TRUE RELATION OF SCIENCE TO INDUSTRIES 285 



We find there statues of Egyptian priests chiseled 

 one thousand four hundred years before Christ; we 

 find marble vessels used for holding the entrails of ani- 

 mals sacrificed by the earlier Pharaohs. 



In the hall of Apollo we see on the one hand a colos- 

 sal bust of Bacchus, the god of the vintage, and on the 

 other a beautiful torso of Diana, the virgin huntress. 

 One wanders from hall to hall, bewildered by the pro- 

 lixity of art, and oppressed with the presence of an- 

 tiquity. 



In the old and new Pinakotheks is found even a 

 greater degree of excellence in painting, and also a 

 more lavish display of abundance than the Glyptothek 

 has shown in sculpture. 



The masterpieces of Holbein, of Claude Lorraine, 

 of Rubens and Michael Angelo decorate every wall, and 

 fringe the triumphs of skill with the halo of genius. 

 Without, in the city, long streets bordered with bronze 

 statues and ending in triumphal arches, lure the visitor 

 on to admire their beauties and recall their histories. 



Everywhere are Frenchmen, Englishmen, Americans, 

 who have been attracted by all these wonders of art and 

 have come, some to take a passing glance at them and 

 others to study them more at their leisure. 



But there is one place in Munich rarely visited by 

 travelers. That place is found with some difficulty, 

 and one enters a narrow and muddy court and finds his 

 way into a dingy and dirty room. This room is orna- 

 mented with no chiseled marble, nor are its walls fres- 

 coed by the hand of old masters. The windows are 

 small and low, and the plaster yellow with age and 

 smoke. Yet this humble room has seen greater tri- 

 umphs than any of those which adorn the galleries of 

 art, or are celebrated in the monuments of the streets. 



