parts wanting have been admirably restored by Thorwaldsen. They form
almost the only existing specimens of the Aeginetan school. Passing
through the Apollo Hall, we enter the large Hall of Bacchus, in which
the progress of the art is distinctly apparent. A satyr lying asleep on
a goatskin which he has thrown over a rock is believed to be the work of
Praxiteles. The relaxation of the figure and perfect repose of every
limb is wonderful. The countenance has traits of individuality which led
me to think it might have been a portrait, perhaps of some rude country
swain.

In the Hall of Niobe, which follows, is one of the most perfect works
that ever grew into life under a sculptor's chisel. Mutilated as it is,
without head and arms, I never saw a more expressive figure. Ilioneus,
the son of Niobe, is represented as kneeling, apparently in the moment
in which Apollo raises his arrow, and there is an imploring
supplication in his attitude which is touching in the highest degree.
His beautiful young limbs seem to shrink involuntarily from the deadly
shaft; there is an expression of prayer, almost of agony, in the
position of his body. It should be left untouched. No head could be
added which would equal that one pictures to himself while gazing upon
it.

The Pinacothek is a magnificent building of yellow sandstone, five
hundred and thirty feet long, containing thirteen hundred pictures
selected with great care from the whole private collection of the king,
which amounts to nine thousand. Above the cornice on the southern side
stand twenty-five colossal statues of celebrated painters by
Schwanthaler. As we approached, the tall bronze door was opened by a
servant in the Bavarian livery, whose size harmonized so well with the
giant proportions of the building that until I stood beside him and