,,illustrated ,,biographies ,,of ,,the ,,great ,,artists4 ,,johann ,,friedrich ,,overbeck4 ,,illustrated ,,biographies ,,of ,,the ,,great ,,artists4 ,the following volumes1 each illustrated with from #ad to #bj ,engravings1 are now ready1 price #cs4 #f;d4 ,those marked with an asterisk are #bs4 #f;d4 ,,giotto4 ,by ,,harry ,,quilter1 ,m4,a4 ,,fra ,,angelico4 ,by ,c4 ,m4 ,,phillimore4 ,,fra ,,bartolommeo ,,and ,,andrea ,,del ,,sarto4 ,by ,,leader ,,scott4 ,,mantegna ,,and ,,francia4 ,by ,,julia ,,cartwright4 ,,ghiberti ,,and ,,donatello499 ,by ,,leader ,,scott4 ,,luca ,,della ,,robbia499 ,by ,,leader ,,scott4 ,nearly ready4 ,,leonardo ,,da ,,vinci4 ,by ,dr4 ,j4 ,,paul ,,richter4 ,,michelangelo ,,buonarroti4 ,by ,,charles ,,cl,,ment4 ,,raphael4 ,by ,n4 ,d',,anvers4 ,,titian4 ,by ,r4 ,f4 ,,heath1 ,m4,a4 ,,tintoretto4 ,by ,w4 ,r4 ,,osler4 ,,correggio499 ,by ,m4 ,,compton ,,heaton4 ,,velazquez4 ,by ,e4 ,,stowe1 ,m4,a4 ,,murillo499 ,by ,,ellen ,e4 ,,minor4 ,,albrecht ,d,,rer4 ,by ,r4 ,f4 ,,heath1 ,m4,a4 ,,the ,,little ,,masters ,,of ,,germany4 ,by ,w4 ,b4 ,,scott4 ,,hans ,,holbein4 ,by ,,joseph ,,cundall4 ,,overbeck4 ,by ,j4 ,,beavington ,,atkinson4 ,,rembrandt4 ,by ,j4 ,w4 ,,mollett1 ,b4,a4 ,,rubens4 ,by ,c4 ,w4 ,,kett1 ,m4,a4 ,,van ,,dyck ,,and ,,hals4 ,by ,p4 ,r4 ,,head1 ,b4,a4 ,,figure ,,painters ,,of ,,holland4 ,by ,,lord ,,ronald ,,gower1 ,f4,s4,a4 ,,claude ,,lorrain499 ,by ,,owen ,j4 ,,dullea4 ,in preparation4 ,,watteau499 ,by ,j4 ,w4 ,,mollett1 ,b4,a4 ,in preparation4 ,,vernet ,,and ,,delaroche4 ,by ,j4 ,,ruutz ,,rees4 ,,rousseau ,,and ,,millet4 ,,by ,w4 ,e4 ,,henley4 ,in preparation4 ,,meissonier499 ,by ,j4 ,w4 ,,mollett1 ,b4,a4 ,,sir ,,joshua ,,reynolds4 ,by ,f4 ,s4 ,,pulling1 ,m4,a4 ,,william ,,hogarth4 ,by ,,austin ,,dobson4 ,,gainsborough ,,and ,,constable4 ,by ,g4 ,,brock-,,arnold1 ,m4,a4 ,,romney ,,and ,,lawrence499 ,by ,,lord ,,ronald ,,gower1 ,f4,s4,a4 ,,turner4 ,by ,,cosmo ,,monkhouse4 ,,sir ,,david ,,wilkie4 ,by ,j4 ,w4 ,,mollett1 ,b4,a4 ,,crome ,,and ,,the ,,norwich ,,school499 ,by ,c4 ,,monkhouse4 ,preparing4 ,,sir ,,edwin ,,landseer4 ,by ,f4 ,g4 ,,stephens4 ,illustration3 ,,johann ,,friedrich ,,overbeck4 ,the whole world without ,art would be one great wilderness4 ,,overbeck ,,by ,j4 ,,beavington ,,atkinson ,,author ,,of ',,schools ,,of ,,modern ,,art ,,in ,,germany1' ,,etc4 ,,new ,,york ,,scribner ,,and ,,welford ,,london ,,sampson ,,low1 ,,marston1 ,,searle1 ,,rivington #ahhb4 ,,to ,,the ,,right ,,honourable ,a4 ,j4 ,,beresford ,,hope1 ,,esq41 ,m4,p41 ,,ll4,d41 ,,the ,,kind ,,friend ,,of ,,artists1 ,,the ,,fervent ,,upholder ,,of ,,christian ,,art1 ,this ,life ,,of ,,the ,,christian ,,painter ,j4 ,,friedrich ,,overbeck ,,is ,,respectfully ,,dedicated ,,by ,,the ,,author4 ,,preface4 ,in offering to the public the first complete biography yet attempted of the painter ,overbeck1 ,i wish to give a few words in explanation4 ,the task has been far from easy3 the materials1 though the reverse of scanty1 are scattered3 reminiscences of the artist and criticisms on his works lie as fragments dispersed over the current literature of ,germany4 ,my endeavour has been to fill in vacuities1 to thread together a consistent and connected narrative1 and thus1 so far as ,i have been able1 to present a true and lucid history4 ,my duty has been all the more anxious from the unusual complexity of the pictorial products falling under review4 ,the scenes are laid amid the battle of the schools3 the periods bring into prominence conflicts between classic1 romantic1 and naturalistic styles4 ,the art of ,overbeck was rooted in the olden times1 yet in some degree it became quickened by contact with present life1 and took also a personal aspect from the painter's inner self4 ,the great pictures and the numberless drawings thus evolved over a space of more than half a century1 and here described from my own knowledge1 raise interesting and intricate questions on which the world remains divided4 ,my care has been to give a just estimate of these exceptional art manifestations4 ,also enter into the art1 through the life1 conflicts of religious creeds1 strifes between ,protestantism and ,catholicism1 between ,platonism1 ,mysticism1 and ,rationalism4 ,in dealing with such delicate and serious topics ,i have avoided all controversy1 and have ventured only on the simplest and briefest exposition4 ,my effort has been to state the case fairly all round1 to maintain an even balance1 and1 above all1 to place the reader1 whatever may chance to be his creed or art school1 in a position to form a true judgment4 ,likewise fairly to appreciate the artist1 it is needful rightly to comprehend the man4 ,and here1 again1 perplexities arise from unwonted combinations4 ,the character is one of the noblest and purest1 and yet it is beset with peculiar infirmities4 ,the portrait offered in these pages is1 ,i trust1 true and individual1 toned down into unity1 and yet not left cold or colourless4 ,such negation would1 indeed1 do injustice to my own feelings4 ,for among the cherished recollections of past days are my visits to ,overbeck's studio1 stretching over a period of twenty years3 ,i learned to revere the master and to love his works1 and ,i trust no word in this little volume may lessen the respect due to an honoured name4 ,j4 ,b4 ,a4 ,,kensington1 ,may1 #ahhb4 ,,contents4 ,,chapter ,i4 ,l,,beck--,,vienna4 ,birth and ,parentage--,early ,days in ,lbeck--,the ,artist's learned and religious ,ancestry--,his ,father ,doctor of ,laws and ,burgomaster--,chart of the ,family--,creed for a ,purist ,painter--,young ,overbeck leaves ,lbeck for ,vienna3 his ,studies in the ,academy--,decadence of ,art in the ,austrian ,capital--,rise of the ,german ,pre-,raphaelite ,brotherhood--,conflict between the ,old ,party and the ,new--,overbeck and his ,friends expelled from the ,academy--,he resolves to make ,christian ,art the ,vocation of his ,life--,leaves ,vienna for ,rome ,page #a ,,chapter ,,ii4 ,,rome--,,the ,,german ,,brotherhood4 ,overbeck and his brother ,artists reach ,rome--,the ,german ,colony settle in the ,convent of ,sant' ,isidore--,inspiring surroundings of ,art and ,nature--,modes of ,study and of ,life--,overbeck a ,treasury of ,art and ,poetry1 a saintly ,man--,the ,new-,old ,school1 the ,nazarites1 provoke opposition and ridicule--,state of ,art in ,rome3 ,classic1 ,romantic1 ,christian--,first ,commission3 early ,drawings and ,pictures--,exhibition in ,palazzo ,caffarelli--,overbeck and his ,friends join the ,roman ,catholic ,church--,reasons assigned--,literary circle3 ,niebuhr1 ,bunsen1 and ,friedrich ,schlegel--,frescoes by ,overbeck1 ,cornelius1 ,veit1 and ,schadow in the ,casa ,bartholdi and the ,villa ,massimo #ai ,,chapter ,,iii4 ,,rome--,,germany4 ,overbeck marries1 two children born--,his position in ,monumental ,painting--,fresco1 ,the ,vision of ,st4 ,francis at ,assisi--,inclinations towards ,monastic ,life--,journey to ,germany--,triumphal ,entry into ,munich--,the ,guest of ,cornelius--,pictures in the ,new ,pinakathek--,correspondence and friendship with ,frulein ,emilie ,linder--,visits to ,heidelberg1 ,frankfort1 ,cologne1 and ,dsseldorf--,return to ,rome--,present at the opening of ,raphael's ,tomb in the ,pantheon--,views of ,art become more dogmatic and sacerdotal--,three important easel pictures3 ,christ's ,agony in the ,garden1 at ,hamburg2 ,the ,marriage of the ,virgin1 in ,count ,raczynski's ,gallery1 ,berlin2 ,the ,triumph of ,religion in the ,arts1 ,frankfort--,the ,painter's explanatory disquisition on the last--,his habits of work1 personal aspect and character #dh ,,chapter ,,iv4 ,,late ,,works--,,conclusion--,,the ,,painter ,,and ,,his ,,art4 ,death of ,son--,pictures3 ,the ,piet1 in ,lbeck2 ,the ,incredulity of ,st4 ,thomas1 in the possession of ,mr4 ,beresford ,hope--,death of ,wife--,the ,assumption of the ,madonna1 ,cologne ,cathedral--,second visit to ,germany--,fte in ,cologne--,return to ,rome--,studio in ,garden ,house on the ,esquiline ,hill--,cartoons and ,water-colour ,drawings1 ,the ,via ,crucis--,cartoons and ,tempera ,drawings1 ,the ,seven ,sacraments--,commissions from ,pius ,,ix41 his ,portrait1 ,picture for ,quirinal ,palace3 the ,pope's ,visit to the ,studio--,portraits of the ,artist by various hands--,overbeck's mental habits3 his extraordinary memory--,modes of ,study and of ,work--,form--,composition--,colour--,th e relation of his ,art to nature1 tradition1 and personal character--,pecuniary rewards--,influence over the contemporary ,schools of ,europe--,closing scenes--,death and ,burial #gf ,,chronology #aji ,,index #aaa ,,list ,,of ,,illustrations4 ,,portrait ,,of ,,overbeck ,frontispiece4 ,,page ,,the ,,holy ,,family #b ,,the ,,naming ,,of ,,st4 ,,john #ah ,,christ ,,in ,,the ,,temple #bd ,,christ ,,blessing ,,little ,,children #bh ,,the ,,calling ,,of ,,st4 ,,james ,,and ,,st4 ,,john #dh ,,christ',s ,,entry ,,into ,,jerusalem #eh ,,christ ,,healing ,,the ,,sick #gj ,,christ ,,falling ,,under ,,the ,,cross #gf ,,the ,,entombment #hf ,,the ,,resurrection #id ,,the ,,cross ,,marking ,,overbeck',s ,,tomb ,finis4 ,chart of the ,overbeck ,family4 ,,caspar ,,overbeck1 ,merchant1 ,religious ,refugee4 ,,christoph ,,overbeck1 ,pastor4 ,,caspar ,,nikolas ,,overbeck1 ,d4 #ageb1 ,pastor4 ,total number of ,children #h sons and #f daughters3 #b sons and #d daughters died in childhood4 ,johann ,levin ,,george ,,christian ,,overbeck1 ,johann ,gottfried ,august ,two ,adolph1 ,conrad1 ,b4 #agac1 ,d4 #aghf1 ,daniel1 ,ferdinand1 ,friedrich1 ,daughters ,b4 #agjf1 ,b4 #agab1 ,doctor of ,laws4 ,b4 #agae1 ,b4 #agag1 ,b4 #agai1 who grew to ,pastor4 ,pastor4 ,d4 #ahjb1 ,apothecary4 ,school womanhood4 ,doctor of ,teacher4 ,theology1 c4 ,conrad1 ,,christian ,,adolph ,,overbeck1 ,johann ,george1 ,died at ,riga1 ,b4 #agee1 ,m4 #agha1 ,d4 #ahba4 ,d4 #ahai1 ,merchant4 ,doctor of ,laws1 ,syndic1 ,brgermeister of ,lbeck1 c4 ,pastor4 #d sons and #b daughters3 one son died in childhood4 ,christian ,gerhard1 ,johannes1 ,,johann ,,friedrich ,,overbeck1 ,frau ,charlotte ,frau ,elizabeth ,b4 #aghd1 ,d4 #ahdf1 ,d4 #ahcj1 ,b4 in ,lbeck #aghi1 ,m4 #ahai1 ,leithoff1 ,meyer1 ,judge1 ,lbeck4 ,merchant4 ,d4 in ,rome #ahfi deceased4 deceased4 ,the ,painter ,christian ,theodore1 ,frau ,harms1 ,b4 #ahah1 ,d4 #ahhj1 ,lbeck1 ,doctor1 ,senator2 living4 left no children4 ,johannes1 ,gustav1 ,arnold1 ,frau ,rath ,,alfons ,,maria1 ,daughter of the ,professor1 ,dsseldorf1 ,dsseldorf1 ,reuleaux1 ,son of the ,painter1 ,painter3 died ,doctor1 living4 living4 ,berlin1 ,b4 #ahbb1 ,d4 #ahdj4 in childhood4 ,archologist1 living4 ,leipzig1 living4 ,,overbeck4 ,,chapter ,i4 ,l,,beck--,,vienna4 ,johann ,friedrich ,overbeck was born1 as a tablet on his father's house records1 in ,lbeck on the #dth of ,july1 #aghi4 ,among his ancestors were ,doctors of ,law and ,evangelical ,pastors4 ,his parents were good ,protestants2 his father was ,burgomaster in the ancient city4 ,seldom has a life been so nicely preordained as that of the young religious painter4 ,the light of his coming did not shine1 as commonly supposed1 out of surrounding darkness4 ,a visit to his birth-place1 expressly made for this memoir1 soon showed me that ,overbeck1 from his youth upwards1 had been tenderly cared for2 that he received a classic education2 that his mind was brought under moral and religious discipline2 in short1 that the rich harvest of later years had found its seed-time here within the family home in ,lbeck4 ,the old house in which ,overbeck was born has unfortunately1 within the last few years1 been modernised1 but the original medallion relief of the painter's head1 life-size1 is built into the new faade1 and the former structure can be accurately ascertained as well from the designs of the adjoining tenements as from the living testimony of the neighbours4#a ,the ,overbeck mansion stood in the ,knig ,strasse1 a principal thoroughfare in the heart of an old city which may not inaptly be designated the ,nuremberg of ,northern ,germany4 ,it is not difficult here on the spot to picture the life of the painter while yet in his teens4 ,the historic town of ,lbeck had enjoyed a signal political1 commercial and artistic epoch4 ,as the head of the ,hanseatic ,league1 it rose to unexampled prosperity4 ,deputies from eighty confederate municipalities assembled in the audience-chamber of the ,rathhaus2 fortifications1 walls and gateways were reared for defence1 and merchant princes made their opulence and love of ostentation conspicuous in dwellings of imposing and picturesque design2 thus pointed gables1 high-pitched overhanging roofs1 stamp with medival character the present streets4 ,then1 too1 were founded rich ecclesiastical establishments2 then was built the cathedral1 containing among other treasures matchless brasses1 a unique rood-loft1 and a double triptych1 the masterpiece of ,memling4 ,this sacred work made a deep impression on young ,overbeck1 and is known to have given a direction to his art4 ,about the same period was also reared the ,marien ,kirche1 enriched with bronze sacrament-house1 old ,german triptychs and fine painted glass4 ,this is the church in which the painter's father1 as ,burgomaster1 had a distinguished stall1 elaborately carved2 and now1 on visiting the spot1 ,i find appropriately among the treasures two chefs-d'oeuvre which the son affectionately wrought for the city of his birth4 ,these churches are ,protestant1 but fortunately the worst sign of the ,reformation is whitewash1 and so the relics of the past are reverently conserved1 and here in ,lbeck1 as in ,nuremberg1 the ,madonna still holds her honoured niche1 and the saints yet shine from out the painted window1 even as in after-years the selfsame characters appeared on the canvases of ,overbeck4 ,amid associations thus sacred1 encircled by a family addicted to learning and piety1 to poetry and art1 was the tranquil spirit of the young painter led into meditative paths2 and as ,i took my evening walk at the setting of the sun by the side of the wooded river1 under shadow of the old gateways and churches1 it was not very hard to realize how the love of nature and of art grew up in the mind of the young student1 and how this city of the past proved a fitting prelude to a noble life-work which set as its goal the revival of what was best and most beautiful in the olden times4 ,the family of ,overbeck had been for generations preeminent for learning and piety1 and biographers have scarcely sufficiently taken into account either the ,classic or the ,christian inheritance of the painter4 ,religious teaching and living came by long lineal descent 7see ,family ,chart on page xvi473 the great1 great1 great grandfather1 ,caspar ,overbeck1 was a religious refugee2 the next in succession1 ,christoph1 was a ,protestant pastor2 and to the same sacred calling belonged his son1 ,caspar ,nikolas1 who lived into the middle of the last century4 ,after comes the grandfather1 ,george ,christian1 ,doctor of ,laws2 and among collaterals signally shines the great-uncle1 ,johann ,daniel ,overbeck 7died #ahjb1 aged #hh72b this memorable man was ,doctor of ,theology1 ,rector of the ,lbeck ,gymnasium1 and a voluminous writer2 he published thirty or more treatises2 among the number are ',the ,spirit of ,religion1' ',grounds of ,agreement in ,religion through the ,reason and the ,understanding2' also discourses on ,st4 ,peter1 ,st4 ,paul1 and ,luther4 ,facility of pen runs through the family4 ,two other great-uncles1 ,johann ,adolph and ,levin ,conrad ,overbeck1 brothers of the ,doctor of ,theology1 were ,pastors3 furthermore must not be forgotten the uncle1 ,johann ,george 7brother of the ,burgomaster71 who lived till #ahai1 and is described as a faithful untiring pastor to an evangelical congregation1 who offered his life a willing sacrifice4 ,duty might be the watch-word of all who bear the name of ,overbeck4 ,lastly1 and not least1 appears the pious1 learned1 and sthetic father1 ,christian ,adolph4 ,though not in holy orders1 he concerned himself variously with religion in the wide and vital sense of the word1 holding it a divine presence1 the rule of life1 and the inspirer of all noble work4 ,i should judge he was not dogmatic in creed1 nor rigid in ceremonial4 ,he was philosophic1 but had too much heart to be a rationalist2 too much imagination for an anti-supernaturalist4 ,he was a mystic pietist2 religion blending with poetry coloured his whole mind2 revelation1 nature1 and art1 were for him one and indivisible4 ,and this ,i believe to have been the mental state of the son while yet under the parental roof4 ,the sequel will show a change2 the incertitude of speculation could not be sustained1 and so anchorage was sought within an ,infallible ,church4 ,yet for the right reading of a character curiously subtle and complex1 it is needful to realise the fact that the seeds sown in the homestead were never uprooted1 that it was1 indeed1 the old stock which sustained the new grafting1 and that1 to the last1 a poetic mysticism dwelt in the chambers of the artist's mind4 ,and as was the tree so were the fruits2 sprung from a family of preachers1 the painter became an evangelist in his art4 ,the father1 ,dr4 ,christian ,adolph ,overbeck1 as the formative type of the son1 merits a further word4#c ,if not quite a genius1 he was the model of a scholar and a gentleman2 besides being ,burgomaster in the city of his birth1 he was ,doctor of ,laws1 ,syndic of the ,cathedral ,chapter1 and served in important political missions to ,paris and ,st4 ,petersburg4 ,he is described ,musis ,amicus2#d and not only the friend of poesy1 he was a poet himself1 and by virtue of the duality habitual to his mind dedicated his pen with singular impartiality to ,christ and ,apollo2 one volume of verses being entitled ',anacreon and ,sappho1' another1 containing a poem1 on ',the ,love of ,god4' ,these products rise somewhat above the level of respectable mediocrity1 yet they have not escaped the stigma of platitudes4 ,goethe1 however1 did not disdain to make respectful mention of the poet4 ,the painter inherited in some small degree the paternal gift2 he accompanied with verses the engraved and published drawings1 ,jesus as a ,child in the ,house at ,nazareth4 ,by the father ,i have also before me a new edition1 published #ahca1 of a collection entitled ',frizchens ,lieder1'#e so called because penned for the benefit of the youthful ,frederick4 ,the preface makes mention of my little ,frizchen thus3--,it were better had he been an angel1 but he is just a human child3 then1 facetiously1 it is added1 he is less ideal than saucy and conceited4 ,those who like myself knew only the solemnity of the painter in advanced years have a difficulty in supposing in the child such traits compatible4 ,these songs of the domestic affections were set to music2 the father1 as a dilettante complete1 cultivated all the harmonies whether of thought1 form1 or sound2 the home was musical4 ,the family life composes into a placid1 homelike picture4 ,the parents1 though well to do1 were far from affluent4 ,the stipends of the busy ,burgomaster and ,syndic were small1 and he remained comparatively poor4 ,at the age of twenty-six he married a young widow with money and one daughter1 and domestic cares necessarily thickened with the birth of six additional children1 two daughters and four sons1 of whom ,frederick was the youngest4 ,the mother1 we are told1 was beloved and honoured1 and in addition to ordinary domestic duties1 diligently assisted her children in the preparation of their school lessons2 moreover it is expressly stated that her fortune contributed largely to the household expenses4 ,the would-be artist could not be considered unfortunate in his worldly condition2 he entered on life removed equally from the extremes of riches or poverty2 his parents were sufficiently well off to make it possible for him to gratify his tastes in the choice of a profession1 while he was always under such pressure as to render it imperative that he should put out his full powers4 ,his education within the limits of a provincial town was liberal2 the father kept himself and his household quiet1 student-like1 and sequestered from the dissipation of society1 and so all the better could be cultivated the budding faculties of his offspring4 ,when the children were sufficiently advanced he joined with other parents in engaging a qualified tutor1 and so formed a special class or superior school4 ,with affection was watched the inclination towards art of the youngest son1 and anxiety lessened as the faculty strongly declared itself1 for above all was dreaded mediocrity as the deadly sin of artists4 ,the father held that for success in art as a profession three conditions were essential2 classic training1 nobility of mind1 and technical skill4 ,and so in each day the foremost place was assigned to classic studies4 ,as to the formation of character1 religion stood as the corner-stone1 and the maxim for the daily life was love in a pure mind4 ,this axiom sounds to me as the key-note to the painter's lifelong art--an art loving in spirit and kept unspotted from the world4 ,but the father and son differed in this--that the one was eclectic1 the other exclusive4 ,the father1 with the wide toleration of a poet-philosopher1 believed in the possibility of harmoniously combining styles1 ,classic1 ,romantic1 and ,christian4 ,his views may be judged from the following3 ,the ,father's ,monition to study the ,classics4 ,with joy ,i see you constant in the study of the ancients4 ,to the ,greeks and old ,romans was it given to stand as the everlasting lawgivers of the beautiful4 ,well for you that you read the classics3 above all1 acquaint yourself with the glorious forerunner1 ,homer1 of whom almost every line is a picture4 ,homer in the right chamber of the heart1 and the ,bible in the left--or vice-vers--in this way1 it seems to me1 you cannot go far astray4 ,creed for a ,purist ,painter4 ,the artist's and poet's mind should be as a spotless mirror3 his heart must be pure and pious1 at one with ,god and all mankind4 ,the path to the holy ,temple of ,art lies apart from the world1 and the painter will go on his way all the more unassailed if he stand aloof from the temptations of the senses4 ,and if the artist's mind be a temple1 then should find place therein only the figures of saints and the semblances of holy things2 and even in profane representations a heavenly spirit should reign4 ,the mind is raised by the contemplation of the master-works of genius1 thus art reaches the highest summit4 ,it is not to be supposed that the youth while in ,lbeck reached the father's ideal2 but within a stone's throw of the house lay a ,gymnasium1 including a ,drawing ,school of which the great uncle1 ,dr4 ,johann ,daniel ,overbeck1 had been head master4 ,here1 on the spot1 ,i am told the nephew received from a certain ,professor ,federau instruction in art1 and ,i have before me a drawing1 the earliest that has come to my knowledge1 which proves that the pupil was at least painstaking4 ,the subject1 in accordance with the father's precept1 is ,homeric1 the well-known meeting of ,ulysses and ,telemachus4#f ,after the prevailing manner of the period1 the style is classic1 according to the ,french school of ,david1 and a ,greek portico appropriately finds a place in the background4 ,young ,overbeck discovered in the sequel how much he had to learn1 and to unlearn2 he closed ,homer to open his ,bible4 ,the time came for a change in the scene of action1 the art resources of a small provincial town were exhausted1 and the necessity arose for thorough academic training elsewhere4 ,the choice in those days was not extended1 and after due consideration the election fell in favour of ,vienna4 ,accordingly1 in ,march1 #ahjf1 at the age of seventeen1 young ,overbeck left ,lbeck4 ,the home-parting was tender1 and might have been heart-rending could the future have been read4 ,never were son and parents to meet again4 ,frederick in sundry years1 when full of honours1 visited ,germany1 but he seemed to shrink from a return to the scenes of his youth2 change in religion may have made contact painful4 ,yet we are told that closest communication was kept up by constant correspondence2 that the father affectionately watched his son's illustrious career and read with lively satisfaction all announcements in the public journals4 ,the mother died in #ahbj1 the father a year after3 for forty years they had been lovingly united4 ,i have visited the retired ,god's-acre1 beyond the gates1 removed from the noisy traffic of the town1 and not without difficulty discovered the grave of father and mother4 ,so dense was the overgrowth of years1 that not a letter on the massive stone could be seen2 but the old man of the place1 tearing away the thick mantle of ivy1 revealed the words1 ,here rest in ,god ,elizabeth ,overbeck1 and ,christian ,adolph ,overbeck1 ,burgomaster4 ,on reaching ,vienna1 the super-sensuous painter did not find a bed of roses3 his tastes were fastidious1 his habits exclusive1 his aspirations impracticable4 ,of course his art remained as yet unremunerative2 thus his means were scanty1 and the friends he might have hoped to make turned out enemies4 ,and it cannot be denied that the state of things in ,vienna was enough to discourage and disgust an earnest1 truth-seeking student4 ,the ,academy into which the ,christian artist entered was under the direction of ,friedrich ,fger1 a painter of the ,french type1 not without renown1 but given over to the service of ,jupiter1 ,prometheus1 and ,venus1 and when he chanced to turn to sacred subjects1 such as ,the ,death of ,abel and ,the ,reading ,magdalen1 affectation and empty pretence were his resource4 ,i have seldom seen works more contemptible4 ,overbeck was in despair1 and wrote to a friend that he had fallen among a vulgar set1 that every better feeling1 every noble thought1 was suppressed within the ,academy1 and that1 losing all faith in humanity and in art1 he turned inwardly on himself4 ,this transcendental strain1 ,i cannot but think1 came in some measure from the conceit incident to youth2 self-complaisancy was certainly a habit of mind which the painter persistently cultivated as a virtue4 ,four years' work within an organised academy could not be otherwise than a gain to a tyro who had everything to learn4 ,director ,fger was at least thoroughly trained2 talent and industry had early won him the distinction of pensioner to ,rome1 and he subsequently executed important frescoes in ,naples1 which obtain honourable mention in the history of the times4 ,his school might be bad1 but still it was a school2 and the fact cannot be controverted that ,overbeck issued from it an artist4 ,he learnt what his father had laid down as essential to success1 drawing1 composition1 technique1 and his advance was such1 that while in ,vienna he commenced1 and in part painted1 ,christ's ,entry into ,jerusalem1 a prized possession to this day in the ,marien ,kirche1 ,lbeck4 ,moreover1 ,i am inclined to think that under ,fger he was grounded in the art of wall-painting1 not only as a manipulative method1 but as a system of composition and decoration2 otherwise it is hard to understand how1 shortly after arriving in ,rome1 he knew more about fresco than the ,italians themselves4 ,overbeck and his master1 however1 became all the more irreconcilable because the discords lay less in the letter than in the spirit4 ,in order to realise ,overbeck's artistic and mental difficulties here in ,vienna1 and afterwards in ,rome1 it may be well in fewest words to indicate the perplexed state of things in ,germany generally--a wide theme on which volumes have been written4 ,we have to consider that ,europe had suffered under the throes of the great ,french ,revolution1 and that then followed the galling despotism of ,napoleon4 ,art and literature lay frozen and paralysed1 and ,overbeck in ,lbeck and ,vienna1 like ,cornelius in ,dsseldorf1 found in tyrannous sway the pseudo-classic school of the ,french ,david1 cold as marble1 rigid as petrifaction1 spasmodic as a galvanised muscle4 ,but the ,germans1 especially the more intellectual sort1 smarting under the yoke1 were all the while gathering strength to reclaim nationality as their birthright4 ,the reaction came through the romantic movement1 otherwise the revival of the poetry and the art of the ,middle ,ages4 ,overbeck fell under the influence3 in his ,lbeck home he read ,tieck's ',phantasies on ,art1' and thirsted for the regeneration drawing near4 ,in ,rome the spell heightened2 thinkers such as ,frederick ,schlegel brought over proselytes1 and the painter's early frescoes from ,tasso's ',jerusalem ,delivered1' came as the specific products of the new era4 ,but the ,school of ,romance wore two aspects2 the one1 ,poetic and ,chivalrous2 the other expressly ,christian2 and ,overbeck was not content to exchange ,homer and ,virgil for ,dante and ,tasso1 he turned from the age of ,pericles and ,augustus to the nativity of ,christ4 ,and it seemed to him that the pure spring of ,christian ,art had1 not only in ,vienna but throughout ,europe1 been for long diverted and corrupted1 and so he sought out afresh the living source1 and casting on one side his contemporaries1 took for his guides the pre-,raphaelite masters4 ,such is the relation in which he stands to the ,romantic movement4 ,but the election made in favour of an art born of ,christianity proved for ,overbeck the severer conflict1 because ,germany1 in the generation scarcely passed away1 had experienced a studious classic revival under the critic ,winckelmann and the painters ,mengs and ,carstens4 ,goethe1 too1 a tyrant in power1 had thrown his weight into the classic scale1 and1 much to the chagrin of the young painter1 declared that the highest ,christian ,art was but the perfecting of humanity4 ,moreover1 classicism had been brought within the painter's home by a five years' sojourn in ,lbeck of ,carstens1 the ,flaxman of ,germany4 ,the father befriended the poor artist1 and being well-read in ,greek and ,roman authors1 supplied him1 among other needs1 with ideas for his classic compositions4 ,i deem these facts should be duly considered2 it is wholly false to ignore the presence of a classic element in the ,christian ,art of ,overbeck2 and just as the purest religious painters of ,italy borrowed from the ,pagans1 so the great ,christian ,artist of our times culled from the antique all he could assimilate4 ,it is clear to me1 judging from the internal evidence of his works1 that as a student ,overbeck went through the usual course of drawing from the plaster cast4 ,many are the passages in his compositions which might be quoted in point1 particularly ,biblical incidents1 such as the ,expulsion from ,paradise1 wherein appear undraped figures4 ,here are seen to advantage the generic form1 the typical beauty1 the harmony of line1 the symmetry1 which distinguish the ,classic from the ,gothic4 ,furthermore1 ,overbeck from first to last eschewed the dress actually worn in the ,holy ,land1 and deliberately draped ,christ and the ,apostles as ,greek sages and ,roman senators4 ,i believe in so doing he was on the whole wise1 his motive being to remove his characters from the sphere of common life2 even for him1 the most single-minded of men1 art was a compromise3 but while borrowing thus largely both in figure and costume from the ,classic1 it were vain to contend that his creations had an exclusively ,christian origin4 ,i may add that ,i do not think the controversy lies so much between religions as between historic ,schools of ,art4 ,overbeck was so much the artist that1 like ,raphael1 he made beauty wherever extant his own1 only caring that whatever was taken from the ,pagan should be baptized with the ,christian spirit4 ,thus much indeed is confessed in his explanatory text to his master-work the ,triumph of ,religion in the ,arts4 ,therefore in quoting his own words the subject may fairly be allowed to drop3 he writes3 ,although heathenism1 as such1 should be looked upon by the ,christian painter with decided disdain1 yet the arts as well as the literature of the ancients may be turned to advantage1 as the children of ,israel employed the gold and silver vessels which they brought with them out of ,egypt in the service of the true ,god in ,his ,temple1 after melting them down and consecrating them anew4 ,the much abused ,director ,fger was the champion1 as we have seen1 of hybrid classicism1 hence the hostility between master and pupil4 ,the precise attitude assumed by the contending parties it is not very easy to define2 but that there were faults on both sides may easily be conceded2 that each was in extreme is also evident1 and that ,overbeck was the last man to yield an inch or to meet half way is equally certain4 ,the fatal conflict broke out in differences as to the modes of study3 of the ,academy we should now say that it was conventional1 wedded to false methods1 in short1 that it had wholly lost the right road in the devious paths of decadence4 ,the young innovators1 not choosing to conform1 assumed a defiant position analogous to1 though not identical with1 that taken half a century later by our ,english pre-,raphaelite brethren4 ,the study of the early masters in the royal collection they preferred to the routine of the ,academy2 thus ,drer and ,perugino were held up in challenge to ,correggio and ,rubens1 the idols of the day4 ,then the discord was equally violent as to the right mode of studying nature4 ,the charge made against the ,german pre-,raphaelite ,brotherhood was that they dealt with the life-model crudely and inartistically2 on the contrary1 ,overbeck and his adherents declared that they sought for nothing else than truth1 only they held that nature should not be studied superficially1 but with the end of deciphering her hidden meanings4 ,the human body they looked on as a temple1 the face they read as the mirror of the mind4 ,all this1 and much more besides1 though then a novelty1 is now an old story2 the doctrine that the bodily form is moulded on the spiritual being1 the speculations concerning the relations between the objective and the subjective1 the outward and the inward1 the correspondence between the world of sense and the world of thought1 have one and all taken definite place in the history of mental philosophy4 ,we have here fully to realise that ,overbeck had breathed the atmosphere of mystic spiritualism in ,lbeck2 hence his entrance into spiritual art1 hence his soul pictures4 ,his mind being thus sublimated1 he looked down upon the ,viennese ,academicians as common and unclean2 a rupture naturally ensued1 and he and his companions being in the minority1 were with a strong hand1 and with little ceremony1 expelled from the classes4 ,the blow for the moment seemed overwhelming1 yet it brought salvation4 ,had ,overbeck remained chained to the ,academy1 art through him would not have seen a new birth4 ,his course became clear3 he quitted ,vienna for ,rome1 the city of his desire4 ,in the fourth and last year of the painter's apprenticeship in the ,austrian capital1 was begun a really arduous composition1 ,christ's ,entry into ,jerusalem4#g ,the picture is of the utmost import as affording the only evidence of the artist's attainments in ,vienna4 ,in the first place to be remarked is the striking fact that not a vestige remains of the ,french school of ,david1 or of the showy masters of the ,italian decadence2 the work1 indeed1 might have been designed as a protest against the ,viennese ,academy1 and as a justification of the painter's revolt4 ,the style adopted is conjointly that of the ,italian pre-,raphaelite and of the early ,german and ,flemish masters4 ,the background is built up into a high horizon giving support to the foreground figures2 the colours are deep and lustrous1 and so far contrast favourably with the weaker and cruder tones unfortunately adopted at a later period4 ,the costume is a deliberate compromise between the classic and the naturalistic4 ,nowhere does the artist venture1 as ,horace ,vernet1 on the ,bedouin dress4 ,christ is clothed in a flowing robe1 while the ,apostles1 as in the compositions of ,raphael1 belong less to the ,holy ,land than to the ,roman ,forum4 ,this treatment of draperies was adhered to through all subsequent works1 the only change being further generalisation and a wider departure from naturalism4 ,in fact it is curious to observe in this early work how much nature enters2 figures and incidents come direct from life1 as witness portraits of contemporaries1 groups of little children1 young mothers and aged women4 ,such passages are happily destitute of what the ,viennese academicians called style2 they have more of the old ,german angularity than of the ,grecian bend4 ,yet always with ,overbeck ,beauty is present1 only not thrust in1 as by the academicians of the period1 in violation of ,truth and ,goodness4 ,also very noteworthy is the impress of thought in the heads1 hands1 and attitudes2 the painter1 as we have seen1 came of a family of thinkers1 and the purport of his art was to give expression to mind4 ,here again he took as his teachers the early masters1 so that these figures1 though more or less studied from nature1 might seem to have walked out from an old panel picture1 yet they are more than complications1 they are impressed with the painter's own individuality4 ,altogether the work marks not only a starting-point in ,overbeck's life1 but a new era in the art of the nineteenth century4 ,the composition by lapse of time gains biographic and historic value through the introduction1 in accordance with the practice of the old masters1 of contemporary portraits4 ,the painter has placed among the spectators his father1 in character of ,burgomaster1 also close by1 his mother1 a remarkably shrewd old lady4 ,his wife1 memorable as a beauty1 is grouped with the three ,marys1 and by her side sports the painter's much-loved son1 a boy1 palm-branch in hand1 rejoicing with the multitude4 ,nor are the pilgrim painters in ,rome forgotten3 ,overbeck and his brother artists1 ,cornelius and others1 appear at respectful distance1 gazing on ,christ riding into ,jerusalem4 ,overbeck1 before quitting ,vienna1 pretty much determined his vocation3 he resolved to dedicate his life to ,christian ,art4 ,on the point of departure1 in writing to a friend in ,lbeck1 he takes a retrospective view1 and also points to the future4 ,he recalls evening walks under the shade of trees with congenial companions2 he remembers earnest conversations on poetry1 painting1 and other manifestations of the beautiful1 yet still something remained wanting4 ,true art1 he writes1 he had sought in vain3 ,oh1 ,i was so full of it1 my whole fancy was possessed by ,madonnas and ,christs2 ,i bore these impressions about with me1 ,i cherished them1 but nowhere could ,i find response4 ,in ,vienna1 as we have seen1 the desire of his soul remained unsatisfied4 ,his conflicts were painful1 but once for all he declares1 ,i will abide by the ,bible2 ,i elect it as my standing-point4 ,a few friends were like-minded1 and one especially1 who had come from ,italy1 encouraged a pilgrimage to the land of ,christian ,art4 ,accordingly1 ,overbeck packed up his small worldly possessions1 of which the canvas of ,christ's ,entry into ,jerusalem was the most considerable1 and at length he reached ,rome as a haven of rest4 ,,footnotes3 ,footnote #a3 ,the ,overbeck house1 when ,i sought it out in #ahhj1 was rebuilt and retenanted2 the ground floor happens to be now occupied by a bookseller and fancy stationer1 who sustains intact the ,protestant character of the establishment4 ,in vain ,i enquired for engravings from ,overbeck2 the nearest approach to religious art was a portrait of ,luther in chromo-lithography6 ,footnote #b3 ,see ',leben ,herrn ,johann ,daniel ,overbeck1 weiland ,doctors der ,theologie und ,rectors des ,lbeckischen ,gymnasiums1 von einem nahen ,verwandten1 und vormaligen ,schler des ,verewigten4' ,lbeck1 #ahjc4 ,footnote #c3 ,see ',zur ,erinnerung an ,christian ,adolph ,overbeck1 beider ,rechte ,doctor und ,brgermeister zu ,lbeck4' ,lbeck1 #ahcj4 ,footnote #d3 ,i have seen in the ,public ,library1 ,lbeck1 the engraved portrait inscribed with the above words2 the head bears a striking resemblance to the well-known features of the son3 the profile shows a fine intellectual type1 the forehead is ample and overhanging1 the coronal region full1 the eye searching and earnest1 the upper lip long1 the mouth large and firmly set4 ,the last was not the most beautiful feature in the painter's remarkable face4 ,footnote #e3 ',frizchens ,lieder1 herausgegeben von ,christian ,adolph ,overbeck3 neue ,ausgabe4' ,hamburg1 ,verlag von ,august ,campe1 #ahca4 ,footnote #f3 ,this juvenile exercise1 probably only a copy1 was given by young ,overbeck to his master1 and is now in the ,town ,library2 it is washed in with ,indian ink1 measures two feet by one foot nine inches1 and is signed and dated ,f4 ,overbeck1 #ahje-ba ,april4 ,the ,gymnasium1 like the ,house1 has recently been rebuilt1 but the continuity of learning remains unbroken--boys flock to the school as in the painter's youth4 ,the adjoining ,town ,library also contains the original cartoon1 drawn in ,rome1 for one of the frescoes illustrative of ,tasso in the ,villa ,massimo1 length about ten feet2 likewise the cartoon of the ,vision of ,st4 ,francis1 painted in fresco in ,sta4 ,maria degli ,angeli1 near ,assisi2 the cartoon is about twenty feet long1 the figures are life-size4 ,footnote #g3 ,this picture1 on canvas1 is nearly eight feet long by six feet high1 the figures are about three feet4 ,the ',lbeckische ,bltter' states that ,overbeck began the work in ,vienna in #ahji1 in the fourth year of his art study1 and there completed the background and the figures in the middle plane1 and that it was taken by him to ,rome in #ahaj4 ,in the course of time the foreground figures were introduced1 but not till #ahbd did the picture reach completion4 ,it bears the signature and date ,j4 ,f4 ,overbeck1 #ahbd4 ,thus fifteen years elapsed between the first touch and the last1 and some ten further years passed before the canvas came to the artist's native city4 ,i carefully examined the painting in the ,marien ,kirche in ,october1 #ahhj1 and found it in perfect preservation1 the colours unchanged1 the surface untouched by time or restoration4 ,the picture differs from the illustration to these pages4 ,,chapter ,,ii4 ,,rome--,,the ,,german ,,brotherhood4 ,the biographies of artists1 proverbially picturesque1 present few scenes more pleasant to look on than the early years in ,rome of the ,brotherhood of ,german ,painters1 of whom ,overbeck and his friend ,cornelius were the leaders4 ,exiles in some sort from their native land1 they entered ,italy as pilgrims1 and were not far from suffering as martyrs4 ,they were devout1 hard-working1 and withal poor4 ,they had been drawn from distant cities to ,rome as a common focus1 and there they severed themselves from ignoble present times1 and abiding quietly amid ancient monuments and sacred shrines1 sought to make the days of old live anew4 ,so congenial did ,rome prove to ,overbeck1 that he could hardly be induced to sever himself from the city or its neighbourhood over a space of more than fifty years4 ,the task he assigned to himself was arduous3 how he went to work and accomplished his mission ,i shall try to show4 ,overbeck1 in company with his brother artists1 ,pforr1 ,vogel and ,hottinger1 having in ,vienna cast off all fetters1 entered ,rome as freemen in #ahaj4 ,a year later ,cornelius1 as a young ,hercules1 came upon the scene2 he had fought his way from ,dsseldorf2 like ,overbeck1 he had found the ,academy a burden and a snare1 and he betook himself to ,italy for deliverance4 ,then began that closest friendship between the two painters which1 lasting for more than half a century1 was severed only by death4 ,cornelius1 writing to his friend ,mosler1 describes the ,german ,brotherhood in ,rome1 and adds3 ,overbeck from ,lbeck is the one who by the gentleness and nobility of his soul draws all around him2 he inspires them to everything true and beautiful4 ,may be he is the greatest artist now living3 you would be astonished if you could see him at his work4 ,yet he is the most humble and retiring of men4 ,if ,overbeck were as a lamb1 surely ,cornelius was a lion1 each indeed supplied what was lacking in the other4 ,cornelius in after years said to ,rudolf ,lehmann1 ,i am the man1 he is the woman4 ,and it may strike the mind as a singular coincidence1 or rather as a benignant disposition of ,providence1 that at sundry turning-points in the world's history1 two men the opposites the one of the other have been conjoined1 as if for the better accomplishment of the work to be done4 ,we may recall1 in art1 ,raphael and ,michelangelo2 in religion1 ,st4 ,john and ,st4 ,peter1 ,melanchthon and ,luther2 and in philosophy1 ,plato and ,aristotle4 ,at the risk of pushing the analogy too far1 it may be added that ,cornelius was positive as ,aristotle1 impetuous as ,st4 ,peter and ,luther1 defiant as ,michelangelo2 while in contrast1 ,overbeck shared with ,plato idealism1 with ,st4 ,john love1 with ,melanchthon gentleness1 and with ,raphael grace4 ,the ,german colony of pre-,raphaelite painters in ,rome grew1 and in after years came accessions almost unintermittingly4#a ,within the first twelve months were gathered together1 as we have seen1 ,overbeck1 ,cornelius1 ,pforr1 ,vogel and ,hottinger4 ,soon followed the brothers ,wilhelm and ,rudolf ,schadow3 to these must be added ,koch1 ,wintergerst1 ,sutter1 ,mosler1 ,veit1 ,schnorr1 ,eggers1 ,platner1 and others4 ,later came ,joseph ,fhrich1 who literally worshipped the ground on which ,overbeck stood4 ,edward ,steinle1 of a younger generation1 was also a bosom friend of the painter4 ,later still arrived young zealots from ,dsseldorf1 where ,schadow had established the renowned school of religious art4 ,the best known of these disciples are ,ernst ,deger1 ,franz ,ittenbach1 and the brothers ,andreas and ,carl ,mller4 ,after sitting at the feet of ,overbeck in ,rome1 it was their privilege to paint the chapel at ,remagen on the ,rhine3 these frescoes are accepted as among the most beauteous manifestations of the master's teachings4 ,this brief epitome anticipates the story of years4 ,in the course of a long life it was the good fortune of ,overbeck to witness the growth into a large tree of the grain of mustard-seed he had cast into the earth4 ,the ,brethren found congenial habitation in the old ,franciscan convent of ,sant' ,isidoro on the ,pincian ,hill4 ,the picturesque monks having been turned out by ,napoleon1 the ,german colony became tenants at a yearly rental1 and held in quietude the dormitories1 also larger rooms which served as studios1 until the fall of the ,first ,empire1 when the monastery once more reverted to the ,mendicant ,friars1 by whom it is still occupied4 ,a few years since1 the ,superior of the ,order politely showed the present writer over the ecclesiastical establishment1 now1 as formerly1 devoted to charitable works4 ,time has brought little change in the cells1 the refectory1 or in the large hall used for religious teaching4 ,other rooms1 great and small1 are ranged round a cloister enclosing a garden still fragrant with orange-blossoms as in the days of ,overbeck and ,cornelius4 ,here1 amid sacred associations and venerable monuments1 did these devoted students build up the new art1 and when the day's work was ended1 they mounted at eventide the lofty ,belvedere1 commanding a panorama of which1 even in ,rome1 are few equals4 ,from neighbouring campanili1 vesper bells sound a chorus in the bright ,italian sky1 and beneath the eye stretches1 as a prairie of the old world1 the wide ,campagna1 spanned by broken viaducts and bounded by the blue ,alban hills4 ,through the panorama winds the golden ,tiber1 guarded by the ,castle of ,st4 ,angelo and ,st4 ,peter's1 and around and below lie ,monte ,mario1 the pine-clad ,pincian1 the ,villa ,medici1 and the ilex groves of the ,ludovisi4 ,the scene was inspiring1 yet not without shadow of melancholy2 the ,capitol had fallen into the hands of the stranger1 but the spirit of ,dante fired the dauntless young men2 they turned from the present to the past1 imagination restored the empire that had been lost1 and though calamity afflicted the country1 they believed that ,god had not forsaken the people4 ,overbeck is known to have been deeply penetrated by the beauties of the ,italian sky and landscape4 ,after sufferance of the rigours of northern winters1 mind and body expanded under the sun of the genial south4 ,in spring-time came days serene as his own spirit1 giving to nature the re-birth he sought for art2 the clear horizon carried thought to a world beyond2 and in the deep blue above floated such clouds as had served the old pre-,raphaelites with the thrones and footstools of saints and angels4 ,overbeck did not1 as the masters of the decadence1 shroud his compositions in backgrounds of impenetrable darkness1 but flooded the canvas with the light of the ,italian heavens1 and like the early painters1 placed holy people in the midst of such beauties of nature as tranquillise and elevate the mind4 ,and his sympathetic eye was not only open to scenes which served as distances1 he watched in the gardens of the ,roman villas the springing flowers1 and made careful studies of mossy1 jewelled foregrounds which served as carpeting for the feet of his ,madonnas4 ,having turned his back on the ,fatherland1 his pictures bear no memories of black forests or frowning ,harzburg mountains1 and he became so thoroughly ,italianised that he seated ,holy ,families on the borders of the ,thrasymene ,lake1 and placed saints within sight of ,mount ,soracte6 ,like all true artists1 he painted what he saw2 as his predecessors1 he gathered in daily walks the accessories he needed4 ,fra ,angelico had painted at ,fiesole1 ,francia at ,bologna1 ,perugino at ,perugia1 ,pinturicchio at ,spello and ,siena1 and each in turn1 like ,overbeck1 made the surrounding scenery serve as accompaniments to figure compositions4 ,nature was to all these painters a great teacher2 her presences were healing powers1 and they left out all the storms and discords1 and like our poet ,wordsworth1 brought her forms and aspects into harmony with tranquil living4 ,yet the ,brethren from their monastic abode in ,sant' ,isidoro looked upon the outer world with sympathies as diverse as their individual characters4 ,when ,cornelius took his walks abroad1 he crossed the ,tiber to visit the ,last ,judgment of ,michelangelo4 ,overbeck's steps lay in an opposite direction2 he passed by the church of ,sta4 ,maria ,maggiore1 looked in for the sake of the old mosaics1 and then wended his solitary way to ,sta4 ,croce in ,gerusalemme1 to pay his devotions before the frescoes commemorative of the discovery by ,st4 ,helena of the true ,cross4 ,here1 in lovely surroundings1 nature blended in unison with art1 he looked on the blue hills and the calm sky1 and thanked ,god ,italy was his home4 ,the mode of living adopted within the cells and refectory of ,sant' ,isidoro naturally savoured of the monastic3 it combined appropriately society with solitude4 ,the habit of the ,brethren was to take meals together at a common table1 and to work separately each in his private painting-room4 ,the refectory served as a common hall for study and for drawing from the model4 ,the rule obtained in the establishment that the provisioning and housekeeping should be taken in rotation by each1 one week at a time1 and it is said that ,overbeck had so far a sense of creature comforts that he complained that one of the ,brothers was accustomed to put too much water into the broth6 ,on ,sundays the work relaxed or ceased wholly1 and the wholesome practice prevailed of bringing together the products of the week for criticism with the end to mutual improvement3 many grave observations and lively pleasantries passed from one to the other1 ,overbeck usually in his modest way acting the part of mentor4 ,no one1 writes ,schadow1 who saw or heard him speak1 could question his purity of motive1 his deep insight and abounding knowledge3 he is a treasury of art and poetry and a saintly man4 ,overbeck had stoutly defended the adopted course of study which others condemned4 ,what1 he asked1 has been our crime8 ,it is in great measure that we have striven after a severe outline1 in opposition to the loose1 cloudy1 washed-out manner of the day4 ,is not this an endeavour after truth8 ,but such studies1 while filling portfolios1 brought no grist to the mill4 ,and the historian ,niebuhr1 an anxious friend1 confesses that these devoted men were hard put to it for their daily bread1 yet never has a confraternity of artists more nearly approached an ideal4 ,no vow was actually taken1 the bond was simply voluntary2 thus ,overbeck expressly states1 with the greatest concord among us as to the fundamental principles of art1 each goes on his own way4 ,the attitude assumed almost of necessity provoked opposition1 even ridicule4 ,the assumption was made of superiority1 the tone grew even assailant2 ,correggio1 ,guido1 ,guercino1 and ,domenichino1 with all post-,raphaelites1 were denounced1 and not only was it declared1 ,we are right1 but it was added1 ,you are wrong4 ,the ,brethren personally laid themselves open to attack2 they were not free from the affectations of youth1 they made themselves conspicuous by long hair and strange costume1 and through their exclusiveness and sanctity won as their nickname the epithet of ,nazarites4 ,other designations were less characteristic2 simply descriptive are such terms as pre-,raphaelites1 the new-old ,school1 the ,german-,roman artists1 the ,church-,romantic painters1 the ,german patriotic and religious painters4 ,but all trivial imputations weigh lightly when set in the balance against solid work and holy living4 ,the earnest devotees in the long run silenced evil tongues and won respect and a good name4 ,niebuhr1 ambassador and historian1 by no means a blind apologist1 describing the art society of the day1 writes3 ,the painters in ,rome are divided by a broad line of demarcation into two parties--the one consisting of our friends and their adherents1 the other of the united phalanx of those who are of the world1 a set who intrigue and lie and backbite2 they intend there shall not be light1 come what will4 ,the former are exemplary in their lives2 the latter display the old licentiousness which characterised the ,german artists in ,rome thirty years ago4 ,happily1 at the present moment1 the more talented of the newcomers are ranged on the side of our friends4 ,it is a hopeful sign that some foreigners1 and even ,italians1 are beginning to pay attention to their works4 ,overbeck and his more immediate associates were indeed1 in the best sense of the term1 purists and pietists1 and held vitally to the maxim that they who would know of a doctrine must live out the doctrine4 ,on no other conditions was it possible to accomplish their mission--the regeneration of art4 ,the schools around them had fallen in great measure through lack of sincerity and truth2 they in contrast believed as our ,english ,bishop ,butler taught1 that conscience is the ruling faculty in the human mind4 ,the style of art dominant in ,rome during ,overbeck's early residence did not materially differ from that which he had left behind him in ,vienna4 ,the ,director1 in fact1 of the ,viennese ,academy had in youth won the prize of ,rome1 and there became the representative of the prevailing decadence4 ,among the ,italians1 ,battoni1 following in the footsteps of ,carlo ,maratti1 was not without the grace and the beauty of ,correggio and ,guido4 ,descending a generation later1 ,overbeck found among his contemporaries ,pietro ,benvenuto1 one of the most distinguished adherents of the school of ,david3 whose masterpiece in ,arezzo ,cathedral has justly been designated one of the finest productions of modern art4 ,these were not men to be wholly despised4 ,furthermore it is to be remembered1 as before indicated1 that the ,germans1 in a generation only just passed away1 had here in ,rome formed a learned school based on the antique2 ,lessing1 in his treatise1 the ',laocoon1' and ,winckelmann1 by his criticisms on the marbles of the ,vatican1 had induced a new ,classic ,renaissance4 ,the painter ,raphael ,mengs1 thus guided1 appropriately executed in the ,villa ,albani the famous fresco of ,apollo and the ,nine ,muses on ,mount ,parnassus4 ,again1 here are men and manifestations not to be disdained4 ,but for such art ,overbeck1 as we have seen1 cherished inveterate antipathy3 whether he was absolutely right1 impartial critics1 founding a judgment on a wide historic basis1 will hesitate to determine4 ,the correct verdict probably is that each school is good of its kind1 that the one possesses merits distinctive of the other1 and that it is well for the world that every mode of thought should in turn obtain the fullest and highest manifestation4 ,but ,overbeck's vision was too intently focussed on one point to perceive that his sphere was but a segment1 a part1 though by no means an unimportant part1 of the greater whole4 ,the classic movement1 against which he set his face steadily1 was not to be easily annihilated2 it survived in ,rome in such illustrious representatives as ,canova1 ,thorwaldsen and ,gibson4 ,but ,overbeck grew more and more the recluse2 he shortly became a proselyte to the ,romish ,church1 shut himself out from other associations1 and thus after a time devoted his pencil exclusively to ,christian ,art4 ,the early pictures and drawings executed in ,rome carry out the painter's resolve4 ,to this first period belong3 ,the ,adoration of the ,kings 7#ahaa71 ,jesus in the ,house of ,martha and ,mary 7#ahab71 ,the ,preaching of ,st4 ,john1 ,the ,raising of ,lazarus1 ,the ,entombment1 ,christ ,blessing ,little ,children1 ,the ,holy ,family1 ,ave ,maria1 ,blessed art thou among ,women1 also a portrait of ,vittoria ,caldoni4#b ,the first commission received by the struggling painter came from ,queen ,caroline of ,bavaria for ,the ,adoration of the ,kings1 in oils4 ,the ,queen had written to ,rome saying that she wished for a picture by the young artist2 that as to the price1 a hard bargain need not be driven1 for when one gains a beautiful work1 the cost cannot be regretted4 ,overbeck1 on receiving the good news1 writes1 ,december #af1 #ahaa1 ,i was so overpowered with joy that ,i could not bring out a syllable4 ,the affair moves me all the more because ,i had not dreamt of it4 ,what can be the cause of my good fortune8 ,happy day6 ,i shall think of it as long as ,i live3 to the ,lord be the praise4 ,four days later he writes to ,lbeck3--,what joy6 ,i can now relieve my parents from further burden4 ,this is the moment so long wished for4 ,henceforth and for ever ,i am a man and an independent artist in the workshop1 free as a king over the boundless domain of fantasy to create a beautiful world4 ,the maxim that correct drawing lies at the foundation of all true art was maintained by the ,brotherhood through both precept and example4 ,overbeck first mastered form1 he trained his hand to outline2 next he learnt the principles of composition1 that is the power of combining separate parts into a connected whole2 lastly1 he added colour1 but rather as an accessory than an essential4 ,hence his water-colours and even his oil-pictures are often little more than tinted drawings4 ,in the first ,roman period1 that is up to about the year #ahbj1 when the age of thirty had been reached1 we find the artist in full possession of the faculty of expressing his ideas at the point of his pencil4 ,of this happy facility many examples have come before me3 one especially1 at ,stift ,neuburg1 ,the ,raising of ,jairus's ,daughter 7#ahad72 another1 almost a replica of the last1 delicately washed with colour1 in the private collection of ,herr ,malss1 of the ,stdel ,institute1 ,frankfort4 ,i note with admiration the precision and subtlety of the form1 especially in the hands and feet4 ,the work1 though small in scale 7#a ft4 #c in4 by #a ft471 is large in manner1 the treatment being that of the ,great ,masters as distinguished from the ,small ,masters4 ,overbeck1 who was on intimate terms with the family of ,director ,malss1 said that he wished they should have a work as perfect as he could make it3 verily he realised his endeavour4 ,belonging to the same period1 ,i find in another private collection in ,frankfort a portrait in delicate pencilling of a young girl of about eighteen2 the hair is in close curls all round the head1 the necklace is marked with utmost detail4 ,perhaps ,i have not laid sufficient stress on the truth and rectitude of ,overbeck's work1 as seen1 for instance1 in the ,head of an ,old ,monk among the drawings of the ,national ,gallery1 ,berlin4 ,this is so close to nature that a deformity in one ear has been conscientiously registered4 ,the handling here is masterly1 the touch firm and strong2 the play of lines in the hatchings proves a free hand and a facile turn of the wrist4 ,also may be mentioned1 for incidents taken from the life1 a remarkable composition at ,stift ,neuburg1 ,the ,feeding of the ,hungry4 ,close to nature are these transcripts of the poor1 the needy1 and aged1 one advancing on crutches to receive bounty2 and over all presides the spirit of beauty and charity4 ,also in the same collection is a triptych1 wherein angels and cherubs appear3 this is among the earliest examples of the intervention of the supernatural4 ,overbeck was not the man to rush in where angels fear to tread4 ,likewise among ,biblical subjects1 ,i find in the ,national ,gallery1 ,berlin1 ,the ,creation of ,adam and ,eve1 and ,the ,expulsion from ,paradise4 ,here the delineation of the undraped figure proves absolute knowledge1 and shows1 as before said1 that the usual course of drawing from the nude had been gone through4 ,the point indeed need not be discussed further1 as ,schadow expressly states that ,overbeck's drawings from the nude as well as from the draped figure were1 for subtlety and truth to nature1 the admiration of every one4 ,the ,creation and ,expulsion are of exceptional value1 because the artist for once borrows from ,michelangelo3 also it will be seen that ,overbeck gave himself from the outset to the illustration of the ,biblical narrative1 and thus fondly trod in the footsteps of ,giotto and ,fra ,angelico4 ,an ,exhibition of the works of the ,german painters in ,rome was held in #ahai1 in a room of the ,palazzo ,caffarelli1 which1 as the official residence of ,niebuhr and ,bunsen1 had often been a spot of kindly meeting and hospitality4 ,the collection ,frederick ,schlegel pronounced unsurpassed in richness1 variety1 and intrinsic value4 ,public interest was awakened1 and attention centred round the contributions of ,overbeck1 ,schadow1 ,veit and ,cornelius4 ,overbeck sent a ,madonna and a ,flight into ,egypt2 and ,schlegel specially names the cartoon of ,jerusalem ,delivered1 for the frescoes then in progress at the ,villa ,massimo1 as proof of the artist's power of expression and faculty of invention4 ,he adds3 ,the struggle of the ,german artists in ,rome daily excites more and more observation1 and their progress is watched with cordial sympathy by men of all nations4 ,a very serious topic must now be considered4 ,overbeck in #ahac relinquished the ,protestant faith of his forefathers and joined the ,roman ,catholic ,church4 ,obviously in these pages polemics are out of place1 and the step which the conscientious painter thought fit to take has to be here noted so far only as it serves as an index to character and as an interpretation of art4 ,rightly to judge the case1 it were well correctly to estimate ,overbeck as a man3 his strength lay within his art1 outside which he had infirmities2 his bodily health was feeble1 his mind to the extreme refined and to the last degree sensitive2 he shrank from the conflict of life2 common people he could not associate with2 for the ordinary world he was wholly unfit1 and sought refuge in some ideal not yet reached4 ,niebuhr truly reads the character when he writes3 ,overbeck is an enthusiast and quite illiberal2 he is a very amiable man and endowed with a magnificent imagination1 but incapable by nature of standing alone1 and by no means so clear-headed as he is poetical4 ,he bends easily and naturally under the yoke of the ,catholic faith4 ,overbeck doubtless felt all the more need of safe anchorage from the sea of troubles on which many minds were cast through the controversy and scepticism which agitated ,protestant ,europe4 ,in ,lbeck1 as we have seen1 the phases of faith were philosophic and sthetic1 and the divinities of ,olympus and ,parnassus shared equal favour with the saints of the ,church4 ,the young painter was cast in a severer mould1 and needed that the infinite and eternal should be circumscribed by definite form4 ,it is reported of a certain ,german philosopher that1 when addressing his class1 he ended with the words3--,in the next lecture we shall proceed to construct ,god6 ,overbeck preferred to such speculation the authority of the ,church4 ,the painter ,joseph ,fhrich puts the case strongly3#c he declares that his friend had to take the choice between ,pantheism and ,catholicism4 ,overbeck felt that art was a religious question1 and he determined that all his work should be a protest against the indifferentism and latitudinarianism which account all religions equal4 ,he conceded that secular writings and mundane arts were not without their value and charm2 in the arts may be permitted divers manifestations1 such as landscape1 animal1 and flower painting4 ,the ,church is tolerant of all that is good1 but on the highest pinnacle stands the ,christian painter4 ,over these matters he had pondered long1 and was accustomed to say to himself1 ,let not my ,christ be ever robbed of my love2 the true home of art is within the soul before the altar of the ,church2 the tabernacle of art has its foundations in the worship of ,god4 ,early ,christian ,art naturally drew ,overbeck towards the ,roman ,catholic ,church4 ,frederick ,schlegel1 ,rio1 ,pugin severally fell under the same spell4 ,the old mosaics1 frescoes1 and easel pictures which came down through unbroken ecclesiastical descent1 were for the ,christian artist of the nineteenth century means of grace1 and served as revelations of the ,divine4 ,fra ,angelico was taken as a pattern2 through living and loving1 watching and praying1 believing and working1 the ,high ,priesthood of ,art was to be established4 ,and the actual experiences of modern ,rome brought no disillusion2 the frivolity and the hollowness which so often disgust newcomers were either not seen or were turned aside from4 ,the painter was too pure and childlike to realise the evil1 he turned only to the good3 for him the world shone as a land of light2 from art he would exorcise the passions2 the true art-life blended heaven with earth1 the ideal could be attained only through the ,church3 her teachings were the education of humanity4 ,the decisive step ultimately taken is recorded as follows3 ,overbeck at ,whitsuntide in the year #ahac joined the ,catholic ,faith1 and with joy entered into the family of the world's ,church4 ,his spiritual guide and confessor was ,professor1 afterwards ,cardinal1 ,ostini2 and the poet ,zacharias ,werner1 of ,knigsberg1 as a fellow-countryman from the shores of the northern sea1 acted as godfather at the ceremony4 ,the poet1 in writing at the time to the ,prince ,primate of ,dalberg1 said that he recognised in the young painter 'a true seraphic character of the ,fatherland4'#d ,a veritable mental epidemic seized on the ,german artists1 and when one after another of ,overbeck's friends followed his example1 ,niebuhr took alarm1 and bethought himself of what measures could be taken4 ,it appears that a pamphlet had been published intended expressly for the conversion of the young ,germans1 and ,niebuhr1 feeling the emergency of the situation1 requested a friend to bring or send ,luther's works with other writings against ,popery4 ,he adds3 ,it cannot be expressed how disgusting these proceedings become the more you see of them4 ,at this moment the proselytes have ,schadow1 one of the ablest of the young artists1 on their bait4 ,at a later date he writes3 ,i like ,overbeck and the two ,schadows much1 and they are estimable both as artists and as men2 but the ,catholicism of ,overbeck and one of the ,schadows excludes entirely many topics of conversation4 ,overbeck is elsewhere described as of very prepossessing physiognomy1 taciturn and melancholy1 with a proselyting spirit4 ,bunsen1 who no less than ,niebuhr deplored these conversions1 writes in #ahag that ,overbeck had been for a fortnight in ,august a welcome guest at ,frascati1 that he had finished a water-colour drawing--a very lovely ,madonna with the infant ,jesus--of which he permitted a copy to be taken1 still extant1 and valued as a record of the time and of the short-lived intimacy with the gentle and heavenly-minded artist1 who soon after this period withdrew from all companions of a different religious persuasion from that which he had adopted4 ,among the chief converts are numbered the brothers ,schadow1 ,veit1 ,platner1 and the critic ,frederick ,schlegel4 ,cornelius is not included1 because he was born into ,catholicism4 ,he is described as of an open and powerful intellect1 free from all limitations1 with habits and convictions rooted as the facts of his existence4 ,he thus looked on coolly while the new converts were at fever-heat4 ,yet it is pleasant to know that these controversies were1 in the main1 preserved from personal bitterness1 and that whatever might be the difference in creeds1 the broad union of religion and humanity was never torn asunder4 ,thus in #ahag ,niebuhr1 a ,protestant and possibly something more1 was able to write3 ,i associate chiefly1 indeed almost exclusively1 with the artists who belong to the religious party1 because those who are decidedly pious1 or who strive after piety1 are by far the noblest and best men1 and also the most intellectual1 and this gives me an opportunity of hearing a good deal on faith and its true nature4 ,and the faith of these men we know to have brought forth good works2 as were their belief and their practice1 such were their pictures1 and it is scarcely here the place to discuss whether larger views might have given to their art wider extension4 ,by a curious coincidence1 about the time when these conversions to ,roman ,catholicism were going on in ,rome the third jubilee of the ,reformation was celebrated at ,lbeck4 ,the pietist father of the painter made himself champion of the cause1 and delivered a speech at a meeting of the ,bible ,society1 wherein he proclaimed ,luther the great witness of truth4 ,luther1 he declared1 spoke1 wrote1 thundered1 and the power of darkness was overturned2 thus conscience became free1 doctrines were purified1 and the precious ,bible1 as a heavenly treasure1 was given back to the people4#e ,it has been assigned as a reason why ,overbeck never returned home1 that he could not bear to see the city of ,lbeck with her old walls thrown down2 but a less fanciful cause was that other walls than those of brick and mortar had been set up1 dividing kindred and friends4 ,let us now turn from polemics to the pleasing descriptions given by ,niebuhr and ,bunsen of the daily lives of the ,german ,brotherhood4 ,it is not always that archologists and literary men are the soundest counsellors of artists2 they place overmuch stress on the inward conception and motive2 they lay down1 like ,coleridge1 the axiom that a picture is an intermediate something between a thought and a thing1 and in exalting the thought they subordinate the thing4 ,this was the last teaching that ,overbeck needed4 ,he and his fellows were already only too prone to ignore technique1 to neglect colour1 chiaroscuro1 texture4 ,they deemed it all-sufficient to perfect form as the language of thought2 consequently while their works instruct and elevate1 they fail to please or to gain wide popularity4 ,nevertheless1 taken for all in all1 ,overbeck and ,cornelius must be accounted most fortunate in their intellectual companionship4 ,the habit was1 when gathered socially together at the ,embassy in the ,palazzo ,caffarelli1 to read books1 talk of pictures1 and to consort together generally for the furtherance of the great art revival in which ,niebuhr and ,bunsen believed fervently4 ,the attachment became mutual1 the intercourse was prized on both sides4 ,niebuhr writes of ,cornelius and his wife3 ,they are1 strictly speaking1 intimate family friends2 and again he says3 ,the society of ,cornelius and ,overbeck gives an inspiring variety to the day's occupations1 and one or other of these intellectual companions seldom fails to join our evening walks4 ,in another letter we read3 ,cornelius of ,dsseldorf1 ,platner from ,leipzig1 ,koch from the ,tyrol1 ,overbeck from ,lbeck1 ,mosler from ,coblentz1 and ,william ,schadow from ,berlin1 were assembled at ,bunsen's in the apartments of the painter ,brandis3 in different ways and degrees we are attached to them all1 and we think them men of talent4 ,their society is the only pleasure we derive from human beings in ,rome4 ,the young artists are found to be wholly without worldly wisdom1 a charge to which at least ,overbeck might readily plead guilty4 ,niebuhr further declares3 ,i confidently believe we are on the eve of a new era of ,art in ,germany1 similar to the sudden bloom of our literature in the eighteenth century4 ,he discerned in the movement an unaccustomed spiritual phenomenon--one of those manifestations of the national mind from time to time found in the history of humanity4 ,he felt once more an outburst of the intellectual life of ,germany1 a rising again of the force of genius which had impelled ,lessing1 ,kant1 and ,goethe1 which had given birth to profound philosophy and science1 and had animated a whole people with patriotism and a spirit of self-sacrifice to do battle amid national songs and hymns1 even to the death1 in the cause of the ,king and the ,fatherland4 ,bunsen testifies how ,niebuhr showed his affection and care for the ,prussian and ,german disciples of art2 he considered it an agreeable part of his duty and vocation to render them assistance1 to encourage them in their studies1 to give them the time of which he was so sparing to men of mere show and fashion1 also to render them pecuniary assistance when necessary4 ,to ,niebuhr belongs the honour of having been the first to recognise the new school at the moment when it was despised1 derided1 and vituperated4 ,he befriended the men who had to fight their way against shallowness and wickedness1 against the low and false taste of connoisseurs and patrons1 till the day came when the martyrs of an exalted aspiration gained the attention and admiration of the world4 ,nor in numbering friends must be forgotten ,frederick ,schlegel1 the avowed champion of the new school4 ,the critic was not without connecting links and antecedents2 he had made himself son-in-law of the ,jewish philosopher ,moses ,mendelssohn1 and stepfather of the painter ,philip ,veit2 and he further qualified himself for his critical duties by joining the ,roman ,catholic ,church4 ,overbeck and this rhapsodist on ,christian ,art were naturally close allies2 each was of use to the other1 and gave and received in turns4 ,the artist strove1 it is said1 to embody in pictorial form his friend's teachings2 the two1 in fact1 moved in parallel lines4 ,schlegel urged that the new style must be emulative and aspiring1 ever possessed of lofty ideas4 ,believe not1 he writes1 that the glory of art has passed away4 ,the hope is not vain that there comes a rekindling of former fires2 art uprising from the dark night breaks as the morning's dawn2 a new life can spring only from the depths of a new love4 ,let us hold that ,art like ,nature renews her youth4 ,the soul alone can comprehend the truly beautiful2 the eye gazes but on the material veil--the union of the inner soul with the outward form constitutes the noblest art4 ,nowhere are to be found more eloquent utterances on the ,bond between ,art and the ,church1 but in all is overlooked the simple fact that the ,celestial light cannot be made appreciable to mortal eye otherwise than through the medium of matter1 and according to the laws of vision4 ,and to such oversight is greatly to be ascribed the infirmities of ,overbeck and his school4 ,it is forgotten that the most holy of motives cannot save a picture which is not good as a picture4 ,schlegel discusses the question1 ,what is needed by the ,christian painter8 ,the following phrenzy1 though wordy1 is worth reading3-- ,the answer is that the beautiful truths of the ,christian faith should not be received into the mind as merely lifeless forms1 in passive acquiescence to the teaching of others3 they must be embraced with an earnest conviction of their truth and reality1 and bound up with each individual feeling of the painter's soul4 ,still even the influence of devotion is not alone sufficient2 for however entirely religion may be felt to compensate for all that is wanting to our earthly happiness1 much more is required to form a painter4 ,i know not how better to designate that other element1 without which mere technical skill1 and even correct ideas1 will be unavailing1 than by calling it the inborn light of inspiration4 ,it is something quite distinct from fertility of invention1 or magic of colouring1 rare and valuable as is the latter quality in painting4 ,it is no less distinct from skill in the technicalities of design and from the natural feeling for beauty inherent in some susceptible minds4 ,the poet and the musician should also be inspired1 but their inspiration is more the offspring of human emotion2 the painter's inspiration must be an emanation of celestial light3 his very soul must1 so to speak1 become itself illumined1 a glowing centre of holy radiance1 in whose bright beams every material object should be reflected2 and even his inmost conceptions and daily thoughts must be interpenetrated by its brightness and remodelled by its power4 ,this indwelling light of the soul should be recognised in every creation of his pencil1 expressive as a spoken word2 and in this lies the peculiar vitality of ,christian beauty1 and the cause of the remarkable difference between ,classic and ,christian art4 ,physical beauty is employed by the ,christian painter but as a material veil1 from beneath which the hidden divinity of the soul shines forth1 illuminating all mortal life with the higher spirituality of love4 ,a kindly and timely commission came to the masters of the ,german ,brotherhood--,overbeck1 ,cornelius1 ,veit1 and ,schadow--from the ,prussian ,consul1 ,bartholdi4 ,personal relations1 with the desire of giving the untried painters an opportunity of proving what good was in them1 prompted the charge to decorate with frescoes a room in the ,casa ,bartholdi1 situated on the brow of the ,pincian ,hill4#f ,the ,prussian ,consul was in a roundabout way connected with ,philip ,veit and ,frederick ,schlegel1 whose mutual relationship has been already recounted2 his wife was sister of the philosopher ,moses ,mendelssohn1 and aunt of the illustrious musician1 and sundry intermarriages had made1 as it were1 a compact in literature and art between the families of ,bartholdi1 ,mendelssohn1 ,veit1 and ,schlegel4#g ,the chosen sphere of operations was comparatively narrow2 the small room in an upper story1 now of historic interest1 is not more than twenty-four feet square4 ,the situation is inviting2 the beauties of nature are usually found proximate with the beauties of art1 and here the windows command a panorama sweeping from the ,pincian to the ,tiber1 and embracing ,st4 ,peter's1 the ,vatican1 ,st4 ,angelo1 and the ,capitol4 ,the topic chosen for these wall pictures was the ,story of ,joseph and his ,brethren--a theme conveniently accommodating to any existing diversities in creeds or styles4 ,the technical process adopted was fresco1 a monumental art1 the revival of which formed part of the mission of the ,german fraternity4 ,the arduous undertaking was commenced and carried out in strict accordance with historic precedents4 ,preliminary studies were made1 and well-matured cartoons on the scale of the ultimate pictures were perfected4 ,to the lot of ,overbeck fell ,joseph sold by his ,brethren1#h and ,the ,seven ,years of ,famine4 ,it has been my pleasure to visit and revisit these wall-paintings over a period of a quarter of a century1 and growing experience does but enhance my admiration4 ,they fulfil the first requirements of wall decoration3 the story is told lucidly and concisely2 the style is simple1 noble2 accidents are held subordinate to essentials2 the compositions are distributed symmetrically2 the colour1 though a little crude1 is brought into somewhat agreeable unity2 the light and shade are not focussed at one point1 but carried evenly over the whole surface2 and the treatment inclines sufficiently to the flat to keep the compositions down on the wall4 ,the finished pictures of the four masters vary in dimensions4 ,the lengths range from eight to seventeen feet1 the height is mostly about eight feet2 the figures do not exceed five feet4 ,the lines bounding the figures and draperies are firm and incisive4 ,accordant with the practice of the old fresco-painters1 each day's work is marked and discernible by the joinings in the plaster1 and the junctions between the dry plaster of one day and the wet plaster of the next are appropriately fixed at the points where the subject breaks off readily and can be resumed most easily4 ,the technique is thoroughly mastered1 and1 barring some surface cracks1 the paintings are in as perfect condition as when they came from the artists' hands4 ,the chief defect is a somewhat crude opacity of pigments1 a characteristic belonging to the debased period of wall-painting rather than to the fresco buono et puro of ,giotto1 ,luini1 and ,pinturicchio4 ,another point to be remarked is that the frescoes in the ,casa ,bartholdi show that the four painters--,overbeck1 ,cornelius1 ,veit1 and ,schadow--worked here at the outset of their career in remarkable unison4 ,in the course of years they diverged widely1 but as yet the school collectively dominates over the artist individually4 ,the ,brethren had formed themselves equally on the same originals1 and had scarcely found time to take their several departures from nature4 ,indeed1 the actual presence of nature comes almost as a surprise in these compositions4 ,overbeck's figures are manifestly more or less studied from the life1 only1 according to his habitual practice1 he has taken pains to eliminate from his models any individual accidents which marred the generic form1 softening down angularity and ruggedness into pervading grace and beauty4 ,here and there are traces of affectation1 together with a feebleness incident to the painter's weak physique which stands in utmost contrast with the force of ,cornelius4 ,overbeck mostly shunned action and dramatic intensity1 and here the figures in their movements depart but slightly from the equilibrium of repose4 ,as a religious artist1 the ,new ,testament was more within his sphere than the ,old4 ,thus the outrage committed against ,joseph by his brethren is toned down into a calm1 orderly transaction2 placidity reigns throughout2 all is brought into keeping with the painter's spirit of gentleness4 ,the ,casa ,bartholdi frescoes1#i when finished1 produced a most favourable impression in ,rome2 the cause of the ,germans was greatly strengthened1 and the opposite party felt the defeat4 ,the ,italians1 too1 were taken by surprise to find themselves beaten by foreigners on their own ground4 ,a natural consequence of the success was further commissions1 and the fortune no less than the fame of the revivalists was made4 ,singularly enough the modern ,romans came forward as the next patrons4 ,niebuhr1 writing from ,rome in #ahag1 says3 ,it is a significant fact that some foreigners1 even ,italians1 are beginning to pay attention to the works of our friends4 ,it is well known that the ,romans had been addicted for centuries to mural painting in palaces1 villas and garden-houses3 ,raphael was employed to decorate the ,farnesina2 ,guido and ,annibale ,carracci painted the ceilings of the ,farnese and of the ,rospigliosi ,palaces4 ,emulating these illustrious examples1 ,prince ,massimo commissioned ,overbeck1 ,cornelius1 ,veit1 and ,schnorr to cover the walls and ceilings of his ,garden ,pavilion near ,st4 ,john ,lateran with frescoes illustrative of ,tasso1 ,dante1 and ,ariosto4 ,not only the themes1 but the local surroundings were inspiring4 ,the ,villa ,massimo is a site only possible in ,rome4 ,when the artists in the morning came to work1 before their view opened a panorama embracing the ,claudian ,aqueduct1 ,st4 ,john ,lateran1 the ,church of ,sta4 ,croce in ,gerusalemme1 the old ,walls of ,rome1 with cypresses and stone pines around1 and the ,alban ,hills beyond4 ,the ,pavilion assigned to the painters stands in the ,villa garden1 with the accustomed growth and fragrance of orange-trees1 magnolias1 azaleas1 roses1 and violets4 ,overbeck entered on the work with poetic ardour4 ,the ,massimo ,pavilion is little more than three rooms standing on the ground2 the first1 indeed1 is an ,entrance ,hall1 and therein ,schnorr painted copiously from ,ariosto4 ,on the left a door leads to the room assigned to ,cornelius for the illustration of ,dante3 the ceiling fell to the lot of ,veit4 ,on the right another door opens to a corresponding room of like dimensions1 set apart to ,overbeck and ,tasso's ,jerusalem ,delivered4#aj ,this small interior is not more than fifteen feet square1 and the wall-spaces are much broken up by doors and windows1 so that only one of the four sides remained disencumbered4 ,the compositions are eleven in number1 and are unequal alike in size and merit4 ,the largest and most noteworthy is fifteen feet long by ten feet high1 representing the ,meeting of ,godfrey de ,bouillon and ,peter the ,hermit4 ,the narrative is lucidly told1 the picture well put together1 and the successive planes of distance are duly marked4 ,altogether the fundamental principles of wall-decoration are clearly understood in this the most complex composition yet attempted by the painter4 ,another thoroughly studied design is ,sophronio and ,olindo on the ,funeral ,pyre delivered by ,clorinda4#aa ,the action has more than usual force and movement1 and the undraped figures are drawn with severe exactitude4 ,presiding over the whole series1 in the middle of the ceiling1 is an allegorical figure of ,jerusalem ,delivered4#ab ,an angel on either side unlooses the fetters of an innocent placid maiden crowned with thorns4 ,these frescoes1 notwithstanding their situation in a cold1 damp garden-house1 remained1 when ,i saw them last1 in ,january1 #ahgh1 in sound condition3 thus once more we find ,overbeck1 equally with ,cornelius1 to have been solidly grounded in the method of wall-painting4 ,i must confess that ,i have always been disappointed with this ,tasso ,room4#ac ,one reason is that the carrying out of the original designs was delegated to an inferior brush4 ,overbeck was not in strong health2 he worked slowly1 and when other commissions came in1 some more to his liking1 such as that for the church picture at ,assisi1 he felt overburdened1 and wished to be released from a task that had grown wearisome4 ,the work1 began about #ahag1 had dragged on for ten years1 till at last ,overbeck made a deliberate call on good and friendly ,joseph ,fhrich1 and requested that he would complete the unfinished frescoes4 ,the proposal1 naturally felt as an honour1 was gratefully acceded to4 ,after this distance of time it becomes difficult to determine how far this worthy substitute must be held responsible for much that is to be regretted on these walls4 ,for some of the compositions the master had made nothing more than sketches or indications1 and at least three must be laid to the charge of the scholar4 ,fhrich was for ,overbeck what ,giulio ,romano had been for ,raphael1 and the ,tasso ,room suffered the same degradation as the latest stanza in the ,vatican4 ,the ,tasso ,room may be taken as a measure of ,overbeck's capacity4 ,this cyclus1 or series1 shows the painter's power of sustained thought and faculty of invention4 ,much1 doubtless1 is compilation1 yet something remains of originality4 ,the best passages are those not borrowed from old pictures1 but taken from life1 which makes the regret all the greater that here and in the sequel nature was not trusted more implicitly4 ,on the whole1 these compositions leave the impression that ,overbeck had not mental force or physical stamina sufficient for the task4 ,it is true that the presence of a lyrical spirit is felt2 but scenes of ,romance need more fire and passion2 the deeds of ,chivalry were not enacted in a cloister4 ,perhaps self-knowledge wisely counselled ,overbeck to quit the regions of creative imagination4 ,with greater peace of mind he trod in the future1 the safer paths of ,christian ,art1 wherein precedent and authority served as his guide and support4 ,,footnotes3 ,footnote #a3 ,see among other authorities3 ',die ,deutsche ,kunst in unserem ,jahrhundert1 von ,dr4 ,hagen1' vol4 ix4 ,berlin1 #aheg4 ,footnote #b3 ,the above compositions suggest the following observations4 ,overbeck was in the habit of making over many years replicas with variations and improvements of favourite themes1 and the dates of the successive stages are not always easily determined4 ,of the ,preaching of ,st4 ,john1 the ,dsseldorf ,academy possesses an example dated #ahca4 ,also in the same collection is a mature and almost faultless drawing1 fit companion for ,raphael1 of ,the ,raising of ,lazarus2 the figure of ,christ is #i inches high4 ,overbeck made several renderings of the universally-beloved composition1 ,christ ,blessing ,little ,children3 the most deliberate is that given in these pages4 ,the replica in the ,meyer ,collection1 ,hamburg1 is of the last decade of the artist's life1 and betrays infirmity of hand4 ,the ,entombment1 classed above among works of the first ,roman period1 is probably that now in the choice collection at ,stift ,neuburg1 near ,heidelberg1 dated #ahad1 and obviously suggested by ,raphael's ,entombment in the ,borghese ,palace4 ,no drawings have better pedigree than those in this old family mansion3 a predecessor of the present possessor was the artist's personal friend4 ,the version of ,the ,bearing to the ,sepulchre given in these pages is from one of the forty well-known drawings of the ,gospels1 and dates #ahdd4 ,at ,stift ,neuburg ,i also saw in the autumn of #ahhj1 by the courtesy of the owner1 ,graf von ,bernus1 the drawing for the ,holy ,family1 chosen as an illustration to this volume2 it is of utmost delicacy and beauty--the motive has evidently been borrowed from ,raphael2 the measurement is #a foot #c inches by #a foot #h inches4 ,footnote #c3 ,see ',autobiography of ,joseph ,fhrich1' published in ,vienna and ,pesth1 #ahge4 ,footnote #d3 ,see ',historisch-,politische ,bltter fr das ,katholische ,deutschland1' vol4 lvi41 part #h4 ,munich1 #ahgj4 ,footnote #e3 ,see ',erinnerung an ,christian ,adolph ,overbeck2' ,lbeck1 #ahcj4 ,footnote #f3 ,the ,casa ,bartholdi has for some years been let as lodgings to a superior class of travellers1 and is much favoured by the ,english4 ,the rooms are not always accessible2 the servants have been known to name1 as the most convenient time for seeing the frescoes1 ,sunday mornings1 when the tenants are attending the ,english ,church4 ,the ,painted ,chamber is suitably furnished for daily uses2 ,the ,history of ,joseph1 which covers the walls1 is not too serious a theme to mingle with the common avocations of domestic life3 fresco-painting1 in fact1 is not only a national and an ecclesiastic1 but likewise a domestic art4 ,footnote #g3 ,the ,royal ,academy ,exhibition1 ,berlin1 #ahhj1 contained a large coloured design for the decoration of the ceiling of the ,villa ,mendelssohn-,bartholdy4 ,thus the joint names over a period of more than half a century stand conspicuous among art-patrons4 ,footnote #h3 ,overbeck's cartoon in charcoal on paper of ,joseph sold by his ,brethren is carefully preserved under glass in the ,stdel ,institute1 ,frankfort1 where ,i examined it in #ahhj3 the width is #aa feet1 the height #h feet1 the figures are about #e feet4 ,the outlines are firmly accentuated2 the details sufficient without being elaborate2 the figure1 as proved specially in the arms1 hands1 legs1 and feet1 is perfectly understood2 the draperies are cast simply and broadly2 the heads of noble type are impressed with thought4 ,not a false touch appears throughout2 the crayon is guided by knowledge2 evidently preliminary studies and tentative drawings must have preceded this consummated product4 ,no wonder that this cartoon made a deep impression2 nothing had been seen at all like it in ,rome for very many years4 ,footnote #i3 ,many are the authors who have written on the ,casa ,bartholdi frescoes1 the chief authorities are ,hagen1 ,frster1 ,reber1 and ,riegel4 ,footnote #aj3 ,see among authorities before named1 ',geschichte des ,wiederauflebens der deutschen ,kunst zu ,ende des #ah4 und ,anfang des #ai4 ,jahrhunderts1 von ,hermann ,riegel4' ,hannover1 #ahgf4 ,footnote #aa3 ,the cartoon for this fresco is in the ,leipzig ,museum1 where ,i examined it in #ahhj4 ,it is in chalk on whity-brown paper1 in squares and mounted on canvas2 length #ae feet by #g feet4 ,as a mature study of form and composition it is just what a cartoon should be1 but the touch is feeble and poor4 ,like most of ,overbeck's designs1 it has received the tribute of engraving4 ,footnote #ab3 ,the cartoon was acquired for the ,national ,gallery1 ,berlin1 in #ahgh1 at the price of #cgl4 #ajs4 #j;d42 measurement #f feet by #d feet3 it has been engraved4 ,footnote #ac3 ,persistent difficulties are placed in the way of even students who desire to visit these frescoes2 the public are systematically excluded from the ,villa ,massimo1 and on two occasions1 when after much trouble ,i gained orders for admission1 the attendant1 in accordance with instructions1 forbade the taking of notes4 ,,chapter ,,iii4 ,,rome--,,germany4 ,the life of ,overbeck apportioned itself into successive periods of five1 ten1 or more years1 corresponding to the important works from time to time in hand4 ,the painter threw his whole mind into whatever he undertook1 and so his pictures in their conception1 and even in their execution1 reflect the thought and the state of consciousness which for the while held supreme sway4 ,the preceding chapters treat of two periods2 the one describes the early times in ,lbeck and ,vienna1 the other presents a sketch of the first decade in ,rome4 ,the foundations have been laid2 the main principles for the guidance of a true life and for the building up of a soul-moving art have been firmly fixed2 and now it remains to be seen how far and in what way the lofty aim was reached4 ,overbeck1 as soon as his prospects in life became somewhat assured1 married4 ,little is recorded of the wife3 the earliest mention ,i have met with is in #ahah1 when the artists in ,rome gave a grand fte in honour of the ,crown ,prince of ,bavaria4 ,overbeck and ,cornelius furnished designs for pictorial decorations and transparencies3 the guests wore medival costumes1 and made themselves otherwise attractive2 and we learn on the authority of ,madame ,bunsen that among the brilliant assembly the most admired of the evening was ,overbeck's future wife1 a lady beautiful1 engaging1 and influential1 from ,vienna4#a ,the marriage1 which was not long delayed1 proved on the whole happy1 though the wife's delicate health gave constant cause for anxiety1 and her other demands on an indulgent husband are said to have provoked the displeasure of ,cornelius and other friends4 ,two children were the fruits of the union3 a girl1 who died young1 and a boy1 who lived only long enough to give singular promise4 ,overbeck1 as we have seen1 had1 in common with his brethren1 given his best powers to monumental painting4 ,for this noble and architectonic art he was not without qualifications4 ,he moved in an exalted sphere1 his mind ranged among immutable truths1 his forms were high in type1 his compositions had symmetry and concentration1 he knew how to adapt lines and masses to structural spaces4 ,an occasion calculated to call forth his powers came with the commission to paint in fresco ,the ,vision of ,st4 ,francis for the church of ,sta4 ,maria degli ,angeli1 near ,assisi4 ,overbeck here1 as his custom was1 remained obedient to tradition1 and yet struck out a new path2 he was not content to retrace the footsteps of ,giotto or of ,cigoli1 he preferred to depict the vision of his own mind4 ,he enthrones the ,madonna as ,queen of ,heaven1 seated by the side of the risen ,saviour1 surrounded by the angelic hosts4 ,on the lower earth1 also attended by angels1 appears ,st4 ,francis in adoration1 while on the other side kneel reverently two mendicant friars4 ,the picture belongs to the middle period1 when the artist had attained the mature age of forty3 the style1 speaking historically1 is that of the grave and severely defined ,florentine school as represented by the ,brancacci chapel4 ,the fresco has been accounted by some the painter's masterpiece1 and it is pronounced by ,count ,raczynski as one of the few works of modern days worthy of transmission to future ages4#b ,overbeck1 it is easy to believe1 while painting on the very spot where ,st4 ,francis was in ecstasy1 led a life much to his liking4 ,he dwelt within the monastery1 and his pure mind1 open only to the good1 was blind to the dissolute ways of monks who became a scandal to the district4 ,when the fresco was half finished1 the master received a visit from his bosom friends ,steinle and ,fhrich1 and the three strengthened one another as they communed on religion and the arts4 ,overbeck is known to have had leanings towards a convent life1 and at one time1 when seriously thinking of taking the vow1 he received from the ,pope friendly admonition that his true mission lay within his art1 and that by renouncing the world his usefulness would be lessened4 ,it can scarcely1 however1 be doubted that asceticism became so much the habit of his life as to afflict his mental condition1 and to impoverish his art4 ,some critics indeed point to the early picture of ,the ,seven ,years of ,famine as the origin of a certain starved aspect in subsequent compositions4 ,pharaoh's lean kine have been supposed to symbolise the painter1 and the spare fare within the cells of ,st4 ,francis served to confirm the persuasion that flesh and blood1 in art as in life1 must be kept in subjection4 ,nevertheless1 ,i for one1 when on the spot1 could not but revere the pictorial outcome2 when first ,i made acquaintance with this plenary revelation of the painter1 ,i had been taking a walking-tour1 knapsack on back1 through the ,umbrian hills and valleys1 the birth-land of ,st4 ,francis2 ,i had become acquainted with the wall and panel paintings of ,giotto1 ,gentile di ,fabriano1 ,perugino1 ,giovanni ,santi1 and the youthful ,raphael2 and while looking on this heavenly ,vision1 ,i could not but feel that ,overbeck ranked among the holy company4 ,unlike most modern painters1 surely he had not to worship in the outer court of the ,gentiles4 ,overbeck received repeated solicitations to return to ,germany3 he was asked in #ahba by ,cornelius to take the directorship of the ,dsseldorf ,academy1 and four years later he writes in reply to the further persuasions of ,wintergerst and ,mosler4 ,he urges his incapacity for the duties3 he had learnt painting1 he says1 in a way difficult to impart to others2 moreover1 sculpture and architecture he did not understand at all1 and as for the business matters he was without faculty4 ,further difficulties were the health of his wife and the welfare of his son3 every information1 he continues1 ,i receive from my native country tells me of spiritual fermentations3 the sanctuary1 insufficiently protected by the law1 suffers under attacks1 and a proud worldly spirit raises its head and proclaims its wisdom4 ,can parents be blind to the risks to which they expose their child1 till now reared in the most delightful simplicity of belief8 ,dearest friends1 can you give us the assurance that we shall be able to educate our son in the simple ,catholic faith which we have learnt to recognise as the most vital and consoling4 ,overbeck1 it need hardly be added1 shrank from the dangers and declined the duties4 ,but1 at length1 free from pressing and onerous commissions1 he lent a more willing ear to invitations from ,germany4 ,cornelius in #ahcj had come to ,rome from ,munich1 the better to complete certain cartoons2 with him were a daughter1 also his wife1 who had under charge ,frulein ,emilie ,linder1 a young lady of ,basle1 of some means and given to pictorial pursuits4 ,overbeck1 on the completion of his wall-painting at ,assisi1 rejoined the brilliant art circle of the ,roman capital1 and from this time dates the memorable friendship between the lady1 then a ,protestant1 and the great ,catholic painter4 ,after a winter pleasantly passed among congenial spirits1 the whole party in the early summer of #ahca set out from ,rome and reached ,florence4 ,emilie ,linder returned for a time to ,basle1 while ,overbeck1 under the care of ,cornelius1 by way of the ,tyrol reached ,munich4 ,on the news of their approach in ,july1 the local artists1 young and old1 assembled at the gates1 outposts had been stationed along the road1 and the townfolks gathered by thousands in the streets3 from afar the cheering was heard1 and then group after group raised the cry1 ,overbeck6 ,cornelius6 ,the entry soon grew into a triumphal march1 and1 protests notwithstanding1 the horses were unyoked1 and a company of lusty youths drew the carriage to the dwelling of ,cornelius4 ,twenty years had elapsed since ,overbeck1 an unknown youth1 had quitted his native land2 he now returned with a world-wide reputation4 ,cornelius1 once the sharer of his trials1 became the equal recipient of the triumphs2 he had just completed the grand series of frescoes for the ,glyptothek1 and with him were brought the cartoons elaborated in ,rome for the wall-paintings in the new ,ludwig ,kirche4 ,overbeck1 as the guest of his old friend1 passed happy weeks in ,munich4 ,the two painters conferred closely together in the interests of ,christian ,art1 and aided each other in the arduous works soon to be carried out4 ,the artists of ,bavaria signalised the visit of the apostle of ,christian ,painting by a jubilee2 they gave in honour of the illustrious stranger one of those joyous and scenic ftes for which ,munich is famed4 ,the locality chosen was the ,starnberger ,see1 a lovely region of hill and lake lying in the ,bavarian highlands1 bordering on the ,ammergau1 peopled by peasants with sacred traditions since better known through ,the ,passion ,play4 ,overbeck writes gratefully of enjoyment and instruction received through kind friends among the beauties of nature and of art4 ,the ,roman recluse in his journey northwards had widely extended his knowledge of nature4 ,on leaving the ,apennines he encountered the ,alps1 and exchanged beauty for grandeur4 ,his figures were often accompanied by landscapes2 but mountains exceeding in altitude five or six thousand feet appalled his imagination2 masses of such magnitude could not enter the smaller sphere of his consciousness2 hence his northern peregrinations brought into his compositions no ,alpine presences2 indeed1 his habitual serenity and simplicity were disturbed by dramatic stir or storm of the elements1 and though his sympathies warmed under novel experiences1 his art failed to take a new departure4 ,i have often when in ,munich regretted that ,overbeck had no share in the ,bavarian manifestations of ,christian ,art4 ,but that he1 the head of the religious revival1 is left out was simply his own fault4 ,cornelius1 in #ahba1 when as director reorganising the ,academy1 wrote to his friend1 asking assistance2 ,king ,ludwig also urged ,overbeck to come4 ,but the timorous artist as usual hesitated2 he gave at first assent1 conditional however on a delay of three years to complete works in hand2 then he pleaded the impossibility of taking any step whatsoever without the sense of religious duty4 ,the ,king naturally grew weary1 and interpreted the equivocal dealing as a denial4 ,cornelius again in #ahcc1 when the new ,basilica of ,st4 ,boniface needed decoration1 once more proposed that his fellow-labourer in ,rome should settle in ,munich1 but with no avail2 the ,king evidently had little cordiality for the artist1 and so employed others on the plea1 not wholly tenable1 that ,overbeck was better in oil than in fresco4 ,thus the large acreage of wall surfaces dedicated to ,christian ,art in the churches of ,munich and the ,cathedral of ,spires fell into the hands of ,cornelius1 ,hess1 and ,schraudolph4 ,it is impossible not to regret that this grand sphere was thus closed to the artist who of all others had most of beauty to reveal4 ,yet the sensitive painter might have encountered much to disturb his peace of mind4 ,king ,ludwig could not assuredly be quite the patron for a spiritual and esoteric artist1 and1 moreover1 there was something too wholesale in the ,munich way of going on for a man of limited strength4 ,overbeck1 as ,i can testify1 was about the last person to climb a giddy ladder or to endure a long day's drudgery before an acreage of wall fifty feet above the ground4 ,he wisely did not overstep his bounds2 he had not the wing of an eagle1 and preferred to keep as a dove1 near to the nest4 ,nevertheless1 ,munich is not without witness to the spirit of the mystic and poetic painter4 ,king ,ludwig1 himself at least a poetaster1 hit upon a felicitous comparison1 oft since reiterated1 when he designated ,overbeck the ,st4 ,john and ,cornelius the ,st4 ,paul in pictorial art4 ,the two artists1 like the two apostles1 had a common faith1 though a diverse calling1 and their several works testify how greatly the one was indebted to the other4 ,overbeck brought with him to ,bavaria a drawing of exceptional power1 ,elias in the ,chariot of ,fire 7#ahbg71 a composition which reflects as indubitably the greatness of ,cornelius as ,raphael's ,isaiah responds to the grandeur of ,michelangelo4 ,but this lofty strain of inspiration proved transient1 and ,overbeck1 as seen in ,munich1 truly personates the apostle who leant on the ,saviour's breast4 ,the ,new ,pinakothek is fortunate in the possession of three pictures4#c ,one is the ,portrait of ,vittoria ,caldoni1 already enumerated among earliest efforts2 another is the ,holy ,family1 illustrating these pages2 the composition recalls ,raphael's ,florentine manner4 ,the third1 ,italy and ,germany1 must be accounted exceptional because secular2 the motive1 however1 rises above common life into symbolism4 ,two maidens in tender embrace are depicted seated in a landscape1 the one blonde and homely1 personifying ,germania2 the other dark and ideal1 as if ,tasso inspired1 typical of ,italia4 ,the intention has given rise to interesting speculation4 ,the ,german girl leans forward in earnest entreaty1 while her ,italian sister remains immobile and impenetrable4 ,and herein some have seen shadowed forth a divided mind between two nationalities4 ,solicitations had come from ,germany1 yet1 after moments of hesitation1 ,overbeck held fast to the land of his adoption1 and his resolve may not inaptly find expression in ,italia1 a figure which seems to say1 ,vex not my spirit2 leave me to rest in this land of peace and of beauty4 ,but this composition is supposed to speak of yet wider experiences4 ,the painter had given much time to the writing of a romance descriptive or symbolic of human life1 wherein he embodied his own personal feelings and aspirations4 ,the two principal characters in this unpublished story are said to be here depicted under the guise of ,italia and ,germania4 ,the composition thus becomes somewhat autobiographic4 ,munich is identified with a friendship between ,overbeck and a lady1 which ranks among the most memorable of ,platonic attachments4 ,frulein ,emilie ,linder we have already encountered in ,rome1 where an abiding friendship was rooted1 and the devoted lady1 on separation1 soon found occasion to open a correspondence which was prolonged over a period of thirty years4 ,overbeck was a persistent letter-writer2 he wasted no time on society1 and so gained leisure to write epistles and publish essays4 ,and yet it cannot be said that1 had he not been an artist1 he would have shone as the brightest of authors4 ,on the contrary1 as with the majority of painters1 he never acquired an adroitness of pen commensurate with his mastery in the use of his pencil2 and it is certain that if his pictures had been without adorers1 his prose would have remained without readers4 ,the great painter was destitute of literary style2 his sentences are cumbrous and confused2 his pages grow wearisome by wordy repetition4 ,doubtless his thoughts are pure and elevated1 but1 lacking originality1 they run into platitudes1 and barely escape commonplace4 ,the prolonged correspondence with ,emilie ,linder#d contracts the flavour peculiar to polemics4 ,overbeck had grown into a fanatic ,catholic2 he was ever casting out nets to catch converts2 his tactics were enticing2 his own example proved persuasive4 ,moreover1 about his mind and method was something effusive1 which won on the hearts of emotional women4 ,at all events1 these letters brought over to the ,roman ,catholic ,church the lady and others4 ,and so it naturally came to pass that the bonds of union were drawn very close when the revered apostle and the devout disciple reposed within the same sheepfold4 ,these letters have a further significance2 they declare what indeed is otherwise well established1 that the ,catholic faith served as the prime moving power in the life and the art of ,overbeck4 ,the painter brought to ,munich ten or more drawings executed in ,rome with a view to his travelling expenses1 and ,emilie ,linder lost no time in making an offer for the set1 to add to her private collection4 ,the artist1 with suitable diffidence1 hesitated1 yet looked on the proposal as an interposition of ,providence1 and then begged for the money at once1 to help him on his further journey into ,germany4 ,though success had delivered him from poverty1 and commissions came in faster than he could paint1 yet at no time did he roll in wealth2 spite of scrupulous economy1 he never much more than paid his way2 and a few years later1 when1 for ,emilie ,linder1 engaged on ,the ,death of ,st4 ,joseph1#e he gladly accepted beforehand the price by instalments4 ,the correspondence shows a tender conscience1 with a humility not devoid of independence4 ,the art products were in fact of so high a quality that the painter conferred a greater favour than any he could receive in return4 ,overbeck left the hospitable roof of ,cornelius in ,munich at the end of ,august1 #ahca1 and reached ,heidelberg1 there to meet with an enthusiastic reception from friends and admirers2 there also1 after a separation of five-and-twenty years1 he saw once more1 and for the last time1 his elder brother from ,lbeck4 ,close to ,heidelberg1 overhanging the banks of the ,necker1 is ,stift ,neuburg1 formerly a monastic establishment1 but then the picturesque residence of a family in warmest bonds of friendship with the art brethren4 ,at this lovely spot1 ,i am told by the present owner1 ,overbeck stayed several days1 and a seat in the garden is still called after him ',overbeck's ,pltzchen4' ,on this rustic bench the painter was wont to sit meditatively amid scenery of surpassing beauty2 the quietude of nature and the converse of kindred minds were to his heart's content4 ,within the old mansion1 on the walls and in portfolios1 are the choicest examples of the artist's early and middle periods2 thus ,stift ,neuburg in its house and grounds remains sacred to the painter's memory4#f ,from ,heidelberg ,overbeck travelled to ,frankfort--a city soon to become a focus of the wide-spreading revival4 ,here the apostle of sacred art made the acquaintance of the poet ,clemens ,brentano1 and fell among other friends and adorers4 ,philip ,veit1 his fellow-worker in the ,casa ,bartholdi and the ,villa ,massimo1 had just been appointed ,director of the ,stdel ,institute1 where he executed one of the noblest of frescoes--,the ,introduction of the ,arts into ,germany through ,christianity4 ,likewise among warm adherents was ,johann ,passavant1 a painter who in ,rome had joined the brethren1 a critic who made a name by the ',life of ,raphael4' ,overbeck was here esteemed the greatest living artist1 and some expressed the cherished thought1 the earnest desire that the painter should be secured for ,frankfort4 ,but as this proved out of the question1 the promise was gladly accepted of the master-work since famous as ,the ,triumph of ,religion in the ,arts4 ,cologne next received a visit1 and the ,cathedral choir having advanced towards completion1 the assistance of the ,christian painter was naturally solicited3 ,the ,assumption of the ,virgin1 now adorning a side chapel1 counts among the memorable fruits of the painter's timely visit to his native land4 ,this northern journey was extended as far as ,dsseldorf1 a sequestered town already growing illustrious for its school of religious painting4 ,wilhelm ,schadow1 co-partner in ,roman labours1 had here1 as ,director of the ,academy1 gathered round him devoted scholars1 and ,overbeck greeted his old friend as a missionary in the common cause4 ,after receiving on all hands respectful adulations which would have turned a vainer head1 the traveller bent his steps southwards1 and reached ,italy by way of ,strasburg and ,switzerland4 ,on reaching ,rome1 he writes on the #ast of ,december to ,cornelius in characteristic tone3 ,you will understand with what lively joy ,i once more saw my beloved ,rome2 ,i therefore will not conceal the painful impression which the distracted opinions and doctrines in the ,fatherland have left in my mind1 but ,i feel rest in the persuasion that1 through the dispensation of ,providence1 my lot has been cast in this ,roman seclusion1 not that ,i intend to lay my hands idly in my lap1 but1 on the contrary1 ,i shall endeavour to work with my utmost ability1 spurred on all the more by the thought that even here at a distance ,i shall move in your circle4 ,assuredly as to professional prospects the passage of the ,alps had extended the artist's circuit3 the ,italian works which chiefly mark the painter's first period had come to an end2 henceforth ,overbeck's labours1 though prosecuted within the ,roman studio1 were for the good of ,germany4 ,overbeck1 in ,september1 #ahcc1 witnessed an event memorable in the history of art3 he was present at the opening of ,raphael's tomb in the ,pantheon1 and a few days after he wrote to his friend ,veit at ,frankfort a circumstantial account1 as some relief to his overwhelming emotions4 ,the letter is here of interest as evidence of ,overbeck's unshaken allegiance to the great master2 if called by others a pre-,raphaelite1 he remained at heart faithful to the painter from whom indeed he borrowed largely4 ,unlike certain of our ,english artists and critics1 he never decried ,raphael4 ,he writes3 ,know1 then1 ,i was present at the opening of ,raphael's grave1 and have looked upon the true and incomparable master4 ,what a shudder came over me when the remains of the honoured painter were laid open1 thou canst better conceive than ,i can describe4 ,may this deep experience not be without good results for us3 may the remembrance of the honoured one make us more worthy inheritors of his spirit6#g ,overbeck about this time1 in letters to ,emilie ,linder1 begins to express ultra views1 to the prejudice of his art4 ,he pleads that certain ,biblical drawings may have for her more worth because the religious meaning dominates over the art skill4 ,in like manner he writes apologetically concerning ,the ,death of ,st4 ,joseph4 ,the picture1 he urges1 embodies not so much a historic fact as an idea1 the intent being not to lead the spectator to the real1 but to something beyond4 ,the purist painter then proceeds to express his invincible reluctance to study the subject from the side of life2 models he had carefully avoided1 because he feared that a single glance at nature would destroy the whole conception4 ,it is with sincere regret that ,i have to record so pernicious a doctrine4 ,surely the artist's special function must always be to find out the divine element in nature1 and fatal is the day when first he calls into question the essential oneness between ,nature and ,god4 ,but ,overbeck's peculiar phase of ,catholicism marred as well as made his art4 ,through the ,church he entered a holy1 heavenly sphere1 and his pictures verily stand forth as the revelation of his soul4 ,but the sublimest of doctrines sometimes prove to be utterly unpaintable1 and certainly the tenets to which ,overbeck gave a super-sensuous turn1 in the end perplexed and clouded his art4 ,outraged nature took her revenge1 and the sequel shows that ,overbeck so diverted his vision and narrowed his pictorial range that his art fell short of the largeness of nature and humanity4 ,northern ,germany claimed the illustrious painter as her son1 and so fitly came commissions from ,cologne1 ,lbeck1 and ,hamburg4 ,for the great ,hospital in this last commercial town was painted the large oil-picture1 ,christ's ,agony in the ,garden4 ,this impressive composition represents the ,saviour kneeling2 the head is bowed in anguish1 the hands are raised in ecstasy2 below1 the three disciples lie asleep1 and in the glory of the upper sky amid rolling clouds appears as a vision the angel bearing the cross4 ,i paid a visit to ,hamburg in order to judge of a work of which ,i could find but slight mention4 ,its characteristics are just what might have been anticipated4 ,the drawing is studious1 the expression intense1 the execution feeble2 in short1 the technique becomes wholly subordinate to the intention4 ,the conception has ,giottesque simplicity3 the shade of night brings solemnity1 and the longer ,i stood before the canvas the more ,i became impressed with the quietude and fervour of the scene4#h ,we find an epitome of ,overbeck's mind and art in a lovely composition1 ,lo ,sposalizio4 ,count ,raczynski had as far back as #ahai given a general commission1 and at first was proposed as a subject the ,sibyl1 for which the drawing in sepia1 dated #ahba1 now hangs in the ,count's ,gallery in ,berlin4 ,the figure1 pensive and poetic1 resembles a medival ,saint rather than a ,sibyl4 ,the painter afterwards found a more congenial theme in ,the ,marriage of the ,virgin4 ,the treatment is wholly traditional1 the style austerely pre-,raphaelite2 the only expletive in the way of an idea comes with attendant angels1 lyres in hand4 ,the work was not delivered till #ahcf1 in the meanwhile the first fire had died out1 and nature was thrust into the distance4 ,the technique had not improved1 the material clothing becomes subject to the mental conception1 thus are eschewed chic of touch and surface texture4 ,the colour is indescribable3 it pertains neither to earth nor to heaven1 and yet it has more of dull clay than of iridescent light4 ,what a misfortune that the gem-like lustre of the early ,italians escaped this modern disciple6 ,a thoroughly characteristic letter accompanied the picture4 ,overbeck having shut himself out from the world1 seeks for his creations a like seclusion4 ,he writes to ,raczynski3 ,as you are wishing to send my picture to the public exhibition in ,berlin1 ,i cannot refrain from expressing my anxiety4 ,paintings of this kind appear to me not fitted to be seen by the motley multitude usually gathered together in exhibitions4 ,the general public are almost sure to measure wrongly works like this1 for as the eye is attracted to outward means and is engaged on technical splendours1 pictures in which these qualities are held in subordination to higher aims cannot but sink into the shade4 ,the spectator is not in the mood to honour a spiritual subject which has been thought out from a spiritual side4 ,the place in which this picture should be seen is a chapel1 or some such peaceful spot removed from disturbing surroundings4#i ,i now wish to direct the reader's attention to ,the ,triumph of ,religion in the ,arts1 otherwise ,the ,magnificat of ,art1 or ,the ,christian ,parnassus1 or the triumph of ,mariolatry4 ,this large and elaborate composition embodied the artist's best thoughts for ten years in the prime of life1 from #ahca to #ahdj4 ,accompanying the work was a written explanation1 which comprises a confession of ,overbeck's art faith4#aj ,the ,madonna1 with the ,infant in her arms1 sits enthroned in the upper half of the canvas1 and around1 in mid-heaven1 are ranged prophets1 evangelists1 and saints4 ,on the earth below stand some sixty painters1 sculptors1 and architects2 the heads as far as possible are taken from authentic portraits4 ,in the midst is a fountain1 the upper waters rising into the sky1 the lower falling into two basins beneath4 ,the painter explains his meaning as follows3 ,the fountain in the centre is the emblem of the well of water springing up into eternal life1 thus denoting the heavenward direction of ,christian ,art as opposed to the idea of the ancients1 who represented the stream as flowing downwards from ,mount ,parnassus4 ,every manifestation of art therefore is honoured so far only as it looks towards heaven4 ,the fountain descends into two mirrors3 the upper one reflects heaven1 the lower receives earthly objects2 thus is indicated the twofold character of art1 which1 on the one hand1 in its spiritual essence comes with every good thought from above1 and which1 on the other1 is derived from the outward forms of nature4 ,this twofold sphere of art is signified by the position assigned to the assembled artists in relation to the two mirrors of water4 ,overbeck next proceeds to expound his pictorial judgments4 ,he gives ,raphael a white robe as symbolic of universal genius1 for as white light contains the seven prismatic colours1 so does ,raphael's art unite all the qualities we gaze on with wonder4 ,michelangelo sits apart on a fragment of antique sculpture1 his back turned alike on the ,fountain and the ,madonna4 ,i once ventured to ask ,overbeck in his studio for some explanation of this harsh judgment2 he calmly but firmly replied that he thought the verdict according to the evidence4 ,still less mercy is shown to the ,venetians1 and as for ,correggio1 he is stigmatised as utterly lost4 ,on the other hand1 ,fra ,angelico1 the ,tuscan ,school1 ,drer1 and the brothers ,van ,eyck receive due reverence4 ,but it has fairly been questioned whether the majority of the sixty or more artists here immortalised would thank the painter for his pains4 ,the reading given to historic facts is narrow1 partial1 not to say perverted1 and could content only such ultra critics as ,rio1 ,montalembert1 and ,pugin4 ,the ,triumph of ,religion#aa ,i have known for more than a quarter of a century1 and have heard much of its profundity1 spiritualism1 and symbolism4 ,but no critic will assign to the picture the first rank among works of creative reason and imagination2 the comparison has inevitably been instituted with ,raphael's ,disputa1 in the ,vatican1 to which it is confessedly inferior4 ,historically1 it finds a place sufficiently honourable by the side of ,francia and ,pinturicchio4 ,its avowed merits are considerable2 its very scale and the vastness of the labour give importance2 the canvas extends to a breadth and height of about fifteen feet4 ,the composition1 if not bold or masterly1 is careful and thoughtful1 the drawing scholastic2 the heads are wrought as biographic studies1 the draperies cast into balanced harmonies4 ,the execution is steady1 without show or fling2 the colour1 as always1 is the reverse of alluring3 ,venetian splendours are eschewed in favour of pigments thin1 dull1 and crude4 ,yet the technique has usual soundness2 the materials stand firm and unchanged4 ,the picture has the advantage of a commanding position in the handsome new gallery in ,frankfort1 and1 notwithstanding its defects and shortcomings1 must be accounted as among the most memorable achievements of the century4 ,overbeck made ,the ,triumph of ,religion a propaganda of his pictorial faith1 and wrote his explanatory text for the special benefit of young painters4 ,the document concludes with the following emphatic and affectionate appeal3 ,and now1 my dear young friend and brother artist1 so ardently striving to excel in the ,fine ,arts1 ,i have placed a picture before you in which you may wander as in a garden4 ,here you see all the great masters3 behold how the future lies spread before you1 like the bright distance in this picture1 so that you may be encouraged thereby in your noble task4 ,strive to approach the great masters with all the powers of your mind1 but know that you can only reach their eminence by steadily keeping in view the goal which ,i have endeavoured in this painting to place before you4 ,several of the artists here assembled may serve as warnings to you3 the ,venetians went astray as soon as they made colouring the principal object of attraction1 and so by degrees they sank in sensuality4 ,the effeminate ,correggio proceeded in this career at a more rapid rate1 until he had cast aside every restraint of modesty and morality1 and gave himself up to unbridled voluptuousness4#ab ,michael ,angelo set up the antique as an object of idolatry1 and ,raphael was tempted to taste the forbidden fruit1 and so the sin of apostasy in the fine arts became manifest4 ,in after times1 indeed1 various attempts have been made to elevate the arts2 but as no remedy was applied to the source of the evil1 the result proved on the whole unsuccessful4 ,this is also the reason why none of the celebrated masters of late times have been introduced into our painting4#ac ,in conclusion1 you may unhesitatingly adopt as a principle that the fine arts can alone be beneficial to man when1 like the wise virgins1 they go out to meet the bridegroom in humility and modesty1 with their lamps burning and fed with the faith and the fear of ,god3 only as such daughters of heaven are they worthy of your love4 ,ten years of the painter's later period1 reaching from #ahdc to #aheb1 were dedicated to the ,life of ,christ as recorded by the four ,evangelists4 ,german artists of the modern time have revived the practice of the old religious painters of composing ,biblical series1 and such a narrative is technically termed a cyclus4 ,overbeck evolved three such consecutive compositions--,the ,gospels in forty cartoons1 ,the ,sacraments in seven1 and ,the ,stations in fourteen4 ,the large drawings for ,the ,gospels or ,evangelists#ad ,i was accustomed to see from time to time while in progress within the studio2 none were ever carried out1 as the artist might have hoped1 in oils1 or as wall pictures or tapestries1 but all1 in common with most of his drawings1 have been widely diffused by means of engraving4#ae ,overbeck was specially qualified by his habits of mind and literary tastes and antecedents thus to write off his thoughts in outline2 his drawings may be compared to thinking aloud1 and one scene after another reads as consecutive sonnets bearing on continuous themes4 ,the events depicted as a matter of course fall into accustomed routine2 they almost of necessity begin with ,the ,annunciation and end with ,the ,ascension4 ,yet ,overbeck1 while inspired was not enslaved by his predecessors2 often are presented novel and even bold conceptions1 as in ,the ,massacre of the ,innocents 7#ahdc7 and ,barabbas released and borne in ,triumph 7#ahdi74 ,such designs prove an intellect neither servile nor sterile4 ,certain other compositions are marred by affectation and sentimentality1 traits of morbid moods increasing with years1 and which contrast strangely with the healthiness and robustness of the great old masters4 ,fitly have been chosen to illustrate these pages ,the ,naming of ,st4 ,john 7#ahdc71 ,christ ,healing the ,sick 7#ahdc71 ,christ's ,entry into ,jerusalem 7#ahdi71 ,the ,entombment 7#ahdd71 and ,the ,resurrection 7#ahdh74 ,two other illustrations1 ,christ in the ,temple and ,christ falling under the ,cross show variations on the ,gospel series4 ,overbeck may be compared to certain fastidious writers who mature by endless emendations and finishing touches2 he loved to recur oft and again to favourite texts1 changing attitudes1 adding or subtracting figures1 episodes1 or accessories4 ,his lifelong compositions are as a peopled world of the elect and precious3 many of the characters we claim as old acquaintances2 the figures come1 go1 and return again1 changed1 yet without a break in personal identity4 ,they move round a common centre2 ,christ is their life2 they are in soul and body ,christian4 ,these ,gospels have taken a permanent place in the world's ,christian ,art4 ,if not wholly worthy of so large and grand a theme1 they yet scarcely suffer from comparison with like efforts by other artists4 ,they have hardly less of unction and holiness than ,fra ,angelico's designs1 while undoubtedly they display profounder science and art4 ,that they have nothing in common with the ,bible of ,gustave ,dor is much to their praise2 on the other hand1 that they lack the inventive fertility and the imaginative flight of the ,bible of ,julius ,schnorr indicates that they fall short of universality4 ,these ,gospels1 it may also be said1 pertain not to the ,church militant1 but to the ,church triumphant2 not to the world at large1 but to a select company of believers4 ,they teach the passive virtues--patience1 resignation1 long-suffering1 and so far realise the painter's ideal of earth as the portal to heaven4 ,certain spheres were beyond his ken4 ,the marriage of ,cana did not for him flow with the wine of gladness2 he had no fellowship with the nuptial banquet as painted by ,veronese4 ,his pencil shunned the ,song of ,miriam and the ,dance of the ,daughter of ,herodias2 it could not pass1 like the pen of ,england's epic poet1 with a light fantastic touch from ,il ,penseroso to ,l',allegro2 his walk was narrow as a convent cloister2 his art was attuned to the sound of the vesper bell4 ,overbeck's modes of study and habits of work were like himself--secluded and self-contained4 ,his strength did not permit prolonged labour1 and his mind was easily put out of tune2 yet by method and strict economy of time he was able1 as we have seen1 to get through a very considerable amount of work4 ,each day had its allotted task4 ,he rose summer and winter between five and six o'clock1 and usually went to church2 at seven he took a simple breakfast1 then entered his studio and worked on till one4 ,this was the hour for dinner1 a frugal meal preceded by the customary grace4 ,after a little repose1 action was resumed about half-past two1 and continued till four1 or sometimes even to six4 ,then came exercise1 mostly a meditative walk2 in early times1 before the habits of a recluse had grown confirmed1 the painter enjoyed an evening's stroll with choice spirits1 such as ,niebuhr and ,bunsen1 but in later years he preferred his own communings1 his thoughts turning upon art or finding diversion only among the beauties of nature4 ,within the house he became abstracted2 he wandered about lost to outward surroundings1 and would brook no interruption4 ,in the winter evenings1 at least in later life1 he relaxed so far as to join in some table game2 but his hours were early1 he supped at eight1 then retired to his room for meditation1 and was always in bed by ten4 ,general family prayers were not the order of the household2 the constant habit was individual devotion in private4 ,the ,pope took a fatherly care over the pious artist1 and granted him privileges permitted only to the few4 ,and ,overbeck was on his part strict and zealous in all ,church functions1 and neglected no means of building up the ,christian life4 ,each day in fact was so nicely apportioned between religion and art1 that the morning and the evening worship blended indissolubly with the midday work4 ,the bodily and mental aspect of ,overbeck is well known4 ,i myself had the privilege of first seeing the painter when in the ,cenci ,palace1 as far back as the year #ahdh4 ,my journal describes a man impressive in presence1 tall and attenuated in body1 worn by ill-health and suffering1 the face emaciated and tied round by a piece of black silk4 ,the mind had eaten into the flesh2 the features were sorrow-laden4 ,the voice sank into whispers1 the words were plaintive and sparse2 noiselessly the artist glided among easels bearing pictorial forms austere as his own person1 meekly he offered explanations of works which embodied his very soul1 timidly sought retreat and passed as a shadow by--the emblem of an art given in answer to prayer and pertaining to two worlds4 ,the painter1 as drawn or described by himself and others1 presents an interesting psychological study3 no historic portrait reveals closer correspondence between the inner and the outer man4 ,cornelius delineated his friend at the age of twenty-three3 the type is ascetic and sthetic after the pre-,raphaelite pattern affected by the ,nazarites4 ,fhrich1 one of the fraternity1 describes his first impressions3 on entering the studio he beheld a tall1 spare figure1 noble in head1 the hair flowing over smooth temples to the shoulders1 the forehead reflective1 the calm eye soul-full1 the whole aspect that of inner living4 ,it is added1 at once ,i felt a soul fulfilment4 ,yet another artist-disciple1 ,edwin ,speckter1#af also leaves a graphic record penned in #ahca as follows3 ,a melancholy and heart-moving impression has ,overbeck made upon me3 ,i beheld a tall1 spare man1 with thin1 light hair1 shadowed by a black cap1 whose eyes looked forth sadly1 as with an expression of unutterable suffering4 ,his mouth contracted at each word into a forced yet sweet smile4 ,he looked just as a timid prisoner1 who dreads in every corner to see a spy4 ,yet in all his speech and ways appeared wondrous humility1 modesty1 and kindly geniality1 which1 however1 did not attract1 but in a strange manner repelled4 ,i hardly dared to open my mouth1 and only spoke softly and by way of inquiry4 ,freely to impart my mind as with others was impossible4 ,my breast felt oppressed1 and truly ,i scarcely knew what to say when he unceasingly begged pardon that he should dare to show his works3 he called them 'insignificant1' 'nothing1' esteemed himself fortunate that people should choose to give commissions to so unworthy an individual1 only he pitied the patrons that they had not fallen on a more capable man4 ,and then when ,i asked if ,i might come again1 he replied1 ',good heavens6 if ,i would give myself the trouble1 he should be only too delighted4' ,i could almost have laughed1 but with tears in my eyes4 ,,footnotes3 ,footnote #a3 ,for further particulars as to ,overbeck's wife1 ,nina1 see ',erinnerungen und ,leben der ,malerin ,louise ,seidler1' ,berlin1 ,verlag von ,wilhelm ,hertz1 #ahge4 ,according to this authority the young lady was the illegitimate daughter of a gentleman of aristocratic family in ,vienna1 from whom she received a dowry4 ,she had come to ,rome in search of health1 and possessing talents1 accomplishments and charms1 and being withal a fanatic ,catholic1 she won the affections of the impressible painter4 ,the young couple1 we are told1 passed a soul-satisfying honeymoon1 and took up their abode in the ,villa ,palombara1 near the ,baths of ,diocletian4 ,in the private collection of ,herr ,bockenheimer1 ,frankfort1 ,i have found an exquisite drawing1 wherein the artist is said to have depicted himself1 his wife1 and two children4 ,footnote #b3 ,mrs4 ,jameson1 in ',the ,legends of the ,monastic ,orders1' illustrates the visions and ecstasies of ,st4 ,francis from the pictures of ,giotto and others down to ,domenichino4 ,coming to our times1 the only work found worthy of such companionship is that of ,overbeck4 ,the modern ,german does not suffer by comparison with the old ,italian masters4 ,the fresco was finished #ahcj2 shortly after1 an earthquake visited the spot and destroyed a large portion of the church1 but ,the ,vision of ,st4 ,francis remained intact4 ,the cartoon for the picture is in the ,library1 ,lbeck1 framed1 hung1 but badly seen4 ,i examined and noted it ,october #ahhj4 ,it is in chalk1 on paper mounted on canvas2 the form is lunette1 the base about #bj feet broad2 the figures are life-size4 ,the heads1 hands and draperies are thoroughly studied in a broad1 large manner4 ,the work when exhibited in ,munich in #ahca1 on the artist's visit to ,germany1 obtained high commendation4 ,the oil study made for the colour is now in the ,leipzig ,museum3 measurement1 #b feet #c inches by #b feet #g inches4 ,the cartoon has been lithographed by ,koch3 the fresco itself is photographed4 ,footnote #c3 ,portrait of ,vittoria ,caldoni1 oil1 on canvas1 nearly life-size1 about #c feet by #b feet4 ,holy ,family1 about #d feet #f inches by #c feet3 oil1 on rough ,roman canvas1 signed ,f4 ,o4 #ahbe3 better colour than usual3 in good condition1 but1 like many pictures in the ,new ,pinakothek1 revived by the ,pettenkofer process3 the beautiful engraving by ,felsing has a sale quite unusual for ,overbeck4 ,italia und ,germania1 about #c feet #e inches by #b feet #i inches1 oil1 on canvas3 manner hard and dry3 lithographed by ,f4 ,piloty4 ,footnote #d3 ,see ',historisch-,politische ,bltter fr das ,katholische ,deutschland1' before quoted4 ,footnote #e3 ,the ,death of ,st4 ,joseph1 oil1 on canvas1 #c feet by #b feet #c inches1 was at last completed #ahcf1 and appeared two years later in the ,munich ,exhibition3 the price was less than #ajjl4 ,a small drawing for the picture was1 with others in the possession of ,emilie ,linder1 lithographed for devotional purposes3 the lady with characteristic generosity sent the proceeds of publication to the painter4 ,on her death in #ahfg her collection went by bequest to the ,basle ,museum1 where are conserved1 besides ,the ,death of ,st4 ,joseph1 ten drawings in pencil4 ,among the last are ,god appearing to ,elias on ,mount ,horeb1 ,the ,finding of ,moses1 ,the ,israelites gathering ,manna1 ,the ,madonna and ,st4 ,joseph worshipping the ,infant ,jesus1 ,christ found in the ,temple1 and ,the ,awakening of ,jairus's ,daughter4 ,of the last ,i have met with two other examples4 ,the engraving1 ,christ in the ,temple1 illustrating this volume1 is from the drawing in this collection4 ,footnote #f3 ,the principal drawings at ,stift ,neuburg have been mentioned in previous pages4 ,i will now add from notes taken on the spot3 ,portrait of ,cornelius by ,overbeck and a companion portrait on the same paper of ,overbeck by ,cornelius4 ,pencil3 #a foot #d inches by #a foot #c inches4 ,this joint handiwork1 presented to their friend on the eve of his leaving ,rome for ,germany1 bears the following inscription3 ,in ,remembrance of our friend ,c4 ,f4 ,schlosser1 from ,f4 ,overbeck and ,j4 ,p4 ,cornelius4 ,rome1 #af ,march1 #ahab4 ,the latest drawing in the collection1 date #ahcf1 represents ,christ bearing the ,lamb3 the ,saviour opens ,his mantle and shows a flaming heart4 ,this is one of the first signs of the painter's ultimate tendency to exalt dogmas and legends at the expense of essential truth and beauty4 ,some of the chief drawings at ,stift ,neuburg have been published in photography by ,bruckmann1 ,munich4 ,footnote #g3 ,overbeck's letter on the opening of the tomb in the ,pantheon is published in ,passavant's ',life of ,raphael4' ,footnote #h3 ,christ's ,agony in the ,garden is on canvas1 #g feet wide by #aa feet high3 figures size of life3 without signature or date3 the manner is that of the middle period3 the year ,i believe to be between #ahca and #ahce4 ,the system of colour1 though not without the depth and solemnity of the early schools of ,lombardy1 is that peculiar to the religious art of modern ,germany3 it is dull1 heavy and opaque4 ,i would quote as an interesting proof of nature-study1 still maintained at this pronounced period1 a foreground plant and flower exquisitely drawn and affectionately painted4 ,the picture is seen to utmost disadvantage3 the cold and poverty-stricken surroundings are those usually deemed appropriate in ,lutheran ,germany4 ,footnote #i3 ,the present position of ,the ,marriage of the ,virgin in the ,raczynski ,gallery1 ,berlin1 has just those disturbing surroundings which the painter dreaded4 ,it is crowded among discordant works1 and is hung so high that ,i had to ask for a ladder to examine its quality and condition4 ,the oil pigments remain sound save some small surface cracks4 ,the size is about #f feet by #d feet4 ,the modest price paid by the munificent patron1 and for which he received the artist's grateful acknowledgments1 was somewhat under #ajjl4 sterling4 ,surely ,overbeck did not paint for filthy lucre4 ,footnote #aj3 ,see account of ',religion glorified by the ,fine ,arts1' written by the painter himself and translated by ,mr4 ,john ,macray3 published by ,ryman1 ,oxford2 #bnd edition1 #ahej4 ,footnote #aa3 ,the picture has been engraved by ,amsler1 and is also photographed4 ,the cartoon is in the ,carlsruhe ,gallery1 framed and hung3 it measures about #ab feet wide by #ad feet high3 it is in charcoal or chalk1 on squares of whity-brown paper mounted on canvas4 ,this drawing is remarkable for thoroughness in form and character2 indeed1 it is just what a cartoon should be4 ,countless preliminary studies of separate figures and draperies must have preceded it4 ,overbeck in a letter1 #bhth ,december1 #ahci1 to ,emilie ,linder mentions three cartoons or studies4 ,one large one being the above4 ,a second smaller1 #d feet #h inches square1 in sepia1 on canvas4 ,this ,i examined ,october1 #ahhj1 in the ,national ,gallery1 ,berlin3 the execution in parts is poor4 ,the work had been sent for sale1 but was not purchased4 ,the third sketch is described by the artist as different in proportions and composition4 ,it is in black chalk and pencil on red paper4 ,the painter names #ajj as the price3 he received #acjj for the picture4 ,footnote #ab3 ,surely ,overbeck is unjust to the masterpieces of ,correggio in ,parma and ,dresden1 including two ,holy ,families1 ,il ,giorno and ,la ,notte4 ,he likewise must have forgotten ,titian's religious pictures in ,venice and ,vienna1 ,the ,assumption and sundry ,holy ,families4 ,the young artist has to remember that a picture is different from a homily3 that art has to be valued for her own sake1 that drawing1 composition1 light1 shade and colour are indispensable elements in every art work4 ,overbeck shirks the stern truth that the first duty of a painter is to paint4 ,footnote #ac3 ,it is difficult to remain tolerant of such intolerance4 ,why does not ,overbeck declare plainly that ,ary ,scheffer is excluded because he was a ,protestant8 ,as spectators a place in the picture is assigned to ,cornelius1 ,veit1 and to ,overbeck himself1 all ,roman ,catholics1 whilst ,schnorr1 as a ,protestant1 is deemed unworthy to appear4 ,it is interesting to observe that ,overbeck's darling son is introduced in the character of a young ,englishman4 ,footnote #ad3 ,the cartoons for the ,gospels1 originally made for an art dealer in ,prague1 were afterwards acquired by the late ,baron ,lotzbeck of ,weihern1 near ,munich1 and are now in the possession of the son1 the present ,baron3 they are framed and protected under glass4 ,footnote #ae3 ,see ',l'vangile ,illustr3 ,quarante ,compositions de ,frderic ,overbeck3 graves par les meilleurs ,artistes de l',allemagne3' ,schulgen1 ,dsseldorf and ,paris4 ,overbeck had an aversion to the heavy and mechanical schools of engraving2 he objected to meaningless masses of shadow and to the multiplication of lines inexpressive of form4 ,accordingly these engravings from the ,gospels1 in common with other plates from the master1 possess merits the opposites to such defects4 ,like the original drawings1 they are chiefly dependent on outline1 and even their slightness is not without the advantage of suggestiveness4 ,four illustrations here are facsimiles of the engravings4 ,footnote #af3 ,see ',briefe eines deutschen ,knstlers aus ,italien1 aus den nachgelassenen ,papieren von ,edwin ,speckter4' ,leipzig3 ,brockhaus1 #ahdf4 ,also see ',bunte ,bltter1 von ,a4 ,w4 ,ambros4' ,leipzig3 ,leuckart1 #ahgb4 ,,chapter ,,iv4 ,,late ,,works--,,conclusion--,,the ,,painter ,,and ,,his ,,art4 ,overbeck1 as we have seen1 deliberately laid out his life for tranquillity2 but not sheltered1 as ,fra ,angelico1 in a cloister1 his serene mind was at times clouded by trouble4 ,first came the death of his son1 then he lost a brother1 and afterwards was bereaved of his wife4 ,all accounts tell that the darling son1 ,alfons ,maria1 inherited the rare gifts of the father1 and unhappily also was a sharer in like bodily frailty4 ,he had been reared with tenderest solicitude1 in the hope that he might carry on the good work4 ,the profession chosen was that of architecture1 an art which the ,christian painter felt to be of a mystic nature1 being something musical1 and the visible emblem of religious enthusiasm4 ,but the bright promise was soon darkened3 the youth died in the autumn of #ahdj1 at the early age of eighteen4 ,the father in overwhelming sorrow recounts1 in a letter to ,emilie ,linder1 how he had watched over the sick bed1 and had snatched up a pencil by the quarter of an hour to assuage his grief4 ,the boy was dutiful1 and filled with filial love--he was so good that the people called him a saint4 ,the stricken parent turned to art as a crutch to support his lameness1 and as a solace to his tears4 ,the picture of ,the ,entombment1 or rather ,the ,piet1 in ,lbeck1 tells of the mind's heavy burden4 ,in #ahcg an association had been formed1 and money subscribed among friends and admirers1 who desired that the native city should possess some work worthy of the painter's renown4 ,in #ahdb1 on the completion of the first sketch and the cartoon1 a letter arrived in ,lbeck1 saying that the grief through which the artist had passed was thrown into a composition that expressed the uttermost anguish of the soul4 ,and again1 in #ahdf1 on the completion of the work1 the ,christian man writes1 praying that this lamentation over the death of the ,son of ,god may arouse in the spectator true faith and repentance4 ,may this painting1 begun in tears for my own and only son1 and finished in grief for the loss of my dear brother1 draw tears from the eyes of ,him who shed not only tears1 but blood1 in order that ,his death might be our life4 ,such aim have ,i always in my art1 without which it would seem idle1 indeed blasphemous4 ,the ,piet#a was exhibited in ,rome1 and friendly criticisms were followed by final touches1 with the filial intent to make a worthy offering to the parental city4 ,in ,march1 #ahdf1 ,overbeck announces1 in the most modest terms1 that the labour of love had at length been dispatched to ,lbeck1 and1 much to his joy1 a quiet side chapel of the choir of the ,marien ,kirche was chosen for its resting-place4 ,the impression on entering this secluded spot1 shut in by a locked gate1 is almost startling2 the eye gazes1 as it were1 on the actual scene3 the figures are life-size2 the pictorial style is1 perhaps1 all the more persuasive because it belongs to a remote time--nothing modern breaks the spell of sacred associations4 ,the spectator is transported to a sphere super-mundane1 and altogether religious4 ,the dead ,christ1 well modelled and a fine piece of flesh painting1 lies stretched on the ground in a white winding-sheet1 and1 as sometimes with the old painters1 the body seems not dead but sleeping1 as if expectant of resurrection4 ,the composition is strictly traditional1 indeed the ,piet of ,perugino in the ,pitti ,palace has been implicitly followed3 around are the holy women weeping1 with disciples and ,nicodemus and ,joseph of ,arimatha4 ,every head1 hand1 and drapery1 are thoroughly studied4 ,dark rocks1 lofty cypresses1 and distant hills1 make up a landscape which adds solemnity and depth of colour4 ,within a few minutes' walk of the ,marien ,kirche and this ,piet still remains ,memling's masterpiece1 which1 as already related1 had deeply impressed the youthful painter while yet in the ,lbeck home1 but allegiance had been long1 we know1 transferred from old ,german to ,italian art1 and accordingly the style adopted recalls well-remembered compositions by ,francia1 ,fra ,bartolommeo1 and ,perugino4 ,not a single new motive intrudes2 in fact1 ,overbeck no more desired a new art than a new religion2 for him the old remained unchangeably true1--sacred characters were handed down immutably as by apostolic succession2 he would rearrange an attitude1 but feared to lose personal identity2 he desired that this ,piet should awaken such holy associations as environ old pictures4 ,overbeck received a commission from a ,yorkshire squire1 ,mr4 ,rhodes1 to paint an altar-piece for the ,protestant church of ,st4 ,thomas1 in ,leeds1 recently built from the design of ,mr4 ,butterfield4 ,naturally the ,incredulity of the ,apostle was chosen as the subject1 and the picture#b reached completion in #ahea4 ,the composition is in no way out of keeping with the ,anglican ,church2 it is without taint of ,romanism2 but we are told by ,ernst ,frster1 the ,munich critic1#c that people were not well pleased with the work1 at all events it never reached its destined place4 ,mr4 ,rhodes had brought the picture to ,england from ,overbeck's studio1 and being for disposal1 it was offered to ,mr4 ,beresford ,hope1 who gladly became the owner1 at the price of #cjjl41 the modest sum asked by the artist4 ,the scene is thrown upon canvas with the painter's habitual simplicity1 brevity1 and breadth4 ,christ in commanding1 yet benignant1 attitude1 with arm uplifted1 utters the words3 ,reach hither thy hand and thrust it into my side1 and be not faithless1 but believing4 ,the ,apostle reverently approaches4 ,beyond stretches a distant landscape with a mountain-height that might be mistaken for the crested summit of ,soracte4 ,the lines of composition flow symmetrically1 the sentiment has quiet dignity1 with that sense of the divine presence which seldom fails the painter4 ,the picture hangs in the drawing-room of ,mr4 ,hope's town-house1 and1 though painted for a church1 conforms to domestic uses1 not being too bright or good for human nature's daily food4 ,the personation of the ,saviour when once seen will not be forgotten2 the figure1 indeed1 was cherished by the artist1 for the motive with slight variation is repeated in ,the ,vocation of the ,apostles ,james and ,john 7see ,illustration71 and again in ,the ,sacrament of ,marriage4 ,overbeck had none of the modern unrest which seeks novelty for its own sake2 as a ,christian artist1 his growth was that of grace2 and1 if tested here and elsewhere by the worthiness of his conception of the ,god-,man1 no painter attained a more heavenly ideal4 ,it is hard to realise on earth a more perfect divinity than seen in the design ,feed my ,sheep4 ,the ,incredulity of ,st4 ,thomas has been exhibited in ,england twice2 first in #ahec1 in the ,royal ,academy1 where1 ,i remember1 it was honoured with a conspicuous place in the large room2 afterwards1 in #aheg1 it was seen in the ,manchester ,art ,treasures4 ,as far as ,i know1 it is the only large and important work of the master submitted to the ,english public4 ,overbeck1 thirteen years after the death of his son1 was in #ahec bereft of his wife1 who had been his companion and caretaker for more than thirty years4 ,she died suddenly1 yet1 as her husband thankfully records1 with all the consolations the soul could desire4 ,she had in the morning been to church and taken the sacrament2 she was then seized with difficulty of breathing1 but1 on reaching home1 revived1 and raised her voice to the praise and glory of ,god2 after1 she grew worse1 desired to see the priest1 received extreme unction1 and so died4 ,the good painter1 when the help-mate of his life was taken away1 felt utterly desolate and disabled4 ,he had never been accustomed to look after the house2 some thirty poor families are said to have been dependent on his bounty2 but as for himself he took little thought1 and all he desired was to be saved from mundane cares4 ,in ,rome there happened to be a certain family of ,hoffmanns1 who1 like the painter1 had forsaken ,protestantism for ,catholicism4 ,they were endowed with the worldly faculties in which the ,christian artist was wanting1 and so a close relationship had conveniently grown up4 ,overbeck1 on the death of his wife1 being absolutely incapable of getting on alone1 arranged to live with this family2 moreover1 he adopted ,madame ,hoffmann1 a lady of forty1 as his daughter1 and the adoption included the husband and the children4 ,they seem to have made him comfortable1 and letters exist which give expression to his gratitude4 ,they1 on their side1 reaped their reward1 inasmuch as on the death of the good artist they came into the possession of the contents of his studio1 his papers1 and correspondence1 moneys1 and all other properties4 ,after the aforesaid family arrangement1 the blood relations found little favour1 and all who bore the name of ,overbeck were cut off without a shilling4 ,earthly trouble did but turn the painter's gaze heavenwards1 and his art1 which in time of trial came as consolation1 grew all the more spiritual as it passed through waters of affliction4 ,few painters1 even in the good old days1 obtained so sympathetic a public4 ,belief in a mission begat like faith in others1 and so solicitations came for drawings and pictures far in excess of available time and strength4 ,certain commissions could not be entertained1 secular subjects had been long eschewed1 religion and the ,church were alone accounted worthy of service4 ,therefore1 in genial mood1 was the great picture for ,cologne ,cathedral undertaken and carried out4 ,the work occupied no less than nine years2 the cartoon was already in course of preparation in #ahdf1 and the picture reached completion in #ahee4 ,but1 as with other engagements1 the negotiations and preliminary correspondence extended over a longer period4 ,thus1 as far back as #bcrd ,august1 #ahbi1 ,overbeck1 while working on the ,assisi fresco1 writes from ,santa ,maria degli ,angeli to his friend ,mosler1 stating that the ,dsseldorf ,kunst-,verein wish for some picture2 but prior engagements stand in the way3 he foresees that on the return to ,rome he will find his studio crowded with works begun1 but still unfinished1 besides sketches of all sorts and sizes for pictures not even commenced4 ,he therefore asks for delay1 and ends with apologies for not writing more on the parental plea that though it is ,sunday1 ,i have long given my promise to my boy ,alfons1 whose tenth birthday is to-day1 that he shall have a ride on a donkey1 and ,i am all the more obliged to keep my word because my fresco work here compels me for the moment to neglect him4 ,we are all1 thank ,god1 very well1 and enjoy a thousand blessings in this abode of ,paradise4 ,three months later he writes under mistaken impressions as to the character of the commission2 he wishes to know the architectural style of the church1 and hopes it may be ,gothic2 he desires accurate measurements1 because the picture must appear to belong to its destined place1 and then ends in the following characteristic terms3 ,i repeat once more that the commission fills me with utmost pleasure1 but to you ,i must confide my great anxiety1 that ,i fear this picture is destined for a ,protestant church1 as ,i hear it is to be for some newly-built church4 ,should this1 indeed1 be the case1 then pray try to give the whole thing another direction1 as such a commission would not suit me at all1 and to refuse it would be very disagreeable to me4 ,overbeck's visit to ,cologne1 in #ahca1 naturally led to further conferences concerning the picture for the ,cathedral4 ,the proposal1 at first1 was that a triptych on a gold ground1 in a ,gothic frame1 should be painted for the high altar4 ,drawings were prepared1 the general scheme was approved by ,cornelius1 and the ,archbishop gave his assent4 ,but objections having been raised on historic or archologic grounds1 the pictorial reredos was abandoned in favour of the present stone altar table4 ,the artist felt deeply disappointed1 and craved the prayers of his friend ,steinle1 who was engaged on the decoration of the choir4 ,fortunately1 the services of ,overbeck were only transferred from the high altar to the ,madonna chapel1 renovated to receive ,the ,assumption commissioned to be painted4 ,the cartoon was prepared and approved1 and while engaged on the work the artist expressed himself supremely happy2 he had no higher ambition than to be found worthy of a place in the great ,cathedral4 ,the ,assumption of the ,madonna#d is suited to its surroundings2 it is in keeping with the ,gothic structure and decorations1 and in companionship with old triptychs and other works which carry the mind back to remote ages4 ,the composition stands forth as a vision of the imagination2 from the darkness of the grave into the light of the upper sky rises the ,queen of ,heaven1 borne upwards on angels' wings2 midway sustained by clouds are the adoring host1 comprising ,adam1 ,eve1 ,abraham1 and ,king ,david2 on the ground below are seen1 in miniature1 the disciples around the empty tomb4 ,the whole conception is in perfect accord with the rites and ceremonies of the ,church2 while looking at the picture and listening to the voices in the choir1 the harmonies between form and sound seem fitly attuned4 ,overbeck1 on the completion of the ,cologne picture1 revisited ,germany for the second and last time4 ,on the #bjth ,july1 #ahee1 he left ,rome1 proceeded to ,florence1 thence by way of ,switzerland reached ,frankfort1 and extended his journey as far as ,dsseldorf4 ,in ,cologne he stayed some weeks1 and a festival1 with usual laudatory speeches1 was given in his honour4 ,i happened to encounter the painter during his sojourn2 ,i could hardly believe my eyes when ,i discovered the venerable artist gazing with accustomed placidity at ,rubens's brutal representation of ,the ,crucifixion of ,st4 ,peter1 head downwards4 ,with reverence ,i approached the great master1 and received a kindly shake of the hand4 ,overbeck on the return-journey passed a quiet month at ,mayence2 he also once more saw his old friends at ,stift ,neuburg1 near ,heidelberg4 ,in ,frankfort many sympathetic hours were spent with his attached companion ,steinle1 whose elevated works proved a renewed delight1 and whose happy family circle recalled his own joys and losses4 ,the town of ,spires also received a visit1 the inducement being ,schraudolph's extensive frescoes1 then in progress within the ,cathedral4 ,posterity has reason to lament that these important works were not entrusted to the chief of ,christian painters4 ,some further weeks passed pleasantly among congenial minds in ,munich1 but friends were grieved to mark growing infirmities4 ,overbeck had reached the age of sixty-six1 and ,emilie ,linder writes sorrowfully1 that he was the only person over whose death she could rejoice1 because all pertaining to the body had become a painful burden4 ,even the affectionate demonstrations of his countrymen were too much for him1 and so gladly he turned his steps homewards4 ,yet not without lingering regrets did he journey southwards1 and on reaching the summit of the ,brenner he writes3 ,i turned round once more and gave1 through the streams flowing northwards1 a last greeting to my ,german land4 ,after four months' absence1 home comforts brought rest to his troubled mind4 ,overbeck1 after the death of his wife in #ahec1 left the ,cenci ,palace and went to dwell in the more quiet region of the ,esquiline ,hill1 near the church of ,santa ,maria ,maggiore4 ,later on he removed to the house in which he died1 belonging to a convent1 in the ,via ,porta ,pia on the ,quirinal ,hill1 near to the little church of ,san ,bernardo1 where he worshipped and lies buried4 ,i remember the sequestered dwelling on the ,esquiline1 lying away from the road in one of those ,italian wildernesses called a garden or a vineyard4 ,the surroundings were inspiring2 the eye wandered among churches and ruins1 and beyond stretched the ,roman ,campagna1 spanned by aqueducts and bounded by the ,alban ,hills1 with ,rocca di ,papa1 the painter's country retreat4 ,the studio1 which on ,sundays continued to be crowded with strangers from all countries1 had little in common with the ordinary run of painting rooms4 ,showy sketches1 picturesque costumes1 gay carpets and draperies1 which commonly make a fashionable lounge1 were wholly wanting4 ,like the studio of ,steinle in ,frankfort1 all was in keeping with an art not dependent on outward materials1 but reliant on inward thought4 ,around were ranged compositions embodying ideas1 cartoons and drawings in no way decorative1 but simple and austere studies of form in light and shade1 or slightly tinted4 ,at this period were thus evolved the pictorial series of the ,via ,crucis and ,the ,seven ,sacraments4 ,turning from these creations to the painter himself1 the visitor might be tempted to indulge in psychological speculations touching the processes whereby the spirit of the man passed into objective shape4 ,more and more the old and solitary master withdrew his affections from earthly concerns1 he approached the close of life as the sun which sets to rise on a new day1 and his art breathed the atmosphere of those pure regions where his beloved ones were at rest4 ,in the summer time was usually sought some country abode1 not for remission of labour1 but for refreshment through change of scene amid the beauties of nature4 ,overbeck1 in #ahef1 was full of work1 and in the autumn he journeyed to ,perugia1 and took as his travelling companions the small drawings of the ,via ,crucis4 ,there1 in the cradle of ,umbrian art1 in the presence of ,perugino and ,raphael1 he carried out the scenes of ,the ,passion4 ,in the hill country of ,perugia his thoughts turned to the hills round about ,jerusalem1 olive gardens spoke of the ,garden of ,gethsemane1 a land lovely1 yet sad1 told of ,him who trod the ,via ,dolorosa4 ,the painter divided the day between the practice of his art1 ,church functions1 and social intercourse2 he revisited the scenes of his labours at ,assisi1 and rejoiced the ,german ,sisterhood of ,st4 ,francis by a visit4 ,the next year the picturesque district of ,ariccia was chosen for summer sojourn1 with the advantage of ,cornelius within the distance of a walk4 ,the following autumn the two old friends revisited the spot4 ,here the water-colour drawings of the ,via ,crucis1 or ,the ,stations1 were with earnest solicitude brought to completion4 ,the ,stations in the history of our ,lord have been accustomed to comprise ,christ's last sufferings1 and in their symbolic meaning represent the way to ,calvary through which the believer is typically supposed to enter into the inner and holier part of the ,church4 ,such compositions are almost indispensable to every ,roman ,catholic place of worship1 however humble2 therefore ,overbeck1 desiring that his art should at all seasons furnish aids to devotion1 designed these fourteen stations on the ,via ,dolorosa4 ,according to precedent1 the series begins with ,jesus ,condemned1 and ends with ,the ,entombment4 ,the compositions were elaborated in two forms1 the one as cartoons1 the other as water-colour drawings4#e ,the treatment is1 of course1 traditional1 and the general style does but suggest the line of criticism with which the reader must by this time be familiar2 more than ever we here encounter sermons for the edification of the faithful rather than works appealing to the artist4 ,the notes which a few years since ,i made before the drawings in the ,vatican read somewhat severe1 yet ,i ought hardly to withhold the impressions left on the mind4 ,utmost devotion and sincerity will be taken for granted1 but ,i found that the excessive striving after religious feeling degenerated into morbid affectation and spiritual spasm1 that sentiment passed into sentimentality1 and that simplicity scarcely escaped childishness4 ,throughout became painfully apparent the lack of physical sinew and dramatic force2 the characters1 not being modelled on the life1 wanted truth to nature2 they were afflicted with a bodily frailty and mental infirmity wholly unequal to the tragic situation4 ,these shortcomings in works of noblest motive may be ascribed to two causes3 first1 advancing age1 with increasing loss of power2 secondly1 the confirmed habit of slighting art and ignoring nature in order to magnify some favourite dogma4 ,thus the divine painter in late years missed his aim and marred his work4 ,these reflections receive confirmation in ,the ,seven ,sacraments1 compositions which are triumphs of faith at the expense of art4 ,the painter1 however1 in fairness1 must be allowed to speak for himself4 ,i must1 he writes1 first set forth what my conception of art is4 ,art to me is as the harp of ,david1 whereupon ,i would desire that ,psalms should at all times be sounded to the praise of the ,lord4 ,for when earth and sea and everything that therein is1 when ,heaven and all the powers of ,heaven unite in extolling their ,creator1 how can man fail to join with every faculty and gift his ,maker has endowed him with in this universal hymn of thanksgiving8 ,and especially how can one of the noblest attributes he possesses--the creative talent revealed in art--fail to acknowledge that its highest glory and noblest end consist in offering in art's own peculiar language ,psalms and ,songs of ,praise to the ,lord8 ,so precisely as ,psalms of ,praise would ,i wish to be accepted my seven representations of the ,sacraments1 which1 as so many fountains of grace1 the ,church causes abundantly and ceaselessly to flow4 ,these mercies of ,god are the subjects of my seven pictures4 ,as regards their style and execution1 they may be compared to tapestries after the manner of the ,arazzi of ,raphael1 such as it is customary to display in ,italy on feast days for the adornment of churches1 and serving for the instruction of the people in a language all can understand4 ,similar tapestries might1 in a more favourable time than the present1 have been wrought from these representations1 but they appear now only as designs preparatory to their possible completion some day in fresco or tempera4#f ,biblical history received ample exposition in numerous accessory compositions4 ,each of ,the ,seven ,sacraments was surrounded by a predella1 a frieze1 and two side borders4 ,some of these long spaces dilated into several themes1 and thus the total number of subsidiary subjects falls little short of forty4 ,the foliated and floral ornament in style is not ,raphaelesque1 but more allied to early ,gothic2 the manner is graceful but feeble4 ,the scheme embodies types in the ,old ,testament with their fulfilment in the ,new2 both conjoined are brought to bear on the teachings of the ,church concerning the ,sacraments4 ,some of the analogies may appear1 at least to outsiders1 rather fanciful and far-fetched4 ,yet1 the mystic meanings thrown around the singularly lovely composition of ,matrimony satisfy at least the poetic sense4 ,the artist explains how in the frieze is seen the union of ,christ with the ,church--the heavenly architype of marriage--celebrated by a choir of angels4 ,the predella presents a symbol from the ,old ,testament in ,tobias1 who1 under divine guidance1 obtains a companion for life4 ,one side-border exemplifies the first institution of matrimony in ,paradise2 angels above1 in embrace1 are scattering flowers4 ,on the opposite side an angel showers down thorns1 and on the ground beneath lies the dead ,saviour1 signifying that marriage through suffering obtains its consecration4 ,the painter ends with the closing prayer that these seven ,psalms which ,i have sounded on my harp may exhibit the teaching of the ,church in its beauty and sublimity1 and thus do honour to ,god1 to whom alone are due glory and praise in time and in eternity4 ,amen4 ,neither ,the ,seven ,sacraments as works of art1 nor the printed notes thereto as treatises in theology1 have been accepted by the world favourably4 ,even within the ,roman ,catholic ,church they are deemed rather ultra2 unfortunately the painter could not see when and where his art became an outrage on the common sense of mankind4 ,his treatment of ,holy ,communion in these ,sacraments1 as well as in sundry other designs1 is an instance of the way in which he pushed full far his sacerdotalism4 ,he habitually departs from the treatment sanctioned by the great masters1 from ,giotto to ,leonardo da ,vinci2 in place of a long table whereat all are seated is a small altar1 before which the ,apostles kneel2 in lieu of a supper1 the cloth is laid with only a plate and chalice1 and instead of the breaking of bread among the disciples1 ,christ stands apart elevating a wafer4 ,now1 all religious controversy aside1 most minds will feel that1 by thus substituting a fiction for a recorded fact1 the subject is spoilt in point of art4 ,and herein ,i cannot but recall a saying of ,coleridge to the effect that he who begins by loving his ,creed more than ,christianity will end by loving his ,church more than truth4#g ,between the ,christian artist and the head of the ,church grew1 as might be expected1 a bond of mutual respect and attachment4 ,overbeck and ,pius ,,ix4 had much in common2 they were as brothers in affliction2 the age was unbelieving2 they had fallen upon evil days2 and each was sustained alike by unshaken faith in the ,church4 ,concerning ,the ,stations1 the drawings of which are in the private rooms of the ,vatican1 the ,pope showed the liveliest interest1 and wrote a letter to the artist full of apostolic benedictions4 ,he had also evinced his friendly regard by giving sittings for his portrait4 ,afterwards1 in #aheg1 came the commission to paint1 for the ,quirinal ,palace1 the large tempera picture representing ,christ miraculously escaping from the ,jews1 who1 according to the ,gospel of ,st4 ,luke1 had thrust him out of the city1 and had led him to the brow of the hill whereon the city was built1 that they might cast him down headlong4 ,this astounding composition is the one step from the sublime to the ridiculous2 it represents ,christ with the right foot on the edge of a precipice1 the left in the air on the heads of small angels3 it was intended to symbolise the ,pope's escape from ,rome1 and his subsequent return to the city2 and further it expressly signified the triumph of the spiritual over the temporal power4#h ,while the large and important work was in progress1 ,pius ,,ix4 paid a visit to the painter in his studio1 an event to the honour of modern art comparable to the old stories touching ,francis ,i4 with ,leonardo da ,vinci and ,philip ,,iv4 in the painting-room of ,velazquez4 ,this abortive miracle on canvas left on my mind1 when seen in the studio1 a very painful impression1 and sound critics--,zahn and others--pronounce the subject as unpaintable1 and the work most unfortunate4 ,overbeck had not the power possessed by the old masters of carrying the imagination into the age of miracle4 ,i have been at some pains to make the account here given of the painter's works exhaustive4 ,my opportunities of observation have been favourable1 and yet1 especially as no complete biography of the artist has hitherto been published1 some minor works may have escaped my notice4 ,here1 in conclusion1 may fitly come a few additions4 ,the ,raising of ,lazarus1 the exquisite drawing of which1 now in the ,dsseldorf ,academy1 has already received notice1 was1 in #ahbb1 painted in oils4 ,the ,death of ,st4 ,joseph1 before mentioned1 was1 in #ahch1 reproduced for the private chapel of the newly created ,bishop of ,algiers4 ,also worthy of mention are cartoons of ,the ,twelve ,apostles and of ,the ,four ,evangelists1 for the ,torlonia chapel at ,castel ,gondolfo2 a design1 ,christ teaching the ,lord's ,prayer1 for a window in the church of ,st4 ,katherine1 ,hamburg2 sketches1 including ,the ,coronation of the ,virgin1 for a cathedral in ,mexico2 likewise drawings of the ,virtues1 also ,moses and the ,daughters of ,jethro1 the last engraved by ,gruner1 and then in ,england1 belonging to ,lord ,hatfield4 ,also ,the ,vocation of ,st4 ,john and ,st4 ,james1 a pencil drawing in the possession of ,baron ,lotzbeck1 ,schloss ,weihern1 near ,munich4 ,this beautiful design has been chosen as one of the illustrations to this volume4 ,few masters have been so largely engraved as ,overbeck2 scarcely a picture or drawing of import exists that has not become thus widely diffused4 ,by the artist's own hand are reproduced1 on copper1 ,st4 ,philip ,neri1 and a ,pilgrim4 ,in ,france were published the ,book of ,hours1 and ,the ,imitation of ,christ1 severally illustrated from designs by ,overbeck4 ,a pictorial art1 chiefly reliant on form1 and expressly intended for the teaching and saving of man1 was fitly thus multiplied and disseminated4 ,numerous portraits of ,overbeck1 by himself and friends1 give a retrospective view of his character4 ,probably the earliest is a pencil drawing in the ,vienna ,academy by the ,viennese painter1 ,johann ,scheffer von ,leonhardshoff2 the date must be prior to #ahaj1 and the age somewhere about twenty4 ,the head is remarkable1 almost abnormal2 the outlook on the world is inquiring1 querulous1 and combative2 the penetrative eyes seem in search after undiscovered truth2 the pursed-up mouth is prepared for protest2 the attenuated nose and contracted nostril betray austerity and acerbity2 the whole aspect is that of nervous irritability4 ,the spirit is still in unrest1 having sought in vain for the ideal2 and unsatisfied yearnings already settle into moody sentiment and melancholy4 ,in these traits are clearly legible the painful perplexities and the severe conflicts of the painter's first period4 ,and like mental states and bodily conditions are carried into the pencil likeness already mentioned1 taken in ,rome by ,cornelius some three years later3 for the moment the mind seems masked by a phlegmatic mass of ,german clay2 whatever might be light-giving in the inward man appears clouded4 ,this1 as we have seen1 was for the young painter a time of doubt and difficulty1 and the face remains as yet unillumined4 ,the next known portraits come at a long interval1 and show marked changes1 which tell of deep and not wholly blissful experiences4 ,in #ahcg1 ,carl ,kchler1 who made a series of portraits of ,german painters living in ,rome1 took and engraved the likeness of ,overbeck at the age of forty-eight4 ,the head is most striking and impressive2 the coronal regions1 the reputed abode of the moral and religious faculties1 rise in full development2 the frontal lobes of the intellect1 with the adjacent territories of the imagination1 bespeak the philosopher and the poet1 while the scant circuit of the posterior organs gives slight sign of animal passion4 ,the mien is that of a medival saint--austere1 devout2 the eyes steadfastly gaze as on hidden mysteries1 yet shine with spiritual radiance2 the brow1 temple1 and cheek are those of the child1 yet thinker2 all the features have settled into meditative repose1 gently shaded by melancholy4 ,overbeck1 at this time in close converse with ,heaven1 had given himself unreservedly to ,christian ,art2 hence this supremely ideal head4 ,the portrait1 contributed to the autograph collection of artists' heads in the ,uffizi ,gallery1 ,florence1 pleased neither the painter nor any one else1 yet it was carried out on the favourite doctrine of uniting the inward with the outward man4 ,the style is hard and dry1 the character that of starved asceticism2 the expression is ,jesuitical1 and actual traits are so exaggerated as barely to escape caricature4 ,the artist was painted by ,carl ,hoffmann1 also1 it is said1 by ,genelli and ,ernst ,deger4 ,the portraits in late life1 whilst preserving personal identity1 betray somewhat painfully the inroads of age and ill health4 ,rudolf ,lehmann made a faithful study in #ahec2 ,adolf ,grass1 an inmate in the house1 painted in oils a portrait in #ahfe2 and ,professor ,bendemann1 in #ahfg1 prevailed upon the diffident old man to give a sitting4 ,two years later death entered the house1 and ,friedrich ,geselschap1 a friend and artist from ,dsseldorf1 came a few hours after the eyes were closed1 and made a full-size chalk drawing of the head as it peacefully lay on the pillow4 ,this faithful transcript1 now on the table before me1 scarcely sustains the statement of some writers1 that the countenance after death assumed a glorified aspect2 but1 whether living or dying1 peace1 though not void of pain1 is the pervading expression4 ,overbeck1 after the goodly habit of the old masters1 was fond of introducing himself as a spectator in the sacred scenes he depicted1 and thus the above list of portraits is considerably extended4 ,the painter appears personally in ,christ's ,entry into ,jerusalem2 also1 in company with his friends ,cornelius and ,veit1 he joins the general assembly of artists in ,the ,triumph of ,religion4 ,again1 in ,the ,gospels the devout painter is present at the ,crucifixion1 bent on his knees1 the hands clasped1 his eyes gazing on ,christ upon the ,cross4 ,overbeck was not thus the egotist or a man craving for glory1 but merely the humblest of servants seeking some inconspicuous place among the followers of ,christ1 and desiring to be numbered with ,god's elect4 ,i have endeavoured1 though perhaps very imperfectly1 to lay before the reader a picture of ,overbeck as the artist and the man1 and now little remains save a few general conclusions4 ,i have anxiously tried to ascertain the painter's mode of work1 and the successive steps by which he matured his compositions4 ,this inquiry has proved all the more difficult1 because drawings in their early stages were persistently kept out of view4 ,the artist had two studios1 the one strictly private for quiet incubation apart2 the other public1 wherein only finished products were shown4 ,the question is1 how consummate designs such as ,the ,gospels were elaborated4 ,i find that ,overbeck first revolved a subject in his thoughts until he had formed a distinct mental conception2 this inward vision he would sometimes for months carry about with him1 within the house and in his walks abroad4 ,at last1 when it had taken shape1 he sketched out the idea with lead pencil on a small piece of paper2 and1 just in proportion as the first process had been tentative and slow1 so was the final act swift and certain4 ,in these supreme moments he had the power of throwing off his innermost thoughts without aids from the outer world3 the lines flowed from his pencil rapidly when he had made up his mind what to do1 and the forms once set down were seldom changed4 ,the facility increased rather than lessened with years2 thus we read1 ,at the age of seventy-two ,i create with undiminished freshness and pleasure4 ,as soon as the first small sketch was complete1 the usual method was followed of squaring out the surface with lines1 in order to reproduce in charcoal1 chalk1 or sepia the design on the full scale required--often the size of life4 ,for the important figures1 for the heads1 hands1 and draperies1 studies from the life were diligently made4 ,such drawings and cartoons have been and are greatly prized by connoisseurs2 for example1 ,the ,seven ,years of ,famine was acquired by ,sir ,thomas ,lawrence for his collection4 ,the reader will understand how difficult it was for the painter to find assistants who could help in this directly personal work1 in this concentration of individual thought2 hence the prolonged time needed1 extending1 as we have seen1 to periods of five or ten years4 ,separate studies of colour were also sometimes1 if not always1 made4 ,the ultimate stage of painting upon canvas or wall was comparatively a mechanical process4 ,furthermore1 we have to consider and make allowance for certain technical notions of ,overbeck and his school4 ,the opinion upheld was that the idea or mental conception constituted the chief value of any art work1 that outline or form was the direct language or vehicle of such idea1 and that colour1 light1 shade1 surface-texture1 or realism1 were subordinate1 if not derogatory1 elements4 ,thus it is that the works of the master cannot be judged by ordinary standards3 hence likewise the drawings and cartoons are superior to the pictures4 ,especially does ,overbeck's colour stand in need of explanation or apology4 ,in the first place we have to take into account how far the artist was bound to tradition2 we have1 for instance1 to bear in mind that in painting ,the ,assumption1 he was enjoined by the ,church to clothe the ,madonna in white4 ,then comes the whole question of symbolism1 or the inherent or accepted relation between colour and thought and feeling4 ,now1 ,i think it probable that ,overbeck sacrificed harmonies pleasing to the eye for the sake of arrangements that might inculcate doctrines or impress emotions4 ,certain it is that he looked on colour as something carnal3 the example of the ,venetian painters warned him against passionate excess1 and so as a religious artist he felt it a duty to use sombre pigments1 tertiary tints1 and low1 shadowy tones4 ,thus much needs explanation1 yet it must always be cause for regret that ,overbeck did not take for examples such masters of colour as ,fra ,angelico and ,perugino1 and thus gain the heavenly radiance begotten of religion4 ,the art of ,overbeck will live by its merits despite its defects2 it is vital and enduring in the three mental elements of thought1 form1 and composition4 ,the last he matured and mastered with the certainty of a science and the beauty of an art4 ,his compositions have the exactitude1 and occasionally the complexity1 of geometric problems1 neither are they without the rhythm of a stanza1 or the music of a song4 ,how much and in what manner the art of ,overbeck was due to direct inspiration from heaven is not easy to determine4 ,but1 at all events1 the modern master1 like his forerunners in the spiritual school of ,umbria1 watched and waited1 fasted1 prayed1 and painted4 ,one who observed him closely testifies how1 while making the drawings for ,the ,gospels and ,the ,seven ,sacraments1 he was penetrated with the life of ,christ4 ,from deep wells the infinite soul flowed into the finite mind1 and the art conceived in the spirit of prayer issued as a renewed prayer to ,god4 ,the reader1 ,i trust1 has formed a judgment as to the three-fold relation in which ,overbeck and his works stand to nature1 to historic precedent1 and lastly1 to inward consciousness or individual character4 ,we have seen that the notion prevalent in ,rome1 that the living model was wholly discarded1 is inaccurate2 bearing on this moot point may be here told an anecdote4 ,it is related how one morning1 when the artist was engaged on the ,tasso frescoes1 in the ,villa ,massimo1 he had need of the life for a muscular arm1 and so sallied forth into the neighbouring ,piazza of the ,lateran and made appeal to some men who were breaking stones on the road4 ,one of the number1 of amazing muscle1 consented to sit1 but1 to the disgust of the purist painter1 the man turned out to be a public executioner1 who only took to stone breaking when slack of usual work4 ,another story is to the effect that1 one day a fellow of terrific aspect entered the studio1 declaring he was without food1 and demanding engagement as a model4 ,he turned out a villain1 and so the aversion grew to coming in contact with common and unclean nature4 ,another reason assigned for the non-employment of models is the lack of sufficient strength to sustain protracted study from the life4 ,hence recourse to other methods3 for instance1 both mental and pencil notes were taken of casual figures and incidents in society or in the public streets4 ,john ,gibson1 the sculptor1 cultivated a like habit4 ,also a remarkable memory1 of which much might be told1 served as a storehouse of pictorial materials4 ,it is recounted now on ,sunday evenings1 after the reception in the studio of fifty or a hundred guests1 the meditative artist would recall and describe the visitors one by one1 and after many years1 and perhaps in a distant place1 meeting some person1 otherwise unknown1 he would say1 ,i remember to have seen that face once in my painting-room4 ,in like manner his memory was peopled with figures1 whose acquaintance he had made only in pictures3 thus1 when he came to paint ,the ,assumption for ,cologne ,cathedral1 he had recourse to the mental vision of the ,madonna1 derived from an old ,sienese panel1 and1 when charged with the plagiarism1 he replied3 ,the figure realises my idea1 and ,i do not see why ,i should search further4 ,thus1 however1 it came to pass that he borrowed more and more from others1 just in proportion as he took less from nature4 ,but in coming to a fair judgment1 we have to remember that the accidents in nature1 and the grosser materialism in man1 were foreign to this super-sensuous art1 the aim being to reach the hidden meaning and the inner life4 ,hence the favourite practice of placing and posing in the painting-room some well-chosen figure which was quietly looked at1 carefully considered1 and taken in2 thus the irrelevant elements were eliminated1 and only the essential truths assimilated4 ,this was for ,overbeck the saving study of nature3 he made extracts and essences1 elaborated generic types1 and thus his art became supreme in beauty4 ,however1 the beautiful is not always new1 neither is the new always beautiful4 ,the painter's relation to the historic schools of ,christian ,art has been so fully stated1 that little more remains to be said4 ,the old masters were studied much in the same way as nature3 their spirit was inhaled1 and just as ,john ,gibson was accustomed to ask1 ,what would the ,greeks have done8 so ,overbeck put himself in the place of the early ,italian painters1 and desired that his pencil might be guided by their spirit4 ,like ,raphael1 what he borrowed he made his own1 and often added an aspect and a grace peculiar to himself4 ,a gallery of pictures was for him what a well-stored library is to a literary student1 who takes from the shelves the author best supplying the intellectual food needed4 ,the method is not new or strange3 ,bacon teaches how the moderns inherit the wisdom of the ancients1 and surely if for art1 as for learning1 there be advancement in store1 old pictures1 like old books1 must give up the treasure of a life beyond life4 ,overbeck in the past sought not for the dead1 but for the living and enduring4 ,given a painter's genius and surroundings1 his art usually follows under the law of cause and effect4 ,overbeck's pictures1 as those of others1 yield under analysis as their component parts1 nature plus tradition1 plus individual self4 ,as to the individual man1 we have found ,overbeck the poet and philosopher1 the mystic1 somewhat the sentimentalist1 and1 above all1 the devout ,catholic4 ,the character is singularly interesting1 and the products are unusually complex4 ,he had forerunners and many imitators1 yet he stands alone1 and were his pencil lost1 a blank would be felt in the realm of art4 ,his genius was denied grandeur3 he did not rise to the epic1 and scarcely expanded into the dramatic2 his path was comparatively narrow2 his kingdom remained small1 yet where he stands is hallowed ground2 his art is musical1 altogether lyrical1 yet toned with pathos1 as if the lamentations of ,the ,holy ,women at the ,sepulchre mingled with the angel-voices of ,the ,nativity4 ,the man and his work are among the most striking and unaccustomed phenomena of the century1 and so far as his art is true to ,god1 humanity1 and nature1 it must endure4 ,his own assurance is left on record3 he held that knowledge and doing are of value only so far as they ennoble humanity1 and lead to that which is eternal4 ,he believed in the dependence of art on personal character1 on elevation of mind and purity of motive4 ,the noblest destiny of the race was ceaselessly before him1 and he looked to ,christian ,art as the means of showing to the world the everlasting truth1 and of raising the reality of life to the ideal4 ,in conclusion1 ,i think it not too much to claim ,overbeck as the most perfect example1 in our time1 of the ,christian ,artist4 ,the pecuniary rewards of the painter were in no fair proportion to his talents or his industry4 ,his labour1 as we have seen1 was primarily for the honour of art and religion1 and his protracted modes of study1 as well as the esoteric character of his compositions1 were little likely to meet with adequate return4 ,overbeck never realised large sums2 his prices measured by present standards were ridiculously low1 and even when overcrowded with commissions1 he is known to have fallen short of ready cash4 ,happily1 after early struggles1 he became relieved from pressing anxieties1 yet he remained comparatively poor4 ,overbeck's influence1 the example of his life1 the principles of his art1 extended far and wide throughout ,europe4 ,in ,france1 the ,german master won the reverence of the ,christian artist ,flandrin4 ,in ,england1 ,pugin held him up to students as a bright example4 ,in ,vienna and ,prague1 ,joseph ,fhrich1 as a disciple1 worked diligently4 ,in ,munich1 ,heinrich ,hess1 and in ,spires1 ,johann ,schraudolph1 painted extended series of frescoes allied to the same ,christian school4 ,in ,dsseldorf like traditions live3--,deger1 ,ittenbach1 ,carl and ,andreas ,mller studied in ,rome1 and their frescoes in the ,rhine chapel at ,remagen were inspired by ,overbeck4 ,and specially does the mantle of the revered painter rest on his friend ,eduard ,steinle2 important works at ,strasbourg1 ,cologne1 ,frankfort1 ,mnster1 ,klein-,heubach1 and ,reineck1 respond to the spirit of the great artist who1 dead1 yet speaks4 ,brief is the narrative of the approaching end4 ,the infirmities of age scarcely abated the ardent pursuit of an art dear as life itself4 ,overbeck had suffered from an affection of the eyes1 and his later drawings1 notwithstanding partial panegyrists1 betray a faltering hand1 together with some incoherence in thought1 or1 at least1 in the relation of the parts to the whole4 ,for some time1 in fact1 vitality had been ebbing from his work4 ,the summer of #ahfi found him in his favourite retreat of ,rocca di ,papa1 and we are told he was still busily creating4 ,his country dwelling stood among beauties which1 in illness as in health1 came with healing power4 ,from this sylvan quietude the aged painter1 in ,june1 wrote to his dear friend1 ,director ,steinle1 a letter abounding in love and aspiration2 he dwells on the serenity of the ,italian sky1 on the splendour of the landscape stretching before his eye into the far distance2 with characteristic modesty he laments that even in old age he is not sufficiently advanced for the great task set before him1 and desires without intermission to turn to good account the time still left2 and then he counsels his ,brother in ,christ to direct the mind steadfastly towards the glorious olden days which point to the blessed goal4 ,overbeck1 on his return to ,rome in the autumn of #ahfi1 resumed his accustomed order of life4 ,one who knew him well in later years relates that he was to be found in his studio in the early morning1 that1 after a short interval at noon1 he resumed work till stopped by the darkness of evening1 and that1 such was the wealth of material stored in the mind1 that he went on inventing without aid from usual outward appliances4 ,he still sought utmost tranquillity1 and any intrusion on the hours of study became extremely painful to him4 ,latterly he had been engaged on a small composition of ,the ,last ,judgment2 also he was occupied on designs illustrative of human life--a series which had advanced as far as the ,return from ,church of the ,wedding ,party4 ,such were the congenial avocations when1 on the fourteenth day after the return home1 he was seized with a severe cold on the chest4 ,yet the symptoms so far yielded to medical treatment that in eight days the danger had passed4 ,suddenly1 however1 ensued a total failure of power1 yet for the most part the mind remained unclouded4 ,a day or two before death he asked for a piece of charcoal1 and added a few touches to a design on which lately he had been working2 and at times1 when apparently unconscious1 he would look upwards1 raise and move his hand as if in the act of drawing4 ,he prayed almost without ceasing1 was grateful for each kindness1 and with dying lips had a loving and comforting word for everyone4 ,the last sinking came in quietness2 sustained by the consolations of religion he fell asleep towards six o'clock in the evening of ,friday1 the #abth of ,november1 in the eightieth year of his age4 ,he lay as he had lived--in peace2 and near his bed was placed the drawing on which he had lately worked1 also the small cartoon of ,the ,last ,judgment4 ,the next day1 according to the painter's wish1 the body was taken by the hands of his brother artists to ,san ,bernardo1 the little parish church near his house1 where he worshipped1 and where he is still remembered4 ,an eye-witness writes from ,rome to ,lbeck1 on the #ahth of ,november3 ,i have just come from the burial of our great fellow-countryman4 ,amid universal grief the funeral mass took place this morning4 ,the mournful ceremony was performed by a ,german bishop assisted by ,cistercian monks2 many artists and ,german students were present1 and joined in psalms composed by the ,abb ,liszt4 ,the whole function was most solemn1 as if the pious spirit of the departed had entered the whole assembly4 ,around the bier were gathered ,protestants as well as ,roman ,catholics2 the coffin bore the many orders which the artist had received1 but was never seen to wear2 and at the feet lay the crown of laurels which his ,roman brethren reverently offered to their acknowledged chief4 ,the body lies in the chapel of ,st4 ,francis of ,assisi1 within the church of ,san ,bernardo4 ,the resting-place is marked by a white marble cross1 let into the wall1 bearing the inscription ,joannes ,fridericus ,overbeck--,in ,pace4 ,,footnotes3 ,footnote #a3 ,see ',lbeckische ,bltter1' from #ahci to #ahfi1 for sundry notices concerning this picture and other works4 ,the ,piet is in oil on canvas1 #aj feet wide and nearly as high2 the top is arched2 it is photographed4 ,the pigments are in usual sound condition4 ,a small picture accompanied this ,piet4 ,it had been intended as a present to the brother1 ,judge ,christian ,gerhard ,overbeck1 but his death1 in #ahdf1 preventing the fulfilment of the purpose1 it was sent to ,lbeck as a gift to his son1 the artist's nephew1 ,doctor and ,senator ,christian ,theodore ,overbeck1 who died #ahhj4 ,the representatives in ,lbeck of this nephew are said to be in possession of sundry memorials of the illustrious uncle4 ,here in ,lbeck ,i may mention a ,madonna and ,child1 a circular composition #c feet #b inches in diameter1 with the painter's monogram and the date #ahec4 ,the picture is a gem1 exquisite for purity1 tenderness1 and beauty4 ,another ,madonna and ,child is in the ,thorwaldsen ,museum1 ,copenhagen4 ,footnote #b3 ,the ,incredulity of ,st4 ,thomas is #aj feet high by #e feet wide4 ,it bears the painter's monogram and the date #ahea4 ,the figures are life-size4 ,the picture is in perfect preservation4 ,the pigments1 as usual1 lie thin1 showing through the rough tissues of the ,roman canvas4 ,footnote #c3 ,see ',geschichte der neuen ,deutschen ,kunst1 von ,ernst ,frster4' ,leipzig1 ,weigel1 #ahfc4 ,footnote #d3 ,the ,assumption of the ,virgin is in oil on canvas2 height about #ah feet1 width #i feet4 ,figures nearly life-size4 ,the scale is rather small for the magnitude of the architectural surroundings4 ,the tone is that of an old picture1 low and solemn4 ,no positive colours are admitted4 ,the pigments remain intact1 without crack1 blister1 or change of colour4 ,the picture was the joint gift of the ,dsseldorf ,kunst-,verein and the ,cologne ,cathedral ,chapter4 ,the price paid was equal to about #ajjj sterling4 ,the cartoon was exhibited in #ahgf in the ,national ,gallery1 ,berlin4 ,footnote #e3 ,the cartoons of the ,via ,crucis were1 in ,september #ahhj1 in the ,villa ,germania1 near ,biebrich4 ,they are in chalk or charcoal in outline on grey ground1 tinted with sepia4 ,height1 #a foot #i inches2 breadth1 #a foot #e inches4 ,the water-colour drawings of the same series were1 in ,january1 #ahgh1 in the ,camera di ,udienza of the ,vatican4 ,height1 #b feet #f inches2 width1 #a foot #h inches2 mounted on white1 and massively framed4 ,the walls and accessories of the ,pope's apartment are of a crude colour and in bad taste4 ,the feeble execution of these cartoons and water-colour drawings betrays advancing age and declining power4 ,footnote #f3 ,the cartoons of ,the ,seven ,sacraments1 after a labour of some eight years1 were finished in #ahfa1 and received high encomiums when exhibited in ,brussels4 ,they remained with ,overbeck at the time of his death1 together with many other artistic properties1 the accumulation of a life4 ,some of these treasures have been sold by the family who entered into possession4 ,the cartoons were offered for sale1 but are still without a purchaser4 ,small tempera drawings of ,the ,seven ,sacraments were bought for the ,national ,gallery1 ,berlin1 in #ahgh4 ,they are on canvas3 measurement1 #a foot #h inches by #a foot #c inches4 ,these reductions were entrusted to scholars2 the execution is poor2 the master is responsible chiefly for revision4 ,the pigments used vary2 some are in warm sepia1 others in cooler tones1 and one1 ,penance1 is fully coloured4 ,the results technically are far from satisfactory4 ,these ,sacraments1 including the predellas1 friezes1 and side borders1 have been photographed in large and smaller sizes by ,albert1 ,munich1 and from the photographs ,august ,gaber executed woodcuts1 published with explanatory text penned by ,overbeck4 ,this text was also published as a separate pamphlet3 ,dresden1 ,august ,gaber2 ,london1 ,dulau and ,co4 ,the hope above expressed that the cartoons might be further carried out was never realised4 ,footnote #g3 ,i was informed1 in ,october1 #ahha1 by ,august ,gaber1 that the wood engravings made by him of ,the ,seven ,sacraments had proved a financial failure1 and that he had in the undertaking lost his all4 ,the ,bible of ,schnorr1 also rendered on wood by him1 had1 on the contrary succeeded4 ,the reason assigned why the public did not care for ,the ,seven ,sacraments was1 that the treatment is too strongly ,catholic2 and this can hardly be a prejudiced judgment1 because it was pronounced by ,herr ,gaber1 himself a ,catholic4 ,footnote #h3 ,the picture is in tempera on canvas1 and was put up on the ceiling of ,pio ,nono's sitting room in the ,quirinal ,palace4 ,but when the ,king of ,italy took possession1 a new canvas with cupids and putti was stretched over it1 and the ,pope's sitting room is now turned into ,prince ,humbert's bedroom4 ,this brutality might almost justify the good painter in his belief that ,satan is now let loose upon earth4 ,yet the plea has not without reason been urged that the picture is a deliberate attack on the ,king's temporal power4 ,the original cartoon was1 in #ahgf1 exhibited in the ,national ,gallery1 ,berlin1 and the same subject the artist repeated in an oil picture 7#aj feet by #h feet71 now in the ,antwerp ,museum4 ,overbeck had been made a ,membre effectif of the ,antwerp ,academy in #ahfc1 and the commission for this replica followed thereon4 ,i am told on authority that in ,antwerp the work is considered very mediocre4 ,illustration3 ,,joannes ,,fridericus ,,overbeck ,,in ,,pace ,,the ,,resting-,,place ,,of ,,overbeck ,,in ,,the ,,church ,,of ,,san ,,bernardo1 ,,rome1 ,,is ,,marked ,,by ,a ,,cross ,,of ,,white ,,marble ,,bordered ,,with ,,black1 ,,and ,,bearing ,,an ,,inscription ,,as ,,above4 ,,chronology ,,of ,,the ,,life ,,of ,,overbeck4 ,a4,d4 ,,page #aghi4 ,overbeck born at ,lbeck1 #dth ,july #a ,his ,ancestors for three generations ,protestant ,pastors #c ,his father ,burgomaster1 ,doctor of ,laws1 and ,poet #e #ahjj4 ,his ,home ,education #g #ahje4 ,his ,first ,drawing #i #ahjf4 ,leaves ,lbeck for ,vienna #i ,student in ,viennese ,academy #aj #ahji4 ,begins painting ,christ's ,entry into ,jerusalem #aa #ahaj4 ,rebels against the ,viennese ,academy1 and is expelled #ae ,leaves ,vienna and reaches ,rome #ah #ahaa4 ,german ,brotherhood of pre-,raphaelites #bj ,monastery of ,sant' ,isidoro1 the ,dwelling of the ,fraternity #bd ,first ,commission #bh #ahac4 ,overbeck joins the ,roman ,catholic ,church #cc #ahag4 ,niebuhr1 ,bunsen1 and ,schlegel1 literary friends #cd-dj #ahah4 ,frescoes1 ,the ,history of ,joseph1 in the ,casa ,bartholdi #dj ,frescoes1 ,jerusalem ,delivered1 in the ,villa ,massimo2 commission for #dd-dg #ahai4 ,exhibition in ,palazzo ,caffarelli #ca ,overbeck marries #di #ahca4 ,fresco1 ,the ,vision of ,st4 ,francis1 finished #ej ,overbeck visits ,germany2 returns to ,rome #eb-fa #ahcc4 ,present at the opening of ,raphael's ,tomb #fa #ahce4 ,christ's ,agony in the ,garden2 oil picture #fc #ahcf4 ,lo ,sposalizio1 oil picture1 finished #fd #ahdj4 ,the ,triumph of ,religion in the ,arts1 oil picture1 #fe-fi finished ,death of son #gf #ahdf4 ,piet1 oil picture1 finished #gg #ahea4 ,the ,incredulity of ,st4 ,thomas1 oil picture #gi #aheb4 ,the ,gospels1 forty cartoons1 finished #fi-gb #ahec4 ,death of wife #hj #ahee4 ,assumption of the ,madonna1 oil picture1 finished #hc ,overbeck revisits ,germany2 returns to ,rome #hd #aheg4 ,via ,crucis1 fourteen water-colour drawings1 finished #hg ,pope ,pius ,,ix4 visits the ,artist's studio #gth ,february #ic #aheh4 ,christ delivered from the ,jews3 ,quirinal3 ,tempera ,picture #ib #ahfa4 ,the ,seven ,sacraments1 cartoons #hi-ib #ahfi4 ,overbeck died the #abth ,november1 aged eighty #ajf ,,index4 7,the titles of ,paintings and ,drawings are printed in ,italics47 ,adoration of the ,kings1 #bh4 ,annunciation1 #gj4 ,ascension1 #gj4 ,assisi1 #i1 #df1 #ej1 #hb1 #hg4 ,assumption of the ,virgin1 #fj1 #hc1 #ii1 #aja4 ,barabbas released1 #gj4 ,bartholdi ,casa1 #dj1 #dc1 #dd1 #fj4 ,bearing to the ,sepulchre1 #bh4 ,beauty in the mind and art of ,overbeck1 #ad1 #ag1 #ah1 #bi1 #dj1 #dc1 #ii4 ,berlin1 ,national ,gallery1 #cj1 #df1 #hd1 #ij1 #ic4 ,bible ,society1 #cf4 ,blessed art thou among ,women1 #bh4 ,bond between ,art and the ,church1 #ci4 ,book of ,hours1 #id4 ,bunsen1 ,baron1 #ca1 #cd1 #cf1 #cg1 #ch1 #gb4 ,caffarelli ,palazzo1 #ca1 #cg4 ,canova1 #bg4 ,carstens1 #ab1 #ac4 ,cartoons by ,overbeck1 #i1 #db1 #de1 #df1 #ej1 #eh1 #gj1 #gg1 #hb1 #hc1 #hg1 #hh1 #ic1 #ih4 ,catholicism1 #bg1 #ca1 #cb1 #cc1 #cd1 #ce1 #ch1 #eb1 #ec1 #eh1 #fb1 #fi1 #gi1 #ha1 #ib1 #ajb1 #ajf4 ,chart of ,overbeck ,family1 #c1 #d4 ,christ's ,agony in the ,garden1 #fc4 ,christ bearing the ,lamb1 #fj4 ,christ blessing ,little ,children1 #bh4 ,christ's ,entry into ,jerusalem1 #aa1 #af1 #ah1 #ga1 #if4 ,christ escaping from the ,jews1 #ib4 ,christ falling under the ,cross1 #ga4 ,christ healing the ,sick1 #ga4 ,christ in the ,temple1 #ei1 #ga4 ,christ teaching the ,lord's ,prayer1 #id4 ,christian ,art1 #ab1 #ah1 #bg1 #cc1 #ci1 #ec1 #ff1 #ga1 #if1 #aja1 #ajc4 ,christian ,parnassus1 #fe4 ,classic ,movement1 #c1 #g1 #h1 #i1 #ab1 #ad1 #bg1 #dj4 ,coleridge1 #cf1 #ia4 ,cologne1 #fj1 #fc1 #hc1 #hd1 #ajd4 ,colour1 ,system of1 #af1 #bi1 #fc1 #fd1 #fg1 #ih4 ,cornelius1 ,peter1 #ab1 #ah1 #ai1 #ba1 #bc1 #ca1 #ce1 #cf1 #dj1 #dc1 #dd1 #dh1 #eb1 #ed1 #ei1 #fa1 #gd1 #hc1 #hg1 #ie1 #ig4 ,cornelius1 ,portrait of1 #ei4 ,coronation of the ,virgin1 #id4 ,creation of ,adam and ,eve1 #cj4 ,crown ,prince of ,bavaria1 #dh4 ,david1 ,french ,school of1 #i1 #ab1 #af1 #bf4 ,death of ,st4 ,joseph1 #eh1 #fb1 #id4 ,deger1 ,ernst1 #ba1 #ajd4 ,drawings by ,overbeck1 #i1 #ac1 #bh1 #bi1 #cj1 #di1 #ee1 #eh1 #ei1 #fd1 #hg1 #ij4 ,dsseldorf1 #ab1 #bj1 #ba1 #bh1 #eb1 #fj1 #hd1 #ajd4 ,elias in the ,chariot of ,fire1 #ee4 ,entombment1 #bh1 #ga1 #gg1 #hg4 ,european ,art1 influence of ,overbeck over1 #ajc4 ,expulsion from ,paradise1 #ac1 #cj4 ,father of the ,painter1 #a1 #b1 #d1 #e1 #f1 #aj1 #ag1 #cf4 ,father's ,creed for a ,purist ,painter1 #h4 ,father's ,monition to study the ,classics1 #h4 ,feeding the ,hungry1 #cj4 ,feed ,my ,sheep1 #hj4 ,ftes in honour of ,overbeck1 #ec1 #hd4 ,finding of ,moses1 #ei4 ,flight into ,egypt1 #ca4 ,four ,evangelists1 #id4 ,frankfort ,stdel ,institute1 #bi1 #fj1 #fh1 #he1 #ajd4 ,fresco ,paintings by ,overbeck1 #aa1 #ab1 #ba1 #ca1 #dj1 #dc1 #dd1 #di1 #ajj1 #ajd4 ,fger1 ,friedrich1 #aj4 ,fhrich1 ,joseph1 #ba1 #cb1 #df1 #ea1 #gd1 #ajd4 ,gibson1 ,john1 #bg1 #ajj1 #ajb4 ,god appearing to ,elias1 #eh4 ,godfrey de ,bouillon and ,peter the ,hermit1 #de4 ,goethe1 #f1 #ab1 #cg4 ,gospels or ,evangelists1 #gj1 #ig4 ,hamburg1 #bh1 #fc4 ,head of ,old ,monk1 #cj4 ,hess1 ,heinrich1 #ee1 #ajd4 ,history of ,joseph1 #da4 ,hoffmann1 ,madame1 #ha4 ,holy ,communion1 #ia4 ,holy ,family1 #bh1 #ef4 ,home ,life of the ,painter1 #f1 #gb4 ,human ,life1 #aje4 ,imitation of ,christ1 #id4 ,incredulity of ,st4 ,thomas1 #gi4 ,infant ,jesus1 #ei4 ,isidoro1 ,sant'1 ,convent of1 #ba1 #bc1 #bd4 ,israelites gathering ,manna1 #ei4 ,italy and ,germany1 #ef4 ,ittenbach1 ,franz1 #ba1 #ajd4 ,jairus's ,daughter1 raising of1 #bi1 #ei4 ,jameson1 ,mrs41 #ej4 ,jerusalem ,delivered1 #ab1 #ca1 #de4 ,jesus as a ,child at ,nazareth1 #f4 ,jesus ,condemned1 #hg4 ,jesus in the ,house of ,martha and ,mary1 #bh4 ,joseph sold by his ,brethren1 #db4 ,last ,judgment1 #aje1 #ajf4 ,leipzig ,museum1 #de1 #ej4 ,lessing1 #bg1 #cg4 ,letters and ,correspondence of ,overbeck1 #i1 #ah1 #be1 #bi1 #cc1 #eb1 #eg1 #fa1 #fb1 #fd1 #ih1 #ajd4 ,linder1 ,emilie1 #eb1 #eg1 #eh1 #fb1 #gf1 #he4 ,literature and ,art1 state of1 #aa1 #cg4 ,lbeck1 #a-i4 ,ludwig1 ,king1 #ed1 #ee4 ,luther1 #b1 #cd1 #cf1 #fd4 ,madonna1 #ca1 #ce4 ,madonna and ,child1 #ca1 #gg4 ,magnificat of ,art1 #fe4 ,maria ,alfons1 son of ,overbeck1 #ag1 #fi1 #gf1 #hb4 ,marriage of the ,virgin1 #fd4 ,marriage1 ,sacrament of1 #hj1 #ij4 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