To award posthumously a Congressional Gold Medal to Constantino Brumidi.

Mr. Speaker, I move to suspend the rules and pass the Senate bill (S. 254) to award posthumously a Congressional gold medal to Constantino Brumidi.

Mr. Speaker, I ask unanimous consent that all Members have 5 legislative days within which to revise and extend their remarks on this legislation and to insert extraneous material thereon.

Mr. Speaker, I yield myself such time as I may consume.

Mr. Speaker, I rise in strong support of S. 254 which would posthumously award the Congressional Gold Medal to Constantino Brumidi and would authorize the striking of duplicate medals for sale to the public.

Mr. Speaker, for those of us who work here in the Capitol, we are very fortunate to be surrounded by Constantino Brumidi's genius every day. Brumidi's awesome, inspiring murals and frescos are remarkable as they are ubiquitous. Constantino Brumidi's works can be found in three Senate Appropriations Committee rooms, the House Appropriations Committee room, the Senate Democratic Policy Committee room, the Brumidi corridors, the Senate reception area, the Office of the Vice President and, of course, the Rotunda. Like his masterful works throughout the Capitol, Constantino Brumidi's story is uniquely American.

Brumidi was born in Rome in 1805 to an Italian mother and a Greek father. His artistic ability was cultivated at an early age. In his early years, he was commissioned to paint frescos and murals in various Roman palaces. And then in 1849, as did so many of our ancestors, Brumidi, who was already an established artist in Italy and who spent 3 years working for Pope Gregory XVI in the Vatican, migrated to the United States and began a new life in New York City. There he proudly became a naturalized American citizen in 1852.

It was on a return trip from Mexico that Constantino Brumidi first saw the U.S. Capitol. It was a fortuitous twist of fate: at a time when Congress and President Franklin Pierce were preparing to expand the Capitol, a word-class Italian American artist, who just happened to be passing through Washington, inspired by both the freedoms and liberties represented by the seat of Congress and the vast open spaces in the Capitol that seemed to invite frescos and murals, offered his services to Quartermaster General Montgomery C. Meigs. Wisely, Meigs commissioned Brumidi to become the artist of the Capitol.

Brumidi's first work was in the Agricultural Committee room. This masterpiece received such favorable attention that he was given a raise and tasked with painting other larger works culminating with the works in the Capitol Rotunda.

There is no work in the Capitol more impressive or more renowned than ``The Apotheosis of Washington.'' Brumidi completed the fresco in 11 months at the end of the Civil War, soon after the new dome was completed. This absolutely stunning work soars 180 feet above the Rotunda floor. To compensate for the distance from the floor to the ceiling, Brumidi, who spent years mastering depth and scale, painted 15-foot tall figures so that the work could be appreciated from the Rotunda floor.

Another Brumidi masterpiece, ``The Frieze of American History,'' appears just underneath the dome and spans the entire 360 degrees of the Capitol Rotunda. The frieze, which initially looks to be carved or sculpted, as all who view it believe it to be three dimensional, was, in actuality, meticulously painted with the use of scaffolding. While Brumidi first sketched a design of the frieze in 1859, Congress did not authorize work to begin on this piece until 18 years later, in 1877.

The work masterfully displays America's history, beginning with the landing of Christopher Columbus and continuing to the discovery of gold in California. While many visitors to the Capitol have seen Brumidi's genius in the frieze over the years, they may not realize that he nearly lost his life while painting it. While working on a figure of William Penn, 76-year-old Brumidi fell from the scaffolding, but saved himself by clinging to the rung of a ladder for 15 long minutes before he was rescued. While he subsequently ascended the scaffolding once more to continue his work, he died a few months later in 1880. It took two additional artists and 73 years to finish the masterpiece that Constantino Brumidi first began.

Mr. Speaker, Constantino Brumidi's service to the Capitol, and our country, span the administration of six, six Presidents: Franklin Pierce, James Buchanan, Abraham Lincoln, Andrew Johnson, Ulysses S. Grant, Rutherford B. Hayes. On and on, Brumidi worked. All of us here in the Capitol that have the privilege of working in this living museum, as well as the millions of visitors that tour our building each year, who admire and relish Brumidi's works, but precious few know the story of the artist of the Capitol.

In addition to awarding Constantino Brumidi with the Congressional Gold Medal, S. 254 directs the Architect of the Capitol to display the gold medal as an exhibition in the new visitor's center dedicated to Brumidi's life and work. I believe such an exhibit is long past due and would be to the benefit of future generations of Americans who come to see the Capitol and admire the brilliant works of Constantino Brumidi, reminding us yet again that we are a Nation built by immigrants.

Mr. Speaker, Constantino Brumidi was a great son of Italy and a great American. His achievements are a

great source of pride for Italian Americans, and S. 254 would bestow Brumidi, and the Italian American community, with the recognition the artist's great contributions so rightly deserve.

Special thanks are due to Representative Bill Pascrell from New Jersey, the main sponsor of this bill that we have before us in the House today.

And I'd like to acknowledge the hard work and dedication of somebody who visits us here in the gallery today, Mr. Speaker, Joseph Grano, who's the president of the Constantino Brumidi Society, for his long and tireless efforts on this behalf.

Mr. Speaker, this is a great day for those who love fine art, creativity, American history, and who appreciate the contributions of Italian American immigrants and all immigrants for the culture and history of our country.

I reserve the balance of my time.

Mr. Speaker, I yield 6 minutes to the sponsor of the bill, Bill Pascrell of New Jersey.

Mr. Speaker, at this time, I yield 3 minutes to the gentlewoman from New York (Mrs. Maloney).

Mr. Speaker, I yield back the balance of my time.

Mr. Speaker, I am very proud to stand in strong support of S. 254, or H.R. 1609 in the House, to award this posthumous Congressional Gold Medal to Constantino Brumidi which would be displayed in the Capitol Visitor's Center. This American immigrant was the creator of some of the most beautiful works of art in the United States Capitol Building.

As the sponsor of the House version of this bill and as cochair of the Congressional Italian American delegation, this is an issue very close to me, Mr. Speaker.

Now, these things don't happen in a vacuum. I want to express my sincere gratitude to Senator Enzi and Senator Clinton, to Congresswoman Carolyn Maloney, to Congressman John Mica, to Congressman Zack Space and Gus Bilirakis, and my very close friend Gary Ackerman, John Sarbanes, Michael Burgess, and Rick Renzi for their tireless work in garnering support for this worthy initiative.

If it were not for the diligent advocacy efforts of the Constantino Brumidi Society, the American Hellenic Educational Progressive Association, and the National Italian American Foundation, we would not be standing here today. It's as simple as that.

Born in Rome of Italian and Greek heritage in 1805, Constantino Brumidi trained in drawing, painting and sculpture at Rome's prestigious Accademia di San Luca.

In 1840, this rigorous artistic training was put on display when Brumidi and several other artists were commissioned to restore the richly decorated frescos in the Vatican Palace.

He immigrated to the United States in 1852, with nothing in his pocket, and when he died, he had nothing in his pocket. His only objective was to come here and become an American citizen, and he did that in 5 years. He gave it all, as you walk through this beautiful edifice of freedom that everyone knows all over the world.

In 25 years, from 1854 to 1879, he decorated the Capitol with murals and frescos. His frescos in this Capitol were probably the first true frescos to be painted in the United States of America.

Brumidi believed that the classical architecture of the Capitol Building required real fresco, like the palaces of Augustus and Nero, and the baths of Titus and Livia at Rome, and the admired relics of the painting at Herculaneium and Pompei.

His art drew heavily on his training and experience in Rome, incorporating the history and symbols of the United States into his classical repertoire. His most significant influences included ancient Greek and Roman wall paintings and Raphael's classical decoration in the Vatican.

Although he's often called the Michelangelo of the Capitol, this immigrant who came here and gave everything to this country, Brumidi perhaps should be called the Raphael of the Capitol, since it was Raphael who was his greatest inspiration.

Brumidi's creations in the Capitol Building include his masterpiece, the allegorical fresco, ``The Apotheosis of Washington,'' in the 4,664- square foot canopy over the eye of the dome, 180 feet above the floor of the Rotunda. He also painted the extensive frescos in the Brumidi corridors throughout this Capitol.

His last years were spent painting the historic scenes in the Rotunda frieze, even carrying out his own historic research for his work.

Outside of his work in this Capitol, he also was well-connected in the Catholic church. His commissions included altar pieces and murals in important cathedrals in Mexico City, New York City, Washington, Baltimore, and Philadelphia.

The consummate American, Brumidi is reported to have remarked: ``My one ambition and my daily prayer is that I may live long enough to make beautiful the Capitol of the one country on Earth which there is liberty.''

Sadly, at the time of his death in 1880, as I said, he was penniless. Following his death, his work was roundly criticized by the artistic establishment of his day. However, the 1970s, not that far long ago, brought a renewed appreciation for Victorian architecture and decoration and the growth of the historic preservation, and work was done to restore Brumidi's art to its former glory. Today's scholars are able to fully comprehend the full extent of his talent.

Even though he is long gone, it is imperative that we fully recognize the transcendental beauty, the intricate grace he brought to the building that we stand in and that we work in every day.

There is widespread bipartisan support for this initiative. You heard how many cosponsors in the Senate, as my

good friend from West Virginia pointed out how many, 307, right here in the House of Representatives. What great testimony.

I urge my colleagues, Mr. Speaker, to support this legislation and to remember the background of this individual, his Italian and his Greek heritage, and think of all the immigrants when we think of Brumidi and his contributions.

Mr. Speaker, I rise in support of S. 254, a bill to award a Congressional Gold Medal honoring the great artistic work of Constantino Brumidi on this great Capitol building. The bill was introduced by Senator Enzi and has 99 cosponsors in the Senate, and in the House, a companion bill was introduced by our colleague, Mr. Pascrell, which has 307 cosponsors.

As we've heard much of Mr. Brumidi's history, he created artworks in the House of Representatives Chamber, many committee rooms, the President's Room, the Senate Chamber, and throughout the corridors of the Capitol. His most famous work within these halls is ``The Apotheosis of George Washington,'' which appears on the Capitol dome in the Rotunda. Mr. Brumidi painted these hallowed halls, and in so doing, he depicted the narrative that is the vivid history of these United States.

Born in Italy in 1805, Constantino Brumidi studied at the Italian Academy of the Arts. In 1852, at the age of 47, he emigrated to America and devoted the rest of his years completing frescoes, sculptures, and paintings in the Capitol Building.

The story of Constantino Brumidi is important not only because he was the artist who gave life to these walls, but because his story is the American story. He was an immigrant to this country, and he used the skill that he had to contribute what he could. In the process, he, like millions of others, built this country into what it is today. Immigrants built this Nation's building, constructed its factories, fed its people, and when called upon, defended its sovereignty. Men and women from this great Nation's inception contributed whatever they could to make this Nation better.

Constantino Brumidi contributed his talents as an artist. And now, because of his efforts, we and all who walk through the Capitol may see not only his talent but this country's history and be filled with the same sense of awe and hope that filled those who walked these halls before us. That, ladies and gentlemen, is a wonderful gift.

On February 19, 1880, at the age of 74, Constantino Brumidi died four-and-a-half months after falling from a scaffolding while working on the Rotunda frieze that chronicles the history of America. He spent his entire time in this country contributing and attempting to fulfill his life's goal. He said, ``My one ambition and my daily prayer is that I may live long enough to make beautiful the Capitol of the one country on Earth in which there is liberty.''

As we stand here today and walk these halls, it is clear to all that Constantino Brumidi accomplished his goal.

This bill awards Constantino Brumidi the Congressional Gold Medal for his contribution. The medal will be displayed in the Capitol Visitor's Center as part of a display honoring his work.

Mr. Speaker, I urge the bill's immediate passage.

I reserve the balance of my time.

Mr. Speaker, I yield as much time as he would consume to the gentleman from Florida (Mr. Bilirakis).

Mr. Speaker, I yield back the balance of my time.

Madam Speaker, I rise today to pay tribute to a great artist whose love of liberty inspired him to adorn the United States Capitol with beautiful frescoes. That man, of course, is Constantino Brumidi.

Brumidi's work adorns one House committee room and five Senate committee rooms in the Capitol. His work also decorates the Senate Reception room, the Office of the Vice President and most notably, the President's room which for many represents Brumidi's supreme effort.

Constantino Brumidi emigrated to the United States in 1849 and took up residence in New York City where he plied his trade as a portrait painter. That was soon followed by more important commissions in St. Stephen's Church. Those works include a fresco of the Crucifixion as well as works depicting the Martyrdom of St. Stephen and the Assumption of St. Mary. But it was on a return trip from Mexico that Brumidi stopped in Washington, DC and toured the Capitol building. He found in it a canvass that inspired him for the remainder of his life. Brumidi suggested to Quartermaster General Montgomery C. Meigs that the walls of the Capitol be decorated and Meigs agreed giving Brumidi the commission as well as making him a captain in the cavalry.

Brumidi's first work was in the meeting room of the House Agriculture Committee. He received $8 a day, but was soon given a raise to $10 a day by then Secretary of War Jefferson Davis since his work was receiving such favorable mention. Along with the raise came further commissions in the Capitol which include the Apotheosis of George Washington in the dome as well as other allegories and scenes from American history.

Brumidi died in 1880 but we have the benefit of seeing his work everyday we are here. And Americans who travel to our Nation's Capitol can also enjoy Brumidi's work, yet few know him or his story. That's why I believe all members should support two important bills pending before the House that will honor Constantino Brumidi and his work here in the Capitol. The first is H.R. 1609 introduced by Representative Bill Pascrell. H.R. 1609 would posthumously award a Congressional Gold Medal to Constantino Brumidi and authorize the striking of duplicate medals for sale to the public. The second is H.R. 1313, introduced by Representative Gus Bilirakis to direct the Joint Committee on the Library to obtain a statue of Constantino Brumidi for display in the Capitol Visitors Center. Both of these bills will honor the memory of a great artist and so I ask all my colleagues to join me in supporting them both.

I thank my good friend and colleague from the great State of New York for his hard work on this and so many endeavors. And I rise today, as the cochair and cofounder on the Congressional Caucus on Hellenic Issues, in strong support of S. 254, to award posthumously a Congressional Gold Medal to Constantino Brumidi.

I'm so pleased to join 307 of my colleagues here in this legislative body. We were led so well by our colleague and good friend, Representative Pascrell. And we acknowledge the hard work of Congressman Pascrell and also the Hellenic Caucus and the Italian- American Caucus in getting the necessary cosponsors.

Brumidi was the son of a Greek father and an Italian mother. He fled Rome and immigrated to the United States in 1852. From 1868 to 1879, he was a resident in my congressional district of New York City. And while he was there, he painted 43 murals at St. Stephen's Church, which is in my district, and scholars come from around the world to study his work there, and here in the Capitol.

He is most famous, however, for his artistic achievement here in our great Capitol. ``The Apotheosis of George Washington'' on the dome in the Rotunda is one of the highlights of his brilliant work. He was called the Michelangelo of the Capitol.

He worked flat on his back on wooden scaffolding through the intense summer temperatures, and he created masterpieces throughout our Capitol. His artwork can be found in the Chamber, the House of Representatives Chamber, several committee rooms, the President's Room, the Senate Reception Room, and truly throughout the corridors of our Capitol. I am thrilled that we are recognizing such an outstanding artist and an important contributor to the history of art and the history of our Nation.

The Capitol building is special because of its beautiful architecture and priceless artistic treasures. Without Brumidi's influence, tours of the Capitol simply would not be certainly as beautiful or interesting to Americans. He is truly deserving of the honor we are bestowing upon him. Like many immigrants, he has brought many treasures to our country.

I thank all my colleagues on both sides of the aisle for their important work in bringing this legislation to the floor.