New Orleans Republican. [volume] (New Orleans, La) 1867-1878, 1874-06-28
LETTERS FROM ABROAD-NO. &

Howard Glyndoa in July Atlantic.
LETTERS FROM ABROAD-NO. g..
BERLIN, June l, 1874
EDITOR REPUBLICANS:
gave you sketch of the old museum in
my last, and invite you to-day to follow me
to the new one, which is closely connected
with the same through small passage
only. A staircase Of forty-four yards in
length, nineteen yards in width and lO2 feet
in height, forms the centre; the steps are of
the finest Siiesian marble, and the walls are
adorned with the most celebrated mural
paintings and sculpture. The lover of art
who enters this hall for the first time can
hardly resist being detained for hours long
by the magic power of Kaulbach, or a
Rauch. The establishment first created by
the impression and effect of the whole, soon
loses itself into deep study and admira-
ton from which We can only withdraw our
minds with great effort. The battle of the
Huns" is considered the finest OF the
six paintings by Kaulbach which are
here represented. According to a legend
the contestants were 80 exasperated
that the slam rose during the night
and fought in the air. Rome, which
is seen in the background, is said to
have been the scene Of this event. Above,
borne on shield is Attils with scourge in
his hand, opposite him, Theodore, King Of
the Visigoths, with his herculean body in a
defiant attitude, his large eye in flames OF
rage, and his teeth pressed together as if to
grind the enemy. So life-like is the line OF
the picture that one can scarcely repress a
shudder upon coming face to face with the
mighty co-regent of the old Europe.
Kaulbach is, indeed, beyond all praise
Authors, poets, painters-all have failed in
their efforts to represent the worth OF his
great genius. Az the noble Goethe wrote
of Shakespeare when he read one of the
thousands of high. toned descriptions Of that
celebrated dramatist: ''Sh akespeare, and
always again Shakespeare; words over
words to represent his portrait before hi
eyes. and yet they are nothing more than
flowers to his grave" Let US apply these
words to the memory of Kaulbach, and
study his works carefully, which is the only
true source of understanding and estimat
ing his value to the world.
The other FIVE mural paintings are the
Fall of Babel, the Prosperity OF Greece
the Destruction of Jerusalem by Titus, the
Crusaders Before Jerusalem Under God
FREY De Bouillon, and the Age of the Re
formation. Between the great paintings
are several figures on gold ground, ovel
the doors Tradition and History, Science
and Primitive Art Between the large pic
lures the law givers, Moses, Scion, Charlie
magne, Frederick the Great; above them
Egypt, Greece, Italy and Germany. On
the window walls the arts OF Sculpture
Painting, Architecture and Engraving
Around the entire hall, beneath the richly
decorated pendant work, runs frieze
bearing humorous representation OF the
history of the development OF mankind
terminating with Humboldt leaning on his
cosmos.
The first floor or central story Of the new
Museum, which is first entered by the con
Meeting passage from the old, is entirely
occupied by the very extensive and valua
bic collection of casts, arranged in twelve
rooms. Similarity of subject was the chle'
reason upon which the re arrangement Of
1871 took place, while in the general group
ing of the collection chronological order
has been observed. The first is the "Gal
lerv of the North Court" This room con
tains casts of the most ancient works of the
plastic art; Assyrian reliefs (l2OO-7oo)
early Greek statues, among which are tne
lions from Agamemnon's castle at Mycene
earlv Greek metOp9 and tOmbstones Of
600; also, reliefs, metopa and friezes OF the
best period of Greek art, from the Parthe
non. from the Theseum at Athens, and from
the temple Of Zeus at Olympia. The second
called the "Greek Room" is one OF the
most beautiful among the number. lynn
panum groups from the temple OF Minerva
at Egina, at the upper end of the room
dating from. the time of the Persian wars
show the transition from the rigid. early
Greek style, to the spirited and natural
beauty of the golden period, the school o.
Phidias. Ten mural paintings represent
;ru "Ancient Athens" Temple OF Zeus al
OLYMPIA" Monument Lysicrates al
Athens" 1.-THE Acropolis at Athens" etc.;
also. in this room, may be seen the ceie
brated LAGOON group, the work OF the
Rbodian school, representations OF Apollo
and of Artemis from the earliest PERIOD
down to the conquest of Greece; there are
also, examples of the Ionic and Dorio oroefs
of architecture; in the left corner OF the
room ia a model of the Acropolls IN
;ts,nresent form-fgures of "Pallas Athene'
of different periods, of Hercules etc''
"Menelaus with the body OF Patroclus'" Of
IF the Rhodian school is still finely preserv'
cd. and recalls vividly to our MINDS tne
history of the old Trojan war. Poets have
SING much of this theme, but nothing mas
IMPRESSED or attached me more to II
than the apparently living forms OF high
Elastic art. of which this group gives
touching example. Highly interesting
further is the group OF the children o,
Niobe. from the tympanum OF temple ol
Apollo, copy of an earlier work OF tne A.'lc
scboo, of Scopas and Praxiteles. Two other
49,. contain casts of midiaeval and mod,
arn art. here may be seen sculptures ana
mouldings in German, French and Englisn
churches, together with various specimens
Of architecture. Michael Angeles monu,
ments of the Medicis at Florence fie'a anu
Mo.es. There are also many others oy
Thorvaldsen and Rauch. Broad marble
steps descend to the ground noor wn'o ,
contains a collection of northern antlqui'