air of English cleanliness and order, we prepared to mount the famous
tower. Our valet, Rohfritsch, led the way; counting the steps as he
mounted, and finding them to be about three hundred and seventy-eight in
number. He was succeeded by the guide. Mr. Lewis and myself followed in a
more leisurely manner; peeping through the interstices which presented
themselves in the open fretwork of the ornaments, and finding, as we
continued to ascend, that the inhabitants and dwelling houses of Ulm
diminished gradually in size. At length we gained the summit, which is
surrounded by a parapet wall of some three or four feet in height. We
paused a minute, to recover our breath, and to look at the prospect which
surrounded us. The town, at our feet, looked like the metropolis of Laputa.
Yet the high ground, by which we had descended into the town--and upon
which Bonaparte's army was formerly encamped--seemed to be more lofty than
the spot whereon we stood. On the opposite side flowed the _Danube_: not
broad, nor, as I learnt very deep; but rapid, and in a serpentine
direction. The river here begins to be navigable for larger boats; but
there is little appearance of bustle or business upon the quays. Few or no
white sails, floating down the stream, catch the morning or the evening
sun-beam: no grove of masts: no shouts of mariners: no commercial rivalry.
But what then? Close to the very spot where we stood, our attention was
directed to a circumstance infinitely more interesting, to the whimsical
fancy of an Antiquary, than a whole forest of masts. What might this be?
Listen.
"Do you observe, here, gentlemen?" said the guide--pointing to the coping
of the parapet wall, where the stone is a little rubbed, "I do"--(replied
I) "What may this mean?" "Look below, Sir, (resumed he) how fearfully deep
it is. You would not like to tumble down from hence?" This remark could
admit but of one answer--in the _negative_; yet the man seemed to be
preparing himself to announce some marvellous fact, and I continued mute.
"Mark well, gentlemen; (continued he) it was here, on this identical spot,
that our famous EMPEROR MAXIMILIAN stood upon one leg, and turned himself
quite round, to the astonishment and trepidation of his attendants! He was
a man of great bravery, and this was one of his pranks to shew his courage.
This story, gentlemen, has descended to us for three centuries; and not
long ago the example of the Emperor was attempted to be imitated by two
officers,--one of whom failed, and the other succeeded. The first lost his
balance, and was precipitated to the earth--dying the very instant he
touched the ground; the second succeeded, and declared himself, in
consequence, MAXIMILIAN the SECOND!" I should tell you, however, that these
attempts were not made on the same day. The officers were Austrian.
The room in the middle of the platform, and surmounted by a small spire
does not appear to be used for any particular purpose. Having satisfied our
curiosity, and in particular stretched our eyes "as far (to borrow Caxton's
language) as we well might"--in the direction of _Hochstedt_--we descended,
extremely gratified; and sought the hotel and our dinner. Upon the whole,
the cathedral of Ulm is a noble ecclesiastical edifice: uniting simplicity
and purity with massiveness of composition. Few cathedrals are more uniform
in the style of their architecture. It seems to be, to borrow technical
language, all of a piece. Near it, forming the foreground of the Munich
print, are a chapel and a house surrounded by trees. The chapel is very
small, and, as I learnt, not used for religious purposes. The house (so
Professor Veesenmeyer informed me) is supposed to have been the residence
and offices of business of JOHN ZEINER, the well known _printer_, who
commenced his typographical labours about the year 1470,[25] and who
uniformly printed at Ulm; while his brother GUNTHER as uniformly exercised
his art in the city whence I am now addressing you. They were both natives
of _Reutlingen_; a town of some note between Tubingen and Ulm.
Let no man, from henceforth, assert that all culinary refinement ceases
when you cross the Rhine; at least, let him not do so till he has tasted
the raspberry-flavoured soufflet of the _White Stag of Ulm_. It came on the
table like unto a mountain of cream and eggs, spreading its extremities to
the very confines of the dish; but, when touched by the magic-working
spoon, it collapsed, and concentrated into a dish of moderate and seemly
dimensions. In other words, this very soufflet--considered by some as the
_crux_ of refined cookery--was an exemplification of all the essential
requisites of the culinary art: but without the _cotelette_, it would not
have satisfied appetites which had been sharpened by the air of the summit
of the tower of the cathedral. The inn itself is both comfortable and
spacious. We dined at one corner of a ball-room, upon the first floor,
looking upon a very pleasant garden. After dinner, I hastened to pay my
respects to Professor Veesenmeyer, according to appointment. I found him,
where all Professors rejoice to be found, in the centre of his library. He
had doffed the first dress in which I had seen him; and the long pipe was
reposing horizontally upon a table covered with green baize. We began a
bibliographical conversation immediately; and he shewed me, with the
exultation of a man who is conscious of possessing treasures for which few,
comparatively, have any relish--his _early printed_ volumes, upon the lower
shelf of his collection.
Evening was coming on, and the daylight began to be treacherous for a
critical examination into the condition of old volumes. The Professor told
me he would send me a note, the next morning, of what further he possessed
in the department of early printing,[26] and begged, in the mean time, that
he might take a walk with me in the town. I accepted his friendly offer
willingly, and we strolled about together. There is nothing very
interesting, on the score of antiquities, except it be the _Rath Haus_, or
Town Hall; of which the greater part may be, within a century, as old as
the Cathedral.[27]
On the following morning I left Ulm, well pleased to have visited the city;
and, had the time allowed, much disposed to spend another twenty-four hours
within its walls. But I had not quitted my bed (and it was between six and
seven o'clock in the morning) before my good friend the Professor was
announced: and in half a second was standing at the foot of it. He pulled
off his green cloth cap, in which I had first seen him--and I pulled off my
night cap, to return his salutation--raising myself in bed. He apologised
for such an early intrusion, but said "the duties of his situation led him
to be an early riser; and that, at seven, his business of instructing youth
was to begin." I thanked him heartily for his polite attentions--little
expecting the honour of so early a visit. He then assumed a graver
expression of countenance, and a deeper tone of voice; and added, in the
Latin language--"May it please Providence, worthy Sir, to restore you
safely, (after you shall have examined the treasures in the imperial
library of Vienna) to your wife and family. It will always gratify me to
hear of your welfare." The Professor then bowed: shut the door quickly, and
I saw him no more. I mention this little anecdote, merely to give you an
idea of the extreme simplicity, and friendliness of disposition, (which I
have already observed in more than this one instance) of the German
character.
The day of my departure was market-day at Ulm. Having ordered the horses at
ten o'clock, I took a stroll in the market-place, and saw the several
sights which are exhibited on such occasions. Poultry, meat, vegetables,
butter, eggs, and--about three stalls of modern books. These books were,
necessarily, almost wholly, published in the German language; but as I am
fond of reading the popular manuals of instruction of every
country--whether these instructions be moral, historical, or facetious--I
purchased a couple of copies of the _Almanac Historique nommé Le_ _Messager
Boiteux_, &c: a quarto publication, printed in the sorriest chap-book
manner, at Colmar, and of which the fictitious name of _Antoine Souci,
Astronome et Hist._ stands in the title-page as the author. A wood-cut of
an old fellow with a wooden leg, and a letter in his right hand, is
intended to grace this title-page. "Do you believe (said I to the young
woman, who sold me the book, and who could luckily stammer forth a few
words of French) what the author of this work says?" "Yes, Sir, I believe
even _more_ than what he says--" was the instant reply of the credulous
vender of the tome. Every body around seemed to be in good health and good
spirits; and a more cheerful opening of a market-day could not have been
witnessed. Perhaps, to a stranger, there is no sight which makes him more
solicitous to become acquainted with new faces, in a new country, than such
a scene as this. All was hilarity and good humour: while, above, was a sky
as bright and blue as ever was introduced into an illuminated copy of the
devotional volumes printed by the father of the ULM PRESS; to wit, _John
Zeiner of Reutlingen_.
We crossed the Danube a little after ten o'clock, and entered the
territories of the King of BAVARIA. Fresh liveries to the postilion--light
blue, with white facings--a horn slung across the shoulders, to which the
postilion applied his lips to blow a merry blast[28]all animated us: as,
upon paying the tax at the barriers, we sprung forward at a sharp trot
towards _Augsbourg_. The morning continued fine, but the country was rather
flat; which enabled us, however, as we turned a frequent look behind, to
keep the tower of the cathedral of Ulm in view even for some half dozen
miles. The distance before us now became a little more hilly: and we began
to have the first glimpse of those _forests of firs_ which abound
throughout Bavaria. They seem at times interminable. Meanwhile, the
churches, thinly scattered here and there; had a sort of mosque or globular
shaped summit, crowned by a short and slender spire; while the villages
appeared very humble, but with few or no beggars assailing you upon
changing horses. We had scarcely reached _Günzbourg_, the first stage, and
about fourteen miles from Ulm, when we obtained a glimpse of what appeared
to be some lofty mountains at the distance of forty or fifty miles. Upon
enquiry, I found that they were a part of a chain of mountains connected
with those in the Tyrol.
It was about five o'clock when we reached AUGSBOURG; and, on entering it,
we could not but be struck with the _painted exteriors_, and elaborate
style of architecture, of the houses. We noticed, with surprise not wholly
divested of admiration, shepherds and shepherdesses, heroes and heroines,
piazzas, palaces, cascades, and fountains--in colours rather gay than
appropriate--depicted upon the exterior walls:--and it seemed as if the
accidents of weather and of time had rarely visited these decorations. All
was fresh, and gay, and imposing. But a word about our Inn, (_The Three
Moors_) before I take you out of doors. It is very large; and, what is
better, the owner of it is very civil. Your carriage drives into a covered
gate way or vestibule, from whence the different stair-cases, or principal
doors, lead to the several divisions of the house. The front of the house
is rich and elegant. On admiring it, the waiter observed--"Yes, Sir, this
front is worthy of the reputation which the _Hôtel of the Three Moors_
possesses throughout Europe." I admitted it was most respectable. Our bed
rooms are superb--though, by preference, I always chose the upper suit of
apartments. The _caffé_ for dining, below, is large and commodious; and I
had hardly bespoke my first dinner, when the head-waiter put the
_travelling book_ into my hands: that is, a book, or _album_, in which the
names and qualities of all the guests at that inn, from all parts of
Europe, are duly registered. I saw the names of several of my countrymen
whom I well knew; and inscribed my own name, and that of my companion, with
the simplest adjuncts that could be devised. In doing so, I acted only
according to precedent. But the boast and glory of this Inn is its GALLERY
OF PICTURES: for sale. The great ball-room, together with sundry corridores
and cabinets adjoining, are full of these pictures; and, what renders the
view of them more delectable, is, the _Catalogue_:--printed in the _English
language_, and of which a German is the reputed author.
My attention, upon first running over these pictures was, unluckily, much
divided between them and the vehicle of their description. If I turned to
the number, and to the description in the printed catalogue, the language
of the latter was frequently so whimsical that I could not refrain from
downright laughter.[29] However, the substance must not be neglected for
the shadow; and it is right that you should know, in case you put your
travelling scheme of visiting this country, next year, into execution, that
the following observations may not be wholly without their use in directing
your choice--as well as attention--should you be disposed to purchase. Here
is _said_ to be a portrait of _Arcolano Armafrodita_, a famous physician at
Rome in the XVth century, by _Leonardo da Vinci_. Believe neither the one
nor the other. There are some _Albert Durers_; one of the _Trinity,_ of the
date of 1523, and another of the _Doctors of the Church_ dated 1494: the
latter good, and a choice picture of the early time of the master. A
portrait of an old man, kit-cat, _supposed_ by _Murillo_. Two ancient
pictures by _Holbein_ (that is, the _Father_ of Hans Holbein) of the
_Fugger family_--containing nine figures, portraits, of the size of life:
dated 1517 and deserving of notice. An old woman veiled, half-length, by
_J. Levens_: very good. Here are two _Lucas Cranachs_, which I should like
to purchase; but am fearful of dipping too deeply into Madame Francs's
supplemental supply. One is a supposed portrait (it is a mere supposition)
of _Erasmus_ and his mistress; the other is an old man conversing with a
girl. As specimens of colouring, they are fine--for the master; but I
suspect they have had a few retouches. Here is what the catalogue calls "A
_fuddling-bout. beautyful small piece, by Rembrand_:" nº. 188: but it is
any thing but a beautiful piece, and any thing but a Rembrandt.
There is a small picture, said to be by _Marchessini_, of "Christ dragged
to the place of execution." It is full of spirit, and I think quite
original. At first I mistook it for a _Rubens_; and if Marchessini, and not
Otho Venius, had been his master, this mistake would have been natural. I
think I could cull a nosegay of a few vivid and fragrant flowers, from this
graphic garden of plants of all colours and qualities. But I shrewdly
suspect that they are in general the off-scourings of public or private
collections; and that a thick coat of varnish and a broad gilt frame will
often lead the unwary astray.
While I am upon the subject of _paintings_, I must take you with me to the
TOWN HALL ... a noble structure; of which the audience room, up one pair of
stairs--and in which Charles V. received the deputies respecting the famous
_Augsbourg Confession of Faith_, in 1530,--is, to my taste, the most
perfectly handsome room which I have ever seen. The wainscot or sides are
walnut and chestnut wood, relieved by beautiful gilt ornaments. The ceiling
is also of the same materials; but marked and diversified by divisions of
square, or parallelogram, or oval, or circular, forms. This ceiling is very
lofty, for the size of the room: but it is a fault (if it be one) on the
right side. I should say, that this were a chamber worthy of the cause--and
of the actors--in the scene alluded to. It is thoroughly imperial: grave,
grand, and yet not preposterously gorgeous.
Above this magnificent room is the PICTURE GALLERY. It is said to receive
the overflowings of the gallery of Munich--which, in turn, has been
indebted to the well known gallery of Dusseldorf for its principal
treasures. However, as a receiver of cast-off apparel, this collection must
be necessarily inferior to the parent wardrobe, yet I would strongly
recommend every English Antiquary--at all desirous of increasing his
knowledge, and improving his taste, in early German art--to pay due
attention to this singular collection of pictures at Augsbourg. He will see
here, for the first time in Bavaria--in his route from the capital of
France--productions, quite new in character, and not less striking from
boldness of conception and vigor of execution. Augsbourg may now be
considered the soil of the _Elder Holbein_, _Hans Burgmair_, _Amberger_,
and _Lucas Cranach_. Here are things, of which Richardson never dreamt, and
which Walpole would have parted with three fourths of his graphic
embellishments at Strawberry Hill to have possessed. Here are also
portraits of some of the early Reformers, of which an excellent Divine (in
the vicinity of Hackney church) would leap with transport to possess
copies, wherewith to adorn his admirable collection of English
ecclesiastical history. Here, too, are capricious drolleries, full of
character and singularity--throwing light upon past manners and
customs--which the excellent PROSPERO would view with ... an almost
coveting eye!
But to be more particular; and to begin with the notice of a curious
performance of John, or the ELDER HOLBEIN. It is divided, like many of the
pictures of the old German masters, into three compartments. The _Nativity_
occupies one; the _Assumption_ another: and the decapitation of _St.
Dorothy_ the third. In the Assumption, the Trinity, composed of three male
figures, is introduced as sanctifying the Virgin--who is in front. Below
this group is the church of "_Maria Maior_," having two bells in the
steeple; upon one of which, in the act of being tolled, is the date of
1499: upon the other, in a quiescent state, are the words HANS HOLBEIN:
with the initial L.B. to the right. To the left, at bottom, is the
inscription HIE LITBE GRA; to the right, below, on a piece of stone, the
initial H. The third piece in this composition, the death of St. Dorothy,
exhibits a sweetly-drawn and sweetly coloured countenance in that of the
devoted Saint. She is kneeling, about to receive the uplifted sword of the
executioner; evincing a firmness, yet meekness of resignation, not unworthy
the virgin martyrs of the pencils of Raphael and Guido. Her hair is long,
and flows gracefully behind. A little boy, habited in a whimsical jacket,
offers her a vase filled with flowers. The whole picture is rich and mellow
in its colouring, and in a fine state of preservation.
Another piece, by the same uncommon artist, may be also worth particular
notice. It is a miscellaneous performance, divided into three compartments;
having, in the upper part of the first, a representation of the Agony in
the Garden of Gethsemane. Our Saviour is placed in a very singular
situation, within a rock. The comforting angel appears just above him.
Below is the Pope, in full costume, in the character of St. Peter, with a
key in his left hand, and in his right a scroll; upon the latter of which
is this inscription: "_Auctoritate aplica dimitto vob omia
pcta_"[30] The date of 1501 is below. This picture, which is exceedingly
gorgeous, is in the purest state of preservation. Another compartment
represents our Saviour and the Virgin surrounded by male and female
martyrs. One man, with his arms over his head, and a nail driven through
them into his skull, is very striking: the head being well drawn and
coloured. To the left, are the Pope, Bishops, and a Cardinal between St.
Christopher and a man in armour. One Bishop (_St. Erasmus_) carries a spit
in his left hand, designating the instrument whereby he suffered death.
This large picture is also in a very fine state of preservation.
A third display of the graphic talents of the Elder Holbein (as I should
conceive, rather than of the son, when young--as is generally believed)
claims especial notice. This picture is a representation of the leading
events in the _Life of St. Paul_; having, like most other performances of
this period, many episodes or digressions. It is also divided into three
compartments; of which the central one, as usual, is the most elevated. The
first compartment, to the left, represents the conversion of St. Paul
above, with his baptism by Ananias below. In this baptism is represented a
glory round the head of St. Paul--such as we see round that of Christ.
Before them stands a boy, with a lighted torch and a box: an old man is to
the left, and another, with two children, to the right. This second old
man's head is rather fine. To the left of the baptism, a little above, is
St. Paul in prison, giving a letter to a messenger. The whole piece is,
throughout, richly and warmly coloured, and in a fine state of
preservation. The central piece has, above, ["_Basilica Sancti Pauli_."]
Christ crowned with thorns. The man, putting a sceptre in his hand, is most
singularly and not inelegantly clothed; but one or two of the figures of
the men behind, occupied in platting the crown of thorns, have a most
extraordinary and original cast of countenance and of head-dress. They
appear ferocious, but almost ludicrous, from bordering upon caricature;
while the leaves; and bullrush-like ornaments of their head-dress, render
them very singularly striking personages. To the right, Joseph of Arimathea
is bargaining for the body of Jesus; the finger of one hand placed against
the thumb of the other telling the nature of the action admirably.
Below this subject, in the centre, is St. Paul preaching at Athens. One of
the figures, listening to the orator with folded arms, might have given the
hint to Raphael for one of _his_ figures, in a similar attitude, introduced
into the famous cartoon of the same subject. Before St. Paul, below, a
woman is sitting--looking at him, and having her back turned to the
spectator. The head-dress of this figure, which is white, is not
ungraceful. I made a rude copy of it; but if I had even coloured like * * *
I could not have done justice to the neck and back; which exhibited a tone
of colour that seemed to unite all the warmth of Titian with all the
freshness of Rubens. In the foreground of this picture, to the right, St.
Peter and St. Paul are being led to execution. There is great vigour of
conception and of touch (perhaps bordering somewhat upon caricature) in the
countenances of the soldiers. One of them is shewing his teeth, with a
savage grin, whilst he is goading on the Apostles to execution. The
headless trunk of St. Paul, with blood spouting from it, lies to the left;
the executioner, having performed his office, is deliberately sheathing his
sword. The colouring throughout may be considered perfect. We now come to
the remaining, or third compartment. This exhibits the interment of St.
Paul. There is a procession from a church, led on by the Pope, who carries
the head of the Apostle upon a napkin. The same head is also represented as
placed between the feet of the corpse, in the foreground. There is a clever
figure, in profile, of a man kneeling in front: the colouring of the robe
of a Bishop, also kneeling, is rich and harmonious. A man, with a glory
round his head, is let down in a basket, as from prison, to witness the
funeral. But let me not forget to notice the head of an old man, in the
procession, (coming out of the church-door) and turning towards the
left:--it is admirably well touched.
I shall now give you a notion of the talents of HANS BURGMAIR--a painter,
as well as engraver, of first-rate abilities. I will begin with what I
consider to be the most elaborate specimen of his pencil in this most
curious gallery of pictures. The subject is serious, but miscellaneous: and
of the date of 1501. It consists of Patriarchs, Evangelists, Martyrs, male
and female, and Popes, &c. The Virgin and Christ are sitting, at top, in
distinguished majesty. The countenances of the whole group are full of
nature and expression: that of the Virgin is doubtless painted after a
living subject. It exhibits the prevailing or favourite _mouth_ of the
artist; which happens however to be generally somewhat awry. The cherub,
holding up a white crown, and thrusting his arm as it were towards the spot
where it is to be fixed, is prettily conceived. Upon the whole, this
picture contains some very fine heads.