establishing a connection between the artists and the State—a plan which was advocated years ago by Herman Grimm. After it was decided to use this building for a gallery, Stüler occupied himself with the necessary architectural changes which he only completed a short time before his death. The corner stone was laid on the 2nd of December, 1867. The work advanced slowly, and was, of course, interrupted by the Franco-Prussian war. After the victories it was resumed, and grew as rapidly as all buildings did in that memorable year of 1871, when it was scarcely possible to secure a dwelling in the German capital. It stands a grand monument to German taste and genius of the 19th century, and very appropriately contains on its proud front the simple inscription: DER DEUTSCHEN KUNST, MDCCCLXXI. It is said to be the finest modern gallery in Europe, and is one among the few buildings designed especially for a gallery, old palaces being utilized generally for this purpose. I doubt not, however (if European critics would believe it), that the Boston, New York and Philadelphia art museums or academies are in architectural design in many respects superior. The National Gallery in Berlin is built of the reddish Nebraer sandstone. The dimensions are 62 metres long by 31 wide. From the ground plan can be seen the extent of the flight of stairs outside, which lead to a portico. This portico is supported in the pseudo-peripteral Corinthian style. The columns extend around the entire second story of the building. Between each two is engraved the name of an architect or artist. There are four fine groups of statuary on this stairway. A door opens from the portico into the second floor of the building, which is not in keeping with the generous dimensions of the columns and stairs. The entrance adds 34 metres in length to the building. The walls of the entrance hall or vestibule in the first floor are overlaid with red Pyrenean marble; the ceiling is metal made in the Cassetin pattern, so much used in the Dresden gallery, and is supported by four Ionic columns. On the left broad white marble stairs lead to the second floor. To the right is a large open space for statuary. The first hall runs obliquely, and rests upon twelve black Belgian marble pillars, with capital and base of gilded zinc. The walls are of a sombre yellow stucco, reflective as marble. Upon the arched ceiling is frescoed in grey the story of the “Niebelungen Lied,” which is exceedingly pretty, surrounded as it is by brilliant borders. Between the columns the wall rises in the form of arches, and in these arches the story of Siegfried is painted.