A mural painting is a decoration intended for the adornment of a wall or ceiling. As a rule, it is painted in more or less simple, flat tones, so as to carry some distance, and under the old methods, known as fresco painting, it was a process of painting in water colors on wet plaster, the portion of the wall on which the artist was to paint being prepared over night, so as to be in proper state to receive the color. The painter had to work from a scaffold. He was also hampered by awkward positions and, frequently, bad lighting facilities. This method was in general use from the early days of Giotto (1266-1337), to those of Raphael (1483-1520). Some of the Italians use it even now. * * * * * So mural painting differs materially from a picture painted on an easel. The easel picture has more detail, is placed in a frame when finished, and is destined to make a decorative spot on the walls. The modern mural painter now executes his design directly upon canvas in his studio, and when it is completed it is applied to the wall space by a composition of glue and white lead. When this is thoroughly dry it becomes practically a part of the construction, though it is possible at any time to remove it, by peeling it off, should it be necessary. As a rule, the painter of a great mural work makes first a small sketch. This is subsequently enlarged by himself, or his assistants, by the process of “squaring up,” and so it is brought to the correct size. These enlargements are known as “cartoons,” which are traced on the canvas or the plaster, and when thus drawn in are ready for the painter’s brush. Almost the first efforts of primitive man in picture making were decorations of the walls of his rude house, and later his temples and public buildings. There are examples from the civilizations of Egypt, Greece, and Rome wherein the work was carried to the greatest perfection. We have splendid specimens of brilliant coloring from the great temples in the land of the Pharaohs, on their tombs and palaces, that have remained fresh and well nigh perfect all these centuries, while throughout Italy, in palaces and churches the work of the Renaissance artists challenges the greatest admiration. * * * * *