1881 with 1,500 members. Christian opinions are now ably represented in schools, educational journals, and literature. A burning question at present is whether the national school should be preferred to the denominational school. Liberals in church and state say it should; conservatives say it should not; while both parties think their views supported by the experience of the past. The Prussian minister of education, Falk, A.D. 1872-1879, firmly insisted upon the development of the national system, but his successors Von Puttkamer and Von Gossler reverted to the denominational system. The German Evangelical School Congress of Hamburg in October, 1882, demanded that both elementary and secondary schools should have a confessional character. § 174.9. =Art.=--The intellectual quickening called forth with the opening of the new century imparted new spirit and life to the cultivation of the arts. Winckelmann, died A.D. 1768, had opened the way to an understanding of pagan classical art, and romanticism awakened appreciation of and enthusiasm for mediæval Christian art. The greatest masters of =Architecture= were Schinckel, Klenze, and Heideloff. The foundation stone of the final part of the Cologne cathedral was laid by a Protestant king, Frederick William IV., in A.D. 1842, and the work was finished by a Protestant builder in A.D. 1880. =Statuary= had three great masters, who gave expression to profound Christian ideas in bronze and marble, the Italian Canova, the German Dannecker, and greatest of all, the Dane Thorwaldsen, whose Christ and the Apostles and other works form a main attraction to visitors in Copenhagen. Three younger German masters of the art, who have heired their fame, are Rauch, Rietschl, and Drake.--In =Painting= too a new era now began. A group of gay German artists in Rome, with Overbeck at their head, formed a Society in A.D. 1813, and mostly became perverts to Romanism. Peter Cornelius, the ablest of the school, himself born a Catholic, answered his friends’ request to place Luther in a picture of the last judgment, in hell: “Yes, but with the Bible in his hands and the devils trembling before him”; and in a subsequent picture of the judgment, he gave the German reformer his place among the saints in heaven. His pupil, Julius Schnorr von Karolsfeld is well known by his “_Bibel in Bildern_.” Ludwig Richter, the Albert Dürer of the nineteenth century and creator of the modern woodcut, has filled German houses with his artistic and poetic creations, which breathe of God, nature, and the family fireside. The Frenchman, Gustave Doré of Strassburg, has also illustrated the Bible in a manner worthy of ranking alongside of Schnorr, though a characteristically French striving for effect is everywhere discernible.--=Painted Glass= (§ 104, 14) for church windows had during the eighteenth century passed almost wholly out of