CHAPTER V
The Castle, the Walls and Mediæval Fortifications
“Aufwärts Ich mit dem Alten ging
Nach einer königlichen Veste,
Am Fels erbauet auf das Beste;
Manch Thurm auf Felsvorsprüngen lag,
Darin ein kaiserlich Gemach.
Geziert nach meisterlichen Sinnen
Die Fenster waren und die Zinnen;
Darum ein Graben war gehauen
In harten Fels.”
—Hans Sachs.
NUREMBERG is set upon a series of small slopes in the midst of an undulating, sandy plain, some 900 feet above the sea. Here and there on every side fringes and patches of the mighty forest which once covered it are still visible; but for the most part the plain is now freckled with picturesque villages, in which stand old turreted châteaux, with gabled fronts and latticed windows, or it is clothed with carefully cultivated crops or veiled from sight by the smoke which rises from the new-grown forest of factory chimneys.
The railway sets us down outside the walls of the city. As we walk from the station towards the Frauen Thor, and stand beneath the crown of fortified walls three and a half miles in circumference, and gaze at the old grey towers and picturesque confusion of domes, pinnacles and spires, suddenly it seems as if our dream of a feudal city has been realised. There, before us, is one of the main entrances, still between massive gates and beneath archways flanked by stately towers. Still to reach it we must cross a moat fifty feet deep and a hundred feet wide. True, the swords of old days have been turned into pruning-hooks; the crenelles and embrasures which once bristled and blazed with cannon are now curtained with brambles and wallflowers, and festooned with virginia creepers; the galleries are no longer crowded with archers and cross-bowmen; the moat itself has blossomed into a garden, luxuriant with limes and acacias, elders, planes, chestnuts, poplars, walnut, willow and birch trees, or divided into carefully tilled little garden plots. True it is that outside the moat, beneath the smug grin of substantial modern houses, runs that mark of modernity, the electric tram. But let us for the moment forget these gratifying signs of modern prosperity and, turning to the left ere we enter the Frauen Thor, walk with our eyes on the towers which, with their steep-pitched roofs and myriad shapes and richly coloured tiles, mark the intervals in the red-bricked, stone-cased galleries and mighty bastions, till we come to the first beginnings of Nuremberg—the Castle. There, on the highest eminence of the town, stands that venerable fortress, crowning the red slope of tiles. Roofs piled on roofs, their pinnacles, turrets, points and angles heaped one above the other in a splendid confusion, climb the hill which culminates in the varied group of buildings on the Castle rock. We have passed the Spittler, Mohren, Haller and Neu Gates on our way, and we have crossed by the Hallerthorbrücke the Pegnitz where it flows into the town. Before us rise the bold scarps and salient angles of the bastions built by the Italian architect, Antonio Fazuni, called the Maltese (1538-43).
Crossing the moat by a wooden bridge which curls round to the right, we enter the town by the Thiergärtnerthor. The right-hand corner house opposite us now is Albert Durer’s house. We turn to the left and go along the Obere Schmiedgasse and the row of houses labelled Am Oelberg, till we arrive at the top of a steep hill (Burgstrasse). Above, on the left, is the Castle, and close at hand the “Mount of Olives” Sculpture (see p. [201]).
We may now either go through the Himmels Thor to the left, or keeping straight up under the old trees and passing the “Mount of Olives” on the left, approach the large deep-roofed building between two towers. This is the Kaiserstallung, as it is called, the Imperial stables, built originally for a granary. The towers are the Luginsland (Look in the land) on the east, and the Fünfeckiger Thurm, the Five-cornered tower, at the west end (on the left hand as we thus face it). The Luginsland was built by the townspeople in the hard winter of 1377. The mortar for building it, tradition says, had to be mixed with salt, so that it might be kept soft and be worked in spite of the severe cold. The chronicles state that one could see right into the Burggraf’s Castle from this tower, and the town was therefore kept informed of any threatening movements on his part. To some extent that was very likely the object in view when the tower was built, but chiefly it must have been intended, as its name indicates, to afford a far look-out into the surrounding country. The granary or Kaiserstallung, as it was called later, was erected in 1494, and is referred to by Hans Behaim as lying between the Five-cornered and the Luginsland Towers. Inside the former there is a museum of curiosities (Hans Sachs’ harp) and the famous collection of instruments of torture and the Maiden (Eiserne Jungfrau), to which we shall refer at greater length in the next chapter. The open space
