the scheme and agreed to take a picture each; Madox Brown was also asked to execute one, but declined. Rossetti undertook to do two, or if possible three, himself, and Morris and Burne-Jones were each to do one under his eye and with his guidance: eight or nine of the ten bays were thus accounted for, and the remainder of the space was for the moment left to chance.
The story of these paintings, of which the mouldering and undecipherable remains still glimmer like faded ghosts on the walls of the Union Library, is one of work hastily undertaken, executed under impossible conditions, and finally abandoned after time and labour had been spent on it quite disproportionate to the original design. A scheme of mural decoration which was practically new in England, and which involved the most careful preparation and the most complete forethought, was rushed into with a light heart; all difficulties were ignored, and many of the most obvious precautions neglected. None of the painters engaged in it had then any practical knowledge of the art of mural painting, nor do they seem to have thought that any kind of colour could not be applied to any kind of surface. The tradition of the art of fresco painting was then so wholly lost that paintings in distemper on a naked wall were commonly spoken of as frescoes, and were expected to last as a fresco painting would. The walls were newly built, and the mortar still damp. Each of the spaces to be painted over was pierced by two circular windows, and the effect on the design as well as on the lighting of the pictures may be imagined. No ground whatever was laid over the brickwork except a coat of whitewash: and on this the colour was to be laid with a small brush, like water-colour on paper.
