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thumb-screws, thumb-hammers, instruments for cutting off, little by little, the ears, nose, tongue, and fingers, and for pulling out the tongue; also ladles for applying melted pitch or lead. A kind of spring tongs, with long handles, was used to catch persons to be arrested. This instrument, on being pressed against the back of the neck, would open and encircle it by a "Spanish Collar" of iron spikes, and then spring back, holding the victim as in the jaws of a steel trap. Other instruments were for cutting off the head; and these, with the beheading block, are also to be seen. Still lower underground are other rooms, or vaults, provided with other frightful instruments of torture. One is called the "Stretcher," by which the victim was slowly torn limb from limb by means of a windlass, his feet being fastened to iron rings in the floor, and his arms to a yoke under a hole in the ceiling, through which the windlass was worked. Another, called the "Spanish Mule," is a high board, sharpened at the upper edge, and the victim, seated thereon, had heavy stones attached to his suspended feet. "The Cradle" is a half cylinder, with pointed spikes for mattress and pillow. Colonel Wilson informed us that as late as 1803 a woman was rocked to death in this cradle. Her husband being accused of theft, both were put to the rack to make them confess. He survived the proof of his innocence, but soon after died also from his cruel treatment. The circumstance had the good effect to cause the people to rise against such horrible punishments, and the law was abolished. The most barbarous instrument of all remains to be described-"Die eiserne Jungfrau," being an iron case about eight feet high, with the form and features, when closed, of a woman.

It is provided with doors like a wardrobe, on the inside of which are twenty-three iron spikes, from six to eight inches long-one for each eye, and twenty-one to pierce the body of the victim. Being placed inside, the doors were closed upon him and pressed home by means of a lever from the opposite wall of the narrow vault. This, of course, was certain death; but that there might be no mistake, the body was dropped through a trap door underneath, and, falling upon a set of knives worked by machinery, was cut in pieces! We secured photographs of this "Iron Maiden," showing both her exterior and interior features.

From viewing the statue and house of Albert Dürer, and the house of Hans Sachs, we drove a mile or two out of town to see Dürer's tomb in the old cemetery. It is a plain stone, about one foot thick, resting on a low molded base, with a raised headpiece for the inscription. As Longfellow, in his poem on Nuremberg, beautifully says:

“Emigravit is the inscription on the tombstone where he lies;
Dead he is not, but departed. - for the artist never dies."

Hans Sachs, the cobbler poet, was also buried here. Many of the tombstones were very singular. One had upon it a bronze casting of a man's skull, jaw and thigh bones, with a nail through the skull, to indicate that the person buried here was killed by a nail driven into his head by his loving wife. But the oddest sight, perhaps, was at the house in the cemetery where the dead are laid out, as if asleep in bed, with the handle of a bell - wire in one hand, that they may ring a bell should they come to life. Their bodies are conveyed there immediately after death, and allowed to remain several days before burial.

We looked through the glass windows and doors at seven corpses lying there at the time. On the way to the cemetery, cut in an old stone wall skirting one side of the road, are seven representations of figures, the principal of which is that of Christ bearing the cross the last description showing that he had fainted and fallen under it. They are very oddlooking.

We went into the Church of St. Lawrence, a Gothic building erected in 1274-1477. The western. front, with a majestic chief portal, is adorned with splendid sculptures of events in the life of Christ. On the north is the magnificent "Bridal Door." In the interior, in addition to many splendid pictures, the beautiful star - window over the organ, and other painted windows of beautiful design, there is the "Sakramentshaeus' Cherr," the superb work of Adam Krafft-a shrine reaching from the floor nearly to the roof, the base of which consists of three kneeling figures-the master workman and his two assistants-supporting the whole structure on their shoulders. Of this Longfellow writes:

"In the church of sainted Lawrence stands a pix of sculpture rare, Like the foamy sheaf of fountains, rising through the painted air."

There are several superbly carved altars in this church; and the pulpit, also, is very remarkable.

The Church of St. Sebald is equally interesting. It dates back to the tenth century. Both of these churches, each having two towers, were wrested from the Roman Catholics by the Protestants in the Reformation, and are still held by them. The main door on the south side of St. Sebald's has a representation in bas-relief of "The Last Judgment," a work, we should think, of years; and the "Bride's

Door," on the north, is richly ornamented by figures showing the Wise and Foolish Virgins. The greatest treasure of this church is the world-renowned bronze "Shrine of St. Sebald," by Vischer-15081519. The admirable statues of the Twelve Apostles stand at the side of pillars, which support the canopy; above them the Prophets, masterpieces of art and workmanship. At the base of the eight pillars: Nimrod, Samson, Perseus, Hercules; and the virtues: Strength, Temperance, Charity, and Justice:

"In the church of sainted Sebald, sleeps enshrined his holy dust, And in bronze the Twelve Apostles guard from age to age their trust." Behind the high altar are three figures in basrelief representing Judas' Kiss, the Mount of Olives, and the Lord's Supper. The stained windows are splendid. In this church there is a taper, in a small suspended vessel of oil, which has been kept burning for two or three hundred years, and the order is that it shall never be extinguished. A person, in recognition of some merciful deliverance, left by will a sum of money, the interest of which goes to defray the expense of this perpetual offering.

We visited a fine Gallery of paintings, among which are many by Albert Dürer-one the portrait of an old Burgomaster, is considered remarkable. "King Midas as Judge, the Passions assailing him;" "The Triumphal Entry of Maximillian;" and the "Band of the Town Musicians," all by Dürer, are also regarded as masterpieces. In allusion to him, Longfellow observes:

"Fairer seems the ancient city, and the sunshine seems more fair,

That he once has trod its pavement, that he once has breathed its air!" The Castle here, founded by Emperor Conrad II. in the tenth century, is another point of some attrac

tion, as having been the favorite residence of nearly all of the old German Emperors. It contains some fine pictures, by Dürer and other artists. In different squares there are four beautiful fountains, and several monumental statues, including one of Melancthon. In fact, we could not go the length of a square anywhere in the city that we did not find more or less to excite our curiosity. It is altogether one of the most quaint and interesting old places we have visited.

"Quaint old town of toil and traffic, quaint old town of art and song, Memories haunt thy pointed gables like the rooks that round them throng."

CHAPTER XVIII.

ERLIN, AUGUST 1.- We left Nuremberg at seven on the morning of the 30th ultimo, and going to Ratisbon,-or Regensberg, as it is called on some of the maps,- -we hired a coachman to drive us six miles to the Walhalla, or Temple of Fame, a magnificent white marble edifice, erected by the late King of Bavaria, in the northern end of which, opposite the main entrance, is a niche destined to receive his statue. It is situated on a hill several hundred feet in height, overlooking the Danube and surrounding country for a long distance. Its length is two hundred and eighteen feet, its breadth two hundred and two feet, and it is surrounded by fiftytwo fluted Doric columns, like the Parthenon at Athens and the Church of the Madeleine in Paris. The main saloon is one hundred and sixty feet long, forty-eight wide, and sixty feet high. It is intended.

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