Leading from this first hall to the left is a room for statuary (II), two rooms beyond for pictures (III and IV), to the right four rooms (XIV, XIII, XII, XI,) for paintings. These again unite in an oblique hall for statuary which expands into five fan-like rooms for paintings. Ascending the stairs slowly, we can study a plaster frieze, extending around the wall from the first to the second story, representing the “Progress of Civilization in Germany.” All her great men are here, from St. Boniface and Charles the Great to Frederick William IV, and the distinguished men of his times, kings, princes, poets, scientists, philosophers, _literateurs_, philanthropists, historians, musicians, artists, architects, sculptors, all are here gracefully and ingeniously brought out with their own accessories, consciously or unconsciously working with their separate aims into one another’s hands. It is a succession of men one can well pause to study. Otho I, Ulrich von Hütten, Melancthon, Luther, Cranach, Holbein, Dürer, the great elector, Libnitz, Winkelmann, Mengs, Klopstock, Bach, Glück, Frederick the Great, Kant, Lessing, Schiller, Goethe, Haydn, Mozart, Beethoven, Blücher, Stein, Schleiermacher, Hegel, the brothers Grimm, Humboldt, Weber, Schinkel, Tieck, Rauch, Overbeck, Kaulbach, Stüber, Cornelius, Meyerbeer, Mendelssohn, Rietichel Kiss, Hildebrandt—are only selected from the long list. Among all are the names of but two women! Sophia Charlotte, and Queen Louise, who make prominent the two monarchs standing by their sides. Is it not almost dazzling to see this nation growing by “its own genius into a civilization of its own?” We must not forget, however, in the distraction of thought caused by the encounter of the representative men of eleven centuries that we are ascending the stairs of a modern gallery in search of the works of a single man, who stood at the head of his own department, and revived art in Germany in a century when the equipoise between it and other interests had been lost.