Still hope for others what it never knew

Of truth and peace; and silently pursue

A path beset with briers," and wet with tears like dew!

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To-day I devoted to the Pinakothek-for the last time!

Just before I left England our projected national gallery had excited much attention. Those who were usually indifferent to such matters were roused to interest; and I heard the merits of different designs, so warmly, even so violently discussed in public and in private, that for a long time the subject kept possession of my mind. On my arrival here, the Pinakothek (for that is the designation given to the new national gallery of Munich) became to me a principal object of interest. I had been most anxious to comprehend both the general design and the nature of the arrangements in detail; but I might almost doubt my own competency to convey an exact idea of what I understand and admire, to the comprehension of another. I must try, however, while the impressions remain fresh and strong, and the memory not yet encumbered and distracted, as it must be, even a few hours hence,

by the variety, and novelty, and interest, of all I see and hear around me.

The Pinakothek was founded in 1826; the king himself laying the first stone with much pomp and ceremony on the 7th of April, the birth-day of Raffaelle.

It is a long, narrow edifice, facing the south, measuring about five hundred feet from east to west, and about eighty or eighty-five feet in depth. At the extremities are two wings, or rather projections. The body of the building is of brick, but not of common brickwork: for the bricks, which are of a particular kind of clay, have a singular tint, a kind of greenish yellow; while the friezes, balustrades, architraves of the windows, in short, all the ornamental parts, are of stone, the colour of which is a fine warm grey; and as the stone workmanship is extremely rich, and the brickwork of unrivalled elegance and neatness, and the colours harmonize well, the combination produces a very handsome effect, rendering the exterior as pleasing to the eye, as the scientific adaptation of the building to its peculiar purpose is to the understanding.

Along the roof runs a balustrade of stone,

adorned with twenty-four colossal statues of celebrated painters. A public garden, which is already in preparation, will be planted around, beautifully laid out with shady walks, flowerbeds, fountains, urns, and statues. I believe the enclosure of this garden will be about a thousand feet each way, and that it will ultimately be bounded (at least on three sides) with rows of houses forming a vast square, of which the Pinakothek will occupy the centre. It consists of a ground-floor and an upper-story. The groundfloor will comprise, 1st, the collection of the Etruscan vases; 2ndly, the Mosaics, ancient and modern, of which there are here some rare and admirable specimens; 3rdly, the cabinet of drawings by the old masters; 4thly, the cabinet of engravings, which is said to be one of the richest in Europe; 5thly, a library of all works pertaining to the fine arts; lastly, a noble entrance-hall: a private entrance; with accommodations for students, and other offices,

The upper-story is appropriated to the pictures, and is calculated to contain not less than fifteen hundred specimens, selected from various galleries, and arranged according to the schools of art.

We ascend from the entrance-hall by a wide and handsome staircase of stone, very elegantly carved, which leads first to a kind of vestibule, where the attendants and keepers of the gallery are in waiting. Thence, to a splendid receptionroom, about fifty feet in length: this will contain the full-length portraits of the founders of the gallery of Munich-the Palatine John William; the Elector, Maximilian Emanuel of Bavaria; the Duke Charles of Deuxponts; the Palatine Charles Theodore; Maximilian Joseph I., king of Bavaria; and his son, (the present Monarch,) Louis I. The ceiling and the frieze of this room are splendidly decorated with groups of figures and ornaments in white relief, on a gold ground, and the walls will be hung with crimson damask.

Along the south front of the building from east to west runs a gallery or corridor about four hundred feet in length, and eighteen in width, lighted on one side by twenty-five lofty arched windows, having on the other side ten doors, opening into the suite of picture galleries, or rather halls. These occupy the centre of the building, and are lighted from above by vast lanthorns. They are eight in number, varying

in length from fifty to eighty feet, but all forty feet in width and fifty feet in height from the floor to the summit of the lanthorn. The walls will be hung with silk damask, either of a dark crimson or a dark green-according to the style of art for which the room is destined. The ceilings are vaulted, and the decorations are inexpressibly rich, composed of magnificent arabesques, intermixed with the effigies of celebrated painters, and groups illustrative of the history of art, &c., all moulded in white relief upon a ground of dead gold. Mayer, one of the best sculptors in Munich, has the direction of these works.

Behind these vast galleries, or saloons, there is a range of cabinets, twenty-three in number, appropriated to the smaller pictures of the different schools: these are each about nineteen feet by fifteen in size, and lighted from the north, each having one high latteral window. The ceilings and upper part of the walls are painted in fresco, (or distemper, I am not sure which,) with very graceful arabesques of a quiet colour;-the hangings will also be of silk damask.

Of the principal saloons, the first is appropri