House-painters may be mentioned in the last place, and these display much taste and skill; and there is a class of them who greatly excel those in this country, having more the feeling and taste of artists. Surrounded by the finest models in this art, the Italian decorator enjoys every advantage in its study, and he inherits besides from the best periods of art, or rather from antiquity, taste, and a good system of workmanship. He is not a mere machine, employed in the use of the moulds, stamps, and other mechanical contrivances, which too often keep the decorative arts within such narrow limits. Fresco Painting. The proposed introduction of Fresco Painting into our public buildings will, it is hoped and expected, have the effect of employing the artist in fresco upon the walls of our dwelling-houses. Already have a few of the mansions of our nobility been thus decorated, and in anticipation of its general introduction it may not be out of character with this little work to describe the process in detail. Respecting the origin of the term fresco there are two opinions; according to some the term is said to have been adopted because the practice of it is used in the open air. Thus in the Italian language, _andare al fresco_ signifies “to take the air;” or “to walk abroad in the air;” but a more probable explanation is to be found in another meaning of the word fresco, viz., “new,” or “fresh,” as applied to the state of the plaster in which it is wrought. The artist traces his design, colours it, and completely finishes in one day so much of his picture as will occupy the wet plaster ground that has been prepared for him, so that when the ground is dry, he may not retouch any part of his work. This is the characteristic distinction of painting in fresco--a method by which the painting is incorporated with the mortar, and drying along with it becomes extremely durable, and brightens in its tones and colours as it dries.