With the beginning of 1877, however, Brumidi was evidently re-employed at the Capitol at the rate of $10 per day as shown by two old “Time Books” which indicate month by month the hours worked and the total amount earned by the old artist from January 1877 up to the time of his death on February 19, 1880. These Time Books consistently carried Mr. Brumidi as fresco artist among its employed personnel of laborers, masons, plasterers, finishers, and painters. A Brumidi letter written to Architect Clark July 16, 1879, is the artist’s own verification that the Government of the United States paid him consistently for art work during his last years [Illustration: HORATIO GATES Profiled midst laurel, fruit, flowers, and birds, Horatio Gates is one of twenty American profiles painted by Brumidi, each set in its own panel, on the basement walls of the Senate Annex. The many bird decorations used to adorn these walls are so accurate that bird enthusiasts have been known to identify as many as sixty species. Senator Voorhees of Indiana knew of Brumidi’s love for birds and made reference to it in this manner: “He (Brumidi) loved these birds as a father loves his children and he often lingered in their midst as if a strong tie bound him to them.”] when much of that work had to be done in his studio because of failing health. The 1879 letter follows: “I received yesterday the visit of Mr. McTynchon, and I was glad to show him the progress of my work in the cartoon for the Dome, that your kindness permits me to proceed it at my studio at home. “I have completed the cartoon of the Treaty of William Penn, also the retouching of the cartoon of Pizzarro, making the light permanent with glue as I did at the large cartoon of Columbus. “I have commenced the cartoon of the settlement of New England. “I hope you and your family will enjoy your summer residence, and I will continue to progress with my work hoping to give you the desired satisfaction. “With my best regards to Mrs. Clark, and family, I remain” C. BRUMIDI It seems reasonably certain that the Architect of the Capitol and other friends of Brumidi in the Congress of the United States at the time of Brumidi’s death wanted the old artist to have every dollar due him for the Capitol decorations, even to the extent of using the $200--apparently earlier appropriated for Dome scaffolding construction--to defray funeral expenses. Then, too, there is one voucher in the Brumidi voucher collection, dated February 19, 1880, the day the artist died, “for 13 days’ services as artist at $10.00--$130.00.” This voucher is not endorsed. It is evidently true, also, that Brumidi died poor. In the following letter to Architect Clark, dated only five months before his death, and only two days before he fell from the frieze scaffolding we have the picture of a lonely artist facing lean years with fear--and a bit of remorse: