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The excavations which have been made for the monument of Schiller and Goethe will, it is feared, cause a dangerous settlement of the soil near the theatre, and the two "fellows" may possibly not be able to find a secure position in Weymar. A telegram has been sent to Rietschel in order to decide in what manner the danger can be prevented.
It was only when my old friend Pecht, who had also settled in Dresden for a time, clearly and emphatically explained to me Hanel's standing as an artist, that I conquered all my secret doubts, and tried to find some pleasure in his works. Rietschel, who was also a member of our society, was the very antithesis of Hanel.
Semper was the only man who, in his extraordinary fashion, often so enlivened our entertainments that Rietschel, inwardly sympathetic, though painfully startled, would heartily complain against the unrestrained outbursts that led not infrequently to hot discussions between Semper and myself.
I often found it difficult to believe that the pale delicate man, with the whining nervous way of expressing himself, was really a sculptor; but as similar peculiarities in Schnorr did not prevent me from recognising him as a marvellous painter, this helped me to make friends with Rietschel, as he was quite free from affectation, and had a warm sympathetic soul that drew me ever closer to him.
Rietschel, who seemed to think I was better informed of the facts than he was, assured me that he felt his position was a very difficult one. He said the select company to which he belonged was very democratic, and as his professorship at the Fine Arts Academy placed him in a peculiar position, he did not know how to reconcile the sentiments he shared with his company with his duty as a citizen.
"Rienzi" with Tichatschek is to be given at Weymar in the course of the winter. Previous to that I shall go to Dresden, where I have promised Rietschel to pay my OLD debt to Weber, and to make ONE exception by playing several of Weber's pianoforte compositions at a concert for the benefit of the Weber monument, the model of which Rietschel has executed with incomparable mastery.
While he walked about, smoking his cigar, and making fun of the naivete of the Dresden revolution, I watched the Communal Guards assembling under arms in front of the Town Hall at the summons of their commandant. From the ranks of its most popular corps, the Schutzen-Compagnie, I was accosted by Rietschel, who was most anxious about the nature of the rising, and also by Semper.
Rietschel, himself formerly a Wittenberger: "The form of baptism at Wittenberg is manifest from the picture by L. Cranach on the altar of the Wittenberg Pfarrkirche, in which Melanchthon is administering baptism. At Melanchthon's left hand lies the completely naked child over the foot. With his right hand he is pouring water upon the child's head, from which the water is copiously flowing."
Pfeisterrer, G. F. Luthers Lehre von der Beichte, 1857. Klieftoth, Th. Lit. Abhandlungen, 2: Die Beichte und Absolution, 1856. Fischer, E., Zur Geschichte der evangelischen Beichte, 2 vols., 1902-1903. Rietschel, G., Lehrbuch der Liturgik, vol 2, particularly secs. 44, 45, Luthers Affassung der Beichte and Luthers Auffassung von der Absolution. Henry E. Jacobs. Mount Airy, Philadelphia.
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