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+The Project Gutenberg EBook of Overbeck, by J. Beavington Atkinson
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Overbeck
+
+Author: J. Beavington Atkinson
+
+Release Date: April 15, 2008 [EBook #25073]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK OVERBECK ***
+
+
+
+
+Produced by Juliet Sutherland, Tim Buck and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+
+
+
+                    _ILLUSTRATED BIOGRAPHIES OF
+                        THE GREAT ARTISTS._
+
+
+                    JOHANN FRIEDRICH OVERBECK.
+
+
+
+
+            ILLUSTRATED BIOGRAPHIES OF THE GREAT ARTISTS.
+
+_The following volumes, each illustrated with from 14 to 20 Engravings,
+are now ready, price 3s. 6d. Those marked with an asterisk are 2s. 6d._
+
+
+ GIOTTO. By HARRY QUILTER, M.A.
+ FRA ANGELICO. By C. M. PHILLIMORE.
+ FRA BARTOLOMMEO AND ANDREA DEL SARTO. By LEADER SCOTT.
+ MANTEGNA AND FRANCIA. By JULIA CARTWRIGHT.
+ GHIBERTI AND DONATELLO.* By LEADER SCOTT.
+ LUCA DELLA ROBBIA.* By LEADER SCOTT.      [_Nearly ready._
+ LEONARDO DA VINCI. By Dr. J. PAUL RICHTER.
+ MICHELANGELO BUONARROTI. By CHARLES CLÉMENT.
+ RAPHAEL. By N. D'ANVERS.
+ TITIAN. By R. F. HEATH, M.A.
+ TINTORETTO. By W. R. OSLER.
+ CORREGGIO.* By M. COMPTON HEATON.
+ VELAZQUEZ. By E. STOWE, M.A.
+ MURILLO.* By ELLEN E. MINOR.
+
+ ALBRECHT DÜRER. By R. F. HEATH, M.A.
+ THE LITTLE MASTERS OF GERMANY. By W. B. SCOTT.
+ HANS HOLBEIN. By JOSEPH CUNDALL.
+ OVERBECK. By J. BEAVINGTON ATKINSON.
+ REMBRANDT. By J. W. MOLLETT, B.A.
+ RUBENS. By C. W. KETT, M.A.
+ VAN DYCK AND HALS. By P. R. HEAD, B.A.
+ FIGURE PAINTERS OF HOLLAND. By LORD RONALD GOWER, F.S.A.
+
+ CLAUDE LORRAIN.* By OWEN J. DULLEA.      [_In preparation._
+ WATTEAU.* By J. W. MOLLETT, B.A.      [_In preparation._
+ VERNET AND DELAROCHE. By J. RUUTZ REES.
+ ROUSSEAU AND MILLET. BY W. E. HENLEY.      [_In preparation._
+ MEISSONIER.* By J. W. MOLLETT, B.A.
+
+ SIR JOSHUA REYNOLDS. By F. S. PULLING, M.A.
+ WILLIAM HOGARTH. By AUSTIN DOBSON.
+ GAINSBOROUGH AND CONSTABLE. By G. BROCK-ARNOLD, M.A.
+ ROMNEY AND LAWRENCE.* By LORD RONALD GOWER, F.S.A.
+ TURNER. By COSMO MONKHOUSE.
+ SIR DAVID WILKIE. By J. W. MOLLETT, B.A.
+ CROME AND THE NORWICH SCHOOL.* By C. MONKHOUSE.      [_Preparing._
+ SIR EDWIN LANDSEER. By F. G. STEPHENS.
+
+
+
+
+              [Illustration: JOHANN FRIEDRICH OVERBECK.]
+
+
+
+
+    _"The whole world without Art would be one great wilderness."_
+
+                               OVERBECK
+
+                        BY J. BEAVINGTON ATKINSON
+                               AUTHOR OF
+                'SCHOOLS OF MODERN ART IN GERMANY,' ETC.
+
+                               NEW YORK
+                          SCRIBNER AND WELFORD
+                                LONDON
+                SAMPSON LOW, MARSTON, SEARLE, & RIVINGTON
+                                 1882.
+
+
+
+
+                                  TO
+                          THE RIGHT HONOURABLE
+                        A. J. BERESFORD HOPE, ESQ.,
+                              M.P., LL.D.,
+                        THE KIND FRIEND OF ARTISTS,
+                   THE FERVENT UPHOLDER OF CHRISTIAN ART,
+
+
+                               This Life
+                                  OF
+                THE CHRISTIAN PAINTER J. FRIEDRICH OVERBECK
+                                  IS
+                        _RESPECTFULLY DEDICATED_
+                                  BY
+                              THE AUTHOR.
+
+
+
+
+                                PREFACE.
+
+
+In offering to the public the first complete biography yet attempted of
+the painter Overbeck, I wish to give a few words in explanation. The
+task has been far from easy: the materials, though the reverse of
+scanty, are scattered: reminiscences of the artist and criticisms on his
+works lie as fragments dispersed over the current literature of Germany.
+My endeavour has been to fill in vacuities, to thread together a
+consistent and connected narrative, and thus, so far as I have been
+able, to present a true and lucid history.
+
+My duty has been all the more anxious from the unusual complexity of the
+pictorial products falling under review. The scenes are laid amid the
+battle of the schools: the periods bring into prominence conflicts
+between classic, romantic, and naturalistic styles. The art of Overbeck
+was rooted in the olden times, yet in some degree it became quickened by
+contact with present life, and took also a personal aspect from the
+painter's inner self. The great pictures and the numberless drawings
+thus evolved over a space of more than half a century, and here
+described from my own knowledge, raise interesting and intricate
+questions on which the world remains divided. My care has been to give a
+just estimate of these exceptional art manifestations.
+
+Also enter into the art, through the life, conflicts of religious
+creeds, strifes between Protestantism and Catholicism, between
+Platonism, Mysticism, and Rationalism. In dealing with such delicate and
+serious topics I have avoided all controversy, and have ventured only on
+the simplest and briefest exposition. My effort has been to state the
+case fairly all round, to maintain an even balance, and, above all, to
+place the reader, whatever may chance to be his creed or art school, in
+a position to form a true judgment.
+
+Likewise fairly to appreciate the artist, it is needful rightly to
+comprehend the man. And here, again, perplexities arise from unwonted
+combinations. The character is one of the noblest and purest, and yet it
+is beset with peculiar infirmities. The portrait offered in these pages
+is, I trust, true and individual, toned down into unity, and yet not
+left cold or colourless. Such negation would, indeed, do injustice to my
+own feelings. For among the cherished recollections of past days are my
+visits to Overbeck's studio, stretching over a period of twenty years: I
+learned to revere the master and to love his works, and I trust no word
+in this little volume may lessen the respect due to an honoured name.
+
+                                                                J. B. A.
+
+KENSINGTON,
+    _May, 1882._
+
+
+
+
+                            CONTENTS.
+
+
+
+							CHAPTER I.
+
+                          LÜBECK--VIENNA.
+
+Birth and Parentage--Early Days in Lübeck--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 Lübeck for
+Vienna: 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 1
+
+
+                            CHAPTER II.
+
+                    ROME--THE GERMAN BROTHERHOOD.
+
+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
+Poetry, a saintly Man"--"The New-Old School," "the Nazarites," provoke
+opposition and ridicule--State of Art in Rome: Classic, Romantic,
+Christian--First Commission: early Drawings and Pictures--Exhibition in
+Palazzo Caffarelli--Overbeck and his Friends join the Roman Catholic
+Church--Reasons assigned--Literary circle: Niebuhr, Bunsen, and
+Friedrich Schlegel--Frescoes by Overbeck, Cornelius, Veit, and Schadow
+in the Casa Bartholdi and the Villa Massimo                              19
+
+
+                            CHAPTER III.
+
+                           ROME--GERMANY.
+
+Overbeck marries, two children born--His position in "Monumental
+Painting"--Fresco, "The Vision of St. 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 Fräulein Emilie
+Linder--Visits to Heidelberg, Frankfort, Cologne, and Düsseldorf--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
+pictures: "Christ's Agony in the Garden," at Hamburg; "The Marriage of
+the Virgin," in Count Raczynski's Gallery, Berlin; "The Triumph of
+Religion in the Arts," Frankfort--The Painter's explanatory disquisition
+on the last--His habits of work, personal aspect and character           48
+
+
+                            CHAPTER IV.
+
+            LATE WORKS--CONCLUSION--THE PAINTER AND HIS ART.
+
+Death of Son--Pictures: "The Pietà," in Lübeck; "The Incredulity of St.
+Thomas," in the possession of Mr. Beresford Hope--Death of Wife--"The
+Assumption of the Madonna," Cologne Cathedral--Second visit to
+Germany--Fête in Cologne--Return to Rome--Studio in Garden House on the
+Esquiline Hill--Cartoons and Water-colour Drawings, "The Via
+Crucis"--Cartoons and Tempera Drawings, "The Seven
+Sacraments"--Commissions from Pius IX., his Portrait, Picture for
+Quirinal Palace: the Pope's Visit to the Studio--Portraits of the Artist
+by various hands--Overbeck's mental habits: his extraordinary
+memory--Modes of Study and of Work--Form--Composition--Colour--The
+relation of his Art to nature, tradition, and personal
+character--Pecuniary rewards--Influence over the contemporary Schools of
+Europe--Closing scenes--Death and Burial                                 76
+
+CHRONOLOGY                                                              109
+
+INDEX                                                                   111
+
+
+
+
+LIST OF ILLUSTRATIONS.
+
+
+PORTRAIT OF OVERBECK                                        _Frontispiece._
+
+                                                                       PAGE
+
+THE HOLY FAMILY                                                           2
+
+THE NAMING OF ST. JOHN                                                   18
+
+CHRIST IN THE TEMPLE                                                     24
+
+CHRIST BLESSING LITTLE CHILDREN                                          28
+
+THE CALLING OF ST. JAMES AND ST. JOHN                                    48
+
+CHRIST'S ENTRY INTO JERUSALEM                                            58
+
+CHRIST HEALING THE SICK                                                  70
+
+CHRIST FALLING UNDER THE CROSS                                           76
+
+THE ENTOMBMENT                                                           86
+
+THE RESURRECTION                                                         94
+
+THE CROSS MARKING OVERBECK'S TOMB                                  _Finis._
+
+
+
+
+                                Chart of the Overbeck Family.
+
+                                    CASPAR OVERBECK,
+                                Merchant, Religious Refugee.
+                                             |
+                                CHRISTOPH OVERBECK, Pastor.
+                                             |
+                        CASPAR NIKOLAS OVERBECK, D. 1752, Pastor.
+                                             |
+                        Total number of Children 8 sons and 6 daughters:
+                        2 sons and 4 daughters died in childhood.
+ ____________________________________________|_______________________________________
+|         |                |                 |               |         |            |
+Johann    Levin   GEORGE CHRISTIAN OVERBECK,  Johann      Gottfried    August      Two
+Adolph,   Conrad,     B. 1713, D. 1786,       Daniel,     Ferdinand,   Friedrich,  Daughters
+B. 1706,  B. 1712,     Doctor of Laws.        B. 1715,    B. 1717,     B. 1719,    who grew to
+Pastor.   Pastor.            |                D. 1802,    Apothecary.  School      womanhood.
+                            |                Doctor of                Teacher.
+                            |                Theology, &c.
+       _____________________|_________________________________________________
+      |                                   |                                  |
+    Conrad,                     CHRISTIAN ADOLPH OVERBECK,                Johann George,
+    Died at Riga,               B. 1755, M. 1781, D. 1821.                D. 1819,
+    Merchant.       Doctor of Laws, Syndic, Bürgermeister of Lübeck, &c.  Pastor.
+                                          |
+                    4 sons and 2 daughters: one son died in childhood.
+         _________________________________|________________________________________
+        |                |                      |                 |               |
+Christian Gerhard,  Johannes,  JOHANN FRIEDRICH OVERBECK,     Frau Charlotte  Frau Elizabeth
+B. 1784, D. 1846,   D. 1830,   B. in Lübeck 1789, M. 1819,    Leithoff,       Meyer,
+Judge, Lübeck.      Merchant.  D. in Rome 1869                deceased.       deceased.
+         |                |           The Painter                  |
+Christian Theodore,       |                |                   Frau Harms,
+B. 1818, D. 1880,         |                |                   Lübeck,
+Doctor, Senator;          |                |__________________ living.
+left no children.         |                |                 |
+     _____________________|_________________             ____|_________________
+    |            |            |            |            |                     |
+Johannes,     Gustav,      Arnold,      Frau Rath  ALFONS MARIA,        Daughter of the
+Professor,    Düsseldorf,  Düsseldorf,  Reuleaux,  Son of the Painter,  Painter: died
+Doctor,       living.      living.      Berlin,    B. 1822, D. 1840.    in childhood.
+Archæologist,                           living.
+Leipzig,
+living.
+
+
+
+
+                            OVERBECK.
+
+                            CHAPTER I.
+
+                          LÜBECK--VIENNA.
+
+
+Johann Friedrich Overbeck was born, as a tablet on his father's house
+records, in Lübeck on the 4th of July, 1789. Among his ancestors were
+Doctors of Law and Evangelical Pastors. His parents were good
+Protestants; his father was Burgomaster in the ancient city. Seldom has
+a life been so nicely preordained as that of the young religious
+painter. The light of his coming did not shine, as commonly supposed,
+out of surrounding darkness. A visit to his birth-place, expressly made
+for this memoir, soon showed me that Overbeck, from his youth upwards,
+had been tenderly cared for; that he received a classic education; that
+his mind was brought under moral and religious discipline; in short,
+that the rich harvest of later years had found its seed-time here within
+the family home in Lübeck.
+
+The old house in which Overbeck was born has unfortunately, within the
+last few years, been modernised, but the original medallion relief of
+the painter's head, life-size, is built into the new façade, and the
+former structure can be accurately ascertained as well from the designs
+of the adjoining tenements as from the living testimony of the
+neighbours.[1] The Overbeck mansion stood in the König Strasse, a
+principal thoroughfare in the heart of an old city which may not inaptly
+be designated the Nuremberg of Northern Germany. It is not difficult
+here on the spot to picture the life of the painter while yet in his
+teens. The historic town of Lübeck had enjoyed a signal political,
+commercial and artistic epoch. As the head of the Hanseatic League, it
+rose to unexampled prosperity. Deputies from eighty confederate
+municipalities assembled in the audience-chamber of the Rathhaus;
+fortifications, walls and gateways were reared for defence, and merchant
+princes made their opulence and love of ostentation conspicuous in
+dwellings of imposing and picturesque design; thus pointed gables,
+high-pitched overhanging roofs, stamp with mediæval character the
+present streets. Then, too, were founded rich ecclesiastical
+establishments; then was built the cathedral, containing among other
+treasures matchless brasses, a unique rood-loft, and a double triptych,
+the masterpiece of Memling. This sacred work made a deep impression on
+young Overbeck, and is known to have given a direction to his art. About
+the same period was also reared the Marien Kirche, enriched with bronze
+sacrament-house, old German triptychs and fine painted glass. This is
+the church in which the painter's father, as Burgomaster, had a
+distinguished stall, elaborately carved; and now, on visiting the spot,
+I find appropriately among the treasures two chefs-d'oeuvre which the
+son affectionately wrought for the city of his birth. These churches are
+Protestant, but fortunately the worst sign of the Reformation is
+whitewash, and so the relics of the past are reverently conserved, and
+here in Lübeck, as in Nuremberg, the Madonna still holds her honoured
+niche, and the saints yet shine from out the painted window, even as in
+after-years the selfsame characters appeared on the canvases of
+Overbeck. Amid associations thus sacred, encircled by a family addicted
+to learning and piety, to poetry and art, was the tranquil spirit of the
+young painter led into meditative paths; and as I took my evening walk
+at the setting of the sun by the side of the wooded river, under shadow
+of the old gateways and churches, it was not very hard to realize how
+the love of nature and of art grew up in the mind of the young student,
+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 times.
+
+The family of Overbeck had been for generations preeminent for learning
+and piety, and biographers have scarcely sufficiently taken into account
+either the Classic or the Christian inheritance of the painter.
+Religious teaching and living came by long lineal descent (see Family
+Chart on page xvi.): the great, great, great grandfather, Caspar
+Overbeck, was a religious refugee; the next in succession, Christoph,
+was a Protestant pastor; and to the same sacred calling belonged his
+son, Caspar Nikolas, who lived into the middle of the last century.
+After comes the grandfather, George Christian, Doctor of Laws; and among
+collaterals signally shines the great-uncle, Johann Daniel Overbeck
+(died 1802, aged 88);[2] this memorable man was Doctor of Theology,
+Rector of the Lübeck Gymnasium, and a voluminous writer; he published
+thirty or more treatises; among the number are 'The Spirit of Religion,'
+'Grounds of Agreement in Religion through the Reason and the
+Understanding;' also discourses on St. Peter, St. Paul, and Luther.
+Facility of pen runs through the family. Two other great-uncles, Johann
+Adolph and Levin Conrad Overbeck, brothers of the Doctor of Theology,
+were Pastors: furthermore must not be forgotten the uncle, Johann George
+(brother of the Burgomaster), who lived till 1819, and is described as a
+faithful untiring pastor to an evangelical congregation, who offered his
+life a willing sacrifice. "Duty" might be the watch-word of all who bear
+the name of Overbeck. Lastly, and not least, appears the pious, learned,
+and æsthetic father, Christian Adolph. Though not in holy orders, he
+concerned himself variously with religion in the wide and vital sense of
+the word, holding it a divine presence, the rule of life, and the
+inspirer of all noble work. I should judge he was not dogmatic in creed,
+nor rigid in ceremonial. He was philosophic, but had too much heart to
+be a rationalist; too much imagination for an anti-supernaturalist. He
+was a mystic pietist; religion blending with poetry coloured his whole
+mind; revelation, nature, and art, were for him one and indivisible. And
+this I believe to have been the mental state of the son while yet under
+the parental roof. The sequel will show a change; the incertitude of
+speculation could not be sustained, and so anchorage was sought within
+an "Infallible Church." Yet for the right reading of a character
+curiously subtle and complex, it is needful to realise the fact that the
+seeds sown in the homestead were never uprooted, that it was, indeed,
+the old stock which sustained the new grafting, and that, to the last, a
+poetic mysticism dwelt in the chambers of the artist's mind. And as was
+the tree so were the fruits; sprung from a family of preachers, the
+painter became an evangelist in his art.
+
+The father, Dr. Christian Adolph Overbeck, as the formative type of the
+son, merits a further word.[3] If not quite a genius, he was the model
+of a scholar and a gentleman; besides being Burgomaster in the city of
+his birth, he was Doctor of Laws, Syndic of the Cathedral Chapter, and
+served in important political missions to Paris and St. Petersburg. He
+is described "Musis Amicus";[4] and not only the friend of poesy, he was
+a poet himself, and by virtue of the duality habitual to his mind
+dedicated his pen with singular impartiality to Christ and Apollo; one
+volume of verses being entitled 'Anacreon and Sappho,' another,
+containing a poem, on 'The Love of God.' These products rise somewhat
+above the level of respectable mediocrity, yet they have not escaped the
+stigma of platitudes. Goethe, however, did not disdain to make
+respectful mention of the poet. The painter inherited in some small
+degree the paternal gift; he accompanied with verses the engraved and
+published drawings, _Jesus as a Child in the House at Nazareth_. By the
+father I have also before me a "new edition," published 1831, of a
+collection entitled 'Frizchens Lieder,'[5] so called because penned for
+the benefit of the youthful Frederick. The preface makes mention of "my
+little Frizchen" thus:--"It were better had he been an angel, but he is
+just a human child:" then, facetiously, it is added, "he is less ideal
+than saucy and conceited." Those who like myself knew only the solemnity
+of the painter in advanced years have a difficulty in supposing in the
+child such traits compatible. These songs of the domestic affections
+were set to music; the father, as a dilettante complete, cultivated all
+the harmonies whether of thought, form, or sound; the home was musical.
+
+The family life composes into a placid, homelike picture. The parents,
+though well to do, were far from affluent. The stipends of the busy
+Burgomaster and Syndic were small, and he remained comparatively poor.
+At the age of twenty-six he married a young widow with money and one
+daughter, and domestic cares necessarily thickened with the birth of six
+additional children, two daughters and four sons, of whom Frederick was
+the youngest. The mother, we are told, was beloved and honoured, and in
+addition to ordinary domestic duties, diligently assisted her children
+in the preparation of their school lessons; moreover it is expressly
+stated that her fortune contributed largely to the household expenses.
+The would-be artist could not be considered unfortunate in his worldly
+condition; he entered on life removed equally from the extremes of
+riches or poverty; his parents were sufficiently well off to make it
+possible for him to gratify his tastes in the choice of a profession,
+while he was always under such pressure as to render it imperative that
+he should put out his full powers. His education within the limits of a
+provincial town was liberal; the father kept himself and his household
+quiet, student-like, and sequestered from the dissipation of society,
+and so all the better could be cultivated the budding faculties of his
+offspring. When the children were sufficiently advanced he joined with
+other parents in engaging a qualified tutor, and so formed a special
+class or superior school. With affection was watched the inclination
+towards art of the youngest son, and anxiety lessened as the faculty
+strongly declared itself, for above all was dreaded "mediocrity as the
+deadly sin of artists." The father held that for success in art as a
+profession three conditions were essential; classic training, nobility
+of mind, and technical skill. And so in each day the foremost place was
+assigned to classic studies. As to the formation of character, religion
+stood as the corner-stone, and the maxim for the daily life was "love in
+a pure mind." 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 world.
+But the father and son differed in this--that the one was eclectic, the
+other exclusive. The father, with the wide toleration of a
+poet-philosopher, believed in the possibility of harmoniously combining
+styles, Classic, Romantic, and Christian. His views may be judged from
+the following:
+
+
+            _The Father's Monition to study the Classics._
+
+With joy I see you constant in the study of the ancients. To the Greeks
+and old Romans was it given to stand as the everlasting lawgivers of the
+beautiful. Well for you that you read the classics: above all, acquaint
+yourself with the glorious forerunner, Homer, of whom almost every line
+is a picture. Homer in the right chamber of the heart, and the Bible in
+the left--or _vice-versâ_--in this way, it seems to me, you cannot go
+far astray.
+
+
+                    _Creed for a Purist Painter._
+
+The artist's and poet's mind should be as a spotless mirror: his heart
+must be pure and pious, at one with God and all mankind. The path to the
+holy Temple of Art lies apart from the world, and the painter will go on
+his way all the more unassailed if he stand aloof from the temptations
+of the senses. And if the artist's mind be a temple, then should find
+place therein only the figures of saints and the semblances of holy
+things; and even in profane representations a heavenly spirit should
+reign. The mind is raised by the contemplation of the master-works of
+genius, thus art reaches the highest summit.
+
+It is not to be supposed that the youth while in Lübeck reached the
+father's ideal; but within a stone's throw of the house lay a Gymnasium,
+including a Drawing School of which the great uncle, Dr. Johann Daniel
+Overbeck, had been head master. Here, on the spot, I am told the nephew
+received from a certain Professor Federau instruction in art, and I have
+before me a drawing, the earliest that has come to my knowledge, which
+proves that the pupil was at least painstaking. The subject, in
+accordance with the father's precept, is Homeric, the well-known meeting
+of Ulysses and Telemachus.[6] After the prevailing manner of the period,
+the style is classic, according to the French school of David, and a
+Greek portico appropriately finds a place in the background. Young
+Overbeck discovered in the sequel how much he had to learn, and to
+unlearn; he closed Homer to open his Bible.
+
+The time came for a change in the scene of action, the art resources of
+a small provincial town were exhausted, and the necessity arose for
+thorough academic training elsewhere. The choice in those days was not
+extended, and after due consideration the election fell in favour of
+Vienna. Accordingly, in March, 1806, at the age of seventeen, young
+Overbeck left Lübeck. The home-parting was tender, and might have been
+heart-rending could the future have been read. Never were son and
+parents to meet again. Frederick in sundry years, when full of honours,
+visited Germany, but he seemed to shrink from a return to the scenes of
+his youth; change in religion may have made contact painful. Yet we are
+told that closest communication was kept up by constant correspondence;
+that the father affectionately watched his son's illustrious career and
+read with lively satisfaction all announcements in the public journals.
+The mother died in 1820, the father a year after: for forty years they
+had been lovingly united. I have visited the retired "God's-acre,"
+beyond the gates, removed from the noisy traffic of the town, and not
+without difficulty discovered the grave of father and mother. So dense
+was the overgrowth of years, that not a letter on the massive stone
+could be seen; but the old man of the place, tearing away the thick
+mantle of ivy, revealed the words, "Here rest in God Elizabeth Overbeck,
+and Christian Adolph Overbeck, Burgomaster."
+
+On reaching Vienna, the super-sensuous painter did not find a bed of
+roses: his tastes were fastidious, his habits exclusive, his aspirations
+impracticable. Of course his art remained as yet unremunerative; thus
+his means were scanty, and the friends he might have hoped to make
+turned out enemies. And it cannot be denied that the state of things in
+Vienna was enough to discourage and disgust an earnest, truth-seeking
+student. The Academy into which the Christian artist entered was under
+the direction of Friedrich Füger, a painter of the French type, not
+without renown, but given over to the service of Jupiter, Prometheus,
+and Venus, and when he chanced to turn to sacred subjects, such as _The
+Death of Abel_ and _The Reading Magdalen_, affectation and empty
+pretence were his resource. I have seldom seen works more contemptible.
+Overbeck was in despair, and wrote to a friend that he had fallen among
+a vulgar set, that every better feeling, every noble thought, was
+suppressed within the Academy, and that, losing all faith in humanity
+and in art, he turned inwardly on himself. This transcendental strain, I
+cannot but think, came in some measure from the conceit incident to
+youth; self-complaisancy was certainly a habit of mind which the painter
+persistently cultivated as a virtue.
+
+Four years' work within an organised academy could not be otherwise than
+a gain to a tyro who had everything to learn. Director Füger was at
+least thoroughly trained; talent and industry had early won him the
+distinction of pensioner to Rome, and he subsequently executed important
+frescoes in Naples, which obtain honourable mention in the history of
+the times. His school might be bad, but still it was a school; and the
+fact cannot be controverted that Overbeck issued from it an artist. He
+learnt what his father had laid down as essential to success, drawing,
+composition, technique, and his advance was such, that while in Vienna
+he commenced, and in part painted, _Christ's Entry into Jerusalem_, a
+prized possession to this day in the Marien Kirche, Lübeck. Moreover, I
+am inclined to think that under Füger he was grounded in the art of
+wall-painting, not only as a manipulative method, but as a system of
+composition and decoration; otherwise it is hard to understand how,
+shortly after arriving in Rome, he knew more about fresco than the
+Italians themselves. Overbeck and his master, however, became all the
+more irreconcilable because the discords lay less in the letter than in
+the spirit.
+
+In order to realise Overbeck's artistic and mental difficulties here in
+Vienna, and afterwards in Rome, 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 written. We have to consider that
+Europe had suffered under the throes of the great French Revolution, and
+that then followed the galling despotism of Napoleon. Art and literature
+lay frozen and paralysed, and Overbeck in Lübeck and Vienna, like
+Cornelius in Düsseldorf, found in tyrannous sway the pseudo-classic
+school of the French David, cold as marble, rigid as petrifaction,
+spasmodic as a galvanised muscle. But the Germans, especially the more
+intellectual sort, smarting under the yoke, were all the while gathering
+strength to reclaim nationality as their birthright. The reaction came
+through the romantic movement, otherwise the revival of the poetry and
+the art of the Middle Ages. Overbeck fell under the influence: in his
+Lübeck home he read Tieck's 'Phantasies on Art,' and thirsted for the
+regeneration drawing near. In Rome the spell heightened; thinkers such
+as Frederick Schlegel brought over proselytes, and the painter's early
+frescoes from Tasso's 'Jerusalem Delivered,' came as the specific
+products of the new era. But the School of Romance wore two aspects; the
+one, Poetic and Chivalrous; the other expressly Christian; and Overbeck
+was not content to exchange Homer and Virgil for Dante and Tasso, he
+turned from the age of Pericles and Augustus to the nativity of Christ.
+And it seemed to him that the pure spring of Christian Art had, not only
+in Vienna but throughout Europe, been for long diverted and corrupted,
+and so he sought out afresh the living source, and casting on one side
+his contemporaries, took for his guides the pre-Raphaelite masters. Such
+is the relation in which he stands to the Romantic movement.
+
+But the election made in favour of an art born of Christianity proved
+for Overbeck the severer conflict, because Germany, in the generation
+scarcely passed away, had experienced a studious classic revival under
+the critic Winckelmann and the painters Mengs and Carstens. Goethe, too,
+a tyrant in power, had thrown his weight into the classic scale, and,
+much to the chagrin of the young painter, declared that the highest
+Christian Art was but the perfecting of humanity. Moreover, classicism
+had been brought within the painter's home by a five years' sojourn in
+Lübeck of Carstens, the Flaxman of Germany. The father befriended the
+poor artist, and being well-read in Greek and Roman authors, supplied
+him, among other needs, with ideas for his classic compositions. I deem
+these facts should be duly considered; it is wholly false to ignore the
+presence of a classic element in the Christian Art of Overbeck; and just
+as the purest religious painters of Italy borrowed from the Pagans, so
+the great Christian Artist of our times culled from the antique all he
+could assimilate. It is clear to me, judging from the internal evidence
+of his works, that as a student Overbeck went through the usual course
+of drawing from the plaster cast. Many are the passages in his
+compositions which might be quoted in point, particularly Biblical
+incidents, such as the _Expulsion from Paradise_, wherein appear
+undraped figures. Here are seen to advantage the generic form, the
+typical beauty, the harmony of line, the symmetry, which distinguish the
+Classic from the Gothic. Furthermore, Overbeck from first to last
+eschewed the dress actually worn in the Holy Land, and deliberately
+draped Christ and the Apostles as Greek sages and Roman senators. I
+believe in so doing he was on the whole wise, his motive being to remove
+his characters from the sphere of common life; even for him, the most
+single-minded of men, art was a compromise: but while borrowing thus
+largely both in figure and costume from the Classic, it were vain to
+contend that his creations had an exclusively Christian origin. I may
+add that I do not think the controversy lies so much between religions
+as between historic Schools of Art. Overbeck was so much the artist
+that, like Raphael, he made beauty wherever extant his own, only caring
+that whatever was taken from the Pagan should be baptized with the
+Christian spirit. Thus much indeed is confessed in his explanatory text
+to his master-work the _Triumph of Religion in the Arts_. Therefore in
+quoting his own words the subject may fairly be allowed to drop: he
+writes: "Although heathenism, as such, should be looked upon by the
+Christian painter with decided disdain, yet the arts as well as the
+literature of the ancients may be turned to advantage, 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 Temple, after
+melting them down and consecrating them anew."
+
+The much abused Director Füger was the champion, as we have seen, of
+hybrid classicism, hence the hostility between master and pupil. The
+precise attitude assumed by the contending parties it is not very easy
+to define; but that there were faults on both sides may easily be
+conceded; that each was in extreme is also evident, and that Overbeck
+was the last man to yield an inch or to meet half way is equally
+certain. The fatal conflict broke out in differences as to the modes of
+study: of the Academy we should now say that it was conventional, wedded
+to false methods, in short, that it had wholly lost the right road in
+the devious paths of decadence. The young innovators, not choosing to
+conform, assumed a defiant position analogous to, though not identical
+with, that taken half a century later by our English pre-Raphaelite
+brethren. The study of the early masters in the royal collection they
+preferred to the routine of the Academy; thus Dürer and Perugino were
+held up in challenge to Correggio and Rubens, the idols of the day. Then
+the discord was equally violent as to the right mode of studying nature.
+The charge made against the German pre-Raphaelite Brotherhood was that
+they dealt with the life-model crudely and inartistically; on the
+contrary, Overbeck and his adherents declared that they sought for
+nothing else than truth, only they held that nature should not be
+studied superficially, but with the end of deciphering her hidden
+meanings. The human body they looked on as a temple, the face they read
+as the mirror of the mind. All this, and much more besides, though then
+a novelty, is now an old story; the doctrine that the bodily form is
+moulded on the spiritual being, the speculations concerning the
+relations between the "objective" and the "subjective," the outward and
+the inward, the correspondence between the world of sense and the world
+of thought, have one and all taken definite place in the history of
+mental philosophy. We have here fully to realise that Overbeck had
+breathed the atmosphere of mystic spiritualism in Lübeck; hence his
+entrance into "spiritual art," hence his "soul pictures." His mind being
+thus sublimated, he looked down upon the Viennese Academicians as common
+and unclean; a rupture naturally ensued, and he and his companions being
+in the minority, were with a strong hand, and with little ceremony,
+expelled from the classes. The blow for the moment seemed overwhelming,
+yet it brought salvation. Had Overbeck remained chained to the Academy,
+art through him would not have seen a new birth. His course became
+clear: he quitted Vienna for Rome, the city of his desire.
+
+In the fourth and last year of the painter's apprenticeship in the
+Austrian capital, was begun a really arduous composition, _Christ's
+Entry into Jerusalem_.[7] The picture is of the utmost import as
+affording the only evidence of the artist's attainments in Vienna. In
+the first place to be remarked is the striking fact that not a vestige
+remains of the French school of David, or of the showy masters of the
+Italian decadence; the work, indeed, might have been designed as a
+protest against the Viennese Academy, and as a justification of the
+painter's revolt. The style adopted is conjointly that of the Italian
+pre-Raphaelite and of the early German and Flemish masters. The
+background is built up into a high horizon giving support to the
+foreground figures; the colours are deep and lustrous, and so far
+contrast favourably with the weaker and cruder tones unfortunately
+adopted at a later period. The costume is a deliberate compromise
+between the classic and the naturalistic. Nowhere does the artist
+venture, as Horace Vernet, on the Bedouin dress. Christ is clothed in a
+flowing robe, while the Apostles, as in the compositions of Raphael,
+belong less to the Holy Land than to the Roman Forum. This treatment of
+draperies was adhered to through all subsequent works, the only change
+being further generalisation and a wider departure from naturalism. In
+fact it is curious to observe in this early work how much nature enters;
+figures and incidents come direct from life, as witness portraits of
+contemporaries, groups of little children, young mothers and aged women.
+Such passages are happily destitute of what the Viennese academicians
+called "style;" they have more of the old German angularity than of "the
+Grecian bend." Yet always with Overbeck Beauty is present, only not
+thrust in, as by the academicians of the period, in violation of Truth
+and Goodness. Also very noteworthy is the impress of thought in the
+heads, hands, and attitudes; the painter, as we have seen, came of a
+family of thinkers, and the purport of his art was to give expression to
+mind. Here again he took as his teachers the early masters, so that
+these figures, though more or less studied from nature, might seem to
+have walked out from an old panel picture, yet they are more than
+complications, they are impressed with the painter's own individuality.
+Altogether the work marks not only a starting-point in Overbeck's life,
+but a new era in the art of the nineteenth century.
+
+The composition by lapse of time gains biographic and historic value
+through the introduction, in accordance with the practice of the old
+masters, of contemporary portraits. The painter has placed among the
+spectators his father, in character of Burgomaster, also close by, his
+mother, a remarkably shrewd old lady. His wife, memorable as a beauty,
+is grouped with the three Marys, and by her side sports the painter's
+much-loved son, a boy, palm-branch in hand, rejoicing with the
+multitude. Nor are the pilgrim painters in Rome forgotten: Overbeck and
+his brother artists, Cornelius and others, appear at respectful
+distance, gazing on Christ riding into Jerusalem.
+
+Overbeck, before quitting Vienna, pretty much determined his vocation:
+he resolved to dedicate his life to Christian Art. On the point of
+departure, in writing to a friend in Lübeck, he takes a retrospective
+view, and also points to the future. He recalls evening walks under the
+shade of trees with congenial companions; he remembers earnest
+conversations on poetry, painting, and other manifestations of the
+beautiful, yet still something remained wanting. True art, he writes, he
+had sought in vain: "Oh, I was so full of it, my whole fancy was
+possessed by Madonnas and Christs; I bore these impressions about with
+me, I cherished them, but nowhere could I find response." In Vienna, as
+we have seen, the desire of his soul remained unsatisfied. His conflicts
+were painful, but once for all he declares, "I will abide by the Bible;
+I elect it as my standing-point." A few friends were like-minded, and
+one especially, who had come from Italy, encouraged a pilgrimage to the
+land of Christian Art. Accordingly, Overbeck packed up his small worldly
+possessions, of which the canvas of _Christ's Entry into Jerusalem_ was
+the most considerable, and at length he reached Rome as a haven of rest.
+
+FOOTNOTES:
+
+[Footnote 1: The Overbeck house, when I sought it out in 1880, was
+rebuilt and retenanted; the ground floor happens to be now occupied by a
+bookseller and fancy stationer, who sustains intact the Protestant
+character of the establishment. In vain I enquired for engravings from
+Overbeck; the nearest approach to religious art was a portrait of Luther
+in chromo-lithography!]
+
+[Footnote 2: See 'Leben Herrn Johann Daniel Overbeck, weiland Doctors
+der Theologie und Rectors des Lübeckischen Gymnasiums, von einem nahen
+Verwandten, und vormaligen Schüler des Verewigten.' Lübeck, 1803.]
+
+[Footnote 3: See 'Zur Erinnerung an Christian Adolph Overbeck, beider
+Rechte Doctor und Bürgermeister zu Lübeck.' Lübeck, 1830.]
+
+[Footnote 4: I have seen in the Public Library, Lübeck, the engraved
+portrait inscribed with the above words; the head bears a striking
+resemblance to the well-known features of the son: the profile shows a
+fine intellectual type, the forehead is ample and overhanging, the
+coronal region full, the eye searching and earnest, the upper lip long,
+the mouth large and firmly set. The last was not the most beautiful
+feature in the painter's remarkable face.]
+
+[Footnote 5: 'Frizchens Lieder, herausgegeben von Christian Adolph
+Overbeck: neue Ausgabe.' Hamburg, Verlag von August Campe, 1831.]
+
+[Footnote 6: This juvenile exercise, probably only a copy, was given by
+young Overbeck to his master, and is now in the Town Library; it is
+washed in with Indian ink, measures two feet by one foot nine inches,
+and is signed and dated "F. Overbeck, 1805-21 April." The Gymnasium,
+like the House, has recently been rebuilt, but the continuity of
+learning remains unbroken--boys flock to the school as in the painter's
+youth. The adjoining Town Library also contains the original cartoon,
+drawn in Rome, for one of the frescoes illustrative of Tasso in the
+Villa Massimo, length about ten feet; likewise the cartoon of the Vision
+of St. Francis, painted in fresco in Sta. Maria degli Angeli, near
+Assisi; the cartoon is about twenty feet long, the figures are
+life-size.]
+
+[Footnote 7: This picture, on canvas, is nearly eight feet long by six
+feet high, the figures are about three feet. The 'Lübeckische Blätter'
+states that "Overbeck began the work in Vienna in 1809, in the fourth
+year of his art study, and there completed the background and the
+figures in the middle plane, and that it was taken by him to Rome in
+1810." In the course of time the foreground figures were introduced, but
+not till 1824 did the picture reach completion. It bears the signature
+and date "J. F. Overbeck, 1824." Thus fifteen years elapsed between the
+first touch and the last, and some ten further years passed before the
+canvas came to the artist's native city. I carefully examined the
+painting in the Marien Kirche in October, 1880, and found it in perfect
+preservation, the colours unchanged, the surface untouched by time or
+restoration. The picture differs from the illustration to these pages.]
+
+
+
+
+                            CHAPTER II.
+
+                    ROME--THE GERMAN BROTHERHOOD.
+
+
+The biographies of artists, proverbially picturesque, present few scenes
+more pleasant to look on than the early years in Rome of the Brotherhood
+of German Painters, of whom Overbeck and his friend Cornelius were the
+leaders. Exiles in some sort from their native land, they entered Italy
+as pilgrims, and were not far from suffering as martyrs. They were
+devout, hard-working, and withal poor. They had been drawn from distant
+cities to Rome as a common focus, and there they severed themselves from
+ignoble present times, and abiding quietly amid ancient monuments and
+sacred shrines, sought to make the days of old live anew. So congenial
+did Rome prove to Overbeck, that he could hardly be induced to sever
+himself from the city or its neighbourhood over a space of more than
+fifty years. The task he assigned to himself was arduous: how he went to
+work and accomplished his mission I shall try to show.
+
+Overbeck, in company with his brother artists, Pforr, Vogel and
+Hottinger, having in Vienna cast off all fetters, entered Rome as
+freemen in 1810. A year later Cornelius, as a young Hercules, came upon
+the scene; he had fought his way from Düsseldorf; like Overbeck, he had
+found the Academy a burden and a snare, and he betook himself to Italy
+for deliverance. Then began that closest friendship between the two
+painters which, lasting for more than half a century, was severed only
+by death. Cornelius, writing to his friend Mosler, describes the German
+Brotherhood in Rome, and adds: "Overbeck from Lübeck is the one who by
+the gentleness and nobility of his soul draws all around him; he
+inspires them to everything true and beautiful. May be he is the
+greatest artist now living: you would be astonished if you could see him
+at his work. Yet he is the most humble and retiring of men." If Overbeck
+were as a lamb, surely Cornelius was a lion, each indeed supplied what
+was lacking in the other. Cornelius in after years said to Rudolf
+Lehmann, "I am the man, he is the woman." And it may strike the mind as
+a singular coincidence, or rather as a benignant disposition of
+Providence, that at sundry turning-points in the world's history, two
+men the opposites the one of the other have been conjoined, as if for
+the better accomplishment of the work to be done. We may recall, in art,
+Raphael and Michelangelo; in religion, St. John and St. Peter,
+Melanchthon and Luther; and in philosophy, Plato and Aristotle. At the
+risk of pushing the analogy too far, it may be added that Cornelius was
+positive as Aristotle, impetuous as St. Peter and Luther, defiant as
+Michelangelo; while in contrast, Overbeck shared with Plato idealism,
+with St. John love, with Melanchthon gentleness, and with Raphael grace.
+
+The German colony of pre-Raphaelite painters in Rome grew, and in after
+years came accessions almost unintermittingly.[1] Within the first
+twelve months were gathered together, as we have seen, Overbeck,
+Cornelius, Pforr, Vogel and Hottinger. Soon followed the brothers
+Wilhelm and Rudolf Schadow: to these must be added Koch, Wintergerst,
+Sutter, Mosler, Veit, Schnorr, Eggers, Platner, and others. Later came
+Joseph Führich, who literally worshipped the ground on which Overbeck
+stood. Edward Steinle, of a younger generation, was also a bosom friend
+of the painter. Later still arrived young zealots from Düsseldorf, where
+Schadow had established the renowned school of religious art. The best
+known of these disciples are Ernst Deger, Franz Ittenbach, and the
+brothers Andreas and Carl Müller. After sitting at the feet of Overbeck
+in Rome, it was their privilege to paint the chapel at Remagen on the
+Rhine: these frescoes are accepted as among the most beauteous
+manifestations of the master's teachings. This brief epitome anticipates
+the story of years. 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 earth.
+
+The Brethren found congenial habitation in the old Franciscan convent of
+Sant' Isidoro on the Pincian Hill. The picturesque monks having been
+turned out by Napoleon, the German colony became tenants at a yearly
+rental, and held in quietude the dormitories, also larger rooms which
+served as studios, until the fall of the First Empire, when the
+monastery once more reverted to the Mendicant Friars, by whom it is
+still occupied. A few years since, the Superior of the Order politely
+showed the present writer over the ecclesiastical establishment, now, as
+formerly, devoted to charitable works. Time has brought little change in
+the cells, the refectory, or in the large hall used for religious
+teaching. Other rooms, great and small, are ranged round a cloister
+enclosing a garden still fragrant with orange-blossoms as in the days of
+Overbeck and Cornelius. Here, amid sacred associations and venerable
+monuments, did these devoted students build up the new art, and when the
+day's work was ended, they mounted at eventide the lofty Belvedere,
+commanding a panorama of which, even in Rome, are few equals. From
+neighbouring campanili, vesper bells sound a chorus in the bright
+Italian sky, and beneath the eye stretches, as a prairie of the old
+world, the wide Campagna, spanned by broken viaducts and bounded by the
+blue Alban hills. Through the panorama winds the golden Tiber, guarded
+by the Castle of St. Angelo and St. Peter's, and around and below lie
+Monte Mario, the pine-clad Pincian, the Villa Medici, and the ilex
+groves of the Ludovisi. The scene was inspiring, yet not without shadow
+of melancholy; the Capitol had fallen into the hands of the stranger,
+but the spirit of Dante fired the dauntless young men; they turned from
+the present to the past, "imagination restored the empire that had been
+lost," and though "calamity afflicted the country, they believed that
+God had not forsaken the people."
+
+Overbeck is known to have been deeply penetrated by the beauties of the
+Italian sky and landscape. After sufferance of the rigours of northern
+winters, mind and body expanded under the sun of the genial south. In
+spring-time came days serene as his own spirit, giving to nature the
+re-birth he sought for art; the clear horizon carried thought to a world
+beyond; and in the deep blue above floated such clouds as had served the
+old pre-Raphaelites with the thrones and footstools of saints and
+angels. Overbeck did not, as the masters of the decadence, shroud his
+compositions in backgrounds of impenetrable darkness, but flooded the
+canvas with the light of the Italian heavens, and like the early
+painters, placed holy people in the midst of such beauties of nature as
+tranquillise and elevate the mind. And his sympathetic eye was not only
+open to scenes which served as distances, he watched in the gardens of
+the Roman villas the springing flowers, and made careful studies of
+mossy, jewelled foregrounds which served as carpeting for the feet of
+his Madonnas. Having turned his back on the Fatherland, his pictures
+bear no memories of black forests or frowning Harzburg mountains, and he
+became so thoroughly Italianised that he seated Holy Families on the
+borders of the Thrasymene Lake, and placed saints within sight of Mount
+Soracte! Like all true artists, he painted what he saw; as his
+predecessors, he gathered in daily walks the accessories he needed. Fra
+Angelico had painted at Fiesole, Francia at Bologna, Perugino at
+Perugia, Pinturicchio at Spello and Siena, and each in turn, like
+Overbeck, made the surrounding scenery serve as accompaniments to figure
+compositions. Nature was to all these painters a great teacher; her
+presences were healing powers, and they left out all the storms and
+discords, and like our poet Wordsworth, brought her forms and aspects
+into harmony with tranquil living. Yet the Brethren from their monastic
+abode in Sant' Isidoro looked upon the outer world with sympathies as
+diverse as their individual characters. When Cornelius took his walks
+abroad, he crossed the Tiber to visit the _Last Judgment_ of
+Michelangelo. Overbeck's steps lay in an opposite direction; he passed
+by the church of Sta. Maria Maggiore, looked in for the sake of the old
+mosaics, and then wended his solitary way to Sta. Croce in Gerusalemme,
+to pay his devotions before the frescoes commemorative of the discovery
+by St. Helena of the true Cross. Here, in lovely surroundings, nature
+blended in unison with art, he looked on the blue hills and the calm
+sky, and thanked God Italy was his home.
+
+The mode of living adopted within the cells and refectory of Sant'
+Isidoro naturally savoured of the monastic: it combined appropriately
+society with solitude. The habit of the Brethren was to take meals
+together at a common table, and to work separately each in his private
+painting-room. The refectory served as a common hall for study and for
+drawing from the model. The rule obtained in the establishment that the
+provisioning and housekeeping should be taken in rotation by each, one
+week at a time, 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 broth! On Sundays the work
+relaxed or ceased wholly, and the wholesome practice prevailed of
+bringing together the products of the week for criticism with the end to
+mutual improvement: many grave observations and lively pleasantries
+passed from one to the other, Overbeck usually in his modest way acting
+the part of mentor. "No one," writes Schadow, "who saw or heard him
+speak, could question his purity of motive, his deep insight and
+abounding knowledge: he is a treasury of art and poetry and a saintly
+man." Overbeck had stoutly defended the adopted course of study which
+others condemned. "What," he asked, "has been our crime? It is in great
+measure that we have striven after a severe outline, in opposition to
+the loose, cloudy, washed-out manner of the day. Is not this an
+endeavour after truth?" But such studies, while filling portfolios,
+brought no grist to the mill. And the historian Niebuhr, an anxious
+friend, confesses that these devoted men "were hard put to it for their
+daily bread," yet never has a confraternity of artists more nearly
+approached an ideal. No vow was actually taken, the bond was simply
+voluntary; thus Overbeck expressly states, "with the greatest concord
+among us as to the fundamental principles of art, each goes on his own
+way."
+
+The attitude assumed almost of necessity provoked opposition, even
+ridicule. The assumption was made of superiority, the tone grew even
+assailant; Correggio, Guido, Guercino, and Domenichino, with all
+post-Raphaelites, were denounced, and not only was it declared, "We are
+right," but it was added, "You are wrong." The Brethren personally laid
+themselves open to attack; they were not free from the affectations of
+youth, they made themselves conspicuous by long hair and strange
+costume, and through their exclusiveness and sanctity won as their
+nickname the epithet of "Nazarites." Other designations were less
+characteristic; simply descriptive are such terms as "pre-Raphaelites,"
+"the new-old School," "the German-Roman artists," "the Church-Romantic
+painters," "the German patriotic and religious painters." But all
+trivial imputations weigh lightly when set in the balance against solid
+work and holy living. The earnest devotees in the long run silenced evil
+tongues and won respect and a good name. Niebuhr, ambassador and
+historian, by no means a blind apologist, describing the art society of
+the day, writes: "The painters in Rome are divided by a broad line of
+demarcation into two parties--the one consisting of our friends and
+their adherents, the other of the united phalanx of those who are of the
+world, a set who intrigue and lie and backbite; they intend there shall
+not be light, come what will. The former are exemplary in their lives;
+the latter display the old licentiousness which characterised the German
+artists in Rome thirty years ago. Happily, at the present moment, the
+more talented of the newcomers are ranged on the side of our friends. It
+is a hopeful sign that some foreigners, and even Italians, are beginning
+to pay attention to their works." Overbeck and his more immediate
+associates were indeed, in the best sense of the term, "purists" and
+"pietists," and held vitally to the maxim that they who would know of a
+doctrine must live out the doctrine. On no other conditions was it
+possible to accomplish their mission--the regeneration of art. The
+schools around them had fallen in great measure through lack of
+sincerity and truth; they in contrast believed as our English Bishop
+Butler taught, that conscience is the ruling faculty in the human mind.
+
+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 Vienna.
+The Director, in fact, of the Viennese Academy had in youth won the
+prize of Rome, and there became the representative of the prevailing
+decadence. Among the Italians, Battoni, following in the footsteps of
+Carlo Maratti, was not without the grace and the beauty of Correggio and
+Guido. Descending a generation later, Overbeck found among his
+contemporaries Pietro Benvenuto, one of the most distinguished adherents
+of the school of David: whose masterpiece in Arezzo Cathedral has justly
+been designated "one of the finest productions of modern art." These
+were not men to be wholly despised. Furthermore it is to be remembered,
+as before indicated, that the Germans, in a generation only just passed
+away, had here in Rome formed a learned school based on the antique;
+Lessing, in his treatise, the 'Laocoon,' and Winckelmann, by his
+criticisms on the marbles of the Vatican, had induced a new Classic
+Renaissance. The painter Raphael Mengs, thus guided, appropriately
+executed in the Villa Albani the famous fresco of _Apollo and the Nine
+Muses on Mount Parnassus_. Again, here are men and manifestations not to
+be disdained. But for such art Overbeck, as we have seen, cherished
+inveterate antipathy: whether he was absolutely right, impartial
+critics, founding a judgment on a wide historic basis, will hesitate to
+determine. The correct verdict probably is that each school is good of
+its kind, that the one possesses merits distinctive of the other, and
+that it is well for the world that every mode of thought should in turn
+obtain the fullest and highest manifestation. But Overbeck's vision was
+too intently focussed on one point to perceive that his sphere was but a
+segment, a part, though by no means an unimportant part, of the greater
+whole. The classic movement, against which he set his face steadily, was
+not to be easily annihilated; it survived in Rome in such illustrious
+representatives as Canova, Thorwaldsen and Gibson. But Overbeck grew
+more and more the recluse; he shortly became a proselyte to the Romish
+Church, shut himself out from other associations, and thus after a time
+devoted his pencil exclusively to Christian Art.
+
+The early pictures and drawings executed in Rome carry out the painter's
+resolve. To this first period belong: _The Adoration of the Kings_
+(1811), _Jesus in the House of Martha and Mary_ (1812), _The Preaching
+of St. John_, _The Raising of Lazarus_, _The Entombment_, _Christ
+Blessing Little Children_, _The Holy Family_, _Ave Maria, Blessed art
+thou among Women_, also a portrait of Vittoria Caldoni.[2] The first
+commission received by the struggling painter came from Queen Caroline
+of Bavaria for _The Adoration of the Kings_, in oils. The Queen had
+written to Rome saying that she wished for a picture by the young
+artist; that as to the price, a hard bargain need not be driven, for
+when one gains a beautiful work, the cost cannot be regretted. Overbeck,
+on receiving the good news, writes, December 16, 1811, "I was so
+overpowered with joy that I could not bring out a syllable. The affair
+moves me all the more because I had not dreamt of it. What can be the
+cause of my good fortune? Happy day! I shall think of it as long as I
+live: to the Lord be the praise." Four days later he writes to
+Lübeck:--"What joy! I can now relieve my parents from further burden.
+This is the moment so long wished for. Henceforth and for ever I am a
+man and an independent artist in the workshop, free as a king over the
+boundless domain of fantasy to create a beautiful world."
+
+The maxim that correct drawing lies at the foundation of all true art
+was maintained by the Brotherhood through both precept and example.
+Overbeck first mastered form, he trained his hand to outline; next he
+learnt the principles of composition, that is the power of combining
+separate parts into a connected whole; lastly, he added colour, but
+rather as an accessory than an essential. Hence his water-colours and
+even his oil-pictures are often little more than tinted drawings. In the
+first Roman period, that is up to about the year 1820, when the age of
+thirty had been reached, we find the artist in full possession of the
+faculty of expressing his ideas at the point of his pencil. Of this
+happy facility many examples have come before me: one especially, at
+Stift Neuburg, _The Raising of Jairus's Daughter_ (1814); another,
+almost a replica of the last, delicately washed with colour, in the
+private collection of Herr Malss, of the Städel Institute, Frankfort. I
+note with admiration the precision and subtlety of the form, especially
+in the hands and feet. The work, though small in scale (1 ft. 3 in. by
+1 ft.), is large in manner, the treatment being that of the Great
+Masters as distinguished from the Small Masters. Overbeck, who was on
+intimate terms with the family of Director Malss, said that he wished
+they should have a work as perfect as he could make it: verily he
+realised his endeavour. Belonging to the same period, I find in another
+private collection in Frankfort a portrait in delicate pencilling of a
+young girl of about eighteen; the hair is in close curls all round the
+head, the necklace is marked with utmost detail. Perhaps I have not laid
+sufficient stress on the truth and rectitude of Overbeck's work, as
+seen, for instance, in the _Head of an Old Monk_ among the drawings of
+the National Gallery, Berlin. This is so close to nature that a
+deformity in one ear has been conscientiously registered. The handling
+here is masterly, the touch firm and strong; the play of lines in the
+hatchings proves a free hand and a facile turn of the wrist. Also may be
+mentioned, for incidents taken from the life, a remarkable composition
+at Stift Neuburg, _The Feeding of the Hungry_. Close to nature are these
+transcripts of the poor, the needy, and aged, one advancing on crutches
+to receive bounty; and over all presides the spirit of beauty and
+charity. Also in the same collection is a triptych, wherein angels and
+cherubs appear: this is among the earliest examples of the intervention
+of the supernatural. Overbeck was not the man to rush in where angels
+fear to tread. Likewise among Biblical subjects, I find in the National
+Gallery, Berlin, _The Creation of Adam and Eve_, and _The Expulsion from
+Paradise_. Here the delineation of the undraped figure proves absolute
+knowledge, and shows, as before said, that the usual course of drawing
+from the nude had been gone through. The point indeed need not be
+discussed further, as Schadow expressly states that Overbeck's drawings
+from the nude as well as from the draped figure were, for subtlety and
+truth to nature, the admiration of every one. The _Creation_ and
+_Expulsion_ are of exceptional value, because the artist for once
+borrows from Michelangelo: also it will be seen that Overbeck gave
+himself from the outset to the illustration of the Biblical narrative,
+and thus fondly trod in the footsteps of Giotto and Fra Angelico.
+
+An Exhibition of the works of the German painters in Rome was held in
+1819, in a room of the Palazzo Caffarelli, which, as the official
+residence of Niebuhr and Bunsen, had often been a spot of kindly meeting
+and hospitality. The collection Frederick Schlegel pronounced
+unsurpassed in richness, variety, and intrinsic value. Public interest
+was awakened, and attention centred round the contributions of Overbeck,
+Schadow, Veit and Cornelius. Overbeck sent a _Madonna_ and a _Flight
+into Egypt_; and Schlegel specially names the cartoon of _Jerusalem
+Delivered_, for the frescoes then in progress at the Villa Massimo, as
+proof of the artist's power of expression and faculty of invention. He
+adds: "The struggle of the German artists in Rome daily excites more and
+more observation, and their progress is watched with cordial sympathy by
+men of all nations."
+
+A very serious topic must now be considered. Overbeck in 1813
+relinquished the Protestant faith of his forefathers and joined the
+Roman Catholic Church. Obviously in these pages polemics are out of
+place, 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 art. Rightly to judge the case, it were well
+correctly to estimate Overbeck as a man: his strength lay within his
+art, outside which he had infirmities; his bodily health was feeble, his
+mind to the extreme refined and to the last degree sensitive; he shrank
+from the conflict of life; common people he could not associate with;
+for the ordinary world he was wholly unfit, and sought refuge in some
+ideal not yet reached. Niebuhr truly reads the character when he writes:
+"Overbeck is an enthusiast and quite illiberal; he is a very amiable man
+and endowed with a magnificent imagination, but incapable by nature of
+standing alone, and by no means so clear-headed as he is poetical. He
+bends easily and naturally under the yoke of the Catholic faith."
+
+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 Europe. In Lübeck, as we have seen,
+the phases of faith were philosophic and æsthetic, and the divinities of
+Olympus and Parnassus shared equal favour with the saints of the Church.
+The young painter was cast in a severer mould, and needed that the
+infinite and eternal should be circumscribed by definite form. It is
+reported of a certain German philosopher that, when addressing his
+class, he ended with the words:--"In the next lecture we shall proceed
+to construct God!" Overbeck preferred to such speculation the authority
+of the Church. The painter Joseph Führich puts the case strongly:[3] he
+declares that his friend had to take the choice between Pantheism and
+Catholicism. Overbeck felt that art was a religious question, and he
+determined that all his work should be a protest against the
+indifferentism and latitudinarianism which account all religions equal.
+He conceded that secular writings and mundane arts were not without
+their value and charm; in the arts may be permitted divers
+manifestations, such as landscape, animal, and flower painting. The
+Church is tolerant of all that is good, but on the highest pinnacle
+stands the Christian painter. Over these matters he had pondered long,
+and was accustomed to say to himself, "Let not my Christ be ever robbed
+of my love; the true home of art is within the soul before the altar of
+the Church; the tabernacle of art has its foundations in the worship of
+God."
+
+Early Christian Art naturally drew Overbeck towards the Roman Catholic
+Church. Frederick Schlegel, Rio, Pugin severally fell under the same
+spell. The old mosaics, frescoes, and easel pictures which came down
+through unbroken ecclesiastical descent, were for the Christian artist
+of the nineteenth century means of grace, and served as revelations of
+the Divine. Fra Angelico was taken as a pattern; through living and
+loving, watching and praying, believing and working, the High Priesthood
+of Art was to be established. And the actual experiences of modern Rome
+brought no disillusion; the frivolity and the hollowness which so often
+disgust newcomers were either not seen or were turned aside from. The
+painter was too pure and childlike to realise the evil, he turned only
+to the good: for him the world shone as a land of light; from art he
+would exorcise the passions; the true art-life blended heaven with
+earth, the ideal could be attained only through the Church: her
+teachings were the education of humanity.
+
+The decisive step ultimately taken is recorded as follows: "Overbeck at
+Whitsuntide in the year 1813 joined the Catholic Faith, and with joy
+entered into the family of the world's Church. His spiritual guide and
+confessor was Professor, afterwards Cardinal, Ostini; and the poet
+Zacharias Werner, of Königsberg, as a fellow-countryman from the shores
+of the northern sea, acted as godfather at the ceremony. The poet, in
+writing at the time to the Prince Primate of Dalberg, said that he
+recognised in the young painter 'a true seraphic character of the
+Fatherland.'"[4]
+
+A veritable mental epidemic seized on the German artists, and when one
+after another of Overbeck's friends followed his example, Niebuhr took
+alarm, and bethought himself of what measures could be taken. It appears
+that a pamphlet had been published intended expressly for the conversion
+of the young Germans, and Niebuhr, feeling the emergency of the
+situation, requested a friend to bring or send Luther's works with other
+writings against Popery. He adds: "It cannot be expressed how disgusting
+these proceedings become the more you see of them. At this moment the
+proselytes have Schadow, one of the ablest of the young artists, on
+their bait." At a later date he writes: "I like Overbeck and the two
+Schadows much, and they are estimable both as artists and as men; but
+the Catholicism of Overbeck and one of the Schadows excludes entirely
+many topics of conversation." Overbeck is elsewhere described as of
+"very prepossessing physiognomy, taciturn and melancholy," with a
+"proselyting spirit." Bunsen, who no less than Niebuhr deplored these
+conversions, writes in 1817 that Overbeck had been for a fortnight in
+August a welcome guest at Frascati, that he had finished a water-colour
+drawing--a very lovely Madonna with the infant Jesus--"of which he
+permitted a copy to be taken, still extant, and valued as a record of
+the time and of the short-lived intimacy with the gentle and
+heavenly-minded artist, who soon after this period withdrew from all
+companions of a different religious persuasion from that which he had
+adopted." Among the chief converts are numbered the brothers Schadow,
+Veit, Platner, and the critic Frederick Schlegel. Cornelius is not
+included, because he was born into Catholicism. He is described as of
+"an open and powerful intellect, free from all limitations," "with
+habits and convictions rooted as the facts of his existence." He thus
+looked on coolly while the new converts were at fever-heat. Yet it is
+pleasant to know that these controversies were, in the main, preserved
+from personal bitterness, and that whatever might be the difference in
+creeds, the broad union of religion and humanity was never torn asunder.
+Thus in 1817 Niebuhr, a Protestant and possibly something more, was able
+to write: "I associate chiefly, indeed almost exclusively, with the
+artists who belong to the religious party, because those who are
+decidedly pious, or who strive after piety, are by far the noblest and
+best men, and also the most intellectual, and this gives me an
+opportunity of hearing a good deal on faith and its true nature." And
+the faith of these men we know to have brought forth good works; as were
+their belief and their practice, such were their pictures, and it is
+scarcely here the place to discuss whether larger views might have given
+to their art wider extension.
+
+By a curious coincidence, about the time when these conversions to Roman
+Catholicism were going on in Rome the third jubilee of the Reformation
+was celebrated at Lübeck. The pietist father of the painter made himself
+champion of the cause, and delivered a speech at a meeting of the Bible
+Society, wherein he proclaimed Luther the great witness of truth.
+"Luther," he declared, "spoke, wrote, thundered, and the power of
+darkness was overturned; thus conscience became free, doctrines were
+purified, and the precious Bible, as a heavenly treasure, was given back
+to the people."[5] It has been assigned as a reason why Overbeck never
+returned home, that he could not bear to see the city of Lübeck with her
+old walls thrown down; but a less fanciful cause was that other walls
+than those of brick and mortar had been set up, dividing kindred and
+friends.
+
+Let us now turn from polemics to the pleasing descriptions given by
+Niebuhr and Bunsen of the daily lives of the German Brotherhood. It is
+not always that archæologists and literary men are the soundest
+counsellors of artists; they place overmuch stress on the inward
+conception and motive; they lay down, like Coleridge, the axiom that "a
+picture is an intermediate something between a thought and a thing," and
+in exalting the "thought" they subordinate the "thing." This was the
+last teaching that Overbeck needed. He and his fellows were already only
+too prone to ignore technique, to neglect colour, chiaroscuro, texture.
+They deemed it all-sufficient to perfect form as the language of
+thought; consequently while their works instruct and elevate, they fail
+to please or to gain wide popularity.
+
+Nevertheless, taken for all in all, Overbeck and Cornelius must be
+accounted most fortunate in their intellectual companionship. The habit
+was, when gathered socially together at the Embassy in the Palazzo
+Caffarelli, to read books, talk of pictures, and to consort together
+generally for the furtherance of the great art revival in which Niebuhr
+and Bunsen believed fervently. The attachment became mutual, the
+intercourse was prized on both sides. Niebuhr writes of Cornelius and
+his wife: "They are, strictly speaking, intimate family friends;" and
+again he says: "The society of Cornelius and Overbeck gives an inspiring
+variety to the day's occupations, and one or other of these intellectual
+companions seldom fails to join our evening walks." In another letter we
+read: "Cornelius of Düsseldorf, Platner from Leipzig, Koch from the
+Tyrol, Overbeck from Lübeck, Mosler from Coblentz, and William Schadow
+from Berlin, were assembled at Bunsen's in the apartments of the painter
+Brandis: in different ways and degrees we are attached to them all, and
+we think them men of talent. Their society is the only pleasure we
+derive from human beings in Rome." The young artists are found to be
+wholly without worldly wisdom, a charge to which at least Overbeck might
+readily plead guilty. Niebuhr further declares: "I confidently believe
+we are on the eve of a new era of Art in Germany, similar to the sudden
+bloom of our literature in the eighteenth century." 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 humanity. He felt once more an outburst of the intellectual
+life of Germany, a rising again of the force of genius which had
+impelled Lessing, Kant, and Goethe, which had given birth to profound
+philosophy and science, and had animated a whole people with patriotism
+and a spirit of self-sacrifice to do battle amid national songs and
+hymns, even to the death, in the cause of the King and the Fatherland.
+Bunsen testifies how Niebuhr showed his affection and care for the
+Prussian and German disciples of art; he considered it an agreeable part
+of his duty and vocation to render them assistance, to encourage them in
+their studies, to give them the time of which he was so sparing to men
+of mere show and fashion, also to render them pecuniary assistance when
+necessary. To Niebuhr belongs the honour of having been the first to
+recognise the new school at the moment when it was "despised, derided,
+and vituperated." He befriended the men who had to fight their way
+against shallowness and wickedness, against the low and false taste of
+connoisseurs and patrons, till the day came when the martyrs of an
+exalted aspiration gained the attention and admiration of the world.
+
+Nor in numbering friends must be forgotten Frederick Schlegel, the
+avowed champion of the new school. The critic was not without connecting
+links and antecedents; he had made himself son-in-law of the Jewish
+philosopher Moses Mendelssohn, and stepfather of the painter Philip
+Veit; and he further qualified himself for his critical duties by
+joining the Roman Catholic Church. Overbeck and this rhapsodist on
+Christian Art were naturally close allies; each was of use to the other,
+and gave and received in turns. The artist strove, it is said, to embody
+in pictorial form his friend's teachings; the two, in fact, moved in
+parallel lines. Schlegel urged that the new style must be emulative and
+aspiring, ever possessed of lofty ideas. Believe not, he writes, that
+the glory of art has passed away. The hope is not vain that there comes
+a rekindling of former fires; art uprising from the dark night breaks as
+the morning's dawn; "a new life can spring only from the depths of a new
+love." Let us hold that Art like Nature renews her youth. The soul alone
+can comprehend the truly beautiful; the eye gazes but on the material
+veil--the union of the inner soul with the outward form constitutes the
+noblest art. Nowhere are to be found more eloquent utterances on "the
+Bond between Art and the Church," 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 matter, and according to the laws
+of vision. And to such oversight is greatly to be ascribed the
+infirmities of Overbeck and his school. It is forgotten that the most
+holy of motives cannot save a picture which is not good as a picture.
+Schlegel discusses the question, What is needed by the Christian
+painter? The following phrenzy, though wordy, is worth reading:--
+
+"The answer is that the beautiful truths of the Christian faith should
+not be received into the mind as merely lifeless forms, in passive
+acquiescence to the teaching of others: they must be embraced with an
+earnest conviction of their truth and reality, and bound up with each
+individual feeling of the painter's soul. Still even the influence of
+devotion is not alone sufficient; for however entirely religion may be
+felt to compensate for all that is wanting to our earthly happiness,
+much more is required to form a painter. I know not how better to
+designate that other element, without which mere technical skill, and
+even correct ideas, will be unavailing, than by calling it the inborn
+light of inspiration. It is something quite distinct from fertility of
+invention, or magic of colouring, rare and valuable as is the latter
+quality in painting. It is no less distinct from skill in the
+technicalities of design and from the natural feeling for beauty
+inherent in some susceptible minds. The poet and the musician should
+also be inspired, but their inspiration is more the offspring of human
+emotion; the painter's inspiration must be an emanation of celestial
+light: his very soul must, so to speak, become itself illumined, a
+glowing centre of holy radiance, in whose bright beams every material
+object should be reflected; and even his inmost conceptions and daily
+thoughts must be interpenetrated by its brightness and remodelled by its
+power. This indwelling light of the soul should be recognised in every
+creation of his pencil, expressive as a spoken word; and in this lies
+the peculiar vitality of Christian beauty, and the cause of the
+remarkable difference between Classic and Christian art." "Physical
+beauty is employed by the Christian painter but as a material veil, from
+beneath which the hidden divinity of the soul shines forth, illuminating
+all mortal life with the higher spirituality of love."
+
+A kindly and timely commission came to the masters of the German
+Brotherhood--Overbeck, Cornelius, Veit, and Schadow--from the Prussian
+Consul, Bartholdi. Personal relations, with the desire of giving the
+untried painters an opportunity of proving what good was in them,
+prompted the charge to decorate with frescoes a room in the Casa
+Bartholdi, situated on the brow of the Pincian Hill.[6] The Prussian
+Consul was in a roundabout way connected with Philip Veit and Frederick
+Schlegel, whose mutual relationship has been already recounted; his wife
+was sister of the philosopher Moses Mendelssohn, and aunt of the
+illustrious musician, and sundry intermarriages had made, as it were, a
+compact in literature and art between the families of Bartholdi,
+Mendelssohn, Veit, and Schlegel.[7] The chosen sphere of operations was
+comparatively narrow; the small room in an upper story, now of historic
+interest, is not more than twenty-four feet square. The situation is
+inviting; the beauties of nature are usually found proximate with the
+beauties of art, and here the windows command a panorama sweeping from
+the Pincian to the Tiber, and embracing St. Peter's, the Vatican, St.
+Angelo, and the Capitol. 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 styles. The
+technical process adopted was fresco, a monumental art, the revival of
+which formed part of the mission of the German fraternity. The arduous
+undertaking was commenced and carried out in strict accordance with
+historic precedents. Preliminary studies were made, and well-matured
+cartoons on the scale of the ultimate pictures were perfected. To the
+lot of Overbeck fell _Joseph sold by his Brethren_,[8] and _The Seven
+Years of Famine_.
+
+It has been my pleasure to visit and revisit these wall-paintings over a
+period of a quarter of a century, and growing experience does but
+enhance my admiration. They fulfil the first requirements of wall
+decoration: the story is told lucidly and concisely; the style is
+simple, noble; accidents are held subordinate to essentials; the
+compositions are distributed symmetrically; the colour, though a little
+crude, is brought into somewhat agreeable unity; the light and shade are
+not focussed at one point, but carried evenly over the whole surface;
+and the treatment inclines sufficiently to the flat to keep the
+compositions down on the wall. The finished pictures of the four masters
+vary in dimensions. The lengths range from eight to seventeen feet, the
+height is mostly about eight feet; the figures do not exceed five feet.
+The lines bounding the figures and draperies are firm and incisive.
+Accordant with the practice of the old fresco-painters, each day's work
+is marked and discernible by the joinings in the plaster, 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 easily. The technique is thoroughly
+mastered, and, barring some surface cracks, the paintings are in as
+perfect condition as when they came from the artists' hands. The chief
+defect is a somewhat crude opacity of pigments, a characteristic
+belonging to the debased period of wall-painting rather than to the
+"_fresco buono et puro_" of Giotto, Luini, and Pinturicchio.
+
+Another point to be remarked is that the frescoes in the Casa Bartholdi
+show that the four painters--Overbeck, Cornelius, Veit, and
+Schadow--worked here at the outset of their career in remarkable unison.
+In the course of years they diverged widely, but as yet the school
+collectively dominates over the artist individually. The Brethren had
+formed themselves equally on the same originals, and had scarcely found
+time to take their several departures from nature. Indeed, the actual
+presence of nature comes almost as a surprise in these compositions.
+Overbeck's figures are manifestly more or less studied from the life,
+only, according to his habitual practice, he has taken pains to
+eliminate from his models any individual accidents which marred the
+generic form, softening down angularity and ruggedness into pervading
+grace and beauty. Here and there are traces of affectation, together
+with a feebleness incident to the painter's weak physique which stands
+in utmost contrast with the force of Cornelius. Overbeck mostly shunned
+action and dramatic intensity, and here the figures in their movements
+depart but slightly from the equilibrium of repose. As a religious
+artist, the New Testament was more within his sphere than the Old. Thus
+the outrage committed against Joseph by his brethren is toned down into
+a calm, orderly transaction; placidity reigns throughout; all is brought
+into keeping with the painter's spirit of gentleness.
+
+The Casa Bartholdi frescoes,[9] when finished, produced a most
+favourable impression in Rome; the cause of the Germans was greatly
+strengthened, and the opposite party felt the defeat. The Italians, too,
+were taken by surprise to find themselves beaten by foreigners on their
+own ground. A natural consequence of the success was further
+commissions, and the fortune no less than the fame of the revivalists
+was made. Singularly enough the modern Romans came forward as the next
+patrons. Niebuhr, writing from Rome in 1817, says: "It is a significant
+fact that some foreigners, even Italians, are beginning to pay attention
+to the works of our friends." It is well known that the Romans had been
+addicted for centuries to mural painting in palaces, villas and
+garden-houses: Raphael was employed to decorate the Farnesina; Guido and
+Annibale Carracci painted the ceilings of the Farnese and of the
+Rospigliosi Palaces. Emulating these illustrious examples, Prince
+Massimo commissioned Overbeck, Cornelius, Veit, and Schnorr to cover the
+walls and ceilings of his Garden Pavilion near St. John Lateran with
+frescoes illustrative of Tasso, Dante, and Ariosto. Not only the themes,
+but the local surroundings were inspiring. The Villa Massimo is a site
+only possible in Rome. When the artists in the morning came to work,
+before their view opened a panorama embracing the Claudian Aqueduct, St.
+John Lateran, the Church of Sta. Croce in Gerusalemme, the old Walls of
+Rome, with cypresses and stone pines around, and the Alban Hills beyond.
+The Pavilion assigned to the painters stands in the Villa garden, with
+the accustomed growth and fragrance of orange-trees, magnolias, azaleas,
+roses, and violets. Overbeck entered on the work with poetic ardour.
+
+The Massimo Pavilion is little more than three rooms standing on the
+ground; the first, indeed, is an Entrance Hall, and therein Schnorr
+painted copiously from Ariosto. On the left a door leads to the room
+assigned to Cornelius for the illustration of Dante: the ceiling fell to
+the lot of Veit. On the right another door opens to a corresponding room
+of like dimensions, set apart to Overbeck and Tasso's _Jerusalem
+Delivered_.[10] This small interior is not more than fifteen feet
+square, and the wall-spaces are much broken up by doors and windows, so
+that only one of the four sides remained disencumbered. The compositions
+are eleven in number, and are unequal alike in size and merit. The
+largest and most noteworthy is fifteen feet long by ten feet high,
+representing the _Meeting of Godfrey de Bouillon and Peter the Hermit_.
+The narrative is lucidly told, the picture well put together, and the
+successive planes of distance are duly marked. Altogether the
+fundamental principles of wall-decoration are clearly understood in this
+the most complex composition yet attempted by the painter. Another
+thoroughly studied design is _Sophronio and Olindo on the Funeral Pyre
+delivered by Clorinda_.[11] The action has more than usual force and
+movement, and the undraped figures are drawn with severe exactitude.
+Presiding over the whole series, in the middle of the ceiling, is an
+allegorical figure of _Jerusalem Delivered_.[12] An angel on either side
+unlooses the fetters of an innocent placid maiden crowned with thorns.
+These frescoes, notwithstanding their situation in a cold, damp
+garden-house, remained, when I saw them last, in January, 1878, in sound
+condition: thus once more we find Overbeck, equally with Cornelius, to
+have been solidly grounded in the method of wall-painting.
+
+I must confess that I have always been disappointed with this Tasso
+Room.[13] One reason is that the carrying out of the original designs
+was delegated to an inferior brush. Overbeck was not in strong health;
+he worked slowly, and when other commissions came in, some more to his
+liking, such as that for the church picture at Assisi, he felt
+overburdened, and wished to be released from a task that had grown
+wearisome. The work, began about 1817, had dragged on for ten years,
+till at last Overbeck made a deliberate call on good and friendly Joseph
+Führich, and requested that he would complete the unfinished frescoes.
+The proposal, naturally felt as an honour, was gratefully acceded to.
+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 walls. For some of the compositions the master had
+made nothing more than sketches or indications, and at least three must
+be laid to the charge of the scholar. Führich was for Overbeck what
+Giulio Romano had been for Raphael, and the Tasso Room suffered the same
+degradation as the latest stanza in the Vatican.
+
+The Tasso Room may be taken as a measure of Overbeck's capacity. This
+"cyclus," or series, shows the painter's power of sustained thought and
+faculty of invention. Much, doubtless, is compilation, yet something
+remains of originality. The best passages are those not borrowed from
+old pictures, but taken from life, which makes the regret all the
+greater that here and in the sequel nature was not trusted more
+implicitly. On the whole, these compositions leave the impression that
+Overbeck had not mental force or physical stamina sufficient for the
+task. It is true that the presence of a lyrical spirit is felt; but
+scenes of Romance need more fire and passion; the deeds of Chivalry were
+not enacted in a cloister. Perhaps self-knowledge wisely counselled
+Overbeck to quit the regions of creative imagination. With greater peace
+of mind he trod in the future, the safer paths of Christian Art, wherein
+precedent and authority served as his guide and support.
+
+FOOTNOTES:
+
+[Footnote 1: See among other authorities: 'Die Deutsche Kunst in
+unserem Jahrhundert, von Dr. Hagen,' vol. ix. Berlin, 1857.]
+
+[Footnote 2: The above compositions suggest the following observations.
+Overbeck was in the habit of making over many years replicas with
+variations and improvements of favourite themes, and the dates of the
+successive stages are not always easily determined. Of the _Preaching of
+St. John_, the Düsseldorf Academy possesses an example dated 1831. Also
+in the same collection is a mature and almost faultless drawing, fit
+companion for Raphael, of _The Raising of Lazarus_; the figure of Christ
+is 9 inches high. Overbeck made several renderings of the
+universally-beloved composition, _Christ Blessing Little Children_: the
+most deliberate is that given in these pages. The replica in the Meyer
+Collection, Hamburg, is of the last decade of the artist's life, and
+betrays infirmity of hand. _The Entombment_, classed above among works
+of the first Roman period, is probably that now in the choice collection
+at Stift Neuburg, near Heidelberg, dated 1814, and obviously suggested
+by Raphael's _Entombment_ in the Borghese Palace. No drawings have
+better pedigree than those in this old family mansion: a predecessor of
+the present possessor was the artist's personal friend. The version of
+_The Bearing to the Sepulchre_ given in these pages is from one of the
+forty well-known drawings of the Gospels, and dates 1844. At Stift
+Neuburg I also saw in the autumn of 1880, by the courtesy of the owner,
+Graf von Bernus, the drawing for the _Holy Family_, chosen as an
+illustration to this volume; it is of utmost delicacy and beauty--the
+motive has evidently been borrowed from Raphael; the measurement is 1
+foot 3 inches by 1 foot 8 inches.]
+
+[Footnote 3: See 'Autobiography of Joseph Führich,' published in Vienna
+and Pesth, 1875.]
+
+[Footnote 4: See 'Historisch-Politische Blätter für das Katholische
+Deutschland,' vol. lvi., part 8. Munich, 1870.]
+
+[Footnote 5: See 'Erinnerung an Christian Adolph Overbeck;' Lübeck,
+1830.]
+
+[Footnote 6: The Casa Bartholdi has for some years been let as lodgings
+to a superior class of travellers, and is much favoured by the English.
+The rooms are not always accessible; the servants have been known to
+name, as the most convenient time for seeing the frescoes, Sunday
+mornings, when the tenants are attending the English Church. The Painted
+Chamber is suitably furnished for daily uses; _The History of Joseph_,
+which covers the walls, is not too serious a theme to mingle with the
+common avocations of domestic life: fresco-painting, in fact, is not
+only a national and an ecclesiastic, but likewise a domestic art.]
+
+[Footnote 7: The Royal Academy Exhibition, Berlin, 1880, contained a
+large coloured design for the decoration of the ceiling of the Villa
+Mendelssohn-Bartholdy. Thus the joint names over a period of more than
+half a century stand conspicuous among art-patrons.]
+
+[Footnote 8: Overbeck's cartoon in charcoal on paper of _Joseph sold by
+his Brethren_ is carefully preserved under glass in the Städel
+Institute, Frankfort, where I examined it in 1880: the width is 11 feet,
+the height 8 feet, the figures are about 5 feet. The outlines are firmly
+accentuated; the details sufficient without being elaborate; the figure,
+as proved specially in the arms, hands, legs, and feet, is perfectly
+understood; the draperies are cast simply and broadly; the heads of
+noble type are impressed with thought. Not a false touch appears
+throughout; the crayon is guided by knowledge; evidently preliminary
+studies and tentative drawings must have preceded this consummated
+product. No wonder that this cartoon made a deep impression; nothing had
+been seen at all like it in Rome for very many years.]
+
+[Footnote 9: Many are the authors who have written on the Casa Bartholdi
+frescoes, the chief authorities are Hagen, Förster, Reber, and Riegel.]
+
+[Footnote 10: See among authorities before named, 'Geschichte des
+Wiederauflebens der deutschen Kunst zu Ende des 18. und Anfang des 19.
+Jahrhunderts, von Hermann Riegel.' Hannover, 1876.]
+
+[Footnote 11: The cartoon for this fresco is in the Leipzig Museum,
+where I examined it in 1880. It is in chalk on whity-brown paper, in
+squares and mounted on canvas; length 15 feet by 7 feet. As a mature
+study of form and composition it is just what a cartoon should be, but
+the touch is feeble and poor. Like most of Overbeck's designs, it has
+received the tribute of engraving.]
+
+[Footnote 12: The cartoon was acquired for the National Gallery, Berlin,
+in 1878, at the price of 37_l_. 10_s_. 0_d_.; measurement 6 feet by 4
+feet: it has been engraved.]
+
+[Footnote 13: Persistent difficulties are placed in the way of even
+students who desire to visit these frescoes; the public are
+systematically excluded from the Villa Massimo, and on two occasions,
+when after much trouble I gained orders for admission, the attendant, in
+accordance with instructions, forbade the taking of notes.]
+
+
+
+
+                            CHAPTER III.
+
+                           ROME--GERMANY.
+
+
+The life of Overbeck apportioned itself into successive periods of five,
+ten, or more years, corresponding to the important works from time to
+time in hand. The painter threw his whole mind into whatever he
+undertook, and so his pictures in their conception, and even in their
+execution, reflect the thought and the state of consciousness which for
+the while held supreme sway. The preceding chapters treat of two
+periods; the one describes the early times in Lübeck and Vienna, the
+other presents a sketch of the first decade in Rome. The foundations
+have been laid; the main principles for the guidance of a true life and
+for the building up of a soul-moving art have been firmly fixed; and now
+it remains to be seen how far and in what way the lofty aim was reached.
+
+Overbeck, as soon as his prospects in life became somewhat assured,
+married. Little is recorded of the wife: the earliest mention I have met
+with is in 1818, when the artists in Rome gave a grand fête in honour of
+the Crown Prince of Bavaria. Overbeck and Cornelius furnished designs
+for pictorial decorations and transparencies: the guests wore mediæval
+costumes, and made themselves otherwise attractive; and we learn on the
+authority of Madame Bunsen that among the brilliant assembly "the most
+admired of the evening was Overbeck's future wife, a lady beautiful,
+engaging, and influential, from Vienna."[1] The marriage, which was not
+long delayed, proved on the whole happy, though the wife's delicate
+health gave constant cause for anxiety, and her other demands on an
+indulgent husband are said to have provoked the displeasure of Cornelius
+and other friends. Two children were the fruits of the union: a girl,
+who died young, and a boy, who lived only long enough to give singular
+promise.
+
+Overbeck, as we have seen, had, in common with his brethren, given his
+best powers to "monumental painting." For this noble and "architectonic
+art" he was not without qualifications. He moved in an exalted sphere,
+his mind ranged among immutable truths, his forms were high in type, his
+compositions had symmetry and concentration, he knew how to adapt lines
+and masses to structural spaces. An occasion calculated to call forth
+his powers came with the commission to paint in fresco _The Vision of
+St. Francis_ for the church of Sta. Maria degli Angeli, near Assisi.
+Overbeck here, as his custom was, remained obedient to tradition, and
+yet struck out a new path; he was not content to retrace the footsteps
+of Giotto or of Cigoli, he preferred to depict the vision of his own
+mind. He enthrones the Madonna as Queen of Heaven, seated by the side of
+the risen Saviour, surrounded by the angelic hosts. On the lower earth,
+also attended by angels, appears St. Francis in adoration, while on the
+other side kneel reverently two mendicant friars. The picture belongs to
+the middle period, when the artist had attained the mature age of forty:
+the style, speaking historically, is that of the grave and severely
+defined Florentine school as represented by the Brancacci chapel. The
+fresco has been accounted by some the painter's masterpiece, and it is
+pronounced by Count Raczynski as one of the few works of modern days
+worthy of transmission to future ages.[2]
+
+Overbeck, it is easy to believe, while painting on the very spot where
+St. Francis was in ecstasy, led a life much to his liking. He dwelt
+within the monastery, and his pure mind, open only to the good, was
+blind to the dissolute ways of monks who became a scandal to the
+district. When the fresco was half finished, the master received a visit
+from his bosom friends Steinle and Führich, and the three strengthened
+one another as they communed on religion and the arts. Overbeck is known
+to have had leanings towards a convent life, and at one time, when
+seriously thinking of taking the vow, he received from the Pope friendly
+admonition that his true mission lay within his art, and that by
+renouncing the world his usefulness would be lessened. It can scarcely,
+however, be doubted that asceticism became so much the habit of his life
+as to afflict his mental condition, and to impoverish his art. Some
+critics indeed point to the early picture of _The Seven Years of Famine_
+as the origin of a certain starved aspect in subsequent compositions.
+Pharaoh's lean kine have been supposed to symbolise the painter, and the
+spare fare within the cells of St. Francis served to confirm the
+persuasion that flesh and blood, in art as in life, must be kept in
+subjection. Nevertheless, I for one, when on the spot, could not but
+revere the pictorial outcome; when first I made acquaintance with this
+plenary revelation of the painter, I had been taking a walking-tour,
+knapsack on back, through the Umbrian hills and valleys, the birth-land
+of St. Francis; I had become acquainted with the wall and panel
+paintings of Giotto, Gentile di Fabriano, Perugino, Giovanni Santi, and
+the youthful Raphael; and while looking on this heavenly "Vision," I
+could not but feel that Overbeck ranked among the holy company. Unlike
+most modern painters, surely he had not to worship in the outer court of
+the Gentiles.
+
+Overbeck received repeated solicitations to return to Germany: he was
+asked in 1821 by Cornelius to take the directorship of the Düsseldorf
+Academy, and four years later he writes in reply to the further
+persuasions of Wintergerst and Mosler. He urges his incapacity for the
+duties: he had learnt painting, he says, in a way difficult to impart to
+others; moreover, sculpture and architecture he did not understand at
+all, and as for the business matters he was without faculty. Further
+difficulties were the health of his wife and the welfare of his son:
+"every information," he continues, "I receive from my native country
+tells me of spiritual fermentations: the sanctuary, insufficiently
+protected by the law, suffers under attacks, and a proud worldly spirit
+raises its head and proclaims its wisdom. Can parents be blind to the
+risks to which they expose their child, till now reared in the most
+delightful simplicity of belief? Dearest friends, 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
+consoling." Overbeck, it need hardly be added, shrank from the dangers
+and declined the duties.
+
+But, at length, free from pressing and onerous commissions, he lent a
+more willing ear to invitations from Germany. Cornelius in 1830 had come
+to Rome from Munich, the better to complete certain cartoons; with him
+were a daughter, also his wife, who had under charge Fräulein Emilie
+Linder, a young lady of Basle, of some means and given to pictorial
+pursuits. Overbeck, on the completion of his wall-painting at Assisi,
+rejoined the brilliant art circle of the Roman capital, and from this
+time dates the memorable friendship between the lady, then a Protestant,
+and the great Catholic painter. After a winter pleasantly passed among
+congenial spirits, the whole party in the early summer of 1831 set out
+from Rome and reached Florence. Emilie Linder returned for a time to
+Basle, while Overbeck, under the care of Cornelius, by way of the Tyrol
+reached Munich. On the news of their approach in July, the local
+artists, young and old, assembled at the gates, outposts had been
+stationed along the road, and the townfolks gathered by thousands in the
+streets: from afar the cheering was heard, and then group after group
+raised the cry, "Overbeck!" "Cornelius!" The entry soon grew into a
+triumphal march, and, protests notwithstanding, the horses were unyoked,
+and a company of lusty youths drew the carriage to the dwelling of
+Cornelius.
+
+Twenty years had elapsed since Overbeck, an unknown youth, had quitted
+his native land; he now returned with a world-wide reputation.
+Cornelius, once the sharer of his trials, became the equal recipient of
+the triumphs; he had just completed the grand series of frescoes for the
+Glyptothek, and with him were brought the cartoons elaborated in Rome
+for the wall-paintings in the new Ludwig Kirche. Overbeck, as the guest
+of his old friend, passed happy weeks in Munich. The two painters
+conferred closely together in the interests of Christian Art, and aided
+each other in the arduous works soon to be carried out. The artists of
+Bavaria signalised the visit of the apostle of Christian Painting by a
+jubilee; they gave in honour of the illustrious stranger one of those
+joyous and scenic fêtes for which Munich is famed. The locality chosen
+was the Starnberger See, a lovely region of hill and lake lying in the
+Bavarian highlands, bordering on the Ammergau, peopled by peasants with
+sacred traditions since better known through "The Passion Play."
+Overbeck writes gratefully of enjoyment and instruction received through
+kind friends among the beauties of nature and of art.
+
+The Roman recluse in his journey northwards had widely extended his
+knowledge of nature. On leaving the Apennines he encountered the Alps,
+and exchanged beauty for grandeur. His figures were often accompanied by
+landscapes; but mountains exceeding in altitude five or six thousand
+feet appalled his imagination; masses of such magnitude could not enter
+the smaller sphere of his consciousness; hence his northern
+peregrinations brought into his compositions no Alpine presences;
+indeed, his habitual serenity and simplicity were disturbed by dramatic
+stir or storm of the elements, and though his sympathies warmed under
+novel experiences, his art failed to take a new departure.
+
+I have often when in Munich regretted that Overbeck had no share in the
+Bavarian manifestations of Christian Art. But that he, the head of the
+religious revival, is left out was simply his own fault. Cornelius, in
+1821, when as director reorganising the Academy, wrote to his friend,
+asking assistance; King Ludwig also urged Overbeck to come. But the
+timorous artist as usual hesitated; he gave at first assent, conditional
+however on a delay of three years to complete works in hand; then he
+pleaded the impossibility of taking any step whatsoever without the
+sense of religious duty. The King naturally grew weary, and interpreted
+the equivocal dealing as a denial. Cornelius again in 1833, when the new
+Basilica of St. Boniface needed decoration, once more proposed that his
+fellow-labourer in Rome should settle in Munich, but with no avail; the
+King evidently had little cordiality for the artist, and so employed
+others on the plea, not wholly tenable, that Overbeck was better in oil
+than in fresco. 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 Cornelius, Hess, and Schraudolph. 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 reveal. Yet the sensitive painter might
+have encountered much to disturb his peace of mind. King Ludwig could
+not assuredly be quite the patron for a spiritual and esoteric artist,
+and, moreover, there was something too wholesale in the Munich way of
+going on for a man of limited strength. Overbeck, as I can testify, 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 ground. He
+wisely did not overstep his bounds; he had not the wing of an eagle, and
+preferred to keep as a dove, near to the nest.
+
+Nevertheless, Munich is not without witness to the spirit of the mystic
+and poetic painter. King Ludwig, himself at least a poetaster, hit upon
+a felicitous comparison, oft since reiterated, when he designated
+Overbeck the St. John and Cornelius the St. Paul in pictorial art. The
+two artists, like the two apostles, had a common faith, though a diverse
+calling, and their several works testify how greatly the one was
+indebted to the other. Overbeck brought with him to Bavaria a drawing of
+exceptional power, _Elias in the Chariot of Fire_ (1827), a composition
+which reflects as indubitably the greatness of Cornelius as Raphael's
+_Isaiah_ responds to the grandeur of Michelangelo. But this lofty strain
+of inspiration proved transient, and Overbeck, as seen in Munich, truly
+personates the apostle who leant on the Saviour's breast. The New
+Pinakothek is fortunate in the possession of three pictures.[3] One is
+the _Portrait of Vittoria Caldoni_, already enumerated among earliest
+efforts; another is the _Holy Family_, illustrating these pages; the
+composition recalls Raphael's Florentine manner. The third, _Italy and
+Germany_, must be accounted exceptional because secular; the motive,
+however, rises above common life into symbolism. Two maidens in tender
+embrace are depicted seated in a landscape, the one blonde and homely,
+personifying Germania; the other dark and ideal, as if Tasso inspired,
+typical of Italia. The intention has given rise to interesting
+speculation. The German girl leans forward in earnest entreaty, while
+her Italian sister remains immobile and impenetrable. And herein some
+have seen shadowed forth a divided mind between two nationalities.
+Solicitations had come from Germany, yet, after moments of hesitation,
+Overbeck held fast to the land of his adoption, and his resolve may not
+inaptly find expression in "Italia," a figure which seems to say, "Vex
+not my spirit; leave me to rest in this land of peace and of beauty."
+But this composition is supposed to speak of yet wider experiences. The
+painter had given much time to the writing of a romance descriptive or
+symbolic of human life, wherein he embodied his own personal feelings
+and aspirations. The two principal characters in this unpublished story
+are said to be here depicted under the guise of "Italia and Germania."
+The composition thus becomes somewhat autobiographic.
+
+Munich is identified with a friendship between Overbeck and a lady,
+which ranks among the most memorable of Platonic attachments. Fräulein
+Emilie Linder we have already encountered in Rome, where an abiding
+friendship was rooted, and the devoted lady, on separation, soon found
+occasion to open a correspondence which was prolonged over a period of
+thirty years. Overbeck was a persistent letter-writer; he wasted no time
+on society, and so gained leisure to write epistles and publish essays.
+And yet it cannot be said that, had he not been an artist, he would have
+shone as the brightest of authors. On the contrary, as with the majority
+of painters, he never acquired an adroitness of pen commensurate with
+his mastery in the use of his pencil; and it is certain that if his
+pictures had been without adorers, his prose would have remained without
+readers. The great painter was destitute of literary style; his
+sentences are cumbrous and confused; his pages grow wearisome by wordy
+repetition. Doubtless his thoughts are pure and elevated, but, lacking
+originality, they run into platitudes, and barely escape commonplace.
+The prolonged correspondence with Emilie Linder[4] contracts the flavour
+peculiar to polemics. Overbeck had grown into a "fanatic Catholic"; he
+was ever casting out nets to catch converts; his tactics were enticing;
+his own example proved persuasive. Moreover, about his mind and method
+was something effusive, which won on the hearts of emotional women. At
+all events, these letters brought over to the Roman Catholic Church the
+lady and others. 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 sheepfold. These letters have a further
+significance; they declare what indeed is otherwise well established,
+that the Catholic faith served as the prime moving power in the life and
+the art of Overbeck.
+
+The painter brought to Munich ten or more drawings executed in Rome with
+a view to his travelling expenses, and Emilie Linder lost no time in
+making an offer for the set, to add to her private collection. The
+artist, with suitable diffidence, hesitated, yet looked on the proposal
+as an interposition of Providence, and then begged for the money at
+once, to help him on his further journey into Germany. Though success
+had delivered him from poverty, and commissions came in faster than he
+could paint, yet at no time did he roll in wealth; spite of scrupulous
+economy, he never much more than paid his way; and a few years later,
+when, for Emilie Linder, engaged on _The Death of St. Joseph_,[5] he
+gladly accepted beforehand the price by instalments. The correspondence
+shows a tender conscience, with a humility not devoid of independence.
+The art products were in fact of so high a quality that the painter
+conferred a greater favour than any he could receive in return.
+
+Overbeck left the hospitable roof of Cornelius in Munich at the end of
+August, 1831, and reached Heidelberg, there to meet with an enthusiastic
+reception from friends and admirers; there also, after a separation of
+five-and-twenty years, he saw once more, and for the last time, his
+elder brother from Lübeck. Close to Heidelberg, overhanging the banks of
+the Necker, is Stift Neuburg, formerly a monastic establishment, but
+then the picturesque residence of a family in warmest bonds of
+friendship with the art brethren. At this lovely spot, I am told by the
+present owner, "Overbeck stayed several days, and a seat in the garden
+is still called after him 'Overbeck's Plätzchen.'" On this rustic bench
+the painter was wont to sit meditatively amid scenery of surpassing
+beauty; the quietude of nature and the converse of kindred minds were to
+his heart's content. Within the old mansion, on the walls and in
+portfolios, are the choicest examples of the artist's early and middle
+periods; thus Stift Neuburg in its house and grounds remains sacred to
+the painter's memory.[6]
+
+From Heidelberg Overbeck travelled to Frankfort--a city soon to become a
+focus of the wide-spreading revival. Here the apostle of sacred art made
+the acquaintance of the poet Clemens Brentano, and fell among other
+friends and adorers. Philip Veit, his fellow-worker in the Casa
+Bartholdi and the Villa Massimo, had just been appointed Director of the
+Städel Institute, where he executed one of the noblest of frescoes--_The
+Introduction of the Arts into Germany through Christianity_. Likewise
+among warm adherents was Johann Passavant, a painter who in Rome had
+joined the brethren, a critic who made a name by the 'Life of Raphael.'
+Overbeck was here esteemed "the greatest living artist," and some
+expressed "the cherished thought, the earnest desire" that the painter
+should be secured for Frankfort. But as this proved out of the question,
+the promise was gladly accepted of the master-work since famous as _The
+Triumph of Religion in the Arts_. Cologne next received a visit, and the
+Cathedral choir having advanced towards completion, the assistance of
+the Christian painter was naturally solicited: _The Assumption of the
+Virgin_, now adorning a side chapel, counts among the memorable fruits
+of the painter's timely visit to his native land. This northern journey
+was extended as far as Düsseldorf, a sequestered town already growing
+illustrious for its school of religious painting. Wilhelm Schadow,
+co-partner in Roman labours, had here, as Director of the Academy,
+gathered round him devoted scholars, and Overbeck greeted his old friend
+as a missionary in the common cause. After receiving on all hands
+respectful adulations which would have turned a vainer head, the
+traveller bent his steps southwards, and reached Italy by way of
+Strasburg and Switzerland. On reaching Rome, he writes on the 1st of
+December to Cornelius in characteristic tone: "You will understand with
+what lively joy I once more saw my beloved Rome; I therefore will not
+conceal the painful impression which the distracted opinions and
+doctrines in the Fatherland have left in my mind, but I feel rest in the
+persuasion that, through the dispensation of Providence, my lot has been
+cast in this Roman seclusion, not that I intend to lay my hands idly in
+my lap, but, on the contrary, I shall endeavour to work with my utmost
+ability, spurred on all the more by the thought that even here at a
+distance I shall move in your circle." Assuredly as to professional
+prospects the passage of the Alps had extended the artist's circuit: the
+Italian works which chiefly mark the painter's first period had come to
+an end; henceforth Overbeck's labours, though prosecuted within the
+Roman studio, were for the good of Germany.
+
+Overbeck, in September, 1833, witnessed an event memorable in the
+history of art: he was present at the opening of Raphael's tomb in the
+Pantheon, and a few days after he wrote to his friend Veit at Frankfort
+a circumstantial account, as some relief to his overwhelming emotions.
+The letter is here of interest as evidence of Overbeck's unshaken
+allegiance to the great master; if called by others a pre-Raphaelite, he
+remained at heart faithful to the painter from whom indeed he borrowed
+largely. Unlike certain of our English artists and critics, he never
+decried Raphael. He writes: "Know, then, I was present at the opening of
+Raphael's grave, and have looked upon the true and incomparable master.
+What a shudder came over me when the remains of the honoured painter
+were laid open, thou canst better conceive than I can describe. May this
+deep experience not be without good results for us: may the remembrance
+of the honoured one make us more worthy inheritors of his spirit!"[7]
+
+Overbeck about this time, in letters to Emilie Linder, begins to express
+ultra views, to the prejudice of his art. He pleads that certain
+Biblical drawings may have for her more worth because the religious
+meaning dominates over the art skill. In like manner he writes
+apologetically concerning _The Death of St. Joseph_. The picture, he
+urges, embodies not so much a historic fact as an idea, the intent being
+not to lead the spectator to the real, but to something beyond. The
+purist painter then proceeds to express his invincible reluctance to
+study the subject from the side of life; models he had carefully
+avoided, because he feared that a single glance at nature would destroy
+the whole conception. It is with sincere regret that I have to record so
+pernicious a doctrine. Surely the artist's special function must always
+be to find out the divine element in nature, and fatal is the day when
+first he calls into question the essential oneness between Nature and
+God. But Overbeck's peculiar phase of Catholicism marred as well as made
+his art. Through the Church he entered a holy, heavenly sphere, and his
+pictures verily stand forth as the revelation of his soul. But the
+sublimest of doctrines sometimes prove to be utterly unpaintable, and
+certainly the tenets to which Overbeck gave a super-sensuous turn, in
+the end perplexed and clouded his art. Outraged nature took her revenge,
+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 humanity.
+
+Northern Germany claimed the illustrious painter as her son, and so
+fitly came commissions from Cologne, Lübeck, and Hamburg. For the great
+Hospital in this last commercial town was painted the large oil-picture,
+_Christ's Agony in the Garden_. This impressive composition represents
+the Saviour kneeling; the head is bowed in anguish, the hands are raised
+in ecstasy; below, the three disciples lie asleep, and in the glory of
+the upper sky amid rolling clouds appears as a vision the angel bearing
+the cross. I paid a visit to Hamburg in order to judge of a work of
+which I could find but slight mention. Its characteristics are just what
+might have been anticipated. The drawing is studious, the expression
+intense, the execution feeble; in short, the technique becomes wholly
+subordinate to the intention. The conception has Giottesque simplicity:
+the shade of night brings solemnity, and the longer I stood before the
+canvas the more I became impressed with the quietude and fervour of the
+scene.[8]
+
+We find an epitome of Overbeck's mind and art in a lovely composition,
+_Lo Sposalizio_. Count Raczynski had as far back as 1819 given a general
+commission, and at first was proposed as a subject the _Sibyl_, for
+which the drawing in sepia, dated 1821, now hangs in the Count's Gallery
+in Berlin. The figure, pensive and poetic, resembles a mediæval Saint
+rather than a Sibyl. The painter afterwards found a more congenial theme
+in _The Marriage of the Virgin_. The treatment is wholly traditional,
+the style austerely pre-Raphaelite; the only expletive in the way of an
+idea comes with attendant angels, lyres in hand. The work was not
+delivered till 1836, in the meanwhile the first fire had died out, and
+nature was thrust into the distance. The technique had not improved, the
+material clothing becomes subject to the mental conception, thus are
+eschewed _chic_ of touch and surface texture. The colour is
+indescribable: it pertains neither to earth nor to heaven, and yet it
+has more of dull clay than of iridescent light. What a misfortune that
+the gem-like lustre of the early Italians escaped this modern disciple!
+A thoroughly characteristic letter accompanied the picture. Overbeck
+having shut himself out from the world, seeks for his creations a like
+seclusion. He writes to Raczynski: "As you are wishing to send my
+picture to the public exhibition in Berlin, I cannot refrain from
+expressing my anxiety. Paintings of this kind appear to me not fitted to
+be seen by the motley multitude usually gathered together in
+exhibitions. The general public are almost sure to measure wrongly works
+like this, for as the eye is attracted to outward means and is engaged
+on technical splendours, pictures in which these qualities are held in
+subordination to higher aims cannot but sink into the shade. The
+spectator is not in the mood to honour a spiritual subject which has
+been thought out from a spiritual side. The place in which this picture
+should be seen is a chapel, or some such peaceful spot removed from
+disturbing surroundings."[9]
+
+I now wish to direct the reader's attention to _The Triumph of Religion
+in the Arts_, otherwise _The Magnificat of Art_, or _The Christian
+Parnassus_, or the triumph of Mariolatry. This large and elaborate
+composition embodied the artist's best thoughts for ten years in the
+prime of life, from 1831 to 1840. Accompanying the work was a written
+explanation, which comprises a confession of Overbeck's art faith.[10]
+The Madonna, with the Infant in her arms, sits enthroned in the upper
+half of the canvas, and around, in mid-heaven, are ranged prophets,
+evangelists, and saints. On the earth below stand some sixty painters,
+sculptors, and architects; the heads as far as possible are taken from
+authentic portraits. In the midst is a fountain, the upper waters rising
+into the sky, the lower falling into two basins beneath. The painter
+explains his meaning as follows: "The fountain in the centre is the
+emblem of the well of water springing up into eternal life, thus
+denoting the heavenward direction of Christian Art as opposed to the
+idea of the ancients, who represented the stream as flowing downwards
+from Mount Parnassus. Every manifestation of art therefore is honoured
+so far only as it looks towards heaven. The fountain descends into two
+mirrors: the upper one reflects heaven, the lower receives earthly
+objects; thus is indicated the twofold character of art, which, on the
+one hand, in its spiritual essence comes with every good thought from
+above, and which, on the other, is derived from the outward forms of
+nature. This twofold sphere of art is signified by the position assigned
+to the assembled artists in relation to the two mirrors of water."
+Overbeck next proceeds to expound his pictorial judgments. He gives
+Raphael a white robe as symbolic of universal genius, "for as white
+light contains the seven prismatic colours, so does Raphael's art unite
+all the qualities we gaze on with wonder." Michelangelo sits apart on a
+fragment of antique sculpture, his back turned alike on the Fountain and
+the Madonna. I once ventured to ask Overbeck in his studio for some
+explanation of this harsh judgment; he calmly but firmly replied that he
+thought the verdict according to the evidence. Still less mercy is shown
+to the Venetians, and as for Correggio, he is stigmatised as utterly
+lost. On the other hand, Fra Angelico, the Tuscan School, Dürer, and the
+brothers Van Eyck receive due reverence. But it has fairly been
+questioned whether the majority of the sixty or more artists here
+immortalised would thank the painter for his pains. The reading given to
+historic facts is narrow, partial, not to say perverted, and could
+content only such ultra critics as Rio, Montalembert, and Pugin.
+
+_The Triumph of Religion_[11] I have known for more than a quarter of a
+century, and have heard much of its profundity, spiritualism, and
+symbolism. But no critic will assign to the picture the first rank among
+works of creative reason and imagination; the comparison has inevitably
+been instituted with Raphael's _Disputa_, in the Vatican, to which it is
+confessedly inferior. Historically, it finds a place sufficiently
+honourable by the side of Francia and Pinturicchio. Its avowed merits
+are considerable; its very scale and the vastness of the labour give
+importance; the canvas extends to a breadth and height of about fifteen
+feet. The composition, if not bold or masterly, is careful and
+thoughtful, the drawing scholastic; the heads are wrought as biographic
+studies, the draperies cast into balanced harmonies. The execution is
+steady, without show or fling; the colour, as always, is the reverse of
+alluring: Venetian splendours are eschewed in favour of pigments thin,
+dull, and crude. Yet the technique has usual soundness; the materials
+stand firm and unchanged. The picture has the advantage of a commanding
+position in the handsome new gallery in Frankfort, and, notwithstanding
+its defects and shortcomings, must be accounted as among the most
+memorable achievements of the century.
+
+Overbeck made _The Triumph of Religion_ a propaganda of his pictorial
+faith, and wrote his explanatory text for the special benefit of young
+painters. The document concludes with the following emphatic and
+affectionate appeal: "And now, my dear young friend and brother artist,
+so ardently striving to excel in the Fine Arts, I have placed a picture
+before you in which you may wander as in a garden. Here you see all the
+great masters: behold how the future lies spread before you, like the
+bright distance in this picture, so that you may be encouraged thereby
+in your noble task. Strive to approach the great masters with all the
+powers of your mind, 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 you. Several of the artists here assembled may
+serve as warnings to you: the Venetians went astray as soon as they made
+colouring the principal object of attraction, and so by degrees they
+sank in sensuality. The effeminate Correggio proceeded in this career at
+a more rapid rate, until he had cast aside every restraint of modesty
+and morality, and gave himself up to unbridled voluptuousness.[12]
+Michael Angelo set up the antique as an object of idolatry, and Raphael
+was tempted to taste the forbidden fruit, and so the sin of apostasy in
+the fine arts became manifest. In after times, indeed, various attempts
+have been made to elevate the arts; but as no remedy was applied to the
+source of the evil, the result proved on the whole unsuccessful. This is
+also the reason why none of the celebrated masters of late times have
+been introduced into our painting.[13] In conclusion, you may
+unhesitatingly adopt as a principle that the fine arts can alone be
+beneficial to man when, like the wise virgins, they go out to meet the
+bridegroom in humility and modesty, with their lamps burning and fed
+with the faith and the fear of God: only as such daughters of heaven are
+they worthy of your love."
+
+Ten years of the painter's later period, reaching from 1843 to 1852,
+were dedicated to the Life of Christ as recorded by the four
+Evangelists. German artists of the modern time have revived the practice
+of the old religious painters of composing Biblical series, and such a
+narrative is technically termed a "cyclus." Overbeck evolved three such
+consecutive compositions--"The Gospels" in forty cartoons, "The
+Sacraments" in seven, and "The Stations" in fourteen. The large drawings
+for "The Gospels" or "Evangelists"[14] I was accustomed to see from time
+to time while in progress within the studio; none were ever carried out,
+as the artist might have hoped, in oils, or as wall pictures or
+tapestries, but all, in common with most of his drawings, have been
+widely diffused by means of engraving.[15] Overbeck was specially
+qualified by his habits of mind and literary tastes and antecedents thus
+to write off his thoughts in outline; his drawings may be compared to
+"thinking aloud," and one scene after another reads as consecutive
+sonnets bearing on continuous themes. The events depicted as a matter of
+course fall into accustomed routine; they almost of necessity begin with
+_The Annunciation_ and end with _The Ascension_. Yet Overbeck, while
+inspired was not enslaved by his predecessors; often are presented novel
+and even bold conceptions, as in _The Massacre of the Innocents_ (1843)
+and _Barabbas released and borne in Triumph_ (1849). Such designs prove
+an intellect neither servile nor sterile. Certain other compositions are
+marred by affectation and sentimentality, traits of morbid moods
+increasing with years, and which contrast strangely with the healthiness
+and robustness of the great old masters. Fitly have been chosen to
+illustrate these pages _The Naming of St. John_ (1843), _Christ Healing
+the Sick_ (1843), _Christ's Entry into Jerusalem_ (1849), _The
+Entombment_ (1844), and _The Resurrection_ (1848). Two other
+illustrations, _Christ in the Temple_ and Christ _falling under the
+Cross_ show variations on the Gospel series. Overbeck may be compared to
+certain fastidious writers who mature by endless emendations and
+finishing touches; he loved to recur oft and again to favourite texts,
+changing attitudes, adding or subtracting figures, episodes, or
+accessories. His lifelong compositions are as a peopled world of the
+elect and precious: many of the characters we claim as old
+acquaintances; the figures come, go, and return again, changed, yet
+without a break in personal identity. They move round a common centre;
+Christ is their life; they are in soul and body Christian.
+
+These "Gospels" have taken a permanent place in the world's Christian
+Art. If not wholly worthy of so large and grand a theme, they yet
+scarcely suffer from comparison with like efforts by other artists. They
+have hardly less of unction and holiness than Fra Angelico's designs,
+while undoubtedly they display profounder science and art. That they
+have nothing in common with the Bible of Gustave Doré is much to their
+praise; on the other hand, that they lack the inventive fertility and
+the imaginative flight of the Bible of Julius Schnorr indicates that
+they fall short of universality. These Gospels, it may also be said,
+pertain not to the Church militant, but to the Church triumphant; not to
+the world at large, but to a select company of believers. They teach the
+passive virtues--patience, resignation, long-suffering, and so far
+realise the painter's ideal of earth as the portal to heaven. Certain
+spheres were beyond his ken. The marriage of Cana did not for him flow
+with the wine of gladness; he had no fellowship with the nuptial banquet
+as painted by Veronese. His pencil shunned the Song of Miriam and the
+Dance of the Daughter of Herodias; it could not pass, like the pen of
+England's epic poet, with a light fantastic touch from "Il Penseroso" to
+"L'Allegro;" his walk was narrow as a convent cloister; his art was
+attuned to the sound of the vesper bell.
+
+Overbeck's modes of study and habits of work were like himself--secluded
+and self-contained. His strength did not permit prolonged labour, and
+his mind was easily put out of tune; yet by method and strict economy of
+time he was able, as we have seen, to get through a very considerable
+amount of work. Each day had its allotted task. He rose summer and
+winter between five and six o'clock, and usually went to church; at
+seven he took a simple breakfast, then entered his studio and worked on
+till one. This was the hour for dinner, a frugal meal preceded by the
+customary grace. After a little repose, action was resumed about
+half-past two, and continued till four, or sometimes even to six. Then
+came exercise, mostly a meditative walk; in early times, before the
+habits of a recluse had grown confirmed, the painter enjoyed an
+evening's stroll with choice spirits, such as Niebuhr and Bunsen, but in
+later years he preferred his own communings, his thoughts turning upon
+art or finding diversion only among the beauties of nature. Within the
+house he became abstracted; he wandered about lost to outward
+surroundings, and would brook no interruption. In the winter evenings,
+at least in later life, he relaxed so far as to join in some table game;
+but his hours were early, he supped at eight, then retired to his room
+for meditation, and was always in bed by ten. General family prayers
+were not the order of the household; the constant habit was individual
+devotion in private. The Pope took a fatherly care over the pious
+artist, and granted him privileges permitted only to the few. And
+Overbeck was on his part strict and zealous in all Church functions, and
+neglected no means of building up the Christian life. Each day in fact
+was so nicely apportioned between religion and art, that the morning and
+the evening worship blended indissolubly with the midday work.
+
+The bodily and mental aspect of Overbeck is well known. I myself had the
+privilege of first seeing the painter when in the Cenci Palace, as far
+back as the year 1848. My journal describes a man impressive in
+presence, tall and attenuated in body, worn by ill-health and suffering,
+the face emaciated and tied round by a piece of black silk. The mind had
+eaten into the flesh; the features were sorrow-laden. The voice sank
+into whispers, the words were plaintive and sparse; noiselessly the
+artist glided among easels bearing pictorial forms austere as his own
+person, meekly he offered explanations of works which embodied his very
+soul, timidly sought retreat and passed as a shadow by--the emblem of an
+art given in answer to prayer and pertaining to two worlds.
+
+The painter, as drawn or described by himself and others, presents an
+interesting psychological study: no historic portrait reveals closer
+correspondence between the inner and the outer man. Cornelius delineated
+his friend at the age of twenty-three: the type is ascetic and æsthetic
+after the pre-Raphaelite pattern affected by the Nazarites. Führich, one
+of the fraternity, describes his first impressions: on entering the
+studio he beheld a tall, spare figure, noble in head, the hair flowing
+over smooth temples to the shoulders, the forehead reflective, the calm
+eye "soul-full," the whole aspect that of "inner living." It is added,
+"at once I felt a soul fulfilment." Yet another artist-disciple, Edwin
+Speckter,[16] also leaves a graphic record penned in 1831 as follows: "A
+melancholy and heart-moving impression has Overbeck made upon me: I
+beheld a tall, spare man, with thin, light hair, shadowed by a black
+cap, whose eyes looked forth sadly, as with an expression of unutterable
+suffering. His mouth contracted at each word into a forced yet sweet
+smile. He looked just as a timid prisoner, who dreads in every corner to
+see a spy. Yet in all his speech and ways appeared wondrous humility,
+modesty, and kindly geniality, which, however, did not attract, but in
+a strange manner repelled. I hardly dared to open my mouth, and only
+spoke softly and by way of inquiry. Freely to impart my mind as with
+others was impossible. My breast felt oppressed, and truly I scarcely
+knew what to say when he unceasingly begged pardon that he should dare
+to show his works: he called them 'insignificant,' 'nothing,' esteemed
+himself fortunate that people should choose to give commissions to so
+unworthy an individual, only he pitied the patrons that they had not
+fallen on a more capable man. And then when I asked if I might come
+again, he replied, 'Good heavens! if I would give myself the trouble, he
+should be only too delighted.' I could almost have laughed, but with
+tears in my eyes."
+
+FOOTNOTES:
+
+[Footnote 1: For further particulars as to Overbeck's wife, "Nina," see
+'Erinnerungen und Leben der Malerin Louise Seidler,' Berlin, Verlag von
+Wilhelm Hertz, 1875. According to this authority the young lady was the
+illegitimate daughter of a gentleman of aristocratic family in Vienna,
+from whom she received a dowry. She had come to Rome in search of
+health, and possessing talents, accomplishments and charms, and being
+withal a "fanatic Catholic," she won the affections of the impressible
+painter. "The young couple," we are told, passed "a soul-satisfying"
+honeymoon, and took up their abode in the Villa Palombara, near the
+Baths of Diocletian. In the private collection of Herr Bockenheimer,
+Frankfort, I have found an exquisite drawing, wherein the artist is said
+to have depicted himself, his wife, and two children.]
+
+[Footnote 2: Mrs. Jameson, in 'The Legends of the Monastic Orders,'
+illustrates the visions and ecstasies of St. Francis from the pictures
+of Giotto and others down to Domenichino. Coming to our times, the only
+work found worthy of such companionship is that of Overbeck. The modern
+German does not suffer by comparison with the old Italian masters. The
+fresco was finished 1830; shortly after, an earthquake visited the spot
+and destroyed a large portion of the church, but _The Vision of St.
+Francis_ remained intact. The cartoon for the picture is in the Library,
+Lübeck, framed, hung, but badly seen. I examined and noted it October
+1880. It is in chalk, on paper mounted on canvas; the form is lunette,
+the base about 20 feet broad; the figures are life-size. The heads,
+hands and draperies are thoroughly studied in a broad, large manner. The
+work when exhibited in Munich in 1831, on the artist's visit to Germany,
+obtained high commendation. The oil study made for the colour is now in
+the Leipzig Museum: measurement, 2 feet 3 inches by 2 feet 7 inches. The
+cartoon has been lithographed by Koch: the fresco itself is
+photographed.]
+
+[Footnote 3: Portrait of _Vittoria Caldoni_, oil, on canvas, nearly
+life-size, about 3 feet by 2 feet. _Holy Family_, about 4 feet 6 inches
+by 3 feet: oil, on rough Roman canvas, signed "F. O. 1825": better
+colour than usual: in good condition, but, like many pictures in the New
+Pinakothek, revived by the Pettenkofer process: the beautiful engraving
+by Felsing has a sale quite unusual for Overbeck. "Italia und Germania,"
+about 3 feet 5 inches by 2 feet 9 inches, oil, on canvas: manner hard
+and dry: lithographed by F. Piloty.]
+
+[Footnote 4: See 'Historisch-Politische Blätter für das Katholische
+Deutschland,' before quoted.]
+
+[Footnote 5: _The Death of St. Joseph_, oil, on canvas, 3 feet by 2 feet
+3 inches, was at last completed 1836, and appeared two years later in
+the Munich Exhibition: the price was less than 100_l._ A small drawing
+for the picture was, with others in the possession of Emilie Linder,
+lithographed for devotional purposes: the lady with characteristic
+generosity sent the proceeds of publication to the painter. On her death
+in 1867 her collection went by bequest to the Basle Museum, where are
+conserved, besides _The Death of St. Joseph_, ten drawings in pencil.
+Among the last are _God appearing to Elias on Mount Horeb_, _The Finding
+of Moses_, _The Israelites gathering Manna_, _The Madonna and St. Joseph
+worshipping the Infant Jesus_, _Christ found in the Temple_, and _The
+Awakening of Jairus's Daughter_. Of the last I have met with two other
+examples. The engraving, _Christ in the Temple_, illustrating this
+volume, is from the drawing in this collection.]
+
+[Footnote 6: The principal drawings at Stift Neuburg have been mentioned
+in previous pages. I will now add from notes taken on the spot: Portrait
+of Cornelius by Overbeck and a companion portrait on the same paper of
+Overbeck by Cornelius. Pencil: 1 foot 4 inches by 1 foot 3 inches. This
+joint handiwork, presented to their friend on the eve of his leaving
+Rome for Germany, bears the following inscription: "In Remembrance of
+our friend C. F. Schlosser, from F. Overbeck and J. P. Cornelius. Rome,
+16 March, 1812." The latest drawing in the collection, date 1836,
+represents Christ bearing the Lamb: the Saviour opens His mantle and
+shows a flaming heart. 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 beauty. Some of the chief drawings at Stift Neuburg
+have been published in photography by Bruckmann, Munich.]
+
+[Footnote 7: Overbeck's letter on the opening of the tomb in the
+Pantheon is published in Passavant's 'Life of Raphael.']
+
+[Footnote 8: _Christ's Agony in the Garden_ is on canvas, 7 feet wide by
+11 feet high: figures size of life: without signature or date: the
+manner is that of the middle period: the year I believe to be between
+1831 and 1835. The system of colour, though not without the depth and
+solemnity of the early schools of Lombardy, is that peculiar to the
+religious art of modern Germany: it is dull, heavy and opaque. I would
+quote as an interesting proof of nature-study, still maintained at this
+pronounced period, a foreground plant and flower exquisitely drawn and
+affectionately painted. The picture is seen to utmost disadvantage: the
+cold and poverty-stricken surroundings are those usually deemed
+appropriate in Lutheran Germany.]
+
+[Footnote 9: The present position of _The Marriage of the Virgin_ in the
+Raczynski Gallery, Berlin, has just those "disturbing surroundings"
+which the painter dreaded. It is crowded among discordant works, and is
+hung so high that I had to ask for a ladder to examine its quality and
+condition. The oil pigments remain sound save some small surface cracks.
+The size is about 6 feet by 4 feet. The modest price paid by the
+munificent patron, and for which he received the artist's grateful
+acknowledgments, was somewhat under 100_l_. sterling. Surely Overbeck
+did not paint for filthy lucre.]
+
+[Footnote 10: See account of 'Religion glorified by the Fine Arts,'
+written by the painter himself and translated by Mr. John Macray:
+published by Ryman, Oxford; 2nd edition, 1850.]
+
+[Footnote 11: The picture has been engraved by Amsler, and is also
+photographed. The cartoon is in the Carlsruhe Gallery, framed and hung:
+it measures about 12 feet wide by 14 feet high: it is in charcoal or
+chalk, on squares of whity-brown paper mounted on canvas. This drawing
+is remarkable for thoroughness in form and character; indeed, it is just
+what a cartoon should be. Countless preliminary studies of separate
+figures and draperies must have preceded it. Overbeck in a letter, 28th
+December, 1839, to Emilie Linder mentions three cartoons or studies. One
+large one being the above. A second smaller, 4 feet 8 inches square, in
+sepia, on canvas. This I examined October, 1880, in the National
+Gallery, Berlin: the execution in parts is poor. The work had been sent
+for sale, but was not purchased. The third sketch is described by the
+artist as different in proportions and composition. It is in black chalk
+and pencil on red paper. The painter names £100 as the price: he
+received £1300 for the picture.]
+
+[Footnote 12: Surely Overbeck is unjust to the masterpieces of Correggio
+in Parma and Dresden, including two Holy Families, _Il Giorno_ and _La
+Notte_. He likewise must have forgotten Titian's religious pictures in
+Venice and Vienna, _The Assumption_ and sundry Holy Families. The "young
+artist" has to remember that a picture is different from a homily: that
+art has to be valued for her own sake, that drawing, composition, light,
+shade and colour are indispensable elements in every art work. Overbeck
+shirks the stern truth that the first duty of a painter is to paint.]
+
+[Footnote 13: It is difficult to remain tolerant of such intolerance.
+Why does not Overbeck declare plainly that Ary Scheffer is excluded
+because he was a Protestant? As spectators a place in the picture is
+assigned to Cornelius, Veit, and to Overbeck himself, all Roman
+Catholics, whilst Schnorr, as a Protestant, is deemed unworthy to
+appear. It is interesting to observe that Overbeck's darling son is
+introduced in the character of a young Englishman.]
+
+[Footnote 14: The cartoons for the Gospels, originally made for an art
+dealer in Prague, were afterwards acquired by the late Baron Lotzbeck of
+Weihern, near Munich, and are now in the possession of the son, the
+present Baron: they are framed and protected under glass.]
+
+[Footnote 15: See 'L'Évangile Illustré: Quarante Compositions de
+Fréderic Overbeck: gravées par les meilleurs Artistes de l'Allemagne:'
+Schulgen, Düsseldorf and Paris. Overbeck had an aversion to the heavy
+and mechanical schools of engraving; he objected to meaningless masses
+of shadow and to the multiplication of lines inexpressive of form.
+Accordingly these engravings from the Gospels, in common with other
+plates from the master, possess merits the opposites to such defects.
+Like the original drawings, they are chiefly dependent on outline, and
+even their slightness is not without the advantage of suggestiveness.
+Four illustrations here are facsimiles of the engravings.]
+
+[Footnote 16: See 'Briefe eines deutschen Künstlers aus Italien, aus den
+nachgelassenen Papieren von Edwin Speckter.' Leipzig: Brockhaus, 1846.
+Also see 'Bunte Blätter, von A. W. Ambros.' Leipzig: Leuckart, 1872.]
+
+
+
+
+                            CHAPTER IV.
+
+            LATE WORKS--CONCLUSION--THE PAINTER AND HIS ART.
+
+
+Overbeck, as we have seen, deliberately laid out his life for
+tranquillity; but not sheltered, as Fra Angelico, in a cloister, his
+serene mind was at times clouded by trouble. First came the death of his
+son, then he lost a brother, and afterwards was bereaved of his wife.
+All accounts tell that the darling son, Alfons Maria, inherited the rare
+gifts of the father, and unhappily also was a sharer in like bodily
+frailty. He had been reared with tenderest solicitude, in the hope that
+he might carry on the good work. The profession chosen was that of
+architecture, an art which the Christian painter felt to be of a "mystic
+nature," being something "musical," and "the visible emblem of religious
+enthusiasm." But the bright promise was soon darkened: the youth died in
+the autumn of 1840, at the early age of eighteen. The father in
+overwhelming sorrow recounts, in a letter to Emilie Linder, how he had
+watched over the sick bed, and had snatched up a pencil by the quarter
+of an hour to assuage his grief. The boy was dutiful, and filled with
+filial love--he was so good that the people called him a saint. The
+stricken parent turned to art as "a crutch to support his lameness, and
+as a solace to his tears."
+
+The picture of _The Entombment_, or rather _The Pietà_, in Lübeck, tells
+of the mind's heavy burden. In 1837 an association had been formed, and
+money subscribed among friends and admirers, who desired that the native
+city should possess some work worthy of the painter's renown. In 1842,
+on the completion of the first sketch and the cartoon, a letter arrived
+in Lübeck, saying that the grief through which the artist had passed was
+thrown into a composition that expressed the uttermost anguish of the
+soul. And again, in 1846, on the completion of the work, the Christian
+man writes, praying that this "lamentation over the death of the Son of
+God may arouse in the spectator true faith and repentance. May this
+painting, begun in tears for my own and only son, and finished in grief
+for the loss of my dear brother, draw tears from the eyes of Him who
+shed not only tears, but blood, in order that His death might be our
+life. Such aim have I always in my art, without which it would seem
+idle, indeed blasphemous."
+
+_The Pietà_[1] was exhibited in Rome, and friendly criticisms were
+followed by final touches, with the filial intent to make a worthy
+offering to the parental city. In March, 1846, Overbeck announces, in
+the most modest terms, that the labour of love had at length been
+dispatched to Lübeck, and, much to his joy, a quiet side chapel of the
+choir of the Marien Kirche was chosen for its resting-place. The
+impression on entering this secluded spot, shut in by a locked gate, is
+almost startling; the eye gazes, as it were, on the actual scene: the
+figures are life-size; the pictorial style is, perhaps, all the more
+persuasive because it belongs to a remote time--nothing modern breaks
+the spell of sacred associations. The spectator is transported to a
+sphere super-mundane, and altogether religious. The dead Christ, well
+modelled and a fine piece of flesh painting, lies stretched on the
+ground in a white winding-sheet, and, as sometimes with the old
+painters, the body seems not dead but sleeping, as if expectant of
+resurrection. The composition is strictly traditional, indeed the
+_Pietà_ of Perugino in the Pitti Palace has been implicitly followed:
+around are the holy women weeping, with disciples and Nicodemus and
+Joseph of Arimathæa. Every head, hand, and drapery, are thoroughly
+studied. Dark rocks, lofty cypresses, and distant hills, make up a
+landscape which adds solemnity and depth of colour. Within a few
+minutes' walk of the Marien Kirche and this _Pietà_ still remains
+Memling's masterpiece, which, as already related, had deeply impressed
+the youthful painter while yet in the Lübeck home, but allegiance had
+been long, we know, transferred from old German to Italian art, and
+accordingly the style adopted recalls well-remembered compositions by
+Francia, Fra Bartolommeo, and Perugino. Not a single new motive
+intrudes; in fact, Overbeck no more desired a new art than a new
+religion; for him the old remained unchangeably true,--sacred characters
+were handed down immutably as by apostolic succession; he would
+rearrange an attitude, but feared to lose personal identity; he desired
+that this _Pietà_ should awaken such holy associations as environ old
+pictures.
+
+Overbeck received a commission from a Yorkshire squire, Mr. Rhodes, to
+paint an altar-piece for the Protestant church of St. Thomas, in Leeds,
+recently built from the design of Mr. Butterfield. Naturally the
+Incredulity of the Apostle was chosen as the subject, and the picture[2]
+reached completion in 1851. The composition is in no way out of keeping
+with the Anglican Church; it is without taint of Romanism; but we are
+told by Ernst Förster, the Munich critic,[3] that "people were not well
+pleased with the work," at all events it never reached its destined
+place. Mr. Rhodes had brought the picture to England from Overbeck's
+studio, and being for disposal, it was offered to Mr. Beresford Hope,
+who gladly became the owner, at the price of 300_l_., the modest sum
+asked by the artist. The scene is thrown upon canvas with the painter's
+habitual simplicity, brevity, and breadth. Christ in commanding, yet
+benignant, attitude, with arm uplifted, utters the words: "Reach hither
+thy hand and thrust it into my side, and be not faithless, but
+believing." The Apostle reverently approaches. Beyond stretches a
+distant landscape with a mountain-height that might be mistaken for the
+crested summit of Soracte. The lines of composition flow symmetrically,
+the sentiment has quiet dignity, with that sense of the divine presence
+which seldom fails the painter. The picture hangs in the drawing-room of
+Mr. Hope's town-house, and, though painted for a church, conforms to
+domestic uses, not being "too bright or good for human nature's daily
+food." The personation of the Saviour when once seen will not be
+forgotten; the figure, indeed, was cherished by the artist, for the
+motive with slight variation is repeated in _The Vocation of the
+Apostles James and John_ (_see_ Illustration), and again in _The
+Sacrament of Marriage_. Overbeck had none of the modern unrest which
+seeks novelty for its own sake; as a Christian artist, his growth was
+that of grace; and, if tested here and elsewhere by the worthiness of
+his conception of the God-Man, no painter attained a more heavenly
+ideal. It is hard to realise on earth a more perfect divinity than seen
+in the design _Feed my Sheep_. _The Incredulity of St. Thomas_ has been
+exhibited in England twice; first in 1853, in the Royal Academy, where,
+I remember, it was honoured with a conspicuous place in the large room;
+afterwards, in 1857, it was seen in the Manchester Art Treasures. As far
+as I know, it is the only large and important work of the master
+submitted to the English public.
+
+Overbeck, thirteen years after the death of his son, was in 1853 bereft
+of his wife, who had been his companion and caretaker for more than
+thirty years. She died suddenly, yet, as her husband thankfully records,
+with all the consolations the soul could desire. She had in the morning
+been to church and taken the sacrament; she was then seized with
+difficulty of breathing, but, on reaching home, revived, and raised her
+voice to the praise and glory of God; after, she grew worse, desired to
+see the priest, received extreme unction, and so died.
+
+The good painter, when the help-mate of his life was taken away, felt
+utterly desolate and disabled. He had never been accustomed to look
+after the house; some thirty poor families are said to have been
+dependent on his bounty; but as for himself he took little thought, and
+all he desired was to be saved from mundane cares. In Rome there
+happened to be a certain family of Hoffmanns, who, like the painter, had
+forsaken Protestantism for Catholicism. They were endowed with the
+worldly faculties in which the Christian artist was wanting, and so a
+close relationship had conveniently grown up. Overbeck, on the death of
+his wife, being absolutely incapable of getting on alone, arranged to
+live with this family; moreover, he adopted Madame Hoffmann, a lady of
+forty, as his daughter, and the adoption included the husband and the
+children. They seem to have made him comfortable, and letters exist
+which give expression to his gratitude. They, on their side, reaped
+their reward, inasmuch as on the death of the good artist they came into
+the possession of the contents of his studio, his papers, and
+correspondence, moneys, and all other properties. After the aforesaid
+family arrangement, the blood relations found little favour, and all who
+bore the name of Overbeck were cut off without a shilling.
+
+Earthly trouble did but turn the painter's gaze heavenwards, and his
+art, which in time of trial came as consolation, grew all the more
+spiritual as it passed through waters of affliction. Few painters, even
+in the good old days, obtained so sympathetic a public. Belief in a
+mission begat like faith in others, and so solicitations came for
+drawings and pictures far in excess of available time and strength.
+Certain commissions could not be entertained, secular subjects had been
+long eschewed, religion and the Church were alone accounted worthy of
+service. Therefore, in genial mood, was the great picture for Cologne
+Cathedral undertaken and carried out. The work occupied no less than
+nine years; the cartoon was already in course of preparation in 1846,
+and the picture reached completion in 1855. But, as with other
+engagements, the negotiations and preliminary correspondence extended
+over a longer period. Thus, as far back as 23rd August, 1829, Overbeck,
+while working on the Assisi fresco, writes from Santa Maria degli Angeli
+to his friend Mosler, stating that the Düsseldorf Kunst-Verein wish for
+some picture; but prior engagements stand in the way: he foresees that
+on the return to Rome he will find his studio crowded with works begun,
+but still unfinished, besides sketches of all sorts and sizes for
+pictures not even commenced. He therefore asks for delay, and ends with
+apologies for not writing more on the parental plea that "though it is
+Sunday, I have long given my promise to my boy Alfons, whose tenth
+birthday is to-day, that he shall have a ride on a donkey, and I am all
+the more obliged to keep my word because my fresco work here compels me
+for the moment to neglect him. We are all, thank God, very well, and
+enjoy a thousand blessings in this abode of Paradise." Three months
+later he writes under mistaken impressions as to the character of the
+commission; he wishes to know the architectural style of the church, and
+hopes it may be Gothic; he desires accurate measurements, because the
+picture must appear to belong to its destined place, and then ends in
+the following characteristic terms: "I repeat once more that the
+commission fills me with utmost pleasure, but to you I must confide my
+great anxiety, that I fear this picture is destined for a Protestant
+church, as I hear it is to be for some newly-built church. Should this,
+indeed, be the case, then pray try to give the whole thing another
+direction, as such a commission would not suit me at all, and to refuse
+it would be very disagreeable to me."
+
+Overbeck's visit to Cologne, in 1831, naturally led to further
+conferences concerning the picture for the Cathedral. The proposal, at
+first, was that a triptych on a gold ground, in a Gothic frame, should
+be painted for the high altar. Drawings were prepared, the general
+scheme was approved by Cornelius, and the Archbishop gave his assent.
+But objections having been raised on historic or archæologic grounds,
+the pictorial reredos was abandoned in favour of the present stone altar
+table. The artist felt deeply disappointed, and craved the prayers of
+his friend Steinle, who was engaged on the decoration of the choir.
+Fortunately, the services of Overbeck were only transferred from the
+high altar to the Madonna chapel, renovated to receive _The Assumption_
+commissioned to be painted. The cartoon was prepared and approved, and
+while engaged on the work the artist expressed himself supremely happy;
+he had no higher ambition than to be found worthy of a place in the
+great Cathedral.
+
+_The Assumption of the Madonna_[4] is suited to its surroundings; it is
+in keeping with the Gothic structure and decorations, and in
+companionship with old triptychs and other works which carry the mind
+back to remote ages. The composition stands forth as a vision of the
+imagination; from the darkness of the grave into the light of the upper
+sky rises the Queen of Heaven, borne upwards on angels' wings; midway
+sustained by clouds are the adoring host, comprising Adam, Eve, Abraham,
+and King David; on the ground below are seen, in miniature, the
+disciples around the empty tomb. The whole conception is in perfect
+accord with the rites and ceremonies of the Church; while looking at the
+picture and listening to the voices in the choir, the harmonies between
+form and sound seem fitly attuned.
+
+Overbeck, on the completion of the Cologne picture, revisited Germany
+for the second and last time. On the 20th July, 1855, he left Rome,
+proceeded to Florence, thence by way of Switzerland reached Frankfort,
+and extended his journey as far as Düsseldorf. In Cologne he stayed some
+weeks, and a festival, with usual laudatory speeches, was given in his
+honour. I happened to encounter the painter during his sojourn; 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 St. Peter_, head downwards. With reverence I approached
+the great master, and received a kindly shake of the hand. Overbeck on
+the return-journey passed a quiet month at Mayence; he also once more
+saw his old friends at Stift Neuburg, near Heidelberg. In Frankfort many
+sympathetic hours were spent with his attached companion Steinle, whose
+elevated works proved a renewed delight, and whose happy family circle
+recalled his own joys and losses. The town of Spires also received a
+visit, the inducement being Schraudolph's extensive frescoes, then in
+progress within the Cathedral. Posterity has reason to lament that these
+important works were not entrusted to the chief of Christian painters.
+Some further weeks passed pleasantly among congenial minds in Munich,
+but friends were grieved to mark growing infirmities. Overbeck had
+reached the age of sixty-six, and Emilie Linder writes sorrowfully, that
+he was the only person over whose death she could rejoice, because all
+pertaining to the body had become a painful burden. Even the
+affectionate demonstrations of his countrymen were too much for him, and
+so gladly he turned his steps homewards. Yet not without lingering
+regrets did he journey southwards, and on reaching the summit of the
+Brenner he writes: "I turned round once more and gave, through the
+streams flowing northwards, a last greeting to my German land." After
+four months' absence, home comforts brought rest to his troubled mind.
+
+Overbeck, after the death of his wife in 1853, left the Cenci Palace and
+went to dwell in the more quiet region of the Esquiline Hill, near the
+church of Santa Maria Maggiore. Later on he removed to the house in
+which he died, belonging to a convent, in the Via Porta Pia on the
+Quirinal Hill, near to the little church of San Bernardo, where he
+worshipped and lies buried. I remember the sequestered dwelling on the
+Esquiline, lying away from the road in one of those Italian wildernesses
+called a garden or a vineyard. The surroundings were inspiring; the eye
+wandered among churches and ruins, and beyond stretched the Roman
+Campagna, spanned by aqueducts and bounded by the Alban Hills, with
+Rocca di Papa, the painter's country retreat. The studio, which on
+Sundays continued to be crowded with strangers from all countries, had
+little in common with the ordinary run of painting rooms. Showy
+sketches, picturesque costumes, gay carpets and draperies, which
+commonly make a fashionable lounge, were wholly wanting. Like the studio
+of Steinle in Frankfort, all was in keeping with an art not dependent on
+outward materials, but reliant on inward thought. Around were ranged
+compositions embodying ideas, cartoons and drawings in no way
+decorative, but simple and austere studies of form in light and shade,
+or slightly tinted. At this period were thus evolved the pictorial
+series of the _Via Crucis_ and _The Seven Sacraments_. Turning from
+these creations to the painter himself, the visitor might be tempted to
+indulge in psychological speculations touching the processes whereby the
+spirit of the man passed into objective shape. More and more the old and
+solitary master withdrew his affections from earthly concerns, he
+approached the close of life as the sun which sets to rise on a new day,
+and his art breathed the atmosphere of those pure regions where his
+beloved ones were at rest.
+
+In the summer time was usually sought some country abode, not for
+remission of labour, but for refreshment through change of scene amid
+the beauties of nature. Overbeck, in 1856, was full of work, and in the
+autumn he journeyed to Perugia, and took as his travelling companions
+the small drawings of the _Via Crucis_. There, in the cradle of Umbrian
+art, in the presence of Perugino and Raphael, he carried out the scenes
+of _The Passion_. In the hill country of Perugia his thoughts turned to
+the hills round about Jerusalem, olive gardens spoke of the Garden of
+Gethsemane, a land lovely, yet sad, told of Him who trod the Via
+Dolorosa. The painter divided the day between the practice of his art,
+Church functions, and social intercourse; he revisited the scenes of his
+labours at Assisi, and rejoiced the German Sisterhood of St. Francis by
+a visit. The next year the picturesque district of Ariccia was chosen
+for summer sojourn, with the advantage of Cornelius within the distance
+of a walk. The following autumn the two old friends revisited the spot.
+Here the water-colour drawings of the _Via Crucis_, or _The Stations_,
+were with earnest solicitude brought to completion.
+
+_The Stations_ in "the history of our Lord" have been accustomed to
+comprise Christ's last sufferings, 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 Church." Such
+compositions are almost indispensable to every Roman Catholic place of
+worship, however humble; therefore Overbeck, desiring that his art
+should at all seasons furnish aids to devotion, designed these fourteen
+stations on the Via Dolorosa. According to precedent, the series begins
+with _Jesus Condemned_, and ends with _The Entombment_. The compositions
+were elaborated in two forms, the one as cartoons, the other as
+water-colour drawings.[5] The treatment is, of course, traditional, and
+the general style does but suggest the line of criticism with which the
+reader must by this time be familiar; more than ever we here encounter
+sermons for the edification of the faithful rather than works appealing
+to the artist. The notes which a few years since I made before the
+drawings in the Vatican read somewhat severe, yet I ought hardly to
+withhold the impressions left on the mind. Utmost devotion and sincerity
+will be taken for granted, but I found that the excessive striving after
+religious feeling degenerated into morbid affectation and spiritual
+spasm, that sentiment passed into sentimentality, and that simplicity
+scarcely escaped childishness. Throughout became painfully apparent the
+lack of physical sinew and dramatic force; the characters, not being
+modelled on the life, wanted truth to nature; they were afflicted with a
+bodily frailty and mental infirmity wholly unequal to the tragic
+situation. These shortcomings in works of noblest motive may be ascribed
+to two causes: first, advancing age, with increasing loss of power;
+secondly, the confirmed habit of slighting art and ignoring nature in
+order to magnify some favourite dogma. Thus the divine painter in late
+years missed his aim and marred his work.
+
+These reflections receive confirmation in _The Seven_ _Sacraments_,
+compositions which are triumphs of faith at the expense of art. The
+painter, however, in fairness, must be allowed to speak for himself. "I
+must," he writes, "first set forth what my conception of art is. Art to
+me is as the harp of David, whereupon I would desire that Psalms should
+at all times be sounded to the praise of the Lord. For when earth and
+sea and everything that therein is, when Heaven and all the powers of
+Heaven unite in extolling their Creator, how can man fail to join with
+every faculty and gift his Maker has endowed him with in this universal
+hymn of thanksgiving? 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 Lord?
+So precisely as Psalms of Praise would I wish to be accepted my seven
+representations of the Sacraments, which, as so many fountains of grace,
+the Church causes abundantly and ceaselessly to flow. These mercies of
+God are the subjects of my seven pictures. As regards their style and
+execution, they may be compared to tapestries after the manner of the
+Arazzi of Raphael, such as it is customary to display in Italy on feast
+days for the adornment of churches, and serving for the instruction of
+the people in a language all can understand. Similar tapestries might,
+in a more favourable time than the present, have been wrought from these
+representations, but they appear now only as designs preparatory to
+their possible completion some day in fresco or tempera."[6]
+
+Biblical history received ample exposition in numerous accessory
+compositions. Each of _The Seven Sacraments_ was surrounded by a
+predella, a frieze, and two side borders. Some of these long spaces
+dilated into several themes, and thus the total number of subsidiary
+subjects falls little short of forty. The foliated and floral ornament
+in style is not Raphaelesque, but more allied to early Gothic; the
+manner is graceful but feeble. The scheme embodies types in the Old
+Testament with their fulfilment in the New; both conjoined are brought
+to bear on the teachings of the Church concerning the Sacraments. Some
+of the analogies may appear, at least to outsiders, rather fanciful and
+far-fetched. Yet, the mystic meanings thrown around the singularly
+lovely composition of _Matrimony_ satisfy at least the poetic sense. 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
+angels. The predella presents a symbol from the Old Testament in Tobias,
+who, under divine guidance, obtains a companion for life. One
+side-border exemplifies the first institution of matrimony in Paradise;
+angels above, in embrace, are scattering flowers. On the opposite side
+an angel showers down thorns, and on the ground beneath lies the dead
+Saviour, signifying that marriage through suffering obtains its
+consecration. 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 sublimity, and thus do honour to God, to whom
+alone are due glory and praise in time and in eternity. Amen."
+
+Neither _The Seven Sacraments_ as works of art, nor the printed notes
+thereto as treatises in theology, have been accepted by the world
+favourably. Even within the Roman Catholic Church they are deemed rather
+ultra; unfortunately the painter could not see when and where his art
+became an outrage on the common sense of mankind. His treatment of _Holy
+Communion_ in these _Sacraments_, as well as in sundry other designs, is
+an instance of the way in which he pushed full far his sacerdotalism. He
+habitually departs from the treatment sanctioned by the great masters,
+from Giotto to Leonardo da Vinci; in place of a long table whereat all
+are seated is a small altar, before which the Apostles kneel; in lieu of
+a supper, the cloth is laid with only a plate and chalice, and instead
+of the breaking of bread among the disciples, Christ stands apart
+elevating a wafer. Now, all religious controversy aside, most minds will
+feel that, by thus substituting a fiction for a recorded fact, the
+subject is spoilt in point of art. 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
+truth."[7]
+
+Between the Christian artist and the head of the Church grew, as might
+be expected, a bond of mutual respect and attachment. Overbeck and Pius
+IX. had much in common; they were as brothers in affliction; the age was
+unbelieving; they had fallen upon evil days; and each was sustained
+alike by unshaken faith in the Church. Concerning _The Stations_, the
+drawings of which are in the private rooms of the Vatican, the Pope
+showed the liveliest interest, and wrote a letter to the artist full of
+apostolic benedictions. He had also evinced his friendly regard by
+giving sittings for his portrait. Afterwards, in 1857, came the
+commission to paint, for the Quirinal Palace, the large tempera picture
+representing Christ miraculously escaping from the Jews, who, according
+to the Gospel of St. Luke, had "thrust him out of the city, and had led
+him to the brow of the hill whereon the city was built, that they might
+cast him down headlong." This astounding composition is the one step
+from the sublime to the ridiculous; it represents Christ with the right
+foot on the edge of a precipice, the left in the air on the heads of
+small angels: it was intended to symbolise the Pope's escape from Rome,
+and his subsequent return to the city; and further it expressly
+signified the triumph of the spiritual over the temporal power.[8] While
+the large and important work was in progress, Pius IX. paid a visit to
+the painter in his studio, an event to the honour of modern art
+comparable to the old stories touching Francis I. with Leonardo da Vinci
+and Philip IV. in the painting-room of Velazquez. This abortive miracle
+on canvas left on my mind, when seen in the studio, a very painful
+impression, and sound critics--Zahn and others--pronounce the subject as
+unpaintable, and the work most unfortunate. Overbeck had not the power
+possessed by the old masters of carrying the imagination into the age of
+miracle.
+
+I have been at some pains to make the account here given of the
+painter's works exhaustive. My opportunities of observation have been
+favourable, and yet, especially as no complete biography of the artist
+has hitherto been published, some minor works may have escaped my
+notice. Here, in conclusion, may fitly come a few additions. _The
+Raising of Lazarus_, the exquisite drawing of which, now in the
+Düsseldorf Academy, has already received notice, was, in 1822, painted
+in oils. _The Death of St. Joseph_, before mentioned, was, in 1838,
+reproduced for the private chapel of the newly created Bishop of
+Algiers. Also worthy of mention are cartoons of _The Twelve Apostles_
+and of _The Four Evangelists_, for the Torlonia chapel at Castel
+Gondolfo; a design, _Christ teaching the Lord's Prayer_, for a window in
+the church of St. Katherine, Hamburg; sketches, including _The
+Coronation of the Virgin_, for a cathedral in Mexico; likewise drawings
+of the _Virtues_, also _Moses and the Daughters of Jethro_, the last
+engraved by Gruner, and then in England, belonging to Lord Hatfield.
+Also _The Vocation of St. John and St. James_, a pencil drawing in the
+possession of Baron Lotzbeck, Schloss Weihern, near Munich. This
+beautiful design has been chosen as one of the illustrations to this
+volume. Few masters have been so largely engraved as Overbeck; scarcely
+a picture or drawing of import exists that has not become thus widely
+diffused. By the artist's own hand are reproduced, on copper, _St.
+Philip Neri_, and a _Pilgrim_. In France were published the "Book of
+Hours," and "The Imitation of Christ," severally illustrated from
+designs by Overbeck. A pictorial art, chiefly reliant on form, and
+expressly intended for the teaching and saving of man, was fitly thus
+multiplied and disseminated.
+
+Numerous portraits of Overbeck, by himself and friends, give a
+retrospective view of his character. Probably the earliest is a pencil
+drawing in the Vienna Academy by the Viennese painter, Johann Scheffer
+von Leonhardshoff; the date must be prior to 1810, and the age somewhere
+about twenty. The head is remarkable, almost abnormal; the outlook on
+the world is inquiring, querulous, and combative; the penetrative eyes
+seem in search after undiscovered truth; the pursed-up mouth is prepared
+for protest; the attenuated nose and contracted nostril betray austerity
+and acerbity; the whole aspect is that of nervous irritability. The
+spirit is still in unrest, having sought in vain for the ideal; and
+unsatisfied yearnings already settle into moody sentiment and
+melancholy. In these traits are clearly legible the painful perplexities
+and the severe conflicts of the painter's first period. And like mental
+states and bodily conditions are carried into the pencil likeness
+already mentioned, taken in Rome by Cornelius some three years later:
+for the moment the mind seems masked by a phlegmatic mass of German
+clay; whatever might be light-giving in the inward man appears clouded.
+This, as we have seen, was for the young painter a time of doubt and
+difficulty, and the face remains as yet unillumined. The next known
+portraits come at a long interval, and show marked changes, which tell
+of deep and not wholly blissful experiences. In 1837, Carl Küchler, who
+made a series of portraits of German painters living in Rome, took and
+engraved the likeness of Overbeck at the age of forty-eight. The head is
+most striking and impressive; the coronal regions, the reputed abode of
+the moral and religious faculties, rise in full development; the frontal
+lobes of the intellect, with the adjacent territories of the
+imagination, bespeak the philosopher and the poet, while the scant
+circuit of the posterior organs gives slight sign of animal passion. The
+mien is that of a mediæval saint--austere, devout; the eyes steadfastly
+gaze as on hidden mysteries, yet shine with spiritual radiance; the
+brow, temple, and cheek are those of the child, yet thinker; all the
+features have settled into meditative repose, gently shaded by
+melancholy. Overbeck, at this time in close converse with Heaven, had
+given himself unreservedly to Christian Art; hence this supremely ideal
+head. The portrait, contributed to the autograph collection of artists'
+heads in the Uffizi Gallery, Florence, pleased neither the painter nor
+any one else, yet it was carried out on the favourite doctrine of
+uniting the inward with the outward man. The style is hard and dry, the
+character that of starved asceticism; the expression is Jesuitical, and
+actual traits are so exaggerated as barely to escape caricature. The
+artist was painted by Carl Hoffmann, also, it is said, by Genelli and
+Ernst Deger. The portraits in late life, whilst preserving personal
+identity, betray somewhat painfully the inroads of age and ill health.
+Rudolf Lehmann made a faithful study in 1853; Adolf Grass, an inmate in
+the house, painted in oils a portrait in 1865; and Professor Bendemann,
+in 1867, prevailed upon the diffident old man to give a sitting. Two
+years later death entered the house, and Friedrich Geselschap, a friend
+and artist from Düsseldorf, came a few hours after the eyes were closed,
+and made a full-size chalk drawing of the head as it peacefully lay on
+the pillow. This faithful transcript, now on the table before me,
+scarcely sustains the statement of some writers, that the countenance
+after death assumed a glorified aspect; but, whether living or dying,
+peace, though not void of pain, is the pervading expression.
+
+Overbeck, after the goodly habit of the old masters, was fond of
+introducing himself as a spectator in the sacred scenes he depicted, and
+thus the above list of portraits is considerably extended. The painter
+appears personally in _Christ's Entry into Jerusalem_; also, in company
+with his friends Cornelius and Veit, he joins the general assembly of
+artists in _The Triumph of Religion_. Again, in _The Gospels_ the devout
+painter is present at the Crucifixion, bent on his knees, the hands
+clasped, his eyes gazing on Christ upon the Cross. Overbeck was not thus
+the egotist or a man craving for glory, but merely the humblest of
+servants seeking some inconspicuous place among the followers of Christ,
+and desiring to be numbered with God's elect.
+
+I have endeavoured, though perhaps very imperfectly, to lay before the
+reader a picture of Overbeck as the artist and the man, and now little
+remains save a few general conclusions. I have anxiously tried to
+ascertain the painter's mode of work, and the successive steps by which
+he matured his compositions. This inquiry has proved all the more
+difficult, because drawings in their early stages were persistently kept
+out of view. The artist had two studios, the one strictly private for
+quiet incubation apart; the other public, wherein only finished products
+were shown. The question is, how consummate designs such as _The
+Gospels_ were elaborated. I find that Overbeck first revolved a subject
+in his thoughts until he had formed a distinct mental conception; this
+inward vision he would sometimes for months carry about with him, within
+the house and in his walks abroad. At last, when it had taken shape, he
+sketched out the idea with lead pencil on a small piece of paper; and,
+just in proportion as the first process had been tentative and slow, so
+was the final act swift and certain. In these supreme moments he had the
+power of throwing off his innermost thoughts without aids from the outer
+world: the lines flowed from his pencil rapidly when he had made up his
+mind what to do, and the forms once set down were seldom changed. The
+facility increased rather than lessened with years; thus we read, "At
+the age of seventy-two I create with undiminished freshness and
+pleasure." As soon as the first small sketch was complete, the usual
+method was followed of squaring out the surface with lines, in order to
+reproduce in charcoal, chalk, or sepia the design on the full scale
+required--often the size of life. For the important figures, for the
+heads, hands, and draperies, studies from the life were diligently made.
+Such drawings and cartoons have been and are greatly prized by
+connoisseurs; for example, _The Seven Years of Famine_ was acquired by
+Sir Thomas Lawrence for his collection. The reader will understand how
+difficult it was for the painter to find assistants who could help in
+this directly personal work, in this concentration of individual
+thought; hence the prolonged time needed, extending, as we have seen, to
+periods of five or ten years. Separate studies of colour were also
+sometimes, if not always, made. The ultimate stage of painting upon
+canvas or wall was comparatively a mechanical process.
+
+Furthermore, we have to consider and make allowance for certain
+technical notions of Overbeck and his school. The opinion upheld was
+that the idea or mental conception constituted the chief value of any
+art work, that outline or form was the direct language or vehicle of
+such idea, and that colour, light, shade, surface-texture, or realism,
+were subordinate, if not derogatory, elements. Thus it is that the works
+of the master cannot be judged by ordinary standards: hence likewise the
+drawings and cartoons are superior to the pictures.
+
+Especially does Overbeck's colour stand in need of explanation or
+apology. In the first place we have to take into account how far the
+artist was bound to tradition; we have, for instance, to bear in mind
+that in painting _The Assumption_, he was enjoined by the Church to
+clothe the Madonna in white. Then comes the whole question of symbolism,
+or the inherent or accepted relation between colour and thought and
+feeling. Now, I think it probable that Overbeck sacrificed harmonies
+pleasing to the eye for the sake of arrangements that might inculcate
+doctrines or impress emotions. Certain it is that he looked on colour as
+something carnal: the example of the Venetian painters warned him
+against passionate excess, and so as a religious artist he felt it a
+duty to use sombre pigments, tertiary tints, and low, shadowy tones.
+Thus much needs explanation, yet it must always be cause for regret that
+Overbeck did not take for examples such masters of colour as Fra
+Angelico and Perugino, and thus gain the heavenly radiance begotten of
+religion.
+
+The art of Overbeck will live by its merits despite its defects; it is
+vital and enduring in the three mental elements of thought, form, and
+composition. The last he matured and mastered with the certainty of a
+science and the beauty of an art. His compositions have the exactitude,
+and occasionally the complexity, of geometric problems, neither are they
+without the rhythm of a stanza, or the music of a song.
+
+How much and in what manner the art of Overbeck was due to direct
+inspiration from heaven is not easy to determine. But, at all events,
+the modern master, like his forerunners in the spiritual school of
+Umbria, watched and waited, fasted, prayed, and painted. One who
+observed him closely testifies how, while making the drawings for _The
+Gospels_ and _The Seven Sacraments_, he was penetrated with the life of
+Christ. From deep wells the infinite soul flowed into the finite mind,
+and the art conceived in the spirit of prayer issued as a renewed prayer
+to God.
+
+The reader, I trust, has formed a judgment as to the three-fold relation
+in which Overbeck and his works stand to nature, to historic precedent,
+and lastly, to inward consciousness or individual character. We have
+seen that the notion prevalent in Rome, that the living model was wholly
+discarded, is inaccurate; bearing on this moot point may be here told an
+anecdote. It is related how one morning, when the artist was engaged on
+the Tasso frescoes, in the Villa Massimo, he had need of the life for a
+muscular arm, and so sallied forth into the neighbouring Piazza of the
+Lateran and made appeal to some men who were breaking stones on the
+road. One of the number, of amazing muscle, consented to sit, but, to
+the disgust of the purist painter, the man turned out to be a public
+executioner, who only took to stone breaking when slack of usual work.
+Another story is to the effect that, one day a fellow of terrific aspect
+entered the studio, declaring he was without food, and demanding
+engagement as a model. He turned out a villain, and so the aversion grew
+to coming in contact with common and unclean nature. Another reason
+assigned for the non-employment of models is the lack of sufficient
+strength to sustain protracted study from the life. Hence recourse to
+other methods: for instance, both mental and pencil notes were taken of
+casual figures and incidents in society or in the public streets. John
+Gibson, the sculptor, cultivated a like habit. Also a remarkable memory,
+of which much might be told, served as a storehouse of pictorial
+materials. It is recounted now on Sunday evenings, after the reception
+in the studio of fifty or a hundred guests, the meditative artist would
+recall and describe the visitors one by one, and after many years, and
+perhaps in a distant place, meeting some person, otherwise unknown, he
+would say, "I remember to have seen that face once in my painting-room."
+In like manner his memory was peopled with figures, whose acquaintance
+he had made only in pictures: thus, when he came to paint _The
+Assumption_ for Cologne Cathedral, he had recourse to the mental vision
+of the Madonna, derived from an old Sienese panel, and, when charged
+with the plagiarism, he replied: "The figure realises my idea, and I do
+not see why I should search further." Thus, however, it came to pass
+that he borrowed more and more from others, just in proportion as he
+took less from nature. But in coming to a fair judgment, we have to
+remember that the accidents in nature, and the grosser materialism in
+man, were foreign to this super-sensuous art, the aim being to reach the
+hidden meaning and the inner life. Hence the favourite practice of
+placing and posing in the painting-room some well-chosen figure which
+was quietly looked at, carefully considered, and taken in; thus the
+irrelevant elements were eliminated, and only the essential truths
+assimilated. This was for Overbeck the saving study of nature: he made
+extracts and essences, elaborated generic types, and thus his art became
+supreme in beauty. However, the beautiful is not always new, neither is
+the new always beautiful.
+
+The painter's relation to the historic schools of Christian Art has been
+so fully stated, that little more remains to be said. The old masters
+were studied much in the same way as nature: their spirit was inhaled,
+and just as John Gibson was accustomed to ask, What would the Greeks
+have done? so Overbeck put himself in the place of the early Italian
+painters, and desired that his pencil might be guided by their spirit.
+Like Raphael, what he borrowed he made his own, and often added an
+aspect and a grace peculiar to himself. A gallery of pictures was for
+him what a well-stored library is to a literary student, who takes from
+the shelves the author best supplying the intellectual food needed. The
+method is not new or strange: Bacon teaches how the moderns inherit the
+wisdom of the ancients, and surely if for art, as for learning, there be
+advancement in store, old pictures, like old books, must give up the
+treasure of a life beyond life. Overbeck in the past sought not for the
+dead, but for the living and enduring.
+
+Given a painter's genius and surroundings, his art usually follows under
+the law of cause and effect. Overbeck's pictures, as those of others,
+yield under analysis as their component parts, nature plus tradition,
+plus individual self. As to the individual man, we have found Overbeck
+the poet and philosopher, the mystic, somewhat the sentimentalist, and,
+above all, the devout Catholic. The character is singularly interesting,
+and the products are unusually complex. He had forerunners and many
+imitators, yet he stands alone, and were his pencil lost, a blank would
+be felt in the realm of art. His genius was denied grandeur: he did not
+rise to the epic, and scarcely expanded into the dramatic; his path was
+comparatively narrow; his kingdom remained small, yet where he stands is
+hallowed ground; his art is musical, altogether lyrical, yet toned with
+pathos, as if the lamentations of The Holy Women at the Sepulchre
+mingled with the angel-voices of The Nativity. The man and his work are
+among the most striking and unaccustomed phenomena of the century, and
+so far as his art is true to God, humanity, and nature, it must endure.
+His own assurance is left on record: he held that knowledge and doing
+are of value only so far as they ennoble humanity, and lead to that
+which is eternal. He believed in the dependence of art on personal
+character, on elevation of mind and purity of motive. The noblest
+destiny of the race was ceaselessly before him, and he looked to
+Christian Art as the means of showing to the world the everlasting
+truth, and of raising the reality of life to the ideal. In conclusion, I
+think it not too much to claim Overbeck as the most perfect example, in
+our time, of the Christian Artist.
+
+The pecuniary rewards of the painter were in no fair proportion to his
+talents or his industry. His labour, as we have seen, was primarily for
+the honour of art and religion, and his protracted modes of study, as
+well as the esoteric character of his compositions, were little likely
+to meet with adequate return. Overbeck never realised large sums; his
+prices measured by present standards were ridiculously low, and even
+when overcrowded with commissions, he is known to have fallen short of
+ready cash. Happily, after early struggles, he became relieved from
+pressing anxieties, yet he remained comparatively poor.
+
+Overbeck's influence, the example of his life, the principles of his
+art, extended far and wide throughout Europe. In France, the German
+master won the reverence of the Christian artist Flandrin. In England,
+Pugin held him up to students as a bright example. In Vienna and Prague,
+Joseph Führich, as a disciple, worked diligently. In Munich, Heinrich
+Hess, and in Spires, Johann Schraudolph, painted extended series of
+frescoes allied to the same Christian school. In Düsseldorf like
+traditions live:--Deger, Ittenbach, Carl and Andreas Müller studied in
+Rome, and their frescoes in the Rhine chapel at Remagen were inspired by
+Overbeck. And specially does the mantle of the revered painter rest on
+his friend Eduard Steinle; important works at Strasbourg, Cologne,
+Frankfort, Münster, Klein-Heubach, and Reineck, respond to the spirit of
+the great artist who, dead, yet speaks.
+
+Brief is the narrative of the approaching end. The infirmities of age
+scarcely abated the ardent pursuit of an art dear as life itself.
+Overbeck had suffered from an affection of the eyes, and his later
+drawings, notwithstanding partial panegyrists, betray a faltering hand,
+together with some incoherence in thought, or, at least, in the relation
+of the parts to the whole. For some time, in fact, vitality had been
+ebbing from his work. The summer of 1869 found him in his favourite
+retreat of Rocca di Papa, and we are told he was "still busily
+creating." His country dwelling stood among beauties which, in illness
+as in health, came with healing power. From this sylvan quietude the
+aged painter, in June, wrote to his dear friend, Director Steinle, a
+letter abounding in love and aspiration; he dwells on the serenity of
+the Italian sky, on the splendour of the landscape stretching before his
+eye into the far distance; with characteristic modesty he laments that
+even in old age he is not sufficiently advanced for the great task set
+before him, and desires without intermission to turn to good account the
+time still left; and then he counsels his "Brother in Christ" to direct
+the mind steadfastly towards the glorious olden days which point to the
+blessed goal.
+
+Overbeck, on his return to Rome in the autumn of 1869, resumed his
+accustomed order of life. One who knew him well in later years relates
+that he was to be found in his studio in the early morning, that, after
+a short interval at noon, he resumed work till stopped by the darkness
+of evening, and that, such was the wealth of material stored in the
+mind, that he went on inventing without aid from usual outward
+appliances. He still sought utmost tranquillity, and any intrusion on
+the hours of study became extremely painful to him. Latterly he had been
+engaged on a small composition of _The Last Judgment_; 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 Party_. Such
+were the congenial avocations when, on the fourteenth day after the
+return home, he was seized with a severe cold on the chest. Yet the
+symptoms so far yielded to medical treatment that in eight days the
+danger had passed. Suddenly, however, ensued a total failure of power,
+yet for the most part the mind remained unclouded. A day or two before
+death he asked for a piece of charcoal, and added a few touches to a
+design on which lately he had been working; and at times, when
+apparently unconscious, he would look upwards, raise and move his hand
+as if in the act of drawing. He prayed almost without ceasing, was
+grateful for each kindness, and with dying lips had a loving and
+comforting word for everyone. The last sinking came in quietness;
+sustained by the consolations of religion he fell asleep towards six
+o'clock in the evening of Friday, the 12th of November, in the eightieth
+year of his age. He lay as he had lived--in peace; and near his bed was
+placed the drawing on which he had lately worked, also the small cartoon
+of _The Last Judgment_.
+
+The next day, according to the painter's wish, the body was taken by the
+hands of his brother artists to San Bernardo, the little parish church
+near his house, where he worshipped, and where he is still remembered.
+An eye-witness writes from Rome to Lübeck, on the 18th of November: "I
+have just come from the burial of our great fellow-countryman. Amid
+universal grief the funeral mass took place this morning. The mournful
+ceremony was performed by a German bishop assisted by Cistercian monks;
+many artists and German students were present, and joined in psalms
+composed by the Abbé Liszt. The whole function was most solemn, as if
+the pious spirit of the departed had entered the whole assembly. Around
+the bier were gathered Protestants as well as Roman Catholics; the
+coffin bore the many orders which the artist had received, but was never
+seen to wear; and at the feet lay the crown of laurels which his Roman
+brethren reverently offered to their acknowledged chief." The body lies
+in the chapel of St. Francis of Assisi, within the church of San
+Bernardo. The resting-place is marked by a white marble cross, let into
+the wall, bearing the inscription "Joannes Fridericus Overbeck--In
+Pace."
+
+FOOTNOTES:
+
+[Footnote 1: See 'Lübeckische Blätter,' from 1839 to 1869, for sundry
+notices concerning this picture and other works. The _Pietà_ is in oil
+on canvas, 10 feet wide and nearly as high; the top is arched; it is
+photographed. The pigments are in usual sound condition. A small picture
+accompanied this _Pietà_. It had been intended as a present to the
+brother, Judge Christian Gerhard Overbeck, but his death, in 1846,
+preventing the fulfilment of the purpose, it was sent to Lübeck as a
+gift to his son, the artist's nephew, Doctor and Senator Christian
+Theodore Overbeck, who died 1880. The representatives in Lübeck of this
+nephew are said to be in possession of sundry memorials of the
+illustrious uncle. Here in Lübeck I may mention a _Madonna and Child_, a
+circular composition 3 feet 2 inches in diameter, with the painter's
+monogram and the date 1853. The picture is a gem, exquisite for purity,
+tenderness, and beauty. Another _Madonna and Child_ is in the
+Thorwaldsen Museum, Copenhagen.]
+
+[Footnote 2: _The Incredulity of St. Thomas_ is 10 feet high by 5 feet
+wide. It bears the painter's monogram and the date 1851. The figures are
+life-size. The picture is in perfect preservation. The pigments, as
+usual, lie thin, showing through the rough tissues of the Roman canvas.]
+
+[Footnote 3: See 'Geschichte der neuen Deutschen Kunst, von Ernst
+Förster.' Leipzig, Weigel, 1863.]
+
+[Footnote 4: _The Assumption of the Virgin_ is in oil on canvas; height
+about 18 feet, width 9 feet. Figures nearly life-size. The scale is
+rather small for the magnitude of the architectural surroundings. The
+tone is that of an old picture, low and solemn. No positive colours are
+admitted. The pigments remain intact, without crack, blister, or change
+of colour. The picture was the joint gift of the Düsseldorf Kunst-Verein
+and the Cologne Cathedral Chapter. The price paid was equal to about
+£1000 sterling. The cartoon was exhibited in 1876 in the National
+Gallery, Berlin.]
+
+[Footnote 5: The cartoons of the _Via Crucis_ were, in September 1880,
+in the Villa Germania, near Biebrich. They are in chalk or charcoal in
+outline on grey ground, tinted with sepia. Height, 1 foot 9 inches;
+breadth, 1 foot 5 inches. The water-colour drawings of the same series
+were, in January, 1878, in the Camera di Udienza of the Vatican. Height,
+2 feet 6 inches; width, 1 foot 8 inches; mounted on white, and massively
+framed. The walls and accessories of the Pope's apartment are of a crude
+colour and in bad taste. The feeble execution of these cartoons and
+water-colour drawings betrays advancing age and declining power.]
+
+[Footnote 6: The cartoons of _The Seven Sacraments_, after a labour of
+some eight years, were finished in 1861, and received high encomiums
+when exhibited in Brussels. They remained with Overbeck at the time of
+his death, together with many other artistic properties, the
+accumulation of a life. Some of these treasures have been sold by the
+family who entered into possession. The cartoons were offered for sale,
+but are still without a purchaser. Small tempera drawings of _The Seven
+Sacraments_ were bought for the National Gallery, Berlin, in 1878. They
+are on canvas: measurement, 1 foot 8 inches by 1 foot 3 inches. These
+reductions were entrusted to scholars; the execution is poor; the master
+is responsible chiefly for revision. The pigments used vary; some are in
+warm sepia, others in cooler tones, and one, _Penance_, is fully
+coloured. The results technically are far from satisfactory. These
+_Sacraments_, including the predellas, friezes, and side borders, have
+been photographed in large and smaller sizes by Albert, Munich, and from
+the photographs August Gaber executed woodcuts, published with
+explanatory text penned by Overbeck. This text was also published as a
+separate pamphlet: Dresden, August Gaber; London, Dulau and Co. The hope
+above expressed that the cartoons might be further carried out was never
+realised.]
+
+[Footnote 7: I was informed, in October, 1881, by August Gaber, that the
+wood engravings made by him of _The Seven Sacraments_ had proved a
+financial failure, and that he had in the undertaking lost his all. The
+Bible of Schnorr, also rendered on wood by him, had, on the contrary
+succeeded. The reason assigned why the public did not care for _The
+Seven Sacraments_ was, that the treatment is too strongly Catholic; and
+this can hardly be a prejudiced judgment, because it was pronounced by
+Herr Gaber, himself a Catholic.]
+
+[Footnote 8: The picture is in tempera on canvas, and was put up on the
+ceiling of Pio Nono's sitting room in the Quirinal Palace. But when the
+King of Italy took possession, a new canvas with cupids and putti was
+stretched over it, and the Pope's sitting room is now turned into Prince
+Humbert's bedroom. This brutality might almost justify the good painter
+in his belief that Satan is now let loose upon earth. Yet the plea has
+not without reason been urged that the picture is a deliberate attack on
+the King's temporal power. The original cartoon was, in 1876, exhibited
+in the National Gallery, Berlin, and the same subject the artist
+repeated in an oil picture (10 feet by 8 feet), now in the Antwerp
+Museum. Overbeck had been made a "Membre effectif" of the Antwerp
+Academy in 1863, and the commission for this _replica_ followed thereon.
+I am told on authority that in Antwerp "the work is considered very
+mediocre."]
+
+
+
+
+[Illustration: JOANNES FRIDERICUS OVERBECK IN PACE
+
+THE RESTING-PLACE OF OVERBECK IN THE CHURCH OF SAN BERNARDO,
+ROME, IS MARKED BY A CROSS OF WHITE MARBLE BORDERED WITH
+BLACK, AND BEARING AN INSCRIPTION AS ABOVE.]
+
+
+
+
+                CHRONOLOGY OF THE LIFE OF OVERBECK.
+
+
+A.D.                                                                PAGE
+
+ 1789. Overbeck born at Lübeck, 4th July                               1
+       His Ancestors for three generations Protestant Pastors          3
+       His father Burgomaster, Doctor of Laws, and Poet                5
+
+ 1800. His Home Education                                              7
+
+ 1805. His First Drawing                                               9
+
+ 1806. Leaves Lübeck for Vienna                                        9
+       Student in Viennese Academy                                    10
+
+ 1809. Begins painting _Christ's Entry into Jerusalem_                11
+
+ 1810. Rebels against the Viennese Academy, and is expelled           15
+       Leaves Vienna and reaches Rome                                 18
+
+ 1811. German Brotherhood of pre-Raphaelites                          20
+       Monastery of Sant' Isidoro, the Dwelling of the Fraternity     24
+       First Commission                                               28
+
+ 1813. Overbeck joins the Roman Catholic Church                       33
+
+ 1817. Niebuhr, Bunsen, and Schlegel, literary friends             34-40
+
+ 1818. Frescoes, _The History of Joseph,_ in the Casa Bartholdi       40
+       Frescoes, _Jerusalem Delivered,_ in the Villa Massimo;
+       commission for                                              44-47
+
+ 1819. Exhibition in Palazzo Caffarelli                               31
+       Overbeck marries                                               49
+
+ 1831. Fresco, _The Vision of St. Francis,_ finished                  50
+       Overbeck visits Germany; returns to Rome                    52-61
+
+ 1833. Present at the opening of Raphael's Tomb                       61
+
+ 1835. _Christ's Agony in the Garden_; oil picture                    63
+
+ 1836. _Lo Sposalizio_, oil picture, finished                         64
+
+ 1840. _The Triumph of Religion in the Arts_, oil picture,         65-69
+       finished
+       Death of son                                                   76
+
+ 1846. _Pietà_, oil picture, finished                                 77
+
+ 1851. _The Incredulity of St. Thomas_, oil picture                   79
+
+ 1852. _The Gospels_, forty cartoons, finished                     69-72
+
+ 1853. Death of wife                                                  80
+
+ 1855. _Assumption of the Madonna_, oil picture, finished             83
+       Overbeck revisits Germany; returns to Rome                     84
+
+ 1857. _Via Crucis_, fourteen water-colour drawings, finished         87
+       Pope Pius IX. visits the Artist's studio 7th February          93
+
+ 1858. _Christ delivered from the Jews:_ Quirinal: Tempera Picture    92
+
+ 1861. _The Seven Sacraments_, cartoons                            89-92
+
+ 1869. Overbeck died the 12th November, aged eighty                  106
+
+
+
+
+                                INDEX.
+
+
+(_The titles of Paintings and Drawings are printed in Italics._)
+
+
+_Adoration of the Kings_, 28.
+
+_Annunciation_, 70.
+
+_Ascension_, 70.
+
+Assisi, 9, 46, 50, 82, 87.
+
+_Assumption of the Virgin_, 60, 83, 99, 101.
+
+
+_Barabbas released_, 70.
+
+Bartholdi Casa, 40, 43, 44, 60.
+
+_Bearing to the Sepulchre_, 28.
+
+Beauty in the mind and art of Overbeck, 14, 17, 18, 29, 40, 43, 99.
+
+Berlin, National Gallery, 30, 46, 84, 90, 93.
+
+Bible Society, 36.
+
+_Blessed art thou among Women_, 28.
+
+Bond between Art and the Church, 39.
+
+_Book of Hours_, 94.
+
+Bunsen, Baron, 31, 34, 36, 37, 38, 72.
+
+
+Caffarelli Palazzo, 31, 37.
+
+Canova, 27.
+
+Carstens, 12, 13.
+
+Cartoons by Overbeck, 9, 42, 45, 46, 50, 58, 70, 77, 82, 83, 87, 88, 93,
+98.
+
+Catholicism, 27, 31, 32, 33, 34, 35, 38, 52, 53, 58, 62, 69, 79, 81, 92,
+102, 106.
+
+Chart of Overbeck Family, 3, 4.
+
+_Christ's Agony in the Garden_, 63.
+
+_Christ bearing the Lamb_, 60.
+
+_Christ blessing Little Children_, 28.
+
+_Christ's Entry into Jerusalem_, 11, 16, 18, 71, 96.
+
+_Christ escaping from the Jews_, 92.
+
+_Christ falling under the Cross_, 71.
+
+_Christ healing the Sick_, 71.
+
+_Christ in the Temple_, 59, 71.
+
+_Christ teaching the Lord's Prayer_, 94.
+
+Christian Art, 12, 18, 27, 33, 39, 53, 66, 71, 96, 101, 103.
+
+_Christian Parnassus_, 65.
+
+Classic Movement, 3, 7, 8, 9, 12, 14, 27, 40.
+
+Coleridge, 36, 91.
+
+Cologne, 60, 63, 83, 84, 104.
+
+Colour, System of, 16, 29, 63, 64, 67, 98.
+
+Cornelius, Peter, 12, 18, 19, 21, 23, 31, 35, 36, 40, 43, 44, 48, 52,
+54, 59, 61, 74, 83, 87, 95, 97.
+
+_Cornelius, Portrait of_, 59.
+
+_Coronation of the Virgin_, 94.
+
+_Creation of Adam and Eve_, 30.
+
+Crown Prince of Bavaria, 48.
+
+
+David, French School of, 9, 12, 16, 26.
+
+_Death of St. Joseph_, 58, 62, 94.
+
+Deger, Ernst, 21, 104.
+
+Drawings by Overbeck, 9, 13, 28, 29, 30, 49, 55, 58, 59, 64, 87, 90.
+
+Düsseldorf, 12, 20, 21, 28, 52, 60, 84, 104.
+
+
+_Elias in the Chariot of Fire_, 55.
+
+_Entombment_, 28, 71, 77, 87.
+
+European Art, influence of Overbeck over, 103.
+
+_Expulsion from Paradise_, 13, 30.
+
+
+Father of the Painter, 1, 2, 4, 5, 6, 10, 17, 36.
+
+Father's Creed for a Purist Painter, 8.
+
+Father's Monition to study the Classics, 8.
+
+_Feeding the Hungry_, 30.
+
+_Feed My Sheep_, 80.
+
+Fêtes in honour of Overbeck, 53, 84.
+
+_Finding of Moses_, 59.
+
+_Flight into Egypt_, 31.
+
+_Four Evangelists_, 94.
+
+Frankfort Städel Institute, 29, 60, 68, 85, 104.
+
+Fresco Paintings by Overbeck, 11, 12, 21, 31, 40, 43, 44, 49, 100, 104.
+
+Füger, Friedrich, 10.
+
+Führich, Joseph, 21, 32, 46, 51, 74, 104.
+
+
+Gibson, John, 27, 100, 102.
+
+_God appearing to Elias_, 58.
+
+_Godfrey de Bouillon and Peter the Hermit_, 45.
+
+Goethe, 6, 12, 37.
+
+_Gospels_ or _Evangelists_, 70, 97.
+
+
+Hamburg, 28, 63.
+
+_Head of Old Monk_, 30.
+
+Hess, Heinrich, 55, 104.
+
+_History of Joseph_, 41.
+
+Hoffmann, Madame, 81.
+
+_Holy Communion_, 91.
+
+_Holy Family_, 28, 56.
+
+Home Life of the Painter, 6, 72.
+
+_Human Life_, 105.
+
+
+_Imitation of Christ_, 94.
+
+_Incredulity of St. Thomas_, 79.
+
+_Infant Jesus_, 59.
+
+Isidoro, Sant', Convent of, 21, 23, 24.
+
+_Israelites gathering Manna_, 59.
+
+_Italy and Germany_, 56.
+
+Ittenbach, Franz, 21, 104.
+
+
+_Jairus's Daughter, raising of_, 29, 59.
+
+Jameson, Mrs., 50.
+
+_Jerusalem Delivered_, 12, 31, 45.
+
+_Jesus as a Child at Nazareth_, 6.
+
+_Jesus Condemned_, 87.
+
+_Jesus in the House of Martha and Mary_, 28.
+
+_Joseph sold by his Brethren_, 42.
+
+
+_Last Judgment_, 105, 106.
+
+Leipzig Museum, 45, 50.
+
+Lessing, 27, 37.
+
+Letters and Correspondence of Overbeck, 9, 18, 25, 29, 33, 52, 57, 61,
+62, 64, 98, 104.
+
+Linder, Emilie, 52, 57, 58, 62, 76, 85.
+
+Literature and Art, state of, 11, 37.
+
+Lübeck, 1-9.
+
+Ludwig, King, 54, 55.
+
+Luther, 2, 34, 36, 64.
+
+
+_Madonna_, 31, 35.
+
+_Madonna and Child_, 31, 77.
+
+_Magnificat of Art_, 65.
+
+Maria Alfons, son of Overbeck, 17, 69, 76, 82.
+
+_Marriage of the Virgin_, 64.
+
+_Marriage, Sacrament of_, 80, 90.
+
+_Massacre of the Innocents_, 70.
+
+Massimo Villa, 9, 31, 44, 46, 60, 100.
+
+_Meeting of Ulysses and Telemachus_, 9.
+
+Memling's double Triptych, 2, 78.
+
+Mengs, Raphael, 12, 27.
+
+Mental Aspects of Overbeck, 5, 12, 15, 17, 18, 20, 24, 32, 34, 43, 51,
+55, 61, 71, 73, 74, 77, 85, 86, 95, 101.
+
+Monumental Painting, 49.
+
+_Moses and the Daughters of Jethro_, 94.
+
+Müller, Andreas, 21, 104.
+
+Müller, Carl, 21, 104.
+
+Munich, 50, 53, 54, 55, 56, 59, 85, 104.
+
+
+_Naming of St. John_, 71.
+
+Nature, study of, 15, 17, 23, 30, 43, 47, 54, 62, 63, 64, 66, 88, 100.
+
+Nazarites, 25, 74.
+
+Niebuhr, 25, 31, 32, 34, 35, 36, 37, 38, 44, 72.
+
+Nina, wife of Overbeck, 17, 49, 76, 80, 85.
+
+
+Oil Paintings by Overbeck, 11, 16, 28, 50, 56, 58, 60, 62, 63, 64, 65,
+77, 79, 83, 92, 93, 94.
+
+
+_Passion, the_, 87.
+
+_Penance, Sacrament of_, 90.
+
+Personal Aspect of Overbeck, 34, 73, 74, 86, 94.
+
+Perugia, 87.
+
+_Pietà_, 77.
+
+_Pilgrim_, 94.
+
+Pius IX., 73, 92.
+
+_Pius IX., his Portrait_, 92.
+
+Portraits of Overbeck, 17, 59, 69, 94, 96.
+
+_Preaching of St. John_, 28.
+
+Pre-Raphaelites, English, 14, 62.
+
+Pre-Raphaelites, German, 15, 19, 20, 21, 23, 25, 31, 34, 36, 40, 61, 74.
+
+Pre-Raphaelites, Italian, 12, 16, 43, 64, 102.
+
+Prices of Pictures, 46, 58, 65, 67, 79.
+
+Protestantism, 1, 3, 31, 32, 33, 35, 53, 69, 79, 81, 83, 106.
+
+Pugin, 33, 67, 104.
+
+
+Raczynski, Count, 50, 64.
+
+_Raising of Lazarus_, 28, 93.
+
+Raphael, opening of his Tomb, 61.
+
+Reformation, 3, 36.
+
+_Religion glorified by the Arts_: Overbeck's dissertation thereon, 65.
+
+_Resurrection, the_, 71.
+
+_Return from Church of the Wedding Party_, 105.
+
+Romantic Movement, 7, 12, 37, 47.
+
+
+Schadow, Wilhelm, 21, 24, 31, 34, 35, 37, 40, 43, 60.
+
+Schlegel, Friedrich, 12, 31, 33, 35, 38, 39, 41.
+
+Schnorr, Julius, 21, 44, 45, 71, 92.
+
+Schraudolph, Johann, 55, 85, 104.
+
+_Seven Sacraments_, 70, 88, 91, 92.
+
+_Seven Sacraments_: Overbeck's exposition of, 89, 91.
+
+_Seven Years of Famine_, 42, 51, 98.
+
+_Sibyl_, 64.
+
+_Sophronio and Olindo_, 45.
+
+Spiritual Art, "Soul Pictures,", 15, 33, 40, 65, 66, 100.
+
+_Sposalizio, Lo_, 64.
+
+_Stations, the_, 70, 86, 87, 92.
+
+Steinle, Eduard, 21, 51, 85, 86, 104.
+
+Stift Neuburg, 28, 29, 30, 59, 85.
+
+_St. Philip Neri_, 94.
+
+Studio of Overbeck, 70, 73, 82, 86, 101.
+
+Study, Overbeck's modes of, 72, 97, 100, 101.
+
+
+Thorwaldsen, 27, 77.
+
+_Triumph of Religion in the Arts_, 14, 60, 65, 97.
+
+_Triumph of Religion in the Arts_: Overbeck's exposition of, 65.
+
+_Twelve Apostles_, 94.
+
+
+Veit, Philip, 21, 31, 35, 38, 40, 41, 43, 44, 45, 60, 61, 97.
+
+_Via Crucis_, 86, 87.
+
+Vienna, 9-18.
+
+_Virtues_, 94.
+
+_Vision of St. Francis_, 9, 49, 50.
+
+_Vittoria Caldoni, Portrait of_, 28, 56.
+
+_Vocation of the Apostles James and John_, 80, 94.
+
+
+Winckelmann, 12, 27.
+
+
+
+
+LONDON: PRINTED BY WILLIAM CLOWES AND SONS, LIMITED, STAMFORD STREET AND
+                            CHARING CROSS.
+
+
+
+
+
+End of the Project Gutenberg EBook of Overbeck, by J. Beavington Atkinson
+
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+<title>OVERBECK by J. BEAVINGTON ATKINSON</title>
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+<pre>
+
+The Project Gutenberg EBook of Overbeck, by J. Beavington Atkinson
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Overbeck
+
+Author: J. Beavington Atkinson
+
+Release Date: April 15, 2008 [EBook #25073]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK OVERBECK ***
+
+
+
+
+Produced by Juliet Sutherland, Tim Buck and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+</pre>
+
+
+<div align="center">
+<div class="pageBreak"></div>
+
+<img src="images/cover.jpg" alt="Book Cover of OVERBECK" width="599" height="768" border="0" /><br />
+</div>
+
+<div class="pageBreak"></div>
+
+<div align="center">
+<div class="pageBreak"></div>
+
+<h3><em>ILLUSTRATED BIOGRAPHIES OF<br />
+THE GREAT ARTISTS.</em></h3>
+<br /><br />
+
+<hr width="10%" />
+
+<h2>JOHANN FRIEDRICH OVERBECK.</h2>
+
+<hr width="10%" />
+
+<div class="pageBreak"></div>
+</div>
+
+
+
+
+<div align="center">
+<div class="pageBreak"></div>
+
+<h3>ILLUSTRATED BIOGRAPHIES OF THE<br />
+GREAT ARTISTS.</h3>
+
+<p><em>The following volumes, each illustrated with from 14 to 20 Engravings, are now
+ready, price 3s. 6d. Those marked with an asterisk are 2s. 6d.</em></p>
+<table border="0" width="100%" summary="Illustrated Biographies of the Great Artists.">
+	<tr>
+		<td>GIOTTO.</td><td>By <span class="smallCaps">Harry Quilter</span>, M.A.</td><td>&nbsp;</td>
+	</tr>
+	<tr>
+		<td>FRA ANGELICO.</td><td>By <span class="smallCaps">C. M. Phillimore</span>.</td><td>&nbsp;</td>
+	</tr>
+	<tr>
+		<td>FRA BARTOLOMMEO AND ANDREA DEL SARTO.</td><td>By <span class="smallCaps">Leader Scott</span>.</td><td>&nbsp;</td>
+	</tr>
+	<tr>
+		<td>MANTEGNA AND FRANCIA.</td><td>By <span class="smallCaps">Julia Cartwright</span>.</td><td>&nbsp;</td>
+	</tr>
+	<tr>
+		<td>GHIBERTI AND DONATELLO.*</td><td>By <span class="smallCaps">Leader Scott</span>.</td><td>&nbsp;</td>
+	</tr>
+	<tr>
+		<td>LUCA DELLA ROBBIA.*</td><td>By <span class="smallCaps">Leader Scott</span>.</td><td class="right">[<em>Nearly ready.</em></td>
+	</tr>
+	<tr>
+		<td>LEONARDO DA VINCI.</td><td>By Dr. <span class="smallCaps">J. Paul Richter</span>.</td><td>&nbsp;</td>
+	</tr>
+	<tr>
+		<td>MICHELANGELO BUONARROTI.</td><td>By <span class="smallCaps">Charles Cl&eacute;ment</span>.</td><td>&nbsp;</td>
+	</tr>
+	<tr>
+		<td>RAPHAEL.</td><td>By <span class="smallCaps">N. D'Anvers</span>.</td><td>&nbsp;</td>
+	</tr>
+	<tr>
+		<td>TITIAN.</td><td>By <span class="smallCaps">R. F. Heath</span>, M.A.</td><td>&nbsp;</td>
+	</tr>
+	<tr>
+		<td>TINTORETTO.</td><td>By <span class="smallCaps">W. R. Osler</span>.</td><td>&nbsp;</td>
+	</tr>
+	<tr>
+		<td>CORREGGIO.*</td><td>By <span class="smallCaps">M. Compton Heaton</span>.</td><td>&nbsp;</td>
+	</tr>
+	<tr>
+		<td>VELAZQUEZ.</td><td>By <span class="smallCaps">E. Stowe</span>, M.A.</td><td>&nbsp;</td>
+	</tr>
+	<tr>
+		<td>MURILLO.*</td><td>By <span class="smallCaps">Ellen E. Minor</span>.</td><td>&nbsp;</td>
+	</tr>
+	<tr>
+		<td>ALBRECHT D&Uuml;RER.</td><td>By <span class="smallCaps">R. F. Heath</span>, M.A.</td><td>&nbsp;</td>
+	</tr>
+	<tr>
+		<td>THE LITTLE MASTERS OF GERMANY.</td><td>By <span class="smallCaps">W. B. Scott</span>.</td><td>&nbsp;</td>
+	</tr>
+	<tr>
+		<td>HANS HOLBEIN.</td><td>By <span class="smallCaps">Joseph Cundall</span>.</td><td>&nbsp;</td>
+	</tr>
+	<tr>
+		<td>OVERBECK.</td><td>By <span class="smallCaps">J. Beavington Atkinson</span>.</td><td>&nbsp;</td>
+	</tr>
+	<tr>
+		<td>REMBRANDT.</td><td>By <span class="smallCaps">J. W. Mollett</span>, B.A.</td><td>&nbsp;</td>
+	</tr>
+	<tr>
+		<td>RUBENS.</td><td>By <span class="smallCaps">C. W. Kett</span>, M.A.</td><td>&nbsp;</td>
+	</tr>
+	<tr>
+		<td>VAN DYCK AND HALS.</td><td>By <span class="smallCaps">P. R. Head</span>, B.A.</td><td>&nbsp;</td>
+	</tr>
+	<tr>
+		<td>FIGURE PAINTERS OF HOLLAND.</td><td>By <span class="smallCaps">Lord Ronald Gower</span>, F.S.A.</td><td>&nbsp;</td>
+	</tr>
+	<tr>
+		<td>CLAUDE LORRAIN.*</td><td>By <span class="smallCaps">Owen J. Dullea</span>.</td><td class="right">[<em>In preparation.</em></td>
+	</tr>
+	<tr>
+		<td>WATTEAU.*</td><td>By <span class="smallCaps">J. W. Mollett</span>, B.A.</td><td class="right">[<em>In preparation.</em></td>
+	</tr>
+	<tr>
+		<td>VERNET AND DELAROCHE.</td><td>By <span class="smallCaps">J. Ruutz Rees</span>.</td><td>&nbsp;</td>
+	</tr>
+	<tr>
+		<td>ROUSSEAU AND MILLET.</td><td>By <span class="smallCaps">W. E. Henley</span>.</td><td class="right">[<em>In preparation.</em></td>
+	</tr>
+	<tr>
+		<td>MEISSONIER.*</td><td>By <span class="smallCaps">J. W. Mollett</span>, B.A.</td><td>&nbsp;</td>
+	</tr>
+
+	<tr>
+		<td>SIR JOSHUA REYNOLDS.</td><td>By <span class="smallCaps">F. S. Pulling</span>, M.A.</td><td>&nbsp;</td>
+	</tr>
+	<tr>
+		<td>WILLIAM HOGARTH.</td><td>By <span class="smallCaps">Austin Dobson</span>.</td><td>&nbsp;</td>
+	</tr>
+	<tr>
+		<td>GAINSBOROUGH AND CONSTABLE.</td><td>By <span class="smallCaps">G. Brock&#8209;Arnold</span>, M.A.</td><td>&nbsp;</td>
+	</tr>
+	<tr>
+		<td>ROMNEY AND LAWRENCE.*</td><td>By <span class="smallCaps">Lord Ronald Gower</span>, F.S.A.</td><td>&nbsp;</td>
+	</tr>
+	<tr>
+		<td>TURNER.</td><td>By <span class="smallCaps">Cosmo Monkhouse</span>.</td><td>&nbsp;</td>
+	</tr>
+	<tr>
+		<td>SIR DAVID WILKIE.</td><td>By <span class="smallCaps">J. W. Mollett</span>, B.A.</td><td>&nbsp;</td>
+	</tr>
+	<tr>
+		<td>CROME AND THE NORWICH SCHOOL.*</td><td>By <span class="smallCaps">C. Monkhouse</span>.</td><td class="right">[<em>Preparing.</em></td>
+	</tr>
+	<tr>
+		<td>SIR EDWIN LANDSEER.</td><td>By <span class="smallCaps">F. G. Stephens</span>.</td><td>&nbsp;</td>
+	</tr>
+</table>
+</div>
+
+<div align="center">
+<div class="pageBreak"></div>
+
+<a name="frontis"></a>
+<img src="images/frontis.jpg" alt="JOHANN FRIEDRICH OVERBECK." width="410" height="453" border="0" /><br />
+</div>
+
+<div align="center">
+<div class="pageBreak"></div>
+
+<h4><em>"The whole world without Art would be one great wilderness."</em></h4>
+
+<hr width="10%" />
+
+<h1>OVERBECK</h1>
+
+<h3>BY J. BEAVINGTON ATKINSON</h3>
+
+<h4>AUTHOR OF<br />
+'SCHOOLS OF MODERN ART IN GERMANY,' ETC.</h4>
+
+<img src="images/illus-005.jpg" alt="[decoration]" width="119" height="165" /><br />
+
+<h3>NEW YORK<br />
+SCRIBNER AND WELFORD<br />
+LONDON<br />
+SAMPSON LOW, MARSTON, SEARLE, &amp; RIVINGTON<br />
+1882.</h3>
+
+<div class="pageBreak"></div>
+</div>
+
+
+<div align="center">
+<div class="pageBreak"></div>
+
+<h4>TO<br />
+THE RIGHT HONOURABLE</h4>
+
+<h2>A. J. BERESFORD HOPE, ESQ.,</h2>
+<h3>M.P., LL.D.,</h3>
+<h4>THE KIND FRIEND OF ARTISTS,<br />
+THE FERVENT UPHOLDER OF CHRISTIAN ART,</h4>
+
+<h2><span class="frakturFont">This Life</span></h2>
+
+<h5>OF</h5>
+
+<h3>THE CHRISTIAN PAINTER J. FRIEDRICH OVERBECK</h3>
+
+<h5>IS</h5>
+
+<h3><em>RESPECTFULLY DEDICATED</em></h3>
+
+<h5>BY</h5>
+
+<h3>THE AUTHOR.</h3>
+
+<div class="pageBreak"></div>
+</div>
+
+
+
+
+<div align="center">
+<div class="pageBreak"></div>
+
+<h3>PREFACE.</h3>
+
+<hr width="10%" />
+</div>
+
+<p class="justify">
+  <span class="dropCap">I</span>N offering to the public the first complete biography
+  yet attempted of the painter Overbeck, I wish to
+  give a few words in explanation. The task has been far
+  from easy: the materials, though the reverse of scanty,
+  are scattered: reminiscences of the artist and criticisms
+  on his works lie as fragments dispersed over the current
+  literature of Germany. My endeavour has been to fill in
+  vacuities, to thread together a consistent and connected
+  narrative, and thus, so far as I have been able, to present
+  a true and lucid history.</p>
+<p class="indent">
+  My duty has been all the more anxious from the unusual
+  complexity of the pictorial products falling under
+  review. The scenes are laid amid the battle of the
+  schools: the periods bring into prominence conflicts
+  between classic, romantic, and naturalistic styles. The
+  art of Overbeck was rooted in the olden times, yet in
+  some degree it became quickened by contact with present
+  life, and took also a personal aspect from the painter's
+  inner self. The great pictures and the numberless drawings
+  thus evolved over a space of more than half a century,
+  and here described from my own knowledge, raise interesting
+  and intricate questions on which the world
+  remains divided. My care has been to give a just estimate
+  of these exceptional art manifestations.</p>
+<p class="indent">
+  Also enter into the art, through the life, conflicts of
+  religious creeds, strifes between Protestantism and Catholicism,
+  between Platonism, Mysticism, and Rationalism.
+  In dealing with such delicate and serious topics I have
+  avoided all controversy, and have ventured only on the
+  simplest and briefest exposition. My effort has been
+  to state the case fairly all round, to maintain an even
+  balance, and, above all, to place the reader, whatever
+  may chance to be his creed or art school, in a position
+  to form a true judgment.</p>
+<p class="indent">
+  Likewise fairly to appreciate the artist, it is needful
+  rightly to comprehend the man. And here, again, perplexities
+  arise from unwonted combinations. The character
+  is one of the noblest and purest, and yet it is beset
+  with peculiar infirmities. The portrait offered in these
+  pages is, I trust, true and individual, toned down into
+  unity, and yet not left cold or colourless. Such negation
+  would, indeed, do injustice to my own feelings. For
+  among the cherished recollections of past days are my
+  visits to Overbeck's studio, stretching over a period of
+  twenty years: I learned to revere the master and to love
+  his works, and I trust no word in this little volume may
+  lessen the respect due to an honoured name.</p>
+<div align="right">
+<p>
+	J. B. A.</p>
+</div>
+
+<p>
+<span class="smallCaps">Kensington</span>,<br />
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<em>May</em>, 1882.</p>
+
+
+
+
+<div align="center">
+<div class="pageBreak"></div>
+
+<h3>CONTENTS.</h3>
+
+<hr width="10%" />
+
+<h4>CHAPTER I.</h4>
+
+<h5>L&Uuml;BECK&mdash;VIENNA.</h5>
+</div>
+
+<p class="rindent">
+  Birth and Parentage&mdash;Early Days in L&uuml;beck&mdash;The Artist's learned
+  and religious Ancestry&mdash;His Father Doctor of Laws and Burgomaster&mdash;Chart
+  of the Family&mdash;Creed for a Purist Painter&mdash;Young
+  Overbeck leaves L&uuml;beck for Vienna: his Studies in the Academy&mdash;Decadence
+  of Art in the Austrian Capital&mdash;Rise of the German
+  Pre&#8209;Raphaelite Brotherhood&mdash;Conflict between the Old Party and
+  the New&mdash;Overbeck and his Friends expelled from the Academy&mdash;He
+  resolves to make Christian Art the Vocation of his Life&mdash;Leaves
+  Vienna for Rome<br />
+  <span class="rightAlign"><em>Page</em> <a href="#p001">1</a></span></p>
+
+
+<div align="center">
+<h4>CHAPTER II.</h4>
+
+<h5>ROME&mdash;THE GERMAN BROTHERHOOD.</h5>
+</div>
+
+<p class="rindent">
+  Overbeck and his brother Artists reach Rome&mdash;The German Colony
+  settle in the Convent of Sant' Isidore&mdash;Inspiring surroundings of
+  Art and Nature&mdash;Modes of Study and of Life&mdash;Overbeck "a Treasury
+  of Art and Poetry, a saintly Man"&mdash;"The New&#8209;Old School,"
+  "the Nazarites," provoke opposition and ridicule&mdash;State of Art
+  in Rome: Classic, Romantic, Christian&mdash;First Commission: early
+  Drawings and Pictures&mdash;Exhibition in Palazzo Caffarelli&mdash;Overbeck
+  and his Friends join the Roman Catholic Church&mdash;Reasons
+  assigned&mdash;Literary circle: Niebuhr, Bunsen, and Friedrich Schlegel&mdash;Frescoes
+  by Overbeck, Cornelius, Veit, and Schadow in the
+  Casa Bartholdi and the Villa Massimo<br />
+  <span class="rightAlign"><a href="#p019">19</a></span></p>
+
+
+<div align="center">
+<h4>CHAPTER III.</h4>
+
+<h5>ROME&mdash;GERMANY.</h5>
+</div>
+
+<p class="rindent">
+  Overbeck marries, two children born&mdash;His position in "Monumental
+  Painting"&mdash;Fresco, "The Vision of St. Francis" at Assisi&mdash;Inclinations
+  towards Monastic Life&mdash;Journey to Germany&mdash;Triumphal
+  Entry into Munich&mdash;The Guest of Cornelius&mdash;Pictures in
+  the New Pinakathek&mdash;Correspondence and friendship with Fr&auml;ulein
+  Emilie Linder&mdash;Visits to Heidelberg, Frankfort, Cologne,
+  and D&uuml;sseldorf&mdash;Return to Rome&mdash;Present at the opening of
+  Raphael's Tomb in the Pantheon&mdash;Views of Art become more
+  dogmatic and sacerdotal&mdash;Three important easel pictures: "Christ's
+  Agony in the Garden," at Hamburg; "The Marriage of the Virgin,"
+  in Count Raczynski's Gallery, Berlin; "The Triumph of Religion
+  in the Arts," Frankfort&mdash;The Painter's explanatory disquisition
+  on the last&mdash;His habits of work, personal aspect and character<br />
+  <span class="rightAlign"><a href="#p048">48</a></span></p>
+
+
+<div align="center">
+<h4>CHAPTER IV.</h4>
+
+<h5>LATE WORKS&mdash;CONCLUSION&mdash;THE PAINTER AND HIS ART.</h5>
+</div>
+
+<p class="rindent">
+  Death of Son&mdash;Pictures: "The Piet&agrave;," in L&uuml;beck; "The Incredulity
+  of St. Thomas," in the possession of Mr. Beresford Hope&mdash;Death
+  of Wife&mdash;"The Assumption of the Madonna," Cologne Cathedral&mdash;Second
+  visit to Germany&mdash;F&ecirc;te in Cologne&mdash;Return to Rome&mdash;Studio
+  in Garden House on the Esquiline Hill&mdash;Cartoons and
+  Water&#8209;colour Drawings, "The Via Crucis"&mdash;Cartoons and Tempera
+  Drawings, "The Seven Sacraments"&mdash;Commissions from
+  Pius IX., his Portrait, Picture for Quirinal Palace: the Pope's
+  Visit to the Studio&mdash;Portraits of the Artist by various hands&mdash;Overbeck's
+  mental habits: his extraordinary memory&mdash;Modes of
+  Study and of Work&mdash;Form&mdash;Composition&mdash;Colour&mdash;The relation
+  of his Art to nature, tradition, and personal character&mdash;Pecuniary
+  rewards&mdash;Influence over the contemporary Schools of Europe&mdash;Closing
+  scenes&mdash;Death and Burial<br />
+  <span class="rightAlign"><a href="#p076">76</a></span><br /></p>
+
+<table border="0" width="100%" summary="Table of Contents - Chronology entry">
+  <tr><td width="90%" align="left" class="smallCaps">Chronology</td><td class="right"><a href="#p109">109</a></td>
+  </tr>
+</table>
+
+<div>&nbsp;</div>
+
+<table border="0" width="100%" summary="Table of Contents - Index entry">
+  <tr><td width="90%" align="left" class="smallCaps">Index</td><td class="right"><a href="#p111">111</a></td>
+  </tr>
+</table>
+
+
+
+
+<div align="center">
+<div class="pageBreak"></div>
+
+<h3>LIST OF ILLUSTRATIONS.</h3>
+
+<hr width="10%" />
+
+<table border="0" width="100%" summary="List of Illustrations.">
+<tr>
+  <td><span class="smallCaps">Portrait of Overbeck</span></td><td class="right"><a href="#frontis"><em>Frontispiece.</em></a></td>
+</tr>
+<tr>
+  <td colspan="2" align="right" class="smaller">PAGE</td>
+</tr>
+<tr>
+  <td><span class="smallCaps">The Holy Family</span></td><td class="right"><a href="#p002">2</a></td>
+</tr>
+<tr>
+  <td class="smallCaps">The Naming of St. John</td><td class="right"><a href="#p018">18</a></td>
+</tr>
+<tr>
+  <td><span class="smallCaps">Christ in the Temple</span></td><td class="right"><a href="#p024">24</a></td>
+</tr>
+<tr>
+  <td><span class="smallCaps">Christ Blessing Little Children</span></td><td class="right"><a href="#p028">28</a></td>
+</tr>
+<tr>
+  <td class="smallCaps">The Calling of St. James and St. John</td><td class="right"><a href="#p048">48</a></td>
+</tr>
+<tr>
+  <td class="smallCaps">Christ's Entry into Jerusalem</td><td class="right"><a href="#p058">58</a></td>
+</tr>
+<tr>
+  <td><span class="smallCaps">Christ Healing the Sick</span></td><td class="right"><a href="#p070">70</a></td>
+</tr>
+<tr>
+  <td><span class="smallCaps">Christ Falling under the Cross</span></td><td class="right"><a href="#p076">76</a></td>
+</tr>
+<tr>
+  <td><span class="smallCaps">The Entombment</span></td><td class="right"><a href="#p086">86</a></td>
+</tr>
+<tr>
+  <td><span class="smallCaps">The Resurrection</span></td><td class="right"><a href="#p094">94</a></td>
+</tr>
+<tr>
+  <td class="smallCaps">The Cross marking Overbeck's Tomb</td><td class="right"><a href="#finis"><em>Finis.</em></a></td>
+</tr>
+</table>
+</div>
+
+
+
+
+<div align="center">
+<div class="pageBreak"></div>
+
+<h1>Chart of the Overbeck Family.</h1>
+
+<hr width="20%" />
+</div>
+
+<div align="left">
+<pre>
+
+                                       CASPAR OVERBECK,
+                                 Merchant, Religious Refugee.
+                                               |
+                                 CHRISTOPH OVERBECK, Pastor.
+                                               |
+                          CASPAR NIKOLAS OVERBECK, D. 1752, Pastor.
+                                               |
+                        Total number of Children 8 sons and 6 daughters:
+                        2 sons and 4 daughters died in childhood.
+   ____________________________________________|_______________________________________
+  |         |                |                 |               |         |            |
+Johann    Levin   GEORGE CHRISTIAN OVERBECK,  Johann      Gottfried    August      Two
+Adolph,   Conrad,     B. 1713, D. 1786,       Daniel,     Ferdinand,   Friedrich,  Daughters
+B. 1706,  B. 1712,     Doctor of Laws.        B. 1715,    B. 1717,     B. 1719,    who grew to
+Pastor.   Pastor.            |                D. 1802,    Apothecary.  School      womanhood.
+                             |                Doctor of                Teacher.
+                             |                Theology, &amp;c.
+        _____________________|_________________________________________________
+       |                                   |                                  |
+    Conrad,                     CHRISTIAN ADOLPH OVERBECK,                Johann George,
+    Died at Riga,               B. 1755, M. 1781, D. 1821.                D. 1819,
+    Merchant.       Doctor of Laws, Syndic, B&uuml;rgermeister of L&uuml;beck, &amp;c.  Pastor.
+                                           |
+                     4 sons and 2 daughters: one son died in childhood.
+          _________________________________|________________________________________
+         |                |                      |                 |               |
+Christian Gerhard,  Johannes,  JOHANN FRIEDRICH OVERBECK,     Frau Charlotte  Frau Elizabeth
+B. 1784, D. 1846,   D. 1830,   B. in L&uuml;beck 1789, M. 1819,    Leithoff,       Meyer,
+Judge, L&uuml;beck.      Merchant.  D. in Rome 1869                deceased.       deceased.
+         |                |           The Painter                  |
+Christian Theodore,       |                |                   Frau Harms,
+B. 1818, D. 1880,         |                |                   L&uuml;beck,
+Doctor, Senator;          |                |__________________ living.
+left no children.         |                |                 |
+     _____________________|_________________             ____|_________________
+    |            |            |            |            |                     |
+Johannes,     Gustav,      Arnold,      Frau Rath  ALFONS MARIA,        Daughter of the
+Professor,    D&uuml;sseldorf,  D&uuml;sseldorf,  Reuleaux,  Son of the Painter,  Painter: died
+Doctor,       living.      living.      Berlin,    B. 1822, D. 1840.    in childhood.
+Arch&aelig;ologist,                           living.
+Leipzig,
+living.
+
+</pre>
+</div>
+
+
+<div align="center">
+<div class="pageBreak"></div>
+
+<img src="images/illus-015.jpg" alt="[decoration]" width="527" height="141" />
+
+<div>&nbsp;</div>
+
+<h1>OVERBECK.</h1>
+
+<a name="p001"></a>
+<h3>CHAPTER I.</h3>
+
+<h4>L&Uuml;BECK&mdash;VIENNA.</h4>
+</div>
+
+
+<p class="justify">
+  <span class="dropCap">J</span>OHANN FRIEDRICH OVERBECK was born, as a
+  tablet on his father's house records, in L&uuml;beck on the
+  4th of July, 1789. Among his ancestors were Doctors
+  of Law and Evangelical Pastors. His parents were good
+  Protestants; his father was Burgomaster in the ancient
+  city. Seldom has a life been so nicely preordained as that
+  of the young religious painter. The light of his coming
+  did not shine, as commonly supposed, out of surrounding
+  darkness. A visit to his birth&#8209;place, expressly made for this
+  memoir, soon showed me that Overbeck, from his youth
+  upwards, had been tenderly cared for; that he received a
+  classic education; that his mind was brought under moral
+  and religious discipline; in short, that the rich harvest of
+  later years had found its seed&#8209;time here within the family
+home in L&uuml;beck.</p>
+<p class="indent">
+  The old house in which Overbeck was born has unfortunately,
+  within the last few years, been modernised, but
+  the original medallion relief of the painter's head, life&#8209;size,
+<a name="p002"></a>
+  is built into the new façade, and the former structure can
+  be accurately ascertained as well from the designs of the adjoining
+  tenements as from the living testimony of the neighbours.<a name="c1f01_ref" href="#c1f01">[1]</a>
+  The Overbeck mansion stood in the K&ouml;nig Strasse,
+  a principal thoroughfare in the heart of an old city which
+  may not inaptly be designated the Nuremberg of Northern
+  Germany. It is not difficult here on the spot to picture
+  the life of the painter while yet in his teens. The historic
+  town of L&uuml;beck had enjoyed a signal political, commercial
+  and artistic epoch. As the head of the Hanseatic League, it
+  rose to unexampled prosperity. Deputies from eighty
+  confederate municipalities assembled in the audience&#8209;chamber
+  of the Rathhaus; fortifications, walls and gateways
+  were reared for defence, and merchant princes made
+  their opulence and love of ostentation conspicuous in
+  dwellings of imposing and picturesque design; thus
+  pointed gables, high&#8209;pitched overhanging roofs, stamp
+  with medi&aelig;val character the present streets. Then, too,
+  were founded rich ecclesiastical establishments; then was
+  built the cathedral, containing among other treasures
+  matchless brasses, a unique rood&#8209;loft, and a double triptych,
+  the masterpiece of Memling. This sacred work
+  made a deep impression on young Overbeck, and is known
+  to have given a direction to his art. About the same period
+  was also reared the Marien Kirche, enriched with bronze
+  sacrament&#8209;house, old German triptychs and fine painted
+  glass. This is the church in which the painter's father,</p>
+
+<br clear="all" />
+<div align="center">
+<img src="images/illus01.jpg" alt="THE HOLY FAMILY" width="503" height="735" border="0" /><br />
+</div>
+<br clear="all" />
+
+<a name="p003"></a>
+<p class="justify">
+  as Burgomaster, had a distinguished stall, elaborately
+  carved; and now, on visiting the spot, I find appropriately
+  among the treasures two chefs&#8209;d'&oelig;uvre which the son affectionately
+  wrought for the city of his birth. These churches
+  are Protestant, but fortunately the worst sign of the
+  Reformation is whitewash, and so the relics of the past are
+  reverently conserved, and here in L&uuml;beck, as in Nuremberg,
+  the Madonna still holds her honoured niche, and the
+  saints yet shine from out the painted window, even as in
+  after&#8209;years the selfsame characters appeared on the canvases
+  of Overbeck. Amid associations thus sacred, encircled
+  by a family addicted to learning and piety, to
+  poetry and art, was the tranquil spirit of the young painter
+  led into meditative paths; and as I took my evening walk
+  at the setting of the sun by the side of the wooded river,
+  under shadow of the old gateways and churches, it was not
+  very hard to realize how the love of nature and of art
+  grew up in the mind of the young student, and how this
+  city of the past proved a fitting prelude to a noble life&#8209;work
+  which set as its goal the revival of what was best
+  and most beautiful in the olden times.</p>
+<p class="indent">
+  The family of Overbeck had been for generations preeminent
+  for learning and piety, and biographers have
+  scarcely sufficiently taken into account either the Classic
+  or the Christian inheritance of the painter. Religious
+  teaching and living came by long lineal descent (see
+  Family Chart on page xvi.): the great, great, great grandfather,
+  Caspar Overbeck, was a religious refugee; the next
+  in succession, Christoph, was a Protestant pastor; and to
+  the same sacred calling belonged his son, Caspar Nikolas,
+  who lived into the middle of the last century. After
+  comes the grandfather, George Christian, Doctor of Laws;
+<a name="p004"></a>
+  and among collaterals signally shines the great&#8209;uncle,
+  Johann Daniel Overbeck (died 1802, aged 88);<a name="c1f02_ref" href="#c1f02">[2]</a> this
+  memorable man was Doctor of Theology, Rector of the
+  L&uuml;beck Gymnasium, and a voluminous writer; he published
+  thirty or more treatises; among the number are 'The
+  Spirit of Religion,' 'Grounds of Agreement in Religion
+  through the Reason and the Understanding;' also discourses
+  on St. Peter, St. Paul, and Luther. Facility of
+  pen runs through the family. Two other great&#8209;uncles,
+  Johann Adolph and Levin Conrad Overbeck, brothers of the
+  Doctor of Theology, were Pastors: furthermore must not
+  be forgotten the uncle, Johann George (brother of the Burgomaster),
+  who lived till 1819, and is described as a faithful
+  untiring pastor to an evangelical congregation, who offered
+  his life a willing sacrifice. "Duty" might be the watch&#8209;word
+  of all who bear the name of Overbeck. Lastly, and
+  not least, appears the pious, learned, and &aelig;sthetic father,
+  Christian Adolph. Though not in holy orders, he concerned
+  himself variously with religion in the wide and
+  vital sense of the word, holding it a divine presence, the
+  rule of life, and the inspirer of all noble work. I should
+  judge he was not dogmatic in creed, nor rigid in ceremonial.
+  He was philosophic, but had too much heart to
+  be a rationalist; too much imagination for an anti&#8209;supernaturalist.
+  He was a mystic pietist; religion blending
+  with poetry coloured his whole mind; revelation, nature,
+  and art, were for him one and indivisible. And this I
+  believe to have been the mental state of the son while
+<a name="p005"></a>
+  yet under the parental roof. The sequel will show a
+  change; the incertitude of speculation could not be sustained,
+  and so anchorage was sought within an "Infallible
+  Church." Yet for the right reading of a character curiously
+  subtle and complex, it is needful to realise the fact
+  that the seeds sown in the homestead were never uprooted,
+  that it was, indeed, the old stock which sustained the new
+  grafting, and that, to the last, a poetic mysticism dwelt in
+  the chambers of the artist's mind. And as was the tree so
+  were the fruits; sprung from a family of preachers, the
+  painter became an evangelist in his art.</p>
+<p class="indent">
+  The father, Dr. Christian Adolph Overbeck, as the formative
+  type of the son, merits a further word.<a name="c1f03_ref" href="#c1f03">[3]</a> If not quite
+  a genius, he was the model of a scholar and a gentleman;
+  besides being Burgomaster in the city of his birth, he was
+  Doctor of Laws, Syndic of the Cathedral Chapter, and
+  served in important political missions to Paris and St.
+  Petersburg. He is described "Musis Amicus";<a name="c1f04_ref" href="#c1f04">[4]</a> and not
+  only the friend of poesy, he was a poet himself, and by
+  virtue of the duality habitual to his mind dedicated his
+  pen with singular impartiality to Christ and Apollo; one
+  volume of verses being entitled 'Anacreon and Sappho,'
+  another, containing a poem, on 'The Love of God.' These
+  products rise somewhat above the level of respectable
+<a name="p006"></a>
+  mediocrity, yet they have not escaped the stigma of platitudes.
+  Goethe, however, did not disdain to make respectful
+  mention of the poet. The painter inherited in some
+  small degree the paternal gift; he accompanied with verses
+  the engraved and published drawings, <em>Jesus as a Child in
+  the House at Nazareth</em>. By the father I have also before
+  me a "new edition," published 1831, of a collection entitled
+  'Frizchens Lieder,'<a name="c1f05_ref" href="#c1f05">[5]</a> so called because penned for the benefit
+  of the youthful Frederick. The preface makes mention
+  of "my little Frizchen" thus:&mdash;"It were better had he
+  been an angel, but he is just a human child:" then,
+  facetiously, it is added, "he is less ideal than saucy and
+  conceited." Those who like myself knew only the solemnity
+  of the painter in advanced years have a difficulty in supposing
+  in the child such traits compatible. These songs of
+  the domestic affections were set to music; the father, as a
+  dilettante complete, cultivated all the harmonies whether
+  of thought, form, or sound; the home was musical.</p>
+<p class="indent">
+  The family life composes into a placid, homelike picture.
+  The parents, though well to do, were far from affluent.
+  The stipends of the busy Burgomaster and Syndic were
+  small, and he remained comparatively poor. At the age
+  of twenty&#8209;six he married a young widow with money and
+  one daughter, and domestic cares necessarily thickened
+  with the birth of six additional children, two daughters
+  and four sons, of whom Frederick was the youngest. The
+  mother, we are told, was beloved and honoured, and in
+  addition to ordinary domestic duties, diligently assisted
+  her children in the preparation of their school lessons;
+  moreover it is expressly stated that her fortune contributed
+<a name="p007"></a>
+  largely to the household expenses. The would&#8209;be artist
+  could not be considered unfortunate in his worldly condition;
+  he entered on life removed equally from the extremes
+  of riches or poverty; his parents were sufficiently
+  well off to make it possible for him to gratify his tastes
+  in the choice of a profession, while he was always under
+  such pressure as to render it imperative that he should put
+  out his full powers. His education within the limits of a
+  provincial town was liberal; the father kept himself and
+  his household quiet, student&#8209;like, and sequestered from the
+  dissipation of society, and so all the better could be cultivated
+  the budding faculties of his offspring. When the
+  children were sufficiently advanced he joined with other
+  parents in engaging a qualified tutor, and so formed a
+  special class or superior school. With affection was
+  watched the inclination towards art of the youngest son,
+  and anxiety lessened as the faculty strongly declared itself,
+  for above all was dreaded "mediocrity as the deadly sin
+  of artists." The father held that for success in art as a
+  profession three conditions were essential; classic training,
+  nobility of mind, and technical skill. And so in each day
+  the foremost place was assigned to classic studies. As to the
+  formation of character, religion stood as the corner&#8209;stone,
+  and the maxim for the daily life was "love in a pure mind."
+  This axiom sounds to me as the key&#8209;note to the painter's lifelong
+  art&mdash;an art loving in spirit and kept unspotted from
+  the world. But the father and son differed in this&mdash;that
+  the one was eclectic, the other exclusive. The father,
+  with the wide toleration of a poet&#8209;philosopher, believed in
+  the possibility of harmoniously combining styles, Classic,
+  Romantic, and Christian. His views may be judged from
+the following:</p>
+
+<div align="center">
+<a name="p008"></a>
+<h4><em>The Father's Monition to study the Classics.</em></h4>
+</div>
+
+<p class="indent">
+  With joy I see you constant in the study of the
+  ancients. To the Greeks and old Romans was it given to
+  stand as the everlasting lawgivers of the beautiful. Well
+  for you that you read the classics: above all, acquaint
+  yourself with the glorious forerunner, Homer, of whom
+  almost every line is a picture. Homer in the right chamber
+  of the heart, and the Bible in the left&mdash;or <em>vice&#8209;versâ</em>&mdash;in this
+  way, it seems to me, you cannot go far astray.</p>
+
+<div align="center">
+<h4><em>Creed for a Purist Painter.</em></h4>
+</div>
+
+<p class="indent">
+  The artist's and poet's mind should be as a spotless
+  mirror: his heart must be pure and pious, at one with God
+  and all mankind. The path to the holy Temple of Art
+  lies apart from the world, and the painter will go on his
+  way all the more unassailed if he stand aloof from the
+  temptations of the senses. And if the artist's mind be a
+  temple, then should find place therein only the figures of
+  saints and the semblances of holy things; and even in
+  profane representations a heavenly spirit should reign.
+  The mind is raised by the contemplation of the master&#8209;works
+  of genius, thus art reaches the highest summit.</p>
+
+<br />
+
+<p class="indent">
+  It is not to be supposed that the youth while in L&uuml;beck
+  reached the father's ideal; but within a stone's throw of
+  the house lay a Gymnasium, including a Drawing School
+  of which the great uncle, Dr. Johann Daniel Overbeck,
+  had been head master. Here, on the spot, I am told the
+  nephew received from a certain Professor Federau instruction
+  in art, and I have before me a drawing, the earliest
+  that has come to my knowledge, which proves that the
+  pupil was at least painstaking. The subject, in accordance
+<a name="p009"></a>
+  with the father's precept, is Homeric, the well&#8209;known
+  meeting of Ulysses and Telemachus.<a name="c1f06_ref" href="#c1f06">[6]</a> After the prevailing
+  manner of the period, the style is classic, according to
+  the French school of David, and a Greek portico appropriately
+  finds a place in the background. Young Overbeck
+  discovered in the sequel how much he had to learn,
+  and to unlearn; he closed Homer to open his Bible.</p>
+<p class="indent">
+  The time came for a change in the scene of action, the
+  art resources of a small provincial town were exhausted,
+  and the necessity arose for thorough academic training
+  elsewhere. The choice in those days was not extended,
+  and after due consideration the election fell in favour of
+  Vienna. Accordingly, in March, 1806, at the age of seventeen,
+  young Overbeck left L&uuml;beck. The home&#8209;parting
+  was tender, and might have been heart&#8209;rending could the
+  future have been read. Never were son and parents to
+  meet again. Frederick in sundry years, when full of
+  honours, visited Germany, but he seemed to shrink from a
+  return to the scenes of his youth; change in religion may
+  have made contact painful. Yet we are told that closest
+  communication was kept up by constant correspondence;
+  that the father affectionately watched his son's illustrious
+<a name="p010"></a>
+  career and read with lively satisfaction all announcements
+  in the public journals. The mother died in 1820, the
+  father a year after: for forty years they had been lovingly
+  united. I have visited the retired "God's&#8209;acre," beyond
+  the gates, removed from the noisy traffic of the town, and
+  not without difficulty discovered the grave of father and
+  mother. So dense was the overgrowth of years, that not a
+  letter on the massive stone could be seen; but the old man
+  of the place, tearing away the thick mantle of ivy, revealed
+  the words, "Here rest in God Elizabeth Overbeck, and
+Christian Adolph Overbeck, Burgomaster."</p>
+<p class="indent">
+  On reaching Vienna, the super&#8209;sensuous painter did not
+  find a bed of roses: his tastes were fastidious, his habits
+  exclusive, his aspirations impracticable. Of course his art
+  remained as yet unremunerative; thus his means were
+  scanty, and the friends he might have hoped to make
+  turned out enemies. And it cannot be denied that the
+  state of things in Vienna was enough to discourage and
+  disgust an earnest, truth&#8209;seeking student. The Academy
+  into which the Christian artist entered was under the
+  direction of Friedrich F&uuml;ger, a painter of the French type,
+  not without renown, but given over to the service of Jupiter,
+  Prometheus, and Venus, and when he chanced to turn to
+  sacred subjects, such as <em>The Death of Abel</em> and <em>The
+  Reading Magdalen</em>, affectation and empty pretence were his
+  resource. I have seldom seen works more contemptible.
+  Overbeck was in despair, and wrote to a friend that he
+  had fallen among a vulgar set, that every better feeling,
+  every noble thought, was suppressed within the Academy,
+  and that, losing all faith in humanity and in art, he turned
+  inwardly on himself. This transcendental strain, I cannot
+  but think, came in some measure from the conceit incident
+<a name="p011"></a>
+  to youth; self&#8209;complaisancy was certainly a habit of mind
+which the painter persistently cultivated as a virtue.</p>
+<p class="indent">
+  Four years' work within an organised academy could
+  not be otherwise than a gain to a tyro who had everything
+  to learn. Director F&uuml;ger was at least thoroughly trained;
+  talent and industry had early won him the distinction of
+  pensioner to Rome, and he subsequently executed important
+  frescoes in Naples, which obtain honourable mention
+  in the history of the times. His school might be bad,
+  but still it was a school; and the fact cannot be controverted
+  that Overbeck issued from it an artist. He learnt
+  what his father had laid down as essential to success,
+  drawing, composition, technique, and his advance was such,
+  that while in Vienna he commenced, and in part painted,
+  <em>Christ's Entry into Jerusalem</em>, a prized possession to
+  this day in the Marien Kirche, L&uuml;beck. Moreover, I am inclined
+  to think that under F&uuml;ger he was grounded in the art of
+  wall&#8209;painting, not only as a manipulative method, but as a
+  system of composition and decoration; otherwise it is hard to
+  understand how, shortly after arriving in Rome, he knew more
+  about fresco than the Italians themselves. Overbeck and his
+  master, however, became all the more irreconcilable because
+the discords lay less in the letter than in the spirit.</p>
+<p class="indent">
+  In order to realise Overbeck's artistic and mental difficulties
+  here in Vienna, and afterwards in Rome, it may be
+  well in fewest words to indicate the perplexed state of
+  things in Germany generally&mdash;a wide theme on which
+  volumes have been written. We have to consider that
+  Europe had suffered under the throes of the great French
+  Revolution, and that then followed the galling despotism
+  of Napoleon. Art and literature lay frozen and paralysed,
+<a name="p012"></a>
+  and Overbeck in L&uuml;beck and Vienna, like Cornelius in
+  D&uuml;sseldorf, found in tyrannous sway the pseudo&#8209;classic
+  school of the French David, cold as marble, rigid as petrifaction,
+  spasmodic as a galvanised muscle. But the
+  Germans, especially the more intellectual sort, smarting
+  under the yoke, were all the while gathering strength to
+  reclaim nationality as their birthright. The reaction came
+  through the romantic movement, otherwise the revival of
+  the poetry and the art of the Middle Ages. Overbeck fell
+  under the influence: in his L&uuml;beck home he read Tieck's
+  'Phantasies on Art,' and thirsted for the regeneration drawing
+  near. In Rome the spell heightened; thinkers such
+  as Frederick Schlegel brought over proselytes, and the
+  painter's early frescoes from Tasso's 'Jerusalem Delivered,'
+  came as the specific products of the new era. But the
+  School of Romance wore two aspects; the one, Poetic and
+  Chivalrous; the other expressly Christian; and Overbeck
+  was not content to exchange Homer and Virgil for Dante
+  and Tasso, he turned from the age of Pericles and Augustus
+  to the nativity of Christ. And it seemed to him that the
+  pure spring of Christian Art had, not only in Vienna but
+  throughout Europe, been for long diverted and corrupted,
+  and so he sought out afresh the living source, and casting
+  on one side his contemporaries, took for his guides the
+  pre&#8209;Raphaelite masters. Such is the relation in which
+he stands to the Romantic movement.</p>
+<p class="indent">
+  But the election made in favour of an art born of Christianity
+  proved for Overbeck the severer conflict, because
+  Germany, in the generation scarcely passed away, had
+  experienced a studious classic revival under the critic
+  Winckelmann and the painters Mengs and Carstens. Goethe,
+  too, a tyrant in power, had thrown his weight into the
+<a name="p013"></a>
+  classic scale, and, much to the chagrin of the young
+  painter, declared that the highest Christian Art was but
+  the perfecting of humanity. Moreover, classicism had been
+  brought within the painter's home by a five years' sojourn
+  in L&uuml;beck of Carstens, the Flaxman of Germany. The
+  father befriended the poor artist, and being well&#8209;read in
+  Greek and Roman authors, supplied him, among other
+  needs, with ideas for his classic compositions. I deem
+  these facts should be duly considered; it is wholly false
+  to ignore the presence of a classic element in the Christian
+  Art of Overbeck; and just as the purest religious painters
+  of Italy borrowed from the Pagans, so the great Christian
+  Artist of our times culled from the antique all he could
+  assimilate. It is clear to me, judging from the internal
+  evidence of his works, that as a student Overbeck went
+  through the usual course of drawing from the plaster cast.
+  Many are the passages in his compositions which might
+  be quoted in point, particularly Biblical incidents, such
+  as the <em>Expulsion from Paradise</em>, wherein appear undraped
+  figures. Here are seen to advantage the generic form,
+  the typical beauty, the harmony of line, the symmetry,
+  which distinguish the Classic from the Gothic. Furthermore,
+  Overbeck from first to last eschewed the dress actually
+  worn in the Holy Land, and deliberately draped Christ and
+  the Apostles as Greek sages and Roman senators. I believe
+  in so doing he was on the whole wise, his motive being to
+  remove his characters from the sphere of common life;
+  even for him, the most single&#8209;minded of men, art was a
+  compromise: but while borrowing thus largely both in figure
+  and costume from the Classic, it were vain to contend that
+  his creations had an exclusively Christian origin. I may add
+  that I do not think the controversy lies so much between
+<a name="p014"></a>
+  religions as between historic Schools of Art. Overbeck
+  was so much the artist that, like Raphael, he made beauty
+  wherever extant his own, only caring that whatever was
+  taken from the Pagan should be baptized with the Christian
+  spirit. Thus much indeed is confessed in his explanatory
+  text to his master&#8209;work the <em>Triumph of Religion in the
+  Arts</em>. Therefore in quoting his own words the subject
+  may fairly be allowed to drop: he writes: "Although
+  heathenism, as such, should be looked upon by the Christian
+  painter with decided disdain, yet the arts as well as
+  the literature of the ancients may be turned to advantage,
+  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 Temple, after melting
+  them down and consecrating them anew."</p>
+<p class="indent">
+  The much abused Director F&uuml;ger was the champion, as
+  we have seen, of hybrid classicism, hence the hostility
+  between master and pupil. The precise attitude assumed
+  by the contending parties it is not very easy to define;
+  but that there were faults on both sides may easily be
+  conceded; that each was in extreme is also evident, and
+  that Overbeck was the last man to yield an inch or to meet
+  half way is equally certain. The fatal conflict broke out
+  in differences as to the modes of study: of the Academy
+  we should now say that it was conventional, wedded to
+  false methods, in short, that it had wholly lost the right road
+  in the devious paths of decadence. The young innovators,
+  not choosing to conform, assumed a defiant position analogous
+  to, though not identical with, that taken half a
+  century later by our English pre&#8209;Raphaelite brethren.
+  The study of the early masters in the royal collection
+  they preferred to the routine of the Academy; thus D&uuml;rer
+<a name="p015"></a>
+  and Perugino were held up in challenge to Correggio and
+  Rubens, the idols of the day. Then the discord was
+  equally violent as to the right mode of studying nature.
+  The charge made against the German pre&#8209;Raphaelite
+  Brotherhood was that they dealt with the life&#8209;model
+  crudely and inartistically; on the contrary, Overbeck and
+  his adherents declared that they sought for nothing else
+  than truth, only they held that nature should not be studied
+  superficially, but with the end of deciphering her hidden
+  meanings. The human body they looked on as a temple,
+  the face they read as the mirror of the mind. All this,
+  and much more besides, though then a novelty, is now an
+  old story; the doctrine that the bodily form is moulded
+  on the spiritual being, the speculations concerning the
+  relations between the "objective" and the "subjective,"
+  the outward and the inward, the correspondence between
+  the world of sense and the world of thought, have one
+  and all taken definite place in the history of mental philosophy.
+  We have here fully to realise that Overbeck had
+  breathed the atmosphere of mystic spiritualism in L&uuml;beck;
+  hence his entrance into "spiritual art," hence his "soul
+  pictures." His mind being thus sublimated, he looked
+  down upon the Viennese Academicians as common and
+  unclean; a rupture naturally ensued, and he and his
+  companions being in the minority, were with a strong
+  hand, and with little ceremony, expelled from the classes.
+  The blow for the moment seemed overwhelming, yet it
+  brought salvation. Had Overbeck remained chained to the
+  Academy, art through him would not have seen a new birth.
+  His course became clear: he quitted Vienna for Rome, the
+city of his desire.</p>
+<p class="indent">
+  In the fourth and last year of the painter's apprenticeship
+<a name="p016"></a>
+  in the Austrian capital, was begun a really arduous
+  composition, <em>Christ's Entry into Jerusalem</em>.<a name="c1f07_ref" href="#c1f07">[7]</a> The picture is
+  of the utmost import as affording the only evidence of the
+  artist's attainments in Vienna. In the first place to be
+  remarked is the striking fact that not a vestige remains of
+  the French school of David, or of the showy masters of
+  the Italian decadence; the work, indeed, might have been
+  designed as a protest against the Viennese Academy, and as
+  a justification of the painter's revolt. The style adopted is
+  conjointly that of the Italian pre&#8209;Raphaelite and of the
+  early German and Flemish masters. The background
+  is built up into a high horizon giving support to the foreground
+  figures; the colours are deep and lustrous, and so
+  far contrast favourably with the weaker and cruder tones
+  unfortunately adopted at a later period. The costume is a
+  deliberate compromise between the classic and the naturalistic.
+  Nowhere does the artist venture, as Horace Vernet,
+  on the Bedouin dress. Christ is clothed in a flowing robe,
+  while the Apostles, as in the compositions of Raphael,
+  belong less to the Holy Land than to the Roman Forum.
+  This treatment of draperies was adhered to through all
+<a name="p017"></a>
+  subsequent works, the only change being further generalisation
+  and a wider departure from naturalism. In fact
+  it is curious to observe in this early work how much nature
+  enters; figures and incidents come direct from life, as witness
+  portraits of contemporaries, groups of little children,
+  young mothers and aged women. Such passages are happily
+  destitute of what the Viennese academicians called
+  "style;" they have more of the old German angularity
+  than of "the Grecian bend." Yet always with Overbeck
+  Beauty is present, only not thrust in, as by the academicians
+  of the period, in violation of Truth and Goodness.
+  Also very noteworthy is the impress of thought in the
+  heads, hands, and attitudes; the painter, as we have seen,
+  came of a family of thinkers, and the purport of his art
+  was to give expression to mind. Here again he took as
+  his teachers the early masters, so that these figures, though
+  more or less studied from nature, might seem to have
+  walked out from an old panel picture, yet they are more
+  than complications, they are impressed with the painter's
+  own individuality. Altogether the work marks not only
+  a starting&#8209;point in Overbeck's life, but a new era in the
+  art of the nineteenth century.</p>
+<p class="indent">
+  The composition by lapse of time gains biographic and
+  historic value through the introduction, in accordance
+  with the practice of the old masters, of contemporary
+  portraits. The painter has placed among the spectators
+  his father, in character of Burgomaster, also close by, his
+  mother, a remarkably shrewd old lady. His wife, memorable
+  as a beauty, is grouped with the three Marys, and by
+  her side sports the painter's much&#8209;loved son, a boy, palm&#8209;branch
+  in hand, rejoicing with the multitude. Nor are the
+  pilgrim painters in Rome forgotten: Overbeck and his
+<a name="p018"></a>
+  brother artists, Cornelius and others, appear at respectful
+  distance, gazing on Christ riding into Jerusalem.</p>
+<p class="indent">
+  Overbeck, before quitting Vienna, pretty much determined
+  his vocation: he resolved to dedicate his life to
+  Christian Art. On the point of departure, in writing to a
+  friend in L&uuml;beck, he takes a retrospective view, and also
+  points to the future. He recalls evening walks under the
+  shade of trees with congenial companions; he remembers
+  earnest conversations on poetry, painting, and other manifestations
+  of the beautiful, yet still something remained
+  wanting. True art, he writes, he had sought in vain:
+  "Oh, I was so full of it, my whole fancy was possessed by
+  Madonnas and Christs; I bore these impressions about with
+  me, I cherished them, but nowhere could I find response."
+  In Vienna, as we have seen, the desire of his soul remained
+  unsatisfied. His conflicts were painful, but once for all
+  he declares, "I will abide by the Bible; I elect it as my
+  standing&#8209;point." A few friends were like&#8209;minded, and one
+  especially, who had come from Italy, encouraged a pilgrimage
+  to the land of Christian Art. Accordingly, Overbeck
+  packed up his small worldly possessions, of which the
+  canvas of <em>Christ's Entry into Jerusalem</em> was the most considerable,
+  and at length he reached Rome as a haven of
+  rest.</p>
+
+<br clear="all" />
+<div align="center">
+<img src="images/illus02.jpg" alt="THE NAMING OF ST. JOHN" width="553" height="466" border="0" /><br />
+</div>
+<br clear="all" />
+
+<div align="center">
+<img src="images/illus-032.jpg" alt="[decoration]" width="222" height="66" /></div>
+
+<h3>FOOTNOTES:</h3>
+
+<p class="footnote">
+  <a name="c1f01" href="#c1f01_ref">[1]</a> The Overbeck house, when I sought it out in 1880, was rebuilt
+  and retenanted; the ground floor happens to be now occupied by a
+  bookseller and fancy stationer, who sustains intact the Protestant
+  character of the establishment. In vain I enquired for engravings
+  from Overbeck; the nearest approach to religious art was a portrait of
+  Luther in chromo&#8209;lithography!</p>
+<p class="footnote">
+  <a name="c1f02" href="#c1f02_ref">[2]</a> See 'Leben Herrn Johann Daniel Overbeck, weiland Doctors der
+  Theologie und Rectors des L&uuml;beckischen Gymnasiums, von einem
+  nahen Verwandten, und vormaligen Sch&uuml;ler des Verewigten.' L&uuml;beck,
+  1803.</p>
+<p class="footnote">
+  <a name="c1f03" href="#c1f03_ref">[3]</a> See 'Zur Erinnerung an Christian Adolph Overbeck, beider Rechte
+  Doctor und B&uuml;rgermeister zu L&uuml;beck.' L&uuml;beck, 1830.</p>
+<p class="footnote">
+  <a name="c1f04" href="#c1f04_ref">[4]</a> I have seen in the Public Library, L&uuml;beck, the engraved portrait
+  inscribed with the above words; the head bears a striking resemblance
+  to the well&#8209;known features of the son: the profile shows a fine intellectual
+  type, the forehead is ample and overhanging, the coronal
+  region full, the eye searching and earnest, the upper lip long, the
+  mouth large and firmly set. The last was not the most beautiful
+  feature in the painter's remarkable face.</p>
+<p class="footnote">
+  <a name="c1f05" href="#c1f05_ref">[5]</a> 'Frizchens Lieder, herausgegeben von Christian Adolph Overbeck:
+  neue Ausgabe.' Hamburg, Verlag von August Campe, 1831.</p>
+<p class="footnote">
+  <a name="c1f06" href="#c1f06_ref">[6]</a> This juvenile exercise, probably only a copy, was given by young
+  Overbeck to his master, and is now in the Town Library; it is
+  washed in with Indian ink, measures two feet by one foot nine
+  inches, and is signed and dated "F. Overbeck, 1805&#8209;21 April." The
+  Gymnasium, like the House, has recently been rebuilt, but the
+  continuity of learning remains unbroken&mdash;boys flock to the school as
+  in the painter's youth. The adjoining Town Library also contains the
+  original cartoon, drawn in Rome, for one of the frescoes illustrative
+  of Tasso in the Villa Massimo, length about ten feet; likewise the
+  cartoon of the Vision of St. Francis, painted in fresco in Sta. Maria
+  degli Angeli, near Assisi; the cartoon is about twenty feet long, the
+  figures are life&#8209;size.</p>
+<p class="footnote">
+  <a name="c1f07" href="#c1f07_ref">[7]</a> This picture, on canvas, is nearly eight feet long by six feet high,
+  the figures are about three feet. The 'L&uuml;beckische Bl&auml;tter' states
+  that "Overbeck began the work in Vienna in 1809, in the fourth year
+  of his art study, and there completed the background and the figures
+  in the middle plane, and that it was taken by him to Rome in 1810."
+  In the course of time the foreground figures were introduced, but not
+  till 1824 did the picture reach completion. It bears the signature and
+  date "J. F. Overbeck, 1824." Thus fifteen years elapsed between the
+  first touch and the last, and some ten further years passed before
+  the canvas came to the artist's native city. I carefully examined the
+  painting in the Marien Kirche in October, 1880, and found it in perfect
+  preservation, the colours unchanged, the surface untouched by time or
+  restoration. The picture differs from the illustration to these pages.</p>
+
+
+
+
+<div align="center">
+<div class="pageBreak"></div>
+
+<img src="images/illus-019.jpg" alt="[decoration]" width="521" height="145" />
+
+<div>&nbsp;</div>
+
+<a name="p019"></a>
+<h3>CHAPTER II.</h3>
+
+<h4>ROME&mdash;THE GERMAN BROTHERHOOD.</h4>
+</div>
+
+<p class="justify">
+  <span class="dropCap">T</span>HE biographies of artists, proverbially picturesque,
+  present few scenes more pleasant to look on than the
+  early years in Rome of the Brotherhood of German
+  Painters, of whom Overbeck and his friend Cornelius were
+  the leaders. Exiles in some sort from their native land,
+  they entered Italy as pilgrims, and were not far from
+  suffering as martyrs. They were devout, hard&#8209;working,
+  and withal poor. They had been drawn from distant
+  cities to Rome as a common focus, and there they severed
+  themselves from ignoble present times, and abiding
+  quietly amid ancient monuments and sacred shrines,
+  sought to make the days of old live anew. So congenial did
+  Rome prove to Overbeck, that he could hardly be induced
+  to sever himself from the city or its neighbourhood over
+  a space of more than fifty years. The task he assigned
+  to himself was arduous: how he went to work and accomplished
+  his mission I shall try to show.</p>
+<p class="indent">
+  Overbeck, in company with his brother artists, Pforr,
+  Vogel and Hottinger, having in Vienna cast off all fetters,
+  entered Rome as freemen in 1810. A year later Cornelius,
+<a name="p020"></a>
+  as a young Hercules, came upon the scene; he had
+  fought his way from D&uuml;sseldorf; like Overbeck, he had
+  found the Academy a burden and a snare, and he betook
+  himself to Italy for deliverance. Then began that closest
+  friendship between the two painters which, lasting for
+  more than half a century, was severed only by death.
+  Cornelius, writing to his friend Mosler, describes the
+  German Brotherhood in Rome, and adds: "Overbeck from
+  L&uuml;beck is the one who by the gentleness and nobility of
+  his soul draws all around him; he inspires them to
+  everything true and beautiful. May be he is the greatest
+  artist now living: you would be astonished if you could
+  see him at his work. Yet he is the most humble and
+  retiring of men." If Overbeck were as a lamb, surely
+  Cornelius was a lion, each indeed supplied what was
+  lacking in the other. Cornelius in after years said to
+  Rudolf Lehmann, "I am the man, he is the woman."
+  And it may strike the mind as a singular coincidence, or
+  rather as a benignant disposition of Providence, that at
+  sundry turning&#8209;points in the world's history, two men
+  the opposites the one of the other have been conjoined, as
+  if for the better accomplishment of the work to be done.
+  We may recall, in art, Raphael and Michelangelo; in
+  religion, St. John and St. Peter, Melanchthon and Luther;
+  and in philosophy, Plato and Aristotle. At the risk of
+  pushing the analogy too far, it may be added that Cornelius
+  was positive as Aristotle, impetuous as St. Peter
+  and Luther, defiant as Michelangelo; while in contrast,
+  Overbeck shared with Plato idealism, with St. John love,
+  with Melanchthon gentleness, and with Raphael grace.</p>
+<p class="indent">
+  The German colony of pre&#8209;Raphaelite painters in Rome
+  grew, and in after years came accessions almost unintermittingly.<a name="c2f01_ref" href="#c2f01">[1]</a>
+<a name="p021"></a>
+  Within the first twelve months were
+  gathered together, as we have seen, Overbeck, Cornelius,
+  Pforr, Vogel and Hottinger. Soon followed the brothers
+  Wilhelm and Rudolf Schadow: to these must be added Koch,
+  Wintergerst, Sutter, Mosler, Veit, Schnorr, Eggers, Platner,
+  and others. Later came Joseph F&uuml;hrich, who literally
+  worshipped the ground on which Overbeck stood. Edward
+  Steinle, of a younger generation, was also a bosom friend
+  of the painter. Later still arrived young zealots from
+  D&uuml;sseldorf, where Schadow had established the renowned
+  school of religious art. The best known of these disciples
+  are Ernst Deger, Franz Ittenbach, and the brothers
+  Andreas and Carl M&uuml;ller. After sitting at the feet of
+  Overbeck in Rome, it was their privilege to paint the
+  chapel at Remagen on the Rhine: these frescoes are
+  accepted as among the most beauteous manifestations of
+  the master's teachings. This brief epitome anticipates
+  the story of years. 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&#8209;seed he had cast into
+  the earth.</p>
+<p class="indent">
+  The Brethren found congenial habitation in the old
+  Franciscan convent of Sant' Isidoro on the Pincian Hill.
+  The picturesque monks having been turned out by Napoleon,
+  the German colony became tenants at a yearly rental,
+  and held in quietude the dormitories, also larger rooms
+  which served as studios, until the fall of the First Empire,
+  when the monastery once more reverted to the Mendicant
+  Friars, by whom it is still occupied. A few years since,
+  the Superior of the Order politely showed the present
+<a name="p022"></a>
+  writer over the ecclesiastical establishment, now, as formerly,
+  devoted to charitable works. Time has brought
+  little change in the cells, the refectory, or in the large
+  hall used for religious teaching. Other rooms, great and
+  small, are ranged round a cloister enclosing a garden still
+  fragrant with orange&#8209;blossoms as in the days of Overbeck
+  and Cornelius. Here, amid sacred associations and venerable
+  monuments, did these devoted students build up the
+  new art, and when the day's work was ended, they
+  mounted at eventide the lofty Belvedere, commanding a
+  panorama of which, even in Rome, are few equals.
+  From neighbouring campanili, vesper bells sound a
+  chorus in the bright Italian sky, and beneath the eye
+  stretches, as a prairie of the old world, the wide Campagna,
+  spanned by broken viaducts and bounded by the blue
+  Alban hills. Through the panorama winds the golden
+  Tiber, guarded by the Castle of St. Angelo and St. Peter's,
+  and around and below lie Monte Mario, the pine&#8209;clad
+  Pincian, the Villa Medici, and the ilex groves of the
+  Ludovisi. The scene was inspiring, yet not without
+  shadow of melancholy; the Capitol had fallen into the
+  hands of the stranger, but the spirit of Dante fired the
+  dauntless young men; they turned from the present to the
+  past, "imagination restored the empire that had been lost,"
+  and though "calamity afflicted the country, they believed
+  that God had not forsaken the people."</p>
+<p class="indent">
+  Overbeck is known to have been deeply penetrated by
+  the beauties of the Italian sky and landscape. After
+  sufferance of the rigours of northern winters, mind and
+  body expanded under the sun of the genial south. In
+  spring&#8209;time came days serene as his own spirit, giving
+  to nature the re&#8209;birth he sought for art; the clear horizon
+<a name="p023"></a>
+  carried thought to a world beyond; and in the deep blue
+  above floated such clouds as had served the old pre&#8209;Raphaelites
+  with the thrones and footstools of saints and
+  angels. Overbeck did not, as the masters of the decadence,
+  shroud his compositions in backgrounds of impenetrable
+  darkness, but flooded the canvas with the light of the
+  Italian heavens, and like the early painters, placed holy
+  people in the midst of such beauties of nature as tranquillise
+  and elevate the mind. And his sympathetic eye
+  was not only open to scenes which served as distances, he
+  watched in the gardens of the Roman villas the springing
+  flowers, and made careful studies of mossy, jewelled
+  foregrounds which served as carpeting for the feet of his
+  Madonnas. Having turned his back on the Fatherland, his
+  pictures bear no memories of black forests or frowning
+  Harzburg mountains, and he became so thoroughly Italianised
+  that he seated Holy Families on the borders of the
+  Thrasymene Lake, and placed saints within sight of Mount
+  Soracte! Like all true artists, he painted what he saw; as
+  his predecessors, he gathered in daily walks the accessories
+  he needed. Fra Angelico had painted at Fiesole, Francia at
+  Bologna, Perugino at Perugia, Pinturicchio at Spello and
+  Siena, and each in turn, like Overbeck, made the surrounding
+  scenery serve as accompaniments to figure compositions.
+  Nature was to all these painters a great teacher;
+  her presences were healing powers, and they left out all
+  the storms and discords, and like our poet Wordsworth,
+  brought her forms and aspects into harmony with tranquil
+  living. Yet the Brethren from their monastic abode in
+  Sant' Isidoro looked upon the outer world with sympathies
+  as diverse as their individual characters. When Cornelius
+  took his walks abroad, he crossed the Tiber to visit the
+<a name="p024"></a>
+  <em>Last Judgment</em> of Michelangelo. Overbeck's steps lay
+  in an opposite direction; he passed by the church
+  of Sta. Maria Maggiore, looked in for the sake of the old
+  mosaics, and then wended his solitary way to Sta.
+  Croce in Gerusalemme, to pay his devotions before the
+  frescoes commemorative of the discovery by St. Helena of
+  the true Cross. Here, in lovely surroundings, nature
+  blended in unison with art, he looked on the blue hills
+  and the calm sky, and thanked God Italy was his home.</p>
+<p class="indent">
+  The mode of living adopted within the cells and refectory
+  of Sant' Isidoro naturally savoured of the monastic: it
+  combined appropriately society with solitude. The habit
+  of the Brethren was to take meals together at a common
+  table, and to work separately each in his private painting&#8209;room.
+  The refectory served as a common hall for study
+  and for drawing from the model. The rule obtained in
+  the establishment that the provisioning and housekeeping
+  should be taken in rotation by each, one week at a time,
+  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 broth! On
+  Sundays the work relaxed or ceased wholly, and the wholesome
+  practice prevailed of bringing together the products
+  of the week for criticism with the end to mutual improvement:
+  many grave observations and lively pleasantries
+  passed from one to the other, Overbeck usually in his
+  modest way acting the part of mentor. "No one," writes
+  Schadow, "who saw or heard him speak, could question
+  his purity of motive, his deep insight and abounding
+  knowledge: he is a treasury of art and poetry and a saintly
+  man." Overbeck had stoutly defended the adopted course
+  of study which others condemned. "What," he asked,</p>
+
+<br clear="all" />
+<div align="center">
+<img src="images/illus03.jpg" alt="CHRIST IN THE TEMPLE" width="682" height="645" border="0" /><br />
+</div>
+<br clear="all" />
+
+<a name="p025"></a>
+<p class="justify">
+  "has been our crime? It is in great measure that we have
+  striven after a severe outline, in opposition to the loose,
+  cloudy, washed&#8209;out manner of the day. Is not this an
+  endeavour after truth?" But such studies, while filling
+  portfolios, brought no grist to the mill. And the historian
+  Niebuhr, an anxious friend, confesses that these devoted
+  men "were hard put to it for their daily bread," yet never
+  has a confraternity of artists more nearly approached an
+  ideal. No vow was actually taken, the bond was simply
+  voluntary; thus Overbeck expressly states, "with the
+  greatest concord among us as to the fundamental principles
+  of art, each goes on his own way."</p>
+<p class="indent">
+  The attitude assumed almost of necessity provoked
+  opposition, even ridicule. The assumption was made of
+  superiority, the tone grew even assailant; Correggio, Guido,
+  Guercino, and Domenichino, with all post&#8209;Raphaelites, were
+  denounced, and not only was it declared, "We are right,"
+  but it was added, "You are wrong." The Brethren personally
+  laid themselves open to attack; they were not free
+  from the affectations of youth, they made themselves conspicuous
+  by long hair and strange costume, and through
+  their exclusiveness and sanctity won as their nickname
+  the epithet of "Nazarites." Other designations were less
+  characteristic; simply descriptive are such terms as "pre&#8209;Raphaelites,"
+  "the new&#8209;old School," "the German&#8209;Roman
+  artists," "the Church&#8209;Romantic painters," "the German
+  patriotic and religious painters." But all trivial imputations
+  weigh lightly when set in the balance against
+  solid work and holy living. The earnest devotees in the
+  long run silenced evil tongues and won respect and a good
+  name. Niebuhr, ambassador and historian, by no means
+  a blind apologist, describing the art society of the day,
+<a name="p026"></a>
+  writes: "The painters in Rome are divided by a broad line
+  of demarcation into two parties&mdash;the one consisting of our
+  friends and their adherents, the other of the united phalanx
+  of those who are of the world, a set who intrigue and
+  lie and backbite; they intend there shall not be light, come
+  what will. The former are exemplary in their lives; the
+  latter display the old licentiousness which characterised
+  the German artists in Rome thirty years ago. Happily,
+  at the present moment, the more talented of the newcomers
+  are ranged on the side of our friends. It is a
+  hopeful sign that some foreigners, and even Italians, are
+  beginning to pay attention to their works." Overbeck
+  and his more immediate associates were indeed, in the best
+  sense of the term, "purists" and "pietists," and held
+  vitally to the maxim that they who would know of a doctrine
+  must live out the doctrine. On no other conditions
+  was it possible to accomplish their mission&mdash;the regeneration
+  of art. The schools around them had fallen in
+  great measure through lack of sincerity and truth; they
+  in contrast believed as our English Bishop Butler taught,
+  that conscience is the ruling faculty in the human mind.</p>
+<p class="indent">
+  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 Vienna. The Director, in
+  fact, of the Viennese Academy had in youth won the
+  prize of Rome, and there became the representative of
+  the prevailing decadence. Among the Italians, Battoni,
+  following in the footsteps of Carlo Maratti, was not without
+  the grace and the beauty of Correggio and Guido.
+  Descending a generation later, Overbeck found among his
+  contemporaries Pietro Benvenuto, one of the most distinguished
+  adherents of the school of David: whose masterpiece
+<a name="p027"></a>
+  in Arezzo Cathedral has justly been designated "one
+  of the finest productions of modern art." These were not
+  men to be wholly despised. Furthermore it is to be remembered,
+  as before indicated, that the Germans, in a
+  generation only just passed away, had here in Rome formed
+  a learned school based on the antique; Lessing, in his
+  treatise, the 'Laocoon,' and Winckelmann, by his criticisms
+  on the marbles of the Vatican, had induced a new Classic
+  Renaissance. The painter Raphael Mengs, thus guided,
+  appropriately executed in the Villa Albani the famous
+  fresco of <em>Apollo and the Nine Muses on Mount Parnassus</em>.
+  Again, here are men and manifestations not to be disdained.
+  But for such art Overbeck, as we have
+  seen, cherished inveterate antipathy: whether he was
+  absolutely right, impartial critics, founding a judgment
+  on a wide historic basis, will hesitate to determine. The
+  correct verdict probably is that each school is good of its
+  kind, that the one possesses merits distinctive of the other,
+  and that it is well for the world that every mode of thought
+  should in turn obtain the fullest and highest manifestation.
+  But Overbeck's vision was too intently focussed
+  on one point to perceive that his sphere was but a segment,
+  a part, though by no means an unimportant part, of the
+  greater whole. The classic movement, against which he
+  set his face steadily, was not to be easily annihilated;
+  it survived in Rome in such illustrious representatives as
+  Canova, Thorwaldsen and Gibson. But Overbeck grew
+  more and more the recluse; he shortly became a proselyte
+  to the Romish Church, shut himself out from other
+  associations, and thus after a time devoted his pencil exclusively
+  to Christian Art.</p>
+<p class="indent">
+  The early pictures and drawings executed in Rome
+<a name="p028"></a>
+  carry out the painter's resolve. To this first period
+  belong: <em>The Adoration of the Kings</em> (1811), <em>Jesus in the
+  House of Martha and Mary</em> (1812), <em>The Preaching of St. John</em>,
+  <em>The Raising of Lazarus</em>, <em>The Entombment</em>, <em>Christ Blessing
+  Little Children</em>, <em>The Holy Family</em>, <em>Ave Maria, Blessed art
+  thou among Women</em>, also a portrait of Vittoria Caldoni.<a name="c2f02_ref" href="#c2f02">[2]</a>
+  The first commission received by the struggling painter
+  came from Queen Caroline of Bavaria for <em>The Adoration of
+  the Kings</em>, in oils. The Queen had written to Rome saying
+  that she wished for a picture by the young artist; that as
+  to the price, a hard bargain need not be driven, for when
+  one gains a beautiful work, the cost cannot be regretted.
+  Overbeck, on receiving the good news, writes, December</p>
+
+<br clear="all" />
+<div align="center">
+<img src="images/illus04.jpg" alt="CHRIST BLESSING LITTLE CHILDREN" width="664" height="480" border="0" /><br />
+</div>
+<br clear="all" />
+
+<a name="p029"></a>
+<p class="justify">
+  16, 1811, "I was so overpowered with joy that
+  I could not bring out a syllable. The affair moves me
+  all the more because I had not dreamt of it. What can
+  be the cause of my good fortune? Happy day! I shall
+  think of it as long as I live: to the Lord be the praise."
+  Four days later he writes to L&uuml;beck:&mdash;"What joy! I
+  can now relieve my parents from further burden. This is
+  the moment so long wished for. Henceforth and for ever
+  I am a man and an independent artist in the workshop,
+  free as a king over the boundless domain of fantasy
+  to create a beautiful world."</p>
+<p class="indent">
+  The maxim that correct drawing lies at the foundation
+  of all true art was maintained by the Brotherhood through
+  both precept and example. Overbeck first mastered form,
+  he trained his hand to outline; next he learnt the principles
+  of composition, that is the power of combining
+  separate parts into a connected whole; lastly, he added
+  colour, but rather as an accessory than an essential.
+  Hence his water&#8209;colours and even his oil&#8209;pictures are
+  often little more than tinted drawings. In the first
+  Roman period, that is up to about the year 1820, when
+  the age of thirty had been reached, we find the artist
+  in full possession of the faculty of expressing his ideas at
+  the point of his pencil. Of this happy facility many
+  examples have come before me: one especially, at Stift
+  Neuburg, <em>The Raising of Jairus's Daughter</em> (1814); another,
+  almost a replica of the last, delicately washed with colour,
+  in the private collection of Herr Malss, of the St&auml;del
+  Institute, Frankfort. I note with admiration the precision
+  and subtlety of the form, especially in the hands and
+  feet. The work, though small in scale (1 ft. 3 in. by
+  1 ft.), is large in manner, the treatment being that of
+<a name="p030"></a>
+  the Great Masters as distinguished from the Small Masters.
+  Overbeck, who was on intimate terms with the family
+  of Director Malss, said that he wished they should
+  have a work as perfect as he could make it: verily he
+  realised his endeavour. Belonging to the same period, I
+  find in another private collection in Frankfort a portrait in
+  delicate pencilling of a young girl of about eighteen; the
+  hair is in close curls all round the head, the necklace is
+  marked with utmost detail. Perhaps I have not laid sufficient
+  stress on the truth and rectitude of Overbeck's work,
+  as seen, for instance, in the <em>Head of an Old Monk</em> among the
+  drawings of the National Gallery, Berlin. This is so close
+  to nature that a deformity in one ear has been conscientiously
+  registered. The handling here is masterly, the
+  touch firm and strong; the play of lines in the hatchings
+  proves a free hand and a facile turn of the wrist. Also
+  may be mentioned, for incidents taken from the life, a
+  remarkable composition at Stift Neuburg, <em>The Feeding of
+  the Hungry</em>. Close to nature are these transcripts of the
+  poor, the needy, and aged, one advancing on crutches
+  to receive bounty; and over all presides the spirit of
+  beauty and charity. Also in the same collection is a
+  triptych, wherein angels and cherubs appear: this is
+  among the earliest examples of the intervention of the
+  supernatural. Overbeck was not the man to rush in
+  where angels fear to tread. Likewise among Biblical
+  subjects, I find in the National Gallery, Berlin, <em>The
+  Creation of Adam and Eve</em>, and <em>The Expulsion from Paradise</em>.
+  Here the delineation of the undraped figure proves absolute
+  knowledge, and shows, as before said, that the usual
+  course of drawing from the nude had been gone through.
+  The point indeed need not be discussed further, as
+<a name="p031"></a>
+  Schadow expressly states that Overbeck's drawings from
+  the nude as well as from the draped figure were, for
+  subtlety and truth to nature, the admiration of every one.
+  The <em>Creation</em> and <em>Expulsion</em> are of exceptional value, because
+  the artist for once borrows from Michelangelo: also it
+  will be seen that Overbeck gave himself from the outset to
+  the illustration of the Biblical narrative, and thus fondly
+  trod in the footsteps of Giotto and Fra Angelico.</p>
+<p class="indent">
+  An Exhibition of the works of the German painters in
+  Rome was held in 1819, in a room of the Palazzo
+  Caffarelli, which, as the official residence of Niebuhr
+  and Bunsen, had often been a spot of kindly meeting
+  and hospitality. The collection Frederick Schlegel pronounced
+  unsurpassed in richness, variety, and intrinsic
+  value. Public interest was awakened, and attention
+  centred round the contributions of Overbeck, Schadow,
+  Veit and Cornelius. Overbeck sent a <em>Madonna</em> and a
+  <em>Flight into Egypt</em>; and Schlegel specially names the
+  cartoon of <em>Jerusalem Delivered</em>, for the frescoes then in
+  progress at the Villa Massimo, as proof of the artist's
+  power of expression and faculty of invention. He adds:
+  "The struggle of the German artists in Rome daily excites
+  more and more observation, and their progress is watched
+  with cordial sympathy by men of all nations."</p>
+<p class="indent">
+  A very serious topic must now be considered. Overbeck
+  in 1813 relinquished the Protestant faith of his forefathers
+  and joined the Roman Catholic Church. Obviously in
+  these pages polemics are out of place, 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 art. Rightly to judge the case, it
+  were well correctly to estimate Overbeck as a man: his
+<a name="p032"></a>
+  strength lay within his art, outside which he had infirmities;
+  his bodily health was feeble, his mind to the extreme
+  refined and to the last degree sensitive; he shrank from
+  the conflict of life; common people he could not associate
+  with; for the ordinary world he was wholly unfit, and
+  sought refuge in some ideal not yet reached. Niebuhr
+  truly reads the character when he writes: "Overbeck is
+  an enthusiast and quite illiberal; he is a very amiable
+  man and endowed with a magnificent imagination, but
+  incapable by nature of standing alone, and by no means
+  so clear&#8209;headed as he is poetical. He bends easily and
+  naturally under the yoke of the Catholic faith."</p>
+<p class="indent">
+  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 Europe. In L&uuml;beck, as we have seen,
+  the phases of faith were philosophic and &aelig;sthetic, and the
+  divinities of Olympus and Parnassus shared equal favour
+  with the saints of the Church. The young painter was
+  cast in a severer mould, and needed that the infinite and
+  eternal should be circumscribed by definite form. It is
+  reported of a certain German philosopher that, when
+  addressing his class, he ended with the words:&mdash;"In the
+  next lecture we shall proceed to construct God!" Overbeck
+  preferred to such speculation the authority of the
+  Church. The painter Joseph F&uuml;hrich puts the case
+  strongly:<a name="c2f03_ref" href="#c2f03">[3]</a> he declares that his friend had to take the
+  choice between Pantheism and Catholicism. Overbeck
+  felt that art was a religious question, and he determined
+  that all his work should be a protest against the indifferentism
+<a name="p033"></a>
+  and latitudinarianism which account all religions
+  equal. He conceded that secular writings and mundane
+  arts were not without their value and charm; in the arts
+  may be permitted divers manifestations, such as landscape,
+  animal, and flower painting. The Church is tolerant of
+  all that is good, but on the highest pinnacle stands the
+  Christian painter. Over these matters he had pondered
+  long, and was accustomed to say to himself, "Let not my
+  Christ be ever robbed of my love; the true home of art is
+  within the soul before the altar of the Church; the tabernacle
+  of art has its foundations in the worship of God."</p>
+<p class="indent">
+  Early Christian Art naturally drew Overbeck towards
+  the Roman Catholic Church. Frederick Schlegel, Rio,
+  Pugin severally fell under the same spell. The old
+  mosaics, frescoes, and easel pictures which came down
+  through unbroken ecclesiastical descent, were for the
+  Christian artist of the nineteenth century means of grace,
+  and served as revelations of the Divine. Fra Angelico
+  was taken as a pattern; through living and loving,
+  watching and praying, believing and working, the High
+  Priesthood of Art was to be established. And the actual
+  experiences of modern Rome brought no disillusion; the
+  frivolity and the hollowness which so often disgust newcomers
+  were either not seen or were turned aside from.
+  The painter was too pure and childlike to realise the evil,
+  he turned only to the good: for him the world shone as a
+  land of light; from art he would exorcise the passions; the
+  true art&#8209;life blended heaven with earth, the ideal could be
+  attained only through the Church: her teachings were
+  the education of humanity.</p>
+<p class="indent">
+  The decisive step ultimately taken is recorded as
+  follows: "Overbeck at Whitsuntide in the year 1813
+<a name="p034"></a>
+  joined the Catholic Faith, and with joy entered into the
+  family of the world's Church. His spiritual guide and
+  confessor was Professor, afterwards Cardinal, Ostini; and
+  the poet Zacharias Werner, of K&ouml;nigsberg, as a fellow&#8209;countryman
+  from the shores of the northern sea, acted as
+  godfather at the ceremony. The poet, in writing at the
+  time to the Prince Primate of Dalberg, said that he recognised
+  in the young painter 'a true seraphic character of
+  the Fatherland.'"<a name="c2f04_ref" href="#c2f04">[4]</a></p>
+<p class="indent">
+  A veritable mental epidemic seized on the German
+  artists, and when one after another of Overbeck's friends
+  followed his example, Niebuhr took alarm, and bethought
+  himself of what measures could be taken. It appears that
+  a pamphlet had been published intended expressly for the
+  conversion of the young Germans, and Niebuhr, feeling
+  the emergency of the situation, requested a friend to
+  bring or send Luther's works with other writings against
+  Popery. He adds: "It cannot be expressed how disgusting
+  these proceedings become the more you see of them.
+  At this moment the proselytes have Schadow, one of the
+  ablest of the young artists, on their bait." At a later
+  date he writes: "I like Overbeck and the two Schadows
+  much, and they are estimable both as artists and as men;
+  but the Catholicism of Overbeck and one of the Schadows
+  excludes entirely many topics of conversation." Overbeck
+  is elsewhere described as of "very prepossessing physiognomy,
+  taciturn and melancholy," with a "proselyting
+  spirit." Bunsen, who no less than Niebuhr deplored these
+  conversions, writes in 1817 that Overbeck had been for
+  a fortnight in August a welcome guest at Frascati, that
+<a name="p035"></a>
+  he had finished a water&#8209;colour drawing&mdash;a very lovely
+  Madonna with the infant Jesus&mdash;"of which he permitted
+  a copy to be taken, still extant, and valued as a record of
+  the time and of the short&#8209;lived intimacy with the gentle
+  and heavenly&#8209;minded artist, who soon after this period
+  withdrew from all companions of a different religious
+  persuasion from that which he had adopted." Among the
+  chief converts are numbered the brothers Schadow, Veit,
+  Platner, and the critic Frederick Schlegel. Cornelius is
+  not included, because he was born into Catholicism. He
+  is described as of "an open and powerful intellect, free
+  from all limitations," "with habits and convictions rooted
+  as the facts of his existence." He thus looked on coolly
+  while the new converts were at fever&#8209;heat. Yet it is
+  pleasant to know that these controversies were, in the
+  main, preserved from personal bitterness, and that whatever
+  might be the difference in creeds, the broad union of
+  religion and humanity was never torn asunder. Thus in
+  1817 Niebuhr, a Protestant and possibly something more,
+  was able to write: "I associate chiefly, indeed almost
+  exclusively, with the artists who belong to the religious
+  party, because those who are decidedly pious, or who
+  strive after piety, are by far the noblest and best men,
+  and also the most intellectual, and this gives me an opportunity
+  of hearing a good deal on faith and its true nature."
+  And the faith of these men we know to have brought
+  forth good works; as were their belief and their practice,
+  such were their pictures, and it is scarcely here the place
+  to discuss whether larger views might have given to their
+  art wider extension.</p>
+<p class="indent">
+  By a curious coincidence, about the time when these
+  conversions to Roman Catholicism were going on in Rome
+<a name="p036"></a>
+  the third jubilee of the Reformation was celebrated at
+  L&uuml;beck. The pietist father of the painter made himself
+  champion of the cause, and delivered a speech at a meeting
+  of the Bible Society, wherein he proclaimed Luther the
+  great witness of truth. "Luther," he declared, "spoke,
+  wrote, thundered, and the power of darkness was overturned;
+  thus conscience became free, doctrines were
+  purified, and the precious Bible, as a heavenly treasure,
+  was given back to the people."<a name="c2f05_ref" href="#c2f05">[5]</a> It has been assigned as
+  a reason why Overbeck never returned home, that he
+  could not bear to see the city of L&uuml;beck with her old
+  walls thrown down; but a less fanciful cause was that
+  other walls than those of brick and mortar had been set
+  up, dividing kindred and friends.</p>
+<p class="indent">
+  Let us now turn from polemics to the pleasing descriptions
+  given by Niebuhr and Bunsen of the daily lives of
+  the German Brotherhood. It is not always that arch&aelig;ologists
+  and literary men are the soundest counsellors of
+  artists; they place overmuch stress on the inward conception
+  and motive; they lay down, like Coleridge, the
+  axiom that "a picture is an intermediate something
+  between a thought and a thing," and in exalting the
+  "thought" they subordinate the "thing." This was the
+  last teaching that Overbeck needed. He and his fellows
+  were already only too prone to ignore technique, to
+  neglect colour, chiaroscuro, texture. They deemed it all&#8209;sufficient
+  to perfect form as the language of thought;
+  consequently while their works instruct and elevate, they
+  fail to please or to gain wide popularity.</p>
+<p class="indent">
+  Nevertheless, taken for all in all, Overbeck and Cornelius
+  must be accounted most fortunate in their intellectual
+<a name="p037"></a>
+  companionship. The habit was, when gathered
+  socially together at the Embassy in the Palazzo Caffarelli,
+  to read books, talk of pictures, and to consort together
+  generally for the furtherance of the great art revival in
+  which Niebuhr and Bunsen believed fervently. The
+  attachment became mutual, the intercourse was prized on
+  both sides. Niebuhr writes of Cornelius and his wife:
+  "They are, strictly speaking, intimate family friends;"
+  and again he says: "The society of Cornelius and Overbeck
+  gives an inspiring variety to the day's occupations,
+  and one or other of these intellectual companions seldom
+  fails to join our evening walks." In another letter we
+  read: "Cornelius of D&uuml;sseldorf, Platner from Leipzig,
+  Koch from the Tyrol, Overbeck from L&uuml;beck, Mosler from
+  Coblentz, and William Schadow from Berlin, were assembled
+  at Bunsen's in the apartments of the painter
+  Brandis: in different ways and degrees we are attached
+  to them all, and we think them men of talent. Their
+  society is the only pleasure we derive from human beings
+  in Rome." The young artists are found to be wholly
+  without worldly wisdom, a charge to which at least Overbeck
+  might readily plead guilty. Niebuhr further declares:
+  "I confidently believe we are on the eve of a new
+  era of Art in Germany, similar to the sudden bloom of our
+  literature in the eighteenth century." He discerned in
+  the movement an unaccustomed spiritual phenomenon&mdash;one
+  of those manifestations of the national mind from time
+  to time found in the history of humanity. He felt once
+  more an outburst of the intellectual life of Germany,
+  a rising again of the force of genius which had impelled
+  Lessing, Kant, and Goethe, which had given birth to
+  profound philosophy and science, and had animated
+<a name="p038"></a>
+  a whole people with patriotism and a spirit of self&#8209;sacrifice
+  to do battle amid national songs and hymns, even to the
+  death, in the cause of the King and the Fatherland.
+  Bunsen testifies how Niebuhr showed his affection and
+  care for the Prussian and German disciples of art; he
+  considered it an agreeable part of his duty and vocation
+  to render them assistance, to encourage them in their
+  studies, to give them the time of which he was so sparing
+  to men of mere show and fashion, also to render them
+  pecuniary assistance when necessary. To Niebuhr belongs
+  the honour of having been the first to recognise the new
+  school at the moment when it was "despised, derided,
+  and vituperated." He befriended the men who had to
+  fight their way against shallowness and wickedness,
+  against the low and false taste of connoisseurs and
+  patrons, till the day came when the martyrs of an exalted
+  aspiration gained the attention and admiration of the
+  world.</p>
+<p class="indent">
+  Nor in numbering friends must be forgotten Frederick
+  Schlegel, the avowed champion of the new school. The
+  critic was not without connecting links and antecedents;
+  he had made himself son&#8209;in&#8209;law of the Jewish philosopher
+  Moses Mendelssohn, and stepfather of the painter Philip
+  Veit; and he further qualified himself for his critical
+  duties by joining the Roman Catholic Church. Overbeck
+  and this rhapsodist on Christian Art were naturally close
+  allies; each was of use to the other, and gave and received
+  in turns. The artist strove, it is said, to embody in
+  pictorial form his friend's teachings; the two, in fact,
+  moved in parallel lines. Schlegel urged that the new
+  style must be emulative and aspiring, ever possessed of
+  lofty ideas. Believe not, he writes, that the glory of
+<a name="p039"></a>
+  art has passed away. The hope is not vain that there
+  comes a rekindling of former fires; art uprising from the
+  dark night breaks as the morning's dawn; "a new life
+  can spring only from the depths of a new love." Let us
+  hold that Art like Nature renews her youth. The soul
+  alone can comprehend the truly beautiful; the eye gazes
+  but on the material veil&mdash;the union of the inner soul
+  with the outward form constitutes the noblest art. Nowhere
+  are to be found more eloquent utterances on "the
+  Bond between Art and the Church," 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 matter, and according to the laws of
+  vision. And to such oversight is greatly to be ascribed
+  the infirmities of Overbeck and his school. It is forgotten
+  that the most holy of motives cannot save a picture which
+  is not good as a picture. Schlegel discusses the question,
+  What is needed by the Christian painter? The following
+  phrenzy, though wordy, is worth reading:&mdash;</p>
+<p class="indent">
+  "The answer is that the beautiful truths of the Christian
+  faith should not be received into the mind as merely
+  lifeless forms, in passive acquiescence to the teaching of
+  others: they must be embraced with an earnest conviction
+  of their truth and reality, and bound up with each
+  individual feeling of the painter's soul. Still even the
+  influence of devotion is not alone sufficient; for however
+  entirely religion may be felt to compensate for all that is
+  wanting to our earthly happiness, much more is required
+  to form a painter. I know not how better to designate
+  that other element, without which mere technical skill,
+  and even correct ideas, will be unavailing, than by calling
+  it the inborn light of inspiration. It is something quite
+<a name="p040"></a>
+  distinct from fertility of invention, or magic of colouring,
+  rare and valuable as is the latter quality in painting. It
+  is no less distinct from skill in the technicalities of design
+  and from the natural feeling for beauty inherent in
+  some susceptible minds. The poet and the musician
+  should also be inspired, but their inspiration is more the
+  offspring of human emotion; the painter's inspiration must
+  be an emanation of celestial light: his very soul must, so
+  to speak, become itself illumined, a glowing centre of
+  holy radiance, in whose bright beams every material
+  object should be reflected; and even his inmost conceptions
+  and daily thoughts must be interpenetrated by its
+  brightness and remodelled by its power. This indwelling
+  light of the soul should be recognised in every
+  creation of his pencil, expressive as a spoken word; and
+  in this lies the peculiar vitality of Christian beauty, and
+  the cause of the remarkable difference between Classic
+  and Christian art." "Physical beauty is employed by the
+  Christian painter but as a material veil, from beneath
+  which the hidden divinity of the soul shines forth, illuminating
+  all mortal life with the higher spirituality of
+  love."</p>
+<p class="indent">
+  A kindly and timely commission came to the masters
+  of the German Brotherhood&mdash;Overbeck, Cornelius, Veit,
+  and Schadow&mdash;from the Prussian Consul, Bartholdi.
+  Personal relations, with the desire of giving the untried
+  painters an opportunity of proving what good was in
+  them, prompted the charge to decorate with frescoes a
+  room in the Casa Bartholdi, situated on the brow of the
+  Pincian Hill.<a name="c2f06_ref" href="#c2f06">[6]</a> The Prussian Consul was in a roundabout
+<a name="p041"></a>
+  way connected with Philip Veit and Frederick Schlegel,
+  whose mutual relationship has been already recounted;
+  his wife was sister of the philosopher Moses Mendelssohn,
+  and aunt of the illustrious musician, and sundry intermarriages
+  had made, as it were, a compact in literature
+  and art between the families of Bartholdi, Mendelssohn,
+  Veit, and Schlegel.<a name="c2f07_ref" href="#c2f07">[7]</a> The chosen sphere of operations
+  was comparatively narrow; the small room in an upper
+  story, now of historic interest, is not more than twenty&#8209;four
+  feet square. The situation is inviting; the beauties
+  of nature are usually found proximate with the beauties
+  of art, and here the windows command a panorama
+  sweeping from the Pincian to the Tiber, and embracing
+  St. Peter's, the Vatican, St. Angelo, and the Capitol.
+  The topic chosen for these wall pictures was the <em>Story of
+  Joseph and his Brethren</em>&mdash;a theme conveniently accommodating
+  to any existing diversities in creeds or styles. The
+  technical process adopted was fresco, a monumental art,
+  the revival of which formed part of the mission of the
+  German fraternity. The arduous undertaking was commenced
+  and carried out in strict accordance with historic
+  precedents. Preliminary studies were made, and well&#8209;matured
+<a name="p042"></a>
+  cartoons on the scale of the ultimate pictures were
+  perfected. To the lot of Overbeck fell <em>Joseph sold by his
+  Brethren</em>,<a name="c2f08_ref" href="#c2f08">[8]</a> and <em>The Seven Years of Famine</em>.</p>
+<p class="indent">
+  It has been my pleasure to visit and revisit these wall&#8209;paintings
+  over a period of a quarter of a century, and
+  growing experience does but enhance my admiration.
+  They fulfil the first requirements of wall decoration: the
+  story is told lucidly and concisely; the style is simple,
+  noble; accidents are held subordinate to essentials; the
+  compositions are distributed symmetrically; the colour,
+  though a little crude, is brought into somewhat agreeable
+  unity; the light and shade are not focussed at one point,
+  but carried evenly over the whole surface; and the treatment
+  inclines sufficiently to the flat to keep the compositions
+  down on the wall. The finished pictures of the four
+  masters vary in dimensions. The lengths range from
+  eight to seventeen feet, the height is mostly about eight
+  feet; the figures do not exceed five feet. The lines
+  bounding the figures and draperies are firm and incisive.
+  Accordant with the practice of the old fresco&#8209;painters,
+  each day's work is marked and discernible by the joinings
+  in the plaster, and the junctions between the dry
+<a name="p043"></a>
+  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 easily. The technique
+  is thoroughly mastered, and, barring some surface cracks,
+  the paintings are in as perfect condition as when they
+  came from the artists' hands. The chief defect is a somewhat
+  crude opacity of pigments, a characteristic belonging
+  to the debased period of wall&#8209;painting rather than to the
+  "<em>fresco buono et puro</em>" of Giotto, Luini, and Pinturicchio.</p>
+<p class="indent">
+  Another point to be remarked is that the frescoes
+  in the Casa Bartholdi show that the four painters&mdash;Overbeck,
+  Cornelius, Veit, and Schadow&mdash;worked here at the
+  outset of their career in remarkable unison. In the course
+  of years they diverged widely, but as yet the school
+  collectively dominates over the artist individually. The
+  Brethren had formed themselves equally on the same
+  originals, and had scarcely found time to take their
+  several departures from nature. Indeed, the actual
+  presence of nature comes almost as a surprise in these
+  compositions. Overbeck's figures are manifestly more or
+  less studied from the life, only, according to his habitual
+  practice, he has taken pains to eliminate from his models
+  any individual accidents which marred the generic form,
+  softening down angularity and ruggedness into pervading
+  grace and beauty. Here and there are traces of affectation,
+  together with a feebleness incident to the painter's
+  weak physique which stands in utmost contrast with the
+  force of Cornelius. Overbeck mostly shunned action and
+  dramatic intensity, and here the figures in their movements
+  depart but slightly from the equilibrium of repose.
+  As a religious artist, the New Testament was more within
+  his sphere than the Old. Thus the outrage committed
+<a name="p044"></a>
+  against Joseph by his brethren is toned down into a calm,
+  orderly transaction; placidity reigns throughout; all is
+  brought into keeping with the painter's spirit of gentleness.</p>
+<p class="indent">
+  The Casa Bartholdi frescoes,<a name="c2f09_ref" href="#c2f09">[9]</a> when finished, produced a
+  most favourable impression in Rome; the cause of the
+  Germans was greatly strengthened, and the opposite party
+  felt the defeat. The Italians, too, were taken by surprise
+  to find themselves beaten by foreigners on their own
+  ground. A natural consequence of the success was
+  further commissions, and the fortune no less than the
+  fame of the revivalists was made. Singularly enough
+  the modern Romans came forward as the next patrons.
+  Niebuhr, writing from Rome in 1817, says: "It is a
+  significant fact that some foreigners, even Italians, are
+  beginning to pay attention to the works of our friends."
+  It is well known that the Romans had been addicted for
+  centuries to mural painting in palaces, villas and garden&#8209;houses:
+  Raphael was employed to decorate the Farnesina;
+  Guido and Annibale Carracci painted the ceilings of the
+  Farnese and of the Rospigliosi Palaces. Emulating these
+  illustrious examples, Prince Massimo commissioned Overbeck,
+  Cornelius, Veit, and Schnorr to cover the walls and
+  ceilings of his Garden Pavilion near St. John Lateran
+  with frescoes illustrative of Tasso, Dante, and Ariosto.
+  Not only the themes, but the local surroundings were
+  inspiring. The Villa Massimo is a site only possible in
+  Rome. When the artists in the morning came to work,
+  before their view opened a panorama embracing the
+  Claudian Aqueduct, St. John Lateran, the Church of
+  Sta. Croce in Gerusalemme, the old Walls of Rome, with
+<a name="p045"></a>
+  cypresses and stone pines around, and the Alban Hills
+  beyond. The Pavilion assigned to the painters stands in
+  the Villa garden, with the accustomed growth and
+  fragrance of orange&#8209;trees, magnolias, azaleas, roses, and
+  violets. Overbeck entered on the work with poetic
+  ardour.</p>
+<p class="indent">
+  The Massimo Pavilion is little more than three rooms
+  standing on the ground; the first, indeed, is an Entrance
+  Hall, and therein Schnorr painted copiously from Ariosto.
+  On the left a door leads to the room assigned to Cornelius
+  for the illustration of Dante: the ceiling fell to the lot of
+  Veit. On the right another door opens to a corresponding
+  room of like dimensions, set apart to Overbeck and Tasso's
+  <em>Jerusalem Delivered</em>.<a name="c2f10_ref" href="#c2f10">[10]</a> This small interior is not more
+  than fifteen feet square, and the wall&#8209;spaces are much
+  broken up by doors and windows, so that only one of the
+  four sides remained disencumbered. The compositions are
+  eleven in number, and are unequal alike in size and merit.
+  The largest and most noteworthy is fifteen feet long by
+  ten feet high, representing the <em>Meeting of Godfrey de
+  Bouillon and Peter the Hermit</em>. The narrative is lucidly
+  told, the picture well put together, and the successive
+  planes of distance are duly marked. Altogether the
+  fundamental principles of wall&#8209;decoration are clearly
+  understood in this the most complex composition yet
+  attempted by the painter. Another thoroughly studied
+  design is <em>Sophronio and Olindo on the Funeral Pyre delivered
+  by Clorinda</em>.<a name="c2f11_ref" href="#c2f11">[11]</a> The action has more than usual
+<a name="p046"></a>
+  force and movement, and the undraped figures are drawn
+  with severe exactitude. Presiding over the whole series,
+  in the middle of the ceiling, is an allegorical figure of
+  <em>Jerusalem Delivered</em>.<a name="c2f12_ref" href="#c2f12">[12]</a> An angel on either side unlooses
+  the fetters of an innocent placid maiden crowned with
+  thorns. These frescoes, notwithstanding their situation
+  in a cold, damp garden&#8209;house, remained, when I saw them
+  last, in January, 1878, in sound condition: thus once
+  more we find Overbeck, equally with Cornelius, to have
+  been solidly grounded in the method of wall&#8209;painting.</p>
+<p class="indent">
+  I must confess that I have always been disappointed
+  with this Tasso Room.<a name="c2f13_ref" href="#c2f13">[13]</a> One reason is that the carrying
+  out of the original designs was delegated to an inferior
+  brush. Overbeck was not in strong health; he worked
+  slowly, and when other commissions came in, some more
+  to his liking, such as that for the church picture at
+  Assisi, he felt overburdened, and wished to be released
+  from a task that had grown wearisome. The work, began
+  about 1817, had dragged on for ten years, till at last
+  Overbeck made a deliberate call on good and friendly
+  Joseph F&uuml;hrich, and requested that he would complete the
+  unfinished frescoes. The proposal, naturally felt as an
+  honour, was gratefully acceded to. After this distance of
+<a name="p047"></a>
+  time it becomes difficult to determine how far this worthy
+  substitute must be held responsible for much that is to be
+  regretted on these walls. For some of the compositions
+  the master had made nothing more than sketches or
+  indications, and at least three must be laid to the charge
+  of the scholar. F&uuml;hrich was for Overbeck what Giulio
+  Romano had been for Raphael, and the Tasso Room suffered
+  the same degradation as the latest stanza in the Vatican.</p>
+<p class="indent">
+  The Tasso Room may be taken as a measure of Overbeck's
+  capacity. This "cyclus," or series, shows the
+  painter's power of sustained thought and faculty of
+  invention. Much, doubtless, is compilation, yet something
+  remains of originality. The best passages are those
+  not borrowed from old pictures, but taken from life, which
+  makes the regret all the greater that here and in the
+  sequel nature was not trusted more implicitly. On the
+  whole, these compositions leave the impression that Overbeck
+  had not mental force or physical stamina sufficient
+  for the task. It is true that the presence of a lyrical
+  spirit is felt; but scenes of Romance need more fire and
+  passion; the deeds of Chivalry were not enacted in a
+  cloister. Perhaps self&#8209;knowledge wisely counselled Overbeck
+  to quit the regions of creative imagination. With
+  greater peace of mind he trod in the future, the safer
+  paths of Christian Art, wherein precedent and authority
+  served as his guide and support.</p>
+
+<div align="center">
+<img src="images/illus-061.jpg" alt="[decoration]" width="313" height="112" /></div>
+
+<h3>FOOTNOTES:</h3>
+
+<p class="footnote">
+  <a name="c2f01" href="#c2f01_ref">[1]</a> See among other authorities: 'Die Deutsche Kunst in unserem
+  Jahrhundert, von Dr. Hagen,' vol. ix. Berlin, 1857.</p>
+<p class="footnote">
+  <a name="c2f02" href="#c2f02_ref">[2]</a> The above compositions suggest the following observations.
+  Overbeck was in the habit of making over many years replicas with
+  variations and improvements of favourite themes, and the dates of the
+  successive stages are not always easily determined. Of the <em>Preaching
+  of St. John</em>, the D&uuml;sseldorf Academy possesses an example dated 1831.
+  Also in the same collection is a mature and almost faultless drawing,
+  fit companion for Raphael, of <em>The Raising of Lazarus</em>; the figure of
+  Christ is 9 inches high. Overbeck made several renderings of the
+  universally&#8209;beloved composition, <em>Christ Blessing Little Children</em>: the
+  most deliberate is that given in these pages. The replica in the Meyer
+  Collection, Hamburg, is of the last decade of the artist's life, and
+  betrays infirmity of hand. <em>The Entombment</em>, classed above among
+  works of the first Roman period, is probably that now in the choice
+  collection at Stift Neuburg, near Heidelberg, dated 1814, and obviously
+  suggested by Raphael's <em>Entombment</em> in the Borghese Palace. No
+  drawings have better pedigree than those in this old family mansion:
+  a predecessor of the present possessor was the artist's personal friend.
+  The version of <em>The Bearing to the Sepulchre</em> given in these pages is from
+  one of the forty well&#8209;known drawings of the Gospels, and dates 1844.
+  At Stift Neuburg I also saw in the autumn of 1880, by the courtesy of
+  the owner, Graf von Bernus, the drawing for the <em>Holy Family</em>, chosen
+  as an illustration to this volume; it is of utmost delicacy and beauty&mdash;the
+  motive has evidently been borrowed from Raphael; the measurement
+  is 1 foot 3 inches by 1 foot 8 inches.</p>
+<p class="footnote">
+  <a name="c2f03" href="#c2f03_ref">[3]</a> See 'Autobiography of Joseph F&uuml;hrich,' published in Vienna and
+  Pesth, 1875.</p>
+<p class="footnote">
+  <a name="c2f04" href="#c2f04_ref">[4]</a> See 'Historisch&#8209;Politische Bl&auml;tter f&uuml;r das Katholische Deutschland,'
+  vol. lvi., part 8. Munich, 1870.</p>
+<p class="footnote">
+  <a name="c2f05" href="#c2f05_ref">[5]</a> See 'Erinnerung an Christian Adolph Overbeck;' L&uuml;beck, 1830.</p>
+<p class="footnote">
+  <a name="c2f06" href="#c2f06_ref">[6]</a> The Casa Bartholdi has for some years been let as lodgings to a
+  superior class of travellers, and is much favoured by the English.
+  The rooms are not always accessible; the servants have been known
+  to name, as the most convenient time for seeing the frescoes, Sunday
+  mornings, when the tenants are attending the English Church. The
+  Painted Chamber is suitably furnished for daily uses; <em>The History
+  of Joseph</em>, which covers the walls, is not too serious a theme to
+  mingle with the common avocations of domestic life: fresco&#8209;painting,
+  in fact, is not only a national and an ecclesiastic, but likewise a
+  domestic art.</p>
+<p class="footnote">
+  <a name="c2f07" href="#c2f07_ref">[7]</a> The Royal Academy Exhibition, Berlin, 1880, contained a large
+  coloured design for the decoration of the ceiling of the Villa Mendelssohn&#8209;Bartholdy.
+  Thus the joint names over a period of more than
+  half a century stand conspicuous among art&#8209;patrons.</p>
+<p class="footnote">
+  <a name="c2f08" href="#c2f08_ref">[8]</a> Overbeck's cartoon in charcoal on paper of <em>Joseph sold by his
+  Brethren</em> is carefully preserved under glass in the St&auml;del Institute,
+  Frankfort, where I examined it in 1880: the width is 11 feet, the
+  height 8 feet, the figures are about 5 feet. The outlines are firmly
+  accentuated; the details sufficient without being elaborate; the figure,
+  as proved specially in the arms, hands, legs, and feet, is perfectly
+  understood; the draperies are cast simply and broadly; the heads of
+  noble type are impressed with thought. Not a false touch appears
+  throughout; the crayon is guided by knowledge; evidently preliminary
+  studies and tentative drawings must have preceded this consummated
+  product. No wonder that this cartoon made a deep impression; nothing
+  had been seen at all like it in Rome for very many years.</p>
+<p class="footnote">
+  <a name="c2f09" href="#c2f09_ref">[9]</a> Many are the authors who have written on the Casa Bartholdi
+  frescoes, the chief authorities are Hagen, F&ouml;rster, Reber, and Riegel.</p>
+<p class="footnote">
+  <a name="c2f10" href="#c2f10_ref">[10]</a> See among authorities before named, 'Geschichte des Wiederauflebens
+  der deutschen Kunst zu Ende des 18. und Anfang des 19. Jahrhunderts,
+  von Hermann Riegel.' Hannover, 1876.</p>
+<p class="footnote">
+  <a name="c2f11" href="#c2f11_ref">[11]</a> The cartoon for this fresco is in the Leipzig Museum, where I
+  examined it in 1880. It is in chalk on whity&#8209;brown paper, in squares
+  and mounted on canvas; length 15 feet by 7 feet. As a mature study
+  of form and composition it is just what a cartoon should be, but the
+  touch is feeble and poor. Like most of Overbeck's designs, it has
+  received the tribute of engraving.</p>
+<p class="footnote">
+  <a name="c2f12" href="#c2f12_ref">[12]</a> The cartoon was acquired for the National Gallery, Berlin, in 1878,
+  at the price of 37<em>l.</em> 10<em>s.</em> 0<em>d.</em>; measurement 6 feet by 4 feet: it has been
+  engraved.</p>
+<p class="footnote">
+  <a name="c2f13" href="#c2f13_ref">[13]</a> Persistent difficulties are placed in the way of even students who
+  desire to visit these frescoes; the public are systematically excluded
+  from the Villa Massimo, and on two occasions, when after much trouble
+  I gained orders for admission, the attendant, in accordance with
+  instructions, forbade the taking of notes.</p>
+
+
+
+
+<div align="center">
+<div class="pageBreak"></div>
+
+<img src="images/illus-062.jpg" alt="[decoration]" width="523" height="140" />
+
+<div>&nbsp;</div>
+
+<a name="p048"></a>
+<h3>CHAPTER III.</h3>
+
+<h4>ROME&mdash;GERMANY.</h4>
+</div>
+
+<p class="justify">
+  <span class="dropCap">T</span>HE life of Overbeck apportioned itself into successive
+  periods of five, ten, or more years, corresponding
+  to the important works from time to time in hand. The
+  painter threw his whole mind into whatever he undertook,
+  and so his pictures in their conception, and even in their
+  execution, reflect the thought and the state of consciousness
+  which for the while held supreme sway. The preceding
+  chapters treat of two periods; the one describes the
+  early times in L&uuml;beck and Vienna, the other presents a
+  sketch of the first decade in Rome. The foundations have
+  been laid; the main principles for the guidance of a true
+  life and for the building up of a soul&#8209;moving art have been
+  firmly fixed; and now it remains to be seen how far and in
+  what way the lofty aim was reached.</p>
+<p class="indent">
+  Overbeck, as soon as his prospects in life became somewhat
+  assured, married. Little is recorded of the wife: the
+  earliest mention I have met with is in 1818, when the
+  artists in Rome gave a grand f&ecirc;te in honour of the Crown
+  Prince of Bavaria. Overbeck and Cornelius furnished designs
+  for pictorial decorations and transparencies: the
+  guests wore medi&aelig;val costumes, and made themselves</p>
+
+<br clear="all" />
+<div align="center">
+<img src="images/illus05.jpg" alt="THE CALLING OF ST. JAMES AND ST. JOHN" width="496" height="586" border="0" /><br />
+</div>
+<br clear="all" />
+
+<a name="p049"></a>
+<p class="justify">
+  otherwise attractive; and we learn on the authority of
+  Madame Bunsen that among the brilliant assembly "the
+  most admired of the evening was Overbeck's future wife, a
+  lady beautiful, engaging, and influential, from Vienna."<a name="c3f01_ref" href="#c3f01">[1]</a>
+  The marriage, which was not long delayed, proved on the
+  whole happy, though the wife's delicate health gave constant
+  cause for anxiety, and her other demands on an indulgent
+  husband are said to have provoked the displeasure
+  of Cornelius and other friends. Two children were the
+  fruits of the union: a girl, who died young, and a boy,
+  who lived only long enough to give singular promise.</p>
+<p class="indent">
+  Overbeck, as we have seen, had, in common with his
+  brethren, given his best powers to "monumental painting."
+  For this noble and "architectonic art" he was not
+  without qualifications. He moved in an exalted sphere,
+  his mind ranged among immutable truths, his forms were
+  high in type, his compositions had symmetry and concentration,
+  he knew how to adapt lines and masses to
+  structural spaces. An occasion calculated to call forth
+  his powers came with the commission to paint in fresco
+  <em>The Vision of St. Francis</em> for the church of Sta. Maria
+<a name="p050"></a>
+  degli Angeli, near Assisi. Overbeck here, as his custom
+  was, remained obedient to tradition, and yet struck out
+  a new path; he was not content to retrace the footsteps
+  of Giotto or of Cigoli, he preferred to depict the vision of
+  his own mind. He enthrones the Madonna as Queen of
+  Heaven, seated by the side of the risen Saviour, surrounded
+  by the angelic hosts. On the lower earth, also
+  attended by angels, appears St. Francis in adoration, while
+  on the other side kneel reverently two mendicant friars.
+  The picture belongs to the middle period, when the artist
+  had attained the mature age of forty: the style, speaking
+  historically, is that of the grave and severely defined
+  Florentine school as represented by the Brancacci chapel.
+  The fresco has been accounted by some the painter's
+  masterpiece, and it is pronounced by Count Raczynski as
+  one of the few works of modern days worthy of transmission
+  to future ages.<a name="c3f02_ref" href="#c3f02">[2]</a></p>
+<p class="indent">
+  Overbeck, it is easy to believe, while painting on the
+<a name="p051"></a>
+  very spot where St. Francis was in ecstasy, led a life
+  much to his liking. He dwelt within the monastery, and
+  his pure mind, open only to the good, was blind to the
+  dissolute ways of monks who became a scandal to the
+  district. When the fresco was half finished, the master
+  received a visit from his bosom friends Steinle and
+  F&uuml;hrich, and the three strengthened one another as
+  they communed on religion and the arts. Overbeck is
+  known to have had leanings towards a convent life, and
+  at one time, when seriously thinking of taking the vow,
+  he received from the Pope friendly admonition that his
+  true mission lay within his art, and that by renouncing
+  the world his usefulness would be lessened. It can
+  scarcely, however, be doubted that asceticism became so
+  much the habit of his life as to afflict his mental condition,
+  and to impoverish his art. Some critics indeed
+  point to the early picture of <em>The Seven Years of Famine</em>
+  as the origin of a certain starved aspect in subsequent
+  compositions. Pharaoh's lean kine have been supposed to
+  symbolise the painter, and the spare fare within the cells
+  of St. Francis served to confirm the persuasion that flesh
+  and blood, in art as in life, must be kept in subjection.
+  Nevertheless, I for one, when on the spot, could not but
+  revere the pictorial outcome; when first I made acquaintance
+  with this plenary revelation of the painter, I had
+  been taking a walking&#8209;tour, knapsack on back, through
+  the Umbrian hills and valleys, the birth&#8209;land of St.
+  Francis; I had become acquainted with the wall and
+  panel paintings of Giotto, Gentile di Fabriano, Perugino,
+  Giovanni Santi, and the youthful Raphael; and while
+  looking on this heavenly "Vision," I could not but feel
+  that Overbeck ranked among the holy company. Unlike
+<a name="p052"></a>
+  most modern painters, surely he had not to worship in the
+  outer court of the Gentiles.</p>
+<p class="indent">
+  Overbeck received repeated solicitations to return to
+  Germany: he was asked in 1821 by Cornelius to take the
+  directorship of the D&uuml;sseldorf Academy, and four years
+  later he writes in reply to the further persuasions of
+  Wintergerst and Mosler. He urges his incapacity for the
+  duties: he had learnt painting, he says, in a way difficult
+  to impart to others; moreover, sculpture and architecture
+  he did not understand at all, and as for the business
+  matters he was without faculty. Further difficulties
+  were the health of his wife and the welfare of his son:
+  "every information," he continues, "I receive from my
+  native country tells me of spiritual fermentations: the
+  sanctuary, insufficiently protected by the law, suffers
+  under attacks, and a proud worldly spirit raises its head
+  and proclaims its wisdom. Can parents be blind to the
+  risks to which they expose their child, till now reared in
+  the most delightful simplicity of belief? Dearest friends,
+  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 consoling."
+  Overbeck, it need hardly be added, shrank from the
+  dangers and declined the duties.</p>
+<p class="indent">
+  But, at length, free from pressing and onerous commissions,
+  he lent a more willing ear to invitations from
+  Germany. Cornelius in 1830 had come to Rome from
+  Munich, the better to complete certain cartoons; with him
+  were a daughter, also his wife, who had under charge
+  Fr&auml;ulein Emilie Linder, a young lady of Basle, of some
+  means and given to pictorial pursuits. Overbeck, on the
+  completion of his wall&#8209;painting at Assisi, rejoined the
+<a name="p053"></a>
+  brilliant art circle of the Roman capital, and from this
+  time dates the memorable friendship between the lady,
+  then a Protestant, and the great Catholic painter. After
+  a winter pleasantly passed among congenial spirits, the
+  whole party in the early summer of 1831 set out from
+  Rome and reached Florence. Emilie Linder returned
+  for a time to Basle, while Overbeck, under the care of
+  Cornelius, by way of the Tyrol reached Munich. On
+  the news of their approach in July, the local artists,
+  young and old, assembled at the gates, outposts had been
+  stationed along the road, and the townfolks gathered by
+  thousands in the streets: from afar the cheering was
+  heard, and then group after group raised the cry, "Overbeck!"
+  "Cornelius!" The entry soon grew into a
+  triumphal march, and, protests notwithstanding, the
+  horses were unyoked, and a company of lusty youths
+  drew the carriage to the dwelling of Cornelius.</p>
+<p class="indent">
+  Twenty years had elapsed since Overbeck, an unknown
+  youth, had quitted his native land; he now returned with
+  a world&#8209;wide reputation. Cornelius, once the sharer of
+  his trials, became the equal recipient of the triumphs; he
+  had just completed the grand series of frescoes for the
+  Glyptothek, and with him were brought the cartoons
+  elaborated in Rome for the wall&#8209;paintings in the new
+  Ludwig Kirche. Overbeck, as the guest of his old friend,
+  passed happy weeks in Munich. The two painters conferred
+  closely together in the interests of Christian Art,
+  and aided each other in the arduous works soon to be
+  carried out. The artists of Bavaria signalised the visit of
+  the apostle of Christian Painting by a jubilee; they gave
+  in honour of the illustrious stranger one of those joyous
+  and scenic f&ecirc;tes for which Munich is famed. The locality
+<a name="p054"></a>
+  chosen was the Starnberger See, a lovely region of hill
+  and lake lying in the Bavarian highlands, bordering on
+  the Ammergau, peopled by peasants with sacred traditions
+  since better known through "The Passion Play." Overbeck
+  writes gratefully of enjoyment and instruction received
+  through kind friends among the beauties of nature
+  and of art.</p>
+<p class="indent">
+  The Roman recluse in his journey northwards had
+  widely extended his knowledge of nature. On leaving
+  the Apennines he encountered the Alps, and exchanged
+  beauty for grandeur. His figures were often accompanied
+  by landscapes; but mountains exceeding in altitude five
+  or six thousand feet appalled his imagination; masses of
+  such magnitude could not enter the smaller sphere of his
+  consciousness; hence his northern peregrinations brought
+  into his compositions no Alpine presences; indeed, his
+  habitual serenity and simplicity were disturbed by dramatic
+  stir or storm of the elements, and though his
+  sympathies warmed under novel experiences, his art failed
+  to take a new departure.</p>
+<p class="indent">
+  I have often when in Munich regretted that Overbeck
+  had no share in the Bavarian manifestations of Christian
+  Art. But that he, the head of the religious revival, is
+  left out was simply his own fault. Cornelius, in 1821,
+  when as director reorganising the Academy, wrote to his
+  friend, asking assistance; King Ludwig also urged Overbeck
+  to come. But the timorous artist as usual hesitated;
+  he gave at first assent, conditional however on a delay of
+  three years to complete works in hand; then he pleaded
+  the impossibility of taking any step whatsoever without
+  the sense of religious duty. The King naturally grew
+  weary, and interpreted the equivocal dealing as a denial.
+<a name="p055"></a>
+  Cornelius again in 1833, when the new Basilica of St. Boniface
+  needed decoration, once more proposed that his fellow&#8209;labourer
+  in Rome should settle in Munich, but with no
+  avail; the King evidently had little cordiality for the
+  artist, and so employed others on the plea, not wholly
+  tenable, that Overbeck was better in oil than in fresco.
+  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 Cornelius, Hess,
+  and Schraudolph. 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 reveal. Yet the sensitive
+  painter might have encountered much to disturb his peace
+  of mind. King Ludwig could not assuredly be quite the
+  patron for a spiritual and esoteric artist, and, moreover,
+  there was something too wholesale in the Munich way of
+  going on for a man of limited strength. Overbeck, as I
+  can testify, 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 ground. He wisely
+  did not overstep his bounds; he had not the wing of an
+  eagle, and preferred to keep as a dove, near to the nest.</p>
+<p class="indent">
+  Nevertheless, Munich is not without witness to the spirit
+  of the mystic and poetic painter. King Ludwig, himself
+  at least a poetaster, hit upon a felicitous comparison, oft
+  since reiterated, when he designated Overbeck the St. John
+  and Cornelius the St. Paul in pictorial art. The two artists,
+  like the two apostles, had a common faith, though a diverse
+  calling, and their several works testify how greatly the
+  one was indebted to the other. Overbeck brought with
+  him to Bavaria a drawing of exceptional power, <em>Elias
+  in the Chariot of Fire</em> (1827), a composition which reflects
+<a name="p056"></a>
+  as indubitably the greatness of Cornelius as Raphael's
+  <em>Isaiah</em> responds to the grandeur of Michelangelo. But
+  this lofty strain of inspiration proved transient, and Overbeck,
+  as seen in Munich, truly personates the apostle who
+  leant on the Saviour's breast. The New Pinakothek is
+  fortunate in the possession of three pictures.<a name="c3f03_ref" href="#c3f03">[3]</a> One is the
+  <em>Portrait of Vittoria Caldoni</em>, already enumerated among
+  earliest efforts; another is the <em>Holy Family</em>, illustrating
+  these pages; the composition recalls Raphael's Florentine
+  manner. The third, <em>Italy and Germany</em>, must be accounted
+  exceptional because secular; the motive, however, rises
+  above common life into symbolism. Two maidens in
+  tender embrace are depicted seated in a landscape, the
+  one blonde and homely, personifying Germania; the other
+  dark and ideal, as if Tasso inspired, typical of Italia.
+  The intention has given rise to interesting speculation.
+  The German girl leans forward in earnest entreaty, while
+  her Italian sister remains immobile and impenetrable.
+  And herein some have seen shadowed forth a divided
+  mind between two nationalities. Solicitations had come
+  from Germany, yet, after moments of hesitation, Overbeck
+  held fast to the land of his adoption, and his resolve may
+  not inaptly find expression in "Italia," a figure which
+  seems to say, "Vex not my spirit; leave me to rest in this
+  land of peace and of beauty." But this composition is
+<a name="p057"></a>
+  supposed to speak of yet wider experiences. The painter
+  had given much time to the writing of a romance descriptive
+  or symbolic of human life, wherein he embodied his
+  own personal feelings and aspirations. The two principal
+  characters in this unpublished story are said to be here
+  depicted under the guise of "Italia and Germania." The
+  composition thus becomes somewhat autobiographic.</p>
+<p class="indent">
+  Munich is identified with a friendship between Overbeck
+  and a lady, which ranks among the most memorable of
+  Platonic attachments. Fr&auml;ulein Emilie Linder we have
+  already encountered in Rome, where an abiding friendship
+  was rooted, and the devoted lady, on separation, soon
+  found occasion to open a correspondence which was prolonged
+  over a period of thirty years. Overbeck was a
+  persistent letter&#8209;writer; he wasted no time on society,
+  and so gained leisure to write epistles and publish essays.
+  And yet it cannot be said that, had he not been an artist,
+  he would have shone as the brightest of authors. On
+  the contrary, as with the majority of painters, he never
+  acquired an adroitness of pen commensurate with his
+  mastery in the use of his pencil; and it is certain that
+  if his pictures had been without adorers, his prose would
+  have remained without readers. The great painter was
+  destitute of literary style; his sentences are cumbrous and
+  confused; his pages grow wearisome by wordy repetition.
+  Doubtless his thoughts are pure and elevated, but, lacking
+  originality, they run into platitudes, and barely escape
+  commonplace. The prolonged correspondence with Emilie
+  Linder<a name="c3f04_ref" href="#c3f04">[4]</a> contracts the flavour peculiar to polemics. Overbeck
+  had grown into a "fanatic Catholic"; he was ever
+<a name="p058"></a>
+  casting out nets to catch converts; his tactics were enticing;
+  his own example proved persuasive. Moreover,
+  about his mind and method was something effusive, which
+  won on the hearts of emotional women. At all events,
+  these letters brought over to the Roman Catholic Church
+  the lady and others. 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 sheepfold. These letters have a further significance;
+  they declare what indeed is otherwise well established,
+  that the Catholic faith served as the prime moving power
+  in the life and the art of Overbeck.</p>
+<p class="indent">
+  The painter brought to Munich ten or more drawings
+  executed in Rome with a view to his travelling expenses,
+  and Emilie Linder lost no time in making an offer for the
+  set, to add to her private collection. The artist, with
+  suitable diffidence, hesitated, yet looked on the proposal
+  as an interposition of Providence, and then begged for the
+  money at once, to help him on his further journey into
+  Germany. Though success had delivered him from
+  poverty, and commissions came in faster than he could
+  paint, yet at no time did he roll in wealth; spite of
+  scrupulous economy, he never much more than paid his
+  way; and a few years later, when, for Emilie Linder,
+  engaged on <em>The Death of St. Joseph</em>,<a name="c3f05_ref" href="#c3f05">[5]</a> he gladly accepted</p>
+
+<br clear="all" />
+<div align="center">
+<img src="images/illus06.jpg" alt="CHRIST'S ENTRY INTO JERUSALEM" width="659" height="559" border="0" /><br />
+</div>
+<br clear="all" />
+
+<a name="p059"></a>
+<p class="justify">
+  beforehand the price by instalments. The correspondence
+  shows a tender conscience, with a humility not devoid of
+  independence. The art products were in fact of so high
+  a quality that the painter conferred a greater favour than
+  any he could receive in return.</p>
+<p class="indent">
+  Overbeck left the hospitable roof of Cornelius in Munich
+  at the end of August, 1831, and reached Heidelberg, there
+  to meet with an enthusiastic reception from friends and
+  admirers; there also, after a separation of five&#8209;and&#8209;twenty
+  years, he saw once more, and for the last time, his elder
+  brother from L&uuml;beck. Close to Heidelberg, overhanging
+  the banks of the Necker, is Stift Neuburg, formerly a
+  monastic establishment, but then the picturesque residence
+  of a family in warmest bonds of friendship with the art
+  brethren. At this lovely spot, I am told by the present
+  owner, "Overbeck stayed several days, and a seat in the
+  garden is still called after him 'Overbeck's Pl&auml;tzchen.'"
+  On this rustic bench the painter was wont to sit meditatively
+  amid scenery of surpassing beauty; the quietude
+  of nature and the converse of kindred minds were to his
+  heart's content. Within the old mansion, on the walls
+  and in portfolios, are the choicest examples of the artist's
+  early and middle periods; thus Stift Neuburg in its house
+  and grounds remains sacred to the painter's memory.<a name="c3f06_ref" href="#c3f06">[6]</a></p>
+<p class="indent">
+<a name="p060"></a>
+  From Heidelberg Overbeck travelled to Frankfort&mdash;a
+  city soon to become a focus of the wide&#8209;spreading revival.
+  Here the apostle of sacred art made the acquaintance of
+  the poet Clemens Brentano, and fell among other friends
+  and adorers. Philip Veit, his fellow&#8209;worker in the Casa
+  Bartholdi and the Villa Massimo, had just been appointed
+  Director of the St&auml;del Institute, where he executed one of
+  the noblest of frescoes&mdash;<em>The Introduction of the Arts into
+  Germany through Christianity</em>. Likewise among warm
+  adherents was Johann Passavant, a painter who in Rome
+  had joined the brethren, a critic who made a name by the
+  'Life of Raphael.' Overbeck was here esteemed "the
+  greatest living artist," and some expressed "the cherished
+  thought, the earnest desire" that the painter should be
+  secured for Frankfort. But as this proved out of the
+  question, the promise was gladly accepted of the master&#8209;work
+  since famous as <em>The Triumph of Religion in the Arts</em>.
+  Cologne next received a visit, and the Cathedral choir
+  having advanced towards completion, the assistance of the
+  Christian painter was naturally solicited: <em>The Assumption
+  of the Virgin</em>, now adorning a side chapel, counts among the
+  memorable fruits of the painter's timely visit to his native
+  land. This northern journey was extended as far as D&uuml;sseldorf,
+  a sequestered town already growing illustrious
+  for its school of religious painting. Wilhelm Schadow,
+<a name="p061"></a>
+  co&#8209;partner in Roman labours, had here, as Director of the
+  Academy, gathered round him devoted scholars, and Overbeck
+  greeted his old friend as a missionary in the common
+  cause. After receiving on all hands respectful adulations
+  which would have turned a vainer head, the traveller bent
+  his steps southwards, and reached Italy by way of Strasburg
+  and Switzerland. On reaching Rome, he writes on the
+  1st of December to Cornelius in characteristic tone: "You
+  will understand with what lively joy I once more saw my
+  beloved Rome; I therefore will not conceal the painful
+  impression which the distracted opinions and doctrines in
+  the Fatherland have left in my mind, but I feel rest in the
+  persuasion that, through the dispensation of Providence,
+  my lot has been cast in this Roman seclusion, not that I
+  intend to lay my hands idly in my lap, but, on the contrary,
+  I shall endeavour to work with my utmost ability,
+  spurred on all the more by the thought that even here at
+  a distance I shall move in your circle." Assuredly as to
+  professional prospects the passage of the Alps had extended
+  the artist's circuit: the Italian works which chiefly mark
+  the painter's first period had come to an end; henceforth
+  Overbeck's labours, though prosecuted within the Roman
+  studio, were for the good of Germany.</p>
+<p class="indent">
+  Overbeck, in September, 1833, witnessed an event
+  memorable in the history of art: he was present at the
+  opening of Raphael's tomb in the Pantheon, and a few
+  days after he wrote to his friend Veit at Frankfort a circumstantial
+  account, as some relief to his overwhelming
+  emotions. The letter is here of interest as evidence of
+  Overbeck's unshaken allegiance to the great master; if
+  called by others a pre&#8209;Raphaelite, he remained at heart
+  faithful to the painter from whom indeed he borrowed
+<a name="p062"></a>
+  largely. Unlike certain of our English artists and critics,
+  he never decried Raphael. He writes: "Know, then, I
+  was present at the opening of Raphael's grave, and have
+  looked upon the true and incomparable master. What a
+  shudder came over me when the remains of the honoured
+  painter were laid open, thou canst better conceive than I
+  can describe. May this deep experience not be without
+  good results for us: may the remembrance of the honoured
+  one make us more worthy inheritors of his spirit!"<a name="c3f07_ref" href="#c3f07">[7]</a></p>
+<p class="indent">
+  Overbeck about this time, in letters to Emilie Linder,
+  begins to express ultra views, to the prejudice of his art.
+  He pleads that certain Biblical drawings may have for
+  her more worth because the religious meaning dominates
+  over the art skill. In like manner he writes apologetically
+  concerning <em>The Death of St. Joseph</em>. The picture, he
+  urges, embodies not so much a historic fact as an idea, the
+  intent being not to lead the spectator to the real, but to
+  something beyond. The purist painter then proceeds to
+  express his invincible reluctance to study the subject from
+  the side of life; models he had carefully avoided, because
+  he feared that a single glance at nature would destroy the
+  whole conception. It is with sincere regret that I have
+  to record so pernicious a doctrine. Surely the artist's
+  special function must always be to find out the divine
+  element in nature, and fatal is the day when first he calls
+  into question the essential oneness between Nature and
+  God. But Overbeck's peculiar phase of Catholicism
+  marred as well as made his art. Through the Church he
+  entered a holy, heavenly sphere, and his pictures verily
+  stand forth as the revelation of his soul. But the sublimest
+<a name="p063"></a>
+  of doctrines sometimes prove to be utterly unpaintable,
+  and certainly the tenets to which Overbeck gave a
+  super&#8209;sensuous turn, in the end perplexed and clouded his
+  art. Outraged nature took her revenge, 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 humanity.</p>
+<p class="indent">
+  Northern Germany claimed the illustrious painter as
+  her son, and so fitly came commissions from Cologne,
+  L&uuml;beck, and Hamburg. For the great Hospital in this
+  last commercial town was painted the large oil&#8209;picture,
+  <em>Christ's Agony in the Garden</em>. This impressive composition
+  represents the Saviour kneeling; the head is bowed in
+  anguish, the hands are raised in ecstasy; below, the three
+  disciples lie asleep, and in the glory of the upper sky amid
+  rolling clouds appears as a vision the angel bearing the
+  cross. I paid a visit to Hamburg in order to judge of a
+  work of which I could find but slight mention. Its
+  characteristics are just what might have been anticipated.
+  The drawing is studious, the expression intense, the execution
+  feeble; in short, the technique becomes wholly
+  subordinate to the intention. The conception has Giottesque
+  simplicity: the shade of night brings solemnity,
+  and the longer I stood before the canvas the more I
+  became impressed with the quietude and fervour of the
+  scene.<a name="c3f08_ref" href="#c3f08">[8]</a></p>
+<a name="p064"></a>
+<p class="indent">
+  We find an epitome of Overbeck's mind and art in a
+  lovely composition, <em>Lo Sposalizio</em>. Count Raczynski had
+  as far back as 1819 given a general commission, and at
+  first was proposed as a subject the <em>Sibyl</em>, for which the
+  drawing in sepia, dated 1821, now hangs in the Count's
+  Gallery in Berlin. The figure, pensive and poetic, resembles
+  a medi&aelig;val Saint rather than a Sibyl. The
+  painter afterwards found a more congenial theme in <em>The
+  Marriage of the Virgin</em>. The treatment is wholly traditional,
+  the style austerely pre&#8209;Raphaelite; the only expletive
+  in the way of an idea comes with attendant angels,
+  lyres in hand. The work was not delivered till 1836, in
+  the meanwhile the first fire had died out, and nature was
+  thrust into the distance. The technique had not improved,
+  the material clothing becomes subject to the mental conception,
+  thus are eschewed <em>chic</em> of touch and surface
+  texture. The colour is indescribable: it pertains neither
+  to earth nor to heaven, and yet it has more of dull clay
+  than of iridescent light. What a misfortune that the
+  gem&#8209;like lustre of the early Italians escaped this modern
+  disciple! A thoroughly characteristic letter accompanied
+  the picture. Overbeck having shut himself out from the
+  world, seeks for his creations a like seclusion. He writes
+  to Raczynski: "As you are wishing to send my picture to
+  the public exhibition in Berlin, I cannot refrain from
+  expressing my anxiety. Paintings of this kind appear to
+  me not fitted to be seen by the motley multitude usually
+  gathered together in exhibitions. The general public are
+  almost sure to measure wrongly works like this, for as the
+<a name="p065"></a>
+  eye is attracted to outward means and is engaged on
+  technical splendours, pictures in which these qualities are
+  held in subordination to higher aims cannot but sink into
+  the shade. The spectator is not in the mood to honour a
+  spiritual subject which has been thought out from a
+  spiritual side. The place in which this picture should
+  be seen is a chapel, or some such peaceful spot removed
+  from disturbing surroundings."<a name="c3f09_ref" href="#c3f09">[9]</a></p>
+<p class="indent">
+  I now wish to direct the reader's attention to <em>The Triumph
+  of Religion in the Arts</em>, otherwise <em>The Magnificat of
+  Art</em>, or <em>The Christian Parnassus</em>, or the triumph
+  of Mariolatry. This large and elaborate composition embodied the
+  artist's best thoughts for ten years in the prime of life,
+  from 1831 to 1840. Accompanying the work was a written
+  explanation, which comprises a confession of Overbeck's
+  art faith.<a name="c3f10_ref" href="#c3f10">[10]</a> The Madonna,
+  with the Infant in her arms, sits enthroned in the upper half of
+  the canvas, and around, in mid&#8209;heaven, are ranged prophets,
+  evangelists, and saints. On the earth below stand some sixty
+  painters, sculptors, and architects; the heads as far as possible
+  are taken from authentic portraits. In the midst is a fountain,
+  the upper waters rising into the sky, the lower falling
+<a name="p066"></a>
+  into two basins beneath. The painter explains his meaning
+  as follows: "The fountain in the centre is the emblem
+  of the well of water springing up into eternal life, thus
+  denoting the heavenward direction of Christian Art as
+  opposed to the idea of the ancients, who represented the
+  stream as flowing downwards from Mount Parnassus.
+  Every manifestation of art therefore is honoured so far
+  only as it looks towards heaven. The fountain descends
+  into two mirrors: the upper one reflects heaven, the
+  lower receives earthly objects; thus is indicated the twofold
+  character of art, which, on the one hand, in its
+  spiritual essence comes with every good thought from
+  above, and which, on the other, is derived from the
+  outward forms of nature. This twofold sphere of art
+  is signified by the position assigned to the assembled
+  artists in relation to the two mirrors of water." Overbeck
+  next proceeds to expound his pictorial judgments. He
+  gives Raphael a white robe as symbolic of universal
+  genius, "for as white light contains the seven prismatic
+  colours, so does Raphael's art unite all the qualities we
+  gaze on with wonder." Michelangelo sits apart on a
+  fragment of antique sculpture, his back turned alike on
+  the Fountain and the Madonna. I once ventured to ask
+  Overbeck in his studio for some explanation of this harsh
+  judgment; he calmly but firmly replied that he thought
+  the verdict according to the evidence. Still less mercy is
+  shown to the Venetians, and as for Correggio, he is stigmatised
+  as utterly lost. On the other hand, Fra Angelico,
+  the Tuscan School, D&uuml;rer, and the brothers Van Eyck
+  receive due reverence. But it has fairly been questioned
+  whether the majority of the sixty or more artists here
+  immortalised would thank the painter for his pains. The
+<a name="p067"></a>
+  reading given to historic facts is narrow, partial, not to
+  say perverted, and could content only such ultra critics as
+  Rio, Montalembert, and Pugin. <em>The Triumph of Religion</em><a name="c3f11_ref" href="#c3f11">[11]</a>
+  I have known for more than a quarter of a century, and have
+  heard much of its profundity, spiritualism, and symbolism.
+  But no critic will assign to the picture the first rank among
+  works of creative reason and imagination; the comparison has
+  inevitably been instituted with Raphael's <em>Disputa</em>, in the
+  Vatican, to which it is confessedly inferior. Historically,
+  it finds a place sufficiently honourable by the side of
+  Francia and Pinturicchio. Its avowed merits are considerable;
+  its very scale and the vastness of the labour give
+  importance; the canvas extends to a breadth and height
+  of about fifteen feet. The composition, if not bold or
+  masterly, is careful and thoughtful, the drawing scholastic;
+  the heads are wrought as biographic studies, the draperies
+  cast into balanced harmonies. The execution is steady,
+  without show or fling; the colour, as always, is the
+  reverse of alluring: Venetian splendours are eschewed
+<a name="p068"></a>
+  in favour of pigments thin, dull, and crude. Yet the
+  technique has usual soundness; the materials stand firm
+  and unchanged. The picture has the advantage of a
+  commanding position in the handsome new gallery in
+  Frankfort, and, notwithstanding its defects and shortcomings,
+  must be accounted as among the most memorable
+  achievements of the century.</p>
+<p class="indent">
+  Overbeck made <em>The Triumph of Religion</em> a propaganda
+  of his pictorial faith, and wrote his explanatory text for
+  the special benefit of young painters. The document concludes
+  with the following emphatic and affectionate
+  appeal: "And now, my dear young friend and brother
+  artist, so ardently striving to excel in the Fine Arts, I
+  have placed a picture before you in which you may
+  wander as in a garden. Here you see all the great
+  masters: behold how the future lies spread before you,
+  like the bright distance in this picture, so that you may
+  be encouraged thereby in your noble task. Strive to
+  approach the great masters with all the powers of your
+  mind, 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 you. Several
+  of the artists here assembled may serve as warnings to
+  you: the Venetians went astray as soon as they made
+  colouring the principal object of attraction, and so by
+  degrees they sank in sensuality. The effeminate Correggio
+  proceeded in this career at a more rapid rate, until he had
+  cast aside every restraint of modesty and morality, and
+  gave himself up to unbridled voluptuousness.<a name="c3f12_ref" href="#c3f12">[12]</a> Michael
+<a name="p069"></a>
+  Angelo set up the antique as an object of idolatry, and
+  Raphael was tempted to taste the forbidden fruit, and so
+  the sin of apostasy in the fine arts became manifest. In
+  after times, indeed, various attempts have been made to
+  elevate the arts; but as no remedy was applied to the
+  source of the evil, the result proved on the whole unsuccessful.
+  This is also the reason why none of the
+  celebrated masters of late times have been introduced
+  into our painting.<a name="c3f13_ref" href="#c3f13">[13]</a> In conclusion, you may unhesitatingly
+  adopt as a principle that the fine arts can alone
+  be beneficial to man when, like the wise virgins, they go
+  out to meet the bridegroom in humility and modesty,
+  with their lamps burning and fed with the faith and the
+  fear of God: only as such daughters of heaven are they
+  worthy of your love."</p>
+<p class="indent">
+  Ten years of the painter's later period, reaching from
+  1843 to 1852, were dedicated to the Life of Christ as
+  recorded by the four Evangelists. German artists of the
+  modern time have revived the practice of the old religious
+  painters of composing Biblical series, and such a narrative
+  is technically termed a "cyclus." Overbeck
+<a name="p070"></a>
+  evolved three such consecutive compositions&mdash;"The
+  Gospels" in forty cartoons, "The Sacraments" in seven,
+  and "The Stations" in fourteen. The large drawings
+  for "The Gospels" or "Evangelists"<a name="c3f14_ref" href="#c3f14">[14]</a> I was accustomed
+  to see from time to time while in progress within the
+  studio; none were ever carried out, as the artist might
+  have hoped, in oils, or as wall pictures or tapestries, but
+  all, in common with most of his drawings, have been
+  widely diffused by means of engraving.<a name="c3f15_ref" href="#c3f15">[15]</a> Overbeck was
+  specially qualified by his habits of mind and literary
+  tastes and antecedents thus to write off his thoughts in
+  outline; his drawings may be compared to "thinking
+  aloud," and one scene after another reads as consecutive
+  sonnets bearing on continuous themes. The events depicted
+  as a matter of course fall into accustomed routine;
+  they almost of necessity begin with <em>The Annunciation</em> and
+  end with <em>The Ascension</em>. Yet Overbeck, while inspired
+  was not enslaved by his predecessors; often are presented
+  novel and even bold conceptions, as in <em>The Massacre of the
+  Innocents</em> (1843) and <em>Barabbas released and borne in
+  Triumph</em> (1849). Such designs prove an intellect neither</p>
+
+<br clear="all" />
+<div align="center">
+<img src="images/illus07.jpg" alt="CHRIST HEALING THE SICK" width="658" height="554" border="0" /><br />
+</div>
+<br clear="all" />
+
+<a name="p071"></a>
+<p class="justify">
+  servile nor sterile. Certain other compositions are marred
+  by affectation and sentimentality, traits of morbid moods
+  increasing with years, and which contrast strangely with
+  the healthiness and robustness of the great old masters.
+  Fitly have been chosen to illustrate these pages <em>The
+  Naming of St. John</em> (1843), <em>Christ Healing the Sick</em> (1843),
+  <em>Christ's Entry into Jerusalem</em> (1849), <em>The Entombment</em> (1844),
+  and <em>The Resurrection</em> (1848). Two other illustrations,
+  <em>Christ in the Temple</em> and Christ <em>falling under the Cross</em> show
+  variations on the Gospel series. Overbeck may be compared
+  to certain fastidious writers who mature by endless
+  emendations and finishing touches; he loved to recur oft
+  and again to favourite texts, changing attitudes, adding
+  or subtracting figures, episodes, or accessories. His lifelong
+  compositions are as a peopled world of the elect and
+  precious: many of the characters we claim as old acquaintances;
+  the figures come, go, and return again, changed,
+  yet without a break in personal identity. They move
+  round a common centre; Christ is their life; they are in
+  soul and body Christian.</p>
+<p class="indent">
+  These "Gospels" have taken a permanent place in the
+  world's Christian Art. If not wholly worthy of so large
+  and grand a theme, they yet scarcely suffer from comparison
+  with like efforts by other artists. They have
+  hardly less of unction and holiness than Fra Angelico's
+  designs, while undoubtedly they display profounder
+  science and art. That they have nothing in common
+  with the Bible of Gustave Dor&eacute; is much to their praise;
+  on the other hand, that they lack the inventive fertility
+  and the imaginative flight of the Bible of Julius
+  Schnorr indicates that they fall short of universality.
+  These Gospels, it may also be said, pertain not to the
+<a name="p072"></a>
+  Church militant, but to the Church triumphant; not to
+  the world at large, but to a select company of believers.
+  They teach the passive virtues&mdash;patience, resignation, long&#8209;suffering,
+  and so far realise the painter's ideal of earth as
+  the portal to heaven. Certain spheres were beyond his
+  ken. The marriage of Cana did not for him flow with
+  the wine of gladness; he had no fellowship with the
+  nuptial banquet as painted by Veronese. His pencil
+  shunned the Song of Miriam and the Dance of the
+  Daughter of Herodias; it could not pass, like the pen
+  of England's epic poet, with a light fantastic touch from
+  "Il Penseroso" to "L'Allegro;" his walk was narrow as
+  a convent cloister; his art was attuned to the sound of
+  the vesper bell.</p>
+<p class="indent">
+  Overbeck's modes of study and habits of work were like
+  himself&mdash;secluded and self&#8209;contained. His strength did
+  not permit prolonged labour, and his mind was easily put
+  out of tune; yet by method and strict economy of time he
+  was able, as we have seen, to get through a very considerable
+  amount of work. Each day had its allotted task. He
+  rose summer and winter between five and six o'clock, and
+  usually went to church; at seven he took a simple breakfast,
+  then entered his studio and worked on till one. This
+  was the hour for dinner, a frugal meal preceded by the
+  customary grace. After a little repose, action was resumed
+  about half&#8209;past two, and continued till four, or
+  sometimes even to six. Then came exercise, mostly a
+  meditative walk; in early times, before the habits of a
+  recluse had grown confirmed, the painter enjoyed an
+  evening's stroll with choice spirits, such as Niebuhr and
+  Bunsen, but in later years he preferred his own communings,
+  his thoughts turning upon art or finding diversion
+<a name="p073"></a>
+  only among the beauties of nature. Within the
+  house he became abstracted; he wandered about lost to
+  outward surroundings, and would brook no interruption.
+  In the winter evenings, at least in later life, he relaxed so
+  far as to join in some table game; but his hours were
+  early, he supped at eight, then retired to his room for
+  meditation, and was always in bed by ten. General
+  family prayers were not the order of the household;
+  the constant habit was individual devotion in private.
+  The Pope took a fatherly care over the pious artist, and
+  granted him privileges permitted only to the few. And
+  Overbeck was on his part strict and zealous in all Church
+  functions, and neglected no means of building up the
+  Christian life. Each day in fact was so nicely apportioned
+  between religion and art, that the morning and the
+  evening worship blended indissolubly with the midday
+  work.</p>
+<p class="indent">
+  The bodily and mental aspect of Overbeck is well
+  known. I myself had the privilege of first seeing the
+  painter when in the Cenci Palace, as far back as the year
+  1848. My journal describes a man impressive in presence,
+  tall and attenuated in body, worn by ill&#8209;health and suffering,
+  the face emaciated and tied round by a piece of black
+  silk. The mind had eaten into the flesh; the features
+  were sorrow&#8209;laden. The voice sank into whispers, the
+  words were plaintive and sparse; noiselessly the artist
+  glided among easels bearing pictorial forms austere as his
+  own person, meekly he offered explanations of works
+  which embodied his very soul, timidly sought retreat and
+  passed as a shadow by&mdash;the emblem of an art given in
+  answer to prayer and pertaining to two worlds.</p>
+<p class="indent">
+  The painter, as drawn or described by himself and
+<a name="p074"></a>
+  others, presents an interesting psychological study: no
+  historic portrait reveals closer correspondence between
+  the inner and the outer man. Cornelius delineated his
+  friend at the age of twenty&#8209;three: the type is ascetic
+  and &aelig;sthetic after the pre&#8209;Raphaelite pattern affected
+  by the Nazarites. F&uuml;hrich, one of the fraternity, describes
+  his first impressions: on entering the studio he
+  beheld a tall, spare figure, noble in head, the hair flowing
+  over smooth temples to the shoulders, the forehead reflective,
+  the calm eye "soul&#8209;full," the whole aspect that of
+  "inner living." It is added, "at once I felt a soul fulfilment."
+  Yet another artist&#8209;disciple, Edwin Speckter,<a name="c3f16_ref" href="#c3f16">[16]</a> also
+  leaves a graphic record penned in 1831 as follows: "A
+  melancholy and heart&#8209;moving impression has Overbeck
+  made upon me: I beheld a tall, spare man, with thin,
+  light hair, shadowed by a black cap, whose eyes looked
+  forth sadly, as with an expression of unutterable suffering.
+  His mouth contracted at each word into a forced yet
+  sweet smile. He looked just as a timid prisoner, who
+  dreads in every corner to see a spy. Yet in all his speech
+  and ways appeared wondrous humility, modesty, and
+  kindly geniality, which, however, did not attract, but in
+  a strange manner repelled. I hardly dared to open my
+  mouth, and only spoke softly and by way of inquiry.
+  Freely to impart my mind as with others was impossible.
+  My breast felt oppressed, and truly I scarcely knew what
+  to say when he unceasingly begged pardon that he should
+  dare to show his works: he called them 'insignificant,'
+<a name="p075"></a>
+  'nothing,' esteemed himself fortunate that people should
+  choose to give commissions to so unworthy an individual,
+  only he pitied the patrons that they had not fallen on a
+  more capable man. And then when I asked if I might
+  come again, he replied, 'Good heavens! if I would give
+  myself the trouble, he should be only too delighted.' I
+  could almost have laughed, but with tears in my eyes."</p>
+
+<div align="center">
+<img src="images/illus-089.jpg" alt="[decoration]" width="313" height="110" /></div>
+
+<h3>FOOTNOTES:</h3>
+
+<p class="footnote">
+  <a name="c3f01" href="#c3f01_ref">[1]</a> For further particulars as
+  to Overbeck's wife, "Nina," see 'Erinnerungen
+  und Leben der Malerin Louise Seidler,' Berlin, Verlag von
+  Wilhelm Hertz, 1875. According to this authority the young lady was
+  the illegitimate daughter of a gentleman of aristocratic family in
+  Vienna, from whom she received a dowry. She had come to Rome in
+  search of health, and possessing talents, accomplishments and charms,
+  and being withal a "fanatic Catholic," she won the affections of the
+  impressible painter. "The young couple," we are told, passed "a
+  soul&#8209;satisfying" honeymoon, and took up their abode in the Villa
+  Palombara, near the Baths of Diocletian. In the private collection of
+  Herr Bockenheimer, Frankfort, I have found an exquisite drawing,
+  wherein the artist is said to have depicted himself, his wife, and two
+  children.</p>
+<p class="footnote">
+  <a name="c3f02" href="#c3f02_ref">[2]</a> Mrs. Jameson, in 'The Legends
+  of the Monastic Orders,' illustrates
+  the visions and ecstasies of St. Francis from the pictures of Giotto and
+  others down to Domenichino. Coming to our times, the only work
+  found worthy of such companionship is that of Overbeck. The modern
+  German does not suffer by comparison with the old Italian masters.
+  The fresco was finished 1830; shortly after, an earthquake visited the
+  spot and destroyed a large portion of the church, but <em>The Vision of
+    St. Francis</em> remained intact. The cartoon for the picture is in the
+  Library, L&uuml;beck, framed, hung, but badly seen. I examined and noted
+  it October 1880. It is in chalk, on paper mounted on canvas; the
+  form is lunette, the base about 20 feet broad; the figures are life&#8209;size.
+  The heads, hands and draperies are thoroughly studied in a broad,
+  large manner. The work when exhibited in Munich in 1831, on the
+  artist's visit to Germany, obtained high commendation. The oil study
+  made for the colour is now in the Leipzig Museum: measurement,
+  2 feet 3 inches by 2 feet 7 inches. The cartoon has been lithographed
+  by Koch: the fresco itself is photographed.</p>
+<p class="footnote">
+  <a name="c3f03" href="#c3f03_ref">[3]</a> Portrait of <em>Vittoria Caldoni</em>,
+  oil, on canvas, nearly life&#8209;size, about
+  3 feet by 2 feet. <em>Holy Family</em>, about 4 feet 6 inches by 3 feet: oil,
+  on rough Roman canvas, signed "F. O. 1825": better colour than
+  usual: in good condition, but, like many pictures in the New Pinakothek,
+  revived by the Pettenkofer process: the beautiful engraving by
+  Felsing has a sale quite unusual for Overbeck. "Italia und Germania,"
+  about 3 feet 5 inches by 2 feet 9 inches, oil, on canvas: manner hard
+  and dry: lithographed by F. Piloty.</p>
+<p class="footnote">
+  <a name="c3f04" href="#c3f04_ref">[4]</a> See 'Historisch&#8209;Politische Bl&auml;tter
+  f&uuml;r das Katholische Deutschland,' before quoted.</p>
+<p class="footnote">
+  <a name="c3f05" href="#c3f05_ref">[5]</a> <em>The Death of St. Joseph</em>,
+  oil, on canvas, 3 feet by 2 feet 3 inches,
+  was at last completed 1836, and appeared two years later in the Munich
+  Exhibition: the price was less than 100<em>l.</em> A small drawing for the
+  picture was, with others in the possession of Emilie Linder, lithographed
+  for devotional purposes: the lady with characteristic generosity sent
+  the proceeds of publication to the painter. On her death in 1867 her
+  collection went by bequest to the Basle Museum, where are conserved,
+  besides <em>The Death of St. Joseph</em>, ten drawings in pencil. Among
+  the last are <em>God appearing to Elias on Mount Horeb</em>, <em>The Finding
+  of Moses</em>, <em>The Israelites gathering Manna</em>, <em>The Madonna and St. Joseph
+  worshipping the Infant Jesus</em>, <em>Christ found in the Temple</em>, and <em>The
+  Awakening of Jairus's Daughter</em>. Of the last I have met with two
+  other examples. The engraving, <em>Christ in the Temple</em>, illustrating this
+  volume, is from the drawing in this collection.</p>
+<p class="footnote">
+  <a name="c3f06" href="#c3f06_ref">[6]</a> The principal drawings at Stift
+  Neuburg have been mentioned in
+  previous pages. I will now add from notes taken on the spot: Portrait
+  of Cornelius by Overbeck and a companion portrait on the same paper
+  of Overbeck by Cornelius. Pencil: 1 foot 4 inches by 1 foot 3 inches.
+  This joint handiwork, presented to their friend on the eve of his leaving
+  Rome for Germany, bears the following inscription: "In Remembrance
+  of our friend C. F. Schlosser, from F. Overbeck and J. P. Cornelius.
+  Rome, 16 March, 1812." The latest drawing in the collection, date
+  1836, represents Christ bearing the Lamb: the Saviour opens His
+  mantle and shows a flaming heart. 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 beauty. Some of the chief drawings at Stift
+  Neuburg have been published in photography by Bruckmann, Munich.</p>
+<p class="footnote">
+  <a name="c3f07" href="#c3f07_ref">[7]</a> Overbeck's letter on the
+  opening of the tomb in the Pantheon is
+  published in Passavant's 'Life of Raphael.'</p>
+<p class="footnote">
+  <a name="c3f08" href="#c3f08_ref">[8]</a> <em>Christ's Agony in the
+  Garden</em> is on canvas, 7 feet wide by
+  11 feet high: figures size of life: without signature or date: the
+  manner is that of the middle period: the year I believe to be between
+  1831 and 1835. The system of colour, though not without the depth
+  and solemnity of the early schools of Lombardy, is that peculiar to the
+  religious art of modern Germany: it is dull, heavy and opaque. I
+  would quote as an interesting proof of nature&#8209;study, still maintained at
+  this pronounced period, a foreground plant and flower exquisitely
+  drawn and affectionately painted. The picture is seen to utmost disadvantage:
+  the cold and poverty&#8209;stricken surroundings are those
+  usually deemed appropriate in Lutheran Germany.</p>
+<p class="footnote">
+  <a name="c3f09" href="#c3f09_ref">[9]</a> The present position of <em>The
+  Marriage of the Virgin</em> in the
+  Raczynski Gallery, Berlin, has just those "disturbing surroundings"
+  which the painter dreaded. It is crowded among discordant works,
+  and is hung so high that I had to ask for a ladder to examine its
+  quality and condition. The oil pigments remain sound save some
+  small surface cracks. The size is about 6 feet by 4 feet. The modest
+  price paid by the munificent patron, and for which he received the
+  artist's grateful acknowledgments, was somewhat under 100<em>l</em>. sterling.
+  Surely Overbeck did not paint for filthy lucre.</p>
+<p class="footnote">
+  <a name="c3f10" href="#c3f10_ref">[10]</a> See account of 'Religion
+  glorified by the Fine Arts,' written by
+  the painter himself and translated by Mr. John Macray: published by
+  Ryman, Oxford; 2nd edition, 1850.</p>
+<p class="footnote">
+  <a name="c3f11" href="#c3f11_ref">[11]</a> The picture has been engraved
+  by Amsler, and is also photographed.
+  The cartoon is in the Carlsruhe Gallery, framed and hung:
+  it measures about 12 feet wide by 14 feet high: it is in charcoal or
+  chalk, on squares of whity&#8209;brown paper mounted on canvas. This
+  drawing is remarkable for thoroughness in form and character; indeed,
+  it is just what a cartoon should be. Countless preliminary studies of
+  separate figures and draperies must have preceded it. Overbeck in a
+  letter, 28th December, 1839, to Emilie Linder mentions three cartoons
+  or studies. One large one being the above. A second smaller, 4 feet
+  8 inches square, in sepia, on canvas. This I examined October, 1880,
+  in the National Gallery, Berlin: the execution in parts is poor. The
+  work had been sent for sale, but was not purchased. The third sketch
+  is described by the artist as different in proportions and composition.
+  It is in black chalk and pencil on red paper. The painter names
+  &pound;100 as the price: he received &pound;1300 for the picture.</p>
+<p class="footnote">
+  <a name="c3f12" href="#c3f12_ref">[12]</a> Surely Overbeck is unjust
+  to the masterpieces of Correggio in
+  Parma and Dresden, including two Holy Families, <em>Il Giorno</em> and
+  <em>La Notte</em>. He likewise must have forgotten Titian's religious
+  pictures in Venice and Vienna, <em>The Assumption</em> and sundry Holy
+  Families. The "young artist" has to remember that a picture is
+  different from a homily: that art has to be valued for her own sake,
+  that drawing, composition, light, shade and colour are indispensable
+  elements in every art work. Overbeck shirks the stern truth that the
+  first duty of a painter is to paint.</p>
+<p class="footnote">
+  <a name="c3f13" href="#c3f13_ref">[13]</a> It is difficult to remain
+  tolerant of such intolerance. Why does
+  not Overbeck declare plainly that Ary Scheffer is excluded because he
+  was a Protestant? As spectators a place in the picture is assigned to
+  Cornelius, Veit, and to Overbeck himself, all Roman Catholics, whilst
+  Schnorr, as a Protestant, is deemed unworthy to appear. It is interesting
+  to observe that Overbeck's darling son is introduced in the
+  character of a young Englishman.</p>
+<p class="footnote">
+  <a name="c3f14" href="#c3f14_ref">[14]</a> The cartoons for the Gospels,
+  originally made for an art dealer in
+  Prague, were afterwards acquired by the late Baron Lotzbeck of Weihern,
+  near Munich, and are now in the possession of the son, the present
+  Baron: they are framed and protected under glass.</p>
+<p class="footnote">
+  <a name="c3f15" href="#c3f15_ref">[15]</a> See 'L'&Eacute;vangile Illustr&eacute;:
+  Quarante Compositions de Fr&eacute;deric
+  Overbeck: grav&eacute;es par les meilleurs Artistes de l'Allemagne:'
+  Schulgen, D&uuml;sseldorf and Paris. Overbeck had an aversion to the
+  heavy and mechanical schools of engraving; he objected to meaningless
+  masses of shadow and to the multiplication of lines inexpressive of
+  form. Accordingly these engravings from the Gospels, in common
+  with other plates from the master, possess merits the opposites to such
+  defects. Like the original drawings, they are chiefly dependent on
+  outline, and even their slightness is not without the advantage of
+  suggestiveness. Four illustrations here are facsimiles of the engravings.</p>
+<p class="footnote">
+  <a name="c3f16" href="#c3f16_ref">[16]</a> See 'Briefe eines deutschen
+  K&uuml;nstlers aus Italien, aus den nachgelassenen
+  Papieren von Edwin Speckter.' Leipzig: Brockhaus, 1846.
+  Also see 'Bunte Bl&auml;tter, von A. W. Ambros.' Leipzig: Leuckart, 1872.</p>
+
+
+
+<div align="center">
+<div class="pageBreak"></div>
+
+<img src="images/illus-090.jpg" alt="[decoration]" width="498" height="136" />
+
+<div>&nbsp;</div>
+
+<a name="p076"></a>
+<h3>CHAPTER IV.</h3>
+
+<h4>LATE WORKS&mdash;CONCLUSION&mdash;THE PAINTER AND HIS ART.</h4>
+</div>
+
+
+<p class="justify">
+  <span class="dropCap">O</span>VERBECK, as we have seen, deliberately laid out
+  his life for tranquillity; but not sheltered, as Fra
+  Angelico, in a cloister, his serene mind was at times
+  clouded by trouble. First came the death of his son, then
+  he lost a brother, and afterwards was bereaved of his wife.
+  All accounts tell that the darling son, Alfons Maria, inherited
+  the rare gifts of the father, and unhappily also
+  was a sharer in like bodily frailty. He had been reared
+  with tenderest solicitude, in the hope that he might carry
+  on the good work. The profession chosen was that of
+  architecture, an art which the Christian painter felt to
+  be of a "mystic nature," being something "musical," and
+  "the visible emblem of religious enthusiasm." But the
+  bright promise was soon darkened: the youth died in
+  the autumn of 1840, at the early age of eighteen. The
+  father in overwhelming sorrow recounts, in a letter to
+  Emilie Linder, how he had watched over the sick bed, and
+  had snatched up a pencil by the quarter of an hour to
+  assuage his grief. The boy was dutiful, and filled with
+  filial love&mdash;he was so good that the people called him a
+  saint. The stricken parent turned to art as "a crutch to
+  support his lameness, and as a solace to his tears."
+</p>
+
+<br clear="all" />
+<div align="center">
+<img src="images/illus08.jpg" alt="CHRIST FALLING UNDER THE CROSS" width="709" height="626" border="0" /><br />
+</div>
+<br clear="all" />
+
+<p class="indent">
+<a name="p077"></a>
+  The picture of <em>The Entombment</em>, or rather <em>The Piet&agrave;</em>,
+  in L&uuml;beck, tells of the mind's heavy burden. In 1837
+  an association had been formed, and money subscribed
+  among friends and admirers, who desired that the native
+  city should possess some work worthy of the painter's
+  renown. In 1842, on the completion of the first sketch
+  and the cartoon, a letter arrived in L&uuml;beck, saying that
+  the grief through which the artist had passed was thrown
+  into a composition that expressed the uttermost anguish
+  of the soul. And again, in 1846, on the completion of
+  the work, the Christian man writes, praying that this
+  "lamentation over the death of the Son of God may arouse
+  in the spectator true faith and repentance. May this
+  painting, begun in tears for my own and only son, and
+  finished in grief for the loss of my dear brother, draw
+  tears from the eyes of Him who shed not only tears, but
+  blood, in order that His death might be our life. Such
+  aim have I always in my art, without which it would
+  seem idle, indeed blasphemous."
+</p>
+<p class="indent">
+  <em>The Piet&agrave;</em><a name="c4f01_ref" href="#c4f01">[1]</a> was exhibited in Rome, and friendly
+<a name="p078"></a>
+  criticisms were followed by final touches, with the filial
+  intent to make a worthy offering to the parental city. In
+  March, 1846, Overbeck announces, in the most modest
+  terms, that the labour of love had at length been dispatched
+  to L&uuml;beck, and, much to his joy, a quiet side
+  chapel of the choir of the Marien Kirche was chosen for
+  its resting&#8209;place. The impression on entering this secluded
+  spot, shut in by a locked gate, is almost startling;
+  the eye gazes, as it were, on the actual scene: the figures
+  are life&#8209;size; the pictorial style is, perhaps, all the more
+  persuasive because it belongs to a remote time&mdash;nothing
+  modern breaks the spell of sacred associations. The spectator
+  is transported to a sphere super&#8209;mundane, and altogether
+  religious. The dead Christ, well modelled and a
+  fine piece of flesh painting, lies stretched on the ground in
+  a white winding&#8209;sheet, and, as sometimes with the old
+  painters, the body seems not dead but sleeping, as if
+  expectant of resurrection. The composition is strictly
+  traditional, indeed the <em>Piet&agrave;</em> of Perugino in the Pitti
+  Palace has been implicitly followed: around are the holy
+  women weeping, with disciples and Nicodemus and Joseph
+  of Arimath&aelig;a. Every head, hand, and drapery, are
+  thoroughly studied. Dark rocks, lofty cypresses, and
+  distant hills, make up a landscape which adds solemnity
+  and depth of colour. Within a few minutes' walk of the
+  Marien Kirche and this <em>Piet&agrave;</em> still remains Memling's
+  masterpiece, which, as already related, had deeply impressed
+  the youthful painter while yet in the L&uuml;beck
+  home, but allegiance had been long, we know, transferred
+  from old German to Italian art, and accordingly the style
+  adopted recalls well&#8209;remembered compositions by Francia,
+  Fra Bartolommeo, and Perugino. Not a single new motive
+<a name="p079"></a>
+  intrudes; in fact, Overbeck no more desired a new art
+  than a new religion; for him the old remained unchangeably
+  true,&mdash;sacred characters were handed down
+  immutably as by apostolic succession; he would rearrange
+  an attitude, but feared to lose personal identity; he desired
+  that this <em>Piet&agrave;</em> should awaken such holy associations
+  as environ old pictures.
+</p>
+<p class="indent">
+  Overbeck received a commission from a Yorkshire
+  squire, Mr. Rhodes, to paint an altar&#8209;piece for the Protestant
+  church of St. Thomas, in Leeds, recently built
+  from the design of Mr. Butterfield. Naturally the Incredulity
+  of the Apostle was chosen as the subject, and the
+  picture<a name="c4f02_ref" href="#c4f02">[2]</a> reached completion in 1851. The composition is
+  in no way out of keeping with the Anglican Church; it is
+  without taint of Romanism; but we are told by Ernst
+  F&ouml;rster, the Munich critic,<a name="c4f03_ref" href="#c4f03">[3]</a> that "people were not well
+  pleased with the work," at all events it never reached
+  its destined place. Mr. Rhodes had brought the picture to
+  England from Overbeck's studio, and being for disposal, it
+  was offered to Mr. Beresford Hope, who gladly became the
+  owner, at the price of 300<em>l</em>., the modest sum asked by the
+  artist. The scene is thrown upon canvas with the painter's
+  habitual simplicity, brevity, and breadth. Christ in commanding,
+  yet benignant, attitude, with arm uplifted, utters
+  the words: "Reach hither thy hand and thrust it into my
+  side, and be not faithless, but believing." The Apostle
+  reverently approaches. Beyond stretches a distant landscape
+<a name="p080"></a>
+  with a mountain&#8209;height that might be mistaken
+  for the crested summit of Soracte. The lines of composition
+  flow symmetrically, the sentiment has quiet dignity,
+  with that sense of the divine presence which seldom
+  fails the painter. The picture hangs in the drawing&#8209;room
+  of Mr. Hope's town&#8209;house, and, though painted for a
+  church, conforms to domestic uses, not being "too bright
+  or good for human nature's daily food." The personation
+  of the Saviour when once seen will not be forgotten; the
+  figure, indeed, was cherished by the artist, for the motive
+  with slight variation is repeated in <em>The Vocation of the
+  Apostles James and John</em> (<em>see</em> Illustration), and again in
+  <em>The Sacrament of Marriage</em>. Overbeck had none of the
+  modern unrest which seeks novelty for its own sake; as a
+  Christian artist, his growth was that of grace; and, if
+  tested here and elsewhere by the worthiness of his conception
+  of the God&#8209;Man, no painter attained a more
+  heavenly ideal. It is hard to realise on earth a more
+  perfect divinity than seen in the design <em>Feed my Sheep</em>.
+  <em>The Incredulity of St. Thomas</em> has been exhibited in England
+  twice; first in 1853, in the Royal Academy, where, I
+  remember, it was honoured with a conspicuous place in
+  the large room; afterwards, in 1857, it was seen in the
+  Manchester Art Treasures. As far as I know, it is the
+  only large and important work of the master submitted
+  to the English public.
+</p>
+<p class="indent">
+  Overbeck, thirteen years after the death of his son, was
+  in 1853 bereft of his wife, who had been his companion
+  and caretaker for more than thirty years. She died suddenly,
+  yet, as her husband thankfully records, with all
+  the consolations the soul could desire. She had in the
+  morning been to church and taken the sacrament; she
+<a name="p081"></a>
+  was then seized with difficulty of breathing, but, on
+  reaching home, revived, and raised her voice to the praise
+  and glory of God; after, she grew worse, desired to see
+  the priest, received extreme unction, and so died.
+</p>
+<p class="indent">
+  The good painter, when the help&#8209;mate of his life was
+  taken away, felt utterly desolate and disabled. He had
+  never been accustomed to look after the house; some
+  thirty poor families are said to have been dependent on
+  his bounty; but as for himself he took little thought,
+  and all he desired was to be saved from mundane cares.
+  In Rome there happened to be a certain family of Hoffmanns,
+  who, like the painter, had forsaken Protestantism
+  for Catholicism. They were endowed with the worldly
+  faculties in which the Christian artist was wanting, and
+  so a close relationship had conveniently grown up. Overbeck,
+  on the death of his wife, being absolutely incapable
+  of getting on alone, arranged to live with this family;
+  moreover, he adopted Madame Hoffmann, a lady of forty,
+  as his daughter, and the adoption included the husband
+  and the children. They seem to have made him
+  comfortable, and letters exist which give expression to his
+  gratitude. They, on their side, reaped their reward, inasmuch
+  as on the death of the good artist they came into
+  the possession of the contents of his studio, his papers, and
+  correspondence, moneys, and all other properties. After
+  the aforesaid family arrangement, the blood relations
+  found little favour, and all who bore the name of Overbeck
+  were cut off without a shilling.
+</p>
+<p class="indent">
+  Earthly trouble did but turn the painter's gaze heavenwards,
+  and his art, which in time of trial came as consolation,
+  grew all the more spiritual as it passed through
+  waters of affliction. Few painters, even in the good old
+<a name="p082"></a>
+  days, obtained so sympathetic a public. Belief in a
+  mission begat like faith in others, and so solicitations
+  came for drawings and pictures far in excess of available
+  time and strength. Certain commissions could not be
+  entertained, secular subjects had been long eschewed,
+  religion and the Church were alone accounted worthy
+  of service. Therefore, in genial mood, was the great
+  picture for Cologne Cathedral undertaken and carried
+  out. The work occupied no less than nine years; the
+  cartoon was already in course of preparation in 1846,
+  and the picture reached completion in 1855. But, as
+  with other engagements, the negotiations and preliminary
+  correspondence extended over a longer period.
+  Thus, as far back as 23rd August, 1829, Overbeck,
+  while working on the Assisi fresco, writes from Santa
+  Maria degli Angeli to his friend Mosler, stating that
+  the D&uuml;sseldorf Kunst&#8209;Verein wish for some picture;
+  but prior engagements stand in the way: he foresees
+  that on the return to Rome he will find his studio
+  crowded with works begun, but still unfinished, besides
+  sketches of all sorts and sizes for pictures not even
+  commenced. He therefore asks for delay, and ends with
+  apologies for not writing more on the parental plea that
+  "though it is Sunday, I have long given my promise
+  to my boy Alfons, whose tenth birthday is to&#8209;day, that
+  he shall have a ride on a donkey, and I am all the more
+  obliged to keep my word because my fresco work here
+  compels me for the moment to neglect him. We are all,
+  thank God, very well, and enjoy a thousand blessings in
+  this abode of Paradise." Three months later he writes
+  under mistaken impressions as to the character of the
+  commission; he wishes to know the architectural style
+<a name="p083"></a>
+  of the church, and hopes it may be Gothic; he desires
+  accurate measurements, because the picture must appear
+  to belong to its destined place, and then ends in the
+  following characteristic terms: "I repeat once more that
+  the commission fills me with utmost pleasure, but to you
+  I must confide my great anxiety, that I fear this picture
+  is destined for a Protestant church, as I hear it is to be
+  for some newly&#8209;built church. Should this, indeed, be the
+  case, then pray try to give the whole thing another
+  direction, as such a commission would not suit me at
+  all, and to refuse it would be very disagreeable to me."
+</p>
+<p class="indent">
+  Overbeck's visit to Cologne, in 1831, naturally led to
+  further conferences concerning the picture for the Cathedral.
+  The proposal, at first, was that a triptych on a gold
+  ground, in a Gothic frame, should be painted for the high
+  altar. Drawings were prepared, the general scheme was
+  approved by Cornelius, and the Archbishop gave his assent.
+  But objections having been raised on historic or arch&aelig;ologic
+  grounds, the pictorial reredos was abandoned in
+  favour of the present stone altar table. The artist felt
+  deeply disappointed, and craved the prayers of his friend
+  Steinle, who was engaged on the decoration of the choir.
+  Fortunately, the services of Overbeck were only transferred
+  from the high altar to the Madonna chapel, renovated
+  to receive <em>The Assumption</em> commissioned to be
+  painted. The cartoon was prepared and approved, and
+  while engaged on the work the artist expressed himself
+  supremely happy; he had no higher ambition than to be
+  found worthy of a place in the great Cathedral.
+</p>
+<p class="indent">
+  <em>The Assumption of the Madonna</em><a name="c4f04_ref" href="#c4f04">[4]</a> is suited to its surroundings;
+<a name="p084"></a>
+  it is in keeping with the Gothic structure and
+  decorations, and in companionship with old triptychs and
+  other works which carry the mind back to remote ages.
+  The composition stands forth as a vision of the imagination;
+  from the darkness of the grave into the light of the
+  upper sky rises the Queen of Heaven, borne upwards on
+  angels' wings; midway sustained by clouds are the adoring
+  host, comprising Adam, Eve, Abraham, and King David;
+  on the ground below are seen, in miniature, the disciples
+  around the empty tomb. The whole conception is in
+  perfect accord with the rites and ceremonies of the
+  Church; while looking at the picture and listening to
+  the voices in the choir, the harmonies between form and
+  sound seem fitly attuned.
+</p>
+<p class="indent">
+  Overbeck, on the completion of the Cologne picture,
+  revisited Germany for the second and last time. On the
+  20th July, 1855, he left Rome, proceeded to Florence,
+  thence by way of Switzerland reached Frankfort, and
+  extended his journey as far as D&uuml;sseldorf. In Cologne
+  he stayed some weeks, and a festival, with usual laudatory
+  speeches, was given in his honour. I happened to encounter
+  the painter during his sojourn; I could hardly
+  believe my eyes when I discovered the venerable artist
+  gazing with accustomed placidity at Rubens's brutal representation
+  of <em>The Crucifixion of St. Peter</em>, head downwards.
+  With reverence I approached the great master,
+<a name="p085"></a>
+  and received a kindly shake of the hand. Overbeck on
+  the return&#8209;journey passed a quiet month at Mayence; he
+  also once more saw his old friends at Stift Neuburg, near
+  Heidelberg. In Frankfort many sympathetic hours were
+  spent with his attached companion Steinle, whose elevated
+  works proved a renewed delight, and whose happy family
+  circle recalled his own joys and losses. The town of
+  Spires also received a visit, the inducement being Schraudolph's
+  extensive frescoes, then in progress within the
+  Cathedral. Posterity has reason to lament that these
+  important works were not entrusted to the chief of
+  Christian painters. Some further weeks passed pleasantly
+  among congenial minds in Munich, but friends
+  were grieved to mark growing infirmities. Overbeck
+  had reached the age of sixty&#8209;six, and Emilie Linder
+  writes sorrowfully, that he was the only person over
+  whose death she could rejoice, because all pertaining to
+  the body had become a painful burden. Even the affectionate
+  demonstrations of his countrymen were too much
+  for him, and so gladly he turned his steps homewards.
+  Yet not without lingering regrets did he journey southwards,
+  and on reaching the summit of the Brenner he
+  writes: "I turned round once more and gave, through
+  the streams flowing northwards, a last greeting to my
+  German land." After four months' absence, home comforts
+  brought rest to his troubled mind.
+</p>
+<p class="indent">
+  Overbeck, after the death of his wife in 1853, left the
+  Cenci Palace and went to dwell in the more quiet region
+  of the Esquiline Hill, near the church of Santa Maria
+  Maggiore. Later on he removed to the house in which
+  he died, belonging to a convent, in the Via Porta Pia
+  on the Quirinal Hill, near to the little church of San
+<a name="p086"></a>
+  Bernardo, where he worshipped and lies buried. I remember
+  the sequestered dwelling on the Esquiline, lying
+  away from the road in one of those Italian wildernesses
+  called a garden or a vineyard. The surroundings were
+  inspiring; the eye wandered among churches and ruins,
+  and beyond stretched the Roman Campagna, spanned by
+  aqueducts and bounded by the Alban Hills, with Rocca
+  di Papa, the painter's country retreat. The studio, which
+  on Sundays continued to be crowded with strangers from
+  all countries, had little in common with the ordinary run
+  of painting rooms. Showy sketches, picturesque costumes,
+  gay carpets and draperies, which commonly make a fashionable
+  lounge, were wholly wanting. Like the studio of
+  Steinle in Frankfort, all was in keeping with an art not
+  dependent on outward materials, but reliant on inward
+  thought. Around were ranged compositions embodying
+  ideas, cartoons and drawings in no way decorative, but
+  simple and austere studies of form in light and shade, or
+  slightly tinted. At this period were thus evolved the
+  pictorial series of the <em>Via Crucis</em> and <em>The Seven Sacraments</em>.
+  Turning from these creations to the painter himself, the
+  visitor might be tempted to indulge in psychological speculations
+  touching the processes whereby the spirit of the
+  man passed into objective shape. More and more the old
+  and solitary master withdrew his affections from earthly
+  concerns, he approached the close of life as the sun which
+  sets to rise on a new day, and his art breathed the atmosphere
+  of those pure regions where his beloved ones were
+  at rest.
+</p>
+<p class="indent">
+  In the summer time was usually sought some country
+  abode, not for remission of labour, but for refreshment
+  through change of scene amid the beauties of nature. Overbeck,</p>
+
+<br clear="all" />
+<div align="center">
+<img src="images/illus09.jpg" alt="THE ENTOMBMENT" width="692" height="589" border="0" /><br />
+</div>
+<br clear="all" />
+
+<a name="p087"></a>
+<p class="justify">
+  in 1856, was full of work, and in the autumn he journeyed
+  to Perugia, and took as his travelling companions the
+  small drawings of the <em>Via Crucis</em>. There, in the cradle of
+  Umbrian art, in the presence of Perugino and Raphael, he
+  carried out the scenes of <em>The Passion</em>. In the hill country
+  of Perugia his thoughts turned to the hills round about
+  Jerusalem, olive gardens spoke of the Garden of Gethsemane,
+  a land lovely, yet sad, told of Him who trod the
+  Via Dolorosa. The painter divided the day between the
+  practice of his art, Church functions, and social intercourse;
+  he revisited the scenes of his labours at Assisi, and rejoiced
+  the German Sisterhood of St. Francis by a visit. The
+  next year the picturesque district of Ariccia was chosen
+  for summer sojourn, with the advantage of Cornelius within
+  the distance of a walk. The following autumn the two old
+  friends revisited the spot. Here the water&#8209;colour drawings
+  of the <em>Via Crucis</em>, or <em>The Stations</em>, were with earnest
+  solicitude brought to completion.
+</p>
+<p class="indent">
+  <em>The Stations</em> in "the history of our Lord" have been
+  accustomed to comprise Christ's last sufferings, 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 Church." Such compositions
+  are almost indispensable to every Roman Catholic
+  place of worship, however humble; therefore Overbeck,
+  desiring that his art should at all seasons furnish aids to
+  devotion, designed these fourteen stations on the Via
+  Dolorosa. According to precedent, the series begins with
+  <em>Jesus Condemned</em>, and ends with <em>The Entombment</em>. The
+  compositions were elaborated in two forms, the one as
+  cartoons, the other as water&#8209;colour drawings.<a name="c4f05_ref" href="#c4f05">[5]</a> The
+<a name="p088"></a>
+  treatment is, of course, traditional, and the general style
+  does but suggest the line of criticism with which the reader
+  must by this time be familiar; more than ever we here
+  encounter sermons for the edification of the faithful rather
+  than works appealing to the artist. The notes which
+  a few years since I made before the drawings in the
+  Vatican read somewhat severe, yet I ought hardly to
+  withhold the impressions left on the mind. Utmost
+  devotion and sincerity will be taken for granted, but
+  I found that the excessive striving after religious feeling
+  degenerated into morbid affectation and spiritual spasm,
+  that sentiment passed into sentimentality, and that simplicity
+  scarcely escaped childishness. Throughout became
+  painfully apparent the lack of physical sinew and dramatic
+  force; the characters, not being modelled on the life,
+  wanted truth to nature; they were afflicted with a bodily
+  frailty and mental infirmity wholly unequal to the tragic
+  situation. These shortcomings in works of noblest motive
+  may be ascribed to two causes: first, advancing age, with
+  increasing loss of power; secondly, the confirmed habit of
+  slighting art and ignoring nature in order to magnify
+  some favourite dogma. Thus the divine painter in late
+  years missed his aim and marred his work.
+</p>
+<p class="indent">
+  These reflections receive confirmation in <em>The Seven</em>
+<a name="p089"></a>
+  <em>Sacraments</em>, compositions which are triumphs of faith
+  at the expense of art. The painter, however, in fairness,
+  must be allowed to speak for himself. "I must," he
+  writes, "first set forth what my conception of art is.
+  Art to me is as the harp of David, whereupon I would
+  desire that Psalms should at all times be sounded to the
+  praise of the Lord. For when earth and sea and everything
+  that therein is, when Heaven and all the powers of
+  Heaven unite in extolling their Creator, how can man
+  fail to join with every faculty and gift his Maker has
+  endowed him with in this universal hymn of thanksgiving?
+  And especially how can one of the noblest
+  attributes he possesses&mdash;the creative talent revealed in
+  art&mdash;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 Lord? So
+  precisely as Psalms of Praise would I wish to be accepted
+  my seven representations of the Sacraments, which, as so
+  many fountains of grace, the Church causes abundantly
+  and ceaselessly to flow. These mercies of God are the
+  subjects of my seven pictures. As regards their style and
+  execution, they may be compared to tapestries after the
+  manner of the Arazzi of Raphael, such as it is customary
+  to display in Italy on feast days for the adornment of
+  churches, and serving for the instruction of the people
+  in a language all can understand. Similar tapestries
+  might, in a more favourable time than the present, have
+  been wrought from these representations, but they appear
+  now only as designs preparatory to their possible completion
+  some day in fresco or tempera."<a name="c4f06_ref" href="#c4f06">[6]</a>
+</p>
+<p class="indent">
+<a name="p090"></a>
+  Biblical history received ample exposition in numerous
+  accessory compositions. Each of <em>The Seven Sacraments</em>
+  was surrounded by a predella, a frieze, and two side
+  borders. Some of these long spaces dilated into several
+  themes, and thus the total number of subsidiary subjects
+  falls little short of forty. The foliated and floral ornament
+  in style is not Raphaelesque, but more allied to early
+  Gothic; the manner is graceful but feeble. The scheme
+  embodies types in the Old Testament with their fulfilment
+  in the New; both conjoined are brought to bear on the
+  teachings of the Church concerning the Sacraments. Some
+  of the analogies may appear, at least to outsiders, rather
+  fanciful and far&#8209;fetched. Yet, the mystic meanings
+  thrown around the singularly lovely composition of
+  <em>Matrimony</em> satisfy at least the poetic sense. The artist
+  explains how in the frieze is seen the union of Christ with
+  the Church&mdash;the heavenly architype of marriage&mdash;celebrated
+  by a choir of angels. The predella presents
+<a name="p091"></a>
+  a symbol from the Old Testament in Tobias, who, under
+  divine guidance, obtains a companion for life. One side&#8209;border
+  exemplifies the first institution of matrimony in
+  Paradise; angels above, in embrace, are scattering flowers.
+  On the opposite side an angel showers down thorns, and
+  on the ground beneath lies the dead Saviour, signifying
+  that marriage through suffering obtains its consecration.
+  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 sublimity,
+  and thus do honour to God, to whom alone are
+  due glory and praise in time and in eternity. Amen."
+</p>
+<p class="indent">
+  Neither <em>The Seven Sacraments</em> as works of art, nor the
+  printed notes thereto as treatises in theology, have been
+  accepted by the world favourably. Even within the
+  Roman Catholic Church they are deemed rather ultra;
+  unfortunately the painter could not see when and where
+  his art became an outrage on the common sense of mankind.
+  His treatment of <em>Holy Communion</em> in these <em>Sacraments</em>,
+  as well as in sundry other designs, is an instance
+  of the way in which he pushed full far his sacerdotalism.
+  He habitually departs from the treatment sanctioned by
+  the great masters, from Giotto to Leonardo da Vinci; in
+  place of a long table whereat all are seated is a small
+  altar, before which the Apostles kneel; in lieu of a supper,
+  the cloth is laid with only a plate and chalice, and
+  instead of the breaking of bread among the disciples,
+  Christ stands apart elevating a wafer. Now, all religious
+  controversy aside, most minds will feel that, by thus
+  substituting a fiction for a recorded fact, the subject is
+  spoilt in point of art. And herein I cannot but recall
+  a saying of Coleridge to the effect that he who begins
+<a name="p092"></a>
+  by loving his Creed more than Christianity will end "by
+  loving his Church more than truth."<a name="c4f07_ref" href="#c4f07">[7]</a>
+</p>
+<p class="indent">
+  Between the Christian artist and the head of the
+  Church grew, as might be expected, a bond of mutual
+  respect and attachment. Overbeck and Pius IX. had
+  much in common; they were as brothers in affliction;
+  the age was unbelieving; they had fallen upon evil days;
+  and each was sustained alike by unshaken faith in the
+  Church. Concerning <em>The Stations</em>, the drawings of which
+  are in the private rooms of the Vatican, the Pope showed
+  the liveliest interest, and wrote a letter to the artist full
+  of apostolic benedictions. He had also evinced his friendly
+  regard by giving sittings for his portrait. Afterwards,
+  in 1857, came the commission to paint, for the Quirinal
+  Palace, the large tempera picture representing Christ
+  miraculously escaping from the Jews, who, according to
+  the Gospel of St. Luke, had "thrust him out of the city,
+  and had led him to the brow of the hill whereon the city
+  was built, that they might cast him down headlong."
+  This astounding composition is the one step from the sublime
+  to the ridiculous; it represents Christ with the right
+  foot on the edge of a precipice, the left in the air on the
+  heads of small angels: it was intended to symbolise the
+  Pope's escape from Rome, and his subsequent return to
+  the city; and further it expressly signified the triumph
+<a name="p093"></a>
+  of the spiritual over the temporal power.<a name="c4f08_ref" href="#c4f08">[8]</a> While the
+  large and important work was in progress, Pius IX. paid
+  a visit to the painter in his studio, an event to the honour
+  of modern art comparable to the old stories touching
+  Francis I. with Leonardo da Vinci and Philip IV. in the
+  painting&#8209;room of Velazquez. This abortive miracle on
+  canvas left on my mind, when seen in the studio, a very
+  painful impression, and sound critics&mdash;Zahn and others&mdash;pronounce
+  the subject as unpaintable, and the work most
+  unfortunate. Overbeck had not the power possessed by
+  the old masters of carrying the imagination into the age
+  of miracle.
+</p>
+<p class="indent">
+  I have been at some pains to make the account here
+  given of the painter's works exhaustive. My opportunities
+  of observation have been favourable, and yet,
+  especially as no complete biography of the artist has
+  hitherto been published, some minor works may have
+  escaped my notice. Here, in conclusion, may fitly come
+  a few additions. <em>The Raising of Lazarus</em>, the exquisite
+  drawing of which, now in the D&uuml;sseldorf Academy, has
+<a name="p094"></a>
+  already received notice, was, in 1822, painted in oils. <em>The
+  Death of St. Joseph</em>, before mentioned, was, in 1838, reproduced
+  for the private chapel of the newly created Bishop
+  of Algiers. Also worthy of mention are cartoons of <em>The
+  Twelve Apostles</em> and of <em>The Four Evangelists</em>, for the Torlonia
+  chapel at Castel Gondolfo; a design, <em>Christ teaching
+  the Lord's Prayer</em>, for a window in the church of St.
+  Katherine, Hamburg; sketches, including <em>The Coronation
+  of the Virgin</em>, for a cathedral in Mexico; likewise drawings
+  of the <em>Virtues</em>, also <em>Moses and the Daughters of Jethro</em>, the
+  last engraved by Gruner, and then in England, belonging
+  to Lord Hatfield. Also <em>The Vocation of St. John and
+  St. James</em>, a pencil drawing in the possession of Baron
+  Lotzbeck, Schloss Weihern, near Munich. This beautiful
+  design has been chosen as one of the illustrations to this
+  volume. Few masters have been so largely engraved as
+  Overbeck; scarcely a picture or drawing of import exists
+  that has not become thus widely diffused. By the artist's
+  own hand are reproduced, on copper, <em>St. Philip Neri</em>, and a
+  <em>Pilgrim</em>. In France were published the "Book of Hours,"
+  and "The Imitation of Christ," severally illustrated from
+  designs by Overbeck. A pictorial art, chiefly reliant on
+  form, and expressly intended for the teaching and saving
+  of man, was fitly thus multiplied and disseminated.
+</p>
+<p class="indent">
+  Numerous portraits of Overbeck, by himself and friends,
+  give a retrospective view of his character. Probably the
+  earliest is a pencil drawing in the Vienna Academy by
+  the Viennese painter, Johann Scheffer von Leonhardshoff;
+  the date must be prior to 1810, and the age somewhere
+  about twenty. The head is remarkable, almost abnormal;
+  the outlook on the world is inquiring, querulous, and
+  combative; the penetrative eyes seem in search after</p>
+
+<br clear="all" />
+<div align="center">
+<img src="images/illus10.jpg" alt="THE RESURRECTION" width="648" height="541" border="0" /><br />
+</div>
+<br clear="all" />
+
+<a name="p095"></a>
+<p class="justify">
+  undiscovered truth; the pursed&#8209;up mouth is prepared for
+  protest; the attenuated nose and contracted nostril betray
+  austerity and acerbity; the whole aspect is that of
+  nervous irritability. The spirit is still in unrest, having
+  sought in vain for the ideal; and unsatisfied yearnings
+  already settle into moody sentiment and melancholy. In
+  these traits are clearly legible the painful perplexities and
+  the severe conflicts of the painter's first period. And like
+  mental states and bodily conditions are carried into the
+  pencil likeness already mentioned, taken in Rome by
+  Cornelius some three years later: for the moment the
+  mind seems masked by a phlegmatic mass of German
+  clay; whatever might be light&#8209;giving in the inward
+  man appears clouded. This, as we have seen, was for
+  the young painter a time of doubt and difficulty, and
+  the face remains as yet unillumined. The next known
+  portraits come at a long interval, and show marked
+  changes, which tell of deep and not wholly blissful
+  experiences. In 1837, Carl K&uuml;chler, who made a series
+  of portraits of German painters living in Rome, took and
+  engraved the likeness of Overbeck at the age of forty&#8209;eight.
+  The head is most striking and impressive; the
+  coronal regions, the reputed abode of the moral and
+  religious faculties, rise in full development; the frontal
+  lobes of the intellect, with the adjacent territories of the
+  imagination, bespeak the philosopher and the poet, while
+  the scant circuit of the posterior organs gives slight sign
+  of animal passion. The mien is that of a medi&aelig;val saint&mdash;austere,
+  devout; the eyes steadfastly gaze as on hidden
+  mysteries, yet shine with spiritual radiance; the brow,
+  temple, and cheek are those of the child, yet thinker; all
+  the features have settled into meditative repose, gently
+<a name="p096"></a>
+  shaded by melancholy. Overbeck, at this time in close
+  converse with Heaven, had given himself unreservedly to
+  Christian Art; hence this supremely ideal head. The
+  portrait, contributed to the autograph collection of artists'
+  heads in the Uffizi Gallery, Florence, pleased neither the
+  painter nor any one else, yet it was carried out on the
+  favourite doctrine of uniting the inward with the outward
+  man. The style is hard and dry, the character that of
+  starved asceticism; the expression is Jesuitical, and
+  actual traits are so exaggerated as barely to escape
+  caricature. The artist was painted by Carl Hoffmann,
+  also, it is said, by Genelli and Ernst Deger. The portraits
+  in late life, whilst preserving personal identity, betray
+  somewhat painfully the inroads of age and ill health.
+  Rudolf Lehmann made a faithful study in 1853; Adolf
+  Grass, an inmate in the house, painted in oils a portrait
+  in 1865; and Professor Bendemann, in 1867, prevailed
+  upon the diffident old man to give a sitting. Two years
+  later death entered the house, and Friedrich Geselschap,
+  a friend and artist from D&uuml;sseldorf, came a few hours
+  after the eyes were closed, and made a full&#8209;size chalk
+  drawing of the head as it peacefully lay on the pillow.
+  This faithful transcript, now on the table before me,
+  scarcely sustains the statement of some writers, that the
+  countenance after death assumed a glorified aspect; but,
+  whether living or dying, peace, though not void of pain,
+  is the pervading expression.
+</p>
+<p class="indent">
+  Overbeck, after the goodly habit of the old masters,
+  was fond of introducing himself as a spectator in the
+  sacred scenes he depicted, and thus the above list of
+  portraits is considerably extended. The painter appears
+  personally in <em>Christ's Entry into Jerusalem</em>; also, in company
+<a name="p097"></a>
+  with his friends Cornelius and Veit, he joins the
+  general assembly of artists in <em>The Triumph of Religion</em>.
+  Again, in <em>The Gospels</em> the devout painter is present at the
+  Crucifixion, bent on his knees, the hands clasped, his eyes
+  gazing on Christ upon the Cross. Overbeck was not thus
+  the egotist or a man craving for glory, but merely the
+  humblest of servants seeking some inconspicuous place
+  among the followers of Christ, and desiring to be numbered
+  with God's elect.
+</p>
+<p class="indent">
+  I have endeavoured, though perhaps very imperfectly,
+  to lay before the reader a picture of Overbeck as the
+  artist and the man, and now little remains save a few
+  general conclusions. I have anxiously tried to ascertain
+  the painter's mode of work, and the successive steps by
+  which he matured his compositions. This inquiry has
+  proved all the more difficult, because drawings in their
+  early stages were persistently kept out of view. The
+  artist had two studios, the one strictly private for quiet
+  incubation apart; the other public, wherein only finished
+  products were shown. The question is, how consummate
+  designs such as <em>The Gospels</em> were elaborated. I find that
+  Overbeck first revolved a subject in his thoughts until
+  he had formed a distinct mental conception; this inward
+  vision he would sometimes for months carry about with
+  him, within the house and in his walks abroad. At
+  last, when it had taken shape, he sketched out the idea
+  with lead pencil on a small piece of paper; and, just in
+  proportion as the first process had been tentative and
+  slow, so was the final act swift and certain. In these
+  supreme moments he had the power of throwing off his
+  innermost thoughts without aids from the outer world:
+  the lines flowed from his pencil rapidly when he had made
+<a name="p098"></a>
+  up his mind what to do, and the forms once set down were
+  seldom changed. The facility increased rather than lessened
+  with years; thus we read, "At the age of seventy&#8209;two I
+  create with undiminished freshness and pleasure." As
+  soon as the first small sketch was complete, the usual
+  method was followed of squaring out the surface with
+  lines, in order to reproduce in charcoal, chalk, or sepia
+  the design on the full scale required&mdash;often the size of
+  life. For the important figures, for the heads, hands, and
+  draperies, studies from the life were diligently made.
+  Such drawings and cartoons have been and are greatly
+  prized by connoisseurs; for example, <em>The Seven Years of
+  Famine</em> was acquired by Sir Thomas Lawrence for his
+  collection. The reader will understand how difficult it
+  was for the painter to find assistants who could help in
+  this directly personal work, in this concentration of individual
+  thought; hence the prolonged time needed,
+  extending, as we have seen, to periods of five or ten
+  years. Separate studies of colour were also sometimes, if
+  not always, made. The ultimate stage of painting upon
+  canvas or wall was comparatively a mechanical process.
+</p>
+<p class="indent">
+  Furthermore, we have to consider and make allowance
+  for certain technical notions of Overbeck and his school.
+  The opinion upheld was that the idea or mental conception
+  constituted the chief value of any art work, that
+  outline or form was the direct language or vehicle of such
+  idea, and that colour, light, shade, surface&#8209;texture, or
+  realism, were subordinate, if not derogatory, elements.
+  Thus it is that the works of the master cannot be judged
+  by ordinary standards: hence likewise the drawings and
+  cartoons are superior to the pictures.
+</p>
+<p class="indent">
+  Especially does Overbeck's colour stand in need of explanation
+<a name="p099"></a>
+  or apology. In the first place we have to
+  take into account how far the artist was bound to tradition;
+  we have, for instance, to bear in mind that in
+  painting <em>The Assumption</em>, he was enjoined by the Church
+  to clothe the Madonna in white. Then comes the whole
+  question of symbolism, or the inherent or accepted relation
+  between colour and thought and feeling. Now, I think
+  it probable that Overbeck sacrificed harmonies pleasing
+  to the eye for the sake of arrangements that might inculcate
+  doctrines or impress emotions. Certain it is that he
+  looked on colour as something carnal: the example of the
+  Venetian painters warned him against passionate excess,
+  and so as a religious artist he felt it a duty to use sombre
+  pigments, tertiary tints, and low, shadowy tones. Thus
+  much needs explanation, yet it must always be cause for
+  regret that Overbeck did not take for examples such
+  masters of colour as Fra Angelico and Perugino, and thus
+  gain the heavenly radiance begotten of religion.
+</p>
+<p class="indent">
+  The art of Overbeck will live by its merits despite its
+  defects; it is vital and enduring in the three mental
+  elements of thought, form, and composition. The last he
+  matured and mastered with the certainty of a science and
+  the beauty of an art. His compositions have the exactitude,
+  and occasionally the complexity, of geometric problems,
+  neither are they without the rhythm of a stanza,
+  or the music of a song.
+</p>
+<p class="indent">
+  How much and in what manner the art of Overbeck
+  was due to direct inspiration from heaven is not easy to
+  determine. But, at all events, the modern master, like
+  his forerunners in the spiritual school of Umbria, watched
+  and waited, fasted, prayed, and painted. One who observed
+  him closely testifies how, while making the drawings
+<a name="p100"></a>
+  for <em>The Gospels</em> and <em>The Seven Sacraments</em>, he was
+  penetrated with the life of Christ. From deep wells the
+  infinite soul flowed into the finite mind, and the art conceived
+  in the spirit of prayer issued as a renewed prayer
+  to God.
+</p>
+<p class="indent">
+  The reader, I trust, has formed a judgment as to the
+  three&#8209;fold relation in which Overbeck and his works stand
+  to nature, to historic precedent, and lastly, to inward consciousness
+  or individual character. We have seen that
+  the notion prevalent in Rome, that the living model was
+  wholly discarded, is inaccurate; bearing on this moot point
+  may be here told an anecdote. It is related how one
+  morning, when the artist was engaged on the Tasso
+  frescoes, in the Villa Massimo, he had need of the life for
+  a muscular arm, and so sallied forth into the neighbouring
+  Piazza of the Lateran and made appeal to some men who
+  were breaking stones on the road. One of the number, of
+  amazing muscle, consented to sit, but, to the disgust of the
+  purist painter, the man turned out to be a public executioner,
+  who only took to stone breaking when slack of usual
+  work. Another story is to the effect that, one day a
+  fellow of terrific aspect entered the studio, declaring
+  he was without food, and demanding engagement as a
+  model. He turned out a villain, and so the aversion grew
+  to coming in contact with common and unclean nature.
+  Another reason assigned for the non&#8209;employment of models
+  is the lack of sufficient strength to sustain protracted
+  study from the life. Hence recourse to other methods:
+  for instance, both mental and pencil notes were taken of
+  casual figures and incidents in society or in the public
+  streets. John Gibson, the sculptor, cultivated a like
+  habit. Also a remarkable memory, of which much might
+<a name="p101"></a>
+  be told, served as a storehouse of pictorial materials. It
+  is recounted now on Sunday evenings, after the reception
+  in the studio of fifty or a hundred guests, the meditative
+  artist would recall and describe the visitors one by one,
+  and after many years, and perhaps in a distant place,
+  meeting some person, otherwise unknown, he would say,
+  "I remember to have seen that face once in my painting&#8209;room."
+  In like manner his memory was peopled with
+  figures, whose acquaintance he had made only in pictures:
+  thus, when he came to paint <em>The Assumption</em> for Cologne
+  Cathedral, he had recourse to the mental vision of the
+  Madonna, derived from an old Sienese panel, and, when
+  charged with the plagiarism, he replied: "The figure
+  realises my idea, and I do not see why I should search
+  further." Thus, however, it came to pass that he borrowed
+  more and more from others, just in proportion
+  as he took less from nature. But in coming to a fair
+  judgment, we have to remember that the accidents in
+  nature, and the grosser materialism in man, were foreign
+  to this super&#8209;sensuous art, the aim being to reach the
+  hidden meaning and the inner life. Hence the favourite
+  practice of placing and posing in the painting&#8209;room some
+  well&#8209;chosen figure which was quietly looked at, carefully
+  considered, and taken in; thus the irrelevant elements
+  were eliminated, and only the essential truths assimilated.
+  This was for Overbeck the saving study of nature:
+  he made extracts and essences, elaborated generic types,
+  and thus his art became supreme in beauty. However,
+  the beautiful is not always new, neither is the new
+  always beautiful.
+</p>
+<p class="indent">
+  The painter's relation to the historic schools of Christian
+  Art has been so fully stated, that little more remains
+<a name="p102"></a>
+  to be said. The old masters were studied much in the
+  same way as nature: their spirit was inhaled, and just
+  as John Gibson was accustomed to ask, What would
+  the Greeks have done? so Overbeck put himself in the
+  place of the early Italian painters, and desired that his
+  pencil might be guided by their spirit. Like Raphael,
+  what he borrowed he made his own, and often added an
+  aspect and a grace peculiar to himself. A gallery of
+  pictures was for him what a well&#8209;stored library is to a
+  literary student, who takes from the shelves the author
+  best supplying the intellectual food needed. The method
+  is not new or strange: Bacon teaches how the moderns
+  inherit the wisdom of the ancients, and surely if for art,
+  as for learning, there be advancement in store, old pictures,
+  like old books, must give up the treasure of a life
+  beyond life. Overbeck in the past sought not for the
+  dead, but for the living and enduring.
+</p>
+<p class="indent">
+  Given a painter's genius and surroundings, his art
+  usually follows under the law of cause and effect. Overbeck's
+  pictures, as those of others, yield under analysis as
+  their component parts, nature plus tradition, plus individual
+  self. As to the individual man, we have found
+  Overbeck the poet and philosopher, the mystic, somewhat
+  the sentimentalist, and, above all, the devout Catholic.
+  The character is singularly interesting, and the products
+  are unusually complex. He had forerunners and many
+  imitators, yet he stands alone, and were his pencil lost, a
+  blank would be felt in the realm of art. His genius was
+  denied grandeur: he did not rise to the epic, and scarcely
+  expanded into the dramatic; his path was comparatively
+  narrow; his kingdom remained small, yet where he stands
+  is hallowed ground; his art is musical, altogether lyrical,
+<a name="p103"></a>
+  yet toned with pathos, as if the lamentations of The Holy
+  Women at the Sepulchre mingled with the angel&#8209;voices of
+  The Nativity. The man and his work are among the most
+  striking and unaccustomed phenomena of the century,
+  and so far as his art is true to God, humanity, and
+  nature, it must endure. His own assurance is left on
+  record: he held that knowledge and doing are of value
+  only so far as they ennoble humanity, and lead to that
+  which is eternal. He believed in the dependence of art
+  on personal character, on elevation of mind and purity of
+  motive. The noblest destiny of the race was ceaselessly
+  before him, and he looked to Christian Art as the means
+  of showing to the world the everlasting truth, and of
+  raising the reality of life to the ideal. In conclusion, I
+  think it not too much to claim Overbeck as the most
+  perfect example, in our time, of the Christian Artist.
+</p>
+<p class="indent">
+  The pecuniary rewards of the painter were in no fair
+  proportion to his talents or his industry. His labour, as
+  we have seen, was primarily for the honour of art and
+  religion, and his protracted modes of study, as well as
+  the esoteric character of his compositions, were little
+  likely to meet with adequate return. Overbeck never
+  realised large sums; his prices measured by present
+  standards were ridiculously low, and even when overcrowded
+  with commissions, he is known to have fallen
+  short of ready cash. Happily, after early struggles, he
+  became relieved from pressing anxieties, yet he remained
+  comparatively poor.
+</p>
+<p class="indent">
+  Overbeck's influence, the example of his life, the principles
+  of his art, extended far and wide throughout
+  Europe. In France, the German master won the reverence
+  of the Christian artist Flandrin. In England,
+<a name="p104"></a>
+  Pugin held him up to students as a bright example. In
+  Vienna and Prague, Joseph F&uuml;hrich, as a disciple, worked
+  diligently. In Munich, Heinrich Hess, and in Spires,
+  Johann Schraudolph, painted extended series of frescoes
+  allied to the same Christian school. In D&uuml;sseldorf like
+  traditions live:&mdash;Deger, Ittenbach, Carl and Andreas
+  M&uuml;ller studied in Rome, and their frescoes in the Rhine
+  chapel at Remagen were inspired by Overbeck. And
+  specially does the mantle of the revered painter rest on
+  his friend Eduard Steinle; important works at Strasbourg,
+  Cologne, Frankfort, M&uuml;nster, Klein&#8209;Heubach, and
+  Reineck, respond to the spirit of the great artist who,
+  dead, yet speaks.
+</p>
+<p class="indent">
+  Brief is the narrative of the approaching end. The
+  infirmities of age scarcely abated the ardent pursuit of
+  an art dear as life itself. Overbeck had suffered from an
+  affection of the eyes, and his later drawings, notwithstanding
+  partial panegyrists, betray a faltering hand,
+  together with some incoherence in thought, or, at least,
+  in the relation of the parts to the whole. For some time,
+  in fact, vitality had been ebbing from his work. The
+  summer of 1869 found him in his favourite retreat of
+  Rocca di Papa, and we are told he was "still busily
+  creating." His country dwelling stood among beauties
+  which, in illness as in health, came with healing power.
+  From this sylvan quietude the aged painter, in June,
+  wrote to his dear friend, Director Steinle, a letter abounding
+  in love and aspiration; he dwells on the serenity
+  of the Italian sky, on the splendour of the landscape
+  stretching before his eye into the far distance; with characteristic
+  modesty he laments that even in old age he is not
+  sufficiently advanced for the great task set before him,
+<a name="p105"></a>
+  and desires without intermission to turn to good account
+  the time still left; and then he counsels his "Brother in
+  Christ" to direct the mind steadfastly towards the
+  glorious olden days which point to the blessed goal.
+</p>
+<p class="indent">
+  Overbeck, on his return to Rome in the autumn of
+  1869, resumed his accustomed order of life. One who
+  knew him well in later years relates that he was to be
+  found in his studio in the early morning, that, after a
+  short interval at noon, he resumed work till stopped by
+  the darkness of evening, and that, such was the wealth
+  of material stored in the mind, that he went on inventing
+  without aid from usual outward appliances. He still
+  sought utmost tranquillity, and any intrusion on the
+  hours of study became extremely painful to him. Latterly
+  he had been engaged on a small composition of <em>The
+  Last Judgment</em>; also he was occupied on designs illustrative
+  of human life&mdash;a series which had advanced as far
+  as the <em>Return from Church of the Wedding Party</em>. Such
+  were the congenial avocations when, on the fourteenth
+  day after the return home, he was seized with a severe
+  cold on the chest. Yet the symptoms so far yielded to
+  medical treatment that in eight days the danger had
+  passed. Suddenly, however, ensued a total failure of
+  power, yet for the most part the mind remained unclouded.
+  A day or two before death he asked for a piece of charcoal,
+  and added a few touches to a design on which lately
+  he had been working; and at times, when apparently
+  unconscious, he would look upwards, raise and move
+  his hand as if in the act of drawing. He prayed almost
+  without ceasing, was grateful for each kindness, and with
+  dying lips had a loving and comforting word for everyone.
+  The last sinking came in quietness; sustained by the
+<a name="p106"></a>
+  consolations of religion he fell asleep towards six o'clock
+  in the evening of Friday, the 12th of November, in the
+  eightieth year of his age. He lay as he had lived&mdash;in
+  peace; and near his bed was placed the drawing on which
+  he had lately worked, also the small cartoon of <em>The Last
+  Judgment</em>.
+</p>
+<p class="indent">
+  The next day, according to the painter's wish, the
+  body was taken by the hands of his brother artists to San
+  Bernardo, the little parish church near his house, where
+  he worshipped, and where he is still remembered. An
+  eye&#8209;witness writes from Rome to L&uuml;beck, on the 18th of
+  November: "I have just come from the burial of our
+  great fellow&#8209;countryman. Amid universal grief the
+  funeral mass took place this morning. The mournful
+  ceremony was performed by a German bishop assisted by
+  Cistercian monks; many artists and German students
+  were present, and joined in psalms composed by the Abb&eacute;
+  Liszt. The whole function was most solemn, as if the
+  pious spirit of the departed had entered the whole
+  assembly. Around the bier were gathered Protestants
+  as well as Roman Catholics; the coffin bore the many
+  orders which the artist had received, but was never
+  seen to wear; and at the feet lay the crown of laurels
+  which his Roman brethren reverently offered to their
+  acknowledged chief." The body lies in the chapel of St.
+  Francis of Assisi, within the church of San Bernardo.
+  The resting&#8209;place is marked by a white marble cross, let
+  into the wall, bearing the inscription "Joannes Fridericus
+  Overbeck&mdash;In Pace."
+</p>
+
+<div class="pageBreak"></div>
+
+<a name="finis"></a>
+
+<div align="center">
+<img src="images/illus-121.jpg" alt="The Resting&#8209;place of Overbeck in the Church of San Bernardo, Rome, is marked by a Cross of white marble bordered with black, and bearing the inscription: 'JOANNES FRIDERICUS OVERBECK&mdash;IN PACE'." width="555" height="650" />
+<p><span class="smaller smallCaps">The Resting&#8209;place of Overbeck in the Church of San Bernardo, Rome, is<br />
+marked by a Cross of white marble bordered with black, and bearing<br />
+an inscription as above.</span>
+ </p>
+</div>
+
+
+<div>&nbsp;</div>
+
+<h3>FOOTNOTES:</h3>
+
+<p class="footnote">
+  <a name="c4f01" href="#c4f01_ref">[1]</a> See 'L&uuml;beckische Bl&auml;tter,' from
+  1839 to 1869, for sundry notices
+  concerning this picture and other works. The <em>Piet&agrave;</em> is in oil on
+  canvas, 10 feet wide and nearly as high; the top is arched; it is
+  photographed. The pigments are in usual sound condition. A small
+  picture accompanied this <em>Piet&agrave;</em>. It had been intended as a present to
+  the brother, Judge Christian Gerhard Overbeck, but his death, in 1846,
+  preventing the fulfilment of the purpose, it was sent to L&uuml;beck as a
+  gift to his son, the artist's nephew, Doctor and Senator Christian
+  Theodore Overbeck, who died 1880. The representatives in L&uuml;beck
+  of this nephew are said to be in possession of sundry memorials of the
+  illustrious uncle. Here in L&uuml;beck I may mention a <em>Madonna and
+  Child</em>, a circular composition 3 feet 2 inches in diameter, with the
+  painter's monogram and the date 1853. The picture is a gem, exquisite
+  for purity, tenderness, and beauty. Another <em>Madonna and Child</em>
+  is in the Thorwaldsen Museum, Copenhagen.</p>
+<p class="footnote">
+  <a name="c4f02" href="#c4f02_ref">[2]</a> <em>The Incredulity of St. Thomas</em>
+  is 10 feet high by 5 feet wide. It
+  bears the painter's monogram and the date 1851. The figures are
+  life&#8209;size. The picture is in perfect preservation. The pigments, as
+  usual, lie thin, showing through the rough tissues of the Roman canvas.</p>
+<p class="footnote">
+  <a name="c4f03" href="#c4f03_ref">[3]</a> See 'Geschichte der neuen Deutschen Kunst, von Ernst F&ouml;rster.'
+  Leipzig, Weigel, 1863.</p>
+<p class="footnote">
+  <a name="c4f04" href="#c4f04_ref">[4]</a> <em>The Assumption of the Virgin</em>
+  is in oil on canvas; height about
+  18 feet, width 9 feet. Figures nearly life&#8209;size. The scale is rather
+  small for the magnitude of the architectural surroundings. The tone
+  is that of an old picture, low and solemn. No positive colours are
+  admitted. The pigments remain intact, without crack, blister, or
+  change of colour. The picture was the joint gift of the D&uuml;sseldorf
+  Kunst&#8209;Verein and the Cologne Cathedral Chapter. The price paid
+  was equal to about &pound;1000 sterling. The cartoon was exhibited in
+  1876 in the National Gallery, Berlin.</p>
+<p class="footnote">
+  <a name="c4f05" href="#c4f05_ref">[5]</a> The cartoons of the <em>Via Crucis</em>
+  were, in September 1880, in the
+  Villa Germania, near Biebrich. They are in chalk or charcoal in outline
+  on grey ground, tinted with sepia. Height, 1 foot 9 inches; breadth,
+  1 foot 5 inches. The water&#8209;colour drawings of the same series were,
+  in January, 1878, in the Camera di Udienza of the Vatican. Height,
+  2 feet 6 inches; width, 1 foot 8 inches; mounted on white, and
+  massively framed. The walls and accessories of the Pope's apartment
+  are of a crude colour and in bad taste. The feeble execution of
+  these cartoons and water&#8209;colour drawings betrays advancing age and
+  declining power.</p>
+<p class="footnote">
+<a name="c4f06" href="#c4f06_ref">[6]</a> The cartoons of <em>The Seven Sacraments</em>,
+  after a labour of some
+  eight years, were finished in 1861, and received high encomiums when
+  exhibited in Brussels. They remained with Overbeck at the time of
+  his death, together with many other artistic properties, the accumulation
+  of a life. Some of these treasures have been sold by the family
+  who entered into possession. The cartoons were offered for sale, but
+  are still without a purchaser. Small tempera drawings of <em>The Seven
+  Sacraments</em> were bought for the National Gallery, Berlin, in 1878.
+  They are on canvas: measurement, 1 foot 8 inches by 1 foot 3 inches.
+  These reductions were entrusted to scholars; the execution is poor;
+  the master is responsible chiefly for revision. The pigments used
+  vary; some are in warm sepia, others in cooler tones, and one,
+  <em>Penance</em>, is fully coloured. The results technically are far from satisfactory.
+  These <em>Sacraments</em>, including the predellas, friezes, and side
+  borders, have been photographed in large and smaller sizes by Albert,
+  Munich, and from the photographs August Gaber executed woodcuts,
+  published with explanatory text penned by Overbeck. This text was
+  also published as a separate pamphlet: Dresden, August Gaber;
+  London, Dulau and Co. The hope above expressed that the cartoons
+  might be further carried out was never realised.</p>
+<p class="footnote">
+  <a name="c4f07" href="#c4f07_ref">[7]</a> I was informed, in October, 1881,
+  by August Gaber, that the wood
+  engravings made by him of <em>The Seven Sacraments</em> had proved a financial
+  failure, and that he had in the undertaking lost his all. The
+  Bible of Schnorr, also rendered on wood by him, had, on the contrary
+  succeeded. The reason assigned why the public did not care for <em>The
+    Seven Sacraments</em> was, that the treatment is too strongly Catholic; and
+  this can hardly be a prejudiced judgment, because it was pronounced
+  by Herr Gaber, himself a Catholic.</p>
+<p class="footnote">
+<a name="c4f08" href="#c4f08_ref">[8]</a> The picture is in tempera on canvas,
+  and was put up on the ceiling
+  of Pio Nono's sitting room in the Quirinal Palace. But when the
+  King of Italy took possession, a new canvas with cupids and putti was
+  stretched over it, and the Pope's sitting room is now turned into
+  Prince Humbert's bedroom. This brutality might almost justify the
+  good painter in his belief that Satan is now let loose upon earth. Yet
+  the plea has not without reason been urged that the picture is a
+  deliberate attack on the King's temporal power. The original cartoon
+  was, in 1876, exhibited in the National Gallery, Berlin, and the same
+  subject the artist repeated in an oil picture (10 feet by 8 feet), now in
+  the Antwerp Museum. Overbeck had been made a "Membre effectif"
+  of the Antwerp Academy in 1863, and the commission for this <em>replica</em>
+  followed thereon. I am told on authority that in Antwerp "the work
+  is considered very mediocre."</p>
+
+
+
+
+<div align="center">
+<div class="pageBreak"></div>
+
+<img src="images/illus-123.jpg" alt="[decoration]" width="509" height="137" />
+
+<a name="p109"></a>
+<h3>CHRONOLOGY OF THE LIFE OF OVERBECK.</h3>
+
+
+<table border="0" width="100%" summary="Chronology of the Life of Overbeck.">
+<tr>
+  <td><span class="smaller">A.D.</span></td>
+  <td>&nbsp;</td>
+  <td class="right"><span class="smaller">PAGE</span></td>
+</tr>
+<tr>
+  <td>1789.</td>
+  <td>Overbeck born at L&uuml;beck, 4th July</td>
+  <td class="right"><a href="#p001">1</a></td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td>His Ancestors for three generations Protestant Pastors</td>
+  <td class="right"><a href="#p003">3</a></td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td>His father Burgomaster, Doctor of Laws, and Poet</td>
+  <td class="right"><a href="#p005">5</a></td>
+</tr>
+<tr>
+  <td>1800.</td>
+  <td>His Home Education</td>
+  <td class="right"><a href="#p007">7</a></td>
+</tr>
+<tr>
+  <td>1805.</td>
+  <td>His First Drawing</td>
+  <td class="right"><a href="#p009">9</a></td>
+</tr>
+<tr>
+  <td>1806.</td>
+  <td>Leaves L&uuml;beck for Vienna</td>
+  <td class="right"><a href="#p009">9</a></td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td>Student in Viennese Academy</td>
+  <td class="right"><a href="#p010">10</a></td>
+</tr>
+<tr>
+  <td>1809.</td>
+  <td>Begins painting <em>Christ's Entry into Jerusalem</em></td>
+  <td class="right"><a href="#p011">11</a></td>
+</tr>
+<tr>
+  <td>1810.</td>
+  <td>Rebels against the Viennese Academy, and is expelled</td>
+  <td class="right"><a href="#p015">15</a></td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td>Leaves Vienna and reaches Rome</td>
+  <td class="right"><a href="#p018">18</a></td>
+</tr>
+<tr>
+  <td>1811.</td>
+  <td>German Brotherhood of pre&#8209;Raphaelites</td>
+  <td class="right"><a href="#p020">20</a></td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td>Monastery of Sant' Isidoro, the Dwelling of the Fraternity</td>
+  <td class="right"><a href="#p024">24</a></td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td>First Commission</td>
+  <td class="right"><a href="#p028">28</a></td>
+</tr>
+<tr>
+  <td>1813.</td>
+  <td>Overbeck joins the Roman Catholic Church</td>
+  <td class="right"><a href="#p033">33</a></td>
+</tr>
+<tr>
+  <td>1817.</td>
+  <td>Niebuhr, Bunsen, and Schlegel, literary friends</td>
+  <td class="right"><a href="#p034">34</a>-<a href="#p040">40</a></td>
+</tr>
+<tr>
+  <td>1818.</td>
+  <td>Frescoes, <em>The History of Joseph,</em> in the Casa Bartholdi</td>
+  <td class="right"><a href="#p040">40</a></td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td>Frescoes, <em>Jerusalem Delivered,</em> in the Villa Massimo; commission for</td>
+  <td class="right"><a href="#p044">44</a>-<a href="#p047">47</a></td>
+</tr>
+<tr>
+  <td>1819.</td>
+  <td>Exhibition in Palazzo Caffarelli</td>
+  <td class="right"><a href="#p031">31</a></td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td>Overbeck marries</td>
+  <td class="right"><a href="#p049">49</a></td>
+</tr>
+<tr>
+  <td>1831.</td>
+  <td>Fresco, <em>The Vision of St. Francis,</em> finished</td>
+  <td class="right"><a href="#p050">50</a></td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td>Overbeck visits Germany; returns to Rome</td>
+  <td class="right"><a href="#p052">52</a>-<a href="#p061">61</a></td>
+</tr>
+<tr>
+  <td>1833.</td>
+  <td>Present at the opening of Raphael's Tomb</td>
+  <td class="right"><a href="#p061">61</a></td>
+</tr>
+<tr>
+  <td>1835.</td>
+  <td><em>Christ's Agony in the Garden</em>; oil picture</td>
+  <td class="right"><a href="#p063">63</a></td>
+</tr>
+<tr>
+  <td><a name="p110"></a>1836.</td>
+  <td><em>Lo Sposalizio</em>, oil picture, finished</td>
+  <td class="right"><a href="#p064">64</a></td>
+</tr>
+<tr>
+  <td>1840.</td>
+  <td><em>The Triumph of Religion in the Arts</em>, oil picture, finished</td>
+  <td class="right"><a href="#p065">65</a>-<a href="#p069">69</a></td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td>Death of son</td>
+  <td class="right"><a href="#p076">76</a></td>
+</tr>
+<tr>
+  <td>1846.</td>
+  <td><em>Piet&agrave;</em>, oil picture, finished</td>
+  <td class="right"><a href="#p077">77</a></td>
+</tr>
+<tr>
+  <td>1851.</td>
+  <td><em>The Incredulity of St. Thomas</em>, oil picture</td>
+  <td class="right"><a href="#p079">79</a></td>
+</tr>
+<tr>
+  <td>1852.</td>
+  <td><em>The Gospels</em>, forty cartoons, finished</td>
+  <td class="right"><a href="#p069">69</a>-<a href="#p072">72</a></td>
+</tr>
+<tr>
+  <td>1853.</td>
+  <td>Death of wife</td>
+  <td class="right"><a href="#p080">80</a></td>
+</tr>
+<tr>
+  <td>1855.</td>
+  <td><em>Assumption of the Madonna</em>, oil picture, finished</td>
+  <td class="right"><a href="#p083">83</a></td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td>Overbeck revisits Germany; returns to Rome</td>
+  <td class="right"><a href="#p084">84</a></td>
+</tr>
+<tr>
+  <td>1857.</td>
+  <td><em>Via Crucis</em>, fourteen water&#8209;colour drawings, finished</td>
+  <td class="right"><a href="#p087">87</a></td>
+</tr>
+ <tr>
+  <td>&nbsp;</td>
+  <td>Pope Pius IX. visits the Artist's studio 7th February</td>
+  <td class="right"><a href="#p093">93</a></td>
+</tr>
+<tr>
+  <td>1858.</td>
+  <td><em>Christ delivered from the Jews:</em> Quirinal: Tempera Picture</td>
+  <td class="right"><a href="#p092">92</a></td>
+</tr>
+<tr>
+  <td>1861.</td>
+  <td><em>The Seven Sacraments</em>, cartoons</td>
+  <td class="right"><a href="#p089">89</a>-<a href="#p092">92</a></td>
+</tr>
+<tr>
+  <td>1869.</td>
+  <td>Overbeck died the 12th November, aged eighty</td>
+  <td class="right"><a href="#p106">106</a></td>
+</tr>
+</table>
+
+</div>
+
+<div>&nbsp;</div>
+
+<div align="center">
+<img src="images/illus-124.jpg" alt="[decoration]" width="324" height="109" /></div>
+
+
+
+
+<div align="center">
+<div class="pageBreak"></div>
+
+<img src="images/illus-125.jpg" alt="[decoration]" width="529" height="148" />
+
+<a name="p111"></a>
+<h3>INDEX.</h3>
+
+<p>(<em>The titles of Paintings and Drawings are printed in Italics.</em>)</p>
+</div>
+
+<ul class="plainList">
+  <li><em>Adoration of the Kings</em>, <a href="#p028">28</a>.</li>
+  <li><em>Annunciation</em>, <a href="#p070">70</a>.</li>
+  <li><em>Ascension</em>, <a href="#p070">70</a>.</li>
+  <li>Assisi, <a href="#p009">9</a>, <a href="#p046">46</a>, <a href="#p050">50</a>, <a href="#p082">82</a>, <a href="#p087">87</a>.</li>
+  <li><em>Assumption of the Virgin</em>, <a href="#p060">60</a>, <a href="#p083">83</a>, <a href="#p099">99</a>, <a href="#p101">101</a>.</li>
+</ul>
+<ul class="plainList">
+  <li><em>Barabbas released</em>, <a href="#p070">70</a>.</li>
+  <li>Bartholdi Casa, <a href="#p040">40</a>, <a href="#p043">43</a>, <a href="#p044">44</a>, <a href="#p060">60</a>.</li>
+  <li><em>Bearing to the Sepulchre</em>, <a href="#p028">28</a>.</li>
+  <li>Beauty in the mind and art of Overbeck, <a href="#p014">14</a>, <a href="#p017">17</a>, <a href="#p018">18</a>, <a href="#p029">29</a>, <a href="#p040">40</a>, <a href="#p043">43</a>, <a href="#p099">99</a>.</li>
+  <li>Berlin, National Gallery, <a href="#p030">30</a>, <a href="#p046">46</a>, <a href="#p084">84</a>, <a href="#p090">90</a>, <a href="#p093">93</a>.</li>
+  <li>Bible Society, <a href="#p036">36</a>.</li>
+  <li><em>Blessed art thou among Women</em>, <a href="#p028">28</a>.</li>
+  <li>Bond between Art and the Church, <a href="#p039">39</a>.</li>
+  <li><em>Book of Hours</em>, <a href="#p094">94</a>.</li>
+  <li>Bunsen, Baron, <a href="#p031">31</a>, <a href="#p034">34</a>, <a href="#p036">36</a>, <a href="#p037">37</a>, <a href="#p038">38</a>, <a href="#p072">72</a>.</li>
+</ul>
+<ul class="plainList">
+  <li>Caffarelli Palazzo, <a href="#p031">31</a>, <a href="#p037">37</a>.</li>
+  <li>Canova, <a href="#p027">27</a>.</li>
+  <li>Carstens, <a href="#p012">12</a>, <a href="#p013">13</a>.</li>
+  <li>Cartoons by Overbeck, <a href="#p009">9</a>, <a href="#p042">42</a>, <a href="#p045">45</a>, <a href="#p046">46</a>, <a href="#p050">50</a>, <a href="#p058">58</a>, <a href="#p070">70</a>, <a href="#p077">77</a>, <a href="#p082">82</a>, <a href="#p083">83</a>, <a href="#p087">87</a>, <a href="#p088">88</a>, <a href="#p093">93</a>, <a href="#p098">98</a>.</li>
+  <li>Catholicism, <a href="#p027">27</a>, <a href="#p031">31</a>, <a href="#p032">32</a>, <a href="#p033">33</a>, <a href="#p034">34</a>, <a href="#p035">35</a>, <a href="#p038">38</a>, <a href="#p052">52</a>, <a href="#p053">53</a>, <a href="#p058">58</a>, <a href="#p062">62</a>, <a href="#p069">69</a>, <a href="#p079">79</a>, <a href="#p081">81</a>, <a href="#p092">92</a>, <a href="#p102">102</a>, <a href="#p106">106</a>.</li>
+  <li>Chart of Overbeck Family, <a href="#p003">3</a>, <a href="#p004">4</a>.</li>
+  <li><em>Christ's Agony in the Garden</em>, <a href="#p063">63</a>.</li>
+  <li><em>Christ bearing the Lamb</em>, <a href="#p060">60</a>.</li>
+  <li><em>Christ blessing Little Children</em>, <a href="#p028">28</a>.</li>
+  <li><em>Christ's Entry into Jerusalem</em>, <a href="#p011">11</a>, <a href="#p016">16</a>, <a href="#p018">18</a>, <a href="#p071">71</a>, <a href="#p096">96</a>.</li>
+  <li><em>Christ escaping from the Jews</em>, <a href="#p092">92</a>.</li>
+  <li><em>Christ falling under the Cross</em>, <a href="#p071">71</a>.</li>
+  <li><em>Christ healing the Sick</em>, <a href="#p071">71</a>.</li>
+  <li><em>Christ in the Temple</em>, <a href="#p059">59</a>, <a href="#p071">71</a>.</li>
+  <li><em>Christ teaching the Lord's Prayer</em>, <a href="#p094">94</a>.</li>
+  <li>Christian Art, <a href="#p012">12</a>, <a href="#p018">18</a>, <a href="#p027">27</a>, <a href="#p033">33</a>, <a href="#p039">39</a>, <a href="#p053">53</a>, <a href="#p066">66</a>, <a href="#p071">71</a>, <a href="#p096">96</a>, <a href="#p101">101</a>, <a href="#p103">103</a>.</li>
+  <li><em>Christian Parnassus</em>, <a href="#p065">65</a>.</li>
+  <li>Classic Movement, <a href="#p003">3</a>, <a href="#p007">7</a>, <a href="#p008">8</a>, <a href="#p009">9</a>, <a href="#p012">12</a>, <a href="#p014">14</a>, <a href="#p027">27</a>, <a href="#p040">40</a>.</li>
+  <li>Coleridge, <a href="#p036">36</a>, <a href="#p091">91</a>.</li>
+  <li>Cologne, <a href="#p060">60</a>, <a href="#p063">63</a>, <a href="#p083">83</a>, <a href="#p084">84</a>, <a href="#p104">104</a>.</li>
+  <li>Colour, System of, <a href="#p016">16</a>, <a href="#p029">29</a>, <a href="#p063">63</a>, <a href="#p064">64</a>, <a href="#p067">67</a>, <a href="#p098">98</a>.</li>
+  <li>Cornelius, Peter, <a href="#p012">12</a>, <a href="#p018">18</a>, <a href="#p019">19</a>, <a href="#p021">21</a>, <a href="#p023">23</a>, <a href="#p031">31</a>, <a href="#p035">35</a>, <a href="#p036">36</a>, <a href="#p040">40</a>, <a href="#p043">43</a>, <a href="#p044">44</a>, <a href="#p048">48</a>, <a href="#p052">52</a>, <a href="#p054">54</a>, <a href="#p059">59</a>, <a href="#p061">61</a>, <a href="#p074">74</a>, <a href="#p083">83</a>, <a href="#p087">87</a>, <a href="#p095">95</a>, <a href="#p097">97</a>.</li>
+  <li><em>Cornelius, Portrait of</em>, <a href="#p059">59</a>.</li>
+  <li><em>Coronation of the Virgin</em>, <a href="#p094">94</a>.</li>
+  <li><em>Creation of Adam and Eve</em>, <a href="#p030">30</a>.</li>
+  <li>Crown Prince of Bavaria, <a href="#p048">48</a>.</li>
+</ul>
+<ul class="plainList">
+  <li>David, French School of, <a href="#p009">9</a>, <a href="#p012">12</a>, <a href="#p016">16</a>, <a href="#p026">26</a>.</li>
+  <li><em>Death of St. Joseph</em>, <a href="#p058">58</a>, <a href="#p062">62</a>, <a href="#p094">94</a>.</li>
+  <li>Deger, Ernst, <a href="#p021">21</a>, <a href="#p104">104</a>.</li>
+  <li>Drawings by Overbeck, <a href="#p009">9</a>, <a href="#p013">13</a>, <a href="#p028">28</a>, <a href="#p029">29</a>, <a href="#p030">30</a>, <a href="#p049">49</a>, <a href="#p055">55</a>, <a href="#p058">58</a>, <a href="#p059">59</a>, <a href="#p064">64</a>, <a href="#p087">87</a>, <a href="#p090">90</a>.</li>
+  <li>D&uuml;sseldorf, <a href="#p012">12</a>, <a href="#p020">20</a>, <a href="#p021">21</a>, <a href="#p028">28</a>, <a href="#p052">52</a>, <a href="#p060">60</a>, <a href="#p084">84</a>, <a href="#p104">104</a>.</li>
+</ul>
+<ul class="plainList">
+  <li><em>Elias in the Chariot of Fire</em>, <a href="#p055">55</a>.</li>
+  <li><em>Entombment</em>, <a href="#p028">28</a>, <a href="#p071">71</a>, <a href="#p077">77</a>, <a href="#p087">87</a>.</li>
+  <li>European Art, influence of Overbeck over, <a href="#p103">103</a>.</li>
+  <li><em>Expulsion from Paradise</em>, <a href="#p013">13</a>, <a href="#p030">30</a>.</li>
+</ul>
+<ul class="plainList">
+  <li>Father of the Painter, <a href="#p001">1</a>, <a href="#p002">2</a>, <a href="#p004">4</a>, <a href="#p005">5</a>, <a href="#p006">6</a>, <a href="#p010">10</a>, <a href="#p017">17</a>, <a href="#p036">36</a>.</li>
+  <li>Father's Creed for a Purist Painter, <a href="#p008">8</a>.</li>
+  <li>Father's Monition to study the Classics, <a href="#p008">8</a>.</li>
+  <li><em>Feeding the Hungry</em>, <a href="#p030">30</a>.</li>
+  <li><em>Feed My Sheep</em>, <a href="#p080">80</a>.</li>
+  <li>F&ecirc;tes in honour of Overbeck, <a href="#p053">53</a>, <a href="#p084">84</a>.</li>
+  <li><em>Finding of Moses</em>, <a href="#p059">59</a>.</li>
+  <li><em>Flight into Egypt</em>, <a href="#p031">31</a>.</li>
+  <li><em>Four Evangelists</em>, <a href="#p094">94</a>.</li>
+  <li>Frankfort St&auml;del Institute, <a href="#p029">29</a>, <a href="#p060">60</a>, <a href="#p068">68</a>, <a href="#p085">85</a>, <a href="#p104">104</a>.</li>
+  <li>Fresco Paintings by Overbeck, <a href="#p011">11</a>, <a href="#p012">12</a>, <a href="#p021">21</a>, <a href="#p031">31</a>, <a href="#p040">40</a>, <a href="#p043">43</a>, <a href="#p044">44</a>, <a href="#p049">49</a>, <a href="#p100">100</a>, <a href="#p104">104</a>.</li>
+  <li>F&uuml;ger, Friedrich, <a href="#p010">10</a>.</li>
+  <li>F&uuml;hrich, Joseph, <a href="#p021">21</a>, <a href="#p032">32</a>, <a href="#p046">46</a>, <a href="#p051">51</a>, <a href="#p074">74</a>, <a href="#p104">104</a>.</li>
+</ul>
+<ul class="plainList">
+  <li>Gibson, John, <a href="#p027">27</a>, <a href="#p100">100</a>, <a href="#p102">102</a>.</li>
+  <li><em>God appearing to Elias</em>, <a href="#p058">58</a>.</li>
+  <li><em>Godfrey de Bouillon and Peter the Hermit</em>, <a href="#p045">45</a>.</li>
+  <li>Goethe, <a href="#p006">6</a>, <a href="#p012">12</a>, <a href="#p037">37</a>.</li>
+  <li><em>Gospels</em> or <em>Evangelists</em>, <a href="#p070">70</a>, <a href="#p097">97</a>.</li>
+</ul>
+<ul class="plainList">
+  <li>Hamburg, <a href="#p028">28</a>, <a href="#p063">63</a>.</li>
+  <li><em>Head of Old Monk</em>, <a href="#p030">30</a>.</li>
+  <li>Hess, Heinrich, <a href="#p055">55</a>, <a href="#p104">104</a>.</li>
+  <li><em>History of Joseph</em>, <a href="#p041">41</a>.</li>
+  <li>Hoffmann, Madame, <a href="#p081">81</a>.</li>
+  <li><em>Holy Communion</em>, <a href="#p091">91</a>.</li>
+  <li><em>Holy Family</em>, <a href="#p028">28</a>, <a href="#p056">56</a>.</li>
+  <li>Home Life of the Painter, <a href="#p006">6</a>, <a href="#p072">72</a>.</li>
+  <li><em>Human Life</em>, <a href="#p105">105</a>.</li>
+</ul>
+<ul class="plainList">
+  <li><em>Imitation of Christ</em>, <a href="#p094">94</a>.</li>
+  <li><em>Incredulity of St. Thomas</em>, <a href="#p079">79</a>.</li>
+  <li><em>Infant Jesus</em>, <a href="#p059">59</a>.</li>
+  <li>Isidoro, Sant', Convent of, <a href="#p021">21</a>, <a href="#p023">23</a>, <a href="#p024">24</a>.</li>
+  <li><em>Israelites gathering Manna</em>, <a href="#p059">59</a>.</li>
+  <li><em>Italy and Germany</em>, <a href="#p056">56</a>.</li>
+  <li>Ittenbach, Franz, <a href="#p021">21</a>, <a href="#p104">104</a>.</li>
+</ul>
+<ul class="plainList">
+  <li><em>Jairus's Daughter, raising of</em>, <a href="#p029">29</a>, <a href="#p059">59</a>.</li>
+  <li>Jameson, Mrs., <a href="#p050">50</a>.</li>
+  <li><em>Jerusalem Delivered</em>, <a href="#p012">12</a>, <a href="#p031">31</a>, <a href="#p045">45</a>.</li>
+  <li><em>Jesus as a Child at Nazareth</em>, <a href="#p006">6</a>.</li>
+  <li><em>Jesus Condemned</em>, <a href="#p087">87</a>.</li>
+  <li><em>Jesus in the House of Martha and Mary</em>, <a href="#p028">28</a>.</li>
+  <li><em>Joseph sold by his Brethren</em>, <a href="#p042">42</a>.</li>
+</ul>
+<ul class="plainList">
+  <li><em>Last Judgment</em>, <a href="#p105">105</a>, <a href="#p106">106</a>.</li>
+  <li>Leipzig Museum, <a href="#p045">45</a>, <a href="#p050">50</a>.</li>
+  <li>Lessing, <a href="#p027">27</a>, <a href="#p037">37</a>.</li>
+  <li>Letters and Correspondence of Overbeck, <a href="#p009">9</a>, <a href="#p018">18</a>, <a href="#p025">25</a>, <a href="#p029">29</a>, <a href="#p033">33</a>, <a href="#p052">52</a>, <a href="#p057">57</a>, <a href="#p061">61</a>, <a href="#p062">62</a>, <a href="#p064">64</a>, <a href="#p098">98</a>, <a href="#p104">104</a>.</li>
+  <li>Linder, Emilie, <a href="#p052">52</a>, <a href="#p057">57</a>, <a href="#p058">58</a>, <a href="#p062">62</a>, <a href="#p076">76</a>, <a href="#p085">85</a>.</li>
+  <li>Literature and Art, state of, <a href="#p011">11</a>, <a href="#p037">37</a>.</li>
+  <li>L&uuml;beck, <a href="#p001">1</a>-<a href="#p009">9</a>.</li>
+  <li>Ludwig, King, <a href="#p054">54</a>, <a href="#p055">55</a>.</li>
+  <li>Luther, <a href="#p002">2</a>, <a href="#p034">34</a>, <a href="#p036">36</a>, <a href="#p064">64</a>.</li>
+</ul>
+<ul class="plainList">
+  <li><em>Madonna</em>, <a href="#p031">31</a>, <a href="#p035">35</a>.</li>
+  <li><em>Madonna and Child</em>, <a href="#p031">31</a>, <a href="#p077">77</a>.</li>
+  <li><em>Magnificat of Art</em>, <a href="#p065">65</a>.</li>
+  <li>Maria Alfons, son of Overbeck, <a href="#p017">17</a>, <a href="#p069">69</a>, <a href="#p076">76</a>, <a href="#p082">82</a>.</li>
+  <li><em>Marriage of the Virgin</em>, <a href="#p064">64</a>.</li>
+  <li><em>Marriage, Sacrament of</em>, <a href="#p080">80</a>, <a href="#p090">90</a>.</li>
+  <li><em>Massacre of the Innocents</em>, <a href="#p070">70</a>.</li>
+  <li>Massimo Villa, <a href="#p009">9</a>, <a href="#p031">31</a>, <a href="#p044">44</a>, <a href="#p046">46</a>, <a href="#p060">60</a>, <a href="#p100">100</a>.</li>
+  <li><em>Meeting of Ulysses and Telemachus</em>, <a href="#p009">9</a>.</li>
+  <li>Memling's double Triptych, <a href="#p002">2</a>, <a href="#p078">78</a>.</li>
+  <li>Mengs, Raphael, <a href="#p012">12</a>, <a href="#p027">27</a>.</li>
+  <li>Mental Aspects of Overbeck, <a href="#p005">5</a>, <a href="#p012">12</a>, <a href="#p015">15</a>, <a href="#p017">17</a>, <a href="#p018">18</a>, <a href="#p020">20</a>, <a href="#p024">24</a>, <a href="#p032">32</a>, <a href="#p034">34</a>, <a href="#p043">43</a>, <a href="#p051">51</a>, <a href="#p055">55</a>, <a href="#p061">61</a>, <a href="#p071">71</a>, <a href="#p073">73</a>, <a href="#p074">74</a>, <a href="#p077">77</a>, <a href="#p085">85</a>, <a href="#p086">86</a>, <a href="#p095">95</a>, <a href="#p101">101</a>.</li>
+  <li>Monumental Painting, <a href="#p049">49</a>.</li>
+  <li><em>Moses and the Daughters of Jethro</em>, <a href="#p094">94</a>.</li>
+  <li>M&uuml;ller, Andreas, <a href="#p021">21</a>, <a href="#p104">104</a>.</li>
+  <li>M&uuml;ller, Carl, <a href="#p021">21</a>, <a href="#p104">104</a>.</li>
+  <li>Munich, <a href="#p050">50</a>, <a href="#p053">53</a>, <a href="#p054">54</a>, <a href="#p055">55</a>, <a href="#p056">56</a>, <a href="#p059">59</a>, <a href="#p085">85</a>, <a href="#p104">104</a>.</li>
+</ul>
+<ul class="plainList">
+  <li><em>Naming of St. John</em>, <a href="#p071">71</a>.</li>
+  <li>Nature, study of, <a href="#p015">15</a>, <a href="#p017">17</a>, <a href="#p023">23</a>, <a href="#p030">30</a>, <a href="#p043">43</a>, <a href="#p047">47</a>, <a href="#p054">54</a>, <a href="#p062">62</a>, <a href="#p063">63</a>, <a href="#p064">64</a>, <a href="#p066">66</a>, <a href="#p088">88</a>, <a href="#p100">100</a>.</li>
+  <li>Nazarites, <a href="#p025">25</a>, <a href="#p074">74</a>.</li>
+  <li>Niebuhr, <a href="#p025">25</a>, <a href="#p031">31</a>, <a href="#p032">32</a>, <a href="#p034">34</a>, <a href="#p035">35</a>, <a href="#p036">36</a>, <a href="#p037">37</a>, <a href="#p038">38</a>, <a href="#p044">44</a>, <a href="#p072">72</a>.</li>
+  <li>Nina, wife of Overbeck, <a href="#p017">17</a>, <a href="#p049">49</a>, <a href="#p076">76</a>, <a href="#p080">80</a>, <a href="#p085">85</a>.</li>
+</ul>
+<ul class="plainList">
+  <li>Oil Paintings by Overbeck, <a href="#p011">11</a>, <a href="#p016">16</a>, <a href="#p028">28</a>, <a href="#p050">50</a>, <a href="#p056">56</a>, <a href="#p058">58</a>, <a href="#p060">60</a>, <a href="#p062">62</a>, <a href="#p063">63</a>, <a href="#p064">64</a>, <a href="#p065">65</a>, <a href="#p077">77</a>, <a href="#p079">79</a>, <a href="#p083">83</a>, <a href="#p092">92</a>, <a href="#p093">93</a>, <a href="#p094">94</a>.</li>
+</ul>
+<ul class="plainList">
+  <li><em>Passion, the</em>, <a href="#p087">87</a>.</li>
+  <li><em>Penance, Sacrament of</em>, <a href="#p090">90</a>.</li>
+  <li>Personal Aspect of Overbeck, <a href="#p034">34</a>, <a href="#p073">73</a>, <a href="#p074">74</a>, <a href="#p086">86</a>, <a href="#p094">94</a>.</li>
+  <li>Perugia, <a href="#p087">87</a>.</li>
+  <li><em>Piet&agrave;</em>, <a href="#p077">77</a>.</li>
+  <li><em>Pilgrim</em>, <a href="#p094">94</a>.</li>
+  <li>Pius IX., <a href="#p073">73</a>, <a href="#p092">92</a>.</li>
+  <li><em>Pius IX., his Portrait</em>, <a href="#p092">92</a>.</li>
+  <li>Portraits of Overbeck, <a href="#p017">17</a>, <a href="#p059">59</a>, <a href="#p069">69</a>, <a href="#p094">94</a>, <a href="#p096">96</a>.</li>
+  <li><em>Preaching of St. John</em>, <a href="#p028">28</a>.</li>
+  <li>Pre&#8209;Raphaelites, English, <a href="#p014">14</a>, <a href="#p062">62</a>.</li>
+  <li>Pre&#8209;Raphaelites, German, <a href="#p015">15</a>, <a href="#p019">19</a>, <a href="#p020">20</a>, <a href="#p021">21</a>, <a href="#p023">23</a>, <a href="#p025">25</a>, <a href="#p031">31</a>, <a href="#p034">34</a>, <a href="#p036">36</a>, <a href="#p040">40</a>, <a href="#p061">61</a>, <a href="#p074">74</a>.</li>
+  <li>Pre&#8209;Raphaelites, Italian, <a href="#p012">12</a>, <a href="#p016">16</a>, <a href="#p043">43</a>, <a href="#p064">64</a>, <a href="#p102">102</a>.</li>
+  <li>Prices of Pictures, <a href="#p046">46</a>, <a href="#p058">58</a>, <a href="#p065">65</a>, <a href="#p067">67</a>, <a href="#p079">79</a>.</li>
+  <li>Protestantism, <a href="#p001">1</a>, <a href="#p003">3</a>, <a href="#p031">31</a>, <a href="#p032">32</a>, <a href="#p033">33</a>, <a href="#p035">35</a>, <a href="#p053">53</a>, <a href="#p069">69</a>, <a href="#p079">79</a>, <a href="#p081">81</a>, <a href="#p083">83</a>, <a href="#p106">106</a>.</li>
+  <li>Pugin, <a href="#p033">33</a>, <a href="#p067">67</a>, <a href="#p104">104</a>.</li>
+</ul>
+<ul class="plainList">
+  <li>Raczynski, Count, <a href="#p050">50</a>, <a href="#p064">64</a>.</li>
+  <li><em>Raising of Lazarus</em>, <a href="#p028">28</a>, <a href="#p093">93</a>.</li>
+  <li>Raphael, opening of his Tomb, <a href="#p061">61</a>.</li>
+  <li>Reformation, <a href="#p003">3</a>, <a href="#p036">36</a>.</li>
+  <li><em>Religion glorified by the Arts</em>: Overbeck's dissertation thereon, <a href="#p065">65</a>.</li>
+  <li><em>Resurrection, the</em>, <a href="#p071">71</a>.</li>
+  <li><em>Return from Church of the Wedding Party</em>, <a href="#p105">105</a>.</li>
+  <li>Romantic Movement, <a href="#p007">7</a>, <a href="#p012">12</a>, <a href="#p037">37</a>, <a href="#p047">47</a>.</li>
+</ul>
+<ul class="plainList">
+  <li>Schadow, Wilhelm, <a href="#p021">21</a>, <a href="#p024">24</a>, <a href="#p031">31</a>, <a href="#p034">34</a>, <a href="#p035">35</a>, <a href="#p037">37</a>, <a href="#p040">40</a>, <a href="#p043">43</a>, <a href="#p060">60</a>.</li>
+  <li>Schlegel, Friedrich, <a href="#p012">12</a>, <a href="#p031">31</a>, <a href="#p033">33</a>, <a href="#p035">35</a>, <a href="#p038">38</a>, <a href="#p039">39</a>, <a href="#p041">41</a>.</li>
+  <li>Schnorr, Julius, <a href="#p021">21</a>, <a href="#p044">44</a>, <a href="#p045">45</a>, <a href="#p071">71</a>, <a href="#p092">92</a>.</li>
+  <li>Schraudolph, Johann, <a href="#p055">55</a>, <a href="#p085">85</a>, <a href="#p104">104</a>.</li>
+  <li><em>Seven Sacraments</em>, <a href="#p070">70</a>, <a href="#p088">88</a>, <a href="#p091">91</a>, <a href="#p092">92</a>.</li>
+  <li><em>Seven Sacraments</em>: Overbeck's exposition of, <a href="#p089">89</a>, <a href="#p091">91</a>.</li>
+  <li><em>Seven Years of Famine</em>, <a href="#p042">42</a>, <a href="#p051">51</a>, <a href="#p098">98</a>.</li>
+  <li><em>Sibyl</em>, <a href="#p064">64</a>.</li>
+  <li><em>Sophronio and Olindo</em>, <a href="#p045">45</a>.</li>
+  <li>Spiritual Art, "Soul Pictures,", <a href="#p015">15</a>, <a href="#p033">33</a>, <a href="#p040">40</a>, <a href="#p065">65</a>, <a href="#p066">66</a>, <a href="#p100">100</a>.</li>
+  <li><em>Sposalizio, Lo</em>, <a href="#p064">64</a>.</li>
+  <li><em>Stations, the</em>, <a href="#p070">70</a>, <a href="#p086">86</a>, <a href="#p087">87</a>, <a href="#p092">92</a>.</li>
+  <li>Steinle, Eduard, <a href="#p021">21</a>, <a href="#p051">51</a>, <a href="#p085">85</a>, <a href="#p086">86</a>, <a href="#p104">104</a>.</li>
+  <li>Stift Neuburg, <a href="#p028">28</a>, <a href="#p029">29</a>, <a href="#p030">30</a>, <a href="#p059">59</a>, <a href="#p085">85</a>.</li>
+  <li><em>St. Philip Neri</em>, <a href="#p094">94</a>.</li>
+  <li>Studio of Overbeck, <a href="#p070">70</a>, <a href="#p073">73</a>, <a href="#p082">82</a>, <a href="#p086">86</a>, <a href="#p101">101</a>.</li>
+  <li>Study, Overbeck's modes of, <a href="#p072">72</a>, <a href="#p097">97</a>, <a href="#p100">100</a>, <a href="#p101">101</a>.</li>
+</ul>
+<ul class="plainList">
+  <li>Thorwaldsen, <a href="#p027">27</a>, <a href="#p077">77</a>.</li>
+  <li><em>Triumph of Religion in the Arts</em>, <a href="#p014">14</a>, <a href="#p060">60</a>, <a href="#p065">65</a>, <a href="#p097">97</a>.</li>
+  <li><em>Triumph of Religion in the Arts</em>: Overbeck's exposition of, <a href="#p065">65</a>.</li>
+  <li><em>Twelve Apostles</em>, <a href="#p094">94</a>.</li>
+</ul>
+<ul class="plainList">
+  <li>Veit, Philip, <a href="#p021">21</a>, <a href="#p031">31</a>, <a href="#p035">35</a>, <a href="#p038">38</a>, <a href="#p040">40</a>, <a href="#p041">41</a>, <a href="#p043">43</a>, <a href="#p044">44</a>, <a href="#p045">45</a>, <a href="#p060">60</a>, <a href="#p061">61</a>, <a href="#p097">97</a>.</li>
+  <li><em>Via Crucis</em>, <a href="#p086">86</a>, <a href="#p087">87</a>.</li>
+  <li>Vienna, <a href="#p009">9</a>-<a href="#p018">18</a>.</li>
+  <li><em>Virtues</em>, <a href="#p094">94</a>.</li>
+  <li><em>Vision of St. Francis</em>, <a href="#p009">9</a>, <a href="#p049">49</a>, <a href="#p050">50</a>.</li>
+  <li><em>Vittoria Caldoni, Portrait of</em>, <a href="#p028">28</a>, <a href="#p056">56</a>.</li>
+  <li><em>Vocation of the Apostles James and John</em>, <a href="#p080">80</a>, <a href="#p094">94</a>.</li>
+</ul>
+<ul class="plainList">
+  <li>Winckelmann, <a href="#p012">12</a>, <a href="#p027">27</a>.</li>
+</ul>
+
+
+<div align="center">
+<br />
+<br />
+
+<hr width="75%" />
+
+<h4>LONDON: PRINTED BY WILLIAM CLOWES AND SONS, LIMITED, STAMFORD STREET<br />
+  AND CHARING CROSS.</h4>
+</div>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of Overbeck, by J. Beavington Atkinson
+
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+</body>
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+The Project Gutenberg EBook of Overbeck, by J. Beavington Atkinson
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Overbeck
+
+Author: J. Beavington Atkinson
+
+Release Date: April 15, 2008 [EBook #25073]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK OVERBECK ***
+
+
+
+
+Produced by Juliet Sutherland, Tim Buck and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+
+
+
+                    _ILLUSTRATED BIOGRAPHIES OF
+                        THE GREAT ARTISTS._
+
+
+                    JOHANN FRIEDRICH OVERBECK.
+
+
+
+
+            ILLUSTRATED BIOGRAPHIES OF THE GREAT ARTISTS.
+
+_The following volumes, each illustrated with from 14 to 20 Engravings,
+are now ready, price 3s. 6d. Those marked with an asterisk are 2s. 6d._
+
+
+ GIOTTO. By HARRY QUILTER, M.A.
+ FRA ANGELICO. By C. M. PHILLIMORE.
+ FRA BARTOLOMMEO AND ANDREA DEL SARTO. By LEADER SCOTT.
+ MANTEGNA AND FRANCIA. By JULIA CARTWRIGHT.
+ GHIBERTI AND DONATELLO.* By LEADER SCOTT.
+ LUCA DELLA ROBBIA.* By LEADER SCOTT.      [_Nearly ready._
+ LEONARDO DA VINCI. By Dr. J. PAUL RICHTER.
+ MICHELANGELO BUONARROTI. By CHARLES CLEMENT.
+ RAPHAEL. By N. D'ANVERS.
+ TITIAN. By R. F. HEATH, M.A.
+ TINTORETTO. By W. R. OSLER.
+ CORREGGIO.* By M. COMPTON HEATON.
+ VELAZQUEZ. By E. STOWE, M.A.
+ MURILLO.* By ELLEN E. MINOR.
+
+ ALBRECHT DURER. By R. F. HEATH, M.A.
+ THE LITTLE MASTERS OF GERMANY. By W. B. SCOTT.
+ HANS HOLBEIN. By JOSEPH CUNDALL.
+ OVERBECK. By J. BEAVINGTON ATKINSON.
+ REMBRANDT. By J. W. MOLLETT, B.A.
+ RUBENS. By C. W. KETT, M.A.
+ VAN DYCK AND HALS. By P. R. HEAD, B.A.
+ FIGURE PAINTERS OF HOLLAND. By LORD RONALD GOWER, F.S.A.
+
+ CLAUDE LORRAIN.* By OWEN J. DULLEA.      [_In preparation._
+ WATTEAU.* By J. W. MOLLETT, B.A.      [_In preparation._
+ VERNET AND DELAROCHE. By J. RUUTZ REES.
+ ROUSSEAU AND MILLET. BY W. E. HENLEY.      [_In preparation._
+ MEISSONIER.* By J. W. MOLLETT, B.A.
+
+ SIR JOSHUA REYNOLDS. By F. S. PULLING, M.A.
+ WILLIAM HOGARTH. By AUSTIN DOBSON.
+ GAINSBOROUGH AND CONSTABLE. By G. BROCK-ARNOLD, M.A.
+ ROMNEY AND LAWRENCE.* By LORD RONALD GOWER, F.S.A.
+ TURNER. By COSMO MONKHOUSE.
+ SIR DAVID WILKIE. By J. W. MOLLETT, B.A.
+ CROME AND THE NORWICH SCHOOL.* By C. MONKHOUSE.      [_Preparing._
+ SIR EDWIN LANDSEER. By F. G. STEPHENS.
+
+
+
+
+              [Illustration: JOHANN FRIEDRICH OVERBECK.]
+
+
+
+
+    _"The whole world without Art would be one great wilderness."_
+
+                               OVERBECK
+
+                        BY J. BEAVINGTON ATKINSON
+                               AUTHOR OF
+                'SCHOOLS OF MODERN ART IN GERMANY,' ETC.
+
+                               NEW YORK
+                          SCRIBNER AND WELFORD
+                                LONDON
+                SAMPSON LOW, MARSTON, SEARLE, & RIVINGTON
+                                 1882.
+
+
+
+
+                                  TO
+                          THE RIGHT HONOURABLE
+                        A. J. BERESFORD HOPE, ESQ.,
+                              M.P., LL.D.,
+                        THE KIND FRIEND OF ARTISTS,
+                   THE FERVENT UPHOLDER OF CHRISTIAN ART,
+
+
+                               This Life
+                                  OF
+                THE CHRISTIAN PAINTER J. FRIEDRICH OVERBECK
+                                  IS
+                        _RESPECTFULLY DEDICATED_
+                                  BY
+                              THE AUTHOR.
+
+
+
+
+                                PREFACE.
+
+
+In offering to the public the first complete biography yet attempted of
+the painter Overbeck, I wish to give a few words in explanation. The
+task has been far from easy: the materials, though the reverse of
+scanty, are scattered: reminiscences of the artist and criticisms on his
+works lie as fragments dispersed over the current literature of Germany.
+My endeavour has been to fill in vacuities, to thread together a
+consistent and connected narrative, and thus, so far as I have been
+able, to present a true and lucid history.
+
+My duty has been all the more anxious from the unusual complexity of the
+pictorial products falling under review. The scenes are laid amid the
+battle of the schools: the periods bring into prominence conflicts
+between classic, romantic, and naturalistic styles. The art of Overbeck
+was rooted in the olden times, yet in some degree it became quickened by
+contact with present life, and took also a personal aspect from the
+painter's inner self. The great pictures and the numberless drawings
+thus evolved over a space of more than half a century, and here
+described from my own knowledge, raise interesting and intricate
+questions on which the world remains divided. My care has been to give a
+just estimate of these exceptional art manifestations.
+
+Also enter into the art, through the life, conflicts of religious
+creeds, strifes between Protestantism and Catholicism, between
+Platonism, Mysticism, and Rationalism. In dealing with such delicate and
+serious topics I have avoided all controversy, and have ventured only on
+the simplest and briefest exposition. My effort has been to state the
+case fairly all round, to maintain an even balance, and, above all, to
+place the reader, whatever may chance to be his creed or art school, in
+a position to form a true judgment.
+
+Likewise fairly to appreciate the artist, it is needful rightly to
+comprehend the man. And here, again, perplexities arise from unwonted
+combinations. The character is one of the noblest and purest, and yet it
+is beset with peculiar infirmities. The portrait offered in these pages
+is, I trust, true and individual, toned down into unity, and yet not
+left cold or colourless. Such negation would, indeed, do injustice to my
+own feelings. For among the cherished recollections of past days are my
+visits to Overbeck's studio, stretching over a period of twenty years: I
+learned to revere the master and to love his works, and I trust no word
+in this little volume may lessen the respect due to an honoured name.
+
+                                                                J. B. A.
+
+KENSINGTON,
+    _May, 1882._
+
+
+
+
+                            CONTENTS.
+
+
+
+							CHAPTER I.
+
+                          LUBECK--VIENNA.
+
+Birth and Parentage--Early Days in Lubeck--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 Lubeck for
+Vienna: 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 1
+
+
+                            CHAPTER II.
+
+                    ROME--THE GERMAN BROTHERHOOD.
+
+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
+Poetry, a saintly Man"--"The New-Old School," "the Nazarites," provoke
+opposition and ridicule--State of Art in Rome: Classic, Romantic,
+Christian--First Commission: early Drawings and Pictures--Exhibition in
+Palazzo Caffarelli--Overbeck and his Friends join the Roman Catholic
+Church--Reasons assigned--Literary circle: Niebuhr, Bunsen, and
+Friedrich Schlegel--Frescoes by Overbeck, Cornelius, Veit, and Schadow
+in the Casa Bartholdi and the Villa Massimo                              19
+
+
+                            CHAPTER III.
+
+                           ROME--GERMANY.
+
+Overbeck marries, two children born--His position in "Monumental
+Painting"--Fresco, "The Vision of St. 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 Fraulein Emilie
+Linder--Visits to Heidelberg, Frankfort, Cologne, and Dusseldorf--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
+pictures: "Christ's Agony in the Garden," at Hamburg; "The Marriage of
+the Virgin," in Count Raczynski's Gallery, Berlin; "The Triumph of
+Religion in the Arts," Frankfort--The Painter's explanatory disquisition
+on the last--His habits of work, personal aspect and character           48
+
+
+                            CHAPTER IV.
+
+            LATE WORKS--CONCLUSION--THE PAINTER AND HIS ART.
+
+Death of Son--Pictures: "The Pieta," in Lubeck; "The Incredulity of St.
+Thomas," in the possession of Mr. Beresford Hope--Death of Wife--"The
+Assumption of the Madonna," Cologne Cathedral--Second visit to
+Germany--Fete in Cologne--Return to Rome--Studio in Garden House on the
+Esquiline Hill--Cartoons and Water-colour Drawings, "The Via
+Crucis"--Cartoons and Tempera Drawings, "The Seven
+Sacraments"--Commissions from Pius IX., his Portrait, Picture for
+Quirinal Palace: the Pope's Visit to the Studio--Portraits of the Artist
+by various hands--Overbeck's mental habits: his extraordinary
+memory--Modes of Study and of Work--Form--Composition--Colour--The
+relation of his Art to nature, tradition, and personal
+character--Pecuniary rewards--Influence over the contemporary Schools of
+Europe--Closing scenes--Death and Burial                                 76
+
+CHRONOLOGY                                                              109
+
+INDEX                                                                   111
+
+
+
+
+LIST OF ILLUSTRATIONS.
+
+
+PORTRAIT OF OVERBECK                                        _Frontispiece._
+
+                                                                       PAGE
+
+THE HOLY FAMILY                                                           2
+
+THE NAMING OF ST. JOHN                                                   18
+
+CHRIST IN THE TEMPLE                                                     24
+
+CHRIST BLESSING LITTLE CHILDREN                                          28
+
+THE CALLING OF ST. JAMES AND ST. JOHN                                    48
+
+CHRIST'S ENTRY INTO JERUSALEM                                            58
+
+CHRIST HEALING THE SICK                                                  70
+
+CHRIST FALLING UNDER THE CROSS                                           76
+
+THE ENTOMBMENT                                                           86
+
+THE RESURRECTION                                                         94
+
+THE CROSS MARKING OVERBECK'S TOMB                                  _Finis._
+
+
+
+
+                                Chart of the Overbeck Family.
+
+                                    CASPAR OVERBECK,
+                                Merchant, Religious Refugee.
+                                             |
+                                CHRISTOPH OVERBECK, Pastor.
+                                             |
+                        CASPAR NIKOLAS OVERBECK, D. 1752, Pastor.
+                                             |
+                        Total number of Children 8 sons and 6 daughters:
+                        2 sons and 4 daughters died in childhood.
+ ____________________________________________|_______________________________________
+|         |                |                 |               |         |            |
+Johann    Levin   GEORGE CHRISTIAN OVERBECK,  Johann      Gottfried    August      Two
+Adolph,   Conrad,     B. 1713, D. 1786,       Daniel,     Ferdinand,   Friedrich,  Daughters
+B. 1706,  B. 1712,     Doctor of Laws.        B. 1715,    B. 1717,     B. 1719,    who grew to
+Pastor.   Pastor.            |                D. 1802,    Apothecary.  School      womanhood.
+                            |                Doctor of                Teacher.
+                            |                Theology, &c.
+       _____________________|_________________________________________________
+      |                                   |                                  |
+    Conrad,                     CHRISTIAN ADOLPH OVERBECK,                Johann George,
+    Died at Riga,               B. 1755, M. 1781, D. 1821.                D. 1819,
+    Merchant.       Doctor of Laws, Syndic, Burgermeister of Lubeck, &c.  Pastor.
+                                          |
+                    4 sons and 2 daughters: one son died in childhood.
+         _________________________________|________________________________________
+        |                |                      |                 |               |
+Christian Gerhard,  Johannes,  JOHANN FRIEDRICH OVERBECK,     Frau Charlotte  Frau Elizabeth
+B. 1784, D. 1846,   D. 1830,   B. in Lubeck 1789, M. 1819,    Leithoff,       Meyer,
+Judge, Lubeck.      Merchant.  D. in Rome 1869                deceased.       deceased.
+         |                |           The Painter                  |
+Christian Theodore,       |                |                   Frau Harms,
+B. 1818, D. 1880,         |                |                   Lubeck,
+Doctor, Senator;          |                |__________________ living.
+left no children.         |                |                 |
+     _____________________|_________________             ____|_________________
+    |            |            |            |            |                     |
+Johannes,     Gustav,      Arnold,      Frau Rath  ALFONS MARIA,        Daughter of the
+Professor,    Dusseldorf,  Dusseldorf,  Reuleaux,  Son of the Painter,  Painter: died
+Doctor,       living.      living.      Berlin,    B. 1822, D. 1840.    in childhood.
+Archaeologist,                           living.
+Leipzig,
+living.
+
+
+
+
+                            OVERBECK.
+
+                            CHAPTER I.
+
+                          LUBECK--VIENNA.
+
+
+Johann Friedrich Overbeck was born, as a tablet on his father's house
+records, in Lubeck on the 4th of July, 1789. Among his ancestors were
+Doctors of Law and Evangelical Pastors. His parents were good
+Protestants; his father was Burgomaster in the ancient city. Seldom has
+a life been so nicely preordained as that of the young religious
+painter. The light of his coming did not shine, as commonly supposed,
+out of surrounding darkness. A visit to his birth-place, expressly made
+for this memoir, soon showed me that Overbeck, from his youth upwards,
+had been tenderly cared for; that he received a classic education; that
+his mind was brought under moral and religious discipline; in short,
+that the rich harvest of later years had found its seed-time here within
+the family home in Lubeck.
+
+The old house in which Overbeck was born has unfortunately, within the
+last few years, been modernised, but the original medallion relief of
+the painter's head, life-size, is built into the new facade, and the
+former structure can be accurately ascertained as well from the designs
+of the adjoining tenements as from the living testimony of the
+neighbours.[1] The Overbeck mansion stood in the Konig Strasse, a
+principal thoroughfare in the heart of an old city which may not inaptly
+be designated the Nuremberg of Northern Germany. It is not difficult
+here on the spot to picture the life of the painter while yet in his
+teens. The historic town of Lubeck had enjoyed a signal political,
+commercial and artistic epoch. As the head of the Hanseatic League, it
+rose to unexampled prosperity. Deputies from eighty confederate
+municipalities assembled in the audience-chamber of the Rathhaus;
+fortifications, walls and gateways were reared for defence, and merchant
+princes made their opulence and love of ostentation conspicuous in
+dwellings of imposing and picturesque design; thus pointed gables,
+high-pitched overhanging roofs, stamp with mediaeval character the
+present streets. Then, too, were founded rich ecclesiastical
+establishments; then was built the cathedral, containing among other
+treasures matchless brasses, a unique rood-loft, and a double triptych,
+the masterpiece of Memling. This sacred work made a deep impression on
+young Overbeck, and is known to have given a direction to his art. About
+the same period was also reared the Marien Kirche, enriched with bronze
+sacrament-house, old German triptychs and fine painted glass. This is
+the church in which the painter's father, as Burgomaster, had a
+distinguished stall, elaborately carved; and now, on visiting the spot,
+I find appropriately among the treasures two chefs-d'oeuvre which the
+son affectionately wrought for the city of his birth. These churches are
+Protestant, but fortunately the worst sign of the Reformation is
+whitewash, and so the relics of the past are reverently conserved, and
+here in Lubeck, as in Nuremberg, the Madonna still holds her honoured
+niche, and the saints yet shine from out the painted window, even as in
+after-years the selfsame characters appeared on the canvases of
+Overbeck. Amid associations thus sacred, encircled by a family addicted
+to learning and piety, to poetry and art, was the tranquil spirit of the
+young painter led into meditative paths; and as I took my evening walk
+at the setting of the sun by the side of the wooded river, under shadow
+of the old gateways and churches, it was not very hard to realize how
+the love of nature and of art grew up in the mind of the young student,
+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 times.
+
+The family of Overbeck had been for generations preeminent for learning
+and piety, and biographers have scarcely sufficiently taken into account
+either the Classic or the Christian inheritance of the painter.
+Religious teaching and living came by long lineal descent (see Family
+Chart on page xvi.): the great, great, great grandfather, Caspar
+Overbeck, was a religious refugee; the next in succession, Christoph,
+was a Protestant pastor; and to the same sacred calling belonged his
+son, Caspar Nikolas, who lived into the middle of the last century.
+After comes the grandfather, George Christian, Doctor of Laws; and among
+collaterals signally shines the great-uncle, Johann Daniel Overbeck
+(died 1802, aged 88);[2] this memorable man was Doctor of Theology,
+Rector of the Lubeck Gymnasium, and a voluminous writer; he published
+thirty or more treatises; among the number are 'The Spirit of Religion,'
+'Grounds of Agreement in Religion through the Reason and the
+Understanding;' also discourses on St. Peter, St. Paul, and Luther.
+Facility of pen runs through the family. Two other great-uncles, Johann
+Adolph and Levin Conrad Overbeck, brothers of the Doctor of Theology,
+were Pastors: furthermore must not be forgotten the uncle, Johann George
+(brother of the Burgomaster), who lived till 1819, and is described as a
+faithful untiring pastor to an evangelical congregation, who offered his
+life a willing sacrifice. "Duty" might be the watch-word of all who bear
+the name of Overbeck. Lastly, and not least, appears the pious, learned,
+and aesthetic father, Christian Adolph. Though not in holy orders, he
+concerned himself variously with religion in the wide and vital sense of
+the word, holding it a divine presence, the rule of life, and the
+inspirer of all noble work. I should judge he was not dogmatic in creed,
+nor rigid in ceremonial. He was philosophic, but had too much heart to
+be a rationalist; too much imagination for an anti-supernaturalist. He
+was a mystic pietist; religion blending with poetry coloured his whole
+mind; revelation, nature, and art, were for him one and indivisible. And
+this I believe to have been the mental state of the son while yet under
+the parental roof. The sequel will show a change; the incertitude of
+speculation could not be sustained, and so anchorage was sought within
+an "Infallible Church." Yet for the right reading of a character
+curiously subtle and complex, it is needful to realise the fact that the
+seeds sown in the homestead were never uprooted, that it was, indeed,
+the old stock which sustained the new grafting, and that, to the last, a
+poetic mysticism dwelt in the chambers of the artist's mind. And as was
+the tree so were the fruits; sprung from a family of preachers, the
+painter became an evangelist in his art.
+
+The father, Dr. Christian Adolph Overbeck, as the formative type of the
+son, merits a further word.[3] If not quite a genius, he was the model
+of a scholar and a gentleman; besides being Burgomaster in the city of
+his birth, he was Doctor of Laws, Syndic of the Cathedral Chapter, and
+served in important political missions to Paris and St. Petersburg. He
+is described "Musis Amicus";[4] and not only the friend of poesy, he was
+a poet himself, and by virtue of the duality habitual to his mind
+dedicated his pen with singular impartiality to Christ and Apollo; one
+volume of verses being entitled 'Anacreon and Sappho,' another,
+containing a poem, on 'The Love of God.' These products rise somewhat
+above the level of respectable mediocrity, yet they have not escaped the
+stigma of platitudes. Goethe, however, did not disdain to make
+respectful mention of the poet. The painter inherited in some small
+degree the paternal gift; he accompanied with verses the engraved and
+published drawings, _Jesus as a Child in the House at Nazareth_. By the
+father I have also before me a "new edition," published 1831, of a
+collection entitled 'Frizchens Lieder,'[5] so called because penned for
+the benefit of the youthful Frederick. The preface makes mention of "my
+little Frizchen" thus:--"It were better had he been an angel, but he is
+just a human child:" then, facetiously, it is added, "he is less ideal
+than saucy and conceited." Those who like myself knew only the solemnity
+of the painter in advanced years have a difficulty in supposing in the
+child such traits compatible. These songs of the domestic affections
+were set to music; the father, as a dilettante complete, cultivated all
+the harmonies whether of thought, form, or sound; the home was musical.
+
+The family life composes into a placid, homelike picture. The parents,
+though well to do, were far from affluent. The stipends of the busy
+Burgomaster and Syndic were small, and he remained comparatively poor.
+At the age of twenty-six he married a young widow with money and one
+daughter, and domestic cares necessarily thickened with the birth of six
+additional children, two daughters and four sons, of whom Frederick was
+the youngest. The mother, we are told, was beloved and honoured, and in
+addition to ordinary domestic duties, diligently assisted her children
+in the preparation of their school lessons; moreover it is expressly
+stated that her fortune contributed largely to the household expenses.
+The would-be artist could not be considered unfortunate in his worldly
+condition; he entered on life removed equally from the extremes of
+riches or poverty; his parents were sufficiently well off to make it
+possible for him to gratify his tastes in the choice of a profession,
+while he was always under such pressure as to render it imperative that
+he should put out his full powers. His education within the limits of a
+provincial town was liberal; the father kept himself and his household
+quiet, student-like, and sequestered from the dissipation of society,
+and so all the better could be cultivated the budding faculties of his
+offspring. When the children were sufficiently advanced he joined with
+other parents in engaging a qualified tutor, and so formed a special
+class or superior school. With affection was watched the inclination
+towards art of the youngest son, and anxiety lessened as the faculty
+strongly declared itself, for above all was dreaded "mediocrity as the
+deadly sin of artists." The father held that for success in art as a
+profession three conditions were essential; classic training, nobility
+of mind, and technical skill. And so in each day the foremost place was
+assigned to classic studies. As to the formation of character, religion
+stood as the corner-stone, and the maxim for the daily life was "love in
+a pure mind." 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 world.
+But the father and son differed in this--that the one was eclectic, the
+other exclusive. The father, with the wide toleration of a
+poet-philosopher, believed in the possibility of harmoniously combining
+styles, Classic, Romantic, and Christian. His views may be judged from
+the following:
+
+
+            _The Father's Monition to study the Classics._
+
+With joy I see you constant in the study of the ancients. To the Greeks
+and old Romans was it given to stand as the everlasting lawgivers of the
+beautiful. Well for you that you read the classics: above all, acquaint
+yourself with the glorious forerunner, Homer, of whom almost every line
+is a picture. Homer in the right chamber of the heart, and the Bible in
+the left--or _vice-versa_--in this way, it seems to me, you cannot go
+far astray.
+
+
+                    _Creed for a Purist Painter._
+
+The artist's and poet's mind should be as a spotless mirror: his heart
+must be pure and pious, at one with God and all mankind. The path to the
+holy Temple of Art lies apart from the world, and the painter will go on
+his way all the more unassailed if he stand aloof from the temptations
+of the senses. And if the artist's mind be a temple, then should find
+place therein only the figures of saints and the semblances of holy
+things; and even in profane representations a heavenly spirit should
+reign. The mind is raised by the contemplation of the master-works of
+genius, thus art reaches the highest summit.
+
+It is not to be supposed that the youth while in Lubeck reached the
+father's ideal; but within a stone's throw of the house lay a Gymnasium,
+including a Drawing School of which the great uncle, Dr. Johann Daniel
+Overbeck, had been head master. Here, on the spot, I am told the nephew
+received from a certain Professor Federau instruction in art, and I have
+before me a drawing, the earliest that has come to my knowledge, which
+proves that the pupil was at least painstaking. The subject, in
+accordance with the father's precept, is Homeric, the well-known meeting
+of Ulysses and Telemachus.[6] After the prevailing manner of the period,
+the style is classic, according to the French school of David, and a
+Greek portico appropriately finds a place in the background. Young
+Overbeck discovered in the sequel how much he had to learn, and to
+unlearn; he closed Homer to open his Bible.
+
+The time came for a change in the scene of action, the art resources of
+a small provincial town were exhausted, and the necessity arose for
+thorough academic training elsewhere. The choice in those days was not
+extended, and after due consideration the election fell in favour of
+Vienna. Accordingly, in March, 1806, at the age of seventeen, young
+Overbeck left Lubeck. The home-parting was tender, and might have been
+heart-rending could the future have been read. Never were son and
+parents to meet again. Frederick in sundry years, when full of honours,
+visited Germany, but he seemed to shrink from a return to the scenes of
+his youth; change in religion may have made contact painful. Yet we are
+told that closest communication was kept up by constant correspondence;
+that the father affectionately watched his son's illustrious career and
+read with lively satisfaction all announcements in the public journals.
+The mother died in 1820, the father a year after: for forty years they
+had been lovingly united. I have visited the retired "God's-acre,"
+beyond the gates, removed from the noisy traffic of the town, and not
+without difficulty discovered the grave of father and mother. So dense
+was the overgrowth of years, that not a letter on the massive stone
+could be seen; but the old man of the place, tearing away the thick
+mantle of ivy, revealed the words, "Here rest in God Elizabeth Overbeck,
+and Christian Adolph Overbeck, Burgomaster."
+
+On reaching Vienna, the super-sensuous painter did not find a bed of
+roses: his tastes were fastidious, his habits exclusive, his aspirations
+impracticable. Of course his art remained as yet unremunerative; thus
+his means were scanty, and the friends he might have hoped to make
+turned out enemies. And it cannot be denied that the state of things in
+Vienna was enough to discourage and disgust an earnest, truth-seeking
+student. The Academy into which the Christian artist entered was under
+the direction of Friedrich Fuger, a painter of the French type, not
+without renown, but given over to the service of Jupiter, Prometheus,
+and Venus, and when he chanced to turn to sacred subjects, such as _The
+Death of Abel_ and _The Reading Magdalen_, affectation and empty
+pretence were his resource. I have seldom seen works more contemptible.
+Overbeck was in despair, and wrote to a friend that he had fallen among
+a vulgar set, that every better feeling, every noble thought, was
+suppressed within the Academy, and that, losing all faith in humanity
+and in art, he turned inwardly on himself. This transcendental strain, I
+cannot but think, came in some measure from the conceit incident to
+youth; self-complaisancy was certainly a habit of mind which the painter
+persistently cultivated as a virtue.
+
+Four years' work within an organised academy could not be otherwise than
+a gain to a tyro who had everything to learn. Director Fuger was at
+least thoroughly trained; talent and industry had early won him the
+distinction of pensioner to Rome, and he subsequently executed important
+frescoes in Naples, which obtain honourable mention in the history of
+the times. His school might be bad, but still it was a school; and the
+fact cannot be controverted that Overbeck issued from it an artist. He
+learnt what his father had laid down as essential to success, drawing,
+composition, technique, and his advance was such, that while in Vienna
+he commenced, and in part painted, _Christ's Entry into Jerusalem_, a
+prized possession to this day in the Marien Kirche, Lubeck. Moreover, I
+am inclined to think that under Fuger he was grounded in the art of
+wall-painting, not only as a manipulative method, but as a system of
+composition and decoration; otherwise it is hard to understand how,
+shortly after arriving in Rome, he knew more about fresco than the
+Italians themselves. Overbeck and his master, however, became all the
+more irreconcilable because the discords lay less in the letter than in
+the spirit.
+
+In order to realise Overbeck's artistic and mental difficulties here in
+Vienna, and afterwards in Rome, 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 written. We have to consider that
+Europe had suffered under the throes of the great French Revolution, and
+that then followed the galling despotism of Napoleon. Art and literature
+lay frozen and paralysed, and Overbeck in Lubeck and Vienna, like
+Cornelius in Dusseldorf, found in tyrannous sway the pseudo-classic
+school of the French David, cold as marble, rigid as petrifaction,
+spasmodic as a galvanised muscle. But the Germans, especially the more
+intellectual sort, smarting under the yoke, were all the while gathering
+strength to reclaim nationality as their birthright. The reaction came
+through the romantic movement, otherwise the revival of the poetry and
+the art of the Middle Ages. Overbeck fell under the influence: in his
+Lubeck home he read Tieck's 'Phantasies on Art,' and thirsted for the
+regeneration drawing near. In Rome the spell heightened; thinkers such
+as Frederick Schlegel brought over proselytes, and the painter's early
+frescoes from Tasso's 'Jerusalem Delivered,' came as the specific
+products of the new era. But the School of Romance wore two aspects; the
+one, Poetic and Chivalrous; the other expressly Christian; and Overbeck
+was not content to exchange Homer and Virgil for Dante and Tasso, he
+turned from the age of Pericles and Augustus to the nativity of Christ.
+And it seemed to him that the pure spring of Christian Art had, not only
+in Vienna but throughout Europe, been for long diverted and corrupted,
+and so he sought out afresh the living source, and casting on one side
+his contemporaries, took for his guides the pre-Raphaelite masters. Such
+is the relation in which he stands to the Romantic movement.
+
+But the election made in favour of an art born of Christianity proved
+for Overbeck the severer conflict, because Germany, in the generation
+scarcely passed away, had experienced a studious classic revival under
+the critic Winckelmann and the painters Mengs and Carstens. Goethe, too,
+a tyrant in power, had thrown his weight into the classic scale, and,
+much to the chagrin of the young painter, declared that the highest
+Christian Art was but the perfecting of humanity. Moreover, classicism
+had been brought within the painter's home by a five years' sojourn in
+Lubeck of Carstens, the Flaxman of Germany. The father befriended the
+poor artist, and being well-read in Greek and Roman authors, supplied
+him, among other needs, with ideas for his classic compositions. I deem
+these facts should be duly considered; it is wholly false to ignore the
+presence of a classic element in the Christian Art of Overbeck; and just
+as the purest religious painters of Italy borrowed from the Pagans, so
+the great Christian Artist of our times culled from the antique all he
+could assimilate. It is clear to me, judging from the internal evidence
+of his works, that as a student Overbeck went through the usual course
+of drawing from the plaster cast. Many are the passages in his
+compositions which might be quoted in point, particularly Biblical
+incidents, such as the _Expulsion from Paradise_, wherein appear
+undraped figures. Here are seen to advantage the generic form, the
+typical beauty, the harmony of line, the symmetry, which distinguish the
+Classic from the Gothic. Furthermore, Overbeck from first to last
+eschewed the dress actually worn in the Holy Land, and deliberately
+draped Christ and the Apostles as Greek sages and Roman senators. I
+believe in so doing he was on the whole wise, his motive being to remove
+his characters from the sphere of common life; even for him, the most
+single-minded of men, art was a compromise: but while borrowing thus
+largely both in figure and costume from the Classic, it were vain to
+contend that his creations had an exclusively Christian origin. I may
+add that I do not think the controversy lies so much between religions
+as between historic Schools of Art. Overbeck was so much the artist
+that, like Raphael, he made beauty wherever extant his own, only caring
+that whatever was taken from the Pagan should be baptized with the
+Christian spirit. Thus much indeed is confessed in his explanatory text
+to his master-work the _Triumph of Religion in the Arts_. Therefore in
+quoting his own words the subject may fairly be allowed to drop: he
+writes: "Although heathenism, as such, should be looked upon by the
+Christian painter with decided disdain, yet the arts as well as the
+literature of the ancients may be turned to advantage, 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 Temple, after
+melting them down and consecrating them anew."
+
+The much abused Director Fuger was the champion, as we have seen, of
+hybrid classicism, hence the hostility between master and pupil. The
+precise attitude assumed by the contending parties it is not very easy
+to define; but that there were faults on both sides may easily be
+conceded; that each was in extreme is also evident, and that Overbeck
+was the last man to yield an inch or to meet half way is equally
+certain. The fatal conflict broke out in differences as to the modes of
+study: of the Academy we should now say that it was conventional, wedded
+to false methods, in short, that it had wholly lost the right road in
+the devious paths of decadence. The young innovators, not choosing to
+conform, assumed a defiant position analogous to, though not identical
+with, that taken half a century later by our English pre-Raphaelite
+brethren. The study of the early masters in the royal collection they
+preferred to the routine of the Academy; thus Durer and Perugino were
+held up in challenge to Correggio and Rubens, the idols of the day. Then
+the discord was equally violent as to the right mode of studying nature.
+The charge made against the German pre-Raphaelite Brotherhood was that
+they dealt with the life-model crudely and inartistically; on the
+contrary, Overbeck and his adherents declared that they sought for
+nothing else than truth, only they held that nature should not be
+studied superficially, but with the end of deciphering her hidden
+meanings. The human body they looked on as a temple, the face they read
+as the mirror of the mind. All this, and much more besides, though then
+a novelty, is now an old story; the doctrine that the bodily form is
+moulded on the spiritual being, the speculations concerning the
+relations between the "objective" and the "subjective," the outward and
+the inward, the correspondence between the world of sense and the world
+of thought, have one and all taken definite place in the history of
+mental philosophy. We have here fully to realise that Overbeck had
+breathed the atmosphere of mystic spiritualism in Lubeck; hence his
+entrance into "spiritual art," hence his "soul pictures." His mind being
+thus sublimated, he looked down upon the Viennese Academicians as common
+and unclean; a rupture naturally ensued, and he and his companions being
+in the minority, were with a strong hand, and with little ceremony,
+expelled from the classes. The blow for the moment seemed overwhelming,
+yet it brought salvation. Had Overbeck remained chained to the Academy,
+art through him would not have seen a new birth. His course became
+clear: he quitted Vienna for Rome, the city of his desire.
+
+In the fourth and last year of the painter's apprenticeship in the
+Austrian capital, was begun a really arduous composition, _Christ's
+Entry into Jerusalem_.[7] The picture is of the utmost import as
+affording the only evidence of the artist's attainments in Vienna. In
+the first place to be remarked is the striking fact that not a vestige
+remains of the French school of David, or of the showy masters of the
+Italian decadence; the work, indeed, might have been designed as a
+protest against the Viennese Academy, and as a justification of the
+painter's revolt. The style adopted is conjointly that of the Italian
+pre-Raphaelite and of the early German and Flemish masters. The
+background is built up into a high horizon giving support to the
+foreground figures; the colours are deep and lustrous, and so far
+contrast favourably with the weaker and cruder tones unfortunately
+adopted at a later period. The costume is a deliberate compromise
+between the classic and the naturalistic. Nowhere does the artist
+venture, as Horace Vernet, on the Bedouin dress. Christ is clothed in a
+flowing robe, while the Apostles, as in the compositions of Raphael,
+belong less to the Holy Land than to the Roman Forum. This treatment of
+draperies was adhered to through all subsequent works, the only change
+being further generalisation and a wider departure from naturalism. In
+fact it is curious to observe in this early work how much nature enters;
+figures and incidents come direct from life, as witness portraits of
+contemporaries, groups of little children, young mothers and aged women.
+Such passages are happily destitute of what the Viennese academicians
+called "style;" they have more of the old German angularity than of "the
+Grecian bend." Yet always with Overbeck Beauty is present, only not
+thrust in, as by the academicians of the period, in violation of Truth
+and Goodness. Also very noteworthy is the impress of thought in the
+heads, hands, and attitudes; the painter, as we have seen, came of a
+family of thinkers, and the purport of his art was to give expression to
+mind. Here again he took as his teachers the early masters, so that
+these figures, though more or less studied from nature, might seem to
+have walked out from an old panel picture, yet they are more than
+complications, they are impressed with the painter's own individuality.
+Altogether the work marks not only a starting-point in Overbeck's life,
+but a new era in the art of the nineteenth century.
+
+The composition by lapse of time gains biographic and historic value
+through the introduction, in accordance with the practice of the old
+masters, of contemporary portraits. The painter has placed among the
+spectators his father, in character of Burgomaster, also close by, his
+mother, a remarkably shrewd old lady. His wife, memorable as a beauty,
+is grouped with the three Marys, and by her side sports the painter's
+much-loved son, a boy, palm-branch in hand, rejoicing with the
+multitude. Nor are the pilgrim painters in Rome forgotten: Overbeck and
+his brother artists, Cornelius and others, appear at respectful
+distance, gazing on Christ riding into Jerusalem.
+
+Overbeck, before quitting Vienna, pretty much determined his vocation:
+he resolved to dedicate his life to Christian Art. On the point of
+departure, in writing to a friend in Lubeck, he takes a retrospective
+view, and also points to the future. He recalls evening walks under the
+shade of trees with congenial companions; he remembers earnest
+conversations on poetry, painting, and other manifestations of the
+beautiful, yet still something remained wanting. True art, he writes, he
+had sought in vain: "Oh, I was so full of it, my whole fancy was
+possessed by Madonnas and Christs; I bore these impressions about with
+me, I cherished them, but nowhere could I find response." In Vienna, as
+we have seen, the desire of his soul remained unsatisfied. His conflicts
+were painful, but once for all he declares, "I will abide by the Bible;
+I elect it as my standing-point." A few friends were like-minded, and
+one especially, who had come from Italy, encouraged a pilgrimage to the
+land of Christian Art. Accordingly, Overbeck packed up his small worldly
+possessions, of which the canvas of _Christ's Entry into Jerusalem_ was
+the most considerable, and at length he reached Rome as a haven of rest.
+
+FOOTNOTES:
+
+[Footnote 1: The Overbeck house, when I sought it out in 1880, was
+rebuilt and retenanted; the ground floor happens to be now occupied by a
+bookseller and fancy stationer, who sustains intact the Protestant
+character of the establishment. In vain I enquired for engravings from
+Overbeck; the nearest approach to religious art was a portrait of Luther
+in chromo-lithography!]
+
+[Footnote 2: See 'Leben Herrn Johann Daniel Overbeck, weiland Doctors
+der Theologie und Rectors des Lubeckischen Gymnasiums, von einem nahen
+Verwandten, und vormaligen Schuler des Verewigten.' Lubeck, 1803.]
+
+[Footnote 3: See 'Zur Erinnerung an Christian Adolph Overbeck, beider
+Rechte Doctor und Burgermeister zu Lubeck.' Lubeck, 1830.]
+
+[Footnote 4: I have seen in the Public Library, Lubeck, the engraved
+portrait inscribed with the above words; the head bears a striking
+resemblance to the well-known features of the son: the profile shows a
+fine intellectual type, the forehead is ample and overhanging, the
+coronal region full, the eye searching and earnest, the upper lip long,
+the mouth large and firmly set. The last was not the most beautiful
+feature in the painter's remarkable face.]
+
+[Footnote 5: 'Frizchens Lieder, herausgegeben von Christian Adolph
+Overbeck: neue Ausgabe.' Hamburg, Verlag von August Campe, 1831.]
+
+[Footnote 6: This juvenile exercise, probably only a copy, was given by
+young Overbeck to his master, and is now in the Town Library; it is
+washed in with Indian ink, measures two feet by one foot nine inches,
+and is signed and dated "F. Overbeck, 1805-21 April." The Gymnasium,
+like the House, has recently been rebuilt, but the continuity of
+learning remains unbroken--boys flock to the school as in the painter's
+youth. The adjoining Town Library also contains the original cartoon,
+drawn in Rome, for one of the frescoes illustrative of Tasso in the
+Villa Massimo, length about ten feet; likewise the cartoon of the Vision
+of St. Francis, painted in fresco in Sta. Maria degli Angeli, near
+Assisi; the cartoon is about twenty feet long, the figures are
+life-size.]
+
+[Footnote 7: This picture, on canvas, is nearly eight feet long by six
+feet high, the figures are about three feet. The 'Lubeckische Blatter'
+states that "Overbeck began the work in Vienna in 1809, in the fourth
+year of his art study, and there completed the background and the
+figures in the middle plane, and that it was taken by him to Rome in
+1810." In the course of time the foreground figures were introduced, but
+not till 1824 did the picture reach completion. It bears the signature
+and date "J. F. Overbeck, 1824." Thus fifteen years elapsed between the
+first touch and the last, and some ten further years passed before the
+canvas came to the artist's native city. I carefully examined the
+painting in the Marien Kirche in October, 1880, and found it in perfect
+preservation, the colours unchanged, the surface untouched by time or
+restoration. The picture differs from the illustration to these pages.]
+
+
+
+
+                            CHAPTER II.
+
+                    ROME--THE GERMAN BROTHERHOOD.
+
+
+The biographies of artists, proverbially picturesque, present few scenes
+more pleasant to look on than the early years in Rome of the Brotherhood
+of German Painters, of whom Overbeck and his friend Cornelius were the
+leaders. Exiles in some sort from their native land, they entered Italy
+as pilgrims, and were not far from suffering as martyrs. They were
+devout, hard-working, and withal poor. They had been drawn from distant
+cities to Rome as a common focus, and there they severed themselves from
+ignoble present times, and abiding quietly amid ancient monuments and
+sacred shrines, sought to make the days of old live anew. So congenial
+did Rome prove to Overbeck, that he could hardly be induced to sever
+himself from the city or its neighbourhood over a space of more than
+fifty years. The task he assigned to himself was arduous: how he went to
+work and accomplished his mission I shall try to show.
+
+Overbeck, in company with his brother artists, Pforr, Vogel and
+Hottinger, having in Vienna cast off all fetters, entered Rome as
+freemen in 1810. A year later Cornelius, as a young Hercules, came upon
+the scene; he had fought his way from Dusseldorf; like Overbeck, he had
+found the Academy a burden and a snare, and he betook himself to Italy
+for deliverance. Then began that closest friendship between the two
+painters which, lasting for more than half a century, was severed only
+by death. Cornelius, writing to his friend Mosler, describes the German
+Brotherhood in Rome, and adds: "Overbeck from Lubeck is the one who by
+the gentleness and nobility of his soul draws all around him; he
+inspires them to everything true and beautiful. May be he is the
+greatest artist now living: you would be astonished if you could see him
+at his work. Yet he is the most humble and retiring of men." If Overbeck
+were as a lamb, surely Cornelius was a lion, each indeed supplied what
+was lacking in the other. Cornelius in after years said to Rudolf
+Lehmann, "I am the man, he is the woman." And it may strike the mind as
+a singular coincidence, or rather as a benignant disposition of
+Providence, that at sundry turning-points in the world's history, two
+men the opposites the one of the other have been conjoined, as if for
+the better accomplishment of the work to be done. We may recall, in art,
+Raphael and Michelangelo; in religion, St. John and St. Peter,
+Melanchthon and Luther; and in philosophy, Plato and Aristotle. At the
+risk of pushing the analogy too far, it may be added that Cornelius was
+positive as Aristotle, impetuous as St. Peter and Luther, defiant as
+Michelangelo; while in contrast, Overbeck shared with Plato idealism,
+with St. John love, with Melanchthon gentleness, and with Raphael grace.
+
+The German colony of pre-Raphaelite painters in Rome grew, and in after
+years came accessions almost unintermittingly.[1] Within the first
+twelve months were gathered together, as we have seen, Overbeck,
+Cornelius, Pforr, Vogel and Hottinger. Soon followed the brothers
+Wilhelm and Rudolf Schadow: to these must be added Koch, Wintergerst,
+Sutter, Mosler, Veit, Schnorr, Eggers, Platner, and others. Later came
+Joseph Fuhrich, who literally worshipped the ground on which Overbeck
+stood. Edward Steinle, of a younger generation, was also a bosom friend
+of the painter. Later still arrived young zealots from Dusseldorf, where
+Schadow had established the renowned school of religious art. The best
+known of these disciples are Ernst Deger, Franz Ittenbach, and the
+brothers Andreas and Carl Muller. After sitting at the feet of Overbeck
+in Rome, it was their privilege to paint the chapel at Remagen on the
+Rhine: these frescoes are accepted as among the most beauteous
+manifestations of the master's teachings. This brief epitome anticipates
+the story of years. 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 earth.
+
+The Brethren found congenial habitation in the old Franciscan convent of
+Sant' Isidoro on the Pincian Hill. The picturesque monks having been
+turned out by Napoleon, the German colony became tenants at a yearly
+rental, and held in quietude the dormitories, also larger rooms which
+served as studios, until the fall of the First Empire, when the
+monastery once more reverted to the Mendicant Friars, by whom it is
+still occupied. A few years since, the Superior of the Order politely
+showed the present writer over the ecclesiastical establishment, now, as
+formerly, devoted to charitable works. Time has brought little change in
+the cells, the refectory, or in the large hall used for religious
+teaching. Other rooms, great and small, are ranged round a cloister
+enclosing a garden still fragrant with orange-blossoms as in the days of
+Overbeck and Cornelius. Here, amid sacred associations and venerable
+monuments, did these devoted students build up the new art, and when the
+day's work was ended, they mounted at eventide the lofty Belvedere,
+commanding a panorama of which, even in Rome, are few equals. From
+neighbouring campanili, vesper bells sound a chorus in the bright
+Italian sky, and beneath the eye stretches, as a prairie of the old
+world, the wide Campagna, spanned by broken viaducts and bounded by the
+blue Alban hills. Through the panorama winds the golden Tiber, guarded
+by the Castle of St. Angelo and St. Peter's, and around and below lie
+Monte Mario, the pine-clad Pincian, the Villa Medici, and the ilex
+groves of the Ludovisi. The scene was inspiring, yet not without shadow
+of melancholy; the Capitol had fallen into the hands of the stranger,
+but the spirit of Dante fired the dauntless young men; they turned from
+the present to the past, "imagination restored the empire that had been
+lost," and though "calamity afflicted the country, they believed that
+God had not forsaken the people."
+
+Overbeck is known to have been deeply penetrated by the beauties of the
+Italian sky and landscape. After sufferance of the rigours of northern
+winters, mind and body expanded under the sun of the genial south. In
+spring-time came days serene as his own spirit, giving to nature the
+re-birth he sought for art; the clear horizon carried thought to a world
+beyond; and in the deep blue above floated such clouds as had served the
+old pre-Raphaelites with the thrones and footstools of saints and
+angels. Overbeck did not, as the masters of the decadence, shroud his
+compositions in backgrounds of impenetrable darkness, but flooded the
+canvas with the light of the Italian heavens, and like the early
+painters, placed holy people in the midst of such beauties of nature as
+tranquillise and elevate the mind. And his sympathetic eye was not only
+open to scenes which served as distances, he watched in the gardens of
+the Roman villas the springing flowers, and made careful studies of
+mossy, jewelled foregrounds which served as carpeting for the feet of
+his Madonnas. Having turned his back on the Fatherland, his pictures
+bear no memories of black forests or frowning Harzburg mountains, and he
+became so thoroughly Italianised that he seated Holy Families on the
+borders of the Thrasymene Lake, and placed saints within sight of Mount
+Soracte! Like all true artists, he painted what he saw; as his
+predecessors, he gathered in daily walks the accessories he needed. Fra
+Angelico had painted at Fiesole, Francia at Bologna, Perugino at
+Perugia, Pinturicchio at Spello and Siena, and each in turn, like
+Overbeck, made the surrounding scenery serve as accompaniments to figure
+compositions. Nature was to all these painters a great teacher; her
+presences were healing powers, and they left out all the storms and
+discords, and like our poet Wordsworth, brought her forms and aspects
+into harmony with tranquil living. Yet the Brethren from their monastic
+abode in Sant' Isidoro looked upon the outer world with sympathies as
+diverse as their individual characters. When Cornelius took his walks
+abroad, he crossed the Tiber to visit the _Last Judgment_ of
+Michelangelo. Overbeck's steps lay in an opposite direction; he passed
+by the church of Sta. Maria Maggiore, looked in for the sake of the old
+mosaics, and then wended his solitary way to Sta. Croce in Gerusalemme,
+to pay his devotions before the frescoes commemorative of the discovery
+by St. Helena of the true Cross. Here, in lovely surroundings, nature
+blended in unison with art, he looked on the blue hills and the calm
+sky, and thanked God Italy was his home.
+
+The mode of living adopted within the cells and refectory of Sant'
+Isidoro naturally savoured of the monastic: it combined appropriately
+society with solitude. The habit of the Brethren was to take meals
+together at a common table, and to work separately each in his private
+painting-room. The refectory served as a common hall for study and for
+drawing from the model. The rule obtained in the establishment that the
+provisioning and housekeeping should be taken in rotation by each, one
+week at a time, 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 broth! On Sundays the work
+relaxed or ceased wholly, and the wholesome practice prevailed of
+bringing together the products of the week for criticism with the end to
+mutual improvement: many grave observations and lively pleasantries
+passed from one to the other, Overbeck usually in his modest way acting
+the part of mentor. "No one," writes Schadow, "who saw or heard him
+speak, could question his purity of motive, his deep insight and
+abounding knowledge: he is a treasury of art and poetry and a saintly
+man." Overbeck had stoutly defended the adopted course of study which
+others condemned. "What," he asked, "has been our crime? It is in great
+measure that we have striven after a severe outline, in opposition to
+the loose, cloudy, washed-out manner of the day. Is not this an
+endeavour after truth?" But such studies, while filling portfolios,
+brought no grist to the mill. And the historian Niebuhr, an anxious
+friend, confesses that these devoted men "were hard put to it for their
+daily bread," yet never has a confraternity of artists more nearly
+approached an ideal. No vow was actually taken, the bond was simply
+voluntary; thus Overbeck expressly states, "with the greatest concord
+among us as to the fundamental principles of art, each goes on his own
+way."
+
+The attitude assumed almost of necessity provoked opposition, even
+ridicule. The assumption was made of superiority, the tone grew even
+assailant; Correggio, Guido, Guercino, and Domenichino, with all
+post-Raphaelites, were denounced, and not only was it declared, "We are
+right," but it was added, "You are wrong." The Brethren personally laid
+themselves open to attack; they were not free from the affectations of
+youth, they made themselves conspicuous by long hair and strange
+costume, and through their exclusiveness and sanctity won as their
+nickname the epithet of "Nazarites." Other designations were less
+characteristic; simply descriptive are such terms as "pre-Raphaelites,"
+"the new-old School," "the German-Roman artists," "the Church-Romantic
+painters," "the German patriotic and religious painters." But all
+trivial imputations weigh lightly when set in the balance against solid
+work and holy living. The earnest devotees in the long run silenced evil
+tongues and won respect and a good name. Niebuhr, ambassador and
+historian, by no means a blind apologist, describing the art society of
+the day, writes: "The painters in Rome are divided by a broad line of
+demarcation into two parties--the one consisting of our friends and
+their adherents, the other of the united phalanx of those who are of the
+world, a set who intrigue and lie and backbite; they intend there shall
+not be light, come what will. The former are exemplary in their lives;
+the latter display the old licentiousness which characterised the German
+artists in Rome thirty years ago. Happily, at the present moment, the
+more talented of the newcomers are ranged on the side of our friends. It
+is a hopeful sign that some foreigners, and even Italians, are beginning
+to pay attention to their works." Overbeck and his more immediate
+associates were indeed, in the best sense of the term, "purists" and
+"pietists," and held vitally to the maxim that they who would know of a
+doctrine must live out the doctrine. On no other conditions was it
+possible to accomplish their mission--the regeneration of art. The
+schools around them had fallen in great measure through lack of
+sincerity and truth; they in contrast believed as our English Bishop
+Butler taught, that conscience is the ruling faculty in the human mind.
+
+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 Vienna.
+The Director, in fact, of the Viennese Academy had in youth won the
+prize of Rome, and there became the representative of the prevailing
+decadence. Among the Italians, Battoni, following in the footsteps of
+Carlo Maratti, was not without the grace and the beauty of Correggio and
+Guido. Descending a generation later, Overbeck found among his
+contemporaries Pietro Benvenuto, one of the most distinguished adherents
+of the school of David: whose masterpiece in Arezzo Cathedral has justly
+been designated "one of the finest productions of modern art." These
+were not men to be wholly despised. Furthermore it is to be remembered,
+as before indicated, that the Germans, in a generation only just passed
+away, had here in Rome formed a learned school based on the antique;
+Lessing, in his treatise, the 'Laocoon,' and Winckelmann, by his
+criticisms on the marbles of the Vatican, had induced a new Classic
+Renaissance. The painter Raphael Mengs, thus guided, appropriately
+executed in the Villa Albani the famous fresco of _Apollo and the Nine
+Muses on Mount Parnassus_. Again, here are men and manifestations not to
+be disdained. But for such art Overbeck, as we have seen, cherished
+inveterate antipathy: whether he was absolutely right, impartial
+critics, founding a judgment on a wide historic basis, will hesitate to
+determine. The correct verdict probably is that each school is good of
+its kind, that the one possesses merits distinctive of the other, and
+that it is well for the world that every mode of thought should in turn
+obtain the fullest and highest manifestation. But Overbeck's vision was
+too intently focussed on one point to perceive that his sphere was but a
+segment, a part, though by no means an unimportant part, of the greater
+whole. The classic movement, against which he set his face steadily, was
+not to be easily annihilated; it survived in Rome in such illustrious
+representatives as Canova, Thorwaldsen and Gibson. But Overbeck grew
+more and more the recluse; he shortly became a proselyte to the Romish
+Church, shut himself out from other associations, and thus after a time
+devoted his pencil exclusively to Christian Art.
+
+The early pictures and drawings executed in Rome carry out the painter's
+resolve. To this first period belong: _The Adoration of the Kings_
+(1811), _Jesus in the House of Martha and Mary_ (1812), _The Preaching
+of St. John_, _The Raising of Lazarus_, _The Entombment_, _Christ
+Blessing Little Children_, _The Holy Family_, _Ave Maria, Blessed art
+thou among Women_, also a portrait of Vittoria Caldoni.[2] The first
+commission received by the struggling painter came from Queen Caroline
+of Bavaria for _The Adoration of the Kings_, in oils. The Queen had
+written to Rome saying that she wished for a picture by the young
+artist; that as to the price, a hard bargain need not be driven, for
+when one gains a beautiful work, the cost cannot be regretted. Overbeck,
+on receiving the good news, writes, December 16, 1811, "I was so
+overpowered with joy that I could not bring out a syllable. The affair
+moves me all the more because I had not dreamt of it. What can be the
+cause of my good fortune? Happy day! I shall think of it as long as I
+live: to the Lord be the praise." Four days later he writes to
+Lubeck:--"What joy! I can now relieve my parents from further burden.
+This is the moment so long wished for. Henceforth and for ever I am a
+man and an independent artist in the workshop, free as a king over the
+boundless domain of fantasy to create a beautiful world."
+
+The maxim that correct drawing lies at the foundation of all true art
+was maintained by the Brotherhood through both precept and example.
+Overbeck first mastered form, he trained his hand to outline; next he
+learnt the principles of composition, that is the power of combining
+separate parts into a connected whole; lastly, he added colour, but
+rather as an accessory than an essential. Hence his water-colours and
+even his oil-pictures are often little more than tinted drawings. In the
+first Roman period, that is up to about the year 1820, when the age of
+thirty had been reached, we find the artist in full possession of the
+faculty of expressing his ideas at the point of his pencil. Of this
+happy facility many examples have come before me: one especially, at
+Stift Neuburg, _The Raising of Jairus's Daughter_ (1814); another,
+almost a replica of the last, delicately washed with colour, in the
+private collection of Herr Malss, of the Stadel Institute, Frankfort. I
+note with admiration the precision and subtlety of the form, especially
+in the hands and feet. The work, though small in scale (1 ft. 3 in. by
+1 ft.), is large in manner, the treatment being that of the Great
+Masters as distinguished from the Small Masters. Overbeck, who was on
+intimate terms with the family of Director Malss, said that he wished
+they should have a work as perfect as he could make it: verily he
+realised his endeavour. Belonging to the same period, I find in another
+private collection in Frankfort a portrait in delicate pencilling of a
+young girl of about eighteen; the hair is in close curls all round the
+head, the necklace is marked with utmost detail. Perhaps I have not laid
+sufficient stress on the truth and rectitude of Overbeck's work, as
+seen, for instance, in the _Head of an Old Monk_ among the drawings of
+the National Gallery, Berlin. This is so close to nature that a
+deformity in one ear has been conscientiously registered. The handling
+here is masterly, the touch firm and strong; the play of lines in the
+hatchings proves a free hand and a facile turn of the wrist. Also may be
+mentioned, for incidents taken from the life, a remarkable composition
+at Stift Neuburg, _The Feeding of the Hungry_. Close to nature are these
+transcripts of the poor, the needy, and aged, one advancing on crutches
+to receive bounty; and over all presides the spirit of beauty and
+charity. Also in the same collection is a triptych, wherein angels and
+cherubs appear: this is among the earliest examples of the intervention
+of the supernatural. Overbeck was not the man to rush in where angels
+fear to tread. Likewise among Biblical subjects, I find in the National
+Gallery, Berlin, _The Creation of Adam and Eve_, and _The Expulsion from
+Paradise_. Here the delineation of the undraped figure proves absolute
+knowledge, and shows, as before said, that the usual course of drawing
+from the nude had been gone through. The point indeed need not be
+discussed further, as Schadow expressly states that Overbeck's drawings
+from the nude as well as from the draped figure were, for subtlety and
+truth to nature, the admiration of every one. The _Creation_ and
+_Expulsion_ are of exceptional value, because the artist for once
+borrows from Michelangelo: also it will be seen that Overbeck gave
+himself from the outset to the illustration of the Biblical narrative,
+and thus fondly trod in the footsteps of Giotto and Fra Angelico.
+
+An Exhibition of the works of the German painters in Rome was held in
+1819, in a room of the Palazzo Caffarelli, which, as the official
+residence of Niebuhr and Bunsen, had often been a spot of kindly meeting
+and hospitality. The collection Frederick Schlegel pronounced
+unsurpassed in richness, variety, and intrinsic value. Public interest
+was awakened, and attention centred round the contributions of Overbeck,
+Schadow, Veit and Cornelius. Overbeck sent a _Madonna_ and a _Flight
+into Egypt_; and Schlegel specially names the cartoon of _Jerusalem
+Delivered_, for the frescoes then in progress at the Villa Massimo, as
+proof of the artist's power of expression and faculty of invention. He
+adds: "The struggle of the German artists in Rome daily excites more and
+more observation, and their progress is watched with cordial sympathy by
+men of all nations."
+
+A very serious topic must now be considered. Overbeck in 1813
+relinquished the Protestant faith of his forefathers and joined the
+Roman Catholic Church. Obviously in these pages polemics are out of
+place, 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 art. Rightly to judge the case, it were well
+correctly to estimate Overbeck as a man: his strength lay within his
+art, outside which he had infirmities; his bodily health was feeble, his
+mind to the extreme refined and to the last degree sensitive; he shrank
+from the conflict of life; common people he could not associate with;
+for the ordinary world he was wholly unfit, and sought refuge in some
+ideal not yet reached. Niebuhr truly reads the character when he writes:
+"Overbeck is an enthusiast and quite illiberal; he is a very amiable man
+and endowed with a magnificent imagination, but incapable by nature of
+standing alone, and by no means so clear-headed as he is poetical. He
+bends easily and naturally under the yoke of the Catholic faith."
+
+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 Europe. In Lubeck, as we have seen,
+the phases of faith were philosophic and aesthetic, and the divinities of
+Olympus and Parnassus shared equal favour with the saints of the Church.
+The young painter was cast in a severer mould, and needed that the
+infinite and eternal should be circumscribed by definite form. It is
+reported of a certain German philosopher that, when addressing his
+class, he ended with the words:--"In the next lecture we shall proceed
+to construct God!" Overbeck preferred to such speculation the authority
+of the Church. The painter Joseph Fuhrich puts the case strongly:[3] he
+declares that his friend had to take the choice between Pantheism and
+Catholicism. Overbeck felt that art was a religious question, and he
+determined that all his work should be a protest against the
+indifferentism and latitudinarianism which account all religions equal.
+He conceded that secular writings and mundane arts were not without
+their value and charm; in the arts may be permitted divers
+manifestations, such as landscape, animal, and flower painting. The
+Church is tolerant of all that is good, but on the highest pinnacle
+stands the Christian painter. Over these matters he had pondered long,
+and was accustomed to say to himself, "Let not my Christ be ever robbed
+of my love; the true home of art is within the soul before the altar of
+the Church; the tabernacle of art has its foundations in the worship of
+God."
+
+Early Christian Art naturally drew Overbeck towards the Roman Catholic
+Church. Frederick Schlegel, Rio, Pugin severally fell under the same
+spell. The old mosaics, frescoes, and easel pictures which came down
+through unbroken ecclesiastical descent, were for the Christian artist
+of the nineteenth century means of grace, and served as revelations of
+the Divine. Fra Angelico was taken as a pattern; through living and
+loving, watching and praying, believing and working, the High Priesthood
+of Art was to be established. And the actual experiences of modern Rome
+brought no disillusion; the frivolity and the hollowness which so often
+disgust newcomers were either not seen or were turned aside from. The
+painter was too pure and childlike to realise the evil, he turned only
+to the good: for him the world shone as a land of light; from art he
+would exorcise the passions; the true art-life blended heaven with
+earth, the ideal could be attained only through the Church: her
+teachings were the education of humanity.
+
+The decisive step ultimately taken is recorded as follows: "Overbeck at
+Whitsuntide in the year 1813 joined the Catholic Faith, and with joy
+entered into the family of the world's Church. His spiritual guide and
+confessor was Professor, afterwards Cardinal, Ostini; and the poet
+Zacharias Werner, of Konigsberg, as a fellow-countryman from the shores
+of the northern sea, acted as godfather at the ceremony. The poet, in
+writing at the time to the Prince Primate of Dalberg, said that he
+recognised in the young painter 'a true seraphic character of the
+Fatherland.'"[4]
+
+A veritable mental epidemic seized on the German artists, and when one
+after another of Overbeck's friends followed his example, Niebuhr took
+alarm, and bethought himself of what measures could be taken. It appears
+that a pamphlet had been published intended expressly for the conversion
+of the young Germans, and Niebuhr, feeling the emergency of the
+situation, requested a friend to bring or send Luther's works with other
+writings against Popery. He adds: "It cannot be expressed how disgusting
+these proceedings become the more you see of them. At this moment the
+proselytes have Schadow, one of the ablest of the young artists, on
+their bait." At a later date he writes: "I like Overbeck and the two
+Schadows much, and they are estimable both as artists and as men; but
+the Catholicism of Overbeck and one of the Schadows excludes entirely
+many topics of conversation." Overbeck is elsewhere described as of
+"very prepossessing physiognomy, taciturn and melancholy," with a
+"proselyting spirit." Bunsen, who no less than Niebuhr deplored these
+conversions, writes in 1817 that Overbeck had been for a fortnight in
+August a welcome guest at Frascati, that he had finished a water-colour
+drawing--a very lovely Madonna with the infant Jesus--"of which he
+permitted a copy to be taken, still extant, and valued as a record of
+the time and of the short-lived intimacy with the gentle and
+heavenly-minded artist, who soon after this period withdrew from all
+companions of a different religious persuasion from that which he had
+adopted." Among the chief converts are numbered the brothers Schadow,
+Veit, Platner, and the critic Frederick Schlegel. Cornelius is not
+included, because he was born into Catholicism. He is described as of
+"an open and powerful intellect, free from all limitations," "with
+habits and convictions rooted as the facts of his existence." He thus
+looked on coolly while the new converts were at fever-heat. Yet it is
+pleasant to know that these controversies were, in the main, preserved
+from personal bitterness, and that whatever might be the difference in
+creeds, the broad union of religion and humanity was never torn asunder.
+Thus in 1817 Niebuhr, a Protestant and possibly something more, was able
+to write: "I associate chiefly, indeed almost exclusively, with the
+artists who belong to the religious party, because those who are
+decidedly pious, or who strive after piety, are by far the noblest and
+best men, and also the most intellectual, and this gives me an
+opportunity of hearing a good deal on faith and its true nature." And
+the faith of these men we know to have brought forth good works; as were
+their belief and their practice, such were their pictures, and it is
+scarcely here the place to discuss whether larger views might have given
+to their art wider extension.
+
+By a curious coincidence, about the time when these conversions to Roman
+Catholicism were going on in Rome the third jubilee of the Reformation
+was celebrated at Lubeck. The pietist father of the painter made himself
+champion of the cause, and delivered a speech at a meeting of the Bible
+Society, wherein he proclaimed Luther the great witness of truth.
+"Luther," he declared, "spoke, wrote, thundered, and the power of
+darkness was overturned; thus conscience became free, doctrines were
+purified, and the precious Bible, as a heavenly treasure, was given back
+to the people."[5] It has been assigned as a reason why Overbeck never
+returned home, that he could not bear to see the city of Lubeck with her
+old walls thrown down; but a less fanciful cause was that other walls
+than those of brick and mortar had been set up, dividing kindred and
+friends.
+
+Let us now turn from polemics to the pleasing descriptions given by
+Niebuhr and Bunsen of the daily lives of the German Brotherhood. It is
+not always that archaeologists and literary men are the soundest
+counsellors of artists; they place overmuch stress on the inward
+conception and motive; they lay down, like Coleridge, the axiom that "a
+picture is an intermediate something between a thought and a thing," and
+in exalting the "thought" they subordinate the "thing." This was the
+last teaching that Overbeck needed. He and his fellows were already only
+too prone to ignore technique, to neglect colour, chiaroscuro, texture.
+They deemed it all-sufficient to perfect form as the language of
+thought; consequently while their works instruct and elevate, they fail
+to please or to gain wide popularity.
+
+Nevertheless, taken for all in all, Overbeck and Cornelius must be
+accounted most fortunate in their intellectual companionship. The habit
+was, when gathered socially together at the Embassy in the Palazzo
+Caffarelli, to read books, talk of pictures, and to consort together
+generally for the furtherance of the great art revival in which Niebuhr
+and Bunsen believed fervently. The attachment became mutual, the
+intercourse was prized on both sides. Niebuhr writes of Cornelius and
+his wife: "They are, strictly speaking, intimate family friends;" and
+again he says: "The society of Cornelius and Overbeck gives an inspiring
+variety to the day's occupations, and one or other of these intellectual
+companions seldom fails to join our evening walks." In another letter we
+read: "Cornelius of Dusseldorf, Platner from Leipzig, Koch from the
+Tyrol, Overbeck from Lubeck, Mosler from Coblentz, and William Schadow
+from Berlin, were assembled at Bunsen's in the apartments of the painter
+Brandis: in different ways and degrees we are attached to them all, and
+we think them men of talent. Their society is the only pleasure we
+derive from human beings in Rome." The young artists are found to be
+wholly without worldly wisdom, a charge to which at least Overbeck might
+readily plead guilty. Niebuhr further declares: "I confidently believe
+we are on the eve of a new era of Art in Germany, similar to the sudden
+bloom of our literature in the eighteenth century." 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 humanity. He felt once more an outburst of the intellectual
+life of Germany, a rising again of the force of genius which had
+impelled Lessing, Kant, and Goethe, which had given birth to profound
+philosophy and science, and had animated a whole people with patriotism
+and a spirit of self-sacrifice to do battle amid national songs and
+hymns, even to the death, in the cause of the King and the Fatherland.
+Bunsen testifies how Niebuhr showed his affection and care for the
+Prussian and German disciples of art; he considered it an agreeable part
+of his duty and vocation to render them assistance, to encourage them in
+their studies, to give them the time of which he was so sparing to men
+of mere show and fashion, also to render them pecuniary assistance when
+necessary. To Niebuhr belongs the honour of having been the first to
+recognise the new school at the moment when it was "despised, derided,
+and vituperated." He befriended the men who had to fight their way
+against shallowness and wickedness, against the low and false taste of
+connoisseurs and patrons, till the day came when the martyrs of an
+exalted aspiration gained the attention and admiration of the world.
+
+Nor in numbering friends must be forgotten Frederick Schlegel, the
+avowed champion of the new school. The critic was not without connecting
+links and antecedents; he had made himself son-in-law of the Jewish
+philosopher Moses Mendelssohn, and stepfather of the painter Philip
+Veit; and he further qualified himself for his critical duties by
+joining the Roman Catholic Church. Overbeck and this rhapsodist on
+Christian Art were naturally close allies; each was of use to the other,
+and gave and received in turns. The artist strove, it is said, to embody
+in pictorial form his friend's teachings; the two, in fact, moved in
+parallel lines. Schlegel urged that the new style must be emulative and
+aspiring, ever possessed of lofty ideas. Believe not, he writes, that
+the glory of art has passed away. The hope is not vain that there comes
+a rekindling of former fires; art uprising from the dark night breaks as
+the morning's dawn; "a new life can spring only from the depths of a new
+love." Let us hold that Art like Nature renews her youth. The soul alone
+can comprehend the truly beautiful; the eye gazes but on the material
+veil--the union of the inner soul with the outward form constitutes the
+noblest art. Nowhere are to be found more eloquent utterances on "the
+Bond between Art and the Church," 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 matter, and according to the laws
+of vision. And to such oversight is greatly to be ascribed the
+infirmities of Overbeck and his school. It is forgotten that the most
+holy of motives cannot save a picture which is not good as a picture.
+Schlegel discusses the question, What is needed by the Christian
+painter? The following phrenzy, though wordy, is worth reading:--
+
+"The answer is that the beautiful truths of the Christian faith should
+not be received into the mind as merely lifeless forms, in passive
+acquiescence to the teaching of others: they must be embraced with an
+earnest conviction of their truth and reality, and bound up with each
+individual feeling of the painter's soul. Still even the influence of
+devotion is not alone sufficient; for however entirely religion may be
+felt to compensate for all that is wanting to our earthly happiness,
+much more is required to form a painter. I know not how better to
+designate that other element, without which mere technical skill, and
+even correct ideas, will be unavailing, than by calling it the inborn
+light of inspiration. It is something quite distinct from fertility of
+invention, or magic of colouring, rare and valuable as is the latter
+quality in painting. It is no less distinct from skill in the
+technicalities of design and from the natural feeling for beauty
+inherent in some susceptible minds. The poet and the musician should
+also be inspired, but their inspiration is more the offspring of human
+emotion; the painter's inspiration must be an emanation of celestial
+light: his very soul must, so to speak, become itself illumined, a
+glowing centre of holy radiance, in whose bright beams every material
+object should be reflected; and even his inmost conceptions and daily
+thoughts must be interpenetrated by its brightness and remodelled by its
+power. This indwelling light of the soul should be recognised in every
+creation of his pencil, expressive as a spoken word; and in this lies
+the peculiar vitality of Christian beauty, and the cause of the
+remarkable difference between Classic and Christian art." "Physical
+beauty is employed by the Christian painter but as a material veil, from
+beneath which the hidden divinity of the soul shines forth, illuminating
+all mortal life with the higher spirituality of love."
+
+A kindly and timely commission came to the masters of the German
+Brotherhood--Overbeck, Cornelius, Veit, and Schadow--from the Prussian
+Consul, Bartholdi. Personal relations, with the desire of giving the
+untried painters an opportunity of proving what good was in them,
+prompted the charge to decorate with frescoes a room in the Casa
+Bartholdi, situated on the brow of the Pincian Hill.[6] The Prussian
+Consul was in a roundabout way connected with Philip Veit and Frederick
+Schlegel, whose mutual relationship has been already recounted; his wife
+was sister of the philosopher Moses Mendelssohn, and aunt of the
+illustrious musician, and sundry intermarriages had made, as it were, a
+compact in literature and art between the families of Bartholdi,
+Mendelssohn, Veit, and Schlegel.[7] The chosen sphere of operations was
+comparatively narrow; the small room in an upper story, now of historic
+interest, is not more than twenty-four feet square. The situation is
+inviting; the beauties of nature are usually found proximate with the
+beauties of art, and here the windows command a panorama sweeping from
+the Pincian to the Tiber, and embracing St. Peter's, the Vatican, St.
+Angelo, and the Capitol. 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 styles. The
+technical process adopted was fresco, a monumental art, the revival of
+which formed part of the mission of the German fraternity. The arduous
+undertaking was commenced and carried out in strict accordance with
+historic precedents. Preliminary studies were made, and well-matured
+cartoons on the scale of the ultimate pictures were perfected. To the
+lot of Overbeck fell _Joseph sold by his Brethren_,[8] and _The Seven
+Years of Famine_.
+
+It has been my pleasure to visit and revisit these wall-paintings over a
+period of a quarter of a century, and growing experience does but
+enhance my admiration. They fulfil the first requirements of wall
+decoration: the story is told lucidly and concisely; the style is
+simple, noble; accidents are held subordinate to essentials; the
+compositions are distributed symmetrically; the colour, though a little
+crude, is brought into somewhat agreeable unity; the light and shade are
+not focussed at one point, but carried evenly over the whole surface;
+and the treatment inclines sufficiently to the flat to keep the
+compositions down on the wall. The finished pictures of the four masters
+vary in dimensions. The lengths range from eight to seventeen feet, the
+height is mostly about eight feet; the figures do not exceed five feet.
+The lines bounding the figures and draperies are firm and incisive.
+Accordant with the practice of the old fresco-painters, each day's work
+is marked and discernible by the joinings in the plaster, 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 easily. The technique is thoroughly
+mastered, and, barring some surface cracks, the paintings are in as
+perfect condition as when they came from the artists' hands. The chief
+defect is a somewhat crude opacity of pigments, a characteristic
+belonging to the debased period of wall-painting rather than to the
+"_fresco buono et puro_" of Giotto, Luini, and Pinturicchio.
+
+Another point to be remarked is that the frescoes in the Casa Bartholdi
+show that the four painters--Overbeck, Cornelius, Veit, and
+Schadow--worked here at the outset of their career in remarkable unison.
+In the course of years they diverged widely, but as yet the school
+collectively dominates over the artist individually. The Brethren had
+formed themselves equally on the same originals, and had scarcely found
+time to take their several departures from nature. Indeed, the actual
+presence of nature comes almost as a surprise in these compositions.
+Overbeck's figures are manifestly more or less studied from the life,
+only, according to his habitual practice, he has taken pains to
+eliminate from his models any individual accidents which marred the
+generic form, softening down angularity and ruggedness into pervading
+grace and beauty. Here and there are traces of affectation, together
+with a feebleness incident to the painter's weak physique which stands
+in utmost contrast with the force of Cornelius. Overbeck mostly shunned
+action and dramatic intensity, and here the figures in their movements
+depart but slightly from the equilibrium of repose. As a religious
+artist, the New Testament was more within his sphere than the Old. Thus
+the outrage committed against Joseph by his brethren is toned down into
+a calm, orderly transaction; placidity reigns throughout; all is brought
+into keeping with the painter's spirit of gentleness.
+
+The Casa Bartholdi frescoes,[9] when finished, produced a most
+favourable impression in Rome; the cause of the Germans was greatly
+strengthened, and the opposite party felt the defeat. The Italians, too,
+were taken by surprise to find themselves beaten by foreigners on their
+own ground. A natural consequence of the success was further
+commissions, and the fortune no less than the fame of the revivalists
+was made. Singularly enough the modern Romans came forward as the next
+patrons. Niebuhr, writing from Rome in 1817, says: "It is a significant
+fact that some foreigners, even Italians, are beginning to pay attention
+to the works of our friends." It is well known that the Romans had been
+addicted for centuries to mural painting in palaces, villas and
+garden-houses: Raphael was employed to decorate the Farnesina; Guido and
+Annibale Carracci painted the ceilings of the Farnese and of the
+Rospigliosi Palaces. Emulating these illustrious examples, Prince
+Massimo commissioned Overbeck, Cornelius, Veit, and Schnorr to cover the
+walls and ceilings of his Garden Pavilion near St. John Lateran with
+frescoes illustrative of Tasso, Dante, and Ariosto. Not only the themes,
+but the local surroundings were inspiring. The Villa Massimo is a site
+only possible in Rome. When the artists in the morning came to work,
+before their view opened a panorama embracing the Claudian Aqueduct, St.
+John Lateran, the Church of Sta. Croce in Gerusalemme, the old Walls of
+Rome, with cypresses and stone pines around, and the Alban Hills beyond.
+The Pavilion assigned to the painters stands in the Villa garden, with
+the accustomed growth and fragrance of orange-trees, magnolias, azaleas,
+roses, and violets. Overbeck entered on the work with poetic ardour.
+
+The Massimo Pavilion is little more than three rooms standing on the
+ground; the first, indeed, is an Entrance Hall, and therein Schnorr
+painted copiously from Ariosto. On the left a door leads to the room
+assigned to Cornelius for the illustration of Dante: the ceiling fell to
+the lot of Veit. On the right another door opens to a corresponding room
+of like dimensions, set apart to Overbeck and Tasso's _Jerusalem
+Delivered_.[10] This small interior is not more than fifteen feet
+square, and the wall-spaces are much broken up by doors and windows, so
+that only one of the four sides remained disencumbered. The compositions
+are eleven in number, and are unequal alike in size and merit. The
+largest and most noteworthy is fifteen feet long by ten feet high,
+representing the _Meeting of Godfrey de Bouillon and Peter the Hermit_.
+The narrative is lucidly told, the picture well put together, and the
+successive planes of distance are duly marked. Altogether the
+fundamental principles of wall-decoration are clearly understood in this
+the most complex composition yet attempted by the painter. Another
+thoroughly studied design is _Sophronio and Olindo on the Funeral Pyre
+delivered by Clorinda_.[11] The action has more than usual force and
+movement, and the undraped figures are drawn with severe exactitude.
+Presiding over the whole series, in the middle of the ceiling, is an
+allegorical figure of _Jerusalem Delivered_.[12] An angel on either side
+unlooses the fetters of an innocent placid maiden crowned with thorns.
+These frescoes, notwithstanding their situation in a cold, damp
+garden-house, remained, when I saw them last, in January, 1878, in sound
+condition: thus once more we find Overbeck, equally with Cornelius, to
+have been solidly grounded in the method of wall-painting.
+
+I must confess that I have always been disappointed with this Tasso
+Room.[13] One reason is that the carrying out of the original designs
+was delegated to an inferior brush. Overbeck was not in strong health;
+he worked slowly, and when other commissions came in, some more to his
+liking, such as that for the church picture at Assisi, he felt
+overburdened, and wished to be released from a task that had grown
+wearisome. The work, began about 1817, had dragged on for ten years,
+till at last Overbeck made a deliberate call on good and friendly Joseph
+Fuhrich, and requested that he would complete the unfinished frescoes.
+The proposal, naturally felt as an honour, was gratefully acceded to.
+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 walls. For some of the compositions the master had
+made nothing more than sketches or indications, and at least three must
+be laid to the charge of the scholar. Fuhrich was for Overbeck what
+Giulio Romano had been for Raphael, and the Tasso Room suffered the same
+degradation as the latest stanza in the Vatican.
+
+The Tasso Room may be taken as a measure of Overbeck's capacity. This
+"cyclus," or series, shows the painter's power of sustained thought and
+faculty of invention. Much, doubtless, is compilation, yet something
+remains of originality. The best passages are those not borrowed from
+old pictures, but taken from life, which makes the regret all the
+greater that here and in the sequel nature was not trusted more
+implicitly. On the whole, these compositions leave the impression that
+Overbeck had not mental force or physical stamina sufficient for the
+task. It is true that the presence of a lyrical spirit is felt; but
+scenes of Romance need more fire and passion; the deeds of Chivalry were
+not enacted in a cloister. Perhaps self-knowledge wisely counselled
+Overbeck to quit the regions of creative imagination. With greater peace
+of mind he trod in the future, the safer paths of Christian Art, wherein
+precedent and authority served as his guide and support.
+
+FOOTNOTES:
+
+[Footnote 1: See among other authorities: 'Die Deutsche Kunst in
+unserem Jahrhundert, von Dr. Hagen,' vol. ix. Berlin, 1857.]
+
+[Footnote 2: The above compositions suggest the following observations.
+Overbeck was in the habit of making over many years replicas with
+variations and improvements of favourite themes, and the dates of the
+successive stages are not always easily determined. Of the _Preaching of
+St. John_, the Dusseldorf Academy possesses an example dated 1831. Also
+in the same collection is a mature and almost faultless drawing, fit
+companion for Raphael, of _The Raising of Lazarus_; the figure of Christ
+is 9 inches high. Overbeck made several renderings of the
+universally-beloved composition, _Christ Blessing Little Children_: the
+most deliberate is that given in these pages. The replica in the Meyer
+Collection, Hamburg, is of the last decade of the artist's life, and
+betrays infirmity of hand. _The Entombment_, classed above among works
+of the first Roman period, is probably that now in the choice collection
+at Stift Neuburg, near Heidelberg, dated 1814, and obviously suggested
+by Raphael's _Entombment_ in the Borghese Palace. No drawings have
+better pedigree than those in this old family mansion: a predecessor of
+the present possessor was the artist's personal friend. The version of
+_The Bearing to the Sepulchre_ given in these pages is from one of the
+forty well-known drawings of the Gospels, and dates 1844. At Stift
+Neuburg I also saw in the autumn of 1880, by the courtesy of the owner,
+Graf von Bernus, the drawing for the _Holy Family_, chosen as an
+illustration to this volume; it is of utmost delicacy and beauty--the
+motive has evidently been borrowed from Raphael; the measurement is 1
+foot 3 inches by 1 foot 8 inches.]
+
+[Footnote 3: See 'Autobiography of Joseph Fuhrich,' published in Vienna
+and Pesth, 1875.]
+
+[Footnote 4: See 'Historisch-Politische Blatter fur das Katholische
+Deutschland,' vol. lvi., part 8. Munich, 1870.]
+
+[Footnote 5: See 'Erinnerung an Christian Adolph Overbeck;' Lubeck,
+1830.]
+
+[Footnote 6: The Casa Bartholdi has for some years been let as lodgings
+to a superior class of travellers, and is much favoured by the English.
+The rooms are not always accessible; the servants have been known to
+name, as the most convenient time for seeing the frescoes, Sunday
+mornings, when the tenants are attending the English Church. The Painted
+Chamber is suitably furnished for daily uses; _The History of Joseph_,
+which covers the walls, is not too serious a theme to mingle with the
+common avocations of domestic life: fresco-painting, in fact, is not
+only a national and an ecclesiastic, but likewise a domestic art.]
+
+[Footnote 7: The Royal Academy Exhibition, Berlin, 1880, contained a
+large coloured design for the decoration of the ceiling of the Villa
+Mendelssohn-Bartholdy. Thus the joint names over a period of more than
+half a century stand conspicuous among art-patrons.]
+
+[Footnote 8: Overbeck's cartoon in charcoal on paper of _Joseph sold by
+his Brethren_ is carefully preserved under glass in the Stadel
+Institute, Frankfort, where I examined it in 1880: the width is 11 feet,
+the height 8 feet, the figures are about 5 feet. The outlines are firmly
+accentuated; the details sufficient without being elaborate; the figure,
+as proved specially in the arms, hands, legs, and feet, is perfectly
+understood; the draperies are cast simply and broadly; the heads of
+noble type are impressed with thought. Not a false touch appears
+throughout; the crayon is guided by knowledge; evidently preliminary
+studies and tentative drawings must have preceded this consummated
+product. No wonder that this cartoon made a deep impression; nothing had
+been seen at all like it in Rome for very many years.]
+
+[Footnote 9: Many are the authors who have written on the Casa Bartholdi
+frescoes, the chief authorities are Hagen, Forster, Reber, and Riegel.]
+
+[Footnote 10: See among authorities before named, 'Geschichte des
+Wiederauflebens der deutschen Kunst zu Ende des 18. und Anfang des 19.
+Jahrhunderts, von Hermann Riegel.' Hannover, 1876.]
+
+[Footnote 11: The cartoon for this fresco is in the Leipzig Museum,
+where I examined it in 1880. It is in chalk on whity-brown paper, in
+squares and mounted on canvas; length 15 feet by 7 feet. As a mature
+study of form and composition it is just what a cartoon should be, but
+the touch is feeble and poor. Like most of Overbeck's designs, it has
+received the tribute of engraving.]
+
+[Footnote 12: The cartoon was acquired for the National Gallery, Berlin,
+in 1878, at the price of 37_l_. 10_s_. 0_d_.; measurement 6 feet by 4
+feet: it has been engraved.]
+
+[Footnote 13: Persistent difficulties are placed in the way of even
+students who desire to visit these frescoes; the public are
+systematically excluded from the Villa Massimo, and on two occasions,
+when after much trouble I gained orders for admission, the attendant, in
+accordance with instructions, forbade the taking of notes.]
+
+
+
+
+                            CHAPTER III.
+
+                           ROME--GERMANY.
+
+
+The life of Overbeck apportioned itself into successive periods of five,
+ten, or more years, corresponding to the important works from time to
+time in hand. The painter threw his whole mind into whatever he
+undertook, and so his pictures in their conception, and even in their
+execution, reflect the thought and the state of consciousness which for
+the while held supreme sway. The preceding chapters treat of two
+periods; the one describes the early times in Lubeck and Vienna, the
+other presents a sketch of the first decade in Rome. The foundations
+have been laid; the main principles for the guidance of a true life and
+for the building up of a soul-moving art have been firmly fixed; and now
+it remains to be seen how far and in what way the lofty aim was reached.
+
+Overbeck, as soon as his prospects in life became somewhat assured,
+married. Little is recorded of the wife: the earliest mention I have met
+with is in 1818, when the artists in Rome gave a grand fete in honour of
+the Crown Prince of Bavaria. Overbeck and Cornelius furnished designs
+for pictorial decorations and transparencies: the guests wore mediaeval
+costumes, and made themselves otherwise attractive; and we learn on the
+authority of Madame Bunsen that among the brilliant assembly "the most
+admired of the evening was Overbeck's future wife, a lady beautiful,
+engaging, and influential, from Vienna."[1] The marriage, which was not
+long delayed, proved on the whole happy, though the wife's delicate
+health gave constant cause for anxiety, and her other demands on an
+indulgent husband are said to have provoked the displeasure of Cornelius
+and other friends. Two children were the fruits of the union: a girl,
+who died young, and a boy, who lived only long enough to give singular
+promise.
+
+Overbeck, as we have seen, had, in common with his brethren, given his
+best powers to "monumental painting." For this noble and "architectonic
+art" he was not without qualifications. He moved in an exalted sphere,
+his mind ranged among immutable truths, his forms were high in type, his
+compositions had symmetry and concentration, he knew how to adapt lines
+and masses to structural spaces. An occasion calculated to call forth
+his powers came with the commission to paint in fresco _The Vision of
+St. Francis_ for the church of Sta. Maria degli Angeli, near Assisi.
+Overbeck here, as his custom was, remained obedient to tradition, and
+yet struck out a new path; he was not content to retrace the footsteps
+of Giotto or of Cigoli, he preferred to depict the vision of his own
+mind. He enthrones the Madonna as Queen of Heaven, seated by the side of
+the risen Saviour, surrounded by the angelic hosts. On the lower earth,
+also attended by angels, appears St. Francis in adoration, while on the
+other side kneel reverently two mendicant friars. The picture belongs to
+the middle period, when the artist had attained the mature age of forty:
+the style, speaking historically, is that of the grave and severely
+defined Florentine school as represented by the Brancacci chapel. The
+fresco has been accounted by some the painter's masterpiece, and it is
+pronounced by Count Raczynski as one of the few works of modern days
+worthy of transmission to future ages.[2]
+
+Overbeck, it is easy to believe, while painting on the very spot where
+St. Francis was in ecstasy, led a life much to his liking. He dwelt
+within the monastery, and his pure mind, open only to the good, was
+blind to the dissolute ways of monks who became a scandal to the
+district. When the fresco was half finished, the master received a visit
+from his bosom friends Steinle and Fuhrich, and the three strengthened
+one another as they communed on religion and the arts. Overbeck is known
+to have had leanings towards a convent life, and at one time, when
+seriously thinking of taking the vow, he received from the Pope friendly
+admonition that his true mission lay within his art, and that by
+renouncing the world his usefulness would be lessened. It can scarcely,
+however, be doubted that asceticism became so much the habit of his life
+as to afflict his mental condition, and to impoverish his art. Some
+critics indeed point to the early picture of _The Seven Years of Famine_
+as the origin of a certain starved aspect in subsequent compositions.
+Pharaoh's lean kine have been supposed to symbolise the painter, and the
+spare fare within the cells of St. Francis served to confirm the
+persuasion that flesh and blood, in art as in life, must be kept in
+subjection. Nevertheless, I for one, when on the spot, could not but
+revere the pictorial outcome; when first I made acquaintance with this
+plenary revelation of the painter, I had been taking a walking-tour,
+knapsack on back, through the Umbrian hills and valleys, the birth-land
+of St. Francis; I had become acquainted with the wall and panel
+paintings of Giotto, Gentile di Fabriano, Perugino, Giovanni Santi, and
+the youthful Raphael; and while looking on this heavenly "Vision," I
+could not but feel that Overbeck ranked among the holy company. Unlike
+most modern painters, surely he had not to worship in the outer court of
+the Gentiles.
+
+Overbeck received repeated solicitations to return to Germany: he was
+asked in 1821 by Cornelius to take the directorship of the Dusseldorf
+Academy, and four years later he writes in reply to the further
+persuasions of Wintergerst and Mosler. He urges his incapacity for the
+duties: he had learnt painting, he says, in a way difficult to impart to
+others; moreover, sculpture and architecture he did not understand at
+all, and as for the business matters he was without faculty. Further
+difficulties were the health of his wife and the welfare of his son:
+"every information," he continues, "I receive from my native country
+tells me of spiritual fermentations: the sanctuary, insufficiently
+protected by the law, suffers under attacks, and a proud worldly spirit
+raises its head and proclaims its wisdom. Can parents be blind to the
+risks to which they expose their child, till now reared in the most
+delightful simplicity of belief? Dearest friends, 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
+consoling." Overbeck, it need hardly be added, shrank from the dangers
+and declined the duties.
+
+But, at length, free from pressing and onerous commissions, he lent a
+more willing ear to invitations from Germany. Cornelius in 1830 had come
+to Rome from Munich, the better to complete certain cartoons; with him
+were a daughter, also his wife, who had under charge Fraulein Emilie
+Linder, a young lady of Basle, of some means and given to pictorial
+pursuits. Overbeck, on the completion of his wall-painting at Assisi,
+rejoined the brilliant art circle of the Roman capital, and from this
+time dates the memorable friendship between the lady, then a Protestant,
+and the great Catholic painter. After a winter pleasantly passed among
+congenial spirits, the whole party in the early summer of 1831 set out
+from Rome and reached Florence. Emilie Linder returned for a time to
+Basle, while Overbeck, under the care of Cornelius, by way of the Tyrol
+reached Munich. On the news of their approach in July, the local
+artists, young and old, assembled at the gates, outposts had been
+stationed along the road, and the townfolks gathered by thousands in the
+streets: from afar the cheering was heard, and then group after group
+raised the cry, "Overbeck!" "Cornelius!" The entry soon grew into a
+triumphal march, and, protests notwithstanding, the horses were unyoked,
+and a company of lusty youths drew the carriage to the dwelling of
+Cornelius.
+
+Twenty years had elapsed since Overbeck, an unknown youth, had quitted
+his native land; he now returned with a world-wide reputation.
+Cornelius, once the sharer of his trials, became the equal recipient of
+the triumphs; he had just completed the grand series of frescoes for the
+Glyptothek, and with him were brought the cartoons elaborated in Rome
+for the wall-paintings in the new Ludwig Kirche. Overbeck, as the guest
+of his old friend, passed happy weeks in Munich. The two painters
+conferred closely together in the interests of Christian Art, and aided
+each other in the arduous works soon to be carried out. The artists of
+Bavaria signalised the visit of the apostle of Christian Painting by a
+jubilee; they gave in honour of the illustrious stranger one of those
+joyous and scenic fetes for which Munich is famed. The locality chosen
+was the Starnberger See, a lovely region of hill and lake lying in the
+Bavarian highlands, bordering on the Ammergau, peopled by peasants with
+sacred traditions since better known through "The Passion Play."
+Overbeck writes gratefully of enjoyment and instruction received through
+kind friends among the beauties of nature and of art.
+
+The Roman recluse in his journey northwards had widely extended his
+knowledge of nature. On leaving the Apennines he encountered the Alps,
+and exchanged beauty for grandeur. His figures were often accompanied by
+landscapes; but mountains exceeding in altitude five or six thousand
+feet appalled his imagination; masses of such magnitude could not enter
+the smaller sphere of his consciousness; hence his northern
+peregrinations brought into his compositions no Alpine presences;
+indeed, his habitual serenity and simplicity were disturbed by dramatic
+stir or storm of the elements, and though his sympathies warmed under
+novel experiences, his art failed to take a new departure.
+
+I have often when in Munich regretted that Overbeck had no share in the
+Bavarian manifestations of Christian Art. But that he, the head of the
+religious revival, is left out was simply his own fault. Cornelius, in
+1821, when as director reorganising the Academy, wrote to his friend,
+asking assistance; King Ludwig also urged Overbeck to come. But the
+timorous artist as usual hesitated; he gave at first assent, conditional
+however on a delay of three years to complete works in hand; then he
+pleaded the impossibility of taking any step whatsoever without the
+sense of religious duty. The King naturally grew weary, and interpreted
+the equivocal dealing as a denial. Cornelius again in 1833, when the new
+Basilica of St. Boniface needed decoration, once more proposed that his
+fellow-labourer in Rome should settle in Munich, but with no avail; the
+King evidently had little cordiality for the artist, and so employed
+others on the plea, not wholly tenable, that Overbeck was better in oil
+than in fresco. 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 Cornelius, Hess, and Schraudolph. 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 reveal. Yet the sensitive painter might
+have encountered much to disturb his peace of mind. King Ludwig could
+not assuredly be quite the patron for a spiritual and esoteric artist,
+and, moreover, there was something too wholesale in the Munich way of
+going on for a man of limited strength. Overbeck, as I can testify, 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 ground. He
+wisely did not overstep his bounds; he had not the wing of an eagle, and
+preferred to keep as a dove, near to the nest.
+
+Nevertheless, Munich is not without witness to the spirit of the mystic
+and poetic painter. King Ludwig, himself at least a poetaster, hit upon
+a felicitous comparison, oft since reiterated, when he designated
+Overbeck the St. John and Cornelius the St. Paul in pictorial art. The
+two artists, like the two apostles, had a common faith, though a diverse
+calling, and their several works testify how greatly the one was
+indebted to the other. Overbeck brought with him to Bavaria a drawing of
+exceptional power, _Elias in the Chariot of Fire_ (1827), a composition
+which reflects as indubitably the greatness of Cornelius as Raphael's
+_Isaiah_ responds to the grandeur of Michelangelo. But this lofty strain
+of inspiration proved transient, and Overbeck, as seen in Munich, truly
+personates the apostle who leant on the Saviour's breast. The New
+Pinakothek is fortunate in the possession of three pictures.[3] One is
+the _Portrait of Vittoria Caldoni_, already enumerated among earliest
+efforts; another is the _Holy Family_, illustrating these pages; the
+composition recalls Raphael's Florentine manner. The third, _Italy and
+Germany_, must be accounted exceptional because secular; the motive,
+however, rises above common life into symbolism. Two maidens in tender
+embrace are depicted seated in a landscape, the one blonde and homely,
+personifying Germania; the other dark and ideal, as if Tasso inspired,
+typical of Italia. The intention has given rise to interesting
+speculation. The German girl leans forward in earnest entreaty, while
+her Italian sister remains immobile and impenetrable. And herein some
+have seen shadowed forth a divided mind between two nationalities.
+Solicitations had come from Germany, yet, after moments of hesitation,
+Overbeck held fast to the land of his adoption, and his resolve may not
+inaptly find expression in "Italia," a figure which seems to say, "Vex
+not my spirit; leave me to rest in this land of peace and of beauty."
+But this composition is supposed to speak of yet wider experiences. The
+painter had given much time to the writing of a romance descriptive or
+symbolic of human life, wherein he embodied his own personal feelings
+and aspirations. The two principal characters in this unpublished story
+are said to be here depicted under the guise of "Italia and Germania."
+The composition thus becomes somewhat autobiographic.
+
+Munich is identified with a friendship between Overbeck and a lady,
+which ranks among the most memorable of Platonic attachments. Fraulein
+Emilie Linder we have already encountered in Rome, where an abiding
+friendship was rooted, and the devoted lady, on separation, soon found
+occasion to open a correspondence which was prolonged over a period of
+thirty years. Overbeck was a persistent letter-writer; he wasted no time
+on society, and so gained leisure to write epistles and publish essays.
+And yet it cannot be said that, had he not been an artist, he would have
+shone as the brightest of authors. On the contrary, as with the majority
+of painters, he never acquired an adroitness of pen commensurate with
+his mastery in the use of his pencil; and it is certain that if his
+pictures had been without adorers, his prose would have remained without
+readers. The great painter was destitute of literary style; his
+sentences are cumbrous and confused; his pages grow wearisome by wordy
+repetition. Doubtless his thoughts are pure and elevated, but, lacking
+originality, they run into platitudes, and barely escape commonplace.
+The prolonged correspondence with Emilie Linder[4] contracts the flavour
+peculiar to polemics. Overbeck had grown into a "fanatic Catholic"; he
+was ever casting out nets to catch converts; his tactics were enticing;
+his own example proved persuasive. Moreover, about his mind and method
+was something effusive, which won on the hearts of emotional women. At
+all events, these letters brought over to the Roman Catholic Church the
+lady and others. 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 sheepfold. These letters have a further
+significance; they declare what indeed is otherwise well established,
+that the Catholic faith served as the prime moving power in the life and
+the art of Overbeck.
+
+The painter brought to Munich ten or more drawings executed in Rome with
+a view to his travelling expenses, and Emilie Linder lost no time in
+making an offer for the set, to add to her private collection. The
+artist, with suitable diffidence, hesitated, yet looked on the proposal
+as an interposition of Providence, and then begged for the money at
+once, to help him on his further journey into Germany. Though success
+had delivered him from poverty, and commissions came in faster than he
+could paint, yet at no time did he roll in wealth; spite of scrupulous
+economy, he never much more than paid his way; and a few years later,
+when, for Emilie Linder, engaged on _The Death of St. Joseph_,[5] he
+gladly accepted beforehand the price by instalments. The correspondence
+shows a tender conscience, with a humility not devoid of independence.
+The art products were in fact of so high a quality that the painter
+conferred a greater favour than any he could receive in return.
+
+Overbeck left the hospitable roof of Cornelius in Munich at the end of
+August, 1831, and reached Heidelberg, there to meet with an enthusiastic
+reception from friends and admirers; there also, after a separation of
+five-and-twenty years, he saw once more, and for the last time, his
+elder brother from Lubeck. Close to Heidelberg, overhanging the banks of
+the Necker, is Stift Neuburg, formerly a monastic establishment, but
+then the picturesque residence of a family in warmest bonds of
+friendship with the art brethren. At this lovely spot, I am told by the
+present owner, "Overbeck stayed several days, and a seat in the garden
+is still called after him 'Overbeck's Platzchen.'" On this rustic bench
+the painter was wont to sit meditatively amid scenery of surpassing
+beauty; the quietude of nature and the converse of kindred minds were to
+his heart's content. Within the old mansion, on the walls and in
+portfolios, are the choicest examples of the artist's early and middle
+periods; thus Stift Neuburg in its house and grounds remains sacred to
+the painter's memory.[6]
+
+From Heidelberg Overbeck travelled to Frankfort--a city soon to become a
+focus of the wide-spreading revival. Here the apostle of sacred art made
+the acquaintance of the poet Clemens Brentano, and fell among other
+friends and adorers. Philip Veit, his fellow-worker in the Casa
+Bartholdi and the Villa Massimo, had just been appointed Director of the
+Stadel Institute, where he executed one of the noblest of frescoes--_The
+Introduction of the Arts into Germany through Christianity_. Likewise
+among warm adherents was Johann Passavant, a painter who in Rome had
+joined the brethren, a critic who made a name by the 'Life of Raphael.'
+Overbeck was here esteemed "the greatest living artist," and some
+expressed "the cherished thought, the earnest desire" that the painter
+should be secured for Frankfort. But as this proved out of the question,
+the promise was gladly accepted of the master-work since famous as _The
+Triumph of Religion in the Arts_. Cologne next received a visit, and the
+Cathedral choir having advanced towards completion, the assistance of
+the Christian painter was naturally solicited: _The Assumption of the
+Virgin_, now adorning a side chapel, counts among the memorable fruits
+of the painter's timely visit to his native land. This northern journey
+was extended as far as Dusseldorf, a sequestered town already growing
+illustrious for its school of religious painting. Wilhelm Schadow,
+co-partner in Roman labours, had here, as Director of the Academy,
+gathered round him devoted scholars, and Overbeck greeted his old friend
+as a missionary in the common cause. After receiving on all hands
+respectful adulations which would have turned a vainer head, the
+traveller bent his steps southwards, and reached Italy by way of
+Strasburg and Switzerland. On reaching Rome, he writes on the 1st of
+December to Cornelius in characteristic tone: "You will understand with
+what lively joy I once more saw my beloved Rome; I therefore will not
+conceal the painful impression which the distracted opinions and
+doctrines in the Fatherland have left in my mind, but I feel rest in the
+persuasion that, through the dispensation of Providence, my lot has been
+cast in this Roman seclusion, not that I intend to lay my hands idly in
+my lap, but, on the contrary, I shall endeavour to work with my utmost
+ability, spurred on all the more by the thought that even here at a
+distance I shall move in your circle." Assuredly as to professional
+prospects the passage of the Alps had extended the artist's circuit: the
+Italian works which chiefly mark the painter's first period had come to
+an end; henceforth Overbeck's labours, though prosecuted within the
+Roman studio, were for the good of Germany.
+
+Overbeck, in September, 1833, witnessed an event memorable in the
+history of art: he was present at the opening of Raphael's tomb in the
+Pantheon, and a few days after he wrote to his friend Veit at Frankfort
+a circumstantial account, as some relief to his overwhelming emotions.
+The letter is here of interest as evidence of Overbeck's unshaken
+allegiance to the great master; if called by others a pre-Raphaelite, he
+remained at heart faithful to the painter from whom indeed he borrowed
+largely. Unlike certain of our English artists and critics, he never
+decried Raphael. He writes: "Know, then, I was present at the opening of
+Raphael's grave, and have looked upon the true and incomparable master.
+What a shudder came over me when the remains of the honoured painter
+were laid open, thou canst better conceive than I can describe. May this
+deep experience not be without good results for us: may the remembrance
+of the honoured one make us more worthy inheritors of his spirit!"[7]
+
+Overbeck about this time, in letters to Emilie Linder, begins to express
+ultra views, to the prejudice of his art. He pleads that certain
+Biblical drawings may have for her more worth because the religious
+meaning dominates over the art skill. In like manner he writes
+apologetically concerning _The Death of St. Joseph_. The picture, he
+urges, embodies not so much a historic fact as an idea, the intent being
+not to lead the spectator to the real, but to something beyond. The
+purist painter then proceeds to express his invincible reluctance to
+study the subject from the side of life; models he had carefully
+avoided, because he feared that a single glance at nature would destroy
+the whole conception. It is with sincere regret that I have to record so
+pernicious a doctrine. Surely the artist's special function must always
+be to find out the divine element in nature, and fatal is the day when
+first he calls into question the essential oneness between Nature and
+God. But Overbeck's peculiar phase of Catholicism marred as well as made
+his art. Through the Church he entered a holy, heavenly sphere, and his
+pictures verily stand forth as the revelation of his soul. But the
+sublimest of doctrines sometimes prove to be utterly unpaintable, and
+certainly the tenets to which Overbeck gave a super-sensuous turn, in
+the end perplexed and clouded his art. Outraged nature took her revenge,
+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 humanity.
+
+Northern Germany claimed the illustrious painter as her son, and so
+fitly came commissions from Cologne, Lubeck, and Hamburg. For the great
+Hospital in this last commercial town was painted the large oil-picture,
+_Christ's Agony in the Garden_. This impressive composition represents
+the Saviour kneeling; the head is bowed in anguish, the hands are raised
+in ecstasy; below, the three disciples lie asleep, and in the glory of
+the upper sky amid rolling clouds appears as a vision the angel bearing
+the cross. I paid a visit to Hamburg in order to judge of a work of
+which I could find but slight mention. Its characteristics are just what
+might have been anticipated. The drawing is studious, the expression
+intense, the execution feeble; in short, the technique becomes wholly
+subordinate to the intention. The conception has Giottesque simplicity:
+the shade of night brings solemnity, and the longer I stood before the
+canvas the more I became impressed with the quietude and fervour of the
+scene.[8]
+
+We find an epitome of Overbeck's mind and art in a lovely composition,
+_Lo Sposalizio_. Count Raczynski had as far back as 1819 given a general
+commission, and at first was proposed as a subject the _Sibyl_, for
+which the drawing in sepia, dated 1821, now hangs in the Count's Gallery
+in Berlin. The figure, pensive and poetic, resembles a mediaeval Saint
+rather than a Sibyl. The painter afterwards found a more congenial theme
+in _The Marriage of the Virgin_. The treatment is wholly traditional,
+the style austerely pre-Raphaelite; the only expletive in the way of an
+idea comes with attendant angels, lyres in hand. The work was not
+delivered till 1836, in the meanwhile the first fire had died out, and
+nature was thrust into the distance. The technique had not improved, the
+material clothing becomes subject to the mental conception, thus are
+eschewed _chic_ of touch and surface texture. The colour is
+indescribable: it pertains neither to earth nor to heaven, and yet it
+has more of dull clay than of iridescent light. What a misfortune that
+the gem-like lustre of the early Italians escaped this modern disciple!
+A thoroughly characteristic letter accompanied the picture. Overbeck
+having shut himself out from the world, seeks for his creations a like
+seclusion. He writes to Raczynski: "As you are wishing to send my
+picture to the public exhibition in Berlin, I cannot refrain from
+expressing my anxiety. Paintings of this kind appear to me not fitted to
+be seen by the motley multitude usually gathered together in
+exhibitions. The general public are almost sure to measure wrongly works
+like this, for as the eye is attracted to outward means and is engaged
+on technical splendours, pictures in which these qualities are held in
+subordination to higher aims cannot but sink into the shade. The
+spectator is not in the mood to honour a spiritual subject which has
+been thought out from a spiritual side. The place in which this picture
+should be seen is a chapel, or some such peaceful spot removed from
+disturbing surroundings."[9]
+
+I now wish to direct the reader's attention to _The Triumph of Religion
+in the Arts_, otherwise _The Magnificat of Art_, or _The Christian
+Parnassus_, or the triumph of Mariolatry. This large and elaborate
+composition embodied the artist's best thoughts for ten years in the
+prime of life, from 1831 to 1840. Accompanying the work was a written
+explanation, which comprises a confession of Overbeck's art faith.[10]
+The Madonna, with the Infant in her arms, sits enthroned in the upper
+half of the canvas, and around, in mid-heaven, are ranged prophets,
+evangelists, and saints. On the earth below stand some sixty painters,
+sculptors, and architects; the heads as far as possible are taken from
+authentic portraits. In the midst is a fountain, the upper waters rising
+into the sky, the lower falling into two basins beneath. The painter
+explains his meaning as follows: "The fountain in the centre is the
+emblem of the well of water springing up into eternal life, thus
+denoting the heavenward direction of Christian Art as opposed to the
+idea of the ancients, who represented the stream as flowing downwards
+from Mount Parnassus. Every manifestation of art therefore is honoured
+so far only as it looks towards heaven. The fountain descends into two
+mirrors: the upper one reflects heaven, the lower receives earthly
+objects; thus is indicated the twofold character of art, which, on the
+one hand, in its spiritual essence comes with every good thought from
+above, and which, on the other, is derived from the outward forms of
+nature. This twofold sphere of art is signified by the position assigned
+to the assembled artists in relation to the two mirrors of water."
+Overbeck next proceeds to expound his pictorial judgments. He gives
+Raphael a white robe as symbolic of universal genius, "for as white
+light contains the seven prismatic colours, so does Raphael's art unite
+all the qualities we gaze on with wonder." Michelangelo sits apart on a
+fragment of antique sculpture, his back turned alike on the Fountain and
+the Madonna. I once ventured to ask Overbeck in his studio for some
+explanation of this harsh judgment; he calmly but firmly replied that he
+thought the verdict according to the evidence. Still less mercy is shown
+to the Venetians, and as for Correggio, he is stigmatised as utterly
+lost. On the other hand, Fra Angelico, the Tuscan School, Durer, and the
+brothers Van Eyck receive due reverence. But it has fairly been
+questioned whether the majority of the sixty or more artists here
+immortalised would thank the painter for his pains. The reading given to
+historic facts is narrow, partial, not to say perverted, and could
+content only such ultra critics as Rio, Montalembert, and Pugin.
+
+_The Triumph of Religion_[11] I have known for more than a quarter of a
+century, and have heard much of its profundity, spiritualism, and
+symbolism. But no critic will assign to the picture the first rank among
+works of creative reason and imagination; the comparison has inevitably
+been instituted with Raphael's _Disputa_, in the Vatican, to which it is
+confessedly inferior. Historically, it finds a place sufficiently
+honourable by the side of Francia and Pinturicchio. Its avowed merits
+are considerable; its very scale and the vastness of the labour give
+importance; the canvas extends to a breadth and height of about fifteen
+feet. The composition, if not bold or masterly, is careful and
+thoughtful, the drawing scholastic; the heads are wrought as biographic
+studies, the draperies cast into balanced harmonies. The execution is
+steady, without show or fling; the colour, as always, is the reverse of
+alluring: Venetian splendours are eschewed in favour of pigments thin,
+dull, and crude. Yet the technique has usual soundness; the materials
+stand firm and unchanged. The picture has the advantage of a commanding
+position in the handsome new gallery in Frankfort, and, notwithstanding
+its defects and shortcomings, must be accounted as among the most
+memorable achievements of the century.
+
+Overbeck made _The Triumph of Religion_ a propaganda of his pictorial
+faith, and wrote his explanatory text for the special benefit of young
+painters. The document concludes with the following emphatic and
+affectionate appeal: "And now, my dear young friend and brother artist,
+so ardently striving to excel in the Fine Arts, I have placed a picture
+before you in which you may wander as in a garden. Here you see all the
+great masters: behold how the future lies spread before you, like the
+bright distance in this picture, so that you may be encouraged thereby
+in your noble task. Strive to approach the great masters with all the
+powers of your mind, 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 you. Several of the artists here assembled may
+serve as warnings to you: the Venetians went astray as soon as they made
+colouring the principal object of attraction, and so by degrees they
+sank in sensuality. The effeminate Correggio proceeded in this career at
+a more rapid rate, until he had cast aside every restraint of modesty
+and morality, and gave himself up to unbridled voluptuousness.[12]
+Michael Angelo set up the antique as an object of idolatry, and Raphael
+was tempted to taste the forbidden fruit, and so the sin of apostasy in
+the fine arts became manifest. In after times, indeed, various attempts
+have been made to elevate the arts; but as no remedy was applied to the
+source of the evil, the result proved on the whole unsuccessful. This is
+also the reason why none of the celebrated masters of late times have
+been introduced into our painting.[13] In conclusion, you may
+unhesitatingly adopt as a principle that the fine arts can alone be
+beneficial to man when, like the wise virgins, they go out to meet the
+bridegroom in humility and modesty, with their lamps burning and fed
+with the faith and the fear of God: only as such daughters of heaven are
+they worthy of your love."
+
+Ten years of the painter's later period, reaching from 1843 to 1852,
+were dedicated to the Life of Christ as recorded by the four
+Evangelists. German artists of the modern time have revived the practice
+of the old religious painters of composing Biblical series, and such a
+narrative is technically termed a "cyclus." Overbeck evolved three such
+consecutive compositions--"The Gospels" in forty cartoons, "The
+Sacraments" in seven, and "The Stations" in fourteen. The large drawings
+for "The Gospels" or "Evangelists"[14] I was accustomed to see from time
+to time while in progress within the studio; none were ever carried out,
+as the artist might have hoped, in oils, or as wall pictures or
+tapestries, but all, in common with most of his drawings, have been
+widely diffused by means of engraving.[15] Overbeck was specially
+qualified by his habits of mind and literary tastes and antecedents thus
+to write off his thoughts in outline; his drawings may be compared to
+"thinking aloud," and one scene after another reads as consecutive
+sonnets bearing on continuous themes. The events depicted as a matter of
+course fall into accustomed routine; they almost of necessity begin with
+_The Annunciation_ and end with _The Ascension_. Yet Overbeck, while
+inspired was not enslaved by his predecessors; often are presented novel
+and even bold conceptions, as in _The Massacre of the Innocents_ (1843)
+and _Barabbas released and borne in Triumph_ (1849). Such designs prove
+an intellect neither servile nor sterile. Certain other compositions are
+marred by affectation and sentimentality, traits of morbid moods
+increasing with years, and which contrast strangely with the healthiness
+and robustness of the great old masters. Fitly have been chosen to
+illustrate these pages _The Naming of St. John_ (1843), _Christ Healing
+the Sick_ (1843), _Christ's Entry into Jerusalem_ (1849), _The
+Entombment_ (1844), and _The Resurrection_ (1848). Two other
+illustrations, _Christ in the Temple_ and Christ _falling under the
+Cross_ show variations on the Gospel series. Overbeck may be compared to
+certain fastidious writers who mature by endless emendations and
+finishing touches; he loved to recur oft and again to favourite texts,
+changing attitudes, adding or subtracting figures, episodes, or
+accessories. His lifelong compositions are as a peopled world of the
+elect and precious: many of the characters we claim as old
+acquaintances; the figures come, go, and return again, changed, yet
+without a break in personal identity. They move round a common centre;
+Christ is their life; they are in soul and body Christian.
+
+These "Gospels" have taken a permanent place in the world's Christian
+Art. If not wholly worthy of so large and grand a theme, they yet
+scarcely suffer from comparison with like efforts by other artists. They
+have hardly less of unction and holiness than Fra Angelico's designs,
+while undoubtedly they display profounder science and art. That they
+have nothing in common with the Bible of Gustave Dore is much to their
+praise; on the other hand, that they lack the inventive fertility and
+the imaginative flight of the Bible of Julius Schnorr indicates that
+they fall short of universality. These Gospels, it may also be said,
+pertain not to the Church militant, but to the Church triumphant; not to
+the world at large, but to a select company of believers. They teach the
+passive virtues--patience, resignation, long-suffering, and so far
+realise the painter's ideal of earth as the portal to heaven. Certain
+spheres were beyond his ken. The marriage of Cana did not for him flow
+with the wine of gladness; he had no fellowship with the nuptial banquet
+as painted by Veronese. His pencil shunned the Song of Miriam and the
+Dance of the Daughter of Herodias; it could not pass, like the pen of
+England's epic poet, with a light fantastic touch from "Il Penseroso" to
+"L'Allegro;" his walk was narrow as a convent cloister; his art was
+attuned to the sound of the vesper bell.
+
+Overbeck's modes of study and habits of work were like himself--secluded
+and self-contained. His strength did not permit prolonged labour, and
+his mind was easily put out of tune; yet by method and strict economy of
+time he was able, as we have seen, to get through a very considerable
+amount of work. Each day had its allotted task. He rose summer and
+winter between five and six o'clock, and usually went to church; at
+seven he took a simple breakfast, then entered his studio and worked on
+till one. This was the hour for dinner, a frugal meal preceded by the
+customary grace. After a little repose, action was resumed about
+half-past two, and continued till four, or sometimes even to six. Then
+came exercise, mostly a meditative walk; in early times, before the
+habits of a recluse had grown confirmed, the painter enjoyed an
+evening's stroll with choice spirits, such as Niebuhr and Bunsen, but in
+later years he preferred his own communings, his thoughts turning upon
+art or finding diversion only among the beauties of nature. Within the
+house he became abstracted; he wandered about lost to outward
+surroundings, and would brook no interruption. In the winter evenings,
+at least in later life, he relaxed so far as to join in some table game;
+but his hours were early, he supped at eight, then retired to his room
+for meditation, and was always in bed by ten. General family prayers
+were not the order of the household; the constant habit was individual
+devotion in private. The Pope took a fatherly care over the pious
+artist, and granted him privileges permitted only to the few. And
+Overbeck was on his part strict and zealous in all Church functions, and
+neglected no means of building up the Christian life. Each day in fact
+was so nicely apportioned between religion and art, that the morning and
+the evening worship blended indissolubly with the midday work.
+
+The bodily and mental aspect of Overbeck is well known. I myself had the
+privilege of first seeing the painter when in the Cenci Palace, as far
+back as the year 1848. My journal describes a man impressive in
+presence, tall and attenuated in body, worn by ill-health and suffering,
+the face emaciated and tied round by a piece of black silk. The mind had
+eaten into the flesh; the features were sorrow-laden. The voice sank
+into whispers, the words were plaintive and sparse; noiselessly the
+artist glided among easels bearing pictorial forms austere as his own
+person, meekly he offered explanations of works which embodied his very
+soul, timidly sought retreat and passed as a shadow by--the emblem of an
+art given in answer to prayer and pertaining to two worlds.
+
+The painter, as drawn or described by himself and others, presents an
+interesting psychological study: no historic portrait reveals closer
+correspondence between the inner and the outer man. Cornelius delineated
+his friend at the age of twenty-three: the type is ascetic and aesthetic
+after the pre-Raphaelite pattern affected by the Nazarites. Fuhrich, one
+of the fraternity, describes his first impressions: on entering the
+studio he beheld a tall, spare figure, noble in head, the hair flowing
+over smooth temples to the shoulders, the forehead reflective, the calm
+eye "soul-full," the whole aspect that of "inner living." It is added,
+"at once I felt a soul fulfilment." Yet another artist-disciple, Edwin
+Speckter,[16] also leaves a graphic record penned in 1831 as follows: "A
+melancholy and heart-moving impression has Overbeck made upon me: I
+beheld a tall, spare man, with thin, light hair, shadowed by a black
+cap, whose eyes looked forth sadly, as with an expression of unutterable
+suffering. His mouth contracted at each word into a forced yet sweet
+smile. He looked just as a timid prisoner, who dreads in every corner to
+see a spy. Yet in all his speech and ways appeared wondrous humility,
+modesty, and kindly geniality, which, however, did not attract, but in
+a strange manner repelled. I hardly dared to open my mouth, and only
+spoke softly and by way of inquiry. Freely to impart my mind as with
+others was impossible. My breast felt oppressed, and truly I scarcely
+knew what to say when he unceasingly begged pardon that he should dare
+to show his works: he called them 'insignificant,' 'nothing,' esteemed
+himself fortunate that people should choose to give commissions to so
+unworthy an individual, only he pitied the patrons that they had not
+fallen on a more capable man. And then when I asked if I might come
+again, he replied, 'Good heavens! if I would give myself the trouble, he
+should be only too delighted.' I could almost have laughed, but with
+tears in my eyes."
+
+FOOTNOTES:
+
+[Footnote 1: For further particulars as to Overbeck's wife, "Nina," see
+'Erinnerungen und Leben der Malerin Louise Seidler,' Berlin, Verlag von
+Wilhelm Hertz, 1875. According to this authority the young lady was the
+illegitimate daughter of a gentleman of aristocratic family in Vienna,
+from whom she received a dowry. She had come to Rome in search of
+health, and possessing talents, accomplishments and charms, and being
+withal a "fanatic Catholic," she won the affections of the impressible
+painter. "The young couple," we are told, passed "a soul-satisfying"
+honeymoon, and took up their abode in the Villa Palombara, near the
+Baths of Diocletian. In the private collection of Herr Bockenheimer,
+Frankfort, I have found an exquisite drawing, wherein the artist is said
+to have depicted himself, his wife, and two children.]
+
+[Footnote 2: Mrs. Jameson, in 'The Legends of the Monastic Orders,'
+illustrates the visions and ecstasies of St. Francis from the pictures
+of Giotto and others down to Domenichino. Coming to our times, the only
+work found worthy of such companionship is that of Overbeck. The modern
+German does not suffer by comparison with the old Italian masters. The
+fresco was finished 1830; shortly after, an earthquake visited the spot
+and destroyed a large portion of the church, but _The Vision of St.
+Francis_ remained intact. The cartoon for the picture is in the Library,
+Lubeck, framed, hung, but badly seen. I examined and noted it October
+1880. It is in chalk, on paper mounted on canvas; the form is lunette,
+the base about 20 feet broad; the figures are life-size. The heads,
+hands and draperies are thoroughly studied in a broad, large manner. The
+work when exhibited in Munich in 1831, on the artist's visit to Germany,
+obtained high commendation. The oil study made for the colour is now in
+the Leipzig Museum: measurement, 2 feet 3 inches by 2 feet 7 inches. The
+cartoon has been lithographed by Koch: the fresco itself is
+photographed.]
+
+[Footnote 3: Portrait of _Vittoria Caldoni_, oil, on canvas, nearly
+life-size, about 3 feet by 2 feet. _Holy Family_, about 4 feet 6 inches
+by 3 feet: oil, on rough Roman canvas, signed "F. O. 1825": better
+colour than usual: in good condition, but, like many pictures in the New
+Pinakothek, revived by the Pettenkofer process: the beautiful engraving
+by Felsing has a sale quite unusual for Overbeck. "Italia und Germania,"
+about 3 feet 5 inches by 2 feet 9 inches, oil, on canvas: manner hard
+and dry: lithographed by F. Piloty.]
+
+[Footnote 4: See 'Historisch-Politische Blatter fur das Katholische
+Deutschland,' before quoted.]
+
+[Footnote 5: _The Death of St. Joseph_, oil, on canvas, 3 feet by 2 feet
+3 inches, was at last completed 1836, and appeared two years later in
+the Munich Exhibition: the price was less than 100_l._ A small drawing
+for the picture was, with others in the possession of Emilie Linder,
+lithographed for devotional purposes: the lady with characteristic
+generosity sent the proceeds of publication to the painter. On her death
+in 1867 her collection went by bequest to the Basle Museum, where are
+conserved, besides _The Death of St. Joseph_, ten drawings in pencil.
+Among the last are _God appearing to Elias on Mount Horeb_, _The Finding
+of Moses_, _The Israelites gathering Manna_, _The Madonna and St. Joseph
+worshipping the Infant Jesus_, _Christ found in the Temple_, and _The
+Awakening of Jairus's Daughter_. Of the last I have met with two other
+examples. The engraving, _Christ in the Temple_, illustrating this
+volume, is from the drawing in this collection.]
+
+[Footnote 6: The principal drawings at Stift Neuburg have been mentioned
+in previous pages. I will now add from notes taken on the spot: Portrait
+of Cornelius by Overbeck and a companion portrait on the same paper of
+Overbeck by Cornelius. Pencil: 1 foot 4 inches by 1 foot 3 inches. This
+joint handiwork, presented to their friend on the eve of his leaving
+Rome for Germany, bears the following inscription: "In Remembrance of
+our friend C. F. Schlosser, from F. Overbeck and J. P. Cornelius. Rome,
+16 March, 1812." The latest drawing in the collection, date 1836,
+represents Christ bearing the Lamb: the Saviour opens His mantle and
+shows a flaming heart. 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 beauty. Some of the chief drawings at Stift Neuburg
+have been published in photography by Bruckmann, Munich.]
+
+[Footnote 7: Overbeck's letter on the opening of the tomb in the
+Pantheon is published in Passavant's 'Life of Raphael.']
+
+[Footnote 8: _Christ's Agony in the Garden_ is on canvas, 7 feet wide by
+11 feet high: figures size of life: without signature or date: the
+manner is that of the middle period: the year I believe to be between
+1831 and 1835. The system of colour, though not without the depth and
+solemnity of the early schools of Lombardy, is that peculiar to the
+religious art of modern Germany: it is dull, heavy and opaque. I would
+quote as an interesting proof of nature-study, still maintained at this
+pronounced period, a foreground plant and flower exquisitely drawn and
+affectionately painted. The picture is seen to utmost disadvantage: the
+cold and poverty-stricken surroundings are those usually deemed
+appropriate in Lutheran Germany.]
+
+[Footnote 9: The present position of _The Marriage of the Virgin_ in the
+Raczynski Gallery, Berlin, has just those "disturbing surroundings"
+which the painter dreaded. It is crowded among discordant works, and is
+hung so high that I had to ask for a ladder to examine its quality and
+condition. The oil pigments remain sound save some small surface cracks.
+The size is about 6 feet by 4 feet. The modest price paid by the
+munificent patron, and for which he received the artist's grateful
+acknowledgments, was somewhat under 100_l_. sterling. Surely Overbeck
+did not paint for filthy lucre.]
+
+[Footnote 10: See account of 'Religion glorified by the Fine Arts,'
+written by the painter himself and translated by Mr. John Macray:
+published by Ryman, Oxford; 2nd edition, 1850.]
+
+[Footnote 11: The picture has been engraved by Amsler, and is also
+photographed. The cartoon is in the Carlsruhe Gallery, framed and hung:
+it measures about 12 feet wide by 14 feet high: it is in charcoal or
+chalk, on squares of whity-brown paper mounted on canvas. This drawing
+is remarkable for thoroughness in form and character; indeed, it is just
+what a cartoon should be. Countless preliminary studies of separate
+figures and draperies must have preceded it. Overbeck in a letter, 28th
+December, 1839, to Emilie Linder mentions three cartoons or studies. One
+large one being the above. A second smaller, 4 feet 8 inches square, in
+sepia, on canvas. This I examined October, 1880, in the National
+Gallery, Berlin: the execution in parts is poor. The work had been sent
+for sale, but was not purchased. The third sketch is described by the
+artist as different in proportions and composition. It is in black chalk
+and pencil on red paper. The painter names L100 as the price: he
+received L1300 for the picture.]
+
+[Footnote 12: Surely Overbeck is unjust to the masterpieces of Correggio
+in Parma and Dresden, including two Holy Families, _Il Giorno_ and _La
+Notte_. He likewise must have forgotten Titian's religious pictures in
+Venice and Vienna, _The Assumption_ and sundry Holy Families. The "young
+artist" has to remember that a picture is different from a homily: that
+art has to be valued for her own sake, that drawing, composition, light,
+shade and colour are indispensable elements in every art work. Overbeck
+shirks the stern truth that the first duty of a painter is to paint.]
+
+[Footnote 13: It is difficult to remain tolerant of such intolerance.
+Why does not Overbeck declare plainly that Ary Scheffer is excluded
+because he was a Protestant? As spectators a place in the picture is
+assigned to Cornelius, Veit, and to Overbeck himself, all Roman
+Catholics, whilst Schnorr, as a Protestant, is deemed unworthy to
+appear. It is interesting to observe that Overbeck's darling son is
+introduced in the character of a young Englishman.]
+
+[Footnote 14: The cartoons for the Gospels, originally made for an art
+dealer in Prague, were afterwards acquired by the late Baron Lotzbeck of
+Weihern, near Munich, and are now in the possession of the son, the
+present Baron: they are framed and protected under glass.]
+
+[Footnote 15: See 'L'Evangile Illustre: Quarante Compositions de
+Frederic Overbeck: gravees par les meilleurs Artistes de l'Allemagne:'
+Schulgen, Dusseldorf and Paris. Overbeck had an aversion to the heavy
+and mechanical schools of engraving; he objected to meaningless masses
+of shadow and to the multiplication of lines inexpressive of form.
+Accordingly these engravings from the Gospels, in common with other
+plates from the master, possess merits the opposites to such defects.
+Like the original drawings, they are chiefly dependent on outline, and
+even their slightness is not without the advantage of suggestiveness.
+Four illustrations here are facsimiles of the engravings.]
+
+[Footnote 16: See 'Briefe eines deutschen Kunstlers aus Italien, aus den
+nachgelassenen Papieren von Edwin Speckter.' Leipzig: Brockhaus, 1846.
+Also see 'Bunte Blatter, von A. W. Ambros.' Leipzig: Leuckart, 1872.]
+
+
+
+
+                            CHAPTER IV.
+
+            LATE WORKS--CONCLUSION--THE PAINTER AND HIS ART.
+
+
+Overbeck, as we have seen, deliberately laid out his life for
+tranquillity; but not sheltered, as Fra Angelico, in a cloister, his
+serene mind was at times clouded by trouble. First came the death of his
+son, then he lost a brother, and afterwards was bereaved of his wife.
+All accounts tell that the darling son, Alfons Maria, inherited the rare
+gifts of the father, and unhappily also was a sharer in like bodily
+frailty. He had been reared with tenderest solicitude, in the hope that
+he might carry on the good work. The profession chosen was that of
+architecture, an art which the Christian painter felt to be of a "mystic
+nature," being something "musical," and "the visible emblem of religious
+enthusiasm." But the bright promise was soon darkened: the youth died in
+the autumn of 1840, at the early age of eighteen. The father in
+overwhelming sorrow recounts, in a letter to Emilie Linder, how he had
+watched over the sick bed, and had snatched up a pencil by the quarter
+of an hour to assuage his grief. The boy was dutiful, and filled with
+filial love--he was so good that the people called him a saint. The
+stricken parent turned to art as "a crutch to support his lameness, and
+as a solace to his tears."
+
+The picture of _The Entombment_, or rather _The Pieta_, in Lubeck, tells
+of the mind's heavy burden. In 1837 an association had been formed, and
+money subscribed among friends and admirers, who desired that the native
+city should possess some work worthy of the painter's renown. In 1842,
+on the completion of the first sketch and the cartoon, a letter arrived
+in Lubeck, saying that the grief through which the artist had passed was
+thrown into a composition that expressed the uttermost anguish of the
+soul. And again, in 1846, on the completion of the work, the Christian
+man writes, praying that this "lamentation over the death of the Son of
+God may arouse in the spectator true faith and repentance. May this
+painting, begun in tears for my own and only son, and finished in grief
+for the loss of my dear brother, draw tears from the eyes of Him who
+shed not only tears, but blood, in order that His death might be our
+life. Such aim have I always in my art, without which it would seem
+idle, indeed blasphemous."
+
+_The Pieta_[1] was exhibited in Rome, and friendly criticisms were
+followed by final touches, with the filial intent to make a worthy
+offering to the parental city. In March, 1846, Overbeck announces, in
+the most modest terms, that the labour of love had at length been
+dispatched to Lubeck, and, much to his joy, a quiet side chapel of the
+choir of the Marien Kirche was chosen for its resting-place. The
+impression on entering this secluded spot, shut in by a locked gate, is
+almost startling; the eye gazes, as it were, on the actual scene: the
+figures are life-size; the pictorial style is, perhaps, all the more
+persuasive because it belongs to a remote time--nothing modern breaks
+the spell of sacred associations. The spectator is transported to a
+sphere super-mundane, and altogether religious. The dead Christ, well
+modelled and a fine piece of flesh painting, lies stretched on the
+ground in a white winding-sheet, and, as sometimes with the old
+painters, the body seems not dead but sleeping, as if expectant of
+resurrection. The composition is strictly traditional, indeed the
+_Pieta_ of Perugino in the Pitti Palace has been implicitly followed:
+around are the holy women weeping, with disciples and Nicodemus and
+Joseph of Arimathaea. Every head, hand, and drapery, are thoroughly
+studied. Dark rocks, lofty cypresses, and distant hills, make up a
+landscape which adds solemnity and depth of colour. Within a few
+minutes' walk of the Marien Kirche and this _Pieta_ still remains
+Memling's masterpiece, which, as already related, had deeply impressed
+the youthful painter while yet in the Lubeck home, but allegiance had
+been long, we know, transferred from old German to Italian art, and
+accordingly the style adopted recalls well-remembered compositions by
+Francia, Fra Bartolommeo, and Perugino. Not a single new motive
+intrudes; in fact, Overbeck no more desired a new art than a new
+religion; for him the old remained unchangeably true,--sacred characters
+were handed down immutably as by apostolic succession; he would
+rearrange an attitude, but feared to lose personal identity; he desired
+that this _Pieta_ should awaken such holy associations as environ old
+pictures.
+
+Overbeck received a commission from a Yorkshire squire, Mr. Rhodes, to
+paint an altar-piece for the Protestant church of St. Thomas, in Leeds,
+recently built from the design of Mr. Butterfield. Naturally the
+Incredulity of the Apostle was chosen as the subject, and the picture[2]
+reached completion in 1851. The composition is in no way out of keeping
+with the Anglican Church; it is without taint of Romanism; but we are
+told by Ernst Forster, the Munich critic,[3] that "people were not well
+pleased with the work," at all events it never reached its destined
+place. Mr. Rhodes had brought the picture to England from Overbeck's
+studio, and being for disposal, it was offered to Mr. Beresford Hope,
+who gladly became the owner, at the price of 300_l_., the modest sum
+asked by the artist. The scene is thrown upon canvas with the painter's
+habitual simplicity, brevity, and breadth. Christ in commanding, yet
+benignant, attitude, with arm uplifted, utters the words: "Reach hither
+thy hand and thrust it into my side, and be not faithless, but
+believing." The Apostle reverently approaches. Beyond stretches a
+distant landscape with a mountain-height that might be mistaken for the
+crested summit of Soracte. The lines of composition flow symmetrically,
+the sentiment has quiet dignity, with that sense of the divine presence
+which seldom fails the painter. The picture hangs in the drawing-room of
+Mr. Hope's town-house, and, though painted for a church, conforms to
+domestic uses, not being "too bright or good for human nature's daily
+food." The personation of the Saviour when once seen will not be
+forgotten; the figure, indeed, was cherished by the artist, for the
+motive with slight variation is repeated in _The Vocation of the
+Apostles James and John_ (_see_ Illustration), and again in _The
+Sacrament of Marriage_. Overbeck had none of the modern unrest which
+seeks novelty for its own sake; as a Christian artist, his growth was
+that of grace; and, if tested here and elsewhere by the worthiness of
+his conception of the God-Man, no painter attained a more heavenly
+ideal. It is hard to realise on earth a more perfect divinity than seen
+in the design _Feed my Sheep_. _The Incredulity of St. Thomas_ has been
+exhibited in England twice; first in 1853, in the Royal Academy, where,
+I remember, it was honoured with a conspicuous place in the large room;
+afterwards, in 1857, it was seen in the Manchester Art Treasures. As far
+as I know, it is the only large and important work of the master
+submitted to the English public.
+
+Overbeck, thirteen years after the death of his son, was in 1853 bereft
+of his wife, who had been his companion and caretaker for more than
+thirty years. She died suddenly, yet, as her husband thankfully records,
+with all the consolations the soul could desire. She had in the morning
+been to church and taken the sacrament; she was then seized with
+difficulty of breathing, but, on reaching home, revived, and raised her
+voice to the praise and glory of God; after, she grew worse, desired to
+see the priest, received extreme unction, and so died.
+
+The good painter, when the help-mate of his life was taken away, felt
+utterly desolate and disabled. He had never been accustomed to look
+after the house; some thirty poor families are said to have been
+dependent on his bounty; but as for himself he took little thought, and
+all he desired was to be saved from mundane cares. In Rome there
+happened to be a certain family of Hoffmanns, who, like the painter, had
+forsaken Protestantism for Catholicism. They were endowed with the
+worldly faculties in which the Christian artist was wanting, and so a
+close relationship had conveniently grown up. Overbeck, on the death of
+his wife, being absolutely incapable of getting on alone, arranged to
+live with this family; moreover, he adopted Madame Hoffmann, a lady of
+forty, as his daughter, and the adoption included the husband and the
+children. They seem to have made him comfortable, and letters exist
+which give expression to his gratitude. They, on their side, reaped
+their reward, inasmuch as on the death of the good artist they came into
+the possession of the contents of his studio, his papers, and
+correspondence, moneys, and all other properties. After the aforesaid
+family arrangement, the blood relations found little favour, and all who
+bore the name of Overbeck were cut off without a shilling.
+
+Earthly trouble did but turn the painter's gaze heavenwards, and his
+art, which in time of trial came as consolation, grew all the more
+spiritual as it passed through waters of affliction. Few painters, even
+in the good old days, obtained so sympathetic a public. Belief in a
+mission begat like faith in others, and so solicitations came for
+drawings and pictures far in excess of available time and strength.
+Certain commissions could not be entertained, secular subjects had been
+long eschewed, religion and the Church were alone accounted worthy of
+service. Therefore, in genial mood, was the great picture for Cologne
+Cathedral undertaken and carried out. The work occupied no less than
+nine years; the cartoon was already in course of preparation in 1846,
+and the picture reached completion in 1855. But, as with other
+engagements, the negotiations and preliminary correspondence extended
+over a longer period. Thus, as far back as 23rd August, 1829, Overbeck,
+while working on the Assisi fresco, writes from Santa Maria degli Angeli
+to his friend Mosler, stating that the Dusseldorf Kunst-Verein wish for
+some picture; but prior engagements stand in the way: he foresees that
+on the return to Rome he will find his studio crowded with works begun,
+but still unfinished, besides sketches of all sorts and sizes for
+pictures not even commenced. He therefore asks for delay, and ends with
+apologies for not writing more on the parental plea that "though it is
+Sunday, I have long given my promise to my boy Alfons, whose tenth
+birthday is to-day, that he shall have a ride on a donkey, and I am all
+the more obliged to keep my word because my fresco work here compels me
+for the moment to neglect him. We are all, thank God, very well, and
+enjoy a thousand blessings in this abode of Paradise." Three months
+later he writes under mistaken impressions as to the character of the
+commission; he wishes to know the architectural style of the church, and
+hopes it may be Gothic; he desires accurate measurements, because the
+picture must appear to belong to its destined place, and then ends in
+the following characteristic terms: "I repeat once more that the
+commission fills me with utmost pleasure, but to you I must confide my
+great anxiety, that I fear this picture is destined for a Protestant
+church, as I hear it is to be for some newly-built church. Should this,
+indeed, be the case, then pray try to give the whole thing another
+direction, as such a commission would not suit me at all, and to refuse
+it would be very disagreeable to me."
+
+Overbeck's visit to Cologne, in 1831, naturally led to further
+conferences concerning the picture for the Cathedral. The proposal, at
+first, was that a triptych on a gold ground, in a Gothic frame, should
+be painted for the high altar. Drawings were prepared, the general
+scheme was approved by Cornelius, and the Archbishop gave his assent.
+But objections having been raised on historic or archaeologic grounds,
+the pictorial reredos was abandoned in favour of the present stone altar
+table. The artist felt deeply disappointed, and craved the prayers of
+his friend Steinle, who was engaged on the decoration of the choir.
+Fortunately, the services of Overbeck were only transferred from the
+high altar to the Madonna chapel, renovated to receive _The Assumption_
+commissioned to be painted. The cartoon was prepared and approved, and
+while engaged on the work the artist expressed himself supremely happy;
+he had no higher ambition than to be found worthy of a place in the
+great Cathedral.
+
+_The Assumption of the Madonna_[4] is suited to its surroundings; it is
+in keeping with the Gothic structure and decorations, and in
+companionship with old triptychs and other works which carry the mind
+back to remote ages. The composition stands forth as a vision of the
+imagination; from the darkness of the grave into the light of the upper
+sky rises the Queen of Heaven, borne upwards on angels' wings; midway
+sustained by clouds are the adoring host, comprising Adam, Eve, Abraham,
+and King David; on the ground below are seen, in miniature, the
+disciples around the empty tomb. The whole conception is in perfect
+accord with the rites and ceremonies of the Church; while looking at the
+picture and listening to the voices in the choir, the harmonies between
+form and sound seem fitly attuned.
+
+Overbeck, on the completion of the Cologne picture, revisited Germany
+for the second and last time. On the 20th July, 1855, he left Rome,
+proceeded to Florence, thence by way of Switzerland reached Frankfort,
+and extended his journey as far as Dusseldorf. In Cologne he stayed some
+weeks, and a festival, with usual laudatory speeches, was given in his
+honour. I happened to encounter the painter during his sojourn; 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 St. Peter_, head downwards. With reverence I approached
+the great master, and received a kindly shake of the hand. Overbeck on
+the return-journey passed a quiet month at Mayence; he also once more
+saw his old friends at Stift Neuburg, near Heidelberg. In Frankfort many
+sympathetic hours were spent with his attached companion Steinle, whose
+elevated works proved a renewed delight, and whose happy family circle
+recalled his own joys and losses. The town of Spires also received a
+visit, the inducement being Schraudolph's extensive frescoes, then in
+progress within the Cathedral. Posterity has reason to lament that these
+important works were not entrusted to the chief of Christian painters.
+Some further weeks passed pleasantly among congenial minds in Munich,
+but friends were grieved to mark growing infirmities. Overbeck had
+reached the age of sixty-six, and Emilie Linder writes sorrowfully, that
+he was the only person over whose death she could rejoice, because all
+pertaining to the body had become a painful burden. Even the
+affectionate demonstrations of his countrymen were too much for him, and
+so gladly he turned his steps homewards. Yet not without lingering
+regrets did he journey southwards, and on reaching the summit of the
+Brenner he writes: "I turned round once more and gave, through the
+streams flowing northwards, a last greeting to my German land." After
+four months' absence, home comforts brought rest to his troubled mind.
+
+Overbeck, after the death of his wife in 1853, left the Cenci Palace and
+went to dwell in the more quiet region of the Esquiline Hill, near the
+church of Santa Maria Maggiore. Later on he removed to the house in
+which he died, belonging to a convent, in the Via Porta Pia on the
+Quirinal Hill, near to the little church of San Bernardo, where he
+worshipped and lies buried. I remember the sequestered dwelling on the
+Esquiline, lying away from the road in one of those Italian wildernesses
+called a garden or a vineyard. The surroundings were inspiring; the eye
+wandered among churches and ruins, and beyond stretched the Roman
+Campagna, spanned by aqueducts and bounded by the Alban Hills, with
+Rocca di Papa, the painter's country retreat. The studio, which on
+Sundays continued to be crowded with strangers from all countries, had
+little in common with the ordinary run of painting rooms. Showy
+sketches, picturesque costumes, gay carpets and draperies, which
+commonly make a fashionable lounge, were wholly wanting. Like the studio
+of Steinle in Frankfort, all was in keeping with an art not dependent on
+outward materials, but reliant on inward thought. Around were ranged
+compositions embodying ideas, cartoons and drawings in no way
+decorative, but simple and austere studies of form in light and shade,
+or slightly tinted. At this period were thus evolved the pictorial
+series of the _Via Crucis_ and _The Seven Sacraments_. Turning from
+these creations to the painter himself, the visitor might be tempted to
+indulge in psychological speculations touching the processes whereby the
+spirit of the man passed into objective shape. More and more the old and
+solitary master withdrew his affections from earthly concerns, he
+approached the close of life as the sun which sets to rise on a new day,
+and his art breathed the atmosphere of those pure regions where his
+beloved ones were at rest.
+
+In the summer time was usually sought some country abode, not for
+remission of labour, but for refreshment through change of scene amid
+the beauties of nature. Overbeck, in 1856, was full of work, and in the
+autumn he journeyed to Perugia, and took as his travelling companions
+the small drawings of the _Via Crucis_. There, in the cradle of Umbrian
+art, in the presence of Perugino and Raphael, he carried out the scenes
+of _The Passion_. In the hill country of Perugia his thoughts turned to
+the hills round about Jerusalem, olive gardens spoke of the Garden of
+Gethsemane, a land lovely, yet sad, told of Him who trod the Via
+Dolorosa. The painter divided the day between the practice of his art,
+Church functions, and social intercourse; he revisited the scenes of his
+labours at Assisi, and rejoiced the German Sisterhood of St. Francis by
+a visit. The next year the picturesque district of Ariccia was chosen
+for summer sojourn, with the advantage of Cornelius within the distance
+of a walk. The following autumn the two old friends revisited the spot.
+Here the water-colour drawings of the _Via Crucis_, or _The Stations_,
+were with earnest solicitude brought to completion.
+
+_The Stations_ in "the history of our Lord" have been accustomed to
+comprise Christ's last sufferings, 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 Church." Such
+compositions are almost indispensable to every Roman Catholic place of
+worship, however humble; therefore Overbeck, desiring that his art
+should at all seasons furnish aids to devotion, designed these fourteen
+stations on the Via Dolorosa. According to precedent, the series begins
+with _Jesus Condemned_, and ends with _The Entombment_. The compositions
+were elaborated in two forms, the one as cartoons, the other as
+water-colour drawings.[5] The treatment is, of course, traditional, and
+the general style does but suggest the line of criticism with which the
+reader must by this time be familiar; more than ever we here encounter
+sermons for the edification of the faithful rather than works appealing
+to the artist. The notes which a few years since I made before the
+drawings in the Vatican read somewhat severe, yet I ought hardly to
+withhold the impressions left on the mind. Utmost devotion and sincerity
+will be taken for granted, but I found that the excessive striving after
+religious feeling degenerated into morbid affectation and spiritual
+spasm, that sentiment passed into sentimentality, and that simplicity
+scarcely escaped childishness. Throughout became painfully apparent the
+lack of physical sinew and dramatic force; the characters, not being
+modelled on the life, wanted truth to nature; they were afflicted with a
+bodily frailty and mental infirmity wholly unequal to the tragic
+situation. These shortcomings in works of noblest motive may be ascribed
+to two causes: first, advancing age, with increasing loss of power;
+secondly, the confirmed habit of slighting art and ignoring nature in
+order to magnify some favourite dogma. Thus the divine painter in late
+years missed his aim and marred his work.
+
+These reflections receive confirmation in _The Seven_ _Sacraments_,
+compositions which are triumphs of faith at the expense of art. The
+painter, however, in fairness, must be allowed to speak for himself. "I
+must," he writes, "first set forth what my conception of art is. Art to
+me is as the harp of David, whereupon I would desire that Psalms should
+at all times be sounded to the praise of the Lord. For when earth and
+sea and everything that therein is, when Heaven and all the powers of
+Heaven unite in extolling their Creator, how can man fail to join with
+every faculty and gift his Maker has endowed him with in this universal
+hymn of thanksgiving? 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 Lord?
+So precisely as Psalms of Praise would I wish to be accepted my seven
+representations of the Sacraments, which, as so many fountains of grace,
+the Church causes abundantly and ceaselessly to flow. These mercies of
+God are the subjects of my seven pictures. As regards their style and
+execution, they may be compared to tapestries after the manner of the
+Arazzi of Raphael, such as it is customary to display in Italy on feast
+days for the adornment of churches, and serving for the instruction of
+the people in a language all can understand. Similar tapestries might,
+in a more favourable time than the present, have been wrought from these
+representations, but they appear now only as designs preparatory to
+their possible completion some day in fresco or tempera."[6]
+
+Biblical history received ample exposition in numerous accessory
+compositions. Each of _The Seven Sacraments_ was surrounded by a
+predella, a frieze, and two side borders. Some of these long spaces
+dilated into several themes, and thus the total number of subsidiary
+subjects falls little short of forty. The foliated and floral ornament
+in style is not Raphaelesque, but more allied to early Gothic; the
+manner is graceful but feeble. The scheme embodies types in the Old
+Testament with their fulfilment in the New; both conjoined are brought
+to bear on the teachings of the Church concerning the Sacraments. Some
+of the analogies may appear, at least to outsiders, rather fanciful and
+far-fetched. Yet, the mystic meanings thrown around the singularly
+lovely composition of _Matrimony_ satisfy at least the poetic sense. 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
+angels. The predella presents a symbol from the Old Testament in Tobias,
+who, under divine guidance, obtains a companion for life. One
+side-border exemplifies the first institution of matrimony in Paradise;
+angels above, in embrace, are scattering flowers. On the opposite side
+an angel showers down thorns, and on the ground beneath lies the dead
+Saviour, signifying that marriage through suffering obtains its
+consecration. 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 sublimity, and thus do honour to God, to whom
+alone are due glory and praise in time and in eternity. Amen."
+
+Neither _The Seven Sacraments_ as works of art, nor the printed notes
+thereto as treatises in theology, have been accepted by the world
+favourably. Even within the Roman Catholic Church they are deemed rather
+ultra; unfortunately the painter could not see when and where his art
+became an outrage on the common sense of mankind. His treatment of _Holy
+Communion_ in these _Sacraments_, as well as in sundry other designs, is
+an instance of the way in which he pushed full far his sacerdotalism. He
+habitually departs from the treatment sanctioned by the great masters,
+from Giotto to Leonardo da Vinci; in place of a long table whereat all
+are seated is a small altar, before which the Apostles kneel; in lieu of
+a supper, the cloth is laid with only a plate and chalice, and instead
+of the breaking of bread among the disciples, Christ stands apart
+elevating a wafer. Now, all religious controversy aside, most minds will
+feel that, by thus substituting a fiction for a recorded fact, the
+subject is spoilt in point of art. 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
+truth."[7]
+
+Between the Christian artist and the head of the Church grew, as might
+be expected, a bond of mutual respect and attachment. Overbeck and Pius
+IX. had much in common; they were as brothers in affliction; the age was
+unbelieving; they had fallen upon evil days; and each was sustained
+alike by unshaken faith in the Church. Concerning _The Stations_, the
+drawings of which are in the private rooms of the Vatican, the Pope
+showed the liveliest interest, and wrote a letter to the artist full of
+apostolic benedictions. He had also evinced his friendly regard by
+giving sittings for his portrait. Afterwards, in 1857, came the
+commission to paint, for the Quirinal Palace, the large tempera picture
+representing Christ miraculously escaping from the Jews, who, according
+to the Gospel of St. Luke, had "thrust him out of the city, and had led
+him to the brow of the hill whereon the city was built, that they might
+cast him down headlong." This astounding composition is the one step
+from the sublime to the ridiculous; it represents Christ with the right
+foot on the edge of a precipice, the left in the air on the heads of
+small angels: it was intended to symbolise the Pope's escape from Rome,
+and his subsequent return to the city; and further it expressly
+signified the triumph of the spiritual over the temporal power.[8] While
+the large and important work was in progress, Pius IX. paid a visit to
+the painter in his studio, an event to the honour of modern art
+comparable to the old stories touching Francis I. with Leonardo da Vinci
+and Philip IV. in the painting-room of Velazquez. This abortive miracle
+on canvas left on my mind, when seen in the studio, a very painful
+impression, and sound critics--Zahn and others--pronounce the subject as
+unpaintable, and the work most unfortunate. Overbeck had not the power
+possessed by the old masters of carrying the imagination into the age of
+miracle.
+
+I have been at some pains to make the account here given of the
+painter's works exhaustive. My opportunities of observation have been
+favourable, and yet, especially as no complete biography of the artist
+has hitherto been published, some minor works may have escaped my
+notice. Here, in conclusion, may fitly come a few additions. _The
+Raising of Lazarus_, the exquisite drawing of which, now in the
+Dusseldorf Academy, has already received notice, was, in 1822, painted
+in oils. _The Death of St. Joseph_, before mentioned, was, in 1838,
+reproduced for the private chapel of the newly created Bishop of
+Algiers. Also worthy of mention are cartoons of _The Twelve Apostles_
+and of _The Four Evangelists_, for the Torlonia chapel at Castel
+Gondolfo; a design, _Christ teaching the Lord's Prayer_, for a window in
+the church of St. Katherine, Hamburg; sketches, including _The
+Coronation of the Virgin_, for a cathedral in Mexico; likewise drawings
+of the _Virtues_, also _Moses and the Daughters of Jethro_, the last
+engraved by Gruner, and then in England, belonging to Lord Hatfield.
+Also _The Vocation of St. John and St. James_, a pencil drawing in the
+possession of Baron Lotzbeck, Schloss Weihern, near Munich. This
+beautiful design has been chosen as one of the illustrations to this
+volume. Few masters have been so largely engraved as Overbeck; scarcely
+a picture or drawing of import exists that has not become thus widely
+diffused. By the artist's own hand are reproduced, on copper, _St.
+Philip Neri_, and a _Pilgrim_. In France were published the "Book of
+Hours," and "The Imitation of Christ," severally illustrated from
+designs by Overbeck. A pictorial art, chiefly reliant on form, and
+expressly intended for the teaching and saving of man, was fitly thus
+multiplied and disseminated.
+
+Numerous portraits of Overbeck, by himself and friends, give a
+retrospective view of his character. Probably the earliest is a pencil
+drawing in the Vienna Academy by the Viennese painter, Johann Scheffer
+von Leonhardshoff; the date must be prior to 1810, and the age somewhere
+about twenty. The head is remarkable, almost abnormal; the outlook on
+the world is inquiring, querulous, and combative; the penetrative eyes
+seem in search after undiscovered truth; the pursed-up mouth is prepared
+for protest; the attenuated nose and contracted nostril betray austerity
+and acerbity; the whole aspect is that of nervous irritability. The
+spirit is still in unrest, having sought in vain for the ideal; and
+unsatisfied yearnings already settle into moody sentiment and
+melancholy. In these traits are clearly legible the painful perplexities
+and the severe conflicts of the painter's first period. And like mental
+states and bodily conditions are carried into the pencil likeness
+already mentioned, taken in Rome by Cornelius some three years later:
+for the moment the mind seems masked by a phlegmatic mass of German
+clay; whatever might be light-giving in the inward man appears clouded.
+This, as we have seen, was for the young painter a time of doubt and
+difficulty, and the face remains as yet unillumined. The next known
+portraits come at a long interval, and show marked changes, which tell
+of deep and not wholly blissful experiences. In 1837, Carl Kuchler, who
+made a series of portraits of German painters living in Rome, took and
+engraved the likeness of Overbeck at the age of forty-eight. The head is
+most striking and impressive; the coronal regions, the reputed abode of
+the moral and religious faculties, rise in full development; the frontal
+lobes of the intellect, with the adjacent territories of the
+imagination, bespeak the philosopher and the poet, while the scant
+circuit of the posterior organs gives slight sign of animal passion. The
+mien is that of a mediaeval saint--austere, devout; the eyes steadfastly
+gaze as on hidden mysteries, yet shine with spiritual radiance; the
+brow, temple, and cheek are those of the child, yet thinker; all the
+features have settled into meditative repose, gently shaded by
+melancholy. Overbeck, at this time in close converse with Heaven, had
+given himself unreservedly to Christian Art; hence this supremely ideal
+head. The portrait, contributed to the autograph collection of artists'
+heads in the Uffizi Gallery, Florence, pleased neither the painter nor
+any one else, yet it was carried out on the favourite doctrine of
+uniting the inward with the outward man. The style is hard and dry, the
+character that of starved asceticism; the expression is Jesuitical, and
+actual traits are so exaggerated as barely to escape caricature. The
+artist was painted by Carl Hoffmann, also, it is said, by Genelli and
+Ernst Deger. The portraits in late life, whilst preserving personal
+identity, betray somewhat painfully the inroads of age and ill health.
+Rudolf Lehmann made a faithful study in 1853; Adolf Grass, an inmate in
+the house, painted in oils a portrait in 1865; and Professor Bendemann,
+in 1867, prevailed upon the diffident old man to give a sitting. Two
+years later death entered the house, and Friedrich Geselschap, a friend
+and artist from Dusseldorf, came a few hours after the eyes were closed,
+and made a full-size chalk drawing of the head as it peacefully lay on
+the pillow. This faithful transcript, now on the table before me,
+scarcely sustains the statement of some writers, that the countenance
+after death assumed a glorified aspect; but, whether living or dying,
+peace, though not void of pain, is the pervading expression.
+
+Overbeck, after the goodly habit of the old masters, was fond of
+introducing himself as a spectator in the sacred scenes he depicted, and
+thus the above list of portraits is considerably extended. The painter
+appears personally in _Christ's Entry into Jerusalem_; also, in company
+with his friends Cornelius and Veit, he joins the general assembly of
+artists in _The Triumph of Religion_. Again, in _The Gospels_ the devout
+painter is present at the Crucifixion, bent on his knees, the hands
+clasped, his eyes gazing on Christ upon the Cross. Overbeck was not thus
+the egotist or a man craving for glory, but merely the humblest of
+servants seeking some inconspicuous place among the followers of Christ,
+and desiring to be numbered with God's elect.
+
+I have endeavoured, though perhaps very imperfectly, to lay before the
+reader a picture of Overbeck as the artist and the man, and now little
+remains save a few general conclusions. I have anxiously tried to
+ascertain the painter's mode of work, and the successive steps by which
+he matured his compositions. This inquiry has proved all the more
+difficult, because drawings in their early stages were persistently kept
+out of view. The artist had two studios, the one strictly private for
+quiet incubation apart; the other public, wherein only finished products
+were shown. The question is, how consummate designs such as _The
+Gospels_ were elaborated. I find that Overbeck first revolved a subject
+in his thoughts until he had formed a distinct mental conception; this
+inward vision he would sometimes for months carry about with him, within
+the house and in his walks abroad. At last, when it had taken shape, he
+sketched out the idea with lead pencil on a small piece of paper; and,
+just in proportion as the first process had been tentative and slow, so
+was the final act swift and certain. In these supreme moments he had the
+power of throwing off his innermost thoughts without aids from the outer
+world: the lines flowed from his pencil rapidly when he had made up his
+mind what to do, and the forms once set down were seldom changed. The
+facility increased rather than lessened with years; thus we read, "At
+the age of seventy-two I create with undiminished freshness and
+pleasure." As soon as the first small sketch was complete, the usual
+method was followed of squaring out the surface with lines, in order to
+reproduce in charcoal, chalk, or sepia the design on the full scale
+required--often the size of life. For the important figures, for the
+heads, hands, and draperies, studies from the life were diligently made.
+Such drawings and cartoons have been and are greatly prized by
+connoisseurs; for example, _The Seven Years of Famine_ was acquired by
+Sir Thomas Lawrence for his collection. The reader will understand how
+difficult it was for the painter to find assistants who could help in
+this directly personal work, in this concentration of individual
+thought; hence the prolonged time needed, extending, as we have seen, to
+periods of five or ten years. Separate studies of colour were also
+sometimes, if not always, made. The ultimate stage of painting upon
+canvas or wall was comparatively a mechanical process.
+
+Furthermore, we have to consider and make allowance for certain
+technical notions of Overbeck and his school. The opinion upheld was
+that the idea or mental conception constituted the chief value of any
+art work, that outline or form was the direct language or vehicle of
+such idea, and that colour, light, shade, surface-texture, or realism,
+were subordinate, if not derogatory, elements. Thus it is that the works
+of the master cannot be judged by ordinary standards: hence likewise the
+drawings and cartoons are superior to the pictures.
+
+Especially does Overbeck's colour stand in need of explanation or
+apology. In the first place we have to take into account how far the
+artist was bound to tradition; we have, for instance, to bear in mind
+that in painting _The Assumption_, he was enjoined by the Church to
+clothe the Madonna in white. Then comes the whole question of symbolism,
+or the inherent or accepted relation between colour and thought and
+feeling. Now, I think it probable that Overbeck sacrificed harmonies
+pleasing to the eye for the sake of arrangements that might inculcate
+doctrines or impress emotions. Certain it is that he looked on colour as
+something carnal: the example of the Venetian painters warned him
+against passionate excess, and so as a religious artist he felt it a
+duty to use sombre pigments, tertiary tints, and low, shadowy tones.
+Thus much needs explanation, yet it must always be cause for regret that
+Overbeck did not take for examples such masters of colour as Fra
+Angelico and Perugino, and thus gain the heavenly radiance begotten of
+religion.
+
+The art of Overbeck will live by its merits despite its defects; it is
+vital and enduring in the three mental elements of thought, form, and
+composition. The last he matured and mastered with the certainty of a
+science and the beauty of an art. His compositions have the exactitude,
+and occasionally the complexity, of geometric problems, neither are they
+without the rhythm of a stanza, or the music of a song.
+
+How much and in what manner the art of Overbeck was due to direct
+inspiration from heaven is not easy to determine. But, at all events,
+the modern master, like his forerunners in the spiritual school of
+Umbria, watched and waited, fasted, prayed, and painted. One who
+observed him closely testifies how, while making the drawings for _The
+Gospels_ and _The Seven Sacraments_, he was penetrated with the life of
+Christ. From deep wells the infinite soul flowed into the finite mind,
+and the art conceived in the spirit of prayer issued as a renewed prayer
+to God.
+
+The reader, I trust, has formed a judgment as to the three-fold relation
+in which Overbeck and his works stand to nature, to historic precedent,
+and lastly, to inward consciousness or individual character. We have
+seen that the notion prevalent in Rome, that the living model was wholly
+discarded, is inaccurate; bearing on this moot point may be here told an
+anecdote. It is related how one morning, when the artist was engaged on
+the Tasso frescoes, in the Villa Massimo, he had need of the life for a
+muscular arm, and so sallied forth into the neighbouring Piazza of the
+Lateran and made appeal to some men who were breaking stones on the
+road. One of the number, of amazing muscle, consented to sit, but, to
+the disgust of the purist painter, the man turned out to be a public
+executioner, who only took to stone breaking when slack of usual work.
+Another story is to the effect that, one day a fellow of terrific aspect
+entered the studio, declaring he was without food, and demanding
+engagement as a model. He turned out a villain, and so the aversion grew
+to coming in contact with common and unclean nature. Another reason
+assigned for the non-employment of models is the lack of sufficient
+strength to sustain protracted study from the life. Hence recourse to
+other methods: for instance, both mental and pencil notes were taken of
+casual figures and incidents in society or in the public streets. John
+Gibson, the sculptor, cultivated a like habit. Also a remarkable memory,
+of which much might be told, served as a storehouse of pictorial
+materials. It is recounted now on Sunday evenings, after the reception
+in the studio of fifty or a hundred guests, the meditative artist would
+recall and describe the visitors one by one, and after many years, and
+perhaps in a distant place, meeting some person, otherwise unknown, he
+would say, "I remember to have seen that face once in my painting-room."
+In like manner his memory was peopled with figures, whose acquaintance
+he had made only in pictures: thus, when he came to paint _The
+Assumption_ for Cologne Cathedral, he had recourse to the mental vision
+of the Madonna, derived from an old Sienese panel, and, when charged
+with the plagiarism, he replied: "The figure realises my idea, and I do
+not see why I should search further." Thus, however, it came to pass
+that he borrowed more and more from others, just in proportion as he
+took less from nature. But in coming to a fair judgment, we have to
+remember that the accidents in nature, and the grosser materialism in
+man, were foreign to this super-sensuous art, the aim being to reach the
+hidden meaning and the inner life. Hence the favourite practice of
+placing and posing in the painting-room some well-chosen figure which
+was quietly looked at, carefully considered, and taken in; thus the
+irrelevant elements were eliminated, and only the essential truths
+assimilated. This was for Overbeck the saving study of nature: he made
+extracts and essences, elaborated generic types, and thus his art became
+supreme in beauty. However, the beautiful is not always new, neither is
+the new always beautiful.
+
+The painter's relation to the historic schools of Christian Art has been
+so fully stated, that little more remains to be said. The old masters
+were studied much in the same way as nature: their spirit was inhaled,
+and just as John Gibson was accustomed to ask, What would the Greeks
+have done? so Overbeck put himself in the place of the early Italian
+painters, and desired that his pencil might be guided by their spirit.
+Like Raphael, what he borrowed he made his own, and often added an
+aspect and a grace peculiar to himself. A gallery of pictures was for
+him what a well-stored library is to a literary student, who takes from
+the shelves the author best supplying the intellectual food needed. The
+method is not new or strange: Bacon teaches how the moderns inherit the
+wisdom of the ancients, and surely if for art, as for learning, there be
+advancement in store, old pictures, like old books, must give up the
+treasure of a life beyond life. Overbeck in the past sought not for the
+dead, but for the living and enduring.
+
+Given a painter's genius and surroundings, his art usually follows under
+the law of cause and effect. Overbeck's pictures, as those of others,
+yield under analysis as their component parts, nature plus tradition,
+plus individual self. As to the individual man, we have found Overbeck
+the poet and philosopher, the mystic, somewhat the sentimentalist, and,
+above all, the devout Catholic. The character is singularly interesting,
+and the products are unusually complex. He had forerunners and many
+imitators, yet he stands alone, and were his pencil lost, a blank would
+be felt in the realm of art. His genius was denied grandeur: he did not
+rise to the epic, and scarcely expanded into the dramatic; his path was
+comparatively narrow; his kingdom remained small, yet where he stands is
+hallowed ground; his art is musical, altogether lyrical, yet toned with
+pathos, as if the lamentations of The Holy Women at the Sepulchre
+mingled with the angel-voices of The Nativity. The man and his work are
+among the most striking and unaccustomed phenomena of the century, and
+so far as his art is true to God, humanity, and nature, it must endure.
+His own assurance is left on record: he held that knowledge and doing
+are of value only so far as they ennoble humanity, and lead to that
+which is eternal. He believed in the dependence of art on personal
+character, on elevation of mind and purity of motive. The noblest
+destiny of the race was ceaselessly before him, and he looked to
+Christian Art as the means of showing to the world the everlasting
+truth, and of raising the reality of life to the ideal. In conclusion, I
+think it not too much to claim Overbeck as the most perfect example, in
+our time, of the Christian Artist.
+
+The pecuniary rewards of the painter were in no fair proportion to his
+talents or his industry. His labour, as we have seen, was primarily for
+the honour of art and religion, and his protracted modes of study, as
+well as the esoteric character of his compositions, were little likely
+to meet with adequate return. Overbeck never realised large sums; his
+prices measured by present standards were ridiculously low, and even
+when overcrowded with commissions, he is known to have fallen short of
+ready cash. Happily, after early struggles, he became relieved from
+pressing anxieties, yet he remained comparatively poor.
+
+Overbeck's influence, the example of his life, the principles of his
+art, extended far and wide throughout Europe. In France, the German
+master won the reverence of the Christian artist Flandrin. In England,
+Pugin held him up to students as a bright example. In Vienna and Prague,
+Joseph Fuhrich, as a disciple, worked diligently. In Munich, Heinrich
+Hess, and in Spires, Johann Schraudolph, painted extended series of
+frescoes allied to the same Christian school. In Dusseldorf like
+traditions live:--Deger, Ittenbach, Carl and Andreas Muller studied in
+Rome, and their frescoes in the Rhine chapel at Remagen were inspired by
+Overbeck. And specially does the mantle of the revered painter rest on
+his friend Eduard Steinle; important works at Strasbourg, Cologne,
+Frankfort, Munster, Klein-Heubach, and Reineck, respond to the spirit of
+the great artist who, dead, yet speaks.
+
+Brief is the narrative of the approaching end. The infirmities of age
+scarcely abated the ardent pursuit of an art dear as life itself.
+Overbeck had suffered from an affection of the eyes, and his later
+drawings, notwithstanding partial panegyrists, betray a faltering hand,
+together with some incoherence in thought, or, at least, in the relation
+of the parts to the whole. For some time, in fact, vitality had been
+ebbing from his work. The summer of 1869 found him in his favourite
+retreat of Rocca di Papa, and we are told he was "still busily
+creating." His country dwelling stood among beauties which, in illness
+as in health, came with healing power. From this sylvan quietude the
+aged painter, in June, wrote to his dear friend, Director Steinle, a
+letter abounding in love and aspiration; he dwells on the serenity of
+the Italian sky, on the splendour of the landscape stretching before his
+eye into the far distance; with characteristic modesty he laments that
+even in old age he is not sufficiently advanced for the great task set
+before him, and desires without intermission to turn to good account the
+time still left; and then he counsels his "Brother in Christ" to direct
+the mind steadfastly towards the glorious olden days which point to the
+blessed goal.
+
+Overbeck, on his return to Rome in the autumn of 1869, resumed his
+accustomed order of life. One who knew him well in later years relates
+that he was to be found in his studio in the early morning, that, after
+a short interval at noon, he resumed work till stopped by the darkness
+of evening, and that, such was the wealth of material stored in the
+mind, that he went on inventing without aid from usual outward
+appliances. He still sought utmost tranquillity, and any intrusion on
+the hours of study became extremely painful to him. Latterly he had been
+engaged on a small composition of _The Last Judgment_; 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 Party_. Such
+were the congenial avocations when, on the fourteenth day after the
+return home, he was seized with a severe cold on the chest. Yet the
+symptoms so far yielded to medical treatment that in eight days the
+danger had passed. Suddenly, however, ensued a total failure of power,
+yet for the most part the mind remained unclouded. A day or two before
+death he asked for a piece of charcoal, and added a few touches to a
+design on which lately he had been working; and at times, when
+apparently unconscious, he would look upwards, raise and move his hand
+as if in the act of drawing. He prayed almost without ceasing, was
+grateful for each kindness, and with dying lips had a loving and
+comforting word for everyone. The last sinking came in quietness;
+sustained by the consolations of religion he fell asleep towards six
+o'clock in the evening of Friday, the 12th of November, in the eightieth
+year of his age. He lay as he had lived--in peace; and near his bed was
+placed the drawing on which he had lately worked, also the small cartoon
+of _The Last Judgment_.
+
+The next day, according to the painter's wish, the body was taken by the
+hands of his brother artists to San Bernardo, the little parish church
+near his house, where he worshipped, and where he is still remembered.
+An eye-witness writes from Rome to Lubeck, on the 18th of November: "I
+have just come from the burial of our great fellow-countryman. Amid
+universal grief the funeral mass took place this morning. The mournful
+ceremony was performed by a German bishop assisted by Cistercian monks;
+many artists and German students were present, and joined in psalms
+composed by the Abbe Liszt. The whole function was most solemn, as if
+the pious spirit of the departed had entered the whole assembly. Around
+the bier were gathered Protestants as well as Roman Catholics; the
+coffin bore the many orders which the artist had received, but was never
+seen to wear; and at the feet lay the crown of laurels which his Roman
+brethren reverently offered to their acknowledged chief." The body lies
+in the chapel of St. Francis of Assisi, within the church of San
+Bernardo. The resting-place is marked by a white marble cross, let into
+the wall, bearing the inscription "Joannes Fridericus Overbeck--In
+Pace."
+
+FOOTNOTES:
+
+[Footnote 1: See 'Lubeckische Blatter,' from 1839 to 1869, for sundry
+notices concerning this picture and other works. The _Pieta_ is in oil
+on canvas, 10 feet wide and nearly as high; the top is arched; it is
+photographed. The pigments are in usual sound condition. A small picture
+accompanied this _Pieta_. It had been intended as a present to the
+brother, Judge Christian Gerhard Overbeck, but his death, in 1846,
+preventing the fulfilment of the purpose, it was sent to Lubeck as a
+gift to his son, the artist's nephew, Doctor and Senator Christian
+Theodore Overbeck, who died 1880. The representatives in Lubeck of this
+nephew are said to be in possession of sundry memorials of the
+illustrious uncle. Here in Lubeck I may mention a _Madonna and Child_, a
+circular composition 3 feet 2 inches in diameter, with the painter's
+monogram and the date 1853. The picture is a gem, exquisite for purity,
+tenderness, and beauty. Another _Madonna and Child_ is in the
+Thorwaldsen Museum, Copenhagen.]
+
+[Footnote 2: _The Incredulity of St. Thomas_ is 10 feet high by 5 feet
+wide. It bears the painter's monogram and the date 1851. The figures are
+life-size. The picture is in perfect preservation. The pigments, as
+usual, lie thin, showing through the rough tissues of the Roman canvas.]
+
+[Footnote 3: See 'Geschichte der neuen Deutschen Kunst, von Ernst
+Forster.' Leipzig, Weigel, 1863.]
+
+[Footnote 4: _The Assumption of the Virgin_ is in oil on canvas; height
+about 18 feet, width 9 feet. Figures nearly life-size. The scale is
+rather small for the magnitude of the architectural surroundings. The
+tone is that of an old picture, low and solemn. No positive colours are
+admitted. The pigments remain intact, without crack, blister, or change
+of colour. The picture was the joint gift of the Dusseldorf Kunst-Verein
+and the Cologne Cathedral Chapter. The price paid was equal to about
+L1000 sterling. The cartoon was exhibited in 1876 in the National
+Gallery, Berlin.]
+
+[Footnote 5: The cartoons of the _Via Crucis_ were, in September 1880,
+in the Villa Germania, near Biebrich. They are in chalk or charcoal in
+outline on grey ground, tinted with sepia. Height, 1 foot 9 inches;
+breadth, 1 foot 5 inches. The water-colour drawings of the same series
+were, in January, 1878, in the Camera di Udienza of the Vatican. Height,
+2 feet 6 inches; width, 1 foot 8 inches; mounted on white, and massively
+framed. The walls and accessories of the Pope's apartment are of a crude
+colour and in bad taste. The feeble execution of these cartoons and
+water-colour drawings betrays advancing age and declining power.]
+
+[Footnote 6: The cartoons of _The Seven Sacraments_, after a labour of
+some eight years, were finished in 1861, and received high encomiums
+when exhibited in Brussels. They remained with Overbeck at the time of
+his death, together with many other artistic properties, the
+accumulation of a life. Some of these treasures have been sold by the
+family who entered into possession. The cartoons were offered for sale,
+but are still without a purchaser. Small tempera drawings of _The Seven
+Sacraments_ were bought for the National Gallery, Berlin, in 1878. They
+are on canvas: measurement, 1 foot 8 inches by 1 foot 3 inches. These
+reductions were entrusted to scholars; the execution is poor; the master
+is responsible chiefly for revision. The pigments used vary; some are in
+warm sepia, others in cooler tones, and one, _Penance_, is fully
+coloured. The results technically are far from satisfactory. These
+_Sacraments_, including the predellas, friezes, and side borders, have
+been photographed in large and smaller sizes by Albert, Munich, and from
+the photographs August Gaber executed woodcuts, published with
+explanatory text penned by Overbeck. This text was also published as a
+separate pamphlet: Dresden, August Gaber; London, Dulau and Co. The hope
+above expressed that the cartoons might be further carried out was never
+realised.]
+
+[Footnote 7: I was informed, in October, 1881, by August Gaber, that the
+wood engravings made by him of _The Seven Sacraments_ had proved a
+financial failure, and that he had in the undertaking lost his all. The
+Bible of Schnorr, also rendered on wood by him, had, on the contrary
+succeeded. The reason assigned why the public did not care for _The
+Seven Sacraments_ was, that the treatment is too strongly Catholic; and
+this can hardly be a prejudiced judgment, because it was pronounced by
+Herr Gaber, himself a Catholic.]
+
+[Footnote 8: The picture is in tempera on canvas, and was put up on the
+ceiling of Pio Nono's sitting room in the Quirinal Palace. But when the
+King of Italy took possession, a new canvas with cupids and putti was
+stretched over it, and the Pope's sitting room is now turned into Prince
+Humbert's bedroom. This brutality might almost justify the good painter
+in his belief that Satan is now let loose upon earth. Yet the plea has
+not without reason been urged that the picture is a deliberate attack on
+the King's temporal power. The original cartoon was, in 1876, exhibited
+in the National Gallery, Berlin, and the same subject the artist
+repeated in an oil picture (10 feet by 8 feet), now in the Antwerp
+Museum. Overbeck had been made a "Membre effectif" of the Antwerp
+Academy in 1863, and the commission for this _replica_ followed thereon.
+I am told on authority that in Antwerp "the work is considered very
+mediocre."]
+
+
+
+
+[Illustration: JOANNES FRIDERICUS OVERBECK IN PACE
+
+THE RESTING-PLACE OF OVERBECK IN THE CHURCH OF SAN BERNARDO,
+ROME, IS MARKED BY A CROSS OF WHITE MARBLE BORDERED WITH
+BLACK, AND BEARING AN INSCRIPTION AS ABOVE.]
+
+
+
+
+                CHRONOLOGY OF THE LIFE OF OVERBECK.
+
+
+A.D.                                                                PAGE
+
+ 1789. Overbeck born at Lubeck, 4th July                               1
+       His Ancestors for three generations Protestant Pastors          3
+       His father Burgomaster, Doctor of Laws, and Poet                5
+
+ 1800. His Home Education                                              7
+
+ 1805. His First Drawing                                               9
+
+ 1806. Leaves Lubeck for Vienna                                        9
+       Student in Viennese Academy                                    10
+
+ 1809. Begins painting _Christ's Entry into Jerusalem_                11
+
+ 1810. Rebels against the Viennese Academy, and is expelled           15
+       Leaves Vienna and reaches Rome                                 18
+
+ 1811. German Brotherhood of pre-Raphaelites                          20
+       Monastery of Sant' Isidoro, the Dwelling of the Fraternity     24
+       First Commission                                               28
+
+ 1813. Overbeck joins the Roman Catholic Church                       33
+
+ 1817. Niebuhr, Bunsen, and Schlegel, literary friends             34-40
+
+ 1818. Frescoes, _The History of Joseph,_ in the Casa Bartholdi       40
+       Frescoes, _Jerusalem Delivered,_ in the Villa Massimo;
+       commission for                                              44-47
+
+ 1819. Exhibition in Palazzo Caffarelli                               31
+       Overbeck marries                                               49
+
+ 1831. Fresco, _The Vision of St. Francis,_ finished                  50
+       Overbeck visits Germany; returns to Rome                    52-61
+
+ 1833. Present at the opening of Raphael's Tomb                       61
+
+ 1835. _Christ's Agony in the Garden_; oil picture                    63
+
+ 1836. _Lo Sposalizio_, oil picture, finished                         64
+
+ 1840. _The Triumph of Religion in the Arts_, oil picture,         65-69
+       finished
+       Death of son                                                   76
+
+ 1846. _Pieta_, oil picture, finished                                 77
+
+ 1851. _The Incredulity of St. Thomas_, oil picture                   79
+
+ 1852. _The Gospels_, forty cartoons, finished                     69-72
+
+ 1853. Death of wife                                                  80
+
+ 1855. _Assumption of the Madonna_, oil picture, finished             83
+       Overbeck revisits Germany; returns to Rome                     84
+
+ 1857. _Via Crucis_, fourteen water-colour drawings, finished         87
+       Pope Pius IX. visits the Artist's studio 7th February          93
+
+ 1858. _Christ delivered from the Jews:_ Quirinal: Tempera Picture    92
+
+ 1861. _The Seven Sacraments_, cartoons                            89-92
+
+ 1869. Overbeck died the 12th November, aged eighty                  106
+
+
+
+
+                                INDEX.
+
+
+(_The titles of Paintings and Drawings are printed in Italics._)
+
+
+_Adoration of the Kings_, 28.
+
+_Annunciation_, 70.
+
+_Ascension_, 70.
+
+Assisi, 9, 46, 50, 82, 87.
+
+_Assumption of the Virgin_, 60, 83, 99, 101.
+
+
+_Barabbas released_, 70.
+
+Bartholdi Casa, 40, 43, 44, 60.
+
+_Bearing to the Sepulchre_, 28.
+
+Beauty in the mind and art of Overbeck, 14, 17, 18, 29, 40, 43, 99.
+
+Berlin, National Gallery, 30, 46, 84, 90, 93.
+
+Bible Society, 36.
+
+_Blessed art thou among Women_, 28.
+
+Bond between Art and the Church, 39.
+
+_Book of Hours_, 94.
+
+Bunsen, Baron, 31, 34, 36, 37, 38, 72.
+
+
+Caffarelli Palazzo, 31, 37.
+
+Canova, 27.
+
+Carstens, 12, 13.
+
+Cartoons by Overbeck, 9, 42, 45, 46, 50, 58, 70, 77, 82, 83, 87, 88, 93,
+98.
+
+Catholicism, 27, 31, 32, 33, 34, 35, 38, 52, 53, 58, 62, 69, 79, 81, 92,
+102, 106.
+
+Chart of Overbeck Family, 3, 4.
+
+_Christ's Agony in the Garden_, 63.
+
+_Christ bearing the Lamb_, 60.
+
+_Christ blessing Little Children_, 28.
+
+_Christ's Entry into Jerusalem_, 11, 16, 18, 71, 96.
+
+_Christ escaping from the Jews_, 92.
+
+_Christ falling under the Cross_, 71.
+
+_Christ healing the Sick_, 71.
+
+_Christ in the Temple_, 59, 71.
+
+_Christ teaching the Lord's Prayer_, 94.
+
+Christian Art, 12, 18, 27, 33, 39, 53, 66, 71, 96, 101, 103.
+
+_Christian Parnassus_, 65.
+
+Classic Movement, 3, 7, 8, 9, 12, 14, 27, 40.
+
+Coleridge, 36, 91.
+
+Cologne, 60, 63, 83, 84, 104.
+
+Colour, System of, 16, 29, 63, 64, 67, 98.
+
+Cornelius, Peter, 12, 18, 19, 21, 23, 31, 35, 36, 40, 43, 44, 48, 52,
+54, 59, 61, 74, 83, 87, 95, 97.
+
+_Cornelius, Portrait of_, 59.
+
+_Coronation of the Virgin_, 94.
+
+_Creation of Adam and Eve_, 30.
+
+Crown Prince of Bavaria, 48.
+
+
+David, French School of, 9, 12, 16, 26.
+
+_Death of St. Joseph_, 58, 62, 94.
+
+Deger, Ernst, 21, 104.
+
+Drawings by Overbeck, 9, 13, 28, 29, 30, 49, 55, 58, 59, 64, 87, 90.
+
+Dusseldorf, 12, 20, 21, 28, 52, 60, 84, 104.
+
+
+_Elias in the Chariot of Fire_, 55.
+
+_Entombment_, 28, 71, 77, 87.
+
+European Art, influence of Overbeck over, 103.
+
+_Expulsion from Paradise_, 13, 30.
+
+
+Father of the Painter, 1, 2, 4, 5, 6, 10, 17, 36.
+
+Father's Creed for a Purist Painter, 8.
+
+Father's Monition to study the Classics, 8.
+
+_Feeding the Hungry_, 30.
+
+_Feed My Sheep_, 80.
+
+Fetes in honour of Overbeck, 53, 84.
+
+_Finding of Moses_, 59.
+
+_Flight into Egypt_, 31.
+
+_Four Evangelists_, 94.
+
+Frankfort Stadel Institute, 29, 60, 68, 85, 104.
+
+Fresco Paintings by Overbeck, 11, 12, 21, 31, 40, 43, 44, 49, 100, 104.
+
+Fuger, Friedrich, 10.
+
+Fuhrich, Joseph, 21, 32, 46, 51, 74, 104.
+
+
+Gibson, John, 27, 100, 102.
+
+_God appearing to Elias_, 58.
+
+_Godfrey de Bouillon and Peter the Hermit_, 45.
+
+Goethe, 6, 12, 37.
+
+_Gospels_ or _Evangelists_, 70, 97.
+
+
+Hamburg, 28, 63.
+
+_Head of Old Monk_, 30.
+
+Hess, Heinrich, 55, 104.
+
+_History of Joseph_, 41.
+
+Hoffmann, Madame, 81.
+
+_Holy Communion_, 91.
+
+_Holy Family_, 28, 56.
+
+Home Life of the Painter, 6, 72.
+
+_Human Life_, 105.
+
+
+_Imitation of Christ_, 94.
+
+_Incredulity of St. Thomas_, 79.
+
+_Infant Jesus_, 59.
+
+Isidoro, Sant', Convent of, 21, 23, 24.
+
+_Israelites gathering Manna_, 59.
+
+_Italy and Germany_, 56.
+
+Ittenbach, Franz, 21, 104.
+
+
+_Jairus's Daughter, raising of_, 29, 59.
+
+Jameson, Mrs., 50.
+
+_Jerusalem Delivered_, 12, 31, 45.
+
+_Jesus as a Child at Nazareth_, 6.
+
+_Jesus Condemned_, 87.
+
+_Jesus in the House of Martha and Mary_, 28.
+
+_Joseph sold by his Brethren_, 42.
+
+
+_Last Judgment_, 105, 106.
+
+Leipzig Museum, 45, 50.
+
+Lessing, 27, 37.
+
+Letters and Correspondence of Overbeck, 9, 18, 25, 29, 33, 52, 57, 61,
+62, 64, 98, 104.
+
+Linder, Emilie, 52, 57, 58, 62, 76, 85.
+
+Literature and Art, state of, 11, 37.
+
+Lubeck, 1-9.
+
+Ludwig, King, 54, 55.
+
+Luther, 2, 34, 36, 64.
+
+
+_Madonna_, 31, 35.
+
+_Madonna and Child_, 31, 77.
+
+_Magnificat of Art_, 65.
+
+Maria Alfons, son of Overbeck, 17, 69, 76, 82.
+
+_Marriage of the Virgin_, 64.
+
+_Marriage, Sacrament of_, 80, 90.
+
+_Massacre of the Innocents_, 70.
+
+Massimo Villa, 9, 31, 44, 46, 60, 100.
+
+_Meeting of Ulysses and Telemachus_, 9.
+
+Memling's double Triptych, 2, 78.
+
+Mengs, Raphael, 12, 27.
+
+Mental Aspects of Overbeck, 5, 12, 15, 17, 18, 20, 24, 32, 34, 43, 51,
+55, 61, 71, 73, 74, 77, 85, 86, 95, 101.
+
+Monumental Painting, 49.
+
+_Moses and the Daughters of Jethro_, 94.
+
+Muller, Andreas, 21, 104.
+
+Muller, Carl, 21, 104.
+
+Munich, 50, 53, 54, 55, 56, 59, 85, 104.
+
+
+_Naming of St. John_, 71.
+
+Nature, study of, 15, 17, 23, 30, 43, 47, 54, 62, 63, 64, 66, 88, 100.
+
+Nazarites, 25, 74.
+
+Niebuhr, 25, 31, 32, 34, 35, 36, 37, 38, 44, 72.
+
+Nina, wife of Overbeck, 17, 49, 76, 80, 85.
+
+
+Oil Paintings by Overbeck, 11, 16, 28, 50, 56, 58, 60, 62, 63, 64, 65,
+77, 79, 83, 92, 93, 94.
+
+
+_Passion, the_, 87.
+
+_Penance, Sacrament of_, 90.
+
+Personal Aspect of Overbeck, 34, 73, 74, 86, 94.
+
+Perugia, 87.
+
+_Pieta_, 77.
+
+_Pilgrim_, 94.
+
+Pius IX., 73, 92.
+
+_Pius IX., his Portrait_, 92.
+
+Portraits of Overbeck, 17, 59, 69, 94, 96.
+
+_Preaching of St. John_, 28.
+
+Pre-Raphaelites, English, 14, 62.
+
+Pre-Raphaelites, German, 15, 19, 20, 21, 23, 25, 31, 34, 36, 40, 61, 74.
+
+Pre-Raphaelites, Italian, 12, 16, 43, 64, 102.
+
+Prices of Pictures, 46, 58, 65, 67, 79.
+
+Protestantism, 1, 3, 31, 32, 33, 35, 53, 69, 79, 81, 83, 106.
+
+Pugin, 33, 67, 104.
+
+
+Raczynski, Count, 50, 64.
+
+_Raising of Lazarus_, 28, 93.
+
+Raphael, opening of his Tomb, 61.
+
+Reformation, 3, 36.
+
+_Religion glorified by the Arts_: Overbeck's dissertation thereon, 65.
+
+_Resurrection, the_, 71.
+
+_Return from Church of the Wedding Party_, 105.
+
+Romantic Movement, 7, 12, 37, 47.
+
+
+Schadow, Wilhelm, 21, 24, 31, 34, 35, 37, 40, 43, 60.
+
+Schlegel, Friedrich, 12, 31, 33, 35, 38, 39, 41.
+
+Schnorr, Julius, 21, 44, 45, 71, 92.
+
+Schraudolph, Johann, 55, 85, 104.
+
+_Seven Sacraments_, 70, 88, 91, 92.
+
+_Seven Sacraments_: Overbeck's exposition of, 89, 91.
+
+_Seven Years of Famine_, 42, 51, 98.
+
+_Sibyl_, 64.
+
+_Sophronio and Olindo_, 45.
+
+Spiritual Art, "Soul Pictures,", 15, 33, 40, 65, 66, 100.
+
+_Sposalizio, Lo_, 64.
+
+_Stations, the_, 70, 86, 87, 92.
+
+Steinle, Eduard, 21, 51, 85, 86, 104.
+
+Stift Neuburg, 28, 29, 30, 59, 85.
+
+_St. Philip Neri_, 94.
+
+Studio of Overbeck, 70, 73, 82, 86, 101.
+
+Study, Overbeck's modes of, 72, 97, 100, 101.
+
+
+Thorwaldsen, 27, 77.
+
+_Triumph of Religion in the Arts_, 14, 60, 65, 97.
+
+_Triumph of Religion in the Arts_: Overbeck's exposition of, 65.
+
+_Twelve Apostles_, 94.
+
+
+Veit, Philip, 21, 31, 35, 38, 40, 41, 43, 44, 45, 60, 61, 97.
+
+_Via Crucis_, 86, 87.
+
+Vienna, 9-18.
+
+_Virtues_, 94.
+
+_Vision of St. Francis_, 9, 49, 50.
+
+_Vittoria Caldoni, Portrait of_, 28, 56.
+
+_Vocation of the Apostles James and John_, 80, 94.
+
+
+Winckelmann, 12, 27.
+
+
+
+
+LONDON: PRINTED BY WILLIAM CLOWES AND SONS, LIMITED, STAMFORD STREET AND
+                            CHARING CROSS.
+
+
+
+
+
+End of the Project Gutenberg EBook of Overbeck, by J. Beavington Atkinson
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