­life­size
figure
against
the
large,
bright
background.


A
leading
contemporary
American
portrait
artist,
Shikler
has
painted


the
official
White
House
portraits
of
President
and
Mrs.
John
F.
Kennedy


Study sketch for the Senate’s painting and
Nancy
Reagan,
as
well
as
numerous
other
commissions.
His
works


of Mike Mansfield by Aaron Shikler. are
included
in
many
public
collections. (National Portrait Gallery, Smithsonian Institution) 

266 United
States
Senate

Mike
Mansfield


Aaron Shikler (born 1922) 

Oil
on
canvas,
1978


79
3

⁄8
 x
47
3⁄8
 inches
(201.6
x
120.3
cm)


Signed
and
dated
(lower
right
corner):
AARON
ANNIE
SHIKLER
`78


Gift
of
The
Charles
Engelhard
Foundation,
1996


Accepted
by
the
U.S.
Senate
Commission
on
Art,
1996


Cat.
no.
32.00029


Catalogue
of
Fine
Art
 267 
General
Marion
Inviting
a
British
Officer


to
Share
His
Meal


(1781) 

General
Francis
Marion,
the
“Swamp
 The
oil
on
canvas
painting,
General Marion Inviting a British 

Fox,”
was
one
of
the
most
dashing
figures
 Officer to Share His Meal, by
South
Carolina
artist
John
Blake of
the
American
Revolution.
He
sabotagedthe
communication
and
supply
lines
of
the
 White,
was
presented
to
the
Senate
in
1899.
According
to


British
forces
in
South
Carolina
in
a
series
 the
artist’s
son,
Octavius
A.
White:
“the
figure
of
Marion


of
surprise
attacks.
With
his
small
band
of
 is
a
portrait
from
memory,
as
my
father,
when
a
boy,
knew poorly
equipped
men
trained
in
guerrilla


warfare,
Marion
lived
off
the
land
and
hid
 him
well.
Marion’s
farm
adjoined
the
plantation
of
my
grandfather.”


in
the
swamps
to
evade
the
enemy.
While
 The
Senate
accepted
the
work
by
resolution
on
February
17,
1899.


camped
on
Snow’s
Island,
South
Carolina,
 At
that
time,
Octavius
White
also
presented
two
other
paintings
by
his about
1781,
the
general
was
said
to
have


received
a
British
officer
who
had
been
 father:
Sergeants Jasper and Newton Rescuing American Prisoners from

sent
to
arrange
an
exchange
of
prisoners.
 the British (p.
202)
and
Mrs. Motte Directing Generals Marion and Lee to 

Their
negotiations
completed,
Marion
 Burn Her Mansion to Dislodge the British (p.
290).
Two
years
later,
Octavius invited
the
visiting
officer
to
stay
for
a


meal.
There
are
at
least
three
differing
 White
donated
another
work
by
his
father,
The Battle of Fort Moultrie 

accounts
of
what
may
have
transpired,
but
 (p.
32).
In
a
letter
accompanying
the
first
three
pictures,
he
wrote
that


recent
scholarship
has
uncovered
a
docu­ the
series
reflects
“the
heroic
spirit
which
animated
our
fathers
in
the
stormy ment
that
may
shed
light
on
the
event.
This
 days
of
the
Revolution.” document
is
the
application
of
SamuelWeaver,
a
militiaman
in
North
Carolina
 The
artist
has
painted
the
red­coated
British
officer
and
Marion


and
Virginia,
for
a
Revolutionary
War
 at
right
center,
with
a
horse.
Marion
wears
a
plumed
shako.
His
soldiers pension.
Weaver’s
sworn
statement,
as


recorded
by
a
justice
of
the
peace,
sug­ present
an
amusingly
motley
crew.
Of
special
interest
is
the
African


gests
that
he
was
present
at
the
Snow’s
 American
man
behind
the
table,
holding
a
small
pan
and,
with
his
right


Island
encampment:
 hand,
roasting
sweet
potatoes
in
the
fire.
This
figure
was
likely
meant


During the time he was with Gen’l Marion, to
represent
Marion’s
slave
or
manservant,
although
Samuel
Weaver’s
 a British Officer as he was told, came to 

Camp but for what reason he does not pension
application
maintains
that
Weaver
himself,
a
white
soldier,
was


know & he was roasting and baking sweet the
one
who
cooked
the
meal.
The
makeshift
table
has
a
number
of


potatoes on the coles —Gen’l Marion sweet
potatoes
on
it,
and
Marion
gestures
toward
them.
During
his
life­ steped up with the British Officer and 

remarked he believed he would take Break- time,
White
executed
several
versions
of
the
scene;
similar
paintings


fast; he felt proud of the request, puled out are
held
by
the
Museum
of
Fine
Arts,
Boston,
the
South
Caroliniana


his potatoes, wiped the ashes off with a Library,
Columbia,
and
the
Chicago
Historical
Society. dirty handkerchief, placed them on a pine 

log (which was all the provision they had) White’s
 portrayal
 of
 the
 sweet
 potato
 meal
 was
 made
 into
 a


and Gen’l Marion and the Brittish Officer mezzotint
print
by
John
Sartain
in
1840
for
the
Apollo
Association
for


partook of them. He had been told by some the
Promotion
of
the
Fine
Arts
in
the
United
States,
a
group
that
listed that this had been recorded in the log of the as
one
of
its
goals
“the
cultivation
and
diffusion
of
correct
taste
in
the Gen’l as dinner but this was breakfast.1 

Legend
says
that
the
officer
was
sur­ fine
arts.”1
 The
print
was
the
first
in
a
series
of
engravings
made
from


prised
by
the
modest
fare,
as
well
as
the
 American
paintings
that
were
distributed
to
the
nearly
one
thousand
assosimple
attire
and
mode
of
existence
that
 ciation
members.
The
image
also
appeared
on
Confederate
banknotes he
found
in
the
American
camp.
He
was
 issued
in
1861
by
South
Carolina.
The
painting
was
exhibited
at
the equally
surprised
that
the
American
sol


diers
drew
no
wage
and
provided
their


268 United States Senate 
General Marion Inviting a British Officer to Share His Meal 

John Blake White (1781–1859) 

Oil
on
canvas,
date
unknown


24
1

⁄2
 x
29
1⁄2
 inches
(62.2
x
74.9
cm)


Unsigned


Gift
of
Octavius
A.
White
(son
of
the
artist),
1899


Accepted
by
the
Joint
Committee
on
the
Library,
1899


Cat.
no.
33.00002


Catalogue of Fine Art 269 
General
Marion
Inviting
a
British
Officer
to
Share
His
Meal —continued 

own
rations.
General
Marion
explained
 National
Academy
of
Design
in
1837
and
at
the
Apollo
Gallery
in
1838


that
he
and
the
Americans
were
willing
to
 and
1839.
The
exhibition
catalogue
described
it
this
way: make
these
sacrifices
to
fight
for
liberty.


The
British
officer
was
said
to
be
so
moved
 After
the
business
has
been
arranged,
Marion
invited
the
visitor
to
take
dinner
with


by
the
Americans’
dedication
that
soon
 him.
The
moment
chosen
by
the
Artist
is
when
they
approach
the
table,
which
was


thereafter
he
resigned
his
commission
and
 composed
of
pieces
of
bark,
bearing
a
dinner
of
sweet
potatoes.
The
expression
of switched
allegiances,
declaring
that
it
was
 surprise
on
the
countenances
of
the
stranger
and
Marion’s
men
is
finely
expressed. impossible
to
defeat
soldiers
who
would


serve
“without
pay,
and
almost
without
 The
scenery
is
said
to
be
perfectly
characteristic
of
a
South
Carolina
swamp;
and,


clothes,
living
on
roots
and
drinking
water;
 altogether,
it
may
safely
be
pronounced
one
of
the
best
pictures
of
American
history


and
all
for
Liberty!”2
 He
reportedly
served
 ever
produced
in
this
country.2


for
the
last
six
months
of
the
war
as
a
pri
­

vate
under
Marion,
who
later
fought
with
 In
a
surprising
piece
of
historical
revisionism,
James
P.
Truluck,


General
Nathanael
Greene
at
the
Battle
of
 Jr.,
a
descendant
of
the
alleged
British
officer,
has
raised
doubts
about
 Eutaw
Springs,
forcing
the
British
retreat
 this
interpretation,
as
well
as
the
officer’s
identity.
Truluck
has
proposed from
South
Carolina.


that
the
roles
of
Marion
as
host
and
the
officer
as
guest
were
actually


reversed.
According
to
Truluck
(in


an
1989
article
in
Carologue, the


journal
 of
 the
 South
 Carolina


Historical
Society),
Captain
John


Brockington,
 Jr.—a
 landowner,


slave­owner,
 and
 Tory
 sympathizer,
who
had
fought
against
the


“Swamp
Fox”—was
the
legendary


officer.
Brockington
was
among


those
Tories
to
be
banned
to
Nova


Scotia,
 their
 properties
 seized


after
 victories
 by
 the
 American


Issued
by
South
Carolina
in
1861,
this
 forces
in
South
Carolina.


Confederate
banknote
reproduces
John


Blake
White’s
painting
of
General
Marion.
 Brockington
returned
to
South
Carolina
to
plead
his
case
in
person


(Private
Collection)
 before
the
state
senate,
refuting
his
former
life
as
a
Tory
and
promising
to
repay
claims
against
him.
He
was
eventually
pardoned.
On
his


way
home,
he
and
his
slaves
traveled
through
swamps
for
safety.
It


was
Captain
Brockington,
posits
Truluck,
who
was
cooking
his
dinner


of
sweet
potatoes
when
the
“Swamp
Fox”
found
him.
In
this
version


of
the
story,
Brockington
then
invited
Marion
to
share
his
meal—and


Marion
invited
Brockington
to
join
his
army!


270 United States Senate 
This
1840
engraving
by
John
Sartain
was


copied
from
the
Senate’s
painting
of
the


same
scene
by
artist
John
Blake
White.


Catalogue of Fine Art 271 
John
Marshall


(1755–1835) 

As
chief
justice
of
the
United
States
from
 Hiram
Powers
had
been
working
in
Washington,
D.C.,


1801
to
1835,
John
Marshall
established
 for
less
than
a
year
when
John
Marshall,
who
had
been
 the
Supreme
Court
as
the
ultimate
inter­ chief
justice
of
the
United
States
for
over
three
decades,
 preter
of
the
Constitution.
During
the
­

Marshall
era,
the
Court
reinforced
the
 died
at
the
age
of
80.
It
was
a
momentous
event
for


authority
of
the
judicial
branch,
determined
 the
capital
and
the
country,
because
politicians
and
the
 the
distribution
of
powers
between
the
fed­ public
alike
generally
revered
Marshall
and
his
seminal
contributions
 eral
government
and
the
states,
and
pro
­

tected
individual
property
and
civil
rights.
 to
American
constitutional
law.


Born
in
Germantown,
Virginia,
John
 Not
surprisingly,
Powers
used
the
opportunity
presented
by
the Marshall
was
raised
on
the
frontier.
During


the
Revolutionary
War,
he
rose
to
the
rank
 mood
of
national
mourning
to
offer
portraits
of
Marshall
to
the
public.


of
captain
and
fought
in
the
Battles
of
 Powers
was
favorably
positioned
to
produce
such
sculptures
because,


Brandywine,
Germantown,
and
Stony
 as
he
later
recounted,
several
months
before
Marshall’s
death
the
chief Point.
At
the
end
of
the
war,
Marshall


returned
to
Virginia,
where
he
studied
law
 justice
had
granted
him
eight
sittings
of
half
an
hour
each
for
the
modand
later
established
a
practice
in
Rich­ eling
of
his
bust
in
clay.
This
model
must
have
been
completed
before


mond.
Active
in
Virginia
politics,
Marshall
 March
20,
when
Powers
left
for
Cincinnati;
Marshall
died
on
July
6.
 served
in
the
house
of
delegates
and


became
a
major
Federalist
leader
in
his
 The
life
portrait
was
a
coup
for
Powers—with
Marshall’s
death,
it


state.
He
championed
the
Constitution
and
 became
substantially
more
valuable.
Preparing
to
make
plaster
casts
of


favored
a
centralized
government
with
a
 the
portrait
bust
available
for
sale,
Powers
solicited
testimonials
to
its
accu­ strong
judiciary.
In
1797
President
John


Adams
appointed
Marshall
to
a
special
 racy.
One
of
these
letters
was
from
President
Andrew
Jackson,
to
whom


diplomatic
commission
to
improve
relations
 he
had
given
a
cast.
Powers
paid
to
have
Jackson’s
testimonial
engraved


with
France.
However,
Marshall
and
his
 to
accompany
an
advertisement
offering
the
casts
for
sale
to
the
public
 partners,
Charles
Pinckney
and
Elbridge


Gerry,
were
unable
to
negotiate
an
audi­ at
$10
apiece.
Powers
also
lobbied
Congress
for
a
commission
to
carve


ence
with
the
French
foreign
minister
 a
marble
bust
of
Marshall
for
the
Capitol.
(A
series
of
sculptures
of
chief


because
his
agents
demanded
a
bribe
 justices
had
already
been
authorized.) from
the
Americans.
The
“XYZ
Affair,”
as


it
has
come
to
be
called,
after
the
anony­ Powers’s
effort
toward
a
federal
commission
succeeded.
By
resomous
labels
given
to
the
French
agents,
 lution
of
the
U.S.
House
of
Representatives
on
February
12,
1836,
the


won
Marshall
popular
support
at
home
 Joint
Committee
on
the
Library
was
instructed
to
“cause
a
marble
bust because
he
and
his
fellow
commissioners


refused
to
capitulate
to
the
French.
 of
the
late
Chief
Justice
Marshall
to
be
prepared
by
an
artist
of
merit


Two
years
later,
Marshall
was
elected
 and
reputation,
and
to
be
placed
in
the
chamber
of
the
Supreme
Court


to
the
U.S.
House
of
Representatives,
but
 of
the
United
States,
in
a
position
corresponding
with
that
of
the
bust he
was
appointed
secretary
of
state
by
 of
the
late
Chief
Justice
Jay.”1
The
committee
agreed
to
give
Powers
the John
Adams
in
1800
before
he
could


finish
his
term.
Nominated
by
Adams
as
 assignment
and
later
appropriated
$500
for
the
work.


the
fourth
chief
justice
of
the
United
States
 Apparently
because
Powers
did
not
yet
have
the
technical
ability on
January
20,
1801,
Marshall
took
his


seat
on
February
4,
following
confirmation
 to
sculpt
in
marble,
he
decided
not
to
attempt
to
fulfill
the
commission


by
the
U.S.
Senate.
 before
his
intended
departure
for
Italy.
Instead,
he
modeled
other
porIn
the
course
of
a
34­year
tenure,
the
 traits
in
clay.
When
he
sailed
for
Europe
late
in
1837,
he
had
completed chief
justice
heard
more
than
a
thousand


cases
and
wrote
more
than
five
hundred
 13
busts,
which
followed
him
in
a
ship
that
reached
Italy
on
May
28,
1838.


opinions.
Under
Marshall,
the
Supreme
 Of
these,
at
least
two
were
translated
into
marble
by
Powers
himself:
a


272 United States Senate 
John Marshall 

Hiram Powers (1805–1873) 

Marble,
1839


26
1

⁄2
 x
21
1⁄2
 x
13
1⁄2
 inches
(67.3
x
54.6
x
34.3
cm)


Unsigned


Commissioned
by
the
Joint
Committee
on
the
Library,
1836


Accepted
by
the
Joint
Committee
on
the
Library,
1840


Cat.
no.
21.00014


Catalogue of Fine Art 273 
John
Marshall—continued 

Court
emerged
as
a
prestigious,
powerful,


and
equal
third
branch
of
the
government.


By
defining
the
role
of
the
Court
in
a


number
of
pioneering
decisions,
Marshall


set
forth
the
principles
by
which
the
Consti


tution
is
still
interpreted
today.
He
empha


sized
national
supremacy
over
the
interests


of
the
individual
states,
as
well
as
the
pro


tection
of
property
rights.
These
opinions


were
defined
in
such
landmark
decisions


as
Marbury v.
Madison (1803),
in
which


the
Court
established
the
principle
of
judi


cial
review;
McCulloch v.
Maryland 

(1819),
which
established
the
doctrine
of


implied
powers;
and
Dartmouth College v.


Woodward (1819),
which
held
that
the


contract
clause
of
the
Constitution
protects


private
corporate
charters.
Marshall


believed
that
the
Constitution
existed
for


future
generations
and
that
any
narrow


interpretations
must
therefore
be
avoided.


The
Constitution,
he
wrote
in
1819,
is


“intended
to
endure
for
ages
to
come,
and


consequently,
to
be
adapted
to
the
various


crises
of
human
affairs.”1


bust
of
Andrew
Jackson
and
the
Senate’s
John
Marshall
portrait.
Powers


acquired
a
remarkable
skill
in
marble
carving
in
a
very
short
time,
and


the
bust
of
Marshall
was
finished
by
early
December
1839.
Because
producing
the
marble
sculptures
from
the
clay
models
was
customarily
done


by
the
talented
Italian
carvers
in
Powers’s
studio
(a
practice
almost
universally
adopted),
these
two
busts
are
among
the
very
few
marbles
carved


entirely
or
largely
by
Powers.


The
Marshall
sculpture
is
most
notable
for
the
strong
naturalism


of
the
head,
a
characteristic
it
shares
with
Powers’s
bust
of
Andrew


Jackson.
In
depicting
Marshall,
Powers
balanced
a
vulnerable,
aged
body


with
an
unshakable
moral
spirit.
The
viewer
sees
an
80­year­old
man,


while
also
seeing—or
sensing—the
intellect,
the
self­control,
the
absolute


impartiality,
and
the
perfect
sense
of
justice
that
made
the
man.
His
level


eyes
seem
to
emanate
dignity,
despite
the
fact
that
the
eyeballs
are
blank


(this
treatment
was
a
neoclassical
idealism
based
on
a
misconception


about
ancient
sculpture).
The
original
clay
life
model
seems
to
have
been


simply
a
head
with
an
undraped
body,
for
in
a
letter
about
the
marble,


Powers
wrote,
“I
have
added
drapery
to
it
&
it
is
regarded
by
my
visitors


as
one
of
the
best
works
in
my
collection.”2
The
additions
of
the
Roman


toga
and
blank
eyes
to
the
marble
version
are
the
only
departures
from


the
prevailing
naturalism
of
the
piece.


The
Marshall
bust
was
formally
accepted
by
the
Joint
Committee


on
the
Library
in
1840
and
was
subsequently
presented
to
Congress
and


placed
on
view
in
the
Supreme
Court
Chamber
in
the
Capitol.
Librarian


of
Congress
John
S.
Meehan
recorded
in
June
of
1840,
“The
work
has


been
most
elegantly
and
satisfactorily
performed
by
Mr.
Powers.”
Hiram


Powers,
on
the
other
hand,
believed
that
he
had
been
underpaid
and


always
regretted
pressing
for
the
commission,
which
he
felt
cost
him


the
opportunity
of
making
a
full­length
statue
of
the
great
chief
justice.


A
full­length
marble
statue
of
Benjamin
Franklin
by
Powers
(p.
152)


is
also
located
in
the
U.S.
Senate,
and
Powers’s
full­length
statue
of


Thomas
Jefferson
is
located
in
the
House
wing
of
the
Capitol.


Executed from life in 1839, this bust of 

Andrew Jackson and the 1840 likeness of 

John Marshall—both by Hiram Powers— 

have similar neoclassical characteristics. 

(The Metropolitan Museum of Art, Gift of Mrs. Frances V. 

Nash, 1894) 

274 United States Senate 
Marble busts of the first four chief justices are 

displayed in the Old Supreme Court Chamber. 

Left to right: John Marshall, John Rutledge, 

John Jay, and Oliver Ellsworth. 

(2000 photograph) 

Catalogue of Fine Art 275 
Thomas
Riley
Marshall


(1854–1925) 

Thomas
Riley
Marshall,
U.S.
vice
president
 Born
in
Lithuania
in
1884,
Moses
Dykaar
studied
at
the


and
oft­quoted
wit,
served
two
terms
in
 Académie
Julian
in
Paris
before
arriving
in
the
United
States
 office
under
President
Woodrow
Wilson.­

Born
in
North
Manchester,
Indiana,
 in
1916.
He
moved
almost
immediately
to
Washington,


Marshall
practiced
law
in
Columbia
City,
 D.C.,
where
he
began
a
long
and
successful
career.
Speaker


became
active
in
the
Indiana
Democratic
 of
the
U.S.
House
of
Representatives
James
“Champ”
Clark
 Party,
and
in
1908
was
elected
governor.
 secured
Dykaar’s
services
in
carving
his
bust,
and
through
this
connection
 During
the
next
several
years,
Marshall’sextensive
program
for
social
and
labor
 Dykaar
was
selected
to
create
a
marble
bust
of
Thomas
R.
Marshall
for


reform
attracted
national
attention.
In
 the
Senate’s
Vice
Presidential
Bust
Collection.
Several
sculptors
had
sought
 1912
he
was
elected
28th
vice
president.­

Marshall’s
irreverent
and
self­deprecating
 the
commission,
but
the
vice
president
ultimately
preferred
Dykaar,
and


humor
made
him
one
of
America’s
most
 the
Joint
Committee
on
the
Library
awarded
him
the
project
in
1918.


popular
vice
presidents,
and
he
was
the
 The
Senate
paid
$1,000
for
the
work,
$200
more
than
was
customary
 first
holder
of
that
office
in
80
years
to
be
 because
of
increased
transportation
costs
for
statuary
marble
during
 elected
to
a
second
term.
Although
hismost
famous
quote
was
not
original
to
him,
 wartime.
In
1920
the
Marshall
bust
served
as
the
centerpiece
for
an
exhi­


it
remains
the
one
for
which
he
has
been
 bition
of
Dykaar’s
work
at
the
Corcoran
Gallery
of
Art
in
Washington, immortalized:
“What
this
country
needs
is
 D.C.,
and
it
was
accepted
by
the
Joint
Committee
on
the
Library
later a
really
good
five­cent
cigar.”1


In
October
1919,
President
Wilson
 that
year.


suffered
a
paralytic
stroke
that
left
him
 Marshall
lacked
the
rugged
or
unconventional
facial
features
that
 virtually
incapacitated.
Because
theConstitution
did
not
yet
specify
exactly
 many
sculptors
favor,
and
Dykaar
joked
that
perhaps
the
vice
president


how
the
vice
president
was
to
assume
 had
not
yet
found
a
“good
five­cent
cigar.”
In
a
1932
Washington
Post


the
duties
of
the
president
in
such
cases,
 article,
Dykaar
recalled
that
Marshall
was
a
“nervous”
model.
The
artist
 Marshall
feared
that
any
actions
he
took
 quoted
the
vice
president
as
complaining
good­naturedly,
“You
asked
 would
appear
overly
ambitious
or
dis


loyal,
so
he
passively
allowed
others
to
 me
for
a
sitting
and
you
make
me
stand.”
Dykaar
then
explained,
“We


provide
leadership
for
the
nation
in
 call
them
‘sittings,’
when
really
they
are
‘standings.’”1


Wilson’s
stead.
At
the
end
of
his
term,


Marshall
returned
to
Indiana
and
served
 The
Smithsonian
Institution’s
Inventory
of
American
Painting
and


on
the
Federal
Coal
Commission.
He
died
 Sculpture
lists
more
than
40
works
by
Moses
Dykaar
throughout
the


while
visiting
Washington,
D.C.,
in
1925.
 United
States.
His
busts
of
Calvin
Coolidge
(p.
84)
and
Charles
Curtis


(p.
90)
also
are
in
the
Senate’s
Vice
Presidential
Bust
Collection,
and


his
marble
portraits
of
House
Speakers
James
Clark
and
Nicholas
Longworth
are
located
in
the
House
wing
of
the
Capitol.
The
Smithsonian


Institution’s
National
Portrait
Gallery
in
Washington,
D.C.,
holds
Dykaar’s


likenesses
of
General
John
J.
Pershing,
inventor
Alexander
Graham
Bell,


and
labor
leader
Samuel
Gompers.


Artist
Moses
Dykaar
poses
with
his
bust
of


Vice
President
Marshall
when
it
was
exhib


ited
at
the
Corcoran
Gallery
of
Art,
1920.


(Courtesy of the D.C. Public Library) 

276 United
States
Senate

Thomas
R.
Marshall


Moses A.Wainer Dykaar (1884–1933) 

Marble,
1918


33
3

⁄4
 x
26
1⁄2
 x
14
3⁄4
 inches
(85.7
x
67.3
x
37.5
cm)


Signed
and
dated
(on
subject’s
truncated
left
side):
M.
A.
DYKAAR
/
CAPITOL
1918


Commissioned
by
the
Joint
Committee
on
the
Library,
1918


Accepted
by
the
Joint
Committee
on
the
Library,
1920


Cat.
no.
22.00028


Catalogue
of
Fine
Art
 277 
William
McKinley


(1843–1901) 

A
U.S.
representative
from
Ohio
and
25th
 S

culptor
Emma
Cadwalader
Guild
had
long
wished
to
model


president
of
the
United
States,
William
 her
fellow
Ohioan,
President
William
McKinley,
but
his
busy McKinley
was
born
in
Niles,
Ohio.
After
 schedule
had
not
permitted
a
sitting.
National
grief
after
his service
in
the
Civil
War,
he
studied
law


and
moved
to
Canton,
Ohio,
to
set
up
 death
led
to
popular
sentiment
favoring
an
appropriate
memopractice.
McKinley
was
elected
to
the
U.S.
 rial
of
the
late
president
in
the
U.S.
Capitol.
So
the
artist,
who Congress
as
a
Republican
in
1876
and


remained
in
the
House
of
Representatives,
 had
abandoned
hope
for
her
project
upon
the
president’s
death,
now


with
the
exception
of
one
term,
until
1891.
 resolved
to
create
a
posthumous
bust
instead.
She
collected
all
available


He
lost
his
congressional
reelection
bid
in
 photographic
images
and
began
the
model.
She
worked
on
the
McKinley 1890,
but
with
the
help
of
businessman


Marcus
Hanna
he
was
elected
governor
 bust
in
a
studio
in
Athens,
Ohio,
covering
the
walls
with
images
of
the


of
Ohio
the
following
year.
 late
president
for
inspiration.
Guild
studied
each
picture
carefully
and


With
Hanna’s
continued
support,
Gov­ then
removed
it
from
the
wall.
“Finally
but
two
were
left,
one
repre­ ernor
McKinley
became
the
Republican


candidate
for
president
in
1896.
He
cam­ senting
her
subject
while
he
was
Governor
of
the
commonwealth,
making


paigned
on
a
platform
supporting
the
gold
 a
public
address,
and
the
other
a
picture
which
was
made
of
him
at
a


standard,
and
defeated
free­silver
advocate
 little
dinner
party
at
Senator
Hanna’s
Cleveland
residence.
With
these
 William
Jennings
Bryan.
McKinley’s
pro­­

business
administration
supported
the
Din­ two
pictures
she
completed
her
study.”1


gley
Tariff,
which
levied
high
duties.
His
 The
likeness
was
then
cast
in
New
York,
and
with
the
support


term
also
was
marked
by
an
increasingly
 of
the
Ohio
congressional
delegation,
the
bronze
was
brought
to
the
 aggressive
foreign
policy,
which
includedannexing
the
Philippines
and
Puerto
Rico
 Capitol
for
approval.
The
Joint
Committee
on
the
Library
was
subse­


and
establishing
an
Open
Door
policy
with
 quently
authorized
to
pay
the
artist
$2,000
and
to
place
the
bust
in


China.
Reelected
in
1900,
McKinley
was
 the
Senate
wing
of
the
Capitol.
With
the
acquisition
of
the
McKinley
 assassinated
a
year
later
by
a
politicaldissident
at
the
Pan­American
Exposition
 bust,
the
artist
was
“granted
the
unusual
honor
of
placing
it
on
dis­


in
Buffalo,
New
York.
 play
in
the
President’s
room.”2


Emma
Cadwalader
Guild
was
born
in
Zanesville,
Ohio,
in
1843.


Largely
self­taught,
she
spent
much
of
her
artistic
career
in
Europe,
establishing
studios
in
London,
Berlin,
and
Italy.
Early
works
include
a
bronze


figure
of
a
standing
African
American
man
entitled
Free,
a
marble
bust


of
British
statesman
William
Gladstone,
a
bronze
of
English
artist
George


F.
Watts,
and
a
relief
of
Cardinal
Henry
Edward
Manning.
While
initially


Guild
was
relatively
unknown
in
the
United
States,
her
bust
of
the
late


President
McKinley,
as
well
as
a
bust
of
Abraham
Lincoln,
brought
the


artist
new
recognition
in
her
native
country.
In
1904
she
exhibited
at
the


Louisiana
Exposition
in
St.
Louis
and
won
a
bronze
medal.
Other
important
U.S.
projects,
including
a
bust
of
Andrew
Carnegie,
were
to
follow.


The bust of President McKinley as originally 

displayed in the President’s Room in the 

Capitol, ca. 1910. 

(Architect of the Capitol) 

278 United States Senate 
William McKinley 

Emma Marie Cadwalader Guild (1843–1911) 

Bronze,
1901


29
1

⁄2
 x
18
1⁄2
 x
14
1⁄2
 inches
(74.9
x
47
x
36.8
cm)


Signed
and
dated
(on
subject’s
back
between
shoulders):
Emma
/
Cadwalader
/
Guild
/
Sculpr.
/
1901


Inscribed
(on
back
lower
left
side
of
base):
COPYRIGHTED
1902



Founder’s
mark
(on
back
lower
left
side
of
base):
THE
HENRY­BONNARD
BRONZE
Co.
/
FOUNDERS.
N.Y.
1901.


Inscribed
(on
front
of
base):
MCKINLEY


Purchased
by
the
Joint
Committee
on
the
Library,
1903


Cat.
no.
24.00004


Catalogue of Fine Art 279 
Charles
Linza
McNary


(1874–1944) 

Charles
Linza
McNary
served
as
minority


leader
of
the
United
States
Senate
between


1933
and
1944.
Born
in
Marion
County,


Oregon,
and
educated
in
law,
McNary


was
appointed
to
the
Senate
to
fill
vacancies
in
1917
and
1918.
The
following
year


he
won
election
in
his
own
right.
McNary


rose
to
prominence
in
1926
as
chairman
of


the
Senate
Committee
on
Agriculture
and


Forestry.
A
strong
supporter
of
farm
interests,
he
cosponsored
the
McNary–Haugen


bill,
which
called
for
shipment
of
American


surplus
farm
products
abroad
to
help
raise


prices.
Congress
passed
the
bill,
but
President
Calvin
Coolidge
vetoed
it.
Still,


McNary–Haugen
laid
the
groundwork
for


later
federal
farm
assistance
programs.


As
Republican
leader
of
the
Senate,


McNary
seldom
made
formal
speeches


but
excelled
as
a
behind­the­scenes
negotiator.
He
supported
much
of
the
Franklin


Roosevelt
administration’s
early
legislation.


In
turn,
McNary
won
the
president’s
support


for
construction
of
the
Bonneville
project,


the
federal
dam
and
electric
generating


station
on
the
Columbia
River
at
Bonneville,


Oregon.
Later,
however,
McNary
helped


unite
anti­New
Deal
forces
of
both
parties
in


opposition
to
the
so­called
court­packing


plan
of
1937.
His
strategy
not
only
helped


to
defeat
the
controversial
plan,
but
also
initiated
a
new
coalition
between
Republicans


and
conservative
Democrats
that
provided


the
first
effective
opposition
to
the
New


Deal.
McNary
became
the
Republican
vice


presidential
candidate
on
the
unsuccessful


1940
ticket
headed
by
Wendell
Willkie.
His


political
career
ended
abruptly
when
he


died
following
surgery
in
Florida
in
1944.


According
to
Senator
Charles
McNary’s
widow,
Cornelia


Morton
McNary,
the
governor
of
Oregon
appointed
a


committee
 to
 select
 an
 appropriate
 portrait
 of
 her


husband
for
presentation
to
the
Senate.
Portuguese
artist


Henrique
Medina
was
chosen
to
create
an
oil
on
canvas


likeness,
 working
 from
 photographs
 of
 the
 subject.
 Although
 the


painting
was
installed
in
the
Capitol
in
1944,
it
is
dated
two
years
later.


This
discrepancy
was
not
noted
in
the
period
documentation,
and
the


reason
for
the
later
date
remains
a
mystery.
A
1980
Portuguese
catalogue
of
Medina’s
work
featured
the
McNary
portrait,
and
specifically


commented
on
the
subject’s
hands,
calling
them
“fine,
sensitive,
and


cultivated,
lending
themselves
to
a
psychological
study.”1
Medina’s
portraits
of
Americans
distinguished
in
business,
government,
education,


and
entertainment
are
held
in
numerous
public
and
private
collections


in
this
country
and
throughout
Europe.


Members of the Senate, left to right, Frank 

Gooding, Arthur Capper, Charles McNary, 

and George Moses, endorse Forest Protection 

Week, April 7, 1934. 

(Library of Congress, Prints and Photographs Division) 

280 United States Senate 
Charles L. McNary 

Henrique Medina (1901–1988) 

Oil
on
canvas,
1946


39
1

⁄2
 x
29
1⁄2
 inches
(100.3
x
74.9
cm)


Signed
and
dated
(upper
right
corner):
H.
Medina
/
1946


Gift
of
the
Friends
of
Senator
Charles
McNary,
ca.
1946


Accepted
by
the
Joint
Committee
on
the
Library,
ca.
1946


Cat.
no.
32.00012


Catalogue of Fine Art 281 
Walter
Frederick
Mondale


(born 1928) 

Walter
Frederick
Mondale,
a
U.S.
senator
 I

n
 1986
 the
 Senate
 commissioned
 sculptor
 Jud
 Nelson—Walter


from
Minnesota
and
the
42nd
vice
presi­ Mondale’s
choice—to
create
Mondale’s
portrait
bust
for
the
Vice
 dent
of
the
United
States,
was
born
in


Ceylon,
Minnesota.
Mondale
practiced
 Presidential
 Bust
 Collection.
 Announcing
 the
 commission,


law
in
his
native
state
and
served
as
 Mondale
said,
“I
credit
my
wife,
Joan,
for
introducing
me
to
Nelson’s


attorney
general
of
Minnesota
from
1960
 work,
which
spans
a
broad
range
of
exceptional
creative
endeavor.”
 to
1964.
A
long­time
supporter
and
pro­ Active
in
the
art
world,
Joan
Mondale
had
served
as
honorary
chairperson tégé
of
fellow
Minnesotan
Hubert
H.


Humphrey,
Jr.,
Mondale
was
appointed
as
 of
the
Federal
Council
on
the
Arts
and
Humanities
during
her
husband’s


a
Democrat
to
fill
the
vacancy
in
the
U.S.
 vice
presidential
term.

 Senate
that
was
created
when
Humphreyresigned
to
become
vice
president
of
the
 Vice
President
Mondale
sat
three
times
for
Nelson
in
the
sculptor’s


United
States
in
1964.
Subsequently
 New
York
City
studio.
For
reference
during
the
intervals
between
sitelected
and
then
reelected,
Mondale
 tings,
Nelson
used
a
series
of
photographs
of
Mondale,
as
well
as
a
life
 served
in
the
Senate
until
1976.
Outspoken
and
progressive,
Mondale
was
a
 mask
of
his
face.
Between
the
first
and
second
sitting,
however,
the
vice


strong
advocate
for
social
reform.
He
 president
lost
considerable
weight—the
desired
effect
of
a
diet
regimen.


chaired
the
Select
Committee
on
Equal
 When
the
leaner
Mondale
appeared
at
the
studio,
Nelson
reacted
with Education
Opportunity,
and
in
an
attempt


to
facilitate
the
passage
of
civil
rights
leg­ shock:
“Into
my
studio
stepped
a
new
Walter
Mondale,
dashing,
trim,


islation,
lead
a
successful
effort
in
1975
 and
three
months
into
his
vegetable
diet.
I
was
panic
stricken.
How
was


to
amend
the
Senate
cloture
rule
so
that
a
 I
going
to
hide
all
those
extra
pounds
before
he
saw
the
sculpture?” smaller
majority
would
be
needed
to
 Mondale,
of
course,
did
view
the
clay
model,
noting
with
dismay defeat
a
filibuster.


Mondale
was
elected
vice
president
 the
too­heavy
face
and
jowls.
Nelson
set
himself
to
the
task
of
shaving


with
Jimmy
Carter
in
1976
and
served
until
 down
the
clay
to
accurately
reflect
the
slimmer
vice
president.
Once 1981.
His
working
relationship
with
Carter
 the
revised
model
was
approved,
Nelson
himself
carved
the
figure
in was
unusually
strong,
and
he
played
a


more
active
role
in
executive
decision­ Carrara
marble.
He
relied
upon
traditional
carver’s
tools
rather
than
the


making
than
most
previous
vice
presidents.
 modern
dental
drill
he
uses
for
his
contemporary
pieces.
The
completed After
Carter’s
defeat
in
1980,
Mondale


resumed
practicing
law
in
Minnesota.
His
 bust
was
placed
on
view
at
the
Capitol
in
1988.


unsuccessful
bid
for
president
against
 The
Oregon­born
Nelson
studied
at
Bethel
College
and
the
University


Ronald
Reagan
in
1984
was
distinguished
 of
Minnesota.
He
is
best
known
for
his
detailed
sculptures
of
everyday as
the
first
major
party
ticket
to
include
 objects:
a
bulging
plastic
garbage
bag,
sunglasses,
folding
chairs,
and
Pop­ a
female
vice
presidential
candidate,


Geraldine
Ferraro.
Mondale
later
was
U.S.
 sicles.
Nelson
carves
his
pieces
himself
and
is
one
of
the
few
modern


ambassador
to
Japan
from
1993
to
1996.
 sculptors
who
works
directly
in
marble.
“Carving
is
my
approach
to
form,”


he
has
noted.
“My
work
is
based
on
direct
observation,
line
for
line,
fold


for
fold.”
Nelson’s
most
celebrated
sculpture
is
a
heroic
bronze
astronaut


figure
at
the
Gerald
R.
Ford
Museum
in
Grand
Rapids,
Michigan.
His
work


has
been
exhibited
widely
and
is
held
in
several
permanent
collections,


including
those
of
the
Walker
Art
Center
in
Minneapolis,
and
the
Solomon


R.
Guggenheim
Museum
in
New
York
City.


Sculptor Jud Nelson revises the clay model 

of a newly slimmed Walter Mondale, 1987. 

(Courtesy Judson R. Nelson) 

282 United States Senate 
Walter F. Mondale 

Judson R. Nelson (born 1943) 

Marble,
modeled
and
carved
1987


30
x
36
x
25
1

⁄2
 inches
(76.2
x
91.4
x
64.8
cm)


Signed
and
dated
(under
subject’s
truncated
left
arm):
Nelson
 ́87


Commissioned
by
the
Senate
Committee
on
Rules
and
Administration,
1986


Accepted
by
the
Senate
Committee
on
Rules
and
Administration,
1988


Cat.
no.
22.00041


Catalogue of Fine Art 283 
John
Tyler
Morgan


(1824–1907) 

John
Tyler
Morgan
served
Alabama
as
a
 I

n
March
1893
Senator
John
Morgan
was
appointed
by
President


U.S.
senator
for
30
years.
He
was
born
in
 Benjamin
Harrison
to
a
commission
representing
American
inter­
 Athens,
Tennessee,
but
moved
with
his
par­


ents
to
Alabama
at
a
young
age.
In
1845
 ests
before
the
Bering
Sea
Tribunal,
then
meeting
in
Paris.
While


he
was
admitted
to
the
bar;
he
established
 there,
 Morgan
 renewed
 a
 former
 acquaintance
 with
 artist
 Carl


a
law
practice
shortly
thereafter.
Morgan
 Gutherz.
Gutherz
was
eager
to
paint
a
portrait
of
Senator
Morgan,
 enlisted
as
a
private
in
the
Confederate


army
in
1861,
quickly
rising
through
the
 who
resisted
giving
up
the
time
for
sittings.
Eventually,
Morgan
agreed


ranks
to
become
brigadier
general
two
 to
six
sittings,
saying
that
he
“would
waste
no
more
valuable
time
on
it.”



years
later.
Following
the
war
he
returned
 Gutherz
completed
the
portrait
that
May.
The
painting
hung
in
Senator
 to
his
law
practice
and
in
1876
was


elected
as
a
Democrat
to
the
U.S.
Senate.
 Morgan’s
Washington,
D.C.,
residence,
and
it
remained
in
the
family’s


His
service
began
March
4,
1877,
and
 possession
until
offered
to
the
Senate
by
the
senator’s
daughter,
Cornelia


continued
until
his
death
in
1907.
 Morgan.
Seeking
an
appropriate
home
for
the
portrait
in
1910,
she
offered
 From
the
start,
Morgan
advocated
an
 to
either
sell
or
donate
it
to
the
Senate.
The
Joint
Committee
on
the
Library interoceanic
canal
in
Central
America
to


connect
the
Atlantic
and
Pacific
Oceans,
 requested
 a
 memorandum
 from
 her
 regarding
 the
 circumstances
 and


and
more
than
any
other
member
of
Con­ conditions
under
which
the
portrait
was
painted.
Shortly
thereafter,
the
 gress,
he
contributed
to
the
successful


accomplishment
of
that
enterprise.
He
distin­ Senate
introduced
a
resolution
authorizing
the
Joint
Committee
to
pur­


guished
himself
as
a
member
of
the
Foreign
 chase
the
painting
for
$1,000
from
the
contingent
fund
of
the
Senate.
No


Relations
Committee,
serving
as
the
ranking
 action
was
taken
at
that
time
regarding
the
acquisition,
however,
and
 minority
member
for
22
years,
and
as
the


chairman
from
1893
to
1895.
Morgan
also
 despite
another
Senate
resolution
two
years
later,
the
issue
was
never


served
as
the
unofficial
minority
leader
from
 settled.
By
then
the
portrait
was
on
display
in
the
meeting
room
of
the


1901
to
1902,
and
from
1905
to
1907,
 Joint
Committee
on
the
Library.
Decades
later,
with
the
establishment
of
 when
he
died
in
office.
 the
Senate
Commission
on
Art,
the
Senate
eventually
assumed
stewardship
of
the
painting.


Gutherz
was
born
in
Schöftland,
Switzerland,
in
1844
and
at
the


age
of
seven
immigrated
with
his
parents
to
the
United
States.
The
family


settled
first
in
Cincinnati,
Ohio,
and
later
in
Memphis,
Tennessee.
As
a


young
man,
Gutherz
traveled
to
Europe
for
instruction
in
art,
studying


at
the
Académie
des
Beaux­Arts
in
Paris,
and
later
in
Belgium
and
Rome.


In
1872
he
returned
to
the
United
States
and
eventually
settled
in
St.


Louis,
where
he
taught
in
the
art
department
at
Washington
University


and
helped
establish
that
city’s
School
of
Fine
Arts.
In
1884
Carl
Gutherz


moved
to
Paris
for
a
12­year
residency;
it
was
during
this
time
that
he


painted
the
portrait
of
Morgan.


Among
Gutherz’s
other
works
are
the
mural
on
the
ceiling
of
The


Members
Room
in
the
Jefferson
Building
at
the
Library
of
Congress,
and


painted
portraits
of
Jefferson
Davis
and
Susan
B.
Anthony.
Extensive


collections
of
the
artist’s
works
are
located
at
the
Brooks
Gallery
in
Memphis,
and
at
the
Minnesota
Historical
Society
in
St.
Paul.
Gutherz
died


Artist Carl Gutherz. in
Washington,
D.C.,
in
1907
at
the
age
of
63. (Architect of the Capitol) 

284 United States Senate 
John Morgan 

Carl Gutherz (1844–1907) 

Oil
on
canvas,
1893


57
1

⁄4
 x
38
inches
(145.4
x
96.5
cm)


Signed
and
dated
(lower
left
corner):
CARL
GUTHERZ
/
PARIS
1893


Gift
of
Cornelia
I.
Morgan
(daughter
of
John
Morgan),
1910


Acquisition
undocumented


Cat.
no.
32.00024


Catalogue of Fine Art 285 
Justin
Smith
Morrill


(1810–1898) 

Born
in
Strafford,
Vermont,
Justin
Smith
 After
securing
a
reputation
as
one
of
the
finest
genre
painters


Morrill
entered
politics
after
careers
as
a
 of
the
late
19th
century,
Eastman
Johnson
concentrated
 merchant
and
a
farmer.
Elected
to
the
U.S.­

House
of
Representatives
in
1854
as
an
 increasingly
on
portrait
painting
in
his
later
years.
It
was


antislavery
Whig,
he
moved
to
the
U.S.
 a
more
lucrative
subject
matter
in
which
he
had
consid­


Senate
in
1867
as
a
Union
Republican.
A
 erable
experience,
and
after
1880
his
distinguished
roster
 committed
protectionist,
he
supported
tariff
 of
sitters
included
industrialists,
financiers,
and
politicians.
Among
them
 legislation
and
strongly
opposed
infla
­

tionary
measures.
Morrill
also
sponsored
 were
two
U.S.
presidents,
Grover
Cleveland
(1891)
and
Benjamin
Harrison


significant
educational
and
cultural
proj­ (1895),
whom
the
federal
government
commissioned
Johnson
to
paint.
 ects.
He
recommended
that
the
OldChamber
of
the
House
of
Representatives
 The
bust­length
portrait
of
Senator
Justin
Morrill
is
arguably
superior
to


become
National
Statuary
Hall,
where
 these
larger
presidential
portraits,
both
in
the
White
House
collection.


portrait
sculpture
from
each
of
the
states
 Broadly
painted
and
securely
modeled,
Morrill’s
head
is
depicted
against
 could
be
displayed.
Morrill
also
promoted
 a
backdrop
of
mottled,
modulated
grays,
a
refreshing
change
from
the
 construction
of
the
Library
of
Congressbuilding,
oversaw
the
expansion
of
the
 preponderantly
dark
and
murky
backgrounds
of
so
many
late­Victorian


Capitol
grounds,
and
supported
a
plan
to
 portraits.
The
several
grays
in
Morrill’s
hair,
as
well
as
his
softly
painted
 redesign
the
governmental
core
of
Wash­ muttonchops,
play
subtly
against
this
lively
background.
 ington,
D.C.
But
he
is
best
known
as
theauthor
of
the
Morrill
Land
Grant
College
 In
Johnson,
Morrill
found
a
painter
whose
temperament
was
well


Act
of
1862,
which
provided
for
the
foun­ suited
to
his
own.
A
New
Englander
like
the
senator,
Johnson
evidenced
 dation
and
funding
of
state
agricultural
andmechanical
colleges
from
the
sale
of
public
 empathy
for
the
admirable
legislator’s
character
in
this
sober
portrait.


lands.
This
act
ultimately
resulted
in
68
 Firmness
of
character
is
conveyed
through
firmness
of
structure
in
the


new
colleges
across
the
nation.
In
1890
 closely
observed
features.
Morrill’s
gaze
follows
the
turn
of
his
head,
 Morrill
sponsored
the
second
Morrill
LandGrant
College
Act,
which
provided
addi­ looking
away
from
the
viewer
and
creating
a
thoughtful
mood.



tional
funding.
At
the
time
of
his
death
in
 Cornell
University,
one
of
the
institutions
created
by
the
Morrill
Land


1898,
the
senator
held
the
record
for
the
 Grant
College
Act,
had
honored
the
“Father
of
the
Agricultural
Colleges”
 longest
continuous
congressional
service—
 by
commissioning
Eastman
Johnson
to
paint
Morrill’s
portrait
in
1883.
At
 nearly
44
years.


the
picture’s
unveiling
that
year
in
Ithaca,
New
York,
the
senator
remarked:


“The
sitting
for
a
portrait,
if
I
may
be
pardoned
for
saying
so,
is
rather


an
awkward
business
for
a
modest
man
who
can
find
anything
else
to


do.”1
 Morrill
ordered
this
excellent
replica
of
the
Cornell
painting
from


Johnson
the
following
year
for
display
in
his
Washington,
D.C.,
home.


The
house
was
built
under
the
direction
of
Architect
of
the
Capitol
Edward


Clark,
with
decorated
ceilings
by
artist
Constantino
Brumidi.
The
Johnson


portrait
was
in
Morrill’s
possession
at
the
time
of
his
death.
In
1920
Louise


S.
Swan,
sister­in­law
of
the
late
senator,
bequeathed
the
painting
to
the


United
States
to
be
hung
in
the
Capitol.


Eastman Johnson’s painting of Justin 

Morrill, far left, as it was displayed in 

the senator’s Washington, D.C., home. 

(Vermont Division for Historic Preservation) 

286 United States Senate 
Justin Morrill 

Jonathan Eastman Johnson (1824–1906) 

Oil
on
canvas,
1884


24
3

⁄4
 x
20
3⁄4
 inches
(62.9
x
52.7
cm)


Signed
and
dated
(lower
left
corner):
E.
Johnson
/
1884


Gift
of
Louise
S.
Swan
(sister­in­law
of
Justin
Morrill),
1920


Accepted
by
the
Joint
Committee
on
the
Library,
1920


Cat.
no.
32.00005


Catalogue of Fine Art 287 
Levi
Parsons
Morton


(1824–1920) 

Levi
Parsons
Morton
was
the
22nd
vice
 I

n
1890,
with
Levi
P.
Morton
still
in
office,
the
Joint
Committee
on


president
of
the
United
States
as
well
as
 the
Library
included
his
name
among
vice
presidents
to
be
memo­ a
U.S.
representative.
He
was
born
in


Shoreham,
Vermont,
but
lived
most
of
his
 rialized
by
marble
portrait
busts
in
the
Senate
Chamber.
With
the


adult
life
in
New
York
State.
Having
estab­ vice
president’s
approval,
the
committee
selected
Frank
Edwin


lished
a
successful
dry
goods
company,
 Elwell
to
execute
the
work.
About
a
decade
earlier,
Morton
had Morton
rose
to
become
a
wealthy
and


influential
banker
in
New
York
City.
In
 supported
young
Elwell’s
application
to
attend
the
École
des
Beaux­Arts


1878,
and
again
in
1880,
he
was
elected
 in
Paris.
It
is
likely
that
in
1890
Morton
suggested
that
the
sculptor
be


as
a
Republican
from
New
York
to
the
U.S.
 selected
to
produce
his
bust. House
of
Representatives.
He
resigned
in
 Born
in
Concord,
Massachusetts,
Elwell
received
his
first
instruc­ 1881
when
President
James
Garfield


appointed
him
minister
to
France.
 tion
in
art
from
Louisa
May
Alcott’s
sister,
Abigail
May
Alcott,
who
also


Morton
was
elected
vice
president
in
 taught
noted
sculptor
Daniel
Chester
French.
Elwell
later
studied
under 1888
with
President
Benjamin
Harrison,


and
served
one
term.
An
1898
biograph­ French
and
shared
a
studio
with
him
in
New
York
City.
Elwell’s
life


ical
sketch
noted
that
Morgan
presided
 portrait
of
Morton
was
created
in
New
York,
and
placed
in
the
Senate


over
the
Senate
“with
a
dignity
and
fair­ Chamber
in
1891.
 ness
that
gained
the
praise
of
all,
withoutregard
to
party
distinction,
even
at
a
time
 The
bust
seems
larger
than
life.
This
impression
is
due
to
the
prowhen
questions
of
party
politics
were
most
 portions:
The
distance
from
side
to
side
is
almost
equal
to
the
distance


earnestly
discussed.”1
 Failing
to
win
 from
the
top
of
the
head
to
the
bottom
of
the
coat.
The
very
simple renomination
to
a
second
term,
Morton


returned
to
New
York
where
he
served
as
 costume—double­breasted
coat,
band
collar,
and
wide
cravat—is
virtually


governor
from
1895
to
1897.
In
later
 identical
to
that
worn
in
a
photograph
of
Morton
taken
perhaps
10
years


years
he
was
active
in
real
estate
invest­ earlier.
Its
broad,
unfussy
surface
and
the
almost
pure
frontality
of
the ment.
Morton
died
in
Dutchess
County,
 bust
produce
an
effect
of
slightly
aloof,
but
not
stiff,
dignity. New
York,
in
1920.


The
head
is
remarkable
for
the
malleable,
fluctuating
surface
of


the
face.
Elwell
achieves
a
compelling
evocation
of
an
old
man
(Morton


was
67
years
old)
whose
soft
and
gently
sagging
skin
is
rendered
with


skillfully
nuanced,
almost
liquid
modeling.
The
particularity
extends
to


his
close­cropped
hair,
his
square
jaw,
even
to
the
inherent
conformation
of
his
ears.


A
wealthy
banker
as
well
as
a
public
servant,
Morton
was
instinctively
conservative;
a
contemporary
described
him
as
“neither
intrusive


nor
obtrusive.”1
That
character,
and
his
intelligence,
are
well
served
by


the
artist.
Of
interest
are
the
deeply
drilled
eyeballs
without
elaborate


highlight
effects.
The
resulting
black
cavities
suggest
mental
abstraction,


or
a
slight
reserve.


Elwell’s
works
are
numerous
and
varied.
He
exhibited
at
the
1893


World’s
Columbian
Exposition
in
Chicago,
and
later
served
as
curator
of


The Senate’s portrait bust and this 19th- ancient
and
modern
sculpture
at
the
Metropolitan
Museum
of
Art
in
New


century photograph of Levi P. Morton show York
City.
Elwell
is
further
represented
in
the
Senate’s
Vice
Presidential


the vice president wearing identical garments. Bust
Collection
by
a
marble
bust
of
Garret
A.
Hobart
(p.
190). (Library of Congress, Prints and Photographs Division) 

288 United States Senate 
Levi P. Morton 

Frank Edwin Elwell (1858–1922) 

Marble,
1891


35
1

⁄2
 x
28
1⁄2
 x
15
3⁄8
 inches
(90.2
x
72.4
x
39.1
cm)


Signed
(on
front
left
side
of
base):
F • EDWIN
ELWELL
• Sc.


Commissioned
by
the
Joint
Committee
on
the
Library,
1890


Accepted
by
the
Joint
Committee
on
the
Library,
1891


Cat.
no.
22.00022


Catalogue of Fine Art 289 
Mrs.
Motte
Directing
Generals
Marion
and
Lee


to
Burn
Her
Mansion
to
Dislodge
the
British


(May 12, 1781) 

During
the
Revolutionary
War,
British
 I

n
this
painting,
Mrs. Motte Directing Generals Marion and Lee 

troops
seized
the
strategically
located
 to Burn Her Mansion to Dislodge the British, Rebecca
Motte,
in mansion
of
Rebecca
Jacob
Motte,
awealthy
widow.
Located
midway
between
 the
center,
offers
arrows
to
Marion,
Lee,
and
another
soldier


Charleston
and
Columbia,
South
Carolina,
 between
them
so
they
might
shoot
them
at
the
roof
of
her
house.


on
the
Congaree
River,
the
house
became
 While
 three
 members
 of
 her
 household
 observe
 her
 daring
 a
principal
supply
depot
for
the
Britishcampaign
in
the
South.
Garrisoned
with
 act,
two
soldiers,
at
right
near
the
campfire,
prepare
their
weapons


about
200
soldiers,
the
bulwark
was
 for
the
bombardment.


known
by
the
British
as
Fort
Motte.
Amer­ Historical
accounts
say,
as
John
Blake
White
has
depicted
here,
 ican
forces
sought
to
destroy
their
enemy’s
 that
General
Francis
Marion
and
Colonel
Henry
Lee
were
present
when
 interior
chain
of
military
posts,
includingFort
Motte,
to
gain
control
of
everything
 Rebecca
Motte
consented
to
the
burning
of
her
home.
Both
Marion
and


within
30
miles
of
the
sea.
Despite
the
 Lee
were
well
known
for
their
military
expertise;
Marion
earned
the
nick­
 British
occupation,
Rebecca
Motte
and
her
 name
the
“Swamp
Fox”
for
his
elusive
tactics
that
disrupted
the
British
 family
remained
in
her
house
until
theAmerican
forces—under
the
command
of
 supply
lines
and
hampered
enemy
communications,
and
Lee
was
nick­


General
Francis
Marion
and
Lieutenant
 named
“Light
Horse
Harry”
for
his
frequent
successes
as
outpost
leader.

 Colonel
(later
General)
Henry
Lee—­

arrived,
demanding
that
the
British
sur­ When
the
British
claimed
her
house
as
a
military
post,
Rebecca


render.
The
Motte
family
was
asked
to
 Motte—whose
husband
had
died
during
the
early
part
of
the
war—was


retreat
to
a
farmhouse
nearby,
and
on
 living
there
with
her
three
daughters
and
her
niece,
Mary
John
Brewton.
 May
8,
1781,
Marion
and
Lee
attackedthe
plantation
to
reclaim
it
for
the
colonial
 Lee
described
the
Motte
estate
as
being
“situated
on
a
high
and
com­


army.
Rebecca
Motte
reportedly
encour­ manding
hill...
surrounded
with
a
deep
trench,
along
the
interior
margin


aged
the
Americans
to
set
the
house
afire
 of
which
was
raised
a
strong
and
lofty
parapet.”1
Of
the
burning
of
her
 in
order
to
dislodge
the
British.
She
herself
 house,
Rebecca
Motte
is
said
to
have
told
Lee,
“If
it
were
a
palace,
it
 is
said
to
have
provided
the
arrows
usedto
ignite
the
roof.
The
British
soldiers
sur­ should
go.”2
 The
combustible
arrows
presented
to
Lee,
which
Rebecca


rendered,
fearing
they
would
be
blown
up
 carried
in
the
protective
case
located
under
a
bow
at
her
feet
in
this
 if
the
gunpowder
stored
in
the
house
wereset
on
fire.
Following
the
successful
Amer­ painting,
had
belonged
to
her
brother,
Miles
Brewton.
She
is
said
to
have


ican
siege,
Rebecca
Motte
provided
a
 inherited
them,
along
with
the
house,
when
Brewton
was
lost
at
sea.


dinner
to
the
officers
of
both
armies.
 After
the
roof
of
the
house
was
set
on
fire,
the
British
surrendered
immediately.
The
fire
was
extinguished,
and
the
building
was
saved
from


destruction.
Fort
Motte
remained
intact
until
it
was
accidentally
burned


several
years
after
the
Revolution.
A
granite
stone
now
marks
the
site


where
the
British
surrendered
on
May
12,
1781.


South
 Carolina
 artist
 John
 Blake
 White
 studied
 under
 painter


Benjamin
West
in
England,
acquiring
West’s
interest
in
historical
events


and
heroic
traditions.
White’s
portrayal
of
the
burning
of
Mrs.
Motte’s


house,
thought
to
have
been
painted
about
30
years
after
the
episode,


is
based
on
the
historical
event
as
well
as
the
legend
surrounding
it.
The


dramatic
work
is
comparable
in
approach
and
subject
matter
to
Emanuel


Leutze’s
1852
canvas,
Mrs. Schuyler Burning Her Wheat Fields on the 

Approach of the British, now
in
the
collection
of
the
Los
Angeles
County


290 United States Senate 
Mrs. Motte Directing Generals Marion and Lee to Burn Her Mansion to Dislodge the British 

John Blake White (1781–1859) 

Oil
on
canvas,
date
unknown


24
1

⁄2
 x
29
5⁄8
 inches
(62.2
x
75.2
cm)


Unsigned


Gift
of
Octavius
A.
White
(son
of
the
artist),
1899


Accepted
by
the
Joint
Committee
on
the
Library,
1899


Cat.
no.
33.00001


Catalogue of Fine Art 291 
Mrs.
Motte
Directing
Generals
Marion
and
Lee
to
Burn
Her
Mansion
to


Dislodge
the
British—continued 

Museum
of
Art.
Such
history
paintings
highlighted
intrepid
individuals


and
valorous
acts
rather
than
complex
scenes
of
battle.
In
this
painting,


White
depicts
a
scene
and
heroes
important
especially
to
South
Carolinians.


The
painting
was
one
of
three
historical
scenes
presented
to
the


Senate
in
1899
by
Octavius
A.
White,
the
son
of
the
artist.
He
donated


a
fourth
painting
two
years
later.
The
four
paintings
are
considered
the


best­known
works
of
John
Blake
White.
In
addition
to
this
one,
they
are


The Battle of Fort Moultrie (p.
32),
Sergeants Jasper and Newton Rescuing 

American Prisoners from the British (p.
202), and
General Marion Inviting 

a British Officer to Share His Meal (p.
268).
In


a
letter
to
Senator
Benjamin
R.
Tillman
of
South


Carolina,
Octavius
White
stated
that
he
wished


to
donate
the
four
paintings
to
the
United
States


Senate
in
memory
of
his
father.


Emanuel Leutze portrays a singular act of 

courage in his 1852 painting, Mrs. Schuyler 

Burning Her Wheat Fields on the Approach 

of the British, a theme John Blake White also 

chose for his Revolutionary War paintings. 

(Los Angeles County Museum of Art) 

292 United States Senate 
Catalogue of Fine Art 293 
Mountains
and
Clouds


Mountains and Clouds,
the
focal
point
of
 The
dazzling
new
Hart
Senate
Office
Building,
first
occuthe
nine­story
atrium
of
the
Hart
Senate
 pied
in
1982
and
named
for
Michigan
Senator
Philip
A. Office
Building,
is
the
largest
and
most


modern
sculpture
in
the
Senate.
The
mas­ Hart,
broke
with
tradition.
Unlike
its
predecessors,
the
Hart


sive,
black
construction,
designed
by
 Building
boasted
a
contemporary,
energy­efficient
design


Alexander
Calder
in
1976,
features
 that
 could
 accommodate
 a
 growing
 number
 of
 staff


rotating
clouds
suspended
above
stationary
mountains.
The
entire
composition
 members
and
technological
innovations.
The
building’s
centerpiece
was


creates
a
bold
contrast
to
the
white
marble
 a
towering,
asymmetrical
90­foot­high
atrium
whose
skylight
brightened


of
the
surrounding
interior
walls.
 corridors
and
offices.


Calder
developed
two
sculptural


forms
in
the
1930s:
the
“mobile”
and
the
 While
the
building
was
under
construction,
a
panel
of
curators
was


“stabile.”
The
mobile—the
suspended,
 charged
with
identifying
potential
sculptors
and
establishing
criteria
for


multipart,
freely
moving
sculpture—is
 the
commission
of
a
contemporary
work
to
enliven
the
atrium.
Alexander recognized
in
art
history
as
one
of
the
 Calder
and
four
other
artists
were
invited
to
submit
proposals.
Calder most
significant
formal
innovations
of


20th­century
sculpture.
The
stabile—its
 was
approached
through
his
dealer,
Klaus
Perls,
on
July
29,
1975,
just


fixed,
freestanding
counterpart—evolved
 after
his
77th
birthday.
A
sketch
and
a
model
for
Mountains
and
Clouds


in
Calder’s
later
work
into
ever­larger,


nearly
architectural
forms,
often
spanning
 were
submitted
by
November,
and
in
April
1976
Calder’s
innovative
design


space
as
well
as
occupying
it.
Although
 was
accepted.


Calder
would
sometimes
mount
a
mobile
 On
November
10,
1976,
Calder
brought
the
Mountains
and
Clouds


on
a
stabile,
Mountains and Clouds,
his


last
sculptural
project,
is
his
only
work
that
 maquette—his
20­inch
sheet­metal
model—to
Washington,
D.C.,
so
that


combines
a
separate
mobile
and
stabile.
 he
could
present
it
to
the
architect
of
the
Capitol
and
finalize
the
placeThe
mobile
component
of
Mountains ment
of
the
piece.
After
making
minor
adjustments
to
two
of
the
clouds, and Clouds consists
of
four
clouds
hung
at


varying
heights,
providing
a
range
of
per­ he
expressed
satisfaction
with
the
maquette
as
positioned
in
a
model
of


spectives
when
viewed
from
each
floor
of
 the
atrium.
This
proved
to
be
a
final
visit:
Calder
died
of
a
heart
attack


the
building.
Weighing
more
than
two
 that
night
after
he
returned
to
New
York
City.
Despite
his
death,
the
 tons,
the
honeycomb
aluminum­core


clouds,
with
a
thin
aluminum
skin,
span
 approval
of
the
maquette
and
the
siting
of
the
work
meant
that
fabrica­


75
feet.
The
largest
cloud
stretches
421

⁄2
 tion
of
the
full­sized
sculpture
could
proceed.
But
in
1979
fabrication
was


feet
across.
The
mechanically
driven
 delayed—and
nearly
terminated—when
public
funds
for
the
sculpture
were
 clouds,
fabricated
by
Crystallization


Systems,
Inc.,
of
Long
Island,
New
York,
 eliminated
from
the
costly
construction
budget
for
the
Hart
Building.


are
suspended
by
a
single
shaft
from
the
 Financial
assistance
materialized
in
1982
through
Senator
Nicholas


ceiling
of
the
Hart
Building.
 Brady,
who
believed
the
Calder
sculpture
to
be
“the
right
work
for
the
 The
stabile
component
of
Mountains 

and Clouds—the
mountains—is
made
of
 right
place
at
the
right
time.”1
As
New
Jersey’s
senator
for
eight
months—


sheet
metal.
It
reaches
a
height
of
51
feet
 appointed
to
a
vacancy
pending
election
of
a
successor—Brady
wished


and
weighs
36
tons.
The
stabile
was
fabri­ to
present
a
gift
to
the
Senate
on
his
departure
and
so
offered
to
raise
 cated
by
Segre
Iron
Works
of
Waterbury,


Connecticut,
a
company
that
had
produced
 the
needed
funds.
Together
with
art
collector
and
philanthropist
Paul


many
of
Calder’s
large
outdoor
pieces.
 Mellon
and
former
Treasury
Secretary
C.
Douglas
Dillon,
Brady
formed


the
Capitol
Art
Foundation,
which
accomplished
the
task.
The
Calder


sculpture
was
installed
in
the
atrium
of
the
Hart
Building
in
1986.


294 United
States
Senate

Mountains
and
Clouds


Alexander Calder (1898–1976) 

Painted
aluminum
and
steel,
designed
1976,
completed
1986


51
feet
(stabile
height)
x
75
feet
(mobile
span)
(15.6
x
22.9
m)


Commissioned
by
the
Senate
Office
Building
Commission,
1975


Accepted
by
the
Senate
Office
Building
Commission
and
the



Senate
Committee
on
Rules
and
Administration,
1986


Cat.
no.
25.00007


Catalogue
of
Fine
Art
 295 
Mountains
and
Clouds —continued


Because
the
interior
of
the
atrium
presents


a
complex
background
of
doors,
windows,
balconies,
and
stairwells
capped
by
a
coffered
ceiling,


Calder
 stressed
 simplicity
 in
 the
 design
 of
 the


sculpture.
Similarly,
because
of
the
polished
white


marble
that
dominates
the
space,
he
decided
on


a
matte
black
surface
for
the
entire
piece.
The


mountains—the
stabile—are
made
up
of
four
flat,


angular
 steel
 plates
 with
 five
 mountain
 peaks


among
them,
and
two
archlike
legs,
one
branching


off
the
other.
The
clouds—the
mobile—consist
of


four
overlapping,
curvilinear
aluminum
plates.
In


the
absence
of
any
air
source
to
propel
them,
they


are
 turned
 by
 a
 computer­controlled
 motor,


which
generates
random
patterns.
Shortly
after


their
installation,
the
clouds
ceased
to
move
when


a
mechanical
problem
with
the
design
of
the
main


bearing
 prevented
 the
 motor­driven
 shaft
 from


turning
the
clouds.
After
an
exhaustive
inspection Mountains and Clouds was installed in the 

nine-story atrium of the Hart Senate Office of
the
bearing
system,
the
office
of
the
Senate
superintendent
awarded


Building in 1986. a
contract
in
October
2001
for
the
redesign
and
manufacture
of
a
new (Architect of the Capitol) 

bearing
system
that
will
again
set
the
clouds
in
motion.


The
placement
of
Mountains
and
Clouds
makes
the
sculpture
part


of
the
entire
irregularly
shaped
public
space
of
the
building,
not
just


part
of
the
east
atrium.
Calder’s
genius
in
positioning
it
as
he
did
led


to
the
work’s
great
success.
The
atrium
is
directly
entered
from
the
east


doors
to
the
building.
As
one
passes
through
a
low
lobby,
only
a
section
of
the
black
steel
sheets
of
the
mountains
appears,
perceived
as
a


virtually
flat
surface.
The
whole
complex
composition
becomes
apparent


only
when
one
reaches
the
junction
of
lobby
and
atrium.
Suddenly,
the


full
height
of
the
atrium
and
the
sculpture
astonishes
the
viewer.
Had


the
enormous
work
been
centered
in
the
atrium,
it
might
have
produced


an
overwhelming
sense
of
oppression
or
confinement.
But
by
locating


the
nearest
portion
of
the
stabile
some
40
feet
from
the
atrium’s
east


wall,
Calder
allowed
viewers
the
necessary
space
and
distance
to
take


in
the
whole
work.


The
sculpture
extends
into
the
large
north­south
corridor
(as
tall


as
the
atrium)
that
continues
through
the
entire
building.
Most
visitors


296 United
States
Senate

probably
experience
the
sculpture
first
from
that


corridor.
 They
 may
 notice
 it
 immediately
 on


entering
either
the
north
or
south
doors,
when
one


of
the
arch­shaped
legs
of
the
mountains
appears


to
step
out
from
the
atrium
into
the
corridor,
or


one
of
the
clouds
enters
or
leaves
the
corridor’s


air
space.
Approaching
Mountains
and
Clouds
from


the
south
entrance
gives
a
different
impression;
one


initially
sees
only
two
mountain
peaks,
and
the


highest
seems
to
touch
or
merge
into
the
lowest


cloud
form.
From
this
perspective,
it
is
the
mountain­cloud
unit
that
impresses.


Perhaps
the
most
satisfying
view
is
from
the


north.
The
work
presents
an
open,
more
fully


readable
composition
of
two
or
three
peaks
with


legs,
and
clouds
that
seem
to
float
in
front
of
the


mountains.
There
is
a
large
circle
cut
through
one


of
the
mountain
sheets,
offering,
from
this
view,


needed
relief
from
the
massive
stabile.
The
archshaped
legs
are
reminiscent
of
flying
buttresses


and,
 like
 flying
 buttresses,
 they
 provide
 both


support
and
aesthetic
pleasure.


The
walls
of
the
atrium
in
which
Calder’s


mountains
stand
are
pierced
on
many
levels
by


balconies,
 windows,
 and
 walkways.
 Thus,
 the


mountains
may
be
climbed,
in
a
sense,
and
each
stage
of
the
ascent


offers
different
views—indeed,
different
understandings—of
the
moun­


tains
and
the
clouds.
As
in
actual
mountain
climbing,
the
distant
clouds


gradually
become
looming
clouds
during
the
ascent,
until
eventually


the
climber
stands
above
them.


Calder
in
his
early
years
was
famous
for
his
Circus,
in
which
his


playful
inventiveness
found
fulfillment
in
toy­sized
sculptures.
In
his
later


years,
his
sculpture
often
seemed
to
aspire
to
the
monumental
condition


of
architecture.
Throughout
his
life,
he
made
sculptural
equivalents
of


fish
and
whales
and
prehistoric
animals,
of
birds
and
starry
constellations.


Mountains
and
Clouds
is
his
grand
final
statement
of
elemental
themes


expressed
in
a
powerful,
space­transforming
invention.


Wearing his familiar visor, sculptor 

Alexander Calder is seen here at work 

in his studio in Roxbury, Connecticut. 

(Photograph ©, ca. 1963, Pedro E. Guerrero) 

Catalogue
of
Fine
Art
 297 
Niagara,
The
Table
Rock—Winter


One
of
North
America’s
most
celebrated
 François
Régis
Gignoux
arrived
in
the
United
States
from
France


natural
wonders,
Niagara
Falls
in
the
19th
 in
1840
and
opened
a
studio
in
Brooklyn,
New
York.
A
student
 century
came
to
symbolize
the
magnitude


and
power
of
the
New
World.
The
French
 of
Paul
Delaroche
and
schooled
in
the
history
of
European


missionary
Father
Louis
Hennepin,
trav- art,
Gignoux
acquired
a
manner
and
a
collection
of
technical


eling
with
French
explorer
René-Robert
 shortcuts
that
allowed
him
to
paint
landscapes
secondhand
 Cavelier,
Sieur
de
La
Salle,
was
one
of
the


first
Europeans
to
view
the
spectacular
 from
prints
and
other
paintings,
employing
his
own
imaginative
addi­


sight
and
write
of
it.
His
1698
travel
book,
 tions.
Gignoux
wisely
took
the
landscape
in
winter
as
his
principal
subject,


A New Discovery of a Vast Country in becoming
the
only
well­known
member
of
the
Hudson
River
School
 America, offered
readers
the
first
visual


image
of
Niagara:
an
engraving
by
an
 painters
to
concentrate
on
that
season.
He
did
so
with
considerable
charm


anonymous
Dutch
artist
(who
actually
had
 and,
in
this
particular
instance,
picturesque
romanticism.


not
seen
the
falls).
Hennepin,
clearly
terri- Gignoux
in
all
probability
would
have
visited
Niagara,
the
New
 fied
at
the
sight
of
the
160-foot-high
falls,


estimated
the
drop
at
an
exaggerated
600
 World’s
most
famous
landscape
spectacle,
before
beginning
his
series


feet.
He
recounted
waters
that
“foam
and
 of
paintings
of
the
falls.
Skilled
as
he
was
in
technical
shortcuts,
how­


boil”
in
a
fearful
manner
and
the
“horrible
 ever,
he
would
not
have
gone
tramping
about
in
the
cold
snow
and
 Precipice”
that
confronts
the
viewer
at
the
 dangerous
ice
to
make
sketches
from
nature
as
Frederic
Church
would
 top
of
the
falls.1


After
1760
portrayals
of
the
falls
 do
in
1856
in
preparation
for
his
1857
Niagara.
Instead,
when
preparing


became
more
frequent
and
more
accurate.
 his
landscape
(the
first
large
painting
of
the
falls
in
winter
ever
made), Throughout
the
1800s
artists
and
writers
 Gignoux
would
have
selected
his
view—or
rather,
composition—and
 extolled
Niagara’s
beauty
and
majesty,


and
visitors
flocked
to
witness
its
spectac- painted
it
according
to
pictorial
formulas.


ular
power.
Their
patriotic
fervor—linked
 The
viewpoint
is
a
suspended
one,
well
below
Table
Rock,
but
well
 to
the
concept
of
Manifest
Destiny
and
the


belief
that
such
magnificence
was
a
divine
 above
an
icy
shelf
upon
which
three
widely
spaced
figures
are
seen.
The


gift
bestowed
on
the
chosen
nation—would
 nearest
one,
an
artist,
and
by
clever
implication
Gignoux
himself,
carries


continue
until
the
Pan-American
Exposition
 a
staff
and
a
portfolio.
Table
Rock—dark
brown,
shadowed,
and
deeply
 of
1901,
when
the
tremendous
energy
of


the
falls
was
harnessed
for
hydroelectricity.
 undercut—looms
over
the
picture,
even
over
the
falls
itself,
in
an
omi­


Niagara,
which
forms
a
portion
of
the
 nous,
nearly
animate
way.
The
steel­gray
sky
sits
on
the
rim
of
the
chilly


international
border
between
the
United
 blue­green
“water
sheet.”
Most
remarkable
is
the
visionary
ice
cathedral States
and
Canada,
actually
comprises
two
 that
rises
from
the
bottom
of
the
canvas.
This
artistic
invention
is
meant separate
waterfalls.
Goat
Island
splits
its


cataract
into
the
American
Falls
in
New
 to
attest
to
the
presence
of
God
and
the
accessibility
of
faith
and
hope


York
State
and
the
Horseshoe,
or
Canadian,
 through
the
invocation
of
the
medieval
Gothic
cathedral.
Rising
toward
 Falls
in
Ontario.
The
45
million
gallons
that


flow
per
minute
over
the
precipice
are
now
 the
threatening
overhang
of
rock
and
the
glowering
sky,
the
ice
cathe­


controlled
through
an
international
agree- dral
is
given
a
specifically
American
nationalistic
inflection
by
the
huge


ment,
with
water
diverted
for
hydroelectric
 eagle
flying
toward
it
out
of
the
luminous
mists.
It
is
perhaps
doubtful
 power.
Today
Horseshoe
Falls
is
eroding
at
 that
Gignoux
intended
any
specific
reference
to
current
political
and
social
 a
rate
of
approximately
1
foot
every
10


years—faster
than
the
American
Falls—
 tensions,
but
his
choice
of
Table
Rock
as
a
omen
of
potential
disaster


owing
to
the
greater
volume
of
water
that
 was
nonetheless
appropriate.
In
1850,
as
the
United
States
crept
closer
 flows
over
it.
 and
closer
to
civil
war,
the
giant
table
finally
collapsed
into
the
abyss.


298 United
States
Senate

Niagara,
The
Table
Rock
—Winter


François Régis Gignoux (1816–1882) 

Oil
on
canvas,
ca.
1847


52
1

⁄2
 x
36
1⁄8
 inches
(133.4
x
91.8
cm)


Signed
(lower
right
corner):
R.
Gignoux.


Gift
of
Caroline
Carroll
in
memory
of
her
husband,
Charles
Carroll,
1901


Accepted
by
the
Joint
Committee
on
the
Library,
1901


Cat.
no.
33.00020


Catalogue
of
Fine
Art
 299 
Niagara,
The
Table
Rock—Winter—continued


Table
Rock,
a
massive
ledge
jutting
out
 Colonel
Charles
Carroll
of
Maryland
acquired
Gignoux’s
Niagara,


over
Horseshoe
Falls,
provided
an
ideal
 The
Table
Rock—Winter
shortly
after
its
execution.
Caroline
Carroll,
his vantage
point
for
early
19th-century


tourists.
The
pointed
outcropping
was
 widow,
left
instructions
upon
her
death
that
the
painting
should
be


formed
as
water
slowly
eroded
the
soft
 donated
 to
 the
 U.S.
 government.
 Alice
 Louisa
 Thompson,
 Caroline
 


underlayer
of
rock,
leaving
the
denser
top
 Carroll’s
sister,
presented
the
painting
to
Congress
on
her
behalf;
it
was
 layer
intact.
After
centuries
of
continued


erosion,
pieces
of
Table
Rock
began
falling
 accepted
by
the
Joint
Committee
on
the
Library
on
March
2,
1901.


off,
first
in
1818,
and
again
in
1828
and
 Gignoux
exhibited
frequently
in
New
York,
Philadelphia,
and
Boston.


1829.
On
June
26,
1850,
the
giant
table
 He
was
a
member
of
the
National
Academy
of
Design
and
the
first
president
 fell
into
the
river,
leaving
the
site
a
ruin


now
memorialized
in
paintings
and
written
 of
the
Brooklyn
Art
Academy.
Gignoux
exhibited
Niagara,
The
Table
Rock—


accounts.
When
it
finally
collapsed,
the
 Winter
at
the
National
Academy
in
1847.
In
the
Corcoran
Gallery
of
Art’s


ledge
was
reported
to
have
been
200
feet
 1985
exhibition
catalogue
Niagara,
Jeremy
Elwell
Adamson
wrote
of
the
 long,
60
feet
wide,
and
100
feet
thick.
 Senate’s
painting:
“Few
nineteenth­century
portrayals
of
Niagara
match


the
Gothic
horror
of
this
gloomy,
ice­girt
depiction.”1
 Gignoux
painted


four
wintertime
scenes
of
Niagara
as
well
as
a
summertime
view.
His
Niagara
Falls
in
Winter
(1858)
was
exhibited
in
1859
along
with
Frederic


Church’s
monumental
view
of
Niagara.
Gignoux’s
works
were
considered


highly
collectible
during
his
day,
and
several
of
his
winter
paintings
were


reproduced
and
circulated
as
engraved
prints.
The
artist
returned
to
France


in
1870,
where
he
died
12
years
later.


300 United
States
Senate

Catalogue
of
Fine
Art
 301 
Richard
Milhous
Nixon


(1913–1994) 

Richard
Milhous
Nixon,
the
37th
presi- Richard
Nixon
selected
Gualberto
Rocchi
of
Milan,
Italy,
to


dent
of
the
United
States,
is
remembered
 sculpt
 his
 bust
 for
 the
 Senate’s
 Vice
 Presidential
 Bust
 for
his
achievements
in
foreign
policy


and
as
the
only
president
to
resign
from
 Collection.
The
artist
previously
had
executed
likenesses
of


office.
Born
in
Yorba
Linda,
California,
 other
Republican
leaders,
including
then­Governor
Nelson


Nixon
became
a
lieutenant
commander
 A.
Rockefeller
of
New
York.
Rocchi,
after
six
sittings
with in
the
United
States
Navy
during
World


War
II.
After
the
war,
he
was
elected
to
 Nixon
in
the
sculptor’s
studio
in
New
York
City,
sent
the
plaster
model


the
U.S.
House
of
Representatives,
and
in
 to
Washington,
D.C.,
for
official
approval
in
1965.
Nixon
himself
had
already


1951
he
moved
to
the
Senate.
Two
years
 approved
the
model
by
letter,
and
the
Senate
Committee
on
Rules
and later,
Nixon
was
nominated
to
run
as
the


Republican
vice
presidential
candidate
 Administration
did
likewise
on
January
26,
1966.
Although
some
senawith
Dwight
D.
Eisenhower.
 tors
 expressed
 dissatisfaction
 with
 the
 Nixon
 likeness,
 the
 committee


Elected
36th
vice
president
on
Nov- deferred
to
Nixon’s
judgment,
and
the
model
was
returned
to
the
sculptor ember
4,
1952,
Nixon
was
reelected
in


1956.
He
was
unsuccessful
as
his
party’s
 for
translation
into
marble.
Nevertheless,
in
response
to
the
criticisms
of


candidate
for
the
presidency
in
l960
and
 committee
members,
Rocchi
arranged
a
follow­up
sitting
with
his
subject


as
its
candidate
for
governor
of
Cali- and
made
modifications
to
his
model.
“With
a
fresh
eye,
after
almost
one fornia
in
1962.
After
practicing
law
in
 year,
within
an
hour’s
[sitting]
time
only,
I
felt
that
the
perfection
an
artist New
York,
he
sought
the
Republican


presidential
nomination
in
1968
and
was
 always
strives
for
was
achieved....
I
should
thank
those
Senators,”
wrote


subsequently
elected.
He
was
reelected
 Rocchi
in
a
letter
to
the
architect
of
the
Capitol. in
1972
but
resigned
the
presidency
on
 The
marble
bust
was
executed
in
Italy,
and
the
finished
work
was August
9,
1974,
in
the
face
of
the


Watergate
affair.
The
president
was
 accepted
by
the
Senate
Committee
on
Rules
and
Administration
in
1967.


named
unindicted
coconspirator
in
the
 Because
Nixon
believed
it
inappropriate
for
his
bust
to
be
displayed break-in
of
the
offices
of
the
Democratic


National
Committee
in
the
Watergate
 before
his
return
to
private
life,
the
work
was
stored.
It
was
placed
on


complex
in
June
1972.
Later
the
House
 view
in
the
Senate
wing
in
May
1979,
at
the
same
time
the
bust
of
Lyndon


Judiciary
Committee
voted
to
recommend
 Johnson
(p.
218)
was
installed.
 his
impeachment
on
grounds
of
obstruc
!

tion
of
justice,
abuse
of
power,
and!

contempt
of
Congress.
A
month
after
his!

resignation,
Richard
Nixon
was
officially!

pardoned
for
all
federal
offenses
by
his!

successor,
President
Gerald
R.
Ford.!

Nixon
spent
his
remaining
years
as
an!

author,
foreign
policy
commentator,
and!

advisor
to
several
of
his
successors.!

Following
a
stroke,
he
died
at
the
age
!

of
81
in
a
New
York
City
hospital.!

Richard Nixon poses for artist Gualberto 

Rocchi, ca. 1965/1966. 

(Architect of the Capitol) 

302 United States Senate 
Richard M. Nixon 

Gualberto Rocchi (born 1914) 

Marble,
modeled
and
carved
1966


29
3

⁄8
 x
22
3⁄4
 x
13
1⁄8
 inches
(74.6
x
57.8
x
33.3
cm)


Signed
and
dated
(on
subject’s
truncated
right
arm):
G.
ROCCHI
/
1966


Commissioned
by
the
Senate
Committee
on
Rules
and
Administration,
1965


Accepted
by
the
Senate
Committee
on
Rules
and
Administration,
1967


Cat.
no.
22.00036


Catalogue of Fine Art 303 
Lee
Slater
Overman


(1854–1930) 

Born
in
Salisbury,
North
Carolina,
Lee
 This
portrait
of
Lee
Slater
Overman,
donated
by
the
senator’s


Slater
Overman
taught
school
before
 family
in
1996,
is
unsigned
and
undated.
The
painting
had
 turning
to
law
and
politics.
He
established
 been
in
the
family
since
its
completion
early
in
the
20th
 a
law
practice
in
Salisbury
and
later
was


elected
to
the
North
Carolina
house
of
 century,
although
no
information
exists
regarding
its
acqui­


representatives
for
five
terms,
serving
as
 sition.
Senator
Overman
had
bequeathed
the
painting
to
 Speaker
in
1893.
A
Democratic
candidate
 his
daughter,
Grace
Overman
Snow,
who
upon
her
death
left
the
work
 in
1895
for
an
uncompleted
term
in
the


U.S.
Senate,
Overman
lost
to
the
Repub- to
her
son,
Lee
Overman
Snow,
and
his
daughter,
Catherine
Overman


lican/Populist
candidate.
Eight
years
later,
 Snow.
Following
formal
acceptance
of
the
painting
in
1996,
it
was
hung
 however,
he
succeeded
in
a
second
bid


and
served
in
the
Senate
from
1903
until
 outside
the
Senate
Democratic
leader’s
suite
in
the
Capitol.


his
death
in
1930.


Overman
was
a
tireless
advo!

cate
for
North
Carolina
interests,


particularly
for
the
state’s
cotton


industry.
As
a
senior
member
of
the


Judiciary
Committee
during
World


War
I,
he
shepherded
several


administration
policies
through
the


Senate,
including
President


Woodrow
Wilson’s
proposals
to


impose
wartime
speech
and
press


controls.
He
also
sponsored
a


measure—popularly
known
as
the


Overman
bill—to
expand
presiden!

tial
power
during
the
war.
Over
the


course
of
his
27
years
in
the


Senate,
Overman
served
on
16


committees,
including
Judiciary


and
Appropriations.
In
1913
he


led
a
politically
sensitive
investiga!

tion
of
President
Wilson’s
charges


that
lobbyists
for
special
interests


were
working
to
undermine
the


administration’s
tariff
reform


agenda.
Although
it
found
no
evi!

dence
of
malfeasance,
Overman’s


Judiciary
subcommittee
exposed


extensive
lobbying
activity,
a


finding
that
Wisconsin
Senator


Robert
M.
La
Follette,
Sr.,
likened


to
a
“bomb
that
blew
the
lid
off
the


congressional
lobby.”1


Unfailingly
polite
in
demeanor


and
nonpartisan
in
his
friendships,
 Catherine Snow, great-granddaughter of Lee Overman
was
widely
esteemed
by
 Slater Overman, and family friend Colonel his
Senate
colleagues.
As
a
final
tribute
 Wharton McGreer, unveil the portrait of the

following
his
death,
they
conducted
his
 senator, 1998. 

funeral
service
in
the
Senate
Chamber.
 (U.S. Senate Photographic Studio) 

304 United States Senate 
Lee Slater Overman 

Unknown artist 

Oil
on
canvas,
date
unknown


39
5

⁄8
 x
24
1⁄2
 inches
(100.6
x
62.2
cm)


Unsigned


Gift
of
Lee
Overman
Snow
and
Catherine
Overman
Snow
(grandson
and
great­granddaughter



of
Lee
Slater
Overman),
1996


Accepted
by
the
U.S.
Senate
Commission
on
Art,
1996


Cat.
no.
32.00032


Catalogue of Fine Art 305 
Patriotism


“Patriotism shows a typical citizen leaning 

on his plow, a symbol of every man’s usual 

work, which he leaves to take up the 

sword for the defense of his country,” 

wrote sculptor Lee Lawrie of his carved 

marble relief over the east entrance in the 

Senate Chamber. In this 1951 letter to 

Architect of the Capitol David Lynn, Lawrie 

added: “The strident eagle symbolizes 

vigilance and preparedness.” 

306 

The
relief
of
Patrio


tism
was
carved
on


location
in
the
 U.S.


Capitol
 in
 1950,


during
 the
 remodeling
of
the
Senate
Chamber.
The


piece
was
one
of
three
sculptural


panels
designed
for
the
Chamber


by
 Maryland
 artist
 Lee
 Lawrie,


who
supervised
their
completion


based
on
his
models.
Patriotism


was
carved
by
Louis
Milione
of


Philadelphia.


Lawrie,
 who
 was
 born
 in


Germany
but
moved
to
the
United


States
at
a
young
age,
executed


more
 than
 300
 sculptural
 commissions
in
his
lifetime.
Lawrie’s


marble
reliefs
of
Courage
(p.
86)


and
 Wisdom
 (p.
 432)
 are
 also


located
 in
 the
 Senate
 Chamber.


United
States
Senate

Patriotism


Lee Oscar Lawrie (1877–1963) 

Marble,
modeled
and
carved
1950


33
x
68
1

⁄2
 inches
(83.8
x
174
cm)


Unsigned


Commissioned
by
the
Architect
of
the
Capitol,
1950


Accepted
by
the
Architect
of
the
Capitol,
1950


Cat.
no.
25.00009


Catalogue
of
Fine
Art
 307 
Pocahontas


(ca. 1595–1617) 

Pocahontas
is
renowned
in
American
 The
Senate’s
portrait
of
Pocahontas
is
a
copy
of
an
oil
painting


legend
for
saving
the
life
of
English
colonial
 that
originally
hung
in
Booton
Hall,
the
English
ancestral leader
Captain
John
Smith.
She
was
the
 home
of
her
husband’s
family,
the
Rolfes.
The
Booton
Hall daughter
of
Powhatan,
chief
of
a
large


Algonquian
confederacy
based
in
the
 portrait
is
known
to
have
existed
by
1760–70.
It
was
later


Tidewater
region
of
Virginia.
Powhatan’s
 acquired
by
American
art
collector
Andrew
Mellon
and
is loose
alliance
had
frequent
conflicts
with


the
English
colonists
who
founded
James- now
held
by
the
Smithsonian
Institution’s
National
Portrait
Gallery
in
Washtown
in
1607
on
Native
American
land.
 ington,
D.C.
Scholars
believe
that
the
original
oil—once
thought
to
be
a


Pocahontas
often
visited
this
settlement,
 life
portrait—was
actually
based
on
an
existing
1616
Dutch
engraving
by becoming
a
liaison
between
her
father’s


people
and
the
English.
By
Smith’s
later
 Simon
van
de
Passe.
Philip
Barbour,
in
his
book
Pocahontas and Her World, 

account,
the
young
Pocahontas,
also
 presents
evidence
to
support
this
conclusion:
“A
European
portrait­painter


known
as
Matoaka,
spared
Smith’s
life
 of
1616–1617
would
surely
have
noticed
that
Pocahontas
was
‘brown’
or in
1607.
She
threw
herself
over
his
body



to
prevent
his
execution
at
the


hands
of
her
father
and
his
men.


In
1613,
during
a
period
of


recurrent
discord,
English
leaders


captured
Pocahontas
and
brought


her
against
her
will
to
Jamestown,


so
that
she
could
be
used
as
a


bargaining
pawn.
Once
there
she


was
treated
graciously
by
the


acting
governor.
She
eventually


converted
to
Christianity,
taking


the
name
Rebecca.
Her
1614


marriage
to
Englishman
John
Rolfe


secured
a
temporary
peace


between
the
colonists
and
the


Algonquians,
which
aided
in
the


establishment
of
the
Jamestown


colony.
Pocahontas
accompanied


her
husband
to
England
in
1616,


where
she
was
received
at
court


as
a
princess.
She
died
of
smallpox
seven
months
later
while
still


in
England.
Her
son
Thomas
later


immigrated
to
Virginia.


The Senate’s portrait of Pocahontas is a 

copy of an oil painting—now owned by the 

Smithsonian Institution’s National Portrait 

Gallery—which was based on this 1616 

engraving by Simon van de Passe. 

(© The British Museum) 

‘tawny,’
like
the
rest
of
her
people.


But
the
color
of
her
skin
in
the


portrait
is
clearly
European,
and
her


hair
is
a
European
brown,
not
an


Indian
black.
Relying
only
on
the


engraving,
a
painter­copyist
would


not
 have
 recognized
 his
 own


error.” 1
 In
both
the
National
Portrait
Gallery
and
Senate
portraits,


the
painted
legend
at
the
base
of


the
picture
erroneously
identifies


Pocahontas’s
 husband
 with
 the


Christian
name
“Tho:”
for
Thomas,


whereas
the
engraving
 by
van
de


Passe
correctly
lists
him
as
“Joh:”


for
John.


Henry
 S.
 Wellcome,
 an


Indiana
native
who
lived
for
many


years
in
London,
apparently
commissioned
the
Senate’s
oil
copy
for


exhibit
at
the
World’s
Columbian


Exposition
 in
 Chicago
 in
 1893.


After
 the
 fair,
 the
 picture
 was


displayed
at
the
U.S.
Capitol.
It
was


officially
presented
to
the
Senate


by
Wellcome
in
1899.


308 United States Senate 
Pocahontas 

Unknown artist 

after
an
unidentified
artist,
English
School,
after
the
1616
engraving
by
Simon
van
de
Passe
(ca.
1595–1647)


Oil
on
canvas,
date
unknown


30
x
25
inches
(76.2
x
63.5
cm)


Unsigned


Inscribed:
(surrounding
figure)
PRINC:
POWHATANI
IMP:
VIRGINIÆ.
MATOAKA
ALS
REBECKA
FILIA
POTENTISS:
/
(below
figure)



Tho:
Rolff.


Gift
of
Henry
S.
Wellcome,
1899


Accepted
by
the
Joint
Committee
on
the
Library,
1899


Cat.
no.
31.00014


Ætatis
suæ
21.Ao.1616.
/
(at
bottom)
Matoaks
als
Rebecka
daughter
to
the
mighty
Prince
/
Powhatan
Emperour
of


Attanoughkomouck
als
Virginia
/
converted
and
baptized
in
the
Chriƒtian
faith,
and
/
Wife
to
the
worH.
Mr


Catalogue of Fine Art 309 
Casimir
Pulaski


(1747/1748–1779) 

“I
could
not
submit
to
stoop
before
the
sov- S

culptor
 Henry
 Dmochowski
 Saunders
 was
 born
 in
 1810
 in


ereigns
of
Europe,
so
I
came
to
hazard
all
 Lithuania,
then
part
of
Russian
Poland.
He
immigrated
to
America
 for
the
freedom
of
America,”
wrote
Casimir


Pulaski
to
Congress
shortly
before
his
 in
the
early
1850s
and
added
the
English
name
Saunders
to
his


death.1
 Born
into
a
noble
family
in
the
 original
surname
Dmochowski.
The
artist
settled
in
Philadel­


Warsaw
district
of
Poland,
Pulaski
fled
the
 phia,
where
he
exhibited
numerous
portrait
medallions
and country
in
1772
following
an
unsuccessful
 sculptures
of
prominent
Americans
and
Europeans
at
the
Pennsylvania rebellion
against
Russian
domination.
In


Paris
the
young
Pole
met
Benjamin
Franklin,
 Academy
of
the
Fine
Arts.
Four
years
later
he
moved
to
Washington,
D.C.


who
provided
him
with
an
introduction
to
 In
1857
Saunders
wrote
to
Captain
Montgomery
C.
Meigs,
superintendent George
Washington.
Pulaski
arrived
in
the


United
States
in
1777
and
joined
the
Amer- of
the
Capitol
extension,
seeking
a
contract
to
execute
a
marble
bust
based


ican
Revolution,
initially
as
a
volunteer
at
 on
his
existing
medallion
of
Casimir
Pulaski.
Although
Saunders
succeeded


the
Battle
of
Brandywine.
On
Washington’s
 in
selling
a
bust
of
another
Polish
soldier
of
the
American
Revolution, recommendation,
the
Continental
Congress
 General
Tadeusz
Ko ́sciuszko
(p.
240),
to
the
Joint
Committee
on
the
Library, appointed
Pulaski
brigadier
general
and


assigned
him
to
command
the
cavalry.
 no
action
was
taken
on
the
Pulaski
likeness.
Saunders
returned
to
Poland


Pulaski
so
influenced
the
development
of
 and
died
in
1863
while
fighting
for
his
country’s
freedom. that
branch
of
the
military
that
he
has
been


called
the
Father
of
the
American
Cavalry.
 On
 March
 2,
 1867,
 Congress
 appropriated
 $1,000
 through
 the


In
1778,
after
encountering
dissension
 Sundry
Civil
Expenses
Act
to
purchase
the
marble
bust
of
Pulaski
by


from
his
officers
because
of
his
foreign
 Saunders.
However,
no
further
official
action
was
taken
until
February background,
Pulaski
resigned
his
commis- 1882,
when
the
Senate
passed
a
resolution
instructing
the
Joint
Com­ sion
and
received
permission
to
form
an


independent
corps.
Called
the
Pulaski
 mittee
on
the
Library
to
“inquire
into
the
alleged
contract...[with]
Henry


Legion,
it
was
made
up
largely
of
Euro- D.
Saunders
for
the
execution
of
a
bust,
in
marble,
of
the
Count
Pulaski, pean
soldiers.
In
1779
Congress
ordered


the
legion
to
provide
support
to
American
 and
to
carry
into
effect
the
terms
of
said
alleged
contract,
if
the
same


forces
in
the
South.
During
the
siege
of
 be
proven.” 1
 By
this
time
the
bust
was
displayed
in
National
Statuary


Savannah,
Pulaski
was
wounded;
he
 Hall.
It
was
finally
acquired
by
the
Joint
Committee
on
the
Library
on developed
gangrene
and
died
two
days
 March
11,
1882,
when
the
executor
for
Saunders’s
estate,
John
T.
Pickett, later
at
the
age
of
32.


The
valiant
war
service
and
heroic
 was
paid
$1,500
from
the
Works
of
Art
Fund.
Although
the
artist
regularly


death
of
Pulaski
brought
forth
an
emo- exhibited
in
America
as
“H.D.
Saunders,”
he
signed
the
Pulaski
bust tional
response
from
Americans.
Forts,


monuments,
towns,
streets,
bridges,
and
 with
his
original
surname,
Dmochowski.


schools
in
many
cities
were
named
for



the
celebrated
Polish
commander.
New


monuments
were
also
built
in
his
honor


throughout
the
country.
Each
year
a


Pulaski
Day
parade
is
held
in
New
York


City
in
recognition
of
his
service
during



the
American
Revolution.


310 United States Senate 

The marble busts, left to right, of Tadeusz 

Ko ́sciuszko, Giuseppe Garibaldi, and Casimir 

Pulaski, are displayed in the Senate Vestibule. 

(1999 photograph) 
Casimir Pulaski 

Henry Dmochowski Saunders (1810–1863) 

Marble,
1857


39
x
27
5

⁄8
 x
17
3⁄4
 inches
(99.1
x
70.2
x
45.1
cm)


Signed
and
dated
(on
base
under
subject’s
truncated
right
arm):
H•DMOCHOWSKI•1857•PHI


Inscribed
(centered
on
front
of
base):
K•K•PULASKI•
 /
1748 +1779•


Purchased
by
the
Joint
Committee
on
the
Library,
1882


Cat.
no.
21.00015


Catalogue of Fine Art 311 
James
Danforth
Quayle


(born 1947) 

James
Danforth
Quayle,
a
U.S.
representa- Artist
Frederick
Hart
was
finishing
the
clay
model
of
the


tive,
senator,
and
vice
president,
was
born
 Dan
Quayle
bust
for
the
Senate’s
Vice
Presidential
Bust
 in
Indianapolis,
Indiana.
Quayle
served
in


the
Indiana
National
Guard
from
1969
to
 Collection
when
he
died
suddenly
in
1999.
Quayle
sat


1975,
established
a
law
practice
in
his
 on
two
occasions
for
Hart
at
his
studio
in
Hume,
Virginia,


home
state,
and
worked
as
associate
pub- and
a
life
mask
was
made
of
the
vice
president
by
Willa
 lisher
for
his
family’s
newspaper,
the
Hunt- Shalit
to
help
in
the
sculpting
process.
After
Hart’s
death,
his
assis­ ington Herald-Press. His
political
career


began
at
the
age
of
29,
when
he
was
 tant,
Jeff
Hall,
completed
the
clay
model
and
prepared
the
plaster
cast.


elected
to
the
U.S.
House
of
Representa- The
bust
was
to
be
carved
in
marble
by
Vincent
Palumbo,
master
stone tives.
He
served
from
1977
to
1981,
then


was
elected
to
the
U.S.
Senate.
Quayle’s
 carver
at
the
National
Cathedral
in
Washington,
D.C.,
as
originally
inearly
success
in
the
Senate
in
sponsoring
 tended
by
Hart.
Palumbo
had
worked
extensively
with
Hart
over
the


the
Quayle-Kennedy
bill,
which
created
the
 years,
both
at
the
cathedral
and
on
private
commissions;
the
Senate’s Job
Training
Partnership
Act
of
1982,
won
 full­length
marble
statue
of
former
Senator
Richard
Russell
(p.
324) him
wide
praise.
He
was
appointed
to


chair
a
special
committee
to
examine
pro- was
such
a
collaboration.
However,
Palumbo
died
suddenly
before
he


cedural
issues
in
the
Senate;
the
Quayle
 could
begin
the
work.
New
York
artist
Daniel
Sinclair
was
ultimately Committee
recommended
various
changes
 selected
to
complete
the
commission. in
appointments
to
committees
and


reviewed
floor
procedures.
While
none
of


the
suggested
changes
were
adopted,


Quayle’s
reform
efforts
did
not
go
unno


ticed
by
the
Republican
Party.


Quayle
easily
won
reelection
to
a


second
Senate
term
and
was
chosen
by


Vice
President
George
Bush
to
run
with
him


on
the
1988
Republican
presidential
ticket.


Quayle
resigned
his
Senate
seat
in
January


1989
to
become
the
44th
vice
president.


During
his
tenure,
he
chaired
the
White


House
Council
on
Competitiveness
and
the


National
Space
Council.
Following
the


Bush-Quayle
ticket’s
unsuccessful
1992


reelection
bid,
Quayle
returned
to
Indiana


to
spend
time
with
his
family.
He
published


a
memoir,
Standing Firm,
in
1994
and


briefly
sought
his
party’s
presidential
nomi


nation.
In
September
2000,
Vice
President


Quayle
returned
to
the
U.S.
Senate
to


address
his
former
colleagues
and
other


guests
in
the
historic
Old
Senate
Chamber


as
part
of
the
Senate
Leader’s
Lecture


Series.
This
series
gave
former
Senate


leaders
the
chance
to
share
their
insights


about
the
Senate’s
recent
history
as
well
as


long-term
practices.
Quayle
remembered
 In his New York studio, artist Daniel Sinclair 

his
Senate
years
with
fondness
and
con- uses a pointing device to transfer the dimencluded
by
noting
the
importance
of
pre- sions of the plaster model into marble for 

serving
the
Senate
as
“the
heart
and
the
 the Dan Quayle bust. 

balance
of
a
democratic
republic.”
 (2002 photograph) 

312 United States Senate 
J. Danforth Quayle 

Frederick E. Hart (1943–1999) 

Marble,
modeled
2000,
carved
2002


26
1

⁄2
 x
20
3⁄4
 x
11
1⁄2
 inches
(67.3
x
52.7
x
29.2
cm)


Signed
and
dated
(on
base
under
subject’s
truncated
left
arm):
©
F.
E.
HART
/
1999


Signed
(on
base
under
subject’s
truncated
right
arm):
J
HALL


Carver’s
mark
(on
base
under
subject’s
truncated
right
arm):
D
SINCLAIR


Commissioned
by
the
Senate
Committee
on
Rules
and
Administration,
1998


Accepted
by
the
Senate
Committee
on
Rules
and
Administration,
2002


Cat.
no.
22.00044


Catalogue of Fine Art 313 
The
Recall
of
Columbus


(January 1492) 

The
bold
Genoan
navigator
Christopher
 Augustus
Heaton,
little
known
today,
was
a
painter
of
porColumbus,
convinced
he
could
reach
Asia
 traits
and
historical
subjects.
Born
in
Philadelphia,
he by
sailing
westward
from
Europe,
tried
to
 trained
there
at
the
Pennsylvania
Academy
of
the
Fine win
favor
and
financial
support
for
his


expedition
at
the
courts
of
Portugal
and
 Arts
under
the
history
painter
Peter
F.
Rothermel,
and
in


Spain.
The
Portuguese
king
rejected
his
 Paris
at
the
École
des
Beaux­Arts
under
the
noted
artist


proposal
in
1484.
Columbus
then
went
to
 Alexandre
Cabanel.
Later
he
studied
with
Léon
Bonnat,
an
enormously
 Spain,
where
he
ultimately
approached


King
Ferdinand
and
Queen
Isabella.
After
 successful
French
portraitist.
Heaton
taught
at
the
Pennsylvania
Academy


years
of
debate
about
the
merits
of
 from
1868
to
1878,
then
returned
to
Paris
until
1884.
His
later
years
were
 Columbus’s
proposal,
the
monarchs
dis!


missed
him
in
early
1492,
believing
his
 spent
primarily
in
Washington,
D.C.


demands
too
audacious
and
his
attitude
too
 The Recall of Columbus,
which
Heaton
considered
his
greatest


uncompromising.
Columbus
headed
deject- work,
was
begun
in
his
Paris
studio
and
finished
in
Rome
in
the
studio
 edly
for
France.
But
as
his
party
crossed
a
 of
American
sculptor
Chauncey
Ives.
The
painting
was
sent
to
the
U.S.
 small
bridge
near
Granada,
a
royal
mes!


senger
overtook
him
to
present
Queen
 Capitol
in
1884
for
“examination”
by
the
Joint
Committee
on
the
Library


Isabella’s
handwritten
letter
recalling
him
to
 and
purchased
later
that
year
for
$3,000
through
the
efforts
of
Com­
 court.
There,
in
a
change
of
heart,
Isabella
 mittee
Chairman,
Senator
John
Sherman
of
Ohio.
Heaton
copyrighted
 pledged
her
jewels
to
make
possible
the


voyage
of
exploration.
This
historic
moment
 The Recall of Columbus in
1891
as
the
400th
anniversary
of
Columbus’s


was
vividly
described
by
Washington
Irving
 landing
in
the
New
World
approached.
The
painting
was
exhibited
at
 in
his
widely
read
Life
and
Voyages
of


Christopher
Columbus.
Working
in
Spain
 the
Columbian
Historical
Exposition
in
Madrid
in
1892,
and
the
following


from
newly
discovered
original
documents,
 year
it
was
displayed
at
the
World’s
Columbian
Exposition
in
Chicago.


Irving
created
what
was
to
become
the
 It
soon
became
widely
known
when
it
was
reproduced
as
one
of
16
 standard
English-language
account
of
the


Columbus
story
in
the
19th
century.
Here
 Columbus
commemorative
stamps
issued
in
1893
to
coincide
with
the


is
his
narrative
of
the
turning
point
in
 delayed
opening
of
the
Chicago
exposition.


Columbus’s
fortunes:
 Although
Heaton
had
confirmed
visual
details
of
the
story
by
visiting


Columbus
had
pursued
his
lonely


journey
across
the
Vega
and
had
reached
 the
Columbus
site
in
Granada
and
by
making
a
careful
study
of
period


the
bridge
of
Pinos,
about
two
leagues
from
 costume,
his
painting
is
a
typical
example
of
the
idiosyncratic
approach


Granada,
at
the
foot
of
the
mountain
of
 to
historical
subjects
favored
by
American
painters,
an
approach
that


Elvira;
a
pass
famous
in
the
Moorish
wars
 valued
moral
lesson
above
stirring
action.
Like
so
many
of
his
colleagues,
 for
many
a
desperate
encounter
between


the
Christians
and
Infidels.
Here
he
was
 Heaton
 chose—indeed
 sought
 out—a
 relatively
 static
 subject
 within


overtaken
by
a
courier
from
the
queen,
 Washington
Irving’s
teeming
and
often
dramatic
narrative
of
Columbus’s


spurring
in
all
speed,
who
summoned
him
 life
and
voyages.
 to
return
to
Santa
Fé.
Columbus
hesitated


for
a
moment,
being
loth
to
subject
himself
 Here,
as
a
royal
messenger
intercepts
the
sailor
with
the
startling


again
to
the
delays
and
equivocations
of
 but
welcome
news,
there
is
no
spurring
in
speed,
no
hastening
with


the
court.
When
he
was
informed,
however,
 alacrity,
not
even
a
turning
of
the
reins
to
be
seen.
Instead,
every
one
 of
the
sudden
zeal
for
the
enterprise
excited


in
the
mind
of
the
queen,
and
the
positive
 of
the
six
figures
and
five
animals
remain
stock­still,
gestures
frozen.
The


promise
she
had
given
to
undertake
it,
he
 only
indication
of
a
response
to
the
letter
in
Columbus’s
hand
is
his


no
longer
felt
a
doubt,
but,
turning
the
reins


of
his
mule,
hastened
back
with
joyful


alacrity
to
Santa
Fé,
confiding
in
the



noble
probity
of
that
princess.1


314 United States Senate 
The Recall of Columbus 

Augustus Goodyear Heaton (1844–1930) 

Oil
on
canvas,
1882


51
x
91
inches
(129.5
x
231.1
cm)


Signed
and
dated
(lower
right
corner):
copyright
1891
by
/
A.
G.
HEATON.
/
1882.


Purchased
by
the
Joint
Committee
on
the
Library,
1884


Cat.
no.
33.00007


dawning
smile.
The
low,
wide
format
with
its
strongly
angled


walls
is
the
proscenium
for
this
cast
of
historical
actors.
The


scene
itself,
verified
through
the
artist’s
study
trip
to
Spain,


is
carefully
portrayed.
So
is
the
mule
pack
bulging
with
maps,


books,
and
a
globe,
which
identifies
the
hero.
His
humble


state
and
that
of
his
son
and
their
companion
are
underscored


by
their
mules,
which
contrast
with
the
fine
steed
of
the
queen’s


messenger.
 The
 crippled
 peasant
 and
 his
 daughter
 resting


against
the
wall
are
the
necessary
witnesses
to
this
selected


moment
of
history.
Heaton
depicts
the
event
as
a
motionless


moment
of
moral
triumph,
an
icon
of
genius
vindicated.
 On January 2, 1893, the U.S. Post Office Depart­­

At
least
16
of
Heaton’s
works
are
known
to
survive,
although
a
 ment issued a 50­cent stamp illustrating The 

Recall of Columbus by Augustus Heaton as monumental
group
portrait—The Promoters of the New Congressional part of a postal series commemorating the 

Library—appears
to
have
been
lost.
The
artist
wrote
several
books
and
 navigator’s discovery of America. 

published
a
literary
newsletter,
The Nutshell.


Catalogue of Fine Art 315 
Joseph
Taylor
Robinson


(1872–1937) 

Joseph
Taylor
Robinson,
a
U.S.
representa- Known
in
his
day
as
the
“Abraham
Lincoln
of
American


tive
and
senator
from
Arkansas,
first
won
 art”
for
his
rugged
ideals
and
candid
and
forceful
realism,
 election
to
the
House
of
Representatives
in
 Nicholas
 Brewer
 painted
 numerous
 Washington,
 D.C.,
 1903.
He
continued
in
office
until
1913,


when
he
resigned
to
become
governor
of
 notables,
including
President
Theodore
Roosevelt,
and


Arkansas.
The
state
legislature,
however,
 many
governors.1
 For
a
time
he
maintained
a
studio
in


immediately
elected
him
to
fill
a
vacancy
 the
Senate
Office
Building
(now
the
Russell
Senate
Office
Building).
His
 in
the
U.S.
Senate.
Robinson
thus
held


three
important
political
offices
within
a
 portrait
of
Joseph
T.
Robinson
was
completed
in
1934,
shortly
after
the


period
of
two
weeks.
 senator’s
selection
as
majority
leader.
Following
Robinson’s
death
in
1937,
 Joseph
Robinson
was
the
last
senator
 the
remaining
senator
from
Arkansas,
Hattie
Caraway,
introduced
a
res­ chosen
by
the
Arkansas
state
legislature


before
implementation
of
the
17th
Amend- olution
to
authorize
acceptance
of
a
gift
of
the
Robinson
portrait.
The


ment,
which
provided
for
the
direct
elec- painting,
which
had
been
hanging
in
the
office
of
the
secretary
of
the tion
of
senators.
His
Senate
service
began
 Senate,
was
presented
to
the
Senate
by
Robinson’s
widow
and
friends in
March
1913
and
continued
until
his


death.
Throughout
his
Senate
career,
 several
months
later.
 Robinson
promoted
both
the
League
of
 Born
on
the
frontier
of
Minnesota,
Nicholas
Brewer
later
moved
 Nations
and
the
Permanent
Court
of


International
Justice.
In
1928
he
ran
 to
New
York
City
to
study
art.
He
exhibited
widely,
and
won
numerous


unsuccessfully
for
vice
president
on
the
 awards
during
a
long
and
illustrious
career
as
a
portraitist
and
landscape


Democratic
ticket
headed
by


Alfred
E.
Smith.
After
serving


as
his
party’s
minority
floor


leader
for
10
years,
Robinson


became
Senate
majority


leader
in
1933.
He
played
a


major
role
in
the
passage
of


New
Deal
legislation,
supporting
President
Franklin
D.


Roosevelt
on
almost
every


issue.
The
senator
coauthored


the
1936
Robinson-Patman


Act,
designed
to
protect
small


retailers
from
competition
by


large
chain
stores,
and
led
the


fight
for
Roosevelt’s
controver!

sial
“court-packing”
plan
to


reorganize
the
Supreme
Court


and
make
it
more
amenable


to
New
Deal
legislation.
Any


chance
for
the
proposal’s


passage,
however,
failed


with
Robinson’s
death
while


in
office
in
1937.
His
funeral


service
took
place
in
the


Senate
Chamber.
 Artist Nicholas Brewer shown with his portrait of Vice President John Nance Garner. 

(Reprinted from The Washington Post, May 7, 1935) 

artist.
 Brewer
 was
 a
 strong


advocate
for
the
creation
of


a
 national
 art
 museum
 to


encourage
American
painters.


However,
he
consistently
criticized
 abstract
 portrait
 art,


explaining
that
a
portrait
must


be
“an
actual
transcript
of
a


man’s
face”
in
order
to
reflect


his
true
character.2
 Brewer
is


also
known
for
his
portraits
of


Presidents
 Ulysses
 S.
 Grant


and
 Franklin
 D.
 Roosevelt,


Supreme
Court
Justice
George


Sutherland,
and
Vice
President


John
Nance
Garner.


316 United States Senate 
Joseph T. Robinson 

Nicholas Richard Brewer (1857–1949) 

Oil
on
canvas,
1934


43
5

⁄8
 x
31
1⁄2
 inches
(110.8
x
80
cm)


Signed
and
dated
(lower
left
corner):
N.
R.
BREWER
1934


Gift
of
Ewilda
Grady
Miller
Robinson
(widow
of
Joseph
T.
Robinson)
and
friends
of
Senator
Robinson,
1937


Accepted
by
the
Joint
Committee
on
the
Library,
1937


Cat.
no.
32.00011


Catalogue of Fine Art 317 
Nelson
Aldrich
Rockefeller


(1908–1979) 

Born
in
Bar
Harbor,
Maine,
Nelson
 The
U.S.
Senate
commissioned
a
bust
of
Nelson
Rockefeller


Aldrich
Rockefeller
was
the
grandson
of
 in
 1983
 as
 part
 of
 its
 ongoing
 Vice
 Presidential
 Bust
 John
D.
Rockefeller,
Sr.,
the
founder
of


Standard
Oil,
and
of
Nelson
Aldrich,
a
 Collection.
Traditionally,
the
subject’s
family
is
permitted


U.S.
senator
from
1881
to
1911.
Before
 to
select
the
sculptor,
and
the
Senate
funds
the
work.
For


entering
government
service,
Rockefeller
 this
bust
the
Rockefeller
family
requested
that
artist
John worked
in
his
family’s
oil,
real
estate,
and


banking
businesses.
During
World
War
II,
 Calabró
be
given
the
commission,
and
the
family
donated
funds
beyond


Franklin
Roosevelt
appointed
him
coordi- the
amount
earmarked
by
the
Senate
to
defray
the
additional
costs
of


nator
of
inter-American
affairs
for
the
 executing
the
sculpture.
Although
Architect
of
the
Capitol
George
White State
Department
and
then
assistant
sec


retary
of
state
for
Latin
American
affairs.
 agreed
to
proceed
with
the
recommendation,
he
was
disappointed
with


Later,
Rockefeller
was
undersecretary
of
 the
work
as
it
progressed.
Regarding
the
plaster
model
by
Calabró,
he


health,
education,
and
welfare
during
the
 noted:
“Even
though
it
was
a
reasonable
likeness,
there
was
in
my
judg­ Eisenhower
administration.
In
1958
he


won
election
as
governor
of
New
York,
 ment
a
definite
lack
of
personality
in
the
piece.”1
 Before
the
sculptor


a
post
he
held
for
14
years.
 could
complete
the
work
to
his
own
or
White’s
satisfaction,
however,
 Following
several
unsuccessful
bids
for
 his
health
failed.
Vincent
Palumbo,
master
stone
carver
for
the
National the
Republican
presidential
nomination,


Rockefeller
was
nominated
in
1974
by
 Cathedral
in
Washington,
D.C.,
was
asked
to
finish
the
Rockefeller
bust,


President
Gerald
R.
Ford
to
fill
the
vacancy
 which
he
carved
in
marble
from
Calabró’s
plaster
model.
The
piece
was


in
the
vice
presidency
that
occurred
when
 unveiled
at
the
Capitol
on
June
1,
1987,
with
both
Calabró
and
Palumbo
 Richard
Nixon
resigned
the
presidency
and
 in
attendance.
 Ford
succeeded
him.
Congress
confirmed!

Rockefeller
as
the
41st
vice
president
of
the
 John
Calabró
studied
at
Cooper
Union
in
New
York
and
at
the


United
States
under
the
provisions
of
the
 Academy
of
Fine
Arts
in
Milan,
Italy,
under
Gaetano
Cerere.
During
 25th
Amendment.
He
held
the
office
until!

January
1977
and
then
 the
 course
 of
 Calabró’s
 long


retired
to
philanthropic
and
 career,
 he
 exhibited
 plaques,


artistic
activities.
With
a
 busts,
 and
 statues
 throughout
 lifelong
interest
in
art,
Rock- the
 United
 States.
 His
 notable
 efeller
served
variously
as!

trustee,
treasurer,
president,
 works
include
busts
of
George


and
chairman
of
the
board
 Washington,
 Albert
 Einstein,
 of
the
Museum
of
Modern!

Art
in
New
York
City,
and
 Dwight
 Eisenhower,
 Samuel


he
was
founder
and
presi- Clemens,
and
Abraham
Lincoln.


dent
of
the
Museum
of!

Primitive
Art,
now
part
of!

the
Metropolitan
Museum!

of
Art.
He
died
in
New!

York
City
in
1979.!

The marble bust of the 41st vice president is 

unveiled in 1987 by his widow, Margaretta 

“Happy” Rockefeller, and his nephew, Senator 

Jay Rockefeller of West Virginia. 

(Architect of the Capitol) 

318 United States Senate 
Nelson A. Rockefeller 

John Calabró (1908–1994) 

Marble,
modeled
1984,
carved
1987


23
1

⁄4
 x
20
1⁄2
 x
12
inches
(59.1
x
52.1
x
30.5
cm)


Signed
(on
right
side
of
base):
JOHN
CALABRO,
SC.



Carver’s
mark
(on
right
side
of
base):
V.
PALUMBO,
ST.C.


Commissioned
by
the
Senate
Committee
on
Rules
and
Administration,
1983


Accepted
by
the
Senate
Committee
on
Rules
and
Administration,
1987


Cat.
no.
22.00040


Catalogue of Fine Art 319 
Theodore
Roosevelt


(1858–1919) 

Theodore
Roosevelt,
25th
vice
president
 Having
succeeded
to
the
presidency
after
the
assassina­


and
26th
president
of
the
United
States,
 tion
 of
 William
 McKinley,
 Theodore
 Roosevelt
 was
 was
born
in
New
York
City.
He
was
elected


as
a
Republican
to
the
New
York
state
legis- elected
president
in
his
own
right
in
1904.
Early
in
his


lature
in
1881
and
built
a
reputation
as
an
 second
 presidential
 term,
 he
 was
 asked
 to
 select
 a


opponent
of
party
machine
corruption.
In
 sculptor
for
his
bust
for
the
Senate’s
Vice
Presidential
 1889
President
Benjamin
Harrison
ap!

pointed
Roosevelt
to
the
U.S.
Civil
Service
 Bust
Collection.
“If
St.
Gaudens
would
do
it
I
should
be
glad
to
have


Commission,
a
position
he
held
until
1895,
 him,”
wrote
the
president.
The
famous
sculptor’s
fee
of
$5,000,
however,
 when
he
became
head
of
the
New
York
 was
far
too
high
for
the
government
commission.
Though
Saint­Gaudens City
police
board.
In
1897
President


William
McKinley
chose
Roosevelt
as
assis- had
already
carved
two
busts
for
the
U.S.
Capitol
many
years
before


tant
secretary
of
the
United
States
Navy,
 (Chester
A.
Arthur
[p.
18],
and
Roger
B.
Taney
[p.
356]),
he
did
not
now


where
the
spirited
politician
oversaw
 need
the
work
or
the
Senate’s
low
standard
fee
of
$800.
 America’s
preparations
for
war
with
Spain.
 In
a
1905
letter
to
President
Roosevelt,
Saint­Gaudens
recommended At
the
outbreak
of
the
SpanishAmerican
War,
Roosevelt
resigned
his
 his
former
studio
assistant,
James
Earle
Fraser,
as
a
worthy
substitute,
noting


post.
With
his
friend
Leonard
Wood,
he
 that
his
work
was
“equal
to
the
best
things
of
the
Renaissance.”
Senator formed
the
1st
U.S.
Volunteer
Cavalry,


known
as
the
“Rough
Riders.”
Roosevelt
 George
Peabody
Wetmore,
chairman
of
the
Joint
Committee
on
the
Library,


became
a
national
hero
with
his
exploits
 offered
Fraser
the
commission
in
1906,
and
the
sculptor
accepted.


in
Cuba,
including
the
famed
charge
up
 Fraser
had
learned
much
from
his
master’s
great
achievements
in Kettle
Hill
during
the
battle
for
San
Juan


Hill.
The
state
of
New
York
subsequently
 portraiture,
and
this
training,
combined
with
a
lifelong
passion
for
the


elected
him
governor
in
1898,
and
two
 heroism
and
pathos
of
the
American
frontier,
prepared
him
perfectly


years
later
the
nation
elected
him
vice
 for
the
Roosevelt
commission.
The
bust
became
his
most
famous
portrait, president
for
McKinley’s
second
term.
 even
though
for
the
final
marble
he
was
obliged
to
execute
the
less Roosevelt
assumed
the
presidency


following
McKinley’s
assassination
in
 animated
of
his
two
life
studies.
He
had
worked
to
capture
the
charSeptember
1901.
 acteristically
aggressive
stance
of
the
president,
but
Roosevelt
is
reported A
forceful
and
dynamic
president,


Roosevelt
waged
a
powerful
antitrust
cam- to
have
said
that
he
wished
to
“go
down
in
posterity
as
a
man
of
repose.” 1


paign
to
reform
monopolizing
business
 Whether
for
that
reason,
or
because
the
more
animated
bust
might
have


practices
and
financial
trusts.
Reelected
in
 seemed
out
of
place
among
the
generally
placid
troop
of
marble
vice 1904,
he
advocated
passage
of
the
Pure


Food
and
Drug
Act,
promoted
legislation
 presidents,
the
more
formal
pose
was
executed.
The
approved
marble


to
revitalize
the
Interstate
Commerce
 bust
was
delivered
to
the
Capitol
in
1910;
it
stood
briefly
in
the
Senate


Commission,
and
sought
railroad
regula- Chamber
and
then
was
placed
in
the
main
corridor
of
the
Senate
wing tion.
Roosevelt’s
support
of
a
revolution
in
 in
conjunction
with
a
chronological
rearrangement. Panama
led
to
construction
of
a
canal


through
the
isthmus,
connecting
the
Atlantic
 Fraser’s
bust
of
Roosevelt
is
genial,
if
somewhat
introspective.
The


and
Pacific
Oceans
and
benefiting
Amer- massive
head
and
bull
neck
are
faithfully
reproduced
but
not
pugnacious. ican
commerce.


Roosevelt
himself
was
perhaps
most
 Although
 the
 inclusion
 of
 eyeglasses
 in
 sculpture
 is
 a
 problematic


satisfied
with
his
accomplishments
in
the
 decision—they
can
date
the
work
and
they
present
illusionistic
difficul­


conservation
arena.
During
his
administra- ties—the
viewer
may
miss
TR’s
familiar
spectacles.
In
his
unpublished
 tions,
millions
of
acres
of
public
lands


were
converted
into
national
forests,
funds
 autobiography,
Fraser
explains
the
decision:
During
the
first
sitting
in
the


were
channeled
into
irrigation
projects,
 East
Room
of
the
White
House,
he
recalls,
the
president
“told
me
exactly


and
public
attention
was
focused
on
the


country’s
natural
resources.


320 United
States
Senate

Theodore
Roosevelt


James Earle Fraser (1876–1953) 

Marble,
1910


36
x
31
1

⁄2
 x
17
inches
(91.4
x
80
x
43.2
cm)


Signed
(under
subject’s
truncated
left
arm):
FRASER


Commissioned
by
the
Joint
Committee
on
the
Library,
1906


Accepted
by
the
Joint
Committee
on
the
Library,
1910


Cat.
no.
22.00025


Catalogue
of
Fine
Art
 321 
Theodore
Roosevelt —continued


In
1906
Roosevelt
was
awarded
the
 how
he
wanted
to
have
it
done.
He
was
not
to
wear
glasses.” 2
Yet,
without


Nobel
Peace
Prize
for
his
role
in
ending
 glasses,
Roosevelt’s
eyes
seem
small
in
the
massive
head. the
Russo-Japanese
War.
By
the
end
of
his
 That
said,
this
is
a
bust
that—rather
remarkably—suggests
a
full­ second
term,
Roosevelt
had
moved
to
the


left
politically.
The
Republicans
were
 length
figure.
There
is
an
indication
of
a
striding
pose
in
that
the
cropped


deeply
divided
between
the
Progressives,
 sleeves
are
not
parallel:
Roosevelt’s
right
arm
advances
slightly,
while Roosevelt
among
them,
and
the
Old
Guard.


Keeping
a
1904
campaign
promise
that
he
 the
left
markedly
recedes.
This
suggestion
of
torsion
is
reinforced
by
the


would
not
seek
reelection
in
1908,
he
 right
coat
lapel,
which
is
pushed
into
a
roll
by
the
advancing
arm.
The


threw
his
weight
behind
William
Howard
 bust
is
mostly
presented
frontally,
and
the
relative
symmetry
is
stressed Taft
as
his
successor.
After
Taft’s
election,


Roosevelt,
an
avid
hunter,
journeyed
to
 by
the
double­breasted
vest
and
the
heavy,
drooping
moustache.
There


Africa,
where
he
collected
big
game
speci- is
a
suppression
of
detail
in
the
costume
(the
tie,
for
instance,
is
a
faint


mens
for
the
Smithsonian
Institution
in
 shallow
 outline).
 Likewise,
 Roosevelt’s
 hair
 lacks
 detail,
 which
 only Washington,
D.C.,
and
for
New
York
City’s
 enhances
the
bold
effect
of
the
over­life­size
torso
and
head.
Finally,
it American
Museum
of
Natural
History.


In
1912
the
former
president
returned
 may
be
that
Fraser’s
most
interesting
and
expressive
artistic
statement


to
politics,
contending
with
his
now
conser- was
his
decision
not
to
polish
the
marble.
The
rough
finish
seems
fitting
 vatively
aligned
successor,
Taft,
for
the


Republican
presidential
nomination.
When
 for
the
one­time
Rough
Rider.


he
failed,
he
founded
his
own
short-lived
 Fraser,
who
taught
at
New
York’s
Art
Students
League
during
the


Progressive—or
“Bull
Moose”—Party
and
 period
in
which
he
sculpted
Roosevelt
for
the
Senate,
made
a
specialty
 finished
second
to
Woodrow
Wilson
in
the


three-way
election.
In
retirement,
Roosevelt
 of
the
subject.
Examples
include
a
bronze
bust
of
the
Rough
Rider
in


was
a
ceaseless
critic
of
President
Wilson.
 the
collections
of
the
White
House
and
the
Forest
Lawn
Museum
in


He
wrote
on
politics
and
travel,
and
even
 California,
an
adventuring­equestrian
Roosevelt
fronting
the
Museum
 offered
to
lead
a
volunteer
division
of


infantry
and
cavalry
after
the
United
States
 of
Natural
History
in
New
York
City,
and
a
miniature
bronze
portrait


declared
war
on
Germany
in
1917.
This
 issued
in
an
edition
of
12.
He
even
took
Roosevelt’s
death
mask.
Orig­


offer
was
rejected,
but
Roosevelt
continued
 inally
a
westerner,
Fraser
was
perhaps
best
known
in
the
popular
mind
 his
lively
interest
in
Republican
politics.
His


health
began
to
suffer
in
1918,
the
decline
 for
 his
 mounted
 Native


spurred
by
the
loss
of
his
youngest
son
 American
figure,
End
of
the


Quentin,
whose
plane
was
shot
down
 Trail,
 and
 for
 designing
 behind
enemy
lines.
Although
Roosevelt


entertained
hopes
of
a
run
for
the
presi- the
 “Buffalo”
 nickel.
 His


dency
in
1920,
he
died
in
his
sleep
at
 bust
of
John
Nance
Garner



Sagamore
Hill,
his
home
near
Oyster
 (p.
170)
is
in
the
Senate’s
 Bay,
New
York,
in
1919.
 Vice
 Presidential
 Bust


Collection,
and
three
relief


sculptures
by
his
wife,
Laura


Gardin
Fraser,
are
located
in


the
House
Chamber
of
the


The final selection for the marble bust of U.S.
Capitol. Theodore Roosevelt was the subject of 

Clifford Berryman’s cartoon on the front 

page of the Washington, D.C. Evening Star 

on July 7, 1909. 

(Courtesy D.C. Public Library) 

322 United
States
Senate

James Earle Fraser works on the first of two 

models for his bust of Theodore Roosevelt 

for the Senate’s Vice Presidential Bust 

Collection, 1904. 

(James Earle & Laura Gardin Fraser Collection, George Arents 

Research Library, Syracuse University) 

Catalogue
of
Fine
Art
 323 
Richard
Brevard
Russell,
Jr.


(1897–1971) 

Richard
Brevard
Russell,
Jr.,
one
of
the
 I

n
1972
the
oldest
of
the
Senate
office
buildings,
designed
by
the


leading
statesmen
and
senators
of
the
20th
 architectural
firm
of
Carrère
&
Hastings
and
completed
in
1909,
 century,
was
born
in
Winder,
Georgia.
Rus
!

sell
entered
the
United
States
Naval
Reserve
 was
officially
named
in
honor
of
Richard
Brevard
Russell,
Jr.
Twenty


and
later
practiced
law
with
his
father.
In
 years
later
the
Richard
B.
Russell
Foundation
in
Atlanta,
Georgia,


1920
he
was
elected
as
a
Democrat
to
the
 sought
Senate
approval
to
commission
and
place
a
seven­foot
 state
house
of
representatives,
where
he!

rose
quickly
to
become
its
Speaker.
At
the
 marble
statue
of
the
former
senator
in
the
rotunda
of
the
Russell
Senate


age
of
33,
he
was
elected
governor
of
 Office
Building.
In
seeking
this
approval,
Senator
Sam
Nunn
of
Georgia


Georgia,
and
in
1932
he
successfully
ran
 wrote,
“It
would
be
a
fitting
tribute
to
one
of
the
great
personalities
in
 for
the
U.S.
Senate.
For
38
years
Russell!

served
in
the
Senate,
where
he
developed
 U.S.
Senate
history.”



a
reputation
for
intelligence,
independence,
 Artist
Frederick
Hart
of
Hume,
Virginia,
was
selected
to
memori­


and
loyalty.
 alize
Russell.
The
sculptor
worked
from
photographs
of
the
late
senator
 Russell
first
gained
national
prominence
 supplied
by
his
family
and
the
Russell
Foundation.
In
sculpting
the
work, when
the
Senate
chose
him
to
preside
over


hearings
on
President
Harry
S.
Truman’s
 Hart
tried
to
reflect
the
strong


dismissal
of
General
Douglas
MacArthur
 personality
of
Senator
Russell.
 during
the
Korean
War.
Russell’s
even-!

handed
management
of
the
hearings
helped
 The
 artist
 stated,
 “Richard


diffuse
a
national
crisis.
During
his
Senate
 Brevard
Russell,
Jr.
exempli­


years,
Russell
held
key
committee
posts,
 fied
a
tradition
in
American


influencing
major
policy
decisions
for
the
 politics,
 particularly
 in
 the
 nation.
He
was
on
the
Appropriations!

Committee
during
his
first
term
and
later
 South,
of
the
classical
model


served
on
the
Armed
Services
Committee,
 of
 gentleman
 and
 public
 of
which
he
was
chairman
for
16
years.
 servant.”
Hart
added,
“In
the
 Russell
became
the
Senate’s
leading!

authority
on
military
matters,
advocating
 same
 spirit,
 the
 statue
 of


a
strong
national
defense.
He
also
focused
 Richard
 B.
 Russell,
 Jr.
 is
 on
national
issues,
such
as
school
lunch!

programs
and
farm
assistance.
He
was,
 meant
 to
 convey
 both
 his


however,
at
odds
with
mainstream
America
 personable
 and
 gracious


on
the
issue
of
civil
rights;
Russell
actively
 courtliness
as
well
as
evoke


defended
the
Southern
position
on
segrega- the
dignified
aura
of
a
dis­
 tion
and
argued
that
states’
rights
should!

prevail
in
the
matter
of
race
relations.
 tinguished
 public
 servant.”1


A
master
parliamentarian
who
was
 Vincent
 Palumbo,
 master well
versed
in
Senate
rules
and
practices,


Russell
preferred
to
work
behind
the
scenes
 stone
carver
at
the
National
 Frederick Hart works on the full-size clay model of 

the Richard Russell statue at his studio in Hume,

to
influence
legislation.
In
1963
a
reporter
 Cathedral
 in
 Washington,
 Virginia, 1995. 

for
Newsweek magazine
described
him
 D.C.,
translated
Hart’s
model
 (©
1996
Chesley)


as:
“Modest,
even
shy,
in
manner,
devas
!

tatingly
skilled
in
debate,
he
has
a
brilliant
 into
Carrara
marble.
The
piece


mind,
encyclopedic
learning,
unrivaled
 was
unveiled
at
ceremonies
held
in
the
Russell
Rotunda
on
January
24,


access
to
pressure
points
of
senatorial
 1996,
with
speeches
by
Vice
President
Al
Gore,
Governor
Zell
Miller
of
 power
and
a
gift
for
using
them.
He
is
a!

senator’s
senator,
the
head
of
the
Senate
 Georgia,
and
Senators
Robert
C.
Byrd
of
West
Virginia,
Ted
Stevens
of


establishment,
the
most
influential
member
 Alaska,
and
Sam
Nunn.


of
the
United
States
Senate.”1


324 United States Senate 
Richard B. Russell Memorial Statue 

Frederick E. Hart (1943–1999) 

Marble,
1995


84
x
35
3

⁄4
 x
19
1⁄4
 inches
(213.4
x
90.8
x
48.9
cm)


Signed
(on
side
of
base
below
subject’s
left
foot):
FREDERICK
E.
HART
SC


Carver’s
mark
(on
back
of
base
below
subject’s
left
foot):
VP
PALUMBO
CA


Gift
of
the
Richard
B.
Russell
Foundation,
Inc.,
1996


Accepted
by
the
U.S.
Senate
Commission
on
Art,
1996


Cat.
no.
21.00021


Catalogue of Fine Art 325 
Richard
Brevard
Russell,
Jr.—continued 

When
Lyndon
Johnson
was
majority
 Frederick
Hart
is
known
for
his
monumental
public
commissions


leader,
he
observed
that
in
a
Senate
com- and
his
graceful,
figurative
sculptures.
Born
in
Atlanta,
the
artist
studied posed
of
“whales”
and
“minnows,”
Russell
 at
the
University
of
South
Carolina,
and
the
Corcoran
School
of
Art
and was
“the
principal
whale.”2
 During
his!

career,
Russell
advised
six
presidents,
 American
University
in
Washington,
D.C.
Hart
began
to
learn
the
skill


especially
on
issues
of
national
security.
 of
stonecutting
in
1967
at
the
National
Cathedral.
By
1974
he
had
won
 His
health
began
to
decline
in
the
mid- an
international
competition
to
create
a
series
of
sculptures
for
the
main
 1960s,
though
he
remained
in
the
!

Senate
until
his
death
in
1971.
 entrance
of
the
cathedral.
The
works,
three
life­size
statues
and
three


relief
panels,
later
came
to
be
known
as
the
Creation Sculptures.
In
1984


Hart’s
bronze
figurative
sculpture
entitled
Three Soldiers was
dedicated


as
part
of
the
Vietnam
Veterans
Memorial
in
Washington,
D.C.
Other


notable
works
by
the
artist
include
The Cross of the Millennium,
a
clear


acrylic
resin
sculpture
simultaneously
representing
the
birth,
death,
and


resurrection
of
Christ;
the
James Earl Carter Presidential Statue,
a
larger­


than­life
bronze
on
the
grounds
of
the
Georgia
State
Capitol
in
Atlanta;


the
Fauquier
County
Veterans
Memorial
in
Virginia;
and
a
bronze
portrait


bust
of
James
Webb
at
the
Smithsonian
Institution’s
National
Air
and


Space
Museum
in
Washington,
D.C.
The
artist
is
further
represented
in


the
 Senate
 by
 a
 bronze
 bust
 of


Senator
Strom
Thurmond
of
South


Carolina
(p.
366).
Although
Hart


was
 awarded
 a
 third
 Senate


commission
for
a
marble
bust
of


former
Vice
President
Dan
Quayle


(p.
312),
he
died
in
1999
before


he
could
complete
the
sculpture.


Right: 

The rotunda of the Russell Senate Office 

Building provides a majestic setting for 

the Richard B. Russell Memorial Statue. 

(2000
photograph)


The Armed Forces Color Guard at the 

unveiling ceremony for the Richard B. 

Russell Memorial Statue, 1996. 

(U.S.
Senate
Photographic
Studio)


326 United States Senate 

John
Rutledge


(1739–1800) 

John
Rutledge,
a
leading
South
Carolina
 I

n
1856
Senator
Andrew
P.
Butler
of
South
Carolina
introduced


statesman,
briefly
served
as
second
chief
 a
resolution
instructing
the
Joint
Committee
on
the
Library
to justice
of
the
Supreme
Court
of
the
United


States.
Born
in
Charleston,
he
studied
law
 “inquire
into
the
propriety
of
procuring
a
bust
in
marble
of
the


in
London
and
later
set
up
a
practice
in
 late
Chief
Justice
John
Rutledge,
to
be
executed
by
an
American


his
native
city.
A
delegate
to
the
first
 artist
of
merit
and
reputation,
and
to
be
placed
in
the
room
of Continental
Congress
in
1774,
Rutledge
 the
Supreme
Court
of
the
United
States,
in
a
position
corresponding
with favored
limited
self-government
without


independence
from
England.
Reelected
to
 those
of
the
busts
of
Chief
Justices
Jay,
Ellsworth,
and
Marshall.” 1
Butler


the
second
Continental
Congress
a
year
 argued
that
although
Rutledge’s
appointment
had
not
been
confirmed
 later,
he
began
shifting
his
position
toward
 by
the
Senate,
Rutledge
had,
in
fact,
served
as
chief
justice
of
the
United independence.
He
was
a
member
of
the


South
Carolina
Council
of
Safety
and
 States.
After
favorable
review
by
the
committee,
the
Senate
the
same


assisted
in
drafting
the
state
constitution.
 year
passed
a
bill
providing
for
acquisition
of
a
bust
of
Rutledge
and At
the
start
of
the
Revolutionary
War,


Rutledge
was
elected
president
and
later
 appropriating
$800,
a
considerable
sum,
for
the
work.
To
execute
the


governor
of
South
Carolina.
Now
fully
 bust
of
the
second
chief
justice,
the
Joint
Committee
on
the
Library


supporting
independence,
he
also
encour- selected
the
young
Virginia
sculptor
Alexander
Galt. aged
partisans,
such
as
General
Francis


Marion,
in
guerrilla
resistance.
In
1782
 A
native
of
Norfolk,
Galt
was
a
self­taught
carver
of
cameos
and


and
1783
Rutledge
served
as
a
member
 a
portrait
painter.
He
sailed
to
Italy
in
1848
and
in
Florence
received


of
Congress
under
the
Articles
of
Confed- instruction
from
the
American
sculptors
already
active
there.
He
modeled eration;
in
1784
he
was
elected
to
the


South
Carolina
Chancery
Court.
During
 some
ideal
figures,
such
as
Bacchante,
now
in
the
Corcoran
Gallery
of


the
Constitutional
Convention,
Rutledge
 Art
in
Washington,
D.C.;
Sappho, an
ancient
poetess;
and
Virginia,
an


supported
wealth
as
a
prerequisite
for
 allegorical
image,
in
honor
of
his
birthplace.
Returning
to
America
in political
representation,
favored
assump- early
1854,
he
quickly
became
popular
among
the
Southern
gentility
as tion
of
state
debts,
and
advocated
elec


tion
of
the
president
by
Congress.
 a
portrait
painter,
but
his
principal
commission,
from
the
Virginia
state


Rutledge
served
briefly
as
one
of
the
 legislature
in
February
1854,
was
a
full­length
statue
of
Thomas
Jefferson.
 first
associate
justices
on
the
Supreme


Court
of
the
United
States,
but
resigned
to
 Soon
housed
in
Jefferson’s
rotunda
at
the
University
of
Virginia,
where


become
chief
justice
of
South
Carolina.
 it
has
remained,
it
is
certainly
the
best
known,
if
not
the
best,
of
Galt’s


President
George
Washington
named
him
 extant
works.
However,
the
latter
distinction
may
belong
to
Galt’s
bust
 chief
justice
of
the
United
States
in
1795!

upon
the
resignation
of
John
Jay.
Rutledge
 of
John
Rutledge.



presided
for
four
months
as
a
recess
 Depending
upon
unspecified
paintings
to
model
a
likeness
of
the


appointee.
During
his
brief
tenure,
Jay’s
 long­deceased
Rutledge,
Galt
succeeded
in
producing
a
dignified
and
 1794
treaty
was
published,
favoring!

Britain
and
discriminating
against
the
 sympathetic
portrait.
The
facial
expression
is
reserved
but
genial,
real­


Southern
states
and
France.
Rutledge’s
 istic,
and
accessible,
despite
the
neoclassical
blank
eyes.
The
figure
is


bitter
attacks
on
Jay’s
Treaty
caused
the
 endowed
with
an
appropriate
formality
by
a
straightforward
disposition
 Senate
to
reject
his
nomination.
He
died
 of
masses:
the
broad,
weighty
coat
and
robe,
the
sharp
clarity
of
the
 in
Charleston
in
1800.!

ruffled
shirt,
and
the
doughy
density
of
the
swept­back
hair
(where
the


original
modeling
in
clay
is
clearly
felt).


The
plaster
cast
of
this
clay
model,
along
with
his
cast
of
Jefferson,


accompanied
Galt
on
his
second
voyage
to
Italy.
Back
in
Florence,
he


328 United States Senate 
John Rutledge 

Alexander Galt (1827–1863) 

Marble,
1858


31
3

⁄4
 x
26
1⁄8
 x
15
5⁄8
 inches
(80.6
x
66.4
x
39.7
cm)


Signed
and
dated
(centered
on
subject’s
back):
A.GALT.
/
1858.


Commissioned
by
the
Joint
Committee
on
the
Library,
1857


Accepted
by
the
Joint
Committee
on
the
Library,
1858


Cat.
no.
21.00016


Catalogue of Fine Art 329 
John
Rutledge—continued 

The Supreme Court Chamber in the Capitol, 

ca. 1934, with the bust of Chief Justice 

Rutledge seen on the far right. 

(Architect of the Capitol) 

translated
his
models
into
marble.
In
April
1858
Galt
wrote
from
Italy


that
the
completed
bust
had
been
shipped
to
Washington.


Galt
returned
to
America
in
1860,
established
a
studio
in
Richmond,


Virginia,
and
continued
his
career
during
the
Civil
War
by
producing


portraits
of
Southern
notables,
including
the
president
of
the
Confederacy,
 Jefferson
 Davis.
 His
 brief,
 promising
 career
 ended
 when
 he


contracted
smallpox
in
the
camp
of
Stonewall
Jackson
where
he
was


preparing
studies
for
a
portrait
of
the
general.
He
died
early
in
1863.


His
legacy
was
further
diminished
the
same
year
by
the
destruction
of


much
of
his
work
in
a
warehouse
fire.


330 United States Senate 
Galt’s
bust
of
Rutledge,
however,
remains
a
testament
to
the
artist’s


skill.
In
1858,
more
than
60
years
after
Rutledge’s
brief
term
of
service,


the
bust
of
the
second
chief
justice
joined
those
of
others
with
that
title


in
the
U.S.
Capitol’s
Supreme
Court
Chamber.
The
Supreme
Court
of


the
United
States—which
moved
from
the
Capitol
to
a
building
of
its


own
in
1935—replicated
the
Rutledge
bust
for
its
collection
in
1976.


Catalogue of Fine Art 331 
Morris
Sheppard


(1875–1941) 

Born
in
Wheatville,
Texas,
Morris
Sheppard


was
elected
as
a
Democrat
to
the
U.S.


House
of
Representatives
in
1902,
suc


ceeding
his
father.
In
1913
he
resigned
his


seat
following
his
election
by
the
Texas
leg


islature
to
the
U.S.
Senate
to
fill
a
vacancy;


he
was
subsequently
reelected
four
times.


At
the
time
of
his
death
in
1941,
Sheppard


was
senior
in
overall
service
among
all


members
of
Congress.


During
his
years
in
the
Senate,


Sheppard
was
chairman
of
the
Senate


Military
Affairs
Committee,
and
he
acted


as
Democratic
whip
between
1929
and


1933.
He
led
the
fight
for
adoption
of
the


prohibition
amendment
to
the
Constitution


and
strongly
supported
women’s
suffrage.


As
a
progressive
Democrat,
Sheppard


advocated
reform
legislation
promoting


rural
credit
programs,
child
labor
laws,


and
antitrust
laws.
Also
among
his
list
of


accomplishments
was
the
Sheppard-Towner


Act,
which
provided
for
maternity
and


infant
welfare,
the
Federal
Credit
Union


Act,
the
Selective
Service
Act,
and
the


Lend-Lease
Act.
Standing
only
five
feet,


four
inches
tall,
he
was
a
quiet
man
who


was
most
effective
behind
the
scenes


rather
than
in
active
debate.
Sheppard


was
a
dedicated
student
of
English
litera


ture
who
compiled
an
unpublished
35-

volume
work
entitled
Selected Comments 

of Shakespeare on Over 4,000 Subjects. 

Boris
 Gordon
 executed
 this
 portrait
 of
 Morris
 Sheppard


in
1941,
shortly
after
the
senator’s
death.
A
gift
to
the
Senate


from
Sheppard’s
family,
it
was
accepted
and
unveiled
later


that
year.
The
painting
is
based
on
Gordon’s
1937
life
study


of
the
senator,
now
in
the
collection
of
the
Texas
State


Capitol
in
Austin.
Known
in
his
day
as
the
“painter
of
presidents,”
Boris


Gordon
was
born
in
Switzerland
and
pursued
his
art
studies
in
England,


Germany,
and
Italy.
He
immigrated
to
the
United
States
in
1907,
fought


as
a
U.S.
Marine
in
World
War
I,
and
settled
in
Washington,
D.C.,
where


he
painted
portraits
of
numerous
political
figures.
In
addition
to
the
portrait


of
Sheppard,
12
other
works
by
Gordon
hang
in
the
U.S.
Capitol;
another


37
paintings
are
found
in
the
collections
of
state
capitols.


Boris Gordon replicated this 1937 painting of 

Morris Sheppard for the United States Senate. 

(Courtesy of the State Preservation Board, Austin, Texas) 

332 United States Senate 
Morris Sheppard 

Boris Bernhard Gordon (l890–l976) 

Oil
on
canvas,
1941


41
1

⁄2
 x
33
1⁄2
 inches
(105.4
x
85.1
cm)


Signed
and
dated
(lower
right
corner):
Boris
B.
Gordon­1941.


Gift
of
the
family
of
Morris
Sheppard,
1941


Accepted
by
the
U.S.
Senate,
1941


Cat.
no.
32.00021


Catalogue of Fine Art 333 
James
Schoolcraft
Sherman


(1855–1912) 

James
Schoolcraft
Sherman,
27th
vice


president
of
the
United
States
and
a
U.S.


representative
from
New
York,
was
born


near
Utica.
After
receiving
a
law
degree,


he
practiced
in
Utica
and
then
became


mayor
of
the
city
in
1884.
He
was
elected


to
the
U.S.
House
of
Representatives
as
a


Republican
in
1886.
With
the
exception
of


a
single
term,
he
served
until
1909,
while


also
managing
a
family
canning
company


and
staying
active
in
the
business
affairs


of
his
home
state.
Popular
and
hardworking
in
Congress,
Sherman
was
known


as
“Sunny
Jim”
by
his
colleagues.
He


chaired
the
House
Committee
on
Indian


Affairs
for
14
years,
during
which
time
he


became
well
known
to
Native
Americans,


whose
causes
and
concerns
received
his


careful
attention.
House
Speakers
Tom


Reed,
David
Henderson,
and
Joseph


Cannon
depended
on
the
congressman’s


sharp
parliamentary
skills,
and
he
regu


larly
took
the
gavel
in
their
absence.


In
1908
Sherman
was
elected
vice


president
on
the
Republican
ticket
with


William
Howard
Taft.
During
the
inaugural


parade,
Carrie
Babcock
Sherman
rode
with


her
husband
to
and
from
the
ceremony
at


the
U.S.
Capitol,
the
first
vice
presidential


wife
to
do
so.
As
vice
president,
Sherman


supported
protective
tariffs
and
sided
with


conservatives
in
an
ongoing
battle
against


Progressives
for
control
of
the
Republican


Party.
He
was
renominated
in
1912
but


died
before
the
election,
in
which
President


Taft
lost
to
Woodrow
Wilson.


Bessie
Potter
Vonnoh
received
a
commission
for
the
bust


of
James
Sherman
in
1910
and
modeled
him
from
life
while


the
vice
president
was
still
in
office.
The
result
was
a
frontal


bust,
a
conception
that
is
both
simple
and
straightforward.


The
symmetry
of
the
high
lapel
coat
and
vest
is
broken


only
by
the
flap
of
the
coat’s
breast
pocket
and
the
slightly
deeper
undercutting
of
the
proper
right
lapel
and
coat
edge.
This
pose
emphasizes


the
full,
pudgy
face
but
also
reveals
Sherman’s
open,
genial
appearance,


suggesting
his
judicial
fairness
while
presiding
over
the
Senate.
(It
does


not
reveal
evidence
of
the
illness—Bright’s
disease—from
which
he
had


suffered
since
1904.)
His
wide
tie
sports
a
cross­shaped
decorative
stud


pinned
to
the
knot.


Sherman
always
wore
eyeglasses.
In
fact,
during
his
long
involvement
as
head
of
the
House
Committee
on
Indian
Affairs,
he
was
known


to
Native
American
leaders
as
Father
Wau­be­ka­chuck
(Four
Eyes).
Thus,


any
 recognizable
 image
 of
 him
 would
 have
 included
 spectacles—and


Vonnoh’s
model
did
so.
The
Washington, D.C. Evening Star noted
that
the


sculptor
“endeavored
to
present
his
face
as
it
is
usually
seen
by
visitors


to
the
Senate.”1
The
glasses
are
the
most
interesting
part
of
the
sculpture,


precisely
because
sculptors
generally
avoided
them.
(See
page
320
for
the


essay
on
James
Fraser’s
bust
of
Theodore
Roosevelt,
which
Vonnoh
must


have
seen
before
she
completed
the
model
of
her
bust
of
Sherman.)


Sherman’s
eyes
are
deeply
set:
the
upper
rims
of
his
perfectly
circular


spectacles
lie
beneath
his
eyebrows
and
press
into
them.
Vonnoh
carved


the
outside
top
of
the
eye
socket
and
the
spectacle
frames
in
a
solid
piece.


Only
the
marble
below
the
temple
is
pierced,
for
about
an
inch,
with
a


half­inch
opening
created
between
the
inside
corner
of
the
eye
and
the


frames.
The
thin
temple
pieces
of
the
frames
are
splayed
out
by
Sherman’s


broad
head,
merging
with
his
hair
before
they
reach
his
ears.
The
fusion


of
Sherman’s
glasses
and
his
face
is
subtle
and
effective,
organic
rather


than
additive.


A
very
white,
crystalline
marble
was
selected
for
the
bust,
but
as


work
began
on
it,
Vonnoh
discovered
an
imperfection
near
the
surface


of
the
stone
on
what
would
become
the
proper
right
cheek.
She
raised


her
concern
about
its
possible
effect
on
the
finished
piece
with
the
Joint


Committee
on
the
Library.
In
response,
Chairman
George
Peabody
Wetmore


consulted
architect
Thomas
Hastings
of
the
firm
of
Carrère
&
Hastings


(designers
of
the
recently
completed
Senate
Office
Building).
Hastings,


along
with
sculptor
James
Earle
Fraser,
examined
the
problem
area.
Both


334 United States Senate 
James S. Sherman 

Bessie Onahotema Potter Vonnoh (1872–1955) 

Marble,
modeled
1910,
carved
1911


33
x
25
3

⁄8
 x
17
1⁄2
 inches
(83.8
x
64.5
x
44.5
cm)


Unsigned


Commissioned
by
the
Joint
Committee
on
the
Library,
1910


Accepted
by
the
Joint
Committee
on
the
Library,
1911


Cat.
no.
22.00027


Catalogue of Fine Art 335 
James
Schoolcraft
Sherman —continued 

agreed
that
the
discoloration
on
one
cheek
of
the
bust
was
“microscopic”


and
of
little
concern.
As
the
carving
progressed,
however,
the
dark
blemish


became
more
apparent.
There
was
nothing
that
could
be
done
to
minimize


it,
and
the
portrait
was
completed
using
the
flawed
marble.
The
bust
was


delivered
to
the
U.S.
Capitol
in
December
of
1911
and
placed
on
exhibit


in
the
Senate
main
corridor
shortly
thereafter.


Vonnoh
was
a
St.
Louis
native
who
studied
in
Chicago


with
sculptor
Lorado
Taft
from
the
age
of
15.
She
later
assisted


Taft
in
works
he
created
for
the
World’s
Columbian
Exposition


and
received
a
separate
commission
for
an
eight­foot
figure,


Art,
for
the
Illinois
State
Building
at
the
fair.
At
the
age
of
22,


she
opened
her
own
studio
in
Chicago.
Greatly
influenced
by


the
small
bronzes
of
the
Russian
sculptor
Paul
Troubetzkoy,


which
she
first
saw
at
the
exposition,
Vonnoh
developed
her


own
themes
in
similar
statuettes,
especially
intimate
motherand­child
groups,
dancing
girls,
and
elegantly
lolling
ladies.


The
sculptor
herself
called
these
groups
“Potterines.”
Also
noted


for
her
portraiture,
in
1899
Vonnoh
created
a
commissioned


bust
of
Major
General
S.W.
Crawford
for
the
Smith
Memorial


in
Philadelphia’s
Fairmount
Park.


Vonnoh
won
numerous
medals
and
prizes
at
national


and
international
exhibitions.
She
exhibited
more
than
30


sculptures
at
the
Corcoran
Gallery
of
Art
in
Washington,
D.C.,


in
the
spring
of
1910
during
the
time
the
Sherman
bust
was


under
way.
She
and
her
husband,
the
notable
painter
Robert


Vonnoh,
lived
in
New
York
City
from
1901
and
showed
their


work
together
there
and
across
the
country
in
a
series
of
joint


traveling
exhibitions.
Vonnoh,
the
first
woman
sculptor
to


become
a
permanent
member
of
the
National
Academy
of


James Sherman, whose eyeglasses made him Design,
produced
works
that
today
are
found
in
the
collec­


immediately recognizable, was photographed tions
of
many
major
museums,
including
the
Metropolitan
Museum
of
 by the New York studio of Pach Brothers, 

ca. 1909–1912. Art
in
New
York
City,
the
Art
Institute
of
Chicago,
and
the
Carnegie


(Library of Congress, Prints and Photographs Division) Museum
of
Art
in
Pittsburgh.


336 United States Senate 
Bessie Potter Vonnoh was well known for 

her statuettes of women and children that 

she called “Potterines.” 

(Bessie Potter Vonnoh papers, Archives of American Art, 

Smithsonian Institution) 

Catalogue of Fine Art 337 
Margaret
Chase
Smith


(1897–1995) 

The
first
woman
to
win
election
to
both


houses
of
Congress,
Margaret
Chase
Smith


was
known
for
her
rugged
political
inde


pendence
and
the
red
rose
she
wore
daily.


Born
in
Skowhegan,
Maine,
in
1897,
she


attended
local
schools
and
worked
as
a


grade
school
teacher,
telephone
operator,


newspaper
circulation
manager,
and
busi


ness
manager
of
a
textile
mill.
In
1925
she


became
president
of
the
Maine
Federation


of
Business
and
Professional
Women’s


Clubs.
When
she
married
Clyde
H.
Smith


in
1930,
she
turned
her
attention
to
public


service
and
became
a
member
of
the


Republican
state
committee.
When
her


husband
was
elected
to
the
U.S.
House


of
Representatives
in
1936
as
a
Repub


lican,
she
became
his
secretary,
office


manager,
and
political
confidante.
After


Congressman
Smith
died
of
a
heart
attack


in
1940,
Margaret
Chase
Smith
won
a


special
election
to
succeed
him
and


remained
in
the
House
for
four
terms.


During
World
War
II,
she
introduced


legislation
to
give
women
permanent


status
in
the
military.


Smith
won
a
U.S.
Senate
seat
in
1948.


During
her
24-year
Senate
career,
she


became
an
expert
in
military
affairs
and


aeronautics
and
served
as
the
ranking


Republican
on
both
the
Armed
Services


Committee
and
the
Aeronautical
and
Space


Sciences
Committee.
One
NASA
director


commented
that
if
it
were
not
for
Margaret


Chase
Smith,
we
never
would
have
placed


a
man
on
the
Moon.


Smith
became
the
first
woman
elected


to
a
leadership
post
in
the
Senate:
chair
of


the
Senate
Republican
Conference.
She


also
set
a
record
for
casting
the
largest


number
of
consecutive
roll
call
votes—


2,941—which
ended
when
she
missed


a
vote
because
of
back
surgery.


Despite
these
many
achievements,


Smith’s
most
enduring
legacy
was
her


courageous
“Declaration
of
Conscience”


against
the
politics
of
“fear,
ignorance,


bigotry,
and
smear”
that
she
attributed
to


Wisconsin
Senator
Joseph
McCarthy.
“If
I


am
to
be
remembered
in
history,”
she
later


The
decision
to
include
a
portrait
of
Margaret
Chase
Smith


in
the
U.S.
Senate
Collection
was
a
result
of
the
efforts
of


Democratic
Leader
Tom
Daschle
of
South
Dakota,
Republican
Leader
Trent
Lott
of
Mississippi,
Senator
Christopher


Dodd
of
Connecticut,
and
Senator
Olympia
Snowe
of
Maine.


Each
of
these
senators
had
indicated
concern
over
the
limited
number


of
women
represented
in
the
Capitol’s
artwork.
Senator
Snowe
wrote


to
Senator
Lott
on
June
24,
1999,
that
she
could
think
of
no
better
way


to
remedy
this
“unfortunate
situation”
than
by
displaying
a
portrait
of


Smith:
“Senator
Margaret
Chase
Smith
served
our
nation
with
dignity


and
honor,
and
her
life
was
a
testimony
to
the
possibilities
that
exist


for
women
in
America.
What
she
proved
is
that
it
isn’t
necessarily
gender


which
makes
the
difference
in
public
service—it’s
dedication,
energy,


perseverance,
competence,
ability,
and
the
will
to
get
the
job
done.”


Lott
responded:
“The
United
States
Capitol
should
reflect
the
diverse


history
of
this
nation,
and
we
must
ensure
that
all
groups
who
have


played
a
significant
role
in
the
development
of
the
country
are
appropriately
honored.”


The
Senate
Commission
on
Art
subsequently
approved
the
commissioning
of
a
portrait
of
Margaret
Chase
Smith.
An
advisory
board
was


established,
composed
of
historians,
curators,
and
Smith’s
relatives,
to


review
artists’
submissions
and
provide
recommendations
to
the
commission.
Artist
Ronald
Frontin
of
Maine
was
selected
to
paint
Smith’s


portrait.
Frontin
received
the
commission
in
2000.
It
was
appropriate


that
a
native
paint
this
legendary
daughter
of
Maine,
who
herself
was


so
passionate
about
her
home
state
and
her
constituents.
Images
were


gathered
from
the
Margaret
Chase
Smith
Library
Center
at
the
Norwood


Institute
in
Skowhegan,
and
the
artist
interviewed
friends
and
colleagues


of
the
senator
to
gain
a
better
understanding
of
her
and
her
many
accomplishments.
Frontin,
particularly
aware
that
the
painting
would
hang


among
a
gallery
of
her
male
counterparts,
sought
to
portray
a
powerful


image
of
Smith.
She
is
depicted
at
the
height
of
her
Senate
career,
seen


with
her
signature
pearls
and
red
rose.


Frontin,
who
studied
at
the
Philadelphia
College
of
Art
and
later


apprenticed
with
artist
Nelson
Shanks,
paints
the
Maine
landscape.
He


often
shows
people
in
their
daily
activities,
and
he
has
become
increasingly
known
for
his
portraits
of
prominent
Maine
business
leaders,
judges,


and
politicians.


338 United States Senate 
Margaret Chase Smith 

Ronald Frontin (born 1962) 

Oil
on
canvas


Commissioned
by
the
U.S.
Senate
Commission
on
Art,
2000


Cat.
no.
32.00041


(work in progress, 2002) 

declared,
“it
will
not
be
because
of
legisla


tive
accomplishments
but
for
an
act
I
took


as
a
legislator
in
the
United
States
Senate


when
on
June
1,
1950
I
spoke
in
the
Senate


in
condemnation
of
McCarthyism.
.
.
.” 1


The
rose
that
Smith
wore
daily
in
her


lapel
was
emblematic
of
her
long
crusade


to
have
the
rose
declared
the
official


flower
of
the
United
States.
Her
efforts


were
initially
thwarted
by
Senate
Repub


lican
Leader
Everett
M.
Dirksen,
who
supported
the
marigold.
It
was
not
until
1987,


long
after
Senator
Smith’s
retirement,
that


Congress
finally
designated
the
rose
as
the


national
flower.


In
1964
Smith
declared
her
candidacy


for
the
presidency.
She
entered
several


Republican
primaries
and
became
the
first


woman
to
have
her
name
placed
in
nomi


nation
at
a
major
party
convention.
Smith


continued
in
the
Senate
until
1973
and


having
been
defeated
for
reelection,


retired
to
Skowhegan.
She
was
awarded


the
Presidential
Medal
of
Freedom
in
1989


and
died
in
1995
at
the
age
of
98.


Artist Ronald Frontin working in his Maine 

studio on the Senate’s portrait of Margaret 

Chase Smith, 2002. 

Catalogue of Fine Art 339 
The
Space
Shuttle
Challenger


(January 28, 1986) 

On
January
28,
1986,
the
space
shuttle


Challenger exploded
shortly
after
it
was


launched
at
Cape
Canaveral,
Florida.


Aboard
were
commander
Francis
R.


“Dick”
Scobee,
pilot
Michael
J.
Smith,


mission
specialists
Ellison
S.
Onizuka,


Judith
A.
Resnik,
and
Ronald
E.
McNair,


and
payload
specialists
Gregory
B.
Jarvis


and
Christa
McAuliffe.
All
seven
died
in


the
explosion.
The
shuttle
mission
was


scheduled
to
deploy
both
the
SpartanHalley comet
research
observatory
and


a
tracking
and
data
relay
satellite
to


provide
high-capacity
communications


and
data
links.


The
Challenger had
completed
nine


successful
missions
before
the
January


1986
launch.
McAuliffe,
a
school
teacher


from
Concord,
New
Hampshire,
was
the


first
private
citizen
to
fly
on
the
shuttle.
The


National
Aeronautics
and
Space
Adminis


tration
(NASA)
had
proposed
sending
a


civilian
into
space
to
build
broader
public


support
for
the
program,
and
when
Presi


dent
Ronald
Reagan
announced
that
he


wanted
a
teacher
for
the
mission,
more


than
eleven
thousand
applied.


Following
the
disaster,
the
president


appointed
a
special
commission
of
13


distinguished
engineers,
test
pilots,
and


scientists
to
investigate
the
accident.
The


commission
determined
that
the
cause
of


the
accident
“was
the
failure
of
the
pres


sure
seal
[O-ring]
in
the
aft
field
joint
of


the
right
Solid
Rocket
Motor.” 1
 The
com


mission’s
findings
went
further
than


determining
the
immediate
cause
of
the


disaster,
concluding
that
there
had
been


“a
serious
flaw
in
the
decision
making


process”
leading
to
the
Challenger’s 

launch.2
 The
presidential
commission
also


made
a
number
of
major
recommendations


to
NASA,
which
included
redesigning
the


solid
rocket
booster
and
changing
the


shuttle
program’s
management
structure.


To
honor
the
seven
crew
members
of
the
space
shuttle


Challenger, Republican
Leader
Robert
Dole
of
Kansas
and


Democratic
Leader
Robert
C.
Byrd
of
West
Virginia
proposed
that
a
commemorative
mural
be
placed
in
the
Senate


wing
of
the
U.S.
Capitol.
The
Senate
Commission
on
Art,


with
the
recommendation
of
a
five­member
advisory
panel
composed


of
museum
professionals
from
the
Smithsonian
Institution,
NASA,
and


the
U.S.
Capitol,
selected
Philadelphia
artist
Charles
Schmidt
for
the


commission.
Schmidt’s
completed
mural
was
placed
in
an
empty
oval


in
the
Brumidi
Corridors
on
the
first
floor
of
the
Capitol’s
Senate
wing,


and
unveiled
on
March
3,
1987.


The
Brumidi
Corridors,
a
series
of
ornate
muralled
hallways,
were


designed
by
Italian
artist
Constantino
Brumidi.
Inspired
by
Raphael’s


loggia
in
the
Vatican,
the
walls
and
ceilings
depict
American
themes


and
subjects
and
include
historical
scenes,
important
personages,
images


of
American
culture,
and
native
flora
and
fauna.
The
decorative
painting


of
the
corridors
began
in
late
1857,
but
the
project
was
never
completed;


a
number
of
ovals
and
diamonds
throughout
the
hallways
were
left
blank.


Some
of
these
empty
spaces
have
been
filled
by
20th­century
artists,


most
notably
Allyn
Cox,
who
completed
America’s First Moon Landing 

in
1974
(p.
16).
The Space Shuttle Challenger mural,
which
was
placed


directly
across
from
Cox’s
work,
depicts
the
seven
astronauts
in
space


suits,
grouped
in
front
of
the
space
shuttle,
poised
on
its
launch
pad.


Christa
McAuliffe,
the
New
Hampshire
school
teacher,
carries
a
globe


in
her
arms.


A
professor
of
painting
and
drawing
at
the
Tyler
School
of
Art
at


Temple
 University
 in
 Philadelphia,
 Schmidt
 has
 received
 numerous


painting
commissions
and
awards.
His
work
has
been
included
in
national


and
international
exhibitions,
and
he
is
represented
in
the
collections


of
the
Philadelphia
Museum
of
Art,
the
Fine
Arts
Museums
of
San
Francisco,
NASA,
and
the
Smithsonian
Institution’s
National
Air
and
Space


Museum
and
the
National
Gallery
of
Art
in
Washington,
D.C.


340 United States Senate 
The Space Shuttle Challenger 

Charles Schmidt (born 1939) 

Oil
on
canvas
applied
to
wall,
1987


50
x
36
inches
(oval)
(127
x
91.4
cm)


Signed
and
dated
(lower
right):
Charles
Schmidt
1987


Commissioned
by
the
U.S.
Senate
Commission
on
Art,
1986


Accepted
by
the
U.S.
Senate
Commission
on
Art,
1987


Cat.
no.
35.00002


Catalogue of Fine Art 341 
Spending
Uncle
Sam’s
Money


This
scene,
painted
in
the
late
1890s,
 This
 view
 of
 the
 Senate
 Chamber
 was
 painted
 by


depicts
the
U.S.
Senate
Chamber
as
it
 T.
Dart
Walker
in
the
late
1890s
after
observing
a
busy
con­ appeared
at
the
opening
of
a
session
of


Congress.
Senators
have
just
introduced
 gressional
work
day.
The
scene
was
then
engraved
for
the


the
various
bills
to
be
considered
during
 front
cover
of
the
December
23,
1899,
issue
of
 Leslie’s


the
session,
and
the
large
number
of
 Weekly
and
titled
Spending
Uncle
Sam’s
Money:
Senators
 papers
indicates
that
a
heavy
workload
 Introducing
the
Customary
Batch
of
Miscellaneous
Bills
at
the
Opening
 lies
before
them.
New
York
illustrator



T.
Dart
Walker
captured
the
scene
from
 of
the
Session
of
Congress.
Walker
was
born
in
Indiana,
studied
in
Paris,


the
press
gallery
located
on
the
north
side
 and
was
known
as
an
illustrator
and
marine
artist.
His
work
appeared
 of
the
Chamber.
Below
this
gallery,
but



not
illustrated,
is
the
rostrum
where
the
 in
popular
magazines
of
the
period,
such
as
Harper’s
Weekly,
the
Graphic,


presiding
officer
of
the
Senate
sits.
Until
 and
the
Illustrated
London
News,
and
included
scenes
of
political
life,


recent
years
the
vice
president
of
the
 national
events,
and
everyday
activities. United
States,
as
president
of
the
Senate,


presided
regularly
over
Senate
debates


from
this
vantage
point.


In
the
center
of
the
painting
three


Senate
staff
members
sit
in
front
of
the


presiding
officer’s
desk.
Most
likely
these


men
are,
from
left
to
right,
the
secretary


of
the
Senate,
the
legislative
clerk,
and


the
reading
clerk.
Immediately
in
front,


at
two
smaller
tables
below
the
rostrum,


sit
official
reporters
and
press
reporters.


Meanwhile,
in
the
background,
senators


talk
with
one
another
in
the
“well”
of


the
Chamber
or
at
their
desks,
which


are
arranged
in
a
semi-circle
with
Republicans
on
the
left
and
Democrats
on


the
right.


Two
Senate
pages
appear
in
the


scene:
One
is
seated
below
the
clerks’


desk,
and
another
crosses
the
Senate
floor.


The
position
of
Senate
page
was
first
cre!

ated
in
1829.
By
the
turn
of
the
century
the


Senate
employed
at
least
17
young
boys


as
pages.
Dressed
in
blue
knickers
and


jackets,
the
pages
spent
their
days
running


errands
for
the
senators,
announcing


impending
votes,
placing
papers
and
pens


on
the
senators’
desks,
and
delivering


messages
throughout
the
city.


The engraving Spending Uncle Sam’s 

Money by T. Dart Walker was published 

on the front cover of Leslie’s Weekly on 

December 23, 1899. 

342 United
States
Senate

Spending
Uncle
Sam’s
Money


T. Dart Walker (1869–1914) 

Watercolor
on
board,
ca.
1899


23
x
18
1

⁄2
 inches
(58.4
x
47
cm)


Signed
(lower
left
corner):
T.
DART.
/
WALKER
/
WASHINGTON


Purchased
by
the
U.S.
Senate
Commission
on
Art,
1999


Cat.
no.
34.00002


Catalogue
of
Fine
Art
 343 
Adlai
Ewing
Stevenson


(1835–1914) 

Patriarch
of
the
politically
distinguished
 A merican
sculptor
Franklin
Simmons
was
commissioned


Stevenson
family
of
Illinois,
Adlai
Ewing
 in
1893
to
create
a
bust
of
Adlai
Stevenson
for
the
Senate’s
 Stevenson
was
a
U.S.
representative
and


the
23rd
vice
president.
Born
in
Christian
 Vice
Presidential
Bust
Collection,
under
the
provisions


County,
Kentucky,
Stevenson
relocated
with
 of
a
Senate
resolution
of
May
13,
1886.
Simmons
had
been


his
family
to
Bloomington,
Illinois.
He
later
 living
in
Rome
for
a
quarter
century
when
he
received
 studied
law,
opening
his
own
office
in


1859.
For
10
years
he
practiced
in
the
 the
commission;
evidently,
he
worked
from
photographs
in
preparing


region,
simultaneously
serving
as
master
 the
bust.
There
is
no
record
of
a
life
sitting.



of
the
circuit
court
and
as
district
attorney.
 Whereas
Stevenson
was
much
appreciated
for
his
friendly
manner,
 His
effectiveness
led
to
a
nomination
by
 Simmons
apparently
also
perceived
forthrightness
and
dignity
in
the
 the
Democratic
Party
for
presidential


elector
in
1864.
In
1874
Stevenson
was
 subject’s
features.
To
express
these
qualities,
he
concentrated
on
the


elected
to
Congress
by
the
Democrats
of
 massive
head,
presented
with
an
absolute
frontality
that
furthers
the
daunt­
 his
staunchly
Republican
district.
Not


immediately
reelected,
he
returned
to
Con- less
expression
on
Stevenson’s
face.
Beetle­browed,
the
eyes
in
shadow,


gress
from
1879
to
1881.
Stevenson
was
 the
mouth
equally
shaded
by
the
mustache,
Stevenson
returns
our
gaze


later
appointed
by
President
Grover
Cleve- directly.
The
pupils
of
his
eyes
are
drilled,
and
the
small
bits
of
marble
 land
as
first
assistant
postmaster
general.



In
1892
Stevenson
was
elected
Cleve- that
serve
as
the
highlights
of
his
eyes
are
precisely
centered.
His
short


land’s
second-term
vice
president.
In
that
 side
hair
is
incised
lightly
in
the
marble.


capacity,
he
presided
over
the
Senate,
 Cheerfully
 partisan
 in
 matters
 of
 political
 patronage,
 Stevenson
 where
his
general
affability
made
him
uni!


versally
popular.
He
ran
for
vice
president
 presided
over
the
Senate
with
courtesy
and
evenhandedness.
The
force


in
1900
on
William
Jennings
Bryan’s
 and
integrity
of
his
personality
are
seconded
by
the
simple,
symmetrical,


unsuccessful
presidential
ticket
and
was
 double­breasted
coat
and
the
small
wing
collar
and
tie.
Stevenson’s
mostly
 an
unsuccessful
candidate
for
governor
in


1908.
Stevenson
died
in
Chicago
in
1914.
 bald
head
becomes
another
expression
of
this
self­confident
personality.



His
grandson
and
namesake
later
became
 In
May
1894
Simmons
wrote
to
the
architect
of
the
Capitol
that
the


governor
of
Illinois
and
Democratic
candi- bust
was
on
its
way
to
Washington.
Simmons
commented,
“I
shall
be
 date
for
president
in
1952
and
1956;
his


great-grandson,
Adlai
Ewing
Stevenson
III,
 glad
to
hear
your
opinion
of
the
work
as
I
took
great
pains
with
it
and


was
a
U.S.
senator
from
Illinois.
 was
very
fortunate
in
the
quality
of
the
marble.”
The
bust
was
originally


placed
in
a
gallery­level
niche
in
the
Senate
Chamber.
In
a
1910
reorganization
of
the
Vice
Presidential
Bust
Collection
to
reflect
order
of


service,
the
Stevenson
bust
was
relocated
to
the
main
Senate
corridor.


While
working
on
the
Stevenson
bust,
Simmons
was
also
engaged


in
sculpting
a
standing
statue
of
President
Ulysses
S.
Grant
in
military


garb.
Paid
for
by
contributions
from
the
Grand
Army
of
the
Republic,


this
statue
was
not
immediately
approved
by
the
Joint
Committee
on


the
Library
and
a
second
effort
was
required.
In
1900
Simmons’s
second


statue
was
accepted
and
placed
on
display
in
the
Rotunda
of
the
Capitol.


Altogether
Franklin
Simmons
is
represented
in
the
U.S.
Capitol
by


seven
works.
The
Senate
has
his
busts
of
two
other
vice
presidents:


Adlai E. Stevenson. Charles
W.
Fairbanks
(p.
112)
and
Hannibal
Hamlin
(p.
180).


(Library of Congress, Prints and 

Photographs Division) 

344 United States Senate 
Adlai E. Stevenson 

Franklin Bachelder Simmons (1839–1913) 

Marble,
1894


30
3

⁄4
 x
27
x
15
7⁄8
 inches
(78.1
x
68.6
x
40.3
cm)


Signed
and
dated
(on
back
centered
at
bottom):
FRANKLIN
SIMMONS
/
1894


Commissioned
by
the
Joint
Committee
on
the
Library,
1893


Accepted
by
the
Joint
Committee
on
the
Library,
1894


Cat.
no.
22.00023


Catalogue of Fine Art 345 
Charles
Sumner


(1811–1874) 

Charles
Sumner,
a
U.S.
senator
from
 With
his
large
head,
thick
hair
and
muttonchops,
and


Massachusetts
and
a
passionate
aboli- broad
torso,
abolitionist
Charles
Sumner
presented
 tionist,
was
born
in
Boston.
After
law
school


he
spent
time
in
Washington,
D.C.,
where
 a
powerful
image.
This
likeness
of
Sumner
by
Walter


he
met
with
Chief
Justice
John
Marshall
and
 Ingalls
resembles
in
several
regards
an
1860
“Impe­


listened
to
Henry
Clay
debate
in
the
Senate
 rial”
photograph
(24
x
20
inches)
by
Mathew
Brady. Chamber.
Unimpressed
with
the
politics
of


Washington,
he
returned
to
Massachusetts,
 The
photograph,
like
the
painting,
shows
Sumner
facing
left.
His
body


where
he
practiced
law,
lectured
at
Har- is
at
a
three­quarter
angle
so
that
the
torso
opens
up,
revealing
an
expanse


vard
Law
School,
and
published
in
the
 of
white
waistcoat,
watch
fob,
and
folding
eyeglasses
suspended
from American Jurist.
Following
a
three-year


study
tour
of
Europe,
Sumner
resumed
his
 a
slender
cord
or
chain.
However,
Ingalls
repositioned
the
head
into


law
practice
with
little
enthusiasm.
Then,
 profile
and
also
placed
the
disproportionately
short
left
thigh
parallel


in
1845,
he
was
invited
to
make
a
public
 to
the
picture
plane.
The
conflict
of
the
planar
head
and
thigh
with
the Independence
Day
speech
in
Boston.
This
 angled
torso
is
awkward
and
distracting.
The
profile
head
(with
less event
was
a
turning
point
in
his
career,


and
he
soon
became
widely
known
as
 unruly
hair
than
in
the
photograph)
is,
however,
calm
and
pensive,
and


an
eloquent
orator.
 its
greater
formality
is
seconded
by
the
books
and
papers
on
the
table. Six
years
later,
Sumner
was
elected


to
the
U.S.
Senate
by
a
coalition
of
Free- According
to
an
unsigned
document
among
the
records
of
the
Joint


Soilers
and
Democrats.
A
strong
opponent
 Committee
on
the
Library,
Sumner
sat
for
Ingalls
in
1873
in
a
tempoof
slavery,
he
denounced
the
Fugitive
Slave
 rary
studio
at
the
U.S.
Capitol.
The
resulting
portrait
was
purchased
by Law
and
attacked
the
Kansas-Nebraska
Act,


which
repealed
the
Missouri
Compromise
 the
committee
in
1886,
12
years
after
Sumner’s
death.


by
giving
territories
north
of
latitude
36 ̊30’
 Walter
Ingalls,
a
prolific
portrait
artist,
was
born
in
Canterbury,
New


(the
southern
border
of
Missouri)
the
option
 Hampshire
in
1805.
He
was
self­taught
and
widely
traveled,
and
his
genial of
legalizing
slavery.
Sumner’s
strong
polit!

ical
opinions
brought
angry
reactions
from


Southern
senators
and
branded
him
a
rad!

ical.
In
the
mid-1850s,
the
senator
was


influential
in
organizing
the
Republican


Party.
On
May
20,
1856,
he
delivered
his


famous
Senate
speech,
“The
Crime
against


Kansas.”
Calling
the
Kansas-Nebraska
Act


a
“swindle,”
Sumner
also
denounced
Sena!

tors
Andrew
P.
Butler
of
South
Carolina
and


Stephen
A.
Douglas
of
Illinois.
Two
days


later,
Butler’s
cousin,
Representative
Preston


Brooks
of
South
Carolina,
beat
Sumner
over


the
head
with
a
cane
on
the
floor
of
the


Senate,
severely
injuring
him.


During
the
next
three
and
a
half
years,


Sumner
tried
to
recover
from
the
assault.
In


1857,
despite
his
absence
from
Capitol


Hill,
the
Massachusetts
legislature
unani!

mously
reelected
Sumner
to
the
Senate.
He


returned
to
Washington,
D.C.,
in
1859


and
again
took
up
the
abolitionist
cause,
 This photograph of Charles Sumner was 

delivering
a
speech
on
the
“Barbarism
 taken in Mathew Brady’s Washington, D.C., 

of
Slavery.”
Appointed
chairman
of
the! studio around 1860. 

(Library of Congress, Prints and Photographs Division) 

personality
won
him
such
celebrated
 clients
 as
 scientist
 Louis


Agassiz
and
Pope
Pius
IX.
Ingalls


usually
spent
part
of
each
year
in


Washington,
D.C.,
and
he
died
in


the
 nearby
 town
 of
 Oakland,


Maryland,
 in
 1874.
 A
 number


of
his
paintings
are
held
by
the


New
Hampshire
Historical
Society


in
Concord.


346 United
States
Senate

Charles
Sumner


Walter Ingalls (1805–1874) 

Oil
on
canvas,
1873


43
7

⁄8
 x
35
3⁄8
 inches
(111.4
x
89.9
cm)


Signed
and
dated
(lower
right
corner):
W
Ingalls
/
Pinxt
 /
1873


Purchased
by
the
Joint
Committee
on
the
Library,
1886


Cat.
no.
32.00016


Catalogue
of
Fine
Art
 347 
Charles
Sumner—continued


Senate
Committee
on
Foreign
Relations
in
 Martin
Milmore
immigrated
to
Boston
from
his
native


1861,
Sumner
played
an
important
role
in
 Ireland
when
he
was
seven.
He
took
art
lessons
at


avoiding
violent
conflict
with
Great
Britain
 the
Lowell
Institute
and
then
learned
to
carve
in
wood
 and
France
during
the
crucial
opening


phase
of
the
Civil
War.
He
supported
 and
stone
from
his
older
brother
Joseph.
He
entered


President
Abraham
Lincoln’s
Emancipation
 the
studio
of
Thomas
Ball
in
his
early
teens
and
stayed
 Proclamation
of
1863,
and,
during
the


Reconstruction
Era
after
the
Civil
War,
he
 until
the
mid­1860s,
when
he
began
receiving
commissions
and
estab­


focused
his
efforts
on
securing
equal
rights
 lished
his
own
studio
in
Boston.
Apparently,
his
first
independently


for
African
Americans.
Sumner
disagreed
 produced
 sculptures
 were
 cabinet­size
 busts
 of
 Henry
 Wadsworth
 strongly
with
President
Andrew
Johnson’s


Reconstruction
plans
and
played
a
major
 Longfellow
(New
Hampshire
Historical
Society,
Concord)
and
Charles


role
in
the
move
to
impeach
him.
Sumner
 Sumner
(whereabouts
unknown),
both
modeled
from
life
about
1863.


likewise
differed
with
President
Ulysses
 By
his
20th
birthday
Milmore
had
received
a
commission
for
three
giant
 Grant
on
many
postwar
issues.
Grant


retaliated
by
persuading
the
Republican
 figures
for
Boston’s
Horticultural
Hall.
The
project
had
first
been
offered


conference
to
remove
Sumner
as
chairman
 to
Ball
as
he
was
about
to
leave
for
Italy,
and
Ball
suggested
his
protégé


of
the
Foreign
Relations
Committee
in
 instead.
Notable
portrait
commissions
followed,
as
did
commissions
 1871.
After
Sumner
died
suddenly
of
a


heart
attack
in
March
1874,
his
body
lay
 for
Civil
War
monuments
in
and
around
Boston.
Milmore
also
designed


in
state
in
the
Rotunda
of
the
Capitol.
His
 (and
 his
 brother
 Joseph
 carved)
 the
 colossal
 American
 Sphinx,


greatest
role
in
the
U.S.
Senate
was
his
 commissioned
by
Jacob
Bigelow
to
guard
the
Bigelow
Chapel
in
Mount
 tireless
advocacy
of
civil
rights
for
African
 Auburn
Cemetery
in
Cambridge,
Massachusetts.
Milmore
Americanized
 American
citizens.


Egypt’s
Sphinx
by
replacing
the
asp
on
the
headdress
with
the
American


eagle;
the
intention
of
the
piece
was
to
commemorate
the
preservation
of
the
Union
and
the
destruction
of
slavery.


This
spate
of
work
culminated
in
the
commission
for
the
Soldiers’


and
Sailors’
Monument
for
the
Boston
Common,
erected
in
1877.
To


prepare
for
this
huge
project,
Milmore
went
to
Rome.
It
must
have
been


there
that
an
additional
commission
from
the
Massachusetts
legislature


for
a
bust
of
the
late
Charles
Sumner—the
one
now
in
the
Senate—


reached
him.
Milmore
was
probably
chosen
for
the
commission
because


of
the
reputation
his
cabinet­size
bust
of
Sumner
had
attained.
Milmore


then
enlarged
this
earlier
bust
in
his
studio
in
Rome
in
1875
(a
frequently


cited
date
of
1865
is
thought
to
be
the
result
of
an
error
by
Lorado
Taft


in
his
well­known
History
of
American
Sculpture).


On
Senator
Sumner’s
sudden
death
in
1874,
his
body
lay
in
state


in
the
Capitol
Rotunda,
and
he
was
widely
eulogized.
In
Boston,
George


William
Curtis,
social
reformer
and
editor
of
Harper’s
Weekly,
delivered


such
 a
 splendid
 eulogy
 before
 the
 Massachusetts
 legislature
 that,


according
to
his
widow,
Anna
Shaw
Curtis,
the
members
gave
Curtis


this
bust
of
Sumner.
Inscribed
on
the
back
of
the
socle
are
the
words


“Commonwealth
/
of
/
Massachusetts
to
/
George
William
Curtis.”
Curtis


348 United
States
Senate

Charles
Sumner


Martin Milmore (1844–1883) 

Marble,
1875


30
1

⁄2
 x
36
x
16
1⁄4
 inches
(77.5
x
91.4
x
41.3
cm)


Inscribed
(centered
on
back):
COMMONWEALTH
/
OF
 /
MASSACHUSETTS
TO
 /
GEORGE
WILLIAM
CURTIS



Signed
and
dated
(centered
on
back):
MARTIN.
MILMORE.
/
SCULPTOR.
/
ROME
1875


Gift
of
Anna
Shaw
Curtis
(widow
of
George
William
Curtis),
1894


Accepted
by
the
Joint
Committee
on
the
Library,
1894


Cat.
no.
21.00017


Catalogue
of
Fine
Art
 349 
Charles
Sumner—continued


died
in
1892,
and
his
widow
offered
the
bust
to
the
Senate,
where
it


was
accepted
by
unanimous
consent
on
January
26,
1894.


Sumner
was
about
52
when
he
sat
for
Milmore,
and
this
is
the
age


preserved
in
both
the
1863
cabinet­size
and
1875
life­size
busts.
The


Roman
toga,
a
manner
out
of
favor
by
1875,
is
also
preserved
from
the


early
bust.
Milmore
not
only
captured
the
appearance
of
the
famous


orator­advocate
with
his
careful
naturalism
but
also
created
an
aura
of


the
greatness
of
the
man.


The
large,
slightly
fleshy
features
are
instilled
with
a
certain
animation


that
is
lacking,
for
example,
in
the
painted
portrait
by
Walter
Ingalls


(p.
 346).
 The
 substantial
 amount
 of
 cutting
 and


drilling
in
the
curly
hair
and
muttonchops
is
similar


to
 Sumner’s
 unruly
 appearance
 preserved
 in
 a


number
of
Mathew
Brady’s
period
photographs
of


Sumner.
That
unruliness
is
analogous
to
the
intense,


unrestrained
passion
of
his
oratory
when
devoted
to


the
single
cause
of
emancipation
and
equal
suffrage.


In
 the
 years
 following
 Sumner’s
 death,
 his


renown
seemed
only
to
increase.
As
he
made
the


rounds
of
American
sculptors
in
Florence
in
1878,


Ulysses
S.
Grant
entered
Thomas
Ball’s
studio.
Seeing


him
 at
 work
 on
 a
 statue
 of
 Sumner,
 Grant


exclaimed:
 “Charles
 Sumner!
 That’s
 the
 fourth


Sumner
I’ve
seen
this
morning!”1


In
1883
Milmore
died
at
the
age
of
38.
Daniel


Chester
French,
the
distinguished
American
sculptor,


carved
and
erected
at
his
grave
a
memorial
tribute


entitled
Death
and
the
Sculptor
(p.
430).


Right: 

The marble bust of Charles Sumner by Artist Martin Milmore. 

(Architect of the Capitol) Martin Milmore is displayed on the third 

floor of the U.S. Capitol, just outside the 

Senate Chamber gallery. 

(2002 photograph) 

350 United
States
Senate


Robert
Alphonso
Taft


(1889–1953) 

Born
in
Cincinnati,
Ohio,
Robert
Alphonso
 Rudolf
Bernatschke
completed
this
portrait
of
Robert
Taft
in


Taft,
the
son
of
President
William
Howard
 1953,
the
year
of
Taft’s
death.
Just
three
weeks
before
the
 Taft,
would
one
day
become
the
leading


spokesman
for
conservative
opinion
in
the
 senator
died,
Bernatschke
had
the
opportunity
to
show
the


United
States.
Elected
to
the
U.S.
Senate
in
 painting
to
Taft,
who
thought
it
“flattering.”1
Taft
made
one


1938,
Taft
opposed
President
Franklin
D.
 request
of
the
artist,
however:
He
asked
that
the
color
of
 Roosevelt’s
New
Deal
programs
and
efforts
 his
hair
at
the
temples
be
changed
from
white
to
gray. to
expand
the
federal
government
at
the


expense
of
state
and
local
jurisdictions.
In
 The
Austrian­born
Bernatschke,
who
had
immigrated
to
the
United


Congress,
Taft
chaired
the
Senate
Labor
 States
18
years
earlier,
was
noted
by
then
for
portraiture,
landscapes, and
Public
Welfare
Committee,
where
he


helped
write
the
Labor-Management
 and
still
lifes
with
vivid
color
and
crisp
delineation.
Bernatschke
painted


Relations
Act
of
1947.
Known
as
the
 the
Taft
portrait
as
a
personal
tribute,
proclaiming
himself
an
“admirer


Taft-Hartley
Act,
it
placed
controls
on
 of
Senator
Taft
and
a
believer
in
the
principles
for
which
he
stood.”2


labor
unions
and
prohibited
“closed
shops.”
 In
1959
the
artist
presented As
a
member
of
the
Foreign
Relations


Committee,
Taft
spoke
out
on
inter- the
 painting
 to
 Senate


national
issues,
especially
criticizing
 Republicans
for
display
in
 President
Harry
S.
Truman’s
Korean


and
Chinese
policies.
Identified
as
 the
 Republican
 leader’s


“Mr.
Republican,”
Taft
enjoyed
wide
 suite
 of
 offices
 in
 the


respect
for
his
fairness,
courage,
and
 Capitol.
Senator
Everett
M.
 integrity,
despite
his
often
controver- Dirksen
of
Illinois,
Repub­
 sial
positions.



Taft
was
an
unsuccessful
candi- lican
 leader
 at
 the
 time,


date
for
the
Republican
presidential
 accepted
the
painting
at
a nomination
in
1940,
1948,
and


1952.
During
his
brief
service
as
 bipartisan
ceremony
in
the


Senate
majority
leader
in
1953,
he
 Old
 Supreme
 Court
 (now


became
a
prominent
advisor
to
Pres- the
Old
Senate)
Chamber, ident
Dwight
D.
Eisenhower.
Illness
 declaring
that
he
would
be forced
Taft
to
relinquish
active


Senate
leadership
in
June
of
1953,
 honored
to
have
this
porand
he
died
the
following
month.
 trait
 of
 the
 “great
 leader”


hang
in
his
office.3
 During


the
ceremony,
Senate
Democratic
 Leader
 Lyndon
 B.


Johnson
 also
 praised
 Taft


as
 a
 “brave
 and
 fearless


leader.”4
The
painting
hung


in
the
Republican
leader’s


suite
until
1969.


Senator Robert A. Taft was a respected 

conservative leader during his 14 years 

in the Senate. 

(U.S. Senate Historical Office) 

352 United States Senate 
Robert A. Taft 

Rudolf Anton Bernatschke (born 1913) 

Oil
on
canvas,
1953


29
1

⁄2
 x
24
1⁄2
 inches
(74.9
x
62.2
cm)


Signed
and
dated
(lower
right
corner):
Bernatschke
53


Gift
of
the
artist,
1959


Acquisition
undocumented


Cat.
no.
32.00030


Catalogue of Fine Art 353 
Robert
Alphonso
Taft —continued 

Yale
University
Art
Professor
Deane
Keller
was
recommended
by
Robert
Taft’s
brother
Charles
to
paint
the


senator’s
portrait
for
one
of
the
oval
wall
panels
in
the


Senate
 Reception
 Room
 of
 the
 Capitol.
 Keller,
 of


Hamden,
Connecticut,
was
considered
the
“unofficial


artist”
of
Yale,
Robert
Taft’s
alma
mater.
Altogether,
Keller
executed


more
than
75
portraits
of
Yale
faculty
members.
Apart
from
studying


three
years
in
Rome
and
serving
in
World
War
II,
Keller
spent
his
entire


adult
life
at
the
university.
In
a
career
that
included
more
than
800


commissions,
he
was
said
to
have
“captured
the
images
of
some
of


the
20th
century’s
most
prominent
politicians
and
academicians.”


Taft
and
Wisconsin
Senator
Robert
M.
La
Follette,
Sr.
(p.
242)
were


selected
by
the
Special
Committee
on
the
Senate
Reception
Room
to
be


among
the
five
outstanding
senators
whose
portraits
would
embellish
the


long­vacant
oval
medallions
in
the
room.
The
two
20thcentury
senators,
so
honored
after
much
debate
during


the
selection
process,
joined
the
easily
agreed­upon


threesome
 of
 Henry
 Clay
 (p.
 72),
 Daniel
 Webster


(p.
418),
and
John
C.
Calhoun
(p.
54).


The
Taft
image
was
painted
on
canvas
at
the
artist’s


studio
in
Connecticut
and
finished
in
the
Capitol
after


the
canvas
was
positioned
on
the
room’s
east
wall.
In


addition
to
completing
a
second
portrait
of
Robert
Taft,


now
at
the
Taft
School
in
Watertown,
Connecticut,
Keller


executed
paintings
of
Presidents
Herbert
Hoover
and


William
Howard
Taft.


Connecticut artist Deane Keller, seen in this 

1951 photograph, was both a student and 

professor of drawing and painting at Yale 

University. 

(Yale University Library) 

354 United States Senate 
Robert A. Taft 

Deane Keller (1901–1992) 

Oil
on
canvas
applied
to
wall,
1958


22
5

⁄8
 x
19
1⁄2
 inches
(oval)
(57.5
x
49.5
cm)


Unsigned


Commissioned
by
the
Senate
Committee
on
Rules
and
Administration,
1958


Accepted
by
the
Senate
Committee
on
Rules
and
Administration,
1959


Cat.
no.
32.00008


Catalogue of Fine Art 355 
Roger
Brooke
Taney


(1777–1864) 

The
fifth
chief
justice
of
the
Supreme
Court
 Though
this
bust
of
Chief
Justice
Roger
B.
Taney
was
exeof
the
United
States,
Roger
Brooke
Taney
 cuted
by
the
noted
sculptor
Augustus
Saint­Gaudens,
much was
born
in
Calvert
County,
Maryland.
 credit
must
go
to
William
Henry
Rinehart,
for
whom
the Taney
first
practiced
law
in
1799
in


Annapolis.
He
moved
two
years
later
to
 commission
was
probably
intended.
Rinehart
had
previously


Frederick,
Maryland,
then
to
Baltimore
in
 made
a
much­admired
bronze,
life­size
figure
of
Taney
for 1823.
Appointed
U.S.
attorney
general
by


President
Andrew
Jackson
in
1831,
Taney
 the
statehouse
at
Annapolis,
Maryland,
which
was
unveiled
in
1872.
The


supported
the
president
in
his
opposition
 Joint
Committee
on
the
Library
evidently
hoped
that
Rinehart
would
replito
rechartering
the
Second
Bank
of
the
 cate
the
head
of
this
sculpture
for
the
Supreme
Court
Chamber
in
the United
States,
which
was
one
of
the
major
 U.S.
Capitol. issues
of
the
day.
Consequently,
Jackson


appointed
Taney
secretary
of
the
treasury
 The
commissioning
of
such
a
bust,
however,
had
previously
met


in
1833
during
a
congressional
recess.
 with
strong
opposition
in
Congress.
Several
years
earlier,
in
February
1865, Taney
proceeded
to
withdraw
federal


funds
from
the
Second
Bank
and
establish
 a
heated
debate
erupted
in
the
Senate
Chamber
when
Senator
Lyman


a
system
of
government
depositories,
 Trumbull
of
Illinois
introduced
a
bill
providing
for
a
bust
of
Taney
for


drawing
fire
from
the
bank’s
supporters.
 the
Supreme
Court
room.
In
response,
Senator
Charles
Sumner
of
Mass­ Meeting
in
1834,
the
Whig-dominated


U.S.
Senate
failed
to
confirm
Taney
as
sec- achusetts
exclaimed:
“I
object
to
that;
that
now
an
emancipated
country


retary
of
the
treasury.
The
following
year
 should
make
a
bust
to
the
author
of
the
Dred
Scott
decision.”
While
Trumhe
was
nominated
for
an
associate
justice- bull
eulogized
the
late
chief
justice,
noting
that
even
if
Taney
had
made ship
and
again
rejected
by
the
Senate.
At


the
end
of
1835,
however,
with
the
Senate
 a
wrong
decision
he
was
still
a
great
and
learned
man,
Sumner
retorted:


back
under
Democratic
control,
he
was
 “Let
me
tell
that
Senator
that
the
name
of
Taney
is
to
be
hooted
down


nominated
by
the
president
for
chief
justice
 the
page
of
history.
Judgement
is
beginning
now;
and
an
emancipated and
was
subsequently
confirmed
in
1836
 country
will
fasten
upon
him
the
stigma
which
he
deserves.”1
Following despite
strong
Whig
opposition.


Taney’s
judicial
opinions
as
chief
 the
debate
further
action
on
the
bill
was
indefinitely
postponed.


justice
reversed
a
pattern
of
interpretation
 Therefore,
it
was
not
until
January
29,
1874,
that
a
congressional established
by
his
eminent
predecessor,
 resolution
authorized
the
Joint
Committee
on
the
Library
to
procure
a John
Marshall.
Instead
of
emphasizing


federal
supremacy,
Taney
upheld
state
 bust
of
Taney
and
one
of
Chief
Justice
Salmon
P.
Chase.
A
later
note
on


sovereignty,
especially
in
relation
to
the
 this
appropriation
in
the
United States Reports mistakenly
cites
Rinehart threatened
domination
of
the
South
by


Northern
culture
and
interests.
The
1857
 as
the
author
of
the
completed
bust,
but
he
died
in
Rome
on
October


Dred Scott v.
Sandford case,
in
which
the
 28,
1874,
before
action
could
be
completed
on
the
commission.
It
is
unclear


Supreme
Court
determined
that
a
slave
 if
Rinehart
even
knew
of
the
committee’s
intention,
but
if
he
did,
Saint­ under
Missouri
law
had
no
constitutional


right
to
bring
suit
in
federal
court,
most
 Gaudens
probably
knew
as
well.
The
two
were
closely
associated
in
the


clearly
demonstrated
this
view.
Taney
 American
art
colony
in
Rome.


served
as
chief
justice
for
28
years,
 When
the
committee
at
last
acted
upon
this
legislation
two
years second
only
to
Marshall
in
tenure.
He
 later,
it
directed
the
chairman
“to
contract
with
some
competent
artist died
at
age
87
in
1864.


for
a
bust
of
the
late
Chief
Justice
Taney,
the
head
of
same
to
be
modeled
after
that
of
the
Chief
Justice
[by
William
H.
Rinehart]
at
Annapolis.


The
cost
of
the
same
not
to
exceed
$1,000.”2
 Saint­Gaudens,
then
in


New
York
City,
quickly
learned
of
the
opportunity
from
a
patron
(former


New
York
Governor
Edwin
D.
Morgan,
who
was
at
that
time
a
senator),


356 United States Senate 
Roger B. Taney 

Augustus Saint-Gaudens (1848–1907) 

Marble,
1876/1877


25
3

⁄4
 x
24
x
14
inches
(65.4
x
61
x
35.6
cm)


Unsigned


Commissioned
by
the
Joint
Committee
on
the
Library,
1876


Accepted
by
the
Joint
Committee
on
the
Library,
1877


Cat.
no.
21.00018


Catalogue of Fine Art 357 
Roger
Brooke
Taney—continued 

and
was
in
Washington,
D.C.,
by
February.
He
secured


the
contract,
which
stipulated
that
the
“bust
should
be


a
faithful
copy
of
the
head
of
Rinehart’s
Chief
Justice.”


The
fee
was
set
at
$700,
not
$1,000,
presumably
because


it
was
for
a
copy.


There
appears
to
have
been
some
dissatisfaction


on
the
part
of
the
committee
members
concerning
the


completed
bust.
In
his
own
defense,
Saint­Gaudens


wrote
to
Senator
Justin
Morrill
of
Vermont:
“If
there


are
any
artistic
defects
in
the
work,
which
in
justice


to
the
deceased
artist
I
do
not
feel
free
to
speak
of,


they
cannot
be
credited
to
me.
My
work
is
a
faithful


copy
according
to
contract
and
as
to
that
I
will
refer


to
any
artist.”
In
fact,
Saint­Gaudens
was
able
to
translate
the
sensitive,
dignified
face
modeled
by
Rinehart


into
stone
with
no
loss
of
character.
Saint­Gaudens’s


plaster
sketch/model
is
extraordinarily
fresh
and
vigorous,
and
is
the
perfect
bridge
between
the
bronze


and
the
marble.


The
costume
of
the
Saint­Gaudens
bust
closely


follows
 Rinehart’s
 model.
 A
 tightly
 wound
 cravat


presses
a
stiff
wing
collar
against
the
jaw,
while
its


flowing
 ends
 billow
 in
 the
 opening
 of
 his
 tightly


The plaster model for the bust of Chief buttoned
waistcoat.
In
a
little
minuet
of
overlaps,
the


Justice Roger B. Taney by Augustus left
lapel
of
his
waistcoat
overlaps
the
lapel
of
his
suit


Saint-Gaudens. coat.
That
lapel
in
turn
is
tucked
under
the
edge
of
the
judicial
robe, (U.S.
Department
of
the
Interior,
National
Park
Service,



Saint-Gaudens
National
Historic
Site,
Cornish,
NH)
 while
the
right
lapel
of
his
coat
evades
the
robe
and
lies
atop
it.
This


elegant
play
of
in
and
out,
of
curves
against
angles,
animates
the
larger


design
of
the
costume
with
its
powerful
verticals
and
horizontals.


Although
the
bust
is
strongly
symmetrical,
the
head
is
tilted
forward


and
ever
so
slightly
to
the
left.
The
lean,
variegated
face
is
carved
with


extraordinary
skill,
particularly
around
the
eyes,
which
suggest
preoccupation.
Meanwhile,
the
unagitated,
judicious
face
is
underlined
by
the


full
lower
lip
and
wide
horizontal
crease
above
the
chin.
It
is
a
pose
of


reflective
deliberation,
and
in
all,
an
excellent,
agreeable
work
which
does


its
sculptor
great
credit.
The
bust
was
completed
by
1877
and
placed
in


the
Supreme
Court
Chamber.
Saint­Gaudens
is
further
represented
in
the


U.S.
Senate
by
a
bust
of
Chester
A.
Arthur
(p.
18).


358 United States Senate 
Augustus Saint-Gaudens copied the head of 

this 1872 statue by William Rinehart for his 

Senate bust of Roger B. Taney. 

(Courtesy
of
the
Maryland
Commission
on
Artistic
Property
of
the


Maryland
State
Archives
MSA
SC
1545–0760)


Catalogue of Fine Art 359 
Zachary
Taylor


(1784–1850) 

Zachary
Taylor,
the
12th
president
of
the
 I

n
1904
John
Taylor
Wood
contacted
the
chairman
of
the


United
States,
was
born
in
Orange
County,
 Joint
Committee
on
the
Library,
Senator
George
Peabody
 Virginia.
Taylor’s
long
military
career
began


in
1808,
when
he
became
a
first
lieutenant
 Wetmore,
 offering
 to
 sell
 the
 bust
 of
 his
 grandfather


in
the
United
States
Army’s
7th
Infantry.
 Zachary
Taylor.
“This
Bust
was
given
to
me
by
my
mother,
eldest


Nicknamed
“Old
Rough
and
Ready,”
Taylor
 child
of
President
Taylor,
who
married
General
Robert
Crooke


was
assigned
to
frontier
posts
during
the


War
of
1812
and
remained
there
during
 Wood,
Surgeon­General
U.S.
Army.
As
far
as
the
family
know[s]
it
is
the


much
of
his
army
service.
As
a
colonel
he
 only
one
extant
of
him,”
wrote
Wood
in
a
letter.
He
further
noted:
“All


took
part
in
the
Black
Hawk
War
and
later
 agree
it
is
a
most
excellent
likeness;
could
not
be
excelled;
the
work
 won
wide
popularity
as
a
general
in
the


Mexican
War.
Despite
his
successes
in
the
 of
a
talented
sculptor.
But
strange
I
have
no
record
of
the
artist
nor
have


Mexican
campaign,
he
was
often
in
conflict
 I
been
able
to
obtain
his
name.”


with
the
administration
of
President
James
 Several
bills
on
the
subject
were
introduced
and
reported
in
the
 Polk.
In
1847
Taylor
disobeyed
orders
by


going
on
the
offensive
against
the
Mexican
 Senate,
but
no
floor
action
took
place
until
1909.
At
that
time,
the
com­


leader
Santa
Anna,
whom
he
defeated
at
 mittee
purchased
the
bust
of
Taylor
from
Lola
Wood,
widow
of
John


the
Battle
of
Buena
Vista.
A
popular
hero,
 Taylor
Wood.
The
committee
paid
Lola
Wood
$2,000,
drawn
from
funds
 Taylor
was
nominated
for
president
in
1848


by
the
Whigs
on
the
first
ballot
(over
Henry
 specifically
designated
for
that
purpose
in
the
Sundry
Civil
Expenses


Clay,
Daniel
Webster,
and
Winfield
Scott).
 Act,
approved
March
4,
1909.


Taylor
defeated
Lewis
Cass
in
the
 As
John
Wood
reported,
the
identity
of
the
sculptor
is
not
known. general
election
and
became
president
at


a
time
of
great
sectional
discord
over
the
 The
likeness
of
Taylor
in
the
Senate’s
portrait
bust
is,
however,
similar


extension
of
slavery.
Taylor
favored
a
 to
that
appearing
on
a
commemorative
medal
authorized
by
resolution


plan
that
would
result
in
the
admission
to
 of
Congress
on
May
9,
1848,
to
recognize
Taylor’s
Mexican
War
victory.
 the
Union
of
California
and
New
Mexico


as
free
states,
despite
the
objections
 The
miniature
portrait
in
profile
was
engraved
by
Charles
Cushing
Wright


face
of
secessionist


from
a
bas­relief
portrait
by
Salathiel
Ellis.
Known
as
a
sculptor


of
cameo
portraits,
Ellis
designed
several
medals
for
the
United


States
 Mint,
 including
 those
 honoring
 Millard
 Fillmore,


of
Southern
Whigs,
and
he


remained
inflexible
in
the


States
joint
control
over


canal
rights
at
the
mouth
of


the
San
Juan
River
in
Central


threats.
Taylor
died
in


office
before
passage
 Franklin
 Pierce,
 James
 Buchanan,
 Abraham
 Lincoln,


of
the
Compromise
 Winfield
Scott,
and
Cornelius
Vanderbilt.
 of
1850
measures.


The
outstanding


achievement
of
his


administration
was


the
Clayton-Bulwer
 The
Senate’s
portrait
bust
of
Zachary
Taylor


Treaty
of
1850,
 is
similar
to
this
1848
bronze
medal
by


which
gave
Great
 Charles
Cushing
Wright
after
Salathiel
Ellis.


Britain
and
the
United
 (National
Portrait
Gallery,
Smithsonian
Institution)


America.


360 United States Senate 
Zachary Taylor 

Unknown artist 

Marble,
19th
century


19
3

⁄4
 x
15
3⁄8
 x
11
1⁄8
 inches
(50.2
x
39.1
x
28.3
cm)


Unsigned


Purchased
by
the
Joint
Committee
on
the
Library,
1909


Cat.
no.
21.00019


Catalogue of Fine Art 361 
Telegraph

I

n addition to supervising the construction of the new Senate and

House wings of the Capitol in the 1850s, Captain Montgomery C.

Meigs directed plans for their interior spaces. To decorate room

S–211, originally intended for the Senate Library, Meigs envisioned

“groups of history, legislation, etc.” adorning the ceiling. In 1857

he wrote, “I hope to make this a beautiful room.”1 Meigs asked Italian

frescoist Constantino Brumidi (p. 46), whom he had hired two years earlier

to paint a number of rooms in the new Capitol extension, to submit a

proposal. Brumidi suggested themes appropriate for a library: allegorical

representations of history, geography, print, and philosophy. 

Before he began a project, Brumidi analyzed the architectural space

and created a pencil sketch showing his frescoes in relation to the overall

decorative scheme of the room. He then prepared a small oil sketch of

each scene, which he submitted to Meigs for approval. Finally, the

sketches were enlarged on heavy paper to the exact scale of the proposed fresco, and the resulting cartoon placed on the wall, over the

area to be painted. The outlines of the image were then transferred to

the wet mortar using a variety of techniques, and Brumidi executed the

actual painting, using the preparatory sketch as a reference. 

In 1858 Brumidi completed the lunette of Geography and one corner

group in the library room, but was then assigned work elsewhere in

the Capitol. He did not return to the room until several years later. By

that time, the space had become the Senate Post Office; its anticipated

use as a library was never realized. Consequently, Brumidi changed his

original sketch for the ceiling, replacing the figures of Print and Philosophy

with allegorical images of Physics and Telegraph. The small oil sketch,

Telegraph, was probably completed around 1862, in preparation for the

ceiling fresco. Brumidi was paid $4,989 for designing and painting the

room’s remaining three panels, which included the fresco Telegraph and

three corner groups. The ceiling was completed in 1867.

This painting, and the large mural decoration for which it is the

study, are charming examples of the imaginative way in which Brumidi

took classical European themes and adapted them to contemporary New

World achievements. Europa, the mythological daughter of the king of

Tyre, was desired and abducted by Zeus (Jupiter). Taking the form of a

bull, Zeus feigned gentleness until Europa garlanded his horns with flowers

and climbed on his back, whereupon he carried her out to sea and off

to Crete. There, resuming his normal shape, he ravished her. Her name

The laying of the first successful transatlantic cable marked one of the greatest

communication advances in history. 

The extraordinary feat—commemorated

symbolically in this painting—was a

testament to the ingenuity of a host of

scientists and engineers, the labor of

countless workers, and the perseverance,

entrepreneurship, and faith of American

financier Cyrus W. Field.

At a time when the telegraph offered

the quickest and most efficient means of

communication, the unavailability of underwater cables severely limited the distances

that messages could travel. Numerous

attempts at laying cables underwater failed,

until cable makers finally discovered the

insulating qualities of gutta-percha, a

rubberlike material. In 1851 two English

brothers, Jacob and John Brett, used hemp

and gutta-percha to insulate an underwater

cable across the English Channel. Other

narrow underwater distances were soon

spanned, but the obvious challenge—to

connect Europe and North America—

seemed insurmountable. 

Then U.S. Navy oceanographer

Matthew Fontaine Maury discovered that

the sea floor between Newfoundland and

Ireland was relatively shallow and level,

providing an ideal path for a transatlantic

cable. With this news, Field gathered

investors and created the New York,

Newfoundland, and London Telegraph

Company in 1854. Two years later, he

reformed the enterprise as the Atlantic

Telegraph Company. It would take another

decade, however, for Field’s project to

reach fruition.

The first two cables broke while they

were being laid, but in 1858 a third cable

was installed successfully. The accomplishment would have been less meaningful were

it not for the contribution of British physicist

William Thomson (later known as Lord

Kelvin). Because telegraph signals tended 

to grow faint and distorted over long

distances under water, he invented the

mirror galvanometer, a receiving device that

allowed easy interpretation of weak signals. 

362 United States Senate
Telegraph

Constantino Brumidi (1805–1880)

Oil on canvas, ca. 1862

135

⁄8 x 235⁄8 inches (34.6 x 60 cm)

Unsigned

Gift of The Charles Engelhard Foundation, 1984

Accepted by the U.S. Senate Commission on Art, 1984

Cat. no. 33.00019

was given to the continent west of Asia, and it is as the personification

of Europe that she is painted by Brumidi.

Now, instead of being carried to Crete, Europa/Europe has been

conveyed across the Atlantic, where she is greeted with a handclasp by

America, the latter garbed in gilt armor and a starry blue robe. America

wears the phrygian, or freedom, cap and holds the caduceus (ancient

emblem of the messenger of the gods), while resting her arm on an anchor

representing hope. Beside her on the rock is the American bald eagle.

America’s strength is symbolized by the cannon lying behind the anchor,

her mechanical invention by the gear wheel beside it, and her abundance and generosity by the cornucopia. Prominent among the fruits

are giant grapes, signifying (in the Old Testament) the Promised Land,

and the pineapple of hospitality.

Catalogue of Fine Art 363
Telegraph—continued

The purpose of this sea journey is for Europe to receive the telegraph

wire from America. The telegraph line and one pole are seen in the right

middle ground. The end of the wire is offered to Europe by a cherub.

Europe will recross the ocean with this gift, and the two continents will

be united by the telegraph, as symbolized by the joined hands. Although

the meeting of the two continents in Brumidi’s picture is amicable, their

attitudes nonetheless clearly signify that Europe is the suppliant and America

the generous benefactor in this exchange.

Along with the Telegraph study, Brumidi also included a depiction

of the transatlantic cable in his final sketch for The Apotheosis of

Washington, his monumental fresco in the canopy of the Capitol dome.

Both works were most likely completed by 1862, even though sustained

telegraphic communication between Europe and North America was not

achieved until 1866. Brumidi must have been an optimist, accepting Cyrus

Field’s brief success in 1858 as proof that a reliable transatlantic cable

would soon be a reality. Indeed, his optimism was soon borne out, as

Field’s fifth and final cable was laid before Brumidi finished painting the

Telegraph fresco. 

Brumidi is sometimes patronized as nothing more than a competent craftsman who, as the right man at the right time, seized the

opportunity to gain life-employment decorating the U.S. Capitol. But

he was, in fact, a fine painter who took the time even in this study to

sound a poetic note in the lovely rose of the dawn sky, the winsome

cherub, and the freely painted flowers. The main figures here are less

persuasive than in the final lunette. In the fresco, Brumidi displays

greater fluidity, unity, and organic feeling in the rhythm and bulk of

the robed figures.

Telegraph emerged from obscurity in 1919, when objects from

the artist’s estate, including 27 paintings, were uncovered in a bank

vault. Passing through several owners, the study was acquired at auction

in 1984 by The Charles Engelhard Foundation for presentation to the

U.S. Senate. 

Despite the apparent success of the

third cable, the insulation failed after only

four weeks, and it was abandoned. On

Field’s fourth attempt, in 1865, the cable

broke again. At last, on July 27, 1866,

the British steamship the Great Eastern

finished laying cable from Valentia,

Ireland, to Heart’s Content, Newfoundland. Carrying clear signals, this cable

remained intact and inaugurated a new

era of communication. 

364 United States Senate

Right:

Telegraph decorates the ceiling of the

Lyndon Baines Johnson Room (S–211) in 

the Senate wing of the Capitol.

(1999 photograph)

The fresco Telegraph, top left, can be seen

in this ca. 1900 photograph of room S–211

during the occupancy of the Senate Committee on the District of Columbia.

(Architect of the Capitol)

James
Strom
Thurmond


(born 1902) 

U.S.
Senator
James
Strom
Thurmond—
 I

n
1995
friends
and
colleagues
of
Senator
Strom
Thurmond
organknown
by
his
middle
name,
Strom—was
 ized
the
Strom
Thurmond
Statue
Committee,
to
commission
artist born
in
Edgefield,
South
Carolina,
in
1902.


A
teacher
in
the
South
Carolina
high
school
 Frederick
Hart
to
create
a
bust
of
the
senator.
A
life
mask
of


system,
Thurmond
later
served
as
county
 Thurmond
was
made
by
artist
Willa
Shalit,
and
Hart
then
used


superintendent
of
education.
He
studied
law
 a
plaster
cast
of
the
mask
as
a
reference
for
his
work,
refining and
was
admitted
to
the
South
Carolina
bar


in
1930.
Thurmond
subsequently
served
as
 the
clay
model
through
several
sittings
with
Thurmond.
The
bust
was


city
and
county
attorney,
a
member
of
the
 cast
in
bronze
at
Joel
Meisner
&
Company,
Inc.,
a
foundry
in
FarmSouth
Carolina
state
senate,
and
a
circuit
 ingdale,
New
York.
Although
the
committee
planned
to
purchase
the judge.
Already
a
United
States
Army


reservist
when
the
nation
entered
World
 bust
from
Hart
for
the
U.S.
Senate,
the
artist
decided
to
donate
it.


War
II,
he
volunteered
for
active
duty
and
 The
bust
was
unveiled
at
ceremonies
honoring
Senator
Thurmond


served
in
Europe
and
in
the
Pacific.
While
 held
in
the
Senate
Caucus
Room
of
the
Senate
Russell
Office
Building
on assigned
with
the
82nd
Airborne
Division,
 June
5,
1997.
The
event
marked
a
singular
occasion:
Eleven
days
earlier Thurmond
participated
in
the
Normandy


invasion
on
D–Day
in
1944.
After
the
war
 Thurmond
had
become
the
longest­serving
member
in
the
history
of
the


he
rose
to
the
rank
of
major
general
in
the
 Senate,
having
served
41
years
and
10
months.
The
bust
was
formally U.S.
Army
Reserves,
serving
for
36
years.


In
1946
he
was
elected
governor
of
South
 accepted
by
the
Senate
Commission
on
Art
on
July
11,
1997.
It
was
placed


Carolina,
a
post
he
held
until
1951.
 in
the
Strom Thurmond Room (S–238)
in
the
Capitol,
a
space
assigned


In
1948
Thurmond
challenged
Harry
 to
the
president
pro
tempore
that
was
named
in
honor
of
Thurmond
by Truman
for
president
of
the
United
States,
 Senate
resolution
on
November
23,
1991. running
on
the
States’
Rights
Democratic


ticket.
In
1954,
after
losing
the
South
 Frederick
Hart
gained
international
recognition
for
his
Creation SculpCarolina
Democratic
Senate
primary,
he
 tures at
the
National
Cathedral
and
for
his
sculpture
Three Soldiers at
the


sought
election
as
a
write-in
candidate


and
won,
becoming
the
first
person
to
be
 Vietnam
Veterans
Memorial,
both
in
Washington,
D.C.
In
addition
to
his


elected
to
a
major
office
on
a
write-in
 numerous
marble
and
bronze
public
commissions,
Hart
worked
with
acrylic


basis.
Because
of
a
promise
he
made
to
 resin
to
create
figurative
sculptures.
He
patented
a
process
by
which
he voters,
Thurmond
resigned
his
Senate
seat


in
1956
to
force
another
election
in
which
 embedded
one
clear
acrylic
sculpture
within
another,
a
technique
he
called


he
could
win
by
traditional
means.
He
won


the
election,
ironically
filling
the
vacancy


caused
by
his
own
resignation.
Over
the


next
four
decades,
he
won
reelection
seven


times—although
he
switched
his
affiliation


from
the
Democratic
Party
to
the
Repub


lican
Party
in
1964.


Senator
Thurmond
chaired
the
Armed


Services
and
the
Judiciary
Committees,


and
he
served
as
president
pro
tempore
of


the
Senate
from
1981
to
1987,
and
again


from
1995
to
2001,
when
he
was
named


president
pro
tempore
emeritus.
In
1957


he
set
the
record
for
delivering
the
longest


single
speech
in
the
Senate,
which
lasted"

24
hours
and
18
minutes.
In
1997
he
 Frederick
Hart
and
Strom
Thurmond
in



became
the
longest-serving
senator
in
his- the
senator’s
office
(SR–219)
in
the
Russell


tory,
and
he
is
the
oldest
person
ever
to
 Senate
Office
Building,
1997.


(Courtesy of Duke Short) serve
in
the
Senate.


“sculpting
with
light.”


The
artist
is
also
represented
in
the
Senate
by
a


statue
 of
 Senator
 Richard


Russell
(p.
324)
in
the
Russell


Senate
Office
Building.
Hart


was
 working
 on
 a
 bust
 of


Dan
Quayle
(p.
312)
for
the


Senate’s
 Vice
 Presidential


Bust
Collection
at
the
time
of


his
death
in
1999.


366 United States Senate 
Strom Thurmond

Frederick E. Hart (1943–1999)

Bronze, 1997

233

⁄4 x 191⁄2 x 11 inches (60.3 x 49.5 x 27.9 cm)

Signed and dated (under subject’s truncated right arm): FREDERICK HART / Sc. 1997

Foundry symbol (under subject’s truncated right arm):

Gift of the artist, 1997

Accepted by the U.S. Senate Commission on Art, 1997

Cat. no. 24.00010

Catalogue of Fine Art 367
Daniel
D.
Tompkins


(1774–1825) 

Daniel
D.
Tompkins,
sixth
vice
president
of


the
United
States,
was
born
in
Westchester


County,
New
York.
He
was
educated
in


law,
and
established
a
practice
in
New


York
City.
Although
Tompkins
was
elected


to
the
U.S.
House
of
Representatives
as
a


Republican
in
1804,
he
resigned
before


Congress
met
to
become
an
associate


justice
of
the
New
York
Supreme
Court.


Soon
known
throughout
the
state
as
a
fairminded
jurist,
Tompkins
was
elected
gov


ernor
in
1807.
He
was
reelected
three


times,
serving
for
10
years
and
winning
a


number
of
liberal
reforms
in
the
school


system,
the
state
militia,
and
within
the


criminal
and
slavery
codes.


During
the
War
of
1812,
Tompkins


used
his
personal
funds
to
secure
troops


and
equipment
when
the
state
assembly


refused
to
appropriate
money
for
the


defense
of
New
York
frontiers.
He
rejected


an
1814
appointment
as
secretary
of
state


under
James
Madison,
choosing
instead
to


continue
his
services
as
governor
and


accepting
command
of
a
New
York–New


Jersey
military
district.


Admired
for
his
patriotism
and
prac


tical
talents,
Tompkins
was
described
by


novelist
Washington
Irving,
one
of
his


aides,
as
“absolutely
one
of
the
worthiest


men
I
ever
knew
.
.
.
honest,
candid,


prompt,
indefatigable.”1
At
war’s
end,


however,
Tompkins
was
charged
with
careless
record
keeping
of
military
finances.


Though
Tompkins’s
reputation
suffered,


James
Monroe
nonetheless
chose
him
as


his
vice
presidential
running
mate
in
1816.


The
ticket
won
then
and
again
in
1820,
but


Tompkins
played
an
inconsequential
role
as


vice
president.
Consumed
by
his
financial


woes,
he
spent
most
of
his
time
attempting


to
clear
his
name
and
recover
the
wartime


funds
he
had
advanced.


Long
a
resident
of
Staten
Island,
New


York,
Tompkins
retired
there
following
his


vice
presidency.
Eventually
he
was
exoner


ated
and
reimbursed
for
personal
expendi


tures
on
behalf
of
the
public
welfare.
The


funds
proved
too
little,
too
late.
Tompkins


died
impoverished
at
the
age
of
51.


Charles
H.
Niehaus,
a
successful
and
prolific
sculptor,
was


born
in
Cincinnati,
Ohio,
the
son
of
German
immigrants.


As
a
child,
he
was
apprenticed
in
wood
engraving,
stonecutting,
and
marble
carving.
After
his
initial
studies
in
art,


he
went
to
Munich
and
entered
the
Royal
Academy,
where


he
gained
a
first
prize
on
graduation.
He
traveled
in
Europe,
then


returned
to
Cincinnati
just
before
the
assassination
of
President
James


Garfield,
also
an
Ohio
native.
Niehaus
was
selected
to
sculpt
two
statues


of
 the
 deceased
 president
 for
 the
 state
 of
 Ohio—one
 in
 marble,


presented
as
a
gift
to
the
National
Statuary
Hall
Collection
in
the
U.S.


Capitol,
and
one
in
bronze
for
the
city
of
Cincinnati.
The
bronze
is


often
considered
his
finest
work.


In
1890
the
Senate
commissioned
Niehaus
to
sculpt
a
bust
of
Daniel


Tompkins
for
the
Vice
Presidential
Bust
Collection.
Niehaus
based
his


likeness
of
Tompkins
on
existing
visual
resources.
Key
among
these
was


the
cast
of
an
early
life­sized
portrait
bust
(presumably
a
life
study)
made


available
by
Ray
Tompkins,
the
subject’s
son.
Niehaus
also
had
access


to
any
number
of
other
paintings
and
portrait
prints
of
Tompkins
that


existed
by
the
1890s.
An
exceptionally
handsome
man,
Tompkins
had


been
painted
by
many
of
the
noted
artists
of
his
day,
including
John


Trumbull,
Thomas
Sully,
Charles
Willson
Peale,
Ezra
Ames,
and
John


Wesley
Jarvis.
The
Jarvis
portrait
(now
lost)
had
become
the
standard


source
for
images
of
Tompkins
published
in
the
popular
press.
Architect
of
the
Capitol
Edward
Clark
specifically
advised
the
artist
to
look


“among
the
possessions
of
the
Historical
Society
in
New
York”
for
such


images.
One
of
those,
a
lithograph
of
about
1840
by
William
Sharp
of


Boston,
may
have
been
a
model
for
Niehaus.


With
these
aids,
Niehaus
completed
the
marble
bust
in
1891.
He


created
a
genial,
plausible
portrait
with
more
animation
and
variety
than


are
found
in
many
posthumous
likenesses.
The
slight
turn
of
the
inclined


head,
the
hint
of
a
smile
that
plays
about
the
lips,
the
tousled
hair,
and


the
casual
deployment
of
the
shirtfront
and
cravat
all
contribute
to
a


loosening
of
the
frontal
pose
and
a
pleasant
informality.
Niehaus
also


enhances
the
sense
of
physical
presence
through
the
wavy
rhythm
of


the
wide,
pliable
lapels
and
coat
front,
and
by
fairly
deep
undercutting


in
the
costume.


368 United States Senate 
Daniel D. Tompkins 

Charles Henry Niehaus (1855–1935) 

Marble,
1891


31
1

⁄4
 x
26
7⁄8
 x
16
5⁄8
 inches
(79.4
x
68.3
x
42.2
cm)


Unsigned


Commissioned
by
the
Joint
Committee
on
the
Library,
1890


Accepted
by
the
Joint
Committee
on
the
Library,
1891


Cat.
no.
22.00006


Catalogue of Fine Art 369 
Daniel
D.
Tompkins—continued 

While
much
of
his
early
sculpture
emphasized
classical
themes,
it


was
for
his
portrait
monuments
that
Niehaus
was
best
known.
These


include
a
bronze
statue
of
Admiral
Oliver
Hazard
Perry
in
Buffalo,
New


York;
marble
likenesses
of
Puritan
clergymen
Thomas
Hooker
and
John


Davenport
in
Hartford,
Connecticut;
equestrian
statues
of
Generals
Ulysses


S.
Grant
in
New
York
City
and
Nathan
B.
Forrest
in
Memphis,
Tennessee;


and
bronze
statues
of
German
physician
Samuel
Hahnemann
and
Amer­


ican
naval
hero
John
Paul
Jones
in
Washington,
D.C.
Niehaus’s
bust
of


James
 A.
 Garfield
 (p.
 160)
 is


located
in
the
Marble
Room
in
the


Senate
wing
of
the
Capitol.
In
all,


the
 artist
 is
 represented
 by
 10


sculptures
in
the
Capitol.
Besides


completing
 the
 Garfield
 and


Tompkins
busts,
Niehaus
designed


both
 of
 Ohio’s
 official
 statues


(Garfield
and
William
Allen)
and


six
 other
 likenesses
 for
 the


National
Statuary
Hall
Collection.



This ca. 1840 lithograph of Daniel Tompkins 

by William Sharp may have been used by 

Charles Niehaus to sculpt the Senate’s bust 

of the vice president. 

(Collection of the New-York Historical Society) 

370 United States Senate 
Sculptor Charles Niehaus was renowned 

for his mastery of the human figure. 

(Architect of the Capitol) 

Catalogue of Fine Art 371 
Harry
S.
Truman


(1884–1972) 

Harry
S.
Truman
assumed
the
U.S.
presi- I

n
1946,
the
year
after
Harry
S.
Truman
became
president,
artist


dency
in
1945,
just
months
after
he
had
 Charles
 Keck
 was
 commissioned
 to
 sculpt
 his
 bust
 for
 the
 been
inaugurated
as
the
nation’s
34th


vice
president.
Truman
had
been
a
sur- Senate’s
Vice
Presidential
Bust
Collection.
Keck
visited
Truman


prise
choice
for
running
mate
when
the
 at
the
White
House,
where
he
oversaw
the
making
of
eight


popular
Franklin
D.
Roosevelt
sought
a
 photographs
 on
 which
 to
 base
 an
 initial
 study
 before
 he
 fourth
presidential
term.
As
vice
president


for
82
days,
Truman
spent
most
of
his
 requested
in­person
sittings.


time
presiding
over
the
Senate.
With
 Truman’s
friendship
with
Charles
Keck
had
begun
in
the
1930s.


Roosevelt’s
sudden
death
on
April
12,
 As
presiding
judge
of
Jackson
County,
Missouri,
Truman
had
secured
 1945,
Truman
became
the
33rd
U.S.


president
and
immediately
faced
the
 the
sculptor’s
services
to
model
an
equestrian
statue
of
Andrew
Jackson,


challenge
of
ending
World
War
II.
 whom
Truman
greatly
admired,
for
the
county
courthouse
in
Kansas


Truman
was
born
in
Lamar,
Missouri,


and
spent
much
of
his
childhood
on
his


grandmother’s
600-acre
farm
near
Grandview,
Missouri.
At
the
age
of
30,
he
began


operating
the
farm
himself,
and
for
the
rest


of
his
life
he
identified
himself
as
a
farmer.


At
33,
Truman
enlisted
in
the
U.S.
Army
at


the
outbreak
of
World
War
I;
he
com"

manded
an
artillery
battery
in
the
MeuseArgonne
offensive
and
eventually
attained


the
rank
of
major.


When
he
returned
to
Missouri
after


the
war,
Truman
operated
a
haberdasher’s


shop
and
soon
was
elected
judge
of
Jackson
County.
By
then
he
was
active
in
the


Democratic
Party,
and
in
1934
he
was


elected
to
the
U.S.
Senate,
where
he


served
for
a
decade
and
spent
some
of


his
happiest
years.
Truman
supported
the


New
Deal
and
provided
strong
chairmanship
of
the
Senate
Special
Committee
to


Investigate
the
National
Defense
Program,


popularly
know
as
the
Truman
Committee,


which
promoted
efficiency
and
economy


during
World
War
II.


In
1944
Truman’s
life
took
a
sur"

prising
turn
when
the
Democratic
Party


leaders
decided
to
drop
Vice
President


Henry
A.
Wallace
from
the
ticket,
and


Truman
became
the
reluctant
replacement


nominee
at
the
Democratic
convention.


The
Roosevelt-Truman
ticket
won
easily,


but
already
Roosevelt’s
health
was
failing.


Senator Harry S. Truman pictured in his 

Senate office (SR–262). 

(U.S. Senate Historical Office) 

372 United States Senate 
Harry S. Truman 

Charles Keck (1875–1951) 

Marble,
modeled
1946,
carved
1947


27
1

⁄4
 x
19
1⁄8
 x
12
1⁄2
 inches
(69.2
x
48.6
x
31.8
cm)


Signed
and
dated
(on
back
centered
at
bottom):
CHARLES
KECK
/
SCULPTOR
1946


Commissioned
by
the
Senate
Committee
on
Rules
and
Administration,
1946


Accepted
by
the
Senate
Committee
on
Rules
and
Administration,
1947


Cat.
no.
22.00034


Catalogue of Fine Art 373 
Harry
S.
Truman—continued 

He
died
of
a
cerebral
hemorrhage
less


than
three
months
after
his
inauguration.


In
May
1945,
a
month
into
Truman’s


presidency,
Germany
surrendered
to
Allied


forces.
However,
the
war
in
the
Pacific


against
Japan
continued.
Truman,
in
a
stillcontroversial
action,
authorized
the
dropping
of
the
atomic
bomb
on
the
Japanese


cities
of
Hiroshima
and
Nagasaki
in


August.
As
a
result,
the
Japanese
surren"

dered
formally
on
September
2,
1945,


ending
World
War
II.


The
Truman
administration
advanced


the
New
Deal’s
domestic
programs
while


helping
to
rebuild
war-torn
Europe.
In


1948
Truman
desegregated
the
armed


forces,
a
controversial
action
that
affected


his
popularity
in
that
year’s
presidential


race.
In
a
well-known
upset
over
Repub"

lican
Thomas
E.
Dewey,
however,
Truman


was
reelected.
Concerned
with
the
spread


of
Communism
abroad,
he
advocated
a


policy
of
containment—known
as
the


Truman
Doctrine—to
restore
the
balance
of


power
in
Europe.
In
1950
Truman
sent


American
armed
forces
to
defend
South


Korea.
The
following
year,
he
dismissed


General
Douglas
MacArthur
from
com"

mand
in
Korea
for
insubordination.
The


much-admired
MacArthur
had
publicly


advocated
an
attack
on
Communist
China,


directly
challenging
the
position
of
his


commander-in-chief,
the
president.


Truman
decided
against
a
reelection


bid
in
1952.
Instead,
he
retired
to
his


home
in
Independence,
Missouri,
where
he


remained
active
until
his
death
in
1972.


City.
Truman
later
displayed
a
replica
of
Keck’s
sculpture
in
his
White


House
office.


Keck
completed
his
working
clay
model
of
the
Truman
portrait
in


1946,
following
sittings
with
Truman
in
the
Oval
Office.
The
president


and
his
wife
gave
their
official
approval,
and
after
it
was
translated
into


marble,
the
bust
was
delivered
to
the
Senate
in
May
1947.
A
bronze


version
was
also
presented
to
Truman
for
the
White
House
collection,


and
the
American
Legion
Headquarters
in
Indianapolis
acquired
another


bronze
copy.
A
Keck
bronze
of
Truman
is
also
located
in
the
rotunda


of
the
Missouri
State
Capitol
in
Jefferson
City.


Charles
Keck
trained
with
leading
American
sculptor
Augustus
SaintGaudens
and
studied
at
the
National
Academy
of
Design.
He
later
won


the
Rinehart
Scholarship,
allowing
him
to
attend
the
American
Academy


in
Rome
from
1901
to
1905.
In
a
long
and
active
career,
Keck
produced


many
sculptures
and
architectural
reliefs,
now
on
view
from
upstate
New


York
to
Buenos
Aires,
Argentina.
Working
out
of
a
New
York
City
studio,


he
created
several
heroic
statues
of
Abraham
Lincoln;
an
equestrian
statue


of
Stonewall
Jackson
now
in
Charlottesville,
Virginia;
and
various
busts


and
statues
of
politicians,
generals,
and
other
notable
individuals.
His


Lewis and Clark group,
also
in
Charlottesville,
is
considered
one
of
his


greatest
monuments.
The
National
Statuary
Hall
Collection
in
the
Capitol


contains
Keck’s
full­length
statues
of
North
Carolina’s
Charles
B.
Aycock


and
Louisiana’s
Huey
P.
Long.


374 United States Senate 
President Harry Truman, Brigadier General 

Paul H. Griffith, and sculptor Charles Keck, 

with the bronze portrait of Truman presented 

to the White House, 1947. 

(CORBIS/Acme) 

Catalogue of Fine Art 375 
John
Tyler


(1790–1862) 

John
Tyler
was
the
first
vice
president
of
the
 I

n
1898
the
Joint
Committee
on
the
Library
chose
sculptor
William


United
States
to
succeed
to
the
presidency
 McCauslen
to
execute
a
likeness
of
John
Tyler,
following
the
 upon
the
death
of
his
predecessor.
Tyler


also
served
as
both
U.S.
representative
and
 recommendation
of
two
of
Tyler’s
sons,
Lyon
Gardiner
Tyler
and


U.S.
senator
from
Virginia.
Born
in
Charles
 Representative
David
Gardiner
Tyler.
In
the
spring
of
1896,
they


City
County,
he
was
voted
into
the
state
 had
 seen
 and
 admired
 a
 model
 for
 a
 bust
 of
 their
 father
 in


legislature
in
1811,
at
the
age
of
20,
and


was
elected
to
the
U.S.
House
of
Represen- McCauslen’s
Washington,
D.C.,
studio.


tatives
in
1816.
Tyler
won
the
Virginia
gov- The
original
1886
legislation
establishing
a
Vice
Presidential
Bust


ernorship
in
1825
and
then
ran
success- Collection
had
called
for
busts
to
be
installed
in
the
gallery­level
niches
 fully
for
the
U.S.
Senate
two
years
later.



He
opposed
many
of
Andrew
Jackson’s
 of
the
Senate
Chamber,
but
by
1897
all
of
these
spaces
had
been
filled.


policies
and
eventually
aligned
himself
with
 On
January
6,
1898,
the
Senate
passed
an
amending
resolution
author­


the
Southern
states’
rights
wing
of
the
new
 izing
additional
vice
presidential
busts
for
placement
“in
the
Senate
wing
 Whig
Party.
Tyler
resigned
from
the
Senate


in
1836
in
defiance
of
the
Virginia
legisla- of
the
Capitol.”
The
Tyler
bust
was
the
first
work
commissioned
and


ture’s
instructions
that
he
vote
to
expunge
 acquired
under
this
new
legislation.


the
Senate’s
1834
censure
of
President
 Born
and
trained
in
Ohio,
McCauslen
was
both
a
painter
and
a
 Jackson.
The
censure,
which
Tyler
had
 sculptor,
though
few
of
his
works
are
known
today.
The
only
impor­
 supported,
rebuked
the
president
for


removing
federal
deposits
from
the
Bank
 tant
examples
of
his
public
sculpture
are
the
Tyler
bust
and
those
of


of
the
United
States,
which
had
been
 Andrew
Johnson
(p.
216)
and
William
R.
King
(p.
238),
also
in
the
Senate’s
 rechartered
despite
Jackson’s
opposition.


Tyler
ran
successfully
for
vice
presi- Vice
Presidential
Bust
Collection.


dent
in
1840
with
William
Henry
Harrison
 Because
 the
 subject
 was
 long
 deceased,
 the
 Tyler
 commission


in
the
famous
“Tippecanoe
and
Tyler
Too”
 presented
 McCauslen
 with
 a
 distinct
 challenge.
 Several
 pictorial campaign.
President
Harrison
died
only
 resources
existed,
the
best
known
of
which
was
probably
George
P.A. one
month
after
his
inauguration,
and


Tyler
became
the
nation’s
10th
president.
 Healy’s
 oil
 on
 canvas
 portrait,


He
alienated
party
leaders,
however,
by
 painted
from
life
in
1859
and
now his
stance
against
a
national
bank
with


branches
in
the
states.
Most
of
his
cabinet
 part
of
the
White
House
collection.


subsequently
resigned.
Despite
such
polit- However,
because
McCauslen
was


ical
difficulties,
Tyler
initiated
the
annexa- charged
 with
 depicting
 Tyler
 as tion
of
Texas.
Also
during
Tyler’s
adminis"

tration,
the
Webster-Ashburton
Treaty
was
 vice
president,
the
artist
apparently


negotiated
with
Great
Britain,
which
rede- searched
for
an
earlier
life
portrait.


fined
the
boundaries
between
Maine
and
 He
 found
 one
 in
 a
 lithograph New
Brunswick,
Canada,
and
provided


for
mutual
cooperation
in
the
suppression
 drawn
from
life
and
published
by


of
the
slave
trade.
 Charles
 Fenderich
 in
 1841,
 just


Following
his
term
in
office,
Tyler
re- after
 Tyler’s
 accession
 to
 the


mained
active
in
pre-Civil
War
compromise
 presidency.
In
pose,
facial
contour, efforts
from
his
Virginia
home,
Sherwood


Forest.
Eventually
he
declared
for
secession
 and
costume,
McCauslen’s
marble


and
served
in
the
provisional
Congress
of
 portrait
 of
 Tyler
 bears
 a
 strong the
Confederacy.
He
won
a
seat
in
the


Confederate
house
of
representatives
but
 resemblance
to
Fenderich’s
litho­ This 1841 lithograph of John Tyler by 

died
in
Richmond
in
1862
before
begin- graph.
 The
 completed
 bust
 was
 Charles Fenderich may have been used in 

modeling the Senate’s bust. ning
his
term.
 placed
in
the
Capitol
in
1898.
 (National Portrait Gallery, Smithsonian Institution) 

376 United States Senate 
John Tyler 

William C. McCauslen (1860–1929) 

Marble,
modeled
1896,
carved
1898


30
x
27
x
15
inches
(76.2
x
68.6
x
38.1
cm)


Signed
and
dated
(on
base
under
subject’s
truncated
left
arm):
M’CAUSLEN.
/
’98


Commissioned
by
the
Joint
Committee
on
the
Library,
1898


Accepted
by
the
Joint
Committee
on
the
Library,
1898


Cat.
no.
22.00010


Catalogue of Fine Art 377 
Martin
Van
Buren


(1782–1862) 

The
eighth
president
of
the
United
States,
 The
Joint
Committee
on
the
Library
commissioned
a
bust


Martin
Van
Buren
also
served
as
a
U.S.
 of
Vice
President
Martin
Van
Buren
for
the
Senate
Chamber


senator
from
New
York
and
as
the
eighth


vice
president.
Born
in
Kinderhook,
New
 gallery
in
February
1893.
The
committee
acted
under
a


York,
Van
Buren
was
an
important
organ- Senate
resolution
dated
May
13,
1886,
which
authorized


izer
and
leader
of
the
Albany
Regency,
 acquisition
of
marble
busts
of
vice
presidents
“from
time which
controlled
New
York
state
politics


for
two
decades.
In
1821
he
was
elected
 to
time.”
Sculptor
Ulric
S.J.
Dunbar
received
the
commission
for
the


to
the
U.S.
Senate,
where
he
supported
 posthumous
bust
of
Van
Buren,
and
he
completed
the
piece
in
1894.


tariff
legislation
and
advocated
states’
 Dunbar
depended
on
existing
images
of
the
deceased
Van
Buren
 rights.
He
resigned
in
1828
after
being


elected
governor
of
New
York,
a
post
he
 as
reference
for
his
modeling.
In
July
1893,
writing
from
a
“studio
room”


would
hold
for
less
than
a
year.
 at
the
Corcoran
building,
Dunbar
asked
Architect
of
the
Capitol
Edward


President
Andrew
Jackson
named
Van
 Clark
to
borrow
“the
Van
Buren
bust
in
the
White
House.”
That
would


Buren
his
secretary
of
state
in
1829,
and
 have
been
the
Hiram
Powers
bust
(modeled
1836,
carved
1840),
which the
New
Yorker
became
a
key
White


House
advisor.
When
Jackson
ran
for
 was
bequeathed
to
the
White
House
in
1890
and
would
certainly
have


reelection
in
1832,
Van
Buren
ran
for
vice
 substantially
assisted
the
sculptor
in
fulfilling
his
just­received
commission. president
on
the
ticket
with
him.
Following
 However,
the
Powers
bust,
despite
the
many
carefully
observed
details the
election,
the
victorious
Jackson
relied


upon
Van
Buren
as
a
confidant
and
coun- it
exhibits,
is
generalized
in
the
restrained
neoclassical
manner.
For
the


selor.
In
1836
Van
Buren
was
himself
 greater
particularity
of
Dunbar’s
portrait,
he
would
probably
have
needed elected
president
and
almost
immediately


was
forced
to
deal
with
the
financial
Panic
 another
source,
and
the
splendid
1857
painted
portrait
by
George
P.A.


of
1837.
Despite
well-intentioned
but
 Healy,
then
as
now,
was
in
the
Corcoran
Gallery
of
Art.


unsuccessful
efforts
to
remedy
the
nation’s
 Dunbar’s
 response
 to
 economic
crisis,
Van
Buren
lost
popular


support.
He
was
defeated
in
his
reelection
 these
two
sources
was
so
fresh


bid,
and
in
1848
he
again
ran
unsuccess- and
vigorous
that
it
is
difficult


fully
for
president,
this
time
on
the
Free
Soil
 to
 think
 of
 his
 portrait
 as
 a
 ticket.
Van
Buren
lived
in
retirement
at
his


home
on
the
Hudson
River,
until
his
death
 posthumous
 work.
 The
 31­


in
1862.
 year­old
artist,
with
his
Senate


commission
for
a
bust
of
Vice


President
Thomas
Hendricks


(p.
 186)
 already
 completed,


approached
 his
 re­creative


task
with
directness.
The
torso


(coat,
 shirt,
 and
 cravat)
 is


treated
with
simplicity,
without


frills,
 elaboration,
 or
 deep


carving,
so
that
it
is
a
good
foil


for
 the
 broad
 head
 with
 its


forward­sweeping
 hair
 and Ulric Dunbar used this 1840 bust of Martin 

his own work. 

Van Buren by Hiram Powers as a model for muttonchops.


(The White House collection, © White House Historical Association) 

378 United States Senate 
Martin Van Buren 

Ulric Stonewall Jackson Dunbar (1862–1927) 

Marble,
1894


30
3

⁄4
 x
27
1⁄4
 x
15
1⁄8
 inches
(78.1
x
69.2
x
38.4
cm)


Signed
and
dated
(centered
on
front
of
base):
U
S
J
DUNBAR
Sc
1894


Commissioned
by
the
Joint
Committee
on
the
Library,
1893


Accepted
by
the
Joint
Committee
on
the
Library,
1894


Cat.
no.
22.00008


Catalogue of Fine Art 379 
Martin
Van
Buren—continued 

The
subtly
modeled
features—a
wide
firm­set
mouth,
large
eye


sockets
with
elaborately
drilled
eyes,
pouches
below
them,
and
a
strong


projecting
 brow
 above—are
 detailed
 but
 splendidly
 integrated.
 Van


Buren’s
furrowed
brow
suggests
a
reaction
to
what
he
hears,
not
simply


a
pattern
of
wrinkles.
The
bust
is
a
first­rate
achievement.


Ulric
Dunbar
was
born
in
London,
Ontario,
and
studied
at
the
Art


School
of
Toronto
with
his
brother,
Frederick
A.T.
Dunbar.
Ulric
Dunbar


became
a
professional
sculptor
in
1880,
left
Canada
for
the
United
States,


and
spent
five
years
in
Philadelphia
before
moving
to
Washington,
D.C.,


where
he
lived
and
worked
until
his
death
in
1927.


In
 1893
 Dunbar
 was
 awarded
 a
 bronze
 medal
 at
 the
 World’s


Columbian
Exposition
in
Chicago,
and
later
won
a
silver
medal
in
1915


at
the
Panama
Pacific
International
Exposition
in
San
Francisco.
Dunbar’s


other
 portrait
 works
 include
 a
 bronze
 sculpture
 of
 naval
 engineer


Benjamin
F.
Isherwood
at
the
United
States
Naval
Academy
in
Annapolis,


Maryland;
a
posthumous
portrait
of
Wayne
Parker,
Jr.,
son
of
U.S.
Representative
Richard
Wayne
Parker,
at
the
Newark
Museum
in
New
Jersey;


and
a
sculpture
of
writer
and
reformer
Frederick
Douglass
(location


unknown).
A
number
of
Dunbar’s
sculptures
are
in
Washington,
D.C.,


including
a
life­size
marble
portrait
of
banker
William
Wilson
Corcoran


at
the
Hillcrest
Children’s
Center;


a
marble
bust
of
Civil
War
General


Francis
Preston
Blair
at
the
BlairLee
House;
and
sculptures
of
three


Native
 Americans—Chief
 Lodge


Pole,
Two
Gun
White
Calf,
and


Sitting
 Bull—at
 the
 Smithsonian


Institution’s
National
Museum
of


Natural
 History.
 In
 addition,


several
of
his
relief
sculptures
are


located
 at
 the
 Art
 Gallery
 of


Ontario
in
Toronto.


Right: 

George P.A. Healy’s painting of Martin Van The niches in the third floor gallery of the 

Buren was also a source of inspiration Senate Chamber contain marble busts of 

for Ulric S.J. Dunbar. the earliest vice presidents, including 

(Corcoran
Gallery
of
Art,
Washington,
D.C.,
Museum
Purchase,
 Martin Van Buren, second from right. 

Gallery
Fund)
 (2000
photograph)


380 United States Senate 
Catalogue of Fine Art 381 
Nicholas
Van
Dyke,
Jr.


(1770–1826) 

Nicholas
Van
Dyke,
a
U.S.
representative
 This
painting
is
one
of
two
portraits
of
Nicholas
Van
Dyke


and
senator,
was
born
in
New
Castle,
 executed
 by
 Jefferson
 David
 Chalfant,
 a
 prominent Delaware,
and
practiced
law
in
his
home


state.
His
father
had
been
a
member
of
the
 Delaware
 artist.
 In
 1914
 the
 great­granddaughters
 of


Continental
Congress
and
a
signer
of
the
 Senator
Van
Dyke,
among
whom
was
Mary
Saulsbury,
the


Articles
of
Confederation,
and
Van
Dyke
 wife
of
Delaware
Senator
Willard
Saulsbury,
Jr.,
presented
 eventually
followed
him
into
politics.
After
 one
of
the
paintings
to
the
U.S.
Senate
and
the
other
to
the
state
of
 serving
in
the
Delaware
state
legislature,


Van
Dyke
was
elected
as
a
Federalist
to
 Delaware.
The
Delaware
painting
is
currently
in
the
collection
of
the


the
U.S.
House
of
Representatives,
where
 state
of
Delaware
Bureau
of
Museums
and
Historic
Sites.


he
served
from
1807
to
1811.
He
then


returned
to
the
state
senate,
which
eventu- Early
in
his
career,
Chalfant
specialized
in
trompe l’oeil paintings,


ally
elected
him
to
the
U.S.
Senate
in
 for
which
he
is
best
remembered.
Although
only
about
a
dozen
of
these


1817.
Polished
in
manner
and
fluent
in
 still
lifes
exist,
they
are
considered
quite
successful.
Originally
a
cabi­ speech,
Van
Dyke
became
a
prominent


senator
and
chairman
of
the
Committee
on
 netmaker
from
Chester
County,
Pennsylvania,
Chalfant
spent
the
majority


Pensions.
He
served
in
the
U.S.
Senate
 of
his
career
in
Wilmington,
Delaware.
In
1890,
under
the
sponsorship


until
his
death
in
1826.
 of
a
wealthy
patron,
Chalfant
went
to
Europe
to
receive
formal
art
instruction
at
the
Académie
Julian
in
Paris,
where
he
studied
human
figure


drawing.
As
a
result,
Chalfant’s
focus
shifted
from
still
lifes
to
genre
scenes,


and
ultimately
to
portraiture
after
the
turn
of
the
century.
From
1905
to


1927
he
painted
portraits
in
the
Wilmington
area
with
the
support
of


Senator
and
Mrs.
Saulsbury.
The
Smithsonian
Institution’s
Inventory
of


American
Painting
and
Sculpture
lists
111
works
by
Chalfant.
These
are


held
by
a
variety
of
individuals


and
institutions,
including
the


Metropolitan
Museum
of
Art
in


New
York
City;
the
Delaware


Art
 Museum
 in
 Wilmington,


Delaware;
 and
 Dartmouth


College
 in
 Hanover,
 New


Hampshire.
After
suffering
a


stroke
in
1927,
the
artist
was


forced
to
give
up
painting.
He


died
four
years
later.


Delaware artist Jefferson David Chalfant. 

(Architect of the Capitol) 

382 United States Senate 
Nicholas Van Dyke 

Jefferson David Chalfant (1856–1931) 

Oil
on
canvas,
date
unknown


28
x
23
1

⁄2
 inches
(71.1
x
59.7
cm)


Signed
(lower
left):
J.D.
CHALFANT–


Gift
of
Mrs.
Hamilton
M.
Barksdale,
Mrs.
T.C.
du
Pont,
and
Mrs.
Willard


Saulsbury
(great­granddaughters
of
Nicholas
Van
Dyke),
1914


Presented
to
the
U.S.
Senate,
ca.
1914


Cat.
no.
32.00037


Catalogue of Fine Art 383 
Henry
Agard
Wallace


(1888–1965) 

Henry
Agard
Wallace,
the
33rd
vice
presi


dent
of
the
United
States,
was
born
in


Adair
County,
Iowa.
A
leading
agricultural


economist,
Wallace
edited
the
influential


farm
journal
Wallace’s Farmer & Iowa 

Homestead. (A
precursor,
Wallace’s 

Farmer, was
founded
by
his
grandfather.)


In
1933
President
Franklin
D.
Roosevelt


appointed
Wallace
secretary
of
agriculture


and
assigned
him
the
task
of
developing


New
Deal
farm
relief
programs.
Roosevelt


was
subsequently
responsible
for
the
selec


tion
of
Wallace
as
the
Democratic
vice


presidential
candidate
in
1940.
As
vice


president
during
Roosevelt’s
third
term,


Wallace
moved
away
from
his
role
as


president
of
the
Senate
and
instead


embraced
his
executive
duties,
such
as


chairing
the
Board
of
Economic
Warfare


and
leading
several
diplomatic
missions


to
Latin
America
and
Asia.


Unable
to
adapt
to
Washington
poli


tics,
Wallace
lost
his
bid
for
renomination


as
vice
president
in
1944
to
Harry
Truman,


and
instead
was
appointed
secretary
of


commerce.
When
Truman
subsequently


became
president
following
Roosevelt’s


death,
Wallace
was
forced
to
resign
his


cabinet
post
in
September
1946
after
he


openly
criticized
Truman’s
foreign
policy.


Between
1946
and
1948,
Wallace


edited
the
New Republic magazine.
Known


for
visionary
social
liberalism,
he
helped


organize
a
new
Progressive
Party
in
1948


and
ran
unsuccessfully
as
its
presidential


candidate
that
year.
He
wrote
a
number
of


books
on
agricultural
problems
and
poli


tics,
including
New Frontiers and
The Long 

Look Ahead. A
proponent
of
world
peace,


Wallace
worked
for
social
justice
in
Latin


America
and
became
an
unofficial
emis


sary
for
developing
nations
there.
He
also


maintained
his
lifelong
interest
in
farming,


continuing
agricultural
experimentation
on


corn
and
other
crops.
Wallace
died
in


1965
in
Danbury,
Connecticut.


I

n
1944
Henry
Wallace
personally
selected
renowned
sculptor
Jo


Davidson
to
create
his
bust
for
the
Senate’s
Vice
Presidential
Bust


Collection.
The
sittings
for
the
bust
began
at
Davidson’s
New
Jersey


studio.
The
artist
noted
in
his
memoirs
that
Wallace
was
patient


as
a
sitter,
but
would
sometimes
disappear—only
to
be
found


later,
digging
in
Davidson’s
garden.
From
work
on
an
earlier
bust
of


the
vice
president,
Davidson
had
already
formed
a
strong
impression


of
the
man:
“Wallace
was
shy,
almost
gauche.
At
first,
he
did
not
give


of
himself
easily.
But
he
looked
up
at
me
from
time
to
time.
He
gave


you
the
feeling
of
wide
open
spaces,
a
clean
beauty,
and
of
strong


healthy
optimism.
He
didn’t
seem
to
waste
his
energies
in
useless
words


or
gestures.
As
I
worked,
we
got
closer
and
more
friendly.
The
clay


seemed
to
model
itself,
and
I
completed
the
bust
in
two
sittings.”1


Initially,
the
sculptor
was
very
enthusiastic
about
the
Senate’s
bust


of
Wallace.
In
October
1945
he
wrote,
“The
bust...promises
to
be,
on


its
 completion,
 one
 of
 my
 very
 best.”
 But
 later
 progress
 was
 slow.


Although
pressed
by
other
work
and
able
to
obtain
little
of
Wallace’s


time,
Davidson
insisted
on
completing
the
marble
version
from
life.
In


answer
to
queries
from
the
architect
of
the
Capitol,
the
sculptor
dashed


off
a
note
from
New
York
City
in
May
1947.
In
it
he
wrote,
“Artists
are


funny
people
but
we
are
fussy
and
that
being
my
chief
vice
and
having


had
to
sail
for
France
I
took
the
marble
with
me
to
finish
it
there
since


I
could
not
finish
it
here.”
Seven
months
later
the
completed
bust
was


finally
delivered
to
the
Capitol
and
placed
on
display
in
the
Senate
wing.


Davidson
was
one
of
the
best­known
American
portrait
sculptors


of
the
first
half
of
the
20th
century.
He
was
born
in
New
York
City
and


studied
art
there
and
in
Paris.
He
swiftly
gained
a
reputation
for
his


ebullient
personal
style
and
adventurous
thinking—for
example,
he
helped


to
organize
the
controversial
Armory
Show
(the
first
large
scale
exhibition
of
modern
art
in
America)
in
New
York
in
1913.
Throughout
a
career


that
spanned
five
decades,
Davidson
modeled
many
world
leaders
and


literary
luminaries.
Although
he
moved
in
avant­garde
circles,
Davidson


remained
traditional
in
his
artistic
style.
Passionate
about
portraiture,
he


often
took
the
unusual
step
of
searching
out
subjects
rather
than
waiting


for
leading
figures
to
commission
him.


The
artist
also
completed
a
bust
of
Charles
Dawes
(p.
94)
for
the


Senate’s
Vice
Presidential
Bust
Collection.


384 United States Senate 
Henry A. Wallace 

Jo Davidson (1883–1952) 

Marble,
1947


22
1

⁄4
 x
23
1⁄4
 x
12
3⁄4
 inches
(56.5
x
59.1
x
32.4
cm)


Signed
and
dated
(on
subject’s
truncated
left
arm):
JO·
DAVIDSON—N.Y.
1947


Commissioned
by
the
Joint
Committee
on
the
Library,
1946


Accepted
by
the
Senate
Committee
on
Rules
and
Administration,
1947


Cat.
no.
22.00033


Catalogue of Fine Art 385 
George
Washington


(1732–1799) 

George
Washington,
first
president
of
the
 William
Dunlap’s
pastel
portrait
of
George
Washington


United
States,
earned
the
epithet
Father
 is
remarkable
as
the
earliest­known
painting
by
a of
His
Country
for
his
great
leadership,


both
in
the
fight
for
independence
and
in
 man
better
known
for
his
invaluable
publication


unifying
the
new
nation
under
a
central
 History of the Rise and Progress of the Arts of Design 

government.
Washington
was
born
in
 in the United States (1834),
 the
 first
 attempt
 to Westmoreland
County,
Virginia,
and


worked
as
a
surveyor
in
his
youth.
In
 chronicle
the
art
of
this
country.
The
painting
survived
(despite
damage


1752
he
inherited
a
family
estate,
Mount
 by
fire
while
it
resided
in
San
Francisco)
for
more
than
150
years
in


Vernon,
upon
the
death
of
a
half
brother,
 the
possession
of
the
Van
Horne
family,
its
authenticity
affirmed
by Lawrence.
Washington’s
military
career
 Dunlap
himself.
In
1838,
near
the
end
of
his
life,
Dunlap
wrote
a
state­ began
in
1753,
when
he
accepted
an


appointment
to
carry
a
warning
to
French
 ment
confirming
his
authorship
of
the
Senate’s
Washington
pastel,
briefly


forces
who
had
pushed
into
British
terri- describing
the
circumstances
of
the
sitting.
Equally
conclusive,
and
more tory
in
the
Ohio
valley.
In
subsequent


military
assignments,
Washington
distin- compelling,
is
the
story
of
the
portrait’s
origin
included
in
his
autobiguished
himself
against
the
French,
first
 ography—already
published
in
his
Rise and Progress. 

while
aiding
General
Edward
Braddock
 Having
received
meager
training
in
art
from
the
American
painter and
later
as
commander-in-chief
of
all


Virginia
militia.
 William
Williams,
Dunlap
embarked
on
his
youthful
career
in
1782
by


In
1758
Washington
returned
to
 executing
portraits
in
“crayons”
(pastels)
of
his
father,
other
relatives,


civilian
life
as
a
gentleman-farmer
at
 and
friends.
In
the
autumn
of
1783,
he
visited
Rocky
Hill,
New
Jersey, Mount
Vernon
and
soon
took
a
seat
in
the


Virginia
house
of
burgesses.
As
a
planter,
 home
of
John
Van
Horne.
General
Washington’s
temporary
headquarters


Washington
had
firsthand
knowledge
of
 was
nearby
while
Congress
was
convening
at
Princeton
College,
and


the
economic
restrictions
being
imposed
by
 Washington
was
a
frequent
visitor
to
the
Van
Horne
home,
so
Dunlap Britain,
and
as
a
Virginia
legislator,
he


supported
political
efforts
to
curtail
British
 “was
of
course
introduced
to
him.”1
The
young
artist
had
made
pastel


control
of
the
colonies.
Washington
was
 portraits
of
Mr.
and
Mrs.
Van
Horne,
and
Washington
praised
them


selected
to
serve
as
a
delegate
to
the
first
 (“doubtless
the
mere
wish
to
encourage
youth,”
according
to
Dunlap). and
second
Continental
Congresses,
and


in
June
1775
he
was
chosen
to
command
 As
a
result,
Dunlap
recalled,
John
Van
Horne
“requested
him
to
sit
to


the
American
forces.
He
successfully
led
 me
and
he
complied.
This
was
a
triumphant
moment
for
a
boy
of


the
Continental
army
through
eight
difficult
 seventeen... but
it
was
one
of
anxiety,
fear
and
trembling.”2


years
of
war
for
independence.


In
1783,
after
the
Revolution,
Wash- Although
 family
 tradition
 maintains
 that
 Dunlap’s
 portrait
 of


ington
resigned
his
military
commission
to
 Washington
was
executed
at
the
Van
Horne
estate,
Dunlap’s
very
specific,


Congress
at
Annapolis,
Maryland.
Recog- detailed,
and
charming
reminiscence
differs:
 nizing
the
need
for
a
strong
central
govern


ment,
he
served
as
president
of
the
federal
 My
visits
were
now
frequent
to
head
quarters....
 The
soldiers
[at
headquarters]
were


convention
charged
with
drafting
the
 New­England
yeomen’s
sons,
none
older
than
twenty;
their
commander
was
Captain


Constitution.
Reluctantly,
he
accepted
the
 Howe....
 I
was
astonished
when
the
simple
Yankee
sentinels,
deceived
by
my
fine
 will
of
his
colleagues
to
become
president"

of
the
new
nation,
and
he
was
inaugurated
 clothes,
saluted
me
as
I
passed
daily
to
and
fro;
but
Captain
Howe’s
praise
of
my
portrait


in
New
York
City
on
April
30,
1789.
 of
the
general
appeared
to
me
as
a
thing
of
course,
though
surely
he
was
as
much
deceived


Contending
with
the
ideological
struggles
 as
his
soldiers.
I
was
quite
at
home
in
every
respect
at
head
quarters...
[to
be]
noticed


within
the
government,
and
with
hostilities
 as
the
young
painter,
was
delicious.
The
general’s
portrait
led
to
the
sitting
of
the
lady


between
France
and
Great
Britain,
Wash- [Martha
Washington].
I
made
what
were
thought
likenesses,
and
presented
them
to



ington
greatly
feared
the
growth
of
political
 Mr.
and
Mrs.
Van
Horne,
taking
copies
for
myself.3


386 United States Senate 
George Washington 

William Dunlap (1766–1839) 

Pastel
on
paper,
ca.
1783


25
1

⁄2
 x
19
1⁄2
 inches
(64.8
x
49.5
cm)


Unsigned


Gift
of
Anne
Middleton
Ellis
in
memory
of
her
husband,
Augustus
Van
Horne
Ellis,
1940


Accepted
by
the
Joint
Committee
on
the
Library,
1940


Cat.
no.
31.00015


Catalogue of Fine Art 387 
George
Washington —continued 

parties
and
the
dangers
of
foreign
involve


ment.
These
issues
impelled
him
to
serve
a


second
term
as
president.


His
attempts
to
solve
foreign
relations


issues
during
his
second
term
resulted
in


Jay’s
Treaty
(1794),
a
vain
attempt
to
reg


ulate
trade
and
settle
boundary
disputes


with
Great
Britain,
and
the
Pinckney


Treaty
(1795),
which
successfully
settled


such
issues
with
Spain.
Washington
also


acted
vigorously
to
enforce
federal


authority
by
quashing
the
Whiskey


Rebellion,
during
which
liquor
producers


in
western
Pennsylvania
threatened
the


new
republic
by
rebelling
against
an


unpopular
excise
tax
on
whiskey.


Washington’s
1796
Farewell
Address


to
the
nation
emphasized
the
need
for
a


unified
federal
government
and
warned


against
party
faction
and
foreign
influence.


Although
often
subjected
to
harsh
criticism


by
his
contemporaries,
Washington
suc


ceeded
in
giving
the
new
government


dignity.
He
saw
a
federal
financial
system


firmly
established
through
the
efforts
of


Alexander
Hamilton,
and
he
set
valuable


precedents
in
the
conduct
of
the
executive


office.
Washington
retired
to
Mount
Vernon,


where
he
died
on
December
14,
1799.


It
would
be
pleasant
to
report
that
the
portrait
was
as
fine
as
the


praise
bestowed
on
the
young
man’s
work,
but,
in
fact,
it
is
labored
and


awkward.
The
Continental
army
uniform
(despite
evident
effort)
is
mostly


unconvincing,
from
the
odd
abstraction
of
the
ruffled
shirtfront
to
the


epaulets
that
look
more
like
strands
from
an
old
mop.
Still,
to
his
credit,


Dunlap
manages
to
render
Washington’s
prominent
and
idiosyncratic
nose


with
success,
and
the
eye
sockets
are
smoothly
modeled.
One
spatial


problem—the
viewer’s
uncertainty
that
a
neck
lies
behind
the
neck
cloth—


may
well
be
due
to
the
fact
that
Dunlap
had
lost
the
sight
of
his
right


eye
in
a
childhood
accident.
This
loss
“prevented
all
further
regular


schooling,”
and
Dunlap
also
believed
that
“either
from
nature
or
the
above


accident,
I
did
not
possess
a
painter’s
eye
for
colour;
but
I
was
now


devoted
to
painting
as
a
profession,
and
I
did
not
suspect
any
deficiency.”4


It
is
much
more
likely
that
his
spatial
perception,
rather
than
his
color


perception,
was
altered.


But
there
is
no
need
to
belabor
the
shortcomings
of
a
teenager’s


portrait
of
the
most
famous
man
of
his
day.
Dunlap
was
his
own
severest


critic.
Early
in
his
artistic
career,
Dunlap
had
gone
to
London
to
study


with
American
neoclassical
painter
Benjamin
West.
On
his
return,
he


established
himself
as
a
portrait
and
miniature
painter,
while
also
working


as
a
theatrical
manager.
He
later
painted
large
allegorical
and
religious


pictures,
similar
to
those
of
Benjamin
West.
Looking
back
from
old
age


to
his
early
painting
career,
Dunlap
wrote,
“I
now
intend
to
show
the


causes
that,
at
the
age
of
twenty­three,
and
after
a
long
residence
in


London,
left
me
ignorant
of
anatomy,
perspective,
drawing,
and
colouring,


and
returned
me
home
a
most
incapable
painter.” 5


In
addition
to
painting,
Dunlap
spent
time
as
a
militia
paymaster,


was
one
of
the
founders
of
the
National
Academy
of
Design
in
New


York
City,
and
was
involved
in
civic
and
cultural
affairs
throughout
his


lifetime.
He
remarked
at
one
time,
“The
good
artist
who
is
not
a
good


man,
is
a
traitor
to
the
arts,
and
an
enemy
to
society.”6


In
1926
Augustus
Van
Horne
Ellis
wrote
to
Charles
Fairman,
curator


for
the
architect
of
the
Capitol,
about
the
youthful
Dunlap’s
“crayon
portrait”
of
General
George
Washington
from
life,
which
had
been
handed


388 United States Senate 
down
through
his
family.
The
two
men
corresponded
over
the
next
11


years,
discussing
the
possible
gift
of
the
portrait
to
the
U.S.
government.


Not
until
after
Ellis’s
death,
however,
was
the
painting
accepted
by
the


Joint
Committee
on
the
Library
as
a
gift
to
the
“Senate
branch
of
the


Capitol”
from
Anne
Middleton
Ellis
in
memory
of
her
husband.


Artist
William
Dunlap
executed
this
selfportrait
around
1812.


(Yale
University
Art
Gallery,
Gift
from
the
estate
of
Geraldine


Woolsey
Carmalt)


Catalogue of Fine Art 389 
George
Washington —continued 

I

n
1795,
at
the
age
of
17,
Rembrandt
Peale
painted
a
life
portrait


of
George
Washington
during
the
president’s
second
term.
This


rare
opportunity
had
been
arranged
by
Rembrandt’s
father,
Charles


Willson
Peale,
who
had
already
painted
Washington
from
life
more


often
than
any
other
artist.
While
the
elder
Peale
painted
beside


him
(“to
calm
my
nerves”),
Rembrandt
created
a
rivetingly
realistic
head


of
the
president.1
For
the
sittings
with
Washington,
the
Peales
alternated


with
portraitist
Gilbert
Stuart—the
Peales
painted
Washington
one
day


and
Stuart,
the
next.


The
younger
Peale
was
never
fully
satisfied
with
his
resulting
life


portrait,
though
he
soon
produced
10
copies
from
it.
The
intention
behind


the
sittings
had
been,
in
fact,
to
supply
the
young
artist
with
a
model


that
could
serve
for
future
replicas.
But
unlike
Stuart,
who
painted
his


“Athenaeum”
head
of
Washington
the
following
year
and
replicated
it


more
than
70
times,
Rembrandt
Peale
soon
stopped
copying
his
life
study.


A
quarter
century
after
the
1795
effort,
Peale
set
out
to
create
a
new


portrait
of
Washington
that
would
show
his
“mild,
thoughtful
&
dignified,
yet
firm
and
energetic
Countenance.”
In
his
privately
printed
essay,


“Lecture
on
Washington
and
his
Portraits,”
the
artist
recounted
“repeated


attempts
to
fix
on
Canvass
the
Image
which
was
so
strong
in
my
mind,


by
an
effort
of
combination,
chiefly
of
my
father’s
and
my
own
studies.”2


Visits
to
France
(1808–10)
had
exposed
him
to
the
neoclassical
style
then


fashionable
in
Paris,
and
these
ideals
thenceforth
competed
with
the
innate


realism
 that
 informed
 his
 earlier
 work.
 In
 1823,
 following
 the
 highly


successful
tour
of
his
huge
allegorical
painting,
The Court of Death,
Peale


began
contemplating
a
new
project:
an
image
of
George
Washington
that


would,
he
hoped,
become
the
“Standard
likeness”
of
the
first
president.3


To
realize
this
likeness—to
invent
it,
really—he
reviewed
paintings
of


Washington
by
John
Trumbull,
by
Gilbert
Stuart,
and,
of
course,
by
his


own
father,
as
well
as
the
famous
sculptural
portrait
by
Jean­Antoine


Houdon.
This
last
he
considered
the
finest
of
all
portraits
of
Washington,


an
opinion
still
widely
held.
Peale
decided
that
a
composite
of
the
best


likenesses
was
most
likely
to
result
in
the
icon
he
hoped
to
produce.


Confining
himself
to
his
studio
for
three
months,
he
painted
in
a


“Poetic
frenzy.” 4
 When
completed,
the
portrait
was
given
the
blessing


of
the
elder
Peale,
who,
Rembrandt
reported,
judged
it
the
best
he
had


ever
seen.
Rembrandt
Peale
had
invented
a
composition
that
presented


the
hero
in
a
symbolic
manner,
blending
portraiture
with
history
painting.


390 United States Senate 
George Washington (Patriæ Pater) 

Rembrandt Peale (1778–1860) 

Oil
on
canvas,
1823


71
1

⁄2
 x
53
1⁄4
 inches
(181.6
x
135.3
cm)


Unsigned


Inscribed
(centered
on
base
beneath
painted
stone
frame):
PATRIÆ
PATER


Purchased
by
the
Joint
Committee
on
the
Library,
1832


Cat.
no.
31.00001


Catalogue of Fine Art 391 
George
Washington —continued 

He
settled
on
a
format
roughly
twice
the
size
of
a
standard
portrait,


within
which
he
painted
a
strikingly
illusionistic
stone
oval
window


atop
a
stone
sill
engraved
with
the
legend
“PATRIÆ
PATER”
(Father
of


His
Country).
The
window
is
decorated
with
a
garland
of
oak
leaves,


and
it
is
surmounted
by
the
“Phydian
head
of
Jupiter”
(Peale’s
description)
on
the
keystone.
The
oak
was
sacred
to
Jupiter,
and
it
also
had


a
long
Christian
tradition
as
a
symbol
of
virtue
and
endurance
in
the


face
of
adversity.
Within
this
“porthole,”
as
it
was
soon
dubbed,
Peale


placed
the
bust­length
figure
of
Washington
with
an
extraterrestrial
background
of
clouds
and
shadows.
Not
just
a
simple
sky,
it
has
the
effect


of
placing
Washington,
if
not
precisely
in
eternity,
then
(in
Thomas


Jefferson’s
words)
in
“everlasting
remembrance.”5


Peale’s
extraordinarily
difficult
problem
had
been
how to
use
the


best
sources
to
reinvent
an
image
of
Washington
that
could
mediate


among
them.
He
stated
publicly
that
he
had
based
the
new
image
on


his
1795
portrait,
his
father’s
portraits,
and
Houdon’s
portrait.
Rembrandt


was
flattering
his
father:
Only
the
last
of
the
elder
Peale’s
seven
different
likenesses
of
Washington,
painted
beside
his
son
in
1795,
has


any
similarity
to
Rembrandt’s
work,
and
then
perhaps
mainly
in
the


elegant
ruffled
shirt.
In
fact,
Rembrandt
scarcely
consulted
his
own


youthful
effort.
It
was
the
Houdon
of
1785
that
prevailed,
and
this
was


the
 most
 appropriate
 source,
 because
 it
 showed
 a
 still­vigorous


Washington
in
retirement
after
the
War
of
Independence
but
before
the


rigors
of
the
Constitutional
Convention
and
his
presidential
service.
This


revivified
heroic
Washington
is
firmly
linked
to
the
real
world
by
his


black
cloak,
which
tumbles
out
of
the
window
onto
the
sill,
while
the


hero
himself
remains
in
the
ethereal
space
behind
it.


But
Peale’s
neoclassical
idealism
went
further
than
Houdon’s,
and


he
subjected
Washington’s
features
to
what
one
writer
has
called
“a
puffy


articulation
of
the
planes
of
the
face,”
a
stylization
that
suggests
pinches


of
modeling
clay.6
 At
the
same
time,
the
idiosyncratic
particulars
that


marked
Houdon’s
rendering
of
such
passages
as
eyebrows,
the
bridge


of
the
nose,
and
hair
are
erased
or
superseded
by
regularity,
and
the


head
is
bathed
in
a
strong
light
that
glosses
the
features
with
the
sheen


of
perfection.
Washington’s
nose
is
made
still
more
Roman
and,
indeed,


it
invites
comparison
with
the
nose
of
Jupiter
above,
which
in
turn
reminds


viewers
of
Washington’s
godlike
status
in
the
hearts
of
his
countrymen.


392 United States Senate 
The
result
is
an
undeniably
forceful
presence,
not
Washington
exactly,


but
the
idea of
Washington.


“Mild,
yet
resolute”
was
Chief
Justice
John
Marshall’s
summation


of
the
likeness—and
it
does
possess
immense
dignity
and
venerable


nobility.7
 It
manages
to
belong
to
two
realms,
the
reality
of
the
fictive


stone
framework
in
front
of
Washington
and
the
timeless
world
behind


him.
 Finally,
 and
 very
 significantly,
 it
 should
 be


recalled
that
the
“invention”
of
the
porthole
portrait


was,
in
fact,
an
inspiration
borrowed
from
ancient


Rome,
for
it
is
in
Roman
funerary
sculpture
that
the


portrait
of
the
deceased
is
so
framed.
Though
not
the


only
painter
to
borrow
this
device,
Peale
demonstrated


that
it
was
doubly
appropriate
for
Washington.
It
was


fitting,
first,
for
a
posthumous
portrait,
and
second,


as
an
allusion
to
the
Roman
Republic,
whose
ideals


were
continually
invoked
by
the
Founding
Fathers.


Peale
painted
the
Senate
picture
and
the
first


replica
of
it
almost
simultaneously,
in
Philadelphia


during
the
winter
of
1823–24.
In
late
February
1824,


he
put
the
original
painting
on
display
in
the
U.S.


Capitol.
There
it
was
viewed
by
members
of
Congress


and
many
of
Washington’s
friends
and
relatives.
The


porthole
portrait
of
Washington
did
not
become
the


“standard
likeness,”
but
it
became
second
only
to
the


image
by
Gilbert
Stuart,
which
proved
impossible
to


displace
from
the
public
imagination.
Of
Peale’s
nearly


80
replicas
or
variants,
the
version
in
the
Senate
is
the


The
portrait
of
George
Washington
by masterpiece.
No
painting
in
the
U.S.
Capitol
has
greater
 Rembrandt
Peale—seen
here
in
this
ca.
1870


historical
or
symbolic
resonance.
 photograph—was
displayed
in
the
Vice


The
artist
collected
testimonials
from
more
than
20
individuals
who! President’s
Room
in
the
Capitol
from
1859


until
1976.


had
known
Washington;
he
later
published
them
in
a
pamphlet
titled


Portrait of Washington. The
comments
praised
the
painting
and
include


such
glowing
descriptions
as
those
of
Chief
Justice
John
Marshall:
“The


likeness
in
features
is
striking,
and
the
Character
of
the
whole
face
is


preserved
&
exhibited
with
wonderful
Accuracy.
It
is
more
Washington 

himself than
any
Portrait
of
him
I
have
ever
seen.”8
 Peale
used
the


resulting
publicity
to
lobby
Congress,
unsuccessfully,
for
a
commission


to
paint
an
equestrian
portrait
of
General
Washington.


Catalogue of Fine Art 393 
George
Washington —continued 

394 United States Senate 
Peale
then
exhibited
his
Patriæ Pater portrait
in
Baltimore,
Philadelphia,
and
New
York.
In
the
spring
of
1827,
he
drew
a
lithograph
based


on
the
painting,
in
the
Boston
studio
of
William
and
John
Pendleton,
whose


lithographic
press
was
highly
regarded.
The
lithograph
was
awarded
a


silver
medal,
the
highest
award,
at
the
fall
exhibition
at
the
Franklin
Institute
in
Philadelphia.
This
and
other
images
based
on
the
painting
ensured


widespread
recognition.
Late
in
1828
Peale
sailed
for
Europe,
where
he


remained
until
September
1830,
taking
Patriæ Pater with
him.
He
reported


that
the
painting
was
well
received
in
Rome,
Naples,
Paris,
and
London.


In
Florence
it
was
exhibited
at
the
Accademia
in
September
1829
and


praised
by
the
press.


Congress,
though
reluctant
to
spend
money
on
art
in
the
early
years


of
 the
 nation,
 was
 prompted
 by
 the
 1832
 centennial
 of
 George


Washington’s
birth
to
purchase
Patriæ Pater from
Rembrandt
Peale
for


$2,000.
After
its
purchase,
the
painting
was
hung
at
the
gallery
level
in


the
Senate
Chamber,
where
it
remained
until
the
Senate
moved
into
its


new
north
wing
Chamber
in
1859,
and
the
Supreme
Court
moved
upstairs


into
the
Old
Senate
Chamber.
At
that
time,
the
painting
was
moved
to


the
new
Vice
President’s
Room
near
the
Senate
floor.
It
remained
there


until
the
restoration
of
the
Old
Senate
Chamber
as
a
museum
room
in


1976,
allowing
the
return
of
the
portrait
to
its
original
location.


The
oil
replicas
of
Peale’s
original
porthole
portrait
of
Washington


constitute
four
distinct
categories:
those
identical
to
the
original,
with


the
subject’s
face
turned
proper
right
and
featuring
civilian
dress;
those


similar
to
the
original,
but
with
face
turned
to
the
left;
those
with


Washington’s
face
turned
right,
but
featuring
military
dress;
and
those


facing
 left,
 with
 military
 dress.
 The
 example
 at
 the
 Pennsylvania


Academy
is
believed
to
be
the
original
of
the
second
type.
The
NewYork
Historical
Society
owns
a
late
1853
version
in
which
Washington


wears
a
military
uniform.
Peale
justified
the
many
replicas
by
claiming


that,
because
he
was
the
last
living
artist
to
have
painted
Washington


from
life,
“the
reduplication
of...
[my]
work,
by
.
.
.
[my]
own
hand,


should
be
esteemed
the
most
reliable.”9


Left: 

Rembrandt
Peale’s
portrait
of
George


Washington
hangs
above
the
presiding


officer’s
dais
in
the
Old
Senate
Chamber.


(1999
photograph)


Rembrandt
Peale
used
the
new
lithography


process
to
promote
his
Patriæ Pater portrait


of
George
Washington,
creating
this
1827


image
that
was
printed
by
the
Pendleton


Lithography
firm.


(National
Portrait
Gallery,
Smithsonian
Institution;
Gift
of


Stuart
P.
Feld)


Catalogue of Fine Art 395 
George
Washington —continued 

Gilbert
Stuart’s
second
and
most
important
life
portrait


of
George
Washington
was
an
oil
painting
executed
in


1796.
Best
known
as
the
image
on
the
one­dollar
bill,


it
is
considered
the
most
famous
painting
of
the
first


president.
The
portrait,
which
shows
the
left
side
of


Washington’s
face,
was
painted
when
the
president
was
64
years
old.


It
came
to
be
known
as
the
“Athenaeum
portrait”
because
it
was
acquired


by
the
Boston
Athenaeum
just
after
the
artist’s
death.
The
Athenaeum


owned
it
for
150
years.
(In
this
and
other
references
in
this
volume,


“Athenaeum
head,”
“Athenaeum
Washington,”
or
“Athenaeum
portrait”


refer
to
this
original
life
portrait,
today
owned
jointly
by
the
Smithsonian


Institution’s
 National
 Portrait
 Gallery
 in
 Washington,
 D.C.,
 and
 the


Museum
of
Fine
Arts
in
Boston.
Two
replica
portraits
owned
by
the


Senate—one
shown
here
and
one
on
page
400—and
all
other
replicas


of
the
same
type
are
referred
to
as
“Athenaeum
type”
or
“copy
or
replica


of
the
Athenaeum
portrait.”)


The
Athenaeum
Washington
was
executed
through
the
intervention


of
Anne
Bingham,
wife
of
Senator
William
Bingham
of
Pennsylvania,


probably
in
preparation
for
a
half­length
portrait
commissioned
by
her


husband.
Bingham
subsequently
changed
his
mind
and
ordered
a
fulllength
portrait
instead—and
a
copy
for
William
Petty,
Lord
Shelburne,


the
first
Marquis
of
Lansdowne.
These
full­length
“Lansdowne­type”


portraits
of
Washington
are
now,
respectively,
in
the
Pennsylvania
Academy
of
the
Fine
Arts
in
Philadelphia,
and
the
National
Portrait
Gallery.


The
Athenaeum
head
was
left
unfinished
by
Stuart,
who
retained


it
during
his
lifetime.
He
kept
the
portrait
from
life
in
order
to
make


numerous
replicas
(some
70
in
the
bust­length
format)
from
it.
There


were,
of
course,
alterations
in
the
replicas,
some
subtle
and
some
more


pronounced.
These
might
have
been
due
to
haste
or
to
other
factors


not
now
known.
The
costume,
hardly
indicated
in
the
original
life
portrait,
was
continually
reinvented
by
the
artist.


This
particular
replica
of
the
Athenaeum
portrait,
sometimes
referred


to
as
the
“Chesnut
portrait,”
was
purchased
from
the
artist
by
Colonel


John
Chesnut
of
South
Carolina
in
the
late
1790s.
Chesnut
had
served


with
South
Carolina
regiments
in
the
American
Revolution
and
was
a


member
of
the
South
Carolina
state
convention
to
ratify
the
federal


Constitution.
Thomas
Chesnut,
heir
to
the
original
owner,
sold
the
portrait


in
1870
to
art
collector
W.W.
Corcoran,
founder
of
the
Corcoran
Gallery


396 United States Senate 
George Washington 

Gilbert Stuart (1755–1828) 

Oil
on
canvas,
ca.
1796–1798


28
5

⁄8
 x
23
5⁄8
 inches
(72.7
x
60
cm)


Unsigned


Purchased
by
the
Joint
Committee
on
the
Library,
1876


Cat.
no.
31.00003


Catalogue of Fine Art 397 
George
Washington —continued 

of
Art
in
Washington,
D.C.
The
Joint
Committee
on
the
Library,
in
turn,


purchased
the
painting
from
Corcoran
for
the
United
States
Capitol
in


1876,
the
nation’s
centennial
year.


The
Chesnut
portrait
is
of
both
documentary
and
aesthetic
interest.


Washington
sat
for
Stuart
for
the
Athenaeum
head
in
April
1796,
and
he


departed
Philadelphia
at
the
end
of
his
second
term
in
March
1797.
It


has
been
assumed
that
General
Chesnut
acquired
this
replica
about
the


time
he
sat
for
Stuart
for
his
own
portrait,
while
on
a
visit
to
Philadelphia
in
1797–98.
Some
writers
maintain
that
the
president
appears
older


here
than
in
the
Athenaeum
head.
To
account
for
this
difference,
it
has


been
claimed
that
the
political
attacks
endured
by
Washington
during


his
second
term
aged
him,
and
that
Stuart
was
able
to
incorporate
the


change
 because
 Washington
 agreed
 to
 another
 sitting.
 However,
this


hypothesis
conveniently
ignores
the
very
short
time
thus
assumed
between


the
two
sittings.
It
is
highly
unlikely
that
the
president
would
have
granted


a
sitting
to
Stuart
in
the
waning
months
of
his
administration,
and
Stuart


did
not
subsequently
visit
him
at
Mt.
Vernon.


The
difference
in
appearance
may
more
aptly
be
called
weariness


than
aging,
and
it
would
have
been
a
relatively
easy
matter
for
Stuart


to
alter
the
portrait
to
suggest
this
change,
without
requiring
a
sitting.


There
 is
 a
 perceptible
 softening
 of
 the
 modeling,
 for
 instance.
 The


president’s
eyes
seem
more
shadowed
and
his
face
less
fleshy—in
short,


somewhat
gaunt—despite
the
apple­red
cheeks
that
Stuart
often
favored


for
his
sitters.
For
this
replica,
Stuart
embellished
the
costume
with
a


fluidly
improvised
shirtfront,
like
liquid
lace.


Gilbert
 Stuart
 is
 undoubtedly
 one
 of
 America’s
 greatest
 portrait


painters.
Having
trained
in
Europe,
he
returned
to
this
country
with
the


prospect
of
greater
financial
gain.
Known
for
his
elegant
and
fashionable


portrait
style,
he
painted
war
heroes,
socialites,
and
prominent
families.


But
it
was
George
Washington
whom
he
most
sought
to
paint,
and
it
was


his
Washington
portraits
that
provided
him
with
the
greatest
financial


reward.
Other
national
figures
that
Stuart
recorded
on
canvas
included


John
Adams,
Thomas
Jefferson,
and
James
Madison.


398 United States Senate 
Gilbert
Stuart
purposely
left
his
1796
portrait


of
George
Washington,
also
known
as
the


“Athenaeum
portrait,”
unfinished
and
used


it
as
a
model
for
his
numerous
replicas.


(National
Portrait
Gallery,
Smithsonian
Institution;
Owned
jointly


with
the
Museum
of
Fine
Arts,
Boston)


Catalogue of Fine Art 399 
George
Washington —continued 

This
skillful
replica
by
Gilbert
Stuart
of
his
Athenaeum


portrait
of
George
Washington
is
commonly
known
as
the


“Pennington
portrait.”
It
takes
its
name
from
its
first
owner,


Edward
Pennington,
a
Philadelphian
who
was
a
founder


of
the
Pennsylvania
Academy
of
the
Fine
Arts.
It
may
be


assumed
that
Pennington
acquired
the
Washington
portrait
around
the


time
Stuart
was
in
Bordentown,
New
Jersey,
where
Stuart
left
his
family


while
he
was
in
Washington,
D.C.,
and
Baltimore,
and
where
at
least


some
of
Pennington’s
family
lived.
(Stuart
painted
a
portrait
of
Edward


Pennington
around
1802,
and
the
painting
is
now
located
at
the
Atwater


Kent
 Museum
 in
 Philadelphia.)
 The
 Washington
 portrait
 owned
 by


Pennington
later
came
into
the
possession
of
Mrs.
Cicero
W.
Harris
of


Washington,
D.C.,
who
in
1886
sold
it
to
the
Joint
Committee
on
the


Library
for
placement
in
the
U.S.
Capitol.


In
this
replica,
Stuart
paints
Washington’s
face
and
hair
more
boldly


and
summarily
than
he
does
in
some
other
replicas.
For
example,
he


emulates
the
fleshy
bridge
of
Washington’s
nose
with
a
creamy
swirl
of


paint.
The
flesh
coloring
is
nicely
balanced,
without
the
strong
crimson


cheeks
Stuart
often
favors,
although
his
characteristic
use
of
red
in
the


shadows
of
the
upper
eyelids
is
apparent.
The
modeling
of
the
mouth


seems
somewhat
hesitant,
as
if
the
artist
were
trying
to
modify
the
puffy


distortion
caused
by
the
president’s
notorious
false
teeth.
The
paint
is


applied
with
particular
fluency
in
the
lacy
shirtfront.


There
 is
 a
 compelling
 directness
 about
 this
 image
 that
 is


explained,
in
part,
by
the
secure
placement
of
the
head
on
the
canvas.


When
compared
with
the
Senate’s
other
Athenaeum­type
head—the


Chesnut
portrait
(p.
396)—the
Pennington
head
is
more
securely
positioned
on
the
canvas.
It
is
firmly
in
the
upper
half
of
the
field
and


more
strongly
centered.
Washington’s
left
eye
lies
precisely
at
the


horizontal
midpoint.
Were
the
head
to
rotate
to
a
frontal
position,
it


would
be
more
symmetrically
placed
than
would
the
head
in
the


Chesnut
portrait.
The
white
neckcloth—the
strongest,
brightest
tone


in
the
painting—provides
a
solid
pedestal
for
the
head.


Equally
admirable
in
this
version
is
Stuart’s
control
of
the
lighting


and,
therefore,
the
coherence
of
forms
in
space.
For
instance,
a
nicely


gauged,
faint
highlight
defines
the
back
of
the
high
coat
collar
where
it


meets
the
striking
bow
of
black
ribbon.
The
ribbon
secures
the
black


silk
bag
that
holds
the
long
hair
at
the
back.
(This
fashion
appeared
around


400 United States Senate 
George Washington 

Gilbert Stuart (1755–1828) 

Oil
on
canvas,
ca.
1796–1805



28
3

⁄4
 x
23
5⁄8
 inches
(73
x
60
cm)


Unsigned


Purchased
by
the
Joint
Committee
on
the
Library,
1886


Cat.
no.
31.00004


Catalogue of Fine Art 401 
George
Washington —continued 

1770;
alternatively,
the
back
hair
was
dressed
in
a
queue,
or
pigtail.)
The


hair
ribbon
is
unusually
elaborate,
larger
than
that
used
on
a
pigtail
(which


would
not
be
visible
from
the
front),
and
its
serrated
contour
is
visually


confusing
to
the
modern
viewer.
But
Stuart’s
subtle
highlighting
helps


differentiate
the
shapes
within
that
large
black
area.
In
addition,
the
gradation
of
light
across
the
background
suggests
space
and
gives
the
head


still
more
force
while
enhancing
the
effective,
persuasive
design
of
the


torso,
whose
proper
right
contour
has
a
melodic
descent.


The
painting
has
hung
in
various
locations
in
the
Capitol
since
it


was
acquired,
and
it
was
also
displayed
at
the
Corcoran
Gallery
of
Art


in
Washington,
D.C.,
in
1932
as
part
of
an
exhibition
celebrating
the


bicentennial
of
Washington’s
birth.


Right: 

Gilbert
Stuart’s
portrait
of
the
first
president


hangs
in
the
Democratic
leader’s
suite
in
the


Senate
wing
of
the
Capitol.


(1999
photograph)


402 United States Senate 

George
Washington —continued 

I

n
April
1966,
the
Joint
Committee
on
the
Library
accepted
a
marble


bust
of
George
Washington
from
Mary
Frances
Drinker
of
Jenkintown,
Pennsylvania.
In
her
initial
letter
to
Senator
Everett
Jordan


of
North
Carolina,
then
chairman
of
the
committee,
the
donor


stated
that
the
Washington
bust—in
the
style
of
noted
French


sculptor
 Jean­Antoine
 Houdon—had
 belonged
 to
 her
 father,
 Henry


Middleton
Fisher,
and
had
been
on
loan
to
the
Philadelphia
Museum


of
Art
“for
some
years.”
In
recommending
the
acquisition
of
the
bust


to
the
Joint
Committee,
Architect
of
the
Capitol
J.
George
Stewart
noted


Washington’s
close
association
with
the
design
of
the
Capitol,
adding


that
the
first
president
had
in
fact
laid
the
cornerstone
for
the
building.


The
artist
of
the
Senate
bust
is
unknown.
While
on
loan
to
the


Philadelphia
Museum
of
Art
from
1937
until
its
transfer
to
the
Capitol


in
1966,
the
bust
was
classified
as
“French,
early
19th
century.”
The
work


resembles
the
1785
study
of
Washington
by
Houdon.
In
that
year,
Houdon


had
traveled
with
three
assistants
to
Washington’s
home,
Mount
Vernon.


There,
he
modeled
a
bust
of
the
Revolutionary
War
hero
in
clay
and


made
a
life
mask
of
Washington’s
face.
The
sculptor
and
his
assistants


subsequently
produced
many
versions
of
Washington,
including
busts,


statuettes,
and
statues
in
plaster,
bronze,
and
marble.


Gustavus
Eisen,
in
his
study
Portraits of Washington, identifies
four


styles
of
Washington
busts
sculpted
by
Houdon.
The
Senate
bust
most


closely
 corresponds
 to
 the
 version
 Eisen
 terms
 “chest
 covered
 with


drapery
in
toga
style.”1
The
sculptor
of
this
bust,
however,
departed
from


Houdon’s
classic
likeness
both
in
the
drape
of
the
toga
(which
is
not


held
by
a
button
on
the
right
shoulder,
as
is
the
toga
of
Houdon’s
bust)


and
in
the
wavy
treatment
of
the
hair.


404 United States Senate 
George Washington 

Unknown artist 

French
School,
after
Jean­Antoine
Houdon
(1741–1828)


Marble,
date
unknown


31
1

⁄4
 x
22
1⁄2
 x
14
1⁄4
 inches
(79.4
x
57.2
x
36.2
cm)


Unsigned


Gift
of
Mary
Frances
Drinker,
1966


Accepted
by
the
Joint
Committee
on
the
Library,
1966


Cat.
no.
21.00020


Catalogue of Fine Art 405 
George
Washington
Memorial
Window


This
scene
depicts
General
George
 Artist
Maria
Herndl
first
contacted
Architect
of
the
Capitol


Washington,
Baron
Friedrich
von
Steuben
 Elliot
Woods
in
December
1904
regarding
the
purchase of
Prussia,
and
the
Marquis
de
Lafayette


of
France
in
a
Revolutionary
War
setting
 of
her
stained
glass
window
of
George
Washington.
Woods


at
the
time
of
the
Battle
of
Yorktown.
 was
to
receive
numerous
letters
on
the
subject
over
the


Lafayette
and
von
Steuben
served
as
divi- next
six
years
from
Herndl.
The
artist
hoped
to
sell
her sion
commanders
during
the
engagement.
 window
to
the
United
States
government
for
display
in
the
U.S.
Capitol General
Washington
sits
astride
a
white


horse
in
the
center
of
the
image,
with
 or
some
other
federal
building
in
Washington,
D.C.
The
piece
had
been


Lafayette
standing
to
his
right
and
von
 exhibited
 at
 the
 St.
 Louis
 Exposition
 in
 1904,
 where
 contemporary Steuben
pictured
behind
Lafayette.
It
was
 accounts
praised
the
work
and
noted
that
it
was
awarded
a
medal. at
Yorktown
in
1781
where
Washington


and
the
Continental
army
defeated
the
 Herndl’s
passion
for
her
project
had
already
caused
her
some


British
forces
led
by
General
Cornwallis.
 embarrassment—as
well
as,
perhaps,
some
welcome
publicity.
While Baron
von
Steuben,
a
former
Prussian


military
officer,
arrived
in
Portsmouth,
 President
Theodore
Roosevelt
was
in
St.
Louis,
she
was
arrested
by
Secret


New
Hampshire,
in
1777
to
aid
the
war
 Service
agents
for
attempting
to
see
him,
with
the
intent
of
persuading


effort,
without
pay
or
rank.
Through
strict
 him
to
purchase
the
window
for
the
Capitol.
A
newspaper
account training,
von
Steuben
transformed
a
tired,


ragged
army
into
one
that
would
triumph
 recalled
some
years
later,
“Apologies
were
profuse
when
the
mistake


at
Yorktown.
 which
they
had
made
was
discovered,
and
the
plucky
little
woman
was


Lafayette,
hearing
of
the
plight
of
the
 given
a
commission
to
paint
President
Roosevelt’s
portrait.”1


colonies,
purchased
a
ship
with
money


inherited
from
his
grandfather
and
sailed
 In
her
frequent
correspondence,
Herndl
fervently
appealed
for


to
America.
At
the
age
of
19,
he
was
 the
purchase
of
her
window.
In
November
21,
1906,
she
wrote
to
Woods,


appointed
major
general
in
the
Continental
 “I
cannot
express
how
anxious
I
am
to
have
the
matter
of
this
Art­window
 army.
Like
von
Steuben,
Lafayette
also
 come
to
the
desired
result;
as
it
means
all
and
everything
to
me
my
 refused
payment
for
his
services.
He"

became
both
a
close
friend
and
trusted
 whole
life.”
Though
Herndl
was
reassured
that
the
delays
were
not
any


advisor
to
Washington.
In
1779
Lafayette
 reflection
on
the
work’s
quality,
but
rather
on
the
lack
of
space,
she
 traveled
to
his
homeland
to
solicit
French"

support
for
the
colonies.
He
returned
to
 continued
her
efforts.



America
to
aid
Washington
in
his
defeat
of
 The
government
finally
purchased
the
piece
in
1910
for
$1,800.


Cornwallis
and
the
British
at
Yorktown,
the
 Because
there
was
still
no
suitable
display
area
for
the
window,
it
was
 last
major
battle
of
the
American
Revolution.
 lent
to
the
Smithsonian
Institution.
In
1962
the
window
was
returned
to


the
Capitol
and
placed
on
display
in
the
Senators’
Dining
Room
(S–109).


Born
in
Munich,
Bavaria,
Maria
Herndl
studied
in
her
homeland


before
moving
to
Milwaukee,
Wisconsin,
to
create
decorative
windows


for
public
and
private
buildings.
She
was
the
only
woman
of
her
time
to


achieve
success
as
a
stained
glass
artist.
Herndl’s
The Fairy Queen window


received
a
medal
at
the
World’s
Columbian
Exposition
in
Chicago
in
1893,


and
her
Hans Christian Andersen Window was
completed
in
1896
for
the


Milwaukee
Public
Library.
The
artist
was
working
on
a
skylight
for
the


Capitol
when
she
died
in
1912. Maria
Herndl’s
stained
glass
window
is
seen


behind
Senator
Barry
Goldwater,
center,
in
the


Senators’
Dining
Room
in
the
Capitol,
ca.
1964.


(U.S.
Senate
Historical
Office)


406 United States Senate 
George Washington Memorial Window 

Maria Herndl (1860–1912) 

Stained
lead
glass,
ca.
1904


73
5

⁄8
 x
37
1⁄2
 inches
(187
x
95.3
cm)


Signed
(centered
at
bottom):
Maria
Herndl.


Purchased
by
the
Joint
Committee
on
the
Library,
1910


Cat.
no.
42.00001


Catalogue of Fine Art 407 
George
Washington
at
Princeton


(January 3, 1777) 

The
Battle
of
Princeton,
New
Jersey,
fought
 Charles
Willson
Peale
painted
George
Washington
more
times


on
January
3,
1777,
followed
George
 from
 life
 than
 any
 other
 artist.
 In
 1772
 Peale
 visited Washington’s
legendary
victory
at
nearby


Trenton.
There,
Washington
braved
floating
 Washington’s
home,
Mount
Vernon,
to
portray
the
hero
as


ice
to
cross
the
Delaware
River
in
the
early
 a
colonel
of
the
Virginia
regiment,
the
only
pre­Revolutionary


morning
hours
of
December
26,
1776,
and
 likeness
of
him.
In
1795
Peale
and
other
members
of
his
 defeated
a
brigade
of
Hessian
mercenaries.


Afterwards,
he
returned
to
his
Pennsylvania
 family
painted
the
president
for
the
last
time
during
his
second
term.
All


camp.
 told,
Peale
had
seven
opportunities
to
paint
the
great
man
at
different


On
December
30,
Washington
re- times
in
his
career,
and
he
replicated
many
of
the
paintings. crossed
the
river
and
took
position
outside
 None
was
as
popular
as
the
enduring
image
of
Washington
after Trenton,
on
the
south
bank
of
Assunpink


Creek.
Under
orders
to
destroy
the
Amer- the
Battle
of
Princeton,
which
was
commissioned
by
the
Supreme
Executive


ican
army
and
avenge
the
defeat
at
 Council
of
Pennsylvania
for
its
council
chamber
in
Independence
Hall
in Trenton,
the
British
commander,
Lord


Cornwallis,
marched
to
meet
Washington,
 Philadelphia.
The
original,
now
owned
by
the
Pennsylvania
Academy
of


leaving
three
regiments
behind
at
Princeton
 the
Fine
Arts,
was
completed
in
early
1779,
when
Washington
sat
for
Peale


as
a
rear
guard.
American
detachments
 in
Philadelphia.
An
immediate
success,
it
precipitated
a
great
demand
for harassed
and
delayed
the
British
advance,


and
it
was
not
until
dusk
on
January
2
that
 replicas.
Of
the
estimated
18
replicas,
the
superlative
Senate
picture
is


the
British
army
arrived
in
front
of
the
 the
earliest
recorded
one
that
Peale
made,
although
there
was
a
conAmerican
position.
After
fitful
skirmishing,
 temporary
published
notice
that
five
replicas
had
been
ordered
as
early Cornwallis
decided
to
encamp
for
the


night,
intending
to
attack
the
Americans
 as
February
1779.
The
Senate
picture
was
purchased
from
the
artist
by


the
next
day.
Expecting
this
strategy,
Wash- the
French
Ambassador
Conrad­Alexandre
Gérard,
probably
on
behalf
of


ington
broke
camp,
leaving
a
few
men
to
 Louis
XVI,
and
paid
for
with
a
bill
of
exchange
on
July
15,
1779.
The keep
the
fires
lit
and
the
appearance
that


all
was
unchanged.
Taking
an
unguarded
 ambassador,
who
sat
for
Peale
for
his
own
portrait
in
September,
took


back
road,
he
and
his
men
slipped
past
 the
painting
of
Washington
home
to
France
shortly
thereafter
and
presented


Cornwallis’s
army
during
the
night
and,
at
 it
to
the
king.
This
scenario
is
confirmed
in
a
letter
from
Peale,
dated dawn
on
January
3,
encountered
British


reinforcements
hurrying
from
Princeton
to
 October
15,
1779,
to
Edmund
Jenings
in
Brussels.
Peale
sent
Jenings
a


join
Cornwallis.
Unprepared
for
the
sudden
 miniature
portrait
of
Washington,
with
the
remark
that
“The
Likeness
is


meeting,
the
American
advance
guard
was
 something
different
from
that
which
his
Excellency
Sieur
Gerard
Carries routed.
However,
Washington
soon
arrived
 for
the
King.”1
 on
the
field,
rallied
his
troops,
and
led
a"

charge
that
put
the
British
to
flight
and
 Henry
Tuckerman,
in
his
1867
Book of the Artists,
wrote
that
“the


opened
the
way
to
Princeton.
After
a
 misfortunes
of
the
royal
family
occasioned
its
[the
portrait’s]
sale,
and
it short
engagement
in
the
town
itself,
the


remainder
of
the
British
garrison
surren- became
the
property
of
Count
de
Menou,
who
brought
it
again
to
this


dered.
By
the
time
Cornwallis
arrived
on
 country.”2
 It
is
not
clear
when
that
occurred,
but
the
count
is
reported


the
outskirts
of
the
town
with
his
main
 to
have
sold
the
painting
in
October
1841
to
Charles
B.
Calvert
of
Prince force,
Washington
had
slipped
away.


The
Battles
of
Trenton
and
Princeton
are
 George’s
County,
Maryland,
for
$200.
Calvert,
in
turn,
deposited
it
with


considered
among
Washington’s
greatest
 The
National
Institution
for
the
Promotion
of
Science
(incorporated
in


victories.
The
success
of
those
10
crucial
 1842
as
simply
the
National
Institute).
In
1858
the
art
objects
owned
by days
bolstered
American
morale
and


renewed
confidence
in
the
Revolutionary
 the
institute
were
transferred
to
the
Smithsonian
Institution.
ExplorerWar
effort.
 naturalist
 Titian
 Ramsey
 Peale
 II,
 a
 son
 of
 the
 artist,
 petitioned
 the


Smithsonian
Institution’s
Board
of
Regents
in
1870,
claiming
ownership


408 United States Senate 
George Washington at Princeton 

Charles Willson Peale (1741–1827) 

Oil
on
canvas,
1779


91
5

⁄8
 x
58
3⁄8
 inches
(232.7
x
148.3
cm)


Signed
and
dated
(lower
left
corner):
C:
W:
Peale
pinxt

:
/
Philadelphia
1779


Purchased
by
the
Joint
Committee
on
the
Library,
1882


Cat.
no.
31.00002


Catalogue of Fine Art 409 
George
Washington
at
Princeton —continued 

of
the
painting
on
behalf
of
his
father’s
heirs.
The
claim
was
rejected


because
of
insufficient
evidence,
but
in
February
1882
the
U.S.
Senate


passed
a
resolution
instructing
the
Joint
Committee
on
the
Library
to


“inquire
into
the
expediency
of
purchasing
the
picture...now 
alleged


to
be
the
property
of
Titian
R.
Peale.” 3
On
April
10,
1882,
the
committee


paid
$5,000
to
Titian
Peale
to
acquire
the
portrait.


The
portrait,
with
its
specific
reference
to
a


battle,
was
a
complicated
undertaking.
Of
course,


Peale
 invented
 the
 composition.
 Washington,


wearing
a
blue
and
buff
uniform
with
the
blue
sash


of
the
commander­in­chief,
leans
lightly
on
the


barrel
of
a
captured
cannon.
Two
Hessian
flags


captured
at
Trenton
are
beside
him
and
at
his
feet.


A
British
ensign
lies
on
the
ground
to
the
left.


Behind
 him,
 an
 officer
 holds
 his
 commander’s


horse,
while
above
them
flies
the
blue
battle
flag


with
a
circle
of
13
stars.
A
second
horse
is
glimpsed


at
the
right.
On
a
shadowed
rise
in
the
left
middle


distance,
 beside
 a
 barren,
 wintry
 tree,
 are
 two


mounted
soldiers
with
rifles.
One
of
them
gestures


toward
a
procession
of
16
red­coated
prisoners


under
guard
farther
back.
Beyond
is
a
group
of


six
or
seven
buildings,
including
Nassau
Hall,
the


principal
building
of
the
College
of
New
Jersey


(now
Princeton
University).
The
hall
was
included


for
its
significance
in
the
battle—the
engagement


actually
ended
within
its
walls.


It
was
a
landscape
Peale
knew
well.
The
artist


had
served
in
the
Continental
army
for
three
years,


commanding
a
company
of
Philadelphia
militia.
He


saw
action
at
the
Battles
of
Trenton,
Princeton,
and


Germantown.
At
Princeton,
he
found
himself
in
the


front
line
at
the
battle’s
climax,
with
Washington


in
command.
It
is
rare,
indeed,
for
a
painter
of
mil­ Charles
Willson
Peale
published
this
mezzo-


tint
in
1780
based
on
his
popular
portrait
of
 itary
history
to
have
participated
in
the
engagement


General
George
Washington.
 being
depicted.
Peale
wrote
in
his
diary
that
they
“stood
the
Fire
without (The
Metropolitan
Museum
of
Art,
Bequest
of
Charles
Allen
Munn,


our
heads,
and
what
is
very
astonishing
did
little
or
no
harm.” 4
 Peale


1924)
 regarding
[the]
Balls
which
whistled
their
thousand
different
notes
around


410 United States Senate 
visited
both
Trenton
and
Princeton
to
observe
and


sketch
 the
 landscape
 in
 preparation
 for
 the


painting,
and
he
obviously
had
vivid
memories


of
the
Battle
at
Princeton.


To
 modern
 viewers,
 Washington’s
 crosslegged
pose—a
complex
play
of
angles
and
curves


around
the
central
vertical
axis
of
the
upper
left


leg,
torso,
and
head—may
seem
awkward.
The


curves
of
the
coat’s
edges,
sash,
and
left
arm
are


played
against
the
abrupt
angles
of
Washington’s


right
elbow,
his
left
knee,
and
his
heels.
Peale


effectively
repeats
the
shapes
of
the
elbow
and


the
brim
of
the
hat,
held
inverted
in
Washington’s


right
 hand.
 Asymmetries
 animate
 the
 portrait:


Washington
leans
slightly,
which
pulls
his
head


just
to
the
right
of
center,
with
the
angle
balanced


by
the
inward
angle
of
the
battle
flag.


Peale
likely
modeled
this
pose
after
one
of


Thomas
Gainsborough’s
masterpieces,
Augustus 

Hervey, 3rd Earl of Bristol,
located
at
the
National


Trust’s
Ickworth
House
in
England.
Although
the


stance
(derived
from
ancient
Roman
sculptural


sources)
was
quite
prevalent
in
English
portraiture
of
the
period,
this
Gainsborough
painting


of
a
naval
captain
offers
the
closest
parallel
to


Peale’s
portrait,
including
a
captured
battle
flag


at
the
feet.


With
two
years
of
study
and
practice
in


London
(1767–69)
behind
him,
Peale
had
a
solid


The
portrait
Augustus Hervey, 3rd Earl of 

Bristol by
Thomas
Gainsborough
shares


close
stylistic
similarities
with
the
Senate’s


painting
of
George
Washington.


(Ickworth,
The
Bristol
Collection
[The
National
Trust]
John


Hammond)


knowledge
of
contemporary
English
portraiture.


In
the
1768
Society
of
Artists
Exhibition
in
London,
in
which
Peale


himself
exhibited,
he
had
seen
the
Gainsborough
painting.
The
most


significant
difference
between
the
two
subjects
arises
from
Peale’s
literal


directness:
Where
Gainsborough’s
Hervey
is
positioned
on
a
diagonal


within
 the
 picture
 space
 and
 looks
 away
 from
 the
 viewer,
 Peale’s


Washington
is
nearly
frontal
and
looks
directly
at
the
viewer
with
a


candid,
affable
expression.
This
is,
in
fact,
a
defining
characteristic
of


Peale’s
portraiture.
Avoiding
any
classical
symbolism
(he
had
earlier


Catalogue of Fine Art 411 
George
Washington
at
Princeton —continued 

pictured
 William
 Pitt
 in
 a
 Roman
 toga),
 Peale
 produced
 a


realistic,
 accurate
 portrait
 of
 the
 general.
 At
 six
 foot
 two,


Washington
stood
a
full
head
above
the
average
soldier
in
his


army.
He
had
narrow
shoulders,
wide
hips,
long
arms
and


legs,
and
very
large
hands
and
feet.
His
head
was
small
in


relation
to
the
length
of
his
body.


Although
Peale’s
likeness
of
Washington
did
not
match


the
ideal
canon
of
proportions
espoused
by
the
art
academies,


it
was
nonetheless
accurate.
Peale
knew
the
general
better


than
any
other
artist
did,
and
his
artistic
abilities
are
not
in


doubt.
In
addition,
the
full­length
portraits
of
Washington
by


John
Trumbull
and
Jean­Antoine
Houdon
second
the
evidence


of
Peale’s
likeness.
Only
Gilbert
Stuart’s
several
full­length
portraits
seem
closer
to
ideal
proportions,
and
their
greater
public


fame
has
given
them
an
authority
they
do
not
deserve.
Stuart


idealized
his
sitters
more
than
Peale
did,
and
when
he
was


painting
the
general’s
body,
he
used
a
visitor
to
his
studio
as


a
surrogate
model.
Apart
from
the
face,
Stuart’s
Washington


fails
as
an
accurate
record
of
the
hero’s
physical
appearance.


In
 Peale’s
 painting,
 Washington
 is
 strongly
 silhouetted


against
a
pinkish­blue
sky,
with
the
horizon
line
at
the
mid­level


of
the
canvas.
It
is
dawn,
the
hour
when
the
battle
commenced.


It
might,
at
the
same
time,
be
the
symbolic
dawn
of
eventual


success
in
the
War
for
Independence.
Optimism
is
embodied
in


the
general’s
glowing
face:
Confident
and
self­possessed,
this
is


the
definitive
image
of
George
Washington
at
the
apogee
of
his
vigorous


manhood
and
military
career.


The
popular
success
of
George Washington at Princeton led
to
orders


for
as
many
replicas
as
Peale
could
produce.
In
August
1779
the
artist


wrote:
“I
have
on
hand
a
number
of
portraits
of
Gen.
Washington.
One


the
ambassador
had
for
the
Court
of
France,
another
is
done
for
the


Spanish
Court,
one
other
has
been
sent
to
the
island
of
Cuba,
and
sundry


others,
which
I
have
on
hand
are
for
private
gentlemen.”5
Versions
vary


in
size
and
composition—with
the
background
and
the
treatment
of
the


figure
of
Washington
altered
by
Peale.
Changes
included
replacing
the


soldiers
and
horses
with
a
bleak
winter
landscape,
updating
the
general’s
insignia
according
to
the
most
recently
issued
orders,
and
giving


greater
prominence
to
the
colonial
flag.
Other
full­length
versions
by


One
of
many
replicas
Charles
Willson
Peale


painted
of
his
1779
Washington
portrait,
this


1780
image
varies
from
the
Senate’s
version


by
depicting
Washington
after
the
Battle
of


Trenton
and
wearing
his
state
sword.


(The
Metropolitan
Museum
of
Art,
Gift
of
Collis
P.
Huntington,
1897)


412 United States Senate 
Charles
Willson
Peale
are
found
at


Princeton
University
in
New
Jersey,


the
Metropolitan
Museum
of
Art


in
New
York,
Colonial
Williamsburg,
and
the
Virginia
Museum
of


Fine
Arts.


The
original
George Washington at Princeton 

by
Charles
Willson
Peale
was
commissioned


for
Independence
Hall
in
Philadelphia
and


completed
in
1779.


(Courtesy
of
the
Pennsylvania
Academy
of
the
Fine
Arts,
Philadel


phia.
Gift
of
Maria
McKean
Allen
and
Phebe
Warren
Downes


through
the
bequest
of
their
mother,
Elizabeth
Wharton
McKean)


Catalogue of Fine Art 413 
Daniel
Webster


(1782–1852) 

One
of
the
nation’s
greatest
orators,
Daniel
 Thomas
Ball
had
already
earned
recognition
as
a
painter


Webster
was
both
a
U.S.
senator
from
 when
he
decided
in
1850
to
devote
himself
primarily
to Massachusetts
and
a
U.S.
representative


from
Massachusetts
and
New
Hampshire.
 sculpture.
His
early
pieces
were
small
“cabinet”
busts,
and


Webster
was
born
in
Salisbury,
New
 Ball’s
great
admiration
for
Daniel
Webster
led
him
to
make


Hampshire,
and
gained
national
promi- such
a
bust
of
the
great
orator.
Finding
the
effort
unsatis­ nence
as
an
attorney
while
serving
five


terms
in
the
U.S.
House
of
Representatives.
 factory,
he
destroyed
it.
Soon
afterward,
in
1852,
he
modeled
a
life­size


He
successfully
argued
several
notable
 plaster
bust
of
Webster.
While
working
on
this
ambitious
sculpture,
he


cases
before
the
Supreme
Court
of
the
 had
 his
 only
 actual
 glimpse
 of
 Webster
 when
 the
 statesman
 passed United
States
that
helped
define
the
consti- through
Boston.
Ball
stood
at
his
studio
door
“to
have
a
good
look
at tutional
power
of
the
federal
government.


In
Trustees
of
Dartmouth
College
v.
Wood­ him.”1
Otherwise,
the
sculptor
was
dependent
on
photographs
or
paintward,
the
Court
declared
in
favor
of
 ings
for
the
likeness.
Shortly
after
Ball
completed
the
bust,
Webster
died, Webster’s
alma
mater,
finding
private


corporation
charters
to
be
contracts
and
 and
there
was
an
instant
demand
for
plaster
casts
of
Ball’s
work.
The


therefore
protected
from
interference
by
 artist
attested
that
“this
bust...is 
the
one
I
have
used,
without
alterstate
legislative
action.
In
McCulloch
v.
 ation,
for
my
several
statues
of
the
great
man.”2


Maryland,
the
Court
upheld
the
implied


power
of
Congress
to
charter
a
federal
 When
plans
for
a
publicly
commissioned
full­length,
life­size
statue


bank
and
rejected
the
right
of
states
to
tax
 of
Webster
were
rumored,
Ball
believed
he
had
no
chance
of
obtaining


federal
agencies.
Webster
also
argued
the
 the
commission.
Therefore,
he
decided
to
instead
make
a
statuette
that controversial
Gibbons
v.
Ogden
case,
in
 could
be
replicated
to
meet
the
continuing
popular
demand
for
Webster which
the
Court
decided
that
federal


commerce
regulations
take
precedence
 images.
His
first
attempt,
hastily
modeled
using
an
umbrella
stick
as
an


over
the
interstate
commerce
laws
of
 armature,
collapsed.
Everything
but
the
head
was
broken.
Ball
started individual
states.


After
his
election
to
the
U.S.
Senate
in
 again
with
an
iron
armature,
and
produced
the
clay
statuette
of
which


1827,
Webster
established
his
oratorical
 the
Senate’s
statue
is
a
bronze
cast.
For
Ball,
and
apparently
for
others,


reputation
in
the
famous
1830
debate
 “there
was
something
in
it,
I
hardly
know
what
it
was,
that
hit
hard.”3


with
Robert
Young
Hayne
of
South
Car


olina
over
the
issue
of
states’
rights
and
 On
the
first
day
the
statuette
was
exhibited,
Ball
received
an
offer


nullification.
Defending
the
concept
of
a
 of
$500
for
the
model
and
the
reproduction
rights.
He
accepted
“with


strong
national
government,
Webster
 avidity,”
and
the
patent
was
subsequently
assigned
on
August
9,
1853, delivered
on
January
26
and
27
his


famous
reply
to
Hayne.
“We
do
not
 to
George
W.
Nichols
of
New
York
City.
Nichols,
an
art
dealer,
must


impose
geographical
limits
to
our
patriotic
 have
profited
greatly
from
the
statuette.
Ball,
content
with
the
recogfeeling,”
he
insisted,
arguing
that
every
 nition,
never
regretted
selling
the
patent. state
had
an
interest
in
the
development


of
the
nation
and
that
senators
must
rise
 To
produce
the
series
of
bronze
replicas,
Nichols
engaged
the
J.T.


above
local
and
regional
narrow-minded- Ames
Foundry
in
Chicopee,
Massachusetts.
Ames
was
the
first
foundry


ness.
The
Constitution
is
the
supreme
law
 in
America
to
produce
bronze
statues,
and
Ball’s
Webster is
perhaps of
the
land,
he
warned,
and
any
doctrine


that
allowed
states
to
override
the
Consti- the
earliest
statuette
to
be
patented
and
cast
in
bronze
in
a
large
editution
would
surely
lead
to
civil
war
and
a
 tion.
Nichols’s
first
initial,
as
it
appears
on
the
base
of
the
statuette,


land
drenched
with
“fraternal
blood.”
The
 has
often
been
incorrectly
read
as
C rather
than
G,
and
his
first
name motto
should
not
be
“Liberty
first,
and


Union
afterwards,”
Webster
concluded,
 seems
to
have
gone
undiscovered
until
now.
The
design
patent
(no.


but
“Liberty
and
Union,
now
and
forever,
 590)
issued
for
this
figure
clearly
states
that
T.
Ball
is
the
assignor
of


one
and
inseparable!”
Within
weeks
of
 the
patent
to
George
W.
Nichols,
of
New
York,
New
York.
A
drawing


414 United States Senate 
Daniel Webster 

Thomas Ball (1819–1911) 

Bronze,
1853


30
1

⁄4
 x
12
5⁄8
 x
11
inches
(including
base)
(76.8
x


32.1
x
27.9
cm)


Signed
and
dated
(on
back
of
draped
column):
T


Ball
Sculpt
 /
Boston
Mass
/
1853


Inscribed
(on
back
of
draped
column):
Patent


assigned
/
G
W
Nichols


Gift
of
The
Charles
Engelhard
Foundation
in
honor


of
Senator
Mike
Mansfield,
1987


Accepted
by
the
U.S.
Senate
Commission
on
Art,


1987


Cat.
no.
24.00006


Catalogue of Fine Art 415 
Daniel
Webster—continued 

the
debate,
Webster
had
become
a


national
hero.
His
Senate
oration
was


in
greater
demand
than
any
other
con


gressional
speech
in
American
history.


Webster
then
served
a
distinguished
term


as
secretary
of
state
from
1841
to
1843,


negotiating
the
Webster-Ashburton
Treaty


that
settled
a
dispute
over
the
boundary


between
the
U.S.
and
Canada.
He
later


returned
to
the
Senate,
where
he
champi


oned
American
industry
and
opposed


free
trade.


If
Webster’s
impassioned
oratory


was
legendary,
it
was
intensified
by
his


unforgettable
physical
presence.
Dark
in


complexion,
with
penetrating
eyes—often


likened
to
glowing
coals—he
had
an


electrifying
effect
on
anyone
who
saw


him.
Nineteenth-century
journalist
Oliver


Dyer
wrote:
“The
God-like
Daniel...had


broad
shoulders,
a
deep
chest,
and
a


large
frame....
 The
head,
the
face,
the


whole
presence
of
Webster,
was
kingly,


majestic,
godlike.”1


Increasingly
concerned
with
the
sec


tional
controversy
threatening
the
Union,


Webster
supported
Henry
Clay’s
Compro


mise
of
1850.
On
March
7,
1850,
he
deliv


ered
one
of
his
most
important
and
contro


versial
Senate
addresses.
Crowds
flocked
to


the
Senate
Chamber
to
hear
Webster
plead


the
Union’s
cause,
asking
for
conciliation


and
understanding:
“I
wish
to
speak
today


not
as
a
Massachusetts
man,
nor
as
a


Northern
man,
but
as
an
American....


I
speak
today
for
the
preservation
of
the


Union.
Hear
me
for
my
cause.”
Webster’s


endorsement
of
the
compromise—including


its
fugitive
slave
provisions—helped
win
its


eventual
enactment,
but
doomed
the
sen


ator’s
cherished
presidential
aspirations.


Webster
became
secretary
of
state
again


in
1850,
and
he
died
two
years
later
at


his
home
in
Marshfield,
Massachusetts.


from
the
Design
Patent
Examiner’s
Room
at
the
U.S.
Patent
and
Trademark
Office
confirms
the
identity
of
the
piece.


The
truncated
column
beside
Webster
and
the
two
books
at
the


base
 are
 standard
 iconographic
 attributes.
 The
 books
 represent


Rhetoric—that
is,
eloquence—in
tribute
to
Webster’s
formidable
oratorical


powers.
The
column
stands
for
Fortitude
and
Constancy,
in
reference


to
Webster’s
unswerving
dedication
to
the
preservation
of
the
Union.


Lorado
Taft,
the
American
sculptor
and
historian,
wrote
appreciatively
about
Thomas
Ball
and
his
sculpture.
Although
acknowledging


a
monotony
in
the
surface
treatment
of
much
of
Ball’s
sculpture,
Taft


stresses
the
“essential
nobility”
of
his
“dignified
and
monumental”
work,


concluding
that
“in
the
whole
output...there
is
not
one
hint
of
the


meretricious
or
the
commercial.”4
 Ball
would
seem
the
right
sculptor


to
have
captured
Webster’s
“essential
nobility.”
But
the
potent
effect


of
Webster’s
physical
and
psychological
presence
on
his
contemporaries
is
not
easy
to
comprehend
from
most
of
the
portraits
of
him,


including
(despite
the
acclaim
it
received)
this
one
by
Ball.
Probably


only
 modern
 motion­picture
 photography
 could
 have
 recorded


Webster
as
his
contemporaries
saw
him
in
action,
for
almost
every


painting
or
sculpture
of
him
seems
drained
of
his
“measureless
power.”


“I
have
seen
men
larger;
but
I
never
saw
anyone
who
looked so


large
and
grand
as
he
did
when
he
was
aroused
in
debate,”
wrote


journalist
Oliver
Dyer
in
1889.5
 But
Ball’s
bust
presents
a
rather
stout,


stolid
Webster.
The
tailcoat
stretches
across
his
midriff
and
his
pose
is


frontal
and
unanimated—only
the
massive
head
conveys
something
of


his
intellectual
force.
Dyer
recalled
that
“Webster’s
head
was
phenomenal


in
 size...
and
 grandeur
 of
 appearance”
 and
 that
 “his
 brow
 was
 so


protuberant
that
his
eyes,
though
unusually
large,
seemed
sunken,
and


were
likened
unto
‘great
burning
lamps
set
deep
in
the
mouths
of


caves.’” 6
 Ball’s
bronze
captures
this
crowning
aspect
of
Webster,
and


perhaps
this
was
the
“something
in
it...
that
hit
hard.”


The
commercial
success
of
the
Webster
statuette
encouraged
Ball


to
model
a
companion
piece
of
Henry
Clay
(p.
64)
in
1858.
In
1876
Ball


returned
to
Webster,
his
favorite
subject,
modeling
a
14­foot
likeness.


Cast
in
Munich,
it
was
a
modified
enlargement
of
his
earlier
statuette.
It


stands
in
New
York
City’s
Central
Park
on
a
prominent
site
near
the


entrance
at
Seventy­second
Street
and
Central
Park
West.


416 United States Senate 
Thomas Ball assigned the patent, represented by 

these two figure drawings, for his Daniel Webster 

statuette to George W. Nichols on August 9, 1853. 

(Courtesy U.S. Patent and Trademark Office) 

Catalogue of Fine Art 417 
Daniel
Webster—continued 

Artist Adrian Lamb with Senate Majority 

Leader Lyndon B. Johnson at the unveiling 

ceremony for the Daniel Webster painting in 

the Senate Reception Room, March 12, 1959. 

(Peter A. Juley & Son Collection, National Museum of American 

Art, Smithsonian Institution) 

To
complete
the
decorative
plaster
panels
in
the
Senate


Reception
Room
of
the
U.S.
Capitol
that
had
been
left
vacant


since
the
late
19th
century,
the
Special
Committee
on
the


Senate
Reception
Room
was
established
in
1955.
The
Senate


charged
 the
 committee
 with
 selecting
 “five
 outstanding


persons
from
among
all
persons,
but
not
a
living
person,
who
have
served


as
Members
of
the
Senate
since
the
formation
of
the
Government
of
the


United
States.”
Paintings
of
these
individuals
would
then
“be
placed
in


the
five
unfilled
spaces
in
the
Senate
reception
room.”1


The
committee
consisted
of
four
senior
senators
and
one
freshman


senator.
Majority
Leader
Lyndon
B.
Johnson
appointed
the
freshman,
John


F.
Kennedy
of
Massachusetts,
to
be
the
committee’s
chairman.
Kennedy


was
an
ideal
choice;
his
popular
book,
Profiles in Courage,
skillfully
exam


ined
 the
 careers
 of
 eight
 outstanding
 former
 senators.
 The
 Kennedy


committee
spent
two
years
surveying
the
nation’s
leading
historians
and


political
scientists,
and
easily
identified
three
19th­century
senators:
Henry


Clay
of
Kentucky
(p.
72),
John
C.
Calhoun
of
South
Carolina
(p.
54),
and


Daniel
Webster
of
Massachusetts.
After
much
debate,
the
committee
also


selected
two
20th­century
members:
Robert
M.
La
Follette,
Sr.,
of
Wisconsin


(p.
242)
and
Robert
A.
Taft,
Sr.,
of
Ohio
(p.
354).
A
special
Senate
com


mission,
composed
of
experts
in
the
art
field,
then
selected
artists
for
the


five
paintings,
including
Adrian
Lamb
of
New
York
for
the
portrait
of
Daniel


Webster.
The
commission
determined
that
Lamb,
like
the
other
artists,


should
“copy
some
suitable
existing
portrait
or
other
likeness
of
his
par


ticular
subject.”2
 Lamb
based
his
painting
on
an
existing
oil
by
George


P.A.
Healy
in
the
collection
of
the
Virginia
Museum
of
Fine
Arts
in
Rich


mond.
The
original
portrait,
made
during
a
sitting
from
life
in
1848
at


Webster’s
country
home
in
Marshfield,
Massachusetts,
had
served
as
a
pre


liminary
study
for
Healy’s
monumental
historical
painting
Webster’s Reply 

to Hayne in
Faneuil
Hall
in
Boston.
The
Virginia
museum’s
Webster
like


ness
was
one
of
four
life
studies
of
the
senator
executed
by
Healy
during


a
six­year
period.


Adrian
Lamb
studied
at
the
Art
Students
League
in
New
York
City


and
at
the
Académie
Julian
in
Paris
before
embarking
on
a
career
as
a


portraitist.
Lamb’s
works
are
found
in
many
collections,
including
the
White


House,
the
Smithsonian
Institution,
the
U.S.
Naval
Academy,
Harvard


University,
and
the
Supreme
Court
of
the
United
States.
For
much
of
his


life,
Lamb
resided
in
Connecticut
and
maintained
a
studio
in
Manhattan.


418 United States Senate 
Daniel Webster 

Adrian S. Lamb (1901–1988) 

Oil
on
canvas
applied
to
wall,
1958­

22
5

⁄8
 x
19
1⁄2
 inches
(oval)
(57.5
x
49.5
cm)­

UnsignedCommissioned
by
the
Senate
Committee
on
Rules
and
Administration,
1958­

Accepted
by
the
Senate
Committee
on
Rules
and
Administration,
1959­

Cat.
no.
32.00006­

Catalogue of Fine Art 419 
Daniel
Webster—continued 

This
oil
on
canvas
portrait
of
Daniel
Webster
has
been
in


the
Senate
since
it
was
purchased
from
19th­century
pho


tographer
 Mathew
 Brady
 in
 1881.
 The
 picture
 was


acquired
together
with
canvases
of
Henry
Clay
and
John


C.
Calhoun;
all
three
are
believed
to
have
been
based
on


Brady
daguerreotypes
of
the
senators.
The
paintings
were
exhibited
for


many
years
at
Brady’s
New
York
City
photographic
gallery
and
later
at


his
studio
in
Washington,
D.C.
Shortly
before
he
sold
the
three


portraits
to
the
government,
Brady
was
forced
to
use
them
as


collateral
for
a
loan.
Documents
indicate
that
he
later
paid
the


loan
and
therefore
retained
ownership
of
the
paintings.


The
portraits
of
Clay
(p.
76)
and
Calhoun
(p.
56)
are


known
to
be
the
work
of
Henry
Darby,
but
Webster’s
portrait


is
unsigned.
It
is
believed
to
have
been
executed
by
the
painter


Richard
Francis
Nagle.
Nagle
was
born
and
trained
in
Dublin,


Ireland.
He
immigrated
to
the
United
States
and
is
known
for


portraits
of
several
New
York
natives,
including
likenesses
of


Generals
Winfield
Scott
and
Ulysses
S.
Grant.
A
Nagle
descen


dant
claimed
that
the
artist
had
been
acquainted
with
Mathew


Brady.
Indeed,
the
New­York
Historical
Society’s
collection


contains
a
portrait
of
Brady—albeit
not
from
life—by
Nagle.


Brady
himself
ascribed
the
Webster
painting
to
an
artist


named
 Nagle
 in
 an
 1881
 signed
 statement
 to
 the
 Joint


Committee
on
the
Library:
“Webster
visited
my
gallery
in
June


1849....
Five
different
sittings
were
made
on
this
occasion—


Nagle
the
artist
of
New
York—made
his
study
for
the
painting


at
the
same
time.”
Although
it
cannot
be
verified
that
Nagle


This ca. 1849 Mathew Brady daguerreotype actually
lived
in
New
York
City,
his
portraits
connect
the
artist of Daniel Webster is similar in pose to the 

Senate’s portrait. to
that
region.
Moreover,
the
Webster
painting
bears
stylistic
resemblances


(Photographic History Collection, National Museum of American to
many
of
Nagle’s
other
works. History, Smithsonian Institution, negative number: 71–2772) 

This
painting
was
previously
misattributed
to
the
better
known


Philadelphia
artist
John
Neagle,
an
apparent
error
made
by
a
clerk
in


the
U.S.
Capitol
in
the
19th
century.
No
documentary
evidence
exists


to
link
the
picture
to
this
artist,
nor
does
the
painting
resemble
other


works
by
John
Neagle.


420 United States Senate 
Daniel Webster 

Attributed to Richard Francis Nagle (1835–ca. 1891) 

Oil
on
canvas,
ca.
1849­

49
5

⁄8
 x
39
3⁄8
 inches
(126
x
100
cm)­

UnsignedPurchased
by
the
Joint
Committee
on
the
Library,
1881­

Cat.
no.
32.00001­

Catalogue of Fine Art 421 
Daniel
Webster—continued 

Although
little
is
known
about
this
full­length
portrait
of


Daniel
Webster
by
James
Henry
Wright,
it
was
probably


based
on
one
of
the
many
daguerreotypes
or
engravings


of
 Webster
 that
 were
 in
 circulation
 during
 the
 19th


century.
It
is
signed
but
undated.
On
September
21,
1944,


Senator
 Alben
 W.
 Barkley
 of
 Kentucky,
 Senate
 majority
 leader
 and


chairman
of
the
Joint
Committee
on
the
Library,
introduced
a
resolu


tion
authorizing
acceptance
of
the
Webster
portrait
as
a
gift
from
Lester


Martin,
a
prominent
textile
industrialist
and
philanthropist
in
New
York


City.
The
resolution
was
adopted
by
unanimous
consent.


Wright,
who
maintained
a
studio
at
835
Broadway,
was
a
popular


19th­century
New
York
artist
specializing
in
portraiture,
still
lifes,
and


landscapes.
Between
1842
and
1860
he
exhibited
in
New
York
City
at


the
National
Academy
of
Design
and
at
the
American
Art
Union.
Other


Wright
 portraits
 include
 prominent
 mid­19th­century
 Americans,


among
them
General
Winfield
Scott
and
Matthew
Vassar,
founder
of


Vassar
College.


422 United States Senate 
Daniel Webster 

James Henry Wright (1813–1883) 

Oil
on
canvas,
date
unknown85
1

⁄8
 x
65
1⁄4
 inches
(216.2
x
165.7
cm)­

Signed
(lower
right
corner):
J
H
Wright
/
N.Y.­

Gift
of
Lester
Martin,
1944­

Accepted
by
Senate
resolution
dated
September
21,
1944­

Cat.
no.
32.00017­

Catalogue of Fine Art 423 
William
Almon
Wheeler


(1819–1887) 

William
Almon
Wheeler
was
a
U.S.
repre- I

n
1886
the
Senate
authorized
the
acquisition
of
a
marble
bust
of


sentative
from
New
York
and
the
19th
vice
 each
former
vice
president
of
the
United
States
for
display
in
the president
of
the
United
States.
Born
in


Malone,
New
York,
he
taught
school,
 Senate
Chamber.
In
executing
the
mandate,
the
Joint
Committee


studied
law,
and
later
served
as
county
 on
the
Library
recommended
the
immediate
commissioning
of


district
attorney.
He
also
served
in
the
 busts
of
the
three
living
vice
presidents:
Hannibal
Hamlin,
Chester New
York
state
assembly
and
senate,
and


was
active
in
banking
and
railroad
devel- A.
Arthur,
and
William
A.
Wheeler.
The
Wheeler
commission,
however,


opment.
Wheeler
presided
over
the
New
 was
not
awarded
until
1890,
three
years
after
the
subject’s
death.
Senator


York
state
constitutional
convention
of
 William
M.
Evarts
of
New
York,
chairman
of
the
Joint
Committee
on
the
 1867–68
and
then
served
in
the
U.S.


House
of
Representatives
from
1861
to
 Library,
recommended
sculptor
Edward
Clark
Potter
for
the
project,
and


1863
and
1869
to
1877.
During
his
 Potter
readily
accepted.
The
sculptor
relied
on
photographs
to
capture


House
years
he
authored
the
so-called
 Wheeler’s
likeness.


Wheeler
compromise
to
settle
a
critical
 Born
in
Connecticut,
Potter
trained
in
the
studio
of
the
celebrated Louisiana
election
that
was
in
dispute.


The
Republicans
nominated
Wheeler
 American
sculptor
Daniel
Chester
French.
There
Potter
perfected
an


for
vice
president
in
1876
on
a
ticket
with
 understanding
of
animal
anatomy,
which
led
to
his
specialization
in
eques­ Rutherford
B.
Hayes
against
Democrats


Samuel
Tilden
and
Thomas
Hendricks.
In
a
 trian
sculpture.
He
frequently
collaborated
with
French
on
equestrian


disputed
outcome,
a
specially
created
elec- commissions—French
would
model
the
rider,
and
Potter
would
model


toral
commission
decided
the
election
in
 the
horse.
In
1886
Potter
traveled
to
Paris
to
continue
his
studies.
After


favor
of
Hayes
and
Wheeler.
Although
the


two
developed
a
strong
friendship
while
in
 exhibiting
there,
he
returned
to
the
United
States
and
settled
in
Washoffice,
Hayes
rarely
consulted
Wheeler
on
 ington,
D.C.,
in
1890,
the
same
year
he
undertook
the
Wheeler
bust.


matters
of
state.
The
vice
president
spent
 A
 major
 boost
 in
 Potter’s
 career
 came
 with
 the
 1893
 World’s
 most
of
his
time
presiding
over
the
Senate,


where
he
cast
six
tiebreaking
votes
during
 Columbian
Exposition
in
Chicago,
where
he
and
French
exhibited
a


his
term
in
office.
The
Hayes
and
Wheeler
 number
of
jointly
produced
figural
groups.
Potter
continued
to
collabticket
did
not
seek
reelection.
After
turning
 orate
with
French
on
various
equestrian
statues
for
several
more
years over
the
vice
presidency
to
Chester
A.


Arthur,
the
running
mate
of
newly
elected
 and
completed
a
number
of
works
on
his
own
as
well,
including
the


President
James
A.
Garfield,
Wheeler
 admired
 equestrian
 portrait
 of
 General
 Henry
 Warner
 Slocum
 at


made
an
unsuccessful
bid
for
election
to
 Gettysburg.
 Potter
 also
 created
 the
U.S.
Senate
in
1881.
He
then
retired



to
northern
New
York
and
died
there
in
 successful
portrait
statues,
such
as


his
hometown
of
Malone
in
1887.
 likenesses
of
Robert
Fulton
for
the


newly
 constructed
 Library
 of


Congress
(Jefferson
Building)
and


of
Michigan
Governor
Austin
Blair


for
the
state
capitol
in
Lansing.
The


artist’s
most
notable
works
are
his


two
marble
lions
for
the
New
York


Sculptors
Daniel
Chester
French,
Edward
 Public
 Library.
 Although
 they


Potter,
and
Augustus
Lukeman,
left
to
right,
 were
initially
criticized
by
some


in
the
garden
of
French’s
Chesterwood


estate,
1898.
 residents
as
lackluster
and
unma­


(Chesterwood, A National Trust Historic Site, Stockbridge, MA. jestic,
 Potter’s
 lions
 are
 today Photographer, Julia Worthington) 

much
beloved.


424 United States Senate 
William A. Wheeler 

Edward Clark Potter (1857–1923) 

Marble,
ca.
1890–1892


30
3

⁄8
 x
26
3⁄4
 x
17
1⁄4
 inches
(77.2
x
67.9
x
43.8
cm)


Unsigned


Commissioned
by
the
Joint
Committee
on
the
Library,
1890


Accepted
by
the
Joint
Committee
on
the
Library,
1892


Cat.
no.
22.00019


Catalogue of Fine Art 425 
Kenneth
Spicer
Wherry


(1892–1951) 

Kenneth
Spicer
Wherry,
a
U.S.
senator
 Artist
Roma
Harlan
completed
this
posthumous
portrait
of


from
Nebraska,
had
a
colorful
and
varied
 Kenneth
Wherry
for
his
family
in
1968.
The
work
was career
in
business
before
shifting
his


energy
to
politics
in
1927.
Born
in
Lib- on
loan
to
the
Capitol
office
of
the
Republican
leader
of


erty,
Nebraska,
he
practiced
law
and
at
 the
Senate
until
1990.
At
that
time,
Marilynn
Latta
and


various
times
ran
the
family
furniture
and
 David
Wherry,
daughter
and
son
of
the
senator,
donated automobile
businesses.
He
also
became
a


mortician,
cattleman,
and
farm
imple- the
portrait
to
the
U.S.
Senate
Collection.


ments
salesman.
 Roma
Harlan
began
painting
at
the
age
of
five
under
the
influWherry
served
simultaneously
as
the
 ence
of
her
mother,
also
a
portrait
painter.
After
training
at
the
Art mayor
of
Pawnee
City
and
as
a
member
 Institute
of
Chicago,
Harlan
became
resident
portrait
painter
for
the of
the
Nebraska
state
senate;
later
he


became
western
director
for
the
Repub- Lake
Shore
Club
of
Chicago.
She
later
relocated
to
Washington,
D.C.,


lican
National
Committee.
In
1942
 where
she
worked
in
the
offices
of
the
National
Gallery
of
Art
while Wherry
defeated
incumbent
George


Norris
for
a
seat
in
the
U.S.
Senate.
 continuing
her
painting
career.
Among
Harlan’s
many
portrait
subjects


There,
Wherry
distinguished
himself
by
 are
military
leaders,
politicians,
and
educators.
These
include
Senator


sponsoring
legislation
to
change
the
line
 Edward
Martin
of
Pennsylvania;
Rear
Admiral
Albert
Cushing
Read,
a of
presidential
succession,
placing
the


Speaker
of
the
House
and
president
pro
 pioneer
aviator;
and
Judge
Burnita
Shelton
Matthews,
the
first
woman


tempore
of
the
Senate
before
presidential
 to
serve
as
a
federal
district
judge.
No
longer
an
active
painter,
Harlan


cabinet
members.
Wherry
persistently
 resides
near
San
Diego,
California.
 advocated
flood
control
and
irrigation


projects,
supported
a
strong
air
force,
and


defended
General
Douglas
MacArthur


during
his
confrontations
with
the
Truman


administration.
Elected
Republican
whip
in


1944,
just
two
years
after
his
arrival
in


the
Senate,
Wherry
was
instrumental
in


the
movement
to
broaden
the
Senate’s


cloture
rules
to
limit
filibusters.
According


to
fellow
Republican
Robert
Taft,
Wherry


was
a
“good
salesman,”
having
carried


his
gift
of
persuasiveness
with
him
from


his
business
career.
Wherry
acted
fre"


quently
as
party
leader
during
the
illness


of
Majority
Leader
Wallace
White,
later


serving
as
Republican
leader
in
his
own


right.
He
died
in
office
in
1951.



Kenneth Wherry, left, speaks during a 

Senate Appropriations subcommittee 

hearing on March 2, 1945. 

(U.S. Senate Historical Office) 

426 United States Senate 
Kenneth S. Wherry 

Roma Christine Harlan (born 1912) 

Oil
on
canvas,
1968


28
1

⁄2
 x
24
1⁄2
 inches
(72.4
x
62.2
cm)


Signed
and
dated
(lower
right
corner):
Roma
C.
Harlan
1968


Gift
of
Marilynn
W.
Latta
and
David
C.
Wherry
(daughter
and
son
of
Kenneth
S.
Wherry),
1990


Accepted
by
the
U.S.
Senate
Commission
on
Art,
1990


Cat.
no.
32.00027


Catalogue of Fine Art 427 
Henry
Wilson


(1812–1875) 

Henry
Wilson
overcame
humble
origins
to
 On
January
16,
1885,
the
Senate
passed
a
resolution
intro­


become
a
successful
businessman,
a
U.S.
 duced
by
Senator
George
Hoar
of
Massachusetts
calling
 senator
from
Massachusetts,
and
the
18th


vice
president
of
the
United
States.
Born
in
 for
the
installation
of
a
marble
tablet
in
the
Vice
Presi­


Farmington,
New
Hampshire,
and
named
 dent’s
 Room
 in
 the
 U.S.
 Capitol
 in
 memory
 of
 Vice


Jeremiah
Jones
Colbath,
he
was
inden- President
Henry
Wilson,
who
had
died
in
the
room
10
 tured
to
a
farmer
when
he
was
10
years
 years
earlier.
Senator
Hoar
also
asked
the
Joint
Committee
on
the
Library
 old.
After
changing
his
name
to
Henry


Wilson,
the
young
man—long
estranged
 to
informally
approve
the
expenditure
of
$1,000
to
commission
noted


from
his
parents—apprenticed
himself
to
 sculptor
Daniel
Chester
French
to
create
a
bust
of
the
late
vice
president a
cobbler
when
the
terms
of
his
indenture


were
satisfied.
 for
placement
above
the
plaque.
The
committee
agreed,
and
a
week
later


With
little
formal
education
or
money,
 Senator
Henry
Dawes,
also
of
Massachusetts,
introduced
a
resolution


Wilson
practiced
his
trade
and
later
 authorizing
the
purchase
of
the
bust.
Dawes
observed
that
the
only
other established
a
prosperous
shoe
factory


in
the
1830s
near
Boston.
He
eventually
 distinguished
public
servant
to
die
in
the
Capitol
was
John
Quincy
Adams,


devoted
himself
to
civic
affairs,
and
in
 who
suffered
a
stroke
on
the
floor
of
the
House
of
Representatives
in


1840
he
was
elected
as
a
Whig
to
the
 1848.
To
honor
Adams,
the
House
had
directed
that
a
tablet,
surmounted
 Massachusetts
house
of
representatives.


He
served
in
the
state
legislature
for
11
 by
a
bust,
be
placed
in
the
old
Speaker’s
Room.
Dawes
called
for
a
similar


years.
Passionately
opposed
to
slavery,
 memorial
for
Wilson,
praising
his
dedication:
“The
public
services
and


Wilson
left
the
Whigs
in
1848
and
helped
 the
life
of
Mr.
Wilson
were
entirely
American,
and
furnish
a
remarkable
 found
the
Free
Soil
Party.
He
edited
the


new
party’s
organ,
the
Boston
Republican, illustration
of
the
working
of
our
institutions....
 That
fame
he
largely


between
1848
and
1851.
 achieved
in
this
body,
of
which
he
was
the
President
when
he
died.”
Dawes


First
elected
to
the
U.S.
Senate
to
fill
 also
noted
that
the
former
vice
president
was
“the
child
of
poverty,” the
vacancy
created
by
Edward
Everett’s
 continuing,
“It
has
been
said
of
him
here
that
he
had
no
other
home
but
 resignation,
Wilson
served
from
1855



to
1873.
He
aligned
with
abolitionists
 this
Capitol.”1
 The
Senate
adopted
Senator
Hoar’s
resolution,
and
four


and
supported
the
Republicans
in
1860,
 days
later,
the
Joint
Committee
on
the
Library
awarded
the
commission
 and
he
played
an
important
role
during
 to
Daniel
Chester
French
of
Massachusetts.
 the
Civil
War
as
chairman
of
the
Com"


mittee
on
Military
Affairs.
Wilson
urged
 French
produced
the
bust
of
Vice
President
Wilson
in
Boston
and


President
Abraham
Lincoln
to
declare
 sent
the
nearly
finished
work
to
the
Capitol
in
April
1886,
writing,
“I
 emancipation
and
accept
freedmen
into


the
ranks
of
the
Union
army;
he
was
also
 have
still
a
few
days
work
to
do
upon
it
and
shall
come
to
Washington


instrumental
in
writing
bills
to
free
slaves
 to
finish
and
place
it
in
two
or
three
weeks.”
A
month
later,
French


in
the
border
states.
 was
still
waiting
to
learn
if
the
bust
had
arrived.
There
is
no
record
of
 Highly
influential
among
his
col"

leagues
in
the
Senate,
Wilson
advocated
 when
he
visited
Washington
to
finish
the
marble.
Final
payment
for
his


measures
to
aid
the
working
class,
equal
 work
was
made
on
June
10,
1886,
and
the
bust
was
placed
in
the
Vice


rights
for
women
and
freedmen,
federal
 President’s
Room
that
year.
The
bronze
commemorative
plaque,
though aid
to
education,
and
federal
regulation
of
 authorized
at
the
time
the
bust
was
commissioned,
was
not
installed business.
Selected
as
Ulysses
S.
Grant’s


running
mate
in
1872,
he
was
considered
 in
the
room
until
1902.


a
great
asset
to
the
ticket.
Following
the
 The
bust
is
marked
by
simplicity,
in
the
subtle,
unemphatic
mod­ Grant-Wilson
victory,
however,
the
new


vice
president
suffered
a
stroke
in
1873.
 eling
and
especially
in
the
striking
symmetry
of
the
costume.
The
broad


His
poor
health
prevented
him
from
 verticals
of
coat
lapels,
vest,
and
shirtfront
have
a
measured,
dignified


assuming
many
duties
of
his
office.
Two
 rhythm
and
at
the
same
time
form
a
strong
base
for
the
head,
which
is


428 United States Senate 
Henry Wilson 

Daniel Chester French (1850–1931) 

Marble,
modeled
1885,
carved
1885–1886


27
1

⁄2
 x
25
1⁄2
 x
15
3⁄8
 inches
(69.9
x
64.8
x
39.1
cm)


Signed
and
dated
(on
back
of
subject’s
left
shoulder):
D.
C.
French
/
1885


Commissioned
by
the
Joint
Committee
on
the
Library,
1885


Accepted
by
the
Joint
Committee
on
the
Library,
1886


Cat.
no.
22.00018


Catalogue of Fine Art 429 
Henry
Wilson—continued 

years
later,
while
visiting
the
Senate
 cupped
in
the
incisively
carved
wing
collar.
The
eyes
are
left
blank;
it


bathing
rooms
and
barber
shop
in
the
 may
be
that
French
intended
this
as
an
allusion
to
classical
sculpture
 Capitol
basement
(supplied
for
the
use
of


members
of
Congress,
who
often
resided
in
 and
to
what
he
viewed
as
Wilson’s
modern­day
association
with
Greco­


local
boardinghouses),
Wilson
was
struck
 Roman
virtues.


by
paralysis.
He
was
taken
upstairs
to
the
 Several
 additional
 vice
 presidential
 bust
 commissions
 followed Vice
President’s
Room,
just
off
the
Senate
 closely
after
the
Wilson
portrait.
In
1886
the
Senate
authorized
marble floor,
where
he
died
a
few
days
later.


busts
of
five
vice
presidents:
the
three
who
were


living
at
the
time,
as
well
as
John
Adams
and


Thomas
Jefferson,
the
first
two
men
to
hold
the


office.
However,
while
the
Wilson
bust
was
commissioned
 specifically
 to
 commemorate
 the


statesman’s
death
in
the
Capitol,
and
was
therefore
designated
for
display
in
the
Vice
President’s


Room,
the
other
five
busts
were
destined
for
the


Senate
Chamber
itself,
and
formed
the
initial
core


of
the
Senate’s
Vice
Presidential
Bust
Collection.


Perhaps
 in
 part
 because
 of
 the
 success
 of
 his


Wilson
likeness,
French
was
later
awarded
the


commission
for
the
bust
of
Vice
President
John


Adams
(p.
6).


Daniel Chester French working in his New 

York studio on the clay model for his 

memorial sculpture to his friend and fellow 

artist Martin Milmore, 1891. 

(Chesterwood, A National Trust Historic Site, Stockbridge, MA) 

Right: 

In 1886 the marble bust of Henry Wilson was 

placed in the Vice President’s Room (S–214) in 

the U.S. Capitol. This ca. 1900 photograph was 

taken by Francis Benjamin Johnson. 

(Architect of the Capitol) 

430 United States Senate 
Catalogue of Fine Art 431 
Wisdom


Wisdom, a carved marble relief above 

the south door of the Senate Chamber, 

completes a three-part design envisioned 

by sculptor Lee Lawrie. The series also 

includes panels titled Courage and 

Patriotism above the west and east 

doors. In a 1951 letter to Architect of 

the Capitol David Lynn, the artist described the symbolism of this panel: 

“Wisdom is represented by the figure of 

a woman, from whose head come rays 

of light. She holds a book symbolizing 

the experience of the ages, or the Laws. 

In the other hand she holds a torch which 

illuminates the sphere representing the 

earth. The tower on the left is her temple. 

The stars, earth and clouds suggest that 

Wisdom is above earthly derivation.” 

432 

I

n
 1949
 the
 architect
 of
 the
 Capitol
 began


extensive
remodeling
in
the
Senate
Chamber.


As
part
of
this
project,
Maryland
sculptor
Lee


Lawrie,
one
of
the
premier
American
artists


of
his
day,
was
selected
to
design
relief
panels


for
placement
above
the
three
entrance
doors
in
the


Chamber.
The
artist
was
paid
a
total
of
$4,500
for


the
commission.
Each
panel
had
a
different
carver,


with
 Edward
 H.
 Ratti
 of
 the
 Bronx,
 New
 York,


selected
 to
 execute
 Wisdom on
 location
 in
 the


Chamber.
The
other
panels
are
Courage (p.
86)
and


Patriotism (p.
306).


While
modeling
the
three
panels,
Lawrie
also


designed
 the
 ornamental
 bronze
 clock
 located


above
 the
 vice
 president’s
 desk
 in
 the
 Senate


Chamber.


United States Senate 
Wisdom 

Lee Oscar Lawrie (1877–1963) 

Marble,
modeled
and
carved
1950


33
x
68
1

⁄2
 inches
(83.8
x
174
cm)


Unsigned


Commissioned
by
the
Architect
of
the
Capitol,
1950


Accepted
by
the
Architect
of
the
Capitol,
1950


Cat.
no.
25.00010


Catalogue of Fine Art 433 
Appendices
Appendix A—Chronological List of Vice Presidents, and 

Location of Marble Busts in the Vice Presidential 

Bust Collection

Vice President Service Party President

1. John Adams 1789–1797 F George Washington

2. Thomas Jefferson 1797–1801 DR John Adams

3. Aaron Burr 1801–1805 DR Thomas Jefferson

4. George Clinton 1805–1809 DR Thomas Jefferson

1809–1812* DR James Madison

5. Elbridge Gerry 1813–1814* DR James Madison

6. Daniel D. Tompkins 1817–1825* DR James Monroe

7. John C. Calhoun 1825–1829 DR John Quincy Adams

1829–1832 DR Andrew Jackson

8. Martin Van Buren 1833–1837 D Andrew Jackson

9. Richard M. Johnson 1837–1841 D Martin Van Buren

10. John Tyler 1841** D William Henry Harrison

11. George M. Dallas 1845–1849 D James Knox Polk

12. Millard Fillmore 1849–1850** W Zachary Taylor

13. William R. King 1853* D Franklin Pierce

14. John C. Breckinridge 1857–1861 D James Buchanan

15. Hannibal Hamlin 1861–1865 R Abraham Lincoln

16. Andrew Johnson 1865** U Abraham Lincoln

17. Schuyler Colfax 1869–1873 R Ulysses S. Grant

18. Henry Wilson 1873–1875* R Ulysses S. Grant

19. William A. Wheeler 1877–1881 R Rutherford B. Hayes

20. Chester A. Arthur 1881** R James A. Garfield

21. Thomas A. Hendricks 1885* R Grover Cleveland

22. Levi P. Morton 1889–1893 D Benjamin Harrison

23. Adlai E. Stevenson 1893–1897 R Grover Cleveland

24. Garret Augustus Hobart 1897–1899* R William McKinley

25. Theodore Roosevelt 1901** R William McKinley

26. Charles W. Fairbanks 1905–1909 R Theodore Roosevelt

27. James S. Sherman 1909–1912* R William H. Taft

28. Thomas R. Marshall 1913–1921 D Woodrow Wilson

29. Calvin Coolidge 1921–1923** R Warren G. Harding

30. Charles G. Dawes 1925–1929 R Calvin Coolidge

31. Charles Curtis 1929–1933 R Herbert Hoover

32. John Nance Garner 1933–1941 D Franklin D. Roosevelt

33. Henry A. Wallace 1941–1945 D Franklin D. Roosevelt

34. Harry S. Truman 1945** D Franklin D. Roosevelt

35. Alben W. Barkley 1949–1953 D Harry S. Truman

36. Richard M. Nixon 1953–1961 R Dwight D. Eisenhower

37. Lyndon B. Johnson 1961–1963** D John F. Kennedy

38. Hubert H. Humphrey, Jr. 1965–1969 D Lyndon B. Johnson

39. Spiro T. Agnew 1969–1973 R Richard M. Nixon

40. Gerald R. Ford 1973–1974** R Richard M. Nixon

41. Nelson A. Rockefeller 1974–1977 R Gerald R. Ford

42. Walter F. Mondale 1977–1981 D Jimmy Carter

43. George Bush 1981–1989 R Ronald Reagan

44. J. Danforth Quayle 1989–1993 R George Bush

45. Al Gore † 1993–2001 D Bill Clinton

46. Richard B. Cheney † 2001– R George W. Bush

●† Bust not completed ●* Died in office ●** Succeeded to the presidency

† Bust not completed *Died in office ** Succeeded to the presidency

436 United States Senate

Senate

Chamber

Senate

Chamber

Gallery

Senate Wing, Third Floor

Senate Wing, Second Floor
Catalogue of Fine Art 437

Appendix B—Key to The Battle of Fort Moultrie

by John Blake White

This key to The Battle of Fort Moultrie

appeared in an early 20th century newspaper reporting on the recent addition of

the painting to the U.S. Capitol.

(Attributed to the Vermont Burlington Free Press)
Acknowledgments

Any catalogue of this magnitude is the cumulative effort of a great many people over a

long period of time. First and foremost, this project owes its existence to the support

and encouragement received from the 100 members of the United States Senate, and in

particular to the Senate Commission on Art and the Secretary of the Senate. Each of

them follow in the footsteps of their predecessors—committed to preserving these

national treasures.

Without the dedication and enthusiasm of the current staff of the Office of Senate

Curator this publication would not have been possible. It has been a true team effort—

and everyone contributed in a meaningful and substantive way. As project coordinator,

Melinda K. Smith smoothly orchestrated the many details of the catalogue, while

offering support and encouragement to everyone throughout the process. She also

cheerfully assumed the herculean task of researching the provenance, acquisition, identification marks, and size of every work, in addition to conducting extensive primary

research. Melinda worked closely with the writers, editors, and proofreaders, and in the

design and printing phases. Scott M. Strong supervised all aspects of the bibliography

and endnotes, and also contributed significantly to writing, editing, and proofreading.

Amy Elizabeth Burton and Clare Colgrove Hobson compiled the bibliography and endnotes, and provided assistance in countless ways. Richard Doerner served as research

assistant and was tireless in his pursuit of historic images and in fact checking. Jamie

Arbolino handled all photographic concerns; this included arranging photographic sessions, ordering loaned images, and confirming credit line information. Deborah Wood

and Kelly Steele assisted with research and the seemingly interminable review of galley

proofs. All of the staff have my deepest gratitude and respect. This catalogue exists only

because of their outstanding professionalism and committed effort.

The Senate was privileged to have distinguished art historian William Kloss

involved with the publication. His incisive introductory essay provides a perceptive

analysis of the art in the Senate and its place in American art history. He also contributed extensive commentary on the aesthetic qualities of specific Senate works, providing new and insightful critique. The catalogue also benefitted greatly from the

assistance of Dr. Jane R. McGoldrick as editor. She combined the writings of several

staff into a cohesive narrative, and seamlessly integrated William Kloss’s descriptive

analysis into the catalogue’s entries. We are grateful for her skill and vision which

improved the publication substantially.

This book would not have been possible without the strong support of Jeri

Thomson, secretary of the Senate and executive secretary to the Senate Commission

on Art. She recognized that such a catalogue was a significant resource for those interested in the history of the Senate and the Senate’s art, and she encouraged the effort

to disseminate this information. Her predecessor, Gary Sisco, provided the impetus to

publish the volume. Assistant Secretary of the Senate Barbara Timmer also was a

source of guidance and unflagging enthusiasm.

Former Senate staff contributed immeasurably to the effort. Preeminent among

them is Senate Curator Emeritus James R. Ketchum, who guided the office for 25 years,

identified this project, and led it through its early stages. He continues to provide advice

and wise counsel with his customary kindness and erudition. Former staff who assisted

with various phases of the project include Mary O. Phelan, James S. Haugerud, and Kelly

Chisholm Ames. Each of them attended to significant details of the catalogue. Former Collections Manager John B. Odell initially served as project coordinator and admirably coordinated the various tasks. Melinda Stuart, associate curator, worked on the catalogue

during her Senate tenure and later provided invaluable assistance in the editorial process.

Rainey Tisdale, former associate registrar, handled photographic responsibilities and

438 United States Senate
Catalogue of Fine Art 439

contributed significantly to the editing of the manuscript—her diligent attention to detail is

renowned. I am grateful to all of these individuals for their dedication to the production of

this catalogue.

The staff of the U.S. Senate Historical Office aided the publication immensely by

providing expertise and advice, reviewing drafts, and answering seemingly endless questions. Senate Historian Dr. Richard A. Baker must be especially thanked for his ongoing

encouragement and insightful comments. His staff have been unfailingly generous with

their time and knowledge: Dr. Donald A. Ritchie, associate historian; Dr. Betty K. Koed,

assistant historian; Beth Bolling, historical editor; and Heather L. Moore, photo historian.

Over the years, numerous student interns in the Curator’s Office attended to

many time-consuming details to complete this volume: Nancy B. Cotham, Charlotte

Gaither, Angela E. Farkas, and Jodie L. Phaneuf assisted with early efforts in fact

checking; Nicole Karron, Madeline LePage, and Amanda L. Schultz assisted with the bibliographic references; Stacey Gannon and Lauren R. Harry worked on image research

and acquisition information; Lindsay Artwick handled the myriad of details related to

secondary images; Theresa Malanum reviewed images and provided additional photographic research during the final stages of production; and Valerie Edwards, Michael A.

McGuire, and James Phelan assisted in compiling the endnotes. 

Betty C. Monkman, former White House curator, and Dr. Barbara A. Wolanin,

curator, Architect of the Capitol, reviewed the manuscript and provided critical insight and

scholarly review. Other staff of the Architect of the Capitol who deserve special mention

are Pamela McConnell, registrar; William C. Allen, architectural historian; and Wayne Firth,

division head of the photography branch, and photographer Michael Dunn.

Staff members of the Senate Library, under the guidance of Senate Librarian Gregory C. Harness, were invaluable in assisting with research; much appreciation goes to

Nancy Kervin, reference librarian, for her generous help with copyediting and format

and style issues.

Erik Kvalsvik of Baltimore produced the superb room views that grace the book;

he also documented other Senate art. Charles H. Phillips worked with the office over a

period of several years to photograph the majority of the objects.

Other Secretary of the Senate staff assisted with administrative requirements. Chuck

Hawk, director of Printing and Document Services, helped with the printing specifications

and other technical advice; Bruce E. Kasold, counsel for the Secretary of the Senate and

Sergeant at Arms, and Adam Bramwell, general counsel for the Secretary, worked closely

with the Joint Committee on Printing regarding the publication; while Zoraida Torres,

accounts administrator, processed the many payments. 

The preparation, design, and production of this catalogue is the result of dedicated work by the talented staff at the Government Printing Office. Special thanks are

due to Charlie Cook and the Congressional Printing and Management Division, particularly Gary Ford and Joe Benjamin; to John Sapp and the Typography and Design Division, including Mary Ann Ullrich, and to John Bassett and the Technical Review Section,

particularly Rick Brzozowski for his countless hours devoted to the project; to the

Printing Procurement Department, especially James Leonard and James Willard and their

staff; and also to DiAnn Baum who initially worked on the design. A special note of

thanks must go to designer William Rawley, who produced an elegant book in a timely

fashion—it was a pleasure to work with such discerning talent. The staff of the Government Printing Office brought extensive knowledge to the project, and saw us through

the complexities of the publishing process with enthusiasm and commitment.

The Senate is most grateful to the more than 50 museums, institutions, and individuals whose resources were made available for this project. Through the information
440 United States Senate

and secondary images they provided, the history and understanding of the Senate’s art

have been greatly enhanced: Herbert E. Abrams, Warren, CT; Architect of the Capitol,

Washington, D.C.; Archives of American Art, Smithsonian Institution, Washington, D.C.;

The Athenaeum of Philadelphia; Boston Art Commission; The British Museum, London;

Chesley, LLC and Sculpture Group Limited, Northbrook, IL; Chesterwood Museum, Stockbridge, MA; Corcoran Gallery of Art, Washington, D.C.; Fogg Art Museum, Cambridge,

MA; George Bush Presidential Library, College Station, TX; Gerald R. Ford Library and

Museum, Grand Rapids, MI; Pedro E. Guerrero, Florence, AZ; Harry S. Truman Library,

Independence, MO; Ickworth House, Park & Garden, London; Independence National

Historical Park, Philadelphia; John Fitzgerald Kennedy Library, Boston; Los Angeles

County Museum of Art; Library of Congress, Washington, D.C.; Lyndon Baines Johnson

Library, Austin, TX; Suzy Maroon, Washington, D.C.; Martin Luther King, Jr. Memorial

Library, Washington, D.C.; Maryland State Archives, Annapolis; Metropolitan Museum of

Art, New York; Minnesota Historical Society, St. Paul; Museum of Fine Arts, Boston;

Museum of Modern Art, New York; Nasjonalgalleriet, Oslo; National Gallery of Art, Washington, D.C.; National Museum of American History, Smithsonian Institution, Washington,

D.C.; National Portrait Gallery, Smithsonian Institution, Washington, D.C.; Judson R.

Nelson, Fort Myers, FL; Arnold Newman, New York; The New York Times; The NewYork Historical Society; Ohio Historical Society, Columbus; Pennsylvania Academy of the

Fine Arts, Philadelphia; Philadelphia Museum of Art; Wendy Ross, Bethesda, MD; Heidi

Roth, Page, AZ; Saint-Gaudens National Historic Site, Cornish, NH; R.J. Duke Short, SC;

Smithsonian American Art Museum, Washington, D.C.; Supreme Court of the United

States, Washington, D.C.; Syracuse University Library, NY; Texas State Capitol, Austin;

U.S. Patent and Trademark Office, Arlington, VA; U.S. Senate Historical Office, Washington, D.C.; U.S. Senate Photographic Studio, Washington, D.C.; Anjanette Vail Van

Horn, Santa Barbara, CA; Vermont Division for Historic Preservation, Montpelier; Virginia

Historical Society, Richmond; Ed Watkins, Bronx, NY; West Point Museum, NY; White

House Historical Association, Washington, D.C.; Yale University Art Gallery, New Haven,

CT; and Yale University Library, New Haven, CT.

We also offer profound gratitude to the many scholars and staff at museums,

libraries, universities, and other organizations who willingly gave professional assistance

and advice. Thomas R. Tibbetts of Lewes, Delaware, and Joel W. Eastman at the University of Southern Maine are to be thanked for their contributions to the Seth Eastman Fort

series; Barbara Franco for kindly sharing her research on artist Henry F. Darby; and

Mary Yarnall and Mark Mattucci at the Library of Congress, for their perseverance in

locating publications, references, and quotes.

Finally, the individuals who protect and preserve the art in the Senate, and who

make this information publicly available, merit thanks. I would like to especially commend the staff of the Architect of the Capitol and the Senate Sergeant at Arms, the latter

including the U.S. Capitol Police, Department of Capitol Facilities, and U.S. Capitol

Guide Service, for their tireless support. Particular thanks go to Capitol Guide Peter Byrd

for reviewing the catalogue text. Also deserving recognition are the many conservators

who have worked over the years to preserve these significant paintings and sculpture,

and specifically those who prepared the works of art featured in this volume.

I extend thanks to everyone who contributed to the writing, editing, and publication of this catalogue. Personally, I am much indebted to each of them for their unwavering support and encouragement, and most importantly for making this book possible. 

Diane K. Skvarla

Senate Curator
All quoted sources not cited in these

notes are unpublished materials from the

records of the U.S. Senate Commission

on Art and the Architect of the Capitol.

These sources can be viewed by contacting the Office of Senate Curator or the

Office of the Curator, Architect of the

Capitol.

Introductory Essay

1. John Frazee, “The Autobiography of

Frazee, the Sculptor,” North American

Quarterly Magazine, 6 July 1835, 17–18.

2. Oliver Dyer, Great Senators of the United

States Forty Years Ago (1848 and 1849)

(1889; reprint, Freeport, NY: Books for

Libraries, 1972), 223–24.

3. Ibid., 251–53.

4. James Thomas Flexner, Gilbert Stuart: 

A Great Life in Brief (New York: Knopf,

1955), 124.

5. Oliver Hampton Smith, Early Indiana

Trials (Cincinnati, OH: Moore, Wilstach,

Keys, 1858), 465–66.

6. Henry T. Tuckerman, Book of the Artists:

American Artist Life Comprising Biographical and Critical Sketches of American Artists. (1867; reprint, New York:

James F. Carr, 1966), 400.

7. Gilbert Haven, Incidents and Anecdotes

of Rev. Edward T. Taylor (Boston: B.B.

Russell, 1872), 213–15.

8. Lindsey Turrentine, “California Capitol,”

Sacramento Bee, 4 June 2002.

9. Tom Armstrong, 200 Years of American

Sculpture: A Bicentennial Exhibition

Organized by the Whitney Museum of

American Art, New York, Shown from

March 16 to September 26, 1976 (Boston:

D.R. Godine, 1976), 19.

Adams, John

1. Mark O. Hatfield, Vice Presidents of the

United States, 1789 –1993 (Washington,

D.C.: Government Printing Office, 

1997), 4.

John Adams by Eliphalet Frazer Andrews

(Cat. no. 31.00005)

1. Edna Maria Clark, Ohio Art and Artists

(1932; reprint, Detroit: Gale Research,

1975), 103.

John Adams by Daniel Chester French

(Cat. no. 22.00001)

1. Andrew Oliver, Portraits of John and

Abigail Adams (Cambridge, MA: Belknap

Press of Harvard University Press, 1967),

140–41.

Spiro T. Agnew by William H. Behrends

(Cat. no. 22.00043)

1. Maureen Dowd, “Sic Transit Agnew,”

New York Times Sunday Magazine, 

31 July 1994.

2. Juliet Eilperin, “Agnew Immortalized,”

Roll Call, 25 May 1995.

America’s First Moon Landing 

1. Congressional Record (25 May 1961) 

vol. 107, pt. 7: 8881.

America’s First Moon Landing, July 21,

1969 by Allyn Cox (Cat. no. 35.00001)

1. Congressional Record (28 September

1982) vol. 128, pt. 125: 12436.

Aysh-ke-bah-ke-ko-zhay, or Flat Mouth by

Francis Vincenti (Cat. no. 21.00001)

1. Charles E. Fairman, Art and Artists of the

Capitol of the United States of America

(Washington, D.C.: Government Printing

Office, 1927), 151.

Baker, Howard Henry, Jr.

1. Donald C. Bacon, Roger H. Davidson,

and Morton Keller, eds., The Encyclopedia of the United States Congress (New

York: Simon & Schuster, 1995), 126.

Howard Baker, Jr. by Herbert Elmer

Abrams (Cat. no. 32.00038)

1. William H. Frist, Tennessee Senators,

1911–2001: Portraits of Leadership in 

a Century of Change (Lanham, MD:

Madison Books, 1999), 144.

Alben W. Barkley by Kalervo Kallio 

(Cat. no. 22.00035)

1. “Knife, Bayonet, Chisel,” Time, 12 February 1951, 73.

2. “Marble Bust of Barkley Unveiled in

Capitol Rite,” Washington, D.C. Evening

Star, 30 April 1958.

Battle of Fort Moultrie

1. William Moultrie, Memoirs of the American Revolution, vol. 1 (1802; reprint,

New York: New York Times, 1968), 179.

The Battle of Fort Moultrie by John Blake

White (Cat. no. 33.00004)

1. Congressional Record (22 January 1901)

vol. 34, pt. 2: 1287.

The Battle of Lake Erie by William Henry

Powell (Cat. no. 33.00008)

1. Henry T. Tuckerman, Book of the Artists:

American Artist Life Comprising Biographical and Critical Sketches of American Artists (1867; reprint, New York:

James F. Carr, 1966), 458.

2. U.S. Congress, Joint Resolution 25, 

38th Cong., 2d sess., 2 March 1865.

3. Tuckerman, 459.

4. Ibid.

Be sheekee, or Buffalo by Francis Vincenti

(Cat. no. 21.00002)

1. Montgomery C. Meigs, Capitol Builder: 

The Shorthand Journals of Montgomery

C. Meigs, 1853 –1859, 1861, edited by

Wendy Wolff (Washington, D.C.: Government Printing Office, 2001), 232.

2. Ibid., 229.

Brumidi, Constantino

1. Barbara A. Wolanin, comp., Constantino

Brumidi: Artist of the Capitol (Washington, D.C.: Government Printing

Office, 1998), 9.

George Bush by Walker Kirtland Hancock

(Cat. no. 22.00042)

1. Donnie Radcliffe, “The Unveiling of the

Finely Chiseled George Bush,” Washington Post, 25 June 1991.

Catalogue of Fine Art 441

Notes
John C. Calhoun by Henry F. Darby 

(Cat. no. 32.00003)

1. Mary Panzer, Mathew Brady and the

Image of History (Washington, D.C.:

Smithsonian Institution Press for the

National Portrait Gallery, 1997), 80.

2. Roy Meredith, The World of Mathew

Brady: Portraits of the Civil War Period

(Los Angeles: Brooke House, 1976), 22.

Clay, Henry

1. Robert V. Remini, Henry Clay: Statesman

for the Union (New York: W.W. Norton,

1991), 578.

Henry Clay by Thomas Ball

(Cat. no. 24.00007)

1. Thomas Ball, My Threescore Years and

Ten: An Autobiography (1892; reprint,

New York: Garland, 1977), 209.

2. Henry Clay, Life and Speeches of the

Honorable Henry Clay, vol. 1, edited by

Daniel Mallory (New York: Robert P.

Bixby, 1843), 324.

Henry Clay by Henry Kirke Brown 

(Cat. no. 24.00009)

1. Harriet Martineau, “Webster and Clay

Contrasted,” In America through British

Eyes, edited by Allan Nevins, originally

published as American Social History as

Recorded by British Travellers (1923;

new, rev. and enl. ed., New York:

Oxford University Press, 1948), 157.

Henry Clay by Allyn Cox 

(Cat. no. 32.00007)

1. Marie De Mare, G.P.A. Healy, American

Artist: An Intimate Chronicle of the Nineteenth Century (New York: David McKay,

1954), 134.

Henry Clay by Henry F. Darby 

(Cat. no. 32.00002)

1. William Kloss, Samuel F.B. Morse (New

York: H.N. Abrams, in association with

the National Museum of American Art,

Smithsonian Institution, 1988), 146.

Coolidge, Calvin

1. Mark O. Hatfield, Vice Presidents of the

United States, 1789 –1993 (Washington,

D.C.: Government Printing Office, 

1997), 349.

Calvin Coolidge by Moses A.Wainer

Dykaar (Cat. no. 22.00029)

1. David Schwartz, “Silent Cal,” National

Jewish Ledger, 1 May 1931.

Courage by Lee Oscar Lawrie 

(Cat no. 25.00008)

1. Joseph F. Morris, ed., Lee Lawrie, The

American Sculptors Series, vol. 14

(Athens: University of Georgia Press,

1955), 7.

Thomas Crawford by Tommaso Gagliardi

(Cat. no. 21.00004)

1. Montgomery C. Meigs, Capitol Builder:

The Shorthand Journals of Montgomery

C. Meigs, 1853 –1859, 1861, edited by

Wendy Wolff (Washington, D.C.: Government Printing Office, 2001), 323.

2. Charles E. Fairman, Art and Artists of the

Capitol of the United States of America

(Washington, D.C.: Government Printing

Office, 1927), 269.

Charles Curtis by Moses A.Wainer Dykaar

(Cat. no. 22.00031)

1. David Rankin Barbee, “An Historian in

Bronze and Marble,” Washington Post, 

3 April 1932.

Charles G. Dawes by Jo Davidson 

(Cat. no. 22.00030)

1. Jo Davidson, Between Sittings: An

Informal Autobiography (New York:

Dial, 1951), 86–87, 117.

2. Janice C. Conner and Joel Rosenkranz,

Rediscoveries in American Sculpture:

Studio Works, 1893 –1939 (Austin: 

University of Texas Press, 1989), 15.

Dirksen, Everett McKinley

1. Robert C. Byrd, The Senate, 1789 –1989,

vol. 1 (Washington, D.C.: Government

Printing Office, 1988), 670.

Eagle and Shield

1. Richard Sharpe Patterson and Richardson

Dougall, The Eagle and the Shield: A History of the Great Seal of the United States

(Washington, D.C.: Office of the Historian, Bureau of Public Affairs, Department of State, 1976. Department of State

Publication 8900, Department and Foreign Service Series 161), 88.

Eagle and Shield by Unknown artist 

(Cat. no. 25.00003)

1. “The Capitol,” Daily National Intelligencer, 3 December 1838.

2. Congressional Globe (12 March 1838)

25th Cong., 2d sess.: 641.

Eastland, James Oliver

1. Malcolm David Scott, ed., Mississippi’s

Senator James O. Eastland (Office of

Senator James Eastland, n.d.).

2. “Ex-Sen. Eastland, Civil Rights Foe, Is

Dead at Age 81,” New Orleans TimesPicayune, 20 February 1986.

Ellsworth, Oliver

1. Timothy Dwight, Travels in New England

and New York, vol. 1 (New Haven, CT: T.

Dwight, 1821), 302.

2. John Adams, The Works of John Adams,

Second President of the United States,

vol. 10, edited by Charles Francis Adams

(Boston: Little, Brown, 1856), 112.

First Reading of the Emancipation

Proclamation by President Lincoln by

Francis Bicknell Carpenter 

(Cat. no. 33.00005)

1. Francis Bicknell Carpenter, Six Months at

the White House with Abraham Lincoln

(1866; reprint, Lincoln: University of

Nebraska Press, 1995), 12.

2. Ibid., 14.

3. Stefan Lorant, Lincoln: A Picture Story of

His Life (New York: Bonanza Books,

1979), 154–55.

4. Carpenter, 18.

5. Harold Holzer, Gabor S. Boritt, and 

Mark E. Neely, Jr., The Lincoln Image:

Abraham Lincoln and the Popular Print

(New York: Scribner, 1984; Reprint,

Urbana: University of Illinois Press,

2001), 117.

6. Carpenter, 16, 18.

7. Herbert Mitgang, “New Lincoln Insights

Emerge from Letters,” New York Times,

12 February 1986.

8. Stefan Lorant, “A Rare New Find of Lincoln Material,” Saturday Evening Post, 19

July 1947, 129.

9. Holzer, 122.

10. Harold Holzer, Gabor S. Boritt, and

Mark E. Neely, Jr., “Francis Bicknell 

Carpenter (1830–1900): Painter of

Abraham Lincoln and His Circle,” 

American Art Journal 16, no. 2 (spring

1984): 75.

Gerald R. Ford by Walker Kirtland

Hancock (Cat. no. 22.00039)

1. Donald Martin Reynolds, Masters of

American Sculpture: The Figurative Tradition from the American Renaissance to

the Millennium (New York: Abbeville,

1993), 254.

Principal Fortifications of the United

States

1. Congressional Globe (26 March 1867)

40th Cong., 1st sess.: 362.

442 United States Senate
2. Charles E. Fairman, Art and Artists of the

Capitol of the United States of America

(Washington, D.C.: Government Printing

Office, 1927), 239.

3. Ibid.

Lafayette Foster by Charles Calverley

(Cat. no. 21.00006)

1. Albert TenEyck Gardner, American

Sculpture: A Catalogue of the Collection

of the Metropolitan Museum of Art (New

York: Metropolitan Museum of Art, 

1965), 34.

2. Mary Clemmer Ames, Ten Years in Washington: Life and Scenes in the National

Capital, as a Woman Sees Them (Hartford, CT: A.D. Worthington, 1873), 96.

Benjamin Franklin by Hiram Powers 

(Cat. no. 21.00008)

1. Congressional Globe (3 March 1855) 

33d Cong., 2d sess.: 1124.

2. Richard P. Wunder, Hiram Powers: Vermont Sculptor, 1805 –1873, vol. 2

(Newark: University of Delaware Press;

Cranbury, NJ: Associated University

Presses, 1991), 150.

Joseph Gales by George Peter Alexander

Healy (Cat. no. 31.00016)

1. Oliver Hampton Smith, Early Indiana

Trials (Cincinnati, OH: Moore, Wilstach,

Keys, 1858), 464.

2. Marie De Mare, G.P.A. Healy, American

Artist: An Intimate Chronicle of the Nineteenth Century (New York: David McKay,

1954), 116.

Giuseppe Garibaldi by Giuseppe

Martegana (Cat. no. 21.00007)

1. Congressional Record (23 August 1888)

vol. 19, pt. 8: 7863.

Garner, John Nance

1. Jules Whitcover, Crapshoot: Rolling the

Dice on the Vice Presidency: From Adams

and Jefferson to Truman and Quayle

(New York: Crown, 1992), 400.

2. Bascom Nolly Timmons, Garner of

Texas: A Personal History (New York:

Harper, 1948), 176.

John Nance Garner by Howard Chandler

Christy (Cat. no. 31.00007)

1. Mark O. Hatfield, Vice Presidents of the

United States, 1789 –1993 (Washington,

D.C.: Government Printing Office, 1997),

390.

Grant, Ulysses S.

1. Concise Dictionary of American Biography (New York: Charles Scribner’s

Sons, 1964), 362.

John Hancock by Horatio Stone 

(Cat. no. 21.00009)

1. Lillian B. Miller, Patrons and Patriotism:

The Encouragement of the Fine Arts in

the United States, 1790 –1860 (Chicago:

University of Chicago Press, 1966), 80.

Hayden, Carl Trumbull

1. U.S. Congress, Tributes to Honorable

Carl Hayden, Senator from Arizona, to

Commemorate the Occasion of His

Fiftieth Anniversary of Congressional Service, February 19, 1962, Delivered in the

United States Senate and the House of

Representatives (87th Cong., 2d sess.,

Washington, D.C.: Government Printing

Office, 1962), 22.

Carl Hayden by Miles Stafford Rolph III

(Cat. no. 24.00005)

1. Congressional Record (30 April 1986)

vol. 132, pt. 7: 5047.

Hobart, Garret Augustus

1. The National Cyclopædia of American

Biography, vol. 11 (New York: James T.

White, 1909), 11.

Jackson, Henry Martin

1. William W. Prochnau and Richard W.

Larsen, A Certain Democrat: Senator

Henry M. Jackson (Englewood Cliffs, NJ:

Prentice-Hall, 1972), 196.

Sergeants Jasper and Newton Rescuing

American Prisoners from the British by

John Blake White (Cat. no. 33.00003)

1. Mason Locke Weems and Peter Horry,

The Life of General Francis Marion: A

Celebrated Partisan Officer in the Revolutionary War against the British and

Tories in South Carolina and Georgia

(1809; reprint, Winston-Salem, NC: John

F. Blair, 2000), 58.

John Jay by John Frazee 

(Cat. no. 21.00010)

1. Frederick S. Voss, John Frazee, 1790–

1852, Sculptor (Washington, D.C.:

National Portrait Gallery, Smithsonian

Institution; Boston: Boston Athenaeum,

1986), 32.

2. Ibid., 33.

3. Ibid.

Thomas Jefferson by Thomas Sully 

(Cat. no. 31.00006)

1. Clement E. Conger and Mary K. Itsell,

Treasures of State: Fine and Decorative

Arts in the Diplomatic Reception Rooms

of the U.S. Department of State (New

York: Abrams, 1991), 416.

Lyndon B. Johnson by JIMILU mason

(Cat. no. 22.00037)

1. Agnes E. Vaghi, “The President Gets a

Bust,” Washington, D.C. Sunday Star, 

24 April 1966.

1. “Sculpture Gets Head Start: Bronze Wins

Presidential Approval,” Washington Post,

7 January 1967.

Richard M. Johnson by James Paxton

Voorhees (Cat. no. 22.00009)

1. Mark O. Hatfield, Vice Presidents of the

United States 1789 –1993 (Washington,

D.C.: Government Printing Office, 

1997), 129.

Jones, John Paul

1. John Henry Sherburne, Life and Character of the Chevalier John Paul Jones, a

Captain in the Navy of the United States,

during their Revolutionary War (Washington, D.C.: Wilder & Campbell, 

1825), 298.

Justice

1. Vivien Green Fryd, Art and Empire: The

Politics of Ethnicity in the United States

Capitol, 1815 –1860 (New Haven, CT:

Yale University Press, 1992), 179.

2. Ibid., 180.

Justice and History by Thomas Crawford

(Cat. no. 25.00002)

1. Charles E. Fairman, Art and Artists of the

Capitol of the United States of America

(Washington, D.C.: Government Printing

Office, 1927), 143.

2. Robert L. Gale, Thomas Crawford: American Sculptor (Pittsburgh: University of

Pittsburgh Press, 1964), 183.

Ko ́sciuszko,Tadeusz Andrzej Bonawentura

1. U.S. Continental Congress, Journals of

the Continental Congress, 1774 –1789,

vol. 25, edited by Gaillard Hunt, et al.

(Washington, D.C.: Government Printing

Office, 1922), 673.

Robert M. La Follette by Robert Chester

La Follette (Cat. no. 32.00010)

1. Lee W. La Follette, “Portrait at Nation’s

Capitol Is All in the Family,” Columbia

(SC) State, 29 March 1996.

Catalogue of Fine Art 443
John Langdon by Hattie Elizabeth

Burdette (Cat. no. 32.00023)

1. Congressional Record (9 March 1916)

vol. 53, pt. 4: 3808.

2. “Notes of Art and Artists,” Washington,

D.C. Sunday Star, 15 October 1916.

Latimer, Henry

1. W. Emerson Wilson, Forgotten Heroes of

Delaware (Cambridge, MA: Deltos,

1970), 89.

J. Hamilton Lewis by Louis Betts 

(Cat. no. 32.00015)

1. William B. M’Cormick, “Louis Betts: Portraitist,” International Studio 77, no. 316

(September 1923): 524-25.

Abraham Lincoln by Sarah Fisher

Clampitt Ames (Cat. no. 21.00013)

1. Rufus Rockwell Wilson, Lincoln in Portraiture (New York: Press of the Pioneers, 1935), 179.

2. Mary Clemmer Ames, Ten Years in Washington: Life and Scenes in the National

Capital, as a Woman Sees Them (Hartford, CT: A.D. Worthington, 1873), 112.

Abraham Lincoln by Freeman Thorp

(Cat. no. 31.00008)

1. Congressional Record (5 April 1920) 

vol. 59, pt. 5: 5180.

2. “Thorp’s Photographs,” Washington, 

D.C. Daily Morning Chronicle, 12 February 1872.

Mike Mansfield by Aaron Shikler 

(Cat. no. 32.00029)

1. Charles Moritz, ed., Current Biography

Yearbook: 1978 (New York: H.W. Wilson,

1978–79), 281.

General Marion Inviting a British Officer

to Share His Meal

1. Nell Weaver Davies, “New Facts about an

Old Story,” Carologue: Bulletin of the

South Carolina Historical Society 15, 

no. 4 (winter 1999): 20.

2. U.S. Library of Congress, An Album of

American Battle Art, 1755 –1918 (Washington, D.C.: Government Printing

Office, 1947; reprint, New York: 

Da Capo, 1972), 41.

General Marion Inviting a British

Officer to Share His Meal by John Blake

White (Cat. no. 33.00002)

1. Anna Wells Rutledge, “Artists in the Life

of Charleston through Colony and State

from Restoration to Reconstruction,”

Transactions of the American Philosophical Society 39, no. 2 (November 

1949): 136.

2. Maybelle Mann, The American Art-Union

(Jupiter, FL: ALM Associates, 1987), 4.

Marshall, John

1. McCulloch v. Maryland, 4 Wheat. 

316 (1819).

John Marshall by Hiram Powers 

(Cat. no. 21.00014)

1. U.S. Congress, House of Representatives

Journal (7 December 1835) 24th Cong.,

1st sess.: 335.

2. Richard P. Wunder, Hiram Powers: Vermont Sculptor, 1805 –1873, vol. 1

(Newark: University of Delaware Press;

Cranbury, NJ: Associated University

Presses, 1989), 121.

Marshall,Thomas Riley

1. Mark O. Hatfield, Vice Presidents of the

United States, 1789 –1993 (Washington,

D.C.: Government Printing Office, 

1997), 341.

Thomas R. Marshall by Moses A.Wainer

Dykaar (Cat. no. 22.00028)

1. David Rankin Barbee, “An Historian in

Bronze and Marble,” Washington Post, 3

April 1932.

William McKinley by Emma Marie

Cadwalader Guild (Cat. no. 24.00004)

1. Abby G. Baker, “An American Woman

Sculptor,” Pearson’s Magazine, February

1904, 174.

2. Ibid.

Charles L. McNary by Henrique Medina

(Cat. no. 32.00012)

1. Ramiro Guedes de Campos, Dívida de

Portugal a Henrique Medina (Trofa, 

Portugal: D.J. Pereira, 1979), 87.

Justin Morrill by Jonathan Eastman

Johnson (Cat. no. 32.00005)

1. William Belmont Parker, The Life and

Public Services of Justin Smith Morrill

(1924; reprint, New York: Da Capo,

1971), 305.

Morton, Levi Parsons

1. The National Cyclopædia of American

Biography, vol. 1 (New York: James T.

White, 1898), 136.

Levi P. Morton by Frank Edwin Elwell

(Cat. no. 22.00022)

1. Mark O. Hatfield, Vice Presidents of the

United States, 1789 –1993 (Washington,

D.C.: Government Printing Office, 

1997), 271.

Mrs. Motte Directing Generals Marion

and Lee to Burn Her Mansion to

Dislodge the British by John Blake White

(Cat. no. 33.00001)

1. Henry Lee, The Revolutionary War Memoirs of General Henry Lee, originally published as Memoirs of the War in the

Southern Department of the United States

(1812; reprint, New York: Da Capo,

1998), 345.

2. Robert D. Bass, Swamp Fox: The Life and

Campaigns of General Francis Marion

(New York: Holt, 1959), 193.

Mountains and Clouds by Alexander

Calder (Cat. no. 25.00007)

1. Francis X. Clines, “Awaiting the Vista of a

Calder,” New York Times, 18 November

1985.

Niagara,The Table Rock—Winter 

1. Michael S. Durham, The Smithsonian

Guide to Historic America: The MidAtlantic States (New York: Stewart,

Tabori & Chang, 1989), 262.

Niagara, The Table Rock—Winter

by François Régis Gignoux 

(Cat. no. 33.00020)

1. Jeremy Elwell Adamson, Niagara: Two

Centuries of Changing Attitudes, 1697–

1901 (Washington, D.C.: Corcoran

Gallery of Art, 1985), 57.

Overman, Lee Slater

1. Arthur S. Link, Wilson: The New Freedom

(Princeton, NJ: Princeton University

Press, 1956), 190.

Pocahontas by Unknown artist 

(Cat. no. 31.00014)

1. Philip L. Barbour, Pocahontas and Her

World (Boston: Houghton Mifflin, 

1970), 233.

Pulaski, Casimir

1. Miecislaus Haiman, Poland and the

American Revolutionary War (Chicago:

Polish Roman Catholic Union of America,

1932), 27.

444 United States Senate
Casimir Pulaski by Henry Dmochowski

Saunders (Cat. no. 21.00015)

1. U.S. Senate, Senate Journal (13 February

1882) 47th Cong., 1st sess., 296.

The Recall of Columbus

1. Washington Irving, History of the Life and

Voyages of Christopher Columbus, vol. 1

(Philadelphia: Lea & Blanchard for G.W.

Gorton, 1841), 71.

Joseph T. Robinson by Nicholas Richard

Brewer (Cat. no. 32.00011)

1. “Seventy-Seven-Year-Old Artist Finds

President Jumpy,” Washington Post, 

7 May 1935.

2. Ibid.

Nelson A. Rockefeller by John Calabró

(Cat. no. 22.00040)

1. George M. White, Under the Capitol

Dome (Washington, D.C.: American Institute of Architects Press, 1997), 85.

Theodore Roosevelt by James Earle Fraser

(Cat. no. 22.00025)

1. “New Bust of Roosevelt,” Washington

Post, 11 March 1910.

2. James Earle Fraser, “Sculpting T.R.,”

American Heritage, April 1972, 97.

Russell, Richard Brevard, Jr.

1. Congressional Record (1 February 1988)

vol. 126, pt. 2: 499.

2. Bob Dole, Historical Almanac of the

United States Senate: A Series of “Bicentennial Minutes” Presented to the Senate

during the One Hundredth Congress,

edited by Wendy Wolff and Richard A.

Baker (Washington, D.C.: Government

Printing Office, 1989), 282.

Richard B. Russell Memorial Statue by

Frederick E. Hart (Cat. no. 21.00021)

1. U.S. Senate, Dedication and Unveiling of

the Statue of Richard Brevard Russell, Jr.,

105th Cong., 1st sess., 1996, S. Doc.

105–8: 59.

John Rutledge by Alexander Galt 

(Cat. no. 21.00016)

1. Congressional Globe (6 February 1856)

34th Cong., 1st sess., 364.

James S. Sherman by Bessie Onahotema

Potter Vonnoh (Cat. no. 22.00027)

1. “Bust of Sherman Arrives at Capitol,”

Washington, D.C. Evening Star, 4 January

1912.

Smith, Margaret Chase

1. Robert C. Byrd, The Senate, 1789 –1989,

vol. 2 (Washington, D.C.: Government

Printing Office, 1991), 522.

The Space Shuttle Challenger 

1. U.S. Presidential Commission on the

Space Shuttle Challenger Accident,

Report to the President: Report of the

Presidential Commission on the Space

Shuttle Challenger Accident (Washington,

D.C.: The Commission, 1986), 72.

2. Ibid., 104.

Charles Sumner by Martin Milmore 

(Cat. no. 21.00017)

1. Wayne Craven, Sculpture in America

(Newark: University of Delaware Press;

New York: Cornwall, 1984), 227.

Robert A.Taft by Rudolph Anton

Bernatschke (Cat. no. 32.00030)

1. Marie Smith, “Taft Portrait Is Presented at

Capitol to GOP Senators,” Washington

Post and Times Herald, 18 June 1959.

2. Ibid.

3. Ibid.

4. Ibid.

Roger B.Taney by Augustus SaintGaudens (Cat. no. 21.00018)

1. Congressional Globe (23 February 1865)

38th Cong., 2d sess., 1012.

2. Charles E. Fairman, Art and Artists of the

Capitol of the United States of America

(Washington, D.C.: Government Printing

Office, 1927), 358.

Telegraph by Constantino Brumidi 

(Cat. no. 33.00019)

1. Montgomery C. Meigs, Capitol Builder:

The Shorthand Journals of Montgomery

C. Meigs, 1853 –1859, 1861, edited by

Wendy Wolff (Washington, D.C.: Government Printing Office, 2001), 489.

Tompkins, Daniel D.

1. Barnett Shepherd, “Daniel D. Tompkins

and His Portraits,” Staten Island Historian 8, no. 2 (winter–spring 1991): 6.

Henry A.Wallace by Jo Davidson 

(Cat. no. 22.00033)

1. Jo Davidson, Between Sittings: An

Informal Autobiography (New York:

Dial, 1951), 336.

George Washington by William Dunlap

(Cat. no. 31.00015)

1. William Dunlap, History of the Rise and

Progress of the Arts of Design in the

United States, vol. 1 (1834; reprint, 2

vols. in 3, edited by Rita Weiss, New

York: Dover Publications, 1969), 252.

2. Ibid., 253, 254.

3. Ibid., 254.

4. Ibid., 250.

5. Ibid., 243.

6. Ibid., xv.

George Washington (Patriæ Pater) by

Rembrandt Peale (Cat. no. 31.00001)

1. John Hill Morgan and Mantle Fielding,

The Life Portraits of Washington and

Their Replicas (Lancaster, PA: Lancaster

Press, 1931), 369.

2. Gustavus A. Eisen, Portraits of Washington, vol. 1 (New York: Robert

Hamilton, 1932), 312.

3. Lillian B. Miller and Carol Eaton Hevner,

In Pursuit of Fame: Rembrandt Peale,

1778 –1860 (Washington, D.C.: National

Portrait Gallery; Seattle: University of

Washington Press, 1992), 144.

4. Eisen, 313.

5. Thomas Jefferson, The Life and Selected

Writings of Thomas Jefferson, edited by

Adrienne Koch and William Peden (1944;

reprint, New York: Modern Library,

1993), 174.

6. Carol Eaton Hevner and Lillian B. Miller,

Rembrandt Peale, 1778 –1860: A Life in

the Arts. An Exhibition at the Historical

Society of Pennsylvania, February 22,

1985 to June 28, 1985 (Philadelphia: The

Society, 1985), 25.

7. Ibid., 66.

8. Eisen, 315. 

9. Rembrandt Peale, Portrait of Washington

(Philadelphia: n.p., 1824?), 2.

George Washington by Unknown artist

(Cat. no. 21.00020)

1. Gustavus A. Eisen, Portraits of Washington, vol. 3 (New York: Robert

Hamilton, 1932), 764.

George Washington Memorial Window

by Maria Herndl (Cat no. 42.00001)

1. “Miss Marie Herndl,” Milwaukee Journal,

16 May 1912.

George Washington at Princeton by

Charles Willson Peale (Cat. no. 31.00002)

1. Charles Coleman Sellers, Charles Willson

Peale (New York: Scribner, 1969), 182.

Catalogue of Fine Art 445
2. Henry T. Tuckerman, Book of the Artists:

American Artist Life Comprising Biographical and Critical Sketches of American Artists (1867; reprint, New York:

James F. Carr, 1966), 51.

3. Congressional Record (6 February 1882)

vol. 13, pt. 1: 912.

4. Charles Coleman Sellers, The Artist of the

Revolution: The Early Life of Charles

Willson Peale (Hebron, CT: Feather &

Good, 1939), 150.

5. Charles Coleman Sellers, “Portraits and

Miniatures by Charles Willson Peale,”

Transactions of the American Philosophical Society 42 (June 1952): 226.

Webster, Daniel

1. Oliver Dyer, Great Senators of the United

States Forty Years Ago (1848 and 1849)

(1889; reprint, Freeport, NY: Books for

Libraries, 1972), 251–253.

Daniel Webster by Thomas Ball 

(Cat. no. 24.00006)

1. Thomas Ball, My Threescore Years and

Ten: An Autobiography (1892; reprint,

New York: Garland, 1977), 137.

2. Ibid., 138.

3. Ibid., 142.

4. Lorado Taft, The History of American

Sculpture (1924; reprint, New York:

Arno, 1969), 141.

5. Oliver Dyer, Great Senators of the United

States Forty Years Ago (1848 and 1849)

(1889; reprint, Freeport, NY: Books for

Libraries, 1972), 252.

6. Ibid.

Daniel Webster by Adrian S. Lamb 

(Cat. no. 32.00006)

1. U.S. Senate, S. Res. 145, 84th Cong., 1st

sess., 2 August 1955.

2. U.S. Senate, Proceedings at the Unveiling

of the Portraits of Five Outstanding Senators, 86th Cong., 1st sess., 1959, S. Doc.

86–17: 36.

Henry Wilson by Daniel Chester French

(Cat. no. 22.00018)

1. Congressional Record (27 January 1885)

vol. 16, pt. 2: 1018.

446 United States Senate
This bibliography serves two purposes: it

is a record of specific sources consulted

during the preparation of this catalogue,

and it is a guide to further research. Every

attempt has been made to cite at least one

reference for each essay in the catalogue.

Where notably early or obscure references are cited, the reader should assume

that they represent the only available

sources. Additional sources have been

included that offer a range of insights and

opinions on each subject and that were

selected for their accessibility to both the

casual reader and the scholar. 

The records of the U.S. Senate Commission on Art and the archives of the

Architect of the Capitol contain a wealth

of correspondence, unpublished holographic material, and administrative

records related to the acquisition of the

works of art in the Senate. Although not

cited as bibliographic references, these

sources are noted in the applicable essay

text sections, and are available for study

by contacting the Office of Senate Curator

and the Office of the Curator, Architect of

the Capitol, in Washington, D.C. An

additional source of invaluable information is the Smithsonian Institution’s

Archives of American Art.

In addition to the references cited in

this bibliography, there are a number of

sources that are universally helpful in

researching the Senate, the U.S. Capitol,

or the history of American art. All were

consulted for the preparation of nearly

every essay entry. As a matter of convenience, and to avoid repetition, they

are listed below as general sources.

Allen, William C. A History of the United

States Capitol: A Chronicle of Design,

Construction, and Politics. Washington,

D.C.: Government Printing Office, 2001.

Brown, Glenn. History of the United States

Capitol. 1903. Reprint (2 vols. in 1),

New York: Da Capo, 1970.

Byrd, Robert C. The Senate, 1789 –1989. 

4 vols. Washington, D.C.: Government

Printing Office, 1988–94.

Craven, Wayne. Sculpture in America. New

and rev. ed. Newark: University of

Delaware Press; New York: Cornwall,

1984.

Fairman, Charles E. Art and Artists of the

Capitol of the United States of America.

Washington, D.C.: Government

Printing Office, 1927.

Paul, Karen Dawley, and Diane B. Boyle,

comps. Guide to Research Collections

of Former United States Senators,

1789 –1995. Washington, D.C.:

Government Printing Office, 1995.

U.S. Congress. Biographical Directory of

the United States Congress, 1774 –1989.

Washington, D.C.: Government

Printing Office, 1989.

Introductory Essay

Armstrong, Tom. 200 Years of American

Sculpture: A Bicentennial Exhibition

Organized by the Whitney Museum of

American Art, New York, Shown from

March 16 to September 26, 1976.

Boston: D.R. Godine, 1976.

Dyer, Oliver. Great Senators of the United

States Forty Years Ago (1848 and

1849). 1889. Reprint, Freeport, NY:

Books for Libraries, 1972.

Flexner, James Thomas. Gilbert Stuart: A

Great Life in Brief. New York: Knopf,

1955.

Frazee, John. “The Autobiography of

Frazee, the Sculptor.” North American

Quarterly Magazine, 6 July 1835.

Haven, Gilbert. Incidents and Anecdotes of

Rev. Edward T. Taylor. Boston: B.B.

Russell, 1872.

Oliver, Andrew. Portraits of John and

Abigail Adams. Cambridge, MA:

Belknap Press of Harvard University

Press, 1967.

Smith, Oliver Hampton. Early Indiana

Trials. Cincinnati, OH: Moore,

Wilstach, Keys, 1858.

Tuckerman, Henry T. Book of the Artists:

American Artist Life Comprising

Biographical and Critical Sketches of

American Artists. 1867. Reprint, New

York: James F. Carr, 1966.

Turrentine, Lindsey. “California Capitol,”

Sacramento Bee, 4 June 2002.

Adams, John

Adams, John. Papers of John Adams. 10

vols. Edited by Robert J. Taylor, et al.

Cambridge, MA: Harvard University

Press, 1977–96.

Ellis, Joseph J. Passionate Sage: The

Character and Legacy of John Adams.

New York: W.W. Norton, 1993.

Ferling, John E. John Adams: A Life.

Knoxville: University of Tennessee

Press, 1992.

Hatfield, Mark O. Vice Presidents of the

United States, 1789 –1993. Washington,

D.C.: Government Printing Office,

1997.

McCullough, David G. John Adams. New

York: Simon & Schuster, 2001.

Smith, Page. John Adams. 2 vols. Garden

City, NY: Doubleday, 1962–63. Reprint,

Westport, CT: Greenwood, 1969.

John Adams by Eliphalet Frazer Andrews

(Cat. no. 31.00005)

Clark, Edna Maria. Ohio Art and Artists.

1932. Reprint, Detroit: Gale Research,

1975.

Corcoran Gallery of Art. A Catalogue of the

Collection of American Paintings in the

Corcoran Gallery of Art, Volume 1:

Painters Born before 1850. Washington,

D.C.: Corcoran Gallery of Art, 1966.

Cosentino, Andrew J., and Henry H.

Glassie. The Capital Image: Painters in

Washington, 1800 –1915. Washington,

D.C.: Smithsonian Institution Press,

1983.

Kloss, William, et al. Art in the White

House: A Nation’s Pride. Washington,

D.C.: White House Historical

Association, in cooperation with the

National Geographic Society, 1992.

John Adams by Daniel Chester French

(Cat. no. 22.00001)

Craven, Wayne. Sculpture in America. New

and rev. ed. Newark: University of

Delaware Press; New York: Cornwall,

1984.

Cresson, Margaret French. Journey into

Fame: The Life of Daniel Chester

French. Cambridge, MA: Harvard

University Press, 1947.

Catalogue of Fine Art 447

Selected Bibliography
Greenthal, Kathryn, Paula M. Kozol, and Jan

Seidler Ramirez. American Figurative

Sculpture in the Museum of Fine Arts,

Boston. Boston: Northeastern University

Press, 1986.

Oliver, Andrew. Portraits of John and

Abigail Adams. Cambridge, MA:

Belknap Press of Harvard University

Press, 1967.

Richman, Michael. Daniel Chester French:

An American Sculptor. New York:

Metropolitan Museum of Art for the

National Trust for Historic Preservation,

1976. Reprint, Washington, D.C.:

Preservation, 1983.

Tolles, Thayer, ed. American Sculpture in

the Metropolitan Museum of Art. Vol. 1.

New York: Metropolitan Museum of

Art, 1999.

Agnew, Spiro Theodore

Agnew, Spiro T. Collected Speeches of Spiro

Agnew. New York: Audubon Books,

1971.

———. Go Quietly . . . Or Else. New York:

Morrow, 1980.

Cohen, Richard M., and Jules Witcover. A

Heartbeat Away: The Investigation and

Resignation of Vice President Spiro T.

Agnew. New York: Viking, 1974.

Hatfield, Mark O. Vice Presidents of the

United States, 1789 –1993. Washington,

D.C.: Government Printing Office,

1997.

Spiro T. Agnew by William H. Behrends

(Cat. no. 22.00043)

Dowd, Maureen. “Sic Transit Agnew.” New

York Times Sunday Magazine, 31 July

1994.

Eilperin, Juliet. “Agnew Immortalized,” Roll

Call, 25 May 1995.

O’Mara, Richard. “Sculptor Gives Spiro T.

Agnew a Chiseled Look,” Baltimore

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Aldrich, Nelson Wilmarth

Merrill, Horace Samuel, and Marion

Galbraith Merrill. The Republican

Command, 1897–1913. Lexington:

University Press of Kentucky, 1971.

Stephenson, Nathaniel W. Nelson W.

Aldrich, a Leader in American Politics.

1930. Reprint, Port Washington, NY:

Kennikat, 1971.

Sternstein, Jerome L. “Corruption in the

Gilded Age Senate: Nelson W. Aldrich

and the Sugar Trust.” Capitol Studies 6

(spring 1978).

Nelson Aldrich by Paul Peter Kiehart

(Cat. no. 32.00020)

No additional sources

Allison,William Boyd

Merrill, Horace Samuel, and Marion

Galbraith Merrill. The Republican

Command, 1897–1913. Lexington:

University Press of Kentucky, 1971.

Sage, Leland L. William Boyd Allison: A

Study in Practical Politics. Iowa City:

State Historical Society of Iowa, 1956.

U.S. Congress. William Boyd Allison (Late a

Senator from Iowa): Memorial Addresses, Sixtieth Congress, Second Session;

Senate of the United States, February 6,

1909, House of Representatives,

February 21, 1909. Washington, D.C.:

Government Printing Office, 1909.

William Allison by Wilbur Aaron Reaser

(Cat. no. 32.00004)

Macbeth Gallery. Decorative Pastels by

Wilbur A. Reaser, Direct from Exhibition at Palazzo Antinori Florence,

February 18th–March 3rd, 1930. New

York: Macbeth Gallery, 1930.

America’s First Moon Landing

Aldrin, Buzz, and Malcolm McConnell. Men

from Earth. New York: Bantam, 1989.

Armstrong, Neil, Buzz Aldrin, and Michael

Collins. The First Lunar Landing: 20 th

Anniversary, as Told by the Astronauts,

Neil Armstrong, Edwin Aldrin, Michael

Collins. Washington, D.C.: National

Aeronautics and Space Administration,

1989.

———. First on the Moon: A Voyage with

Neil Armstrong, Michael Collins and

Edwin E. Aldrin, Jr. Boston: Little,

Brown, 1970.

U.S. Congress. Urgent National Needs—

Address of the President of the United

States. Congressional Record (25 May

1961) vol. 107, pt. 7.

America’s First Moon Landing, July 21,

1969 by Allyn Cox 

(Cat. no. 35.00001)

Anderson, Ward. “Capitol Muralist Steps

Down from Lifelong Scaffold,”

Washington Post, 20 March 1982.

Nelson, J.W. “Allyn Cox: A New Mural 

for the Capitol.” American Artist,

December 1974.

Schwengel, Robert. The American Story in

Art: The Murals of Allyn Cox in the U.S.

Capitol. Washington, D.C.: National

Society of the Daughters of the

American Revolution; United States

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U.S. Senate. Senator Jesse Helms of North

Carolina speaking on Allyn Cox,

American Michelangelo. Congressional

Record (28 September 1982) vol. 128,

pt. 125.

Waggoner, Walter H. “Allyn Cox, 86,

Painter of Murals for the U.S. Capitol,”

New York Times, 28 September 1982.

Arthur, Chester Alan

Doenecke, Justus D. The Presidencies of

James A. Garfield and Chester A.

Arthur. Lawrence: Regents Press of

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Hatfield, Mark O. Vice Presidents of the

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1997.

Howe, George Frederick. Chester A. Arthur:

A Quarter-Century of Machine Politics.

1935. Reprint, Norwalk, CT: Easton,

1987.

Reeves, Thomas C. Gentleman Boss: The

Life of Chester Alan Arthur. New York:

Knopf, 1975. Reprint, Newtown, CT:

American Political Biography, 1991.

Chester A. Arthur by Augustus SaintGaudens (Cat. no. 22.00020)

Dryfhout, John H. The Work of Augustus

Saint-Gaudens. Hanover, NH: University Press of New England, 1982.

Greenthal, Kathryn. Augustus SaintGaudens: Master Sculptor. New York:

Metropolitan Museum of Art, 1985.

Tharp, Louise Hall. Saint-Gaudens and the

Gilded Era. Boston: Little, Brown,

1969.

Tolles, Thayer, ed. American Sculpture in

the Metropolitan Museum of Art. Vol. 1.

New York: Metropolitan Museum of

Art, 1999.

Wilkinson, Burke. The Life and Works of

Augustus Saint-Gaudens. Originally

published as Uncommon Clay. San

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Aysh-ke-bah-ke-ko-zhay, or Flat Mouth

Armstrong, Benjamin G. “Reminiscences of

Life among the Chippewa.” Parts 1–5.

Originally published as Early Life

among the Indians, 1892. Reprinted in

Wisconsin Magazine of History 55, no.

3 (spring 1972); 55, no. 4 (summer

1972); 56, no. 1 (autumn 1972); 56, no.

2 (winter 1973).

Kohl, Johann G. Kitchi-Gami: Life among

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Reprint, translated by Lascelles

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Lund, Duane R. Minnesota’s Chief Flat

Mouth of Leech Lake. Staples, MN:

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1983.

448 United States Senate
Warren, William W. History of the Ojibway

People. 1885. Reprint, St. Paul: Minnesota Historical Society Press, 1984.

Aysh-ke-bah-ke-ko-zhay, or Flat Mouth by

Francis Vincenti (Cat. no. 21.00001)

Fryd, Vivien Green. Art and Empire: The

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Yale University Press, 1992.

Holzhueter, John O. “Chief Buffalo and

Other Wisconsin-Related Art in the

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Wisconsin Magazine of History 56, no. 4

(summer 1973).

Meigs, Montgomery C. Capitol Builder: The

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Meigs, 1853 –1859, 1861. Edited by

Wendy Wolff. Washington, D.C.:

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Baker, Howard Henry, Jr.

Annis, J. Lee, Jr. Howard Baker: Conciliator

in an Age of Crisis. Lanham, MD:

Madison Books, 1994.

Bacon, Donald C., Roger H. Davidson, and

Morton Keller, eds. The Encyclopedia

of the United States Congress. New

York: Simon & Schuster, 1995.

Baker, Howard H. No Margin for Error:

America in the Eighties. New York:

Times Books, 1980.

Frist, William H. Tennessee Senators,

1911–2001: Portraits of Leadership in

a Century of Change. Lanham, MD:

Madison Books, 1999.

U.S. Congress. Tributes to the Honorable

Howard H. Baker, Jr., of Tennessee in

the United States Senate, Upon the

Occasion of His Retirement from the

Senate. 98th Cong., 2d sess., S. Doc.

98-38.

Howard Baker, Jr. by Herbert Elmer

Abrams (Cat. no. 32.00038)

Gamarekian, Barbara. “Putting the V.I.P.’s

on Canvas,” New York Times, 7 April

1986.

Barkley, Alben William

Barkley, Alben William. That Reminds Me.

Garden City, NY: Doubleday, 1954.

Davis, Polly Ann. Alben W. Barkley: Senate

Majority Leader and Vice President.

New York: Garland, 1979.

Hatfield, Mark O. Vice Presidents of the

United States, 1789 –1993. Washington,

D.C.: Government Printing Office, 1997.

Libbey, James K. Dear Alben: Mr. Barkley

of Kentucky. Lexington: University

Press of Kentucky, 1979.

Ritchie, Donald A. “Alben W. Barkley: The

President’s Man.” In First among

Equals: Outstanding Senate Leaders of

the Twentieth Century, edited by

Richard A. Baker and Roger H.

Davidson. Washington, D.C.:

Congressional Quarterly, 1991.

Alben W. Barkley by Kalervo Kallio 

(Cat. no. 22.00035)

Goode, James M. The Outdoor Sculpture of

Washington, D.C.: A Comprehensive

Historical Guide. Washington, D.C.:

Smithsonian Institution Press, 1974.

“Knife, Bayonet, Chisel.” Time, 12 February

1951.

“Marble Bust of Barkley Unveiled in

Capitol Rite,” Washington, D.C.

Evening Star, 30 April 1958.

Smithsonian Institution. Kalervo Kallio

Sculptures: Exhibition at the Smithsonian Institution, Washington, D.C., June

5 –June 26, 1952. Washington, D.C.:

Smithsonian Institution, 1952.

“Son of Finland’s Ex-President to Practice

Sculpture Here,” Washington, D.C.

Evening Star, 28 October 1949.

U.S. Senate. Proceedings at the Unveiling of

the Bust of Alben William Barkley of

Kentucky, Vice President of the United

States, for the Forty-First Term (1949 –

1953), Tuesday, April 29, 1958. 85th

Cong., 2d sess. Washington, D.C.:

Government Printing Office, 1958.

Bassett, Isaac

Bassett, Isaac. Papers. Office of the

Curator, U.S. Senate, Washington, D.C.

U.S. Senate. Senator Robert C. Byrd of West

Virginia speaking on the Senate of

Isaac Bassett, 1831–1895. Congressional

Record (11 September 1987) vol. 133,

pt. 17.

“Webster’s Protegé,” Washington, D.C.

Evening Star, 10 December 1895.

Isaac Bassett by Freeman Thorp 

(Cat. no. 31.00017)

“Picture of Lincoln from Boy’s Sketch,”

Washington Post, 12 February 1920.

“Thorp’s Photographs,” Washington, D.C.

Daily Morning Chronicle, 12 February

1872.

“Works 40 Years on Portrait of Abraham

Lincoln,” New York Herald, 14 April

1920.

The Battle of Chapultepec

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1848. New York: Macmillan, 1974.

Bill, Alfred Hoyt. Rehearsal for Conflict:

The War with Mexico, 1846 –1848. New

York: Alfred A. Knopf, 1947. Reprint,

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The U.S. War with Mexico, 1846 –1848.

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Mexican-American War. Tucson:

University of Arizona Press, 1989.

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1960.

The Battle of Chapultepec (Storming of

Chapultepec) by James Walker 

(Cat. no. 33.00010)

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Society of Washington, D.C., the

Fiftieth Volume. Washington, D.C.:

Columbia Historical Society, 1980.

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Scott, 1892. 

McMahan, Virgil E. The Artists of Washington, D.C., 1796 –1996. Vol. 1. Washington, D.C.: The Artists of Washington,

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Military Collector and Historian 9, 

no. 2 (summer 1957).

The Battle of Fort Moultrie 

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Island, South Carolina. Washington,

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of Archaeology and Historic Preservation, 1968.

Frost, John. Pictorial Life of General Marion,

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Catalogue of Fine Art 449
The Battle of Fort Moultrie by John Blake

White (Cat. no. 33.00004)

Turner, Mary Ellen. “John Blake White: 

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43, no. 3 (July 1942).

The Battle of Lake Erie 

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———. Oliver Hazard Perry and the Battle

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Battle of Lake Erie by William Henry

Powell (Cat. no. 33.00008)

Ahrens, Kent. “Nineteenth Century History

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Be sheekee, or Buffalo

Armstrong, Benjamin G. “Reminiscences of

Life among the Chippewa.” Parts 1–5.

Originally published as Early Life

among the Indians, 1892. Reprinted in

Wisconsin Magazine of History 55, 

no. 3 (spring 1972); 55, no. 4 (summer

1972); 56, no. 1 (autumn 1972); 56, 

no. 2 (winter 1973).

Kohl, Johann G. Kitchi-Gami: Life among

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Wraxall, et al., St. Paul: Minnesota

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Warren, William W. History of the Ojibway

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Oral Statements. Originally published

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upon Traditions and Oral Statements,”

1885. Reprint, St. Paul: Minnesota

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Be sheekee, or Buffalo by Francis Vincenti

(Cat. no. 21.00002)

Fryd, Vivien Green. Art and Empire: The

Politics of Ethnicity in the United States

Capitol, 1815 –1860. New Haven, CT:

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Holzhueter, John O. “Chief Buffalo and

Other Wisconsin-Related Art in the

National Capitol.” 

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Heck, Frank H. Proud Kentuckian, John C.

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Kentucky, 1760 –1981. Lexington:

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John C. Breckinridge by James Paxton

Voorhees (Cat. no. 22.00014)

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Bruce, Blanche Kelso

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Gatewood, Willard B. Aristocrats of Color:

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2000.

Houston, G. David. “A Negro Senator.”

Journal of Negro History 7, no. 3 

(July 1922).

Mann, Kenneth Eugene. “Blanche Kelso

Bruce: United States Senator Without a

Constituency.” Journal of Mississippi

History 38 (May 1976). 

Rabinowitz, Howard N., ed. Southern Black

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474 United States Senate
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Catalogue of Fine Art 475
Abbott, Lemuel Francis

Henry Laurens, 252–255

Abrams, Herbert Elmer

Howard Baker, Jr., 24–25

James Eastland, 106–107

Adams, Herbert Samuel 

Elbridge Gerry, 172–175

Ames, Sarah Fisher Clampitt

Abraham Lincoln, 258–259

Andrews, Eliphalet Frazer

John Adams, 2–5

Augur, Hezekiah 

Oliver Ellsworth, 110–111

Ball,Thomas 

Henry Clay, 64–67

Daniel Webster, 414–417

Behrends,William F.

Spiro T. Agnew, 10–11

Bernatschke, Rudolf Anton 

Robert A. Taft, 352–353

Betts, Louis

J. Hamilton Lewis, 256–257

Brewer, Nicholas Richard 

Joseph T. Robinson, 316–317

Brown, Henry Kirke 

Henry Clay, 68–71

Brumidi, Constantino 

Telegraph, 362–365

Buckley, John Oliver

Hattie Caraway, 62–63

Burdette, Hattie Elizabeth

John Langdon, 246–247

Calabró, John 

Nelson A. Rockefeller, 318–319

Calder, Alexander 

Mountains and Clouds, 294–297

Calverley, Charles 

Lafayette Foster, 148–151

Carpenter, Francis Bicknell 

First Reading of the Emancipation

Proclamation by President Lincoln,

116–121

Chalfant, Jefferson David

Nicholas Van Dyke, 382–383

Christy, Howard Chandler 

John Nance Garner, 166–169

Ciani,Vittorio A.

George Clinton, 80–81 

Cogswell,William F.

Ulysses S. Grant, 178–179

Conlon, George 

Cordell Hull, 192–193

Conrad, Arthur E. Schmalz 

John C. Calhoun, 54–55

Cox, Allyn 

America’s First Moon Landing, July 21,

1969, 16–17

Henry Clay, 72–75

Crawford,Thomas 

Justice and History, 232–237

Cushing, Robert 

Millard Fillmore, 114–115

Darby, Henry F.

John C. Calhoun, 56–59

Henry Clay, 76–79

Davidson, Jo

Charles G. Dawes, 94–97

Henry A. Wallace, 384–385

Dick, Sir William Reid

James Bryce, 48–49

Dieterich, Louis P.

Arthur P. Gorman, 176–177

Dunbar, Ulric Stonewall Jackson 

Thomas A. Hendricks, 186–187

Martin Van Buren, 378–381

Dunlap,William 

George Washington, 386–389

Dykaar, Moses A.Wainer 

Calvin Coolidge, 84–85

Charles Curtis, 90–91

Thomas R. Marshall, 276–277

Eastman, Seth

Principal Fortifications of the United

States, 128–147

Fort Defiance, Arizona, 130–131

Fort Delaware, Delaware, 132–133

Fort Knox, Maine, 134–135

Fort Mackinac, Michigan, 136–137

Fort Scammel and Fort Gorges, Maine,

138–139

Fort Taylor, Florida, 140–141

Fort Trumbull, Connecticut, 142–143

West Point, New York, 144–145

Ellicott, Henry Jackson 

George M. Dallas, 92–93

Elwell, Frank Edwin 

Garret Augustus Hobart, 190–191

Levi P. Morton, 288–289

Ezekiel, Moses Jacob 

Thomas Jefferson, 208–211

Fassett, Cornelia Adèle Strong

The Florida Case before the Electoral

Commission, 122–125

Franzoni, Carlo 

Justice, 228–231

Fraser, James Earle 

John Nance Garner, 170–171

Theodore Roosevelt, 320–323

Frazee, John 

John Jay, 204–207

French, Daniel Chester 

John Adams, 6–9

Henry Wilson, 428–431

Frontin, Ronald 

Margaret Chase Smith, 338–339

Gagliardi,Tommaso 

Thomas Crawford, 88–89

Galt, Alexander 

John Rutledge, 328–331

Gignoux, François Régis 

Niagara, The Table Rock—Winter, 298–301

Goodwin, Frances Murphy 

Schuyler Colfax, 82–83

Index of Artists

476 United States Senate
Gordon, Boris Bernhard

Morris Sheppard, 332–333

Guild, Emma Marie Cadwalader 

William McKinley, 278–279

Gutherz, Carl 

John Morgan, 284–285

Hammitt, Clawson Shakespeare

Henry Latimer, 248–249

James Latimer, 250–251

Hancock,Walker Kirtland 

George Bush, 52–53

Gerald R. Ford, 126–127

Hubert H. Humphrey, Jr., 194–195

Harlan, Roma Christine 

Kenneth S. Wherry, 426–427

Harryman, Richard Hood 

Everett McKinley Dirksen, 98–99

Hart, Frederick E.

J. Danforth Quayle, 312–313

Richard B. Russell Memorial Statue,

324–327

Strom Thurmond, 366–367

Healy, George Peter Alexander

Joseph Gales, 156–159

Heaton, Augustus Goodyear 

The Recall of Columbus, 314–315

Herndl, Maria 

George Washington Memorial Window,

406–407

Houdon, Jean-Antoine 

John Paul Jones, 224–225

Ingalls,Walter 

Charles Sumner, 346–347

Johnson, Jonathan Eastman

Justin Morrill, 286–287

Jouvenal, Jacques 

Aaron Burr, 50–51

Kallio, Kalervo 

Alben W. Barkley, 26–27

Keck, Charles 

Harry S. Truman, 372–375

Keller, Deane 

Robert A. Taft, 354–355

Kiehart, Paul Peter

Nelson Aldrich, 12–13

Knox, Simmie Lee

Blanche Kelso Bruce, 44–45

Krohg, Per Lasson

Leiv Eiriksson Discovers America 

A.D. 1000, 108–109

La Follette, Robert Chester

Robert M. La Follette, 242–245

Lamb, Adrian S.

Daniel Webster, 418–419

Lambdin, James Reid

Willie P. Mangum, 264–265

Lawrie, Lee Oscar

Courage, 86–87

Patriotism, 306–307

Wisdom, 432–433

Martegana, Giuseppe 

Giuseppe Garibaldi, 164–165

mason, JIMILU 

Constantino Brumidi, 46–47

Lyndon B. Johnson, 218–221

Matthews, George Bagby

Patrick Henry, 188–189

John Paul Jones, 226–227

McCauslen,William C.

Andrew Johnson, 216–217

William R. King, 238–239

John Tyler, 376–377

Medina, Henrique 

Charles L. McNary, 280–281

Mills, Theodore Augustus 

John C. Calhoun, 60–61

Milmore, Martin 

Charles Sumner, 348–351

Morrell, Imogene Robinson 

John Adams Dix, 100–101

Nagle, Richard Francis (attributed to)

Daniel Webster, 420–421

Nelson, Judson R.

Walter F. Mondale, 282–283

Niehaus, Charles Henry 

James A. Garfield, 160–161

Daniel D. Tompkins, 368–371

Peale, Charles Willson

George Washington at Princeton, 408–413

Peale, Rembrandt 

George Washington, 390–395

Potter, Edward Clark 

William A. Wheeler, 424–425

Powell,William Henry 

Battle of Lake Erie, 34–37

Powers, Hiram 

Benjamin Franklin, 152–155

John Marshall, 272–275

Reaser,Wilbur Aaron

William Allison, 14–15

Rocchi, Gualberto 

Richard M. Nixon, 302–303

Rolph, Miles Stafford, III

Carl Hayden, 184–185

Ross,Wendy M.

Henry Jackson, 200–201

Saint–Gaudens, Augustus

Chester A. Arthur, 18–21

Roger B. Taney, 356–359

Salviati, Antonio 

James A. Garfield, 162–163

Abraham Lincoln, 260–261

Saunders, Henry Dmochowski

Tadeusz Ko ́sciuszko, 240–241

Casimir Pulaski, 310–311

Schmidt, Charles 

The Space Shuttle Challenger, 340–341

Shikler, Aaron 

Mike Mansfield, 266–267

Simmons, Franklin Bachelder

Charles W. Fairbanks, 112–113

Hannibal Hamlin, 180–181

Adlai E. Stevenson, 344–345

Stone, Horatio 

John Hancock, 182–183

Stuart, Gilbert 

George Washington (“Chesnut” portrait),

396–399

George Washington (“Pennington” portrait),

400–403

Sully, Thomas (attributed to)

Andrew Jackson, 196–199

Sully, Thomas

Thomas Jefferson, 212–215

Thorp, Freeman 

Isaac Bassett, 28–29

Abraham Lincoln, 262–263 

Unknown artist

Eagle and Shield, 102–105

Lee Slater Overman, 304–305

Pocahontas, 308–309

Zachary Taylor, 360–361

George Washington, 404–405

Vincenti, Francis 

Aysh–ke–bah–ke–ko–zhay, or Flat Mouth,

22–23

Be sheekee, or Buffalo, 38–41

Vonnoh, Bessie Onahotema Potter 

James S. Sherman, 334–337

Catalogue of Fine Art 477
478 United States Senate

Voorhees, James Paxton 

John C. Breckinridge, 42–43

Richard M. Johnson, 222–223

Walker, James 

The Battle of Chapultepec (Storming of

Chapultepec), 30–31

Walker, T. Dart 

Spending Uncle Sam’s Money, 342–343

White, John Blake 

The Battle of Fort Moultrie, 32–33

Sergeants Jasper and Newton Rescuing

American Prisoners from the British,

202–203

General Marion Inviting a British Officer

to Share His Meal, 268–271

Mrs. Motte Directing Generals Marion and

Lee to Burn Her Mansion to Dislodge

the British, 290–293

Wright, James Henry 

Daniel Webster, 422–423
Adams, John 

Eliphalet Frazer Andrews, 2–5

Daniel Chester French, 6–9

Agnew, Spiro T.

William F. Behrends, 10–11

Aldrich, Nelson 

Paul Peter Kiehart, 12–13

Allison, William

Wilbur Aaron Reaser, 14–15

America’s First Moon Landing, July 21, 1969

Allyn Cox, 16–17

Arthur, Chester A.

Augustus Saint–Gaudens, 18–21

Aysh–ke–bah–ke–ko–zhay, or Flat Mouth

Francis Vincenti, 22–23

Baker, Howard, Jr.

Herbert Elmer Abrams, 24–25

Barkley, Alben W.

Kalervo Kallio, 26–27

Bassett,Isaac 

Freeman Thorp, 28–29

Battle of Chapultepec (Storming of

Chapultepec), The 

James Walker, 30–31

Battle of Fort Moultrie, The 

John Blake White, 32–33

Battle of Lake Erie

William Henry Powell, 34–37

Besheekee, or Buffalo

Francis Vincenti, 38–41

Breckinridge, John C.

James Paxton Voorhees, 42–43

Bruce, Blanche Kelso 

Simmie Lee Knox, 44–45

Brumidi, Constantino

JIMILU mason, 46–47

Bryce, James 

Sir William Reid Dick, 48–49

Burr, Aaron 

Jacques Jouvenal, 50–51

Bush, George 

Walker Kirtland Hancock, 52–53

Calhoun, John C.

Arthur E. Schmalz Conrad, 54–55

Henry F. Darby, 56–59

Theodore Augustus Mills, 60–61

Caraway, Hattie

John Oliver Buckley, 62–63

Clay, Henry 

Thomas Ball, 64–67

Henry Kirke Brown, 68–71

Allyn Cox, 72–75

Henry F. Darby, 76–79

Clinton, George 

Vittorio A. Ciani, 80–81

Colfax, Schuyler 

Frances Murphy Goodwin, 82–83

Coolidge, Calvin 

Moses A. Wainer Dykaar, 84–85

Courage

Lee Oscar Lawrie, 86–87

Crawford, Thomas 

Tommaso Gagliardi, 88–89

Curtis, Charles 

Moses A. Wainer Dykaar, 90–91

Dallas, George M.

Henry Jackson Ellicott, 92–93

Dawes, Charles G.

Jo Davidson, 94–97

Dirksen, Everett McKinley 

Richard Hood Harryman, 98–99

Dix, John Adams 

Imogene Robinson Morrell, 100–101

Eagle and Shield

Unknown artist, 102–105

Eastland, James 

Herbert Elmer Abrams, 106–107

Eiriksson Discovers America A.D. 1000, Leiv

Per Lasson Krohg, 108–109

Ellsworth, Oliver 

Hezekiah Augur, 110–111

Fairbanks, Charles W.

Franklin Bachelder Simmons, 112–113

Fillmore, Millard 

Robert Cushing, 114–115

First Reading of the Emancipation

Proclamation by President Lincoln

Francis Bicknell Carpenter, 116–121

Florida Case before the Electoral

Commission, The 

Cornelia Adèle Strong Fassett, 122–125

Ford, Gerald R.

Walker Kirtland Hancock, 126–127

Fort Defiance, Arizona

Seth Eastman, 130–131

Fort Delaware, Delaware

Seth Eastman, 132–133

Fort Knox, Maine

Seth Eastman, 134–135

Fort Mackinac, Michigan

Seth Eastman, 136–137

Fort Scammel and Fort Gorges, Maine

Seth Eastman, 138–139

Fort Taylor, Florida

Seth Eastman, 140–141

Fort Trumbull, Connecticut

Seth Eastman, 142–143

Foster, Lafayette 

Charles Calverley, 148–151

Franklin, Benjamin 

Hiram Powers, 152–155

Gales, Joseph 

George Peter Alexander Healy, 156–159

Garfield, James A.

Charles Henry Niehaus, 160–161

Antonio Salviati, 162–163

Garibaldi, Giuseppe 

Giuseppe Martegana, 164–165

Garner, John Nance 

Howard Chandler Christy, 166–169

James Earle Fraser, 170–171

Index of Subjects

Catalogue of Fine Art 479
Gerry, Elbridge 

Herbert Samuel Adams, 172–175

Gorman, Arthur P.

Louis P. Dieterich, 176–177

Grant, Ulysses S.

William F. Cogswell, 178–179

Hamlin, Hannibal 

Franklin Bachelder Simmons, 180–181

Hancock, John 

Horatio Stone, 182–183

Hayden, Carl 

Miles Stafford Rolph III, 184–185

Hendricks, Thomas A.

Ulric Stonewall Jackson Dunbar, 186–187

Henry, Patrick 

George Bagby Matthews, 188–189

Hobart, Garret Augustus 

Frank Edwin Elwell, 190–191

Hull, Cordell 

George Conlon, 192–193

Humphrey, Hubert H., Jr.

Walker Kirtland Hancock, 194–195

Jackson, Andrew 

Attributed to Thomas Sully, 196–199

Jackson, Henry

Wendy M. Ross, 200–201

Jasper and Newton Rescuing American

Prisoners from the British, Sergeants 

John Blake White, 202–203

Jay, John 

John Frazee, 204–207

Jefferson, Thomas 

Moses Jacob Ezekiel, 208–211

Thomas Sully, 212–215

Johnson, Andrew 

William C. McCauslen, 216–217

Johnson, Lyndon B.

JIMILU mason, 218–221

Johnson, Richard M.

James Paxton Voorhees, 222–223

Jones, John Paul

Jean-Antoine Houdon, 224–225

George Bagby Matthews, 226–227

Justice

Carlo Franzoni, 228–231

Justice and History

Thomas Crawford, 232–237

King, William R.

William C. McCauslen, 238–239

Ko ́sciuszko, Tadeusz 

Henry Dmochowski Saunders, 240–241

La Follette, Robert M.

Robert Chester La Follette, 242–245

Langdon, John 

Hattie Elizabeth Burdette, 246–247

Latimer, Henry

Clawson Shakespeare Hammitt, 248–249

Latimer, James 

Clawson Shakespeare Hammitt, 250–251

Laurens, Henry 

Lemuel Francis Abbott, 252–255

Lewis, J. Hamilton

Louis Betts, 256–257

Lincoln, Abraham 

Sarah Fisher Clampitt Ames, 258–259

Antonio Salviati, 260–261

Freeman Thorp, 262–263

Mangum, Willie P.

James Reid Lambdin, 264–265

Mansfield, Mike 

Aaron Shikler, 266–267

Marion Inviting a British Officer to Share

His Meal, General 

John Blake White, 268–271

Marshall, John 

Hiram Powers, 272–275

Marshall, Thomas R.

Moses A. Wainer Dykaar, 276–277

McKinley, William 

Emma Marie Cadwalader Guild, 278–279

McNary, Charles L.

Henrique Medina, 280–281

Mondale, Walter F.

Judson R. Nelson, 282–283

Morgan, John 

Carl Gutherz, 284–285

Morrill, Justin 

Jonathan Eastman Johnson, 286–287

Morton, Levi P.

Frank Edwin Elwell, 288–289

Motte Directing Generals Marion and Lee to

Burn Her Mansion to Dislodge the

British, Mrs.

John Blake White, 290–293

Mountains and Clouds

Alexander Calder, 294–297

Niagara, The Table Rock—Winter

François Régis Gignoux, 298–301

Nixon, Richard M.

Gualberto Rocchi, 302–303

Overman, Lee Slater 

Unknown artist, 304–305

Patriotism

Lee Oscar Lawrie, 306–307

Pocahontas

Unknown artist, 308–309

Principal Fortifications of the United States

paintings by Seth Eastman, 128–147

Pulaski, Casimir 

Henry Dmochowski Saunders, 310–311

Quayle, J. Danforth 

Frederick E. Hart, 312–313

Recall of Columbus, The

Augustus Goodyear Heaton, 314–315

Robinson, Joseph T.

Nicholas Richard Brewer, 316–317

Rockefeller,Nelson A.

John Calabró, 318–319

Roosevelt, Theodore 

James Earle Fraser, 320–323

Russell Memorial Statue, Richard B.

Frederick E. Hart, 324–327

Rutledge, John 

Alexander Galt, 328–331

Sheppard, Morris 

Boris Bernhard Gordon, 332–333

Sherman, James S.

Bessie Onahotema Potter Vonnoh,

334–337

Smith, Margaret Chase 

Ronald Frontin, 338–339

Space Shuttle Challenger, The

Charles Schmidt, 340–341

Spending Uncle Sam’s Money

T. Dart Walker, 342–343

Stevenson, Adlai E.

Franklin Bachelder Simmons, 344–345

Sumner, Charles 

Walter Ingalls, 346–347

Martin Milmore, 348–351

Taft, Robert A.

Rudolf Anton Bernatschke, 352–353

Deane Keller, 354–355

Taney, Roger B.

Augustus Saint–Gaudens, 356–359

Taylor, Zachary 

Unknown artist, 360–361

480 United States Senate
Telegraph

Constantino Brumidi, 362–365

Thurmond, Strom 

Frederick E. Hart, 366–367

Tompkins, Daniel D.

Charles Henry Niehaus, 368–371

Truman, Harry S.

Charles Keck, 372–375

Tyler, John 

William C. McCauslen, 376–377

Van Buren, Martin 

Ulric Stonewall Jackson Dunbar, 378–381

Van Dyke, Nicholas 

Jefferson David Chalfant, 382–383

Wallace, Henry A.

Jo Davidson, 384–385

Washington, George 

William Dunlap, 386–389

Rembrandt Peale, 390–395

Gilbert Stuart (“Chesnut” portrait), 396–399

Gilbert Stuart (“Pennington” portrait),

400–403

Unknown artist, 404–405

Washington Memorial Window, George 

Maria Herndl, 406–407

Washington at Princeton, George 

Charles Willson Peale, 408–413

Webster, Daniel 

Thomas Ball, 414–417

Adrian S. Lamb, 418–419

Attributed to Richard Francis Nagle,

420–421

James Henry Wright, 422–423

West Point, New York

Seth Eastman, 144–145

Wheeler, William A.

Edward Clark Potter, 424–425

Wherry,Kenneth S.

Roma Christine Harlan, 426–427

Wilson, Henry 

Daniel Chester French, 428–431

Wisdom

Lee Oscar Lawrie, 432–433

Catalogue of Fine Art 481

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