angular in the former was by him changed into a coquettish effeminacy. This he effected by daubing his pictures, which were in no way colour conceptions, with insipid combinations of colour, and replaced with oleographs Cornelius's illuminated monumental woodcuts. By these concessions to the picturesque he drove the axe into the tree which the designers of cartoons had planted. The part he plays is that of a man of compromise between Cornelius and Piloty; his frescoes are too sugary; his oil-paintings too faulty. It was he who buried the era of cartoons, although the obsequies were conducted with all pomp. A spiritual battle, an aerial battle, the "Battle of the Huns," is the first of his works. Beneath, a real historical event; above, the same reproduced in the spiritual world. The battle is over; the field is hidden beneath the corpses of the slain; but the spirits continue the combat in mid-air, and strive to turn the occasion to account for a display of nudity. Next came the "Destruction of Jerusalem," crammed with ingenious references, and elucidated with long, printed commentaries. This programme-painting played its trump card on the staircase of the Berlin Museum, where a space of 240 feet by 28 feet is occupied by "the intellectual manifestations of the historical _Weltgeist_"; "the total evolution of culture with every people of every period in its principal historical phases"; those incidents "which, in the evolution of universal history, mark the important knots with which the closely entwined threads of the national dramas of the universe are bound together." The "Battle of the Huns," the "Destruction of Jerusalem," were included in the series; and to them were added the "Tower of Babel," the "Rise of Greece," the "Crusades," and the "Reformation." The whole of Hegel's philosophy was reproduced on the walls. But as the pictures are not new through any novelty or greatness of their conception, we need certainly not enter into the "astounding profundity" of their philosophy. The eye is struck with mere compositions, built up according to certain formulas, and _tableaux vivants_, put together with more or less cleverness, theatrical in effect and crude in colour. Of his other large pictures, the "Naval Battle at Salamis" caused a special stir through its sinking harem. In his "Nero" he contrasted the orgies of the Romans of the decadence with the enthusiasm for death of the early Christians. Again, in his great cartoon in charcoal of "Peter Arbue," he inflated to monumental dimensions a drawing suitable for a comic paper.