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