A new mode of fresco painting, called Stereo-chromie, which has for a long time excited attention among the artists of Germany, has it appears been perfected by a pupil of Kaulbach, in his own studio in Munich. The design is Kaulbach's, and the work was executed under his superintendence. It represents the figure and character of a Prophet, and will be sent to the London Exhibition. 'The figure, grand and majestic as it really is, cannot be expected to convey to the English public anything but a faint idea of the genius and skill of Kaulbach,' but as a specimen of this new and wonderful mode of painting, it will be regarded, by artists, with the greatest curiosity.

Stereo-chromie was discovered by Obergrath von Fuchs, a distinguished chemist; and is considered by German artists as one of the greatest discoveries of the age. They claim for it great advantage over ordinary fresco and encaustic painting, in its superior durability and the power which it affords the artist of retouching and glazing his picture. The colors are mixed with water, the whole being permanently fixed by occasional sprinklings of water, in which a certain proportion of fluoric-acid (Flassspath saurs) is mixed.

Stereo-chromie is in fact a preserver of the wall on which it is painted, By a certain chemical action of the solution sprinkled over the picture, while in progress, the whole ground on which it is placed, and the picture itself becomes one hard flinty mass, the very colors of which are converted into the hardest stone.

This singular species of painting resists, it is said, every influence of climate; and may be securely used as an external coating for buildings in any part of the globe. Neither is the artist confined to any particular time in executing it, leaving off when he pleases and for any length of time. In these points it is a most important recommendation, which cannot by any means apply to fresco work, nor, except within certain limits, to oil painting. The highest advantage of all, however, is that the same part may be painted over as often as the artist please, which is impossible in fresco; and consequently the most perfect harmony may, by this new mode be preserved throughout the largest possible painting. In fresco the artist is the slave of his materials; here, he is the arbitrary master and to the fullest extent.—Banner of the Union, Pa.