[Footnote 5: _The Death of St. Joseph_, oil, on canvas, 3 feet by 2 feet 3 inches, was at last completed 1836, and appeared two years later in the Munich Exhibition: the price was less than 100_l._ A small drawing for the picture was, with others in the possession of Emilie Linder, lithographed for devotional purposes: the lady with characteristic generosity sent the proceeds of publication to the painter. On her death in 1867 her collection went by bequest to the Basle Museum, where are conserved, besides _The Death of St. Joseph_, ten drawings in pencil. Among the last are _God appearing to Elias on Mount Horeb_, _The Finding of Moses_, _The Israelites gathering Manna_, _The Madonna and St. Joseph worshipping the Infant Jesus_, _Christ found in the Temple_, and _The Awakening of Jairus's Daughter_. Of the last I have met with two other examples. The engraving, _Christ in the Temple_, illustrating this volume, is from the drawing in this collection.] [Footnote 6: The principal drawings at Stift Neuburg have been mentioned in previous pages. I will now add from notes taken on the spot: Portrait of Cornelius by Overbeck and a companion portrait on the same paper of Overbeck by Cornelius. Pencil: 1 foot 4 inches by 1 foot 3 inches. This joint handiwork, presented to their friend on the eve of his leaving Rome for Germany, bears the following inscription: "In Remembrance of our friend C. F. Schlosser, from F. Overbeck and J. P. Cornelius. Rome, 16 March, 1812." The latest drawing in the collection, date 1836, represents Christ bearing the Lamb: the Saviour opens His mantle and shows a flaming heart. This is one of the first signs of the painter's ultimate tendency to exalt dogmas and legends at the expense of essential truth and beauty. Some of the chief drawings at Stift Neuburg have been published in photography by Bruckmann, Munich.] [Footnote 7: Overbeck's letter on the opening of the tomb in the Pantheon is published in Passavant's 'Life of Raphael.'] [Footnote 8: _Christ's Agony in the Garden_ is on canvas, 7 feet wide by 11 feet high: figures size of life: without signature or date: the manner is that of the middle period: the year I believe to be between 1831 and 1835. The system of colour, though not without the depth and solemnity of the early schools of Lombardy, is that peculiar to the religious art of modern Germany: it is dull, heavy and opaque. I would quote as an interesting proof of nature-study, still maintained at this pronounced period, a foreground plant and flower exquisitely drawn and affectionately painted. The picture is seen to utmost disadvantage: the cold and poverty-stricken surroundings are those usually deemed appropriate in Lutheran Germany.]