An essay on the portrait of Goethe in the Campagna
Arranged for broadcasting and produced by Douglas Cleverdon
In his ' Italian Journey ' Goethe frequently refers to the painting of his portrait by his indefatigable compatriot Johann Wilhelm Tischbein. When ' Quia Imperfectum ' was written in 1918 Max Beerbohm was unaware that the finished portrait hangs in the Stadel Institute at Frankfurt, and allowed his fancy to play upon its possible inclusion in a gallery of unfinished master-pieces.