It is, as usual, divided, into three compartments; and the subject is that
of _St. Ursula and her Virgins_. Although of less solid merit than the
preceding, it is infinitely more striking; being most singularly conceived
and executed. The gold ornaments, and gold grounds, are throughout managed
with a freedom and minuteness of touch which distinguish many of the most
beautiful early missals. In the first compartment, or division, are a group
of women round "_Sibila Ancyra Phrygiæ_." The dresses of these women,
especially about the breast, are very curious. Some of their head dresses
are not less striking, but more simple; having what may be called a cushion
of gold at the back of them. In the second compartment is the
_Crucifixion_--in the warmest and richest (says my memorandum, taken on the
very spot) glow of colour. Beneath, there is a singular composition. Before
a church, is a group of pilgrims with staves and hats on; a man, not in the
attire of a pilgrim, heads them; he is habited in green, and points
backwards towards a woman, who is retreating; a book is in his left hand.
The attitudes of both are very natural. Further to the right, a man is
retreating--going through an archway--with a badge (a pair of cross keys)
upon his shoulder. The retreating woman has also the same badge. To the
left, another pilgrim is sitting, apparently to watch; further up, is a
house, towards which all the pilgrims seem to be directing their steps to
enter. A man and woman come out of this house to receive them with open
arms. The third division continues the History of St. Ursula. Her attire,
sitting in a vessel by the side of her husband Gutherus, is sumptuous in
the extreme. I would have given four ducats for a copy of it, but Mr. Lewis
was otherwise engaged. A Pope and Cardinal are to the right of St. Ursula:
the whole being in a perfect blaze of splendour. Below, they are dragging
the female Saint and her virgin companions on shore, for the purpose of
decapitation. An attitude of horror, in one of the virgins, is very
striking.
There is a small picture by Burgmair of the _Virgin and Christ_, in the
manner of the Italian masters, which is a palpable failure. The infant is
wretchedly drawn, although, in other respects, prettily and tenderly
coloured. Burgmair was out of his element in subjects of dignity, or rather
of _repose_. Where the workings of the mind were not to be depicted by
strong demarcations of countenance, he was generally unsuccessful. Hence it
is, that in a subject of the greatest repose, but at the same time
intensity of feeling--the _Crucifixion_--this master, in a picture here, of
the date of 1519, has really outdone himself: and perhaps is not to be
excelled by _any_ artist of the same period. I could not take my eyes from
this picture--of which the figures are about half the size of life. It is
thus treated. Our Saviour has just breathed his dying exclamation--"it is
finished." His head hangs down--cold, pale death being imprinted upon every
feature of the face. It is perhaps a painfully-deadly countenance: copied,
I make no doubt, from nature. St. Anne, Mary, and St. John, are the only
attendants. The former is quite absorbed in agony--her head is lowly
inclined, and her arms are above it. (The pattern of the drapery is rather
singular). Mary exhibits a more quiet expression: her resignation is calm
and fixed, while her heart seems to be broken. But it is in the figure and
countenance of _St. John_, that the artist has reached all that an artist
_could_ reach in a delineation of the same subject. The beloved disciple
simply looks upwards--upon the breathless corpse of his crucified master.
In that look, the world appears to be for ever forgotten. His arms and
hands are locked together, in the agony of his soul. There is the sublimest
abstraction from every artificial and frivolous accompaniment--in the
treatment of this subject--which you can possibly conceive. The background
of the picture is worthy of its nobler parts. There is a sobriety of
colouring about it which Annibal Caracci would not have disdained to own. I
should add, that there is a folding compartment on each side of the
principal subject, which, moving upon hinges, may be turned inwards, and
shut the whole from view. Each of these compartments contains one of the
two thieves who were crucified with Our Saviour. There is a figure of S.
Lazarus below one of them, which is very fine for colour and drawing.
The last, in the series of old pictures by German masters, which I have
time to notice, is an exceedingly curious and valuable one by CHRISTOPHER
AMBERGER. It represents _the Adoration of the Magi_. There are throughout
very successful attempts at reflected light; but what should set this
picture above all price, in my humble estimation, is a portrait--and the
finest which I remember to have seen--of MELANCTHON:--executed when he was
in the vigour of life, and in the full possession of physiognomical
expression. He is introduced in the stable just over those near the Virgin,
who are coming to pay their homage to the infant Christ: and is habited in
black, with a black cap on. Mr. Lewis made the following rough copy of the
head in pencil. To the best of my recollection, there is _no engraving_ of
it--so that you will preserve the enclosed for me, for the purpose of
having it executed upon copper, when I reach England. It is a countenance
full of intellectual expression.
[Illustration]
Of the supposed _Titians_, _Caraccis_, _Guidos_, _Cignanis_, and _Paolo
Veroneses_, I will not presume to say one word; because I have great doubts
about their genuineness, or, at any rate, integrity of condition. I looked
about for _Albert Durer_, and _Lucas Cranach_, and saw with pleasure the
portraits of my old friends _Maximilian I._ and _Charles V._ by the
former--and a _Samson and Dalila_ by the latter: but neither, I think, in
the very first rate style of the artist.
There was a frightful, but expressive and well coloured, head of a Dwarf,
or Fool, of which Mr. Lewis took a pencil-copy; but it is not of sufficient
importance to enclose in this despatch. It is the EARLY GERMAN SCHOOL of
Art which is here the grand and almost exclusive feature of
attraction--speaking in an antiquarian point of view. ReÏchard estimates
the number of these pictures at _twelve hundred_, but I should rather say
_seven hundred_.
I find, however, that it will be impossible to compress all my _Augsbourg_
intelligence in one epistle; and so I reserve the remainder for another
opportunity.
[23] [Several years have elapsed since I have received a letter from Mons.
Le Bret. Is he alive? If he be living, let him be assured of my
unalterable and respectful attachment: and that I have unfeigned
pleasure in annexing a fac-simile of his AUTOGRAPH--from a letter to
me of the date of June 8th 1819: a letter, which I received on the
17th of the same month following--the very day of our _Roxburghe
Anniversary Dinner_. Singularly enough, this letter begins in the
following strain of bibliographical jocoseness: "_Monsieur, et très
reverend Frère de Boocace l'Immortel!_"]
[Illustration: Signature--f.c. Lebret]
[24] The predominant religion is the Protestant. Indeed I may say that the
number of Catholics is exceedingly limited: perhaps, not an eighth
part of the population of the town.
[25] I presume this to be the earliest date which any of his books exhibit.
His brother GUNTHER, or GINTHER (for the name is spelt both ways in
his colophons) began to print in 1468. Lord Spencer possesses a
beautiful copy (which I obtained from the library of St. Peter's
Monastery, at Salzbourg) of _Bonaventure's Meditations upon the Life
of Christ_, of the date of 1468, printed by G. Zainer, or (Zeiner)
at Augsbourg; and considered to be the first effort of his press.
[26] The note, above mentioned, was written in Latin: the Professor telling
me that he preferred that language to the French, as he thought he
could write it more grammatically. A _Latin note_ must be rather
a curiosity to my readers: which, as it is purely bibliographical, and
in other respects highly characteristic of the _bon-hommie_ of
the writer, shall receive a place here. After mentioning the books
above specified, the Professor goes on thus:
"Haec paucula e pluribus notare libuit, quæ reliqua temporis
angustia ostendere non permisit. Habeo enim alias, quas vocant,
editiones principes, e.g. Diogenis Laertii, Bas. 1533-4. Josephi,
Bas. 1544. fol. Jo. Chrysostomi [Greek: _peri pronoias_]
1526-8. Ej. [Greek: peri hierôsunês], ib 1525-8. Aliorum Græcorum
et Patrum. Calpurnii et Nemesiani Eclogarum editionem, ab. do.
Alex. Brassicano curatam editionem ad MS. antiquum factam et
Argent. 1519-4. impressam. Præterea aliquot Aldinas et Juntinas
editiones, aliquot a Mich. Vascosano, Paris. factas, in quibus
Thucydidis Libri III. priores, Paris. 1548. 4. cujus margini
Lectt. Varr. e MSto adscriptæ sunt, non memoratæ in editione
Bipontina. Æschylus, ex edit. Franc. Robortelli, Venet. 1552. 8.
Idem ex ed. Henr. Stephani, ex offic. Henr. Stephani, 1557. 4.
Dionysii Halic. Opera Rhet. ex. ed. Rob. Stephani, Par. 1547. Fol.
Diodor. Sicul. ex edit. Henr. Stephani, 1559. Fol.
"Pauculos Codd. MSS. e. gr. Ciceronis de Officiis, Aratoris in
Acta App. Fragmenta Liuii et Terentii ostendere tempus non
concessit: præter eos habeo aliquot Ciceronis Orationes, Excerpta
ex Liuio, duos Historiæ Griseldis, et alios minoris pretii.
"Maximam collectionis, Bibliothecam appellare non fas est, meæ
partem efficit magnus librorum et libellorum numerus ab Ao. 1500.
usque ad 1550. editorum a Reformatoribus eorumque aduersariis, qui
numerum sex millium superant, in quibus adsunt Serueti de
Trinitatis erroribus, eiusdemque Dialogi, Tomi Pasquillorum, Henr.
Corn. Agrippæ aliquot opera, Lemnii Epigrammata, aliquot libelli,
Lutheri et Melancthonis manu ornati; præterea alia Collectio
Documentorum, quorum antiquissimum est ab. A. 1181 et Epistolarum
[Greek: _autographôn_], a viris doctis Sæculorum XV. XVI.
XVII. XVIII. conscriptarum, in quibus Henr. Steinhoevvelii, Raym.
Peraudi, Lutheri, Melancthonis, Zwinglii, Gruteri, Casauboni,
Ludolfi, Camerarii, Patris, Rittershusiorum, Piccarti, aliorumque.
"Sed nolo longiore enarratione molestus esse, ne vanus esse
uidear, a quo vitio nemo me alienior est. Vt divina providentia
iter prosperum esse iubeat, est, quod ex animo TIBI, VIR--precatur
Vlmæ,
Aug.
MDCCCXVIII.
[Illustration: Signature]
P.S. Et TIBI præsenti, et superiora heri nocte et somno ingruente
scribens referre omiseram, esse mihi ex XXII. libris _ab
Academia Veneta, della Fama dicta_, editis XV. Omnes adeo sunt
rari, ut vel instructissimæ bibliothecae vix aliquot eorum
habeant. Addo _germanicam Sixti Papæ Bullæ datæ 1474
versionem,_ sine dubio Vlmæ eodem anno impressam, et quinque
foliis constantem; quam apud me vidisti."
The Professor, with the above note, was also so obliging as to present
me with a copy of his "_Specimen Historico-Litterarium de Academia
Veneta_. Qua Scholarchæ et Vniversum Gymnasii quod Ulmæ floret
Consilium Mæcenates Patronos Fautores ejusdem Gymnasii ad Orationem
aditialem A.D. XXIV. Febr. A. 1794, habendam officiose atque decenter
invitant."--A Latin brochure of twelve pages: "_Ulmæ ex Officina
Wagneri, Patris_."
[27] [There is an excellent lithographic print of this Rath Haus, which I
possess.]
[28] The postboys in the Duchy of Baden, and in the territories of
Würtemberg, have also horns; but I never could get any thing, in the
character of a tune, performed by either of them. The moment you enter
BAVARIA, you observe a greater elasticity of character. [The ARMS of
Bavaria head the first page of this third volume of my Tour.]
[29] The reader may try the effect of perusing the following articles
(taken from this printed catalogue) upon his own muscles. The
performance, as I suspect, is by a native of Augsbourg.
75. _Portrait of Justus Lipsius by Rembrand_. This head of a
singulary verity shews of draughts of a man of science: the
treatement of Clothing is most perfectful, the respiring of life,
the hands all wunder-worthy to be admired. 208. _A
hunting-piece_ of great beauty by Schneyders, the dogs seem to be
alife, the wild-fowls, a hare, toils, just as in nature. 341.
_Queen Marie Christine of Sweden_ represented in a very noble
situation of body and tranquility of mind, of a fine verity and a
high effect of clair-obscure. By Rembrand. 376. _Cromwell
Olivier_, kit-cat the size of life, a Portrait of the finest
carnation, who shews of a perfect likeness and verity, school of
Vandyk, perhaps by himself. 398. Portrait of _Charles the first
king of England_ (so many Portraits of famous persons by Classick
painters will very seldom be found into a privat collection) good
picture by Janson van Miereveld. 399. A large and precious battle
piece representing a scene of the famous _victory by Blindheim
wonen by Marleborough_ over the frensh 1704. We see here the
portrait of this hero very resembling, he in a graceful attitude
on horsebak, is just to order a movement: a many generals and
attendance are arround him. The leaguer, the landscape, the
groups, the fighting all with the greatest thruth, there is
nothing that does not contribute to embellish this very remarcable
picture, painted by a contemporary of the evenement and famous
artist in battle pieces, George Philipp Rugendas.
[30] This was no uncommon representation in the early period of art. "In
the church of St. Peter the Younger, at Strasbourg, about the year
1515, there was a kind of large printed placard, with figures on each
side of it, suspended near a confessional. On one side, was a naked
Christ, removing the fire of purgatory with his cross, and sending all
those, who came out of the fire, to the Pope--who was seated in his
pontifical robes, having letters of indulgence before him. Before him,
also, knelt emperors, kings, cardinals, bishops and others: behind him
was a sack of silver, with many captives delivered from Mahometan
slavery--thanking the supreme Pontiff, and followed by clergymen
paying the ransom money to the Turks. There might also be seen
captives, at the bottom of a deep well, shut down by bars of iron; and
men, women, and children, making all manner of horrible contortions.
"Those, says the chronicler Wencker, "who saw such a piteous sight,
wept, and gave money liberally--for the possession of indulgences;--of
which the money, raised by the sale, was supposed to be applied
towards the ransom of Christian captives." HERMANN; _Notices
Historiques, &c. de Strasbourg_: vol. ii. p. 434.
LETTER IV.
AUGSBOURG. CIVIL AND ECCLESIASTICAL ARCHITECTURE. POPULATION. TRADE. THE
PUBLIC LIBRARY.
In ancient times--that is to say, upwards of three centuries ago--the CITY
OF AUGSBOURG was probably the most populous and consequential in the
kingdom of Bavaria. It was the principal residence of the noblesse, and the
great mart of commerce. Dukes, barons, nobles of every rank and degree,
became domiciled here. A thousand blue and white flags streamed from the
tops of castellated mansions, and fluttered along the then almost
impregnable ramparts. It was also not less remarkable for the number and
splendour of its religious establishments. Here was a cathedral, containing
twenty-four chapels; and an abbey or monastery (of _Saints Vlric and Afra_)
which had no rival in Bavaria for the size of its structure and the wealth
of its possessions. This latter contained a LIBRARY, both of MSS. and
printed books, of which the recent work of Braun has luckily preserved a
record;[31] and which, but for such record, would have been unknown to
after ages. The treasures of this Library are now entirely dispersed; and
Munich, the capital of Bavaria, is the grand repository of them. Augsbourg,
in the first instance, was enriched by the dilapidations of numerous
monasteries; especially upon the suppression of the order of the Jesuits.
The paintings, books, and relics, of every description, of such monasteries
as were in the immediate vicinity of this city, were taken away to adorn
the town hall, churches, capitals and libraries. Of this collection, (of
which no inconsiderable portion, both for number and intrinsic value, came
from the neighbouring monastery of Eichstadt,[32]) there has of course been
a pruning; and many flowers have been transplanted to Munich. Yet there are
_graphic_ treasures in Augsbourg well deserving the diligent search and
critical examination of the English Antiquary. The church of the
_Recollets_ has an organ which is considered among the noblest in Europe:
nor must I forget to notice the pulpit, by Eichlen, and some old pictures
in the church of St. Anne.
[Illustration: MONASTERY OF SAINTS ULRIC & AFRA, AUGSBURG.]
The TOWN HALL in this city, which I mentioned in my last letter, is thought
to be the finest in Germany. It was yet exceeded, as I learn, by the old
EPISCOPAL PALACE, now dismembered of its ancient dimensions, and divided
into public offices of government. The principal church, at the end of the
_Maximilian Street_, is that which once formed the chief ornament of the
famous Abbey of Sts. Ulric and Afra.[33] I should think that there is no
portion of the present building older than the fourteenth century; while it
is evident that the upper part of the tower is of the middle of the
sixteenth. It has a nearly globular or mosque-shaped termination--so common
in the greater number of the Bavarian churches. It is frequented by
congregations both of the Catholic and Protestant persuasion; and it was
highly gratifying to see, as I saw, human beings assembled under the same
roof, equally occupied in their different forms of adoration, in doing
homage to their common Creator. It was also pleasing, the other day, to
witness, upon some high religious festival, the crowds of respectable and
well-dressed people (chiefly females) who were issuing from the Church just
above mentioned. It had quite an English Sunday appearance. I have said
that these females were "well dressed"--I should, rather have said superbly
dressed: for their head-ornaments--consisting of a cap, depressed at top,
but terminating behind in a broad bow--are usually silk, of different
colours, entirely covered with gold or silver gauze, and spangles. The hair
appeared to be carefully combed and plaited, either turned up in a broad
mass behind, or terminating in ringlets. I asked the price of one of the
simplest of these caps--worn by the common order of servants--and found it
to be little less than a guinea. But they last long, and the owners attach
some importance to them.
Augsbourg was once distinguished for great learning and piety, as well as
for political consequence; and she boasts of a very splendid
_martyrological roll_.[34] At the present day, all is comparatively dull
and quiet; but you cannot fail to be struck with the magnificence of many
of the houses, and the air of importance hence given to the streets; while
the paintings upon the outer walls add much to the splendid effect of the
whole. The population of Augsbourg is supposed to amount to about thirty
thousand. In the time of Maximilian, and Charles V. it was, I make no
doubt, twice as numerous.
Of the TRADE of Augsbourg, I am not enabled to transmit any very flattering
details. Silks, stuffs, dimity, (made here for the first time) and
jewellery, are the chief commodities; but for the _latter_, connected with
articles of dress, there is rather a brisk demand. The reputation of the
manufactory of _Seethaler_, is deserving of mention. In the repository of
this respectable tradesman you will find varieties of every description:
rings, buckles, clasps, bracelets, and images of Saints, of peculiar and
interesting forms. Yet they complain here of stagnation of commerce in
almost every one of its branches: although they admit that the continuance
of peace will bring things comfortably round again. The late war exhausted
both the population and the treasury of Bavaria. They do a good stroke of
business in the concerns of the bank: and this is considered rather a
famous place for the management of letters and bills of exchange. With
respect to the _latter_, some singular customs and privileges are, I
understand, observed here: among others, if a bill become due on a
_Wednesday_, eight days of grace are invariably allowed.
It was the thoughts of the PUBLIC LIBRARY alone that afforded the chief
comfort to the depressed state of my spirits, from the excessive heat of
the day. What I might _do_, and at last, what I had _done_, within the
precincts of that same library, was sure to be my greatest solace during
the evening rambles near the ramparts. The good fortune which attended me
at Stuttgart, has followed to this place. Within two yards' length of me
repose, at this present instant, the first _Horace_, and the finest copy
imaginable of the _Polish Protestant Bible_ of Prince Radzivil--together
with a _Latin Bible_ of 1475, by _Frisner and Sensenschmidt_, in two
enormous folio volumes, of an execution of almost unparalleled
magnificence. These are no common stimulants to provoke appetite. It
remains to see whether the banquet itself be composed of proportionably
palatable ingredients.
On leaving Stuttgart, M. Le Bret told me that Messrs. BEYSCHLAG and MAY
were the principal librarians or curators of the Public Library of this
place; and that I should find them intelligent and pleasant gentlemen.
Professor Veesenmeyer at Ulm confirmed this statement. I had a letter from
the latter, to the Rector Beyschlag, which procured me an immediate
entrance into the library. The Rector's coadjutor, Professor May, was also
most prompt to shew me every rarity. In the countenance of the _latter_, I
saw, what you could not fail to call that of a handsome-looking English
gentleman. I had never before so vehemently desired to speak the German
language, or for my new acquaintance to speak my own. However, the French
tongue was the happy medium of imparting my ideas and propositions to both
the gentlemen in question; and we had hardly exchanged half a dozen
sentences, when I opened what I considered (and what eventually turned out
to be) a well directed fire upon the ancient volumes by which I was at the
time surrounded.
The exterior of this library has a monastic form. The building is low and
unpretending, having an octangular tower, up the staircase of which you
mount to the library. It is situated within a stone's throw of the High
Street. The interior of the library is not less unpretending than its
exterior: but in a closet, at the hither end, (to the left on entering) are
preserved the more ancient, choice, and curious volumes. In one compartment
of this cabinet-like retreat are contained the _books printed at Augsbourg_
in the infancy of the press of this town:[35] a collection, extremely
creditable in itself and in its object; and from which, no consideration,
whether of money, or of exchange for other books, would induce the curators
to withdraw a volume. Of course I speak not of _duplicates_ of the early
Augsbourg press. Two comparatively long rooms, running in parallel lines,
contain the greater part of the volumes of the public library; and amongst
them I witnessed so many genuine, fair, and original conditioned copies of
literary works, of the early period of the Reformation, that I almost
sighed to possess them--except that I knew they could not possibly pay the
expenses of conveyance.