Having sauntered round and round, and returned almost to the very spot whence I had set out, I at last found the residence of the librarian.--On being admitted, I was introduced to a tall, sharp-visaged, and melancholy- complexioned gentleman, who seemed to rise six feet from the ground on receiving me. He read the Professor's note: but alas! could not speak one word of French. "Placetne tibi, Domine, sermone latino uti?" I answered in the affirmative; but confessed that I was totally out of the habit of speaking it in England: and besides, that our mode of pronunciation was very different from that of other countries. The man of dark vestments and sombre countenance relaxed into a gentle smile, as I added the latter part of this remark: and I accompanied him quickly, but silently, to the library in question. Its situation is surely among the most whimsical in existence. It is placed up one pair of stairs, to the left of the choir; and you ascend up to it through a gloomy and narrow stone staircase. If I remember rightly, the outward door, connecting with the stairs, is in the cathedral yard. The library itself is very small; and a print, being a portrait of its Donor, hangs up against the shelves--facing as you enter. I had never seen this print before. It was an interesting portrait; and had, I think, a date of somewhere about 1584. The collection was chiefly theological; yet there were a few old classics, but of very secondary value. The only book that I absolutely coveted, was a folio, somewhat charged with writing in the margins, of which the title and colophon are as follow:--for I obtained permission to make a memorandum of them. "Gutheri Ligurini Poetæ clarissimi diui Frid. pri Dece libri foeliciter editi: impssi per industriu & ingeniosu Magistru Erhardu Oeglin ciuem augustesem Ano Sesquimillesimo & septimo mese Apprilio" This edition contains M vj, in sixes. The preceding article is followed by six leaves, containing supplemental matter.
I asked my sable attendant, if this book could be parted with--either for money, or in exchange for other books? he replied, "that that point must be submitted to the consideration of a chapter: that the library was rarely or never visited; but that he considered it would not be proper to disturb its order, or to destroy its identity, since it was a sacred legacy." I told him that he reasoned well; but that, should the chapter change such a resolution, my address would be found at Vienna, poste restante, till the 20th of the following month. We parted in terms of formal politeness; being now and then a little checked in my discourse, by the reply, on his part, of "Non prorsus intelligo." I am glad, however, to have seen this secluded cabinet of books; which would have been the very place for the study of Anthony Wood or Thomas Hearne. It had quite an air of monastic seclusion, and it seemed as if scarcely six persons had trod the floor, or six volumes had been taken down from the shelves, since the day when the key was first turned upon the door which encloses the collection. After a few "salves," and one "vale," I returned to the White Stag.
The CATHEDRAL of ULM is doubtless among the most respectable of those upon the continent. It is large and wide, and of a massive and imposing style of architecture. The buttresses are bold, and very much after the English fashion. The tower is the chief exterior beauty. Before we mounted it, we begged the guide, who attended us, to conduct us all over the interior. This interior is very noble: and even superior, as a piece of architecture, to that of Strasbourg. I should think it even longer and wider--for the truth is, that the tower of Strasbourg Cathedral is as much too tall, as that of Ulm cathedral is too short, for its nave and choir. Not very long ago, they had covered the interior by a white wash; and thus the mellow tint of probably about five centuries--in a spot where there are few immediately surrounding houses--and in a town of which the manufactories and population are comparatively small--the latter about 14,000--thus, I say, the mellow tint of these five centuries (for I suppose the cathedral to have been finished about the year 1320) has been cruelly changed for the staring and chilling effects of whiting.
The choir is interesting in a high degree. At the extremity of it, is an altar--indicative of the Lutheran form of worship24 being carried on within the church--upon which are oil paintings upon wood, emblazoned with gilt backgrounds--of the time of Hans Burgmair, and of others at the revival of the art of painting in Germany. These pictures turn upon hinges, so as to shut up, or be thrown open; and are in the highest state of preservation. Their subjects are entirely scriptural; and perhaps old John Holbein, the father of the famous Hans Holbein, might have had a share in some of them. Perhaps they may come down to the time of Lucas Cranach. Whenever, or by whomsoever executed, this series of paintings, upon the high altar of the cathedral of Ulm, cannot be viewed without considerable satisfaction. They were the first choice specimens of early art which I had seen on this side of the Rhine; and I of course contemplated them with the hungry eye of an antiquary.
After a careful survey of the interior, the whole of which had quite the air of English cleanliness and order, we prepared to mount the famous tower. Our valet, Rohfritsch, led the way; counting the steps as he mounted, and finding them to be about three hundred and seventy-eight in number. He was succeeded by the guide. Mr. Lewis and myself followed in a more leisurely manner; peeping through the interstices which presented themselves in the open fretwork of the ornaments, and finding, as we continued to ascend, that the inhabitants and dwelling houses of Ulm diminished gradually in size. At length we gained the summit, which is surrounded by a parapet wall of some three or four feet in height. We paused a minute, to recover our breath, and to look at the prospect which surrounded us. The town, at our feet, looked like the metropolis of Laputa. Yet the high ground, by which we had descended into the town--and upon which Bonaparte's army was formerly encamped--seemed to be more lofty than the spot whereon we stood. On the opposite side flowed the Danube: not broad, nor, as I learnt very deep; but rapid, and in a serpentine direction. The river here begins to be navigable for larger boats; but there is little appearance of bustle or business upon the quays. Few or no white sails, floating down the stream, catch the morning or the evening sun-beam: no grove of masts: no shouts of mariners: no commercial rivalry. But what then? Close to the very spot where we stood, our attention was directed to a circumstance infinitely more interesting, to the whimsical fancy of an Antiquary, than a whole forest of masts. What might this be? Listen.
"Do you observe, here, gentlemen?" said the guide--pointing to the coping of the parapet wall, where the stone is a little rubbed, "I do"--(replied I) "What may this mean?" "Look below, Sir, (resumed he) how fearfully deep it is. You would not like to tumble down from hence?" This remark could admit but of one answer--in the negative; yet the man seemed to be preparing himself to announce some marvellous fact, and I continued mute. "Mark well, gentlemen; (continued he) it was here, on this identical spot, that our famous EMPEROR MAXIMILIAN stood upon one leg, and turned himself quite round, to the astonishment and trepidation of his attendants! He was a man of great bravery, and this was one of his pranks to shew his courage. This story, gentlemen, has descended to us for three centuries; and not long ago the example of the Emperor was attempted to be imitated by two officers,--one of whom failed, and the other succeeded. The first lost his balance, and was precipitated to the earth--dying the very instant he touched the ground; the second succeeded, and declared himself, in consequence, MAXIMILIAN the SECOND!" I should tell you, however, that these attempts were not made on the same day. The officers were Austrian.
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