The coloring of the great canvases is Venetian, but there is no such democracy of greatness as in the painting at Venice; in decoration the art of Nuremberg is at best quaint, and at the worst puerile.
Wherever it had obeyed an academic intention it seemed to March poor and coarse, as in the bronze fountain beside the Church of St.Lawrence.

The water spins from the pouted breasts of the beautiful figures in streams that cross and interlace after a fancy trivial and gross; but in the base of the church there is a time-worn Gethsemane, exquisitely affecting in its simple-hearted truth.

The long ages have made it even more affecting than the sculptor imagined it; they have blurred the faces and figures in passing till their features are scarcely distinguishable; and the sleeping apostles seem to have dreamed themselves back into the mother-marble.

It is of the same tradition and impulse with that supreme glory of the native sculpture, the ineffable tabernacle of Adam Krafft, which climbs a column of the church within, a miracle of richly carven story; and no doubt if there were a Nuremberg sculptor doing great things today, his work would be of kindred inspiration.
The descendants of the old patrician who ordered the tabernacle at rather a hard bargain from the artist still worship on the floor below, and the descendants of his neighbor patricians have their seats in the pews about, and their names cut in the proprietary plates on the pew-tops.

The vergeress who showed the Marches through the church was devout in the praise of these aristocratic fellow-citizens of hers.