Nor in numbering friends must be forgotten Frederick Schlegel, the avowed champion of the new school. The critic was not without connecting links and antecedents; he had made himself son-in-law of the Jewish philosopher Moses Mendelssohn, and stepfather of the painter Philip Veit; and he further qualified himself for his critical duties by joining the Roman Catholic Church. Overbeck and this rhapsodist on Christian Art were naturally close allies; each was of use to the other, and gave and received in turns. The artist strove, it is said, to embody in pictorial form his friend's teachings; the two, in fact, moved in parallel lines. Schlegel urged that the new style must be emulative and aspiring, ever possessed of lofty ideas. Believe not, he writes, that the glory of art has passed away. The hope is not vain that there comes a rekindling of former fires; art uprising from the dark night breaks as the morning's dawn; "a new life can spring only from the depths of a new love." Let us hold that Art like Nature renews her youth. The soul alone can comprehend the truly beautiful; the eye gazes but on the material veil--the union of the inner soul with the outward form constitutes the noblest art. Nowhere are to be found more eloquent utterances on "the Bond between Art and the Church," but in all is overlooked the simple fact that "the Celestial light" cannot be made appreciable to mortal eye otherwise than through the medium of matter, and according to the laws of vision. And to such oversight is greatly to be ascribed the infirmities of Overbeck and his school. It is forgotten that the most holy of motives cannot save a picture which is not good as a picture. Schlegel discusses the question, What is needed by the Christian painter? The following phrenzy, though wordy, is worth reading:--