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dame Schechner-Wagen. She is not remarkable for beauty, nor is there anything of the common made-up theatrical grace in her deportment-still less does she remind us of queen Medea-queen Pasta, I should say — the imperial syren who drowned her own identity and ours together in her 66
cup of enchanted sounds;" —no—but Schechner-Wagen treads the stage with the air of a high-bred lady, to whom applause or censure are things indifferent-and yet with an exceeding modesty. In short, I never saw an actress who inspired such an immediate and irresistible feeling of respect and interest for the individual woman. I do not say that this is the ne plus ultra of good acting on the contrary ; though it is a mistake to imagine that the moral character of an actress or a singer goes for nothing with an audience-but of this more at some future time. Madame Schechner's style of singing has the same characteristic simplicity and dignity: her voice is of a fine full quality, well cultivated, well managed. I have known her a little indolent and careless at times, but never forced or affected ; and I am told that in some of the grand classical German operas, Glück’s Iphigenia, for instance, her acting as well as her singing is admirable.
I wish, if ever we have that charming DevrientSchröder (and her vocal suite) again in England, they would give us the Iphigenia, or the Armida, or the Idomeneo. She is another who must be heard in her native music to be justly appreci. ated. Madame Milder was a third, but her reign is past. This extraordinary creature absolutely could not, or would not, sing the modern Italian music; no one, I believe, ever heard her sing a note of Rossini in her life. Madame Vespermann is here, but she sings no more in public. She was formed by Winter, and was a fine classical singer, though no original genius like the Milder; and her voice, if I may judge by what remains of it, could never have been of first-rate quality.*
* A successor to Anna Milder in her own style, has lately appeared in Augusta von Fassmann, a young lady of noble birth, and a native of Bavaria, who first appeared on the stage at Munich, and has since been engaged as Königliche-Hof-Sängerin (Royal court. singer) at Berlin, and first singer the German operas. This extraordinary girl is not only a fine singer, but a snperb artist. She has thrown herself entirely into her own fine national music; and in the operas of Glück and Mozart, her performance of such parts as the
Well-after the opera-while scandal, and tea, and refreshments were served up together -I had a long conversation with Count on the politics and statistics of Bavaria, the tone of feeling in the court, the characters and revenues of some of the leading nobles--particularly Count d’Armansberg, the foreign minister, (now in Greece taking care of the young King Otho,) and Prince Wallerstein, the present minister of the interior. He described the king's extremely versatile character, and his vivacités, and lamented his present unpopularity with the liberal party in Germany, the disputes between him and the Chambers, and the opinions entertained of the recent conferences between the king and his brother-in-law, the Emperor of Austria, at Lintz, &c. I learnt much that was new, much that was interesting to me,
but do not understand these matters sufficiently to say any thing more about them.
Armida, the Iphigenia in Tauris, the Alcestis, the Donna Anna, have been the rage at Berlin. In these grand and difficult parts, ber fine original conception of character, and her splendid acting, bave made the theatre a school of art for the young sculptors and painters of Berlin; while her spotless reputation and simplicity of manners render her not less interesting in private society. (1839.)
The two richest families in Bavaria are the Tour-and-Taxis, and the Arco family. The annual revenue of the Prince of Tour-and-Taxis amounts to upwards of five millions of florins, and he lays out about a million and a half yearly in land. He seldom or never comes to Munich, but resides chiefly on his enormous estates, or at Ratisbon, which is his metropolis,-in fact, this rich and powerful noble is little less than a sovereign prince.
16th. I went with Madame von A- and her daughters to the Runstvereint, or ciety of Arts." A similar institution of amateurs and artists, maintained by subscription, exists, I believe, in all the principal cities of Germany.* The young artists exhibit their works here, whether pictures, models, or engravings. Some of these are removed and replaced by others almost every day, so that there is a constant variety. As yet, however, I have seen no very
* The first Kunst-Verein established in Germany, was at Munich, and originated with Boisserée, who is said to bave taken the first idea from the “British Institution.” It was founded in 1821, by Gärtnee, (architect) and Guaglio, Hess, and Stieler, painters of Munich; it now numbers about 5,000 members, and the yearly subscription is twelve florins,-a guinea English.
The Committee of management consists of an equal number of artists and amateurs.
The exhibition of the Kunst-Verein, at Munich, is permanent. Every picture sent is exbibited for a fortnight; the first week it is exbibited in the most favourable light possible, the second week itis removed to the opposite wall-so that every picture is seen and judged in two lights.
Every member has the right to introduce a foreigner; and foreigners are admitted as subscribers.
From thirty to fifty works of art in painting and scnlpture, are purchased every year by the committee, some at high prices; and on the anniversary of the foundation these are distributed by lottery among the subscribers.
The committee also engage to have one or more of the pictures thus purchased, engraved by good engravers, and distributed among the subscribers, but it is not allowed to sell them; the beautiful bas-relief of St. George, by Schwanthaler, was thus engraved in a fine style by Amsler.
There are now Kunst-Vereios all over Germany, scarce a little Town is without such an association, that of Frankfort has been lately established under very favourable auspices. The KunstVerein of Dusseldorf, founded in 1828, differs in one respect from all the others; for observing that the members of the KunstVerein at Munich seemed to think too much of the speculation and the gain, and regarding it as derogatory to the real amateurs of art to be suspected of such motive, they adopted as a principle, that works of art on a large scale should be occasionally parchased, or commanded by the members and presented to public edifices, churches and galleries—which has been done accordingly.