went at a picnic on the arm of a head waiter. She seemed
to have no office in the drama except to illustrate a German conception
of American girlhood, but even in this simple function she seemed rather
to puzzle the German audience; perhaps because of the occasional English
words which she used.

To the astonishment of her compatriots, when they came out of the theatre
it was not raining; the night was as brilliantly starlit as a night could
be in Germany, and they sauntered home richly content through the narrow
streets and through the beautiful old Damenthor, beyond which their hotel
lay. How pretty, they said, to call that charming port the Ladies' Gate!
They promised each other to find out why, and they never did so, but
satisfied themselves by assigning it to the exclusive use of the slim
maidens and massive matrons of the old Nuremberg patriciate, whom they
imagined trailing their silken splendors under its arch in perpetual
procession.

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 thi