DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.62134#0079
KING LUDWIG AND ART.
71
asking its history and purport, was told “ here were held the
Ducal tournaments in old times/'’—then do I feel the spirit of
an antiquarian awake within me, and an unappeasable long-
ing after old memories and traditions seize my imagination.
As I have already observed, Old and New Munich are
fraught with an entirely separate poetry, and present
totally different aspects. The character of the people in
the streets is different—the gaily attired peasants throng-
ing the quaint old streets, market-places, and covered
passages; and their primitive wagons, and the heavy
brewers’ drays rumbling and jolting along the uneven pave-
ments ; whilst, in the newer city, elegantly attired ladies
and gentlemen aristocratically saunter about, or roll along
in their carriages, with every now and then a royal carriage
dashing past.
But different in aspect as are these two portions of
Munich at the first view, upon nearer investigation one
proves to be but a modern development of the other, as
King Ludwig is only a fuller development of the artistic
germ which is implanted in his race.
This new Munich, proceeding from the brain of the
artist-souled king, who, as it has justly been observed,
“could abandon his crown, but could not abandon his
art/’ with its Glyptothek, its Old and New Pinakothek,
its Kunst Ausstellung, its Sieges-Thor, its Feldherren
Halle, its Basilica, its Hof-Kapelle, its Au-Church, its
Bhumes Halle, and Bavaria with its two splendid new
wings to the old Palace, with its noble Ludwig Strasse,
containing the Royal Library, Blind Institution, Damen
Stift, University Jesuits’ College, and Ludwig’s Church;
this new Munich, I repeat, enriched with innumerable
great works in fresco—historic, poetic, religious—of
Cornelius, Kaulbach, Schnorr, and Hess, with its statues
of Schwanthaler, Thorwaldsen, and Rauch, with each im-
71
asking its history and purport, was told “ here were held the
Ducal tournaments in old times/'’—then do I feel the spirit of
an antiquarian awake within me, and an unappeasable long-
ing after old memories and traditions seize my imagination.
As I have already observed, Old and New Munich are
fraught with an entirely separate poetry, and present
totally different aspects. The character of the people in
the streets is different—the gaily attired peasants throng-
ing the quaint old streets, market-places, and covered
passages; and their primitive wagons, and the heavy
brewers’ drays rumbling and jolting along the uneven pave-
ments ; whilst, in the newer city, elegantly attired ladies
and gentlemen aristocratically saunter about, or roll along
in their carriages, with every now and then a royal carriage
dashing past.
But different in aspect as are these two portions of
Munich at the first view, upon nearer investigation one
proves to be but a modern development of the other, as
King Ludwig is only a fuller development of the artistic
germ which is implanted in his race.
This new Munich, proceeding from the brain of the
artist-souled king, who, as it has justly been observed,
“could abandon his crown, but could not abandon his
art/’ with its Glyptothek, its Old and New Pinakothek,
its Kunst Ausstellung, its Sieges-Thor, its Feldherren
Halle, its Basilica, its Hof-Kapelle, its Au-Church, its
Bhumes Halle, and Bavaria with its two splendid new
wings to the old Palace, with its noble Ludwig Strasse,
containing the Royal Library, Blind Institution, Damen
Stift, University Jesuits’ College, and Ludwig’s Church;
this new Munich, I repeat, enriched with innumerable
great works in fresco—historic, poetic, religious—of
Cornelius, Kaulbach, Schnorr, and Hess, with its statues
of Schwanthaler, Thorwaldsen, and Rauch, with each im-