the background of a northern sky; the rains run off them in torrents, the snow slips from them; they suit the climate, and do not require to be swept in winter. Some houses have doors ornamented with rustic columns, scroll-work, recessed pediments, chubby-cheeked caryatides, little angels and loves, stout rosettes and enormous shells, all glued over with whitewash renewed doubtless every year.
The tobacco sellers in Hamburg can not be counted. At every third step you behold a bare-chested negro cultivating the precious leaf or a Grand Seigneur, attired like the theatrical Turk, smoking a colossal pipe. Boxes of cigars, with their more or less fallacious vignettes and labels, figure, symmetrically disposed, in the ornamentation of the shop-fronts. There must be very little tobacco left at Havana, if we can have faith in these displays, so rich in famous brands.
As I have said, it was early morning. Servant-maids, kneeling on the steps or standing on the window-sills, were going on with the Saturday scrubbing. Notwithstanding the keen air, they made a display of robust arms bare to the shoulder, tanned and sunburned, red with that astonishing vermilion that we see in some of Rubens’ paintings, which is the joint result of the biting of the north wind and the action of water upon these blond skins; little girls belonging to the poorer classes, with braided hair, bare arms, and low-necked frocks, were going out to obtain articles of food; I shivered in my paletot, to see them so lightly clad. There is something strange about this; the women of northern countries cut their dresses out in the neck, they go about bare-headed and bare-armed, while the women of the South cover themselves with vests, haicks, pelisses, and warm garments of every description.
Walking on, still at random, I came to the maritime part of the city, where canals take the place of streets. As yet it was low water, and vessels lay aground in the mud, showing their hulls, and careening over in a way to rejoice a water-color painter. Soon the tide came up, and everything began to be in motion. I would suggest Hamburg to artists following in the track of Canaletto, Guardi, or Joyant; they will find, at every step, themes as picturesque as and more new than those which they go to Venice in search of.
This forest of salmon-colored masts, with their maze of cordage and their yellowish-brown sails drying in the sun, these tarred sterns with apple-green decks, these lateen-yards threatening the windows of the neighboring houses, these derricks standing under plank roofs shaped like pagodas, these tackles lifting heavy packages out of vessels and landing them in houses, these bridges opening to give passage to vessels, these clumps of trees, these gables overtopped here and there by spires and belfries; all this bathed in smoke, traversed by sunlight and here and there returning a glitter of polished metal, the far-off distance blue and misty, and the foreground full of vigorous color, produced effects of the most brilliant and piquant novelty. A church-tower, covered with plates of copper, springing from this curious medley of rigging and of houses, recalled to me by its odd green color the tower of Galata, at Constantinople….
As the hour advanced, the crowd became more numerous, and it was largely composed of women. In Hamburg they seem to enjoy great license. Very young girls come and go alone without anyone’s noticing it, and–a remarkable thing!–children go to school by themselves, little basket on the arm, and slate in hand; in Paris, left to their own free will, they will run off to play marbles, tag, or hop-scotch.
Dogs are muzzled in Hamburg all the week, but on Sundays they are left at liberty to bite whom they please. They are taxed, and appear to be esteemed; but the cats are sad and unappreciated. Recognizing in me a friend, they cast melancholy glances at me, saying in their feline language, to which long use has given me the key:
“These Philistines, busy with their money-getting, despise us; and yet our eyes are as yellow as their louis d’or. Stupid men that they are, they believe us good for nothing but to catch rats; we, the wise, the meditative, the independent, who have slept upon the prophet’s sleeve, and lulled his ear with the whir of our mysterious wheel! Pass your hand over our backs full of electric sparkles–we allow you this liberty, and say to Charles Baudelaire that he must write a fine sonnet, deploring our woes.”
As the Luebeck boat was not to leave until the morrow, I went to Wilkin’s to get my supper. This famous establishment occupies a low-ceiled basement, which is divided into cabinets ornamented with more show than taste. Oysters, turtle-soup, a truffled filet, and a bottle of Veuve Cliquot iced, composed my simple bill of fare. The place was filled, after the Hamburg fashion, with edibles of all sorts; things early and things out of season, dainties not yet in existence or having long ceased to exist, for the common crowd. In the kitchen they showed us, in great tanks, huge sea-turtles which lifted their scaly heads above the water, resembling snakes caught between two platters. Their little horny eyes looked with uneasiness at the light which was held near them, and their flippers, like oars of some disabled galley, vaguely moved up and down, as seeking some impossible escape. I trust that the personnel of the exhibition changes occasionally.
In the morning I went for my breakfast to an English restaurant, a sort of pavilion of glass, whence I had a magnificent panoramic view. The river spread out majestically through a forest of vessels with tall masts, of every build and tonnage. Steam-tugs were beating the water, towing sailing-vessels out to sea; others, moving about freely, made their way hither and thither, with that precision which makes a steam-boat seem like a conscious being, endowed by a will of its own, and served by sentient organs. From the elevation the Elbe is seen, spreading broadly like all great rivers as they near the sea. Its waters, sure of arriving at last, are in no haste; placid as a lake, they flow with an almost invisible motion. The low opposite shore was covered with verdure, and dotted with red houses half-effaced by the smoke from the chimneys. A golden bar of sunshine shot across the plain; it was grand, luminous, superb.
[Footnote A: From “A Winter in Russia.” By arrangement with, and by permission of, the publishers, Henry Holt & Co. Copyright, 1874. Hamburg is now the largest seaport on the continent of Europe. London and New York are the only ports in the world that are larger. Exclusive of its rural territory, it had in 1905 a population of 803,000.]
SCHLESWIG[A]
BY THEOPHILE GAUTIER
When you are in a foreign country, reduced to the condition of a deaf-mute, you can not but curse the memory of him who conceived the idea of building the tower of Babel, and by his pride brought about the confusion of tongues! An omnibus took possession of myself and my trunks, and, with the feeling that it must of necessity take me somewhere, I confidingly allowed myself to be stowed in and carried away. The intelligent omnibus set me down before the best hotel in the town, and there, as circumnavigators say in their journals, “I held a parley with the natives.” Among them was a waiter who spoke French in a way that was transparent enough to give me an occasional glimpse of his meaning; and who–a much rarer thing!–even sometimes understood what I said to him.
My name upon the hotel register was a ray of light. The hostess had been notified of my expected arrival, and I was to be sent for as soon as my appearance should be announced; but it was now late in the evening, and I thought it better to wait till the next day. There was served for supper a “chaud-froid” of partridge–without confiture–and I lay down upon the sofa, hopeless of being able to sleep between the two down-cushions which compose the German and the Danish bed….
I explored Schleswig, which is a city quite peculiar in its appearance. One wide street runs the length of the town, with which narrow cross streets are connected, like the smaller bones with the dorsal vertebrae of a fish. There are handsome modern houses, which, as usual, have not the slightest character. But the more modest dwellings have a local stamp; they are one-story buildings, very low–not over seven or eight feet in height–capped with a huge roof of fluted red tiles. Windows, broader than they are high, occupy the whole of the front; and behind these windows, spread luxuriantly in porcelain or faience or earthen flowerpots, plants of every description; geraniums, verbenas, fuchsias–and this absolutely without exception. The poorest house is as well adorned as the best. Sheltered by these perfumed window-blinds, the women sit at work, knitting or sewing, and, out of the corner of their eye, they watch, in the little movable mirror which reflects the streets, the rare passer-by, whose boots resound upon the pavement. The cultivation of flowers seem to be a passion in the north; countries where they grow naturally make but little account of them in comparison.
The church in Schleswig had in store for me a surprise. Protestant churches in general, are not very interesting from an artistic point of view, unless the reformed faith may have installed itself in some Catholic sanctuary diverted from its primitive designation. You find, usually, only whitewashed naves, walls destitute of painting or bas-relief, and rows of oaken benches well-polished and shining. It is neat and comfortable, but it is not beautiful. The church at Schleswig contains, by a grand, unknown artist, an altar-piece in three parts, of carved wood, representing in a series of bas-reliefs, separated by fine architectural designs, the most important scenes in the drama of the Passion.
Around the church stand sepulchral chapels of fine funereal fancy and excellent decorative effect. A vaulted hall contains the tombs of the ancient Dukes of Schleswig; massive slabs of stone, blazoned with armorial devices, covered with inscriptions which are not lacking in character.
In the neighborhood of Schleswig are great saline ponds, communicating with the sea. I paced the high-road, remarking the play of light upon this grayish water, and the surface crisped by the wind; occasionally I extended my walk as far as the chateau metamorphosed into a barrack, and the public gardens, a miniature St. Cloud, with its cascade, its dolphins, and its other aquatic monsters all standing idle. A very good sinecure is that of a Triton in a Louis Quinze basin! I should ask nothing better myself.
[Footnote A: From “A Winter in Russia.” By arrangement with, and by permission of, the publishers, Henry Holt & Co. Copyright, 1874.]
LUEBECK[A]
BY THEOPHILE GAUTIER
In the evening the train carried me to Luebeck, across magnificent cultivated lands, filled with summer-houses, which lave their feet in the brown water, overhung by spreading willows. This German Venice has its canal, the Brenta, whose villas, tho not built by Sanmichele or Palladio, none the less make a fine show against the fresh green of their surroundings.
On arriving at Luebeck, a special omnibus received me and my luggage, and I was soon set down at the hotel. The city seemed picturesque as I caught a glimpse of it through the darkness by the vague light of lanterns; and in the morning, as I opened my chamber-window, I perceived at once I had not been mistaken.
The opposite house had a truly German aspect. It was extremely high and overtopped by an old-fashioned denticulated gable. At each one of the seven stories of the house, iron cross-bars spread themselves out into clusters of iron-work, supporting the building, and serving at once for use and ornament, in accordance with an excellent principle in architecture, at the present day too much neglected. It is not by concealing the framework, but by making it distinct, that we obtain more character.
This house was not the only one of its kind, as I was able to convince myself on walking a few steps out of doors. The actual Luebeck is still to the eye the Luebeck of the Middle Ages, the old capital of the Hanseatic League.[B] All the drama of modern life is enacted in the old theater whose scenery remains the same, its drop-scene even not repainted. What a pleasure it is to be walking thus amid the outward life of the past, and to contemplate the same dwellings which long-vanished generations have inhabited! Without doubt, the living man has a right to model his shell in accordance with his own habits, his tastes, and his manners; but it can not be denied that a new city is far less attractive than an old one.
When I was a child, I sometimes received for a New Year’s present one of those Nuremberg boxes containing a whole miniature German city. In a hundred different ways I arranged the little houses of painted wood around the church, with its pointed belfry and its red walls, where the seam of the bricks was marked by fine white lines. I set out my two dozen frizzed and painted trees, and saw with delight the charmingly outlandish and wildly festal air which these apple-green, pink, lilac, fawn-colored houses with their window-panes, their retreating gables, and their steep roofs, brilliant with red varnish, assumed, spread out on the carpet.
My idea was that houses like these had no existence in reality, but were made by some kind fairy for extremely good little boys. The marvelous exaggeration of childhood gave this little parti-colored city a respectable development, and I walked through its regular streets, tho with the same precautions as did Gulliver in Liliput. Luebeck gave back to me this long-forgotten feeling of my childish days. I seemed to walk in a city of the imagination, taken out of some monstrous toy-box. I believe, considering all the faultlessly correct architecture that I have been forced to see in my traveler’s life, that I really deserved that pleasure by way of compensation.
A cloister, or at least a gallery, a fragment of an ancient monastery, presented itself to view. This colonnade ran the whole length of the square, at the end of which stood the Marienkirche, a brick church of the fourteenth century. Continuing my walk, I found myself in a market-place, where awaited me one of those sights which repay the traveler for much fatigue: a public building of a new, unforeseen, original aspect, the old Stadthaus in which was formerly the Hanse hall, rose suddenly before me.
It occupies two sides of the square. Imagine, in front of the Marienkirche, whose spires and roof of oxydized copper rise above it, a lofty brick facade, blackened by time, bristling with three bell-towers with pointed copper-covered roofs, having two great empty rose-windows, and emblazoned with escutcheons inscribed in the trefoils of its ogives, double-headed black eagles on a gold field, and shields, half gules, half argent, ranged alternately, and executed in the most elaborate fashion of heraldry.
To this facade is joined a palazzino of the Renaissance, in stone and of an entirely different style, its tint of grayish-white marvelously relieved by the dark-red background of old brick-work. This building, with its three gables, its fluted Ionic columns, its caryatides, or rather its Atlases (for they are human figures), its semicircular window, its niches curved like a shell, its arcades ornamented with figures, its basement of diamond-shaped stones, produces what I may call an architectural discord that is most unexpected and charming. We meet very few edifices in the north of Europe of this style and epoch.
In the facade, the old German style prevails: arches of brick, resting upon short granite columns, support a gallery with ogive-windows. A row of blazons, inclined from right to left, bring out their brilliant color against the blackish tint of the wall. It would be difficult to form an idea of the character and richness of this ornamentation.
This gallery leads into the main building, a structure than which no scene-painter, seeking a medieval decoration for an opera, ever invented anything more picturesque and singular. Five turrets, coiffed with roofs like extinguishers, raise their pointed tops above the main line of the facade with its lofty ogive-windows–unhappily now most of them partially bricked up, in accordance, doubtless, with the exigencies of alterations made within. Eight great disks, having gold backgrounds, and representing radiating suns, double-headed eagles, and the shields, gules and argent, the armorial bearings of Luebeck, are spread out gorgeously upon this quaint architecture. Beneath, arches supported upon short, thick pillars yawn darkly, and from far within there comes the gleam of precious metals, the wares of some goldsmith’s shop.
Turning back toward the square again, I notice, rising above the houses, the green spires of another church, and over the heads of some market-women, who are chaffering over their fish and vegetables, the profile of a little building with brick pillars, which must have been a pillory in its day. This gives a last touch to the purely Gothic aspect of the square which is interrupted by no modern edifice. The ingenious idea occurred to me that this splendid Stadthaus must have another facade; and so in fact it had; passing under an archway, I found myself in a broad street, and my admiration began anew.
Five bell-towers, built half into the wall and separated by tall ogive-windows now partly blocked up, repeated, with variations, the facade I have just described. Brick rosettes exhibited their curious designs, spreading with square stitches, so to speak, like patterns for worsted work. At the base of the somber edifice a pretty little lodge, of the Renaissance, built as an afterthought, gave entrance to an exterior staircase going up along the wall diagonally to a sort of mirador, or overhanging look-out, in exquisite taste. Graceful little statues of Faith and Justice, elegantly draped, decorated the portico.
The staircase, resting on arches which widened as it rose higher, was ornamented with grotesque masks and caryatides. The mirador, placed above the arched doorway opening upon the market-place, was crowned with a recessed and voluted pediment, where a figure of Themis held in one hand balances, and in the other a sword, not forgetting to give her drapery, at the same time, a coquettish puff. An odd order formed of fluted pilasters fashioned like pedestals and supporting busts, separated the windows of this aerial cage. Consoles with fantastic masks completed the elegant ornamentation, over which Time had passed his thumb just enough to give to the carved stone that bloom which nothing can imitate….
The Marienkirche, which stands, as I have said, behind the Stadt-haus, is well worth a visit. Its two towers are 408 feet in height; a very elaborate belfry rises from the roof at the point of intersection of the transept. The towers of Luebeck have the peculiarity, every one of them, of being out of the perpendicular, leaning perceptibly to the right or left, but without disquieting the eye, like the tower of Asinelli at Bologna, or the Leaning Tower of Pisa. Seen two or three miles away, these towers, drunk and staggering, with their pointed caps that seem to nod at the horizon, present a droll and hilarious silhouette.
On entering the church, the first curious object that meets the eye is a copy of the Todtentanz, or Dance of Death, of the cemetery at Basle. I do not need to describe it in detail. The Middle Ages were never tired of composing variations upon this dismal theme. The most conspicuous of them are brought together in this lugubrious painting, which covers all the walls of one chapel. From the Pope and the Emperor to the infant in his cradle, each human being in his turn enters upon the dance with the inevitable terror. But death is not depicted as a skeleton, white, polished, cleaned, articulated with copper wire like the skeleton of an anatomical cabinet: that would be too ornamental for the vulgar crowd. He appears as a dead body in a more or less advanced state of decomposition, with all the horrid secrets of the tomb carefully revealed….
The cathedral, which is called in German the Dom, is quite remarkable in its interior. In the middle of the nave, filling one whole arch, is a colossal Christ of Gothic style, nailed to a cross carved in open-work, and ornamented with arabesques. The foot of this cross rests upon a transverse beam, going from one pillar to another, on which are standing the holy women and other pious personages, in attitudes of grief and adoration; Adam and Eve, one on either side, are arranging their paradisaic costume as decently as may be; above the cross the keystone of the arch projects, adorned with flowers and leafage, and serves as a standing-place for an angel with long wings. This construction, hanging in mid-air, and evidently light in weight, notwithstanding its magnitude, is of wood, carved with much taste and skill. I can define it in no better way than to call it a carved portcullis, lowered halfway in front of the chancel. It is the first example of such an arrangement that I have ever seen….
The Holstenthor, a city gate close by the railway station, is a most curious and picturesque specimen of German medieval architecture. Imagine two enormous brick towers united by the main portion of the structure, through which opens an archway, like a basket-handle, and you have a rude sketch of the construction; but you would not easily conceive of the effect produced by the high summit of the edifice, the conical roofs of the towers, the whimsical windows in the walls and in the roofs, the dull red or violet tints of the defaced bricks. It is altogether a new gamut for painters of architecture or of ruins; and I shall send them to Luebeck by the next train. I recommend to their notice also, very near the Holstenthor, on the left bank of the Trave, five or six crimson houses, shouldering each other for mutual support, bulging out in front, pierced with six or seven stories of windows, with denticulated gables, the deep red reflection of them trailing in the water, like some high-colored apron which a servant-maid is washing. What a picture Van den Heyden would have made of this!
Following the quay, along which runs a railway, where freight-trains were constantly passing, I enjoyed many amusing and varied scenes. On the other side of the Trave were to be seen, amid houses and clumps of trees, vessels in various stages of building. Here, a skeleton with ribs of wood, like the carcass of some stranded whale; there, a hull, clad with its planking near which smokes the calker’s cauldron, emitting light yellowish clouds. Everywhere prevails a cheerful stir of busy life. Carpenters are planing and hammering, porters are rolling casks, sailors are scrubbing the decks of vessels, or getting the sails half way up to dry them in the sun. A barque just arriving comes alongside the quay, the other vessels making room for her to pass. The little steamboats are getting up steam or letting it off; and when you turn toward the city, through the rigging of the vessels, you see the church-towers, which incline gracefully, like the masts of clippers.
[Footnote A: From “A Winter in Russia.” By arrangement with, and by permission of, the publishers, Henry Holt & Co. Copyright, 1874.]
[Footnote B: The decline of Luebeck dates from the first quarter of the sixteenth century and was chiefly due to the discovery of America and the consequent diversion of commerce to new directions. Other misfortunes came with the Thirty Years’ War. As early as 1425, one of the constant sources of Luebeck’s wealth had begun to fail her–the herring, which was found to be deserting Baltic waters. The discovery by the Portuguese of a route to India by the Cape of Good Hope was another cause of Luebeck’s decline.]
HELIGOLAND[A]
BY WILLIAM GEORGE BLACK
In Heligoland itself there are few trees, no running water, no romantic ruins, but an extraordinary width of sea-view, seen as from the deck of a gigantic ship; and yet the island is so small that one can look around it all, and take the sea-line in one great circle.
Seen from a distance, as one must first see it, Heligoland is little more than a cloud on the horizon; but as the steamer approaches nearer, the island stands up, a red rock in the ocean, without companion or neighbor. A small ledge of white strand to the south is the only spot where boats can land, and on this ledge nestle many white-walled, red-roofed houses; while on the rim of the rock, nearly two hundred feet above, is a sister hamlet, with the church-tower and lighthouse for central ornaments.
On the Unterland are the principal streets and shops, on the Oberland are many of the best hotels and government-house. As there is no harbor, passengers reach the shore in large boats, and get their first glimpse of the hardy, sun-browned natives in the boatmen who, with bright jackets and hats of every picturesque curve that straw is capable of, pull the boat quickly to the steps of the little pier. Crowds of visitors line the way, but one gets quickly through, and in a few minutes returns either to familiar quarters in the Oberland, or finds an equally clean and moderate home among the lodging-house keepers or seamen. The season is a very short one, only ten weeks out of fifty-two, but the prices are moderate and the comfort unchallengeable….
Heligoland is only one mile long from pier to Nordkap, and a quarter of a mile wide at its widest–in all it is three-quarters of a square mile in size. There are no horses or carts in Heligoland–only six cows, kept always in darkness, and a few sheep and goats tethered on the Oberland. The streets are very narrow, but very clean, and the constant repetition in houses and scarves and flags of the national colors gives Heligoland a gay aspect; for the national colors are anything but dull.
Green land, red rocks, white strand–nothing could be better descriptive of the island than these colors. They are easily brought out in domestic architecture, for with a whitewashed cottage and a red-tiled roof the Heligolander has only to give his door and window-shutters a coat of bright green paint, and there are the colors of Heligoland. In case the unforgettable fact should escape the tourist, the government have worked the colors into the ingenious and pretty island postage-stamp, and many of our German friends wear bathing-pants of the same unobtrusive tints.
Life is a very delightful thing in summer in this island. On your first visit you feel exhilarated by the novelty of everything as much as by the strong warm sea wind which meets you wherever you go. When you return, the novelty has worn away, but the sense of enjoyment has deepened. As you meet friendly faces and feel the grip of friendly hands, so you also exchange salutations with Nature, as if she, too, were an old Heligoland friend. You know the view from this point and from that; but, like the converse of a friend, it is always changing, for there is no monotony in the sea. The waves lap the shore gently, or roar tumultuously in the red caverns, and it is all familiar, but none the less welcome and soothing because of that familiarity. It is not a land of lotus-eating delights, but it is a land where there is little sound but what the sea makes, and where every face tells of strong sun and salt waves. No doubt, much of its charm lies in its contrast to the life of towns or country places. Whatever comes to Heligoland comes from over the sea; there is no railway within many a wide mile; the people are a peculiar people, with their own peculiar language, and an island patriotism which it would be hard to match….
From the little pier one passes up the narrow white street, no broader than a Cologne lane, but clean and bright as is no other street in Europe, past the cafes with low balconies, and the little shops–into some there are three or four steps to descend, into others there is an ascent of a diminutive ladder–till the small square or garden is reached in front of the Conversation House, a spacious building with a good ball-room and reading-room, where a kiosque, always in summer full of the fragrant Heligoland roses, detains the passer-by. Then another turn or two in the street, and the bottom of the Treppe is approached–the great staircase which winds upward to the Oberland, in whose crevices grow masses of foliage, and whose easy ascent need not be feared by any one, for the steps are broad and low.
The older flight of steps was situated about a hundred paces northward from the present Treppe. It was cut out of the red crumbling rock, and at the summit passed through a guard-house. Undoubtedly the present Treppe should be similarly fortified. It was built by the government in 1834. During the smuggling days, it is said, an Englishman rode up to the Oberland, and the apparition so shocked an old woman, who had never seen a horse before, that she fell senseless to the ground.
From the Falm or road skirting the edge of the precipice from the head of the stairs to Government House, one of the loveliest views in all the world lies before our eyes. Immediately beneath are the winding stairs, with their constant stream of broad-shouldered seamen, or coquettish girls, or brown boys, passing up and down, while at each resting-place some group is sitting on the green-red-white seats gossiping over the day’s business. Trees and plants nestle in the stair corners, and almost conceal the roadway at the foot.
Lifting one’s eyes away from the little town, the white pier sprawls on the, sea, and countless boats at anchor spot with darkness the shining water. Farther away, the Duene lies like a bar of silver across the view, ribbed with emerald where the waves roll in over white sand; and all around it, as far as the eye can reach, white sails gleam in the light, until repose is found on the horizon where sea and sky meet in a vapory haze. At night the Falm is a favorite resort of the men whose houses are on the Oberland. With arms resting on the broad wall, they look down on the twinkling lights of the houses far beneath, listen to the laughter or song which float up from the small tables outside the cafe, or watch the specks of light on the dark gleam of the North Sea. It is a prospect of which one could hardly tire, if it was not that in summer one has in Heligoland a surfeit of sea loveliness….
Heligoland is conjecturally identified with the ocean island described by Tacitus as the place of the sacred rites of the Angli and other tribes of the mainland. It was almost certainly sacred to Forsete, the son of Balder the Sun-god–if he be identified, as Grimm and all Frisian writers identify him, with Fosite the Frisian god. Forsete, a personification to men of the great white god, who dwelt in a shining hall of gold and silver, was among all gods and men the wisest of judges.
It is generally supposed that Heligoland was first named the Holy Island from its association with the worship of Forsete, and latterly in consequence of the conversion of the Frisian inhabitants. Hallier has, however, pointed out that the Heligolanders do not use this name for their home. They call the island “det Lunn”–the land; their language they call “Hollunner,” and he suggests that the original name was Hallig-lunn. A hallig is a sand-island occasionally covered with water. When the Duene was connected with the rock there was a large stretch of sand covered by winter floods. Hallig-lunn would then mean the island that is more than a hallig; and from the similarity of the words to Heligoland a series of etymological errors may have arisen; but Hallier’s derivation is, after all, only a guess.
[Footnote A: From “Heligoland and the Islands of the North Sea.” Heligoland, an island and fortress in the North Sea, lies thirty-six miles northwest of the mouth of the Elbe–Hamburg. It was ceded to Germany by Great Britain in 1890; and is attached to Schleswig Holstein. As a fortress, its importance has been greatly increased since the Germans recovered possession of the island.]
V
VIENNA
FIRST IMPRESSIONS OF THE CAPITAL[A]
BY BAYARD TAYLOR
I have at last seen the thousand wonders of this great capital, this German Paris, this connecting-link between the civilization of Europe and the barbaric magnificence of the East. It looks familiar to be in a city again whose streets are thronged with people and resound with the din and bustle of business. It reminds me of the never-ending crowds of London or the life and tumult of our scarcely less active New York. The morning of our arrival we sallied out from our lodgings in the Leopoldstadt to explore the world before us. Entering the broad Praterstrasse, we passed down to the little arm of the Danube which separates this part of the new city from the old. A row of magnificent coffee-houses occupy the bank, and numbers of persons were taking their breakfasts in the shady porticos. The Ferdinand’s Bridge, which crosses the stream, was filled with people; in the motley crowd we saw the dark-eyed Greek, and Turks in their turbans and flowing robes. Little brown Hungarian boys were going around selling bunches of lilies, and Italians with baskets of oranges stood by the sidewalk.
The throng became greater as we penetrated into the old city. The streets were filled with carts and carriages, and, as there are no side-pavements, it required constant attention to keep out of their way. Splendid shops fitted up with great taste occupied the whole of the lower stories, and goods of all kinds hung beneath the canvas awnings in front of them. Almost every store or shop was dedicated to some particular person or place, which was represented on a large panel by the door. The number of these paintings added much to the splendor of the scene; I was gratified to find, among the images of kings and dukes, one dedicated “To the American,” with an Indian chief in full costume.
The Altstadt, or “old city,” which contains about sixty thousand inhabitants, is completely separated from the suburbs, whose population, taking the whole extent within the outer barrier, numbers nearly half a million.[B] It is situated on a small arm of the Danube and encompassed by a series of public promenades, gardens and walks, varying from a quarter to half a mile in length, called the “Glacis.” This formerly belonged to the fortifications of the city, but as the suburbs grew up so rapidly on all sides, it was changed appropriately to a public walk. The city is still surrounded with a massive wall and a deep wide moat, but, since it was taken by Napoleon in 1809, the moat has been changed into a garden with a beautiful carriage-road along the bottom around the whole city.
It is a beautiful sight to stand on the summit of the wall and look over the broad Glacis, with its shady roads branching in every direction and filled with inexhaustible streams of people. The Vorstaedte, or new cities, stretch in a circle, around beyond this; all the finest buildings front on the Glacis, among which the splendid Vienna Theater and the church of San Carlo Borromeo are conspicuous. The mountains of the Vienna forest bound the view, with here and there a stately castle on their woody summits.
There is no lack of places for pleasure or amusement. Besides the numberless walks of the Glacis there are the imperial gardens, with their cool shades and flowers and fountains; the Augarten, laid out and opened to the public by the Emperor Joseph; and the Prater, the largest and most beautiful of all. It lies on an island formed by the arms of the Danube, and is between two and three miles square. From the circle at the end of the Praterstrasse broad carriage-ways extend through its forests of oak and silver ash and over its verdant lawns to the principal stream, which bounds it on the north. These roads are lined with stately horse-chestnuts, whose branches unite and form a dense canopy, completely shutting out the sun.
Every afternoon the beauty and nobility of Vienna whirl through the cool groves in their gay equipages, while the sidewalks are thronged with pedestrians, and the numberless tables and seats with which every house of refreshment is surrounded are filled with merry guests. Here on Sundays and holidays the people repair in thousands. The woods are full of tame deer, which run perfectly free over the whole Prater. I saw several in one of the lawns lying down in the grass, with a number of children playing around or sitting beside them. It is delightful to walk there in the cool of the evening, when the paths are crowded and everybody is enjoying the release from the dusty city. It is this free social life which renders Vienna so attractive to foreigners and draws yearly thousands of visitors from all parts of Europe….
We spent two or three hours delightfully one evening in listening to Strauss’s band. We went about sunset to the Odeon, a new building in the Leopoldstadt. It has a refreshment-hall nearly five hundred feet long, with a handsome fresco ceiling and glass doors opening into a garden-walk of the same length. Both the hall and garden were filled with tables, where the people seated themselves as they came and conversed sociably over their coffee and wine. The orchestra was placed in a little ornamental temple in the garden, in front of which I stationed myself, for I was anxious to see the world’s waltz-king whose magic tones can set the heels of half Christendom in motion.
After the band had finished tuning their instruments, a middle-sized, handsome man stept forward with long strides, with a violin in one hand and bow in the other, and began waving the latter up and down, like a magician summoning his spirits. As if he had waved the sound out of his bow, the tones leaped forth from the instruments, and, guided by his eye and hand, fell into a merry measure. The accuracy with which every instrument performed its part was truly marvelous. He could not have struck the measure or the harmony more certainly from the keys of his own piano than from that large band. The sounds struggled forth so perfect and distinct that one almost expected to see them embodied, whirling in wild dance around him. Sometimes the air was so exquisitely light and bounding the feet could scarcely keep on the earth; then it sank into a mournful lament with a sobbing tremulousness, and died away in a long-breathed sigh.
Strauss seemed to feel the music in every limb. He would wave his fiddle-bow a while, then commence playing with desperate energy, moving his whole body to the measure, till the sweat rolled from his brow. A book was lying on the stand before him, but he made no use of it. He often glanced around with a kind of half-triumphant smile at the restless crowd, whose feet could scarcely be restrained from bounding to the magic measure. It was the horn of Oberon realized. The composition of the music displayed great talent, but its charm consisted more in the exquisite combination of the different instruments, and the perfect, the wonderful, exactness with which each performed its part–a piece of art of the most elaborate and refined character.
The company, which consisted of several hundred, appeared to be full of enjoyment. They sat under the trees in the calm, cool twilight with the stars twinkling above, and talked and laughed sociably together between the pauses of the music, or strolled up and down the lighted alleys. We walked up and down with them, and thought how much we should enjoy such a scene at home, where the faces around us would be those of friends and the language our mother-tongue.
We went a long way through the suburbs one bright afternoon to a little cemetery about a mile from the city to find the grave of Beethoven. On ringing at the gate a girl admitted us into the grounds, in which are many monuments of noble families who have vaults there. I passed up the narrow walk, reading the inscriptions, till I came to the tomb of Franz Clement, a young composer who died two or three years ago. On turning again my eye fell instantly on the word “Beethoven” in golden letters on a tombstone of gray marble. A simple gilded lyre decorated the pedestal, above which was a serpent encircling a butterfly–the emblem of resurrection. Here, then, moldered the remains of that restless spirit who seemed to have strayed to earth from another clime, from such a height did he draw his glorious conceptions.
The perfection he sought for here in vain he has now attained in a world where the soul is freed from the bars which bind it in this. There were no flowers planted around the tomb by those who revered his genius; only one wreath, withered and dead, lay among the grass, as if left long ago by some solitary pilgrim, and a few wild buttercups hung with their bright blossoms over the slab. It might have been wrong, but I could not resist the temptation to steal one or two while the old gravedigger was busy preparing a new tenement. I thought that other buds would open in a few days, but those I took would be treasured many a year as sacred relics. A few paces off is the grave of Schubert, the composer whose beautiful songs are heard all over Germany.
We visited the imperial library a day or two ago. The hall is two hundred and forty-five feet long, with a magnificent dome in the center, under which stands the statue of Charles V., of Carrara marble, surrounded by twelve other monarchs of the house of Hapsburg. The walls are of variegated marble richly ornamented with gold, and the ceiling and dome are covered with brilliant fresco-paintings. The library numbers three hundred thousand volumes and sixteen thousand manuscripts, which are kept in walnut cases gilded and adorned with medallions. The rich and harmonious effect of the whole can not easily be imagined. It is exceedingly appropriate that a hall of such splendor should be used to hold a library. The pomp of a palace may seem hollow and vain, for it is but the dwelling of a man; but no building can be too magnificent for the hundreds of great and immortal spirits to dwell in who have visited earth during thirty centuries.
Among other curiosities preserved in the collection, we were shown a brass plate containing one of the records of the Roman Senate made one hundred and eighty years before Christ, Greek manuscripts of the fifth and sixth centuries, and a volume of Psalms printed on parchment in the year 1457 by Faust and Schoeffer, the inventors of printing. There were also Mexican manuscripts presented by Cortez, the prayer-book of Hildegard, wife of Charlemagne, in letters of gold, the signature of San Carlo Borromeo, and a Greek Testament of the thirteenth century which had been used by Erasmus in making his, translation and contains notes in his own hand. The most interesting article was the “Jerusalem Delivered” of Tasso, in the poet’s own hand, with his erasures and corrections.
The chapel of St. Augustine contains one of the best works of Canova–the monument of the Grand Duchess Maria Christina of Sachsen-Teschen. It is a pyramid of gray marble, twenty-eight feet high, with an opening in the side representing the entrance to a sepulcher. A female figure personating Virtue bears in an urn to the grave the ashes of the departed, attended by two children with torches. The figure of Compassion follows, leading an aged beggar to the tomb of his benefactor, and a little child with its hands folded. On the lower step rests a mourning genius beside a sleeping lion, and a bas-relief on the pyramid above represents an angel carrying Christina’s image, surrounded with the emblem of eternity, to heaven. A spirit of deep sorrow, which is touchingly portrayed in the countenance of the old man, pervades the whole group.
While we looked at it the organ breathed out a slow, mournful strain which harmonized so fully with the expression of the figures that we seemed to be listening to the requiem of the one they mourned. The combined effect of music and sculpture thus united in their deep pathos was such that I could have sat down and wept. It was not from sadness at the death of a benevolent tho unknown individual, but the feeling of grief, of perfect, unmingled sorrow, so powerfully represented, came to the heart like an echo of its own emotion and carried it away with irresistible influence. Travelers have described the same feeling while listening to the “Miserere” in the Sistine Chapel at Rome. Canova could not have chiselled the monument without tears.
One of the most interesting objects in Vienna is the imperial armory. We were admitted through tickets previously procured from the armory direction; as there was already one large company within, we were told to wait in the court till our turn came. Around the wall, on the inside, is suspended the enormous chain which the Turks stretched across the Danube at Buda in the year 1529 to obstruct the navigation. It has eight thousand links and is nearly a mile in length. The court is filled with cannon of all shapes and sizes, many of which were conquered from other nations. I saw a great many which were cast during the French Revolution, with the words “Liberte! Egalite!” upon them, and a number of others bearing the simple letter “N.”….
The first wing contains banners used in the French Revolution, and liberty-trees with the red cap, the armor of Rudolph of Hapsburg, Maximilian, I., the emperor Charles V., and the hat, sword and order of Marshal Schwarzenberg. Some of the halls represent a fortification, with walls, ditches and embankments, made of muskets and swords. A long room in the second wing contains an encampment in which twelve or fifteen large tents are formed in like manner. There was also exhibited the armor of a dwarf king of Bohemia and Hungary who died a gray-headed old man in his twentieth year, the sword of Marlborough, the coat of Gustavus Adolphus, pierced in the breast and back with the bullet which killed him at Luetzen, the armor of the old Bohemian princess Libussa, and that of the amazon Wlaska, with a steel vizor made to fit the features of her face.
The last wing was the most remarkable. Here we saw the helm and breastplate of Attila, king of the Huns, which once glanced at the head of his myriads of wild hordes before the walls of Rome; the armor of Count Stahremberg, who commanded Vienna during the Turkish siege in 1529, and the holy banner of Mohammed, taken at that time from the grand vizier, together with the steel harness of John Sobieski of Poland, who rescued Vienna from the Turkish troops under Kara Mustapha; the hat, sword and breastplate of Godfrey of Bouillon, the crusader-king of Jerusalem, with the banners of the cross the crusaders had borne to Palestine and the standard they captured from the Turks on the walls of the Holy City. I felt all my boyish enthusiasm for the romantic age of the crusaders revive as I looked on the torn and moldering banners which once waved on the hills of Judea, or perhaps followed the sword of the Lion-Heart through the fight on the field of Ascalon. What tales could they not tell, those old standards cut and shivered by spear and lance! What brave hands have carried them through the storm of battle, what dying eyes have looked upward to the cross on the folds as the last prayer was breathed for the rescue of the holy sepulcher.
[Footnote A: From “Views Afoot.” Published by G.P. Putnam’s Sons.]
[Footnote B: The population of Vienna, according to the census of 1910, was 2,085,888.]
ST. STEPHEN’S CATHEDRAL[A]
BY THOMAS FROGNALL DIBDIN
Of the chief objects of architecture which decorate street scenery in Vienna, there are none, to my old-fashioned eyes, more attractive and thoroughly beautiful and interesting–from a thousand associations of ideas than places of worship, and of course, among these, none stands so eminently conspicuous as the mother-church, or the cathedral, which in this place, is dedicated to St. Stephen. The spire has been long distinguished for its elegance and height. Probably these are the most appropriate, if not the only, epithets of commendation which can be applied to it. After Strasburg and Ulm, it appears a second-rate edifice. Not but what the spire may even vie with that of the former, and the nave may be yet larger than that of the latter; but, as a whole, it is much inferior to either–even allowing for the palpable falling off in the nave of Strasburg cathedral.
The spire, or tower–for it partakes of both characters–is indeed worthy of general admiration. It is oddly situated, being almost detached–and on the south side of the building. Indeed the whole structure has a very strange, and I may add capricious, if not repulsive, appearance, as to its exterior. The western and eastern ends have nothing deserving of distinct notice or commendation. The former has a porch; which is called “the Giant’s porch;” it should rather be designated as that of the Dwarf. It has no pretensions to size or striking character of any description. Some of the oldest parts of the cathedral appear to belong to the porch of the eastern end. As you walk round the church, you can not fail to be struck with the great variety of ancient–and to an Englishman, whimsical looking mural monuments, in basso and alto relievos. Some of these are doubtless both interesting and curious.
But the spire is indeed an object deserving of particular admiration. It is next to that of Strasburg in height; being 432 feet of Vienna measurement. It may be said to begin to taper from the first stage or floor; and is distinguished for its open and sometimes intricate fretwork. About two-thirds of its height, just above the clock, and where the more slender part of the spire commences, there is a gallery or platform, to which the French quickly ascended, on their possession of Vienna, to reconnoiter the surrounding country. The very summit of the spire is bent, or inclined to the north; so much so, as to give the notion that the cap or crown will fall in a short time.
As to the period of the erection of this spire, it is supposed to have been about the middle, or latter end, of the fifteenth century. It has certainly much in common with the highly ornamental Gothic style of building in our own country, about the reign of Henry VI. The colored glazed tiles of the roof of the church are very disagreeable and unharmonizing. These colors are chiefly green, red, and blue. Indeed the whole roof is exceedingly heavy and tasteless.
I will now conduct you to the interior. On entering, from the southeast door, you observe, to the left, a small piece of white marble–which every one touches, with the finger or thumb charged with holy water, on entering or leaving the cathedral. Such have been the countless thousands of times that this piece of marble has been so touched, that, purely, from such friction, it has been worn nearly half an inch below the general surrounding surface. I have great doubts, however, if this mysterious piece of masonry be as old as the walls of the church (which may be of the fourteenth century), which they pretend to say it is.
The first view of the interior of this cathedral, seen even at the most favorable moment–which is from about three till five o’clock–is far from prepossessing. Indeed, after what I had seen at Rouen, Paris, Strassburg, Ulm, and Munich, it was a palpable disappointment. In the first place, there seems to be no grand leading feature of simplicity; add to which, darkness reigns everywhere. You look up, and discern no roof–not so much from its extreme height, as from the absolute want of windows. Everything not only looks dreary, but is dingy and black–from the mere dirt and dust which seem to have covered the great pillars of the nave–and especially the figures and ornaments upon it–for the last four centuries. This is the more to be regretted, as the larger pillars are highly ornamented; having human figures, of the size of life, beneath sharply pointed canopies, running up the shafts. The extreme length of the cathedral is 342 feet of Vienna measurement. The extreme width, between the tower and its opposite extremity–or the transepts–is 222 feet.
There are comparatively few chapels; only four–but many Bethstuehle or Prie-Dieus. Of the former, the chapels of Savoy and St. Eloy are the chief; but the large sacristy is more extensive than either. On my first entrance, while attentively examining the choir, I noticed–what was really a very provoking, but probably not a very uncommon sight–a maid servant deliberately using a long broom in sweeping the pavement of the high altar, at the moment when several very respectable people, of both sexes, were kneeling upon the steps, occupied in prayer. But the devotion of the people is incessant–all the day long–and in all parts of the cathedral.
Meanwhile, service is going on in all parts of the cathedral. They are singing here; they are praying there; and they are preaching in a third place. But during the whole time, I never heard one single note of the organ. I remember only the other Sunday morning–walking out beneath one of the brightest blue skies that ever shone upon man–and entering the cathedral about nine o’clock. A preacher was in the principal pulpit; while a tolerably numerous congregation was gathered around him. He preached, of course, in the German language, and used much action. As he became more and more animated, he necessarily became warmer, and pulled off a black cap–which, till then, he had kept upon his head; the zeal and piety of the congregation at the same time seeming to increase with the accelerated motions of the preacher.
In other more retired parts, solitary devotees were seen–silent, and absorbed in prayer. Among these, I shall not easily forget the head and the physiognomical expression of one old man–who, having been supported by crutches, which lay by the side of him–appeared to have come for the last time to offer his orisons to heaven. The light shone full upon his bald head and elevated countenance; which latter indicated a genuineness of piety, and benevolence of disposition, not to be soured, even by the most bitter of worldly disappointments! It seemed as if the old man were taking leave of this life, in full confidence of the rewards which await the righteous beyond the grave.
So much for the living. A word or two now for the dead. Of course this letter alludes to the monuments of the more distinguished characters once resident in and near the metropolis. Among these, doubtless the most elaborate is that of the Emperor Frederick III.–in the florid Gothic style, surmounted by a tablet, filled with coat-armor, or heraldic shields. Some of the mural monuments are very curious, and among them are several of the early part of the sixteenth century–which represent the chins and even mouths of females, entirely covered by drapery; such as is even now to be seen and such as we saw on descending from the Vosges. But among these monuments–both for absolute and relative antiquity–none will appear to the curious eye of an antiquary so precious as that of the head of the architect of the cathedral, whose name was Pilgram.
[Footnote A: From “A Bibliographical, Antiquarian and Picturesque Tour,” published in 1821.]
THE BELVEDERE PALACE[A]
BY THOMAS FROGNALL DIBDIN
To the Belvedere Palace, therefore, let us go. I visited it with Mr. Lewis–taking our valet with us, immediately after breakfast–on one of the finest and clearest-skied September mornings that ever shone above the head of man. We had resolved to take the Ambras, or the little Belvedere, in our way; and to have a good, long, and uninterrupted view of the wonders of art–in a variety of departments.
Both the little Belvedere and the large Belvedere rise gradually above the suburbs; and the latter may be about a mile and a half from the ramparts of the city. The Ambras contains a quantity of ancient horse- and foot-armor, brought thither from a chateau of that name, near Inssbruck, built by the Emperor Charles V. Such a collection of old armor–which had once equally graced and protected the bodies of their wearers, among whom the noblest names of which Germany can boast may be enrolled–was infinitely gratifying to me. The sides of the first room were quite embossed with suspended shields, cuirasses, and breast-plates. The floor was almost filled by champions on horseback–yet poising the spear, or holding it in the rest–yet almost shaking their angry plumes, and pricking the fiery sides of their coursers.
Here rode Maximilian–and there halted Charles his son. Different suits of armor, belonging to the same character, are studiously shown you by the guide; some of these are the foot-, and some the horse-, armor; some were worn in fight–yet giving evidence of the mark of the bullet and battle-ax; others were the holiday suits of armor, with which the knights marched in procession, or tilted at the tournament. The workmanship of the full-dress suits, in which a great deal of highly wrought gold ornament appears, is sometimes really exquisite.
The second, or long room, is more particularly appropriated to the foot- or infantry-armor. In this studied display of much that is interesting from antiquity, and splendid from absolute beauty and costliness, I was particularly gratified by the sight of the armor which the Emperor Maximilian wore as a foot-captain. The lower part, to defend the thighs, consists of a puckered or plated steel petticoat, sticking out at the bottom of the folds, considerably beyond the upper part. It is very simple, and of polished steel. A fine suit of armor–of black and gold–worn by an Archbishop of Salzburg in the middle of the fifteenth century, had particular claims upon my admiration. It was at once chaste and effective. The mace was by the side of it.
This room is also ornamented by trophies taken from the Turks; such as bows, spears, battle-axes, and scimitars. In short, the whole is full of interest and splendor. I ought to have seen the arsenal–which I learn is of uncommon magnificence; and, altho not so curious on the score of antiquity, is yet not destitute of relics of the warriors of Germany. Among these, those which belong to my old bibliomaniacal friend Corvinus, King of Hungary, cut a conspicuous and very respectable figure. I fear it will be now impracticable to see the arsenal as it ought to be seen.
It is now approaching mid-day, and we are walking toward the terrace in front of the Great Belvidere Palace, built by the immortal Eugene[B] in the year 1724, as a summer residence. Probably no spot could have been selected with better judgment for the residence of a Prince–who wished to enjoy, almost at the same moment, the charms of the country with the magnificence of a city view, unclouded by the dense fumes which forever envelop our metropolis. It is in truth a glorious situation. Walking along its wide and well-cultivated terraces, you obtain the finest view imaginable of the city of Vienna.
Indeed it may be called a picturesque view. The spire of the cathedral darts directly upward, as it were, to the very heavens. The ground before you, and in the distance, is gently undulating; and the intermediate portion of the suburbs does not present any very offensive protrusions. More in the distance, the windings of the Danube are seen; with its various little islands, studded with hamlets and fishing-huts, lighted up by a sun of unusual radiance. Indeed the sky, above the whole of this rich and civilized scene, was at the time of our viewing it, almost of a dazzling hue; so deep and vivid a tint we had never before beheld. Behind the palace, in the distance, you observe a chain of mountains which extends into Hungary. As to the building itself, it is perfectly palatial in its size, form, ornaments, and general effect.
Among the treasures, which it contains, it is now high time to enter and to look about us. My account is necessarily a mere sketch. Rubens, if any artist, seems here to “rule and reign without control!” Two large rooms are filled with his productions; besides several other pictures, by the same hand, which are placed in different apartments. Here it is that you see verified the truth of Sir Joshua’s remark upon that wonderful artist: namely, that his genius seems to expand with the size of his canvas.
His pencil absolutely riots here–in the most luxuriant manner–whether in the majesty of an altarpiece, in the gaiety of a festive scene, or in the sobriety of portrait-painting. His Ignatius Loyola and St. Francis Xavier–of the former class–each seventeen feet high, by nearly thirteen wide–are stupendous productions in more senses than one. The latter is, indeed, in my humble judgment, the most marvelous specimen of the powers of the painter which I have ever seen; and you must remember that both England and France are not without some of his celebrated productions, which I have frequently examined.
In the old German School, the series is almost countless; and of the greatest possible degree of interest and curiosity. Here are to be seen Wohlgemuths, Albert Duerers, both the Holbeins, Lucas Cranachs, Ambergaus, and Burgmairs of all sizes and degrees of merit. Among these ancient specimens–which are placed in curious order, in the very upper suite of apartments, and of which the backgrounds of several, in one solid coat of gilt, lighten up the room like a golden sunset–you must not fail to pay particular attention to a singularly curious old subject–representing the Life, Miracles, and Passion of our Savior, in a series of one hundred and fifty-eight pictures–of which the largest is nearly three feet square, and every other about fifteen inches by ten. These subjects are painted upon eighty-six small pieces of wood; of which seventy-two are contained in six folding cabinets, each holding twelve subjects. In regard to Teniers, Gerard Dow, Mieris, Wouvermann, and Cuyp, you must look at home for more exquisite specimens. This collection contains, in the whole, not fewer than fifteen hundred paintings, of which the greater portion consists of pictures of very large dimensions. I could have lived here for a month; but could only move along with the hurried step, and yet more hurrying eye, of an ordinary visitor.
[Footnote A: From “A Bibliographical, Antiquarian and Picturesque Tour,” published in 1821.]
[Footnote B: The celebrated Austrian general, who defeated the Turks in 1697, and shared with Marlborough in the victories of Blenheim and Malplaquet.]
SCHOENBRUNN AND THE PRATER[A]
BY THOMAS FROGNALL DIBDIN
About three English miles from the Great Belvedere–or rather about the same number of miles from Vienna, to the right, as you approach the capital–is the famous palace of Schoenbrunn. This is a sort of summer-residence of the Emperor; and it is here that his daughter, the ex-Empress of France, and the young Bonaparte usually reside.[B] The latter never goes into Italy, when his mother, as Duchess of Parma, pays her annual visit to her principality. At this moment her son is at Baden, with the court. It was in the Schoenbrunn palace that his father, on the conquest of Vienna, used to take up his abode, rarely venturing into the city. He was surely safe enough here; as every chamber and every court yard was filled by the elite of his guard–whether as officers or soldiers.
It is a most magnificent pile of building; a truly imperial residence–but neither the furniture nor the objects of art, whether connected with sculpture or painting, are deserving of anything in the shape of a catalogue raisonne. I saw the chamber where young Bonaparte frequently passes the day; and brandishes his flag staff, and beats upon his drum. He is a soldier (as they tell me) every inch of him; and rides out, through the streets of Vienna, in a carriage of state drawn by four or six horses, receiving the homage of the passing multitude.
To return to the Schoenbrunn Palace. I have already told you that it is vast, and capable of accommodating the largest retinue of courtiers. It is of the gardens belonging to it, that I would now only wish to say a word. These gardens are really worthy of the residence to which they are attached. For what is called ornamental, formal, gardening–enriched by shrubs of rarity, and trees of magnificence–enlivened by fountains–adorned by sculpture–and diversified by vistas, lawns, and walks–interspersed with grottoes and artificial ruins–you can conceive nothing upon a grander scale than these: while a menagerie in one place (where I saw a large but miserably wasted elephant)–a flower-garden in another–a labyrinth in a third, and a solitude in a fourth place–each, in its turn, equally beguiles the hour and the walk. They are the most spacious gardens I ever witnessed.
It was the other Sunday evening when I visited the Prater, and when–as the weather happened to be very fine–it was considered to be full, but the absence of the court, of the noblesse, necessarily gave a less joyous and splendid aspect to the carriages and their attendant liveries. In your way to this famous place of Sabbath evening promenade, you pass a celebrated coffee-house, in the suburbs, called the Leopoldstadt, which goes by the name of the Greek coffee-house–on account of its being almost entirely frequented by Greeks–so numerous at Vienna. Do not pass it, if you should ever come hither, without entering it–at least once. You would fancy yourself to be in Greece, so thoroughly characteristic are the countenances, dresses, and language of everyone within.
But yonder commences the procession of horse and foot; of cabriolets, family coaches, German wagons, cars, phaetons and landaulets, all moving in a measured manner, within their prescribed ranks, toward the Prater. We must accompany them without loss of time. You now reach the Prater. It is an extensive flat, surrounded by branches of the Danube, and planted on each side with double rows of horse-chestnut trees. The drive, in one straight line, is probably a league in length. It is divided by two roads, in one of which the company move onward, and in the other they return. Consequently, if you happen to find a hillock only a few feet high, you may, from thence, obtain a pretty good view of the interminable procession of the carriages before mentioned: one current of them, as it were, moving forward, and another rolling backward.
But, hark! the notes of a harp are heard to the left, in a meadow, where the foot passengers often digress from the more formal tree-lined promenade. A press of ladies and gentlemen is quickly seen. You mingle involuntarily with them; and, looking forward, you observe a small stage erected, upon which a harper sits and two singers stand. The company now lie down upon the grass, or break into standing groups, or sit upon chairs hired for the occasion–to listen to the notes so boldly and so feelingly executed. The clapping of hands, and exclamations of bravo succeed, and the sounds of applause, however warmly bestowed, quickly die away in the open air. The performers bow, receive a few kreutzers, retire, and are well satisfied.
The sound of the trumpet is now heard behind you. Tilting feats are about to be performed; the coursers snort and are put in motion; their hides are bathed in sweat beneath their ponderous housings; and the blood, which flows freely from the pricks of their riders’ spurs, shows you with what earnestness the whole affair is conducted. There, the ring is thrice carried off at the point of the lance. Feats of horsemanship follow in a covered building, to the right; and the juggler, conjurer, or magician, displays his dexterous feats, or exercises his potent spells, in a little amphitheater of trees, at a distance beyond.
Here and there rise more stately edifices, as theaters, from the doors of which a throng of heated spectators is pouring out. In other directions, booths, stalls and tables are fixt; where the hungry eat, the thirsty drink, and the merry-hearted indulge in potent libations. The waiters are in a constant state of locomotion. Rhenish wine sparkles here; confectionery glitters there; and fruit looks bright and tempting in a third place. No guest turns round to eye the company; because he is intent upon the luxuries which invite his immediate attention, or he is in close conversation with an intimate friend, or a beloved female. They talk and laugh–and the present seems to be the happiest moment of their lives.
All is gaiety and good humor. You return again to the foot-promenade, and look sharply about you, as you move onward, to catch the spark of beauty, or admire the costume of taste, or confess the power of expression. It is an Albanian female who walks yonder, wondering, and asking questions, at every thing she sees. The proud Jewess, supported by her husband and father, moves in another direction. She is covered with brocade and flaunting ribbons; but she is abstracted from everything around her, because her eyes are cast downward upon her stomacher, or sideways to obtain a glimpse of what may be called her spangled epaulettes. Her eye is large and dark; her nose is aquiline; her complexion is of an olive brown; her stature is majestic, her dress is gorgeous, her gait is measured–and her demeanor is grave and composed. “She must be very rich,” you say–as she passes on. “She is prodigiously rich,” replies the friend, to whom you put the question–for seven virgins, with nosegays of choicest flowers, held up her bridal train; and the like number of youths, with silver-hilted swords, and robes of ermine and satin, graced the same bridal ceremony. Her father thinks he can never do enough for her; and her husband, that he can never love her sufficiently.
Whether she be happy or not, in consequence, we have no time to stop to inquire, for see yonder! Three “turbaned Turks” make their advances. How gaily, how magnificently they are attired! What finely proportioned limbs–what beautifully formed features! They have been carousing, peradventure, with some young Greeks–who have just saluted them, en passant–at the famous coffee-house before mentioned. Everything around you is novel and striking; while the verdure of the trees and lawns is yet fresh, and the sun does not seem yet disposed to sink below the horizon. The carriages still move on, and return, in measured procession. Those who are within, look earnestly from the windows, to catch a glance of their passing friends. The fair hand is waved here; the curiously-painted fan is shaken there; and the repeated nod is seen in almost every other passing landaulet. Not a heart seems sad; not a brow appears to be clouded with care.
Such–or something like the foregoing–is the scene which usually passes on a Sunday evening–perhaps six months out of the twelve–upon the famous Prater at Vienna; while the tolling bell of St. Stephen’s tower, about nine o’clock–and the groups of visitors hurrying back, to get home before the gates of the city are shut against them–usually conclude the scene just described.
[Footnote A: From “A Bibliographical, Antiquarian and Picturesque Tour.” published in 1821.]
[Footnote B: Marie Louise, second wife of Napoleon, and their son, the King of Rome.]
VI
HUNGARY
A GLANCE AT THE COUNTRY[A]
BY H. TORNAI DE KOEVER
Hungary consists of Hungary proper, with Transylvania (which had independent rule at one time), Croatia and Slavonia (which have been added), and the town of Fiume on the shores of the Adriatic Sea.
The lowlands are exceedingly beautiful in the northeast and west, where the great mountain, peaks rise into the clear blue sky or are hidden by big white clouds, but no beauty can be compared to the young green waving corn or the ripe ears when swaying gently in the breeze. One sees miles and miles of corn, with only a tree here and there to mark the distances, and one can not help comparing the landscape to a green sea, for the wind makes long silky waves, which make the field appear to rise and fall like the ocean. In the heat of midday the mirage, or, as the Hungarians call it, “Delibab,” appears and shows wonderful rivers, villages, cool green woods–all floating in the air. Sometimes one sees hundreds of white oxen and church towers, and, to make the picture still more confusing and wonderful, it is all seen upside down. This, the richest part of the country, is situated between the rivers Danube and Theiss, and runs right down to the borders of Servia. Two thirds of Hungary consist of mountainous districts, but one third has the richest soil in Europe.
Great rivers run through the heart of the country, giving it the fertility which is its great source of wealth. The great lowlands, or “Alfoeld,” as the Magyars call them, are surrounded by a chain of mountains whose heights are nearly equal to some Alpine districts. There are three principal mountain ranges–the Tatra, Matra, and Fatra–and four principal rivers–the Danube, Theiss, Drave, and Save. Hungary is called the land of the three mountains and four rivers, and the emblem of these form the chief feature in the coat-of-arms of the country.
The Carpathian range of mountains stretches from the northwest along the north and down the east, encircling the lowlands and sending forth rivers and streams to water the plains. These mountains are of a gigantic bulk and breadth; they are covered with fir and pine trees, and in the lower regions with oaks and many other kinds. The peaks of the high Tatra are about 9,000 feet high, and, of course, are bare of any vegetation, being snow-covered even in summer-time. On the well-sheltered sides of these mountains numerous baths are to be found, and they abound in mineral waters. Another curious feature are the deep lakes called “Tengerszem” (Eyes of the Sea). According to folklore they are connected with the sea, and wonderful beings live in them. However, it is so far true that they are really of astonishing depth. The summer up in the Northern Carpathians is very short, the nights always cold, and there is plenty of rain to water the rich vegetation of the forests. Often even in the summer there are snowstorms and a very low temperature.
The Northeastern Carpathians include a range of lower hills running down to the so-called Hegyalja, where the wonderful vine which produces the wine of Tokay is grown. The southeastern range of the Carpathians divides the county of Maramaros from Erdely (Transylvania). The main part of this country is mountainous and rugged, but here also there is wonderful scenery. Everything is still very wild in these parts of the land, and tho mineral waters abound everywhere, the bathing-places are very primitive.
The only seaport the country possesses is Fiume, which was given to Hungary by Maria Theresa, who wanted to give Hungary the chance of developing into a commercial nation. Besides the deep but small mountain lakes, there are several large ones; among these the most important is the Balaton, which, altho narrow, is about fifty miles long. Along its borders there are summer bathing-places, considered very healthy for children. Very good wine is produced here, as in most parts of Hungary which are hilly, but not situated too high up among the mountains. The lake of Balaton is renowned for a splendid kind of fresh-water fish, the Fogas. It is considered the best fish after trout–some even prefer it–and it grows to a good size.
The chief river of Hungary is the Danube, and the whole of Hungary is included in its basin. It runs through the heart of the country, forming many islands; the greatest is called the Csallokoez, and has over a hundred villages on it. One of the prettiest and most cultivated of the islands is St. Margaret’s Isle, near Budapest, which has latterly been joined to the mainland by a bridge. Some years ago only steamers conveyed the visitors to it; these still exist, but now carriages can drive on to the island too. It is a beautiful park, where the people of Budapest seek the shade of the splendid old trees. Hot sulfur springs are to be found on the island, and there is a bath for the use of visitors.
The Danube leaves Hungary at Orsova, and passes through the so-called Iron Gates. The scenery is very beautiful and wild in that part, and there are many points where it is exceedingly picturesque, especially between Vienna and Budapest. It is navigable for steamships, and so is the next largest river, the Theiss. This river begins its course in the Southeastern Carpathians, right up among the snow-peaks, amid wild and beautiful scenery, and it eventually empties its waters into the Danube at Titel. The three largest rivers of Hungary feed the Danube, and by that means reach the Black Sea.
Hungary lies under the so-called temperate zone, but there does not seem much temperance in the climate when we think of the terrible, almost Siberian winters that come often enough and the heat waves occasioning frequent droughts in the lowlands. The summer is short in the Carpathians; usually in the months of August and September the weather is the most settled. June and July are often rainy–sometimes snowstorms cause the barometer to fall tremendously. In the mountain districts there is a great difference between the temperature of the daytime and that of the night. All those who go to the Carpathians do well to take winter and Alpine clothing with them.
The winter in the mountains is perhaps the most exhilarating, as plenty of winter sport goes on. The air is very cold, but the sun has great strength in sheltered corners, enabling even delicate people to spend the winter there. In the lowlands the summer is exceedingly hot, but frequent storms, which cool the air for some days, make the heat bearable. Now and then there have been summers when in some parts of Hungary rain has not fallen for many weeks–even months. The winter, too, even in the more temperate parts, is often severe and long, there being often from eight to ten weeks of skating, altho the last few years have been abnormally mild. In the valleys of the Carpathians potatoes, barley, oats, and cabbages are grown, while in the warmer south wheat, maize, tobacco, turnips, and the vine are cultivated. Down by the Adriatic Sea the climate is much warmer, but Hungary, as already mentioned, has only the town of Fiume of her own to boast of. The visitors who look for a temperate winter and want to get away from the raw cold must go to the Austrian town of Abbazia, which is reached in half an hour by steamboat, and is called the Austrian Riviera. Those who visit Hungary should come in spring–about May–and spend some weeks in the capital, the lowlands and hilly districts, and go north to the mountains and bathing-places in the summer months.
Tokay produces some of the finest wine in the world, and the vintage time in that part of the country is most interesting and picturesque.
[Footnote A: From “Hungary.” Published by the Macmillan Co.]
BUDAPEST[A]
BY H. TORNAI DE KOEVER
Budapest is one of the most beautifully situated cities in Europe. Nobody can ever forget the wonderful sight of the two sister towns divided by the wide and swiftly flowing Danube, with the steamers and barges on her waters. Buda, the old stronghold, is on one side with the fantastic “Gellert” hill, which is a formidable-looking mass of rocks and caves; farther on is the lovely royal palace with its beautifully kept gardens clinging to the hillside; then the oldest part, called the stronghold, which has been rebuilt exactly in the style Matthias Corvinus built it, and which was demolished during the Turkish invasion. Here is the old church of Matthias too, but it is so much renovated that it lacks the appearance of age. Behind the smaller hills larger ones are to be seen covered with shady woods; these are the villa regions and summer excursion places for the people.
Along the Danube are green and shady islands of which the most beautiful is St. Margaret’s Isle, and on the other side of the waters is the city of “Pest,” with the majestic Houses of Parliament, Palace of Justice, Academy of Science, and numerous other fine buildings. At the present time four bridges join the two cities together, and a huge tunnel leads through the first hill in Buda into another part of the town. One can not say which is the more beautiful sight: to look from Pest, which stands on level ground, up to the varying hilly landscape of Buda; or to look from the hillside of the latter place on to the fairy-land of Pest, with the broad silver Danube receding in the distance like a great winding snake, its scales all aglitter in the sunshine. It is beautiful by day, but still more so at night, for myriads of lights twinkle in the water, and the hillsides are dotted as if with flitting fairy-lamps. Even those who are used to the sight look at it in speechless rapture and wonder. What must it be like to foreigners!
Besides her splendid natural situation, Budapest has another great treasure, and this is the great quantity of hot sulfur springs which exists on both sides of the Danube. The Romans made use of these at the time of their colonization, and we can find the ruins of the Roman baths in Aquincum half an hour from Budapest. During the Turkish rule many Turkish baths were erected in Buda. The Rudas bath exists to this day, and with its modernized system is one of the most popular. Csaszar bath, St. Lukacs bath, both in Buda, have an old-established reputation for the splendid cures of rheumatism. A new bath is being built in Pest where the hot sulfur water oozes up in the middle of the park–the same is to be found in St. Margaret’s Isle. Besides the sulfur baths there are the much-known bitter waters in Buda called “Hunyady” and “Franz Joseph,” as well as salt baths.
The city, with the exception of some parts in Buda, is quite modern, and has encircling boulevards and wide streets, one of the finest being the Andrassy Street. The electric car system is one of the most modern, while underground and overground electric railways lead to the most distant suburbs. The city has a gay and new look about it; all along the walks trees are planted, and cafes are to be seen with a screen of shrubs or flowers around them. In the evening the sound of music floats from the houses and cafes. There are plenty of theaters, in which only the Hungarian language is used, and a large and beautiful opera-house under government management. There are museums, institutions of art and learning, academies of painting and music, schools, and shops, and life and movement everywhere. At present [1911] the city numbers about 900,000 souls, but the more distant suburbs are not reckoned in this number.
[Footnote A: From “Hungary.” Published by the Macmillan Co.]