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diff --git a/41734-h/41734-h.htm b/41734-h/41734-h.htm index 2ff4294..4b1f06f 100644 --- a/41734-h/41734-h.htm +++ b/41734-h/41734-h.htm @@ -2,8 +2,8 @@ "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml"> <head> -<meta http-equiv="Content-Type" content="text/html; charset=ISO-8859-1" /> -<title>The Project Gutenberg eBook of Dürer, by Herbert E. A. (Herbert Ernest Augustus) Furst</title> +<meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /> +<title>The Project Gutenberg eBook of Dürer, by Herbert E. A. (Herbert Ernest Augustus) Furst</title> <link rel="coverpage" href="images/cover.jpg" /> <style type="text/css"> @@ -265,27 +265,10 @@ img {padding: 2px; border: none;} </style> </head> <body> -<h1 class="pg">The Project Gutenberg eBook, Dürer, by Herbert E. A. (Herbert Ernest +<div>*** START OF THE PROJECT GUTENBERG EBOOK 41734 ***</div> +<h1 class="pg">The Project Gutenberg eBook, Dürer, by Herbert E. A. (Herbert Ernest Augustus) Furst</h1> -<p>This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at <a -href="http://www.gutenberg.org">www.gutenberg.org</a></p> -<p>Title: Dürer</p> -<p> Masterpieces in Colour Series</p> -<p>Author: Herbert E. A. (Herbert Ernest Augustus) Furst</p> -<p>Release Date: December 29, 2012 [eBook #41734]</p> -<p>Language: English</p> -<p>Character set encoding: ISO-8859-1</p> -<p>***START OF THE PROJECT GUTENBERG EBOOK DüRER***</p> <p> </p> -<h4 class="center">E-text prepared by sp1nd, Charlie Howard,<br /> - and the Online Distributed Proofreading Team<br /> - (<a href="http://www.pgdp.net">http://www.pgdp.net</a>)<br /> - from page images generously made available by<br /> - Internet Archive<br /> - (<a href="http://archive.org">http://archive.org</a>)</h4> <p> </p> <table border="0" style="background-color: #ccccff;margin: 0 auto;" cellpadding="10"> <tr> @@ -325,7 +308,7 @@ EDITED BY</span><br /> <span class="smaller gesperrt3">T. LEMAN HARE</span> </p> -<div class="brightcenter p4"><span class="xlarge"><strong>DÜRER</strong></span><br /> +<div class="brightcenter p4"><span class="xlarge"><strong>DÃœRER</strong></span><br /> <div class="p1">1471-1528</div> </div> @@ -420,7 +403,7 @@ EDITED BY</span><br /> <td class="tdl">BURNE-JONES.</td> <td class="tdl nopadrt"><span class="smcap">A. Lys Baldry.</span></td></tr> <tr> - <td class="tdl">VIGÉE LE BRUN.</td> + <td class="tdl">VIGÉE LE BRUN.</td> <td class="tdl nopadrt"><span class="smcap">C. Haldane MacFall.</span></td></tr> <tr> <td class="tdl">CHARDIN.</td> @@ -444,7 +427,7 @@ EDITED BY</span><br /> <td class="tdl">LAWRENCE.</td> <td class="tdl nopadrt"><span class="smcap">S. L. Bensusan.</span></td></tr> <tr> - <td class="tdl">DÜRER.</td> + <td class="tdl">DÃœRER.</td> <td class="tdl nopadrt"><span class="smcap">H. E. A. Furst.</span></td></tr> <tr> <td class="tdl">HOGARTH.</td> @@ -461,8 +444,8 @@ HOLZSCHUER. Frontispiece<br /> <p class="in0 center padhalf">(From the Oil-painting in the Berlin Museum. Painted in 1526)</p> -<p>Holzschuer was one of Dürer's Nuremberg friends—a patrician, -and Councillor of the City. Dürer's portraits are remarkable for +<p>Holzschuer was one of Dürer's Nuremberg friends—a patrician, +and Councillor of the City. Dürer's portraits are remarkable for their strength in characterisation.</p></div> <a href="images/i_004l.jpg"> <img src="images/i_004.jpg" width="367" height="500" alt="" /></a><br /> @@ -470,7 +453,7 @@ their strength in characterisation.</p></div> <hr /> -<h1><span class="xxlarge">DÜRER</span></h1> +<h1><span class="xxlarge">DÃœRER</span></h1> <div class="xlarge center up1"><strong>BY HERBERT E. A. FURST</strong><br /> <span class="smaller gesperrt3">ILLUSTRATED WITH EIGHT</span><br /> @@ -584,7 +567,7 @@ the least wonderful thing is our ignorance of it.</p> <p>I would chat with you, reader, for a -while; would discuss Dürer, whom I have +while; would discuss Dürer, whom I have known and loved for many a year, and whom I want to make beloved by you also. Here I sit, pen in hand, and would begin.</p> @@ -640,7 +623,7 @@ light I bid you follow me.</p> make through the night of the past. Many an encumbrance of four and a half centuries we shall have to lay aside ere we reach -the treasure-house of Dürer's Art.</p> +the treasure-house of Dürer's Art.</p> <p>From the steps of Kaiser Wilhelm II.'s throne we must hasten through the ages @@ -679,7 +662,7 @@ daily by a circling sun.</p> <p class="in0 center padhalf">(From the Oil-painting in the Berlin Museum)</p> -<p>This beautiful portrait represents, artistically, the zenith of Dürer's +<p>This beautiful portrait represents, artistically, the zenith of Dürer's art. It shows Venetian influence so strongly, and is painted with so much serenity of manner, that one is almost inclined to doubt its ascription.</p></div> @@ -705,7 +688,7 @@ lands.</p> unaccompanied, and the merchants were bold adventurers, and Kings of Scotland might envy Nuremberg burgesses—so -Æneas Sylvius said.</p> +Æneas Sylvius said.</p> <p>And that a touch of humour be not lacking, I bid you remember that my lady @@ -740,7 +723,7 @@ those of yesterday—and we resemble each<span class="pagenum"><a name="Page other most nearly in things that do not matter.</p> -<p>Frankly, therefore, Albrecht Dürer, who +<p>Frankly, therefore, Albrecht Dürer, who was born on May 21, 1471, is a human being from another world, and unless you realise that too, I doubt you can understand @@ -760,19 +743,19 @@ peaceful on his scientific watch-tower; and to the raging, struggling multitude here and elsewhere solemnly, from hour to hour, with preparatory blast of cow-horn emit -his 'Höret ihr Herren und lasst's euch +his 'Höret ihr Herren und lasst's euch sagen' ..." as Carlyle pictures him; he is most certainly not like the Lutheran<span class="pagenum"><a name="Page_18" id="Page_18">[18]</a></span> German with a child's heart and a boy's rash courage.</p> -<p>Frankly I say you cannot admire Dürer +<p>Frankly I say you cannot admire Dürer if you be honestly ignorant or ignorantly honest.</p> <p>We of to-day are too level-headed; our brains cannot encompass the world that -crowded Dürer's dreams.</p> +crowded Dürer's dreams.</p> <p>For the German's brain was always crowded; he had not that nice sense of @@ -784,7 +767,7 @@ You remember Wagner's words in Goethe's <blockquote> -<p>"Zwar weiss ich viel; doch möcht ich Alles wissen."</p> +<p>"Zwar weiss ich viel; doch möcht ich Alles wissen."</p> <p>(I know a lot, yet wish that I knew All.)</p></blockquote> @@ -799,17 +782,17 @@ Here again I have to pull up. Generalisations are so easy, appear so justified, and are more often than not misleading.</p> -<p>Dürer was not a pure-blooded Teuton; +<p>Dürer was not a pure-blooded Teuton; his father came from Eytas in Hungary.<sup>1</sup></p> <div class="footnotes"><div class="footnote"> -<p><sup>1</sup> Eytas translated into German is Thür (Door), and a man from -Thür a Thürer or Dürer.</p></div></div> +<p><sup>1</sup> Eytas translated into German is Thür (Door), and a man from +Thür a Thürer or Dürer.</p></div></div> <p>That German music owes a debt of gratitude to Hungary is acknowledged. Does -Dürer owe his greatness to the strain of +Dürer owe his greatness to the strain of foreign blood?</p> <p>Possibly; but it does not matter. He @@ -832,23 +815,23 @@ for freer play, for freer expression of his faculties. It was to a great extent, I feel sure, the thinker.</p> -<p>Dürer took himself tremendously seriously; +<p>Dürer took himself tremendously seriously; were it not for some letters that he has left us, and some episodes in his graphic art, one might be led to imagine -that Dürer knew not laughter, scarcely +that Dürer knew not laughter, scarcely even a smile. He consequently thought it of importance to acquaint the world with all the details of his life and work, recording even the moods which prompted him -to do this or that. In Dürer the desire to +to do this or that. In Dürer the desire to live was entirely absorbed in the desire to think. He was not a man of action, and the records of his life are filled by accounts of what he saw, what he thought, and what others thought of him; coupled with<span class="pagenum"><a name="Page_21" id="Page_21">[21]</a></span> frequent complaints of jealousies and lack of -appreciation. Dürer was deep but narrow, +appreciation. Dürer was deep but narrow, and in that again he reflects the religious spirit of Protestantism, not the wider culture of Humanism. His ego looms large @@ -867,7 +850,7 @@ narrow interpretation of a world-embracing realm.</p> <p>The scope of this little volume will not -admit of a detailed account of Dürer's life.</p> +admit of a detailed account of Dürer's life.</p> <p>We may not linger on the years of his apprenticeship with Michael Wolgemut, @@ -893,7 +876,7 @@ time, and therefore he devotes himself to <p>Was it ever thus? Would that some of our own struggling artists remembered -Dürer, and even when they find themselves +Dürer, and even when they find themselves compelled to do something to keep the pot aboiling, at any rate do their best.</p> @@ -905,7 +888,7 @@ pot aboiling, at any rate do their best.</p> <p class="in0 center padhalf">(From the Oil-painting in the Alte Pinakothek, Munich)</p> <p>This picture bears the date 1500 and a Latin inscription, "I, -Albert Dürer, of Nuremberg, painted my own portrait here in the +Albert Dürer, of Nuremberg, painted my own portrait here in the proper colours, at the age of twenty-eight."</p> <p>According to Thausing, this picture had a curious fate. The panel @@ -919,7 +902,7 @@ the master.</p></div> </div> <p><span class="pagenum"><a name="Page_25" id="Page_25">[25]</a></span> -We have it on Dürer's own authority that +We have it on Dürer's own authority that he took up etching and wood-engraving because it paid better. And strange—into this bread-and-butter work he put his best.</p> @@ -931,7 +914,7 @@ Bellini.</p> <p>Agnes Frey bore him no children; this fact, I think, is worthy of note. Even a -cursory glance at Dürer's etchings and +cursory glance at Dürer's etchings and woodcuts will reveal the fact that he was fond of children—"kinderlieb," as the Germans say. I do not doubt that he would @@ -948,7 +931,7 @@ suffering, sin, and death.</p> to be accepted as an absolute truth.</p> <p><span class="pagenum"><a name="Page_26" id="Page_26">[26]</a></span> -Dürer was certainly more familiar with +Dürer was certainly more familiar with death and suffering than we are.</p> <p>Unless the grey lady and the dark @@ -956,7 +939,7 @@ angel visit our own homes, most of us—of my readers, at any rate—have to seek deliberately the faces of sorrow in the slums and the grimaces of death in the -Coroner's Court. But in Dürer's days death +Coroner's Court. But in Dürer's days death lurked beyond the city walls; the sight of the slain or swinging victims of knightly valour, and peasant's revenge, blanched the @@ -969,7 +952,7 @@ but because the times were more out of joint than they are now.</p> <p>All these points have to be realised -before one can hope to understand Dürer +before one can hope to understand Dürer even faintly. Again, when we examine more closely the apparently quaint and fantastic<span class="pagenum"><a name="Page_27" id="Page_27">[27]</a></span> form his mode of visualising takes, we @@ -984,8 +967,8 @@ are held simply because it is difficult to disentangle the individual from the typical.</p> -<p>Dürer, whose wanderjahre had taken him -to Strasburg and Bâle and Venice, returned +<p>Dürer, whose wanderjahre had taken him +to Strasburg and Bâle and Venice, returned home again apparently uninfluenced.</p> <p>Critics from Raphael's age down to the @@ -994,9 +977,9 @@ have thought that "knowledge of classic antiquity" might have made a better artist of him.</p> -<p>Now, Dürer was not an artist in its wider +<p>Now, Dürer was not an artist in its wider sense; he was a craftsman certainly, but -above all a thinker. Dürer uses his eyes<span class="pagenum"><a name="Page_28" id="Page_28">[28]</a></span> +above all a thinker. Dürer uses his eyes<span class="pagenum"><a name="Page_28" id="Page_28">[28]</a></span> for the purposes of thought; he could close them without disturbing the pageants of his vision. But whereas we have no hint that @@ -1009,11 +992,11 @@ practical side of his nature, resolved them into scientific problems, with the remarkable result that these visions are hung on purely materialistic facts. From our modern -point of view Dürer was decidedly lacking +point of view Dürer was decidedly lacking in artistic imagination, which even such men as Goya and Blake, or "si parva licet comparere magnis" John Martin and -Gustave Doré, and the delightful Arthur +Gustave Doré, and the delightful Arthur Rackham of our own times possess.</p> <p>His importance was his craftsmanship, @@ -1034,15 +1017,15 @@ amongst them. Gentile Bellini and Vittore Carpaccio were then the only painters at Venice who saw the realistic side of Nature; but they were prosaic, -whilst our Dürer imbued a wooden bench +whilst our Dürer imbued a wooden bench or a tree trunk with a personal and human interest. Those of my readers who can afford the time to linger on this aspect of -Dürer's activity should compare Carpaccio's +Dürer's activity should compare Carpaccio's rendering of St. Jerome in his study with -Dürer's engraving of the same subject.</p> +Dürer's engraving of the same subject.</p> -<p>Dürer the craftsman referred in everything +<p>Dürer the craftsman referred in everything he painted or engraved to Nature. But of course it was Nature as he and his<span class="pagenum"><a name="Page_30" id="Page_30">[30]</a></span> times saw it; neither Hals, Rembrandt, @@ -1052,7 +1035,7 @@ had as yet begun to ascend the rungs of progress towards truthful—that is, "optical sight."</p> -<p>Dürer's reference to Nature means an +<p>Dürer's reference to Nature means an intricate study of theoretical considerations, coupled with the desire to record everything he knew about the things he wished @@ -1067,9 +1050,9 @@ looked <i>into</i>—must be <i>read</i>.</p> <p>Again an obvious truth may here mislead us. The analytical juxtaposition of facts was a characteristic of the age. -Dürer's Art was a step forward; he—like +Dürer's Art was a step forward; he—like Raphael, like Titian—dovetailed, where -earlier men scarcely joined. Dürer has as<span class="pagenum"><a name="Page_31" id="Page_31">[31]</a></span> +earlier men scarcely joined. Dürer has as<span class="pagenum"><a name="Page_31" id="Page_31">[31]</a></span> yet not the power that even the next generation began to acquire—he never suggests anything; he works everything @@ -1078,7 +1061,7 @@ are no slight sketches of his but such as suggest great travail of sight, encumbranced by an over-thoughtful mind.</p> -<p>To understand Dürer you require time; +<p>To understand Dürer you require time; each print of the "Passions," "The Life of Mary," the "Apokalypse," should be read like a page printed in smallest type, with @@ -1100,7 +1083,7 @@ black branches and sere leaves never so picturesque—is beyond the need of your attentions.</p> -<p>The Scylla and Charybdis of æsthetic +<p>The Scylla and Charybdis of æsthetic reformers is praise of the old, and poor appraising of the new.</p> @@ -1112,14 +1095,14 @@ FATHER<br /> Painted in 1497)</p> <p>An interesting picture, which has unfortunately suffered by retouching. -It is the only portrait by Dürer the nation possesses. +It is the only portrait by Dürer the nation possesses. Other works of his may be seen at South Kensington and at Hampton Court.</p></div> <a href="images/i_037l.jpg"> <img src="images/i_037.jpg" width="405" height="500" alt="" /></a><br /> </div> -<p>Now the old Italians thought Dürer a +<p>Now the old Italians thought Dürer a most admirable artist, blamed what they called the defects of his Art on the ungainliness of his models, and felt convinced @@ -1127,18 +1110,18 @@ that he might have easily been the first among the Italians had he lived there, instead of the first among the "Flemings." They were of course wrong, for it is the -individual reflex-action of Dürer's brain +individual reflex-action of Dürer's brain which caused his Art to be what it is; in Italy it would still have been an individual -reflex-action, and Dürer had been in Venice -without the desired effect. Dürer might, +reflex-action, and Dürer had been in Venice +without the desired effect. Dürer might, however, himself seem to confirm the Italians'<span class="pagenum"><a name="Page_35" id="Page_35">[35]</a></span> opinion: he strayed into the barren fields of theoretical speculations—barren because some of his best work was done before he had elaborated his system, barren because speculation saps the strength of natural -perception. Dürer sought a "Canon of +perception. Dürer sought a "Canon of Beauty," and the history of Art has proved over and over again that beauty canonised is damned.</p> @@ -1156,8 +1139,8 @@ cords, not heart-strings.</p> <p>Out of all the foregoing, out of all the mortal and mouldering coverings we have -now to shell the real, the immortal Dürer<span class="pagenum"><a name="Page_36" id="Page_36">[36]</a></span>—the -Dürer whose mind was longing for +now to shell the real, the immortal Dürer<span class="pagenum"><a name="Page_36" id="Page_36">[36]</a></span>—the +Dürer whose mind was longing for truth, whose soul was longing for harmony, and who out of his longings fashioned his Art, as all great men have done and will @@ -1167,13 +1150,13 @@ do until the last.</p> is a woodcut—the "Man of Sorrows."</p> <p>There, reader, you have, in my opinion, -the greatness of Dürer; he never surpassed +the greatness of Dürer; he never surpassed it. It is the consciousness of man's impotence; it is the saddest sight mortal eyes can behold—that of a man who has lost faith in himself.</p> -<p>If Dürer were here now I am sure he +<p>If Dürer were here now I am sure he would lay his hand upon my shoulder, and, his deep true eyes searching mine, his soft and human lips would say:—</p> @@ -1215,12 +1198,12 @@ whole?</p> <p>Neither the "motif" nor its form are in themselves of value, but the harmony of -both—hence we may place Dürer's "Man of +both—hence we may place Dürer's "Man of Sorrows" by the side of Michelangelo's "Moses," as of equal importance, of equal greatness. This "Man of Sorrows" we must praise as immortal Art, and the reason -is evident; Dürer, who designed it during +is evident; Dürer, who designed it during an illness, had himself suffered and knew sorrow—<i>felt</i> what he visualised.</p> @@ -1232,7 +1215,7 @@ Painted in 1499)</p> <p>A striking portrait; somewhat cramped in expression, but full of interest. The trees in the background stamp it at once as a work of -German origin. Dürer's attempt to portray more than the flesh is +German origin. Dürer's attempt to portray more than the flesh is particularly noticeable here, because not quite successful.</p></div> <a href="images/i_044l.jpg"> <img src="images/i_044.jpg" width="379" height="500" alt="" /></a><br /> @@ -1242,7 +1225,7 @@ particularly noticeable here, because not quite successful.</p></div> the one from "Die heimliche Offenbarung Johannis," illustrating Revelations i. 12-17, we will have to draw a different conclusion. -Let us listen to the passage Dürer set +Let us listen to the passage Dürer set himself to illustrate:</p> <blockquote> @@ -1286,10 +1269,10 @@ literal; verse 17 says distinctly, "And when<span class="pagenum"><a name="Page_ I saw him, I fell at his feet as dead." But St. John is here represented as one praying. Then what is the inference? That -Dürer was unimaginative in the higher +Dürer was unimaginative in the higher sense of the word; that he, like the Spirit of the Reformation, sought salvation in the -WORD. Throughout Dürer's Art we feel +WORD. Throughout Dürer's Art we feel that it was constrained, hampered by his inordinate love of literal truthfulness; not one of his works ever rises even to the level @@ -1307,7 +1290,7 @@ written word; a desire which even in our days has not completely disappeared.</p> <p><span class="pagenum"><a name="Page_43" id="Page_43">[43]</a></span> -Dürer therefore appeals to us of to-day +Dürer therefore appeals to us of to-day more through such conceptions as the wings of the Paumgaertner altar-piece, or the four Temperaments (St. Peter, St. John, @@ -1318,16 +1301,16 @@ such as the "Knight of the Reformation" (1513) or the "Melancholia" (1514), is mainly owing to the predominant big note of the principal figures, whilst in the beautiful St. -Jerome ("Hieronymus im Gehäus") it is the +Jerome ("Hieronymus im Gehäus") it is the effect of sunshine and its concomitant feeling -of well-being—<i>Gemüthlichkeit</i>, to use +of well-being—<i>Gemüthlichkeit</i>, to use an untranslatable German word—which makes us linger and dwell with growing delight on every detail of this wonderful print.</p> <p>In spite of appearances to the contrary, -Dürer was, as I have said, unimaginative. +Dürer was, as I have said, unimaginative. He needed the written word or another's idea as a guide; he never dreamt of an<span class="pagenum"><a name="Page_44" id="Page_44">[44]</a></span> Art that could be beautiful without a @@ -1359,18 +1342,18 @@ the man from Arimathea in frock-coats, Mary and the Magdalen in "walking costume," and a company of Horse-guards in attendance. The abyss of over four centuries -divides us from Dürer; my suggestion +divides us from Dürer; my suggestion sounds blasphemous almost, yet it is a thought based on fact and worthy of most careful note.</p> <p>Owing to a convention—then active, -now defunct—Dürer grasped the hands of +now defunct—Dürer grasped the hands of all the living, bade them stop and think. Not one of those who beheld his work could pass by without feeling a call of sympathy and understanding. "Everyman" -Dürer!—that is his grandeur. To this the +Dürer!—that is his grandeur. To this the artists added their appreciation; what he did was not only <i>truly</i> done, but on the testimony of all his brothers in Art <i>well</i> @@ -1384,7 +1367,7 @@ prominent—saw the excellence of the manner of his revelations.</p> <p>I cannot think of any better way of -explaining the effect of Dürer's Art as an +explaining the effect of Dürer's Art as an illustrator upon his time, than to beg you to imagine the delight a short-sighted man experiences when he is given his first pair @@ -1394,12 +1377,12 @@ but on a sudden he sees everything more clearly, more defined, more in detail: and where he previously had only recognised vague effects he begins to see their -causes. Such was the effect of Dürer's +causes. Such was the effect of Dürer's Art: features, arms, hands, bodies, legs, feet, draperies, accessories, tree-trunks and foliage, vistas, radiance and light, not sug<span class="pagenum"><a name="Page_47" id="Page_47">[47]</a></span>gested but present, truly realised. When -I say Dürer was not imaginative I mean to +I say Dürer was not imaginative I mean to convey that imagination was characteristic of the age, not of him alone, but the materialisation, the realisation of fancy, that @@ -1415,7 +1398,7 @@ of our programme, and devote our attention to his paintings—far the least significant part of his activity.</p> -<p>Dürer was the great master of line—he +<p>Dürer was the great master of line—he thinks in line. This line is firstly the outline or contour in its everyday meaning; secondly, it is the massed army of lines that @@ -1446,7 +1429,7 @@ It might almost be a monochrome, for the interest is centred in the wrinkles and lines of care and old age with which Father Time had furrowed the skin of the old man, and -which Dürer has imitated with the determination +which Dürer has imitated with the determination of a ploughshare cleaving the glebe.</p> <p><span class="pagenum"><a name="Page_49" id="Page_49">[49]</a></span></p> @@ -1458,8 +1441,8 @@ of a ploughshare cleaving the glebe.</p> Painted about 1506)</p> <p>Although this picture shows that it was painted under Venetian -influence, it betrays the unrest of Dürer's mind, which makes nearly -all his work pleasanter to look <i>into</i> than to look <i>at</i>. Dürer's works +influence, it betrays the unrest of Dürer's mind, which makes nearly +all his work pleasanter to look <i>into</i> than to look <i>at</i>. Dürer's works generally should be <i>read.</i></p></div> <a href="images/i_055l.jpg"> <img src="images/i_055.jpg" width="423" height="500" alt="" /></a><br /> @@ -1469,13 +1452,13 @@ generally should be <i>read.</i></p></div> When we come to his subject pictures, we will have to notice at once that they have been constructed, not felt. It has been -remarked that Dürer did for northern Art, +remarked that Dürer did for northern Art, or at least attempted, what Leonardo did for Italian Art, viz., converted empirical Art into a theoretical science. Whether such conversion was not in reality a perversion, is a question that cannot be discussed -here. We have, at any rate, in Dürer a +here. We have, at any rate, in Dürer a curious example of an artist referring to Nature in order to discard it; the idealist become realist in order to further his @@ -1483,10 +1466,10 @@ idealism. Most of his pictures contain statements of pictorial facts which are in themselves most true, but taken in conjunction with the whole picture quite -untrue. Dürer lacked the courage to trust +untrue. Dürer lacked the courage to trust his sense of sight, his optic organ: beauty with him is a thing which must be thought -out, not seen. Dürer had come into direct +out, not seen. Dürer had come into direct contact with Italian Art, had felt himself a<span class="pagenum"><a name="Page_52" id="Page_52">[52]</a></span> gentleman in Venice, and only a "parasite" in Nuremberg. From Italy he imported @@ -1497,7 +1480,7 @@ after bent on finding a formula of beauty, which he could have dispensed with had he remained the simple painter as we know him in his early self-portrait of 1493. There -can be no doubt that Dürer was principally +can be no doubt that Dürer was principally looking towards Italy for approval, as indeed he had little reason to cherish the opinions of the painters in his own country, @@ -1510,7 +1493,7 @@ in Nuremberg. Now carpentering was also a "free" Art at Nuremberg, and painting was not "free" in Italy, so the glory of freedom is somewhat discounted; but whatever -Art was, Dürer, at any rate, was not<span class="pagenum"><a name="Page_53" id="Page_53">[53]</a></span> +Art was, Dürer, at any rate, was not<span class="pagenum"><a name="Page_53" id="Page_53">[53]</a></span> an artist in Raphael's, Bellini's, or Titian's sense. He was pre-eminently a thinker, a moralist, a scientist, a searcher after @@ -1529,7 +1512,7 @@ beloved body, and the stricken mother of Christ is represented in a manner almost worthy of the classic Niobe. Wonderfully expressive, too, are all the hands in this -picture. Dürer found never-ending interest +picture. Dürer found never-ending interest in the expressiveness of the hand. But if we were to seek in his colour any beauty other than intensity, we should be disappointed, @@ -1557,7 +1540,7 @@ and Crivelli, in Bellini and Botticelli, but deliberate colour harmonies, though arbitrary in choice, belong to Titian.</p> -<p>Dürer is no colourist, because, as we<span class="pagenum"><a name="Page_55" id="Page_55">[55]</a></span> +<p>Dürer is no colourist, because, as we<span class="pagenum"><a name="Page_55" id="Page_55">[55]</a></span> have already said, painting was the problem, not the joy of expression—in that he is Mantegna's equal, and Beato Angelico's @@ -1572,7 +1555,7 @@ from Italy, or even compared with his own engraved work.</p> <p>This "Madonna with the Siskin" is a -typical Dürer. In midst of the attempted +typical Dürer. In midst of the attempted Italian repose and "beauty" of the principal figures, we have the vacillating, oscillating profusion of Gothic detail. The @@ -1652,10 +1635,10 @@ Finished in 1526)</p> <p>This, with the "SS. Paul and Mark," originally formed one picture, and was painted for the Council of his beloved city, -Nuremberg, as a gift, two years before his death. Dürer had inscribed +Nuremberg, as a gift, two years before his death. Dürer had inscribed lengthy quotations from the Bible below the picture; these quotations, proving the militant fervour of his Protestant faith, were -subsequently removed on that account. Dürer's works were always +subsequently removed on that account. Dürer's works were always more than works of <i>Art</i>.</p></div> <a href="images/i_066l.jpg"> <img src="images/i_066.jpg" width="177" height="500" alt="" /></a><br /> @@ -1672,16 +1655,16 @@ that must arrest the attention of even the most indolent: it is the "Adoration of the Holy Trinity," or the All Saints altar-piece, painted for Matthew Landauer, whom we -recognise, having seen Dürer's drawing of +recognise, having seen Dürer's drawing of his features, in the man with the long nose<span class="pagenum"><a name="Page_61" id="Page_61">[61]</a></span> on the left of the picture. This picture is without a doubt the finest, the greatest altar picture ever painted by any German. It is not by any means a large picture, -measuring only 4 ft. 3 in. × 3 ft. 10-3/4 in., +measuring only 4 ft. 3 in. × 3 ft. 10-3/4 in., but it is so large in conception that it might well have been designed to cover a -whole wall. Dürer has here surpassed himself; +whole wall. Dürer has here surpassed himself; he has for once conceived with the exuberance of a Michelangelo, for it is more serious than a Raphael, it is less @@ -1693,14 +1676,14 @@ instinct with verisimilitude, this might be taken for "documentary evidence." This communion of saints was beholden by man. If ever a man was a believer irrespective -of Church, Creed, or sect—Dürer was he. +of Church, Creed, or sect—Dürer was he. I confess to a sense of awe in beholding this work, akin to Fra Angelico in its<span class="pagenum"><a name="Page_62" id="Page_62">[62]</a></span> sincerity, akin to Michelangelo in its grandeur, and German wholly in the naturalness of its mystery. With more than photographic sharpness and minuteness -of detail does Dürer materialise the +of detail does Dürer materialise the vision: God-Father, an aged King—a Charlemagne; God-Son, the willing sufferer; the Holy Ghost, the dove of Sancgrael; the @@ -1715,7 +1698,7 @@ portray himself, and proudly state on the tablet he is holding:</p> <blockquote> -<p class="in0 center">Albertus Dürer Noricus faciebat.</p> +<p class="in0 center">Albertus Dürer Noricus faciebat.</p> </blockquote> <p>This picture is not a vision—it is the @@ -1738,7 +1721,7 @@ of its colour.</p> <p>Mindful of my intention only to pick up a jewel here and there, I will not weary the reader with the enumeration of his altar-pieces, -Nativities, Entombments, Piétàs and +Nativities, Entombments, Piétà s and Madonnas. I can do this with an easy mind, because in my opinion (and you, reader, have contracted by purchase to @@ -1747,14 +1730,14 @@ are of historical rather than Art interest.</p> <p>The "Adams and Eves" of the Uffizi<span class="pagenum"><a name="Page_64" id="Page_64">[64]</a></span> and the Prado cannot rouse my enthusiasm -either. In these pictures Dürer makes an +either. In these pictures Dürer makes an attempt to create something akin to Dr. Zamenhof's Esperanto; a universal standard for the language of Art in the one case, of Life in the other: and in either case this language, laboriously and admirably constructed but lacking in vitality, leaves the -heart untouched. Dürer's attempts to paint +heart untouched. Dürer's attempts to paint a classical subject, such as Hercules slaying the Stymphalian birds, are unsatisfying. I cannot see any beauty of conception in a @@ -1762,7 +1745,7 @@ timid and illogical mixture of realism and phantasy—it is not whole-hearted enough. Even Rembrandt's ridiculous "Rape of Ganymede" has reason and Art on his side. -Imagination was not Dürer's "forte"; it is +Imagination was not Dürer's "forte"; it is therefore with all the greater pleasure that we turn to his portraits.</p> @@ -1782,22 +1765,22 @@ of 1526 there are but few that are not rare works of Art, and of the few quite a goodly proportion may not be genuine at all.</p> -<p>Dürer's ego loomed large in his consciousness, +<p>Dürer's ego loomed large in his consciousness, and therefore, unlike Rembrandt (who also painted his own likeness time and -again, though only for practice), Dürer was +again, though only for practice), Dürer was really proud of his person—as to be sure he had reason to be.</p> <p>The portrait of 1493 shows us the young -Dürer, who was in all probability betrothed +Dürer, who was in all probability betrothed to his "Agnes"; he is holding the emblem of Fidelity—Man's Troth as it is called in German—which on Goethe's authority I<span class="pagenum"><a name="Page_66" id="Page_66">[66]</a></span> may explain is "Eryngo," or <i>anglice</i> Sea-holly, in his hand.</p> -<p>Five years later this same Dürer, having +<p>Five years later this same Dürer, having probably returned from Venice, appears in splendid array, a true gentleman, gloved, and his naturally wavy hair crisply crimped, @@ -1819,7 +1802,7 @@ not wholly due to the merits of the painting.</p> <p>The comparison with Holbein's work<span class="pagenum"><a name="Page_67" id="Page_67">[67]</a></span> -naturally obtrudes itself, when Dürer's +naturally obtrudes itself, when Dürer's portraits are the subject of discussion.</p> <p>In the Wallace collection is a most delightful @@ -1837,7 +1820,7 @@ infers nothing, states merely facts—and if the truth must be said, is the greater craftsman.</p> -<p>Dürer's mind was deeper; one might +<p>Dürer's mind was deeper; one might say the springs of his talent welling upwards had to break through strata of cross-lying thought, reaching his hand after much @@ -1866,9 +1849,9 @@ Imhof the Elder.</p> appears to be immeasurably above his own portrait of 1500, and above any other excepting the marvellous works of 1526. -Whoever this Hans Imhof was, Dürer has +Whoever this Hans Imhof was, Dürer has laid bare his very soul. These later por<span class="pagenum"><a name="Page_71" id="Page_71">[71]</a></span>traits -show that Dürer stood on the threshold +show that Dürer stood on the threshold of the modern world.</p> <div class="figcenter" style="width: 75%;"> @@ -1883,7 +1866,7 @@ Finished in 1526)</p> </div> <p>Hieronymus Holzschuer is another of -Dürer's strikingly successful efforts to portray +Dürer's strikingly successful efforts to portray both form and mind, and although the colour of the man's face is of a conventional pink, yet the pale blue background, @@ -1895,7 +1878,7 @@ Gallery, Jacob Muffel. Jacob Muffel, contrary to Jerome Holzschuer, looks a miser, a hypocrite, and the more unpleasant, as he does not by any means look a fool. But -Dürer's craftsmanship here exceeds that of +Dürer's craftsmanship here exceeds that of the Holzschuer portrait, whom we love for the sake of his display of white hair and flaming eyes. The enigma to me is how a @@ -1917,7 +1900,7 @@ of 1507. The picture is supposed to show Venetian influence, and might therefore belong to this epoch; but, to my thinking, documentary evidence alone could make -this picture in its not Dürer-like mode +this picture in its not Dürer-like mode of seeing an undoubted work from his hand.</p> @@ -1929,12 +1912,12 @@ life, and several inexpensive books have also appeared of recent years.</p> <p><span class="pagenum"><a name="Page_73" id="Page_73">[73]</a></span> -Dürer's life was in reality uneventful. He +Dürer's life was in reality uneventful. He died suddenly on April 6, 1528, in Nuremberg, having in all probability laid the foundations of his illness on his celebrated journey into Flanders in 1520-21, where he -was fêted everywhere, and right royally +was fêted everywhere, and right royally received both by the civic authorities and his own brothers of the palette.</p> @@ -1945,38 +1928,38 @@ was ever adventurous, seeking new problems, overcoming new difficulties. It is so tempting to liken him to his own "Jerome in his Study," yet St. Jerome's life was the very -antithesis of our Dürer. In Dürer there +antithesis of our Dürer. In Dürer there was nothing of the "Faust-Natur," as the Germans are fond of expressing an ill-balanced, -all-probing mind. Dürer's moral +all-probing mind. Dürer's moral equilibrium was upheld by his deep and sincere religious convictions. He is firmly convinced that God has no more to say to<span class="pagenum"><a name="Page_74" id="Page_74">[74]</a></span> -humanity than the Bible records. Dürer's +humanity than the Bible records. Dürer's difficulties end where Faust's began.</p> -<p>The last years of Dürer's life were +<p>The last years of Dürer's life were spent in composing books on the theory and practice of Art.</p> -<p>To write an adequate "Life of Dürer" +<p>To write an adequate "Life of Dürer" then is impossible in so small a compass. And if anything I said were wise, it were surely the fact that I wanted you, reader, in the very beginning to expect no more than a dim light on the treasure store of -Dürer's Thought and Dürer's Art.</p> +Dürer's Thought and Dürer's Art.</p> <p>But however dim the light, I hope it has been a true light.</p> <p>And here my conscience smites me! All along I may have appeared querulous, -seeking to divulge Dürer's limitations rather +seeking to divulge Dürer's limitations rather than his excellences.</p> <p>Perhaps! There are so many misconceptions -about Dürer. He was a deep-thinking +about Dürer. He was a deep-thinking man; he was like the churches of the North—narrow, steep, dimly religious<span class="pagenum"><a name="Page_75" id="Page_75">[75]</a></span> within, full of traceries, lacework, gargoyles, @@ -1985,14 +1968,14 @@ and grotesques without.</p> <p>I have read that it used to be said in Italy: All the cities of Germany were blind, with the exception of Nuremberg, which was -one-eyed. True! True also of Dürer and +one-eyed. True! True also of Dürer and German Art.</p> <p>In 1526, two years before his death, -Dürer presented a panel to his native city, +Dürer presented a panel to his native city, now cut in two, robbed of its Protestant inscription, and hanging in the Alte Pinakothek -at Munich. Dürer's last great work!</p> +at Munich. Dürer's last great work!</p> <p>It is as though he felt that the divine service of his life was drawing to its close. @@ -2007,12 +1990,12 @@ flaming red, with St. Peter, St. Mark in white, with St. Paul.</p> <p><span class="pagenum"><a name="Page_76" id="Page_76">[76]</a></span> -Dürer's greatest work: here for once his +Dürer's greatest work: here for once his mind and his hand were at one.</p> <p>Menacing, colossal in conception these figures rise, simple with the simplicity -Dürer aimed for, and at last attained; +Dürer aimed for, and at last attained; Byzantine in their awe-inspiring grandeur. But instead of the splendour of Byzantine gold he places his figures upon a jet-black @@ -2046,7 +2029,7 @@ the sword! The religion of love in Saracenic fierceness. The menacing guardians of the Word.</p> -<p>Dürer with finality excludes the faithless +<p>Dürer with finality excludes the faithless from all hope. It is this finality, this absolute faith in the Word, this firm conviction of the finiteness of all things, @@ -2056,14 +2039,14 @@ and suffers no metaphor, glues a veritable sword to the lips of the "Son of man."</p> -<p>This finality is the cause of Dürer's isolation. +<p>This finality is the cause of Dürer's isolation. He has no followers in the world -of creative <i>Art</i>. Close the doors of Dürer's<span class="pagenum"><a name="Page_78" id="Page_78">[78]</a></span> +of creative <i>Art</i>. Close the doors of Dürer's<span class="pagenum"><a name="Page_78" id="Page_78">[78]</a></span> cathedral and the world rolls on, rolls by unheeding.</p> -<p>After Dürer and Luther had gone—Luther, -on whose behalf Dürer uttered so touching +<p>After Dürer and Luther had gone—Luther, +on whose behalf Dürer uttered so touching a prayer—Germany, the holy empire, fell upon evil times. After the death of Maximilian the fields of the cloth of gold and the @@ -2081,7 +2064,7 @@ ticking after centuries of rest.</p> <p>I am straying, reader.</p> -<p>What was it that Dürer had inscribed on +<p>What was it that Dürer had inscribed on the Apostle Panels?</p> <blockquote> @@ -2113,360 +2096,6 @@ The text at the <span class="smcap">Ballantyne Press</span>, Edinburgh <p> </p> <p> </p> -<hr class="full" /> -<p>***END OF THE PROJECT GUTENBERG EBOOK DüRER***</p> -<p>******* This file should be named 41734-h.txt or 41734-h.zip *******</p> -<p>This and all associated files of various formats will be found in:<br /> -<a href="http://www.gutenberg.org/dirs/4/1/7/3/41734">http://www.gutenberg.org/4/1/7/3/41734</a></p> -<p> -Updated editions will replace the previous one--the old editions -will be renamed.</p> - -<p> -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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