Albert Durer Part 10

Compare this with Durer's:

"Sure am I that many notable men will arise, all of whom will write both well and better about this art than I."

"Would to G.o.d that it were possible for me to see the work and art of the mighty masters to come, who are yet unborn, for I know that I might be improved."

I do not want to judge Luther harshly; he had done splendidly, and it is difficult to meddle with worldly things without soiling one's fingers and depressing one's heart; but I ask which of these two quotations expresses man's most central character best--the desire for n.o.bler life--which reveals the more admirable temper? (Durer had been touched by the spirit of the Renaissance as well as by that of the Reformation; we can distinguish easily when he is speaking under the one influence, when under the other, and the contrast often impresses one as the contrast between the above quotations. And it gives us great reason to deplore that the two spirits could not work side by side as they did in Durer and a few rare souls, but that in the world there was war between them.) It seems inevitable that the things men fight about should always be spoiled. The best part of written thought is something that cannot be a.n.a.lysed, cannot therefore be defended or used for offence; it is a spirit, an emanation, something that influences us more subtly than we know how to describe.

We see by the pa.s.sage quoted that Durer was not only influenced by Luther's heroism, but by his doctrinal theorising. Unfortunately we do not know whether he outgrew this second and less admirable influence.

Did he feel like his friend Pirkheimer in the end, that "the new evangelical knaves made the old popish knaves seem pious by contrast?"

Milton under similar circ.u.mstances came to think that "New Presbyter is but old Priest writ large." Probably not; for just as we know he did not abandon what seemed to him beautiful and helpful in old Catholic ceremonies, usages, and conceptions, so probably he would not confuse what had been real gain in the Reformation with the excesses of Anabaptists or Socialists, or even of Luther himself or his followers.

There is no reason to suppose he would have judged so hastily as the gouty irascible Pirkheimer, however much he may have deplored the course of events. It must have been evident to thoughtful men, then, that it was impossible for so large an area to be furnished with properly trained pastors in so short a time, and that therefore more or less deplorable material was bound to be mingled in the official _personnel_ of the new sect. It is impossible, when we consider how he solved the precisely parallel difficulty in aesthetics, not to feel that if he had had time given him, he would have arrived in point of doctrine at a moderation similar to that of Erasmus.

Men deliberate and hold numberless differing opinions about beauty....

Being then, as we are, in such a state of error, I know not certainly what the ultimate measure of true beauty is.... Because now we cannot altogether attain unto perfection shall we, therefore, wholly cease from learning? By no means ... for it behoveth the rational man to choose the good. (See the pa.s.sage complete on page 15.)

Luther imagined that the faith that saved was entire confidence in the fact that a bargain had been struck between the Persons of the Trinity, according to which Christ's sacrifice should be accepted as satisfying the justice of his Father, outraged by Adam's fault. To-day this appears to the majority of educated men a fantastic conception. For them the faith that saves is love of goodness, as love of beauty saves the artist from mistakes into which his intelligence would often plunge him. Jesus has no claim upon us superior to his goodness and his beauty; nor can we conceive of the possibility of such a claim. But we recognise with Durer that we do not know what the true measure of goodness and beauty is, and all that we can do is to choose always the good and the beautiful according to the measure of our reason--to the fulness of the light at present granted to us.

II

The curiosity of the modern man of science no doubt is descended from that of men like Leonardo and the early Humanists, but it differs from almost more than it resembles it. The motive power behind both is no doubt the confidence of the healthy mind that the human intelligence will ultimately prove adequate to comprehend the spectacle of the universe. But for the Humanists, for Durer and his friends, the consciousness of the irreconcilableness of that spectacle with the necessary ideals of human nature had not produced, as in our contemporaries and our immediate forerunners it has produced, either the atrophy of expectation which afflicts some, or the extravagance of ingenuity that cannot rest till it has rationalised hope, which torments others. They were saddled with neither the indifference nor the restlessness of the modern intellect. They escaped like boys on a holiday. They felt conscious of doing what their schoolmaster meant them to do, though they were actually doing just what they liked. It was all for the glory of G.o.d in Durer's mind; but how or why G.o.d should be pleased with what he did, did not trouble him. He engraved and sold impressions of a plate representing a sow with eight legs; he made a drawing, which is at Oxford, of an infant girl with two heads and four arms, and calmly wrote beneath it:--

Item, in the year reckoned 1512, after the birth of Christ, such a creature (_Frucht_) as is represented above, was born in Bavaria, on the Lord of Werdenberg's land, in a village named Ertingen over against Riedlingen. It was on the 20th of the hay month (July), and they were baptized, the one head Elspett, the other Margrett.

Just so, Luther is no more than St. Paul abashed to say that G.o.d had need of some men intended for dishonour, as a potter makes some vessels for honourable, some for dishonourable uses. The modern mind at once reflects: "If that is the case, so much the worse for G.o.d; by so much is it impossible that I should ever wors.h.i.+p Him;" and it will prefer any prolongation of "that most wholesome frame of mind, a suspended judgment," to accepting a solution so cheap as that offered by the Apostle and Reformer, which has come to seem simply injurious.

The spirit of the enlarged schoolboy was, I think, really the att.i.tude of the best minds then and onwards to Descartes and Spinoza. They gave themselves up to the study of nature without ceasing to belong to their school, yet freed, as on a holiday, from the constraint of being actually in it. Yet, in regard to their personal and social life, at least north of the Alps, the majority of such men were very consciously and dutifully under "their great taskmaster's eye"; and in that also they differ in a measure from the more part of modern scientists.

Durer made up a rhinoceros from a sketch and description sent to him from Portugal, whither the uncouth creature had been brought in a s.h.i.+p from Goa. Durer's drawing was engraved and became the parent of innumerable rhinoceroses in lesson-books, doing service right down well into the late century, as Thausing a.s.sures us. The unfortunate original was sent as a present to Leo X., who wanted to see him fight with an elephant which had made him laugh by squirting water and kneeling down to be blessed as sensibly as a Christian. So the poor beast was s.h.i.+pped again, only to be s.h.i.+pwrecked near Porto Venere, where he was last seen swimming valiantly, but hopelessly impeded by his chain, and baffled by the rocky sh.o.r.e. In the Netherlands, Durer's curiosity to see a whale nearly resulted in his own s.h.i.+pwreck, and indirectly produced the malady which finally killed him. But Durer's curiosity was really most scientific where it was most artistic; in his portraits, in his studies of plants and birds and the noses of stags, or the slumber of lions.

Doubtless it was not a very dissimilar motive which gained him entrance into the women's bath at Nuremberg, for we see he must have been there by the beautiful pen drawing at Bremen and the slighter one of the same subject at Chatsworth. These drawings may also ill.u.s.trate what in his book on the Proportion he calls the words of difference--stout, lean, short, tall, &c. (see p. 285), as he would seem to have chosen types as various as possible, ranging from the human sow to the slim and dignified beauty. In the same spirit he studied perspective and the art of measuring; he felt the importance to art of inquiry in these directions; nevertheless, to seize the beautiful elements in nature was ever the object of his efforts, however, roundabout they may sometimes appear to us. "The sight of a fine human figure is above all things the most pleasing to us, wherefore I will first construct the right proportions of a man." (See p. 321.) His aesthetic curiosity had nothing in common with that which considers all objects and appearances as equally interesting. What he meant by Nature, when he bid the artist have continual recourse to her, was far from being the momentary and accidental appearance of any thing or things anywhere,--which the modern "student of Nature" admires because he has neither sufficient force of character to prefer, nor sufficient right feeling to defer to the preferences of those who have more.

Leonardo's natural history is delightful reading, because it combines such fantastic and inventive fables as surpa.s.s even the happiest efforts of our nonsense writers with a beautiful openness of mind which we see oftener in children than in sages,--which is, in fact, the seriousness of those who are truly learning, and are not too conscious of what has already been learnt.

As a boy adds to the pleasure he has in adventuring further and further into a cave the delight of awesome supposition--for what may not the next turn reveal?--and is pleased to feel all his young machinery ready instantly to enact a panic if his torch should blow out, and laughs at each furtive rehearsal of his own terror in which he indulges;--so the Humanists turned from astronomy to astrology, and used their skill in mathematics to play with horoscopes which they more than half believed might bite. There was just enough doubt as to whether any given wonder was a miracle to make it interesting; and at any moment the pall of superst.i.tion might stifle the flickering light of inquiry, as we feel was the case when Durer writes:

The most wonderful thing I ever saw occurred in the year 1503, when crosses fell upon many persons, and especially on children rather than on elder people. Amongst others, I saw one of the form which I have represented below. It had fallen into Eyrer's maid's s.h.i.+ft, as she was sitting in the house at the back of Pirkheimer's (i.e., in the house where Durer was born). She was so troubled about it that she wept and cried aloud, for she feared that she must die because of it.

I have also seen a comet in the sky.

And again, the terror caused by a very bad and strange dream pa.s.ses the bounds of play; and one feels that the belief that a vision of the night might produce or prefigure dreadful change was for him something a great deal more serious than for the dilettante spiritualist and wonder-tickler of to-day. He writes:

In the night between Wednesday and Thursday after Whit Sunday (May 30-31, 1525), I saw this appearance in my sleep--how many great waters fell from heaven. The first struck the earth about four miles away from me with terrific force and tremendous noise, and it broke up and drowned the whole land. I was so sore afraid that I awoke from it. Then the other waters fell, and as they fell they were very powerful, and there were many of them, some further away, some nearer. And they came down from so great a height that they all seemed to fall with an equal slowness. But when the first water that touched the earth had very nearly reached it, it fell with such swiftness, with wind and roaring, and I was so sore afraid that when I awoke my whole body trembled, and for a long while I could not recover myself. So when I arose in the morning, I painted it above here as I saw it G.o.d turn all these things to the best. ALBRECHT DuRER.

The instinct for recording which dictates such a note as this is characteristic of Durer, and called into being many of his drawings.

Many such nave and explicit records as that on the drawing which Raphael sent him are to be found in the flyleaves of books and on the margins of prints and drawings, his possessions. In such notes we may see not only an effect of the curiosity, and desire to arrange and co-ordinate information, which resulted in modern science; but something that is akin to that wors.h.i.+p and respect for the deeds and productions of those long dead or in distant countries, in which the human spirit relieved itself from the oppressive expectation of judgment and vengeance which had paralysed it, as the beauty of the supernatural world was lost sight of behind its terrors, and witches and wizards engrossed the popular mind, in which for a time saints and angels had held the ascendancy. The future now became the return of a golden age; not a garish and horrible novelty called heaven and h.e.l.l, but a human society beautiful as that of the Greeks, grand as that of republican Rome, sweet and hospitable as the household of Jesus and Mary. The Reformation is in part a return of the old fears; but Durer has recorded only one bad dream, whereas he tells that he was often visited by dreams worthy of the glorious Renascence. "Would to G.o.d it were possible for me to see the work and art of the mighty masters to come, who are yet unborn, for I know that I might be improved. Ah! _how often in my_ sleep do I behold great works of art and beautiful things, the like whereof never appear to me awake, but so soon as I awake even the remembrance of them leaveth me!" Why was he not sent to Rome to see the ceiling of the Sistina and Raphael's Stanze? Perchance it was these that he saw in his dreams?

CHAPTER VI

DuRER'S JOURNEY TO THE NETHERLANDS

I

It is even more the case with Durer's journal written in the Netherlands than with the letters from Venice that, like life itself, it is full of repet.i.tions and over-insistence on what is insignificant. I quote the most interesting pa.s.sages, and as there is never a good reason for doing again what has already been well done; I am happy to quote Sir Martin Conway's excellent notes, having found occasion to add only one. Durer set out on July 12, 1520, with his wife and her maid Susanna. It was probably this Susanna who three years later married Georg Penz, one of "the three G.o.dless painters." Durer took a great many prints and woodcuts, books both to sell and to give as presents; and besides he took a sketch book in which he made silver-point sketches and portraits.

A good number of its pages have come down to us, and a great many of the portraits he mentions having taken were done in it, and then cut out to give to the sitter. All these drawings are on the same sized paper. We reproduce one of them here (see page 156). Besides this sketch-book he evidently had a memorandum-book in which he recorded what he did, what he spent, whom he saw, and occasionally what he felt or what he wished.

The original is lost, but an old copy of it is in the Bamberg Library.

_July_ 12.--On Thursday after Kilian's, I, Albrecht Durer, at my own charges and costs, took myself and my wife (and maid Susanna) away to the Netherlands. And the same day, after pa.s.sing through Erlangen, we put up for the night at Baiersdorf and spent there 3 pounds less 6 pfennigs.

July 13.--Next day, Friday, we came to Forchheim, and there I paid 22 pf. for the convoy.

Thence I journeyed to Bamberg, where I presented the Bishop (Georg III.

Schenk von Limburg[24]) with a Madonna painting, a Life of our Lady, an Apocalypse, and a Horin's worth of engravings. He invited me as his guest, gave me a Toll-pa.s.s[25] and three letters of introduction, and paid my bill at the inn, where I had spent about a florin.

I paid six florins in gold to the boatman who took me from Bamberg to Frankfurt.

Master Lukas Benedict and Hans,[26] the painter, sent me wine.

ANTWERP, _August_ 2-26, 1520.

At Antwerp I went to Jobst Plankfelt's[27] inn, and the same evening at Fuggers' Factor,[28] Bernhard Stecher invite and gave us a costly meal.

My wife, however, dined at the inn. I paid the driver three gold florins for bringing us three, and one st. I paid for carrying the goods.

_August_ 4.--On Sat.u.r.day after the feast of St. Peter in Chains my host took me to see the Burgomaster's (Arnold van Liere) house at Antwerp. It is newly built and beyond measure large, and very well ordered, with s.p.a.cious and exceedingly beautiful chambers, a tower splendidly ornamented, a very large garden--altogether a n.o.ble house, the like of which I have nowhere seen in all Germany. The house also is reached from both sides by a very long street, which has been quite newly built according to the Burgomaster's liking and at his charges.

I paid three st. to the messenger, two pf. for bread, two pf. for ink.

August 5.--On Sunday, it was St. Oswald's Day, the painters invited me to the hall of their guild, with my wife and maid. All their service was of silver, and they had other splendid ornaments and very costly meats.

All their wives also were there. And as I was being led to the table the company stood on both sides as if they were leading some great lord. And there were amongst them men of very high position, who all behaved most respectfully towards me with deep courtesy, and promised to do everything in their power agreeable to me that they knew of. And as I was sitting there in such honour the Syndic (Adrian h.o.r.ebouts) of Antwerp came, with two servants, and presented me with four cans of wine in the name of the Town Councillors of Antwerp, and they had bidden him say that they wished thereby to show their respect for me and to a.s.sure me of their good will. Wherefore I returned them my humble thanks and offered my humble service. After that came Master Peeter (Frans), the town-carpenter, and presented me with two cans of wine, with the offer of his willing services. So when we had spent a long and merry time together till late in the night, they accompanied us home with lanterns in great honour. And they begged me to be ever a.s.sured and confident of their good will, and promised that in whatever I did they would be all-helpful to me. So I thanked them and laid me down to sleep.

The Treasurer (Lorenz Sterk) also gave me a child's head (painted) on linen, and a wooden weapon from Calicut, and one of the light wood reeds. Tomasin, too, has given me a plaited hat of alder bark. I dined once with the Portuguese, and have given a brother of Tomasin's three fl. worth of engravings.

Herr Erasmus[29] has given me a small Spanish _mantilla_ and three men's portraits.

I took the portrait of Herr Niklas Kratzer,[30] an astronomer. He lives with the King of England, and has been very helpful and useful to me in many matters. He is a German, a native of Munich. I also made the portrait of Tomasin's daughter, Mistress Zutta by name. Hans Pfaffroth[31] gave me one Philips fl. for taking his portrait in charcoal. I have dined once more with Tomasin. My host's brother-in-law entertained me and my wife once. I changed two light florins for twenty-four st. for living expenses, and I gave one st. _t&k&d_ to a man who let me see an altar-piece.

[Ill.u.s.tration: Silver-point drawing on a white ground, in the Berlin Print Room]

_August_ 19.--On the Sunday after our dear Lady's a.s.sumption I saw the great Procession from the Church of our Lady at Antwerp, when the whole town of every craft and rank was a.s.sembled, each dressed in his best according to his rank. And all ranks and guilds had their signs, by which they might be known. In the intervals great costly pole-candles were borne, and their long old Frankish trumpets of silver. There were also in the German fas.h.i.+on many pipers and drummers. All the instruments were loudly and noisily blown and beaten.

I saw the procession pa.s.s along the street, the people being arranged in rows, each man some distance from his neighbour, but the rows close one behind another. There were the Goldsmiths, the Painters, the Masons, the Broderers, the Sculptors, the Joiners, the Carpenters, the Sailors, the Fishermen, the Butchers, the Leatherers, the Clothmakers, the Bakers, the Tailors, the Cordwainers--indeed, workmen of all kinds, and many craftsmen and dealers who work for their livelihood. Likewise the shopkeepers and merchants and their a.s.sistants of all kinds were there.

After these came the shooters with guns, bows, and cross-bows, and the hors.e.m.e.n and foot-soldiers also. Then followed the watch of the Lords Magistrates. Then came a fine troop all in red, n.o.bly and splendidly clad. Before them, however, went all the religious Orders and the members of some Foundations very devoutly, all in their different robes.