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boddice, and silk handkerchief crossed over the bosom, the costume of the women of Munich, to which the king is extremely partial. I am assured that this young girl, who is not more than seventeen, is as remarkable for her piety, simplicity, and spotless reputation, as for her singular beauty. I have seen her, and the picture merely does her justice. Several other women of the bourgeoisie have been pointed out to me as included in the king's collection. One of these, the daughter, I believe, of an herb-woman, is certainly one of the most exquisite creatures I ever beheld. On the whole, I should say, that the lower orders of the people of Munich are the handsomest race I have seen in Germany.

Stieler is the court and fashionable portrait painter here—the Sir Thomas Lawrence of Munich-that is, in the estimation of the Ger

He is an accomplished man, with amiable manners, and a talent for rising in the world; or, as I heard some one call it, the organ of gettingoniveness. For the elaborate finish of his portraits, for expertness and delicacy of hand, for resemblance and exquisite drawing, I suppose he has few equals; but he has also, in perfection, what I consider the faulty peculiarities of the German school. Stieler's artificial roses are too natural: his caps, and embroidered scarfs, and jewelled bracelets, are more real than the things themselves

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or seem so; for certainly I never gave to the real objects the attention and the admiration they challenge in his pictures. The famous bunch of grapes, which tempted the birds to peck, could be nothing compared to the felt of Prince Charles' hat in Stieler's portrait: it actually invites the hat-brush. Strange perversion of power in the artist! stranger perversion of taste in those who admire it!—Ma parienza!

*

The Duc de Leuchtenberg opens his small but beautiful gallery twice a week : Mondays and Thursdays. The doors are thrown open and every respectable person may walk in, without distinction or ceremony. It is a delightful morning lounge; there are not more than one hundred and fifty pictures-enough to excite and gratify, not satiate, admiration. The first room contains a collection of paintings by modern and living artists of France, Germany, and Italy. There is a lovely little picture by Madame de Freyberg of the Maries at the sepulchre of Christ; and by Heinrich Hess, a group of the three christian graces-Faith, Hope, and Charity, seated under the German oak, and painted with great simplicity and sentiment; of his celebrated brother, Peter Hess, and Wagenbauer, and Jacob Dorner, and Quaglio, there are beautiful specimens. The French pictures did not please me: Girodet's picture of Ossian and the French heroes is a monstrous combination of all manner of affectations,

I should not forget a fine portrait of Napoleon, by Appiani, crowned with laurel; and another picture, which represents him throned, with all the insignia of state and power, and supported on either side by Victory and Peace. For a moment we pause before that proud form, to think of all he was, all he might have been—to draw a moral from the fate of selfishness.

He rose by blood, he built on man's distress,
And th’inheritance of desolation left
To great expecting hopes.*

Among the pictures of the old masters there are many fine ones, and three or four of peculiar interest. There is the famous head by Bronzino, generally entitled, Petrarch's Laura, but assuredly without the slightest pretensions to authenticity. The face is that of a prim, starched précieuse, to which the peculiar style of this old portrait painter, imparts additional coldness and rigidity.

* Daniel.

But the finest picture in the gallery-perhaps one of the finest in the world -is the Madonna and Child of Murillo : one of those rare productions of mind which baffle the copyist, and defy the engraver,--which it is worth making a pilgrimage but to gaze on. How true it is that “a thing of beauty is a joy for ever!"

When I look at Murillo's roguish, ragged beggar-boys in the royal gallery, and then at the Leuchtenberg gallery turn to contemplate his Madonna and his ascending angel, both of such unearthly and inspired beauty, a feeling of the wondrous grasp and versatility of the man's mind almost makes me giddy.

The lithographic press of Munich is celebrated all over Europe. Aloys Senefelder, the inventor of the art, has the direction of the works, with a well-merited pension, and the title of Inspector of Lithography.*

* Lithography was invented at Munich between 1795 and

*

The people of Munich are not only a welldressed and well-looking, but a social, kindhearted race.

The number of unions, or societies, instituted for benevolent or festive purposes

1798, for so long were repeated experiments tried before the art became useful or general. Senefelder, the inventor, was an actor, and the son of an actor. The first occasion of the invention was his wish to print a little drama of his own, some manner less ex. pensive than the usual method of type. The first successful experiment was the printing of some music, published (1796) by Gleissner, one of the king of Bavaria's band : the first drawing attempted was a vignette to a sheet of music. In the course of bis attempts to pursue and perfect his discovery, Senefelder was reduced to such poverty, that he offered bimself to enlist for a common soldier, and, lackily, was refused. He again took heart, and, supported through every difficulty and discouragement by his own strong and enthusiastic mind, be at length overcame all obstacles, and has lived to see bis invention established and spread over the whole civilized world. Hitherto, I believe, the stone used by lithographers is found only in Bavaria, whence it is sent to every part of Europe and America, and forms a most profitable article of commerce. The principal quarries are at Solenholfen, on the Danube, about fifty miles from Munich.

Senefelder has published a little memoir of the origin and progress of the invention, in which he relates with great simplicity the hardship, and 'misery, and contumely he encountered before he could bring it into use. He concludes with an earnest prayer, “that it may contribute to the benefit and improvement of mankind, and that it may never be abused to any dishonourable or immoral purpose.”

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