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8 the ornamentation above. Methods and materials are also consis- tent throughout; rather than true buon fresco, the House murals are oil on canvas that has been adhered to the ceiling and walls prior to decoration. Once the canvases are placed, the designs for each scene are transferred to the wall from a cartoon (a detailed drawing done to scale) by pouncing (applying powdered charcoal through per- forations in the cartoon) (figs. 11a, 11b). e cartoons are then removed and the actual painting is done in situ: on site in the Capitol rather than in the artist's studio. Although the materials do not replicate those used for buon fresco, this method aligns with that of traditional wall painting in that it facilitates the inte- gration of the painted image with its architectural environment. (Brumidi had transferred his cartoons in a similar manner.) In the House hallways, this integration is complicated by alternat- ing barrel (round) and groin (segmented) vaults, which form bays and other spaces of uneven sizes (fig. 11a). Another advantage to painting the murals in situ is that adjustments in proportion, color, perspective, and other elements can be more easily made as the painting proceeds rather than aer its completion. e historical narratives painted in the Corridors highlight another of their functions: education. While the U.S. Capitol Fig. 10. Cox, cartoon for Allegorical Figure of History, Corridor II, e Great Experiment Hall Fig. 11a. Jeffrey Greene (le, painting ) and Terry Brackenberry (right, pouncing outline of a cartoon on the wall) at work in the Westward Ex- pansion Corridor Fig. 11b. Original drawing for "Clearing Land" medal- lion to be painted in one of the groin-vaulted segments on the ceiling Fig. 12. e EverGreene artists (le to right) Terry Brackenberry, Dean Kalamos, Jeff Greene, and Doug Shelton in the Westward Expansion Corridor (1993) ARCHITECT OF THE CAPITOL Fig. 13a. Greene, Corridor III, detail, "Timucuan Village" ARCHITECT OF THE CAPITOL (LEFT)