We have only one more remark to make. The view of ritualism which we have given is, without doubt, the view of every disinterested mind. The world is oftentimes harsh and sometimes unjust, but in the end it calls things by their right names. Why, then, try to stultify the common sense of mankind by talking of the corruptions of Romanism, when all the time you admit every substantial part of its creed? Why be so dishonest to yourselves as to refuse to see that which is quite evident to every one else? Why talk enigmas and profess devotion to the Eastern churches, as if there were anything there more palatable to Protestants than the undisguised creed of Rome? In this country, the ritualists have endeavored to enlist some of their bishops on their side. Would to God they could gain them all; but even this would not remove Calvinism, Lutheranism, and what Dr. Dix calls Radicalism from the prayer-book. Yet have they gained any? The approbation of The Churchman's Guide, by Right Rev. Dr. Potter, is the only quasi-Episcopal sanction which they have, and this is very cautiously given, and no one can say how far it goes. Several ministers some time ago addressed a letter to Right Rev. Dr. Hopkins, presiding bishop of the Protestant Episcopal Church, asking for his opinions on the subject in question. We fancy the dismay of the advanced ritualists when he gives his opinion in favor of changes in vestments, the introduction of incense and other things of this kind, and then, with an unsparing bitterness, attacks their much cherished doctrines, the sacrifice of the Mass, and the real presence of our Lord in the blessed Eucharist. While this has been done on one side, a large majority of the Episcopalian bishops on the other have delivered themselves of an open protest against the whole movement, condemning it as nothing less than an attempt to Romanize the Protestant Church of England. Is it really so, that the voice of the bishops is of no weight, that it neither declares the sense nor speaks the authority of the Episcopal Church? What thinks the world of the high Anglican position at the present day? The world has said harsh things enough of the Catholic Church, but yet has ever given us the credit of consistency. If it condemn us, it does not declare that we are illogical. On the contrary, there is not one honest writer, disinterested in the question, who does not say that the Anglican position is wholly untenable, that it is neither Protestantism nor Catholicity, and that it can never stand either the test of time or that of reason.
Translated From The Historisch-Politische Blaetter.
Peter Cornelius, The Master Of German Painting.
Peter Cornelius was born on the 24th of September, 1783, in art-renowned Düsseldorf. Here had been collected for some time, through the artistic taste of the nobles of the Palatinate, those paintings and copies of antique sculpture known by the name of the Düsseldorf Gallery, which was afterward transferred to the Royal Palace of Munich. In the last century a school of art was also connected with this gallery.
Aloysius Cornelius, father of Peter, was inspector of the gallery, and drawing-master in the art school. Thus the boy was born in an atmosphere of art. It is said that, when little Peter was attacked by fits of childish ill-humor and uneasiness, his mother could quiet him by carrying him in her arms into the hall of antique statuary, where the stern and striking forms of the heathen divinities calmed his cries and dried his tears. If it be not historically true, it is nevertheless a poetic fact recorded in verse by his uncle, Peter Cornelius, a distinguished musician, still in Munich, that the boy, on one occasion being offered his choice of a piece of gold and a crayon, took the latter from his mother's hand, and ran immediately to make figures on the wall. This is a characteristic anecdote, though it may not be true; for during his whole life the painter despised money. Mammon had no charms for him; while his pencil, the instrument of his art, and the art itself had for him irresistible attractions. Peter grew up in the pious, stern Catholic family of his parents, and preserved to the end of his life a simple, childlike belief in his religion. Little was then known among the families of Rhineland of opposition to the faith, or of the doubts and objections of the philosophers against it. Cornelius himself, later in life, confessed that he had never read a book of philosophy. Such works were distasteful to him on account of their abstract and unideal character.
His school education was short and simple. Peter Cornelius went only four years to the primary school of his native city, as his school-fellow, Clement Zimmerman, can still attest. He made little progress; he never learned to spell correctly. Singular phenomenon! Cornelius, who thought so profoundly, and wrote so sublimely, and spoke so eloquently without preparation, like Napoleon I., could never write without blunders! But perhaps freedom from school restraint only made the genius of the artist to take a wider scope. The very fact that he did not spend many years of his life on the school-bench, filling his mind with useless items of knowledge, allowed his nature to expand, and gave him that sound freshness of mind and body, that purity of imagination, that directness and rectitude of feeling and character which are the causes of the beautiful creations of his genius.
Of the mathematics, the favorite science of modern times, he knew almost nothing. He used to say, in his curt manner, of an artistic dunce, "The booby knows as much of art as I do of algebra!" His peculiar talent displayed itself even in the primary school. When the professor of Scripture history described the scenes and persons of the Old Testament, they became real to the eyes of the boy, and on arriving home he was wont to cut their forms out of black paper with a dexterity that astonished every one. He was much in the studio of his father, who painted altar-pieces and portraits; he cleaned the pencils, brought him the colors, and performed other minor services. Soon he became a pupil in his father's drawing academy. Here he rapidly acquired the principles of art, and his father gave him Volpato's engravings of Raphael's masterpieces as models. Hand and eye of the young artist were thus early accustomed to the immortal works of the prince artist of Urbino. At the same time, he visited frequently the gallery of paintings, where the expressive and lively colored pictures of Rubens captivated his fancy. Cornelius copied at a later period several of these. In the year 1805, before the transfer of the collection to Munich, besides others he made a copy of "Diana and the Nymphs in the Chase," which was so well executed that it was very difficult to distinguish it from the original.
Young Peter now passed to the Academy of Art. The Greek classic style ruled in it at that time; and a distinguished artist, Peter Langer, was its director. Here Cornelius prosecuted his studies with the greatest diligence. He made a special study of the antiques which were extant in the collection. Still it appears that even then he had more inclination for the awakening national Christian and romantic school of Germany than for the cold imitations of ancient art.
But this very circumstance threatened to give an unlucky turn to his life. His father, Aloysius Cornelius, died in the year 1809, leaving a wife, five daughters, and two sons, with little resources. The good mother despaired of being able to provide for the support and education of her large family. The director, Peter Langer, misunderstanding the genius of Peter, then advised her to apprentice him to a goldsmith, saying that he would earn his bread more quickly at a trade, for there were too many painters. Cornelius thus experienced the same misjudgment of his superiors as Carstens in Copenhagen, and Schwanthaler in Munich.