KAULBACH, Wilhelm von, a German painter, born in Arolsen, Oct. 16, 1805, died in Munich, April 7, 1874. His mother was a superior woman, and his father was a skilful goldsmith and engraver. But the family was so poor that he and his sister were glad to accept even stale bread from the peasantry in exchange for the father's engravings; and this is said to have suggested to him his earliest work, “The Fall of Manna in the Wilderness.” The sculptor Rauch procured his admission to the academy of Düsseldorf. He became the most distinguished pupil of Cornelius, and in 1825 followed him to Munich, where he spent the rest of his life, the last 25 years as director of the academy. Under the direction of Cornelius he designed (1825-'8) many frescoes for the new buildings at Munich, including “Apollo and the Muses,” for the ceiling of the Odeon; designs from Klopstock's “Battle of Hermann,” and from Goethe's and Wieland's poems, for the royal palace; purely classical illustrations of the story of Amor and Psyche, for the palace of Duke Max; and many allegorical figures for the arcades of the palace garden. These works established his reputation as the most admirable exponent of the idealistic school, while his “Lunatic Asylum,” commenced at Düsseldorf, where he had taken a morbid delight in watching the insane, made him famous as an equally great master of realism. His next great work, the “Battle of the Huns,” or “Spectre Battle,” representing the legend of the continued combat in mid-air between the spirits of the Huns and of Romans who had fallen before the walls of Rome, exhibited on the largest scale his genius for the symbolical and allegorical. Count Raczynski commissioned him to paint the work in sepia, and he finished it in 1837. The king of Saxony now offered him the direction of the academy of Dresden, with a salary of 2,000 thalers; but Kaulbach preferred to remain in Munich, although he received only 800 florins from the king of Bavaria. In 1838 he finished his masterpiece, the “Destruction of Jerusalem by Titus,” a colossal cartoon giving the fullest scope to his imaginative power and to