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.
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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.
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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
