at in this "Church of Peace" should rest all that was
mortal of the immortal Prince who could say, as he entered Paris in
the flush of victory: "Gentlemen, I do not like war. If I should
reign, I would never make it."

V.

MUSEUMS.

The chief art treasures of Berlin are found in the Royal Museums, Old
and New, and in the National Gallery. There are few more
characteristic and inspiring sights in Europe than that which greets
the eye in a walk on a sunny afternoon in winter from the palace of
Kaiser Wilhelm I. through the Operahaus Platz and the Zeughaus Platz,
across the Schloss Bruecke and the Lustgarten, to the peerless building
of the Old Museum,--with the grand equipages, the brilliant uniforms,
and the busy but not overcrowded life which throng the vast spaces of
these handsome thoroughfares. The Old Museum is not so rich in
masterpieces as some other and older art galleries, but there are many
fine original works. The Friezes from the Altar of Zeus, excavated
within a few years at Pergamus, are extremely interesting, and are
exhibited with all the adjuncts which the most thorough German
scholarship can supply for their elucidation. The celebrated Raphael
tapestry, woven for Henry VIII. from the cartoons now in the South
Kensington Museum, and long the foremost ornament of the palace of
Whitehall, hangs in the great upper rotunda, which is a setting not
unworthy of its fame. Michael Angelo's "John the Baptist as a Boy,"
one of his early works, is quite unlike most of this master's work, in
conception and execution, and is interesting especially on this
account. The "Altar-piece of the Mystic Lamb" is remarkable for its
merits and because it is reputed to be the first picture ever painted
in oils. Murillo's "Ecstasy of Saint Anthony" is a picture of rare
sweetness and power. In one room are five of Raphael's Madonnas, but
only one of them is in his better style. "The collection of pictures
in the Old Museum," wrote George Eliot in 1855, "has three gems which
remain in the imagination,--'Titian's Daughter,' Correggio's 'Jupiter
and Io,' and his 'Head of Christ on a Handkerchief.' I was pleased,
also, to recognize among the pictures the one by Jan Steem which
Goethe describes in the 'Wahlverwandschaften' as the model of a
_tableau vivant_ presented by Lucian and her friends. It is the
daughter being reproved by her father, while the mother empties her
wine-glass."

The department of the Museum known as t