Nuremberg and its art to the end of the 18th century. . ed the Imperial throne in 1138, Nurembergreceived back its direct Imperial tenure, which remained to it until it wasincorporated into Bavaria in 1806. We can now determine only approximately the form of the town in the11^ and 12^^ centuries, and the shape and size to which it grew in the I3^As to its extent eastwards, the remains of a tower in the Wolfsgasse (WolfsStreet) and the presumption that the Monastery of St. Egidius, founded in 1140,lay then without the town wall, furnish us with points from which to southernmost limit i
Nuremberg and its art to the end of the 18th century. . ed the Imperial throne in 1138, Nurembergreceived back its direct Imperial tenure, which remained to it until it wasincorporated into Bavaria in 1806. We can now determine only approximately the form of the town in the11^ and 12^^ centuries, and the shape and size to which it grew in the I3^As to its extent eastwards, the remains of a tower in the Wolfsgasse (WolfsStreet) and the presumption that the Monastery of St. Egidius, founded in 1140,lay then without the town wall, furnish us with points from which to southernmost limit is to be seen probably in the Painters Gate (Molerthor^or Mahlerthor) situated in the north east corner of the Spitalplatz (HospitalSquare). The marshy nature of the ground made it impossible for the town toextend to the bank of the Pegnitz, and made it necessary, on the other hand,,that a northwesterly direction should be given to the wall from this in making the ground on the river bank fit for building purposes was-only achieved Fig. 9. The Henkersteg (Executioners Bridge), the Water Tower and Weinstadel Photograph by F. Schmidt. THE EARLIEST ECCLESIASTICAL ARCHITEC-TURE, AND NUREMBERG IN THE 13™ CENTURY. Two powers have had a decisive influence on the vigorous developmentand rapid growth of Nuremberg; they are the Empire and the Church,the two great powers of the Middle Ages. Both of them have leftin the town indelible traces of their activity and sway. But there is yet a thirdto add to them, to which Nuremberg owes it, that it differs from other towns,whose monuments similarly awaken reminiscences of Imperial magnificenceduring the Middle Ages, and the all-surpassing splendour of the MediaevalChurch. This third power is that of a strong, free and proud commonwealthof citizens, conscious of its strength. The town where Diirers genius has beenactive and Sachs has sung calls up involuntarily, in our imaginations, visionsof strong and energetic men of th
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