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only in close preserves, but here in multitudes. Deer of all kinds are for the most part in the open forests, and they are especially in the wide thick-grown meadows of the Danube, the March, Taja, and in Bohemia, the vast open mountain woods, which are stocked with them. * * In respect to the abundance of game, Bohemia may stand first, then Moravia, then Lower Austria, and after these the other provinces. According to the shooting-lists of the four imperial hunting grounds, the Prater, Archof, Wolkendorf, and Laxenburg, there were shot in 1836, stags 784, fallow deer 60, black deer 709, roes 109, hares 12,880. In the year 1840 the total amounted to 20,559; and in 1841 to 23,075 head. From documents furnished by the forest master, it appears that there were delivered from his office, of red, fallow and black deer, in 1822, 1182 head; in 1825, 1419 head; in 1827, 1228 head; and in 1828, 1280 head. There are hundreds of preserves in Moravia where from 1000 to 2000 hares are killed in a single battue. Six or seven persons, who a few years ago spent the season with Prince Frankmansdorf, shot by the middle of January about 15,000 head of all kinds. At a great battue with the Prince Schwartzenberg, where about forty shooters were present, were 6000 head of game killed. Roe and deer, however, are the chief game, and give the greatest interest to the sportsman over the greater part of Germany. The good old wild boar hunt is now in most places extinct, and where it remains it is generally a battue of the most harmless description. This is in the parks of the princes and nobles. The drivers beat up the woods, the wild swine run till they come in contact with a fence, often a fence of boards stretched across the park for the purpose. About the centre of this fence, at an opening in the wood, is raised a sort of stage, where the sportsmen stand and fire at the swine* as they run past in face of the fence.

"There are no people on the face of the earth that all summer long enjoy themselves like the Germans in their gay capitals; but autumn approaches, and the great climacteric of the year is reached. The whole nation is astir, not a man or woman can rest long, every one must fly

in quest of change, and pleasure, and health. The whole population is like one huge hive of bees at the point of swarming, there is one vast motion, buzzing and hum. Every soul must have his Herbstreise, his autumn tour; he must visit the watering-places, and drink aud bathe-he must traverse the Rhine, the Elbe, the Danube-he must climb the mountains of the Tyrol and Switzerland. Steamers are every where loaded to sinking; inns are full to suffocation, and landlords stand shaking their heads, gabbling German, French, English, Italian, and Russian, and bowing away disconsolate travellers and dusty carriages from their doors. Railway trains are enormous in length, and a smoking and talking are going on in them that are astounding to the stranger. Baden, Baden-baden, Wisbaden, all the Badens; Schlangen-bad, Carlsbad, Wildbad, Alexisbad, all the Bads; Ems, Ischl, Bad-Gastein, every watering place, is full. Meeting in the early morning, and drink.. ing of the sulphureous or effervescing water in the Kursaal, or holding a five-o'clock gossip in the warm genial baths, men and women together; plunging into hot and cold baths in private; making drives to the neighbouring castles and scenery; sitting for two hours at tables-d'hote, purchasing nosegays, and paying musicians; the parade, the splendid conversationhouse, the ball, the réunion, the gambling in the evening; and thus it goes at the watering-places. But every spot of country which is attractive, every mountain district, every gay town, every fine stream, is alive with the ever-moving throng of pleasure-tourists. The heights and castles of the Rhine and Danube, the vales and defiles of the Saxon Switzerland, the romantic regions of the Saltzburgh, the Noric and the Swabian Alps, the Franconian and Thuringian forests; in short, every spot of gaiety or beauty receives the temporary visits of these wanderers. The Germans travel comparatively little abroad, some go to Rome and some to Paris, and a very few to England; but through their own father-land they circulate like the life blood in the living system, and, as their enormous stretches of railroad are completed, will do so much more," &c.

There is no speaking of Germany without placing Munich in the front of our thoughts.

*The author obtained a sight, when at Vienna, of the wild boar park of the Emperor at Hüttelsdorf, beyond Hitzing. (See the account of the visit, p. 379.) The old German jäger was formerly both keeper and forest-master, but now the offices are divided, and all public woods are put under public administration, and each large town has its Forst-Verwaltung, or wood-officer.

"Munich (says our author) has, now in the present age, a distinct name and character among the German cities of the most splendid kind, which there is no danger of being confounded with that of any other. Vienna may be the gay capi. tal of pleasure, the Paris of Germany; Dresden of sober gentility, and of pride in its gallery of old paintings; Leipsic of trade and books; Prague of a stately eastern dignity; Berlin, if it will, of sand and rank kennels, or, if it prefers it, of its modern assemblage of learned professors; Frankfort and Augsburg of their

bankers, and of their king-aiding Jews; Cologne of its dome and carnival; Carlsruhe of its profound repose; Stuttgard of its Dannecker, Schiller, and its thousands of lightning conductors; Heidelberg of its Tun; Weimer of its Goëthe; Saltzberg of Mozart and its mountains ;-but Munich is the unrivalled queen of modern art in sculpture and painting; and in these respects is not only the first city of Germany, but unquestionably of modern Europe. And this she owes to one manthe King."

We cannot afford room for any description of the magnificent palace of the King, either die neue Konigsvau, or die neue Residenz, with all its frescoes by Cornelius, and Schnorr, and Kaulbach, and its statues by Schwanthaler, and its halls embellished with paintings of the Odyssey, and the Argonauts, and antichambers resplendent with designs from the Greek tragedians, as the Hall of Beauties, or even the new Hof Capelle, which is said to be a perfeet model of the beauties of architecture, painting and sculpture; but we must give in abridgment some account of the Glyptothek and Pinacothek.

"The former was built by Von Klenze for the present King, when Crown Prince, and at his own cost; it was begun in 1806 and completed in 1830. It is of the purest Grecian style, with Ionic portico. The building is a large square, including a court, apparently of one story, lighted from above; and without, instead of windows, are niches containing statues of the most celebrated sculptors. The front is wholly faced with red and white marble; it contains twelve splendid halls, all floored with marble, and the walls lined with scagliola. Many of them are embellished with designs from Cornelius, painted by him, Schlohauer, Zimmerman, and with relievos by Schwanthaler. The mere mass of marble employed here is astonishing; Inglis, who saw it when it was scarcely finished, said that he had seen the marbles at St. Escuriel, and others of the most celebrated palaces of Europe, but none of these were to be compared to the marbles of the Glyptothek. In twelve halls you have illustrated the rise, progress, decline and revival, of the art of sculpture; you have first the remains of Indian and Egyptian art, then the most ancient Greek and .Etruscan, then the Ægina marbles, filling up the period preceding Phidias; then those of the very time, and probably from the hand of Phidias's master, the chief the colossal Apollo Citheroides; then in the halls of Bacchus and the Niobedæ, those of the period of perfect Grecian art. The halls of the Gods and of

Troy, appropriated to the frescoes of Cornelius, illustrative of the Grecian mythology and the Trojan wars; the hall of heroes contains statues and busts, Greek and Roman. To these succeed the hall of coloured works, and of the moderns. The Ægina marbles form the gem of the ancient collection, and which, by some mistake that we never could hear explained, were deposited at Munich instead of London, though our commission exceeded the price at which they were bought by two thousand pounds. In the hall of the moderns are the Venus and Paris of Canova; the Sandal Binder, and the beautiful Victoria Caldoni of Schadow; the bust of Iffland by the father, George Schadow; Rauch's Admiral Von Trump; Carle's Winckelman; the bust of the King, by Thorwaldsen; Adonis, by the same; Love and the Muses, by Algardi; Napoleon, by Arveschi; and the kneeling Christ Child, by Algardi, &c.

"The Pinacothek, which stands not far distant, is a building in the Roman style; it has its nine halls and twenty-three cabinets, all full of paintings, from the first to the last. The old Byzantine, the old German, Italian, Netherland, French, Spanish, and all from great masters among them. Rubens has a whole hall and cabinet to himself, containing no less than ninety-five paintings, great and small, under his name. The lives of the great painters by Cornelius are seen on the walls of the loggia of the corridor; here are also 300,000 Engravings."

Mr. Howitt visited the atelier of Kaulbach, the painter, and of Schwan

thaler, the famous sculptor.

GENT. MAG. VOL. XIX.

C

"The bronze foundery of Steiglmaier, at which we next arrived (he says) is the continuation, or, as it were, the appendix to the atelier of Schwanthaler. Here his teeming models are converted into bronze. These works are again immense. We went into four or five great rooms, each of which were full of workmen, busily employed in hammering, polishing and filing huge limbs of bronze, just turned out of the moulds; others in preparing the moulds themselves. Here long Titanic heads, here a booted leg of bronze as big as an ordinary man. Groups of workmen reminding us of the earlier outlines of Retsch's Song of the Bell, are building up and screwing together these huge forms. The sounds are deafening. We were then ushered into a small room, in which, like a scene of an Arabian tale, stood eight colossal golden statues of the Electors of Bavaria; part of those which we have mentioned as preparing for the throne-room. The effect was perfectly dazzling. These statues are each ten feet high. Masterly figures wrought in the costume each of his own age, in the most exquisite style of workmanship. Every smallest fold of raiment or piece of armour, their massy swords and flowing locks, are most beautifully finished, and the splendour of such masses of gold is superb beyond description. The whole series consists of fourteen of these gigantic figures, of which eight were here complete, and the remainder were to be finished in the course of the following year. Five years had already been employed on them, and, including the designing and modelling, each figure costs 20007. sterling; half the value consisting in the gold with which they are overlaid. Coming out of these

With one more quotation we must

"People are fond of comparing the voyages of the Danube and the Rhine, and of pronouncing which is the more beautiful. I should, myself, find it difficult to say which is the more beautiful or interesting. The two great rivers have a certain similarity, and yet very great differences. They have both their woods, their mountains, their castles, their vineyards, and their legends; but the Rhine is more populous and cheerful, the Danube more solitary and solemn. You have not those large and populous towns seated on the banks of the Danube, nor the same life of commerce on its waters. You have not the same extent of finely cultivated vineyards, the same continued stretch of rocks and precipices, at least so far as I traversed it, from Lintz to Vienna. But you have more splendid woods, more rude

works, we observed a lofty tower near, and asked what it was. O, that was only the wooden structure in which the men were building the clay model of the figure of the Bavaria, intended to stand on the Theresian Meadow, where the people hold their annual feast in October. We entered and stood in astonishment. What a figure! It is that of a female standing, with a lion by her side; a female figure of fifty-five feet high, and to be placed on a pedestal of thirty feet, altogether eightyfive feet in height. It was as if the days of the Arabians had come back, and this was the statue of one of their queens. The statue is perfectly sublime in its immensity. The grace and majesty of the design are no less wonderful than the boldness of the idea. The first model from which the workmen mould, although many degrees larger than life, appeared dwarfish in the presence of this nearlycompleted Titaness. The head alone of the Bavaria is taller than the tallest man, and the thumb-nail of one of the hands, which was reared against the wall, was as long as a man's whole hand. Scaffolding, a perfect network of poles and ladders, was raised about this female modern Colossus, on which swarmed the workmen busily building it. In one corner stood Schwanthaler's plaster-model, and in another lay a mountain of clay for completing the figures. When this stupendous statue is set on the place of its destination, lofty as a tolerable church-tower, it will be an animating thought for the people, when they collect around it, that it is not only a symbolic sign of their country, but is formed of the cannon taken from their enemies, masses of which were lying about ready for the purpose."

conclude:

and solemn scenery, mingled with slopes and meadows of the most soft and beautiful character. The Danube has not been for ages, like the Rhine, the great highway of commerce, though it has been the scene of bloody contests, and of the march of armies. Its towns, therefore, are small, few, and far between. Its villages have an antiquated, weather-beaten, and half decaying air; its only life a few ill-dressed peasants, gazing at the stream as it flies past. Its current is rapid and irregular, and views into distant glens and dark woodlands, make you feel that you are in a far wilder and more savage region than that of the Rhine. Campbell, in his so often quoted verses 'On leaving a scene in Bavaria,' has strikingly indicated the spirit of the Danube.

Yes, I have lov'd thy wild abode,

Unknown, unplough'd, untrodden shore, Where scarce the woodman finds a road, And scarce the fisher plies an oar. For man's neglect I love thee more; That art nor avarice intrude To tame thy torrent's thunder-shock, Or prune thy vintage of the rock, Magnificently rude.

But all is not so solemn or savage on the Danube. There is much of the beautiful and cheerful mingled with it. The castle of Grainberg, a seat of the Duke of Saxe Coburg,the imperial palace of Bösenberg, interrupted with shoals and sandbanks, and marshy meadows, where heaps of pebbles, thrown up by the floods, testify to its fury in winter and in rainy weather. The Rhine has a more joyous and flourishing aspect, with its cities, its populous villages stretching along its banks, and those banks so green, and smoothed for the purposes of navigation. On the Danube you have solitude, an air of neglect, a stern and brooding spirit, which seems to belong to the genius of the past; of trackless woods,-of solitary mines,―of rude feudal chiefs hunting the boar and the hart in the wild glens and

deep forests, a genius which gives reluctantly way to the spirit of steam which invades it. You meet or pass on its waters scarcely a boat. There is no white sail greeting you in the distant sunshine, for the boatman does not hoist one, least the sudden squalls from the hills should sink his craft. Vast rafts, now and then, with rude-looking men, float down from the distant Bohemian forests. Old and weatherbeaten towers give you a grim greeting from the shaggy rocks as you pass; where Francis the First used to spend so much of his time in the summer; the immense Convent of Mölk, with other castles, churches, and villages on the banks, or more distantly in view, breaks brightly and pleasantly forth; and particularly as you approach Vienna, the green steep slopes, scattered with beautiful trees, the neat cottages and vineyards, alternating with woods and rocks, have an indescribable charm but far distant from Vienna you descry the vast pile of Klosternewberg a good way from the river; and, emerging from the hills, the woods of the Prater lie before you; Vienna itself on the sloping land to your right, with its lofty tapery tower of St. Stephen, offering a noble termination to the voyage."

We must now finish our extracts with an account of the visits which Mr. Howitt paid to the kindred sons of genius, and get a peep at the great artists of the day, as they live among their own creations.

"Near this old palace, (at Stuttgard,) and in front of the Stefts Kirche, stands the statue of Schiller by Thorwaldsen, cast in bronze by Steiglmaier, of Munich. It is a figure larger than life, wrapped in a long robe, and covered with laurel. The head is inclined, as deeply thinking. I cannot say that it strikes me as one of Thorwaldsen's happiest efforts, not to be compared at all in merit to Dannecker's fine intellectual bust. The figures of Schiller in plaster are miniature copies of this statue. The house and studio of Dannecker are near the palace. The house is small and modest, seeming, by its contrast with the palace and theatre, and other buildings around, to say, as plainly as possible, that genius beautifies large houses, but does not dwell in them. The interior had the same domestic look, yet you saw at once that you had entered the abode of mind. A maid servant opened the door for us, and conducted us into the studio. An outer room was filled with casts from the most celebrated antiques, as the Apollo, Venus, head of Antinous, the Sleeping Fawn, &c. The studio itself seemed to present you the history of the artist. The walls were covered with rough sketches. There were

numbers of first attempts, and the models of works afterwards completed and become celebrated. There stood the model of the first work which won him fame, the Milo of Cortona; but glorious, amid these, stood forth one of his most noble works, the magnificent bust of Schiller. We had heard that Dannecker, in his later years, and when his genius was sinking beneath the ruins of a time-worn constitution, had, with a fatal fondness, been perpetually at work on this splendid image of his old friend and countryman, touching and retouching till he had annihilated the most striking marks of genius. How great was our surprise and pleasure to find how happily unfounded this was. it had been, indeed, now inferior to what it ever was, we may lament the fact, but we cannot in any way feel sensible of it, for a more beautifully expressive bust cannot be imagined. It is colossal, but only enough so to answer to our conception of the genius of the man. The fine philosophic calm, the lofty, pure, and gentle humanity which breathes from every feature, are wholly worthy both of the poet and sculptor. The author of Wallenstein and the Robbers stood before us as we imagine him in the moment

If

when he had sketched the lovely character of Theela or the erratic nobility of Karl Moor, and reflected on his work with the deep satisfaction of the intellectual creator, who feels that he has realized his fairest conceptions of human nature, and conferred on mankind a perpetual addition to their objects of admiration and affection. *** There was also a cast of Schiller's features taken after death, equally bearing testimony to the fidelity of the sculptor in preserving the genuine features of the man, while, by his faculty of ideality, he has given to us a satisfying image of the greatest writer in Germany, so far as true greatness consists in a godlike use of godlike qualities and faculties, a lofty and independant nature, a noble heart, a proud and magnanimous love of freedom and of intellect, and an incorruptible sentiment of purity, modesty, affection, and gentleness. A cast of his bust of Goëthe, equally excellent in its kind, testifies how perfectly Dannecker has entered into the different geniuses of the two great intellectual lights of Germany. Here stands Schiller in his simple greatness, the very embodiment of a man who bore his faculties meekly; here Goëthe in his more knowing and many-sided character. Here is the unworldly, pure, patriotic, and philosophic essence; here the courtier, the Geheimrath, the man of the world and of the age. Here the broad transparent mind, which seeks and commands admiration rather by its clear breadth, by the grasp and compass of a production as a whole, than by the verbal and fanciful beauties of any individual part. The one, perhaps, the most wonderful in the extent and variety of his powers, his tastes, his arguments, and his experience; the other more sublimely great by the full, conscientious embodiment in himself of all that is high, and pure, and magnanimous in the heart and soul of man. The simple-minded sculptor has given to his country gifts of remarkable value in the exquisite busts of these two great men, but he has given to mankind at large a still more precious one in his statue of the Christ. This, which was his favourite work, the offspring of his inmost heart and mind, has been often sharply criticised, and much carped at by some of his own countrymen. Bonstetten, in a letter to Frederic Brunn, from Stutgard, in 1822, says, 'I was yesterday with Dannecker. I thought myself in Italy, and sought you in all corners. Dannecker was so kind to me. He spoke to me his inmost thoughts. For three years he has been employed on a statue of Christ, which commands his

whole soul. He related to me many things of ladies and children, who, at the sight of the statue, were so greatly moved that it gave him the greatest joy. I restrained myself from saying that they would have wept just as much before the most wretched image of the Virgin, as perhaps the Egyptians before their dogs and birds. However, to me this statue of Jesus, which the Empress-mother has ordered for Petersburg, is not striking. I hate allegorical images in general; and Jesus-God is to me too metaphysical for an image. Very beautiful it cannot be, on account of the coarse clothing. Bodily beautiful as Apollo or Hebe it may not be. The gentlemen from Olympus are beautiful, since they are idolized; but a God-Man appears to me as adventurous as an Anubis with a dog's head. As I observed to Dannecker that there was something in the under lip from the Apollo, he told me that he had been obliged to chase the Apollo out of his studio as a seducer. The Jesus strikes me as a handsome country clergyman. Michael Angelo alone has in his Moses hit off our demigods. But Dannecker is quite Michael Angelo in Schiller's bust. Flesh, life and truth are in his bust; so they are in no others. There is no death in his marble-not in the eyes even-and there reigns a German nobility in his portraits which cling fast to the truth, but feebly reach it.'-In the artist's studio were also the three heads of Christ which he had successively modelled, till he had completely developed his conception; and each succeeding one shews for itself that each following attempt brought him nearer to it. By the side of these his Psyche appeared somewhat childish; his Cupid and the Nymph weeping over the dead bird, his St. John and Sappho, and others, particularly charmed us; but a bust of Lavater, and two heads of a husband and wife, whose names I have forgotten, attracted more our admiration. Besides these were heads numberless of kings and queens, dukes and duchesses; amongst them a very fine and characteristic one of Prince Metternich. It was a high gratification to us, after quitting the studio, to be introduced to the venerable sculptor himself. It was but just in time-they who seek him here now will not find him-heis since deceased. We found him seated on an elevated wooden bench in his garden, under the shade of a large pear-tree, where he could overlook the square in which stands the palace and theatre, and amuse himself by watching the people. He was upwards of eighty years of age, of healthy but of feeble appearance, and looking himself like one of Homer's old men, sitting

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