Buildings and behavior
Some things are so perfect that in the midst of our most grotesque behavior they instill calm, proportion and decency. In Washington, DC, where grotesqueries are a pestilence, two such triumphs of human striving are the Jefferson Memorial (inset) and
Jean-Baptiste-Camille Corot’s painting, Ville d’Avray, in the National Gallery of Art.
No matter how mad or despicable the behavior at either end of Pennsylvania Avenue, John Russell Pope’s neoclassical memorial in which a nineteen-foot Thomas Jefferson broods amid his writings, reassures us of the glory of our republican ideals.
When the weight of the day’s news feels like lead in our shoes, Ville d’Avray, which is only one of Corot’s depictions of that town, fills our lungs with its shimmering silvern air and our minds with the conviction that a world in which such a painting could be painted is redeemable. I owe a large measure of my sanity, such as it is, to that painting.
Most monstrosities and mediocrities are committed by committees, and while that’s an admittedly elitist view, the evidence can hardly be ignored. Take for example the FBI’s headquarters at the J. Edgar Hoover Building on Pennsylvania Avenue. A fascist society seeking to intimidate its people could hardly have settled on a more brutal pile.
Pope also designed the west building of the National Gallery of Art, where Corot’s exquisite work is most often shown near one of two beatific fountain courtyards. My guess is that among Pope’s more enduring legacies is the occasional sanity that settles upon Washington unexpectedly, like an Easter snow. I have no doubt that architecture and art affect the decisions we make, as well as the ones we ought to have made. For that reason I shudder to think what is being hatched in the Hooverbunker, nor do I think Henry Bacon’s Lincoln Memorial, a stale wedding cake of a building, has done much for the cause of moderation. And as for architect Edward Durrell Stone’s Kennedy Center, it certainly proves Washington has no equal when it comes to piling it on.
Certain Italian princes used to paint the heavens into the vaults of their private chambers to remind them of man’s place in the cosmos. Considering the compulsive grandiosity of most government architecture, we would do well to explore the relationship between the decisions we make and where we spend our time. There may still be time. Even our worst architecture does not yet approach our towering grandiosity.


In 19th Century India