JOHANN See also:

• FRIEDRICH, JOHANN (1836— )

FRIEDRICH See also:

• JOHANN FRIEDRICH OVERBECK (1789-1869)

OVERBECK (1789-1869)  , See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German painter, the reviver of " See also:

• CHRISTIAN
• CHRISTIAN, WILLIAM (1608-1663)

Christian See also:

• ART

art " in the 19th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born in See also:

• LUBECK

Lubeck on the 4th of See also:

• JULY

July 1789 . His ancestors for three generations had been See also:

• PROTESTANT

Protestant pastors; his See also:

• FATHER

father was See also:

• DOCTOR (Lat. for " teacher ")

doctor of See also:

• LAWS

laws, poet, mystic pietist and burgomaster of Lubeck . Within a See also:

• STONE
• STONE (0. Eng. shin; the word is common to Teutonic languages, cf. Ger. Stein, Du. steen, Dan. and Swed. sten; the root is also seen in Gr. aria, pebble)
• STONE, CHARLES POMEROY (1824-1887)
• STONE, EDWARD JAMES (1831-1897)
• STONE, FRANK (1800-1859)
• STONE, GEORGE (1708—1764)
• STONE, LUCY [BLACKWELL] (1818-1893)
• STONE, MARCUS (184o— )
• STONE, NICHOLAS (1586-1647)

stone's throw of the See also:

• FAMILY

family See also:

• MANSION (through O. Fr. mansion, mod. maison, from Lat. mansio, dwelling-place, stage on a journey; manere, to remain)

mansion in the Konigstrasse stood the gymnasium, where the See also:

• UNCLE

uncle, doctor of See also:

• THEOLOGY

theology and a voluminous writer, was the See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master; there the See also:

• NEPHEW

nephew became a classic See also:

• SCHOLAR, SCHOLARSHIP

scholar and received instruction in art . The See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

young artist See also:

• LEFT

left Lubeck in See also:

• MARCH
• MARCH (1) (from Fr. marcher, to walk; the earliest sense in French appears to be " to trample," and the origin has usually been found in the Lat. marcus, hammer; Low Lat. marcare, to hammer; hence to beat the road with the regular tread of a soldier: cf.
• MARCH, AUZIAS (c. "1395-1458)
• MARCH, EARLS OF
• MARCH, FRANCIS ANDREW (1825– )

March 1806, and entered as student the See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

academy of See also:

• VIENNA (Ger. Wien; Lat. Vindobona)
• VIENNA, CONGRESS OF (1814-1815)

Vienna, then under the direction of F . H . Fuger, a painter of some renown, but of the pseudo-classic school of the See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French See also:

• DAVID
• DAVID (a Hebrew name meaning probably beloved 1)
• DAVID, FELICIEN (1810—1876)
• DAVID, GERARD [GHEERAERT DAVIT], (?=1523)
• DAVID, PIERRE JEAN (1789–1856)
• DAVID, ST (Dewi, Sant)

David . Here was gained thorough knowledge, but the teachings and associations proved unendurable to the sensitive, spiritual-minded youth . See also:

• OVERBECK, JOHANN FRIEDRICH (1789-1869)

Overbeck wrote to a friend that he had fallen among a vulgar set, that every See also:

• NOBLE, SIR ANDREW (1832- )

noble thought was suppressed within the academy and that losing all faith in humanity he turned inwardly on himself . These words are a See also:

• KEY
• KEY (in O. Eng. tang; the ultimate origin of the word is unknown; it appears only in Old Frisian kei of other Teutonic languages; until the end of the 17th century the pronunciation was kay, as in other words in O. Eng. ending in aeg; cf. daeg, day; clang
• KEY (the phraseograms being indicated by hyphens)
• KEY, SIR ASTLEY COOPER (1821-1888)
• KEY, THOMAS HEWITT (1799-1875)

key to his future position and art . It seemed to him that in Vienna, and indeed throughout See also:

• EUROPE

Europe, the pure springs of Christian art had been for centuries diverted and corrupted, and so he sought out afresh the living source, and, casting on one See also:

• SIDE
• SIDE (mod. Eski Adalia)

side his contemporaries, took for his guides the See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early and pre-Raphaelite painters of See also:

• ITALY
• ITALY (Italia)

Italy . At the end of four years, See also:

• DIFFERENCES, CALCULUS OF (Theory of Finite Differences)

differences had grown so irreconcilable that Overbeck and his See also:

• BAND

band of followers were expelled from the academy . True art, he writes, he had sought in Vienna in vain—" Oh !

I was full of it; my whole See also:

• FANCY (a shortened form, dating from the 15th century, of " fantasy," which is derived through the O. Fr. fantasie, modern fantaisie. from the Latinized form of the Gr. cbavraoia, Oavrai'ecv, Oat Pais, to show)

fancy was possessed by Madonnas and Christs, but nowhere could I find response." Accordingly he left for See also:

• ROME
• ROME (Roma)

Rome, carrying his See also:

• HALF

half-finished See also:

• CANVAS

canvas " See also:

• CHRIST (Gr. X pLQTOS, Anointed)
• CHRIST, WILHELM VON (1831-1906)

Christ's Entry into See also:

• JERUSALEM (Heb. ^S0-r, Yerushalaim, pronounced as a dual)
• JERUSALEM, SYNOD OF (1672)

Jerusalem," as the See also:

• CHARTER (Lat. charta, carta, from Gr. Xap-rns, originally for papyrus, material for writing, thence transferred to paper and from this material to the document, in O. Eng. boc, book)

charter of his creed—" I will abide by the See also:

• BIBLE
• BIBLE, ENGLISH

Bible; I elect it as my See also:

• STANDING

standing-point." Overbeck in 1810 entered Rome, which became for fifty-nine years the centre of his unremitting labour . He was joined by a goodly . See also:

• COMPANY

company, including See also:

• CORNELIUS
• CORNELIUS, CARL AUGUST PETER (1824-1874)
• CORNELIUS, PETER VON (1784–1867)

Cornelius, Wilhelm See also:

• SCHADOW

Schadow and See also:

• PHILIP
• PHILIP (Gr.'FiXtrsro , fond of horses, from dn)^eiv, to love, and limos, horse; Lat. Philip pus, whence e.g. M. H. Ger. Philippes, Dutch Filips, and, with dropping of the final s, It. Filippo, Fr. Philippe, Ger. Philipp, Sp. Felipe)
• PHILIP, JOHN (1775-1851)
• PHILIP, KING (c. 1639-1676)
• PHILIP, LANOGRAVE OF HESSE (1504-1567)

Philip See also:

• VEIT, PHILIPP (1793-1877)

Veit, who took up their See also:

• ABODE (from " abide," to dwell, properly " to wait for ," to bide)

abode in the old Franciscan See also:

• CONVENT (Lat. conventus, from convenire, to come together)

convent of See also:

• SAN

San Isidoro on the Pincian See also:

• HILL
• HILL (0. Eng. hyll; cf. Low Ger. hull, Mid. Dutch hul, allied to Lat. celsus, high, collis, hill, &c.)
• HILL, A
• HILL, AARON (1685-175o)
• HILL, AMBROSE POWELL
• HILL, DANIEL HARVEY (1821-1889)
• HILL, DAVID BENNETT (1843–1910)
• HILL, GEORGE BIRKBECK NORMAN (1835-1903)
• HILL, JAMES J
• HILL, JOHN (c. 1716-1775)
• HILL, MATTHEW DAVENPORT (1792-1872)
• HILL, OCTAVIA (1838– )
• HILL, ROWLAND (1744–1833)
• HILL, SIR ROWLAND (1795-1879)

Hill, and were known among See also:

• FRIENDS, SOCIETY
• FRIENDS, SOCIETY OF

friends and enemies by the descriptive epithets— " the Nazarites," " the pre-Raphaelites," " the new-old school," " the German-See also:

• ROMAN

Roman artists," " the See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church-romantic painters," " the German patriotic and religious painters." Their See also:

• PRECEPT (Lat. praeceptum, a rule, from praecipere, literally to take beforehand, to give rules, instructions or orders)

precept was hard and honest See also:

• WORK

work and See also:

• HOLY

holy living; they eschewed the See also:

• ANTIQUE (Lat. antiquus, old)

antique as See also:

• PAGAN
• PAGAN (Lat. paganus, of or belonging to a pagus, a canton, county district, village, commune)

pagan, the See also:

• RENAISSANCE, THE

Renaissance as false, and built up'a severe revival on See also:

• SIMPLE

simple nature and on the serious art of See also:

• PERUGINO, PIETRO (1446-1524)

Perugino, See also:

• PINTURICCHIO (1454–1513)

Pinturicchio, See also:

• FRANCIA (c. 1450-1517)
• FRANCIA, JOSE GASPAR RODRIGUEZ (c. 1757-1840)

Francia and the young See also:

• RAPHAEL (Hebrew smm, " God heals ")

Raphael . The characteristics of the See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style thus educed were See also:

• NOBILITY

nobility of See also:

• IDEA (Gr. Ibia, connected with i&eiv, to see; cf. Lat. species from specere, to look at)

idea, precisionand even hardness of outline, scholastic See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition, with the addition of See also:

• LIGHT

light, shade and See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour, not for allurement, but chiefly for perspicuity and completion of See also:

• MOTIVE (from Lat. movere, to move)

motive . Overbeck was See also:

• MENTOR

mentor in the See also:

• MOVEMENT

movement; a See also:

• FELLOW

fellow-labourer writes: " No one who saw him or heard him speak could question his purity of motive, his deep insight and abounding knowledge; he is a See also:

• TREASURY

treasury of art and See also:

• POETRY

poetry, and a saintly See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man." But the struggle was hard and poverty its See also:

• REWARD

reward . Helpful friends, however, came in See also:

• NIEBUHR, BARTHOLD GEORG (1776–1831)
• NIEBUHR, KARSTEN (1733-1815)

Niebuhr, See also:

• BUNSEN, CHRISTIAN CHARLES JOSIAS, BARON VON (1791-186o,)
• BUNSEN, ROBERT WILHELM VON (1811-1899)

Bunsen and See also:

• FREDERICK
• FREDERICK (Mod. Ger. Friedrich; Ital. Federigo; Fr. Frederic and Federic; M.H.G. Friderich; O.H.G. Fridurih, " king or lord of peace," from O.H.G. fridu, A.S. frith, " peace," and rfh " rich," " a ruler," for derivation of which see HENRY)

Frederick See also:

• SCHLEGEL, AUGUST WILHELM VON (1767-1845)
• SCHLEGEL, JOHANN ELIAS (1719-1749)
• SCHLEGEL, KARL WILHELM FRIEDRICH VON (1772-1829)

Schlegel . Overbeck in 1813 joined the Roman See also:

• CATHOLIC (Gr. KcaBoXuK6s, general, universal)

Catholic Church, and thereby he believed that his art received Christian See also:

• BAPTISM

baptism . Faith in a See also:

• MISSION

mission begat See also:

• ENTHUSIASM

enthusiasm among kindred minds, and timely commissions followed . The Prussian See also:

• CONSUL
• CONSUL (in Gr. generally ihraros,ashortened form of errpavgybs 8hraeos, i.e. praetor maximus)

consul, Bartholdi, had a See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

house on the brow of the Pincian, and he engaged Overbeck, Cornelius, Veit and Schadow to decorate a See also:

• ROOM

room 24 ft. square with frescoes (now in the See also:

• BERLIN
• BERLIN, CONGRESS AND TREATY OF
• BERLIN, ISAIAH (1725–1799)

Berlin See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

gallery) from the See also:

• STORY, JOHN (c. 1510-1571)
• STORY, JOSEPH (1779-1845)
• STORY, ROBERT HERBERT (1835-1907)
• STORY, WILLIAM WETMORE (1819—1895)

story of See also:

• JOSEPH
• JOSEPH, COMTE DE (1785-1870)
• JOSEPH, FATHER (FRANCOIS LECLERC DU TREMBLAY) (1577-1638)

Joseph and his Brethren . The subjects which See also:

• FELL
• FELL, JOHN (1625-1686)

fell to the See also:

• LOT
• LOT (Lat. Oltis)

lot of Overbeck were the " Seven Years of See also:

• FAMINE (Lat. fames, hunger)

Famine " and " Joseph sold by his Brethren." These tentative See also:

• WALL (O. Eng. weal, weall, Mid. Eng. wal, wane, adapted from Lat. vallum, rampart; the original O. Eng. word for a wall was wag or tenth)
• WALL, RICHARD (1694-1778)

wall-pictures, finished in 1818, produced so favourable an impression among the Italians that in the same See also:

• YEAR

year See also:

• PRINCE
• PRINCE (Lat. princeps, from primus capio, " I am the first to take "; Ital. principe, Fr. prince)

Prince See also:

• MASSIMO, or MASSIMI

Massimo commissioned Overbeck, Cornelius, Veit and Schnorr to See also:

• COVER (from the Fr. convert, from couvrir, to cover, Lat. cooperire)

cover the walls and ceilings of his See also:

• GARDEN (from O. Fr. garden, mod. Fr. jardin; this, like our words " garth," a paddock attached to a building, and " yard," comes from a Teutonic word for an enclosure which appears in Gothic as gards and O. H. Ger. gart, cf. Dutch gaarde and Ger. .garten)

garden See also:

• PAVILION

pavilion, near St See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John Lateran, with frescoes illustrative of See also:

• TASSO, TORQUATO (1544-1595)

Tasso, See also:

• DANTE

Dante and See also:

• ARIOSTO, LODOVICO (1474-1533)

Ariosto . To Overbeck was assigned, in a room 15 ft. square, the See also:

• ILLUSTRATION

illustration of Tasso's Jerusalem Delivered; and of eleven compositions the largest and most noteworthy, occupying one entire wall, is the " See also:

• MEETING (from " to meet," to come together, assemble, 0. Eng. metals ; cf. Du. moeten, Swed. mota, Goth. gamotjan, &c., derivatives of the Teut. word for a meeting, seen in O. Eng. Wit, moot, an assembly of the people; cf. witanagemot)

Meeting of See also:

• GODFREY, SIR EDMUND BERRY (1621-1678)

Godfrey de See also:

• BOUILLON

Bouillon and See also:

• PETER
• PETER (Lat. Petrus from Gr. irfpos, a rock, Ital. Pietro, Piero, Pier, Fr. Pierre, Span. Pedro, Ger. Peter, Russ. Petr)
• PETER (PEDRO)
• PETER, EPISTLES OF
• PETER, ST

Peter the See also:

• HERMIT

Hermit." The completion of the frescoes—very unequal in merit—after ten years' delay, the overtaxed and enfeebled painter delegated to his friend Joseph Ftihrich . The leisure thus gained was devoted to a thoroughly congenial theme, the " See also:

• VISION (from Lat. videre, to see), or SIGHT

Vision of St See also:

• FRANCIS
• FRANCIS (FRarrcols) OF SALES, ST (1567-1622)
• FRANCIS (Lat. Franciscus, Ital. Francesco, Span. Francisco, Fr. Francois, Ger. Franz)
• FRANCIS, SIR PHILIP (174o-1818)

Francis," a wall-See also:

• PAINTING

painting 20 ft. See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long, figures See also:

• LIFE

life See also:

• SIZE

size, finished in 183o, for the church of Sta Maria degli Angeli near See also:

• ASSISI (anc. Asisium)

Assisi . Overbeck and the brethren set themselves the task of recovering the neglected art of See also:

• FRESCO (Ital. for cool, " fresh ")

fresco and of monumental painting; they adopted the old methods, and their success led to memorable revivals throughout Europe .

Fifty years of the artist's laborious life were given to oil and easel paintings, of which the See also:

• CHIEF (from Fr. chef, head, Lat. caput)

chief, for size and import, are the following: " Christ's Entry into Jerusalem " (1824), in the Marien Kirche, Lubeck; " Christ's Agony in the Garden " (1835), in the See also:

• GREAT

great See also:

• HOSPITAL (Lat. haspitalis, the adjective of hospes, host or guest)

hospital, See also:

• HAMBURG

Hamburg; " Lo Sposalizio " (1836), Raczynski gallery, Berlin; the " See also:

• TRIUMPH (triumphus)

Triumph of See also:

• RELIGION
• RELIGION, FOLKLORE, CUSTOM

Religion in the Arts " (184o), in the Stadel Institut, See also:

• FRANKFORT

Frankfort; " Pieta " (1846), in the Marien Kirche, Luheck; the " Incredulity of St See also:

• THOMAS
• THOMAS (c. 1654-1720)
• THOMAS (d. 110o)
• THOMAS, ARTHUR GORING (1850-1892)
• THOMAS, CHARLES LOUIS AMBROISE (1811-1896)
• THOMAS, GEORGE (c. 1756-1802)
• THOMAS, GEORGE HENRY (1816-187o)
• THOMAS, ISAIAH (1749-1831)
• THOMAS, PIERRE (1634-1698)
• THOMAS, SIDNEY GILCHRIST (1850-1885)
• THOMAS, ST
• THOMAS, THEODORE (1835-1905)
• THOMAS, WILLIAM (d. 1554)

Thomas " (1851), in the See also:

• POSSESSION
• POSSESSION (Lat. possessio, possidere, to possess)

possession of Mr See also:

• BERESFORD, JOHN (1738-1805)
• BERESFORD, LORD CHARLES WILLIAM DE LA POER (1846- )
• BERESFORD, WILLIAM CARR BERESFORD, VISCOUNT (1768–1854)

Beresford See also:

• HOPE, ANTHONY
• HOPE, THOMAS (c. 1770-1831)

Hope, See also:

• LONDON

London; the " See also:

• ASSUMPTION, FEAST OF

Assumption of the Madonna " (1855), in See also:

• COLOGNE (Ger. Koln, or officially, since 1900, Coln)

Cologne See also:

• CATHEDRAL

Cathedral; "Christ delivered from the See also:

• JEWS
• JEWS (Heb. Y8hudi, man of Judah; Gr. 'Iovbaiot; Lat. Judaei)

Jews " (1858), See also:

• TEMPERA (the Italian term), or DISTEMPER

tempera, on a See also:

• CEILING (from a verb " to ceil," i.e. to line or cover; of disputed etymology, but apparently connected with Fr. ciel, Lat. caelum, sky)

ceiling in the Quirinal See also:

• PALACE (Lat. Palatium, the name given by Augustus to his residence on the Palatine Hill)

Palace—a See also:

• COMMISSION (from Lat. commissio, committere)

commission from See also:

• PIUS

Pius IX., and a See also:

• DIRECT

direct attack on the See also:

• ITALIAN

Italian temporal See also:

• GOVERNMENT
• GOVERNMENT (0. Fr. governement, mod. gouvernement, O. Fr. governer, mod. gouverner, from Lat. gubernare, to steer a ship, guide, rule; cf. Gr. xv(3epvav)

government, therefore now covered by a canvas adorned with Cupids . All the artist's See also:

• WORKS

works are marked by religious fervour, careful and protracted study, with a dry, severe handling, and an abstemious colour . Overbeck belongs to eclectic See also:

• SCHOOLS

schools, and yet was creative; he ranks among thinkers, and his See also:

• PEN (Lat. penna, a feather, pen)

pen was hardly less busy than his See also:

• PENCIL (Lat. penicillus, brush, literally little tail)

pencil . He was a See also:

• MINOR
• MINOR (Lat. for smaller, lesser)
• MINOR, ROBERT CRANNELL (1839-1904)

minor poet, an essayist and a voluminous See also:

• LETTER (through Fr. lettre from Lat. littera or litera, letter of the alphabet; the origin of the Latin word is obscure; it has probably no connexion with the root of linere, to smear, i.e. with wax, for an inscription with a stilus)

letter-writer . His style is wordy and tedious; like his art it is See also:

• BORNE, KARL LUDWIG (1786–1837)

borne down with emotion and possessed by a somewhat morbid " subjectivity." His pictures were didactic, and used as means of propagandas for his See also:

• ARTISTIC

artistic and religious faith, and the teachings of such compositions as the " Triumph of Religion and the Sacraments " he enforced by rapturous See also:

• LITERARY

literary effusions . His art was the issue of his life: his See also:

• CONSTANT, BENJAMIN (1845-1902)

constant thoughts, cherished in solitude and chastened by See also:

• PRAYER (from Lat. precari, entreat; Ital. pregaria, Fr. priere)
• PRAYER, BOOK OF COMMON

prayer, he transposed into pictorial forms, and thus were evolved countless and much-prized drawings and cartoons, of which the most considerable are the Gospels, See also:

• FORTY

forty cartoons (1852); Via Crucis, fourteen See also:

• WATER

water-colour drawings (x857); the Seven Sacraments, seven cartoons (1861) . Over-See also:

• BECK (or BEEK), DAVID (1621—1656)
• BECK, CHRISTIAN DANIEL (1757-1832)
• BECK, JAKOB SIGISMUND (1761-1840)

beck's compositions, with few exceptions, are engraved . His life-work he sums up in the words— " Art to me is as the See also:

• HARP (Fr. harpe; Ger. Harfe; Ital. arpa)

harp of David, whereupon I would See also:

• DESIRE

desire that See also:

• PSALMS, BOOK
• PSALMS, BOOK OF, or PSALTER

psalms should at all times be sounded to the praise of the See also:

• LORD
• LORD (O. Eng. hldford, i.e. hldfweard, the warder or keeper of bread, hlIf, loaf; the word is not represented in any other Teutonic language)
• LORD, JOHN (1810-1894)

Lord." He died in Rome in 1869, aged eighty, and lies buried in San Bernardo, the church wherein he worshipped . There are See also:

• BIOGRAPHIES

biographies by J . Beavington See also:

• ATKINSON, EDWARD (1827—1905)
• ATKINSON, SIR HARRY ALBERT (1831—1892)

Atkinson (1882) and Howitt (r886) . (J . B .