DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.62134#0220
212
AN ART-STUDENT IN MUNICH.
and picturesque jollity of German artist-life. The groups
are as if suddenly transferred from the Artists’ Masquerade
to the canvas. In the centre of the composition rises
Schwanthaler’s statue of King Ludwig arrayed in his royal
robes. A bevy of fair maidens crowned with flowers sur-
rounds the statue., binding garlands of flowers with which to
adorn it: one, seated upon an upturned rustic basket, lean-
ing slightly back from the group, hangs a wreath of roses
upon an emblazoned shield presented to her by a page.
Upon a slightly raised platform beyond this group stands,
in semi-circle, a marvellously comic array of singers,—a
dash of Kaulbach’s Hogarthian satire. The gravity and
quaint distortion of the countenances and attitudes are
irresistibly droll. That huge stout man with the ear-rings,
and with the bearing and countenance of a Friar Turk,
sending forth with deep complacency the most sonorous
of bass notes from his broad ponderous chest, and whose
tidily smoothed han' is adorned with a garland of vine-
leaves, is a wondrous contrast to the meagre, excited,
yet withal most earnest countenances of several of the
other singers, and to the calm dignity of the musical
director.
Above the singers hang festooned insignia of the fes-
tival, bound together with gay streamers and garlands,
and slung from golden and richly wrought columns; and
on either hand of them presses on a group of Munich
painters, wearing their gorgeous and whimsical array.
Here is a gathering of slashed sleeves, glittering chival-
rous armour, ermine-lined mantles and embroidered
doublets. There behold the grave and noble, costume of
Albert Durer ; a workman from the Bronze Foundry in
his leathern apron; and again slashed sleeves, garlanded
brows, and caps of medieeval cut.
AN ART-STUDENT IN MUNICH.
and picturesque jollity of German artist-life. The groups
are as if suddenly transferred from the Artists’ Masquerade
to the canvas. In the centre of the composition rises
Schwanthaler’s statue of King Ludwig arrayed in his royal
robes. A bevy of fair maidens crowned with flowers sur-
rounds the statue., binding garlands of flowers with which to
adorn it: one, seated upon an upturned rustic basket, lean-
ing slightly back from the group, hangs a wreath of roses
upon an emblazoned shield presented to her by a page.
Upon a slightly raised platform beyond this group stands,
in semi-circle, a marvellously comic array of singers,—a
dash of Kaulbach’s Hogarthian satire. The gravity and
quaint distortion of the countenances and attitudes are
irresistibly droll. That huge stout man with the ear-rings,
and with the bearing and countenance of a Friar Turk,
sending forth with deep complacency the most sonorous
of bass notes from his broad ponderous chest, and whose
tidily smoothed han' is adorned with a garland of vine-
leaves, is a wondrous contrast to the meagre, excited,
yet withal most earnest countenances of several of the
other singers, and to the calm dignity of the musical
director.
Above the singers hang festooned insignia of the fes-
tival, bound together with gay streamers and garlands,
and slung from golden and richly wrought columns; and
on either hand of them presses on a group of Munich
painters, wearing their gorgeous and whimsical array.
Here is a gathering of slashed sleeves, glittering chival-
rous armour, ermine-lined mantles and embroidered
doublets. There behold the grave and noble, costume of
Albert Durer ; a workman from the Bronze Foundry in
his leathern apron; and again slashed sleeves, garlanded
brows, and caps of medieeval cut.