CHAPTER V.

GERMAN ART--ALBRECHT DÜRER, 1471-1528.

Albrecht Dürer carries us to a different country and a different race. And he who has been called the father of German painting is thoroughly German, not only in his Saxon honesty, sedateness, and strength, but in the curious mixture of simplicity, subtlety, homeliness, and fantasticalness, which are still found side by side in German genius.

Albrecht Dürer was born at that fittest birth-place for the great German painter, quaint old Nuremberg, in 1471. He was the son of a goldsmith, and one of a family of eighteen children; a home school in which he may have learnt early the noble, manly lessons of self-denial and endurance, which he practised long and well. He was trained to his father's trade until the lad's bent became so unmistakable that he was wisely transferred to the studio of a painter to serve his apprenticeship to art.

When the Nuremberg apprenticeship was completed, Albrecht followed the German custom, very valuable to him, of serving another and a 'wandering apprenticeship,' which carried him betimes through Germany, the Netherlands, and Italy, painting and studying as he went. He painted his own portrait about this time, showing himself a comely, pleasant, and pleased young fellow, in a curious holiday suit of plaited low-bodied shirt, jerkin, and mantle across the shoulder, with a profusion of long fair curls, of which he was said to have been vain, arranged elaborately on each side, the blue eyes looking with frank confidence out of the blonde face. He painted himself a little later with the brave kindly face grown mature, and the wisdom of the spirit shining in the eyes, and weighing on the brows.

On his return from his travels, Albrecht Dürer's father arranged his son's marriage with the daughter of a musician in Nuremberg. The inducement to the marriage seems to have been, on the father's part, the dowry, and on the son's the beauty of the bride. How unhappy the union proved, without any fault of Albrecht's, has been the theme of so many stories, that I am half inclined to think that some of us must be more familiar with Albrecht Dürer's wedded life than with any other part of his history. It seems to me, that there is considerable exaggeration in these stories, for granted that Agnes Dürer was a shrew and a miser, was Albrecht Dürer the man to be entirely, or greatly, at such a woman's mercy? Taking matters at their worst, dishonour and disgrace did not come near the great painter. He was esteemed, as he deserved to be; he had a true friend in his comrade Pirkheimer; he had his art; he had the peace of a good conscience; he had the highest of all consolations in his faith in Heaven. Certainly it is not from Albrecht himself that the tale of his domestic wretchedness has come. He was as manfully patient and silent as one might have expected in a man upright, firm, and self-reliant as he was tender. I do not think it is good for men, and especially for women, to indulge in egotistical sentimentality, and to believe that such a woman as Agnes Dürer could utterly thwart and wreck the life of a man like Albrecht. It is not true to life, in the first place; and it is dishonouring to the man, in the second; for although, doubtless, there are men who are driven to destruction or heart-broken by even the follies of women, these men have not the stout hearts, the loyal spirits, the manly mould of Albrecht Dürer.

But making every allowance for the high colours with which a tale that has grown stale is apt to be daubed, I am forced to admit the inference that a mean, sordid, contentious woman probably did as much as was in her power to harass and fret one of the best men in Germany, or in the world. Luckily for himself, Albrecht was a severe student, had much engrossing work which carried him abroad, and travelled once at least far away from the harassing and galling home discipline. For anything further, I believe that Albrecht loved his greedy, scolding wife, whose fair face he painted frequently in his pictures, and whom he left at last well and carefully provided for, as he bore with her to the end.

In 1506 Albrecht Dürer re-visited Italy alone, making a stay of eight months in Venice, where he formed his friendship with the old Gian Bellini, and where Albrecht had the misfortune to show the proofs and plans of his engravings to the Italian engraver, Raimondi, who engraved Raphael's paintings, and who proved himself base enough to steal and make use of Albrecht Dürer's designs to the German's serious loss and inconvenience.

A little later Albrecht Dürer, accompanied by his wife, visited the Netherlands. The Emperor Maximilian treated the painter with great favour, and a legend survives of their relations:--Dürer was painting so large a subject that he required steps to reach it. The Emperor, who was present, required a nobleman of his suite to steady the steps for the painter, an employment which the nobleman declined as unworthy of his rank, when the Emperor himself stepped forward and supplied the necessary aid, remarking, 'Sir, understand that I can make Albrecht a noble like and above you' (Maximilian had just raised Albrecht Dürer to the rank of noble of the empire), 'but neither I nor any one else can make an artist like him.' We may compare this story with a similar and later story of Holbein and Henry VIII., and with another earlier story, having a slight variation, of Titian and Charles V. The universality of the story shakes one's belief in its individual application, but at least the legend, with different names, remains as an indication of popular homage to genius.

While executing a large amount of work for the great towns and sovereign princes of Germany, some of whom were said to consult the painter on their military operations, relying on his knowledge of mathematics, and his being able to apply it to military engineering and fortification, Albrecht Dürer was constantly improving and advancing in his art, laying down his prejudices, and acquiring fresh ideas, as well as fresh information, according to the slow but sure process of the true German mind, till his last work was incomparably his best.

Germany was then in the terrible throes of the Reformation, and Albrecht Dürer, who has left us the portraits of several of the great Reformers, is believed to have been no uninterested spectator of the struggle, and to have held, like his fellow-painter, Lucas Cranach--though in Albrecht Dürer's case the change was never openly professed--the doctrines of the Reformation.

There is a portrait of Albrecht Dürer, painted by himself, in his later years. (By the way, Albrecht was not averse to painting his own portrait as well as that of his friend Pirkheimer, and of making the fullest claim to his work by introducing into his religious and historical pictures his own figure holding a flag or tablet, inscribed with his name in the quiet self-assertion of a man who was neither ashamed of himself, nor of anything he did.) In that last portrait, Albrecht is a thoughtful, care-worn man, with his fair locks shorn. Some will attribute the change to Agnes Dürer, but I imagine it proceeds simply from the noble scars of work and time; and that when Albrecht Dürer died in his fifty-seventh year, if it were in sourness and bitterness of spirit, as some of his biographers have stated, that sourness and bitterness were quite as much owing to the grievous troubles of his time and country, which so large-minded a man was sure to lay to heart, as to any domestic trouble. Albrecht Dürer was greatly beloved by his own city of Nuremberg, where his memory continues to be cherished. His quaint house still stands, and his tomb bears the motto 'Emigravit,'

'For the great painter never dies.'

Albrecht Dürer's name ranks with the names of the first painters of any time or country, though his work as a painter was, as in the case of William Hogarth, subservient to his work as an engraver. With the knowledge of a later generation to that of the earliest Italian and Flemish painters, Albrecht Dürer had much of their singleness of purpose, assiduity of application, and profound feeling. He had to labour against a tendency to uncouthness in stiff lines and angular figures; to petty elaboration of details; and to that grotesqueness which, while it suited in some respects his allegorical engravings, marred his historical paintings, so that he was known to regret the wasted fantastic crowding and confusion of his earlier work. From the Italians and Flemings he learnt simplicity, and a more correct sense of material beauty. The purity, truth, and depth of the man's spirit, from which ideal beauty proceeds, no man could add to.

Among Albrecht Dürer's greatest paintings are his 'Adoration of the Trinity' at Vienna, his 'Adam and Eve' at Florence, and that last picture of 'The Apostles,' presented by Albrecht Dürer to his native city, 'in remembrance of his career as an artist, and at the same time as conveying to his fellow-citizens an earnest and lasting exhortation suited to that stormy period.' The prominence given to the Bible in the picture, points to it as the last appeal in the great spiritual struggle. With regard to this noble masterly picture, Kugler has written, 'Well might the artist now close his eyes. He had in this picture attained the summit of art; here he stands side by side with the greatest masters known in history.'

But I prefer to say something of Albrecht Dürer's engravings, which are more characteristic of him and far more widely known than his paintings; and to speak first of those two wonderful and beautiful allegories, 'Knight, Death, and the Devil,' and 'Melancolia.' In the first, which is an embodiment of weird German romance as well as of high Christian faith, the solitary Knight, with his furrowed face and battered armour, rides steadfastly on through the dark glen, unmoved by his grisly companions, skeleton Death on the lame horse, and the foul Fiend in person. Contrast this sketch and its thoughtful touching meaning with the hollow ghastliness of Holbein's 'Dance of Death.'

In 'Melancolia' a grand winged woman sits absorbed in sorrowful thought, while surrounded by all the appliances of philosophy, science, art, mechanics, all the discoveries made before and in Albrecht Dürer's day, in the book, the chart, the lever, the crystal, the crucible, the plane, the hammer. The intention of this picture has been disputed, but the best explanation of it is that which regards the woman as pondering on the humanly unsolved and insoluble mystery of the sin and sorrow of life.

In three large series of woodcuts, known as the Greater and the Lesser Passion of the Lord, and the Life of the Virgin, and taken partly from sacred history and partly from tradition, Albrecht Dürer exceeded himself in true beauty, simple majesty, and pathos. Photographs have spread widely these fine woodcuts, and there is, at least, one which I think my readers may have seen, 'The Bearing of the Cross,' in which the blessed Saviour sinks under his burden. In the series of the Life of the Virgin there is a 'Repose in Egypt,' which has a naïve homeliness in its grace and serenity. The woodcut represents a courtyard with a dwelling built in the ruins of an ancient palace. The Virgin sits spinning with a distaff and spindle beside the Holy Child's cradle, by which beautiful angels worship. Joseph is busy at his carpenter's work, and a number of little angels, in merry sport, assist him with his labours.[17]

I shall mention only one more work of Albrecht Dürer's, that which is known as the Emperor Maximilian's Prayer Book. This is pen-and-ink sketches for the borders of a book (as the old missals were illuminated), which are now preserved in the Royal Library, Munich. In these little drawings the fancy of the great artist held high revel, by no means confining itself to serious subjects, such as apostles, monks, or even men in armour, but indulging in the most whimsical vagaries, with regard to little German old women, imps, piping squirrels, with cocks and hens hurrying to listen to the melody.