Albert Dürer

by T. Sturge Moore

DÜRER'S WOODCUTS

It is now generally accepted that Dürer did not himself engrave on wood. In his earliest blocks he shows a greater respect for the limitations of this means of expression than later on. The earliest wood blocks, though no doubt they aimed at being facsimiles, were not such in fact; but the engraver took certain liberties for his own convenience, and probably did not attempt to render what Dürer calls "the hand" of the designer. "The hand" was equivalent to what modern artists call "the touch," and meant the peculiar character recognisable in the vast majority of the strokes or marks which each artist uses in drawing or painting. Dürer affected extremely curved and rapid strokes, Mantegna the deliberate straight line, Rembrandt the straight stroke used so as to seem a continual improvisation; though indeed he varies the character of his touch more continually and more vastly than any other master, yet in his drawings and etchings the majority of the strokes are straight. Already in the woodcuts provided by Michael Wolgemut, Dürer's master, to illustrate books, there is a general attempt to render cross hatching: and the eyes and hair, though still those of an engraver, are frequently modified to some extent in deference to the character given by the draughtsman. Still, no one with practical experience would consider these woodcuts as adequate facsimiles: which makes the question of their attribution to Wolgemut, or his partner and step-son, Pleydenwurff, of still less interest and importance than it is on all other grounds. So conscious an exception as the soul of the accurate Albert Dürer was, could not be expected to endure a partner in his creations, especially one whose character was revealed chiefly by the clumsy compromises convenient to lack of skill. Doubtless the demand for "his hand" was a new factor in the education of the engraver, as constant and as imperturbable as the action of a copious stream, which, having its source in lonely heights, wears a channel through the hardest rock, the most sullen soils. It may have been the pitiless tyranny of the master's will for perfection which drove Hieronymus Andreae, "the most famous of Dürer's wood engravers," into religious and even civil rebellion, joining hands with levelling fanatics and taking active part in the Peasant War. Dürer probably would have commanded too much reverence and affection for these rebellions to be directed against him; but an insupportably heavy yoke is not rendered lighter because it is imposed by a loved hand,--though every other burden and restraint may in such a case be shaken off and resented before that which is the real cause of oppression. Dürer's wood cutters had no doubt to resign any indolence, any impatience, or whatever else it might be that had otherwise stamped a personal character on their work; and all remonstrance must have been shamed by the evident fact that the young master spared himself not a whit more. The perseverance and docility which made such engraving possible was perhaps the greatest aid that Dürer drew from German character; it was not only an aid, but an example to and restraint upon that haughty spirit of his that restively ever again vows never to take so much pains over another picture to be so poorly paid (see page 103); that complains of failure and discouragement after years of repeatedly more world-wide successes (see page 187). These are not German traits, but it may have been the German blood he inherited from his mother and the example of his friends, fellow-workers, and helpers, which enabled him to get the better of such petulant and gloomy outbursts, and return to the day of small things with the will to continue and endure.

The difference introduced by the engravers becoming more and more capable of rendering Dürer's hand is well illustrated by comparing the frontispiece to the Apocalypse, added about 1511, with the other cuts which had appeared in 1498. Doubtless Dürer's hand had changed its character considerably during this period of constant and rapid development, and it requires tact and knowledge to separate the differences due to the creator from those due to the engraver. Dürer's drawings differed as widely from the earlier drawings as does the engraving from the earlier blocks. But, as we may see by early drawings done as preliminary studies for engravings, the method of his pen strokes had changed less than the character of the forms they rendered; the conception of the design as a whole had advanced more rapidly than the skill and sleight of hand which expressed it. The engraver has by 1511 become capable of expressing a greater variety of speed in the stroke, makes it taper more finely, and can follow the tongue-like lap and flicker as the pen rises and dips again before leaving the surface of the block (as in the outer ends of the strokes that represent the radiance of the Virgin's glory). Holbein, later on, was to obtain a yet more wonderful fidelity from Lutzelburger, the engraver of his Dunce of Death.

Still it were misleading to suppose that Dürer's disregard for the facilities and limitations of wood-cutting went the lengths that the demands made upon modern skill have gone. Not only has the line been reproduced, but it has been drawn not with a full pen or brush, but in pencil or with watered ink; and the delicate tones thus produced have been demanded of and rendered by human skill. Dürer always uses a clear definite stroke; and in thus limiting himself he shows an appreciation of the medium to be used in reproducing his drawing, and recognises its limits to a large extent, though this is the only limitation he accepts. Less and less does he consider the possibilities which engraving offers for the use of a white line on black Doing his drawing with a black line, he contents himself with the qualities that the resources and facilities of the full pen line give: and his design is for a drawing which can be cut on wood, not for something that first really exists in the print; the prints are copies of his drawings. His drawings were not prepared to receive additions in the course of cutting, such as could only be rendered by the engraver. Faithfulness was the only virtue he required of Hieronymus Andreae. Yet even in such drawings as Dürer's no doubt were, there would have been some qualities, some defects perhaps, that the print does not possess. For a print, from the mode of inking, has a breadth and unity which the drawing never can have. Even in drawings made with full flowing brush or pen, there will be modulations in the strength of the ink, or occasioned by the surface of the wood or paper, in every stroke, by which the, sensitive artist in the heat of work cannot help being influenced, and which will lead him to give a bloom, a delicacy, to his drawing, such as a print can never possess. And, on the other hand, the unity of the print can never be quite realised in the drawing, however much the artist may strive to attain it, because the conditions must change, however slightly, for strokes produced in succession; while in a print all are produced together, and variations, if variations there are, occur over wide spaces and not between stroke and stroke. It is considerations, of this kind that in the last resort determine the quality of works of art. The artist is taught, though often unconsciously, by the means he employs, but the diligent man who is not by nature an artist never can learn these things: he can Imitate the manner and form, never the grace, the bloom, and the life.

[Illustration: THE APOCALYPSE, 1498 St. Michael fighting the Dragon, Woodcut, B. 72 From the impression in the British Museum Face p. 262]