ure than
the latter as a setting for them; "I cannot avoid the impression that
here the old monuments of art are not the end, but the means to the
execution of the great edifice of modern times in which it is sought to
embody the entire encyclopaedistic, historical experience in art
belonging to the present epoch."

Another edifice which this prince intends as a monument of his reign, is
the new Campo Santo, or burial-place for members of the royal family,
which he is erecting at Berlin. This building, which will surround a
court where are the tombs, is to be ornamented with frescoes by the
eminent painter Cornelius. This artist has just completed the third
great cartoon for these frescoes. Its subject is the Resurrection. Its
place is on the right of the "Heavenly Jerusalem" and opposite to the
"Four sides of the Apocalypse," which is on the left of the "Downfall of
Babylon." Thus on one side of the hall is represented the destruction of
Evil, on the other the triumph of the Good. The Resurrection, which has
been changed somewhat from the original design, is described as follows:
On a rock is seen an angel in a position of repose, with the book of
life and death unopened on his lap, his right hand grasping the sword of
justice. His face is thoughtful and sublimely earnest. On the left are
figures full of terror and despair, on the right all is heavenly joy and
satisfaction. In the centre is a re-united family animated by the
delight of meeting again. At the side of this family are two girls and
above them three youths, noble and beautiful persons. The faces of the
maidens are turned upward, illuminated by the eternal light of heaven.
On the same side of the family are three persons advanced in age, one
woman and two men, waiting in pious hope and submission for the decision
of the judge; on the other side, a little higher, three figures seek and
find that salvation is theirs; a youth whose foot reaches back among the
condemned is drawn mildly forth by an angel, and beside him is a tender
maiden with her young brother in her arms, whom she holds lovingly, as
she follows the celestial messenger. The group on which Justice
sorrowfully fulfils its office, occupies about a quarter of the canvas;
it consists of two youthful and two more aged figures. On a height a
woman wrings her hands in the anguish of remorse, while another gazes in
despair upon the ground. A youth lies backward leaning on his right
hand, shading his eyes