See also:

• PETER
• PETER (Lat. Petrus from Gr. irfpos, a rock, Ital. Pietro, Piero, Pier, Fr. Pierre, Span. Pedro, Ger. Peter, Russ. Petr)
• PETER (PEDRO)
• PETER, EPISTLES OF
• PETER, ST

PETER VON See also:

• CORNELIUS
• CORNELIUS, CARL AUGUST PETER (1824-1874)
• PETER VON CORNELIUS (1784–1867)

CORNELIUS (1784–1867)  , See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German painter, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born in See also:

• DUSSELDORF

Dusseldorf in 1784 . ' His See also:

• FATHER

father, who was inspector of the Dusseldorf See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

gallery, died in 1799, and the See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

young See also:

• CORNELIUS
• CORNELIUS, CARL AUGUST PETER (1824-1874)
• CORNELIUS, PETER VON (1784–1867)

Cornelius was stimulated to extraordinary exertions . In a See also:

• LETTER (through Fr. lettre from Lat. littera or litera, letter of the alphabet; the origin of the Latin word is obscure; it has probably no connexion with the root of linere, to smear, i.e. with wax, for an inscription with a stilus)

letter.to the See also:

• COUNT (Lat. comes, gen. comitis, Fr. comte, Ital. conte, Span. conde)

Count Raczynski he says, " It See also:

• FELL
• FELL, JOHN (1625-1686)

fell to the See also:

• LOT
• LOT (Lat. Oltis)

lot of an See also:

• ELDER (0. Eng. ellarn; Ger. Holunder; Fr. sureau)
• ELDER (Gr. 1rpev(3iTepos)

elder See also:

• BROTHER

brother and myself to See also:

• WATCH (in O. Eng. wcecce, a keeping guard or watching, from wacian, to guard, watch, wacan, to wake)

watch over the interests of a numerous See also:

• FAMILY

family . It was at this See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time that it was attempted to persuade my See also:

• MOTHER

mother that it would be better for me to devote myself to the See also:

• TRADE (O. Eng. trod, footstep, from tredan, to tread; in M. Eng. the forms teed, trod and trade appear, the last in the sense of a beaten track)
• TRADE, BOARD OF

trade of a See also:

• GOLDSMITH
• GOLDSMITH, LEWIS (c. 1763–1846)
• GOLDSMITH, OLIVER (1728–1774)

goldsmith than to continue to pursue See also:

• PAINTING

painting—in the first See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place, in consequence of the time necessary to qualify me for the See also:

• ART

art, and in the next, because there were already so many painters . My dear mother, however, rejected all this See also:

• ADVICE (Fr. avis, from Lat. ad, to, and visum, viewed)

advice, and I See also:

• FELT (cognate with Ger. Filz, Du. vilt, Swed. and Dan. fill; the root is unknown; the word has given Med. Lat. filtrum, " filter ")

felt myself impelled onward by an uncontrollable See also:

• ENTHUSIASM

enthusiasm, to which the confidence of my mother gave new strength, which was supported by the continual fear that I should be removed from the study of that art I loved so much." His earliest See also:

• WORK

work of importance was the decoration of the See also:

• CHOIR (0. Fr. cuer from Lat. chorus; pronounced quire, and until the end of the 17th century so spelt, the spelling being altered to agree with the Fr. chceur)

choir of the See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church of St See also:

• QUIRINUS

Quirinus at See also:

• NEUSS

Neuss . At the See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age of twenty-six he produced his designs from See also:

• FAUST, or FAUSTUS

Faust . On See also:

• OCTOBER

October 14, 1811, he arrived in See also:

• ROME
• ROME (Roma)

Rome, where he soon became one of the most promising of that brotherhood of young German painters which included See also:

• OVERBECK, JOHANN FRIEDRICH (1789-1869)

Overbeck, See also:

• SCHADOW

Schadow, See also:

• VEIT, PHILIPP (1793-1877)

Veit, Schnorr and See also:

• LUDWIG, KARL FRIEDRICH WILHELM (1816—1895)
• LUDWIG, OTTO (1813-1865)

Ludwig See also:

• VOGEL, EDUARD (1829-1856)
• VOGEL, SIR JULIUS (1835-1899)

Vogel (1788–1879),—a fraternity (some of whom selected a ruinous See also:

• CONVENT (Lat. conventus, from convenire, to come together)

convent for their See also:

• HOME
• HOME, DANIEL DUNGLAS (1833-1886)
• HOME, EARLS OF

home) who were banded together for resolute study and mutual See also:

• CRITICISM
• CRITICISM (from the Gr. KpiTrlS, a judge, Kpivew, to decide, to give an authoritative opinion)

criticism . Out of this association came the men who, though they were ridiculed at the time, were destined to found a new German school of art . At Rome Cornelius participated, with other members of his fraternity, in the decoration of the Casa Bartoldi and the See also:

• VILLA

Villa Massimi, and while thus employed he was also engaged upon designs for the See also:

• ILLUSTRATION

illustration of the See also:

• NIBELUNGENLIED, or DER NIBELUNGE NOT

Nibelungenlied . From Rome he was called to Dusseldorf to remodel the See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy, and to See also:

• MUNICH (Ger. Munchen)

Munich by the then See also:

• CROWN

crown-See also:

• PRINCE
• PRINCE (Lat. princeps, from primus capio, " I am the first to take "; Ital. principe, Fr. prince)

prince of See also:

• BAVARIA (Ger. Bayern)

Bavaria, afterwards See also:

• LOUIS
• LOUIS (804–876)
• LOUIS (893–911)
• LOUIS, JOSEPH DOMINIQUE, BARON (1755-1837)
• LOUIS, or LEWIS (from the Frankish Chlodowich, Chlodwig, Latinized as Chlodowius, Lodhuwicus, Lodhuvicus, whence-in the Strassburg oath of 842-0. Fr. Lodhuwigs, then Chlovis, Loys and later Louis, whence Span. Luiz and—through the Angevin kings—Hungarian

Louis I., to See also:

• DIRECT

direct the decorations for the See also:

• GLYPTOTHEK (from Gr. y?tnrros, carved, and OiiKf, a place of storage)

Glyptothek . Cornelius, however, soon found that See also:

• ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention to such widely separated duties was incompatible with the just performance of either, and most inconvenient to himself; eventually, therefore, he resigned his See also:

• POST

post at Dusseldorf to throw himself completely and thoroughly into those See also:

• WORKS

works for which he had been commissioned by the crown-prince . He therefore See also:

• LEFT

left Dusseldorf for Munich, where he was joined by those of his pupils who elected to follow and to assist him .

At the See also:

• DEATH

death of Director Langer, 1824–1825, he became director of the Munich Academy . The See also:

• FRESCO (Ital. for cool, " fresh ")

fresco decorations of the Ludwigskirche, which were for the most See also:

• PART

part designed and executed by Cornelius, are perhaps the most important mural works of See also:

• MODERN

modern times . The large fresco of the Last See also:

• JUDGMENT

Judgment, over the high See also:

• ALTAR (Lat. altare, from alias, high; some ancient etymological guesses are recorded by St Isidore of Seville in Etymologiae xv. 4)

altar in that church, See also:

• MEASURES

measures 62 ft. in height by 38 ft. in width . The frescoes of the Creator, the Nativity, and the Crucifixion in the same See also:

• BUILDING

building are also upon a. large See also:

• SCALE
• SCALE (1) A

scale . Amongst his other See also:

• GREAT

great works in Munich may be included his decorations in the Pinakothek and in the Glyptothek; those in the latter building, in the See also:

• HALL
• HALL (generally known as SCHWABISCH-HALL, tc distinguish it from the small town of Hall in Tirol and Bad-Hall, a health resort in Upper Austria)
• HALL (O.E. heall, a common Teutonic word, cf. Ger. Halle)
• HALL, BASIL (1788-1844)
• HALL, CARL CHRISTIAN (1812–1888)
• HALL, CHARLES FRANCIS (1821-1871)
• HALL, CHRISTOPHER NEWMAN (1816—19oz)
• HALL, EDWARD (c. 1498-1547)
• HALL, FITZEDWARD (1825-1901)
• HALL, ISAAC HOLLISTER (1837-1896)
• HALL, JAMES (1793–1868)
• HALL, JAMES (1811–1898)
• HALL, JOSEPH (1574-1656)
• HALL, MARSHALL (1790-1857)
• HALL, ROBERT (1764-1831)
• HALL, SAMUEL CARTER (5800-5889)
• HALL, SIR JAMES (1761-1832)
• HALL, WILLIAM EDWARD (1835-1894)

hall of the gods and the hall of the See also:

• HERO (Gr. open)
• HERO, THE YOUNGER

hero-myths, are perhaps the best known . About the See also:

• YEAR

year 1839–1840 he left Munich for See also:

• BERLIN
• BERLIN, CONGRESS AND TREATY OF
• BERLIN, ISAIAH (1725–1799)

Berlin to proceed with that See also:

• SERIES (a Latin word from serere, to join)

series of cartoons, from the See also:

• APOCALYPSE
• APOCALYPSE (Gr. aaoKaXvti/hr, disclosure)
• APOCALYPSE, KNIGHTS OF THE

Apocalypse, for the frescoes for which he had been commissioned by See also:

• FREDERICK
• FREDERICK (Mod. Ger. Friedrich; Ital. Federigo; Fr. Frederic and Federic; M.H.G. Friderich; O.H.G. Fridurih, " king or lord of peace," from O.H.G. fridu, A.S. frith, " peace," and rfh " rich," " a ruler," for derivation of which see HENRY)

Frederick See also:

• WILLIAM
• WILLIAM (1143-1214)
• WILLIAM (1227-1256)
• WILLIAM (1J33-1584)
• WILLIAM (A.S. Wilhelm, O. Norse Vilhidlmr; O. H. Ger. Willahelm, Willahalm, M. H. Ger. Willehelm, Willehalm, Mod.Ger. Wilhelm; Du. Willem; O. Fr. Villalme, Mod. Fr. Guillaume; from " will," Goth. vilja, and " helm," Goth. hilms, Old Norse hidlmr, meaning
• WILLIAM (c. 1130-C. 1190)
• WILLIAM, 13TH

William IV., and which were intended to decorate the Campo Santo or royal See also:

• MAUSOLEUM

mausoleum . These were his final works . Cornelius, as an oil painter, possessed but little technical skill, nor do his works exhibit any instinctive appreciation of See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour . Even as a fresco painter his manipulative See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power was not great . And in critically examining the See also:

• EXECUTION (from Lat. ex-sequor, exsecutus, follow or carry out)

execution in colour of some ofhis magnificent designs, one cannot help feeling that he was, in this respect, unable to do them full See also:

• JUSTICE (Lat. justitia)

justice . Cornelius and his associates endeavoured to follow in their works the spirit of the See also:

• ITALIAN

Italian painters . But the Italian See also:

• STRAIN (through O. Fr. straindre, estraindre, mod. i treindre, from Lat. stringere, to draw tight, related to stress, stretch, string, &c.)

strain is to a considerable extent modified by the See also:

• DURER, ALBRECHT (1471-1528)

Durer heritage .

This Diirer See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence is See also:

• MANIFEST (Lat. manifestus, clear, open to view)

manifest in a tendency to overcrowding in See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition, in a degree of attenuation in the proportions of, and a poverty of See also:

• CONTOUR

contour in, the nude figure, and also in a leaning to the selection of See also:

• GOTHIC

Gothic forms for draperies . These peculiarities are even noticeable in Cornelius's See also:

• PRINCIPAL

principal work of the " Last Judgment," in the Ludwigskirche in Munich . The attenuation and want of flexibility of contour in the nude are perhaps most conspicuous in his frescoes of classical subjects in the Glyptothek, especially in that representing the contention for the See also:

• BODY

body of Patroclus . But notwithstanding these peculiarities there is always in his works a grandeur and nobleness of conception, as all must acknowledge who have inspected his designs for the Ludwigskirche, for the Campo Santo, &c . If he were not dexterous in the handling of the See also:

• BRUSH (from Fr. brosse, which, like the English word, means both the undergrowth of a wood and the instrument; if the word in both these meanings is ultimately the same, then the origin is from a bundle of brushwood used as a brush or broom, but this is h
• BRUSH, GEORGE DE FOREST (1855– )

brush, he could conceive and See also:

• DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design a subject with masterly purpose . If he had an imperfect See also:

• EYE
• EYE (O. Eng. edge, Ger. Auge; derived from an Indo-European root also seen in Lat. oc-ulus, the organ of vision (q.v.)

eye for colour, in the Venetian, the Flemish, or the See also:

• ENGLISH

English sense, he had vast See also:

• MENTAL

mental foresight in directing the German school of painting; and his favourite See also:

• MOTTO (an Italian word, from Late Lat. muttum, a low sound, a mutter or murmur, cf. mutere, to mutter; the Latin word also gives Fr. mot, word)

motto of Deutschland fiber alles indicates the direction and the strength of his patriotism . Karl See also:

• HERMANN, JOHANN GOTTFRIED JAKOB (1772–1848)
• HERMANN, KARL FRIEDRICH (1804–1855)

Hermann was one of Cornelius's earliest and most esteemed scholars, a See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man of See also:

• SIMPLE

simple and fervent nature, painstaking to the utmost, a very type of the finest German student nature; See also:

• KAULBACH, WILHELM VON (1805-1874)

Kaulbach and See also:

• ADAM
• ADAM (or ADAN) DE LE HALE (died c. 1288)
• ADAM, ALEXANDER (1741–1809)
• ADAM, JULIETTE (1836– )
• ADAM, LAMBERT SIGISBERT (1700-1759)
• ADAM, MELCHIOR (d. 1622)
• ADAM, PAUL (1862– )
• ADAM, ROBERT (1728—1792)
• ADAM, SIR FREDERICK (1781-1853)
• ADAM, WILLIAM (1751-1839)

Adam Eberle were also amongst his scholars . Every public edifice in Munich and other German cities which were embellished with frescoes, became, as in See also:

• ITALY
• ITALY (Italia)

Italy, a school of art of the very best See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind; for the decoration of a public building begets a See also:

• PRACTICAL

practical knowledge of design . The development of this institution of scholarship in Munich was a work of time . The cartoons for the Glyptothek were all by Cornelius's own See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand . In the Pinakothek his sketches and small drawings sufficed; but in the Ludwigskirche the invention even of some of the subjects was entrusted to his See also:

• SCHOLAR, SCHOLARSHIP

scholar Hermann . To comprehend and appreciate thoroughly the magnitude of the work which Cornelius accomplished for See also:

• GERMANY
• GERMANY (Ger. Deutschland)

Germany, we must remember that at the beginning of the 19th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century Germany had no See also:

• NATIONAL

national school of art .

Germany was in painting and See also:

• SCULPTURE
• SCULPTURE (Lat. sculptura, from sculpere, to carve, cognate with Gr. yXb4ew)

sculpture behind all the See also:

• REST (O. Eng. rest, reste, bed, cognate with other Teutonic forms, e.g. Ger. Rast, Riiste, rest, and probably Gothic Rasta, league, i.e. resting or stopping place)

rest of See also:

• EUROPE

Europe . Yet in less than See also:

• HALF

half a century Cornelius founded a great school, revived mural painting, and turned the gaze of the art See also:

• WORLD

world towards Munich . The German revival of mural painting had itseffect upon See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England, as well as upon other See also:

• EUROPEAN

European nations, and led to the famous See also:

• CARTOON (Ital. cartone, pasteboard)

cartoon competitions held in See also:

• WESTMINSTER
• WESTMINSTER, MARQUESSES AND DUKES OF
• WESTMINSTER, STATUTES OF
• WESTMINSTER, SYNODS OF

Westminster Hall, and ultimately to the partial decoration of the Houses of See also:

• PARLIAMENT (Anglo-Lat. parliamentum, Fr. parlement, from parler, to speak)

Parliament . When thelatter work was in contemplation, Cornelius, in response to invitations, visited England (See also:

• NOVEMBER (Lat. novem, nine)

November 1841) . His See also:

• OPINION (Lat. opinio, from opinari, to think)

opinion was in every way favourable to the carrying out of the project, and even in respect of the durability of fresco in the See also:

• CLIMATE

climate of England . Cornelius, in his teaching, always inculcated a See also:

• CLOSE
• CLOSE (from Lat. clausum, shut)
• CLOSE, MAXWELL HENRY (1822-1903)

close and rigorous study of nature, but he understood by the study of nature something more than what is ordinarily implied by that expression, something more than constantly making studies from See also:

• LIFE

life; he meant the study of nature with an inquiring and scientific spirit . " Study nat'iire," was the advice he once gave, " in See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order that you may become acquainted with its essential forms." The See also:

• PERSONAL

personal See also:

• APPEARANCE (from Lat. apparere, to appear)

appearance of Cornelius could not but convey to those who were fortunate enough to come into contact with him the impression that he was a man of an energetic, See also:

• FIRM

firm and resolute nature . He was below the See also:

• MIDDLE

middle height and squarely built . There was See also:

• EVIDENCE (Lat. evidentia, evideri, to appear clearly)

evidence of power about his broad and over-See also:

• HANGING

hanging brow, in his See also:

• EAGLE (Fr. aigle, from the Lat. aquila)

eagle eyes and firmly gripped attenuated lips, which no one with the least discernment could misinterpret . Yet there was a sense of See also:

• HUMOUR (Latin humor)

humour and a geniality which See also:

• DREW
• DREW, SAMUEL (1765-1833)

drew men towards him; and towards those young artists who sought his teaching and his criticism he always exhibited a See also:

• CALM

calm See also:

• PATIENCE

patience . See See also:

• FORSTER, FRANCOIS (179o-,872)
• FORSTER, FRIEDRICH CHRISTOPH (1791-1868)
• FORSTER, JOHANN GEORG ADAM (1754-1794)
• FORSTER, JOHN (1812-1876)
• FORSTER, JOHN COOPER (1823-1886)
• FORSTER, WILLIAM EDWARD (1818-1886)

Forster, See also:

• PETER
• PETER (Lat. Petrus from Gr. irfpos, a rock, Ital. Pietro, Piero, Pier, Fr. Pierre, Span. Pedro, Ger. Peter, Russ. Petr)
• PETER (PEDRO)
• PETER, EPISTLES OF
• PETER, ST

Peter von Cornelius (Berlin, 1874) . (W .

C .