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This Book List Sectory 07
Page 03
The cook on the launch was a lunatic, who was under the impression that he was the Saviour. It was too pathetic, and occasionally quite alarming, to see the poor man leaving the cooking stove whenever we passed any Indians on the banks, when he raised his arms up in the air and, stretching them forward, gave his benediction to the people he saw, instead of looking after the boiling rice. His benedictions cost him frequent kicks and shakings by the neck on the part of the captain of the launch. He was absorbed in fervent praying during the night. He seldom condescended to speak to any of us on board, as he said that he was not living on this earth, but would come back some day to bring peace and happiness to the whole world. Words of that kind were uttered whilst he was holding a saucepan in one hand and a ladle in the other. It was pathetic.
With Duerer and Holbein German art reached its apogee in the first half of the sixteenth century, yet their work was not different in spirit from that of their predecessors. Painting simply developed and became forceful and expressive technically without abandoning its early character. There is in Duerer a naive awkwardness of figure, some angularity of line, strain of pose, and in composition oftentimes huddling and overloading of the scene with details. There is not that largeness which seemed native to his Italian contemporaries. He was hampered by that German exactness, which found its best expression in engraving, and which, though unsuited to painting, nevertheless crept into it. Within these limitations Duerer produced the typical art of Germany in the Renaissance time--an art more attractive for the charm and beauty of its parts than for its unity, or its general impression. Duerer was a travelled man, visited Italy and the Netherlands, and, though he always remained a German in art, yet he picked up some Italian methods from Bellini and Mantegna that are faintly apparent in some of his works. In subject he was almost exclusively religious, painting the altar-piece with infinite care upon wooden panel, canvas, or parchment. He never worked in fresco, preferring oil and tempera. In drawing he was often harsh and faulty, in draperies cramped at times, and then, again, as in the Apostle panels at Munich, very broad, and effective. Many of his pictures show a hard, dry brush, and a few, again, are so free and mellow that they look as though done by another hand. He was usually minute in detail, especially in such features as hair, cloth, flesh. His portraits were uneven and not his best productions. He was too close a scrutinizer of the part and not enough of an observer of the whole for good portraiture. Indeed, that is the criticism to be made upon all his work. He was an exquisite realist of certain features, but not always of the _ensemble_. Nevertheless he holds first rank in the German art of the Renaissance, not only on account of his technical ability, but also because of his imagination, sincerity, and striking originality.
This second secession extorted from the Patricians the second great charter of the Plebeian rights. The Patricians compelled the Decemvirs to resign, and sent L. Valerius and M. Horatius, two of the most eminent men of their order, to negotiate with the Plebeians. It was finally agreed that the Tribunes should be restored, that the authority of the Comitia Tributa should be recognized, and that the right of appeal to the people against the power of the supreme magistrates should be confirmed. The Plebeians now returned to the city, and elected, for the first time, ten Tribunes instead of five, a number which remained unchanged down to the latest times. Virginius, Icilius, and Numitorius were among the new Tribunes.
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