y poor.

Overbeck's influence, the example of his life, the principles of his
art, extended far and wide throughout Europe. In France, the German
master won the reverence of the Christian artist Flandrin. In England,
Pugin held him up to students as a bright example. In Vienna and Prague,
Joseph Fuhrich, as a disciple, worked diligently. In Munich, Heinrich
Hess, and in Spires, Johann Schraudolph, painted extended series of
frescoes allied to the same Christian school. In Dusseldorf like
traditions live:--Deger, Ittenbach, Carl and Andreas Muller studied in
Rome, and their frescoes in the Rhine chapel at Remagen were inspired by
Overbeck. And specially does the mantle of the revered painter rest on
his friend Eduard Steinle; important works at Strasbourg, Cologne,
Frankfort, Munster, Klein-Heubach, and Reineck, respond to the spirit of
the great artist who, dead, yet speaks.

Brief is the narrative of the approaching end. The infirmities of age
scarcely abated the ardent pursuit of an art dear as life itself.
Overbeck had suffered from an affection of the eyes, and his later
drawings, notwithstanding partial panegyrists, betray a faltering hand,
together with some incoherence in thought, or, at least, in the relation
of the parts to the whole. For some time, in fact, vitality had been
ebbing from his work. The summer of 1869 found him in his favourite
retreat of Rocca di Papa, and we are told he was "still busily
creating." His country dwelling stood among beauties which, in illness
as in health, came with healing power. From this sylvan quietude the
aged painter, in June, wrote to his dear friend, Director Steinle, a
letter abounding in love and aspiration; he dwells on the serenity of
the Italian sky, on the splendour of the landscape stretching before his
eye into the far distance; with characteristic modesty he laments that
even in old age he is not sufficiently advanced for the great task set
before him, and desires without intermission to turn to good account the
time still left; and then he counsels his "Brother in Christ" to direct
the mind steadfastly towards the glorious olden days which point to the
blessed goal.

Overbeck, on his return to Rome in the autumn of 1869, resumed his
accustomed order of life. One who knew him well in later years relates
that he was to be found in his studio in the early morning, that, after
a short interval at noon, he resumed work till stopped by the darkness
of evening, and