Simon (1899-1960) and Max Lincoln
Schuster
(1897-1970) (see 27 June and 7 July 1936).
Samuel Beckett
irer and the Stoss-Kraft-Vischer turnover from say 20 years before the
5
complacent jealous zealous artisan. What remains after the
technique is the vision ofthe sturdy burgher full ofthe sense
ofhis worth and the mysteries ofhis trade & the sweat ofhis
brow & a determination to stand up to all princes & potencies
sacred & profane. It is Hans Sachsism. Not only Meistersinger,
but Meistermaler & Meisterbildhauer & Meistererzgiesser.
6
in the Lorenzkirche is a frightful machine, more gothic than
the gothic, a miracle oflaborious statics, a skyscrapery in dingy
limestone with the pinnacle bent to follow the curve of the
vaulting, showing that he could have gone on had not space
forbidden. And the famous Vischer Sebaldus Altar in the
Sebalduskirche is just a good black solid heavy job of work
with no labour spared & no expense. 7 It was a democracy
without historical context, over excited & over irritable. They
drove out the Jews in 1499 and kept them out for 3 and a half
8
barrow. Stoss is the best ofthem, but seems to have been very
much influenced by Riemenschneider & to have gone the
way ofRiemenschneider. In his last period crucifixes that are
big & bare because bigness & bareness are the thing. Some
9
abundance. Andheisalwayssentimental.
The great Ni. imberg period is for me now a conspiracy. I
century end to 20 years after. It is all so terribly guildy and
Stairpainting & draperies. The famous Kraft Ciborium Altar
centuries. And the catastrophe of 1517 was right into their
ofhis earlier house Madonnas are lovely. The Di. irer room in the Germanisches Museum is a scandal. They have so little by him that any old rag dirty enough to have possibly come from his workshop is made to serve. The only unquestionable
460
7 March 1937, McGreevy
Diirer in the whole of Niirnberg is the small portrait of Wohlgemut. 10
And now it is the industrial centre of Bavaria and with Munich & Berlin the third centre of Nazidiffusion and the seat
11
period novels, did you know? And enjoys I think £500 a year. Has Flaherty finished with his elephantboy? 12
I had a letter from Brian who mentioned he had heard from you. He remains very mysteriously under some wooden sword of Damocles, says he told his father he was dead & so on. 13 How fortunate to have a father to say that one is dead to.
An amusing letter also from Jack Yeats, wanting to know the players' advice to Hamlet and very pleased with the Duchess
14
of art writing a thesis on the influence of 19th century Munich
painting on the American primitives! I felt this to be an under
taking about as fruitful as say a study of the influence of Plato on
15
no. I really forget who was the last to scent the rejection slip. No
16
bolt back. It is the same thing over & over again & I do no work.
Stuttgart & Frankfurt remain after I am finished here, but unless
the mood, which has been developing for weeks, changes, I shall
give up the idea, move into digs here at half the price & save up
for the price ofan aeroplane to London, ifl can find some not too
particular travel agency to take Registermarks for the whole
17
461
ofJewbaiting Streicher & his rag.
I think I was at school with Mr Davidson. He writes facetious
ofMalfi at the Gate.
I met yesterday at breakfast a pleasant Californian student
Mrs Neighbour.
I was hoping to find a word fromReavey in the P. O. here, but
doubt there have been several more since.
I am very tired travelling and often feeling like making a
journey, and not merely to the frontier, as is the law.
7 March 1937, McGreevy
I have a couple of introductions to notabilities here and
18
mous. Doors open in May. She wants me to give one May Sarton
shall utter them I suppose in due course.
Mary Manning writes from Boston that her belly is enor
an introduction to you. I don't know the lady, but apparently
shall be obliged to. She is American, belle a peindre, intelligente
a gemir, has published a slim volume & said adieu to all her
amies. She will be inJeake's house, Rye, Kent in April & May and
19
ary for Houghton Mifflin, with your Eliot & Aldington and the suggestion that you do a third essay of the same length on Yeats
(W. B. )? She would be flattered & I should say the chances of
there [for their] being taken on are at least even. Something of
the same kind was in the wind for me, i. e. a Gide & a Celine
or Malraux to eke out the Proust, when they turned down the
latter as too short to be worth separate publication. I really think
you should try this & wonder how it did not occur to me long
20
ALS; 2 leaves, 6 sides; letterhead <HOTEL LEINFELDER MONCHEN>; TCD, MS 10402/121.
1 SB arrived in Munich on evening of 4 March. The Pension Romana faced the Akademie der Bildenden Kiinste Miinchen, Akademiestrasse 2, which SB calls the Counsel Academy. "Lapidaire" (lapidary) refers to the cut stone frieze that runs around the front fa�ade and at the roofline of the center section of the building.
Jean Thomas.
Sculptures of Castor and Pollux flank the stairs at the center entrance of the Akademie. The huge statue of Minerva crowns the top of the building over this entrance; Minerva holds a rod (for images, see Winfried Nerdinger, Gotifried von Neureuther, Architekt der Neorenaissance in Bayern, 1811-1887 [Munich: K. M. Lipp, 1978] 118, 126-127; Dr Birgit Jooss, Archiv und Sammlungen, Akademie der Bildenden Kiinste Miinchen, 22 March 2006).
462
invites me! I tink I prefer Mrs Frost.
Why don't you try Mary Manning, who acts as intermedi
ago. Her address: Mrs Mark Howe, 136 Myrtle Street, Boston, Mass.
Love ever. Write soon Sam
2 ManyofMunich'spublicbuildingsweredesignedbyLeovonKlenze(1784-1864), court architect to the Kings of Bavaria, Maximilian I (1756-1825) and Ludwig I (1786-1868).
The Isar River, which flows through Munich and joins the Danube downstream from Regensburg, is too shallow for navigation over most of its length; at Regensburg the Regen River flows into the Danube. The Deutsches Museum is on an island in the lsar between the Ludwigsbriicke and the Corneliusbriicke, called the Museumsinsel (Museum Island).
3 In Hampton Court there are many paintings by Jacopo Bassano (c. 1510-1592), and several that are indicated in SB's notebook on Dutch painting (BIF, UoR, MS 5001/ 37); the specific painting to which SB refers is uncertain. The paintings of the "season series" belong to the period of collaboration (1575-1577) between Jacopo Bassano and his son, Francesco Bassano (1549-1592), but they are generally attributed to Francesco.
The Good Samaritan by Jacopo Bassano in Berlin (listed in the 1930 catalogue as 314) was destroyed in 1945 (Staatliche Museen Berlin, I, Die Gemiildegalerie, Die Italienischen Meister 16. bis 18. Jahrhundert [Berlin: Paul Cassirer Verlag, 1930] 9; Beverly Louise Brown and Paola Marini, Jacopo Bassano, c. 1510-1592 [Fort Worth, TX: Kimbell Art Museum, 1993] 104). The paintings by Jacopo Bassano in the collection in Dresden are: Samson Fighting with the Philistines (254A), The Israelites Journeying through the Wilderness (253), Young Tobias Returning Home (254), Moses and the Israelites at the Rock from which Water Rowed (256), and The Conversion ofSaul (258) (K. Woermann, Catalogue ofthe Pictures in the Royal Gallery at Dresden, 44).
4 ThefrescosontheceilingandwallsoftheKaisersaaloftheWiirzburgerResidenz by Giovanni Battista Tiepolo (1696-1770) were designed by the architect of the Residenz, Balthasar Neumann (1687-1753). On the ceiling was Apollo Conducting Beatrice of Burgundy to the "Genius" of the German Nation, and on the walls were the Investiture of Bishop Harold and Wedding of Frederick Barbarossa and Beatrice of Burgundy. In addition to altarpieces for the Residenz chapel, Tiepolo painted the fresco on the stairwell of the Residenz, which SB called the "liquidation of architectural limits" (BIF, UoR, GD 5/f. 29). It depicts Prince-Bishop Karl Philipp von Greiffenclau-Vollraths (1690-1754, Prince-Bishop from 1749 to 1754) borne by Fame through the skies; at the lower edges of the fresco are depictions of the four continents; the turning of the stairs draws the eye toward the Kaisersaal which depicts Europe: the crown and firmament suggested by SB.
The late-Gothic German sculptor Tilman Riemenschneider (c. 1460-1531) was commissioned by the town council of Wiirzburg to create the stone figures of Adam and Eve for the Marienkapelle where they were installed in 1492; they were removed in 1894 to the Mainfranken Museum in Wiirzburg. but since the 1970s have been re-installed in the Marienkapelle (www. groveart. com).
"Voulu" (insistently deliberate).
5 Those painters and sculptors active during what SB names the "great Niirnberg period" were: Hans Pleydenwurff (c. 1420-1472); Michael Wolgemut (1434-1519), who took over Pleydenwurffs studio, and to whom Albrecht Diirer (1471-1528) was apprenticed from 1486 to 1489; and wood carver Veit Stoss (c. 1445-1533) and his workshop, stone mason Adam Kraft, and brassfounder and sculptor Peter Vischer.
463
7 March 1937, McGreery
7 March 1937, McGreevy
6 HansSachs(1494-1576)wasamastercobbler,authorofmoralfablesandcontrib utor of over 6,000 works to the art of the Meistergesang (Mastersong, song form of the Guilds). He is depicted as the central figure in Wagner's opera Die Meistersinger van Niirnberg.
"Meistersinger" (Master singer, or lyrical poet, one who invented new subjects and new forms), "Meistermaler" (Master painter), Meisterbildhauer (Master sculptor), "Meistererzgiesser" (Master metal caster).
7 Adam Kraft's Sakramentshiiuschen in the Lorenzkirche in Nuremberg is a recep tacle for the Host, rather than an altar, in the form of a 65-foot limestone spire that turns slightly at its peak, at its base are bronze figures of Kraft and his assistants with their aprons and tools.
Peter Vischer's Sebaldus Altar in the Sebalduskirche is an eight-ton shrine in cast bronze (1507-1519). Enclosing the silver shrine ofSt. Sebaldus, it is supported by snails and dolphins, and incorporates many statuettes.
8 JewishpersecutionhadalonghistoryinNuremberg:theBlackDeathmassacres (1249), the Rindfleisch persecutions (1298), and the expulsion ofJews in 1499 (Geoffrey Wigoder, ed. , The New Standard Jewish Enclyclopedia, 7th edn. ! New York: Facts on File, 1992] 716-717).
9 SBreferstoMartinLuther(1483-1546),whoin1517nailedhisthesestothedoor of the castle church in Wittenberg: for SB, his reforms shut off the possibility of a Renaissance in German art (BIF, UoR, GD 5/f. 48, 28 February 1937).
Although they were contemporaries and he painted and gilded the figures in Riemenschneider's altar for the church at Miinnerstadt (1503-1504), Veit Stoss is not thought to have been directly influenced by Riemenschneider, even though both artists incorporated the natural textures of wood and stone into their work. Within the large Stoss collection ofthe Germanisches Nationalmuseum in Nuremberg there are several of Stoss's earlier and smaller Madonnas; an example from 1520 is "Hausmadonna" (PLO 217) (G. illrich Grossmann und die Sammlungsleiter, eds. , Germanisches Natianalmuseum: Fiihrer durch die Sammlungen [Nuremberg: Verlag des Germanischen Nationalmuseums, 2001] 74). SB greatly admired Stoss's crucifix for the church of the Heiliggeist-Spital (Hospital of the Holy Spirit), c. 1501-1510; now in the Gennanisches Nationalmuseum (Pl. 0. 62) (BIF, UoR GD 5/f57; Rainer Kahsnitz, ed. , Veit Stoss in Niirnberg: Werke des Meister. ; und seiner Schule in Niirnbergund Umgebung [Munich: Deutscher Kunstverlag, 1983] 122-127).
10 The1937catalogueoftheGermanischesNationalmuseumindicatesthatDiirer's Portrait ofMichael Wolgemut (1516, GN 885) and HerculesBattling the StymphaleanBirds (1500, GN 166) are initialed and dated; it claims that his unsigned Portrait of Emperor Kaiser Maximilian I (1518, GN 169) is authentic. Other unsigned works attributed to Diirer are: The Lamentation ofChrist (GN 165), Portrait ofEmperor Charlemagne in Coronation Robes (GN 167), Portrait of Emperor Sigismund in Coronation Robes (GN 168) (Germanisches Nationalmuseum, Die Gemiilde des 13. bis 16. Jahrhunderts, I, ed. Eberhard Lutze and Eberhard Wiegand [Leipzig: K. F. Koehlers Antiquarium, 1937) 50-54).
11 From 1919, Julius Streicher (1885-1946) was active in anti-Semitic political groups. He founded the virulently anti-Semitic journal Der Sturmer which was pub lished from 1923 to 1945. From 1925, he was Gauleiter of the Franconia region, which included Nuremberg. As a member of the Reichstag, he advocated the boycott of the Jews and helped prepare the Nuremberg Laws (1935). He was executed after condem nation at the International Military Tribunal in Nuremberg.
464
12 James Norris Goddard Davidson (1908-1998) was educated at Portora Royal School and the University of Cambridge; he became a leader in Irish documentary film-making, wrote two novels, Galore Park (1934) and The Soft Impeachment (1936), and after the War became a producer with Radio Eireann.
Davidson assisted American film-maker Robert Flaherty in the making of Man ofAran (see 10 May 1934, n. 3); Elephant Boy (1937) was an adaptation of "Toomai of the Elephants" by Rudyard Kipling (1865-1936). Shot on location in India, the film required script changes which in turn required prolonged refilming in London studios.
13 BrianCoffey'sfather,DenisCoffey.
14 HamletgivesadvicetothePlayersinHamlet,III. ii. 1-14,16-36,38-45.
The Duchess of Malfi (c. 1614) by John Webster (c. 1580-1634) played at the Gate Theatre from 9 to 20 February 1937, directed by Peter Powell (1908-1985) ("This Week in Dublin," The Irish Times 8 February 1937: 5).
15 TheresearchofCalifornianRobertNeuhaus(1909-1995)forhis1938Ph. D. at the University of Marburg concerned American artists Frank Duveneck (ne Francis Decker, 1848-1919), William Merritt Chase (1849-1916), and Joseph Frank Currier (1843-1909), who were part of the Leiblkreis (Leib! circle) in Germany, artists influ enced by Wilhelm Leib! and Hans von Marees (1837-1887); Neuhaus published his study as Bildnismalerei des Leibl-Kreises: Untersuchungen zur Geschichte und Technik der Malerei der zweiten Hii! fte des 19. Jahrhunderts (Marburg: Verlag des Kunstgeschichtlichen Seminars, 1953); see also Robert Neuhaus, Unsuspected Genius: The Art and Life of Frank Duveneck (San Francisco: Bedford, 1987) 7-27, 35-59.
Mrs. Neighbour was the housekeeper of Hester Dowden (Bentley, Far Horizon: A Biography ofHester Dowden, 44).
16 The effort to publish Murphy: 20 March 1937 to Reavey and 25 March 1937 to McGreevy.
17 Foreign currency controls were enforced to keep German money in the country, so that only travel to the border could be purchased with German marks.
18 Heinz Porep had given SB introductions to Karl Kluth and Dr. Richard Zarnitz (n. d. ) (BIF, UoR, GD 4/f. 23-25).
19 Belgian-born American poet and novelist May Sarton (1912-1995) had been offered the use ofJeake's House on Mermaid Street in Rye, Sussex, by American writer Conrad Aiken (1889-1973); Sarton enlisted two friends to "share the house and the expenses" and took pleasure in inviting "friends to stay on weekends" (May Sarton, A World ofLight: Portraits and Celebrations [New York: W. W. Norton, 1976] 194). Sarton's first volume of poetry was Encounter in April (1937).
"Belle a peindre" (lovely enough to deserve a painting); "intelligente a gemir" (painfully intelligent); "adieu to all her amies" (good-bye to all her women friends).
SB had lived in London at 34 Gertrude Street, in the house of Mrs. Frost.
20 Mary Manning Howe was a reader for Houghton Mifflin and had acted as an intermediary on behalf of SB's Murphy. SB refers to McGreevy's two studies, Thomas Stearns Eliot and Richard Aldington: An Englishman, published by Chatto and Windus. Although SB had proposed to write a study of Gide in 1932, there is no documentation
465
7 March 1937, McGreevy
7 March 1937, McGreevy
ofa proposal, either by Houghton Mifflin to SB or by SB to Houghton Mifflin regarding
publication of SB's Proust or studies by SB of Gide, Celine, or Malraux. THOMAS McGREEVY
LONDON
20/3/37 Pension Romana Akademiestr. 7
[Munich]
[no greeting]
I am hoping to hear from you soon, that you are all right again.
This is perhaps not the best of the 3 Poussins here but it is very
good. The best for me is the Bacchus & Midas, with superb
1
APCI;1leaf,1side;"ApolloundDaphne,"NicolasPoussin(1594-1665),AltePinakothek; to Thomas McGreevy Esq, 49 Harrington Road, London S. W. 7, England; pm 20-3-37, Munich; TCD, MS 10402/122.
1 SB refers to the image on the postcard, Apollo and Daphne by Nicolas Poussin (2334) in the Alte Pinakothek, Munich. SB compares Poussin's Bacchus and Midas (528) to Giorgione's Venus in Dresden. The third painting by Poussin in the collection is The Lamentation over dead Christ (625).
GEORGE REAVEY LONDON
20/3/37 Pension Romana Akademiestr. 7
Also alas not to be had as postcard. Expect to be here another fortnight.
female nude very like the Venus in Dresden. Love.
S.
466
Miinchen
Dear George
Many thanks for your letter.
By all means take the MS from Houghton Mifflin. You have a
free hand to do what you like with the book in England and
1
book yourself. I am afraid you would lose money.
Yes, as I think I mentioned before, the book, before it went to Houghton Mifflin, was turned down by some gorgeous New York publishers with a Jewish name that I can't remember and
have no note of with me. 3
I stay here for a fortnight more & then I think return
straight to London. I am tired cangiando loco and shall abandon
4
ALS; 1 leaf. 1 side; letterhead <HOTEL LEINFELDER. MUNCHEN>; TxU.
1 HoughtonMifflinhadaskedforcutsinMurphy. TheideaoffindinganAmerican publisher to share costs with Nott in England had been languishing. as SB wrote to Mary Manning Howe: "'The latest is that Houghton Mifflin. stimulated by a cable from Reavey quoting Nott's price for sheets, regret now to be unable, which has Jet Nott out also" (21 March 1937, TxU).
SB had already suggested that Mary Manning Howe's representation of the novel in the United States was undertaken as a friend, not as an agent: 23 February 1937.
2 SBreceivedReavey'sJetterinMunichon20March. ItreportedthatMurphyhad been given to Boris Wood in London, but if that failed Reavey would consider financ ing the book himself. Reavey's Jetter has not been found, but it is quoted by SB in his diary (BIF, UoR, GD 6/f. 25).
3 Before7July1936,SBhadsentMurphytoSimonandSchuster,aNewYorkfirm founded in 1924 by Richard L.
Simon (1899-1960) and Max Lincoln Schuster (1897-1970) (see 27 June and 7 July 1936).
4 "Cangiandoloco"(changingabode),asongbyItalianpainterandpoetSalvator Rosa (also set by Giovanni Bononcini [1670-17471): "Vado ben spesso cangiando loco" (I frequently go from place to place) (Luigi Dallapiccola, Italian Sangs ofthe 17th and 18th
467
20 March 1937, Reavey
America.
It is kind of you to suggest the possibility of backing the
2
therestoftheprogramme. SoIlookforwardtoseeingyounext month in London - Yours ever
Sam
20 March 1937, Reavey
Centuries. for Voice and Piano, II [New York: International Music, 1961] 30-33; Ottilie G. Boetzkes, Salvator Rosa: Seventeenth-Century Painter, Poet and Patriot [New York: Vantage Press, 1960[ 88).
SB wrote to Macy Manning Howe: "But have now decided I am tired and have had enough and can see nothing more but only look" (21 March 1937, TxU).
THOMAS McGREEVY LONDON
25/iii/37
Pension Romana Akademiestrasse 7 [Munich]
Dear Tom
You seem to have had a horrible time. I hope you will be
repaid by an improvement in your general health. Raven is very
kind. Remember me to him. And congratulate him from me. If
he were here he would be too good a painter to sell anything, he
1
to 1925 now and start killing myself again. 2
The journey is over, mentally as usual long before physi
cally, and from now on I shall simply be hanging around waiting to get into the air. I fly direct from here to London, changing machines in Frankfurt & Amsterdam. Departure from here 9. 55, arrival in Croydon 3. 35 p. m. It will probably be next Wednesday or this day week. By flying I can buy my ticket the whole way with registered marks, whereas overland or by sea from Hamburg I could only buy to the frontier. 3 So it is practically as cheap to fly & God how much more pleasant. I shall be glad to get
468
would be in the darkness & the indigence with the 5%.
I am very miserable to-day because I hear from home that our old Kerry bitch that I was so fond of& comes into one ofthe Pricks that I forget the title of is very sick, had to be tapped and was found to have growths. Mother did not say they had arranged to destroy her, but I take it that is the position. I shall have to go back
25 March 1937, McGreevy
out. Though I don't know what I shall do when I get home. To sit for hours & hours alone in a room that I haven't to pay for & no Sehenswi. irdigkeiten round the comer - that will be pleasant for a time. I was hoping to have the proofs of Murphy to screen me and break the shock of my aimless presence in the house again, but that is down the drain. I wrote a card to Reavey suggesting that he give the book to Nott & have done with it. And the last news as a result is that he cabled Nott's price for sheets to Houghton Mifflin who called back "Regret unable", which lets Nott out also, as his condition for English publication was American publication. 4
I am delighted to hear about the play. Shouldn't you get paid a retainer between acceptance & performance? 5
I have pre-vented an invitation from Geoffrey by writing a card to Mrs Frost, asking her to put me up for a week, for I don't expect to stay longer in London. If Geoffrey were alone I would be glad to stay with him, but not as it is. Charles is in Greenock or Galloway but may be in London early in April. 6
I don't like Munich. I don't like to think of the places I am missing by not going on, Augsburg, IBm, Stuttgart, Karlsruhe, Freiburg, Colmar, Strassburg, Frankfurt - but shall be very glad to get out of here. Of course the pictures are wonderful. Did you not see the Van Goghs, including the self-portrait, and the Cezannes, including the railway cutting that I think you sent me a postcard ofonce, when you were here? 7 They are scattered all over the place now, as a result of the burning of the Glaspalast some years ago and the transferring of the big exhibition that was there to the Neue Pinakothek, and again the brand new "House of German Art", looking like a Pompeian railway terminus, will be ready. 8
I think the Paul in the 4 Apostels is Diirer's last & best word,
9
betterthananythinginthePaumgartneraltar. Thepainterthat interested you was probably Engelbrechtsen. He was the teacher
469
25 March 1937, McGreevy
ofLucas v. Leyden. The picture is a big lamentation, with rows of
kneeling nuns & demons. I don't find it interesting. 10 The Dirk
Bouts are wonderful & the Davids. The Rubens I haven't looked
at. I take him for granted, like the wonders of modem science.
11
pictures, including one by my dear Hamburg Ballmer; a private
gallery man, who still dares to exhibit Marc & Nolde; a conser
vator in the Bavarian National Museum, who filled me up with
Rhine wine & brandy & showed me his Klee, his translation of
Sappho with drawings by Sintenis, his sister-in-law & his wife.
Another friend of Rilke, who he declared resembled Proust in his
"decentralisation of the soul", which did not pass without a loud
12
Then there are the 17 Brouwers.
I have met a few pleasant people; an actor, with some good
protest from the ex-expert.
And a few painters, including the
one & only German surrealiste, one Ende. He knew a daughter of
Con Curran & disparaged Ernst, Picasso & Dali for their "want of
13
integrity" (! ) and schwarmed for Shem the Penman.
There is absolutely nothing to go to in the evening, neither film, play, opera nor concert. I did attend, full of pious expect ation, a concert of violin sonatas with Furtwangler at the piano looking like an invertebrate trying to sprain its back assisted by the first fiddle of the Berlin Philharmonic. It was fearful. They played the earliest Mozart & Beethoven they could find, nothing like as well as Paddy Delaney & Lennox Braid would have done, & then the brand new GROSSE SONATE that Furtwangler has been moulting over all winter. It was unspeakable & lasted over an hour. The maximum determination (to get it all off his chest in a modem manner) & the minimum ability, a frenzy of impo tence, with reverberations from everyone from Berlioz to Bartok. My musical susceptibility seems all concentrated in my arse, which ached diabolically. And the whole thing in a
Wesleyan chapel half inclined to be rococo. 14 470
Everyone urges me vehemently to go to the mountains, & the valleys, but I have not been outside half a mile's radius from the Marienplatz in any direction. A typesetter in the Hofbrauhaus, pale with the need to stay sober for the morning edition, demon strated to me that there were as many Masters of the Death of the Virgin as there were Masters and Dead Virgins, but only one Zugspitz[e]. 15
Please God you won't be gone when I am in London. I can't tell you for certain the day of my arrival but probably the afternoon ofthis day week. Ifmoney comes in time to let me buy my ticket & let you know for certain in advance, I shall do so.
God love thee, Ever
Sam
ALS; 2 leaves; 6 sides; lenerhead <HOTEL LEINFELDER, MUNICH>; TCD, MS 10402/124.
1 McGreevywashavingteethpulled;asSBwrotetoMaryManningHowe:'"Hislast teeth have been macbethed" (21 March 1937, TxU).
An exhibition, "Recent Paintings by Holmes Ravenhill," opened on 25 February at the Cooling Galleries, London.
2 The Beckett family had several Kerry Blue terriers. Gerald Pakenham Stewart, who shared rooms with SB at Trinity College Dublin, recalls that when SB "ran over and killed his own Kerry Blue terrier, he was heart-broken" (19 January 1992; Knowlson, Damned to Fame, 80). The dog SB mentions here was called Wolf.
3 CroydonwasthenLondon'smainairport.
4 "Sehenswiirdigkeiten"(sightsworthseeing).
Neither Houghton Mifflin's letter to Reavey nor Reavey's letter to SB has been found; in his diary SB notes that Reavey's letter indicated that Houghton Mifflin and Nott had backed down, that Murphy was being read by Boris Wood, and that Reavey was considering doing the book himself (BIF, UoR, GD 6/f. 22, 20 March 1937).
5 McGreevy'sworkonaplay,whetherhisown,oranadaptationortranslation,is not known.
6 GeoffreyThompson. Mrs. Frost,34GertrudeStreet. CharlesPrentice.
7 Atthistime,theVanGoghpaintingsinthecollectionoftheNeuePinakothekin Munich were Still Life: Vase with Twelve Sunflowers (8672), View ofAries (8671), and The Plain at Auvers (9584).
471
25 March 1937, McGreevy
25 March 1937, McGreevy
SB observed that the Vincent van Gogh Self Portrait was inscribed to Paul Gauguin (BIF. UoR, GD 5/f. 95). The painting was in the collection of the Neue Staatsgalerie from 1919 until 1938 when it was removed and exhibited as "Entartete Kunst" (Degenerate art), then sold to a private collector in 1939 by the Galerie Fischer in Lucerne, Switzerland, and finally given to the Fogg Museum, Harvard University, in 1951 (no. 1951. 65; Sarah Kianovsky, Assistant Director of Painting, Sculpture, and Decorative Arts, The Fogg Gallery, 2 March 2006).
Paintings by Paul Cezanne were The Railway Cutting (8646), Still Life with Commode (8647), and SelfPortrait (c. 1878 to 1880, 8648).
8 TheMunichGlaspalastwasbuiltin1854anddestroyedbyfireinJune1931;asa result, much of its collection was initially placed in the Neue Pinakothek. From February to April 1937 an extensive exhibition of German art, "Figur und Komposition im Bild und an der Wand" (Figure and Composition in Painting and on the Wall), was held at the Neue Pinakothek. This exhibition displaced a portion of the Museum's modern collection which was hung temporarily in the Library of the Deutsches Museum on Museum Island.
When the Museum of German Art designed by Paul Ludwig Troost was opened by Hitler on 18 July 1937, the German collections were shifted to the new building; this, together with the confiscation of those works declared "entartet," again reconfigured the collection of the Neue Pinakothek.
9 "Apostels,"AnglicizingofGermanspelling.
Diirer's diptych St. John and St. Peter (545) and St. Paul and St. Mark (540) is known as the
Four Apostles, also called Four Holy Men (since Paul was not one of the Apostles). The Paumgartner Altar consisted of the centerpiece, Birth of Christ (706); the left panel, Stephan Paumgartner as St. George, and, on the back, The Virgin of the Annunciation (701); and the right panel. Lukas Paumgartner as St. Eustachius (702).
10 TheNorthNetherlandishpainterComelisEngelbrechtsen(alsoEngelbrechtsz, c. 1460-1527) was the teacher of Lucas van Leyden; SB refers to Lamentation over Christ (H. G. 245).
11 Works by Dutch painter Dieric Bouts (also Dierick, Dirk, c. 1415-1475) in the Alte Pinakothek: The Arrest ofChrist (990), St. John the Evangelist (H. G. 75), and Christ Rising from the Dead (H. G. 74). Paintings by Netherlandish artist Gerard David (c. 1460-1523) in the Alte Pinakothek: The Adoration of the Magi (715), Mary with Children (L. 684), and Christ Bidding Mary Farewell (L. 685).
In his diary, SB lists the seventeen paintings by Adriaen Brouwer in the collection of the Alte Pinokethek in Munich (BIF, UoR, GD 6/f. 5, 7). There were sixty-four paintings by Rubens in the collection.
12 Kluth had given SB an introduction to actor and director Kurt Eggers-Kestner (1891-1967); Ballmer had painted a portrait of his children (BIF, UoR. GD 6/f. 19). SB also spent some time with Joseph Eichheim, the actor he had met in Berlin.
Gunter Francke (1900-1967) exhibited work by Marc and Nolde in his gallery in 1937 (Hilmar Hoffmann, Ohne Auftrag: zur Geschichte des Kunsthandels, I: Miinchen, Sonderschau der Kunstmesse "Art Frankfurt," Frankfurt am Main vom 21-26 April 1989, ed. Rupert Walser and Bernhard Wittenbrink [Munich: Walser and Wittenbrink, 1989] 266-268). See also Knowlson, Damned to Fame, 239.
Hans Rupe (1886-1947), a conservator in the Bavarian National Museum, translated a selection of the poems ofthe Greek poet Sappho (c. 612 - c. 557 BC), illustrated by the
472
German sculptor Renee Sintenis: Sappho (Berlin: Holle, n. d. ). Rupe had been a friend of the German poet Rainer Maria von Rilke (1875-1926). See also Knowlson, Damned to Fame, 238-239.
13 SBmetGermanpaintersJosefScharl(1896-1954),EdgarEnde(1901-1965),and Joseph Mader (1905-1982); the work of Scharl and Ende was declared "degenerate," and Scharl emigrated to the United States at the end of 1938.
SB met Ende on 19 March 1937 and was shown "avalanches" of his pictures (BIF, UoR, GD 6/f. 17). Ende knew the Irish student of art history Elizabeth Curran (m. Solterer, 1915-2004). Her parents were Helen Laird Curran (1875-1957), a found ing member of the Abbey Theatre, and Constantine Peter Curran (1883-1972), a lawyer active in the Irish freedom movement and a friend of James Joyce. Ende talked of Max Ernst (1891-1976), Pablo Picasso, and Salvador Dali (1904-1989), as well as James Joyce.
"Schwarmte" (was effusive, written with an English ending as "schwarmed").
14 On16March,WilhelmFurtwanglerandHugoKolberg(1899-1979),firstviolin ist with the Berlin Philharmonic Orchestra, performed in an evening of chamber music at the Bayerischer Hof, Munich. They played sonatas for violin and piano: Mozart's Sonata in G major, K 379; Beethoven's Sonata in A major, op. 30, no. 1; and Furtwangler's Grosse Sonate in D minor, no. 1 (Miinchner Neueste Nachrichten 10 March 1937: 4). SB refers to Hector Berlioz and Bela Bart6k (1881-1945) (BIF, UoR, GD 5/f. 91).
Patrick Delaney (n. d. ) was Professor of Violin at the Royal Irish Academy of Music from 1896 to 1946 (Richard Pine and Charles Acton, eds. , To Talent Alone: The Royal Irish Academy of Music, 1848-1998 [Dublin: Gill and Macmillan, 1998] 523). B. Lennox Braid (1878-1944) was a Dublin-area choral director, organist, and accompanist.
15 The Marienplatz in central Munich was between SB's hotel and the museums.
The typesetter has not been identified. The Hofbrauhaus is a Munich beer hall founded in 1579.
Among many unnamed artists known only by the titles of their paintings, there is the Master of the Death of the Virgin (fl. 1440-1450), a German engraver; prominent in the collection of the Alte Pinakothek is the work of the Master of the Life of the Virgin (fl. 1460-1480), with seven panels of an altarpiece (H. G. 618-624 /22-28).
The Zugspitze is the highest peak (9,718 feet) in Germany, located in the Garmisch Partenkirchen area of Bavaria, on the border with Austria.
ARLAND US SHER
DUBL I N OR CAP PAGH, CO. WATERFORD
26/3/37 Miinchen
Susser Arland
A song? Good God. Feldeinsamkeit without the warmth,
if that is a Begriff; or One man went to mow, without the dog,
473
26 March 1937, Ussher
26 March 1937, Ussher
sincemusicisnotoneofyourtumbles. Mypooroldbluebitchis
very sick, she has what Fielding died of without the belief in
2
pleased you; by Slevogt or Corinth I forget which, but there was no reproduction to be had. A whiskers like Tom [for Roger] Casement, no chin and a red wet lip showing the lining. 3
Why Karg freitag? Because ofthe so stingy redemption? What a pity it did not coincide with the Feast of the Annunciation,
4
Ratschluss der Erlosung. The Ayes have it, but only just. And are
3 in 1 a quorum? Surely rather a caucus. And on the right hand
on the earth beneath and as it were in the margin a visitation, i. e.
5
when my father gave a dinner party & my mother presided.
The journey is over. I am tired. I have bitten off more that
[for than] I can spit out. I had meant to go on, Augsburg, Ulm,
6
I shall be in London at the end of next week and stay there a few
days. Then back to the whispering gallery, or rather crypt. I only
want to sit for aeons alone in a room that I haven't to pay for, &
no Sehenswurdigkeiten. You might write a few kind words to 34
7
with [? __] have anus guards.
Things are so bad that I am reading Hans Carossa. Peach
Kirkwood Hackett & sacred wafers. "Verlerne die Zeit, dass nicht dein Antlitz verki. immere, und mit dem Antlitz das Herz. "9 Can you beat it.
What anthology? 10 474
tarwater.
I found a portrait of your Keyserling that would have
1
instead of merely very nearly.
5
complacent jealous zealous artisan. What remains after the
technique is the vision ofthe sturdy burgher full ofthe sense
ofhis worth and the mysteries ofhis trade & the sweat ofhis
brow & a determination to stand up to all princes & potencies
sacred & profane. It is Hans Sachsism. Not only Meistersinger,
but Meistermaler & Meisterbildhauer & Meistererzgiesser.
6
in the Lorenzkirche is a frightful machine, more gothic than
the gothic, a miracle oflaborious statics, a skyscrapery in dingy
limestone with the pinnacle bent to follow the curve of the
vaulting, showing that he could have gone on had not space
forbidden. And the famous Vischer Sebaldus Altar in the
Sebalduskirche is just a good black solid heavy job of work
with no labour spared & no expense. 7 It was a democracy
without historical context, over excited & over irritable. They
drove out the Jews in 1499 and kept them out for 3 and a half
8
barrow. Stoss is the best ofthem, but seems to have been very
much influenced by Riemenschneider & to have gone the
way ofRiemenschneider. In his last period crucifixes that are
big & bare because bigness & bareness are the thing. Some
9
abundance. Andheisalwayssentimental.
The great Ni. imberg period is for me now a conspiracy. I
century end to 20 years after. It is all so terribly guildy and
Stairpainting & draperies. The famous Kraft Ciborium Altar
centuries. And the catastrophe of 1517 was right into their
ofhis earlier house Madonnas are lovely. The Di. irer room in the Germanisches Museum is a scandal. They have so little by him that any old rag dirty enough to have possibly come from his workshop is made to serve. The only unquestionable
460
7 March 1937, McGreevy
Diirer in the whole of Niirnberg is the small portrait of Wohlgemut. 10
And now it is the industrial centre of Bavaria and with Munich & Berlin the third centre of Nazidiffusion and the seat
11
period novels, did you know? And enjoys I think £500 a year. Has Flaherty finished with his elephantboy? 12
I had a letter from Brian who mentioned he had heard from you. He remains very mysteriously under some wooden sword of Damocles, says he told his father he was dead & so on. 13 How fortunate to have a father to say that one is dead to.
An amusing letter also from Jack Yeats, wanting to know the players' advice to Hamlet and very pleased with the Duchess
14
of art writing a thesis on the influence of 19th century Munich
painting on the American primitives! I felt this to be an under
taking about as fruitful as say a study of the influence of Plato on
15
no. I really forget who was the last to scent the rejection slip. No
16
bolt back. It is the same thing over & over again & I do no work.
Stuttgart & Frankfurt remain after I am finished here, but unless
the mood, which has been developing for weeks, changes, I shall
give up the idea, move into digs here at half the price & save up
for the price ofan aeroplane to London, ifl can find some not too
particular travel agency to take Registermarks for the whole
17
461
ofJewbaiting Streicher & his rag.
I think I was at school with Mr Davidson. He writes facetious
ofMalfi at the Gate.
I met yesterday at breakfast a pleasant Californian student
Mrs Neighbour.
I was hoping to find a word fromReavey in the P. O. here, but
doubt there have been several more since.
I am very tired travelling and often feeling like making a
journey, and not merely to the frontier, as is the law.
7 March 1937, McGreevy
I have a couple of introductions to notabilities here and
18
mous. Doors open in May. She wants me to give one May Sarton
shall utter them I suppose in due course.
Mary Manning writes from Boston that her belly is enor
an introduction to you. I don't know the lady, but apparently
shall be obliged to. She is American, belle a peindre, intelligente
a gemir, has published a slim volume & said adieu to all her
amies. She will be inJeake's house, Rye, Kent in April & May and
19
ary for Houghton Mifflin, with your Eliot & Aldington and the suggestion that you do a third essay of the same length on Yeats
(W. B. )? She would be flattered & I should say the chances of
there [for their] being taken on are at least even. Something of
the same kind was in the wind for me, i. e. a Gide & a Celine
or Malraux to eke out the Proust, when they turned down the
latter as too short to be worth separate publication. I really think
you should try this & wonder how it did not occur to me long
20
ALS; 2 leaves, 6 sides; letterhead <HOTEL LEINFELDER MONCHEN>; TCD, MS 10402/121.
1 SB arrived in Munich on evening of 4 March. The Pension Romana faced the Akademie der Bildenden Kiinste Miinchen, Akademiestrasse 2, which SB calls the Counsel Academy. "Lapidaire" (lapidary) refers to the cut stone frieze that runs around the front fa�ade and at the roofline of the center section of the building.
Jean Thomas.
Sculptures of Castor and Pollux flank the stairs at the center entrance of the Akademie. The huge statue of Minerva crowns the top of the building over this entrance; Minerva holds a rod (for images, see Winfried Nerdinger, Gotifried von Neureuther, Architekt der Neorenaissance in Bayern, 1811-1887 [Munich: K. M. Lipp, 1978] 118, 126-127; Dr Birgit Jooss, Archiv und Sammlungen, Akademie der Bildenden Kiinste Miinchen, 22 March 2006).
462
invites me! I tink I prefer Mrs Frost.
Why don't you try Mary Manning, who acts as intermedi
ago. Her address: Mrs Mark Howe, 136 Myrtle Street, Boston, Mass.
Love ever. Write soon Sam
2 ManyofMunich'spublicbuildingsweredesignedbyLeovonKlenze(1784-1864), court architect to the Kings of Bavaria, Maximilian I (1756-1825) and Ludwig I (1786-1868).
The Isar River, which flows through Munich and joins the Danube downstream from Regensburg, is too shallow for navigation over most of its length; at Regensburg the Regen River flows into the Danube. The Deutsches Museum is on an island in the lsar between the Ludwigsbriicke and the Corneliusbriicke, called the Museumsinsel (Museum Island).
3 In Hampton Court there are many paintings by Jacopo Bassano (c. 1510-1592), and several that are indicated in SB's notebook on Dutch painting (BIF, UoR, MS 5001/ 37); the specific painting to which SB refers is uncertain. The paintings of the "season series" belong to the period of collaboration (1575-1577) between Jacopo Bassano and his son, Francesco Bassano (1549-1592), but they are generally attributed to Francesco.
The Good Samaritan by Jacopo Bassano in Berlin (listed in the 1930 catalogue as 314) was destroyed in 1945 (Staatliche Museen Berlin, I, Die Gemiildegalerie, Die Italienischen Meister 16. bis 18. Jahrhundert [Berlin: Paul Cassirer Verlag, 1930] 9; Beverly Louise Brown and Paola Marini, Jacopo Bassano, c. 1510-1592 [Fort Worth, TX: Kimbell Art Museum, 1993] 104). The paintings by Jacopo Bassano in the collection in Dresden are: Samson Fighting with the Philistines (254A), The Israelites Journeying through the Wilderness (253), Young Tobias Returning Home (254), Moses and the Israelites at the Rock from which Water Rowed (256), and The Conversion ofSaul (258) (K. Woermann, Catalogue ofthe Pictures in the Royal Gallery at Dresden, 44).
4 ThefrescosontheceilingandwallsoftheKaisersaaloftheWiirzburgerResidenz by Giovanni Battista Tiepolo (1696-1770) were designed by the architect of the Residenz, Balthasar Neumann (1687-1753). On the ceiling was Apollo Conducting Beatrice of Burgundy to the "Genius" of the German Nation, and on the walls were the Investiture of Bishop Harold and Wedding of Frederick Barbarossa and Beatrice of Burgundy. In addition to altarpieces for the Residenz chapel, Tiepolo painted the fresco on the stairwell of the Residenz, which SB called the "liquidation of architectural limits" (BIF, UoR, GD 5/f. 29). It depicts Prince-Bishop Karl Philipp von Greiffenclau-Vollraths (1690-1754, Prince-Bishop from 1749 to 1754) borne by Fame through the skies; at the lower edges of the fresco are depictions of the four continents; the turning of the stairs draws the eye toward the Kaisersaal which depicts Europe: the crown and firmament suggested by SB.
The late-Gothic German sculptor Tilman Riemenschneider (c. 1460-1531) was commissioned by the town council of Wiirzburg to create the stone figures of Adam and Eve for the Marienkapelle where they were installed in 1492; they were removed in 1894 to the Mainfranken Museum in Wiirzburg. but since the 1970s have been re-installed in the Marienkapelle (www. groveart. com).
"Voulu" (insistently deliberate).
5 Those painters and sculptors active during what SB names the "great Niirnberg period" were: Hans Pleydenwurff (c. 1420-1472); Michael Wolgemut (1434-1519), who took over Pleydenwurffs studio, and to whom Albrecht Diirer (1471-1528) was apprenticed from 1486 to 1489; and wood carver Veit Stoss (c. 1445-1533) and his workshop, stone mason Adam Kraft, and brassfounder and sculptor Peter Vischer.
463
7 March 1937, McGreery
7 March 1937, McGreevy
6 HansSachs(1494-1576)wasamastercobbler,authorofmoralfablesandcontrib utor of over 6,000 works to the art of the Meistergesang (Mastersong, song form of the Guilds). He is depicted as the central figure in Wagner's opera Die Meistersinger van Niirnberg.
"Meistersinger" (Master singer, or lyrical poet, one who invented new subjects and new forms), "Meistermaler" (Master painter), Meisterbildhauer (Master sculptor), "Meistererzgiesser" (Master metal caster).
7 Adam Kraft's Sakramentshiiuschen in the Lorenzkirche in Nuremberg is a recep tacle for the Host, rather than an altar, in the form of a 65-foot limestone spire that turns slightly at its peak, at its base are bronze figures of Kraft and his assistants with their aprons and tools.
Peter Vischer's Sebaldus Altar in the Sebalduskirche is an eight-ton shrine in cast bronze (1507-1519). Enclosing the silver shrine ofSt. Sebaldus, it is supported by snails and dolphins, and incorporates many statuettes.
8 JewishpersecutionhadalonghistoryinNuremberg:theBlackDeathmassacres (1249), the Rindfleisch persecutions (1298), and the expulsion ofJews in 1499 (Geoffrey Wigoder, ed. , The New Standard Jewish Enclyclopedia, 7th edn. ! New York: Facts on File, 1992] 716-717).
9 SBreferstoMartinLuther(1483-1546),whoin1517nailedhisthesestothedoor of the castle church in Wittenberg: for SB, his reforms shut off the possibility of a Renaissance in German art (BIF, UoR, GD 5/f. 48, 28 February 1937).
Although they were contemporaries and he painted and gilded the figures in Riemenschneider's altar for the church at Miinnerstadt (1503-1504), Veit Stoss is not thought to have been directly influenced by Riemenschneider, even though both artists incorporated the natural textures of wood and stone into their work. Within the large Stoss collection ofthe Germanisches Nationalmuseum in Nuremberg there are several of Stoss's earlier and smaller Madonnas; an example from 1520 is "Hausmadonna" (PLO 217) (G. illrich Grossmann und die Sammlungsleiter, eds. , Germanisches Natianalmuseum: Fiihrer durch die Sammlungen [Nuremberg: Verlag des Germanischen Nationalmuseums, 2001] 74). SB greatly admired Stoss's crucifix for the church of the Heiliggeist-Spital (Hospital of the Holy Spirit), c. 1501-1510; now in the Gennanisches Nationalmuseum (Pl. 0. 62) (BIF, UoR GD 5/f57; Rainer Kahsnitz, ed. , Veit Stoss in Niirnberg: Werke des Meister. ; und seiner Schule in Niirnbergund Umgebung [Munich: Deutscher Kunstverlag, 1983] 122-127).
10 The1937catalogueoftheGermanischesNationalmuseumindicatesthatDiirer's Portrait ofMichael Wolgemut (1516, GN 885) and HerculesBattling the StymphaleanBirds (1500, GN 166) are initialed and dated; it claims that his unsigned Portrait of Emperor Kaiser Maximilian I (1518, GN 169) is authentic. Other unsigned works attributed to Diirer are: The Lamentation ofChrist (GN 165), Portrait ofEmperor Charlemagne in Coronation Robes (GN 167), Portrait of Emperor Sigismund in Coronation Robes (GN 168) (Germanisches Nationalmuseum, Die Gemiilde des 13. bis 16. Jahrhunderts, I, ed. Eberhard Lutze and Eberhard Wiegand [Leipzig: K. F. Koehlers Antiquarium, 1937) 50-54).
11 From 1919, Julius Streicher (1885-1946) was active in anti-Semitic political groups. He founded the virulently anti-Semitic journal Der Sturmer which was pub lished from 1923 to 1945. From 1925, he was Gauleiter of the Franconia region, which included Nuremberg. As a member of the Reichstag, he advocated the boycott of the Jews and helped prepare the Nuremberg Laws (1935). He was executed after condem nation at the International Military Tribunal in Nuremberg.
464
12 James Norris Goddard Davidson (1908-1998) was educated at Portora Royal School and the University of Cambridge; he became a leader in Irish documentary film-making, wrote two novels, Galore Park (1934) and The Soft Impeachment (1936), and after the War became a producer with Radio Eireann.
Davidson assisted American film-maker Robert Flaherty in the making of Man ofAran (see 10 May 1934, n. 3); Elephant Boy (1937) was an adaptation of "Toomai of the Elephants" by Rudyard Kipling (1865-1936). Shot on location in India, the film required script changes which in turn required prolonged refilming in London studios.
13 BrianCoffey'sfather,DenisCoffey.
14 HamletgivesadvicetothePlayersinHamlet,III. ii. 1-14,16-36,38-45.
The Duchess of Malfi (c. 1614) by John Webster (c. 1580-1634) played at the Gate Theatre from 9 to 20 February 1937, directed by Peter Powell (1908-1985) ("This Week in Dublin," The Irish Times 8 February 1937: 5).
15 TheresearchofCalifornianRobertNeuhaus(1909-1995)forhis1938Ph. D. at the University of Marburg concerned American artists Frank Duveneck (ne Francis Decker, 1848-1919), William Merritt Chase (1849-1916), and Joseph Frank Currier (1843-1909), who were part of the Leiblkreis (Leib! circle) in Germany, artists influ enced by Wilhelm Leib! and Hans von Marees (1837-1887); Neuhaus published his study as Bildnismalerei des Leibl-Kreises: Untersuchungen zur Geschichte und Technik der Malerei der zweiten Hii! fte des 19. Jahrhunderts (Marburg: Verlag des Kunstgeschichtlichen Seminars, 1953); see also Robert Neuhaus, Unsuspected Genius: The Art and Life of Frank Duveneck (San Francisco: Bedford, 1987) 7-27, 35-59.
Mrs. Neighbour was the housekeeper of Hester Dowden (Bentley, Far Horizon: A Biography ofHester Dowden, 44).
16 The effort to publish Murphy: 20 March 1937 to Reavey and 25 March 1937 to McGreevy.
17 Foreign currency controls were enforced to keep German money in the country, so that only travel to the border could be purchased with German marks.
18 Heinz Porep had given SB introductions to Karl Kluth and Dr. Richard Zarnitz (n. d. ) (BIF, UoR, GD 4/f. 23-25).
19 Belgian-born American poet and novelist May Sarton (1912-1995) had been offered the use ofJeake's House on Mermaid Street in Rye, Sussex, by American writer Conrad Aiken (1889-1973); Sarton enlisted two friends to "share the house and the expenses" and took pleasure in inviting "friends to stay on weekends" (May Sarton, A World ofLight: Portraits and Celebrations [New York: W. W. Norton, 1976] 194). Sarton's first volume of poetry was Encounter in April (1937).
"Belle a peindre" (lovely enough to deserve a painting); "intelligente a gemir" (painfully intelligent); "adieu to all her amies" (good-bye to all her women friends).
SB had lived in London at 34 Gertrude Street, in the house of Mrs. Frost.
20 Mary Manning Howe was a reader for Houghton Mifflin and had acted as an intermediary on behalf of SB's Murphy. SB refers to McGreevy's two studies, Thomas Stearns Eliot and Richard Aldington: An Englishman, published by Chatto and Windus. Although SB had proposed to write a study of Gide in 1932, there is no documentation
465
7 March 1937, McGreevy
7 March 1937, McGreevy
ofa proposal, either by Houghton Mifflin to SB or by SB to Houghton Mifflin regarding
publication of SB's Proust or studies by SB of Gide, Celine, or Malraux. THOMAS McGREEVY
LONDON
20/3/37 Pension Romana Akademiestr. 7
[Munich]
[no greeting]
I am hoping to hear from you soon, that you are all right again.
This is perhaps not the best of the 3 Poussins here but it is very
good. The best for me is the Bacchus & Midas, with superb
1
APCI;1leaf,1side;"ApolloundDaphne,"NicolasPoussin(1594-1665),AltePinakothek; to Thomas McGreevy Esq, 49 Harrington Road, London S. W. 7, England; pm 20-3-37, Munich; TCD, MS 10402/122.
1 SB refers to the image on the postcard, Apollo and Daphne by Nicolas Poussin (2334) in the Alte Pinakothek, Munich. SB compares Poussin's Bacchus and Midas (528) to Giorgione's Venus in Dresden. The third painting by Poussin in the collection is The Lamentation over dead Christ (625).
GEORGE REAVEY LONDON
20/3/37 Pension Romana Akademiestr. 7
Also alas not to be had as postcard. Expect to be here another fortnight.
female nude very like the Venus in Dresden. Love.
S.
466
Miinchen
Dear George
Many thanks for your letter.
By all means take the MS from Houghton Mifflin. You have a
free hand to do what you like with the book in England and
1
book yourself. I am afraid you would lose money.
Yes, as I think I mentioned before, the book, before it went to Houghton Mifflin, was turned down by some gorgeous New York publishers with a Jewish name that I can't remember and
have no note of with me. 3
I stay here for a fortnight more & then I think return
straight to London. I am tired cangiando loco and shall abandon
4
ALS; 1 leaf. 1 side; letterhead <HOTEL LEINFELDER. MUNCHEN>; TxU.
1 HoughtonMifflinhadaskedforcutsinMurphy. TheideaoffindinganAmerican publisher to share costs with Nott in England had been languishing. as SB wrote to Mary Manning Howe: "'The latest is that Houghton Mifflin. stimulated by a cable from Reavey quoting Nott's price for sheets, regret now to be unable, which has Jet Nott out also" (21 March 1937, TxU).
SB had already suggested that Mary Manning Howe's representation of the novel in the United States was undertaken as a friend, not as an agent: 23 February 1937.
2 SBreceivedReavey'sJetterinMunichon20March. ItreportedthatMurphyhad been given to Boris Wood in London, but if that failed Reavey would consider financ ing the book himself. Reavey's Jetter has not been found, but it is quoted by SB in his diary (BIF, UoR, GD 6/f. 25).
3 Before7July1936,SBhadsentMurphytoSimonandSchuster,aNewYorkfirm founded in 1924 by Richard L.
Simon (1899-1960) and Max Lincoln Schuster (1897-1970) (see 27 June and 7 July 1936).
4 "Cangiandoloco"(changingabode),asongbyItalianpainterandpoetSalvator Rosa (also set by Giovanni Bononcini [1670-17471): "Vado ben spesso cangiando loco" (I frequently go from place to place) (Luigi Dallapiccola, Italian Sangs ofthe 17th and 18th
467
20 March 1937, Reavey
America.
It is kind of you to suggest the possibility of backing the
2
therestoftheprogramme. SoIlookforwardtoseeingyounext month in London - Yours ever
Sam
20 March 1937, Reavey
Centuries. for Voice and Piano, II [New York: International Music, 1961] 30-33; Ottilie G. Boetzkes, Salvator Rosa: Seventeenth-Century Painter, Poet and Patriot [New York: Vantage Press, 1960[ 88).
SB wrote to Macy Manning Howe: "But have now decided I am tired and have had enough and can see nothing more but only look" (21 March 1937, TxU).
THOMAS McGREEVY LONDON
25/iii/37
Pension Romana Akademiestrasse 7 [Munich]
Dear Tom
You seem to have had a horrible time. I hope you will be
repaid by an improvement in your general health. Raven is very
kind. Remember me to him. And congratulate him from me. If
he were here he would be too good a painter to sell anything, he
1
to 1925 now and start killing myself again. 2
The journey is over, mentally as usual long before physi
cally, and from now on I shall simply be hanging around waiting to get into the air. I fly direct from here to London, changing machines in Frankfurt & Amsterdam. Departure from here 9. 55, arrival in Croydon 3. 35 p. m. It will probably be next Wednesday or this day week. By flying I can buy my ticket the whole way with registered marks, whereas overland or by sea from Hamburg I could only buy to the frontier. 3 So it is practically as cheap to fly & God how much more pleasant. I shall be glad to get
468
would be in the darkness & the indigence with the 5%.
I am very miserable to-day because I hear from home that our old Kerry bitch that I was so fond of& comes into one ofthe Pricks that I forget the title of is very sick, had to be tapped and was found to have growths. Mother did not say they had arranged to destroy her, but I take it that is the position. I shall have to go back
25 March 1937, McGreevy
out. Though I don't know what I shall do when I get home. To sit for hours & hours alone in a room that I haven't to pay for & no Sehenswi. irdigkeiten round the comer - that will be pleasant for a time. I was hoping to have the proofs of Murphy to screen me and break the shock of my aimless presence in the house again, but that is down the drain. I wrote a card to Reavey suggesting that he give the book to Nott & have done with it. And the last news as a result is that he cabled Nott's price for sheets to Houghton Mifflin who called back "Regret unable", which lets Nott out also, as his condition for English publication was American publication. 4
I am delighted to hear about the play. Shouldn't you get paid a retainer between acceptance & performance? 5
I have pre-vented an invitation from Geoffrey by writing a card to Mrs Frost, asking her to put me up for a week, for I don't expect to stay longer in London. If Geoffrey were alone I would be glad to stay with him, but not as it is. Charles is in Greenock or Galloway but may be in London early in April. 6
I don't like Munich. I don't like to think of the places I am missing by not going on, Augsburg, IBm, Stuttgart, Karlsruhe, Freiburg, Colmar, Strassburg, Frankfurt - but shall be very glad to get out of here. Of course the pictures are wonderful. Did you not see the Van Goghs, including the self-portrait, and the Cezannes, including the railway cutting that I think you sent me a postcard ofonce, when you were here? 7 They are scattered all over the place now, as a result of the burning of the Glaspalast some years ago and the transferring of the big exhibition that was there to the Neue Pinakothek, and again the brand new "House of German Art", looking like a Pompeian railway terminus, will be ready. 8
I think the Paul in the 4 Apostels is Diirer's last & best word,
9
betterthananythinginthePaumgartneraltar. Thepainterthat interested you was probably Engelbrechtsen. He was the teacher
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25 March 1937, McGreevy
ofLucas v. Leyden. The picture is a big lamentation, with rows of
kneeling nuns & demons. I don't find it interesting. 10 The Dirk
Bouts are wonderful & the Davids. The Rubens I haven't looked
at. I take him for granted, like the wonders of modem science.
11
pictures, including one by my dear Hamburg Ballmer; a private
gallery man, who still dares to exhibit Marc & Nolde; a conser
vator in the Bavarian National Museum, who filled me up with
Rhine wine & brandy & showed me his Klee, his translation of
Sappho with drawings by Sintenis, his sister-in-law & his wife.
Another friend of Rilke, who he declared resembled Proust in his
"decentralisation of the soul", which did not pass without a loud
12
Then there are the 17 Brouwers.
I have met a few pleasant people; an actor, with some good
protest from the ex-expert.
And a few painters, including the
one & only German surrealiste, one Ende. He knew a daughter of
Con Curran & disparaged Ernst, Picasso & Dali for their "want of
13
integrity" (! ) and schwarmed for Shem the Penman.
There is absolutely nothing to go to in the evening, neither film, play, opera nor concert. I did attend, full of pious expect ation, a concert of violin sonatas with Furtwangler at the piano looking like an invertebrate trying to sprain its back assisted by the first fiddle of the Berlin Philharmonic. It was fearful. They played the earliest Mozart & Beethoven they could find, nothing like as well as Paddy Delaney & Lennox Braid would have done, & then the brand new GROSSE SONATE that Furtwangler has been moulting over all winter. It was unspeakable & lasted over an hour. The maximum determination (to get it all off his chest in a modem manner) & the minimum ability, a frenzy of impo tence, with reverberations from everyone from Berlioz to Bartok. My musical susceptibility seems all concentrated in my arse, which ached diabolically. And the whole thing in a
Wesleyan chapel half inclined to be rococo. 14 470
Everyone urges me vehemently to go to the mountains, & the valleys, but I have not been outside half a mile's radius from the Marienplatz in any direction. A typesetter in the Hofbrauhaus, pale with the need to stay sober for the morning edition, demon strated to me that there were as many Masters of the Death of the Virgin as there were Masters and Dead Virgins, but only one Zugspitz[e]. 15
Please God you won't be gone when I am in London. I can't tell you for certain the day of my arrival but probably the afternoon ofthis day week. Ifmoney comes in time to let me buy my ticket & let you know for certain in advance, I shall do so.
God love thee, Ever
Sam
ALS; 2 leaves; 6 sides; lenerhead <HOTEL LEINFELDER, MUNICH>; TCD, MS 10402/124.
1 McGreevywashavingteethpulled;asSBwrotetoMaryManningHowe:'"Hislast teeth have been macbethed" (21 March 1937, TxU).
An exhibition, "Recent Paintings by Holmes Ravenhill," opened on 25 February at the Cooling Galleries, London.
2 The Beckett family had several Kerry Blue terriers. Gerald Pakenham Stewart, who shared rooms with SB at Trinity College Dublin, recalls that when SB "ran over and killed his own Kerry Blue terrier, he was heart-broken" (19 January 1992; Knowlson, Damned to Fame, 80). The dog SB mentions here was called Wolf.
3 CroydonwasthenLondon'smainairport.
4 "Sehenswiirdigkeiten"(sightsworthseeing).
Neither Houghton Mifflin's letter to Reavey nor Reavey's letter to SB has been found; in his diary SB notes that Reavey's letter indicated that Houghton Mifflin and Nott had backed down, that Murphy was being read by Boris Wood, and that Reavey was considering doing the book himself (BIF, UoR, GD 6/f. 22, 20 March 1937).
5 McGreevy'sworkonaplay,whetherhisown,oranadaptationortranslation,is not known.
6 GeoffreyThompson. Mrs. Frost,34GertrudeStreet. CharlesPrentice.
7 Atthistime,theVanGoghpaintingsinthecollectionoftheNeuePinakothekin Munich were Still Life: Vase with Twelve Sunflowers (8672), View ofAries (8671), and The Plain at Auvers (9584).
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25 March 1937, McGreevy
25 March 1937, McGreevy
SB observed that the Vincent van Gogh Self Portrait was inscribed to Paul Gauguin (BIF. UoR, GD 5/f. 95). The painting was in the collection of the Neue Staatsgalerie from 1919 until 1938 when it was removed and exhibited as "Entartete Kunst" (Degenerate art), then sold to a private collector in 1939 by the Galerie Fischer in Lucerne, Switzerland, and finally given to the Fogg Museum, Harvard University, in 1951 (no. 1951. 65; Sarah Kianovsky, Assistant Director of Painting, Sculpture, and Decorative Arts, The Fogg Gallery, 2 March 2006).
Paintings by Paul Cezanne were The Railway Cutting (8646), Still Life with Commode (8647), and SelfPortrait (c. 1878 to 1880, 8648).
8 TheMunichGlaspalastwasbuiltin1854anddestroyedbyfireinJune1931;asa result, much of its collection was initially placed in the Neue Pinakothek. From February to April 1937 an extensive exhibition of German art, "Figur und Komposition im Bild und an der Wand" (Figure and Composition in Painting and on the Wall), was held at the Neue Pinakothek. This exhibition displaced a portion of the Museum's modern collection which was hung temporarily in the Library of the Deutsches Museum on Museum Island.
When the Museum of German Art designed by Paul Ludwig Troost was opened by Hitler on 18 July 1937, the German collections were shifted to the new building; this, together with the confiscation of those works declared "entartet," again reconfigured the collection of the Neue Pinakothek.
9 "Apostels,"AnglicizingofGermanspelling.
Diirer's diptych St. John and St. Peter (545) and St. Paul and St. Mark (540) is known as the
Four Apostles, also called Four Holy Men (since Paul was not one of the Apostles). The Paumgartner Altar consisted of the centerpiece, Birth of Christ (706); the left panel, Stephan Paumgartner as St. George, and, on the back, The Virgin of the Annunciation (701); and the right panel. Lukas Paumgartner as St. Eustachius (702).
10 TheNorthNetherlandishpainterComelisEngelbrechtsen(alsoEngelbrechtsz, c. 1460-1527) was the teacher of Lucas van Leyden; SB refers to Lamentation over Christ (H. G. 245).
11 Works by Dutch painter Dieric Bouts (also Dierick, Dirk, c. 1415-1475) in the Alte Pinakothek: The Arrest ofChrist (990), St. John the Evangelist (H. G. 75), and Christ Rising from the Dead (H. G. 74). Paintings by Netherlandish artist Gerard David (c. 1460-1523) in the Alte Pinakothek: The Adoration of the Magi (715), Mary with Children (L. 684), and Christ Bidding Mary Farewell (L. 685).
In his diary, SB lists the seventeen paintings by Adriaen Brouwer in the collection of the Alte Pinokethek in Munich (BIF, UoR, GD 6/f. 5, 7). There were sixty-four paintings by Rubens in the collection.
12 Kluth had given SB an introduction to actor and director Kurt Eggers-Kestner (1891-1967); Ballmer had painted a portrait of his children (BIF, UoR. GD 6/f. 19). SB also spent some time with Joseph Eichheim, the actor he had met in Berlin.
Gunter Francke (1900-1967) exhibited work by Marc and Nolde in his gallery in 1937 (Hilmar Hoffmann, Ohne Auftrag: zur Geschichte des Kunsthandels, I: Miinchen, Sonderschau der Kunstmesse "Art Frankfurt," Frankfurt am Main vom 21-26 April 1989, ed. Rupert Walser and Bernhard Wittenbrink [Munich: Walser and Wittenbrink, 1989] 266-268). See also Knowlson, Damned to Fame, 239.
Hans Rupe (1886-1947), a conservator in the Bavarian National Museum, translated a selection of the poems ofthe Greek poet Sappho (c. 612 - c. 557 BC), illustrated by the
472
German sculptor Renee Sintenis: Sappho (Berlin: Holle, n. d. ). Rupe had been a friend of the German poet Rainer Maria von Rilke (1875-1926). See also Knowlson, Damned to Fame, 238-239.
13 SBmetGermanpaintersJosefScharl(1896-1954),EdgarEnde(1901-1965),and Joseph Mader (1905-1982); the work of Scharl and Ende was declared "degenerate," and Scharl emigrated to the United States at the end of 1938.
SB met Ende on 19 March 1937 and was shown "avalanches" of his pictures (BIF, UoR, GD 6/f. 17). Ende knew the Irish student of art history Elizabeth Curran (m. Solterer, 1915-2004). Her parents were Helen Laird Curran (1875-1957), a found ing member of the Abbey Theatre, and Constantine Peter Curran (1883-1972), a lawyer active in the Irish freedom movement and a friend of James Joyce. Ende talked of Max Ernst (1891-1976), Pablo Picasso, and Salvador Dali (1904-1989), as well as James Joyce.
"Schwarmte" (was effusive, written with an English ending as "schwarmed").
14 On16March,WilhelmFurtwanglerandHugoKolberg(1899-1979),firstviolin ist with the Berlin Philharmonic Orchestra, performed in an evening of chamber music at the Bayerischer Hof, Munich. They played sonatas for violin and piano: Mozart's Sonata in G major, K 379; Beethoven's Sonata in A major, op. 30, no. 1; and Furtwangler's Grosse Sonate in D minor, no. 1 (Miinchner Neueste Nachrichten 10 March 1937: 4). SB refers to Hector Berlioz and Bela Bart6k (1881-1945) (BIF, UoR, GD 5/f. 91).
Patrick Delaney (n. d. ) was Professor of Violin at the Royal Irish Academy of Music from 1896 to 1946 (Richard Pine and Charles Acton, eds. , To Talent Alone: The Royal Irish Academy of Music, 1848-1998 [Dublin: Gill and Macmillan, 1998] 523). B. Lennox Braid (1878-1944) was a Dublin-area choral director, organist, and accompanist.
15 The Marienplatz in central Munich was between SB's hotel and the museums.
The typesetter has not been identified. The Hofbrauhaus is a Munich beer hall founded in 1579.
Among many unnamed artists known only by the titles of their paintings, there is the Master of the Death of the Virgin (fl. 1440-1450), a German engraver; prominent in the collection of the Alte Pinakothek is the work of the Master of the Life of the Virgin (fl. 1460-1480), with seven panels of an altarpiece (H. G. 618-624 /22-28).
The Zugspitze is the highest peak (9,718 feet) in Germany, located in the Garmisch Partenkirchen area of Bavaria, on the border with Austria.
ARLAND US SHER
DUBL I N OR CAP PAGH, CO. WATERFORD
26/3/37 Miinchen
Susser Arland
A song? Good God. Feldeinsamkeit without the warmth,
if that is a Begriff; or One man went to mow, without the dog,
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26 March 1937, Ussher
26 March 1937, Ussher
sincemusicisnotoneofyourtumbles. Mypooroldbluebitchis
very sick, she has what Fielding died of without the belief in
2
pleased you; by Slevogt or Corinth I forget which, but there was no reproduction to be had. A whiskers like Tom [for Roger] Casement, no chin and a red wet lip showing the lining. 3
Why Karg freitag? Because ofthe so stingy redemption? What a pity it did not coincide with the Feast of the Annunciation,
4
Ratschluss der Erlosung. The Ayes have it, but only just. And are
3 in 1 a quorum? Surely rather a caucus. And on the right hand
on the earth beneath and as it were in the margin a visitation, i. e.
5
when my father gave a dinner party & my mother presided.
The journey is over. I am tired. I have bitten off more that
[for than] I can spit out. I had meant to go on, Augsburg, Ulm,
6
I shall be in London at the end of next week and stay there a few
days. Then back to the whispering gallery, or rather crypt. I only
want to sit for aeons alone in a room that I haven't to pay for, &
no Sehenswurdigkeiten. You might write a few kind words to 34
7
with [? __] have anus guards.
Things are so bad that I am reading Hans Carossa. Peach
Kirkwood Hackett & sacred wafers. "Verlerne die Zeit, dass nicht dein Antlitz verki. immere, und mit dem Antlitz das Herz. "9 Can you beat it.
What anthology? 10 474
tarwater.
I found a portrait of your Keyserling that would have
1
instead of merely very nearly.
