independence, and finally completed its downfall. The first edict issued by the persecuting churchmen within its sanctuary was against the Jews, who were hunted like wild beasts, and expelled without mercy. The second act of intolerance and persecution was the banishment of the weavers; and the third the exiling of the Protestants in 1618. In the case of the weavers, 1,700 looms were burned, and the owners emigrated to Verviers, Elberfeld, and Aix-la-Chapelle, whither they transferred their industry from an ungrateful city, and where they established the celebrated cloth manufactories, still flourishing and enriching these towns. The expelled Protestants settled at Mulheim, Dusseldorf, Elberfeld, Crefeld, Solingen, and other places, where, as exiles and victims of persecuting bigotry, they raised establishments and promoted the arts of peace and industry-so true is it that persecution fails to effect its purpose, whilst it ever gives new strength and energy to the emancipated victims of its cruelties. In this period the church, or rather ecclesiastical body, reigned paramount, until the French Revolution destroyed its sinister influence laughed at its censures, whilst its wellfilled coffers were being emptied, its ill-gotten revenues seized upon, its churches and convents plundered and secularised, and converted into stables and warehouses, whilst the entire fabric of its strength was being crushed into atoms. The closing of the navigation of the Rhine by the Dutch, in the sixteenth century, was a great blow to the prosperity of Cologne. The removal of this impediment, in 1837, has greatly tended to give a new stimulus to commercial enterprise and industrial development. Vessels daily throng her harbour, along which new quays and bonding warehouses have been erected, a foreign communication by sea is carried on and extending, whilst the daily increasing prosperity of the city is being added to, and strengthened by, the railway communication with Paris, Antwerp, and Berlin, whose railroads converge at this point; so that, if the blessings of peace be continued to Europe, Cologne of to-day bids fair to rival the Cologne of the twelfth, thirteenth, fourteenth, and fifteenth centuries, and again have her empty warehouses and stores filled with the skill of industry, whilst her population increases in prosperity and happiness. Its objects of attraction are numerous, and widely spread abroad, but the tourist will find his visits much facilitated by making them in the following order: The Cathedral (Domkirche) is one of the purest monuments of Gothic architecture in Europe. The name of the great architect who designed the plan of this colossal temple is lost. The earliest builder engaged in its erection was Master Gerhard, who was still living about 1252, but of whom nothing further is known. projected by the Archbishop Engelbert Von Berg, The building was and commenced by his successor, Conard Von Hochsteden, in 1248. The edifice is but a fragment of its designed proportions, which, if carried out, would have made it the St. Peter of Gothic architecture. The whole length of the building at present is 400 feet (when finished it will be 511 feet), the breadth of the lower church 161 feet, and corresponding with it, amounts to 23 feet. the height of the outer gable at the west end, It is built in the shape of a cross; the arches are supported by four rows of 64 columns, which, together with the half columns and the pillars of the porticoes, amount to 100. The four central ones measure about 30 feet in circumference; each of the entire terminates in a capital, ornamented in a peculiar manner. Of the two towers or steeples, each of which was intended to be 500 feet high, one, whose height is very inconsiderable, stands on the north side; and the other, at present used as a belfry, is scarcely a third of its intended height. In this steeple is suspended the large bell, weighing 25,000 lbs., and requiring the strength of twelve men to ring it. On its top stands the crane used by the workmen in drawing up the stones. It has remained in its resting place for centuries, except on one occasion, when it was taken down; but a violent thunderstorm occuring immediately after, the citizens attributed it as a consequence of the removal of the crane, which they had instantly replaced again. The majestic choir, rising heavenwards, together with the surrounding chapels, are the only finished portions of this immense edifice. Beautiful in the extreme are the groups of tall columns standing there, like the trees of an ancient forest, only split at the culminating points in a crown of branches, and rising with their colleagues in a pointed arch, almost inaccessible to the eye specimens of the antique German plasters of the that would trace them. The late and present Kings of Prussia have expended in the space of eighteen years upwards of 220,000 thalers on the repair and preservation of the building, rendered almost a ruin by long ages of neglect. The restoration, &c., is being effected in a masterly style, and the Drachenfel stone of the exterior replaced by a species of volcanic origin, brought from Trèves and Andernach. In 1842 the then king laid the foundation-stone of the new transept, and an association has been established, branching all through Europe, for the purpose of collecting subscriptions for the completion of the edifice after the original design, which, according to an estimate of the architect Ziminer, would take £750,000; of this a million dollars were collected from 1842 to 1851. The aisle, nave, and transept were opened in September, 1848, the two latter portions being covered in by a temporary wooden roofing; and on our visiting it in the autumn of 1852, the five windows of stained glass, presented by the late King of Bavaria, were placed in the south aisle of the nave, and the one executed in 1508, in the north aisle. On the whole, the transepts being now all but completed, it is possible for the visitor to form some exact idea of the real extent. The choir will fill the visitor with enthusiastic awe. The Presbytery, in the choir, and the high altar, are works of a modern date, and we think accord but very ill with the antique majesty and solemn grandeur of the dome. Among the columns at the entrance there are two very fine marble statues, representing the Virgin and St. Peter, exquisitely sculptured in the Italian style. The two tombs, in the choir, of the brothers Adolphus and Anthony, of Schauenberg (both of them Archbishops of Cologne), are fine statues of white marble, adorned with elegantly arranged foliage, and deserving of considerable attention, as rich specimens of high art The beautifully stained windows have been refreshed and repaired, and the frescoes redecorated by Steinli, an artist of the Düsseldorf school. The colossal gold-flowered statues of the Twelve Apostles standing against the columns are fine fourteenth century, of which date also are the superbly carved stalls and seats. In the Chapel behind the high altar we behold 'Corpora sanctorum recubant hie terna Majeru It is asserted, though we think without truth, that this tomb and its precious ornaments are worth £240,000. On Sundays and holidays the Shrine is open to the public, but visitors desiring a close examination of it had better apply to the sacristan, and by paying 1th., a ticket to admit self and friends will be given. Tickets admitting to an inspection of the choir cost 15sgr., and are supplied by the beadle. The ascent to the galleries costs 20sgr. Between the high altar and the shrine of the Three Kings, under a slab in the flooring, is buried the heart of Mary of Medicis; and before the chapel the tombstones and epithets of the Archbishops of Cologne may be seen on the marble walls, the most remarkable of which are those of Philip of Heinberg, surrounded by a mural parapet, and of Conrad of Hochsteden in a bronze. Particularly remarkable, and worthy of notice, is the beautiful old picture of 1410, representing the patrons of the city, and the Three Kings adoring the divine babe in the centre, St. Ursula and her companions, the 11,000 Virgins, with St. Gereon and his Theban legion on the others. This painting was removed from the Hôtel de Ville in 1816, and placed in its present position in the Chapel of St. Agnes, on the right of the Magi. The artist is not known, but he is surmised to have been Master William of Cologne, or his pupil Stephen. The Sacristy contains some interesting antiquities, and splendid specimens of art and workmanship, in the shape of church plate, shrines, sword of justice used at the coronation of the emperors, carvings in ivory, archiepiscopal cross 7 feet high, and several other objects of interest. The visitor will be well repaid by ascending the gallery of the treforium, to see the stained glass, and also go out on the roof, from which he will [have a magnificent prospect. The workshops should also be visited, 20sgr. entrance. The three great windows are of rich stained glass. The Church of St. Peter. Rubens, who was baptised in this church, in tae brazen font still existing there, painted for it ts celebrated altarpiece-the Crucifixion of the Apostle, with his head downwards. This painting s reckoned as one of his masterpieces The picture generally exposed The Church of St. Ursula, famous by the legend of her and her 11,000 Virgins, was erected partly in the twelfth, fourteenth, and fifteenth centuries. The singularity of its architecture is well worth attention, and the entire church is nearly filled with bones. On the right hand near the entrance is the golden chamber, in which St. Ursula and a few of her favoured associates lie in repose in coffins behind the altar. The bones are encased in silver, and among the relics pointed out in this chamber, is one of the stone vessels used at the marriage feast in Cana, and in which the water was turned into wine. The relics in this church are hideous, bones everywhere meet the eye, and are disposed in ghastly array in glass cases about. The history of this childish legend is painted in the choir, and represents the saint as the daughter of an English king, who, on her return from Rome, was murdered at Cologne, together with her 11,000 companions. The Church of Sta. Maria, in Capitolio, is the oldest in Cologne, Plectrudis, the consort of Pepin, of Herstel, who separated from her husband in consequence of his attachment to Alpais, the mother of Charles Martel, founded this establishment, and built the church. Her stone statue is behind the choir, in the street; but her tomb is in the church before the choir, and has a copious Latin inscription. Over against this tomb is that of St. Ida, who was a relation of Plectrudis, and the first abbess of the establishment. The upper part of the choir, with the round arched colonnades, is of the eighth century; the principal vault of the nave was built later, this church having been damaged considerably during the inroads of the Normans. Several paintings were removed to this church from that of St. Martin, of which that by Augustin Braun, an excellent painter of Cologne, and contemporary of Rubens, is highly deserving of being noticed. This church also possesses a large and excellent organ by the late Mr. Koenig, the elder, the celebrated artist of Cologne, who also built the organ of Nimwegen. The Church of Sta. Maria is new, and built in an elegant antique style, ornamented with painted windows. You may also see in it an excellent painting, by Durer, representing the dispersion of the Apostles and the death of Maria. St. Martin's Church, or Gross St. Martin, is a large building of the twelfth century, with a striking tower. The Church of St. Gereon and the Thebaic Martyrs, was built by Archbishop Anno, in 1066, on the spot on which the temple built by St. Helena formerly stood. It received at a later period, a large, boldly executed cupola with three galleries, and is one of the finest churches in Cologne. St. Gereon lies buried here, along with his warriors. The skulls of these martyrs are exhibited in the church. Beneath the church, in the crypta, or vault, there are two chapels, on whose floor traces of ancient mosaic are visible. The altars at the entrance of the church are adorned with two good paintings by Schuett and Geldorf, artists of Cologne. The Church of St. Cunibert near the Rhine, is spacious, beautiful, and has a fine perspective. The altar is constructed after the pattern of that of St. Peter at Rome. The gate has a fine frame in the last style of the 12th century. The Tumba of St. Cunibert, which once was so remarkable has been scandalously mutilated under the dominion of the French. Some years ago the steeple of this church fell down. The fine glass paintings in the choir are well worth seeing. The church of the Apostles near the new market is likewise a beautiful old German building of the eleventh century. An Ascension of the Holy Virgin by Hulsmann, and the martyrdom of St. Catharina by Pottgiesser, deserve to be noticed; as also does the fragment of a lent cloth, woven by Lady Richmod Mengis, of Adocht, to which is annexed the tradition of Richmodis, of the family of the Lisolphskirchen (Lyskirschen), who was buried alive, and by a peculiar accident saved herself from her coffin, and afterwards lived many years with her consort very happily. The Church of Maria Ascension, or the late church of the Jesuits, though built in a mixed style, half ancient German, and half modern, has many ornaments in the inside, especially a splendid communion pew, with arabesques and bas-reliefs of white marble. There are some paintings by Schuett on the high altar. The walls of the choir are adorned with landscapes. The marble flooring, the pulpit, and the organ are handsome. Contiguous to the church stands the late college of the Jesuits, in which there were a valuable library and rich cabinets of artificial curiosities. The French carried off the most valuable articles; among others, a volume of letters, in Leilnitze's own handwriting, to the Jesuit Brosses; the most valuable minerals; about 1,400 pieces of Greek and Roman coins; a pretty complete collection of silver and copper coins of the middle age; a number of antique bowls, vases, urns, images, &c.; an invaluable collection of more than 6,000 original drawings of the most celebrated artists of all schools; and a similar collection of ancient engravings. There exists a printed catalogue of the latter collection that was sent to Paris, and returned in a very defective state. The There are some of the other churches and chapels (not mentioned here) that may have been built at the time when the Christian religion was introduced on the banks of the Rhine, and furnish fine specimens for a history of ancient German architecture. Others there are that are remarkable in other respects. In the Church of St. Pantaleon (of 954) there is the tomb of the Empress Theophania, the consort of Emperor Otto II. They also preserve in this church the uncorrupted body of the martyr Albinus. The body of the famous Duns Scotus, who died at Cologne, in 1308, whose manuscripts, in 14 folio volumes, were in the possession of the Minorites, is buried in the church that formerly belonged to their order. churches of St. Severin and St. Goefis (George) aro very old, but defaced by many coloured paintings, in the former, the spot on which the Emperor Sylvanus was murdered, is marked with marble figures, inserted into the flooring; and, connected with the latter, you behold a tower of enormous thickness, which the Archbishop Anno placed right before the upper and older town gate, to keep the citizens of Cologne in awe, who were disaffected to him. The Lis or Lisoph's Church, is remarkable for the ancient tomb of Maternus; the painting of a lateral altar, by John Von Calcar, who learned his art at Cologne, and after wards became a pupil of Titian, has been removed. The remains of the famous Albertus Magnus were deposited in the church of the Dominicans, which has been pulled down since. Spacious barracks for the artillery now occupy the ground on which it stood. Al the religious corporations in Cologne were secularised by the first revolutionary French government; many parish churches went to decay; others were joined to finer churches, formerly belonging to cloisters or other pious foundations; some also were turned into manufactories and magazines, or demolished. The handsome, though plain church of the Antonites, was given to the Lutheran and reformed congregations. Town Hall.-It has a fine marble portal, consisting of a double arcade, one placed over the other, the upper one being in the Roman and the lower one in the Corinthian style. Handsome basreliefs adorn the interstices. The other parts of the buildings are less deserving of praise. From the steeple, the shape of which is rather singular, you have a charming view of the town and its environs. One pair of stairs high, on your right hand, you enter the spacious hall of the once powerful Hanza, with ancient German stone images. The ante-room of the council chamber is adorned with some pictures by Mesquida, representing scenes of the history of Cologne; of the Ambassadors of the Ubians before Cæsar; the Wedding of Agrippina; Emperor Frederick II. granting the stapelright to the town, a. s. f. The council-chamber is ingeniously decorated with a representation of the last judgment, by Soentgens (1695), and a crucifix of the school of Rubens. On the ground floor there is a spacious hall called the muschel (shell), with fine Gobelins tapestry, in which many landscapes by Wouvermann are ingeniously introduced. The whole produces a striking effect. It has a hall of an enormous size, in which several diets were held. The Emperor Maximilian gave several entertainments in this hall, which of late years has served for a ballroom at the conclusion of the splendid carnival. The Theatre.-The inner arrangement is tasteful (having the playhouse of the Grand Duke of Darmstadt for a pattern). It was built in 1828. The company act at Cologne only in winter; in summer, alternately at Bonn and Coblenz The Palace of Justice the foundation of which was laid in 1824. The town has built it at its own expense. It contains the court of appeal, the court of province, and the board of trade. The palace of the regency does not lie far from it. The archiepiscopal palace stands in what they call the Zuydwick. Strangers will have, farther, to notice the Work and Charity-house, in the later cloister of the Minorities; the Military Hospital, in the cloister of the Carthusians, for 300 patients, in twentyfour roomy saloons; the Hospital for Citizens, in the cloister of Cecilia and Michael, in which 160 poor persons, belonging to the town, are admitted and taken care of. The Hospital can receive about sixty patients, and as many incurable lunatics (such as are pronounced curable are sent to Siegburg). This establishment is attended by a physician, a surgeon, and an apothecary of its own. The annual expenditure amounts to about 19,000 dollars. The Orphan House in the Waisenhausgasse (Orphan Houses Street, No. 38, at the end of the Blaubach), for 200 orphans The Museum is situated close to the Cathedral, and contains a very good collection of paintings, the production of a school all but unknown up to the present century. t |