When we begin to speak of modern German architecture at this point, we do not omit anything important, for the struggles of the Reformation, and the results of the Thirty Years' War were such, that no great architectural advances were attempted for a long time. Again, the division of Germany into many small principalities, and the establishment of many little courts so divided the wealth of the German people into small portions, that no one was rich enough to undertake large buildings. There was no one great central city as in France and England, and no one sovereign was rich enough to adorn his capital with splendid edifices or to be a magnificent patron of art and artists after the fashion of the "_Grand Monarque_" in France. Before taking up the Revival, however, I wish, for two reasons, to give a picture of the Brandenburg Gate, at Berlin. This gate was erected between 1784 and 1792. It is important because such monuments are more rare in Germany than in other European countries, especially of the time in which this was built, and because it is one of the best imitations of Greek art that exists in any nation (Fig. 122). [Illustration: FIG. 122.--THE BRANDENBURG GATE. _Berlin._] It is interesting to remember that when Napoleon entered Berlin as a conqueror, after the Battle of Jena, he sent the Car of Victory, which surmounts this gate, to Paris, as a trophy of his prowess. After his abdication it was returned to its original position. The effect of the German revival of Greek art is more plainly seen in Munich than in any other city. It is the capital of Bavaria, and one of its kings, Louis I., while he was young and had not yet become king, resided at Rome; he was a passionate lover of art, and he resolved that when he came to the throne he would make his capital famous for beautiful things. Above all, he desired to imitate all that he had most admired in the countries he had visited, and also the art of the ancients as he knew it from models and pictures. For this reason it happens that Munich is a collection of copies of buildings which have existed in other countries and in past ages, and as these buildings, which were first made in marble and stone, are mostly copied in plaster in Munich, much of their beauty is lost; and since these copied buildings are not used for the same purposes for which the ancient ones were intended, the whole effect of them is very far from pleasing or satisfactory. In fact, the result is just such as must always follow the imitation of a beautiful object, when no proper regard is paid to the use to be made of it. If, for example, a fine copy of a light and airy Swiss châlet should be made in the United States of America, and placed on some business street in one of our cities, and used for a bank building, we could not deny that it was an exact copy of a building which is good in its way; but it would be so unsuited to its position and its uses, that the man who built it there would be counted