ate pride in his personal beauty reveal
themselves in the rich vestments he wears and the wealth of silken
curls, so carefully waved, so wondrously painted, falling proudly over
his free neck.

[Footnote A: From "The Story of Nuremberg." Published by E.P. Dutton &
Co.]

III

OTHER BAVARIAN CITIES

MUNICH[A]

BY BAYARD TAYLOR

Art has done everything for Munich. It lies on a large flat plain
sixteen hundred feet above the sea and continually exposed to the cold
winds from the Alps. At the beginning of the present century it was but
a third-rate city, and was rarely visited by foreigners; since that time
its population and limits have been doubled and magnificent edifices in
every style of architecture erected, rendering it scarcely secondary in
this respect to any capital in Europe.[B] Every art that wealth or taste
could devise seems to have been spent in its decoration. Broad, spacious
streets and squares have been laid out, churches, halls and colleges
erected, and schools of painting and sculpture established which draw
artists from all parts of the world. All this was principally brought
about by the taste of the present king, Ludwig I., who began twenty or
thirty years ago, when he was crown-prince, to collect the best German
artists around him and form plans for the execution of his grand
design. He can boast of having done more for the arts than any other
living monarch; and if he had accomplished it all without oppressing his
people, he would deserve an immortality of fame....

We went one morning to see the collection of paintings formerly
belonging to Eugene Beauharnais, who was brother-in-law to the present
King of Bavaria, in the palace of his son, the Duke of Leuchtenberg. The
first hall contains works principally by French artists, among which are
two by Gerard--a beautiful portrait of Josephine, and the blind
Belisarius carrying his dead companion. The boy's head lies on the old
man's shoulder; but for the livid paleness of his limbs, he would seem
to be only asleep, while a deep and settled sorrow marks the venerable
features of the unfortunate emperor. In the middle of the room are six
pieces of statuary, among which Canova's world-renowned group of the
Graces at once attracts the eye. There is also a kneeling Magdalen,
lovely in her wo, by the same sculptor, and a very touching work of
Schadow representing a shepherd-boy tenderly binding his sash around a
lamb which he has acc