Albert Durer Part 2

III

"Heaven and earth shall pa.s.s away, but my words shall not pa.s.s away."

Every one knows how anxious great artists become for the preservation of their works, how highly they value permanence in the materials employed, and immunity from the more obvious chances of destruction in the positions they are to occupy. Michael Angelo is said to have painted cracks on the Sistina ceiling to force the architect to strengthen the roof. When Jesus made the a.s.sertion that his teaching would outlast the influence of the visible world of nature and the societies of men--the kingdoms of earth and the glory of the earth--he did no more than every victorious soul strives to effect, and to feel a.s.sured that it has in some large degree effected; the difference between him and them is one of degree. It may be objected that different hearts harbour and cherish contradictory conceptions. Doubtless; but does the desire to win the co-operation and approval of other men consist with the higher developments of human faculties? Is it, perhaps, essential to them? If so, in so far as every man increases in vitality and the employment of his powers, he will be forced to reverence and desire the solidarity of the race, and consequently to relinquish or neglect whatever in his own ideal militates against such solidarity. And this will be the case whether he judge such eccentric elements to be n.o.bler or less n.o.ble than the qualities which are fostered in him by the co-operation of his fellows. Jesus, at any rate, affirmed that the law of the kingdom within a man's soul was: "Love thy neighbour as thyself"; and that obedience to it would work in every man like leaven, which is lost sight of in the lump of dough, and seems to add nothing to it, yet transforms the whole in raising up the loaf; or as the corn of wheat which is buried in the glebe like a dead body, yet brings forth the blade, and nourishes a new life.

So he that should follow Jesus by obeying the laws of the kingdom, by loving G.o.d (the begetter or fountainhead of a man's most essential conception of what is right and good) and his neighbour, was a.s.sured by his mild and gracious Master that he would inherit, by way of a return for the sacrifices which such obedience would entail, a new and better life. (Follow me, I laid down my life in order that I might take it again. He that findeth his life shall lose it; and he that loseth his life _for_ my _sake_--as I did, in imitation of me--shall find it.) For in order to make this very difficult obedience possible, it was to be turned into a labour of love done for the Master's sake. As Goethe said:

"Against the superiority of another, there is no remedy but love."

Is it not true that the superiority of another man humiliates, crushes and degrades us in our own eyes, if we envy it or hate it instead of loving it? while by loving it we make it in a sense ours, and can rejoice in it. So Jesus affirmed that he had made the superiority of the ideal his; so that he was in it, and it was in him, so that men who could no longer fix their attention on it in their own souls might love it in him. He was their master-conception, their true ideal, acting before them, captivating the attention of their senses and emotions.

This is what a man of our times, possessed of rare receptivity and great range of comprehension, considered to be the pith of Jesus' teaching.

Matthew Arnold gave much time and labour to trying to persuade men that this was what the religion they professed, or which was professed around them, most essentially meant. And he reminded us that the adequacy of such ideas for governing man's life depended not on the authority of a book or writings by eye-witnesses with or without intelligence, but on whether they were true in experience. He quoted Goethe's test for every idea about life, "But is it true, is it true for me, now?" "Taste and see," as the prophets put it; or as Jesus said, "Follow me." For an ideal must be followed, as a man woos a woman; the pursuit may have to be dropped, in order to be more surely recovered; an ideal must be humoured, not seized at once as a man seizes command over a machine.

This _secret of success was_ was only to be won by the development of a temper, a spirit of docility. To love it in an example was the best, perhaps the only way of gaining possession of it.

IV

As we are placed, what hope can we have but to learn? and what is there from which we might not learn? An artist is taught by the materials he uses more essentially than by the objects he contemplates; for these teach him "how," and perfect him in creating, those only teach him "what," and suggest forms to be created. But for men in general the "what" is more important than the "how"; and only very powerful art can exhilarate and refine them by means of subjects which they dislike or avoid.

Every seer of beauty is not a creator of beautiful things; and in art the "how" is so much more essential than the "what," that artists create unworthy or degrading objects beautifully, so that we admire their art as much as we loathe its employment; in nature, too, such objects are met with, created by the G.o.d of this world. A good man, too, may create in a repulsive manner objects whose every a.s.sociation is enn.o.bling or elevating.

"The kingdom of heaven is within you," but h.e.l.l is also within.

"h.e.l.l hath no limits, nor is circ.u.mscribed In one self place; for where we are is h.e.l.l And where h.e.l.l is, must we for ever be: And, to conclude, when all the world dissolves, And every creature shall be purified, All places shall be h.e.l.l that are not heaven,"

as Marlowe makes his Mephistophilis say: and the best art is the most perfect expression of that which is within, of heaven or of h.e.l.l.

Goethe said:

"In the Greeks, whose poetry and rhetoric was simple and positive, we encounter expressions of approval more often than of disapproval. With the Romans, on the other hand, the contrary holds good; and the more corrupted poetry and rhetoric become, the more will censure grow and praise diminish."

I have sometimes thought that the difference between cla.s.sic and more or less decadent art lies in the fact that by the one things are appreciated for what they most essentially are--a young man, a swift horse, a chaste wife, &c.--by the other for some more or less peculiar or accidental relation that they hold to the creator. Such writers lament that the young are not old, the old not young, prost.i.tutes not pure, that maidens are cold and modest or matrons portly. They complain of having suffered from things being cross, or they take malicious pleasure in pointing that crossness out; whereas cla.s.sical art always rebounds from the perception that things are evil to the a.s.sertion of what ought to be or shall be. It triumphs over the Prince of Darkness, and covers a mult.i.tude of sins, as dew or h.o.a.r frost cover and make beautiful a dunghill. Dunghills exist; but he who makes of Macbeth's or Clytemnestra's crimes an elevating or exhilarating spectacle triumphs over the G.o.d of this world, as Jesus did when he made the most ignominious death the symbol, of his victory and glory. Little wonder that Albert Durer, and Michael Angelo found such deep satisfaction in Him as the object of their wors.h.i.+p--his method of docility was next-of-kin to that of their art. Respect and solicitude create the soul, and these two pre-eminently docile pa.s.sions preside over the soul's creation, whether it be a society, a life, or a thing of beauty.

V

Here, when art was still religion, with a simple, reverent heart, Lived and laboured Albrecht Durer, the Evangelist of Art.

These jingling lines would scarcely merit consideration but that they express a common notion which has its part of truth as well as of error.

Let us examine the first a.s.sertion (that art has been religion.) Baudelaire, in his _Curiosites Esthetiques_ says: _La premiere affaire d'un artiste est de subst.i.tuer l'homme a la nature et de protester contre elle_. ("The first thing for an artist is to subst.i.tute man for nature and to protest against her.") The beginners and the smatterers are always "students of nature," and suppose that to be so will suffice; but when the understanding and imagination gain width and elasticity, life is more and more understood as a long struggle to overcome or humanise nature by that which most essentially distinguishes man from other animals and inanimate nature. Religion should be the drill and exercise of the human faculties to fit them and maintain them in readiness for this struggle; the work of art should be the a.s.sertion of victory. A life worthy of remembrance is a work of art, a life worthy of universal remembrance is a masterpiece: only the materials employed differentiate it from any other work of art. The life of Jesus is considered as such a masterpiece. Thus we can say that if art has never been religion, religion has always been and ever will be an art.

Now let us examine the second a.s.sertion that Durer was an evangelist.

What kind of character do we mean to praise when we say a man is an evangelist? Two only of the four evangelists can be said to reveal any ascertainable personality, and only St. John is sufficiently outlined to stand as a type; but I do not think we mean to imply a resemblance to St. John. The bringer of good news, the evangelist par excellence, was Jesus. He it was who made it evident that the sons of men have power to forgive sins. Victory over evil possible--this was the good news. No doubt every sincere Christian is supposed to be a more or less successful imitator of Jesus; and as such, Durer may rightly be called an evangelist. But more than this is I think, implied in the use of the word; an evangelist is, for us above all a bringer of good news in something of the same manner as Jesus brought it, by living among sinners for those sinners' sake, among paupers for those paupers' sake; to see a man sweet, radiant, and victorious under these circ.u.mstances, is to see an evangelist. Goethe's final claim is that, "after all, there are honest people up and down the world who have got light from my books; and whoever reads them, and gives himself the trouble to understand me, will acknowledge that he has acquired thence a certain inward freedom"; and for this reason I have been tempted to call him the evangelist of the modern world. But it is best to use the word as I believe it is most correctly employed, and not to yield to the temptation (for tempting it is) to call men like Durer and Goethe evangelists. They are teachers who charm as well as inform us, as Jesus was; but they are not evangelists in the sense that he was, for they did not deal directly with human life where it is forced most against its distinctive desire for increase in n.o.bility, or is most obviously degraded by having betrayed it.'[11]

VI

I have often heard it objected that Jesus is too feminine an ideal, too much based on renunciation and the effort to make the best of failure.

No doubt that as women are, by the necessity of their function, more liable to the s.h.i.+p-wreck of their hopes, the bankruptcy of their powers, they have been drawn to cling to this hope of salvation in greater numbers, and with more fervour; so that the most general idea of Jesus may be a feminine one. It does not follow that this is the most correct or the best: every object, every person will appear differently to different natures. And it still remains true that there have been a great many men of very various types who have drawn strength and beauty from the contemplation and reverence of Jesus. That this ideal is too much based on making the best of failure is an objection that makes very little impression on me, for I think I perceive that failure is one of the most constant and widespread conditions of the universe, and even more certainly of human life.

VII

It remains now to see in what degree these ideas were felt or made themselves felt through the Romanism and Lutheranism of the Renascence period. Perhaps we English shall best recognise the presence of these ideas, the working of this leaven--this docility, the necessary midwife of 'genius, who transforms the difficult tasks which the human reason sets herself into labours of love--in an Englishman; so my first example shall be taken from Erasmus' portrait of Dean Colet.

It was then that my acquaintance with him began, he being then thirty, I two or three months his junior. He had no theological degree, but the whole University, doctors and all, went to hear him. Henry VII took note of him, and made him Dean of St. Paul's. His first step was to restore discipline in the Chapter, which had all gone to wreck. He preached every saint's day to great crowds. He cut down household expenses, and abolished suppers and evening parties. At dinner a boy reads a chapter from Scripture; Colet takes a pa.s.sage from it and discourses to the universal delight. Conversation is his chief pleasure, and he will keep it up till midnight if he finds a companion. Me he has often taken with him on his walks, and talks all the time of Christ. He hates coa.r.s.e language, furniture, dress, food, books, all clean and tidy, but scrupulously plain; and he wears grey woollen when priests generally go in purple. With the large fortune which he inherited from his father, he founded and endowed a school at St. Paul's entirely at his own cost-- masters, houses, salaries, everything.

He is a man of genuine piety. He was not born with it. He was naturally hot, impetuous and resentful--indolent, fond of pleasure and of women's society--disposed to make a joke of everything. He told me that he had fought against his faults with study, fasting and prayer, and thus his whole life was in fact unpolluted with the world's defilements. His money he gave all to pious uses, worked incessantly, talked always on serious subjects, to conquer his disposition to levity; not but what you could see traces of the old Adam when wit was flying at feast or festival. He avoided large parties for this reason. He dined on a single dish, with a draught or two of light ale. He liked good wine, but abstained on principle. I never knew a man of sunnier nature. No one ever more enjoyed cultivated society; but here, too, he denied himself, and was always thinking of the life to come.

His opinions were peculiar, and he was reserved in expressing them for fear of exciting suspicion. He knew how unfairly men judge each other, how credulous they are of evil, how much easier it is for a lying tongue to stain a reputation than for a friend to clear it. But among his friends he spoke his mind freely.

He admitted privately that many things were generally taught which he did not believe, but he would not create a scandal by blurting out his objections. No book could be so heretical but he would read it, and read it carefully. He learnt more from such books than he learnt from dogmatism and interested orthodoxy.[12]

Some may wonder what Colet could have found to say about Christ which could not only interest but delight the young and witty Erasmus; and may judge that at any rate to-day such a subject is sufficiently fly-blown.

The proper reflection to make is, "A rose by any other name would smell as sweet."

Whether we say Christ or Perfection does not matter, it is what we mean which is either enthralling or dull, fresh or fusty; "there's nothing in a name."

"When Colet speaks I might be listening to Plato," says Erasmus in another place, at a time when he was still younger and had just come from what had been a gay and perhaps in some measure a dissolute life in Paris: not that it is possible to imagine Erasmus as at any time committing great excesses, or deeply sinning against the sense of proportion and measure.

Success is the only criterion, as in art, so in religion: the man that plucks out his eye and casts it from him, and remains the dull, greedy, distressful soul he was before, is a d.a.m.ned fool; but the man who does the same and becomes such that his younger friends report of him, "I never knew a sunnier nature," is an artist in life, a great artist in the sense that Christ is supposed to have been a great master; one who draws men to him, as bees are drawn to flowers. Colet drew the young Henry the Eighth as well as Erasmus. "The King said: 'Let every man choose his own doctor. Dean Colet shall be mine!'" Though no doubt charlatans have often fascinated young scholars and monarchs, yet it is peculiarly impossible to think of Colet as a charlatan.

VIII

Next let us take a sonnet and a sentence from Michael Angelo:

Yes! hope may with my strong desire keep pace, And I be undeluded, unbetrayed; For if of our affections none finds grace In sight of heaven, then, wherefore hath G.o.d made The world which we inhabit? Better plea Love cannot have than that in loving thee Glory to that eternal peace is paid, Who such divinity to thee imparts, As hallows and makes pure all gentle hearts.

His hope is treacherous only whose love dies With beauty, which is varying every hour; But in chaste hearts, uninfluenced by the power Of outward change, there blooms a deathless flower, That breathes on earth the air of paradise.[13]

It is very remarkable how strongly the conviction of permanence, and the preference for the inward conception over external beauty are expressed in this fine sonnet; and also that the reason given for accepting the discipline of love is that experience shows how it "hallows and makes pure all gentle hearts." In such a love poem--the object of which might very well have been Jesus--I seem to find more of the spirit of his religion, whereby he binds his disciples to the Father that ruled within him, till they too feel the bond of parentage as deeply as himself and become sons with him of his Father;--more of that binding power of Jesus is for me expressed in this fine sonnet than in Luther's Catechism. The religion that enables a great artist to write of love in this strain, is the religion of docility, of the meek and lowly heart. For Michael Angelo was not a man by nature of a meek and lowly heart, any more than Colet was a man naturally saintly or than Luther was a man naturally refined. But because Michael Angelo thus prefers the kingdom of heaven to external beauty, one must not suppose that he, its arch high-priest, despised it. n.o.body had a more profound respect for the thing of beauty, whether it was the creation of G.o.d or man. He said:

"Nothing makes the soul so pure, so religious, as the endeavour to create something perfect; for G.o.d is perfection, and whoever strives for perfection, strives for something that is G.o.d-like."

Now we can perceive how the same spirit worked in a great artist, not at Nuremberg or London, but at Rome, the centre of the world, where a Borgia could be Pope.

IX

Erasmus, the typical humanist, the man who loved humanity so much that he felt that his love for it might tempt him to fight against G.o.d, travelled from the one world to the other; pa.s.sed from the society of cardinals and princes to the seclusion of burgher homes in London, or to chat with Durer at Antwerp. He belonged perhaps to neither world at heart; but how greatly his love and veneration of the one exceeded his admiration and sense of the practical utility of the other, a comparison of his sketch of Colet with such a note as this from his New Testament makes abundantly plain:

"I saw with my own eyes Pope Julius II. at Bologna, and afterwards at Rome, marching at the head of a triumphal procession as if he were Pompey or Caesar. St. Peter subdued the world with faith, not with arms or soldiers or military engines. St. Peter's successors would win as many victories as St. Peter won if they had Peter's spirit."

But we must not forget that the book in which these notes appeared was published with the approval of a Pope, and that he and others sought its author for advice as to how to cope best with their more hot-headed enemy Martin Luther. We must also remember that we are told that Colet "was not very hard on priests and monks who only sinned with women. He did not make light of impurity, but thought it less criminal than spite and malice and envy and vanity and ignorance. The loose sort were at least made human and modest by their very faults, and he regarded avarice and arrogance as blacker sins in a priest than a hundred concubines." This spirit was not that of the Reformation which came to stop, yet it existed and was widespread at that time; it was I think the spirit which either formed or sustained most of the great artists. At any rate it both formed and sustained Albert Durer. Yet the true nature of these ideas, derived from Jesus, could not be understood even by Colet, even by Erasmus. For them it was tradition which gave value and a.s.sured truth to Christ's ideas, not the truth of those ideas which gave value to the traditions and legends concerning him. The value of those ideas was felt, sometimes nearer, sometimes further off; it was loved and admired; their lives were apprehended by it, and spent in ill.u.s.trating and studying it, as were also those of Albert Durer and Michael Angelo. To understand the life and work of such men, we must form some conception of the true nature and value of those ideas, as I have striven to do in this chapter. Otherwise we shall merely admire and love them, as they admired and loved Jesus; and it has now become a point of honour with educated men not only to love and admire, but to make the effort to understand. Even they desired to do this. And I think we may rejoice that the present time gives us some advantage over those days, at least in this respect.

X

And lastly, in order to bring us back to our main subject, let us quote from a stray leaf of a lost MS. Book of Durer's, which contains the description of his father's death.