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 it was in Rome that the decrepit classicism was living its last days; here were the headquarters of the international colony of artists who catered to the tastelessness and banality of the ever flowing stream of tourists. The energetic, wayward and highly cultured Bryullov, the keen, well-educated Bruni could afford to be subjected to this spirit, without running so great a risk as Ivanov did, of losing themselves in the insipidity and routine which flourished in Rome; what saved Ivanov was his own nature, which, although not very spirited and vivid, was deep, concentrated, and loathed the staleness of classicism. He owed much also to his acquaintance with the sincere and serious artist, Overbeck. Overbeck pointed out to him the ways which led him out of the straits of the academic formula, but once on the highroad, Ivanov left his mentor far behind and came near those revelations of mystery, which were utterly inaccessible to the somewhat limited Overbeck, who, besides, entangled himself in religious hypocrisy.

Unfortunately, Ivanov definitely found himself only in the very last years of his life, and the true Ivanov, the grandiose and excellent artist, is known to us by his Biblical sketches only, which he intended to develop into vast canvases upon his return to Russia. Throughout the twenty-five years he spent in Rome, he simply had no time to devote himself to free creative activity,