{83} This fact has been acknowledged by the Romans. For when they had conquered us, the Alemanni on the Rhine, and, crossing the river, saw that the dwellers on the further bank were like us in courage, stature, and fair hair, as well as in customs and way of life, they called us Germans, that is, brothers. But it is certain that we, these Germans, are like the real Gauls neither in speech and appearance, nor in character and institutions. Hence our city and all Alsace is right in preserving the freedom of the Roman Empire, and will maintain it also in the future, in spite of all French attempts to win over or conquer us."[101] Such fervent expressions of German feeling must have called Maximilian's attention to Wimpheling, even without his vigorous defence of the Imperial dignity. In 1510, when Maximilian was opposed to Julius II., and hoped to intimidate him by recounting the wrongs of the German nation, he could think of none more versed in them than Wimpheling, and therefore requested him to draw up a summary of the French Pragmatic Sanction, such as would suit the needs of Germany. In March, 1511, he wrote to Wimpheling that he was about to hold an assembly at Koln, to deliberate with the French envoys as to summoning a general Council; and he begged him to think out means of redressing the various abuses, "without touching religion." As a result of this request, Wimpheling drew up his _Gravamina Germanicae Nationis_ and added the desired _Remedia_.[102] But {84} the Emperor's policy had already changed, and Wimpheling was informed through the Imperial Councillors that the moment was unfavourable for publication. Indeed, his labours only received the attention which they deserved, when they were employed as the basis of "The Hundred Grievances of the German Nation" (1522).[103] [Illustration: SEBASTIAN BRANT] Side by side with Wimpheling stands Sebastian Brant, whose literary worth has probably obtained wider recognition than that of any German Humanist, with the sole exception of Erasmus. His _Narrenschiff_ ("The Ship of Fools") is penetrated by a deep religious spirit, and fearlessly attacks all the corruptions and abuses of the day, "branding as fools all those who are willing, for things transitory, to barter things eternal."[104] Brant is in no sense a great poet; his verses are often stiff and ill-proportioned, and his matter frequently sinks to the level of the common-place. But the appearance of "The Ship of Fools" caused an unparalleled stir, not merely in the republic of letters, but throughout the whole German people; and it owes its extraordinary popularity to its skilful intermixture of problems which were in all men's minds. He was the first to give full expression to the ideas of the middle classes (anticipating the manly independence of the Scottish poet,[105]) when he sang-- {85}