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Gallegallo Revbrandia Sectory 07
Page 03
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.
In 1127 Henry invited the king of the Scots to Windsor to join in the royal celebration of Christmas, but the festivities were marred by an unseemly quarrel between the two primates. Thurstan, Archbishop of York, encroaching upon the privileges of his brother of Canterbury (William de Corbeuil), insisted upon placing the crown upon the king's head ere he set out for church. This the partisans of Canterbury would not allow, settling the matter by turning Thurstan's chaplain and followers out of doors, and thereby causing such strife between the heads of the Church that they both set off to Rome to lay their grievances before the Pope. And, subsequently, appeals to Rome became frequent, until a satisfactory adjustment of the powers and privileges of the two archbishops was arrived at. The Archbishop of Canterbury was acknowledged Primate of all England and Metropolitan; but, while the privilege of crowning the sovereign was reserved for the Archbishop of Canterbury, that of crowning the Queen Consort was given to the Archbishop of York.
Owing to many natural causes the river may, after a while, cease to flow, leaving enlarged portions of its channel behind as a succession of chambers in a cave. But water would still come trickling in from the tops and sides, and be continuously dripping to the floor, where it speedily evaporates. When such is the case it leaves behind it the limestone it held in solution. So, in process of time, if the deposition is undisturbed, there will be formed over the floor of the cave a more or less continuous layer of limestone matter known as stalagmite. The same formations on the top and sides of the cave are called stalactites. In places where the drip is continuous the stalactite gradually assumes the shape of an immense icicle; while the stalagmite on the floor of the cave, underneath the drip, rises in a columnar mass to meet the descending stalactite. A union of these is not uncommon, and, we have pillars and columns presenting the strange, fantastic appearance on which tourists delight to dwell in their notes of travel.
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