The Unlikely Connection Between George Washington and Constantino Brumidi

It’s a pretty surprising pairing. On one hand, you have George Washington, often considered the “Cincinnatus of America.” On the other, there’s Constantino Brumidi, dubbed the American Michelangelo. Despite never having met, both left significant marks on the country. Washington, born in 1732, is celebrated as “America’s Indispensable Person.” Brumidi, who came from Rome and was naturalized in 1852, became known for his stunning frescoes that grace the United States Capitol.

The U.S. Capitol Historical Society noted in an essay, “That beautiful hallway on the Senate side of the Capitol? Brumidi. Historic committee rooms and luxurious reception rooms? Brumidi. You can’t forget the decorative band around a rotunda portraying key scenes from American history? Yep, Brumidi.” His most notable work is the mural “The Apotheosis of Washington,” which he painted over 11 months after the Capitol dome was completed in 1864. This impressive mural stretches an astounding 180 feet above the rotunda floor and covers an area of 4,664 square feet.

The question arises: why did Brumidi focus on Washington for his masterpiece? To answer that, we should first appreciate the role Washington played in forming the nation. On Presidents’ Day, it feels appropriate to reflect on his contributions.

“Washington is the most powerful name on earth,” Abraham Lincoln remarked back in 1842. Lincoln went on to say it’s impossible to enhance Washington’s legacy or even try to add to it, emphasizing the need to speak of him with reverence.

Lincoln’s sentiment wasn’t overstated; it stemmed from a deep respect for Washington’s legacy. Not only did Washington lead American forces to victory against the formidable British, but he also voluntarily stepped down from power post-victory. When told by artist Benjamin West that Washington was relinquishing command, King George III expressed that such an action would make him “the greatest man in the world.” Washington returned to his estate, Mount Vernon, rather than assuming a monarchy.

In 1787, however, the call of duty resonated once more, leading him to preside over the Constitutional Convention in Philadelphia. He was then unanimously elected as the first president and contributed to significant decisions like signing the Northwest Ordinance, which prohibited slavery in newly acquired territories. After two terms, he once again left the political scene to return home.

Now, what about Brumidi? How did he rise to become the defining artist of the U.S. Capitol? He initially studied at Italy’s prestigious Academy of Fine Arts, mastering the art of fresco painting on wet plaster. In Rome, he adorned palaces and chapels, including the Vatican.

Due to the Italian Revolution in 1852, Brumidi fled to America. Settling in New York, he took on various commissions, which included work on private homes and churches, notably a cathedral in Mexico City. A visit to the Capitol during one of his travels altered his life forever.

The timing was perfect for both Brumidi and the Capitol. Recently expanded, the Capitol now had a plethora of blank walls awaiting decoration. Eager to secure a commission, Brumidi showcased his talents with a small mural in a conference room. This effort led to him painting at the Capitol for the next quarter-century.

Of course, Brumidi’s notable efforts at the Capitol required working on extensive scaffolding, particularly for “The Apotheosis of Washington.” The scaffolding lifted him a staggering 180 feet above the rotunda floor. Often, he worked while lying on his back, painting the curved surface above.

This job was risky, attracting crowds who would watch as he ascended daily. There was a terrifying moment when he nearly fell, but a guard intervened just in time. He continued his work despite injuries until his passing in 1880.

The mural captures Washington ascending to heaven, flanked by figures representing freedom and victory. The capstone of Brumidi’s work tells a story beyond mere admiration; it’s a creative portrayal of Washington’s achievements. As one historian pointed out, it’s not about glorifying Washington blindly but highlighting the ideals he represented.

David McCullough once articulated this future perspective: it’s not ancestor worship but an appreciation of foundational figures like Washington. An indifferent stance toward such individuals betrays a lack of gratitude for what they accomplished. Indeed, Brumidi conveyed this sentiment through his artistry, bringing to life the legacy of Washington and the United States.

Washington passed away on December 14, 1799, garnering universal praise. Almost 80 years later, Brumidi died somewhat anonymously in Washington, D.C., but his legacy continued through works such as the American History Frieze in the Capitol.

This intertwining story of American Cincinnatus and American Michelangelo is forever immortalized in the frescoes of the U.S. Capitol, treasures revered by Americans for generations past and those yet to come.