Here, immediately under, I took a rude sketch just to show you how a glacier looks close at hand.



C. wanted, as usual, to do all sorts of improper things. He wanted to stone down blocks of ice, and to go inside the cave, and to go down into holes, and insisted on standing particularly long on a spot which the guide told him was all undermined, in order that he might pelt a cliff of ice that seemed inclined to fall, and hear it smash.

The poor guide was as distressed as a hen when her ducks take to the water; he ran, and called, and shouted, in German, French, and English, and it was not till C. had contrived to throw the head of the little boy's hatchet down into a crevasse, that he gave up. There were two francs to pay for this experiment; but never mind! Our guide book says that a clergyman of Yevay, on this glacier, fell into a crevasse several hundred feet deep, and was killed; so I was glad enough when C. came off safe.

He ought to have a bell on his neck, as the cows do here; and apropos to this, we leave the glacier, and ride up into a land of pastures. Here we see a hundred cows grazing in the field—the field all yellow with buttercups. They are a very small breed, prettily formed, and each had on her neck a bell. How many notes there are in these bells! quite a diapason—some very deep toned, and so on up to the highest! how prettily they sound, all going together! The bells are made of the best of metal, for the tone is of an admirable quality.

0, do look off there, on that patch of snow under the Wetterhorn! It is all covered with cows; they look no bigger than insects. "What makes them go there?" said we to our guides.

"To be cool" was the answer.

Hark! what's that? a sudden sound like the rush of a cascade.

"Avalanche! avalanche!" exclaimed the guide. And now, pouring down the sides of the Wetterhorn, came a milk-white cascade, looking just like any other cascade, melting gracefully over the rocks, and spreading, like a stream of milk, on the soiled snow below.

This is a summer avalanche—a mere bijou—a fancy article, got up, or rather got down, to entertain travellers. The winter avalanches are quite other things. Witness a little further in our track, where our guide stops us, and points to a place where all the pines have been broken short off by one of them. Along here some old ghostly pines, dead ages ago, their white, ghastly skeletons bleached by a hundred storms, stand, stretching out their long, bony arms, like phantom giants. These skeleton pines are a striking image; I wonder I have not seen them introduced into pictures.

There, now, a little ahead, is a small hut, which marks the summit of the grand Scheidich. Our horses come up to it, and we dismount. Some of the party go in to sleep—I go out to climb a neighboring peak. At the foot of this peak lay a wreath of snow, soiled and dirty, as half-melted snow always is; but lying amid the green grass and luxuriant flowers, it had a strange air. It seemed a little spot of death in the green lap of rejoicing life—like that death-spot which often lies in the human heart—among all seeming flowers, cold and cheerless, unwarmed by the sunbeam, and unmelted by the ray that unfolds thousands of blooms around.

Now, I thought, I have read of Alpine flowers leaning their cheeks on the snows. I wonder if any flowers grow near enough to that snow to touch it. I mean to go and see. So I went; there, sure enough, my little fringed purple bell, to which I have given the name of "suspirium," was growing, not only close to the snow, but in it.

Thus God's grace shining steadily on the waste places of the human heart, brings up heavenward sighings and aspirations which pierce through the cold snows of affliction, and tell that there is yet life beneath.

I climbed up the grassy sides of the peak, flowers to the very top. There I sat down and looked. This is Alpine solitude. All around me were these deep, green dells, from which comes up the tinkle of bells, like the dropping of rain every where It seems to me the air is more elastic and musical here than below, and gives grace to the commonest sound. Now I look back along the way we have been travelling. I look at the strange old cloudy mountains, the Eiger, the Wetterhorn, the Schreckhorn. A kind of hazy ether floats around them—an indescribable aerial halo—which no painter ever represents. Who can paint the air—that vivid blue in which these sharp peaks cut their glittering images? Of all peaks, the Eiger is the most impressive to me.



It is a gigantic ploughshare of rock, set up against the sky, its thin, keen, purple blade edged with glittering frost; for so sharp is its point, that only a dazzling line marks the eternal snow on its head.

I walked out as far as I could on a narrow summit, and took a last look. Glaciers! snows! mountains! sunny dells and flowers! all good by. I am a pilgrim and a stranger.

Already, looking down to the shanty, I see the guide like a hen that has lost a chicken, shaking her wings, and clucking, and making a great ado. I could stay here all day. I would like to stay two or three—to see how it would look at sunrise, at sunset—to lie down in one of these sunny hollows, and look up into the sky—to shut my eyes lazily, and open them again, and so let the whole impression soak in, as Mrs. H. used to say.

But no; the sleepers have waked up, the guide has the horses ready, and I must come down. So here I descend my hill Difficulty into the valley of Humiliation. We stumble along, for the roads here are no turnpikes, and we come to a place called the Black Forest; not the Black Forest, but truly a black one. I always love pines, to all generations. I welcome this solemn old brotherhood, which stand gray-bearded, like monks, old, dark, solemn, sighing a certain mournful sound—like a benedicite through the leaves.

About noon we came to Rosenlaui. As we drew near the hotel the guide struck off upon a path leading up the mountain, saying, by way of explanation, "The glacier!"

Now, I confess that it was rather too near dinner time, and I was too tired at once to appreciate this movement.

I regret to say, that two glaciers, however beautiful, on an empty stomach, appear rather of doubtful utility. So I remonstrated; but the guide, as all guides do, went dead ahead, as if I had not said a word. C., however, rode composedly towards the hotel, saying that dinner was a finer sight than a glacier; and I, though only of the same mind, thought I would follow my guide, just to see.

W. went with me. After a little we had to leave our horses, and scramble about a mile up the mountain. "C. was right, and we are wrong," said my companion, sententiously. I was just dubious enough to be silent. Pretty soon we came to a tremendous ravine, as if an earthquake had rent a mountain asunder. A hundred feet down in this black gorge, a stream was roaring in a succession of mad leaps, and a bridge crossed it, where we stood to gaze down into its dark, awful depths. Then on we went till we came to the glacier. What a mass of clear, blue ice! so very blue, so clear! This awful chasm runs directly under it, and the mountain torrent, formed by the melting of the glacier, falls in a roaring cascade into it. You can go down into a cavern in this rift. Above your head a roof of clear, blue ice; below your feet this black chasm, with the white, flashing foam of the cascade, as it leaps away into the darkness. On one side of the glacier was a little sort of cell, or arched nook, up which an old man had cut steps, and he helped me up into it. I stood in a little Gothic shrine of blue, glittering ice, and looked out of an arched window at the cascade and mountains. I thought of Coleridge's line—

"A pleasure bower with domes of ice."



On the whole, the glacier of Rosenlaui paid for looking—even at dinner time—which is saying a good deal.



JOURNAL—(CONTINUED.)

FRIDAY, July 22, Grindelwald to Meyringen. On we came, to the top of the Great Schiedich, where H. and W. botanized, while I slept. Thence we rode down the mountain till we reached Rosenlaui, where, I am free to say, a dinner was to me a more interesting object than a glacier. Therefore, while H. and W. went to the latter, I turned off to the inn, amid their cries and reproaches. I waved my cap and made a bow. A glacier!—go five rods farther to see a glacier! Catch me in any such folly. The fact is, Alps are good, like confections, in moderation; but to breakfast, dine, and sup on Alps surfeits my digestion.

Here, for example, I am writing these notes in the salle-a-manger of the inn, where other voyagers are eating and drinking, and there H. is feeding on the green moonshine of an emerald ice cave. One would almost think her incapable of fatigue. How she skips up and down high places and steep places, to the manifest perplexity of honest guide Kienholz, pere, who tries to take care of her, but does not exactly know how. She gets on a pyramid of debris, which the edge of the glacier is ploughing and grinding up, sits down, and falls—not asleep exactly—but into a trance. W. and I are ready to go on; we shout; our voice is lost in the roar of the torrent. We send the guide. He goes down, and stands doubtfully. He does not know exactly what to do. She hears him, and starts to her feet, pointing with one hand to yonder peak, and with the other to that knifelike edge, that seems cleaving heaven with its keen and glistening cimeter of snow, reminding one of Isaiah's sublime imagery, "For my sword is bathed in heaven." She points at the grizzly rocks, with their jags and spear points. Evidently she is beside herself, and thinks she can remember the names of those monsters, born of earthquake and storm, which cannot be named nor known but by sight, and then are known at once, perfectly and forever.

Mountains are Nature's testimonials of anguish. They are the sharp cry of a groaning and travailing creation. Nature's stern agony writes itself on these furrowed brows of gloomy stone. These reft and splintered crags stand, the dreary images of patient sorrow, existing verdureless and stern because exist they must. In them hearts that have ceased to rejoice, and have learned to suffer, find kindred, and here, an earth worn with countless cycles of sorrow, utters to the stars voices of speechless despair.

And all this time no dinner! All this time H. is at the glacier! How do I know but she has fallen into a crevasse? How do I know but that a cliff, one of those ice castles, those leaning turrets, those frosty spearmen, have toppled over upon her? I shudder at the reflection. I will write no more.

I had just written thus far, when in came H. and W. in high feather. O, I had lost the greatest sight in Switzerland! There was such a chasm, a mountain cut in twain, with a bridge, and a man to throw a stone down; and you could hear it go boom, and he held his hat! "Not a doubt of that," said I. Then there was a cavern in the ice, and the ice was so green, and the water dripped from the roof, and a great river rushed out. Such was the substance of their united enthusiasm.

But, alas! it was not enough to lose the best glacier in Switzerland; I must needs lose two cascades and a chamois. Just before coming to Meyringen, I was composedly riding down a species of stone gridiron, set up sidewise, called a road, when the guide overtook me, and requested me to walk, as the road was bad. Stupid fellow! he said not a word about cascades and chamois, and so I went down like a chamois myself, taking the road that seemed best and nearest, and reached the inn an hour before the rest. After waiting till I became alarmed, and was just sending back a messenger to inquire, lo, in they came, and began to tell me of cascades and chamois.

"What cascade? What chamois? I have not seen any!" And then what a burst! "Not seen any! What, two cascades, one glacier, and a four-year-old chamois, lost in one day! What will become of you? Is this the way you make the tour of Switzerland?"

Saturday, July 23. Rode in a voiture from Meyringen to Brienz, on the opposite end of the lake from Interlachen. Embarked in a rowboat of four immense oars tied by withs. Two men and one woman pulled three, and W. and I took turns at the fourth. The boat being high built, flat bottomed, with awning and flagstaff, rolled and tipped so easily that soon H., with remorseful visage, abandoned her attempt to write, and lay down. There is a fresh and savage beauty about this lake, which can only be realized by rowing across.

Interlachen is underrated in the guide books. It has points of unrivalled loveliness; the ruins of the old church of Rinconberg, for example, commanding a fine view of both lakes, of the country between, and the Alps around, while just at your feet is a little lake in a basin, some two hundred feet above the other lakes. Then, too, from your window in the Belvedere, you gaze upon the purity of the Jungfrau. The church, too, where on Sabbath we attended Episcopal service, is embowered in foliage, and seems like some New England village meeting house.

Monday, July 25. Adieu to Interlachen! Ho for Lucerne and the Righi! Dined at Thun in a thunder storm. Stopped over night at Langnau, an out-of-the-way place. H. and G. painted Alpine flowers, while I played violin. This violin must be of spotless pedigree, even as our Genevese friend, Monsieur—, certified when he reluctantly sold it me. None but a genuine AMATI, a hundred years old, can possess this mysterious quality, that can breathe almost inaudible, like a mornbeam in the parlor, or predominate imperious and intense over orchestra and choir, illuminating with its fire, like chain lightning, the arches of a vast cathedral. Enchanted thing—what nameless spirit impregnates with magnetic ether the fine fibres of thy mechanism!

Tuesday, 26. Rode from Langnan to Lucerne just in time to take the boat for Weggis. From the door of the Hotel de la Concorde, at Weggis, the guide chef fitted us out with two chaises a porteur, six carriers, two mules with grooms, making a party of fourteen in all.

After ascending a while the scenery became singularly wild and beautiful. Vast walls and cliffs of conglomerate rose above us, up which our path wound in zigzags. Below us were pines, vales, fields, and hills, themselves large enough for mountains. There, at our feet, with its beautiful islands, bays, capes, and headlands, gleams the broad lake of the four cantons, consecrated by the muse of Schiller and the heroism of Tell. New plains are unrolling, new mountain tops sinking below our range of vision. We plunged into a sea of mist. It rolled and eddied, boiling beneath us. Through its mysterious pall we saw now a skeleton pine stretch out its dark pointing hand—now a rock, shapeless and uncouth, far below, like a behemoth petrified in mid ocean. Then an eddy would sweep a space for the sun to pour a flood of gold on this field far down at our feet, on that village, on this mountain side with its rosy vapor-wreaths, upon yon distant lake, making it a crater of blinding brightness. On we went wrapped in mantles, mist, and mystery, trembling with chilliness and enthusiasm. We reached the summit just as the sunset-gazing crowd were dispersing. And this is Righi Kulm!

Wednesday, 27. At half past three in the morning we were aroused by the Alpine horn. We sprang up, groping and dressing in the dark, and went out in the frosty air. Ascending the ridge we looked off upon a sleeping world. Mists lay beneath like waves, clouds, like a sea. On one side the Oberland Alps stretched along the horizon their pale, blue-white peaks. Other mountains, indistinct in color and outline, chained round the whole horizon. Yes, "the sleeping rocks did dream" all over the wide expanse, as they slumbered on their cloudy pillow, and their dream was of the coming dawn. Twelve lakes, leaden pale or steel blue, dreamed also under canopies of cloud, and the solid land dreamed, and all her wilds and forests. And in the silence of the dream already the tinge of clairvoyance lit the gray east; a dim, diffuse aurora, while yet the long, low clouds hung lustreless above; nor could the eye prophesy where should open the door in heaven. At length, a flush, as of shame or joy, presaged the pathway. Tongues of many-colored light vibrated beneath the strata of clouds, now dappled, mottled, streaked with fire; those on either hand of a light, flaky, salmon tint, those in the path and portal of the dawn of a gorgeous blending and blazoning of golden glories. The mists all abroad stirred uneasily. Tufts of feathery down came up out of the mass. Soft, floating films lifted from the surface and streamed away dissolving. Strange hues came out on lake and shore, far, far below. The air, the very air became conscious of a coming change, and the pale tops of distant Alps sparkled like diamonds. It was night in the valleys. And we heard the cocks crowing below, and the uneasy stir of a world preparing to awake. So Isaiah foresaw a slumbering world, while Messiah's coming glanced upon the heights of Zion, and cried,—

"Behold, darkness shall cover the earth And gross darkness the people; But the Lord shall rise upon THEE, And his glory shall be seen upon thee!"

Hushed the immense crowd of spectators waited; then he came. On the gray edge of the horizon, under the emblazoned strata, came a sudden coal of fire, as shot from the altar of Heaven. It dazzled, it wavered, it consumed. Its lambent lines lengthened sidelong. At length, not a coal, but a shield, as the shield of Jehovah, stood above the east, and it was day. The vapor sea heaved, and broke, and rolled up the mountain sides. The lakes flashed back the conquering splendor. The wide panorama, asleep no more, was astir with teeming life.

Tuesday, July 28. One of the greatest curiosities in Lucerne is the monument to those brave Swiss guards who were slain for their unshaken fidelity to the unhappy Louis XVI. In a sequestered spot the rocky hill side is cut away, and in the living strata is sculptured the colossal figure of a dying lion. A spear is broken off in his side, but in his last struggle he still defends a shield, marked with the fleur de lis of France. Below are inscribed in red letters, as if charactered in blood, the names of the brave officers of that devoted band. From many a crevice in the rock drip down trickling springs, forming a pellucid basin below, whose dark, glossy surface, encircled with trees and shrubs, reflects the image. The design of the monument is by Thorwaldsen, and the whole effect of it has an inexpressible pathos.



Rode in our private voiture to Basle, and rested our weary limbs at the Three Kings.

Friday, 29. Visited the celebrities of Basle, and took the cars for Strasbourg, where we arrived in time to visit the minster.

Saturday, 30. Left Strasbourg by the Rhine morning boat; a long, low, slender affair. The scenery exceedingly tame, like portions of the Lower Mississippi. Disembarked at Manheim, and drove over to Heidelberg, through a continual garden. French is useless here. All our negotiations are in German, with W., S., and G. as a committee on gutturals.



LETTER XXXIX.

STRASBOURG.

MY DEAR:—

We arrived here this evening. I left the cars with my head full of the cathedral. The first thing I saw, on lifting my eyes, was a brown spire. Said I,—

"C., do you think that can be the cathedral spire?"

"Yes, that must be it."

"I am afraid it is," said I, doubtfully, as I felt, within, that dissolving of airy visions which I have generally found the first sensation on visiting any celebrated object.

The thing looked entirely too low and too broad for what I had heard of its marvellous grace and lightness; nay, some mischievous elf even whispered the word "dumpy" hi my ear. But being informed, in time, that this was the spire, I resisted the temptation, and determined to make the best of it. I have since been comforted by reading in Goethe's autobiography a criticism on its proportions quite similar to my own. We climbed the spire; we gained the roof. What a magnificent terrace! A world itself; a panoramic view sweeping the horizon. Here I saw the names of Goethe and Herder. Here they have walked many a time, I suppose. But the inside!—a forest-like firmament, glorious in holiness; windows many hued as the Hebrew psalms; a gloom solemn and pathetic as man's mysterious existence; a richness gorgeous and manifold as his wonderful nature. In this Gothic architecture we see earnest northern races, whose nature was a composite of influences from pine forest, mountain, and storm, expressing, in vast proportions and gigantic masonry, those ideas of infinite duration and existence which Christianity opened before them. A barbaric wildness mingles itself with fanciful, ornate abundance; it is the blossoming of northern forests.

The ethereal eloquence of the Greeks could not express the rugged earnestness of souls wrestling with those fearful mysteries of fate, of suffering, of eternal existence, declared equally by nature and revelation. This architecture is Hebraistic in spirit, not Greek; it well accords with the deep ground-swell of Hebrew prophets.

"Lord, thou hast been our dwelling-place in all generations.

"Before the mountains were brought forth, or ever thou hadst formed the earth and the world, even from everlasting to everlasting, thou art God.

"A thousand years in thy sight are but as yesterday when it is past.

"And as a watch in the night."

The objection to Gothic architecture, as compared with Greek, is, that it is less finished and elegant. So it is. It symbolizes that state of mind too earnest for mere polish, too deeply excited for laws of exact proportions and architectural refinement. It is Alpine architecture—vast, wild, and sublime in its foundations, yet bursting into flowers at every interval.

The human soul seems to me an imprisoned essence, striving after somewhat divine. There is a struggle in it, as of suffocated flame; finding vent now through poetry, now in painting, now in music, sculpture, or architecture; various are the crevices and fissures, but the flame is one.

Moreover, as society grows from barbarism upward, it tends to inflorescence, at certain periods, as do plants and trees; and some races flower later than others. This architecture was the first flowering of the Gothic race; they had no Homers; the flame found vent not by imaged words and vitalized alphabets; they vitalized stone, and their poets were minster builders; their epics, cathedrals.

This is why one cathedral—like Strasbourg, or Notre Dame—has a thousand fold the power of any number of Madeleines. The Madeleine is simply a building; these are poems.

I never look at one of them without feeling that gravitation of soul towards its artist which poetry always excites. Often the artist is unknown; here we know him; Erwin von Steinbach, poet, prophet, priest, in architecture.

We visited his house—a house old and quaint, and to me full of suggestions and emotions. Ah, if there be, as the apostle vividly suggests, houses not made with hands, strange splendors, of which these are but shadows, that vast religious spirit may have been finding scope for itself where all the forces of nature shall have been made tributary to the great conceptions of the soul.

Save this cathedral, Strasbourg has nothing except peaked-roofed houses, dotted with six or seven rows of gable windows.



LETTER XL.

HEIDELBERG.

MY DEAR:—

To-day we made our first essay on the Rhine. Switzerland is a poor preparation for admiring any common scenery; but the Rhine from Strasbourg to Manheim seemed only a muddy strip of water, with low banks, poplars, and willows. If there was any thing better, we passed it while I was asleep; for I did sleep, even on the classic Rhine.

Day before yesterday, at Basle, I went into the museum, and there saw some original fragments of the Dance of Death, and many other pictures by Holbein, with two miniature likenesses of Luther and his wife, by Lucas Cranach; they are in water colors. Catharine was no beauty at that time, if Lucas is to be trusted, and Luther looks rather savage. But I saw a book of autographs, and several original letters of Luther's. I saw the word "Jesus" at the top of one of them, thus, "J. U. S." The handwriting was fair, even, and delicate. I laid my hand on it, and thought his hand also had passed over the paper which he has made living with his thoughts. Melanchthon, of whom a far more delicate penmanship might have been expected, wrote a coarse, rugged hand, quite like Dr. Bishop's. It somehow touched my heart to see this writing of Luther's, so fair, and clean, and flowing; and to think of his vive and ever-surging spirits, his conflicts and his victories.

We were awakened, about eight o'clock this morning, by the cathedral bell, which is near by, and by the chanting of the service. It was a beautiful, sunny morning, and I could hear them sing all the time I was dressing. I think, by the style of the singing, it was Protestant service: it brought to mind the elms of Andover—the dewy, exquisite beauty of the Sabbath mornings there; and I felt, more than ever, why am I seeking any thing more beautiful than home? But today the sweet shadow of God's presence is still over me, and the sense of his love and protection falls silently into my soul like dew.

At breakfast time Professor M. and his daughter called, as he said, to place themselves at our disposal for the castle, or whatever we might wish to see. I intimated that we would prefer spending the day in our New England manner of retirement—a suggestion which he took at once.

After breakfast the servant asked us if we should like to have a room commanding a view of the castle. "To be sure," said I. So he ushered us into a large, elegantly-furnished apartment, looking out immediately upon it. There it sat, upon its green throne, a regal, beautiful, poetic thing, fair and sad.

We had singing and prayers, and a sermon from C. We did not go to the table d'hote, for we abominate its long-drawn, endless formalities. But one part of the arrangements we enjoyed without going: I mean the music. To me all music is sacred. Is it not so? All real music, in its passionate earnest, its blendings, its wild, heart-searching tones, is the language of aspiration. So it may not be meant, yet, when we know God, so we translate it.

In the evening we took tea with Professor M., in a sociable way, much like the salon of Paris. Mrs. M. sat at a table, and poured out tea, which a servant passed about on a waiter. Gradually quite a circle of people dropped in—among them Professor Mittemeyer, who, I was told, is the profoundest lawyer in Germany; also there was Heinrich von Gagen, who was head of the convention of the empire in 1848, and prime minister. He is tall, has a strongly-marked face, very dark hair and eyebrows. There was also a very young man, with quite light hair, named Fisher, who, they told me, was one of the greatest philosophers of the time; but government had taken away his license to lecture, on account of his pantheistic principles. I understand that this has occasioned much feeling, and that some of the professors side with, and some against him. A lady told me that the theological professors were against him. I wonder people do not see that this kind of suppression of opinion is a sword with two edges, which may cut orthodoxy equally with pantheism. "Let both grow together," says Christ, "the wheat and the tares." In America we do this, and a nodding crop of all sorts we have. The more the better; the earth must exhaust herself before the end can come.

Mr. M. spoke English, as did his very pretty daughter, Ida; his wife only French and German. Now, if you had only been there, we might have had quite a brilliant time; but my ignorance of German kept me from talking with any but those who could speak English. Professor Mittemeyer summoned English enough to make a long compliment, to which I responded as usual, by looking very foolish. There was a well informed gentleman there, who was formerly private secretary to Prince Albert, and who speaks English well. He has a bright, ingenious mind, and knows every thing, and seemed particularly willing to give me the benefit of his knowledge, for which I was suitably grateful. On the whole, I spent a very pleasant evening, and we parted about nine o'clock, Miss Ida promising to be our guide to the castle in the morning.

Well, in the morning I was too unwell to leave the sofa. I knew the old symptoms, and remained in my room, while Professor M. and daughter, with S, W., and G, went up to the castle. I lay all day on the sofa, until, at five o'clock at night, I felt so much better that I thought we might take a carriage and drive up. C. accompanied me, and cocher took us by a beautiful drive along the valley of the Neckar, over the hills back of the castle, and finally through the old arched gateway into the grounds. I had no idea before of the extent or the architectural beauty of the place. The terrace behind the castle is a most lovely spot. It wanted only silence and solitude to make it perfect; it was full of tourists, as also was each ruined nook and arch. I sauntered about alone, for C. had a sick headache, and was forced to sit on one of the stone benches. Heidelberg Castle is of vast extent, and various architecture; parts of it, a guide book says, were designed by Michael Angelo. Over one door was a Hebrew inscription. Marshalled in niches in the wall stood statues of electors and knights in armor—silent, lonely. The effect was quite different from the old Gothic ruins I had seen. This spoke of courts, of princes; and the pride and grandeur of the past, contrasted with the silence and desertion, reminded me of the fable of the city of enchantment, where king and court were smitten to stone as they stood. A mournful lion's head attracted my attention, it had such a strange, sad look; and there was a fountain broken and full of weeds.

I looked on the carvings, the statues, the broken arches, where bluebells and wild flowers were waving, and it seemed inexpressibly beautiful. It haunted me in my dreams, and I found myself walking up and down that terrace, in a kind of dim, beautiful twilight, with some friend: it was a strange dream of joy. But I felt myself very ill even while there, and had to take my sofa again as soon as I returned. There lying, I took my pencil, and drew just the view of the castle which I could see from my window, as a souvenir of the happiness I had felt at Heidelberg.



Now, I know you will say with me that a day of such hazy, dreamy enjoyment is worth a great deal. We cannot tell why it is, or what it is, but one feels like an AEolian breathed on and touched by soft winds.



This sketch of the castle gives only about half of it. Those tiny statues indicated in it on the points of the gables are figures in armor of large size. The two little kiosks or summer houses that you see, you will find, by turning back to the other picture, mark the extremities of the terrace. There is a singular tinge of the Moorish about this architecture which gives me great delight. That Moorish development always seemed to me strangely exciting and beautiful.



JOURNAL—(CONTINUED.)

Tuesday, August 2. We leave Heidelberg with regret. At the railway station occurred our first loss of baggage. As W. was making change in the baggage room, he missed the basket containing our books and sundries. Unfortunately the particular word for basket had just then stepped out. "Wo ist mein—pannier?" exclaimed he, giving them the French synonyme. They shook their heads. "Wo ist mein—basket?" he cried, giving them English; they shook their heads still harder. "Wo ist mein— —" "Whew—w!" shrieked the steam whistle; "Ding a-ling-ling!" went the bell, and, leaving his question unfinished, W. ran for the cars.

In our car was an elderly couple, speaking French. The man was evidently a quiet sort of fellow, who, by long Caudling, had subdued—whole volcanos into dumbness within him. Little did he think what eruption fate was preparing. II. sat opposite his hat, which he had placed on the empty seat. There was a tower, or something, coming; H. rose, turned round, and innocently took a seat on his chapeau. Such a voice as came out of that meekness personified!

In the twinkling of an eye—for there is a peculiar sensation which a person experiences in sitting upon, or rather into a hat; ages are condensed into moments, and between the first yielding of the brittle top and the final crush and jam, as between the top of a steeple and the bottom, there is room for a life's reflection to flash through the mind—in the twinkling of an eye H. agonizingly felt that she was sitting on a hat, that the hat was being jammed, that it was getting flat and flatter every second, that the meek man was howling in French; and she was just thinking of her husband and children when she started to her feet, and the nightmare was over. The meek man, having howled out his French sentence, sat aghast, stroking his poor hat, while his wife opposite was in convulsions, and we all agog. The gentleman then asked H. if she proposed sitting where she was, saying, very significantly, "If you do, I'll put my hat there;" suiting the action to the word. We did not recover from this all the way to Frankfort.

Arrived at Frankfort we drove to the Hotel de Russie. Then, after visiting all the lions of the place, we rode to see Dannecker's Ariadne. It is a beautiful female riding on a panther or a tiger. The light is let in through a rosy curtain, and the flush as of life falls upon the beautiful form. Two thoughts occurred to me; why, when we gaze upon this form so perfect, so entirely revealed, does it not excite any of those emotions, either of shame or of desire, which the living reality would excite? And again; why does not the immediate contact of feminine helplessness with the most awful brute ferocity excite that horror which the sight of the same in real life must awaken? Why, but because we behold under a spell in the transfigured world of art where passion ceases, and bestial instincts are felt to be bowed to the law of mind, and of ideal truth.



LETTER XLI.

DEAR:—

To-day we came to Frankfort, and this afternoon we have been driving out to see the lions, and in the first place the house where Goethe was born. Over the door, you remember, was the family coat of arms. Well, while we were looking I perceived that a little bird had accommodated the crest of the coat to be his own family residence, and was flying in and out of a snug nest wherewith he had crowned it. Little fanciful, feathery amateur! could nothing suit him so well as Goethe's coat of arms? I could fancy the little thing to be the poet's soul come back to have a kind of breezy hovering existence in this real world of ours—to sing, and perch, and soar; for I think you told me that his principal grace and characteristic was an exquisite perception and expression of physical beauty. Goethe's house was a very grand one for the times, was it not? Now a sign in the window tells us it is used as a manufactory of porcelain.

Then we drove through the Jews' quarters. You remember how queer and old they look; they have been much modernized since you were there. Cocher stopped before one house, and said something in German about Rothschild, which C. said sounded like "Here Rothschild hung his boots out." We laughed and rode on.

After this we went to the Romer, the hall that you have told me of, where the emperors were chosen, all painted with their portraits in compartments; and I looked out on the fountain in front, that used, on these occasions, to flow with wine. Then I walked around to see all the emperors, and to wish I knew more about history. Charles V. is the only one of whom I have any distinct recollection.

Then we went to a kind of museum. Cocher stopped at the door, and we heard a general sputtering of gutturals between him, W., and G., he telling them something about Luther. I got it into my head that the manuscript of Luther's Bible was inside; so I rushed forward. It was the public library. A colossal statue of Goethe, by an Italian artist, was the first thing I saw. What a head the man had I a Jupiter of a head. And what a presence! The statue is really majestic; but was Goethe so much, really think you? That egotistical spirit shown in his Diary sets me in doubt. Shakspeare was not self-conscious, and left no trace of egotism; if he knew himself, he did not care to tell what he knew. Yet the heads are both great and majestic heads, and would indicate a plenary manhood.

We went into the library, disturbing a quiet, good sort of bibliopole there, who, with some regret, put aside his book to guide us.

"Is Luther's Bible here?" W. and G. opened on him.

"No;" but he ushered us into a cabinet.

"There are Luther's shoes!"

"Shoes!" we all exclaimed; and there was an irreverent laugh. Yes, there they were in a glass case,—his shoes, large as life,—shoes without heels; great, clumping, thick, and black! What an idea! However, there was a genuine picture by Lucas Cranach, and another of Catharine, by Holbein, which gave more consolatory ideas of her person than that which I saw before at Basle. There were also autographs of Goethe and Schiller, as well as of Luther and Melanchthon.

Our little bibliopole looked mournfully at us, as if we were wasting his time, and seemed glad when we went out. C. thought he was huffy because we laughed at Luther's shoes; but I think he was only yearning after his book. C. offered him a fee, but he would not take it. Going down stairs, in the entry, I saw a picture of the infant Goethe on an eagle. We rode, also, to see a bronze statue of him in some street or other, and I ate an ice cream there to show my regard for him. We are delighted on the whole with Frankfort.

Now, after all, that I should forget the crown of all our seeings, Dannecker's Ariadne! It is in a pavilion in a gentleman's garden. Could mere beauty and grace delight and fill the soul, one could not ask for more than the Ariadne. The beautiful head, the throat, the neck, the bust, the hand, the arm, the whole attitude, are exquisite. But after all, what is it? No moral charm,—mere physical beauty, cold as Greek mythology. I thought of his Christ, and did not wonder that when he had turned his art to that divine representation, he should refuse to sculpture from classic models. "He who has sculptured a Christ cannot sculpture a Venus."

Our hotel here is very beautiful. I think it must have been some palace, for it is adorned with fine statues, and walls of real marble. The staircase is beautiful, with brass railing, and at the foot a marble lion on each side. The walls of my bed room are lined with green damask, bordered by gilt bands; the attendance here is excellent. In every hotel of each large city, there is a man who speaks English. The English language is slowly and surely creeping through. Europe; already it rivals the universality of the French.

Two things in this city have struck me singularly, as peculiarly German: one was a long-legged stork, which I saw standing on a chimney top, reminding me of the oft-mentioned "dear white stork" of German stories. Why don't storks do so in America, I wonder? Another thing was, waking suddenly in the middle of the night, and hearing the hymn of the watchman as he announced the hour. I think this is a beautiful custom.

In the morning, I determined to get into the picture gallery. Now C., who espoused to himself an "Amati" at Geneva, has been, like all young bridegrooms, very careless about every thing else but his beloved, since he got it. Painting, sculpture, architecture, all must yield to music. Nor can all the fascinations of Raphael or Rubens vie in his estimation with the melodies of Mozart, or the harmonies of Beethoven. So, yesterday, when we found the picture gallery shut, he profanely remarked, "What a mercy!" And this morning I could enlist none of the party but W. to go with me. We were paid for going. There were two or three magnificent pictures of sunrise and sunset in the Alps by modern artists. Never tell me that the old masters have exhausted the world of landscape painting, at any rate. Am I not competent to judge because I am not an artist? What! do not all persons feel themselves competent to pronounce on the merits of natural landscapes, and say which of two scenes is finer? And are painters any greater artists than God? If they say that we are not competent to judge, because we do not understand the mixing of colors, the mysteries of foreshortening, and all that, I would ask them if they understand how God mixes his colors? "Canst thou understand the balancing of the clouds? the wondrous ways of Him who is perfect in wisdom?" If, therefore, I may dare to form a judgment of God's originals, I also will dare to judge of man's imitations. Nobody shall impose old, black, smoky Poussins and Salvator Rosas on me, and so insult my eyesight and common sense as to make me confess they are better than pictures which I can see have all the freshness and bloom of the living reality upon them.

So, also, a most glorious picture here. The Trial of John Huss before the Council of Constance, by Lessing—one of the few things I have seen in painting which have had power deeply to affect me. I have it not in my heart to criticize it as a mere piece of coloring and finish, though in these respects I thought it had great merits. But the picture had the power, which all high art must have, of rebuking and silencing these minor inquiries in the solemnity of its morale. I believe the highest painter often to be the subject of a sort of inspiration, by which his works have a vitality of suggestion, so that they sometimes bring to the beholder even more than he himself conceived when he created them. In this picture, the idea that most impressed me was, the representation of that more refined and subtle torture of martyrdom which consists in the incertitude and weakness of an individual against whom is arrayed the whole weight of the religious community. If against the martyr only the worldly and dissolute stood arrayed, he could bear it; but when the church, claiming to be the visible representative of Christ, casts him out; when multitudes of pious and holy souls, as yet unenlightened in their piety, look on him with horror as an infidel and blasphemer, —then comes the very wrench of the rack. As long as the body is strong, and the mind clear, a consciousless of right may sustain even this; but there come weakened hours, when, worn by prison and rack, the soul asks itself, "Can it be that all the religion and respectability of the world is wrong, and I alone right?" Such an agony Luther expressed in that almost superhuman meditation written the night before the Diet at Worms. Such an agony, the historian tells us, John Huss passed through the night before his execution.

Now for the picture. The painter has arrayed, with consummate ability, in the foreground a representation of the religious respectability of the age: Italian cardinals, in their scarlet robes, their keen, intellectual, thoughtful faces, shadowed by their broad hats; men whom it were no play to meet in an argument; there are gray-headed, venerable priests, and bishops with their seal rings of office,—all that expressed the stateliness and grandeur of what Huss had been educated to consider the true church. In the midst of them stands Huss, habited in a simple dark robe; his sharpened features, and the yellow, corpse-like pallor of his face, tell of prison and of suffering. He is defending himself; and there is a trembling earnestness in the manner with which his hand grasps the Bible. With a passionate agony he seems to say, "Am I not right? does not this word say it? and is it not the word of God?"

So have I read the moral of this noble picture, and in it I felt that I had seen an example of that true mission of art which will manifest itself more and more in this world as Christ's kingdom comes; art which is not a mere juggler of colors, a gymnastic display of effects, but a solemn, inspiring poetry, teaching us to live and die for that which it noblest and truest. I think this picture much superior to its companion, the Martyrdom of Huss, which I had already seen in America.



JOURNAL—(CONTINUED.)

Wednesday, August 3. Frankfort to Cologne. Hurrah for the Rhine! At eleven we left the princely palace, calling itself Hotel de Russie, whose halls are walled with marble, and adorned with antique statues of immense value. Lo, as we were just getting into our carriage, the lost parcel! basket, shawl, cloak, and all! We tore along to the station; rode pleasantly over to Mayenz; made our way on board a steamer loaded down with passengers; established ourselves finally in the centre of all things on five stools, and deposited our loose change of baggage in the cabin.

The steamer was small, narrow, and poor, though swift. Thus we began to see the Rhine under pressure of circumstances.

The French and Germans chatted merrily. The English tourists looked conscientiously careworn. Papa with three daughters peered alternately into the guide book, and out of the loophole in the awning, in evident terror lest something they ought to see should slip by them. Escaping from the jam, we made our way to the bow, carrying stools, umbrellas, and books, and there, on the very beak of all things, we had a fine view. Duly and dutifully we admired Bingen, Cob-lentz, Ehrenbreitstein, Bonn, Drachenfels, and all the other celebrities, and read Childe Harold on the Rhine. Reached Cologne at nine.

Thursday, August 4. We drove to the cathedral. I shall not recapitulate Murray, nor give architectural details. I was satisfied with what I saw and heard, and wished that so magnificent a conception, so sublime a blossom of stone sculpture, might come to ripe maturity, not as a church, indeed, but rather as a beautiful petrifaction, a growth of prolific, exuberant nature. Why should not the yeasty brain of man, fermenting, froth over in such crestwork of Gothic pinnacle, spire, and column?

The only service I appreciated was the organ and chant: hidden in the midst of forest arches of stone, pouring forth its volumes of harmony as by unseen minstrelsy, it seemed to create an atmosphere of sound, in which the massive columns seemed transfused,—not standing, as it were, but floating,—not resting, as with weight of granite mountains, but growing as by a spirit and law of development. Filled with those vast waves and undulations, the immense edifice seemed a creature, tremulous with a life, a soul, an instinct of its own; and out of its deepest heart there seemed to struggle upward breathings of unutterable emotion.



LETTER XLII.

COLOGNE, 10 o'clock, Hotel Bellevue.

DEAR:—

The great old city is before me, looming up across the Rhine, which lies spread out like a molten looking glass, all quivering and wavering, reflecting the thousand lights of the city. We have been on the Rhine all day, gliding among its picture-like scenes. But, alas I I had a headache; the boat was crowded; one and all smoked tobacco; and in vain, under such circumstances, do we see that nature is fair. It is not enough to open one's eyes on scenes; one must be able to be en rapport with them. Just so in the spiritual world, we sometimes see great truths,—see that God is beautiful, glorious, and surpassingly lovely; but at other times we feel both nature and God, and 0, how different seeing and feeling! To say the truth, I have been quite homesick to-day, and leaning my head on the rails, pondered an immediate flight, a giving up of all engagements on the continent and in England, an immediate rush homeward. Does it not seem absurd, that, when within a few days' journey of what has been the long-desired dream of my heart, I should feel so—that I should actually feel that I had rather take some more of our pleasant walks about Andover, than to see all that Europe has to offer?

This morning we went to the Cologne Cathedral. In the exterior of both this and Strasbourg I was disappointed; but in the interior, who could be? There is a majesty about those up-springing arches—those columns so light, so lofty—it makes one feel as if rising like a cloud. Then the innumerable complications and endless perspectives, arch above arch and arch within arch, all lighted up and colored by the painted glass, and all this filled with the waves of the chant and the organ, rising and falling like the noise of the sea; it was one of the few overpowering things that do not satisfy, because they transport you at once beyond the restless anxiety to be satisfied, and leave you no time to ask the cold question, Am I pleased?

Ah, surely, I said to myself, as I walked with a kind of exultation among those lofty arches, and saw the clouds of incense ascending, the kneeling priests, and heard the pathetic yet grand voices of the chant—surely, there is some part in man that calls for such a service, for such visible images of grandeur and beauty. The wealth spent on these churches is a sublime and beautiful protest against materialism—against that use of money which merely brings supply to the coarse animal wants of life, and which makes of God's house only a bare pen, in which a man sits to be instructed in his duties.

Yet a moment after I had the other side of the question brought forcibly to my mind. In an obscure corner was a coarse wooden shrine, painted red, in which was a doll dressed up in spangles and tinsel, to represent the Virgin, and hung round with little waxen effigies of arms, hands, feet, and legs, to represent, I suppose, some favor which had been accorded to these members of her several votaries through her intercessions. Before this shrine several poor people were kneeling, with clasped hands and bowed heads, praying with an earnestness which was sorrowful to see. "They have taken away their Lord, and they know not where they have laid him." Such is the end of this superb idolatry in the illiterate and the poor.

Yet if we could, would we efface from the world such cathedrals as Strasbourg and Cologne? I discussed the question of outward pomp and ritual with myself while I was walking deliberately round a stone balustrade on the roof of the church, and looking out through the flying buttresses, upon the broad sweep of the Rhine, and the queer, old-times houses and spires of the city. I thought of the splendors of the Hebrew ritual and temple, instituted by God himself. I questioned where was the text in the gospel that forbade such a ritual, provided it were felt to be desirable; and then I thought of the ignorance and stupid idolatry of those countries where this ritual is found in greatest splendor, and asked whether these are the necessary concomitants of such churches and such forms, or whether they do not result from other causes. The Hebrew ritual, in a far more sensuous age, had its sculptured cherubim, its pictorial and artistic wealth of representation, its gorgeous priestly vestments, its incense, and its chants; and they never became, so far as we know, the objects of idolatrous veneration.

But I love to go back over and over the scenes of that cathedral; to look up those arches that seem to me, in their buoyant lightness, to have not been made with hands, but to have shot up like an enchantment—to have risen like an aspiration, an impersonation of the upward sweep of the soul, in its loftiest moods of divine communion. There were about five minutes of feeling, worth all the discomforts of getting here; and it is only for some such short time that we can enjoy—then our prison door closes.

There are four painted glass windows, given by the King of Bavaria. I have got for H. the photograph of two of them, representing the birth and death of Christ. They are gorgeous paintings by the first masters. The windows round the choir were painted in a style that reminded me of our forests in autumn.

Well, after our sublimities came a farce. We went to St. Ursula's church, to see the bones of the eleven thousand virgins, who, the chronicle says, were slain here because they would not break their vows of chastity. I was much amused. As we entered the church, C. remarked impressively, "It is evident that these virgins have no connection with cologne water!" The fact was lamentably apparent. Doleful looking figures of virgins, painted in all the colors of the rainbow, were looking down upon us from all quarters; and in front, in a glass frame, was a bill of fare, in French, of the relics which could be served up to order. C. read the list aloud, and then we proceeded to a small side room to see the exhibition. The upper portion of the walls was covered with small bones, strung on wires and arranged in a kind of fanciful arabesque, much as shell boxes are made; and the lower part was taken up with busts in silver and gold gilding, representing still the interminable eleven thousand. A sort of cupboard door half opened showed the shelves all full of skulls, adorned with little satin caps, coronets, and tinsel jewelry; which skulls, we were informed, were the original head-pieces of the same redoubtable females.

At the other end of the room was a raised stage, where the most holy relics of all were being displayed, under the devout eye of a priest in a long, black robe. C. and I went upon the stage to be instructed. S., whom the aforesaid lack of cologne water in the establishment had rendered peculiarly unpropitious, stood at a majestic distance; but C., assuming an air of profound faith, stood up to be initiated.

"That," says the priest, in a plaintive voice, pitched to the exact point between lamentation and veneration, "is the ring of St. Ursula."

"Indeed," says C., "her ring!"

"Yes," says the priest, "it was found in her tomb."

"It was found in her tomb—only think!" says C., turning gravely to me. I had to look another way, while the priest proceeded to introduce, by name, four remarkably yellow skulls, with tastefully trimmed red caps on, as those of St. Ursula and sundry of her most intimate friends. S. looked gloriously indignant, and C. increasingly solemn.

"Dere," said the priest, opening an ivory box, in which was about a quart of teeth of different sizes, "dere is de teeth of the eleven thousand."

"Indeed," echoes C., "their teeth!"

S., at this, waxed magnificent, and, as a novel writer would say, swept from the apartment. I turned round, shaking with laughter, while the priest went on.

"Dere is a rib of St. ——."

"Ah, his rib; indeed!"

"And dere is de arrow as pierced the heart of St. Ursula."

"H.," says C., "here is the arrow that killed St. Ursula." (The wicked scamp knew I was laughing!)

"Dere is the net that was on her hair."

"This is what she wore on her hair, then," says C., eyeing the rag with severe and melancholy gravity.

"And here is some of the blood of the martyr Stephen," says the priest, holding a glass case with some mud in it.

In the same way he showed two thorns from the crown of Christ, and a piece of the Virgin's petticoat.

"And here is the waterpot of stone, in which our Lord made the wine at the marriage in Cana."

"Indeed," said C., examining it with great interest; "where are the rest of them?"

"The rest?" says the priest.

"Yes; I think there were six of them; where are they?"

The priest only went over the old story. "This came from Rome, and the piece broken out of the side is at Rome yet."

It is to be confessed that I felt in my heart, through this disgusting recital, some of S.'s indignation; and I could not help agreeing with her that the odor of sanctity, as generally developed in the vicinity, was any thing but agreeable. I did long to look that man once steadily in the eyes, to see if he was such a fool as he pretended; but the ridiculousness of the whole scene overcame me so that I could not look up, and I marched out in silence. The whole church is equally full of virgins. The altar piece is a vast picture of the slaughter, not badly painted. Through various glass openings you perceive that the walls are full of the bones and skulls. Did the worship of Egypt ever sink lower in horrible and loathsome idolatry? I had heard of such things; but it is one thing to hear of them, and another to see them by the light of this nineteenth century, in a city whose streets look much like the streets of any other, and where men and women appear much as they do any where else. Here we saw, in one morning, the splendor and the rottenness of the Romish system. From those majestic arches, that triumphant chant, there is but a step down to the worship of dead men's bones and all uncleanness.

We went also into the Jesuits' church. The effect, to my eye, was that of a profusion of tawdry, dirty ornament; only the railing of the choir, which was a splendid piece of carving, out from a single block of Carrara marble.

The guide book prescribes, I think, no less than half a dozen churches in Cologne as a dose for the faithful; but we were satisfied with these three, and went back to our hotel. As a general thing I would not recommend more than three churches on an empty stomach.

The outer wall of Cologne is a very fine specimen of fortification, (I am quoting my guide book,) and we got a perfect view of it in crossing the bridge of boats to return to our hotel. Why they have a bridge of boats here I cannot say; perhaps on account of the width and swiftness of the river.

Having heard so much of the dirt and vile smells of Cologne, I was surprised that our drive took us through streets no way differing from those of most other cities, and, except in the vicinity of the eleven thousand virgins, smelling no worse. Still, there may be vile, ill-smelling streets; but so there are in Edinburgh, London, and New York.

From Cologne we went, at four o'clock, to Dusseldorf, a little town, celebrated for the head quarters of the Dusseldorf school of painting. I cannot imagine why they chose this town for a school of the fine arts, as it is altogether an indifferent, uninteresting place. It is about an hour's ride from Cologne. We arrived there in time to go into the exhibition of the works of the artists, which is open all summer. I don't know how good a specimen it is, but I thought it rather indifferent. There were some few paintings that interested me, but nothing equal to those. I have seen in the Dusseldorf gallery at home. Whittridge lives there, but, unfortunately, was gone for eight days.

Our hotel was pleasant—opening on a walk shaded by double rows of trees. We ordered a nice little tea in our room, arid waxed quite merry over it.

This morning we started at seven, and here we are to-night in Leipsic—as uninteresting a country as I have seen yet. Moreover, we had passed beyond the limits of our Rhine guide book, and as yet had no other, and so did not know any thing about the few objects of interest which presented themselves. The railroads, of course, persist in their invariable habit of running you up against a dead wall, so that you see nothing where you stop.

The city of Magdeburg is the only interesting object I have seen. I had a fair view of its cathedral, which I think, though not so imposing, yet as picturesque and beautiful as any I remember to have seen; and its old wall, too. We changed cars here, going through the wall into the city, and I saw just enough to make me wish to see more; and now to-night we are in Leipsic.

Morning. We are going out now, and I must mail this letter. To-morrow we spend at Halle.



JOURNAL—(CONTINUED.)

Friday, August 5. Dusseldorf to Leipsic, three hundred and seventy-three miles. A very level and apparently fertile country. If well governed it ought to increase vastly in riches.

Saturday, August 6. Called at the counting house of M. Tauchnitz, the celebrated publisher. An hour after, accompanied by Mrs. T., he came with two open carriages, and took us to see the city and environs. We visited the battle ground, and saw the spot where Napoleon stood during the engagement; a slight elevation, commanding an immense plain in every direction, with the spires of the city rising in the distance. After seeing various sights of interest, we returned to our hotel, where our kind friends took their leave. In the afternoon M. Tauchnitz sent H. a package of his entertaining English publications, to read in the cars, also a Murray for Germany. H. and I then took the cars for Halle, where we hoped to spend the Sabbath and meet with Dr. Tholuck. Travellers sometimes visit Chamouni without seeing Mont Blanc, who remains enveloped in clouds during their stay. So with us. In an hour we were in rooms at the Kron Prince. We sent a note to the professor; the waiter returned, saying that Dr. Tholuck was at Kissengen. Our theological Mont Blanc was hid in mist. Blank enough looked we!

"H., is there no other professor we want to see?"

"I believe not."

Pensively she read one of the Tauchnitz Library. Plaintively my Amati sighed condolence.

"H." said I, "perhaps we might reach Dresden to-night."

"Do you think so? Is it possible? Is there a train?"

"We can soon ascertain."

"How amazed they would look!"

We summoned the maitre d'hotel, ordered tea, paid, packed, raced, ran, and hurried, presto, prestissimo, into a car half choked with voyagers, changed lines at Leipsic, and shot off to Dresden. By deep midnight we were thundering over the great stone Pont d'Elbe, to the Hotel de Saxe, where, by one o'clock, we were lost in dreams.

In the morning the question was, how to find our party.

"Waiter, bring me a directory."

"There is no directory, sir."

"No directory? Then how shall we contrive to find our friends?"

"Monsieur has friends residing in Dresden?"

"No, no! our party that came last night from Leipsic."

"At what hotel do they stop?"

"That is precisely what I wish to find out."

"Will monsieur allow me to give their description to the police?"

(0, ho, thought I; that is your directory, is it? Wonder if that is the reason you have none printed.) "Non, merci," said I, and set off on foot to visit the principal hotels. I knew they would go by Murray or Bradshaw, and lo, sure enough they were at the Hotel Bellevue, just sitting down to breakfast. S. started as if she had seen a ghost.

"Why, where did you come from? What has happened? Where is H.? We thought you were in Halle!"

Explanations followed. H. was speedily transferred to their hotel, where they had bespoken rooms for us; and we sallied forth to the court church to hear the music of high mass.

This music is celebrated throughout Germany. It is, therefore, undoubtedly superior. The organ is noble, the opera company royal. But more perfect than all combined are the echoes of the church, which (though the guide book does not mention it) nullify every effect.

Monday, 8. Visited the walks and gardens on the banks of the Elbe. The sky was clear, the weather glorious, and all nature full of joy. We almost think this Elbe another Seine; these Bruhlsche gardens and terraces, these majestic old bridges, and cleft city, another Paris! Here, too, is that out-of-doors life, life in gardens, we admire so much. Breakfast in the public gardens; hundreds of little groups sipping their coffee! Dinner, tea, and supper in the gardens, with music of birds and bands!

Visited the Picture Gallery. If one were to chance upon an altar in this German Athens inscribed to the "unknown god," he might be tempted to suggest that that deity's name is Decency.

The human form is indeed divine, as M. Belloc insists, and rightly, sacredly drawn, cannot offend the purest eye. All nature is symbolic. The universe itself is a complex symbol of spiritual ideas. So in the structure and relation of the human body, some of the highest spiritual ideas, the divinest mysteries of pure worship, are designedly shadowed forth.

If, then, the painter rightly and sacredly conceives the divine meaning, and creates upon the canvas, or in marble, forms of exalted ideal loveliness, we cannot murmur even if, like Adam and Eve in Eden, "they are naked, and are not ashamed."

And yet even sacred things love mystery, and holiest emotions claim reserve. Nature herself seems to tell us that the more sacred some works of art might be, the less they should be unveiled. There are flowers that will wither in the sun The passion of love, when developed according to the divine order, is, even in its physical relations, so holy that it cannot retain its delicacy under the sultry blaze of profane publicity.

But it is far otherwise with paintings where the animus is not sacred, nor the meaning spiritual. No excellences of coloring, no marvels of foreshortening, no miracles of mechanism can consecrate the salacious images of mythologic abomination.

The cheek that can forget to blush at the Venus and Cupid by Titian, at Leda and her Swan, at Jupiter and Io, and others of equally evil intent, ought never to pretend to blush at any thing. Such pictures are a disgrace to the artists that painted, to the age that tolerates, and to the gallery that contains them. They are fit for a bagnio rather than a public exhibition.

Evening. Dresden is the home of Madame Jenny Lind Goldschmidt. H. sent her card. This evening Mr. G. called to express regret that she was unable to see any one, on account of her recent confinement. He kindly offered us the use of his carriage and assistance in sightseeing. H. discussed with him the catalogues of the gallery of paintings. As to music, we learn, with regret, that it is out of season for concerts, oratorios, or any thing worth hearing.

Wednesday, August 10. Dresden to Berlin. Drove to Charlottenburg, and saw the monument of Queen Louisa.

Thursday, 11. Visited the Picture Gallery, and various stores and shops.

Saturday, August 13. Berlin to Wittenberg, two hours' ride. Examined the Schloss-Kirche, where Luther is buried, passing on our way through the public square containing his monument.

At nine in the evening took cars for Erfurt. That night ride, with the moon and one star hanging beautifully over the horizon, was pleasant. There is a wild and thrilling excitement in thus plunging through the mysterious night in a land utterly unknown. Reached Erfurt at two in the morning.

Monday, August 15. Erfurt to Eisenach by eight. Drove to the Wartburg.



LETTER XLIII.

DRESDEN.

DEAR:—

I went to Dresden as an art-pilgrim, principally to see Raphael's great picture of the Madonna di San Sisto, supposing that to be the best specimen of his genius out of Italy. On my way I diligently studied the guide book of that indefatigable friend of the traveller, Mr. Murray, in which descriptions of the finest pictures are given, with the observations of artists; so that inexperienced persons may know exactly what to think, and where to think it. My expectations had been so often disappointed, that my pulse was somewhat calmer. Nevertheless, the glowing eulogiums of these celebrated artists could not but stimulate anticipation. We made our way, therefore, first to the salon devoted to the works of Raphael and Correggio, and soon found ourselves before the grand painting. Trembling with eagerness, I looked up. Was that the picture? W. whispered to me, "I think we have mistaken the painting."

"No, we have not," said I, struggling to overcome the disappointment which I found creeping over me. The source of this disappointment was the thin and faded appearance of the coloring, which at first suggested to me the idea of a water-colored sketch. It had evidently suffered barbarously in the process of cleaning, a fact of which I had been forewarned. This circumstance has a particularly unfavorable effect on a picture of Raphael's, because his coloring, at best, is delicate and reserved, and, as compared with, that of Rubens, approaches to poverty; so that he can ill afford to lose any thing in this way.

Then as to conception and arrangement, there was much which annoyed me. The Virgin and Child in the centre are represented as rising in the air; on one side below them is the kneeling figure of Pope Sixtus; and on the other, that of St. Barbara. Now this Pope Sixtus is, in my eyes, a very homely old man, and as I think no better of homely old men for being popes, his presence in the picture is an annoyance. St. Barbara, on the other side, has the most beautiful head and face that could be represented; but then she is kneeling on a cloud with such a judicious and coquettish arrangement of her neck, shoulders, and face, to show every fine point in them, as makes one feel that no saint (unless with a Parisian education) could ever have dropped into such a position in the abandon of holy rapture. In short, she looks like a theatrical actress; without any sympathy with the solemnity of the religious conception, who is there merely because a beautiful woman was wanted to fill up the picture.

Then that old, faded green curtain, which is painted as hanging down on either side of the picture, is, to my eye, a nuisance. The whole interest, therefore, of the piece concentrates in the centre figures, the Madonna and Child, and two angel children gazing up from the foot of the picture. These angel children were the first point on which my mind rested, in its struggle to overcome its disappointment, and bring itself en rapport with the artist. In order fully to appreciate their spiritual beauty, one must have seen an assortment of those things called angels, which occur in the works of the old masters. Generally speaking, I know of nothing more calculated to moderate any undue eagerness to go to heaven than the common run of canvas angels. Far the greater part are roistering, able-bodied fellows with wings, giving indisputable signs of good living, and of a coarseness slightly suggestive of blackguardism. Far otherwise with these fair creatures, with their rainbow-colored wings, and their serene, upturned eyes of thought baptized with emotion. They are the first things I have seen worthy of my ideas of Raphael.

As to the Madonna, I think that, when Wilkie says she is "nearer the perfection of female elegance and grace than any thing in painting," he does not speak with discrimination. Mere physical beauty and grace are not the characteristics of the figure: many more perfect forms can be found, both on canvas and in marble. But the merits of the figure, to my mind, are, first, its historic accuracy in representing the dark-eyed Jewish maiden; second, the wonderful fulness and depth of expression thrown into the face; and third, the mysterious resemblance and sympathy between the face of the mother and that of the divine child. To my eye, this picture has precisely that which Murillo's Assumption in the Louvre wants: it has an unfathomable depth of earnestness. The Murillo is its superior in coloring and grace of arrangement. At first sight of the Murillo every one exclaims at once, "Plow beautiful!"—at sight of this they are silent. Many are at first disappointed; but the picture fastens the attention, and grows upon the thoughts; while that of Murillo is dismissed with the words of admiration on the lips.

This picture excited my ponderings and inquiries. There was a conflict of emotion in that mother's face, and shadowed mysteriously in the child's, of which I queried, "Was it fear? was it sorrow? was it adoration and faith? was it a presage of the hour when a sword should pierce through her own soul? Yet, with this, was there not a solemn triumph in the thought that she alone, of all women, had been called to that baptism of anguish? And in that infant face there seemed a foreshadowing of the spirit which said, "Now is my soul troubled; and what shall I say? Father, save me from this hour? But for this cause came I unto this hour."

The deep-feeling soul which conceived this picture has spread over the whole divine group a tender and transparent shadow of sorrow. It is this idea of sorrow in heaven—sorrow, for the lost, in the heart of God himself—which forms the most sacred mystery of Christianity; and into this innermost temple of sorrow had Raphael penetrated. He is a sacred poet, and his poetry has precisely that trait which Milton lacks—tenderness and sympathy. This picture, so unattractive to the fancy in merely physical recommendations, has formed a deeper part of my inner consciousness than any I have yet seen. I can recall it with perfect distinctness, and often return to ponder it in my heart.

In this room there was also the chef-d'luvre of Correggio—his celebrated Notte, or the Nativity of Jesus; and, that you may know what I ought to have thought, I will quote you a sentence from Wilkie. "All the powers of art are here united to make a perfect work. Here the simplicity of the drawing of the Virgin and Child is shown in contrast with the foreshortening of the group of angels—the strongest unity of effect with the most perfect system of intricacy. The emitting the light from the body of the child, though a supernatural illusion, is eminently successful. The matchless beauty of the Virgin and Child, the group of angels overhead, the daybreak in the sky, and the whole arrangement of light and shadow, give it a right to be considered, in conception at least, the greatest of his works."

I said before that light and shadow were Correggio's gods—that the great purpose for which he lived, moved, and had his being, was to show up light and shadow. Now, so long as he paints only indifferent objects,—Nymphs, and Fauns, and mythologic divinities,—I had no objection. Light and shadow are beautiful things, capable of a thousand blendings, softenings, and harmonizings, which one loves to have represented: the great Artist of all loves light and shadow; why else does he play such a magical succession of changes upon them through all creation? But for an artist to make the most solemn mystery of religion a mere tributary to the exhibition of a trick of art, is a piece of profanity. What was in this man's head when he painted this representation of the hour when his Maker was made flesh that he might redeem a world? Nothing but chiaro-scuro and foreshortening. This overwhelming scene would give him a fine chance to do two things: first, to represent a phosphorescent light from the body of the child; and second, to show off some foreshortened angels. Now, as to these angels, I have simply to remark that I should prefer a seraph's head to his heels; and that a group of archangels, kicking from the canvas with such alarming vigor, however much it may illustrate foreshortening, does not illustrate either glory to God in the highest, or peace on earth and good will to men. Therefore I have quarrelled with Correggio, as I always expected to do if he profaned the divine mysteries. How could any one, who had a soul to understand that most noble creation of Raphael, turn, the next moment, to admire this?

Here also are six others of Correggio's most celebrated paintings. They are all mere representations of the physical, with little of the moral. His picture of the Virgin and Child represents simply a very graceful, beautiful woman, holding a fine little child. His peculiar excellences in the management of his lights and shades appear in all.

In one of the halls we found a Magdalen by Battoni, which gave me more pleasure, on first sight, than any picture in the gallery. It is a life-sized figure of the Magdalen stretched upon the ground, reading an open Bible. I like it, first, because the figure is every way beautiful and well proportioned; second, on account of an elevated simplicity hi the arrangement and general effect. The dark, rocky background throws out distinctly the beautiful figure, raised on one elbow, her long, golden hair floating loosely down, as she bends forward over her book with parted lips, slightly flushed cheek, and an air of rapt and pleased attention. Though the neck and bosom are exposed, yet there is an angelic seriousness and gravity in the conception of the piece which would check an earthly thought. The woman is of that high class about whom there might seem to be a hovering angelic presence—the perfection of beauty and symmetry, without a tinge of sensual attraction.

All these rooms are full of artists copying different paintings,—some upon slabs of Dresden china,—producing pictures of exquisite, finish, and very pretty as boudoir ornaments.

After exhausting this first room, we walked through the galleries, which I will name, to give you some idea of their extent.

Two rooms, of old German and Dutch masters, are curious,—as exhibiting the upward struggles of art. Many of the pictures are hard as a tavern sign, and as ill drawn; but they mark the era of dawning effort.

Then a long corridor of Dutch paintings, in which Rubens figures conspicuously, displaying, as usual, all manner of scarlet abominations, mixed with most triumphant successes. He has a boar hunt here, which is absolutely terrific. Rubens has a power peculiar to himself of throwing into the eyes of animals the phosphorescent magnetic gleam of life and passion. Here also was a sketch of his for a large picture at Munich of the Last Judgment, in which the idea of physical torture is enlarged upon with a most revolting vigor of imagery.

Then a small room devoted to the Spanish and Italian schools, containing pictures by Murillo and Velasquez. Then the French hall, where were two magnificent Claudes, the finest I had yet seen. They were covered with glass, (a bad arrangement,) which rendered one of them almost entirely unseeable. I studied these long, with much interest. The combinations were poetical, the foregrounds minutely finished, even to the painting of flowers, and the fine invisible veil of ether that covers the natural landscape given as I have never before seen it. The peculiarity of these pieces is, that they are painted in green—a most common arrangement in God's landscapes, but very uncommon in those of great masters. Painters give us trees and grounds, brown, yellow, red, chocolate, any color, in short, but green. The reason of this is, that green is an exceedingly difficult color to manage. I have seen, sometimes, in spring, set against a deep-blue sky, an array of greens, from lightest yellow to deepest blue of the pines, tipped and glittering with the afternoon's sun, yet so swathed in some invisible, harmonizing medium, that the strong contrasts of color jarred upon no sense. All seemed to be bound by the invisible cestus of some celestial Venus. Yet what painter would dare attempt the same? Herein lies the particular triumph of Claude. It is said that he took his brush and canvas into the fields, and there studied, hour after hour, into the mysteries of that airy medium which lies between the eye and the landscape, as also between the foreground and the background. Hence he, more than others, succeeds in giving the green landscape and the blue sky the same effect that God gives them. If, then, other artists would attain a like result, let them not copy Claude, but Claude's Master. Would that our American artists would remember that God's pictures are nearer than Italy. To them it might be said, (as to the Christian,) "The word is nigh thee." When we shall see a New England artist, with his easel, in the fields, seeking, hour after hour, to reproduce on the canvas the magnificent glories of an elm, with its firmament of boughs and branches,—when he has learned that there is in it what is worth a thousand Claudes—then the morning star of art will have risen on our hills. God send us an artist with a heart to reverence his own native mountains and fields, and to veil his face in awe when the great Master walks before his cottage door. When shall arise the artist whose inspiration shall be in prayer and in communion with God?—whose eye, unsealed to behold his beauty in the natural world, shall offer up, on canvas, landscapes which shall be hymns and ascriptions?

By a strange perversity, people seem to think that the Author of nature cannot or will not inspire art; but "He that formed the eye, shall he not see? he that planted the ear, shall he not hear?" Are not God's works the great models, and is not sympathy of spirit with the Master necessary to the understanding of the models?

But to continue our walk. We entered another Dutch apartment, embellished with works by Dietrich, prettily colored, and laboriously minute; then into a corridor devoted chiefly to the works of Rembrandt and scholars. In this also were a number of those minute culinary paintings, in which cabbages, brass kettles, onions, potatoes, &c., are reproduced with praiseworthy industry. Many people are enraptured with these; but for my part I have but a very little more pleasure in a turnip, onion, or potato in a picture than out, and always wish that the industry and richness of color had been bestowed upon things in themselves beautiful. The great Master, it is true, gives these models, but he gives them not to be looked at, but eaten. If painters could only contrive to paint vegetables (cheaply) so that they could be eaten, I would be willing.

Two small saloons are next devoted to the modern Dutch and German school. In these is Denner's head of an old woman, which Cowper celebrates in a pretty poem—a marvel of faithful reproduction. One would think the old lady must have sat at least a year, till he had daguerreotyped every wrinkle and twinkle. How much better all this labor spent on the head of a good old woman than on the head of a cabbage!

And now come a set of Italian rooms, in which we have some curious specimens of the Romish development in religion; as, for instance, the fathers Gregory, Augustine, and Jerome, meditating on the immaculate conception of the Virgin. Think of a painter employing all his powers in representing such a fog bank!

Next comes a room dedicated to the works of Titian, in which two nude Venuses, of a very different character from the de Milon, are too conspicuous. Titian is sensuous; a Greek, but not of the highest class.

The next room is devoted to Paul Veronese. This Paul has quite a character of his own—a grand old Venetian, with his head full of stateliness, and court ceremony, and gorgeous conventionality, half Oriental in his passion for gold, and gems, and incense. As a specimen of the subjects in which his soul delights, take the following, which he has wrought up into a mammoth picture: Faith, Love, and Hope, presenting to the Virgin Mary a member of the old Venetian family of Concina, who, after having listened to the doctrines of the reformation, had become reconciled to the church. Here is Paul's piety, naively displayed by giving to the Virgin all the courtly graces of a high-born signorina. He paints, too, the Adoration of the Magi, because it gives such a good opportunity to deal with camels, jewels, turbans, and all the trappings of Oriental royalty. The Virgin and Child are a small part of the affair. I like Paul because he is so innocently unconscious of any thing deep to be expressed; so honestly intent on clothes, jewels, and colors. He is a magnificent master of ceremonies, and ought to have been kept by some king desirous of going down to posterity, to celebrate his royal praise and glory.

Another room is devoted to the works of Guido. One or two of the Ecce Homo are much admired. To me they are, as compared with my conceptions of Jesus, more than inadequate. It seems to me that, if Jesus Christ should come again on earth, and walk through a gallery of paintings, and see the representations of sacred subjects, he would say again, as he did of old in the temple, "Take these things hence!"

How could men who bowed down before art as an idol, and worshipped it as an ultimate end, and thus sensualized it, represent these holy mysteries, into which angels desired to look?

There are many representations of Christ here, set forth in the guide book as full of grace and majesty, which, any soul who has ever felt his infinite beauty would reject as a libel. And as to the Virgin Mother, one's eye becomes wearied in following the countless catalogue of the effeminate inane representations.

There is more pathos and beauty in those few words of the Scripture, "Now there stood by the cross of Jesus his mother," than in all these galleries put together. The soul that has learned to know her from the Bible, loving without idolizing, hoping for blest communion with her beyond the veil, seeking to imitate only the devotion which stood by the cross in the deepest hour of desertion, cannot be satisfied with these insipidities.

Only once or twice have I seen any thing like an approach towards the representations of the scriptural idea. One is this painting by Raphael. Another is by him, and is called Madonna Maison d'Alba: of this I have seen only a copy; it might have been painted on the words, "Now Mary kept all these things, and pondered them in her heart." The figure is that of a young Jewess, between girl and womanhood, in whose air and eye are expressed at once the princess of the house of David, the poetess, and the thoughtful sequestered maiden. She is sitting on the ground, the book of the prophets in one hand, lying listless at her side; the other hand is placed beneath the chin of her infant son, who looks inquiringly into her face. She does not see him—her eye has a sorrowful, far-darting look, as if beyond this flowery childhood she saw the dim image of a cross and a sepulchre. This was Mary, I have often thought that, in the reaction from the idolatry of Romanism, we Protestants were in danger of forgetting the treasures of religious sweetness, which the Bible has given us in her brief history.

It seems to me the time demands the forming of a new school of art based upon Protestant principles. For whatever vigor and originality there might once be in art, based on Romanism, it has certainly been worn threadbare by repetition.

Apropos to this. During the time I was in Paris, I formed the acquaintance of Schoeffer, whose Christus Consolator and Remumrator and other works, have made him known in America. I went with a lady who has for many years been an intimate friend, and whose head has been introduced into several of his paintings. On the way she gave me some interesting particulars of him and his family. His mother was an artist—a woman of singularly ethereal and religious character. There are three brothers devoted to art; of these Ary is the one best known in America, and the most distinguished. For some time, while they were studying, they were obliged to be separated, and the mother, to keep up the sympathy between them, used to copy the design of the one with whom she resided for the other two. A singular strength of attachment unites the family.

We found Schoeffer in retired lodgings in the outskirts of Paris, and were presented to his very pretty and agreeable English wife. In his studio we saw a picture of his mother, a most lovely and delicate woman, dressed in white, like one of the saints in the Revelation.

Then we saw his celebrated picture, Francisca Rimini, representing a cloudy, dark, infernal region, in which two hapless lovers are whirled round and round in mazes of never-ending wrath and anguish. His face is hid from view; his attitude expresses the extreme of despair. But she clinging to his bosom—what words can tell the depths of love, of an anguish, and of endurance unconquerable, written in her pale sweet face! The picture smote to my heart like a dagger thrust; I felt its mournful, exquisite beauty as a libel on my Father in heaven.

No. It is not God who eternally pursues undying, patient love with storms of vindictive wrath. Alas! well said Jesus, "O righteous Father, the world hath not known thee." The day will come when it will appear that in earth's history the sorrowing, invincible tenderness has been all on his part and that the strange word, long-suffering, means just what it says.

Nevertheless, the power and pathos of this picture cannot be too much praised. The coloring is beautiful, and though it pained me so much, I felt that it was one of the most striking works of art I had seen.

Schoeffer showed us a large picture, about half finished, in which he represents the gradual rise of the soul through the sorrows of earth to heaven. It consisted of figures grouped together, those nearest earth bowed down and overwhelmed with the most crushing and hopeless sorrow; above them are those who are beginning to look upward, and the sorrow in their faces is subsiding into anxious inquiry; still above them are those who, having caught a gleam of the sources of consolation, express in their faces a solemn calmness; and still higher, rising in the air, figures with clasped hands, and absorbed, upward gaze, to whose eye the mystery has been unveiled, the enigma solved, and sorrow glorified. One among these, higher than the rest, with a face of rapt adoration, seems entering the very gate of heaven.

He also showed us an unfinished picture of the Temptation of Christ. Upon a clear aerial mountain top, Satan, a thunder-scarred, unearthly figure, kneeling, points earnestly to the distant view of the kingdoms of this world. There is a furtive and peculiar expression of eager anxiety betrayed in his face, as if the bitterness of his own blasted eternity could find a momentary consolation in this success. It is the expression of a general, who has staked all his fortune on one die. Of the figure of Jesus I could not judge, in its unfinished state. Whether the artist will solve the problem of uniting energy with sweetness, the Godhead with the manhood, remains to be seen.

The paintings of Jesus are generally unsatisfactory; but Schoefier has approached nearer towards expressing my idea than any artist I have yet seen.

The knowing ones are much divided about Schoeffer. Some say he is no painter. Nothing seems to me so utterly without rule or compass as this world of art Divided into little cliques, each with his shibboleth, artists excommunicate each other as heartily as theologians, and a neophyte who should attempt to make up a judgment by their help would be obliged to shift opinions with every circle.

I therefore look with my own eyes, for if not the best that might be, they are the best that God has given me.

Schoeffer is certainly a poet of a high order. His ideas are beautiful and religious, and his power of expression quite equal to that of many old masters, who had nothing very particular to express.

I should think his chief danger lay in falling into mannerism, and too often repeating the same idea. He has a theory of coloring which is in danger of running out into coldness and poverty of effect. His idea seems to be, that in the representation of spiritual subjects the artist should avoid the sensualism of color, and give only the most chaste and severe tone. Hence he makes much use of white, pale blue, and cloudy grays, avoiding the gorgeousness of the old masters. But it seems probable that in the celestial regions there is more, rather than less, of brilliant coloring than on earth. What can be more brilliant than the rainbow, yet what more perfectly free from earthly grossness? Nevertheless, in looking at the pictures of Schoeffer there is such a serene and spiritual charm spread over them, that one is little inclined to wish them other than they are. No artist that I have ever seen, not even Raphael, has more power of glorifying the human face by an exalted and unearthly expression. His head of Joan of Arc, at Versailles, is a remarkable example. It is a commentary on that scripture—"And they beheld his face, as it were the face of an angel."

Schoeffer is fully possessed with the idea of which I have spoken, of raising Protestant art above the wearisome imitations of Romanism. The object is noble and important. I feel that he must succeed.

His best award is in the judgments of the unsophisticated heart. A painter who does not burn incense to his palette and worship his brushes, who reverences ideas above mechanism, will have all manner of evil spoken against him by artists, but the human heart will always accept him.



LETTER XLIV.

BERLIN, August 10.

MY DEAR:—

Here we are in Berlin—a beautiful city. These places that kings build, have of course, more general uniformity and consistency of style than those that grow up by chance. The prevalence of the Greek style of architecture, the regularity and breadth of the streets, the fine trees, especially in the Unter den Linden, on which are our rooms, struck me more than any thing I have seen since Paris. Why Paris charms me so much more than other cities of similar recommendations, I cannot say, any more than a man can tell why he is fascinated by a lady love no fairer to his reason than a thousand others. Perhaps it is the reflected charm of the people I knew there, that makes it seem so sunny.