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Their Silver Wedding Journey, a novel by William Dean Howells |
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Part 2 - Chapter 45 |
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_ PART II CHAPTER XLV 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. _ |
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