It can be understood, then, that such subjects should be in the highest degree interesting to an archæologist. When Carstens, in April 1795, was organising the famous exhibition of his collected works in Rome, Fernow published in Wieland's _Deutscher Merkur_ a discourse in which he celebrated him as the creator of a new epoch. From the very first, however, an equally resolute opposition was excited in artistic circles. The painter Müller, nicknamed "The Devil's Miller," who at that time wandered about Rome as a cicerone, proves that Winckelmann's principles, even at the threshold of the century, by no means met with universal acceptance. The _Writing of Herr Müller, Painter in Rome, upon the Exhibition of Herr Professor Carstens_, with the motto _Amicus Plato, Amicus Socrates, magis amica veritas_, was published in 1797 in Schiller's _Horæ_. Carstens imitated; he worked rather by reminiscence and understanding than by fantasy. Isolated figures do not bring their individuality to an expression. Then he pointed out the models, discussed the lack of colour, and proved numerous sins of the draughtsman against nature in detail. The artist must ever seek to find characteristic expression; composition comes in the second degree. Technique, even if the previous age has been an epoch of fabrication, must always stand in the foreground; it is not only from the artist, but from the connoisseur, that knowledge is demanded, and in consequence of this exhibition Carstens is recommended to forbear from his fantastical geniality, observe nature, and achieve a picture exactly, since it is only from nature that the ideal springs, and consequently nothing can be great and beautiful in the representation which is not right and true. In almost similar words, later on, Koch, in his _Thoughts on Painting_, and with him the majority of artists, has censured Carstens. And posterity cannot but allow them to be in the right as against the archæologists. [Illustration: CARSTENS. PRIAM AND ACHILLES.]