1526 Viventis potvit dvrerivs ora philippi Mentem non potvit pingere doctamanvsADMELANCTHON
The Nurembergers have long taken pride in thequaint appearance of their city, so that many of the newer houses are built in the old style with their gables to the street. As we note the patriotic spirit of the people and recount the beauties of the old city, we feel that Durer was warranted “in the deep love and affection that I have borne that venerable city, my fatherland,” as he expressed it.
ERASMUS
As to the time when Durer came into the world, it was truly a wonderful age in which to live! Less than twenty-five years after his birth, Columbus found a vast new world. People were already much agitated over theevil practices in the old established church. Durer knew and loved Luther and Melancthon but he was quite as much attached to the scholarly Erasmus, who wished not to break away from the old church, but merely to correct its abuses. In short Durer belonged to the Conservative class which found it possible to accept the food in the new doctrines and retain the pure from the old without revolution. Such were the citizens of Nuremberg and thus did the ancient city as easily accept the new doctrines as she did the morning sunshine pouring in at her storied windows. Thus, too, were preserved theancient buildings and institutions, which, through the wisdom of her citizens, were not called upon to withstand sieges and other military attacks.
Durer was above everything a true representative of the German people, and so we ought to take note of some of the qualities of the German mind. As Goethe, their greatest poet, says, one of their strongest characteristics is that of wishing to learn and to do rather than to enjoy. The Germans love truth and they do not stop short in their imaginings when they wish to drive it home. So in German art, the toiling man or woman is often accompanied by angels and demons, the equal of which were never pictured by any other people. The greatest extremes of beauty and ugliness have these people given in their art. In either extreme, however, thoughts on the deepest questions of human life are at the foundation.
DOORWAY IN ST. SEBALD’S CHURCH, NUREMBERGAnd above cathedral doorways saints and bishops carved in stone,By a former age commissioned as apostles to our own.—Longfellow
On a summer’s day in 1455, there wandered into the far-famed city of Nuremberg a young goldsmith from Hungary. The ramparts of the city with their towers and gateways, the splendid buildings enclosed, were like miracles to the youth. It was a fête day in celebration of the marriage of the son of a prominent citizen, Pirkheimer by name. Albrecht Durer, for that was the youth’s name, long studied the gay throng, little thinking how in the future the name of his son and that ofthe bridegroom there would together be known to fame, the one as the greatest artist, the other as the most learned man of Nuremberg. The wandering youth was the father of our artist and the bridegroom was the father of Wilibald Pirkheimer, Durer’s life long friend and companion.
The young goldsmith loved the city at once and, encouraged by the business activity of the place, he made it his permanent abode. He found employment with Hieronymus Holper, and soon married his master’s comely daughter, Barbara. They resided in a little house which was a sort of appendage to the great house of Pirkheimer. A few months after a much longed for son came to bless the Pirkheimers, a little boy was born in the goldsmith’s house whom they named, for his father, Albrecht Durer. As the years went by, seventeen other children came to the Durer home. Three only of all these children grew to maturity.
With such a family to support we can easily imagine that the father’s life was a hard one. He was a pious and industrious man whom his illustrious son never tires of praising. In one place he says of him, “He had a great reputation with many who knew him, for he led an honorable Christian life, was a patient man, gentle, in peace with everyone and always thankful to God. He had no desire for worldly pleasures, was of fewwords, did not go into society and was a God-fearing man. Thus my dear father was most anxious to bring up his children to honor God. His highest wish was that his children should be pleasing to God and man; therefore he used to tell us every day that we should love God and be true to our neighbors.”
Durer sorrowed deeply when his father died in 1502. On his death-bed he commended the mother to her son. Durer was faithful to his trust and cared tenderly for his mother until her death, several years later. Never did boy or man more faithfully keep the command, “Honor thy father and mother,” than did our artist.
For many reasons Albrecht seemed to be his father’s favorite child. We find him, in spite of numerous other cares, taking great pains with the boy’s education. He taught him to read and write well and must have given him instruction in Latin. These were years when thirst for learning was abroad in the land. Free Latin schools were established to meet the needs. Durer’s father was filled with this spirit and he communicated it to his son.
DORMER WINDOW IN THE BISHOP’S HOUSE, NUREMBERGOn the square the oriel window, where in old heroic days,Sat the poet Melchoir singing Kaiser Maximilian’s praise.—Longfellow
As was customary at the time, the son was trained to follow his father’s trade and so he learned the goldsmith’s art in his father’s shop. It is said that in his tender years he engraved, on silver, events from Christ’s passage to Calvary. Albrecht’s drawing was superior tothat usually done in a goldsmith’s shop. In his free hours he drew to entertain his companions. After a while he began to feel that he might paint pictures instead of merely drawing designs for metal work. He loved the work and so had the courage to tell his father of his wish to become a painter. The elder Durer was patient with the boy, regretting only that he had lost so much time learning the goldsmith’s trade. Albrecht, then only sixteen, was surely young enough to begin his life work! His father put him to study with Wolgemut, the foremost painter of the city, which is not high praise, for the art of painting was then new in the prosperous city of the Pegnitz. Wolgemut was, however, a good engraver on wood and so perhaps was able to direct the young apprentice in quite as valuable a line as painting.
Here Durer remained for three years, until 1490. He was now but nineteen, full of hope and perhaps conscious, to a certain extent, that his was no ordinary skill of hand. He was now ready, according to the custom of his countrymen, for his “wanderschaft” or journeyman period, when he should complete his art education by going abroad to other towns to see their ways and thus improve his own method. For four years he traveled among neighboring towns. The evidence is strong that the last year was spent in Venice. We have little certain knowledge of where he spentthese years but we feel quite sure that one of the places he visited was Colmar, where he became acquainted with the artist, Martin Schougauer.
He was called home rather suddenly in 1494 by his father, who had arranged what he thought was an acceptable marriage for his son. A short time before Durer had sent his father a portrait of himself in which he figured as a remarkably handsome and well-dressed young man. It is supposed that the father sent for this portrait to help him along in his arrangements for the marriage of his son. However Albrecht may have felt about the matter of making his marriage merely a business affair, he never expressed himself, but was married shortly after his return to Nuremberg.
ST. JOHN AND ST. PETERDurer
ST. MARK AND ST. PAULDurer
Agnes Frey, the woman selected by Durer’s father, was a handsome woman of good family with a small fortune of her own. She has come down to us with a most unenviable record as a scold who made life almost unendurable for her husband. It is now quite certain, however, that for all these years she has been grossly misrepresented, simply because her husband’s friend Pirkheimer, for small reason, became offended with her. It seems that in his lifetime Durer, who had collected many curious and valuable things, had gathered together some remarkably fine stag-horns. One pair of these especially pleased Pirkheimer.The widow, without knowing Pirkheimer’s desire for these, sold them for a small sum and thus brought upon herself the anger of her husband’s choleric friend, who wrote a most unkind letter concerning her which has been quoted from that day to this to show how Albrecht Durer suffered in his home. The truth seems really to be that Agnes Durer was as sweet-tempered as the average woman, fond of her husband and a good housekeeper.
The earlier works of Durer are largely wood-cuts, the art which more than any other was the artist’s very own. The discussions of the times regarding religious matters made a demand for books even at great cost. It was a time when written and spoken words held people’s attention, but when, in addition, the text was illustrated by strong pictures the power and reach of the books were increased ten-fold. A place thus seemed waiting for Albrecht Durer, the master wood-engraver.
His first great series was theApocalypse—pictures to illustrate the book of Revelations. Such a subject gave Durer ample scope for the use of his imagination. Then came the story of Christ’s agony twice engraved in small and large size. These were followed by still another series illustrating the life of Mary. This series was especially popular, for it glorified family life—the family life of the Germans, so worthy, so respected.To be sure, Mary is represented as a German woman tending a dear German child. The kings who come to adore could be found any day on the streets of Nuremberg. The castles and churches that figure in the backgrounds are those of mediæval and renaissance Germany. But this was Durer’s method of truth speaking and it appealed strongly to the people of his time as it must to us of to-day.
In 1506, when the last series was not quite completed, Durer went to Venice, perhaps to look after the sale of some of his prints, but more likely because the artist wished to work in the sunshine and art atmosphere of the island city. While away he wrote regularly to his friend Pirkheimer. His letters are exceedingly interesting, as we learn from them much about the art society of the time. Durer was looked upon with favor by the Venetian government but most of the native artists were jealous of the foreigner and not friendly. They complained that his art was like nothing set down as “correct” or “classical” but still they admired it and copied it, too, on the sly.
DURER IN VENICETheobald von Oer
Gentile Bellini, the founder of the Venetian School, was then a very old man. He was fond of Durer and showed him many kindnesses, not the least of which was praising him to the Venetian nobles. There is a charming story told of Bellini’s admiration of Durer’sskill in painting hair: One day, after examining carefully the beard of one of the saints in a picture by Durer, he begged him to allow him to use the brush that had done such wonderful work. Durer gladly laid his brushes before Bellini and indicated the one he had used. The Venetian picked it up, made the attempt to use it but failed to produce anything unusual, whereupon Durer took the brush wet with Bellini’s own color and painted a lock of woman’s hair in so marvelous a way that the old artist declared he would not believe it had he not seen it done.
The most important picture Durer painted while in Venice was the “Madonna of the Rose Garlands.” It was painted for the artist’s countrymen and is now in a monastery near Prague. Durer evidently valued it highly himself for he writes of it to Pirkheimer, “My panel would give a ducat for you to see it; it is good and beautiful in color. I have got much praise and little profit by it. I have silenced all the painters who said that I was good at engraving but could not manage color. Now everyone says that they have never seen better coloring.”
After little more than a year’s sojourn in Venice, he returned to Nuremberg. He had been sorely tempted by an offer from the Venetian Council of a permanent pension if he would but remain in their city. But theties of affection which bound him to his home city drew him back to Nuremberg, even though he had written while in Venice, “How cold I shall be after this sun! Here I am a gentleman,” referring indirectly to the smaller place he would occupy at home.
Although Durer studied and enjoyed the works of the Italian masters, there is hardly a trace of the influence of this study in his own works. His mind was too strongly bent in its own direction to be easily turned even by so powerful an influence as Venetian painting. We are grateful indeed for the steadfast purpose of Durer that kept his art pure German instead of diluting it with Italian style so little adapted to harmonize with German thought and method.
PRAYING HANDSDurer
On Durer’s return to Nuremberg he did some of his best work. He painted one of his greatest pictures at this time, “All Saints.” It is crowded with richly dressed figures, while the air above is filled with an angelic host which no one can count. In the center is the Cross on which hangs our suffering Lord. Below, in one corner, is Durer’s unmistakable signature, which in this case consists of a full length miniature of himself holding up a tablet on which is this inscription, “Albertus Durer of Nuremberg did it in 1511.” After this follows the renowned monogram used by the artist in signing his works after 1496, the “D” enclosed in alarge “A” something after this style. He then designed a very beautiful and elaborate frame for this picture to be carved from wood. It was adorned with figures in relief, beautiful vine traceries and architectural ornaments which showed our artist master of still another national art—wood-carving.
It is interesting, too, to know that about this time Durer, finding painting not so lucrative as he had hoped, turned his attention to engraving on all sorts of hard materials, such as ivory and hone-stone. To this period belongs that tiny triumph of his art, the “Degennoph,” or gold plate, which contains in a circle of little more than an inch in diameter the whole scene of theCrucifixioncarefully represented.
Through his indefatigable labors Durer’s circumstances were now greatly improved and so he planned to publish his works, a matter of large expense. Instead of going to some large publishing house, as we to-day do, Durer had a press set up in his own house. We delight in illustrated books to-day, indeed we will hardly have a book without pictures. Imagine then the joy that must have been felt in this time of the scarcity of even printed books to have those that were illustrated. There was ready sale for all the books Durer could print.
Some prints came into Raphael’s hands. He wrote a friendly letter to the artist and sent him several of his own drawings. In return Durer sent his own portrait, life size, which Raphael greatly prized and at his death bequeathed to his favorite pupil, Julio Romano.
Durer’s prosperity continuing, he purchased the house now known to fame as “Albrecht Durer’s House.” It is still very much as it was in the artist’s lifetime. Here one may study at his leisure the kitchen and living-room which seem as if Durer had just left them.
The artist’s reputation was now fully established. In 1509, he was made a member of the Council that governed the city and he was granted the important commission of painting two pictures for the relic chamber in Nuremberg. In this room, which was in a citizen’s house, the crown jewels were kept on Easter night, the time of their annual exhibition to the public.SigismundandCharlemagnewere the subjects selected, the former probably because it was he who first gave to Nuremberg the custody of the precious jewels, and the latter because Charlemagne was a favorite hero with the Germans. TheCharlemagneis here reproduced. In wonderful jeweled coronation robes, with the coat of arms of France on one side and that of Germany on the other, he is a fine figure well suited to make us feel Durer’s power as a painter.
CHARLEMAGNEDurer
In 1512, there came to Nuremberg a royal visitor, no less a personage than the Emperor Maximilian. This was of greatest importance to Durer to whom two important commissions came as the result of this visit. The Emperor had no settled abode, so his travels were important, at least to himself. He was fond of dictating poems and descriptions of these travels. Durer was asked to make wood-cuts for a book of the Emperor’s travels to consist of two parts, the one calledThe Triumphal Archand the otherThe Triumphal Car.
The wood-cuts for the first were made on ninety-two separate blocks which, when put together, formed one immense cut ten and a half feet high by nine feet wide. For this Durer made all the designs which were cut by a skilled workman of the city, Hieronymus Andræ. It was while this work was going forward that the well-known saying, “A cat may look at a king,” arose. The Emperor was often at the workshop watching the progress of the work and he was frequently entertained by the pet cats of the wood-cutter who would come in to be with their master.
The designs forThe Triumphal Carwere of the same general style. In these Durer was assisted by other engravers of the city. One expression of Durer’s regarding the ornamentation of the car shows himskilled in the language of the courtier as well as in that of the citizen. He says, “It is adorned, not with gold and precious stones, which are the property of the good and bad alike, but with the virtues which only the really noble possess.”
The notedPrayer Book of Maximilianwas the other work done for the Emperor. Only three of these are in existence and of course they are almost priceless in value. The text was illustrated by Durer on the margin in pen and ink drawings in different colored inks. Sometimes the artist’s fancy is expressed in twining vines and flying birds and butterflies, again it is the kneeling Psalmist listening in rapt attention to some heavenly harpist, or it may be that the crafty fox beguiles the unsuspecting fowls with music from a stolen flute. Thus through almost endless variety of subjects stray the artist’s thought and hand.
We have also a fine likeness of Maximilian drawn in strong free lines by Durer at this same time. Seeing how deft the artist was with his crayons, Maximilian took up some pieces which broke in his hand. When asked why it did not do so in the fingers of the artist, Durer made the well known reply, “Gracious Emperor, I would not have your majesty draw as well as myself. I have practised the art and it is my kingdom. Your majesty has other and more difficult work to do.”
HEAD OF AN OLD MANDurer
For all this wonderful work Durer’s compensation was little more than the remission of certain taxes by the Nuremberg Council and the promise of a small annual pension. Maximilian’s death made it doubtful whether the pension would be paid. Durer in common with others sought out the new Emperor, Charles V., to have the favors granted by his predecessor confirmed.
With this in view, in 1520, the artist with his wife and maid set out for the Netherlands. They were gone something more than a year and a half, during which time Durer kept a strict account of his expenses and of his experiences and impressions throughout the journey. Everywhere he was received with the most marked attention. He was invited to splendid feasts, and was the recipient of all sorts of gifts. In return he gave freely of his own precious works.
He made his headquarters at Antwerp and here he witnessed the entry of the new monarch. Themagnificenceof the four hundred two-storied arches erected for the occasion impressed Durer deeply. Of the many and varied experiences of the Nuremberger, not the least interesting was his attempt to see a whale that had been cast ashore in Zealand. He made all haste to see this unusual sight and was nearly ship-wrecked in the attempt. The exposure, too, to which he was subjected gave rise to ills which eventually caused his death.
After all his trouble he was disappointed at his journey’s end for the whale had been washed away before he arrived. He finally accomplished the object for which he went to the Netherlands. His pension was confirmed and in addition he was named court painter. Ladened with all sorts of curious things which he had collected and with a generous supply of presents for his friends and their wives, he started home where he arrived in due time.
There were but seven years of life left to our painter and these were burdened with broken health. To this period, however, belong some of his most wonderful and characteristic works. The very year of his return he engraved that marvellous “Head of an Old Man,” now in Vienna. Never were the striking qualities of age more beautifully put together than in this head.
MELANCHOLYDurer
With about the same time we associate “The Praying Hands,” now also in Vienna. How an artist can make hands express the inmost wish of the soul as these do will always remain a mystery even to the most acute. We have the story that they were the clasped hands of Durer’s boyhood friend who toiled for years to equal or rival his friend in their chosen work. When, in a test agreed upon, to Durer was given the prize, then Hans, for that was the friend’s name, prayed fervently to be resigned to a second place. Durer caught sightof the clasped hands and drew them so well that wherever the name and fame of Albrecht goes there also must go the praying hands of his friend. Whether the story be true we cannot say, but in the hands we have a master work to love.
At this time the new religious doctrine formed the subject of thought everywhere. There was the most minute searching for truth that the world has ever known. Durer, deeply moved by the thought of the time, put its very essence into his works. He was a philosopher and a student of men. He saw how the varied temperaments of men led them to think differently on the great questions of the time. Feeling this keenly, he set to work to represent these various temperaments in pictured forms, a most difficult thing to do as we can easily imagine. Perhaps his own diseased condition led him to select as the first of these “Melancholy,” that great brooding shadow that hovers constantly above man, waiting only for the moment when discouragement comes to fall upon and destroy its victim.
How does Durer represent this insidious and fatal enemy? A powerful winged woman sits in despair in the midst of the useless implements of the art of Science. The compass in her nerveless fingers can no longer measure, nor even time in his ceaseless flow explain, the mysteries which crowd upon this well-nigh distraughtwoman, who it seems must stand for human reason. The sun itself is darkened by the uncanny bat which possibly may stand for doubt and unbelief. Perhaps no one can explain accurately the meaning of this great engraving and therein lies the greatness, which allows each person to interpret it to please himself.
In painting he attempted the same difficult subject of the temperaments, in his four apostles, St. Paul and Mark, St. John and Peter. He painted these without charge as a sort of memorial of himself in his native town. Two saints are painted on each panel. No figures in art are more beautiful than the leading one on each panel, the St. Paul on the one and the St. John on the other. If we interpret these as regards temperament, John is the type of the melancholy, Peter of the phlegmatic, Paul of the choleric and Mark of the sanguine.
In 1526, Durer sent these pictures as a gift to the Council of Nuremberg. It was the artist’s wish that they should always remain in the Council hall. Notwithstanding this, only copies are now to be seen in Nuremberg, while the originals are in Munich, carried there by the Elector of Bavaria, who paid a good price for them.
THE KNIGHT, DEATH AND THE DEVILDurer
One other of Durer’s pictures should be spoken of, though it hardly belongs last in order of time. It isreally the summing up of much that he had done from time to time all through his busy life time. This picture, called “The Knight, Death and the Devil,” is an engraving on copper. The stern, intelligent men of the time, who were ready to face any danger in order to bear themselves according to their notions of right, are well represented in this splendid mounted knight. What though Death reminds him by the uplifted hourglass that his life is nearly ended? or that Satan himself stands ready to claim the Knight’s soul? There is that in this grand horseman’s face that tells of unflinching purpose and indomitable courage to carry it out against the odds of earth and the dark regions besides. One of our greatest art critics says of this work, “I believe I do not exaggerate when I particularize this point as the most important work which the fantastic spirit of German Art has produced.” A reading of Fouqué’s “Sintram” inspires us anew with the true spirit of Durer’s great work.
ST. GEORGE AND THE DRAGONDurer
The gift to his natal city was Durer’s last work of note. The sickness that had been growing upon him, which was none other than consumption, gradually absorbed his energies and in April, 1528, he died. He was buried in St. John’s Cemetery in the lot belonging to the Frey family. On the flat gravestone was let in a little bronze tablet on which was a simple inscriptionwritten by his friend Pirkheimer. A century and a half later Sandrart, the historian of German painters, visited the tomb, then in ruins. He caused it to be repaired and added another inscription which has been translated into English:—
“Rest here, thou Prince of Painters! thou who wast better than great,In many arts unequaled in the old time or the late.Earth thou didst paint and garnish, and now in thy new abodeThou paintest the holy things overhead in the city of God.And we, as our patron saint, look up to thee, ever will,And crown with laurel the dust here left with us still.”
Durer’s character was one of the purest to be found on the honor-list of the world. He bore heavy burdens with patience and was true to his country and to himself in the most distracting of times. He was the father of popular illustration and the originator of illustrated books. He was as many-sided in his genius as Da Vinci and as prolific as Raphael, though along a different line. That he was architect, sculptor, painter, engraver, author and civil engineer proves the former point, while the fact that he left a great number of signed workssatisfies us regarding the latter comparison. One who knew him wrote of him in these words,—“If there were in this man anything approaching to a fault it was simply the endless industry and self-criticism which he indulged in, often even to injustice.”
STATUE OF ALBRECHT DURER, NUREMBERG
In closing this sketch, nothing can so delightfully summarize the beauty of the old town of Nuremberg and the character of its great artist as a part of Longfellow’s poem,Nuremberg:[*]
In the valley of the Pegnitz, where across broad meadow-lands,Rise the blue Franconian mountains, Nuremberg the ancient stands.Quaint old town of toil and traffic, quaint old town of art and song,Memories haunt thy pointed gables like the rooks that round them throng:Memories of the Middle Ages, when the Emperors, rough and bold,Had their dwelling in thy castle, time defying, centuries old;And thy brave and thrifty burghers boasted, in their uncouth rhyme,That their great imperial city stretched its hand thro’ every clime.In the court-yard of the castle, bound with many an iron band,Stands the mighty linden planted by Queen Cunigunde’s hand;On the square the oriel window, where in old heroic days,Sat the poet Melchoir singing Kaiser Maximilian’s praise.Everywhere I see around me rise the wondrous world of art;Fountains wrought with richest sculpture standing in the common mart;And above cathedral doorways saints and bishops carved in stone,By a former age commissioned as apostles to our own.In the church of sainted Sebald sleeps enshrined his holy dust,And in bronze the Twelve Apostles guard from age to age their trust;In the church of sainted Lawrence stands a pix of sculpture rare,Like the foamy sheaf of fountains rising through the painted air.Here, when Art was still religion, with a simple, reverent heartLived and labored Albrecht Durer, the Evangelist of Art;Hence in silence and in sorrow, toiling still with busy hand,Like an emigrant he wandered seeking for the Better Land.Emigravitis the inscription on the tomb-stone where he lies;Dead he is not, but departed—for the artist never dies.Fairer seems the ancient city and the sunshine seems more fair,That he once has trod its pavement, that he once has breathed its air!
[*]These stanzas are here reproduced by the courtesy of Houghton, Mifflin & Co., the regular publishers of Longfellow’s works.
[*]These stanzas are here reproduced by the courtesy of Houghton, Mifflin & Co., the regular publishers of Longfellow’s works.
Transcriber's Note:“cleanlines”might be a typographical error for “clean lines” or “cleanliness”.Inconsistencies in the use of the words background(s) / back-ground(s); masterpiece(s) / master-piece(s); and today / to-day have been retained as in the original book.The following changes have been made to the original:which hecarressesgentlychanged to“caresses”Mary in some of hislovliestpictureschanged to“loveliest”for their part in thedistructionchanged to“destruction”dissapointment, that lies crouchingchanged to“disappointment”whole scene of theCrucifiixonchanged to“Crucifixion”magnifienceof the four hundredchanged to“magnificence”
Transcriber's Note: