f steps which led to a conservatory. The
woman--that is France--is, in the meantime, weeping aloud; pointing to the
grave, and very persuasively intreating the Marshal to enter--as his mortal
moments have expired. I should add that death--a large formidable-looking
figure, veiled by a piece of drapery, is also at hand: seeming to imply
that hesitation and reluctance, on the part of the hero, are equally
unavailing. Next comes Hercules; who is represented as stationary,
thoughtful, and sorrow-stricken, as France is agitated and in motion. The
lion and leopard (one representing Holland, and the other England--
intending to convey the idea that the hero had beaten the armies of both
countries) are between the Marshal and Hercules: the leopard is lying upon
his back--in a very frolicksome attitude. The lion is also not less
abstracted from the general grief of the figures. And this large, ugly,
unmeaning composition--they have the temerity to call the union of art by
Phidias and Bouchardon--with the inspiration of sublime poetry! I will make
no comments.[214] It is one of those _felicitous_ efforts which have the
enviable distinction of carrying its own text and commentary. Below this
vast mural monument, is a vault, containing the body of the Marshal. I
descended into it, and found it well ventilated and dry. The coffin is
immediately obvious: it contains the body of the chieftain enclosed in two
cases--of which the first is _silver_, and the second _copper_. The heart
is, I believe, elsewhere.

Forming a strikingly happy contrast to this huge, unmeaning production--are
the modest and unassuming monuments of _Schoepflin_, _Oberlin_, and _Koch_:
men, of whom Strasbourg has good reason to be proud. Nor let the monument
of old _Sebastian Schmidt_ escape the notice and commendation of the
pensive observer. These were all "fine fellows in their day:" and died,
including the illustrious Marshal, steady in the faith they had espoused--
that is, in the belief and practice of the tenets of the reformed church. I
have no time for a particular description of these monuments. Schoepflin's
consists of a bronze bust of himself placed in the front of a white marble
urn, between two cinnamon-colour columns, of the Corinthian order--of free
stone. The head is thought to be very like. Oberlin's is in better taste.
You see only his profile, by Ohmacht, in white marble--very striking. The
accompaniments are figures in white marble, of which a m