Fresco painting, or, as the Italians call it, _buon fresco_, had been entirely discontinued since the time of Raphael Mengs. It was revived at Rome in 1809-10, when the late M. Bartholdy, the Prussian consul-general, caused a saloon in his house to be painted in fresco by Peter Cornelius, Overbeck, and Philip Veith, all German artists, then resident at Rome. The subjects are taken from the Scriptures, and one of the admirable cartoons of Overbeck, (Joseph sold by his brethren,) I saw at Frankfort. These first essays are yet to be seen in Bartholdy's house, in the Via Sistina at Rome. They are rather hard, but in a grand style of composition. The success which attended this spirited undertaking, excited much attention and enthusiasm, and induced the Marchese Massimi to have his villa near the Lateran adorned in the same style. Accordingly, he had three grand halls or saloons, painted with subjects from Dante, Ariosto, and Tasso. The first was given to Philip Veith, the second to Julius Schnorr, and the third to Overbeck. Veith did not finish his work, which was afterwards terminated by Koch; the two other painters completed their task, much to the satisfaction of the Marchese, and to the admiration of all Rome. But these were mere experiments--mere attempts, compared to what has since been executed in the same style at Munich. It is true that the art of fresco-painting had never been entirely lost. The theory of the process was well known, and also the colours formerly used; only practice, and the opportunity of practice, were wanting. This has been afforded; and there is now at Munich a school of fresco painting, under the direction of Cornelius, Julius Schnorr, and Zimmermann, in which the mechanical process has been brought to such perfection, that the neatness of the execution may vie with oils, and they can even cut out a feature, and replace it if necessary. The palette has also been augmented by the recent improvements in chemistry, which have enabled the fresco painter to apply some most precious colours, unknown to the ancient masters: only earths and metallic colours are used. I believe it is universally known that the colours are applied while the plaster is wet, and that the preparation of this plaster is a matter of much care and nicety. A good deal of experience and manual dexterity is necessary to enable the painter to execute with rapidity, and calculate the exact degree of humidity in the plaster, requisite for the effect he wishes to produce. It has been said that fresco painting is unfitted for our climate, damp and sea-coal fires being equally injurious; but the new method of warming all large buildings, either by steam or heated air, obviates, at least, _this_ objection.