uniting the Byzantine style of
architecture to the form of the Latin cross! Over the arched portal
stand marble statues by Schwanthaler, and the roof of brilliant tiles
worked into mosaic, looks like a rich Turkey carpet covering the whole.
We must enter to get an idea of the splendor of this church. Instead of
the pointed arch which one would expect to see meeting above his head,
the lofty pillars on each side bear an unbroken semicircular vault,
which is painted a brilliant blue, and spangled with silver stars. These
pillars, and the little arches above, which spring from them, are
painted in an arabesque style with gold and brilliant colors, and each
side-chapel is a perfect casket of richness and elegance. The windows
are of silvered glass, through which the light glimmers softly on the
splendor within. The whole end of the church behind the high altar, is
taken up with Cornelius's celebrated fresco painting of the "Last
Judgment,"--the largest painting in the world--and the circular dome in
the centre of the cross contains groups of martyrs, prophets, saints and
kings, painted in fresco on a ground of gold. The work of Cornelius has
been greatly praised for sublimity of design and beauty of execution, by
many acknowledged judges; I was disappointed in it, but the fault lay
most probably in me and not in the painting. The richness and elegance
of the church took me all "aback;" it was so entirely different from
anything I had seen, that it was difficult to decide whether I was most
charmed by its novelty or its beauty. Still, as a building designed to
excite feelings of worship, it seems to me inappropriate. A vast, dim
Cathedral would be far preferable; the devout, humble heart cannot feel
at home amid such glare and brightness.

As we leave the church and walk further on, the street expands suddenly
into a broad square. One side is formed by the new University building
and the other by the Royal Seminary, both displaying in their
architecture new forms of the graceful Byzantine school, which the
architects of Munich have adapted in a striking manner to so many varied
purposes. On each side stands a splendid colossal fountain of bronze,
throwing up a great mass of water, which falls in a triple cataract to
the marble basin below. A short distance beyond this square the
Ludwigstrasse terminates. It is said the end will be closed by a
magnificent gate, on a style to correspond with the unequalled avenue to
which it w