on 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 fo