Poor puss in a grand parachute
Was sent to sail down through the air,
Plump’d into a garden of fruit,
And played up old gooseberry there.
The gardener, transpiring with fear,
Stared just like a hundred stuck hogs;
And swore, though the sky was quite clear,
’Twas beginning to rain cats and dogs.
Mounseer, who don’t value his life,
In the Thames would have just dipped his vings,
If it vasn’t for vetting his vife,
For vimen are timbersome things:
So at Hampstead he landed her dry;
And after this dangerous sarvice,
He took a French leave of the sky,
And vent back to Vauxhall in a Jarvis.
1828.
Most willingly would I have resigned all the pleasures I ever enjoyed,
save that of my wedding-day, to have joined the throng of enthusiastics
in art, who assembled at Nuremberg this year, to do homage to the memory
of that morning star in art, Albert Dürer. Of the many descriptions
of the proceedings upon that glorious occasion, none gave me higher
delight than that of Mr. L. Schutze,[414] of Carlsruhe, an artist of
very considerable abilities, who, upon my requesting him to favour me
with an account, goodnaturedly complied with my wishes, but with all the
diffidence of one who had not long written in the English language.
“At the festival which took place in Nuremberg, 1828, on
the 6th and 7th of April, the month on which Albert Dürer
died three hundred years before, some pupils of Cornelius in
Munich, intended to paint some transparent sceneries, the
most interesting ones, taken from his life, and to exhibit
them at the Festival. For this purpose they gave notice to
the magistrates and to the artists that they would arrive on
the 28th of March. The magistrates and artists were quite
satisfied with this offer, and resolved to welcome them some
miles from Nuremberg. Two gentlemen of consideration offered
their coaches, with four horses, and the most part of the
artists took post-coaches, all with four horses. One gentleman,
Mr. Campe,[415] a very clever man, and member of the Artists’
Society, who led the procession, which consisted of eight
coaches with about thirty artists, took a barrel with wine
in his coach, and also a very old and interesting pitcher,
which was presented to A. Dürer by one of his particular
friends. About eight miles from Nuremberg, in Reichersdorf,
we stopped at the inn, intending to wait for the artists from
Munich. Mr. Campe ordered a good breakfast, and put up his
barrel and golden pitcher. Scarcely was all prepared, and the
breakfast ready, when we saw the artists arrive (we called them
‘Cornelians,’ after the name of their master[416]), with a flag
and green branches in their caps, and merry singing. A loud
_vivat_ was the first expression of welcome; they were quite
astonished to find there so great a company. We now invited
them to come in, and to take refreshments after their fatigues.
The first proceeding was now to fill the pitcher with wine,
and to drink their health. There were about thirty-six artists
from Munich. After having made some speeches, having taken the
breakfast, and emptied the barrel, we, all quite refreshed and
pleased, took place in our chair-waggons, into which we invited
also the Cornelians, and rode back to Nuremberg.
“At the old castle we all descended from our waggons, and saw
the old building, which is so very interesting in the history
of Germany. Then we went down to the house of Albert Dürer,
where all the strangers who arrived entered their names in a
book. Several gentlemen of consideration had offered to give
lodging to some of the strange artists, which was accepted with
great pleasure by them. Many others of them had free lodging
in the inns. The magistrates paid all their necessaries during
their stay. Every day artists and strangers arrived, and the
house of Albert Dürer was the place of meeting. The Cornelians
began to paint their transparencies: they had drawn the
sketches for them already in Munich. There were seven pictures;
they represented, firstly, Albert Dürer coming in receiving
instructions from Wohlgemuth; secondly, his marriage ceremony;
thirdly, the Banquet in Utrecht; fourthly, the Goddess of Art
crowns Albert Dürer and Raphael; fifthly, Dürer on board ship;
sixthly, the death of Dürer’s mother; seventhly, Dürer’s death.
We artists in Nuremberg painted Dürer’s figure, and several
allegories and writings, about sixty feet high altogether,
also transparencies, which we intended to exhibit on the road,
opposite his house.
“Cornelius and many of the first artists from Munich, and from
other parts of Germany, arrived, and Dürer’s house was always
crowded: certainly a very interesting time to make acquaintance
with artists from several parts of the continent, and also to
see again old friends. The 6th of April, in the morning at six
o’clock, we went altogether to the grave of Albert Dürer. It
was very bad weather, all the night, much snow was falling, and
a very disagreeable wind blew. When we arrived at the grave,
and the musicians, who were with us, began to play, and we
began to sing, the sun at once appeared and looked friendly
down upon us. We sang three songs with accompaniments of
instruments; and then a speech was made, after which we went
home. Scarcely were we arrived there, when it again began to
snow, and it was very disagreeable all the day.
“After noon, at half past six o’clock, an Oratorium composed
by Schneider,[417] took place in the Town-house. Mr. Schneider
came himself from Dessau, two hundred and fifty miles from
Nuremberg, to direct it. In the Town-house may still be seen
a triumphal procession, painted on the wall by Albert Dürer.
On one side the musicians were placed, and opposite to them
the seven transparencies were exhibited; they were beautifully
finished and pleased everybody.
“After the oratorium a splendid supper took place, where
all the artists took part, and also several gentlemen of
consideration. Mr. Campe distributed to those present some
printed poems and books, containing interesting tales or
descriptions of clever men, contemporaries of Albert Dürer.
Then there were music and dancing.
“On the 7th, at nine in the morning, there was a meeting
in the Town-house; all the artists were dressed in black,
and had flat hats and swords, except the strangers. The
magistrates distributed medals with Dürer’s portrait. At half
past eleven o’clock the procession began:--the magistrates,
the two burgomasters, the clergymen, many officers, and
all the artists, about three hundred persons together. The
military with music made a line in the streets through which
the procession passed. The King was expected, but did not
come. In the Milk-market (now called Albert Dürer’s Place)
the procession commenced; some speeches were made, then the
foundation-stone of a monument to Albert Dürer was laid, and
trumpets and cymbals resounded. Then all was finished, and all
went home. At two o’clock a brilliant dinner took place in the
Court of Bavaria, accompanied by music; and several poems and
songs were distributed, and the poor were not forgotten,--a
rich collection being made for them. In the theatre, the
play called _Albert Dürer_ was performed; and then our great
transparency was illuminated, and on the house where Albert
Dürer was born, and likewise where he had lived during the
latter part of his life, several inscriptions were illuminated.
A procession with flambeaux and fireworks ended the
festival-day. Some of the richest inhabitants arranged dinners
and suppers, and other rejoicings, to honour the artists. The
magistrates ordered also a very brilliant supper on the last
evening, before the artists parted, and bade them farewell.
“L. SCHUTZE.”
[Illustration: THE WIG IN ENGLAND