But this last task he set for himself was too great. Of the fifteen scenes Brumidi planned, he finished the following six: _Landing of Columbus, 1492_; _Entry of Cortez into Mexico, 1521_; _Pizarro’s Conquest of Peru, 1533_; _Midnight Burial of DeSoto, 1541_; _Pocahontas saving John Smith, 1606_; _Landing of the Pilgrims, 1620_. [Illustration: PENN’S TREATY WITH THE INDIANS The seventh group, chronologically, on the Rotunda frieze is “Penn’s Treaty with the Indians.” It follows the “Landing of the Pilgrims” in Brumidi’s design. It was while working on this group that Brumidi fell on the scaffolding and was never able to return. The three Indians at the right were left unfinished, the lighter background marking the spot from which Brumidi fell.] The artist had the seventh scene, _Penn’s Treaty with the Indians, 1682_, more than half finished when he fell from the suspended chair from which he worked and was forced to hang by his arms from a ladder until workmen made the rescue. The last few months of his life he worked at his studio on the frieze cartoons. Edward Clark, Architect of the Capitol, makes reference to the unfinished frieze in his Report of October 1, 1880. Said he at that time, “But little progress has been made on the frescoes of the belt in the Dome, owing to the illness and death of the late Constantino Brumidi. Philip Costaggini, an artist of acknowledged merit, educated in the same school as the former artist, is now engaged on these frescoes.” One year later, however, on October 1, 1881, Mr. Clark made the following report: “Mr. Costaggini has painted in fresco on the belt of the Rotunda the “Settlement of New England,” “Oglethorpe and the Indians,” left unfinished by Mr. Brumidi, and he is now engaged on the “Reading of the Declaration of Independence.” It is proper to state here, that Mr. Brumidi made the designs for these sections only in small size and Mr. Costaggini has had to make the eight remaining full size cartoons.” When Mr. Costaggini finished the work of executing the Brumidi designs on the Rotunda frieze he had space enough left to accommodate two compositions of his own choosing. Since his designs were never sanctioned by Congress, Mr. Costaggini died in 1907 leaving an unfinished frieze. A third artist, Charles Ayer Whipple, was employed in 1918 at daily wages to restore some of Brumidi’s paintings on the walls of the Ground Floor Corridors at the Capitol and to make a sample painting on the unfinished frieze. This trial painting he called “The Spirit of 1917.” The Committee charged with final decisions concerning the frieze at that time decided against Whipple’s further effort. In 1925 Mr. Whipple referred to his frieze painting in a letter to the Architect of the Capitol, a portion of which follows: