Blackwood's Edinburgh Magazine, Volume 56, Number 347, September, 1844. Various

upon a gentle declivity, commanding one of the numerous windings of the river, and sloping downwards to its banks. A part of the old walls of the town is thus bathed by the waters of the stream, which, calm and peaceful in the summer months, become tumultuous, and even dangerous, during rainy weather, or after the melting of the snows. From the ancient gateway of the town on the river side, a triple bridge of great length and many arches, which, in the dry season, seems to occupy a most unnecessary space across the narrower waters, but which, at other times, scarce suffices to span the extent of the invading inundation, affords a communication with the high-road.

      At the commencement of the sixteenth century, this bridge was only constructed of wood, and although put together with rude strength, ill-sufficed to resist the force of the torrents, and had been repeatedly swept before them.

      Not far from the town gateway that commanded this bridge, stood a huge mansion, constructed as a palace for the Prince Bishops of Fulda, the sovereign rulers of the district; although, at the period in question, it had been ceded to the Ober-Amtmann, a near relation of the reigning bishop, as his official dwelling. On the side of this ancient palace furthest removed from the town gate, ran, along the river’s banks, its spacious gardens, abutting at their extremity upon the premises of an extensive Benedictine monastery,   from which they were only separated by a narrow lane, that led from the town to the river. At the very angle of this lane, where it opened by a small water-gate upon a narrow towing-path, skirting alike the town-walls and the banks of the stream, there stood a low building attached to the monastery, the upper story of which thus overlooked the old gardens of the palace on the one hand, and, on the other, the river banks.

      At one of the windows of this humble dwelling, that which overlooked the palace gardens, stood a young man, intently gazing through its small octagon panes. Two or three times he turned away with a heavy sigh, as if wearied with long and vain watching, and as often returned again to his previous occupation. At length the opening of the door of the room startled him from his position; and as if ashamed of being caught in the act of looking out, he hurried to a table in the middle of the room, and flung himself into an old chair.

      The various objects with which the table was covered, as well as those which filled and littered the room in all directions, clearly designated the young man’s employment to be that of a sculptor and colourer of images for the ornament of churches, as well as an illuminator of missals and manuscripts—an occupation at that time still pursued, although gradually falling into disuse since the invention of printing. Scattered about upon the table were several old parchment manuscripts, which had served as models for the artist’s use, or had been confided to his hands to clean. Old illuminated missals, some of the gorgeous illustrations of which were open, as if lately retouched by the hand of the young painter, lay here and there. At the further end of the table stood a small figure of a Virgin and Child, delicately and exquisitely carved, and painted with the richest colours. The group was bright with its fresh finish, and evidently had not long been completed by the hand of the artist. Upon an elevated bench or dresser were littered the tools of the sculptor and wood-carver, with a few unfinished trials of small saintly figures; and around the room were fragments of wooden images of saints, some discoloured, some broken, a few in tolerable preservation, which were either destined to be restored and repainted, or had served as studies for the artist. Upon the walls hung a few pictures of female saints, bedecked with garlands of flowers, which showed them to be objects of devotion and respect in the eyes of the possessor. Among all this confusion, space was scarcely left, in the small chamber of the artist, for the pallet-bed and cumbrous press that formed his only furniture.

      Immediately before the chair into which the young man so hastily flung himself, lay a rich missal, upon the adornment of which he had been employed, before other thoughts and feelings had sent him to the window; and when he again resumed his work, it was upon the face of a fair saint, which formed the headpiece of a chapter, peering out from among the various graceful arabesques that twined in the brightest colours along the margin of the leaf.

      In truth, the face of the young artist was almost as fair as that of the bright being he was engaged in painting. His light brown hair was parted in the middle, over a high white forehead, and fell in faintly waving curls almost to his neck, forming a frame to the soft oval face, to which his violet-blue melancholy-looking eyes, his calm, finely-chiselled features, and the serious repose of his imaginative mouth, imparted an air of gentleness and thoughtfulness combined. His dark, sober-coloured, simple dress, although somewhat too severe to suit his youthful figure, accorded well with the character of his physiognomy. His falling collar displayed a full white throat, which might have served as a model for a statue of Antinous, had it not borne more the stamp of genius in its proportions than of physical voluptuousness. The hands, which now hastily resumed their neglected occupation, had all the fairness and well-moulded contour of a woman’s, without that delicacy of size which would have stamped them as effeminate. Had he been aware of his own beauty, he might have copied his own graceful form for a personification of the lily-bearing angel in a group of the Annunciation.