The Romantic aspiration is revealed in Steinle, even, in a certain "yearning after colour." There lives in his works a refined feeling for colour that, especially in his water-colours, rarely forsakes him. Take, for instance, the fresh, tinted pen-drawings, engraved by Schaffer, in which he displayed with the naïveté of Memlinc the life of St. Euphrosyne; the five aquarelles of Grimm's "Snow-White and Rose-Red"; or his illustrations to Brentano's poems, such as the _Chronicle of the Wandering Student_, and the _Fairy Tale of the Rhine and Radlauf the Miller_, in which he developed a delight in the world and an idea of landscape that in the ascetic Nazarene excite astonishment. [Illustration: VEIT. THE TWO MARYS AT THE SEPULCHRE.] Julius Schnorr von Carolsfeld went, after the completion of the Ariosto Room of the Villa Massini, first to Vienna, then in 1827 to Munich, in order to paint the _Nibelungen_ in the halls of the royal residence of that time, and in the imperial halls of the state palace the history of Charlemagne, Frederick Barbarossa, and Rudolf of Hapsburg. He also, however, created his best work at the close of his life in Dresden,--the forcible woodcuts of his _Picture Bible_, which narrated the world's sacred history in strong and vigorous strokes. Strangest to the present-day taste have become the drawings of Cornelius. His plates to Goethe's _Faust_ have, indeed, a certain austere strength of conception, which he learnt from Dürer; but also faults of drawing, exaggerations, crudities, and errors in perspective, which he did not find in Dürer. In his second work, the Nibelungen cycle, an intentional old-German angularity, with an unintentional modern clumsiness, has effected a _mésalliance_ even less attractive. [Illustration: OVERBECK. PORTRAIT OF HIMSELF AND CORNELIUS.] CHAPTER VI THE ART OF MUNICH UNDER KING LUDWIG I