A second and revised edition was published after another visit to Germany in January 1834, in the course of which Hayward met Tieck, Chamisso, De La Motte Fouqué, Varnhagen von Ense and Madame Goethe.
The composer wrote the English-language libretto herself, basing it on the cryptic supernatural short story Der blonde Eckbert by the German Romantic writer Ludwig Tieck.
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Ludwig Tieck wrote Der blonde Eckbert in 1796 and had it published in 1797 as part of his Peter Lebrechts Märchen (Peter Lebrecht's Fairy-tales).
More ambitious and on a wider canvas are the historical or semi-historical novels, Dichterleben (1826), Der Aufruhr in den Cevennen (1826, unfinished), Der Tod des Dichters (1834); Der junge Tischlermeister (1836; but begun in 1811) is an excellent story written under the influence of Goethe's Wilhelm Meister; Vittoria Accorombona (1840), the story of Vittoria Accoramboni written in the style of the French Romanticists, shows a falling-off.
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Blond Eckbert - Judith Weir's operatic adaption of Tieck's novella der blonde Eckbert.
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Tieck's biggest influence was a 16th-century Italian poet named Torquato Tasso, who is featured in Tieck's novel, Vittoria Accorombona, as a secondary character.
Johann Ludwig Tieck called him the "model of a light and rare talent", and Charles Lamb wrote that he was a "prose Shakespeare"; Professor Ward, one of Heywood's most sympathetic editors, pointed out that Heywood had a keen eye for dramatic situations and great constructive skill, but his powers of characterization were not on a par with his stagecraft.
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Rudolphi moved her institute to Heidelberg in 1803 (in the newly formed Electorate of Baden), where she became socially involved with the circle of Romanticist intellectuals there (Achim von Arnim, Clemens Brentano, Sophie Mereau, Friedrich Creuzer Ludwig Tieck) and a close friend of the family of classicist Johann Heinrich Voß.
Others who wrote on syntheses of the arts included Gottfried Lessing, Ludwig Tieck and Novalis.
In the autumn of 1817 he went to Berlin to take a private course of instruction in philosophy with Karl Wilhelm Ferdinand Solger, to whom he had been recommended by Ludwig Tieck in London.
Her story formed the basis of John Webster's drama, The White Devil, or The Tragedy of Paolo Giordano Ursini, Duke of Brachiano (1612), of Stendhal's novella Vittoria Accoramboni (1837-1839), of Ludwig Tieck's novel, Vittoria Accoramboni (1840) and of Robert Merle's novel l'Idole (1987) published in English translation as Vittoria.