On the whole, however, it may truly be said that the luxuriant and appropriate decorations of this gallery, the variety of colour and ornament lavished on it, agreeably prepare the eye and the imagination for that glorious feast of beauty within, to which we are immediately introduced: and thus the overture to the Zauberflöte, (which we heard last night,) with its rich involved harmonies, its brilliant and exciting movements, attuned the ear and the fancy to enjoy the grand, thrilling, bewitching, love-breathing melodies of the opera which followed.
I omitted to mention that there are also on the upper floor of the Pinakothek two rooms, each about forty feet square; one called the _Reserve-Saal_, is intended for the reception of those pictures which are temporarily removed from their places, new acquisitions, &c. The other room is fitted up with every convenience for students and copyists.
The whole of this immense edifice is warmed throughout by heated air; the stoves being detached from the body of the building, and so managed as to preclude the possibility of danger from fire.
It does not appear to be yet decided whether the floors will be of the Venetian stucco, or of parquet.
Such, then, is the general plan of the Pinakothek, the national gallery of Bavaria. I make no comment, except that I felt and recognised in every part the presence of a directing mind, and the absence of all narrow views, all truckling to the interests, or tastes, or prejudices, or convenience, of any particular class of persons. It is very possible that when finished it will be found by scientific critics not absolutely _perfect_, which, as we know, all human works are at least intended and expected to be; but it is equally clear that an honest anxiety for the glory of art, and the benefit of the public--not the caprices of the king, nor the individual vanity of the architect--has been the moving principle throughout.
Fresco painting, or, as the Italians call it, _buon fresco_, had been entirely discontinued since the time of Raphael Mengs. It was revived at Rome in 1809-10, when the late M. Bartholdy, the Prussian consul-general, caused a saloon in his house to be painted in fresco by Peter Cornelius, Overbeck, and Philip Veith, all German artists, then resident at Rome. The subjects are taken from the Scriptures, and one of the admirable cartoons of Overbeck, (Joseph sold by his brethren,) I saw at Frankfort. These first essays are yet to be seen in Bartholdy's house, in the Via Sistina at Rome. They are rather hard, but in a grand style of composition. The success which attended this spirited undertaking, excited much attention and enthusiasm, and induced the Marchese Massimi to have his villa near the Lateran adorned in the same style. Accordingly, he had three grand halls or saloons, painted with subjects from Dante, Ariosto, and Tasso. The first was given to Philip Veith, the second to Julius Schnorr, and the third to Overbeck. Veith did not finish his work, which was afterwards terminated by Koch; the two other painters completed their task, much to the satisfaction of the Marchese, and to the admiration of all Rome.