"Our friend Adam Eberle, at five o'clock in the afternoon of the 15th of April, after a hard death-struggle, recovered from the malady of this life. Good-Friday morning we bore him home. Three days before his death he had the great joy of receiving your last letter, and that which your love enclosed with it. He was one of the few whose souls are washed in the blood of the Lamb, offered from the beginning of the world. The Lamentations and the Miserere of the divine old masters Palestrini and Allrgri which you begged our friend to listen to for you, I have listened to for both of you."
Munich had now so grown upon the affections of the artiste that she again removed thither from Basle in 1832. After her life in Rome, a residence in the German art-metropolis could not but be a necessity to her, and the Bavarian capital was thenceforth her home. Her house became more and more the peaceful abode of the fine arts. Her fortune enabled her, by a succession of commissions, gradually to collect a wealth of pictures and drawings in which the Corypheans of Christian art were represented. Among these Overbeck took the foremost place with a series of subjects from the Evangelists, the choicest of drawings, which during a period of thirty years gradually came into her possession. A beautiful oil painting by Overbeck, which she esteemed most highly, "The death of St. Joseph," was also produced at this time, an elevated delineation of the death of the just. From Cornelius she secured three cartoons of the wall pictures in the Louis-church, ("The Creation,") in which this mighty intellect was worthily represented. In like manner an altar-piece by Conrad Eberhard, one of the most thoughtful compositions of this admirable master, and intended originally for one of the new church edifices of King Louis, took its place among the gems of this house—just as the venerable master himself, in all his purity of soul and pious simplicity, took his place high in the friendship of the hostess.
Next to painting, the two sister arts, poetry and music, were specially cultivated in the home of the artist. She had a clear perception of the true and elevated in poetry, and kept pace, even to old age, with the literary productions of the new era. Her own poetic effusions were confined to the eye of her more intimate friends; but there were some poems upon which Brentano himself placed high value. Her library was a choice one, and her knowledge of languages kept her acquainted with the best productions of the modern cultivated nations. Her aesthetic and scientific acquirements became her well, inasmuch as the cultivation of the mind and of the heart with her kept even pace.
Miss Linder applied herself to music in full earnest. She not only practised several instruments—the aeolodicon and harp were always seen in her drawing-room—but she had herself instructed by Ett in thorough-bass and the history of music. She followed his instructions in harmony with practical exercises. In musical history it was the religious department again which most appealed to her: her researches went back to the earliest times, the development of the true church style, and for the unfolding of this subject she had found in Ett the right man. Moreover, she stood in friendly exchange of views with Proske of Regensburg, a profound student of ancient church music. Sometimes musical gatherings were held, to which Ett brought singing-boys from the choir of St. Michael's Church: ancient religious cantatas, the compositions of Orlando di Lasso, Handel, Abbé Vogler's hymns, and the like, were performed. Conrad Eberhard, an enthusiastic admirer of music and of the master Ett, who with Schlotthauer regularly attended the historical lectures on music, in his ninetieth year spoke with loving recollection of these ennobling evenings at Miss Linder's.
By this varied and earnest devotion to art, as well as artistic and scientific enterprises, to which she constantly brought willing and generous offerings, her life began to assume more and more an ideal significance, and to gain that expansiveness of horizon and completeness which secured for her a position in society as peculiar as it was agreeable. If we would ask what it was that identified this quiet spirit with so distinguished a circle and made her house a rendezvous for scholars and artists, in which the most brilliant and the most profound so gladly met, the explanation would be just this—it was the awakened intelligence which she brought to all intellectual topics, the simple-hearted abandonment to the views of great minds, the readiness with which she recognized and admired the true and the beautiful in all things. It was equally the unselfish, uncalculating enthusiasm, and the perfect purity of soul, which compelled the respect of all. An unvarying geniality blended with a quiet earnestness; a clear intelligence with a golden goodness; a profound view of life in all its phases, from the very heights of a sunny existence—herein resided the gentle attractiveness with which she drew to herself the sympathies of the noblest souls and held them fast.
A character of such a type is best reflected in its friends. Her life for the most part flowed on so quietly and evenly that it rose clearly to the view of only those who were nearest to her. It seems, therefore, befitting that from among her many friends we should select a few who, like her, are now at rest, and mention some of their salient characteristics.
The foremost place is due to the painter-prince of the new art-epoch himself, Cornelius—who was a friend from her very youth, and only a few months after her, even in these latter days, closed his earthly pilgrimage. The fame of the man and the sense of his loss, still so freshly felt, will justify us in dwelling somewhat more at length on him and his letters. It was, indeed, the opinion of Emily Linder, toward the close of her life, that the letters which she had received from Cornelius might some day be of use in his biography.
At the time Miss Linder started from Munich upon her journey to Switzerland and Italy, her relations with the family of the celebrated painter had already become so intimate, that it was continued in correspondence. Ordinarily it was an Italian-German or double letter, from Carolina and Peter Cornelius, which greeted her; they both recall, with friendly warmth, her residence in Munich, and the message, "We miss you!" was repeatedly wafted after her as she remained longer away. Frau Carolina Cornelius evinced for her a very tender attachment. The genial master himself honored her with confidences from time to time, as to his artistic plans and undertakings. Particularly was this the case when he was commissioned to prepare designs for the Louis-church in Munich, whereby he saw the early realization of a long-cherished and favorite idea of his; when the history of mankind in grand outline, the creation, the redemption, the sending of the Holy Ghost to the church, the last judgment, presented itself to his mind. Then he felt impelled to open his heart to his absent friend, and the postscript, which he appended to a letter of his wife, rises into a veritable dithyrambic. He writes on the 20th of January, 1829:
"I cannot better close this letter than by communicating a thing which transports me and in which you, my dear friend, will sympathize. Fancy my good fortune! After completing the Glyptothek, I am to paint a church. It is now sixteen years that I have been going about with the idea of a Christian epic in painting—a painted comoedia divina—and I have had hours, and longer periods, when it seemed I had a special mission for this. And now my heavenly love comes like a bride in all her beauty to me—what mortal after this can I envy? The universe opens itself before my eyes: I see heaven, earth, and hell; I see the past, the present, and the future; I stand on Sinai and gaze upon the new Jerusalem; I am inebriated and yet composed. All my friends must pray for me, and you, my dear Emily. With brotherly love greets you CORNELIUS."