KAl'LUACII, WILIIELM VON. 



were not to blame for the losses sus- 



hy tin' Ilu.-Man merchants, he bad gi\. a 

 lions for compensating them, in order to 

 ii[i his friendly relations with the Russian 

 iinioiit. In tho hitter part of the year 

 accounts claimed that tliu relations 

 i'ii tho two countries had again hecome 

 friendly. 



1 1>\\ ard the close of the year 1874 the Gov- 

 iment of China collected two armies on' the 

 i tier of Kashgor. The smaller of these ar- 

 MIS surrounded, about 270 miles east of 

 by detachments of Dungones, and it 

 ii. MM! that it would soon disentangle 

 If, and then continue its march westward, 

 larger army was operating against the bulk 

 of the Kashgarian army, which was com- 

 manded by Kuli Beg, a son of Yakub Khan. 

 Ivaxh^arian troops, on the other hand, were 

 marching northward along the Thion-shan, 

 against Barkul. 



K Al'LUACH, WILHELM VON, a German his- 

 turical and allegorical painter, the most eminent 

 representative of the Diisseldorf or Cornelius 

 School, born at Arolsen, in the principality of 

 Waldeck, October 15 % 1805; died of cholera at 

 Munich, Bavaria, April 7, 1874. His father 

 was a goldsmith, who also possessed consider- 

 able skill as an engraver and miniature-painter. 

 lie wished his son to become an artist, but the 

 boy himself had no apparent liking for art, 

 preferring literature. His childhood was sad 

 and unhappy, and but for the misfortunes of 

 his family, which resulted in their removal 

 from Arolsen, his study of drawing under his 

 father, and the falling into his hands of some 

 engravings illustrating Schiller's dramas which 

 he had seen acted, he might never have become 

 a painter. But the genius for painting, once 

 aroused, became thenceforward predominant. 

 In 1822 his father sent him to the Academy at 

 Diisseldorf, where he came at once under the 

 teaching and influence of Cornelius, the direc- 

 tor and virtual founder of what is known as 

 the Dusseldorf School of Art. He proved a 

 docile pupil, and acquired rapidly his master's 

 style and ideas, yet even in his crudest early 

 performances there was evident an originality 

 which would not at all times submit to be 

 bound by the conventionalities, the allegorical 

 symbolical ideas of the Diisseldorf School. In 

 1825 he followed Cornelius to Munich, and 

 there painted in fresco on the ceiling of the 

 Odeon his first important work, " Apollo sur- 

 rounded by the Muses." This was followed by 

 allegorical representations of German rivers, 

 painted also in fresco, on the academy walls of 

 the Ilofgarten, in 1828-'29. Three or four years 

 before ho had been sent to paint in allegorical 

 figures the chapel of the Lunatic Asylum at 

 Dusseldorf, and the director of the asylum, be- 

 coming interested in him, had him taken over 

 the whole establishment. The impressions he 

 then received would not leave him, and he 

 made studies of them, and in 1828 painted his 

 picture, "The Lunatic Asylum." The work 



is in many respect* painful and repulsive; 

 on the faces are depicted all the dark and 

 gloomy passion* ; but it is intensely real ; all 

 the figures live, and breathe, and Buffer. He 

 returned to the allegorical and mystic style in 

 hi- frescoes, in the Royal Palace at Munich, from 

 subjects found in the poems of Wieland, Klop- 

 stock, and Goethe, as well as in his sixteen 

 mural paintings for Prince Birkenfeld, on tho 

 fable of Cupid and Psyche. In 1887 he paint- 

 ed "The Battle of the Huns," the subject of 

 which was an old legend which represented 

 that above the field of battle, on which lay the 

 corpses of the slain Romans and Huns, their 

 spirits again met in fierce and deadly battle. 

 This was Kaulbach's masterpiece, and the world 

 recognized the genius shown in it with ample 

 plaudits. It has been admirably engraved, like 

 nearly every thing that Kaulbach has done, and 

 the reader may easily study it for himself. 

 Kaulbach is no colorist, and his pictures lose 

 nothing by being engraved, so that in these 

 severe outlines lightly shaded we get all that 

 the master could give us in the original 

 frescoes or in his oil-paintings. " The Battle 

 of the Huns" was executed in sepia for 

 Count Raczynski. It shows skill in compo- 

 sition, power in drawing, academic knowledge 

 of all kinds, but better than all these proofs 

 of learning are the rush, the fury, the concentra- 

 tion, that make this little patch of earth and 

 air our world for the time we fix our eyes upon 

 it. The following winter appeared his most 

 charming work, the illustrations to "Reynard 

 the Fox." This is an admirable work, not only 

 from the thorough knowledge of animals it 

 displays and the life and character it imparts 

 to them, but from the deep vein of humor, the 

 satirical power, and the profound knowledge 

 of human character, which it evinces, and of 

 which there are so few traces in his other 

 works. His "Group of Bedouins" was also 

 produced in 1888, and the first sketch of his 

 " Destruction of Jerusalem," a colossal picture, 

 which he finished for the Pinakothek of King 

 Louis of Bavaria in 1846. Von Kaulbach's 

 renown had now extended throughout Ger- 

 many, and he was called to Berlin to decorate 

 the New Museum with six grand historic com- 

 partments. " The Tower of Babel," one of the 

 largest of his frescoes, a reproduction of his 

 " Battle of the Huns," and of " The Destruc- 

 tion of Jerusalem," the colossal figures of 

 "Moses," "Solon," "History," "Legend, "etc., 

 and a long frieze of allegorical subjects, com- 

 pleted five of these frescoes. The sixth and 

 last was "The Reformation," completed it. 

 1860. He then returned to Munich, and paint- 

 ed for the Pinakothek a series of frescoes 

 representing the "History of Art since the Ite- 

 nuissance." The most noted of his later works 

 The Epoch of the Reformation," exhib- 

 ited at tho Paris Exposition in 1867; but h 

 had also painted many portraits and designed a 

 host of illustrations of great value and interest, 

 including a series for the Gospels, engraved 



