fleeting glimpse of two figures with clasped hands and half embraced,
which they knew for the statues of Goethe and Schiller; and when they
mounted to their rooms at the Grand-Duke of Saxe-Weimar, they passed
under a fresco representing Goethe and four other world-famous poets,
Shakspere, Milton, Tasso, and Schiller. The poets all looked like
Germans, as was just, and Goethe was naturally chief among them; he
marshalled the immortals on their way, and Schiller brought up the rear
and kept them from going astray in an Elysium where they did not speak
the language. For the rest, the hotel was brand-new, of a quite American
freshness, and was pervaded by a sweet smell as of straw matting, and
provided with steam-radiators. In the sense of its homelikeness the
Marches boasted that they were never going away from it.

In the morning they discovered that their windows looked out on the
grand-ducal museum, with a gardened space before and below its
classicistic bulk, where, in a whim of the weather, the gay flowers were
full of sun. In a pleasant illusion of taking it unawares, March strolled
up through the town; but Weimar was as much awake at that hour as at any
of the twenty-four, and the tranquillity of its streets, where he
encountered a few passers several blocks apart, was their habitual mood.
He came promptly upon two objects which he would willingly have shunned:
a 'denkmal' of the Franco-German war, not so furiously bad as most German
monuments, but antipathetic and uninteresting, as all patriotic monuments
are; and a woman-and-dog team. In the shock from this he was sensible
that he had not seen any woman-and-dog teams for some time, and he
wondered by what civic or ethnic influences their distribution was so
controlled that they should have abounded in Hamburg, Leipsic, and
Carlsbad, and wholly ceased in Nuremberg, Ansbach, and Wurzburg, to
reappear again in Weimar, though they seemed as characteristic of all
Germany as the ugly denkmals to her victories over France.