Four Brumidi Madonnas on the frescoed ceiling of the President’s Room are of great interest to visitors. The most lasting impression, however, is made by “Religion.” The story is often repeated that Brumidi painted “Religion” with an “all-seeing eye of God” which will follow any individual from place to place inside the room. The “connections of the pieces of plaster” which help to identify real fresco are easily discernible in this medallion background. The color beauty of “Religion” is illustrated by “Legislation” in this book’s color section.] [Illustration: THE CHERUB OF JUSTICE Well balanced scales and a sword seem to be necessary attributes of Brumidi’s conception of “Executive Authority” in the President’s Room. The Cherub of Justice and the many other cherubs used so generously in the artist’s Capitol frescoes are favorites with art enthusiasts. All designs and deceptive moldings shown above are painted in oil on dry plaster. The corner of a tall elaborate mirror frame shows at the right.] [Illustration: THE WINGED CHERUB Resting midst bundles of papers, bills, and Congressional debates, the Winged Cherub suggests another Brumidi theme, “Legislation,” on the walls of the President’s Room. The signature “C. Brumidi, 1860,” can be identified on the packet of State papers at the feet of this cherub. The two cherubs on these pages fill decorative niches high on the walls on either side of a huge, ceiling-to-floor, gold-framed mirror.] introduced that style of fresco in the Vatican itself.... It is absurd, therefore, to despise the works of Signor Brumidi because “they look foreign and betray the Italian element,” that is to say, because they are classical in the subject and artistic in the execution. I confess that my national feelings were a little wounded when I saw vituperated to some extent in Washington an artist much esteemed in Rome. Music and the fine arts are all that remain of our former greatness, and we are naturally jealous of this glory. Besides, I am convinced that Signor Brumidi is a good artist and an excellent fresco painter. He has studied long in Rome, even from his boyhood, and visited for instruction all the most important schools of art in Italy. Baron Camucini was his master in painting, and the great Thorwaldsen taught him sculpture. In both arts Signor Brumidi has left several specimens of his skill in Rome. For instance, he was employed during eleven years in making frescoes and decorations of the villa and of the palace of Prince Torlonia in Rome. These works are admired by visitors. Should an American admire the works of Signor Brumidi at home and despise them when he finds them at Washington?