life; but the examples of architecture within the town, if we except the
mansions of the royal family, are not of a style at all corresponding
with these delightful environs. The private houses make but little show;
and the general air of the public buildings is not of the first style of
magnitude, or in any way remarkable for good taste. One point, however,
may be selected, that exhibits in a single prospect all that the capital
can boast of this description. There is a long bridge of granite,
connecting the city in the centre with the northern quarters of the
town: immediately at one extremity rises the _royal palace_, a
large square edifice, with extensive wings, and of the most simple and
elegant contour; the other extremity is terminated by an equestrian
statue of Gustavus Adolphus, forming the chief object of a square, that
is bounded on the sides by handsome edifices of the Corinthian order;
one the palace of the Princess Sophia, the other the Italian
Opera-house."

Mr. A. de Capell Brooke, who visited Stockholm in the summer of 1820,
describes the palace as "a beautiful and conspicuous object, its walls
washed by the Baltic."--It is square, on an elevated ground, has a
spacious court in the centre, and is in every respect worthy a royal
residence. Near the entrance are two large bronze lions, which are
admirably executed. "The view of the palace from the water," says Sir
R.K. Porter, "reminds us of Somerset House, though it far exceeds the
British structure in size, magnificence, and sound architecture." It
contains some good paintings, and a fine gallery of statues, chiefly
antique, collected by the taste and munificence of Gustavus III. The
_Endymion_ is a _chef d'oeuvre_ of its kind, and the Raphael
china is of infinite value, but a splendid example of genius and talent
misapplied.