Modern German influences; a modern German style, derived mainly from the revivalist Nazarenes and their followers began to be recognised in Britain during the early Victorian period. The influence which attracted patrons was in Bell's words 'Teutonic' and related 'not so much to Germany herself [but rather to] the Nazarenes, a colony of German artists settled in Rome' ( see Bell, Victorian Artists, p.15). The work was in opposition to the general approach to painting in Britain, still much influenced by the teachings of Reynolds, involving The Grand Manner and much generalization ( Reynolds's Discourses does not mention the German School). The development was noted in the contemporary journals such as the Athenaeum, and Art Union Journal. German influence also came to bear on British art education in the setting up of the first Government Normal School of Design at Somerset House in 1837, following a trip to Germany by the Scottish artist William Dyce in the same year.
Dyce had earlier met the Nazarenes and in particular, Friedrich Overbeck during his 1827-8 visit to Italy (see Ruskin and Overbeck). Both Overbeck and Cornelius became influential in Europe. Charles Eastlake, later President of the RA in 1850 and Director of the National Gallery in 1855, was knowledgeable about German art and particularly the Nazarenes following his extensive stay in Rome. Prince Albert as President of the Fine Arts Commission initially promoted the view that German artists might be best fitted to carry out the decorations of the new Palace of Westminster which was offered in competition (1843 to 1846). Eastlake was also secretary to the Commission. Modern German art involved more than a particular style. It was also underpinned by an art theory derived from writers such as Schiller, the Schegels, Novalis and Schelling (see Vaughan, German Romanticism and English Art). Ruskin was somewhat slow to gain a close practical knowledge of modern German art (see Ruskin and modern German art).