>ii Class \ ZD 2,277 1 Book. %righrF \&&& CGBSIGHT DEPOSU6 ?j£ ATf-fHRiNS FROM THE PAVEMENT '2 gREViSE, AS A M. FLOWERET OF THE SOIL , HE NOBILITY OF LABOR,-- THE LONK PEDIGREE OF "■OIL Jpr^mtorjj w Jlttwmkrjj BY * HENRY ¥. LONGFELLOW^ H ILLUSTRATED* WITH K amentn-Cight PjotogramtKa bg tlje <&cbbk & ffasdm (So., Ctmiteb H ILLUMINATED * AND ♦ ARRANGED K BY iHorD ffi. anil ^mg (Eomeggs 6 PHILADELPHIA GEBBIE & CO., PUBLISHERS 1888 COPYRIGHTED, 1888, BY GEBBIE &. CO. Published by permission of and by arrangement with Houghton, Mifflin & Co., publishers of Longfellow's works. I fN these days of demolition, when the utilitarian Zeitgeist sweeps through towns and cities, levelling walls, tearing down ancient buildings, obliterating old landmarks, and raising over the ruins more or less successful imitations of the model city of the century, Paris, there is still remaining an almost unchanged picture of the German towns of the Middle Age. Over a wide moat, through feudal walls, guarded still by a hun- dred towers, we enter the gates of Nuremberg. The steep, narrow streets, the houses with high-pitched, red-tiled roofs, broken by long rows of little windows, through which one fancies the tiny house gnomes may be peeping, the rich Gothic and Renaissance deco- rations lavished on lofty gables and oriel windows, street fountains and church portals, bring to mind the admiring words of that trav- eller Pope, Eneas Sylvius, that a simple burgher of Nuremberg was better lodged than the King of Scotland. From the great storehouses filled with hops, comes a drowsy fra- grance, that fills the air and wraps one in a dream of the long ago. In fancy, hand-in-hand with the three great sculptors, we pace the quiet streets. Here, enriched with carvings of electors and heroes, stands the Beautiful Fountain, still, as of old, the centre of the business life of the town, and, in the kindly belief of a simple- hearted people, the dispenser of all good gifts. " Bs ist ein Geschenk von dem Schone Brunnen," says the house-mother, when the chil- dren stand in admiring circle round the new baby. Passing beneath the Virgin train that keep watch over the Bride's Door, we pause to study the great bronze sarcophagus and canopy, which made Peter Vischer no unworthy rival of Ghiberti and Donatello. Like twin castles, on either side the Pegnitz, stand the lofty churches of St. Se- bald and St. Lawrence. From Sebald's side we cross the quaint old bridge to the heights St. Lawrence guards, and from his exquisite shrine the strong, earnest face of Adam Krafft looks up to us, as if we had surprised him in the midst of his work ; while Veit Stoss bids us look above, where hangs his curious carving of the Annunci- ation. But though the Sacrament-House is now empty, and no clouds of incense dim the " painted air," the statues and relics of the saints remain uninjured in their ancient shrines and niches. With a blush of shame for the iconoclastic fury of our Puritan ancestors, we admire the noble toleration of an art-loving people, which, though their city stood out the first of the free imperial towns as a cham- pion of Protestantism, preserves with jealous care the works of her great artists of another faith. The grand chorales of Luther are echoing to-day through the high arches, and the simple forms of worship are carried on without distraction, amid the altars and pic- tures of the Church of Rome. Can we wonder that the greatest of her sons should declare that he " chose to live in a moderate manner in Nuremberg" rather than "to' be great and rich elsewhere." The name of Albrecht Diirer will be linked to all time with the brightest pages of the history of his beloved city. When we climb the steep street to his house, still standing close to the walls of the ancient castle, we are at no loss to tell where he obtained the rich architectural effects he delighted to introduce into the landscapes of his pictures. Through the small, low-ceiled rooms we walk with reverent tread, for here for fifteen years he worked upon that marvellous series of pictures of the life and passion of our Lord, in which the pure faith and devotion of the artist impress us' as nowhere else, except when we stand in the convent cells of San Marco, and gaze on the walls where, with tear-dimmed eyes, Fra Augelico painted the loved form of his crucified Lord. In the Life of the Virgin we have a lovely Nuremberg idyll, scenes, it ma}' be, from the family life of this very home. We climb the narrow oaken stair and look from the small windows up to the castle, where for a time dwelt that restless, romantic spirit whom Albrecht Diirer delighted to call "his king" and "the dear Prince Maximiliau ; " and the poetic nature of the White King found in Diirer the artist best fitted to illustrate the semi-allegoric history of his life and exploits, which he never wearied writing. In this old house, in Passion Week, 1528, the earthly life of Albrecht Diirer ended, and without doubt his prayer was answered : " The Lord God grant that I also may have a happy end, and that God with His heavenly host, my father, mother and friends, will be present at my death." As a small tribute to the memory of our great poet, whose word-pictures have led many wanderers from his own land thither, and in loving gratitude for the happy days we were ourselves per- mitted to spend there, this little souvenir of Nuremberg has been prepared. C. C. List of Photogravure Illustrations. / i. Frontispiece — Portrait of Albrecht Diirer, by himself. f 2. Title Page— -The Bride's Door, St. Sebald's Church. 3. The Pegnitz. 4. Diirer Platz and Castle. 5. Emperor Maximilian, from Hofkirche, Innsbruck. . 6. Fleischbank. \ 7. Heidenthurm, Nuremberg Castle. . 8. St. Sebald's Rectory. ■ 9. The Schone Brunnen. " 10. Portal of St. Lorenz. > n. Shrine of St. Sebald, by Peter Vischer. . 12. Pyx, Church of St. Lorenz, by Adam Krafft. , 13. Albrecht Diirer's House. , 14. Praying Hands, by Albrecht Diirer, Museum, Vienna. 15. Churchyard of St. John and Tomb of Albrecht Diirer. 1 16. Diirer Platz and Statue of Albrecht Diirer. 17. Church of St. Lorenz. 18. Old Bridge. 19. General View of Nuremberg from the Castle. 20. Market Place and Schone Brunnen. . 3i. Statue of Hans Sachs. , 22. Stammhof. 23. Portrait of Hans Sachs. 24. Himmelsthurm, Nuremberg Castle. 25. Charlemagne, by Albrecht Diirer. 26. Hans Sachs and Albrecht Diirer. 27. Panier's Platz. 28. Melancolia, by Albrecht Diirer. List of Illuminated Initials. i. — I — From Italian Illuminations, Fifteenth Century. 2. — Q, — From Summa Bartholomsei Pisani Ord. Prsedie. de Casibus Conscientise, 1475. 3. — M — Italian, British Museum, Fifteenth Century. 4. — A — From Orthographia Practica, 1548. — I — From Golden Bible, printed at Augsburg, end of Fifteenth Cen- tury. Tailpiece — Queen Cunegunde, by Hans Burgmair. 6. — — From Harleian Coll., Fifteenth Century. 7.— E — MSS. Written in Spain, Fifteenth Century. A — Fust and Schoeffer's Psalter, about 1457. I — Volume of Latin Poems, British Museum, Fifteenth Century. Tailpiece — St. Sebald, by Peter Vischer. 10. — I — From Fust and Schoeffer's Bible, about 1457. Tailpiece — St. Lorens, by Albrecht Diirer. 11. — H — From a Copy of Romaunt de la Rose, beginning of Sixteenth Century. From an Engraving on Wood, beginning of Sixteenth Century. From "Titus Livius," Fifteenth Century. From German Bible, printed at Wittenberg, 1584. Italian, British Museum, Fifteenth Century. From Summa Bartholomsei, about 1475. From MSS. Written in Spain, Fifteenth Century. Tailpiece — Armourer, from a Wood-cut of Sixteenth Century. From Fust and Schoeffer, about 1457. From Orthographia Practica, 1548. Tailpiece — Shoemaker, from a Wood-cut of Sixteenth Century. From a Missal, British Museum, Fifteenth Century. From Fust and Schoeffer, about 1457. From Italian Illuminations, Sixteenth Century. From Golden Bible, printed at Augsburg, Fifteenth Century. From a Copy of the Sforziada, British Museum, 1490. From "Titus Livius," Fifteenth Century. From the Missale Traijectense, 1515. 12 — H *3 — E 14. — F I 5- — T 16. — F 1 7- — A 18. — T 19. — H 20. — B 21. — P 22 — A 23- — V 24. — N 25- — T 26. -G Small Initials from a Beuedictionale, about 1480, and Alphabets of the end of the Fifteenth Century. THE PEGNITZ. V N THE VALLEY OF THE 1/ESNITZ, WHERE AGROSS BROAD MEADOW+LANDS R th> 2E THE BLUE riRANGONIAN MOUNTAINS:, IfUREMBERS THE ANCIENT, STANDS. DURER PLfiTZ SND CISTLE. 4B UAINT OLD TOWN OP TOIL AND TRAFFIC, QUAINT OLD TOWN OF ART AND SONS, EMORIES HAUNT THY POINTED SABLES, LIKE THE ROOKS THAT ROUND THEM THRONK EMPEROR MAXIMILIAN, FROM HOFKIRCHE, INNSBRUCK. Ji|[ ddle/Ig h EMORIES OP THE \lfEDDIiEnSE8;, WHEN THE EM-+ PERORS, ROUGH AND BOLD, AD THEIR DWELL INS IN THY GftSTLE, TIME+DEPYI 8ENTURIES OLD FLEISCHBMK. ^anT*~ PTt ND TOY BRAVE AND THRIFTY BURGERS BOASTED, IN II! THEIR UN80UTH RHYME, HAT THEIR SREAT IMPERIAL 1 TY STRETCHED ITS' HAND THROUGH EVERY SLIME y- HEIDENTHURM, NUREMBERG CASTLE. N THE- (SOU RT+ YARD OP THESASTLE, BOUND WITH MANY AN IRON BAND, yV^ueen a LINISUNDE 8 HAND ST. SEBILD'S RECTORY, N THE SQUARE THE ORIEL WINDOW, WHERE IN OLD MEROIG DAYS ffl AT THE POETV/ELSHIOR SINSIN8 Jl AISERV/AXIM IL J\ai8erJ1^; IAN'S PRAISE. THE SCHONE BRUNNEN. VERYWHERE JL SEE AROUND ME RISE THE WONDROUS OUNTAINS WROUSMT WITH RISHEST SSULPTURE STANDING N TOE SOMMON MART PORTAL OF ST. LORENZ. ND ABOVE SATUEDRAL DOORWAYS SAINTS AND BISHOPS 6ARVED IN STONE, 1 Y A FORMER A0E COMMISSIONED AS APOSTLES TO OUR OWN SHRINE OF ST. SEBflLD, BY PETER YISCHER. N THE SRURSH OP SAINTED