[...] Quite recently my friend Laube of Leipzig brought to my notice certain remarks of Mme. Devrient [...], which [...] show me more clearly than ever that the ultra-Catholic party are scandalised by the text of my Rienzi. I have taken the hint and have without delay informed Herr Hofrat Winkler of certain alterations on this point which I have long had prepared. I have drawn his attention to the fact that the question is rather one of Catholic externals than of Catholic ideas. I have pointed out to him that the Pope—who furthermore is not actually presented upon the stage—appears in my libretto not as a spiritual power upholding or condemning theses and dogmas, but rather as a temporal prince endeavouring to defend his earthly realm against pillage and anarchy, and it is only as such that he finally uses his ghostly power to rid himself of a too-zealous defender of his worldly interests. Rome itself being the scene of the drama, it is in any case historically impossible to substitute any other overlord for the Pope, but since the latter is only represented by his emissaries his participation is slurred over, and if I now consent to change these emissaries and a cardinal into ordinary temporal ambassadors, there ought to be practically no cause of scandal remaining except the Papal ban. Did they not, however, retain the essence and significance of the Papal ban in The Jewess at Dresden, though shortening it considerably? Why not, then, here too, where it was decided from the first to cut the pronouncement of it as short as possible? There are such excellent ways of letting the main action work itself out at large, while cutting out just a few very obvious ceremonies and symbols. The Huguenots has been performed—what more can people want? For though in that piece the externals were very much covered up, the religious dogma theme was absolutely not to be disguised.—If, however, they are quite determined to eliminate the word "Church" from my Rienzi altogether, I suppose one must turn to the German Emperor and ask him to shoulder the burden and pronounce the ban himself as an Imperial decree. Surely, though, priests and religions have gone in solemn procession over the Dresden stage before now? [...]
[...] But what is the use of all this when these gentlemen will not favour me with one single direct communication! If they challenge me to it I shall certainly be able to remove every cause of offence. [...] Is it true that the only man who could be empowered to give an opinion on my musical composition is opposed to my project? [...]
I have been induced to follow up a suggestion of Herr Hofrat Winkler and to write him a series of letters for his Abendzeitung. [...]
Source: Letters of Richard Wagner, Vol. 1, selected and ed. Wilhelm Altmann, trans. M. M. Bozman (J. M. Dent & Sons, 1927), No. 54