In 1772, the wife of Franz Kügelgen, a merchant of Bacharach on the Rhine, presented her husband with twin sons, the elder of whom by fifteen minutes is the subject of this notice. His brother was named Karl. Their resemblance was so great that even their mother found a difficulty in their early childhood in distinguishing one from the other.
Bacharach was in the Electorate of Cologne, and when the Archbishop-Elector, Maximilian Franz, learned that the twins were fond of art, in 1791 he very liberally gave them a handsome sum of money to enable them to visit Rome and there prosecute their studies.
Gerhard was at once fascinated by the statuary in the Vatican, and by the pictures of Raphael. The ambition of his life thenceforward was to combine the beauty of modelling of the human form that he saw in the Græco-Roman statues with the beauty of colour that he recognised in Raphael's canvases. Karl, on the other hand, devoted himself to landscapes.
In 1795 the brothers separated, Gerhard that he might visit Munich. Thence, in the autumn, he went to Riga with a friend, and there he remained rather over two years, and painted and disposed of some fifty-four pictures. Then he painted in St. Petersburg and Revel, and finally settled into married life and regular work at Dresden in 1806. There he became a general favourite, not only on account of his artistic genius, but also because of the fascination of his modest and genial manner. He was honoured by the Court, and respected by everyone for his virtues. Orders flowed in on him, and his paintings commanded good prices. The king of Saxony ennobled him, that is to say, raised him out of the bürger-stand, by giving him the privilege of writing a Von before his patronymic.
Having received an order from Riga for a large altar picture, he bought a vineyard on the banks of the Elbe, commanding a charming prospect of the river and the distant blue Bohemian mountains. Here he resolved to erect a country house for the summer, with a large studio lighted from the north. The construction of this residence was to him a great pleasure and occupation. In November, 1819, he wrote to his brother, "My house shall be to us a veritable fairy palace, in which to dwell till the time comes, when through a little, narrow and dark door we pass through into that great habitation of the Heavenly Father in which are many mansions, and where our whole family will be re-united. Should it please God to call me away, then Lily (his wife) will find this an agreeable dower-house, in which she can supervise the education of the children, as the distance from the town is only an hour's walk."
The words were written, perhaps, without much thought, but they foreshadowed a terrible catastrophe. Kügelgen would pass, before his fairy palace was ready to receive him, through that little, narrow door into the heavenly mansions.
The holy week of 1820 found him in a condition of singularly deep religious emotion. He was a Catholic, but had, nevertheless, allowed his son to be confirmed by a Protestant pastor. The ceremony had greatly affected him, and he said to a friend, who was struck at the intensity of his feeling, "I know I shall never be as happy again till I reach Heaven."
On March 27th, on the very day of the confirmation, he went in the afternoon a walk by himself to his vineyard, to look at his buildings. He invited one of his pupils to accompany him, but the young man had some engagement and declined.
At 5 p.m. he was at the new house, where he paid the workmen, gave some instructions, and pointed out where he would do some planting, so as to enchance the picturesqueness of the spot. At some time between six and seven he left, to walk back to Dresden, along the road from Bautzen.
Every one who has been at the Saxon capital knows that road. The right bank of the Elbe above Dresden rises in picturesque heights covered with gardens and vineyards, from the river, and about a mile from the bridge is the Linkes Bad, with its pleasant gardens, theatre, music and baths. That road is one of the most charming, and, therefore, the most frequented outside the capital. On the evening in question the Easter moon was shining.
Kügelgen did not return home. His wife sent his son, the just confirmed boy, aged 17 years, to the new house, to inquire for her husband. The boy learned there that he had left some hours before. He returned home, and found that still his father had not come in. The police were communicated with, and the night was spent in inquiries and search, but all in vain. On the following morning, at 9 a.m., as the boy was traversing the same road, along with a gensdarme, he deemed it well to explore a footpath beside the river, which was overflown by the Elbe, and there, finally, amongst some reeds they discovered the dead body of the artist, stripped of his clothes to his shirt and drawers, lying on his face.
Gerhard von Kügelgen had been murdered. His features were cut and bruised, his left temple and jaw were broken. Footsteps, as of two persons, were traceable through the river mud and across a field to the highway. Apparently the artist had been murdered on the road, then carried or dragged to the path, stripped there, and then cast among the rushes. About twenty-four paces from where he lay, between him and the highway, his cap was found.
The excitement, the alarm, aroused in Dresden was immense. Not only was Kügelgen universally respected, but everyone was in dismay at the thought that his own safety was jeopardised, if a murder such as this could be perpetrated on the open road, within a few paces of the gates. Indeed, the place where the crime was committed was but a hundred strides from the Linkes Bad, one of the most popular resorts of the Dresdeners.
It was now remembered that only a few months before, near the same spot, another murder had been committed, that had remained undiscovered. In that case the victim had been a poor carpenter's apprentice.
On the same day as the body of Kügelgen was found, the Government offered a sum equal to £150 for the discovery of the murderer. A little later, some children found among the rubbish, outside the Black Gate of the Dresdener Vorstadt, a blue cloth cloak, folded up and buried under some stones. It was recognised as having belonged to Kügelgen. Moreover, in the pocket was the little "Thomas-à-Kempis" he always carried about with him.
It was concluded that the murderer had not ventured to bring all the clothing of Kügelgen into the town, through the gate, and had, therefore, hidden portions in places whence he could remove them one by one, unobserved. The murderer was, undoubtedly, an inhabitant of the city.
From March 29th to April 4th the police remained without any clue, although a description of the garments worn by the murdered man, and of his watch, was posted up at every corner, and sent round to the nearest towns and villages.
The workmen who had been engaged on Kügelgen's house were brought before the police. They had left after his departure, and had received money from him; but they were discharged, as there was no evidence against them.
As no light seemed to fall on this mysterious case, the police looked up the circumstances of the previous murder. On December 29th, 1819, a carrier on the highroad had found a body on the way. It was ascertained to be that of a carpenter's apprentice, named Winter. His skull had been broken in. Not a trace of the murderer was found; not even footprints had been observed. However, it was learned that the wife of a labourer had been attacked almost at the same spot, on the 28th December, by a man wearing a military cap and cloak; and she had only escaped him by the approach of a carriage, the sound of the wheels having alarmed him, and induced him to fly. He had fled in the direction of the Black Gate and the barracks.
The anxiety of the Dresdeners seemed justified. There was some murderous ruffian inhabiting the Vorstadt, who hovered about the gates, waylaying, not wealthy men only, but poor charwomen and apprentices.
The military cloak and cap, the direction taken by the assailant in his flight, gave a sort of clue—and the police suspected that the murderer must be sought among the soldiers.
On April 4th two Jewish pawnbrokers appeared before the police, and handed over a silver watch which had been left with them at 9 a.m. on the 20th March—that is to say on the morning after the murder of Kügelgen—and which agreed with the advertised description of the artist's lost watch. It was identified at once. The man who had pawned it, the Jews said, wore the uniform of an artillery soldier.
At the request of the civil authorities, the military officers held