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Mr. Fazio. I have a question I will submit for the record concerning computer equipment.

[The question and response follow:)

Question. Of the $260,000 requested for recurring maintenance, $235,000 is needed for office and computer equipment.

Can we get a list of all your office and computer equipment, and the annual recurring operations and maintenance costs since fiscal year 1981, including all staffing and contract costs. Include the fiscal year 1985 estimates.

Response. The following information was provided for the record.

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3.721 3,852







Servicing and Repair of Multilith, Itek

and Other Miscellaneous Equipment:

One (1) Multilith Machine No. T250N and

One (1) Multilith Machine No. 4250


Miscellaneous Repairs










9, 231







Rental, Servicing and Programming of

Computer Equipment

Sperry-Univac 1100/60 Computer System,

Peripherals, and Coatracts for Software

and Support

New Equipment and Software





240,675 428,918



240,675 428,918

508, 500












Staffing Costs







Mr. Fazio. I have a question for the record concerning office security systems.

[The question and response follow:]

Question. We have a $210,000 request for office security systems and for a video display system. How many systems will this provide? Shouldn't we wait until we have a comprehensive program for physical security before we proceed with these systems?

Response. Ninety Thousand Dollars ($90,000) of the $210,000 requested is planned to accommodate ten (10 new office intrusion alarm installations during fiscal year 1985, out of a list of thirty eight (38) requests currently recorded, at an approximate cost of $9,000 per installation. The other $120,000 is to install computer controlled video display equipment so that the police may respond in a more timely, informed and accurate manner to alarms from the many hundreds of individual alarm points installed throughout the Capitol Complex. This is an extremely important and necessary addition to our current Instrusion Detection System that will greatly enhance the ability of the Police to respond to alarm calls.


Mr. Fazio. I am interested in knowing more about your conservation of wall paintings since this may tie in directly to what you may be doing concerning the Library Restoration project.

You have a $220,000 request for this item. Ed and I were doing some homework and discovered there was a piece of art work done in 1903 for $1,000. It is about to cost $91,000, I think it was, $96,000 to repair it. Give us your assessment of the increase in the value of this piece of art.

Mr. WHITE. The same thing is true, could be said of many antique items, an example is one of the early desks of the Housewhich is on display in the crypt. It was originally used on the floor of the House and now sells for between six and ten thousand dollars in the antique market depending on the quality of the individual piece.

Those were purchased for I think $90 when the government bought them in the 1860s. So that is a common experience in these matters.

But, in terms of the conservation of wall paintings, we asked a consultant to come in and examine them. We have a complete report on that which I won't burden the Committee with, but it is available for review if you would like it.

The areas, of course, are designated here. H-143 as you know, and H-144, are in the Appropriations area. H-209 is the Speaker's Office. That is the big office close to the House Chamber, where all the staff people are located, and you have undoubtedly seen the work in there.

Then H-232 is the Minority Leader's Office. We picked those as the areas most in need of restoration.

Mr. Fazio. Is this a new program?
Mr. WHITE. This is a new program.
Mr. Fazio. You are going to be doing this on an annual basis.

Mr. WHITE. I doubt that we would do more than this. These are the only ones that we discovered that were really in need of work.

As time goes on, of course, other ones will come up as we review and examine the entire Capitol.

Mr. Fazio. We now have a complete catalog of what our needs are. It is a matter of working our way through?

Mr. WHITE. Yes, sir. The one in the Rotunda is very expensive to restore.

Mr. Fazio. Are we doing this in-house?

Mr. WHITE. No, this would be done outside by trained conservators who are in the business of doing this work. I had forgotten about the Brumidi fresco in the Rotunda.

Mr. Fazio. People will also be bidding on the work at the Library of Congress.

Mr. WHITE. To some degree. The restoration of art work in the Library will be done by these same kinds of people.

Mr. CONTE. How about the artists who did the murals in the halls on the first floor?

Mr. WHITE. That is really different. It is really a different process to conserve art, that is, to restore it, than it is to apply it anew.

To some degree the same kind of artistic talent is needed, but the knowledge of how to go about restoring it is a little bit more complicated than it is to apply it to begin with.

On the other hand, this particular man, Cliff Young, who is doing the new work could possibly do some of this. He has done some other restoration work for us here in the building, both on paintings and on the walls, and he might be a likely candidate.

Mr. CONTE. Have you talked to Cliff?

Mr. WHITE. No, he is working very diligently on the next corridor, the corridor outside the Majority Leader's Office. That is the last one in which murals are to be done and he has been engaged by the Capitol Historical Society to carry on Cox's work for that corridor. He is going to be pretty busy doing that.

So he probably won't have the time to spend on this.

PROFESSIONAL REQUIREMENTS OF CONSERVATORS Mr. CARROLL. Conservators are professionals, as Mr. White indicated, that are specially trained for that activity. There are only three institutions in the country that train art conservators. The creative artist is another function that does not include the scientific knowledge needed for restoring, such as the chemistry of paint and that sort of thing. That is why work on great works of fine art of this nature requires professional conservators generally.

Mr. CONTE. Have you consulted with the Smithsonian?
Mr. WHITE. Yes, sir.

Mr. CONTE. I am on the Board of Regents, and I know we do a lot of conservation work.

Mr. CARROLL. There is an excellent conservation lab at the Smithsonian. I represent Mr. White on the National Institute for Conservation, which is headquartered at the Smithsonian and we rely heavily on their knowledge in that field.


Mr. HIGHTOWER. Mr. White, when will the scaffolding be put up in front of the Majority Leader's Office?

Mr. WHITE. That will probably be another year, easily another year. Cliff Young is working on the full-sized cartoons expanding the Cox small sketches which are mounted, incidentally, on the wall in the majority leaders reception room those little sketches in his office were made by Cox. Young is making full-sized drawings of those. Some of those I have recently reviewed. He is being paid directly by the Capitol Historical Society and then the Capitol Historical Society is in the process of raising the funds for the final work, which will be a substantial amount of money. It will be a minimum of another year before that begins.

Mr. HIGHTOWER. Well, buy a few more calendars.
Mr. WHITE. Yes, sir.

RESPONSIBILITY OF ARCHITECT Mr. Fazio. Is it the responsibility of the Architect to maintain all of the art that is acquired or paid for initially by the Historical Society?

Mr. WHITE. Yes.
Mr. Fazio. In other words, once it has been donated?
Mr. WHITE. Yes, sir.
Mr. Fazio. Then you take over the maintenance of the program?

Mr. WHITE. Yes, sir, it becomes the property of the government and then we have to maintain it.

Mr. Fazio. It would be logical to assume we will have an increasing workload as time goes on?

Mr. WHITE. That is right.

Mr. Fazio. Personally I would probably speak for the committee in saying, we would not be opposed to seeing a modest annual appropriation for ongoing upkeep and restoration.

Mr. WHITE. Well, as you know, we have an annual item for maintenance of works of art.

Mr. Fazio. We are talking about wall paintings.

Mr. WHITE. That is right. We use some of that even for small areas of this kind, but this is so much we can't handle it out of that annual appropriation.

Mr. Fazio. Well, I think we really should be doing both. I don't believe there is anybody who wants to let any of the art, portraits, art or wall paintings fall into a state of disrepair.

Mr. WHITE. No, sir. To reiterate what Elliott Carroll said, that I had overlooked, and which is in the justifications, the Rotunda painting, which is up in the eye of the dome needs restoration badly and we thought we would save that for another time. It is going to be very expensive and very difficult to do.

Mr. LEWIS. It does need extensive repairs.
Mr. WHITE. It does.

Mr. Fazio. Mr. Boland wanted to know if the Lunettes are going to be taken down?

Mr. WHITE. No, no. It will be done in place. Mr. Fazio. I have a question for the record. [The question and response follow:] Question. There is a $220,000 request for the conservation of wall paintings. Why should this work be done now?

Response. The existing condition of the wall paintings and murals included in this request warrants immediate attention. Their poor condition prompted this office to

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