I went home with Lola Germon’s great-grandniece, Mildred Thompson, and met the Thompson family. Mildred’s mother slightly doubted my sanity for painting a cemetery fence belonging to a stranger but presently she laid before me a deed to the cemetery lot and a family album given to her by Lola Germon. Mrs. Thompson’s cemetery deed had been issued by Glenwood Cemetery to Eliza A. Germon, Lola’s mother, in 1866 and verified the cemetery records that show Brumidi as buried in Lot 70, site 6; Laurence Brumidi in site 4; and Lola Brumidi in site 5. (Only, Lola Germon Brumidi was Lola Virginia Kirkwood at the time of her death in 1918, and both she and her third husband, Edward Kirkwood, are buried in site 5.) LOLA GERMON’S ALBUM It was a great disappointment to me that the Thompson family knew so few facts about Lola and her artist husband, but by means of Lola’s album and by word of mouth they verified certain facts in my mind. [Illustration: BRUMIDI’S GRAVE The grave site of Constantino Brumidi, in Glenwood Cemetery (Washington, D. C.) will soon bear a marker from the Government of the United States. In this picture, taken in early spring, we can locate the burial site of the Capitol artist in the immediate foreground, just inside the little iron fence, that being site 6 of Lot 70. Twin shafts on sites 1 and 2 within the fence mark the graves of Lola Germon’s parents. The deed to this lot, issued in 1866 to Eliza Germon, Lola’s mother, is now in the possession of Lola’s great-grandniece, Mildred Thompson, of Washington.] They knew that Lola Germon had married Brumidi when she was about eighteen years old; that Laurence was their only son; that the beautiful Lola had modeled for many of the Capitol paintings; and that at one time, as Mrs. Brumidi, Lola attended a White House reception with her artist husband, in the most beautiful gown he could afford to buy. The hallowed old album in which Lola had chosen to preserve her treasured Brumidi memories held many pictures of Brumidi, of Laurence, and of the young Lola, but for the most part all pictures were undated and unmarked--all, save one. On the back of a photograph of a very beautiful young girl (Lola Germon) were these words, written in a childish hand, “This is my lovely mama.” Four small unmarked photographs on the last pages of the old album are of special interest since they are reproductions of religious paintings. It was my guess that they were photographs of Brumidi’s working sketches for church decorations--and to date two of these have been identified. The huge fresco over the main altar in St. Stephen’s Church in New York, some 70 feet in height, is the same “Crucifixion” as that in the little photograph in Lola’s album, and the large fresco over the main altar in the Cathedral of St. Peter and Paul in Philadelphia is the same “Crucifixion” scene only with outstanding figures of Saint Peter and Saint Paul at the foot of the cross. MILDRED THOMPSON’S COLLECTION