been for two budding Romanticists in its medievalism, its old Catholic churches, its old houses with the Nibelungen heroes above the doors. Their enthusiasm over the treasures of beautiful Nuremberg is, truth to say, far more natural than the long blindness of the eighteenth century to them. As to Lessing the word "Gothic" had simply meant "barbaric," so to Winckelmann the German Renaissance had been a closed book. Now the splendours of Nuremberg were gazed on by eager eyes. In a species of æsthetic intoxication the friends wandered round the churches and the churchyards; they stood by the graves of Albert Dürer and Hans Sachs; a vanished world rose before their eyes, and the life of ancient Nuremberg became to them the romance of art. The chapter in the _Herzensergüsse_ entitled _In Memory of Albert Dürer_ is the first-fruits of these sentiments, and at the same time an expression of the warm patriotic feeling of the young author. "In the days when Albert was wielding the brush, the German still played a distinctly characteristic and notable part on the stage of the world; and Dürer's pictures faithfully reproduce the serious, straightforward, strong German character, its spirit as well as its outward lineaments. In our days this vigorous German character has vanished, in art as well as in life.... The German art of those days was a pious youth, who had received a homely upbringing in a small town, amongst his relations--it has now become the conventional man of the world, who has lost the stamp of the small town, and along with it his originality." Yet this patriotic feeling in art is not Wackenroder's fundamental feeling; it is based upon a more comprehensive one. The little book inveighs throughout against all intolerance in art. Freedom from every compulsory rule, a freedom based upon deep and genuine love of beauty, is proclaimed in language which betrays the mimosa-like sensitiveness of this prophet of the new gospel of art. "He," says Wackenroder, "whose more sensitive nerves are keenly alive to the mysterious attraction which lies hidden in art, will often be deeply moved by what leaves another callous. He has the good fortune to have more frequent opportunities than other men for healthy mental excitement and activity." Such excitement and activity were, as we have seen, most easily and most naturally called forth by the musical treatment of poetry and by music itself--much less naturally by clearly defined corporeal forms of art.