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