"Limbourg on Lahn, July 3.—What a tiresome diligence-drive we have had from Coblentz here through endless forests, but we were well repaid as we descended upon Limbourg. Our apathetic German fellow-travellers were roused to 'wunderschön,' 'wunderliebliche,' and even A. gave one glance and faintly emitted the word 'pretty.' The view from the bridge is glorious. A precipitous rock rises out of the flats, with the Lahn rushing beneath, and all up one side the picturesque old black and white houses of the town, while growing out of the bare rock, its front almost on the precipice, like Durham, towers the magnificent cathedral, one of the oldest in Germany, abounding in all those depths and contrasts of colour which make the old German churches so picturesque—each window having its different moulding of blue, yellow, and red stone: and reflected in the clear water beneath. In the evening we walked to the neighbouring village of Dietz—a long rambling street of old houses, with the castle of Oranienstein overhanging them; and a wonderful ruined bridge, with the river dashing triumphantly through broken arches and over towers which have fallen into the stream."
"Marbourg, July 6.—We came in the diligence from Limbourg with an emigrant family returning home from America, and words cannot describe their ecstasies as we drew near Weilbourg and they recognised every place as a scene of childhood. 'Oh, look! there is the school! there is the hedge under which we used to have our breakfast!' The noble old castle of Weilbourg, on a precipice above the grey bridge over the Lahn, is very striking. The German waiter at the inn asked with great gravity if we admired it more than 'the castled crag of Drachenfels.' The endless forest scenery afterwards was only varied by the huge castle of Braunfels, till a long avenue brought us into the town of Wetzlar, which has a great red sandstone and golden-lichened cathedral, with a grim and grand Norman door called the Heidenthurm. At Giessen we joined the railway for Marbourg, and the clock which is now striking nine A.M. is that of St. Elizabeth![89]
"The Church of St. Elizabeth is almost out of the town; a rambling street of old timber houses reaches down to it, but its golden-grey spires have nothing between them and the dark forest. Inside, the grove of red sandstone pillars is quite unspoilt by images or altars: one beautiful figure of St. Elizabeth stands in a niche against a pillar of the nave, and that is all. In the transept is the 'heilige Mausoleum.' Its red steps are worn away by the pilgrims: the tomb is covered with faded gold and vermilion; on its canopy are remains of fresco-painting, and within is a beautiful sleeping figure of Elizabeth. All around are grey monuments of the Landgraves, her predecessors, standing upright against the walls. The choir opens into the sacristy, where is the golden shrine of the saint. As we reached it, a pilgrim was just emerging, deeply solemnised by a tête-à-tête with her bones. In her daughter's tomb the face is quite worn away by the hands of the pilgrims. The tomb of Conrad, her confessor, is there also. The sacristan unlocked a great chest to show us Bible tapestry worked by the hands of the saint. Some of the old pictures in the church portrayed the flight from the Wartburg, and St. Elizabeth washing the feet of the lepers: all reminded me of the stories you used to read to me as a very little child out of the great book at the Rectory.
"We went from the grave of St. Elizabeth to her palace—the great castle of Marbourg, seen far and wide over the country and overhanging the town, with a vast view over the blue-green billows of Thuringian pine-forest. The castle is divided into two parts, and you may imagine its size on hearing that 276 soldiers are now quartered in one of them. A guide, who knew nothing of either Luther or St. Elizabeth, except that they were both 'ganz heilige,' let us into the chapel where Luther preached, and the Ritter Saale, an old vaulted chamber where he met Zwingli and discussed Transubstantiation."
"Erfurth, July 8.—It is a delightful walk to the Wartburg from Eisenach. A winding path through a fir-wood leads to an opening whence you look across a valley to a hill crowned with a worn gateway, something like one of the gates of Winchelsea. In the intervening hollow some stone steps lead to a dark gap in the wood, where is the fountain of St. Elizabeth under a grey archway with sculptured pillars and overgrown with ferns. The water here is excluded from the public as too holy for common use, but a little is let out for the people into a stone basin below. By the side is a stone seat, where it is said that Elizabeth used to wash herself.
"Again a narrow path edged with blue campanulas, and then the grey arch of the castle-gateway. You look down at the side, and half-way down the gorge you see a little plot of ground called 'Luther's Garden.'
"The Wartburg is much like an English farmhouse. If Priest's Hawse[90] was perched on the top of a mountain, it would resemble it. It has an irregular court, of which rugged rock is the pavement, surrounded with scattered buildings, some black and white, and some castellated. The latter, which have two rows of Norman arches and pillars and a kind of keep-tower at the end, were the palace of the Landgraves and Elizabeth. The whole was full of women and guides, geese, chickens, and dogs. We had some time to wait in a room, where we were refreshed with 'lemonade' made of raspberries, before we were shown over the castle—the most interesting points being the chapel with Luther's pulpit, and the room of his conflict with the devil, full of old pictures and furniture, but with nothing which can be relied upon as contemporary except his table and a stone which he used as a foot-stool. When he threw the inkstand at the devil, the ink made a tremendous splash upon the wall, but there is no trace of it now: the relic collectors have scraped the wall away down to the bare stones.
"At the last moment at Eisenach I could not resist rushing out to sketch 'Conrad Cotta's House,' where you have so often described how Ursula Cotta first found the little Martin Luther singing hymns.
"The heat here at Erfurth is so great that I have been in a state of perpetual dissolution. It is a dull town with a great cathedral, and another church raised high above the market-place and approached by long flights of steps. The Waisenhaus is an orphan institution occupying the Augustinian convent where Luther lived as a monk. All there is the same as in his time—the floors he used to sweep, the doors he had to open, and the courtyard filled with flowers and surrounded by wooden galleries. A passage lined with pictures from the Dance of Death leads to the cells. Luther's cell is a tiny chamber with a window full of octagonal glass, and walls covered with texts: two sides were written by himself. The furniture is the same, and even the inkstand from which I had to write my name, while the woman who showed me the place mentioned that the pens were not the same, for Luther's pens were worn out long ago! There is a portrait by Cranach and writing of the three friends, Luther, Bugenhagen, and Melancthon.
"A. cannot speak a word of German, and never knows what to do on the simplest occasion, loses everything, is always late for the train, cannot pack his things up, will not learn the money, and has left every necessary of life at home and brought the most preposterous things with him."