American women in history lost a devoted advocate earlier this year with the death of journalist Cokie Roberts. Through her books and other writings, Ms. Roberts worked tirelessly for the inclusion of women in the American story, and made Abigail Adams’ famous plea to “remember the ladies” into a rallying cry. This week the National Archives Foundation honored Ms. Roberts with the 2019 Records of Achievement Award as well as a national day of remembrance in her honor.
As part of the evening’s ceremony, the Foundation “corrected” one of the murals in the National Archives Rotunda. Two larger-than-life murals - one featuring the signers of the Declaration of Independence, and the other the signers of the Constitution - were commissioned in 1933 to honor the National Archives’ two most important documents. Artist Barry Faulkner spent three years on the paintings’ creation, and they were hung in the new building in 1936 to great praise.
Like much public art, the paintings seem dated now, more reflections of the 1930s than the late 18th century. While the intention of the paintings was to highlight the spirit of the Revolution and the new country that came from it as much as the two documents themselves, what strikes modern eyes is not so much who and what is included as who and what were left out. Clearly diversity and inclusion weren’t on this particular 1930s easel. For the night of the Cokie Roberts celebration, however, at least part of these omissions were corrected. Four important early American women were added to the mural through projections, above, created by artist Samara King.
I was delighted to see Eliza Hamilton, right, included along with Abigail Adams, Dolley Madison, and Martha Washington - august company indeed. Ms. King chose to show Eliza dressed much as she was for her 1787 portrait by Ralph Earl, in a white gown and with her hair fashionably powdered. Eliza is standing beside her husband Alexander Hamilton, which is doubtless where she would have wanted to be.
However, I wonder about Alexander. His profile is, as always, unmistakable, and it appears that Mr. Faulkner wisely relied on the 1796 portrait by James Sharples for that famous profile. But why is Alexander the only one of the signers shown with a drawn sword? Given that the war was over and that Alexander had long before resigned his commission, why is he shown wearing his army uniform, and with a costume-y yellow cloak thrown over his shoulder like a toga? Ah, artistic mysteries of the 1930s….
Read here for more about the award and ceremony. See here for a key to the individuals shown in the mural.
Barry Faulkner mural in National Archives Rotunda with the addition of Abigail Adams, Dolley Madison, Martha Washington, and Eliza Hamilton. Photograph courtesy of the National Archives Foundation.
Read more about Alexander and Elizabeth Schuyler Hamilton in my historical novel I, Eliza Hamilton; order here. My latest historical novel, The Secret Wife of Aaron Burr, is now available everywhere. Order here.