baroque style. It expresses the eighteenth century, though. But how you
long for some little hint of the thirteenth, or even the nineteenth."

"I don't," she whispered back. "I'm perfectly wild with Wurzburg. I like
to have a thing go as far as it can. At Nuremberg I wanted all the Gothic
I could get, and in Wurzburg I want all the baroque I can get. I am
consistent."

She kept on praising herself to his disadvantage, as women do, all the
way to the Neumunster Church, where they were going to revere the tomb of
Walther von der Vogelweide, not so much for his own sake as for
Longfellow's. The older poet lies buried within, but his monument is
outside the church, perhaps for the greater convenience of the sparrows,
which now represent the birds he loved. The cenotaph is surmounted by a
broad vase, and around this are thickly perched the effigies of the
Meistersinger's feathered friends, from whom the canons of the church, as
Mrs. March read aloud from her Baedeker, long ago directed his bequest to
themselves. In revenge for their lawless greed the defrauded
beneficiaries choose to burlesque the affair by looking like the
four-and-twenty blackbirds when the pie was opened.

She consented to go for a moment to the Gothic Marienkapelle with her
husband in the revival of his mediaeval taste, and she was rewarded
amidst its thirteenth-century sincerity by his recantation. "You are
right! Baroque is the thing for Wurzburg; one can't enjoy Gothic here any
more than one could enjoy baroque in Nuremberg."

Reconciled in the rococo, they now called a carriage, and went to visit
the palace of the prince-bishops who had so well known how to make the
heavenly take the image and superscription of the worldly; and they were