BGuthrie Photos: VA -- Richmond -- State Capitol -- Interior Images

VA -- Richmond -- State Capitol -- Interior Images:

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Copyrights: All pictures were taken by amateur photographer Bruce Guthrie (me!) who retains copyright on them. Free for non-commercial use with attribution. See the [Creative Commons] definition of what this means. "Photos (c) Bruce Guthrie" is fine for attribution. (Commercial use folks can of course contact me.) Feel free to use in publications and pages with attribution but you don't have permission to sell the photos themselves. A free copy of any printed publication using any photographs is requested. Descriptive text, if any, is from a mixture of sources, quite frequently from signs at the location or from official web sites; copyrights, if any, are retained by their original owners.

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Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. "[1] ") are described as follows:
1. SCAVAI_120603_001.JPG: Henry Clay
2. SCAVAI_120603_008.JPG: Henry Clay Joel Tanner Hart, 1847; completed in 1859 Height -- 77 1/4 inches Inscription -- On front of base "HENRY CLAY"; on back of base at lower left "J.T. Hart, Sculpt.r. 1847." The Statesman: Born in Hanover County, Virginia, Henry Clay gained national prominence after his move to Kentucky in his early twenties. A Speaker of the U.S. House of Representatives and a leading member of the U.S. Senate, Clay ran unsuccessfully for President in 1824, 1832, and 1844. Extolling policies of economic growth that led to the creation of the Whig Party, Clay came to be known as the "Great Compromiser," in recognition of his ability to preserve the Union with bipartisan support during times of political division. The Statue: Led by Lucy Maria Barbour, widow of Virginia Governor James Barbour, the Virginia Association of Ladies organized in 1844 to erect a statue of Henry Clay in Capitol Square. After a series of delays, the statue was finally completed and dedicated on Clay's birthday, April 12, 1860. (Clay had died eight years earlier.) The statue was originally housed in a cast-iron gazebo, which by 1930 had become unstable. The gazebo was razed and the Clay statue was moved into the Capitol's Old Hall of the House of Delegates. It was relocated to the Capital Extension in 2008.
3. SCAVAI_120603_016.JPG: George Washington Jean-Antoine Houdon, 1788 Bronze casting by Ferdinand Barbedienne, Paris, ca. 1860 Height of bust -- 23 inches Inscriptions -- -- Left shoulder at truncation: "houdon f 1788" -- Right shoulder at truncation: "F. Barbedienne, Foundeur." -- Bottom interior of round base: "Washington, grandeur, original."
4. SCAVAI_120603_027.JPG: Brothers Gary Casteel, Sculptor, 2010 On loan -- Privately Owned The "Brothers", a two-figure, life-size setting in bronze, is reminiscent of the harsh realities of the American Civil War. The figures, brother against brother, represent the real possibility of familial recognition by opposing soldiers, one Union, one Confederate, but brothers nonetheless, after the horrific battle that engulfed the countryside near Fredericksburg. The image displays fatigue and grief, but also hope and solace that the struggle is over and a future lies ahead of hope and promise for a unified country bound together in liberty.
5. SCAVAI_120603_030.JPG: Bronze ‘Brothers' on Display in Virginia Capitol by Brian Strother on Jul 14, 2011 • 7:34 am Civil War Portraits Brother by Gary Casteel on temporary display in the Virginia CapitolOn temporary display in the Virginia Capitol at Richmond is a new bronze statue from the sculptor Gary Casteel. The statue depicts a fictional scene of two brothers embracing after battle representing the very real fact that family members of all types (brothers, fathers, cousins) fought against each other during the Civil War. The sculpture is on loan from it's private owner for the observance of the Sesquicentennial. ... The sculptor, Gary Casteel, has created many Civil War pieces including the Gen. James Longstreet equestrian piece erected in the Gettysburg National Military Park. He is currently commissioned to work on the National Civil War Memorial ....
6. SCAVAI_120603_040.JPG: During the last year of the Civil War, Governor William Smith asked Sallie Radford Munford and Margaret Munford, daughters of Colonel George Wythe Munsford, to make a Virginia flag to fly over the State Capitol. On the morning of 3 April 1865, Major Artherton H. Stevens, Jr., one of the first Federal officers to enter Richmond, led troops from the 4th Massachusetts Cavalry onto the grounds of Capitol Square. As the warehouse district burned and flames threatened Capitol Square, Major Stevens and his troops hauled down the Confederate and Virginia flags. The Confederate flag was immediately torn up into pieces that were claimed by souvenir hunters. Major Stevens carried away the large Virginia flag. This historic flag remained in the possession of the Stevens family in Massachusetts for the next sixty-two years. In 1927, Frederick A. Stevens personally returned to the Commonwealth the Virginia flag that his grandfather had taken from the roof of the Capitol. The flag was briefly raised over the Capitol during the impressive ceremony on 28 November 1927. Fittingly, Sallie Munford attended the ceremony to see the flag flying about the Capitol one final time.
7. SCAVAI_120603_043.JPG: Virginia's Capitol More than any other American, Thomas Jefferson was the founder of monument civic architecture in the United States. Virginia's Capitol examines how Jefferson's achievement in civic design began with the Virginia State Capitol in which he united the lofty principles and grand scale of the Classical tradition with established Virginia customs. In Paris as minister to France, Jefferson designed the new Capitol in 1785 with the help of the celebrated draftsman Charles-Louis Cl�risseau. Hoping to safeguard the conception from changes in Richmond, Jefferson commissioned a scale model of the exterior from the model-maker Jean-Pierre Fouquet. Recent conservation of the model, displayed for many years in the Capitol, offers fascinating insights into Jefferson's aspirations for the Capitol and how this model reflected changes made to the Capitol throughout its history.
8. SCAVAI_120603_047.JPG: Jefferson and Architectural Books As a young man Thomas Jefferson (1743-1826) trained himself to be an architect. Jefferson's reading taught him a basic premise of European culture, the principle that the Greeks and Romans had established the basis for all the arts. The ancient principles of architecture differed sharply from the buildings that Jefferson saw around him in Virginia. He understood that he had to become an architect himself if he was to have a house that embodied the correct principles of architecture. Jefferson designed public buildings and private houses as models to reform the taste of the colonies and the new nation. His pivotal effort at monumental civic architecture was the Virginia State Capitol, for which he started his first design about 1772-1776, and his second and third designs in 1785. Jefferson combined lessons from Virginia buildings with what he learned from European books. Americans had often designed new structures based on existing buildings and modeled architectural details on illustrations in imported books. Jefferson turned to the buildings that stood around him for practical lessons in planning, and he consulted European books for lofty architectural principles and ornaments. Shortly after publishing his Notes on the State of Virginia, Jefferson began his second design for the Virginia State Capitol. He envisioned the Capitol as embodying the great tradition in Western monumental architecture, built of enduring masonry and employing the Orders as the principal ornament.
9. SCAVAI_120603_056.JPG: Beyond Jefferson: Changes to Virginia's State Capitol The Capitol underwent alterations almost from the beginning of construction. The Cl�risseau drawings and the Fouquet model reached Richmond separately in 1786. The existing construction on the Capitol site was adapted to Jefferson's conception, but Jefferson's design was modified, too, during the long period of construction from 1786 to 1798. The low podium that Jefferson intended was replaced by a full basement to hold the offices. The front steps were eliminated so the basement offices along the south front could have windows. The Richmond builders executed a colossal single portico two columns deep and wrapped this Ionic Order around the entire exterior in the form of pilasters. The Ionic Order now had a kind of capital popularized by Palladio's successor Vincenzo Scamozzi (1548-1616). Jefferson wrote that he had "yielded, with reluctance," to Cl�risseau's preference for this capital. Cl�risseau's sunken panels were included minus their garlands. The top story was a garret with no windows in the outer walls and briefly had some kind of "flat" roof. Jefferson's idea for a Conference Room, with forty columns and no dome, gave way to a room with a dome, no columns, and a gallery boldly supported on brackets. Most of the detail inside and out was altered into un-Jeffersonian patterns. Thomas Jefferson's dismay at the changes in the design of the State Capitol was understandable. His design was altered to fit an already-begun foundation, its embellishments were altered, it was placed on a high basement, and the portico was shorn of its steps. Nonetheless, the practical layout and the grandeur of the conception survived. Jefferson himself wrote in 1789 that "our new Capitol … whenever it shall be finished … will be worthy of being exhibited along side the most celebrated remains of antiquity." The Capitol was completed in 1798 and throughout the 19th century, maintenance cycles of attention and neglect, almost always driven by the availability of state funds, forced the structure to change. Albert Lybrock Trained in Germany and came to the United States in 1849. He was first employed in New York City before moving to Richmond. He became one of the leading professional architects in the city and is best remembered for designing both the cast-iron canopy over the grave of James Monroe in Hollywood Cemetery and the U.S. Customs House. In 1857 a joint committee of the Virginia General Assembly was formed to receive proposals to enlarge the facilities of the Capitol building, and Lybrock was paid $100 for submitting drawings. He proposed adding a bay to the rear of the Capitol, expanding the space available for the General Assembly, and rearranging some of the interior spaces. Lybrock's most dramatic change was to remove the side entrances and build the front steps that were intended by Jefferson and modeled by Fouquet. The Civil War interrupted the project, and Lybrock's proposals were never put in place. For historians, Lybrock's drawings are important not for what the architect proposed, but for what he recorded on these sheets. Lybrock made measured drawings of the Capitol building as it stood in 1858. These drawings represent the most-complete documentation of the Virginia Capitol before the sweeping changes to the building that took place between 1904 and 1906. During these later modifications, front steps, similar to those Lybrock had suggested almost fifty years earlier, were built, giving the Capitol the distinctive appearance of today.
10. SCAVAI_120603_060.JPG: Disaster Age and overcrowding took its toll on the Capitol's structure. Plans for the Capitol's improvement ceased with the outbreak of the Civil War in 1861, as both the Virginia General Assembly and the Confederate Congress. Photographs of the Capitol at the end of the war depict a building badly in need of repair. The worsening condition of the Capitol became tragically apparent when the balcony of the third-floor courtroom collapsed in April 1870 during arguments before the Supreme Court of Appeals about a hotly disputed Richmond mayoral election. The floor of the courtroom crashed down into the chamber of the House of Delegates one floor below. More than 60 persons died in what came to be known as the "Capitol Disaster." Despite some calls to raze and replace the damaged Capitol, the legislators approved funds and repaired the building. The Capitol remained overcrowded and poorly maintained until the General Assembly decided in 1901 to enlarge and modernize the building. Sponsoring a design competition, the General Assembly rejected proposals that would significantly alter the exterior appearance of Jefferson's conception. The design finally chosen acknowledged the primacy of Jefferson's "temple on the hill" by creating new, separate assembly halls for the Senate and the House of Delegates, each flanking Jefferson's Capitol and attached to the Capitol by hyphens. Early in the 1960s the hyphens were widened, yet the original section of the Capitol remains the dominant architectural feature in the composition.
11. SCAVAI_120603_068.JPG: The Temple on the Hill For more than 150 years, the Virginia State Capitol on Shockoe Hill dominated the Richmond skyline. The earliest views of the Virginia State Capitol were made by B. Henry Latrobe (1764-1820), the British-born founder of the American architectural profession, who lived in Virginia between 1796 and 1798. A skillful amateur artist, Latrobe prepared a series of views of the Capitol that documents the appearance of the building from different perspectives. In later years, Latrobe's and Jefferson's architectural careers intertwined inseparably, and Latrobe designed several public buildings that were influenced by Jefferson's conception for Virginia's Capitol.
12. SCAVAI_120603_076.JPG: Howard W. Montague, a Baptist minister from Essex County, captured the building's exterior paint scheme. The colors of the Capitol varied from grays to tan to brown throughout much of the 1800s. The Capitol became a white building late in the 19th century.
13. SCAVAI_120603_079.JPG: Noble-looking from a distance, the Capitol had quite a different effect up close in its early days, as this unsparing Latrobe view reveals. Twenty years before the landscaping of the site began, Shockoe Hill was bare and bald. At the top loomed the unfinished exterior of the Capitol. The facades, still of red brick with areas of whitewash, lacked their window frames, their coats of stucco, and their Ionic capitals, which were not put into place until late in 1797. The adjacent government buildings were wholly alien to Jefferson's conception -- on the right is a modest wooden house for the governor, and on the left is a shanty on stilts that served as a belfry.
14. SCAVAI_120603_091.JPG: Ben Barnes
15. SCAVAI_120603_118.JPG: Extension Mezzanine West: Although Thomas Jefferson designed the Capitol to be built on a low base, other members of Virginia's Committee on Public Buildings decided to enlarge the base and create an additional story of usable office space. To provide access, light, and ventilation to the new offices under the Portico, a central door and flanking windows were inserted on the Capitol's south side. The steps that Jefferson had envisioned leading up to the Portico would not be installed until the renovations of 1904-06.
16. SCAVAI_120603_198.JPG: First Legislature in the New World by Jack Clifton The General Assembly of Virginia, oldest offshoot of the Parliament of England, convened at Jamestown 30 July - 4 August 1619 by Governor Sir George Yeardley. It consisted of the governor, six councilors, and 22 elected burgesses. John Pory, a former member of Parliament, was chosen as speaker.
17. SCAVAI_120603_284.JPG: To the Virginians who wrote, signed and substantiated the Declaration of Independence George Wythe Richard Henry Lee T.H. Jefferson Benj. Harrison Thos. Nelson, Jr. Francis Lightfoot Lee Carter Braxton
18. SCAVAI_120603_355.JPG: The Mace of the House of Delegates: A ceremonial object symbolizing power and authority, a mace representing English authority was presented by Virginia;s royal governor at Williamsburg in 1700. The House of Burgesses ordered a new mace about 1722. After the American Revolution, the House of Delegates sold the royal mace and deposited the money into the public treasury. This modern sterling silver mace with 24-karat-gold finish was made in England in 1938 and presented to the Virginia House of Delegates by the Jamestown Foundation in 1974. When the House is in session, the Sergeant of Arms carries the mace to the House Chamber each day where it is displayed in front of the Speaker's podium. Today the mace is a symbol of the important political and legal traditions shared by the Commonwealth of Virginia and Great Britain.
19. SCAVAI_120603_359.JPG: Old House Chamber: This large chamber was used by the House of Delegates from 1788 until 1904. Various Virginia conventions also met here between 1829 and 1956 to amend the U.S. Constitution and create four new state constitutions for the Commonwealth. In April 1861, Virginia voted in this room to secede from the Union and Robert E. Lee accepted command of Virginia state forces from the governor. Virginia's first elected African American Delegates began meeting here in the late 1860s.
20. SCAVAI_120603_361.JPG: George Mason
21. SCAVAI_120603_368.JPG: Richard Henry Lee 1732-1794 Author of the Westmoreland Resolutions of 1766 mover of the resolution for independence signer of the Declaration of Independence President of the Continental Congress United States Senator from Virginia Presented by the Society of the Lees of Virginia Bryant Baker, sculptor, 1954
22. SCAVAI_120603_377.JPG: McCormick
23. SCAVAI_120603_381.JPG: Meriwether Lewis
24. SCAVAI_120603_384.JPG: Meriwether Lewis 1774-1809 Private secretary to President Thomas Jefferson Co-leader of the Lewis and Clark Expedition Governor of the Louisiana Territory Presented by Family and Friends Across America The Locust Hill Graveyard Foundation Home Front Chapter of the L&C Trail Heritage Fndn John A. Lanzalotti, MD, Sculptor, 2008
25. SCAVAI_120603_386.JPG: Fitzhugh Lee
26. SCAVAI_120603_390.JPG: Fitzhugh Lee 1835-1905 Major General of Cavalry, CSA Governor of Virginia Consul General at Havana Major General, US Vols. Brigadier General, USA G. Trentanove, Sculptor 1908 Purchased by the Commonwealth
27. SCAVAI_120603_392.JPG: Alexander Stephens
28. SCAVAI_120603_396.JPG: Alexander H. Stephens 1812-1883 Vice President of the Confederate States 1861-1865 Bryant Baker, Sculptor Presented by the State of Georgia to the Commonwealth of Virginia 1953
29. SCAVAI_120603_398.JPG: Joseph Johnston
30. SCAVAI_120603_401.JPG: Joseph E. Johnston February 3, 1807 - March 21, 1891 Brigadier General USA General CSA Edward V. Valentine Sculptor After the original from life in the Valentine Museum
31. SCAVAI_120603_408.JPG: Patrick Henry
32. SCAVAI_120603_411.JPG: Patrick Henry 1736-1799 Orator of the Revolution and first Governor of the Commonwealth of Virginia F. William Sievers, Sculptor 1932 Presented by John Henry Miller
33. SCAVAI_120603_413.JPG: George Wythe
34. SCAVAI_120603_416.JPG: George Wythe 1726-1806 Born in Elizabeth City County, Virginia First Professor of Law in America Revisor of the Laws of Virginia Signer of the Declaration of Independence and Chancellor of Virginia, 1789-1806 Presented in 1964 by the National Society of The Colonial Dames of America in the Commonwealth of Virginia Bryant Baker, Sculptor
35. SCAVAI_120603_421.JPG: Stonewall Jackson
36. SCAVAI_120603_424.JPG: Thomas Jonathan Jackson "Stonewall" 1824-1863 Lieutenant General, Army of the Confederate States of America Presented by Virginia Division United Daughters of the Confederacy Bryant Baker, Sculptor, 1957
37. SCAVAI_120603_430.JPG: Andrew Lewis
38. SCAVAI_120603_431.JPG: Brigadier General Andrew Lewis 1720-1781 Aide to General George Washington Advisor to Governor Thomas Jefferson Surveyor of Western Virginia Commander of the military victories at Point Pleasant and Gwynn's Island Presented by Salem Educational Foundation Anne Bell, Sculptor, 2010
39. SCAVAI_120603_435.JPG: JEB Stuart
40. SCAVAI_120603_439.JPG: James Ewell Brown Stuart 1833-1864 Major General and Chief of Cavalry Army of Northern Virginia E.V. Valentine, Sculptor 1866
41. SCAVAI_120603_447.JPG: Jefferson Davis
42. SCAVAI_120603_450.JPG: Capitol Disaster This tablet was erected under an act of the General Assembly of Virginia, approved March 16, 1918 -- to mark the scene of the capitol disaster which occurred on April 27, 1870, when the floor of the court room of the Supreme Court of Appeals which was then above this hall fell. Resulting in the death of sixty-two and the injuring of two hundred and fifty-one other persons, the falling of the court room was occasioned by the attendance of an unusual number of persons assembled to hear the decision of the court in the case of Ellyson vs. Cahoon, known as the Richmond Mayoralty Case. Reported in XIX Grattan, page 673.
43. SCAVAI_120603_453.JPG: Matthew Maury
44. SCAVAI_120603_457.JPG: Matthew Fontaine Maury "Pathfinder of the Seas" Born 1806 Spotsylvania County, Virginia Edward V. Valentine Sculptor after the original from life in the Valentine Museum
45. SCAVAI_120603_468.JPG: "Profoundly impressed with the solemnity of the occasion, for which I must say I was not prepared, I accept the position assigned me by your partiality. I would have much preferred had your choice fallen on an abler man. Trusting in Almighty God, an approving conscience, and the aid of my fellow-citizens, I devote myself to the service of my native state, in whose behalf alone will I ever again draw my sword."
46. SCAVAI_120603_477.JPG: On this spot Robert Edward Lee accepted the command of the armed forces of Virginia April 23 1861
47. SCAVAI_120603_479.JPG: R[udulph] Evans 1931
48. SCAVAI_120603_492.JPG: Zachary Taylor
49. SCAVAI_120603_495.JPG: Woodrow Wilson
50. SCAVAI_120603_504.JPG: Marquis D. La Fayette
51. SCAVAI_120603_506.JPG: Rediscovering an American Icon Houdon's Washington by Tracy L. Kamerer and Scott W. Nolley Houdon's Washington From http://www.history.org/foundation/journal/autumn03/houdon.cfm In the rotunda of the Capitol in Richmond, Jean-Antoine Houdon's Washington has stood for more than 200 years. The portrait in marble unfolds the layers of Washington's life: general, statesman, farmer, citizen. It may be his most exact likeness. In Richmond stands a marble statue of George Washington that is among the most notable pieces of eighteenth-century art, one of the most important works in the nation, and, some think, the truest likeness of perhaps the first American to become himself an icon. A life-sized representation sculpted by France's Jean-Antoine Houdon between 1785 and 1791 on a commission from Virginia's legislature, it was raised in the capitol rotunda in 1796, the year Washington published his Farewell Address. The commonwealth's records detail its creation and its initial reception by the public, but the object has been the subject of little scholarly or scientific attention. The work's existence after it left Houdon's studio and arrived in America has been largely undocumented, and the statue's relationships to its artistic and historical contexts have not been examined. In 2000, the year the Virginia General Assembly and the Library of Virginia approached Colonial Williamsburg Foundation conservators to clean the statue, came an opportunity for study. This is an account of the collaboration between the two of us -- Scott Nolley, the project's chief conservator, and Tracy Kamerer, the state art collection's curator -- which developed more information about this emblem of American culture.In 1784, after Washington left the army's service to return to private pursuits, the Virginia legislature resolved to honor him with "a monument of affection and gratitude" by ordering a statue of the man, "to be of the finest marble and best workmanship." It was apparent that there were no American sculptors up to the task, so Governor Benjamin Harrison asked America's ambassadors in Paris, Thomas Jefferson and Benjamin Franklin, to select one. The governor also wrote to Charles Willson Peale of Philadelphia to order a full-length painting to serve as the sculptor's model. "That is the man himself," Lafayette said of the marble. By December, Jefferson wrote to Washington that he preferred the world's premier sculptor, Houdon, then engaged by the Russian Empress Catherine. Jefferson noted the artist's eagerness to have the commission, but said Houdon believed a portrait would not suffice for the likeness required for such an important undertaking. Houdon insisted upon coming to America to study Washington himself. He left France in July 1785 and arrived October 2 at Mount Vernon for a two-week stay. During the visit, he modeled a terra-cotta bust of Washington, made a life mask, and took measurements of his body. Washington was apparently intrigued by the artist's activities and recorded them in his diary. On October 17, 1785, Houdon left the plantation with a plaster mold of the bust, the mask, and notes. The original terra-cotta bust remains at Mount Vernon, and the mask is at the Pierpont Morgan Library in New York. Houdon, back in Europe and poised to begin his work, addressed the question of how to clothe the statue. Jefferson wrote to Washington for his opinion in January 1786, and Washington said in August: I do not desire to dictate in the matter. On the contrary, I shall be perfectly satisfied with whatever be judged decent and proper. I should even scarcely have ventured to suggest, that perhaps a servile adherence to the garb of antiquity might not be altogether so expedient, as some little deviation in favor of modern costume, if I had not learnt . . . that this was a circumstance hinted in conversation by Mr. West to Mr. Houdon. This taste, which was introduced in painting by West, I understand is received with applause, and prevails extensively. Washington refers to American expatriate Benjamin West, who caused a sensation with his painting The Death of General Wolfe in 1770. It portrayed the heroic death of a British general mortally wounded leading his troops in battle against the French at Quebec in 1759. The uproar was because West had painted a recent episode using the accepted format of history painting, but he had clothed his general and soldiers in contemporary military uniforms -- not in the accepted garb of antiquity. Despite the controversy, The Death of General Wolfe set an example for history paintings and sculptures that followed. It is probable that Houdon consulted with West while working on the statue. The decision to dress Washington in his Revolutionary War uniform was wise. Consider public reaction to similar commissions: Antonio Canova's 1816 monumental Washington statue for the North Carolina capitol rotunda and Horatio Greenough's Washington of 1832–41 for the United States Capitol rotunda. There was public disapproval of these works, and Greenough's caused a scandal by portraying its subject as a remote figure in ancient garb. Greenough's representation of the president as a half-naked Zeus in a contrived pose dismayed Americans. For his Washington, Houdon combined the ancient and time-honored with the current, and tempered classical idealism with a down-to-earth naturalism, creating a version of classical taste that appealed to Americans. Houdon presented Washington as a modern Cincinnatus, the Roman farmer and general who left his land to fight for his state and, after victory, returned to his farm as man of peace and simplicity. In this figure the artist balanced the dualities of military and civil, war and peace, ancient and modern. Washington wears his uniform but holds a civilian walking cane with his right hand. To the left of and behind the general is a farmer's plowshare, yet he rests his left hand on a bundle of rods called a fasces, the Roman symbol of civil authority. Houdon translated the symbol to an American usage by forming the bundle from thirteen rods, to stand for the unification of the thirteen original colonies, and adding arrows in between that likely refer to Native Americans or the idea of America as wild frontier. Washington is portrayed as a man, not as a god. American interest in antiquity paralleled the French in admiration of the nobility and nostalgia of Rome. But colonial leaders, and particularly Jefferson, admired Rome as a political model as much as a model of virtue. About the time Jefferson was asked for assistance in selecting a sculptor, he had been working on a design for the capitol that would hold Houdon's statue, and, like the artist, he was looking at ancient sources. The major model for Virginia's capitol became a Roman temple, the Maison Carr�e at N�mes, France. For Jefferson and his generation of Americans, monumental public buildings in the Roman style, as well as classically inspired art, could serve as examples of taste, virtue, and democracy. By representing Washington as a man of republican Rome, Houdon added a layer of meaning that the new country would surely identify with -- great power existing in harmony with democracy. Houdon soon asked Jefferson for help with the final detail of the commission -- Virginia's plans for the pedestal. The legislature wanted one containing a tribute penned by James Madison: The General Assembly of the Commonwealth of Virginia have caused this statue to be erected, as a monument of affection and gratitude to GEORGE WASHINGTON; who, Uniting to the Endowments of the Hero the Virtues of the Patriot, and exerting both in establishing the Liberties of his Country has rendered his name dear to his Fellow-Citizens, and given the World an immortal example Of true Glory. ~ Done, in the year of CHRIST One thousand seven hundred and eighty eight and in the year of the Commonwealth the twelfth The original plan included bas-reliefs as well. No record has been found of the origins of the plan, but it is likely that the model was the statue of colonial Governor Norborne Berkeley, baron de Botetourt, the focal point in the central alcove of the second Williamsburg capitol. The House of Burgesses commissioned English sculptor Richard Hayward for that likeness in 1771. The Botetourt and the Washington are full-length marbles, and the dimensions of their pedestals are close, except that the Botetourt's is a little more than a foot higher. The Botetourt pedestal also includes a bas-relief and an inscription of similar tone to Madison's. It appears Washington's statue was to be an updating of the Botetourt -- a centerpiece for a new capitol, and representative of a new government. Houdon told Jefferson that Madison's inscription was too long and would make the pedestal too high for ideal viewing of the statue. Jefferson apparently supported Houdon, but Madison and the legislature resisted any change. Houdon sent the base from France, but it arrived as blank slabs of marble. The only inscriptions were on the statue itself: "George Washington" on the front of the sculpture's base and the artist's signature and date on the base's right side. The inscription reads, "Houdon, French Citizen, 1788." Madison's inscription was carved onto the front of the pedestal in 1841. Virginia's Richmond capitol was under construction when Houdon completed his Washington, so shipment was delayed until the building was ready. Three cases containing the statue and pedestal shipped from France in January 1796 and arrived in Richmond in early May. It received instant acclaim. The statue was erected in the rotunda May 14, 1796. It still stands on the spot it was conceived to fill, and has probably been moved twice, which helps explain the statue's remarkably good condition. Washington had been president since 1789, and his popularity had soared. Houdon's careful recording of Washington's image and personality yielded a sensitive and lifelike portrait. When the Marquis de Lafayette, Washington's friend and compatriot, saw the statue for the first time, he said: "That is the man himself. I can almost realize he is going to move." Washington saw the statue and declared it a accurate likeness of himself. Houdon's statue quickly became an authoritative likeness of Washington, a resource for other artists, but its popularity had damaging effects. There was a demand for copies throughout the nineteenth and twentieth centuries because it was believed Washington's likeness in public locations would serve as an exemplum virtutis, inspiring beholders with the example of his greatness. Moreover, the legislature was concerned about the safety of what was already a historical artifact. In 1831 Antonio Canova's Washington was lost in a fire, and there was a close call in 1852 when the skylight in the dome above Virginia's Washington gave way under the weight of ice and snow. Legislators decided that replication would not only allow them to share the statue with other institutions but would preserve the likeness for posterity should anything happen to the original marble. The commonwealth authorized casting campaigns to replicate the statue from the late 1840s to 1910. To date, thirty-three bronze and plaster replicas of the Houdon have been permitted. The 2000 conservation treatment discovered that these campaigns did irreparable damage. Breaks in the marble detail were likely the result of the plaster-casting process, and the mold material is permanently embedded in the grain of the marble. The legislature halted the campaigns in 1910 by outlawing the taking of more molds. That protected the statue from additional casting damage, but the piece has also suffered from imperfect environmental conditions and overzealous but well-intentioned cleanings. Conservation was initiated because the statue looked dirty and had cracks. Tracy Kamerer, curator for the Virginia state art collections, contacted Colonial Williamsburg conservators Scott Nolley and Amy Fernandez to propose the project, and their initial physical examination raised more questions than it answered. At the same time, the curator noted serious gaps in recorded information about the statue's history and care. During the treatment, the conservator's physical studies and the curator's detective work benefited one another. The Washington statue had not been thoroughly cleaned since 1973, and the preliminary examination showed a marked difference in its appearance from the after-cleaning photography. Conservators found the marble was coated with a mixture of synthetic turpentine and beeswax, a protective treatment commonly used at the time. This coating had darkened and yellowed and trapped dirt and grime. The statue is in a high-traffic area with inconsistent environmental control, and it is frequently exposed to the elements when the portico doors are opened. Washington's statue had suffered small losses and cracks, damage to the cane and its tassel being the most noticeable. An explanation for this damage was found in an 1866 newspaper story reporting a pistol duel that resulted in harm to them. Close examination also revealed the cane was original to the piece, but it was fabricated by Houdon as a separate element. We also found the sword handle and guard to have been fabricated separately and attached by the artist. These discoveries disproved the idea that the sculpture had been fabricated from a single block of Carrara marble. Some of the other damage was not so easily explained. There were patterns of scratches and abrasion, a reduction of surface polish, and stains that had penetrated the stone. The extent of this damage was puzzling; the sculpture is thought to have been moved but twice and has been surrounded by a fence since shortly after its installation. We determined that the major cause of this damage was likely repeated wet cleanings. The curator located a 1930 newspaper article that reported soap and water washings every two weeks during the summer, a schedule described as "twice as many baths as usually required." Cleaning alone was not the source of damage, however. Repeated attempts to make plaster casts were very harmful, and delicate details were lost. This was confirmed by the 1866 article. A 1909 article reported casting damage, too. There are small losses to such raised detail as button edges and pocket corners, probably caused when the plaster sections were pulled from the marble surface. Conservators also came to realize that a gray, ingrained ashen material was casting plaster residue that had essentially become part of the stone. After the extensive examination, conservators began cleaning by vacuuming dust and dirt from the stone surfaces. Conservators identified the coatings, dirt, and grime accumulations and older repair materials and took up the challenge of removing them. Marble is water soluble, but a great deal of the dirt, grime, and staining must be removed using a water-based cleaning system. The conservators developed a custom mix of solvents and detergents, carefully selecting ingredients to clean the marble but protect its delicate surface. Another cleaning method the team used was to coat the stone with refined clay, which draws out stains. That treatment got the attention of capitol visitors, who realized Washington was getting a spa-style facial. Conservators gave the sculpture a coating of strong microcrystalline wax, which protects against the environment and restores the surface sheen. Conservators found clues to the degree of sheen the sculpture should have from the areas that had escaped past overcleaning. The areas behind Washington's ears had been washed less often and retained their original luster. As the sculpture's marble surface gained new gloss by degrees, Houdon's use of detail and secondary shading reappeared from obscurity. The work was done in public, and the conservation project became a popular educational opportunity and curiosity for visitors and employees. Throughout the treatment, the collaboration between conservator and curator reconstructed a more complete history and physical record of the Washington statue. We uncovered details about the artist's technique, the statue's life in the capitol, and the price of the statue's popularity. Houdon's Washington has played an important role not only in the story of art in America but in the life of Americans. Because of this joint project between the commonwealth and the Colonial Williamsburg Foundation, we have a better understanding of the statue's place in Virginia's past, and are better prepared for its future.
52. SCAVAI_120603_513.JPG: The General Assembly of the Commonwealth of Virginia have caused this statue to be erected, as a monument of affection and gratitude to GEORGE WASHINGTON; who, Uniting to the Endowments of the Hero the Virtues of the Patriot, and exerting both in establishing the Liberties of his Country has rendered his name dear to his Fellow-Citizens, and given the World an immortal example Of true Glory. ~ Done, in the year of CHRIST One thousand seven hundred and eighty eight and in the year of the Commonwealth the twelfth
53. SCAVAI_120603_516.JPG: The Rotunda: In his design for the Virginia Capitol, Thomas Jefferson included a central conference room for the display of a statue honoring George Washington. It was probably Richmond builder Samuel Dobie who later created a sky lighted dome, hidden beneath the Capitol's gable roof. French artist Jean-Antoine Houdon's magnificent sculpture, George Washington, has been the centerpiece of this room since its arrival in 1796. It is surrounded by Houdon's 1786 bust of the Marquis de Lafayette and by portrait busts of the seven other Virginia-born U.S. presidents, which were unveiled in 1931.
54. SCAVAI_120603_517.JPG: Thomas Jefferson
55. SCAVAI_120603_521.JPG: James Madison
56. SCAVAI_120603_524.JPG: James Monroe
57. SCAVAI_120603_528.JPG: William Henry Harrison
58. SCAVAI_120603_533.JPG: fait par houdon Citoyen frangais 1788
59. SCAVAI_120603_635.JPG: Governor's Gallery: The third-floor gallery features portraits of Virginia's former governors. To the right of the door leading to the 1906 Governor's Office hangs the portrait of Virginia's most recent incumbent, followed by earlier governors in chronological order. Every four years a new portrait is hung, the remaining portraits rotate to the right, and the oldest portrait is retired from the gallery.
60. SCAVAI_120603_661.JPG: Dial Clock: Called variously an "Act of Parliament" clock, tavern clock, or coaching-inn clock, this eighteenth-century English dial clock was a gift to the Commonwealth of Virginia in 1947 by Lady Astor, born Nancy Witcher Langhorne (1879-1964). Born in Danville, Virginia's Lady Astor married William Waldorf Astor, her second husband the heir to one of the largest American fortunes at the time, and they lived exclusively in England. In 1919, she became the first woman to take a seat in the British House of Commons.
61. SCAVAI_120603_670.JPG: This replica shows how the model of the Capitol may have looked as constructed by Jean-Pierre Fouquet from the design provided by Jefferson and Clerisseau. Details reveal the Capitol design as an architectural testimony to Jefferson's British Palladianism influenced by Clerisseau's French neo-Classicism. The form and proportion of the building are chiefly Jefferson's design, as was the decision to use the Ionic order of architecture. Details such as the garlands and rosettes, the third-story attic windows, and the form of the scrolled consoles supporting the door cornices come from Clerisseau's tradition. Colonial Williamsburg conservators used a combination of modern technology and traditional craftsmanship to construct the replica. X-radiographs of the original model revealed the intricate detail in Fouquet's artisanry. The X-ray images were translated into three dimensions using a 3D computer modeling program, enabling accurate prototype elements to be produced using a computer-assisted scanning and milling machine. Working with the prototypes, modern and traditional moldmaking and casting techniques were used to fabricate the plaster replica. From http://hodcap.state.va.us/publications/Capitol_Visitor_Guide.pdf : Jefferson once wrote that "architecture is my delight." After the Revolution, Virginians instinctively turned to Jefferson and asked him to design a new state Capitol, combining "economy with elegance and utility." Jefferson was responsible for recommending the Shockoe hilltop location, choosing the Classical temple form, and arranging the interior fl oor plans to accommodate the legislative, executive, and judicial branches of Virginia's new "Commonwealth" government. Intending to leave no doubts about the exterior form of the great specimen of Classical architecture that would rise in Richmond, Jefferson adopted the costly European practice of commissioning a scale model of the proposed building and turned to the eminent model maker Jean-Pierre Fouquet (1752-1829). Jefferson justified the additional expense of the model by proclaiming it "absolutely necessary for the guide of workmen not very expert in their art." The plaster model for the Virginia Capitol shipped from France in December 1786 and arrived in Richmond in late February 1787. Jefferson intended to provide "models of the front and side in plaster of Paris" along with the drawings of his design prepared by Cl�risseau. He described the maker of the model, Jean-Pierre Fouquet, as "an artist who had been employed by the ambassador of France to Constantinople, in making models of the most celebrated remains of ancient architecture in that country." Fouquet was one of the most accomplished artisans working in the French architectural model making tradition of the late eighteenth and early nineteenth centuries. The model for the Virginia Capitol is his earliest extant work. Fouquet's model, constructed of plaster of Paris at a scale of 1:60, or one inch to every fi ve feet, and reinforced with internal iron rods, displayed architectural details with precision.
62. SCAVAI_120603_678.JPG: Thomas Jefferson, 1743-1826 Burgess, 1769=1775 Member of Committee of Correspondence 1773 Member of Virginia Convention 1775 Member of Continental Congress 1775-1776, 1783-1785 Author and Signer of the Declaration of American Independence 1776 Member of House of Delegates 1776-1779, 1782 Governor of Virginia 1779-1781 Author of the Statue of Virginia for Religious Freedom 1785 Minister to France 1785-1789 Secretary of State 1790-1793 Vice President of the United States 1797-1801 President of the United States 1801-1809 Father of the University of Virginia 1819 By George Catlin 1796-1872, from a portrait by Thomas Sully now in United States Military Academy at West Point
63. SCAVAI_120603_684.JPG: In Paris as minister to France, Thomas Jefferson (1743-1826) designed the new Capitol in 1785 with the help of the celebrated draftsman Charles-Louis Clerisseau (1721-1820). Jefferson turned to the buildings in both Virginia and France that stood around him for practical lessons in planning, and he consulted European books for lofty architectural principles and ornaments. He envisioned the Capitol as embodying the great tradition in Western monumental architecture, built of enduring masonry and employing the classical Orders as the principal ornament. Intending to leave no doubts about the exterior form of the great specimen of classical architecture that would rise in Richmond, Jefferson adopted the costly European practice of commissioning a scale model of the proposed building and hired the eminent modelmaker Jean-Pierre Fouquet (1752-1829). The plaster model for the Capitol of Virginia arrived in Richmond late in 1786. Jefferson intended to provide "models of the front and side... in plaister of Paris" along with the drawings of his design prepared by Clerisseau. Jefferson justified the additional expense of the model by proclaiming it was "absolutely necessary for the guide of workmen not very expert in their art." He described Fouquet, the maker of the model, as "an artist who had been employed by the ... ambassador of France to Constantinople, in making models of the most celebrated remains of ancient architecture in that country." Fouquet was one of the most accomplished artisans working in the French architectural modelmaking tradition of the late eighteenth and early nineteenth centuries. The model for the Capitol of Virginia is his earliest surviving work. Fouquet's model, constructed of plaster of Paris at a scale of 1:60, or one inch to every five feet, and reinforced with internal iron rods, displayed architectural details with precision. Fouquet's model served as a working prototype for the builders of the Virginia Capitol, but upon the building's completion it became an object of historic interest. The rear wall was added in Richmond, probably to make the model more complete for exhibition in the executive mansion. At that time, the entire model was given a thick coat of gray primer, apparently to unify the old and new surfaces. The model was then painted to match the appearance of the stucco on the Capitol building, beginning a tradition of re-painting the model each time the color scheme of the Capitol changed. Fouquet's original plaster surface is now obscured by as many as fifteen layers of paint. During recent conservation of the model at Colonial Williamsburg, five nineteenth-century paint schemes were uncovered on the rear wall, each relating to images from particular periods of the Capitol's history (left to right): 1798-1820, the original appearance of the Capitol. 1820-1840, the second paint scheme. 1840-1865, the Capitol before and during the Civil War. 1870-1885, the Capitol during the Reconstruction years. 1885-1904, the Capitol at the turn of the twentieth century. The Capitol was not painted white until the additions of the wings in 1904-1906.
64. SCAVAI_120603_710.JPG: Jefferson Room: Several smaller office spaces were combined during the Capitol's restoration of 2005-2007 to create the Jefferson Room, a mirror image of the Old Senate Chamber. The 2007 woodwork on the east wall between the windows replicates the details of a former Senate chamber and state courtroom in the northeast corner of the third floor. The third-floor space is depicted in this 1865 print.
65. SCAVAI_120603_724.JPG: Storming of a British Redoubt by American Troops at Yorktown Eugene Louis Lami 1840 French artist Eugene Lami depicts the decisive moments leading to the end of the Revolutionary War as American forces overtake the British at Yorktown, Virginia. Lieutenant Colonel Alexander Hamilton, sword arm raised, leads his men to the capture of British Redoubt 10. The British flag is being lowered in surrender while the American flag is rising in victory. The background shows the incoming French fleet on the horizon to the right and the trapped British supply fleet in the center. In 1878 art collector William Corcoran donated this painting to his native Virginia, which he noted "has been justly designated as the Mother of Statesmen and Heroes."
66. SCAVAI_120603_729.JPG: Three Ships Griffith Baily Coale 1949 On May 14, 1607, three ships carrying 104 English settlers arrived at the site they would name Jamestown to establish the first permanent English colony in the New World. The ships -- the Susan Constant (at center), the Godspeed (left), and the Discovery (right) -- are shown preparing the drop anchor in the waters of the James River. This painting was used for the 2007 stamp issued by the United States Postal Service to commemorate the 400th anniversary of the ships' landing.
67. SCAVAI_120603_748.JPG: Doorknob
68. SCAVAI_120603_771.JPG: Fossil
69. SCAVAI_120603_815.JPG: This is where the mace goes
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Directly Related Pages: Other pages with content (VA -- Richmond -- State Capitol -- Interior Images) directly related to this one: [Display ALL photos on one page]:
- 2015_VA_Richmond_CapI: VA -- Richmond -- State Capitol -- Interior Images (3 photos from 2015)
- 2015_VA_Richmond_CapEC: VA -- Richmond -- State Capitol -- Exhibit: Eye on the Capitol (55 photos from 2015)
- 2012_VA_Richmond_CapSD: VA -- Richmond -- State Capitol -- Exhibit: Struggle to Decide (27 photos from 2012)
- 2007_VA_Richmond_CapI: VA -- Richmond -- State Capitol -- Interior Images (69 photos from 2007)
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2012 photos: Equipment this year: My mainstays were the Fuji S100fs, Nikon D7000, and the new Fuji X-S1. I also used an underwater Fuji XP50 and a Nikon D600. The first three cameras all broke this year and had to be repaired. Trips this year: three Civil War Trust conferences (Shepherdstown, WV, Richmond, VA, and Williamsburg, VA), a week-long family reunion cruise of the Caribbean, another week-long family reunion in the Wisconsin Dells (with lots of in-transit time in Ohio and Indiana), and my 7th consecutive San Diego Comic-Con trip (including side trips to Zion, Bryce, the Grand Canyon, etc). Ego strokes: I had a picture of Miss DC, Ashley Boalch, published in the Washington Post. I had a photograph of the George Segal San Francisco Holocaust memorial used as the cover of Quebec Francais (issue 165). Not being able to read French, I'm not entirely sure what the article is about but, hey! And I guess what could be considered to be a positive thing, my site is now established enough that spammers have noticed it and I had to block 17,000 file description postings for Viagra and whatever else.. Number of photos taken this year: just below 410,000.
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