"ART AT THE CAPITOL." "It is now upwards of two years since I first began, in my idle way, to call attention to the art outrages committed by the Autocrat 'in charge of the Capitol Extension.' A very honest gentleman, he may have been competent to superintend the laying of stones and the mixing of mortar as the worthy and accomplished architect might have directed. But so inflated was he with his 'brief authority' that he assumed the dictation of everything, and even of the art decorations, which remain a monument to his bad taste. "It has been whispered that in this department a man named Brumidi (a dauber of speckled men and red horses in true oyster-saloon style) has assumed supreme control, receiving $10 a day for his services. Full proof of this is found in the following letter, written by a gentleman with whom I am only acquainted by reputation; but that reputation is high and honorable." Here follows Mr. Oertel's letter to Captain Meigs. "AN APPEAL TO CONGRESSMEN.' "Will not each member of Congress give the above letter a careful perusal? It needs no comment. Venal editors who wish to have relatives kept in Meig's employ may call it the work of a disappointed artist, but it shows that it is not; and if it is, why, that does not alter the case. I don't care a snap for Mr. Oertel; but I do protest, as every citizen has a right to protest, against having the entire Capitol disfigured, at immense cost, by ignorant and incompetent men whose bad taste flashes out too outrageously to be mistaken. "THE REMEDY." "Don't vote a dollar of appropriation, Messrs. Congressmen, until the entire decoration is taken away from Meigs, Brumidi & Co., and placed in the hands of competent persons! I have no suggestions to make as to whom these persons shall be. Let the President appoint them; let Congress designate them in the bill; but let the National Capitol not resemble a Neapolitan icecream saloon, a French coffee house, or an English gin palace." Similar articles appeared in various papers, quite an excitement was raised over the subject, a convention of American artists was called at Washington, and an attempt was made to remedy the conditions so plainly at variance with the spirit of American art and art lovers throughout the United States. This convention met in Washington, March 20, 1858, and having resolved itself into a "National Art Association" elected the following officers: Rembrandt Peale, Esq., of Philadelphia, President. H. K. Browne, of New York, Second Vice President. J. M. Stanley, Treasurer. Executive Committee.-Dr. Horatio Stone, J. A. The object was stated as "for the purpose of consolidating the members into an efficient body and organizing means to promote the interests of art before the American Congress, and to secure to native artists the illustration of our national history in the public buildings of the Government. A committee was appointed to draft a memorial to Congress embodying the subjects and purposes of the artists of the country. The committee presented a draft of a memorial and the association adopted it. It was signed by the members of the Association of the National Academy of Design, New York; Artists' Friend Society of Philadelphia, Philadelphia Academy, and leading artists of Boston. This "memorial" was presented to Congress May 19 by Mr. Marshall, of Kentucky. It was later acted on and three of the best artists in the country were appointed to serve as art commissionersHenry K. Browne, sculptor, of New York; Henry Peters Gray, painter, also of New York; and Horatio Stone, sculptor, of Washington. These were appointed, but with characteristic foresight no appropriation for salary or expenses was made. These gentlemen were very willing to make some sacrifice for the good of the country, but could not give all the time it would require without some compensation; so the movement died a natural death and the Italian decorators continued. During his stay in Washington Mr. Oertel made the acquaintance of Charles Lanman, well known as an author of no ordinary literary merit and also as an artist, and they became firm friends, the relation continuing through life. Though drudging daily at his task of copying the State arms, his mind was busy on his own designs and ideas, as shown by letters to his wife in which he exclaims (Aug. 3, 1857): "My mind is made up for work, and work I will. Yea, work I must, to labor into existence all I have planned. My mind is busy as a bee in my solitude. I should only need the country and freedom from irksome duties to make me half crazy with ideas." He complained bitterly of the "distracting noises of the city," children with drums, tin trumpets, etc., and the piano played by a young girl in the next house. One day he writes: "I have comparative quiet if there were not just now a villain of an organ grinder about; not only is the sweet girl gone but her piano after her." It is plain to see how irksome was the task on which he was engaged. In one letter he breaks out with: "Pay day again! The laborer is now going to get his hire, and so in reality it is. I am on a par with the stone cutters and tile layers just so long as the State arms last, and I verily believe they are without end." During this time he determined to turn his attention to sculpture, though he was unable to carry out his plans. Of this he says: "There are some of my compositions especially suited for sculpture, and they are thoughts it would be a pity to lose; and besides this I am aware of my predilection for form, irrespective of colors and of my choosing such subjects as in the main appear to as much |