Albert Dürer
When the late Mr. Arthur Strong asked me to undertake the present volume, I pointed out to him that, to fulfil the advertised programme of the Series he was editing, was more than could be hoped from my attainments. He replied, that in the case of Dürer a book, fulfilling that programme, was not called for, and that what he wished me to attempt, was an appreciation of this great artist in relation to general ideas. I had hoped to benefit very largely by my editor's advice and supervision, but this his illness and death prevented. His great gifts and brilliant accomplishments, already darkened and distressed by disease, were all too soon to be utterly quenched; and I can but here express, not only my sense of personal loss in the hopes which his friendly welcome and generous intercourse had created and which have been so cruelly dashed by the event, but also that of the void which his disappearance has left in the too thin ranks of those who, filled with reverence and enthusiasm for the great traditions of the past, seem nevertheless eager and capable of grappling with the unwieldy present. Let and restricted had been the recognition of his maturing worth, and now we must do without both him and the impetus of his so nearly assured success.
The present volume, then, is not the result of new research; nor is it an abstract resuming historical and critical discoveries on its subject up to date. Of this latter there are several already before the British public; the former, as I said, it was not for me to attempt. Nor do I feel my book to be altogether even what it was intended to be; but am conscious that too much space has been given to the enumeration of Dürer's principal works and the events of his life without either being made exhaustive. Still, I hope that even these parts may be found profitable by those who are not already familiar with the subjects with which they deal. To those for whom these subjects are well known, I should like to point out that Parts I. and IV. and very much of Part III. embody my chief intention; that chapter 1 of Part I. finds a further illustration in division iii. of chapter 4, Part II.; and that division vi., chapter 1, Part II., should be taken as prefatory to chapter 1, Part IV.
T. Sturge Moore
---
ALBERT DÜRER
T. STURGE MOORE
1905
PREFACE
CONTENTS
ILLUSTRATIONS
CONCERNING GENERAL IDEAS IMPORTANT TO THE COMPREHENSION OF DÜRER'S LIFE AND ART
CHAPTER I
THE IDEA OF PROPORTION
I
II
III
IV
CHAPTER II
THE INFLUENCE OF RELIGION ON THE CREATIVE IMPULSE
I
II
III
IV
V
VI
VII
VIII
IX
X
XI
XII
XIII
DÜRER'S LIFE IN RELATION TO THE TIMES IN WHICH HE LIVED
CHAPTER I
DÜRER'S ORIGIN, YOUTH AND EDUCATION
I
II
III
IV
V
VI
VII
VIII
CHAPTER II
THE WORLD IN WHICH HE LIVED
I
II
III
IV
CHAPTER III
DÜRER AT VENICE
I
II
III
IV
V
CHAPTER IV
DÜRER AND HIS PATRONS AND FRIENDS
I
II
III
IV
V
VI
VII
VIII
CHAPTER V
DÜRER, LUTHER AND THE HUMANISTS
I
II
CHAPTER VI
DÜRER'S JOURNEY TO THE NETHERLANDS
I
II
III
CHAPTER VII
DÜRER'S LAST YEARS
I
II
III
IV
V
VI
VII
DÜRER AS A CREATOR
CHAPTER I
DÜRER'S PICTURES
I
II
III
IV
V
VI
VII
CHAPTER II
DÜRER'S PORTRAITS
I
II
III
IV
V
CHAPTER III
DÜRER'S DRAWINGS
I
II
III
IV
V
VI
CHAPTER IV
DÜRER'S METAL ENGRAVINGS
I
II
III
IV
V
CHAPTER V
DÜRER'S WOODCUTS
II
CHAPTER VI
I
II
DÜRER'S IDEAS
CHAPTER I
THE IDEA OF A CANON OF PROPORTION FOR THE HUMAN FIGURE
I
II
III
IV
V
VI
VII
VIII
CHAPTER II
THE IMPORTANCE OF DOCILITY
I
II
III
IV
CHAPTER III
THE LOST TRADITION
I
II
CHAPTER IV
BEAUTY
I
II
CHAPTER V
NATURE
I
II
CHAPTER VI
THE CHOICE OF AN ARTIST
I
II
III
CHAPTER VII
TECHNICAL PRECEPTS
I
II
CHAPTER VIII
IN CONCLUSION