the lower end are figures of heroes and great men; at the upper, four large compositions from German history. These last refer to the 4 orders of the state: 1. the Peasant order: Henry I. transfers every ninth peasant to a city: and stores there a portion of the Harvest. 2. The Citizen order. Henry I. builds stone walls round some cities, and founds others. 3. The order of No. bility. Henry I.'s victory over the Hungarians at Merseburg. 4. The Ecclesiastical order. King Henry leads his army against the Danes, conquers them, and compels their king to assume Christianity. For brightness and clearness of colouring, pleasing subject, and graceful design, the paintings forming the frieze are superior to most of the modern German frescoes. state-rooms are shown, when the court is absent, by an officer called Bettmeister. The Green Vault in the lower story forms a separate and curious exhibition, described further on.

The

The Collections at Dresden are open to the public from April to October, on certain days and at fixed hours; in almost all instances, however, only by means of tickets, a limited number of which are given out gratuitously for each day; thus, 115 are issued for the Cabinet of Natural History; 36 for the Armoury.

The Green Vault is shown only by tickets, which cost 2 dollars, and admit 6 persons. The Library is open daily, and without tickets, all the year round.

All the collections may be seen du. ring the months, the days, or hours, when they are NOT open to the public, by paying a fee of 2 or 3 dollars for a ticket (Einlass-karte), which usually admits 6 persons, and also secures the attendance of their directors; but an appointment must be made with them beforehand. The directors of the collections are always men of intelligence, possessing, and willing to impart every information respecting the objects of which they have charge, and will direct the stranger's especial attention to the things most deserving minute examination. The closing of the Picture Gallery and other collections in winter

is a great drawback to Dresden, as a residence, since it operates practically to the exclusion of the stranger, unless he will pay 2 or 3 dollars.

The services of a valet de place (who usually receives 1 dollar per diem) are particularly required at Dresden, to procure tickets for the open collections, and to make appointments during the close months, and for those collections which are shown only on payment of a fee. If a foreigner were to undertake this for himself, he would sustain a great loss of time. The tickets are usually all engaged a long while beforehand, so that a stranger pressed for time has little chance of obtaining them exactly at the moment when he wants them, except by the agency of a valet de place. By his aid, also, the solitary traveller is enabled to join parties about to visit the collections; and, instead of paying the entire fee, which is onerous for one or two persons, may contribute only his share, by which considerable expense is spared.

Days and hours of admission to the Collections in Dresden, from May 1st to Oct. 31st.

Daily.-Picture Gallery, 9-1, gratis, without tickets. Sunday, 121-3. p. 456. Library, on an hour's warning, 9-1, do. Green Vault, 8-12 and 2-6, fee of 2 dollars.

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Monday. Historical Museum (Armoury) in the Zwinger, 8-12 and 2 -6, with tickets, of which only 36 are issued.

Tuesday.-Collection of Engravings and Drawings, 8-12. Gems, 8-12. Wednesday. Antique Sculpture, 9-1. Museum of Natural History, 8—12 and 2—6. celain, 2-6. 9-12 (tickets). 3-6 (tickets). Thursday.

Collection of PorCabinet of Minerals, Cabinet of Zoology,

Historical Museum, 8-12 and 2-6 (tickets). Meng's Plaster Casts, 8—12.

in

Friday. Canaletto's Views Brühl's Palace, 9-1. Museum for Historical Antiquities (Great Garden), Mathematical saloon and mo

3-6.

N. B. The "Dresdner Anzeiger' newspaper gives at the end a "Tagebuch," or list of the sights open every day, with the modes of obtaining admission.

The Green Vault (das Grüne Gewölbe), a range of vaulted apartments, on the ground floor of the Palace, are so called, probably, from the colour of the hangings with which the chambers were originally decorated. They are shown on week days from 8 to 12, and from 2 to 6. An appointment must be made previously with the inspector, who conducts parties not exceeding 6 in number, and explains every thing to them. dollars.

He receives a fee of 2

merous and valuable collections of va-rious kinds, still existing in the capital, are proofs both of their riches and their taste. One mode by which they showed their magnificence, and expended their money, was in the accumulation of all kinds of rare objects, such as jewels and exquisite carvings, in the precious metals, and in other costly materials, which were deposited in a secret strong room under their palace, where it is believed that vast treasures of money were also accumulated. This is the origin of the celebrated collection now known as the Green Vault. It is probably the richest which any European monarch at this time possesses; indeed, the treasures remind one rather of the gorgeous, dazzling magnificence of oriental despots, or the magic productions of Aladdin's lamp in the eastern tale. The value of the whole must amount to several millions.

The political economist would regret that so much capital should lie idle, while the man of taste may affect to despise what, at first sight, he might deem a collection of toys; but in truth he will find, on a nearer examination, that a large portion of the objects are

in the highest degree worthy of attention as works of art, while others are at least wonderful as the elaborate productions of patient toil and skill, and of arts which in the present day may be said to be almost extinct, or at least to have degenerated. The treasures are contained in 8 apartments, each exceeding the previous one in the splendour and richness of its contents; the whole has been re-arranged within a few years. The objects are so numerous, that it is quite impossible to allude to more than a few of the most striking in each chamber.

1st room contains objects in bronze, as, a Crucifix, by John of Bologna, a masterpiece; -a little dog scratching itself, by Peter Vischer;-a copy of the Farnese bull; the Rape of Proserpine. A statue of Charles II. of England on horseback, in the character of St. George, cut out of a piece of solid cast iron.

2nd, or Ivory Cabinet; a Crucifix attributed to Michael Angelo, and not unworthy of him;- —a battle-piece by Albert Durer (?)—a number of beautiful vases, some of large size, cut out of a single piece of ivory;—a cup, on which is carved the story of the Foolish Virgins; - the Fall of Lucifer and the Wicked Angels, a most wonderful group of 85 figures, carved in one piece of ivory, 16 inches high; - 2 horses' heads in relief, by Michael Angelo. There is an interesting work of the present day, a goblet of stag's horn, cut in the manner of a cameo, with figures representing a hunt, by Schulz, an artist of Meiningen.

3d contains Florentine mosaics; engraved shells; ostrich eggs, carved and ornamented: No. 41. is an egg said to have been laid by an ostrich kept in the menagerie of Moritzburg; objects in amber, particularly a cabinet, entirely of this precious material; — 3 chimney-piece of Dresden china, ornamented with precious stones, all of them the produce of Saxony; paintings in Enamel, especially a Madonna and Ecce Homo, by Raphael Mengs when young; portraits of Peter the Great and Augustus the Strong, by

Dinglinger;-a fruit dish, with a battlepiece, by Noel Landin of Limoges, a celebrated artist in enamels.

4th is filled with gold and silver plate which adorned the banquets of the Saxon palace. A part of this collection was carried to Frankfurt at the coronation of the Emperors by the Electors of Saxony, who possessed the hereditary office of Arch- Marshal at those ceremonies.

5th. Vessels formed of half-precious stones, such as agates, chalcedony, rock crystal, lapis lazuli, &c. ; 2 goblets composed entirely of cut gems (some of them antiques), are valued at 6000 dollars each. An antique onyx cameo, bearing the portrait of Augustus. The cups of Moss agate are particularly beautiful.

Here may be seen the largest enamel known, a Magdalen, by Dinglinger. A set of vessels cut out of solid rock crystal, are valuable for their size and brightness; the modern manufacture of crystal glass, however, has attained such excellence, as nearly to equal them in appearance.

6th room contains a large assemblage of cleverly cut figures in ivory and wood, also numerous caricature figures of men and animals formed of single pearls, of odd shapes and unusual size, chiefly found in the Elster, a Saxon river. For instance, the body of a court dwarf of the king of Spain, is formed of a pearl as large as a hen's egg. Besides these, there are a number of other most costly jewels and trinkets, on which a vast deal of ingenuity and wealth must have been expended. Two old watches, called Nuremberg eggs (there is a finer one in the Rustkammer) from their shape and the name of the place where they were first made, in 1500.

The 8th and last apartment surpasses all the others tenfold in the va lue and splendour of its contents. Among the wonders of this cabinet, are the works of Dinglinger, an artist who may be fairly termed the Saxon Benvenuto Cellini. He and two relatives of inferior skill were almost entirely employed by the Electors of Saxony; and a close examination of the workmanship displayed in his performances will show that they are the productions of no mean artist. One of these pieces is called the Court of the Great Mogul, and represents the Emperor Aurengzebe upon his throne, surrounded by his guards and courtiers, in the most appropriate costumes according to the description of Tavernier, to the number of 138 figures, all of pure gold enamelled. The variety of character, and the true expression of each of the figures, deserve the minutest inspection. This elaborate trinket begun in 1701, employed Dinglinger 8 years, and cost 58,400 dollars. Another piece, by the same artist, pourtrays artizans of different trades, all remarkable for the delicacy and per fection with which they are executed. There are many other specimens of Dinglinger's skill; he flourished between 1702 and 1728, and was court jeweller at Dresden.

Other things to be noted in this room are an immense specimen of uncut Peruvian emeralds, given by Rudolph II. to the Elector of Saxony; a portion of a mass of solid native silver from the Himmelsfürst mine at Freiberg. It is recorded, that no less than 2176 cwt. of silver were obtained in the course of 50 years from that mine alone. The Saxon Regalia include the Electoral sword borne by the Saxon princes at the Imperial Coronations; the decorations belong

The 7th room. The regalia used at the coronation of Augustus II. as king of Poland.

Elector John George, 1676; a large collection of chains, collars, and orders; among which are the Garter, Golden Fleece, Polish Eagle, &c., worn by Saxon princes. The largest sardonyx known, 6 inches long, and 44 broad; it is oval, and beautifully regular.

Last of all comes a glass case filled with most precious suits of the most costly jewels; the first division contains Sapphires, the largest of them, an uncut specimen, was a gift of Peter the Great; the 2nd, Emeralds ; 3rd, Rubies, the two largest spinels weigh 48 and 59 carats ;-4th, Pearls, one set of native Saxon pearls, from the Elster in Voightland, are of course inferior to the oriental. Among 63 rings there are two which belonged to Martin Luther; one a cornelian bearing a rose, and in its centre a cross; the other his enamelled seal ring, bearing a death's head, and the motto, "Mori sæpe cogita."

The 5th division is devoted to Diamonds. The diamond decorations of the gala dress of the Elector consist of buttons, collar, sword hilt and scabbard, all of diamonds; the 3 brilliants in the epaulette weigh nearly 50 carats each. But the most remarkable stone of all, which is considered unique, is a green brilliant, weighing 160 grains 40 carats. 6th division, also fitted with diamonds, includes the Saxon order of the Rue Garland, and 7 orders of the Golden Fleece, &c. &c. &c.

=

The PICTURE GALLERY,* the finest collection of paintings in Germany, is entered on the side of the New Market. It is open to the public every day, gratis, except Saturday from 9 to 1 (except Sunday, when it is open from 12 to 3), from May 1 to October 1. From April 15-30; and during October, it is open from 10 to 4. A traveller may see it on Saturday, by obtaining a ticket, which costs 5 ngr. A German catalogue costs 15 ngr., a French one 20 ngr.

It appears that something like the rudiments of a collection were made in the reign of Duke George, the friend of Lucas Cranach; but Augustus II. may be regarded as the founder of the Gallery. It was greatly increased, and received some of its brightest ornaments in the reign of Augustus

See Kugler's Handbook of Painting, Part I., Italian School, edited by Eastlake: and Part II., Germany and Netherlands.

III., who purchased the collection of the Duke of Modena, and the famous Madonna di San Sisto of Raphael. "While lingering among the great productions of a captivating art, it is a pleasant feeling that they have had the rare fortune to be treated with reverence by every hostile hand. Frederick the Great bombarded Dresden, battered down its churches, laid its streets in ruins, but ordered his cannon and mortars to keep clear of the Picture Gallery. He entered as a conqueror, levied the taxes, administered the government, and, with an affectation of humility, asked permission of the cap. tive electress to visit the Gallery as a stranger. Napoleon's policy, too, led him to treat Saxony with much consideration, and was the guardian angel of her pictures. Not one of them made the journey to Paris.”—Russell's Germany.

It is much to be regretted that many of the pictures of this gallery, includ. ing the Raphael and the Correggios, have suffered greatly, first, from ne glect, and, afterwards, from injudicious cleaning.

A few of the choicest works are here set down, with the view of guiding the eye of the spectator in a collection so

ing him from the mortification of having passed over any of acknowledged merit.

Exterior rooms, A to H, contain Flemish, Dutch, French, German, and Spanish paintings, and room B a few Italian. Rooms Aa to Ee of the interior gallery, and Ff of the exterior, contain Italian works only.

Italian Schools. No collection out of Italy contains a finer Raphael, or can compete with this in the works of the Venetian masters, and Correggio.

Room Ff. RAPHAEL'S MADONNA DI SAN SISTO, 1020. is the gem of the Dresden Gallery; a capital painting, scarcely surpassed by any work of Raphael's existing in Italy, and equalled by none out of it. It is in his latest and best manner, and was executed only a few years before his death. The sainted Pope Sixtus, from whom the picture is named, is represented on the one side gazing with pious and trembling awe upon the figure of the Virgin, who is soaring up to heaven in all the majesty with which the Roman Catholic religion has surrounded her, bearing in her arms the divine child. "The head of the Virgin is perhaps nearer the perfection of female beauty and elegance than any thing in painting; it is truly impressive and beautiful."Wilkie. Opposite to the Pope kneels St. Barbara; her youthful beauty and fervour contrast admirably with his aged form. Below this group are two angelic children, their countenances beaming with innocence and intelligence, their eyes up-turned towards the central figures of the picture; they are among the happiest efforts of art. This picture was purchased from a convent at Piacenza for 17,000 ducats (about 80007.).

CORREGGIO. Excepting at Parma, 50 many and such excellent works of this artist are to be met with nowhere in Europe. The following 6 paintings are numbered and arranged here according to the periods of the artist's life at which hey were executed, as it is peculiarly nteresting to watch the change in style and the progress to perfection made by o great a master in his art:-1077. N. Germ.

The Virgin and Child with St. Francis, painted, it is said, at the age of 18. 1082. Portrait of a Man, supposed to be the physician of the artist. 1080. The far-famed picture of the Virgin and infant Jesus in the Manger, known by the name of "La Notte," the Night. " Correggio has here converted the literal representation of a circumstance of sacred history into a divine piece of poetry, when he gave us that emanation of supernatural light streaming from the form of the celestial child, and illuminating the ecstatic face of the Virgin mother, who bends over her infant undazzled; while another female draws back, veiling her eyes with her hand, as if unable to endure the radiance. Far off through the gloom of night we see the morning just breaking along the eastern horizon-emblem of the day-spring from on high.'"-Mrs. Jamieson. "The Notte of Correggio is what I expected the most from, and the condition of which has given me the greatest disappointment. Yet, how beautiful the arrangement! All the powers of the art are here united to make a perfect work. Here the simplicity of the drawing of the Virgin and Child is shown in contrast with the foreshortening of the group of Angels; the strongest unity of effect with the most perfect system of intricacy. The emitting the light from the child, thought a supernatural illu sion, is eminently successful; it looks neither forced nor improbable. Whatever the Notte may have been, the hand of the picture-cleaner is here manifest; and those who like bright day-light effect will have it here to their heart's content. Correggio did not, like Rembrandt, in these effects attempt to give the colour of lamplight; the phosphorescent quality of light was more his aim, as in his Christ in the Garden.' But here the light on the Virgin and Child is white, chalky, and thin; and the rest of the picture has somewhat the poverty of a copy. The group of shepherds indeed appear, in character and in the beauty of painting, inferior to the general run of Correggio's figures; the man at the side is even

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