NINETEENTH CENTURY: In the first part of this century there started in Germany a so-called "revival of art" led by Overbeck (1789-1869), Cornelius (1783-1867), Veit (1793-1877), and Schadow (1789-1862), but like many another revival of art it did not amount to much. The attempt to "revive" the past is usually a failure. The forms are caught, but the spirit is lost. The nineteenth-century attempt in Germany was brought about by the study of monumental painting in Italy, and the taking up of the religious spirit in a pre-Raphaelite manner. Something also of German romanticism was its inspiration. Overbeck remained in Rome, but the others, after some time in Italy, returned to Germany, diffused their teaching, and really formed a new epoch in German painting. A modern art began with ambitions and subjects entirely disproportionate to its skill. The monumental, the ideal, the classic, the exalted, were spread over enormous spaces, but there was no reason for such work in the contemporary German life, and nothing to warrant its appearance save that its better had appeared in Italy during the Renaissance. Cornelius after his return became the head of the MUNICH SCHOOL and painted pictures of the heroes of the classic and the Christian world upon a large scale. Nothing but their size and good intention ever brought them into notice, for their form and coloring were both commonplace. Schnorr (1794-1872) followed in the same style with the Niebelungen Lied, Charlemagne, and Barbarossa for subjects. Kaulbach (1805-1874) was a pupil of Cornelius, and had some ability but little taste, and not enough originality to produce great art. Piloty (1826-1886) was more realistic, more of a painter and ranks as one of the best of the early Munich masters. After him Munich art became _genre_-like in subject, with greater attention given to truthful representation in light, color, texture. To-day there are a large number of painters in the school who are remarkable for realistic detail. DUSSELDORF SCHOOL: After 1826 this school came into prominence under the guidance of Schadow. It did not fancy monumental painting so much as the common easel picture, with the sentimental, the dramatic, or the romantic subject. It was no better in either form or color than the Munich school, in fact not so good, though there were painters who emanated from it who had ability. At Berlin the inclination was to follow the methods and ideas held at Dusseldorf.