Carl Friedrich von Rumohr, [Three Journeys to Italy], 1832. Part One

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Carl Friedrich von Rumohr
Drey Reisen nach Italien. [Three Journeys to Italy]
Leipzig, F. A. Brockhaus, 1832

Part One

Review by Francesco Mazzaferro

Fig. 1) The original edition of Three Journeys to Italy (1832)

Von Rumohr and the birth of the history of Italian art in the German world

I purchased an original of the Three Journeys to Italy. Memoirs by Carl Friedrich von Rumohr [1], and I have read it in a few days only. The text was published in 1832, and since then has never been published again. Only in 2003 Enrica Yvonne Dilk has re-released it as part of a facsimile edition of the complete collection of his works by the Publisher Olms Weidmann, however without any introduction or critical commentary [2]. Thus, this text - extraordinarily interesting, in my opinion, for the history of cultural relations between Germany and Italy - has not yet met the attention it deserves, even in the German world.

Indeed, the Three Journeys were partially translated in Italy by Chiara Battezzati in 2009 [3], in an essay to which a post was already dedicated in this blog. The survey of Ms Battezzati focused on "Carl Friedrich von Rumohr and the Art in Northern Italy", and therefore almost exclusively on his activities as a connoisseur in Northern Italy, especially during the third trip between 1828 and 1829 (it was therefore centred around the last twenty-five pages of the Three Journeys, in which Carl Friedrich wrote on the inspections he was performing to examine paintings for possible purchases to the advantage of the Berlin museums). We will refrain from commenting on that section, because it has already been treated in the post on the 2009 essay.

Fig. 2) Friedrich Nerly, Portrait of Carl Friedrich von Rumohr, 1823–1827

Carl Friedrich von Rumohr was certainly a multifaceted figure. He lived at the turn of the XVIII and XIX centuries (1785-1843), and was one of the first art historians, a famous connoisseur and a scholar of aesthetics, but also a successful novelist and even a (serious) essayist on culinary, gardening, horticulture and agricultural economics. His monograph on The essence of cookery (Geist der Kochkunst) is still today on the market in several languages [4], as a testimony of the birth of a new discipline (scientific treatises on cooking did not exist until then).

Fig. 3) Chiara Battezzati’s survey on the Three Journeys by von Rumohr, published in 2009

His relationship with Italy (which he considered his second home) was continuous, and occurred in a phase where the German-speaking culture (where Italy was already hugely popular after the works of Winckelmann of the second half of the eighteenth century and the Italian Journey of Goethe, published in 1816) was confronted for the first time with a systematic study of Italian art. The first trip of the young Carl Friedrich (1805-1806) was an adventure leading him to the discovery of the beauties of our country. The second stay, ten years later, was much longer (1816-1821) and was characterized by a systematic examination of the art works and by archival studies specialised on Middle Age. In 1827 von Rumohr published the first two volumes [5] of his "Italian Investigations" (Italienische Forschungen), i.e. the result of those studies. It was the first attempt in the German world of writing a history of Italian art, which the author focused on the Medieval art and the Quattrocento. This was a real innovation, both in terms of methodology and of the choice of the period, in line with the rediscovery of the Middle Ages by the Romantic movement. Rumohr had been inspired by The history of painting in Italy, from the period of the revival of the fine arts to the end of the eighteenth century (Storia pittorica), by Luigi Lanzi (1796). Following that pattern, he reshaped the attention of the German world from the classical art (on which Winckelmann had exclusively centred his attention) to the modern era. In those years, the success of the Investigations encouraged the publication of the German translation of the text of Lanzi in Leipzig (the first volume in 1830 [6], the second in 1831 [7] and the third one in 1833 [8]).

At the request of the Prussian Prime Minister Alexander von Humboldt, Carl Friedrich took over important functions in the resettlement of the art collections in Berlin and found out that a third of the purchases made (for half of their value) consisted of either fakes and imitations or works by little or no value, often sold as masterpieces to naive and imprudent curators. In 1828-1829, the forty-three year old von Rumohr was again in Italy for his third stay, both to accompany his young protégé, the painter Friedrich Nerly (1807-1878) who settled in Italy for the entire life, as well as to take charge of a new campaign of art purchases for the Berlin collections. In 1831, he released the third volume of the "Italian Investigations", dedicated in the first part to Raphael (it was the most modern critical study ever published until those days about the artist) and in the second one to the history of Italian architecture [9]. The Three Journeys to Italy were released, as already mentioned, in 1832, and should therefore be read in continuity with the three volumes of the Italian Investigations. Six years later, in 1838, von Rumohr published the memoirs of his Voyage to Lombardy [10], made in the preceding year. It was, in that case, a study tour of an entirely different nature: he went to Lombardy to study its modern agriculture and advanced ducting system (on which he had already demonstrated an interest in the Three Journeys of 1832) making comparisons with the situation in the German-speaking world.

Fig. 4) The original edition of the first volume of the Italian Investigations of 1827

Fig. 5) The 1830 German translation of the first volume of “The history of painting in Italy
from the period of the revival of the fine arts to the end of the eighteenth century” by Luigi Lanzi

  

It was a period of extraordinary interest for Italian art in Germany; in 1839, it made its appearance the impressive Raphael monograph in two volumes by Passavant (1,300 pages) [11], considered the first great modern monograph on a single artist, which beat in many respects Rumohr’s essay of a few years before and made it obsolete for the general public. Since then, the Italian Researches were progressively being side-lined in the German discussion on Italian art, until Julius von Schlosser reissued them in an annotated edition in 1920 [12], as an example of a first critical study based on the study of art history sources, and not on a dogmatic view of aesthetic theories.

Fig. 6) The original text of Passavant's monograph (first volume)
entitled “Raphael of Urbino and his father Giovanni Santi”, 1839

Fig. 7) The second edition of the Italian Investigations by Carl Friedrich von Rumohr,
edited and commented by Julius von Schlosser in 1920

The passions and torments of the connoisseur

Art - van Rumohr wrote – is based on the interaction between two figures: the art patron (Gönner) and the artist, i.e. the supply and the demand (“Nachfrage und Absatz” [13]). What is common to both is "the ability to look in so a keen and accurate way, to feel strongly what they saw and also to keep long memories hereof in their mind” [14]. For the development "of all the great eras of art, both for ancient and for modern times" [15] the role of the patrons is just as "necessary and essential" [16] than the artists. Yet von Rumohr’s life choice was third with respect to these two positions: "If I were rich and powerful, or even one of them, who knows what influence I could exert in artistic activity of our days. If I had not had sufficient economic means, instead, to keep myself in the present state, who knows what an artist I could have become. Destiny has given me too little to become an art patron and too much to become an artist. (...) While I have not become either an artist or a promoter, life has still given me the power to see, both immediately and in the memory. And, thanks to it, what I say or communicate in writing has become of some interest for the others" [17].  Van Rumohr was therefore an art critic, or - as it was called at the time - a connoisseur (Kenner) [18].

It was a risky business: "On nothing else it is easier to be deceived" [19]. When he was younger, Carl Friedrich says, he had "a very great fear of the opinions, the points of view and the statements of others" [20]. And yet, nothing is more useful as to refer to the work of others: "Those who simply stick too soon to their opinions only will make progress much more slowly than those who are open to the views of the others, without being less exposed to the risk of a mistake" [21]. And, with special veneration, he cites among his teachers Johann Dominicus Fiorillo (1748-1821), the first German art critic, who had educated him to have the greatest suspicion of Winckelmann’s neoclassicism, because it was all based on abstract criteria and propositions on the spirit [22]. The subject of the attention of art criticism - said Fiorillo - cannot be the sense of beauty in an abstract sense, but the artist's ability to "excite" the observer and to promote "the receptivity of the impulses that come from the colour, the harmony, the use of the brush, the play of forms" [23]. Fifty years after his stay in Rome and Bologna, Fiorillo was still fighting against Mengs and in favour of Pompeo Batoni (a controversy - von Rumohr remembers smiling - that the Italians themselves had forgotten): the first was seen as an exponent of a too abstract neoclassicism, the second of a much fresher portrait painting [24].

Fig. 8) Anton Raphael Mengs, Portrait of Cardinal Alberico Archinto, 1756-1757

Fig. 9) Pompeo Batoni, Portrait of Francis Basset, First Baron of Dunstanville, 1778

The Three Journeys as a work of empirical aesthetics

The introduction to the Three Journeys was a long scholar writing (68 pages) whose importance can hardly be overemphasized. It was titled "Something about preparing and starting" (the first trip), or "Einiges zur Vorbereitung und Einleitung". Beyond some statements on his early love for art, it was actually a polemical pamphlet against the prevailing German aesthetic thought, from Winckelmann to Lessing and finally Goethe and the Weimar aesthetics, and in favour of an empirical approach to the observation of art. It was a subject on which von Rumohr had already spent the first part of the first volume of the Italian Investigations, i.e. the long section (133 pages) entitled "The Economy of Art" (Haushalt der Kunst) [25].

Why did Carl Friedrich come back on the theme? And why did he include the text ahead of the description of the travels to Italy? One reason, mentioned by Julius von Schlosser in his preface to the 1920 edition of the Italian Investigations, is that the writing on the Italian journeys might be read as a kind of 'anti-Winckelmann' manifesto, both from a theoretical viewpoint and because of the completely opposite approach to Italy. A second explanation is that, in von Rumohr’s German-Italian world, the source of all evil (determining in his view the weakness both of the prevailing aesthetic thought and the contemporary art) derived from the intertwining of the seventeenth-century Italian literature (Bellori and Malvasia, with the theory of ideal beauty for the first one and with the exaltation of Bolognese academicism for the second one) and the aesthetic theories (the theory of the object, i.e. Gegenstand, and the imitation theory) that were spreading in the German world as from 1780.

The remedy lied in the intersection of three factors, which was indeed also a cross-cultural German-Italian combination. The first one was the recovery of the interest of Italian art criticism for the medieval art: this explained the great interest of Rumohr for Luigi Lanzi (1732-1810). Thanks to Lanzi’s Pictorial History (1796), Carl Friedrich was convinced that Italian art criticism was well ahead of the German one [26]. Lanzi, in fact, recovered the Middle Ages as a vital moment of the Italian art and thus was, according to Rumohr, the true inspiration of the Germans in Rome [27]. But Carl Friedrich knew and appreciated some well earlier Italian scholars such as Giovan Pietro Zanotti (1674-1765) and Francesco Gori Gandellini (1738-1784). The elder Zanotti rediscovered as first the merits of Giotto, in a letter to Bottari [28] published in the famous collection of letters edited by Bottari and Ticozzi (1822-1825). The second factor was the new German neo-romantic movement: one of the fellow travellers accompanying Carl Friedrich in Italy in 1805-1806 was Ludwig Tieck (1773-1853), one of the founders of the Sturm und Drang. The third element was the discovery of the landscape as a central motif of artistic creation by painters of his day [29]. The different intersections between these three motives lead to different and plural forms of contemporary artistic expression [30], which were promising in their ability to renew art taste and themes, despite some oddities [31]. It should be said here that von Rumohr was, among other things, a friend of Philipp Otto Runge, the romantic painter who died prematurely in 1810, and that he supported in the following years Friedrich Nerly, the already mentioned romantic landscape painter.

Fig. 10) Friedrich Nerly, Study of rocks and roots in Olevano, undated

Since art was changing - continued Carl Friedrich - even those who contemplate it had to learn changing their criteria. German aesthetics of those years was focusing its attention on the Gegenstand (i.e., with a literal, but unsatisfactory translation, the object): artworks had in fact to be considered only as final physical products, and therefore art critics had to look both at their form and their themes, conceiving them as a concrete expression of superior ideal concepts. What counts is what the art work expresses objectively. For Rumohr, one must instead turn his eyes from the exclusive focus on the Gegenstand to a holistic understanding of the work as a creative process: "local conditions, history, religion, culture, even the mood of the moment" [32] of the creator make premium on the Gegenstand. And he quoted, as a model of what should be the behaviour of those who observe art, the picture "Painter’s Studio" by Franz von Mieris the Elder: the artist lends his chair to the viewer, who examines the unfinished work yet on the easel. The critic must therefore understand that the artist's ability matters far more than the Gegenstand [33]: ultimately, a nice Gegenstand can be matched by a bad painting, as well as a bad Gegenstand can nevertheless lead to a beautiful work [34]. "It is the living being, the artist, who will always make the difference" [35].

Fig. 11) Frans van Mieris the Elder, The painter's studio, around 1659

Winckelmann and Goethe travelled to Italy in order to rediscover the ancient as the central element of the renewal of their identity, while von Rumohr’s journeys to Italy were part of a reflection on the art of his time and the need for change in it. Based on the rejection of the line Bellori-Malvasia-Winckelmann-Lessing-Goethe, he rejected any systematic aesthetics and processed an empirical thinking, all centered on the identification of each artist's creative process, a necessarily individual and unique dynamic. With Carl Friedrich, it was born the idea that every artist has (and must necessarily have) his own style. On that basis, von Rumohr rejected the aesthetics of both the neo-classical German painters operating in Rome, despite being a close friend of Joseph Anton Koch (1768-1839), as well as later on of the Nazarens. He saw in them the same manifestation of a logic of imitation of earlier models, a reasoning which was ultimately due to extinguish the artist imagination [36]. He thus antagonised both the Weimar neoclassicism as well as the romantic project of a mere recovery of the iconography of Quattrocento and Raphael. Art should only and ever be modern art, albeit with the necessary knowledge of the great painters who made its history.

Rumohr highlighted therefore how large had been the hidden underlying elements of continuity in the time of transition between Neoclassicism and Romanticism, that is, between 1780 and 1830. These had been the years of the triumph of aesthetics as philosophy of beauty, which marked the predominance of abstract categories ("Gegenstand, idea, sense, meaning" [37]) on the practical consideration of the works of art on the basis of their characteristics. The work of art was to such an extent conceived as a revelation of superior ideas that the copies of artworks considered as superior were preferred to the originals of works seen as less valuable: this created in the art world "a lively demand for copies" [38]. From the museology point of view, this translated into the project by Aloys Hirt (1759-1837), one of the main scholars of art, archaeology and aesthetics of those years, to found the Berlin museums as a collection of copies of the main works of art history, an idea which von Rumohr would oppose with all his force, in the end successfully. Many pages of the Three Journeys were a direct attack to Hirt [39], who was ultimately replaced by Gustav Friedrich Waagen (1794-1868), with whom Rumohr collaborated in setting-up an art collection which would be worthy of the Prussian capital.

Von Rumohr proclaimed the unsurpassed value of the original and fought against an aesthetic of imitation, whose primary responsibility in the modern times was, in his opinion, Winckelmann [40] with the "Thoughts on the Imitation of Greek Works in Painting and the Art of Sculpture" (Gedanken über die Nachahmung der griechischen Werke in der Malerei und Bildhauerkunst) (1755). The next generation extended and canonized that mistake [41], with the neoclassical doctrines proclaimed by Goethe [42] and the circle of the Weimarischen Kunstfreunde (the Weimar Friends of Art) [43]. But in reality, Winckelmann was the product of a misunderstanding of idealism that had lasted at least three hundred years [44], and which originated from Carlo Sacchi and Francesco Albani [45] and from Malvasia [46], and from their rejection of the study of nature [47], but even before, from Platonism and Scholasticism [48]. It was the idea that the imitation of antiques was superior to the imitation of nature. The bad teachers were Annibale Carracci, Malvasia, and Mengs [49]. Since these theories have led to the spread in academies of plaster copies by the end of 1600, they had contributed to the decadence of art [50]. The halls of the antiquities were called a disgrace [51] and their opening in Antwerp (1680) and Amsterdam (1700) was judged as the cause of the end of the great Flemish and Dutch art [52]. Instead, that glorious tradition lived again where one continued to cultivate the observation of nature, like in eighteenth-century Hamburg with Balthasar Denner (1685-1749) and Dominicus van der Smissen (1704-1760).

Fig. 12) Balthasar Denner, The three sons of the Councillor Barthold Heinrich Brockes, 1724

Fig. 13) Balthasar Denner, The Miser (The Old Bailiff Woman), without date

Fig. 14) Dominicus van der Smissen, Ms von Zanthie, without date

Von Rumohr proposed an empirical concept of beauty [53], which would originate from the personal spirit [54] and abstract from every essence and truth [55]. On the line of Fiorillo, Carl Friedrich identified three concepts of beauty. It is beautiful what excites the senses, or transmits emotions or ultimately stimulates the intellect [56]. This can occur if, in the first case, the work is enjoyable from a sensual view point, or has aspects of real greatness in the second case or sharpens intellect and moral in the third one [57]. But these concepts cannot be understood as new abstractions and must therefore be evaluated on a case by case basis, ensuring the artist's ability to express feelings [58], to organize a composition [59], and finally to translate all of this into a technically valid work [60].

In his view, the effect of the contemporary aesthetic theories on art which had spread since 1780 [61] was absolutely harmful. Carl Friedrich did not hesitate to attack the giants of German culture. He spoke of "stupidity of Lessing" [62] and "incompetence of Goethe"[63]. Schlegel was also criticized, in particular for the “outrageous mistakes on Masaccio” [64]. The influence of his Parisian magazine "Europe" on the art world was also assessed as much more limited than what one might think, because the painters were not reading aesthetics magazines [65]. And to correct the errors of the German aesthetics nothing was better than travelling [66]. And from here it began the real description of Three Journeys to Italy, to which will be dedicated part two.

End of Part One
Go to Part Two 

NOTES

[1] von Rumohr, Carl Friedrich - Drey Reisen nach Italien: Erinnerungen. Leipzig, F. A. Brockhaus, 1832, 327 pages. The text is available on the Internet at 
https://archive.org/details/dreyreisennachit00rumo.

[2] von Rumohr, Carl Friedrich Sämtliche Werke (Complete Opera) Band 12: Drey Reisen nach Italien. Erinnerungen. (Three journeys to Italy. Memoirs). With an introduction by Enrica Yvonne Dilk, Hildesheim, Zurich, New York, Olms Weidmann, .2003, 327 pages.

[3] Battezzati, Chiara - Carl Friedrich von Rumohr e l’arte nell’Italia settentrionale (Carl Friedrich von Rumohr and art in northern Italy). It was published in: Concorso. Arti e lettere, 2009, n. III, 112. The text is available on the Internet at https://issuu.com/storiedellarte/docs/concorso_3_layout-bn.

[4] von Rumohr, Carl Friedrich - Geist der Kochkunst, Stuttgart and Tubingen, Cotta, 1822, 202 pages. Currently are available on the market editions in German, English, Japanese and Swedish. The text has never been translated into Italian.

[5] von Rumohr, Carl Friedrich - Italienische Forschungen: 1-2. Theil, Berlin, Szczecin, In der Nicolai'sche Buchandlung, 1827, pages 355 and 420. The original edition of the first book is available at 
http://digi.ub.uni-heidelberg.de/diglit/rumohr1827bd1/0001/image?sid=220e3d9b17971b11016ecb4f5efee116. 
That of the second book is instead available at 
http://digi.ub.uni-heidelberg.de/diglit/rumohr1827bd2/0001/image?sid=220e3d9b17971b11016ecb4f5efee116.

[6] Lanzi, Luigi Antonio - Geschichte der Malerei in Italien, vom Wiederaufleben der Kunst bis Ende des 18. Jahrhunderts, Volume One, Leipzig, Barth, 1830, 614 pages. The original edition of the first volume is available at 
http://digi.ub.uni-heidelberg.de/diglit/lanzi1830bd1/0001?sid=220e3d9b17971b11016ecb4f5efee116.

[7] Lanzi, Luigi Antonio - Geschichte der Malerei in Italien, vom Wiederaufleben der Kunst bis Ende des 18. Jahrhunderts, Volume II, Leipzig, Barth, 1831, 458 pages.

[8] Lanzi, Luigi Antonio - Geschichte der Malerei in Italien, vom Wiederaufleben der Kunst bis Ende des 18. Jahrhunderts, Third volume, Leipzig, Barth, 1833, 494 pages. The original edition of the third book is available on the Internet at http://digi.ub.uni-heidelberg.de/diglit/lanzi1833bd3.

[9] von Rumohr, Carl Friedrich - Italienische Forschungen: 3. Theil, Berlin, Szczecin, In der Nicolai'sche Buchandlung, 1831, 243 pages. The original edition of the third book is available on the Internet at http://digi.ub.uni-heidelberg.de/diglit/rumohr1831bd3

[10] von Rumohr, Carl Friedrich - Reise durch die östlichen Bundesstaaten in die Lombardey: zurück und über die Schweiz und den oberen Rhein, in besonderer Beziehung auf Völkerkunde, Landbau und Staatswirthschaft, Lübeck, In der v. Rohden'schen Buchhandlung, 1838, 276 pages.

[11] Passavant, Johann David - Rafael Urbino von und sein Vater Giovanni Santi, Leipzig, F. A. Brockhaus, 1839, hatchback, 592 and 706 pages. The original edition of the first volume is available on the Internet at 
http://digi.ub.uni-heidelberg.de/diglit/passavant1839bd1/0003?sid=220e3d9b17971b11016ecb4f5efee116, 
that of the second volume at 
http://digi.ub.uni-heidelberg.de/diglit/passavant1839bd2/0001/thumbs?sid=27240d538535c622a2a2f04990688aba#/current_page. The text was translated into French (1860), English (1872) and Italian (1882).

[12] Von Rumohr, Carl Friedrich - Italienische Forschungen: Mit der "Beygabe zum 1. Bd. Italienischen der Forschungen", edited by Julius Schlosser, Frankfurt, 1920, 626 pages. The original edition is available on the Internet at https://archive.org/details/italienischefors00rumo.

[13] von Rumohr, Carl Friedrich - Drey Reisen nach Italien… 1832 (quoted), p. 4

[14] von Rumohr, Carl Friedrich - Drey Reisen nach Italien … 1832 (quoted), p. 3

[15] von Rumohr, Carl Friedrich - Drey Reisen nach Italien … 1832 (quoted), p. 4

[16] von Rumohr, Carl Friedrich - Drey Reisen nach Italien … 1832 (quoted), p. 3

[17] von Rumohr, Carl Friedrich - Drey Reisen nach Italien … 1832 (quoted), p. 5

[18] von Rumohr, Carl Friedrich - Drey Reisen nach Italien … 1832 (quoted), p. 10

[19] von Rumohr, Carl Friedrich - Drey Reisen nach Italien … 1832 (quoted), p. 10

[20] von Rumohr, Carl Friedrich - Drey Reisen nach Italien … 1832 (quoted), p. 10

[21] von Rumohr, Carl Friedrich - Drey Reisen nach Italien … 1832 (quoted), p. 11

[22] von Rumohr, Carl Friedrich - Drey Reisen nach Italien … 1832 (quoted), p. 13

[23] von Rumohr, Carl Friedrich - Drey Reisen nach Italien … 1832 (quoted), p. 13

[24] von Rumohr, Carl Friedrich - Drey Reisen nach Italien … 1832 (quoted), p. 12

[25] This section was recently translated and commented in French. See: Espagne, Michel - Pour une "Economie de l'art". The itineraire de Carl Friedrich von Rumohr, Paris, Editions Kime, 2004, 200 pages.

[26] von Rumohr, Carl Friedrich - Drey Reisen nach Italien … 1832 (quoted), p. 25

[27] von Rumohr, Carl Friedrich - Drey Reisen nach Italien … 1832 (quoted), p. 26

[28] Bottari, Giovanni Gaetano; Ticozzi, Stefano - Raccolta di lettere sulla pittura, scultura ed architettura scritte da' più celebri personaggi dei secoli XV, XVI, e XVII, in eight volumes, Milano, G. Silvestri, 1822-1825. For the letter in question, see: 
https://archive.org/stream/bub_gb_Cn05wkrnIpAC#page/n197/mode/2up/search/giotto

[29] von Rumohr, Carl Friedrich - Drey Reisen nach Italien … 1832 (quoted), p. 25

[30] von Rumohr, Carl Friedrich - Drey Reisen nach Italien … 1832 (quoted), p. 24

[31] von Rumohr, Carl Friedrich - Drey Reisen nach Italien … 1832 (quoted), p. 28

[32] von Rumohr, Carl Friedrich - Drey Reisen nach Italien … 1832 (quoted), p. 31

[33] von Rumohr, Carl Friedrich - Drey Reisen nach Italien … 1832 (quoted), p. 44

[34] von Rumohr, Carl Friedrich - Drey Reisen nach Italien … 1832 (quoted), p. 45

[35] von Rumohr, Carl Friedrich - Drey Reisen nach Italien … 1832 (quoted), p. 53

[36] von Rumohr, Carl Friedrich - Drey Reisen nach Italien … 1832 (quoted), p. 64

[37] von Rumohr, Carl Friedrich - Drey Reisen nach Italien … 1832 (quoted), p. 14

[38] von Rumohr, Carl Friedrich - Drey Reisen nach Italien … 1832 (quoted), pp. 14-15

[39] von Rumohr, Carl Friedrich - Drey Reisen nach Italien … 1832 (quoted), pp. 293-300

[40] von Rumohr, Carl Friedrich - Drey Reisen nach Italien … 1832 (quoted), p. 15

[41] von Rumohr, Carl Friedrich - Drey Reisen nach Italien … 1832 (quoted), p. 15

[42] von Rumohr, Carl Friedrich - Drey Reisen nach Italien … 1832 (quoted), pp. 17-18

[43] von Rumohr, Carl Friedrich - Drey Reisen nach Italien … 1832 (quoted), p. 22

[44] von Rumohr, Carl Friedrich - Drey Reisen nach Italien … 1832 (quoted), p. 29

[45] von Rumohr, Carl Friedrich - Drey Reisen nach Italien … 1832 (quoted), p. 46

[46] von Rumohr, Carl Friedrich - Drey Reisen nach Italien … 1832 (quoted), p. 46

[47] von Rumohr, Carl Friedrich - Drey Reisen nach Italien … 1832 (quoted), p. 30

[48] von Rumohr, Carl Friedrich - Drey Reisen nach Italien … 1832 (quoted), p. 35

[49] von Rumohr, Carl Friedrich - Drey Reisen nach Italien … 1832 (quoted), p. 60

[50] von Rumohr, Carl Friedrich - Drey Reisen nach Italien … 1832 (quoted), pp. 57-58

[51] von Rumohr, Carl Friedrich - Drey Reisen nach Italien … 1832 (quoted), p. 58

[52] von Rumohr, Carl Friedrich - Drey Reisen nach Italien … 1832 (quoted), p. 59

[53] von Rumohr, Carl Friedrich - Drey Reisen nach Italien … 1832 (quoted), pp. 33-34

[54] von Rumohr, Carl Friedrich - Drey Reisen nach Italien … 1832 (quoted), p. 36

[55] von Rumohr, Carl Friedrich - Drey Reisen nach Italien … 1832 (quoted), p. 37

[56] von Rumohr, Carl Friedrich - Drey Reisen nach Italien … 1832 (quoted), p. 39

[57] von Rumohr, Carl Friedrich - Drey Reisen nach Italien … 1832 (quoted), pp. 39-40

[58] von Rumohr, Carl Friedrich - Drey Reisen nach Italien … 1832 (quoted), p. 42

[59] von Rumohr, Carl Friedrich - Drey Reisen nach Italien … 1832 (quoted), p. 42

[60] von Rumohr, Carl Friedrich - Drey Reisen nach Italien … 1832 (quoted), pp. 43-44

[61] von Rumohr, Carl Friedrich - Drey Reisen nach Italien … 1832 (quoted), p. 63

[62] von Rumohr, Carl Friedrich - Drey Reisen nach Italien … 1832 (quoted), p. 54

[63] von Rumohr, Carl Friedrich - Drey Reisen nach Italien … 1832 (quoted), p. 57

[64] von Rumohr, Carl Friedrich - Drey Reisen nach Italien … 1832 (quoted), pp. 66-67

[65] von Rumohr, Carl Friedrich - Drey Reisen nach Italien … 1832 (quoted), p. 65

[66] von Rumohr, Carl Friedrich - Drey Reisen nach Italien … 1832 (quoted), p. 68