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DEPICTING the CREATION of a NATION The Story Behind the Murals About Our Founding Documents

by LESTER S. GORELIC wo large oil-on-canvas murals (each about 14 feet by 37.5 feet) decorate the walls of the Rotunda of the National T Archives in , D.C. The murals depict pivotal moments in American history represented by two founding doc­ uments: the Declaration of Independence and the . In one mural, of is depicted handing over his careful­ ly worded and carefully edited draft of the Declaration of Independence to of . Many of the other Founding Fathers look on, some fully supportive, some apprehensive. In the other, of Virginia is depicted presenting his draft of the Constitution to fellow Virginian , president of the 1787 Constitutional Convention, and to other members of the Convention. Although these moments occurred in the State House in ()—not in the sylvan settings shown in the murals—the two price­ less documents are now in the National Archives Building in Washington, D.C., and have been seen by millions of visitors over the years. When the National Archives Building was built in the Jefferson’s placement at the front of the Committee of mid-1930s, however, these two founding documents were Five reflects his position as its head. Although Jefferson was in the custody of the and would not the primary author of the Declaration, his initial draft was be transferred to the Archives until 1952. Even so, the ar­ edited first by Adams and then by Franklin. The noticeable chitects designed and built an exhibition hall that included difference in clothing styles of Adams and Jefferson (as well space for two large murals celebrating the documents. as Lee) reflects a suggestion made to Faulkner to use cloth­ Creating the murals would prove not to be a simple ing to distinguish “the Puritan and Cavalier strains” (New task. The muralist commissioned for the project, Barry England and Southerners) at the Congress. Faulkner, had to serve a number of masters, including the architects, the historical community, and the Commission of Fine Arts. Faulkner submitted numerous preliminary sketches to the commission, only to be reject­ ed. At one point, it appeared that the entire mural project was in jeopardy. The details of how the paintings were conceived and their meanings tell a fascinating back story of American public art, allegory, and American history.

DELEGATES’ PLACEMENTS IN DECLARATION BASED ON VIEWS ON INDEPENDENCE In depicting Jefferson presenting the draft of the Declaration to the Congress, Faulkner portrays the , who were charged with compos­ ing a declaration (Thomas Jefferson, of Massachusetts, of Pennsylvania, of , and Robert Livingston of ). Included with these five are John Hancock and Virginians Benjamin Harrison and , who made the motion for independence. All of these men stand in the front rows of the right side of the mural. Lee, who did not see military action during the Barry Faulkner, a noted American muralist, submitted several sketches , stands defiantly with sword in hand—likely or studies before the large murals of the National Archives Exhibit Hall took final form. Top: The Declaration of Independence (left) and the symbolic for his emotion-filled “call-to arms” speech as he Constitution of the United States (right) have decorated the walls of the made his motion to officially declare independence. National Archives Rotunda since their installation in 1936.

Depicting the Creation of a Nation Prologue 45 To the left of Jefferson, Hancock, president finance for the first central bank of the new committees— of South of the Congress, is partnered with Benjamin , the . Carolina, and William of Harrison, who served as the chairman of the The committee that drafted the Articles of Connecticut—in the front row. The ­ Committee of the Whole. Hancock is por­ Confederation is represented by Dickinson man of his third committee, trayed as poised to receive the draft from (chairman), John Adams, of of Massachusetts, is portrayed centrally but Jefferson. Harrison is shown with arms wide , of Rhode diminutively in a back row. open, welcoming the Congress into his com­ Island, Hancock, Samuel Huntington of of Virginia, portrayed mittee to discuss the draft. Connecticut, Lee, , Thomas obscurely and paired with and behind On the left side of the mural are two McKean of , Roger Sherman, and of Massachusetts at the groupings. The first consists of John of . extreme left, presented to the Convention Dickinson of Pennsylvania (hand on Faulkner uses costuming and props to a draft plan—the , which chin), standing to the right and somewhat provide a glimpse of the professional and served as the working document for the apart from the group composed of Samuel personal lives of some of the delegates. Constitution. Gorham was the chairman of Adams of Massachusetts, Stephen Hopkins Hancock, dressed in elegant cloth­ the Committee of the Whole, which deliber­ of , and Thomas McKean of ing, came from the elite of society. ated for first two months of the Convention Delaware. These four men were leaders of The small roll of paper in his right hand on Randolph’s plan. The bundle of parch­ the movement in the colonies likely represents the speech he gave after ment Gorham carries likely represents the but approached the issues differently. the , dispelling any of the record of these deliberations, a record that Dickinson, a conservative revolutionary, prior doubts of Bostonians about his pa­ became the Gorham Report. preferred negotiation over revolution. He triotism. McKean was a judge and is por­ To the right of Gorham is Rutledge (holding would ultimately abstain from voting on trayed with a Pennsylvania court judicial a book), whose “” incor­ independence. The remaining men, with a gown draped over his arm. Wythe, wearing porated all the details of the Gorham Report cloaked Sam Adams in an oratorical stance a black robe, was America’s first law profes­ into the first draft of the Constitution. The oth­ and with an expression matching his “fire­ sor. Witherspoon, also in black robes, was er members of this committee were Randolph, brand” reputation, advocated the overthrow the president of the College of New Jersey. Gorham, James Wilson of Pennsylvania (to of British rule. John Adams, Hopkins, and the right of Rutledge), and of New York are portrayed with walking of Connecticut (right of Wilson). CLOTHING, OTHER PROPS sticks, a symbol of authority and wealth. Two drafts of a Constitution were actu­ REVEAL LIVES OF DELEGATES Hopkins, considered an early true patriot, ally generated by Rutledge’s committee. The three men at the extreme left— and of are Wilson contributed several key elements to a Carroll and , both portrayed with hats and clothing reflect­ somewhat disjointed preliminary first draft, of , and Robert Morris of ing their Quaker backgrounds. (Ironically, among which were the Electoral College and Pennsylvania—worked for independence Hewes would later become the first secretary the guiding principle of . behind the scenes through the “secret com­ of naval affairs.) Bartlett is brandishing a He also proposed the compromise and mittees” of the Congress. sword symbolic of his having been a com­ would go on to almost singlehandedly hand­ Carroll and Chase had been commissioned mander in the . write the second draft, which would serve by the Committee of Correspondence to with little correction as the working docu­ negotiate an alliance with to join in FOR THE CONSTITUTION: ment for Johnson’s committee. the fight against the British as the 14th state. COMMITTEES AND PLANS Ellsworth, through his additional partici­ Morris, a member of the Committee of Secret Faulkner painted a clear sky and a “tro­ pation in Gerry’s committee, had been the Correspondence and the Secret Committee phy” of state of each of the 13 original primary advocate for and one of two archi­ of Trade, as was Carroll, coordinated the ac­ colonies to convey that the Constitution was tects (with Roger Sherman) of the Great quisition of munitions and shipment of arms. written during a time of and that the Compromise, which resolved how states Morris was also involved in gathering intel­ individual states were joined in a union un­ would be represented in the legislature. ligence on British troop movements through der the Constitution. Ellsworth is portrayed holding a partially his worldwide shipping fleet. Morris has been In the Constitution mural, which faces unrolled and disorganized document, likely called the “Financier of the Revolution” and the Declaration of Independence mural, symbolizing the preliminary draft, and a would later become the superintendent of Faulkner portrays the chairmen of two quill symbolizing his role in the compromise.

46 Prologue Spring 2014 The Archive Makers sketches supported the bid for the contract. Above: The Declaration featured, left to right, unknown, R. Morris, unknown, unknown, B. Franklin, un- known,T. Jefferson, S.Adams, R. H. Lee. Bottom: The Constitution featured, left to right,A. , J. Monroe, O. Ellsworth, J. Madison, J. Dickinson, G. Mason, E. Randolph, J. Jay, , G.Washington, J. Marshall.

Johnson’s committee, the Committee of this committee were of of the Convention members.” Behind and Style and Arrangement, accepted the draft New York, G. Morris, Madison, and Rufus paired with him is Charles Pinckney of South from Rutledge’s committee and used it to King of Massachusetts. Carolina, who had presented a plan to the produce the final draft of the Constitution, Madison, to the left of Johnson, is shown Convention at the same time as Randolph, represented by the carefully rolled docu­ symbolically submitting “the original draft of the elements of which were integrated into ment cradled in his hands. The members of the Constitution to Washington and a group the final draft without prior discussion.

Depicting the Creation of a Nation Prologue 47 The recomposed Archive Makers:The Constitution presented with the first-stage studies at the July 26, 1934, commission meeting. Left to right: M. de Lafayette, C. Strong, G. Mason, J. Dickinson,A. Hamilton, J. Madison, O. Ellsworth, G.Washington, G. Morris, E. Randolph, J. Jay, C. C. Pinckney, J. Monroe, R. King,A Gallatin, J. Marshall.

THE CENTRAL bearing of his portrait. Hamilton favored Congress (particularly the Federalists) pre­ AND THE POWER OF THE STATES a powerful, almost monarchical, form of ferred Washington to himself to the On the right side of the mural, primar­ central government with an executive and European powers. ily, Faulkner represents allegorically the con­ senate elected for life, likely symbolized in Two of the men discussed in this section— flicts in the Convention over the form of the his gold cape and partially raised sword. G. Martin (who wrote the ) new republic’s government. Morris and Hamilton played key roles in the and Mason—did not sign the Constitution. In the grouping of three men adjacent ratification of the Constitution. Rutledge’s clothing was typical of the finery to Washington are King, Behind Washington and over his shoul­ worn by delegates from the southern states. of New Jersey, and Charles Cotesworth ders are of Virginia and Faulkner may therefore be using the contrast­ Pinckney of . King advo­ Benjamin Franklin. Mason and Franklin fa­ ing clothing of Gorham (from Massachusetts) cated a “supreme” central government, and vored a plural executive; a singular executive in the same way he used Jefferson and John Paterson a government with the states re­ is personified in Washington. Adams in the Declaration to distinguish the taining considerable power. Additionally, Supporters of states’ are seen through­ two “strains” at the Convention. King supported the Virginia, or large state, out the composition. However, four such Delegates associated with the are plan for government; Paterson was the archi­ individuals— of Maryland, shown in their robes. Ellsworth and Read tect of the New Jersey, or small state, plan. Sherman, Gunning Bedford, Jr., of Delaware, were judges; Wilson was a legal scholar. Gen. C. C. Pinckney, paired with Paterson, and of —are clus­ Paterson would become an associate justice shared Paterson’s view on the states’ retain­ tered at the top of the steps of the . of the Supreme Court but is portrayed wear­ ing a role in the government. The exposed epaulette on Washington’s ing a style of robe seen in portraits of Chief The three men in the next group on right shoulder, scabbard, and riding boots Justice instead of the robe shown in the right were strong advocates for a su­ (with spurs) present an image of Washington Paterson’s own portraits. preme central government. George Read of as commander-in-chief once more. The Gen. C. C. Pinckney is costumed in a man­ Delaware, portrayed as an outlier in shadow cape barely hanging on his shoulders is ner befitting his rank. The red sash around at the far right, advocated the extreme ap­ reminiscent of portraits of the monarchs Hamilton’s waist, the exposed epaulette, the proach of erasing all state boundaries. The of the time. Together with his facial expres­ riding boots, and officer’s short sword are one-legged Gouverneur Morris favored sion and stance, the portrayal projects the consistent with the military rank he held in an , reflected in the aristocratic dignity of a monarch, which was how the the Battle at Yorktown, commander of the

48 Prologue Spring 2014 light infantry. The gray color of his uniform, however, was seen only in uniforms worn in the first year of the . Charles Pinckney’s love of scholarship is sybmolized in the book he is holding over his heart. The walking sticks of Gouverneur Morris and Charles Pinckney are symbolic of social status. Sherman is portrayed holding his walking stick in a sinister manner, likely re­ flecting the comment of Jeremiah Wadsworth, a Connecticut statesman, that Sherman is as “cunning as the devil, slippery as an eel.” Finally, Bedford is shown with his left hand The first-stage studies presented at the July 26, 1934, commission meeting. Top: The Declaration features, left outstretched surreptitiously, likely reflecting to right, G.Wythe, G. Read, R. Morris, R. Sherman, J.Adams, G. Livingston, B. Franklin,T. Jefferson, S.Adams, P. Henry, R. H. Lee. Bottom: In the Constitution the individuals portrayed are unchanged from the Archive his “foreign influence” statement, “Sooner Makers Constitution. than be ruined, there are foreign powers who will take us [small states] by the hand.”

THE BACK STORY: FAULKNER IS HIRED, OFFERS SKETCHES On October 23, 1933, the chief architect of the National Archives, J. Russell Pope, recommended the approval of a two-year contract to hire Barry Faulkner, a noted American muralist, to paint a mural for the Exhibit Hall in the planned National Archives Building. The contract awarded $36,000 in costs plus $6,000 for incidental expenses, with all York City), and Mortensen Hall of Bushnell The sketches did not elicit much reac­ deliverables due two years later. Center (Hartford, Connecticut). Pope had tion from the commission. According to the The work would be supervised by Pope. been the architect for the National Gallery minutes from the January 1934 meeting, the The government was represented on the of Art, the Thomas , and commission commented, “you get as much contract by Louis A. Simon, the supervis­ the Masonic Temple of the Scottish Rite in life and congruity in your Constitution as you ing architect for the Treasury Department. Washington, D.C. have done in your Declaration, that mostly All work on the murals would need the ap­ Missing from the team was credentialed front views are shown” and that “Washington proval of both architects. The United States expertise in United States history. This de­ ought to be doing a little something.” Commission of Fine Arts would serve in an ficiency haunted the project for several advisory capacity. months until the team added J. Franklin FAULKNER PREPARES SKETCH The team presented expertise in art, archi­ Jameson from the Library of Congress, re­ “FATHERS OF THE REPUBLIC” tecture, painting, and sculpture. Faulkner garded by the chairman of the Commission In the months that followed, Faulkner had trained under and worked with re­ of Fine Arts, Charles Moore, as the “dean of worked on and completed a new nowned artists and sculptors and was among American history.” Constitution, retitled Fathers of the Republic the muralists considered to have revolution­ Two sketches had been supplied with the and the first-stage studies required by the ized decorative painting in America. contract. One was titled Archive Makers: The contract. The completed Fathers sketch By 1933, Faulkner had been commis­ Declaration and the other Archive Makers: The demonstrates a major rethinking of organi­ sioned by and completed murals for the Constitution. Both sketches showed a lineup zation. Washington is clearly the central fig­ Eastman Theater (Rochester, New York), of persons of importance to the early repub­ ure, and the men are clustered. Monroe had RCA Building, Rockefeller Center (New lic, set against a purely landscape background. been deleted from the original sketch; Albert

Depicting the Creation of a Nation Prologue 49 Expanded studies showing men through and his time, based on recommendations made by Charles Moore, with statues representing war (Declaration) or peace (Constitution). Top: Declaration. Left to right along the base are H. Clay,A. Gallatin,A. Lincoln, J. Monroe, R. Sherman, G. Livingston, J.Adams, J. Hancock, J. Dickinson (obscured), R. Morris,T. Jefferson, S.Adams, P. Henry, B. Franklin. By the column, extreme left in front, B. Harrison R. H. Lee; in back, 3 unknown.At top of steps, to right of column, from left: G.Wythe,W. Floyd. Bottom: Constitution, left to right: unknown, J.Wilson, O. Ellsworth, C. Pinckney (in back), J. Madison, E. Gerry (in back), S. Johnson, G. Mason (behind Washington), G.Washington, B. Franklin (behind Washington), R. King,W. Paterson, C. C. Pinckney, G. Morris,A. Hamilton,W. Read.At the left of the column are W. R. Davie and J. Langdon, and at right of column, left to right, are L. Martin, R. Sherman, B. Gunning,A. Baldwin.

Gallatin (who was treasury secretary under used black-and-white photographs of the use of Independence Hall, which would be Jefferson and Madison), the Marquis de construct to evaluate both the artistry and monotonous across two panels,” Faulkner Lafayette, Gen. C. C. Pinckney, and Celeb how well the murals would integrate with later explained. Strong had been added. Based on Simon’s the decorations in the hall. The positions of the men in the first-stage comments that “it was limited to the early One first notices the change in back­ Declaration differ from the original sketch. days of the Republic” and “the figures would grounds to a mix of landscape and architec­ Two men had been added, be disproportionately large,” this sketch was ture. “The [new] background would inte­ and another whose identity is lost to his­ not considered further. grate well with the stark architecture of the . For the Constitution, it is almost as The first-stage studies had been mounted Exhibit Hall, and would impart a feeling of if the lineup of men in the original sketch on the “walls” of a partial cutaway scale distance and space; and the alternative, an had been cut out and pasted into a new model of the Exhibit Hall. The commission architectural background, would require the background.

50 Prologue Spring 2014 The commission, in a letter to Simon on Conventions: like Patrick Henry, Otis, John that Faulkner needed to discard his prior , explained that they “agree[d] that Jay and Marshall.” studies and prepare an entirely new set. a more comprehensive treatment of the The second was “to enlarge the scope of According to the report on the meeting, matter was desirable in connection with the subject, introducing great statesmen “two new panels should be prepared for the wide range of materials to be housed up to the time of Jackson or even Lincoln, submission, the first panel is to present the in the Archives Building.” Simon forward­ but with the stress still on the men of the Declaration of Independence, the second, ed a copy of this letter with his comments Constitution and Declaration.” the Constitution, general terms to connote to Pope the following day. It is clear from Based on his lists, Faulkner composed the spirit in which these historic documents Pope’s reply to Simon that he understood a new set of studies and submitted them were produced.” the commission’s concern to mean that the to Moore’s office on September 22. What The fact that the actual Declaration and murals “should be a subject related to this is immediately apparent in the new stud­ Constitution were at the Library of Congress particular building.” ies are features from the Fathers sketch. was brought up twice at the commission Subsequent attempts by Faulkner and Specifically, men are distributed through­ meetings. Moore remarked that “when lay­ Pope to obtain additional information on out the composition and are organized into ing the cornerstone for the new Archives the commission’s evaluation of the first-stage clusters. Additionally, in the Constitution, building, President Hoover referred to them studies failed. Still, Faulkner forged ahead, Washington is now the central figure. saying that they would be deposited in the completing a revised set of first-stage studies. Twenty-one men are portrayed in the new Archives building.” Through a process of addition and deletion, Declaration, 10 more than in the prior study. Not until December 13, 1952, 16 years the number of men in his prior first-stage Henry Clay, Gallatin, and Lincoln had been after the opening of the building, would Declaration had been increased by four and added. Twenty-two men are portrayed in the two documents be transferred to the now included John Hancock. the Constitution, 11 more than in the prior National Archives Building and enshrined study. With the exception of the statue and in their display cases. HISTORICAL SCOPE EXTENDED, a few missing persons to the left of Charles BUT COMMISSION SAYS “NO” Pinckney, the Constitution resembles the HISTORIAN JAMESON OFFERS Faulkner submitted the revised studies for fully evolved mural. HELP ON WHOM TO DEPICT presentation at the commission’s September Unbeknownst to Faulkner, Moore had Faulkner requested Moore’s help in assem­ 17 meeting. He introduced his new studies drafted a letter to Pope on , a bling an authoritative list (25 men for each as the signers of the Declaration and the sign­ day before receiving Faulkner’s new studies. picture) for a new set of studies, and Moore ers of the Constitution (even though Patrick Moore provided a clear insight into the com­ suggested that Faulkner contact Jameson for Henry was included in the Declaration, John mission’s vision for the murals: “Thus, oppor­ assistance, noting that he had already asked Marshall and Lafayette in the Constitution, tunity is offered, as never since the Rotunda Jameson to “put his mind to the subject.” and in both). of the Capitol was decorated, to express in Moore continued: “First, in the The lack of comprehensiveness was mural work the significance of the place of the Declaration, only half the signers can be rep­ brought up again. Moore proposed as a solu­ building itself in the history of the country.” resented. Therefore, the selection of twenty- tion that “one of the panels be dedicated to The letter also stated that the commis­ five out of fifty men should have a basis in the founders of the Republic and the other sion found the original first-stage studies some broad generalization. Second, it has to and his time.” to be inadequate, lacking unity and needed seemed to me that in a central group, the con­ Viewing Moore’s proposal positively, focal character; and recommended their trasting puritan and cavalier strains, would Faulkner developed two lists accommodat­ disapproval. give the artist a great opportunity in cos­ ing the portrayal of up to 19 men in each Moore’s draft letter was not delivered to tume and type—the Lees and John Adams. study, with each list based on one of two se­ Pope until mid-October, after Moore had Third, I do not see why the buildings peep­ lection models for each subject. personally met with him to discuss the status ing out at the ends should not be Georgian. The first model was “to confine the sub­ of the contract. Fourth, the Declaration stood for war, the ject matter to men of primary and sec­ At Moore’s request, he and Pope met in Constitution for peace. Is there not an op­ ondary importance who wrote or signed Newport, Rhode Island, on October 10 portunity to work this feeling into the skies? the Declaration and the Constitution or and 11 to discuss the status of the murals. Fifth, Washington’s character produced the who were intimately concerned with the Faulkner was brought into the discussion by harmony in the Convention which brought two documents, but not members of the phone. Pope and Moore informally agreed the Constitution into being.” Moore closed

Depicting the Creation of a Nation Prologue 51 by commenting “I suppose Madison had General Charles Cotesworth Pinckney and and for the Constitution, the State flags of the most to do with the text and details of the his cousin Charles Pinckney, who did not thirteen original colonies in the symbol of Constitution, and that Hamilton and John serve on these committees.” the Union Not mentioned were the realistic Adams had most to do with its ratification.” Two committees are represented in the gathering storm clouds now appearing in the By November 16, Jameson had provided Declaration, Faulkner continued: “One is sky of the Declaration, addressing Moore’s Faulkner with a list of possible men to por­ comprised of Jefferson and the Committee suggestion to represent “war” in the skies. tray and a rationale for his selections. He on the Declaration [the Committee of Five] advised including in each study at least one with Hancock and Harrison. The second, FINAL VERSION APPROVED; person from each state, lest “there be outcries the committee for drafting the Articles of MURALS COME TO ARCHIVES if there was any one [state] that did not have Confederation, is represented because it was With his final studies, Faulkner had pro­ a figure in the painting.” For the Declaration, closely linked with the Committee on the duced two murals that were historically “John Hancock as well as Thomas Jefferson Constitution and was appointed at the same consistent throughout. This even applies to and his committee needed to be included.” time; the Articles were useful as a basis for the architecture, which is representative of Jameson’s Declaration list named some parts of the Constitution and help link the type found in early Greek . Hancock, Jefferson, and 11 men from the the two subject matters; and the Committee Additionally, the columns are intended to be remaining states and named 10 additional gave a man from each state. R. H. Lee is “pillars of .” men in order of preference “should the need positioned prominently in the Declaration The individual elements of each mural arise for additional.” He also provided a list because of his motion for independence. are integrated, and through the Articles of of 19 men for the Constitution. Finally, men not on any committee are by Confederation, Faulkner has linked the two themselves.” murals historically. FAULKNER USES COMMITTEES Twenty-seven men were portrayed in the Finally, through the use of costuming, TO DETERMINE GROUPINGS new Constitution, grouped the same as in the Faulkner “covertly” enhanced the historic Using Jameson’s lists plus some additional fully evolved mural. Thirty-three men were scope of the murals from the early days of men, Faulkner submitted a new set of stud­ portrayed in the new Declaration. the Republic through the Revolution and ies to the commission. In his presentation Where Faulkner had placed statues rep­ the War of 1812. In the storm clouds in note, Faulkner clarified that “the Declaration resenting war (Declaration) and peace the Declaration one can see Lincoln’s profile symbolized war, the Constitution peace. His (Constitution), the commission suggested us­ turned on its side. The Lincoln image extends committee groupings show thirteen in one ing standards of the colonies “to represent the the historical period into the , mak­ group to represent the thirteen original colo­ dangerous situation of the men who took part ing the murals better serve as frontispieces nies; and only Benjamin Franklin and one or in the Declaration of Independence”; and for the contents of the Archives building.The two other statesmen had been duplicated in “trophies of victory and the Stars and Stripes” commission officially approved Faulkner’s lat­ each of the sketches.” for the Constitution. Overall, the commis­ est studies on January 21, 1935. Faulkner explained that the basis for his sion evaluated the new studies favorably. After completing the individual drawings groupings was that of the committees appoint­ Following the December meeting of the of the figures and incorporating them into ed in the two Conventions: “The Committee commission, Faulkner set to work incorpo­ the cartoons, Faulkner moved out of his stu­ of the Grand [Great] Compromise . . . , rating their recommendations into a final set dio and rented space in the attic over New the Committee for the first draft of the of studies. In a letter to Moore, he explained York’s Grand Central Station. Here he built Constitution; and the Committee for the fi­ that the basis for the groupings remained the two walls 40 feet long by 18 feet high facing nal draft of the Constitution. The groups are same as for the prior set of studies. each other to support the canvases. centered on Washington where men served The sculpted figures in the prior set of stud­ By December 20, the completed cartoons on more than one committee. Finally, a few ies, he wrote, had been replaced with “known had been enlarged to full size by photogra­ important men had been included, such as Revolutionary battle flags in the Declaration; phy and traced onto the canvas. Faulkner

To learn more about � • Faulkner’s role in designing camouflage for U.S. troops in World War I, go to www.archives.gov/publications/prologue/2012/spring/. • Conservation work given to the Faulkner murals, go to www.archives.gov/publications/prologue/2003/spring/. • Where the Declaration and Constitution were kept before coming to the Archives, go to www.archives.gov/publications/prologue/2002/winter/.

52 Prologue Spring 2014 Recomposed expanded studies based on listings provided by J. Franklin Jameson and provided at the December 3, 1934, commission meeting. Top: Declaration. Bottom: Constitution.

provided 24 inches of empty canvas to al­ work on details; they were completed as extra space. The first public viewing was in low for possible differences between the promised in September. early November. space allotted for the murals in the plans The completed murals were rolled up on One year after their installation, the and the actual space on the curved walls of wooden drums, boxed, and shipped to the painted surface of each mural was complete­ the Exhibit Hall. National Archives in Washington. Faulkner ly varnished using beeswax and varnish in The commission visited Faulkner’s stu­ and one his painters, John Sitton, and pa­ turpentine followed by buttermilk in water. dio on March 12, 1936, to see Faulkner’s perhanger Fred Crittendon accompanied Faulkner instructed that the treated surface compositions—now in full color. At that the murals. By October 15, the murals had of the murals not be touched and explained time, Faulkner informed the commission been installed on the Rotunda walls, and the that the pictures could be expected to stay in he had approximately six more months of artists painted in the areas where they had good condition for 40 or 50 years.

Depicting the Creation of a Nation Prologue 53 MURALS RECEIVE CONSERVATION was completed by November 2002, and they Although Faulkner kept the main visual TREATMENT AFTER 60 YEARS were reinstalled on the Rotunda walls. focus of the murals on a single subject, ei­ As Faulkner predicted, the murals did stay • ther the Declaration of Independence or in decent condition for about 40 years. By the Constitution, he was able to inject other 1986, however, they were exhibiting buck­ The story of these historic murals, which messages. les and bulges due to the crumbling of the enhance the meaning of the documents on Taking into consideration the possible plaster behind them and deformation of the display just below them, is fascinating in it­ symbolic meanings of the “Lincoln” cloud canvas. In 1999, needed conservation work self, for it sheds light on the differing inter­ (Civil War) and Hamilton’s gray uniform for the murals was officially designated as a pretations about the roles of many of those (War of 1812), Faulkner appears to have “Save America’s Treasures” project. The proj­ we call the “Founding Fathers.” How each used costuming and the sky to expand the ect was timed to coincide with the first-ever man is depicted tells a lot about him and the scope of history represented from the early top-to-bottom renovation of the National beliefs he brought to the Pennsylvania State days of the Republic. Archives Building, during which it would be House in 1776 or 1787 to debate either the In that sense, the murals span the arc of closed to visitors. Conservation of the murals Declaration or the Constitution. our nation’s early history. P

Note on Sources The author is grateful to the following indi­ of Fine Arts correspondence and meeting minutes For the Constitution mural, the same type of viduals for their assistance and advice in retrieval in the Records of the Commission of Fine Arts, information, as well as the members of the com­ of information and documents used to assemble 1893–1981, RG 66. muttee writing the Articles of Confederation this article: Richard Blondo and the staff of the Photographic reproductions of the sketches and came from Max Farrand, ed., The Records of the Research Libraries at the National Archives and studies Faulkner submitted to the Commission for Federal Convention of 1787 (New Haven, CT: Records Administration, Washington, D.C., and review are in the Peter A. Juley & Son Collection Press, 1911), vols. 1–3; Catherine College Park, Maryland; Emily Moazami of the at the Smithsonian American Art . Only Drinker Bowen, at Philadelphia: The Story Photographic Archives, Research and Scholars three of the reproductions carried identifications of the Constitutional Convention May to September Center, Smithsonian American Art Museum, of the portrayed individuals, and none of the 1787 (Boston: Little, and Company, Washington, D.C.; Marisa Bourgoin, Richard reproductions are dated. Fortunately, a “Rosetta 1966); and Farrand, The Fathers of the Constitution: Manoogian, and Margaret Zoller of the Archives Stone” for matching portrayals with names in the A Chronicle of the Establishment of the Union (New of American Art, Washington, D.C.; Doug form of listings was included with a letter from Haven, CT: Yale University Press, 1921); and oth­ Copeley, New Hampshire Historical Society; Faulkner to Charles Moore of September 20, er articles and books about individual delegates. and Alan Rumrill, Historical Society of Cheshire 1934, in Record Group 66. The comment on Sherman’s character is a direct , Keane, New Hampshire. The process of conserving the murals is sum­ quote from “Letter from Jeremiah Wadsworth to Summary descriptions of Faulkner’s rationale marized in Richard Blondo, “Historic Murals ,” June 3, 1787, in Farrand’s Records of for the organization and content of the murals, as Conservation at the National Archives” in the Federal Convention of 1787. well as their painting and installation, were found Prologue: Quarterly of the National Archives and The commentary on Alexander Hamilton’s mili­ in the autobiography Barry Faulkner: Sketches from Records Administration 44 (Fall 2012): 26–29. tary uniform is based on information from James an Artist’s Life (Dublin, New Hampshire: William Interpretation of the murals proved to be a L. Kochan, The , 1812–1815 L. Bauhan, 1973); and Alan F. Rumrill and Carl B. daunting task. Faulkner’s explanations to the com­ (Oxford, England: Osprey Publishing, 2000); and Jacobs, Jr., Steps to Great Art: Barry Faulkner and the mission on his murals (Records of the Commission David Cole, “Survey of U.S. Army Uniforms, Art of the Muralist (Keene, NH; Historical Society of Fine Arts, RG 66) contain only the core elements Weapons and Accoutrements,” (www.history.army. of Cheshire County, 2007). A more detailed de­ of the organization of his compositions. With the mil/html//uniforms/survey_uwa.pdf). scription was provided in a transcript of a presenta­ exception of the differences in clothing of Jefferson tion made in 1957 by Faulkner to the Keene (N.H.) and Adams in the Declaration, the records do not Author Daughters of the , in the Barry provide a basis for the poses and costuming in the Faulkner Papers in the Archives of American Art, individual “portraits” and a rationale for the color Lester S. Gorelic volunteers as a do­ Research Collection, Series 3: Writings: “Archives,” schemes promised to the commission. cent at the National Archives Building 1957 (www.aaa.si.edu/collections/container/viewer/ Further information about the organization of in Washington, D.C. He retired Archives--282658). the Declaration mural’s composition, roles of in­ in 2009 from the National Cancer The contract hiring Faulkner to paint the dividual delegates, and personal and professional Institute, Rockville, Maryland, where most recently as murals is in the Records of the Public Building lives were was found primarily in the Journals of the program director, he developed and managed portfolios Services, Record Group (RG) 121, National , 1724–1789, ed. Worthington of federal grants supporting the research training and re­ Archives at College Park, Maryland. Chauncey Ford, et al. (Washington, D.C.: 1904– The stages in the evolution of the murals from 37), vol. 4, and Reverend Charles A. Goodrich, Lives search career development of cancer researchers. He holds their original sketches through their painting and of the Signers of the Declaration of Independence, 2nd a Ph.D. in chemistry from the University of . installation are captured in the U.S. Commission ed. (New York: Thomas Mather Publisher, 1832). © 2014 by Lester S. Gorelic

54 Prologue Spring 2014