To-day we came to Frankfort, and this afternoon we have been driving
out to see the lions, and in the first place the house where Goethe
was born. Over the door, you remember, was the family coat of arms.
Well, while we were looking I perceived that a little bird had
accommodated the crest of the coat to be his own family residence, and
was flying in and out of a snug nest wherewith he had crowned it.
Little fanciful, feathery amateur! could nothing suit him so well as
Goethe's coat of arms? I could fancy the little thing to be the poet's
soul come back to have a kind of breezy hovering existence in this
real world of ours--to sing, and perch, and soar; for I think you told
me that his principal grace and characteristic was an exquisite
perception and expression of physical beauty. Goethe's house was a
very grand one for the times, was it not? Now a sign in the window
tells us it is used as a manufactory of porcelain.
Then we drove through the Jews' quarters. You remember how queer and
old they look; they have been much modernized since you were there.
_Cocher_ stopped before one house, and said something in German
about Rothschild, which C. said sounded like "Here Rothschild hung his
boots out." We laughed and rode on.
After this we went to the Romer, the hall that you have told me of,
where the emperors were chosen, all painted with their portraits in
compartments; and I looked out on the fountain in front, that used, on
these occasions, to flow with wine. Then I walked around to see all
the emperors, and to wish I knew more about history. Charles V. is the
only one of whom I have any distinct recollection.
Then we went to a kind of museum. _Cocher_ stopped at the door,
and we heard a general sputtering of gutturals between him, W., and
G., he telling them something about Luther. I got it into my head that
the manuscript of Luther's Bible was inside; so I rushed forward. It
was the public library. A colossal statue of Goethe, by an Italian
artist, was the first thing I saw. What a head the man had I a Jupiter
of a head. And what a presence! The statue is really majestic; but was
Goethe so much, really think you? That egotistical spirit shown in his
Diary sets me in doubt. Shakspeare was not self-conscious, and left no
trace of egotism; if he knew himself, he did not care to tell what he
knew. Yet the heads are both great and majestic heads, and would
indicate a plenary manhood.
We went into the library, disturbing a quiet, good sort of bibliopole
there, who, with some regret, put aside his book to guide us.
"Is Luther's Bible here?" W. and G. opened on him.
"No;" but he ushered us into a cabinet.
"There are Luther's _shoes!_"
"Shoes!" we all exclaimed; and there was an irreverent laugh. Yes,
there they were in a glass case,--his shoes, large as life,--shoes
without heels; great, clumping, thick, and black! What an idea!
However, there was a genuine picture by Lucas Cranach, and another of
Catharine, by Holbein, which gave more consolatory ideas of her person
than that which I saw before at Basle. There were also autographs of
Goethe and Schiller, as well as of Luther and Melanchthon.
Our little bibliopole looked mournfully at us, as if we were wasting
his time, and seemed glad when we went out. C. thought he was huffy
because we laughed at Luther's shoes; but I think he was only yearning
after his book. C. offered him a fee, but he would not take it. Going
down stairs, in the entry, I saw a picture of the infant Goethe on an
eagle. We rode, also, to see a bronze statue of him in some street or
other, and I ate an ice cream there to show my regard for him. We are
delighted on the whole with Frankfort.
Now, after all, that I should forget the crown of all our seeings,
Dannecker's Ariadne! It is in a pavilion in a gentleman's garden.
Could mere beauty and grace delight and fill the soul, one could not
ask for more than the Ariadne. The beautiful head, the throat, the
neck, the bust, the hand, the arm, the whole attitude, are exquisite.
But after all, what is it? No moral charm,--mere physical beauty, cold
as Greek mythology. I thought of his _Christ_, and did not wonder
that when he had turned his art to that divine representation, he
should refuse to sculpture from classic models. "He who has sculptured
a Christ cannot sculpture a Venus."
Our hotel here is very beautiful. I think it must have been some
palace, for it is adorned with fine statues, and walls of real marble.
The staircase is beautiful, with brass railing, and at the foot a
marble lion on each side. The walls of my bed room are lined with
green damask, bordered by gilt bands; the attendance here is
excellent. In every hotel of each large city, there is a man who
speaks English. The English language is slowly and surely creeping
through. Europe; already it rivals the universality of the French.
Two things in this city have struck me singularly, as peculiarly
German: one was a long-legged stork, which I saw standing on a chimney
top, reminding me of the oft-mentioned "dear white stork" of German
stories. Why don't storks do so in America, I wonder? Another thing
was, waking suddenly in the middle of the night, and hearing the hymn
of the watchman as he announced the hour. I think this is a beautiful
custom.
In the morning, I determined to get into the picture gallery. Now C.,
who espoused to himself an "_Amati_" at Geneva, has been, like
all young bridegrooms, very careless about every thing else but his
beloved, since he got it. Painting, sculpture, architecture, all must
yield to music. Nor can all the fascinations of Raphael or Rubens vie
in his estimation with the melodies of Mozart, or the harmonies of
Beethoven. So, yesterday, when we found the picture gallery shut, he
profanely remarked, "What a mercy!" And this morning I could enlist
none of the party but W. to go with me. We were paid for going. There
were two or three magnificent pictures of sunrise and sunset in the
Alps by modern artists. Never tell me that the _old_ masters have
exhausted the world of landscape painting, at any rate. Am I not
competent to judge because I am not an artist? What! do not all
persons feel themselves competent to pronounce on the merits of
natural landscapes, and say which of two scenes is finer? And are
painters any greater artists than God? If they say that we are not
competent to judge, because we do not understand the mixing of colors,
the mysteries of foreshortening, and all that, I would ask them if
they understand how God mixes his colors? "Canst thou understand the
balancing of the clouds? the wondrous ways of Him who is perfect in
wisdom?" If, therefore, I may dare to form a judgment of God's
originals, I also will dare to judge of man's imitations. Nobody shall
impose old, black, smoky Poussins and Salvator Rosas on me, and so
insult my eyesight and common sense as to make me confess they are
better than pictures which I can see have all the freshness and bloom
of the living reality upon them.
So, also, a most glorious picture here. The Trial of John Huss before
the Council of Constance, by Lessing--one of the few things I have
seen in painting which have had power deeply to affect me. I have it
not in my heart to criticize it as a mere piece of coloring and
finish, though in these respects I thought it had great merits. But
the picture had the power, which all high art must have, of rebuking
and silencing these minor inquiries in the solemnity of its
_morale_. I believe the highest painter often to be the subject
of a sort of inspiration, by which his works have a vitality of
suggestion, so that they sometimes bring to the beholder even more
than he himself conceived when he created them. In this picture, the
idea that most impressed me was, the representation of that more
refined and subtle torture of martyrdom which consists in the
incertitude and weakness of an individual against whom is arrayed the
whole weight of the religious community. If against the martyr only
the worldly and dissolute stood arrayed, he could bear it; but when
the church, claiming to be the visible representative of Christ, casts
him out; when multitudes of pious and holy souls, as yet unenlightened
in their piety, look on him with horror as an infidel and blasphemer,
--then comes the very wrench of the rack. As long as the body is
strong, and the mind clear, a consciousless of right may sustain even
this; but there come weakened hours, when, worn by prison and rack,
the soul asks itself, "Can it be that all the religion and
respectability of the world is wrong, and I alone right?" Such an
agony Luther expressed in that almost superhuman meditation written
the night before the Diet at Worms. Such an agony, the historian tells
us, John Huss passed through the night before his execution.
Now for the picture. The painter has arrayed, with consummate ability,
in the foreground a representation of the religious respectability of
the age: Italian cardinals, in their scarlet robes, their keen,
intellectual, thoughtful faces, shadowed by their broad hats; men whom
it were no play to meet in an argument; there are gray-headed,
venerable priests, and bishops with their seal rings of office,--all
that expressed the stateliness and grandeur of what Huss had been
educated to consider the true church. In the midst of them stands
Huss, habited in a simple dark robe; his sharpened features, and the
yellow, corpse-like pallor of his face, tell of prison and of
suffering. He is defending himself; and there is a trembling
earnestness in the manner with which his hand grasps the Bible. With a
passionate agony he seems to say, "Am I not right? does not this word
say it? and is it not the word of God?"
So have I read the moral of this noble picture, and in it I felt that
I had seen an example of that true mission of art which will manifest
itself more and more in this world as Christ's kingdom comes; art
which is not a mere juggler of colors, a gymnastic display of effects,
but a solemn, inspiring poetry, teaching us to live and die for that
which it noblest and truest. I think this picture much superior to its
companion, the Martyrdom of Huss, which I had already seen in America.