[Footnote 8: Overbeck's cartoon in charcoal on paper of _Joseph sold by his Brethren_ is carefully preserved under glass in the Städel Institute, Frankfort, where I examined it in 1880: the width is 11 feet, the height 8 feet, the figures are about 5 feet. The outlines are firmly accentuated; the details sufficient without being elaborate; the figure, as proved specially in the arms, hands, legs, and feet, is perfectly understood; the draperies are cast simply and broadly; the heads of noble type are impressed with thought. Not a false touch appears throughout; the crayon is guided by knowledge; evidently preliminary studies and tentative drawings must have preceded this consummated product. No wonder that this cartoon made a deep impression; nothing had been seen at all like it in Rome for very many years.] [Footnote 9: Many are the authors who have written on the Casa Bartholdi frescoes, the chief authorities are Hagen, Förster, Reber, and Riegel.] [Footnote 10: See among authorities before named, 'Geschichte des Wiederauflebens der deutschen Kunst zu Ende des 18. und Anfang des 19. Jahrhunderts, von Hermann Riegel.' Hannover, 1876.] [Footnote 11: The cartoon for this fresco is in the Leipzig Museum, where I examined it in 1880. It is in chalk on whity-brown paper, in squares and mounted on canvas; length 15 feet by 7 feet. As a mature study of form and composition it is just what a cartoon should be, but the touch is feeble and poor. Like most of Overbeck's designs, it has received the tribute of engraving.] [Footnote 12: The cartoon was acquired for the National Gallery, Berlin, in 1878, at the price of 37_l_. 10_s_. 0_d_.; measurement 6 feet by 4 feet: it has been engraved.] [Footnote 13: Persistent difficulties are placed in the way of even students who desire to visit these frescoes; the public are systematically excluded from the Villa Massimo, and on two occasions, when after much trouble I gained orders for admission, the attendant, in accordance with instructions, forbade the taking of notes.] CHAPTER III. ROME--GERMANY. The life of Overbeck apportioned itself into successive periods of five, ten, or more years, corresponding to the important works from time to time in hand. The painter threw his whole mind into whatever he undertook, and so his pictures in their conception, and even in their execution, reflect the thought and the state of consciousness which for the while held supreme sway. The preceding chapters treat of two periods; the one describes the early times in Lübeck and Vienna, the other presents a sketch of the first decade in Rome. The foundations have been laid; the main principles for the guidance of a true life and for the building up of a soul-moving art have been firmly fixed; and now it remains to be seen how far and in what way the lofty aim was reached.