,,visits ,,and ,,sketches ,,at ,,home   
,,and ,,abroad4  ,,vol4 ,,ii4           
,,visits ,,and ,,sketches ,,at ,,home   
,,and ,,abroad  ,,with ,,tales ,,and    
,,miscellanies ,,now ,,first            
,,collected4  ,,by ,,mrs4 ,,jameson1    
,,author ,,of ,,the ,,characteristics   
,,of ,,women1 ,,lives ,,of ,,celebrated 
,,female ,,sovereigns1 c4  ,,in ,,three 
,,volumes4  ,,vol4 ,,ii4  ,,second      
,,edition4     ,,london   ,,saunders    
,,and ,,otley1 ,,conduit ,,street4      
#ahce4     ,,london3   ,,ibotson ,,and  
,,palmer1 ,,printers1 ,,savoy ,,street1 
,,strand4     ,,contents ,,of ,,vol4    
,,ii4     ,,sketches ,,of ,,art1        
,,literature1 ,,and ,,character1        
,,part ,,ii4    7,continued47           
,,page  ,i4   ,,munich--,the ,new       
,palace--,the ,beauty of its            
,decorations--,particular ,account of   
the ,modern ,paintings        on the    
,walls                                  
#a-ah      ,the ,frescos of ,julius     
,schnorr from the ,nibelungen-,lied     

#bj      ,the ,frescos in the ,royal    
,chapel                                 
#cg      ,the ,opera--,madame ,schechner
                                        
#db      ,the ,kunstverein              
#df      ,karl von ,holtei              
#di      ,fete of the ,obelisk          
#ej      ,the ,gallery--,pictures and   
,painters                               
#fj      ,madame de ,freyberg--,a visit 
to ,thalkirchen                         
#fd      ,tomb of ,eugene ,beauharnais  
#fh      ,the ,sculpture in the         
,glyptothek                             
#ge      ,plan of the ,pinnakothek or   
,national ,gallery                      
#gi      ,the ,revival of ,fresco       
,painting                               
#ib      ,bavarian ,sculptors           
#id      ,the ,valhalla                 
#if      ,stieler1 the ,portrait        
,painter                                
#aja      ,gallery of the ,duc de       
,leuchtenberg                           
#ajc      ,society at ,munich           

#ajf      ,the ,liederkranz             
#aaj   ,,ii4  ,,nuremberg               
#aah      ,the ,old ,fortress           
#abc      ,albert ,durer                
#abe      ,hans ,sachs and ,peter       
,vischer                                
#abg      ,the ,cemetery                
#acb      ,travelling in ,germany       
#acd   ,,iii4 ,,dresden                 
#ach      ,the ,opera--,madame          
,schroeder ,devrient in the ,capaletti  
#ade      ,ludwig ,tieck                
#adh      ,the ,dresden ,gallery and the
 ,italian ,school                       
#aee      ,rosalba--,violante           
,siries--,henrietta ,walters--,maria    
von ,osterwyck--,elizabeth ,sirani--the 
,sofonisba                  #aga        
,thoughts on ,female ,artists--,louisa  
and ,eliza ,sharpe--,the                
,countess ,julie von ,egloffstein       
#agi      ,moritz ,retzsch              
#ahc      ,english and ,german ,art     
#aig      ,catalogue of ,german ,artists
                                        

#bja         99       99       99       
99       99       ,a ,visit to          
,hardwicke                              
#bac      ,a ,visit to ,althorpe        
#bge     ,,sketches ,,of ,,art1         
,,literature1 ,,and ,,character4        
7,continued47     ,,vol4 ,,ii4    ,page 
#g1 line #ac1 for to read too4          
#ah1  --   #b1 for ,neurather read      
,neureuther4          #fh1  --   #e1 for
 ,scheckner read ,schechner4            
#gb1  --  #af1        ditto4            
ditto4          #id1  --  #bc1 for      
interior read exterior4         #acc1   
--   #a1 note1 for ,frederic ,augustus  
read ,anthony4         #bjc1  --  #af1  
for ,steiler read ,stieler4             
#bjd1  --  #ba1 for ,neurather read     
,neureuther4         #bji1  --   #b1 for
 ,reitchel read ,rietschel4             
,illustration     ,,sketches ,,of ,,art1
 ,,literature1 ,,and ,,character4       
,,munich 7,,continued74   ,tuesday4--,m4
 de ,klenze called this morning and     
conducted me over the whole of the new  

palace4 ,the design1 when completed1    
will form a vast quadrangle4 ,it was    
begun about seven years ago2 and as only
 a certain sum is set apart every year  
for the works1 it will probably be seven
 years more before the portion now in   
progress1 which is the south side of the
 quadrangle1 can be completed4  ,the    
exterior of the building is plain1 but  
has an air of grandeur even from its    
simplicity and uniformity4 ,it reminds  
me of ,sir ,philip ,sydney's beautiful  
description--,a house built of fair and 
strong stone2 not affecting so much any 
extraordinary kind of fineness1 as an   
honourable representing of a firm       
stateliness2 all more lasting than      
beautiful1 but that the consideration of
 the exceeding lastingness made the eye 
believe it was exceeding beautiful4     
,when a selfish despot designs a palace1
 it is for himself he builds4 ,he thinks
 first of his own personal tastes and   
peculiar habits1 and the arrangements   
are contrived to suit his exclusive     

propensities4 ,thus1 for ,nero's        
overwhelming pride1 no space1 no height1
 could suffice2 so he built his golden  
house upon a scale which obliged its    
next possessor to pull it to pieces1 as 
only fit to lodge a colossus4 ,george   
the ,fourth had a predilection for low  
ceilings1 so all the future inhabitants 
of the ,pimlico palace must endure      
suffocation2 and as his majesty did not 
live on good terms with his wife1 no    
accommodation was prepared for a future 
queen of ,england4  ,the commands which 
the king of ,bavaria gave ,de ,klenze   
were in a different spirit4 ,build me a 
palace1 in which nothing within or      
without shall be of transient fashion or
 interest2 a palace for my posterity1   
and my people1 as well as myself2 of    
which the decorations shall be durable  
as well as splendid1 and shall appear   
one or two centuries hence as pleasing  
to the eye and taste as they do now4    
,upon this principle1 said ,de ,klenze1 
looking round1 ,i designed what you now 

see4  ,on the first floor are the       
apartments of the king and queen1 all   
facing the south3 a parallel range of   
apartments behind contains accommodation
 for the attendants1 ladies of honour1  
chamberlains1 c42 a grand staircase on  
the east leads to the apartments of the 
king1 another on the west to those of   
the queen2 the two suites of apartments 
uniting in the centre1 where the private
 and sleeping rooms communicate with    
each other4 ,all the chambers allotted  
to the king's use are painted with      
subjects from the ,greek poets1 and     
those of the queen from the ,german     
poets4  ,we began with the king's       
apartments4 ,the approach to the        
staircase ,i did not quite understand1  
for it appears small and narrow2 but    
this part of the building is evidently  
incomplete4  ,the staircase is          
beautiful1 but simple1 consisting of a  
flight of wide broad steps of the native
 marble2 there is no gilding2 the       
ornaments on the ceiling represent the  

different arts and manufactures carried 
on in ,bavaria4 ,over the door which    
opens into the apartments is the king's 
motto in gold letters1 ,,gerecht und    
,,beharrlich--,just and ,firm4 ,two     
,caryatides support the entrance3 on one
 side the statue of ,astrea1 and on the 
other the ,greek ,victory without       
wings--the first expressing justice1 the
 last firmness or constancy4 ,these     
figures are colossal1 and modelled by   
,schwanthaler in a grand and severe     
style of art4  ,i4 ,the first           
antechamber is decorated with great     
simplicity4 ,on the cornice round the   
top is represented the history of       
,orpheus and the expedition of the      
,argonauts1 from ,linus1 the earliest   
,greek poet4 ,the figures are in        
outline1 shaded in brown1 but without   
relief or colour1 exactly like those on 
the ,etruscan vases4 ,the walls are     
stuccoed in imitation of marble4  ,,ii4 
,the second antechamber is less simple  
in its decoration4 ,the frieze round the

 top is broader1 7about three feet17 and
 represents the ,theogony1 the wars of  
the ,titans1 c4 from ,hesiod4 ,the      
figures are in outline1 and tinted1 but 
without relief1 in the manner of some of
 the ancient ,greek paintings on vases1 
tombs1 c4 ,the effect is very classical1
 and very singular4 ,schwanthaler1 by   
whom these decorations were designed1   
has displayed all the learning of a     
profound and accomplished scholar1 as   
well as the skill of an artist4 ,in     
general feeling and style they reminded 
me of ,flaxman's outlines to            
,a,eschylus4  ,the walls of this room   
are also stuccoed in imitation of       
marble1 with compartments1 in which are 
represented1 in the same style1 other   
subjects from the ,weeks and ,days1 and 
the ,birth of ,pandora4 ,the ornaments  
are in the oldest ,greek style4  ,,iii4 
,a saloon1 or reception room1 for those 
who are to be presented to the king4 ,on
 this room1 which is in a manner public1
 the utmost luxury of decoration is to  

be expended2 but it is yet unfinished4  
,the subjects are from ,homer4 ,in      
compartments on the ceiling are         
represented the gods of ,greece2 the    
gorgeous ornaments with which they are  
intermixed being all in the ,greek      
style4 ,round the frieze1 at the top of 
the room1 the subjects are taken from   
the four ,homeric hymns4 ,the walls will
 be painted from the ,iliad and         
,odyssey1 in compartments1 mingled with 
the richest arabesques4 ,the effect of  
that part of the room which is finished 
is indescribably splendid2 but ,i cannot
 pause to dwell upon minutiae4  ,,iv4   
,the throne-room4 ,the decorations of   
this room combine1 in an extraordinary  
degree1 the utmost splendour and the    
utmost elegance4 ,the whole is adorned  
with bas-reliefs in white stucco1 raised
 upon a ground of dead gold4 ,the       
compositions are from ,pindar4 ,round   
the frieze are the games of ,greece1 the
 chariot and foot-race1 the horse-race1 
the wrestlers1 the cestus1 c4           

,immediately over the throne1 ,pindar1  
singing to his lyre1 before the judges  
of the ,olympic games4 ,on each side a  
comic and a tragic poet receiving a     
prize4 ,the exceeding lightness and     
grace1 the various fancy1 the purity of 
style1 the vigour of life and movement  
displayed here1 all prove that          
,schwanthaler has drank deep of         
classical inspiration1 and that he has  
not looked upon the frieze of the       
,parthenon in vain4 ,the subjects on the
 walls are various groups from the same 
poet2 over the throne is the king's     
motto1 and on each side1 ,alcides and   
,achilles2 the history of ,jason and    
,medea1 ,castor and ,pollux1 ,deucalion 
and ,pyrrha1 c4 occupy compartments1    
differing in form and size4 ,the        
decoration of this magnificent room     
appeared to me a little too much broken 
up into parts--and yet1 on the whole1 it
 is most beautiful2 the ,graces as well 
as the ,muses presided over the whole of
 these fancies1 chaste and noble2 and   

there is excellent taste in the choice  
of the poet1 and the subjects selected1 
as harmonizing with the destination of  
the room3 all are expressive of power1  
of triumph1 of moral or physical        
greatness4#a ,the walls are of dead     
gold1 from the floor to the ceiling1 and
 the gilding of this room alone cost    
#gb1jjj florins4  ,v4 ,a saloon1 or     
antechamber4 ,the ceiling and walls     
admirably painted1 from the tragedies of
 ,a,eschylus4  ,,vi4 ,the king's study1 
or cabinet de travail4 ,the subjects    
from ,sophocles1 equally classical in   
taste1 and rich in colour and effect4   
,in the arch at one end of this room are
 seven compartments1 in which are       
inscribed in gold letters1 the sayings  
of the seven ,greek sages4              
,schwanthaler furnished the outlines of 
the compositions from ,a,eschylus and   
,sophocles1 which are executed in       
colours by ,wilhelm ,roeckel of         
,schleissheim4  ,,vii4 ,the king's      
dressing-room4 ,the subjects from       

,aristophanes1 painted by ,hiltensberger
 of ,suabia1 certainly one of the best  
painters here4 ,there is exquisite      
fantastic grace and spirit in these     
designs4  ,it was fit1 said de ,klenze1 
that the first objects which his majesty
 looked upon on rising from his bed     
should be gay and mirth-inspiring4      
,,viii4 ,the king's bedroom4 ,the       
subjects from ,theocritus1 by different 
painters1 but principally ,professor    
,heinrich ,hess and ,bruchmann4 ,this   
room pleased me least4  ,no description 
could give an adequate idea of the      
endless variety1 and graceful and       
luxuriant ornament harmonizing with the 
various subjects1 and the purpose of    
each room1 and lavished on the walls and
 ceilings1 even to infinitude4 ,the     
general style is very properly borrowed 
from the ,greek decorations at          
,herculaneum and ,pompeii2 not servilely
 copied1 but varied with an exhaustless 
prodigality of fancy and invention1 and 
applied with exquisite taste4 ,the      

combination of the gayest1 brightest    
colours has been studied with care1     
their proportion and approximation      
calculated on scientific principles2 so 
that the result1 instead of being gaudy 
and perplexing to the eye1 is an effect 
the most captivating1 brilliant1 and    
harmonious that can be conceived4  ,the 
material used is the encaustic painting1
 which has been revived by ,m4 de       
,klenze4 ,he spent four months at       
,naples analysing the colours used in   
the encaustic paintings at ,herculaneum 
and ,pompeii1 and by innumerable        
experiments reducing the process to safe
 practice4 ,professor ,zimmermann       
explained to me the other day1 as ,i    
stood beside him while he worked1 the   
general principle1 and the advantages of
 this style4 ,it is much more rapid than
 oil painting2 it is also much less     
expensive1 requiring both cheaper       
materials and in smaller quantity4 ,it  
dries more quickly3 the surface is not  
so glazy and unequal1 requiring no      

particular light to be seen to          
advantage4 ,the colours are wonderfully 
bright3 it is capable of as high a      
finish1 and it is quite as durable as   
oils4 ,both mineral and vegetable       
colours can be used4  ,now to return4   
,the king's bedchamber opens into the   
queen's apartments1 but to take these in
 order we must begin at the beginning4  
,the staircase1 which is still          
unfinished1 will be in a much richer    
style of architecture than that on the  
king's side3 it is sustained with       
beautiful columns of native marble4  ,i4
 ,antechamber2 painted from the history 
and poems of ,walther von der           
,vogelweide1 by ,gassen of ,coblentz1 a 
young painter of distinguished merit4   
,walther of the bird-meadow1 for that is
 the literal signification of his name1 
was one of the most celebrated of the   
early ,suabian ,minnesingers1#b and     
appears to have lived from #aaij to     
#abdj4 ,he led a wandering life1 and was
 at different times in the service of   

several princes of ,germany4 ,he figured
 at the famous strife of poets1 at the  
castle of ,wartsburg1 which took place  
in #abjg1 in presence of ,hermann1      
landgrave of ,thuringia and the         
landgravine ,sophia3 this is one of the 
most celebrated incidents in the history
 of ,german poetry4 ,he also accompanied
 ,leopold ,,vii4 to the ,holy ,land4    
,his songs are warlike1 patriotic1      
moral1 and religious4 ,of love he has   
always the highest conception1 as of a  
principle of action1 a virtue1 a        
religious affection2 and in his         
estimation of female excellence1 he is  
below none of his contemporaries4#c  ,in
 the centre of the ceiling is           
represented the poetical contest at     
,wartsburg1 and ,walther is reciting his
 verses in presence of his rivals and   
the assembled judges4 ,at the upper end 
of the room ,walther is exhibited       
exactly as he describes himself in one  
of his principal poems1 seated on a high
 rock in a melancholy attitude1 leaning 

on his elbow1 and contemplating the     
troubles of his desolate country2 in the
 opposite arch1 the old poet is         
represented as feeding the little birds 
which are fluttering round him--in      
allusion to his will1 which directed    
that the birds should be fed yearly upon
 his tomb4 ,another compartment         
represents ,walther showing to his      
,geliebte 7his mistress7 the reflection 
of her own lovely face in his polished  
shield4 ,there are other subjects which 
,i cannot recall4 ,the figures in all   
these groups are the size of life4      
,,ii4 ,the next room is painted from the
 poems of ,wolfram of ,eschenbach1      
another1 and one of the most fertile of 
the old ,minnesingers2 he also was      
present at the contest at ,wartsburg1   
and wandered from castle to castle like 
a true courteous knight1 dividing his   
time between feats of arms and          
minstrelsy4 ,he versified1 in the       
,german tongue1 the romance of the      
,saint-,greal1 making it an original    

production1 and the central point1 if   
the expression may be allowed1 of an    
innumerable variety of adventures1 which
 he has combined1 like ,ariosto1 in     
artful perplexity1 in the poems of      
,percival and ,titurel4#d ,these        
adventures furnish the subjects of the  
paintings on the ceiling and walls1     
which are executed by ,hermann of       
,dresden1 one of the most distinguished 
of the pupils of ,cornelius4  ,the      
ornaments in these two rooms1 which are 
exceedingly rich and appropriate1 are in
 the old gothic style1 and reminded me  
of the illuminations in the ancient     
,,mss4  ,,iii4 ,a saloon 7salon de      
service7 appropriated to the ladies in  
waiting3 painted from the ballads of    
,buerger1 by ,foltz of ,bingen4 ,the    
ceiling of this room is perfectly       
exquisite--it is formed entirely of     
small rosettes1 7about a foot in        
diameter17 varying in form1 and         
combining every hue of the rainbow--the 
delicacy and harmony of the entire      

effect is quite indescribable4 ,the rest
 of the decorations are not finished1   
but the choice of the poet and the      
subjects1 considering the destination of
 the room1 delighted me4 ,the fate of   
,lenora1 and that of the ,curate's      
,daughter1 will be edifying subjects of 
contemplation for the maids of honour4  
,,iv4 ,the throne-room4 ,magnificent in 
the general effect2 elegant and         
appropriate in the design4  ,on the     
ceiling1 which is richly ornamented1 are
 four medallions1 exhibiting1 under the 
effigies of four admirable women1 the   
four feminine cardinal virtues4         
,constancy is represented by ,maria     
,theresa2 maternal love1 by ,cornelia2  
charity1 by ,st4 ,elizabeth1 7the       
,margravine of ,thuringia2#e7 and filial
 tenderness1 by ,julia ,pia ,alpinula4  
,and there--,o sweet and sacred be the  
name6     ,julia1 the daughter1 the     
devoted1 gave   ,her youth to ,heaven2  
her heart beneath a claim     ,nearest  
to ,heaven's1 broke o'er a father's     

grave4                                  
,,lord ,,byron4   ,i always avoid       
emblematical and allegorical figures1   
wherever it is possible1 for they are   
cold and arbitrary1 and do not speak to 
the heart6 said ,m4 de ,klenze1         
perceiving how much ,i was charmed with 
the idea of thus personifying the       
womanly virtues4  ,the paintings round  
the room are from the poems of          
,klopstock1 and executed by ,wilhelm    
,kaulbach1 an excellent artist4 ,only   
the frieze is finished4 ,it consists of 
a series of twelve compartments3 three  
on each side of the room1 and divided   
from each other by two boys of colossal 
size1 grouped as ,caryatides1 and in    
very high relief4 ,these compartments   
represent the various scenes of the     
,herman-,schlacht2 the sacrifices of the
 ,druids2 the adieus of the women2 the  
departure of the warriors2 the fight    
with ,varus2 the victory2 the return of 
,herman to his wife ,thusnelda1 c4      
,herman1 or1 as the ,roman historians   

call him1 ,arminius1 was a chieftain of 
the ,cheruscans1 a tribe of northern    
,germany4 ,after serving in ,illyria1   
and there learning the ,roman arts of   
warfare1 he came back to his native     
country1 and fought successfully for its
 independence4 ,he defeated1 beside a   
defile near ,detmold1 in ,westphalia1   
the ,roman legions under the command of 
,varus1 with a slaughter so mortifying1 
that the proconsul is said to have      
killed himself1 and ,augustus to have   
received the news of the catastrophe    
with indecorous expressions of grief4   
,it is this defeat of ,varus which forms
 the theme of one of ,klopstock's       
chorus-dramas1 entitled1 ,the ,battle of
 ,herman4 ,the dialogue is concise and  
picturesque2 the characters various1    
consistent1 and energetic2 a lofty      
colossal frame of being belongs to them 
all1 as in the paintings of ,caravaggio4
 ,to ,herman1 the disinterested zealot  
of patriotism and independence1 a       
preference of importance is wisely      

given2 yet1 perhaps1 his wife ,thusnelda
 acts more strongly on the sympathy by  
the enthusiastic veneration and         
affection she displays for her          
hero-consort4#f  ,v4 ,saloon1 or        
drawing-room4 ,the paintings from       
,wieland1 by ,eugene ,neureuther1       
7already known in ,england by his       
beautiful arabesque illustrations of    
,goethe's ballads47 ,the frieze only of 
this room1 which is from the ,oberon1 is
 in progress4  ,,vi4 ,the queen's       
bedroom4 ,the paintings from ,goethe1   
and chiefly by ,kaulbach4 ,the ceiling  
is exquisite1 representing in           
compartments various scenes from        
,goethe's principal lyrics2 the ,herman 
and ,dorothea2 ,pausias and ,glycera1   
c41 intermixed with the most rich and   
elegant ornaments in relief4  ,,vii4    
,the queen's study1 or private          
sitting-room4 ,a small but very         
beautiful room1 with paintings from     
,schiller1 principally by ,lindenschmidt
 of ,mayence4 ,on the ceiling are groups

 from the ,wallenstein2 the ,maid of    
,orleans2 the ,bride of ,corinth2       
,wilhelm ,tell2 and on the walls1 in    
compartments1 mingled with the most     
elegant ornaments1 scenes from the      
,fridolin1 the ,toggenburg1 the ,dragon 
of ,rhodes1 and other of his lyrics4    
,,viii4 ,the queen's library4 ,as the   
walls will be covered with book-cases1  
all the splendour of decoration is      
lavished on the ceiling1 which is       
inexpressibly rich and elegant4 ,the    
paintings are from the works of ,ludwig 
,tieck--from the ,octavianus1 the       
,genoneva1 ,fortunatus1 the ,puss in    
,boots1 c41 and executed by ,von        
,schwind4  ,the dining-room is          
magnificently painted with subjects from
 ,anacreon1 intermixed with ornaments   
and bacchanalian symbols1 all in the    
richest colouring4 ,in the compartments 
on the ceiling1 the figures are the size
 of life--in those round the walls1     
half-life size4 ,nothing can exceed the 
luxuriant fancy1 the gaiety1 the        

classical elegance1 and amenity of some 
of these groups4 ,they are all by       
,professor ,zimmermann4  ,one of these  
paintings1 a group representing1 ,i     
think1 ,anacreon with the ,graces1 7it  
is at the east end of the room17 is     
usually pointed out as an example of the
 perfection to which the encaustic      
painting has been carried3 in fact1 it  
would be difficult to exceed it in the  
mingled harmony1 purity1 and brilliance 
of the colouring4  ,m4 ,zimmermann told 
me1 that when he submitted the cartoons 
for these paintings to the king's       
approbation1 his majesty desired a      
slight alteration to be made in a group 
representing a nymph embraced by a      
bacchanal2 not as being in itself       
faulty1 but a cause de ses enfans1 his  
eldest daughters being accustomed to    
dine with himself and the queen4  ,now  
it must be remembered that these        
seventeen rooms form the domestic       
apartments of the royal family2 and     
magnificent as they are1 a certain      

elegance1 cheerfulness1 and propriety   
have been more consulted than parade and
 grandeur3 but on the ground-floor there
 is a suite of state apartments1        
prepared for the reception of strangers1
 c41 on great and festive occasions2 and
 these excited my admiration more than  
all the rest together4  ,the paintings  
are entirely executed in fresco1 on a   
grand scale1 by ,julius ,schnorr von    
,carolsfeld1 certainly one of the       
greatest living artists of ,europe3 and 
these four rooms will form1 when        
completed1 the very triumph of the      
romantic school of painting4 ,it is not 
alone the invention displayed in the    
composition1 nor the largeness1         
boldness1 and freedom of the drawing1   
nor the vigour and splendour of the     
colouring2 it is the enthusiastic       
sympathy of the painter with his        
subject2 the genuine spirit of the old  
heroic1 or rather ,teutonic ages of     
,germany1 breathed through and over his 
singular creations1 which so peculiarly 

distinguish them4 ,they are the very    
antipodes of all our notions of the     
classical--they take us back to the days
 of ,gothic romance1 and legendary      
lore--to the fiery ,franks and furious  
,huns--to the heroes1 in short1 of the  
,nibelungen ,lied1 from which all the   
subjects are taken4  ,to enable the     
merely ,english reader to feel1 or at   
least understand1 the interest attached 
to this grand series of paintings1      
without which it is impossible to do    
justice to the artist1 it is necessary  
to give a slight sketch of the poem     
which he has thus magnificently         
illustrated4#g  ,this national epic1 as 
it is justly termed by ,m4 ,von der     
,hagen1 has lately attracted a most     
unprecedented degree of attention in    
,germany4 ,it now actually forms a part 
of the philological courses in many of  
their universities1 and it has been     
hailed with almost as much veneration as
 the ,homeric songs4 ,some allowance    
must be made for ,german enthusiasm1 but

 it cannot be denied that the           
,nibelungen ,lied1 though a little too  
bloody and dolorous1 possesses          
extraordinary merits4 ,the hero and     
heroine of this poem are ,siegfried1    
7son of ,siegmund1 king of ,netherland1 
and of ,sighelind his queen17 and       
,chrimhilde1 princess of ,burgundy4     
,siegfried1 or ,sifrit1 the ,sigurd of  
the ,scandinavian ,sagas1 is the        
favourite hero of the northern parts of 
,germany4 ,his spear1 a mighty pine     
beam1 was preserved with veneration at  
,worms2 and there1 in the church of ,st4
 ,cecilia1 he is supposed to have been  
buried4 ,the ,german romances do not    
represent him as being of gigantic      
proportions1 but they all agree that he 
became invulnerable by bathing in the   
blood of a dragon1 which guarded the    
treasures of the ,nibelungen1 and which 
he overcame and killed2 but it happened 
that as he bathed1 a leaf fell and      
rested between his shoulders1 and       
consequently1 that one little spot1     

about a hand's breadth1 still remained  
susceptible of injury4 ,siegfried also  
possesses the wondrous tarn-cap1 which  
had the power of rendering the wearer   
invisible4  ,this formidable champion1  
after winning the love and the hand of  
the fair princess ,chrimhilde1 and      
performing a thousand valiant deeds1 is 
treacherously murdered by the three     
brothers of ,chrimhilde1 ,gunther1 king 
of ,burgundy1 ,ghiseler1 ,gernot1 and   
their uncle ,hagen1 instigated by queen 
,brunhilde1 the wife of ,gunther4       
,chrimhilde meditates for years the     
project of a deep and deadly revenge on 
the murderers of her husband4 ,this     
vengeance is in fact the subject of the 
,nibelungen ,lied1 as the wrath of      
,achilles is the subject of the ,iliad4 
,the poem opens thus beautifully with a 
kind of argument of the whole eventful  
story4    ,in ancient song and story    
marvels high are told   ,of knights of  
bold emprize and adventures mani-fold2  
,of joy and merry feasting1 of          

lamenting1 woe1 and fear2   ,of         
champions' bloody battles many marvels  
shall ye hear4    ,a noble maid and     
fair1 grew up in ,burgundy1   ,in all   
the land about fairer none might be2    
,she became a queen full high1          
,chrimhild was she hight1   ,but for her
 matchless beauty fell many a blade of  
might4    ,for love and for delight was 
framed that lady gay1   ,many a champion
 bold sighed for that gentle ,may2      
,beauteous was her form6 beauteous      
without compare6   ,the virgin's virtues
 might adorn many a lady fair4    ,three
 kings of might had the maiden in their 
care1   ,king ,gunther and king ,gernot1
 champions bold they were1   ,and       
,ghiselar the young1 a chosen peerless  
blade3   ,the lady was their sister1 and
 much they loved the maid4   ,then      
follows an enumeration of the heroes in 
attendance on king ,gunther3 ,haghen1   
the fierce2 ,dankwart1 the swift2       
,volker1 the minstrel knight2 and       
others2 all champions bold and          

free2--and then the poet proceeds to    
open the argument4    ,one night the    
queen ,chrimhild dreamt her as she lay1 
,how she had trained and nourished a    
falcon1 wild and gay2   ,when suddenly  
two eagles fierce the gentle hawk have  
slain--   ,never1 in this world felt she
 such cruel pain6    ,to her mother1    
,uta1 she told her dream with fear4     
,full mournfully she answered to what   
the maid did spier1   ',the falcon1 whom
 you cherished1 a gentle knight is he3  
,god take him to his ward6 thou must    
lose him suddenly4'    ',what speak you 
of the knight8 dearest mother1 say6     
,without the love of ,champion1 to my   
dying day1   ,ever thus fair will ,i    
remain1 nor take a wedded fere   ,to    
gain such pain and sorrow--though the   
knight were without peer6'    ',speak   
not thou too rashly6' her mother spake  
again4   ',if ever in this world1 thou  
heart-felt joy wilt gain1   ,maiden must
 thou be no more2 ,leman must thou have4
   ,god will grant thee for thy mate1   

some gentle knight and brave4'    ',o   
leave thy words1 lady mother2 speak not 
of wedded mate1   ,full many a gentle   
maiden hath found the truth too late3   
,still has their fondest love ended with
 woe and pain2   ,virgin will ,i ever   
be1 nor the love of ,leman gain4'    ,in
 virtues high and noble that gentle     
maiden dwelt1   ,full many a night and  
day1 nor love for ,leman felt4   ,to    
never a knight or champion would she    
plight her virgin truth1   ,till she was
 gained for wedded fere by a right noble
 youth4    ,that youth1 he was the      
falcon1 she in her dream beheld1   ,who 
by the two fierce eagles1 dead to the   
ground was fell'd3   ,but since right   
dreadful vengeance she took upon his    
foen2   ,for the death of that bold     
hero1 died full many a mother's son4    
,after this exordium the story          
commences1 the first half ending with   
the assassination of ,siegfried4  ,some 
years after the murder of ,siegfried1   
,chrimhilde gives her hand to ,etzel1   

7or ,attila17 king of the ,huns1 in     
order that through his power and        
influence she may be enabled to execute 
her long-cherished schemes of vengeance4
 ,the assassins accordingly1 and all    
their kindred and followers1 are induced
 to visit ,king ,etzel at ,vienna1      
where1 by the instigation of            
,chrimhilde1 a deadly feud arises2 in   
the course of which almost the whole    
army on both sides are cruelly          
slaughtered4 ,by the powerful1 but      
reluctant aid of ,dietrich of ,bern1#h  
,hagen1 the murderer of ,siegfried1 is  
at last vanquished1 and brought bound to
 the feet of the queen1 who at once     
raises the sword of her departed hero1  
and with her own hand strikes off the   
head of his enemy4 ,hildebrand instantly
 avenges the atrocious and unhospitable 
act1 by stabbing the queen1 who falls   
exulting on the body of her hated       
victim4  ,when ,gunther's arms1 and     
those of his brothers and champions1 are
 brought to ,worms1 ,brunhilde repents  

too late of her treachery to ,siegfried1
 and the old queen ,uta dies of grief4  
,as to ,king ,etzel1 the poet professes 
himself ignorant1 whether he died in    
battle1 or was taken up to heaven1 or   
fell out of his skin1 or was swallowed  
up by the devil2 leaving to his reader  
the choice of these singular            
catastrophes2--and thus the story       
ends4#i  ,the rivalry between           
,chrimhilde and her amazonian           
sister-in-law1 ,brunhilde1 forms the    
most interesting and amusing episode in 
the poem2 and the characters of the two 
queens--the fierce haughty ,brunhilde1  
and the impassioned1 devoted1 confiding 
,chrimhilde--7whom the very excess of   
conjugal love converts into a relentless
 fury17 are admirably discriminated4    
,the work is divided into thirty-eight  
books1 or adventures2 and besides a     
liberal allowance of sorcery and        
wonders1 contains a great deal of clear 
and animated narrative1 and innumerable 
curious and picturesque traits of the   

manners of the age4 ,the characters of  
the different warriors1 as well as those
 of the two queens1 and their heroic    
consorts1 are very naturally and        
powerfully drawn--especially that of    
,hagen1 the murderer of ,siegfried1 in  
whom the virtues of an heroic and       
chivalrous leader are strangely united  
with the atrocity and impenitent        
hardihood of an assassin4  ,the author  
of the ,lay of the ,nibelungen has not  
been ascertained4 ,in its present form  
it must have existed between the twelfth
 and thirteenth centuries2--this is     
proved by the language2 but the manners1
 tone1 thoughts1 and actions1 which are 
all in perfect keeping1 bear testimony  
to an antiquity far beyond that of the  
present dress of the poem4  ,here then  
was a boundless1 an inexhaustible fund  
of inspiration for such a painter as    
,julius ,schnorr2 and his poetical fancy
 appears to have absolutely revelled in 
the grand1 the gay1 the tragic subjects 
afforded to his creative pencil4  ,in   

the first room1 immediately over the    
entrance1 he has represented the poet1  
or presumed author of the               
,nibelungen--an inspired figure1        
attended by two listening genii4 ,on    
each side1 but a little lower down1 are 
two figures looking towards him2 on one 
side a beautiful female1 striking a     
harp1 and attended by a genius crowned  
with roses--represents song or poesy4   
,on the other side1 a sybil listening to
 the voice of ,time1 represents         
tradition4 ,the figures are all         
colossal4  ,below1 on each side of this 
door1 are two beautiful groups4 ,that to
 the right of the spectator represents  
,siegfried and ,chrimhilde4 ,she is     
leaning on the shoulder of her warlike  
husband with an air of the most         
inimitable and graceful abandonment in  
her whole figure3 a falcon sits upon her
 hand1 on which her eyes are turned with
 the most profound expression of        
tenderness and melancholy2 she is       
thinking upon her dream1 in which was   

foreshadowed the early and terrible doom
 of her husband4  ,it is said at        
,munich1 that the wife of ,schnorr1 an  
exquisitely beautiful woman1 whom he    
married under romantic circumstances1   
was the model of his ,chrimhilde1 and   
that one of her spontaneous attitudes   
furnished the idea of this exquisite    
group1 on which ,i never look without   
emotion4 ,the depth and splendour of the
 colouring adds to the effect4 ,the     
figures are rather above the size of    
life4  ,on the opposite side of the     
door1 as a pendant1 we have ,gunther1   
and his queen1 ,brunhilde4 ,he holds one
 of her hands1 with a deprecating       
expression4 ,she turns from him with an 
averted countenance1 exhibiting in her  
whole look and attitude1 grief1 rage1   
and shame4 ,it is evident that she has  
just made the fatal discovery of her    
husband's obligations to ,siegfried1    
which urges her to the destruction of   
the latter4 ,i have heard travellers    
ignorantly criticise the grand1 and     

somewhat exaggerated forms of           
,brunhilde1 as being really quite coarse
 and unfeminine4 ,in the poem she is    
represented as possessing the strength  
of twelve men2 and when ,hagen sees her 
throw a spear1 which it required four   
warriors to lift1 he exclaims to her    
alarmed suitor1 ,king ,gunther1    ,aye6
 how is it1 ,king ,gunther8 here must   
you tine your life6   ,the lady you     
would gain1 well might be the devil's   
wife6   ,it is by the secret assistance 
of ,siegfried1 and his tarn-cap1 that   
,gunther at length vanquishes and       
humbles this terrible heroine1 and she  
avenges her humiliation by the murder of
 ,siegfried4  ,around the room are      
sixteen full-length portraits of the    
other principal personages who figure in
 the ,nibelungen ,lied--portraits they  
may well be called1 for their           
extraordinary spirit1 and truth of      
character4 ,in one group we have the    
fierce ,hagen1 the courteous ,dankwart1 
and between them1 ,volker tuning his    

viol2 of him it is said--    ,bolder and
 more knight-like fiddler1 never shone  
the sun upon1   and he plays a          
conspicuous part in the catastrophe of  
the poem4  ,opposite to this group1 we  
have queen ,uta1 the mother of          
,chrimhilde1 between her sons1 ,gernot  
and ,ghiselar3 in another compartment1  
,siegmund and ,sighelind1 the father and
 mother of ,siegfried4  ,over the window
 opposite to the entrance1 ,hagen is    
consulting the mermaids of the ,danube1 
who foretell the destruction which      
awaits him at the court of ,etzel3 and  
lower down on each side of the window1  
,king ,etzel with his friend ,rudiger1  
and those faithful companions in arms1  
old ,hildebrand and ,dietrich of ,bern4 
,the power of invention1 the profound   
feeling of character1 and extraordinary 
antiquarian knowledge displayed in these
 figures1 should be seen to be          
understood4 ,those which most struck me 
7next to ,chrimhilde and her husband7   
were the figures of the daring ,hagen   

and the venerable queen ,uta4  ,on the  
ceiling1 which is vaulted1 and enriched 
with most gorgeous ornaments1 intermixed
 with heraldic emblazonments1 are four  
small compartments in fresco3 in which  
are represented1 the marriage of        
,siegfried and ,chrimhilde1 the murder  
of ,siegfried1 the vengeance of         
,chrimhilde1 and the death of           
,chrimhilde4 ,these are painted in vivid
 colours on a black ground4  ,on the    
whole1 on looking round this most       
splendid and interesting room1 ,i could 
find but one fault3 ,i could have wished
 that the ornaments on the walls and    
ceiling 7so rich and beautiful to the   
eye7 had been more completely and       
consistently gothic in style2 they would
 then have harmonized better with the   
subjects of the paintings4  ,in the next
 room1 the two sides are occupied by two
 grand frescos1 each about              
five-and-twenty feet in length1 and     
covering the whole wall4 ,in the first1 
,siegfried brings the kings of ,saxony  

and ,denmark prisoners to the court of  
king ,gunther4 ,the second represents   
the reception of the victorious         
,siegfried by the two queens1 ,uta and  
,chrimhilde4 ,this is the first         
interview of the lovers1 and furnishes  
one of the most admired passages in the 
poem4    ,and now the beauteous lady1   
like the rosy morn1   ,dispersed the    
misty clouds2 and he who long had borne 
,in his heart the maiden1 banish'd pain 
and care1   ,as now before his eyes     
stood the glorious maiden fair4    ,from
 her embroidered garment1 glittered many
 a gem1   ,and on her lovely cheek1 the 
rosy red did gleam2   ,whoever in his   
glowing soul had imaged lady bright1    
,confessed that fairer maiden never     
stood before his sight4    ,and as the  
moon at night1 stands high the stars    
among1   ,and moves the mirky clouds    
above1 with lustre bright and strong2   
,so stood before her maidens1 that maid 
without compare3   ,higher swelled the  
courage of many a champion there4       

,between the two doors there is the     
marriage of ,siegfried and ,chrimhilde4 
,the second of these frescos is nearly  
finished2 of the others ,i only saw the 
cartoons1 which are magnificent4 ,the   
third room will contain1 arranged in the
 same manner1 three grand frescos1      
representing #ast4 the scene in which   
the rash curiosity of ,chrimhilde       
prevails over the discretion of her     
husband1 and he gives her the ring and  
the girdle which he had snatched as     
trophies from the vanquished            
,brunhilde4#aj #bndly4 ,the death of    
,siegfried1 assassinated by ,hagen1 who 
stabs the hero in the back1 as he stoops
 to drink from the forest-well4 ,and    
#crdly4 ,the body of ,siegfried exposed 
in the cathedral at ,worms1 and watched 
by ,chrimhilde1 who wept three days and 
three nights by the corse of her        
murdered lord1 without food and without 
sleep4  ,the fourth room will contain   
the second marriage of ,chrimhilde2 her 
complete and sanguinary vengeance2 and  

her death4 ,none of these are yet in    
progress4 ,but the three cartoons of the
 death of ,siegfried2 the marriage of   
,siegfried and ,chrimhilde2 and the     
fatal curiosity of ,chrimhilde1 ,i had  
the pleasure of seeing in ,professor    
,schnorr's studio at the academy2 ,i saw
 at the same time his picture of the    
death of the emperor ,frederic          
,barbarossa1 which has excited great    
admiration here1 but ,i confess ,i do   
not like it2 nor do ,i think that       
,schnorr paints as well in oils as in   
fresco--the latter is certainly his     
forte4  ,often have ,i walked up and    
down these superb rooms1 looking up at  
,schnorr and his assistants1 and        
watching intently the preparation and   
the process of the fresco painting--and 
often ,i thought1 ,what would some of   
our ,english painters--,etty1 or        
,hilton1 or ,briggs1 or ,martin--,o what
 would they give to have two or three   
hundred feet of space before them1 to   
cover at will with grand and glorious   

creations1--scenes from ,chaucer1 or    
,spenser1 or ,shakspeare1 or ,milton1   
proudly conscious that they were        
painting for their country and          
posterity1 spurred on by the spirit of  
their art and national enthusiasm1 and  
generously emulating each other6 ,alas6 
how different6--with us such men as     
,hilton and ,etty illustrate annuals1   
and the genius of ,turner shrinks into a
 vignette6  ,i should add1 before ,i    
throw down my weary pen1 that every part
 of the new palace1 from the ensemble   
down to the minutest details of the     
ornaments 7the paintings excepted7 has  
been designed by ,de ,klenze1 who       
executed seven hundred drawings with his
 own hand for this palace alone1 without
 reckoning his designs for the          
,glyptothek and the ,pinakothek4  ,this 
has been a busy and exciting day4 ,then 
in the evening a soiree--music--        
99       99       99       99       99  
,o quite tired in spirits1 in voice1 in 
mind1 in heart1 in frame6  ,oct4        

#adth4--,accompanied by my kind friend1 
,madame de ,k----1 and conducted by     
,roekel1 the painter1 ,i visited the    
unfinished chapel adjoining the new     
palace4 ,it is painted 7or rather       
painting7 in fresco1 on a gold ground1  
with extraordinary richness and beauty1 
uniting the old ,greek1 or rather       
,byzantine manner1 with the old ,italian
 style of decoration4 ,it reminded me1  
in the general effect1 of the interior  
of ,st4 ,mark's at ,venice1--but1 of    
course1 the details are executed in a   
grander feeling1 and in a much higher   
style of art4 ,the pillars are of the   
native marble1 and the walls will be    
covered with a kind of ,mosaic of       
various marbles1 intermixed with        
ornaments in relief1 in gilding1 in     
colours--all combined1 and harmonizing  
together4 ,the ceiling is formed of two 
large domes or cupolas4 ,in the first is
 represented the ,old ,testament3 in the
 very centre1 the ,creator2 in a circle 
round him1 the six days' creation4      

,around this again1 in a larger circle1 
the building of the ark2 the ,deluge2   
the sacrifice of ,noah2 and the first   
covenant4 ,in the four corners1 the     
colossal figures of the patriarchs1     
,noah1 ,abraham1 ,isaac1 and ,jacob4    
,these are designed in a very grand and 
severe style4 ,the second cupola is     
dedicated to the ,new ,testament4 ,in   
the centre1 the ,redeemer3 around him   
four groups of cherubs1 three in each   
group4 ,we were on the scaffold erected 
for the painters--near enough to remark 
the extreme beauty and various          
expression in these heads1 which must1  
,i am afraid1 be lost when viewed from  
below4 ,around1 in a circle1 the twelve 
apostles2 and in the four corners1 the  
four evangelists1 corresponding with the
 four patriarchs in the other dome4 ,in 
the arch between the two domes1 as      
connecting the ,old and ,new            
,testaments1 we have the ,nativity and  
other scenes from the life of the       
,virgin4 ,in the arch at the farthest   

end will be placed the ,crucifixion1 as 
the consummation of all4  ,the painter  
to whom the direction of the whole work 
has been entrusted1 is professor        
,heinrich ,haess1 7or ,hess17 one of the
 most celebrated of the ,german         
historical painters4 ,he was then       
employed in painting the ,nativity1     
stretched upon his back on a sort of    
inclined chair4 ,notwithstanding the    
inconvenience and even peril of leaving 
his work while the plaster was wet1 he  
came down from his giddy height to speak
 to us1 and explained the general design
 of the whole4 ,i expressed my honest   
admiration of the genius1 and the grand 
feeling displayed in many of the        
figures2 and1 in particular1 of the     
group he was then painting1 of which the
 extreme simplicity charmed me2 but as  
honestly1 ,i expressed my surprise that 
nothing new in the general style of the 
decoration had been attempted2 a        
representation of the ,omnipotent ,being
 was merely excusable in more simple and

 unenlightened times1 when the          
understandings of men could only be     
addressed through their senses--and     
merely tolerable1 when ,michael ,angelo 
gave us that grand personification of   
,almighty ,power moving on the wings of 
the wind to the creation of the first   
man4 ,but now1 in these thinking1       
reasoning times1 it is not so well to   
venture into those paths1 upon which    
daring ,genius1 supported by blind      
,faith1 rushed without fear1 because    
without a doubt4 ,the theory of religion
 belongs to poetry1 and its practice to 
painting4 ,i was struck by the wonderful
 stateliness of the ornaments and       
borders used in decorating these sacred 
subjects3 they are neither ,greek1 nor  
gothic1 nor arabesque--but composed     
merely of simple forms and straight     
lines1 combined in every possible       
manner1 and in every variety of pure    
colour4 ,one might call them ,byzantine2
 at least1 they reminded me of what ,i  
had seen in the old churches at ,venice 

and ,pisa4  ,i was pleased by the       
amiable and open manners of professor   
,hess4 ,much of his life has been spent 
in ,italy1 and he speaks ,italian well1 
but no ,french4 ,in general1 the ,german
 artists absolutely detest and avoid the
 language and literature of ,france1 but
 almost all speak ,italian1 and many can
 read1 if they do not speak1 ,english4  
,he told me that he had spent two years 
on the designs and cartoons for this    
chapel2 he had been painting here daily 
for the last two years1 and expected to 
be able to finish the whole in about two
 years and a half more3 thus giving six 
years and a half1 or more probably seven
 years1 to this grand task4 ,he has four
 pupils1 or assistants1 besides those   
employed in the decorations only4  ,oct4
 #aeth4--,after dinner we drove through 
the beautiful ,english garden--a public 
promenade--which is larger and more     
diversified than ,kensington ,gardens2  
but the trees are not so fine1 being of 
younger growth4 ,a branch of the ,isar  

rolls through this garden1 sometimes an 
absolute torrent1 deep and rapid1       
foaming and leaping along1 between its  
precipitous banks1--sometimes a strong  
but gentle stream1 flowing at its own   
sweet will among smooth lawns4 ,several 
pretty bridges cross it with airy span2 
there are seats for repose1 and cafes   
and houses where refreshment may be had1
 and where1 in the summer-time1 the     
artisans and citizens of ,munich        
assemble to dance on the ,sunday        
evenings2--altogether it was a beautiful
 day1 and a delightful drive4  ,in the  
evening at the opera with the           
ambassadress and a large party4 ,it was 
the queen's fete1 and the whole court   
was present4 ,the theatre was           
brilliantly illuminated--crowded in     
every part3 in short1 it was all very   
gay and very magnificent2 as to hearing 
a single note of the opera1 7the        
,figaro17 that was impossible2 so ,i    
resigned myself to the conversation     
around me4 ,are you fond of music8 said 

,i1 innocently1 to a lady whose         
volubility had ceased not from the      
moment we entered the box4 ,moi6 si je  
l'aime6--mais avec passion6 ,and then   
without pause or mercy continued the    
same incessant flow of spirituel        
small-talk while ,scheckner-,wagen and  
,meric1 now brought for the first time  
into competition1 and emulous of each   
other1--one pouring forth her full      
sostenuto warble1 like a wood-lark1--the
 other trilling and running divisions1  
like a nightingale--were uniting their  
powers in the ,sull' ,aria2 but though  
,i could not hear ,i could see4 ,i was  
struck to-night more than ever by the   
singular dignity of the demeanour of    
,madame ,scheckner-,wagen4 ,she is not  
remarkable for beauty1 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   
,pasta1 ,i should say--the imperial     
syren who drowned her own identity and  
ours together in her cup of enchanted   

sounds2--no--but ,scheckner-,wagen      
treads the stage with the air of a      
high-bred lady1 to whom applause or     
censure are things indifferent--and yet 
with an exceeding modesty4 ,in short1 ,i
 never saw an actress who inspired such 
an immediate and irresistible feeling of
 respect and interest for the individual
 woman4 ,i do not say that this is the  
ne plus ultra of good acting--on the    
contrary2 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 time4 ,madame ,scheckner's  
style of singing has the same           
characteristic simplicity and dignity3  
her voice is of a fine full quality1    
well cultivated1 well managed4 ,i have  
known her a little indolent and careless
 at times1 but never forced or affected2
 and ,i am told that in some of the     
grand classical ,german operas1 ,gluck's
 ,iphigenia1 for instance1 her acting as
 well as her singing is admirable4  ,i  

wish1 if ever we have that charming     
,devrient-,schroeeder1 and her vocal    
suite1 again in ,england1 they would    
give us the ,iphigenia1 or the ,armida1 
or the ,idomeneo4 ,she is another who   
must be heard in her native music to be 
justly appreciated4 ,madame ,milder was 
a third1 but her reign is past4 ,this   
extraordinary creature absolutely could 
not1 or would not1 sing the modern      
,italian music2 no one1 ,i believe1 ever
 heard her sing a note of ,rossini in   
her life4 ,madame ,vespermann is here1  
but she sings no more in public4 ,she   
was formed by ,winter1 and was a fine   
classical singer1 though no original    
genius like the ,milder2 and her voice1 
if ,i may judge by what remains of it1  
could never have been of first-rate     
quality4  ,well--after the opera--while 
scandal1 and tea1 and refreshments were 
served up together--,i had a long       
conversation with ,count ---- on the    
politics and statistics of ,bavaria1 the
 tone of feeling in the court1 the      

characters and revenues of some of the  
leading nobles--particularly ,count     
d',armansberg1 the former minister1 7now
 in ,greece taking care of the young    
,king ,otho17 and ,prince ,wallerstein1 
the present minister of the interior4   
,he described the king's extremely      
versatile character1 and his vivacites1 
and lamented his present unpopularity   
with the liberal party in ,germany1 the 
disputes between him and the ,chambers1 
and the opinions entertained of the     
recent conferences between the king and 
his brother-in-law1 the ,emperor of     
,austria1 at ,lintz1 c4 ,i learnt much  
that was new1 much that was interesting 
to me1 but do not understand these      
matters sufficiently to say any thing   
more about them4  ,the two richest      
families in ,bavaria are the            
,tour-and-,taxis1 and the ,arco family4 
,the annual revenue of the ,prince of   
,tour-and-,taxis amounts to upwards of  
five millions of florins1 and he lays   
out about a million and a half yearly in

 land4 ,he seldom or never comes to     
,munich1 but resides chiefly on his     
enormous estates1 or at ,ratisbon1 which
 is his metropolis1--in fact1 this rich 
and powerful noble is little less than a
 sovereign prince4         99       99  
99       99       99  #afth4--,i went   
with ,madame von ,a---- and her         
daughters to the ,kunstverein1 or       
,society of ,arts4 ,a similar           
institution of amateurs and artists1    
maintained by subscription1 exists1 ,i  
believe1 in all the principal cities of 
,germany4 ,the young artists exhibit    
their works here1 whether pictures1     
models1 or engravings4 ,some of these   
are removed and replaced by others      
almost every day1 so that there is a    
constant variety4 ,as yet1 however1 ,i  
have seen no very striking1 though many 
pleasing pictures2 but ,i have added    
several names to my list of ,german     
artists4#aa ,to-day at the ,kunstverein1
 there was a series of small pictures   
framed together1 the subjects from      

,victor ,hugo's romance of ,notre ,dame4
 ,these attracted general attention1    
partly as the work of a stranger1 partly
 from their own merit1 and the          
popularity of ,victor ,hugo4 ,the       
painter1 ,m4 ,couder1 is a young        
,frenchman1 now on his return from      
,italy to ,paris4 ,i understand that he 
has obtained leave to paint one of the  
frescos in the ,pinakothek1 as a trial  
of skill4 ,of the designs from ,notre   
,dame1 the central and largest picture  
is the scene in the garret between      
,phoebus and ,esmeralda1 when the former
 is stabbed by the priest ,frollo3 one  
can hardly imagine a more admirable     
subject for painting1 if properly       
treated2 but this is a failure in effect
 and in character4 ,it fails in effect  
because the light is too generally      
diffused3--it is day-light1 not         
lamp-light4 ,the monk ought to have been
 thrown completely into shadow1 only    
just visible1 terribly1 mysteriously    
visible1 to the spectator4 ,it fails in 

character because the figure of         
,esmeralda1 instead of the elegant1     
fragile1 almost etherial creature she is
 described1 rather reminds us of a      
coarse ,italian contadina2 and1 for the 
expression--a truly poetical painter    
would have averted the face1 and thrown 
the whole expression into the attitude4 
,it will hardly be believed that of such
 a subject1 the painter has made a cold 
picture1 merely by not feeling the      
bounds within which he ought to have    
kept4 ,the small pictures are much      
better1 particularly the ,sachet        
embracing her child1 and the tumult in  
front of ,notre ,dame4 ,there were some 
other striking pictures by the same     
artist1 particularly ,chilperic and     
,fredegonde strangling the young queen  
,galsuinde1 painted with shocking skill 
and truth4 ,that taste for horrors1     
which is now the reigning fashion in    
,french art and ,french literature1     
speaks ill for ,french sensibilite--a   
word they are so fond of--for that      

sensibility cannot be great which       
requires such extravagant stimuli4      
,painters and authors1 all alike6 ,they 
remind me of the sentimental negresses  
of queen ,carathis1 in the ,tale of     
,vathek--qui avaient un gout particulier
 pour les pestilences4 ,couder1 however1
 has undoubted talent4 ,his portrait of 
,de ,klenze1 painted since he came here1
 is all but alive4  ,in the evening at  
the theatre with ,m4 and ,mad4 ,s----4  
,we had ,karl von ,holtei's melo-drama  
of ,lenore1 founded on ,buerger's       
well-known ballad2--but with the        
omission of the spectre1 which was      
something like acting ,hamlet with the  
part of ,hamlet left out1 by particular 
desire4 ,lenore is1 however1 one of the 
prettiest and most effective of the     
petites pieces ,i have seen here--very  
tragical and dolorous of course4        
,madlle4 ,schoeller acted ,lenore with  
more feeling and power than ,i thought  
was in her4 ,there is a mad scene1 in   
which she fancies her lover at her      

window1 calling to her1 as the spectre  
calls in the ballad--    ,sleep'st thou1
 or wak'st thou1 ,leonore8   ,and which 
was so fine as a picture1 and so well   
acted1 that it quite thrilled me--no    
easy matter4 ,holtei is one of the first
 dramatists in ,germany for comedies1   
melo-dramas1 farces1 and musical pieces4
 ,in this particular department he has  
no rival4 ,he played to-night himself1  
being for his own benefit1 and sung his 
popular ,mantel ,lied1 or cloak-song1   
which1 like his other songs1 may be     
heard from one end of ,germany to the   
other4  #ahth4--,a grand military fete4 
,the consecration of the great bronze   
obelisk1 which the king has erected in  
the ,karoline-,platz1 to the glory and  
the memory of the thirty-seven thousand 
,bavarian conscripts who followed1 or   
rather were dragged by1 ,napoleon to the
 fatal ,russian campaign in #ahab4 ,of  
these1 about six thousand returned      
alive3 most of them mutilated1 or with  
diseases which shortened their          

existence4 ,of many thousands no account
 ever reached home4 ,they perished1 ,god
 knows how or where4 ,there was1 in     
particular1 a detachment1 or a battery  
of six thousand ,bavarians1 so          
completely destroyed that it was as if  
the earth had swallowed them1 or the    
snows had buried them1 for not one      
remained to tell the tale of how or     
where they died4 ,of those who did      
return1 about one thousand one hundred  
survive1 of whom four hundred continue  
in the army2 the rest had returned to   
their civil pursuits1 and had become    
peasants or tradesmen in different parts
 of the kingdom4 ,now1 it appears1 that 
several hundreds of these men have      
arrived in ,munich within the last few  
days in order to be present at the      
ceremony3 and some1 from the mere       
sentiment of honour1 have travelled from
 afar--even from ,upper ,bavaria and the
 ,flemish ,provinces1 a distance of more
 than eighty leagues1 7two hundred and  
fifty miles47 ,on this occasion1        

according to the arrangements previously
 made1 the veteran soldiers who remained
 in the army1 were alone to be admitted 
within the enclosure round the monument4
 ,the others1 ,i believe about five     
hundred in number1 who had quitted the  
service1 but who had equally fought1    
suffered1 bled1 in the same disastrous  
expedition1 demanded1 very naturally1   
the same privilege4 ,it was refused2    
because forsooth they had no uniforms1  
and the unseemly intrusion of drab coats
 and blue worsted stockings among       
epaulettes and feathers and embroidered 
facings1 would certainly spoil the      
symmetry--the effect of the coup d'oeil6
 ,they complained1 murmured aloud1      
resisted2 and all night there was       
fighting in the streets and taverns     
between them and the police4 ,this      
morning they went up in a body to       
,marshal ,wrede1 7who is said to have   
betrayed the army17 and were renvoyes4  
,they then went up to the palace2 and at
 last1 at a late hour this morning1 the 

king gave orders that they should be    
admitted within the circle2 but it was  
too late--the affront had sunk deep4    
,the permission1 which in the first     
instance ought indeed to have been      
rather an invitation1 now seemed forced1
 ungraceful1 and ungracious4 ,there was 
a palpable cloud of discontent over all2
 for the popular feeling was with them4 
,for myself1 a mere stranger1 such was  
my indignation1 the whole proceeding    
appeared to me so heartless1 so         
unkingly1 so unkind1 and my sympathy    
with these brave men was so profound1   
that ,i could scarce persuade myself to 
go2--however1 ,i went4 ,i had been      
invited to view the ceremony from the   
balcony of the ,french ambassador's     
house1 which is exactly opposite to the 
obelisk4  ,i had indulged my ill-humour 
till it was late2 already all the       
avenues leading to the ,karoline-,platz 
were occupied by the military1 and my   
carriage was stopped4 ,as ,i was within 
fifty yards of the ambassador's house1  

it did not much signify1 and ,i         
dismissed the carriage2 but they would  
not allow the lacquais to pass4         
,wondering at all these precautions ,i  
dismissed him too4 ,a little further on 
,i was myself stopped1 and civilly      
commanded to turn back4 ,i pleaded that 
,i only wished to enter the house to    
which ,i pointed4 ,it was impossible4   
,now1 what ,i had not cared for a moment
 before became at once an object to be  
attained1 and which ,i was resolved to  
attain4 ,i was really curious and       
anxious to see how all this would end1  
for the indifferent or lowering looks of
 the crowd had struck me4 ,i observed to
 a well-dressed man1 who politely tried 
to make way for me1 that it was strange 
to see so much severity of discipline at
 a public fete4 ,public fete6 he        
repeated with scornful bitterness2 ,je  
vous demande pardon1 madame6 c'est une  
fete pour quelques uns1 mais ce n'est   
pas une fete pour nous1 ce n'est pas    
pour le peuple6  ,at length ,i          

fortunately met an officer1 with whom ,i
 was slightly acquainted1 who           
immediately conducted me to the door4   
,the spectacle1 merely as a spectacle1  
was not striking2 but to me it had a    
peculiar interest4 ,there was a raised  
platform on one side for the queen and  
her children1 who1 attended by a        
numerous court1 were spectators4 ,an    
outer circle was formed by several      
regiments of guards1 and within this    
circle the soldiers who had served in   
,russia were drawn up near the obelisk1 
which was covered for the present with a
 tarpauling4 ,but all my attention was  
fixed on the disbanded soldiers without 
uniforms1 who stood together in a dark  
dense column1 contrasting with the      
glittering and gorgeous array of those  
around them4 ,the king rode into the    
circle1 accompanied by his brother1     
,prince ,charles1 the arch-duke ,francis
 of ,austria1 ,marshal ,wrede1 and      
followed by a troop of generals1        
equerries1 c4 ,there was a dead silence1

 and not a shout was raised to greet    
him4 ,a few of the disbanded soldiers1  
who were nearest to him1 took off their 
hats1 others kept them on4 ,the trumpets
 sounded a salute3 the bands struck up  
our ,god save the ,king1 which is       
nationalized as the loyal anthem all    
over ,germany4 ,the canvass covering    
fell at once1 and displayed the obelisk1
 which is entirely of bronze1 raised    
upon four granite steps4 ,it bears a    
simple inscription4 ,i think it is      
,ludwig ,i41 king1 to the soldiers of   
,bavaria who fell in the ,russian       
campaign2 or nearly to that purpose4    
,marshal ,wrede then alighted from his  
horse and addressed the soldiers4 ,this 
was a striking moment2 for while the    
outer circle of military remained       
immovable as statues1 the soldiers      
within1 both those with1 and those      
without uniforms1 finding themselves out
 of ear-shot1 advanced a few steps1 and 
then breaking their ranks1 pressed      
forward in a confused mass1 surrounding 

the king and his officers1 in the most  
eager but respectful manner4 ,i could   
not distinguish one sentence of the     
harangue1 which1 as ,i afterwards heard1
 was any thing rather than satisfactory4
  ,i heard it remarked round me that the
 ,duke de ,leuchtenberg1 7the son of    
,eugene ,beauharnais17 was not present1 
neither as one of the royal cortege nor 
as a spectator4  ,the whole lasted about
 twenty minutes4 ,the day was cold2 and1
 in truth1 the ceremony was cold1 in    
every sense of the word4 ,the           
,karoline-,platz is so large that not a 
third part of the open space was        
occupied4 ,had the people1 who lingered 
sullen and discontented outside the     
military barrier1 been admitted under   
proper restrictions1 it had been a grand
 and imposing sight2 but1 perhaps the   
king is following the ,austrian tactics1
 and seeking to crush systematically    
every thing like feeling or enthusiasm  
in his people4 ,i know not how he will  
manage it2 for he is himself the very   

antipodes of ,austrian carelessness and 
sluggishness3 a restless                
enthusiast--fond of intellectual        
excitement--fond of novelty--with no    
natural taste1 one would think1 for     
,metternich's vieilleries4 ,if he adopt 
,austrian principles1 his theory and his
 practice1 his precept and example1 will
 always be at variance4 ,at the         
conclusion of the ceremony the king and 
his suite rode up to the platform and   
saluted the queen3 and when she--who is 
so universally and truly beloved here   
that ,i believe the people would die for
 her at anytime--rose to depart1 ,i     
heard a cheer1 the first and last this  
day6 ,the disbanded soldiers approached 
the platform1 at first timidly by twos  
and threes1 and then in great numbers1  
taking off their hats4 ,she stood up1   
leaning on the princess ,matilda1 and   
bowed4 ,the royal cortege then          
disappeared4 ,the military bands struck 
up1 and one battalion after another     
filed off4 ,i expected that the crowd   

would have rushed in1 but the people    
seemed completely chilled and disgusted4
 ,only a few appeared4 ,in about half an
 hour the obelisk was left alone in its 
solitude4  ,i spent the rest of the day 
with ,madame de ,v----1 and returned    
home quite tired and depressed4  ,i     
understand this morning 7,saturday7 that
 the king has ordered a gratuity and    
dinner to be given to the disbanded     
soldiers4 ,i hope it is true1 ,king     
,louis6 ,you ought at least to          
understand your metier de ,roi better   
than to degrade the pomp and            
circumstance of glorious war in the eyes
 of your people1 and make them feel for 
what a poor recompence they may fight1  
bleed1 die--be made at once victims and 
executioners in the contests of royal   
and ambitious gamblers6  ,i saw to-day1 
at the house of the court banker1       
,eichthal1 a most charming picture by   
the ,baroness de ,freyberg1 the sister  
of my good friend1 ,m4 ,stuntz4 ,it is a
 ,madonna and child--loveliest of       

subjects for a woman and a mother6--she 
is sure to put her heart into it1 at    
least2 but1 in this particular picture1 
the surpassing delicacy of touch1 the   
softness and purity of the colouring1   
the masterly drawing in the hands of the
 ,virgin1 and the limbs of the child1   
equalled the feeling and the            
expression--and1 in truth1 surprised me4
 ,madame de ,freyberg gave this picture 
to her father1 who is not rich1 and1    
unhappily1 blind4 ,of him1 the present  
possessor purchased it for fifteen      
hundred florins1 7about #adjl47 and now 
values it at twice the sum4 ,in the     
possession of her brother1 ,i have seen 
others of her productions1 and          
particularly a head of one of his       
children1 of exceeding beauty1 and very 
much in the old ,italian style4  ,in the
 evening1 a very lively and amusing     
soiree at the house of ,dr4 ,martius4   
,we had some very good music4 ,young    
,vieux-temps1 a pupil of ,de ,beriot1   
was well accompanied by an orchestra of 

amateurs4 ,i met here also a young lady 
of whom ,i had heard much--,josephine   
,lang1 looking so gentle1 so            
unpretending1 so imperturbable1 that no 
one would have accused or suspected her 
of being one of the ,muses in disguise1 
until she sat down to the piano1 and    
sang her own beautiful and original     
compositions in a style peculiar to     
herself4 ,she is a musician by nature1  
by choice1 and by profession1 exercising
 her rare talent with as much modesty as
 good-nature4 ,the painter ,zimmermann1 
who has a magnificent bass voice1 sung  
for me ,mignon's song--,kennst du das   
,land6 ,and1 lastly1 which was the most 
interesting amusement of the evening1   
,karl von ,holtei read aloud the second 
act of ,goethe's ,tasso4 ,he read most  
admirably1 and with a voice which kept  
attention enchained1 enchanted2 still it
 was genuine reading4 ,he kept equally  
clear of acting and of declamation4     
,oct4 #bjth4 ,sunday4--,i went with ,m4 
,stuntz to hear a grand mass at the     

royal chapel4         99       99       
99       99       99  #bast4--,it rained
 this morning3--went to the gallery1 and
 amused myself for two hours walking up 
and down the rooms1 sometimes pausing   
upon my favourite pictures1 sometimes   
abandoned to the reveries suggested by  
these glorious creations of the human   
intellect4          ',twas like the     
bright procession   ,of skiey visions in
 a solemn dream1   ,from which men wake 
as from a paradise1   ,and draw fresh   
strength to tread the thorns of life6   
,while looking at the ,castor and       
,pollux of ,rubens1 ,i remembered what  
the biographers asserted of this most   
wonderful man--that he spoke fluently   
seven languages1 besides being          
profoundly skilled in many sciences1 and
 one of the most accomplished           
diplomatists of his time4 ,before he    
took up his palette in the morning1 he  
was accustomed to read1 or hear read1   
some fine passages out of the ancient   
poets2 and thus releasing his soul from 

the trammels of low-thoughted care1 he  
let her loose into the airy regions of  
imagination4  ,what ,goethe says of     
poets1 must needs be applicable to      
painters4 ,he says1 ,if we look only at 
the principal productions of a poet1 and
 neglect to study himself1 his          
character1 and the circumstances with   
which he had to contend1 we fall into a 
sort of atheism1 which forgets the      
,creator in his creation4  ,i think most
 people admire pictures in this sort of 
atheistical fashion2 yet next to loving 
pictures1 and all the pleasure they     
give1 and revelling in all the feelings 
they awaken1 all the new ideas with     
which they enrich our mental hoard--next
 to this1 or equal with it1 is the      
inexhaustible interest of studying the  
painter in his works4 ,it is a lesson in
 human nature4 ,almost every picture    
7which is the production of mind7 has an
 individual character1 reflecting the   
predominant temperament--nay1 sometimes1
 the occasional mood of the artist1 its 

creator4 ,even portrait painters1       
renowned for their exact adherence to   
nature1 will be found to have stamped   
upon their portraits a general and      
distinguishing character4 ,there is1    
besides the physiognomy of the          
individual represented1 the physiognomy1
 if ,i may so express myself1 of the    
picture2 detected at once by the mere   
connoisseur as a distinction of manner1 
style1 execution3 but of which the      
reflecting and philosophical observer   
might discover the key in the mind or   
life of the individual painter4  ,in the
 heads of ,titian1 what subtlety of     
intellect mixed with sentiment and      
passion6 ,in those of ,velasquez1 what  
chivalrous grandeur1 what high-hearted  
contemplation6 ,when ,ribera painted a  
head--what power of sufferance6 ,in     
those of ,giorgione1 what profound      
feeling6 ,in those of ,guido1 what      
elysian grace6 ,in those of ,rubens what
 energy of intellect--what vigorous     
life6 ,in those of ,vandyke1 what       

high-bred elegance6 ,in those of        
,rembrandt1 what intense individuality6 
,could ,sir ,joshua ,reynolds have      
painted a vixen without giving her a    
touch of sentiment8 ,would not ,sir     
,thomas ,lawrence have given refinement 
to a cook-maid8 ,i do believe that ,opie
 would have made even a calf's head look
 sensible1 as ,gainsborough made our    
queen ,charlotte look picturesque4  ,if 
,i should whisper that since ,i came to 
,germany ,i have not seen one really    
fine modern portrait1 the ,germans would
 never forgive me2 they would fall upon 
me with a score of great names--,wach1  
,stieler1 ,vogel1 ,schadow--and beat me1
 like ,chrimhilde1 black and blue4 ,but 
before they are angry1 and absolutely   
condemn me1 ,i wish they would place one
 of their own most admired portraits    
beside those of ,titian or ,vandyke1 or 
come to ,england1 and look upon our     
school of portraiture here6 ,i think    
they would allow1 that with all their   
merits1 they are in the wrong road4     

,admirable1 finished drawing2 wonderful 
dexterity of hand2 exquisite and most   
conscientious truth of imitation1 they  
have2 but they abuse these powers4 ,they
 do not seem to feel the application of 
the highest1 grandest principles of art 
to portrait painting--they think too    
much of the accessories4 ,are not these 
clever and accomplished men aware that  
imitation may be carried so far as to   
cease to be nature--to be error1 not    
truth8 ,for instance1 by the common laws
 of vision ,i can behold perfectly only 
one thing at a time4 ,if ,i look into   
the face of a person ,i love or         
venerate1 do ,i see first the embroidery
 of the canezou or the pattern on the   
waistcoat8 if not--why should it be so  
in a picture8 ,the vulgar eye alone is  
caught by such misplaced skill--the     
vulgar artist only ought to seek to     
captivate by such means4  ,these would  
sound in ,england as the most trite and 
impertinent remarks--the most           
self-evident propositions3 nevertheless 

they are truths which the generality of 
the ,german portrait painters and their 
admirers have not yet felt4         99  
99       99       99       99  ,i drove 
with my kind-hearted friends1 ,m4 and   
,madame ,stuntz1 to ,thalkirchen1 the   
country-house of the ,baron de          
,freyberg4 ,the road pursued the banks  
of the rapid1 impetuous ,isar1 and the  
range of the ,tyrolian alps bounded the 
prospect before us4 ,an hour's drive    
brought us to ,thalkirchen1 where we    
were obviously quite unexpected1 but    
that was nothing3--,i was at once       
received as a friend1 and introduced    
without ceremony to ,madame de          
,freyberg's painting-room4 ,though now  
the fond mother of a large little       
family1 she still finds some moments to 
devote to her art4 ,on her easel was the
 portrait of the ,countess ,m---- 7the  
sister of ,de ,freyberg7 with her child1
 beautifully painted--particularly the  
latter4 ,in the same room was an        
unfinished portrait of ,m4 de ,freyberg1

 evidently painted con amore1 and full  
of spirit and character2 a head of      
,cupid1 and a piping boy1 quite in the  
,italian manner and feeling2 and a      
picture of the birth of ,st4 ,john1     
exquisitely finished4 ,i was most struck
 by the heads of two ,greeks--members1  
,i believe1 of the deputation to ,king  
,otho--painted with her peculiar        
delicacy and transparency of colour1    
and1 at the same time1 with a breadth of
 style and a freedom in the handling1   
which ,i have not yet seen among the    
,german portrait painters4 ,a glance    
over a portfolio of loose sketches and  
unfinished designs added to my          
estimation of her talents4 ,she excels  
in children--her own serving her as     
models4 ,i do not hesitate to say of    
this gifted woman1 that while she equals
 ,angelica ,kauffman in grace and       
delicacy1 she far exceeds her in power1 
both of drawing and colouring4 ,she     
reminded me more of the ,sofonisba1#ab  
but it is a different1 and1 ,i think1 a 

more delicate style of colour1 than ,i  
have observed in the pictures of the    
latter4  ,we had coffee1 and then       
strolled through the grounds--the       
children playing around us4 ,if ,i was  
struck by the genius and accomplishments
 of ,madame de ,freyberg1 ,i was not    
less charmed by the frank and noble     
manners of her husband1 and his honest  
love and admiration of his wife1 whom he
 married in despite of all prejudices of
 birth and rank4  ,in this truly ,german
 dwelling there was an extreme          
simplicity1 a sort of negligent         
elegance1 a picturesque and refined     
homeliness1 the presiding influence of a
 most poetical mind and eye every where 
visible1 and a total indifference to    
what we ,english denominate comfort2 yet
 with the obvious presence of that      
crowning comfort of all                 
comforts--cordial domestic love and     
union--which impressed me altogether    
with pleasant ideas1 long after borne in
 my mind1 and not yet1 nor ever to be1  

effaced4 ,how little is needed for      
happiness1 when we have not been spoiled
 in the world1 nor our tastes vitiated  
by artificial wants and habits6 ,when   
the hour of departure came1 and ,de     
,freyberg was handing me to the         
carriage1 he made me advance a few      
steps1 and pause to look round2 he      
pointed to the western sky1 still       
flushed with a bright geranium tint1    
between the amber and the rose2 while   
against it lay the dark purple outline  
of the ,tyrolian mountains4 ,a branch of
 the ,isar1 which just above the house  
overflowed and spread itself into a wide
 still pool1 mirrored in its clear bosom
 not only the glowing sky and the huge  
dark mountains1 and the banks and trees 
blended into black formless masses1 but 
the very stars above our heads2--it was 
a heavenly scene6--,you will not forget 
this1 said ,de ,freyberg1 seeing ,i was 
touched to the heart2 you will think of 
it when you are in ,england1 and in     
recalling it1 you will perhaps remember 

us--who will not forget you6 ,adieu1    
madame6  ,afterwards to the opera3 it   
was ,herold's ,zampa3 noisy1 riotous    
music1 which ,i hate4 ,i thought ,madame
 ,schechner's powers misplaced in this  
opera--yet she sang magnificently4      
,spent the morning with ,dr4 ,martius1  
looking over the beautiful plates and   
illustrations of his travels and        
scientific works4 ,it appears from what 
he told me1 that the institution of the 
botanic garden is recent1 and is owing  
to the late king ,max-,joseph1 who was a
 generous patron of scientific and      
benevolent institutions--as munificent  
as his son is magnificent4  ,one of the 
most interesting monuments in ,munich1  
is the tomb of ,eugene ,beauharnais1 in 
the church of ,st4 ,michael4 ,it is by  
,thorwaldson1 and one of his most       
celebrated works4 ,it is finely placed1 
and all the parts are admirable3 but ,i 
think it wants completeness and         
entireness of effect1 and does not tell 
its story well4 ,upon a lofty pedestal1 

there is first1 in the centre1 the      
colossal figure of the duke stepping    
forward2 one hand is pressed upon his   
heart1 and the other presents the civic 
crown--7but to whom87--his military     
accoutrements lie at his feet4 ,the     
drapery is admirably managed1 and the   
attitude simple and full of dignity4 ,on
 his left is the beautiful and          
well-known group of the two genii1 ,love
 and ,life1 looking disconsolate4 ,on   
the right1 the seated muse of ,history  
is inscribing the virtues and exploits  
of the hero2 and as1 of all the         
satellites of ,napoleon1 ,eugene has    
left behind the fairest name1 ,i looked 
at her1 and her occupation1 with        
complacency4 ,the statue is1 moreover1  
exceedingly beautiful and expressive--so
 are the genii2 and the figure of       
,eugene is magnificent2 and yet the     
combination of the whole is not         
effective4 ,another fault is1 the colour
 of the marble1 which has a grey tinge1 
and ought at least to have been relieved

 by constructing the pedestal and       
accompaniments of black marble2 whereas 
they are of a reddish hue4  ,the widow  
of ,eugene1 the eldest sister of the    
king of ,bavaria1 raised this monument  
to her husband1 at an expense of eighty 
thousand florins4 ,as the whole design  
is classical1 and otherwise in the      
purest taste and grandest style of art1 
,i exclaimed with horror at the sight of
 a vile heraldic crown1 which is lying  
at the feet of the muse of ,history4 ,i 
was sure that ,thorwaldson would never  
voluntarily have committed such a       
solecism4 ,i was informed that the      
princess-widow insisted on the          
introduction of this piece of barbarity 
as emblematical of the vice-royalty of  
,italy2 any royalty being apparently    
better than none4  ,i remember that when
 travelling in the ,netherlands1 at a   
time when the people were celebrating   
the ,fete-,dieu1 ,i saw a village       
carpenter busily employed in erecting a 
reposoir for the ,madonna1 of painted   

boards and draperies and wreaths of     
flowers4 ,in the mean time1 as if to    
deprecate criticism1 he had chalked in  
large letters over his work1 ,la        
critique est aisee1 mais l'art est      
difficile4 ,i could not help smiling at 
this application of one of those        
undeniable truisms which no one thinks  
it necessary to remember4 ,when ,i      
recall the pleasure ,i derived from this
 noble work of ,thorwaldson1 all the    
genius1 all the skill1 all the patience1
 all the time1 expended on its          
production1 ,i think the foregoing      
trifling criticisms appear very         
ungrateful and impertinent2 and yet1 as 
a friend of mine insisted1 when ,i was  
once upon a time pleading for mercy on  
certain defects and deficiencies in some
 other walk of art1 ,toleration is the  
nurse of mediocrity4 ,artists           
themselves1 as ,i often observe1--even  
the vainest of them--prefer             
discriminating admiration to wholesale  
praise4 ,in the ,frauen ,kirche1 there  

is another most admirable monument1 a   
chef d'oeuvre1 in the ,gothic style4 ,it
 is the tomb of the ,emperor ,louis of  
,bavaria1 who died excommunicated in    
#acdg2 a stupendous work1 cast in       
bronze4 ,at the four corners are four   
colossal knights kneeling1 in complete  
armour1 each bearing a lance and ensign1
 and guarding the recumbent effigy of   
the emperor1 which lies beneath a       
magnificent ,gothic canopy4 ,at the two 
sides are standing colossal figures1 and
 ,i suppose about eight or ten other    
figures on a smaller scale1 all of      
admirable design and workmanship4#ac ,it
 should seem1 that in the sixteenth     
century the art of casting in bronze was
 not only brought to the highest        
perfection in ,germany1 but found       
employment on a very grand scale4  ,in  
the evening there was a concert at the  
,salle de l',odeon--the third ,i have   
attended since ,i came here4 ,this      
concert room is larger than any public  
room in ,london1 and admirably          

constructed for music4 ,over the        
orchestra1 in a semi-circle1 are the    
busts of the twelve great ,german       
composers who have flourished during the
 last hundred years1 beginning with     
,handel and ,bach1 and ending with      
,weber and ,beethoven4 ,on this occasion
 the hall was crowded4 ,we had all the  
best performers of ,munich1 led by the  
,kapelmeister ,stuntz1 and ,schechner   
and ,meric1 who sang a l'envie l'une de 
l'autre4 ,the concert began at seven1   
and ended a little after nine2 and much 
as ,i love music1 ,i felt ,i had had    
enough4 ,they certainly manage these    
social pleasures much better here than  
in ,london1 where a grand concert almost
 invariably proves a most awful bore1   
from which we return wearied1 yawning1  
jarred1 satiated4  ,count ---- amused me
 this evening with his laconic summing  
up of the rise1 progress1 and           
catastrophe of a ,polish amour2--se     
passioner1 se battre1 se ruiner1        
enlever1 epouser1 et divorcer2 and so   

ends this six-act tragico-comico-heroico
 pastoral4  #bcrd4--,to-day went over   
the ,pinakothek 7the new grand national 
picture gallery7 with ,m4 de ,klenze1   
the architect1 and ,comtesse de ,v----4 
,this is the second time2 but ,i have   
not yet a clear and connected idea of   
the general design1 the building being  
still in progress4 ,as far as ,i can    
understand the arrangements1 they will  
be admirable4 ,the destination of the   
edifice seems to have been the first    
thing kept in view4 ,the situation of   
particular pictures has been calculated1
 and accurate experiments have been made
 for the arrangement of the light1 c4   
,professor ,zimmermann has kindly       
promised to take me over the whole once 
more4 ,he has the direction of the      
fresco paintings here4         99       
99       99       99       99  ,society 
is becoming so pleasant1 and engagements
 of every kind so multifarious1 that ,i 
have little time for scribbling         
memoranda4 ,new characters unfold before

 me1 new scenes of interest occupy my   
thoughts4 ,i find myself surrounded with
 friends1 where only a few weeks ago ,i 
had scarcely one acquaintance4 ,time    
ought not to linger--and yet it does    
sometimes4  ,our circumstances alter2   
our opinions change2 our passions die2  
our hopes sicken1 and perish            
utterly3--our spirits are broken2 our   
health is broken1 and even our hearts   
are broken2 but ,,will survives--the    
unconquerable strength of will1 which is
 in later life what passion is when     
young4 ,in this world1 there is always  
something to be done or suffered1 even  
when there is no longer any thing to be 
desired or attained4  ,the ,glyptothek  
is1 at certain hours1 open to strangers 
only1 and strangers do not at present   
abound3 hence it has twice happened that
 ,i have found myself in the gallery    
alone--to-day for the second time4 ,i   
felt that1 under some circumstances1 an 
hour of solitude in a gallery of        
sculpture may be an epoch in one's life4

 ,there was not a sound1 no living thing
 near1 to break the stillness2 and      
lightly1 and with a feeling of awe1 ,i  
trod the marble pavements1 looking upon 
the calm1 pale1 motionless forms around 
me1 almost expecting they would open    
their marble lips and speak to me--or1  
at least1 nod--like the statue in ,don  
,giovanni3 and still1 as the evening    
shadows fell deeper and deeper1 they    
waxed1 methought1 sadder1 paler1 and    
more life-like4 ,a dim1 unearthly glory 
effused those graceful limbs and perfect
 forms1 of which the exact outline was  
lost1 vanishing into shade1 while the   
sentiment--the ideal--of their immortal 
loveliness1 remained distinct1 and      
became every moment more impressive3 and
 thus they stood2 and their melancholy  
beauty seemed to melt into the heart4   
,as the ,graces round the throne of     
,venus1 so music1 painting1 sculpture1  
wait as handmaids round the throne of   
,poetry4 ,they from her golden urn draw 
light1 as planets drink the sunbeams2   

and in return they array the divinity   
which created and inspired them1 in     
those sounds1 and hues1 and forms1      
through which she is revealed to our    
mortal senses4 ,the pleasure1 the       
illusion1 produced by music1 when it is 
the voice of poetry1 is1 for the moment1
 by far the most complete and           
intoxicating1 but also the most         
transient4 ,painting1 with its lovely   
colours blending into life1 and all its 
silent poesy of form1 is a source of    
pleasure more lasting1 more             
intellectual4 ,beyond both1 is          
sculpture1 the noblest1 the least       
illusive1 the most enduring of the      
imitative arts1 because it charms us not
 by what it seems to be1 but by what it 
is2 because if the pleasure it imparts  
be less exciting1 the impression it     
leaves is more profound and permanent2  
because it is1 or ought to be1 the      
abstract idea of power1 beauty1         
sentiment1 made visible in the cold1    
pure1 impassive1 and almost eternal     

marble4  ,it seems to me that the grand 
secret of that grace of repose which we 
see developed in the antique statues1   
may be defined as the presence of       
thought1 and the absence of volition4   
,the moment we have1 in sculpture1 the  
expression of will1 or effort1 we have  
the idea of something fixed in its place
 by an external cause1 and a consequent 
diminution of the effect of internal    
power4 ,this is not well expressed1 ,i  
fear4 ,perhaps ,i might illustrate the  
thought thus3 the ,venus de ,medici     
looks as if she were content to stand on
 her pedestal and be worshipped2        
,canova's ,hebe looks as if she would   
fain step off the pedestal--if she      
could3 the ,apollo ,belvedere1 as if he 
could step from his pedestal--if he     
would4  ,among the ,greeks1 in the best 
ages of sculpture1 and in all their very
 finest statues1 this seems to be the   
presiding principle--viz4 that in       
sculpture the repose of suspended       
motion1 or of subsided motion1 is       

graceful2 but arrested motion1 and all  
effort1 to be avoided4 ,when the        
ancients did express motion1 they made  
it flowing or continuous1 as in the     
frieze of the ,parthenon4     ,,alone4  
,,in ,,the ,,gallery ,,of ,,sculpture   
,,at ,,munich4     ,ye pale and glorious
 forms1 to whom was given   ,all that we
 mortals covet under heaven--   ,beauty1
 renown1 and immortality1   ,and        
worship6--in your passive grandeur1 ye4 
,there's nothing new in life1 and       
nothing old2   ,the tale that we might  
tell hath oft been told4   ,many have   
look'd to the bright sun with sadness1  
,many have look'd to the dark grave with
 gladness2   ,many have griev'd to      
death--have lov'd to madness6    ,what  
has been1 is2--what is1 will be2--,i    
know1   ,even while the heart drops     
blood1 it must be so4   ,i live and     
smile--for ,o the griefs that kill1     
,kill slowly--and ,i bear within me     
still   ,my conscious self1 and my      
unconquer'd will6    ,and knowing what  

,i have been--what has made   ,my       
misery1 ,i will be no more betray'd     
,by hollow mockeries of the world       
around1   ,or hopes and impulses1 which 
,i have found   ,like ill-aim'd shafts1 
that kill by their rebound4             
,complaint is for the feeble1 and       
despair   ,for evil hearts4 ,mine still 
can hope--still bear--   ,still hope for
 others what it never knew   ,of truth  
and peace2 and silently pursue   ,a path
 beset with briers1 and wet with tears  
like dew6          99       99       99 
99       99  ,to-day ,i devoted to the  
,pinakothek--for the last time6  ,just  
before ,i left ,england our projected   
national gallery had excited much       
attention4 ,those who were usually      
indifferent to such matters were roused 
to interest2 and ,i heard the merits of 
different designs1 so warmly1 even so   
violently discussed in public and in    
private1 that for a long time the       
subject kept possession of my mind4 ,on 
my arrival here1 the ,pinakothek 7for   

that is the designation given to the new
 national gallery of ,munich7 became to 
me a principal object of interest4 ,i   
have been most anxious to comprehend    
both the general design and the nature  
of the arrangements in detail2 but ,i   
might almost doubt my own competency to 
convey an exact idea of what ,i         
understand and admire1 to the           
comprehension of another4 ,i must try1  
however1 while the impressions remain   
fresh and strong1 and the memory not yet
 encumbered and distracted1 as it must  
be1 even a few hours hence1 by the      
variety1 and novelty1 and interest1 of  
all ,i see and hear around me4  ,the    
,pinakothek was founded in #ahbf2 the   
king himself laying the first stone with
 much pomp and ceremony on the #gth of  
,april1 the birthday of ,rafaelle4  ,it 
is a long1 narrow edifice1 facing the   
south1 measuring about five hundred feet
 from east to west1 and about eighty or 
eighty-five feet in depth4 ,at the      
extremities are two wings1 or rather    

projections4 ,the body of the building  
is of brick1 but not of common          
brickwork3 for the bricks1 which are of 
a particular kind of clay1 have a       
singular tint1 a kind of greenish       
yellow2 while the friezes1 balustrades1 
architraves of the windows1 in short1   
all the ornamental parts1 are of stone1 
the colour of which is a fine warm grey2
 and as the stone workmanship is        
extremely rich1 and the brickwork of    
unrivalled elegance and neatness1 and   
the colours harmonize well1 the         
combination produces a very handsome    
effect1 rendering the exterior as       
pleasing to the eye1 as the scientific  
adaptation of the building to its       
peculiar purpose is to the              
understanding4  ,along the roof runs a  
balustrade of stone1 adorned with       
twenty-four colossal statues of         
celebrated painters4 ,a public garden1  
which is already in preparation1 will be
 planted around1 beautifully laid out   
with shady walks1 flower-beds1          

fountains1 urns1 and statues4 ,i believe
 the enclosure of this garden will be   
about a thousand feet each way1 and that
 it will ultimately be bounded 7at least
 on three sides7 with rows of houses    
forming a vast square1 of which the     
,pinakothek will occupy the centre4 ,it 
consists of a ground-floor and an       
upper-story4 ,the ground-floor will     
comprise1 #ast1 the collection of the   
,etruscan vases2 #bndly1 the ,mosaics1  
ancient and modern1 of which there are  
here some rare and admirable specimens2 
#crdly1 the cabinet of drawings by the  
old masters2 #dthly1 the cabinet of     
engravings1 which is said to be one of  
the richest in ,europe2 #ethly1 a       
library of all works pertaining to the  
fine arts2 lastly1 a noble              
entrance-hall3 a private entrance2 with 
accommodations for students1 and other  
offices4  ,the upper-story is           
appropriated to the pictures1 and is    
calculated to contain not less than     
fifteen hundred specimens1 selected from

 various galleries1 and arranged        
according to the schools of art4  ,we   
ascend from the entrance-hall by a wide 
and handsome staircase of stone1 very   
elegantly carved1 which leads first to a
 kind of vestibule1 where the attendants
 and keepers of the gallery are in      
waiting4 ,thence1 to a splendid         
reception-room1 about fifty feet in     
length3 this will contain the           
full-length portraits of the founders of
 the gallery of ,munich--the ,palatine  
,john ,william2 the ,elector1           
,maximilian ,emanuel of ,bavaria2 the   
,duke ,charles of ,deuxponts2 the       
,palatine ,charles ,theodore2           
,maximilian ,joseph ,i41 king of        
,bavaria2 and his son1 7the present     
monarch17 ,louis ,i4 ,the ceiling and   
the frieze of this room are splendidly  
decorated with groups of figures and    
ornaments in white relief1 on a gold    
ground1 and the walls will be hung with 
crimson damask4  ,along the south front 
of the building from east to west runs a

 gallery or corridor about four hundred 
feet in length1 and eighteen in width1  
lighted on one side by twenty-five lofty
 arched windows1 having on the other    
side ten doors1 opening into the suite  
of picture galleries1 or rather halls4  
,these occupy the centre of the         
building1 and are lighted from above by 
vast lanthorns4 ,they are eight in      
number1 varying in length from fifty to 
eighty feet1 but all forty feet in width
 and fifty feet in height from the floor
 to the summit of the lanthorn4 ,the    
walls will be hung with silk damask1    
either of a dark crimson or a dark      
green--according to the style of art for
 which the room is destined4 ,the       
ceilings are vaulted1 and the           
decorations are inexpressibly rich1     
composed of magnificent arabesques1     
intermixed with the effigies of         
celebrated painters1 and groups         
illustrative of the history of art1 c41 
all moulded in white relief upon a      
ground of dead gold4 ,mayer1 one of the 

best sculptors in ,munich1 has the      
direction of these works4  ,behind these
 vast galleries1 or saloons1 there is a 
range of cabinets1 twenty-three in      
number1 appropriated to the smaller     
pictures of the different schools3 these
 are each about nineteen feet by fifteen
 in size1 and lighted from the north1   
each having one high lateral window4    
,the ceilings and upper part of the     
walls are painted in fresco1 7or        
distemper1 ,i am not sure which17 with  
very graceful arabesques of a quiet     
colour2--the hangings will also be of   
silk damask4  ,of the principal saloons1
 the first is appropriated to the       
productions of modern and living        
artists1 and has three cabinets attached
 to it4 ,the second will contain the old
 ,german pictures1 including the famous 
,boisseree gallery1 and has four        
cabinets attached to it4 ,the third1    
fourth1 and fifth saloons 7of which the 
central one1 the hall of ,rubens1 is    
eighty feet in length7 are devoted1 with

 the nine adjoining cabinets1 to the    
,flemish and ,dutch schools4 ,the sixth1
 with four cabinets1 will contain the   
,french and ,spanish pictures2 and the  
seventh and eighth1 with three cabinets1
 will contain the ,italian school of    
painting4 ,all these apartments         
communicate with each other by ample    
doors2 but from the corridor already    
mentioned1 which opens into the whole   
suite1 the visitor has access to any    
particular gallery1 or school of        
painting1 without passing through the   
others3 an obvious advantage1 which will
 be duly estimated by those who1 in     
visiting a gallery of painting1 have    
felt their eyes dazzled1 their heads    
bewildered1 their attention distracted1 
by too much variety of temptation and   
attraction1 before they have reached the
 particular object or school of art to  
which their attention was especially    
directed4  ,to this beautiful and most  
convenient corridor1 or1 as it is called
 here1 loggia1 we must now return4 ,i   

have said that it is four hundred feet  
in length1 and lighted by               
five-and-twenty arched windows1--which1 
by the way1 command a splendid prospect1
 bounded by the far-off mountains of the
 ,tyrol4 ,the wall opposite to these    
windows is divided into twenty-five     
corresponding compartments1 arched1 and 
each surmounted by a dome2 these        
compartments are painted in fresco with 
arabesques1 something in the style of   
,rafaelle's ,loggie in the ,vatican2    
while every arch and cupola contains    
7also painted in fresco7 scenes from the
 life of some great painter1 arranged   
chronologically3 thus1 in fact1         
exhibiting a graphic history of the rise
 and progress of modern painting--from  
,cimabue down to ,rubens4  ,of this     
series of frescos1 which are now in     
progress1 a few only are finished1 from 
which1 however1 a very satisfactory idea
 may be formed1 of the whole design4    
,the first cupola is painted from a poem
 of ,a4 ,w4 ,schlegel ,der ,bund der    

,kirche mit den ,kuensten1 which        
celebrates the alliance between religion
 7or rather the church7 and the fine    
arts4 ,the second cupola represents the 
,crusades1 because from these wild      
expeditions 7for so ,providence ordained
 that good should spring from evil7     
arose the regeneration of art in        
,europe4 ,with the third cupola         
commences the series of painters4 ,in   
the arch1 or lunette1 is represented the
 ,madonna of ,cimabue carried in        
triumphal procession through the streets
 of ,florence to the church of ,santa   
,maria ,novella2 and in the dome above1 
various scenes from the painter's life4 
,in the next cupola is the history of   
,giotto2 then follows ,angelico da      
,fesole1 who1 partly from humility and  
partly from love for his art1 refused to
 be made ,archbishop of ,florence2 then1
 fourthly1 ,masaccio2 fifthly1 ,bellini3
 in one compartment he is represented   
painting the favourite sultana of       
,mahomet ,,ii4 ,several of the          

succeeding cupolas still remain blank1  
so we pass them over and arrive at      
,leonardo da ,vinci1 painting the queen 
,joanna of ,arragon2 then ,michael      
,angelo1 meditating the design of ,st4  
,peter's2 then the history of ,rafaelle3
 in the dome are various scenes from his
 life4 ,the lunette represents his      
death3 he is extended on a couch1 beside
 which sits his virago love1 the        
,fornarina in disperato dolor2 ,pope    
,leo ,x4 and ,cardinal ,bembo are       
looking on overwhelmed with grief2--in  
the background is the ,transfiguration4 
,i wonder1 if ,rafaelle had survived    
this fatal illness1 which of the two    
alternatives he would have chosen--the  
cardinal's hat or the niece of ,cardinal
 ,bibbiena8 ,m4 de ,klenze gave us1 the 
other night1 a most picturesque and     
animated description of the opening of  
,rafaelle's tomb1--at which he had      
himself assisted--the discovery of his  
remains1 and those of his betrothed     
bride1 the niece of ,cardinal ,bibbiena1

 deposited near him4 ,she survived him  
several years1 but in her last moments  
requested to be buried in the same tomb 
with him4 ,this was at least quite in   
the genre romantique4  ,charming6       
exclaimed one of the ladies present4    
,et genereux6 exclaimed another4  ,the  
series of the ,italian painters will end
 with the ,carracci4 ,those of the      
,german painters will begin with ,van   
,eyck1 and end with ,rubens4 ,of many of
 the frescos which are not yet executed1
 ,i saw the cartoons in professor       
,zimmermann's studio4  ,though the      
general decoration of this gallery was  
planned by ,cornelius1 the designs for  
particular parts1 and the direction of  
the whole1 have been confided to        
,zimmermann1 who is assisted in the     
execution by five other painters4 ,one  
particular picture1 which represents    
,giotto exhibiting his ,madonna to the  
pope1 was pointed out to my especial    
admiration as the most finished specimen
 of fresco painting which has yet been  

executed here2 and in truth1 for        
tenderness and freshness of colour1     
softness in the shadows1 and delicacy in
 the handling1 it might bear comparison 
with any painting in oils4 ,we were     
standing near it on a high scaffold1 and
 it endured the closest and most minute 
consideration2 but when seen from below1
 it may possibly be less effective4 ,it 
shows1 however1 the extreme finish of   
which the fresco painting is            
susceptible4 ,this was executed by      
,hiltensperger1 of ,swabia1 from the    
cartoon of ,zimmermann4 ,at one end of  
this gallery there is to be a large     
fresco1 representing his majesty ,king  
,louis1 introduced by the muse of       
,poetry to the assembled poets and      
painters of ,germany4 ,now1 this species
 of allegorical adulation appears to me 
flat and out of date4 ,i well remember  
that long ago the famous picture of     
,voltaire1 introduced into the ,elysian 
fields by ,henri ,quatre1 and making his
 best bow to ,racine and ,moliere1 threw

 me into a convulsion of laughter3 and  
the cartoon of this royal apotheosis    
provoked the same irrepressible feeling 
of the ridiculous4 ,i wish somebody     
would hint to ,king ,louis that this is 
not in good taste1 and that there are   
many1 many ways in which the compliment 
7which he truly merits7 might be better 
managed4  ,on the whole1 however1 it may
 truly be said that the luxuriant and   
appropriate decorations of this gallery1
 the variety of colour and ornament     
lavished on it1 agreeably prepare the   
eye and the imagination for that        
glorious feast of beauty within1 to     
which we are immediately introduced3 and
 thus the overture to the ,zauberfloete1
 7which we heard last night17 with its  
rich involved harmonies1 its brilliant  
and exciting movements1 attuned the ear 
and the fancy to enjoy the grand1       
thrilling1 bewitching1 love-breathing   
melodies of the opera which followed4   
,i omitted to mention that there are    
also on the upper floor of the          

,pinakothek two rooms1 each about forty 
feet square2 one called the             
,reserve-,saal1 is intended for the     
reception of those pictures which are   
temporarily removed from their places1  
new acquisitions1 c4 ,the other room is 
fitted up with every convenience for    
students and copyists4  ,the whole of   
this immense edifice is warmed          
throughout by heated air2 the stoves    
being detached from the body of the     
building1 and so managed as to preclude 
the possibility of danger from fire4    
,it does not appear to be yet decided   
whether the floors will be of the       
,venetian stucco1 or of parquet4  ,such1
 then1 is the general plan of the       
,pinakothek1 the national gallery of    
,bavaria4 ,i make no comment1 except    
that ,i felt and recognised in every    
part the presence of a directing mind1  
and the absence of all narrow views1 all
 truckling to the interests1 or tastes1 
or prejudices1 or convenience1 of any   
particular class of persons4 ,it is very

 possible that when finished it will be 
found by scientific critics not         
absolutely perfect1 which1 as we know1  
all human works are at least intended   
and expected to be2 but it is equally   
clear that an honest anxiety for the    
glory of art1 and the benefit of the    
public--not the caprices of the king1   
nor the individual vanity of the        
architect--has been the moving principle
 throughout4         99       99        
99       99       99  ,fresco painting1 
or1 as the ,italians call it1 buon      
fresco1 had been entirely discontinued  
since the time of ,raphael ,mengs4 ,it  
was revived at ,rome in #ahji-aj1 when  
the late ,m4 ,bartholdy1 the ,prussian  
consul-general1 caused a saloon in his  
house to be painted in fresco by ,peter 
,cornelius1 ,overbeck1 and ,philip      
,veith1 all ,german artists1 then       
resident at ,rome4 ,the subjects are    
taken from the ,scriptures1 and one of  
the admirable cartoons of ,overbeck1    
7,joseph sold by his brethren17 ,i saw  

at ,frankfort4 ,these first essays are  
yet to be seen in ,bartholdy's house1 in
 the ,via ,sistina at ,rome4 ,they are  
rather hard1 but in a grand style of    
composition4 ,the success which attended
 this spirited undertaking1 excited much
 attention and enthusiasm1 and induced  
the ,marchese ,massimi to have his villa
 near the ,lateran adorned in the same  
style4 ,accordingly1 he had three grand 
halls or saloons1 painted with subjects 
from ,dante1 ,ariosto1 and ,tasso4 ,the 
first was given to ,philip ,veith1 the  
second to ,julius ,schnorr1 and the     
third to ,overbeck4 ,veith did not      
finish his work1 which was afterwards   
terminated by ,koch2 the two other      
painters completed their task1 much to  
the satisfaction of the ,marchese1 and  
to the admiration of all ,rome4  ,but   
these were mere experiments--mere       
attempts1 compared to what has since    
been executed in the same style at      
,munich4 ,it is true that the art of    
fresco-painting had never been entirely 

lost4 ,the theory of the process was    
well known1 and also the colours        
formerly used2 only practice1 and the   
opportunity of practice1 were wanting4  
,this has been afforded2 and there is   
now at ,munich a school of fresco       
painting1 under the direction of        
,cornelius1 ,julius ,schnorr1 and       
,zimmermann1 in which the mechanical    
process has been brought to such        
perfection1 that the neatness of the    
execution may vie with oils1 and they   
can even cut out a feature1 and replace 
it if necessary4 ,the palette has also  
been augmented by the recent            
improvements in chemistry1 which have   
enabled the fresco painter to apply some
 most precious colours1 unknown to the  
ancient masters3 only earths and        
metallic colours are used4 ,i believe it
 is universally known that the colours  
are applied while the plaster is wet1   
and that the preparation of this plaster
 is a matter of much care and nicety4 ,a
 good deal of experience and manual     

dexterity is necessary to enable the    
painter to execute with rapidity1 and   
calculate the exact degree of humidity  
in the plaster1 requisite for the effect
 he wishes to produce4  ,it has been    
said that fresco painting is unfitted   
for our climate1 damp and sea-coal fires
 being equally injurious2 but the new   
method of warming all large buildings1  
either by steam or heated air1 obviates1
 at least1 this objection4  #bfth4--,the
 morning was spent in the ateliers of   
two ,bavarian sculptors1 ,mayer and     
,bandel4 ,to ,mayer1 the king has       
confided the decoration of the exterior 
of the ,pinakothek1 of which he showed  
me the drawings and designs4 ,he has    
also executed the colossal statue of    
,albert ,durer1 in stone1 for the       
interior of that building4  ,it appears 
that the pediment of the ,glyptothek1   
now vacant1 will be adorned by a group  
of fourteen or fifteen figures1         
representing all the different processes
 in the art of sculpture2 the modeller  

in clay1 the hewer of the marble1 the   
caster in bronze1 the carver in wood or 
ivory1 c4 all in appropriate attitudes1 
all colossal1 and grouped into a whole4 
,the general design was modelled1 ,i    
believe1 by ,eberhardt1 professor of    
sculpture in the academy here2 and the  
execution of the different figures has  
been given to several young sculptors1  
among them ,mayer and ,bandel4 ,this has
 produced a strong feeling of emulation4
 ,i observed that notwithstanding the   
height and the situation to which they  
are destined1 nearly one-half of each   
figure being necessarily turned from the
 spectator below1 each statue is wrought
 with exceeding care1 and perfectly     
finished on every side4 ,i admired the  
purity of the marble1 which is from the 
,tyrol4 ,mayer informs me1 that about   
three years ago enormous quarries of    
white marble were discovered in the     
,tyrol1 to the great satisfaction of the
 king1 as it diminishes1 by one-half1   
the expense of the material4 ,this      

native marble is of a dazzling          
whiteness1 and to be had in immense     
masses without flaw or speck2 but the   
grain is rather coarse4  ,more than     
twenty years ago1 when the king of      
,bavaria was ,prince ,royal1 and could  
only anticipate at some distant period  
the execution of his design1 he         
projected a building1 of which1 at      
least1 the name and purpose must be     
known to all who have ever stepped on   
,german ground4 ,this is the ,,valhalla1
 a temple raised to the national glory1 
and intended to contain the busts or    
statues of all the illustrious          
characters of ,germany1 whether         
distinguished in literature1 arts1 or   
arms1 from their ancient hero and       
patriot ,herman1 or ,arminius1 down to  
,goethe1 and those who will succeed him4
 ,the idea was assuredly noble1 and     
worthy of a sovereign4 ,the             
execution--never lost sight of--has been
 but lately commenced4 ,the ,valhalla   
has been founded on a lofty cliff1 which

 rises above the ,danube1 not far from  
,ratisbon4#ad ,it will form a           
conspicuous object to all who pass up   
and down the ,danube1 and the situation1
 nearly in the centre of ,germany1 is at
 least well chosen4 ,but ,i could hardly
 express 7or repress7 my surprise1 when 
,i was shown the design for this        
building4 ,the first glance recalled the
 ,theseum at ,athens2 and then follows  
the very natural question1 why should a 
,greek model have been chosen for an    
edifice1 the object1 and purpose1 and   
name of which are so completely1        
essentially1 exclusively gothic8 ,what1 
in ,heaven's name1 has the ,theseum to  
do on the banks of the ,danube8 ,it is  
true that the purity of forms in the    
,greek architecture1 the effect of the  
continuous lines and the massy ,doric   
columns1 must be grand and beautiful to 
the eye1 place the object where you     
will2 and in the situation designed for 
it1 particularly imposing2 but surely it
 is not appropriate2--the name1 and the 

form1 and the purpose1 are all at       
variance--throwing our most cherished   
associations into strange confusion4    
,nor could the explanations and eloquent
 reasoning with which my objections were
 met1 succeed in convincing me of the   
propriety of the design1 while ,i       
acknowledged its magnificence4 ,the     
sculptor ,mayer showed me a group of    
figures for one of the pediments of this
 ,greek ,valhalla1 admirably appropriate
 to the purpose of the building--but not
 to the building itself4 ,it represents 
,herman introduced by ,hermoda 7or      
,mercury7 into the ,valhalla1 and       
received by ,odin and ,freya4 ,iduna    
advances to meet the hero1 presenting   
the apples of immortality1 and one of   
the ,vahlkuere pours out the mead1 to   
refresh the soul of the ,einheriar4#ae  
,to the right of this group are several 
figures representing the chief epochs in
 the history of ,germany4  ,this design 
wants unity2 and it is a manifest       
incongruity to allude to the            

introduction of ,christianity1 where the
 mythological ,valhalla forms the chief 
point of interest2 notwithstanding1 it  
gave me exceeding pleasure1 as          
furnishing an unanswerable proof of the 
possible application of sculpture on a  
grand scale1 to the forms of romantic or
 gothic poetry3 all the figures1 the    
accompaniments1 attributes1 are strictly
 ,teutonic2 the effect of the whole is  
grand and interesting2 but what would it
 be on a ,greek temple8 would it not    
appear misplaced and discordant8  ,i am 
informed1 that of the two pediments of  
the ,valhalla1 one will be given to     
,rauch of ,berlin1 and the other to     
,schwanthaler4  ,the sculptor ,bandel1  
with his quick eye1 his ample brow1 his 
animated1 benevolent face1 and his rapid
 movements1 looks like what he is--a    
genius4  ,in his atelier ,i saw some    
things1 just like what ,i see in all the
 ateliers of young sculptors--cold      
imitations1 feeble versions of          
mythological subjects--but ,i saw some  

other things so fresh and beautiful in  
feeling1 as to impress me with a high   
idea of his poetical and creative power4
 ,i longed to bring to ,england one or  
two casts of his charming ,cupid        
,penseroso1 of which the original marble
 is at ,hanover4 ,there is also a very  
exquisite bas-relief of ,adam and ,eve  
sleeping3 the good angel watching on one
 side1 and the evil angel on the other4 
,this lovely group is the commencement  
of a series of bas-reliefs1 designed1 ,i
 believe1 for a frieze1 and not yet     
completed1 representing the four ages of
 the world3 the age of innocence2 the   
heroic age1 or age of physical power2   
the age of poetry1 and the age of       
philosophy4 ,this new version of the old
 idea interested me1 and it is developed
 and treated with much grace and        
originality4 ,bandel told us that he is 
just going1 with his beautiful wife and 
two or three little children1 to settle 
at ,carrara for a few years4 ,the marble
 quarries there are now colonised by    

young sculptors of every nation4        
99       99       99       99       99  
,the king of ,bavaria has a gallery of  
beauties1 7the portraits of some of the 
most beautiful women of ,germany and    
,italy17 which he shuts up from the     
public eye1 like any grand ,turk--and   
neither bribery nor interest can procure
 admission4 ,a lovely woman1 to whom ,i 
was speaking of it yesterday1 and who   
has been admitted in effigy into this   
harem1 seemed to consider the compliment
 rather equivocal4 ,depend upon it1 my  
dear1 said she1 that fifty years hence  
we shall be all confounded together1 as 
the king's very intimate friends2 and1  
to tell you the truth1 ,i am not        
ambitious of the honour1 more           
particularly as there are some of my    
illustrious companions in charms who are
 enough to throw discredit on the whole 
set6  ,i saw in ,stieler's atelier two  
portraits for this collection3 one1 a   
woman of rank--a dark beauty2 the other1
 a servant girl here1 with a head like  

one of ,raffaelle's angels1 almost      
divine2 she is painted in the little    
filagree silver cap1 the embroidered    
boddice1 and silk handkerchief crossed  
over the bosom1 the costume of the women
 of ,munich1 to which the king is       
extremely partial4 ,i am assured that   
this young girl1 who is not more than   
seventeen1 is as remarkable for her     
piety1 simplicity1 and spotless         
reputation1 as for her singular beauty4 
,i have seen her1 and the picture merely
 does her justice4 ,several other women 
of the bourgeoisie have been pointed out
 to me as included in the king's        
collection4 ,one of these1 the daughter1
 ,i believe1 of an herb-woman1 is       
certainly one of the most exquisite     
creatures ,i ever beheld4 ,on the whole1
 ,i should say1 that the lower orders of
 the people of ,munich are the          
handsomest race ,i have seen in         
,germany4  ,stieler is the court and    
fashionable portrait painter here--the  
,sir ,thomas ,lawrence of ,munich--that 

is1 in the estimation of the ,germans4  
,he is an accomplished man1 with amiable
 manners1 and a talent for rising in the
 world2 or1 as ,i heard some one call   
it1 the organ of getting-oniveness4 ,for
 the elaborate finish of his portraits1 
for expertness and delicacy of hand1 for
 resemblance and exquisite drawing1 ,i  
suppose he has few equals2 but he has   
also1 in perfection1 what ,i consider   
the faulty peculiarities of the ,german 
school4 ,stieler's artificial roses are 
too natural3 his caps1 and embroidered  
scarfs1 and jewelled bracelets1 are more
 real than the things themselves--or    
seem so2 for certainly ,i never gave to 
the real objects the attention and the  
admiration they challenge in his        
pictures4 ,the famous bunch of grapes1  
which tempted the birds to peck1 could  
be nothing compared to the felt of      
,prince ,charles's hat in ,stieler's    
portrait3 it actually invites the       
hat-brush4 ,strange perversion of power 
in the artist6 stranger perversion of   

taste in those who admire it6--,ma      
pazienza6         99       99       99  
99       99  ,the ,duc de ,leuchtenberg 
opens his small but beautiful gallery   
twice a week3 ,mondays and ,thursdays4  
,the doors are thrown open and every    
respectable person may walk in1 without 
distinction or ceremony4 ,it is a       
delightful morning lounge2 there are not
 more than one hundred and fifty        
pictures--enough to excite and gratify1 
not satiate1 admiration4 ,the first room
 contains a collection of paintings by  
modern and living artists of ,france1   
,germany1 and ,italy4 ,there is a lovely
 little picture by ,madame de ,freyberg 
of the ,maries at the sepulchre of      
,christ2 and by ,heinrich ,hess1 a group
 of the three ,christian graces--,faith1
 ,hope1 and ,charity1 seated under the  
,german oak1 and painted with great     
simplicity and sentiment2 of his        
celebrated brother1 ,peter ,hess1 and   
,wagenbauer1 and ,jacob ,dorner1 and    
,quaglio1 there are beautiful specimens4

 ,the ,french pictures did not please   
me3 ,girodet's picture of ,ossian and   
the ,french heroes is a monstrous       
combination of all manner of            
affectations4  ,i should not forget a   
fine portrait of ,napoleon1 by ,appiani1
 crowned with laurel2 and another       
picture1 which represents him throned1  
with all the insignia of state and      
power1 and supported on either side by  
,victory and ,peace4 ,for a moment we   
pause before that proud form1 to think  
of all he was1 all he might have        
been--to draw a moral from the fate of  
selfishness4    ,he rose by blood1 he   
built on man's distress1   ,and         
th'inheritance of desolation left   ,to 
great expecting hopes4#af   ,among the  
pictures of the old masters there are   
many fine ones1 and three or four of    
peculiar interest4 ,there is the famous 
head by ,bronzino1 generally entitled1  
,petrarch's ,laura1 but assuredly       
without the slightest pretensions to    
authenticity4 ,the face is that of a    

prim1 starched precieuse1 to which the  
peculiar style of this old portrait     
painter1 with his literal nature1 his   
hardness1 and leaden colouring1 imparts 
additional coldness and rigidity4  ,but 
the finest picture in the               
gallery--perhaps one of the finest in   
the world--is the ,madonna and ,child of
 ,murillo3 one of those rare productions
 of mind which baffle the copyist1 and  
defy the engraver1--which it is worth   
making a pilgrimage but to gaze on4 ,how
 true it is that a thing of beauty is a 
joy for ever6  ,when ,i look at         
,murillo's roguish1 ragged beggar-boys  
in the royal gallery1 and then at the   
,leuchtenberg gallery turn to           
contemplate his ,madonna and his        
ascending angel1 both of such unearthly 
and inspired beauty1 a feeling of the   
wondrous grasp and versatility of the   
man's mind almost makes me giddy4  ,the 
lithographic press of ,munich is        
celebrated all over ,europe4 ,aloys     
,senefelder1 the inventor of the art1   

has the direction of the works1 with a  
well-merited pension1 and the title of  
,inspector of ,lithography4#ag          
99       99       99       99       99  
,the people of ,munich are not only a   
well-dressed and well-looking1 but a    
social1 kind-hearted race4 ,the number  
of unions1 or societies1 instituted for 
benevolent or festive purposes1 is1 for 
the size of the place1 almost           
incredible4#ah ,i had a catalogue of    
more than forty given to me this        
morning2 they are for all ranks and     
professions1 and there is scarcely a    
person in the city who is not enlisted  
into one or more of these communities4  
,some have reading-rooms1 and           
well-furnished libraries1 to which      
strangers are at once introduced1       
gratis2 they give balls and concerts    
during the winter1 which not only       
include their own members and their     
friends1 but one society will sometimes 
invite and entertain another4  ,the     
young artists of ,munich1 who constitute

 a numerous body1 formed themselves into
 an association1 and gave very elegant  
balls and concerts1 at first among      
themselves and their immediate friends  
and connexions2 but the circle          
increased--these balls became more and  
more splendid--even the king and the    
royal family frequently honoured them   
with their presence4 ,it became a point 
of honour to exceed in elegance and     
profusion all the entertainments given  
by the other societies of ,munich4      
,every body danced1 praised1 and enjoyed
 themselves4 ,at length it occurred to  
some of the most considerate and        
kind-hearted of the people1 that these  
young men were going beyond their means 
to entertain their friends and          
fellow-citizens4 ,it had evidently      
become a matter of great expense1 and   
perhaps ostentation1 and they resolved  
to put down this competition at once4   
,an association was formed of persons of
 all classes1 and they gave a fete to   
the painters of ,munich1 which eclipsed 

in magnificence every thing of the kind 
before or since4 ,it was a ball and     
supper1 on the most ample and splendid  
scale1 and took place at the ,odeon4    
,each lady's ticket contained the name  
of the cavalier1 to whose especial      
protection and gallantry she was        
consigned for the evening2 and so much  
tacte was shown in this arrangement1    
that ,i am told very few were           
discontented with their lot4 ,nearly    
three thousand persons were present1 and
 it was the month of ,february2 yet     
every lady on entering the room was     
presented by her cavalier with a bouquet
 of hot-house flowers2 and the ,salle de
 l',odeon was adorned with a profusion  
of plants and flowering shrubs1         
collected from all the conservatories1  
private and public1 within twenty miles 
of the capital4 ,the king1 the queen1   
their family and suite1 and many of the 
principal nobles were invited1 with1 of 
course1 a large portion of the gentry   
and trades-people of ,munich2 but1      

notwithstanding the miscellaneous nature
 of the assemblage1 and the immense     
number of persons present1 all was      
harmony1 and good-breeding1 and gaiety4 
,this fete produced the desired result2 
the young painters took the hint1 and   
though they still give balls1 which are 
exceedingly pleasant1 they are on a more
 modest scale than heretofore4  ,the    
,liederkranz 7literally1 the circle1 or 
garland of song7 is a society of        
musicians--amateurs and professors--who 
give concerts here1 at which the        
compositions of the members are         
occasionally performed4 ,one of these   
concerts 7,fest-,production7 took place 
this evening at the ,odeon2 and having  
duly received1 as a stranger1 my ticket 
of invitation1 ,i went early with a very
 pleasant party4  ,the immense room was 
crowded in every part1 and presented a  
most brilliant spectacle1 from the      
number of military costumes1 and the    
glittering head-dresses of the ,munich  
girls4 ,our hosts formed the orchestra4 

,the king and queen had been invited1   
and had signified their gracious        
intention of being present4 ,the first  
row of seats was assigned to them2 but  
no other distinction was made between   
the royal family and the rest of the    
company4  ,the king is generally        
punctual on these occasions1 but from   
some accident he was this evening       
delayed1 and we had to wait his arrival 
about ten minutes2 the company were all 
assembled--servants were already        
parading up and down the room with      
trays1 heaped with ices and             
refreshments--the orchestra stood up1   
with fiddle-sticks suspended2 the       
chorus1 with mouths half open--and the  
conductor1 ,stuntz1 brandished his roll 
of music4 ,at length a side door was    
thrown open3 a voice announced the king2
 the trumpets sounded a salute2 and all 
the people rose and remained standing   
until the royal guests were seated4 ,the
 king entered first1 the queen hanging  
on his arm4 ,the duke ,bernard of       

,saxe-,weimar1 and his duchess1#ai      
followed2 then the princess ,matilda1   
leading her younger brother and sister1 
prince ,luitpold and the princess       
,adelgonde2--the former a fine boy of   
about twelve years old1 the latter a    
pretty little girl of about seven or    
eight3 a single lady of honour2 the     
baron de ,freyberg1 as principal        
equerry2 the minister von ,schencke1 and
 one or two other officers of the       
household were in attendance4 ,the king 
bowed to the gentlemen in the orchestra1
 then to the company1 and in a few      
moments all were seated4  ,the music was
 entirely vocal1 consisting of concerted
 pieces only1 for three or more voices1 
and all were executed in perfection4 ,i 
observed several little boys and young  
girls1 of twelve or fourteen1 singing in
 the chorusses1 apparently much to their
 own satisfaction--certainly to ours4   
,their voices were delicious1 and       
perfectly well managed1 and their merry 
laughing faces were equally pleasant to 

look upon4  ,we had first a grand loyal 
anthem1 composed for the occasion by    
,lenz1 in which the king and queen1 and 
their children1 were separately         
apostrophized4 ,prince ,maximilian1 now 
upon his travels1 and young king ,otto1 
far off upon the throne of ,hellas1 were
 not forgotten2 and as the princess     
,matilda has lately been verlobt        
7betrothed7 to the hereditary prince of 
,hesse-,darmstadt1 they put the ,futur  
into a couplet1 with great effect4 ,it  
seems that this marriage has been for   
some time in negociation2 its course did
 not run quite smooth1 and the heart of 
the young princess is supposed to be    
more deeply interested in the affair    
than is usual in royal alliances4 ,she  
is also very generally beloved1 so that 
when the chorus sang1    ,hoch lebe     
,ludwig und ,mathilde6   ,ein ,herz     
stets ,brautigam und ,braut6   all eyes 
were turned towards her with a smiling  
expression of sympathy and kindness1    
which really touched me4 ,as ,i sat1 ,i 

could only see her side-face1 which was 
declined4 ,there was also an allusion to
 the late king ,max-,joseph1 das beste  
,herz1 who died about five years ago1   
and who appears to have been absolutely 
adored by his people4 ,all this passed  
off very well1 and was greatly          
applauded4 ,at the conclusion the king  
rose from his seat1 and said something  
courteous and good-natured to the       
orchestra1 and then sat down4 ,the other
 pieces were by old ,schack1 7the       
intimate friend of ,mozart17 ,stuntz1   
,chelard1 and ,marschner2 a drinking    
song by ,hayden1 and one of the         
chorusses in the ,cosi fan ,tutte were  
also introduced4 ,the whole concluded   
with the song of the heroes in the      
,valhalla1 composed by ,stuntz4         
,between the acts there was an interval 
of at least half an hour1 during which  
the queen and the princess ,matilda     
walked up and down in front of the      
orchestra1 entered into conversation    
with the ladies who were seated near1   

and those whom the rules of etiquette   
allowed to approach unsummoned and pay  
their respects4 ,the king1 meanwhile1   
walked round the room unattended1       
speaking to different people1 and       
addressing the young bourgeoises1 whose 
looks or whose toilette pleased him1    
with a bow and a smile2 while they      
simpered and blushed1 and drew          
themselves up when he had passed4  ,as  
,i see the king frequently1 his face is 
familiar to me1 but to-night he looked  
particularly well1 and had on a better  
coat than he usually condescends to     
wear1--quite plain1 however1 and without
 any order or decoration4 ,he is now in 
his forty-seventh year1 not handsome1   
with a small well-formed head1 an       
intelligent brow1 and a quick           
penetrating eye4 ,his figure is slight  
and well-made1 his movements quick1 and 
his manner lively--at times even abrupt 
and impatient4 ,his utterance is often  
so rapid as to be scarcely intelligible 
to those who are most accustomed to him4

 ,i often meet him walking arm-in-arm   
with ,m4 de ,schenke1 ,m4 de ,klenze1   
and others of his friends--for          
apparently this eccentric1 accomplished 
sovereign has friends1 though ,i believe
 he is not so popular as his father was 
before him4  ,the queen 7,theresa1      
princess of ,saxe-,hilburghausen7 has a 
sweet open countenance1 and a pleasing1 
elegant figure4 ,the princess ,matilda1 
who is now nineteen1 is the express     
image of her mother1 whom she resembles 
in her amiable disposition1 as well as  
her person2 her figure is very pretty1  
and her deportment graceful4 ,she looked
 pensive this evening1 which was        
attributed by the good people around me 
to the recent departure of the prince of
 ,hesse-,darmstadt1 who has been here   
for some time paying his court4  ,about 
ten1 the concert was over4 ,the king and
 queen remained a few minutes in        
conversation with those around them1    
without displaying any ungracious hurry 
to depart2 and the whole scene left a   

pleasant impression upon my fancy4 ,to  
an ,english traveller in ,germany       
nothing is more striking than the easy  
familiar terms on which the sovereign   
and his family mingle with the people on
 these and the like occasions2 it       
certainly would not answer in ,england3 
but as they say in this expressive      
language--,laendlich1 sittlich4#bj      
,munich1 ,oct4 #bhth1 #ahcc4     ,,ii4  
,,nuremberg4   ,nuremberg--with its     
long1 narrow1 winding1 involved streets1
 its precipitous ascents and descents1  
its completely gothic physiognomy--is by
 far the strangest old city ,i ever     
beheld2 it has retained in every part   
the aspect of the middle ages4 ,no two  
houses resemble each other2 yet1        
differing in form1 in colour1 in height1
 in ornament1 all have a family         
likeness2 and with their peaked and     
carved gabels1 and projecting central   
balconies1 and painted fronts1 stand up 
in a row1 like so many tall1 gaunt1     
stately old maids1 with the toques and  

stomachers of the last century4 ,in the 
upper part of the town1 we find here and
 there a new house1 built1 or rebuilt1  
in a more modern fashion2 and even a gay
 modern theatre1 and an unfinished      
modern church2 but these1 instead of    
being embellishments1 look ill-favoured 
and mean1 like patches of new cloth on a
 rich old brocade4 ,age is here1 but it 
does not suggest the idea of            
dilapidation or decay1 rather of        
something which has been put under a    
glass-case1 and preserved with care from
 all extraneous influences4 ,the        
buildings are so ancient1 the fashions  
of society so antiquated1 the people so 
penetrated with veneration for          
themselves and their city1 that in the  
few days ,i spent there1 ,i began to    
feel quite old too--my mind was wrinkled
 up1 as it were1 with a reverence for   
the past4 ,i wondered that people       
condescended to talk of any event more  
recent than the thirty years' war1 and  
the defence of ,gustavus ,adolphus2#ba  

and all names of modern date1 even of   
greatest mark1 were forgotten in the    
fame of ,albert ,durer1 ,hans ,sachs1   
and ,peter ,vischer3 the trio of        
worthies1 which1 in the estimation or   
imagination of the ,nurembergers1 still 
live with the freshness of a yesterday's
 remembrance1 and leave no room for the 
heroes of to-day4 ,my enthusiasm for    
,albert ,durer was all ready prepared1  
and warm as even the ,nurembergers could
 desire2 but ,i confess1 that of that   
renowned cobbler and meister-singer1    
,hans ,sachs1 ,i knew little but what ,i
 had learnt from the pretty comedy      
bearing his name1 which ,i had seen at  
,manheim2 and of the illustrious ,peter 
,vischer ,i could only remember that ,i 
had seen1 in the academy at ,munich1    
certain casts from his figures1 which   
had particularly struck me4 ,yet to     
visit ,nuremberg without some previous  
knowledge of these luminaries of the    
middle ages1 is to lose much of that    
pleasure of association1 without which  

the eye wearies of the singular1 and the
 mind becomes satiated with change4     
,nuremberg was the gothic ,athens3 it   
was never the seat of government1 but as
 a free imperial city it was independent
 and self-governed1 and took the lead in
 arts and in literature4 ,here it was   
that clocks and watches1 maps and       
musical instruments1 were manufactured  
for all ,germany2 here1 in that truly   
,german spirit of pedantry and          
simplicity1 were music1 painting1 and   
poetry1 at once honoured as sciences1   
and cultivated as handicrafts1 each     
having its guild1 or corporation1 duly  
chartered1 like the other trades of this
 flourishing city1 and requiring1 by the
 institution of the magistracy1 a       
regular apprenticeship4 ,it was here    
that1 on the first discovery of         
printing1 a literary barber and         
meister-singer 7,hans ,foltz7 set up a  
printing-press in his own house2 and it 
was but the natural consequence of all  
this industry1 mental activity1 and     

social cultivation1 that ,nuremberg     
should have been one of the first cities
 which declared for the ,reformation4   
,but what is most curious and striking  
in this old city1 is to see it          
stationary1 while time and change are   
working such miracles and               
transformations every where else4 ,the  
house where ,martin ,behaim1 four       
centuries ago1 invented the sphere1 and 
drew the first geographical chart1 is   
still the house of a map-seller4 ,in the
 house where cards were first           
manufactured1 cards are now sold4 ,in   
the very shops where clocks and watches 
were first seen1 you may still buy      
clocks and watches4 ,the same families  
have inhabited the same mansions from   
one generation to another for four or   
five centuries4 ,the great manufactories
 of those toys1 commonly called ,dutch  
toys1 are at ,nuremberg4 ,i visited the 
wholesale depot of ,pestelmayer1 and it 
is true that it would cut a poor figure 
compared to some of our great           

,birmingham show-rooms2 but the enormous
 scale on which this commerce is        
conducted1 the hundreds of waggon-loads 
and ship-loads of these trifles and     
gimcracks1 which find their way to every
 part of the known world1 even to       
,america and ,china1 must interest a    
thinking mind4 ,nothing gave me a more  
comprehensive idea of the value of the  
whole1 than a complaint which ,i heard  
from a ,nuremberger1 7and which1 though 
seriously made1 sounded not a little    
ludicrous17 of the falling off in the   
trade of pill-boxes6 he said that since 
the fashionable people of ,london and   
,paris had taken to paper pill-boxes1   
the millions of wooden or chip boxes    
which used to be annually sent from     
,nuremberg to all parts of ,europe were 
no longer required2 and he computed the 
consequent falling off of the profits at
 many thousand florins4  ,nuremberg was 
rendered so agreeable to me by the      
kindness and hospitality ,i met with1   
that instead of merely passing through  

it1 ,i spent some days wandering about  
its precincts2 and as it is not very    
frequently visited by the ,english1 ,i  
shall note a few of the objects which   
have dwelt on my memory1 premising1 that
 for the artist and the antiquary it    
affords inexhaustible materials4  ,the  
whole city1 which is very large1 lies   
crowded and compact within its walls2   
but the fortifications1 once the wonder 
of all ,germany1 and their three hundred
 and sixty-five towers1 once the glory  
and safeguard of the inhabitants1 exist 
no longer4 ,four huge circular towers   
stand at the principal gates1--four huge
 towers of almost dateless antiquity1   
and blackened with age1 but of such     
admirable construction1 that the masonry
 appears1 from its entireness and       
smoothness1 as if raised yesterday4 ,the
 old castle or fortress1 which stands on
 a height commanding the town and a     
glorious view1 is a strange1 dismantled1
 incongruous heap of buildings4 ,it     
happened1 that in the summer of #ahcc1  

the king of ,bavaria1 accompanied by the
 queen and the princess ,matilda1 had   
paid his good city of ,nuremberg a      
visit1 and had been most royally        
entertained by the inhabitants4 ,the    
apartments in the old castle1 long      
abandoned to the rats and spiders1 had  
been prepared for the royal guests1 and1
 when ,i saw it1 three or four months   
afterwards1 nothing could be more       
uncouth and fantastical than the effect 
of these irregular rooms1 with all      
manner of angles1 with their carved     
worm-eaten ceilings1 their curious      
latticed and painted windows1 and most  
preposterous stoves1 now all tricked out
 with fresh paint here and there1 and   
hung with gay glazed papers of the most 
modern fashion1 and the most gaudy      
patterns4 ,even the chapel1 with its    
four old pillars1 which1 according to   
the legend1 had been brought by ,old    
,nick himself from ,rome1 and the effigy
 of the monk who had cheated his        
infernal adversary1 by saying the       

,litanies faster than had ever been     
known before or since1 had1 in honour of
 the king's visit1 received a new coat  
of paint4 ,there are some very curious  
old pictures in the castle1 7which      
luckily were not repainted for the same 
grand occasion17 among them an original 
portrait of ,albert ,durer4 ,in the     
courtyard of the fortress stands an     
extraordinary relic--the old lime-tree  
planted by the ,empress ,cunegunde1 wife
 of the ,emperor ,henry ,,iii42 every   
thing is done to preserve it from decay1
 and it still bears its leafy honours1  
after beholding the revolution of seven 
centuries4  ,from the fortress we look  
down upon the house of ,albert ,durer1  
which is preserved with religious care2 
it has been hired by a society of       
artists1 who use it as a club-room3 his 
effigy in stone is over the door4 ,in   
every house there is a picture or print 
of him2 or copies1 or engravings from   
his works1 and his head hangs in every  
print shop4 ,the street in which he     

lived is called by his name2 and the    
inhabitants have moreover built a       
fountain to his honour1 and planted     
trees around it2--in short1 ,albert     
,durer is wherever we look--wherever we 
move4 ,what can ,fuseli mean by saying  
that ,albert ,durer was a man of extreme
 ingenuity without being a genius8 ,does
 the man of mere ingenuity step before  
his age as ,albert ,durer did1 not as an
 artist only1 but as a man of science8  
,is not genius the creative power8 and  
did not ,albert ,durer possess this     
power in an extraordinary degree8 ,could
 ,fuseli have seen his four apostles1   
now in the gallery of ,munich1 when he  
said that ,albert ,durer never had more 
than an occasional glimpse of the       
sublime8  ,fuseli1 as an artist1 is an  
example of what ,i have seen in other   
minds1 otherwise directed4 ,the stronger
 the faculties1 the more of original    
power in the mind1 the less diffused is 
the sympathy1 and the more is the       
judgment swayed by the individual       

character4 ,thus ,fuseli1 in his remarks
 on painters--excellent and eloquent as 
they are--scarcely ever does justice to 
those who excel in colour4 ,he perceives
 and admits the excellence1 but he shows
 in his criticisms1 as in his pictures1 
that the faculty was wanting to feel and
 appreciate it3 his remarks on          
,correggio and ,rubens are a proof of   
this4 ,in listening to the criticisms of
 an author on literature--of a painter  
on pictures--and1 generally1 to the     
opinion which one individual expresses  
of the character and actions of another1
 it is wise to take into consideration  
the modification of mind in the person  
who speaks1 and how far it may1 or must1
 influence1 even where it does not      
absolutely distort1 the judgment2 so    
many minds are what the ,germans call   
one-sided6 ,the education1 habits1      
mental existence of the individual1 are 
the refracting medium through which the 
rays of truth pass to the mind1 more or 
less bent or absorbed in their passage4 

,we should make philosophical allowance 
for different degrees of density4  ,hans
 ,sachs1#bb the old poet of ,nuremberg1 
did as much for the ,reformation by his 
songs and satires1 as ,luther and the   
doctors by their preaching2 besides     
being one of the worshipful company of  
meister-singers1 he found time to make  
shoes1 and even enrich himself by his   
trade3 he informs us himself that he had
 composed and written with his own hand 
four thousand two hundred mastership    
songs2 two hundred and eight comedies1  
tragedies1 and farces2 one thousand     
seven hundred fables1 tales1 and        
miscellaneous poems2 and seventy-three  
devotional1 military1 and love songs4   
,it is said he excelled in humour1 but  
it was such as might have been expected 
from the times--it was vigorous and     
coarse4 ,hans1 says the critic1 tells   
his tale like a convivial burgher1 fond 
of his can1 and still fonder of his     
drollery4#bc ,if this be the case1 his  
house has received a very appropriate   

designation3 it is now an ale-house1    
from which1 as ,i looked up1 the mixed  
odours of beer and tobacco1 and the     
sound of voices singing in chorus1      
streamed through the old latticed       
windows4 ,drollery and the can were as  
rife in the dwelling of the immortal    
shoemaker as they would have been in his
 own days1 and in his own jovial        
presence4  ,in the church of ,st4       
,sibbald1 now the chief ,protestant     
church1 ,i was surprised to find that   
most of the ,roman ,catholic symbols and
 relics remained undisturbed3 the large 
crucifix1 the old pictures of the saints
 and ,madonnas had been reverentially   
preserved4 ,the perpetual light which   
had been vowed four centuries ago by one
 of the ,tucher family1 was still       
burning over his tomb2 no puritanic zeal
 had quenched that tiny flame in its    
chased silver lamp2 and through         
successive generations1 and all         
revolutions of politics and religion1   
maintained and fed by the pious honesty 

of the descendants1 it still shone on1  
,like the bright lamp that lay in       
,kildare's holy fane1   ,and burned     
through long ages of darkness and storm6
   ,in this ,protestant church1 even the
 shrine of ,st4 ,sibbald has kept its   
place1 if not to the honour and glory of
 the saint1 at least to the honour and  
glory of the city of ,nuremberg2 it is  
considered as the chef-d'oeuvre of      
,peter ,vischer1 a famous sculptor and  
caster in bronze1 cotemporary with      
,albert ,durer4 ,it was begun in #aejf1 
and finished in #aeai1 and is adorned   
with ninety-six figures1 among which the
 twelve apostles1 all varying in        
character and attitude1 are really      
miracles of grace1 power1 and           
expression2 the base of the shrine rests
 upon six gigantic snails1 and the whole
 is cast in bronze1 and finished with   
exquisite skill and fancy4 ,at one end  
of this extraordinary composition the   
artificer has placed his own figure1 not
 obtrusively1 but retired1 in a sort of 

niche2 he is represented in his working 
dress1 with his cap1 leather apron1 and 
tools in his hand4 ,according to        
tradition1 he was paid for his work by  
the pound weight1 twenty gulden 7or     
florins7 for every hundred weight of    
metal2 and the whole weighs one hundred 
and twenty centners1 or hundred weight4 
,the man who showed us this shrine was  
descended from ,peter ,vischer1 lived in
 the same house which he and his sons   
had formerly inhabited1 and carried on  
the same trade1 that of a smith and     
brass-founder4  ,the ,moritz-,kapel1    
near the church1 is an old gothic chapel
 once dedicated to ,st4 ,maurice1 now   
converted into a public gallery of      
pictures of the old ,german school4 ,the
 collection is exceedingly curious2     
there are about one hundred and forty   
pictures1 and besides specimens of      
,mabuse1 ,albert ,durer1 ,van ,eyck1    
,martin ,schoen1 ,lucas ,kranach1 and   
the two ,holbeins1 ,i remember some     
portraits by a certain ,hans ,grimmer1  

which impressed me by their truth and   
fine painting4 ,it appears from this    
collection that for some time after     
,albert ,durer1 the ,german painters    
continued to paint on a gold ground4    
,kulmbach1 whose heads are quite        
marvellous for finish and expression1   
generally did so4 ,this gallery owes its
 existence to the present king1 and has 
been well arranged by the architect     
,heideldoff and professor von ,dillis of
 ,munich4  ,in the market-place of      
,nuremberg stands the ,schoenebrunnen1  
that is1 the beautiful fountain2 it     
bears the date #acee1 and in style      
resembles the crosses which ,edward ,i4 
erected to ,queen ,eleanor1 but is of   
more elaborate beauty2 it is covered    
with gothic figures1 carved by one of   
the most ancient of the ,german         
sculptors1 ,schonholfer1 who modestly   
styles himself a stone-cutter4 ,here we 
see1 placed amicably close1 ,julius     
,caesar1 ,godfrey of ,boulogne1 ,judas  
,maccabaeus1 ,alexander the ,great1     

,hector of ,troy1 ,charlemagne1 and king
 ,david3 all old acquaintances1         
certainly1 but whom we might have       
supposed that nothing but the day of    
judgment could ever have assembled      
together in company4  ,talking of the   
day of judgment reminds me of the       
extraordinary cemetery of ,nuremberg1   
certainly as unlike every other         
cemetery1 as ,nuremberg is unlike every 
other city4 ,imagine upon a rising      
ground1 an open space of about four     
acres1 completely covered with enormous 
slabs1 or rather blocks of solid stone1 
about a foot and a half in thickness1   
seven feet in length1 and four in       
breadth1 laid horizontally1 and just    
allowing space for a single person to   
move between them4 ,the name1 and the   
armorial bearings of the dead1 cast in  
bronze1 and sometimes rich sculpture1   
decorate these tombs3 ,i remember one1  
to the memory of a beautiful girl1 who  
was killed as she lay asleep in her     
father's garden by a lizard creeping    

into her mouth4 ,the story is           
represented in bronze bas-relief1 and   
the lizard is so constructed as to move 
when touched4 ,from this ,i shrunk with 
disgust1 and turned to the sepulchre of 
a famous worthy1 who measured the       
distance from ,nuremberg to the holy    
sepulchre with his garter3 the implement
 of his pious enterprise1 twisted into a
 sort of true-love knot1 is carved on   
his tomb4 ,two days afterwards ,i       
entered the dominions of a reigning     
monarch1 who is at this present moment  
performing a journey to ,jerusalem round
 the walls of his room4#bd ,how         
long-lived are the follies of mankind6  
,have1 then1 five centuries made so     
little difference8  ,the tombs of       
,albert ,durer1 ,hans ,sachs1 and       
,sandraart1 were pointed out to me1     
resembling the rest in size and form4 ,i
 was assured that these huge sepulchral 
stones exceed three thousand in number1 
and the whole aspect of this singular   
burial-place is1 in truth1 beyond       

measure striking--,i could almost add1  
appalling4  ,i was not a little         
surprised and interested to find that   
the principal ,gazette of ,nuremberg1   
which has a wide circulation through all
 this part of ,germany1 extending even  
to ,frankfort1 ,munich1 ,dresden1 and   
,leipsig1 is entirely in female hands4  
,madame de ,schaden is the proprietor1  
and the responsible editor of the paper2
 she has the printing apparatus and     
offices under her own roof1 and though  
advanced in years1 conducts the whole   
concern with a degree of activity1      
spirit1 and talent1 which delighted me4 
,the circulation of this paper amounts  
to about four thousand3 a trifling      
number compared to our papers1 but a    
large number in this economical country1
 where the same paper is generally read 
by fifty or sixty persons at least4     
99       99       99       99       99  
,all travellers agree that benevolence  
and integrity are the national          
characteristics of the ,germans4 ,of    

their honesty ,i had daily proofs3 ,i do
 not consider that ,i was ever imposed  
upon or overcharged during my journey1  
except once1 and then it was by a       
,frenchman4 ,their benevolence is       
displayed in the treatment of animals1  
particularly of their horses4 ,it was   
somewhere between ,nuremberg and ,hof1  
that1 for the first and only time1 ,i   
saw a postilion flog his horse          
unmercifully1 or at least unreasonably4 
,the ,germans very seldom beat their    
horses3 they talk to them1 remonstrate1 
encourage1 or upbraid them4 ,i have     
frequently known a voiturier1 or a      
postilion1 go a whole stage--which is   
seldom less than fifteen ,english       
miles--at a very fair pace1 without once
 even raising the whip2 and have often  
witnessed1 not without amusement1 long  
conversations between a driver and his  
steed--the man1 with his arm thrown over
 the animal's neck1 discoursing in a    
strange jargon1 and the intelligent     
brute turning his eye on his master with

 such a responsive expression6 ,in this 
part of ,germany there is a popular     
verse repeated by the postilions1 which 
may be called the ,german rule of the   
road4 ,it is the horse who speaks--     
,berg auf1 ubertrieb mich nicht2   ,berg
 ab1 ubereil mich nicht2   ,auf ebenen  
,weg1 vershoene mich nicht2   ,im       
,stahl1 vergiss mich nicht4   which is1 
literally1    ,up hill1 overdrive me    
not2   ,down hill1 hurry me not2   ,on  
level ground1 spare me not2   ,in the   
stable1 forget me not4   ,the ,german   
postilions form a very numerous and     
distinct class2 they wear a             
half-military costume--a laced or       
embroidered jacket1 across which is     
invariably slung the bugle-horn1 with   
its parti-coloured cord and tassels3    
huge jack-boots1 and a smart glazed hat1
 not unfrequently surmounted with a     
feather 7as in ,hesse ,cassel and ,saxe 
,weimer7 complete their appearance4     
,they are in the direct service and pay 
of the government2 they must have an    

excellent character for fidelity and    
good conduct before they are engaged1   
and the slightest failing in duty or    
punctuality1 subjects them to severe    
punishment2 thus they enjoy some degree 
of respectability as a body1 and        
,marschner thought it not unworthy of   
his talents to compose a fine piece of  
music1 which he called ,the ,postilion's
 ,morgen-lied1 or morning song4 ,i found
 them generally a good-humoured1 honest 
set of men2 obliging1 but not servile or
 cringing2 they are not allowed to smoke
 without the express leave of the       
traveller1 nor to stop or delay on the  
road on any pretence whatever4 ,in      
short1 though the burley ,german        
postilions do not present the neat      
compact turn-out of an ,english         
post-boy1 nor the horses any thing like 
the speed of ,newman's greys1 or the    
,brighton ,age1 and though the traveller
 must now and then submit to arbitrary  
laws and individual inconvenience2 still
 the travelling regulations all over    

,germany1 more especially in ,prussia1  
are so precise1 so admirable1 and so    
strictly enforced1 that no where could  
an unprotected female journey with more 
complete comfort and security4 ,this ,i 
have proved by experience1 after having 
tried every different mode of conveyance
 in ,prussia1 ,bavaria1 ,baden1 ,saxony1
 and ,hesse4 ,my road expenses1 for     
myself and an attendant1 seldom exceeded
 a ,napoleon a-day4     ,,iii4          
,,memoranda ,,at ,,dresden4#be          
,beautiful1 stately ,dresden6 if not the
 queen1 the fine lady of the ,german    
cities6 ,surrounded with what is most   
enchanting in nature1 and adorned with  
what is most enchanting in art1 she sits
 by the ,elbe like a fair one in        
romance1 wreathing her towery diadem--so
 often scathed by war--with the vine and
 the myrtle1 and looking on her own     
beauty imaged in the river flood1 which1
 after rolling an impetuous torrent     
through the mountain gorges1 here seems 
to pause and spread itself into a lucid 

mirror to catch the reflection of her   
airy magnificence4 ,no doubt misery and 
evil dwell in ,dresden1 as in all the   
congregated societies of men1 but no    
where are they less obtrusive4 ,the city
 has all the advantages1 and none of the
 disadvantages1 of a capital2 the       
treasures of art accumulated here1 the  
mild government1 the delightful climate1
 the beauty of the environs1 and the    
cheerfulness and simplicity of social   
intercourse1 have rendered it a         
favourite residence for artists and     
literary characters1 and to foreigners  
one of the most captivating places in   
the world4 ,how often have ,i stood in  
the open space in front of the gorgeous 
,italian church1 or on the summit of the
 flight of steps leading to the public  
walk1 gazing upon the noble bridge which
 bestrides the majestic ,elbe1 and      
connects the new and the old town2 or1  
pursuing with enchanted eye the winding 
course of the river to the foot of those
 undulating purple hills1 covered with  

villas and vineyards1 till a feeling of 
quiet grateful enjoyment has stolen over
 me1 like that which ,wordsworth        
describes3--    ,felt in the blood1 and 
felt along the heart1   ,and passing    
even into my purer mind   ,with tranquil
 restoration4   ,but it is not only the 
natural beauties of the scene which     
strike a stranger2 the city itself has  
this peculiarity in common with         
,florence1 to which it has been so often
 compared1 that instead of being an     
accident in the landscape--a dim1 smoky1
 care-haunted spot upon the all-lovely  
face of nature--a discord in the        
soothing harmony of that quiet          
enchanting scene which steals like music
 over the fancy2--it is rather a charm  
the more--an ornament--a crowning       
splendour--a fulfilling and completing  
chord4 ,its unrivalled elegance and     
neatness1 a general air of cheerfulness 
combined with a certain dignity and     
tranquillity1 the purity and elasticity 
of the atmosphere1 the brilliant shops1 

the well-dressed women1 and the lively  
looks and good-humoured alertness of the
 people1 who1 like the ,florentines1 are
 more remarkable for their tact and     
acuteness than for their personal       
attractions2--all these advantages      
render ,dresden1 though certainly one of
 the smallest1 and by no means one of   
the richest capitals in ,europe1 one of 
the most delightful residences on the   
continent4 ,i am struck1 too1 by the    
silver-toned voices of the women1 and   
the courtesy and vivacity of the men2   
for in ,bavaria the intonation is broad 
and harsh1 and the people1 though frank1
 and honest1 and good-natured1 are      
rather slow1 and not particularly       
polished in their demeanour4  ,it is the
 general aspect of ,dresden which charms
 us3 it is not distinguished by any vast
 or striking architectural decorations1 
if we except the ,italian church1 which1
 with all its thousand faults of style1 
pleases from its beautiful situation and
 its exceeding richness4 ,this is the   

only ,roman ,catholic church in         
,dresden3 for it is curious enough1 that
 while the national religion1 or1 if ,i 
may so use the word1 the state religion1
 is ,protestant--the court religion is  
,catholic2 the royal family having been 
for several generations of that         
persuasion2#bf but this has caused      
neither intolerance on the one hand1 nor
 jealousy on the other4 ,the ,saxons1   
the first who hailed and embraced the   
doctrines of ,luther1 seem quite content
 to allow their anointed king to go to  
heaven his own way2 and though the      
priests who surround him are1 of course1
 mindful to keep up their own influence1
 there is no spirit of proselytism2 and 
,i believe the most perfect equality    
with regard to religious matters        
prevails here4 ,the ,catholic church is 
almost always half full of ,protestants1
 attracted by the delicious music1 for  
all the corps d'opera sing in the choir4
 ,high mass begins about the time that  
the sermon is over in the other         

churches1 and you see the ,protestants  
hurrying from their own service1        
crowding in at the portals of the       
,catholic church1 and taking their      
places1 the men on one side and the     
women on the other1 with looks of       
infinite gravity and devotion3 the king 
being always present1 it would here be a
 breach of etiquette to behave as ,i    
have often seen the ,english behave in  
the ,catholic churches--precisely as if 
in a theatre4 ,but if the good old      
monarch imagines that his heretic       
subjects are to be converted by         
,cesi's#bg divine voice1 he is          
wonderfully mistaken4  ,the people of   
,dresden have always been distinguished 
by their love of music2 ,i was therefore
 rather surprised to find here a little 
paltry theatre1 ugly without1 and mean  
within2 a new edifice has been for some 
time in contemplation1 therefore to     
decorate or repair the old one may seem 
superfluous4 ,that it is not nearly     
large enough for the place is its worst 

fault4 ,i have never been in it that it 
was not crowded to suffocation4 ,at this
 time ,bellini's opera1 ,i ,capelletti1 
is the rage at ,dresden1 or rather      
,madame ,devrient's impersonation of the
 ,romeo1 has completely turned all heads
 and melted all hearts--that are        
fusible4 ,the ,capelletti is only the   
last of the thousand-and-one versions of
 ,romeo and ,juliet1 and though the     
last1 not the best of ,bellini's operas2
 and ,devrient is not generally heard to
 the greatest advantage in the modern   
,italian music2 but her conception of   
the part of ,romeo is new and belongs to
 herself2 like a woman of feeling and   
genius she has put her stamp upon it3 it
 is quite distinct from the same        
character as represented by ,pasta and  
,malibran--character perhaps ,i should  
not say1 for in the lyrical drama there 
is properly no room for any such gradual
 development of individual sentiments   
and motives2 a powerful and graceful    
sketch1 of which the outline is filled  

up by music1 is all that the artist is  
required to give2 and within this       
boundary a more beautiful delineation of
 youthful fervid passion ,i never       
beheld3 if ,devrient must yield to      
,pasta in grandeur1 and to ,malibran in 
versatility of power and liquid         
flexibility of voice1 she yields to     
neither in pathos1 to neither in        
delicious modulation1 to neither in     
passion1 power1 and originality1 though 
in her1 in a still greater degree1 the  
talent of the artist is modified by     
individual temperament4 ,like other     
gifted women1 who are blessed or cursed 
with a most excitable nervous system1   
,devrient is a good deal under the      
influence of moods of feeling and       
temper1 and in the performance of her   
favourite parts1 7as this of ,romeo1 the
 ,armida1 ,emmeline in the ,sweitzer    
,familie17 is subject to inequalities1  
which are not caprices1 but arise from  
an exuberance of soul and power1 and    
only render her performance more        

interesting4 ,every night that ,i have  
seen her since my arrival here1 even in 
parts which are unworthy of her1 as in  
the ,eagle's ,nest1#bh has increased my 
estimate of her talents2 and last night1
 when ,i saw her for the third time in  
the ,romeo1 she certainly surpassed     
herself4 ,the duet with ,juliet1        
7,madlle4 ,schneider17 at the end of the
 first act1 threw the whole audience    
into a tumult of admiration2 they       
invariably encore this touching and     
impassioned scene1 which is really a    
positive cruelty1 besides being a piece 
of stupidity2 for though it may be as   
well sung the second time1 it must      
suffer in effect from the repetition4   
,the music1 though very pretty1 is in   
itself nothing1 without the situation   
and sentiment2 and after the senses and 
imagination have been wound up to the   
most thrilling excitement by tones of   
melting affection and despair1 and      
,romeo and ,juliet have been finally    
torn asunder by a flinty-hearted stick  

of a father1 with a black cloak and a   
bass voice--selon les regles--it is     
ridiculous to see them come back from   
opposite sides of the stage1 bow to the 
audience1 and then1 throwing themselves 
into each other's arms1 pour out the    
same passionate strains of love and     
sorrow4 ,as to ,devrient's acting in the
 last scene1 ,i think even ,pasta's     
,romeo would have seemed colourless     
beside hers2 and this arises perhaps    
from the character of the music1 from   
the very different style in which       
,zingarelli and ,bellini have treated   
their last scene4 ,the former has made  
,romeo tender and plaintive1 and ,pasta 
accordingly subdued her conception to   
this tone2 but ,bellini has thrown into 
the same scene more animation1 and more 
various effect4#bi ,devrient1 thus      
enabled to colour more highly1 has gone 
beyond the composer4 ,there was a flush 
of poetry and passion1 a heartbreaking  
struggle of love and life against an    
overwhelming destiny1 which thrilled me4

 ,never did ,i hear any one sing so     
completely from her own soul as this    
astonishing creature4 ,in certain tones 
and passages her voice issued from the  
depths of her bosom as if steeped in    
tears2 and her countenance1 when she    
hears ,juliet sigh from the tomb1 was   
such a sudden and divine gleam of       
expression as ,i have never seen on any 
face but ,fanny ,kemble's4 ,i was not   
surprised to learn that ,madame         
,devrient is generally ill after her    
performance1 and unable to sing in this 
part more than once or twice a week4    
99       99       99       99       99  
,tieck is the literary ,colossus of     
,dresden2 perhaps ,i should say of      
,germany4 ,there are those who dispute  
his infallibility as a critic2 there are
 those who will not walk under the      
banners of his philosophy2 but since the
 death of ,goethe1 ,i believe ,ludwig   
,tieck holds undisputed the first rank  
as an original poet1 and powerful       
writer1 and has succeeded1 by right     

divine1 to the vacant throne of genius4 
,his house in the ,altmarkt1 7the tall  
red house at the south-east corner17    
henceforth consecrated by that power    
which can hallow in the core of human   
hearts even the ruin of a wall1#cj is   
the resort of all the enlightened       
strangers who flock to ,dresden3 even   
those who know nothing of ,tieck but his
 name1 deem an introduction to him as   
indispensable as a visit to the ,madonna
 del ,sisto4 ,to the ,english1 he is    
particularly interesting3 his knowledge 
of our language and literature1 and     
especially of our older writers1 is     
profound4 ,endued with an imagination   
which luxuriates in the world of        
marvels1 which dwells delightedly midst 
fays and talismans1 and embraces in its 
range of power what is highest1 deepest1
 most subtle1 most practical--gifted    
with a creative spirit1 for ever moving 
and working within the illimitable      
universe of fancy1 ,tieck is yet one of 
the most poignant satirists and profound

 critics of the age4 ,he has for the    
last twenty years devoted his time and  
talents1 in conjunction with ,schlegel1 
to the study1 translation1 and          
illustration of ,shakspeare4 ,the       
combination of these two minds has done 
perhaps what no single mind could have  
effected in developing1 elucidating1 and
 clothing in a new language the         
creations of that mighty and inspired   
being4  ,it is to be hoped that some    
translator will rise up among us to do  
justice in return to ,tieck4 ,no one    
tells a fairy tale like him3 the earnest
 simplicity of style and manner is so   
exquisite that he always gives the idea 
of one whose hair was on end at his own 
wonders1 who was entangled by the spell 
of his own enchantments4 ,a few of these
 lighter productions 7his               
,volksmaerchen1 or popular ,tales7 have 
been rendered into our language2 but    
those of his works which have given him 
the highest estimation among his own    
countrymen still remain a sealed        

fountain to ,english readers4#ca  ,it   
was with some trepidation ,i found      
myself in the presence of this          
extraordinary man4 ,notwithstanding his 
profound knowledge of our language1 he  
rarely speaks ,english1 and1 like       
,alfieri1 he will not speak ,french4 ,i 
addressed him in ,english1 and he spoke 
to me in ,german4 ,the conversation in  
my first visit fell very naturally upon 
,shakspeare1 for ,i had been looking    
over his admirable new translation of   
,macbeth1 which he had just completed4  
,macbeth led us to the ,english theatre 
and ,english acting--to ,mrs4 ,siddons  
and the ,kembles1 and the actual        
character and state of our stage4       
,while he spoke ,i could not help       
looking at his head1 which is           
wonderfully fine2 the noble breadth and 
amplitude of his brow1 and his quiet1   
but penetrating eye1 with an expression 
of latent humour hovering round his     
lips1 formed altogether a striking      
physiognomy4 ,the numerous prints and   

portraits of ,tieck which are scattered 
over ,germany are very defective as     
resemblances4 ,they have a heavy look2  
they give the weight and power of his   
head1 but nothing of the finesse which  
lurks in the lower part of his face4    
,his manner is courteous1 and his voice 
particularly sweet and winning4 ,he is  
apparently fond of the society of women2
 or the women are fond of his society1  
for in the evening his room is generally
 crowded with fair worshippers4 ,yet    
,tieck1 like ,goethe1 is accused of     
entertaining some unworthy sentiments   
with regard to the sex2 and is also     
said1 like ,goethe1 not to have upheld  
us in his writings1 as the true         
philosopher1 to say nothing of the true 
poet1 ought to have done4 ,it is a fact 
upon which ,i shall take an opportunity 
of enlarging1 that almost all the       
greatest men who have lived in the      
world1 whether poets1 philosophers1     
artists1 or statesmen1 have derived     
their mental and physical organization1 

more from the mother's than the father's
 side2 and the same is true1 unhappily1 
of those who have been in an            
extraordinary degree perverted4 ,and    
does not this lead us to some awful     
considerations on the importance of the 
moral and physical well-being of women1 
and their present condition in society1 
as a branch of legislation and politics1
 which must ere long be modified8 ,let  
our lords and masters reflect1 that if  
an extensive influence for good or for  
evil be not denied to us1 an influence  
commencing not only with1 but before the
 birth of their children1 it is time    
that the manifold mischiefs and miseries
 lurking in the bosom of society1 and of
 which woman is at once the wretched    
instrument and more wretched victim1 be 
looked to4 ,sometimes ,i am induced to  
think that ,tieck is misinterpreted or  
libelled by those who pretend to take   
the tone from his writings and opinions3
 it is evident that he delights in being
 surrounded by a crowd of admiring      

women1 therefore he must in his heart   
honour and reverence us as being morally
 equal with man1--for who could suspect 
the great ,tieck of that paltry         
coxcombry which can be gratified by the 
adulation of inferior beings8  ,tieck's 
extraordinary talent for reading aloud  
is much and deservedly celebrated3 he   
gives dramatic readings two or three    
times a week when his health and his    
avocations allow this exertion2 the     
company assemble at six1 and it is      
advisable to be punctual to the moment2 
soon afterwards tea is served3 he begins
 to read at seven precisely1 when the   
doors are closed against all intrusion  
whatever1 and he reads through a whole  
play without pause1 rest1 omission1 or  
interruption4 ,thus ,i heard him read   
,julius ,caesar and the ,midsummer      
,night's ,dream1 7in the ,german        
translation by himself and ,schlegel17  
and except ,mrs4 ,siddons1 ,i never     
heard any thing comparable as dramatic  
reading4 ,his voice is rich1 and capable

 of great variety of modulation4 ,i     
observed that the humorous and          
declamatory passages were rather better 
than the pathetic and tender passages3  
he was quite at home among the elves and
 clowns in the ,midsummer ,night's      
,dream1 of which he gave the fantastic  
and comic parts with indescribable      
humour and effect4 ,as to the           
translation1 ,i could only judge of its 
marvellous fidelity1 which enabled me to
 follow him1 word for word1--but the    
,germans themselves are equally         
enchanted by its vigour1 and elegance1  
and poetical colouring4         99      
99       99       99       99  ,the     
far-famed gallery of ,dresden is1 of    
course1 the first and grand attraction  
to a stranger4  ,the regulation of this 
gallery1 and the difficulty of obtaining
 admission1 struck me at first as rather
 inhospitable and ill-natured4 ,in the  
summer months it is open to the public  
two days in the week2 but during the    
winter months1 from ,september to       

,march1 it is closed4 ,in order to      
obtain admittance1 during this recess1  
you must pay three dollars to one of the
 principal keepers on duty1 and a       
gratuity to the porter1--in all about   
half-a-guinea4 ,having once paid this   
sum1 you are free to enter whenever the 
gallery has been opened for another     
party4 ,the ceremony is1 to send the    
laquais-de-place at nine in the morning 
to inquire whether the gallery will be  
open in the course of the day2 if the   
answer be in the affirmative1 it is     
advisable to make your appearance as    
early as possible1 and ,i believe you   
may stay as long as you please2 7at     
least ,i did27 nothing more is          
afterwards demanded1 though something   
may perhaps be expected--if you are a   
very frequent visitor4 ,all this is     
rather ungracious4 ,it is true that the 
gallery is not a national1 but a royal  
gallery1--that it was founded and       
enriched by princes for their private   
recreation2 that ,augustus ,,iii4       

purchased the ,modena gallery for his   
kingly pleasure2 that from the original 
construction of the building it is      
impossible to heat it with stoves1      
without incurring some risk1 and that to
 oblige the poor professors and         
attendants to linger benumbed and       
shivering in the gallery from morning to
 night is cruel4 ,in fact1 it would be  
difficult to give an idea of the deadly 
cold which prevails in the inner        
gallery1 where the beams of the sun     
scarcely ever penetrate4 ,and it may    
happen that only a chance visitor1 or   
one or two strangers1 may ask admittance
 in the course of the day4 ,but poor as 
,saxony now is1--drained1 and exhausted1
 and maimed by successive wars1 and     
trampled by successive conquerors1 this 
glorious gallery1 which ,frederic       
spared1 and ,napoleon left inviolate1   
remains the chief attraction to         
strangers2 and it may be doubted whether
 there is good policy in making         
admittance to its treasures a matter of 

difficulty1 vexation1 and expense4      
,there would be little fear1 if all     
strangers were as obstinate and         
enthusiastic as myself1--for1 to confess
 the truth1 ,i know not what obstacle1  
or difficulty1 or inconvenience1 could  
have kept me out2 if all legal avenues  
had been hermetically sealed1 ,i would  
have prayed1 bribed1 persevered1 till ,i
 had attained my purpose1 and after     
travelling three hundred miles to       
achieve an object1 what are a few       
dollars8 ,but still it is ungracious1   
and methinks1 in this courteous and     
liberal capital these regulations ought 
to be reformed or modified4  ,on        
entering the gallery for the first time1
 ,i walked straight forward1 without    
pausing1 or turning to the right or the 
left1 into the ,raffaelle-room1 and     
looked round for the ,madonna del       
,sisto1--literally with a kind of       
misgiving4 ,familiar as the form might  
be to the eye and the fancy1 from       
numerous copies and prints1 still the   

unknown original held a sanctuary in my 
imagination1 like the mystic ,isis      
behind her veil3 and it seemed that     
whatever ,i beheld of lovely1 or        
perfect1 or soul-speaking in art1 had an
 unrevealed rival in my imagination3    
something was beyond--there was a       
criterion of possible excellence as yet 
only conjectured--for ,i had not seen   
the ,madonna del ,sisto4 ,now1 when ,i  
was about to lift my eyes to it1 ,i     
literally hesitated--,i drew a long     
sigh1 as if resigning myself to         
disappointment1 and looked----,yes6     
there she was indeed6 that divinest     
image that ever shaped itself in        
palpable hues and forms to the living   
eye6 ,what a revelation of ineffable    
grace1 and purity1 and truth1 and       
goodness6 ,there is no use attempting to
 say any thing about it2 too much has   
already been said and written--and what 
are words8 ,after gazing on it again and
 again1 day after day1 ,i feel that to  
attempt to describe the impression is   

like measuring the infinite1 and        
sounding the unfathomable4 ,when ,i     
looked up at it today it gave me the    
idea1 or rather the feeling1 of a vision
 descending and floating down upon me4  
,the head of the virgin is quite        
superhuman3 to say that it is beautiful1
 gives no idea of it4 ,some of          
,correggio's and ,guido's virgins--the  
virgin of ,murillo at the ,leuchtenberg 
palace--have more beauty1 in the common 
meaning of the word2 but every other    
female face1 however lovely1 however    
majestic1 would1 ,i am convinced1 appear
 either trite or exaggerated1 if brought
 into immediate comparison with this    
divine countenance4 ,there is such a    
blessed calm in every feature6 and the  
eyes1 beaming with a kind of internal   
light1 look straight out of the         
picture--not at you or me--not at any   
thing belonging to this world1--but     
through and through the universe4 ,the  
unearthly ,child is a sublime vision of 
power and grandeur1 and seems not so    

much supported as enthroned in her arms1
 and what fitter throne for the         
,divinity than a woman's bosom full of  
innocence and love8 ,the expression in  
the face of ,st4 ,barbara1 who looks    
down1 has been differently interpreted3 
to me she seems to be giving a last look
 at the earth1 above which the group is 
raised as on a hovering cloud4 ,st4     
,sixtus is evidently pleading in all the
 combined fervour of faith1 hope1 and   
charity1 for the congregation of        
sinners1 who are supposed to be kneeling
 before the picture--that is1 for us--to
 whom he points4 ,finally1 the cherubs  
below1 with their upward look of rapture
 and wonder1 blending the most childish 
innocence with a sublime inspiration1   
complete the harmonious whole1 uniting  
heaven with earth4  ,while ,i stood in  
contemplation of this all-perfect work1 
,i felt the impression of its loveliness
 in my deepest heart1 not only without  
the power1 but without the thought or   
wish to give it voice or words1 till    

some lines of ,shelley's--lines which   
were not1 but1 methinks1 ought to have  
been1 inspired by the ,madonna--came1   
uncalled1 floating through my memory--  
,seraph of ,heaven6 too gentle to be    
human1   ,veiling beneath that radiant  
form of woman   ,all that is            
insupportable in thee1   ,of light1 and 
love1 and immortality6   ,sweet         
,benediction in the eternal curse6      
,veil'd ,glory of this lampless         
universe6   ,thou ,harmony of ,nature's 
art6                       ,i measure   
,the world of fancies1 seeking one like 
thee1   ,and find--alas6 mine own       
infirmity6#cb   ,on the first morning ,i
 spent in the gallery1 a most           
benevolent-looking old gentleman came up
 to me1 and half lifting his velvet cap 
from his grey hairs1 courteously saluted
 me by name4 ,i replied1 without knowing
 at the moment to whom ,i spoke4 ,it was
 ,boettigar1 the most formidable--no1   
not formidable--but the most erudite    
scholar1 critic1 antiquarian1 in        

,germany4 ,boettigar1 ,i do believe1 has
 read every book that ever was written2 
knows every thing that ever was known2  
and is acquainted with every body1 who  
is any body1 in the four quarters of the
 world4 ,he is not the author of any    
large work1 but his writings1 in a      
variety of form1 on art1 ancient and    
modern1--on literature1 on the classics1
 on the stage1 are known over all       
,germany2 and in his best days few have 
exercised so wide an influence over     
opinion and literature4 ,it is said1    
that in his latter years his criticism  
has been too vague1 his praise too      
indiscriminate1 to be trusted2 but ,i   
know not why this should excite         
indignation1 though it may produce      
mistrust2 in ,boettigar's conformation1 
benevolence must always have been       
prominent1 and in the decline of his    
life--for he is now seventy-eight--this 
natural courtesy combining with a good  
deal of vanity and imagination1 would   
necessarily produce the result of       

extreme mildness1--a disposition to see1
 or try to see1 all en beau4 ,the       
happier for him1 and the pleasanter for 
others4 ,we were standing together in   
the room with the ,madonna1 but ,i did  
not allude to it1 nor attempt to express
 by a word the impression it had made on
 me2 but he seemed to understand my     
silence2 he afterwards told me that it  
is ascertained that ,raffaelle employed 
only three months in executing this     
picture3 it was thrown upon his canvas  
in a glow of inspiration1 and is painted
 very lightly and thinly4 ,when         
,palmeroli1 the ,italian restorer1 was  
brought here at an expense of more than 
three thousand ducats1 he ventured to   
clean and retouch the background and    
accessories1 but dared not touch the    
figures of the ,virgin and the ,child1  
which retain their sombre tint4 ,this   
has perhaps destroyed the harmony of the
 general effect1 but if the man         
mistrusted himself he was right3 in such
 a case1 however1 he had better have let

 the background alone4 ,in taking down  
the picture for the purpose of cleaning1
 it was discovered that a part of the   
original canvas1 about a quarter of a   
yard1 was turned back in order to make  
it fit the frame4 ,every one must have  
observed1 that in ,mueller's engraving1 
and all the known copies of this        
,madonna1 the head is too near the top  
of the picture1 so as to mar the just   
proportion4 ,this is now amended3 the   
veil1 or curtain1 which appears to have 
been just drawn aside to disclose the   
celestial vision1 does not now reach the
 boundary of the picture1 as heretofore2
 the original effect is restored1 and it
 is infinitely better4  ,as if to       
produce a surfeit of excellence1 the    
five ,correggios hang together in the   
same room with the ,raffaelle4#cc ,they 
are the ,madonna di ,san ,georgio2 the  
,madonna di ,san ,francisco2 the        
,madonna di ,santo ,sebastiano2 the     
famous ,nativity1 called ,la ,notte2 and
 the small ,magdalene reading1 of which 

there exist an incalculable number of   
copies and prints4 ,i know not that any 
thing can be added to what has been said
 a hundred times over of these wondrous 
pieces of poetry4 ,their excellence and 
value1 as unequalled productions of art1
 may not perhaps be understood by       
all1--the poetical charm1 the something 
more than meets the eye1 is not perhaps 
equally felt by all1--but the sentiment 
is intelligible to every mind1 and goes 
at once to every heart2 the most        
uneducated eye1 the merest tyro in art1 
gazes with delight on the ,notte2 and   
the ,magdalene reading has given perhaps
 more pleasure than any known           
picture1--it is so quiet1 so simple1 so 
touching1 in its heavenly beauty6 ,those
 who may not perfectly understand what  
artists mean when they dwell with       
rapture on ,correggio's wonderful       
chiaro-scuro1 should look close into    
this little picture1 which hangs at a   
convenient height3 they will perceive   
that they can look through the shadows  

into the substance1--as it might be1    
into the flesh and blood2--the shadows  
seem accidental--as if between the eye  
and the colours1 and not incorporated   
with them2 in this lies the inimitable  
excellence of this master4  ,the        
,magdalene was once surrounded by a rich
 frame of silver gilt1 chased1 and      
adorned with gems1 turquoises1 and      
pearls3 but some years ago a thief found
 means to enter at the window1 and      
carried off the picture for the sake of 
the frame4 ,a reward of two hundred     
ducats and a pardon were offered for the
 picture only1 and in a fortnight       
afterwards it was happily restored to   
the gallery uninjured2 but ,i did not   
hear that the frame and jewels were ever
 recovered4  ,of ,correggio's larger    
pictures1 ,i think the ,madonna di ,san 
,georgio pleased me most4 ,the ,virgin  
is seated on a throne1 holding the      
sacred ,infant1 who extends his arms and
 smiles out upon the world he has come  
to save4 ,on the right stands ,st4      

,george1 his foot on the dragon's head2 
behind him ,st4 ,peter ,martyr2 on the  
left1 ,st4 ,geminiano and ,st4 ,john the
 ,baptist4 ,in the front of the picture 
two heavenly boys are playing with the  
sword and helmet of ,st4 ,george1 which 
he has apparently cast down at the foot 
of the throne4 ,all in this picture is  
grand and sublime1 in the feeling1 the  
forms1 the colouring1 the expression4   
,but what1 says a wiseacre of a critic1 
rubbing up his school chronology1 what  
have ,st4 ,francis1 and ,st4 ,george1   
and ,st4 ,john the ,baptist1 to do in   
the same picture with the ,virgin ,mary8
 ,did not ,st4 ,george live nine hundred
 years after ,st4 ,john8 and ,st4       
,francis five hundred years after ,st4  
,george8 and so on4 ,yet this is        
properly no anachronism--no violation of
 the proprieties of action1 place1 or   
time4 ,these and similar pictures1 as   
the ,st4 ,jerome at ,parma1 and         
,raffaelle's ,madonna1 are not to be    
considered as historical paintings1 but 

as grand pieces of lyrical and sacred   
poetry4 ,in this particular picture1    
which was an altarpiece in the church of
 ,our ,lady at ,parma1 we have in ,st4  
,george the representation of religious 
magnanimity2 in ,st4 ,john1 religious   
enthusiasm2 in ,st4 ,geminiani1         
religious munificence2 in ,st4 ,peter   
,martyr1 religious fortitude2 and these 
are grouped round the most lovely       
impersonation of innocence1 chastity1   
and heavenly love4 ,such1 as it appears 
to me1 is the true intention and        
signification of this and similar       
pictures4  ,but in the ,notte 7the      
,nativity7 the case is different4 ,it is
 properly an historical picture2 and if 
,correggio had placed ,st4 ,george1 or  
,st4 ,francis1 or the ,magdalene1 as    
spectators1 we might then exclaim at the
 absurdity of the anachronism2 but here 
,correggio has converted the literal    
representation of a circumstance in     
sacred history into a divine piece of   
poetry1 when he gave us that emanation  

of supernatural light1 streaming from   
the form of the celestial ,child1 and   
illuminating the extatic face of the    
virgin mother1 who bends over her infant
 undazzled2 while another female draws  
back1 veiling her eyes with her hand1 as
 if unable to endure the radiance4 ,far 
off1 through the gloom of night1 we see 
the morning just breaking along the     
eastern horizon--emblem of the          
day-spring from on high4  ,this is      
precisely one of those pictures of which
 no copy or engraving could convey any  
adequate idea2 the sentiment of         
maternity 7in which ,correggio excelled7
 is so exquisitely tender1 and the      
colouring so inconceivably transparent  
and delicate4  ,i suppose it is a sort  
of treason to say that in the ,madonna  
di ,san ,francisco1 the face of the     
virgin is tinctured with affectation2   
but such was and is my impression4  ,if 
,i were to plan a new ,dresden gallery1 
the ,madonna del ,sisto and the ,notte  
should each have a sanctuary apart1 and 

be lighted from above2 at present they  
are ill-placed for effect4  ,when ,i    
could move from the ,raffaelle room1 ,i 
took advantage of the presence and      
attendance of ,professor ,matthai1 7who 
is himself a painter of eminence here17 
and went through a regular course of the
 ,italian schools of painting1 beginning
 with ,giotto4 ,the collection is       
extremely rich in the early ,ferarese   
and ,venetian painters1 and it was most 
interesting thus to trace the gradual   
improvement and development of the      
school of colourists through            
,squarcione1 ,mantegna1 the ,bellini1   
,giorgione1 ,paris ,bordone1 ,palma1 and
 ,titian2 until richness became         
exuberance1 and power verged upon excess
 in ,paul ,veronese and ,tintoretto4    
,certainly1 ,i feel no inclination to   
turn my notebook into a catalogue2 but  
,i must mention ,titian's ,christo della
 ,moneta3--such a head6--so pure from   
any trace of passion6--so refined1 so   
intellectual1 so benevolent6 ,the only  

head of ,christ ,i ever entirely        
approved4  ,here they have ,giorgione's 
master-piece--the meeting of ,rachel and
 ,jacob2 and the three daughters of     
,palma1 half-lengths1 in the same       
picture4 ,the centre one1 ,violante1 is 
a most lovely head4  ,there is here an  
extraordinary picture by ,titian1       
representing ,lucrezia ,borgia1         
presented by her husband to the         
,madonna4 ,the portraits are the size of
 life1 half-lengths4 ,i looked in vain  
in the countenance of ,lucrezia for some
 trace1 some testimony of the crimes    
imputed to her2 but she is a fair1      
golden-haired1 gentle-looking creature1 
with a feeble and vapid expression4 ,the
 head of her husband1 ,alphonso1 is fine
 and full of power4 ,there are1 ,i      
suppose1 not less than fourteen or      
fifteen pictures by ,titian4  ,the      
,concina family1 by ,paul ,veronese1    
esteemed his finest production1 is in   
the ,dresden gallery1 with ten others of
 the same master4 ,of ,guido1 there are 

ten pictures1 particularly that         
extraordinary one1 called ,ninus and    
,semiramis1 life size4 ,of the          
,carracci1 at least eight or nine1      
particularly the genius of ,fame1 which 
should be compared with that of ,guido4 
,there are numerous pictures of ,albano 
and ,ribera2 but very few specimens of  
,salvator ,rosa and ,domenichino4  ,on  
the whole1 ,i suppose that no gallery1  
except that of ,florence1 can compete   
with the ,dresden gallery in the        
treasures of ,italian art4 ,in all1     
there are five hundred and thirty-four  
,italian pictures4  ,i pass over the    
,flemish1 ,dutch1 and ,french pictures1 
which fill the outer gallery3 these     
exceed the ,italian school in number1   
and many of them are of surpassing merit
 and value1 but1 having just come from  
,munich1 where the eye and fancy are    
both satiated with this class of        
pictures1 ,i gave my attention          
principally to the ,italian masters4    
,there is one room here entirely filled 

with the crayon paintings of ,rosalba1  
including a few by ,liotard4 ,among them
 is a very interesting head of          
,metastasio1 painted when he was young4 
,he has fair hair and blue eyes1 with   
small features1 and an expression of    
mingled sensibility and acuteness3 no   
power4  ,rosalba ,carriera1 perhaps the 
finest crayon painter who ever existed1 
was a ,venetian1 born at ,chiozza in    
#afge4 ,she was an admirable creature in
 every respect1 possessing many         
accomplishments1 besides the beautiful  
art in which she excelled4 ,several     
anecdotes are preserved which prove the 
sweetness of her disposition1 and the   
clear simplicity of her mind4 ,spence1  
who knew her personally1 calls her the  
most modest of painters2 yet she used to
 say playfully1 ,i am charmed with every
 thing ,i do1 for eight hours after it  
is done6 ,this was natural while the    
excitement of conception was fresh upon 
the mind4 ,no one1 however1 could be    
more fastidious and difficult about     

their own works than ,rosalba4 ,she was 
not only an observer of countenance by  
profession1 but a most acute observer of
 character1 as revealed in all its      
external indications4 ,she said of ,sir 
,godfrey ,kneller1 after he had paid her
 a visit1 ,i concluded he could not be  
religious1 for he has no modesty4 ,the  
general philosophical truth comprised in
 these few words is not less admirable  
than the acuteness of the remark1 as    
applied to ,kneller--a professed        
sceptic1 and the most self-sufficient   
coxcomb of his time4  ,rosalba was      
invited at different times to almost all
 the courts of ,europe1 and painted most
 of the distinguished persons of her    
time at ,vienna1 ,dresden1 ,berlin1 and 
,paris2 the lady-like refinements of her
 mind and manners1 which also marked her
 style of painting1 recommended her not 
less than her talents4 ,she used1 after 
her return to ,italy1 to say her prayers
 in ,german1 because the language was so
 expressive4#cd  ,rosalba became blind  

before her death1 which occurred in     
#ageg4 ,her works in the ,dresden       
gallery amount to at least one hundred  
and fifty--principally portraits--but   
there are also some exquisite fancy     
heads4  ,thinking of ,rosalba1 reminds  
me that there are some pretty stories   
told of women1 who have excelled as     
professed artists4 ,in general the      
conscious power of maintaining          
themselves1 habits of attention and     
manual industry1 the application of our 
feminine superfluity of sensibility and 
imagination to a tangible result--have  
produced fine characters4 ,the daughter 
of ,tintoretto1 when invited to the     
courts of ,maximilian and ,philip ,,ii4 
refused to leave her father4 ,violante  
,siries of ,florence gave a similar     
proof of filial affection2 and when the 
grand duke commanded her to paint her   
own portrait for the ,florentine        
gallery1 where it now hangs1 she        
introduced the portrait of her father1  
because he had been her first instructor

 in art4 ,when ,henrietta ,walters1 the 
famous ,dutch miniature painter1 was    
invited by ,peter the ,great and        
,frederic1 to their respective courts1  
with magnificent promises of favour and 
patronage1 she steadily refused2 and    
when ,peter1 who had no idea of giving  
way to obstacles1 particularly in the   
female form1 pressed upon her in person 
the most splendid offers1 and demanded  
the reason of her refusal1 she replied1 
that she was contented with her lot1 and
 could not bear the idea of living out  
of a free country4  ,maria von          
,osterwyck1 one of the most admirable   
flower painters1 had a lover1 to whom   
she was a little partial1 but his       
idleness and dissipation distressed her4
 ,at length she promised to give him her
 hand on condition that during one year 
he would work regularly ten hours a day1
 observing that it was only what she had
 done herself from a very early age4 ,he
 agreed2 and took a house opposite to   
her that she might witness his industry2

 but habit was too strong1 his love or  
his resolution failed1 and he broke the 
compact4 ,she refused to be his wife2   
and no entreaties could afterwards alter
 her determination never to accept the  
man who had shown so little strength of 
character1 and so little real love4 ,she
 was a wise woman1 and as the event     
showed1 not a heartless one4 ,she died  
unmarried1 though surrounded by suitors4
  ,it was the fate of ,elizabeth        
,sirani1 one of the most beautiful      
women1 as well as one of the most       
exquisite painters of her time1 to live 
in the midst of those deadly feuds      
between the pupils of ,guido and those  
of ,domenichino1 and she was poisoned at
 the age of twenty-six4 ,she left behind
 her one hundred and fifty pictures1 an 
astonishing number if we consider the   
age at which the world was deprived of  
this wonderful creature1 for they are   
finished with the utmost care in every  
part4 ,madonnas and ,magdalenes were her
 favourite subjects4 ,she died in #aebf4

 ,her best pictures are at ,florence4   
,sofonisba ,angusciola had two sisters1 
,lucia and ,europa1 almost as gifted1   
though not quite so celebrated as       
herself3 these three virtuous           
gentlewomen1 as ,vasari calls them1     
lived together in the most delightful   
sisterly union4 ,one of ,sofonisba's    
most beautiful pictures represents her  
two sisters playing at chess1 attended  
by the old duenna1 who accompanied them 
every where4 ,when ,sofonisba was       
invited to the court of ,spain1 in      
#aefj1 she took her sisters with her--in
 short1 they were inseparable4 ,they    
were all accomplished women4 ,we hear1  
said the pope1 in a complimentary letter
 to ,sofonisba1 on one of her pictures1 
that this your great talent is among the
 least you possess3 which letter is said
 by ,vasari to be a sufficient proof of 
the genius of ,sofonisba--as if the holy
 ,father's infallibility extended to    
painting6 ,luckily we have proofs more  
undeniable in her own most lovely       

works--glowing with life like those of  
,titian2 and in the testimony of        
,vandyke1 who said of her in her later  
years1 that he had learned more from one
 old blind woman in ,italy than from all
 the masters of his art4  ,it is worth  
remarking1 that almost all the women who
 have attained celebrity in painting1   
have excelled in portraiture4 ,the      
characteristic of ,rosalba is an        
exceeding elegance2 of ,angelica        
,kauffman exceeding grace2 but she wants
 nerve4 ,lavinia ,fontana threw a look  
of sensibility into her most masculine  
heads--she died broken-hearted for the  
loss of an only son1 whose portrait is  
her masterpiece4#ce ,the ,sofonisba had 
most dignity1 and in her own portrait#cf
 a certain dignified simplicity in the  
air and attitude strikes us immediately4
 ,gentileschi has most power3 she was a 
gifted1 but a profligate woman4 ,all    
those whom ,i have mentioned were women 
of undoubted genius2 for they have each 
a style apart1 peculiar1 and tinted by  

their individual character3 but all1    
except ,gentileschi1 were feminine      
painters4 ,they succeeded best in       
feminine portraits1 and when they       
painted history they were only admirable
 in that class of subjects which came   
within the province of their sex2 beyond
 that boundary they became fade1        
insipid1 or exaggerated3 thus ,elizabeth
 ,sirani's ,annunciation is exquisite1  
and her ,crucifixion feeble2 ,angelica  
,kauffman's ,nymphs and ,madonnas are   
lovely2 but her picture of the warrior  
,herman1 returning home after the defeat
 of the ,roman legions1 is cold and     
ineffective4 ,the result of these       
reflections is1 that there is a walk of 
art in which women may attain           
perfection1 and excel the other sex2 as 
there is another department from which  
they are excluded4 ,you must change the 
physical organization of the race of    
women before we produce a ,rubens or a  
,michael ,angelo4 ,then1 on the other   
hand1 ,i fancy1 no man could paint like 

,louisa ,sharpe1 any more than write    
like ,mrs4 ,hemans4 ,louisa ,sharpe1 and
 her sister1 are1 in painting1 just what
 ,mrs4 ,hemans is in poetry2 we see in  
their works the same characteristics--no
 feebleness1 no littleness of design or 
manner1 nothing vapid1 trivial1 or      
affected1--and nothing masculine2 all is
 super-eminently1 essentially feminine1 
in subject1 style1 and sentiment4 ,i    
wish to combat in every way that        
oft-repeated1 but most false compliment 
unthinkingly paid to women1 that genius 
is of no sex2 there may be equality of  
power1 but in its quality and           
application there will and must be      
difference and distinction4 ,if men     
would but remember this truth1 they     
would cease to treat with ridicule and  
jealousy the attainments and aspirations
 of women1 knowing that there never     
could be real competition or rivalry4   
,if women would admit this truth1 they  
would not presume out of their          
sphere3--but then we come to the        

necessity for some key to the knowledge 
of ourselves and others--some scale for 
the just estimation of our own qualities
 and powers1 compared with those of     
others--the great secret of             
self-regulation and happiness--the      
beginning1 middle1 and end of all       
education4  ,but to return from this    
tirade4 ,i wish my vagrant pen were less
 discursive4  ,in the works of art1 the 
presence of a power1 felt rather than   
perceived1 and kept subordinate to the  
sentiment of grace1 should mark the     
female mind and hand4 ,this is what ,i  
love in ,rosalba1 in our own ,mrs4      
,carpenter1 in ,madame de ,freyberg1 and
 in ,eliza and ,louisa ,sharpe3 in the  
latter there is a high tone of moral as 
well as poetical feeling4 ,thus her     
picture of the young girl coming out of 
church after disturbing the equanimity  
of a whole congregation by her fine lady
 airs and her silk attire1 is a charming
 and most graceful satire on the foibles
 of her sex4 ,the idea1 however1 is     

taken from the ,spectator4 ,but ,louisa 
,sharpe can also create4 ,of another    
lovely picture1--that of the young1     
forsaken1 disconsolate1 repentant       
mother1 who sits drooping over her      
child1 with looks bowed down in         
penetrative shame1 while one or two of  
the rigidly-righteous of her own sex    
turn from her with a scornful and       
upbraiding air--,i believe the subject  
is original2 but it is obviously one    
which never could have occurred1 except 
to the most consciously pure as well as 
the gentlest and kindest heart in the   
world4 ,never was a more beautiful and  
,christian lesson conveyed by woman to  
woman2 at once a warning to our         
weakness1 and a rebuke to our pride4#cg 
,apropos of female artists3 ,i met here 
with a lady of noble birth and high     
rank1 the ,countess ,julie von          
,egloffstein1#ch who in spite of the    
prejudices still prevailing in ,germany1
 has devoted herself to painting as a   
profession4 ,her vocation for the art   

was early displayed2 but combated and   
discouraged as derogatory to her rank   
and station2 she was for many years     
demoiselle d'honneur to the grand       
,duchess ,luise of ,weimar4 ,under all  
these circumstances1 it required real   
strength of mind to take the step she   
has taken2 but a less decided course    
could not well have emancipated her from
 trammels1 the force of which can hardly
 be estimated out of ,germany4 ,a recent
 journey to ,italy1 undertaken on       
account of her health1 fixed her        
determination1 and her destiny for life4
  ,in looking over her drawings and     
pictures1 ,i was particularly struck by 
one singularity1 which yet1 on          
reflection1 appears perfectly           
comprehensible4 ,this high-born and     
court-bred woman shows a decided        
predilection for the picturesque in     
humble life1 and seems to have turned to
 simple nature in perfect simplicity of 
heart4 ,being self-taught and           
self-formed1 there is nothing mannered  

or conventional in her style2 and ,i do 
hope she will assert the privilege of   
genius1 and1 looking only into nature   
out of her own heart and soul1 form and 
keep a style to herself4 ,i remember one
 little picture1 painted either for the 
queen of ,england or the queen of       
,bavaria1 representing a young          
,neapolitan peasant1 seated at her      
cottage door1 contemplating her child1  
cradled at her feet1 while the fishing  
bark of her husband is sailing away in  
the distance4 ,in this little bit of    
natural poetry there was no seeking     
after effect1 no prettiness1 no         
pretension2 but a quiet genuine         
simplicity of feeling1 which surprised  
while it pleased me4 ,when ,i have      
looked at the ,countess ,julie in her   
painting-room1 surrounded by her        
drawings1 models1 casts--all the powers 
of her exuberant enthusiastic mind      
flowing free in their natural direction1
 ,i have felt at once pleasure1 and     
admiration1 and respect4 ,it should seem

 that the energy of spirit and real     
magnanimity of mind which could trample 
over social prejudices1 not the less    
strong because manifestly absurd1 united
 to genius and perseverance1 may1 if    
life be granted1 safely draw upon       
futurity both for success and for fame4 
99       99       99       99       99  
,i consider my introduction to ,moritz  
,retzsch as one of the most memorable   
and agreeable incidents of my short     
sojourn at ,dresden4  ,this             
extraordinary genius1 who is almost as  
popular and interesting in ,england as  
in his own country1 seems to have       
received from ,nature a double portion  
of the inventive faculty--that rarest of
 all her good gifts1 even to those who  
are her especial favourites4 ,as his    
published works by which he is          
principally known in ,england 7the      
,outlines to the ,faust1 to ,shakspeare1
 to ,schiller's ,song of the ,bell1 c47 
are illustrations of the ideas of       
others1 few but those who may possess   

some of his original drawings are aware1
 that ,retzsch is himself a poet of the 
first order1 using his glorious power of
 graphic delineation to throw into form 
the conceptions1 thoughts1 aspirations1 
of his own glowing imagination and      
fertile fancy4 ,retzsch was born at     
,dresden in #aggi1 and has never1 ,i    
believe1 been far from his native place4
 ,from childhood he was a singular      
being1 giving early indications of his  
imitative power by drawing or carving in
 wood1 resemblances of the objects which
 struck his attention1 without the      
slightest idea in himself or others of  
becoming eventually an artist2 and ,i   
have even heard that1 when he was quite 
a youth1 his enthusiastic mind1         
labouring with a power which he felt    
rather than knew1 his love of the wilder
 aspects of nature1 and impatience of   
the restraints of artificial life1 had  
nearly induced him to become a huntsman 
or forester 7,jaeger7 in the royal      
service4 ,however1 at the age of twenty1

 his love of art became a decided       
vocation4 ,the little property he had   
inherited or accumulated was dissipated 
during that war1 which swept like a     
whirlwind over all ,germany1            
overwhelming prince and peasant1 artist1
 mechanic1 in one wide-spreading        
desolation4 ,since that time ,retzsch   
has depended on his talents             
alone--content to live poor in a poor   
country4 ,he has1 by the exertion of his
 talents1 achieved for himself a small  
independence1 and contributed to the    
support of a large family of relations1 
also ruined by the casualties of war4   
,his usual residence is at his own      
pretty little farm or vineyard a few    
miles from ,dresden4 ,when in the town1 
where his duties as professor of the    
,academy frequently call him1 he lodges 
in a small house in the ,neustadt1 close
 upon the banks of the ,elbe1 in a      
retired and beautiful situation4        
,thither ,i was conducted by our mutual 
friend1 ,n----1 whose appreciation of   

,retzsch's talents1 and knowledge of his
 peculiarities1 rendered him the best   
possible intermediator on this occasion4
  ,the professor received us in a room  
which appeared to answer many purposes1 
being obviously a sleeping as well as a 
sitting-room1 but perfectly neat4 ,i saw
 at once that there was every where a   
woman's superintending eye and          
thoughtful care2 but did not know at the
 moment that he was married4 ,he        
received us with open-hearted frankness1
 at the same time throwing on the       
stranger one of those quick glances     
which seemed to look through me3 in     
return1 ,i contemplated him with        
inexpressible interest4 ,his figure is  
rather larger1 and more portly than ,i  
had expected2 but ,i admired his fine   
,titanic head1 so large1 and so sublime 
in its expression2 his light blue eye1  
wild and wide1 which seemed to drink in 
meaning and flash out light2 his hair   
profuse1 grizzled1 and flowing in masses
 round his head3 and his expanded brow  

full of poetry and power4 ,in his       
deportment he is a mere child of nature1
 simple1 careless1 saying just what he  
feels and thinks at the moment1 without 
regard to forms2 yet pleasing from the  
benevolent earnestness of his manner1   
and intuitively polite without being    
polished4  ,after some conversation1 he 
took us into his painting room4 ,as a   
colourist1 ,i believe his style is      
criticised1 and open to criticism2 it is
 at least singular2 but ,i must confess 
that while ,i was looking over his      
things ,i was engrossed by the one      
conviction2--that while his peculiar    
merits1 and the preference of one manner
 to another may be a matter of argument 
or taste1 it is certain1 and            
indisputable1 that no one paints like   
,retzsch1 and that1 in the original     
power and fertility of conception1 in   
the quantity of mind which he brings to 
bear upon his subject1 he is in his own 
style unequalled and inimitable4 ,i was 
rather surprised to see in some of his  

designs and pencil drawings1 the most   
elaborate delicacy of touch1 and most   
finished execution of parts1 combined   
with a fancy which seems to run wild    
over his paper or his canvas2 but only  
seems--for it must be remarked1 that    
with all this luxuriance of imagination1
 there is no exaggeration1 either of    
form or feeling2 he is peculiar1        
fantastic1 even extravagant--but never  
false in sentiment or expression4 ,the  
reason is1 that in ,retzsch's character 
the moral sentiments are strongly       
developed2 where they are deficient1 let
 the artist who aims at the highest     
poetical department of excellence1      
despair2 for no possession of creative  
talent1 nor professional skill1 nor     
conventional taste1 will supply that    
main deficiency4  ,i saw in ,retzsch's  
atelier many things novel1 beautiful1   
and interesting2 but will note only a   
few1 which have dwelt upon my memory1 as
 being characteristic of the man as well
 as the artist4  ,there was1 on a small 

pannel1 the head of an angel smiling4   
,he said he was often pursued by dark   
fancies1 haunted by melancholy          
forebodings1 desponding over himself and
 his art1 and he resolved to create an  
angel for himself1 which should smile   
upon him out of heaven4 ,so he painted  
his most lovely head1 in which the      
radiant spirit of joy seems to beam from
 every feature at once2 and ,i thought  
while ,i looked upon it1 that it were   
enough to exorcise a whole legion of    
blue devils4 ,it is rarely that we can  
associate the mirthful with the         
beautiful and the sublime--even ,i could
 have deemed it next to impossible2 but 
the effulgent cheerfulness of this      
divine face corrected that idea1 which1 
after all1 is not in bright lovely      
,nature1 but in the shadow which the    
mighty spirit of ,humanity casts from   
his wings1 as he hangs brooding over her
 between heaven and earth4  ,afterwards 
he placed upon his easel a wondrous     
face1 which made me shrink back--not    

with terror1 for it was perfectly       
beautiful--but with awe1 for it was     
unspeakably fearful3 the hair streamed  
back from the pale brow--the orbs of    
sight appeared at first two dark1       
hollow1 unfathomable spaces1 like those 
in a skull2 but when ,i drew nearer1 and
 looked attentively1 two lovely living  
eyes looked at me again out of the depth
 of shadow1 as of from the bottom of an 
abyss4 ,the mouth was divinely sweet1   
but sad1 and the softest repose rested  
on every feature4 ,this1 he told me1 was
 the ,,angel ,,of ,,death3 it was the   
original conception of a head for the   
large picture now at ,vienna1           
representing the ,angel of ,death       
bearing aloft two children into the     
regions of the blessed3 the heavens     
opening above1 and the earth and stars  
sinking beneath his feet4  ,the next    
thing which struck me was a small       
picture--two satyrs butting at each     
other1 while a shepherd carries off the 
nymph for whom they are contending4     

,this was most admirable for its        
grotesque power and spirit1 and1        
moreover1 extremely well coloured4      
,another in the same style represented a
 satyr sitting on a wine-skin1 out of   
which he drinks2 two arch-looking nymphs
 are stealing on him from behind1 and   
one of them pierces the wine-skin with  
her hunting-spear4  ,there was a        
portrait of himself1 but ,i would not   
laud it--in fact1 he has not done       
himself justice4 ,only a colossal bust1 
in the same style1 and wrought with the 
same feeling as ,dannecker's bust of    
,schiller1 could convey to posterity an 
adequate idea of the head and           
countenance of ,retzsch4 ,i complimented
 him on the effect which his ,hamlet had
 produced in ,england2 he told me1 that 
it had been his wish to illustrate the  
,midsummer ,night's ,dream1 or the      
,tempest1 rather than ,macbeth3 the     
former he will still undertake1 and1 in 
truth1 if any one succeeds in embodying 
a just idea of a ,miranda1 a ,caliban1 a

 ,titania1 and the poetical burlesque of
 the ,athenian clowns1 it will be       
,retzsch1 whose genius embraces at once 
the grotesque1 the comic1 the wild1 the 
wonderful1 the fanciful1 the elegant6   
,a few days afterwards we accepted      
,retzsch's invitation to visit him at   
his campagna--for whether it were       
farm-house1 villa1 or vineyard1 or all  
together1 ,i could not well decide4 ,the
 drive was delicious4 ,the road wound   
along the banks of the magnificent      
,elbe1 the gently-swelling hills1 all   
laid out in vineyards1 rising on our    
right2 and though it was in ,november1  
the air was soft as summer4 ,retzsch1   
who had perceived our approach from his 
window1 came out to meet us--took me    
under his arm as if we had been friends 
of twenty years standing1 and leading me
 into his picturesque domicile1         
introduced me to his wife--as pretty a  
piece of domestic poetry as one shall   
see in a summer's day4 ,she was the     
daughter of a vine-dresser1 whom        

,retzsch fell in love with while she was
 yet almost a child1 and educated for   
his wife--at least so runs the tale4 ,at
 the first glance ,i detected the       
original of that countenance which1 more
 or less idealized1 runs through all his
 representations of female youth and    
beauty3 here was the model1 both in     
feature and expression2 she smiled upon 
us a most cordial welcome1 regaled us   
with delicious coffee and cakes prepared
 by herself1 then taking up her knitting
 sat down beside us2 and while ,i turned
 over admiringly the beautiful designs  
with which her husband had decorated her
 album1 the looks of veneration and love
 with which she regarded him1 and the   
expression of kindly1 delighted sympathy
 with which she smiled upon me1 ,i shall
 not easily forget4 ,as for the album   
itself1 queens might have envied her    
such homage3 and what would not a       
dilettante collector have given for such
 a possession6  ,i remember two or three
 of these designs which must serve to   

give an idea of the rest3--#ast4 ,the   
good ,genius descending to bless his    
wife4--#bnd4 ,the birthday of his       
wife--a lovely female infant is asleep  
under a vine1 which is wreathed round   
the tree of life2 the spirits of the    
four elements are bringing votive gifts 
with which they endow her4--#crd4 ,the  
,enigma of ,human ,life4--,the ,genius  
of ,humanity is reclining on the back of
 a gigantic sphinx1 of which the        
features are averted1 and partly veiled 
by a cloud2 he holds a rose             
half-withered in his hand1 and looks up 
with a divine expression towards two    
butterflies which have escaped from the 
chrysalis state1 and are sporting above 
his head2 at his feet are a dead bird   
and reptile--emblematical of sin and    
death4--#dth4 ,the genius of art1       
represented as a young ,apollo1 turns1  
with a melancholy1 abstracted air1 the  
handle of a barrel-organ1 while         
,vulgarity1 ,ignorance1 and ,folly1     
listen with approbation2 meantime his   

lyre and his palette lie neglected at   
his feet1 together with an empty purse  
and wallet3 the mixture of pathos1      
poetry1 and satire1 in this little      
drawing1 can hardly be described in     
words4--#eth4 ,hope1 represented by a   
lovely group of playful children1 who   
are peeping under a hat for a butterfly1
 which they fancy they have caught1 but 
which has escaped1 and is hovering above
 their reach4--#fth4 ,temptation        
presented to youth and innocence by an  
evil spirit1 while a good genius warns  
them to beware4--,in this drawing1 the  
figures of the boy and girl1 but more   
particularly of the latter1 appeared to 
me of the most consummate and touching  
beauty4--#gth4 ,his wife walking on a   
windy day3 a number of little sylphs are
 agitating her drapery1 lifting the     
tresses of her hair1 playing with her   
sash2 while another party have flown off
 with her hat1 and are bearing it away  
in triumph4  ,after spending three or   
four hours delightfully1 we drove home  

in silence by the gleaming1 murmuring   
river1 and beneath the light of the     
silent stars4 ,on a subsequent visit1   
,retzsch showed me many more of these   
delicious phantasie1 or fancies1 as he  
termed them1--or more truly1 little     
pieces of moral and lyrical poetry1     
thrown into palpable form1 speaking in  
the universal language of the eye to the
 universal heart of man4 ,i remember1 in
 particular1 one of striking and even of
 appalling interest4 ,the ,genius of    
,humanity and the ,spirit of ,evil are  
playing at chess for the souls of men3  
the ,genius of ,humanity has lost to his
 infernal adversary some of his         
principal pieces1--love1 humility1      
innocence1 and lastly1 peace of         
mind2--but he still retains faith1      
truth1 and fortitude2 and is sitting in 
a contemplative attitude1 considering   
his next move2 his adversary1 who       
opposes him with pride1 avarice1        
irreligion1 luxury1 and a host of evil  
passions1 looks at him with a           

,mephistophiles' expression1            
anticipating his devilish triumph4 ,the 
pawns on the one side are prayers--on   
the other1 doubts4 ,a little behind     
stands the ,angel of conscience as      
arbitrator4 ,in this most exquisite     
allegory1 so beautifully1 so clearly    
conveyed to the heart1 there lurked a   
deeper moral than in many a sermon4     
,there was another beautiful little     
allegory of ,love in the character of a 
,picklock1 opening1 or trying to open1 a
 variety of albums1 lettered1 the ,human
 ,heart1 ,no4 #a2 ,human ,heart1 ,no4   
#b2 while ,philosophy lights him with   
her lanthorn4 ,there were besides many  
other designs of equal poetry1 beauty1  
and moral interest--,i think1 a whole   
portfolio full of them4  ,i endeavoured 
to persuade ,retzsch that he could not  
do better than publish some of these    
exquisite ,fancies1 and when ,i left him
 he entertained the idea of doing so at 
some future period4 ,to adopt his own   
language1 the ,genius of ,art could not 

present to the ,genius of ,humanity a   
more delightful and a more profitable   
gift4#ci         99       99       99   
99       99  ,the following list of     
,german painters comprehends those only 
whose works ,i had an opportunity of    
considering1 and who appeared to me to  
possess decided merit4 ,i might easily  
have extended this catalogue to thrice  
its length1 had ,i included all those   
whose names were given to me as being   
distinguished and celebrated among their
 own countrymen4 ,from ,munich alone ,i 
brought a list of two hundred artists1  
and from other parts of ,germany nearly 
as many more4 ,but in confining myself  
to those whose productions ,i saw1 ,i   
adhere to a principle which1 after all1 
seems to be the best--viz4 never to     
speak but of what we know2 and then only
 of the individual impression3 it is    
necessary to know so many things before 
we can give1 with confidence1 an opinion
 about any one thing6  ,while the       
literary intercourse between ,england   

and ,germany increases every day1 and a 
mutual esteem and understanding is the  
natural consequence of this             
approximation of mind1 there is a       
singular and mutual ignorance in all    
matters appertaining to art1 and        
consequently1 a good deal of injustice  
and prejudice on both sides4 ,the       
,germans were amazed and incredulous1   
when ,i informed them that in ,england  
there are many admirers of art1 to whom 
the very names of ,schnorr1 ,overbeck1  
,rauch1 ,peter ,hess1 ,wach1            
,wagenbauer1 and even their great       
,cornelius1 are unknown2 and ,i met with
 very clever1 well-informed ,germans1   
who had1 by some chance1 heard of ,sir  
,thomas ,lawrence1 and knew something of
 ,wilkie1 ,turner1 and ,martin1 from the
 engravings after their works2 who      
thought ,sir ,joshua ,reynolds and his  
engraver ,reynolds one and the same     
person2 and of ,callcott1 ,landseer1    
,etty1 and ,hilton1 and others of our   
shining lights1 they knew nothing at    

all4 ,i must say1 however1 that they    
have generally a more just idea of      
,english art than we have of ,german    
art1 and their veneration for ,flaxman1 
like their veneration for ,shakspeare1  
is a sort of enthusiasm all over        
,germany4 ,those who have contemplated  
the actual state of art1 and compared   
the prevalent tastes and feelings in    
both countries1 will allow that much    
advantage would result from a better    
mutual understanding4 ,we ,english      
accuse the ,german artists of mannerism1
 of a formal1 hard1 and elaborate       
execution1--a pedantic style of         
composition and sundry other sins4 ,the 
,germans accuse us1 in return1 of       
excessive coarseness and carelessness1 a
 loose sketchy style of execution1 and a
 general inattention to truth of        
character4#dj ,you ,english have no     
school of art1 was often said to me2 ,i 
could have replied--if it had not been a
 solecism in grammar--,you ,germans have
 too much school4 ,the esprit de secte1 

which in ,germany has broken up their   
poetry1 literature1 and philosophy into 
schisms and schools1 descends unhappily 
to art1 and every professor1 to use the 
,highland expression1 has his tail4  ,at
 the same time1 we cannot deny to the   
,germans the merit of great earnestness 
of feeling1 and that characteristic     
integrity of purpose which they throw   
into every thing they undertake or      
perform4 ,art with them1 is oftener held
 in honour1 and pursued truly for its   
own sake1 than among us3 too many of our
 ,english artists consider their lofty  
and noble vocation1 simply as the means 
to an end1 be that end fame or gain4    
,generally speaking1 too1 the ,german   
artists are men of superior cultivation1
 so that when the creative inspiration  
falls upon them1 the material on which  
to work is already stored up3 nothing   
can come of nothing1 and the sun-beams  
descend in vain on the richest soil1    
where the seed has not been sown4  ,it  
is certain that we have not in ,england 

any historical painters who have given  
evidence of their genius on so grand a  
scale as some of the historical painters
 of ,germany have recently done4 ,we    
know that it is not the genius1 but the 
opportunity which has been wanting1 but 
we cannot ask foreigners to admit       
this1--they can only judge from results1
 and they must either suppose us to be  
without eminent men in the higher walks 
of art1--or they must wonder1 with their
 magnificent ideas of the incalculable  
wealth of our nobles1 the prodigal      
expenditure of our rulers1 and the      
grandeur of our public institutions1    
that painting has not oftener been      
summoned in aid of her eldest sister    
architecture4 ,on the other hand1 their 
school of portraiture and landscape is  
decidedly inferior to ours4 ,not only   
have they no landscape painters who can 
compare with ,callcott and ,turner1 but 
they do not appear to have imagined the 
kind of excellence achieved by these    
wonderful artists4 ,i should say1       

generally1 that their most beautiful    
landscapes want atmosphere4 ,i used to  
feel while looking at them as if ,i were
 in the exhausted receiver of an        
air-pump4 ,of their portraits ,i have   
already spoken2 the eye which has rested
 in delight upon one of ,wilkie's or    
,phillips's fine manly portraits1 7not  
to mention ,reynolds1 ,gainsborough1    
,romney1 and ,lawrence17 cannot easily  
be reconciled to the hard1 frittered    
manner of some of the most admired of   
the ,german painters2 it is a difference
 of taste1 which ,i will not call       
natural but national2--the remains of   
the old gothic school which1 as the     
study of ,italian art becomes more      
diffused1 will be modified or pass away4
         99       99       99       99  
99   ,,history4  ,peter ,cornelius1 born
 at ,dusseldorf in #aggh1 was for a     
considerable time the director          
7president7 of the academy there1 and is
 now the director of the academy of art 
at ,munich3 much of his time1 however1  

is spent in ,italy4 ,the ,germans esteem
 him their best historical painter4 ,he 
has invention1 expression1 and power1   
but appears to me rather deficient in   
the feeling of beauty and tenderness4   
,his grand works are the fresco painting
 in the ,glyptothek at ,munich1 already 
described4  ,friedrich ,overbeck1 born  
at ,lubeck in #aghi3 he excels in       
scriptural subjects1 which he treats    
with infinite grandeur and simplicity of
 feeling4  ,wilhelm ,wach1 born at      
,berlin in #aghg3 first painter to the  
king of ,prussia and professor in the   
academy of ,berlin3 esteemed one of the 
best painters and most accomplished men 
in ,germany4 ,not having visited        
,berlin1 where his finest works exist1  
,i have as yet seen but one picture by  
this painter--the head of an angel1 at  
the palace of ,peterstein1 sublimely    
conceived1 and most admirably painted4  
,in the style of colour1 in the singular
 combination of grand feeling and       
delicate execution1 this picture        

reminded me of ,leonardo da ,vinci4     
,professor ,julius ,schnorr von         
,carolsfeld1 born at ,leipsig in #agid4 
,his frescos from the ,nibelungen ,lied 
in the new palace at ,munich have been  
already mentioned at length4  ,professor
 ,heinrich ,hesse3 the frescos in the   
,royal ,chapel at ,munich1 already      
described4  ,wilhelm ,tischbein1 born at
 ,heyna in #agea4 ,he is director of the
 academy at ,naples1 and highly         
celebrated4 ,he must not be confounded  
with his uncle1 a mediocre artist1 who  
was the court painter of ,hesse ,cassel1
 and whose pictures swarm in all the    
palaces there4  ,philip ,veit1 of       
,frankfort--fresco painter4  ,joseph    
,schlotthauer1 professor of historical  
and fresco painting at ,munich4 7,i     
believe this artist is dead4 ,he held a 
high rank47  ,clement ,zimmermann1 now  
employed in the ,pinakothek1 and in the 
new palace at ,munich1 where he takes a 
high rank as painter1 and is not less   
distinguished by his general            

information1 and his frank and amiable  
character4  ,moritz ,retzsch of         
,dresden4  ,professor ,vogel1 of        
,dresden1 principal painter to the king 
of ,saxony4 ,he paints in fresco and    
history1 but excels in portraits4       
,stieler1 of ,munich1 court painter to  
the king of ,bavaria1 esteemed one of   
the best portrait painters in ,germany4 
,goetzenberger1 fresco painter4 ,he is  
employed in painting the ,university    
,hall at ,bonn4  ,eduard ,bendeman1 of  
,berlin4 ,i saw at the exhibition of the
 ,kunstverein at ,dusseldorf1 a fine    
picture by this painter--,the ,hebrews  
in ,exile4    ,by the waters of ,babylon
 we sat down and wept4   ,the colouring 
,i thought rather hard1 but the         
conception and drawing were in a grand  
style4  ,wilhelm ,schadow1 director of  
the academy at ,dusseldorf4  ,hetzsch of
 ,stuttgardt4  ,the brothers            
,riepenhausen1 of ,goettingen1 resident 
at ,rome4 ,they are celebrated for their
 designs of the pictures of ,polygnotus1

 as described by ,pausanius4  ,koehler4 
,he exhibited at the ,kunstverein at    
,dusseldorf a picture of ,rebecca at the
 well1 very well executed4  ,ernst      
,foerster1 of ,altenburg1 employed in   
the palace at ,munich4 ,this clever     
young painter married the daughter of   
,jean ,paul ,richter4  ,gassen1 of      
,goblentz2 ,hiltensberger1 of ,suabia2  
,hermann1 of ,dresden2 ,foltz1 of       
,bingen2 ,kaulbach1 of ,munich2 ,eugene 
,neureuther1 of ,munich2 ,wilhelm       
,roeckel1 of ,schleissheim2 ,von        
,schwind1 of ,vienna2 ,wilhelm          
,lindenschmidt1 of ,mayence4 ,all these 
painters are at present in the service  
of the king of ,bavaria4  ,julius       
,huebner2 ,hildebrand2 ,lessing2 ,sohn2 
history and portraits2--these four      
painters are the most distinguished     
scholars of the ,dusseldorf school4     
,,small ,,subjects ,,and ,,conversation 
,,pieces4  ,peter ,hess1 of ,munich1 one
 of the most eminent painters in        
,germany4 ,in his choice of subjects he 

reminded me sometimes of ,eastlake1 and 
sometimes of ,wilkie1 and his style is  
rather in ,wilkie's first manner4 ,his  
pictures are full of spirit1 truth1 and 
character4  ,dominique ,quaglio1 of     
,munich4 ,interiors1 c4 ,he also ranks  
very high3 he reminds me of ,fraser4    
,major-,general von ,heydeck1 of        
,munich1 an amateur painter of merited  
celebrity4 ,in the collection of ,m4 de 
,klenze1 and in the ,leuchtenberg       
,gallery1 there are some small battle   
pieces1 scenes in ,greece and ,spain1   
and other subjects by ,von ,heydeck1    
very admirably painted4  ,f4 ,mueller1  
of ,cassel4 ,at the exhibition at       
,dusseldorf ,i saw a picture by this    
artist1 ,a rustic bridal procession in  
the ,campagna1 painted with a freedom   
and lightness of pencil not common among
 the ,german artists4  ,plueddeman1 of  
,colberg4  ,t4 ,b4 ,sonderland1 of      
,dusseldorf4 ,fairs and merrymakings4   
,h4 ,rustige4 ,the same subjects4 ,both 
are good artists4  ,h4 ,kretzschmar1 of 

,pomerania4 ,his picture of ,little ,red
 ,ridinghood1 7,rothkaeppchen17 at the  
,kunstverein1 at ,dusseldorf1 had great 
merit4  ,adolf ,scroette4 ,rustic scenes
 in the ,dutch manner4   ,,landscape4   
,dahl1 a ,norwegian settled at ,dresden1
 esteemed one of the best landscape     
painters in ,germany4 ,there is a very  
fine sea-piece by this artist in the    
possession of the ,countess von ,seebach
 at ,dresden1 with1 however1 all the    
characteristic peculiarities of the     
,german school4  ,t4 ,d4 ,passavant1 of 
,frankfort4  ,friedrich1 of ,dresden1   
one of the most poetical of the ,german 
landscape painters4 ,he is rather a     
mannerist in colour1 like ,turner1 but  
in the opposite excess3 his genius      
revels in gloom1 as that of ,turner     
revels in light4  ,professor von        
,dillis1 of ,munich4  ,max ,wagenbauer1 
of ,munich4 ,he is called most          
deservedly1 the ,german ,paul ,potter4  
,jacob ,dorner1 of ,munich4 ,a charming 
painter2 perhaps a little too minute in 

his finishing4  ,catel1 of ,dusseldorf4 
,scenes on the ,mediterranean4 ,this    
painter resides chiefly in ,italy2 but  
in the collection of ,m4 de ,klenze ,i  
saw some admirable specimens of his     
works4  ,biermann1 of ,berlin1 is a fine
 landscape painter4  ,preyer1 certainly 
the most exquisite of modern flower     
painters4 ,i believe he is from         
,dusseldorf4  ,rothman1 of ,heidelberg4 
,i saw some pictures and sketches by    
this young painter1 full of genius and  
feeling4  ,fries1 of ,munich1 a young   
painter of great promise4 ,he put an end
 to his own life1 while ,i was at       
,munich1 in a fit of delirium1 caused by
 fever1 and was very generally lamented4
  ,wilhelm ,schirmer1 of ,juliers1 an   
exceedingly fine landscape painter4     
,audeas ,achenbach1 of ,dusseldorf3 he  
has also great merit4         99        
99       99       99       99   ,there  
are several female artists in ,germany1 
of more or less celebrity4 ,the         
,baroness von ,freyberg 7born ,electrina

 ,stuntz7 holds the first rank in       
original talent4 ,she resides near      
,munich1 but no longer paints           
professionally4  ,the ,countess ,julie  
von ,egloffstein has also the rare gift 
of original and creative genius4  ,luise
 ,seidler1 of ,weimar2 ,madlle4 de      
,winkel and ,madame de ,loqueyssie1 of  
,dresden1 are distinguished in their    
art4 ,the two latter are exquisite      
copyists4  ,in architecture1 ,leo von   
,klenze and ,professor ,girtner1 of     
,munich2 and ,heideloff of ,nuremberg1  
are deservedly celebrated in ,germany4  
,the most distinguished sculptors in    
,germany are ,christian ,rauch1 and     
,christian ,friedrich ,tieck1 of        
,berlin2 ,johan ,heinrich von           
,dannecker1 of ,stuttgardt2             
,schwanthaler1 ,eberhardt1 ,bandel1     
,kirchmayer1 ,mayer1 all of ,munich2    
,reitschel of ,dresden2 and ,imhoff1 of 
,cologne4 ,those of their works which ,i
 had an opportunity of seeing have been 
mentioned in the course of these        

sketches4   ,illustration               
,,hardwicke4   ,who that has exulted    
over the heroic reign of our gorgeous   
,elizabeth1 or wept over the fate of    
,mary ,stuart1 but will remember the    
name of the only woman whose high and   
haughty spirit out-faced the lion port  
of one queen1 and whose audacity        
trampled over the sorrows of the other--
    ,brow-beating her fair form1 and    
troubling her sweet pride6   ,but this  
is anticipation4 ,if it be so laudable1 
according to the excellent1 oft quoted  
advice of the giant ,moulineau1 to begin
 at the beginning1#da what must it be to
 improve upon the precept8 for so1 in   
relating the fallen and fading glories  
of ,hardwicke1 do ,i intend to exceed   
even mon ami le ,belier1 in historic    
accuracy1 and take up our tale at a     
period ere ,hardwicke itself--the       
,hardwicke that now stands--had a       
beginning4  ,there lived1 then1 in the  
days of queen ,bess1 a woman well worthy
 to be her majesty's                    

namesake1--,elizabeth ,hardwicke1 more  
commonly called1 in her own country1    
,bess of ,hardwicke1 and distinguished  
in the page of history as the old       
,countess of ,shrewsbury4 ,she resembled
 ,queen ,elizabeth in all her best and  
worst qualities1 and1 putting royalty   
out of the scale1 would certainly have  
been more than a match for that         
sharp-witted virago1 in subtlety of     
intellect1 and intrepidity of temper and
 manner4  ,she was the only daughter of 
,john ,hardwicke1 of ,hardwicke1#db and 
being early left an orphan and an       
heiress1 was married ere she was        
fourteen to a certain ,master ,robert   
,barley1 who was about her own age4     
,death dissolved this premature union   
within a few months1 but her husband's  
large estates had been settled on her   
and her heirs2 and at the age of        
fifteen1 dame ,elizabeth was a blooming 
widow1 amply dowered with fair and      
fertile lands1 and free to bestow her   
hand again where she listed4  ,suitors  

abounded1 of course3 but ,elizabeth1 it 
should seem1 was hard to please4 ,she   
was beautiful1 if the annals of her     
family say true1--she had wit1 and      
spirit1 and1 above all1 an infinite love
 of independence4 ,after taking the     
management of her property into her own 
hands1 she for some time reigned and    
revelled 7with all decorum be it        
understood7 in what might be truly      
termed1 a state of single blessedness2  
but at length1 tired of being lord and  
lady too--master o'er her vassals1 if   
not exactly queen o'er herself--she     
thought fit1 having reached the discreet
 age of four-and-twenty1 to bestow her  
hand on ,sir ,william ,cavendish4 ,he   
was a man of substance and power1       
already enriched by vast grants of abbey
 lands in the time of ,henry ,,viii41#dc
 all which1 by the marriage contract1   
were settled on the lady4 ,after this   
marriage1 they passed some years in     
retirement1 having the wisdom to keep   
clear of the political storms and       

factions which intervened between the   
death of ,henry ,,viii4 and the         
accession of ,mary1 and yet the sense to
 profit by them4 ,while ,cavendish1     
taking advantage of those troublous     
times1 went on adding manor after manor 
to his vast possessions1 dame ,elizabeth
 was busy providing heirs to inherit    
them2 she became the mother of six      
hopeful children1 who were destined     
eventually to found two illustrious     
dukedoms1 and mingle blood with the     
oldest nobility of ,england--nay1 with  
royalty itself4 ,moreover1 says the     
family chronicle1 the said dame         
,elizabeth persuaded her husband1 out of
 the great love he had for her1 to sell 
his estates in the south and purchase   
lands in her native county of ,derby1   
wherewith to endow her and her children1
 and at her farther persuasion he began 
to build the noble seat of ,chatsworth1 
but left it to her to complete1 he dying
 about the year #aeei4  ,apparently this
 second experiment in matrimony pleased 

the lady of ,hardwicke better than the  
first1 for she was not long a widow4 ,we
 are not in this case informed how      
long--her biographer having discreetly  
left it to our imagination2 and the     
,peerages1 though not in general famed  
for discretion on such points1 have in  
this case affected the same delicate    
uncertainty4 ,however this may be1 she  
gave her hand1 after no long courtship1 
to ,sir ,william ,st4 ,loo1 captain of  
,elizabeth's guard1 and then chief      
butler of ,england--a man equally       
distinguished for his fine person and   
large possessions1 but otherwise not    
superfluously gifted by nature4 ,so well
 did the lady manage him1 that with     
equal hardihood and rapacity1 she       
contrived to have all his fair lordships
 in ,gloucestershire and elsewhere      
settled on herself and her children1 to 
the manifest injury of ,st4 ,loo's own  
brothers1 and his daughters by a former 
union3 and he dying not long after      
without any issue by her1 she made good 

her title to his vast estates1 added    
them to her own1 and they became the    
inheritance of the ,cavendishes4  ,but  
three husbands1 six children1 almost    
boundless opulence1 did not yet satisfy 
this extraordinary woman--for           
extraordinary she certainly was1 not    
more in the wit1 subtlety1 and          
unflinching steadiness of purpose with  
which she amassed wealth and achieved   
power1 but in the manner in which she   
used both4 ,she ruled her husband1 her  
family1 her vassals1 despotically1      
needing little aid1 suffering no        
interference1 asking no counsel4 ,she   
managed her immense estates1 and the    
local power and political weight which  
her enormous possessions naturally threw
 into her hands1 with singular capacity 
and decision4 ,she farmed the lands2 she
 collected her rents2 she built2 she    
planted2 she bought and sold2 she lent  
out money on usury2 she traded in       
timber1 coals1 lead3 in short1 the      
object she had apparently proposed to   

herself1 the aggrandisement of her      
children by all and any means1 she      
pursued with a wonderful perseverance   
and good sense4 ,power so consistently  
wielded1 purposes so indefatigably      
followed up1 and means so successfully  
adapted to an end1 are1 in a female1    
very striking4 ,a slight sprinkling of  
the softer qualities of her sex1 a      
little more elevation of principle1     
would have rendered her as respectable  
and admirable as she was extraordinary2 
but there was in this woman's mind the  
same fond de vulgarite which we see in  
the character of ,queen ,elizabeth1 and 
which no height of rank1 or power1 or   
estate1 could do away with4 ,in this    
respect the lady of ,hardwicke was much 
inferior to that splendid creature1     
,anne ,clifford1 ,countess of ,dorset1  
,pembroke1 and ,cumberland1 another     
masculine spirit in the female form1 who
 had the same propensity for building   
castles and mansions1 the same passion  
for power and independence1 but with    

more true generosity and magnanimity1   
and a touch of poetry and genuine       
nobility about her which the other      
wanted3 in short1 it was all the        
difference between the amazon and the   
heroine4 ,it is curious enough that the 
,duke of ,devonshire should be the      
present representative of both these    
remarkable women4  ,but to return3 ,bess
 of ,hardwicke was now approaching her  
fortieth year2 she had achieved all but 
nobility--the one thing yet wanting to  
crown her swelling fortunes4 ,about the 
year #aefe 7,i cannot find the exact    
date7 she was sought in marriage by     
,george ,talbot1 ,earl of ,shrewsbury4  
,there is no reason to doubt what is    
asserted1 that she had captivated the   
earl by her wit and her matronly        
beauty4#dd ,he could hardly have married
 her from motives of interest3 he was   
himself the richest and greatest subject
 in ,england2 a fine chivalrous         
character1 with a reputation as         
unstained as his rank was splendid1 and 

his descent illustrious4 ,he had a      
family by a former wife1 7,gertrude     
,manners17 to inherit his titles1 and   
her estates were settled on her children
 by ,cavendish4 ,it should seem1        
therefore1 that mutual inclination alone
 could have made the match advantageous 
to either party2 but ,bess of ,hardwicke
 was still ,bess of ,hardwicke4 ,she    
took advantage of her power over her    
husband in the first days of their      
union4 ,she induced ,shrewsbury by      
entreaties or threats to sacrifice1 in a
 measure1 the fortune1 interest1 and    
happiness of himself and family to the  
aggrandisement of her and her family4#de
 ,she contrived in the first place to   
have a large jointure settled on        
herself2 and she arranged a double      
union1 by which the wealth and interests
 of the two great families should be    
amalgamated4 ,she stipulated that her   
eldest daughter1 ,mary ,cavendish1      
should marry the earl's son1 ,lord      
,talbot2 and that his youngest daughter1

 ,grace ,talbot1 should marry her eldest
 son1 ,henry ,cavendish4  ,the ,french  
have a proverb worthy of their          
gallantry--,ce que femme veut1 ,dieu    
veut3 but even in the feminine gender we
 are sometimes reminded of another      
proverb equally significant--,l'homme   
propose et ,dieu dispose4 ,now was ,bess
 of ,hardwicke queen of the ,peak2 she  
had built her erie so high1 it seemed to
 dally with the winds of heaven2 her    
young eaglets were worthy of their dam1 
ready plumed to fly at fortune2 she had 
placed the coronet of the oldest peerage
 in ,england on her own brow1 she had   
secured the reversion of it to her      
daughter1 and she had married a man     
whose character was indeed opposed to   
her own1 but who1 from his chivalrous   
and confiding nature was calculated to  
make her happy1 by leaving her mistress 
of herself4  ,in #aefh ,mary ,stuart1   
flying into ,england1 was placed in the 
custody of the ,earl of ,shrewsbury1 and
 remained under his care for sixteen    

years1 a long period of restless misery 
to the unhappy earl not less than to his
 wretched captive4 ,in this dangerous   
and odious charge was involved the      
sacrifice of his domestic happiness1 his
 peace of mind1 his health1 and great   
part of his fortune1 ,his castle was    
converted into a prison1 his servants   
into guards1 his porter into a turnkey1 
his wife into a spy1 and himself into a 
jailor1 to gratify the ever-waking      
jealousy of ,queen ,elizabeth4#df ,but  
the earl's greatest misfortune was the  
estrangement1 and at length enmity1 of  
his violent1 high-spirited wife4 ,she   
beheld the unhappy ,mary with a hatred  
for which there was little excuse1 but  
many intelligible reasons3 she saw her1 
not as a captive committed to her       
womanly mercy1 but as an intruder on her
 rights4 ,her haughty spirit was        
continually irritated by the presence of
 one in whom she was forced to          
acknowledge a superior1 even in that    
very house and domain where she herself 

had been used to reign as absolute queen
 and mistress4 ,the enormous expenses   
which this charge entailed on her       
household were distracting to her       
avarice2 and1 worse than all1 jealousy  
of the youthful charms and winning      
manners of the ,queen of ,scots1 and of 
the constant intercourse between her and
 her husband1 seem at length to have    
driven her half frantic1 and degraded   
her1 with all her wit1 and sense1 and   
spirit1 into the despicable treacherous 
tool of the more artful and despotic    
,elizabeth1 who knew how to turn the    
angry and jealous passions of the       
countess to her own purposes4  ,it was  
not1 however1 all at once that matters  
rose to such a height3 the fire         
smouldered for some time ere it burst   
forth4 ,there is a letter preserved     
among the ,shrewsbury ,correspondence#dg
 which the countess addressed to her    
husband from ,chatsworth1 at a time when
 the earl was keeping guard over ,mary  
at ,sheffield castle4 ,it is a most     

curious specimen of character4 ,it      
treats chiefly of household matters1 of 
the price and goodness of malt and hops1
 iron and timber1 and reproaches him for
 not sending her money which was due to 
her1 adding1 ,i see out of sight out of 
mind with you2 she sarcastically        
inquires how his charge and love doth2  
she sends him some letyss 7lettuces7 for
 that he loves them1 7this common sallad
 herb was then a rare delicacy27 and she
 concludes affectionately1 ,god send my 
juill helthe4 ,the incipient jealousy   
betrayed in this letter soon after broke
 forth openly with a degree of violence 
towards her husband1 and malignity      
towards his prisoner1 which can hardly  
be believed4 ,there is distinct evidence
 that ,shrewsbury was not only a        
trustworthy1 but a rigorous jailor2 that
 he detested the office forced upon him2
 that he often begged in the most abject
 terms to be released from it2 and that 
harassed on every side by the tormenting
 jealousy of his wife1 the unrelenting  

severity and mistrust of ,elizabeth1 and
 the complaints of ,mary1 he was seized 
with several fits of illness1 and once  
by a mental attack1 or phrenesie1 as    
,cecil terms it1 brought on by the      
agitation of his mind2 yet the idea of  
resigning his office1 except at the     
pleasure of ,queen ,elizabeth1 never    
seems to have entered his imagination4  
,on one occasion ,lady ,shrewsbury went 
so far as to accuse her husband openly  
of intriguing with his prisoner1 in     
every sense of the word2 and she at the 
same time abused ,mary in terms which   
,john ,knox himself could not have      
exceeded4 ,mary1 deeply incensed1       
complained of this outrage3 the earl    
also appealed to ,queen ,elizabeth1 and 
the countess and her daughter1 ,lady    
,talbot1 were obliged to declare upon   
oath1 that this accusation was false1   
scandalous1 and malicious1 and that they
 were not the authors of it4 ,this      
curious affidavit of the mother and     
daughter is preserved in the ,record    

,office4  ,in a letter to ,lord         
,leicester1 ,shrewsbury calls his wife  
his wicked and malicious wife1 and      
accuses her and her imps1 as he         
irreverently styles the whole brood of  
,cavendishes1 of conspiring to sow      
dissensions between him and his eldest  
son4 ,these disputes being carried to   
,elizabeth1 she set herself with        
heartless policy to foment them in every
 possible way4 ,she deemed that her     
safety consisted in employing one part  
of the earl's family as spies on the    
other4 ,in some signal quarrel about the
 property round ,chatsworth1 she        
commanded the earl to submit to his     
wife's pleasure3 and though no tame     
snake towards his imperious lady1 as    
,st4 ,loo and ,cavendish had been before
 him1 he bowed at once to the mandate of
 his unfeeling sovereign--such was the  
despotism and such the loyalty of those 
days4 ,his reply1 however1 speaks the   
bitterness of his heart4 ,sith that her 
majesty hath set down this hard sentence

 against me to my perpetual infamy and  
dishonour1 that ,i should be ruled and  
overrunne by my wife1 so bad and wicked 
a woman2 yet her majesty shall see that 
,i will obey her majesty's commandment1 
though no curse or plague on the earth  
could be more grievous to me4 99 99 ,it 
is too much1 he adds1 to be made my     
wife's pensioner4 ,poor ,lord           
,shrewsbury6 ,can one help pitying him8 
,not the least curious part of this     
family history is the double dealing of 
the imperious countess4 ,while employed 
as a spy on ,mary1 whom she detested1   
she1 from the natural fearlessness and  
frankness of her temper1 not            
unfrequently betrayed ,elizabeth1 whom  
she also detested4 ,while in attendance 
on ,mary1 she often gratified her own   
satirical humour1 and amused her        
prisoner by giving her a coarse and     
bitter portraiture of ,elizabeth1 her   
court1 her favourites1 her miserable    
temper1 her vanity1 and her personal    
defects4 ,some report of these          

conversations soon reached the queen1   
7who is very significantly drawn in one 
of her portraits in a dress embroidered 
over with eyes and ears17 and she       
required from ,mary an account of       
whatever ,lady ,shrewsbury had said to  
her prejudice4 ,mary1 hating equally the
 rival who oppressed her and the        
domestic harpy who daily persecuted her1
 was nothing loath to indulge her       
feminine spite against the two1 and sent
 ,elizabeth such a circumstantial list  
of the most gross and hateful           
imputations1 7all the time politely     
assuring her good sister that she did   
not believe a word of them17 that the   
rage and mortification of the queen must
 have exceeded all bounds4#dh ,she kept 
the letter secret2 but ,lady ,shrewsbury
 never was suffered to appear at court  
after the death of ,mary had rendered   
her services superfluous4  ,through all 
these scenes1 the ,lady of ,hardwicke   
still pursued her settled purpose4 ,her 
husband complained that he was never    

quiet to satisfy her greedie appetite   
for money for purchases to set up her   
children4 ,her ambition was equally     
insatiate1 and generally successful3 but
 in one memorable instance she overshot 
her mark4 ,she contrived 7unknown to her
 lord7 to marry her favourite daughter1 
,elizabeth ,cavendish1 to ,lord ,lennox1
 the younger brother of the murdered    
,darnley1 and consequently standing in  
the same degree of relationship to the  
crown4 ,queen ,elizabeth1 in the        
extremity of her rage and consternation1
 ordered both the dowager ,lady ,lennox 
and ,lady ,shrewsbury to the ,tower1    
where the latter remained for some      
months2 we may suppose1 to the great    
relief of her husband4 ,he used1        
however1 all his interest to excuse her 
delinquency1 and at length procured her 
liberation4 ,but this was not all4      
,elizabeth ,cavendish1 the young ,lady  
,lennox1 while yet in all her bridal    
bloom1 died in the arms of her mother1  
who appears to have suffered that       

searing1 lasting grief which stern      
hearts sometimes feel4 ,the only issue  
of this marriage was an infant daughter1
 that unhappy ,arabella ,stuart1 who was
 one of the most memorable victims of   
jealous tyranny which our history has   
recorded4 ,her very existence1 from her 
near relationship to the throne1 was a  
crime in the eyes of ,elizabeth and     
,james ,i4 ,there is no evidence that   
,lady ,shrewsbury indulged in any       
ambitious schemes for this favourite    
granddaughter1 her dear jewel1 ,arbell1 
as she terms her2#di but she did not    
hesitate to enforce her claims to royal 
blood by requiring #fjjl4 a year from   
the treasury for her board and education
 as became the queen's kinswoman4       
,elizabeth allowed her #bjjl4 a year1   
and this pittance ,lady ,shrewsbury     
accepted4 ,her rent-roll was at this    
time #fj1jjjl4 a year1 equal to at least
 #bjj1jjjl4 at the present day4  ,the   
,earl of ,shrewsbury died in #aeij1 at  
enmity to the last moment with his wife 

and son2 and the ,lady of ,hardwicke    
having survived four husbands1 and      
seeing all her children settled and     
prosperous1 still absolute mistress over
 her family1 resided during the last    
seventeen years of her life in great    
state and plenty at ,hardwicke1 her     
birth place4 ,here she superintended the
 education of ,arabella ,stuart1 who1 as
 she grew up to womanhood1 was kept by  
her grandmother in a state of seclusion1
 amounting almost to imprisonment1 lest 
the jealousy of ,elizabeth should rob   
her of her treasure4#ej  ,next to the   
love of money and power1 the chief      
passion of this magnificent old beldam1 
was building4 ,it is a family tradition1
 that some prophet had foretold that she
 should never die as long as she was    
building1 and she died at last1 in      
#afjg1 during a hard frost1 when her    
labourers were obliged to suspend their 
work4 ,she built ,chatsworth1 ,oldcotes1
 and ,hardwicke2 and ,fuller adds in his
 quaint style that she left two sacred  

7besides civil7 monuments of her memory2
 one that ,i hope will not be taken     
away1 7her splendid tomb1 erected by    
herself1#ea7 and one that ,i am sure    
cannot be taken away1 being registered  
in the court of heaven1 viz4 her stately
 almshouses for twelve poor people at   
,derby4  ,of ,chatsworth1 the hereditary
 palace of the ,dukes of ,devonshire1   
all its luxurious grandeur1 all its     
treasures of art1 it is not here my hint
 to speak4 ,it has been entirely rebuilt
 since the days of its founder4         
,oldcotes was once a magnificent place4 
,there is a tradition at ,hardwicke that
 old ,bess1 being provoked by a splendid
 mansion which the ,suttons had lately  
erected within view of her windows1     
declared she would build a finer        
dwelling for the owlets1 7hence ,owlcots
 or ,oldcotes47 ,she kept her word1 more
 truly perhaps than she intended1 for   
,oldcotes has since become literally a  
dwelling for the owls2 the chief part of
 it is in ruins1 and the rest converted 

into a farmhouse4 ,her younger daughter1
 ,frances ,cavendish1 married ,sir      
,henry ,pierrepoint1 of                 
,holme-,pierpoint1 and one of the       
granddaughters married another          
,pierrepoint--through one of these      
marriages1 but ,i know not which1       
,oldcotes has descended to the present  
,earl ,manvers4  ,the mansion of        
,hardwicke was commenced about the year 
#aeib1 and finished in #aeig4 ,it stands
 about a stone's throw from the old     
house in which the old countess was     
born1 and which she left standing1 as   
if1 says her biographer1 she intended to
 construct her bed of state close by her
 cradle4 ,this fine old ruin remains1   
grey1 shattered1 and open to all the    
winds of heaven1 almost overgrown with  
ivy1 and threatening to tumble about the
 ears of the bats and owls which are its
 sole inhabitants4 ,one majestic room   
remains entire4 ,it is called the       
,giant's ,chamber from two colossal     
figures in ,roman armour which stand    

over the huge chimney-piece4 ,this room 
has long been considered by architects  
as a perfect specimen of grand and      
beautiful proportion1 and has been      
copied at ,chatsworth and at            
,blenheim4#eb  ,it must have been in    
this old hall1 and not in the present   
edifice1 that ,mary ,stuart resided     
during her short stay at ,hardwicke4 ,i 
am sorry to disturb the fanciful or     
sentimental tourists and sight-seers2   
but so it is1 or rather1 so it must have
 been4 ,yet it is not surprising that   
the memory of ,mary ,stuart should now  
form the principal charm and interest of
 ,hardwicke1 and that she should be in a
 manner the tutelary genius of the      
place4 ,chatsworth has been burned and  
rebuilt4 ,tutbury1 ,sheffield castle1   
,wingfield1 ,fotheringay1 and the old   
house of ,hardwicke1 in short1 every    
place which ,mary inhabited during her  
captivity1 all lie in ruins1 as if      
struck with a doleful curse4 ,but       
,hardwicke ,hall exists just as it stood

 in the reign of ,elizabeth4 ,the       
present ,duke of ,devonshire1 with      
excellent taste and feeling1 keeps up   
the old costume within and without4 ,the
 bed and furniture which had been used  
by ,mary1 the cushions of her oratory1  
the tapestry wrought by her own hands1  
have been removed hither1 and are       
carefully preserved4 ,there can be no   
doubt of the authenticity of these      
relics1 and there is enough surely to   
consecrate the whole to our imagination4
 ,moreover1 we have but to go to the    
window and see the very spot1 the very  
walls which once enclosed her1 the very 
casements from which she probably gazed 
with a sigh over the far hills2 and     
indulge1 without one intrusive doubt1 in
 all the romantic and fascinating1 and  
mysterious1 and sorrowful associations1 
which hang round the memory of ,mary    
,stuart4  ,with what different eyes may 
people view the same things6 ,we receive
 but what we give1 says the poet2 and   
all the light1 and glory1 and beauty1   

with which certain objects are in a     
manner suffused to the eye of fancy1    
must issue from our own souls1 and be   
reflected back to us1 else 'tis all in  
vain4    ,we may not hope from outward  
forms to win1   ,the passion and the    
life1 whose fountains are within6       
,when ,gray1 the poet1 visited          
,hardwicke1 he fell at once into a very 
poet-like rapture1 and did not stop to  
criticise pictures1 and question        
authorities4 ,he says in one of his     
letters to ,dr4 ,wharton1 of all the    
places ,i have seen in my return from   
you1 ,hardwicke pleased me most4 ,one   
would think that ,mary queen of ,scotts 
was but just walked down into the park  
with her guard for half an hour3 her    
gallery1 her room of audience1 her      
ante-chamber1 with the very canopies1   
chair of state1 footstool1 lit de repos1
 oratory1 carpets1 hangings1 just as she
 left them1 a little tattered indeed1   
but the more venerable1 c4 c4  ,now let 
us hear ,horace ,walpole1 antiquarian1  

virtuoso1 dilettante1 filosofastro--but1
 in truth1 no poet4 ,he is1 however1 in 
general so good-natured1 so amusing1 and
 so tasteful1 that ,i cannot conceive   
what put him into such a ,smelfungus    
humour when he visited ,hardwicke1 with 
a ,cavendish too at his elbow as his    
cicerone6  ,he says1 the duke sent ,lord
 ,john with me to ,hardwicke1 where ,i  
was again disappointed2 but ,i will not 
take relations from others2 they either 
don't see for themselves1 or can't see  
for me4 ,how ,i had been promised that  
,i should be charmed with ,hardwicke1   
and told that the ,devonshires ought to 
have established themselves there6      
,never was ,i less charmed in my life4  
,the house is not gothic1 but of that   
betweenity that intervened when ,gothic 
declined1 and ,palladian was creeping   
in2 rather1 this is totally naked of    
either4 ,it has vast chambers--aye1     
vast1 such as the nobility of that time 
delighted in1 and did not know how to   
furnish4 ,the great apartment is exactly

 what it was when the ,queen of ,scots  
was kept there4#ec ,her council-chamber 
7the council-chamber of a poor woman who
 had only two secretaries1 a gentleman  
usher1 an apothecary1 a confessor1 and  
three maids7 is so outrageously spacious
 that you would take it for ,king       
,david's1 who thought1 contrary to all  
modern experience1 that in the multitude
 of counsellors there is wisdom4 ,at the
 upper end is the ,state1 with a long   
table1 covered with a sumptuous cloth1  
embroidered and embossed with gold--at  
least what was gold2 so are all the     
tables4 ,round the top of the chamber   
runs a monstrous frieze1 ten or twelve  
feet deep1 representing a stag-hunt in  
miserable plastered relief4#ed  ,the    
next is her dressing-room1 hung with    
patchwork on black velvet2 then her     
state bed-chamber4 ,the bed has been    
rich beyond description1 and now hangs  
in costly golden tatters2 the hangings1 
part of which they say her majesty      
worked1 are composed of figures as large

 as life1 sewed and embroidered on black
 velvet1 white satin1 c41 and represent 
the virtues that were necessary to her1 
or that she was found to have--as       
patience1 temperance1#ee c4 ,the        
fire-screens are particular2--pieces of 
yellow velvet1 fringed with gold1 hung  
on a cross-bar of wood1 which is fixed  
on the top of a single stick that rises 
from the foot4#ef ,the only furniture   
which has any appearance of taste are   
the table and cabinets1 which are of    
oak1 richly carved4  7,i must observe en
 passant1 that ,i wonder ,horace did not
 go mad about the chairs1 which are     
exactly in the ,strawberry ,hill taste1 
only infinitely finer1 crimson velvet1  
with backs six feet high1 and           
sumptuously carved47  ,there is a       
private chamber within1 where she lay3  
her arms and style over the door4 ,the  
arras hangs over all the doors4 ,the    
gallery is sixty yards in length1       
covered with bad tapestry and wretched  
pictures of ,mary herself1 ,elizabeth in

 a gown of sea-monsters1 ,lord ,darnley1
 ,james the ,fifth and his queen1       
7curious17 and a whole history of kings 
of ,england not worth sixpence          
a-piece4#eg  ,there is a fine bank of   
old oaks in the park over a lake3       
nothing else pleased me there4  ,nothing
 else6 ,monsieur ,traveller8--certes1   
this is one way of seeing things6 ,yet1 
perhaps1 if ,i had only visited         
,hardwicke as a casual object of        
curiosity--had merely walked over the   
place--,i had left it1 like ,gray1 with 
some vague impression of pleasure1 or   
like ,walpole1 with some flippant       
criticisms1 according to the mood of the
 moment2 or1 at the most1 ,i had quitted
 it as we generally leave show-places1  
with some confused recollections of     
state-rooms1 and blue-rooms1 and        
yellow-rooms1 and storied tapestries1   
and nameless1 or mis-named pictures1    
floating through the muddled brain2 but 
it was far otherwise3 ,i was ten days at
 ,hardwicke--ten delightful days--time  

enough to get it by heart2 aye1 and what
 is more1 ten nights2 and ,i am         
convinced that to feel all the interest 
of such a place one should sleep in it4 
,there is much1 too1 in first           
impressions1 and the circumstances under
 which we approached ,hardwicke were    
sufficiently striking4 ,it was on a     
gusty1 dark autumnal evening2 and as our
 carriage wound slowly up the hill1 we  
could but just discern an isolated      
building1 standing above us on the edge 
of the eminence1 a black mass against   
the darkening sky4 ,no light was to be  
seen1 and when we drove clattering under
 the old gateway1 and up the paved      
court1 the hollow echoes broke a silence
 which was almost awful4 ,then we were  
ushered into a hall so spacious and     
lofty that ,i could not at the moment   
discern its bounds2 but ,i had glimpses 
of huge escutcheons1 and antlers of     
deer1 and great carved human arms       
projecting from the walls1 intended to  
sustain lamps or torches1 but looking as

 if they were stretched out to clutch   
one4 ,thence up a stone staircase1 vast1
 and grand1 and gloomy--leading we knew 
not where1 and hung with pictures of we 
knew not what--and conducted into a     
chamber fitted up as a dining-room1 in  
which the remnants of antique grandeur1 
the rich carved oak wainscoting1 the    
tapestry above it1 the embroidered      
chairs1 the collossal armorial bearings 
above the chimney and the huge recessed 
windows1 formed a curious contrast with 
the comfortable modern sofas and easy   
chairs1 the blazing fire1 and table     
hospitably spread in expectation of our 
arrival4 ,then ,i was sent to repose in 
a room hung with rich faded tapestry4   
,on one side of my bed ,i had king      
,david dancing before the ark1 and on   
the other1 the judgment of ,solomon4    
,the executioner in the latter piece1 a 
grisly giant1 seven or eight feet high1 
seemed to me1 as the arras stirred with 
the wind1 to wave his sword1 and looked 
as if he were going to eat up the poor  

child1 which he flourished by one leg2  
and for some time ,i lay awake1 unable  
to take my eyes from the figure4 ,at    
length fatigue overcame this unpleasant 
fascination1 and ,i fell asleep4  ,the  
next morning ,i began to ramble about1  
and so day after day1 till every stately
 chamber1 every haunted nook1 every     
secret door1 curtained with heavy arras1
 and every winding stair1 became        
familiar to me4 ,what a passion our     
ancestors must have had for space and   
light6 and what an ignorance of comfort6
 ,here are no ottomans of eider down1 no
 spring cushions1 no boudoirs etroits1  
ou l'on ne boude point1 no demijour de  
rendezvous2 but what vast chambers6 what
 interminable galleries6 what huge      
windows pouring in floods of sunshine6  
what great carved oak-chests1 such as   
,iachimo hid himself in6 now stuffed    
full of rich tattered hangings1         
tarnished gold fringes1 and remnants of 
embroidered quilts6 what acres--not     
yards--of tapestries1 once of           

sky-tinctured woof1 now faded and       
moth-eaten6 what massy chairs and       
immovable tables6 what heaps of         
portraits1 the men looking so grim and  
magnificent1 and the women so formal and
 faded6 ,before ,i left the place ,i had
 them all by heart2 there was not one   
among them who would not have bowed or  
curtsied to me out of their frames4     
,but there were three rooms in which ,i 
especially delighted1 and passed most of
 my time4 ,the first was the            
council-chamber described by ,walpole3  
it is sixty-five feet in length1 by     
thirty-three in width1 and twenty-six   
feet high4 ,rich tapestry1 representing 
the story of ,ulysses1 runs round the   
room to the height of fifteen or sixteen
 feet1 and above it the stag-hunt in    
ugly relief4 ,on one side of this room  
there is a spacious recess1 at least    
eighteen or twenty feet square2 and     
across this1 from side to side1 to      
divide it from the body of the room1 was
 suspended a magnificent piece of       

tapestry1 7real ,gobelin's17 of the time
 of ,louis ,quatorze1 still fresh and   
even vivid in tint1 which from its      
weight hung in immense wavy folds2 above
 it we could just discern the canopy of 
a lofty state-bed1 with nodding ostrich 
plumes1 which had been placed there out 
of the way4 ,the effect of the whole1 as
 ,i have seen it1 when the red western  
light streamed through the enormous     
windows1 was1 in its shadowy beauty and 
depth of colour1 that of a realized     
,rembrandt--if1 indeed1 even ,rembrandt 
ever painted any thing at once so       
elegant1 so fanciful1 so gorgeous1 and  
so gloomy4  ,from this chamber1 by a    
folding-door1 beautifully inlaid with   
ebony1 but opening with a common latch1 
we pass into the library1 as it is      
called4 ,here the ,duke of ,devonshire  
generally sits when he visits           
,hardwicke1 perhaps on account of the   
glorious prospect from the windows4 ,it 
contains a grand piano1 a sofa1 and a   
range of book-shelves1 on which ,i found

 some curious old books4 ,here ,i used  
to sit and read the voluminous works of 
that dear1 half-mad1 absurd1 but clever 
and good-natured ,duchess of            
,newcastle1#eh and yawn and laugh       
alternately2 or pore over ,guillim on   
,heraldry2--fit studies for the place6  
,in this room are some good pictures1   
particularly the portrait of ,lady ,anne
 ,boyle1 daughter of the first ,earl of 
,burlington1 the ,lady ,sandwich of     
,charles the ,second's time4 ,this is1  
without exception1 the finest specimen  
of ,sir ,peter ,lely ,i ever saw--so    
unlike the usual style of his           
half-dressed1 leering women--so full of 
pensive grace and simplicity--the hands 
and arms so exquisitely drawn1 and the  
colouring so rich and so tender1 that ,i
 was at once surprised and enchanted4   
,there is also a remarkably fine picture
 of a youth with a monkey on his        
shoulder1 said to be ,jeffrey ,hudson1  
7,queen ,henrietta's celebrated dwarf17 
and painted by ,vandyke4 ,i doubt both4 

,over the chimney of this room there is 
a piece of sculptured bas-relief1 in    
,derbyshire marble1 representing ,mount 
,parnassus1 with ,apollo and the ,muses2
 in one corner the arms of ,queen       
,elizabeth1 and in the other her cypher1
 ,e4 ,r41 and the royal crown4 ,i could 
neither learn the meaning of this nor   
the name of the artist4 ,could it have  
been a gift from ,queen ,elizabeth8     
,there is 7,i think in the next room7   
another piece of sculpture representing 
the ,marriage of ,tobias2 and ,i        
remember a third1 representing a group  
of ,charity4 ,the workmanship of all    
these is surprisingly good for the time1
 and some of the figures very graceful4 
,i am surprised that they escaped the   
notice of ,horace ,walpole1 in his      
remarks on the decorations of           
,hardwicke4#ei ,richard ,stephens1 a    
,flemish sculptor and painter1 and      
,valerio ,vicentino1 an ,italian carver 
in precious stones1 were both employed  
by the munificent ,cavendishes of that  

time2 and these pieces of sculpture were
 probably the work of one of these      
artists4  ,when tired of turning over   
the old books1 a door concealed behind  
the arras admitted me at once into the  
great gallery--my favourite haunt and   
daily promenade4 ,it is near one hundred
 and eighty feet in length1 lighted     
along one side by a range of stupendous 
windows1 which project outwards from so 
many angular recesses4 ,in the centre   
pier is a throne1 or couch of state1 on 
a raised platform1 under a canopy of    
crimson and gold1 surmounted by plumes  
of ostrich feathers4 ,the walls are     
partly tapestried1 and covered with some
 hundreds of family pictures2 none      
indeed of any superlative merit--none   
that emulate within a thousand degrees  
the matchless ,vandykes and glorious    
,titians of ,devonshire ,house2 but     
among many that are positively bad1 and 
more that are lamentably mediocre as    
works of art1 there are several of great
 interest4 ,at each end of this gallery 

is a door1 and1 according to the        
tradition of the place1 every night1 at 
the witching hour of twelve1 ,queen     
,elizabeth enters at one door1 and ,mary
 of ,scotland at the other2 they advance
 to the centre1 curtsey profoundly1 then
 sit down together under the canopy and 
converse amicably1--till the crowing of 
the cock breaks up the conference1 and  
sends the two majesties back to their   
respective hiding-places4  ,somebody who
 was asked if he had ever seen a ghost8 
replied1 gravely1 ,no2 but ,i was once  
very near seeing one6 ,in the same      
manner ,i was once very near being a    
witness to one of these ghostly confabs4
  ,late one evening1 having left my     
sketch-book in the gallery1 ,i went to  
seek it4 ,i made my way up the great    
stone staircase with considerable       
intrepidity1 passed through one end of  
the council-chamber without casting a   
glance through the palpable obscure1 the
 feeble ray of my wax-light just        
spreading about a yard around me1 and   

lifting aside the tapestry door1 stepped
 into the gallery4 ,just as the heavy   
arras fell behind me1 with a dull       
echoing sound1 a sudden gust of wind    
came rushing by1 and extinguished my    
taper4 ,angels and ministers of grace   
defend us6--not that ,i felt afraid--,o 
no6 but just a little what the ,scotch  
call eerie4 ,a thrill1 not altogether   
unpleasant1 came over me3 the visionary 
turn of mind which once united me in    
fancy with the world unseen1 had long   
been sobered and reasoned away4 ,i heard
 no viewless paces of the dead1 nor airy
 skirts unseen that rustled by2 but what
 ,i did see and hear was enough4 ,the   
wind whispering and moaning along the   
tapestried walls1 and every now and then
 rattling twenty or thirty windows at   
once1 with such a crash6--and the       
pictures around just sufficiently       
perceptible in the faint light to make  
me fancy them staring at me4 ,then      
immediately behind me was the very      
recess1 or rather abyss1 where ,queen   

,elizabeth was at that moment settling  
her farthingale1 to sally out upon me2  
and before me1 but lost in blackest     
gloom1 the spectral door1 where         
,mary--not that ,i should have minded   
encountering poor ,mary1 provided always
 that she had worn her own beautiful    
head where heaven placed it1 and not    
carried it1 as ,bertrand de ,born       
carried his a guisa di lanterna4#fj ,as 
to what followed1 it is a secret4       
,suffice it that ,i found myself safe by
 the fireside in my bedroom1 without any
 very distinct recollection of how ,i   
got there4  ,of all the scenes in which 
to moralize and meditate1 a picture     
gallery is to me the most impressive4   
,with the most intense feeling of the   
beauty of painting1 ,i cannot help      
thinking with ,dr4 ,johnson1 that as far
 as regards portraits1 their chief      
excellence and value consist in the     
likeness and the authenticity1#fa and   
not in the merit of the execution4 ,when
 we can associate a story or a sentiment

 with every face and form1 they almost  
live to us--they do in a manner speak to
 us4 ,there is speculation in those     
fixed eyes--there is eloquence in those 
mute lips--and1 ,o6 what tales they     
tell6 ,one of the first pictures which  
caught my attention as ,i entered the   
gallery was a small head of ,arabella   
,stuart1 when an infant4 ,the painting  
is poor enough3 it is a little round    
rosy face in a child's cap1 and she     
holds an embroidered doll in her hand4  
,who could look on this picture1 and not
 glance forward through succeeding      
years1 and see the pretty playful infant
 transformed into the impassioned woman1
 writing to her husband--,in sickness1  
and in despair1 wheresoever thou art1 or
 howsoever ,i be1 it sufficeth me always
 that thou art mine6 ,arabella ,stewart 
was not clever2 but not ,heloise1 nor   
,corinne1 nor ,madlle4 ,de l',espinasse 
ever penned such a dear little morsel of
 touching eloquence--so full of all a   
woman's tenderness6 ,her stern          

grandmother1 the lady and foundress of  
,hardwicke1 hangs near4 ,there are three
 pictures of her3 all the faces have an 
expression of sense and acuteness1 but  
none of them the beauty which is        
attributed to her4 ,there are also two  
of her husbands1 ,cavendish and         
,shrewsbury4 ,the former a grave1       
intelligent head2 the latter very       
striking from the lofty furrowed brow1  
the ample beard1 and regular but        
care-worn features4 ,a little farther on
 we find his son ,gilbert1 seventh earl 
of ,shrewsbury1 and ,mary ,cavendish1   
wife of the latter and daughter of ,bess
 of ,hardwicke4 ,she resembled her      
mother in features as in character4 ,the
 expression is determined1 intelligent1 
and rather cunning4 ,of her haughty and 
almost fierce temper1 a curious instance
 is recorded4 ,she had quarrelled with  
her neighbours1 the ,stanhopes1 and not 
being able to defy them with sword and  
buckler1 she sent one of her gentlemen1 
properly attended1 with a message to    

,sir ,thomas ,stanhope1 to be delivered 
in presence of witnesses1 in these      
words--,my lady hath commanded me to say
 thus much to you3 that though you be   
more wretched1 vile1 and miserable than 
any creature living1 and for your       
wickedness become more ugly in shape    
than the vilest toad in the world2 and  
one to whom none of any reputation would
 vouchsafe to send any message2 yet she 
hath thought good to send thus much to  
you1 that she be contented you should   
live1 7and doth noways wish your death17
 but to this end3 that all the plagues  
and miseries that may befall any man1   
may light on such a caitiff as you are1 
c42 7and then a few anathemas1 yet more 
energetic1 not fit to be transcribed by 
pen polite1 but ending with hell-fire47 
,with many other opprobrious and hateful
 words which could not be remembered1   
because the bearer would deliver it but 
once1 as he said he was commanded2 but  
said1 if he had failed in any thing1 it 
was in speaking it more mildly1 and not 

in terms of such disdain as he was      
commanded4 ,we are not told whether the 
gallantry of ,stanhope suffered him to  
throw the herald out of the window1 who 
brought him this gentle missive4 ,as for
 the termagant countess1 his adversary1 
she was afterwards imprisoned in the    
,tower for upwards of two years1 on     
account of ,lady ,arabella ,stuart's    
stolen match with ,lord ,seymour4 ,she  
ought assuredly to have brought forth   
men-children only2 but she left no son4 
,her three daughters married the earls  
of ,pembroke1 of ,arundel1 and of ,kent4
  ,the portraits of ,james ,v4 of       
,scotland and his ,queen1 ,mary of      
,guise1 are extremely curious4 ,there is
 something ideal and elegant about the  
head of ,james ,v4--the look we might   
expect to find in a man who died from   
wounded feeling4 ,his more unhappy      
daughter1 poor ,mary1 hangs near--a full
 length in a mourning habit1 with a     
white cap1 7of her own peculiar         
fashion17 and a veil of white gauze4    

,this1 ,i believe1 is the celebrated    
picture so often copied and engraved4   
,it is dated #aegh1 the thirty-sixth of 
her age1 and the tenth of her captivity4
 ,the figure is elegant1 and the face   
pensive and sweet4#fb ,beside her1 in   
strong contrast1 hangs ,elizabeth1 in a 
most preposterous farthingale1 and a    
superabundance of all her usual         
absurdities and enormities of dress4    
,the petticoat is embroidered over with 
snakes1 crocodiles1 and all manner of   
creeping things4 ,we feel almost        
inclined to ask whether the artist could
 possibly have intended them as emblems1
 like the eyes and ears in her picture  
at ,hatfield2 but it may have been one  
of the three thousand gowns1 in which   
,spenser's ,gloriana1 ,raleigh's ,venus1
 loved to array her old wrinkled1       
crooked carcase4 ,katherine of ,arragon 
is here--a small head in a hood3 the    
face not only harsh1 as in all her      
pictures1 but vulgar1 a characteristic  
,i never saw in any other4 ,there is    

that peculiar expression round the      
mouth1 which might be called either     
decision or obstinacy4 ,and here too is 
the famous ,lucy ,harrington1 ,countess 
of ,bedford1 the friend and patroness of
 ,ben ,jonson1 looking sentimental in a 
widow's dress1 with a white pocket      
handkerchief4 ,there is character enough
 in the countenance to make us turn with
 pleasure to ,ben ,jonson's exquisite   
eulogium on her4    ,i meant she should 
be courteous1 facile1 sweet1     ,hating
 that solemn vice of greatness1 pride3  
,i meant each softest virtue there      
should meet1     ,fit in that softer    
bosom to reside4   ,only a learned and a
 manly soul     ,i purposed her2 that   
should with even powers   ,the rock1 the
 spindle1 and the sheers controul       
,of destiny1 and spin her own free      
hours6   ,farther on is another more    
celebrated woman1 ,christian ,bruce1 the
 second ,countess of ,devonshire1 so    
distinguished in the reigns of ,charles 
,i4 and ,charles ,,ii4 ,she had all the 

good qualities of ,bess of ,hardwicke3  
her sense1 her firmness1 her talents for
 business1 her magnificent and          
independent spirit1 and none of her     
faults4 ,she was as feminine as she was 
generous and high-minded2 fond of       
literature1 and a patroness of poets and
 learned men3--altogether a noble       
creature4 ,she was the mother of that   
lovely ,lady ,rich1 the wise1 the fair1 
the virtuous1 and the young1#fc whose   
picture by ,vandyke is at               
,devonshire-house1 and there are two    
pictures at ,hardwicke of her handsome1 
gallant1 and accomplished son1 ,charles 
,cavendish1 who was killed at the battle
 of ,gainsborough4 ,many fair eyes      
almost wept themselves blind for his    
loss1 and his mother never recovered the
 sore heart-break of his death4  ,there 
are several pictures of her grandson1   
the first ,duke of ,devonshire--the     
patriot1 the statesman1 the munificent  
patron of letters1 the poet1 the man of 
gallantry1 and1 to crown all1 the       

handsomest man of his day4 ,he was one  
of the leaders in the revolution of     
#afhh--;for be it remembered that the   
,cavendishes1 from generation to        
generation1 have ennobled their nobility
 by their love of liberty1 as well as   
their love of literature and the arts4  
,one picture of this duke on horseback1 
en grand costume a la ,louis ,quatorze1 
is so embroidered and bewigged1 so      
plumed1 and booted1 and spurred1 that he
 is scarcely to be discerned through his
 accoutrements4 ,a cavalier of those    
days in full dress must have been a     
ponderous concern2 but then the ladies  
were as formidably vast and aspiring4   
,the petticoats at this time were so    
discursive1 and the head-dresses so     
ambitious1 that ,i think it must have   
been to save in canvass what they       
expended in satin or brocade1 that so   
many of the pretty women of that day    
were painted en bergere4  ,apropos to   
the first ,duke of ,devonshire3 ,i      
cannot help remarking the resemblance of

 the present duke to his illustrious    
ancestor1 as well as to several other   
portraits1 and particularly to a very   
distant relative--the first ,countess of
 ,burlington1 who was1 ,i believe1 the  
great-grandmother of his grace's        
grandmother2--in both these instances   
the likeness is so striking as to be    
recognized at once1 and not without a   
smiling exclamation of surprise4        
,another interesting picture is that of 
,rachael ,russell1 the second ,duchess  
of ,devonshire1 daughter of that heroine
 and saint1 ,lady ,russell3 the face is 
very beautiful1 and the air elegant and 
high-bred--with rather a pouting        
expression in the full red lips4  ,here 
is also the third duchess1 ,miss        
,hoskins1 a great city heiress4 ,the    
painter1 ,i suspect1 has flattered her1 
for she had not in her day the          
reputation of beauty4 ,when ,i looked at
 this picture1 so full of delicate1 and 
youthful1 and smiling loveliness1 ,i    
could not help recurring to a passage in

 ,horace ,walpole's letters1 in which he
 alludes to this sylph-like being1 as   
the ancient grace1 and congratulates    
himself on finding her in good-humour4  
,but of all the female portraits1 the   
one which struck me most was that of    
,lady ,charlotte ,boyle1 the young      
,marchioness of ,hartington1 in a       
masquerade habit of purple satin1       
embroidered with silver2 a fanciful     
little cap and feathers1 thrown on one  
side1 and the dark hair escaping in     
luxuriant tresses2 she holds a mask in  
her hand1 which she has just taken off1 
and looks round upon us in all the      
consciousness of happy and high-born    
loveliness4 ,she was the daughter and   
heiress of ,richard ,boyle1 the last    
,earl of ,burlington and ,cork1 and     
,baroness ,clifford in her own right4   
,the merits of the ,cavendishes were    
their own1 but their riches and power1  
in several instances1 were brought into 
the family by a softer influence4       
,through her1 ,i believe1 the vast      

estates of the ,boyles and ,cliffords in
 ,ireland and the north of ,england1    
including ,chiswick and ,bolton ,abbey1 
have descended to her grandson1 the     
present duke4#fd ,there are several     
pictures of her here--one playing on the
 harpsichord1 and another1 small and    
very elegant1 in which she is mounted on
 a spirited horse4 ,there are two heads 
of her in crayons1 by her mother1 ,lady 
,burlington1#fe ill-executed1 but said  
to be like her4 ,and another picture1   
representing her and her beautiful but  
ill-fated sister1 ,lady ,dorothy1 who   
was married very young to ,lord ,euston1
 and died six months afterwards1 in     
consequence of the brutal treatment of  
her husband4#ff ,all the pictures of    
,lady ,hartington have the same marked  
character of pride1 intellect1 vivacity1
 and loveliness4 ,but short was her gay 
and splendid career6 ,she died of a     
decline in the sixth year of her        
marriage1 at the age of four-and-twenty4
  ,here is also her father1 ,lord       

,burlington1 celebrated by ,pope1 7who  
has dedicated to him the second of his  
epistles on the use of riches17 and     
styled by ,walpole1 the ,apollo of the  
,arts1 which he not only patronised1 but
 studied and cultivated2 his enthusiasm 
for architecture was such1 that he not  
only designed and executed buildings for
 himself1 7the villa at ,chiswick1 for  
example17 but contributed great sums to 
public works2 and at his own expense    
published an edition of the designs of  
,palladio and of ,inigo ,jones4 ,in one 
picture of ,lord ,burlington there is a 
head of his idol1 ,inigo ,jones1 in the 
background4 ,there is also a good       
picture of ,robert ,boyle1 the          
philosopher1 a spare1 acute1            
contemplative1 interesting face1 in     
which there is as much sensibility as   
thought4 ,he is said to have died of    
grief for the loss of his favourite     
sister1 ,lady ,ranelagh2 and when we    
recollect who and what she was--the sole
 friend of his solitary heart--the      

partner of his studies1 and with        
qualities which rendered her the object 
of ,milton's enthusiastic admiration1   
and almost tender regard1 we scarce     
think less of her brother's philosophy1 
that it afforded him no consolation for 
the loss of such a sister4  ,on the     
other side hangs another philosopher1   
,thomas ,hobbes1 of ,malmsbury1 whose   
bold speculations in politics and       
metaphysics1 and the odium they drew on 
him1 rendered his whole life one        
continued warfare with established      
prejudices and opinions4 ,he was tutor  
in the family of the first ,earl of     
,devonshire1 in #afjg--remained         
constantly attached to the house of     
,cavendish--and never lost their        
countenance and patronage in the midst  
of all the calumnies heaped upon him4   
,he died at ,hardwicke under the        
protection of the first ,duke of        
,devonshire1 in #afgh4 ,this curious    
portrait represents him at the age of   
ninety-two4 ,the picture is not good as 

a picture1 but striking from the evident
 truth of the expression--uniting the   
last lingering gleam of thought with the
 withered1 wrinkled1 and almost ghastly 
decrepitude of extreme age4 ,it has1 ,i 
believe1 been engraved by ,hollar4  ,i  
looked round for ,henry ,cavendish1 the 
great chemist and natural               
philosopher--another bright ornament of 
a family every way ennobled--but there  
is no portrait of him at ,hardwicke4 ,i 
was also disappointed not to find the   
limned effigy1 as she would call it1 of 
my dear ,margaret of ,newcastle4  ,there
 are plenty of kings and queens1 truly  
not worth sixpence a-piece1 as ,walpole 
observes2 but there is one picture ,i   
must not forget--that of the brave and  
accomplished ,earl of ,derby1 who was   
beheaded at ,bolton-le-,moor1 the       
husband of the heroic ,lady of ,lathom1 
who figures in ,peveril of the ,peak4   
,the head has a grand melancholy        
expression1 and ,i should suppose it to 
be a copy from ,vandyke4  ,besides      

these1 were many others calculated to   
awaken in the thoughtful mind both sweet
 and bitter fancies4 ,how often have ,i 
walked up and down this noble gallery   
lost in commiserating reveries on the   
vicissitudes of departed grandeur6--on  
the nothingness of all that life could  
give6--on the fate of youthful beauties 
who lived to be broken-hearted1 grow    
old1 and die6--on heroes that once      
walked the earth in the blaze of their  
fame1 now gone down to dust1 and an     
endless darkness6--on bright faces1     
petries de lis et de roses1 since       
time-wrinkled6--on noble forms since    
mangled in the battle-field6--on        
high-born heads that fell beneath the   
axe of the executioner6--,o ye starred  
and ribboned6 ye jewelled and           
embroidered6 ye wise1 rich1 great1      
noble1 brave1 and beautiful1 of all your
 loves and smiles1 your graces and      
excellencies1 your deeds and            
honours--does then a painted board      
circumscribe all8     ,,althorpe4  ,a   

,,fragment4   ,it was on such a day as  
,i have seen in ,italy in the month of  
,december1 but which1 in our chill      
climate1 seemed so unseasonably1 so     
ominously beautiful1 that it was like   
the hectic loveliness brightening the   
eyes and flushing the cheek of          
consumption1--that ,i found myself in   
the domains of ,althorpe4 ,autumn1 dying
 in the lap of ,winter1 looked out with 
one bright parting smile2--the soft air 
breathed of ,summer2 the withered       
leaves1 heaped on the path1 told a      
different tale4 ,the slant1 pale sun    
shone out with all heaven to himself2   
not a cloud was there1 not a breeze to  
stir the leafless woods--those venerable
 woods1 which ,evelyn loved and         
commemorated3#fg the fine majestic old  
oaks1 scattered over the park1 tossed   
their huge bare arms against the blue   
sky2 a thin hoar frost1 dissolving as   
the sun rose higher1 left the lawns and 
hills sparkling and glancing in its ray2
 now and then a hare raced across the   

open glade--    ,and with her feet she  
from the plashy earth   ,raises a mist1 
which glittering in the sun1   ,runs    
with her all the way1 wherever she doth 
run4   ,nothing disturbed the serene    
stillness except a pheasant whirring    
from a neighbouring thicket1 or at      
intervals the belling of the deer--a    
sound so peculiar1 and so fitted to the 
scene1 that ,i sympathized in the taste 
of one of the noble progenitors of the  
,spencers1 who had built a hunting-lodge
 in a sequestered spot1 that he might   
hear the harte bell4  ,this was a day1  
an hour1 a scene1 with all its          
associations1 its quietness and beauty1 
felt in the blood1 and felt along the   
heart4 ,all worldly cares and pains were
 laid asleep2 while memory1 fancy1 and  
feeling waked4 ,althorpe does not frown 
upon us in the gloom of remote          
antiquity2 it has not the warlike       
glories of some of the baronial         
residences of our old nobility2 it is   
not built like a watch-tower on a hill1 

to lord it over feudal vassals2 it is   
not bristled with battlements and       
turrets4 ,it stands in a valley1 with   
the gradual hills undulating round it1  
clothed with rich woods4 ,it has        
altogether a look of compactness and    
comfort1 without pretension1 which1 with
 the pastoral beauty of the landscape1  
and low situation1 recall the ancient   
vocation of the family1 whose grandeur  
was first founded1 like that of the     
patriarchs of old1 on the multitude of  
their flocks and herds4#fh ,it was in   
the reign of ,henry the ,eighth that    
,althorpe became the principal seat of  
the ,spencers1 and no place of the same 
date can boast so many delightful1      
romantic1 and historical associations4  
,there is ,spenser the poet1 high-priest
 of all the ,muses' mysteries1 who      
modestly claimed1 as an honour1 his     
relationship to those ,spencers who now1
 with a just pride1 boast of him1 and   
deem his ,faery ,queen the brightest    
jewel in their coronet2 and the         

beautiful ,alice ,spencer1 countess of  
,derby1 who was celebrated in early     
youth by her poet-cousin1 and for whom  
,milton1 in her old age1 wrote his      
,arcades4 ,at ,althorpe1 in #afjc1 the  
queen and son of ,james the ,first were1
 on their arrival in ,england1 nobly    
entertained with a masque1 written for  
the occasion by ,ben ,jonson1 in which  
the young ladies and nobles of the      
country enacted nymphs and fairies1     
satyrs and hunters1 and danced to the   
sound of excellent soft music1 their    
scenery the natural woods1 their stage  
the green lawn1 their canopy the summer 
sky4 ,what poetical picturesque         
hospitality6 ,in these days it would    
have been a dinner1 with ,french cooks  
and confectioners express from ,london  
to dress it4 ,here lived ,waller's      
famous ,sacharissa1 the first ,lady     
,sunderland--so beautiful and good1 so  
interesting in herself1 she needed not  
his wit nor his poetry to enshrine her4 
,here she parted from her young         

husband1#fi when he left her to join the
 king in the field2 and here1 a few     
months after1 she received the news of  
his death in the battle of ,newbury1 and
 saw her happiness wrecked at the age of
 three-and-twenty4 ,here plotted her    
distinguished son1 that ,proteus of     
politics1 the second ,lord ,sunderland4 
,charles the ,first was playing at bowls
 on the green at ,althorpe1 when        
,colonel ,joyce's detachment surprised  
him1 and carried him off to imprisonment
 and to death4 ,here the excellent and  
accomplished ,evelyn used to meditate in
 the noble gallerie1 and in the ample   
gardens1 of which he has left us an     
admiring and admirable description1     
which would be as suitable today as it  
was a hundred and fifty years ago1 with 
the single exception of the great       
proprietor1 deservedly far more honoured
 in this generation than was his        
apostate time-serving ancestor1 the     
,lord ,sunderland of ,evelyn's day4#gj  
,when the ,spencers were divided1 the   

eldest branch of the family becoming    
,dukes of ,marlborough and the youngest 
,earls ,spencer--if the former inherited
 glory1 ,blenheim1 and poverty--to the  
latter have belonged more true and more 
substantial distinctions3 for the last  
three generations the ,spencers have    
been remarked for talents1 for          
benevolence1 for constancy1 for love of 
literature1 and patronage of the fine   
arts4  ,the house retains the form      
described by ,evelyn--that of a half ,h3
 a slight irregularity is caused by the 
new gothic room1 built by the present   
earl1 to contain part of his magnificent
 library1 which1 like the statue in the 
,castle of ,otranto1 had grown too big  
for what contained it4 ,we entered by a 
central door the large and lofty hall1  
or vestibule1 hung round with pictures  
of fox-chases and those who figured in  
them1 famous hunters1 quadruped and     
biped1 all as large as life1 spread over
 as much canvass as would make a        
mainsail for a man-of-war4 ,these huge  

perpetrations are of the time of ,jack  
,spencer1 a noted ,nimrod in his day2   
and are very fine1 as we were told1 but 
they did not interest me4 ,i had caught 
a glimpse of the superb staircase1 hung 
round with pictures above and below1 and
 not the less interesting as having been
 erected by ,sacharissa herself during  
the few years she was mistress of       
,althorpe4 ,a face looked at us from    
over an opposite door1 which there was  
no resisting4 ,does the reader remember 
,horace ,walpole's pleasant description 
of a party of seers posting through the 
apartments of a show-place8 ,they come2 
ask what such a room is called8--write  
it down2 admire a lobster or cabbage in 
a ,dutch market piece2 dispute whether  
the last room was green or purple2 and  
then hurry to the inn1 for fear the fish
 should be over-dressed4#ga ,we were not
 such a party2 but with imaginations    
ready primed to take fire1 and memories 
enriched with all the associations the  
place could suggest1 to us every        

portrait was a history4 ,the orthodox   
style of seeing the house is to turn to 
the left1 and view the ground-floor     
apartments first2 but the face ,i have  
mentioned seemed to beckon me           
straight-forward1 and ,i could not      
choose but obey the invitation3 it was  
that of ,lady ,bridgewater1 the         
loveliest of the four lovely daughters  
of the ,duke of ,marlborough3 she had   
the misfortune to be painted by ,jervas1
 and the good fortune to be celebrated  
by ,pope as the tender sister1 daughter1
 friend1 and wife2 and again--          
,thence ,beauty1 waking1 all her forms  
supplies--   ,an angel's sweetness--or  
,bridgewater's eyes4   ,jervas was      
supposed to have been presumptuously and
 desperately in love with this beautiful
 woman1 who died at the age of          
five-and-twenty3 hence ,pope has taken  
the liberty--by a poetical licence1 no  
doubt--to call her1 in his ,epistle to  
,jervas1 thy ,bridgewater4 ,two of her  
fair sisters1 the ,duchess of ,montagu  

and ,lady ,godolphin1 hung near her2 and
 above1 her fairer sister1 ,lady        
,sunderland4 ,ascending the magnificent 
staircase1 a hundred faces look down    
upon us1 in a hundred different         
varieties of expression1 in a hundred   
different costumes4 ,here are ,queen    
,anne and ,sarah ,duchess of            
,marlborough placed amicably side by    
side1 as in the days of their romantic  
friendship1 when they conversed and     
corresponded as ,mrs4 ,morley and ,mrs4 
,freeman3 the beauty1 the intellect1 the
 spirit1 are all on the side of the     
imperious duchess2 the poor queen looks 
like what she was1 a good-natured fool4 
,on the left is the cunning abigail1 who
 supplanted the duchess in the favour of
 ,queen ,anne--,mrs4 ,masham4           
,proceeding along the gallery1 we are   
met by the portrait of that angel-devil1
 ,lady ,shrewsbury1#gb whose exquisite  
beauty fascinates at once and shocks the
 eye like the gorgeous colours of an    
adder4 ,i believe the story of her      

holding the ,duke of ,buckingham's horse
 while he shot her husband in a duel1   
has been disputed2 but her attempt to   
assassinate ,killegrew1 while she sat by
 in her carriage1#gc is too true4 ,so   
far had her depravities unsexed her6    
----,lorsque la vertu1 avec peine       
abjuree1   ,nous fait voir une femme a  
ses fureurs livree1   ,s'irritant par   
l'effort que ce pas a coute1   ,son ame 
avec plus d'art a plus de cruaute4      
,she was even less famous for the number
 of her lovers1 than the catastrophes of
 which she was the cause4    ,had ever  
nymph such reason to be glad8   ,two in 
a duel fell1 and one ran mad4   ,not    
two1 but half a dozen fell in duels2 and
 if her lovers ran mad1 it was in       
despite1 not in despair4 ,lady          
,shrewsbury is past jesting or satire2  
and after a first involuntary pause of  
admiration before her matchless beauty1 
we turn away with horror4 ,for the rest 
of the portraits on this vast staircase1
 it would take a volume to give a       

catalogue raisonnee of them4 ,we pass1  
then1 into a corridor hung with two     
large and very mediocre landscapes1     
representing ,tivoli and ,terni4 ,any   
attempt1 even the best1 to paint a      
cataract must be abortive4 ,how render  
to the fancy the two grandest of its    
features--sound and motion8 the thunder 
and the tumult of the headlong waters8  
,we will pass on to the gallery1 and    
lose ourselves in its enchantments4     
,where shall we begin8--,any where4     
,throw away the catalogue3 all are old  
acquaintances4 ,we are tempted to speak 
to them1 and they look as if they could 
curtsey to us4 ,the very walls breathe  
around us4 ,what ,vandykes--what        
,lelys--what ,sir ,joshuas6 what a      
congregation of all that is beauteous   
and noble6--what ,spencers1 ,sydneys1   
,digbys1 ,russells1 ,cavendishes1 and   
,churchills6--,o what a scene to        
moralize1 to philosophize1 to           
sentimentalize in6--what histories in   
those eyes1 that look1 yet see          

not6--what sermons on those lips1 that  
all but speak2 ,i would rather reflect  
in a picture-gallery1 than elegize in a 
churchyard4 ,the poca polvere che nulla 
sente1 can only tell us we must die2    
these1 with a more useful and deep-felt 
morality1 tell us how to live4  ,yet ,i 
cannot say ,i felt thus pensive and     
serious the first time ,i looked round  
the gallery at ,althorpe4 ,curiosity1   
excitement1 interest1 admiration--a     
crowd of quick successive images and    
recollections fleeting across the       
memory--left me no time to think4 ,i    
remember being startled1 the moment ,i  
entered1 by a most extraordinary        
picture1--the second ,prince of ,orange1
 and his preceptor ,katts1 by ,flinck4  
,the eyes of the latter are really      
shockingly alive2 they stare out of the 
canvass1 and glitter and fascinate like 
those of a serpent4 ,if ,i had been a   
,roman ,catholic1 ,i should have crossed
 myself1 as ,i looked at them1 to shield
 me from their evil and supernatural    

expression4#gd ,the picture of the two  
,sforzas1 ,maximilian and his brother   
,francis1 by ,albert ,durer1 is quite a 
curiosity2 and so is another1 by        
,holbein1 near it1 containing the       
portraits of ,henry the ,eighth1 his    
daughter ,mary1 and his jester1 ,will   
,somers1--all full of individuality and 
truth4 ,the expression in ,mary's face1 
at once saturnine1 discontented and     
vulgar1 is especially full of character4
 ,these last three pictures are curious 
and valuable as specimens of art2 but   
they are not pleasing4 ,we turn to the  
matchless ,vandykes1 at once admirable  
as paintings1 and yet more interesting  
as portraits4 ,a full-length of his     
master and friend1 ,rubens1 dressed in  
black1 is magnificent2 the attitude     
particularly graceful4 ,near the centre 
of the gallery is the charming          
full-length of ,queen ,henrietta ,maria1
 a well-known and celebrated picture4   
,she is dressed in white satin1 and     
stands near a table on which is a vase  

of white roses1 and1 more in the shade1 
her regal crown4 ,nothing can be in     
finer taste than the contrast between   
the rich1 various1 but subdued colours  
of the carpet and background1 and the   
delicate1 and harmonious1 and brilliant 
tints which throw out the figure4 ,none 
of the pictures ,i had hitherto seen of 
,henrietta1 either in the king's private
 collection1 or at ,windsor1 do justice 
to the sparkling grace of her figure1 or
 the vivacity and beauty of her eyes1 so
 celebrated by all the contemporary     
poets4 ,waller1 for instance3--         
,could ,nature then no private woman    
grace1   ,whom we might dare to love1   
with such a face1   ,such a complexion1 
and so radiant eyes1   ,such lovely     
motion1 and such sharp replies8         
,davenant styles her1 very beautifully1 
,the rich-eyed darling of a monarch's   
breast4 ,lord ,holland1 in the          
description he sent from ,paris1 dwells 
on the charm of her eyes1 her smile1 and
 her graceful figure1 though he admits  

her to be rather petite2 and if the poet
 and the courtier be distrusted1 we have
 the authority of the puritanic ,sir    
,symond d',ewes1 who allows the         
influence of her excellent and sparkling
 black eyes4 ,henrietta could be very   
seductive1 and had all the ,french grace
 of manner2 but1 as is well known1 she  
could play the virago1 and cast such a  
scowl1 as frightened all the lords and  
ladies in waiting4 ,too much importance 
is attached to her character and her    
influence over her husband1 in the      
histories of that time4 ,she was a      
fascinating1 but a superficial and      
volatile ,frenchwoman4 ,with all her    
feminine love of sway1 she had not      
sufficient energy to govern2 and with   
all her disposition to intrigue1 she    
never had discretion enough to keep her 
own or the king's secrets4 ,when she    
rushed through a storm of bullets to    
save a favourite lap-dog2 or when1 amid 
the shrieks and entreaties of her       
terrified attendants1 she commanded the 

captain of her vessel to blow up the    
ship rather than strike to the          
,parliamentarian1--it was more the      
spirit and wilfulness of a woman1 who1  
with all her faults1 had the blood of   
,henri ,quatre in her veins1 than the   
mental energy and resolute fortitude of 
a heroine4 ,near her hangs her daughter1
 who inherited her grace1 her beauty1   
her petulance1--the unhappy ,henriette  
d',orleans1#ge fair1 radiant1 and       
lively1 with a profusion of beautiful   
hair2 it is impossible to look from the 
mother to the daughter1 without         
remembering the scene in ,retz's        
memoirs1 when the queen said to him1 in 
excuse for her daughter's absence1 ,my  
poor ,henrietta is obliged to lie in    
bed1 for ,i have no wood to make a fire 
for her--et la pauvre enfant etait      
transie de froid4  ,another picture by  
,vandyke hangs at the top of the room1  
one of the grandest and most spirited of
 his productions4 ,it represents        
,william1 the first ,duke of ,bedford1  

the father of ,lord ,william ,russell1  
when young1 and his brother-in-law1 the 
famous 7and infamous7 ,digby1 ,earl of  
,bristol4 ,how admirably ,vandyke has   
caught the characters of the two        
men6--the fine commanding form of the   
duke1 as he steps forward1 the frank1   
open countenance1 expressive of all that
 is good and noble1 speak him what he   
was--not less than that of ,digby1      
which1 though eminently handsome1 has   
not one elevated or amiable trait in the
 countenance2 the drapery1 background1  
and more especially the hands1 are      
magnificently painted4 ,on one side of  
this superb picture1 hangs the present  
,earl ,spencer when a youth2 and on the 
other1 his sister1 ,georgiana ,duchess  
of ,devonshire1 at the age of eighteen1 
looking all life and high-born          
loveliness1 and reminding one of        
,coleridge's beautiful lines to her3--  
,light as a dream your days their       
circlets ran   ,from all that teaches   
brotherhood to man1   ,far1 far removed6

 from want1 from grief1 from fear6      
,obedient music lull'd your infant ear2 
,obedient praises soothed your infant   
heart2     ,emblazonments and old       
ancestral crests1   ,with many a bright 
obtrusive form of art1     ,detain'd    
your eye from nature4 ,stately vests1   
,that veiling strove to deck your charms
 divine1   ,rich viands and the         
pleasurable wine1   ,were yours unearn'd
 by toil4----   ,and he thus beautifully
 alludes to her maternal character2 for 
this accomplished woman set the example 
to the highest ranks1 of nursing her own
 children3--    ,you were a mother6 at  
your bosom fed     ,the babes that loved
 you4 ,you1 with laughing eye1   ,each  
twilight thought1 each nascent feeling  
read1     ,which you yourself created4  
,alas1 that such a beginning should have
 such an end6  ,both these are          
whole-lengths1 by ,sir ,joshua          
,reynolds3 the middle tints are a little
 flown1 else they were perfect2 they    
suffer by being hung near the glowing   

yet mellowed tints of ,vandyke4  ,we    
have here a whole bevy of the heroines  
of ,de ,grammont1 delightful to those   
who have what ,walpole used to call the 
,de ,grammont madness upon them4 ,here  
is that beautiful1 audacious termagant1 
,castlemaine1 very like her picture at  
,windsor1 and with the same             
characteristic bit of storm gleaming in 
the background4--,lady ,denham1#gf the  
wife of the poet1 ,sir ,john ,denham1   
and niece of that ,lord ,bristol who    
figures in ,vandyke's picture above     
mentioned--a lovely creature1 and a     
sweet picture4--,louise de ,querouaille1
 ,duchess of ,portsmouth1 who so long   
ruled the heart and councils of ,charles
 the ,second1 in ,lely's finest style2  
the face has a look of blooming         
innocence1 soon exchanged for coarseness
 and arrogance4--,the indolent1 alluring
 ,middleton1 looking from under her     
sleepy eyelids1 trop coquette pour      
rebuter personne4--,la ,belle ,hamilton1
 the lovely prize of the volatile ,de   

,grammont2 very like her portrait at    
,windsor1 with the same finely formed   
bust and compressed ruby lips1 but with 
an expression more vivacious and saucy1 
and less elevated4--,two portraits of   
,nell ,gwyn1 with the fair brown air and
 small bright eyes they ought to have2  
au reste1 with such prim1 sanctified    
mouths1 and dressed with such elaborate 
decency1 that instead of reminding us of
 the parole sciolte d'ogni freno1 risi1 
vezzi1 giuochi--they are more like ,beck
 ,marshall1 the puritan's daughter1 on  
her good behaviour4#gg  ,here is that   
extraordinary woman ,hortense ,mancini1 
,duchess of ,mazarin1 the fame of whose 
beauty and gallantries filled all       
,europe1 and once the intended wife of  
,charles the ,second1 though she        
afterwards intrigued in vain for the    
less 7or more7 eligible post of         
maitresse en titre4 ,what an            
extraordinary1 wild1 perverted1         
good-for-nothing1 yet interesting set of
 women1 were those four ,mancini        

sisters6 all victims1 more or less1 to  
the pride1 policy1 or avarice1 of their 
cardinal uncle2 all gifted by nature    
with the fervid ,italian blood and the  
plotting ,italian brain2 all really     
aventurieres1 while they figured as     
duchesses and princesses4 ,they wore    
their coronets and ermine as strolling  
players wear their robes of state--with 
a sort of picturesque awkwardness--and  
they proved rather too scanty to cover a
 multitude of sins4  ,this head of      
,hortense ,mancini1 as ,cleopatra       
dissolving the pearl1 is the most       
spirited1 but the least beautiful       
portrait ,i have seen of her4 ,an       
appropriate pendant on the opposite side
 is her lover1 philosopher1 and         
eulogist1 the witty ,st4                
,evremond--,grammont's ,caton de        
,normandie2 but instead of looking like 
a good-natured epicurean1 a man who     
thought as he liked1 and liked what he  
thought1#gh his nose is here wrinkled up
 into an expression of the most         

supercilious scorn1 adding to his native
 ugliness4#gi ,both these are by        
,kneller4 ,farther on1 is another of    
,charles's beauties1 whose sagesse has  
never been disputed--,elizabeth         
,wriothesley1 ,countess of              
,northumberland1 the sister of that half
 saint1 half heroine1 and all           
woman--,lady ,russell4  ,there is also a
 lovely picture of that magnificent     
brunette1 ,miss ,bagot4 ,elle avait1    
says ,hamilton1 ce teint rembruni qui   
plait tant quand il plait4 ,she married 
,berkeley ,lord ,falmouth1 a man who1   
though unprincipled1 seems to have loved
 her2 at least1 was not long enough her 
husband to forget to be her lover3 he   
was killed1 shortly after his marriage1 
in the battle of ,southwold-bay4 ,this  
is assuredly one of the most splendid   
pictures ,lely ever painted2 and it is1 
besides1 full of character and interest4
 ,she holds a cannon-ball in her lap1   
7only an airy emblematical cannon-ball1 
for she poises it like a feather17 and  

the countenance is touched with a sweet 
expression of melancholy3 hence it is   
plain that she sat for it soon after the
 death of her first husband1 and before 
her marriage with the witty ,earl of    
,dorset4--,near her hangs another fair  
piece of witchcraft1 ,la ,belle         
,jennings1 who in her day played with   
hearts as if they had been billiard     
balls2 and no wonder1 considering what  
things she had to deal with3#hj there   
was a great difference between her      
vivacity and that of her vivacious      
sister1 the ,duchess of                 
,marlborough4--,old ,sarah hangs near   
her4 ,one would think that ,kneller1 in 
spite1 had watched the moment to take a 
characteristic likeness1 and catch1 not 
the ,cynthia1 but the ,fury of the      
minute2 as for instance1 when she cut   
off her luxuriant tresses1 so worshipped
 by her husband1 and flung them in his  
face2 for so she tosses back her        
disdainful head1 and curls her lip like 
an insolent1 pouting1 spoiled1 grown-up 

baby4 ,the life of this woman is as fine
 a lesson on the emptiness of all       
worldly advantages1 boundless wealth1   
power1 fame1 beauty1 wit1 as ever was   
set forth by moralist or divine4    ,by 
spirit robb'd of power--by warmth1 of   
friends--   ,by wealth1 of followers6   
without one distress1   ,sick of herself
 through very selfishness4#ha   ,and yet
 ,i suspect that the ,duchess of        
,marlborough has never met with justice4
 ,history knows her only as             
,marlborough's wife1 an intriguing dame 
d'honneur1 and a cast-off favourite4    
,vituperated by ,swift1 satirized by    
,pope1 ridiculed by ,walpole--what angel
 could have stood such bedaubing1 and   
from such pens8    ,o she has fallen    
into a pit of ink6   ,but glorious      
talents she had1 strength of mind1      
generosity1 the power to feel and       
inspire the strongest attachment1--and  
all these qualities were degraded1 or   
rendered useless1 by temper6 ,her       
avarice was not the love of money for   

its own sake1 but the love of power2 and
 her bitter contempt for knaves and     
fools may be excused1 if not justified4 
,imagine such a woman as the ,duchess of
 ,marlborough out-faced1 out-plotted by 
that crowned cypher1 that sceptred      
commonplace1 queen ,anne6 ,it should    
seem that the constant habit of being   
forced to serve1 outwardly1 where she   
really ruled1--the consciousness of her 
own brilliant and powerful faculties    
brought into immediate hourly comparison
 with the confined trifling             
understanding of her mistress1 a disdain
 of her own forced hypocrisy1 and a     
perception of the heartless baseness of 
the courtiers around her1 disgusting to 
a mind naturally high-toned1 produced at
 length that extreme of bitterness and  
insolence which made her so often an    
embodied storm4 ,she was always a       
termagant--but of a very different      
description from the vulgar             
,castlemaine4  ,though the picture of   
,colonel ,russell1 by ,dobson1 is really

 fine as a portrait1 the recollection of
 the scene between him and ,miss        
,hamilton#hb--;his love of dancing1 to  
prove he was not old and                
asthmatical1--and his attachment to his 
chapeau pointu1 make it impossible to   
look at him without a smile--but a      
good-humoured smile1 such as his lovely 
mistress gave him when she rejected him 
with so much politeness4--,arabella     
,churchill1 the sister of the great     
,duke of ,marlborough1 and mistress of  
the ,duke of ,york1 has been better     
treated by the painter than by          
,hamilton2 instead of ,la grande        
creature1 pale et decharnee1 she appears
 here a very lovely woman4 ,but enough  
of these equivocal ladies4 ,no--before  
we leave them1 there are yet two to be  
noticed1 more equivocal1 more           
interesting1 and more extraordinary than
 all the rest put together--,bianca di  
,capello1 who1 from a washerwoman1      
became ,grand ,duchess of ,florence1    
with less beauty than ,i should have    

expected1 but as much countenance2 and  
the beautiful1 but appalling picture of 
,venitia ,digby1 painted after she was  
dead1 by ,vandyke3 she was found one    
morning sitting up in her bed1 leaning  
her head on her hand1 and lifeless2 and 
thus she is painted4 ,notwithstanding   
the ease and grace of the attitude1 and 
the delicacy of the features1 there is  
no mistaking this for slumber3 a heavier
 hand has pressed upon those eyelids1   
which will never more open to the light3
 there is a leaden lifelessness about   
them1 too shockingly true and real--    
,it thrills us with mortality1   ,and   
curdles to the gazer's heart4   ,her    
picture at ,windsor is the most         
perfectly beautiful and impressive      
female portrait ,i ever saw4 ,how have  
,i longed1 when gazing at it1 to conjure
 her out of her frame1 and bid her      
reveal the secret of her mysterious life
 and death6--,nearly opposite to the    
dead ,venitia1 in strange contrast1     
hangs her husband1 who loved her to     

madness1 or was mad before he married   
her1 in the very prime of life and      
youth4 ,this picture1 by ,cornelius     
,jansen1 is as fine as any thing of     
,vandyke's3 the character expresses more
 of intellectual power and physical     
strength1 than of that elegance of face 
and form we should have looked for in   
such a fanciful being as ,sir ,kenelm   
,digby3 he looks more like one of the   
,athletae than a poet1 a metaphysician1 
and a squire of dames4  ,there are three
 pictures of ,waller's famed            
,sacharissa1 the first ,lady            
,sunderland3 one in a hat1 at the age of
 fifteen or sixteen1 gay and blooming2  
the second1 far more interesting1 was   
painted about the time of her marriage  
with the young ,earl of ,sunderland1 or 
shortly after--very sweet and lady-like4
 ,i should say that the high-breeding of
 the face and air was more conspicuous  
than the beauty2 the neck and hands     
exquisite4 ,both these are ,vandyke's4  
,a third picture represents her about   

the time of her second marriage3 the    
expression wholly changed--cold1 sad1   
faded1 but pretty still3 one might fancy
 her contemplating1 with a sick heart1  
the portrait of ,lord ,sunderland1 the  
lover and husband of her early youth1   
who hangs on the opposite side of the   
gallery1 in complete armour3 he fell in 
the same battle with ,lord ,falkland1 at
 the age of three-and-twenty4 ,the      
brother of ,sacharissa1 the famous      
,algernon ,sidney1 is suspended near    
her2 a fine head1 full of contemplation 
and power4  ,among the most interesting 
pictures in the gallery is an undoubted 
original of ,lady ,jane ,grey4 ,after   
seeing so many hideous1 hard1           
prim-looking pictures and prints of this
 gentle-spirited heroine1 it is         
consoling to trust in the genuineness of
 a face which has all the sweetness and 
dignity we look for1 and ought to find4 
,then1 by way of contrast1 we have that 
most curious picture of ,diana of       
,poitiers1 once in the ,crawfurd        

collection3 it is a small half-length2  
the features fair and regular2 the hair 
is elaborately dressed with a profusion 
of jewels2 but there is no drapery      
whatever--force pierreries et tres peu  
de linge1 as ,madame de ,sevigne        
described the two ,mancini4#hc ,round   
the head is the legend from the #db;d   
,psalm--,comme le cerf braie apres le   
decours des eaues1 ainsi brait mon ame  
apres toi1 ,o ,dieu1 which is certainly 
an extraordinary application4 ,in the   
days of ,diana of ,poitiers1 the        
beautiful mistress of ,henry the ,second
 of ,france1 it was the court fashion to
 sing the ,psalms of ,david to dance and
 song tunes2#hd and the courtiers and   
beauties had each their favourite psalm1
 which served as a kind of devise3 this 
may explain the very singular           
inscription on this very singular       
picture4 ,here are also the portraits of
 ,otway and ,cowley1 and of ,montaigne2 
the last from the ,crawfurd collection4 
,i had nearly omitted to mention a      

magnificent whole-length of the ,duc de 
,guise--who was stabbed in the closet of
 ,henry the ,third--whose life contains 
materials for ten romances and a dozen  
epics1 and whose death has furnished    
subjects for as many tragedies4 ,and not
 far from him that not less daring1 and 
more successful chief1 ,oliver          
,cromwell3 a page is tying on his sash4 
,there is a vulgar power and boldness   
about this head1 in fine contrast with  
the high-born1 fearless1                
chivalrous-looking ,guise4  ,in the     
library is the splendid picture of      
,sofonisba ,angusciola1 by herself3 she 
is touching the harpsichord1 for like   
many others of her craft1 she excelled  
in music4 ,angelica ,kauffman had nearly
 been an opera-singer4 ,the instances of
 great painters being also excellent    
musicians are numerous2 ,salvator ,rosa 
could have led an orchestra1 and ,vernet
 could not exist without ,pergolesi's   
piano4 ,but ,i cannot recollect an      
instance of a great musician by         

profession1 who has also been a painter3
 the range of faculties is generally    
more confined4  ,rembrandt's large      
picture of his mother1 which is1 ,i     
think1 the most magnificent specimen of 
this master now in ,england1 hangs over 
the chimney in the same room with the   
,sofonisba4  ,the last picture ,i can   
distinctly remember is a portrait by    
,sir ,joshua ,reynolds1 with all his    
perfections combined in their           
perfection4 ,it is that of a beautiful  
,frenchwoman1 an intimate friend of the 
last ,lady ,spencer--with as much       
intellect1 sentiment1 and depth of      
feeling as would have furnished out     
twenty ordinary heads2 all harmony in   
the colouring1 all grace in the drawing4
  ,here then was food for the eye and   
for the memory--for sweet and bitter    
fancy--for the amateur1 and for the     
connoisseur--for antiquary1 historian1  
painter1 and poet4 ,well might ,horace  
,walpole say that the gallery at        
,althorpe was endeared to the pensive   

spectator4 ,he tells us in his letters1 
that when here1 7about seventy years    
since17 he surprised the housekeeper by 
his intimate acquaintance with all the  
faces in the gallery4 ,i was amused at  
the thought that we caused a similar    
surprise in our day4 ,i hope his female 
cicerone was as civil and intelligent as
 ours2 as worthy to be the keeper of the
 pictorial treasures of ,althorpe4 ,when
 we lingered and lingered1 spell-bound1 
and apologized for making such          
unconscionable demands on her patience1 
she replied1 that she was flattered2    
that she felt affronted when any visitor
 hurried through the apartments4 ,old   
,horace would have been delighted with  
her2 and not less with the biblical     
enthusiasm of a village glazier1 whom we
 found dusting the books in the library1
 and who had such a sublime reverence   
for old editions1 unique copies1        
illuminated ,,mss41 and rare bindings1  
that it was quite edifying4         99  
99       99       99       99           

,illustration  ,,end ,,of ,,vol4 ,,ii4  
,,london3   ,,ibotson ,,and ,,palmer1   
,,printers1 ,,savoy ,,street1 ,,strand4 
99       99       99       99       99  
,,footnotes3   ,footnote #a3 ,in the    
throne-room at the ,buckingham ,palace  
the idea of grandeur is suggested by a  
vile heraldic crown1 stuck on the       
capitals of the columns4 ,conceive the  
flagrant1 the vulgar barbarity of       
taste66 ,it cannot surely be attributed 
to the architect8  ,footnote #b3 ,there 
is a very pretty little edition of his  
lyrical poems1 rendered into the modern 
,german by ,karl ,simrock1 and published
 at ,berlin in #ahcc4  ,footnote #c3    
,see a very interesting account of      
,walther von der ,vogelweide1 with      
translations of some of his poems in    
,the ,lays of the ,minnesingers1        
published in #ahbe4  ,footnote #d3 ,see 
a very learned and well-written article 
on the ancient ,german and northern     
poetry in the ,edinburgh ,review1 vol4  
#bf4  ,footnote #e3 ,the legend of this 

charming saint1 one of the most popular 
in ,germany1 is but little known among  
us4 ,she was the wife of a margrave of  
,thuringia1 who was a fierce1 avaricious
 man1 while she herself was all made up 
of tenderness and melting pity4 ,she    
lived with her husband in his castle on 
the ,wartsburg1 and was accustomed to go
 out every morning to distribute alms   
among the poor of the valley3 her       
husband1 jealous and covetous1 forbade  
her thus to exercise her bounty2 but as 
she regarded her duty to ,god and the   
poor1 even as paramount to conjugal     
obedience1 she secretly continued her   
charitable offices4 ,her husband        
encountered her one morning at sunrise1 
as she was leaving the castle with a    
covered basket containing meat1 bread1  
and wine1 for a starving family4 ,he    
demanded1 angrily1 what she had in her  
basket6 ,elizabeth1 trembling1 not for  
herself1 but for her wretched proteges1 
replied1 with a faltering voice1 that   
she had been gathering roses in the     

garden4 ,the fierce chieftain1 not      
believing her1 snatched off the napkin1 
and ,elizabeth fell on her knees4--,but1
 behold1 a miracle had been operated in 
her favour6--,the basket was full of    
roses1 fresh gathered1 and wet with dew4
  ,footnote #f3 ,see ,taylor's ,historic
 ,survey of ,german ,poetry4 ,herman was
 afterwards murdered by a band of       
conspirators1 and ,thusnelda1 on        
learning the fate of her husband1 died  
brokenhearted4  ,footnote #g3 ,the      
notices which follow are abridged from  
the essay on ,ancient ,german and       
,northern ,poetry1 before               
mentioned--from the preface to the      
edition of the ,nibelungen ,lied1 by ,m4
 ,von der ,hagen--and the analysis of   
the poem in the ,illustrations of       
,northern ,antiquities4 ,my own first   
acquaintance with the ,nibelungen ,lied1
 ,i owed to an accomplished friend1 who 
gave me a detailed and lively analysis  
of the story and characters2 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 ,nibelungen4     
,footnote #h3 ,dietrich of ,bern 7i4 e4 
,theodoric of ,verona17 is the great    
hero of ,south ,germany--the ,king      
,arthur of ,teutonic romance1 who       
figures in all the warlike lays and     
legends of the middle ages4  ,footnote  
#i3 ,see the ,illustrations of ,northern
 ,antiquities1 p4 #bac4  ,footnote #aj3 
,in the altercation between the two     
queens1 ,chrimhilde boasts of possessing
 these trophies1 and displays them in   
triumph to her mortified rival2 for     
which indiscretion1 as she afterwards   
complains1 her husband was in high      
anger1 and beat her black and blue4     
,this treatment1 however1 which seems to
 have been quite a matter of course1    
does not diminish the fond idolatry of  
the wife1--rather increases it4         
,footnote #aa3 ,this list will be       
subjoined at the end of these ,sketches4
  ,footnote #ab3 ,sofonisba ,augusciola1

 one of the most charming of portrait   
painters4 ,she died in #afbf1 at the age
 of ninety-three4  ,footnote #ac3 ,i    
regret that ,i omitted to note the name 
of the artist of this magnificent work4 
,there is a still more admirable        
monument of the same period in the      
church at ,inspruck1 the tomb of the    
archduke1 ,ferdinand of ,tyrol1         
consisting1 ,i believe1 of twelve       
colossal statues in bronze4  ,footnote  
#ad3 ,the first stone of the ,valhalla  
was laid by the ,king of ,bavaria1 on   
the #ahth of ,october #ahcj4  ,footnote 
#ae3 ,the ,einheriar are the souls of   
heroes admitted into the ,valhalla4     
,footnote #af3 ,daniel4  ,footnote #ag3 
,lithography was invented at ,munich    
between #agie and #agih1 for so long    
were repeated experiments tried before  
the art became useful or general4       
,senefelder1 the inventor1 was an actor1
 and the son of an actor4 ,the first    
occasion of the invention was his wish  
to print a little drama of his own1 in  

some manner less expensive than the     
usual method of type4 ,the first        
successful experiment was the printing  
of some music1 published 7#agif7 by     
,gleissner1 one of the king of          
,bavaria's band3 the first drawing      
attempted was a vignette to a sheet of  
music4 ,in the course of his attempts to
 pursue and perfect his discovery1      
,senefelder was reduced to such poverty1
 that he offered himself to enlist for a
 common soldier1 and1 luckily1 was      
refused4 ,he again took heart1 and1     
supported through every difficulty and  
discouragement by his own strong and    
enthusiastic mind1 he at length overcame
 all obstacles1 and has lived to see his
 invention established and spread over  
the whole civilized world4 ,hitherto1 ,i
 believe1 the stone used by             
lithographers is found only in ,bavaria1
 whence it is sent to every part of     
,europe and ,america1 and forms a most  
profitable article of commerce4 ,the    
principal quarries are at ,solenholfen1 

on the ,danube1 about fifty miles from  
,munich4  ,senefelder has published a   
little memoir of the origin and progress
 of the invention1 in which he relates  
with great simplicity the hardship1 and 
misery1 and contumely1 he encountered   
before he could bring it into use4 ,he  
concludes with an earnest prayer1 that  
it may contribute to the benefit and    
improvement of mankind1 and that it may 
never be abused to any dishonourable or 
immoral purpose4  ,if ,i remember       
rightly1 a detailed history of the art  
was given in one of the early numbers of
 the ,foreign ,review4  ,footnote #ah3  
,the population of ,munich is estimated 
at about #fj1jjj4 ,it does not enter    
into my plan1 at present1 to give any   
detailed account of the public          
institutions1 whether academies1        
schools1 hospitals1 or prisons2 yet ,i  
cannot but mention the prison at        
,munich1 which more than pays its own   
expenses1 instead of being a burthen to 
the state2 the admirable hospital for   

the poor1 in which all who cannot find  
work elsewhere1 are provided with       
occupation2 two large hospitals for the 
sick poor1 in which rooms and attendance
 are also provided for those who do not 
choose to be a burthen to their friends1
 nor yet dependent on charity2 the      
orphan school2 the female school1       
endowed by the king2 the foundling and  
lying-in hospitals1 establishments      
unhappily most necessary in ,munich1 and
 certainly most admirably conducted4    
,these1 and innumerable private         
societies for the assistance1 the       
education1 and the improvement of the   
lower classes1 ought to receive the     
attention of every intelligent          
traveller4  ,there are no poor laws in  
operation at ,munich1 no mendicity      
societies1 no tract1 and soup and       
blanket charities2 yet pauperism1       
mendicity1 and starvation1 are nearly   
unknown4 ,for the system of regulations 
by which these evils have been repressed
 or altogether remedied1 ,i believe     

,bavaria is indebted to the celebrated  
,american1 ,count ,rumford1 who was in  
the service of the late king1           
,max-,joseph1 from #agij to #agii4      
,several new manufactories have lately  
been established1 particularly of glass 
and porcelain1 and the latter is carried
 to a high degree of perfection4        
,footnote #ai3 ,ida of ,saxe-,meiningen1
 sister of the queen of ,england4       
,footnote #bj3 ,it is difficult to      
translate this laconic proverb1 because 
we have not the corresponding words in  
,english3 the meaning may be            
rendered--according to the country1 so  
are the manners4  ,footnote #ba3 ,when  
the city was besieged by ,wallenstein in
 #afcb4  ,footnote #bb3 ,born at        
,nuremberg in #adid4  ,footnote #bc3    
,see the admirable ,essay on the ,early 
,german and ,northern ,poetry1 already  
alluded to4  ,footnote #bd3 ,anthony1   
the present king of ,saxony4 ,he is1    
however1 in his dotage1 being now in his
 eighty-fifth year4  ,footnote #be3 ,the

 description of ,dresden and its        
environs1 in ,russel's ,tour in         
,germany1 is one of the best written    
passages in that amusing book--so       
admirably graphic and faithful1 that    
nothing can be added to it as a         
description1 therefore ,i have effaced  
those notes which it has rendered       
superfluous4 ,it must1 however1 be      
remembered by those who refer to ,mr4   
,russel's work1 that a revolution has   
taken place1 by which the king1 now     
fallen into absolute dotage1 has been   
removed from the direct administration  
of the government1 and a much more      
popular and liberal tone prevails in the
 ,estates3 the two princes1 nephews of  
the king1 whom ,mr4 ,russel mentions as 
persons of whom scarcely any body thinks
 of speaking at all1 have since made    
themselves extremely                    
conspicuous2--,prince ,frederic has been
 declared regent1 and is apparently much
 respected and beloved2 and ,prince     
,john has distinguished himself as a    

speaker in the ,assembly of the ,states1
 and takes the liberal side on most     
occasions4 ,a spirit of amelioration is 
at work in ,dresden1 as elsewhere1 and  
the ten or twelve years which have      
elapsed since ,mr4 ,russel's visit have 
not passed away without some salutary   
changes1 while more are evidently at    
hand4  ,mr4 ,russel speaks of the       
secrecy with which the sittings of the  
,chambers were then conducted3 they are 
now public1 and the debates are printed 
in the ,gazette at considerable length4 
,footnote #bf3 ,augustus ,,ii4 abjured  
the ,protestant religion in #agjj1 in   
order to obtain the crown of ,poland4   
,footnote #bg3 ,the first tenor at      
,dresden in #ahcc4  ,footnote #bh3 ,an  
opera by ,franz ,glazer of ,berlin4 ,the
 subject1 which is the well-known story 
of the mother who delivers her infant   
when carried away by the eagle1 or      
rather vulture of the ,alps1 might make 
a good melodrama1 but is not fit for an 
opera--and the music is trainante and   

monotonous4  ,footnote #bi3 ,zingarelli 
composed his ,romeo e ,giulietta in     
#agig3 ,bellini produced the ,capelletti
 at ,venice in #ahcb1 for our           
silver-voiced ,caradori and the         
contr'alto ,giudita ,grisi1 sister of   
that accomplished singer1 ,giulietta    
,grisi4 ,thirty-five years are an age in
 the history of music4 ,of the two      
operas1 ,bellini's is the most          
effective1 from the number of the       
conceited pieces1 without containing a  
single air which can be placed in       
comparison with five or six in          
,zingarelli's opera4  ,footnote #cj3    
,lord ,byron4  ,footnote #ca3 ,tieck1   
says ,carlyle1 is a poet born as well as
 made4--,he is no mere observist and    
compiler1 rendering back to us1 with    
additions or subtractions1 the beauty   
which existing things have of themselves
 presented to him2 but a true ,maker1 to
 whom the actual and external is but the
 excitement for ideal creations1        
representing and ennobling its effects4 

,his feeling or knowledge1 his love or  
scorn1 his gay humour or solemn         
earnestness2 all the riches of his      
inward world are pervaded and mastered  
by the living energy of the soul which  
possesses them1 and their finer essence 
is wafted to us in his poetry1 like     
,arabian odours1 on the wings of the    
wind4 ,but this may be said of all true 
poets2 and each is distinguished from   
all1 by his individual characteristics4 
,among ,tieck's1 one of the most        
remarkable is his combination of so many
 gifts1 in such full and simple harmony4
 ,his ridicule does not obstruct his    
adoration2 his gay southern fancy lives 
in union with a northern heart2 with the
 moods of a longing and impassioned     
spirit1 he seems deeply conversant2 and 
a still imagination1 in the highest     
sense of that word1 reigns over all his 
poetic world4  ,footnote #cb3 ,vide     
,shelley's ,epipsychidion4  ,footnote   
#cc3 ,mr4 ,russel is quite right in his 
observation that the ,correggios are    

hung too near together3 the fact is1    
that in the ,dresden gallery1 the       
pictures are not well hung1 nor well    
arranged2 there is too little light in  
the inner gallery1 and too much in the  
outer gallery4 ,lastly1 the numbers are 
so confused that ,i found the catalogue 
of little use4 ,a new arrangement and a 
new catalogue1 by ,professor ,matthai1  
are in contemplation4  ,footnote #cd3   
,spence4  ,footnote #ce3 ,lanzi says1   
that many of the works of ,lavinia      
,fontana might easily pass for those of 
,guido2--her best works are at ,bologna4
 ,she died in #afad4  ,footnote #cf3 ,at
 ,althorpe4  ,footnote #cg3 ,the ,miss  
,sharpes were at ,dresden while ,i was  
there1 and their names and some of their
 works were fresh in my mind and eye    
when ,i wrote the above2 but ,i think it
 fair to add1 that ,i had not the       
opportunity ,i could have wished of     
cultivating their acquaintance4 ,these  
three sisters1 all so talented1 and so  
inseparable1--all artists1 and bound    

together in affectionate communion of   
hearts and interests1 reminded me of the
 ,sofonisba and her sisters4  ,footnote 
#ch3 ,she is the ,julie celebrated in   
some of ,goethe's minor poems4          
,footnote #ci3 ,since this was written1 
in ,november #ahcc1 ,retzsch has sent   
over to ,england a series of these      
,fancies for publication4  ,footnote    
#dj3 ,we have among us a young ,german  
painter1 7,theodor von ,holst17 who1    
uniting the exuberant enthusiasm and    
rich imagination of his country1 with a 
just appreciation of the style of       
,english art1 is likely to achieve great
 things4  ,footnote #da3 ,belier6 mon   
ami6 commence par le                    
commencement6--,contes de ,hamilton4    
,footnote #db3 ,a manor situated on the 
borders of ,derbyshire1 between         
,chesterfield and ,mansfield4  ,footnote
 #dc3 ,the ,cavendishes were originally 
of ,suffolk4 ,whether this ,william     
,cavendish was the same who was         
gentleman usher and secretary to        

,cardinal ,wolsey1 is1 ,i believe1 a    
disputed point4  ,footnote #dd3 ,bishop 
,kennel's memoirs of the family of      
,cavendish4  ,footnote #de3 ,lodge's    
,illustrations of ,british ,history4    
,footnote #df3 ,scott's ,memoir of ,sir 
,ralph ,sadler4  ,footnote #dg3 ,lodge's
 ,illustrations4  ,footnote #dh3 ,this  
celebrated letter is yet preserved1 and 
well known to historians and            
antiquarians4 ,it is sufficient to say  
that scarce any part of it would bear   
transcribing4  ,footnote #di3 ,see two  
of her letters in ,sir ,henry ,ellis's  
,collection4  ,footnote #ej3 ,see some  
letters in ,ellis's ,collection1 vol4   
ii4 series #a1 which show with what     
constant jealousy ,lady ,shrewsbury and 
her charge were watched by the court4   
,footnote #ea3 ,in ,all ,hallows1 in    
,derby4 ,after leaving ,hardwicke1 ,i   
went1 of course1 to pay my respects to  
it4 ,it is a vast and gorgeous shrine of
 many coloured marbles1 covered with    
painting1 gilding1 emblazonments1 and   

inscriptions1 within which the lady lies
 at full length in a golden ruff1 and a 
most sumptuous farthingale4  ,footnote  
#eb3 ,as the measurements are           
interesting from this fact1 ,i took care
 to note them exactly2 as               
follows3--length #ee ft4 #f inches2     
breadth #cj ft4 #f inches2 height #bd   
ft4 #f inches4  ,footnote #ec3 ,horace  
,walpole1 as an antiquarian1 should have
 known that ,mary was never kept there4 
,footnote #ed3 ,it had formerly been    
richly painted1 and must then have had  
an effect superior to tapestry2 the     
colours are still visible here and      
there4  ,footnote #ee3 ,mary's own      
account of her occupations displays the 
natural elegance of her mind4 ,i asked  
her grace1 since the weather did cut off
 all exercises abroad1 how she passed   
her time within8 ,she sayd that all day 
she wrought with her needle1 and that   
the diversitie of the colours made the  
work appear less tedious1 and that she  
continued at it till pain made her to   

give o'er3 and with that laid her hand  
on her left side1 and complayned of an  
old grief newly increased there4 ,upon  
this occasion she1 the ,scottish queen1 
with the agreeable and lively wit       
natural to her1 entered into a pretty   
disputable comparison between carving1  
painting1 and working with the needle1  
affirming painting1 in her opinion1 for 
the most commendable quality4--,letter  
of ,nicholas ,white to ,cecil4          
,footnote #ef3 ,i was as much delighted 
by these singular fire-screens as       
,horace himself could have been2 they   
are about seven feet high4 ,the yellow  
velvet suspended from the bar is        
embossed with black velvet1 and         
intermingled with embroidery of various 
colours and gold--something like a      
,persian carpet--but most dazzling and  
gorgeous in the effect4 ,i believe there
 is nothing like them any where4        
,footnote #eg3 ,now replaced by the     
family portraits brought from           
,chatsworth4  ,footnote #eh3 ,margaret  

,cavendish1 wife of the first ,duke of  
,newcastle4  ,footnote #ei3 ,anecdotes  
of ,painting4 ,reigns of ,elizabeth and 
,james ,i4  ,footnote #fj3 ,dante4      
,inferno1 ,canto #bh4  ,footnote #fa3   
,life of ,johnson1 vol4 ii4 p4 #add4    
,boswell asked1 ,are you of that opinion
 as to the portraits of ancestors one   
has never seen8 ,,johnson4 ,it then     
becomes of still more consequence that  
they should be like4  ,footnote #fb3    
,this picture and the next are said to  
be by ,richard ,stevens1 of whom there  
is some account in ,walpole1 7,anecdotes
 of ,painting47 ,mary also sat to       
,hilliard and to ,zucchero4 ,the lovely 
picture by ,zucchero is at ,chiswick4   
,there is another small head of her at  
,hardwicke1 said to have been painted in
 ,france1 in a cap and feather4 ,the    
turn of the head is airy and graceful4  
,as to the features1 they have been so  
marred by some soi-disant restorer1 it  
is difficult to say what they may have  
been originally4  ,footnote #fc3        

,waller's lines on ,lady ,rich4         
,footnote #fd3 ,william1 sixth ,duke of 
,devonshire4  ,footnote #fe3 ,lady      
,dorothy ,savile1 daughter of the       
,marquis of ,halifax3 she had no less   
attachment to the arts than her husband2
 she drew in crayons1 and succeeded     
admirably in likenesses1 but working    
with too much rapidity1 did not do      
justice to her genius2 she had an       
uncommon talent too for                 
caricature4--,anecdotes of ,painting4   
,footnote #ff3 ,he was a monster2 and no
 wife of the coarsest plebeian          
profligate could have suffered more than
 did this lovely1 amiable being1 of the 
highest blood and greatest fortune in   
,england4 ,she was1 says the affecting  
inscription on her picture at ,chiswick1
 the comfort and joy of her parents1 the
 delight of all who knew her angelic    
temper1 and the admiration of all who   
saw her beauty4 ,she was married        
,october #ajth1 #agda1 and delivered by 
death from misery1 ,may #bnd1 #agdb4    

,but how did it happen that from a      
condition like this1 there was no       
release but by death8--,see ,horace     
,walpole's ,correspondence to ,sir      
,horace ,mann1 vol4 i4 p4 #cbh4         
,footnote #fg3 ,i was much struck with  
the inscription on a stone tablet1 in a 
fine old wood near the house3 ,this wood
 was planted by ,sir ,william ,spencer1 
,knighte of the ,bathe1 in the year of  
our ,lord #afbd3--on the other side1 ,up
 and bee doing1 and ,god will prosper4  
,it is mentioned in ,evelyn's ,sylva4   
,footnote #fh3 ,see the accounts of ,sir
 ,john ,spencer1 in ,collins's ,peerage1
 and prefixed to ,dibdin's ,a,edes      
,althorpianae4  ,footnote #fi3 ,henry1  
first ,earl of ,sunderland4  ,footnote  
#gj3 ,this ,lord ,sunderland not only   
changed his party and his opinions1 but 
his religion1 with every breath that    
blew from the court4  ,footnote #ga3    
,horace ,walpole's ,correspondence1 vol4
 ii4 p4 #bbg4  ,footnote #gb3 ,anne     
,brudenel4  ,footnote #gc3 ,see ,pepys's

 ,diary4  ,footnote #gd3 ,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 hangs1   
but made a circuit of several rooms to  
avoid it4  ,footnote #ge3 ,she is       
supposed to have been poisoned by her   
husband1 at the instigation of the      
,chevalier de ,lorraine4  ,footnote #gf3
 ,elizabeth ,brooke1 poisoned at the age
 of twenty4  ,footnote #gg3 ,see the    
scene between ,beck ,marshall and ,nell 
,gwyn1 in ,pepys4  ,footnote #gh3       
,walpole4  ,footnote #gi3 ,the gay1     
gallant ,st4 ,evremond1 besides being   
naturally ugly1 had a wen between his   
eye-brows4 ,there is a fine picture of  
him and ,hortense as ,vertumnus and     
,pomona1 in the ,stafford gallery4      
,footnote #hj3 ,the pictures of ,miss   
,jennings are very rare4 ,this one at   
,althorpe was copied for ,h4 ,walpole1  
and ,i have heard of another in         
,ireland4 ,miss ,jennings was afterwards

 ,duchess of ,tyrconnel4  ,footnote #ha3
 ,pope4 ,one hates him for taking a     
thousand pounds to suppress this        
character of ,atossa1 and publishing it 
after all2 yet who for a thousand pounds
 would have lost it8  ,footnote #hb3    
,see his declaration of love--,je suis  
frere du ,comte de ,bedford2 je commande
 le regiment des gardes1 c4  ,footnote  
#hc3 ,the ,princess ,colonna and the    
,duchesse de ,mazarin4  ,footnote #hd3  
,clement ,marot had composed a version  
of the ,psalms1 then very popular4 ,see 
,bayle1 and the ,curiosities of         
,literature4         99       99        
99       99       99  ,transcriber's    
,note3 ,errata as given in the original 
have been applied to the text4 ,other   
than the most exceedingly obvious       
typographical errors1 all inconsistent  
spelling1 hyphenation1 diacriticals1    
archaic usage1 etc4 have been preserved 
as printed in the original4 ,the equals 
signs used to bracket the name          
,kunstverein in the entry for the #afth 

in the first section indicate characters
 in a ,fraktur typeface4