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We led a truly monastic life, relates Overbeck;
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Overbeck, as a good housekeeper, kept accounts; the principal items of the daily outlay occurred for polenta and risotto, oranges and lemons; every now and then oil, too, was noted down. The afternoons were dedicated to the study of the creations of art in Rome. With
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they passed over the threshold of the _Stanze_. In the chapel of San Lorenzo they became
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They shunned the paganism of St. Peter's, and marvelled with all the more intimate devotion at the old Christian monuments. The churches of San Lorenzo and San Clemente, the cloisters of St. John Lateran and St. Paul's-without-the-Walls, made an ineffaceable impression upon the young men. At the twilight hour they wandered up on to Monte Cavo.
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And of evenings we drew studies of drapery--glorious folds!--from Pforr's big Venetian mantle, in which we took turns to pose for one another. Their whole hearts, however, first swelled when they undertook a journey to Tuscany. In Orvieto, Luca Signorelli awaited them, whose frescoes especially impressed Cornelius mightily. At Sienna they found teachers who were still more sympathetic to them, Duccio and Simone Martino, those masters of a tender, intimate spirit and a charming sweetness of expression. In the Campo Santo at Pisa they turned their attention to Fiesole's pupil, Gozzoli. Those became their great teachers in art.
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Just as ardent Christians wander to the grave of the princes of the apostles in order to confirm their faith and quicken their zeal, so should zealous young artists derive strength and illumination from the silent and yet so eloquent speech of the sublime geniuses of art. An artist of real worth will find in the masterpieces of painting at Rome everything necessary for him in order to reach the right path. But, to be sure, a well-made plait of hair does not certainly constitute one a Raphael, because Raphael, too, arranged his hair with feeling. Study alone leads to nothing. If since Raphael's age, as one can almost declare, there has been no painter, that is the fault of nothing else than of the fact that art has been vanquished by workmanship. One learnt at the academies to paint excellent drapery, to draw a correct figure, learnt perspective, architecture--in short, everything, and yet no painter was produced. There is one want in all recent painting--heart, soul, sentiment. Let the young painter then watch, before everything, over his sentiments: let him allow neither an impure word on his lips nor an impure thought in his mind. But how can he guard himself from that? By religion, by study of the Bible, the one and only study which made Raphael. This view now certainly contradicts the accustomed principles that everything must be systematically learnt; mere learning produces certainly an instructed but also a cold artist. On that ground it is not good either to study anatomy from dead bodies, because one dwarfs thereby certain fine sensibilities, or to work from female models, for the same reason. Let the painter be inspired by his subject as those of old were, and the result will be the same. Like those old painters, let every artist remind himself that the truest use of art is that which leads it heavenwards, its one function that of having a moral effect upon men.
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How pure and holy, cries Cornelius to Xeller, as late as 1858,
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LEGEND OF ST. GWENDOLIN.
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said nothing, while the Classicists scoffed at the religionists, for whom the sarcastic brawler, Reinhart, invented the nickname of
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Nazarenes, which has since become a watchword. The opposition was historically immortalised when Bunsen, the Prussian envoy, invited the whole colony to the christening of his little daughter, and Niebuhr touched glasses with Thorwaldsen
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of the fourteenth and fifteenth-century masters. He constantly employed of them the expression
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He had already mockingly remarked of Wackenroder's _Herzensergiessungen_ what an unwarrantable conclusion it was, that because a few monks were artists, all artists should therefore be monks. He called the life of the Nazarenes
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and wrote in the pages of _Art and Antiquity_ that manifesto, the _New German Religious-Patriotic Art_, or _History of the New Pietistic False Art since the Eighties_, which so deeply wounded the young enthusiasts.
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The doctrine was that the artist needed piety above everything to equal the work of the best. What an attractive doctrine! How eagerly we should accept it! For in order to become religious one need learn nothing.