The legendary fountain was a side note. When we went to the Christkindlemarkt in Nuremberg last weekend with our very good-natured German friends, “turn the wishing ring” was not on my list of things to do. Things to do included the following: Eat grilled sausages. Drink gluhwein. Catch up with Carolin and Holger. Listen to Christmas music. Show Josie all the pretty things. Feed her copious sweets.
Finding a current, we swept along with the masses through what may be the busiest Christmas market in Europe. Above us, on the edges of the hauptmarkt, towered the Frauenkirche, which had been rebuilt painstakingly, stone by original stone, after World War II. A choir sang of St. Nick, hope, and climate change. Snowflakes stuck to our knit hats and scarves. Warm mugs of mulled cider warmed our fingers. Josie licked the frosting off a gingerbread Santa.
Caught up in the crowd, we soon found ourselves facing the Schöne Brunnen, an ornate, 60-foot, 600-year-old golden spire rising from the ground. One after another, tourists popped from the crowd to reach an arm up the wrought iron fence at the base of the spire. Pulling off a mitten, they would take two fingers and grasp a brass ring intertwined in the fence. Most gave the ring three turns. Someone near me said something about the ring bringing good luck. With Josie in my arms, I went up to get my ration.
When we returned to Amsterdam, I was curious about the wishing ring. Had I turned it correctly? And what would my reward be?
I began reading legends, which seemed to lead only to other legends. The fountain itself had been built to top the Frauenkirche, but when the time came to move the steeple, decked with 40 masterfully-carved limestone figures, the townspeople demanded that it stay where they could admire it. It would be called a fountain. And the ring itself? One legend said that an ironwork apprentice, wishing to prove himself to his master, installed the apparently seamless ring overnight. Another legend said the apprentice crafted the ring as a symbol of his love for a nobleman’s daughter. Some legends said that turning the ring would bring luck. Others said you would have a wish granted. Then I read that turning the ring a full 360 degrees would bring a baby to a hopeful young wife. I gulped—later, perhaps, but not now!—then remembered with relief that I hadn’t rotated the ring a full 360 degrees. Still, I was glad I had placed my fingers on this ancient craftspiece…until I read it was actually just a brass ring installed a mere century ago, shiny and easy for tourists to see. The original ring, supposedly, was blackened and old, hiding elsewhere in the fence lattice. And speaking of original, this was not the original fountain. The crumbled artifacts of the original are now housed in a museum, I learned. The fountain had been rebuilt in 1912, and restored again after the damage of World War II.
One of the things I love about Europe is the rich history, the medieval, the ancient. I love seeing an original just-about-anything, perhaps for the implication that permanence is possible. But quite often, I find that even “originals” aren’t original in the sense that I hope. They have been shined up, brushed off, freshly painted, carefully epoxied, with most parts replaced.
A few days ago, our friend Jess was playing with Josie in the living room while I fixed coffee in the kitchen. I heard Josie ask, “What’s that?”
Jess called to me, “Should I tell her?”
“What is it?”
“The tattoo on my ankle,” she said.
“Sure,” I answered, laughing. “You can practice for whatever you want to tell your own kids someday.”
“This is Mommy’s mistake,” she jokingly rehearsed.
“But do you really feel that way?” I asked her as I filled our mugs.
“Well, the only thing is, sometimes I regret putting anything permanent on my body.”
That has always been my rationale for not getting a tattoo. (Also, the only thing I’ve ever come up with to truly represent me would be my name, and a “Bonnie” tattoo would be a little redundant.) But on the other hand, hearing Jess talk about putting something permanent on her body reminded me how very impermanent the body is. Recent science suggests that the average age of the body’s tissues is seven to ten years. That means that you and I are walking around in bodies much younger than our birth dates. Many of the body’s cells live even briefer lives. The surface of the skin is replaced every few weeks. Tastebuds, every ten days. White blood cells, overnight. Bone and brain cells seem to have the most longevity—perhaps decades—but they change over, too. So, even when the human body is not stretching itself into an adult form—the work Josie’s body does every day—the original is never exactly original. When I look at the very ends of my long hair, soon to be trimmed, I don’t have to go back very far to remember what I was doing when those hairs first sprouted: I was asking Dan to take my picture next to our Christmas tree as I stood sideways, showing the small bump of our baby girl growing in my belly.
Of course, this impermanence is why we save a lock of baby hair. This is why my mother has my baby teeth in her jewelry box. This is why the smell of my husband’s skin comforts me so: it is the same smell, familiar and soft, even if very little flesh remains from the day I met him.
Jess’s tattoo could be a little anchor of something original and permanent in a sea of constant change. I realized that maybe it doesn’t matter whether the brass ring in the Schöne Brunnen is one century old or six. Maybe it doesn’t matter if the fence around the fountain is the precise fence that the apprentice originally tinkered with. Perhaps it is unimportant whether the fountain was meant as a church spire, or whether water ever had anything to do with it. And possibly, it doesn’t matter if the fountain is a 600-year-old original, or a replica built a century ago, or even a 60-year-old restoration. The pieces are holding a place—in roughly the right shape—of something that would otherwise too soon have disappeared.


