LONDON:IBOTSON AND PALMER, PRINTERS, SAVOY STREET, STRAND.
1 (return)In the throne-room at the Buckingham Palace the idea of grandeur is suggested by a vile heraldic crown, stuck on the capitals of the columns. Conceive the flagrant, the vulgar barbarity of taste!! It cannot surely be attributed to the architect?
2 (return)There is a very pretty little edition of his lyrical poems, rendered into the modern German by Karl Simrock, and published at Berlin in 1833.
3 (return)See a very interesting account of Walther von der Vogelweide, with translations of some of his poems in "The Lays of the Minnesingers," published in 1825.
4 (return)See a very learned and well-written article on the ancient German and northern poetry in the Edinburgh Review, vol. 26.
5 (return)The legend of this charming saint, one of the most popular in Germany, is but little known among us. She was the wife of a margrave of Thuringia, who was a fierce, avaricious man, while she herself was all made up of tenderness and melting pity. She lived with her husband in his castle on the Wartsburg, and was accustomed to go out every morning to distribute alms among the poor of the valley: her husband, jealous and covetous, forbade her thus to exercise her bounty; but as she regarded her duty to God and the poor, even as paramount to conjugal obedience, she secretly continued her charitable offices. Her husband encountered her one morning at sunrise, as she was leaving the castle with a covered basket containing meat, bread, and wine, for a starving family. He demanded, angrily, what she had in her basket! Elizabeth, trembling, not for herself, but for her wretched protegés, replied, with a faltering voice, that she had been gathering roses in the garden. The fierce chieftain, not believing her, snatched off the napkin, and Elizabeth fell on her knees.—But, behold, a miracle had been operated in her favour!—The basket was full of roses, fresh gathered, and wet with dew.
6 (return)See Taylor's "Historic Survey of German Poetry." Herman was afterwards murdered by a band of conspirators, and Thusnelda, on learning the fate of her husband, died brokenhearted.
7 (return)The notices which follow are abridged from the essay "on Ancient German and Northern Poetry," before mentioned—from the preface to the edition of the Nibelungen Lied, by M. Von der Hagen—and the analysis of the poem in the Illustrations of Northern Antiquities. My own first acquaintance with the Nibelungen Lied, I owed to an accomplished friend, who gave me a detailed and lively analysis of the story and characters; and certainly no child ever hung upon a tale of ogres and fairies with more intense interest than I did upon her recital of the adventures of the Nibelungen.
8 (return)Dietrich of Bern (i. e. Theodoric of Verona,) is the great hero of South Germany—the King Arthur of Teutonic romance, who figures in all the warlike lays and legends of the middle ages.
9 (return)See the Illustrations of Northern Antiquities, p. 213.
10 (return)In the altercation between the two queens, Chrimhilde boasts of possessing these trophies, and displays them in triumph to her mortified rival; for which indiscretion, as she afterwards complains, "her husband was in high anger, andbeat her black and blue." This treatment, however, which seems to have been quite a matter of course, does not diminish the fond idolatry of the wife,—rather increases it.
11 (return)This list will be subjoined at the end of these Sketches.
12 (return)Sofonisba Augusciola, one of the most charming of portrait painters. She died in 1626, at the age of ninety-three.
13 (return)I regret that I omitted to note thenameof the artist of this magnificent work. There is a still more admirable monument of the same period in the church at Inspruck, the tomb of the archduke, Ferdinand of Tyrol, consisting, I believe, of twelve colossal statues in bronze.
14 (return)The first stone of the Valhalla was laid by the King of Bavaria, on the 18th of October 1830.
15 (return)The Einheriar are the souls of heroes admitted into the Valhalla.
16 (return)Daniel.
17 (return)Lithography was invented at Munich between 1795 and 1798, for so long were repeated experiments tried before the art became useful or general. Senefelder, the inventor, was an actor, and the son of an actor. The first occasion of the invention was his wish to print a little drama of his own, in some manner less expensive than the usual method of type. The first successful experiment was the printing of some music, published (1796) by Gleissner, one of the king of Bavaria's band: the first drawing attempted was a vignette to a sheet of music. In the course of his attempts to pursue and perfect his discovery, Senefelder was reduced to such poverty, that he offered himself to enlist for a common soldier, and, luckily, was refused. He again took heart, and, supported through every difficulty and discouragement by his own strong and enthusiastic mind, he at length overcame all obstacles, and has lived to see his invention established and spread over the whole civilized world. Hitherto, I believe, the stone used by lithographers is found only in Bavaria, whence it is sent to every part of Europe and America, and forms a most profitable article of commerce. The principal quarries are at Solenholfen, on the Danube, about fifty miles from Munich.
Senefelder has published a little memoir of the origin and progress of the invention, in which he relates with great simplicity the hardship, and misery, and contumely, he encountered before he could bring it into use. He concludes with an earnest prayer, "that it may contribute to the benefit and improvement of mankind, and that it may never be abused to any dishonourable or immoral purpose."
If I remember rightly, a detailed history of the art was given in one of the early numbers of the Foreign Review.
18 (return)The population of Munich is estimated at about 60,000. It does not enter into my plan, at present, to give any detailed account of the public institutions, whether academies, schools, hospitals, or prisons; yet I cannot but mention the prison at Munich, which more than pays its own expenses, instead of being a burthen to the state; the admirable hospital for the poor, in which all who cannot find work elsewhere, are provided with occupation; two large hospitals for the sick poor, in which rooms and attendance are also provided for those who do not choose to be a burthen to their friends, nor yet dependent on charity; the orphan school; the female school, endowed by the king; the foundling and lying-in hospitals, establishments unhappily mostnecessaryin Munich, and certainly most admirably conducted. These, and innumerable private societies for the assistance, the education, and the improvement of the lower classes, ought to receive the attention of every intelligent traveller.
There are no poor laws in operation at Munich, no mendicity societies, no tract, and soup and blanket charities; yet pauperism, mendicity, and starvation, are nearly unknown. For the system of regulations by which these evils have been repressed or altogether remedied, I believe Bavaria is indebted to the celebrated American, Count Rumford, who was in the service of the late king, Max-Joseph, from 1790 to 1799.
Several new manufactories have lately been established, particularly of glass and porcelain, and the latter is carried to a high degree of perfection.
19 (return)Ida of Saxe-Meiningen, sister of the queen of England.
20 (return)It is difficult to translate this laconic proverb, because we have not the corresponding words in English: the meaning may be rendered—"according to the country, so are the manners."
21 (return)When the city was besieged by Wallenstein in 1632.
22 (return)Born at Nuremberg in 1494.
23 (return)See the admirable "Essay on the Early German and Northern Poetry," already alluded to.
24 (return)Anthony, the present king of Saxony. He is, however, in his dotage, being now in his eighty-fifth year.
25 (return)The description of Dresden and its environs, in Russel's Tour in Germany, is one of the best written passages in that amusing book—so admirably graphic and faithful, that nothing can be added to itas a description, therefore I have effaced those notes which it has rendered superfluous. It must, however, be remembered by those who refer to Mr. Russel's work, that a revolution has taken place, by which the king, now fallen into absolute dotage, has been removed from the direct administration of the government, and a much more popular and liberal tone prevails in the Estates: the two princes, nephews of the king, whom Mr. Russel mentions as "persons of whom scarcely any body thinks of speaking at all," have since made themselves extremely conspicuous;—Prince Frederic has been declared regent, and is apparently much respected and beloved; and Prince John has distinguished himself as a speaker in the Assembly of the States, and takes the liberal side on most occasions. A spirit of amelioration is at work in Dresden, as elsewhere, and the ten or twelve years which have elapsed since Mr. Russel's visit have not passed away without some salutary changes, while more are evidently at hand.
Mr. Russel speaks of the secrecy with which the sittings of the Chambers were then conducted: they are now public, and the debates are printed in the Gazette at considerable length.
26 (return)Augustus II. abjured the Protestant religion in 1700, in order to obtain the crown of Poland.
27 (return)The first tenor at Dresden in 1833.
28 (return)An opera by Franz Glazer of Berlin. The subject, which is the well-known story of the mother who delivers her infant when carried away by the eagle, or rather vulture of the Alps, might make a good melodrama, but is not fit for an opera—and the music istrainanteand monotonous.
29 (return)Zingarelli composed hisRomeo e Giuliettain 1797: Bellini produced the Capelletti at Venice in 1832, for our silver-voiced Caradori and the contr'alto Giudita Grisi, sister of that accomplished singer, Giulietta Grisi. Thirty-five years are an age in the history of music. Of the two operas, Bellini's is the most effective, from the number of the conceited pieces, without containing a single air which can be placed in comparison with five or six in Zingarelli's opera.
30 (return)Lord Byron.
31 (return)"Tieck," says Carlyle, "is a poetbornas well as made.—He is no mere observist and compiler, rendering back to us, with additions or subtractions, the beauty which existing things have of themselves presented to him; but a true Maker, to whom the actual and external is but theexcitementfor ideal creations, representing and ennobling its effects. His feeling or knowledge, his love or scorn, his gay humour or solemn earnestness; all the riches of his inward world are pervaded and mastered by the living energy of the soul which possesses them, and their finer essence is wafted to us in his poetry, like Arabian odours, on the wings of the wind. But this may be said of all true poets; and each is distinguished from all, by his individual characteristics. Among Tieck's, one of the most remarkable is his combination of so many gifts, in such full and simple harmony. His ridicule does not obstruct his adoration; his gay southern fancy lives in union with a northern heart; with the moods of a longing and impassioned spirit, he seems deeply conversant; and a still imagination, in the highest sense of that word, reigns over all his poetic world."
32 (return)Vide Shelley's Epipsychidion.
33 (return)Mr. Russel is quite right in his observation that the Correggios are hung too near together: the fact is, that in the Dresden gallery, the pictures are not well hung, nor well arranged; there is too little light in the inner gallery, and too much in the outer gallery. Lastly, the numbers are so confused that I found the catalogue of little use. A new arrangement and a new catalogue, by Professor Matthaï, are in contemplation.
34 (return)Spence.
35 (return)Lanzi says, that many of the works of Lavinia Fontana might easily pass for those of Guido;—her best works are at Bologna. She died in 1614.
36 (return)At Althorpe.
37 (return)The Miss Sharpes were at Dresden while I was there, and their names and some of their works were fresh in my mind and eye when I wrote the above; but I think it fair to add, that I had not the opportunity I could have wished of cultivating their acquaintance. These three sisters, all so talented, and so inseparable,—all artists, and bound together in affectionate communion of hearts and interests, reminded me of the Sofonisba and her sisters.
38 (return)She is the "Julie" celebrated in some of Goethe's minor poems.
39 (return)Since this was written, in November 1833, Retzsch has sent over to England a series of theseFanciesfor publication.
40 (return)We have among us a young German painter, (Theodor von Holst,) who, uniting the exuberant enthusiasm and rich imagination of his country, with a just appreciation of the style of English art, is likely to achieve great things.
41 (return)"Belier! mon ami! commence par le commencement!"—Contes de Hamilton.
42 (return)A manor situated on the borders of Derbyshire, between Chesterfield and Mansfield.
43 (return)The Cavendishes were originally of Suffolk. Whether this William Cavendish was the same who was gentleman usher and secretary to Cardinal Wolsey, is, I believe, a disputed point.
44 (return)Bishop Kennel's memoirs of the family of Cavendish.
45 (return)Lodge's Illustrations of British History.
46 (return)Scott's Memoir of Sir Ralph Sadler.
47 (return)Lodge's "Illustrations."
48 (return)This celebrated letter is yet preserved, and well known to historians and antiquarians. It is sufficient to say that scarce any part of it would bear transcribing.
49 (return)See two of her letters in Sir Henry Ellis's Collection.
50 (return)See some letters in Ellis's Collection, vol. ii. series 1, which show with what constant jealousy Lady Shrewsbury and her charge were watched by the court.
51 (return)In All Hallows, in Derby. After leaving Hardwicke, I went, of course, to pay my respects to it. It is a vast and gorgeous shrine of many coloured marbles, covered with painting, gilding, emblazonments, and inscriptions, within which the lady lies at full length in a golden ruff, and a most sumptuous farthingale.
52 (return)As the measurements are interesting from this fact, I took care to note them exactly; as follows:—length 55 ft. 6 inches; breadth 30 ft. 6 inches; height 24 ft. 6 inches.
53 (return)Horace Walpole, as an antiquarian, should have known that Mary was never keptthere.
54 (return)It had formerly been richly painted, and must then have had an effect superior to tapestry; the colours are still visible here and there.
55 (return)Mary's own account of her occupations displays the natural elegance of her mind. "I asked her grace, since the weather did cut off all exercises abroad, how she passed her time within? She sayd that all day she wrought with her needle, and that the diversitie of the colours made the work appear less tedious, and that she continued at it till pain made her to give o'er: and with that laid her hand on her left side, and complayned of an old grief newly increased there. Upon this occasion she, the Scottish queen, with the agreeable and lively wit natural to her, entered into a pretty disputable comparison between carving, painting, and working with the needle, affirming painting, in her opinion, for the most commendable quality."—Letter of Nicholas White to Cecil.
56 (return)I was as much delighted by these singular fire-screens as Horace himself could have been; they are about seven feet high. The yellow velvet suspended from the bar is embossed with black velvet, and intermingled with embroidery of various colours and gold—something like a Persian carpet—but most dazzling and gorgeous in the effect. I believe there is nothing like them any where.
57 (return)Now replaced by the family portraits brought from Chatsworth.
58 (return)Margaret Cavendish, wife of the first Duke of Newcastle.
59 (return)Anecdotes of Painting. Reigns of Elizabeth and James I.
60 (return)Dante. Inferno, Canto 28.
61 (return)Life of Johnson, vol. ii. p. 144. Boswell asked, "Are you of that opinion as to the portraits of ancestors one has never seen?"Johnson. "It then becomes of stillmoreconsequence that they should be like."
62 (return)This picture and the next are said to be by Richard Stevens, of whom there is some account in Walpole, (Anecdotes of Painting.) Mary also sat to Hilliard and to Zucchero. The lovely picture by Zucchero is at Chiswick. There is another small head of her at Hardwicke, said to have been painted in France, in a cap and feather. The turn of the head is airy and graceful. As to the features, they have been so marred by somesoi-disantrestorer, it is difficult to say what they may have been originally.
63 (return)Waller's lines on Lady Rich.
64 (return)William, sixth Duke of Devonshire.
65 (return)"Lady Dorothy Savile, daughter of the Marquis of Halifax: she had no less attachment to the arts than her husband; she drew in crayons, and succeeded admirably in likenesses, but working with too much rapidity, did not do justice to her genius; she had an uncommon talent too for caricature."—Anecdotes of Painting.
66 (return)He was a monster; and no wife of the coarsest plebeian profligate could have suffered more than did this lovely, amiable being, of the highest blood and greatest fortune in England. "She was," says the affecting inscription on her picture at Chiswick, "the comfort and joy of her parents, the delight of all who knew her angelic temper, and the admiration of all who saw her beauty. She was married October 10th, 1741, and delivered by death from misery, May 2nd, 1742.
But how did it happen that from a condition like this, there was no release but bydeath?—See Horace Walpole's Correspondence to Sir Horace Mann, vol. i. p. 328.
67 (return)I was much struck with the inscription on a stone tablet, in a fine old wood near the house: "This wood was planted by Sir William Spencer, Knighte of the Bathe, in the year of our Lord 1624:"—on the other side, "Up and bee doing, and God will prosper." It is mentioned in Evelyn's "Sylva."
68 (return)See the accounts of Sir John Spencer, in Collins's Peerage, and prefixed to Dibdin's "Ædes Althorpianæ."
69 (return)Henry, first Earl of Sunderland.
70 (return)This Lord Sunderland not only changed his party and his opinions, but his religion, with every breath that blew from the court.
71 (return)Horace Walpole's Correspondence, vol. ii. p. 227.
72 (return)Anne Brudenel.
73 (return)See Pepys's Diary.
74 (return)I was told that a female servant of the family was so terrified by this picture that she could never be prevailed on to pass through the door near which it hangs, but made a circuit of several rooms to avoid it.
75 (return)She is supposed to have been poisoned by her husband, at the instigation of the Chevalier de Lorraine.
76 (return)Elizabeth Brooke, poisoned at the age of twenty.
77 (return)See the scene between Beck Marshall and Nell Gwyn, in "Pepys."
78 (return)Walpole.
79 (return)The gay, gallant St. Evremond, besides being naturally ugly, had a wen between his eye-brows. There is a fine picture of him and Hortense as Vertumnus and Pomona, in the Stafford gallery.
80 (return)The pictures of Miss Jennings are very rare. This one at Althorpe was copied for H. Walpole, and I have heard of another in Ireland. Miss Jennings was afterwards Duchess of Tyrconnel.
81 (return)Pope. One hates him for taking a thousand pounds to suppress this character of Atossa, and publishing it after all; yet who for a thousand pounds would have lost it?
82 (return)See his declaration of love—"Je suis frère du Comte de Bedford; je commande le regiment des gardes," &c.
83 (return)The Princess Colonna and the Duchesse de Mazarin.
84 (return)Clement Marot had composed a version of the Psalms, then very popular. SeeBayle, and the Curiosities of Literature.
Transcriber's Note:Errata as given in the original have been applied to the text. Other than the most exceedingly obvious typographical errors, all inconsistent spelling, hyphenation, diacriticals, archaic usage, etc. have been preserved as printed in the original. The boldface used to bracket the name "Kunstverein" in the entry for the 16th onpage 46indicates characters in a Fraktur typeface.