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 transpar