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CORNELIUS CORNELL UNIVERSITY 363 and Niebuhr. The revival of fresco painting was conceived to be the fittest means of carry- ing into effect their ideas, and Bartholdy, the Prussian consul general, initiated the move- ment by employing the leading artists of the new school to paint the walls of his villa. Cornelius executed for him two frescoes, "Joseph interpreting the Dream of Pharaoh's Chief Butler," and "Joseph recognizing his Brethren," with so much success that he was commissioned by the marquis Massimi to dec- orate his villa with frescoes from the Divina Gommedia of Dante. He advanced no further than the designs of these, which were after- ward engraved by Schofer, having received an invitation from the crown prince of Ba- varia to aid in the decoration of the Glypto- thek in Munich. Another of his most cele- brated works executed at Rome was a series of designs illustrating the Nibelungenlied, the thoroughly national spirit of which has made them very popular in Germany. Cornelius left Rome in 1819, and having reorganized the Dusseldorf academy, of which he had been ap- pointed director, commenced his labors on the Glyptothek, in which he was steadily em- ployed, with the assistance of a band of pupils, for the next ten years. Two immense halls were appropriated to him, one of which, the hall of heroes, he illustrated with subjects from the Iliad, and the other with a series illustra- ting the whole Grecian mythology. In both the figures are of colossal proportions, and in grandeur of general conception, in simplicity of arrangement, and in evidences of profound learning, the work is one of the most remark- able of modern times. During this period the General decoration of the corridors of the Pina- othek was planned by Cornelius, although the designs for particuar parts and the direction of the whole were confided to Zimmermann and other artists, whom Cornelius, who had now become director of the Munich academy, had thoroughly imbued with his principles. Amid these employments he found time also to execute the frescoes in the Ludwigskirche, one of which, the " Last Judgment," 64 ft. by 30, is the largest picture in the world. In 1833 Cornelius left Munich, which under his influence and that of King Louis had become a great school of art, and resumed his labors in Rome. In 1838 he was elected a foreign mem- ber of the French institute, and in 1839 he went to Paris, where he was warmly wel- comed by the Parisian artists. His reputation as the chief restorer of fresco painting led the British government to consult him with refer- ence to the decoration of the new houses of parliament. In 1841 he accepted an invitation from the king of Prussia to become director of the academy of Berlin, and to paint a portion of the frescoes in the Campo Santo. The car- toons of these are well known by the pub- lished plates, and that of the "Four Horse- men " of the Apocalypse is one of his most powerful and original creations. He was also employed to superintend the decoration of the Berlin museum, and furnished the design for the baptismal " Shield of Faith," presented by the king of Prussia to his godson the prince of Wales. In 1853 he began another design of the " Day of Judgment " for the apsis of the cathedral in Berlin, in preparing the cartoons for which he made repeated visits to Rome. In 1855 his cartoons received a medal of honor at the Paris exposition. His later years were passed at Berlin, where he was principally oc- cupied with the paintings for the Campo Santo. CORNELIUS NEPOS. See NEPOS. CORNELL UNIVERSITY, an institution of learn- ing situated at Ithaca, N. Y., named from its founder, Ezra Cornell. The university grounds embrace more than 200 acres lying on an up- land E. of Ithaca, nearly 400 ft. above Cayuga lake. The site overlooks the town and the valley beyond, and affords an uninterrupted view of the lake with its lofty banks for a dis- tance of 20 miles. The university buildings are situated on East hill, outside the limits of the town and half a mile north of the town hall. Three of them, the McGraw building and the South and North universities on either side, as represented in the accompanying illus- tration, stand in a row on the edge of the hill and parallel with the line of the lake and the valley. A little further north and at right angles to the main line is the Sibley building, 80 by 40 ft. ; while the laboratory, a tempo- rary wooden structure, stands in the centre of the enclosure and opposite the McGraw build- ing. Except the laboratory, these buildings are of dark blue stone with light gray lime- stone trimmings. The McGraw building, the gift of John McGraw of Ithaca, consists of a main edifice and two wings, and is 200 by 60 ft., with a tower 120 ft. high containing the great bell of the university and a set of chimes. From this tower is obtained a view of the en- tire surface of Cayuga lake, 40 m. in length, and of the long deep valley extending many miles S. of the lake. The view includes seve- ral counties and the courses of many streams. This edifice contains the library and the va- rious museums of the university and numer- ous lecture rooms. The South and North uni- versities are architecturally alike, each 165 by 50 ft. and four stories high. They are devo- ted to cabinets, lecture, library, and reading rooms, and dormitories for students. The Sibley building, erected through the liber- ality of Hiram Sibley of Rochester, N. Y., is occupied by the department of the mechanic arts, and contains the engine room, printing presses, machine shop, and draughting rooms, Standing apart from the above mentioned group of university buildings, and nearest of all to Ithaca, which it overlooks on its E. side at an elevation of 300 ft., is Cascadilla place, a handsome structure of dark blue stone with white stone trimmings, five stories high and 195 ft. long by 100 wide. It derives its name from its situation on Cascadilla creek, which is