Mrs. (Anna) Jameson - Visits and Sketches at Home and Abroad, Vol. 2 (of 3)

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VISITS AND SKETCHES
AT HOME AND ABROAD.

VOL. II.

VISITS AND SKETCHES
AT HOME AND ABROAD
WITH
TALES AND MISCELLANIES NOW FIRST COLLECTED.

BY MRS. JAMESON,
AUTHOR OF THE "CHARACTERISTICS OF WOMEN," "LIVES OF CELEBRATED FEMALE SOVEREIGNS," &c.

IN THREE VOLUMES.

VOL. II.

SECOND EDITION.

LONDON
SAUNDERS AND OTLEY, CONDUIT STREET.
1835.

LONDON:
IBOTSON AND PALMER, PRINTERS, SAVOY STREET, STRAND.

CONTENTS OF VOL. II.

Sketches of Art, Literature, and Character, Part II. (Continued.)
PAGE
I.	Munich The New PalaceThe Beauty of its DecorationsParticular Account of the Modern Paintings on the Walls
The Frescos of Julius Schnorr from the Nibelungen-Lied
The Frescos in the Royal Chapel
The OperaMadame Schechner
The Kunstverein
Karl von Holti
Fte of the Obelisk
The GalleryPictures and Painters
Madame de FreybergA visit to Thalkirchen
Tomb of Eugne Beauharnais
The Sculpture in the Glyptothek
Plan of the Pinnakothek or National Gallery
The Revival of Fresco Painting
Bavarian Sculptors
The Valhalla
Stieler, the Portrait Painter
Gallery of the Duc de Leuchtenberg
Society at Munich
The Liederkranz
II.	Nuremberg
The Old Fortress
Albert Durer
Hans Sachs and Peter Vischer
The Cemetery
Travelling in Germany
III.	Dresden
The OperaMadame Schrder Devrient in the "Capaletti"
Ludwig Tieck
The Dresden Gallery and the Italian School
RosalbaViolante SiriesHenrietta WaltersMaria von OsterwyckElizabeth Siranithe Sofonisba
Thoughts on Female ArtistsLouisa and Eliza SharpeThe Countess Julie von Egloffstein
Moritz Retzsch
English and German Art
Catalogue of German Artists
A Visit to Hardwicke
A Visit to Althorpe

SKETCHES OF ART, LITERATURE, AND CHARACTER.

(Continued.)

VOL. II.

Page	7,	line	13,	for	to read too.
18,	2,	for	Neurather read Neureuther.
68,	5,	for	Scheckner read Schechner.
72,	16,	ditto. ditto.
94,	23,	for	interior read exterior.
133,	1,	note,	for Frederic Augustus read Anthony.
203,	16,	for	Steiler read Stieler.
204,	21,	for	Neurather read Neureuther.
209,	2,	for	Reitchel read Rietschel.

SKETCHES OF ART, LITERATURE, AND CHARACTER.

MUNICH (CONTINUED).

Tuesday.M. de Klenze called this morning and conducted me over the whole of the new palace. The design, when completed, will form a vast quadrangle. It was begun about seven years ago; and as only a certain sum is set apart every year for the works, it will probably be seven years more before the portion now in progress, which is the south side of the quadrangle, can be completed.

The exterior of the building is plain, but has an air of grandeur even from its simplicity and uniformity. It reminds me of Sir Philip Sydney's beautiful description"A house built of fair and strong stone; not affecting so much any extraordinary kind of fineness, as an honourable representing of a firm stateliness; all more lasting than beautiful, but that the consideration of the exceeding lastingness made the eye believe it was exceeding beautiful."

When a selfish despot designs a palace, it is for himself he builds. He thinks first of his own personal tastes and peculiar habits, and the arrangements are contrived to suit his exclusive propensities. Thus, for Nero's overwhelming pride, no space, no height, could suffice; so he built his "golden house" upon a scale which obliged its next possessor to pull it to pieces, as only fit to lodge a colossus. George the Fourth had a predilection for low ceilings, so all the future inhabitants of the Pimlico palace must endure suffocation; and as his majesty did not live on good terms with his wife, no accommodation was prepared for a future queen of England.

The commands which the king of Bavaria gave De Klenze were in a different spirit. "Build me a palace, in which nothing within or without shall be of transient fashion or interest; a palace for my posterity, and my people, as well as myself; of which the decorations shall be durable as well as splendid, and shall appear one or two centuries hence as pleasing to the eye and taste as they do now." "Upon this principle," said De Klenze, looking round, "I designed what you now see."

On the first floor are the apartments of the king and queen, all facing the south: a parallel range of apartments behind contains accommodation for the attendants, ladies of honour, chamberlains, &c.; a grand staircase on the east leads to the apartments of the king, another on the west to those of the queen; the two suites of apartments uniting in the centre, where the private and sleeping rooms communicate with each other. All the chambers allotted to the king's use are painted with subjects from the Greek poets, and those of the queen from the German poets.

We began with the king's apartments. The approach to the staircase I did not quite understand, for it appears small and narrow; but this part of the building is evidently incomplete.

The staircase is beautiful, but simple, consisting of a flight of wide broad steps of the native marble; there is no gilding; the ornaments on the ceiling represent the different arts and manufactures carried on in Bavaria. Over the door which opens into the apartments is the king's motto in gold letters, Gerecht und Beharrlich Just and Firm. Two Caryatides support the entrance: on one side the statue of Astrea, and on the other the Greek Victory without wingsthe first expressing justice, the last firmness or constancy. These figures are colossal, and modelled by Schwanthaler in a grand and severe style of art.

I. The first antechamber is decorated with great simplicity. On the cornice round the top is represented the history of Orpheus and the expedition of the Argonauts, from Linus, the earliest Greek poet. The figures are in outline, shaded in brown, but without relief or colour, exactly like those on the Etruscan vases. The walls are stuccoed in imitation of marble.

II. The second antechamber is less simple in its decoration. The frieze round the top is broader, (about three feet,) and represents the Theogony, the wars of the Titans, &c. from Hesiod. The figures are in outline, and tinted, but without relief, in the manner of some of the ancient Greek paintings on vases, tombs, &c. The effect is very classical, and very singular. Schwanthaler, by whom these decorations were designed, has displayed all the learning of a profound and accomplished scholar, as well as the skill of an artist. In general feeling and style they reminded me of Flaxman's outlines to schylus.

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