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 now hung in the Stadel Institute at Frankfurt, and allowed his fancy to play upon its possible inclusion in a gallery of unfinished masterpieces.