the book of Revelations. Such a subject gave Durer ample scope for the
use of his imagination. Then came the story of Christ's agony twice
engraved in small and large size. These were followed by still another
series illustrating the life of Mary. This series was especially
popular, for it glorified family life--the family life of the Germans,
so worthy, so respected. To be sure, Mary is represented as a German
woman tending a dear German child. The kings who come to adore could
be found any day on the streets of Nuremberg. The castles and churches
that figure in the backgrounds are those of mediaeval and renaissance
Germany. But this was Durer's method of truth speaking and it appealed
strongly to the people of his time as it must to us of to-day.
In 1506, when the last series was not quite completed, Durer went to
Venice, perhaps to look after the sale of some of his prints, but more
likely because the artist wished to work in the sunshine and art
atmosphere of the island city. While away he wrote regularly to his
friend Pirkheimer. His letters are exceedingly interesting, as we
learn from them much about the art society of the time. Durer was
looked upon with favor by the Venetian government but most of the
native artists were jealous of the foreigner and not friendly. They
complained that his art was like nothing set down as "correct" or
"classical" but still they admired it and copied it, too, on the sly.
[Illustration: DURER IN VENICE _Theobald von Oer_]
Gentile Bellini, the founder of the Venetian School, was then a very
old man. He was fond of Durer and showed him many kindnesses, not the
least of which was praising him to the Venetian nobles. There is a
charming story told of Bellini's admiration of Durer's skill in
painting hair: One day, after examining carefully the beard of one of
the saints in a picture by Durer, he begged him to allow him to use
the brush that had done such wonderful work. Durer gladly laid his
brushes before Bellini and indicated the one he had used. The Venetian
picked it up, made the attempt to use it but failed to produce
anything unusual, whereupon Durer took the brush wet with Bellini's
own color and painted a lock of woman's hair in so marvelous a way
that the old artist declared he would not believe it had he not seen
it done.
The most important picture Durer painted while in Venice was the
"_Madonna of the Rose Garlands_." It was painted for the artist's
countrymen and is now in a monastery near Prague. Durer evidently
valued it highly himself for he writes of it to Pirkheimer, "My panel
would give a ducat for you to see it; it is good and beautiful in
color. I have got much praise and little profit by it. I have silenced
all the painters who said that I was good at engraving but could not
manage color. Now everyone says that they have never seen better
coloring."
After little more than a year's sojourn in Venice, he returned to
Nuremberg. He had been sorely tempted by an offer from the Venetian
Council of a permanent pension if he would but remain in their city.
But the ties of affection which bound him to his home city drew him
back to Nuremberg, even though he had written while in Venice, "How
cold I shall be after this sun! Here I am a gentleman," referring
indirectly to the smaller place he would occupy at home.
Although Durer studied and enjoyed the works of the Italian masters,
there is hardly a trace of the influence of this study in his own
works. His mind was too strongly bent in its own direction to be
easily turned even by so powerful an influence as Venetian painting.
We are grateful indeed for the steadfast purpose of Durer that kept
his art pure German instead of diluting it with Italian style so
little adapted to harmonize with German thought and method.
[Illustration: PRAYING HANDS _Durer_]
On Durer's return to Nuremberg he did some of his best work. He
painted one of his greatest pictures at this time, "_All Saints_." It
is crowded with richly dressed figures, while the air above is filled
with an angelic host which no one can count. In the center is the
Cross on which hangs our suffering Lord. Below, in one corner, is
Durer's unmistakable signature, which in this case consists of a full
length miniature of himself holding up a tablet on which is this
inscription, "Albertus Durer of Nuremberg did it in 1511." After this
follows the renowned monogram used by the artist in signing his works
after 1496, the "D" enclosed in a large "A" something after this
style. He then designed a very beautiful and elaborate frame for this
picture to be carved from wood. It was adorned with figures in relief,
beautiful vine traceries and architectural ornaments which showed our
artist master of still another national art--wood-carving.
[Illustration]
It is interesting, too, to know that about this time Durer, finding
painting not so lucrative as he had hoped, turned his attention to
engraving on all sorts of hard materials, such as ivory and
hone-stone. To this period belongs that tiny triumph of his art, the
"_Degennoph_," or gold plate, which contains in a circle of little
more than an inch in diameter the whole scene of the Crucifixion
carefully represented.
Through his indefatigable labors Durer's circumstances were now
greatly improved and so he planned to publish his works, a matter of
large expense. Instead of going to some large publishing house, as we
to-day do, Durer had a press set up in his own house. We delight in
illustrated books to-day, indeed we will hardly have a book without
pictures. Imagine then the joy that must have been felt in this time
of the scarcity of even printed books to have those that were
illustrated. There was ready sale for all the books Durer could print.
Some prints came into Raphael's hands. He wrote a friendly letter to
the artist and sent him several of his own drawings. In return Durer
sent his own portrait, life size, which Raphael greatly prized and at
his death bequeathed to his favorite pupil, Julio Romano.
Durer's prosperity continuing, he purchased the house now known to
fame as "Albrecht Durer's House." It is still very much as it was in
the artist's lifetime. Here one may study at his leisure the kitchen
and living-room which seem as if Durer had just left them.
The artist's reputation was now fully established. In 1509, he was
made a member of the Council that governed the city and he was granted
the important commission of painting two pictures for the relic
chamber in Nuremberg. In this room, which was in a citizen's house,
the crown jewels were kept on Easter night, the time of their annual
exhibition to the public. _Sigismund_ and _Charlemagne_ were the
subjects selected, the former probably because it was he who first
gave to Nuremberg the custody of the precious jewels, and the latter
because Charlemagne was a favorite hero with the Germans. The
_Charlemagne_ is here reproduced. In wonderful jeweled coronation
robes, with the coat of arms of France on one side and that of Germany
on the other, he is a fine figure well suited to make us feel Durer's
power as a painter.
[Illustration: CHARLEMAGNE _Durer_]
In 1512, there came to Nuremberg a royal visitor, no less a personage
than the Emperor Maximilian. This was of greatest importance to Durer
to whom two important commissions came as the result of this visit.
The Emperor had no settled abode, so his travels were important, at
least to himself. He was fond of dictating poems and descriptions of
these travels. Durer was asked to make wood-cuts for a book of the
Emperor's travels to consist of two parts, the one called _The
Triumphal Arch_ and the other _The Triumphal Car_.
The wood-cuts for the first were made on ninety-two separate blocks
which, when put together, formed one immense cut ten and a half feet
high by nine feet wide. For this Durer made all the designs which were
cut by a skilled workman of the city, Hieronymus Andrae. It was while
this work was going forward that the well-known saying, "A cat may
look at a king," arose. The Emperor was often at the workshop watching
the progress of the work and he was frequently entertained by the pet
cats of the wood-cutter who would come in to be with their master.
The designs for _The Triumphal Car_ were of the same general style. In
these Durer was assisted by other engravers of the city. One
expression of Durer's regarding the ornamentation of the car shows him
skilled in the language of the courtier as well as in that of the
citizen. He says, "It is adorned, not with gold and precious stones,
which are the property of the good and bad alike, but with the virtues
which only the really noble possess."
The noted _Prayer Book of Maximilian_ was the other work done for the
Emperor. Only three of these are in existence and of course they are
almost priceless in value. The text was illustrated by Durer on the
margin in pen and ink drawings in different colored inks. Sometimes
the artist's fancy is expressed in twining vines and flying birds and
butterflies, again it is the kneeling Psalmist listening in rapt
attention to some heavenly harpist, or it may be that the crafty fox
beguiles the unsuspecting fowls with music from a stolen flute. Thus
through almost endless variety of subjects stray the artist's thought
and hand.
We have also a fine likeness of Maximilian drawn in strong free lines
by Durer at this same time. Seeing how deft the artist was with his
crayons, Maximilian took up some pieces which broke in his hand. When
asked why it did not do so in the fingers of the artist, Durer made
the well known reply, "Gracious Emperor, I would not have your majesty
draw as well as myself. I have practised the art and it is my kingdom.
Your majesty has other and more difficult work to do."
[Illustration: HEAD OF AN OLD MAN _Durer_]
For all this wonderful work Durer's compensation was little more than
the remission of certain taxes by the Nuremberg Council and the
promise of a small annual pension. Maximilian's death made it doubtful
whether the pension would be paid. Durer in common with others sought
out the new Emperor, Charles V., to have the favors granted by his
predecessor confirmed.
With this in view, in 1520, the artist with his wife and maid set out
for the Netherlands. They were gone something more than a year and a
half, during which time Durer kept a strict account of his expenses
and of his experiences and impressions throughout the journey.
Everywhere he was received with the most marked attention. He was
invited to splendid feasts, and was the recipient of all sorts of
gifts. In return he gave freely of his own precious works.
He made his headquarters at Antwerp and here he witnessed the entry of
the new monarch. The magnificence of the four hundred two-storied
arches erected for the occasion impressed Durer deeply. Of the many
and varied experiences of the Nuremberger, not the least interesting
was his attempt to see a whale that had been cast ashore in Zealand.
He made all haste to see this unusual sight and was nearly
ship-wrecked in the attempt. The exposure, too, to which he was
subjected gave rise to ills which eventually caused his death.
After all his trouble he was disappointed at his journey's end for
the whale had been washed away before he arrived. He finally
accomplished the object for which he went to the Netherlands. His
pension was confirmed and in addition he was named court painter.
Ladened with all sorts of curious things which he had collected and
with a generous supply of presents for his friends and their wives, he
started home where he arrived in due time.
There were but seven years of life left to our painter and these were
burdened with broken health. To this period, however, belong some of
his most wonderful and characteristic works. The very year of his
return he engraved that marvellous "_Head of an Old Man_," now in
Vienna. Never were the striking qualities of age more beautifully put
together than in this head.
[Illustration: MELANCHOLY _Durer_]
With about the same time we associate "_The Praying Hands_," now also
in Vienna. How an artist can make hands express the inmost wish of the
soul as these do will always remain a mystery even to the most acute.
We have the story that they were the clasped hands of Durer's boyhood
friend who toiled for years to equal or rival his friend in their
chosen work. When, in a test agreed upon, to Durer was given the
prize, then Hans, for that was the friend's name, prayed fervently to
be resigned to a second place. Durer caught sight of the clasped
hands and drew them so well that wherever the name and fame of
Albrecht goes there also must go the praying hands of his friend.
Whether the story be true we cannot say, but in the hands we have a
master work to love.
At this time the new religious doctrine formed the subject of thought
everywhere. There was the most minute searching for truth that the
world has ever known. Durer, deeply moved by the thought of the time,
put its very essence into his works. He was a philosopher and a
student of men. He saw how the varied temperaments of men led them to
think differently on the great questions of the time. Feeling this
keenly, he set to work to represent these various temperaments in
pictured forms, a most difficult thing to do as we can easily imagine.
Perhaps his own diseased condition led him to select as the first of
these "_Melancholy_," that great brooding shadow that hovers
constantly above man, waiting only for the moment when discouragement
comes to fall upon and destroy its victim.
How does Durer represent this insidious and fatal enemy? A powerful
winged woman sits in despair in the midst of the useless implements of
the art of Science. The compass in her nerveless fingers can no longer
measure, nor even time in his ceaseless flow explain, the mysteries
which crowd upon this well-nigh distraught woman, who it seems must
stand for human reason. The sun itself is darkened by the uncanny bat
which possibly may stand for doubt and unbelief. Perhaps no one can
explain accurately the meaning of this great engraving and therein
lies the greatness, which allows each person to interpret it to please
himself.
In painting he attempted the same difficult subject of the
temperaments, in his four apostles, St. Paul and Mark, St. John and
Peter. He painted these without charge as a sort of memorial of
himself in his native town. Two saints are painted on each panel. No
figures in art are more beautiful than the leading one on each panel,
the St. Paul on the one and the St. John on the other. If we interpret
these as regards temperament, John is the type of the melancholy,
Peter of the phlegmatic, Paul of the choleric and Mark of the
sanguine.
In 1526, Durer sent these pictures as a gift to the Council of
Nuremberg. It was the artist's wish that they should always remain in
the Council hall. Notwithstanding this, only copies are now to be seen
in Nuremberg, while the originals are in Munich, carried there by the
Elector of Bavaria, who paid a good price for them.
[Illustration: THE KNIGHT, DEATH AND THE DEVIL _Durer_]
One other of Durer's pictures should be spoken of, though it hardly
belongs last in order of time. It is really the summing up of much
that he had done from time to time all through his busy life time.
This picture, called "_The Knight, Death and the Devil_," is an
engraving on copper. The stern, intelligent men of the time, who were
ready to face any danger in order to bear themselves according to
their notions of right, are well represented in this splendid mounted
knight. What though Death reminds him by the uplifted hourglass that
his life is nearly ended? or that Satan himself stands ready to claim
the Knight's soul? There is that in this grand horseman's face that
tells of unflinching purpose and indomitable courage to carry it out
against the odds of earth and the dark regions besides. One of our
greatest art critics says of this work, "I believe I do not exaggerate
when I particularize this point as the most important work which the
fantastic spirit of German Art has produced." A reading of Fouque's
"Sintram" inspires us anew with the true spirit of Durer's great work.
[Illustration: ST. GEORGE AND THE DRAGON _Durer_]
The gift to his natal city was Durer's last work of note. The sickness
that had been growing upon him, which was none other than consumption,
gradually absorbed his energies and in April, 1528, he died. He was
buried in St. John's Cemetery in the lot belonging to the Frey family.
On the flat gravestone was let in a little bronze tablet on which was
a simple inscription written by his friend Pirkheimer. A century and
a half later Sandrart, the historian of German painters, visited the
tomb, then in ruins. He caused it to be repaired and added another
inscription which has been translated into English:--
"Rest here, thou Prince of Painters! thou who wast better
than great,
In many arts unequaled in the old time or the late.
Earth thou didst paint and garnish, and now in thy new abode
Thou paintest the holy things overhead in the city of God.
And we, as our patron saint, look up to thee, ever will,
And crown with laurel the dust here left with us still."
Durer's character was one of the purest to be found on the honor-list
of the world. He bore heavy burdens with patience and was true to his
country and to himself in the most distracting of times. He was the
father of popular illustration and the originator of illustrated
books. He was as many-sided in his genius as Da Vinci and as prolific
as Raphael, though along a different line. That he was architect,
sculptor, painter, engraver, author and civil engineer proves the
former point, while the fact that he left a great number of signed
works satisfies us regarding the latter comparison. One who knew him
wrote of him in these words,--"If there were in this man anything
approaching to a fault it was simply the endless industry and
self-criticism which he indulged in, often even to injustice."
[Illustration: STATUE OF ALBRECHT DURER, NUREMBERG]
In closing this sketch, nothing can so delightfully summarize the
beauty of the old town of Nuremberg and the character of its great
artist as a part of Longfellow's poem, _Nuremberg_:[A]
In the valley of the Pegnitz, where across broad meadow-lands,
Rise the blue Franconian mountains, Nuremberg the ancient stands.
Quaint old town of toil and traffic, quaint old town of art and song,
Memories haunt thy pointed gables like the rooks that round them
throng:
Memories of the Middle Ages, when the Emperors, rough and bold,
Had their dwelling in thy castle, time defying, centuries old;
And thy brave and thrifty burghers boasted, in their uncouth rhyme,
That their great imperial city stretched its hand thro' every clime.
In the court-yard of the castle, bound with many an iron band,
Stands the mighty linden planted by Queen Cunigunde's hand;
On the square the oriel window, where in old heroic days,
Sat the poet Melchoir singing Kaiser Maximilian's praise.
Everywhere I see around me rise the wondrous world of art;
Fountains wrought with richest sculpture standing in the common mart;
And above cathedral doorways saints and bishops carved in stone,
By a former age commissioned as apostles to our own.
In the church of sainted Sebald sleeps enshrined his holy dust,
And in bronze the Twelve Apostles guard from age to age their trust;
In the church of sainted Lawrence stands a pix of sculpture rare,
Like the foamy sheaf of fountains rising through the painted air.
Here, when Art was still religion, with a simple, reverent heart
Lived and labored Albrecht Durer, the Evangelist of Art;
Hence in silence and in sorrow, toiling still with busy hand,
Like an emigrant he wandered seeking for the Better Land.
_Emigravit_ is the inscription on the tomb-stone where he lies;
Dead he is not, but departed--for the artist never dies.
Fairer seems the ancient city and the sunshine seems more fair,
That he once has trod its pavement, that he once has breathed its air!
[A] These stanzas are here reproduced by the courtesy of
Houghton, Mifflin & Co., the regular publishers of Longfellow's
works.
SUBJECTS FOR LANGUAGE WORK.
1. A Day in Ancient Nuremberg.
2. The Churches of Nuremberg.
3. With Durer at Antwerp.
4. Durer and His Friends.
5. Durer and His Wife.
6. Durer's Stay in Venice.
7. Maximilian and the Artist.
8. Stories about Durer.
9. The Art of Wood Engraving.
10. The Fountains of Nuremberg.
11. Some Stories about St. Sebald.
SPECIAL REFERENCES FOR ALBRECHT DURER.
"Life of Durer" by Heath.
"Life of Durer" by Heaton.
"Life of Durer" by Thansing.
"Life of Durer" by Sweetser.
"Art and Artists" by Clement.
"Durer" by Gurnsey in _Harper's Magazine_, Vol. 40.
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| Transcriber's Note: |
| |
| Page 105 "cleanlines" might be a typographical error for |
| "clean lines" or "cleanliness". |
| |
| Inconsistencies in the use of the words background(s)/ |
| back-ground(s); masterpiece(s)/master-piece(s); and |
| today/to-day have been retained as in the original book. | |
| |
| The following changes have been made to the original: |
| Page 16 which he carresses gently changed to |
| "caresses" |
| Page 75 Mary in some of his lovliest pictures changed to |
| "loveliest" |
| Page 105 for their part in the distruction changed to |
| "destruction" |
| Page 144 dissapointment, that lies crouching changed to |
| "disappointment" |
| Page 187 whole scene of the Crucifiixon changed to |
| "Crucifixion" |
| Page 195 magnifience of the four hundred changed to |
| "magnificence" |
+--------------------------------------------------------------+
End of Project Gutenberg's Great Artists, Vol 1., by Jennie Ellis Keysor