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Updated: June 3, 2025
English, Dutch, and French may be found. The Liotard and Tischbein pastels are charming. The dead Christ is being lowered into the arms of his mother. It is evidently a copy from a lost original in the style of Rogier van der Weyden. There are such copies in Bruges and elsewhere. Another composition is labelled as an anonymous work of undetermined school.
And it must have been in support of this attempt that he consented to leave his own quarters and reside awhile in the studio of the outgoing Tischbein. That slippery man does, it is true, seem to have given out that he would not be away very long; and the prospect of his return may well have been reckoned in mitigation of his going.
Tischbein had, as it were, withdrawn the obelisk. What was Goethe to do? What can a dignitary, in such case, do? He cannot turn and recriminate. That would but lower him the more. Can he behave as though nothing has happened? Johann Wolfgang von Goethe tried to do so.
But we have no reason to suppose that Tischbein was less susceptible than Romney. Altogether, it seems likely enough that the future Lady Hamilton's fine eyes were Tischbein's main reason for not going to Sicily, and afterwards for his sudden exodus from Rome. But why, in this case, did he leave Naples, why go back to Rome, when Goethe was in Sicily?
'Latterly, writes Goethe, 'I have observed Tischbein regarding me; and now' note the demure pride!
There is never a reference to it by Goethe in any letter after that of June 27th. But I surmise that its nearness continually worked on him, and that sometimes, when no one was by, he all unwillingly approached it, he moved it out into a good light and, stepping back, gazed at it for a long time. And I wonder that Tischbein was not shamed, telepathically, to return.
The Campagna WANTS painting. Tischbein was evidently giving it a good dose of what it wanted. 'It takes no little time, writes Goethe to Frau von Stein, 'merely to cover so large a field of canvas with colours. Ash Wednesday ushered itself in, and ushered the Carnival out. The curtain falls, rising a few days later on the Bay of Naples. Re-enter Goethe and Tischbein. Bright blue back-cloth.
But, great as was Goethe's esteem for the mind of that nice woman, he set no store on this fluttering attempt of hers: 'her picture is a pretty fellow, to be sure, but not a trace of me. It was by the large and firm 'historic' mode of Tischbein that he, not exactly in his habit as he lived, but in the white mantle that so well became him, and on the worthy throne of that fallen obelisk, was to be handed down to the gaze of future ages.
The straighteners again roofed her over; after which they seemed to crack with the explosion of their wearer's honesty. Amid the flying splinters Mrs. Wix produced a name. "Mr. Tischbein." There was for an instant a silence that, under Sir Claude's influence and while he and Maisie looked at each other, suddenly pretended to be that of gravity. "We don't know Mr. Tischbein, do we, dear?"
Oscar Browning, in the 'Encyclopaedia Britannica, names Tischbein as Goethe's 'constant companion' in the early days at Rome and says nothing else about him! In fact, the hero-worshippers have evidently conspired to hush up the affront to their hero.
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