The Choir Is Very Beautiful.

I cannot describe how these lofty arches, with their stained glass windows, touch my heart.

Architecture never can, and never will, produce their like again. They give us aspiration in its highest form and noblest symbol, and wonderful was that mind which conceived them. This choir so darkly bright, its stalls and seats carved in black oak, its flame-like arches, gorgeous with evening light, were a preparation and excitement of mind. Yet it's remarkable about these old-time cathedrals, that while their is every grand and solemn effect of architecture, there is also always an abundance of subordinate parts, mean, tawdry, revolting, just like the whole system they represent. Out of this beautiful choir I wanted to tear all the tinsel fixtures on its altar, except two very good pictures, and leave it in it noble simplicity.

I remarked here a black oak chandelier, which the guide said was taken from the cathedral of Cologne. It was the very perfection of Gothic carving, and resembled frostwork in its lightness. The floor of the cathedral was covered with effigies in stone, trod smooth by the feet of worshippers; so we living ones are ever walking above the dead, though we do not always, as here, see the outward sign thereof.

From the cathedral we passed out, and stopped a moment to examine the adjoining church, now deserted, but whose three graceful spires have a peculiar beauty. After a turn upon the platform we descended, and drove to the Augustine Convent, now used as an orphan asylum. We ascended through a court yard, full of little children, by some steps into a gallery, where a woman came out with her keys. We passed first into a great hall, the walls of which were adorned with Holbein's Dance of Death.

From this hall we passed into Luther's room - a little cell, ten feet square; the walls covered with inscriptions from his writings. There we saw his inkstand, his pocket Testament, a copy of the Bible that was presented to him, (by whom I could not understand,) splendidly bound and illuminated. But it was the cell itself which affected me, the windows looking out into what were the cloisters of the monastery. Here was that struggle - that mortal agony - that giant soul convulsing and wearing down that strong frame. These walls! to what groans, to what prayers had they listened! Could we suppose a living human form imperishable, capable of struggling and suffering, but not of dying, buried beneath the whole weight of one of these gloomy cathedrals, suffocating in mortal agony, hearing above the tramp of footsteps, the peal of organs, the triumphant surge of chants, and vainly striving to send up its cries under all this load, - such, it would seem, was the suffering of this mighty soul. The whole pomp and splendor of this gorgeous prison house was piled up on his breast, and _his_ struggles rent the prison for the world!

On a piece of parchment which is here kept framed is inscribed in Luther's handwriting, in Latin, "Death is swallowed up in Victory!" Nothing better could be written on the walls of this cell.

This afternoon I walked out a little to observe the German Sabbath. Not like the buoyant, voluble, social Sunday of Paris, though still consecrated to leisure and family enjoyment more than to religious exercises. As I walked down the streets, the doors were standing open, men smoking their pipes, women knitting, and children playing. One place of resort was the graveyard of an antiquated church. A graveyard here is quite different from the solitary, dismal place where we lay our friends, as if to signify that all intercourse with them is at an end. Each grave was trimmed and garlanded with flowers, fastened with long strings of black or white ribbon. Around and among the graves men, women, and children were walking, the men smoking and chatting, not noisily, but in a cheerful, earnest way. It seems to me that this way of treating the dead might lessen the sense of separation. I believe it is generally customary to attend some religious exercise once on Sunday, and after that the rest of the day is devoted to this sort of enjoyment.

[Illustration: _of the Wartburg._]

The morning we started for Eisenach was foggy and rainy. This was unfortunate, as we were changing from a dead level country to one of extreme beauty. The Thuringian Forest, with its high, wooded points crowned here and there with many a castle and many a ruin, loomed up finely through the mist, and several times I exclaimed, "There is the Wartburg," or "That must be the Wartburg," long before we were near it. It was raining hard when we reached Eisenach station, and engaged a carriage to take us to the Wartburg. The mist, which wreathed thickly around, showed us only glimpses as we wound slowly up the castle hill - enough, however, to pique the imagination, and show how beautiful it might be in fair weather.

The grounds are finely kept: winding paths invite to many a charming stroll. When about half way up, as the rain had partially subsided, I left the carriage, and toiled up the laborious steep on foot, that I might observe better. You approach the castle by a path cut through the rock for about thirty or forty feet. At last I stood under a low archway of solid stone masonry, about twenty feet thick. There had evidently been three successive doors; the outer one was gone, and the two inner were wonderfully massive, braced with iron, and having each a smaller wicket door swung back on its hinges.

As my party were a little behind, I had time to stop and meditate. I fancied a dark, misty night, and the tramp of a party of horsemen coming up the rocky path to the gateway; the parley at the wicket; the unbarred doors, creaking on their rusty hinges, - one, two, three, - are opened; in clatters the cavalcade.

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