As for pictures and sculptures, I am thoroughly tired of them. The greatest art critic living could not dislike pictures and sculptures more than I do at this moment. We began by spending a whole morning in each gallery. We examined each picture critically, and argued with each other about its "form" and "colour" and "treatment" and "perspective" and "texture" and "atmosphere." I generally said it was flat, and B. that it was out of drawing. A stranger overhearing our discussions would have imagined that we knew something about painting. We would stand in front of a canvas for ten minutes, drinking it in. We would walk round it, so as to get the proper light upon it and to better realise the artist"s aim. We would back away from it on to the toes of the people behind, until we reached the correct "distance," and then sit down and shade our eyes, and criticise it from there; and then we would go up and put our noses against it, and examine the workmanship in detail.
This is how we used to look at pictures in the early stages of our Munich art studies. Now we use picture galleries to practise spurts in.
I did a hundred yards this morning through the old Pantechnicon in twenty-two and a half seconds, which, for fair heel-and-toe walking, I consider very creditable. B. took five-eighths of a second longer for the same distance; but then he dawdled to look at a Raphael.
The "Pantechnicon," I should explain, is the name we have, for our own purposes, given to what the Munichers prefer to call the Pinakothek. We could never p.r.o.nounce Pinakothek properly. We called it "Pynniosec,"
"Pintactec," and the "Happy Tack." B. one day after dinner called it the "Penny c.o.c.k," and then we both got frightened, and agreed to fix up some sensible, practical name for it before any mischief was done. We finally decided on "Pantechnicon," which begins with a "P," and is a dignified, old-established name, and one that we can both p.r.o.nounce. It is quite as long, and nearly as difficult to spell, before you know how, as the other, added to which it has a homely sound. It seemed to be the very word.
The old Pantechnicon is devoted to the works of the old masters; I shall not say anything about these, as I do not wish to disturb in any way the critical opinion that Europe has already formed concerning them. I prefer that the art schools of the world should judge for themselves in the matter. I will merely remark here, for purposes of reference, that I thought some of the pictures very beautiful, and that others I did not care for.
What struck me as most curious about the exhibition was the number of canvases dealing with food stuffs. Twenty-five per cent. of the pictures in the place seem to have been painted as advertis.e.m.e.nts for somebody"s home-grown seeds, or as coloured supplements to be given away with the summer number of the leading gardening journal of the period.
"What could have induced these old fellows," I said to B., "to choose such very uninteresting subjects? Who on earth cares to look at the life-sized portrait of a cabbage and a peck of peas, or at these no doubt masterly representations of a cut from the joint with bread and vegetables? Look at that "View in a ham-and-beef shop," No. 7063, size sixty feet by forty. It must have taken the artist a couple of years to paint. Who did he expect was going to buy it? And that Christmas-hamper scene over in the corner; was it painted, do you think, by some poor, half-starved devil, who thought he would have something to eat in the house, if it were only a picture of it?"
B. said he thought that the explanation was that the ancient patrons of art were gentry with a very strong idea of the fitness of things. For "their churches and cathedrals," said B., "they had painted all those virgins and martyrs and over-fed angels that you see everywhere about Europe. For their bedrooms, they ordered those--well, those bedroom sort of pictures, that you may have noticed here and there; and then I expect they used these victual-and-drink-scapes for their banqueting halls. It must have been like a gin-and-bitters to them, the sight of all that food."
In the new Pantechnicon is exhibited the modern art of Germany. This appeared to me to be exceedingly poor stuff. It seemed to belong to the ill.u.s.trated Christmas number school of art. It was good, sound, respectable work enough. There was plenty of colour about it, and you could tell what everything was meant for. But there seemed no imagination, no individuality, no thought, anywhere. Each picture looked as though it could have been produced by anyone who had studied and practised art for the requisite number of years, and who was not a born fool. At all events, this is my opinion; and, as I know nothing whatever about art, I speak without prejudice.
One thing I have enjoyed at Munich very much, and that has been the music. The German band that you hear in the square in London while you are trying to compose an essay on the civilising influence of music, is not the sort of band that you hear in Germany. The German bands that come to London are bands that have fled from Germany, in order to save their lives. In Germany, these bands would be slaughtered at the public expense and their bodies given to the poor for sausages. The bands that the Germans keep for themselves are magnificent bands.
Munich of all places in the now united Fatherland, has, I suppose, the greatest reputation for its military bands, and the citizens are allowed, not only to pay for them, but to hear them. Two or three times a day in different parts of the city one or another of them will be playing _pro bono publico_, and, in the evening, they are loaned out by the authorities to the proprietors of the big beer-gardens.
"Go" and dash are the chief characteristics of their method; but, when needed, they can produce from the battered, time-worn trumpets, which have been handed down from player to player since the regiment was first formed, notes as soft and full and clear as any that could start from the strings of some old violin.
The German band in Germany has to know its business to be listened to by a German audience. The Bavarian artisan or shopkeeper understands and appreciates good music, as he understands and appreciates good beer. You cannot impose upon him with an inferior article. A music-hall audience in Munich are very particular as to how their beloved Wagner is rendered, and the trifles from Mozart and Haydn that they love to take in with their sausages and salad, and which, when performed to their satisfaction, they will thunderously applaud, must not be taken liberties with, or they will know the reason why.
The German beer-garden should be visited by everyone who would see the German people as well as their churches and castles. It is here that the workers of all kinds congregate in the evening. Here, after the labours of the day, come the tradesman with his wife and family, the young clerk with his betrothed and--also her mother, alack and well-a-day!--the soldier with his sweetheart, the students in twos and threes, the little grisette with her cousin, the shop-boy and the workman.
Here come grey-haired Darby and Joan, and, over the mug of beer they share between them, they sit thinking of the children--of little Lisa, married to clever Karl, who is pushing his way in the far-off land that lies across the great sea; of laughing Elsie, settled in Hamburg, who has grandchildren of her own now; of fair-haired Franz, his mother"s pet, who fell in sunny France, fighting for the fatherland. At the next table sits a blushing, happy little maid, full of haughty airs and graces, such as may be excused to a little maid who has just saved a no doubt promising, but at present somewhat awkward-looking, youth from lifelong misery, if not madness and suicide (depend upon it, that is the alternative he put before her), by at last condescending to give him the plump little hand, that he, thinking n.o.body sees him, holds so tightly beneath the table-cloth. Opposite, a family group sit discussing omelettes and a bottle of white wine. The father contented, good-humoured, and laughing; the small child grave and solemn, eating and drinking in business-like fashion; the mother smiling at both, yet not forgetting to eat.
I think one would learn to love these German women if one lived among them for long. There is something so sweet, so womanly, so genuine about them. They seem to shed around them, from their bright, good-tempered faces, a healthy atmosphere of all that is homely, and simple, and good.
Looking into their quiet, steadfast eyes, one dreams of white household linen, folded in great presses; of sweet-smelling herbs; of savoury, appetising things being cooked for supper; of bright-polished furniture; of the patter of tiny feet; of little high-pitched voices, asking silly questions; of quiet talks in the lamp-lit parlour after the children are in bed, upon important questions of house management and home politics, while long stockings are being darned.
They are not the sort of women to turn a man"s head, but they are the sort of women to lay hold of a man"s heart--very gently at first, so that he hardly knows that they have touched it, and then, with soft, clinging tendrils that wrap themselves tighter and tighter year by year around it, and draw him closer and closer--till, as, one by one, the false visions and hot pa.s.sions of his youth fade away, the plain homely figure fills more and more his days--till it grows to mean for him all the better, more lasting, true part of life--till he feels that the strong, gentle mother-nature that has stood so long beside him has been welded firmly into his own, and that they twain are now at last one finished whole.
We had our dinner at a beer-garden the day before yesterday. We thought it would be pleasant to eat and drink to the accompaniment of music, but we found that in practice this was not so. To dine successfully to music needs a very strong digestion--especially in Bavaria.
The band that performs at a Munich beer-garden is not the sort of band that can be ignored. The members of a Munich military band are big, broad-chested fellows, and they are not afraid of work. They do not talk much, and they never whistle. They keep all their breath to do their duty with. They do not blow their very hardest, for fear of bursting their instruments; but whatever pressure to the square inch the trumpet, cornet, or trombone, as the case may be, is calculated to be capable of sustaining without permanent injury (and they are tolerably sound and well-seasoned utensils), that pressure the conscientious German bandsman puts upon each square inch of the trumpet, cornet, or trombone, as the case may be.
If you are within a mile of a Munich military band, and are not stone deaf, you listen to it, and do not think of much else. It compels your attention by its mere noise; it dominates your whole being by its sheer strength. Your mind has to follow it as the feet of the little children followed the playing of the Pied Piper. Whatever you do, you have to do in unison with the band. All through our meal we had to keep time with the music.
We ate our soup to slow waltz time, with the result that every spoonful was cold before we got it up to our mouth. Just as the fish came, the band started a quick polka, and the consequence of that was that we had not time to pick out the bones. We gulped down white wine to the "Blacksmith"s Galop," and if the tune had lasted much longer we should both have been blind drunk. With the advent of our steaks, the band struck up a selection from Wagner.
I know of no modern European composer so difficult to eat beefsteak to as Wagner. That we did not choke ourselves is a miracle. Wagner"s orchestration is most trying to follow. We had to give up all idea of mustard. B. tried to eat a bit of bread with his steak, and got most hopelessly out of tune. I am afraid I was a little flat myself during the "Valkyries" Ride." My steak was rather underdone, and I could not work it quickly enough.
After getting outside hard beefsteak to Wagner, putting away potato salad to the garden music out of _Faust_ was comparatively simple. Once or twice a slice of potato stuck in our throat during a very high note, but, on the whole, our rendering was fairly artistic.
We rattled off a sweet omelette to a symphony in G--or F, or else K; I won"t be positive as to the precise letter; but it was something in the alphabet, I know--and bolted our cheese to the ballet music from _Carmen_. After which we rolled about in agonies to all the national airs of Europe.
If ever you visit a German beer-hall or garden--to study character or anything of that kind--be careful, when you have finished drinking your beer, to shut the cover of the mug down tight. If you leave it with the cover standing open, that is taken as a sign that you want more beer, and the girl s.n.a.t.c.hes it away and brings it back refilled.
B. and I very nearly had an accident one warm night, owing to our ignorance of this custom. Each time after we had swallowed the quart, we left the pot, standing before us with the cover up, and each time it was, in consequence, taken away, and brought back to us, br.i.m.m.i.n.g full again.
After about the sixth time, we gently remonstrated.
"This is very kind of you, my good girl," B. said, "but really I don"t think we _can_. I don"t think we ought to. You must not go on doing this sort of thing. We will drink this one now that you have brought it, but we really must insist on its being the last."
After about the tenth time we expostulated still more strongly.
"Now, you know what I told you four quarts ago!" remarked B., severely.
"This can"t go on for ever. Something serious will be happening. We are not used to your German school of drinking. We are only foreigners. In our own country we are considered rather swagger at this elbow-raising business, and for the credit of old England we have done our best. But now there must be an end to it. I simply decline to drink any more. No, do not press me. Not even another gallon!"
"But you both sit there with both your mugs open," replies the girl in an injured tone.
"What do you mean, "we sit with our mugs open"?" asks B. "Can"t we have our mugs open if we like?"
"Ah, yes," she explains pathetically; "but then I think you want more beer. Gentlemen always open their mugs when they want them filled with beer."
We kept our mugs shut after that.
MONDAY, JUNE 9TH
A Long Chapter, but happily the Last.--The Pilgrims" Return.--A Deserted Town.--Heidelberg.--The Common, or Bed, Sheet, Considered as a Towel.--B.
Grapples with a Continental Time Table.--An Untractable Train.--A Quick Run.--Trains that Start from Nowhere.--Trains that Arrive at Nowhere.--Trains that Don"t Do Anything.--B. Goes Mad.--Railway Travelling in Germany.--B. is Taken Prisoner.--His Fort.i.tude.--Advantages of Ignorance.--First Impressions of Germany and of the Germans.
We are at Ostend. Our pilgrimage has ended. We sail for Dover in three hours" time. The wind seems rather fresh, but they say that it will drop towards the evening. I hope they are not deceiving us.
We are disappointed with Ostend. We thought that Ostend would be gay and crowded. We thought that there would be bands and theatres and concerts, and busy table-d"hotes, and lively sands, and thronged parades, and pretty girls at Ostend.
I bought a stick and a new pair of boots at Brussels on purpose for Ostend.
There does not seem to be a living visitor in the place besides ourselves--nor a dead one either, that we can find. The shops are shut up, the houses are deserted, the casino is closed. Notice-boards are exhibited outside the hotels to the effect that the police have strict orders to take into custody anybody found trespa.s.sing upon or damaging the premises.
We found one restaurant which looked a little less like a morgue than did the other restaurants in the town, and rang the bell. After we had waited for about a quarter of an hour, an old woman answered the door, and asked us what we wanted. We said a steak and chipped potatoes for two, and a couple of lagers. She said would we call again in about a fortnight"s time, when the family would be at home? She did not herself know where the things were kept.
We went down on to the sands this morning. We had not been walking up and down for more than half an hour before we came across the distinct imprint of a human foot. Someone must have been there this very day! We were a good deal alarmed. We could not imagine how he came there. The weather is too fine for shipwrecks, and it was not a part of the coast where any pa.s.sing trader would be likely to land. Besides, if anyone has landed, where is he? We have been able to find no trace of him whatever.
To this hour, we have never discovered who our strange visitant was.
It is a very mysterious affair, and I am glad we are going away.
We have been travelling about a good deal since we left Munich. We went first to Heidelberg. We arrived early in the morning at Heidelberg, after an all-night journey, and the first thing that the proprietor of the Royal suggested, on seeing us, was that we should have a bath. We consented to the operation, and were each shown into a little marble bath-room, in which I felt like a bit out of a picture by Alma Tadema.
The bath was very refreshing; but I should have enjoyed the whole thing much better if they had provided me with something more suitable to wipe upon than a thin linen sheet. The Germans hold very curious notions as to the needs and requirements of a wet man. I wish they would occasionally wash and bath themselves, and then they would, perhaps, obtain more practical ideas upon the subject. I have wiped upon a sheet in cases of emergency, and so I have upon a pair of socks; but there is no doubt that the proper thing is a towel. To dry oneself upon a sheet needs special training and unusual agility. A Nautch Girl or a Dancing Dervish would, no doubt, get through the performance with credit. They would twirl the sheet gracefully round their head, draw it lightly across their back, twist it in waving folds round their legs, wrap themselves for a moment in its whirling maze, and then lightly skip away from it, dry and smiling.
But that is not the manner in which the dripping, untaught Briton attempts to wipe himself upon a sheet. The method he adopts is, to clutch the sheet with both hands, lean up against the wall, and rub himself with it. In trying to get the thing round to the back of him, he drops half of it into the water, and from that moment the bathroom is not big enough to enable him to get away for an instant from that wet half.
When he is wiping the front of himself with the dry half, the wet half climbs round behind, and, in a spirit of offensive familiarity, slaps him on the back. While he is stooping down rubbing his feet, it throws itself with delirious joy around his head, and he is black in the face before he can struggle away from its embrace. When he is least expecting anything of the kind, it flies round and gives him a playful flick upon some particularly tender part of his body that sends him springing with a yell ten feet up into the air. The great delight of the sheet, as a whole, is to trip him up whenever he attempts to move, so as to hear what he says when he sits down suddenly on the stone floor; and if it can throw him into the bath again just as he has finished wiping himself, it feels that life is worth living after all.