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Updated: May 23, 2025
"Young man, how far is it from the earth to the sun?" "Thirty-three millions of leagues," replied John, without the least hesitation. "As if I did not know that he would know," said the little man to himself, with a smile. "And how long would it take a humming-bird who could fly a league in a minute to get there!" "Twenty-eight years, sir," was Durer's answer.
The frescoes round the beautifully-proportioned entrance portal, being on an inside wall, are in a state of better preservation than the rest, and the colours brighter. They represent "The Signs of the Destruction of the World." For imaginative power they can be compared only with the woodcuts of Albrecht Dürer's "Apocalypse."
As painter, as author, as engraver, or simple citizen, the more we know of him the more we are morally and intellectually satisfied. Fortunately, through his letters and writings, his journals and autobiographical memoirs we know a good deal about his personal history and education. Dürer's grandfather came of a farmer race in the village of Eytas in Hungary.
German deliberation was never so well expressed as in Albert Durer's signature. "Don't keep your Beer-Barrel in the same cellar as your Dust-Bin!" Self-advertisers always give themselves away with their signature. As a rule, the finer the artist the more natural his signature in style.
However, the German criticism put him on his mettle, and he answered that if he had thought the greatest value of a painting lay in its fiddling little details of finishing, he too would have painted them. To show that he could paint after Durer's fashion, as well as his own, he undertook the "Tribute Money," and the result was a wonderful picture. Soon Rome sent for Titian.
What was the great cause of Frau Holbein's tantrums, whether Hans's ears were pierced with conjugal clamors, as poor Albert Dürer's, the other great German painter's, were, because he could not supply all his wife's demands for money, to enable her, perhaps, to exhibit herself at church on holy days in one of those precious pulpits, splendid in velvet and jewels, to the discomfiture of the other painters' wives, we do not know; but whatever was the cause of her oft-recurring outbreaks, they made him not unwilling to put France and the English Channel between himself and her, his children, and the home of his childhood.
In Albert Durer's composition, she is just in the act of sinking to the ground in a very natural attitude, as if her limbs had given way under her. In Tintoretto's celebrated Crucifixion, we have an example of the Virgin placed on the ground, which if not one of the earliest, is one of the most striking of the more modern conceptions.
Add to it, you know, from time to time; but begin with 'Margaret, perhaps, and Retzsch's 'Hamlet' or 'Faust, or a collection of fine wood engravings, such as Mrs. Harris has, and perhaps one of Albert Dürer's ugly things to show off with. What do you think of it, Laura?" "Do you ever look at Mrs. Harris's nowadays, Del?" "Why, no, I can't say I do, now.
In the greater part of this work there is no intention of implying the existence of the represented creature; Dürer's Melencolia and Giotto's Justice are accurately characteristic examples. Now all such art is wholly good and useful when it is the work of good men.
"While the artist worked, the Emperor often visited his studio; and as Durer's pet cats often visited it at the same time, the expression arose, 'a cat may look at a King!" On the occasion of one of these kingly visits, Maximillian tried to do a little art-work on his own account. Taking a piece of charcoal he tried to sketch, but the charcoal kept breaking and he asked Durer why it did so.
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