He was extremely hostile to the Life of Jesus, by Renan, and considered the attempt to take away the members of divinity from the head of Christ as highly injurious to Christian art. The gray-headed prince of painting, on this account, painted the "Resurrection," choosing for subject the very moment when the hitherto incredulous Thomas exclaims, "My God and my Lord!" He exhibited this picture with religious enthusiasm, and pointed it out to visitors, saying, "That is against Renan!" He wished to leave behind him a clear profession of his belief in the divinity of Jesus.
Cornelius spent the last six years of his life in Berlin, in a kind of hidden life, continually occupied, like Plato, in his old age, always lively, loquacious, and fond of society, so that he gathered around him a host of young artists and savans. The tranquillity of his life was only broken at this period by a few excursions. In the year 1862, he went to Düsseldorf; in 1863, to Trier on professional business. In 1864, he made his last visit to Munich, toward which his heart always yearned.
His visit to Munich shortened his life. The fatigues of the journey, and the visits which he received and was obliged to make, as well as the ovations tendered him, wore him out. He became ill, and returned sick to Berlin. A disease of the heart declared itself; in February, 1867, his case became hopeless. He called for a priest, and received all the sacraments of the church twenty-four hours before his death. He took leave of his beloved wife and friends, seized his crucifix, and breathed his last, uttering the words: "Pray! pray!" He died on the 6th of March, at ten A.M., on Ash-Wednesday. Over his remains was hung his own painting of Pentecost, as over those of Raphael the picture of the Resurrection. He was buried on the 6th of March, and all the nobility and talent of Berlin formed a part of his funeral cortége.
Death has taken from us this great master of German painting; but, to use the language of St. Bernard, it has only taken his cloak, for his spirit still lives! It lives in the heavenly Jerusalem. It lives in his works, in the history of art, and in the breasts of his pupils on earth, who bear aloft the standard of pure, ideal, religious art. All will bear testimony that Cornelius is the man who freed modern German painting from foreign mannerism, opened the way for generous monumental frescoes, which embraced with equal cordiality the three worlds of the classic German, national, and Christian manifestations; who portrayed the deepest thoughts in the most noble forms, and whose works are unrivalled in colossal proportions, richness of expression, and striking characterization, architectural proportions and dramatic life, by any masterpieces of antiquity; while, in the piety and sweetness of the countenances portrayed and the harmonious coloring of the whole, they exceed anything in modern art.
The news of his death brought sadness everywhere. In Munich, Mozart's solemn Requiem was sung for his soul. Professor Carriere pronounced a panegyric on him in the evening. A few days after, Professor Sepp pronounced another eulogium on him, calling him the Shakespeare of painting, whilst Overbeck he called the Calderon of the art.
In Stuttgart, when the news of his death was heard, the halls of the church, where a requiem was sung for his soul, were hung with copies of his own paintings. Lübke spoke on the occasion, and drew a parallel between Cornelius and Phidias and Michael Angelo. In Dresden, Hettner made the funeral discourse. Finally, in Rome, the Eternal City, from which Cornelius had gone forth to conquer a new world of art, and to which he had returned in order to draw inspiration from its associations and have a perfect intuition of the ideal, a solemn requiem was sung for him in the German national church of the "Anima," at which King Louis I., of Bavaria, who had opened the path of immortality to the artist, Overbeck, who had loved him for fifty-six years, and all the artists of Rome, assisted. A few days before, King Louis had written a letter to the widow of Cornelius, who lived in Berlin. In it occurred these words: "Be assured of my profound sympathy in your great loss; but not alone your loss, but our common loss. The sun of heaven became dark when he who was the sun of art was extinguished. But the sun will shine again in the heavens, but we shall hardly ever see another Cornelius!"
The whole world on both sides of the Alps have united in rendering homage to the genius of Cornelius, and laying crowns on his sepulchre at Berlin. But the last monument to his glory would be the ornamentation of the cathedral in that city with his wonderful compositions. That such an event should happen there was given to Cornelius the word of a king.
We who admired and loved the artist and his genius only pray that he may enjoy now an eternal, happy rest in the bosom of the Author of beauty, from whom he always drew the inspiration of his art.