In the average type of French novels, one feels the superiority to the English in quiet power, in the absence of the sensational and exaggerated, and in keeping close to the level of real human life. They rely for success upon perfection of style, and the most subtle analysis of human character; and therefore they are often painful,--just as Thackeray is painful,--because they look at artificial society, and paint what they see. Thus they dwell often on unhappy marriages, because such things grow naturally from the false social system in France. On the other hand, in France there is very little house-breaking, and bigamy is almost impossible, so that we hear delightfully little about them: whereas, if you subtract these from the current English novels, what is there left? * * * * * =_Charles Godfrey Leland,[57] 1824._= From "Meister Karl's Sketch-book." =_242._= ASPECT OF NUREMBERG. There is a picturesque disorder--a lyrical confusion about the entire place, which is perfectly irresistible. Turrets shoot up in all sorts of ways, on all sorts of occasions, upon all sorts of houses; and little boxes, with delicate Gothic windows, cling to their sides and to one another, like barnacles to a ship; while the houses themselves are turned round and about in so many positions that you wonder that a few are not upside down or lying on their sides by way of completing the original arrangement of no arrangement at all. It always seemed to me as if the buildings in Nuremberg had, like the furniture in Irving's tale, been indulging over night in a very irregular dance, and suddenly stopped in the most complicated part of a confusion worse confounded. Galleries, quaint staircases, and towers with projecting upper stories, as well as eccentric chimneys, demented door-ways, insane weather-vanes, and highly original steeples, form the most common-place materials in building; and it has more than once occurred to me that the architects of this city, even at the present day, must have imbibed their principles; not from the lecture-room, but from the most remarkable inspirations of some romantic scene-painter. During the last two centuries men appear to have striven, with a most uncommendable zeal, all over Christendom, to root out and extirpate every trace of the Gothic. In Nuremberg alone they have religiously preserved what little they originally had in domestic architecture, and added to it....