Old Continental Towns

by Walter M. Gallichan

Hunger and plague assailed the besieged within the gates, while without the foe cut off escape, and barred the entrance of food supplies. For weeks the siege endured. Thousands died from disease, thousands were slain by the enemy. In a valiant sally, Gustavus led his troops to the attack. The battle raged for hours, and both sides suffered terrible losses. Nuremberg might have fallen had Wallenstein been able to rally his hungry soldiers, but, as it was, he withdrew his force.

Let us now review the peaceful arts of the city. The record of Albert Durer’s life shows the character of a deeply religious man, devoted to his faith, and absorbed by his art. He was reared in Nuremberg, and was the son of a working goldsmith. Born in 1471, Durer was apprenticed at an early age to his father’s craft, in which, however, he did not excel, for his heart was set upon following the profession of a painter. His first master in the art was Wolgemut, whose portrait is one of Durer’s finest works. The young artist spent some time in Italy, studying, among other paintings, the work of Mantegna, and, on returning to his native town, he applied himself most industriously to his art.

Albert Durer’s pictures are scattered among the galleries of the world. Durer, in painting landscape, showed a singular modern feeling. In his portraits he was a realist, analytical in the use of his brush, and especially painstaking in painting fine hair, for which he used ordinary brushes with extreme dexterity, much to the amazement of Bellini.

In the Germanic Museum at Nuremberg there are five pictures by the master, and some copies of his works. The bulk of his paintings are in other galleries at Munich, Berlin, London, and elsewhere.

An interesting memorial of Albert Durer is the old gabled house in which he lived and worked. Here he toiled with the brush and the graver’s tools, and received as his guests the cultured men of the city. His life was simple and industrious, and his nature gentle and retiring. Durer had several pupils at Nuremberg, who carried on his tradition in painting and copper and wood engraving.

The art treasures of the churches are very numerous. St Sebald’s Church is a splendid Gothic pile, with many architectural triumphs, such as the highly decorated bride’s door, with its finely carved effigies, the high pillars, Krafft’s statuary and reliefs, and the crucifix by Stoss.

The splendid western door of the Frauenkirche must be seen by the visitor, for it is an instructive example of Gothic work of the richest design. St Lawrence has two figures, Adam and Eve, on its chief doorway; and some Scriptural reliefs adorn the entrance. The windows are beautifully painted.

There is a notable picture of “Christ and Mary” in the Imhoff Gallery.

There are several other churches in Nuremberg containing works of art, and offering study for the lover of architecture and painting. The work of the craftsmen of the Middle Ages is seen everywhere in these buildings, and a detailed description would fill a volume.

The Museum is in an ancient monastery, and in its numerous rooms will be found Roman antiquities, old metal work, pottery, furniture of the Middle Ages, weapons, a collection of books, some of them illustrated by Durer, and an array of paintings of the German school. A full and excellent catalogue is issued.