OF AETS AND SCIENCES. 353 



with liis heart, — he tliinks, but does not feel, is not one of those 

 who, by giving proof of their human feeling, make us recognize that 

 all the world's akin. Hogarth holds up the mirror in which we see 

 London life reflected ; teaches us, as life teaches us, that sin leads to 

 ruin, and an honest cai-eer to contentment and peace of mind. Pie is 

 a great moralist, but no moral pedagogue. Thus indirectly should the 

 artist teach us, not putting his teaching too much in the foreground, — 

 not posing as an instructor, like Kaulbach and other artists of the school 

 of Cornelius, but avoiding all ostentatious parade of his learning or his 

 virtue. Ruskin, referring to the Neo-Mystics like Ovei'beck, says : " The 

 German painters seem to say in their pictures, ' See how religious I am ! ' 

 The French, ' How irreligious I am ! ' " Kaulbach, we may add, says, 

 " See how learned I am ! I have ransacked History, sacred and profone ; 

 Mythology ; Poetry, lyric, epic, and dramatic. I am omnium scibile, 

 and here behold I have poured out all my wealth of knowledge before 

 you without reward." In " Reineke Fuchs " he has no such opportunity : 

 he is an illustrator, and a very clever one, of an old German poem about 

 those knaveries of Master Reynard which led him on to fame and for- 

 tune. His work shows a fine sense of humor, and a deep iusigbt into 

 character. Reynard's conceit, impudence, and shrewdness are ad- 

 mirably set forth. He figures in turn as pedagogue, as criminal, as 

 hypocrite ; runs through the catalogue of shams and adroit manoeuvres 

 to escape punishment, and triumphs at last as Lord Chancellor. The 

 " Reineke Fuchs " of Kaulbach may live when the Tower of Babel, the 

 Entry of Titus into Jerusalem, and all those acres of Kaulbach's wall- 

 paintings are forgotten, because it has a human element in it, a genuine 

 life of its own. We have no space left to speak of Kaulbach's many 

 other important works, — tbe Battle of Salamis, the Marriage of Alex- 

 ander and Roxana, the Opening of the Tomb of Ciiarlemagne by Otho 

 the Great, his numerous portraits of distinguished persons of his time, 

 and his illustrations to Goethe's " Faust." Having already overstejjped 

 our limits, we must hurry to a close. Many may think that we have 

 insisted too much upon Kaulbach's defects, considering his wonderful 

 fertility of invention, technical ability, and intellectual acuteness. We 

 have, however, endeavored to judge his art according to the laws 

 which governed the immortal works of the great masters. These 

 teach us that the object of art is beauty in form and color ; that fine 

 composition rests upon unity of design, harmony, and grace. If, then, 

 we find these laws violated in any works of art, however otherwise 

 remarkable, we cannot admit them into the highest company. If we 

 have given Kaulbach too low a place on the sloj^es of Parnassus, others 

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