hule and Observatory of Berlin. He competed with
Klenze in a series of designs for the new palace at Athens, rich with a
truly royal array of courts, corridors, saloons, and colonnades. But the
evil fate which ever hangs over the competitions of genius was baleful
even here, and the barrack-like edifice of Guetner was preferred. His
latest conception was a design of a summer palace at Orianda, in the
Crimea, for the Empress of Russia, where the purity of the old Greek
lines was developed into the poetry of terraces and hanging-gardens and
towers, far-looking over the Black Sea. Schinkel was called the Luther
of Architecture; and the spiritual serenity which he breathed into the
pomp and ceremonious luxury of the Art of his day seems to give him some
title to this distinction. Yet, with all the freedom and originality
with which he wrought out the new advent, he was perhaps rather too
timid than too bold in his reforms,--adhering too strictly to the
original letter of Greek examples, especially with regard to the orders.
He could not entirely shake off the old incubus of Rome.

And so, though in a less degree, with Klenze. When, in 1825, Louis of
Bavaria came to the throne, he was appointed Government Architect, and
in this capacity gave shape to the noble dreams of that monarch, in the
famous Glyptotheque, the Pinacotheque, the palace, and those civil and
ecclesiastical buildings which render Munich one of the most monumental
cities of Europe. It was his confessed aim to take up the work of the
Renaissance artists, having regard to our increased knowledge of that
antique civilization of which the masters of the sixteenth century could
study only the most complex developments, and those models of Rome which
were farthest removed from the pure fountain-head of Greece. "To-day,"
he said, "put in possession of the very principles of Hellenic Art,
we can apply them to all our actual needs,--learning from the Greeks
themselves to preserve our independence, and at the same time to be duly
novel and unrestrained according to circumstances." These are certainly
noble sentiments; and one cannot but wish, that, when, in 1830, Klenze
was called upon to prepare plans for the grand Walhalla of Bavaria, he
had remembered his sublime theory and worked up to its spirit, instead
of recalling the Parthenon in his exterior and the Olympian temple of
Agrigentum in his interior. The last effort of this distinguished artist
was the building of