quite disappeared,
asserted themselves with new and increased force. The nations which were
groaning under Napoleon's oppression sought comfort in the contemplation
of a fairer and grander past. Patriotism and mediaevalism became for a
long time the watchwords and the dominating fashion of the day."

Allowing for the differences mentioned, the romantic movements in England
and Germany offer, as might be expected, many interesting parallels.
Carlyle, writing in 1827,[14] says that the recent change in German
literature is only a part of a general change in the whole literature of
Europe. "Among ourselves, for instance, within the last thirty years,
who has not lifted up his voice with double vigour in praise of
Shakespeare and nature, and vituperation of French taste and French
philosophy? Who has not heard of the glories of old English literature;
the wealth of Queen Elizabeth's age; the penury of Queen Anne's; and the
inquiry whether Pope was a poet? A similar temper is breaking out in
France itself, hermetically sealed as that country seemed to be against
all foreign influences; and doubts are beginning to be entertained, and
even expressed, about Corneille and the three unities. It seems to be
substantially the same thing which has occurred in Germany, and been
attributed to Tieck and his associates; only that the revolution which is
here proceeding, and in France commencing, appears in Germany to be
completed."

In Germany, as in England--in Germany more than in England--other arts
beside literature partook of the new spirit. The brothers Boisseree
agitated for the completion of the "Koelner Dom," and collected their
famous picture gallery to illustrate the German, Dutch, and Flemish art
of the fifteenth century; just as Gothic came into fashion in England
largely in consequence of the writings of Walpole, Scott, and Ruskin.
Like our own later Pre-Raphaelite group, German art critics began to
praise the naive awkwardness of execution and devout spirituality of
feeling in the old Florentine painters, and German artists strove to
paint like Fra Angelico. Friedrich Schlegel gave a strong impulse to the
study of mediaeval art, and Heine scornfully describes him and his friend
Joseph Goerres, rummaging about "among the ancient Rhine cities for the
remains of old German pictures and statuary which were superstitiously
worshipped as holy relics." Tieck and his friend Wackenroder brought
back from their pilgrimage