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It may have been that the execution of "Faust," his masterpiece, disinclined Retsch for the treatment of another love story. He did subsequently illustrate "Romeo and Juliet" with much grace and beauty; but it is, as a whole, undoubtedly inferior to his illustrations of Goethe's tragical love story.
"It is Retsch's engraving," Daisy answered, as sedately as if she had been forty years old. "Retsch! yes, I know him but what does the thing mean?" "It is supposed to be the devil playing with a young man for his soul," Daisy said very gravely. "Who plays the devil?" "Preston does." "And who is to be the angel?" "I am to be the angel," said Daisy. "Very judicious.
We seemed to be gazing on some primeval solitude, on the spot where Astræa might have last lingered, and whence the impress of her footstep had not been yet obliterated by the violence of man. It was a perfect presentation of the still and calm, and touched the same associations that are made to thrill by Flaxman or Retsch.
As to Germany, to embody her in the hieroglyphics of the new press, might be a study for Retsch; and who will care for the lumbering pages of Von Raumer, or the wishy-washy details of Kohl, when able, in an augenblick, to bring Berlin and Vienna before him; to study the Zollverein in the copy of the King of Prussia's cogitative countenance, and ascertain the views of Metternich concerning the elder branch of the Bourbons, by a cul de lampe in the Morning Chronicle!
My father desires me to send you Retsch's "Hamlet;" it is his, and I request you not to judge it too hastily: I have generally heard it abused, but I think in many parts it has very great merit. I am told that Retsch says he has no fancy for illustrating "Romeo and Juliet," which seems strange.
I visited with the Baroness Decken, for the first time, the celebrated and clever painter Retsch, who has published the bold outlines of Goethe, Shakspeare, &c. He lives a sort of Arcadian life among lowly vineyards on the way to Meissen.
The German artist Retsch in his fine outline illustrations of this play has conceived this Fool with fine appreciation of Shakespeare's meaning. He makes him a mature man, with a wan face and a sad, eager eye.
"I shall know what it means, I suppose, when I see the pictures. What is this 'Game of Life?" "It is Retsch's engraving," Daisy answered, as sedately as if she had been forty years old. "Retsch! yes, I know him but what does the thing mean?" "It is supposed to be the devil playing with a young man for his soul," Daisy said, very gravely. "Who plays the devil?" "Preston does."
"A splendid bit!" ejaculated St. John; "touched in with freedom, a grand tournure, great gout in the swell of the neck. What a study for Retsch!" "In the name of the Graces, who is it, mio Santo?" "Ay! name la bellissima Signora." "The 'fine bit, St. John, is my sister." "The devil!" "Diavolo!" "Will you introduce us, most holy man?"
The face of Mephistopheles regarding Margaret and Faust might suggest some idea of the picture we design to paint; but the countenance of Welford was more lofty, as well as comelier, in character, though not less malignant in expression, than that which the incomparable Retsch has given to the mocking fiend.
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