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From the Diet of Worms to the Augsburg Confession - James Aitken Wylie

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looks as if it would afford standing-room for all <strong>the</strong><br />

citizens <strong>of</strong> Nuremberg. But vastness is <strong>the</strong> only<br />

attribute now left it <strong>of</strong> its former splendor. It is long<br />

since emperor trod that floor, or warrior feasted<br />

under that ro<strong>of</strong>, or <strong>Diet</strong> assembled within those<br />

walls. Time's effacing finger has been busy with it,<br />

and what was magnificence in <strong>the</strong> days <strong>of</strong> <strong>the</strong><br />

emperor, is in ours simply tawdriness. The<br />

paintings on its walls and ro<strong>of</strong>, some <strong>of</strong> which are<br />

from <strong>the</strong> pencil <strong>of</strong> Albert Durer, have lost <strong>the</strong>ir<br />

brilliance, and are now little better than mere<br />

patches <strong>of</strong> color.<br />

The gloss has passed from <strong>the</strong> silks and velvets<br />

<strong>of</strong> its furniture; <strong>the</strong> few chairs that remain are<br />

rickety and worm-eaten, and one fears <strong>to</strong> trust one's<br />

self <strong>to</strong> <strong>the</strong>m. A magnificent chandelier still hangs<br />

suspended from <strong>the</strong> ro<strong>of</strong>, its gilding sadly<br />

tarnished, its lights burned out; and suggesting, as<br />

it does, <strong>to</strong> <strong>the</strong> mind <strong>the</strong> gaiety <strong>of</strong> <strong>the</strong> past, makes<br />

<strong>the</strong> dreariness and solitariness <strong>of</strong> <strong>the</strong> present <strong>to</strong> be<br />

only <strong>the</strong> more felt. So passes <strong>the</strong> glory <strong>of</strong> <strong>the</strong><br />

world, and so has passed <strong>the</strong> imperial grandeur<br />

which <strong>of</strong>ten found in this hall a stage for its<br />

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