“Fresco derives its name from fresh mortar, and is the immediate and rapid application of mineral colors diluted in water, to the fresh mortar just put upon the wall, thereby the colors are absorbed by the mortar during its freshness, and repeating this process in sections day by day, till the entire picture will be completed. “This superior method is much admired in the celebrated works of the old masters, and is proper for historical subjects or classical ornamentations, like the Loggia of Raphael at the Vatican.” HOUSE OF REPRESENTATIVES CHAMBER A most revealing side light on the Cornwallis-Washington mural on the south wall of the House of Representatives Chamber, earlier referred to, is brought forth by an anonymous letter written on December 14, [Illustration: SPRING One of four pleasing groups on the ceiling of the Old House Agriculture Committee Room is this Brumidi conception of spring. The four seasons on this ceiling make up Brumidi’s first fresco in the Capitol Building--painted in 1855. What appear to be sculptured figures and attached moldings surrounding the center panel in this picture are actually painted decorative borders on a flat surface. It was probably the tender hues of spring on this ceiling that led Congressman Curtis to say in 1860, “What, sir, can be more beautiful than the fresco work in the room of the Agriculture Committee?”] 1857, to Captain Montgomery C. Meigs, Superintendent of Construction, two days before the House met in its new “Hall of the House of Representatives.” The letter protesting this contract follows: “Dear Sir: It will be news to you, I dare say, to learn that there is a party organizing to effect your removal from the Superintendent of the Capitol extension and I take leave to say to you that the wall painting, ‘The Surrender of Cornwallis,’ is considered inappropriate and the execution execrable, in view of all of which I suggest to you to have the painting wiped out. Your friend and supporter, OFFICIOUS” Since Captain Meigs could not reply directly to “Officious” he gave vent to his feelings by penning a note on the above letter. This note gives among other things an idea of the speed with which Brumidi was able to work under pressure. The note follows: “One of many indications. The picture is as good as could be painted in six weeks. It serves to show what the effect of painting on the panels will be which is all I intended. It cost little and I have not the least objections to a better painting being by Congress put over it, but it is the best that could be done at the time and no more time was at my immediate disposal. M. C. M.” In 1859 a Congressional Committee voiced a criticism which undoubtedly refers also to the Cornwallis-Washington painting in the House Chamber. They said,