Masters of Art - Albrecht Dürer

by Dürer, Albrecht

  In 1515 “Rafahel de’ Urbin, who is held in such high esteem by the Pope, he made these naked figures and sent them to Albrecht Dürer at Nuremberg to show him his hand.” This shows us that travellers through Nuremberg sometimes brought with them something of the breath of the great Renaissance in Italy. The drawing, which bears the above inscription in Dürer’s own handwriting on the back, is a fine one in red sanguine, representing the same male model in two different poses, in the Albertina. Raphael had, we are told by Lodovico Dolce, drawings, engravings, and woodcuts of Dürer’s hanging in his studio; and Vasari tells us he said: “If Dürer had been acquainted with the antique he would have surpassed us all.” The Nuremberg master, in return for the drawing, sent a portrait of himself to Raphael, which has unfortunately been lost. There appears to have been quite a rage for Dürer’s work in Italy, and above all at Rome: we know that it provoked Michael Angelo to remonstrate; probably on many lips it was merely a vaunt of superior knowledge or taste, as rapture over the conjectural friends or aids of a great quatrocentist is to-day. The tokens of esteem which he won from distinguished travellers, and this drawing which reached him testifying to the interest and friendship felt for him by the Italian whose fame was most widespread, must have been full of encouragement, and have compensated in some measure for the feeling he had that he was only a hanger-on at Nuremberg, though he might still have been “a gentleman” in Venice. Yet Nuremberg itself furnished many desirable or notable acquaintances. There was Dürer’s neighbour, the jurist, Lazarus Spengler; later the most prominent reformer in Nuremberg, who in 1520 dedicated to him his “Exhortation and Instruction towards the leading of a virtuous life,” addressing him as “his particular and confidential friend and brother,” whom he considers, “without any flattery, to be a man of understanding, inclined to honesty and every virtue, who has often in our daily familiar intercourse been to me in no common degree a pattern and an example to a more circumspect way of life;” whom, finally, he asks to improve his little book to the best of his ability. Dürer had before this rendered him service in designing his coat of arms for a woodcut and furnishing a frontispiece to his translation of Eusebius’ “Life of St. Jerome.” He was, moreover, a poet, author of “an often-translated song”; he wrote verses to discourage Dürer from spending his time in producing the doggerel rhymes which at one time he was moved to attempt, — framing poems of didactic import, and publishing one or two on separate sheets with a woodcut at the top, in spite of the inappreciative reception given to them by Spengler and Pirkheimer. Besides Spengler, there were “Christopher Kress, a soldier, a traveller, and a town councillor;” and Caspar Nützel, of one of the oldest families, and Captain-general of the town bands. Both of these went with Dürer to the Diet at Augsburg in 1518. The martial Paumgartners were two brothers for whom Dürer painted the early triptych at Munich (see page 204). One of them is supposed to figure as St. George in the All Saints picture. Lastly, there were the Imhoffs, the merchant princes of Nuremberg, as the Fuggers were at Augsburg. A son of the family married Felicitas, Pirkheimer’s favourite daughter, in 1515, and Dürer stood godfather to their little Hieronymus in 1518. It is easy to imagine that there was many a supper and dinner, when a thousand strange subjects were even more strangely discussed; when Pirkheimer now made them roar with a hazardous joke, or again dumbfounded them with Greek quotations pompously done into German, or made their flesh creep and the superstitions of their race stir in them by mysteriously enlarging on his astrological lore, — for to his many weaknesses he added this, which was then scarcely recognised as one.

  VII

  In spite of all his wealthy and influential friends, Dürer found it difficult to get the emperor to indemnify him for his labours, though the Town Council had received a royal mandate as early as 1512 from Landau. The following is an extract:

  Whereas our and the Empire’s trusty Albrecht Dürer has devoted much zeal to the drawings he has made for us at our command, and has promised henceforth ever to do the like, whereat we have received particular pleasure; and whereas we are informed on all hands that the said Dürer is famous in the art of painting before all other Masters: we have therefore felt ourself moved, to further him with our especial grace, and we accordingly desire you with earnest solicitude, for the affection you bear us, to make the said Dürer free of all town imposts, having regard to our grace and to his famous art, which should fairly turn to his profit with you, &c.

  The town councillors sent some of their principal members to treat with Dürer, and he resigned his claim “in order to honour the said councillors and to maintain their privileges, usages, and rights.” In 1515 the drawings for the “Gate of Honour” were finished, and Dürer began to press again for pay. Stabius had promised to speak for him, but nothing had come of it. Albrecht thought Christoph Kress could be of more avail; so he wrote to him:

  (No date, but certainly 1515). DEAR HERR KRESS, The first thing I have to ask you is to find out from Herr Stabius whether he has done anything in my business with his Imperial Majesty, and how it stands. Let me know this in the next letter you write to my Lords. Should it happen that Herr Stabius has made no move in the matter, ... Point out in particular to his Imperial Majesty that I have served his Majesty for three years, spending my own money in so doing, and if I had not been diligent the ornamental work would have been nowise so successfully finished. I therefore pray his Imperial Majesty to recompense me with the 100 florins — all which you know well how to do. You must know also that I made many other drawings for his Majesty besides the “Triumph.”

  Not long after this, Maximilian, by a Privilegium (dated Innsbruck, September 6, 1515), settled an annual pension of 100 florins on the artist.

  We Maximilian, by God’s grace, &c., make openly known by this letter for ourself and our successors in the Empire, and to each and every one to wit, that we have regarded and considered the art, skill, and intelligence for which our and the Empire’s trusty and well-beloved Albrecht Dürer has been praised before us, and likewise the pleasing, honest and useful services which he has often and willingly done for us and the Holy Empire and also for our own person in many ways, and which he still daily does and henceforward may and shall do: and that we therefore, of set purpose, after mature deliberation, and with the full knowledge of ourself and the Princes and Estates of the Empire, have graciously promised and granted to this same Dürer what we herewith and by virtue of this letter make known:

  That is to say, that one hundred florins Rhenish shall be yielded, given, and paid by the honourable, our and the Empire’s trusty and well-beloved Burgomaster and Council of the town of Nürnberg and their successors unto the said Albrecht Dürer, against his quittance, all his life long and no longer, yearly and in every year, on our behalf, out of the customary town contributions which the said Burgomaster and Council of the town of Nürnberg are bound to yield and pay, yearly and in every year, into our Treasury. And whatever the said Burgomaster and Council of the town of Nürnberg and their successors shall yield, give, and pay to the said Albrecht Dürer, as stands written above, against his quittance, the same sum shall be accepted and reckoned to them as paid and yielded for the customary town contributions which they, as stands written above, are bound to pay into our Treasury, as if they had paid the same into our own hands and received our quittance therefor, and no harm or detriment shall in anywise be done therefor unto them or their successors by us or our successors in the Empire. Whereof this letter, sealed with our affixed seal, is witness.

  Given, &c.

  Thus Dürer became Court painter: in return for his salary he had to work. As soon as the “Gate of Honour” was finished, there was the “Car of Triumph” to be taken in hand, the first sketch for it (now in the Albertina) having already been made about 1514-15. In December 1514 Schönsperger, the Augsburg printer, printed a splendid “Book of Hours” for Maximilian. The type was specially made for the book, and only a few copies were printed, some on fine vellum with large margin
s. One copy which Maximilian intended for his own use was sent to Dürer that he might decorate the margins with pen-drawings in various coloured inks. Of this work there exist forty-three pages by Dürer himself and eight by Cranach at Munich, and at Besançon thirty-five pages by Burgkmair, Altdorfer, Baldung Grien, and Hans Dürer. Marvellously deft and light-handed as are Dürer’s freehand arabesques, embellished by racy sketches of which these borders consist, they are nevertheless touched with a like unsatisfactory character with the other works undertaken for Maximilian, and are almost as far removed from the spirit and performance of the best period for this kind of work, as is the Triumphal Arch from that of Titus.

  Dürer was also employed on another woodcut representing a long row of saintly ancestors of this eccentric sovereign. He accompanied Caspar Nützel and Lazarus Spengler, the representatives of Nuremberg, to the Diet of Augsburg, and there made some drawings of his royal patron, on one of which is written, “This is my dear Prince Max, whom I, Albrecht Dürer, drew at Augsburg in his little room upstairs in the palace, in the year 1518, on the Monday after St. John the Baptist’s day.” (See opposite.) And Melanchthon narrates that “once Max himself took the charcoal in hand to make his mind clear to his trusty Albert, and was vexed to find that the charcoal kept breaking short in his hand when Dürer said; ‘Most gracious emperor, I would not that your Majesty should draw so well as I do!’ by which he meant, ‘I am practised in this, and it is my province; thou, Emperor, hast harder tasks and another calling.’”

  [Illustration: By permission of Messrs. Braun, Clément & Co. Dornach.— “This is the Emperor Maximilian, whose likeness I, Albrecht Dürer, have taken, at Augsburg, high up in the palace in his little chamber, in the year of Grace 1518, on Monday after St. John the Baptist’s Day” Charcoal-Drawing. Albertina, Vienna]

  VIII

  A charming letter from Charitas Pirkheimer gives us a little sunlit glimpse of the tone of Dürer’s lighter hours.

  The prudent and wise Masters Caspar Nützel, Lazarus Spengler, and Albrecht Dürer, for the time being at Augsburg, our gracious Masters and good friends.

  Jesus.

  As a friendly greeting, prudent, wise, gracious Masters and especially good friends, cousins, and wellwishers, I desire every good thing for you, from the Highest Good. I received with great pleasure your friendly letter and its news of a kind suited to my order, or rather my trade; and I read it with such great devotion that more than once tears ran down my eyes over it — truly rather tears of laughter than of sorrow. I consider it a subject for great thankfulness that, with such important business and so much gaiety on hand, your Wisdoms do not forget me, but find time to instruct me, poor little nun, about the monastic life whereof you now have a clear reflection before your eyes. I conclude from this that doubtless some good spirit drove you, my gracious and dear Masters, to Augsburg, so that you might learn from the example of the free Swabian spirits how to instruct and govern the poor imprisoned sand-bares.

  For since our trusty Master Warden (Caspar Nützel), as a lover of the Church, likes to help in a thorough reformation, he should first behold a pattern of holy observance in the Swabian League. Let Master Lazarus Spengler, too, inform himself well about the apostolic mode of common life, so that at the annual audit he may be able to give us and others counsel and guidance, how we may run through everything, that nought remain over. And Master Albrecht Dürer, also, who is such a genius and master at drawing, he may very carefully inspect the stately buildings, and then if some day we want to alter our choir he will know how to give us advice and help in making ample slide-windows (? blinds), so that our eyes may not be quite blinded.

  I shall not further trouble you, however, to bring us music to learn to sing by notes, for our beer is now so very sour that I fear the dregs might stick fast among the four reeds or voices, and produce such strange sounds that the dogs would fly out of the church. But I must humbly pray you not quite to wear out your eyes over the black and white magpies, so as no longer to know the little grey wolves at Nürnberg. I have heard much of the sharp-witted Swabians all my life, but it would be well if we learnt more from them, now that they are so wisely labouring with his Imperial Majesty to save the Apostolic life from being done away with. It is easy to see what very different lovers of the Church they are from our Masters here.

  Pardon me, my dear and gracious Masters, this my playful letter. It is all done in caritate — summa summarum; and the end of it is that I should rejoice at your speedy return in health and happiness with the glad accomplishment of the business committed to you. For this I and my sisters heartily pray God day and night; still we cannot carry it through alone, so I counsel you to entreat the pious and pure hearts (of Augsburg) to sing in high quavers that thereby things may speed well. And now many happy times to you!

  Given at Nürnberg on September 3, 1518.

  SISTER CHARITAS, unprofitable Abbess of S. Clara’s at Nürnberg.

  Dürer returned with a letter to the Town Council of Nürnberg, from which the following extract is taken:

  Honourable, trusty, and well-beloved, Whereas you are bound to pay us on next St. Martin’s day year a remainder, to wit 200 florins Rhenish, out of the accustomed town contribution which you are wont to render into our and the Empire’s treasury....We earnestly charge you to deliver and pay the said 200 florins, accepting our quittance therefor, unto our and the Empire’s trusty and well-beloved Albrecht Dürer, our painter, on account of his honest services, willingly rendered to us at our command for our “Car of Triumph” and in other ways; and, at the said time, these 200 florins shall be deducted for you from the accustomed town contribution. Thus you will perform our earnest desire.

  Given, &c.

  Dürer procured a receipt for the 200 florins, signed by the emperor himself. But before “next St. Martin’s day year,” Maximilian was dead, and the 200 florins no longer his to dispose of, being due to the new Emperor Charles V. The municipal authorities of Nürnberg refused to pay until his Privilegium had been confirmed by Maximilian’s successor.

  Dürer wrote the following letter to the Council:

  NÜRNBERG, April 27, 1519.

  Prudent, honourable and wise, gracious, dear Lords. Your Honours are aware that, at the Diet lately holden by his Imperial Roman Majesty, our most gracious lord of very praiseworthy memory, I obtained a gracious assignment from his Imperial Majesty of 200 florins from the yearly payable town contributions of Nürnberg. This assignment was granted to me, after many applications and much trouble, in return for the zealous work and labour, which, for a long time previously, I had devoted to his Majesty. And he sent you order and command to that effect, signed with his accustomed signature, and quittance in all form, which quittance, duly sealed, is in my hands.

  Now I rest humbly confident that your Honours will graciously remember me as your obedient burgher, who has employed much time in the service and work of his Imperial Majesty, our most rightful Lord, with but small recompense, and has thereby lost both profit and advantage in other ways. And therefore I trust that you will now deliver me these 200 florins to his Imperial Majesty’s order and quittance, that so I may receive a fitting reward and satisfaction for my care, pains, and work — as, no doubt, was his Imperial Majesty’s intention.

  But seeing that some Emperor or King might in the future claim these 200 florins from your Honours, or might not be willing to spare them, but might some day demand them back again from me, I am, therefore, willing to relieve your Honours and the town of this chance, by appointing and mortgaging, as security and pledge therefor, my tenement situated at the corner under the Veste, and which belonged to my late father, that so your Honours may suffer neither prejudice nor loss thereby. Thus am I ready to serve your Honours, my gracious rulers and Lords.

  Your Wisdoms’ willing burgher, ALBRECHT DÜRER.

  [Illustration: FREDERICK THE WISE. Silver-point drawing, British Museum.]

  Dürer next wrote “to the honourable, most learned Mast
er Georg Spalatin, Chaplain to my most gracious lord, Duke Friedrich, the Elector” of Saxony.

  The letter is undated, but clearly belongs to the early part of the year 1520.

  Most worthy and dear Master, I have already sent you my thanks in the short letter, for then I had only read your brief note. It was not till afterwards, when the bag in which the little book was wrapped was turned inside out, that I for the first time found the real letter in it, and learnt that it was my most gracious Lord himself who sent me Luther’s little book. So I pray your worthiness to convey most emphatically my humble thanks to his Electoral Grace, and in all humility to beseech his Electoral Grace to take the praiseworthy Dr. Martin Luther under his protection for the sake of Christian truth. For that is of more importance to us than all the power and riches of this world; because all things pass away with time, Truth alone endures for ever.