Overbeck's visit to Cologne, in 1831, naturally led to further conferences concerning the picture for the Cathedral. The proposal, at first, was that a triptych on a gold ground, in a Gothic frame, should be painted for the high altar. Drawings were prepared, the general scheme was approved by Cornelius, and the Archbishop gave his assent. But objections having been raised on historic or archæologic grounds, the pictorial reredos was abandoned in favour of the present stone altar table. The artist felt deeply disappointed, and craved the prayers of his friend Steinle, who was engaged on the decoration of the choir. Fortunately, the services of Overbeck were only transferred from the high altar to the Madonna chapel, renovated to receive _The Assumption_ commissioned to be painted. The cartoon was prepared and approved, and while engaged on the work the artist expressed himself supremely happy; he had no higher ambition than to be found worthy of a place in the great Cathedral. _The Assumption of the Madonna_[4] is suited to its surroundings; it is in keeping with the Gothic structure and decorations, and in companionship with old triptychs and other works which carry the mind back to remote ages. The composition stands forth as a vision of the imagination; from the darkness of the grave into the light of the upper sky rises the Queen of Heaven, borne upwards on angels' wings; midway sustained by clouds are the adoring host, comprising Adam, Eve, Abraham, and King David; on the ground below are seen, in miniature, the disciples around the empty tomb. The whole conception is in perfect accord with the rites and ceremonies of the Church; while looking at the picture and listening to the voices in the choir, the harmonies between form and sound seem fitly attuned.