Albert Durer Part 6

The Doge and the Patriarch have also seen my picture. Herewith let me commend myself to you as your servant. I must really go to sleep as it is striking the seventh hour of the night, and I have already written to the Prior of the Augustines, to my father-in-law, to Mistress Dietrich, and to my wife, and they are all downright whole sheets full. So I have had to hurry over this letter, read it according to the sense. You would doubtless do better if you were writing to a lot of Princes. Many good nights and days too. Given at Venice on our Lady's day in September.

You need not lend my wife and mother anything; they have got money enough,

ALBRECHT DuRER.

VENICE, _September 23_, 1506.

Your letter telling me of the praise that you get to overflowing from Princes and n.o.bles gave me great delight. You must be altogether altered to have become so gentle; I shall hardly know you when I meet you again.

You must know that my picture is finished as well as another _Quadro_[18] the like of which I have never painted before. And as you are so pleased with yourself, let me tell you that there is no better Madonna picture in the land than mine; for all the painters praise it, as the n.o.bles do you. They say that they have never seen a n.o.bler, more charming painting, and so forth.

But in order to come home as soon as possible, I have, since my picture was finished, refused work that would have yielded me more than 2000 ducats. This all men know who live about me here.

Bernhard Holzbeck has told me great things of you, though I think he does so because you have become his brother-in-law. But nothing makes me more angry than when any one says that you are good-looking; if that were so I should become really ugly. That could make me mad. I have found a grey hair on myself, it is the result of so much excitement. And I fear that while I play such pranks with myself there are still bad days before me, &c.

My French mantle, my doublet, and my brown coat send you a hearty greeting, I should be glad to see what great thing your head-piece can produce that you hold yourself so high.

VENICE, _about October_ 13, 1506.

Knowing that you are aware of my devotion to your service there is no need for me to write to you about it; but so much the more necessary is it for me to tell you of the great pleasure it gives me to hear of the high honour and fame which your manly wisdom and learned skill have brought you. This is the more to be wondered at, for seldom or never in a young body can the like be found. It comes to you, however, as to me, by a special grace of G.o.d. How pleased we both are when we fancy ourselves worth somewhat--I with my painting, and you with your wisdom.

When any one praises us, we hold up our heads and believe him. Yet perhaps he is only some false flatterer who is scorning us all the time.

So don't credit any one who praises you, for you've no notion how utterly and entirely unmannerly you are. I can quite see you standing before the Margrave and speaking so pleasantly--behaving exactly as if you were flirting with Mistress Rosentaler, cringing as you do. It did not escape me that, when you wrote your last letter, you were quite full of amorous thoughts. You ought to be ashamed of yourself, an old fellow like you pretending to be so good-looking. Flirting pleases you in the same way that a s.h.a.ggy old dog likes a game with a kitten. If you were only as fine and gentle a man as I, I could understand it. If I become burgomaster I will serve you with the Luginsland.[19] as you do to pious Zamesser and me. I will have you for once shut up there with the ladies Rechenmeister, Rosentaler, Gartner, Schutz, and Por, and many others whom for shortness I will not name; they must deal with you.

People enquire more after me than you, for you yourself write that both girls and honourable wives ask after me--that is a sign of my virtue.

When, however, G.o.d helps me home I don't know how I shall any longer stand you with your great wisdom; but for your virtue and good temper I am glad, and your dogs will be the better for it, for you will no longer strike them lame. Now however that you are thought so much of at home, you won't dare to talk to a poor painter in the street any more; to be seen with the painter varlet would be a great disgrace for you.

O, dear Herr Pirkheimer, just now while I was writing to you, the alarm of fire was raised and six houses over by Pietro Venier are burnt, and a woollen cloth of mine, for which only yesterday I paid eight ducats, is burnt, so I too am in trouble. There is much excitement here about the fire.

As to your summons to me to come home soon, I shall come as soon as ever I can, but I must first gain money for my expenses. I have paid away about 100 ducats for colours and other things. I have ordered you two carpets for which I shall pay to-morrow, but I could not get them cheap.

I will pack them in with my linen.

And as to your threat that, unless I come home soon, you will make love to my wife, don't attempt it--a ponderous fellow like you would be the death of her.

I must tell you that I set to work to learn dancing and went twice to the school, for which I had to pay the master a ducat. No one could get me to go there again. To learn dancing I should have had to pay away all that I have earned, and at the end I should have known nothing about it.

[Ill.u.s.tration: HANS BURGKMAIR--Black chalk drawing on yellowish prepared ground. The lights and background in watercolor may possibly have been added later At Oxford]

In reply to your question when I shall come home, I tell you, so that my lords may also make their arrangements, that I shall have finished here in ten days; after that I should like to ride to Bologna to learn the secrets of the art of perspective, which a man is willing to teach me. I should stay there eight or ten days and then return to Venice. After that I shall come with the next messenger. How I shall freeze after this sun! Here I am a gentleman, at home only a parasite.

III

Sir Martin Conway writes:

He (Durer) enjoyed Venice; he liked the Italians; he was oppressed with orders for work; the climate suited him, and the warm sun was a pleasant contrast to the snows and frost of a Franconian winter. But Durer'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.

We do not resort to these arguments to approve Holbein or Van Dyck for their long residence in England. I am not sure how much false sentiment inspired Thausing when he first praised Durer in this strain; but I must confess I suspect it was no little. I incline to think that the best country for an artist is not always the one he was born in, but often that one where his art finds the best conditions to foster it. We do not honour Durer by supposing that he would have been among that majority of Dutch and German artists who, weaker than Roger van der Weyden and Burgkmair, returned from Italy injured and enfeebled; even if he had pa.s.sed the greater portion of his life with her syren voice in his ears.

Durer could not bring himself to undergo for art's sake what Michael Angelo endured; years of exile from a beloved native city, and, still worse, years of exile from the most congenial spiritual atmosphere.

Nevertheless, we must remember that the difference of language would have made life in Venice for Durer a much more complete exile than life in Verona was for Dante, or life in Rome for Michael Angelo. So he did not share the patronage and generous recognition which gave t.i.tian such a splendid opportunity. He ceased for a time at least to be a gentleman to become a hanger-on, a parasite once more. At Antwerp he once more was met by the same generosity and recognition only to refuse again to accept it as a gift for life and return to his beloved Nuremberg, where it is true his position continually improved, though it never equalled what had been offered at Venice and Antwerp.

IV

The tone of some of the pleasantries in these letters may rather astonish good people who, having accepted the fact that Durer was a religious man, have at once given him the tone and address of a meeting of churchwardens, if they have not conjured up a vision of him in a frock coat. "Things are what they are," said Bishop Butler, and so are women; boys will be boys. The distinctive functions of the two s.e.xes were in those days kept more in view if not more in mind than is the case to-day. The fashions in dress and in deportment were particularly frank upon this point, especially for the young. One may allow as much as is desired for the corruption of manners produced by the civil and religious mercenaries, soldiers of fortune, and friars. There will always remain a certain truth and propriety, a certain grace and charm in those costumes and that deportment, as also in the freedom of jest which characterises even the most modest of Shakespeare's heroines; and under the influence of their spell we shall feel that all has not been gain in the change that has gradually been operated. No doubt virtue is a victory over nature, and chast.i.ty a refinement; but among conquerors some are easy and good-natured, others tactless, awkward, insulting; and among the chaste some are fearless and enjoy the freedom which courage and clear conscience give, others timid and suffer the oppression of their fears. Even among sinners some make the best of weaknesses and redeem them a great deal more than half, while others magnify smaller faults by lack of self-possession till they are an insupportable nuisance. We may well admit that from the successes of those days, those who succeed to our delight to-day may glean additional attractions.

V

We know that Durer stopped on at Venice into the year 1507, by a note which he made in a copy of Euclid, now in the library at Wolfenb.u.t.tel.

"This book have I bought at Venice for a ducat in the year 1507.

Albrecht Durer"; and by another stray note we learn the state of his worldly affairs on his return.

The following is my property, which I have with difficulty acquired by the labour of my hand, for I have had no opportunity of great gain. I have moreover suffered much loss by lending what was not repaid me, and by apprentices who never paid their fees, and one died at Rome whereby I lost my wares.

In the thirteenth year of my wedlock (Le., 1507-8) I have paid great debts with what I earned at Venice. I possess fairly good household furniture, good clothes, chests, some good pewter vessels, good materials for my work, bedding and cupboards, and good colours worth 100 florins Rhenish.

The wares that Durer lost in Rome were doubtless chiefly woodcuts and engravings which his prentice had taken to sell during his _wanderjahre_, as Durer himself during his own had very likely sold prints for Wolgemut. One of the reasons which had taken him to Venice may have been to summon Marc Antonio before the Signoria, for having copied not only his engravings, but the monogram with which he signed them; in any case he obtained a decree defending him against such artistic forgery. Durer's most steady resource seems to have been the sale of prints; it is these that his wife had sold in his absence, and in the diary of his journey to the Netherlands there is constant mention of such sales. Nuremberg was very much behind Antwerp or Venice in the price paid for works of art; and the possibilities of such a market as Rome had very likely tempted Durer to trust his prentice with an unusual quant.i.ty of prints. His worldly affairs were neither brilliant nor secure; yet we shall find him tempted on receiving an important commission to spend so much in time and material as to make it impossible for him to realise a profit. We are accustomed to think that these trials were spared to artists in the past by the munificence of patrons: but apart from the fact that patrons often paid only with promises or by granting credit, at Nuremberg there were few magnificent patrons, and its burghers were in no way so generous or so extravagant as those of Venice or Antwerp. In fact, Durer's position was very similar to that of the modern artist, who finds little and insufficient patronage, and can make more if he is lucky by the reproduction of his creations for the great public. But Durer still had one advantage over his fellow-sufferers of to-day--that of being his own publisher.

Doubtless portraits were as popular then as nowadays; but if the public taste had not been prost.i.tuted by a seductive commercialism to the degree that at present obtains, on the other hand, at Nuremberg at least, the fashion seems to have been very little developed; and most of Durer's important portraits seem to have been the result of his sojourns away from home.

FOOTNOTES:

[Footnote 15: Thus far the original is in bad Italian.]

[Footnote 16: The retainers of Konz Schott, a neighbouring baron, at one time a conspicuous enemy of Nurnberg.]

[Footnote 17: These words are in Italian in the original.]

[Footnote 18: Prof. Thausing suggests that this "other _Quadro_" is the "Christ among the Doctors" in the Barberini Gallery at Rome--a picture containing seven life-size half-figures or heads, and dated 1506. The inscription states it to have been _opus quinque dierum_. At Brunswick there is an old copy of it. The original studies for the hands are likewise in existence. In Lorenzo Lotto's Madonna of 1508 in the Borghese Gallery at Rome, the head of St. Onuphrius is taken from the model who sat for the front Pharisee on the left in Durer's picture.]

[Footnote 19: A Nurnberg prison.]

CHAPTER IV

DuRER AND HIS PATRONS AND FRIENDS

I

Durer had hitherto occasionally enjoyed the patronage of the wise Elector, Frederick of Saxony, for whom he painted the brilliant _Adoration of the Magi_ in the Uffizi. He was soon to obtain that of Maximilian, but this genial and eccentric emperor proved a fussy patron, as quick to change his mind and to interfere with impossible demands and criticisms, as he was slow to pay and deficient in means for being truly generous. There are a certain number of letters which give a glimpse of Durer's relations with his clients; they show him appealing always to the judgment of artists against the ignorant buyer, and giving more than he bargained to give, though thereby he eats up his legitimate profits; lastly, they show him vowing never again to enter upon work so unprofitable, but to give all his time to the creation of engravings and woodcuts. The first is written to Michael Behaim, who died in 1511, and had commissioned him to make a design for a woodcut of his coat of arms.

DEAR MASTER MICHAEL BEHAIM,--I send you back the coat of arms again.

Pray let it stay as it is. No one could improve it for you, for I made it artistically and with care. Those who see it and understand such matters will tell you so. If the leafwork on the helm were tossed up backward, it would hide the fillet. Your humble servant, ALBRECHT DuRER.