ury, the meeting-place of Conrad
III., Henry III., and Rudolph III., the last King of Burgundy. Following
another tradition, the house derived its nomenclature from the
_reliques_ of "the Three Magi," which were lodged here when on their
journey, in 1161, from Milan to Cologne.

In the museum at Basel are two of Holbein's, sketches made from statues
in the Sainte Chapelle at Bourges in France. They represent the Duke
Jean de Berry and his wife, Jeanne de Boulogne. It seems rather curious
that a great draughtsman like Holbein should deliberately have set
himself to copying from a cast, which is practically what it amounted to
in this case, charming though these drawings be.

_Colmar_

Colmar, the chief town of the "circle of Colmar," was once strongly
fortified. It still has something more than fragments left of its seven
towered and turreted gates.

Formerly it was the capital of Upper Alsace, and later it was the
capital of the Departement du Haut-Rhin. As a result of the war of 1871
it became a German city.

To Americans and Frenchmen it will perhaps be most revered as being the
birthplace of Auguste Bartholdi, the designer of the celebrated Statue
of Liberty at New York. (There is a smaller counterpart at Paris, on the
Ile des Cygnes in the Seine, which is often overlooked by visitors to
the capital.)

The church of St. Martin is a thirteenth-century Gothic church of more
than usual splendour. Its fine foundations date from 1237, and its choir
from 1315. It is of the conventional Latin cross form, with two imposing
towers and a really grand portal. It is built of red sandstone, and is
surmounted with a wonderfully massive steeple, which looks more like an
adjunct to a fortification than a dependency of a Christian edifice.
There is a counterpart of this feature in the cathedral at Dol in
Brittany, but there it has the added detail of a crenelated parapet,
which gives it a still more military air.

In other days this great tower on St. Martin's at Colmar served the
purposes of a civic belfry as well as that of a Christian campanile.

In the sacristy of this rather grim church is an admirable
fifteenth-century work of art, a Virgin surrounded by garlands of roses,
executed by Schoengauer, a native of Colmar (1450-88) and one of the
greatest painters and sculptors of the fifteenth century.

There is the restored fabric of the famous convent of the Dominicans,
known as Unterlinden, which is to be considered