Mythologizing America with a paintbrush

The title couldn’t be simpler: “Telegraph.” That’s what Constantino Brumidi, one of the Senate’s most prolific artists, named his 1868 fresco adorning the left portion of the rounded ceiling of the Lyndon B. Johnson Room, a space located in a far-off corner of the Capitol’s second-floor Senate wing.

Originally slated as the Senate’s library, the room, numbered S-11, consisted of four semicircular ceiling panels intended to represent major fields of scholarship: Geography, History, Philosophy and Print. But all of that changed in 1859, when it was decided that a post office would better serve lawmakers. Brumidi had only completed Geography at that point.

{mosads}With the shift in the room’s function, Brumidi altered the theme of his panels to rely more heavily on scientific expansion and communication, changing Philosophy to Physics and Print to Telegraph, a nod to the enthusiasm swirling around the recently planted trans-Atlantic telegraph cable.

Like so many of Brumidi’s works, “Telegraph” integrates classical Italian Renaissance techniques with distinctly American motifs. 

The 7-by-16-foot fresco depicts mythical character Europa astride a bull, presumably Zeus, in the ocean. A nymph is handing her the telegraph wire as she shakes hands with America, the symbol of the new world, perched at the water’s edge. America dons a gilded chest plate, starry blue robe and Phrygian, or liberty cap, laced with oak leaves — a symbol of strength. She holds a caduceus, the staff carried by the messenger of the gods, and leans on an anchor. To her left are ramrods, a cannon, a cornucopia of fruit and an eagle holding an olive branch, representations of military might, generosity and peace. 

Despite the artist’s coordinating his work with the space’s intended use as a post office, the room became the meeting place for the District of Columbia Committee just two years after the completion of “Telegraph.” In 1958, it was assigned to then-Senate Majority Leader Lyndon B. Johnson, after whom it was named in 1964. Today, it’s used for Senate meetings, such as party conferences and caucuses. Nonetheless, “Telegraph” still garners attention and praise.

Often referred to as the Michelangelo of the Senate, Brumidi painted similar works all over the Capitol building, including his monumental fresco ornamenting the canopy of the Capitol dome, “The Apotheosis of Washington.” In recent years, a massive restoration and preservation effort has been under way in the Brumidi Corridors, the extravagantly decorated corridors on the first floor of the Capitol’s Senate wing. 

“As we are doing restoration, we keep finding more and more out about his very unique fresco style,” Senate Curator Diane Skvarla said. 

In a brief assessment of Brumidi, Skvarla simply said: “A magnificent artist. He was extremely important to the Senate and the Capitol.”