Fig. 1. Franz Pforr, Entry of King Rudolph of Habsburg into Basel, 1273, 1810. Oil on canvas. Historisches Museum/Städelsches Kunstinstitut, Frankfurt am Main.
Fig. 2. Louis Gallait, The Abdication of Charles V, 1841. Oil on canvas. Royal Museum of Fine Arts, Brussels, Belgium. Photo by kind permission of Professor Kathleen Cohen, San Jose State University.
Fig. 3. Jean-Auguste-Dominique Ingres, Christ Giving the Keys to Heaven to Peter, 1815-20. Oil on canvas. Musée Ingres, Montauban.
Fig. 4. Jean-Auguste-Dominique Ingres, Entry of the Dauphin, the Future Charles V, into Paris, 1821. Oil on canvas. Gift of Paul Rosenberg & Company, Wadsworth Athenaeum, Hartford.
Fig. 5. Johann Friedrich Overbeck, Entry of Christ into Jerusalem, 1808-24. Oil on canvas. Museum für Kunst und Kulturgeschichte der Hansestadt Lübeck.
Fig. 6. Victor Orsel, Le Bien et le Mal [Good and Evil], 1833. Oil on canvas. Musée des Beaux-Arts, Lyon. Photo by Professor Kathleen Cohen, San JoseState University.
Fig. 7. Eugène-Emmanuel Amaury-Duval, Annunciation, 1860. Oil on canvas. Muséed’Orsay, Paris.
Fig. 8. Pierre Puvis de Chavannes, Christian Inspiration, 1887-88. Oil on paper, mounted on canvas. National Museum of American Art, Smithsonian Institution, Washington, D.C.
Fig. 9. Johann Friedrich Overbeck, Portrait of Franz Pforr, 1810. Oil on canvas. Staatliche Museen zu Berlin. Alte Nationalgalerie.
Fig. 10. Louis Janmot, Self-Portrait, 1832. Oil on canvas. Private Collection.
Fig. 11. Johann Friedrich Overbeck, Christ Healing the Sick in Vierzehn Evangelische Darstellungen aus dem Neuen Testament, no. 13, 1843-53. Engraving. Reproduced in Howitt, 1886, vol. 2, between pp. 172 and 173.
Fig. 12. Gustav H. Naecke, Jacob and Rachel, 1823. Oil on board. Kunsthalle, Bremen. Photo Jean-Louis Mazières. (Creative Commons)
Fig. 13. Julius Schnorr von Carolsfeld, Jacob and Rachel. Drawing in pen and brown ink, with red chalk. Graphische Sammlung, Städelsches Kunstinstitut, Frankfurt am Main.
Fig. 14. William Dyce, Jacob and Rachel. 1853. Oil on canvas. Kunsthalle, Hamburg.
Fig. 15. Philipp Veit. Christ Knocking on the Door of the Soul, 1824. Engraving by Gottfried Rist. Graphische Sammlung, Städelsches Kunstinstitut, Frankfurt am Main.
Fig. 16. Holman Hunt, The Light of the World, 1853. Oil on canvas. Keble College, Oxford.
Fig. 17. Adolf Menzel, The Balcony Room, 1845. Oil on board. Staatliche Museen zu Berlin. Alte Nationalgalerie.
Fig. 18. Adolf Menzel, Théâtre du Gymnase, Paris, 1856. Oil on canvas. Staatliche Museen zu Berlin. Alte Nationalgalerie.
Fig. 19. Johann Friedrich Overbeck, Easter Morning, 1818. Oil on canvas. Kunstmuseum, Düsseldorf.
Fig. 20. Johann Anton Ramboux, Christ Appearing to Mary Magdalen (Noli me tangere), 1818. Pen and pencil drawing. Kunstmuseum, Düsseldorf.
Fig. 21. Antonio da Correggio, Noli me tangere, 1520s. Oil on canvas. Prado, Madrid.
Fig. 22. Martin Schongauer, Christ Appearing to Mary Magdalen (Noli me tangere), 1477. Engraving. Kupferstichkabinett, Öffentliche Kunstsammlung, Basel.
Fig. 23. Julius Schnorr von Carolsfeld. The Prodigal Son. Wood engraving in Die Bibel in Bildern, 1852-60, plate 39.
Fig. 24. Max Slevogt, The Return of the Prodigal Son, 1898-99. Oil on canvas. Staatsgalerie, Stuttgart.
Fig. 25. Julius Schnorr von Carolsfeld, Joseph and Potiphar’s Wife, 1851. Pen and ink drawing. Preparatory study for illustration in Die Bibel in Bildern, 1852-60. Staatliche Museen zu Berlin. Kupferstichkabinett.
Fig. 25b. Julius Schnorr von Carolsfeld, Joseph and Potiphar’s Wife, 1851. Engraver unknown. Die Bibel in Bildern, 1852-60, plate 39.
Fig. 26. Lovis Corinth, Joseph and Potiphar’s Wife, 1914. Oil on canvas. Kaiser Wilhelm Museum, Krefeld. [Wikimedia]
Fig. 27. Philipp Veit, Joseph and Potiphar’s Wife. 1816-17. Fresco. Staatliche Museen zu Berlin, Alte Nationalgalerie. (Formerly Casa Bartholdy, Rome)
Fig. 28. Johann Friedrich Overbeck and Peter von Cornelius, Double portrait. 1812 (“2” in original inscription altered to “5” by an unknown hand). Pencil drawing. Private collection, Munich.
Fig. 29. Rudolph Suhrlandt, Overbeck and Cornelius. Circa 1812. Pencil drawing. Staatliche Museen zu Berlin, Kupferstichkabinett.
Fig. 30. Johann Ramboux, The Brothers Konrad and Franz Eberhard. 1822. Oil on canvas. Wallraf Richartz Museum, Cologne.
Fig. 31. Johann Friedrich Overbeck, Portrait of Franz Horny. Undated. Pen and sepia drawing. Staatliche Museen zu Berlin, Kupferstichkabinett.
Fig. 32. Carl Philipp Fohr, Portrait of Wilhelm von Schadow. 1818. Pencil drawing. Kurpfälzisches Museum, Heidelberg.
Fig. 33. Friedrich Olivier, Portrait of Friedrich Overbeck. 1820. Pencil drawing. Staatliche Kunstsammlung, Dresden, Kupferstichkabinett.
Fig. 34. Julius Schnorr von Carolsfeld, Portrait of Scheffer von Leonhardshoff. 1819. Pencil drawing. Akademie der Bildenden Künste, Vienna, Kupferstichkabinett.
Fig. 35. Carl Christian Vogel von Vogelstein, Overbeck reading a page from Dürer. 1814. Pencil and black chalk on paper. Staatliche Kunstsammlung, Dresden. Kupferstichkabinet. [www.zeon.org]
Fig. 36. Carl Philipp Fohr, Self-portrait. 1816. Pen, blue ink and wash drawing on yellowish paper. Kurpfälzisches Museum, Heidelberg .
Fig. 37. Theodor von Rehbenitz, Self-portrait. 1817. Pencil drawing. Staatliche Kunstsammlung, Dresden, Kupferstichkabinett.
Fig. 38. Johann Friedrich Overbeck, Self-portrait. Chalk drawing. Museum für Kunst und Kulturgeschichte der Hansestadt Lübeck. Graphische Sammlung.
Fig. 39. Julius Schnorr von Carolsfeld, View of Olevano. 1821. Pen and ink drawing. Staatliche Kunstsammlung, Dresden. Kupferstichkabinett.
Fig. 40. Gottlieb Schick, Apollo among the shepherds. 1808. Oil on canvas. Staatsgalerie, Stuttgart.
Fig. 41. Johann Friedrich Overbeck, Stamp of the Brotherhood of St. Luke (Lukasbund). 1809. Etched vignette.
Fig. 42. Joseph Anton Koch, The Painter as Hercules at the Crossroads. 1791. Lost drawing. Formerly Staatsgalerie, Stuttgart. Graphische Sammlung. [Wikimedia]
Fig. 43. Ferdinand Olivier, Quarry in Vienna-Matzleindorf. 1814-15. Pen drawing. Albertina, Vienna.
Fig. 44. John Flaxman, The Active Good. 1793. Plate 6 for Dante, Paradiso, Canto 6. Illustrations of Dante originally commissioned by Thomas Hope.
Fig. 45. John Flaxman, Departure of Briseis. 1793. Copperplate illustration of Homer’s Iliad, engraved by Tommaso Piroli in 1795.
Fig. 46. Antonio Canova, Departure of Briseis. 1787-90. Bas-relief. Museo Gypsoteca Antonio Canova, Possagno.
Fig. 47. Bertel Thorvaldsen, Briseis and Achilles. 1803. Executed in marble by George Christian Freund after the original plaster model of 1803. Thorvaldsen Museum, Copenhagen.
Fig. 48. Engraved copies of works by 14th century artists Andrea di Cione di Arcangelo, known as Orcagna, and Luca Spinello Aretino, in Alexis-François Artaud de Montor, Peintres primitifs .
Fig. 49. Julius Schnorr von Carolsfeld, Copy of drawing by Flaxman in Umrisse zu Homers Iliad und Odyssee nach dem englischen Originale gezeichnet (Leipzig: Joachim Göschen, 1803-1804).
Fig. 50. Antonio Canova. Annunciation. 1821-22. Bas-relief. Gallerie dell’Accademia di Venezia.
Fig. 51. Antonio Canova. The Creation of Adam. 1821-22. Bas-relief. Gallerie dell’Accademia, Venice.
Fig. 52. Joseph Anton Koch, Landscape with the Sacrifice of Noah. 1814. Oil on wood. Staatliche Museen zu Berlin, Alte Nationalgalerie. [Wikimedia]
Fig. 53. Joseph Anton Koch, Abraham Receives the Three Angels. 1807. Oil on wood. Current whereabouts unknown.
Fig. 54. Joseph Anton Koch, Enthroned Madonna with angels and saints. Circa 1806. Pen and pencil on light brown paper. Akademie der Bildenden Künste, Vienna. Kupferstichkabinett.
Fig. 55. Joseph Anton Koch, Drawings on themes from Old and New Testaments. 1805-1810. Pen and pencil drawings. Tiroler Landesmusem Ferdinandeum, Innsbruck.
Fig. 55 alt. Joseph Anton Koch, God shows Abraham the Promised Land. 1805-1810.Pen and pencil drawing. Tiroler Landesmusem Ferdinandeum, Innsbruck.]
Fig. 56. Gottlieb Schick, Christ in a Dream sees the Cross. 1810. Oil on canvas. Staatsgalerie, Stuttgart.
Fig. 57. Gottlieb Schick, Noah’s Sacrifice. Drawing reproduced in Morgenblatt für gebildete Stände, 24 July 1807.
Fig. 58. Eberhard von Wächter, Job and his Friends. 1797-1824.Oil on canvas. Staatsgalerie, Stuttgart.
Fig. 59. Peter von Cornelius, Athena Teaching the Women to Weave. 1807-08. Kunstmuseum, Düusseldorf.
Fig. 60. Peter von Cornelius, Prometheus as Creator of Man. 1829-30. Charcoal drawing. Staatliche Museen zu Berlin, Kupferstichkabinett.
Fig. 61. Philipp Veit, Athena with Penelope weaving. 1833-36. Pen drawing, with water colors. Städelsches Kunstinstitut.
Fig. 62. Johann Friedrich Overbeck, Odysseus arrives in Ithaca. 1807. Pen and chalk. Museen für Kunst und Kulturgeschicthe der Hansestadt Lübeck.
Fig. 63. Johann Friedrich Overbeck, The Selling of Joseph. Fresco. 1816-17. Staatliche Museen zu Berlin, Alte Nationalgalerie (formerly Rome, Casa Bartholdy).
Fig. 64. Johann Friedrich Overbeck, The Lean Years, and Peter von Cornelius, Joseph Recognized by his Brothers. 1816-17. Fresco. Staatliche Museen zu Berlin, Alte Nationalgalerie (formerly Rome, Casa Bartholdy). [Wikimedia]
Fig. 64alt. Peter von Cornelius, Joseph Recognized by his Brothers. 1816-17. Fresco. Staatliche Museen zu Berlin, Alte Nationalgalerie (formerly Rome, Casa Bartholdy). [Wikimedia]
Fig. 65. Peter von Cornelius, Joseph Interpreting Pharaoh’s Dream. 1816-17. Fresco. Staatliche Museen zu Berlin, Alte Nationalgalerie (formerly Rome, Casa Bartholdy). [Wikimedia]
Fig. 66. Wilhelm von Schadow, Jacob’s Lament. 1816-17. Fresco. Staatliche Museen zu Berlin, Alte Nationalgalerie (formerly Rome, Casa Bartholdy).
Fig. 67. Carl Philipp Fohr. Caffè Greco. 1818. Pencil sketch. Städelsches Kunstinstitut, Frankfurt am Main Kupferstichkabinett. [http://www.hellenicaworld.com/Art/Paintings/en/Part8359.html]
Fig.68. Philipp Veit, Self-portrait. 1816. Oil on canvas. Landesmuseum, Mainz.
Fig. 69. Philipp Veit, Self-Portrait. 1873. Oil on canvas. Landesmuseum, Mainz.
Fig. 70. Johann Friedrich Overbeck, The Triumph of Religion (or Christianity) in the Arts. 1829-40. Oil on canvas. Städelsches Kunstinstitut, Frankfurt am Main
Fig. 71. Johann Friedrich Overbeck, The Raising of Lazarus. 1808. Oil on canvas. Museum für Kunst und Kulturgeschichte der Hansestadt Lübeck.
Fig. 72. Franz Pforr, St. George and the Dragon. Circa 1811. Oil on panel. Städel sches Kunstinstitut, Frankfurt am Main
Fig. 73. Franz Pforr, Rudolf of Habsburg and the Priest. 1810. Oil on canvas. Städelsches Kunstinstitut, Frankfurt am Main
Fig. 74. Franz Pforr, Sulamith und Maria. 1811. Oil on panel. Sammlung Georg Schäfer, Schweinfurt.
Fig. 75. Franz Pforr, Dürer and Raphael before the Throne of Art. 1808. Etching by Karl Hoff for Compositionen und Handzeichnungen aus dem Nachlass von Franz Pforr (Frankfurt am Main: Kunstverein zu Frankfurt am Main, 1832). Städelsches Kunstinstitut, Frankfurt am Main
Fig. 76. Johann Friedrich Overbeck, Dürer und Raphael reichen sich vor dem Thron der Religion die Hand. 1810. Pencil drawing. Albertina, Vienna.
Fig. 77. Franz Pforr, Allegory of Friendship. Post 1808. Pencil drawing . Städelsches Kunstinstitut, Frankfurt am Main
Fig. 78. Johann Friedrich Overbeck, The Shulamite and Mary. 1812. Chalk and charcoal drawing. Museen für Kunst und Kulturgeschichte der Hansestadt Lübeck.
Fig. 79. Johann Friedrich Overbeck, Italy and Germany, 1811-28. Oil on canvas. Bayerische Staatsgemäldesammlung, Munich.
Fig. 80. Franz Pforr, Self-portrait. 1810. Oil on canvas mounted on board. Städelsches Kunstinstitut, Frankfurt am Main
Fig. 81. Franz Pforr, Self-portrait, 1810. Pencil drawing. Private collection, Güstrow.
Fig. 82. Johann Friedrich Overbeck, Portrait of Joseph Sutter. 1810. Oil on paper mounted on canvas. Staatliche Museen zu Berlin, Alte Nationalgalerie.
Fig. 83. Johann Friedrich Overbeck, Portrait of Joseph Wintergerst. 1813. Kunsthalle, Hamburg.
Fig. 84. Hans Holbein the Younger, Portrait of Sir Richard Southwell. 1536. Oil and tempera on wood. Uffizi, Florence. [Wikimedia]
Fig. 85. Albrecht Dürer, Portrait of a Young Man 1500. Oil on panel. Alte Pinakothek, Munich.
Fig. 86. Anton Raphael Mengs, Self-Portrait. Circa 1775. Oil on panel. Staatliche Museen zu Berlin, Alte Nationalgalerie.
Fig. 87. Johann Friedrich August Tischbein, Portrait of Friedrich Schiller. 1805. Oil on canvas. Museum der bildenden Künste, Leipzig.
Fig. 88. Ambrosius Holbein, Portrait of a Boy with Fair Hair. 1516. Tempera on wood. Öffentlich Kunstsammlung, Basel.
Fig. 89. Martin Schongauer, Madonna and Child on a Grassy Bench. 2nd half of 15th century. Engraving on paper. Art Institute, Chicago.
Fig. 90. Albrecht Dürer, Madonna with the Monkey. Circa 1498. Copper Engraving. Rhode Island School of Design Museum, Providence, R.I.
Fig. 91. Johann Friedrich Overbeck, Ave Maria and Benedicta in Mulieribus. 1814. Pencil drawing. Öffentliche Kunstsammlung, Basel. Kupferstichkabinett.
Fig. 91alt. Johann Friedrich Overbeck, Ave Maria and Benedicta in Mulieribus. 1816-17. Museo Nacional de San Carlos, Mexico City.
Fig. 92. Johann Friedrich Overbeck, Christ in the House of Mary and Martha. 1815. Oil on canvas. Staatliche Museen zu Berlin. Alte Nationalgalerie.
Fig. 93. Johann Friedrich Overbeck, Self-Portrait with Wife and Son Alfons. Circa 1820. Oil on panel. Behn-Haus, Museen für Kunst und Kulturgeschichte der Hansestadt Lübeck.
Fig. 94. Peter von Cornelius, The Wise and Foolish Virgins. Circa 1813. Oil on canvas. Kunstpalast, Düsseldorf.
Fig. 95. Julius Schnorr von Carolsfeld, St. Roch distributing Alms. 1817. Oil on canvas. Museum der bildenden Künste, Leipzig.
Fig. 96. Julius Schnorr von Carolsfeld, The Wedding at Cana. 1819. Oil on canvas. Kunsthalle, Hamburg.
Fig. 97. Joseph von Führich, Encounter of Jacob and Rachel. 1836. Oil on canvas. Österreichische Galerie Belvedere, Vienna.
Fig. 98. Johann von Schraudolph, The Annunciation. 1838. Oil on panel. Öffentliche Kunstsammlung, Basel.
Last modified 21 August 2016