The German colony of pre-Raphaelite painters in Rome grew, and in after years came accessions almost unintermittingly.[1] Within the first twelve months were gathered together, as we have seen, Overbeck, Cornelius, Pforr, Vogel and Hottinger. Soon followed the brothers Wilhelm and Rudolf Schadow: to these must be added Koch, Wintergerst, Sutter, Mosler, Veit, Schnorr, Eggers, Platner, and others. Later came Joseph Führich, who literally worshipped the ground on which Overbeck stood. Edward Steinle, of a younger generation, was also a bosom friend of the painter. Later still arrived young zealots from Düsseldorf, where Schadow had established the renowned school of religious art. The best known of these disciples are Ernst Deger, Franz Ittenbach, and the brothers Andreas and Carl Müller. After sitting at the feet of Overbeck in Rome, it was their privilege to paint the chapel at Remagen on the Rhine: these frescoes are accepted as among the most beauteous manifestations of the master's teachings. This brief epitome anticipates the story of years. In the course of a long life it was the good fortune of Overbeck to witness the growth into a large tree of the grain of mustard-seed he had cast into the earth. The Brethren found congenial habitation in the old Franciscan convent of Sant' Isidoro on the Pincian Hill. The picturesque monks having been turned out by Napoleon, the German colony became tenants at a yearly rental, and held in quietude the dormitories, also larger rooms which served as studios, until the fall of the First Empire, when the monastery once more reverted to the Mendicant Friars, by whom it is still occupied. A few years since, the Superior of the Order politely showed the present writer over the ecclesiastical establishment, now, as formerly, devoted to charitable works. Time has brought little change in the cells, the refectory, or in the large hall used for religious teaching. Other rooms, great and small, are ranged round a cloister enclosing a garden still fragrant with orange-blossoms as in the days of Overbeck and Cornelius. Here, amid sacred associations and venerable monuments, did these devoted students build up the new art, and when the day's work was ended, they mounted at eventide the lofty Belvedere, commanding a panorama of which, even in Rome, are few equals. From neighbouring campanili, vesper bells sound a chorus in the bright Italian sky, and beneath the eye stretches, as a prairie of the old world, the wide Campagna, spanned by broken viaducts and bounded by the blue Alban hills. Through the panorama winds the golden Tiber, guarded by the Castle of St. Angelo and St. Peter's, and around and below lie Monte Mario, the pine-clad Pincian, the Villa Medici, and the ilex groves of the Ludovisi. The scene was inspiring, yet not without shadow of melancholy; the Capitol had fallen into the hands of the stranger, but the spirit of Dante fired the dauntless young men; they turned from