[!--Note--] 31 ([return])
"Tieck," says Carlyle, "is a poet born as well as made.—He is no mere observist and compiler, rendering back to us, with additions or subtractions, the beauty which existing things have of themselves presented to him; but a true Maker, to whom the actual and external is but the excitement for ideal creations, representing and ennobling its effects. His feeling or knowledge, his love or scorn, his gay humour or solemn earnestness; all the riches of his inward world are pervaded and mastered by the living energy of the soul which possesses them, and their finer essence is wafted to us in his poetry, like Arabian odours, on the wings of the wind. But this may be said of all true poets; and each is distinguished from all, by his individual characteristics. Among Tieck's, one of the most remarkable is his combination of so many gifts, in such full and simple harmony. His ridicule does not obstruct his adoration; his gay southern fancy lives in union with a northern heart; with the moods of a longing and impassioned spirit, he seems deeply conversant; and a still imagination, in the highest sense of that word, reigns over all his poetic world."
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Vide Shelley's Epipsychidion.
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Mr. Russel is quite right in his observation that the Correggios are hung too near together: the fact is, that in the Dresden gallery, the pictures are not well hung, nor well arranged; there is too little light in the inner gallery, and too much in the outer gallery. Lastly, the numbers are so confused that I found the catalogue of little use. A new arrangement and a new catalogue, by Professor Matthaï, are in contemplation.
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Spence.
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Lanzi says, that many of the works of Lavinia Fontana might easily pass for those of Guido;—her best works are at Bologna. She died in 1614.
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At Althorpe.
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The Miss Sharpes were at Dresden while I was there, and their names and some of their works were fresh in my mind and eye when I wrote the above; but I think it fair to add, that I had not the opportunity I could have wished of cultivating their acquaintance. These three sisters, all so talented, and so inseparable,—all artists, and bound together in affectionate communion of hearts and interests, reminded me of the Sofonisba and her sisters.
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She is the "Julie" celebrated in some of Goethe's minor poems.
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Since this was written, in November 1833, Retzsch has sent over to England a series of these Fancies for publication.
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We have among us a young German painter, (Theodor von Holst,) who, uniting the exuberant enthusiasm and rich imagination of his country, with a just appreciation of the style of English art, is likely to achieve great things.