 The Romantic Movement emerged, on the one hand, as a reaction against Classicist and Neoclassicist aesthetical ideals (largely based on mimesis and representation, Behler 1993: ix), and on the other, as a critique from the somewhat blind faith in reason set up by the Enlightenment and which had proved to be unsatisfactory. Until the creation of the Athenaeum, A.W. Schlegel had published some of his writings in Friedrich Schiller’s periodical Die Horen (which was to Weimar Classicism what the Athenaeum would be to German Romanticism). Both he and his brother, Friedrich, however soon realized that their particular aesthetic views, philosophical insights, and literary criticisms (which they shared or thought to share with a number of authors such as Novalis, Tieck, Fichte, and Schleiermacher) needed a new, adequate space to be published without constraints. The Athenaeum was created with precisely this view in mind and was to provide an alternative space that was open to new aesthetic ideas. And although it was conceived as a collective work with an intended and welcomed diversity of positions, styles, and literary forms (letters, aphorisms, dialogues, literary criticism, etc.), their main idea was that they would publish only those pieces that they could consider as “their own” (A: I, iv). In effect: there were two editors, several writers, and a diversity of opinions, but one unifying principle (A: I, vi). The Athenaeum thus became the hotbed for powerful, original and philosophically revolutionary ideas and insights about poetry, literature, and art in general (cf. Paulin 2016: 118). 