DOI Page / Citation link:
https://doi.org/10.11588/diglit.62133#0254
238
AN ART-STUDENT IN MUNICH.
and repeated in various phases throughout the whole series
of designs,—it is the artist’s link between the actual and
the ideal; and though these touches are true to life it is a
beautiful truth. The costume to its minutest detail is the
actual every-day national costume, but through the artist’s
mind it has lost all that in the vulgarity of life it has gained
of harsh and repulsive,—it is mellowed and purified as
by a glowing and beautifying sun. If it is thus with
the costume, how much more is it so in the faces and
forms !
The other designs are treated in a similar manner. There
is the entrance of a troop of young German painters and
sculptors into Rome. Their studying also the great works
of the old masters and the antique, and being summoned
in the midst of their studies by a Bavarian herald. Among
these students are Cornelius, Schnorr, Hess, and Schwan-
thaler. In the distance prophetically beckons the Bavaria
with her oak-wreath.
Next in order, and the centre fresco which I have al-
ready described, is the King’s reception of the artists and
their works, and of the various artistic treasures with which
he has stored his capital. Next follow, a design of the
painters busily employed on their different works, and
another of the architects; and lastly come the sculptors,
of which I have given you a more elaborate description.
Each design is rich to overflowing with suggestive thought
and beautiful fancy.
Since writing the above the scaffoldings have been re-
moved from before two of the completed frescoes of the
New Pinakothek, and all Munich has streamed to look at
them. For my own part I greatly prefer the small cartoons
and sketches of colour to the finished frescoes : the colour-
ing of the modern costume in the frescoes tells to my eye
gaudy and forced. Again I must repeat, would that a
AN ART-STUDENT IN MUNICH.
and repeated in various phases throughout the whole series
of designs,—it is the artist’s link between the actual and
the ideal; and though these touches are true to life it is a
beautiful truth. The costume to its minutest detail is the
actual every-day national costume, but through the artist’s
mind it has lost all that in the vulgarity of life it has gained
of harsh and repulsive,—it is mellowed and purified as
by a glowing and beautifying sun. If it is thus with
the costume, how much more is it so in the faces and
forms !
The other designs are treated in a similar manner. There
is the entrance of a troop of young German painters and
sculptors into Rome. Their studying also the great works
of the old masters and the antique, and being summoned
in the midst of their studies by a Bavarian herald. Among
these students are Cornelius, Schnorr, Hess, and Schwan-
thaler. In the distance prophetically beckons the Bavaria
with her oak-wreath.
Next in order, and the centre fresco which I have al-
ready described, is the King’s reception of the artists and
their works, and of the various artistic treasures with which
he has stored his capital. Next follow, a design of the
painters busily employed on their different works, and
another of the architects; and lastly come the sculptors,
of which I have given you a more elaborate description.
Each design is rich to overflowing with suggestive thought
and beautiful fancy.
Since writing the above the scaffoldings have been re-
moved from before two of the completed frescoes of the
New Pinakothek, and all Munich has streamed to look at
them. For my own part I greatly prefer the small cartoons
and sketches of colour to the finished frescoes : the colour-
ing of the modern costume in the frescoes tells to my eye
gaudy and forced. Again I must repeat, would that a