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held their cultured rendezvous.
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The Schlegels had taken possession of the gallery, wrote Dora Stock,
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The journal _Europa_, founded by Frederick Schlegel in 1803, became the rallying-point of the new movement, and his articles published therein contained the germs of all the efforts and errors of the young school. In his discourse on Raphael he compares the pre-Raphaelite period with that succeeding it, and considers the proposition that
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so unquestionable that he does not find it in the least necessary to prove it. He casually puts forward as an _obiter dictum_ dropped in amongst a series of quite opposed notions the idea that every art ought to have a national foundation, and that any imitation of a foreign form of art is deleterious. The result follows that it is to be deplored
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The artist should follow the painters prior to Raphael,
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should strive to
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; or he may
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and it was soon all fire and ardour over the sweetness, naïveté, and faith of these pictures. Fernow had still pronounced generally against the capacity of the
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Catholic religion, with its Jewish-Christian mythology and martyrology, to satisfy the demands of a pure taste in art. Carstens had written down for himself the sentence from Webb's work:
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The art of the ancients was rich in august and captivating figures: their gods had grace, majesty, and beauty. How much meaner is the lot of the moderns! Their art is subservient to the priests. Their characters are taken from the lowest spheres of life--men of humble descent and uncouth manners. Even their Divine Master is in painting nowhere to be seen according to a great idea; His long, smooth hair, His Jewish beard and sickly appearance would deprive the most exalted beings of any semblance of dignity. Meekness and humility, His characteristic traits, are virtues edifying in the extreme but in no way picturesque. This lack of dignity in the subject renders it intelligible why we look so coldly at these works in the churches and galleries. The genius of painting expends its strength in vain on Crucifixions, Holy Families, Last Suppers, and the like. Not five years had elapsed after Carstens' death when, according to an impression of Dorothea Veit,
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Christianity was once more the order of the day.