[Illustration: Fig. 235.--The Residence of Albert Dürer.]
Dürer lived in a large mansion at one extremity of the town, close to the gate from whence he could in a few minutes escape from the pent-up city to the open fields. His house is one of those roomy buildings in which there is enough timber to build at least a dozen modern houses. The lower portion is stone, the upper, with its open galleries, of wood. The view from his doors embraced the town gate, and the picturesque tower, known as the Thiergartenthor, beside it. The house between that and the narrow lane which leads up the castle hill was the property at that time of one Martin Kötzel, who, having twice employed himself in pilgrimages to Jerusalem, and in measuring the number of paces the Saviour trod on the Via Dolorosa, had determined on his return to consider his house as the representative of Pilate's house, the Gate of Nürnberg as that of Jerusalem, the churchyard of St. John in the fields beyond, as Calvary, and the road between as the Via Dolorosa, and to cause representations of the events of the Saviour's journey in the line of this road at the various distances where they were traditionally supposed to occur; and the chief sculptor of Nürnberg, Adam Kraft, was employed to execute the sculptures, which still stand a monument of the piety of the old citizen, whose house (known by the figure of an armed knight at its angle) is still familiarly called "Pilate's House." Time has written strange alterations on these old works, and wanton injury has also been done to them, but there still remains enough to show the ability of their conception and execution.
[Illustration: Fig. 236.--The Himmelsthor, Nürnberg Castle.]
The castle comprises the somewhat rambling series of buildings of all ages, styles, and dates, which crown the rock above. The singular manner in which this isolated mass of stone suddenly rises from the sandy plain may have induced the first foundation of the city, by the secure locality it afforded the castle of a ruler in days of old. Its early history is shrouded in obscurity--one of its towers has been attributed to the Romans; it can still show undoubted works of the ninth century in the chapels of Sts. Ottmar and Margaret, from which time it received alterations and additions of all kinds, ending in leaving it the picturesque assemblage of quaint old buildings which it at present remains. The Himmelsthor, or "tower of heaven," is the name given to the large round tower which is built within the castle precincts on the highest point of the rock, and which, as its title implies, soars toward heaven, and forms a prominent feature in all views of Nürnberg. The panorama from its summit is singularly striking, comprising the entire country for an immense distance round. The _alt Feste_, where Wallenstein encamped, in his memorable defence of these lines and of the city when besieged by Gustavus Adolphus, of Sweden, and the blue hills known as the Franconian Switzerland, terminating with the Moritzberg, give relief to the otherwise flat vicinity. This tower has been introduced in the background of some of Dürer's designs, as well as other portions of the castle. The old town-walls also figure in those scenes from Holy Writ he so frequently designed. The anachronisms which result from such a mode of realising scenes in past history were sufficiently familiar in his own day to save them from all adverse criticism; indeed, it had become the formula of early art, thus to verify sacred events by adapting them to the experiences of every-day life around, to which it never appealed in vain. To comprehend fully the art of any one period, and the talent of any artist of that period, we must go back mentally to the time in which he flourished, and measure him by such as had preceded him. In this way alone can we form a right judgment of his powers, and award him his due place in art.