Nothing can be more frank and cordial than Retzsch's manner, mingling, as it does, much simplicity with promptness and decision. After the lapse of a few minutes, the servant who had opened the gate brought in a couple of easels, and upon them the artist placed two paintings; both exquisitely drawn and designed, but so unlike what we had expected in color, that for a moment we felt disappointed. Our enthusiasm and admiration however, soon revived; and when, shortly afterward, he conducted us into an inner room, and, having seated us with due formality, in a great chair, opposite a little table, produced a portfolio of drawings, the kind face of Professor Vogel was illumined: "Ah!" he exclaimed, "now you will be delighted. I have brought many to my friend's studio; I have looked at these drawings over and over again, yet each time I see something to admire anew; there is always a discovery to be made—some allegory, half hidden under a rose-leaf; some wise and playful satire, peeping beneath the wing of a Cupid, or from the fardel of a traveler. What a pity you do not understand German, that you might hear him read those exquisite lyrics, beautiful as the sonnets of your own Shakspeare, or Wordsworth—but I will interpret—I will interpret."
And so he did—with considerate patience: there we sat turning over page after page of the most exquisite fancies; the overflowings not only of the purest and most brilliant imagination, but of the deepest tenderness and exalted independence. The allegories of Moritz Retzsch, are not of the "hieroglyphic caste," such as roused the indignation of Horace Walpole; there were no sentimental Hopes supported by anchors: no fat-cheeked Fames puffing noiseless trumpets; no common-place Deaths, with dilapidated hour-glasses; they were triumphs of pure Art, conveying a poetical idea, a moral or religious truth, a brilliant satire, brilliant and sharp as a cutting diamond, by "graphical representation;" each subject was a bit of the choicest lyric poetry, or an epigram, in which a single idea or sentiment had been illustrated and embodied, giving "a local habitation," a name, a history, in the smallest compass, and in the most intelligible and attractive form.
With what delight we turned over these matchless drawings, many of them little more than outlines, yet so full of meaning—pausing between each, to glance at the face of the interpreter; though so distinctly was the idea conveyed, that there needed none; only it was such a rare delight to hear him tell his meaning in his own full sounding tongue, his face expressing all he wished to say, before the words were spoken.
We could have lingered over that portfolio for hours, and like Professor Vogel have found something new at each inspection of the same drawing; but the artist seemed to grow gently impatient to show us his wife's Album—the book of which we had heard so much on the previous evening; there it was, carefully cased and covered—and before he opened it, he explained, with smiling lips, that on each of Madame Retzsch's birthdays, he had presented to her a drawing expressive of his devotion, his faith in her virtues, or the hopes or disappointments to which the destiny of life had subjected them. However delicate and endearing may be the love of youth, with it there is always associated a dread that it may not endure until the end—that the world may tarnish or destroy it; that,
"A word unkind or wrongly taken,"
may be the herald of harshness and of estrangement; but when, after a lapse of accumulated years, Cupid folds his wings without the loss of a single feather, and laughs at his arch-enemy "Time," the sunshine of the picture creates an atmosphere of happiness that excites the best sympathies of our nature. While he descanted on these results of his luxuriant and overflowing imagination and affection, never was genius more thoroughly love-inspired; never, as we had heard, did poet pen more exquisite birthday odes, than were framed by the tender and eloquent pencil of Moritz Retzsch on the birthdays of his wife.
We did not feel it to be a defect in the graphic allegories, so rich and varied in thought and expression, that they required, or rather received, the eloquent explanations, of their great originator; the scene around that little table was in exquisite harmony; Professor Vogel's expressions of delight were as enthusiastic as our own; he repeatedly said that a visit to his old friend was a renewal of his own youth; he hailed the precious Album with as much pleasure as ourselves, and reveled in the poetry and originality of its illustrations, with a freshness of feeling supposed only to belong to the early years of life.
We can not remember that Retzsch sat down once during our long visit; he was standing or moving about, the entire time, and frequently passed his fingers through the masses of his long gray hair, so that it assumed most peculiar styles; but nothing could detract from the picturesque magnificence of his noble head. His restlessness was certainly peculiar, he passed and repassed into the room where his precious drawings were scattered in such rich profusion, returning again and again to the window, enjoying our pleasure, the expression of his face varying so eloquently and honestly, that a young child could have read his thoughts: and then the indescribable brightness of that face; stormy, it no doubt could be at times, but the thunder would have been as nothing to the lightning.
The great artist seemed as curious about England as a country child is about London; indeed the mingling of simplicity and wisdom, is one of the strongest phases in his character; so gigantic, and yet so delicate, in Art; so full of the rarest knowledge; animated by an unsurpassable imagination; proud of the distinction his talents command, and yet of a noble and heroic independence which secures universal respect. The artist and his wife accompanied us to the gate which was soon to shut us out of "Paradise;" and, amply gratified as we were with our visit and its results, we felt that there was still so much more to say and to see, that the past hours appeared like winged moments, reminding us how—
"Noiseless falls the foot of time
That only treads on flowers."