great. In critically examining the execution in colour of some of his magnificent designs, one cannot help feeling that he was, in this respect, unable to do them full justice. Cornelius and his associates endeavoured to follow in their works the spirit of the Italian painters. But the Italian strain is to a considerable extent modified by the Dürer heritage. This Dürer influence is manifest in a tendency to overcrowding in composition, in a degree of attenuation in the proportions of, and a poverty of contour in, the nude figure, and also in a leaning to the selection of Gothic forms for draperies. These peculiarities are even noticeable in Cornelius's principal work of the "Last Judgment", in the Ludwigskirche in Munich. The attenuation and want of flexibility of contour in the nude are perhaps most conspicuous in his frescoes of classical subjects in the Glyptothek, especially in that representing the contention for the body of Patroclus. But despite these peculiarities there is always in his works a grandeur and nobility of conception. Although not dexterous in the handling of the brush, he could conceive and design a subject with masterly purpose. If he had an imperfect eye for colour, he had vast mental foresight in directing the German school of painting; and his favorite motto of "Deutschland uber alles" indicates the direction and the strength of his patriotism. His pupils included Karl Hermann, Wilhelm von Kaulbach and Adam Eberle. Cornelius often relied on pupils and assistants for the execution, and sometimes even the design of the projects of which he was in charge. The cartoons for the Glyptothek were all by Cornelius's own hand; in the Pinakothek, however, his sketches and small drawings sufficed, and at the Ludwigskirche even the invention of some of the subjects was entrusted to Hermann. Influence In 1855 Théophile Gautier wrote that Cornelius "enjoyed a celebrity such as few artists enjoy in their lifetime", adding that he was admired "as if he were already dead". To comprehend and appreciate thoroughly the magnitude of the work which Cornelius accomplished for Germany, we must remember that at the beginning of the 19th century Germany had no national school of art. Germany was in painting and sculpture behind all the rest of Europe. Yet in less than half a century Cornelius founded a great school, revived mural painting, and turned the gaze of the art world towards Munich.