Identifier: nurembergitsartt00repa (find matches)
Title: Nuremberg and its art to the end of the 18th century.
Year: 1905 (1900s)
Authors: Rée, Paul Johannes, b. 1858 Palmer, G. H. (George Henry), b. 1871, tr
Subjects: Art
Publisher: London : H. Grevel & Co. New York : C. Scribner's Sons (etc., etc.)
Contributing Library: Boston Public Library
Digitizing Sponsor: Boston Public Library

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d onthe banks of an insignificant stream, owed its characteristic beauty entirely tothe industry and capacity of its inhabitants. The Emperor Frederick II. recognisedthis when he issued an important charter to the city, in 1219, and grantedit exceptional privileges, because it possesses neither vineyards nor shipping andis situated on a very stubborn soil. It was felt that the genius of German arthad a home there, and that it was no accident that Diirer, the greatest andmost German of German masters, was born there. True it is that there are other German towns remarkably distinguished byart. We must pass through the Saxon lands, and journey down the Rhine and INTRODUCTION. Danube, to acquaint ourselves with the noblest and most imposing creations ofGermanys ecclesiastical architecture; it is from the green of the Thiiringer Waldthat the Wartburg, the most stately of its castles, greets our eyes; whilst Heidel-berg, its most gorgeous palace, is mirrored in the waters of the Neckar. But
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Fig. 2. The Heidenturm (Pagans Tower) in the Imperial Castle.Phot(jgraph by F. Schmidt. nowhere do we seem to breathe the atmosphere of German art so entirely andexclusively as in Nuremberg. It is wonderful that, while centuries have built at Nuremberg, each in itsown fashion and each with distinctive forms and a character of its own, theyhave joined their work so harmoniously together, and created every part withsuch spirit and full power, that the whole gives an impression of unity (fig. i).Generations have passed, and with them taste and artistic ability have varied, 4 INTRODUCTION. but the genius of Nurembergs builders ensured that the unity of its artisticcharacter should not be overthrown, until the 19^ century came and put an endto the beautiful harmony that had reigned there. The absence of style thatmarks our civilisation of to-day is doubly felt in a city, which owes its wonderfulaspect to an unbroken feeling for style in the past and has saved so many mani-festations of tha

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