Page:Encyclopædia Britannica, Ninth Edition, v. 18.djvu/87

 O V E -0 V E 77 Christian art had been for centuries diverted and corrupted, and so he sought out afresh the living source, and, casting on one side his contemporaries, took for his guides the early and pre-Raphaelite painters of Italy. At the end of four years, differences had grown so irreconcilable that Overbeck and his band of followers were expelled from the academy. True art, he writes, he had sought in Vienna in vain &quot; Oh ! I was full of it ; my whole fancy was possessed by Madonnas and Christs, but nowhere could I find response.&quot; Accordingly he left for Rome, carrying his half-finished canvas Christ s Entry into Jerusalem, as the charter of his creec l &quot; I w ill abide by the Bible ; I elect it as my stand ing-point.&quot; Overbeck in 1810 entered Rome, which became for fifty-nine years the centre of his unremitting labour. He was joined by a goodly company, including Cornelius, Wilhelm Schadow, and Philip Veit, who took up their abode in the old Franciscan convent of San Isidoro on the Pincian Hill, and were known among friends and enemies by the descriptive epithets &quot; the Nazarites,&quot; &quot; the pre- Raphaelites,&quot; &quot; the new-old school,&quot; &quot; the German-Roman artists,&quot; &quot;the church-romantic painters,&quot; &quot;the German patriotic and religious painters.&quot; Their precept was hard and honest work and holy living; they eschewed the antique as pagan, the Renaissance as false, and built up a severe revival on simple nature and on the serious art of Perugino, Pinturicchio, Francia, and the young Raphael. The characteristics of the style thus educed were nobility of idea, precision and even hardness of outline, scholastic composition, with the addition of light, shade, and colour, not for allurement, but chiefly for perspicuity and com pletion of motive. Overbeck was mentor in the movement ; a fellow-labourer writes: &quot;No one who saw him or heard him speak could question his purity of motive, his deep insight and abounding knowledge ; he is a treasury of art and poetry, and a saintly man.&quot; But the struggle was hard and poverty its reward. Helpful friends, however, came in Niebuhr, Bunsen, and Frederick Schlegel. Overbeck in 1813 joined the Roman Catholic Church, and thereby he believed that his art received Christian baptism. Faith in a mission begat enthusiasm among kindred minds, and timely commissions followed. The Prussian consul, Bartholdi, had a house on the brow of the Pincian, and he engaged Overbeck, Cornelius, Veit, and Schadow to decorate a room 24 feet square with frescos from the Story of Joseph and his Brethren. The subjects which fell to the lot of Overbeck were the Seven Years of Famine and Joseph Sold by his Brethren. These tentative wall- pictures, finished in 1818, produced so favourable an im pression among the Italians that in the same year Prince Massimo commissioned Overbeck, Cornelius, Veit, and Schnorr to cover the walls and ceilings of his garden pavilion, near St John Lateran, with frescos illustrative of Tasso, Dante, and Ariosto. To Overbeck was assigned, in a room 15 feet square, the illustration of Tasso s Jerusalem Delivered; and of eleven compositions the largest and most noteworthy, occupying one entire wall, is the Meeting of Godfrey de Bouillon and Peter the Hermit. The completion of the frescos very unequal in merit after ten years delay, the overtaxed and enfeebled painter delegated to his friend Joseph Fiihrich The leisure thus gained was devoted to a thoroughly congenial theme, the Vision of St Francis, a wall-painting 20 feet long, figures life size, finished in 1830, for the church of Sta Maria degli Angeli near Assisi. Overbeck and the brethren set them selves the task of recovering the neglected art of fresco and of monumental painting ; they adopted the old methods, and their success led to memorable revivals throughout Europe. Fifty years of the artist s laborious life were given to oil and easel paintings, of which the chief, for size and import, are the following : Christ s Entry into Jerusalem (1824), in the Marien Kirche, Liibeck ; Christ s Agony in the Garden (1835), in the great hospital, Hamburg ; Lo Sposalizio (1836), Raczynski gallery, Berlin; the Triumph of Religion in the Arts (1840), in the Stadel Institut, Frankfort; Pieta (1846), in the Marien Kirche, Liibeck; the Incredulity of St Thomas (1851), in the possession of Mr Beresford Hope, London ; the Assumption of the Madonna (1855), in Cologne Cathedral; Christ Delivered from the Jews (1858), tempera, on a ceiling in the Quirinal Palace, a commission from Pius IX., and a direct attack on the Italian temporal government, therefore now covered by a canvas adorned with Cupids. All the artist s works are marked by religious fervour, careful and protracted study, with a dry, severe handling, and an abstemious colour. Overbeck belongs to eclectic schools, and yet was creative ; he ranks among thinkers, and his pen was hardly less busy than his pencil. He was a minor poet, an essayist, and a voluminous letter-writer. His style is wordy and tedious ; like his art it is borne down with emotion and possessed by a somewhat morbid &quot; subjec tivity.&quot; His pictures were didactic, and used as propa gandas of his artistic and religious faith, and the teachings of such compositions as the Triumph of Religion and the Sacraments he enforced by rapturous literary effusions. His art was the issue of his life : his constant thoughts, cherished in solitude and chastened by prayer, he trans posed into pictorial forms, and thus were evolved countless and much-prized drawings and cartoons, of which the most considerable are the Gospels, forty cartoons (1852) ; Via Crucis, fourteen water-colour drawings (1857); the Seven Sacraments, seven cartoons (1861). Overbecks composi tions, with few exceptions, are engraved. His life-work he sums up in the words &quot; Art to me is as the harp of David, whereupon I would desire that psalms should at all times be sounded to the praise of the Lord.&quot; He died in Rome in 1869, aged eighty, and lies buried in San Bernardo, the church wherein he worshipped, (j. B. A.) OVER DARWEN, a municipal borough of Lancashire, is situated in the vale of the Darwen river, shut in by heath-covered hills, and on the Lancashire and Yorkshire Railway, 3 miles south from Blackburn and 9 north from Bolton. There are four ecclesiastical parishes, each of which has a handsome church ; and among the other public buildings are the market-house, the Liberal and Conservative club-houses, a free public library with 10,000 volumes, and the Peel baths, erected in memory of Sir Robert Peel. The town possesses cotton factories, iron and brass foundries, machine works, paper mills, paper-staining works the first and probably the largest of their kind. In the neighbourhood there are collieries and stone quarries. The population of the municipal borough (area 5918 acres) in 1881 was 29,744. It includes part of Lower Darwen and Eccleshill, with 2118 inhabitants. The postal designation is Darwen. Over Darwen was at one time included in &quot;Walton-le-dale, which was granted by Henry de Lacy to Robert Banastre in the reign of Henry II. In the 4th of Edward II. (1310) it is mentioned along with Livesey and Tockholes, the three containing a carucate of land in fee of the castle of Clitheroe. In 38 Edward III. (1364) a moiety of the manor of Over Darwen was held by Thomas Molyneux, the other moiety being held by the Osbaldeston family. Subsequently the whole manor became the property of the Traffords, of whom it was purchased in 1810 by the present owners the Duckworths. Over Darwen was incorporated as a municipal borough in 1878, and a commission of the peace was granted in 1881. OVERTURE. See Music, vol. xvii. p. 95 sq. OVERYSSEL, or OVERIJSSEL, a province of Holland, bounded N.W. by the Zuyder Zee, N. by Friesland and