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Updated: May 6, 2025
Some of his frescoes were in the cloister of the Certosa, but they are not fair specimens of his best style, as they were done when the Florentine artists were smitten with the mania of imitating Albrecht Durer, and in these he has entirely followed the harder manner of that artist without obtaining his strength.
These youths, after serving their apprenticeship in the occupation they were to follow, travelled, and worked at their trade or profession in the cities of other countries. Dürer was absent four years, but we know little of what he did or saw, for in his own account of his life he says only this: "And when the three years were out my father sent me away.
'No, I should feel far more uncomfortable on a cushion than I do on this bit of hard oak. Our ancestors had an innate sense of form that we have not. Look at these chairs, nothing can be plainer; a cottage stool is hardly more simple, and yet they are not offensive to the eye. I had them made from a picture by Albert Durer. Mr.
John Durer belonged to the family of a poor shepherd. He worked hard as a scholar, but even when he was at play he showed a violent disposition to domineer over the rest. He seemed to be devoured with ambition: at all events he carried off every prize at school. By the time he was fifteen he was the admiration, he was the pride, of all his masters.
He was notably the warm friend of his fellow-painters both at home and abroad, with the exception of Michael Angelo. A drawing of his own, which Raphael sent, in his kindly interchange of such sketches, to Albert Dürer, is, I think, preserved at Nüremberg.
Banished from the society of friends, Dürer’s only solace was in his art. Here only he found peace and pleasure. How earnestly and deeply he laboured, the long catalogue of his productions can prove. The truthfulness of his style is shown in his patient studies from nature, and his works are the reflex of such a habit. The figure of the burly townsman of Jerusalem who lifts his cap in acknowledgment of Joachim and Anna, as they meet at the Golden Gate, in his illustrations of the Life of the Virgin (Fig. 243), may be cited for its homely truth, a characteristic which runs through all Dürer’s works, and gives them a certain naïveté. The figure is an evident study of an honest townsman of Nürnberg, and is as little like an ancient Jew as possible, though admirable as a transcript from nature. Of far higher order are the figures of the apostles, John, Peter, Mark, and Paul, which he painted in 1526, and presented to his native city.[229-*] We engrave the figure of Paul, the drapery of which is simple and majestic. A study for this drapery, made as early as 1523, is in the collection of the Archduke Charles of Austria. In these pictures, which are painted of life-size, he has exerted his utmost ability, and eschewed any peculiarities of his own which might interfere with the greatness of his design. “These pictures are the fruit of the deepest thought which then stirred the mind of Dürer, and are executed with overpowering force. Finished as they are they form the first complete work of art produced by Protestantism.[229-
"It is, rather," he confessed. "It makes me feel as if I must go to see the house of Durer, after all." "Well, I knew we should have to, sooner or later."
They indeed inspired with some kindness the old woman who showed them through that cemetery where Albert Durer and Hans Sachs and many other illustrious citizens lie buried under monumental brasses of such beauty: "That kings to have the like, might wish to die."
The rooms, halls, and corridors of this Hôtel de Ville give you a good notion of municipal grandeur. In the neighborhood of Nuremberg that is to say, scarcely more than an English mile from thence are the grave and tombstone of Albert Dürer. The monument is simple and striking. In the churchyard there is a representation of the Crucifixion, cut in stone.
Some German travellers in Venice visited Titian's studio, and though they found his work very fine, one of them said that after all there was only one master able to finish a painting as it should be finished, and that was the great Durer.
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