identaly wounded with his arrow.

We have since seen in the St. Michael's Church the monument to Eugene
Beauharnais from the chisel of Thorwaldsen. The noble, manly figure of
the son of Josephine is represented in the Roman mantle, with his helmet
and sword lying on the ground by him. On one side sits History writing
on a tablet; on the other stand the two brother-angels Death and
Immortality. They lean lovingly together, with arms around each other,
but the sweet countenance of Death has a cast of sorrow as he stands
with inverted torch and a wreath of poppies among his clustering locks.
Immortality, crowned with never-fading flowers, looks upward with a
smile of triumph, and holds in one hand his blazing torch. It is a
beautiful idea, and Thorwaldsen has made the marble eloquent with
feeling.

The inside of the square formed by the arcades and the New Residence is
filled with noble old trees which in summer make a leafy roof over the
pleasant walks. In the middle stands a grotto ornamented with rough
pebbles and shells, and only needing a fountain to make it a perfect
hall of Neptune. Passing through the northern arcade, one comes into the
magnificent park called the English Garden, which extends more than four
miles along the bank of the Isar, several branches of whose milky
current wander through it and form one or two pretty cascades. It is a
beautiful alteration of forest and meadow, and has all the richness and
garden-like luxuriance of English scenery. Winding walks lead along the
Isar or through the wood of venerable oaks, and sometimes a lawn of half
a mile in length, with a picturesque temple at its farther end, comes in
sight through the trees.

The New Residence is not only one of the wonders of Munich, but of the
world. Altho commenced in 1826 and carried on constantly since that time
by a number of architects, sculptors and painters, it is not yet
finished; if art were not inexhaustible, it would be difficult to
imagine what more could be added. The north side of the Max Joseph Platz
is taken up by its front of four hundred and thirty feet, which was nine
years in building, under the direction of the architect Klenze. The
exterior is copied after the Palazzo Pitti, in Florence. The building is
of light-brown sandstone, and combines an elegance, and even splendor,
with the most chaste and classic style. The northern front, which faces
the royal garden, is now nearly finished. It has the enormous length o