ter's ideal of earth as the portal to heaven. Certain
spheres were beyond his ken. The marriage of Cana did not for him flow
with the wine of gladness; he had no fellowship with the nuptial banquet
as painted by Veronese. His pencil shunned the Song of Miriam and the
Dance of the Daughter of Herodias; it could not pass, like the pen of
England's epic poet, with a light fantastic touch from "Il Penseroso" to
"L'Allegro;" his walk was narrow as a convent cloister; his art was
attuned to the sound of the vesper bell.

Overbeck's modes of study and habits of work were like himself--secluded
and self-contained. His strength did not permit prolonged labour, and
his mind was easily put out of tune; yet by method and strict economy of
time he was able, as we have seen, to get through a very considerable
amount of work. Each day had its allotted task. He rose summer and
winter between five and six o'clock, and usually went to church; at
seven he took a simple breakfast, then entered his studio and worked on
till one. This was the hour for dinner, a frugal meal preceded by the
customary grace. After a little repose, action was resumed about
half-past two, and continued till four, or sometimes even to six. Then
came exercise, mostly a meditative walk; in early times, before the
habits of a recluse had grown confirmed, the painter enjoyed an
evening's stroll with choice spirits, such as Niebuhr and Bunsen, but in
later years he preferred his own communings, his thoughts turning upon
art or finding diversion only among the beauties of nature. Within the
house he became abstracted; he wandered about lost to outward
surroundings, and would brook no interruption. In the winter evenings,
at least in later life, he relaxed so far as to join in some table game;
but his hours were early, he supped at eight, then retired to his room
for meditation, and was always in bed by ten. General family prayers
were not the order of the household; the constant habit was individual
devotion in private. The Pope took a fatherly care over the pious
artist, and granted him privileges permitted only to the few. And
Overbeck was on his part strict and zealous in all Church functions, and
neglected no means of building up the Christian life. Each day in fact
was so nicely apportioned between religion and art, that the morning and
the evening worship blended indissolubly with the midday work.

The bodily and mental aspect of Overbeck is well known. I myself h