convent for their home) who had banded together for resolute study and mutual criticism. At Rome Cornelius participated, with other members of the brotherhood, in the decoration of the Casa Zuccari (the residence of Jakob Salomon Bartholdy, the Prussian consul general), and the Villa Massimi, while at the same time also working on designs for the illustration of the Nibelungenlied. Return to Germany In 1819 Cornelius left the frescoes at the Villa Massimi unfinished and returned to Germany, having been summoned to Munich by the crown-prince of Bavaria, later King Ludwig I, to direct the decorations for his new sculpture gallery, the Glyptothek. In 1821 he took on, in addition to his work for Ludwig, the directorship of the Düsseldorf Academy. He soon discovered, however, that attention to such widely separated duties was incompatible with the just performance of either, and so eventually he resigned his post at Düsseldorf, some of his pupils following him to Munich to assist him there. At the death of Director Langer, 1824–5, he became director of the Munich Academy. Works in Munich and Berlin The fresco decorations of the Ludwigskirche in Munich, which were for the most part designed and executed by Cornelius, were perhaps the most important mural works of their time. The large fresco of the Last Judgment, over the high altar in that church, measures in height by in width. The frescoes of the Creator, the Nativity, and the Crucifixion in the same building are also upon a large scale. Other major works in Munich included his decorations in the Pinakothek and in the Glyptothek; those in the latter building, in the hall of the gods and the hall of the hero-myths, are perhaps the best known. In about 1839–40 he left Munich for Berlin to work on a series of cartoons, depicting the Apocalypse, for a cycle of frescoes commissioned by Frederick William IV for a proposed "Campo Santo" or royal mausoleum in Berlin. The king abandoned his plans following the revolution of 1848, but Cornelius continued to work on the cartoons for the rest of his life. He maintained close contact with the art world in Rome, and returned to live there between 1853 and 1869. Style and technique Cornelius, as an oil painter, possessed little technical skill, and his works do not exhibit any instinctive appreciation of colour. Even as a fresco painter his manipulative power was not