Philipp Veit

[4] While participating in the struggle against Napoleon in 1813–14 (the German campaign of 1813 or War of the Sixth Coalition), first as a Lützower Jäger and part of the Lützow Free Corps, subsequently as a member of the Kleistsche Armeekorps, a corps led by Friedrich Graf Kleist von Nollendorf, and returning to Berlin for a short period, Veit became closer friends with the mentioned above poet Joseph Freiherr von Eichendorff and his own lieutenant Friedrich de la Motte Fouqué.

[2] Beginning in 1811, Veit was more teaching himself and finished a couple of portraits (Zichy-Vásonykeő, Julie Gräfin, lost; Franz Xaver von Baader and other members of Vienna's society and exponents of Romanticism).

While The Bloody Coat and Joseph in Prison were conferred to Schadow, Veit executed Potiphar's wife and the Seven Years of Great Abundance (in 1867, the frescoes were sold by the Zuccari family to the Alte Nationalgalerie in Berlin).

[6] A simultaneous replica (executed in oil on canvas) was exhibited in 1819 in the Palazzo Caffarelli on the Capitol Hill and is today part of the collection of the National Gallery in Berlin.

[9] At the same time, around 1824, Veit was commissioned by the canon Christian Leberecht von Ampach to execute a painting with the subject of Christ at the Mount of Olives (Christus am Ölberg, finished 1825) for the Chapel of the Three Magi (Dreikönigskapelle) at Naumburg Cathedral in Germany.

Still in Rome in 1824, Veit was depicted as a member of German artists' circles in Franz Ludwig Catel's famous group portrait Crown Prince Ludwig in the Spanish Wine Tavern in Rome; Veit is said to be the person sitting between the two standing figures of von Wagner and Dr. Ringseis on the right side of the table.

In 1829–30, Veit executed a Maria Immaculata for the Capella Orsini (a northern chapel) of Santa Trinità dei Monti, moreover the last work of his Roman period, with clear stylistic impact of Raphael and Perugino.

Other decorations for the old Städel building were the frescoes Die Einführung der Künste durch das Christentum in Deutschland (The Arts Being Introduced to Germany by Christianity) with the allegories of Germania and Italia.

Actually, it displays a conversion scene (through the sermon of Saint Boniface) in the centre-panel while the allegories of Germania and Italia on the side panels represent secular and spiritual power.