26o Memorial of George Brcnvu Goode. 



material of this kind in the hands of institutions and private collectors 

 in all parts of the United States. 



The museum at Naples shows, so far as a museum can, the history of 

 Pompeii at one period. The museum of St. Germain, near Paris, ex- 

 hibits the histor}^ of France in the time of the Gauls and of the Roman 

 occupation. In Switzerland, especially at Neuchatel, the history of the 

 inhabitants of the Lake Dwellings is shown. The Assyrian and Egyp- 

 tian galleries in the British Museums are museums of themselves. 



Historical museums are manifold in character, and of necessity local 

 in interest. Some relate to the history of provinces or cities. One 

 of the oldest and best of these is the Markisch Provinzial Museum in 

 Berlin; another is the museum of the cit}^ of Paris, recently opened in 

 the Hotel Canaveral. Many historical societies have collections of this 

 character. Some historical museums relate to a dynasty, as the Museilm 

 of the Hohenzollerns in Berlin. 



The cathedrals of southern Europe, and St. Paul's, in Eondon, are in 

 some degrees national or civic museums. The Galileo Museum in Flor- 

 ence, the Shakespeare Museum at Stratford, are good examples of the 

 museums devoted to the memory of representative men, and the Mon- 

 astery of St. Mark, in Florence, does as much as could be expected of 

 any museum for the life of Savonarola. The Soane Museum in Eondon, 

 the ThorvakLsen Museum in Copenhagen, are similar in purpose and 

 result, but they are rather biographical than historical. There are also 

 others which illustrate the history of a race, as the Bavarian National 

 Museum in Nuremberg. 



The museums of fine art are the most costly and precious of all, since 

 they contain the masterpieces of the world's greatest painters and sculp- 

 tors. In Rome, Florence, Venice, Naples, Bologna, Parma, Milan, 

 Turin, Modena, Padua, Ferrara, Brescia, Sienna, and Pisa; in Munich, 

 Berlin, Dresden, Vienna, and Prague; in Paris, and many provincial 

 cities of France; in Eondon, St. Petersburg, Madrid, Copenhagen, Brus- 

 sels, Antwerp, and The Hague, are great collections, whose names are 

 familiar to us all, each the depository of priceless treasures of art. Manj^ 

 of these are remarkable only for their pictures and statuary, and might 

 with equal right be called picture galleries; others abound in the minor 

 products of artists, and are museums in the broader .sense. 



Chief among them is the Eouvre, in Paris, with its treasures worth a 

 voyage many times around the world to see; the Vatican, in Rome, with 

 its three halls of antique sculptures, its Etruscans, Egyptian, Pagan, and 

 Christian museums, its B}- zantine gallery and its collection of medals; the 

 Naples Museum (Musee di Studii) with its marvelous Pompeiian series; 

 theUffizi Museum in Florence, overflowing with paintings and sculptures, 

 ancient and modern, drawings, engraved gems, enamels, ivories, tapes- 

 tries, medals, and works of decorative art of every description. 



