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 Eugène 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 Gérard--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 accidentaly wounded with his arrow.

We have since seen in the St. Michael's Church the monument to Eugene
Beauharnais from the chisel of Thorwaldsen. The noble, manly figure of
the son of Josephine is represented in the Roman mantle, with his helmet
and sword lying on the ground by him. On one side sits History writing
on a tablet; on the other stand the two brother-angels Death and
Immortality. They lean lovingly together, with arms around each other,
but the sweet countenance of Death has a cast of sorrow as he stands