oseph_, 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 inwar