and Distress (or Envy). One at a time they encounter him,—not once, but again and again; and he has ranged under each head, in entire contempt of real order of time, the perils he thinks owing to each foe. Fürwitz most justly gets the credit of Maximilian’s perils on the steeple of Ulm, though, unfortunately, the artist has represented the daring climber as standing not much above the shoulders of Fürwitz and Ehrenhold; and although the annotation tells us that his “hinder half foot” overhung the scaffold, the danger in the print is not appalling. Fürwitz likewise inveigles him into putting the point (schnäbel) of his shoe into the wheel of a mill for turning stone balls, where he certainly hardly deserved to lose nothing but the beak of his shoe. This enemy also brings him into numerous unpleasant predicaments on precipices, where he hangs by one hand; while the chamois stand delighted on every available peak, Fürwitz grins malevolently, and Ehrenhold stands pointing at him over his shoulder. Time and place are given in the notes for all these escapes. After some twenty adventures Fürwitz is beaten off, and Umfallo tries his powers. Here the misadventures do not involve so much folly on the hero’s part—though, to be sure, he ventures into a lion’s den unarmed, and has to beat off the inmates with a shovel. But the other adventures are more rational. He catches a jester—of admirably foolish expression—putting a match to a powder-magazine; he is wonderfully preserved in mountain avalanches and hurricanes; reins up his horse on the verge of an abyss; falls through ice in Holland and shows nothing but his head above it; cures himself of a fever by draughts of water, to the great disgust of his physicians, and escapes a fire bursting out of a tall stove.
Neidelhard brings his real battles and perils. From this last he is in danger of shipwreck, of assassination, of poison, in single combat, or in battle; tumults of the people beset him; he is imprisoned as at Ghent. But finally Neidelhard is beaten back; and the hero is presented to Ehrenreich. Ehrenhold recounts his triumphs, and accuses the three captains. One is hung, another beheaded, the third thrown headlong from a tower, and a guardian angel then summons Theurdank to his union with his Queen. No doubt this reunion was the life-dream of the harassed, busy, inconsistent man, who flashed through the turmoils of the early sixteenth century.
The adventures of Maximilian which have been adverted to in the story are all to be found in Theurdank, and in his early life he was probably the brilliant eager person we have tried in some degree to describe. In his latter years it is well known that he was much struck by Luther’s arguments; and, indeed, he had long been conscious of need of Church reform, though his plans took the grotesque form of getting himself made Pope, and taking all into his own hands.
Perhaps it was unwise to have ever so faintly sketched Ebbo’s career through the ensuing troubles; but the history of the star and of the spark in the stubble seemed to need completion; and the working out of the character of the survivor was unfinished till his course had been thought over from the dawn of the Wittenberg teaching, which must have seemed no novelty to an heir of the doctrine of Tauler, and of the veritably Catholic divines of old times. The idea is of the supposed course of a thoughtful, refined, conscientious man through the earlier times of the Reformation, glad of the hope of cleansing the Church, but hoping to cleanse, not to break away from her—a hope that Luther himself long cherished, and which was not entirely frustrated till the re-assembly at Trent in the next generation. Justice has never been done to the men who feared to loose their hold on the Church Catholic as the one body to which the promises were made. Their loyalty has been treated as blindness, timidity, or superstition; but that there were many such persons, and those among the very highest minds of their time, no one can have any doubt after reading such lives as those of Friedrich the Wise of Saxony, of Erasmus, of Vittoria Colonna, or of Cardinal Giustiniani.
CHAPTER I
MASTER GOTTFRIED’S WORKSHOP
The upper lattices of a tall, narrow window were open, and admitted the view, of first some richly-tinted vine leaves and purpling grapes, then, in dazzling freshness of new white stone, the lacework fabric of a half-built minster spire, with a mason’s crane on the summit, bending as though craving for a further supply of materials; and beyond, peeping through every crevice of the exquisite open fretwork, was the intensely blue sky of early autumn.
The lower longer panes of the window were closed, and the glass, divided into circles and quarrels, made the scene less distinct; but still the huge stone tower was traceable, and, farther off, the slope of a gently-rising hill, clothed with vineyards blushing into autumn richness. Below, the view was closed by the gray wall of a court-yard, laden with fruit-trees in full bearing, and inclosing paved paths that radiated from a central fountain, and left spaces between, where a few summer flowers still lingered, and the remains of others showed what their past glory had been.
The interior of the room was wainscoted, the floor paved with bright red and cream-coloured tiles, and the tall stove in one corner decorated with the same. The eastern end of the apartment was adorned with an exquisite small group carved in oak, representing the carpenter’s shop at Nazareth, with the Holy Child instructed by Joseph in the use of tools, and the Mother sitting with her book, “pondering these things in her heart.” All around were blocks of wood and carvings in varying states of progress—some scarcely shaped out, and others in perfect completion. And the subjects were equally various. Here was an adoring angel with folded wings, clasped hands, and rapt face; here a majestic head of an apostle or prophet; here a lovely virgin saint, seeming to play smilingly with the instrument of her martyrdom; here a grotesque miserere group, illustrating a fairy tale, or caricaturing a popular fable here a beauteous festoon of flowers and fruit, emulating nature in all save colour; and on the work-table itself, growing under the master’s hand, was a long wreath, entirely composed of leaves and seed-vessels in their quaint and beauteous forms—the heart-shaped shepherd’s purse, the mask-like skull-cap, and the crowned urn of the henbane. The starred cap of the poppy was actually being shaped under the tool, copied from a green capsule, surmounted with purple velvety rays, which, together with its rough and wavy leaf, was held in the hand of a young maiden who knelt by the table, watching the work with eager interest.
She was not a beautiful girl—not one of those whose “bright eyes rain influence, and judge the prize.” She was too small, too slight, too retiring for such a position. If there was something lily-like in her drooping grace, it was not the queen-lily of the garden that she resembled, but the retiring lily of the valley—so purely, transparently white was her skin, scarcely tinted by a roseate blush on the cheek, so tender and modest the whole effect of her slender figure, and the soft, downcast, pensive brown eyes, utterly dissimilar in hue from those of all her friends and kindred, except perhaps the bright, quick ones of her uncle, the master-carver. Otherwise, his portly form, open visage, and good-natured stateliness, as well as his furred cap and gold chain, were thoroughly those of the German burgomaster of the fifteenth century; but those glittering black eyes had not ceased to betray their French, or rather Walloon, origin, though for several generations back the family had been settled at Ulm. Perhaps, too, it was Walloon quickness and readiness of wit that had made them, so soon as they became affiliated, so prominent in all the councils of the good free city, and so noted for excellence in art and learning. Indeed the present head of the family, Master Gottfried Sorel, was so much esteemed for his learning that he had once had serious thoughts of terming himself Magister Gothofredus Oxalicus, and might have carried it out but for the very decided objections of his wife, Dame Johanna, and his little niece, Christina, to being dubbed by any such surname.
Master Gottfried had had a scapegrace younger brother named Hugh, who had scorned both books and tools, had been the plague of the workshop, and, instead of coming back from his wandering year of improvement, had joined a band of roving Lanzknechts. No more had been heard of him for a dozen or fifteen years, when he suddenly arrived at the paternal mansion at Ulm, half dead with intermittent fever, and with a young, broken-hearted, and nearly expiring wife, his spoil in his Italian campaigns. His rude affection had utterly failed to console her for her desolated home and slaughtered kindred, and it had so soon turned to brutality that, when brought to comparative peace and rest in his brother’s home, there was nothing left for the poor Italian but to lie down and die, commending her babe in broken German to Hausfrau Johanna, and blessing Master Gottfried for his flowing