Correspondence

Wm. M. Rossetti, C. P. Cranch
1856 The Crayon  
Known as the Early Journal Content, this set of works include research articles, news, letters, and other writings published in more than 200 of the oldest leading academic journals. The works date from the mid--seventeenth to the early twentieth centuries. We encourage people to read and share the Early Journal Content openly and to tell others that this resource exists. People may post this content online or redistribute in any way for non--commercial purposes. Read more about Early Journal
more » ... out Early Journal Content at http://about.jstor.org/participate--jstor/individuals/early-journal--content. JSTOR is a digital library of academic journals, books, and primary source objects. JSTOR helps people discover, use, and build upon a wide range of content through a powerful research and teaching platform, and preserves this content for future generations. JSTOR is part of ITHAKA, a not--for--profit organization that also includes Ithaka S+R and Portico. For more information about JSTOR, please contact support@jstor.org. _THE CRAY-QN._ lgg ment funds, we would ask in the name of all that is beautiful and classic in builder's art, where is tlie encouragement to our undeveloped architecture ? Where are the best minds in the profession encouraged by this patronage, working out buildings whose excellence shall vie with our me chanic arts, and whose lasting beauty shall attest a rich intelligence and art really worthy of our day ? ?uxxnfuinxu Rome, 21st January, 1856. Gobnelius, the distinguished German painter, who has just received one of the great medals for his cartoons at the Paris Exposition, has been living for two years past in Rome. He is now an old man, but he still occupies himself with his art, and has lately finished a design, which his ad mirers regard as one of his finest works, and in which, he himself, takes a pleasant un affected satisfaction. It is now in his studio in the Palazzo Poli. The work is a highly finished sketch in tempera for a fresco, for the apse of the church proposed to be erected by the royal family of Prussia, in the Campo Lanso at Berlin. It represents the waiting for the Last Judgment, the moment of expectation. The composition is a, full, but not complete one. The immense space to be occupied, by the fresco, a space of some ninety feet in height (Michael Angelo's Last Judgment is but sixty feet high), affords ample room for many figures, and for the noblest design. Cornelius has .introduced, certainly many figures, not fewer-than 120.* He has drawn part of his inspiration from the book of Revelations, but the types of the Apoca lypse are strangely mingled with the reali ties of the Gospel, and the tradition of the church. In the upper centre of the picture is the Saviour, seated in a glory surrounded and supported by seraphs. At his feet are the four beasts of the Apocalypse. At his right stands the Virgin, and opposite tp her St. John the Baptist. Immediately above, the figure of Christ, and forming the upper group in the picture, are a band of angels bearing the instruments of the passion, and .on either side are the twenty-four elders, in white raiment, casting down their crowns. Beneath these, outside of the Virgin; and of St. John, are two rows of figures, the upper representing martyrs, with palms in their hands, the lower apos tles and saints. Beneath the Saviour is a group of angels, of which, the principal figure holds the not yet opened book of life, while the others have the trumpets of judgment in their hands, awaiting for the signal for sounding them to be given. Below, in a band stretching nearly across the picture, are the chief fathers of the Greek and Latin churches. They rest upon a cloud which serves, as it were, for the base of Heaven, but is connected at each end with earth by aerial steps, as if to signify the union of the church in glory above, with the church in struggle below. On these steps at the righj There axe 120.
doi:10.2307/25527430 fatcat:zm25oztakvfgvjdv32bew23o4e