KATONA, I8TVAN. 



KAULBACH, WILHELM. 



Captain Kater proceeded, with the instruments, in July 1818, to 

 DunaoM in the Mr of Wk-ht. to Arbor; Hill, Clifton, Leith Fort, 

 PorUoj, and the island of Unit, where he milo tlie necrasary experi- 

 meoU ; and he subsequently computed for those places the several 

 length* of the seconds' pendulum : an account of the experiment*, 

 with the computed reculU, wai publUhed in the 'Philosophical 

 Tranactions ' for 1819. Captain Kater aUo investigated, by tie aid 

 of Clairaut'a theorem, the diminution of terretrUl gravity from the 

 pole to the equator; and the great accuracy with which the force of 

 gravity may be determined by meant of Inn pendulum suggested to 

 him \e application of the latter to the important purpose of finding 

 the minute variations of that force iu different parts of a country 

 whoae lubatrate consist of materials having different degree* of 

 density. 



But the name of Captain Kater will be transmitted to posterity in 

 connection chiefly with his invention of the floating collimator, an 

 instrument which has conferred on practical science essential benefits, 

 its object bring the determination of the position of the line of 

 eollimation in the telescope attached to an astronomical circle ; and 

 this end is obtained by the collimator with greater certainty than by 

 the spirit-level, the plumb-line, or by the reflection of an object from 

 the surface of a fluid. Accounts of Captain Kater's horizontal and 

 vertical colliinators are given in the ' Philosophical Transactions ' for 

 1825 and 1823. 



The ' Philosophical Transactions ' contain also a paper by Captain 

 Kater on an improved method of dividing Astronomical Circles and 

 other Instruments ; one on the length of the French Metre estimated 

 in parts of the English Standard ; one on a remarkable Volcanic 

 Appearance in the Moon in February 1821 ; two papers on the com- 

 parison of British Standards of Linear Measures ; one paper entitled 

 'An Account of Experiments made with an Invariable Pendulum 

 belonging to the Board of Longitude ; ' and two papers on the ' Con- 

 struction and Adjustment of the New Standards of Weights and 

 Measures in the United Kingdom of Great Britain and Ireland.' 



Besides these valuable papers, Captain Kater was the author of a 

 large portion of the work entitled ' A Treatise on Mechanics,' con- 

 stituting one of the volumes of Dr. Lardner's 'Cyclopaedia' this 

 volume being the joint production of Lardner and Kater. In it is a 

 chapter on the subject of pendulums constructed on the principle 

 above mentioned ; and it may be observed that, for the purpose of 

 measuring the distance between the knife-edges. Captain Kater 

 employed a scale furnished with powerful microscopes, to one of 

 which a micrometer was adapted: with this apparatus the 10,000th 

 part of an inch becomes a measurable quantity. He published in 

 1832 'An Account of the Construction and Verification of certain 

 Standards of Linear Measures for the Russian Government,' 4to, 

 London. 



Captain Kater was a Fellow of the Royal Society of London, and 

 in 1814 be received from the Emperor of Russia the decoration of 

 the Order of St. Anne. After a life spent in philosophical research, 

 be died in London, April 26, 1835, leaving behind him many proofs 

 of his zeal for the promotion of physical science. 



KATONA, ISTVAN, or STEPHEN, the most minute and careful 

 historian of Hungary, was born on the 13th of December 1732, in the 

 county of Nograd, entered the order of the Jesuits in 1750, was 

 afterwards Professor at the University of Buda, of Poetry, Rhetoric, 

 Homiletico, Universal History, and the History of Hungary, and 

 died on the 17th of August 1811. He was the author of several 

 works in Latin and a few in Hungarian, but his great work is the 

 ' History of Hungary,' in Latin, in forty-one octavo volumes. In it 

 he carries the annals of the country from the earliest period to the 

 year 1801, in which the forty-first volume was published. At that 

 time however a large gap was left in the history for the reign of 

 Leopold I., and of some other sovereigns which were already written, 

 but which be could not obtain permiosion to publish, thin permission 

 however was subsequently given, and he lived to see the last volume 

 through the press just previous to bis decease. The work which is 

 written with considerable spirit and in lucid Latin, is the first book 

 to consult on Hungarian history, and it adds to its value that the 

 author gives at intervals biographical and bibliographical notices of 

 Hungarian authors. A shorter history of Hungary by the same 

 author in three volumes affords a readier means of arriving at his 

 result*, but in any great library the larger work is indispensable. 



KAUFMANN, MARIA ANGELICA, was born at Chur in the 

 Orisons, or Graubiindten, in 1741 or 1742. Her father, Joseph 

 Kaufmann, was a portrait painter, of very ordinary ability ; he how- 

 ever devoted unusual attention to the education of bis daughter, 

 who displayed uncommon abilities at an early age, both for painting 

 and for music. He took her, while still young, to Milan, where they 

 dwelt some time; and in 1763 they visited Rome, and there Angelica 

 attracted general notice among the virtuosi, and obtained considerable 

 reputation for her portraits in oil : in singing too, according to 

 Winckelmann, she was equal to any of her contemporaries. She 

 painted a half-length of Winckelmann and made an etching of it 

 herself. Wiuckelmann, in a letter to a friend, speaks in admiring 

 terms of Angelica's accomplishment*, especially her facility in speaking 

 the German, Italian, French, and English languages. 



In 1765 Angelica visited Venice, and in the same year came in 



company with Lady Wentworth to England, where she was received 

 in a most flattering manner: she was elected one of the original 

 thirty-six members of the Royal Academy, founded in 1768. She 

 returned to Italy in 1782, having in the previous year been married 

 to Antonio Zuoohi; she did not however chsnge her name, but was 

 always known as Angelica Kaufmann. She died at Roma in 1807, or 

 according to some accounts in 1808. She etched several plates, and 

 many of her own works have been engraved by Bartolozzi and other 

 eminent engraven. Angelica is said, previously to her marriage 

 with Zucchi, to have been cheated into a marriage with an adventurer 

 who gavo himself out as a Swedish count : as the story, however, 

 though often repeated, does not appear to be sufficiently authenticated, 

 an allusion to it is sufficient. The account of her which appeared in 

 Huber's 'Manuel dea Amateurs,' 4c., in 1796, was declared to be 

 wholly incorrect by Angelica herself, in an Italian periodical in 1806 ; 

 but the story of the impostor does not occur in this notice. 



Angelica, though not beautiful, had a graceful person and agreeable 

 manners, and she was very highly accomplished generally. To these 

 attractions must be attributed her success, for as a painter sho did 

 nothing of value beyond an elegant female portrait, or an occasional 

 female figure. Her compositions are deficient in every essential 

 quality of art; in drawing she was extremely feeble, and her male and 

 female characters are hardly otherwise different than in costume. 

 There is a large allegorical painting ' Religion attended by the Graces ' 

 by her in the National Gallery. 



(Uothe, WMclmam vnd tein Jahrhunderl ; Fiorillo, Gtichicltte 

 der Zeichnendtn Kiinttc in DruttMantl, <tc. ; Nagler, Kiimtlcr- 

 Ltxicon.) 



KAULBACH, WILHELM, Director of the Academy of Art at 

 Munich, was born on the 15th of October 1804, at Arolsen in Waldeck. 

 He was at first set to learn his father's business, that of a goldsmith, 

 but his aversion to it being very decided, he was transferred to a farmer 

 with equally little success ; when, after a brief trial, his father yielded 

 to his strong inclination for painting, and placed him in the Duxseldorf 

 Academy, then under the direction of Cornelius. There he highly dis- 

 tinguished himself, and so secured the esteem of his master that when 

 Cornelius had been called to Munich he requested that Kaulbach 

 might be invited to assist him in painting the grand series of frescoes 

 entrusted to his hands. [CORNELIUS.] Kaulbach accordingly went to 

 Munich in 1825, where he painted, among other things, six symbolic 

 figures iu the open arcade on the west side of the Hofgorten some of 

 the earliest works in the revived art of fresco; 'Apollo with the Muses,' 

 on the ceiling of the Odeon ; and several of the designs on the walls of 

 the Glyptothek, &c. It was thought that Kaulbach caught more 

 happily the poetic and symbolic manner of Cornelius than any other 

 of that great master's pupils ; but at the same time, by close study of 

 nature and wide reading, he succeeded in preserving his individuality. 

 A proof that he could paint an original design with at least as much 

 ability as he could n-produco one from the cartoon of his master was 

 early given in bis famous ' Irrcnhaus,' painted in 1828-29, in which he 

 bos represented with great power and distinction of character the 

 various aspects of lunacy, from studies made some years before in the 

 Lunatic Asylum at Dusseldorf : Raczynski has Riven an engraving of 

 this work in the Atlas to his ' Histoire dc 1' Art Modcrne en Allcmagne,' 

 He further sought to strengthen his powers of observation iu these 

 earlier years by a diligent study of the works of Hogarth, to whom 

 he was wont to acknowledge himself in no small measure indebted ; 

 and evidence that he had not studied him without catching something 

 of his spirit as well as his manner, may be seen in his ' Der Verbrecher 

 aus verlorener Ehre,' in which, whilst all the figures are remarkably 

 true to nature, the justice, the clerk busy writing, and one or two 

 others, are quite Hogorthian in quaint characteristic humour of atti- 

 tude and expression. Still Kaulbach directed his attention mainly to 

 poetic subjects, in which, following the example of Cornelius, the 

 symbolic mode of treatment was predominant. One of the most 

 remarkable of his works, after ho had released himself from pupilage, 

 was his ' Hunneuscblact,' founded on an old poem, in which the souls 

 of the Hunnish heroes, whoso bodies lie dead under the walls of Rome, 

 are represented as continuing the combat in the air. As soon as his 

 eminent original ability was fully recognised, Kaulbach was employed 

 by the art-loving King Ludwig to take a share in the decorations of his 

 new palace (Neue Konigsbau) iu Max Joseph's Square, Munich the 

 queen's apartments being especially entrusted to him. The Throne- 

 room he adorned with paintings from the masterpiece of Klopstock ; 

 those on the walls being executed in fresco, the ceiling in encaustic. 

 The drawing-room he filled with designs from Wiehmd, executed 

 wholly in encaustic ; the architectural decorations being also designed 

 by Kaulbach to accord with the paintings. Here however only the 

 designs were by Kaulbach, the actual painting of this room being 

 executed chiefly by his pupils Korster and Neureuther. For the State 

 Bed-room he made a series of thirty-six very elaborate designs from 

 Uothe : these he painted chiefly with his own hand, the walls, as in 

 the Throne-room, being painted in fresco, the ceiling in encaustic. 



But though the early triumphs of Kaulbach were won in fresco, he 

 has in his later years more and more devoted himself to painting in 

 oil His grandest work in oil that probably on which he would him- 

 self be most disposed to rest his fame is bis 'Zerslorung Jerusalems 

 durch Titus,' a vast work some 17 feet by 19 feet (English), and one 



