[Footnote 9: The present position of _The Marriage of the Virgin_ in the Raczynski Gallery, Berlin, has just those "disturbing surroundings" which the painter dreaded. It is crowded among discordant works, and is hung so high that I had to ask for a ladder to examine its quality and condition. The oil pigments remain sound save some small surface cracks. The size is about 6 feet by 4 feet. The modest price paid by the munificent patron, and for which he received the artist's grateful acknowledgments, was somewhat under 100_l_. sterling. Surely Overbeck did not paint for filthy lucre.] [Footnote 10: See account of 'Religion glorified by the Fine Arts,' written by the painter himself and translated by Mr. John Macray: published by Ryman, Oxford; 2nd edition, 1850.] [Footnote 11: The picture has been engraved by Amsler, and is also photographed. The cartoon is in the Carlsruhe Gallery, framed and hung: it measures about 12 feet wide by 14 feet high: it is in charcoal or chalk, on squares of whity-brown paper mounted on canvas. This drawing is remarkable for thoroughness in form and character; indeed, it is just what a cartoon should be. Countless preliminary studies of separate figures and draperies must have preceded it. Overbeck in a letter, 28th December, 1839, to Emilie Linder mentions three cartoons or studies. One large one being the above. A second smaller, 4 feet 8 inches square, in sepia, on canvas. This I examined October, 1880, in the National Gallery, Berlin: the execution in parts is poor. The work had been sent for sale, but was not purchased. The third sketch is described by the artist as different in proportions and composition. It is in black chalk and pencil on red paper. The painter names £100 as the price: he received £1300 for the picture.] [Footnote 12: Surely Overbeck is unjust to the masterpieces of Correggio in Parma and Dresden, including two Holy Families, _Il Giorno_ and _La Notte_. He likewise must have forgotten Titian's religious pictures in Venice and Vienna, _The Assumption_ and sundry Holy Families. The "young artist" has to remember that a picture is different from a homily: that art has to be valued for her own sake, that drawing, composition, light, shade and colour are indispensable elements in every art work. Overbeck shirks the stern truth that the first duty of a painter is to paint.] [Footnote 13: It is difficult to remain tolerant of such intolerance. Why does not Overbeck declare plainly that Ary Scheffer is excluded because he was a Protestant? As spectators a place in the picture is assigned to Cornelius, Veit, and to Overbeck himself, all Roman Catholics, whilst Schnorr, as a Protestant, is deemed unworthy to appear. It is interesting to observe that Overbeck's darling son is introduced in the character of a young Englishman.]