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The Death of Alexander the Great,
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The Death of Cæsar,
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Nero at the Burning of Rome, and
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The Triumphal Progress of Germanicus ; and from mediæval history,
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Galileo in his Prison observing the Periodic Return of a Solar Ray, and
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Columbus sighting Land ; from the history of the Thirty Years' War,
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The Foundation of the Catholic League by Duke Maximilian of Bavaria,
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Seni before the Body of Wallenstein (the morning before the battle at the White Mountain, Seni has come to carry away Wallenstein's body),
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Wallenstein on the way to Eger, and
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The News of the Battle at the White Mountain ; from English history,
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The Death Sentence of Mary Stuart ; and from French history,
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The Girondists on their Way to the Scaffold.
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so it now appeared as though laurels were to be gathered there only. From the political dismemberment of the present, German artists were glad to seek refuge as far back as possible in the past, and they flung themselves on the new province with such fiery zeal that, after a few decades, there was a really appalling number of historical pictures, illustrating every page of Schlosser's great history of the world. _Max Adamo_ painted
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The Netherlandish Nobles before the Tribunal of Alva,
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The Fall of Robespierre in the National Convention,
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The Prince of Orange's Last Conversation with Egmont,
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Charles I meeting Cromwell at Childerley,
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The Dissolution of the Long Parliament, and
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Charles I receiving the Visit of his Children at Maidenhead ; _Julius Benczur_:
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The Departure of Ladislaus Hunyadi, and
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The Baptism of Vajk, afterwards King Stephen the Holy of Hungary; _Josef Fluggen_:
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The Flight of the Landgravine Elizabeth,
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Milton dictating Paradise Lost, and
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The Landgravine Margarethe taking leave of her Children ; by _Carl Gustav Hellquist_ there were
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The Death of the wounded Sten Sture after the Battle of Bogesund in the Mälarsee,
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The Embarkment of the Body of Gustavus Adolphus, and the forced contribution of
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Wisby and Huss going to the Stake. _Ernst Hildebrand_ had the Electress of Brandenburg secretly taking the sacrament in both kinds, and Tullia driving over the corpse of her father; _Frank Kirchbach_ displayed
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Duke Christopher the Warrior ; _Ludwig von Langenmantel_:
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The Arrest of the French Chemist Lavoisier under the Reign of Terror, and
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Savonarola's Sermon against the Luxury of the Florentines ; _Emanuel Leutze_: a
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Columbus before the Council of Salamanca,
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Raleigh's Departure,
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Cromwell's Visit to Milton,
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The Battle of Monmouth, and
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The Last Festival of Charles I ; _Alexander Liezenmayer_:
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The Coronation of Charles Durazzo in Stuhlweissenburg, and
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The Canonisation of the Landgravine Elizabeth of Thüringen ; _Wilhelm Lindenschmit_:
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Duke Alva at the Countess of Rudolstadt's,
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Francis I at Pavia,
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The Death of Franz Von Sickingen,
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Knox and the Scottish Image-breakers,
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The Assassination of William of Orange,
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Walter Raleigh visited in his Cell by his Family,
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Luther before Cardinal Cajetan,
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Anne Boleyn giving her Child Elizabeth to the care of Matthew Parker, and
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The Entrance of Alaric into Rome ; _Alexander Wagner_:
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The Departure of Isabella Zapolya from Siebenbürgen,
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The Entry into Aschaffenburg of Gustavus Adolphus,
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The Wedding of Otto of Bavaria,
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The Death of Titus Dugowich,
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Matthias Corvinus with his Hunting Train,
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carried on by a joint-stock company, almost never got any further than stage pathos, tailoring, and glittering splendour of material. Like many another thing which the nineteenth century brought to birth, it was an artistic error, which countless persons paid for by the waste of their lives. The older art knew nothing of such a reconstruction of the past. If historical subjects were painted, the artists were almost throughout contemporaries of the subject that was to be treated; seldom did the materials belong to an epoch already past. But in both cases the work was done by immediate intuition, since even in the treatment of matters long gone by the painters never dreamed of painting them in the spirit of past times. They might depict Jews, or Greeks, or Romans, but they always represented their own countrymen in the surroundings and costume of their own time. The scientific nineteenth century made the first demand for historical accuracy. In dress and furniture this could be attained with the assistance of a cabinet of engravings and a work on costume. Whoever went to work in a very scientific spirit could even borrow from a museum the genuine costumes of Egmont and Wallenstein. But it was all the harder artistically to quicken into life the men themselves who had felt, lived, and suffered in the past. The painter could not proceed otherwise than by draping a modern, professional model, having consulted portraits, drawings, or busts, and having sought the aid of a peruke and false beard. An entirely realistic reproduction of this masquerade, however, made only too evident the contrast between the splendid old garment and the member of the proletariat who was dressed up in it. For, granted that men of the present have much in common with those of the past, every period has none the less its own type, even its own gestures, which no costume can make one forget. And speaking merely of general humanity, there is no question that a statesman at all times looked different from a professional model. In a very bad suit of clothes, but in one which, at any rate, fitted him, and in which he was able to behave himself naturally, the poor fellow came to the studio, to feel, for a few hours, in satin hose and a velvet doublet, like a carnival figure. Who was to give him the easy knightly bearing to play his part suitably to the occasion? It was not possible in this way ever to attain the naturalness and fulness of life of the old painters. In Terborg's
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Peace of Westphalia