These walls of rock rise to the height of four or five hundred feet above the path, and, at some points, actually meet together overhead, while the narrow strip, or aperture, for most of the way, lets in light only sufficient to render visible a huge, black, awful chasm, the sides shiny, and dripping with moisture, and a torrent roaring, fifty feet beneath our path, waking a hundred strange echoes. This wild and wondrous pa.s.sage is "into the bowels of the land" a distance of eighteen hundred and twenty feet; and sometimes the pa.s.sage brings us to where the action of the waters has hollowed out a huge, rocky dome, and the foaming river whirls round in a great, black pool, as if gathering strength for a fresh rush from its rocky prison.

As we gradually approach the upper end of this wild gorge, and leave these weird chambers behind, we come to a point where clouds of steam are issuing from a cavern--a cave within a cavern--apparently the very pit of Acheron itself. Into this steaming grotto we penetrate. It is a vaulted cave, ninety feet in length; a great natural steam-bath. Our visages were damp with perspiration, which started from every pore, as we stood at the brink of the hot spring, which was clear as crystal, scentless, and at a temperature of one hundred degrees Fahrenheit. One does not wish to remain in this cavern any length of time, unless fully prepared for a vapor bath; consequently, we were soon outside, in the outer cavern or gorge again. The pipes conveying the waters from the springs to the bath-house and hotel run along the side of the rocky wall, next the plank pathway. We retrace our steps back through this wondrous gorge, with its tall, rocky walls hundreds of feet above our heads, and its foaming torrent leaping beneath us; pa.s.s again beneath the granite dome, pa.s.s little weird grottos, and, through the narrow cleft; look away up to the strip of sky, shining like a band of blue satin ribbon over the gap, and finally emerge once more upon the open road, where our carriage is waiting. We returned over the romantic road that brought us to this great wonder of the Alpine region.

From Ragatz we took train _en route_ for Schaffhausen, via Sargans and Wallenstadt, pa.s.sing the beautiful Serenbach Waterfall, and along the sh.o.r.e of the Lake of Wallenstadt, or Wallenstadt See,--as they call it here,--and which we had flitting and momentary glances of, through the openings at the sides of the nine tunnels which the railroad train thundered through. But the landscape views all along this portion of the route of lake, mountains, waterfalls, valleys, and villages, formed one continuous charming picture.

Our hotel,--the Schweizerhof,--at the Falls of Schaffhausen, is admirably situated for a view of these falls, which, however, will disappoint the American who has seen Niagara, and hears it stated (which I think is incorrect) that these are the finest falls in Europe. The actual fall of water is not above sixty feet, and appears at first to be even less than this, and it looks more like a series of huge rapids than a waterfall; indeed, reminding one of the rapids above Niagara, though the descent is, of course, more abrupt. Right in the centre of the falls, dividing them into three parts, are two small but high islands of crag, accessible only by boats, and said to be very safely and easily reached by the boatmen in attendance at the sh.o.r.e, who were ready to take us to the middle island and to the old chateau on the opposite side, which is the best point of view, for the usual fee.

We entered the boat, which was soon in the midst of the stream, and began a series of regular approaches to the rock, propelled by the muscular arms of the boatmen; but in the midst of these boiling surges, lashing about us in every direction, and spattering us with their angry spray, as the rowers took advantage of certain eddies and currents, the appearance of the surroundings was decidedly dangerous, and it was with a long-drawn breath of relief that we heard the keel of the boat grate on the pebbles at the little landing at the foot of the central island.

This was a tall ma.s.s of rock, and we climbed from point to point, by a not very difficult ascent, till we reached the summit, some fifty feet above the boiling flood--a very favorable point of view, from whence the clouds of silvery spray and the war of waters could be seen, and also a very fine view of the rapids and river above, which is about three hundred and fifty feet wide at this point. One of these rocks has a complete natural arch, ten or fifteen feet high, worn through it by the furious waters which leap, lash, and tumble about at the base of our rocky citadel.

Descending, we took to the boat again, and started for the opposite landing. Taking advantage of the current, the boatmen pushed out into the swiftest part of it, and were swept with frightful velocity, in half a dozen seconds of time, over a s.p.a.ce which, to accomplish on our approach, required nearly fifteen minutes. A few dexterous whirls, some steady pulling, and we were landed at the foot of the ascent to the Castle of Laufen, picturesquely situated on a wooded height above us, and a fine point of view. We ascended the path, and enjoyed the prospect from the balcony of the castle, and then looked at it through the stained gla.s.s windows of a summer-house on the grounds, and finally descended to a wooden gallery which is built out directly over the foaming abyss, and so near the rushing water that you may plunge your hand into the seething ma.s.s of waves. India-rubber overcoats are a necessity for this excursion, which are provided by the owners of the place, and included in the fee of admission.

The sensation of being in the midst of a great waterfall, and yet safe, is about as correct a one, I should judge, as can be had, when you stand at the end of this protecting gallery in the shower of spray, the great body of water rushing towards the point as if to overwhelm you, while you now and then receive a liberal dash of a huge wave, and the thunder of the waters and rush of the torrent drown all other sounds, and render conversation impracticable. We enjoyed this defying of the torrent, the foam, rush and war of the waters, and the brilliant little rainbows which the sunlight formed in the clouds of spray, and then descended to the landing, to be rowed back to the opposite sh.o.r.e.

This boat-pa.s.sage to the central rock is said to be perfectly safe, but it certainly has not that appearance, and it is one that a person at all inclined to be timid would not care to repeat. It has just that hint of the dangerous which gives the excursion a zest which a little peril seldom fails to produce. Timid though you may be, you cannot help feeling exhilarated by the roaring of the waters and the quick dash of the spray all around you; and the exultant emotion which you experience when you jump on sh.o.r.e, and witness, from a safe stand-point, the "perils you have pa.s.sed," fully compensates for the moment of suspense, when it seemed as though one misstroke of the boatmen would have dashed you into eternity.

We left Schaffhausen at nine A. M. for Munich, had two hours and a half on Lake Constance, pa.s.sed Augsburg, and at half past nine reached Munich.

"Wave, Munich, all thy banners wave, And charge with all thy chivalry"--

Munich, with its magnificent art collections, its picture and sculpture galleries, its thousand artists; Munich, with its bronze statues, the home of Schwanthaler, the city of broad streets, the capital of Bavaria, and the city that makes the best beer in all Europe.

The great hotel, "The Four Seasons," was filled with guests, but good rooms were obtained at the Baierischer Hof, on the Promenaden Platz; and our comfortable quarters were welcome indeed, after eleven hours' rapid journeying. The last portion of the way approaching Munich was dull enough, as it was over a broad, flat plain, with scarcely any trees, and the signs of life were confined to an occasional lonely shepherd, with his dog, guarding a flock. In fact, Munich is built in the middle of a great plain, which is flat and uninteresting, and the city itself is not considered healthy for Americans or English to reside in any length of time. It is, however, one of the European cities that have grown in size very rapidly the last thirty years, and the newer parts, built out into the plain, away from the old city, waiting for the gap between to fill up, remind the American traveller of cities in his native land.

The first sights of all others in Munich to which the tourist turns his attention, are the art collections. The Glyptothek is the gallery of sculpture, and the Pinacothek the picture gallery; and the admission to these superb and priceless collections is free to all. The buildings stand opposite to each other; and, as we find how much this city owes to old King Louis for its position as a seat of the fine arts; how many beautiful buildings, statues, galleries, public edifices, and streets, were built by his order; and, still further, that the expenses of the Glyptothek and other collections were paid for from his own privy purse,--we feel inclined to look with a lenient eye upon the old monarch's regard for pretty women, and the Lola Montez scandal.

The Pinacothek is a magnificent building, shaped like the letter I, and is divided off into nine splendid halls, devoted to different schools of art. Opening off or out of these halls are twenty-three smaller rooms, or cabinets, for the smaller pictures of each school. Thus there are three great halls devoted to the Italian school of art, two to the Dutch school, two to the German, one to the French and Spanish, and a great central hall to Rubens. In these great halls the larger pictures are hung, and the light, which comes from the roof, is well and artistically managed for displaying their beauties. In the cabinets are the ordinary sized and smaller paintings. But what a wealth of art! There are nearly fifteen hundred elegant paintings, hundreds of them by some of the most celebrated artists that ever lived, and nearly all of them works that you want time to study and admire.

The American who has been shown an occasional old dingy head or blackened landscape, half obliterated by age, in his own country, and told it is a rare treasure,--one of the old masters,--and who, as many do, comes to the conclusion that the old masters did not put what he should call finish into their works, will have all impressions of that nature removed by his visit to this priceless collection. Here he will see pictures that startle even the casual observer by their wondrous faithfulness to nature; pictures upon which the hand of the artist is visible in the minutest detail, the coloring and finish of which betray the most laborious application, and which excite from him who may have been silent over expressions of admiration at pictures at home which were not his ideals of excellence,--silent, perhaps, from fearing that he might be incorrect in judgment,--the honest a.s.sertion, that here is his ideal of the artistic, and convince him that a picture cleanly finished in all its details, fresh in color, sharp, distinct, and well defined, can be artistic; and that even the best of the old masters, if their works can be taken as an indication, thought so, too.

There is a good deal of humbug in the popular admiration of muddy, indistinct old daubs, half defaced by age; and the visitor here, in inspecting some of these wondrous creations, where the artist, in groups of angels and cherubs, puts exquisite features to faces the size of one's thumb nail, and grace into those ten times that size in the same work, ascertains that a picture, to be really beautiful, must be completely and artistically finished.

It would be useless, in these limits, to attempt a detailed description of this world-renowned collection, to which two or three visits are but an aggravation to the lover of art. Tourists generally "do" it in one hasty visit, like many other sights, simply to say they have been there.

My note-book and catalogues are crammed with sentences of admiration and marginal notes; but a few extracts will give the reader who has not been abroad an idea of the interest of this gallery. First, there were two great halls and six or eight ante-rooms devoted to the German school of art. Here we saw numerous pictures by Albert Durer--a Knight in Armor, St. Peter and St. John, the Birth of Christ, &c.; a number by Holbein, the elder and younger; Wohlgemuth, some strikingly effective pictures from the life of Christ; Quentin Matsys' well-known picture of the Misers; Mabeuse's n.o.ble picture of the archangel Michael; Dietrich's splendid sea scenes; Van Eyck's Adoration of the Magi, Annunciation, and Presentation in the Temple--pictures of wonderful execution, the faces finished exquisitely, and the minutest details executed in a manner to command admiration; Albert Durer's Mater Dolorosa; the head of an old woman and man, the most wonderful pictures of the kind I ever saw, painted by Balthasar Denner, and every wrinkle, hair, speck, pore of the skin, depicted with such wonderful and microscopic exactness as to render it an impossibility to tell it from a living person at three feet distance.

The third and fifth halls are filled with paintings of the Dutch school by the pupils of Rubens and other artists, and the nine cabinets, or smaller halls opening out of them, with pictures by various Flemish and Dutch masters. Here were Teniers' elegantly finished and admirable pictures of Boors Smoking, Boors at Cards; Ostade's Boors Quarrelling and Boors Merry-making; Gerard Dow's Mountebank at the Fair, Wouvermans'

Stag Hunt, Vand.y.k.e's Susanna and the Elders, Rembrandt's magnificent Descent from the Cross, &c., besides many other Rembrandts, Teniers, Ostades, and Van der Werfs, any one of which was a study, a plethora, a wilderness of beauty.

The fourth apartment, or central hall, is devoted entirely to the works of Rubens, and contains nearly a hundred of the great master's pictures.

There was his Christ on the Cross, a most terribly real picture, that made one almost shudder to look upon; the Fall of the Angels, a remarkable and wondrous work of art; the Ma.s.sacre of the Innocents, the Sabine Women, the Last Judgment, Triumph of Religion, Rubens and his Wife in a Garden, the Lion Hunt, &c. But just think of one room in a gallery with a hundred of Rubens's best works surrounding you; it is useless to attempt description. The ante-room, containing the best pictures, to my mind, was that filled with Van der Werf's paintings, which were marvellously clear and sharp in their execution, and finished with exquisite skill. Here were the Magdalen in a Grotto, Rest on the Flight into Egypt, Ecce h.o.m.o--all pictures of superb coloring never seen in any modern work of art; Abraham sending forth Hagar and Ishmael; portrait of the wife of the Elector John William; these two paintings were finished equal to engravings. In Jesus disputing with the Doctors in the Temple, the faces of the disputants are wondrous studies, exhibiting various emotions, and the figure of Christ, a beautiful boy, has the look of Heaven in every lineament of his face. Many other perfectly finished pictures that hold one entranced with their wondrous beauty are in this room.

Now we come to the sixth hall, containing the Spanish and French schools; and here are those pictures of Murillo's with which we are all so familiar from engravings, viz., the Beggar Boys eating Melons and Grapes, Boys playing Dice, Beggar Boys, &c.; Nicolas Poussin's pictures, &c.

The seventh and eighth great halls contain other paintings of the same schools of art; among them Carlo Dolce, Tintoretto, Domenichino, and Correggio. So also does the ninth apartment, formerly the private cabinet of the king, in which there are beautiful works from the pencil of Leonardo da Vinci, Andrea del Sarto, Giorgione, and Raphael. We come from this gallery of art literally surfeited, fatigued with long gazing, walking, pausing, looking, wondering, and admiring, and realize over again what an exhausting work is continuous sight-seeing.

Besides the art collections which have already been described, we visited the new Pinacothek, containing ten halls and fourteen cabinets for the exhibition of modern paintings, among which we saw Kaulbach's Destruction of Jerusalem, a magnificent picture, familiar from the print that has been made of it; Wilkie's capital painting of the Reading of the Will; the Deluge, by Charles Schorn, a Dusseldorf artist; Peasant's Wedding, an excellent picture by Maurice Muller; Frederic Bischof's First Snow; Battle of Custozza, by Adam; Two Boys buying their first Cigars, by H. Rhomberg, a Munich artist, &c. There were nearly three hundred pictures in this collection, which was first opened to the public in 1853.

The Glyptothek, or Hall of Sculpture, is another priceless collection of art. The exterior is handsomely adorned with statues, and the interior, which consists of twelve halls, and each devoted to different branches of art, is admirably planned and appropriately decorated.

In the hall known as the aeginetan, which is devoted to marbles discovered in the Island of aegina, we saw a splendid group of marble figures, fourteen in number, which have been set up exactly in the position they formerly occupied on the Grecian temple they adorned, being carefully put together, and such parts as were broken carefully restored by Thorwaldsen, giving one some idea of the beauty of the sculpture of the ancient Greeks, and showing the actual figures in all their spirited grace and action, which has never been excelled by modern sculptors.

There were Hercules and Telamon fighting the Trojans, and the struggle of the Greeks and Trojans over the body of Patroclus, as described by Homer, the warriors with helmet, shield, and javelin, in the most spirited att.i.tudes--specimens of the wondrous skill of the ancient sculptors, and the reality of those outline engravings, by Flaxman and others, of statues and sculpture, which adorn the ill.u.s.trated books of Greek and Roman history. In the Hall of Apollo, among many other fine works, were a superb Bacchus, found at Athens, with a crown of vine leaves most exquisitely cut, a beautiful Ceres, and a grand and majestic statue of Minerva.

The Hall of Bacchus, however, contains the gem of the whole collection, and, in fact, the most wonderful and life-like statue I ever looked upon--the celebrated Barberini Faun, a colossal figure of a Satyr, half sitting, half reclining, as if in a deep sleep after a carouse. The att.i.tude is so perfect, the appearance of relaxation of the muscles and limbs so thoroughly true to nature, and the very atmosphere of complete languor and repose so pervades the countenance and whole body of the figure, that the spectator almost forgets it is but senseless stone before him in half expectancy of the breast heaving to the breathings of the sleeper, which seems all that is lacking to make it a living reality; and yet this wondrous work is from an unknown hand. The catalogues and guide-books claim it is from the chisel of Praxiteles; but that is only surmise. On account of its excellence they doubtless think it ought to be; but it was dug out of the ditch of the Castle of St. Angelo, where it was supposed to have been hurled from the walls in the year 537. In this hall is also a magnificently executed figure of Silenus, Bacchus and Panther.

In the Hall of Heroes are some splendid figures; Jason binding on his Sandal; Nero as a gladiator, a fine head, with the brow and curls of a Hercules; the Victorious Gladiator, Alexander the Great, &c. In the hall of modern sculpture were Canova's beautiful figures of Paris and Venus; Adonis, by Thorwaldsen; Love and the Muse, by Eberhardt; and others, giving the visitor an opportunity of comparing ancient with modern art.

The great bronze statue of Bavaria, just outside the city, is a huge figure of sixty feet in height, standing upon a pedestal thirty feet high. It represents a female with a sword in her right hand, while the left raises on high the wreath of victory. At her side sits the lion of Bavaria. By the staircase inside we ascended to the head of the bronze giant, which we found would comfortably accommodate eight or nine persons; and from a window in its curling locks we had a fine view of Munich and the surrounding country. This great statue was modelled by Schwanthaler, and cast by F. Miller at the royal foundery of Munich, where so many bronze figures for this country have been cast; and having for that reason a desire to see it, we drove thither. On sending our cards in, with a message that we were a party of Americans, we were immediately waited upon by the superintendent, who, with the greatest courtesy, showed us over the entire establishment, where were bronze giants in every process of manufacture, from the ma.s.s of liquid metal to the shapely figure under the artistic files of the finishers.

We were shown here the Hall of the Colossi, in which were the plaster models of all the works that have been executed at the foundery. Here, among others, we saw the cast of the statue of Henry Clay, made for New Orleans, those of Beethoven for Boston Music Hall, and Horace Mann for Boston State House grounds, Colonel Benton for St. Louis, and the figures of Jefferson, Mason, Henry, Nelson, Lewis, and Marshall, which adorn the Washington Monument at Richmond, Va.; also the model of the triumphal car, drawn by lions, which adorns the arch at one end of the fine street (Ludwigstra.s.se) named after King Louis. The lions were giants ten feet high, and a cast of the hand of the great figure of Bavaria was six or seven feet long and two feet thick, suggesting that a box on the ear from such a palm would undoubtedly be a "stunner." From here we naturally went to the studio of the great sculptor Schwanthaler, where we were courteously received by his son, and were interested in the processes of sculpture, which we saw in all its phases under the workmen's hands.

Many of the streets of Munich are broad and beautiful, and the squares adorned with statues. A bronze obelisk in the Karolinenplatz, nearly a hundred feet high, formed from captured cannon, is erected in memory of the Bavarians who fell in the army of Bonaparte during the Russian campaign; and statues of King Louis and Schiller are in the Odeon Platz; while in another square is another statue, formed from captured cannon, of Maximilian I., surrounded by four other statues of distinguished Bavarians.

The new palace which we visited was rich in elegant pictures, beautiful frescoes, and works of art. In one series of rooms were great paintings ill.u.s.trating the history of Bavaria. Some of the rooms containing them bore the names of Hall of Marriage, Hall of Treachery, Hall of Revenge, &c., the scenes in these apartments being those historical events in which these characteristics were prominent. Schwanthaler and Kaulbach's pencils have contributed liberally to the decoration of many of the rooms, particularly the Throne Room, which contains the ill.u.s.trations of a German poem, painted by Kaulbach, and another room with thirty or forty ill.u.s.trations of Goethe's works, by the same artist.

The Hall of Frederick Barbarossa contains fine large paintings of scenes in his life, including his battle and victory in the third crusade. Then we have the Hall of Charlemagne, with great pictures of his battle scenes, and the Hall of Beauties, which contains a series of portraits of beautiful women of Bavaria, painted by order of the late king, without regard to rank or station; so that here the peasant girl jostles the banker's daughter, and the d.u.c.h.ess finds herself face to face with the child of a cobbler--the stamp of beauty being the signet that admitted each to this collection, which, in truth, does honor to the king's judgment.

The great Throne Room is a magnificent apartment, one hundred and eight feet long and seventy-five wide. At the upper end of the throne, and on either side between the tall marble Corinthian pillars with gold capitals, stand twelve colossal statues in gilt bronze. The statues, which are ten feet high, were designed by Schwanthaler, and represent the different princes of the house of Bavaria, beginning with Otho, 1253, and ending with Charles XII., 1798. The figures are very finely executed, and in the costumes and weapons show the progress of civilization. This room is, in truth, a royal one, and is as fit to hold a royal reception in as one could wish. In fact, as we look round through Munich, capital of the little kingdom of Bavaria, with its less than five million souls, we get the impression that it has art, wealth, galleries, libraries, &c., enough for the capital of an empire of five times its size.

Munich makes beer that is celebrated for its quality, and the quant.i.ty drank here is something fabulous. I am confident it is a necessity at all the gardens where the musical performances are given; and apropos, the superb music which one may listen to here for a mere trifle is astonishing. I visited one of these gardens, where Gung'l's band of about forty performers played a splendid programme--twelve compositions of Strauss, Wagner, Beethoven, Mendelssohn, and Gung'l. But those Strauss and Gung'l waltzes and galops--they were given with a precision and spirit that were positively electrical. One could almost hear the dancers' feet slip to the luxurious murmuring of the waltz, or catch the gusts of air that whirled from the rush of the rattling galop. Admission to this concert was eight cents, and order what you choose--a gla.s.s of beer for four or five cents, or a bottle of wine at from twenty cents to two dollars.

One of the monuments which old King Louis, or Ludwig, as they call him here, leaves behind him is the Basilica of St. Boniface, built to commemorate the twenty-fifth anniversary of the king's marriage--the finest church in Munich, and built in imitation of a Roman basilica of the sixth century. The interior presents a superb sight, the roof being supported by sixty-four splendid columns of gray marble, making a nave and four aisles. The view through the length of these aisles, amid the forest of pillars for a distance of two hundred and eighty-five feet, and up to the roof, which is eighty feet from the pavement, and represents the firmament studded with golden stars, is inexpressibly beautiful. The magnificent frescoes on the walls, perfections in the art, by Henry Hess and his students, and the splendid pictures ill.u.s.trating the progress of Christianity in Germany, and scenes in the life of St. Boniface, heighten the effect. The church was finished in 1850, and has all the beauty and freshness of modern workmanship upon an ancient model. It is certainly one of the most elegant and artistical of ecclesiastical interiors. The sarcophagus of King Louis and of his queen, Therese, is in this church, and beneath it a crypt for the interment of the Benedictine monks, who are in some way or other attached to the church.

In the great cathedral--a huge brick building three hundred and twenty feet in length, with its windows sixty-seven feet high, filled with the rich stained gla.s.s of the fifteenth century--we saw the monument of the Emperor Louis, erected in 1622, upheld upon the shoulders of four stalwart knights, armed _cap-a-pie_, in bronze, the size of life.

The public library of Munich is another storehouse of treasures. It is a huge three-story building, with a superb staircase and magnificent architectural interior, and contains eight hundred and fifty thousand books, and twenty-two thousand ma.n.u.scripts, besides coins and literary curiosities of priceless value, such as block-books, printed anterior to 1500, ma.n.u.scripts of the New Testament, in the seventh and eighth centuries, the code of laws given by Alaric to the West Goths in 506, Luther's Bible, containing his own and Melanchthon's portraits, and other rarities of like interest. This library is the second largest in existence, being exceeded in extent only by that of Paris.

But the reader will tire of Munich and its art treasures, if we do not; so we will bid them a reluctant adieu, and take train for Salzburg. This was an eight hours' ride, and of no particular note, except that at every crossing on the railroad, and at intervals on the line, we saw switch-tenders, or station-masters, who were in the red uniform of the railroad company, and stood upright in military position, with hand raised to the cap in salute, as the train whizzed past them. Arrived at Salzburg, we went to the fine Hotel de l'Europe, where, among other excellences of the Austrian cuisine, we had Austrian bread, the best in the world, such as, once tasted, makes the eater ever long for it, and establish it in his mind as the standard by which the quality of all others is regulated.

The city is on the River Salza, and in quite a picturesque situation, at the foot of the great Alpine heights, with a semicircle of mountains about it. The plain, or valley, about the city is rich in beautiful gardens, orchards, groves, and country houses, the dark-wooded heights and slopes of the mountains forming the framework of the picture, and in the centre Salzburg Castle perched upon its high rock, reminding one very much, from its appearance and position, of Edinburgh Castle.

We have driven round the dull old town, seen the house where Mozart was born, and his statue by Schwanthaler in one of the squares, and bought elegantly-painted china covers for the tops of beer mugs--drinkers at the bier halles having their special mugs, and recognizing them by the design upon the cover. Some of the beer flagons and tankards exposed for sale here were very beautiful and elaborate, and got up with much artistic taste.

One of the most delightful rides we ever took was over the romantic road from Salzburg out to the Chateau of h.e.l.lbrunn, for the whole distance of nearly three miles was one continuous arch of splendid elms, shading the broad, smooth, level road. The view of the town, and the old castle in the centre, with the background of grand Alpine walls, which we had constantly before us, and from many different points of observation, was very picturesque and beautiful.

The gardens of the chateau are celebrated for containing the most wonderful and curious of water-works. The grounds are beautifully laid out, and at every turn we met new surprises. There was, of course, every variety of ordinary fountain, dolphins and nymphs spouting, &c., and besides these many curious contrivances for the fluid. There were two beautiful pictures painted on copper, before which was apparently a sheet of gla.s.s; but it was only a broad, thin, falling, transparent, aqueous curtain. A beautiful bouquet of flowers was enclosed in a complete hemisphere of falling water, as pure and unbroken as a gla.s.s globe, with scarcely a perceptible motion in its swift current. Two turtles, directly opposite each other, five feet apart, seemed to hold a gla.s.s cord, the size of a man's finger between them, in their mouths.

Touching the transparent cord with a cane, we interrupted a swift stream, and the liquid spattered in every direction. The cane was withdrawn, the stream immediately reunited, and the turtles again held their apparently motionless crystal cord as before. We came to automaton old men grinding their scythes at a grindstone, millers at work at their mill, all running by water power; entered a wondrous grotto, where Neptune in his car drawn by sea-horses swam around, the horses and dolphins spouting liquid streams from their mouths, and birds piping their liquid notes from the wall, all moved by water power.

In another beautiful grotto a whirling fountain lifted a handsome golden crown eight feet into the air, and kept it suspended amid a shower of sparkling drops. Taking a position at the rear of a dark cavern, and looking out towards the little arched entrance, the water was let on in fine mist, and the arched doorway was as rich as the gates of Paradise in wreathed rainbows. Two huge stags guarded another cavern, streams issuing from their mouths and every point of their huge antlers. Hunters were on galloping steeds, and blew torrents from their horns, or were enveloped in the floods that spouted from their spear-heads. Luxurious seats invited the tired pedestrian to repose, when, on seating himself, he was ringed in with a circle of miniature water-spouts, rendering dry egress apparently impossible. Finally we came to a place where two huge doors were thrown open, displaying a s.p.a.ce about twelve feet high and eight or ten wide, in which was the complete representation in miniature of the square in a city.

There were cathedral, palace, dwelling-house, and artisans' shops, all faithfully represented; and in the streets, the shops and the houses which were open to view, were over one hundred automaton figures of men, women, and children, all moved by water power, and giving life to the scene before you. There were masons hoisting stone and building a house, coopers and tinkers clattering away in their shops, butchers killing and cutting up, cobblers pegging away in their little stalls, wood-sawyers, blacksmiths beating with a regular clink-clank-clink upon their anvils, artisans in their shops; also all the usual street scenes of a city.

Here was a man with a dancing bear, surrounded by a curious crowd; there a shrewish old woman shaking her head, gesticulating, and scolding at her tipsy husband; children playing in the street; ladies, looking from windows of houses, returned the courtly salutes of gallants who pa.s.sed by in the streets with graceful bow or wave of the hand; loaded teams pa.s.sed by; people went in and out of houses; Turks, priests, Jews, and courtiers pa.s.sed along in the most natural manner, and finally came a whole regiment of soldiers, marching across the square; at last, the notes of the organ were heard in the cathedral, and into its broad portal filed priests and people, and the scene closed. The size of these automatons was from six to eight inches; they were very well executed; and the whole scene, with the cathedral, square, streets, and throng of moving figures, seemed a sort of realization of Gulliver's experiences in Lilliput. This place is the property of the king, and no fee is charged for viewing it and its many wonders; nevertheless, the custodian, who had so kindly and faithfully exhibited them to our party, was extremely gratified at the magnificent fee of thirty cents, and took leave of us with a profusion of bows and polite expressions.

Our visit to the old castle was also an interesting one. From its battlements we looked directly down upon the town, and, afar off, on a beautiful landscape of fields, winding river, and distant mountain.

Within the walls we saw the grand apartments of the old bishops, and the remains of the torture chamber, fragments of the rack, and other h.e.l.lish inventions of cruel ingenuity which they used to apply to their victims.

Following the advice of a friend, we telegraphed on in advance to the Hotel Archduke Charles, at Vienna, that we were coming, and to secure rooms. An eight hours' ride by rail brought us to the capital of the Austrian dominions, and I had scarce stepped from the railway carriage ere a well-dressed, gentlemanly-looking individual, in dress coat, dark pants and vest, gloves, spotless shirt-front, and immaculate neck-tie, called me by name, and in perfectly correct English inquired if the luggage of the party was upon the train, and was to be taken to the hotel. I looked at him inquiringly, and a.s.sented.