This is a holiday. I was sitting at my window, translating some of these poems, when I saw a crowd round the doors of the new palace; for it is a day of public admission. Curiosity tempted me to join this crowd;—no sooner thought than done. I had M. de Klenze's general order for admittance in my pocket-book, but wished to see how this was managed, and mingled with the crowd, which was waiting to be admitted en masse. I was at once recognized as a stranger, and every one with simple civility made way for me. Groups of about twenty or thirty people were admitted at a time, at intervals of a quarter of an hour, and each group placed under the guidance of one of the workmen as cicerone. He led them through the unfinished apartments, explaining to his open-mouthed auditors the destination of each room, the subjects of the pictures on the walls and ceilings, &c. &c. There were peasants from the south, in their singular dresses, mechanics and girls of Munich, soldiers, travelling students. I was much amused. While the cicerone held forth, some merely wondered with foolish faces, some admired, some looked intelligent, and asked various questions, which were readily answered—all seemed pleased. Every thing was done in order: two groups were never in the same apartment; but as one went out, another entered. Thus many hundreds of these poor people were gratified in the course of the day. It seemed to me a wise as well as benevolent policy in the king thus to appeal to the sympathy, and gratify the pride, of his subjects of all classes, by allowing them—inviting them, to take an interest in his magnificent undertakings, to consider them national as well as royal. I am informed that these works are carried on without any demands on the Staatskasse, (the public treasury,) and without any additional taxes: so far from it, that the Bavarian House of Representatives curtailed the supplies by 300,000 florins only last year, and refused the king an addition to the civil list, which he had requested for the travelling expenses of two of his sons. The king is said to be economical in the extreme in his domestic expenses, and not very generous in money to those around him—unlike his open-hearted, open-handed father, Max-Joseph; in short, there are grumblers here as elsewhere, but strangers and posterity will not sympathize with them.
This is the fourth time I have seen this splendid and truly royal palace, but will make no memoranda till I have gone over the whole with Leo von Klenze. He has promised to be my cicerone himself, and I feel the full value of the compliment. Count V—— told me last night, that he (De Klenze) has made for this building alone upwards of seven hundred drawings and designs with his own hand.
Oct. 13.—Called on my English friends, the C * * s, and found them pleasantly settled in a beautiful furnished lodging near the Hofgarten, for which they pay twenty-four florins (or about two pounds) a month. We had some conversation about music, (they are all musicians,) and the opera, and Malibran, whom they have lately seen in Italy; and Pasta, whom they had visited at Como; and they confirmed what Mr. J. M. Stuntz and M. K. had all told me of her benevolence and excellent character. I could not find that any new genius had arisen in Italy to share the glory of our three queens of the lyrical drama,—Pasta, Malibran, and Schröder Devrient. Other singers have more or less talent and feeling, more or less compass of voice, facility, or agility; but these three women possess genius, and stamp on every thing they do their own individual character. Of the three, Pasta is the grandest and most finished artist; Malibran the most versatile in power and passion; while Schröder Devrient has that energy of heart and soul—that capacity for exciting, and being excited, which gives her such unbounded command over the feelings and senses of her audience.[ 33] So far we were agreed; but as the conversation went on, I was doomed to listen to a torrent of commonplace and sarcastic criticism on the private habits of these and other women of the same profession: one was accused of vulgarity, another of bad temper, and another of violence and caprice: one was suspected of a penchant for porter, another had been heard to swear, or—something very like it. Even pretty lady-like Sontag was reproached with some trifling breach of mere conventional manner,—she had used her fingers where she should have taken a spoon, or some such nonsense. My God! to think of the situation of these women! and then to look upon those women, who, fenced in from infancy by all the restraints, the refinements, the comforts, the precepts of good society,—the one arranging a new cap, the other embroidering a purse, the third reading a novel, all satisfied with petty occupations and amusements, "far, far removed from want and grief and fear,"—now sitting in judgment, and passing sentence of excommunication on others of their sex, who have been steeped in excitement from childhood, their nerves for ever in a state of tension between severest application and maddening flattery; cast on the world without chart or compass—with energies misdirected, passions uncontrolled, and all the inflammable and imaginative part of their being cultivated into excess as a part of their profession—of their material! O when will there be charity in the world? When will human beings, women especially, show mercy and justice to each other, and not judge of results, without a reference to causes? and when will reflection upon these causes lead to their removal? They are evils which press upon few, but are reflected on many, inasmuch as they degrade art and the pursuit of art;—but all can sneer, and few can think.
I begin at length to feel my way among the pictures here. Hitherto I have been bewildered. I have lounged away morning after morning at the gallery of the Hofgarten, at Schleissheim, and at the Duc de Leuchtenberg's; and returned home with dazzled eyes and a mind overflowing, like one "oppressed with wealth, and with abundance sad," unable to recall or to methodize my own impressions.
Professor Zimmermann tells me that the king of Bavaria possesses upwards of three thousand pictures: of these about seventeen hundred are at Schleissheim; nine hundred in the Munich gallery; and the rest distributed through various palaces. The national gallery, or Pinakothek, which is now building under the direction of Leo von Klenze, is destined to contain a selection from these multifarious treasures, of which the present arrangement is only temporary.
The king of Bavaria unites in his own person the three branches of the House of Wittelsbach: the palatines of the Rhine, the dukes of Deuxponts, and the electors of Bavaria, all sovereign houses, and descended from Otto von Wittelsbach, who received the investiture of the dukedom of Bavaria in 1180. Thus it is that the celebrated gallery once at Dusseldorf, formed under the auspices of the elector John William; the various collections at Manheim, Deuxponts, and Heidelberg, are now concentrated at Munich, where, from the days of Duke Albert V. (1550) up to the present time, works of art have been gradually accumulated by successive princes.
Somebody calls the gallery at Munich, the court of Rubens; and Sir Joshua Reynolds says that no one should judge of Rubens who had not studied him at Antwerp and Dusseldorf. I begin to feel the truth of this. My devoted worship of the Italian school of art rendered me long—I will not say blind to the merits of the Flemish painters—for that were to be "sans eyes, sans taste, sans every thing!" but, in truth, without that full feeling of their power which I have since acquired.
Certainly we have in these days mean ideas about painting—mean and false ideas! It has become a mere object of luxury and connoisseurship, or virtù: unless it be addressed to our personal vanity, or to the puerile taste for ornament, show, furniture,—it is nothing. The noble art which was once recognized as the priestess of nature, as a great moral power capable of acting on the senses and the imagination of assembled human beings—as such applied by the lawgivers of Greece, and by the clergy of the Roman Catholic church,—how is it now vulgarized in its objects! how narrowed in its application! And if it be said, that in the present state of society, in these calculating, money-making, political, intellectual times, we are acted upon by far different influences, rendering us infinitely less sensible to the power of painting, then I think it is not true, and that the cultivated susceptibility to other moral or poetical excitements—as politics or literature—does not render us less sensible to the moral influence of painting; on the contrary: but she has fallen from her high estate, and there are none to raise her. The public—the national spirit, is wanting; individual patronage is confined, is misdirected, is arbitrary, demanding of the artist any thing rather than the highest and purest intellectual application of his art, and affording nor space nor opportunity for him to address himself to the grand universal passions, principles, and interests of human nature! Suppose a Michael Angelo to be born to us in England: we should not, perhaps, set him to make a statue of snow, but where or how would his gigantic genius, which revelled in the great deeps of passion and imagination, find scope for action? He would struggle and gasp like a stranded Leviathan!