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Catalogues began to be published, and in 1797 Adam Bartsch, keeper of the prints in the library at Vienna, issued the well-known catalogue that bears his name in two octavo volumes. Since Bartsch's monumental work many students of the etchings have striven to sift the authentic from the false. Needless to say, they disagree. Here are the figures:
For a full description of his prints, the reader is referred to Bartsch's Peintre Graveur. His prints are very numerous, yet they command very high prices. The largest collection of his prints known, was made by M. de Burgy at the Hague, who died in 1755. This collection contained 665 prints with their variations, namely, 257 portraits, 161 histories, 155 figures, and 85 landscapes.
My knowledge of troubadours, trouvères, and minnesingers is obtained mainly from the great collections of Raynouard, Wackernagel, Mätzner, Bartsch, and Von der Hagen, and from Bartsch's and Simrock's editions and versions of Gottfried von Strassburg, Hartmann von Aue, and Wolfram von Eschenbach.
At first I did not understand what she meant by anything, but she explained to me. She has read Bartsch's novel Elisabeth Kott, the book Mother has too, and a lot of other novels about artistic life, and they all say the same thing, that a woman cannot become a true artist until she has experienced a great love. There may be something in it.
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