Very delightfully dwell in my memory, also, some evenings at the palace, when, after the main ceremonies were over, Knaus, Becker, and Auerbach wandered with me through the more distant apartments and galleries, pointing out the beauties and characteristics of various old portraits and pictures. In one long gallery lined with the portraits of brides who, during the last three centuries, had been brought into the family of Hohenzollern, we lingered long.
Then began also my friendship with Anton von Werner.
He had been present at the proclamation of the Emperor William I in the great ``Hall of Mirrors'' at Versailles, by express invitation, in order that he might prepare his famous painting of that historic scene. I asked him whether the inscription on the shield in the cornice of the Galerie des Glaces, ``Passage du Rhin,'' which glorified one of the worst outrages committed by Louis XIV upon Germany, was really in the place where it is represented in his picture. He said that it was. It seemed a divine prophecy of retribution.
The greatest genius in all modern German art--Adolf Menzel--I came to know under rather curious circumstances.
He was a little man, not more than four feet high, with an enormous head, as may be seen by his bust in the Berlin Museum. On being presented to him during an evening at court, I said to him: ``Herr Professor, in America I am a teacher of history; and of all works Ihave ever seen on the history of Frederick the Great, your illustrations of Kugler's history have taught me most.''
This was strictly true; for there are no more striking works of genius in their kind than those engravings which throw a flood of light into that wonderful period. At this he invited me to visit his studio, which a few days later Idid, and then had a remarkable exhibition of some of his most curious characteristics.
Entering the room, I saw, just at the right, a large picture, finely painted, representing a group of Frederick's generals, and in the midst of them Frederick himself, merely outlined in chalk. I said, ``There is a picture nearly finished.'' Menzel answered, ``No; it is not finished and never will be.'' I asked, ``Why not?'' He said, ``I don't deny that there is some good painting in it. But it is on the eve of the battle of Leuthen; it is the consultation of Frederick the Great with his generals just before that terrible battle; and men don't look like that just before a struggle in which the very existence of their country is at stake, and in which they know that most of them must lay down their lives.''
We then passed on to another. This represented the great Gens d'Armes Church at Berlin; at the side of it, piled on scaffoldings, were a number of coffins all decked with wreaths and flowers; and in the foreground a crowd of beholders wonderfully painted. All was finished except one little corner; and I said, ``Here is one which you will finish.'' He said, ``No; never. That represents the funeral of the Revolutionists killed here in the uprising of 1848. Up to this point''--and he put his finger on the unfinished corner--``I believed in it; but when I arrived at this point, I said to myself, `No; nothing good can come out of that sort of thing; Germany is not to be made by street fights.' I shall never finish it.''
We passed on to another. This was finished. It represented the well-known scene of the great Frederick blundering in upon the Austrian bivouac at the castle of Lissa, when he narrowly escaped capture. I said to him, ``There at least is a picture which is finished.'' ``Yes,'' he said;``but the man who ordered it will never get it.'' I saw that there was a story involved, and asked, ``How is that?'' He answered, ``That picture was painted on the order of the Duke of Ratibor, who owns the castle. When it was finished he came to see it, but clearly thought it too quiet. What he wanted was evidently something in the big, melodramatic style. I said nothing; but meeting me a few days afterward, he said, `Why don't you send me my picture?' `No,' I said; `Serene Highness, that picture is mine.' `No, said he; `you painted it for me; it is mine.' `No,' said I; `I shall keep it.' His Highness shall never have it.''
My principal recreation was in excursions to historical places. Old studies of German history had stimulated a taste for them, and it was a delight to leave Berlin on Saturday and stay in one of these towns over Sunday.
Frequently my guide was Frederick Kapp, a thoughtful historian and one of the most charming of men.
A longer pilgrimage was made to the mystery-play at Oberammergau. There was an immense crowd; and, as usual, those in the open, in front of our box, were drenched with rain, as indeed were many of the players on the stage. I had ``come to scoff, but remained to pray.''
There was one scene where I had expected a laugh--namely, where Jonah walks up out of the whale's belly.
But when it arrived we all remained solemn. It was really impressive. We sat there from nine in the morning until half-past twelve, and then from half-past one until about half-past four, under a spell which banished fatigue. The main point was that the actors BELIEVEDin what they represented; there was nothing in it like that vague, wearisome exhibition of ``religiosity''
which, in spite of its wonderful overture, gave me, some years afterward, a painful disenchantment--the ``Parsifal''
at Bayreuth.
At the close of the Passion Play, I sought out some of the principal actors, and found them kindly and interesting.
To the Christus I gave a commission for a carved picture-frame, and this he afterward executed beautifully.
