NUREMBERG.
Nuremberg—with its long, narrow, winding, involved streets, its precipitous ascents and descents, its completely gothic physiognomy—is by far the strangest old city I ever beheld; it has retained in every part the aspect of the middle ages. No two houses resemble each other; yet, differing in form, in colour, in height, in ornament, all have a family likeness; and with their peaked and carved gabels, and projecting central balconies, and painted fronts, stand up in a row, like so many tall, gaunt, stately old maids, with the toques and stomachers of the last century. In the upper part of the town, we find here and there a new house, built, or rebuilt, in a more modern fashion; and even a gay modern theatre, and an unfinished modern church; but these, instead of being embellishments, look ill-favoured and mean, like patches of new cloth on a rich old brocade. Age is here, but it does not suggest the idea of dilapidation or decay, rather of something which has been put under a glass-case, and preserved with care from all extraneous influences. The buildings are so ancient, the fashions of society so antiquated, the people so penetrated with veneration for themselves and their city, that in the few days I spent there, I began to feel quite old too—my mind was wrinkled up, as it were, with a reverence for the past. I wondered that people condescended to talk of any event more recent than the thirty years' war, and the defence of Gustavus Adolphus;[ 21] and all names of modern date, even of greatest mark, were forgotten in the fame of Albert Durer, Hans Sachs, and Peter Vischer: the trio of worthies, which, in the estimation or imagination of the Nurembergers, still live with the freshness of a yesterday's remembrance, and leave no room for the heroes of to-day. My enthusiasm for Albert Durer was all ready prepared, and warm as even the Nurembergers could desire; but I confess, that of that renowned cobbler and meister-singer, Hans Sachs, I knew little but what I had learnt from the pretty comedy bearing his name, which I had seen at Manheim; and of the illustrious Peter Vischer I could only remember that I had seen, in the academy at Munich, certain casts from his figures, which had particularly struck me. Yet to visit Nuremberg without some previous knowledge of these luminaries of the middle ages, is to lose much of that pleasure of association, without which the eye wearies of the singular, and the mind becomes satiated with change.
Nuremberg was the gothic Athens: it was never the seat of government, but as a free imperial city it was independent and self-governed, and took the lead in arts and in literature. Here it was that clocks and watches, maps and musical instruments, were manufactured for all Germany; here, in that truly German spirit of pedantry and simplicity, were music, painting, and poetry, at once honoured as sciences, and cultivated as handicrafts, each having its guild, or corporation, duly chartered, like the other trades of this flourishing city, and requiring, by the institution of the magistracy, a regular apprenticeship. It was here that, on the first discovery of printing, a literary barber and meister-singer (Hans Foltz) set up a printing-press in his own house; and it was but the natural consequence of all this industry, mental activity, and social cultivation, that Nuremberg should have been one of the first cities which declared for the Reformation.
But what is most curious and striking in this old city, is to see it stationary, while time and change are working such miracles and transformations every where else. The house where Martin Behaim, four centuries ago, invented the sphere, and drew the first geographical chart, is still the house of a map-seller. In the house where cards were first manufactured, cards are now sold. In the very shops where clocks and watches were first seen, you may still buy clocks and watches. The same families have inhabited the same mansions from one generation to another for four or five centuries. The great manufactories of those toys, commonly called Dutch toys, are at Nuremberg. I visited the wholesale depot of Pestelmayer, and it is true that it would cut a poor figure compared to some of our great Birmingham show-rooms; but the enormous scale on which this commerce is conducted, the hundreds of waggon-loads and ship-loads of these trifles and gimcracks, which find their way to every part of the known world, even to America and China, must interest a thinking mind. Nothing gave me a more comprehensive idea of the value of the whole, than a complaint which I heard from a Nuremberger, (and which, though seriously made, sounded not a little ludicrous,) of the falling off in the trade of pill-boxes! he said that since the fashionable people of London and Paris had taken to paper pill-boxes, the millions of wooden or chip boxes which used to be annually sent from Nuremberg to all parts of Europe were no longer required; and he computed the consequent falling off of the profits at many thousand florins.
Nuremberg was rendered so agreeable to me by the kindness and hospitality I met with, that instead of merely passing through it, I spent some days wandering about its precincts; and as it is not very frequently visited by the English, I shall note a few of the objects which have dwelt on my memory, premising, that for the artist and the antiquary it affords inexhaustible materials.
The whole city, which is very large, lies crowded and compact within its walls; but the fortifications, once the wonder of all Germany, and their three hundred and sixty-five towers, once the glory and safeguard of the inhabitants, exist no longer. Four huge circular towers stand at the principal gates,—four huge towers of almost dateless antiquity, and blackened with age, but of such admirable construction, that the masonry appears, from its entireness and smoothness, as if raised yesterday. The old castle or fortress, which stands on a height commanding the town and a glorious view, is a strange, dismantled, incongruous heap of buildings. It happened, that in the summer of 1833, the king of Bavaria, accompanied by the queen and the princess Matilda, had paid his good city of Nuremberg a visit, and had been most royally entertained by the inhabitants. The apartments in the old castle, long abandoned to the rats and spiders, had been prepared for the royal guests, and, when I saw it, three or four months afterwards, nothing could be more uncouth and fantastical than the effect of these irregular rooms, with all manner of angles, with their carved worm-eaten ceilings, their curious latticed and painted windows, and most preposterous stoves, now all tricked out with fresh paint here and there, and hung with gay glazed papers of the most modern fashion, and the most gaudy patterns. Even the chapel, with its four old pillars, which, according to the legend, had been brought by Old Nick himself from Rome, and the effigy of the monk who had cheated his infernal adversary, by saying the Litanies faster than had ever been known before or since, had, in honour of the king's visit, received a new coat of paint. There are some very curious old pictures in the castle, (which luckily were not repainted for the same grand occasion,) among them an original portrait of Albert Durer. In the courtyard of the fortress stands an extraordinary relic—the old lime-tree planted by the Empress Cunegunde, wife of the Emperor Henry III.; every thing is done to preserve it from decay, and it still bears its leafy honours, after beholding the revolution of seven centuries.
From the fortress we look down upon the house of Albert Durer, which is preserved with religious care; it has been hired by a society of artists, who use it as a club-room: his effigy in stone is over the door. In every house there is a picture or print of him; or copies, or engravings from his works, and his head hangs in every print shop. The street in which he lived is called by his name; and the inhabitants have moreover built a fountain to his honour, and planted trees around it;—in short, Albert Durer is wherever we look—wherever we move. What can Fuseli mean by saying that Albert Durer "was a man of extreme ingenuity without being a genius?" Does the man of mere ingenuity step before his age as Albert Durer did, not as an artist only, but as a man of science? Is not genius the creative power? and did not Albert Durer possess this power in an extraordinary degree? Could Fuseli have seen his four apostles, now in the gallery of Munich, when he said that Albert Durer never had more than an occasional glimpse of the sublime?
Fuseli, as an artist, is an example of what I have seen in other minds, otherwise directed. The stronger the faculties, the more of original power in the mind, the less diffused is the sympathy, and the more is the judgment swayed by the individual character. Thus Fuseli, in his remarks on painters—excellent and eloquent as they are—scarcely ever does justice to those who excel in colour. He perceives and admits the excellence, but he shows in his criticisms, as in his pictures, that the faculty was wanting to feel and appreciate it: his remarks on Correggio and Rubens are a proof of this. In listening to the criticisms of an author on literature—of a painter on pictures—and, generally, to the opinion which one individual expresses of the character and actions of another, it is wise to take into consideration the modification of mind in the person who speaks, and how far it may, or must, influence, even where it does not absolutely distort, the judgment; so many minds are what the Germans call one-sided! The education, habits, mental existence of the individual, are the refracting medium through which the rays of truth pass to the mind, more or less bent or absorbed in their passage. We should make philosophical allowance for different degrees of density.
Hans Sachs,[ 22] the old poet of Nuremberg, did as much for the Reformation by his songs and satires, as Luther and the doctors by their preaching; besides being one of the worshipful company of meister-singers, he found time to make shoes, and even enrich himself by his trade: he informs us himself that he had composed and written with his own hand "four thousand two hundred mastership songs; two hundred and eight comedies, tragedies, and farces; one thousand seven hundred fables, tales, and miscellaneous poems; and seventy-three devotional, military, and love songs." It is said he excelled in humour, but it was such as might have been expected from the times—it was vigorous and coarse. "Hans," says the critic, "tells his tale like a convivial burgher, fond of his can, and still fonder of his drollery."[ 23] If this be the case, his house has received a very appropriate designation: it is now an ale-house, from which, as I looked up, the mixed odours of beer and tobacco, and the sound of voices singing in chorus, streamed through the old latticed windows. "Drollery" and "the can" were as rife in the dwelling of the immortal shoemaker as they would have been in his own days, and in his own jovial presence.
In the church of St. Sibbald, now the chief Protestant church, I was surprised to find that most of the Roman Catholic symbols and relics remained undisturbed: the large crucifix, the old pictures of the saints and Madonnas had been reverentially preserved. The perpetual light which had been vowed four centuries ago by one of the Tucher family, was still burning over his tomb; no puritanic zeal had quenched that tiny flame in its chased silver lamp; and through successive generations, and all revolutions of politics and religion, maintained and fed by the pious honesty of the descendants, it still shone on,
Like the bright lamp that lay in Kildare's holy fane,
And burned through long ages of darkness and storm!
In this Protestant church, even the shrine of St. Sibbald has kept its place, if not to the honour and glory of the saint, at least to the honour and glory of the city of Nuremberg; it is considered as the chef-d'œuvre of Peter Vischer, a famous sculptor and caster in bronze, cotemporary with Albert Durer. It was begun in 1506, and finished in 1519, and is adorned with ninety-six figures, among which the twelve apostles, all varying in character and attitude, are really miracles of grace, power, and expression; the base of the shrine rests upon six gigantic snails, and the whole is cast in bronze, and finished with exquisite skill and fancy. At one end of this extraordinary composition the artificer has placed his own figure, not obtrusively, but retired, in a sort of niche; he is represented in his working dress, with his cap, leather apron, and tools in his hand. According to tradition, he was paid for his work by the pound weight, twenty gulden (or florins) for every hundred weight of metal; and the whole weighs one hundred and twenty centners, or hundred weight.
The man who showed us this shrine was descended from Peter Vischer, lived in the same house which he and his sons had formerly inhabited, and carried on the same trade, that of a smith and brass-founder.
The Moritz-Kapel, near the church, is an old gothic chapel once dedicated to St. Maurice, now converted into a public gallery of pictures of the old German school. The collection is exceedingly curious; there are about one hundred and forty pictures, and besides specimens of Mabuse, Albert Durer, Van Eyck, Martin Schoen, Lucas Kranach, and the two Holbeins, I remember some portraits by a certain Hans Grimmer, which impressed me by their truth and fine painting. It appears from this collection that for some time after Albert Durer, the German painters continued to paint on a gold ground. Kulmbach, whose heads are quite marvellous for finish and expression, generally did so. This gallery owes its existence to the present king, and has been well arranged by the architect Heideldoff and professor von Dillis of Munich.
In the market-place of Nuremberg stands the Schönebrunnen, that is, the beautiful fountain; it bears the date 1355, and in style resembles the crosses which Edward I. erected to Queen Eleanor, but is of more elaborate beauty; it is covered with gothic figures, carved by one of the most ancient of the German sculptors, Schonholfer, who modestly styles himself a stone-cutter. Here we see, placed amicably close, Julius Cæsar, Godfrey of Boulogne, Judas Maccabæus, Alexander the Great, Hector of Troy, Charlemagne, and king David: all old acquaintances, certainly, but whom we might have supposed that nothing but the day of judgment could ever have assembled together in company.
Talking of the day of judgment reminds me of the extraordinary cemetery of Nuremberg, certainly as unlike every other cemetery, as Nuremberg is unlike every other city. Imagine upon a rising ground, an open space of about four acres, completely covered with enormous slabs, or rather blocks of solid stone, about a foot and a half in thickness, seven feet in length, and four in breadth, laid horizontally, and just allowing space for a single person to move between them. The name, and the armorial bearings of the dead, cast in bronze, and sometimes rich sculpture, decorate these tombs: I remember one, to the memory of a beautiful girl, who was killed as she lay asleep in her father's garden by a lizard creeping into her mouth. The story is represented in bronze bas-relief, and the lizard is so constructed as to move when touched. From this I shrunk with disgust, and turned to the sepulchre of a famous worthy, who measured the distance from Nuremberg to the holy sepulchre with his garter: the implement of his pious enterprise, twisted into a sort of true-love knot, is carved on his tomb. Two days afterwards I entered the dominions of a reigning monarch, who is at this present moment performing a journey to Jerusalem round the walls of his room.[ 24] How long-lived are the follies of mankind! Have, then, five centuries made so little difference?
The tombs of Albert Durer, Hans Sachs, and Sandraart, were pointed out to me, resembling the rest in size and form. I was assured that these huge sepulchral stones exceed three thousand in number, and the whole aspect of this singular burial-place is, in truth, beyond measure striking—I could almost add, appalling.
I was not a little surprised and interested to find that the principal Gazette of Nuremberg, which has a wide circulation through all this part of Germany, extending even to Frankfort, Munich, Dresden, and Leipsig, is entirely in female hands. Madame de Schaden is the proprietor, and the responsible editor of the paper; she has the printing apparatus and offices under her own roof, and though advanced in years, conducts the whole concern with a degree of activity, spirit, and talent, which delighted me. The circulation of this paper amounts to about four thousand: a trifling number compared to our papers, but a large number in this economical country, where the same paper is generally read by fifty or sixty persons at least.
All travellers agree that benevolence and integrity are the national characteristics of the Germans. Of their honesty I had daily proofs: I do not consider that I was ever imposed upon or overcharged during my journey, except once, and then it was by a Frenchman. Their benevolence is displayed in the treatment of animals, particularly of their horses. It was somewhere between Nuremberg and Hof, that, for the first and only time, I saw a postilion flog his horse unmercifully, or at least unreasonably. The Germans very seldom beat their horses: they talk to them, remonstrate, encourage, or upbraid them. I have frequently known a voiturier, or a postilion, go a whole stage—which is seldom less than fifteen English miles—at a very fair pace, without once even raising the whip; and have often witnessed, not without amusement, long conversations between a driver and his steed—the man, with his arm thrown over the animal's neck, discoursing in a strange jargon, and the intelligent brute turning his eye on his master with such a responsive expression! In this part of Germany there is a popular verse repeated by the postilions, which may be called the German rule of the road. It is the horse who speaks—
Berg auf, ubertrieb mich nicht;
Berg ab, ubereil mich nicht;
Auf ebenen Weg, vershöne mich nicht;
Im Stahl, vergiss mich nicht.
which is, literally,
Up hill, overdrive me not;
Down hill, hurry me not;
On level ground, spare me not;
In the stable, forget me not.
The German postilions form a very numerous and distinct class; they wear a half-military costume—a laced or embroidered jacket, across which is invariably slung the bugle-horn, with its parti-coloured cord and tassels: huge jack-boots, and a smart glazed hat, not unfrequently surmounted with a feather (as in Hesse Cassel and Saxe Weimer) complete their appearance. They are in the direct service and pay of the government; they must have an excellent character for fidelity and good conduct before they are engaged, and the slightest failing in duty or punctuality, subjects them to severe punishment; thus they enjoy some degree of respectability as a body, and Marschner thought it not unworthy of his talents to compose a fine piece of music, which he called The Postilion's "Morgen-lied," or morning song. I found them generally a good-humoured, honest set of men; obliging, but not servile or cringing; they are not allowed to smoke without the express leave of the traveller, nor to stop or delay on the road on any pretence whatever. In short, though the burley German postilions do not present the neat compact turn-out of an English post-boy, nor the horses any thing like the speed of "Newman's greys," or the Brighton Age, and though the traveller must now and then submit to arbitrary laws and individual inconvenience; still the travelling regulations all over Germany, more especially in Prussia, are so precise, so admirable, and so strictly enforced, that no where could an unprotected female journey with more complete comfort and security. This I have proved by experience, after having tried every different mode of conveyance in Prussia, Bavaria, Baden, Saxony, and Hesse. My road expenses, for myself and an attendant, seldom exceeded a Napoleon a-day.