and tell their own tale.  The vaulted roof, full 300 English feet in length, has not a single column to support it.  Pilasters of the Corinthian order run along each side of the interior, beneath slightly projecting galleries; which latter are again surmounted by rows of pilasters of the Doric order, terminating beneath the spring of the arched roof.  The windows are below the galleries.  Statues of prophets, apostles, and evangelists, grace the upper part of the choir—­executed from the characteristic designs of Candit.  The pulpit and the seats are beautifully carved.  Opposite the former, are oratories sustained by columns of red marble; and the approach to the royal oratory is rendered more impressive by a flight of ten marble steps.  The founder of this church was William V., who lies buried in a square vault below:  near which is an altar, where they shew, on All Saints Day, the brass coffins containing the ashes of the Princes of Bavaria.  The period of the completion of this church is quite at the end of the sixteenth century.[42] But ere I quit it, I must not fail to direct your attention to a bronze crucifix in the interior—­which is in truth a masterpiece of art.  My eye ran over the whole of this interior with increased delight at every survey; and while the ceremony of high mass was performing—­and the censers emitted their clouds of frankincense—­and the vocal and instrumental sounds of a large congregation pervaded every portion of the edifice—­it was with reluctance (but from necessity) that I sought the outward door, to close it upon such a combination of attractions!

Of the nine or ten remaining churches, it will not be necessary to notice any other than that of St. CAETAN, built by the Electress Adelaide, and finished about the year 1670.  It was built in the accomplishment of a vow.  The pious and liberal Adelaide endowed it with all the relics of art, and all the treasures of wealth which she could accumulate.  It is doubtless one of the most beautiful churches in Bavaria:—­quite of the Italian school of art, and seems to be a St. Peter’s at Rome in miniature.  The architect was Agostino Barella, of Bologna.  This church is in the form of a cross.  In the centre is a cupola, sustained by pillars of the Corinthian order.  The light comes down from the windows of this cupola in a very mellow manner; but there was, when I saw it, rather a want of light.  The nave is vaulted:  and the principal altar is beneath the dome, separating the nave from the choir.  The facade, or west front, is a building of yesterday, as it were:  namely, of 1767; but it is beautiful and striking.  This church is considered to be the richest in Munich for its collection of pictures; but nothing that I saw there made me forget, for one moment, the Crucifixion by Hans Burgmair.[43] I should say that the interior of this church is equally distinguished for the justness of its proportions, the propriety of its ornaments, and the neatness of its condition.  It is an honour to the city of Munich.