The Arkansaw traveler., 1885-11-14
An Artists Freak.
Providence TeleRram.l

lFroVloence leiegram.
 It is recorded that Michael Angelo. while engaged in his grand work on St. Peters had tilt with high church po- tentate, and wrecked an artistic revenge upon him by delineating his features upon the face of the devil in his group ing. Whether the story be true or not is of little consequence but in a meas ure there is in Washington and in the na- tional Capitol an analogically similar art incident and in itself the most peculiarly interesting feature of historical charac- ter in the works of art in the country. Yet, oddly enough, although gazed upon by hundreds of thousands, and though in existence for nearly score of years, its special interest has been passed by un- recognized, not even single employe in or about the building being aware of its existence and not visitor having re- marked it. And yet it stands in boldest relief and of heroic size, furnishing the most striking features in the allegorical series of paintings in the canopy of the dome. It is the description of the god. dess of Liberty defeating treason and de- stroying discord.
 It has little romance attached to its origin. While Brumidi, the Italian artist at the capital, was engaged in his labors, he met very beautiful girl here boarded in the same house, believe. Miss len nie Germon, or Lola, as her family called her, was, without exception, the hand somest, young lady in Washington. AL though without trace of Italian blood in her veins, she possessed all the per tecting features of beauty which poets choose to accord their heroines of that race, and, in addition, was grandly tall and faultless in physique as a ulptors ideal. Brumidi grew young again ia his intense love for her, courtcd and married her.. He was then at least o9, and as aged in appearance as if he had passed he allotted three score and ten she was scarcely twenty.
 She admired his artistic powers and also herself, and with pardonable van ity suggested to him that he perpetuate her as goddess in his masterpiece. He acquieScei, and went considerably fur ther than her suggestion. 1t opened to him fresh idea, which he proceeded to act upon, and which, completed. fur rnishes the peculiar bit of history sssoci- ated with the painting.
 "Treason and Discord" are repre-. sented by five human figures fleeing into chaos before the goddess of Liberty with upiitted sword, and preceded by the American eagle. Brumidi chose in his art allegory five of the most prominent faces in the just then dead confederacy with which to characterize the quintet in the process of being cast into the outer darkness-Jefferson Davis, Robert E. Lee, Stonewall Jackson, Alexander Ste phenS and Robert Toombs. Jackson's is the most prominent; he is aelmesed and in black armor, with a white cloak cov- erlng his right arm, which 8 raised as he IS falling to escape the uplifted sword of the goddess; partly under him and to the lett IS Davis, with face resembling one Of Mac6ftA's witches in a hysterical COZ. dition of fear, and beyond him is Alex ander Stephens-the best portrait of the lot. To the right, and almost side by side with Jackson, is Lee, with dishev- eled white hair and King Lear beard, tattered brick colored garment scantily covering his body, in terror-stricken flight, while Bob Toombs, who is making the best time of all, is about two laps ahead, with outstretched hands towards Georgia.
 None of the men SO caricatured ever saw the portraits or knew f the fact.
 The only one of them who was ever iu the Capitol subsequent to the war was Stephens, and he never entered the TO- tunda. Brumidi, the artist, is dead, yet his work will continue no doubt as long as the Capitol stands, and a generation from now, when every other relic of old and bitter sentiment will have passed away, will continue intact.