Sivut kuvina

water being conducted through wooden tubes. There is tolerable accommodation at the Hotels Samina and the Poste. This establishment has supplanted the ancient baths of Pfeffers, situated a league off, in a deep and romantic gorge, which is cheered by the rays of the sun during only six hours a day, even in summer. These baths were contained in two large buildings connected by the chapel, on a narrow ridge of rock above the foaming Samina, to which the descent resembled that to a mine. The spring rises even in a narrower part of the gorge, the rocks almost meeting several hundred feet overhead, so as to leave only a strip of sky visible. The only means of access is by means of a scaffolding of planks suspended from the steep side of the rock, and overhanging the torrent. Few scenes surpass the gorge of Pfeffers in wildness and desolation; the waters are but slightly mineralized, and owe their remedial properties solely to their high temperature.

Travellers ascending the Righi from the lake of Lucerne, may descend to the small town of Zug, on the opposite side; and, taking the road along the edge of its pretty lake, may thence cross over to Horgen, on the lake of Zurich, an hour's distance from the town. This large lake, without possessing the striking scenery of some of the others, is no less pleasing from the fertility and high state of cultivation of its shores, along which numerous towns and villages are scattered. Zurich is beautifully situated, but is not a place for the prolonged sojourn of visiters, though two or three days might be agreeably passed in viewing the public edifices which it contains, in common with other towns of equal size. It possesses, however, no very marked distinc

tive features, beyond that of having the only bit of railroad in Switzerland, joining it with Baden, which is a good deal frequented in the season, principally by the natives of the country. The springs are hot, and are mostly used for bathing. The accommodation and resources of this, as also of the other Swiss baths, are altogether inferior to those most frequented in Germany; and, as they do not possess peculiar remedial properties, I have not deemed it necessary to give more than a cursory notice of them in this place, having already treated of them in the "Baths of Germany."




THERE is, perhaps, no city where so much has been done in the way of embellishment and the erection of public buildings of late years, as at Munich. The modern part presents a strong contrast with the irregularly built old town and its antique-looking houses; the new streets being regular, wide, and well paved, consisting, for the most part, of palaces and private houses, three stories high, several of them having a garden attached. The style of architecture of the new public edifices is chaste and peculiar, and the interior decorations are exceedingly rich and tasteful, the whole having been designed by King Louis, and executed by Von Klenze. His Majesty, indeed, was ever a great patron of the fine arts, on which account Munich is much resorted to, both by native and foreign artists. The circumstances attending his recent abdication, from his disinclination to identify himself with the new order of things, are still fresh in the public mind. The present king is of an amiable disposition, liberal in politics, and, as Crown Prince, was always very popular. He speaks English remarkably well, as do also the majority of the upper class of Bavarians, among whom French is comparatively little spoken.

Of the public edifices, the Pinacothek first merits notice, both on account of its intrinsic beauty, and of the magnificent collection of pictures which it contains, especially those of Murillo and Rubens, and which many persons prefer to that of Dresden; but I shall, as on former occasions, abstain from description, which, indeed, would be superfluous after the minute and correct accounts given in the “Hand-Book for Southern Germany," and merely enumerate, as a few of the paintings which more particularly attracted my attention, the following:- The Saviour bearing the Cross, by Albert Durer; Misers, by Matsys; Heads of an Old Man and Woman, by Denner; a Burgomaster of Antwerp and his Wife, by Vandyck; the Interior of a Church, by Delorme; Portrait of a Turk, by Rembrandt; by Gerard Dow, a Mountebank, a Hermit, an Old Woman Spinning, a Young Woman Knitting at a Window, and a Portrait of himself; the Fallen Angels, by Rubens; Rubens's Wife; the large picture of the Last Judgment; a Madonna and Infant; the Murder of the Innocents; a Priest holding a Skull, Mieris; a Girl with a Parrot; a similar subject, by Netscher; Peasants Quarrelling, by Ostade; three small pictures by Teniers; Beggar Boys Eating Fruit, a chef d'œuvre of Murillo; also a Girl Buying Fruit, scarcely inferior to the former; Marine Views, by Vernet; Madonna and Child with a Lily, by Carlo Dolce; also St. Agnes, the Madonna, Infant St. Joseph, and a Monk, by Titian; Portrait of a Lady, by Paris Bordone; the Saviour Crowned with Thorns, by Guercino; Madonna and Infant, by Raphael; Mona Lisa, by Leonardo da Vinci.

In the Leuchtenberg collection will be more parti



cularly remarked Murillo's Madonna and Infant, a chef d'ouvre; Sunset, by Salvator Rosa; his own Portrait, by Rembrandt; Madonna and Child on the Ground, by Correggio; the Woman taken in Adultery, by Guercino; a Student, by Gerard Dow; and a half-length Portrait of Petrarch's Laura, which will certainly disappoint the expectations of those who expect to see the picture of a handsome woman, there being no traces of the

“Crespe chiome d'or puro lucente

E’l lampeggiar dell' angelico riso," nor of the

“Begli occhi che i cor fanno smalti,” which are so frequently and plaintively apostrophized by the poet; Laura may, however, have sat for this portrait when somewhat advanced in life. Here are likewise two of Canova's best works—the Graces and the Magdalen.

The Glyptothek, or gallery of statues, is an elegant structure of white stone, which is the first object that attracts the traveller's attention on entering Munich from Augsburg. The interior is richly and tastefully decorated, the ceiling of each apartment being composed of stucco-work of a different design and colours, white and gold, or green and gold, being the most predominant; the walls are plain scagliola, and the floors of variegated marbles. The statues, too, though not very numerous, are select, and are placed so as to be exhibited to the greatest advantage. Among them are the celebrated Egina marbles, the Barberini Faun, Iloneus, Jason, and other choice pieces. The last room is appropriated to modern sculpture; it contains the

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