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The Faulkner Murals: Depicting the Creation of a Nation

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The Faulkner Murals: Depicting the Creation of a Nation 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 Washington, D.C. The murals depict pivotal moments in American history represented by two founding doc­ uments: the Declaration of Independence and the Constitution. In one mural, Thomas Jefferson of Virginia is depicted handing over his careful­ ly worded and carefully edited draft of the Declaration of Independence to John Hancock of Massachusetts. Many of the other Founding Fathers look on, some fully supportive, some apprehensive. In the other, James Madison of Virginia is depicted presenting his draft of the Constitution to fellow Virginian George Washington, president of the 1787 Constitutional Convention, and to other members of the Convention. Although these moments occurred in the Pennsylvania State House in Philadelphia (Independence Hall)—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 Library of Congress 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 United States 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 Committee of Five, who were charged with compos­ ing a declaration (Thomas Jefferson, John Adams of Massachusetts, Benjamin Franklin of Pennsylvania, Roger Sherman of Connecticut, and Robert Livingston of New York). Included with these five are John Hancock and Virginians Benjamin Harrison and Richard Henry Lee, 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 Revolution, 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—John Rutledge of South of the Congress, is partnered with Benjamin republic, the Bank of North America. Carolina, and William Samuel Johnson of Harrison, who served as the chairman of the The committee that drafted the Articles of Connecticut—in the front row. The chair­ Committee of the Whole. Hancock is por­ Confederation is represented by Dickinson man of his third committee, Elbridge Gerry trayed as poised to receive the draft from (chairman), John Adams, Josiah Bartlett of of Massachusetts, is portrayed centrally but Jefferson. Harrison is shown with arms wide New Hampshire, William Ellery of Rhode diminutively in a back row. open, welcoming the Congress into his com­ Island, Hancock, Samuel Huntington of Edmund Randolph of Virginia, portrayed mittee to discuss the draft. Connecticut, Lee, Robert Morris, Thomas obscurely and paired with and behind On the left side of the mural are two McKean of Delaware, Roger Sherman, and Nathaniel Gorham of Massachusetts at the groupings. The first consists of John John Witherspoon of New Jersey. extreme left, presented to the Convention Dickinson of Pennsylvania (hand on Faulkner uses costuming and props to a draft plan—the Virginia Plan, 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 Rhode Island, and Thomas McKean of ing, came from the elite of Boston 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 revolutionary movement in the colonies likely represents the speech he gave after ment Gorham carries likely represents the but approached the issues differently. the Boston Massacre, 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 “Committee of Detail” 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 William Floyd the right of Rutledge), and Oliver Ellsworth 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 Joseph Hewes of North Carolina are Wilson contributed several key elements to a Charles Carroll and Samuel Chase, both portrayed with hats and clothing reflect­ somewhat disjointed preliminary first draft, of Maryland, 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 separation of powers. behind the scenes through the “secret com­ of naval affairs.) Bartlett is brandishing a He also proposed the slavery 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 New Hampshire militia. write the second draft, which would serve by the Committee of Correspondence to with little correction as the working docu­ negotiate an alliance with Canada 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 flags 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 peace 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. Hamilton, J. Monroe, O. Ellsworth, J. Madison, J. Dickinson, G. Mason, E. Randolph, J. Jay, Gouverneur Morris, G.Washington, J. Marshall. Johnson’s committee, the Committee of this committee were Alexander Hamilton of of the Convention members.” Behind and Style and Arrangement, accepted the draft New York, G.
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