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CHAPTER XXII.

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MURAL PAINTING IN AMERICA.

IN 1817 Congress gave Trumbull a commission to paint four pictures for the adornment of the Capitol, these to commemorate important historical events. The subjects developed by the artist were the Declaration of Independence, Surrender of Burgoyne, Surrender of Cornwallis and the Resignation of Washington at Annapolis. Congress was prompted to appropriate $32,000 for these pictures more from a desire to give due importance to events of deep significance to the young republic than to adorn walls of the building.

Nearly sixty years later, La Farge was besought by the architect, Mr. Richardson, to decorate the walls of Trinity Church, which building he was then constructing in Boston. This was in the nature of an experiment, mural painting being almost unknown in the United States at the time. La Farge had long entertained the desire to undertake work of this description, but the mural painter must await the coming of commissions before resources or inspiration contribute to make his work a possibility. Although there were no trained painters to assist, although the time as stipulated was very limited, and, particularly, in spite of the fact that the work must be begun in an unfinished building in the severity of a New England winter, La Farge plunged into it with determination.

The church was built in Romanesque style, so La Farge appropriately chose subjects associated with the period when buildings formerly dedicated to pagan worship were used by followers of the new faith. Small scenes above the windows were chosen with this period in view. Two panels, Christ and Nicodemus and The Woman of Samaria were both done by La Farge and are indicative of his simplicity of composition. On the side walls were painted heroic figures of St. Peter and St. Paul and Moses, Jeremiah, Isaiah and Daniel. Over the arches scrolls were supported by child angels. In spite of discouraging obstacles, the artistic effect of the decoration when

completed surprised even La Farge and had a far-reaching influence in the country. Order now followed order and the possibilities for this kind of decoration were brought home to many.

The Columbian Exposition gave a great impetus to mural painting in this country. Experiments of various kinds were tried and the results proved to be not only pleasing but stimulating. People from different parts of the United States witnessed the artistic effects of wall decoration and were led to take a more vital interest later when the question of beautifying public buildings arose in individual states. All the large undertakings in this field have been done since the Exposition of 1893, or have been completed since that time if already under way-consequently benefiting by the display of mural paintings there provided.

Boston was the first town in the United States to establish a public library. In recent years a new building has been erected to meet the needs of a growing municipality. Long recognized as one of the art centers of America, it was natural that unusual care should be taken to make the building artistic as well as serviceable.

Elmer E. Garnsey, who has been chosen to direct the interior decorations of so many public buildings, M. Puis de Chavannes, greatest of modern mural painters, Sargent and Abbey were commissioned to beautify Boston's new Library and it is today noteworthy among public buildings of this country. Puis was more than seventy years of age when this commission was received-too advanced in years and too delicate in health to justify his crossing the ocean to study the spaces allotted to him. Charts and photographs were used as guides instead, while the modern custom of having mural paintings done upon canvas and then "rolled" upon surfaces, enabled him to execute his work in his own studio in France. On the landing of the Grand Stairway his large painting, The Genius of Enlightenment, is seen to advantage. Under the general themes: Science and Letters, he provided eight panels to adorn the Staircase corridor. Grouped under the name of Science are represented Physics, Chemistry, History and Astronomy. A telegraph pole with its transmitting wires is seen in the lower corner of the panel representing Physics-America being the country to first develop uses of electricity; the

inspiring figure floating through the air symbolizes Good News; the baneful creature with face concealed, Ill Tidings. The genius of Chemistry stands in a niche cut in living rock, watching an experiment, while winged boys gaze intently upon it. History, a classic figure, stands mournfully on the site of old ruins, trying to evoke the past; failing alone, she is accompanied by a youth-Science-bearing a torch in one hand, a book in the other. Puis was happily successful in his landscape backgrounds, this one being very pleasing. Astronomy is portrayed by primitive men gazing in bewildered earnestness at the heavens, while from a wattled hut a woman's face looks up. These are Chaldean shepherds who first studied the stars and conceived of influences exerted by them upon this planet. The four panels grouped under Letters include Philosophy and Poetry-Pastoral, Dramatic and Epic. Philosophy is represented by Plato, who stands in a garden discoursing to a pupil, while other disciples study in porticoes near by; Pastoral Poetry, by Virgil leaning against a tree with an expanse of blue ocean before him. Bee hives are conspicuous in the foreground and peaceful rural life is admirably portrayed.

Dramatic Poetry is perhaps the noblest of all these masterly pictures; it reveals Prometheus bound to a rock in the sea, the vulture hovering over him; moved by his sufferings, the Daughters of the Ocean rise from the waves, chanting soothing melodies. In the foreground Aeschylus is to be seen writing his great tragedy. Finally, Epic Poetry is shown in the person of Homer, accompanied by two figures symbolizing the Iliad and Odyssey. The Corridor wherein these panels are placed provided sufficient space for ocean and sweep of sky, hills and groves where Muses wander. Yellow marble was used in the construction of the Corridor and the colors of the paintings are subdued and gray.

The Pompeian Lobby has been so named because of Garnsey's exquisite Pompeian designs, covering its walls with bands and arabesques. This admits to the so-called Delivery Room, where books are brought to readers. This was entrusted to Abbey. The commission for its decoration was received by him just before his marriage and he held it in mind during a somewhat extended trip which followed. Various plans were considered, he particularly wishing to develop certain of the

Shakespeare stories. However, he decided that something of Anglo-Saxon origin would be most appropriate and determined upon the Quest of the Holy Grail-known in general outline by every school boy. The important scenes in the life of Galahad are depicted, beginning with the convent in which he was reared. In front of a wall tapestried in blue and gold, one of the nuns holds the babe in swaddling clothes, to whose vision an angel appears with the Holy Grail. The Oath of Knighthood is impressive. As the youth in a red robe kneels on the altar steps, Sir Launcelot and Sir Bors in full armor wait to fasten on his spurs. The sisters who have reared him watch the ceremony, bearing candles in their hands. The Court of King Arthur attracts with manifold interests. Evidently a banquet has just been served, for the Round Table is still covered with a white cloth. Crowds of people are engaged in conversation as the young knight is brought thither. The Departure for the Search for the Grail shows all the knights in full armor gathered in the chapel to receive the blessing of the Church before setting out on their adventures.

The Grail frieze consists in reality of a series of tableaux exemplifying Mediaeval life. The superb use of rich colors, the variety of costume, the trappings of knight-errantry and the inclusion of all classes of society, bewilder and fascinate. These people seem to live and to be even now engaged upon undertakings of the middle ages.

Finally, Sargent Hall-named in honor of its decorator, contains the splendid work of this greatest of modern portrait painters. He was originally commissioned to prepare decorations for both ends of the Hall. Later he was asked to unite these by ceiling decoration as well. The first finished portion exemplifies the Triumph of Religion. The gods of polytheism and idolatry are first shown, the figures of Moloch and Astarte being marvelously done. Sargent studied Egyptian and Assyrian art before undertaking this work until he was able to express himself admirably in Eastern forms. The confusion resulting from the strife between pagan worship and the faith of the Hebrews is revealed with masterly skill. Below is a lunette picturing the Hebrews in captivity and underneath this, the famous frieze of the Prophets-so widely known.

The painting which fills the opposite end was finished some

years later and is called the Dogma of Redemption. It is done in Byzantine style. The figure of Christ on the cross occupies the central portion of the scene; above are three figures exactly alike and representing the personages of the Trinity; the central one crowned like the pope, the others representing royalty and empire. Below the picture and corresponding to the frieze of Prophets is a frieze of the Angels of the Passion. This entire work, which had been highly commended by critics, is illustrative of religious belief of the Middle Ages.

The Congressional Library in Washington is the most beautiful library in America and among the finest in the world. It has only recently been completed and contains some of the best mural painting found in the United States. As in the Boston Library, Elmer E. Garnsey was given charge of all interior painting. He studied the available spaces and divisions of the building for three years before the various commissions were assigned.

The building consists of three stories: the ground floor, the second story, containing the Library, and the third, containing the Museum. In the lower story two corridors extend on either side of the Grand Stairway. One was decorated by Charles Sprague Pearce, and portrays the primitive Family. His drawing is weak, but the lunettes recall the story of prehistoric man. The one entitled religion is considered best. The corresponding corridor assigned to Henry Oliver Walker is pleasing, he having grouped his pictures under the general title of Lyric Poetry. Seven scenes compose the series. First is shown the Muse of Lyric Poetry, who is found attended by Passion, Beauty, Mirth, Pathos, Truth and Devotion. The second is entitled: Shakespeare's Adonis-slain by the wild boar; the third, Tennyson's Ganymede, borne to Olympus by Jove in the guise of an eagle. Keats' Endymion comes next-sleeping shepherd, on Mount Latmos. The fifth is Emerson's Uriel; the sixth, Wordsworth's Boy of Winander—at twilight by a gleaming lake, and last, Milton's Comus-listening to a song. Another corridor decorated by Edward Simmons contains the nine Muses each shown in characteristic pose and surroundings. These are all excellent and Calliope perhaps the most impressive.

One of the corridors on the second floor was assigned to