When, after the close of the Napoleonic wars, men began to breathe free again in Europe, it became evident to those who observed the tendencies of their own time that there was no restraint of tradition left--at least no restraint which was recognized by more than a small group of men, while another group of men equally intelligent, perhaps, rejected those traditions and set up their own standard. King Ludwig of Bavaria (reigned 1825-48) had studied and travelled before his accession to the crown; he had purchased and brought to Munich the Greek sculptures from the temple at Ægina; he had seen the buildings of the Italian Renaissance and admired them; he was a comparatively unprejudiced dilettante with a liking for many styles, a sympathy for many forms of artistic thought. He and his architects started in his capital, Munich, the Ludwigskirche (Church of St. Louis) only a dozen years after Napoleon’s final dethronement, and the royal Library a few years later--each of these being in a kind of Southern Romanesque style without columned porticoes or other attempts at classicism. The Allerheiligenhofkirche (Court Church of All Saints) is of the same character of design with a somewhat more frank observance of Italian models. The Old Pinakothek was begun in 1826, contemporaneously with the Ludwigskirche, or nearly so, but this building is a careful study of the Italian Renaissance. The southern front of the Royal Palace, the Königsbau, is again of the same year as to its commencement, and this also is studied from Florentine fifteenth century palazzi. The north front of the Post Office, directly opposite the Königsbau, has a Florentine loggia of thirteen arches--fifteenth century style, not badly carried out. The Glyptothek is the earliest of all: it was begun before Ludwig’s accession, and almost immediately after the restoration of peace to Europe, and the outside of this was meant to be as Greek as it was possible for a modern designer to make a building. Within, it had indeed to resort to the non-Greek device of vaulting, to cover its large halls: but it was still of Grecian taste in its details. The Valhalla, by which term the King designated a Temple of Honor built on a noble hill by the Danube, above Ratisbon, is of the same epoch and of the same deliberately Hellenic character of design; a really fine exterior, studied closely from a Doric Temple of the best period. Another such temple of honor stands at the southeastern edge of the new town of Munich, the Ruhmeshalle (Hall of Fame), begun in 1843, and as completely Greek as the two others. The basilica of St. Boniface was begun in 1835 and is a most faithful study of the later basilicas of the pure Latin style, that is to say, a basilica of the sixth or the seventh century. To complete the circle of the styles from the fifth century B. C. to the sixteenth century A. D., and to cover all the important styles which mark the circuit of those two thousand years, there was built in the Au suburb a Gothic church as completely in the fourteenth century spirit as the intelligence of the builder would enable him to make it. Roman imperial art was not represented, for the scholars had hardly begun to differentiate it from the pure Greek: and for some such reason, probably because the Germans have always been inclined to use the term “Byzantine” for all round-arched mediæval work, the King’s advisers made no attempt at a piece of rugged northern Romanesque: but all the other epoch-making styles of Europe were included in the enlarged capital city.