to Rome, where, with Cornelius, Schadow, Veit, and Schnorr, he formed the brotherhood of Pre-Raphaelites, aspiring to the revival of German art on a religious basis, who, through their exclusiveness and sanctity won the epithet of Nazarites. In pursuance of these views, Overbeck shortly (1813) became a proselyte to the Roman Church and devoted himself exclusively to Christian art. All his paintings in oil as well as in fresco are distinguished for beauty of composition, simplicity of expression, grace, and deep religious feeling, but are lacking in force, vividness, and harmony of colour. United in closest friendship with Cornelius for more than half a century, he also entertained intimate relations with Niebuhr, Bunsen, and Friedrich Schlegel. He married in 1821, visited Germany in 1831-33, and again in 1855. Works: Adoration of the Magi (1811); Jesus in the House of Martha and Mary (1812); The Preaching of St. John; Raising of Lazarus (1822), Carlsruhe Gallery; Italia and Germania (1820), Portrait of Vittoria Caldoni (1821), Holy Family (1825), Feast of Pentecost, New Pinakothek, Munich; Christ blessing Little Children; Ave Maria; Christ's Entry into Jerusalem (1809-24); Pietà (1846), Marien Kirche, Lübeck; Holy Family (1825), Preaching of St. John (1831), Düsseldorf Academy; Death of St. Joseph (1836), Basle Museum; replica (1838); Christ in the Garden (about 1831-35), Hamburg Hospital; Marriage of the Virgin (1836), Raczynski Gallery, Berlin; Triumph of Religion in the Arts (1831-40), Städel Gallery, Frankfort; Incredulity of St. Thomas (1851), Mr. Hope, London; Assumption (1855), Cologne Cathedral; Christ escaping from the Jews (1857), Quirinal, Rome; replica (1864), Antwerp Museum; Portrait of himself, Uffizi, Florence. In fresco: Joseph sold by his Brethren, (Cartoon in Städel Gallery, Frankfort), The Seven Years of Famine (1818), Casa Bartholdi, Rome; Jerusalem Delivered (1817-27), Villa Massimo, ib.; Vision of St. Francis (1830), Santa Maria degli Angeli, near Assisi; Oil Study for do., Leipsic Museum.—Atkinson, Overbeck, London, 1882; Brockhaus, xii. 596; Dohme, K. u. K. des xix. Jahrh., ii.; Förster, Denkmale, ix. 15; do. Gesch., iv. 174; v. 540; Gaz. des B. Arts (1859), i. 321; (1860), vi. 86; (1864), xvii. 133; (1870), iii. 201; Hagen, Die deutsche Kunst in unserem Jahrh. (Berlin, 1857), i. 141; Jordan (1885), ii. 164; Organ f. christl. K. (1860), 179; Perrier, Études, 243; Reber, i. 250, 302, 315; Riegel, D. Kunststud., 418; do. Gesch. des Wiederauflebens, der d. K, 241, 247, 269, 287, 322, 324, 346; Zeitschr. f. b. K., vi. 217; xvii. 112.
OWEN, WILLIAM, born at Ludlow in
1769, died in London, Feb. 11, 1825.
Genre and portrait painter, pupil of Charles
Catton, and of the Royal Academy in 1791.
He exhibited the Blind Beggar of Bethnal
Green, Fortune-Teller, Schoolmistress, and
other works of this class, but his real
strength lay in portraiture, in which he was
the rival of Lawrence, of Hoppner, and of
Beechey; and he had many distinguished
sitters. In 1804 he became an A.R.A., in
1806 R.A., and in 1810 was appointed portrait
painter to the Prince of Wales, and in
1813 principal portrait painter to the Prince
as Prince Regent. Some of his pictures
were engraved. Works: Wilson Croker,
Lord Loughborough, National Portrait Gallery;
Ernst August, Duke of Cumberland,
Hanover Gallery.—Redgrave; F. de
Conches, 312; Ch. Blanc, École anglaise;
Sandby, i. 328; Kunst-Chronik, xxi. 95.
PAAPE (Pape), ADRIAAN DE, 17th
century. Dutch school; genre painter,
probably pupil of Dou or Mieris;
one of the best masters of his period, true
and speaking in action, harmonious in colouring,
and very careful in execution. Lived
at Leyden. Works: Woman plucking a
Hen, Hague Museum; Drawing Lesson,
Berlin Museum; Peasant Company, Amalienstift,
Dessau; Mother's Joy, Schwerin
