that secure
harbor. * * *

"It is a very little semicircular island, on which the
arches of the bridge rest: a garden full of flowers and
trees, which we overlook from the high parapet of the
bridge. Ladies and gentlemen promenade there; musicians
play, families sit there in groups, and take refreshments in
the vaulted halls under the bridge, and look out between the
green trees over the open water, to the houses and mansions,
and also to the woods and rocks: we forget that we are in
the midst of the city. It is the bridge here that unites
Stockholm with Nordmalen, where the greatest part of the
fashionable world live, in two long Berlin-like streets; yet
amongst all the great houses we will only visit one, and
that is the theatre. We will go on the stage itself--it has
an historical signification. Here by the third side-scene
from the stage-lights, to the right, as we look down towards
the audience, Gustavus the Third was assassinated at a
masquerade; and he was borne into that little chamber there,
close by the scene, whilst all the outlets were closed, and
the motley group of harlequins, polichinellos, wild men,
gods and goddesses, with unmasked faces, pale and terrified,
crept together; the dancing ballet-farce had become a real
tragedy. This theatre is Jenny Lind's childhood's home. Here
she has sung in the choruses when a little girl; here she
first made her appearance in public, and was cheeringly
encouraged when a child; here, poor and sorrowful, she has
shed tears, when her voice left her, and sent up pious
prayers to her Maker. From hence the world's nightingale
flew out over distant lands, and proclaimed the purity and
holiness of art."

We ramble a moment in the garden of Linnaeus, and contemplate his
monument. It is withered and wasted now; it appears not unlike that
grave garden of Ferney, with the close bower in which Voltaire used to
walk and meditate:

"The walls shine brightly, and with varied hues, in the
great chapel behind the high altar. The fresco paintings
present to us the most eventful circumstances of Gustavus
Vasa's life. Here his clay moulders, with that of his three
consorts. Yonder, a work in marble, by Sargel, solicits our
attention: it adorns the burial-chapel of the De Geers; and
here, in the centr