At a period when the crusade against Napoleon was forming, a school which was inimical to everything French, and which exalted everything in art and life that was Teutonic, could not help achieving great popularity. The Romantic School at that time went hand in hand with the machinations of the government and the secret societies, and A. W. Schlegel conspired against Racine with the same aim that Minister Stein plotted against Napoleon. This school of literature floated with the stream of the times; that is to say, with the stream that flowed backwards to its source. When finally German patriotism and nationality were victorious, the popular Teutonic-Christian-romantic school, "the new-German-religious-patriotic art-school," triumphed also. Napoleon, the great classic, who was as classic as Alexander or Cæsar, was overthrown, and August William and Frederic Schlegel, the petty romanticists, who were as romantic as Tom Thumb and Puss in Boots, strutted about as victors. But the reaction which always follows excess was in this case not long in coming. As the spiritualism of Christianity was a reaction against the brutal rule of imperial Roman materialism; as the revival of the love for Grecian art and science was a reaction against the extravagances of Christian spiritualism; as the romanticism of the middle ages may also be considered as a reaction against the vapid apings of antique classic art; so also do we now behold a reaction against the re-introduction of that catholic, feudal mode of thought, of that knight-errantry and priestdom, which were being inculcated through literature and the pictorial arts, under bewildering circumstances. For when the artists of the middle ages were recommended as models, and were so highly praised and admired, the only explanation of their superiority that could be given was that these men believed in that which they depicted, and that, therefore, with their artless conceptions they could accomplish more than the later sceptical artists, notwithstanding that the latter excelled in technical skill. In short, it was claimed that faith worked wonders, and, in truth, how else could the transcendent merits of a Fra Angelico da Fiesole or the poems of Brother Ottfried be explained? Hence the artists who were honest in their devotion to art, and who sought to imitate the pious distortions of those miraculous pictures, the sacred uncouthness of those marvel-abounding poems, and the inexplicable mysticisms of those olden works--these artists determined to wander to the same hippocrene whence the old masters had derived their supernatural inspiration. They made a pilgrimage to Rome, where the vicegerent of Christ was to re-invigorate consumptive German art with asses' milk. In brief, they betook themselves to the lap of the Roman-Catholic-Apostolic Church, where alone, according to their doctrine, salvation was to be secured. Many of the adherents of the