The artistic heroism of this soul—this man whose ideas grasped the world—breathes in these lines with certainly wonderful freshness. In other letters of this happy period his natural humor gains the ascendant, and he indulges in sallies of mirth, afterward begging her indulgence and a friendly remembrance of "the crazy painter Peter Cornelius." Her replies were in a simpler and graver tone, but full of that refreshing independence, which appeared to a nature like his more than aught else. She allowed his geniality full play without compromising her sincerity, or her dignity. He is thus both "charmed and edified" by her letters, and once made the remark of them, "All that your personality led me to fancy of the beautiful and the good finds more artless, more forcible and vivid expression in your letters. It becomes you uncommonly well, whenever you fairly assert yourself."
In the year 1831 the cholera threatened, for a time, to visit Munich. The preparations of the sanitary authorities to meet this uncomfortable guest were already completed. Miss Linder was in Basle, and sent thence a friendly invitation to Cornelius and his family to take refuge at her domestic hearth. The knightly response of the master, dated Munich, 15th of November 1831, is as follows:
"Your friendly suggestion from the shelter of your hospitable hearth to laugh at the cholera, and by the same opportunity, perhaps, to reproduce a Decameron, corresponding thereto, has an indescribable attraction for me, and I should have acted upon it had I not been afraid to be afraid. From sheer cowardice at the possible death of my honor, I must stand the cartridges of the cholera. From the spot where my king and so many admirable and honorable men stand their ground, must Cornelius never run away. You will take in good part the informality of this letter from your fanciful friend, yet he craves of you an indulgenza plenaria while he ends with the bold declaration that he indescribably loves and honors you.
P. V. CORNELIUS."
At this period an idea seized Cornelius, which long occupied his attention, namely, to record the noteworthy incidents of his own eventful artist-life; a plan which certainly would have enriched literature by at least one original work and have proved of inestimable value to the history of modern art. Unfortunately, the plan was never carried out; but it affords a proof of his high esteem for his friend that Cornelius intended the memoirs to be written in the form of letters addressed to her, as will appear from the two following letters. They are written under the influence of the same exuberant spirits in which the grand conception of his "Christian epic" had placed him:
"Munich, February 12, 1832.
"Very Dear Friend: This is not meant as an answer to the welcome and beautiful letter which you sent me through H. Hauser; it is only a slight expression of my gratitude and my great delight at the kindliness and the loyal friendship which your dear letter breathes for me, unworthy. I have lately been asking myself why this letter-writing, which, as you and all the world knows, is a horror to me, since my correspondence with you has set me back into that happy period when one can write an entire library and yet not be satisfied. Had I more leisure, I would carry out an old project to write the history of my life in letter-form, after the manner of many French memoirs, and addressed to you. Although for the present this is not to be thought of, I by no means abandon the plan.
"Heroes and artists—in the most liberal way of viewing it—have their truest and clearest appreciation in the pure souls of women. Only Hebe might serve the nectar to Alcides; only Beatrice conducts the singer into Paradise; Tasso's delirium is a vague searching in a labyrinth where Ariadne's thread is broken; Michael Angelo would have been as great a painter as was Dante a poet had Beatrice opened heaven to him; Raphael's thousand-feathered Psyche bore a material maiden into the realm of the stars; her human blood enkindled his and slew him. When I write my memoirs, you will see how it has gone with me in this respect. In the mean time I allow you a peep through the keyhole of my private drawer—it is a poor poem of my youth, which as penance you must read, because you mockingly called me a poet. [Footnote 45]
[Footnote 45: It is truly a very youthful poem, addressed "To the Muse," commencing:
"Confided have I alone
in thee, O Muse," etc. ED.]
"I know not why I send these poor stanzas to you; it appears to me as though you exercised some charm over the spirits of my life, who must perforce appear before you. Perhaps one of these days this letter might serve for a dedication to the book in question, because, like an overture, it contains in itself the leading motive. Now farewell, and take no offence at this gay carnival-arabesque, The ladies of my family heartily greet you: we have good news from Rome. Heaven bless you, vouchsafe you cheerfulness and bliss, and bring you soon to us. Meantime, however, write soon, and often send tidings to your most devoted friend,