The destiny of nations appears to have decreed that a society should periodically, though rarely, flourish, characterised by its love of the Fine Arts, and its capacity of ideal creation. These occasional and brilliant ebullitions of human invention elevate the race of man; they purify and chasten the taste of succeeding generations; and posterity accepts them as the standard of what is choice, and the model of what is excellent.

Classic Greece and Christian Italy stand out in our universal annals as the epochs of the Arts. During the last two centuries, while manners have undergone a rapid transition, while physical civilisation has advanced in an unprecedented degree, and the application of science to social life has diverted the minds of men from other pursuits, the Fine Arts have decayed and vanished.

I wish to call the attention of my countrymen to another great movement in the creative mind of Europe; one yet young and little recognised, but not inferior, in my opinion, either to that of Athens or of Florence.

It was on a cloudless day of the autumn of last year, that I found myself in a city that seemed almost visibly rising beneath my eye. The street in which I stood was of noble dimensions, and lined on each side with palaces or buildings evidently devoted to public purposes. Few were completely finished: the sculptor was working at the statues that adorned their fronts; the painter was still touching the external frescoes; and the scaffold of the architect was not in every instance withdrawn. Everywhere was the hum of art and artists. The Byzantine style of many of these buildings was novel to me in its modern adaptation, yet very effective. The delicate detail of ornament contrasted admirably with the broad fronts and noble fa?ades which they adorned. A church with two very lofty towers of white marble, with their fretted cones relieved with cerulean blue, gleamed in the sun; and near it was a pile not dissimilar to the ducal palace at Venice, but of nobler and more beautiful proportions, with its portal approached by a lofty flight of steps, and guarded by the colossal statues of poets and philosophers—suitably guarded, for it was the National Library.

As I advanced, I found myself in squares and circuses, in every instance adorned by an obelisk of bronze or the equestrian statue of some royal hero: I observed a theatre with a lofty Corinthian portico, and a pediment brilliantly painted in fresco with designs appropriate to its purpose; an Ionic museum of sculpture, worthy to enshrine the works of a Phidias or a Praxiteles; and a palace for the painter, of which I was told the first stone had been rightly laid on the birthday of Raffaelle. But what struck me most in this city, more than its galleries, temples, and palaces, its magnificent buildings, splendid paintings, and consummate statues, was the all-pervading presence and all-inspiring influence of living and breathing Art. In every street, a school: the atelier of the sculptor open, the studio of the painter crowded: devoted pupils, aspiring rivals: enthusiasm, emulation, excellence. Here the long-lost feudal-art of colouring glass rediscovered; there fresco-painting entirely revived, and on the grandest scale; while the ardent researches of another man of genius successfully analyses the encaustic tenting of Herculaneum, and secures the secret process for the triumph of modern Art. I beheld a city such as I had mused over amid the crumbling fanes of Pericles, or, aided alike by memory and fancy, had conjured up in the palaces and gardens of the Medici.

Such is Munich, a city which, half a century ago, was the gross and corrupt capital of a barbarous and brutal people. Baron Reisbech, who visited Bavaria in 1780, describes the Court of Munich as one not at all more advanced than those of Lisbon and Madrid. A good-natured prince, fond only of show and thinking only of the chase; an idle, dissolute, and useless nobility; the nomination to offices depending on women and priests; the aristocracy devoted to play, and the remainder of the inhabitants immersed in scandalous debauch.

With these recollections of the past, let us enter the palace of the present sovereign. With habits of extreme simplicity, and a personal expenditure rigidly economical, the residence of the King of Bavaria, when completed, will be the most extensive and the most sumptuous palace in the world. But, then, it is not merely the palace of a king: it is a temple dedicated to the genius of a nation. The apartments of state, painted in fresco on the grandest scale, bold in design, splendid in colour, breathe the very Teutonic soul. The subjects are taken from the ‘Nibelungenlied,’ the Gothic epic, and commemorate all the achievements of the heroic Siegfried, and all the adventures of the beautiful Chrimhilde. ............