CHAPTER XIIILudwig and the Artistes of the Stage—Josephine SchefzkyHis subjects began to give up the hope of seeing their King a husband. Several political parties, however, hoped that they might be able to influence him through a mistress. Their expectations were disappointed also in this. After the breaking-off of his engagement, the fair sex played but a small part in the King’s life. He seems to have looked upon women with the same eyes as the poet Holberg, who in one of his letters writes that he regards them as “pretty pictures”—to be looked at, but not to be touched! Those who knew Ludwig are entirely agreed that he never felt real love for any woman, not even for his betrothed wife, though at one time he appeared to do so. To Richard Wagner, he said at one of their first meetings: “You do not like women either, do you? They are such bores!”Ludwig’s indifference did not, however, prevent him from feeling friendship for several women.1His artistic interests, moreover, brought him into contact with others of them;and in his youth he often summoned actresses and women-singers to his palaces in order that they might recite and sing to him. He astonished them by his remarkable memory, for if they left out but a single word he would immediately supply it. Not infrequently he would himself take a part in a dialogue, and his gifts of elocution are said to have been charming.Some of his experiences with the artistes whom he invited to his palaces can hardly have contributed to increase his respect for women. The fêted actress, Frau von Bulyowska, declaimed before him at Hohenschwangau fragments of Schiller’s dramas. For some time he delighted in Mary Queen of Scots; he had her engraved, he had her painted, he had her acted at the theatre. The aforesaid actress, who had taken the part of Mary Stuart, had to stand as model to the court painter, who made sketches of her for use in a painting of that unfortunate Queen. Frau von Bulyowska thought this was the outcome of an interest on Ludwig’s side in her person; and she unreservedly avowed her intention of seducing the young Monarch, and of playing therôleof a Madame de Pompadour at his court.One day, when visiting him on the Roseninsel, she appeared in a costume which was evidently calculated to show her outward charms in the most advantageous light. Her efforts were wasted; the King’s near-sighted eyes did noteven appear to see what she was like. His Master of the Horse who accompanied her, however, understood her intentions. The next time she was received at the Palace in Munich, which had been recently restored. The King complied with his visitor’s wish to see his private apartments. When they entered his bed-chamber the actress made a tender attack upon his person. Ludwig freed himself from her embrace, rang the bell for a servant, and called out: “Frau von Bulyowska desires her carriage!”She was not invited by him again. Another actress lost his favour because, on a first visit to one of his palaces, she was looking so attentively at his paintings that she did not hear him enter the room, and consequently neglected to curtsey with deference.Mathilde Mallinger, the singer, was, on account of her magnificent voice, for a short time the recipient of his favours; but her ignorance of the forms of the great world soon repelled him. When one day she asked for an audience, his Majesty answered that he “only knew a court singer, Mathilde Mallinger, but no lady of that name; and therefore was unable to grant her an audience.”No artiste was for so long a time or so high in his favour as Josephine Schefzky, one of the chief Wagner singers of her day. She was the daughter of a court official, and it was to membersof the house of Wittelsbach that she owed the means for her artistic education. Already before her appearance Ludwig interested himself in this future star within the realms of song. Her studies completed, she was engaged by the Royal Opera of Munich; and after some years was appointed court singer. The King was usually present at the opera when she appeared, and she had often, moreover, the honour of singing privately before him, both in his capital and when he was living at one or other of his pleasure palaces. He had caused to be arranged in the Throne Room building of the Residenz a winter garden, to which he had direct access from his private apartments. Besides magnificent groups of exotics, the garden contained a grotto, with a little cascade, and a pool deep and broad enough for him to row on in a boat, the latter being formed like a swan. Dressed as Lohengrin he lived here in the world of fancy, for a few moments forgetting everything that oppressed his mind.His favourite singers sang fragments of Wagner’s operas to him from behind groups of palms. Here Josephine Schefzky sang often. He permitted her to sail with him in his golden boat, and when one day she had sung the love-song fromTristan und Isolde, he suddenly struck up the air fromRigoletto: “La donna è mobile.” This artiste, too, was vain enough to believe that he was in love with her. Many of the inhabitantsof Munich expressed in fairly explicit terms their belief that aliaisonexisted between them. In reality, however, he was only her protector, who enjoyed her magnificent singing. So high a place in his esteem as that she was credited with, it may fairly be asserted was never hers. To his dailyentouragehe was in the habit of announcing her visits in the following words: “To-day the goose Schefzky shall come and sing again.” One night she sang to him on the artificial lake in the winter garden. The boat was small. An incautious movement on her part caused it to careen. The King scrambled out of the pool with ease, though wet through. “Pull her out of the water,” he called to a lacquey, as he disappeared rapidly into his own apartments.Despite this occurrence, Josephine Schefzky continued to be in his favour, and was singled out for this by his Majesty more often than any other artiste. At his country residences she was received and entertained almost like a royal guest. Ludwig directed that some especially delectable viand or wine, from his kitchens or cellar, should go back with her every time she returned to Munich from Hohenschwangau or Berg. The servants, who saw that their master esteemed her, were at great trouble to curry favour with her in their own behalf. The royal carriage which took her away was invariably stuffed with hams, delicatesausages and patés, with champagne and Rhine wine, so that people at the railway station might have supposed that the departing lady was about to journey to a place where there was a famine. On one occasion the royal carriage even broke down under the weight of the gifts.Josephine Schefzky was permitted to give the King presents on his birthday. He received them with evident pleasure, but only on the condition that the sum she had expended on them should be refunded to her out of the privy purse. On an occasion of the kind she had asked to be allowed the honour of giving him a tablecloth. The permission was granted. Ludwig expressed in appreciative words his admiration of the singer’s good taste, and sent her an amiable letter of thanks. There had been at this time a change in thepersonneladministering the privy purse. At the head of it there was now a near relative of the shopkeeper where Fräulein Schefzky had purchased her tablecloth; he had by chance heard how much she had paid for it. The lady made her appearance some days later, and demanded a larger sum than the gift had cost her. The official greatly wished his master to become aware of her avarice, and after some circumlocution informed Ludwig how the artiste had enriched herself by means of his present. Generous as he was the King would probably have forgiven the deception, but he was angered when he heardthat Fräulein Schefzky was in the habit of asking for money from the privy purse in the following words: “I have spoken to him about it!” His vanity and self-esteem could not bear his person being spoken of without due respect. Thishim, with which in her broad South-German accent she denoted his Majesty, sealed her fall.In an autograph letter her protector of many years informed her that she was dismissed from the court opera of Munich, and that her salary for the unexpired time of her engagement would be paid to her at once. The title “Royal Bavarian Court Singer,” was taken away from her.Herewith the connection was severed. Several years later, however, she was permitted to enter once more into correspondence with Ludwig.1In the first rank of these was, as is well known, Elizabeth of Austria-Hungary.↑
CHAPTER XIIILudwig and the Artistes of the Stage—Josephine SchefzkyHis subjects began to give up the hope of seeing their King a husband. Several political parties, however, hoped that they might be able to influence him through a mistress. Their expectations were disappointed also in this. After the breaking-off of his engagement, the fair sex played but a small part in the King’s life. He seems to have looked upon women with the same eyes as the poet Holberg, who in one of his letters writes that he regards them as “pretty pictures”—to be looked at, but not to be touched! Those who knew Ludwig are entirely agreed that he never felt real love for any woman, not even for his betrothed wife, though at one time he appeared to do so. To Richard Wagner, he said at one of their first meetings: “You do not like women either, do you? They are such bores!”Ludwig’s indifference did not, however, prevent him from feeling friendship for several women.1His artistic interests, moreover, brought him into contact with others of them;and in his youth he often summoned actresses and women-singers to his palaces in order that they might recite and sing to him. He astonished them by his remarkable memory, for if they left out but a single word he would immediately supply it. Not infrequently he would himself take a part in a dialogue, and his gifts of elocution are said to have been charming.Some of his experiences with the artistes whom he invited to his palaces can hardly have contributed to increase his respect for women. The fêted actress, Frau von Bulyowska, declaimed before him at Hohenschwangau fragments of Schiller’s dramas. For some time he delighted in Mary Queen of Scots; he had her engraved, he had her painted, he had her acted at the theatre. The aforesaid actress, who had taken the part of Mary Stuart, had to stand as model to the court painter, who made sketches of her for use in a painting of that unfortunate Queen. Frau von Bulyowska thought this was the outcome of an interest on Ludwig’s side in her person; and she unreservedly avowed her intention of seducing the young Monarch, and of playing therôleof a Madame de Pompadour at his court.One day, when visiting him on the Roseninsel, she appeared in a costume which was evidently calculated to show her outward charms in the most advantageous light. Her efforts were wasted; the King’s near-sighted eyes did noteven appear to see what she was like. His Master of the Horse who accompanied her, however, understood her intentions. The next time she was received at the Palace in Munich, which had been recently restored. The King complied with his visitor’s wish to see his private apartments. When they entered his bed-chamber the actress made a tender attack upon his person. Ludwig freed himself from her embrace, rang the bell for a servant, and called out: “Frau von Bulyowska desires her carriage!”She was not invited by him again. Another actress lost his favour because, on a first visit to one of his palaces, she was looking so attentively at his paintings that she did not hear him enter the room, and consequently neglected to curtsey with deference.Mathilde Mallinger, the singer, was, on account of her magnificent voice, for a short time the recipient of his favours; but her ignorance of the forms of the great world soon repelled him. When one day she asked for an audience, his Majesty answered that he “only knew a court singer, Mathilde Mallinger, but no lady of that name; and therefore was unable to grant her an audience.”No artiste was for so long a time or so high in his favour as Josephine Schefzky, one of the chief Wagner singers of her day. She was the daughter of a court official, and it was to membersof the house of Wittelsbach that she owed the means for her artistic education. Already before her appearance Ludwig interested himself in this future star within the realms of song. Her studies completed, she was engaged by the Royal Opera of Munich; and after some years was appointed court singer. The King was usually present at the opera when she appeared, and she had often, moreover, the honour of singing privately before him, both in his capital and when he was living at one or other of his pleasure palaces. He had caused to be arranged in the Throne Room building of the Residenz a winter garden, to which he had direct access from his private apartments. Besides magnificent groups of exotics, the garden contained a grotto, with a little cascade, and a pool deep and broad enough for him to row on in a boat, the latter being formed like a swan. Dressed as Lohengrin he lived here in the world of fancy, for a few moments forgetting everything that oppressed his mind.His favourite singers sang fragments of Wagner’s operas to him from behind groups of palms. Here Josephine Schefzky sang often. He permitted her to sail with him in his golden boat, and when one day she had sung the love-song fromTristan und Isolde, he suddenly struck up the air fromRigoletto: “La donna è mobile.” This artiste, too, was vain enough to believe that he was in love with her. Many of the inhabitantsof Munich expressed in fairly explicit terms their belief that aliaisonexisted between them. In reality, however, he was only her protector, who enjoyed her magnificent singing. So high a place in his esteem as that she was credited with, it may fairly be asserted was never hers. To his dailyentouragehe was in the habit of announcing her visits in the following words: “To-day the goose Schefzky shall come and sing again.” One night she sang to him on the artificial lake in the winter garden. The boat was small. An incautious movement on her part caused it to careen. The King scrambled out of the pool with ease, though wet through. “Pull her out of the water,” he called to a lacquey, as he disappeared rapidly into his own apartments.Despite this occurrence, Josephine Schefzky continued to be in his favour, and was singled out for this by his Majesty more often than any other artiste. At his country residences she was received and entertained almost like a royal guest. Ludwig directed that some especially delectable viand or wine, from his kitchens or cellar, should go back with her every time she returned to Munich from Hohenschwangau or Berg. The servants, who saw that their master esteemed her, were at great trouble to curry favour with her in their own behalf. The royal carriage which took her away was invariably stuffed with hams, delicatesausages and patés, with champagne and Rhine wine, so that people at the railway station might have supposed that the departing lady was about to journey to a place where there was a famine. On one occasion the royal carriage even broke down under the weight of the gifts.Josephine Schefzky was permitted to give the King presents on his birthday. He received them with evident pleasure, but only on the condition that the sum she had expended on them should be refunded to her out of the privy purse. On an occasion of the kind she had asked to be allowed the honour of giving him a tablecloth. The permission was granted. Ludwig expressed in appreciative words his admiration of the singer’s good taste, and sent her an amiable letter of thanks. There had been at this time a change in thepersonneladministering the privy purse. At the head of it there was now a near relative of the shopkeeper where Fräulein Schefzky had purchased her tablecloth; he had by chance heard how much she had paid for it. The lady made her appearance some days later, and demanded a larger sum than the gift had cost her. The official greatly wished his master to become aware of her avarice, and after some circumlocution informed Ludwig how the artiste had enriched herself by means of his present. Generous as he was the King would probably have forgiven the deception, but he was angered when he heardthat Fräulein Schefzky was in the habit of asking for money from the privy purse in the following words: “I have spoken to him about it!” His vanity and self-esteem could not bear his person being spoken of without due respect. Thishim, with which in her broad South-German accent she denoted his Majesty, sealed her fall.In an autograph letter her protector of many years informed her that she was dismissed from the court opera of Munich, and that her salary for the unexpired time of her engagement would be paid to her at once. The title “Royal Bavarian Court Singer,” was taken away from her.Herewith the connection was severed. Several years later, however, she was permitted to enter once more into correspondence with Ludwig.1In the first rank of these was, as is well known, Elizabeth of Austria-Hungary.↑
CHAPTER XIIILudwig and the Artistes of the Stage—Josephine Schefzky
His subjects began to give up the hope of seeing their King a husband. Several political parties, however, hoped that they might be able to influence him through a mistress. Their expectations were disappointed also in this. After the breaking-off of his engagement, the fair sex played but a small part in the King’s life. He seems to have looked upon women with the same eyes as the poet Holberg, who in one of his letters writes that he regards them as “pretty pictures”—to be looked at, but not to be touched! Those who knew Ludwig are entirely agreed that he never felt real love for any woman, not even for his betrothed wife, though at one time he appeared to do so. To Richard Wagner, he said at one of their first meetings: “You do not like women either, do you? They are such bores!”Ludwig’s indifference did not, however, prevent him from feeling friendship for several women.1His artistic interests, moreover, brought him into contact with others of them;and in his youth he often summoned actresses and women-singers to his palaces in order that they might recite and sing to him. He astonished them by his remarkable memory, for if they left out but a single word he would immediately supply it. Not infrequently he would himself take a part in a dialogue, and his gifts of elocution are said to have been charming.Some of his experiences with the artistes whom he invited to his palaces can hardly have contributed to increase his respect for women. The fêted actress, Frau von Bulyowska, declaimed before him at Hohenschwangau fragments of Schiller’s dramas. For some time he delighted in Mary Queen of Scots; he had her engraved, he had her painted, he had her acted at the theatre. The aforesaid actress, who had taken the part of Mary Stuart, had to stand as model to the court painter, who made sketches of her for use in a painting of that unfortunate Queen. Frau von Bulyowska thought this was the outcome of an interest on Ludwig’s side in her person; and she unreservedly avowed her intention of seducing the young Monarch, and of playing therôleof a Madame de Pompadour at his court.One day, when visiting him on the Roseninsel, she appeared in a costume which was evidently calculated to show her outward charms in the most advantageous light. Her efforts were wasted; the King’s near-sighted eyes did noteven appear to see what she was like. His Master of the Horse who accompanied her, however, understood her intentions. The next time she was received at the Palace in Munich, which had been recently restored. The King complied with his visitor’s wish to see his private apartments. When they entered his bed-chamber the actress made a tender attack upon his person. Ludwig freed himself from her embrace, rang the bell for a servant, and called out: “Frau von Bulyowska desires her carriage!”She was not invited by him again. Another actress lost his favour because, on a first visit to one of his palaces, she was looking so attentively at his paintings that she did not hear him enter the room, and consequently neglected to curtsey with deference.Mathilde Mallinger, the singer, was, on account of her magnificent voice, for a short time the recipient of his favours; but her ignorance of the forms of the great world soon repelled him. When one day she asked for an audience, his Majesty answered that he “only knew a court singer, Mathilde Mallinger, but no lady of that name; and therefore was unable to grant her an audience.”No artiste was for so long a time or so high in his favour as Josephine Schefzky, one of the chief Wagner singers of her day. She was the daughter of a court official, and it was to membersof the house of Wittelsbach that she owed the means for her artistic education. Already before her appearance Ludwig interested himself in this future star within the realms of song. Her studies completed, she was engaged by the Royal Opera of Munich; and after some years was appointed court singer. The King was usually present at the opera when she appeared, and she had often, moreover, the honour of singing privately before him, both in his capital and when he was living at one or other of his pleasure palaces. He had caused to be arranged in the Throne Room building of the Residenz a winter garden, to which he had direct access from his private apartments. Besides magnificent groups of exotics, the garden contained a grotto, with a little cascade, and a pool deep and broad enough for him to row on in a boat, the latter being formed like a swan. Dressed as Lohengrin he lived here in the world of fancy, for a few moments forgetting everything that oppressed his mind.His favourite singers sang fragments of Wagner’s operas to him from behind groups of palms. Here Josephine Schefzky sang often. He permitted her to sail with him in his golden boat, and when one day she had sung the love-song fromTristan und Isolde, he suddenly struck up the air fromRigoletto: “La donna è mobile.” This artiste, too, was vain enough to believe that he was in love with her. Many of the inhabitantsof Munich expressed in fairly explicit terms their belief that aliaisonexisted between them. In reality, however, he was only her protector, who enjoyed her magnificent singing. So high a place in his esteem as that she was credited with, it may fairly be asserted was never hers. To his dailyentouragehe was in the habit of announcing her visits in the following words: “To-day the goose Schefzky shall come and sing again.” One night she sang to him on the artificial lake in the winter garden. The boat was small. An incautious movement on her part caused it to careen. The King scrambled out of the pool with ease, though wet through. “Pull her out of the water,” he called to a lacquey, as he disappeared rapidly into his own apartments.Despite this occurrence, Josephine Schefzky continued to be in his favour, and was singled out for this by his Majesty more often than any other artiste. At his country residences she was received and entertained almost like a royal guest. Ludwig directed that some especially delectable viand or wine, from his kitchens or cellar, should go back with her every time she returned to Munich from Hohenschwangau or Berg. The servants, who saw that their master esteemed her, were at great trouble to curry favour with her in their own behalf. The royal carriage which took her away was invariably stuffed with hams, delicatesausages and patés, with champagne and Rhine wine, so that people at the railway station might have supposed that the departing lady was about to journey to a place where there was a famine. On one occasion the royal carriage even broke down under the weight of the gifts.Josephine Schefzky was permitted to give the King presents on his birthday. He received them with evident pleasure, but only on the condition that the sum she had expended on them should be refunded to her out of the privy purse. On an occasion of the kind she had asked to be allowed the honour of giving him a tablecloth. The permission was granted. Ludwig expressed in appreciative words his admiration of the singer’s good taste, and sent her an amiable letter of thanks. There had been at this time a change in thepersonneladministering the privy purse. At the head of it there was now a near relative of the shopkeeper where Fräulein Schefzky had purchased her tablecloth; he had by chance heard how much she had paid for it. The lady made her appearance some days later, and demanded a larger sum than the gift had cost her. The official greatly wished his master to become aware of her avarice, and after some circumlocution informed Ludwig how the artiste had enriched herself by means of his present. Generous as he was the King would probably have forgiven the deception, but he was angered when he heardthat Fräulein Schefzky was in the habit of asking for money from the privy purse in the following words: “I have spoken to him about it!” His vanity and self-esteem could not bear his person being spoken of without due respect. Thishim, with which in her broad South-German accent she denoted his Majesty, sealed her fall.In an autograph letter her protector of many years informed her that she was dismissed from the court opera of Munich, and that her salary for the unexpired time of her engagement would be paid to her at once. The title “Royal Bavarian Court Singer,” was taken away from her.Herewith the connection was severed. Several years later, however, she was permitted to enter once more into correspondence with Ludwig.
His subjects began to give up the hope of seeing their King a husband. Several political parties, however, hoped that they might be able to influence him through a mistress. Their expectations were disappointed also in this. After the breaking-off of his engagement, the fair sex played but a small part in the King’s life. He seems to have looked upon women with the same eyes as the poet Holberg, who in one of his letters writes that he regards them as “pretty pictures”—to be looked at, but not to be touched! Those who knew Ludwig are entirely agreed that he never felt real love for any woman, not even for his betrothed wife, though at one time he appeared to do so. To Richard Wagner, he said at one of their first meetings: “You do not like women either, do you? They are such bores!”
Ludwig’s indifference did not, however, prevent him from feeling friendship for several women.1His artistic interests, moreover, brought him into contact with others of them;and in his youth he often summoned actresses and women-singers to his palaces in order that they might recite and sing to him. He astonished them by his remarkable memory, for if they left out but a single word he would immediately supply it. Not infrequently he would himself take a part in a dialogue, and his gifts of elocution are said to have been charming.
Some of his experiences with the artistes whom he invited to his palaces can hardly have contributed to increase his respect for women. The fêted actress, Frau von Bulyowska, declaimed before him at Hohenschwangau fragments of Schiller’s dramas. For some time he delighted in Mary Queen of Scots; he had her engraved, he had her painted, he had her acted at the theatre. The aforesaid actress, who had taken the part of Mary Stuart, had to stand as model to the court painter, who made sketches of her for use in a painting of that unfortunate Queen. Frau von Bulyowska thought this was the outcome of an interest on Ludwig’s side in her person; and she unreservedly avowed her intention of seducing the young Monarch, and of playing therôleof a Madame de Pompadour at his court.
One day, when visiting him on the Roseninsel, she appeared in a costume which was evidently calculated to show her outward charms in the most advantageous light. Her efforts were wasted; the King’s near-sighted eyes did noteven appear to see what she was like. His Master of the Horse who accompanied her, however, understood her intentions. The next time she was received at the Palace in Munich, which had been recently restored. The King complied with his visitor’s wish to see his private apartments. When they entered his bed-chamber the actress made a tender attack upon his person. Ludwig freed himself from her embrace, rang the bell for a servant, and called out: “Frau von Bulyowska desires her carriage!”
She was not invited by him again. Another actress lost his favour because, on a first visit to one of his palaces, she was looking so attentively at his paintings that she did not hear him enter the room, and consequently neglected to curtsey with deference.
Mathilde Mallinger, the singer, was, on account of her magnificent voice, for a short time the recipient of his favours; but her ignorance of the forms of the great world soon repelled him. When one day she asked for an audience, his Majesty answered that he “only knew a court singer, Mathilde Mallinger, but no lady of that name; and therefore was unable to grant her an audience.”
No artiste was for so long a time or so high in his favour as Josephine Schefzky, one of the chief Wagner singers of her day. She was the daughter of a court official, and it was to membersof the house of Wittelsbach that she owed the means for her artistic education. Already before her appearance Ludwig interested himself in this future star within the realms of song. Her studies completed, she was engaged by the Royal Opera of Munich; and after some years was appointed court singer. The King was usually present at the opera when she appeared, and she had often, moreover, the honour of singing privately before him, both in his capital and when he was living at one or other of his pleasure palaces. He had caused to be arranged in the Throne Room building of the Residenz a winter garden, to which he had direct access from his private apartments. Besides magnificent groups of exotics, the garden contained a grotto, with a little cascade, and a pool deep and broad enough for him to row on in a boat, the latter being formed like a swan. Dressed as Lohengrin he lived here in the world of fancy, for a few moments forgetting everything that oppressed his mind.
His favourite singers sang fragments of Wagner’s operas to him from behind groups of palms. Here Josephine Schefzky sang often. He permitted her to sail with him in his golden boat, and when one day she had sung the love-song fromTristan und Isolde, he suddenly struck up the air fromRigoletto: “La donna è mobile.” This artiste, too, was vain enough to believe that he was in love with her. Many of the inhabitantsof Munich expressed in fairly explicit terms their belief that aliaisonexisted between them. In reality, however, he was only her protector, who enjoyed her magnificent singing. So high a place in his esteem as that she was credited with, it may fairly be asserted was never hers. To his dailyentouragehe was in the habit of announcing her visits in the following words: “To-day the goose Schefzky shall come and sing again.” One night she sang to him on the artificial lake in the winter garden. The boat was small. An incautious movement on her part caused it to careen. The King scrambled out of the pool with ease, though wet through. “Pull her out of the water,” he called to a lacquey, as he disappeared rapidly into his own apartments.
Despite this occurrence, Josephine Schefzky continued to be in his favour, and was singled out for this by his Majesty more often than any other artiste. At his country residences she was received and entertained almost like a royal guest. Ludwig directed that some especially delectable viand or wine, from his kitchens or cellar, should go back with her every time she returned to Munich from Hohenschwangau or Berg. The servants, who saw that their master esteemed her, were at great trouble to curry favour with her in their own behalf. The royal carriage which took her away was invariably stuffed with hams, delicatesausages and patés, with champagne and Rhine wine, so that people at the railway station might have supposed that the departing lady was about to journey to a place where there was a famine. On one occasion the royal carriage even broke down under the weight of the gifts.
Josephine Schefzky was permitted to give the King presents on his birthday. He received them with evident pleasure, but only on the condition that the sum she had expended on them should be refunded to her out of the privy purse. On an occasion of the kind she had asked to be allowed the honour of giving him a tablecloth. The permission was granted. Ludwig expressed in appreciative words his admiration of the singer’s good taste, and sent her an amiable letter of thanks. There had been at this time a change in thepersonneladministering the privy purse. At the head of it there was now a near relative of the shopkeeper where Fräulein Schefzky had purchased her tablecloth; he had by chance heard how much she had paid for it. The lady made her appearance some days later, and demanded a larger sum than the gift had cost her. The official greatly wished his master to become aware of her avarice, and after some circumlocution informed Ludwig how the artiste had enriched herself by means of his present. Generous as he was the King would probably have forgiven the deception, but he was angered when he heardthat Fräulein Schefzky was in the habit of asking for money from the privy purse in the following words: “I have spoken to him about it!” His vanity and self-esteem could not bear his person being spoken of without due respect. Thishim, with which in her broad South-German accent she denoted his Majesty, sealed her fall.
In an autograph letter her protector of many years informed her that she was dismissed from the court opera of Munich, and that her salary for the unexpired time of her engagement would be paid to her at once. The title “Royal Bavarian Court Singer,” was taken away from her.
Herewith the connection was severed. Several years later, however, she was permitted to enter once more into correspondence with Ludwig.
1In the first rank of these was, as is well known, Elizabeth of Austria-Hungary.↑
1In the first rank of these was, as is well known, Elizabeth of Austria-Hungary.↑