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Updated: June 5, 2025


Kranach has put himself among the spectators, and a stream of blood from the side of the Savior falls in baptism upon the painter's head. He is in the company of John the Baptist and Martin Luther; Luther stands with his Bible open, and his finger on the line, "The blood of Jesus cleanseth us."

The masterpieces were some excellent works of Luke Kranach, who seemed the only German painter worth looking at when there were any Dutch or Italian pictures near, but the travellers forgot the name and nature of the Kranachs, and remembered afterwards only the shattered fragments of the brandy-flask, just how they looked on the floor, and the fumes, how they smelt, that rose from the ruin.

The masterpieces were some excellent works of Luke Kranach, who seemed the only German painter worth looking at when there were any Dutch or Italian pictures near, but the travellers forgot the name and nature of the Kranachs, and remembered afterwards only the shattered fragments of the brandy-flask, just how they looked on the floor, and the fumes, how they smelt, that rose from the ruin.

Here also is the greatest picture of that great soul Luke Kranach, who had sincerity enough in his paining to atone for all the swelling German sculptures in the world. It is a crucifixion, and the cross is of a white birch log, such as might have been cut out of the Weimar woods, shaved smooth on the sides, with the bark showing at the edges.

Here also is the greatest picture of that great soul Luke Kranach, who had sincerity enough in his paining to atone for all the swelling German sculptures in the world. It is a crucifixion, and the cross is of a white birch log, such as might have been cut out of the Weimar woods, shaved smooth on the sides, with the bark showing at the edges.

Kranach has put himself among the spectators, and a stream of blood from the side of the Savior falls in baptism upon the painter's head. He is in the company of John the Baptist and Martin Luther; Luther stands with his Bible open, and his finger on the line, "The blood of Jesus cleanseth us."

Again, there are the German masters the great engravers, Kranach, Altdorfer, Aldegrever, especially; of whom, for their absolute pleasure in ugly women, for their filthy delight in horrors, I have said an immense amount of ill; and of whom, for their wonderful intuition of dramatic situation, their instinct of the poetry of common things, and their magnificently imaginative rendering of landscape, I hope some day to say an equal amount of good.

Nay, the very year perhaps that Raphael handed to his engraver, Marc Antonio, his magnificent drawing of the Judgment of Paris, Lukas Kranach bethought him to represent the story of the good Knight Paris giving the apple to the Lady Venus. So Kranach took up his steady pencil and sharp chisel, and in strong, clear, minute lines of black and white showed us the scene.

The masterpieces were some excellent works of Luke Kranach, who seemed the only German painter worth looking at when there were any Dutch or Italian pictures near, but the travellers forgot the name and nature of the Kranachs, and remembered afterwards only the shattered fragments of the brandy-flask, just how they looked on the floor, and the fumes, how they smelt, that rose from the ruin.

Kranach has put himself among the spectators, and a stream of blood from the side of the Savior falls in baptism upon the painter's head. He is in the company of John the Baptist and Martin Luther; Luther stands with his Bible open, and his finger on the line, "The blood of Jesus cleanseth us."

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