, testify to his industry and anxiety for
truth as the basis of his labours.

[Illustration: Fig. 234.--View from Duerer's House.]

The old town of Nuernberg was eminently picturesque, and was enriched
with artistic works by the best men of the day. The wealth of its
inhabitants was expended on their houses within and without, and the
churches were lavishly adorned with paintings and sculpture, as well as
with other riches of art connected with the service of religion. In its
quaint old streets might be studied the fruits of the faith and feeling
of its inhabitants. Numerous figures of the Holy Mother decorated the
street corners, or were enshrined over the portals of the doors of the
merchantmen, the light burning before each serving the double purpose of
religion and utility, in a city of dark tortuous lanes. The ingenuity of
the mason and sculptor was taxed in varied inventions for the further
adornment of the homes of the wealthy; and the numerous specimens of
artistic ironwork still remaining attest the taste and opulence of the
merchant princes of the old city. Art was thus wedded to utility as well
as to luxury, and at every step in Nuernberg the attention will still be
arrested by its influence.

[Illustration: Fig. 235.--The Residence of Albert Duerer.]

Duerer lived in a large mansion at one extremity of the town, close to
the gate from whence he could in a few minutes escape from the pent-up
city to the open fields. His house is one of those roomy buildings in
which there is enough timber to build at least a dozen modern houses.
The lower portion is stone, the upper, with its open galleries, of wood.
The view from his doors embraced the town gate, and the picturesque
tower, known as the Thiergartenthor, beside it. The house between that
and the narrow lane which leads up the castle hill was the property at
that time of one Martin Koetzel, who, having twice employed himself in
pilgrimages to Jerusalem, and in measuring the number of paces the
Saviour trod on the Via Dolorosa, had determined on his return to
consider his house as the representative of Pilate's house, the Gate of
Nuernberg as that of Jerusalem, the churchyard of St. John in the fields
beyond, as Calvary, and the road between as the Via Dolorosa, and to
cause representations of the events of the Saviour's journey in the line
of this road at the various distances where they were traditionally
supposed to occur; and the chief sculptor of Nuernbe