The German painter CORNELIUS has recently composed a picture for the hospital of the Sisters of Charity in Berlin. The cartoon is at present in Dresden, where it will be cut in wood by the artist's old friend, Director von Schnorr, for the Art-Guild there. It will afterward be engraved upon steel, and sold for the benefit of the hospital. The subject is taken from the life of Elizabeth. The mother of the Landgrave of Thuringen has seen that Elizabeth has laid a beggar on the nuptial bed, for the purpose of nursing her, and he brings her son to see how his wife forgets his dignity as well as her own. But her worldly selfishness is shamed in the most surprising manner. An angel has drawn aside the curtain, and the landgrave, instead of a beggar, beholds the Saviour himself, who, with gentle aspect, stretches his hand toward the mother and son. Under the picture is the motto, "What ye have done to the least of these brethren, that ye have done to me." In its essential character this picture resembles the cartoon for a painting upon glass in the cathedral of Aix. In both pictures the artist has reverted to the sensibility of his youth, and created forms which recall the paintings of the old German and elder Italian masters. In the present drawing the figures of Elizabeth and of the two angels (one of whom is in a reverential posture behind the bed) are radiant with celestial tenderness and loveliness. From the countenance of Christ beams the divinely mild rebuke of the deepest feeling of mistaken virtue. The landgrave, a fine manly figure, is full of the earnest expression of the knowledge fast dawning upon his mind, and his mother shows characteristic worldliness subdued by a higher power. The whole picture is penetrated by the devotional sentiment of the middle ages. These are not modern figures in middle age costume, but men who belong to their time by expression and bearing. In the freedom and simplicity of treatment we recognize the master, who may properly reproduce the life and art of a past time, from his entire sympathy with it. Another cartoon in the great series for the Berlin Campo Santo, upon which Cornelius is now engaged, represents the happiness of those who hunger and thirst after righteousness. * * * * * A German critic, speaking of the statues of the Greek Slave by Powers and of the Wounded Indian by Stevenson, says of the latter that the touch of genius is visible in the work, but it is only the copying of nature, and has no ideal character; and of the former that the artist must have developed his talent by long and patient study and contemplation of the finest creations of art. The forms of nature are not only reproduced, with the most poetic truth, but a glow of spiritual beauty breathes all over the work. It is most interesting, concludes the critic, to see the laying of the corner-stone of American art, an edifice whose completion none of us will live to see.