& Co. have purchased the duplicate of this work, to be completed on the first of July, for seven thousand dollars. The picture described was unfinished, and has been exhibited by the underwriters, to whom it was given up after the fire.
An Italian picture dealer in London named Campanari, lately bought for a trifle a portrait which has proved to be a genuine Michel Angelo. It represents the famous Vittoria Colonna, wife of the Marchese Pescara, the General of Charles V. She was herself distinguished as a poetess as well as by the impassioned love and adoration of the great painter, who not only took her portrait, but left behind him several sonnets in her honor. Campanari, though himself confident of the genuineness of the picture, could not procure it to be recognized in England. Accordingly he sent it to Rome, where the Academy of San Luca, with Minardi at its head, unanimously decided in its favor. In fact, it contains a grandeur and sublimity which could be ascribed to nobody but the author of the prophets and sibyls of the Sistine Chapel. An antique repose is displayed in the whole work, perfectly agreeing with the character of the lady as described by Michel Angelo, and which suits the advanced age at which she is painted. The execution is like that of the picture in the Florentine Tribune, in the wonderful facility of its execution. In the coloring a carnation hue is remarkable, like that in Michel Angelo's Roman works. The hands of the figure are thought to be by some other artist. Only the head and part of the person seem to be by the author. The picture has suffered little from time, some parts having apparently been repaired by a later pencil. It is valued at $30,000.
The Munich Art-Union gives to its subscribers for the next year a galvanograph of Rubens' Columbus. This is the first time that galvanography has been applied to such a purpose. The plate from which the print is taken has been copied by the galvanoplastic process, so that it can serve for other art-unions also. For 1851 the Munich Union has decided on engraving four Greek landscapes by C. Rottman. These plates will also be copied by the same process, and may be had at much less than the cost of original plates.
GOETHE'S OPINION OF BYRON, SCOTT, AND CARLYLE
Mr. John Oxenford, who has shown remarkable capacities for appropriation, in the use he has made of the labors of William Peter, Parke Godwin, and others, in his various "translations" from the German, has recently fallen in with Margaret Fuller d'Ossoli's version of the Conversations of Goethe with Eckermann, published many years ago by Mr. Ripley in his "Specimens of Foreign Literature;" and the result is two volumes, embracing, with what Margaret Fuller translated, the great poet's conversations with Soret. Among the chief notable men who existed at the time of the conversations, and to whom reference is made, are Scott and Byron. The first, whose Fair Maid of Perth is read as a new book, is praised for his "objective" qualities. The second is pronounced the greatest modern poet of England, but censured for his polemic tendency. Goethe's rapture is kindled when he speaks of him:
"'Lord Byron,' said Goethe, 'is to be regarded as a man, as an Englishman, and as a great talent. His good qualities belong chiefly to the man, his bad to the Englishman and the peer, his talent is incommensurable. All Englishmen are, as such, without reflection, properly so called; distractions and party spirit will not permit them to unfold themselves in quiet. But they are great as practical men. Thus, Lord Byron could never attain reflection on himself, and on this account the maxims in general are not successful, as is shown by his creed, 'much money, no authority,' for much money always paralyzes authority. But where he will create, he always succeeds; and we may truly say that with him inspiration supplies the place of reflection. He was always obliged to go on poetizing, and then every thing that came from the man, especially from his heart, was excellent. He produced his best things, as women do pretty children, without thinking about it or knowing how it was done. He is a great talent, a born talent, and I never saw the true poetical power greater in any man than in him. In the apprehension of external objects, and a clear penetration into past situations, he is quite as great as Shakspeare. But as a pure individuality, Shakspeare is his superior. This was felt by Byron, and on this account he does not say much of Shakspeare, although he knows whole passages by heart. He would willingly have denied him altogether, for Shakspeare's cheerfulness is in his way, and he feels that he is no match for it. Pope he does not deny, for he had no cause to fear him. On the contrary, he mentions him, and shows him respect when he can, for he knows well enough that Pope is a mere foil to himself.'…
"Goethe seemed inexhaustible on the subject of Byron, and I felt that I could not listen enough. After a few digressions, he proceeded thus: 'His high rank as an English peer was very injurious to Byron; for every talent is oppressed by the outer world,—how much more, then, when there are such high birth and so great a fortune. A certain middle rank is much more favorable to talent, on which account we find all great artists and poets in the middle classes. Byron's predilection for the unbounded could not have been nearly so dangerous with more humble birth and smaller means. But as it was, he was able to put every fancy into practice, and this involved him in innumerable scrapes. Besides, how could one of such high rank be inspired with awe and respect by any rank whatever? He spoke out whatever he felt, and this brought him into ceaseless conflict with the world. It is surprising to remark,' continued Goethe, 'how large a portion of the life of a rich Englishman of rank is passed in duels and elopements. Lord Byron himself says, that his father carried off three ladies. And let any man be a steady son after that. Properly speaking, he lived perpetually in a state of nature, and with his mode of existence the necessity for self-defence floated daily before his eyes. Hence his constant pistol-shooting. Every moment he expected to be called out. He could not live alone. Hence, with all his oddities, he was very indulgent to his associates. He one evening read his fine poem on the Death of Sir John Moore, and his noble friends did not know what to make of it. This did not move him, but he put it away again. As a poet, he really showed himself a lamb. Another would have commended them to the devil.'"
Yet Goethe had a curious theory in respect to criticism, and believed it possible for a foreigner to understand the achievements of a language not his own better than those to whom it is native—in which we think he was partially correct. In the following he criticises Carlyle.
"'Sit down,' said he, 'and let us talk awhile. A new translation of Sophocles has just arrived. It reads well, and seems to be excellent; I will compare it with Solgar. Now, what say you to Carlyle?' I told him what I had been reading upon Fonqué. 'Is not that very good?' said Goethe. 'Aye, there are clever people over the sea, who know us and can appreciate us?… We are weakest in the æsthetic department, and may wait long before we meet such a man as Carlyle. It is pleasant to see that intercourse is now so close between the French, English, and Germans, that we shall be able to correct one another. This is the greatest use of a world-literature, which will show itself more and more. Carlyle has written a life of Schiller, and judged him as it would be difficult for a German to judge him. On the other hand, we are clear about Shakspeare and Byron, and can, perhaps, appreciate their merits better than the English themselves."
Carlyle is frequently referred to, and always thus. The clear-sighted, great old man, already perceives how much his fame will owe to such an apostle and preacher of his faith—for he sees also what Carlyle himself will become. The mention of Lockhart is also very interesting.
"I asked about Lockhart, and whether he still recollected him. 'Perfectly well!' returned Goethe. 'His personal appearance makes so decided an impression that one cannot easily forget him. From all I hear from Englishmen, and from my daughter-in-law, he must be a young man from whom great things in literature are to be expected. I almost wonder that Walter Scott does not say a word about Carlyle, who has so decided a German tendency that he must certainly be known to him. It is admirable in Carlyle that, in his judgment of our German authors, he has especially in view the mental and moral core as that which is really influential. Carlyle is a moral force of great importance. There is in him much for the future, and we cannot foresee what he will produce and effect.'"
Again:
"'It is pleasant to see,' said Goethe, 'how the earlier pedantry of the Scotch has changed into earnestness and profundity. When I recollect how the 'Edinburgh Reviewers' treated
