Ceylon M. Boswell purchased at auction several years ago the portrait of a woman. The painting bore the Brumidi signature and has hung in the Boswell home where it has received excellent care. By means of a small photograph in Lola Germon’s album, we have been able recently to identify the likeness as that of Mrs. Edward Clark, wife of Mr. Clark who was Capitol architect during most of the time Brumidi painted at the Capitol Building. Two paintings in the Washington, D. C., home of Dr. Edward C. Morse have been in the family since about 1875. One is the portrait of Dr. Morse’s maternal grandfather bearing the Brumidi signature, while the other is a copy of the famous “Titian’s Daughter.” The latter bears no signature but both pictures have been known as Brumidi’s through the years. Each bears the label of having been originally framed by “McElroy’s Art Store, 1003 Pennsylvania Avenue, Washington, D. C.” Miss Charlotte Clark, late of Sandwich, Mass., granddaughter of Edward Clark, Architect of the Capitol from 1865 to 1902, had inherited from her parents two family [Illustration: WORKING SKETCH OF DOME CANOPY The Dome fresco shown at right could not have been photographed from any spot in the Rotunda because all six allegorical groups about the center “Apotheosis of Washington” are here shown without obstruction. This reproduction is from a photograph of Brumidi’s working sketch of the Dome which is mounted on ornamental cardboard, said photograph on cardboard having been saved through the years in Laurence Brumidi’s trunk. The photograph was apparently mounted in this manner for registration purposes in the District Court as the cancelled stamp on the back is marked, “Internal Revenue, Proprietary, May 12, 1866.”] portraits painted by Brumidi. One of these is the portrait of Mrs. Edward Clark holding her small son, Watson Clark. The other is that of Edward Clark’s twin daughters. In Lola Germon’s old album are two small faded photographs, one of Mrs. Clark and baby, the other of twin girls. These two pictures were evidently used as studies at the time Brumidi painted the large portraits for the Clark family. Edith Smith Hawes has inherited the working sketch for the altar mural, “Crucifixion,” in St. Stephen’s Church, New York City. It was given to Mrs. Hawes’ father, Amzi Smith, by Brumidi during the years Mr. Smith had charge of the Senate Document Room. Mrs. Hawes remembers having heard her father tell often of his close friendship with the Capitol artist. Her father’s most vivid story told of Brumidi’s hasty visit one day to the Senate Document Room and how the artist said to her father, “Amzi, please sit down and put your hand on the arm of that chair.” Mr. Smith obeyed. Mr. Brumidi sketched rapidly. As the artist left he called back, “Here I go to put Amzi Smith’s hand on Thomas Jefferson.” “And,” says Mrs. Hawes, “I still visit the Senate Reception Room to see my father’s hand on the great Jefferson.”