_Memoranda at Munich, Nuremberg, and Dresden._
I. MUNICH 241
The Theatre--representation of "Egmont" 245
Leo von Klenze 250
The Glyptothek--its general arrangement--Egina
Marbles--Account of the Frescos of Cornelius--Canova's
Paris and Thorwaldson's Adonis 252-273
The Opera at Munich, the Kapel Meister Stuntz 274
The Poems of the King of Bavaria 279
A public day at the New Palace 281
Thoughts on Female Singers--Their condition and destiny 284
The Munich Gallery--Thoughts on Pictures--their moral
influence 287
Rubens and the Flemish Masters 295
The Gallery of Schleissheim 304
The Boisserée Gallery--The old German School of Painting--Its
Effects on the Modern German School of Art 304
Representation of the Braut von Messina 310
The Hofgarten at Munich 313
The King's passion for Building 316
THE AUTHOR TO THE READER.
It seems a foolish thing to send into the world a book requiring
a preface of apologies; and yet more absurd, to presume that any
deprecation on the part of the author could possibly win indulgence
for what should be in itself worthless.
For this reason, and with a very deep feeling of the kindness I have
already experienced from the public, I should now abandon these little
volumes to their destiny without one word of preface or remark, but
that a certain portion of their contents seems to require a little
explanation.
It was the wish and request of my friends, many months ago, that I
should collect various literary trifles which were scattered about in
print or in manuscript, and allow them to be published together. My
departure for the continent set aside this intention for the time. I had
other and particular objects in view, which still keep full possession
of my mind, and which have been suspended not without reluctance, in
order to prepare these volumes for the press;--neither had I, while
travelling in Germany, the slightest idea of writing any thing of that
country: so far from it, that except during the last few weeks at
Munich, I kept no regular notes: but finding on my return to England,
that many particulars which had strongly excited my interest, with
regard to the relative state of art and social existence in the two
countries, appeared new to those with whom I conversed,--after some
hesitation, I was induced to throw into form the few memoranda I had
made on the spot. They are now given to the public in the first and
second volumes of this little collection, with a very sincere feeling
of their many imperfections, and much anxiety with regard to the
reception they are likely to meet with; yet in the earnest hope that
what has been written in perfect simplicity of heart, may be perused
both by my English and German friends, particularly the artists, with
indulgence; that those who read and doubt may be awakened to inquiry,
and those who read and believe may be led to reflection; and that those
who differ from, and those who agree with the writer, may both find some
interest and amusement in the literal truth of the facts and impressions
she has ventured to record.
It was difficult to give sketches of art, literature, and character,
without making now and then some _personal_ allusions; but though I
have often sketched from the life, I have adhered throughout to this
principle--never to give publicity to any name not already before the
public, and in a manner public property.
Two of the tales of the third volume, "The False One," and "The Indian
Mother," were written at different times, to prove that I could write
in a style which should not be recognised as mine even by my most
intimate friends, and the _ruse_ so far succeeded, that both, as I am
informed, have been attributed to other writers.
A. J.
May 1834.
SKETCHES OF ART, LITERATURE, AND CHARACTER.