I spoke to _Charles_ Greville (Henry's brother) and told him I thought I should be coming on before very long; he very kindly overhauled the lists and said he thought I might be up by the end of the summer, and, what was still more kind, seeing me unseconded, he put his name down as seconder. FOREST BANK, LYNDHURST, _Thursday, August 6, 1863_. If I was not more explicit about being with Aïdé, it was because I made sure you knew it. You will be pleased to hear that when after many _péripéties_ I did begin my fresco I got on capitally; I have now finished the task for this year, having painted _three_ life-size figures, with a good bit of background, in _four_ days. I worked hard for it, and am rather tired--head and eyes; otherwise flourishing. I am delighted with my new fresco material (Parry's)--the effect is excellent--nearly as fine as real fresco. Everybody seems much pleased with what I have done, particularly the parson. I like it myself; I enjoy working at it immensely; it is my real element. I find it (for mere _manipulation bien entendu_) absurdly easy. The following letter from Mr. Gambier Parry explains the "fresco material" Leighton used. HIGHNAM, GLOUCESTER, _August 3, 1863_. MY DEAR LEIGHTON,--In reply to your last note about the use of the wall itself rather than of canvas, there can be no doubt on the subject, if only the plaster is _good_ and _well put on_. You speak of two or three months to get it dry. I assure you that that is _not near enough_. When the surface feels dry to your hand you must not suppose that it is all dry inside, and if the _wall_ is new, I doubt a year being enough to dry it. The water must evaporate somewhere--it is drawn _to the_ surface of _interiors_ because they are the warmest.