DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.62134#0219
CALYPSO AND ULYSSES.
211
and caduceus towards the mournful Ulysses., who, with
bowed head, is seated far out in the glare of sun-light,
beyond the rustic alcove, upon the margin of the sea.
Gentle little waves roll in towards the mournful Ulysses ;
but he heeds them not. An extended flight of migratory
birds—the key-note of his thoughts—stretches itself across
the sky, winging its way over the ocean, as he sits moiu’n-
fully, with bowed head, in the sunshine.
At the feet of Calypso, in a chafing-dish, burn fragrant
woods and gums, the soft smoke curling up among the
rich foliage of the bowery alcove, and across the goddess’s
antique lyre, which leans against the palm-tree stem. Doves
flutter and coo among the palm branches. All is as soft,
tender, and full of an enchanted languor, as Keats’s
poetry, yet strong withal as old Chapman’s Homer.
The small cartoons and studies for colour for the com-
pletion of the New-Pinakothek frescoes have been made
this early spring by Kaulbach.
The principal one of these designs represents the
Artist’s Festival in Munich in 1845 ; the other designs are
simply single whole-length portraits of the great German
painters whose works will be contained within the New-
Pinakothek— Cornelius, Schnorr, etc.—with decoration of
garlands upborne by lovely children,—graceful, of course,
but in no way especially remarkable.
The Artists’ Festival of 1845 is a link in the series of
frescoes illustrative of the history of modern German Art,
to which I have already referred.
It introduces us into the very heart of the whimsical
211
and caduceus towards the mournful Ulysses., who, with
bowed head, is seated far out in the glare of sun-light,
beyond the rustic alcove, upon the margin of the sea.
Gentle little waves roll in towards the mournful Ulysses ;
but he heeds them not. An extended flight of migratory
birds—the key-note of his thoughts—stretches itself across
the sky, winging its way over the ocean, as he sits moiu’n-
fully, with bowed head, in the sunshine.
At the feet of Calypso, in a chafing-dish, burn fragrant
woods and gums, the soft smoke curling up among the
rich foliage of the bowery alcove, and across the goddess’s
antique lyre, which leans against the palm-tree stem. Doves
flutter and coo among the palm branches. All is as soft,
tender, and full of an enchanted languor, as Keats’s
poetry, yet strong withal as old Chapman’s Homer.
The small cartoons and studies for colour for the com-
pletion of the New-Pinakothek frescoes have been made
this early spring by Kaulbach.
The principal one of these designs represents the
Artist’s Festival in Munich in 1845 ; the other designs are
simply single whole-length portraits of the great German
painters whose works will be contained within the New-
Pinakothek— Cornelius, Schnorr, etc.—with decoration of
garlands upborne by lovely children,—graceful, of course,
but in no way especially remarkable.
The Artists’ Festival of 1845 is a link in the series of
frescoes illustrative of the history of modern German Art,
to which I have already referred.
It introduces us into the very heart of the whimsical