among them are several superb dresses of gold and silver embroidery, so thickly laid on that they are of exceeding weight.  These dresses form part of the wardrobe of the Virgin Mary.  Next to be seen is a case or chest of massy silver, adorned with innumerable precious stones of great value; which case contains the bones or ashes of Charlemagne.  His right arm bone is however preserved separate in a glass case.  The sword of this prince too, and the Imperial crown is to be seen here.  The sacristan next proceeded to show to us the other relics, but having begun with the exhibition of a rag dipped in the sweat of Jesus Christ and a nail of the Holy Cross, we began to think we had seen enough and went away perfectly satisfied.  There is no other monument in honour of Charlemagne, but a plain stone on the floor of the Church with the simple inscription “Carolo Magno.”  On going out of the city thro’ one of the gates, and at a short distance from it, we ascended the mountain or rather hill called the Louisberg on which are built a Ridotto and Cafe, as also a Column erected in honour of Napoleon with a suitable inscription; the inscription is effaced and is about to be replaced by another in the German language in commemoration of the downfall of the Tyrant, as the Coalition are pleased to call him.  This Tyrant is however extremely regretted by the inhabitants of Aix-la-Chapelle and not without reason, for he was a great benefactor to them and continually embellished the city, confirming and increasing its privileges.  The inhabitants are not at all pleased with their new masters; for the behaviour of the Prussian military has been so insulting and overbearing towards the burghers and students that it is, I am told, a common exclamation among the latter, alluding to the Prussians having stiled themselves their deliverers:  De nostris liberatoribus, Domine, libera nos.  Indeed, I can evidently discern that they are not particularly pleased at the result of the battle of Waterloo.

In the evening I went to the theatre, which has the most inconvenient form imaginable, being a rectangle.  As anti-Gallicanism is the order of the day, only German dramas are allowed to be performed and this night it was the tragedy of Faust, or Dr Faustus as we term him in England, not the Faust of Goethe, which is not meant for nor at all adapted to the stage, but a drama of that name written by Klingmann.[18] It is a strange wild piece, quite in the German style and full of horrors and diableries.  In this piece the sublime and terrible border close on the ridiculous; for instance the Devil and Faust come to drink in a beer-schenk or ale-house.  ’Tis true the Devil is incognito at the time and is called “der Fremde” or “the Stranger”; it is only towards the conclusion of the piece that he discovers himself to be Satan....  The actor who played the part of the Stranger had something in his physiognomy very terrific and awe-inspiring.  In another scene, which to us would appear laughable and absurd, but which pleases a German audience, three women in masks come on the stage to meet Faust, in a churchyard, and on unmasking display three skeleton heads.