many rare and valuable works, many curious Indian antiquities, but they are ill arranged. On the walls are the portraits of the vice-kings, beginning with Hernan Cortes. We spent a long while here examining these antiquities; but we have seen nothing in Mexico to equal the beauty of the colossal equestrian statue in bronze of Charles the Fourth, placed on a pedestal of Mexican marble, which stands in the court of the University, but formerly adorned the middle of the square. It is a magnificent piece of sculpture, the master-piece of Tolsa, remarkable for the noble simplicity and purity of its style, and was made at the expense of an ex-Viceroy, the Marquis of Branciforte. We also saw the Goddess of War lying in a corner of the court, beside the Stone of sacrifices, which we had already been shown.
To-day we have been visiting the Academy of painting and sculpture, called the Academy of Fine Arts, of which I unfortunately recollected having read Humboldt's brilliant account, in my forcibly prolonged studies on board the Jason, and that he mentions its having had the most favorable influence in forming the national taste. He tells us, that every night in these spacious halls, well illuminated by Argand lamps, hundreds of young men were assembled, some sketching from the plaster-casts, or from life, and others copying designs of furniture, candelabras and other bronze ornaments; and that here, all classes, colors and races were mingled together; the Indian beside the white boy, and the son of the poorest mechanic beside that of the richest lord. Teaching was
