Zypro Gorgy Dectorum 10

With Duerer and Holbein German art reached its apogee in the first half of the sixteenth century, yet their work was not different in spirit from that of their predecessors. Painting simply developed and became forceful and expressive technically without abandoning its early character. There is in Duerer a naive awkwardness of figure, some angularity of line, strain of pose, and in composition oftentimes huddling and overloading of the scene with details. There is not that largeness which seemed native to his Italian contemporaries. He was hampered by that German exactness, which found its best expression in engraving, and which, though unsuited to painting, nevertheless crept into it. Within these limitations Duerer produced the typical art of Germany in the Renaissance time--an art more attractive for the charm and beauty of its parts than for its unity, or its general impression. Duerer was a travelled man, visited Italy and the Netherlands, and, though he always remained a German in art, yet he picked up some Italian methods from Bellini and Mantegna that are faintly apparent in some of his works. In subject he was almost exclusively religious, painting the altar-piece with infinite care upon wooden panel, canvas, or parchment. He never worked in fresco, preferring oil and tempera. In drawing he was often harsh and faulty, in draperies cramped at times, and then, again, as in the Apostle panels at Munich, very broad, and effective. Many of his pictures show a hard, dry brush, and a few, again, are so free and mellow that they look as though done by another hand. He was usually minute in detail, especially in such features as hair, cloth, flesh. His portraits were uneven and not his best productions. He was too close a scrutinizer of the part and not enough of an observer of the whole for good portraiture. Indeed, that is the criticism to be made upon all his work. He was an exquisite realist of certain features, but not always of the _ensemble_. Nevertheless he holds first rank in the German art of the Renaissance, not only on account of his technical ability, but also because of his imagination, sincerity, and striking originality.

So far as law and religion will not account for the varieties of social behaviour, the novice may most conveniently consider them under the head of morals. The forms of social intercourse, the fashions, the festivities, are imposed on us by our fellows from without, and none the less effectively because as a general rule we fall in with them as a matter of course. The difference between manners and morals of the higher order is due simply to the more pressing need, in the case of our most serious duties, of a reflective sanction, a "moral sense," to break us in to the common service. It is no easy task to keep legal and religious penalties or rewards out of the reckoning, when trying to frame an estimate of what the notions of right and wrong, prevalent in a given society, amount to in themselves; nevertheless, it is worth doing, and valuable collections of material exist to aid the work. The facts about education, which even amongst rude peoples is often carried on far into manhood, throw much light on this problem. So do the moralizings embodied the traditional lore of the folk--the proverbs, the beast-fables, the stories of heroes.

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