beauty, perhaps, though of less size, is St. Sebald’s Church; and according to the principle of equality we have mentioned, it encloses Peter Vischer’s Shrine of the Saint to whom the Church is dedicated, a design in bronze and silver, of elaborate workmanship and rare beauty. The outsides of these churches are adorned with carvings of Crucifixions, Assumptions, Marriages of the Virgin, &c., and the so-named Bride’s door of St. Sebald’s represents in the mouldings of either side the five wise and the five foolish virgins. There is a well-preserved specimen of A. Dürer in this church.
The Lutheran religion, which has appropriated these highly decorated edifices, as the hermit-crab ensconces itself in some rich voluted shell, is singularly stiff and unornate. A marriage in St. Sebald’s church illustrated this. A young soldier in his blue regimentals dragged in his betrothed by the hand. She was plainly dressed in black silk, with a black head-dress. The pastor, standing before the altar (on which, by the way, were lighted candles), had nothing white about him except his bands. On one side stood the presumable father-in-law, in sable suit, on the other a sexton or official, with a black funereal cloak reaching from the neck to the heels. No ring was given and received; the clergyman united his address and prayer in one unkneeling speech, and then the husband dragged his bride into the outer world in the same manner as at their entrance.
House of Albert Dürer.
The Burg, or castle, and the Rath-haus are the two most important buildings of the secular order. The castle is highly irregular in design, conforming itself to a rock which forms part of the outline of the town, and it holds a commanding position. In its court-yard is a lime-tree which has seen out seven centuries. Its top has been lost, and its bole is plastered over to keep it from further decay. Round it have recently been set up four well-executed figures in bronze. Here, too, is a well, in depth 300 feet, and on which the garrison in the castle depend entirely for their supply of water. A chapel in the tower, of Transition-Norman style, and another chapel superimposed on it, the latter used by the Imperial occupant, are highly interesting. The Rath-haus covers a large space. Its façade is in Renaissance, but it encloses the older hall of the city. Here the tendency of the place is seen,—always eminently conservative. This hall is a very fine room, and is adorned with some frescoes of A. Dürer and an imitator.
The most cherished names connected with Art in Nuremberg are those of Wohlgemuth, and his greater pupil, Albrecht Dürer; both painters, and the latter a carver in wood and stone besides. Dürer’s house is carefully preserved, and though not handsome or interesting externally, is one of those lions which a visitor had better die than not go and see. The city also honours the name of Adam Kraft, a sculptor of great power and wonderful