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- The Story of My Life, Volume 2. - 1/7 -

[NOTE: There is a short list of bookmarks, or pointers, at the end of the file for those who may wish to sample the author's ideas before making an entire meal of them. D.W.]



Volume 2.



The Drakes mentioned in my sister's journal are the family of the sculptor, to whom Berlin and many another German city owe such splendid works of art.

He was also one of our neighbours, and a warm friendship bound him and his young wife to my mother. He was kind to us children, too, and had us in his studio, which was connected with the house like the other and larger one in the Thiergarten. He even gave us a bit of clay to shape. I have often watched him at work for hours, chattering to him, but happier still to listen while he told us of his childhood when he was a poor boy. He exhorted us to be thankful that we were better off, but generally added that he would not exchange for anything in the world those days when he went barefoot. His bright, clear artist's eyes sparkled as he spoke, and it must indeed have been a glorious satisfaction to have conquered the greatest hindrances by his own might, and to have raised himself to the highest pinnacle of life--that of art. I had a dim impression of this when he talked to us, and now I consider every one enviable who has only himself to thank for all he is, like Drake, his friend in art Ritschl, and my dear friend Josef Popf, in Rome, all three laurel-crowned masters in the art of sculpture.

In Drake's studio I saw statues, busts, and reliefs grow out of the rude mass of clay; I saw the plaster cast turned into marble, and the master, with his sure hand, evoking splendid forms from the primary limestone. What I could not understand, the calm, kindly man explained with unfailing patience, and so I got an early insight into the sculptor's creative art.

It was these recollections of my childhood that suggested to me the character of little Pennu in Uarda, of Polykarp in Homo Sum, of Pollux in The Emperor, and the cheery Alexander in Per Aspera.

I often visited also, during my last years in Berlin, the studio of another sculptor. His name was Streichenberg, and his workshop was in our garden in the Linkstrasse.

If a thoughtful earnestness was the rule in Drake's studio, in that of Prof. Streichenberg artistic gaiety reigned. He often whistled or sang at his work, and his young Italian assistant played the guitar. But while I still know exactly what Drake executed in our presence, so that I could draw the separate groups of the charming relief, the Genii of the Thiergarten, I do not remember a single stroke of Streichenberg's work, though I can recall all the better the gay manner of the artist whom we again met in 1848 as a demagogue.

At the Schmidt school Franz and Paul Meyerheim were among our comrades, and how full of admiration I was when one of them--Franz, I think, who was then ten or eleven years old--showed us a hussar he had painted himself in oil on a piece of canvas! The brothers took us to their home, and there I saw at his work their kindly father, the creator of so many charming pictures of country and child life.

There was also a member of the artist family of the Begas, Adalbert, who was one of our contemporaries and playmates, some of whose beautiful portraits I saw afterward, but whom, to my regret, I never met again.

Most memorable of all were our meetings with Peter Cornelius, who also lived in the Lennestrasse. When I think of him it always seems as if he were looking me in the face. Whoever once gazed into his eyes could never forget them. He was a little man, with waxen-pale, and almost harsh, though well-formed features, and smooth, long, coal-black hair. He might scarcely have been noticed save for his eyes, which overpowered all else, as the sunlight puts out starlight. Those eyes would have drawn attention to him anywhere. His peculiar seriousness and his aristocratic reserve of manner were calculated to keep children at a distance, even to repel them, and we avoided the stern little man whom we had heard belonged to the greatest of the great. When he and his amiable wife became acquainted with our mother, however, and he called us to him, it is indescribable how his harsh features softened in the intercourse with us little ones, till they assumed an expression of the utmost benevolence, and with what penetrating, I might say fatherly kindness, he talked and even jested with us in his impressive way. I had the best of it, for my blond curly head struck him as usable in some work of his, and my mother readily consented to my being his model. So I had to keep still several hours day after day, though I confess, to my shame, that I remember nothing about the sittings except having eaten some particularly good candied fruit.

Even now I smile at the recollection of his making an angel or a spirit of peace out of the wild boy who perhaps just before had been scuffling with the enemy from the flower-cellar.

There was another celebrated inhabitant of the Lennestrasse whose connection with us was still closer than that of Peter Cornelius. It was the councillor of consistory and court chaplain Strauss, who lived at No. 3.

Two men more unlike than he and his great artist-neighbour can hardly be imagined, though their cradles were not far apart, for the painter was born in Dusseldorf, and the clergyman at Iserlohn, in Westphalia.

Cornelius appears to me like a peculiarly delicate type of the Latin race, while Strauss might be called a prototype of the sturdy Lower Saxons. Broad-shouldered, stout, ruddy, with small but kindly blue eyes, and a resonant bass voice suited to fill great spaces, he was always at his ease and made others easy. He had a touch of the assured yet fine dignity of a well-placed and well-educated Catholic prelate, though combined with the warlike spirit of a Protestant.

Looking more closely at his healthy face, it revealed not only benevolent amiability but superior sense and plain traces of that cheery elasticity of soul which gave him such power over the hearts of the listening congregation, and the disposition and mind of the king.

His religious views I do not accept, but I believe his strictly orthodox belief was based upon conviction, and cannot be charged to any odious display of piety to ingratiate himself with the king. It was in the time of our boyhood that Alexander von Humboldt, going once with the king to church, in Potsdam, in answer to the sneering question how he, who passed for a freethinker at court, could go to the house of God, made the apt reply, "In order to get on, your Excellency."

When Strauss met us in the street and called to us with a certain unction in his melodious voice, "Good-morning, my dear children in Christ!" our hearts went out to him, and it seemed as if we had received a blessing. He and his son Otto used to call me "Marcus Aurelius," on account of my curly blond head; and how often did he put his strong hand into my thick locks to draw me toward him!

Strauss was in the counsels of the king, Frederick William IV, and at important moments exercised an influence on his political decisions. Yet that somewhat eccentric prince could not resist his inclination to make cheap jokes at Strauss's expense. After creating him court-chaplain, he said to Alexander von Humboldt: "A trick in natural history which you cannot copy! I have turned an ostrich (Strauss) into a bullfinch (Dompfaffer)"--in allusion to Strauss's being a preacher at the cathedral (Dom).

Fritz, the worthy man's eldest son, came to see me in Leipsic. Our studies in the department of biblical geography had led us to different conclusions, but our scientific views were constantly intermingled with recollections of the Lennestrasse.

But better than he, who was much older, do I remember his brother Otto, then a bright, amiable young man, and his mother, who was from the Rhine country, a warm-hearted, kindly woman of aristocratic bearing.

Our mother had a very high opinion of the court chaplain, who had christened us all and afterward confirmed my sisters, and officiated at Martha's marriage. But, much as she appreciated him as a friend and counsellor, she could not accept his strict theology. Though she received the communion at his hands, with my sisters, she preferred the sermons of the regimental chaplain, Bollert, and later those of the excellent Sydow. I well remember her grief when Bollert, whose free interpretation of Scripture had aroused displeasure at court, was sent to Potsdam.

I find an amusing echo of the effect of this measure in Paula's journal, and it would have been almost impossible for a growing girl of active mind to take no note of opinions which she heard everywhere expressed.

Our entire circle was loyal; especially Privy-Councillor Seiffart, one of our most intimate friends, a sarcastic Conservative, who was credited with the expresssion, "The limited intellect of subjects," which, however, belonged to his superior, Minister von Rochow. Still, almost all my mother's acquaintances, and the younger ones without exception, felt a desire for better political conditions and a constitution for the brave, loyal, reflecting, and well-educated Prussian people. In the same house with us lived two men who had suffered for their political convictions--the brothers Grimm. They had been ejected from their chairs among the seven professors of Gottingen, who were sacrificed to the arbitrary humour of King Ernst August of Hanover.

Their dignified figures are among the noblest and most memorable recollections of the Lennestrasse. They were, it might be said, one person, for they were seldom seen apart; yet each had preserved his own distinct individuality.

If ever the external appearance of distinguished men corresponded with the idea formed of them from their deeds and works, it was so in their case. One did not need to know them to perceive at the first glance that they were labourers in the department of intellectual life, though whether as scientists or poets even a practised observer would have found it difficult to determine. Their long, flowing, wavy hair, and an atmosphere of ideality which enveloped them both, might have inclined one to the latter supposition; while the form of their brows, indicating deep thought and severe mental labor, and their slightly stooping shoulders, would have suggested the former. Wilhelm's milder features were really those of a poet, while Jakob's sterner cast of countenance, and his

The Story of My Life, Volume 2. - 1/7

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