of the exterior of which there is a very indifferent engraving in the Singularia Norimbergensia, and the adjoining chapel, may be each of the thirteenth century; but the tombstone of the founder of the monastery, upon the site of which the present Citadel was built, bears the date of 1296.  This tombstone is very perfect; lying in a loose, unconnected manner, as you enter the chapel:—­the chapel itself having a crypt-like appearance.  This latter is very small.

From the suite of apartments in the older parts of the Citadel, there is a most extensive and uninterrupted view of the surrounding country, which is rather flat.  At the distance of about nine miles, the town of Furth (Furta) looks as if it were within an hour’s walk; and I should think that the height of the chambers, (from which we enjoyed this view,) to the level ground of the adjacent meadows, could be scarcely less than three hundred feet.  In these chambers, there is a little world of curiosity for the antiquary:  and yet it was but too palpable that very many of its more precious treasures had been transported to Munich.  In the time of Maximilian II., when Nuremberg may be supposed to have been in the very height of its glory, this Citadel must have been worth a pilgrimage of many score miles to have visited.  The ornaments which remain are chiefly pictures; of which several are exceedingly precious.  Our guide hastened to show us the celebrated two Venuses of Lucas Cranach, which are most carefully preserved within folding doors.  They are both whole lengths, of the size of life.  One of them, which is evidently the inferior picture, is attended by a Cupid; the other is alone, having on a broad red velvet hat—­but, in other respects, undraped.  For this latter picture, we were told that two hundred louis d’or had been offered and refused—­which they well might have been; for I consider it to be, not the only chef-d’oeuvre of L. Cranach, but in truth a very extraordinary performance.  There is doubtless something of a poverty of drawing about it; but the colouring glows with a natural warmth which has been rarely surpassed even by Titian.  It is one of the most elaborated pictures—­yet producing a certain breadth of effect—­which can be seen.  The other Venus is perhaps more carefully painted—­but the effect is cold and poor.

Here is also, by the same artist, a masterly little head of St. Hubert; and, near it, a charming portrait of Luther’s wife, by Hans Holbein; but the back-ground of the latter being red and comparatively recent, is certainly not by the same hand.  The countenance is full of a sweet, natural expression; and if this portrait be a faithful one of the wife of Luther, we must give that great reformer credit for having had a good taste in the choice of a wife—­as far as beauty is concerned.  Here are supposed portraits of Charlemagne and Sigismund II., by Albert Durer—­which exhibit great freedom