THE PILGRIM OF FAME. The swallows fly,-and where ? To a new Spring,-a purer air: Oh! Could I wing me there,- Where Fame's high temple stands Where on her shields immortal hands Shall I such glory share? Such bliss beyond compare? Though laurelled visions float in air My mind is inly moved, Kind friends implore to stay, The road of life is strewn With death, yet I must walk Nor tarry, walk from morn till noon, 'Mid all the coming years Press through this arch of Time, Vain joys foregone,-cast out all fears, Nor rest, nor shed weak tears. Toil on each weary day; If Hope shine on my way Swift follow its retreating ray ;— If it deceive ;-not stay! Not stay! Untired press on! A hard, a distant aim Pursuing still;-sweep steadfast on, As moves the unresting sun! Ото. NOTES AND QUERIES. Steam-ships were evidently invented by the ancients; in proof of which vide the lines "When Greek meets Greek then comes the tug of war." An excellent instance of the sagacity of the horse is to be found in Stanley's discovery of Livingstone. It is said that the former repeatedly urged on his gallant animal by the familiar exhortation "Get on you gee-gee," and eventually to Ujiji his steed carried him. ART RECOLLECTIONS OF MUNICH. Although Munich is one of the ancient cities of Germany, yet strange to say, the glories of her modern churches quite outvie the interest of the older ones. Old churches there are, and a cathedral too, but they lack the imposing presence and simple grace of those which owe their origin to the Gothic spirit. They seem rather to have been built at a time when the Spaniards were overrunning Germany, and consequently are in that mixed style so common in Spanish ecclesiastical buildings. It follows, hence, almost as a matter of course, that after having visited the cathedral and remarked this singularity of style, one turns naturally to see what modern art has accomplished, in rearing an edifice in which to worship the Great Giver of the Truthful and Beautiful. Pre-eminent is the Aller Heiligen Capelle, (All Saints' Chapel), in the New Palace; which is the place of worship for the Court. Its exterior is so simple and unassuming that one would pass it by were it not for the stained glass windows which even from the outside give promise of the richness of the interior decoration. But after passing through the round Byzantine arched entrance, the sight which meets your gaze is simply dazzling, and if the day is bright and the sun shining, it seems as though one had by some happy accident entered into a temple in that city spoken of by the Apostle John, with "walls of precious stones and floor inlaid with jewels." And in reality the walls of the chapel are built of polished jaspers, porphyries, and marbles of varied hues; whilst the ceiling of the nave, which is a span of rounded arch, is treated in fresco upon a gold ground. Everywhere, gold-that universal harmonizer of waving colours-is introduced with such consummate art, that where otherwise there would be but discord and confusion, the result is perfect harmony and unity. The aisles divided from the nave by monoliths of polished marble are similarly treated; and all the capitals of the columns and the mouldings marking the lines of construction of the building, are decorated and gilt. Over the principal entrance at one extremity of the nave is a rose window of stained glass, from the Royal stained glass factory-a Government institution for the revival of the lost art. The effect of the sun shining through this window and blending the coloured rays of light with the hues of the marbles is very beautiful indeed, and adds additional lustre to what was before in itself a dazzling scene. Additional light is obtained from domes which are enriched by frescoes similar to those upon the ceilings. It would be tedious and needless to attempt a detailed description of the subjects and their treatment in these paintings which cover walls, ceilings and domes. I may say in a general way, that they embrace nearly the whole of Sacred History from the Creation to the Gospels; and when I add that they are the productions of Hess, Kaulbach and Cornelius, all those acquainted with modern German art will appreciate their merit. In the principal dome is represented the Creator surrounded by angels; whilst upon the ceiling round are depicted various scenes of early Bible History up to the time of the journey in the desert; including especially magnificent conceptions of the expulsion from the Garden of Eden, and the Deluge. Between the two domes are pourtrayed the later events spoken of in Sacred Writ up to the time of John's preaching in the wilderness ; whilst the frescoes of the Annunciation and Adoration form a sort of connecting link between the Old and New Testaments. In the second cupola are paintings of the Lord surrounded by his Disciples and the Evangelists; whilst on the ceiling immediately around are illustrations of his life and acts upon earth; concluding with the Crucifixion, Glorification, and Ascension. All these frescoes, as may perhaps be seen by my imperfect attempt at description, are so arranged upon the ceilings, as that in looking from one end of the nave to the other, the events appear in chronological order. Paintings in the various connecting arches and recesses represent the gifts and works of the Holy Ghost; and over the organ are others symbolizing the union of the church and the arts, with St. Cecilia as patron of church music, St. Luke of religious painting, David as poet, and St. Gregory as founder of church music. It is a difficulty with me in endeavouring to describe this gem to do it full justice. My pen is so unskilled that it cannot convey anything like an adequate idea of the splendour of colour, the richness of the tones, and yet the perfect unity that prevails throughout the whole of the decoration of this church. We are so unused in England to see mural paintings as decorations in any structures but those of amusement, that but a faint conception of its fitness in church architecture can be gleaned from my most unworthy description of its application in the case of the Aller Heiligen Capelle. Yet what can be more appropriate, or more in harmony with the sacred use of a church than that its walls should be decorated by the finest representations of the incidents of Holy Writ. Or to what nobler use can man's genius be given than to reproduce in that pictorial form, which even the uneducated can appreciate and understand, those lessons which have been given to us for our eternal good. The Basilica of St. Boniface is another noble specimen of the many splendid creations of King Louis. It occupied 15 years in building, and is in the style of the Roman Basilicas of the 5th and 6th centuries. This church is constructed almost entirely of brick; the pillars, arches, cornices, and frames of the windows being of white limestone; as are also the statutes of Peter and Paul, which stand between the columns supporting the vestibule of the principal front of the building. The interior of the church is really most imposing in its simple splendour. It is divided into five compartments,—a nave and double aisles on each side. The columns which are polished monoliths of greenish-grey marble twenty-five feet high, are sixty-six in number, with plinths and capitals of white marble. The ceiling is cerulean blue studded with gold stars, and the beams of construction of the roof are left visible and are ornamented with gold. Spirited fresco paintings by Van Hess and his pupils, adorn the chancel, side aisles, and nave. Those on the lower walls represent twelve scenes in the life of St. Boniface, the patron saint of the church; while the upper walls contain thirty-six pictures relative to the propagation of Christianity in pagan Germany. Various paintings of a religious historical character decorate the side altars. These pictures abound in life, and are remarkable for their simplicity. There seems no striving after effect; the colours are subdued so as to suit the character of the building; yet there is a warmth and vitality about them all, even to the transparency of the water, which is marvellous considering the peculiarity of the media, and the great difficulty experienced in avoiding the dull pasty look so often seen in fresco. This paper would be incomplete without a passing word or two on the new church of Maria-Hilf, (our Lady of succour), which is situated on an elevated part of the suburb of the Au. This church which is in the strictest old German Gothic style, is built almost entirely of brick. A graceful tower and spire, a forest of smaller pinnacles, flying buttresses spanning giddy heights, handsome porches, and pointed arches, show what may be done with proper education, by that somewhat rough member of society-the bricklayer. Most of the florid ornamented bosses and similar work, are made in moulded bricks similar to terra cotta, though of the same clay as the bricks, and thus an effect equal to sandstone is produced, and at less cost, owing to the material being more easily obtainable. The roof is a mosaic of glazed tiles. Still, the stained glass windows are the most beautiful objects in the church. They picture the scenes in the life of the Virgin, and were the gift of Louis I, who founded in Munich a school, or rather a manufactory for the study and reproduction of the art of glass staining. These windows, therefore, possess considerable interest, as forming a fair standard by which to judge of the success attending his scheme. And really they are most beautiful. All those rich and mellow tints which call forth our admiration when looking at the glass in our cathedrals, are here reproduced with perfect success. Many of the colours are much more brilliant, than ever were dreamt of by the makers of the early ages; whilst the whole derives inestimable value from the refinement of the drawing, which is too often wanting in those of mediæval ages. Since these windows were made, Munich has sent others to many of the continental cathedrals; if I recollect aright, amongst others to Cologne, where they add greatly to the perfection of that grand pile. PETRARCH.-SONNET LXX. (A Translation.) I saw her golden locks above her brow, I saw the matchless radiance that blazed Ah! 'tis no marvel that as thus I gazed Within my stricken heart the flame should grow. Were such as ne'er did lips of mortal yield ; She seemed a spirit from some fairer sphere, And what if Time her loveliness decay? Though snapped the fatal bow,-the wound remains unhealed. ACHESPÉ. JOHN, PROPER NOUN, COMMON NAME. 66 One of the speakers at the last Annual Meeting of our Association said that he was a believer in the name JOHN." This chance remark revived in my mind a series of reflections, and gave rise to a number of inquiries, that have gradually furnished materials for the following monograph. Amongst Christian nations the name John has always been a general favourite. And naturally so, as having been that of the "beloved disciple" of Him who founded the religion which these nations profess. But its popularity has been most remarkable in our own country; for the reason that in its English form the word has certain special qualities that ensure for it a very wide acceptance. Its foreign representatives, Johannes, Giovanni, Juan, Jean, Johann, and Jahn, may be all very well in their way; but for business-like brevity, combined with fulness, openness and cheeriness of sound, they are not to be compared with our concise and hearty "John." This union of Religious Association and practical utility at once explains why the name John has been so commonly adopted amongst |