first has the
figure of the author, Heinrich von Ofterdingen, and those of
Chriemhilde, Brunhilde, Siegfried and the other personages of the poem;
and the second, called the Marriage Hall, contains the marriage of
Chriemhilde and Siegfried, and the triumphal entry of Siegfried into
Worms.

Adjoining the new residence on the east, is the Royal Chapel, lately
finished in the Byzantine style, under the direction of Klenze. To enter
it, is like stepping into a casket of jewels. The sides are formed by a
double range of arches, the windows being so far back as to be almost
out of sight, so that the eye falls on nothing but painting and gold.
The lower row of arches is of alternate green and purple marble,
beautifully polished; but the upper, as well as the small chancel behind
the high altar, is entirely covered with fresco paintings on a ground of
gold! The richness and splendor of the whole church is absolutely
incredible. Even after one has seen the Ludwig's Kirche and the
Residence itself, it excites astonishment. I was surprised, however, to
find at this age, a painting on the wall behind the altar, representing
the Almighty. It seems as if man's presumption has no end. The simple
altar of Athens, with its inscription "_to the Unknown God_," was more
truly reverent than this. As I sat down awhile under one of the arches,
a poor woman came in, carrying a heavy basket, and going to the steps
which led up to the altar, knelt down and prayed, spreading her arms out
in the form of a cross. Then, after stooping and kissing the first step,
she dragged herself with her knees upon it, and commenced praying again
with outspread arms. This she continued till she had climbed them all,
which occupied some time; then, as if she had fulfilled a vow she turned
and departed. She was undoubtedly sincere in her piety, but it made me
sad to look upon such deluded superstition.

We visited yesterday morning the Glyptothek, the finest collection of
ancient sculpture except that in the British Museum, I have yet seen,
and perhaps elsewhere unsurpassed, north of the Alps. The building which
was finished by Klenze, in 1830, has an Ionic portico of white marble,
with a group of allegorical figures, representing Sculpture and the
kindred arts. On each side of the portico, there are three niches in the
front, containing on one side, Pericles, Phidias and Vulcan; on the
other, Hadrian, Prometheus and Daedalus. The whole building forms a
hollow s