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Duerer's admiration for Luther was like Michael Angelo's for Savonarola, and he never doubted that fiery indignation was directed against the abuse of wealth, force, and beauty, not against their use; though perhaps both the Italian and the German reformer occasionally confused the two.
Duerer's wood cutters had no doubt to resign any indolence, any impatience, or whatever else it might be that had otherwise stamped a personal character on their work; and all remonstrance must have been shamed by the evident fact that the young master spared himself not a whit more.
In the same way, how tempting is the criticism that Camerarius gives of Mantegna, we feel that Duerer's own is behind it; but as it stands it is disjointed and absurd, like some of the incomplete and confused parables which give us a glimpse of how much more was lost than was preserved by the reporters of the sayings of Jesus.
Drawings of whole figures and portions of the body, illustrating Duerer's theories of Proportion. Drawings of a solid octogon. Six coloured drawings of crystals. The description of the Ionic order of architecture. Drawings of columns with measurements. A scale for Human Proportions. A table of contents for a work on Geometry. The different kinds of temple after Vitruvius.
It is considerations, of this kind that in the last resort determine the quality of works of art. The artist is taught, though often unconsciously, by the means he employs, but the diligent man who is not by nature an artist never can learn these things: he can Imitate the manner and form, never the grace, the bloom, and the life. Duerer's first important issue of woodcuts was the Apocalypse.
No doubt Sir Martin had Michael Angelo in his mind's eye; and it is true that he studied anatomy, and that his influence has been, on the whole, paramount with artists attempting subjects of this kind ever since. Whether Michael Angelo studied proportion or not, his practice exemplifies Duerer's meaning splendidly.
Campbell Dodgson ventures to criticise the profusion of drapery as excessive, but my feeling, I must confess, endorses Duerer's in this, rather than that of his learned critic. To me this profusion, and the grandeur it gives as a mass in the design, is of the very essence of what is most peculiarly creative in Duerer's imagination.
For the illustration of this volume I have chosen a larger proportion of drawings than of any other class of work; both because Duerer's drawings are less widely known than his engravings on metal, and because, though his fame may perhaps rest almost equally on these latter, and they may rightly be considered more unique in character, yet his drawings show the splendid creativeness of his handling of materials in greater variety.
So the Painter with hairy beard Says to the Writer who mocked and jeered. DUeRER'S IDEAS Duerer often painted the Virgin's head as a mere exercise or example in those proportion studies with which we must presently deal. Sir W. M. CONWAY, in "Duerer's Literary Remains," p. 151.
How I shall freeze after this sun! Here I am a gentleman, at home only a parasite. But Duerer's German heart was true; its truth was the secret of his success.... The syren voice of Italy charmed to their destruction most Germans who listened to it. Brought face to face with the Italian Ideal of Grace, they one after another abandoned for it the Ideal of Strength peculiarly their own.
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