IIARPERS NEW MONTHLY MAGAZINE. No. CCCXXV.JUNE, 1~77.Yoi~. IV. CONTEMPORARY ART IN GERMANY. IN considering the present state of the fine arts in Gernianv, we find that while, of course, art has always l)een guided there by the organic laws which underlie all true art among the Germans as with other people, certain conditions have attended it quite (listiuct from any thing in the past or l)resent history of art in either England or France. Excepting architecture nnd house- 1101(1 art, which were developed over the greater part of Europe al)ollt the sante time, after tile Dark Ages began to yiuld to the dawning light of tile Renaissance, the arts received little attention in the two nations on citiler si(le tile Channel, for they were too busily engaged in consolidating the races and provinces of which they are composed into two great kingdoms to attend to tite amenities of civilization; an(I in each, when these objects had been accomplished, it was literatnre which first asserted itself rather than art. Foreign artists were called in from abroad to decorate the halls and pal- aces of Francis I. or Henry VIII.; and as late even as the time of Charles I. an(l Louis XIV. The example of these foreign artists, Celhini, Rubens, Holbein, Vandyck, finally had its natural results, and a desire to give expres- sion to the national tastes and emotions in art forms gradually awoke in the hearts of both these races. But it was not until the present century that either iteople produced SENt niscoymiamNe WALLENSTEIN hEAD [itt OTY] Entered acrordiar to Act of Congress, in the year 1S77, by harper and Brotberi~, 1mm thc Office of the Libra- rian of Concress, at Washington. voL. LYNo. S25.1 2 HARPERS NEW MONTHLY MAGAZINE. their best art, cx l)hael, arni Michael cepting possibly in Angelo, and other the case of Poussin, Italian masters Claude Lorraine, these early German Gainshorough, and artists at least mdi- Sir Joshua Reynolds. cated equal or immore And when the great vivid imagination, English and French and as deep an ear- schools finally made nestness in time pur- themselves felt, it suit of art. As early was hi London and, us 1360 we had the Paris that they took school of William up their head-quar- of Cologne and the ters naturally, and Snabian school of without any rival Uhn exerting a pow- schools in other cit- erful influence. Art ies of either king- schools sprung up in domn;aud so it has all parts of Germany, continnud to the and the iteriod of present day. What- the Reformation, the everart schools may most magnificent art have sprung tip in period of Italy, was iting more or less also time most note- other cities exhib- ~ / worthy among the promise, it to Lou- . German statcsqf any don and Paris that ~mLIIELM VON KAuLnAcim. . that has preeeled ~ve look at0mce in this century~ Hol order t& form ~n idea of the natiommal art. hem the elder was followed by such men as There the governmm~eut sc~els are establish- Hans Holbein the younger, Aldegrever, and ed, there the royal pafrettige is bestowed, Albrecht Diirera genius not inferior in there the great annual exhibitions are head, versatility to~Leonardo da Vinci. At this and thither flockthe great army of artists, period, too, wood-engiaving in Germummy was buyers, and amateurs who su~tain and en- cam-ned to a degree scarcely. exceeded at the courage the growth of Eminglish and French present day, as, for example, in the engrav- comitemporary art. j .. ing of Ditrers St. Jerome ammd the Lien, Bu1~ in Germany ft is quite otherwise. while this art was also brought in to point There is a strong~analog~ between the art a satire or a moral, as in The DAnce, of nianifestatiops, as ~mm~the pojlitical conditions, Death. . of Germanyand It~aIy for the last six cen- Altlmough,with the reaction following this tunes. Both were long divided into nu- period of enormuous intellectual eu~rgy and merous small bodies, governed each in its the Thirty Years War, succeeded by the War own way, and presenting a political and in- of the Succession amid the Seven Years War, tellectumd activity entirely individual and art languished in Germany, it never entire- distinct, and often full of fl~ry energy, while ly died out as an active principle in the flu- possessing in common certain genimral race tiopal character. In the last century time qualities. It has fallen to the lot of each rise of the great composers made it essen- to be united at last, in the latter half of the tially the musical ~ra for Germany at least; nineteenth century, underone general tie- bnt still we observe Amigelii~a Kauffmmmau gemomly. During 7a11 these ages l~be sepa- painting with considerable ability, and rate states of both Italy and Germ~ny have Wiitckelnmanmm writing his masterly ~vork on never entirely lost their individual charac- antique art, follo,~~ed by Lessing atud Goethe tenistics or the national energy, which in composing works bearing on the art qiies- some cases has been continued, especially tion. in the latter, with an ever-increasing glow, Thitis we fluid that at the time when En- that only serves to give greater strength gush and Fren~h art were just coming forth to the empire composed of these different fresh auud foIl of the vigor of youth, Ger- parts welded together in a solid and weighty many had already produced a great school mass. But it is to be noted that as in the of artists centuries before, and it could there- republics and monarchies of Italy in the fore be hardly expected of her, imi the nata- Reimaissance each had an art school of its ml coumrse of events, to keep pace in art with own, so in Germany the developainent of po- these great rising schools, especially since hitical and imitellectuial energy in the free upon each was concentrated tine patronage cities was accompanied by a strong art im- of a poiverfiul and tinited government. pulse. If they did not always show the same But notwithstandimng this, the literary magnificent eye for color, time samne mansterly and scientific impuilse which found a focuis drawimig of the humnami form, as Titian, Ra- at Weimmmar, but was scattered more or less CONTEMPORARy ART IN GERMANY. 3 throughout the states of Germany, was ac- tion too often froni the styles of schools coinpained by a revival of the art feeling, moved by different tastes and opinions and which, as we all know, was chiefly devel- heliets from our own age rather than from oped. at Dusseldorf, Berlin, amid especially the study of nature itself as it appears to Munich, t the latter place nuder the an our eyes in our time, were still impelled by Spice~ of Ludwig I., the late king, the most a true art enthmmisiasni ammil noble aspirations. entinusia tic royal patron art has met since Nething low or demoralizing entered into IiocKL1E1M~.[eRuTzNm.J Loreazo de Medici. Whatever may now he the conceptions of these seekers after the thought l)y some critics of the sculptures ideal. And while we may prefer the style of Schwanthaler, or the frescoes and~ can- and treatment of the contemporary schools vases of Overbeck, Hess, Schnorr, Corneli- of German art, we can not in justice with- us, or Kanihach, it can not be gainsaid that hold from these masters the profound re- they were men of great power, who, if too spect due to earnest pioneers, withont whose convention. I, an(l borrowing their inspira- I previous clearing of the road modern Ger 4 HARPERS NEW MONTHLY MAGAZINE. man art would not have reached its Present coimnanding position. in looking over the field, we find several distinct SChOOlS of art still existing in Germany, as in for- mer.ages. In no one place, as yet, is there a concentration of the national art col- ture; for althongh an empire, Germnammy is also a confederation of states, each still preserximmg its mdi- vidnality. To an American it is inter- esting to study this phase of Germanic art, becanse it is likely that, as at preseilt, so in the im mediate future, the developmemmt of the art spirit in the Unit- ed States will be rather by States than na- tional. Thus we see, besides the system of art education in the public schools for the purpose of stinmnlating industrial art, art schools or academies and galleries, supported by government patronage, at Carlsrohe, Dils- seldorf, Stuttgart, Dresden, Berlin, Munich, and Vienna, which, although not yet in- cluded in the German Empire, is essential- ly German, and is so treated in all except merely political relations. The nnion of time old Anstrian duelmy to the German Empire is considered omme of those natural events which must come as a matter of course, be- ing only a question of time. For obvious reasons, the Munich school has been and continnes to be not only the most famous, but the best of these schools in the quality of its art. In no other city in Enrope, not even excepting Paris, is the art impulse so clearly manifest, although the greater size of Paris, and the longer period that art has been accumulating there as spoils of war and in other ways, present such a vast mass of material that one is dazzled by the mag- nificence of the display. Bat although on a much smaller scale, there is enough of the art of time Imast ages collected an(l arranged in Munich to satisfy the most craving art appetite, while the number of artists liv- ing, studying, and painting thereover two thousandexceeds, in proportion to the pop- ulation,the art guilds of ally other city. One meets them at every tnrn, often pictnresqne enough in their appearance,with black beards and keen eyes, everlastingly puffing the rev- erie-inspiring cigar, and almost extimiguislmed nader slouched hats well-nigh as emmormnons as the sombrero of tlmeAdelammtmal& ofthe Seven Cities. Irom time to time they give a great ball iii the Opera-honse. Tile omme at the carni- val of last year was a magnificent affair. The costumes were mill of the thirteenth an(l fourteenth cen- turies, and in sonic cases cost over a thousand dollars. For three months before it caine off, time managers were busy sui~merimmtemiding time arrangeuments. Tile person repre- senting tIme Turkish emllbassador came in with a retinue of forty, all nuagnifi- celltly attired. Fritz Kaulbach. appeared as Charles V., with a lady on his arm as the queen. Young Arnim, a brother of Count von Arnimn, aml(l a pupil of Piloty, was conspicuous in the gorgeous robes of a cardinal. The Knntsverein is aim art union composed of artists in Munich. They have a comnmno- dious gallery, to which every week they sen(1 specimens of their latest work. By attemmd- lug these exhibitions one can forum a toler- able idea of what art is doimmg in Mmnmich, although some of time best artists rarely seimd to then~. At the close of time week the paintimugs are sent to some other city for exhibition, and a new collectiomi takes its place. Time union purchases a certaiim number of tlmese works, when not excee(liilg fifteen hmmdred umarks in price. Aimy one is permitted to become a subscriber on paying twenty marks. At the emmd of the year time paintings are raffled for, and thus fall to the lot of somne of time subscribers, while every one receives an engraving worth ten marks. Besides furimishming time artists with so mammy examples of the schools of other ages, the Bavariami governnmemmt also supports aim Art Academy, in which twelve professors give instruction, three for each departmemmt of art, amid each having a school of Imis own. Piloty, Dietz, Limmdeumsclmmidt, aimd other lea(himmg artists hold these professorshmips, with liberal salaries, and assisted by a imum- her of subordinate imistructors who attend to time rudimnental branches of art. Time Academy is located in a vast aim tiqmie pile wimich was occimluied as a monastery until this century. But as it is hiotim gloomimy amid incomumodious, the govermmmmmemmt is 110W erect- in(r a mmew Acadeimmy mmear time Sieges Tlmor, at KARL TliOi)Eii vo~ rmmoTY. CONTEMPORARY ART IN GERMANY. 5 an estimate(l cost of two million floriiis; it ic training in that little Bavarian cal)ital, is to be conll)lete(1 in 1878. The expense to while Iliany of the best artists now working the students studying and occupying stu- there are foreigners, or at least from all (lios in the Academy is merely nominal. i parts of Germnauy. Bavarian, Prussian, There are no annual exhibitions, as in Paris Austrian, Suabian, Italian, Greek, Hungari and London, but generally one is held once an, Russian, Pole, Norwegian, Englishman, in tbree or four years. and American there meet on a common Wbat is an(l has for a long time been a ground, burying l)ohitical or national difkr- leading trait of the Munich Academy, is its ences, all ummited by a general emulation for cosmopolitan character. Art has no coun- success toward a common end. Time civil- try, it is universal, nobly said King Luid ized and art worl(l owes a debt of gratitude ~vig. Jim consequence, every encouragement to King Ludwig which should temper what- has been held omit to iimduce artists from ever criticisms might be passed upon the abroad to study or settle in that city. TIme character or policy of the Bavarian line. natural result is that many aui artist, like When we look at the results of this mmimmifl- Mnncazky, for example, who has made Imis cent patronage, we find a vast art activity reputation elsewhere has receive(l his artist (leveloled here dumrimmg halt a cemmtnrv, pn~ JJUsn-mmANeEmLs. [F. I)LETZ.] (3 HARPERS NEW MONTHLY MAGAZINE. ceediug from one step to another in progress ,~ his fame and influence early; but so rapidly until froni extreme conveitionalisai a point has German art ripened of late years that lie in the scale of improvement is reached at has lived to see the sceptre pass from his last k)y a thoroughly easy and natural proc- hand. Such is the fate of all reformers. ess, where we find the contemporary school The genius which entitles theni to our yen- ofMnnich, and we may add also of Germany, eration, and increases the worlds stock of holding the foremost position in European culture and progress, so tends to educate the art at the conunenceummemut of the last quarter rising.generation tlmatthe very efforts which of time nineteenth cemutnry. Kaulbach, who placed them on so high a poimit aid to carry has jmmst passed away, is the Germuan artist their pupils still higher amid beyond theum. of this cemitury perhaps the best kno~vmi We can not, however, ascribe to Piloty orig- abroad. Less convemitional than his ~rede- immal powers equal to those of Kamilbacim or of cessors, he undoubtedly possessed a vast sonie of the rising school. But there is sonic gemiius; amid yet lie was weak in color. How graiid work, notwithstandimmg, in a colossal few can excel iii all the art qualities! Ru- painting which he is now executimug for the bemus, equally great in imagination, drawing, new Rathhaus, or City Hall, of Munich, for color, aimd technique, presents an exaniple so which lie is to receive 50,000 for insa large entirely aloiie iii the combination of miiany suma for Gerumany. It is an allegorical rep- (luahities that we feel how rare it is to excel resentation of time city, and comutaimus por- imi all. The works of Kaulbach would be traits of all her citizemus (histimigumishied in her ulumite as iuiih)ressive if rendered siamply in past history. It seems thins far to couitaimi black amid white. Piloty, another artist well more of his good qualities amid less of time kno~vn abroad, at least by reputation, comes fault8 of his other works. He is paimutimig later; he is still in the primiue of life, and in this scene in Kmuulbaclms forumier studio, be- his miianmier serves to mark another stel) in cause his own studio, although a hall thirty- tIme mudvamucing scale of German art. He was five feet square, is not of sufficient length for a l)mlpil of Paul Delarochie, and is aim entha- a canvas that seems over forty feet long. siastic admirer of his master. Hence we Professor A. MUller aui(l Otto Sietz are artists fluid comustamit traces iii his works of time mas- deserving honorable memition in a style of ter, who was, it must be confessed, the supe- color and treatment simmuilar to that of Pihoty, nor of the pupil. In even the best works that is, as holding a position between the of Piloty, ~vho is pre-erninently a historical school imummediately precedimug and that now hiniuiter, there is often perceptible a certaimi coining on the field. Of landscapists still theatrical, stagy effect in the conipositioum painting iii that style amid well kmuown in which takes away from its naturalness. His Anmerica there is a good number, including Colummimbus otlemids very strongly in this also aniiiial painters of comusiderable merit, respect; Thusnelda at the Triumph of as, for example, Voltz amid Paul Weber. But Gerumuanicus, his most ambitious work, is I there is a gemmeral samemmess iii their manner, l)erhaps umore satisfactory; while Semui dis- a lack of character and individuality, pret- coveriuug Wallenstein dead is more simple, j tiness rather than streuigth, and convention- amid is undoubtedly a work of great power ahismim in tone and color, althmoumgh ofteum although open to criticism in details amid conibimmed with real poetic feehimig. - To this color. Time figure of Seni is very imimpressive. schiool we are imidebted for several hundred An interestimug incideiit in commiiection with repetitious of views on the Kimnigs-see-a the comimpositiomi of this paintimug is told. For wild roniantic lake kumown to most travel- several (lays the artist had beeii emudeavorimug hers in Gerumauuy. Buit oime may have too to arraui ge the drapery about the corpse of nmucim evemi of the K5mmigs-see, and time essen- tIme (lead hero, withiomit suuitimug himself. At I timml weakumess of this class of paintings be- last it was adj misted sonmewhat to his liking, counes apparemut wlieu seen by the side of amid hue begaum to sketch it imi, when a knock works of the umew school of art iii Mumnichi. was heard at the door. It was Kimug Lud- Let us be juist. We would not say there is ~vi(~ who ~vas in the habit of walkiuug about I not umuch talemut evideimt in these paintings; tIme city aumd the studios as a private citizen. but it is talemut rather than genius, conven- Being a little (leaf, lie did not hear the re- tioumahism rather thian originality; amud while ummomistramuces of the artist, aimd ruthlessly the Munich school was producimug omily such walked iuuto the newly adjuisted drapery, works, it comuld not comiscientiously claimim an thirowimug it imuto disorder. Of course nothi- equmal place with time great landscapes amid imug could be said, but after lie heft, Pihoty I figure pieces of time French school even of huegan to swear amid pumhi his hair with vexa- time last twenty years. tion. Simuldenly lie looked around, amid be- It is a curious circumstance that by a lucid apparent a new fold iii tIme (hisor(lered species of tacit comnuon comuselut so mimany of drapery. whichm was exactly what lie ~vammted. time pupils (if Pihoty huimiuschf should have Sittiuug dowum at once, lie sk~tclmed it oum time broken loose fromui his influmemuce even while canvas in time shape in which it is now seen studying under hiuim, and, as if umucomusciously imi time finished painting. I moved by a certain law, formed a style so Piloty has founded a school; he achievel, differemut froni his own. Time chief points CONTEMPORARY ART IN GERMANY. 7 of distinction which separate contemporary But although so far resembling the French German art from its predecessors seem to be school, there is no reason to believe that the result, to a remarkable degree, of a very the I)reseut Munich school is an inmitator of careful study of certain masters of the Dutch, that; for iu the choice of snbjects it is alto- Flemish, and German artists of the Renais- gether at variance with it, and the lead- sance l)eriod on the part of a few men who I ers in the new movement have never stud- brought to the study a new way of using ied in France, and have generally not been tlmeir powers of observation, and in tmmrmm in- out ot Gerumany. Time causes seemmi rather fluenced other artists of their own age. It to be as foreshadowed on a previous page. is, beyond question, to this cause that we Leibl is one of the originators of time new immust attribute the tnrn given to French art school, and in the rendering of sonme of its at the time ~vhen it began to yield to the chief~points Imas no superior. The texture of influence of Troyon and Rousseau. Rulmens, flesh, the myriad delicate pearly grays aii(l Rembrandt, Rmmysdael, Franz Hals, Ald egre- I)imiks, ammd snbtle lines of light and shadow ver, Diirer, although dead ages ago, still iim- playing on tlme imurnan countenaimee or in tlnence art, and have proved to the greatest the muscles and sinews of the lmmmnd, amid in- artists of this century what Homer ammd Time- dicatimig elmaracter, lie seizes within miniasterly ocritus, Daiite aiid Spenser, imave beemn to skill. Amm artist wino introduces such study iiiodermm poetsmiot sources of iiispiratiou, of nature amid sucii mmiethods of umnitatimig it for no man of gemnius gains his imispiration. imito art practice is really great even if de- except directly from nature, but teachers, ficient in mamiy other respects. un order to (lirectors hi art methods, and, above all, in- understand tine iniportance of the reforinus structors in time great truth that siniphicity imitroduced by Leibi and his co-laborers in is a prommuneinnt characteristic of the highest time field, one has but to visit time miew Pi- art, wimether in letters or in paintiiig, amid nakotumek, or gallery, binmilt entirely for time that in the expression of time ideal itself permmiamneinnt receptiomi of tine so-called New timere is no model superior to miature. The School of Paintiiig, that is, of represeiitative leading characteristics of time ne~v German works produced by leading Miminmicim artists scimool seenm to be, therefore, greater breadth since the foiimndatiomi of time Acadeumy. The in the treatmemit of detminils, preferriiig gemm- rapidity of the chamige is so great as almost eral effect to excellence in parts of a work, to exceed belief. Piloty amind Kaulbachi, al- greater boldiness amid (lash, amnd consequent- thmonigim represented by their fiminest works, ly more freshninness in time haindling of pig- seenmi already of time past, amid they are giamits inemnts, the suggestion of textume and sub- compared within somne whose works are there. stance by masses of paint, aimd the touch of The contrast is still more marked on turin- the briinsim imi accordance with the nature of ing to paimitiinigs by Biickhin, of the later time object represented, and, finally, a more selmool. That we speak iii sucin terms is not correct eye mm perceiving tine relations of owing merely to time fact that the presemit colors to each otinerthe quality of subtle school is ninore new, and therefore prefera- tiints in flesh, for exannpiean(l therefore a ble. For the best painting in tine collection more just rel)resentatiou of time mysterious is Wilkies Opemnimig of the Will, painted unarniomnies of nature, while there is every some sixty years ago, amnd strangely imung where apparent a masterly skill in the in- in timat place. Simein reinderimig of character (himemitary branches of art. These have for or mutation of flesh-tints kills every tinimig long been the distimignishing traits of the aronmid it, and has not been approached by modern French scimool, but they have only modern Gerinamin art until the present school recently begumin to attract atteimtion in unod- came in. Leibi revels mi painting time rough- erim Gernmany, and to those accustomed to featured, roughly clad Binmmmers or l)easants of tine older school it requires a certain degree tine Bavarian hammilets, and the results are of art education to perceive the excelling sometiumes qinmite amarvelous. He can also, quality of these methods. But connoisseurs if he so chooses, paimit tine delicate beauty or those who look at art in generah need to of a ladys hand with a truth to nature that umunderstand that no less than in literature throws emithunsiastic yoummg artists unto rapt- (hoes tIme ~sthetic taste require to be culti- mires. But lie does imot oftemi so choose. Aund vated. Some have at an early period a ca- this leads us rehuctamitly to say that time es- pacity to appreciate Shakspeare, but to most senitial coarseness of his character prevemits the growth of their appreciation of mini may Inim from beimig as great an artist as his abil- be taken as tine measure of their growth imin ities might (itlierwise have made mini. Tine imitehiectual culture and life experiemice. Of greatest artists combine with strength a cer- course in Gerunany as in France there are taiin refineimmeint, apparenit in thndir works if artists who carry the practice of timese art muot in their unamminers. Beauty in tine ordi- niethmods to an extreuine, once they become a mary seminse of time term lmas no attractiomns for fashion and jurofitable. But ~ve (10 mnot speak Leibl. Even ainni(hst time homnehy ummicouthin- here of extremisf s or disciples amid iimnita- ness of (Aermaim peasantry, hnandsome menu tors, but of masters wIno originate a style and comely nnaideiis are to be foumud. He annd demomnstrminte only its legitiummate results. seenis to go out of mis way to give us time HARPERS NEW MONTHLY MAGAZINE. S most repulsive specimens of both sexes that very careful study of character, and in this he can find, respect, at least, reminds one of Velasquez, Lenbach is another artist, who, in a style although his treatment is more that of Rem- quite different from that of Leibi, is fully brandt. Lenbach is fortunately possessed his equal in technique; if not superior in of sufficient means to paint only what he ability, his canvases give ns more satisfac- pleases, and will not attempt the portrait tion. He chiefly devotes, himself to nor- of every one who applies. Having decided traiture, although sometimes making adnii- to paint a ~)ei~5oii, he is not satisfied with rable copies from the masters, and ideal corn- one pose, but makes a full oil sketch from positions, such as, for example, his young tbree or four different positions, nutil he herdsman lying on the grass on a sunny hits upon one that best represents the char- day, shading his eyes with his hand, or the acter or individuality of the subject. Thus three Orientals standing in a magnificent the results reached are quite marvelous. group on the brow of a bill. He makes a His portraits of You Moltke and Liszt nrc CONTEMPORARY ART IN GERMANY. 9 strong examples among many that might lie alluded to; nor is he less successful in rendering the beauty or charactex of a wom- ans face. And he does not rest his efforts after art perfection here. He works evenings after effi~cts both chromatic and in chiaro- oscuro, especially by the use of a frame cov- ered with a thin black gauze. Behind this a person is placed in different positions, with the light, also behind the gauze, falling upon him; the effect is that of an oil-painting. His studio, built expressly for him in a gar- den, consists of three apartments, furiiislied with a profusion of antique and Oriental objects such as are dear to the eye of an artist, and which often re-appear in his paintings. Loeftz is another of the rising artists of Munich, one of whose paintings at the re- cent national exhibition carried off a first medal. Seven years ago he was a paper- hanger. Now he has a school for drawing, considered one of the best ever opened in Germany, and in color and portraiture or composition holds a very high position. Vic-. tor Muller, who died two or~three years ago, while still young, was an artist whose paint- ings are full of admirable qualities of color, I while reminding one of no other artist in style, quiet in effect, yet suggesting na- ture, while such paintings as Hamlet or Ophelia, entirely free from any thing the- atrical, show also that he had a real percep- tion and power of expressing the hidden springs of action which make us what we are. Fritz Kaulbach, a distant relation of the late artist, is also well deserving of praise. In some of his lovely female faces one can trace a genuine feeling after the i(leal. Lindenschmidt, a professor in the Academy, is an artist worthy far niore ex- tended notice in the rendering of character, especially in historic compositions. His scenes in the career of Luther are marked by singular power, as well as other paint- ings of his we might name. Rudolph Seitz, known chiefly in frescoes and decorative work, has a remarkable perception of the beauty of physical forms. When we come to Gabriel Max we find a genius to the analysis of whose masterly conceptions we should much prefer devot- ing an article instead of a few meagre par- agraphs. In respect of mental grasp and imagination, combined with admirable tech- nical ability, we should give the first place in the contemporary Munich school to Max and Bicklin. Artists and public are alike agreed upon the surpassing character of Maxs works, although, of course, some pre- fer one painting to another, while the rather morbid tendency of his subjects makes these paintings better suite(i, perhaps, to exhibi- tion in a public gallery than in a private (Irawin g-room. In disposition lie is retir- ing, and difficult of access to all but a few select friends, and rarely can any one be adumitted to his studio; but at the same time he is of a genial nature and of a social turn / ~. - I...- 1/ FRAzZ LEuBACH. when in company with his chosen friends. We can notice but two of his works, add- ing, however, that these do not wholly con- vey an idea of the variety of subjects which he has treated. The first, it is said, alle- gorically represents an incident from his own life. In the semi-twilight of an au- tumn evening we see a company assembled. under a wood, dancers and others, in the picturesque costume of medizival times. Lanterns light up the scene in the distance. In the foreground, alone amidst the gay dan- cers circling around him, is a young man leaning pensively against a tree. This is supposed to represent the artist himself. To him, on his right, advances a beaut~iul maiden leaning on the arm of another youth. Her face is one of entrancing loveliness: she is his betrothed. But in her hand she holds out to him a wild crocusa flower whose ineamiing, when given by. a lady to her lover, is that he can never more hope for her love. In the mean time, on this side of the tree, unseen by him, a lady approaches, with a veil over her head, but her features visible in profile. She is older than the other lady, but in her mien is dignity com- bined with grace and beauty. She is the lady who is destined eventually to become his wife. This painting, while admirable in the rendering of each individual charac- ter, is also of l)re-emninent artistic worth for the regard paid to the values, the quality of the texture and color, and its unity and har- mommy as a composition. b 10 HARPERS NEW MONThLY MAGAZiNE. The other paint- An empty locliet ilig is take 11 troiti hangs on her breast. Faust, and is enti A soher silliernatliral tied Gretchen. It liht shines 011 the rehireselits Margaret upper part of this Oil the nn)nlitaillsi(le silent form, gradual on Walpurgisnight. lv fading into gray Notliiug can he sim shadow. lInt the as a coniposi face it is whieb, aft- tioii, hut it is (hifti - er one has gaze(l cult to see how the long at the paint artist could have hg, continues to l)etter shlccee(le(l in rivet the eye, an(l 115 011 0111 haunts one forever. uvilir (~fl1V~15 a liloic (0111 Iii the eyes, which plete el)itolne of the 5eein not of earth. tragic life of the there is an expres wire, greatly in sion of silent horror lIrell, alill afflicted 1111(1 agolly l)eyohld child of destiny lan gun ge, nun loin whom Goethe has gled with it a ye chosen to symbolize l)roachful, pleading such a vast multi eXiloSt uulat on that tiiile whose pathetic (lilt of the ihinocen and mysterious fate o~nawu~ MIx. cy and happiness can not be explained (If luai(lehlhlood she by any hnman logic. A solitary figure she sliohlill have beeii torn to meet such a fate, appears, robed in white, auI(l still 80 repre and spend eteriiity f~r from the abodes of sented as to sliest a certain ghostly inupal the blessed, while on flue closed ashen lips paldeiuess. She stalills on the grass, scarce is depicted the resignation (If despair. The ly pressell by her pale feet. Behind her, exquisite color ot this masterly conception faintly discernilde in the gloom, are the is 5(1 in harmuony with flue design that no rocks, and nearer, raveis pecking at a (ha engraving or ~(h1otograph1 can (1(1 it justice. muond rino A white hand around her neck It is siIi(t to lie a favorite work with Max, conceals the moIle of her bloody execution, null we know ot 110 other livin artist be hInt it is sluggestell with awful vividness h)y silles Gebhardt, (If Berlin, who could up a faint crimson circle saturating the linen. lIroacli it. There is iuone who so well rep- Till IONS hRII)E.[G. MAX.] CONTEMPORARY ART IN GERMANY. ii resents the lines an(l aspects of the dead. The painting of which aii eligravilig is giv cii here, The Lioiis Bride, is from one of tlilaii(lS poemiis. It is perhaps opeii to crit icisia for its color in one or two ilarts, but is a very powerfol conipositioii, and well exhihits the great skill Max also possesses iii the drawing and painting of aiiinials. An engraving of this sceiie perhaps gives a hotter idea of his varieil i~wers than of ilost ot his othicr pailitiligs. Many will iloiibtlcss reineiiiher the cxqnisitely touch- ing coinposi tioii whi cli has recently hecoitie known in America through a l)liotogra phi taken troin it. A yonm i~ in i Chiristiaii unartr, has just lucen left to the ti crs in the areiia of the Colisenni I lit XX 11(1 hcasts are fhwii in g I bout her before teilimi o her to Ilieces, while a tiger rnsl 1(5 foithi w ithm open jaws froni time dcii. At tIns xxx Pd nininent Sillie pityiiig soul aiiii(hst the thimono ahove drops a flower fnrtively at hex fu t, as a sign flint oat it hc ist is there to offer imp a player aiid (11(11) ft ir for her as she iiieets hex doom. ~hit iii ha i helplessness, leans araniSt the ~x ill ~mid hooks imp to see who it is, xvoiideniiir thit thi(Te is aiiy one left in a cmiiel \v(iuhil t(u l)itx the hoiiely victim. This paimitino us by Gubniel iI\lax, one of the greatest iloets (it the ire, for his paintimigs are tragic poems dealimig with hmnnman (les tiny. We pass, by a nmatuiral tramusition, to the ycuiie paimiters of thue Mamuich school, and hiere xve find a large mmumiiiluer of very excel- lemut artists. Defregger has juisthy earmied a foremuiost position in c(umiipositiomms taken fioni peasauit life. Truithm to uiatare, adnii rable color, textuire, null chiaracter, all seem to he his in equmal pr(uporti(umis. After him niny lie niemitioned Gysis, a Greek, whose art hife has heemi entirely in Miuijichi. His e(dor seemns scarcely inferior to Decamps iii time which each horse and each rider is given reii(lerimig of Oriental scenes, whuihe his an lead omme to frel flint Meissomiier and I)e five famuuihiarity xxithm them has given hiiui taihle stih h have soiiiethi i mig to learn. reimmarkalde skill lix catchuiiig flue traits of Of auiimnah paluiters there are, besides Eastermi character. Ahhuert Keller amid Alois Dietz amill Ilramidt, a numinber xvorth extemid GaIb are also yomumig amen (if (leci(lell protiuise eli uhf ice we can alhmude to buif omie or txxo. in this h)rauuchi. Dietz, in tIme reiideriiig of Magmier is well kmmoxvn iii Anierica by phio genie xvithu lmorses amill lalmdscahie, holds a 1)0 togra~dis (if has Rluluiami Chiarilit Race. lIe sition entirely alomme, hmaviuig a style crisp has doime mmothmiimg silice to elimmal flint. Braif Ii aid Pull of freshness aiid originality, auud is uxmiequual, but 5(iuuietiuimes (lraxvs null limimits resoixihihiuig thmat (if nO otluer artist. He is cattle with great force aui(l truth to na very Ilidicuxlt to hilease, soumietimnes entirely tuire. Zilgel is still a yommiig mnan, like mauix- hirlintimig l)mit a fiiiishmed wtirk. As aim illums of those already uimeuitiOmmell, null will give trat(ir line rauuks xvithu Memizel, (if Berhimi, aiid tIme wlirld yet bottom thiiimrs flu in hue has al humus pmohlmmcell thuoxisanlls of drawimugs. This really hlliuie lie is not yet the eljuiah of has ~irlibnh)ly qmmickenell a iiieiimory amill lil) Jncl1umes, the lrouichnnan ; buit iii a j list reuu servatiomi muxtiurally strllmig, aiilh thimms, like doling of the valmmes, with a trmme feehluig for Tmurner amull several tither artists sirImilarly umatuire, lie hmollis aim excehleimt ramik. Ilodemi cluimstitmufed, line does riot hlehieimd wholly on nuhiller is a risium r artist whi(i is strhung i mi color strudies f(ir his coniposi tililis, and yet paimuthuig hattIe ~ceiies, e8h)ecially (if flue late to xx excel him iii givimig a foehiiig of mmatmure. war. lImit Ennui Adam is umuidouubtedhy till, Ihis horses coald only hue lhrnxvim by a umiamm ablest battle paimufer l)f flue present Gerummaim of gemmimus. Brnimdf is auiotlier hf these nuns schuluol. Pus xvhmo hiverxxhiehimm mis with flue won I tIm lit Iii hrundscape there are lexxer gluod nrfisfs tIme artistic xvork umoxx tuuniied omit iii Mimimichi. He is a Pole by hdrthi, mx Geriumami im nut ed umeafillil. This smmbjects are alxvays chmoseii frlumnm thue stehipes (if the hikraiiie on tIme Cmi mumen, xvild, deslilate, hiicfmiresquuely smuggest ixe. Time Cossacks if the Dliii, the gnu mit, uienx-omis, xviry, iiiaii yc(ilore(l sf1 1~ihsthiey s~iuir to rapiimo aid xvan these ire xxhiaf lie gixes us, either iii gr0ii~)5 lit thuree or fomur, or xxhiole squinlhnomis unanchuiuig acr(iss thie russet ocean like wastes l)verarchie(h by leadeim skies. NI) artist (if tue muge is his smipenilin iii flue tech uiical rohhmmireiuiei ts lIf hi is mm-f, whi lie tIme sh)ul it, ililhividumahfy, character, amill flume xvf hi FRANZ i)iiFlEGOEu. 12 HARPERS NEW MONTHLY MAGAZ1~E. in Munich in proportion to the number in the artists considered him a dreamer, and other departments, but some of them are his works absurd. Now he ranks with the nien of genius. Lier and Mezgoly are de- first three or four living painters of Ocr- serving of far more than a passing allusion. many. The fact is that to a wonderful eye Thoma also shows eccentric ability, but for fbrm and color he adds an imagination has evidently been largely influenced by of extraor(linnry creative po~~r, m.d the Bockhn, who niight also be nearly as well sympathy with the hidden suggestions of classed with some of those previously no- nature of a Wordsworth or a Bryant, blend- ticed, such is his versatility and the nearly ed with the wild weirdness of Poe and the e(lual excellence lie achieves in alniost ev- startling mysteriousness of Coleridge or La cry subject he undertakes. He has been Motte-Iouqu6. Now be shall Paint you an painting for ninny years but for lonr was innigiunry Roman villa on a rocky ledge by neither understood nor appreciated. He the sea, which in long, gray, moaning surgen was. as it were, born before his time. Even beats against the cliff, and sweeps for ever- CONTEMPORARY ART IN GERMANY. 13 more into the hollow caves. Above, against picted an idyllic episode froni Theocritus a sad evening sky, stands the lonely l)alace, a young shepherd, the size of life, playing snrronnded by foliage, amidst which are on his syrinx, and a wood-nymph concealed seen marble statnes, and on the extreme in the shrubbery behind listening to his edge of the low cliff a solemn row of dark, love song. The iiext scene he will give you Druid-like cypresses sway in the gale. The will be, portraye(l with immense strength, anly sign of homnan life is a tall, slender an anchorite on a narrow ledge half- way C yonng girl dral)e(l in black standing on the down the side of a trenmendons precipice beach, leaning against time cliff, with arms scantily clad in a goat-skin, kneeling before crossed on her breast, seemingly gazing for- a ru(le cross made of two l)onglIs bound to- bra on the sea, and musing on the tramisi gether imy a vine, and scourging his bare toriness of human affairs, an(l the desolation back with knotted cor(1s. Another scene which has left her there the last of her line. may be a young shepherdess lying the live- Then you turn from this canvas and see de- long (lay amidst Italian poppies an(l daisies, 4 HARPERS NEW MONTHLY MAGAZINE. while her flock are quietly nibbling the desprit, a sea-serpent copied from the one herbage at her side. Then you turn once ahove was presented to Biicklin. Then yon more to aze amazed on a niermaid ajid a shall have a windy antuma evening, the merman reposing on the oozy rocks of a setting sun striking a golden path across reet their limbs covered with trailing sea- the centre of the scene, a farm-house be- weed. She, leaniuio over the led~e toy- yond a ~ ~ in the foreoround en- ingly grasps. the neck of a sea-serpent mag- deavoring to throw his ri(ler, aiid, above, nificently painted; he is looking seaward the trees swaying with the surging blast of and blowing on a conch shell. Beyond, the an October storm. Or it is Pan piping to surges of the ra~ing, storm-beaten sea roll himself among the reeds on a rivers bank in from the far off eternity of ocean with that we see before us, in the golden age of a stern, savage power and a truth to nature which the poets sing. such as I have never seeu surpassed. At an Bicklin has also painted with success in artistic sor6e in Mnnich, among other j ax distemper, and rivals the Rossetti school in CONTEMPORARY ART IN GERMANY. 15 their peculiar field works are ileserved- of archaic, faiitastic, ly praised Pu their realistic iitrealistn. spirit aitd grace. But forttittately lie The architecture of (loes not waste his Mtitiich seems l~~s- talents on mitch of jag front the ~everc that sort of work, iii Italian introduced which his success hy King Ludwig to serves rather to dis- the ornate style of play the more forci- Vienna. In woo(l bly the extraordi- engraving a decide(l nary and versatile ittiproventetit is no character of his gen- ticeable, not only in itis. He painted a Mtituich, htit iii other portrait of liiniself Gerittan flit centres. with a skeleton The Itard, cold, re standing hehind him pellittg style so lottg and directing his characteristic of Ger hand. At the sante man wood - engrav time, althotigh at ing is becoming utore last well known in ~fi~ flowing, attd Germany, and ac- suggestive of color~ knowledged to he allowing the ettgrav-. entitled to a very HANS MAKART. er better to express high position, Buck- his own feelinh iiv ha can ~robably never he, in the ordiitary the work. Heclit aitd Wailer are two of sense of the term, a popular artist, for it re- the best engravers now. in Miniich. (Illires a certain derree of art cultnre and a When we conte to a consideration of tlte niind that revels in the contemplation of other schools of contemporary German art, the ideal, to fully perceive his merits. He it ~iould be noted that most of them are is like certain poets whose works, although ofishtoots of tite Mnuich schools, especially celebrated far and wide, are caviare to the in tIm present phase of this work~ At View mass of readersRobert Browning, for ex- na we reach a s~cja1 atmosphier~resembhin~ atuple. But his influence on German art is that of Paris, and consequently, accorditrg luerceptible in various quarters. to the inevituhA~ laws which regulate art Eduard Griitzner is another of the very developmeitt,the~-e is a certaiti resentblance clever artists of the genre school of Munich. in the subjects chosen to thqse which distin- Like Chevilhiard, of Paris, he makes a spe- gtiish contetuporary French art. The lead- cialty of hittiiig off the human nature ing men there were calldd by the emperor which churchmen retain even after they from Muttich, and, doubtless without aiiy have doiined the cowl and cassock and for- deliberate intention pn- his part, they are: sworn the lusts of the flesh. He is very just the artistein Munich who reutiitd us acute in seizing certaiti expressions of the most of the French school. There is a Roy- countenance, and his satire is not too severe al Academy itt Vicitna, with a reguilar corps to impair the exquiisite sense of huntor con- of instructors, and much goQd ~rt will iii veyed in his graphic compositions. Bat he time be the result. Fetierbach and Makart, is stronger in dra~ving thait itt color. both Mtinich men by education, amtd si ihl We might go on to speak at lemigth of Sin- comparatively ~oumg, .nre among the prom-. dig, a coast painter, who ut akes one actually inent iitstrn.ctors. Fenerbachi remimtds otte hear the roar of the breakers as they chase somewhat of Cabanel in his style. His col- each other in tumnultuomis masses, and lash or is eool and quiet, but exqitisitely jttodu- the rocks with a power that may be felt as hated, althouigh sometimes he does hthtiself omie gazes on the canvas; or of the numer- inju~fice itt this respect, ttnd there is thue Otis aitd somnetintes excehheitt jualtiters of in- same admirable modelhtg and delicate yet tenors, with still-life, like Hepler, Meyer von effective totielt of the Frettch artist. Tlteir Gratz, and Friederich Keller; or of Heit- choice of subje~ts is also sotutewhat similar, a brilhi attt and dashing colorist, ~vho alt~iongh thue former occasiottally Inuitches gives us rococo stibjects, ladies and geittle- out ott intmnense canvases ~xithm a mutultitude tuteut of the Louis Qtiatorze days. Btit the of nude figures, as itt his Battle of the Autia- reader must go to Mtirtich amid see these zomus, whicit does not, however, show him at thiluigs for himself. Before leavimig it for his best. His Iphuigeitia at Auhis is a supe- Vienna, it should be observed that the kimt- nor composition, sinij)le, how in tone, htarnio- ([red arts of scmilptnre and architecture show niotis in color, and witlt geulimine pathos in the us little of note doing there at preseitt. Max attitude of thteunfortunate Iteroitme of poesy, Wittdmmiaitn, professor of the art, is (lotlbtless who, mneditatimtg on her approachtimig doom, the best sculptor now there, and some of his gazes off on the blue ~Egean, ~ huich looks 113 HARPERS NEW MONTHLY MAGAZINE. too beautiful ever to be the scene of such a although soiuetinies (lefective, the luagniti tragic (irama. Makart, a voun~ man with cent dash of his brush, the Veroneselike coalblack eyes and beard, and an Oriental splendor of his coloring, entitle hini to a cast of features, reminds us in SOIflC of his position among the first artists of the age. subjects an(l treatment of Henri Regnault. But while granting lujimi possessnum of the The gorgeous East has furnished him many rare (~ulality called genius, we as yet see no ;uhjects. He is unlonbtedly a man of very trace in his works of any thing that appeals great technical ability. There is a breadth to mans deeper nature, anul even while en of handling, a boldness, a self-reliant power thusiastic in his praise, feel an important in his paintings which command attention element lacking in his paintings, tlnut would and respect at once. One feels at a glance not he muisseul in l)roductions making less that he is in the presence of a master. The demands on our admiration. massiveness of his drawing and composition, Canon is a 1)ortrait 1)ainter who merits a lELLAU WOMEN Al fill FOUNI AIN.IMAIiAItV.] CONTEMPORARY ART IN GERMANY. 17 much more extended notice: and the same recently ma(le for the table service of the may be said of Pettenkofer, one of the old- Emperor iraneis .Joseph ranks in glass-ware est and best known of the Vienna artists, with the best china-ware of S~vres or time who excels in genre, while Brunner hol(ls a Mintons. We have seen nothing in the goo(l position in landscape. conteml)orary ceramic art of Germany to Probably the first place in Germany must equal that of either England or France; hut line given to Vienna in architecture and the the terra cotta works of Anton Grassi at udustrial arts. It can not be said that a Munich are deserving of considerable praise, mew order of architecture has been invented and the same may be said of the mna~olica- mere. In the present style of building we ware of Fleischmnan at Nuremnberg. We mn:my see rather an adaptation of old styles, chiefly add that the royal institution for making Remmaissance, displaying lmixmiriomis richness stained glass imm Mmmnich has been closed. and ami employment of the caryatid which Both in methods and results it was fbund is beautiful, but may he carried to excess, to compare mmmmfavorahly with the stained especially when the commstrnctive priminciples glass of the Minldle Ages. of true architectural decoration are disre- The school at I)iisseldorf is probably bet- gar(lc(l. Semnpfer, the 1ea(l~mmg arcimitect of ter known in Amnerica than any other in Vienna, ranks ~vith Viollet-le-Duc, of Paris, Germany. T~venty-five years ago it was al- nn(1 Spiers and Street, of London. Exqui- reamly in its prime, and a numliner of its art- site as is much of the household art of Vi- istsunen of ability they were, toohad set- enna, it rarely imupresses oime like the vigor- tIed in the Urmited States, and p:mimnted some 0u5 carvimings of which so many wonderful of our historic scenes. Its celebrated gal- specimens have come (lown to our day from lery of paintimings Imas always given it imupor- Flanders or Nnremnberg or France, ev cmi far tance, and such men as Achenbach Imave back to the oakemi stalls aud cammopies of the given it digminity to this day. But it has choirs ammd tombs of time Middle Ain~es What been with regret tiinat art lovers have pr- living artist of this (lescription is tlinere who ceived tlmat con vemintionalisnin w~s stealiming (an be mnentioned by time side of Peter Viseb- into thinat art hold, ainind imupairiug the valmme or, whose shrine over time tomb (mf St. Sebald of the work even of some of its best artists eclipses all modern work of the kind? Bmit to that degree that it has imecomue at last a in glass-ware the Vieniinese artists can justly I by-word to say of an artist that line painted claim to have emimialed nmmd perhaps sur- imi the DUsseldorf style. A minmethoml wlmicim passed the rest of time world both in design may have real merit while fresh ammd orig- and execution. Lohmeycr and Co. employ inal becomnes convemintional when scores and artists of remarkable skill in design. A set hundreds of artists gradminally settle down to Vom,. LV. No. i25.2 mN A TuousArinD ANXIETIES. [in.. KNAUS.J 18 HARPERS NEW MONTHLY MAGAZINE. copying that style, thus showing that they In Carlsruhe is a Royal Academy, presided look at nature through the eyes of others, over by such men as Ferdinand Keller, a instead of realizing in their practice that genre painter, and Gude, who excels in vig- there are innumerable truths in nature, and orous representations of coast and sea. At that each artist should interpret those truths Stuttgart is also an Academy under govern- in his own handwriting. But the influence ment patronage. In that city there is also of Paris on the one hand, and of Munich on an art society, established for the purpose the other, has at last become perceptible of encouraging historical painting in Ger- there. Men of perhaps no greater powers many. It is open to all subscribers, and the than those they supersede are, however, sovereigns of the different states of the em- working in a truer manner, and the results pire are aunon g the number. Circulars are are sometimes admirable. Andreas Achen- sent annually to the artists invitiuug them to bach, great alike in landscape and coast enter works for competition. Those intend- scenes, is now growing old, and at the same ing to contribute send a color sketch to the time is so well known at home that we do superintending committee. If it is approved, not need more than to allude to him. Schimn- the larger painting follows, and is submit- leber, who paints the picturesque groups, ted to examination. Once a year an exhi- fishing boats, atnd sea-ports of the North Sea, bition is held, and certain paintings are is a rising artist well meriting great praise in purchased from the general fund, and then his department. He also etches his works in disposed of by lottery to the snbscribers. a superior manner. Normann, a Norwegian, At Berlin we find the most interesting art gives us the magnificent coast scenery of his school in Germany, after that of Munich native land with much vigor and freshness; valuable not only for what its artists are ~vhile Thicker, who is also a painter of coast now doing, but for the rich promise it holds amid landscape, is an artist whose tone and forth. Without in the least derogating from touch and resemblance to nature in his the just claims and merits of the Munich canvases place him among the foremost Academy, it appears to us, from the nature painters of the age in that line. Wilroider of the case, that the Berlin school must ere and Fahrbach are also strong in landscape; long equal it in the average quality of its and Mnndt, in the delineation of quiet, rums- art, and surpass it an a representative na- set autumn and winter landscapes, with tional school. For at Munich, through a leafless trees and admirable groups of cattle, gradual process, they seem to have reached rightly holds a very high position. In genre, full fruition according to the general laws which govern human affairs; the next change there must he toward a new order of things. At Berlin, on the other hand, that art process is now going on toward its legitimate results, while the growing inupor- tance of Berlin, ten ding to make it the cen- tre of Germanic influences, will also as sure- ly attract the artists thither more and more until it becomes in turn the art capital of Germany, and, for a time at least, of the continent. Every attention is also be- stowed there to encourage art progress, and artists hold a social position there hardly yet granted to them in England, notwith- standing the traditional strictness with which rank distinctions are preserved 1mm Germany. This may be partly owing to the circumstance that several members of the royal family are practical artists, and that the Crown Princess herself conde- scends to exhibit works from her own hand in the art expositions. The Royal Acade- my has also been recently entirely reorgan mxuwme mArs. ized, and fnrnished with an able corps of professors, including also a chair of belleB among many, we can only allude to Vautier lettre8, and a system of biennial exhibi- as an artist well known in Germany for his tions has been established that will be of genius; and we might also speak of Knaus, great value as a stimulus to German art. hut he has just been called to the Royal The second one was opened 1876. These Academy at Berlin, which is some indica- exhibitions are opened in Augnst, and con- tion of the estimate placed on his powers by tinue until November, and gold medals are his countrymen. Oswald Achenbach also awarded to the most meritorious works shows strength in genre with landscape. offered in all the departments of art. 4 CONTEMPORARY ART IN GERMANY. 19 Some artists of very great power are also 1 rather than with the niore subtle and per- now giving dignity to the Berlin school, and haps intellectual harmonies of quiet grays; the number is continually increasing. While each style has its merits, and to (leery one there is every where a distinct individuali- ty preserved among them in style and sub- ject, they are generally distinguished for a good perception of color, careful drawing, a study of nature, and an earnestness in a consideration of the true relations of art to society and the problems of human exist- ence which, on the one hand, enables theni to threaten French art with a powerful riv- alry in its strongest point, technical art, and, on the other hand, places them above the French school, and quite on a level with the best English art. Richter and Becker are both professors and fellows of the Royal Academy of Ber- lin, and are probably among the German artists best known in America, the former by chromos of his paintings, the latter by numerous works in private galleries. They are both men of very decided ability, sun- ilar in artistic traits, although generally handling different subjects. They deal chiefly with the dashing and more obvious effects of brilliant combinations of color, because it is not the other, is about as sensi- ble as to rail at Italian music because it is not German. It does not aim at the same effect; it appeals, perhaps, to a different au- dience, certainly to a different set of emo- tions; but it has its merits for all that. There is, however, sometimes perceptible what is termed a certain sweetness in the technique of both of these artists which is not quite so pleasing to the artistic eye of some as more vigorous treatment, and one soon cloys with their l)ictnres because of a certain sensuousness apparent in most of them. Of the two, Richter seems to us the abler artist; some of his portraits and stud- ies of Oriental character are very rich, aII(I of a nature to be more popular than are the works of some munch greater painters. Gussow, also a professor in the Academy, ranks high in portraiture, combined sonic- times with genre. His treatment and ren- dering of character are sometimes just, and in some respects admirable. But in almost all his faces there is a certain spot, a gloss, lb miEVERIL[QU5TAV RIOUTER.] ~2O HARPERS NEW MONTHLY MAGAZINE. where the light strikes on the countenance, which he evidently considers a great beauty, for he contrives to bring it into every paint- ing of his we have seen. It is certainly pe- culiar to his works, and may perhaps be sometimes a beauty in nature; but as he represents it with a dab of crude white, it enables the observer to realize as never be- fore the questionable advantages of the pearl-powder so universally found on the toilet table of the ladies of the nineteenth century. Knaus, called from DUsseldorf to assume a chair in the Academy at Berlin, is natural- ly one of the ablest artists in Germany. In methods perhaps slightly behind some of the younger men of the German school, he is, notwithstanding, an artist of a very high order in genre. Older than Defregger, of Munich, it can not be said that the younger painter has surpassed the former in masterly representations of hu- man character. The humorous and the pa- thetic are alike treated by him. Take, for ex- ample, the every-day do- mestic scene, of which a cut is given on page 17, In a Thousand Anxie- ties, as one phase of his genius; another phase is well indicated by his wonderfully touching and poetic scene enti- tled, A Country Funer- al. But while Knaus may be said to have made a specialty of scenes taken from peas- ant life, he is also suc- cessful in other direc- tions. His Holy Family may be instanced as a very beautiful production. Menzel is another of the very able men who lend importance to the Berlin school. In black and white, aquarelle and oil-colors, he seems equally stron(r. His fancy and ima~ination are very vivid, and his facility in grouping masses of figures and seizing character is quite original and wonderful. He is also well known as aix illustrator. P4tssini is widely andj nstly celebrated as a consummate artist in water-color representations of Ital- ian life. Camphansen, A. von Werner, and Bleibtren are all artists of ability in gearc and figure painting. The latter, a professor in the Academy, has executed a very strik- ing representation of the meeting of Gener- als Von Moltke and Whimpfen discussing the terms of the surrender at Sedan. Span- genberg, also a professor in the Academy, is a man of serious aspirations, whose imagi- nation deals with the burden of life which oppresses so many, thoroughly Germanic in his mental character- istics, and also an admirable painter. His scene entitled Deaths Train is a work of singu- lar originality and power. On a deso- late moor, overhung by a gray sky, the procession is seen. In the foreground is the grim skeleton Death in a monks sombre garb. By his side walk chil- dren ofvarious ages, pathetic beauty in thefrinfantile faces. Behind follow the bride in her bridalveil,Kai- ser and peas- ant, maiden and matron, all classes and condi- tions, inys STATUE O~ FREDERIcK WILLIAM III.tWOLFF.] CONTEMPORARY ART IN GERMANY. 21 lically robed in the costume of the Middle man art to maintain for long the liOSition it Xires until t he long train gradually Jades is gaining in contemporary European art. iii the dius distance. Death rings a bell br We do not remember a representation of the lie next one to fall into the ranks, and a Last Supper which shows a more Th)\Ver- handsome youth in the foreground of the fuil realization of the vast anul conflicting secuic, hearing the inexorable suunmouus, tears emotions which shook the souls of those who himself away from his weeping bride; while I met together in that memorable hour in the on the other side of Death an aged woman, history of the human race. bereft of all that made earth dear, vainly In the sculpture department of the Berlin stretches out her withered arms, beseeching Acadeni y there is noticeable a mnimber of that she nmight he snummnoned instead. Von artists of ability, and in this (hirection 13cr- (iebhardt is another young painter of Ber- liii seemmis at present to lead the other Ocr- liii who has won extraordinary success in man schools. We can only allude to Begas, a similar direction, and if he continues as l)r~fessor in tIme Academy, lirunow, Hartzer, he has begun, will do much to enable Ger- Moser, Renseb, Siunmerimug, and WoIIL The F 0 22 HARPERS NEW MONTHLY MAGAZINE. latter, also a professor in the Academy, de- signed the magnificent bronze equestrian monument to Frederick William III., which has just been opened to public inspection. Architecture in Berlin offers nothing very striking; but the new Gymnasium, chiefly in red brick, indicates a step in the right (lireiction. If not after a new order, it is a very happy adaptation of old styles to mod- ern uses. It mnst be evident from this rapid survey of contemporary German art that it is enti- tled to very careful and respectful consider- ation, both on the pdrt of artists and ama- teurs. And in taking a retrospect of the whole question of contemporary art in Eu- rope, we are inclined to think that theFrench government, instead of offering a prize of five thousand francs for the best essay to show the causes which render contempora- ry French art pre-eminent beyond other schools of the day, might better have offered a prize to explain the causes which enable the art of Germany, five hundred years after she first produced an art school, to equal French art in technique, and to surpass it in the field of imagination and moral grandeur. A DREAM-LAND CITY. SOMETIMES the guarded gates Of the Unseen on outward hinges roll, Arid in deep dreams of night the troubled soul, In bright, brief vision, sees the glory of its goal. Some angel, watchful, kind, Stoops for the moment from his kindred band, Reaches, through veil of sleep, a pitying hand, And leads the Dreamer forth into a fairer land. Such boon to me was given. Thus to my sorrow came a sweet release; Sleeps magic touches gave to pain surcease; And forth my spirit passed into transcendent peace. A city beautiful Shone on my vision. Palaces of white And gleaming marble, in a noonday light, Glittered along wide streets with pearly pave- ments bright. Amaranth and asphodel Above each pillared door their blossoms hung; From every mansion mystic music rung, For Poesie was here the only voice and tongue. High in the citys midst Arose a Temple, as the sunset bright; Of flame-like splendor, dazzling to tile sight Arch, column, altar, glowed with an interior light. This is the shrine of Song, A voice beside me uttered. This her home, Her chosen dwelling. Hither none may comc But hdr beloved, her own. Fames worshipers are dumb. Forth from her temple flows Perpetual inspiration. Glorious themes Break on the vision in ecstatic gleams. Embodied here the bard beholds his rarest dreams. Hither the minstrels throng The masters wearing laurels centuries old, Bards who the harp-strings smote with fingers bold, And they whose softer lays with faltering lips were told. Nor they alone whose brows On earth the victors sparkling wreath have worn; These, too, whom Fate of eve~r bliss hatli shorn, Save of the matchless boonthat they were singers born. Even as he spoke there rolled From out that inner shrine a tide of song. Each outer voice the anthem bore along: The angel at my side responded full and strong. This is indeed my home ! I cried. Here every grief I may forget; Here even for me are peace and rapture met. My guide, in tender voice, replied, Not yet The dream was at an end; Yet in its light I walked through many days, Seeing no darkness in them, for my gaze, Illumined once, still burned with the celestial rays. Now, singing as I go, Little I heed, although the path is long. Light from above hath made my spirit strong. It is enough to be the humblest child of Song. And I will be content To love her for herself; with homage sweet To sing unheard, unanswered, at her feet, Till in some other life I make my song com plete. iS U

22 HARPERS NEW MONTHLY MAGAZINE. latter, also a professor in the Academy, de- signed the magnificent bronze equestrian monument to Frederick William III., which has just been opened to public inspection. Architecture in Berlin offers nothing very striking; but the new Gymnasium, chiefly in red brick, indicates a step in the right (lireiction. If not after a new order, it is a very happy adaptation of old styles to mod- ern uses. It mnst be evident from this rapid survey of contemporary German art that it is enti- tled to very careful and respectful consider- ation, both on the pdrt of artists and ama- teurs. And in taking a retrospect of the whole question of contemporary art in Eu- rope, we are inclined to think that theFrench government, instead of offering a prize of five thousand francs for the best essay to show the causes which render contempora- ry French art pre-eminent beyond other schools of the day, might better have offered a prize to explain the causes which enable the art of Germany, five hundred years after she first produced an art school, to equal French art in technique, and to surpass it in the field of imagination and moral grandeur. A DREAM-LAND CITY. SOMETIMES the guarded gates Of the Unseen on outward hinges roll, Arid in deep dreams of night the troubled soul, In bright, brief vision, sees the glory of its goal. Some angel, watchful, kind, Stoops for the moment from his kindred band, Reaches, through veil of sleep, a pitying hand, And leads the Dreamer forth into a fairer land. Such boon to me was given. Thus to my sorrow came a sweet release; Sleeps magic touches gave to pain surcease; And forth my spirit passed into transcendent peace. A city beautiful Shone on my vision. Palaces of white And gleaming marble, in a noonday light, Glittered along wide streets with pearly pave- ments bright. Amaranth and asphodel Above each pillared door their blossoms hung; From every mansion mystic music rung, For Poesie was here the only voice and tongue. High in the citys midst Arose a Temple, as the sunset bright; Of flame-like splendor, dazzling to tile sight Arch, column, altar, glowed with an interior light. This is the shrine of Song, A voice beside me uttered. This her home, Her chosen dwelling. Hither none may comc But hdr beloved, her own. Fames worshipers are dumb. Forth from her temple flows Perpetual inspiration. Glorious themes Break on the vision in ecstatic gleams. Embodied here the bard beholds his rarest dreams. Hither the minstrels throng The masters wearing laurels centuries old, Bards who the harp-strings smote with fingers bold, And they whose softer lays with faltering lips were told. Nor they alone whose brows On earth the victors sparkling wreath have worn; These, too, whom Fate of eve~r bliss hatli shorn, Save of the matchless boonthat they were singers born. Even as he spoke there rolled From out that inner shrine a tide of song. Each outer voice the anthem bore along: The angel at my side responded full and strong. This is indeed my home ! I cried. Here every grief I may forget; Here even for me are peace and rapture met. My guide, in tender voice, replied, Not yet The dream was at an end; Yet in its light I walked through many days, Seeing no darkness in them, for my gaze, Illumined once, still burned with the celestial rays. Now, singing as I go, Little I heed, although the path is long. Light from above hath made my spirit strong. It is enough to be the humblest child of Song. And I will be content To love her for herself; with homage sweet To sing unheard, unanswered, at her feet, Till in some other life I make my song com plete. iS U THE ANDROSCOGGIN LAKES. 23 THE ANDROSCOGGIN LA KES. lIT E call Maine the Pine-tree State. Lake State wol1l(l l)e an equally appropriate and distinctive appellation. Her forests are gradually falling before the advancing stroke of the lumberman, l)ut her lakes can never be lost out of her mouiitain-gnarded territory, ior can their charms ever be lessened by the touch of settlement and civilization. There are more than fifteen hundred of them laid town upon the better maps in use; hundreds more are too small to be enumerated in a general survey; while many others lie hidden in regions that have not yet I)een explored. The author of Water-Power of Maine says, in that work: There are but three or fonr (listricts on the globe, not more extensive than Maine, and equally habitable in other respects, upon which an equal number of receptacles for impounding rain-fall, of miot inferior capacity and snrface, is to be found The Kennebec River has more lakes connected with it than the gigantic Orinoco, and the Penobseot than the Oregon, or than all the rivers in Africa, so far as is known. But the Kennebec and the Penobscot are only two of half a dozen important rivers in Maine, each of which is connected with an extensive lake system of its own. These two rivers drain the central portions of the State, the Keunebec being the outlet of the great Moosehead Lake, whose varied attractions have already received due notice in the pages of this Magazine. Far to the eastward, on tIme confines of New Brunswick, the St. Croix River and the Schoodic Lakes; to the north of these, the St. John and ~ the Eagle Lakes; to the ~vest again, following along the Canada border, the Alleguash and the lakes of upper Piscat

THE ANDROSCOGGIN LAKES. 23 THE ANDROSCOGGIN LA KES. lIT E call Maine the Pine-tree State. Lake State wol1l(l l)e an equally appropriate and distinctive appellation. Her forests are gradually falling before the advancing stroke of the lumberman, l)ut her lakes can never be lost out of her mouiitain-gnarded territory, ior can their charms ever be lessened by the touch of settlement and civilization. There are more than fifteen hundred of them laid town upon the better maps in use; hundreds more are too small to be enumerated in a general survey; while many others lie hidden in regions that have not yet I)een explored. The author of Water-Power of Maine says, in that work: There are but three or fonr (listricts on the globe, not more extensive than Maine, and equally habitable in other respects, upon which an equal number of receptacles for impounding rain-fall, of miot inferior capacity and snrface, is to be found The Kennebec River has more lakes connected with it than the gigantic Orinoco, and the Penobseot than the Oregon, or than all the rivers in Africa, so far as is known. But the Kennebec and the Penobscot are only two of half a dozen important rivers in Maine, each of which is connected with an extensive lake system of its own. These two rivers drain the central portions of the State, the Keunebec being the outlet of the great Moosehead Lake, whose varied attractions have already received due notice in the pages of this Magazine. Far to the eastward, on tIme confines of New Brunswick, the St. Croix River and the Schoodic Lakes; to the north of these, the St. John and ~ the Eagle Lakes; to the ~vest again, following along the Canada border, the Alleguash and the lakes of upper Piscat 24 HARPERS NEW MONTHLY MAGAZINE. aquis County; and finally, well around on the New Hampshire line, the Androscoggin and its lakes. These are only six ou~ of some fifteen systenis which are recognized by the geogra- pl)ers. To the last nanied of the series the attention of the reader is specially invited in this article. The Androscoggin Lakes, as commonly reckoned, are six in number, thongli the character of the connecting waters is such in two instances that the number is sometimes reduced to four. Thus Cupsuptic and Mooselucmaguntic are joined by so broad a strait as really to form one body of water, though {i, the configuration of the shores justifies the division which has been adopted in the nomenclature. The same is true of Mollychunkemunk and Welokennebacook, which are some- times spoken of together as the Richardson Lake, or Lakes. Rangeley Lake, at the upper (northeast) extremity of the chain, and IJmnbagog, at the lower (southwest) extremity have each a more distinct individuality, being separated from the others by very l)alpable streams. All, however, consti- tute one series, amid time waters of the Androscoggin River, a.s they leave Umbagog by its western shore, gather l)art of their volume from a small pond which lies away to the east of Rangeley. A dozen or more such smaller vonds are buried in the forests and among the mountains that surround these lakes, and contribute their quotas to the mighty current poured therefrom through the Androscoggin Valley to the ocean. The six lakes have an aggregate surface of sevemity-seven sqnare miles. They drain a tributary area of nine hundred square miles. By aid of dams erected at con necting points, their storage is increased to very nearly 24,000,000,000 cubic feet, and their outflow is but from thirty-six to forty-eight lionrs in reaching the city ~ of Lewiston, to whose many manufac RANGELEY TROPHIES. A1 0 t THE ANDROSCOGGIN LAKES. 25 tories they furnish an ample and exhaust- Umbagog 1256 less power. This function, taken in con- Richardson l4~6 aection with the extended timber lands Mooseliicinaguntic 1486 which envelop them 0 every side, gives Raugeley 1611 the chain great importance in a comnier- Rangeley Lake itself being thus the high- cial point of view, and the busy lumbering est of the series, as it is also the first, we life of which in winter they form the cen- tre might very properly engross our atten- tion to the exclusion of other aspects. But it is with these lakes as a resort of the sportsman an(l the tourist that we are now chiefly concerned. As such, they are com- ing into wide and deserved notice. This northwestern corner of Maine is a lesser Adirondacks. No part of the world, says the Second Animal Report upon the Natural History and Geology of the State, affords finer trout-fishing, or a greater variety of trouts, than Maine. And no part of Maine is richer in this particular endowment than this upper half of Franklin and Oxford coun- ties. The wilderness is practically limit- less and unbroken. The scenery is always picturesque, and often grand. The fisher- man and the hunter may find constant ex- ercise in season for rod and gun. Lovers of nature in her wilder umoods are already beginning to make their way into the re- gion in considerable numbers. And noth- ing is needed but time and a measurable degree of enterprise on the part of those who have the handling of this vast estate to ef- feet its developmemmt into one of the most delightful summer resorts which the coun- try contains. As one notable feature of this lake region, among many that commend it to seekers of health and l)leasure, let me mention its alti- hide, compared with other localities that are better known. Thus the romantic Lake Winuipiseogee, in New Hanipshire, is but 501 feet above the level of the sea, and the waters of Lake Superior itself are only 630. But the figures of the Androscoggin Lakes are as follows: may very j~roperly begin our survey with it, and float down stream. The wish may well be cherished that the ancient Indian name had been retained for this beautiful sheet of water. This was Oquossoc, or Arg-was-suc, as by tradition an old Indian named Matalluck, who once had his haunts upon its shores, gave the pronunciation. Ran~e1ey perpetuates the name of an eccen- tric but thrifty English squire who pene- trated the wilderness thus far many years ago, and laid the foundations of the pros- perous plantation which is his monument to-day. His story is a romantic and inter- esting one. Mr. Rangeley, for a time after coming to this country, was a merchant iii Philadel- phia, and later a laud speculator in Virginia, with all parts of which State lie was very familiar. He is described as having the substantial build and florid countenance of the traditional English squire, with a corre- sponding hearty manner, but an exceptional degree of politeness and polish for a maim of his kind; lie also dressed well, and was giv- en to hospitality. To his early life he seldom referred, and what led him to this remote corner of the wilderness of Maine can only be conjectured. Perhaps it was the seemit of mineral values, for he ~vas known to claim the existence of gold ore upon his township; and he was a man who knew what iron pyrites were. The township as he owned it comprised some- where from 65,000 to 70,000 acres, amid he had large plans for its development. The pres- ent extensive and growing system of navi- gation and lumber portage seems to have been a dreani of his own, for he fully fore- OQUOSSOG, Oil RANUNLEY LAKES LOOKING TOWARD GALl) MOUNTAIN. 26 hARPERS NEW MONTHLY MAGAZINE. saw the re- BANDY RIVETI FAILS, NRAB sources and ca MADRID. pabilities of his domain. He built various mills, some of which remain to this day. These were superiutended by his sons, who had the look of huntsmen; and he lived with his wife and two daugh- ters in what was then the only good house of the region. This house is believed to be still in existence, but in a decayed and squalid condition. Mr. Rangeley and his wife were reputed to possess between them a considerable for- tune, but his plans were on so great a scale, and his ability to deal with the rude and the shrewd so limited, that he worked at no small disadvantage, at heavy cost, and final- ly with serious loss. This led him to sell his plantation for $50,000; but financial dis- turbances so crippled the purchaser, who had made but part payment, that the prop- erty fell back into Mr. Rangeleys hands. Subsequently, with the return of better times, he succeeded, however, in disposing of it, and removed to Portland. He was there established as early as 1842, and there he died not later than 1862. Members of his family are said to be still living in Virginia. Mr. Rangeley had been followed into his forest paradise by a score or two of families, one after the other, and for their accommoda- tion he built a small church or chapel, which, dis- tinguished by its sinil)le coat of red paiit, has proba- bly been preached in by some of the ruling elders of the present time. It is in the record that the worthy English squire di(l not hiniself attend the services in this secluded house of prayer, but caused worship therein to be held after the manner of the Epis- copal Church, for the sake of his wife, who is spoken of as a most kind- ly and benevolent person. Mr. Rangeleys greatest public work was a road constructed through a grand and savage pass of the Saddle- back range. Its cost was set down at $30,000, but the road itself is now wholly obliterated. The new road is spoken of as wholly uninteresting in compari- son. The present writer can say nothing as to the location of this ancient high- way, but repeats the tradition respecting it as received from a gentleman of Boston who personally knew Mr. Rangeley, and who visited him in his retreat several times prior to 1840who is, indeed, the authority for all these interesting particulars con- cerning this really notable and agreeable character. But we have yet to reach Rangehey. Farmnington is the point from which to do it. This pleasant village of two or three thousand imhabitants lies at the terminus of the Androscoggin branch of the Maine Central Railroad, a days ride from Boston half a days from Portland. There is little to interest the traveller on his way thither, after he leaves the latter city, the route ly- ing through a region that is uninviting, with scarcely an exception. But when he fairly strikes the Samidy River Valley, and crosses it by the curious curved trestle which brings him to the end of his railway ride, lie finds himself introduced to views which, for their kind, are nowhere surpassed, not even along the far-famed Conway Meadows. Farming- ton is the shire town of Franklin County, THE ANDROSCOGGIN LAKES. 27 and a brisk and energetic place. There is much in and about it which might detain the excursionist to his enjoyment before 1)Iisbing on up the valley to the lakes and the mountains. The mountains are in full sight before him, and we can not wonder that, yielding to their allurements, he turns his back upon the pleasant walks and de- lightful drives which the village and its environs afford iii every direction, and hast- ens on over the forty miles of staging which yet remain. The road closely follows the river, a trib- utary of the Kennebec, for twenty miles, along well-cleared uplands, throngh fertile intervales, under the bold sides of Days Mountain, past the picturesque suspen- sion-bridge at Strong or over it,if we like to make the detour of a mile to see another thriving village of Maineand so on to Phillips, the next most important town to Farmington in the MAP OF THE ANDEOBOOGGIN LAKE BECiON. connty, consisting of an npper and lower village, provided with excellent hotels, and supporting a bank and other belongings of an enterj)rising and prosperous l)usiness life. The telegraph wires accompany the travel- ler as far as here, and here, the stage sup- plementing the railway, Boston is kept within a days ride. The town takes its name from the honor- able Phillips family of Massachusetts, by sonic of whom it was fornierly owiied and oI)ened for settlement when Maine was only a district of the Old Bay State. The Phil- lipses and Benjamin Weld, of Bostoim, were extensive owners of wild lamls in this part of Maine, and the towns of. Weld, Salem, Avon, Strong, Madrid, and others weve all carved ont of their broad possessions. Mr. Rangeley had the same ambition of great prol)rietorship, only he pushed further into the forest; and the domain which he select- ed, by the variety of its surface and tIme ex- cellence of its soil, attests the sagacity of his ebdice. Leaving Phillips, the road to Rangeley first climbs a massive spur, from which snag- nificent views are obtained of Mount Blue, Mount Abraham, and other imposing ranges, and thence descends into the Madrid basin, in traversing which it recovers the Sandy River, from which it had parted at Phillips, to leave it no more uiitil it is lost in its source, the Sandy River Ponds, at the base of Mount Saddle- back, just before entering Rangeley. Passing the lit- tle village of Madrid, the road presently begins the ascent of Beech Hill, rough barrier to the engaging re- gion that stretches behimid it. The tourist now finds himself fairly face to face with the wilderness, though this first taste of it, Beech Hill, is not the most pleas- ant. He will be a good round hour and a half in reaching its summit; but the tedium of the effort SAnuLEImAcK MOUi~TAIN, LOOXINe EAST. hARPERS NEW MONTHLY MAGAZiNE. 28 will have aml)le compensation if it be his fortnne, as it was the writers in the sum- mer of 1875, to see therefrom a hear in all tile liberty of his natural estate. Bruin had come out of the woods into a clearing, across the deep ravine which the road skirts at this point, and was making himself husy with the strawberries which grew plenti- fully among the stumps and bushes. He rose on his haunches a moment to attend to onr excited saintations, and then uncon- cernedly resumed his berrying. His uncon- cern was destined not to last, however, for, a day or two later, a hunting party, aroused by the news, started in search of him, and hore back his skin in triumph. To look at the scraggy sides of Mount Saddleback, as it here looms up hefore the observer, one would think that hears in plenty might abound thereon, but the actual sight of one is uncommon enough now to he a real sen- sation even to the natives. The descent of Beech Hill brings one to the Sandy River Ponds, three or four in number, hut insignificant sheets of water. save for the interest which always attaches to a rivers sonrce. TIme locality has this claim upon notice, however, that here the head waters of tributaries of the Kennehee and of the Androscoggin spring side hy side. Long Pond, which the road strikes while yet in sight of tIme first of the Sandy River Ponds, is the first of the Rangeley series, and the divide between the two systems scarcely exceeds the measure of a biscuit toss. At such a point as this the moralist will of course pause to pluck an illustration. Passing Long Pond, which the inter- vening woods mostly conceal from view, a delightful ride of a few miles opens J the first glimpse of Oqnossoc, or Rangeley ~4 Lake, as it is now commonly calledat one time, not very long ago, quite pleas- antly known as The Englishmans Pond. It is a beantifnl sheet of water, of irregular shore, its greatest length being about ten miles, and its greatest width some three or four. The head -~ of the lake at the inlet is not - visible from the road, hut its proximity is marked by Kim balls, the first good square - house to he seen since leaving Madrid. The situation of the - house, which is kept for time accommo(lation of the pub- lic, and is the first hotel on entering the lake region from this direction, is low ____- - and hemmed in, giving no hint of the fine scenery an(l varying attractions to which it is the gateway. - Greenvale is the termina tion of the regular stage route, and Kimballs is the well-kept house which would he expected under the circumstances. From KENNEBAGO FALLS. I THE ANDROSCOGCTIN LAKES. 29 the stream a few rods below the house the tinnes along the eastern arm of the lake, stanch and jaunty little steamer Mollychunk- rising at once to a point on the broad slope eiaunlc makes her daily round trip to the, which forms the shore sufficiently high to foot of the lake and back, running in con- give a really magnificent view. You are nection with similar boats upon the other here fairly within the limits of Rangeley lakes of the chain. Kimballs thus be- settlement, and the road traverses for three comes a proper and convenient place of miles a tier of well-cleared and productive transit for those who are going in or coal- farms. Below, to the left, stretches the ing out, as the case may be, and as such lake, its surface broken by but one distin- it has already achieved a wide and deserved guishable island, hemuied in by bold ranges popularity among the hundreds of sports- of hills, and flanked at its western extrem- men and pleasure-seekers who are frequent- ity by the picturesque Bald Mountain, which ing the lakes every season in constantly in- there rises abruptly from the waters edge. creasing numbers. The settlement is confined almost exclusive- Leaving Kimballs, the main road con- ly to the northern and eastern elopes. The j~. .~ V A SIX-I~OUN1)EE. 30 HARPERS NEW MONTHLY MAGAZINE. other shores are for the most part covered with dense forests, the outskirts of the wilderness that reaches away to the bound- aries of New Hampshire and Canada. The horizon line in every direction is varied and grand, being made up by distant mountains massed one against another. Three miles beyond Green vale, along this road, at the northeast arm of the lake, where the entering stream from the Haley and Gull ponds furnishes a valuable water-power, is Rangeley City, a sniall but sturdy little hamlet of a dozen or twenty buildings, the centre of the township!s trade. A right smart place it is, too, with post-office, public ball, an excellent hotel (Hinkleys Rangeley House), two country stores, two saw-mills (one run by water, and the other by steam), a boat-building shop, t~vo blacksmiths shops, a shoe-makers, andwill the reader believe it ?a bakery. It is but fair, how- ever, to explain that this backwoods bakery is the ingenious and accommodating device of Mr. Tibbetts, the boat-builder, who, of a Saturday night, cleans out the furnace of his steam-engine, and bids his neighbors bring thither their pots of brown-bread and beans for a night of it. Great was our as- tonishment, on sitting down to the tradi- tional Sunday morning breakfast at Hink- leys on the occasion of our last visit, to be told by our host that our brown-bread was baked in the bakery. Mr. Tibbettss bakery is not the only thing to his credit. His boats have carried his fame over all the lakes, and his shop is a place which every sportsman in the region makes a point of patronizing. He builds his craft something after the model of a birch,first framing his streaks on a mould, and then strengthening the shell by a light knee-work within. The boat emerges from his hands at a cost of about fifty dollars, easily carrying six men, and easily to be carried by two or three. They are models of lightness, swiftness, and beauty. A large portion of the little village of Rangeley, in- cluding Tibbettss bakery, was destroyed by fire in the fall of 1876, but when our artist visited the spot, two weeks afterward, tlw enterprising citizens had begun to rebuild on a larger scale. In anticipation of the growth which Rangeley City is destined to enjoy, the squire of the town, Mr. J. A. Burke, is erect- ing, the present season, a new hotel upon the hill-side. The plans have been drawn by a competent architect, and the house will be one of the largest and best in the State, outside of the cities and large towns. With the little steamer touching daily at the City, the delightful drives leading from it in various directions, the several fishing localities for which it is the point of easiest departure, and, above all, its entire freedom from the annoyance inflicted by that pest of the woods, the black-flywith all these things in its favor, it would seem certain that Rangeley City is destined to acquire a position of no small importance in its little world. Among the short excursions for sport or pleasure, of which Hinkleys, at Rangeley City, is, and Bmmrkes new hotel will be, the best starting-point, are to Quimbys, Dodge, Round, and Perk pondssmall sheets v~ ithmin a few miles ride all affording good fishing at proper seasons of the year; to Booby- town, by tIme Boobytown roada route bringing the excursionist face to face with some of the grandest views ia all the region, and into the neighborhood of a little knot of families whose condition and habits are a study in human nature; to the Dead Riv- er Pond and the Redington Streama direc- tion alluring to the angler; to the blueberry fields beyond Gull Pond, along the north shore, by a well-kept road of half a dozemi miles, which picturesquely climbs the hills, and carries one past some of the best farms in tIme township; over to the south shore which a road less travelled follows only 1- CAMP ON TIlE KENNEISAGO. THE ANDEOSCOGGIN LAKES. 31 for about three miles, to the jumping-off Rangeley, the reader can readily picture its place, where the outposts of civilization character and surroundings. are lost in the edge of the forest; and, tirial- This whole tract of wilderness, covered ly, to Kennebago Lake, which lies in the with heavy forests, and diversified with woods directly to the north of Rangeley, mountain, pond, and stream, abounds with distant some eight miles. scenes of the most romantic beauty. One The excursion to Kennebago makes a considerable demand upon him who at- tempts it, but is not to be overlooked by any who have really a first-class appetite for camp life. The lake is one of the most beautiful of all the feeders of the Rangeley system, walled in by mountains, and en- tirely cut off from the permanent haunts of men. One or two rough camps furnish the rudest of sleeping accommodations to the visitor, who m iist, however, take in with him his own stores, and do his own cooking. The road thither from Rangeley is not so very long, but it is circuitous and difficult, and, after the first two or three miles, not easily passable by wagons. Kennebago pil- grims must, therefore, make most of the dis- tance on foot, and carry their rations with them, which, if their stay is to be but a day or two, will not be so formidable a burden a.s to offset the pleasure of the trip. From four to five hours is needed for it: in one (lay and out another is a good schedule for those whose time is limited. The attrac- tion at Kennebago is trout, in plenty and of good size, none of the Raugeley waters furnishing better sport for rod and line. A party disposed to try the wilderness still further can push on to Seven Ponds, still to the northward, to which Kennebago is about half-way from Rangeleya local- ity reached only by the more adventurGu8 sportsmen, and concerning which I know too little to speak with any particularity. From its geographical position and its relation to such, a specimen of many, is the Kennebago Falls, omi the outlet of the Kennebago Lake. This outlet, on its way to the great lakes, joins the outlet of Rangeley Lake at Indian Rock, to which somewhat famous spot we have now to make our way. The Mollychmozkemunk, before referred to, whose daily round trips traverse the Range- ley Lake from end to end, is one of a fleet of four little steamers ~vhich, with the sea- son of 1876, have extended a line of commu- nication throughout the entire chain of lakes. Captain Howard, the projector and organizer of this useful enterprise, is a young man of grit and genius, and deserves well of travellers through this country for his efforts to promote their convenience and comfort. It was with some misgivings that lie launched his undertaking two summers ago, but the result has more than fulfilled his most sanguine hopes. Unless all signs fail, he has laid the foundations of what is to prove a very extensive summer travel through this lake country. The Molly- chunkemunk leaves Kimballs early in the afternoon, and makes the trip to the Mount- ain View House, at the foot of the lake, a distance of about ten miles, in an hour and a half exelusive of time consumed in a stop- page at Rangeley City on the way. The sail is one of extreme beauty. Unless the wind be very high, which is not commonly the case, the lake is comparatively smooth and often its surface is undisturbed by a single ripple. This supreme stillness is, MOUNTAiN vmzw HOUSE. HARPERS NEW MONTHLY MAGAZINE. however, oftener the fea