OF ARTS AND SCIENCES. 851 



of Rome rise pale against the sky ; heaps of slain fill the middle dis- 

 tance ; and the foreground is occupied by the dead and dying, and 

 by a group of women, who are swe^it upwards as with the blast of a 

 mighty wind, to join the aerial combatants. Kaulbach had laid in this 

 subject upon his canvas in black and white, when it was seen by a 

 Polish nobleman, Count Raczinski, residing at Berlin. Struck with 

 its power, and convinced that Kaulbach's color would rather mar 

 than improve it, the Count purchased the unfinished picture and 

 placed it in his gallery, of which it still forms the great attrac- 

 tion. Long after, Kaulbach repainted this in the New Museum at 

 Berlin. 



It was, we believe, by the advice of Count Raczinski, that he now 

 determined to visit Italy, in order to study the works of the great 

 colorists. He remained some time at Venice, and spent a twelve- 

 month at Rome, whence he returned as little capable of using color 

 effectively as before. This is not to be wondered at. A man may 

 develop a feeling for color ; but if Nature has not implanted it in him 

 the effort to attain it is useless. A man is born with' an eye for color, 

 as he is with an ear for music ; and if the eye or the ear be defective, 

 no looking at the works of Titian and Veronese, or listening to those 

 of Mozart or Beethoven, will give him the one or the other. On 

 Kaulbach's arrival at Munich, ICng Louis made him his Court 

 Painter, and would not allow him to accept the directorship of the 

 Dresden Academy which was ofl'ered to him by the King of Saxony. 

 The' applause which greeted his next work, the Entry of Titus into 

 Jerusalem, was loud. The King of Prussia in vain requested to have 

 a duplicate, and then invited the artist to decorate the walls of the 

 New Museum at Berlin with six great compositions, of which it was 

 to be one. 



Kaulbach began to paint them in 1845, and completed them only 

 a few years before his death. Like Raphael at the Vatican, he accom- 

 panied each with a single allegorical figure, serving as its epigraph, 

 and with many symbolic figures and arabesques, whose hidden sig- 

 nificance could only be adequately explained in a library of volumes. 

 These paintings are executed in stereochromy (i.e. solid color, attQBog 

 and '/(/m^ia), a method of painting in which water-glass (a combination 

 of sand, potash, and charcoal, dissolved in boiling water) serves as the 

 connecting medium between the color and its substratum. The wall is 

 first saturated with water-glass, and when dry is painted upon with 

 colors mixed in distilled water. The colors are fixed by water-glass, 

 for the application of which a sprinkler is used. The advantage of 



