After descending from the belfry, I stopt in the yard before a handsome
porch of the Renaissance, the second story of which is formed of a
series of small triumphal arches, with inscriptions. The first is
dedicated to Caesar; the second to Augustus; the third to Agrippa, the
founder of Cologne; the fourth to Constantine, the Christian emperor;
the fifth to Justinian, the great legislator; and the sixth to
Maximilian. Upon the façade, the poetic sculpture has chased three
bas-reliefs, representing the three lion-combatants, Milo of Crotona,
Pepin-le-Bref, and Daniel. At the two extremities he has placed Milo of
Crotona, attacking the lions by strength of body; and Daniel subduing
the lions by the power of mind. Between these is Pepin-le-Bref,
conquering his ferocious antagonist with that mixture of moral and
physical strength which distinguishes the soldier. Between pure strength
and pure thought, is courage; between the athlete and the prophet--the
hero.

Pepin, sword in hand, has plunged his left arm, which is enveloped in
his mantle, into the mouth of the lion; the animal stands, with extended
claws, in that attitude which in heraldry represents the lion rampant.
Pepin attacks it bravely and vanquishes. Daniel is standing motionless,
his arms by his side, and his eyes lifted up to Heaven, the lions
lovingly rolling at his feet. As for Milo of Crotona, he defends himself
against the lion, which is in the act of devouring him. His blind
presumption has put too much faith in muscle, in corporeal strength.
These three bas-reliefs contain a world of meaning; the last produces a
powerful effect. It is Nature avenging herself on the man whose only
faith is in brute force....

In the evening, as the stars were shining, I took a walk upon the side
of the river opposite to Cologne. Before me was the whole town, with its