[28] The postboys in the Duchy of Baden, and in the territories of
    Wuertemberg, have also horns; but I never could get any thing, in the
    character of a tune, performed by either of them.  The moment you enter
    BAVARIA, you observe a greater elasticity of character. [The ARMS of
    Bavaria head the first page of this third volume of my Tour.]

[29] The reader may try the effect of perusing the following articles
    (taken from this printed catalogue) upon his own muscles.  The
    performance, as I suspect, is by a native of Augsbourg.

75. Portrait of Justus Lipsius by Rembrand.  This head of a singulary verity shews of draughts of a man of science:  the treatement of Clothing is most perfectful, the respiring of life, the hands all wunder-worthy to be admired. 208. A hunting-piece of great beauty by Schneyders, the dogs seem to be alife, the wild-fowls, a hare, toils, just as in nature. 341. Queen Marie Christine of Sweden represented in a very noble situation of body and tranquility of mind, of a fine verity and a high effect of clair-obscure.  By Rembrand. 376. Cromwell Olivier, kit-cat the size of life, a Portrait of the finest carnation, who shews of a perfect likeness and verity, school of Vandyk, perhaps by himself. 398.  Portrait of Charles the first king of England (so many Portraits of famous persons by Classick painters will very seldom be found into a privat collection) good picture by Janson van Miereveld. 399.  A large and precious battle piece representing a scene of the famous victory by Blindheim wonen by Marleborough over the frensh 1704.  We see here the portrait of this hero very resembling, he in a graceful attitude on horsebak, is just to order a movement:  a many generals and attendance are arround him.  The leaguer, the landscape, the groups, the fighting all with the greatest thruth, there is nothing that does not contribute to embellish this very remarcable picture, painted by a contemporary of the evenement and famous artist in battle pieces, George Philipp Rugendas.

[30] This was no uncommon representation in the early period of art.  “In
    the church of St. Peter the Younger, at Strasbourg, about the year
    1515, there was a kind of large printed placard, with figures on each
    side of it, suspended near a confessional.  On one side, was a naked
    Christ, removing the fire of purgatory with his cross, and sending all
    those, who came out of the fire, to the Pope—­who was seated in his
    pontifical robes, having letters of indulgence before him.  Before him,
    also, knelt emperors, kings, cardinals, bishops and others:  behind him
    was a sack of silver, with many captives delivered from Mahometan
    slavery—­thanking the supreme Pontiff, and followed by clergymen
    paying the ransom money to the Turks.  There might also be seen