is really charming. Silver is not used enough in decorations; it is a
relief from the classic gold, and forms admirable combinations with
colors. The chapel, whose dome rises above the rest of the building, is
well planned and well lighted, comfortable, reasonably decorated.

Let us cross the square and take a look at the Museum, admiring, as we
pass, an immense porphyry vase standing on cubes of the same material,
in front of the steps which lead up to the portico. This portico is
painted in fresco by various hands, under the direction of the
celebrated Peter Cornelius. The paintings form a broad frieze, folding
itself back at each end upon the side wall of the portico, and
interrupted in the middle to give access to the Museum. The portion on
the left contains a whole poem of mythologic cosmogony, treated with
that philosophy and that erudition which the Germans carry into
compositions of this kind; the right, purely anthropologie, represents
the birth, development, and evolution of humanity.

If I were to describe in detail these two immense frescoes, you would
certainly be charmed with the ingenious invention, the profound
knowledge, and the excellent judgment of the artist. The mysteries of
the early creation are penetrated, and everything is faultlessly
scientific. Also, if I should show you them in the form of those fine
German engravings, the lines heightened by delicate shadows, the
execution as accurate as that of Albrecht Dürer, the tone light and
harmonious, you would admire the ordering of the composition, balanced
with so much art, the groups skilfully united one to another, the
ingenious episodes, the wise selection of the attributes, the
significance of each separate thing; you might even find grandeur of
style, an air of magisterial dignity, fine effects of drapery, proud
attitudes, well-marked types, muscular audacities à la Michel Angelo,