The Atlantic Monthly, Volume 03, No. 17, March, 1859

A vivid travelogue opens the piece, guiding listeners through the bustling crossroads of Basel where Germany, France and Switzerland converge. The narrator paints the city’s medieval streets, its shifting fortunes, and the quirky blend of languages and customs that make it feel both foreign and familiar. Readers hear the river Rhine’s restless flow as a metaphor for the town’s ever‑changing identity.

From this lively backdrop the essay turns to Basel’s layered history, recalling the 15th‑century council that launched a future pope and the modest yet striking churches that rose from common stone. The description of secluded pews, rank‑determined benches, and brightly painted roofs hints at the city’s artistic spirit, setting the stage for a discussion of Holbein’s “Dance of Death” and its lingering echo in Basel’s cultural memory. The first act offers a rich portrait of a city where art, politics, and everyday life intertwine, inviting listeners to explore its past.