The Christmas holidays were approaching; and it became at once clear to him that the very thing which he wanted was a representation with real figures of one of those pictures of the scene in the stable a sacred exhibition such as at this holy season good Christians delight to offer to the divine Mother and her Child, of the manner in which she, in her seeming lowliness, was honoured first by the shepherds and afterward by kings.
He had thoroughly brought before himself how such a picture should be contrived. A fair, lovely child was found, and there would be no lack of shepherds and shepherdesses. But without Ottilie the thing could not be done. The young man had exalted her in his design to be the mother of God, and if she refused there was no question but the undertaking must fall to the ground. Ottilie, half embarrassed at the proposal, referred him and his request to Charlotte. The latter gladly gave her permission, and lent her assistance in overcoming and overpersuading Ottilie’s hesitation in assuming so sacred a personality. The Architect worked day and night, that by Christmas Eve everything might be ready.
Day and night, indeed, in the literal sense. At all times he was a man who had but few necessities; and Ottilie’s presence seemed to be to him in the place of all delicacies. When he was working for her, it was as if he required no sleep; when he was busy about her, as if he could do without food. Accordingly by the hour of the evening solemnity, all was completed. He had found the means of collecting some well-toned wind instruments to form an introduction, and produce the desired temper of thought and feeling. But when the curtain rose, Charlotte was taken completely by surprise. The picture which presented itself to her had been repeated so often in the world that one could scarcely have expected any new impression to be produced. But here, the reality as representing the picture had its especial advantages. The whole space was the colour rather of night than of twilight, and there was nothing even of the details of the scene which was obscure. The inimitable idea that all the light should proceed from the child, the artist had contrived to carry out by an ingenious method of illumination which was concealed by the figures in the foreground, who were all in shadow. Bright-looking boys and girls were standing round, their fresh faces sharply lighted from below; and there were angels too, whose own brilliancy grew pale before the divine, whose ethereal bodies showed dim and dense and needing other light in the presence of the body of the divine humanity.
By good fortune the infant had fallen asleep in the loveliest attitude, so that nothing disturbed the contemplation when the eye rested on the seeming mother, who with infinite grace had lifted off a veil to reveal her hidden treasure. At this moment the picture seemed to have been caught, and there to have remained fixed. Physically dazzled, mentally surprised, the people round appeared to have just moved to turn away their half-blinded eyes, to be glancing again toward the child with curious delight, and to be showing more wonder and pleasure than awe and reverence although these emotions were not forgotten, and were to be traced upon the features of some of the older spectators.
But Ottilie’s figure, expression, attitude, glance, excelled all which any painter has ever represented. A man who had true knowledge of art, and had seen this spectacle, would have been in fear lest any portion of it should move; he would have doubted whether anything could ever so much please him again. Unluckily, there was no one present who could comprehend the whole of this effect. The Architect alone, who, as a tall, slender shepherd, was looking in from the side over those who were kneeling, enjoyed, although he was not in the best position for seeing, the fullest pleasure. And who can describe the mien of the new-made queen of heaven ? The purest humility, the most exquisite feeling of modesty, at the great honour which had undeservedly been bestowed upon her, with indescribable and immeasurable happiness, was displayed upon her features, expressing as much her own personal emotion as that of the character which she was endeavouring to represent.
Charlotte was delighted with the beautiful figures; but what had most effect on her was the child. Her eyes filled with tears, and her imagination presented to her in the liveliest colours that she might soon hope to have such another darling creature on her own lap.
They had let down the curtain, partly to give the exhibitors some little rest, partly to make an alteration in the exhibition. The artist had proposed to himself to transmute the first scene of night and lowliness into a picture of splendour and glory; and for this purpose had prepared a blaze of light to fall in from every side, which this interval was required to kindle.
Johann Wolfgang von Goethe, 1749-1832
Die Wahlverwandtschaften,1809 Elective Affinities. Volume II. Chapter XXIV
Image: Ottilia and the Child. Illustration from J W von Goethe, Elective Affinities, 1896