g victims, and hideous monsters of
quaint, fantastic forms accompany them in their excursions! One of these
hideous beasts is represented with an extra head upon one shoulder and one
under its breast; it has also faces upon its knees!

Among the other relics of antiquity, is Cheopetra with a little snake
creeping over her bosom, Christ on the Cross surrounded by Mary and the
Apostles, Madonna in an arbor of roses, Lions Fighting, Mourning Jews,
Summer Night on the Rhine, and Galileo in Prison, deserve special notice
among the hundreds of other admirable paintings.

A fine iron bridge 1,359 feet long, and wide enough for a double line of
rails and a separate roadway, crosses the Rhine directly east of the
Cathedral.

In traveling through foreign lands, one sees so much that is indecent,
obscene, and shockingly profane, according to his our way of thinking,
that he scarcely knows what to include and what to suppress in his
accounts of foreign manners, customs and institutions. Some writers
incline to the policy of rendering a true account of what they touch, but
will restrain their pens from giving any notice of about one fourth of all
they see, because they do not wish to pain the feelings of their readers
by reciting to them narrations of horrible tragedies that occurred in the
past, or of groveling superstitions that prevailed; such as we all wish
had never disgraced the history of infant humanity or constituted the
day-dreams of our ancestors. They carefully select that which flatters and
pleases the vanity of their fellows, and pass by unnoticed, everything
else. This course may tickle vain people, but it cannot meet with favor
among those who love the truth, and the whole truth. There are sins of
_omission_ as well as of _commission,_ and writers betray and deceive the
world as much by the former class as by the latter. Some fastidious
writers are afraid to call things by their proper names, considering it
more appropriate to paint an African with a brownish color than to shock
the beholder with a picture of a man with a _black_ face! I can not take
the reader through Europe in that way. To paint a negro we need _black_
paint, and to describe scenes which are unfamiliar we need words and
language that is not used in the drawing room or parlor every time we
meet. So much for the introduction to an episode that is characteristic of
the profanity of some of the descendents of the old Teutonic stock, when
they become