Brumidi’s American Wife and Children
Every proof that my government was not responsible for Mr. Brumidi’s last hard years helped to focus my interest on the artist’s family, the family that should have eased the burdens of their benefactor.
I remembered that in a letter written to the Capitol Architect by Brumidi, the same year, 1874, that the artist prepared the statement, “Relative to his Employment at the Capitol,” is a reference to his temporary residence at Marine Hall. This letter contains also the artist’s first reference to a physical disability:
“You would be surprised for having not seen me more at the Capitol.
“The large drawing or cartoon is done at Marines Hall where I have a temporary residence in the same building.
“It was my intention to commence the work as soon as the plasterer is ready, but Sunday last, a painful rheumatic attack at my knee on the left side obliged me to remain in bed for some time.
“Yesterday the same rheumatic pain is come also at the other knee, that does not permit me to walk any step around my room without assistance.
“This deplorable incident, very strange at this season, compels me to postpone the work, hoping in some weeks to be able to do it.”
C. Brumidi
It is entirely possible that domestic difficulties had a bearing on the lean years and on the artist’s health. However, it is also possible that these were the years he used for work outside the city of Washington; it was in April 1871 that Brumidi wrote to the Architect of the Capitol mentioning the decorations in St. Stephen’s Church in New York.
I remembered, also, that the Congressional Bill, finally signed by the President on June 9, 1880, directing the payment of $500 to the children of Brumidi, actually named these children as
“Elena Brumidi of Rome, Italy
“Laurence S. Brumidi of Washington,
District of Columbia.”
Immediately I attached added significance to two letters about Brumidi that I had recently found in the Capitol Brumidi file. One of these, a letter written in Rome, on June 14, 1879, by Brumidi’s daughter, Elena, evidently to the Architect of the Capitol, reads as follows:
“I hope, if I mistake not, that you have a memory of my name. When I came to Washington in 1871 to embrace my poor father, I had the pleasure to be introduced by him to you. I beg your pardon if I take now the liberty to disturb you, but I am sure you will do me the good office I ask because I know your kindness.
“It is today a month since I have not received any news from my father, and it is the first time since 27 years he resided in the United States. Unhappily I know that he is very sick since some time and confined in the bed, as you surely know. But, though in that state he has always written regularly to me. I am dreadfully afraid for this long silence; I fear some great misfortune. I beg you to inform me about his health, whatever it may be. At the same time I am desirous of learning something about the real situation of his private interest, and you understand the reason of this inquiry.
“I am obliged to apply to you, sir, because you are a friend of my poor father, and I rely upon your kindness for him and also for his daughter, beyond your situation in the Capitol. I pray you to keep the secret about this my letter.
“I beg to forgive my troubling you so much. I wait your answer truly with a great trepidation and I send to you in advance my sincere thanks.”
Elena Brumidi
This letter from Elena, written about six months before her father’s death expressing fear at her father’s silence and concern about his “private interest” is practically all we know about Elena, the daughter Brumidi left behind in Italy. We do know, however, that she received her half of the $500 paid by Congress to the Brumidi heirs, as this payment is recorded in an old Department of Interior account book now in the National Archives. This Archives’ record contains an itemized statement of the actual expenditure of the $700 asked for in the Senate Bill introduced four days after Brumidi’s death. Even the $200 set aside for funeral expenses for the artist is accounted for by the Department of Interior, item by item.
The old artist fell from the frieze scaffolding on October 1, 1879. Six weeks later a petition, written in a strange hand but signed by Brumidi, was sent to the Congress of the United States. It gives Brumidi’s account of his accident and formally asks that he be put on the regular payroll of the Capitol employees. The petition is preserved in the Capitol’s Brumidi file and is given here in complete form:
Washington, D. C., November 17, 1879
To the Senate and House of Representatives:
Your petitioner, C. Brumidi, seventy-five years of age, the artist of the Capitol, originally from Rome, Italy, but now for twenty-seven years past a duly naturalized citizen of the United States,
Respectfully represents—That upon the 1st day of October ult, he was engaged at work upon the Historical Painting in fresco in the Frieze of the Rotunda of the Capitol, and while sitting upon a temporary scaffold and near the edge, the chair turned from under him and threw him over. He caught the round of a ladder and remained suspended by the strength of his arms for the space of fifteen minutes, till officer Lammond descended from the top of the Dome to the scaffold and called two men from the floor of the Rotunda to assist in the rescue of your petitioner.
A miraculous escape from falling to the floor of the Rotunda a distance of fifty-eight feet was effected but the fright and shock to the nerves of your petitioner resulted in a
very severe attack of asthma which now prevents him from constant work upon the scaffold but he is able and desirous, however, to continue work in his studio upon the Designs and Cartoons which of course require to be made before they can be copied or painted upon the walls.
The late Senator S. Foot, acting President of the Senate, at one time placed your petitioner upon regular payroll of the Capitol employees.
Now, therefore, in view of these facts that your petitioner became injured in the performance of his duty, that he is unable to perform continuous service on the scaffold, your petitioner respectfully requests that the Honorable Committee will cause his name to be again placed upon the regular Payroll of Capitol employees in order that the work may be continued as the health of the petitioner may permit him to work upon the scaffold in fresco or upon the cartoons.
The petitioner hopes to obtain this benefit as a reward of the long life spent in the service of the government.
C. Brumidi
The other letter of interest about a member of Brumidi’s family found in the Brumidi file at the Capitol was written from Paris, France, April 4, 1894, and is signed “Laurence S. Brumidi.” Laurence is the boy to whom Senator Morrill referred in his Senate speech on February 24, 1880, as the “adopted son” of Brumidi. This letter from Laurence to the Architect of the Capitol leads us to believe that Laurence is the artist’s own son. The letter is quoted in full as it is the only original document in the Brumidi file throwing any light on the American born son of the artist:
“It may seem strange after so many years’ silence I recall myself to you. Necessity compels me to claim not only your remembrance, but also your favorable attention. First, I will offer for consideration my petition then my reasons for making it. I have in my possession a portrait of my father, also a sketch of the Dome, “The Apotheosis of Washington.” These I would gladly sell to the Government or Corcoran Art Gallery for one thousand dollars.
“Only a pressing need could cause me to offer these precious souvenirs of my father for sale. But the moment has arrived when all must be sacrificed in order to assure future prosperity. Now the last four years have been spent in Paris pursuing my studies in the art chosen when I little knew the sacrifices required by it.
“I have exposed in the Paris Salon for several years and this year have been promised an honor, and my picture will be reproduced in a number of illustrated art publications.
“By this you will perceive that could I pursue the route now open to me for another year I could grasp the fortune offered by success. Unfortunately I find myself quite exhausted by these last efforts and today without funds.
“If the souvenir of my father’s friendship for you will aid my cause I invoke that souvenir knowing that a kindness to his son would be the happiest return for his esteem and friendship.
“If instead of purchasing the pictures in question you could give me some work to execute here and bring home with me next year, that would be more agreeable providing I could thereby obtain some money immediately. I can very easily execute any commission you care to give me.
“Trusting that this application made at the last moment and after years of hard effort will meet your approval and bring the desired aid so urgently required.”
Laurence Brumidi
This letter from Laurence S. Brumidi stirs many a question but the next truth uncovered about Laurence Brumidi left only silent years following the letter from Paris. Laurence was admitted to St. Elizabeth’s asylum in Washington, D. C., on May 26, 1916, and, according to the St. Elizabeth records, he died there on November 9, 1920, at the age of fifty-four.
Since the birth records at the Vital Statistics Bureau of the District of Columbia go back only as far as 1872, it has been impossible to find a record of the birth of Laurence. The District Records in the Marriage License Bureau of the Muncipal Court in Washington do not record a marriage for Mr. Brumidi in the early 1860’s. The marriage, of course, could have taken place in any nearby city.
In 1879 Mr. Brumidi made a Will which was filed, but not probated. In this Will, a copy of which follows, the artist referred to Laurence as “my boy,” bequeathed to him all of his “estate and property, real and personal” and made no mention of Laurence’s mother or of his half-sister, Elena, in Italy:
Washington, D. C., June 27, 1879
“In the name of God, Amen,
“I, Constantino Brumidi, of No. 921 G. Street, Washington, D. C., make this my last will.
“I give, devise and bequeath all my estate and property, real and personal, to my boy, named, called and known by the name of Laurence S. Brumidi, as follows, that is to say:
“All engravings, works of art, paintings and apparatus pertaining thereto that I now or may hereafter possess; all designs or sketches and tracings for the frieze of the Capitol of the United States and any other purpose; my gold watch and chain, bookcase, library and all objects and things in my room; all money that I have in possession, or that may be due me at the time of my demise, from the United States government or any other source.
“These things and any or all property, real and personal, that I may now have or may hereafter possess do I convey to said Laurence S. Brumidi, to be enjoyed by him, his heirs or assigns, forever, free from all claim or claims of any, every and all persons, whomsoever, claiming or to claim the same or any part thereof, by, under or through me or any of my heirs.
“I appoint Robert Mason of Washington, D. C., my executor, who shall receive no reward.”
Constantino Brumidi
This Will of Constantino Brumidi was brought to light in Washington in 1919 when a lengthy article appeared in the Washington Sunday Star of November 2, entitled:
“Brumidi Paintings Found in Washington
After a Search of Forty Years.”
It seems that in 1919, The National Savings and Trust Company, on New York Avenue, about a block from the White House, found in their storage vault two large boxes containing twenty-four Brumidi paintings including a sketch of the Dome canopy—a circular canvas upon which was painted the design for the ceiling of the Dome. When and by whom these boxes were stored will probably never be known but it is entirely possible that they were packed away in the early years after having been willed to Laurence Brumidi.
The newspaper article for November 2, 1919, quotes the accumulated storage charges as $300. It states also that “the packing evidently was done by Brumidi himself because they were arranged so expertly as to sustain no damage whatever.”
The boxes were opened by Court Order by Mr. Edward P. Schwartz who was named executor of the 1879 Brumidi will, and also “named committeeman by the Court” for Laurence who had been committed to St. Elizabeth’s Hospital.
All of these Brumidi paintings found in 1919 are reported to have been sold at auction, including two large portraits of Lola Germon, Brumidi’s American-born wife and the mother of Laurence. The Sunday Star, in the above-mentioned article, reproduced the portrait of Lola and commented upon her beauty as well as upon her likeness to many of the Madonnas in the Capitol frescoes.
Charles E. Fairman, art curator of the Capitol, was present at the time these storage boxes were opened and has left a list of the contents of each box. He records a total of twenty-four paintings. Fairman also makes mention of the two portraits of Lola Germon in heavy gold, oval-shaped frames. But no one connected with the Capitol Building, so far as I have been able to learn, made a bid for any of the stored Brumidi paintings.
I have found, however, that two letters are on file from Mr. Edward P. Schwartz to Capitol authorities giving detailed information concerning the stored paintings. The Schwartz letter dated October 21, 1919, follows:
“Sometime ago I was made Executor under the Will of Mrs. Lola V. Kirkwood, who was the widow of Constantino Brumidi, the artist who devoted more than 25 years of his life to the beautification of the Capitol. Mr. Brumidi has a son who is now in the Insane Asylum and under Mr. Brumidi’s Will, which was filed and never probated, he left all of his etchings of the Capitol and designs, etc., together with other paintings to his son. The Court appointed me Committeeman of this son with instructions to examine the several boxes that have been in storage for over thirty years and have their contents appraised and report to the Court. If you are interested, call by my office and we will go over and have these boxes opened to see what they contain as you may be able to make some suggestion as to their disposal.”
On February 21, 1920, Mr. Schwartz wrote again to the Capitol, this time to the Joint Committee on the Library:
“I am sending herewith enclosed an item in the Sunday’s Star entitled ‘Brumidi Paintings found in Washington after a Search of Forty Years.’ You will notice that these paintings are the original, or the copies from which Brumidi decorated the Capitol. Among the twenty-seven oil paintings of various sizes belonging to the estate of Brumidi, of which I am the Executor and Committeeman for his son, Laurence S. Brumidi, who is now in St. Elizabeth’s Asylum for the insane, there is one worthy of consideration, and that is the original oil painting of the Rotunda of the Capitol which I have in storage and is in excellent condition. This miniature is in oil, about 35 inches in diameter from which, no doubt, he copied his wonderful Rotunda painting. It is quite an education and shows the process of making a great picture. There are quite a number of his paintings in the collection, and I was wondering if the Committee on the Library would be sufficiently interested to confer with the object of offering a suggestion as to the final disposition of these paintings. It is my judgment they should be in the Capitol, as they are all, I believe, originals, and the only ones existing.... Personally, I would like to see these paintings in the Capitol.”
Mr. Fairman has left the following memorandum, dated October 22, 1919, in the Capitol files referring to the information from Mr. Schwartz: “Called on Edward P. Schwartz at 734 Fifteenth Street, N. W., in relation to attached letter. Mr. Schwartz showed me a copy of the Will of Constantino Brumidi, executed at 921 G Street, N. W., June 27, 1879, in which he appoints Robert Mason of Washington, D. C., his executor. The Will is witnessed by Wm. H. Appleton, A. H. Whittaker, Martha Dent, and Robert Mason. I made a copy of one section of the Will. While the entire Will is in favor of Laurence S. Brumidi, this paragraph seems to be the only one in which this office is interested:
“‘All engravings, works of art, paintings, and apparatus pertaining thereto... all designs, sketches and tracings for the frieze of the Capitol of the U. S.’
“Mr. Schwartz also showed me his authority as Committeeman for Laurence S. Brumidi (insane) and stated that he was also the executor of the Will of Lola V. Kirkwood, former wife of Constantino Brumidi, that Mrs. Kirkwood married a second time one Kirkwood an Army officer, that he had searched for the boxes referred to in his letter and finally found them in storage at the National Savings and Trust Co., corner of N. Y. Ave. & 15th St., where they had been for over thirty years, and on which he had paid storage for that period amounting to about $386. He further stated that Mrs. Kirkwood and Laurence S. Brumidi had forgotten where the two boxes were stored. He will fix a date for opening the boxes and phone me so that I can be present and see the contents of the boxes.”
On January 16, 1925, the Capitol authorities were again informed concerning the pending auction of these Brumidi originals, this time by a newspaper correspondent living in Washington. His name was Ashmun Brown and this is what he wrote:
“It may interest you to know that a considerable collection of the paintings of Brumidi, the fresco artist, is to be sold at auction at Sloane’s Gallery, on January 28th and 29th, by order of the Probate Court incident to the settlement of the estates of his widow and son. The pictures are to be open to inspection at Sloane’s on January 25th-28th. While I have never seen this collection, I understand that it contains several of Brumidi’s original studies for frescoes which now adorn the walls of the Capitol. I am told that at one time a valuation of about $20,000 was placed on this collection. However, when it was offered for sale at auction several months ago, the highest bid obtained was only $800. So at the insistence of the heirs another offering has been ordered. It occurred to me that you might be interested in the matter.”