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I can give you no description of Dürer's many works, and although it is true that he was a very great master, yet it is also true that his pictures and engravings are not noted for their beauty so much as for their strength and power. His subjects were often ugly and repulsive rather than beautiful, and his imagination was full of weird, strange fancies that can scarcely be understood.
They resemble Durer's wood-cuts, gentle and tender in line, but unswerving in their fidelity. We sometimes wish that they were not so quiet and evenly composed, and then repent of our wish that anything so perfect should be different from what it is. His "Twice Told Tales" are a picture-gallery that may be owned in any house-hold.
"Queen of Sheba," "The Marriage in Cana," "Magdalen Washing the Feet of Christ," "The Holy Family." Who has not heard of Da Vinci's "Last Supper"? Who has not heard of Turner's "Pools of Solomon"? Who has not heard of Claude's "Marriage of Isaac and Rebecca"? Who has not heard of Dürer's "Dragon of the Apocalypse"? The mightiest picture on this planet is Rubens' "Scourging of Christ."
There he lived, like a philosopher of old, with the most sternly plain and scanty materials for comfort a mat, a table, and a chair; but surrounded by beautiful artistic figures and intricate mathematical diagrams traced on his floor and wall, reams of essays and poems where he had tried to work out his thought; fragments of machines, the toys of his constructive brain, among which the travellers found him sitting like a masculine version of Albert Durer's Melancholia, his laughing jackass adding tones of mockery to the scene, perched on the bough, looking down, as his master below took to pieces some squatter's crazy clock.
The quarter had lapsed from earlier dignity, and without being squalid, it looked worn and hard worked; otherwise it could hardly have been different in Durer's time.
The large demand for these works was a source of good income to Dürer, and gave him a position of comfort. The Reformation was at hand, and Dürer's Virgins and Saints and his pictures of the sufferings of Christ were very well suited to the religious excitement of that period.
The strict rules of the congregation of Premonstratensians allow ladies to visit only the library, which is approached from the outer courtyard; the picture gallery is unfortunately closed to them, a small collection but of value, its gem is Dürer's "Rosary Feast."
The following passage is quoted in Jackson's "Essay on Wood-engraving," from Albert Durer's Diary: "I have many good friends among the Italians who warn me not to eat or drink with their painters, of whom several are my enemies, and copy my picture in the church, and others of mine, wherever they can find them, and yet they blame them, and say they are not according to ancient art, and therefore not good.
One wall had low brown bookshelves. There were two pictures: one an Around reprint of Matsys' "Portrait of Aegidius" that wise, kind, tender face; the other an admirable photogravure of Durer's "Selbstbildnis." The books were mainly to do with his favourite historical period the Later Roman Empire.
Thus we have the stern, awful quietude of the old Mosaics; the hard lifelessness of the degenerate Greek; the pensive sentiment of the Siena, and stately elegance of the Florentine Madonnas; the intellectual Milanese, with their large foreheads and thoughtful eyes; the tender, refined mysticism of the Umbrian; the sumptuous loveliness of the Venetian; the quaint, characteristic simplicity of the early German, so stamped with their nationality, that I never looked round me in a room full of German girls without thinking of Albert Durer's Virgins; the intense life-like feeling of the Spanish; the prosaic, portrait-like nature of the Flemish schools, and so on.
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