3 4
gines helped turn blocks of stone

into column shafts. Construction

on the additions to the Capitol,

already under way for three and a

half years, had been administered

by two different cabinet departments and had always been the

center of controversy. From the

beginning of the project in 1850,

bickering among rival architects

and engineers, libels traced 

to disappointed contractors,

scrutiny by the partisan press,

and political grandstanding

shrouded the project in a pervasive cloud of acrimony. After he

started work, it would not take

Brumidi long to be caught up in

the quarrelsome atmosphere that

seemed to prevail on Capitol Hill.

Expanding the Capitol was meant to solve two problems: space shortages and bad acoustics. The old Capitol,

finished in 1826, was designed when there were only fifteen states in the Union. After the 1850 admission of California as the thirty-first state, the Capitol was very nearly

out of space. The growth of the legislature, with its committees and its large library, strained the building’s facilities and made an addition inevitable. Even more serious

than cramped quarters was the dreadful acoustics in the

Hall of the House of Representatives. In that otherwise

impressive room, the voice of a member speaking from the

floor reflected off the smooth, curving ceiling to become

inaudible to some and a reverberating babble to others.

One member remarked that it was impossible to be a genn the 1850s, the enlargement of the United States

Capitol employed scores of

artists in addition to thousands

of construction workers. Of all

the artists to work on the Capitol extensions, Constantino

Brumidi was the most famous

and controversial. The new

large, vaulted wings built at the

ends of the old Capitol provided ample surfaces for fresco

painting and other forms of

elaborate decoration. The new

cast-iron dome, authorized in

1855, provided Brumidi with

additional opportunities to display his art. Indeed, his presence may have influenced a significant revision to its interior design.

When Brumidi arrived at the Capitol at the end of

1854, he found a building not yet thirty years old flanked

by construction sites where hundreds of men worked on

scaffolds that partially obscured the rising walls (fig. 4–1).

The grounds were dotted with sheds where stone was cut

and carved, fenced yards where mountains of marble and

millions of bricks were stored, stables where the work

horses were kept, and shops where belching steam en35

I

Fig. 4–1. Present State of the Capitol at Washington, 1853

(detail). The building completed by Charles Bulfinch was shown in

the Illustrated News with the new extension under construction,

shortly after Constantino Brumidi arrived in the United States. 

U.S. House of Representatives, Conable Collection.

CHAPTER 4

The Capitol Extensions

and New Dome

WILLIAM C. ALLEN

Fig. 4–2. Franciso Pausas, Thomas Ustick Walter,

1925. Based on a period photograph, this portrait shows

Walter at the beginning of his fourteen-year term as Architect of the Capitol Extension. Architect of the Capitol. 
tleman in that confusing, “unmannerly Hall.”1 Some

thought that millions of dollars could be saved each year if

only members could understand debates and know what

they were voting for. A number of proposed solutions

were tried, but nothing worked. The only remaining possibility was to build an entirely new hall, one designed

with attention to the principles of acoustics.

The project to enlarge the Capitol was initiated on September 30, 1850, when Congress appropriated $100,000

to start construction and directed President Millard Fillmore to select the manner by which the building would

be enlarged and to appoint an architect to design and

build the addition. More than a dozen architects submitted designs; in June 1851 the president appointed the

Philadelphia architect who had gained a national reputation for his Greek Revival-style Girard College for Orphans, Thomas U. Walter (fig. 4–2).

Walter’s design featured wings attached to the old

Capitol by narrow corridors. Each three-story wing was

142 feet wide and 240 feet long; the corridors were 45

feet in length (fig. 4–3). The wings were built of brick on

gneiss and granite foundations and were faced with a

beautiful white marble quarried in western Massachusetts.

One hundred Corinthian columns, with fluted, monolithic shafts, were used for the ten exterior porticoes and

colonnades. Windows were framed by elaborate frontispieces with carved consoles supporting pediments. A

full entablature and balustrade partially masked the lowpitched roofs, which were carried on iron trusses. A large

new legislative chamber was located in each wing, and

over one hundred additional rooms were provided for

committees and offices.

The basic style of the Capitol—a neoclassical design in

the Roman Corinthian order, with columns, pilasters, and

entablature—was established in Dr. William Thornton’s

original 1793 design. Walter was obliged to follow much

of Thornton’s composition, varying only such small things

as the profile of the balusters and window details. By the

1850s, Roman architecture had long passed out of favor,

superseded by a modern rage for ancient Greece. Both

were distinct phases of neoclassicism, a late eighteenthcentury revival of artistic order that characterized the art

and architecture of Hellenic Greece and Imperial Rome.

On July 4, 1851, President Fillmore laid the cornerstone of the Capitol extension in a ceremony highlighted

by Secretary of State Daniel Webster’s two-hour oration.

36

Fig. 4–3. Charles Hart, U.S. Capitol Washington. D.C., 

c. 1866. Although differing in detail and materials, the two

wings that were added to the Capitol were designed to harmonize

with the existing structure. The great cast-iron dome, completed in

1866, unified the composition. U.S. House of Representatives,

Conable Collection.
Work on the extensions stopped in

December 1851 due to the cold

weather and resumed in mid-April

1852, the day after another appropriation passed Congress. To resolve problems with slow delivery of granite, and

the attendant need to dismiss idle

stonecutters (who retaliated with an

angry petition to the Secretary of Interior), the government contracted with

the firm of Provost and Winter for all

future stonecutting and carving (fig.

4–4). This seemingly simple arrangement was to have a surprising consequence, however: an alliance of disappointed stone contractors and

workmen, including Commissioner of

Public Buildings William Easby, decided to get even by accusing Walter of

accepting bad stone and bad workmanship, paying inflated prices, receiving favors from contractors, selling public

property for private gain, and so on. Although at first only a minor annoyance

to Walter, these charges set off a chain

of events that eventually put the architect under the authority of an ambitious military engineer who became

Brumidi’s principal government patron.

A congressional committee was

formed under Senator Sam Houston of

Texas in August 1852 to investigate

“abuse, bribery or fraud . . . in obtaining or granting [government] contracts.”3 The committee heard testimony from three

dozen witnesses; the most damaging led to the forced resignation of the general superintendent, Samuel Strong,

who was said to extort money from workmen and to have

a pecuniary interest in brick contracts. Walter rebutted the

charges against him in a 123-page handwritten defense.

While admitting that a few “dishonest, unprincipled, and

indolent men” had committed fraud, he also expressed his

hope that they would be prosecuted fully. He was confident that the frauds were limited and were “inconsiderable” compared to the size and cost of the project. Point

by point, supported by his balanced accounts and meticulously kept records, Walter exposed Easby’s accusations as

rumor, hearsay, and lies.

Houston’s committee ordered its 216-page report

printed on March 22, 1853, two and a half weeks after the

close of the Fillmore administration. It laid out the

charges, testimony, and rebuttal but presented neither recommendations nor conclusions. The new administration of

In a few weeks Walter moved his family from Philadelphia

to Washington, appointed a New York builder, Samuel

Strong, as general superintendent, and placed advertisements for building materials in newspapers from Boston

to Richmond. Soon he had contracts for stone, river sand,

cement, and lime and began to build the foundations to a

depth of 40 feet on the west and 15 feet on the east, uniformly 8 feet 9 inches thick. Walter and a “commission of

scientific gentlemen”2 tested a dozen types of American

marble for strength, durability, and resistance to moisture; the contract—the most important and lucrative for

the project—was awarded to John Rice and James Baird

of Philadelphia for marble from their quarry near Lee,

Massachusetts.

37

THE CAPITOL EXTENSIONS AND NEW DOME

Fig. 4–4. Capitol extension under construction. Carved

marble awaiting installation is shown in the foreground of this

view of the south wing. Montgomery C. Meigs Photo Album. 

Architect of the Capitol.
Franklin Pierce included a new Secretary of War, Jefferson

Davis, who had been the driving force in the Senate Committee on Public Buildings behind the effort to enlarge the

Capitol. Davis wanted to control the work, and the unflattering publicity that Walter had suffered during the recent

investigation made it easy to convince the president that

the Capitol extension project would be better handled by

the Army Corps of Engineers. The corps was, after all, the

government’s construction contractor—although admittedly more accustomed to forts than capitols. The transfer

was ordered on March 23, 1853. For Walter the change

was a bittersweet pill to swallow. He was not dismissed, but

neither did he receive a vote of confidence. However, with

an army engineer detailed to the works, he would be freed

from thousands of annoying administrative details. He

could now concentrate on working out architectural details, a labor more suited to his taste and temperament.

To take control of the Capitol project, Davis appointed

Montgomery C. Meigs, a thirty-six-year-old captain of engineers trained at West Point. Meigs was fully empowered

to suggest changes to the design; in Walter’s office, he enthusiastically examined the elevations and floor plans and

soon ordered alterations. On the exterior, he decided only

that the two eastern porticoes should have pediments to

accommodate sculptural groups. He directed radical alterations to the floor plans, however. The original plan

placed the legislative chambers in the western half of each

wing, affording legislators fresh air and the garden view of

the Mall away from the dust and noise of the east plaza.

But Meigs saw one problem: members and senators going

to and from their chambers were obliged to pass through

large public corridors that would undoubtedly be clogged

with annoying petitioners, lobbyists, and visitors. Meigs

suggested relocating the chambers to the middle of each

wing and surrounding them with corridors and lobbies,

some of which could be made strictly private (figs. 4–5

and 4–6). Without windows, the chambers would be lit by

skylights and ventilated by steam-powered fans. Doors

could be placed on all four sides of the chambers, greatly

improving access and circulation. From all accounts Walter

liked Meigs’s idea, cheerfully worked out the new plans,

and redesigned the foundations to accommodate them. By

July 5, 1853, President Pierce had approved the revised

plans and elevations.

38

Fig. 4–5. Thomas U. Walter, Plan of Principal Story North

Wing, 1851. This plan placed the Senate Chamber in the northwest corner of the wing. Architect of the Capitol.
Capitol, Meigs’s name was cast into all the iron beams

that formed the roof trusses. Copper plates bearing his

name were routinely embedded in the mortar between

marble blocks in the walls. Walter considered his colleague’s appetite for fame a great weakness, and once

wondered why Captain Meigs forgot to “order old Vulcan to stamp his name on the thunderbolts.”4

One aspect of his work at the Capitol was particularly

gratifying to Captain Meigs: it was his chance to become

America’s foremost patron of the arts. With its views of

economy, the Fillmore administration had expected the

interiors of the Capitol extensions to be finished in a plain

manner. Except for the chambers and public lobbies,

brick floors and whitewashed walls would suffice. Ornamentation was expected to be spare. But the Pierce administration thought that opulent decorations were more

fitting for the greatest building of the age. Grand interiors unlike anything seen on this side of the Atlantic were

a challenge that perfectly suited Meigs’s ambition. With

Jefferson Davis’s encouragement and backing, Meigs intended the extensions to be finished in the most elaborate

fashion possible. Like a latter-day Medici, he doled out

At the beginning of their association Meigs and Walter

worked well together, each seemingly satisfied with his

role in the enormous undertaking. Walter was happy to

be free of administrative burdens and devoted his time to

architectural studies for the Capitol extension and to

other assignments thrust upon him by the government.

For his part, Meigs thrived on the importance of his position, derived genuine satisfaction from knowing that his

payrolls provided the livelihood for so many men and

their families, and relished his scientific studies in

acoustics, heating, and ventilation. He could not count

on his paltry salary as an army captain to bring him fortune, but he counted on his command at the Capitol to

bring him fame. Happily, Meigs preferred fame over fortune anyway. One of his favorite ways of helping history

to remember his name was having it carved or cast in a

variety of ways in many different locations. At the Washington Aqueduct, which Meigs began a year before taking

over the Capitol project, his name was cast into all the

pipes that brought water to Washington from the upper

Potomac. An iron staircase he designed used the giant

letters MCMEIGS as the riser for each step. At the

39

THE CAPITOL EXTENSIONS AND NEW DOME

Fig. 4–6. Thomas U. Walter, Original Revised Plan for 

Extension of Capitol, 1853. Meigs directed that the Senate

Chamber be moved to the center of the wing; he made similar revisions regarding the House Chamber in the south wing. Secretary of

War Jefferson Davis and President Franklin Pierce approved the

changes. Architect of the Capitol.
40
Constantino Brumidi’s appearance at the end of 1854,

when the extensions were far enough along for decorations, was a case of perfect timing. The interior architecture presented a variety of spaces built in various ways,

offering abundant opportunities for enrichment. The

legislative chambers would be the most grand, with glass

and iron ceilings, niches for sculpture, and large panels

for paintings, in addition to sumptuous architectural detail. Lobbies, corridors, and committee rooms were built

with brick vaults, the most durable and fireproof means

of construction. Vaults could be groin or barrel, and low

coffered domes carried on pendentives were also built

for the sake of variety (fig. 4–7). Piers that helped support the vaults were treated like columns, with elaborate

cast plaster capitals with egg-and-dart and other decorations (fig. 4–8). Window and door trim was cast iron,

with a profusion of classical and rococo ornament. Colorful and long-wearing encaustic Minton tile from England was used as flooring except in the carpeted chamvast sums for paintings and sculpture that would, he

hoped, enrich the nation’s Capitol to compare favorably

with the great buildings of Europe. If they were to have

large entrances, why not commission bronze doors to

rival Lorenzo Ghiberti’s famous Baptistery doors in Florence? If the walls needed painting, why not employ

artists to do the job in a high style? Most public buildings

in America, he said, “starve in simple whitewash.”5 Artists

flocked to the Capitol, hoping to profit from Meigs’s ambition and largess.

41

THE CAPITOL EXTENSIONS AND NEW DOME

Fig. 4–7. Thomas U. Walter, Details of Ante Chamber,

North Wing, 1854. Known today as the Senate Reception

Room, the “Ante Chamber” was constructed with a remarkable

variety of interdependent vaults and arches. Paneled and 

coffered elliptical arches framed a low dome on pendentives that

adjoined a groin vault. Architect of the Capitol.

Fig. 4–8. Stereoscope of

Senate Reception Room,

c. 1860. The room is shown

here shortly after its

construction. Only a few of

Brumidi’s frescoes have been

finished, but the plaster

ornamentation by Ernest

Thomas and the imitationmarble wainscot have been

completed.

Photo: American Stereoscopic

Company, New York.
bers and in the marble-floored entrance lobbies on the

principal floor (fig. 4–9). These lobbies were further

elaborated by Corinthian columns that Walter designed

incorporating native American plants: corn, magnolia,

and tobacco. In each wing two public staircases were designed with screens of marble columns with cast bronze

Corinthian capitals. For the sake of variety, one of these

grand staircases in the north extension was made wholly

of white marble imported from Italy (fig. 4–10). These

staircases provided skylit landings that were reserved for

heroic history paintings twenty feet high and thirty feet

long. Four private staircases were designed with sculptured bronze railings. Even the gas chandeliers made in

Philadelphia were beautiful and useful sculptural decorations (figs. 4–11 and 4–12). Grandeur, variety, and permanence were Meigs’s goals for the Capitol’s interiors

42

Fig. 4–9. Senate Corridor,

Principal Story, c. 1902. For the

main passage into the Senate

Chamber, Walter designed a heroic

double colonnade of paired

Corinthian columns supporting a

richly carved marble ceiling with

stained-glass panels. Walter incorporated tobacco, corn, and magnolia leaves in the capitals. 

From Glenn Brown, History of the United

States Capitol, 1902.
43

THE CAPITOL EXTENSIONS AND NEW DOME

Fig. 4–11. South corridor, principal floor,

Senate wing, c. 1860. These spacious corridors

illustrate the complexity, variety, and beauty of

vaulted construction. Denys Peter Meyers

Collection.

Fig. 4–12. North corridor, principal floor, House

wing, c. 1860. The bronze gas-burning chandeliers

were made in Philadelphia by the firm of Cornelius

and Baker. Denys Peter Meyers Collection.

Fig. 4–10. East grand stair, House wing, c. 1902. Each wing

was provided with two monumental public stairs designed with

Corinthian columns and pilasters with bronze capitals, massive

handrails and balusters, steps carved from individual blocks of

marble, and niches for sculpture.

From Glenn Brown, History of the United States Capitol, 1902. 
(figs. 4–13 and 4–14). Walter shared these goals but

would later disagree with some of the methods employed

to achieve them. 

In his unprecedented fine-arts patronage Meigs sought

only Jefferson Davis’s approval. He never felt obligated to

confer with Walter, who, he thought, had credit enough as

architect. Meigs was determined to leave his mark on the

design of the Capitol and considered the decorations a

perfect way to do so. The conflict that ensued with Walter

was both unavoidable and bitter. It simmered just below

the surface until Jefferson Davis left office when President

James Buchanan’s administration began in March 1857.

Davis returned to the Senate and John B. Floyd of

Virginia took over the War Department. With the change

of administration, Walter tried to reassert his rights as architect to control all aspects of design, including decora44

Fig. 4–14. Hall of Columns, c. 1902. Walter made extensive

use of cast iron in the Capitol extensions. The ceiling of the Hall of

Columns was made of nearly a quarter of a million pounds of iron

cast in Baltimore by Hayward, Bartlett & Co. 

From Glenn Brown, History of the United States Capitol, 1902.

Fig. 4–13. Thomas U. Walter, Section Thro’ Corridor. South

Wing with Plan of Ceiling, 1855. Running the full width of the

House wing on the first floor is the so-called Hall of Columns.

Twenty-eight columns made of Lee, Massachusetts, marble were designed by Walter with thistle and tobacco along with the conventional acanthus in an American variation of the Corinthian order.

Architect of the Capitol.
of foliated ornament and gold leaf, and the introduction of a few frescoes where the lights are favorable.9

Meigs availed himself of Brumidi’s skill in areas other

than fresco painting. He put the artist in charge of decorating the vast ceiling of the new Hall of the House. Measuring 139 feet long and 93 feet wide, it was made of cast

iron supported from above by iron trusses. It was divided

into 117 panels, nearly a third of which contained colored

glass that gave “the effect of Mosaics set in silver.”10 Papier-mâché moldings and ornaments, selected for richness

and light weight, were fastened to the ironwork. After

Brumidi had finished painting a section of the ceiling, its

complex and opulent style surprised and delighted Meigs:

He has used much more gilding than I intended, and

the effect is most magnificent. I am not quite sure that

it is not too gorgeous, but I begin to think that nothing so rich in effect has ever been seen this side of the

Atlantic. He has used, as I directed, strong, positive

colors—blue and red and yellow—but has bronzed

and gilded the molding to the highest degree.11

Not everyone agreed with Meigs’s assessment of the

new Hall of the House. In the Senate, Jacob Collamer of

Vermont took exception to the color scheme and expressed his hope that the new, unfinished Senate Chamber would be spared a similar treatment.12 Rising to defend the polychromatic color scheme of the Hall, Senator

Jefferson Davis claimed no special expertise in the matter

but expressed his faith in Brumidi’s skill and talent, asserting that

. . . there is not an artist who would attempt to ornament a building by painting with one color. His skill

is shown in the harmony of the colors, blending

them so that no one rests on the eye and commands

its single attention. I would be surprised at the

American Congress if it were to wipe out these great

efforts of art and introduce as a substitute the crude

notion of single color.

13

Walter despised the color scheme of the House Chamber but could hardly blame Brumidi, whom he considered a tool of Meigs’s ambition. In referring to the newly

occupied hall, Walter wrote:

The Capt. has taken upon himself to have all the

painting and gilding done under his special direction,

without any consultation with me and I must say

that it is the most vulgar room I was ever in, I hope

Congress will order it repainted and allow your old

friend to have some say as to how it shall be done—

it is susceptible of being made as handsome and

dignified a looking room as any in the world. Now it

tions. As Meigs and Walter battled over responsibilities,

prerogatives, and authority, many of those working on the

extensions were caught in the middle. But most remained

loyal to Meigs, who held the purse strings. Brumidi often

aroused Walter’s ire, but it was Meigs’s high-handedness

that was the real root of the problem.

One early example of the conflict between art and architecture was the case of the frescoes Brumidi designed in

1856 for the Ladies Waiting Room (part of the third floor

Senate Press Gallery (S–313A). Walter designed the domed

ceiling with coffers enriched with architectural decorations.

When he discovered the coffers altered to provide space for

paintings he bitterly confided to his diary:

Found that Brumidi has had all the octagonal lacunaes pealed [sic] off the arch over the ladies retiring

room, north wing, weakening the arch and rendering

it dangerous; for the purpose of putting fresco pictures in it instead of architectural decorating. . . .

such things ought at least to be the subject of consultation with the archt.6

Walter’s opinion of Brumidi’s work reflected his own

lack of influence on the designs and color palette. He liked

the idea of decorated walls, and wrote privately: “My desire is, if we have pictures here at all, to have them in real

fresco that they may form part of the wall.”7 He praised

(again privately) Brumidi’s decoration of the House Committee on Agriculture room, calling it “our best room.”8

By contrast, his public remarks on Brumidi’s work fell just

short of wholesale condemnation. In late 1857 he wrote

officially to the Secretary of War to recommend

that the very ornate and inappropriate decorations of

the walls and ceilings of the committee rooms be dispensed with,—these rooms being intended for the

transaction of the business of the committee can be

seen by a very few, unless they should be kept open

for exhibition, which of course, cannot be contemplated, as it would interfere with an important

branch of legislation.

. . . Some of these rooms are so extravagantly decorated with crude and disharmonious colors that it is

painful to remain in them, and when they are overshadowed by the projecting arcades of the porticoes

yet to be built, they will be dark and gloomy.

. . . I object to the dark, and heavy, and excessively

ornate painting that has been commenced in the entries and passages of the north wing, and I respectfully recommend that it be stopped immediately, and

that all the passages and entries be finished, in light

and harmonious tints with a very sparing application

45

THE CAPITOL EXTENSIONS AND NEW DOME
is the very worst I ever saw—and so

says everybody.

14

In another piece of correspondence,

Walter took a more philosophical stance

on the House Chamber and other decorating projects: “The only thing in which

my taste has been disturbed is the gaudy

coloring and gilding and daubing of my

works but I console myself that all this

may be cured by the paint brush.”15

Meigs’s handling of the decorations

eventually stirred a backlash in Congress and prompted a petition signed

by 127 American artists that called for

the creation of an art commission (see

chapter 7). By the time the commission

issued its report, however, Meigs had

been relieved of his command at the

Capitol. His friend and patron, Senator

Jefferson Davis, had not been able to

stem the tide against him in Congress

and the War Department. On November 1, 1859, Captain William B.

Franklin of the Corps of Topographical

Engineers was given charge of the

Capitol extensions. Walter was delighted with the change in command.

With Meigs’s departure, Walter’s relationship with Brumidi warmed considerably. Walter commissioned Brumidi to

paint and decorate his own house in the

Germantown section of Philadelphia.

On February 2, 1863, Walter sent Brumidi original drawings showing the

rooms of the house to enable him to determine the “character of ornamentation.”16 He offered no words of advice,

no direction, or anything else for Brumidi to interpret: “I leave the whole

matter to you; your taste is never at

fault.”17 Later that year Brumidi sent a

copy of his painting The Five Senses as a

present for Walter’s wife, Amanda. In a

letter to her, Walter gave detailed instructions on how the

painting should be unpacked and where it should hang. He

called it “the best picture I ever saw”18 and urged his wife

to gather the children around the package while it was

being opened so that they might enjoy “the full effect.”19

Perhaps the highest compliment Walter paid Brumidi

was when he altered his design for the Capitol’s new castiron dome to include a massive painting as the climax of

its interior decoration. Authorized in 1855, the new

dome was added on top of the old sandstone walls of the

Rotunda constructed in the 1820s. Walter’s first design

for the new dome called for a vast enlargement of the Ro46

Fig. 4–15. Thomas U. Walter, Design for Dome of U.S. Capitol, 1859. This combined elevation and section of the double dome

illustrates the position of the canopy over the eye of the inner dome

and of the frieze at its base. Athenaeum of Philadelphia.

Photo: Athenaeum of Philadelphia.
before Brumidi died in 1880. He sent the magazine Brumidi’s obituary from the Philadelphia Evening Telegraph,

saying that he could not undertake a biography: “I really

have not time to devote to the subject as it would require

a good deal of thought and some correspondence with

Washington to do justice to the subject.”21 Tired and

penniless, Walter died in 1887 without writing his eulogy

to Brumidi. However, the Capitol extensions and the

great dome still stand in testimony to the skill, hard work,

and taste of their designers, builders, and decorators—

chief among them, Walter, Meigs, and Brumidi.

Notes to Chapter 4

1. Congressional Globe, July 24, 1850.

2. Senate Executive Document no. 52, 32d Cong., 1st sess. March

29, 1852, p. 2.

3. Senate Rep. Com. No. 1, Special Sess. 33d Cong.: Senate Documents Special Session, 1853. This is the Houston Committee Report on

which this discussion has been based. Six years after Senator Houston issued the report he asked Thomas U. Walter to design a retirement

house for his family in Texas. Walter drew plans and elevations, but the

house was never built.

4. TUW to Amanda Walter, May 22, 1858 TUW/PA (AAA, reel

4138).

5. National Intelligencer (Washington), December 7, 1857.

6. TUW Diary, May 4, 1857, TUW/PA (AAA, reel 4133).

7. TUW to G. W. Lawson, December, 1857, TUW/PA (AAA, Reel

4138).

8. TUW to John Boulton, February 5, 1863, TUW/PA (AAA, Reel

4141).

9. TUW to John B. Floyd, December 21, 1857, TUW/PA (AAA,

Reel 4138).

10. Edwin T. Freedley, Philadelphia and Its Manufactures (Philadelphia: Edward Young, 1858), p. 278.

11. MCMJ, November 13, 1856 (B–340).

12. Documentary History of the Construction and Development of the

United States Capitol Building and Grounds (Washington: Government

Printing Office, 1904), p. 677.

13. Ibid., p. 678.

14. TUW to Richard Stanton, December 8, 1857, TUW/PA (AAA,

Reel 4138).

15. TUW to J. F. Bryant, December 14, 1857, TUW/PA (AAA, Reel

4138).

16. TUW to CB, February 2, 1863, TUW/PA (AAA, Reel 4141).

17. Ibid.

18. TUW to Olivia Walter, August 20, 1863, TUW/PA (AAA, Reel

4141).

19. TUW to Amanda Walter, August 29, 1863, TUW/PA (AAA, Reel

4141).

20. TUW to CB, December 24, 1862, AOC/LB.

21. TUW to W. P. P. Longfellow, March 4, 1880, TUW/PA (AAA,

reel 4143).

tunda from its original height of 96 feet to 200 feet, but

did not include any painted decorations.

In 1859, during the height of Walter’s conflict with

Captain Meigs, a period in which the architect never

spoke to or transmitted drawings to the engineer, the design of the dome underwent a significant revision to its

exterior proportions. While he worked out these changes

Walter took the opportunity to revise the interior design

as well. The revised interior scheme introduced a separate

inner dome with an oculus through which a monumental

painting would be seen (fig. 4–15). (The scheme was derived from the Panthéon in Paris, which Walter had studied during his European tour in 1838.) Covering 4,664

square feet, the painting would be carried on a canopy

suspended over the oculus, with sufficient space between

to allow natural light, reflected by huge mirrors, to illuminate it. There was never a question that Walter had

Brumidi in mind when he included a grand painting in

the revised design. It is also likely that Brumidi’s fitness

for the task prompted the revisions. The subject of the

painting was an apotheosis of George Washington, and,

according to Walter, there would be “no picture in the

world that will at all compare with this in magnitude, and

in difficulty of execution.”20 It offered Brumidi the unprecedented opportunity to give the Capitol and the

American people a magnificent finale to the magnificent

new dome. With this commission, even Meigs would

have agreed that Walter, ironically, became Brumidi’s

most important patron.

In the spring of 1865, while Brumidi was working on

the canopy painting, events led Walter to resign as architect of the Capitol extensions and new dome. Walter’s office had been returned to the Department of Interior in

1862, and since that time he had been free to administer

the works unencumbered by military rule. On May 23,

1865, however, his office was suddenly placed under the

authority of the Commissioner of Public Buildings. This

was the last straw: he quit three days later. Walter was

sure the administration would find him irreplaceable and

would restore the status quo. But on August 30, 1865,

his former pupil and assistant, Edward Clark, was appointed by President Andrew Johnson to fill Walter’s

place at the Capitol. Clark, who held the office until his

death in 1902, completed the few remaining parts of the

Capitol extension and became an important figure in

Brumidi’s later career.

In his retirement, Walter was asked by the editor of The

American Architect to write a biographical sketch of Brumidi and his works. Unfortunately, the architect’s

leisurely life was shattered by the Panic of 1873, and he

was obliged to take on jobs that kept him busy day and

night. To prepare his article he wanted to go to Washington to interview the artist but did not make the journey

47

THE CAPITOL EXTENSIONS AND NEW DOME