by Mary Shelley
28TH JULY.
Our first visit in the morning was to the Museum. It is at some little distance from the hotel, and the walk led us through the best part of Berlin. The building itself is beautiful; the grand circular hall by which you reach the statue-gallery, and which again you look down upon from the open gallery that leads to the pictures, surpasses in elegance and space anything I have ever seen, except in the Vatican. At once we rushed among the pictures — our only inducement, except curiosity to see a renowned capital city, to visit Berlin. The gallery is admirably arranged in schools, and the pictures have an excellent light on them; and in each room is hung up a list of pictures and their painters contained in it. First we saw the Io, of Correggio, a most lovely picture, and near it Leda and the Swan, by the same artist; and then our eyes were attracted to one still lovelier in its chaste and divine beauty — a Virgin and Child by Raphael. The Mother is holding a book in one hand, the other arm encircles her infant. It bears the impress of the first style of the divinest of painters, when his warm heart was animated by pious enthusiasm, and his imagination inspired by a celestial revelation of pure beauty. It was once the gem of the Colonna Gallery at Rome, and was sold by the Duke of Lanti to the King of Prussia.
Next to these I was most struck by a picture by Francia, the Virgin in glory, worshipped by six saints. There is a remarkable picture by Rembrandt, a portrait of the Duke Adolph of Gueldres, shaking his fist at his father. The countenance bears the liveliest impress of angry passion: the impious madness of the parricide mantles in the face, and gives wild energy to the furious gesture. The gallery is rich in portraits by Van Dyck — some of his finest: but I must not send you a mere catalogue. From room to room we wandered; sometimes desirous of seeing all, and so penetrating into every nook — sometimes satisfied to sit for hours before a masterpiece.
Yes, I dedicated hours this morning, — I know not how many, — to a painting that has given me more delight than any I ever saw. I had often heard the first style of Raphael preferred to his third, and thought it a superstition; but I am a convert — entirely a convert. Apart, locked up in a room with some of the gold-grounded deformed productions of the Byzantine artists, stands, except one, the largest painting of Raphael’s in the world; the subject is the adoration of the Magi. It is in his first style — it is half destroyed — the outline of some of the figures only remains; no sacrilegious hand has ever touched to restore it, and in its ruin it is divine. The Baby Jesus is lying on the ground, and Mary, with an angel at each hand, kneels before the lowly couch of her child; on the other side are the kings bearing their gifts; and far in the back-ground are the shepherds visited by angels, announcing peace and good-will to man. I never saw such perfect grace and ideal beauty as in the kneeling figures of the Virgin and her attendant angels. Composed majesty and deep humility are combined in the attitudes. The countenances show their souls abstracted from all earthly thought, and absorbed by pure and humble adoration. Adoration from the adorable: this is what only an artist of the highest class can portray. You perceive that the painter imagined perfect beings, who deserve a portion of the worship which they pay unreservedly to the Creator, and such are saints and angels in the mind of a Catholic. You who so much admire the unfinished ideas of Leonardo da Vinci, would delight in this relic of a greater man: will you receive any from this attempt to convey what I felt? I read somewhere the other day, that speech is one mode of communicating our thoughts — painting another — music another — neither can, with any success, go beyond its own department to that of the other — thus, words can never show forth the beauty of which painting presents the living image to the eyes.
It may be a defect, that I take more pleasure in graceful lines, and attitudes, and expression, than in colouring. Sir Thomas Lawrence told me that it was one, and that an uncultivated eye was, therefore, often better pleased by statuary than painting; and he said this, because I looked with more delight on some inimitable bronze-statues standing on his mantel-piece, preferring them to a richly-coloured painting on which he was accustomed to rest his eye while at work; so to familiarise it to the fullest and most glowing hues — I am not sure that he is right.
Let us take, for instance, two pictures by the prince of painters — the Adoration of the Magi among his first; — The Transfiguration his last work. In artistic power, this picture is said to surpass every other in the world. The genius of its author is shown in its admirable composition, in the spirit of the attitudes, in the life that animates each figure, without alluding to technical merits, which, of course, are felt even by those who cannot define, nor even point them out. Yet, this picture does not afford me great pleasure — no face is inspired by holy and absorbing passion; and the woman, the most prominent figure, is a portrait of the Fornarina, whose hard countenance is peculiarly odious. Turn from this to the half-effaced picture at Berlin — the radiant beauty here expressed, strikes a chord in my soul — all harmony, all love. It is not the art of the painter I admire; it is his pure, exalted soul, which he incarnated in these lovely forms. I remember Wordsworth’s theory, that we enter this world bringing with us “airs from heaven,” memories of a divine abode and angelic fellowship which we have just left, that flake by flake fall from our souls as they degenerate and are enfeebled by earthly passions. Raphael seems to confirm this theory; for, in his early pictures, there is a celestial something absent from his latter, a beauty not found on earth — inspiring as we look, a deep joy, only felt in such brief moments when some act of self-sacrifice exalts the soul, when love softens the heart, or nature draws us out of ourselves, and our spirits are rapt in ecstacy, and enabled to understand and mingle with the universal love.
The gallery is open from ten till three. Unfortunately, the fatigue of the journey made me very ill able to endure much toil; and you know, — who knows not? — that visiting galleries produces extreme weariness. I went back to the hotel several times to repose, and then returned to the gallery. I desired to learn by heart — to imbibe — to make all I saw a part of myself, so that never more I may forget it. In some sort I shall succeed. Some of the forms of beauty on which I gazed, must last in my memory as long as it endures; but this will be at the expense of others, which even now are fading and about to disappear from my mind. I feel, though usually I prefer statuary to painting, and there are some statues — and particularly an ancient bronze of a boy praying, that I have regarded with delight; still my mind was full before, the rest can but overflow. The gallery of Berlin will, I fear, become a vague, though glorious dream, for the most part, leaving distinct only a few images that can never be effaced.
July 29TH.
YESTERDAY evening we went to the opera — the house is small, but pretty. The piece was Massaniello, at which I grieved. I want German music in Germany. There was no remarkable singer. There was no ballet; and all was over, according to the good German custom, by ten o’clock.
To-day, we have been doing our duty in sightseeing; though I grudged every minute spent away from the gallery. There are some, good pictures, however, in the palace, especially the portraits of our Charles I. and his Queen, by Van Dyck. The apartments are very handsome. They have an ungainly custom here, as in Holland, of providing the visiter with list-shoes, to preserve their shining parquets. I rebelled against putting on slippers other people had worn, and forced the Custode, grumblingly, to acknowledge that my shoes could not hurt the floor. The rooms of the palace are chiefly associated with the name of Napoleon, and are decorated by vases of Sèvre china and by portraits of himself and Josephine, presents from the conqueror to the conquered, which were impertinent enough at the time; but the spirit is changed now, and they remain as trophies of Prussian victories. I looked with great interest on the various portraits of the celebrated Queen of Prussia. In all, she is inexpressibly beautiful. Her face is thoroughly individual; — animation — independence — a truly feminine, yet, (for want of a better word I must say,) a wild loveliness gives it a peculiar charm. There is a por
trait of her at twelve years of age — dignity, true nobility, artless innocence, and evident strength of character, adorn a countenance in the first bloom of untainted girlhood.
We visited the Museum. I did not much care for what I saw. There are many relics of Frederic the Great, and a wax figure, dressed up in his old clothes, is placed on a faded throne beneath a shabby canopy — all such as he used in life. There is nothing to excite respect in this sort of spectacle. It is the misfortune of those who live to be old that they are always handed down to posterity as decrepid and feeble. If I were a queen, I would never suffer myself to be painted after thirty; or, if well preserved, five-and-thirty at the latest. Queens and beauties — kings and heroes — all must pay our nature’s sad tribute, and lose even individuality and charm, as the moss of age creeps over the frame, which, becoming weak and shattered, loses proportion and grace; but it is foolish to leave behind these emblems of decay. Frederic the Great, as he first met Voltaire at the castle of Meuse, near Cleves, or as he wrote his dispatch on a drum after one of his first battles, would indeed be the Frederic, whose deeds, if evil, at least were instinct with power and life. This doll, dressed up to represent a decrepid, feeble old man, is the most dreary sarcasm that can be imagined.
The prospect from the palace windows is really grand: the Platz in front — the Museum — the Fountain — the whole range of buildings — form a coup-d’œil that transcends that of the Place de la Concorde, at Paris.
I desired to visit some of the manufactures of Berlin steel, and expected to see beautiful specimens. It is a curious fact, how difficult it is to find out where you ought to go, and how to see any sight, unless it be a regular lion, or you have an exact address. We took a drosky, and drove to a shop; it was closed: to another; there was no such thing. We returned to our hotel, and learnt that we had been spending many useless groschen by not taking the drosky by the hour instead of the course. Having reformed this oversight, we set off again in search of the manufactory. You know the history of the building of Berlin. Frederic the Great, desirous that his capital should rival that of other kingdoms, inclosed a large space within its walls, and ordered the vacancy to be filled up with houses. This occasions a great difference between Berlin and most foreign cities. In the latter, the aim is to save land, and to encroach on heaven. Here, the builders endeavoured to cover as much space as possible, and many of the finest houses are only two stories high. Wide and grass-grown, the streets, all straight and at right angles, stretch far away, with scarce a solitary passenger or drosky here and there, making the solitude even more felt. There is another peculiarity in this wide-spread city. It is built on the flattest plain in the world. The Spree stagnates beneath its bridges, and the drains, just covered by planks, stagnate in the streets, and are by no means agreeable during the present heat and drought.
At length, after driving about from one place to another, asking our way as well as we could, resolved not to give in, but much puzzled, we reached the Eisengieserei, or iron-foundry, just outside the Oranienburg gate. We alighted from the drosky and walked into a large court-yard, and into the sort of immense shed in which is the foundry. We asked every one we met where the works in steel were sold; no one could tell us. We wandered about a long time. The men were at work making moulds in sand. At length a vast cauldron of molten metal was brought from the furnace, and poured into a mould. There is something singular in boiling metal, the sight of which gives a new idea to the mind, a new sensation to the soul. Boiling water, or other liquid, presents only an inanimate element, changed to the touch, not to the eye; but molten metal, red and fiery, takes a new appearance, and seems to have life, — the heat appears to give it voluntary action, and the sense of its power of injury adds to the emotion with which it is regarded; as well as the fact that it takes and preserves the form into which it flows. In this every-day world a new sensation is a new delight. I have read somewhere of a French lady, who went to Rome to kiss the Pope’s toe, because it made her heart beat quicker so to do. Certainly, seeing the diminutive Cyclops pour the glowing living liquid from their cauldron, viewing it run fiercely into the various portions of the mould, and then grow tranquil and dark as its task was fulfilled, imparted, I know not why or how, a thrill to the frame.
After this we were taken to an outhouse, in which there were articles for sale — no bracelets, nor chains, nor necklaces; chiefly small statuettes of Napoleon and Frederic the Great.
I would willingly remain here some days longer; and, above all, I should like to visit Potzdam and the Peacock Island. It is impossible; and we shall proceed to-morrow by railroad to Dresden.
LETTER VII.
Arrival at Dresden. — Rabenau. — Gallery of Dresden. — Madonna di San Sisto. — Pictures of Correggio.
JULY 30TH.
À DIRECT railroad from Berlin to Dresden is talked of: as it is, we were obliged to go round by Leipsig. On this account those travellers who have carriages prefer posting; the conveyance of a carriage by a railroad being always expensive. In no part of the world, however, is the speed of steam more acceptable; a drearier prospect of level desert cannot be imagined. I felt this the less, for being very much fatigued, and not well, I slept nearly all the way. We arrived at about two at Leipsig, dined at the Hôtel de Saxe, and embarked on the Dresden railroad. The carriages are small and uncomfortable. As we drew near Dresden, the country assumed a different aspect; hills appeared, and we beheld again some of the charms of earth. The station is in the New Town, and a drosky took us to the Hôtel de Pologne, which Murray mentions as the best; but in this he is mistaken. It is an hotel a good deal frequented by Englishmen, travelling tutors, and their pupils; but the hotels to which all families go are in the Neu Markt. There are several on a scale as extensive and complete as the Hôtel de Saxe, at Leipsig.
We expected to find a friend here conversant with the town to give us information and advice. We learn that he, as well as everybody else, is away; but instead of going to some fashionable baths, he is rusticating at Rabenau, a village some seven miles off. We at once resolved to visit him there; and hiring one of the hack carriages, we the next morning set out on this expedition.
AUGUST 1ST.
AT first we followed the course of the Elbe, beneath picturesque cliffs, and then turning off we got among some cross-roads of the most impracticable description, up a steep slope; when we reached the top we found a chasm, in the depth of which the village we sought is situated. The road was far too precipitous for the carriage to descend, so we walked down. The country has a singular aspect. In other mountainous lands, we live in the valleys, and look up to the hills as they lift themselves towards the sky. Here, however, we descend from the plain into the ravine. These words require further explanation. I have mentioned that we ascended a hill: this was composed of arable land, the fields, unbroken by tree or rock, spread round in smooth upland; but in the midst we found the chasm, the fissure, the rent I mentioned, and we descended, as it were, down into the bosom of the earth — and deeper, deeper, till the wooded hills close round and almost shut out the sky, and a brawling stream, which turns a mill, frets its way between rocks clothed by trees, that nearly meet on either side. Nothing can be more peaceful, more secluded, more shut in; and if not wildly sublime, yet rock and wood and torrent combined to render it picturesque; a rustic bridge crossed the stream, and there, abutting against the hill side, stood the mill, and before the mill a large pleasant room for the reception of guests, for many come, especially on feast days, to dine here. Here our friend had betaken him to compose his opera. Beside the dashing waterfalls, beneath the music-giving pines; and in grassy nooks shaded by mossy rocks and tree-grown precipices, he found a spot whose breath was melody, whose aspect imparted peace. Earth had opened, and this little ravine was a very nest adorned by nature’s hand with her choicest gifts. When we arrived he was absent; he had gone with his note-book to study among the pines. You know and admire his compositions. Thanks to them, Shelley’s Poems have found an
echo of sweet sounds worthy of them. The fanciful wildness, the tender melancholy, the holy calm of the poet, have met a similar inspiration on the part of the musician. They have as much melody as the Italian, as much science as the German school — they appertain most, indeed, to the last; but the airs themselves are original. The song of “Arethusa,” and that entitled “Spirit of Night,” are perhaps the best. The one, light and fanciful; the other, solemn and impassioned; both, beautiful. The rest are second only to these.
We wandered about rather disconsolate and hungry till our friend appeared, who joyously welcomed us; and dinner was ordered, and ready in a trice. The fare was not very choice, nor delicately served; but very characteristic of what one has read of middle life in Germany. To this secluded bower families came — or students — or a fond pair stole hither from the crowd, to drink beer and smoke on the rustic seats beneath the trees. It was easy, however, to escape from these groups deeper into the ravine, or into other fissures of earth of a similar nature, which branched off; or, clambering up the cliffs, to find freer air on the hill-top. The daughter of the miller, not particularly pretty, but willing and good-humoured, waited on us. Snow-white table-cloths, and sparkling, inviting dinner apparatus, unfortunately, were not among the comforts; but the meats were eatable — the trout more than that; the whole not good enough to invite lingering over the meal; and again we sauntered beside the torrent, and reposed under the trees, and talked over our plans and a thousand other subjects, with the zest of people who found a new and willing listener after long seclusion.
