DOI Page / Citation link:
https://doi.org/10.11588/diglit.62134#0099
THE BOISSEREE GALLERY IN THE PINAKOTHEK.
91
CHAPTER X.
THE BOISSEREE GALLERY IN THE PINAKOTHEK.
Accompany me tliis bright, frosty, winter’s morning to the
beautiful Munich Picture Gallery—the Pinakothek. The
trees, and shrubs, and grass in the gardens, and lining the
roads, as we approach the Gallery, are glittering with hoar-
frost, and look as if molten in frosted silver. We have
scarcely emerged from the streets of the newer portion of
Munich. There rises the yet unfinished building of the
New Pinakothek, destined to contain pictures of modern
schools. Two frescoes of Kaulbach’s series of designs
illustrative of modern German art, already arrest your eye
upon its external walls. The grey wooden booths clinging
as it were to the upper portion of the building, swallow-nest-
wise, conceal the artists at work upon the other frescoes of
the series. Divided from the New Pinakothek by a broad
public road, and standing in a garden enclosed by slight,
low, iron railing, we see the Old Pinakothek. It is built of
pale yellow brick, and in the style of a Roman palace, after
the design of Leo von Klenze. The long centre picture
gallery is lighted by sky-lights of violet-coloured glass, which
give a very peculiar character to the whole building. The
statues of five-and-twenty artists, from designs by Schwan-
thaler, Van Eyck, Memling, Diirer, Holbein, Schon, Rubens,
Van Dyck, Velasquez, Murillo, Claude Lorraine, Poussin,
Erancia, Angelico da Eiesole, Masaccio, Leonardo da Vinci,
91
CHAPTER X.
THE BOISSEREE GALLERY IN THE PINAKOTHEK.
Accompany me tliis bright, frosty, winter’s morning to the
beautiful Munich Picture Gallery—the Pinakothek. The
trees, and shrubs, and grass in the gardens, and lining the
roads, as we approach the Gallery, are glittering with hoar-
frost, and look as if molten in frosted silver. We have
scarcely emerged from the streets of the newer portion of
Munich. There rises the yet unfinished building of the
New Pinakothek, destined to contain pictures of modern
schools. Two frescoes of Kaulbach’s series of designs
illustrative of modern German art, already arrest your eye
upon its external walls. The grey wooden booths clinging
as it were to the upper portion of the building, swallow-nest-
wise, conceal the artists at work upon the other frescoes of
the series. Divided from the New Pinakothek by a broad
public road, and standing in a garden enclosed by slight,
low, iron railing, we see the Old Pinakothek. It is built of
pale yellow brick, and in the style of a Roman palace, after
the design of Leo von Klenze. The long centre picture
gallery is lighted by sky-lights of violet-coloured glass, which
give a very peculiar character to the whole building. The
statues of five-and-twenty artists, from designs by Schwan-
thaler, Van Eyck, Memling, Diirer, Holbein, Schon, Rubens,
Van Dyck, Velasquez, Murillo, Claude Lorraine, Poussin,
Erancia, Angelico da Eiesole, Masaccio, Leonardo da Vinci,