The Chautauquan, Vol. 04, October 1883Chautauqua Literary and Scientific Circle
Philosophy
The Chautauquan, Vol. 04, October 1883
Chautauqua Literary and Scientific Circle
Chautauqua Institution -- Periodicals; Chautauqua Literary and Scientific Circle -- Periodicals
The grand ducal palace at Weimar contains one unique room, while all
the others are handsome. The one which differs from similar palatial
apartments is frescoed with scenes from the works of Weimar’s great
poets. The halls are silent and one longs to see little fat Karl August
step out of a _saal_ or the Duchess Amelia greet Goethe or Schiller
on the stairway as in days of yore. Mr. Lewis, in his life of Goethe,
portrays such scenes with a graphic pen.
In 1832 the house in the Goethe-platz was left vacant by its great
occupant. Its art treasures, its library, its various collections,
showing how comprehensive Goethe’s mind was, and how many things he had
investigated, were abandoned, as all human efforts must be abandoned,
when the silent messenger calls the soul into the presence of its Great
Creator. If self-denial is required of those on earth who hope to enter
into his rest, then who can answer for Goethe? But surely the choir of
angels in “Faust” sing beautifully of it:
“Christ is arisen,
Praised be his name;
His love shared our prison
Of guilt and of shame;
He hath borne the hard trial of self-denial,
And triumphant ascends
To the hills whence he came.”
This house still stands as he left it, and is shown every Friday
afternoon to visitors. It has been occupied by his grandson for years.
The church in which Lucas Cranach’s great picture is to be seen, and in
which Herder preached, is a cold, heartless structure to a stranger,
but its very stones and walls must respond to the prayers of the old
inhabitants. The _brunnen_, or town well, in front of Lucas Cranach’s
house, when surrounded by a crowd of peasants offers a _genre_ picture
for an artist. The picture gallery is new and good. A large fresco
representing Weimar celebrities is in the front entrance. Bettina Von
Arnim is the only woman in the group. Perhaps her correspondence, which
is by many considered spurious, will make the artist regret that he
has given her so important a position in this fresco. To take an early
breakfast in some lovely arbor, overlooking some historic grounds, then
spend the morning in the gallery and the afternoon in the park, and the
evening at the concert, is about the happiest program one can follow in
a small German town.
Public-domain text, read in full here on John Shaqi.
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