OVERBECK. CHAPTER I. LÜBECK--VIENNA. Johann Friedrich Overbeck was born, as a tablet on his father's house records, in Lübeck on the 4th of July, 1789. Among his ancestors were Doctors of Law and Evangelical Pastors. His parents were good Protestants; his father was Burgomaster in the ancient city. Seldom has a life been so nicely preordained as that of the young religious painter. The light of his coming did not shine, as commonly supposed, out of surrounding darkness. A visit to his birth-place, expressly made for this memoir, soon showed me that Overbeck, from his youth upwards, had been tenderly cared for; that he received a classic education; that his mind was brought under moral and religious discipline; in short, that the rich harvest of later years had found its seed-time here within the family home in Lübeck. The old house in which Overbeck was born has unfortunately, within the last few years, been modernised, but the original medallion relief of the painter's head, life-size, is built into the new façade, and the former structure can be accurately ascertained as well from the designs of the adjoining tenements as from the living testimony of the neighbours.[1] The Overbeck mansion stood in the König Strasse, a principal thoroughfare in the heart of an old city which may not inaptly be designated the Nuremberg of Northern Germany. It is not difficult here on the spot to picture the life of the painter while yet in his teens. The historic town of Lübeck had enjoyed a signal political, commercial and artistic epoch. As the head of the Hanseatic League, it rose to unexampled prosperity. Deputies from eighty confederate municipalities assembled in the audience-chamber of the Rathhaus; fortifications, walls and gateways were reared for defence, and merchant princes made their opulence and love of ostentation conspicuous in dwellings of imposing and picturesque design; thus pointed gables, high-pitched overhanging roofs, stamp with mediæval character the present streets. Then, too, were founded rich ecclesiastical establishments; then was built the cathedral, containing among other treasures matchless brasses, a unique rood-loft, and a double triptych, the masterpiece of Memling. This sacred work made a deep impression on young Overbeck, and is known to have given a direction to his art. About the same period was also reared the Marien Kirche, enriched with bronze sacrament-house, old German triptychs and fine painted glass. This is the church in which the painter's father, as Burgomaster, had a distinguished stall, elaborately carved; and now, on visiting the spot, I find appropriately among the treasures two chefs-d'oeuvre which the son affectionately wrought for the city of his birth. These churches are Protestant, but fortunately the worst sign of the Reformation is whitewash, and so the relics of the past are reverently conserved, and