On the 24th of March, after some adventures caused by the military control of strangers, I reached Milan, where I allowed myself to stay three days to see the sights. Without any official guide to help me, I contented myself with following up the simplest directions I could obtain to the Brera, the Ambrosian Library, the 'Last Supper' of Leonardo da Vinci, and the cathedral. I climbed the various roofs and towers of this cathedral at all points. Finding, as I always did, that my first impressions were the liveliest, I confined my attention in the Brera chiefly to two pictures which confronted me as soon as I entered; they were Van Dyck's 'Saint Anthony before the Infant Jesus' and Crespi's 'Martyrdom of Saint Stephen.' I realised on this occasion that I was not a good judge of pictures, because when once the subject has made a clear and sympathetic appeal to me, it settles my view, and nothing else counts. A strange light, however, was shed on the effect made by the purely artistic significance of a masterpiece, when I stood before Leonardo da Vinci's 'Last Supper' and had the same experience as every one else. This work of art, although it is almost entirely destroyed as a picture, produces such an extraordinary effect on the mind of the spectator, that even after a close examination of the copies hanging beside it representing it in a restored state, when he turns to the ruined picture the fact is suddenly revealed to the eye of his soul that the contents of the original are absolutely inimitable. In the evening I made all haste to get to the Italian comedy again. I grew very fond of it, and found it had installed itself here in the tiny Teatro Re for the benefit of a small audience of the lower orders. The Italians of to-day unfortunately despise it heartily. Here, too, the comedies of Goldoni were played with, as it seemed to me, considerable and ingenious skill. On the other hand, it was my fate to be present at a performance in the Scala Theatre, where, in a setting of an external magnificence that was extraordinary, it was proved true that Italian taste was degenerating sadly. Before the most brilliant and enthusiastic audience one could wish for, gathered together in that immense theatre, an incredibly worthless fake of an opera by a modern composer, whose name I have forgotten, was performed. The same evening I learned, however, that although the Italian public was passionately fond of song, it was the ballet which they regarded as the main item; for, obviously, the dreary opera, at the beginning was only intended to prepare the way for a groat choreographic performance on a subject no less pretentious than that of Antony and Cleopatra. In this ballet I saw even the cold politician Octavianus, who until now had not so far lost his dignity as to appear as a character in any Italian opera, acting in pantomime and contriving fairly successfully to maintain an attitude of diplomatic reserve. The climax, however, was reached in the scene of Cleopatra's funeral. This afforded the immense staff of the ballet an opportunity for displaying the most varied picturesque effects in highly characteristic costumes.
After receiving these impressions all by myself, I travelled to Lucerne one brilliant spring day by way of Como, where everything was in full blossom, through Lugano, which I knew already, and the Gotthard, which I had to cross in small open sledges along towering walls of snow. When I reached Lucerne the weather was bitterly cold, in contrast with the genial spring I had enjoyed in Italy. The allowance of money I had made for my stay in Lucerne was based on the assumption that the big Hotel Schweizerhof was quite empty from about this time until the summer season began, and that without further preliminaries I should be able to find a lodging there both spacious and free from noise. This hope had not been entertained in vain. The courteous manager of the hotel, Colonel Segesser, allotted to me a whole floor in the annexe on the left, to occupy at my pleasure. I could make myself quite comfortable here in the larger rooms at a moderate price. As the hotel at this time of the year had only a very small staff of servants, it was left to me to make arrangements for some one to wait upon me. For this purpose I found a careful woman well suited to look after my comfort. Many years afterwards, remembering the good services she had rendered me, especially later on when the number of guests had increased, I engaged her as my housekeeper.
Soon my things arrived from Venice. The Erard had been obliged to cross the Alps again when the snow was on the ground. When it was set up in my spacious drawing-room, I said to myself that all this trouble and expense had been incurred to enable me at last to complete the third act of Tristan und Isolde. There were times when this seemed to me to be an extravagant ambition; for the difficulties in the way of finishing my work seemed to make it impossible. I compared myself to Leto who, in order to find a place in which to give birth to Apollo and Artemis, was hunted about the world and could find no resting-place until Poseidon, taking compassion on her, caused the island of Delos to rise from the sea.
I wished to regard Lucerne as this Delos. But the terrible influence of the weather, which was intensely cold and continuously wet, weighed upon my spirits in a most unfriendly fashion until the end of May. As such great sacrifice had been made to find this new place of refuge, I thought every day had been uselessly frittered away which had not contributed something to my work of composing. For the greater part of my third act I was occupied with a subject sad beyond words; it came to such a pass that it is only with a shudder that I can recall the first few months of this emigration to Lucerne.
A few days after my arrival I had already visited the Wesendoncks in Zurich. Our meeting was melancholy, but in no way embarrassed. I spent some days in my friends' house, where I saw my old Zurich acquaintances again, and felt as though I were passing from one dream to another. In fact, everything assumed an air of unsubstantiality for me. Several times in the course of my stay in Lucerne I repeated this visit, which was twice returned to me, once on the occasion of my birthday.
Besides the work on which I was now somewhat gloriously engaged, I was also heavy with cares about keeping myself and my wife alive. Of my own accord and out of necessary respect for the circumstances in which my friends the Ritters were placed, I had already in Venice felt myself for the future obliged to decline their voluntary support. I was beginning to exhaust the little that I could contrive to extract with difficulty from those of my operas which up to this period it had been possible to produce. It was settled that I should take up the Nibelungen work when Tristan was finished, and I thought it my duty to find out some way of making my future existence easier. This Nibelungen work spurred me to the attempt. The Grand Duke of Weimar still kept up his interest in it, to judge from the communications I had received from him during the previous year. I therefore wrote to Liszt and repeated my request that he would make a serious proposal to the Grand Duke to buy the copyright of the work and arrange for its publication, with the right of disposing of it to a publisher on his own terms. I enclosed my former negotiations with Hartel, which had been broken off, and which were now intended to serve as a fair basis for what may be called the business arrangement that Liszt was to enter into with the Grand Duke. Liszt soon gave me an embarrassed hint that his Royal Highness was not really keen on it. This was quite enough for me.