^ v k *°- v » "*, • ** j> V'-^*\y °o. *^-' 4 .0° V**^r°* ^* r °o. ' ™~*' .o> v *> ^ v -•.-.-.< % VMK- ,/\ *£»>* :/Sf^"- "*W r-^^E^- ""ov* 1 &°' ***** '^Wm : * 0,r * : ^^,. °o. -V, \/ X^zfrJ* v*^V 'V^V V'^'V' * v :, '°%;W' « ^ *+ '-s».* .^ v ^ "-y«f/ ,♦* ^ --5aR' > v ^ «^* .^ ^ ":1b. y .."•. ** » ^ ^ Vi .♦♦ /- \ / - a-*' »: %^ .v ^^ ^^V'WC?:-"^ % ».A.WA •aK*.^^ 0° o i» • ■•'A ^ ••To 9 *^ q. ..o*" ^ **^ ' A ^fc •>o T f°" .^ •y >l^ o^ "q. *'Trr« a .* V .."-, *+ I* .'1^7^^ "fe F o « « . ' %<. AT »J^ +*0* < o O, v i. ** O "•" A. " ♦ 4* *. ^ V •*!«?.• .^ v ^/-y«^* .^ %. fc -SK?^ > v ^ . ^«w* .^ ^* -J , 9 ^ v ^ 4* *».1W ^•' A o <=L. *'/Vi» A & * ^. « oV^ ^^ Q_ * q.. •-, •' ^o •*>. " •• V '. " . \ '- ^o* •■ ••-•• *V . ' * o. C 1 ^ V »vVL'. "> & - < i • aV *> *"' ^ » k y ? »>Va\ \. >*' * v ^te&'- ^ ^ v »>VyJ:-. ^. .*** ^ v ^^*. % ^^ v * .4- V ^* * .40 ' k^ ,0* 'o, *'...♦ < ^q» v^" •q,. *iT^ 1 ^° - ■ . - - "o,_ *7^T. .-% < ^ "^. ,0* ..-i.-..*o ' tr *4 o k^°^ 4> . *bV" X * k 5* q ^ v »*«^*..% * »^ii:- *. »*4>°'- + * *£®kr v ►'i' ^ - ss^ SCHILLEE GALLERY, CONTAINING CHARACTERS FROM SCHILLER'S WORKS, Dlt.WYN BY FREDERICK PECHT AND ARTHUR VON RAMBERG. FIFTY ILLUSTRATIONS FN G RAVED ON STEEL. Wtik §mKiytw tet, FREDERICK PECHT KEW TOEK : D . APPLETOJf & COMPANY, 90, 92 & 94 GRAND STREET. 18 6 9. T \2^r m fA x Entered, according to Act of Congress, in the year 1SG8, by D. APPLETON & CO., In the Clerk's Office of the District Court of the United States for the Southern District of New York. PREFACE "Works on art must not only explain but justify them- selves ; if their vitality is not sufficient to do this, all the recommendations in the world cannot save them from an early death. The author of the explanatory text of this work, acting in conjunction with Arthur von Eamberg, in fathering those children of the Muse which are here offered to the public, prefers therefore to send this book into the world without any sponsor, and to let it make its own way. The result has justified his decision, for the voices of the police authorities of criticism, who have examined into the legitimacy of these brain-children, as they have appeared one by one, or serially, so to speak, have agreed in this at least, that they have sound bodily health, if not fine manners ; and the public, whose business it is to support them, has received them with surprising readiness. It is just this that lays upon us the duty of uttering a few words of apology for such of our little flock as are not well washed and kempt. Against coolness one can 4 PREFACE. arm himself with pride, but kindness at once opens the heart to gratitude and a sense of unsvorthiness. Both of the fathers knew well that the reception given to their progeny has been ; and must be, all the more friendly in proportion to the closeness with which these brain-chil- dren repeat in themselves the features of their mother, the Muse of Schiller. Who could fail to love her ? "Whose heart has she not made to glow with her look, when he on whom her eyes have fallen was young and full of noble aspirations ? Whom has she not had the power to elevate, move, warm, and fill with renewed youth, on meeting her in the autumn of life, and looking again upon the beautiful and gentle Muse who once stirred the youthful feelings with such powerful promptings ? If we once looked upon her with adoration, only to lose her from sight in the later storms of life, even if not to disown her, our astonishment will be all the greater to find, on meeting her again, that Schiller's Muse is to be prized all the higher, the more she is understood. What she was before to our heart, she becomes subsequently to our mind ; we see a new side of our goddess, and she, who once took our senses captive by her fascinating charms, now elevates us even while she sets us free from her slighter and more ephemeral allurements. Children, confessedly, resemble not the mother alone, PEEFACE. 5 but the father as well. If this is an inevitable evil, it is 110 less so in our case, where the peculiarities of the fathers are much more obvious than those of the mother. But if in any one of these art-children there is any thing that may remind the observer of the graceful Schiller Muse, its fortune is secure. To attain the whole vast perfection, the lofty elevation of that Muse, cannot be dreamed of. There is not a painter in Germany who is competent to portray adequately Schiller's characters, and still less can the German engravers pretend to such a measure of skill. Still, if the artist must abandon all hope of attaining the whole beauty and loftiness of the original, and of grasping aU the thought which animates and glorifies each feature, he can at least try to observe closely, and reproduce faithfully. He will not fail in this case to create a living work, and one whose similarity to the original will be all the more marked, the more salient he tries to make its individuality. The fancy of the observer, thoroughly acquainted with" the original, will be stimulated to fill out that which the artist was not able to reach. This is the fundamental thought which has guided the efforts of both of us in the drawings which are now laid before the reader. If even the photographs of well-known persons seem to one to be faithful portraits, while they are unrecog- nizable by another, it is unquestionable that in the free 6 PREFACE. creation of forins, whose individuality is the dictation of the imagination alone, there must be scope for the grav- est varieties of opinion. And this will be more certainly the case when, as here, the original drawing cannot be published, only an engraved copy of it, where, however marked the success, there will be something of the excel- lence of the drawing wanting, and where, be the success indifferent, the best half never reaches the public eye. The difficulty of engraving has offered the more obstacles, inasmuch as the undertaking now presented to the public is the first one of the kind. Illustrations heretofore have been done either on wood or in lightly- engraved outlines, this style answering better the efforts of the idealizing German school to give a general characterization than to individualize closely. A course so entirely opposed to the one hitherto followed must meet many hinderances. Draftsmen and engravers have gallantly sought to overcome these obstacles, and many plates of our collection give honorable testimony that, in the case of the engravers, these efforts have not been in vain. We, at least, cherish the belief that our work need not fear comparison with similar undertakings out of Germany, and for the very reason that we have not copied foreign productions. The connoisseur will readily confess that, much as he may criticise rightfully in us, not only our faults but our merits are our own. PREFACE. 7 Enjoying the favorable support of the public, we shall hope to make profitable use of the experience which we gain iu this work in the Goethe Gallery, which is in con- templation ; and shall enter upon the preparation of it with new courage and hope. Schiller's life itself exhibits such a continuous and unwearied struggle after perfection, as to form an illus- trious example for every German. We hope that it may be said of us that, in our attempts, we have sought to render it due honor. A few words may be permitted respecting the ex- planatory remarks which the author has added to the engravings, and for which he alone is responsible. He is the less able to assert that he has added any thing new respecting the poet, that he must frankly confess his ignorance of what is old and already written. It has always been his preference to enjoy the poet himself, instead of studying critics and commentators ; and where he has found the need of assistance, he has confined him- self to the admirable hints which Gervinus and Julian Schmidt have thrown out. It is not necessary here to repeat in full what he himself has reached unaided, or what he has received from others, since the drawing and the text will be found mutually explanatory and illustrative. Before this work was commenced, the author, in 8 PREFACE. common, probably, with most of bis countrymen, suffered from tbe misfortune of not baving read, but having merely devoured, Schiller, in his youth— -of having learned his melodious verses by heart, but with very slight appreciation of their value. He had been en- tranced by only one side of Schiller's genius — the pomp and glory of his language, and the glowing colors with which he has painted an ideal world, and set it over against the world of reality. The man who has no mind in himself, has little appreciation of mind in another. And the author, like so many in the period of youth, contented himself with merely recalling certain sonorous sentences ; and, at last, on entering manhood, and ex- periencing the reaction of that period, those sentences, once so lofty and grand, appeared of doubtful value, and made him look contemptuously on the poet for years. The problem that Ave all have to solve is this : to take the ideals of youth with us into our maturer years, reanimate them, give the beautiful form aud the lofty word definiteness and meaning ; to unite the ideal and the actual world, so as to make the former of service to the latter, instead of carrying them both around in our consciousness alienated, the one despised and denied by the other, because we know not how to construct a bridge to bind them together. It needs a long and rich experience of life to make PREFACE. 9 one capable of this ; to so far endow a man that he shall not deny the possibility of the ideal, and close his eyes upon it, instead of seeking and finding a divine element in what is human. And yet, in this very way, every sound nature is to come back to those ideals of youth, which ordinarily rest upon a solid foundation. The author had, for a considerable while, devoted himself to these studies, when the publishers of this work communicated to him their intention of under- taking the Schiller Gallery, and requested him to assume the task. The original plan was that the work should form a kind of pendant to the English works — the Women of the Bible and the Characters of Shakespeare, the German editions of which have been published by the same house whence the Schiller Gallery issues. The centennial celebration of Schiller's birth has seemed the most appropriate time to honor his memory by a work, the scope of which has hitherto had no parallel. We have heretofore had representations of Schiller's heroes and heroines, but no such collective illustrations of his works as would answer the demands of the present day. The resemblance between this volume and the two which have just been alluded to, is only external. The work is neither French nor English, but German. It must be a far closer study of the poet's meaning than any foreign work which exists, if we would truly, and 10 PREFACE. with pious deference, interpret all his wealth of mean- ing. The author would scarcely have ventured to under- take a work of so much difficulty, had he not had the good fortune to secure the artistic cooperation of his richly-endowed friend Arthur von Kamberg. In commencing his task, and more especially in pre- paring the illustrative remarks, the author entered upon a renewed and thorough study of the poet ; and must confess again, as at the outset of this preface, that in these later readings the genius of Schiller has appeared grander, richer, and more powerful than ever in his youth ; and that these later impressions prove them- selves abiding. The public now receives the result of these studies, and it is to be presupposed that it wiU be most acceptable to those who come by a similar ex- perience into relations with Schiller. If the work is less acceptable to others, they need enjoy none the less with his immortal muse ; for it is the truest indication of classic works of art that they give to every one a feeling of lofty satisfaction ; that they offer something to every one, and vary their gift according to the character and training of each recipient. Munich, October, 1859. F. Pecht. LIST OF ENGRAVINGS PAGE FREDERICK SCHILLER, 15 CHARLOTTE VON LENGEFELD, 21 THE ROBBERS. CHARLES MOOR, 27 AMELIA VON EDELREICH, 33 FRANCIS MOOR, 39 THE CONSPIRACY OF FIE SCO. FIESCO, COUNT OF LAVAG-NA, 45 LEONORA, WIFE OF FLESCO, 51 ANDREAS DORIA, DUKE OF GENOA, 57 JULIA, COUNTESS DOWAGER LMPERLALI, .... 63 LOVE AND INTRIGUE. FERDINAND, 69 LOUISA MILLER, 75 LADY MILFORD, THE PRINCE'S MISTRESS, 81 DON CARLOS. PHILIP H., KLNG OF SPAIN, 85 ELISABETH DE VALOIS, QUEEN OF SPAIN, . . . .91 DON CARLOS, PRINCE, SON OF PHILIP, 97 12 LIST OF ENGRAVINGS. TAGE MARQUIS DE POSA, 103 PRINCESS EBOLI, 109 DUKE OF ALVA, 115 WALLENSTEIN. WALLENSTEIN, GENERAL OF THE IMPERIAL FORCES, . . 121 COUNTESS TERZKY, 127 OCTAVIO PICCOLOMINI, LIEUTENANT-GENERAL, . . .133 MAX PICCOLOMINI, HIS SON, 139 THEKLA, PRINCESS OF FRLEDLAND, ..... 145 THE CAPUCHIN, 151 GUSSIE OF BLASEWITZ, 157 MA RY STUART. ELIZABETH, QUEEN OF ENGLAND, 1G3 MART STUART, QUEEN OF SCOTS, 169 ROBERT DUDLEY, EARL OF LEICESTER, 175 SIR EDWARD MORTIMER, 181 WILLIAM CECIL, LORD BURLEIGH, . . . . . .187 THE M A IB OF ORLEANS. JOAN OF ARC, 193 CHARLES VII., KING OF FRANCE, 199 AGNES SOREL, .205 TALBOT, THE ENGLISH GENERAL, . . . . . .211 QUEEN ISABEL, MOTHER OF CHARLES VII., .... 217 THE BRIDE OF MESSINA. DONNA ISABELLA, PRINCESS OF MESSINA, . . _ . .223 DON MANUEL, HER SON, .229 DON OESAR, " " 235 BEATRICE, 241 WILLIAM TELL. WILLIAM TELL, 247 HEDWIG, WIFE OF TELL, . . . ■ . . .253 LIST OF ENGRAVINGS. 13 PAGE TELL'S SON, . 259 ARNOLD OF MELCHTHAL, ....... 265 BERTHA VON BRUNECK, 271 GESSLER, GOVERNOR OP SWITZ AND URI, .... 277 TUB, AND T. TURANDOT, . . . . . . . . .283 KALAF, . . . . . . . ... .289 DEMETRIUS. DEMETRIUS, .......... 295 THE GHOST-SEER. THE PRINCE, 301 THE GRECIAN MAID, .. . ... . . .307 FREDERICK SCHILLER It is not the object of the folio wing lines to give a biographical sketch of onr most universally-beloved poet, but only to throw out a few hints in grasping his person- ality, as it is expressed in our likeness of him. The por- trait which we give, varies from those which are usually met, and leads us necessarily to the manner in which his genius is displayed in his face. This method is peculiar, not only to the likeness of the poet, but will form the basis of our method of treating most of the characters found in his works. Our space will limit us to few and brief remarks. Great and generous natures are often accustomed to nurture within themselves characteristics which are, ap- parently, directly antagonistic. This they do for the very reason that they are able to unite these opposite phases, and to reach results far beyond those granted to more simple souls. This is, in an eminent degree, the case with Schiller; and the will-power is the very kernel of his nature. It is the general custom of writers to regard Schiller as the representative of idealism in our poetry and Goethe 10 FREDERICK SCHILLER. as tliat of realism. It is not to be denied that the former displays everywhere a marked tendency to idealize, and that this spreads splendor and nobleness over every thing that he executes ; bnt to us his real artistic talent appears to lie much more on the realistic side. With every artist it is important to discriminate between that which he desires to do and that which he really does. With the lower orders of minds the thing reached is of a much more ordinary character than the thing purposed ; with Schiller, on the contrary, the thing done is often better than the thing aimed at. As abstract ideals, his char- acters are often without marked personality as originally conceived; but, iii the elaboration, they come out quite different, and gain an individuality of life, which gives them much more value than what the poet originally designed. Our inventive faculty is in a measure sub- ject to our control, a fact hinted at even by language itself, one of the truest guides in psychology, to find out being directly connected with to find (in German, finden and erfindeii). In many of Schiller's characters there is, consequently, a certain contradiction between their speech and their action ; the poet now following his inspiration, which never misled him, and now his preconceived idea, which often, as in the " Bride of Messina," led him in entirely false directions. That, in the main, he followed the inspiration of composition, is one of the best proofs of his high poetic faculty ; all the more conclusive that, in his greatest passages, he FREDERICK SCHILLER. 17 always does so. Schiller's often - quoted lines express his own view : " What in song shall live, Must not in life survive." * One might conclude from this — and the romantic school has even done so — that the essence of poetry is past, dead, in what has become history or myth. On the contrary, it consists rather in what has life, as Schiller's own works show, which everywhere are best when they lock themselves closest to the interests of his time, whether it be in Wallenstein painting the apotheosis of German chivalry, portraying in the hero a character such as Napoleon's rising star presented to his own gaze ; or in Teh, representing the struggle of a noble German tribe against a foreign yoke — a thought alto- gether too familiar to Schiller at that time ; or in the " Robbers," and " Love and Intrigue," inveighing against the social conditions of his day and land ; or in Don Carlos pleading the claims of cultivated men on the state ; everywhere his poetry contradicts and overthrows his own theory. His characters are taken from real life, and those which approximate closest to reality are always better than his ideals — the latter, Marquis Posa Verrina, Louisa Millar, Thekla, etc., cannot be compared in poetic merit with his portraits, such as Wallenstein, Tell, Octavio Piccolomini, and others. His ability in * " Was im Gedicht soil lehen, Muss im Leben untero-ehen ! " 18' FREDERICK SCHILLER. picturing real life is all the more remarkable that, in the multiplicity of details which he constantly gives us, we scarcely find a hint that, like Goethe, he busied himself with observing real life. On the contrary, he overlooked it, left it behind, isolated himself from it as much as possible. And just as a genuine painter is constantly giving attention to the form and color of objects around him without knowing it or wishing it, so Schiller was constantly studying objects, and treas- uring them in his memory, without really wishing to do so. This unconscious gathering up of treasures, which his fantasy was subsequently to use, is the true mother of that artistic intuition so eminently displayed in Schiller. Above every thing else, the artist has there- fore sought to exhibit in his portrait the poet as we find him in Schiller. As the tendency to idealize is so prominent a feature of his muse, as there is in him some- thing unquestionably abstract, something alien to the world of experience, the poet is represented in an attitude rather looking inward, rather listening to the voice of his own inspirations than contemplating ob- jects around him. He has something of a seer's and prophet's air, he is occupied solely with what is great and exalted ; and, as Goethe says, so finely and fittingly of his deceased friend, one must seek " Behind him, in the empty space, What binds us all, the commonplace." FREDERICK SCHILLER. 19 Conjoined with this prophetic gift, there is that super- human power of his that seizes us, and bears us away on the soaring pinions of his glowing enthusiasm, to a loftier height than any other German poet has been able to reach. His broad, firmly-collected brow is the seal of his strength and loftiness, his earnestness and depth • the glance of his eye shows the dreamy reverie, and his other features, rugged and alien, worthily complete his face, and out of their antagonism chime in a lofty harmony. Schiller was, above all things, a poet, but he was also, and we may say it with emphasis, a Suabian. And, with all its skill and rich endowments, with all its manly strength and decisiveness, this branch of the great Ger- man family is probably the least approachable of all — the most crabbed, hardest, least docile, most stubborn, least pliable, and most passionate. These qualities were doubtless observable in our Schiller ; the cross-grained, proud, and retiring nature, the impatience, the fierce glow of hate as well as of love, all worked powerfully in this timid, reserved, and intractable spirit. The Suabian peculiarities manifest themselves very clearly in the de- fiantly raised under-lip, the broad fixed chin, the strong- cheek-bones, the markedly defined features. You may see also the nervousness of the thinker who wrought late into the night ; and who was so accustomed to regard his body as the mere slave of his spirit, that he was snatched so prematurely away. 20 FREDERICK SCHILLEE. This makes it clear that the personality of that Schiller of whom we have so many traces — red-haired, pale ; tall, and emaciated — is a mixture of timidity, fear, and even antipathy, which, nevertheless, found such a mighty counterpoise in the massiveness of his genius as to transform dislike into reverence and enthusiasm, even when intimacy with him was forbidden. It is a matter always to be joyed over, therefore, that while in Goethe we have the most harmonious of characters, a per- sonality the most brilliantly furnished both within and without, that any modern nation has displayed in its poets, we have in Schiller the most illustrious example of a spirit, whose own lofty nobility is able to glorify all that was ignoble in the form that contained it. '. ' ■ ■ . - i2s9tOc/