12: Surely Overbeck is unjust to the masterpieces of Correggio
in Parma and Dresden, including two Holy Families, _Il Giorno_ and _La
Notte_. He likewise must have forgotten Titian's religious pictures in
Venice and Vienna, _The Assumption_ and sundry Holy Families. The "young
artist" has to remember that a picture is different from a homily: that
art has to be valued for her own sake, that drawing, composition, light,
shade and colour are indispensable elements in every art work. Overbeck
shirks the stern truth that the first duty of a painter is to paint.]

[Footnote 13: It is difficult to remain tolerant of such intolerance.
Why does not Overbeck declare plainly that Ary Scheffer is excluded
because he was a Protestant? As spectators a place in the picture is
assigned to Cornelius, Veit, and to Overbeck himself, all Roman
Catholics, whilst Schnorr, as a Protestant, is deemed unworthy to
appear. It is interesting to observe that Overbeck's darling son is
introduced in the character of a young Englishman.]

[Footnote 14: The cartoons for the Gospels, originally made for an art
dealer in Prague, were afterwards acquired by the late Baron Lotzbeck of
Weihern, near Munich, and are now in the possession of the son, the
present Baron: they are framed and protected under glass.]

[Footnote 15: See 'L'Evangile Illustre: Quarante Compositions de
Frederic Overbeck: gravees par les meilleurs Artistes de l'Allemagne:'
Schulgen, Dusseldorf and Paris. Overbeck had an aversion to the heavy
and mechanical schools of engraving; he objected to meaningless masses
of shadow and to the multiplication of lines inexpressive of form.
Accordingly these engravings from the Gospels, in common with other
plates from the master, possess merits the opposites to such defects.
Like the original drawings, they are chiefly dependent on outline, and
even their slightness is not without the advantage of suggestiveness.
Four illustrations here are facsimiles of the engravings.]

[Footnote 16: See 'Briefe eines deutschen Kunstlers aus Italien, aus den
nachgelassenen Papieren von Edwin Speckter.' Leipzig: Brockhaus, 1846.
Also see 'Bunte Blatter, von A. W. Ambros.' Leipzig: Leuckart, 1872.]

CHAPTER IV.

LATE WORKS--CONCLUSION--THE PAINTER AND HIS ART.

Overbeck, as we have seen, deliberately laid out his life for
tranquillity; but not sheltered, as Fra Angelico, in a cloister, his
serene mind was at ti