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of art. The pillars are of the native marble, and the walls will be covered with a kind of Mosaic of various marbles, intermixed with ornaments in relief, in gilding, in coloursmall combined, and harmonizing together. The ceiling is formed of two large domes or cupolas. In the first is represented the Old Testament: in the very centre, the Creator; in a circle round him, the six days' creation. Around this again, in a larger circle, the building of the Ark; the Deluge; the sacrifice of Noah; and the first covenant. In the four corners, the colossal figures of the patriarchs, Noah, Abraham, Isaac, and Jacob. These are designed in a very grand and severe style. The second cupola is dedicated to the New Testament. In the centre, the Redeemer : around him four groups of cherubs, three in each group:
We were on the scaffold erected for the painters--near enough to remark the extreme beauty and various expression in these heads, which must, I am afraid, be lost when viewed from below. Around, in a circle, the twelve apostles ; and in the four corners, the four evangelists, corresponding with the four patriarchs in the other dome. In the arch between the two
domes, as connecting the Old and New Testaments, we have the Nativity and other scenes from the life of the Virgin. In the arch at the farthest end will be placed the Crucifixion, as the consummation of all.
The painter to whom the direction of the whole work has been entrusted, is Professor Heinrich Hess, one of the most celebrated of the German historical painters. He was then employed in painting the Nativity; stretched upon his back on a sort of inclined chair. Notwithstanding the inconvenience and even peril of leaving his work while the plaster was wet, he came down from his giddy height to speak to us, and explained the general design of the whole. I expressed my honest admiration of the genius, and the grand feeling displayed in many of the figures ; and, in particular, of the group he was then painting, of which the extreme simplicity charmed me;
but as honestly, I expressed my surprise that nothing new in the general style of the decoration had been attempted ; a representation of the Omnipotent Being was merely excusable in more simple and unenlightened times, when the understandings of men could only be
addressed through their senses—and merely tolerable, when Michael Angelo gave us that grand personification of Almighty Power moving the wings of the wind" to the creation of the first man. But now, in these thinking, reasoning times, it is not so well to venture into those paths, upon which daring Genius, supported by blind Faith, rushed without a fear, because without a doubt. The theory of religion belongs to poetry, and its practice to painting. I was struck by the wonderful stateliness of the ornaments and borders used in decorating these sacred subjects: they are neither Greek, nor gothic, nor arabesque—but composed merely of simple forms and straight lines, combined in every possible manner, and in every variety of pure colour. One might call them Byzantine ; at least, they reminded me of what I had seen in the old churches at Venice and Pisa.
I was pleased by the amiable and open manners of Professor Hess. Much of his life has been spent in Italy, and he speaks Italian well, but no French. In general, the German artists absolutely detest and avoid the language and literature of France, but almost all speak Ita
lian, and many can read, if they do not speak, English. He told me that he had spent tw years on the designs and cartoons for this chapel; he had been painting here daily for the last two years, and expected to be able to finish the whole in about two years and a half more: thus giving six years and a half, or more probably seven years, to this grand task. He has four pupils, or assistants, besides those employed in the decorations only.
Oct. 15th.-After dinner we drove through the beautiful English garden-a public promenade--which is larger and more diversified than Kensington Gardens; but the trees are not so fine, being of younger growth. A branch of the Isar rolls through this garden, sometimes an absolute torrent, deep and rapid, foaming and leaping along, between its precipitous banks,-sometimes a strong but gentle stream, flowing “at its own sweet will” among smooth lawns. Several pretty bridges cross it with “airy span;" there are seats for repose, and caffés and houses where refreshment may be had, and where, in the summer-time, the artisans and citizens of Munich assemble to dance on the Sunday evenings ;
altogether it was a beautiful day, and a delightful drive.
In the evening at the opera with the ambassadress and a large party. It was the queen's fête, and the whole court was present. The theatre was brilliantly illuminated-crowded in every part: in short, it was all very gay and very magnificent; as to hearing a single note of the opera, (the Figaro,) that was impossible ; so I resigned myself to the conversation around me. “ Are you fond of music?” said I, innocently, to a lady whose volubility had not ceased from the moment we entered the box. “ Moi! si je l'aime! -mais avec passion!" And then without pause or mercy continued the same incessant flow of spirituel small-talk while Schechner-Wagen and Meric, now brought for the first time into competition, and emulous of each other,-one pouring forth her full sostenuto warble, like a wood-lark, -the other trilling and running divisions, like a nightingale—were uniting their powers in the “ Sull' Aria;" but though I could not hear, I could see.
I was struck to-night more than ever by the singular dignity of the demeanour of Ma