id="id00171">"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."