“Now, I want you to avoid the Stollers as far as you can see them. This is to be a real wedding-journey day, with no extraneous acquaintance to bother; the more strangers the better. Wurzburg is richer than anything I imagined. I've looked it all up; I've got the plan of the city, so that we can easily find the way. We'll walk first, and take carriages whenever we get tired. We'll go to the cathedral at once; I want a good gulp of rococo to begin with; there wasn't half enough of it at Ansbach. Isn't it strange how we've come round to it?”
She referred to that passion for the Gothic which they had obediently imbibed from Ruskin in the days of their early Italian travel and courtship, when all the English-speaking world bowed down to him in devout aversion from the renaissance, and pious abhorrence of the rococo.
“What biddable little things we were!” she went on, while March was struggling to keep Kenby in the background of his consciousness. “The rococo must have always had a sneaking charm for us, when we were pinning our faith to pointed arches; and yet I suppose we were perfectly sincere. Oh, look at that divinely ridiculous Madonna!” They were now making their way out of the crooked footway behind their hotel toward the street leading to the cathedral, and she pointed to the Blessed Virgin over the door of some religious house, her drapery billowing about her feet; her body twisting to show the sculptor's mastery of anatomy, and the halo held on her tossing head with the help of stout gilt rays. In fact, the Virgin's whole figure was gilded, and so was that of the child in her arms. “Isn't she delightful?”
“I see what you mean,” said March, with a dubious glance at the statue, “but I'm not sure, now, that I wouldn't like something quieter in my Madonnas.”
The thoroughfare which they emerged upon, with the cathedral ending the prospective, was full of the holiday so near at hand. The narrow sidewalks were thronged with people, both soldiers and civilians, and up the middle of the street detachments of military came and went, halting the little horse-cars and the huge beer-wagons which otherwise seemed to have the sole right to the streets of Wurzburg; they came jingling or thundering out of the aide streets and hurled themselves round the corners reckless of the passers, who escaped alive by flattening themselves like posters against the house walls. There were peasants, men and women, in the costume which the unbroken course of their country life had kept as quaint as it was a hundred years before; there were citizens in the misfits of the latest German fashions; there were soldiers of all arms in their vivid uniforms, and from time to time there were pretty young girls in white dresses with low necks, and bare arms gloved to the elbows, who were following a holiday custom of the place in going about the streets in ball costume. The shop windows were filled with portraits of the Emperor and the Empress, and the Prince-Regent and the ladies of his family; the German and Bavarian colors draped the facades of the houses and festooned the fantastic Madonnas posing above so many portals. The modern patriotism included the ancient piety without disturbing it; the rococo city remained ecclesiastical through its new imperialism, and kept the stamp given it by the long rule of the prince-bishops under the sovereignty of its King and the suzerainty of its Kaiser.
The Marches escaped from the present, when they entered the cathedral, as wholly as if they had taken hold of the horns of the altar, though they were far from literally doing this in an interior so grandiose. There area few rococo churches in Italy, and perhaps more in Spain, which approach the perfection achieved by the Wurzburg cathedral in the baroque style. For once one sees what that style can do in architecture and sculpture, and whatever one may say of the details, one cannot deny that there is a prodigiously effective keeping in it all. This interior came together, as the decorators say, with a harmony that the travellers had felt nowhere in their earlier experience of the rococo. It was, unimpeachably perfect in its way, “Just,” March murmured to his wife, “as the social and political and scientific scheme of the eighteenth century was perfected in certain times and places. But the odd thing is to find the apotheosis of the rococo away up here in Germany. I wonder how much the prince-bishops really liked it. But they had become rococo, too! Look at that row of their statues on both sides of the nave! What magnificent swell! How they abash this poor plain Christ, here; he would like to get behind the pillar; he knows that he could never lend himself to the baroque style. It expresses the eighteenth century, though. But how you long for some little hint of the thirteenth, or even the nineteenth.”
“I don't,” she whispered back. “I'm perfectly wild with Wurzburg. I like to have a thing go as far as it can. At Nuremberg I wanted all the Gothic I could get, and in Wurzburg I want all the baroque I can get. I am consistent.”