wood, relieved by beautiful gilt ornaments.  The ceiling is also of the same materials; but marked and diversified by divisions of square, or parallelogram, or oval, or circular, forms.  This ceiling is very lofty, for the size of the room:  but it is a fault (if it be one) on the right side.  I should say, that this were a chamber worthy of the cause—­and of the actors—­in the scene alluded to.  It is thoroughly imperial:  grave, grand, and yet not preposterously gorgeous.

Above this magnificent room is the PICTURE GALLERY.  It is said to receive the overflowings of the gallery of Munich—­which, in turn, has been indebted to the well known gallery of Dusseldorf for its principal treasures.  However, as a receiver of cast-off apparel, this collection must be necessarily inferior to the parent wardrobe, yet I would strongly recommend every English Antiquary—­at all desirous of increasing his knowledge, and improving his taste, in early German art—­to pay due attention to this singular collection of pictures at Augsbourg.  He will see here, for the first time in Bavaria—­in his route from the capital of France—­productions, quite new in character, and not less striking from boldness of conception and vigor of execution.  Augsbourg may now be considered the soil of the Elder Holbein, Hans Burgmair, Amberger, and Lucas Cranach.  Here are things, of which Richardson never dreamt, and which Walpole would have parted with three fourths of his graphic embellishments at Strawberry Hill to have possessed.  Here are also portraits of some of the early Reformers, of which an excellent Divine (in the vicinity of Hackney church) would leap with transport to possess copies, wherewith to adorn his admirable collection of English ecclesiastical history.  Here, too, are capricious drolleries, full of character and singularity—­throwing light upon past manners and customs—­which the excellent PROSPERO would view with ... an almost coveting eye!

But to be more particular; and to begin with the notice of a curious performance of John, or the ELDER HOLBEIN.  It is divided, like many of the pictures of the old German masters, into three compartments.  The Nativity occupies one; the Assumption another:  and the decapitation of St. Dorothy the third.  In the Assumption, the Trinity, composed of three male figures, is introduced as sanctifying the Virgin—­who is in front.  Below this group is the church of “Maria Maior,” having two bells in the steeple; upon one of which, in the act of being tolled, is the date of 1499:  upon the other, in a quiescent state, are the words HANS HOLBEIN:  with the initial L.B. to the right.  To the left, at bottom, is the inscription HIE LITBE GRA; to the right, below, on a piece of stone, the initial H. The third piece in this composition, the death of St. Dorothy, exhibits a sweetly-drawn and sweetly coloured countenance in that of the devoted Saint.  She is kneeling, about to receive the uplifted sword of the executioner; evincing a firmness, yet meekness of resignation, not unworthy the virgin martyrs of the pencils of Raphael and Guido.  Her hair is long, and flows gracefully behind.  A little boy, habited in a whimsical jacket, offers her a vase filled with flowers.  The whole picture is rich and mellow in its colouring, and in a fine state of preservation.