He kindly
offered us the use of his carriage and assistance in sightseeing. H.
discussed with him the catalogues of the gallery of paintings. As to
music, we learn, with regret, that it is out of season for concerts,
oratorios, or any thing worth hearing.
Wednesday, August 10. Dresden to Berlin. Drove to Charlottenburg, and
saw the monument of Queen Louisa.
Thursday, 11. Visited the Picture Gallery, and various stores and
shops.
Saturday, August 13. Berlin to Wittenberg, two hours' ride. Examined
the Schloss-Kirche, where Luther is buried, passing on our way through
the public square containing his monument.
At nine in the evening took cars for Erfurt. That night ride, with the
moon and one star hanging beautifully over the horizon, was pleasant.
There is a wild and thrilling excitement in thus plunging through the
mysterious night in a land utterly unknown. Reached Erfurt at two in
the morning.
Monday, August 15. Erfurt to Eisenach by eight. Drove to the Wartburg.
LETTER XLIII.
DRESDEN.
DEAR: -
I went to Dresden as an art-pilgrim, principally to see Raphael's
great picture of the Madonna di San Sisto, supposing that to be the
best specimen of his genius out of Italy. On my way I diligently
studied the guide book of that indefatigable friend of the traveller,
Mr. Murray, in which descriptions of the finest pictures are given,
with the observations of artists; so that inexperienced persons may
know exactly what to think, and where to think it. My expectations had
been so often disappointed, that my pulse was somewhat calmer.
Nevertheless, the glowing eulogiums of these celebrated artists could
not but stimulate anticipation. We made our way, therefore, first to
the _salon_ devoted to the works of Raphael and Correggio, and
soon found ourselves before the grand painting. Trembling with
eagerness, I looked up. Was that the picture? W. whispered to me, "I
think we have mistaken the painting."
"No, we have not," said I, struggling to overcome the disappointment
which I found creeping over me. The source of this disappointment was
the thin and faded appearance of the coloring, which at first
suggested to me the idea of a water-colored sketch. It had evidently
suffered barbarously in the process of cleaning, a fact of which I had
been forewarned. This circumstance has a particularly unfavorable
effect on a picture of Raphael's, because his coloring, at best, is
delicate and reserved, and, as compared with, that of Rubens,
approaches to poverty; so that he can ill afford to lose any thing in
this way.
Then as to conception and arrangement, there was much which annoyed
me. The Virgin and Child in the centre are represented as rising in
the air; on one side below them is the kneeling figure of Pope Sixtus;
and on the other, that of St. Barbara. Now this Pope Sixtus is, in my
eyes, a very homely old man, and as I think no better of homely old
men for being popes, his presence in the picture is an annoyance.
