sº §§ S. SSS S-ºs=: 8 ºff tº tºº º º º §§§§:№， };8，\，\， ŒUVIINIŲJŲIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII|- → Œ Œ œ ••• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • ¶Ñ!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!！|-[7]||||||||||||||||||||| A \ |F L \!\，- Ñ ÑŅĶſ F-º-º-º-º-º-º- = = -- - EET. E LIBRARY OF ºf BARNEs. [[III]= | MRs. BARNARD PIERCE fiſſiſſ . HOWARD LUCE THE GIFT OF MISS MARGARET RNIGHT MRS º MRS. CARL HAESSLER FRöM TH <å ß ſºſ == "-- The Virgin seated on the Crescent Moon. Reduced from the Vignette on the title-page of “The Life of the Virgin.” CHAPTER VII. COPPER, ENGRAVING—THE COPPER PASSION.—ETCEIIN G UPON IRON —DEGENKNOPF–DüRER PUBLISHES HIS BOOKS-RAPHAEL's LETTER—MUNICEI PORTRAIT OF DüRER—MONOGRAM—CAMERA- RIUS. URER was not yet content with his achievements in the art of copper-engraving. He devoted himself to obtaining a still finer and freer use of his graving-tools, and at the same time sought out every method of perfecting his work. After his return from Venice, as we have seen, he partially laid aside the graving-tool, and occupied himself with panel-painting, thinking thereby to improve his position. In 1507, however, he com- pleted only the first plate of his Copper Passion, the Descent from the Cross ; two others followed in the next year. Ten of the sixteen plates of which it consists are dated 1512; the last, Peter and John healing the Lame Man, was added the next year. This, as distinct from the Great and the Little Passion, is less known perhaps, but is in no way inferior to them. The frontispiece represents the Man of Sorrows standing by a pillar with his arms crossed upon his breast, and holding in the One a scourge, in the other a reed. Through an arch upon a distant hill are seen three crosses. It is followed by The Agony; The Betrayal ; Christ before Caiaphas Before Pilate ; Scourged ; Mocked ; The Ecce Homo, Pilate washing his Hands ; Christ ETCHING ON IRON. 49 bearing the Cross : The Crucificion; The Descent from the Cross ; The Entombment ; The Descent into Hell. In this grand plate, as Mrs. Heaton beautifully describes it, he “has entirely departed from the conventional method of representing hell.” He is releasing “not disembodied spirits, but real men and women, . . from the chain of their sins. . . The figure of Christ here is very grand. . . The principal idea that this figure conveys to the mind is that of help-power to help—help to ascend from the underground abodes of doubt, darkness, and despair towards the blessed light of God's love.” He is “preaching to the spirits in prison,” as S. Peter describes him. This plate is followed by the Resurrection, and the last plate Peter and John, which is mentioned above. In 1510 Dürer made many experiments which were destined to be of great importance in the future of the art of engraving. His first attempt at a lighter and freer style is the S. Veronica with the handkerchief; the Man of Sorrows; S. Jerome with the Willow ; the Holy Family by the wall, all executed with the dry point. Etching upon iron was by no means unknown to Dürer, and in the growing taste for ornamented armour he found a rich field for its employment. This may be assumed from three pen and ink drawings for armour, dated 1517. So far as we know he was the inventor of the art of etching with aquafortis. Professor Thausing is of opinion that he employed it on copper-plates in 1510-14, but finding that the acids were not strong enough, and that the plates required so much labour in touching up with the dry needle, he gave up and tried etching upon iron, which suc- ceeded perfectly. The brittleness of the metal, however, did not admit of the delicate perfection which would satisfy Dürer. Moreover, it was liable to rust. About 1514 he seems to have adopted a method which combined the old style of working with a dry needle and graving tool only, and his later discovery of the use of acid. He at first lightly etched the plates with the aid of D E 50 ALBRECHT DüRER. aquafortis, and finished them stroke by stroke with the graving- tool, a system which has lasted for centuries. The engravings which were completed by this method were not disfigured by the harsh contrasts observable in his earlier works, but were of a soft, silver grey. They comprise among others the celebrated works, the Melen.colia; the S. Jerome; and The Knight, Death, and the Devil. Among Dürer's special triumphs in the art of engraving was the Degenknopf, a gold plate, which contains in a circle of little more than an inch in diameter a representation of the Crucificion. A few impressions of it were taken, though it was not intended for engraving, but as an ornament for the handle of a present- ation sword to the Emperor Maximilian. The sword itself is in the Ambras Collection in Vienna, but the gold plate is missing, and its place is filled by a silver one of inferior workmanship. It is the smallest of Dürer's engravings, and the only one done on gold. It was seen at Innsbruck, and again in 1556 by one Daniel Specklin, an architect of Strasburg. Dürer's wealth of imagination, however, was expended rather upon wood-cutting than engraving. The great wood-cut of the Trinity (1511) is only a different rendering of part of the All Saints painting, but surpasses in careful and delicate execution all that had before been achieved. About the same time appeared a series which approached more or less nearly to this great work. The Man about to be Scourged, of which the first sketch is in the British Museum, the Beheading of John the Baptist, and Salome bringing S. John's head to Herodias ; the Mass-book of S. Gregory, dated 1511, and S. Jerome in the Cell, a worthy forerunner of the celebrated engraving of 1514, and others. In 1511 Dürer concluded the great series of wood-cuts upon which he had been at work for so long, and issued them as books. He prepared a new edition of the Apocalypse, and added the title-page ; he enlarged the Life of the Virgin to twenty , / ~~~~ ø \\ º№SAN { { ș** ſºſ¿№fſ, \ \\ſº;- \： � ſąg º f ‘THE C; REAT WHITE HORSE. BY ALBRECHT DÜRER. /Fro//; //ie /œy/graving oyº copper. A POET. - 51 cuts with a vignette; and brought the series of the Greater Passion up to twelve wood-cuts, adding the Last Supper, the Betrayal, the Mocking, the Descent into Hell, and the Resurrection to the seven which we mentioned before. He also treated the same subject, The fall of Man and his redemption through Christ, in a series of thirty-seven wood-cuts and called the Little or the Lesser Passion,--the best-known, perhaps, of all his works. The improvement in his circumstances since his second residence in Venice enabled him to undertake the serious expense of publishing these works. He had a printing-press and all necessaries set up in his house, and no doubt was assisted by his godfather Koburger, the great printer. His illustrated books obtained a great sale in every direction. . He was not, however, content with all the different characters which he had assumed ; he would also be a poet. In a charm- ingly simple manner he tells us how in 1509 he made his first rhymes. “There were two,” he says, “and had each the same number of syllables, and I thought I had done them well.” It was no wonder that Pirkheimer laughed as he did at them, as well as at the fresh attempt which the painter made upon “Eight gifts of wisdom" which he implored of God in very homely rhymes. His verse-making, which was perhaps not far below the standard of that day, did not last beyond 1510. By a curious coincidence Raphael seems to have been the subject of a like poetical fervour at about the same time, and to have cooled as speedily. He was, like many other of the Italians, an ardent admirer of Dürer, and is even said to have adorned his workshop with the German's drawings, engravings, and wood-cuts. He became acquainted with them no doubt through Marc Antonio, who copied the whole Life of the Virgin and the Little Passion. We mentioned above that Raphael copied in his Spasimo di Sicilia, figure by figure from the Christ bearing the Cross in the Great Passion. His admiration for Dürer naturally gave rise to the desire to know him ; and in order to establish friendly relations between them E 2 52 ALBRECHT DüRER. Raphael sent several of his drawings in 1515 “to show him his hand.” One of these, the Naked Picture, is in the Albertina Collection at Vienna. In return he received a life-size Portrait of Dürer by the artist's own hand, which increased his aston- ishment at the skill of the Nürnberger. He bequeathed this portrait to his favourite pupil Giulio Romano, but it has dis- appeared. To the portraits of himself of 1484, 1493, and 1497, must now be added the celebrated one in the Pinakothek at Munich," dated 1500, by which Dürer lives in our thoughts. A magnificent man he is, with rich brown hair falling in a profusion of well-ordered curls from his uncovered head ; he looks at us with that rapt but inquiring expression so peculiarly his own. His hand, which was of remarkable beauty, holds his fur coat in a peculiar and not pleasing manner across his breast. The self-consciousness which all his portraits of himself exhibit must not be attributed to more than a legitimate vanity. He belonged to an age in which no light value was set upon personal appearance, and it was only consistent with his lofty sense of his own greatness that he should desire the honour of immortality, for he had a right to feel that such men as he should not sink into oblivion. At first, from 1485–1496, he used to put only the capital letters of his name to his works, and then he adopted the mono- gram, a large A with D enclosed. From 1503 he also added the date, and finally, to ensure the authenticity of his four greatest works, and to transmit his likeness, he adorned them with his portrait as well as the monogram, date, and inscription. In two of them he stands alone, but in two he associates his friend Pirkheimer with himself and his fame, and does not forget to let the world know that he is a German, and a citizen of his beloved Nürnberg. His friend Camerarius, a favourite of Melanchthon, and Rector of the High School in the city, speaks in his preface to Dürer's ‘Four books of Human Proportions,' 1 See Frontispiece. FEPRESENTATION OF CHRIST. 53 of the noble form well adapted for the abode of so glorious a spirit, of the charm of his language in conversation, of the greatness also of his mental and moral qualities, and extols him as “the truest preserver of modesty and chastity.” No painter ever more fully realized the twofold character of the greatest event in the world's history, the Life and Passion of our Lord. He seems to have had a special revelation, and to have accepted the Divine mission of proclaiming the power of Christ in elevat- ing the every-day life of man ; and accordingly he depicted Him with all the realism of Schongauer and Wolgemut, as if He were living in the Nürnberg of his own day. But more than this, he grasped the idea of the redemption of man by the sufferings of Christ, and hence the marvellous conception and impressive treatment which the Passion pictures display. “Every mother is pleased with her own child” he used to Say, and so he transferred his own features to his representation of the Redeemer, while he threw his whole force into the pro- duction of a form which should present to the world the image of Christ which had appeared to his own soul, not an undefined approach to a heavenly shape, but an embodiment of that which is perfect in humanity. This is the highest effort of art. CHAPTER WIII. MAXIMILIAN — THE TRIUMPHAL ARCH — STABIUS — MAXIMILIAN'S PRAYER-BOOK–THE TRIUMPHAL CAR–THE RATHE AUS WALLS. O long as Dürer was occupied in the pursuit of fame, or in the struggle for wealth, he had little time to devote to the interests of his city or to the glory of his Emperor. But when his reputation was secured, and his position established, he had better opportunities for following his inclinations. In the year 1509, he became possessor by purchase of the house near the Thiergarten Gate, in what is now called Albrecht Dürer-Strasse. The outside of the house has undergone but little alteration since his day, though the interior has been re-arranged by successive owners. It is now the property of the city. In this same year he was made a member of the Rath, which increased his reputa- tion among his fellow-citizens and was a suitable acknowledgment of his merits. Soon after this, the Council gave him their first commission to paint two large panels with the portraits of Charle- magne and King Sigismund for the relic-chamber in Nürnberg. This chamber was in the house of a citizen, and was used to con- tain the insignia and coronation ornaments during the night at the time of their annual exposure to public reverence, which was at Easter. These insignia, richly adorned with relics, had been in Nürnberg since the days of Sigismund, who brought them ºl'ſ;. # - º º's § º SS ſ 1.1% Näſſ; ºlºn ;: # ; i i. ſ. # ill;}\ § 't | ſºft \\ §t.”"sº ſº : ... 'I - == ALBRECHT DURER'S HOUSE IN NüRNBERG. Arom the AEzzgzazing in Diba'izz's ‘‘Biographical 7 ozer.” c o --º-º-º-º: THE TRIUMPH. - 55 there, and they usually hung in a shrine in the dome of the hospital church. - Maximilian's short stay in Nürnberg during February of the year 1512 was important to Dürer, as it gave him the opportunity of establishing relations with “his king,” as he always called him. Up to this time his Majesty's interest in the city did not go beyond a requisition of valuable lime of which the city had a monopoly, and which was used for making the crucibles employed in his brass foundry; this was in constant work under Peter Vischer on the designs for his tomb at Innsbruck. The new town of Vienna, however, and not Innsbruck, was destined to be his final resting-place. The head of the Roman Empire in Germany had no settled abode, but, when not actually engaged in war out of the country, travelled about from place to place. Maximilian wanted to have a printed record of his travels, and being a man of poetical nature, and having a childish delight in self-glorification, he was never weary of dictating verses or suggesting sketches, which described or illustrated the events of his life. In Dürer he found just the man for his purpose, and accordingly gave him a large part of his commissions. The book which received the name of The Triumph was to surpass in size and magnificence all that had preceded it, and was to consist of two parts: The Triumphal Arch and The Triumphal Car. The designs for the first part were entrusted, in 1512, entirely to Dürer. It con- sists of ninety-two separate blocks, which when put together form one colossal wood-cut, ten feet six inches high by nine feet wide. In 1515 it was ready for the Formschneider, the celebrated Hieronymus Andreæ, who executed the designs with the same precision as Dürer sketched them with his pencil or pen. The arch itself has three gates, the centre one of Honour and Power, and on either side those of Praise and Nobility. Above the side arches are towers, and over the central One a large panel—the principal part of the design, containing Maximilian's great genea- 56 ALBRECHT DüRER. logical tree, which rises to the top of the wood-cut. The events in the Emperor's personal history are detailed in twenty-four blocks in the space between the top of the side arches and the towers, each one of which is in itself a work of art. A guide to the sketches is supplied in verse by Stabius, the royal poet and his- torian, a man of extraordinary ability, who had been the com- panion of his Majesty for sixteen successive years. Dürer dis- played such remarkable zeal in this work that the Emperor, as a mark of his favour, requested the Nürnberg Rath to exempt him from all taxes, a ready method of payment without diminishing the royal resources. The request, however, was not complied with, and Dürer had to expend his strength apparently for nothing. Hieronymus also, to whose delicate cutting the perfec- tion of the wood-engraving is due, was obliged to be content with the favouring presence of the Emperor in his workshop, and thus it came to pass that at his Majesty's death, the artist and Form- Schneider were compelled to avail themselves of the permission which had been granted to them to make the most that they could of their work. They published in one large wood-cut twenty-one of the historical series as a memorial of the late Emperor, with a notice of his titles and death, which rapidly went through four editions; the blocks for the entire work still remaining in the possession of Hieronymus. The intercourse between Stabius and Dürer during the resid- ence of the historian in Nürnberg was both agreeable and pro- fitable to each. Stabius secured the assistance of the artist in the preparation of his charts and maps, the blocks for some of which are in the Cabinet of Engravings in Berlin, while Dürer obtained from the Emperor, through the intercession of Stabius, an annuity of 100 gulden which was chargeable upon the city taxes due to his Majesty. In 1515 the artist published a drawing which is now one of the great treasures of the British Museum. It was the likeness of a Rhinoceros which was brought from India to the King of PRAYER-BOOK OF MAXIMILIAN. 57 Portugal. The animal, the first of its race to appear in modern Europe, created such a sensation that a drawing of it was sent to Dürer, who forthwith made it public in a wood-cut, which until recent times was the received representation of the strange Creature. The celebrated Prayer-book of Mazimilian claims our notice at this time; in it Dürer revelled unrestrained in the domain of fancy, if it is fair to speak of his quaint illustration of suggest- ive thoughts in such language. There are only three copies of the book known to be in existence ; one is in the Munich Library; a second in excellent preservation and a marvel of typo- graphy is in the Vienna Library ; and the British Museum pos- sesses a third. The Munich copy, which is now very imperfect, is the one intended for the Emperor. The text was composed for his special use and given to Dürer to illustrate. He filled the parchment margin with pen-drawings (in different-coloured inks), which have been censured severely, though they are only an evidence of the liberty which the sense of the ridiculous takes with the gravest thoughts and most solemn language. Branches and leaves are intertwining, birds are singing, apes are climbing, Snakes are creeping, and gnats are buzzing ; in fact, almost every living thing seems to be displaying its special gift, while the words of the prayers follow upon one another. The royal Psalmist is charming a listening stork with his harp ; the battle- prayer is enriched with scenes of combat ; a fox playing on the flute to fluttering poultry is illustrative of the wiles of the tempter; and a group of village musicians is playing the ‘Can- ticum novum' with all the strength of their bodies. S. Anthony is exposed to the lures of an old woman with a high cap, and a wretched little devil in a picture of the Annunciation tears his hair and screams from the effect of the heavenly rays which are pouring upon him. So closely does the profane tread upon the heels of the sacred; so readily does the ludicrous intermingle with the sublime. The delicate composition of the Christ on 58 - ALB RECHT DüRER. the Cross with John and Mary and the four angels which adorned the Eichstadt Missal, and afterwards Luther's Old Testament, Was designed at the same time as these marginal drawings. The more the Emperor employed Dürer in wood-cutting the more the artist neglected his painting. So it is not surprising to find that the feeblest of his works date between 1513 and 1520; those which do exist having little title to be considered authentic. The best among them are the Lucretia of 1518 and the Portrait of Wolgemut of 1516, both of which owe their merit to their having been sketched some years before. Dürer was as anxious as the Emperor himself for the success of the Triumph, of which the Arch was only one-half. The other part is called the Triumphal Procession, or, from the central object in the series, The Emperor's Triumphal Car. The design for this work was not confided to Dürer alone, but to many other masters, and especially to Hans Burgkmair, who is responsible for sixty-six of the wood-cuts. Pirkheimer drew the plan of the car; it is now in the Frankfort Museum. It is adorned, he tells the Emperor, “not with gold and precious stones, which are the property of good and bad alike, but with the virtues which only the really noble possess.” The Emperor is seated in the car accompanied by Truth, Clemency, and other Virtues ; the driver, horses, reins, and wheels are Virtues too ; but the merit is not the allegorical design. The drawing, which was carried out in Dürer's workshop, is now in the Albertina Collection. Pirkheimer sent it to the Emperor, explaining the causes of the delay in its execution, and commending the industry which Dürer had displayed. Among Dürer's special wood-cuts in the series are the Spanish Marriage, the Burgundy Marriage, and the Small Triumphal Car. Altogether there are twenty-four cuts in the Triumphal Pro- cession, which are received as his. The wood-cutting was not finished during the Emperor's life-time. During the sitting of the Augsburg Diet in 1518 Dürer was permitted to take the Por- trait of Mazimilian. The charcoal drawing, full of life, and of № ：=== «！~;~~ MAXIMILIAN, PORTRAIT OF THE EMPEROR Arom a ZPrawing by Dürer in the Albertina Gallery in Vienna. PORTRAIT OF MAXIMILIAN. 59 life-size, bears the marks of hasty execution, but exhibits to advantage the noble head, the laughing eyes, and strongly-marked features. It is in the Albertina Gallery. The two wood-cuts taken from this sketch are of the same size. In one which Dürer pub- lished after the Emperor's death as a memorial, the portrait is set in a handsome frame of ornamental columns on the tops of which are griffins holding the Imperial arms and the order of the Golden Fleece. Beneath is the inscription : “The dear Prince, the Emperor Maximilian, departed this life happily on the twelfth day of January, A.D. 1519, in the fifty-ninth year of his age.” The fine oil-painting in the Belvedere at Vienna is taken from the same sketch. - The story of the Emperor's attempt to sketch with Dürer's charcoal which kept on breaking in his hand is attributed to the time of the Augsburg visit. Dürer had to finish the sketch, and the Emperor asked how it was that the charcoal did not break in his hand. “Gracious Emperor, I would not have your Majesty draw as well as myself,” the artist replied with a laugh ; “I have practised the art and it is my kingdom, your Majesty has other and more difficult work to do.” Another celebrated portrait, that of the young Cardinal Albrecht of Brandenburg, dates from the time of the Augsburg Diet. The engraving called the Little Cardinal was finished in 1519; the Large Cardinal, done on a larger scale, was sketched during the Netherlands journey or during the Diet at Nürnberg in 1522–1523. In Augsburg Dürer became acquainted with Cardinal Mat- thäus Lang, afterwards Archbishop of Salzburg, who was a patron of art, and knew the artist from his relations with Stabius. The beautiful Christ bearing the Cross in the British Museum, together with other drawings which bear the Cardinal's arms, are proofs of the commissions which he gave to Dürer. His month's residence in Augsburg must have been a pleasant one, and it was no wish of the Emperor that he should 60 ALBRECHT DüRER. Come away empty-handed, but alas ! gold was scarce with his Majesty at all times. There was a prospect, however, of a sum of money that Dürer was to have due the following year from the Nürnberg taxes, irrespective of his income. Maximilian wrote upon the subject from Augsburg in September 1518 to the Rath, and begged them to pay “to our and the nation's dear and loyal Albrecht Dürer, our painter, those 200 gulden in return for his faithful and willing services given to us at our command for the Triumphal Car, and in other ways.” Dürer bore the order home with him, but the Emperor's death made him fearful about the money, lest the new emperor should not acknowledge his claim. Accordingly in 1519 he offered to mortgage his newly- acquired house to the Council in consideration of their paying the sum in advance, but he was unsuccessful, and had to be thankful for the continuation of his pension. A change of government in the old German Empire was a matter of no small moment. Every one hastened to secure the favour of the new sovereign, and with it the privileges which he had enjoyed. When therefore Dürer knew that Charles W. was to succeed his grandfather and to be crowned at Aachen, he determined to go to the Netherlands to meet him and obtain a confirmation of the pension which Maximilian had bestowed upon him. This was his chief reason for the Netherlands journey, in 1520, of which we are about to speak. There is some work from Dürer's designs on the Nürnberg Rathhaus walls, but he had no share in carrying it out. The long wall of the old Gothic hall is divided by two doors into three unequal parts. For these divisions Dürer furnished sketches, illustrative of the three ways in which the immense hall was used ; for the Council Meetings, for the Administration of Justice, and for Social Festivities. The centre space is occu- pied by the allegorical subject, which originated with Apelles and had been attempted by a long list of celebrated artists, in which an incompetent judge is represented with large ears, into which THE NüRNBERG RATHEIAUS. 61 Suspicion is whispering, while Ignorance stands on the right side : at a sign from the judge, Calumny drags forth Innocence by the hair despite her appeals to heaven. The main space between the doors is occupied by the Piper's Stool ; and Mazi- milian's Triumphal Car, painted on a large scale and corre- sponding with the grand wood-cut, fills the third. In the car the emperor sits alone. These are the only known frescoes in which Dürer had a share, even to the providing designs. -**TE_-_E * S NWW tº £7/4/. %’ Eº: -— § §§§4% 3 2- Tºss---is \ =sº º 2. ——- --- *- *.*.*.*.*. * * º SW 22 - º ºgº - ... "...º - ass * * * * sº * : *- * * º # Ş S == º: –= -- Eº ſº # : Sºº # t E- -ºº -#S$. 2. º *- § Đ - -* * *. . . * * * * * ~ *º.º. ? : .* º- 2:º-ºº-Sº, ES-ºº: -, * º & Sººn Sºzº a Sºs §§sº - _> - P- º Christ Mocked. Reduced from the vignette on the title-page of “The Great Passion.” CHAPTER IX. THE NETHERLANDS JOURNEY — ANTWERP — QUINTEN MATSYS – KRATZER—ERASMUS — BRUSSELS-ROGER WAN DER WEY DEN — ARCHDUCHESS MARGARET — PRESENTS — CôLN ZEALAND — NARROW ESCAPE OF SHIPWRECK — BRUGES — GHENT— JAN VAN EYCK–MADRID PORTRAIT. N the twelfth of July, 1520, Dürer set out on his interest- ing journey, the chief object of which we have mentioned. The plague, however, was raging at Nürnberg at this time, and everybody who could possibly leave the city did so. He took with him his wife and her maid Susanna, who was more of a humble friend than servant. His journal is a strict and amusing account of his travels, and throws more light, both upon his personal habits and reputation as well as upon the conditions of art and the manners of his time, than any other source of in- formation which we possess. The first edition of it was brought out in 1799, and was followed by another, more complete, in 1828. The original is probably hidden away among some family papers in Nürnberg. It seems to have been a small book chiefly intended for entering his receipts and expenditure. He was a careful man, and put down every penny that he spent at each place that he came to, with a note of any important inci- dent of the journey. The diary was only intended as a help to ARRIVES IN ANTWERP. 63 his memory, so that he might tell his friends at home all the wonderful things that he saw. He first made for Antwerp, where art industry was beginning to develop itself, carrying with him a good cupply of his woodcuts and engravings, for which he hoped to obtain a ready market in a city of such reputed wealth. By the sale of these he looked forward to defraying the expenses of his journey, and to obtaining any introductions which he wanted. In passing Bamberg he presented the bishop with a painting of The Madonna, a Life of the Virgin, an Apocalypse, and engrav- ings to the value of a gulden, which procured him episcopal hospitality, and a ‘Zollbrief,' or letter of exemption from customs for his works of art, together with three letters of recommenda- tion to some men of influence. All honour was paid him by the Bamberg painters. Passing on to Frankfort and throughout the bishop's jurisdiction his ‘Zollbrief’ was of the greatest value to him. He met his friend Jakob Heller, for whom he had painted an Altar-piece, but he makes no mention of the picture, only of receiving some wine at his inn from the merchant. At Mainz, people strove for the honour of entertaining him, and laden with presents he started by the Rhine-boat for Cologne, and eventually arrived in Antwerp, and put up at the inn of Jobst Plankfelt, whose portrait in pen-and-ink exists in the Städel Institute at Frankfort, with an inscription in the artist's handwriting. Jobst Plankfelt was a man of importance in Antwerp, and of great service to Dürer, who stayed some time, and arranged to take his meals with him, leaving his wife and maid to cook theirs in their own room for the sake of economy. On the evening of his arrival he was entertained “at a costly meal,” by Stecher, the factor of the celebrated merchant house of the Fuggers, who were the Rothschilds of that time. The head of the house, Anton Fugger, lived in Augsburg in such royal style that once when he was entertaining Charles W., to whom he had advanced large sums of money, he threw all the bonds which 64 ALBRECHT DüRER. the Emperor had given him upon the fire to make a blaze after dinner. The Fuggers were however distinguished not only for their enormous wealth, but for their employment of it in found- ing charitable institutions and schools, and also for their services to literature and science, in which many members of the family achieved considerable reputation. On the next Sunday the painters invited Dürer with his wife and maid to a banquet at their Guildhall. Everything there excited his admiration, from the costly viands to the silver plate. All the wives of his entertainers were present, and the whole company received him standing as if he had been a lord. There were many people of distinction there who showed him the greatest respect, and expressed their anxiety to do him honour. The Antwerp Rath sent two servants with tankards of wine as a mark of their goodwill and esteem. The feasting was kept up far into the night, and at length the guests were escorted home with torches. These manifestations, occurring likewise in other Netherland towns, are a proof of the reputation which preceded him, and which, together with his personal recommend- ations, procured for him patronage and friendship everywhere. He was overwhelmed with invitations and presents, which he acknow- ledged according to his means. At Antwerp he called upon Quinten Matsys, but makes no remark upon his visit; and here too he became acquainted with the celebrated Erasmus, who gave him presents and allowed him to draw his portrait several times. He also took the likeness of the astronomer, Nicolaus Kratzer, whom he met at the house of Erasmus, and who was useful to him in many ways. He was a native of Munich, but lived at the court of Henry VIII. Dürer found many valuable patrons among the foreign merchants, and received from the Portu- guese consul presents of foreign wines, sweetmeats of all sorts, and some “sugar-cane just as it grows.” His principal friend was the Genoese Tommaso Bombelli, with whom he constantly dined. He was particularly struck with a grand procession on AT BRUSSELS. . 65 the Sunday after the Assumption, when the whole town was assembled, every one dressed in the most costly manner. It was headed by German pipers and drummers, and consisted of representatives of all classes of tradespeople, each with a special badge; merchants and shopkeepers, soldiers and civilians, priests and scholars, and twenty persons bearing “our Lady with the Lord Jesus ornamented in the most splendid manner to the honour of the Lord God.” Then followed representations of characters and scenes from the Old and New Testament, and the history of some of the Saints, the whole procession occupying more than two hours in passing his house. On August 20th he went with Bombelli to Brussels, and there met with a deputation from his native place, who had been sent to Aachen with the imperial crown for the coronation of Charles V., which was kept at Nürnberg with the other crown jewels. The names of these Rathsherren were Ebner, Groland and Haller. There was much to interest Dürer in Brussels, especially in the Hotel de Ville, which contained four paintings by Roger van der Weyden (these were destroyed during the French siege in 1695). His curiosity was excited by “the things which people had brought to the king from the golden land” (Mexico); a golden Sun, a silver moon, two rooms full of armour, and “all kinds of Wonderful things for man’s use, that are as beautiful to look at as they are wonderful . . . I have never in all my life seen anything that has pleased me so much as these things, for I saw among them wonderful artistic things, and was astonished at the subtle ingenia of men in foreign lands, and I don't know how to express what I think about them.” While in this city he was honoured by a summons to the presence of the Archduchess Margaret, who was remarkably gracious to him, and promised to use her influence on his behalf with her nephew Charles. She had inherited a love of art, and found, in cultivating her taste for it, some alleviation from the monotony of her otherwise cheerless life. D F 66 ALBRECHT DüRER. On September 2nd Dürer returned with his friend Bombelli to Antwerp. A crowd of artists and other distinguished men was assembled there to be present at the State entry of Charles W. Here Dürer received the intelligence of the dispersion of Raphael's works, in consequence of his death in April of this year, 1520, from Tommaso Vincitore of Bologna, who had come to the Netherlands with an urgent letter from Pope Leo X. to superintend the production of the tapestries after Raphael's cartoons. Vincitore, who had been a pupil of Raphael, pre- sented Dürer with a gold antique ring, in return for which Dürer gave him all his “best things, worth six gulden.” He after- wards gave Vincitore a whole set of engravings to be sent to Rome in exchange for some of Raphael's works. The number of presents of his works which Dürer made during this tour is astonishing. Every page of his diary contains a note of something which he gave away and the value of it; but the repetition of the things which he received and their price, with the return which he made, is too tedious for repro- duction in full. Tommaso of Bologna painted Dürer's portrait, and an engraving was made from it by Stock in 1629. He has on a wide hat and fur mantle. The hair is not so long as it appears in the earlier likeness, still it falls luxuriantly on the shoulders; the beard is short, but thick and strong. In order to urge the confirmation of his pension Dürer fol- lowed the Emperor upon his coronation tour. On October 7th he arrived at Aachen, where he again met the “lords of Nürnberg,” as he calls them, and drew the portraits of Ebner and Groland's son. On the 23rd the coronation took place, when he saw “all kinds of costly splendour" past description, such as no one living in his part of the country had ever seen. But his object was not yet attained, and his Journal con- tinues: “I had lodging, and eating, and drinking at Brussels with my lords of Nürnberg, and they would take nothing for it, and I had the same at Aachen. For three weeks I had my IN CóLN. 67 meals with them, and they brought me to Cöln, and would take nothing for that either. I have bought a tract of Luther's for five white pfenning. . . . I have given two white pfenning for the opening of the panel which Maister Steffan of Cöln had done.” This brief remark of Dürer's has led to the dis- covery of the painter of the celebrated Dombild, namely, Stephan Lochner, who lived in about the middle of the fifteenth century; it was previously attributed to Meister Wilhelm, the earliest painter of the Cóln school. - He goes on : “I have seen the princely ball and banquet given to King Charles in the banquet-hall. It was very wonderful. I have sketched for Stabius his coat-of-arms on wood. I have given a young Count in Cöln a Melancolia, and the Duke Frederick the new Madonna. . . . On the Monday after Martin- mas, in the year 1520, I obtained my CoNFIRMATIA from the Emperor with great trouble and labour through my lords of Nürnberg.” This document is still preserved among the archives of Nürnberg. “I have given Niclas's daughter (this is his cousin Niclas) seven white pfenning as trinkgeld, one florin to Niclas's wife, and also an orth to the daughter as a parting present, and then I set out from Cóln.” After an absence of seven weeks Dürer returned again to Antwerp, and to his old quarters at Plankfelt's. He had scarcely arrived when the news came of a whale being cast on shore in Zealand, which he at once hurried off to see. At Bergen-op- Zoom he bought the Flemish head-dress in which his wife appears in the Hullot portrait, the one with the inscription: “This was taken by Albrecht Dürer from his wife at Anttorff (Antwerp) in Netherlands' costume in 1521, after they had been married twenty-seven years.” Age had made her a stout, matronly person. On this voyage he had a very narrow escape, which he describes with great minuteness. They were landing at a small town called Armuyden on the island of Walcheren, and he Says: F 2 68 ALB RECHT Dü RER. “When we were just going to land and had thrown out our rope, a large ship that was near came against us. We were just landing, and in the confusion I let every one get ashore before me, until there was no one but myself, Georg Kötzler, two old women, and the Master, with a little lad, remaining in the vessel. And just as the other ship came upon us, and I, with those named, were on the ship and could not get away, the strong rope broke ; and added to that there was a great gust of wind which drove us hard astern. Then we all cried out for help, but no one dared to come. Then the wind carried us out to sea; the Master tore his hair and wept, for all his men had landed and the vessel was unmanned. There was anxiety and distress, for the wind was high, and there were not more than six people on board. Then I spoke to the Master and told him to keep up his spirits, put his trust in God, and think what was best to do. He said if he could hoist the small sail he would try if he could not get to land. So then we all helped together, got it up, and again moved on. And when the men ashore, who had already given us up, saw how we helped ourselves, they came to our assistance and we got to land.” When Dürer got to his journey's end he was disappointed, for the whale had been washed away, and he had to return to Antwerp bearing with him the seeds of the disease which was eventually to carry him off. To make up for his disappointment he received some additions to his store of curiosities, in the shape of fish-scales, snail-shells, and coral from one Lazarus Ravensburger, whose portrait he painted. On Carnival Sunday the goldsmiths invited him and his wife to a banquet. There was an assembly of distinguished people, and Dürer was treated with much respect and honour. He was likewise entertained by the chief magistrate of the place, and he assisted at the Carnival festivities. A proof of the esteem in which his work was held is furnished by a commission which he received from the wealthy Meersche Guild. They wanted a cloth for the altar of their patron Saint, IN ANTWERP. 69 which was to be the most beautiful in the Cathedral. Designs were furnished by other artists, but Dürer's was accepted. During his residence in Antwerp he was far from idle, and occupied himself with small pictures for presents, none of which, strangely enough, seem to be in existence now. Several paint- ings, too, he executed, and mentions “a good Veronica,” which he did in oils, and presented to Francisco of Portugal, and also another, “better than the first,” for Factor Brandan, a Portuguese also, who gave him “two white sugar-loaves, a dish full of sugar- candy, two green pots of preserved sugar, and some black satin.” Of the portraits which he did at Antwerp one at least remains, which he mentions early in 1521: “I have taken in oils Bernhard von Ressen ; he gave me eight gulden for it, my wife a crown, and Susanna a gulden.” He drew innumerable likenesses in pencil, on separate pages of his sketch-book, and also made several studies from the life; one of an old man, above which he has written, “This man was ninety-three years old, and still in good health.” It is probably the sketch for the celebrated drawing in the Albertina Collection. His work was not all profitless, however, for as the circle of his friends enlarged so the sale of his productions increased, and if he did make presents he was disappointed if he did not receive an adequate return for them. As spring came on he began to think of home, and prepared a number of gifts, the list of which is interesting, as it shows that his friends in Nürnberg were all people of importance, and moreover that he was on very intimate terms with them. There were pieces of lace for “Caspar Nützel’s wife,” some for “Hans Imhof's wife, to Sträuber's wife two, to Spengler's wife and to Löffelholz's wife.” He bought a pair of gloves too for each of them, and gave to Pirkheimer “a large cap, and other pre- sents,” appropriate gifts to the husbands of the ladies mentioned above, and an exceedingly large horn to Hieronymus Andreae. He despatched a large bale of valuable things to the care of 70 - ALBRECHT DüRER. Hans Imhof, and then set off for a hasty visit to the old art cities, Bruges and Ghent, in company with Jan Proost, whom he calls Ploos, the painter of the Last Judgment in the Assize Hall in the former city. Proost took him home with him and entertained him hospitably, and had a number of people to meet him. Another day he was the guest of the goldsmiths, who took him to see the old residence of the dukes of Burgundy, where he saw “the chapel painted by Rudiger (Roger van der Weyden) and pictures by a great old master.” Then they took him to St. James's Church, where he saw more paintings by Roger and by Hugo van der Goes—“they were both great masters.” After that he saw the alabaster Madonna of Michelangelo. It is remarkable that he makes no mention of Memling's pictures which are side by side with Jan van Eyck's in the hospital of St. John, and still more strange as there is a Memling Madonna on a leaf of his sketch-book, now in the Hall of Arts in Bremen. Of all the treasures which Dürer saw in the Painter's Chapel, there only remains Van Eyck's portrait of his wife. “Then,” he says, “they prepared a banquet for me, and I went with them to their guild-chamber. There had met together several honour- able people, merchants as well as goldsmiths and painters. I must sup with them, and they made me presents, sought to make my acquaintance and did me much honour. And two brothers, aldermen, presented me with twelve measures of wine, and the whole company, more than sixty persons, escorted me home with torches.” BHe was received with the same distinction in Ghent. The Decanus, the president of the Painters' Guild, with all the prin- cipal artists of the town, met him and received him nobly, never leaving him during the whole time of his stay in that city. They took him up to the top of the belfry-tower, and then to see the great Van Eyck altar-piece, The Adoration of the Lamb. 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He speaks of his acquaintance with Joachim Patenir and calls him “the good landscape painter.” He painted his portrait several times; one excellent likeness dated 1521 is in the Weimar Museum. He was an honoured guest at Patenir's wedding-feast. Farther in his Journal he notes: “I have heightened four S. Christophers on grey paper for Maister Joachim. . . . I have taken the por- trait of an English nobleman in charcoal ; he has given me a gulden for it, which I have changed for living expenses. Item, Maister Gerhard, the illuminist, has a daughter eighteen years old called Susanna, and she has illuminated a plate, A Saviour, for which I gave one gulden. It is wonderful for a woman to do so well.” These were the Horebouts, who afterwards were distinguished for their illuminations at the Court of Henry VIII. of England. “I have sketched some Flemish costumes. . . . I have done the Englishman's coat-of-arms for him in colours, for which he has paid me a gulden. . . . I have over and over again done sketches and many other things for different people, and for most of my work I have received nothing at all. I saw the great procession which took place in Antwerp on Corpus Christi. . . . To the monk who confesses my wife I have given eight stiver. . . . On Wednesday after Corpus Christi I gave up my great bales at Antwerp to a waggoner to be taken to Nürnberg, and he is to be responsible to Hans Imhof for them.” Eight days after the festival he went to Mechlin to see the Lady Margaret. The painters and sculptors entertained him, did him great honour, but the archduchess dismissed him un- graciously after showing him “all her beautiful things; ” amongst them some paintings of Jan van Eyck and Jakob Walch. On his return to Antwerp there is an entry referring to Lucas van Leyden. “Maister Lucas, who engraves in copper, has 72 ALBRECHT DüRER. invited me; he is a little man, and was born in Leyden;” and another to the effect that in all his transactions in the Nether- lands with people high and low, and in all his bargains and sales, in all his doing and living he had come off the worst, and he was particularly unfortunate in his relations with the Lady Margaret, who gave him nothing at all for all he gave her, and all that he did for her. He was just starting away from Antwerp on the second of July, when Christian II., called the Bad, King of Denmark, sent for him in haste to come and take his portrait. Christian had come to visit his brother-in-law, Charles V. He was in the eyes of the Antwerp people a marvel of manliness and valour. He was very gracious to Dürer, and had him to dine with him. By the wish of the king, the artist followed him to Brussels and was a witness of the splendid reception which the Emperor and the Regent Margaret gave him, and was himself a guest at the banquet which Christian gave to his royal relatives. At length, on the twelfth of July, 1521, Dürer set out from Brussels on his journey homewards. With his arrival at Cöln the journal comes to an end. From his manner of living in Antwerp, his liberality with his works, and the numberless pre- sents which he made, we are not unprepared to find that he was obliged to draw upon Hans Imhof for an increase of his liability, which he promised to discharge with thanks in Nürnberg. We possess a portrait by Dürer of the date 1521, painted in oil on wood, which is one of the most beautiful of his known portraits. It is in the Madrid Museum—the bust of a stout man in a black dress, edged with fur, and wearing a hat with broad brim. It is evidently not done with foreign colours nor in haste, but is the result of quiet work in Nürnberg, no doubt after his return home. There is a strong similarity in position, dress, and the occupation of the hands between this and an engraving of Hans Imhof, so that it is possible this may be a portrait of Dürer's honoured friend and banker. CHAPTER X. DüRER's POSITION IN NüRNBERG-REFORMATION.—PIRKHEIMER— SPENGLER—FOUR TEMPERAMENTS-MELENCOLLA—S. JEROME– KNIGHT, DEATH AND THE DEVIL – SPALATIN — DüRER'S RE- LIGIOUS BELIEF—MELAN CEITHON.—ERASMUS—FOUR AIPOSTLES. HE evidence which Dürer's list of presents affords us of his intimate relation with people of eminence in Nürn- berg is interesting, inasmuch as it throws light upon his pre- dilections for the reformed doctrines which were rapidly gaining ground in the city, as it also reveals the social position which he enjoyed. Yet the love of this true child of Nürnberg—evidenced by his refusal, first of a lucrative offer from Venice, where he had lived the life of a gentleman, and secondly, from the city of Antwerp, where he had been received with so much honour— was but imperfectly reciprocated. In 1524 he wrote a touching letter to the Rath, urging them to grant him a yearly interest of 50 gulden upon 1000 which he had earned by “long years of work and extraordinary labour,” so that he and his wife, who were beginning to feel the inconvenience which increase of years and toil bring with them, might have a moderate pro- vision against want. During thirty years' residence this was all that he had saved. He had not received more than 500 gulden for work in his native town, and “not a fifth part of this was profit.” What he possessed and had expended there he had 74 ALBRECHT DüRER. earned “from princes and foreigners.” He had declined all emoluments out of love for his town and Fatherland, and “chose to live in a moderate manner in Nürnberg” rather than “to be rich and great in any other place.” The most beautiful of his emblematic designs had been the arms of the city supported by two angels, with the national arms above a double eagle sur- mounted by the Imperial Crown. Figures of Justice and Abundance adorn the upper part, with an inscription—“Sancta Justicia,” 1521. The wood-cut appears in the title-page of the * Reform of the Town of Nürnberg,’ a book of laws which was published in that year, and merited the patronage of S. Justicia. He had moreover exhibited his devotion to S. Sebald, the Nürn- berg tutelary Saint, in one of his finest wood-cuts, in 1518. Still, if he lacked substantial possessions, he enjoyed all else which the city had to offer to him. He was admitted to the most intellectual and distinguished society, and the intimate companionship of the wealthiest burghers. He could reckon as a well-tried friend, the playfellow of his infancy, Wilibald Pirkheimer, the principal man in the State. The very diversities of their natures seem to have attracted them mutually. The pompous and headstrong scholar felt the gentle influence of the contemplative painter, while he accorded to him that amount of patronage and aid which elevated him into the higher regions of the nation's intellectual life. Another important ally of Dürer's, who lived near him, was the Nürnberg Reformer Spengler, one of the directing powers of the city. When Spengler brought out his translation of S. Jerome's life, Dürer adorned it with the charming wood-cut of the saint, and received as compensation the dedication of Spengler's ‘Exhortation and Direction to Virtuous Conduct,’ as his “particular, trusty, and brotherly friend.” Spengler assures him, that “he knew him to be, with- out flattery, a man of intelligence, and disposed towards honesty and virtue, who in their daily and intimate companionship had often been to him in no small degree an incentive and a pattern.” MELENCOLIA. 75 He begs him to amend the work according to his judgment, and to consider him as ever “his friend and brother.” Pirkheimer's literary and scientific work often required the help of art, and Dürer was at hand to supply it. He provided many of his books with ornamental designs, and when, in 1525, the translation of Ptolemaeus appeared, he furnished those sphere- drawings which Tscherte mentions in two letters to Pirkheimer as being “drawn by our friend Albrecht Dürer.” In 1514 Dürer had commenced a series of apostolic figures, which occupied him for ten years, but were never completed, though in combination with that other conception of the same date, the Four Temperaments, it was the origin of his last and greatest work of art. Dürer adopts the received theory respecting the Temperaments without reserve, and on one occasion explains minutely the outward manifestations of their existence and the necessity of considering them especially in relation to the suit- ability of youths dedicated to the service of art. He devoted himself to the investigation and illustration of the theory, and the result was the production of those copper- engravings which exhibit the fulness of his creative power, and the perfection of his skill, Melencolia ; S. Jerome in the Cell; The Horseman, known as The Knight, Death and the Devil. The first two date from 1514, the last 1513, though the study for the Knight—the figure and armour of a Nürnberg warrior—was made 15 years before, and that for the horse some- what later. These leaves from Dürer's art history have chal- lenged the admiration of the critic and baffled the investigation of the speculative for ages, and are still as hard as ever to read. “All that we know is, nothing can be known;” is not this the feeling which possesses the soul of that unsatisfied woman, who sits with her cheek resting on her left hand, while the right falls upon a closed book hardly retaining its hold of the com- pass which has measured out nothing for her Her hair is unbound, though it just keeps up the laurel crown upon her 76 -> ALBRECHT DüRER. brow. Every imaginable implement of art, of lawful and of unlawful science, lies about her, each has been used in vain ; the magic crystal has disclosed nothing; the figures on the wall, each row ever exhibiting the mystical number 34, have been reckoned over and over again to no purpose; the heavens show a Comet and a rainbow, but no more; the bat which hovers over the water holds outstretched a scroll on which is written Melen- colla I. By her side there perches upon a grindstone the form of a Winged child, like a desponding Cupid whose frolics are over. Sphinx-like she sits ever, a woman disdaining her woman- hood, weighed down with thought, yet restlessly looking into the unsolved mysteries of existence, while the great wings which she bears seem eager to essay another flight into the darkness of the inscrutable. The number I. upon the scroll seems to show that this plate is the first of the series of the Temperaments which begins with Melancholy, and there is little doubt that the beautiful S. Jerome in his Chamber is another. The motive of it is calm repose and peace obtained by a solitude occupied with holy employment. The room is a convent-cell, but appropriately furnished and sufficiently lighted. The grand old man sits at One end of the room writing at an oak table. On the wall behind him hangs a cardinal's hat by the side of an hour-glass, and the white glory beneath brings out the fine head of the Saint as he writes. Before him at the other end of the table is a crucifix, upon which his eye may rest when he looks up from his work. In the window-sill is a skull. A huge pumpkin with a leaf and stalk breaks the lines of the oaken beams in the ceiling. The feeling of repose is increased by the blinking lion and a watch-dog stretched out and fast asleep in the foreground. There are wooden benches and cushions lying here and there upon them, there is a shelf upon one wall for articles of domestic use, and a strap nailed up beneath it to hold his palers and a pair of Scissors. S. Jerome is entirely engrossed in his work—a type of the Phlegmatic Temperament. «* ^ & ºſvºj -x^2, … ►► * 4 ×ș x^2 e^ź \* \; º$ È {-|- ∞&=&-----**~~~~, ſae ¿ $ |?→ ·% Ņ§* ģ ģ »№, º . • • .: {{º\！\ .."; * *„№ №ſ §§§§§§§§§\\\^$% ~： №iÈ$ș\\§§ x = - （. ; * ,šķ ¿ &ț¢” ‘…ºff/op ato ſuņ/2v.， §. 37 0/7 tao.ae/ ‘RIGINI QOI LHOÇI?I?I?IV Å™I ·*§§§… • 3-*****S *&^ §·|-•{§§ ----~' . 4°ſv->ys. ¿- ſ � }} №ſae; a ºſaſ ¿? № \\ ！№\ §§ §§§§§ \R&\， }};· · * * •~§§ È}}}}{\$ $ī£§§№ §3;?&∞ {}§ “I IAGIGI SIHJ, CIN V ‘HALVGICI ‘LHOINSI GIHJ. ‘...ºrºſ: ¿ %\',%ſ）'，}\\ ºſ º }} { {{}}}\\ 、Ā`） …** ·§§ }&};&}}}}}} ¿ \，\,\! && ? ĶĀ§�� }}\\Ķ &&ſae： * Ņs.}}： 。 §§ §§§§§）， §§ ºſ Èšķ ,。、”. ” &\;3 šºšº . ， Y§* ț¢ ť ſſſ Å Ķ3-3 ſăſae w.$3% %%- ț¢， 2¢， ## įį. ¿ %%%%ffffff; 73 ！”· ſººſiſ, §§ §）, §§§）， º： № ∞ }} { º “si,' §§ Sºś...” § tº Cº-º : º gº > sº º: º ę }}] ---- \！！！ •- + · · 2×3 :3: * Eºs THE KNIGHT, DEATH AND THE DEVIL. 77 The third plate, of the same size as the other two, which has always been held to be one of Dürer's finest works, is an illustration of the tendency of the German mind at this time. It is The Knight, Death and the Devil; it is also called The Christian Knight, and The Knight of the Reformation. A knight is riding alone through a gloomy defile. He is in full armour, and bears a lance in his hand. A little in front of him on a lame horse goes the grisly form of Death with an hour-glass in his hand, the sand almost run out, which he holds up in face of the knight. On the other side of the horse- man is a horrible fiend, who stretches out his hand ready to clutch his prey. But the rider goes straight forward, with a set look of determination upon his face, not heeding his unwelcome companions. He is ready for combat with any enemy who comes direct in his way, but has no eye for those by his side. Death cannot daunt him nor Satan lay hold of him as he goes right on towards “the prize of his high calling.” Some have recognized in him Franz von Sickingen, and others the artist's friend Stephan Baumgartner, simply because of the letter S. which stands before the date, but if we are right in the inter- pretation of the other pictures this S. may well stand for San- guine (Sanguinicus), as Thausing appropriately suggests. It is not difficult to trace again in this last plate the effect of the religious spirit which came over the Humanist society at Nürnberg under the influence of Lutheran teaching. Among the first to declare for the great Reformer were many of Dürer's friends, Pirkheimer, Spengler and others, and with the move- ment he himself had the warmest sympathy, though still a member of the Roman Church, and a participator in the benefits of her sacraments. In his journal there are several records of money paid to his own confessor, and to his wife's. Yet even in 1518 Luther had received presents of Dürer's work, which he warmly acknowledged, and in the same year Christoph Scheurl tells Staupitz of the congregation which enjoyed the preaching of Wenzel Link, mentioning by name Dürer himself 78 ALB RECHT DüRER. and many whom we know as his intimate friends, “all longing for a greeting from Luther.” In a letter to Georg Spalatin, chaplain to the Elector Frede- rick, at the beginning of 1520, Durer says, “As you mention the little book in defence of Martin, you must know that there are no more ready, but they are in print at Augsburg. I will send you some as soon as they are ready, but this little book, though it has been done here, has been decried from the pulpit as heretical and fit for the flames.” Still more significant of his state of mind are the passages in the same letter in which he sends his thanks to the Elector for Luther's book which he had sent him, and begs his Grace to submit to the teaching of the Reformer “for the sake of Christian truth, which is of more importance to us than all the riches and power of this world, for all that perishes with time, truth alone abides for ever.” When abroad he was always eager for Luther's writings, and was on intimate terms with the priests of the Augustine monas- tery in Antwerp, of which Erasmus writes to Luther:-‘‘In the Antwerp monastery is a prior, a pure Christian, who loves you above measure, and was, he says, your pupil.” The prior and monks of this monastery were imprisoned in 1522 for dissemin- ating reformed doctrines. Dürer's friends Pirkheimer and Spengler, were among the boldest to espouse Luther's cause, and consequently among the first against whom a blow was struck from Rome. The former had been the apologist of Reuchlin, and the latter, in 1519, had upheld the Christian character of Luther's teaching against the attacks of the Church party. After the dispute between the great Reformer and Dr. Eck at Leipzig, Pirkheimer held up the champion of the Roman faith to ridicule, and when Eck returned from Rome with the Bull against Luther he had the Satisfaction of knowing that the names of his two bold supporters were inserted in the terrible document. Dürer's own confession of faith appears again in those passages LUTHER. 79 from his journal which we purposely omitted in their proper place in order to insert them here. “On the Friday before Whitsuntide (May 17) in the year 1521, the tidings reached me in Antwerp that Martin Luther had been treacherously taken prisoner. For as the herald of the Emperor Charles had been added to the Imperial escort con- fidence was placed in him. But after the herald had brought him to an unfriendly place near Eisenach, he said he required him no longer and rode away. Immediately ten horsemen appeared, and treacherously carried off the man thus betrayed, the pious, the Spirit-enlightened one, the follower of the true Christian faith. Does he still live, or have they murdered him? This I know not. But he has suffered for the sake of Christian truth, and because he has punished the unchristian papacy, which opposes its great burden of human laws to the liberty of Christ ; and for this we are robbed of that which our blood and sweat has won, that it may be shamefully consumed by idle people, while the thirsty and the sick are dying of hunger in conse- quence. And especially hard it is to me that God will perhaps leave us under their false, blind teaching, which men, whom they call Fathers, have invented and set up ; whereby the precious word of God is in many places falsely explained or not set forth at all. Ah! God in heaven, have mercy upon us !” and so on in the Ordinary style of the time; but we get an insight into the life of a soul which dreams of Christian union not even yet realised. Earther on in the Journal he bursts forth, “Ah ! God, is Luther dead! Who will henceforth expound the Holy Gospel to us so plainly 4 Ah, God what might he not have written for us in the next ten or twenty years. Oh ! all good Christian men, help me to bewail the God-inspired being, and to pray that he will send us another enlightened man. Oh Erasmus of Rotterdam, where wilt thou tarry'ſ See what unrighteous tyranny, the power of the world, the power of darkness, can do 80 ALBRECHT Dü RER. Hear, Christian knight, ride forth with the Lord Jesus, defend the right, obtain the martyr's crown —thou art already an old mannikin, and I have heard thee say that thou givest thyself only two years longer in which thou wilt be able to work. Dedicate these years to the cause of the Gospel and the true Christian Faith.” Dürer identified in his mind the Reformers with the Human- ists. When he was calling upon this little great man of Rotterdam to come to the help of Christ, he knew nothing of the divisions which were going on, and certainly mistook for a hero the man, who two years afterwards at Basle, fearing for his own reputation, refused an asylum to Ulrich von Hutten, when under the ban of the Pope—the man whom Luther in his own manner once called, “an enemy of all religions.” At the time of Dürer's return from the Netherlands, the contest between the extreme religious parties was not so great. The Rath decided in 1524 to establish a High School, and to make Melanchthon Rector, but he declined the post and named Joachim Cammermeister (or Camerarius) in his stead, though he often came to Nürnberg to supervise, and was the centre of a pleasant society which assembled in the evening, and included such men as Hesse, Roting, Spengler, and the priests Venatorius and Wenzel Link. A letter from Nicolaus Kratzer shows that Dürer kept up the friendships which he made in the Netherlands. In his answer to the Astronomer he speaks of two portraits, dated 1524. They were masterpieces of art, the likenesses of his oldest patron the Elector Frederick, and of Pirkheimer. He has rendered his friend immortal in all the greatness of his energy and philosophic character before physical pain had damped his ardour, and the tumult of Reformation controversy had agitated his mind. He had almost withdrawn from society, when in 1524 he dictated the inscription for his portrait : vivitur ingenio, caetera mortis erunt. The Humanist in his declining years was troubled with a vision of the overthrow of knowledge which was threatened by the Reformation, and as a statesman he was terrified by the PIRKHEIMER AND MELANCHTHON. 81 violence and confusion about him which followed upon the promulgation of Lutheran doctrine. He felt the effects in his immediate family, for the convent of which his sisters were at the head became a mark for the insults of the citizens. He hated such expounders of Church guidance as the preacher Osiander, and even his friend Spengler incurred his indignation. Thus, gradually, the brilliant and wealthy Pirkheimer assumed towards the Reformation the attitude of Erasmus of Rotterdam. It is not, however, fair to assume that Dürer followed blindly in the footsteps of his patrician friend. True it was that “they were closely united even to being indispensable to each other and even unto death,” true that Dürer's praise was “like music ’’ to the ear of his friend, as Ulrich von Hutten says, yet each was too self-sufficient to allow himself to be drawn along helplessly by the other. - Melanchthon, who, when a visitor at Pirkheimer's house, often met Dürer and spoke of him as “a wise man, in whom the artistic element, prominent as it was, was still the least,” throws much light upon the mutual relations of the two friends. When the scholar, by a pamphlet against CEcolampadius, took part in the quarrel about the Lord's Supper, there were often disputes between them in which Pirkheimer repeatedly used to retort to Dürer's attacks, “That cannot be painted ; ” and the artist would reply, “And what you say should not be said or even thought.” If Dürer could not adopt Pirkheimer's opinions, still less could he attach himself to the revolutionary party in the city, and he must have been deeply moved by the part which was taken by three of his best pupils, Georg Pencz, and the brothers Sebald and Barthel Beham. These “three godless painters” were banished from the city for their dangerous opinions. His wood- cutter, too, Andreæ, was a source of great trouble to the Rath. This man had obtained such celebrity that he adopted the name of his calling, “Formschneider,” instead of Andreæ, 1 * Among Dürer's drawings in the British Museum is a portrait of a young Woman, Fronica. 1525, Formschneiderin. D G 82 ALB RECHT DüRER. The terrible effect of passing events upon Dürer is evidenced by a vision which he had on the 30th of May, 1525, which he transferred to paper in watercolours the next morning. The sketch is in the Ambras Collection in Vienna. He describes it thus: “Immense volumes of water kept on falling from heaven, but as the first drops reached the ground, it fell with such force, and then came on a wind and a rushing noise, and I was so terrified that when I awoke my whole body trembled and for a long time I could not come to myself. However, when I arose in the morning, I painted it here above as I saw it. May God direct all for the best.” Between Melanchthon and Dürer there was naturally the deepest sympathy. They probably met first in 1518 at Pirk- heimer's house, and the friendship which began then was more closely cemented during the reformer's subsequent visits to Nürnberg in 1525 or 1526. We have to thank this friendship to which Camerarius was admitted for the most trustworthy accounts of Dürer. Iuther says of Melanchthon, “Magister Philippus goes softly and quietly, builds and plants, sows and waters with joy, as God has given him his gifts richly ; ” and such a man appears in Dürer's portrait of 1526, bareheaded, with a lofty brow and gentle Smile. The plate bears the inscription: Wiventis potuit Dürerius ora Philippi, Mentem non potuit pingere docta manus. His feelings while working at the portrait of his friend were widely different to those which he felt for Erasmus, whose like- ness he engraved on copper in the same year. Dürer had taken sketches of him in Brussels in 1520, and in the interval Erasmus had repeatedly urged the completion of the picture in letters to Pirkheimer, which abounded in praises of the artist, but the recollection of the philosopher's features had become faint, so that the truthfulness of the likeness is unequal to its merit as a work of art. It is half-length, and Erasmus is sitting in a Satin PORTRAITS. 83 robe writing at a desk surrounded by ponderous tomes. These portraits are the last of Dürer's engravings, but we must mention among his latest achievements the celebrated portrait of his “single friend’” Ulrich Varenbüler, dated 1522, the largest and greatest of his wood-cuts in that style. The Imperial Councillor was a valued friend of Erasmus and Pirkheimer, and his name appears frequently in their letters. There is an inscription by Dürer, to the effect that he desires to render those whom he specially loves famous to posterity. In 1525 he displayed his own coat of arms, the same as those which his father bore, in a large wood-cut ; and probably to 1526 must be assigned the likeness of his friend Eoban Hesse. His last religious represent- ation in wood-cutting is of the same date, the Holy Family, with the children playing in the foreground. In the same year he painted the Madonna once more, the picture in the Uffizi, in which the Virgin holds an apple in her hand, and likewise three life-sized portraits, one of Kleberger who afterwards married Pirkheimer's favourite daughter, the widow of Hans Imhof, and deserted her, but who subsequently merited the name of “bon Allemand,” and a statue in Lyons. The second portrait was that of Jakob Mussel, and the third that grand portrait of PHieronymus Holtzschuher which is still in possession of the family in Nürnberg, One of the most valuable memorials of the artist's power. It is now, on loan, in the Germanic Museum. Now towards the close of his art-life he seems to have been possessed with that desire to perpetuate the recollection of his friends before his hand had lost its cunning, but there was yet another ambition, to bequeath to his native city a memorial of his genius and of his faith. The thought of the Four Apostles or Four Temperaments had been growing in his mind for ten years, and at last revealed itself in those two panels in Munich which display the perfection of art. His studies for this picture had been his great delight ; witness the water-colour sketches of S. Philip and S. James in the Uffizi, the S. Mark in the G 2 84 ALBRECHT DüRER. Hullot collection, and the S. Peter in the marvellous pencil- drawing in the Albertina Gallery. Each of the panels is occupied by the full-length figure of an apostle and his companion. Dürer took the greatest pains with the drapery, for no artist ever knew better how much the character of a figure may be indebted to the fold of a garment. It is a contemporary of the artist and a man who personally knew him, Johann Neudörffer, who first mentions that the four figures meant the four temperaments—S. John the type of the Melancholic, and S. Peter of the Phlegmatic, occupying the one panel; S. Paul, type of the Choleric, and S. Mark of the Sanguine, occupying the other. It is worthy of remark that the prominent figures in either panel are S. John and S. Paul. The beloved disciple is lost in contemplation, not looking into the open Bible, which he holds in his hand; but S. Peter bends forward as if with the desire to read. There is said to be in the S. John a likeness to Melanchthon. On the other half is depicted Dürer's special hero, the apostle to the Gentiles, one of those figures so grand as only to bear comparison with the artist's idea of the Christ. He is the warrior ready for battle, the man whose self no longer exists, but the Christ lives in him and fills his whole being, whose whole energy is devoted to the task of apprehending Him by whom he is apprehended. That there might be no mistake as to the meaning of his paintings, Dürer appended texts from the writings of each of the apostles with an introduction of warning: “All temporal rulers in these perilous times must take care not to accept human misleading for the Divine word, for God will have nothing added to His word or taken away. Then listen to the warnings from these four excellent men, Peter, John, Paul, and Mark.” The texts refer to false prophets, and perilous times, to Antichrist, and those who “were ever learning but never able to come to a knowledge of the truth,” to the men who “devour widows' houses, and for a pretence make long prayers.” Here is RK. MA L AND ST. ST. PAU ND ST. PETER. N A ST. JOH BY ALBRECHT DüRER. Zn the Pinakoſhe%, .7/unich. THE FOUR TEMPERAMENTS. 85 a distinct protest against the new sects, the Anabaptists and Deists, which Dürer puts in the mouths of the more contem- plative of the apostles, while the men of energy are ready to do battle with older enemies, the followers of a world philosophy, and with immoral priests. Dürer placed this distinct warning under each picture because he intended the panels to remain for ever in his native town. In the autumn of 1526 he sent them to the Rath with a letter, saying that he had long wished to send some painting of Small merit as a remembrance, but that he had been deterred from doing so from the “defects of his works,” for he knew that he should not appear with credit before them. “But as I have during this past time painted a panel, and have been more diligent over it than over other paintings, I consider no one more worthy of receiving it than your honours.” The Rath accepted his pictures, and presented him with 100 gulden. For a century they remained in the Rathhaus till the Elector Maximilian coveted them too eagerly. Copies of them were made by Georg Gärtner so good that when they were sent to Maximilian, it was hoped that he would choose them instead of the damaged originals, to which also were affixed the inscrip- tions so distasteful to the priests at Munich. Maximilian, however, chose the genuine paintings, but cut off the inscriptions and sent them back with the copies to Nürnberg where they still hang in the Rathhaus. RTSs-º,---> CŞ--sº Scº §§ §§ & º - - sº a ..." CHAPTER XI. DüRER's ILLNESS AND DEATH–TOMB–TESTIMONY TO HIM FROM LUTHER AND OTHERS–HIS LITERARY PRODUCTIONS.–INSTRUC- TION IN MENSURATION — FORTIFICATION — ART OF FENCING — HUMAN PROPORTION.—FOOD FOR YOUNG PAINTERS–QUOTATIONS FROM EIIS WRITINGS-REFLECTIONS. HE later part of Dürer's life was full of the weariness which continued sickness causes. Though never apparently a strong man, and ever liable to attacks of illness, he was unspar- ing of himself, and his constitution was no doubt impaired by the extraordinary demands which he made upon his powers. It was, however, the Netherlands journey which permanently destroyed his health, and laid the seeds of disease which carried him off prematurely. We call to mind the hardships, the exposure and the fatigue of his journeyings, the irregularity of the life which he led, and the excesses to which, almost despite himself, he gave way in accepting the hospitality which was offered to him. The costly feasts and the tankards of wine, so frequently mentioned in the Journal, could not have been good for a man of such a delicate organization. His first serious illness happened during that dangerous Zealand journey in search of the whale, and when at Ghent he notes: “In the third week after Easter a hot fever attacked me, accompanied with faintness, and uncomfortable feel- ings and headache. And when I was in Zealand, some time IDEATH. - 87 back, I was overtaken by an extraordinary illness, the like of which I have never heard of from any one, and this illness I have still.” There is a coloured sketch of himself by his own hand in the Hall of Arts at Bremen, half-naked, and the right hand pointing to a round, yellow spot on his left side. Above he has written the words, “Where the yellow spot is on which I put my finger, there it pains me,” no doubt for a consultation with his doctor by writing. I)ürer's illness did not entirely keep him from work, till just before his death; but he was obliged to abstain in part from social intercourse which involved indulgence in eating and drinking, too common at that time in Nürnberg, especially at the house of such a man as Pirkheimer. We get an idea of his emaciated appearance from a large profile portrait which was pub- lished after his death in a woodcut (1528). It is the portrait of the master at 56, prematurely aged, and much changed. The nose and cheek-bones are strikingly prominent, the hair and beard no longer retaining their luxuriance, the fine head of former years is bent forward, and exhibits little sign of the power which has departed. The likeness is that of a feeble, worn-out man, sinking into his grave before his time. The sketch was no doubt taken after his death, and probably from a cast, for, according to an existing manuscript in the Nürnberg Museum, his grave was opened by some artists the day after his burial in order that a cast of the face might be taken. No record of his last moments has come to us from any one who was present ; but we remember the prayer which he uttered at the time of his mother's death, “The Lord God grant that I also may have a happy end, and that God, with His heavenly host, my father, mother and friends, will be present at my death,” and we feel sure that his prayer was granted. He died in Passion-week, on the 6th of April, 1528, in his 57th year, and was buried in the vault of the Frey family, in the quiet cemetery of S. John outside the city walls. The simple inscription upon 88 ALBRECHT DüRER. his tombstone was placed there by Pirkheimer, who, a few years afterwards, was laid to rest in a grave almost by the side of his friend “even unto death.” ME . AL . DU QUICOUID ALBERTI DURERI MORTALE FUIT, SUB HOC CONDITUR TUMULO . EMIGRAVIT . VIII . ID US APRILIS. M. D. XXVIII. E. He died so suddenly and unexpectedly, that not even Pirk- heimer had time to hasten as he would have done to his bedside, for “that tender farewell on the shore of this rude world,” and bitterly he bewails it—“Thou who for so many years wast so closely united to me, Albrecht, my soul's better part, with whom I enjoyed dear discourse, who didst treasure my words in a faith- ful bosom Why, unhappy one, didst thou hurry away with swift, never-returning step. I was not allowed to touch the dear head, to clasp the hand, or say a last farewell to the de- parting one, for scarcely hadst thou entrusted thy weary limbs to thy bed, than death snatched thee away in haste.” There is preserved in Nürnberg a skull, which was found early in the present century, and believed, but on no reliable ground, to be Albrecht's ; for when the Frey family became ex- tinct the vault was at the disposal of the hospital, and received several inmates, till Joachim Sandrart bought it in 1681, and decked it with an inscription, intended to be a contribution to the glory of Dürer, bequeathed it to the Academy which he founded, and it became a resting-place for foreign artists. There is, however, a sacred relic in Vienna, the wrapper of which at least is genuine, for it has the signature of each successive HIS FRIENDS. 89 owner. It is said to be the lock of hair which was cut off after Dürer's death and given to his friend Baldung. . The testimony of men whose names are known to fame, to the universal regret which the death of Dürer caused, makes his historical position undeniable. “You may count him happy,” says Luther, “that Christ so enlightened him and took him in good time from stormy scenes, destined to become still stormier, so that he who was worthy of seeing only the best should not be compelled to experience the worst. So may he rest in peace with his fathers. Amen.” Melanchthon would not at first believe the sad news, and when he was able to doubt no longer, he could only say to Camerarius, “It grieves me to see Germany deprived of such an artist and such a man.” On the other hand, Erasmus, in a letter to Pirkheimer, contents himself with such words as these—“What is the use of lamenting Dürer's death, since we are all mortal? There is a memorial to him existing in my little book;" and then, after immortalizing him in this way, proceeds with some amusing reports which were being circulated. His indifference is in marked opposition to the manner in which Pirkheimer had poured out his heart to him in the midst of the desolation which the loss of his friend had created. Camerarius says of Dürer in the Preface to the ‘Lessons in Proportion,’ which has been mentioned before : “If there were in this man anything ap- proaching to a fault, it was simply the endless industry and the self-criticism which he indulged in, often even to injustice.” When death found Dürer he was occupied no longer in the production of art results, but in a search after its fundamental principles, by which means he hoped to render his last days serviceable to his country and to posterity. To this end he devoted himself to collecting and publishing the thoughts which had been growing from his childhood, and the lessons which careful study and long experience had taught him. “An unlearned man is like an unpolished mirror,” he once said to 90 AI.BRECHT DüRER. Melanchthon; and he has left abundant evidence that he spared no pains to keep his brightness untarnished. It was not in his later years alone that he began his theoretical studies. As far back as the year 1500, we may remember that he was interested in this subject when he speaks of the information which he had obtained from a certain Jacopo. The first book which he published was the “Instruction in Mensuration, with compass and rule in lines, planes and solids, compiled by Albrecht Dürer, and printed, with illustrations, for the use of all lovers of art, in the year 1525.’ It consists of a course of lectures in geometry as an appendix to Euclid's Elements. He explains in the preface that those who understand Euclid had no need of “the following written things,” for they are only written for the young and those who had no one to instruct them carefully. Many young painters, he remarks in the dedication, grow up without a knowledge of the art of mensuration, though it is “the true foundation of all painting.” He illustrated this book richly with wood-cuts, for he said, “Anything which you see is more credible than what you hear; but when it is both seen and heard, we comprehend it more perfectly, and it remains with us more durably ; therefore I will construct the work so that people may be able so much the better to keep it in memory.” In it he describes an instrument which he invented for taking portraits by rule, to assist those who were not sure of the accuracy of their drawings. In 1538 a second edition was printed, with additional wood-cuts from Dürer's collection, and several editions of the Latin translation have appeared. In 1527 Dürer appears, like Leonardo, as a writer upon the art of fortification in his book en- titled “Instructions in Fortifying Cities, Castles and Towns.’ It is dedicated to Ferdinand I., from whose grandfather Maximilian he received so many marks of favour. The work is divided into six parts. The first three contain plans for building bastions, the fourth treats of castles, the fifth of forts to command a Pass, the sixth exhibits the method of rendering open towns Secure. The ºğ º W \\$ F- - .N. . . : ; : : ; : *:::... }} }; º'''' .. ºff/fll/f; * ||||||ſillº f £º N. ; ; ; , ; };}} | ; ; ; ; º' ' ' . , N. |'. ( º wº .. z A # s s ; , - t * - - i - !, . • . 2. A - ** = 3 . -- - : º: ; : * , , , : * * # i ! Ali'ſ 'ſ', ' ', , --- ~~~ \\\\\\\\ , - t SN-Sss | f iſ , I' in, e” >~~~~ (///7. Tº 㺠i i a....}{º},…, t • *, - . 223.5', 'W', ---ºut.---, 33 ,114, 22–---- * º • , , \,-\ A. º - É 2%% ±% 2% &W fºr-º- %hºſtſ. '' . . . . . . . .'s YA, - \ 3 ſ -> º 2% ~. % 2. \\ * \ y \tilly....W. ºn vº/*... --> . . . ſu! * . \\ º º º º ' ' 'viriº -- ſº **. \\ |||ſtſ % % fº.º. }*}}11 it iſ \ , |}| ºy. ' }: **ºnſ/Pºluºgº * - * -º-º-º: .- … #3% - - \\ - ~ - 2. ºr * s Y- \ NSº - - ~~2 % 32" . Sy º \ 1 \ \ ||||, . ºmº * . . . . . . &\ &\ \\\\\ º jj - * . . . . ſ - * Lº º º $º *…* % 2. - , ğiºl|| * , , : (, SSS - * - > - s † • . 4. Š Ş. $ S- s s S so - * tº s > sº § Se ~s *> *~. $ S § # ON FORTIFICATION. 91 work is adorned with excellent wood-cuts, among which, on the title-page, appears the arms of King Ferdinand. His theories were by no means universally accepted by his contemporaries, though here and there were found supporters. Some of the fortifications of Strasburg were built according to his instructions, and the celebrated architect, Daniel Specklin, adopted his ideas, and made them the basis of a system of fortifications which has been more or less recognized by all German engineers. A Latin translation of his book by Camerarius appeared in Paris in 1535, a copy of the original in 1603 at Arnheim. In 1823 an edition, with valuable commentary, was published in Berlin, and a splendid book, a translation into French, appeared in Paris in 1870. At the same time he executed the wonderful wood-cut which is sometimes called, without regard to chronology, Dürer's Vienna. It represents a view of a fortified town, which is being besieged, and, apart from its value as a work of art, must be taken with his book as illustrative of his theory. The above are the only two out of 150 books or pamphlets which Camerarius assures us Dürer wrote, and which were fully prepared during his life-time. A work on the art of Fencing has come to light in late years, containing a series of sketches illustrating various attitudes and positions, together with a code of laws to be adopted by those who cultivated the arts of fencing and wrestling. The work of the greatest importance, and the one which had occupied his mind for many years, seems to have been inspired by Pirkheimer, to whom it was dedicated. The title of it runs thus:–“Herein are contained four books of Human Propor- tion, invented and described by Albrecht Dürer of Nürnberg, for the use of all who love this art,” MDXXVIII. The author only lived to see the first book in the press, and the inscription on the manuscript in the Dresden Library, “1523, at Nürnberg, this is Albrecht Dürer's first book, which he himself has made,” is a proof that it was written earlier than 92 ALBRECHT DüRER. the other books; and some of the sketches for it date back even to 1500. The entire work was published after his death, under the editorship of Pirkheimer. Dürer appears to adopt two separate systems in measuring the human body. The one was by division of the whole length of the body into certain fractional parts, the other by a scale of 600 parts, similar to that employed by Leo Battista Alberti, whose manuscript work Dürer is said to have seen in Venice. In the third he altered, according to fixed rules, the measurements which he had obtained from experi- ment; and by increasing or diminishing certain of the propor- tions he obtained ludicrous figures, which were thinner or stouter than they should naturally have been. These alterations he classified and arranged in pairs, great and Small, young and old, fat and thin, and calls these epithets “expressions of dis- tinction.” In the fourth book he treats of the different move- ments of the limbs and of the principles of fore-shortening. Dürer contents himself solely with that which is outwardly manifest, and refrains from entering upon the wonderful con- struction of the limbs and joints, and the arrangements for their motion, because “this is known to those who study anatomy, and I will let them tell about it.” The work which Hogarth alludes to in his ‘Analysis of Beauty' as calculated to puzzle the man who attempts to follow the elaborate rules laid down, is still of value to those who have the patience to read it. That it was appreciated in its day is shown by the numerous editions and translations which appeared. The Latin one by Camerarius (1532–34) is most interesting from the biographical sketch contained in the preface, from which we have made extracts, and which was translated into Italian and Spanish. A French translation appeared in Paris (1557), and Dutch translations in 1622 and 1662, and a curious English version in London (1666) called ‘A. Dürer revived : or a book of Drawing, Washing, or Colouring of Mapps or Prints.’ ON PROPORTION. 93 For some time Dürer had entertained the idea of a large encyclopaedic work, which should be a sort of complete art- educator. The two books which we have mentioned are really fragments of it. The work was to be entitled “Food for Young Painters.’ The materials for it he was collecting in 1512 and 1513, or even earlier, and he proposes to treat of the “propor. tions of man, of the proportions of horses, of the proportions of buildings, of perspective, of light and shade, and of the colours” such as nature employs. In his preface he says, “By the help and grace of God for the use of all little ones, who are willing to learn what they must do, all that which I by my experience have found to be of use to painters,” and so on. Doubtless this was the great scheme which he had in view, and partly completed; and among his papers are numerous notes of sketches for all that he proposed to accomplish. He made careful studies too in the proportions of the horse, as we can judge from the origin of the celebrated Knight, and from Camerarius's preface we learn that Dürer had commenced a treatise upon the subject, but that it was lost through the faith- lessness of certain people, and that he did not care to write it again. Dürer knew well who these people were, but for peace sake he would not proceed against them. The suspected men were Sebald Beham and Andreæ, and evil reports of them became current directly after the master's death. The latter misused the power entrusted to him in the printing of the work; and when it became known that, in conjunction with Beham, he would also publish a work upon “Proportion,” the Rath forbad its publication, “on peril of life and property,” until Dürer's work was completed. Beham accordingly produced only a little work upon the proportions of the horse in 1528, which he judiciously altered so that it should not betray its origin; and also in the treatise, which he published in 1546, upon human proportions he is careful to avoid all the suspicions of Dürer's friends to which he and Andreae had laid themselves open. 94 ALBRECHT I)ÜRER. The greater part of the manuscript of this work is in the British Museum, along with other volumes of Dürer's writings, notes and sketches upon a variety of subjects—writings which are interesting in their relation to his productions. This indeed is the character of all writing from his hand which has come down to us in its disconnected form, all full of that interest which must attach to a figure of such distinct historical import- ance. His life is revealed to us by the flashes of mental and spiritual light which was ever shooting forth in the midst of his labour. His thoughts are rather suggestions for an art system than the system itself; they are springs from an inner fountain, supplied from the source of all that is highest and noblest in man,—gleams of light which flash only upon the soul that is ever turning towards its God. With a profound veneration for the art and wisdom of the ancients, he regrets the period of decline, and hails all the efforts which were made for their revival. “In what honour and dignity this art was held by the Greeks and Romans is satisfactorily proved by ancient writings, although in course of time it was lost and hidden for over a thousand years, and only two hundred years ago again brought to light by the Italians.” These words occur in his dedication of the mensuration book; and again in 1513 he writes, “The great art of painting was held in high respect by the powerful kings of many hundred years ago; for they conferred wealth upon their artists who excelled, and held them in high esteem, for they thought that their wealth of fancy was an endowment common to them and God. For a good painter is within full of forms, and if it were possible that he could live for ever, he would have, from his innermost ideas, of which Plato writes, at all times something new to pour forth through his works.” But it was from nature, that Dürer sought the fountains of the beautiful, and the limits which she set he would have no one overstep. “Let every one take care to make nothing which IDEA OF BEAUTY. 95 is impossible to nature and which she would not endure. If all beauty is enclosed in nature, the greatest difficulty is for human power to recognize it and to reproduce it in a picture, for it is no small art to make different human shapes; the stubborn will of itself entwines itself into our work. To make a beautiful picture, you must not take from one man alone, for no man lives on earth who possesses all that is beautiful; he might always be much more beautiful. Also, there lives no man on earth who can say conclusively what the most beautiful form of human being should be like. No one knows that but God alone;” and later on he adds, “To whom He has manifested it, he will know it.” But Dürer will only allow to exceptional men the power to form an aesthetic judgment, which he in itself regards as a special gift, requiring to be cultivated by reference to the observ- ations of others. “Let no one trust himself too much, for the many see more than one, possible as it may be that for once one man sees more than a thousand; still it rarely occurs.” “One often searches through two or three hundred people, and hardly finds two or three things in them which can be used. Therefore, if you want to make a good picture, you must take from several the head, from others the arms, hands,” and so on. Very early in the sixteenth century Dürer had grasped the true idea of beauty, beyond which it was impossible for him to go; so that in this respect his speculations made no advance, nor could years of reflection present to his mind anything superior. He argues then, that the growth of a nation's art is like its system of laws, which developes as circumstances create necessity for fresh legislation, or as new light dawns upon specially gifted minds. Just as the idea of the good is gradually revealed and matured, So also the conception of the beautiful is not a revelation to a single individual mind, but the result of a succession of re- velations to men endued with energy of Soul, communicated either to many, or, as is rarely the case, apprehended in all its 96 ALBRECHT I)ü RER. perfection by a solitary genius. Such a genius was Dürer himself. Yet with all his delight in speculation, and with his marvellous creative power, the simplicity and freedom both of his thoughts and of his works were constantly increasing during his later years. Melanchthon, in one of his letters to Camerarius, says, that he remembers how conscious Dürer himself was of this. In his youth he says he was fond of a florid style and variety of colour, and found an unfailing pleasure in this diversity ; but in his mature years he recognized that simplicity was the perfection of art. It is curious to compare the perfect harmony of colour and simple greatness of his works when, abandoning theory and imitation, he puts himself into competition with nature, and gives utterance to such thoughts as these : “The life in nature makes known the truth of all these things: therefore gaze upon her intently, and do not deviate from her to follow your own opinion, as if you could imagine that you could find out better for your- self, for you would be misled. For truly art lies in nature; and he who can draw her out obtains her, and once obtained she will move many defects from your works. . . . The more exactly your work is conformable to life, so much the better will it seem. And this is true: therefore never imagine that you can do, or desire to do, something better than what God has given his created being the power to do, for his capacity is powerless against the creative power of God. So it is decreed, that no human being can, of his own imagination, even make a beautiful picture, and so he must fill his mind full of beauty by many an imitation ; and then it is no more called his own, but has become art, which has been mastered and acquired, which sows itself, grows, and brings forth fruit of its kind. Thereupon the collected and secret treasure of the heart becomes manifest through the work, and the new creature which is created in the heart is the form of a thing.” No artist, save only Michelangelo, has given utterance to thoughts more beautiful than these in reference to the power №ſſae ſ.| ||||||||| ==E=E=- 5 Pºz- --> smºs--- --º =-_E=== ------------ | ） %%; |į|||||，}№...）. . . . ： îſiſ• * | } = - ** =ſº * Nº (** ſ >. \\!\， E- sº | | #!!!!! }} |!!!! }¡¡¡¡¡¡Í, ||-|| §§∞‘.“ |||||!į}}}}}##### įjį išķi, įſſíſ;! | №ſiti,ſ:\;i，HUY #ffffffffffffffffffffff; §§$$$$$$$ į §¶√∞ √°.'，، $}} ،№ ſ s ſi:º ： ſſſſſssſsººja?！& ſ[ae] $ }} ¡ī| **- a -º $s：（~~）; Q© ®）■* * §§$$∞ |- s ſvº ſºſ,3 : *º aes， º 'r%; :· · · -%%ºrſzy },,%)2.ø%¿?|×∞ §）， | }} ſae e : �� º sº. ∞ √5…–…）：§）， ±√¶È §§ ... • ***（±Eº）§§ §§ SÈ№ſº-ºsae 22,8% º' ')\\| *';&};ģš Ý， （*Š№ „ŅN”ſini «((((\{§），ſae ſºſ }Ķ.*（?&ae. № N\}","§jºſ G º º-º º-s, ſº ſ & * - e.g. 3.2 ºr ¢ £ € ſae % · · * * * - Sº I ºf t º '...--} （）¿}}\， , ' ' ºžZ ：Œ œ، ،*..* : ！ ！ ! ， , , ,** * ſ ' *: * * * * * … • ~--~ * * · * ,'.*（\（Nſ', v' . º sg） º £ y' .. ' ', , , , g tº ſº, Y ~ J angel S. ch Printed from a ca st driving out the Money “ Little Passion. ” l Chri ginal ** st of the on the I’rom Sété j}\ . ood-block in the British Jſu ‘ū. HI ALB RECHT DüRER. 99 with which he feels himself endowed—a power which he humbly and yet proudly recognizes as something akin to Divine inspiration. His marvellous knowledge of forms was to him a “secret treasure of the heart,” and the figures which he produces in such abundance are “new creatures,” conceived in his own mind, products of a seed divinely sowed, not mere copies of shapes which have been presented to his eye and per- fected by his skill. Hence he goes on to say, that an expert artist does not need to make special studies for each individual picture, “for he can pour out sufficiently what he has been collecting within himself from the outside ; such an one can fashion well in his own works, but very few arrive at such an intelligence.” These words are in perfect harmony with the productions of his later years. While he sees in the work of his art life a reflec- tion of the power of God, which exalts his calling, he discovers in it only grounds for personal humility. He was as dissatisfied with the completeness of his theories as he was with that of his productions, and had always before his mind, and in his dreams, more beautiful pictures than he was ever able to execute. “Ah ! how often,” he exclaims, “do I see in my sleep great art and good things, the like of which do not come to me when awake; for when I awake my remembrance of them is gone.” Still he was not discouraged in his search after truth, though conscious that, with our limited understanding, we can never come to a full knowledge of it ; “if we cannot attain the very best, are we to leave off studying? We will not accept that brutish idea, for men have the bad and the good set before them, and it is becoming to a reasonable being to prefer the better.” As to the future of art, the effort of his life was to contribute what he could, however imperfect, towards its perfection, though conscious of many difficult problems which he was unable to Solve ; still he hopes “that every one will, according to his power, try to make up my deficiencies.” He looked upon H 2. 100 ALBRECHT DURER. himself as in no way at the head of an art-movement, but only as a man who could not refuse to fulfil some great purpose in its development. He was content to be a precious corner-stone in the edifice of German Art, the future grandeur of which he could only foresee ; and little did he dream that the completion of the structure would be delayed, even for centuries, by the great religious and political struggles which Germany was destined to witness, and of which he only lived to see the beginning. It is chiefly in Dürer's engravings that we are able to get an insight into the depths of his character. Perfect in detail and marvellous in execution, each one conveys a lesson often too deep for minds unaccustomed to introspection, unmoved by the questionings and doubts, the hopes and the despair, which afflict a nature dissatisfied with the conditions in which it exists, and striving ever to fathom the surrounding mysteries. Given to melancholy thoughts from his earlier years, and seldom able to divest himself of them, restless in the pursuit of knowledge, his mind was full of the fantastic shapes which appear in the creations of his pencil. Humble and faithful in his search after good, he was rewarded by revelations which he strove to com- municate. The more subtle and diversified his fancies, the more careful is he in giving them expression, lest any fragment should be lost. Hence the strange variety of forms, the wonderful mixture of the sublime and the homely, the real and the imagin- ary, which crowd upon a single picture—legends from those shadowy lands reserved for the visits of genius, relieving the monotonous story of every-day life. d Child. irgin an V. p=y ſ f the year 150 \graving o E; THE PRINCIPAL WORKS OF ALBRECHT DüRER. I. PAINTINGS, BERLIN. Mus. Virgin and Child. (Purchased in 1880 from the Marchese Gino Capponi. “A somewhat poor work, but believed on good authority to be authentic.” “Academy, No. 446.) CAsseſ. Gallery. Portrait of Elizabeth Tucher. ELSPET NICLAS TU- CHERN 26 20t. 1499. Cº.wº Drummer and Piper. (See foot-note on p. 104.) DRESDEN, Gal. Christ on the Cross. 1500. PATER I MANUS TUAS COMMENDO SPIRITU MEU. Christ bearing the Cross, MDXXVII. Portrait of Bernhard von Ressen. 1521. (Painted in Antwerp.) Madonna and sleeping Child in the centre; on the side wings S. Sebastian and S. Anthony. (The wings only are by Dürer.) FLORENCE. Uffizi. Portrait of Albrecht Dürer.' 1498. Portrait of Albrecht Dürer the elder. 1490 (or 1498). (See foot-mote on p. 103.) 1 A similar painting is at Madrid: Waagen is in favour of the Uffizi One being the original; on the other hand, Mündler declares for the Madrid picture. PAINTINGS. 103 FLORENCE. Uffizi. S. Philip. 1516. S. James. 1516. Madonna and Child. 1526. Adoration of the Magi. 1504. (Painted for Frederick the Wise.) Pitti Palace. §ºn. } (See foot-note” on this page.) FRANKForT. Job. (See foot-note on p. 104.) Städel. Portrait of Albrecht Dürer the elder. 1494. ALBRECHT THURER DER ELTER UND ALT 70 Jok. (See foot- note” on this page.) Portrait of Katharine Fürleger. 1497. (Another por- trait of this girl, also by Dürer, was formerly in . the possession of the late Mr. Wynn Jºllis.) Town Gallery. A copy by Paul Juvenel of a triptych—“The Coronation of the Virgin, with ‘The Martyrdom of St. James’ and “The Martyrdom of St. Catharine’ on the wings. ALBERTU DURER FACIEBAT POST VIRGINIS PARTU 1509. (The original, which was painted in 1507-09 for Jakob Heller of Frankfort, was burnt in the old palace of Munich in 1674. It is thought by some critics that the portraits of Jakob Heller and his wife on the wings are the original work of Dürer, and it is presumed that they may have been sawn off the painting before it went to Munich.) ISLEWORTH. Sion Portrait of his father, Albrecht Dürer the elder. House. 1497. ALBRECHT THURER DER ELTER UND ALT 70 JOR." ººu Gal. | Bust portrait of a Senator, 1514. MADRID. Mws. Adam. On the “Eve’ is inscribed ALBERTUs DüRER Eve. ALEMANUs FACIEBAT Post VIRGINIS PARTUM. 1507. Replicas are in the Pitt Palace, Florence, and copies in the Museum at Mainz.” * Similar pictures are in the Uffizi, Florence; the Pinakothek, Munich ; and the Städel, Frankfort. Much discussion has taken place as to which is the original of the four : Passavant is in favour of the Frankfort one, Mrs. Heaton of that of Sion House. - * Passavant thinks that the Madrid pictures are the original, but Mr. J. A. Crowe is decidedly in favour of those in the Pitti Palace. 104 , THE WORKS OF ALB RECHT DURER. MADRID. Mus. Portrait of Albrecht Dürer. (See foot-note on p. 102.) Portrait of a Man. - MILAN. Christ crowned with thorns. 1514. (See Burckhardt's Trivulzi Coll. ‘Cicerone,’ 1879.) MUNICH. The Birth of Christ (2), with S. Eustace (1) on the left Pinakothek. wing, and S. George (3) on the right. (Painted for the church of S. Catharine in Nürnberg. S. George is a portrait of Stepham Baumgårtner: S. Eustace is his brother Lucas. Kugler and Von Eye think that this work belongs to about the same time as ‘The Knight, Death and the Devil,” i. e. 1513; but Mrs. Heaton is of opinion that it is to be ascribed to his “early time, before his visit to Venice.") S. John and S. Peter (71), and S. Paul and S. Mark (76) (sometimes called ‘The Four Temperaments’). (Copies by Georg Gärtner are in the Germanic Museum at Nürnberg.) Lucretia. 1518. - Portrait of Oswald Krell. OswolT KREL. 1499. S. Joachim and S. Joseph. 1523. (Cabinet 7, No. 123.) Portrait of Albrecht Dürer. ALBERTUs DURERUs NorLCUs IPSUM ME PROPRIIS SIC EFFINGEBAM colori- BUS ACTATIS ANNO xxviii. 1500. Simeon and the Mitred Abbot Lazarus." (Cabinet 7, Mo. 127.) Portrait of Albrecht Dürer, the elder. 1494. ALBRECHT THURER DER ELTER UND ALT 70 Jor. (See foot-note on p. 103.) Portrait of Michel Wolgemut. 1516. Portrait of a Young Man. 1500. Rest on the Flight into Egypt. 1524. NAPLEs. Sant' A Woman tying a garland at a Window. 1508. (See Angelo Coll. Burckhardt's ‘Cicerone,’ 1879.) * These formed the interior of the wings of an altar-piece which Dürer painted, probably for a member of the Jabach family at Cöln. The exterior of the wings are the one in the Städel at Frankfort, and the other in the Wallraf-Richartz Museum at Cöln. The centre-piece is lost. NüRNBERG. Germanic Mus. Moritz Kapelle.” PRAGUE. Abbey of Strahow. Gallery. RoME. Borghese. Barberinº. WIENNA. Belvedere. - º PAINTINGS. - 105 Portrait of Hieronymus Holzschuher. 1526." Hercules. Portrait of the Emperor Charlemagne. Portrait of the Emperor Sigismund. The Body of Christ taken down from the Cross and mourned by the holy women and His disciples. (Painted for a member of the Holzschuher family: a copy is in S. Sebald's Church, where the original once hung. Kugler attributes it to the time 1515-18.) Feast of the Rose-garlands. ExEGIT QUINQUE MESTRI SPATIO ALBERTUs DüRER GERMANUs MDVI. (Painted for the Fondaco de' Tedeschi, Venice: contains portraits of Dürer, Pirkheimer, Fugger, Maacimilian I., and Julius II. An old copy is &n the Museum at Lyons.) Madonna with the Iris. Portrait of a Man. 1505. Christ among the Doctors. Portrait of Maximilian I. 1519. (A replica was in the possession of the late Lord Northwick.) The Martyrdom of the ten thousand Saints. ISTE FACIEBAT ANNo Do MINI. 1508. ALBERTUs DüRER ALEMANUs. (Painted for Frederick the Wise : con- tains portraits of Dürer and Pirkheimer. An old copy is in the Schleissheim Gallery.) The Adoration of the Trinity. ALBERTUs DüRER NoFIJCUS FACIEBAT ANNo A VIRGJNJs PARTU. 1511. (Painted for the ‘House of the Twelve Brothers : ’ contains portraits of Dürer and Landauer.) Madonna and Child. 1503. Madonna and Child with the pear. 1512. Portrait of a Man with red hair and a black cap. 1507. Portrait of Johann Kleberger. 1526. Madonna and Child with the lemon. 1520. (By some critics ascribed to Dürer, but Mr. J. A. Crowe says *t “bears a false signature and date, and is by a Fleming imitating Dürer: ” it is registered in the official catalogue as ‘Netherlandish School.”) * The property of the Holzschuher family. * Now used as a picture gallery. J 06 THE WORKS OF ALBRECHT DüRER. II. ENGRAVINGS. Coat of Arms, with Death's Head. 1503. Adam and Eve. 1504. The Nativity, of the year 1504. The Prodigal Son. The Penance of S. Chrysostom. The Penance of S. Jerome. The Family of the Satyr. 1505. The Offer of Love. A Man and Woman struggling. A Prodigious Hog. Justice (also called The Nemesis). The Little Fortune. The Great Horse. 1505. The Little Horse. 1505. - The Passion in Copper. (Never published in book form.) (i) The Man of Sorrows. 1509. (ii) Christ on the Mount of Olives. 1508. (iii) The Betrayal. 1510. 7 150S. (iv) Christ before Caiaphas. 1512. (v) Christ before Pilate. 1512. (vi) Christ Scourged. 1512. (vii) Christ Mocked. 1512. (viii) Ecce Homo. 1512. (ix) Pilate washing his Hands. 1512. (x) Christ bearing the Cross. 1512. (xi) The Crucifixion. 1511. (xii) The Descent into Hell. 1512. (xiii) Christ taken down from the Cross. 1507. (xiv) The Entombment. 1512. (xv) The Resurrection. 1512. (xvi) Peter and John healing the lame man. 1513. S. George. 1508. Christ with Bound Hands. 1512. (Dry point.) S. Jerome. 1512. (Dry point.) The Holy Family, with Joseph and three other figures. (Dry point.) S. Weronica. 1510. (Etching.) A Man bearing off a Naked Woman on a Unicorn. (Etching.) ENGRAVINGS. 107 Christ Seated, Crowned with Thorns. 1515. (Etching.) Christ on the Mount of Olives. 1515. (Etching.) An Angel bearing the Sudarium. (Etching.) The Great Cannon. (Etching.) Study of some Naked Figures. (Etching.) The Little Crucifixion. - The Small St. Jerome. (Round.) The Knight, Death and the Devil (or The Horse of Death, or The Christian Knight). 1513. S. Jerome in his Chamber. 1514. Melencolia. 1514. The Virgin as Queen of Heaven. 1514. The Virgin as Earthly Mother (or, The Virgin by the Wall). 1514. S. Paul. 1514. S. Thomas. 1514. A Dancing Boor and his Wife. 1514. The Bagpipe Player. 1514. S. Eustachius (frequently called S. Hubertus). The Great Fortune (“probably the one called by Dürer, The Nemesis”). The Coat of Arms with the Cock. The Virgin on the Half Moon, with Crown and Sceptre. 1516. The Virgin Crowned by Two Angels. 1518. The Virgin Suckling the Child. 1519. S. Anthony. 1519. The Virgin Crowned by One Angel. 1520. - The Virgin with the Child in Swaddling Clothes. 1520. S. Christopher. J521. S. Bartholomew. 1523. S. Simon. 1523. S. Philip. 1526. Doubtful. (Perhaps by Wolgemut.) The Four Naked Women (or “The Four Witches”). 1497. Amymone (or “The Sea-Rider”). The Dream of Love. The Promenade (or Knight and Lady). The Great Hercules (or Jealousy). The Virgin with the Monkey. The Lady on Horseback (or the Little Amazon). 108. THE WORKS OF AL BRECHT DüRER. III. WOOD-CUTS. The Apocalypse. (The first and second editions appeared in 1498, the third in 1511.) (i) The attempted Martyrdom of S. John. (ii) The Vision of the Seven Golden Candlesticks. 1 ) (iv) The Opening of the First Four Seals. (The Four Riders.) (v) The Opening of the Fifth and Sixth Seals. Martyrs clothed in white. (vi) The Four Angels holding the Four Winds, and the Sealing of the Elect on their Foreheads. (vii) The Elect with Palm-branches glorify the Lamb. (viii) The Sounding of the Trumpets. (ix) The Four Angels of the Great River Euphrates killing the third part of Men. (x) The Angel with the column Feet. (xi) The Woman clothed with the Sun. (xii) Michael and his Angels fighting the Great Dragon. (xiii) The Worshipping of the Dragon. (xiv) The Babylonian Woman. xv.) The Binding of Satan for a thousand years. (xvi) The Vision of the Virgin to S. John. (Added as a vignette on the title-page of the third edition.) The Life of the Virgin. (The first edition appeared in 1511, the later editions are without teact.) (i) The High Priest refusing the Offering of Joachim in the Temple. (ii) The Angel appearing to Joachim in the Wilderness. (iii) Joachim embraces Anna at the Golden Gate. (iv) The Birth of the Virgin. (v) The Purification. (vi) The Betrothal of the Virgin. ( (vii) The Annunciation. (viii) The Visitation. (ix) The Nativity. (x) The Adoration of the Kings. (xi) The Circumcision of Christ. (xii) The Purification in the Temple. (xiii) The Flight into Egypt. (xiv) The Repose in Egypt. (xv) Christ found by his Parents disputing with the Doctors. (xvi) Christ taking leave of his Mother. (xvii) The Death of the Virgin. 1510. (xviii) The Assumption of the Virgin. WOOD- CUTS. 109 (xix) The Virgin and Child adored by Saints and Angels. (xx) The Virgin on the Crescent Moon. (Vignette on the title-page.) The Great Passion. (Published first in book form in 1511.) (i) The Last Supper. (ii) Christ on the Mount of Olives. (iii) The Betrayal of Christ. (iv) The Scourging of Christ. (v) Christ Mocked, (vi) Christ bearing the Cross. (vii) The Crucifixion. (viii) The Descent into Hell. (ix) The Body of Christ mourned over by the Virgin and the Holy Women. (x) Christ laid in the Grave. (xi) The Resurrection. (xii) Christ Mocked. (Vignette on the title-page.) The Little Passion. (The first two editions appeared in 1511, in Nürnberg ; a third in 1612, in Venice ; and a fourth in 1844, in London ; and a fifth–imperfect, and from casts—in 1856. (i) Adam and Eve in Paradise. (ii) The Expulsion from Paradise. (iii) The Annunciation. l (v) The Entry into Jerusalem. (vi) Christ driving the Money-changers out of the Temple. (vii) Christ taking leave of His Mother. (viii) The Last Supper, (ix) The Washing of the Feet. x) The Prayer on the Mount of Olives. (xi) The Kiss of Judas. (xii) Christ before Annas. (xiii) Caiaphas rends his Clothes. (xiv) Christ Mocked. (xv) Christ before Pilate. (xvi) Christ before Herod. (xvii) The Scourging. (xviii) The Crowning with Thorns. (xix) Christ shown to the People. (xx) Pilate washing his Hands. (xxi) Christ bearing the Cross. (xxii) The Veronica. - (xxiii) Nailing Christ to the Cross. (xxiv) The Crucifixion. (XXV) Descent into Hell. &- : : tº ; : : º * p : : : 110 THF WORKS OF ALBRECHT DüRER. (xxvi) Descent from the Cross. (xxvii) The Weeping of the Maries, (xxviii) The Entombment. (xxix) The Resurrection. (xxx) Christ in Glory appearing to his Mother. (xxxi) Christ appears to the Magdalen. (xxxii) Christ at Emmaus. - (xxxiii) The Incredulity of St. Thomas. (xxxiv) The Ascension. (xxxv) The Descent of the Holy Ghost. (xxxvi) The Last Judgment. (xxxvii) Christ Seated, with a Crown of Thorns on His Head (on the title). Samson killing the Lion. The Beheading of S. John the Baptist. 1510. Death and the Soldier. 1510. The Trinity. 1511. S. Christopher. 1511. The Mass of S. Gregory. 1511. S. Jerome in his Chamber. 1511. S. Francis receiving the Stigmata. The Holy Family with Three Hares. The Holy Family with the Guitar. 1511. The Virgin Crowned by two Angels. 1518. - Salome giving the Head of the Baptist to Herodias. I511. The Adoration of the Kings. 1511. The Bath. The Rhinoceros. 1515. The Great Head of Christ. Coat of Arms. 1523. The Triumphal Arch of Maximilian. 1512–1515. (Composed of ninety- two separate blocks, which, when put together, form one cut 2ft 6in. high by 9.ft. wide. The complete design was first published in Vienna in 1559.) The Triumphal Car of Maximilian. (Composed of eight blocks, forming one cut 7ft. 6% m. long by 1ſt. 6in. high. The first edition appeared Žn 1522, the second in 1523.) Maximilian's Prayer-Book. (Drawings.) The Great Column. 1517. The Eight Patron Saints of Austria. The Apotheosis of the Emperor Maximilian. Portrait of Maximilian. S. Christopher. 1525. 1 11 BIBLIOGRAPHY. IMPORTANT MOTDERN WORKS. HELLER, JOSEPH. Das Leben und die Werke Albrecht Dürer's. Vol. ii. only “ Die Werke.” Bamberg, 1827 and 1831. EYE, DR. A. voN. Leben und Wirken Albrecht Dürers. Nördlingen, 1860 and 1869. SCOTT, WILLIAM B. Albert Dürer: his Life and Works, including Autobiographical Papers and complete Catalogues. London, 1869. SCHMIDT, DR. WILHELM. Albrecht Dürer. In the “ Kunst und Künstler des Mittelalters und der Neuzeit.” Edited by Dr. Robert Dohme. Leipzig, 1875, THAUSING, MORITZ. Dürer. Geschichte seines Lebens und seiner Kunst. Leipzig, 1876. HEATON, MRS. CHARLES. The Life of Albrecht Dürer of Nürnberg, with a translation of his Letters and Journal, and an account of his works. Second Edition. London, 1881. 1471 1486 1490 1492 1494 1494 1502 1505 1507 I507 1509 1514 1518 1520 1521 1528 112 CHRONOLOGY OF DüRER. Born at Nürnberg, May 21st Apprenticed to Wolgemut ... Started on his Wanderschaft Went to Colmar • * * - - - Returned from his Wanderschaft Married Agnes Frey, July 14th ... His Father died, September 20th Went to Venice Visited Bologna Left Venice ... * * * - Purchased a house in Nürnberg ... His Mother died, May 17th Visited Augsburg ... tº º ºs - - - * * * Set out for the Netherlands, July 12th ... Went through Bamberg, Frankfort and Mainz Arrived at Antwerp - - - Went to Brussels, August 20th Returned to Antwerp, September 2nd Visited Aachen Went to Cöln ... Obtained his Confirmatia Again in Antwerp ... • * * Nearly shipwrecked at Armuijden In Antwerp, Bruges and Ghent Returned to Antwerp ... Went to Mechlin Went to Brussels - - - a s is * - - Left Brussels to return to Nürnberg, July 12th Died at Nürnberg, April 6th Page | 1 13 13 13 ... 17 38 38 54 58 ^ - 3-2. IND EX. Alberti, L. B. Alexander VI. Andreae 55, 56, 69, 81, Baldung ... is a g 21, Balier, Heinrich der * & © Barbari, Jacopo de' ... 15, Baumgårtner 22, Beham, B. & © tº Beham, H. S. 81, Bellini, G. 14, Bombelli 64, Brandan tº e Celtes tº g e g s Charles W. 60, Christ, Dürer's representation of Camerarius 80, 89, Drawings— Christ bearing the Cross Fenedier Klawsen ... Great Passion & & gº º ºs Head of the Dead Saviour ... Insprug, View of (Albertina) Lion # º ºs * * * e - ſº Madonna. 1485. ... * * * Portrait of Aqmes Fre tºº ſ * > º Portrait of Agnes Frey (Bremen) e & e * e s Portrait o Aq mes Fr (1503)... of º º Portrait of Albrecht Dürer (Albertina) s tº º * º º Portrait of Albrecht Dürer (Bremen) * D 92 24 93 89 3 30 77 81 93 37 66 69 29 66 53 96 Drawings— Portrait of Andreas Dürer ... Portrait of his Mother 25 , Maari milian 25 , Pirkheimer • 3 ., Wolgemut * & gº Prayer-book of Macimilian Pupilla Augusta ... * * e Trient, View of (Bremen) ... 55 , (Malcolm Coll.) Vision, Dürer's tº $ tº Welsch Schloss Woman with Falcon Dürer, Albrecht, the elder ,, Albrecht. logy, p. 112.) Dürer, Andreas 9, , Barbara - - - ... 7 , Hans 8, 9, (See Chrono- Ebner Eck • * Engravings— A dam and Eve Apollo Copper-Passion Degenknopf Great Horse Rºnight, Death and the Devi'i 5, . 59 Large Cardinal Little Cardinal Little Horse Melen.colia º, tº e Portrait of Erasmus s & tº S. Eustachius (S. Hubertus) S. Jerome in the Cell Satyr Family Erasmus 75, 68, Ši, I 75, 9 S 58 14 14 S 1 15 } 1 4, 5, 7 10 , 8 10 65 7S 3 | 29 4S 50 31 77 59 31 76 S2 31 76 31 89 114 INDEX. Etchings (dry point) 49 || Melanchthon 18, 19, 80,81, 82, 89,96 32 (on iron) 49 || Memling ... * - - ... 70 Eyck, Jan van 70 || Michelangelo's Madonna of Bruges ... * - - ... 70 Fencing, Book on 91 Food for Yº. Painters 93 Neudörfer. * = - a se - 84 Francisco of Portugal ... 69 | Nützel's wife * = - ... 69 Frey, Agnes 17, 18, 19 Hans ... 17 - 22 * ., Sebald ; Osiander ... * * - ... 81 Fugger 63 Paintings— Goes. Hugo van der 7() Adam and Eve ... ... 39 8." go van (le t : Adoration of the Magi ... 31 Adoration of the Trinity ... 42 - re Baumgårtner Altar-piece ... 22 Haller - - a - - - 65 Calumny, Design for ... 60 Heller, Jakob 40, 41, 63 Christ leaving the Tomb ... 46 Hesse - - - - - - ... S{: Christ on the Cross ... 37 XHieronymus, the architect 36 Coronation of the Virgin ... 41 Holboin - ... 2 Dresden Altar-piece ... 20 Holper ... 4, 5 Feast of Rose Garlands ... 36 Horebout ... * * * ... 71 Four Apostles 44, S3 Human Proportion, Book on 91, 92 ſº 70 t * 85 Yly... r. 7. * S . n; 7 U// Hutten, Ulrich von 80, 81 Symphalian /širds ... 23 e - - Holy Women wailing over the Imhof, Wilibald 22 Dead Christ ... ... 46 Imhof's wife - - - 69 Jesus (on parchment) ... 14 Instruction in Fortification Q() Jesus among the Doctors ... 36 Instruction in Mensuration 90 Iucret? at ... . . . . ... 58 Jſadonna (Uffizi) ... ... 83 c Jſadonna with the Iris ... 41 T - "t ºt p <) 4. Journal of Netherlands trip 62 Madonna noith the Pear ... 43 Jſadonna (Vienna) ... 31 Koburger ... 2, 5, 51 Martyrdom of the 10,000 INTafft ... 3, 5 Saints ... e - e. ... 40 Kratzer 's () Portrait of Cardinal Albrecht 59 Kulmbach ... 2] Portrait of Charlemagne ... 54 Portrait of the Elector Fred- Landauer ... - - - 42 erick.... - - r ... 80 Letters from Venice 38 Portrait of Eoban Hesse ... 83 Levden. Lucas van 7] Portrait of Albrecht Dürer, eyden, * - SO the elder (Uffizi) ... 6 Link '-º's sº Portrait of Albrecht Dürer, Löffelholz's wife – o – º the elder (Sion House) ... 6 Iuther 8, 79, 89 Portrait of Albrecht Dürer * pº (Madrid) * - & ... 23 Marcantonio - - - 35, 51 Portrait of Allrecht Dürer Margaret, Archduchess 30, 65, 71 (on parchment) ... 14 Maximilian 24, 54, 55, 60 Portrait of Albrecht Dürer Medallions attributed to Dürer 45 (1493) . . . ... 16 INDEX. Paintings— Sculpture— , s tº Portrait of Albrecht Dürer Female Figure (in silver) . (sent to Raphael) ... 52 Life of John the Baptist (in Portrait of Albrecht Dürer hone stone), ..... . . ... (Munich) * * ſº ... 52 Seven Falls of Christ (in sil- Portrait of Holzschuher ... 83 . . . ver) ... * - ſº & º & , , Kleberger ... 83 Sickingen, Frau , , Kre! ... ... 23 Signature on works ... ,, ..., \ſussel ... ... Sº | Spalatin , , Maasimilian ... 59 Specklin tº a º , , Melanchthon ... $2 Spengler 74, , , Patenir ... 71 Spengler's wife ,, , Pirkheimer ... 80 S fabiuS , ,, Von Ressen ... 69 Stech ,, , Sigismund . ... 54 §: e. it ; , ... Wolgemut 12, § sº wife S. Vitus Altar-piece ... 21 S Dürer's maid Salvator Mundi, ... ... ... ... 31 usanna (Dürer's maid) Samson slaying the Philistines 46 Tscherte 1S, Papst-Esel of Wolgemut ... 24 Vº Patenir ... # * * ... 71 yº & a e Pencz s & & & e - ... 81 & e Philip of Burgundy ... ... 30 | Vitruvius ... Pirkheimer 3, 4, 18, 19, 20, 29, 52, w the monogram - 69, 74, 81, 89 w.r.l. &º Plankfelt * * * & a tº ... 63 Werthaimer * * * Proost * * * e s tº ... 70 Weyden, Roger van der * * * Wolgemut 5, 11, 12, Raphael ... ... 51, 52, 66 Woodcuts— * Ravensburger * e a . 6S Apocalypse 23, 25–29, 33, Reuchlin e. * * * ... 78 Babylonian. PWojna, - - - Rhymes by Dürer ... ... 51 %; #.; * * * º Roting gº tº e e s g ... 80 Life of the Pirgin 21, 33–35, 5 Little Passion Schäufelein * * * ... 21 #. Varenbüler sº & º º is * * * * * * _5 Sancta Justitia g Scheurl . ... ... 13, 14, 38, 77 Trinity . tº Schiltkrot ... # * * ... 42 Triumph of Marimilian Schongauer • * ... 12 Triumphal Arch ... Schonhofer * * * ... 3 33 Car Schweigger . . . ... 45 Vienna THE END. t LONDON : R. 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