[Footnote 4: I have seen in the Public Library, Lübeck, the engraved portrait inscribed with the above words; the head bears a striking resemblance to the well-known features of the son: the profile shows a fine intellectual type, the forehead is ample and overhanging, the coronal region full, the eye searching and earnest, the upper lip long, the mouth large and firmly set. The last was not the most beautiful feature in the painter's remarkable face.] [Footnote 5: 'Frizchens Lieder, herausgegeben von Christian Adolph Overbeck: neue Ausgabe.' Hamburg, Verlag von August Campe, 1831.] [Footnote 6: This juvenile exercise, probably only a copy, was given by young Overbeck to his master, and is now in the Town Library; it is washed in with Indian ink, measures two feet by one foot nine inches, and is signed and dated "F. Overbeck, 1805-21 April." The Gymnasium, like the House, has recently been rebuilt, but the continuity of learning remains unbroken--boys flock to the school as in the painter's youth. The adjoining Town Library also contains the original cartoon, drawn in Rome, for one of the frescoes illustrative of Tasso in the Villa Massimo, length about ten feet; likewise the cartoon of the Vision of St. Francis, painted in fresco in Sta. Maria degli Angeli, near Assisi; the cartoon is about twenty feet long, the figures are life-size.] [Footnote 7: This picture, on canvas, is nearly eight feet long by six feet high, the figures are about three feet. The 'Lübeckische Blätter' states that "Overbeck began the work in Vienna in 1809, in the fourth year of his art study, and there completed the background and the figures in the middle plane, and that it was taken by him to Rome in 1810." In the course of time the foreground figures were introduced, but not till 1824 did the picture reach completion. It bears the signature and date "J. F. Overbeck, 1824." Thus fifteen years elapsed between the first touch and the last, and some ten further years passed before the canvas came to the artist's native city. I carefully examined the painting in the Marien Kirche in October, 1880, and found it in perfect preservation, the colours unchanged, the surface untouched by time or restoration. The picture differs from the illustration to these pages.] CHAPTER II. ROME--THE GERMAN BROTHERHOOD.