rescoes of landscapes and
historical subjects, is "a building of festive halls," a facade eight
hundred feet long, in the revived Italian style, and with a fine
Ionic porch. The color is the royal, dirty yellow.

On the Max Joseph Platz, which has a bronze statue of King Max, a
seated figure, and some elaborate bas-reliefs, is another front of
the palace, the Konigsbau, an imitation, not fully carried out, of
the Pitti Palace, at Florence. Between these is the old Residenz,
adorned with fountain groups and statues in bronze. On another side
are the church and theater of the Residenz. The interior of this
court chapel is dazzling in appearance: the pillars are, I think,
imitation of variegated marble; the sides are imitation of the same;
the vaulting is covered with rich frescoes on gold ground. The whole
effect is rich, but it is not at all sacred. Indeed, there is no
church in Munich, except the old cathedral, the Frauenkirche, with
its high Gothic arches, stained windows, and dusty old carvings, that
gives one at all the sort of feeling that it is supposed a church
should give. The court chapel interior is boastingly said to
resemble St. Mark's, in Venice.

You see how far imitation of the classic and Italian is carried here
in Munich; so, as I said, the buildings need the southern sunlight.
Fortunately, they get the right quality much of the time. The
Glyptothek, a Grecian structure of one story, erected to hold the
treasures of classic sculpture that King Ludwig collected, has a
beautiful Ionic porch and pediment. On the outside are niches filled
with statues. In the pure sunshine and under a deep blue sky, its
white marble glows with an almost ethereal beauty. Opposite stands
another successful imitation of the Grecian style of architecture,--a
building with a Corinthian porch, also of white marble. These, with
the Propylaeum, before mentioned, come out wonderfully against a blue
sky. A few squares distant is the Pinakothek, with its treasures of
old pictures, and beyond it the New Pinakothek, containing works of
modern artists. Its exterior is decorated with frescoes, from
designs by Kaulbach: these certainly appear best in a sparkling
light; though I am bound to say that no light can make very much of
them.

Yet Munich is not all imitation. Its finest street, the Maximilian,
built by the late king of that name, is of a novel and wholly modern
style of architecture, not an imitation, though it may remind some