The interior is a magnificent hall--of nearly the same dimensions as the Parthenon--with walls of ruddy-tinted marble; the floor of marble mosaic; the roof, brilliant blue and star-spangled, strikes a note a little out of keeping with the general severity of the rest. There are sculptured Victories and Valkyries, and a frieze representing, in sculptured relief by Martin Wagner, something of the history of the German race before the coming of Christianity, while high around the walls are a series of marble tablets bearing the names of those worthy a place in the Temple of German Fame, but of whom no authentic portraits have come down to us. Indeed, even those of great achievement, whose names have not come down to us are not forgotten, for three of these tablets commemorate the author of the “Nibelungen Lied,” and the builder of Cologne cathedral. Other tablets serve to remind us that Tennyson but stated a truth when in compliment to Queen Alexandra he said, “Saxon, Norman and Dane are we,” for here among the heroes of the Germanic Temple of Fame, we shall find the names of King Egbert, of Alfred the Great, of Hengist and Horsa, even that of the Venerable Bede. At the further end of the hall is a seated statue of King Ludwig, and ranged along the walls are more than a hundred busts, many of them very fine examples of modern sculpture. The latest addition, Von Moltke (added in 1909), is particularly good. The bust of Bismarck, which was placed in Walhalla in 1908, on the sixty-sixth anniversary of the opening, is also admirable. There is about the whole so much excellence as to suggest that the Temple in addition to fostering national feeling should prove an encouragement of the sculptor’s art, for next to the honour of winning a place in the Walhalla must be the distinction of contributing to the work there permanently placed. From the programme which I picked up in the “oaken wood” at the back of the building two years after the event, we may gather from the ceremonies at a students’ “homage” paid to Bismarck here, a few days after the bust was placed in position, some idea of the ceremony, which presumably attends the dedication of a new entrant among the “Walhalla comrades.” The programme runs as follows: HOMAGE Of the Society of German students before the bust of PRINCE BISMARK in the Walhalla on the 7th November, 1908, at 4 in the afternoon. * * * * * PROGRAMME Coronation March from the Opera, “Die Folkunger,” by F. Kretschmar, for string quintet and harp. Entry of the Deputation. The “Bismarck Hymn,” written by Dr. Raimund Geister, composed by Georg Meyer. Sung by the “Regensburger Liederkranz” under the leadership of their choirmaster Herr G. Meyer. DEDICATORY ADDRESS delivered by Professor Sponsel, President of the Union of all Student Societies.