rary of
the deceased professor was being sold at Rome, when the police came in
and stopped the sale. Among his books were twenty-one volumes of
manuscript correspondence between the governments of Rome and Venice,
from the time of Pope Paul Caraffa downwards. Monsignor Molsa, a great
friend of the late professor, knowing of these volumes, which were in
cipher, with their interpretations, hastened to tell Cardinal Antonelli,
who dispatched orders just in time to save the secrets of the state from
further exposure. Sarti died in Liverpool.

_The Fine Arts._

The present king of Prussia, great and glaring as are his faults as a
politician, deserves the credit of doing a great deal for the
advancement of art and the decoration of his capital and residence,
Berlin. He is building there a new metropolitan church which is expected
to be a splendid edifice, and will be such as far as the most lavish
expenditure of money can make it. He has just completed a New Museum to
contain the large and excellent collections of Egyptian antiquities
(including those brought home by Prof. Lepsius), of the antiquities of
the middle ages, of Slavonic and Germanic relics, of plaster casts from
the antique, the collection known as the "Copper-Plate Cabinet," &c.,
&c., all of which have heretofore been most inconveniently arranged for
inspection in the Old Museum and in various royal palaces, or else
packed away somewhere out of sight. This edifice was designed by the
architect Stueler; its foundations were laid in 1843, and its interior
has just been completed with a luxury, variety, and extent of ornament,
in the mosaic work of the floors, and the decorations of the walls and
ceiling, which are not equalled by any other public building. Among the
artists employed in these decorations are the sculptors Wredow, Gramzow,
Stuermer, Schievelbein, and Berges; here, too, is to be seen Kaulbach's
great series of frescoes, of which the Babel is already finished, and
the Destruction of Jerusalem nearly so. The landscape painters Graeb,
Pape, Biermann, Schirmer, Max Schmidt, contribute a great number of
frescoes of Egyptian and oriental subjects. A critic in the _Grenzboten_
who eulogizes the beauties both of design and execution in the separate
parts of the edifice, still says, and we think not without reason, that
it does not form a united and organic whole. He says, too, that in it
the old works are rather used as decorations for the architect