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92 Section 3. BERLIN. National Gallery:
of clouds; *1107. Palace garden of Prince Albert (1846); above, 981.
Falcon pursuing a dove (prize shield for a shooting competition);
987. Wall of a studio; 991. Torch-light procession of students;
above, 980. Portrait of C. H. Arnold. — 995. Ed. Meyerheim, Por¬
trait of Menzel when a youth.
Returning to the Cupola Room, we now enter the —
Menzel Saloon. The upper parts of the walls are decorated by
Ed. Bendemann with allegorical figures symbolizing the creation
of a work art. The room contains chiefly battlepieces and portraits.
Much the finest are those by A. von Menzel: to the right, *218.
Frederick II.'s round table at Sanssouci (1850); *219. Flute-concert
at Sanssouci (1852); *975. Frederick addressing his generals before
the battle of Leuthen (unfinished); 220. Rolling-mill (1875); on
stands in the middle: to the left, *490. Departure of King Wil¬
liam I. for the army in 1870; to the right, *481. Coronation of King
William I. at Konigsberg in 1861 (sketch for the painting p. 68)
and studies and sketches for it. ■'■ 20. Reinh. Begus, Bust of Menzel.
— To the left: 52. W. Camphausen, Diippel after its taking in
1864; 552. J. Scheurenberg, Zeller the philosopher; 600. Werner
Schuch, Equestrian portrait of Emp. William II.; 567. Franz Adam,
Cavalry attack at Mars-la-Tour (1870); above, 527. Fritz Werner,
Vivandiere in the Seven Years' War; 446. F. Adam, Cavalry attack
at Sedan (1870); 602. Heiurich von Angeli, Emp. William I.
Cornelius Saloon. The wall-paintings, by Peter Janssen,
depict the Sway of Cupid, the Seasons and the Periods of the Day;
in the spandrels, Olympus, the realms of Neptune and Hades. This
room contains *Cartoons by Peter v. Cornelius for the Campo Santo,
a royal burial-place planned by Frederick William IV. (see p. 63).
Soon after his removal to Berlin (1841) Cornelius commenced this
work, and he was engaged upon it down to the day of his death
(1867). The scenes were intended to represent in connection with
the Apocalypse, the Redemption of Man, the Incarnation, the Sway
of the Church, and Last Judgment. Above each painting is a lunette,
and below is a narrow painting in which the chief snbject is illu¬
strated and explained, while between the principal paintings were
to be placed eight small groups, typifying the Beatitudes of the
Sermon on the Mount. The finest of the principal paintings are the
*Apocalyptical Riders (to the right, No. 6; one of the most remark¬
able creations of the artist), the Resurrection of the Body, and the
Descent of the Holy Ghost. While in these we admire the richness
of conception, the dramatic life, and the boldness of the drawing,
the groups of the Beatitudes appeal to us by the beauty and com¬
pactness of their outlines, no less than by the expressiveness of their
figures. On the S. wall are *Five cartoons for the frescoes in the
town-hall at Aix-la-Chapelle by Alfred Rethel (scenes from the life
of Charlemagne). On the walls of the apse are five decorative bibli-