The particular starting-point was in this case too, as it had been before for Winckelmann, the Dresden Gallery, where, at the turn of the century, Augustus William and Frederick Schlegel, the two "_Gotter-buben_," held their cultured rendezvous. "The Schlegels had taken possession of the gallery," wrote Dora Stock, "and with Schelling and Gries spent almost every morning there. It was a joy to see them writing and teaching there. Sometimes they talked to me about art. I felt myself often quite paltry, I was so far from any wisdom. Fichte, too, they initiated into their secrets. You would have laughed if you could have seen them drag him about and assail him with their convictions." The journal _Europa_, founded by Frederick Schlegel in 1803, became the rallying-point of the new movement, and his articles published therein contained the germs of all the efforts and errors of the young school. In his discourse on Raphael he compares the pre-Raphaelite period with that succeeding it, and considers the proposition that "indubitably the corruption of art was originally brought about by the newer school which was marked by Raphael, Titian, Correggio, Giulio Romano, and Michael Angelo" so unquestionable that he does not find it in the least necessary to prove it. He casually puts forward as an _obiter dictum_ dropped in amongst a series of quite opposed notions the idea that every art ought to have a national foundation, and that any imitation of a foreign form of art is deleterious. The result follows that it is to be deplored "that an evil genius has alienated artists from the circle of ideas and the subjects of the old painters. Culture can only attach itself to what has been constituted. How natural it would be, then, if painters were to go on in the old way, and cast themselves anew into the ideas and disposition of the old painters." The artist should follow the painters prior to Raphael, "especially the oldest," should strive to "copy carefully their truth and simplicity long enough for it to become second nature to his eye"; or he may "select the style of the old German school as a pattern." [Illustration: OVERBECK. CHRIST'S ENTRY INTO JERUSALEM.] [Illustration: OVERBECK. THE RESURRECTION.]