inter 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