The German Classics of the Nineteenth and Twentieth Centuries, Volume 04: Masterpieces of German Literature Translated into English. in Twenty Volumes
General
The German Classics of the Nineteenth and Twentieth Centuries, Volume 04: Masterpieces of German Literature Translated into English. in Twenty Volumes
German literature -- 19th century -- Translations into English; German literature -- 20th century -- Translations into English
With the passage through the church of St. Peter, the knight began the
noble course through Immortality. The Princess let herself, by the tie
of Art, be bound to the circle of the men. As Albano was more smitten
with edifices than with any other work of man, so did he see from
afar, with holy heart, the long mountain-chain of Art, which again
bore upon itself hills, so did he stop before the plain, around which
the enormous colonnades run like Corsos, bearing a people of statues.
In the centre shoots up the Obelisk, and on its right and left an
eternal fountain, and from the lofty steps the proud Church of the
world, inwardly filled with churches, rearing upon itself a temple
toward Heaven, looks down upon the earth. But how wonderfully, as they
drew near, had its columns and its rocky wall mounted up and flown
away from the vision!
He entered the magic church, which gave the world blessings, curses,
kings and popes, with the consciousness, that, like the world-edifice,
it was continually enlarging and receding more and more the longer one
remained in it. They went up to two children of white marble who held
an incense-muscle-shell of yellow marble; the children grew by
nearness till they were giants. At length they stood at the main
altar and its hundred perpetual lamps. What a place! Above them the
heaven's arch of the dome, resting on four inner towers; around them
an over-arched city of four streets in which stood churches. The
temple became greatest by walking in it; and, when they passed round
one column, there stood a new one before them, and holy giants gazed
earnestly down.
Here was the youth's large heart, after so long a time, filled. "In no
art," said he to his father, "is the soul so mightily possessed with
the sublime as in architecture; in every other the giant stands within
and in the depths of the soul, but here he stands out of and close
before it." Dian, to whom all images were more clear than abstract
ideas, said he was perfectly right. Fraischdörfer replied, "The
sublime also here lies only in the brain, for the whole church stands,
after all, in something greater, namely, in Rome, and under the
heavens; in the presence of which latter we certainly should not feel
anything." He also complained that "the place for the sublime in his
head was very much narrowed by the innumerable volutes and monuments
which the temple shut up therein at the same time with itself."
Gaspard, taking everything in a large sense, remarked, "When the
sublime once really appears, it then, by its very nature, absorbs and
annihilates all little circumstantial ornaments." He adduced as
evidence the tower of the Minster,[6] and Nature itself, which is not
made smaller by its grasses and villages.
Among so many connoisseurs of art, the Princess enjoyed in silence.
Public-domain text, read in full here on John Shaqi.
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