 After the ascendancy of Napoleon Bonaparte at the end of the century and the emancipating reforms in European countries connected with the policy of Napoleon and the Jews, the "Eternal Jew" became an increasingly "symbolic... and universal character" as the continuing struggle for Jewish emancipation in Prussia and elsewhere in Europe in the course of the nineteenth century gave rise to what came to be referred to as "the Jewish Question".Before Kaulbach's mural replica of his painting "Titus destroying Jerusalem" had been commissioned by the King of Prussia in 1842 for the projected Neues Museum, Berlin, Gabriel Riesser's essay "Stellung der Bekenner des mosaischen Glaubens in Deutschland" ("On the Position of Confessors of the Mosaic Faith in Germany") had been published in 1831 and the journal "Der Jude, periodische Blätter für Religions und Gewissensfreiheit" ("The Jew, Periodical for Freedom of Religion and Thought") had been founded in 1832.In 1840 Kaulbach himself had published a booklet of Explanations identifying the main figures for his projected painting, including that of the Eternal Jew in flight as an outcast for having rejected Christ.