Shall I or shall I not? Is it right of me to hide in silence any thing from him to whom I tell so much—nay, all? Shall I keep back from you a great matter, when I yet weary you with so many trifles which assuredly no one would ever read but you who have taken so wonderful a liking for me? or shall I keep back anything from you because it might perhaps give you a false, not to say an ill opinion of me? No—you know me better than I even know myself. If I should do anything which you do not believe possible I could do, you will amend it; if I should do anything deserving of censure, you will not spare me—you will lead me and guide me whenever my peculiarities entice me off the right road.
Art and nature.
My joy, my rapture at works of art when they are true, when they are immediate and speaking expressions of Nature afford the greatest delight to every collector, to every dilettante. Those indeed who call themselves connoisseurs are not always of my opinion; but I care nothing for their connoisseurship when I am happy. Does not living nature vividly impress itself on my sense of vision? Do not its images remain fixed in my brain? Do not they there grow in beauty, delighting to compare themselves in turn with the images of art which the mind of others has also embellished and beautified? I confess to you that my fondness for nature arises from the fact of my always seeing her so beautiful, so lovely, so brilliant, so ravishing, that the similation of the artist, even his imperfect imitation transports me almost as much, as if it were a perfect type. It is only such works of art, however, as bespeak genius and feeling that have any charms for me. Those cold imitations which confine themselves to the narrow circle of a certain meagre mannerism, of mere painstaking diligence, are to me utterly intolerable. You see, therefore, that my delight and taste cannot well be riveted by a work of art, unless it imitates such objects of nature as are well known to me, so that I am able to test the imitation by my own experience of the originals. Landscape, with all that lives and moves therein—flowers and fruit-trees. Gothic churches—a portrait taken directly from Nature, all this I can recognize, feel, and if you like, judge of. Honest W—— amused himself with this trait of my character, and in such a way that I could not be offended, often made merry with it at my expense. He sees much further in this matter, than I do, and I shall always prefer that people should laugh at me while they instruct, than that they should praise me without benefitting me. He had noticed what things I was most immediately pleased with, and after a short acquaintance did not hesitate to avow that in the objects that so transported me there might be much that was truly estimable, and which time alone would enable me to distinguish.
But I turn from this subject and must now, however circuitously, come to the matter which, though reluctantly, I cannot but confide to you. I can see you in your room, in your little garden, where, over a pipe of tobacco, you will probably break the seal and read this letter. Can your thoughts follow me into this free and motley world? Will the circumstances and true state of the case become clear to your imagination? And will you be as indulgent towards your absent friend as I have often found you when present?
Studies of the nude.
When my artistic friend became better acquainted with me, and judged me worthy of being gradually introduced to better pieces of art, he one day, not without a most mysterious look, took me to a case, which, being opened, displayed a Danæ, of the size of life, receiving in her bosom the golden shower. I was amazed at the splendour of the limbs—the magnificence of the posture and arrangement—the intense tenderness and the intellectuality of the sensual subject; and yet I did but stand before it in silent contemplation. It did not excite in me that rapture, that delight, that inexpressible pleasure. My friend, who went on descanting upon the merits of the picture, was too full of his own enthusiasm to notice my coldness, and was delighted with the opportunity this painting afforded him of pointing out the distinctive excellences of the Italian School.
But the sight of this picture has not made me happy—it has made me uneasy. How! said I to myself—in what a strange case do we civilized men find ourselves with our many conventional restraints! A mossy rock, a waterfall rivets my eye so long that I can tell everything about it—its heights, its cavities, its lights and shades, its hues, its blending tints and reflections—all is distinctly present to my mind; and whenever I please, comes vividly before me, in a most happy imitation. But of that masterpiece of Nature, the human frame—of the order and symmetry of the limbs, of all this I have but a very general notion—which in fact is no notion at all. My imagination presents to me anything but a vivid image of this glorious structure, and when art presents an imitation of it, to my eye it awakens in me no sensation and I am unable to judge of the merits of the picture. No, I will remain no longer in this state of stupidity. I will stamp on my mind the shape of man, as well as that of a cluster of grapes or of a peach-tree.
I sought an occasion and got Ferdinand to take a swim in the lake. What a glorious shape has my friend; how duly proportioned are all his limbs: what fulness of form; what splendour of youth! What a gain to have enriched my imagination with this perfect model of manhood! Now I can people the woods, the meadow, and the hills, with similar fine forms! I can see him as Adonis chasing the boar, or as Narcissus contemplating himself in the mirror of the spring.
But alas! my imagination cannot furnish, as yet, a Venus, who holds him from the chace, a Venus who bewails his death, or a beautiful Echo casting one sad look more on the cold corpse of the youth before she vanishes for ever! I have therefore resolved, cost what it will, to see a female form in the state that I have seen my friend.
When, therefore, we reached Geneva, I made arrangements in the character of an artist to complete my studies of the nude figure, and to-morrow evening my wish is to be gratified.
I cannot avoid going to-day with Ferdinand to a grand party. It will form an excellent foil to the studies of this evening. Well enough do I know those formal parties where the old women require you to play at cards with them, and the young ones to ogle with them; where you must listen to the learned, pay respect to the parson, and give way to the noble, where the numerous lights show you scarcely one tolerable form, and that one hidden and buried beneath some barbarous load of frippery. I shall have to speak French, too—a foreign tongue—the use of which always makes a man appear silly, whatever he may think of himself, since the best he can express in it is nothing but common place, and the most obvious of remarks, and that, too, only with stammering and hesitating lips. For what is it that distinguishes the blockhead from the really clever man but the peculiar quickness and vividness with which the latter discerns the nicer shades and proprieties of all that come before him, and expresses himself thereon with facility; whereas the former, (just as we all do with a foreign language,) is forced on every occasion to have recourse to some ready found and conversational phrase or other? To-day I will calmly put up with the sorry entertainment, in expectation of the rare scene of nature which awaits me in the evening.
My adventure is over. It has fully equalled my expectation—nay, surpassed it; and yet I know not whether to congratulate, or to blame myself on account of it.
PART THE SECOND.
Munster, October 3, 1797.
From Basle you will receive a packet containing an account of my travels up to that point, for we are now continuing in good earnest our tours through Switzerland. On our route to Biel we rode up the beautiful valley of the Birsch, and at last reached the pass which leads to this place.
The valley of the Birsch.
Among the ridges of the broad and lofty range of mountains the little stream