In 1772, the wife of Franz Kügelgen, a merchant of Bacharach on the Rhine, presented her husband with twin sons, the elder of whom by fifteen minutes is the subject of this notice. His brother was named Karl. Their resemblance was so great that even their mother found a difficulty in their early childhood in distinguishing one from the other.
Bacharach was in the Electorate of Cologne, and when the Archbishop-Elector, Maximilian Franz, learned that the twins were fond of art, in 1791 he very liberally gave them a handsome sum of money to enable them to visit Rome and there prosecute their studies.
Gerhard was at once fascinated by the statuary in the Vatican, and by the pictures of Raphael. The ambition of his life thenceforward was to combine the beauty of modelling of the human form that he saw in the Græco-Roman statues with the beauty of colour that he recognised in Raphael's canvases. Karl, on the other hand, devoted himself to landscapes.
In 1795 the brothers separated, Gerhard that he might visit Munich. Thence, in the autumn, he went to Riga with a friend, and there he remained rather over two years, and painted and disposed of some fifty-four pictures. Then he painted in St. Petersburg and Revel, and finally settled into married life and regular work at Dresden in 1806. There he became a general favourite, not only on account of his artistic genius, but also because of the fascination of his modest and genial manner. He was honoured by the Court, and respected by everyone for his virtues. Orders flowed in on him, and his paintings commanded good prices. The king of Saxony ennobled him, that is to say, raised him out of the bürger-stand, by giving him the privilege of writing a Von before his patronymic.
Having received an order from Riga for a large altar picture, he bought a vineyard on the banks of the Elbe, commanding a charming prospect of the river and the distant blue Bohemian mountains. Here he resolved to erect a country house for the summer, with a large studio lighted from the north. The construction of this residence was to him a great pleasure and occupation. In November, 1819, he wrote to his brother, "My house shall be to us a veritable fairy palace, in which to dwell till the time comes, when through a little, narrow and dark door we pass through into that great habitation of the Heavenly Father in which are many mansions, and where our whole family will be re-united. Should it please God to call me away, then Lily (his wife) will find this an agreeable dower-house, in which she can supervise the education of the children, as the distance from the town is only an hour's walk."
The words were written, perhaps, without much thought, but they foreshadowed a terrible catastrophe. Kügelgen would pass, before his fairy palace was ready to receive him, through that little, narrow door into the heavenly mansions.
The holy week of 1820 found him in a condition of singularly deep religious emotion. He was a Catholic, but had, nevertheless, allowed his son to be confirmed by a Protestant pastor. The ceremony had greatly affected him, and he said to a friend, who was struck at the intensity of his feeling, "I know I shall never be as happy again till I reach Heaven."
On March 27th, on the very day of the confirmation, he went in the afternoon a walk by himself to his vineyard, to look at his buildings. He invited one of his pupils to accompany him, but the young man had some engagement and declined.
At 5 p.m. he was at the new house, where he paid the workmen, gave some instructions, and pointed out where he would do some planting, so as to enchance the picturesqueness of the spot. At some time between six and seven he left, to walk back to Dresden, along the road from Bautzen.