EAR by year, many a traveller on his way to Bayreuth, many a seeker after health at German baths, many an artist and lover of the old world, finds his way to Nuremberg. It is impossible to suppose that such any one is ever disappointed. For in spite of all changes, and in spite of the disfigurements of modern industry, Nuremberg is and will remain a mediæval city, a city of history and legend, a city of the soul. She is like Venice in this, as in not a little of her history, that she exercises an indefinable fascination over our hearts no less than over our intellects. The subtle flavour of mediæval towns may be likened to that of those rare old ports which are said to taste of the grave; a flavour indefinable, exquisite. Rothenburg has it: and it is with Rothenburg, that little gem of mediævalism, that Nuremberg is likely to be compared in the mind of the modern wanderer in Franconia. But though Rothenburg may surpass her greater neighbour in the perfect harmony and in the picturesqueness of her red-tiled houses and well-preserved fortifications, in interest at any rate she must yield to the heroine of this story. For, apart from the beauty which Nuremberg owes to the wonderful grouping of her red roofs and ancient castle, her coronet of antique towers, her Gothic churches and Renaissance buildings or brown riverside houses dipping into the mud-coloured Pegnitz, she rejoices in treasures of art and architecture and in the possession of a splendid history such as Rothenburg cannot boast. To those who know something of her story Nuremberg brings the subtle charm of association. Whilst appealing to our memories by the grandeur of her historic past, and to our imaginations by the work and tradition of her mighty dead, she appeals also to our senses with the rare magic of her personal beauty, if one may so call it. In that triple appeal lies the fascination of Nuremberg. For this reason one may hope to add to the enjoyment of those who may spend or have spent a few days in the "quaint old town of toil and traffic, quaint old town of art and song," by recounting the tale of her treasures, and by telling, however imperfectly, something of the story of her rise and fall, and of the artists whom she cradled. Many shall go to and fro and their knowledge shall be increased. Is not that the justification of a guide-book?