From the number of Madonnas in every European gallery, it would almost seem that the old artists painted nothing else. The subject is one which requires the highest genius to do it justice, and it is therefore unpleasant to see so many still, inexpressive faces of the virgin and child, particularly by the Dutch artists, who clothe their figures sometimes in the stiff costume of their own time. Raphael and Murillo appear to me to be almost the only painters who have expressed what, perhaps, was above the power of other masters—the combined love and reverence of the mother, and the divine expression in the face of the child, prophetic of his mission and godlike power.
There were many glorious old paintings in the second story, which is entirely taken up with pictures; two or three of the halls were devoted to selected works from modern artists. Two of these I would give every thing I have to possess. One of them is a winter scene, representing the portico of an old Gothic church. At the base of one of the pillars a woman is seated in the snow, half-benumbed, clasping an infant to her breast, while immediately in front stands a boy of perhaps seven or eight years, his little hands folded in prayer, while the chill wind tosses the long curls from his forehead. There is something so pure and holy in the expression of his childish countenance, so much feeling in the lip and sorrowful eye, that it moves one almost to tears to look upon it. I turned back half a dozen times from the other pictures to view it again, and blessed the artist in my heart for the lesson he gave. The other is by a young Italian painter, whose name I have forgotten, but who, if he never painted anything else, is worthy a high place among the artists of his country. It represents some scene from the history of Venice. On an open piazza, a noble prisoner, wasted and pale from long confinement, has just had an interview with his children. He reaches his arm toward them as if for the last time, while a savage keeper drags him away. A lovely little girl kneels at the feet of the Doge, but there is no compassion in his stern features, and it is easy to see that her father is doomed.
The Lower Belvidere, separated from the Upper by a large garden, laid out in the style of that at Versailles, contains the celebrated Ambraser Sammlung, a collection of armor. In the first hall I noticed the complete armor of the Emperor Maximilian, for man and horse—the armor of Charles V., and Prince Moritz of Saxony, while the walls were filled with figures of German nobles and knights, in the suits they wore in life. There is also the armor of the great "Baver of Trient," trabant of the Archduke Ferdinand. He was nearly nine feet in stature, and his spear, though not equal to Satan's, in Paradise Lost, would still make a tree of tolerable dimensions.
In the second hall we saw weapons taken from the Turkish army who besieged Vienna, with the horse-tail standards of the Grand Vizier, Kara Mustapha. The most interesting article was the battle-axe of the unfortunate Montezuma, which was probably given to the Emperor Charles V., by Cortez. It is a plain instrument of dark colored stone, about three feet long.
We also visited the Bürgerliche Zeughaus, a collection of arms and weapons, belonging to the citizens of Vienna. It contains sixteen thousand weapons and suits of armor, including those plundered from the Turks, when John Sobieski conquered them and relieved Vienna from the siege. Besides a great number of sabres, lances and horsetails, there is the blood-red banner of the Grand Vizier, as well as his skull and shroud, which is covered with sentences from the Koran. On his return to Belgrade, after the defeat at Vienna, the Sultan sent him a bow-string, and he was accordingly strangled. The Austrians having taken Belgrade some time after, they opened his grave and carried off his skull and shroud, as well as the bow-string, as relics. Another large and richly embroidered banner, which hung in a broad sheet from the ceiling, was far more interesting to me. It had once waved from the vessels of the Knights of Malta, and had, perhaps, on the prow of the Grand Master's ship, led that romantic band to battle against the Infidel.
A large number of peasants and common soldiers were admitted to view the armory at the same time. The grave custode who showed us the curiosities, explaining every thing in phrases known by heart for years and making the same starts of admiration whenever he came to any thing peculiarly remarkable, singled us out as the two persons most worthy of attention. Accordingly his remarks were directed entirely to us, and his humble countrymen might as well have been invisible, for the notice he took of them. On passing out, we gave him a coin worth about fifteen cents, which happened to be so much more than the others gave him, that, bowing graciously, he invited us to write our names in the album for strangers. While we were doing this, a poor handwerker lingered behind, apparently for the same object, whom he scornfully dismissed, shaking the fifteen cent piece in his hand, and saying: "The album is not for such as you—it is for noble gentlemen!"
On our way through the city, we often noticed a house on the southern side of St. Stephen's Platz, dedicated to "the Iron Stick." In a niche by the window, stood what appeared to be the limb of a tree, completely filled with nails, which were driven in so thick that no part of the original wood is visible. We learned afterwards the legend concerning it. The Vienna Forest is said to have extended, several hundred years ago, to this place. A locksmith's apprentice was enabled, by the devil's help, to make the iron bars and padlock which confine the limb in its place; every locksmith's apprentice who came to Vienna after that, drove a nail into it, till finally there was room for no more. It is a singular legend, and whoever may have placed the limb there originally, there it has remained for two or three hundred years at least.
We spent two or three hours delightfully one evening in listening to Strauss's band. We went about sunset to the Odeon, a new building in the Leopoldstadt. It has a refreshment hall nearly five hundred feet long, with a handsome fresco ceiling and glass doors opening into a garden walk of the same length. Both the hall and garden were filled with tables, where the people seated themselves as they came, and conversed sociably over their coffee and wine. The orchestra was placed in a little ornamental temple in the garden, in front of which I stationed myself, for I was anxious to see the world's waltz-king, whose magic tones can set the heels of half Christendom in motion. After the band had finished tuning their instruments, a middle-sized, handsome man stepped forward with long strides, with a violin in one hand and bow in the other, and began waving the latter up and down, like a magician summoning his spirits. As if he had waved the sound out of his bow, the tones leaped forth from the instruments, and guided by his eye and hand, fell into a merry measure. The accuracy with which every instrument performed its part, was truly marvellous. He could not have struck the measure or the harmony more certainly from the keys of his own piano, than from that large band. The sounds struggled forth, so perfect and distinct, that one almost expected to see them embodied, whirling in wild dance around him. Sometimes the air was so exquisitely light and bounding, the feet could scarcely keep on the earth; then it sank into a mournful lament, with a sobbing tremulousness, and died away in a long-breathed sigh. Strauss seemed to feel the music in every limb. He would wave his fiddle-bow awhile, then commence playing with desperate energy, moving his whole body to the measure, till the sweat rolled from his brow. A book was lying on the stand before him, but he made no use of it. He often glanced around with a kind of half-triumphant smile at the restless crowd, whose feet could scarcely be restrained from bounding to the magic measure. It was the horn of Oberon realized. The composition of the music displayed great talent, but its charm consisted more in the exquisite combination of the different instruments, and the perfect, the wonderful exactness with which each performed its part—a piece of art of the most elaborate and refined character.
The company, which consisted of several hundred, appeared to be full of enjoyment. They sat under the trees in the calm, cool twilight, with the stars twinkling above, and talked and laughed sociably together between the pauses of the music, or strolled up and down the lighted alleys. We walked up and down with them, and thought how much we should enjoy such a scene at home, where the faces around us would be those of friends, and the language our mother tongue!
We went a long way through the suburbs one bright afternoon, to a little cemetery about a mile from the city, to find the grave of Beethoven. On ringing at the gate a girl admitted us into the grounds, in which are many monuments of noble families who have vaults there. I passed up the narrow walk, reading the inscriptions, till I came to the tomb of Franz Clement, a young composer, who died two or three years ago. On turning again, my eye fell instantly on the word "BEETHOVEN," in golden letters, on a tombstone of gray marble. A simple gilded lyre decorated the pedestal, above which was a serpent encircling a butterfly—the emblem of resurrection to eternal life. Here then, mouldered the remains of that restless spirit, who seemed to have strayed to earth from another clime, from such a height did he draw his glorious conceptions. The perfection he sought for here in vain, he has now attained in a world where the soul is freed from the bars which bind it in this. There were no flowers planted around the tomb by those who revered his genius; only one wreath, withered and dead, lay among the grass, as if left long ago by some solitary pilgrim, and a few wild buttercups hung with their bright blossoms over the slab. It might have been wrong, but I could not resist the temptation to steal one or two, while the old grave-digger was busy preparing a new tenement. I thought that other buds would open in a few days, but those I took would be treasured many a year as sacred relics. A few paces off is the grave of Schubert, the composer, whose beautiful songs are heard all over Germany.