On an eminence rises the cathedral and spacious palace of the bishop, enclosed, like so many churches of Sclavonic lands, in old walls with round, cone-peaked towers—a southern Kremlin. Just below it is the market-place, and in its centre the equestrian statue of the national hero, the Ban Jellachitj, the poet-warrior who in the days of the Magyar revolution led his Croats against their national enemy, and saved the Austrian police-state when its fortunes were at their lowest ebb. He is dressed in the picturesque hussar uniform of his country, with flowing mantle and high-plumed cap, riding northwards on his pedestal, and pointing his sword forwards towards the scenes of his triumphs over the Magyars. The town is divided into three parts, the lower town in which is the market-place and main street, the height on which the cathedral stands, and the upper town on which rise many large houses inhabited by the resident bureaucracy, where is the Diet-hall, the Ban’s house and the Museum, and looking down from whose airy terraces you see the lower town stretched out like a straggling village below you, and are reminded of the view of Buda from its Acropolis. The cathedral, in spite of its bulwark of fortifications, has suffered much from the Turks, who destroyed it, they say, three times; and inside from its own bishops, who have defaced the gothic nave and aisles with whitewash and monstrous Jesuitic shrines. Its exterior is, however, still partly fretted with old stone panel-work, which recalls the Tudor ornamentation on the schools of Oxford. From the top of the square tower expands a beautiful panoramas—the silvery Save and its rich valley—the distant Bosnian mountains fading into the blue sky; and in the other direction the dark forest-covered heights of the Slema Vrh, which have given Agram her Sclavonic name Zagreb—‘beyond the rocks.’ Except the cathedral, and the finely-carved façade of the Marcus church, there are no buildings of beauty or interest. The Ban’s residence was so completely devoid of architectural pretensions, and so indistinguishable from the houses round, that we should not have noticed it, but for a large black flag thrust forth from one of its windows in honour of old Kaiser Ferdinand the ‘good-natured.’ As is too generally the case in Hungary, the people of Agram are far behind in æsthetic culture; the pictures in the Academy here are few and curiously bad, and the one good painting was not by a native, but a Czech artist. The Agramers, however, seem to have the good taste to appreciate this, and photographic copies are to be seen in the shop windows; rather, perhaps, owing to South Sclavonic patriotism, than to respect for high art. The picture represents the funeral of a Montenegrine Voivode or leader, whose body is being borne along a gloomy mountain gorge from the battle-field; and the grandeur of the lifeless hero, the dark, almost Italian look of the weeping clanspeople, are