National Republican., 1880-03-27
The.Trleze In the Capitol Rotunda,

To Tie Editor of Tho National Republican.
SIR: You deserve thanks of every right
thinking observer for the rebuke in your
issue of last Saturday to those cavilcrs of
Brumidi's frescoes in the Capitol, who con-
denim them without a fair and just criticism,
FE if the artist was daubcr and q humbug.
Brumidi was an artist Of talent, but he was
not genius, and you will no doubt admit an
impartial criticism of his productions. His
chief merits wero q striking coloring and a
skilful execution in style altogether
decorative, In the work done in tho
various Senate reception and committee
rooms tho coloring is fresh and of such pleas
ing effect that defect of drawing is
readily overlooked. Brumidi was
master of all tho professional means
(not to say tricks, rather fccilc, as tho French
call it), by which the ordinary eye is caught
the erCfore his manner satisfies, and justly so,
the eye that looks not beyond first impress
sion. This cleverness which paid him so we'll
in the Senate work We fail TO trace in the
frcze of the rotunda In this work all his
dofects-bad drawing, lack of proportion, de-
iicent anatomy, commonplace subject, ETC.
are glarimgly shown up because it lacks tho
qualities which made the Senate work mer-
torous. The subjective conception of the
fricZe Is pOor-a mere historical rchash-
scenes that cannot be understood without q
title or tho description Of guide book. The
composition lacks unity; there is no sequence,
no natural order Of subjects, no scli-eXplain-
ing imagery, and no action in each scene to
make it intclligible. In work of that kind
child must be able tn read the tale. Just so
Phidias conceived the frioze once adorning
the outer galleries of The P.uthcnon at Athens.
In this famous work, plaster. cast parts of
which arc placed in the Corcomn gallery, the
artist represented the everyday occurrences
in the civil, social aud religious life of his
time and people, and brought them together
in such II way that wo follow it as VIC would a
procession. Brumidi's is like the circus pan
Drama that is posted at street corners. To
connect incongruous and heterogeneous par,s
he is forced to use columns, trees, etc, TO mark
transition from one subject to another. As to
artistic form and execution, no criticism can
well bo too severe after admitting that at a
first glance the composition line seems easy
and the relief Of the figures strong and
bold. Tho friezo at the given height cannot
be bas-relef it should be under that pccu.
linr light hrW rciief-that is, high re.
lief. Bumidi leaves the impression as If it
were intended for II rOlldc JOS5e-that Is, the
figures standing partly FREQ from the back
ground, Now, granting that such was his
meaning, the represented depth of the relief
must be some four or FIVE feet, judging from
the dark shading of the background, by which
tho light on the figures is thus forccdy in.
creased. Tho fgures arc sadly lacking in pro.
portion-somo are all hip, while others are all
head. Tho drawing, anatomically speaking
Is simply WrGtched. There is no character in
the folding and arrangement of drapery and
dress; every part Of the bodies-arms, legs,
otc,-coyered with cloth looks as II stuffed
with cotton.
After all, in justice to Brumdi and the good
work done by him in the Senate rooms, il is
perhaps better to wipe out what has been
done. To complete the remaining part
nearly two.thirds-in harmony herewith,
would bo sore business for good artist.
Brumidi had become old, his sight weak and
his hmd lost steadnoss to obey his Judgment;
therefore an ugly spot would mar tho whole.
The best tho committee can do 10 secure
good work is to open competition as thoy do
in Europe, nna us was done in olden timos,
submit the result to public sentiment and re,
serve the final Judgment to themselves. To
guard against the imposition Of empty reputa-
tion, let tho competitors have q chance TO
show what they can do in their profession.
Aud as there seems to be great fuss made
about the particular method used by Brumidi
on this frioze, tho real frescO, etc. let each COM
pottor perform tho work in his own way, so
that the particular merits and briiancy can
be properly judged, There arc several excel
lent artists, both of the Flemish and the
Italian school, in this country, and there Is no
need of sending to Italy for one to do the
work. An OLD ART CRITIC
WAsHINGToN, d. G., March 22, 1880.