The life of the Nuremberg patriciate, now extinct in the control of the
city which it builded so strenuously and maintained so heroically, is
still insistent in all its art. This expresses their pride at once and
their simplicity with a childish literality. At its best it is never so
good as the good Italian art, whose influence is always present in its
best. The coloring of the great canvases is Venetian, but there is no
such democracy of greatness as in the painting at Venice; in decoration
the art of Nuremberg is at best quaint, and at the worst puerile.
Wherever it had obeyed an academic intention it seemed to March poor and
coarse, as in the bronze fountain beside the Church of St. Lawrence. The
water spins from the pouted breasts of the beautiful figures in streams
that cross and interlace after a fancy trivial and gross; but in the base
of the church there is a time-worn Gethsemane, exquisitely affecting in
its simple-hearted truth. The long ages have made it even more affecting
than the sculptor imagined it; they have blurred the faces and figures in
passing till their features are scarcely distinguishable; and the
sleeping apostles seem to have dreamed themselves back into the
mother-marble. It is of the same tradition and impulse with that supreme
glory of the native sculpture, the ineffable tabernacle of Adam Krafft,
which climbs a column of the church within, a miracle of richly carven
story; and no doubt if there were a Nuremberg sculptor doing great things
today, his work would be of kindred inspiration.
The descendants of the old patrician who ordered the tabernacle at rather
a hard bargain from the artist still worship on the floor below, and the
descendants of his neighbor patricians have their seats in the pews
about, and their names cut in the proprietary plates on the pew-tops. The
vergeress who showed the Marches through the church was devout in the
praise of these aristocratic fellow-citizens of hers. "So simple, and yet
so noble!" she said. She was a very romantic vergeress, and she told them
at unsparing length the legend of the tabernacle, how the artist fell
asleep in despair of winning his patron's daughter, and saw in a vision
the master-work with the lily-like droop at top, which gained him her
hand. They did not realize till too late that it was all out of a novel
of Georg Ebers's, but added to the regular fee for the church a gift
worthy of an inedited legend.
Even then they had a pleasure in her enthusiasm rarely imparted by the
Nuremberg manner. They missed there the constant, sweet civility of
Carlsbad, and found themselves falling flat in their endeavors for a
little cordiality. They indeed inspired with some kindness the old woman
who showed them through that cemetery where Albert Durer and Hans Sachs
and many other illustrious citizens lie buried under monumental brasses
of such beauty:
"That kings to have the like, might wish to die."
But this must have been because they abandoned themselves so willingly to
the fascination of the bronze skull on the tomb of a fourteenth-century
patrician, which had the uncommon advantage of a lower jaw hinged to the
upper. She proudly clapped it up and down for their astonishment, and
waited, with a toothless smile, to let them discover the bead of a nail
artfully figured in the skull; then she gave a shrill cackle of joy, and
gleefully explained that the wife of this patrician had killed him by
driving a nail into his temple, and had been fitly beheaded for the
murder.
She cared so much for nothing else in the cemetery, but she consented to
let them wonder at the richness of the sculpture in the level tombs, with
their escutcheons and memorial tablets, overrun by the long grass and the
matted ivy; she even consented to share their indignation at the
destruction of some of the brasses and the theft of others. She suffered
more reluctantly their tenderness for the old, old crucifixion figured in
sculpture at one corner of the cemetery, where the anguish of the Christ
had long since faded into the stone from which it had been evoked, and
the thieves were no longer distinguishable in their penitence or
impenitence; but she parted friends with them when she saw how much they
seemed taken with the votive chapel of the noble Holzschuh family, where
a line of wooden shoes puns upon the name in the frieze, like the line of
dogs which chase one another, with bones in their mouths, around the
Canossa palace at Verona. A sense of the beautiful house by the Adige was
part of the pleasing confusion which possessed them in Nuremberg whenever
they came upon the expression of the gothic spirit common both to the
German and northern Italian art. They knew that it was an effect which
had passed from Germany into Italy, but in the liberal air of the older
land it had come to so much more beauty that now, when they found it in
its home, it seemed something fetched from over the Alps and coarsened in
the attempt to naturalize it to an alien air.
In the Germanic Museum they fled to the Italian painters from the German
pictures they had inspired; in the great hall of the Rathhaus the noble
Processional of Durer was the more precious, because his Triumph of
Maximilian somehow suggested Mantegna's Triumph of Caesar. There was to
be a banquet in the hall, under the mighty fresco, to welcome the German
Emperor, coming the next week, and the Rathhaus was full of work-people
furbishing it up against his arrival, and making it difficult for the
custodian who had it in charge to show it properly to strangers. She was
of the same enthusiastic sisterhood as the vergeress of St. Lawrence and
the guardian of the old cemetery, and by a mighty effort she prevailed
over the workmen so far as to lead her charges out through the corridor
where the literal conscience of the brothers Kuhn has wrought in the roof
to an exact image of a tournament as it was in Nuremberg four hundred
years ago. In this relief, thronged with men and horses, the gala-life of
the past survives in unexampled fulness; and March blamed himself after
enjoying it for having felt in it that toy-figure quality which seems the
final effect of the German gothicism in sculpture.