While Dürer was in the Low Countries, a fever came upon him, and when he returned home, it still followed him. Indeed, although he lived for seven years after his return, he was never well again. Among his effects there was a sketch made to indicate to his physician the seat of his illness.
Dürer did not paint great frescoes upon walls as did Raphael, Michael Angelo, and all great Italian artists; but instead he painted on wood, canvas, and in oils.
In all the civilised world Dürer was honoured equally with the great Italian painters of his time. He was a man of much conscientiousness, dignity, and tenderness. He was devoted to his home and country, and regarded the problems of life intellectually. When he came to die, his end was so unexpected that those dearest to him could not reach his bedside. He was buried in St. John's cemetery in Nuremberg. After his death, Martin Luther wrote as follows to their mutual friend, Eoban Hesse:
"As for Dürer; assuredly affection bids us mourn for one who was the best of men, yet you may well hold him happy that he has made so good an end, and that Christ has taken him from the midst of this time of troubles, and from yet greater troubles in store, lest he, that deserved to behold nothing but the best, should be compelled to behold the worst. Therefore may he rest in peace with his fathers, Amen."
PLATE--THE NATIVITY
Our description of this painting calls attention to the fact that the columns and arches of the picturesque ruin belong to a much later period in history than the birth of Christ. Dürer was not acquainted with any earlier style of architecture than the Romanesque and therefore he used it here. "The ruin serves as a stable. A roof of board is built out in front of the side-room which shelters the ox and ass, and under this lean-to lies the new born babe surrounded by angels who express their childish joy. Mary kneels and contemplates her child with glad emotion. Joseph, also deeply moved, kneels down on the other side of the child, outside the shelter of the roof. Some shepherds to whom the angel, who is still seen hovering in the air, has announced the tidings, are already entering from without the walls." (Knackfuss). The picture is the central panel of an altar-piece now in the Old Pinakothek at Munich. Dürer's oil painting of the four apostles--John, Peter, Mark, and Paul--is in the same gallery. Other Dürer pictures are: "The Knight, Death and the Devil," "The Adoration of the Magi," "Melancholy," and portraits of himself.
XIV
MARIANO FORTUNY
(Pronounced Mah-ree-ah-no' For-tu'ne)
Spanish School
1838-1874
Pupil of Claudio Lorenzalez