us acquainted with the inner structure of a multitude of plants, as well as of various animals. Many halls are devoted to wax models of the human figure, partly of the whole form, partly of various outer and inner portions. The representations are all colored according to nature and the life. It requires a degree of resolution to overcome a feeling of repugnance against entering and remaining in this room, where death and science united, have laid bare the whole physical machinery of the living human being. But I wished to see it, and I did so, not without a feeling of pain which continually mingled with that of interest and admiration. Probably this painful impression arises from the thought that these bodies, hearts, chests, &c., in the living subject would not be thus laid open without immense suffering, and the life-warm coloring of flesh, veins, skin, &c., presents an incessant illusion of life. This impression is, however, softened by the regard, or rather the reverence and piety with which these pictures are presented to the beholder. Every separate portion of the body is laid upon a silken cushion, part of them under glass. The whole form lies, the size of life, upon white beds, and while their interior parts are revealed to the spectator, the expression of the countenance seems to say; “For science which enlightens; for art which heals!” There is a patient, devoted, expression in these forms which affected me as something real and great. The female forms lie as if sunk in magnetic sleep, and the artist has in this given proof of sure tact and knowledge of human nature. Woman cannot sacrifice her womanliness for science, neither ought she. Most of these
