Religion in the Arts," which he completed in 1846 for the Staedel Institute, and in which he wished to embody the favourite ideas of Romanticism, that art and religion must flow together in one stream, he has copied the upper part from the "Disputa," the lower part from the "School of Athens," and worked up both into a tedious and scholastically elaborated whole. It is only through a series of unpretentious sketches which he prepared for engravings, lithographs, and woodcuts that his name has still a certain lustre. Plates such as the "Rest in the Flight," the "Preaching of St. John," or the series "Forty Illustrations to the Gospel," the "Passion," the "Seven Sacraments," may be contemplated even to-day, since in them at least no tastelessness of colour stands in the way. These plates, too, like his pictures, are less observed than felt--felt, however, with an innocence and cheerfulness of heart often quite childlike. [Illustration: PHILIP VEIT.] It shows above all much self-understanding that all these masters in their later years restricted themselves exclusively to design, which better expressed their character. In compositions and sketches of this kind, which were only _drawn_, and were thus untrammelled by the fruitless struggle with the difficulties of the technique of painting and a complete lack of the notion of colour, they moved more freely and lightly. In their frescoes and oil-paintings, partly through insufficient technique, partly through their all too servile imitation of foreign ideals, they went astray. As draughtsmen, they had more courage to be themselves, and while in the completer paintings many a fine trait, many an intimate reflection of the soul was lost, or through the obduracy of the material did not attain a right expression, here their spiritual and emotional qualities can be better valued.