Yet Munich is not all imitation. Its finest street, the Maximilian,
built by the late king of that name, is of a novel and wholly modern
style of architecture, not an imitation, though it may remind some of
the new portions of Paris. It runs for three quarters of a mile,
beginning with the postoffice and its colonnades, with frescoes on
one side, and the Hof Theater, with its pediment frescoes, the
largest opera-house in Germany, I believe; with stately buildings
adorned with statues, and elegant shops, down to the swift-flowing
Isar, which is spanned by a handsome bridge; or rather by two
bridges, for the Isar is partly turned from its bed above, and made
to turn wheels, and drive machinery. At the lower end the street
expands into a handsome platz, with young shade trees, plats of
grass, and gay beds of flowers. I look out on it as I write; and I
see across the Isar the college building begun by Maximilian for the
education of government officers; and I see that it is still
unfinished, indeed, a staring mass of brick, with unsightly
scaffolding and gaping windows. Money was left to complete it; but
the young king, who does not care for architecture, keeps only a
mason or two on the brick-work, and an artist on the exterior
frescoes. At this rate, the Cologne Cathedral will be finished and
decay before this is built.
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