The German Genius

seine Zeitgenossen. 3 vols. (Leipzig: F. C. W. Vogel, 1923), vol. 2, p. 382. See also Roettgen, Anton Raphael Mengs .
9. Pelzel, Anton Raphael Mengs , p. 109.
10. Ibid., p. 111.
11. Ibid., p. 126.
12. G. L. Bianconi, Elogio storico del Cavaliere Antonio Raffaele Mengs (Milan, 1780), p. 195. For his time in Spain, see Dieter Honisch, Anton Raphael Mengs und die Bildform des Frühklassizismus (Recklinghausen: Aurel Bongers, 1965), pp. 38ff.
13. Pelzel, Anton Raphael Mengs , p. 197.
14. Jean Locquin, La peinture d’histoire en France de 1747 à 1785 (Paris, 1912), p. 104. Quoted in Pelzel, Anton Raphael Mengs . See also Hugh Honour, ed., The Age of Neoclassicism. Catalog of the Fourteenth Exhibition of the Council of Europe, at the Royal Academy and the Victoria and Albert Museum, London, September 9–November 19, 1972 (London: Arts Council of Great Britain, 1972).
15. Pelzel, Anton Raphael Mengs , p. 215.
16. Honour, Age of Neoclassicism , p. xxii.
17. Ibid., p. xxiii.
18. Ibid., p. liii.
19. Ibid., p. lxi.
20. Merlies Lammert, David Gilly, Ein Baumeister des deutschen Klassizismus (Berlin: Akademie Verlag, 1964), pp. 60ff.
21. Honour, Age of Neoclassicism , p. lxii.
22. Ibid.
23. Michael Snodin, ed., Karl Friedrich Schinkel: A Universal Man. Exhibition at the Victoria and Albert Museum, July 31–October 27, 1991 (New Haven, Conn.: Yale University Press in association with the Victoria and Albert Museum, 1991).
24. Gottfried Riemann und Christa Hesse, Karl Friedrich Schinkel: Architekturzeichnungen (Berlin: Henschel, 1991). See also Helmut Börsch-Supan and Lucius Grisebach, Karl Friedrich Schinkel: Architektur, Malerei, Kunstgewerbe. Exhibition, Berlin, 1981 (Berlin: Nicolai, 1981).
25. Louis Schreider, Das Buch des Eisernen Kreuzes: Die Ordens Sammlung (Berlin, 1971).
26. Gordon Williams, The Iron Cross: A History, 1813–1957 (Poole: Blandford Press, 1984), p. 12. Williams says that Schinkel’s design was preferred to the Kaiser’s own.
27. Snodin, ed., Karl Friedrich Schinkel , especially the essays by Gottfried Riemann and Alex Potts. See also Riemann und Hesse, Karl Friedrich Schinkel . This short book is beautifully illustrated with Schinkel’s drawings, illustrated notes, plans, and carefully drawn interiors.
28. Reinhard Wegner, ed., Karl Friedrich Schinkel, Die Reise nach Frankreich und England in Jahre 1826 (Munich: Deutscher-Kunstverlag, 1990). This contains facsimiles of the original text.
29. Rand Carter, Karl Friedrich Schinkel: The Last Great Architect (Chicago: Exedra Books, 1981).
30. Erik Forssman, “Höhere Baukunst,” in his Karl Friedrich Schinkel: Bauwerke und Baugedanken (Munich: Schnell & Steiner, 1981), pp. 211–233.
31. Oswald Hederer, Leo von Klenze: Persönlichkeit und Werk (Munich: Georg D. W. Callwey, 1964). For his work in Bavaria, see pp. 172–180. Klenze was also an accomplished painter; see Norbert Lieb and Florian Hufnagl, Leo von Klenze: Gemälde und Zeichnungen (Munich: D. W. Callwey, 1979).
32. For the pictures themselves, see Klaus Gallwitz, ed., Die Nazarener in Rom: Ein deutscher Künstlerbund der Romantik (Munich: Prestel, 1981). The exhibition was in Rome and easily confirms the excellent pictorial qualities of these (now) deeply unfashionable painters.
33. Mitchell Benjamin Frank, “Overbeck as the Monk-Artist,” in his German Romantic Painting Redefined: Nazarene Tradition and the Narratives of Romanticism (Aldershot: Ashgate, 2000), pp. 49ff. For drawings of the artists, see pp. 26–27. See also Fritz Schmalenbach, “Das Over-becksche Familienbild,” in Studien über Malerei und Malereigeschichte (Berlin: Gebr. Mann, 1972), pp. 77–81.
34. Margaret Howitt, Friedrich Overbeck: Sein Leben und Schaffen. 2 vols. (Bern: Herbert Long, 1971), vol. 1, p. 82. Originally published by Herder in Freiburg in 1886.
35. Pelzel, Anton Raphael Mengs , p. 21.
36. Ibid., p. 26.
37. Ibid., p. 29.
38. Frank, German Romantic Painting , p. 26. See also: Gallwitz, ed., Nazarener in Rom .
39. By coincidence, and to their great delight, they discovered an old workman who at one time had helped prepare the plaster for Mengs, and he was able to teach them the rudimentary technique of an almost forgotten craft. Frank, German Romantic Painting , p. 26.
40. Frank, German Romantic Painting , p. 140.
41. Pelzel, Anton Raphael Mengs , p. 40.
42. Frank, German Romantic Painting , p. 143.
43. Pelzel, Anton Raphael Mengs , p. 56.
44. Ibid., p. 61.
45. Julius Schnorr von Carolsfeld, Die Bibel