Visits and Sketches at Home and Abroad with Tales and Miscellanies Now First Collected Volume II Part 2

2ndly. The death of Siegfried, a.s.sa.s.sinated by Hagen, who stabs the hero in the back, as he stoops to drink from the forest-well. And 3rdly.

The body of Siegfried exposed in the cathedral at Worms, and watched by Chrimhilde, "who wept three days and three nights by the corse of her murdered lord, without food and without sleep."

The fourth room will contain the second marriage of Chrimhilde; her complete and sanguinary vengeance; and her death. None of these are yet in progress. But the three cartoons of the death of Siegfried; the marriage of Siegfried and Chrimhilde; and the fatal curiosity of Chrimhilde, I had the pleasure of seeing in Professor Schnorr's studio at the academy; I saw at the same time his picture of the death of the emperor Frederic Barbarossa, which has excited great admiration here, but I confess I do not like it; nor do I think that Schnorr paints as well in oils as in fresco--the latter is certainly his forte.

Often have I walked up and down these superb rooms, looking up at Schnorr and his a.s.sistants, and watching intently the preparation and the process of the fresco painting--and often I thought, "What would some of our English painters--Etty, or Hilton, or Briggs, or Martin--O what would they give to have two or three hundred feet of s.p.a.ce before them, to cover at will with grand and glorious creations,--scenes from Chaucer, or Spenser, or Shakspeare, or Milton, proudly conscious that they were painting for their country and posterity, spurred on by the spirit of their art and national enthusiasm, and generously emulating each other!" Alas! how different!--with us such men as Hilton and Etty ill.u.s.trate annuals, and the genius of Turner shrinks into a vignette!

I should add, before I throw down my weary pen, that every part of the new palace, from the _ensemble_ down to the minutest details of the ornaments (the paintings excepted) has been designed by De Klenze, who executed seven hundred drawings with his own hand for this palace alone, without reckoning his designs for the Glyptothek and the Pinakothek.

This has been a busy and exciting day. Then in the evening a _soiree_--music--

O quite tired in spirits, in voice, in mind, in heart, in frame!

_Oct. 14th._--Accompanied by my kind friend, Madame de K----, and conducted by Roekel, the painter, I visited the unfinished chapel adjoining the new palace. It is painted (or rather _painting_) in fresco, on a gold ground, with extraordinary richness and beauty, uniting the old Greek, or rather Byzantine manner, with the old Italian style of decoration. It reminded me, in the general effect, of the interior of St. Mark's at Venice,--but, of course, the details are executed in a grander feeling, and in a much higher style of art. The pillars are of the native marble, and the walls will be covered with a kind of Mosaic of various marbles, intermixed with ornaments in relief, in gilding, in colours--all combined, and harmonizing together.

The ceiling is formed of two large domes or cupolas. In the first is represented the Old Testament: in the very centre, the Creator; in a circle round him, the six days' creation. Around this again, in a larger circle, the building of the ark; the Deluge; the sacrifice of Noah; and the first covenant. In the four corners, the colossal figures of the patriarchs, Noah, Abraham, Isaac, and Jacob. These are designed in a very grand and severe style. The second cupola is dedicated to the New Testament. In the centre, the Redeemer: around him four groups of cherubs, three in each group. We were on the scaffold erected for the painters--near enough to remark the extreme beauty and various expression in these heads, which must, I am afraid, be lost when viewed from below.

Around, in a circle, the twelve apostles; and in the four corners, the four evangelists, corresponding with the four patriarchs in the other dome. In the arch between the two domes, as connecting the Old and New Testaments, we have the Nativity and other scenes from the life of the Virgin. In the arch at the farthest end will be placed the Crucifixion, as the consummation of all.

The painter to whom the direction of the whole work has been entrusted, is professor Heinrich Ha.s.s, (or Hess,) one of the most celebrated of the German historical painters. He was then employed in painting the Nativity, stretched upon his back on a sort of inclined chair. Notwithstanding the inconvenience and even peril of leaving his work while the plaster was wet, he came down from his giddy height to speak to us, and explained the general design of the whole. I expressed my honest admiration of the genius, and the grand feeling displayed in many of the figures; and, in particular, of the group he was then painting, of which the extreme simplicity charmed me; but as honestly, I expressed my surprise that nothing _new_ in the general style of the decoration had been attempted; a representation of the Omnipotent Being was merely excusable in more simple and unenlightened times, when the understandings of men could only be addressed through their senses--and merely tolerable, when Michael Angelo gave us that grand personification of Almighty Power moving "on the wings of the wind" to the creation of the first man. But now, in these thinking, reasoning times, it is not so well to venture into those paths, upon which daring Genius, supported by blind Faith, rushed without fear, because without a doubt. The theory of religion belongs to poetry, and its practice to painting. I was struck by the wonderful stateliness of the ornaments and borders used in decorating these sacred subjects: they are neither Greek, nor gothic, nor arabesque--but composed merely of simple forms and straight lines, combined in every possible manner, and in every variety of pure colour.

One might call them _Byzantine_; at least, they reminded me of what I had seen in the old churches at Venice and Pisa.

I was pleased by the amiable and open manners of professor Hess. Much of his life has been spent in Italy, and he speaks Italian well, but no French. In general, the German artists absolutely detest and avoid the language and literature of France, but almost all speak Italian, and many can read, if they do not speak, English. He told me that he had spent two years on the designs and cartoons for this chapel; he had been painting here daily for the last two years, and expected to be able to finish the whole in about two years and a half more: thus giving six years and a half, or more probably seven years, to this grand task.

He has four pupils, or a.s.sistants, besides those employed in the decorations only.

_Oct. 15th._--After dinner we drove through the beautiful English garden--a public promenade--which is larger and more diversified than Kensington Gardens; but the trees are not so fine, being of younger growth. A branch of the Isar rolls through this garden, sometimes an absolute torrent, deep and rapid, foaming and leaping along, between its precipitous banks,--sometimes a strong but gentle stream, flowing "at its own sweet will" among smooth lawns. Several pretty bridges cross it with "airy span;" there are seats for repose, and cafes and houses where refreshment may be had, and where, in the summer-time, the artisans and citizens of Munich a.s.semble to dance on the Sunday evenings;--altogether it was a beautiful day, and a delightful drive.

In the evening at the opera with the amba.s.sadress and a large party.

It was the queen's fete, and the whole court was present. The theatre was brilliantly illuminated--crowded in every part: in short, it was all very gay and very magnificent; as to hearing a single note of the opera, (the Figaro,) that was impossible; so I resigned myself to the conversation around me. "Are you fond of music?" said I, innocently, to a lady whose volubility had ceased not from the moment we entered the box. "Moi! si je l'aime!--mais avec pa.s.sion!" And then without pause or mercy continued the same incessant flow of _spirituel_ small-talk while Scheckner-Wagen and Meric, now brought for the first time into compet.i.tion, and emulous of each other,--one pouring forth her full _sostenuto_ warble, like a wood-lark,--the other trilling and running divisions, like a nightingale--were uniting their powers in the "Sull'

Aria;" but though I could not hear I could see. I was struck to-night more than ever by the singular dignity of the demeanour of Madame Scheckner-Wagen. She is not remarkable for beauty, nor is there any thing of the common made-up theatrical grace in her deportment--still less does she remind us of queen Medea--queen Pasta, I should say--the imperial syren who drowned her own ident.i.ty and ours together in her "cup of enchanted sounds;"--no--but Scheckner-Wagen treads the stage with the air of a high-bred lady, to whom applause or censure are things indifferent--and yet with an exceeding modesty. In short, I never saw an actress who inspired such an immediate and irresistible feeling of respect and interest for the individual _woman_. I do not say that this is the _ne plus ultra_ of good acting--on the contrary; though it is a mistake to imagine that the moral character of an actress or a singer goes for nothing with an audience--but of this more at some future time. Madame Scheckner's style of singing has the same characteristic simplicity and dignity: her voice is of a fine full quality, well cultivated, well managed. I have known her a little indolent and careless at times, but never forced or affected; and I am told that in some of the grand cla.s.sical German operas, Gluck's Iphigenia, for instance, her acting as well as her singing is admirable.

I wish, if ever we have that charming Devrient-Schroeder, and her vocal suite, again in England, they would give us the Iphigenia, or the Armida, or the Idomeneo. She is another who must be heard in her native music to be justly appreciated. Madame Milder _was_ a third, but her reign is past. This extraordinary creature absolutely could not, or would not, sing the modern Italian music; no one, I believe, ever heard her sing a note of Rossini in her life. Madame Vespermann is here, but she sings no more in public. She was formed by Winter, and was a fine cla.s.sical singer, though no original genius like the Milder; and her voice, if I may judge by what remains of it, could never have been of first-rate quality.

Well--after the opera--while scandal, and tea, and refreshments were served up together--I had a long conversation with Count ---- on the politics and statistics of Bavaria, the tone of feeling in the court, the characters and revenues of some of the leading n.o.bles--particularly Count d'Armansberg, the former minister, (now in Greece taking care of the young King Otho,) and Prince Wallerstein, the present minister of the interior. He described the king's extremely versatile character, and his _vivacites_, and lamented his present unpopularity with the liberal party in Germany, the disputes between him and the Chambers, and the opinions entertained of the recent conferences between the king and his brother-in-law, the Emperor of Austria, at Lintz, &c. I learnt much that was new, much that was interesting to me, but do not understand these matters sufficiently to say any thing more about them.

The two richest families in Bavaria are the Tour-and-Taxis, and the Arco family. The annual revenue of the Prince of Tour-and-Taxis amounts to upwards of five millions of florins, and he lays out about a million and a half yearly in land. He seldom or never comes to Munich, but resides chiefly on his enormous estates, or at Ratisbon, which is _his_ metropolis,--in fact, this rich and powerful n.o.ble is little less than a sovereign prince.

_16th._--I went with Madame von A---- and her daughters to the =Kunstverein=, or "Society of Arts." A similar inst.i.tution of amateurs and artists, maintained by subscription, exists, I believe, in all the princ.i.p.al cities of Germany. The young artists exhibit their works here, whether pictures, models, or engravings. Some of these are removed and replaced by others almost every day, so that there is a constant variety.

As yet, however, I have seen no _very_ striking, though many pleasing pictures; but I have added several names to my list of German artists.[11] To-day at the Kunstverein, there was a series of small pictures framed together, the subjects from Victor Hugo's romance of Notre Dame. These attracted general attention, partly as the work of a stranger, partly from their own merit, and the popularity of Victor Hugo. The painter, M. Couder, is a young Frenchman, now on his return from Italy to Paris. I understand that he has obtained leave to paint one of the frescos in the Pinakothek, as a trial of skill. Of the designs from Notre Dame, the central and largest picture is the scene in the garret between Phoebus and Esmeralda, when the former is stabbed by the priest Frollo: one can hardly imagine a more admirable subject for painting, if properly treated; but this is a failure in effect and in character. It fails in effect because the light is too generally diffused:--it is day-light, not lamp-light. The monk ought to have been thrown completely into shadow, only _just_ visible, terribly, mysteriously visible, to the spectator. It fails in character because the figure of Esmeralda, instead of the elegant, fragile, almost etherial creature she is described, rather reminds us of a coa.r.s.e Italian contadina; and, for the expression--a truly poetical painter would have averted the face, and thrown the whole expression into the att.i.tude. It will hardly be believed that of such a subject, the painter has made a _cold_ picture, merely by not feeling the bounds within which he ought to have kept.

The small pictures are much better, particularly the Sachet embracing her child, and the tumult in front of Notre Dame. There were some other striking pictures by the same artist, particularly Chilperic and Fredegonde strangling the young queen Galsuinde, painted with shocking skill and truth. That taste for horrors, which is now the reigning fas.h.i.+on in French art and French literature, speaks ill for French _sensibilite_--a word they are so fond of--for that sensibility cannot be great which requires such extravagant _stimuli_. Painters and authors, all alike! They remind me of the sentimental negresses of queen Carathis, in the Tale of Vathek--"qui avaient un gout particulier pour les pestilences." Couder, however, has undoubted talent. His portrait of De Klenze, painted since he came here, is all but _alive_.

In the evening at the theatre with M. and Mad. S----. We had Karl von Holtei's melo-drama of Lenore, founded on Burger's well-known ballad;--but with the omission of the spectre, which was something like acting Hamlet "with the part of Hamlet left out, by particular desire."

Lenore is, however, one of the prettiest and most effective of the _pet.i.tes pieces_ I have seen here--very tragical and dolorous of course.

Madlle. Scholler acted Lenore with more feeling and power than I thought was in her. There is a mad scene, in which she fancies her lover at her window, calling to her, as the spectre calls in the ballad--

"Sleep'st thou, or wak'st thou, Leonore?"

And which was so fine as a picture, and so well acted, that it quite thrilled me--no easy matter. Holtei is one of the first dramatists in Germany for comedies, melo-dramas, farces, and musical pieces. In this particular department he has no rival. He played to-night himself, being for his own benefit, and sung his popular Mantel Lied, or _cloak-song_, which, like his other songs, may be heard from one end of Germany to the other.

_18th._--A grand military fete. The consecration of the great bronze obelisk, which the king has erected in the Karoline-Platz, to the _glory_ and the memory of the thirty-seven thousand Bavarian conscripts who followed, or rather were dragged by, Napoleon to the fatal Russian campaign in 1812. Of these, about six thousand returned alive: most of them mutilated, or with diseases which shortened their existence. Of many thousands no account ever reached home. They perished, G.o.d knows how or where. There was, in particular, a detachment, or a battery of six thousand Bavarians, so completely destroyed that it was as if the earth had swallowed them, or the snows had buried them, for not one remained to tell the tale of how or where they died. Of those who did return, about one thousand one hundred survive, of whom four hundred continue in the army; the rest had returned to their civil pursuits, and had become peasants or tradesmen in different parts of the kingdom. Now, it appears, that several hundreds of these men have arrived in Munich within the last few days in order to be present at the ceremony: and some, from the mere sentiment of honour, have travelled from afar--even from Upper Bavaria and the Flemish Provinces, a distance of more than eighty leagues, (two hundred and fifty miles.) On this occasion, according to the arrangements previously made, the veteran soldiers who remained in the army, were alone to be admitted within the enclosure round the monument. The others, I believe about five hundred in number, who had quitted the service, but who had equally fought, suffered, bled, in the same disastrous expedition, demanded, very naturally, the same privilege. It was refused; because forsooth they had no uniforms, and the unseemly intrusion of drab coats and blue worsted stockings among epaulettes and feathers and embroidered facings, would certainly spoil the symmetry--the effect of the _coup d'oeil_! They complained, murmured aloud, resisted; and all night there was fighting in the streets and taverns between them and the police. This morning they went up in a body to Marshal Wrede, (who is said to have betrayed the army,) and were _renvoyes_. They then went up to the palace; and at last, at a late hour this morning, the king gave orders that they should be admitted within the circle; but it was too late--the affront had sunk deep. The permission, which in the first instance ought indeed to have been rather an invitation, now seemed forced, ungraceful, and ungracious. There was a palpable cloud of discontent over all; for the popular feeling was with them. For myself, a mere stranger, such was my indignation, the whole proceeding appeared to me so heartless, so unkingly, so unkind, and my sympathy with these brave men was so profound, that I could scarce persuade myself to go;--however, I went.

I had been invited to view the ceremony from the balcony of the French amba.s.sador's house, which is exactly opposite to the obelisk.

I had indulged my ill-humour till it was late; already all the avenues leading to the Karoline-Platz were occupied by the military, and my carriage was stopped. As I was within fifty yards of the amba.s.sador's house, it did not much signify, and I dismissed the carriage; but they would not allow the lacquais to pa.s.s. Wondering at all these precautions I dismissed _him_ too. A little further on I was myself stopped, and civilly _commanded_ to turn back. I pleaded that I only wished to enter the house to which I pointed. "It was impossible." Now, what I had not cared for a moment before became at once an object to be attained, and which I was resolved to attain. I was really curious and anxious to see how all this would end, for the indifferent or lowering looks of the crowd had struck me. I observed to a well-dressed man, who politely tried to make way for me, that it was strange to see so much severity of discipline at a public fete. "Public fete!" he repeated with scornful bitterness; "Je vous demande pardon, madame! c'est une fete pour quelques uns, mais ce n'est pas une fete pour nous, ce n'est pas pour le peuple!"

At length I fortunately met an officer, with whom I was slightly acquainted, who immediately conducted me to the door. The spectacle, merely as a _spectacle_, was not striking; but to me it had a peculiar interest. There was a raised platform on one side for the queen and her children, who, attended by a numerous court, were spectators. An outer circle was formed by several regiments of guards, and within this circle the soldiers who had served in Russia were drawn up near the obelisk, which was covered for the present with a tarpauling. But all my attention was fixed on the disbanded soldiers without uniforms, who stood together in a dark dense column, contrasting with the glittering and gorgeous array of those around them. The king rode into the circle, accompanied by his brother, Prince Charles, the arch-duke Francis of Austria, Marshal Wrede, and followed by a troop of generals, equerries, &c. There was a dead silence, and not a shout was raised to greet him.

A few of the disbanded soldiers, who were nearest to him, took off their hats, others kept them on. The trumpets sounded a salute: the bands struck up our "G.o.d save the King," which is nationalized as _the_ loyal anthem all over Germany. The canva.s.s covering fell at once, and displayed the obelisk, which is entirely of bronze, raised upon four granite steps. It bears a simple inscription. I think it is "Ludwig I., king, to the soldiers of Bavaria who fell in the Russian campaign;" or nearly to that purpose. Marshal Wrede then alighted from his horse and addressed the soldiers. This was a striking moment; for while the outer circle of military remained immovable as statues, the soldiers within, both those with, and those without uniforms, finding themselves out of ear-shot, advanced a few steps, and then breaking their ranks, pressed forward in a confused ma.s.s, surrounding the king and his officers, in the most eager but respectful manner. I could not distinguish one sentence of the harangue, which, as I afterwards heard, was any thing rather than satisfactory.

I heard it remarked round me that the Duke de Leuchtenberg, (the son of Eugene Beauharnais,) was not present, neither as one of the royal cortege nor as a spectator.

The whole lasted about twenty minutes. The day was cold; and, in truth, the ceremony was _cold_, in every sense of the word. The Karoline-Platz is so large that not a third part of the open s.p.a.ce was occupied. Had the people, who lingered sullen and discontented outside the military barrier, been admitted under proper restrictions, it had been a grand and imposing sight; but, perhaps the king is following the Austrian tactics, and seeking to crush systematically every thing like feeling or enthusiasm in his people. I know not how he will manage it; for he is himself the very antipodes of Austrian carelessness and sluggishness: a restless enthusiast--fond of intellectual excitement--fond of novelty--with no natural taste, one would think, for Metternich's _vieilleries_. If he adopt Austrian principles, his theory and his practice, his precept and example, will always be at variance. At the conclusion of the ceremony the king and his suite rode up to the platform and saluted the queen: and when she--who is so universally and truly beloved here that I believe the people would die for her at anytime--rose to depart, I heard a cheer, the first and last this day!

The disbanded soldiers approached the platform, at first timidly by twos and threes, and then in great numbers, taking off their hats. She stood up, leaning on the princess Matilda, and bowed. The royal cortege then disappeared. The military bands struck up, and one battalion after another filed off. I expected that the crowd would have rushed in, but the people seemed completely chilled and disgusted. Only a few appeared.

In about half an hour the obelisk was left alone in its solitude.

I spent the rest of the day with Madame de V----, and returned home quite tired and depressed.

I understand this morning (Sat.u.r.day) that the king has ordered a gratuity and dinner to be given to the disbanded soldiers. I hope it is true, King Louis! You ought at least to understand your _metier de Roi_ better than to degrade the "pomp and circ.u.mstance of _glorious_ war" in the eyes of your people, and make them feel for what a poor recompence they may fight, bleed, die--be made at once victims and executioners in the contests of royal and ambitious gamblers!

I saw to-day, at the house of the court banker, Eichthal, a most charming picture by the Baroness de Freyberg, the sister of my good friend, M. Stuntz. It is a Madonna and child--loveliest of subjects for a woman and a mother!--she is sure to put her heart into it, at least; but, in this particular picture, the surpa.s.sing delicacy of touch, the softness and purity of the colouring, the masterly drawing in the hands of the Virgin, and the limbs of the child, equalled the feeling and the expression--and, in truth, _surprised_ me. Madame de Freyberg gave this picture to her father, who is not rich, and, unhappily, blind. Of him, the present possessor purchased it for fifteen hundred florins, (about 140_l._) and now values it at twice the sum. In the possession of her brother, I have seen others of her productions, and particularly a head of one of his children, of exceeding beauty, and very much in the old Italian style.

In the evening, a very lively and amusing _soiree_ at the house of Dr.

Martius. We had some very good music. Young Vieux-temps, a pupil of De Beriot, was well accompanied by an orchestra of amateurs. I met here also a young lady of whom I had heard much--Josephine Lang, looking so gentle, so unpretending, so imperturbable, that no one would have accused or suspected her of being one of the Muses in disguise, until she sat down to the piano, and sang her own beautiful and original compositions in a style peculiar to herself. She is a musician by nature, by choice, and by profession, exercising her rare talent with as much modesty as good-nature. The painter Zimmermann, who has a magnificent ba.s.s voice, sung for me Mignon's song--"Kennst du das Land!"

And, lastly, which was the most interesting amus.e.m.e.nt of the evening, Karl von Holtei read aloud the second act of Goethe's Ta.s.so. He read most admirably, and with a voice which kept attention enchained, enchanted; still it was genuine reading. He kept equally clear of acting and of declamation.

_Oct. 20th. Sunday._--I went with M. Stuntz to hear a grand ma.s.s at the royal chapel.

_21st._--It rained this morning:--went to the gallery, and amused myself for two hours walking up and down the rooms, sometimes pausing upon my favourite pictures, sometimes abandoned to the reveries suggested by these glorious creations of the human intellect.

'Twas like the bright procession Of skiey visions in a solemn dream, From which men wake as from a paradise, And draw fresh strength to tread the thorns of life!

While looking at the Castor and Pollux of Rubens, I remembered what the biographers a.s.serted of this most wonderful man--that he spoke fluently seven languages, besides being profoundly skilled in many sciences, and one of the most accomplished diplomatists of his time. Before he took up his palette in the morning, he was accustomed to read, or hear read, some fine pa.s.sages out of the ancient poets; and thus releasing his soul from the trammels of low-thoughted care, he let her loose into the airy regions of imagination.

What Goethe says of poets, must needs be applicable to painters. He says, "If we look only at the princ.i.p.al productions of a poet, and neglect to study himself, his character, and the circ.u.mstances with which he had to contend, we fall into a sort of atheism, which forgets the Creator in his creation."

I think most people admire pictures in this sort of atheistical fas.h.i.+on; yet next to loving pictures, and all the pleasure they give, and revelling in all the feelings they awaken, all the new ideas with which they enrich our mental h.o.a.rd--next to this, or equal with it, is the inexhaustible interest of studying the painter in his works. It is a lesson in human nature. Almost every picture (which is the production of mind) has an individual character, reflecting the predominant temperament--nay, sometimes, the occasional mood of the artist, its creator. Even portrait painters, renowned for their exact adherence to nature, will be found to have stamped upon their portraits a general and distinguis.h.i.+ng character.

There is, besides the physiognomy of the individual represented, the physiognomy, if I may so express myself, of the picture; detected at once by the mere connoisseur as a distinction of manner, style, execution: but of which the reflecting and philosophical observer might discover the key in the mind or life of the individual painter.

In the heads of t.i.tian, what subtlety of intellect mixed with sentiment and pa.s.sion! In those of Velasquez, what chivalrous grandeur, what high-hearted contemplation! When Ribera painted a head--what power of sufferance! In those of Giorgione, what profound feeling! In those of Guido, what elysian grace! In those of Rubens what energy of intellect--what vigorous life! In those of Vand.y.k.e, what high-bred elegance! In those of Rembrandt, what intense individuality! Could Sir Joshua Reynolds have painted a vixen without giving her a touch of sentiment? Would not Sir Thomas Lawrence have given refinement to a cook-maid? I do believe that Opie would have made even a calf's head look sensible, as Gainsborough made our queen Charlotte look picturesque.

If I should whisper that since I came to Germany I have not seen one really fine modern portrait, the Germans would never forgive me; they would fall upon me with a score of great names--Wach, Stieler, Vogel, Schadow--and beat me, like Chrimhilde, "black and blue." But before they are angry, and absolutely condemn me, I wish they would place one of their own most admired portraits beside those of t.i.tian or Vand.y.k.e, or come to England, and look upon our school of portraiture here! I think they would allow, that with all their merits, they are in the wrong road. Admirable, finished drawing; wonderful dexterity of hand; exquisite and most conscientious truth of imitation, they have; but they abuse these powers. They do not seem to feel the application of the highest, grandest principles of art to portrait painting--they think too much of the accessories. Are not these clever and accomplished men aware that imitation may be carried so far as to cease to be nature--to be error, not truth? For instance, by the common laws of vision I can behold perfectly only one thing at a time. If I look into the face of a person I love or venerate, do I see _first_ the embroidery of the canezou or the pattern on the waistcoat? if not--why should it be so in a picture? The vulgar eye alone is caught by such misplaced skill--the vulgar artist only ought to seek to captivate by such means.

These would sound in England as the most trite and impertinent remarks--the most self-evident propositions: nevertheless they are truths which the generality of the German portrait painters and their admirers have not yet felt.