|
[page 231:]
|
|
|
BURTON'S.
GENTLEMAN' S MAGAZINE,
AND
AMERICAN MONTHLY REVIEW
———————————
NOVEMBER, 1839.
———————————
THE CAPITOL AT WASHINGTON
Illustrated by a Splendid Engraving
on
Steel.
THIS building was
commenced
in 1793 by Mr. Hallet as architect, who was succeeded by Mr. G.
Hadfield
and Mr. Hoban, who finished the north wing. The charge of the work was
then given to Mr. Henry B. Latrobe, (architect) who directed the
building
of the south wing, and prepared the halls for the reception of
Congress.
Such portions of the building having been completed as were
indispensably
necessary for public use, farther proceedings were suspended during the
embargo, non-intercourse, and war; at which time the interior of both
wings
was destroyed, in an incursion of the enemy. After the close of the
war,
Congress assembled, for several sessions, in a building patriotically
raised
by the citizens of Washington, for their accommodation. In 1815,
Government
determined to restore the Capitol. The work was commenced under B. H.
Latrobe,
who superintended it until December, 1817, when upon his resigning his
charge, the farther proceedings were entrusted to C. Bulfinch, who
proceeded
to execute the designs already adopted for the Representatives' Hall
and
Senate Chamber, and to lay the foundation of the centre, comprising the
Rotunda, Library, etc. These have been completed, with the accompanying
terraces, gate-ways, lodges, etc. in the course of ten years. The
building
now exhibits an harmonious whole, imposing for its mass and commanding
situation, and well adapted for the important uses for which it is
intended.
It may be described as follows: —
The Capitol of the United States is situated on
an
area enclosed by an iron railing, and including twenty-two and one half
acres — the building stands on the western portion of this plat, and
commands,
by the sudden declivity of the ground, a beautiful and extensive view
of
the city, of the surrounding heights of Georgetown, etc. and of the
windings
of the Potomac as far as Alexandria.
The exterior exhibits a rusticated basement, of
the
height of the first story; the two others stories are comprised in a
Corinthian
elevation of pilasters and columns — the columns thirty feet in height,
form a noble advancing portico, on the east, one hundred and sixty feet
in extent — the centre of which is crowned with a pediment of eighty
feet
span a receding loggia of one hundred feet extent, distinguishes the
centre
of the west front.
The building is surrounded by a balustrade of
stone
and covered with a lofty dome in the centre, and a flat dome on each
wing.
[page
232:]
Dimensions of the Capitol of the United States, and its
Grounds.
The ground within the Iron Railing, twenty-two and one half acres.
Length
of Foot Walk, outside of Railing three-quarters of a mile and one
hundred
and eighty-five feet.
THE BUILDING IS AS FOLLOWS:
|
Length of Front, - - - - - - - - - - - - - - - -
- - - - - -
- - -
- - - - - - - - - - - - - - - |
|
352 feet 4 inches |
|
Depth of Wings, - - - - - - - - - - - - - - - - -
- - - - - -
- - -
- - - - - - - - - - - - - |
|
121 do. 6 do. |
|
East Projection and Steps, - - - - - - - -
- - - - - -
- - -
- - - - - - - - - - - - - - - - |
|
65 do |
|
West
do.
do. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
- |
|
83 do. |
|
Covering one and a half acres, and one thousand eight hundred and
twenty
feet. |
|
|
|
Height of Wings to top of Balustrade, - - -
- - - - - -
- - -
- - - - - - - - - - - - - - |
|
70 feet. |
|
Height to top of Centre Dome, - - - - - - -
- - - - - -
- - -
- - - - - - - - - - - - - - |
|
145 do |
|
Representatives' Room, greatest length - -
- - - - - -
- - -
- - - - - - - - - - - - - - |
|
95 do. |
|
Representatives' Room, greatest height, - -
- - - - - -
- - -
- - - - - - - - - - - - - |
|
60 do. |
|
Senate Chamber, greatest length - - - - - -
- - - - - -
- - -
- - - - - - - - - - - - - - |
|
74 do. |
|
Senate Chamber, greatest height - - - - - -
- - - - - -
- - -
- - - - - - - - - - - - - - |
|
42 do |
|
Great Central Rotunda, ninety-six feet in
diameter, - - - - -
- - -
- - - - - - - - - - |
|
96 feet high. |
|
The North Wing was commenced in 1793, and
finished in 1800,
cost -
- - - - - |
|
$460,262 57. |
|
South Wing commenced in 1803, and finished 1808,
cost - - - -
- - -
- - - - - - - |
|
308,808 41 |
|
Centre Building commenced in 1818, and finished
in 1827, cost
- - -
- - - - - - - |
|
957,647 35 |
|
|
|
——————— |
|
Cost of building the Capitol
-
- -
-
- -
-
- -
-
- - |
|
$1,746,718 33 |
|
* Including all alterations to 1814. |
|
|
The Representatives' room is in the second story of the
south wing — is semicircular, in the form of the ancient Grecian
theatre
— the chord of the longest dimension is ninety-six feet — the height,
to
the highest point of the domical ceiling is sixty feet. This room is
surrounded
by twenty-four columns of variegated native marble, or breccia,
from the banks of banks of the Potomac, with capitals of white Italian
marble, carved after a specimen of the Corinthian order, still
remaining
among the ruins of Athens; which stand on a base of freestone, and
support
a magnificent dome painted in a very rich and splendid style, to
represent
that of the Pantheon of Rome, and executed by an interesting young
Italian
artist, named Bonani, who died about twelve years ago. In the center of
this dome is erected, to admit the light from above, a handsome cupola;
from which is suspended a messy bronze gilt chandelier, of immense
weight,
which reaches within ten feet of the floor of the chamber. The
speaker's
chair is elevated and canopied, and on a level with, the loggia or
promenade
for the members, consisting of columns and pilasters of marble and
stone.
Above this, and under a sweeping arch near the dome, is placed the
model
of a colossal figure of Liberty, by Caucici, (in plaster,) on the
entablature
beneath is sculptured an American Eagle, (in stone) just ready to fly;
copied from nature by an Italian sculptor of high reputation who has
left
but this single specimen of his talents in this country.
The artist, Segnior Valaperti, was but a short
time
in America, the most of which he spent in Washington. He was retiring
in
his habits, and of a melancholy temperament, associating with few
persons,
and with those but seldom. Soon after the completion of this chef
d'oeuvre
he
disappeared, in a mysterious manner, and has never been heard of since.
About a month after his disappearance a body was found in the Potomac,
which was thought from certain resemblances, to be his, (though this
was
never satisfactorily ascertained,) and hence it has been conjectured
that
in a fit of melancholy, he threw himself into the river, and thus put
an
end to his unhappy life. Such has often been the melancholy fate of
genius.
In front of the chair, and immediately over the
entrance.,
stands a beautiful statue in marble representing History, recording the
events of the nation. She is placed on a winged car, which is in the
act
of rolling over the globe, in which is figured, in basso relievo, the
signs
of the Zodiac, and the wheel of the car is the face of the clock of the
hall, finely designed and beautifully executed. The whole was done by
Signior
Franzoni, another meritorious Italian artist, who also died in this
city.
Between the columns is suspended fringed drapery of crimsoned marines,
festooned near the gallery, to limit the sound and assist the hearing.
A magnificent portrait of Lafayette, at full length, painted by a
French
artist, and a most admirable likeness of that patriot, decorates a
panel
on one side the loggia, and indicated to the legislative body to whom
it
has been presented, that the corresponding panel on the opposite side
could
not be more appropriately filled than by the portrait of him who
achieved
the liberties and secured the independence of his country. Between the
columns at their base, are placed sofas for the accommodation of those
who are privileged to enter the hall, and within the bar, in a
semi-circle
fronting the speaker's chair, are seated the members of the house, each
of whom is furnished with a mahogany desk, armed chair and writing
materials.
The Senate Chamber in the north wing is of the
same
semi-circular form — seventy-five feet in [page 233:]
its greatest length and forty-five high — a screen of Ionic columns,
with
capitals, after those of the temple of Minerva Polias, support a
gallery
to the east, and form a loggia below — and a new gallery of iron
pillars
and railings of a light and elegant structure, projects from the
circular
walls — the dome ceiling is enriched with square caissons of Stucco.
The walls are covered with straw colored drapery,
between small pilasters of marble in the wall. Columns of breccia or
Potomac marble, support the eastern gallery.
The upper gallery on the east side was removed in
1828, and a light, airy, and beautiful one as mentioned above, erected
along the semicircle fronting the President's chair, supported on small
iron columns, handsomely bronzed, with a railing in front, of the same
material and color. The removal of the dark and heavy mass of stone
which
formed the upper gallery has thrown into the chamber a proper degree of
light, which it wanted before; and the new and tasteful gallery renders
it more convenient to the members, by accommodating those who would
otherwise
be on the floor. The access, to it, however, is somewhat objectionable,
as are most of the stair-cases in the building. They are rather
confined
and dark, for so spacious and magnificent an edifice as the Capitol. A
stair-case is susceptible of great architectural beauty; and in the
construction
of such a building the opportunity to display that beauty should not
have
been neglected.
The Rotundo occupied the centre, and is
ninety-six
feet in diameter, and ninety-six high. This is the principal entrance
from
the east portico and west stair, and leads to the legislative halls and
library. This room is divided in its circuit into panels, by lofty
Grecian
pilasters or antae, which support a bold entablature, ornamented with
wreaths
of olive — a hemispherical dome rises above, filled with large plain
caissons,
like those of the Pantheon at Rome. The pannels of the circular walls
are
appropriated to paintings and teas relieves of historical subjects.
In the small Rotundo of the south wing, there are
columns of the Tobacco, and, in the vestibule in front of the Hall of
Representatives,
of the Cotton order; because these staples have been selected as
ornaments
for their capitals, and are really not much inferior, in richness and
beauty,
to the Acanthus leaf of the Corinthian. It was the design of Mr.
Latrobe,
the former architect, to make this edifice national, and to render it
so,
as far as possible, by the introduction of architectural ornaments
derived
from the principal native productions of our country. He did intend,
moreover,
to support one of the galleries of the Senate Chamber with emblematic
figures
of the thirteen old states, decorated with their peculiar insignia, and
the models were actually made by one of those fine Italian artists whom
he had engaged to be sent to this country; but a neglect or refusal on
the part of Congress to make the necessary appropriations, defeated his
design.
THE LIBRARY.
Passing from the Rotundo, westerly, along the
gallery
of the principal stairs, the Library room door presents itself. This
room
is ninety-two feet long, thirty-four wide, and thirty-six high. It is
divided
into twelve arched alcoves, ornamented with fluted pilasters, copied
from
the pillars in the celebrated Octagon Tower at Athens. At the entrance,
in the centre of the room, which is approached from the great central
Rotundo,
are two columns of stone, with capitals, corresponding with those of
the
pilasters, and immediately opposite and fronting the window which leads
into the western colonnade, stand two similar columns of stone. These
pillars,
with alcoves, support two galleries, extending nearly the whole length
of the room on both sides, and divided into the same number of shelved
recesses as the lower apartment. From these recesses springs the arch
which
forms the ceiling, elegantly ornamented with rich stucco borders,
pannels,
and wreaths of flowers. On the roof, which is about ten feet above the
ceiling, are three sky lights, the walls of which are beautifully
decorated
with stucco ornaments. The principal apartments, as well as the
committee
rooms, on the north, attached to it, are handsomely furnished with
sofas,
mahogany tables, desks, Brussels carpetting, etc.
The apartment for the accommodation of the
Supreme
Court, on the basement story of the north wing, immediately below the
Senate
room, is of a semicircular shape, with the windows to the east to admit
the light, which enters awkwardly and feebly, at the backs of the
judges,
in the bench. The arches, in the ceiling diverge like the radii of a
circle,
from a point over the justice seat, to the circumference. On the wall
is
an emblem of justice holding her scales, in bold relief, and also a
figure
of Fame, crowned with the rising sun, and pointing to the Constitution
of the United States. The members of the bar are conveniently
accommodated
with seats and desks in the body of the apartment; and the visiters are
furnished with rows of benches on the right and left wings of the
centre
of the Court.
The Chief Justice sits in the centre of the six
associate
Justices — all clothed in black gowns or robes.
The want of a law library in the Court for
immediate
and convenient reference, for the use of the members of the Court, was
certainly a defect. The room, though small in comparison to the
principal
apartments of the Capitol, is large enough for the business of the
Court.
There are, however, occasions when an interesting question or a popular
orator, attracts a concourse of citizens, who in that case,
may
find some difficulty in procuring seats. [page 234:]
EAST FRONT — TYMPANUM.
The Genius of America occupies the centre of the
group. Her figure, like that of all the others, is colossal, and fully,
(perhaps too fully,) covered with drapery. She stands on a broad
unadorned
plinth, and her right hand holds a shield, inscribed in the centre with
the letters U. S. A. surround ed with a glory. The shield, which is of
an oval form, rests on a slender altar, on the front of which is an
oaken
wreath in has relief, with the words "July 4, 1776," within it. Behind
her rests a spear. Her head, crowned with a star, is turned over her
left
shoulder toward the figure of Hope, to whose animated address she seems
to be listening with attention, but with calm self-possession. Hope is
an enchanting, airy figure, full of fire. She gazes upon the Genius
with
smiles, lifts her right arm and hand into the air, as in an attitude of
delighted anticipation, while she seems to be dwelling on the rising
glories
and all the halcyon prospects of the republic. Her left elbow rests on
the stock of an anchor, and the left hand is bent upwards, grasping in
her eagerness, a part of her drapery. But the Genius, to whom she
speaks,
instead of catching her enthusiasm, points with emphatic dignity to the
object on her right. This is Justice: a cold chastened figure, with
eyes
raised toward heaven, holding in her right hand an unrolling scroll, on
which the words " Constitution of the United States" appear in raised
letters
of gold. Her left arm is elevated, and bears the scales. She has
neither
bandage nor sword; for in our free and happy country Justice is clear
sighted,
and stands with open face, respecting and comparing the rights of all;
and it is in this, rather than in her punitive energies, that she is
the
object of the veneration of freemen. The moral of the whole is just and
striking. However Hope may flatter, America will regard only that
prosperity
which is founded on public right and the preservation of the
Constitution.
Such is the design: and the execution is worthy of it. The figures have
grace and elevation: much of the "mens divinior" which is about
the works of the ancients. The artist at first contemplated giving more
of nudity; but he was warned that the public sentiment in this country
would not admit of it, and in his caution, he has gone into the
opposite
extreme. The head of Justice is covered with a fold of her mantle,
which
projects in a graceful form, and which, could the sun reach these
figures
when at the necessary elevation, would cast a fine shadow on the upper
part of the countenance. But it happens, unfortunately, that this can
never
take place: as, before he climbs to that angle, the pediment is either
partially shaded by the cornice, or, together with the whole eastern
front
of the building, deserted by his rays altogether. The Eagle, which is
at
the feet of the Genius, and between her and the figure of Hope, is one
of the most masterly features in the design. Not only is the general
outline
of the bird strikingly true to nature, but the finish of every part of
it beautiful in the extreme. Its head is raised, and turned
upward-toward
the countenance of America, while its wings are partially expanded, in
act to rise, as if ready and eager to fly at her command.
To point out defects is an invidious task, and
one
of the least welcome duties of criticism. There is so much of
excellence;
the general idea, (which was suggested by Mr. Adams, after upwards of
forty
designs had been offered and rejected,) has been so fully and so
happily
expressed, that strictures on the drapery or on the execution of
particular
limbs in the figures have an ungracious bearing. We will mention but
two
faults which strike the eve. The arm of the Genius which rests upon the
shield, is somewhat constrained; she seems to be holding the shield
that
it may be looked at, rather than reclining her arm upon it with
unconscious
ease. And the right arm of Hope, which is elevated, appears to be too
wide
at the wrist, a fault which impairs the lightness and delicacy that
characterize
the residue of the figure. But these slight defects are overlooked
among
the many beauties which surround them.
All the figures of the group ale colossal, being
about seven and a half feet in height. A perfect symmetry has been
given
to the form, and the attitudes are et once graceful and expressive.
Viewed
with the eye of an anatomist, the minuter parts of the human structure
are developed with a distinctness and truth which, while it displays
the
labor which the artist has directed to the production of these details,
exhibits also the extent and correctness of his scientific
acquirements.
In the draperies of the figures there is great felicity of execution;
the
fullness, the folds and flow of the mantle, exhibit surpassing
excellence.
The eastern entrance to the Rotundb, from the
floor
of the Portico, is ornamented with two light and beautiful figures, in
stone, in the act of crowning with laurel the bust of Washington,
placed
immediately above the door.
The rotundo is topped by a cupola and balustrade,
accessible by means of a stair-case passing between the roof and
ceiling.
From this elevation the prospect which bursts upon the eye is splendid.
Three cities are spread before you: the Potomac on one side, and the
Eastern
Branch on the running and rolling their waters to the ocean; a range of
hills extending in a magnificent sweep around you, and displaying all
the
richness and verdure of woodland scenery, with here and there beautiful
slopes in cultivation — the whole colored by the golden beams of the
setting
sun, burnishing the reposing clouds, and gilding the tops of the trees,
or giving light and shade to the living landscape — form a scene which
few portions of the earth can rival, and which none can surpass. The
dome
of the centre, though nearly a semicircle, does not please the eye of a
stranger; it wants greater or less elevation to contrast agreeably with
the domes of the wings. [page 235:]
Besides the principal rooms above mentioned, two
others deserve notice, from the peculiarity of their architecture — the
round apartments under the Rotundo, enclosing forty columns supporting
ground arches, which form the floor of the Rotundo. This room is
similar
to the substructions of the European Cathedrals, and may take the name
of Crypt from them: the other room is used by the Supreme Court of the
United States — of the same style of architecture, with a bold and
curiously
arched ceiling, the columns of these rooms are of a massy Dorick
imitated
from the temples of Paestum. Twenty-five other rooms, of various sizes
are appropriated to the officers of the two houses of Congress and of
the
Supreme Court, and forty-five to the use of committees; they are all
vaulted
and floored with brick and stone. The three principal stair-cases are
spacious
and varied in their form; these, with the vestibules and numerous
corridors
or passages, it would be difficult to describe intelligibly: we will
only
say, that they are in conformity to the dignity of the, building and
style
of the parts already named. The building having been situated
originally
on the declivity of a hill, occasioned the west front to show in its
elevation
one story of rooms below the general level of the east front and the
ends;
to remedy this defect, and to obtain safe deposites for the large
quantities
of fuel annually consumed, a range of casemate arches has been
projected
in a semicircular form to the west, and a paved terrace formed over
them:
this addition is of great utility and beauty, and at a short distance
exhibits
the building on one uniform level — this terrace is faced with a grass
bank, or glacis, and at some distance below, another glacis with steps
leads to the level of the west entrance of the Porter's Lodges — these,
together with the piers to the gates at the several entrances of the
square,
are in the same messy style as the basement of tile building; the whole
area or square is surrounded with a lofty iron railing, planted and
decorated
with forest trees, shrubs — gravel walks and turf. |
|
|
|
|
|