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    Fig. 3 Jean-Auguste-Dominique Ingres, Christ Giving the Keys to Heaven to Peter, 1815–20. Oil on canvas. Musée Ingres de Montauban    
         
         
         
Fig. 7 Eugène-Emmanuel Amaury-Duval, Annunciation, 1860. Oil on canvas. Musée d'Orsay, Paris   Fig. 11 Johann Friedrich Overbeck, The Healing of the Sick (Vierzig Evangelische Darstellungen aus dem Neuen Testament, no. 13), 1843–53. Engraving. Reproduced in Howitt, 1886, vol. 2, between pp. 172 and 173   Fig. 12 Gustave H. Naecke, Jacob and Rachel, 1823. Oil on panel. Kunsthalle, Bremen
         
         
   
         
Fig. 13 Julius Schnorr von Carolsfeld, Jacob and Rachel. Drawing in pen and brown ink, with red chalk. Städelsches Kunstinstitut, Frankfurt am Main   Fig. 14 William Dyce, Jacob and Rachel, 1853. Oil on canvas. Hamburger Kunsthalle   Fig. 17 Adolph Menzel, The Balcony Room, 1845. Oil on board. Staatliche Museen zu Berlin Preussischer Kulturbesitz, Nationalgalerie
         
         
   
         
Fig. 23 Julius Schnorr von Carolsfeld, The Prodigal Son. Wood engraving (Die Bibel in Bildern, 1852–60, pl. 39). Reproduced in New Testament Pictures Illustrating the Life and Work of our Saviour upon Earth, from the Designs of Julius Schnorr von Carolsfeld (n.p., n.d.), Princeton University, Firestone Library   Fig. 24 Max Slevogt, The Return of the Prodigal Son, 1898–99. Oil on canvas. Staatsgalerie, Stuttgart   Fig. 27 Philipp Veit, Joseph and Potiphar’s Wife, 1817. Fresco. Staatliche Museen zu Berlin Preussischer Kulturbesitz, Nationalgalerie (formerly Casa Bartholdy, Rome)
         
         
   
         
Fig. 29 Johann Friedrich Overbeck, Portrait of Franz Horny, undated. Pen and sepia drawing. Staatliche Museen zu Berlin Preussischer Kulturbesitz, Kupferstichkabinett   Fig. 31 Johann Scheffer von Leonhardshoff, Portrait of Friedrich Overbeck, 1815. Pencil drawing. Kupferstichkabinett der Akademie der bildenden Künste, Vienna   Fig. 33 Carl Philipp Fohr, Double Portrait of F. Heger and K. J. Köbel, 1817–18. Pencil drawing. Kurpfälzisches Museum, Heidelberg
         
         
   
         
Fig. 34 Philipp Veit, The Landlord of the Caffè Greco and His Daughter, 1815–30. Pencil drawing. Mittelrheinisches Landesmuseum, Mainz   Fig. 20 Eugène Viollet-le-Duc, Final Design for the Mausoleum for the Duchess of Alba, 1867. Watercolor. Médiathèque de l'architecture et du Patrimoine, Paris.   Fig. 39 Joseph Anton Koch, The Painter as Hercules at the Crossroads, 1791. Lost drawing. (Formerly Graphische Sammlung, Staatsgalerie, Stuttgart)
         
         
   
         
Fig. 41 John Flaxman, Departure of Briseis, 1793. Pen-and-wash drawing. Henry E. Huntington Library and Art Gallery, San Marino, California   Fig. 42 Antonio Canova, Departure of Briseis, 1787–90. Bas-relief. Fondazione Canova, Possagno   Fig. 43 Illustration of works by Orcagna in Alexis-François Artaud de Montor, Peintres primitifs: Collection de tableaux rapportée d’Italie et…reproduite par nos premiers artistes, sous la direction de M. Challamel (Paris: Challamel, 1843), pl. 38
         
         
   
         
Fig. 45 Gottlieb Schick, Christ Sees the Cross in a Dream, 1810. Oil on canvas. Staatsgalerie, Stuttgart   Fig. 46 Eberhard Wächter, Job and his Friends, 1807–24. Oil on canvas. Staatsgalerie, Stuttgart   Fig. 47 Antonio Canova, Annunciation, 1821–22. Bas-relief. Fondazione Canova, Possagno
         
         
   
         
Fig. 48 Phillip Veit, Sketches for gallery of plaster casts of Greek and Roman sculptures at Städelsches Kunstinstitut. Pen drawing. Stadtische Galerie, Städelsches Kunstinstitut, Frankfurt am Main.   Fig. 52 Carl Philipp Fohr, Sketches for a Projected Large Group Painting of German Artists at the Caffè Greco, 1818. Pencil drawing. Graphische Sammlung, Städelsches Kunstinstitut, Frankfurt am Main   Fig. 55 Johann Friedrich Overbeck, The Triumph of Religion in the Arts, 1832–40. Oil on canvas. Städelsches Kunstinstitut, Frankfurt am Main
         
         
   
         
Fig. 56 Johann Friedrich Overbeck, Raising of Lazarus, 1808. Oil on canvas. Museum für Kunst und Kulturgeschichte der Hansestadt Lübeck   Fig. 67 Johann Friedrich Overbeck, Portrait of Joseph Sutter, 1810. Oil on paper, mounted on canvas. Staatliche Museen zu Berlin Preussischer Kulturbesitz, Nationalgalerie   Fig. 71 Martin Schongauer, Madonna on the Grassy Bench, 2d half of the 15th century. Engraving. Staatliche Museen zu Berlin Preussischer Kulturbesitz, Kupferstichkabinett
         
         
   
         
Fig. 74 Bernt Notke, Self-Portrait (in form of a kneeling priest in the altarpiece Mass of St. Gregor, ca. 1504). Destroyed 1943 (formerly Marienkirche, Lübeck). Reproduced in Das deutsche Antlitz (Zurich: Atlantis Verlag, 1954), pl. 11   Fig. 75 Johann Friedrich Overbeck, Jacob Asking Laban for Rachel’s Hand in Marriage, 1808. Drawing in pen and wash over black chalk on brown paper. Museum für Kunst und Kulturgeschichte der Hansestadt Lübeck   Fig. 77 Johann Friedrich Overbeck, Annunciation and Visitation, 1814. Pencil drawing. Öffentliche Kunstsammlung, Basel. Photo: Öffentliche Kunstsammlung, Basel
         
         
   
         
Fig. 78 Johann Friedrich Overbeck, Family Portrait, 1820–23. Oil on panel. Museum für Kunst und Kunstgeschichte der Hansestadt Lübeck   Fig. 79 Heinrich Maria von Hess, The Visitation, 1829. Oil on canvas. Museum der bildenden Künste, Leipzig   Fig. 81 Johann von Schraudolph, Annunciation, 1828. Oil on panel. Öffentliche Kunstsammlung, Basel. Photo: Öffentliche Kunstsammlung, Basel