terrors of Tieck’s own tales, and of German romance in general.  The knight is in complete armour, and is riding through a forest.  On a hilltop in the distance are the turrets of a castle; a lean hound follows the knight; on the ground between his horse’s hoofs sprawls a lizard-like reptile; a figure on horseback approaches from the right, with the face half obliterated or eaten away to the semblance of a skull, and snakes encircling the temples.  Behind comes on a demon or goblin shape, with a tall curving horn, which is “neither man nor woman, neither beast nor human,” but one of those grotesque and obscene monsters which the mediaeval imagination sculptured upon the cathedrals.  This famous copperplate prompted Fouque’s romance, “Sintram and his Companions.”  He had received a copy of it for a birthday gift, and brooded for years over its mysterious significance; which finally shaped itself in his imagination into an allegory of the soul’s conflict with the powers of darkness.  His whole narrative leads up to the description of Duerer’s picture, which occupies the twenty-seventh and climacteric chapter.  The school of young German Pre-Raphaelite art students, associated at Rome in 1810 under the leadership of Overbeck and Cornelius, was considerably influenced by Wackenroder’s “Herzensergiessungen.”

Music, too, and particularly church music, was affected by the new taste.  The ancient music of the “Dies Irae” and other Latin hymns was revived; and it would not be far wrong to say that the romantic school sowed the seed of Wagner’s great music-dramas, profoundly Teutonic and romantic in their subject matter and handling and in their application of the united arts of poetry, music, and scene-painting to old national legends such as “Parzival,” “Tannhaeuser,” [15] “The Knight of the Swan,” and the “Nibelungen Hoard.”

History, too, and Germanic philology took impulse from this fresh interest in the past.  Johannes Mueller, in his “History of the Swiss Confederation” (1780-95), drew the first appreciative picture of mediaeval life, and caught, in his diction, something of the manner of the old chroniclers.  As in England ancient stores of folklore and popular poetry were gathered and put forth by Percy, Ritson, Ellis, Scott, and others, so in Germany the Grimm brothers’ universally known collections of fairy tales, legends, and mythology began to appear.[16] Tieck published in 1803 his “Minnelieder aus dem Schwabischen Zeitalter.”  Karl Simrock made modern versions of Middle High German poetry.  Uhland, whose “Walther von der Vogelweide,” says Scherer, “gave the first complete picture of an old German singer,” carried the war into Africa by going to Paris in 1810 and making a study of the French Middle Age.  He introduced the old French epics to the German public, and is regarded, with A. W. Schlegel, as the founder of romance philology in Germany.