Page:Cyclopedia of painters and paintings - Volume I.djvu/375

 Dr. Weber, Berlin; Little Altarpiece with Madonna, Saints, Donor and Donatrix, Prince Frederick's Collection, Hague; Noli Me Tangere (1507), Altarpiece (1523), Cassel Gallery; Altarpiece with Crucifixion (?), Cologne Museum; Birth of Christ, with Angels, Shepherds, etc. (1512), Naples Museum; Lucretia, Pesth Museum; Adoration of the Magi, Archbishop Museum, Utrecht; Portrait (1533), Museum Kunstliefde, Utrecht; Adoration of Magi, Verona Museum; Altarpiece, Ambras Collection, Vienna; Altarpiece (1511), Male Portrait, Museum, ib.; Departure of Christ from Mary, Gothic House, Wörlitz; Portraits of a Dutch Gentleman and Lady, with SS. Peter and Paul, National Gallery, London.—Allgem. d. Biogr., iv. 482; Förster, Denkmale, XI. iii. 15; Jahrbuch der köngl. preuss. Kunst-*sammlg., iii. 13; Kunst-Chronik, xv. 579; Repertorium f. K., i. 186; Zahn's Jahrbücher, v. 48; Zeitschr. f. b. K., ii. 41.

CORNELISZEN, CORNELIS, called Cornelis van Haarlem, born in Haarlem in 1562, died there, Nov. 11, 1638. Dutch school; history and portrait painter, pupil of Pieter Aertszen, the younger, and in Antwerp of Gillis Congnet; one of the best artists of that period; founded with Karel van Mander, about 1583, the Haarlem Academy. Works: Massacre of the Innocents (1590), do. (1591), Adam and Eve (1592), Wedding of Peleus, Portrait of Dirk Volkersz Koornhert, National Museum, Amsterdam; Young Bacchus (1607), Rotterdam Museum; Archers' Banquet (1583), do. (1599), The Haarlem Miracle (1591), An Auto-da-fé (1595), Baptism of Christ, Adam and Eve (1620), Christ blessing the Children (1633), Haarlem Museum; The Deluge (1592), Venus and Cupid (1610), Venus and Adonis, Democritus and Heraclitus (1613), The Golden Age (1615), Brunswick Museum; Erection of Brazen Serpent (1597), Darmstadt Museum; Female Portrait, Provinzial Museum, Hanover; Golden Age (1616), Toulouse Museum; Allegory on Brevity of Life (1617), Copenhagen Gallery; Bathsheba (1617), Berlin Museum; Venus, Apollo, and Ceres (1614), Dresden Museum; Dragon devouring the People of Cadmus.—Allgem. d. Biogr., x. 260; Ch. Blanc, École hollandaise; Immerzeel, ii. 4; Kramm, ii. 621; Riegel, Beiträge, i. 119; ii. 157; Van der Willigen, 114.

CORNELIUS, PETER VON, born in Düsseldorf, Sept. 23, 1783, died in Berlin, March 6, 1867. German school; history painter, pupil of his father, Aloisius, and from 1796 at the Düsseldorf Academy under Langer. After his father's death in 1799 he contributed to the support of his family by painting portraits, making designs for calendars, etc., until about 1806-1808, when he was employed to decorate the cupola and choir of St. Quirin's at Neuss. In 1809 he went to Frankfort, executed historical paintings for the Prince Primate von Dalberg, and illustrations to Faust, which were highly praised by Goethe. At Rome (1811-1819), he stood between the pre-Raphaelites led by Overbeck and the classic Germans under Carstens. His compositions from the Niebelungen Lied were so successful that he gladly accepted the invitation of the Consul-General Bartholdy to decorate the Casa Zuccaro with frescos from the history of Joseph, conjointly with Overbeck, Schadow, and Veit. In 1819 King Louis I. of Bavaria called him to Munich, and as he was at the