From the artistic side, too, Bozen claims the attention of all who are interested in legendary lore, architecture, and antiquarian matters. As one passes along its chief streets, or explores its byways in the older part of it, one is delighted on almost every hand by vistas of fine houses, shady and charming courtyards, buildings with strangely constructed roofs, and fantastic gable ends, quaintly shaped bay windows, vaulted colonnades, and here and there, stowed away where least one would expect to find them, smaller courtyards with trellises covered with vines, and perhaps an ancient well of rust-red marble to give a finishing touch to the charming picture. [Illustration: A SOUTH TYROL FARMSTEAD] Numbers of artists pause at Bozen yearly on their way south into Italy via Verona to study the rich treasures in the galleries of the cities of Northern Italy, or to rest awhile on their return journey northwards. In Bozen is plenty to paint and plenty to admire, and the townsfolk are noted for the hospitality which still (notwithstanding the great influx of tourists of late years) distinguishes the frank and warm-hearted people of Tyrol in general. [Sidenote: BOZEN PARISH CHURCH] Chief amongst the buildings which will attract one's attention stands the Pfarrkirche or Parish Church, which with its elegant tower and open spire, over two hundred feet in height, forms a monument to the artistic and constructive skill of its Swabian builder Johann Lutz in the first years of the sixteenth century. The church is splendidly situated at one corner of the fine open Waltherplatz, which is planted with shady horse-chestnut trees, and, its roof of copper-green tiles set in a pattern, contrasts admirably with its walls and spire of red sandstone. In ancient times the building possessed two spires, both of which were destroyed or so injured as to necessitate their pulling down long before Lutz built his elegant structure. The church itself, which contains a fine altar-piece by a pupil of Titian, and a remarkable stone pulpit dating about the first decade of the sixteenth century, is, in the main, fourteenth-century work, although it was not actually finished until the third decade of the fifteenth, so some authorities state. In the centre of the Johann Platz stands a fine though simply conceived statue to Walther von der Vogelweide who was born about 1160 at Lajen, near Waidbruck, in which the poet is shown standing clad in a loose robe, with a biretta-like cap on his head and his hands crossed whilst holding a lute. The statue is the work of the late Heinrich Natter, one of the most famous of native sculptors, who was also the artist of the famous Berg Isel Hofer Monument, of the very finely conceived and well-executed statue of Ulrich Zwingli at Zurich, and many other works.