FOOTNOTES:
[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.
[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.
[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.
[4] See 'Historisch‑Politische Blätter für das Katholische Deutschland,' before quoted.
[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 100l. 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.
[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.
[7] Overbeck's letter on the opening of the tomb in the Pantheon is published in Passavant's 'Life of Raphael.'
[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.
[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 100l. sterling. Surely Overbeck did not paint for filthy lucre.
[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.
[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.
[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.
[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.
[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.
[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.
[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.
