Six Centuries of Painting Part 14

V

PAINTERS OF LANDSCAPE

Coming now to the landscape painters we find that JAN VAN GOYEN, born at Leyden in 1596, was destined to exert a really powerful influence, inasmuch as he was the founder, as is generally acknowledged, of the Dutch school of homely native landscape. Beginning with figure subjects, he discovered in their landscape backgrounds his real _metier_, and seems only to have realized his great gifts when he looked further into nature than was possible when painting a foreground picture. He appears to have been by nature or by inclination long-sighted, and he is never so happy as when painting distance, either along the banks of a river or looking out to sea. This extended gaze taught him something of atmosphere that few painters beside himself ever acquired, and helped him to the mastery of tone which appears to have influenced so many of his followers, as for example Van de Velde in the painting of sea-pieces.

JAN WYNANTS, born at Haarlem about 1620, and still living in 1677, was the first master who applied all the developed qualities of the Dutch School to the treatment of landscape painting. In general his prevailing tone is clear and bright, more especially in the green of his trees and plants, which in many cases, merges into blue. One of his characteristics is a fallen tree trunk in the foreground, as may be seen in three out of the six examples in the National Gallery. The carefulness of his execution explains how it was that in so long a life he only produced a moderate number of pictures. Smith's catalogue contains about 214. These differ much according to their different periods. In his first manner peasants' cottages or ruins play an important part, and the view is more or less shut in by trees of a heavy dark green, the execution solid and careful. In his middle time he generally paints open views of a rather uneven country, diversified by wood and water. That Wynants retained his full skill even in advanced life is proved by a picture dated 1672, in the Munich Gallery, representing a road leading to a fenced wood and a sandhill, near which in the foreground are some cows (by Lingelbach) being driven along. In his last manner a heavy uniformly brown tone is often observable.

It is his genuine feeling for nature that makes Wynant's pictures so popular in England, where we meet with a considerable number of his best works.

JACOB RUISDAEL (born at Haarlem 1628, died there 1682) is supposed to have developed under the influence of a school there that was opposing Van Goyen's tone treatment by local colour. Though not always the most charming, Ruisdael is certainly the greatest and the most profound of the Dutch landscape painters. His wide expanses of sky, earth or sea, with their tender gradations of aerial perspective, diversified here and there by alternations of sunshine and shadow, attract us as much by the pathos as by the picturesqueness of their character. His scenes of mountainous districts with foaming waterfalls; or bare piles of rock and sombre lakes are imbued with a feeling of melancholy. Ruisdael's work may be well studied in the six examples at Hertford House, and the fourteen in the National Gallery. Among his finer works in Continental collections the following are some of those selected by Kugler for description. At the Hague is one of his wide expanses--a view of the country around Haarlem, the town itself looking small on the horizon, under a lofty expanse of cloudy sky in the foreground a bleaching-ground and some houses reminding us, by the manner in which they are introduced, of Hobbema. The prevailing tone is cool, the sky singularly beautiful, and the execution wonderfully delicate. A flat country with a road leading to a village, and fields with wheatsheaves, is in the Dresden Gallery. This is temperate in colouring and beautifully lighted.

Equally fine is an extensive view over a hilly but bare country, through which a river runs; in the Louvre. The horseman and beggar on a bridge are by Wouvermans: here the grey-greenish harmony of the tone is in fine accordance with the poetic grandeur of the subject. A hill covered with oak woods, with a peasant hastening to a hut to escape the gathering shower, is in the Munich Gallery. The golden warmth of the trees and ground, and the contrast between the deep clear chiaroscuro and soft rain-clouds, and the bright gleam of sunshine, render this picture one of the finest by this master.

The peculiar charm which is seen in Holland by the combination of lofty trees and calm water is fully represented in the following works:--_The Chase_; in the Dresden Gallery. Here in the still water in the foreground--through which a stag-hunt (by Adrian van de Velde) is pa.s.sing--clouds, warm with morning sunlight, appear reflected. In this picture, remarkable as it is for size, being 3 ft. 10-1/2 in. high, by 5 ft. 2 in. wide, the sense even of the fresh morning is not without a tinge of gentle melancholy. A n.o.ble wood of oaks, beeches and elms, about the size of the last-mentioned picture, is in the Louvre. In the centre, through an opening in the woods, are seen distant hills. The cattle and figures upon a flooded road are by Berchem. In power, warmth, and treatment, this is also nearly allied to the preceding work. Of his waterfalls, the most remarkable are--A picture at the Hague, which is particularly striking for its warm lighting, and careful execution.

Another with Bentheim Castle, so often repeated by Ruisdael, is at Amsterdam. In the same collection is a landscape, with rocks, woods, and a larger waterfall. This has a grandly poetic character which, with the broad and solid handling, plainly shows the influence of Everdingen. The same remark may be applied to the waterfall, No. 328, in the Munich Gallery. Here the dark, rainy sky, enhances the sublime impression made by the foaming torrent that rushes down the rocky ma.s.ses. Another work worthy to rank with the fore-going is _The Jewish Cemetry_, in the Dresden Gallery: a pallid sunbeam lights up some of the tombstones, between which a torrent impetuously flows.

The _Landscape with Waterfall_ at Hertford House is a good example; the _Landscape with a Farm_ in the same collection is another, though in this the figures and cattle are by Adrian Van der Velde. Ostade and Wouverman are also said to have helped him with his figures, and it is possible that one or other of them ought to have some of the credit for the beautiful _View on the Sh.o.r.e at Scheveningen_ in the National Gallery (No. 1390). The _Landscape with Ruins_ (No. 746) is perhaps the finest of the others there.

WILLEM VAN DE VELDE, the younger, born at Amsterdam 1633, died at Greenwich 1707. His first master was his father, Willem van de Velde the elder, but his princ.i.p.al instructor was Simon de Vlieger. The earlier part of his professional life was spent in Holland, where, besides numerous pictures of the various aspects of marine scenery, he painted several well-known sea-fights in which the Dutch had obtained the victory over the English. He afterwards followed his father to England, where he was greatly patronized by Charles II. and James II. for whom, in turn, he painted the naval victories of the English over the Dutch.

He was also much employed by amateurs of art among the English n.o.bility and gentry. There is no question that Willem van de Velde the younger is the greatest marine painter of the whole Dutch School. His perfect knowledge of lineal and aerial perspective, and the incomparable technique which he inherited from his school, enabled him to represent the sea and the sky with the utmost truth of form, atmosphere and colour, and to enliven the scene with the purest feeling for the picturesque, with the most natural incidents of sea-faring life.

Two of his pictures at Amsterdam are particularly remarkable; representing the English flagship _The Prince Royal_ striking her colours in the fight with the Dutch fleet of 1666; and its companion, four English men-of-war brought in as prizes at the same fight. Here the painter has represented himself in a small boat, from which he actually witnessed the battle. This accounts for the extraordinary truth with which every particular of the scene is rendered in such small pictures, which, combined with their delicate greyish tone, and the mastery of the execution, render them two of his finest works. A view of the city of Amsterdam, dated 1686, taken from the river, is an especially good specimen of his large pictures. It is about 5 ft. high by 10 ft. wide.

The vessels in the river are arranged with great feeling for the picturesque, and the treatment of details is admirable. His greatest successes, however, are in the representation of calm seas, as may be seen in a small picture at Munich. In the centre of the middle distance is a frigate, and in the foreground smaller vessels. The fine silvery tone in which the whole is kept finds a sufficient counter-balance of colour in the yellowish sun-lit clouds, and in the brownish vessels and their sails. Nothing can be more exquisite than the tender reflections of these in the water. Of almost similar beauty is a picture of about the same size, with four vessels, in the Ca.s.sel Gallery, which is signed and dated 1653. As a contrast to this cla.s.s of works, may be mentioned _The Gathering Tempest_, in the Munich Gallery. This is brilliantly lighted, and of great delicacy of tone in the distance, though the foreground has somewhat darkened.

MEINDERT HOBBEMA (1638-1709) was a friend as well as a pupil of Jacob Ruisdael. The fact that such distinguished painters as Adrian van de Velde, Wouvermans, Berchem, and Lingelbach, executed the figures and animals in his pictures proves the esteem in which he was held by his contemporaries; nevertheless it is evident that the public was slow in conceding to him the rank which he deserved, for his name is not found for more than a century after his death in any even of the most elaborate dictionaries of art, while the catalogues of the most important picture sales in Holland make no mention of him at all up to the year 1739; when a picture by him, although much extolled, was sold for only 71 florins, and even in 1768 one of his masterpieces only fetched 300 florins. The English were the first to discover his merits.

The peculiar characteristics of this master, who next to Ruisdael, is confessedly at the head of landscape painters of the Dutch School, will be best appreciated by comparing him with his rival. In two most important qualities--fertility of inventive genius, and poetry of feeling--he is decidedly inferior: the range of his subjects being far narrower. His most frequent scenes are villages surrounded by trees, such as are frequently met with in the districts of Guelderland, with winding pathways leading from house to house. A water-mill occasionally forms a prominent feature. Often, too, he represents a slightly uneven country, diversified by groups or rows of trees, wheat-fields, meadows, and small pools. Occasionally he gives us a view of part of a town, with its gates, ca.n.a.ls with sluices, and quays with houses; more rarely, the ruins of an old castle, with an extensive view of a flat country, or some stately residence. In the composition of all these pictures, however, we do not find that elevated and picturesque taste which characterises Ruisdael; on the contrary they have a thoroughly portrait-like appearance, decidedly prosaic, but always surprizingly truthful. The greater number of Hobbema's pictures are as much characterized by a warm and golden tone as those of Ruisdael by the reverse; his greens being yellowish in the lights and brownish in the shadows--both of singular transparency. In pictures of this kind the influence of Rembrandt is perhaps perceptible, and they are superior in brilliancy to any work by Ruisdael. While these works chiefly present us with the season of harvest and sunset-light, there are others in a cool, silvery, morning lighting, and with the bright green of spring, that surpa.s.s Ruisdael's in clearness. His woods also, owing to the various lights that fall on them, are of greater transparency.

As almost all the galleries on the Continent were formed at a period when the works of Hobbema were little prized (Ticcozzi's _Dictionary_, in 1818, does not include his name), they either possess no specimens, or some of an inferior cla.s.s, so that no adequate idea can be formed of him. The most characteristic example to be met with on the Continent is a landscape in the Berlin Museum, No. 886, an oak wood, with scattered lights, a calm piece of water in the foreground, and a sun-lit village in the distance. Of the eight pictures in the National Gallery from his hand, most are good, and one world-famous--_The Avenue, Middelharnis_, which may be called his masterpiece. This was painted in 1689, when he had reached the age of fifty. His diploma picture, painted in 1663, is at Hertford House, together with four other interesting examples, all of which repay careful study.

GERMAN SCHOOLS

The origins of the German Schools of painting are obscure, but it is fairly certain that Cologne was the first place in which the art was soonest established to any considerable extent. Here, as in the Netherlands, we cannot find any traces of immediate Italian influences.

The first painter who can be identified with any certainty is WILHELM VON HERLE, called MEISTER WILHELM, whose activity is not traceable earlier than about 1358. Most of the pictures formerly attributed to him have, however, been a.s.signed to his pupil HERMANN WYNRICH VON WESEL, who on the death of his master in 1378 married his widow and continued his practice, until his death somewhere about 1414. His most important works were six panels of the High Altar of the Cathedral, the so-called _Madonna of the Pea Blossoms_ and two _Crucifixions_ at Cologne, and the _S. Veronica_ at Munich, dated 1410.

More important was STEPHEN LOCHNER, who died at Cologne in 1451. His influence was widespread and his school apparently numerous, until, in 1450, Roger van der Weyden, returning from Italy, stopped at Cologne and painted his large triptych, which eclipsed Lochner. From this time onwards the school of Cologne is represented by painters whose names are not known, and who are accordingly distinguished by the subjects of their works; such as _The Master of the Glorification of the Virgin_, _The Master of S. Bartholomew_, etc., until we come to Bartel Bruyn (_c._ 1493-1553), a portrait painter who is represented at Berlin, and by a picture of Dr Fuchsius bequeathed to the National Gallery by George Salting.

In other parts of Germany, particularly in Nuremberg, Ulm, Augsburg, and Basle, various names of painters of the latter half of the fourteenth century have survived, but their works are of little interest except to the connoisseur as showing the influence under which the two great artists of the sixteenth century, Albert Durer and Hans Holbein, and one or two lesser lights like Lucas Cranach, Albert Altdorfer, and Adam Elsheimer, were formed.

In Germany the taste for the fantastic in art peculiar to the Middle Ages, though it engendered clever and spirited works such as those of Quentin Ma.s.sys and Lucas van Leyden, was still unfavourable to the cultivation of pure beauty, scenes from the Apocalypse, Dances of Death, etc., being among the favourite subjects for art. On the other hand, the pictorial treatment of antique literature, a world so suggestive of beautiful forms, was so little comprehended by the German mind that they only sought to express it through the medium of those fantastic ideas with very childish and even tasteless results. We must also remember that that average education of the various cla.s.ses of society which the fine arts require for their protection stood on a very low footing in Germany. In Italy the favour with which works of art was regarded was far more widely extended. This again gave rise to a more elevated personal position on the part of the artist, which in Italy was not only one of more consideration, but of incomparably greater independence. In this latter respect Germany was so

[Ill.u.s.tration: PLATE x.x.xII.

"THE MASTER OF ST BARTHOLOMEW"

TWO SAINTS

_National Gallery, London_]

deficient that the genius of Albert Durer and Holbein was miserably cramped and hindered in development by the poverty and littleness of surrounding circ.u.mstances. It is known that of all the German princes no one but the Elector Frederick the Wise ever gave Albert Durer a commission for pictures, while a writing addressed by the great painter to the magistracy of Nuremberg tells us that his native city never gave him employment even to the value of 500 florins. At the same time his pictures were so meanly paid, that for the means of subsistence, as he says himself, he was compelled to devote himself to engraving. How far more such a man as Durer would have been appreciated in Italy or in the Netherlands is further evidenced in the above-mentioned writing, where he states that he was offered 200 ducats a year in Venice and 300 Philips-gulden in Antwerp, if he would settle in either of those cities.

And Holbein fared still worse: there is no evidence whatever that any German prince ever troubled himself at all about the great painter while at Basle, and his art was so little cared for that necessity compelled him to go to England, where a genius fitted for the highest undertakings of historical painting was limited to the sphere of portraiture. The crowning impediments finally, which hindered the progress of German art, and perverted it from its true aim, were the Reformation, which narrowed the sphere of ecclesiastical works, and the pernicious imitation of the great Italian masters which ensued.

LUCAS CRANACH, born in 1472, received his first instructions in art from his father, his later teaching probably from Matthew Grunewald. In some instances he attained to the expression of dignity, earnestness and feeling, but generally his characteristics are a nave and childlike cheerfulness and a gentle and almost timid grace. The impression produced by his style of representation reminds one of the "Volksbucher"

and "Volkslieder." Many of his church pictures have a very peculiar significance: in these he stands forth properly speaking as the painter of the Reformation. Intimate both with Luther and Melanchthon, he seizes on the central aim of their doctrine, viz., the insufficiency of good works and the sole efficacy of faith. His mythological subjects appeal directly to the eye like real portraits; and sometimes also by means of a certain grace and navete of motive. We may cite as an instance the Diana seated on a stag in a small picture at Berlin, No. 564. _The Fountain of Youth_, also at Berlin, No. 593, is a picture of peculiar character; a large basin surrounded by steps and with a richly adorned fountain forms the centre. On one side, where the country is stony and barren, a mult.i.tude of old women are dragged forward on horses, waggons or carriages, and with much trouble are got into the water. On the other side of the fountain they appear as young maidens splashing about and amusing themselves with all kinds of playful mischief; close by is a large pavilion into which a herald courteously invites them to enter and where they are arrayed in costly apparel. A feast is prepared in a smiling meadow, which seems to be followed by a dance; the gay crowd loses itself in a neighbouring grove. The men unfortunately have not become young, and retain their grey beards. The picture is of the year 1546, the seventy-fourth of Cranach's age.

ALBERT ALTDORFER was born 1488 at Altdorf, near Landshuth, in Bavaria, and settled at Ratisbon, where he died 1528. He invested the fantastic tendency of the time with a poetic feeling--especially in landscape--and he developed it so as to attain a perfection in this sort of romantic painting that no other artist had reached. In his later period he was strongly influenced by Italian art. Altdorfer's princ.i.p.al work is in the Munich Gallery, and is thus described by Schlegel:--

"It represents the Victory of Alexander the Great over Darius; the costume is that of the artist's own day, as it would be treated in the chivalrous poems of the middle ages--man and horse are sheathed in plate and mail, with surcoats of gold or embroidery; the chamfrons upon the heads of the horses, the glittering lances and stirrups, and the variety of the weapons, form altogether a scene of indescribable splendour and richness.... It is, in truth, a little world on a few square feet of canvas; the hosts of combatants who advance on all sides against each other are innumerable, and the view into the background appears interminable. In the distance is the ocean, with high rocks and a rugged island between them; ships of war appear in the offing and a whole fleet of vessels--on the left the moon is setting--on the right the sun rising--both shining through the opening clouds--a clear and striking image of the events represented. The armies are arranged in rank and column without the strange att.i.tudes, contrasts, and distortions generally exhibited in so-called battle-pieces. How indeed would this have been possible with such a vast mult.i.tude of figures? The whole is in the plain and severe, or it may be the stiff manner of the old style.

At the same time the character and execution of these little figures is most masterly and profound. And what variety, what expression there is, not merely in the character of the single warriors and knights, but in the hosts themselves! Here crowds of black archers rush down troop after troop from the mountain with the rage of a foaming torrent; on the other side high upon the rocks in the far distance a scattered crowd of flying men are turning round in a defile. The point of the greatest interest stands out brilliantly from the centre of the whole--Alexander and Darius both in armour of burnished gold; Alexander on Bucephalus with his lance in rest advances before his men and presses on the flying Darius, whose charioteer has already fallen on his white horses, and who looks back upon his conqueror with all the despair of a vanquished monarch."

ALBERT DuRER (1471-1528), by his overpowering genius, may be called the sole representative of German art of his period. He was gifted with a power of conception which traced nature through all her finest shades, and with a lively sense, as well for the solemn and the sublime, as for simple grace and tenderness; above all, he had an earnest and truthful feeling in art united with a capacity for the most earnest study. These qualities were sufficient to place him by the side of the greatest artists whom the world has ever seen.

One of the earliest portraits by Albert Durer known to us is that of his father, Albert Durer, the goldsmith, dated 1497, in our National Gallery. In the year 1644, another version of this picture, which was engraved by Hollar, was in the collection of the Earl of Arundel, and is now in that of the Duke of Northumberland, at Syon House. Of about the same time--that is to say, before 1500--are the portraits of Oswald Krell, at Munich, of Frederick the Wise, at Berlin, and of himself, at the Prado.

Several of Albert Durer's pictures of the year 1500 are known to us. The first and most important is his own portrait in the Munich Gallery, which represents him full face with his hand laid on the fur tr.i.m.m.i.n.g of his robe.

His finest picture of the year 1504 is an _Adoration of the Kings_, originally painted for Frederick the Wise, Elector of Saxony, subsequently presented by the Elector Christian II. to the Emperor Rudolph II., and finally, on the occasion of an exchange of pictures, transferred from Vienna to Florence, where it now hangs in the Tribune of the Uffizi. The heads are of thoroughly realistic treatment; the Virgin a portrait from some model of no attractive character; the second King a portrait of the painter himself. The landscape background exactly resembles that in the well-known engraving of S. Eustace, the period of which is thus pretty nearly defined. It is carefully painted in a fine body of colour.

In 1505 Durer made a second journey into Upper Italy, and remained a considerable time at Venice. Of his occupations in this city the letters written to his friend Wilibald Pirckheimer which have come down to us give many interesting particulars. He there executed for the German Company a picture known as _The Feast of Rose Garlands_, which brought him great fame, and by its brilliant colouring silenced the a.s.sertion of his envious adversaries "that he was a good engraver, but knew not how to deal with colours." In the centre of a landscape is the Virgin seated with the Child and crowned by two angels; on her right is a Pope with priests kneeling; on her left the Emperor Maximilian I. with knights; various members of the German Company are also kneeling; all are being crowned with garlands of roses by the Virgin, the Child, S.

Dominick--who stands behind the Virgin--and by angels. The painter and his friend Pirckheimer are seen standing in the background on the right; the painter holds a tablet with the inscription, "Albertus Durer Germa.n.u.s, MDVI." This picture, which is one of his largest and finest, was purchased from the church at a high price by the Emperor Rudolph II.

for his gallery at Prague, where it remained until sold in 1782 by the Emperor Joseph II. It then became the property of the Praemonstratensian monastery of Stratow at Prague, where it still exists, though in very injured condition and greatly over-painted. In the Imperial Gallery at Vienna may be seen an old copy which conveys a better idea of the picture than the original.

With these productions begins the zenith of this master's fame, in which a great number of works follow one another within a short period. Of these we first notice a picture of 1508, in the Imperial Gallery at Vienna, painted for Duke Frederick of Saxony, and which afterwards adorned the gallery of the Emperor Rudolph II. It represents _The Martyrdom of the Ten Thousand Saints_. In the centre of the picture stand the master and his friend Pirckheimer as spectators, both in black dresses. Durer has a mantle thrown over his shoulder in the Italian fashion, and stands in a firm att.i.tude. He folds his hands and holds a small flag, on which is inscribed, "Iste faciebat anno domini 1508 Albertus Durer Alema.n.u.s." There are a mult.i.tude of single groups exhibiting every species of martyrdom, but there is a want of general connection of the whole. The scenes in the background, where the Christians are led naked up the rocks, and are precipitated down from the top, are particularly excellent. The whole is very minute and miniature-like; the colouring is beautifully brilliant, and it is painted (the accessories particularly) with extraordinary care.

To 1511 belongs also one of his most celebrated pictures, _The Adoration of the Trinity_, which is also at Vienna, painted for the chapel of the Landauer Bruderhaus in Nuremberg. Above in the centre of the picture are seen the First Person, who holds the Saviour in his arms, while the Holy Spirit is seen above; some angels spread out the priestly mantle of the Almighty, whilst others hover near with the instruments of Christ's pa.s.sion. On the left hand a little lower down is a choir of females with the Virgin at their head; on the right are the male saints with St John the Baptist. Below all these kneel a host of the blessed of all ranks and nations extending over the whole of this part of the picture.

Underneath the whole is a beautiful landscape, and in a corner of the picture the artist himself richly clothed in a fur mantle, with a tablet next him with the words, "Albertus Durer Noricus faciebat anno a Virginis partu, 1511." It may be a.s.sumed beyond doubt that he held in particular esteem those pictures into which he introduced his own portrait.

In the Vienna Gallery is also a picture of the year 1512, the Virgin holding the naked Child in her arms. She has a veil over her head and blue drapery. Her face is of the form usual with Albert Durer, but of a soft and maidenly character; the Child is beautiful--the countenance particularly so. It is painted with exceeding delicacy of finish.

Two altar-pieces of his earliest period must be mentioned. One is in the Dresden Gallery, consisting of three pictures painted in tempera on canvas, representing the Virgin, S. Anthony, and S. Sebastian respectively. Although this is probably one of his very earliest works, it is remarkable for the novelty of its treatment and its independence of tradition.

The other, a little later, is in the Munich Gallery (Nos. 240-3), painted at the request of the Paumgartner family, for S. Catherine's Church at Nuremberg, was brought to Munich in 1612 by Maximilian I. The subject of the middle picture is the Nativity; the Child is in the centre, surrounded by little angels, whilst the Virgin and Joseph kneel at the side. The wings contain portraits of the two donors under the form of S. George and S. Eustace represented as knights in steel armour, each with his standard, and the former holding the slain dragon.

The year 1526 was distinguished by the two pictures of the four Apostles: John and Peter, Mark and Paul; the figures are the size of life. These, which are the master's grandest work, and the last of importance executed by him, are now in the Munich Gallery. We know with certainty that they were presented by Albert Durer himself to the council of his native city in remembrance of his career as an artist, and at the same time as conveying to his fellow-citizens an earnest and lasting exhortation suited to that stormy period. In the year 1627, however, the pictures were allowed to pa.s.s into the hands of the Elector Maximilian I. of Bavaria. The inscriptions selected by the painter himself might have given offence to a Catholic prince, and were therefore cut off and joined to the copies by John Fischer, which were intended to indemnify the city of Nuremberg for the loss of the originals. These copies are still in the collection of the Landauer Bruderhaus at Nuremberg.

These pictures are the fruit of the deepest thought which then stirred the mind of Albert Durer, and are executed with overpowering force.

Finished as they are, they form the first complete work of art produced by Protestantism. As the inscription taken from the Gospels and Epistles of the Apostles contains pressing warnings not to swerve from the word of G.o.d, nor to believe in the doctrines of false prophets, so the figures themselves represent the steadfast and faithful guardians of that holy Scripture which they bear in their hands. There is also an old tradition, handed down from the master's own times, that these figures represent the four temperaments. This is confirmed by the pictures themselves; and though at first sight it may appear to rest on a mere accidental combination, it serves to carry out more completely the artist's thought, and gives to the figures greater individuality. It shows how every quality of the human mind may be called into the service of the Divine Word. Thus in the first picture, we see the whole force of the mind absorbed in contemplation, and we are taught that true watchfulness in behalf of the Scripture must begin by devotion to its study.

S. John stands in front, the open book in his hand; his high forehead and his whole countenance bear the impress of earnest and deep thought.

This is the melancholic temperament, which does not shrink from the most profound inquiry. Behind him S. Peter bends over the book, and gazes earnestly at its contents--a h.o.a.ry head, full of meditative repose. This figure represents the phlegmatic temperament, which reviews its own thoughts in tranquil reflection. The second picture shows the outward operation of the conviction thus attained and its relation to daily life. S. Mark in the background is the man of sanguine temperament; he looks boldly round, and appears to speak to his hearers with animation, earnestly urging them to share those advantages which he has himself derived from the Holy Scriptures. S. Paul, on the contrary, in the foreground, holds the book and sword in his hands; he looks angrily and severely over his shoulder, ready to defend the Word, and to annihilate the blasphemer with the sword of G.o.d's power. He is the representative of the choleric temperament.

We know of no important work of a later date than that just described.

His portrait in a woodcut of the year 1527 represents him earnest and serious in demeanour, as would naturally follow from his advancing age and the pressure of eventful times. His head is no longer adorned with those richly flowing locks, on which in his earlier days he had set so high a value, as we learn from his pictures and from jests still recorded of him. With the departure of Hans Holbein to England in 1528 and the death of Albert Durer in the same year, that excellence to which they had raised German art pa.s.sed away, and centuries saw no sign of its revival.

Of HANS HOLBEIN, born at Augsburg in 1498, we shall have more to say in a later chapter, when considering the origins of English portraiture.