March Omens.
[Footnote 44]
[Footnote 44: From Irish Odes and other Poems, by Aubrey De Vere, just Issued by the Catholic Publication Society.]
ON ivied stems and leafless sprays
The sunshine lies in dream:
Scarcely yon mirrored willow sways
Within the watery gleam.
In woods far off the dove is heard,
And streams that feed the lake:
All else is hushed save one small bird,
That twitters in the brake.
Yet something works through earth and air,
A sound less heard than felt,
Whispering of Nature's procreant care,
While the last snow-flakes melt.
The year anon her rose will don;
But to-day this trance is best—
This weaving of fibre and knitting of bone
In Earth's maternal breast.
Translated From The German
By Richard Storrs Willis.
Emily Linder.
A Life-portrait.
The circle of those who were witness to the blossom-period of the city of Munich, that glorious epoch of twenty or thirty years which dawned upon the Bavarian capital when Louis I. ascended the throne, is gradually narrowing, and every year contracts it still further. The name of her to whom this sketch is dedicated belonged to this circle, and is closely associated with the best of those who aided in inaugurating this brilliant epoch, and rendering Munich a hearthstone of culture which attracted the gaze of the educated world. Sunny period of old Munich! They of that time speak of it with the same enthusiasm as of their own youth. Yet to a future generation will their testimony sound like some beautiful tradition.
To not a few, the name of Miss Emily Linder appeared for the first time, as the intelligence of her death passed through the public journals of February, 1857. Yet was her life no ordinary one; and though it never tended to publicity, she accomplished more in her great seclusion than many a noisy and feted celebrity. Hers was a quiet and unassuming nature; she belonged to those who speak little and accomplish much. It is therefore befitting, now that she has gone to her home, here to speak of her. Not so much to praise her, for she shrank from all earthly praise; but to keep her memory fresh among her friends and to present to a selfish, distracted age, poor in faith, the animating example of a pure, faith-inspired, and symmetrical character a life full of fidelity, unselfishness, and enthusiasm.
Swiss by birth and unchangeably devoted to her circumscribed home, Emily Linder little dreamed, probably, when in early life she wandered to Munich, that she would yet close a long life there. But over this life, swiftly as it glided along, there watched a special, directing Providence; and no one could more cheerfully have recognized this Providence than did she. What originally attracted her to Munich was Art: she probably contemplated, at first, only brief and transient visit there; but the metropolis of German art became a second home to her—even more than this.
Emily Linder belonged to a wealthy mercantile family of Basle, and was born at that place on the 11th of October, 1797. She received a careful religious education, (in the reformed faith of her parents,) and that varied instruction which rendered her unusually wakeful mind susceptible to topics of deeper import. She seemed to have inherited from her grandfather, who was a lover and collector of artistic objects, a fondness for fine art. Following this predilection, the gifted girl decided to seize the pallet and devote herself to painting as an occupation. Such was her entirely independent position as to fortune, that nothing but inward enthusiasm could have led her to this step, or have confined her from thenceforth to the easel.
The home of Holbein's genius offered her at first, doubtless, inspiration enough. But a new star had arisen in German art, and the youthful Swiss was drawn powerfully by its leading away from home—to Munich. The modest city on the verdant Iser began at that period to prove the goal of pilgrimage to every ambitious disciple of art. Miss Linder also heard of it, and, instead of going to Dresden, as she had intended, she turned for her further improvement to Munich. On her arrival in this city she had attained to an age of twenty-seven years; but her devotion to her chosen profession was so earnest, that she entered as a simple pupil the Academy of Fine Arts. In the catalogue of the academy, Emily Linder is inscribed as historical painter, on the 4th of November, 1824. But she frequented the studios only a few weeks. At that time it was customary to accept ladies as pupils; but she soon perceived that the position was hardly a becoming one, surrounded by so many young people of various characters, and all beginners like herself. She therefore had recourse to Professor Schlotthauer for private instruction. Under the guidance of this excellent master, "a veritable house-father in the painter's academy," as Brentano characteristically termed him, she pursued her studies in good earnest, and, according to the representation of her teacher, made rapid progress in the severer style of drawing, in which she had hitherto been less practised than in painting. She soon perfected herself to such an extent that she was enabled to complete her own compositions, and thus derived double satisfaction from her profession.
It was indeed a pleasure in those days, competing with so many enthusiastic young artists and with the newly-appearing works in constant view, to labor and strive onward with the rest. This was the time, too, when Cornelius assumed the directorship of the Munich Academy and inaugurated, in grand style, the new era of German art. A wondrous life dawned upon Munich art at that period. Cornelius himself, in his old age, recalled with emotion and enthusiasm this youthful period of new German art. At Rome, thirty years later, on the occasion of the Louis festival of German artists, 20th May 1855, while he was delivering an address so celebrated for its many piquant flashes, he thus painted the joyous industry of those days:
"But when King Louis ascended the throne of his fathers, then began the sport. Zounds! what moulding, building, drawing, and painting! With what eagerness, with what hilarity each went to his work! But it was an earnest hilarity: … nor was Munich at that time a mere hot-house of art. The warmth was a healthy and vital one, born of the flaming fire of inspiration, the evidence of which every work, whatever its defects, bore upon its very face. Those men who worked together in brotherly unity knew that there confronted them the art tribunal of posterity and of the German nation. It concerned them, now, that German genius should open a new pathway in art, as it had already so gloriously done in poetry, in music, in science."
In this glorious time of youthful aspiration, bold conception, and joyful industry, Miss Linder began her artistic career in Munich. Is it a wonder then that the city pleased her daily better, and imperceptibly gained a home-like power over her? Nor had she, by any means, a lack of intellectual incitement. Her independent position and rare culture secured to her the most agreeable social position. In the family of Herr von Ringseis, to which she had brought an introduction from Basle, and where gathered the nobility of the entire fatherland, she came into contact with the most eminent artists and scholars. Chief among these was Cornelius, who welcomed her to his family circle. The old master of German art remained a life-long friend of hers and warmly attached to her. Among her more intimate companions, she numbered also the two Eberhards, Heinrich Hess, Franz von Baader. Somewhat later, by the transfer of the university to Munich, were added to these Schubert, Görres, Schelling, Lasaulx. Also the two Boiseree, who in the autumn of 1827 came to Munich with their art collection, which had been purchased by King Louis, were soon numbered among her nearer acquaintances.
Amid so choice a circle there unfolded itself for the young artist a spiritual and intense life, to which she abandoned herself with all the joyous simplicity and freshness of an artistic nature; a nature which was susceptible also to the beautiful and the grand in other things—in poetry, in music, and in science. The quiet, friendly lady-artist became everywhere a favorite.
But, amid all these manifold occupations, there was ever a certain earnestness, a striving out of the temporal into the eternal. Even art was not to her a mere amusement. Genuine art possesses an ennobling power, and she experienced what Michael Angelo once said to his friend Vittoria Colonna, "True painting is naturally religious and noble; for even the struggle toward perfection elevates the soul to devotion, draws it near to God and unites it with him." Attracted by the pure and lofty in art, Miss Linder gave preference to religious painting, a taste which was encouraged by her sterling master: and it caused her, though a Protestant, special gratification, while ever seeking the best studies, to paint or copy, whenever she could, devotional church pictures.
In order to become acquainted, through actual observation, with the principal works of Christian art, she determined on a journey to Italy. Her first visit she decided to confine to the cities of upper Italy, and in company with Professor Schlotthauer and his wife, this plan was carried out during the summer and autumn of 1825. Milan, Verona, Padua, Venice, Bologna, were visited, and, led by the hand of her intelligent master, they all passed under her examination. The goal of her travel was to be Florence. But the long-continued, fine autumn weather attracted the travellers further and further, and at length they came to Perugia, the middle point of the Umbrian school, and thence to the neighboring, picturesque-lying Assisi. At this place a little circumstance occurred which became of deep significance in the after life of the artist.
The vetturino, familiar with the land and the people, called the attention of the travellers to the fact that in Assisi there was a monastery of German Franciscan nuns. A colony of poor German women in the middle of Italian lands! That was enough to decide the party to visit the monastery and greet their pious countrywomen in the language of home. But they found the sisterhood in evident distress. As they stood before the lattice, the history of the monastery was briefly related to them by the superior. It owed its origin to the patrician family Nocker of Munich, and according to the terms of its establishment was intended only for Germans, and more particularly for Bavarian maidens. Under Napoleon I. it was suspended, and the nuns were cared for in private dwellings, where, hoping for better times, they still continued, as well as they could, the practice of their vocation. These better times came. After the fall of the Napoleonic dynasty, the purchasers of the monastery consented to relinquish it, and the poor Franciscans could at least reoccupy the building. But it went so hard with them, that they were sometimes obliged to ring the distress-bell, and the number of inmates diminished. At the time of the arrival of our three travellers, they numbered but twelve. An increase of numbers under such circumstances was hardly to be hoped for, and the existence of the monastery seemed again endangered. Municipal abolishment was threatened, with the unavoidable prospect to the nuns of being distributed among the various Italian monasteries. Now to maintain themselves as a German order was everything to these Franciscans; and thus the superior represented it to her travelling country-people, with all simple-heartedness, closing her narration with the entreaty that, on their return to Munich, they would not forget the little German monastery in Assisi, but care for it as they might be able, and cause younger sisters to come to them from Bavaria, in order to save the establishment from utter extinction.
The three travellers took their leave filled with sympathy, and promising to bear in mind the petition of the superior. They commenced their homeward travel from Assisi, passed through Genoa and reached Munich again in November. Miss Linder vigorously recommenced her artistic occupations, filled with animation at her new experiences. But during the winter evenings the Italian trip often formed the topic of conversation in the Schlotthauer family, and generally closed with the question, How shall we manage to increase the number of candidates in the monastery at Assisi? But at that period this was not so easy. The secular spirit had spread itself broadly in German lands: the current of fresh, Catholic life flowed mostly in hidden courses. But with surprise they soon learned of its continued activity. Through one of those invisible channels which Providence avails itself of, in its own good time—in every-day life termed accident—the cry for help of the superior at Assisi penetrated to to a village where pious hearts were prepared for it. One day there came a letter for Professor Schlotthauer from Landshut, addressed to him by an unknown maiden of the humbler class named Therese Frish, stating that she had heard of the monastery at Assisi, and the request of the superior: in Landshut was a goodly number of young girls who had long cherished the desire in their hearts for convent life, and only waited for an opportunity to realize their wishes: several of them, some possessed of means, were ready at any moment to leave for Assisi. This was welcome intelligence, and the friends of the superior in Munich were not backward in performing their part. Thus in the spring they had the happiness of seeing a little band of candidates departing for Assisi. The monastery was rescued, and commenced from that time, through the ever-increasing sympathy in Germany, a new and beneficent career. From year to year, assisted by the people of Munich, there wandered true-hearted though indigent maidens to this quiet asylum of piety, to reach which, as Brentano wrote twelve years later, (1838,) was the dearest wish of these pious children.
Her art trip had thus recompensed the maiden of Basle in a manner little dreamed of or counted on. The impression which this peculiar experience made upon her susceptible nature could not well be a transient one. The little monastery at Assisi—what could be more natural?—from thenceforth lay very closely to her heart, and its memories became most dear to her. The personality of the superior herself, her simple worth and naturalness, gratefully appealed to her; and several years later, on making her second Italian trip, she gladly revisited Assisi. A friendly relation resulted, which, fostered by a regular correspondence, became more intimate every year. She now began to understand the true meaning of a voluntary Christian poverty: the contemplation of which must naturally make a profound impression upon a nature like hers. She had frequent occasion, by active assistance, to prove herself a warm friend of the monastery. Particularly at the time of the great earthquake, (1831,) when this monastery of women was in great want and distress, she stood by the nuns most generously. Ever after, indeed, she remained a constant benefactress of the German daughters of the holy St. Francis; and there, in the birth-place of the saint, was she most assiduously prayed for. In Assisi lay the earliest germ of her quietly-ripening, late-maturing conversion.
In the year 1828, Miss Linder returned to her native city, Basle, in order to prepare for a more lengthened visit to Rome. Like every genuine artist-heart, a powerful influence attracted her to the ancient capital of art, to the eternal city. On her journey thither, she touched at Assisi, having the happiness to escort to the monastery of the Franciscans a new candidate from Munich and to find the nuns there in happiest tranquillity. Cornelius and Schlotthauer reported the same of them, when they passed through, a year and a half later. They received permission from the bishop to hold an interview with the German sisters in the claustral. The innocent joyousness and deep peace of the German nuns was very touching to them. The bishop gave the two artists the best testimony of them in his assurance that he constantly presented these pious Germans to their Italian sisters as an example for imitation.
Accompanied with the nuns' blessing Miss Linder hastened toward the eternal city, where a new world opened itself to her. Bright, blissful days did she pass in Rome, and so well did it please her, that she remained there nearly three years. Here again her associates were the brightest spirits of the German art circle, and their similarity of aim induced a friendly geniality which in many ways enhanced the pleasure of her stay. Scholars and artists of the German colony sought her society with equal delight. Here she met Overbeck—that St. John among the artists—whose friendship to her and to her subsequent life was of such significance. Neher and Eberle received from her commissions. With the painter Ahlborn she read Dante. The venerable Koch was charmed with the society of the genial Swiss, and passed many a winter's evening with her. Also Thorwaldsen, Bunsen, and Platen were among her intimate acquaintance in Italy.
From Rome Miss Linder made a trip to Naples and Sorrento. With a party of Germans, among whom was Platen, she passed there the summer of 1830. The wondrous poetry of the landscape and skies of Sorrento impressed with their fullest power the sensitive soul of the artist. All three arts, poetry, music, and painting, were brought into requisition to give adequate expression to her enchantment and delight. She became herself a poetess under the influence of all these glories, and described to her friends, who remained behind at Rome, with veritable southern warmth of coloring, her "captivating paradise." As in Rome she listened with the veneration of an intelligent musician to the ancient classic music of the Sistine chapel, so at the Bay of Naples she bestowed her attention upon the popular Italian ballads. Theirs was a genial company, and they sang much together; of their songs and melodies she made a collection, and took home with her. Platen, in his subsequent letters, reminded her of those days, and, writing from Venice, requested of her the music of "triads and octaves," which they had sung together in Sorrento.
On her return to Rome, late in the autumn of the same year, she found Cornelius and his family there, and the friendly relations which subsisted in Munich were warmly renewed. The presence of the honored master created, in the Roman art world, an animated and exhilarating activity, and the rest of her stay was thus enlivened in the most agreeable manner. The following year, in company with Cornelius, she started for home. It was hard parting, as finally, in July, 1831, with a wealth of beautiful and deep impressions, she bade farewell to the Hesperian land which had become so dear to her, to return to Basle; and we must not censure the artist that she found it difficult, as her letters indicate, to forget the blue skies of Italy and accustom herself again to the gray hues of the German heaven. The sharpness of the contrast gradually softened, however, and the old home feeling asserted itself. But the life in Rome remained a bright spot in her memory, and even in later years, when the conversation turned upon it, the habitually quiet lady became warm and animated.
In Rome, on the other hand, the artists were equally loth to part with the aesthetic Swiss. The venerable Koch sent her word, through the the painter Eberle, how much he regretted that he could no longer pass his winter evenings with her. Overbeck and others held with her an animated correspondence. But she remained in hallowed remembrance with the German art-colony, from the assistance she rendered to youthful talent, and her encouragement by actual commissions. The historical painter Adam Eberle, particularly, a pupil of Cornelius, friend and countryman of Lasaulx—a highly gifted and lofty mind, but struggling in the deepest poverty—to him she proved a generous benefactress; and we can truly say, that through her goodness his last days—he died at Rome, 1832—were illumined with a final gleam of sunshine. The letters which she received from the youthful departed, partly during her stay in Rome, partly after her departure, give ample testimony of this, and indicate the manner, generally, of her benevolence in such cases. Immediately on their first meeting in Rome, and learning of his condition, she gave him a commission for an oil painting; with deep emotion he thanked the friendly lady "for the confidence she had thus reposed in a nameless painter." Subsequently she purchased also several drawings of Eberle, each, like the oil painting, of a religious nature; among others, one that she particularly prized, and afterward caused to be engraved, "Peter and Paul journeying to the Occident."
On forwarding this drawing to Basle, together with another, the subject of which was taken from the Old Testament, "as the product of his muse since her departure," Eberle thus writes:
"What chiefly attracts me to these Bible subjects is the healthy and unaffected language, which I endeavor to translate into my art. Regard this work of mine as a study which is necessary for my taste. That which is lacking in it, I know full well, without the power of supplying it. Accept it, therefore, as it is. Altogether bad it is not. At a very sad period was it undertaken, and many a tear has fallen upon it, which, like a vein of noble metal, seven times purified in its earthen crucible, glistens through it. I have, indeed, some assurance that I have not fruitlessly worked, in Overbeck's judgment upon it, whom you saw at Bunsen's: and this not a little cheers me."
Her generous watchfulness wearied not in rescuing him, at the times of his greatest need, and Eberle, with overflowing gratitude, testified to these constant proofs of her goodness, and, even more, to the great delicacy and the kindly words which accompanied every act.
Her personal intercourse at Rome seemed also to have exerted a favorable influence upon his religious sentiments. The taste for mystical writings which, encouraged by Baader, she was cultivating at that period, grew also upon him; and when, shortly after her departure, Lasaulx came to Rome, Eberle was very happy that he could continue with him this favorite and elevating study. He writes to her at Basle on the 25th of September, 1831:
"An old friend of my youth and countryman of mine, C. Lasaulx, is now my almost exclusive companion: he will probably remain the winter here and share my dwelling with me. He is, as you know, a zealous disciple of Schelling, is deeply versed in the new philosophy, and, what to me is of still more value, in the mysticism of the middle ages. I rejoice to have gained in him some compensation for the loss of your society; yet I cannot share the expectations which he bases upon the new philosophy. Although my acquaintance with him has divested me of many a former prejudice, I find myself, nevertheless, attracted only the more to the 'one thing needful,' assured that only at the fountain of living waters, Jesus Christ, can our thirst be quenched."
He adds, however, concerning his friend:
"Lasaulx has nevertheless a very substantial Christian basis, and if ever his Knowing goes hand in hand with his Willing, and his Willing with his Knowing, we may certainly expect something very sterling from him."
It was Lasaulx himself who communicated the news to their mutual friend, in Germany, of the sudden death of Eberle. Eberle's plan had been to pass yet a year in Rome, then return to Germany, and, seeking again the sheltering wing of his master, Cornelius, in Munich, there to close his art-wanderings. Thus he himself wrote in a letter of the 7th of March, 1832. But a month later he was no more. He succumbed to a disease of the stomach. Shortly before his death, Miss Linder had cheered the invalid by a remittance. On the 24th of April, 1832, Lasaulx thus wrote from Rome:
"Our friend Adam Eberle, at five o'clock in the afternoon of the 15th of April, after a hard death-struggle, recovered from the malady of this life. Good-Friday morning we bore him home. Three days before his death he had the great joy of receiving your last letter, and that which your love enclosed with it. He was one of the few whose souls are washed in the blood of the Lamb, offered from the beginning of the world. The Lamentations and the Miserere of the divine old masters Palestrini and Allrgri which you begged our friend to listen to for you, I have listened to for both of you."
Munich had now so grown upon the affections of the artiste that she again removed thither from Basle in 1832. After her life in Rome, a residence in the German art-metropolis could not but be a necessity to her, and the Bavarian capital was thenceforth her home. Her house became more and more the peaceful abode of the fine arts. Her fortune enabled her, by a succession of commissions, gradually to collect a wealth of pictures and drawings in which the Corypheans of Christian art were represented. Among these Overbeck took the foremost place with a series of subjects from the Evangelists, the choicest of drawings, which during a period of thirty years gradually came into her possession. A beautiful oil painting by Overbeck, which she esteemed most highly, "The death of St. Joseph," was also produced at this time, an elevated delineation of the death of the just. From Cornelius she secured three cartoons of the wall pictures in the Louis-church, ("The Creation,") in which this mighty intellect was worthily represented. In like manner an altar-piece by Conrad Eberhard, one of the most thoughtful compositions of this admirable master, and intended originally for one of the new church edifices of King Louis, took its place among the gems of this house—just as the venerable master himself, in all his purity of soul and pious simplicity, took his place high in the friendship of the hostess.
Next to painting, the two sister arts, poetry and music, were specially cultivated in the home of the artist. She had a clear perception of the true and elevated in poetry, and kept pace, even to old age, with the literary productions of the new era. Her own poetic effusions were confined to the eye of her more intimate friends; but there were some poems upon which Brentano himself placed high value. Her library was a choice one, and her knowledge of languages kept her acquainted with the best productions of the modern cultivated nations. Her aesthetic and scientific acquirements became her well, inasmuch as the cultivation of the mind and of the heart with her kept even pace.
Miss Linder applied herself to music in full earnest. She not only practised several instruments—the aeolodicon and harp were always seen in her drawing-room—but she had herself instructed by Ett in thorough-bass and the history of music. She followed his instructions in harmony with practical exercises. In musical history it was the religious department again which most appealed to her: her researches went back to the earliest times, the development of the true church style, and for the unfolding of this subject she had found in Ett the right man. Moreover, she stood in friendly exchange of views with Proske of Regensburg, a profound student of ancient church music. Sometimes musical gatherings were held, to which Ett brought singing-boys from the choir of St. Michael's Church: ancient religious cantatas, the compositions of Orlando di Lasso, Handel, Abbé Vogler's hymns, and the like, were performed. Conrad Eberhard, an enthusiastic admirer of music and of the master Ett, who with Schlotthauer regularly attended the historical lectures on music, in his ninetieth year spoke with loving recollection of these ennobling evenings at Miss Linder's.
By this varied and earnest devotion to art, as well as artistic and scientific enterprises, to which she constantly brought willing and generous offerings, her life began to assume more and more an ideal significance, and to gain that expansiveness of horizon and completeness which secured for her a position in society as peculiar as it was agreeable. If we would ask what it was that identified this quiet spirit with so distinguished a circle and made her house a rendezvous for scholars and artists, in which the most brilliant and the most profound so gladly met, the explanation would be just this—it was the awakened intelligence which she brought to all intellectual topics, the simple-hearted abandonment to the views of great minds, the readiness with which she recognized and admired the true and the beautiful in all things. It was equally the unselfish, uncalculating enthusiasm, and the perfect purity of soul, which compelled the respect of all. An unvarying geniality blended with a quiet earnestness; a clear intelligence with a golden goodness; a profound view of life in all its phases, from the very heights of a sunny existence—herein resided the gentle attractiveness with which she drew to herself the sympathies of the noblest souls and held them fast.
A character of such a type is best reflected in its friends. Her life for the most part flowed on so quietly and evenly that it rose clearly to the view of only those who were nearest to her. It seems, therefore, befitting that from among her many friends we should select a few who, like her, are now at rest, and mention some of their salient characteristics.
The foremost place is due to the painter-prince of the new art-epoch himself, Cornelius—who was a friend from her very youth, and only a few months after her, even in these latter days, closed his earthly pilgrimage. The fame of the man and the sense of his loss, still so freshly felt, will justify us in dwelling somewhat more at length on him and his letters. It was, indeed, the opinion of Emily Linder, toward the close of her life, that the letters which she had received from Cornelius might some day be of use in his biography.
At the time Miss Linder started from Munich upon her journey to Switzerland and Italy, her relations with the family of the celebrated painter had already become so intimate, that it was continued in correspondence. Ordinarily it was an Italian-German or double letter, from Carolina and Peter Cornelius, which greeted her; they both recall, with friendly warmth, her residence in Munich, and the message, "We miss you!" was repeatedly wafted after her as she remained longer away. Frau Carolina Cornelius evinced for her a very tender attachment. The genial master himself honored her with confidences from time to time, as to his artistic plans and undertakings. Particularly was this the case when he was commissioned to prepare designs for the Louis-church in Munich, whereby he saw the early realization of a long-cherished and favorite idea of his; when the history of mankind in grand outline, the creation, the redemption, the sending of the Holy Ghost to the church, the last judgment, presented itself to his mind. Then he felt impelled to open his heart to his absent friend, and the postscript, which he appended to a letter of his wife, rises into a veritable dithyrambic. He writes on the 20th of January, 1829:
"I cannot better close this letter than by communicating a thing which transports me and in which you, my dear friend, will sympathize. Fancy my good fortune! After completing the Glyptothek, I am to paint a church. It is now sixteen years that I have been going about with the idea of a Christian epic in painting—a painted comoedia divina—and I have had hours, and longer periods, when it seemed I had a special mission for this. And now my heavenly love comes like a bride in all her beauty to me—what mortal after this can I envy? The universe opens itself before my eyes: I see heaven, earth, and hell; I see the past, the present, and the future; I stand on Sinai and gaze upon the new Jerusalem; I am inebriated and yet composed. All my friends must pray for me, and you, my dear Emily. With brotherly love greets you CORNELIUS."
The artistic heroism of this soul—this man whose ideas grasped the world—breathes in these lines with certainly wonderful freshness. In other letters of this happy period his natural humor gains the ascendant, and he indulges in sallies of mirth, afterward begging her indulgence and a friendly remembrance of "the crazy painter Peter Cornelius." Her replies were in a simpler and graver tone, but full of that refreshing independence, which appeared to a nature like his more than aught else. She allowed his geniality full play without compromising her sincerity, or her dignity. He is thus both "charmed and edified" by her letters, and once made the remark of them, "All that your personality led me to fancy of the beautiful and the good finds more artless, more forcible and vivid expression in your letters. It becomes you uncommonly well, whenever you fairly assert yourself."
In the year 1831 the cholera threatened, for a time, to visit Munich. The preparations of the sanitary authorities to meet this uncomfortable guest were already completed. Miss Linder was in Basle, and sent thence a friendly invitation to Cornelius and his family to take refuge at her domestic hearth. The knightly response of the master, dated Munich, 15th of November 1831, is as follows:
"Your friendly suggestion from the shelter of your hospitable hearth to laugh at the cholera, and by the same opportunity, perhaps, to reproduce a Decameron, corresponding thereto, has an indescribable attraction for me, and I should have acted upon it had I not been afraid to be afraid. From sheer cowardice at the possible death of my honor, I must stand the cartridges of the cholera. From the spot where my king and so many admirable and honorable men stand their ground, must Cornelius never run away. You will take in good part the informality of this letter from your fanciful friend, yet he craves of you an indulgenza plenaria while he ends with the bold declaration that he indescribably loves and honors you.
P. V. CORNELIUS."
At this period an idea seized Cornelius, which long occupied his attention, namely, to record the noteworthy incidents of his own eventful artist-life; a plan which certainly would have enriched literature by at least one original work and have proved of inestimable value to the history of modern art. Unfortunately, the plan was never carried out; but it affords a proof of his high esteem for his friend that Cornelius intended the memoirs to be written in the form of letters addressed to her, as will appear from the two following letters. They are written under the influence of the same exuberant spirits in which the grand conception of his "Christian epic" had placed him:
"Munich, February 12, 1832.
"Very Dear Friend: This is not meant as an answer to the welcome and beautiful letter which you sent me through H. Hauser; it is only a slight expression of my gratitude and my great delight at the kindliness and the loyal friendship which your dear letter breathes for me, unworthy. I have lately been asking myself why this letter-writing, which, as you and all the world knows, is a horror to me, since my correspondence with you has set me back into that happy period when one can write an entire library and yet not be satisfied. Had I more leisure, I would carry out an old project to write the history of my life in letter-form, after the manner of many French memoirs, and addressed to you. Although for the present this is not to be thought of, I by no means abandon the plan.
"Heroes and artists—in the most liberal way of viewing it—have their truest and clearest appreciation in the pure souls of women. Only Hebe might serve the nectar to Alcides; only Beatrice conducts the singer into Paradise; Tasso's delirium is a vague searching in a labyrinth where Ariadne's thread is broken; Michael Angelo would have been as great a painter as was Dante a poet had Beatrice opened heaven to him; Raphael's thousand-feathered Psyche bore a material maiden into the realm of the stars; her human blood enkindled his and slew him. When I write my memoirs, you will see how it has gone with me in this respect. In the mean time I allow you a peep through the keyhole of my private drawer—it is a poor poem of my youth, which as penance you must read, because you mockingly called me a poet. [Footnote 45]
[Footnote 45: It is truly a very youthful poem, addressed "To the Muse," commencing:
"Confided have I alone
in thee, O Muse," etc. ED.]
"I know not why I send these poor stanzas to you; it appears to me as though you exercised some charm over the spirits of my life, who must perforce appear before you. Perhaps one of these days this letter might serve for a dedication to the book in question, because, like an overture, it contains in itself the leading motive. Now farewell, and take no offence at this gay carnival-arabesque, The ladies of my family heartily greet you: we have good news from Rome. Heaven bless you, vouchsafe you cheerfulness and bliss, and bring you soon to us. Meantime, however, write soon, and often send tidings to your most devoted friend,
"P. Cornelius."
Four months later, he reverts to the same subject, on the occasion of sending to her, while at Basle, a sketch of his latest composition for the walls of the Louis-church, ("The Epiphany,") accompanying which he writes:
Munich, June 21, 1832.
"Herewith you find a little sketch of a drawing just completed for a large cartoon (the corresponding piece to the Crucifixion,) and instead of interpreting it to you, I beg your own interpretation of it; it would have such a charm for me to read in your mind my own conceptions ennobled and beautified. What coquetry! I hear you laughingly say; and yet I hope to be pardoned. If it be true that artists have many feelings in common with women, those which prompt us to try to please those we love should meet with some indulgence.
"I occupy myself often, on my lonely walks, with the plan of my intended memoirs; the material begins to assume shape; but unless you apply to it the finishing touch, it will not be presentable. I never could bring myself to entrust it to other hands. In the retrospect of my life I find the material more abundant than I had supposed. Very difficult will be the shaping of much of it. How easily does many a tie and relation in this life lose its true coloring and significance by omissions; and yet must these very often occur, if the work is to appear during my lifetime. Before beginning to write, I shall communicate to you, orally, dearest friend, some portions of the memoirs, and we can then discuss them at leisure—a welcome plan to me, for thus will the undertaking fairly ripen. With inmost respect and love, your devoted
"Peter Von Cornelius."
Finally, it may be allowable to make mention of a letter which he addresses to her from Rome, on the 12th of October, 1833, while he was working on his drawing of the Last Judgment. In this letter we recognize his playful, working humor—and does he not term these periods of creative activity his wedding time? In several remarks, however, we discern both sides of his nature.
"My Noble Friend: It is really too bad! has he not yet written? not even answered that charming letter from Salzburg? Well, I must say, I am curious to see how he will justify himself.
"Thus I hear Schlotthauer exclaim; even Schubert ominously shakes his head; but you are silent and thoughtful. I should be in despair for an excuse for myself, having already shot off my best arrows at you on similar occasions, exhausted my adroitest terms—my best rhetoric. I say I should be in despair, if that stupendous, that tremendous thing, 'The Last Judgment,' did not take me under its protecting wing. Never has a man, probably, with more sublimity asked pardon of a lady! And now, laying the universe at your feet, I await composedly my sentence. From this moment is my tongue loosed; and I can say to you that I am celebrating my blissfullest time—my wedding time—the harvest season of my holiest aspirations. How few mortals attain to such happiness! and how ill-calculated is this world to afford it!
"Gladly would I show you the work I am at present engaged upon. Yet for a nature so quiet as yours, you appear to me far too forcible and positive. Overbeck must love you a thousand fold more than I: with me you suffer indulgence to take the place of impartial justice. How I once fretted about such things!
"What a treasure is a deep, positively incurable pain! Better than the most unalloyed bliss which this poor world has to offer, it brings us near to the Holy One. It is more faithful, far less variable. It draws us into solitude, into ourselves.
"You surmise, doubtless, what I mean. Daily do I thank Heaven that through you such knowledge was to come to me. This is bitter medicine; administered, to a child, upon sweet fruit. But why do I entertain you with such trivialities? In all books of all nations we read the same thing; and yet when the poor human heart is pressed with its heavy burthen, it feels just as profoundly and acutely as in the very days of Troy itself; and the utterances of joy and of love, like those of pain, are ever new and their method inexhaustible; ever does one cast himself upon the breast of a loving, sympathetic soul.
"Accept for the moment this confused scribble and remain friendly and well-disposed toward me. Continue to peep through my fingers, and leave me just five of them. I claim to myself, however, the privilege of an unlimited love and veneration for you. My entire household and all your friends send heartfelt greeting; foremost of all, however, your
P. V. CORNELIUS."
The correspondence was interrupted when Cornelius removed to Berlin; but not the friendship, which endured to the end. Nor did the exchange of letters cease entirely; so that the ink-shy master once asserted in Berlin, that he had written to no lady so often as to her.
Among the earliest acquaintances of Emily Linder, was Father Franz von Baader; as the nine letters indicate, which were addressed to her, and published in the complete works of Baader. The first of these was dated as early as the 25th of May, 1825, therefore at the commencement of her residence in Munich; and the contents indicate the immediate cause of their mutual attraction. This letter has somewhat the nature of a memorial, in which the philosopher draws a parallel between the art of painting and the God-like art of benevolence; closing with the following words:
"Herewith commends himself to Miss Emily Linder—she who rendered her memory so dear, so imperishable to him by an act kindness performed at his request to a poor family—
Franz Baader."
The tie between them therefore lay in the admirable activity of that quality by which Emily Linder quietly accomplished so much—a high-hearted love for her neighbor.
From that time forward Baader regularly sent her his pamphlets and works, and we can appreciate to what extent he tasked her intellect when he forwarded her a copy of his Speculative Dogma or, Social-Philosophic Treatise. He regarded it as a pleasant duty to acquaint her from time to time with his literary labors: and she spared herself to no trouble to follow even such grave and abstruse topics. He succeeded in specially interesting her in Jacob Böhme. Her intelligent remarks on Baader's article upon the doctrine of justification led him to remark that her letter afforded him a more satisfactory proof than many a criticism that he had succeeded in reaching both the head and the heart. In the year 1831, Baader dedicated to her a philosophic paper entitled Forty Propositions from a Religious Exotic," (Munich: Franz, 1831.) In the brief dedication of this "little work on great subjects" we read, "While you in ancient Rome are dedicating heart, soul, eye, and hand to art, it may not be unwelcome to you to hear over the stormy Alps a friendly voice, reminding you of that holy alliance of the three graces of a better and eternal life, Religion, Speculation, and Poetry, adding to these also, Painting." In the letter which accompanies this pamphlet he places before her the leading thoughts of the little work in a lucid manner:
"When the teachers of religion say that the whole Christian faith rests upon the knowledge and conviction that God is love; and that in this religion the love of God, of man, of nature, is made a duty; so that, in fact, a oneness of love and duty is announced, it would seem seasonable this unloving and duty-forgetful age so to present the identity of these two, love and duty, that mankind can discern the laws of religion in those of love, and those of love in religion; which, I trust, has been done in this pamphlet in a new, albeit rather a homoeopathic manner."
Next to Baader is to be named his intellectual son-in-law, Ernst von Lasaulx. He started, in the same year that Emily Linder left Rome, upon his long journey through Italy and Greece, to the Orient. They met in Florence, the 27th of July, 1831, and he promised the artist a description of his travels. In conformity with this promise ensued a series of letters recording his experiences and impressions in Greece and the promised land, fresh and warm to a degree seldom found, and full of classic beauty. By whom could antiquity be better realized to this art-enthusiast than by Lasaulx, the zealous student of Grecian art-history, and equally a master of artistic prose! Poetic sensibility and literary clearness go refreshingly hand in hand in these letters; now in a description of his rides to that "eloquent rock-architecture" of Cyclopean edifices, the Titanic walls of the Acropolis of Tiryns and Mikene; or his solitary wanderings among the prostrate, ruined glories strewn from Corinth to Magara and Athens. At the first view of distant Athens, the Acropolis and the Parthenon, the temple of Theseus and the city behind the dark olive-woods he exclaims:
"Here is Greece, all of a departed glory worthy of the name, which the noiseless waste of time and the insane fury of man has left to the after-world. Never in my experience, and in no other city, have I known such emotions. It is as though my heart were turned into an AEolian harp, and the night winds were sighing through its broken strings."
Despite all his predilections, however, for the classic land, he did not suffer himself to be deceived as to a new Greece by the occasion of the 12th of April, 1833, when he was present at the formal surrender of the Acropolis to the Bavarian troops, when Osman Effendi withdrew the Turkish forces, and the Bavarian commander, Baligand, planted the Greek flag upon the northern rampart. He remarks, in this description:
"It was a remarkable spectacle; the noisy, confused crowd of Turks, Greeks, Bavarians and whatever other inquisitive Franks had collected in the dusky colonnades of the Parthenon. As I could not bring myself to any faith in the regeneration of Greece, the rampant irony of this insane funeral wake only added to my deep depression."
Written in the year 1833, and, hardly ten years later, what confirmation!
Glorious passages does the traveller indite to his distant friend over his pilgrimage through Palestine; profound melancholy at the present condition of the holy land; devout emotions amid holy places. On entering Jerusalem, Sunday, September 15. 1833, he says:
"Burning tears and a cold shudder of the heart were the first, God grant not the only, tributes which I offered for his love and that of his Son."
His delineations inspired his friend with a holy longing, and she entertained for some time afterward the idea of a journey to the holy land. She had, indeed, made preparations (1836) for a pilgrimage thither in company with Schubert, and only considerations of health compelled her at last to abandon the plan.
Subsequently, at the close of his life, Lasaulx crowned his friendship for Miss Linder with a special literary tribute. He dedicated to her his last great work, The Philosophy of the Fine Arts, Architecture, Sculpture, Painting, Music, Poetry, Prose, (Munich, 1860.) As though from a presentiment of his death, he felt impelled to bring his esthetic studies to a close, sensible as he was that here and there were still omissions to supply. But the book is the thoughtful labor of many years, and a masterwork of style. In the dedication, which serves as preface, and which was written in the Bavarian inn, at Castle Lebenberg, in the Tyrol, on the 25th of September, 1859, after speaking of the origin of the work, he refers, in the following words, to his friend:
"That I dedicate this work particularly to you will be found natural enough on a moment's self-examination. I met you, for the first time, thirty years ago, at Munich, in a delightful circle of friendly men and women, so many of whom are constantly departing from us, that those who are still left have to move nearer and nearer to each other at your hospitable table. A few years later, I saw you in Florence again, as you came from Rome and I went thither. The death of our early-maturing friend, Adam Eberle, resulted in an association with you as a correspondent, and since then you have proved to me, my wife and daughter, both in bright and gloomy days, so dear and true a friend, that it is now a necessity with me to express my gratitude to you, even with this very work, whose subjects are so akin to your own studies, and in writing which, at this fortress of Lebenberg, I have so often thought of you and our mutual friends, dead and living, chiefest among whom should to yourself this book be a tribute."
A year and a half later, the noble and true soul of Lasaulx had passed, and his grateful friend founded for him a memorial after her own peculiar taste, the pious memorial of a stated mass for his soul.
An early friend, also, and one true till death, was Gotthilf Heinrich von Schubert, who met Miss Linder shortly after he was called to the University of Munich. The amiable personality of this savant of child-like nature particularly appealed to her. His fundamental views of religion accorded with her own; and therefore, the elements of a spiritual harmony were already at hand. Miss Linder was associated with his family during the period of an entire human life, in the closest and purest friendship, which particularly one test safely withstood—that of her conversion. In his autobiography, Schubert alludes, in a few words, to this friend of his household; and the comparison he draws between her and the Princess Gallitzin shows how high a position he accorded her. Speaking of the circle of friends in which he chiefly moved, he mentions the names of Roth, Puchta, Schnorr, Cornelius, Ringseis, Schlotthauer, Boisseree, Schwanthaler, and then remarks:
"The gathering-point of many of these friends was the house of the noble Swiss, Emily. At all times and in all places, in larger as in smaller social circles, will each with pleasure thus recall that grand life-picture, which was similarly presented to a former generation at Münster, in the fair friend of Hamann, of Stolberg, of Claudius."
Emily Linder was certainly the first, in her deep humility, to deprecate such a comparison; but it is for both equally creditable that the venerable sage felt constrained to bear such testimony, even after her union with the Catholic Church.
Next to the testimony of scholars and artists, we will finally quote an opinion from a female writer, a literary lady of the higher walks of life. In the summer of 1841, came Emma von Niendorf to Munich. She was in friendly relation with Schubert and Brentano, and, several years later, recorded her reminiscences of those sunny days at Munich in a lively and imaginative little work. At Schubert's she formed the acquaintance of Emily Linder, and was attracted closely to her. She refers to her in glowing and expressive terms, depicting this art-loving woman in the repose of her home:
"A noble Swiss, and for this reason remarkable, that, fortified by exterior means and the most positive convictions, she presented to me an ideal existence in a ripe and unwedded old age, having achieved happiness. She lived only for science, for art, for all that is beautiful and good. But everything was illumined with the glory of a genuine Christian spirit. And how this spirit reflected itself in all her surroundings! I shall never forget it; the sitting-room, with work-basket, books, flowers, harp, drawings by Overbeck; a drawing-room separating these from a little house-chapel, which a painting of Overbeck also embellished. And, where the organ awaited the skilful fingers, a Madonna of the school of Leonardo da Vinci smiled from the wall, while the little side-altar encased a drawing of Albrecht Dürer. I found, also, in the house of this lady a portrait of Maria Mori, in the Tyrol, admirably drawn by her friend, the well-known lady artist, Ellenrieder, somewhat idealized; a profile, with folded hands; long, brown, down-flowing hair; the large, dark eye full of devotion, full of sensibility, the stigmata in the hands not to be forgotten. … This lady is a Protestant. The deepest coloring of her soul is, perhaps, shading toward Catholicism; yet she doubtless finds satisfying harmonies in the Gospel. By one of those wonderful providences which life is so full of, this earnest soul was planted between two strongly pronounced natures—two opposite polarities of friendship, both deep and sincere—Clemens Brentano and Schubert, who were on equal terms of intimacy with her."
At the very time Emma von Niendorf put her work to press, she knew not that the lady to whom these lines referred had already attained that toward which "the deepest coloring of her soul seemed to be shading." Emily Linder had sought and found "satisfying harmonies" in the faith of the one, universal, apostolic church.
Conclusion In The Next Number.