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Updated: May 24, 2025
Such is fortune's malice that Duerer, who alone or almost alone had conceived of the simplicity of true dignity and the beauty of choice proportions and propriety, should have been called upon by his only royal patron to superintend a production wherein the rank and flaccid taste of the time ran riot.
But just as such a child may be veritably boastful and vain at other times, however purely now and then, in crises of apparent difficulty or danger, its vaunt and strut may spring from real kindness and a considerate wish to inspire courage in the younger and weaker; so doubtless there was a haughtiness, sometimes a fault, in Duerer as in Milton.
It is this inventiveness in handling which most distinguishes Duerer from painters like Raphael and Holbein, and makes his work comparable with the masterpieces of Rembrandt and Titian, in spite of the extreme opposition in aspect between their work and his. The vivid Oswolt Krel at Munich shows the peculiarity of Duerer's caligraphic touch better than perhaps any other of his portraits.
These are a draughtsman's creations; though they are less abundant in Duerer's work than one could wish, still only the greatest produce such effects; only Michael Angelo, Titian, and Rembrandt can be said to have equalled or surpassed Duerer in this kind, rarely though it be that he competes with them.
And this that we most essentially are rational beings, lovers of goodness, children of hope, how directly Duerer appeals to it: "Nature has implanted in us the desire of knowing all things." It reminds one of Ben Jonson's:
And Germany boasts of this life beyond that of any of her sons; but her blood was probably of small importance to the efficiency that it attained to in the great Albert Duerer. The German name of Duerer or Thuerer, a door, is quite as likely to be the translation, correct or otherwise, of some Hungarian name, as it is an indication that the family had originally emigrated from Germany.
In the same way, the sentence printed in italics in the above quotation, if isolated, would certainly seem to serve the scientific practitioners and their slavish realism, though in connection with those that follow this is no longer possible. Duerer regards nature as providing raw material for a creation which may not tally exactly with any individual natural object.
Duerer obtained the desired five per cent. on his savings annually until his death, and afterwards his widow received four per cent. until her death. In 1526 the grateful artist finished and dedicated to his fellow-townsmen his most important picture, representing the four temperaments in the persons of St. John, St. Peter, St. Paul, and St.
All doubt as to its nature would be removed, could it be made certain that by the words, "I have sent to your Grace early this year before I became ill," in a letter to the Elector Albert dated September 4, 1523, Duerer meant to imply that at a certain period he became ill every year; but of course it is impossible to be sure of this. If not rich, Duerer died comfortably off.
In this case the chief actors in the show piece were men of mark of an exceptionally entertaining character; with many of them Duerer and Pirkheimer were soon on the best of terms.
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