eitizens, the butchers assembled in their hall, and thence marched in procession to the market-place, where they plunged, one and all, into the cold water of the fountain basin, and returned dripping wet, without any ill effects or any fresh case of the terrible plague. In memory of the event the ceremony was kept up annually; and now, when the butchers' apprentices take up their freedom, amidst the other festivities of the occasion the young men have to take the Metzgersprung, or butcher's leap, into the fountain basin. The figure of a butcher's apprentice surmounts the fountain; at the base are crouching figures, representing plague and cholera. Close beside the Rathhaus is the house (now an omnibus office) in which the great Gustavus Adolphus took up his quarters in 1632. On the east of the square stands the old Rathhaus, with its frescoed tower and its zine statues of Henry the Lion and Lewis the Bavarian. The column called the Mariensaule was erected in 1638 by Maximilian I., to commemorate his victory, in conjunction with the Emperor Ferdinand II., over the Protestant forces of the Elector Palatine at the White Mount, near Prague, in 1621. A statue of the Virgin adorns the summit, and at the corners are four angels destroying four monsters, typifying pestilence, famine, war, and heresy.

Of the numerous edifices raised by King Lewis and his successor for various civic, artistic, educational, or other purposes, we can, of course, only name the principal. To the museums we shall refer presently. One of the most remarkable modern buildings is the Kriegs-Ministerium (Ministry of War), designed by Van Klenze. It is in the Florentine style, with fine arcades, of which the pilasters are decorated with armour and military trophies; the windows are adorned with sculptures, the work of various Bavarian masters. At the south end of the Ludwigs-Strasse stands another creation of the same monarch, the Feldherrnhalle, or Hall of the Marshals, copied from the Loggia de' Lanzi at Florence. It contains two bronze statues modelled by Schwanthaler: one of Count Tilly, who commanded the Bavarian armies in the Thirty Years' War, and one of Wrede, the Bavarian field-marshal during the wars of Napoleon.

Before passing to the museums of sculpture and painting, which are the crowning glory of Munich, we must say a word or two more with respect to its out-door decorations. In addition to the numerous beautiful buildings, of which some have been mentioned, the city teems with statues and fountains. Near the Wittelsbach Palace, where King Lewis spent the remainder of his days from his abdication to his death, rises the stately form of the great Elector Maximilian I., the foe of the Protestants. In the broad Maximilian-Strasse are statues of Schelling the philosopher, Count Rumford, and other worthies. The Isarthor, at the end of the Thal, is one of the ancient gates of medieval Munich. Three massive towers are connected by huge walls, pierced by eight gateways. The exterior of this restored monument of the past is covered by a great fresco, from cartoons by Cornelius, representing the triumphal entry into Munich of Lewis the Bavarian in 1322, after vanquishing his rival competitor for the imperial throne, Frederic the Handsome. On the circus called the Karolinenplatz stands a bronze obelisk, in memory of the 30,000 Bavarians who perished to oblige Napoleon in the Russian campaign. The inscription says "These also died for the deliverance of their native land: " words which have been a standing enigma to all beholders with any knowledge of history. We cannot undertake even to enumerate the statues of princes and warriors, poets, artists, musicians, which

adorn the streets of Munich. King Lewis delighted to honour the great men of his country, and he has made effective use of them for decorative purposes. Two of his grand arches must be mentioned. The Siegesthor, or Triumphal Arch, at the end of the Ludwigs-Strasse, is a copy of the Arch of Constantine, dedicated to the Bavarian army. On the summit is Bavaria in a triumphal car drawn by four lions. Eight winged Victories of Carrara marble rise before the pediment, four on each side of the gate. Two flying Victories with wreaths and palms appear above the central arch. The Propylæa is a copy of that at Athens, erected by King Lewis to commemorate the Greek struggles for freedom and the reign of King Otho. Curiously enough, Otho came home to Bavaria when his Greek subjects had had enough of him on the day after, this monument was inaugurated -in October, 1867.

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The Glyptothek, or Gallery of Sculpture, is an Ionic building erected by Lewis I. whilst Crown Prince, to contain the valuable collection he had already got together. One room contains bas-reliefs from Nineveh; a second is devoted to Egyptian, and a third to earliest Greek and Etruscan art. The fourth room in the series contains the celebrated marbles from Ægina, pronounced by Westmacott to be "among the most valuable remains of ancient art that have reached us." In an archæological point of view, they link the primitive art of Greece with the school of Phidias. Prince Lewis gave £6,000 for the marbles. The faces are wanting in expression, but the limbs are admirably proportioned and skilfully posed. They do not fascinate everybody; and a French writer speaks of them as all wearing "an imbecile smile." The Hall of Apollo shows some splendid examples of the Phidian school, especially the Apollo Citharōdos, said to be the work of Ageladas, the master of Phidias. In the Hall of Bacchus is the Sleeping or Barberini Faun-a colossal satyr, half reclining on a rock, attributed by some to Praxiteles. It was found in the ditch of the Castle of St. Angelo, and is supposed to have been thrown down on the heads of the Goths by the Greek defenders under Belisarius. The Hall of the Sons of Niobe contains the Ilioneus, a kneeling figure of the youngest son of Niobe, crouching in terror at the approach of Apollo's deadly arrow. It is a marvellously effective work. Amongst the other masterpieces in this hall is the Medusa, strangely impressive in its cold, haughty beauty. We need not enumerate the remaining halls; they contain a rich collection of sculpture (chiefly classical), and a few examples of modern art by Canova, Thorwaldsen, Schadow, and others.

The Alte Pinakothek (Old Picture Gallery) was commenced in 1826 by King Lewis. Fourteen hundred paintings, large and small, 9,000 drawings by old masters, 300,000 engravings and woodcuts, and 1,800 vases are here exhibited. The gallery is of an oblong shape, with a wing at each end, so that it presents four façades; the most ornamental being the south façade, with its Ionic portico. Between the windows are statues of illustrious Bavarian artists. The interior is divided into ten principal halls of great height, and lighted from above for the display of large paintings, and twenty-three small cabinets for the exhibition of smaller pictures. The portico opens on a grand corridor, covered from end to end with rich frescoes, illustrating the history of art in Italy, Germany, and the Netherlands. Of the wonderful collection of pictures in the halls and cabinets it would be folly to attempt any detailed description. Holbein, Cranach, Dürer, and the other painters

of the old German school, killed by the Reformation, are well represented here; here, too, are Van Eyck and Rubens, Rembrandt, Van Dyck, Jordaens, Hobbema, and many other illustrious painters of the Low Countries. By Rubens alone there are ninety-five pictures, or as many as Paris, Antwerp, and Madrid possess when added together. France and Spain each fill one hall, and Italy three, but mostly with second-rate works. The Neue Pinakothek (1846-53), built by King Lewis, contains fifty-two rooms, designed for nineteenth-century paintings. Here are numerous works by Kaulbach, Hess, and other modern artists. Wilkie's "Reading of the Will" is in this collection. The exterior of the building is covered with frescoes-a style of decoration very common in Munich, as exemplified on the Isarthor, the Palace, the Bazaar, and several of the churches. The frescoes outside the Neue Pinakothek are allegorical and colossal, and have been said by some to remind them of the canvas tableaux exhibited outside the booths at country fairs. Some of them are very remarkable, and seem to suggest that contemporary art, with Bavarian art at the head of the movement, is to triumph over the art of all past generations. But the interior of the Neue Pinakothek does not prove this assumption at present.

In the Maximilian-Strasse stands the Bavarian National Museum, a fine building, with very extensive and valuable collections of objects, chiefly relating to the antiquities and manufactures of Bavaria, Roman and mediæval relics, arms, bijoux, costumes, ivory-work, jewellery, instruments of torture, and innumerable other curiosities illustrating the history of the arts of war and peace. Munich also possesses an Academy of Arts, which is specially devoted to a collection of coins and gems, and a Museum of Natural History, particularly rich in objects brought from Brazil by Drs. Spix and Martins. The Academy of Science dates from 1789. The Public Library, built in the style of an Italian palace, is well adorned with statues, and, like many things in Munich, was built with an eye to future development. It would accommodate 2,000,000 volumes. It contains, however, 800,000 volumes and 22,000 MSS. The University in the Ludwigs-Strasse possesses a library of 160,000 volumes. About 1,700 students attend the classes and lectures, which are maintained by an army of 114 professors. The names of Döllinger the theologian and Liebig the chemist, both professors here, have attained a world-wide fame. The Ludwigs-Strasse widens at this point into an open space, with two fountains in the centre. "In the evening and twilight," says A. M. Howitt, "how cool and refreshing and soothing is the splash of those two fountains! I should love, were I a youth, to study in the University-that pure, solemn, calm, beautiful building, white as of the purest marble, with its long rows of round-arched windows, its long band of medallions also: a medallion between each central window, and enclosing the head of a legislator, a philosopher, or a poet. And as the western sky is lit up by the setting sun, its light streams through painted windows, and the contrast between the cool building seen in the shadow and those gemmed, glowing windows is magical. There is a monastic calm about the buildings, which to a studious and poetical nature must be delicious."

The well-supplied Observatory, the Polytechnic School with its 1,000 pupils, and various learned societies and institutions, must not detain us, nor the richly decorated and well-frequented theatres. Not only as a "German Athens," but also as a centre of

There are numerous

industry, Munich has in modern times been taking a high rank. workshops for the manufacture of iron, bronze, and other metal goods. First-rate workmen are employed here in the fabrication or preparation of everything that is required by painters, mathematicians, and naturalists. A large number of newspapers are published herc. Of the 235 Roman Catholic journals of Germany, fifty-four are published in Bavaria, and nearly all of these in Munich, which is in South Germany what Lyons is in Southern France, the head-quarters of the Roman Catholic faith. But of all the industries of Munich, the most important is, without doubt, the manufacture of beer. Bavarian beer is quaffed and highly extolled by thousands who care little for Bavarian art. The twenty breweries of Munich have their great halls crowded in the evenings by those who like to get their beer at the fountain-head. The annual value of the beer produced in the town is £1,200,000. Beer-drinking is an institution, and there are numerous societies of drinkers with curious names in the city and environs.

NUREMBERG.

The second city of Bavaria is Nuremberg, with a population of 92,000, the " quaint old town of toil and traffic, quaint old town of art and song," that for 800 years and more has guarded, with its frowning ramparts, the valley of the Pegnitz. Since 1806 it

has appertained to Bavaria; but anciently it was one of the Free Cities which, in spite of feudal barons, and often under the very walls of the strongholds of tyranny, fostered a spirit of independence, and learned to defy both Pope and Emperor.

appears in history,

It is in the year 1050 that the name of Castrum Norenberc first and the city obtained its charter in 1219. It developed rapidly into one of the great markets of Germany, thanks to its favourable position, where two lines of commerce crossed each other-namely, from the Danube to the Rhine, and from Italy to the countries of

Germany and the North. During the fifteenth and sixteenth centuries it reached the height of its wealth and prosperity. As a free city, it had sovereign rights over a territory measuring twenty-three German miles in extent. Its form of government was similar to that of Venice. At times the patrician families usurped all power; at other times the democratic element made its influence felt, and there were frequent struggles between the two parties. Its history is associated with Charlemagne, Henry the Saint, the fair Cunegonda, the Conrads, Barbarossa, and Maximilian. When necessity required, it could send to the imperial armies 6,000 sturdy men-at-arms. Its wealth was not only realised from commerce, for its manufactures also won for it a wide renown. Europe knew no more cunning and skilful craftsmen than the artisans and artists of Nuremberg, especially the workers in metals-the smiths, armourers, cutlers, casters in bronze, and goldsmiths. Almost equally celebrated were its dyers and cloth-weavers. In the fourteenth century playing-cards were manufactured (some say invented) there. There also, about the same time, rose the first paper-mill in Germany. A century later, the first watches, known as Nuremberg eggs, came from this town, whose citizens became renowned for their inventions. The first cast cannon, the first gunlock, the first wire-drawing machine, brass (as used by the moderns), the air-gun, the clarinet, certain descriptions of pottery and glass-painting: all were invented by citizens of Nuremberg. Well might the city boast, "Nürnberg's hand geht durch alle land" (Nuremberg's hand goes through every land).

Only three or four generations back it was one of the richest and most famous towns in Europe. The well-known saying of Pope Pius II., that a Nuremberger citizen was better off than a Scottish king, is quite verified by the accounts that have come down to us of the town and its burghers. We hear, for instance, of a cutler and other tradesmen giving in charity as much as £1,360-a truly enormous sum in those days. In respect of wealth and commercial importance, only Genoa, Venice, or Antwerp could vie with Nuremberg.

But Nuremberg, besides being commercial and inventive, was also a city of artists and poets. In each of these departments a few chosen spirits rose to eminence, but the spirit of poetry and art seems to have been stirring in the whole community. The home, the church, the town, all felt its influence, and the result is a city of rich, quaint beauty: one of the most precious relics that the Middle Ages have bequeathed to our days. It still stands before our eyes a perfect picture of the old castle-crowned, walled, and moated city of the fourteenth century.

Peaceful market-gardens now cover the bottom of the moat, a hundred feet broad and fifty deep, that surrounds the old city. Here and there tall trees rise amidst the luxuriant growth of beans, and peas, and beets, and even tobacco. Inside the moat stands a double wall, upon which 400 towers once raised their heads. About two-thirds of these have perished; but the steep red-tiled roofs of those that remain form a striking and picturesque feature in the various views of the town. Some of them are of very early date, but most of them belong to the system of fortifications planned by the noted painter, sculptor, engraver, mathematician, and engineer, Albrecht Dürer (born, 1471; died, 1528), who was one of the greatest in the galaxy of Nuremberg worthies.

The Königs-Strasse enters the city by the Königsthor, under one of Dürer's massive watch-towers, and leads to the Königs-brücke, the bridge across the Pegnitz. This river