air of antiquity. As I have said once or twice before, an appearance of order and tranquillity is their characteristic. We visited the abodes of Wieland, Schiller, and Göthe, who are the great people here: that is, we saw the outside of the houses in which they had dwelt; for, being inhabited by a fresh generation, the insides are not show-places. The palace is a handsome building; and three apartments are being decorated in honour of those chosen poets. The larger one for Göthe; a smaller for Schiller; a sort of octagon closet for Wieland. The walls are adorned with frescoes of subjects taken from their works. I am not sure that I should give this superiority to Göthe: Schiller has always appeared to me the greater man: he is more complete. The startling quality of Göthe is his insight into the secret depths of the human mind; his power of dissecting motives—of holding up the mirror to our most inmost sensations; and also in dramatic scenes of touching pathos, and passages of overflowing eloquence: but he wants completeness, and never achieves a whole. “Faust” is a fragment—“Wilhelm Meister” is a fragment. It is true, this has a closer resemblance to life which seldom affords an artistic beginning, middle, and end to its strange enchainment of events. Still, the conception of a perfect whole has ever held the highest place in our
