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Zypro Gorgy Dectorum 22
Page 10
We turn from Empedocles, which perhaps it is scarcely fair to have criticised, to the first poem in the latest edition, "Sohrab and Rustum," (Poems. By Matthew Arnold. A New Edition, London: 1853.) a poem which alone would have settled the position which Mr. Arnold has a right to claim as a poet, and which is remarkable for its success in every point in which Empedocles appears deficient. The story comes down out of remote Persian antiquity; it is as old, perhaps it is older, than the tale of Troy; and, like all old stories which have survived the changes of so long a time, is in itself of singular interest. Rustum, the Hercules of the East, fell in with and loved a beautiful Tartar woman. He left her, and she saw him no more; but in time a child was born, who grew up with the princes of his mother's tribe, and became in early youth distinguished in all manly graces and noblenesses. Learning that he was the son of the great Rustum, his object is to find his father, and induce him, by some gallant action, to acknowledge and receive him. War breaks out between the Tartars and the Persians.
Lucas Cranach (1472-1553) was a Franconian master, who settled in Saxony and was successively court-painter to three Electors and the leader of a small local school there. He, perhaps, studied under Gruenewald, but was so positive a character that he showed no strong school influence. His work was fantastic, odd in conception and execution, sometimes ludicrous, and always archaic-looking. His type was rather strained in proportions, not always well drawn, but graceful even when not truthful. This type was carried into all his works, and finally became a mannerism with him. In subject he was religious, mythological, romantic, pastoral, with a preference for the nude figure. In coloring he was at first golden, then brown, and finally cold and sombre. The lack of aerial perspective and shadow masses gave his work a queer look, and he was never much of a brushman. His pictures were typical of the time and country, and for that and for their strong individuality they are ranked among the most interesting paintings of the German school. Perhaps his most satisfactory works are his portraits. Lucas Cranach the Younger (1515-1586) was the best of the elder Cranach's pupils. Many of his pictures are attributed to his father. He followed the elder closely, but was a weaker man, with a smoother brush and a more rosy color. Though there were many pupils the school did not go beyond the Cranach family. It began with the father and died with the son.
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