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 have been specially guarded against atmospheric changes of temperature. Next to real fresco, there has been in repute for a time the waterglass process, in which Daniel Maclise's great paintings have been executed. I see no precise reason why these noble works should not last, and defy climate for many, many long years yet; though from want of experience he very much endangered this durability through the too lavish application of the medium. But in Germany, the country of waterglass, the process is already in bad repute. The third alternative, "spirit fresco," or what we in England claim as the Gambier-Parry process, has, I understand, superseded it. I have myself painted in this system seven works on the walls of the Manchester Town Hall, and have had no reason to complain of their behaviour. Since beginning the series, 153