Abroad with the Jimmies Part 8

STUTTGART, NUREMBERG, AND BAYREUTH

We had planned to go to Stuttgart next, but as we were nearing the town, Bee pushed up her veil and said:

"I don't see why we are going to Stuttgart. I never heard of it except in connection with men who 'studied' in Stuttgart. What's there, Jimmie?

An Academy?"

"I should say," said Jimmie, waking up. "The Academy where Schiller studied."

"That's very interesting," I broke in, "but it's hardly enough to keep _me_ there very long. Are there any queer little places--"

"Any concert-gardens?" asked Bee.

"Are the hotels good?" asked his wife.

"There is one hotel called Hotel Billfinger, which I'd like to try, because Mark Twain's guide in 'Innocents Abroad' was named Billfinger.

Remember?"

"He afterwards called him Ferguson, which I think is against the name and against the hotel," I said. "Why do we stop except to break the journey?"

"Well, the real reason," said Jimmie, with that timid air of his, "is because Baedeker says that in the Royal Library there are 7,200 Bibles in more than one hundred languages, and I thought if you stayed by them long enough you might get enough religion so that you would be less wearing on my nerves as a travelling companion. It wouldn't take you long to master them. While you are studying, the rest of us will refresh ourselves in the Stadt-Garten, where Bee will find a band, where I shall find a restaurant, and where my wife can ponder over Baedeker's choice information of the places where it is not proper to take a lady."

n.o.body pays any attention to Jimmie, so we all stared out of the windows to see that the town was beautifully situated, almost upon the Neckar, and surrounded by such vine-clad hills and green wooded heights as to make it seem like a painting.

But Bee was still unconvinced.

"It is the capital of Nuremberg and used to be the favourite residence of the Dukes of Nuremberg," said Mrs. Jimmie, as we drove up to the hotel, not the Billfinger, let me remark in pa.s.sing.

We found a band for Bee, and in the course of our stay in Stuttgart we heard any number of men's choruses, students' singing and the like.

There was, too, the Museum of Art, and a fine one. There was also a lovely view, from the Eugen-Platz, of the city which lies below it. But after all, the Schloss-Garten and concerts to the contrary notwithstanding, there is an atmosphere about the law schools, museums, and collections of Stuttgart, which led frivolous pleasure-seekers like us to depart on the second day, for Nuremberg.

Jimmie has a curious way of selecting hotels. As the train neared that quaintest of old cities, toward which my heart warms anew as I think of it, he broke the silence as though we had held a long and heated argument on the matter.

"You might as well cease this useless discussion. I have decided to go to the Wittelsbacher Hof, Pfannenschmiedsga.s.se 22."

"Good heavens!" I murmured.

"There you go, _arguing!_" cried Jimmie. "But can't you see the advantages of all those extra letters on your note-paper when you write home?"

"Besides, it's a very good hotel, I've been told," said his wife, affably.

It _was_ a very good hotel, and there was a lunch-room half-way up the main flight of stairs at the right as you enter, which I remember with peculiar pleasure. Travellers like us may well be excused for remembering a first luncheon such as that which we had at the Wittelsbacher Hof.

Then we all strolled out in the early summer twilight and took our first look at Nuremberg. Tell me if you can why we went into such ecstasies over Nuremberg and stayed there two weeks, when we could barely persuade ourselves to remain one day in Stuttgart. But the picturesqueness of Nuremberg is particularly enticing. The streets run "every which way,"

as the children say, and the architecture is so queer and ancient that the houses look as if they had stepped out of old prints.

It was so hot when we arrived that we were on terms of the most distant civility with each other. Indeed, it was dangerous to make the simplest observation, for the other three guns were trained upon the inoffensive speaker with such promptness and such an evident desire to fight that for the most part we maintained a dignified but safe silence.

Mrs. Jimmie bearded Jimmie in his den long enough to ask him to see about our opera tickets at once. Everybody said we could not get any, but trust Jimmie! The agent of whom he bought them had embroidered a generous romance of how he had got them of a lady who ordered them the January before, but whose husband having just died, her feelings would not permit her to use them, and so as a great accommodation, etc., etc.

Everybody knows these stories. Suffice it to say that Jimmie really had, at the last moment, secured admirable seats near the middle of the house, and everybody said it was a miracle. In looking back over the experiences of that one opera of "Parsifal," I cannot deny that there was something of a miracle about it. However, "Parsifal" was three days distant, and Nuremberg was at hand.

I love to think of Nuremberg. The recollection of it comes back to me again and again through a gentle haze of happy memories. The narrow streets were lined with houses which leaned toward each other after the gossipy manner of old friends whose confidence in each other is established. The windows jutted queerly, and odd balconies looped themselves on corners where no one expected them. They call these pretty old houses the best examples of domestic architecture, but warn you that the quaint peaked roofs are Gothic and the surprises are Renaissance--a mixture of which purists do not approve. But I am a pagan. I like mixtures. They give you little flutters of delight in your heart, and one of the most satisfactory of experiences is not to be able to a.n.a.lyse your emotions or to tell why you are pleased, but to feel at liberty to answer art questions with "Just because!"

So Nuremberg. Its fortifications are rugged and strong. Its towers imposing. It dates back to the Huns. Frederick Barbarossa frequently occupied the castle which frowns down on you from the heights. Hans Sachs, the poet, sang here. Albrecht Durer painted here. Peter Vischer perhaps dreamed out the n.o.ble original of my beautiful King Arthur here.

From the quaint and awkward statues of saints and heroes in church and state, to such delicate examples of sculpture as the figure of the Virgin in the Hirschelga.s.se, so delicate and graceful that it was once attributed to an Italian master, you realise how early the arts were established here and how sedulously they were pursued. Everywhere are works of art, from the cruder decorations over doorways and windows to the paintings of Durer in the Germanic Museum. It is a sad reflection to me that most of Durer's work, and all of his masterpieces, are in other cities--Munich, Berlin, and Vienna, and that, as it is in Greece, only their fame remains to glorify the city of his birth.

His statue, copied from a portrait painted by himself, stands in the Albrecht-Durer Platz, and in his little house are copies of his masterpieces and a collection of typical antique German furniture and utensils. The exquisite art of gla.s.s-staining is the suitable occupation of the custodian who shows you about the house.

Indeed, wood carving, gla.s.s staining, engraving of medals and medallions, copying ancient cabinets and quaint furniture are, if not the princ.i.p.al, at least the most interesting occupations pursued in Nuremberg to-day. In searching out the little shops I also found that table linen, superbly embroidered and decorated with drawn-work of intricate patterns was here in a bewildering display.

Dear Nuremberg! A stroll through your lovely streets is a feast for the eye and a whip to the imagination that no other city in the German Empire can duplicate or approach. You abound in quaint doorways, over which if I step, I find myself transplanted to the scenes of tapestries and old prints, and I can easily imagine myself framed and hanging on the wall quite comfortable and happy.

One of these tiny doorways led us, on a bright Sunday afternoon, into one of the oddest places we ever saw. It was the Bratwurst-Glocklein--such a restaurant as Doctor Johnson would have deserted the Cheshire Cheese for, and revelled in the change.

It appeared to be a thousand years old. Perhaps Melanchthon expounded the theories of the Reformation on the very benches on which we sat.

The door-sill was high, and we stepped over it on to a stone floor, the flagging of which was sunken in many places, causing pitfalls to the unwary. The room was small and only half lighted by infinitesimal windows. One end of the room was given up to what appeared to be a charcoal furnace built of bricks, over which in plain view buxom maids, whose red cheeks were purple from the heat, were frying delicious little sausages in strings. We squeezed ourselves into a narrow bench behind one of the tables whose rudeness was picturesque. I have seen schoolboy desks at Harrow and Eton worn to the smoothness of these tables here and carved as deeply with names. There was not a vestige of a cloth or napkins. The plates and knives and forks were rude enough to bear out the surroundings. In fact, the clumsiness and apparent age of everything almost transported us, in imagination, to the stone age, but the sensation was delightful.

One of the maids brought a string of sausages sizzling hot from the pan and deftly snipped off as many as were called for upon each of our plates. We drank our beer from steins so heavy that each one took both hands. A person with a mouth of the rosebud variety would have found it exceedingly difficult to obtain any of the beer, the stein presenting such una.s.sailable fortifications.

It was too hot when we were there to appreciate to the full this delicious old spot, but on a winter evening, after the theatre, which closes about ten o'clock, think what a delightful thing it would be, O ye Bohemian Americans, with fashionable wives who insist upon the Waldorf or Sherry's after the theatre, to go instead to the Bratwurst-Glocklein! There you smoke at your ease, put your elbows on the table and dream dreams of your student days when the dinner coat vexed not your peaceful spirit.

Owing to our late arrival and the enormous crowd of people at Bayreuth, we found it expedient to remain in Nuremberg and go up to Bayreuth for the opera. The day of our performance of "Parsifal" was one of the hottest of the year. Not even Philadelphia can boast of heat more consolidated and unswerving than that of North Germany on this particular day.

We put on muslin dresses and carried fans and smelling salts, and Jimmie had to use force to make us carry wraps for the return. The journey, lovely in itself, was rendered hideous to us by the heat, but when we arrived at Bayreuth the babel of English voices was so delightfully homelike, American clothes on American women were so good to see, and Bayreuth itself was so picturesque, that we forgot the heat and drove to the opera-house full of delight.

I am sorry that it is fashionable to like Wagner, for I really should like to explain the feelings of perfect delight which tingled in my blood as I realised that I was in the home of German opera--in the city where the master musician lived and wrote, and where his widow and son still maintain their unswerving faithfulness toward his glorious music.

I am a little sensitive, too, about admitting that I like Carlyle and Browning. I suppose this is because I have belonged to a Browning and Carlyle club, where I have heard some of the most idiotic women it was ever my privilege to encounter, express glib sentiments concerning these masters, which in me lay too deep for utterance. It is something like the occasional horror which overpowers me when I think that perhaps I am doomed to go to heaven. If certain people here on earth upon whom I have lavished my valuable hatred are going there, heaven is the last place I should want to inhabit. So with Wagner.

"Parsifal!" That sacred opera which has never been performed outside of this little hamlet. I was to see it at last!

I was prepared to be delighted with everything, and the childishness of the little maid who took charge of our hats before we went in to the opera charmed me. My hat was heavy and hot, and I particularly disliked it, owing to the weight of the seagull which composed one entire side of it, and always pulled it crooked on my head. The little maid took the hat in both her arms, laid her round red cheek against the soft feathers of the gull, kissed its gla.s.s bead eyes, and smilingly said in German:

"This is the finest hat that has been left in my charge to-day!"

Verily, the opera of "Parsifal" began auspiciously. Quite puffed up with vainglorious pride over the little maiden's admiration of one of my modest possessions, while Bee's and Mrs. Jimmie's ravishing masterpieces had received not even a look, we met Jimmie bustling up with programmes and opera-gla.s.ses, and went toward the main entrance. We showed our tickets, and were sent to the side door. We went to the side door, and were sent to the back door. At the back door, to our indignation, we were sent up-stairs. In vain Jimmie expostulated, and said that these seats were well in the middle of the house on the ground floor. The doorkeepers were inexorable. On the second floor, they sent us to the third, and on the third they would have sent us to the roof if there had been any way of getting up there. As it was, they permitted us to stop at the top gallery, and, to our unmitigated horror, the usher said that our seats were there. Jimmie was furious, but I, not knowing how much he had paid for them, endeavoured to soothe him by pointing out that all true musicians sat in the gallery, because music rises and blends in the rising.

"We are sure to get the best effect up here, Jimmie, and those front rows, especially, if our seats happen to be in the middle, won't be at all bad. Don't let's fuss any more about it, but come along like an angel."

I will admit, however, that even my ardour was dampened when we discovered that our seats were absolutely in the back and top row, so that we leaned against the wall of the building, and were not even furnished with chairs, but sat on a hard bench without relief of any description.

And the price Jimmie hurled at us that he had paid for those tickets! I am ashamed to tell it.

Now Jimmie hates German opera in the most picturesque fashion. He hates in every form, colour, and key, and in all my life I was never so sorry for any one as I was for Jimmie that day at Bayreuth. The heat was stifling, his rage choked him and effectually prevented his going to sleep, as otherwise he might have done in peace and quiet. He sat there in such a steam and fury that it was truly pitiable. He went out once to get a breath of air, and they turned the lights out before he could get back, so that he stumbled over people, and one man kicked him. With that Jimmie stepped on the German's other foot, and they swore at each other in two languages and got hissed by the people around them. When he finally got back to us, we found it expedient not to make any remarks at all, and I was glad it was too dark for him to see our faces.

Yet, in spite of Jimmie and the heat and the ache in our backs and the hard unyielding bench, that afternoon at "Parsifal" is one of the experiences of a lifetime.

People tell us now that we were there on an "Off day." By that they mean that no singers with great names took part. How like Americans to think of that! Germans go to the opera for the music. Americans go to hear and see the operatic stars.