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diff --git a/41734-8.txt b/41734-8.txt deleted file mode 100644 index d79c21f..0000000 --- a/41734-8.txt +++ /dev/null @@ -1,1534 +0,0 @@ -The Project Gutenberg eBook, Dürer, by Herbert E. A. (Herbert Ernest -Augustus) Furst - - -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 www.gutenberg.org - - - - - -Title: Dürer - Masterpieces in Colour Series - - -Author: Herbert E. A. (Herbert Ernest Augustus) Furst - - - -Release Date: December 29, 2012 [eBook #41734] - -Language: English - -Character set encoding: ISO-8859-1 - - -***START OF THE PROJECT GUTENBERG EBOOK DüRER*** - - -E-text prepared by sp1nd, Charlie Howard, and the Online Distributed -Proofreading Team (http://www.pgdp.net) from page images generously made -available by Internet Archive (http://archive.org) - - - -Note: Project Gutenberg also has an HTML version of this - file which includes the original illustrations. - See 41734-h.htm or 41734-h.zip: - (http://www.gutenberg.org/files/41734/41734-h/41734-h.htm) - or - (http://www.gutenberg.org/files/41734/41734-h.zip) - - - Images of the original pages are available through - Internet Archive. See - http://archive.org/details/drerbyherberte00fursiala - - - - - -Masterpieces in Colour - -Edited By - -T. Leman Hare - -DÜRER - -1471-1528 - - * * * * * - -"MASTERPIECES IN COLOUR" SERIES - - - ARTIST. AUTHOR. - - VELAZQUEZ. S. L. BENSUSAN. - REYNOLDS. S. L. BENSUSAN. - TURNER. C. LEWIS HIND. - ROMNEY. C. LEWIS HIND. - GREUZE. ALYS EYRE MACKLIN. - BOTTICELLI. HENRY B. BINNS. - ROSSETTI. LUCIEN PISSARRO. - BELLINI. GEORGE HAY. - FRA ANGELICO. JAMES MASON. - REMBRANDT. JOSEF ISRAELS. - LEIGHTON. A. LYS BALDRY. - RAPHAEL. PAUL G. KONODY. - HOLMAN HUNT. MARY E. COLERIDGE. - TITIAN. S. L. BENSUSAN. - MILLAIS. A. LYS BALDRY. - CARLO DOLCI. GEORGE HAY. - GAINSBOROUGH. MAX ROTHSCHILD. - TINTORETTO. S. L. BENSUSAN. - LUINI. JAMES MASON. - FRANZ HALS. EDGCUMBE STALEY. - VAN DYCK. PERCY M. TURNER. - LEONARDO DA VINCI. M. W. BROCKWELL. - RUBENS. S. L. BENSUSAN. - WHISTLER. T. MARTIN WOOD. - HOLBEIN. S. L. BENSUSAN. - BURNE-JONES. A. LYS BALDRY. - VIGÉE LE BRUN. C. HALDANE MACFALL. - CHARDIN. PAUL G. KONODY. - FRAGONARD. C. HALDANE MACFALL. - MEMLINC. W. H. J. & J. C. WEALE. - CONSTABLE. C. LEWIS HIND. - RAEBURN. JAMES L. CAW. - JOHN S. SARGENT. T. MARTIN WOOD. - LAWRENCE. S. L. BENSUSAN. - DÜRER. H. E. A. FURST. - HOGARTH. C. LEWIS HIND. - - _Others in Preparation._ - - * * * * * - - -[Illustration: PLATE I.--PORTRAIT OF HIERONYMUS HOLZSCHUER. Frontispiece - -(From the Oil-painting in the Berlin Museum. Painted in 1526) - -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.] - - -DÜRER - -by - -HERBERT E. A. FURST - -Illustrated with Eight Reproductions in Colour - - - - - - - -[Illustration: IN SEMPITERNUM.] - -London: T. C. & E. C. Jack -New York: Frederick A. Stokes Co. - - - - -LIST OF ILLUSTRATIONS - - - Plate - - I. Portrait of Hyeronymus Holzschuer - Frontispiece - From the Oil-painting in the Berlin Museum - - Page - II. Portrait of a Woman 14 - From the Oil-painting in the Berlin Museum - - III. Portrait of the Artist 24 - From the Oil-painting in the Alte Pinakothek, Munich - - IV. Portrait of the Painter's Father 34 - From the Oil-painting in the National Gallery - - V. Portrait of Oswalt Krel 40 - From the Oil-painting in the Alte Pinakothek, Munich - - VI. The Madonna with the Siskin 50 - From the Oil-painting in the Berlin Museum - - VII. SS. John and Peter 60 - From the Oil-painting in the Alte Pinakothek, Munich - - VIII. SS. Paul and Mark 70 - From the Oil-painting in the Alte Pinakothek, Munich - - - - -[Illustration] - - -This is a wonderful world! And not the least wonderful thing is our -ignorance of it. - -I would chat with you, reader, for a 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. - -Begin--where? - -With the Beginnings? - -The Beginnings? Where do things begin; when and why? - -So our ignorance, like a many-headed monster, raises its fearsome heads -and would bar the way. - -By most subtle links are all things connected--cause and effect we call -them; and if we but raise one or the other, fine ears will hear the -clinking--and the monster rises. - -There are so many things we shall never know, cries the poet of the -unsaid, Maeterlinck. - -Let us venture forth then and grope with clumsy fingers amongst the -treasures stored; let us be content to pick up a jewel here and there, -resting our minds in awe and admiration on its beauty, though we may not -readily understand its use and meaning. Foolish men read books and -dusty documents, catch a few dull words from the phrasing of long -thoughts, and will tell you, these are facts! - -Wise men read books--the books of Nature and the books of men--and say, -facts are well enough, but oh for the right understanding! - -For between sunrise and sunset, between the dusk of evening and the dusk -of dawn, things happen that will never happen again; and the world of -to-day is ever a world of yesterdays and to-morrows. - -Reader, I lift my torch, and by its dim light I bid you follow me. - -For it is a long journey we have to 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. - -From the steps of Kaiser Wilhelm II.'s throne we must hasten through the -ages to Kaiser Maximilian's city, Nuremberg--to the days when Wilhelm's -ancestors were but Margraves of Brandenburg, scarcely much more than the -Burggraves of Nuremberg they had originally been. - -From the days of the Maxim gun and the Lee-Metford to the days of the -howitzer and the blunderbuss. When York was farther away from London -than New York is to-day. - -When the receipt of a written letter was fact but few could boast of; -and a secret _billet-doux_ might cause the sender to be flung in gaol. -When the morning's milk was unaccompanied by the morning news; for the -printer's press was in its infancy. - -When the stranding of a whale was an event of European interest, and the -form of a rhinoceros the subject of wild conjecture and childish -imagination. - -When this patient earth of ours was to our ancestors merely a vast -pancake toasted daily by a circling sun. - -[Illustration: PLATE II.--PORTRAIT OF A WOMAN - -(From the Oil-painting in the Berlin Museum) - -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.] - -When the woods were full of hobgoblins, and scaly Beelzebubs were busily -engaged in pitching the souls of the damned down a yawning hell-mouth, -and the angels of the Lord in crimson and brocade carried the blessed -heavenward. In those days scholars filled their books with a curious -jumble of theology, philosophy, and old women's talk. Dr. Faustus -practised black magic, and the besom-steeds carried witches from the -Brocken far and wide into all lands. - -Then no one ventured far from home unaccompanied, and the merchants were -bold adventurers, and Kings of Scotland might envy Nuremberg -burgesses--so Æneas Sylvius said. - -And that a touch of humour be not lacking, I bid you remember that my -lady dipped her dainty fingers into the stew, and, after, threw the bare -bones to the dogs below the table; and I also bid you remember that -satins and fine linen oft clothed an unwashed body. - -Cruel plagues, smallpox, and all manner of disease and malformations -inflicted a far greater number than nowadays, and the sad ignorance of -doctors brewed horrid draughts amongst the skulls, skeletons, stuffed -birds, and crocodiles of their fearsome-looking "surgeries." - -In short, it was a "poetic" age; when all the world was full of -mysteries and possibilities, and the sanest and most level-headed were -outrageously fantastic. - -There are people who will tell you that the world is very much the same -to-day as it was yesterday, and that, after all, human nature is human -nature in all ages all the world over. But, beyond the fact that we all -are born and we all must die, there is little in common between you and -me--between us of to-day and those of yesterday--and we resemble each -other most nearly in things that do not matter. - -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 him, much less admire him. - -For his Art is not beautiful. - -Germans have never been able to create anything beautiful in Art: their -sense of beauty soars into Song. - -But even whilst I am writing these words it occurs to me that they are -no longer true, for the German of to-day is no longer the German of -yesterday, "standing 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 sagen' ..." as Carlyle pictures him; he is most certainly -not like the Lutheran German with a child's heart and a boy's rash -courage. - -Frankly I say you cannot admire Dürer if you be honestly ignorant or -ignorantly honest. - -We of to-day are too level-headed; our brains cannot encompass the world -that crowded Dürer's dreams. - -For the German's brain was always crowded; he had not that nice sense of -space and emptiness that makes Italian Art so pleasant to look upon, and -which the Japanese employ with astonishing subtlety. You remember -Wagner's words in Goethe's "Faust"-- - - "Zwar weiss ich viel; doch möcht ich Alles wissen." - - (I know a lot, yet wish that I knew All.) - -It is not only his eagerness to show you all he knows, but also his -ravenous desire to know all that is to be known. Hence we speak of -German thoroughness, at once his boast and his modesty. - -Here again I have to pull up. Generalisations are so easy, appear so -justified, and are more often than not misleading. - -Dürer was not a pure-blooded Teuton; his father came from Eytas in -Hungary.[1] - - [1] Eytas translated into German is Thür (Door), and a - man from Thür a Thürer or Dürer. - -That German music owes a debt of gratitude to Hungary is acknowledged. -Does Dürer owe his greatness to the strain of foreign blood? - -Possibly; but it does not matter. He was a man, and a profound man, -therefore akin to all the world, as Dante and Michelangelo, as -Shakespeare and Millet. Born into German circumstances he appears in -German habit--that is all. - -His father Albrecht was a goldsmith, and Albrecht the son having shown -himself worthy of a better education than his numerous brothers, was, -after finishing school, apprenticed to and would have remained a -goldsmith, had his artistic nature not drawn him to Art; at least so his -biographer, _i.e._ the painter himself, tells us. It was not the artist -alone who longed for freer play, for freer expression of his faculties. -It was to a great extent, I feel sure, the thinker. - -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 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 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 frequent -complaints of jealousies and lack of 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 in -his consciousness, and it is the salvation of the soul rather than the -expansion of the mind which concerns him; but withal he is like -Luther--a _Man_. - -His idea then of Art was, that it "should be employed," as he himself -explained, "in the service of the Church to set forth the sufferings of -Christ and such like subjects, and it should also be employed to -preserve the features of men after their death." A narrow interpretation -of a world-embracing realm. - -The scope of this little volume will not admit of a detailed account of -Dürer's life. - -We may not linger on the years of his apprenticeship with Michael -Wolgemut, where he suffered much from his fellow-'prentices. We must -not accompany him on his wanderjahre, these being the three years of -peregrination which always followed the years of apprenticeship. - -Neither may we record details, as of his marriage with Agnes Frey--"mein -Agnes," upon his return home in 1494. "His Agnes" was apparently a good -housewife and a shrewd business woman, to whom he afterwards largely -entrusted the sale of his prints. - -He had a great struggle for a living. And here an amusing analogy occurs -to me. Painting does not pay, he complains at one time, and therefore he -devotes himself to "black and white." - -Was it ever thus? Would that some of our own struggling artists -remembered Dürer, and even when they find themselves compelled to do -something to keep the pot aboiling, at any rate do their best. - -[Illustration: PLATE III.--PORTRAIT OF THE ARTIST - -(From the Oil-painting in the Alte Pinakothek, Munich) - -This picture bears the date 1500 and a Latin inscription, "I, Albert -Dürer, of Nuremberg, painted my own portrait here in the proper colours, -at the age of twenty-eight." - -According to Thausing, this picture had a curious fate. The panel on -which it was painted was sawn in two by an engraver to whom it was lent, -and who affixed the back to his own poor copy of the picture--thus using -the seal of the Nuremberg magistrates, which was placed upon it, to -authenticate his copy as a genuine work of the master.] - -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. - -It is not his painting that made his fame and name, though in that -branch of Art he was admired by a Raphael and a Bellini. - -Agnes Frey bore him no children; this fact, I think, is worthy of note. -Even a 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 have given us even more joy and sunshine in -his Art had he but called a child his own. - -Instead, we have too often the gloomy reflection of death throughout his -work. The gambols and frolics of angelic cupids are too often obscured -by the symbols of suffering, sin, and death. - -Again, we must not allow a logical conclusion to be accepted as an -absolute truth. - -Dürer was certainly more familiar with death and suffering than we are. - -Unless the grey lady and the dark 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 lurked beyond the city walls; the sight of the -slain or swinging victims of knightly valour, and peasant's revenge, -blanched the cheeks of many maidens, and queer plagues and pestilences -mowed the most upright to the ground. The Dance of Death was a favourite -subject with the old painters, not because their disposition was morbid, -but because the times were more out of joint than they are now. - -All these points have to be realised before one can hope to understand -Dürer even faintly. Again, when we examine more closely the apparently -quaint and fantastic form his mode of visualising takes, we must make -allowances for the habits and customs and costumes of the times--as -indeed one has to, in the case of all old masters, and for which reason -I humbly submit that the study of old masters properly belongs to the -few, not the many. A great deal of erroneous opinions are held simply -because it is difficult to disentangle the individual from the typical. - -Dürer, whose wanderjahre had taken him to Strasburg and Bâle and Venice, -returned home again apparently uninfluenced. - -Critics from Raphael's age down to the last few years have lamented this -fact; have thought that "knowledge of classic antiquity" might have made -a better artist of him. - -Now, Dürer was not an artist in its wider sense; he was a craftsman -certainly, but above all a thinker. Dürer uses his eyes for the -purposes of thought; he could close them without disturbing the pageants -of his vision. But whereas we have no hint that his dreams were of -beauty, we have every indication that they were literal transcriptions -of literary thoughts. When he came to put these materialisations into -the form of pictures or prints, the craftsman side, the 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 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 Rackham of our own times possess. - -His importance was his craftsmanship, whilst the subject-matter of his -pictures--the portraits excepted--and particularly of his prints, are -merely of historic interest--"von kulturhistorischer Bedeutung," the -German would say. - -In 1506 and 1507 he visited Venice, as already stated, gracefully -received by the nobles and Giovanni Bellini, but disliked by the other -painters. - -He returned home apparently uninfluenced by the great Venetians, Titian, -remember, 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 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 rendering of St. Jerome in his study with Dürer's -engraving of the same subject. - -Dürer the craftsman referred in everything he painted or engraved to -Nature. But of course it was Nature as he and his times saw it; neither -Hals, Rembrandt, neither Ribera, Velazquez, neither Chardin nor -Constable, neither Monet nor Whistler had as yet begun to ascend the -rungs of progress towards truthful--that is, "optical sight." - -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 to reproduce. - -His was an analytical mind, and every piece of work he produced is a -careful dovetailing of isolated facts. Consequently his pictures must -not be looked _at_, but looked _into_--must be _read_. - -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 Raphael, like Titian--dovetailed, where earlier men -scarcely joined. Dürer has as yet not the power that even the next -generation began to acquire--he never suggests anything; he works -everything out, down to the minutest details. There are no slight -sketches of his but such as suggest great travail of sight, encumbranced -by an over-thoughtful mind. - -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 thought and some eye-strain. That of course goes -very much against the grain of our own age; we demand large type and -short stories. - -The study of his work entails considerable self-sacrifice. Your own -likes and dislikes you have to suppress, and try to see with eyes -that belong to an age long since gone. Do not despise the less -self-sacrificing, who refuse the study of old Art; and distrust -profoundly those others who laud it beyond measure. The green tree is -the tree to water; the dead tree--be its black branches and sere leaves -never so picturesque--is beyond the need of your attentions. - -The Scylla and Charybdis of æsthetic reformers is praise of the old, and -poor appraising of the new. - -[Illustration: PLATE IV.--PORTRAIT OF THE PAINTER'S FATHER - -(From the Oil-painting in the National Gallery. Painted in 1497) - -An interesting picture, which has unfortunately suffered by retouching. -It is the only portrait by Dürer the nation possesses. Other works of -his may be seen at South Kensington and at Hampton Court.] - -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 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 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, however, himself seem to -confirm the Italians' 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 Beauty," and -the history of Art has proved over and over again that beauty canonised -is damned. - -One more remark: his contemporaries and critics praised the -extraordinary technical skill with which he could draw straight lines -without the aid of a ruler, or the astounding legerdemain with which he -reproduced every single hair in a curl--the "Paganini" worship which -runs through all the ages; which in itself is fruitless; touches the -fiddle-strings at best or cerebral cords, not heart-strings. - -Out of all the foregoing, out of all the mortal and mouldering coverings -we have now to shell the real, the immortal Dürer--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 -do until the last. - -On the title-page of the "Small Passion" is a woodcut--the "Man of -Sorrows." - -There, reader, you have, in my opinion, 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. - -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:-- - -You are right, my friend; this is my best, for it is the spirit of my -age that spoke in me then. - -In front of the Pantheon at Paris is a statue called The Thinker. -A seated man, unconscious of his bodily strength, for all his -consciousness is in the iron grip of thought. He looks not up, not -down--he looks before him; and methinks, reader, I can hear an unborn -voice proclaim: - -This too was once the Spirit of an Age. Two milestones on the path of -human progress; an idle fancy if you will--no more. - -Of the Man of Sorrows then we spoke: It is a small thing, but done -exceeding well, for in the simplicity of form it embraces a world of -meaning; and whilst you cannot spare one iota from the words of the -Passion, on account of this picture, yet all the words of Christ's -suffering seem alive in this plain print. Could there be a better -frontispiece? - -In judging, not enjoying, a work of art, one should first make sure that -one understands the methods of the artist; one should next endeavour to -discover his evident purpose or aim, or "motif," and forming one's -judgment, ask: Has the artist succeeded in welding aim and result into -one organic whole? - -Neither the "motif" nor its form are in themselves of value, but the -harmony 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 an illness, had himself suffered -and knew sorrow--_felt_ what he visualised. - -[Illustration: PLATE V.--PORTRAIT OF OSWALT KREL - -(From the Oil-painting in the Alte Pinakothek, Munich. Painted in 1499) - -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 -particularly noticeable here, because not quite successful.] - -If we compare another woodcut, viz. 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 -himself to illustrate: - - 12. And I turned to see the voice that spake with me. And being - turned, I saw seven golden candlesticks; - - 13. And in the midst of the seven candlesticks one like unto the - Son of man, clothed with a garment down to the foot, and - girt about the paps with a golden girdle. - - 14. His head and hairs white like wool, as white as snow; and - his eyes as a flame of fire; - - 15. And his feet like unto fine brass, as if they burned in a - furnace; and his voice as the sound of many waters. - - 16. And he had in his right hand many stars: and out of his - mouth went a sharp two-edged sword: and his countenance - was as the sun shineth in his strength. - - 17. And when I saw him, I fell at his feet as dead. - -Assuming that a passage such as this _can_ be illustrated, and that -without the use of colour, is his a good illustration? Does it reproduce -the spirit and meaning of St. John, or only the words? Look at the -two-edged sword glued to the mouth, look at the eyes "as a flame of -fire"; can you admit more than that it pretends to be a literal -translation? But it is not even literal; verse 17 says distinctly, "And -when 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 sense of the word; that he, like the Spirit -of the Reformation, sought salvation in the 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 -of Raphael's "Madonna della Seggiola." Like German philosophy, his works -are so carefully elaborated in detail that the glorious whole is lost in -more or less warring details. His Art suffers from insubordination--all -facts are co-ordinated. He himself knew it, and towards the end of this -life hated its complexity, caused by the desire to represent in one -picture the successive development of the spoken or written word; a -desire which even in our days has not completely disappeared. - -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, St. Mark, and St. Paul), than through the crowded -centre panels of his altar-pieces; and the strong appeal of his -engravings, 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 effect of sunshine and its concomitant feeling of -well-being--_Gemüthlichkeit_, to use an untranslatable German -word--which makes us linger and dwell with growing delight on every -detail of this wonderful print. - -In spite of appearances to the contrary, Dürer was, as I have said, -unimaginative. He needed the written word or another's idea as a -guide; he never dreamt of an Art that could be beautiful without a -"mission"--he never "created." Try to realise for a moment that -throughout his work--in accordance with the conception of his age--he -mixes purely modern dress with biblical and classical representation, as -if our Leightons, Tademas, Poynters, were to introduce crinolines, -bustles, or "empire" gowns amongst Venuses and Apollos. In the pathetic -"Deposition from the Cross" the Magdalen is just a "modern" Nuremberg -damsel, and the Virgin's headwrap is slung as the northern housewife -wore it, and not like an Oriental woman's; Joseph of Arimathea and -Nicodemus are clad as Nuremberg burghers, and only in the figure of John -does he make concession to the traditional "classic" garment. Such an -anachronistic medley could only appear logical so long as the religious -spirit and the convictions of the majority were at one. I dare scarcely -hint at, much less describe, the feelings that would be stirred in you -if a modern painter represented the Crucifixion with Nicodemus and 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 sounds blasphemous -almost, yet it is a thought based on fact and worthy of most careful -note. - -Owing to a convention--then active, 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 -artists added their appreciation; what he did was not only _truly_ done, -but on the testimony of all his brothers in Art _well_ done. So with -graver, pen, and brush he gave his world the outlines of Belief. In his -pictures the illiterate saw, as by revelation, that which they could not -read, and the literate, the literati--Erasmus, Pirkheimer, Melanchthon -amongst the most prominent--saw the excellence of the manner of his -revelations. - -I cannot think of any better way of 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 of -spectacles. Everything remains where it is; he has not lost his sense of -orientation, 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 Art: features, arms, hands, bodies, legs, feet, draperies, -accessories, tree-trunks and foliage, vistas, radiance and light, not -suggested but present, truly realised. When 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 is his strength. - -All these considerations can find, unfortunately, no room for discussion -in these pages, for it were tedious to refer the reader to examples -which are not illustrated. - -We must perforce accept the limitations of our programme, and devote our -attention to his paintings--far the least significant part of his -activity. - -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 go to make shadow; thirdly, it is line in -its psychical aspect, as denoting direction, aim, tendency, such as we -have it in the print of the "Melancholia." No one before him had ever -performed such wonderful feats with "line," not even Mantegna with his -vigorous but repellent parallels. - -This line was the greatest obstacle to his becoming a successful -painter. For his line was not the great sweep, not the graceful flow, -not the spontaneous dash, not the slight touch, but the heavy, -determined, reasoned move, as of a master-hand in a game of chess. - -To him, consequently, the world and his Art were problems, not joys. - -Consider one of his early works--the portrait of his father, the honest, -God-fearing, struggling goldsmith. The colour of this work is -monotonous, a sort of gold-russet. 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 of a ploughshare cleaving the -glebe. - -[Illustration: PLATE VI.--THE MADONNA WITH THE SISKIN - -(From the Oil-painting in the Berlin Museum. Painted about 1506) - -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 _into_ than to look _at_. Dürer's works -generally should be _read_]. - -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, 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 curious -example of an artist referring to Nature in order to discard it; the -idealist become realist in order to further his 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 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 contact with Italian Art, had felt himself a -gentleman in Venice, and only a "parasite" in Nuremberg. From Italy he -imported a conception of beauty which really was quite foreign to him. -Italy sowed dissension in his mind, for he was ever 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 looking towards -Italy for approval, as indeed he had little reason to cherish the -opinions of the painters in his own country, who were so greatly his -inferiors both in mind as in their Art. - -Much has been made of the fact that painting was a "free" Art, not a -"Guild" 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 an artist in Raphael's, Bellini's, or Titian's sense. He was -pre-eminently a thinker, a moralist, a scientist, a searcher after -absolute truth, seeking expression in Art. Once this is realised his -pictures make wonderfully good reading. - -The "Deposition," for example, is full of interest. The dead Christ, -whose still open lips have not long since uttered "Into Thy hands, O -Lord," is being gently laid on the ground, His poor pierced feet rigid, -the muscles of His legs stiff as in a cramp. The Magdalen holds the -right hand of the 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 in the expressiveness of the hand. But if we were -to seek in his colour any beauty other than intensity, we should be -disappointed, as we should for the matter of that in any picture -painted before the advent of Titian. - -Again that monster Ignorance stirs. For as I speak of colour, as I -dogmatise on Titian, I am aware that colour may mean so many different -things, and any one who wished to contradict me would be justified in -doing so, not because I am wrong and he is right, but because of my -difficulty in explaining colour, and his natural wish to aim at my -vulnerable spot. Because I am well-nigh daily breaking bread with -painters who unconsciously reveal the workings of their mind to me, I -know that all the glibly used technical terms of their Art are as fixed -as the colour of a chameleon. Different temperaments take on different -hues. There is colour in Van Eyck and Crivelli, in Bellini and -Botticelli, but deliberate colour harmonies, though arbitrary in choice, -belong to Titian. - -Dürer is no colourist, because, as we have already said, painting was -the problem, not the joy of expression--in that he is Mantegna's equal, -and Beato Angelico's inferior. - -Thus looking on the "Madonna mit dem Zeisig" at Berlin, we may realise -its beauty with difficulty. For whatever it may have been to his -contemporaries, to us it means little, by the side of the splendid -Madonnas from Italy, or even compared with his own engraved work. - -This "Madonna with the Siskin" is a 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 fair hair -of the Madonna drawn tightly round the head reappears in a gothic mass -of crimped curls spread over her right shoulder. On her left hangs a -piece of ribbon knotted and twisted. The cushion on which the infant -Saviour sits is slashed, laced, and tassled. The Infant holds a prosaic -"schnuller" or baby-soother in His right hand, whilst the siskin is -perched on the top of His raised forearm. Of the wreath-bearing angels, -one displays an almost bald head, and the background is full of unrest. -Even the little label bearing the artist's name, by which old masters -were wont to mark their pictures, and which in Bellini's case, for -instance, appears plain and flatly fixed, bends up, like the little -films of gelatine, which by their movements are thought to betray the -holder's temperament. - -One of the tests of great Art is its appearance of inevitableness: in -that the artist vies with the creator: - - "The Moving Finger writes, and having writ, - Moves on; nor all your piety nor wit - Shall lure it back to cancel half a line." - -There are a good many "lines" in the "Siskin" Madonna which bear -cancelling: not one in the Madonna of the title-page of the -"Marieenleben," which for that reason is a work of greater Art. - -The fact is, that whilst his engraved and black and white work reaches -at times monumental height, great in _saecula saeculorum_, there are too -few of his painted pictures that have the power to arrest the attention -of the student of Art, who must not be confounded with the student of -Art-history. - -As a painter he is essentially a primitive; as a graver he overshadows -all ages. - -Thus we see his great pictures one after the other: his Paumgaertner -altar-piece, his "Deposition"--both in Munich; "The Adoration of the -Magi" in the Uffizi; the much damaged but probably justly famed -"Rosenkranz fest" in Prague, with his own portrait and that of his -friend Pirckheimer in the background, and Emperor Max and Pope Julius -II. in the foreground; the Dresden altar-piece, or the "Crucifixion," -with the soft body of the crucified Christ and the weirdly fluttering -loin-cloth; the strangely grotesque "Christ as a Boy in the Temple" in -the Barberini Palace; the "Adam and Eve"; the "Martyrdom of the 10,000 -Christians"--thus, I say, we see them one after the other pass before -us, and are almost unmoved. - -[Illustration: PLATE VII.--SS. JOHN AND PETER - -(From an Oil-painting in the Alte Pinakothek, Munich. Finished in 1526) - -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 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 more than works of _Art_.] - -True, the Paumgaertner altar-piece has stirred us on account of the -wing-pictures, but there is good reason for that, and we will revert to -this reason later. The "Adoration of the Magi" seems reminiscent of -Venetian influence. Not until we reach the year 1511 do we encounter a -work 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 -his features, in the man with the long nose 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., but it is so -large in conception that it might well have been designed to cover a -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 poetic than a Fra Angelico: but personally I state -my conviction, that if ever all the Saints shall unite in adoration of -the Trinity, this is the true and only possibility, this is 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. I confess -to a sense of awe in beholding this work, akin to Fra Angelico in its -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 vision: God-Father, -an aged King--a Charlemagne; God-Son, the willing sufferer; the Holy -Ghost, the dove of Sancgrael; the Heavenly Hosts above; the Saints -beside and below--Saints that have lived and suffered, and are now -assembled in praise--for the crowd is a living, praying, praising, and -jubilant crowd. - -Well might the creator of this masterpiece portray himself, and proudly -state on the tablet he is holding: - - Albertus Dürer Noricus faciebat. - -This picture is not a vision--it is the statement of a dogmatic truth; -as such it is painted with all the subtlety of doctrinal reasoning; not -a romantic vision, nor a human truth, such as we find in Rembrandt's -religious works. It is a ceremonial picture, only the ceremony is full, -not empty; full of conviction, reverence, and faith! Such pictures are -rare amongst Italians--in spite of all their sense of beauty; more -frequent amongst the trans-alpine peoples, but never built in so much -harmony. Unfortunately it has suffered, and is no longer in its pristine -condition; it were fruitless therefore to discuss the merits of its -colour. - -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 Madonnas. I can do this with an easy -mind, because in my opinion (and you, reader, have contracted by -purchase to accept my guidance) his religious paintings are of -historical rather than Art interest. - -The "Adams and Eves" of the Uffizi and the Prado cannot rouse my -enthusiasm 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 a -classical subject, such as Hercules slaying the Stymphalian birds, are -unsatisfying. I cannot see any beauty of conception in a 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 therefore -with all the greater pleasure that we turn to his portraits. - -Portraits are always more satisfactory than subject pictures, a fact -which is particularly noticeable to-day. There are scores of painters -whose portrait-painting is considerably more impressive than their -subject-painting--not because portrait-painting is less difficult, but -because it is more difficult to detect the weaknesses of painting in a -portrait. - -From the early Goethe-praised self portrait of 1493 down to the -wonderful portraits 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. - -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 really proud of his person--as to be sure he -had reason to be. - -The portrait of 1493 shows us the young 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 may explain is "Eryngo," or _anglice_ Sea-holly, in his -hand. - -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, clad in a most fantastic costume. - -As his greatest portrait the Munich one, dated 1500, has always been -acclaimed. His features here bear a striking resemblance to the -traditional face of Christ, and no doubt the resemblance was -intentional. The nose, characterised in other pictures by the strongly -raised bridge, loses this disfigurement in its frontal aspect. There is -an almost uncanny expression of life in his eyes; dark ages of Byzantine -belief and Art spring to the mind, and compel the spectator into an -attitude of reverence not wholly due to the merits of the painting. - -The comparison with Holbein's work naturally obtrudes itself, when -Dürer's portraits are the subject of discussion. - -In the Wallace collection is a most delightful little miniature portrait -of Holbein, by his own hand. Compare the two heads. What a difference! -Holbein the craftsman _par excellence_; the man to whom drawing came as -easily as seeing comes to us. With shrewd, cold, weighing eyes he sizes -himself up in the mirror. He, too, is a man of knowledge; he does his -work faithfully and exceedingly well, but leaves it there. He never -moralises, draws no conclusions, infers nothing, states merely -facts--and if the truth must be said, is the greater craftsman. - -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 tribulation, and teaching it to set down all he knew. - -So the Paumgaertner portraits, at one time supposed to represent Ulrich -von Hutten and Franz von Sickingen--the Reformation knights--show a -marvellous grasp of character, wholly astonishing in the unconventional -attitude, whilst the portrait of his aged master, Michael Wohlgemut, -overstates in its anxiety not to understate. - -His portrait of Kaiser Maximilian, quiet, dignified, is yet somewhat -small in conception. - -Two years later, however, he painted a portrait now in the Prado, -representing presumably the Nuremberg patrician, Hans Imhof the Elder. - -Purely technically considered this picture 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 laid -bare his very soul. These later portraits show that Dürer stood on -the threshold of the modern world. - -[Illustration: PLATE VIII.--SS. PAUL AND MARK - -(From an Oil-painting in the Alte Pinakothek, Munich. Finished in 1526) - -See Note preceding Plate VII.] - -Hieronymus Holzschuer is another of 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, the -white hair, the pink flesh, and the glaring eyes stamp themselves -indelibly on the mind of the beholder, much to the detriment of the -other picture in the Berlin 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 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 man who had painted the three last portraits mentioned, -could have fallen to the level of the "Madonna with the Apple" of the -same year. - -The finest portrait under his name is the "Portrait of a Woman" at -Berlin. This indeed is a brilliant piece of portraiture, absolutely -modern in feeling, exceeding Holbein; and unless my eyes, which have not -rested upon its surface for over ten years, deceive me, it is quite -unlike any portrait painted by him before--the nearest perhaps being the -man's portrait at Munich 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 of seeing an undoubted work from his hand. - -Space forbids further enumeration, further discussion of his work. As to -details of his biography the reader will find in almost every library -some reliable records of his life, and several inexpensive books have -also appeared of recent years. - -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 received both by the civic -authorities and his own brothers of the palette. - -His stay at Venice as a young man, and this last-mentioned journey, were -the greatest adventures of his body. His mind 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 was nothing of the -"Faust-Natur," as the Germans are fond of expressing an ill-balanced, -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 humanity than the Bible records. Dürer's difficulties -end where Faust's began. - -The last years of Dürer's life were spent in composing books on the -theory and practice of Art. - -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. - -But however dim the light, I hope it has been a true light. - -And here my conscience smites me! All along I may have appeared -querulous, seeking to divulge Dürer's limitations rather than his -excellences. - -Perhaps! There are so many misconceptions about Dürer. He was a -deep-thinking man; he was like the churches of the North--narrow, steep, -dimly religious within, full of traceries, lacework, gargoyles, and -grotesques without. - -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 German Art. - -In 1526, two years before his death, 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! - -It is as though he felt that the divine service of his life was drawing -to its close. His life and Art I have likened to a Gothic Cathedral; his -last works were as the closed wings of a gigantic altar-piece, before -which he leaves posterity gazing overawed. - -The life-size figures of this great work represent the four Apostles: -St. John in flaming red, with St. Peter, St. Mark in white, with St. -Paul. - -Dürer's greatest work: here for once his mind and his hand were at one. - -Menacing, colossal in conception these figures rise, simple with the -simplicity 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 ground, as if he wished to instil -the knowledge that there is no light except that which the four Apostles -reflect. He had said as much indeed himself years ago. These four -figures, "painted with greater care than any other," are his artistic -last will and testament. In the letter, by which he humbly begs -acceptance of these pictures from the Council, he quotes the words of -the four Apostles, which his pictures illustrate, viz:-- - -St. Peter, in his second epistle in the second chapter. - -St. John, in the first epistle in the fourth chapter. - -St. Paul, in the second epistle to Timothy in the third chapter. - -St. Mark, in his Gospel in the twelfth chapter. - -Read them and behold: The Book and the sword! The religion of love in -Saracenic fierceness. The menacing guardians of the Word. - -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, which characterise the whole of his Art. The -spirit which brooks no uncertainty and suffers no metaphor, glues a -veritable sword to the lips of the "Son of man." - -This finality is the cause of Dürer's isolation. He has no followers in -the world of creative _Art_. Close the doors of Dürer's cathedral and -the world rolls on, rolls by unheeding. - -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 -fields of golden harvest were turned into rude jousting places of ruder -rabble. The hand of time was set back for centuries. - -We have a shrewd suspicion that Carlyle's German, with his cowhorn -blasts, did not tell the universe "what o'clock it really is." We have a -shrewd suspicion that in the beginning of last century the clocks in -Germany had only just begun ticking after centuries of rest. - -I am straying, reader. - -What was it that Dürer had inscribed on the Apostle Panels? - - "All worldly rulers in these times of danger should beware that - they receive not false Teaching for the Word of God. For God - will have nothing added to His Word nor yet taken away. Hear, - therefore, these four excellent men, Peter, John, Paul, and - Mark, their warning." - -The narrow outlook of his time speaks here! - -For words which bear addition or suffer subtraction, can never be the -words of God. - -God's words are worlds. Our words are stammerings, scarcely articulate. - -Reader! look you, my torch burns dimly; let us back unto the day. - - - The plates are printed by BEMROSE & SONS, LTD., London and Derby - The text at the BALLANTYNE PRESS, Edinburgh - - - -***END OF THE PROJECT GUTENBERG EBOOK DüRER*** - - -******* This file should be named 41734-8.txt or 41734-8.zip ******* - - -This and all associated files of various formats will be found in: -http://www.gutenberg.org/dirs/4/1/7/3/41734 - - - -Updated editions will replace the previous one--the old editions -will be renamed. - -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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