Wheeling Sunday register. [volume] (Wheeling, W. Va.) 1882-1934, 1885-09-06
JENNIE JUNE IN EUROPE.
Aged and Wonderful Munich Sculp'
ture Taken From the Palacs OF
Sardanapalus.
Paintings by Rembrandt, Raphael, Reni'
Guido and COregiO---The Royal Palace
and God Bed That Cost 100000
FIorins---A Monarch Who Pre-
fers Music to Men and Who
lives in the Country.
TCnryrighted 1851

80 ia Correspondence ~ TIE SJ'.ady hsIt5'e''
MUNIcE, BAv.Xll, august l7.-"D1 not
60 10 Mua:ch.' said everybody. Hot,
dr; adful pl .ce il summer. with nothing to
sar or drink but bresd and cheese aud
bttr" Condemnation naturally makes a
ceItain amount of impression upon igno-
r4uce-none Of the party had ever BEEN to
Munich, and only one was anxious t. see
the mother Of so much Of our modern art.
The general preston was that Mu llch
was musty, and smoky, and old, and &c Ter.
ally untrsgraLt, and like the pictures OF the
Impression" ofthe Munich schoo!-Wh ch,
however are not old, but usually very
Young. But we came to Munich all the
same, aud were surprised as we have been
everywhere, to find such bright and open
spaces, such lovely squares, such handsome
buildings, such youth, such enterprise, such
new life in the midst of the old, and IN the
capital Of king who is not social, does not
love cities; in short, separates himself from
his people, though negiecing nothing that
can couduee u their advantage. Munich
is the Mecca of thousands of young art stu
dents and lovers Of ar, OF WHO suppose
themselves TO be such, and imagine that the
sight Of what they have done will be enough
to inspire them to do otherwise Especially
in Munich is the peripatetic copyist to be
found, carefully following the letter of the
original work, and wondering perhaps why
il is not informed By the spirit. AT least
that was the attitude Of one would-be artist,
with long hair, who was diligently copying
a Rembrandt. 1t was nearly finished; the
lines were all there. 1t ought to have been
exactly ike the original, but it was not
He knew it was not, and with cap set to one
side he stepped back from his easel and
evidently tried to critically survey his work.
What was tue difference between his picture
and Rembrandt's? Just the difference be-
tween Rembrandt and himself, neither more
nor less. Was he able to see it2
The mae eopyist is generally young, aud
has pretty good tine, even if his commons
are short. he is not afraid Of m )unting
stairs, nor of finding himself in a highly
seasoned aeighborhood; one attic is as g BOD
as another to him and be has pl4nty OF
Comradeship in his daily fare-whi:h only
cost him a lew pieng ii; takes FIVE for q
cent OF bread and cheese and beer, or TOR
treat, bread and sausage and light wine
common and cheap throughout Germany.
But with the women it is less easy. Some
of them are old and worn looking, and 1t is
piliab'e to see tam at a time WEN
they should be enjoying we'll earned rest
struggling in me- an difficult paths to o.
tain a livelihood. Others are young, and
ccQuette with art, as they do with their ruf,
fles, willing to believe that they are destined
to become grea,, because they can dau5
teacup or wooden plaque, while here and
there are many earnest workers striving IN
their own way TO DO good work and
strengthen and improve their own powers.
The wonder is that the uni 'ators who
come to the homes Of ancient
art do lot turn shout aud 90 back home
again moge quickly than tbe5 came. The
best that can be done IN this field seems to
have been done, and the bes. that We have
to-day is but copy and iteration OF the
past l. is in practical Inventions and me-
chapics that to-day is king, but in magma
tive conceptions and the working out of
brilliant faneies into lovely and poetic
poems we seem only to be able to copy that
which filed the world with beauties centu.
ries ago. The growth Of Munich as an art
centre ia not, however in the liue OF its
ancient achievements Tlese laid found
alton of strength in truthful drawing and
graceful form. They gave to Munich its
beautiful specimens of architecture, as tiue
as any in modern Europe, but the art o. the
draughtsman is little valued by the artist OF
the modern Munich school, HIS aim is
cobra good thing 10 its right quantity
and place.
Where to begin in Munich is the question,
Stall it be with the Macmillan Gallery, a
handsome structure with fine facade, with
the royal palaces, the Cd and new Plnako-
thek, or the Bavarisn National Museum? 1t
is difficult to say Munich is city Of sur
prises. Here Roman arch, there Greek
gateway, everywhere sculptured figures,
which produce in the mind confused images
of kings and poets, heroes aud philosophers,
warriors and artists, ss you perhaps drive or
walk past them Wit a guide, whose German
Enghsh or German French Iellces the con-
,usion 10 abs 0 ute chaos.