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Rome – Dr. Münter

Dr. Münter is here on his return from his tour in Sicily – an energetic, vehement man. What objects he may have, I cannot tell. He will reach you in May, and has much to tell you. He has been two years travelling in Italy. He is disgusted with the Italians, who have not paid due respect to the weighty letters of recommendation which were to have opened to him many an archive, many a private library; so that he is far from having accomplished his object in coming here.

He has collected some beautiful coins, and possesses, he tells me, a manuscript which reduces numismatics to as precise a system of characteristics as the Linnæan system of botany. Herder, he says, knows still more about it: probably a transcript of it will be permitted. To do something of the kind is certainly possible, and, if well done, it will be truly valuable; and we must sooner or later enter seriously into this branch of learning.

Rome, Dec. 25, 1786.

I am now beginning to revisit the principal sights of Rome: in such second views, our first amazement generally dies away into more of sympathy and a purer perception of the true value of the objects. In order to form an idea of the highest achievements of the human mind, the soul must first attain to perfect freedom from prejudice and prepossession.

Marble is a rare material. It is on this account that the Apollo Belvedere in the original is so infinitely ravishing; for that sublime air of youthful freedom and vigour, of never-changing juvenescence, which breathes around the marble, at once vanishes in the best even of plaster casts.

In the Palace Rondanini, which is right opposite to our lodgings, there is a Medusa-mask, above the size of life, in which the attempt to portray a lofty and beautiful countenance in the numbing agony of death has been indescribably successful. I possess an excellent cast of it, but the charm of the marble remains not. The noble semi-transparency of the yellow stone-approaching almost to the hue of flesh – is vanished. Compared with it, the plaster of Paris has a chalky and dead look.

And yet how delightful it is to go to a modeller in gypsum, and to see the noble limbs of a statue come out one by one from the mould, and thereby to acquire wholly new ideas of their shapes. And then, again, by such means all that in Rome is scattered, is brought together, for the purpose of comparison; and this alone is of inestimable service. Accordingly, I could not resist the temptation to procure a cast of the colossal head of Jupiter. It stands right opposite to my bed, in a good light, in order that I may address my morning devotions towards it. With all its grandeur and dignity it has, however, given rise to one of the funniest interludes possible.

Our old hostess, when she comes to make my bed, is generally followed by her pet cat. Yesterday I was sitting in the great hall, and could hear the old woman pursue her avocation within. On a sudden, in great haste, and with an excitement quite unusual to her, she opens the door, and calls to me to come quickly and see a wonder. To my question what was the matter, she replied the cat was saying its prayers. Of the animal she had long observed, she told me, that it had as much sense as a Christian – but this was really a great wonder. I hastened to see it with my own eyes; and it was indeed strange enough. The bust stood on a high pedestal, and as there was a good length of the shoulders, the head stood rather high. Now the cat had sprung upon the table, and had placed her fore-feet on the breast of the god, and, stretching her body to its utmost length, just reached with her muzzle his sacred beard, which she was licking most ceremoniously; and neither by the exclamation of the hostess, nor my entrance into the room, was she at all disturbed. I left the good dame to her astonishment; and she afterwards accounted for puss's strange act of devotion, by supposing that this sharp-nosed cat had caught scent of the grease which had probably been transferred from the mould to the deep lines of the beard, and had there remained.

Dec. 29, 1786.

Of Tischbein I have much to say and to boast. In the first place, a thorough and original German, he has made himself entirely what he is. In the next place, I must make grateful mention of the friendly attentions he has shewn me throughout the time of his second stay in Rome. For he has had prepared for me a series of copies after the best masters, some in black chalk, others in sepia and water colours; which in Germany, when I shall be at a distance from the originals, will grow in value, and will serve to remind me of all that is rarest and best.

Rome – Portrait by Tischbein

At the commencement of his career as an artist, when he set up as a portrait painter, Tischbein came in contact, especially in Munich, with distinguished personages, and in his intercourse with them his feeling of art has been strengthened and his views enlarged.

The second part of the "Zerstrente Blatter" (stray leaves) I have brought with me hither, and they are doubly welcome. What good influence this little book has had on me, even on the second perusal, Herder, for his reward, shall be circumstantially informed. Tischbein cannot conceive how anything so excellent could ever have been written by one who has never been in Italy.

Dec. 29, 1786.

In this world of artists one lives, as it were, in a mirrored chamber, where, without wishing it, one sees one's own image and those of others continually multiplied. Latterly I have often observed Tischbein attentively regarding me; and now it appears that he has long cherished the idea of painting my portrait. His design is already settled, and the canvass stretched. I am to be drawn of the size of life, enveloped in a white mantle, and sitting on a fallen obelisk, viewing the ruins of the Campagna di Roma, which are to fill up the background of the picture. It will form a beautiful piece, only it mil be rather too large for our northern habitations. I indeed may again crawl into them, but the portrait will never be able to enter their doors.

Dec. 29, 1786.

I cannot help observing the great efforts that are constantly being made to draw me from my retirement – how the poets either read or get their pieces read to me; and I should be blind did I not see that it depends only on myself whether I shall play a part or not. All this is amusing enough; for I have long since measured the lengths to which one may go in Rome. The many little coteries here at the feet of the mistress of the world strongly remind one occasionally of an ordinary country town.

In sooth, things here are much like what they are every where else; and what could be done with me and through me causes me ennui long before it is accomplished. Here you must take up with one party or another, and help them to carry on their feuds and cabals; and you must praise these artists and those dilettanti, disparage their rivals, and, above all, be pleased with every thing that the rich and great do. All these little meannesses, then, for the sake of which one is almost ready to leave the world itself, – must I here mix myself up with them, and that too when I have neither interest nor stake in them? No; I shall go no further than is merely necessary to know what is going on, and thus to learn, in private, to be more contented with my lot, and to procure for myself and others all the pleasure possible in the dear wide world. I wish to see Rome in its abiding and permanent features, and not as it passes and changes with every ten years. Had I time, I might wish to employ it better. Above all, one may study history here quite differently from what one can on any other spot. In other places one has, as it were, to read oneself into it from without; here one fancies that he reads from within outwards: all arranges itself around you, and seems to proceed from you. And this holds good not only of Roman history, but also of that of the whole world. From Rome I can accompany the conquerors on their march to the Weser or to the Euphrates; or, if I wish to be a sight-seer, I can wait in the Via Sacra for the triumphant generals, and in the meantime receive for my support the largesses of corn and money; and so take a very comfortable share in all the splendour.

Rome, Jan. 2, 1787.

Men may say what they will in favour of a written and oral communication; it is only in a very few cases indeed that it is at all adequate, for it never can convey the true character of any object soever – no, not even of a purely intellectual one. But if one has already enjoyed a sure and steady view of the object, then one may profitably hear or read about it, for then there exists a living impression around which all else may arrange itself in the mind; and then one can think and judge.

You have often laughed at me, and wished to drive me away from the peculiar taste I had for examining stones, plants, or animals, from certain theoretical points of view: now, however, I am directing my attention to architects, statuaries, and painters, and hope to find myself learning something even from them.

Without date.

After all this I must further speak to you of the state of indecision I am in with regard to my stay in Italy. In my last letter I wrote you that it was my purpose immediately after Easter to leave Rome, and return home. Until then I shall yet gather a few more shells from the shore of the great ocean, and so my most urgent needs will have been appeased. I am now cured of a violent passion and disease, and restored to the enjoyment of life, to the enjoyment of history, poetry, and of antiquities, and have treasures which it will take me many a long year to polish and to finish.

Rome – My plans for the future

Recently, however, friendly voices have reached me to the effect that I ought not to be in a hurry, but to wait till I can return home with still richer gains. From the Duke, too, I have received a very kind and considerate letter, in which he excuses me from my duties for an indefinite period, and sets me quite at ease with respect to my absence. My mind therefore turns to the vast field which I must otherwise have left untrodden. For instance, in the case of coins and cameos, I have as yet been able to do nothing. I have indeed begun to read Winckelmann's History of Art, but have passed over Egypt; for, I feel once again, that I must look out before me; and I have done so with regard to Egyptian matters. The more we look, the more distant becomes the horizon of art; and he who would step surely, must step slowly.

I intend to stay here till the Carnival; and, in the first week of Lent shall set off for Naples, taking Tischbein with me, both because it will be a treat to him, and because, in his society, all my enjoyments are more than doubled. I purpose to return hither before Easter, for the sake of the solemnities of Passion week. But there Sicily lies – there below. A journey thither requires more preparation, and ought to be taken too in the autumn: it must not be merely a ride round it and across it, which is soon done, but from which one brings away with us in return for our fatigue and money nothing but a simple —I have seen it. The best way is to take up one's quarters, first of all, in Palermo, and afterwards in Catania; and then from those points to make fixed and profitable excursions, having previously, however, well studied Riedesel and others on the locality.

If, then, I spend the summer in Rome, I shall set to work to study, and to prepare myself for visiting Sicily. As I cannot well go there before November, and must stay there till over December, it will be the spring of 1788 before I can hope to get home again. Then, again, I have had before my mind a medius terminus. Giving up the idea of visiting Sicily, I have thought of spending a part of the summer at Rome, and then, after paying a second visit to Florence, getting home by the autumn.

But all these plans have been much perplexed by the news of the Duke's misfortune. Since the letters which informed me of this event I have had no rest, and would most like to set off at Easter, laden with the fragments of my conquests, and, passing quickly through Upper Italy, be in Weimar again by June.

I am too much alone here to decide; and I write you this long story of my whole position, that you may be good enough to summon a council of those who love me, and who, being on the spot, know the circumstances better than I do. Let them, therefore, determine the proper course for me to take, on the supposition of what, I assure you, is the fact, that I am myself more disposed to return than to stay. The strongest tie that holds me in Italy is Tischbein. I should never, even should it be my happy lot to return a second time to this beautiful land, learn so much in so short a time as I have now done in the society of this well-educated, highly refined, and most upright man who is devoted to me both body and soul. I cannot now tell you how thickly the scales are falling from off my eyes. He who travels by night, takes the dawn for day, and a murky day for brightness: what will he think, then, when he shall see the sun ascending the mid-heaven? For I have hitherto kept myself from all the world, which yet is yearning to catch me by degrees, and which I, for my part, was not unwilling to watch and observe with stealthy glances.

I have written to Fritz a joking account of my reception into the Arcadia; and indeed it is only a subject of joke, for the Institute is really sunk into miserable insignificance.

Next Monday week Monti's tragedy is to be acted. He is extremely anxious, and not without cause. He has a very troublesome public, which requires to be amused from moment to moment; and his piece has no brilliant passages in it. He has asked me to go with him to his box, and to stand by him as confessor in this critical moment. Another is ready to translate my "Iphigenia;" another – to do I know not what, in honour of me. They are all so divided into parties, and so bitter against each other. But my countrymen are so unanimous in my favour, that if I gave them any encouragement, and yielded to them in the very least, they would try a hundred follies with me, and end with crowning me on the Capitol, of which they have already seriously thought – so foolish is it to have a stranger and a Protestant to play the first part in a comedy. What connexion there is in all this, and how great a fool I was to think that it was all intended for my honour, – of all this we will talk together one day.

January 6, 1787.

I have just come from Moritz, whose arm is healed, and loosed from its bandages. It is well set, firm, and he can move it quite freely. What during these last forty days I have experienced and learned, as nurse, confessor, and private secretary to this patient, may prove of benefit to us hereafter. The most painful sufferings and the noblest enjoyments went side by side throughout this whole period.

Rome – Colossal head of Juno

To refresh me, I yesterday had set up in our sitting-room a cast of a colossal head of Juno, of which the original is in the Villa Ludovisi. This was my first love in Rome; and now I have gained the object of my wishes. No words can give the remotest idea of it. It is like one of Homer's songs.

I have, however, deserved the neighbourhood of such good society for the future, for I can now tell you that Iphigenia is at last finished —i. e. that it lies before me on the table in two tolerably concordant copies, of which one will very soon begin its pilgrimage towards yourself. Receive it with all indulgence, for, to speak the truth, what stands on the paper is not exactly what I intended; but still it will convey an idea of what was in my mind.

You complain occasionally of some obscure passages in my letters, which allude to the oppression, which I suffer in the midst of the most glorious objects in the world. With all this my fellow traveller, this Grecian princess, has had a great deal to do, for she has kept me close at work when I wished to be seeing sights.

I often think of our worthy friend, who had long determined upon a grand tour, which one might well term a voyage of discovery. After he had studied and economized several years, with a view to this object, he took it in his head to carry away with him the daughter of a noble house, thinking it was all one still.

With no less of caprice, I determined to take Iphigenia with me to Carlsbad. I will now briefly enumerate the places where I held special converse with her.

When I had left behind me the Brenner, I took her out of my large portmanteau, and placed her by my side. At the Lago di Garda, while the strong south wind drove the waves on the beach, and where I was at least as much alone as my heroine on the coast of Tauris, I drew the first outlines, which afterwards I filled up at Verona, Vicenza, and Padua; but above all, and most diligently at Venice. After this, however, the work came to a stand-still, for I hit upon a new design, viz., of writing an Iphigenia at Delphi, which I should have immediately carried into execution, but for the distractions of my young, and for a feeling of duty towards the older piece.

In Rome, however, I went on with it, and proceeded with tolerable steadiness. Every evening before I went to sleep I prepared myself for my morning's task, which was resumed immediately I awoke. My way of proceeding was quite simple. I calmly wrote down the piece, and tried the melody line by line, and period by period. What has been thus produced, you shall soon judge of. For my part, doing this work, I have learnt more than I have done. With the piece itself there shall follow some further remarks.

Jan. 6, 1787.

To speak again of church matters, I must tell you that on the night of Christmas-day we wandered about in troops, and visited all the churches where solemn services were being performed; one especially was visited, because of its organ and music. The latter was so arranged, that in its tones nothing belonging to pastoral music was wanting – neither the singing of the shepherds, nor the twittering of birds, nor the bleating of sheep.

Rome – Christmas-day

On Christmas-day I saw the Pope and the whole consistory in S. Peter's, where he celebrated high mass partly before and partly from his throne. It is of its kind an unequalled sight, splendid and dignified enough, but I have grown so old in my Protestant Diogenism, that this pomp and splendour revolt more than they attract me. I, like my pious forefathers, am disposed to say to these spiritual conquerors of the world, "Hide not from me the sun of higher art and purer humanity."

Yesterday, which was the Feast of Epiphany, I saw and heard mass celebrated after the Greek rite. The ceremonies appeared to me more solemn, more severe, more suggestive, and yet more popular than the Latin.

But there, too, I also felt again that I am too old for anything, except for truth alone. Their ceremonies and operatic music, their gyrations and ballet-like movements – it all passes off from me like water from an oilskin cloak. A work of nature, however, like that of a Sunset seen from the Villa Madonna – a work of art, like my much honoured Juno, makes a deep and vivid impression on me.

And now I must ask you to congratulate me with regard to theatrical matters. Next week seven theatres will be opened. Anfossi himself is here, and will act "Alexander in India." A Cyrus also will be represented, and the "Taking of Troy" as a ballet. That assuredly must be something for the children!

Rome, Jan. 10, 1787.

Here, then, comes the "child of sorrows," for this surname is due to "Iphigenia" in more than one sense. On the occasion of my reading it out to our artists, I put a mark against several lines, some of which I have in my opinion improved, but others I have allowed to stand – perhaps Herder will cross a few of them with his pen.

The true cause of my having for many years preferred prose for my works, is the great uncertainty in which our prosody fluctuates, in consequence of which many of my judicious, learned friends and fellow artists have left many things to taste, a course, however, which was little favourable to the establishing of any certain standard.

I should never have attempted to translate "Iphigenia" into iambics, had not Moritz's prosody shone upon me like a star of light. My conversation with its author, especially during his confinement from his accident, has still more enlightened me on the subject, and I would recommend my friends to think favourably of it.

It is somewhat singular, that in our language we have but very few syllables which are decidedly long or short. With all the others, one proceeds as taste or caprice may dictate. Now Moritz, after much thought, has hit upon the idea that there is a certain order of rank among our syllables, and that the one which in sense is more emphatic is long as compared with the less significant, and makes the latter short, but on the other hand, it does in its turn become short, whenever it comes into the neighbourhood of another which possesses greater weight and emphasis than itself. Here, then, is at least a rule to go by: and even though it does not decide the whole matter, still it opens out a path by which one may hope to get a little further. I have often allowed myself to be influenced by these rules, and generally have found my ear agreeing with them.

As I formerly spoke of a public reading, I must quietly tell you how it passed off. These young men accustomed to those earlier vehement and impetuous pieces, expected something after the fashion of Berlichingen, and could not so well make out the calm movement of "Iphigenia," and yet the nobler and purer passages did not fail of effect, Tischbein, who also could hardly reconcile himself to this entire absence of passion, produced a pretty illustration or symbol of the work. He illustrated it by a sacrifice, of which the smoke, borne down by a light breeze, descends to the earth, while the freer flame strives to ascend on high. The drawing was very pretty and significant. I have the sketch still by me. And thus the work, which I thought to despatch in no time, has employed, hindered, occupied, and tortured me a full quarter of a year. This is not the first time that I have made an important task a mere by-work; but we will on that subject no longer indulge in fancies and disputes.

I inclose a beautiful cameo, – a lion with a gad-fly buzzing at his nose; this seems to have been a favourite subject with the ancients, for they have repeated it very often. I should like you from this time forward to seal your letters with it, in order that through this (little) trifle an echo of art may, as it were, reverberate from you to me.

Rome, Jan. 13, 1787.

How much have I to say each day, and how sadly am I prevented, either by amusement or occupation, from committing to paper a single sage remark! And then again, the fine days when it is better to be anywhere rather than in one's room, which, without stove or chimney, receive us only to sleep or to discomfort! Some of the incidents of the last week, however, must not be left unrecorded.

In the Palace Giustiniani there is a Minerva, which claims my undivided homage. Winckelmann scarcely mentions it, and, at any rate, not in the right place; and I feel myself quite unworthy to say anything about it. As we contemplated the image, and stood gazing at it a long time, the wife of the keeper of the collection said – This must have once been a holy image; and the English, who happen to be of this religion, are still accustomed to pay worship to it by kissing this hand of it, (which in truth was quite white, while the rest of the statue was brownish). She further told us, that a lady of this religion had been there not long before, and, throwing herself on her knees before the statue, had regularly offered prayer to it; and I, she said, as a Christian, could not help smiling at so strange an action, and was obliged to run out of the room, lest I should burst out into a loud laugh before her face. As I was unwilling to move from the statue, she asked me if my beloved was at all like the statue that it charmed me so much. The good dame knew of nothing besides devotion or love; but of the pure admiration for a glorious piece of man's handiwork, – of a mere sympathetic veneration for the creation of the human intellect, she could form no idea. We rejoiced in that noble Englishwoman, and went away with a longing to turn our steps back again, and I shall certainly soon go once more thither. If my friends wish for a more particular description, let them read what Winckelmann says of the high style of art among the Greeks; unfortunately, however, he does not adduce this Minerva as an illustration. But if I do not greatly err, it is, nevertheless, of this high and severe style, since it passes into the beautiful, – it is, as it were, a bud that opens, – and so a Minerva, whose character this idea of transition so well suits.

Now for a spectacle of a different kind. On the feast of the Three Kings, or the Commemoration of Christ's manifestation to the Gentiles, we paid a visit to the Propaganda. There, in the presence of three cardinals and a large audience, an essay was first of all delivered, which treated of the place in which the Virgin Mary received the three Magi, – in the stable, – or if not, where? Next, some Latin verses were read on similar subjects, and after this a series of about thirty scholars came forward, one by one, and read a little piece of poetry in their native tongues; Malabar, Epirotic, Turkish, Moldavian, Hellenic, Persian, Colchian, Hebrew, Arabic, Syrian, Coptic, Saracenic, Armenian, Erse, Madagassic, Icelandic, Bohemian, Greek, Isaurian, Æthiopic, &c. The poems seemed for the most part to be composed in the national syllabic measure, and to be delivered with the vernacular declamation, for most barbaric rhythms and tones occurred. Among them the Greek sounded like a star in the night. The auditory laughed most unmercifully at the strange sounds; and so this representation also became a farce.

And now (before concluding) a little anecdote, to show with what levity holy things are treated in Holy Home. The deceased cardinal, Albani, was once present at one of those festal meetings which. I have just been describing. One of the scholars, with his face turned towards the Cardinals, began in a strange pronunciation, Gnaja! Gnaja! so that it sounded something like canaglia! canaglia! The Cardinal turned to his brothers with a whisper, "He knows us at any rate."

January 13, 1787.

How much has Winckelmann done, and yet how much reason has he left us to wish that he had done still more. With the materials which he had collected he built quickly, in order to reach the roof. Were he still living, he would be the first to give us a re-cast of his great work. What further observations, what corrections would he not have made – to what good use would he not have put all that others, following his own principles, have observed and effected. And, besides, Cardinal Albani is dead, out of respect to whom he has written much; and, perhaps, concealed much.

January 15, 1787.

And so then, "Aristodemo" has at last been acted, and with good success too, and the greatest applause; as the Abbate Monti is related to the house of the Nepoté, and is highly esteemed among the higher orders: from these, therefore, all was to be hoped for. The boxes indeed were but sparing in their plaudits; as for the pit, it was won from the very first, by the beautiful language of the poet and the appropriate recitation of the actors, and it omitted no opportunity of testifying its approbation. The bench of the German artists distinguished itself not a little; and this time they were quite in place, though it is at all times a little overloud.