Frank Jewett Mather

“ With a comeliness that is by no means merely pretty, one gets the sense also of character and of capacity. The tightly drawn hair, the head held alertly a little forward, tell of aggressiveness with self-control, of perfect physical and mental well-being. It was such strong mothers as this that bore the men who in finance, manufactures, commerce, and scholarship made the little city of Nuremberg famous. Initials on the bodice suggest that this may be the wife Agnes, who was an efficient business partner and a terror to certain easygoing friends. ”

“ I must repeat that Holbein was less of a man but in some ways more of an artist than Dürer, unqualifiedly superior as a mere painter. Dürer was full of profound ideas about religion and life. His work is truly a criticism of the life of his age. Holbein had virtually no ideas, and genially accepted his world as very good to live and paint in. ”

“ The woodcuts, which faithfully represent drawings made with a coarse quill pen, will look rude to eyes accustomed to the often meaningless finish of modern illustrations. It will require patience to see how direct, sincere, and vigorous is the expression. With so coarse a tool nothing can be left to chance or smoothed down. Every line must tell, and every line in the Dürer woodcut does tell its story of structure and feeling. Dürer’s woodcuts are as fine in their way as his more popular engravings. ”

“ As a boy he showed himself more worthy of an education than any of his many brothers, and was apprenticed to a goldsmith. But he wanted to become an artist, and, being his father’s favorite son, his wish was granted. So at the age of fifteen he was apprenticed to the principal painter of Nuremberg, Michael Wohlgemuth. Here, as one of the artist’s assistants, he turned out little sketches of religious subjects, and some woodcuts for book illustrations. He had a hard time, as his companion apprentices were a rough crowd, and took great delight in making young Dürer suffer. ”

“ In fact, the greatness of the picture lies mainly in its vitality, in the sense of strength and devotion it conveys. Holbein, like Dürer, conceives the Virgin simply as a German mother, none too intelligent, and rather ungraceful, but wholly wrapped up in the Divine Child, who is after all much like an ordinary German baby. ”

“ He was buried in a vault belonging to his wife’s family, in the cemetery of Saint John, at Nuremberg. Luther, the great reformer, said of the famous artist in a letter, “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 trouble, and from greater troubles in store, lest he, that deserved nothing but the best, should be compelled to behold the worst. ”

“ But in spite of his desire to remain in Italy for the rest of his life, he returned to Nuremberg in 1507.
All over Europe, Dürer was now recognized as a great painter. All the living master artists of the age were his friends or acquaintances. The great Raphael felt honored to exchange drawings with him.
But his intimate life was not so happy. It has been said that his wife plagued him to death with her meanness. It is undoubtedly true that, although Agnes was a good housewife and manager, she made the artist overwork himself for money. ”

“ Hans Holbein was born in 1497, when Dürer was just beginning to be famous, at the imperial city of Augsburg, which was merely a larger Nuremberg. Holbein’s father was a painter, and the lad was early perfected in the craft. By his seventeenth year he was working at Basel, where for some ten years he practised book illustration, designing for metal and glass, religious subjects, wall painting. Such versatility he renounced later for the better paying branch of portraiture. In 1526 some German merchants called him over to London. ”

“ The saint is oblivious of the passage of time, and looks forward to death as the opening of fuller knowledge. The elaborate and beautiful details of the room assure us that this is no mere dream of an idealist, but an actual place that a student of the divine mysteries might inhabit. ”

“ The sketch for the portrait is preserved. Holbein always made a careful crayon drawing for every portrait, introducing slight tints, or even writing down the color of hair, eyes, etc. From such a study, which was made in a few hours, the picture was painted. We have then the most lifelike portraits known to art painted with the model absent. Today artists plague themselves and the sitter to poorer purpose. By utmost concentration upon the original drawing, Holbein seems to have omitted all unimportant or merely general traits of his subject, fixing upon the few that were really characteristic. ”

“ Upon a splendid steed an armored knight rides through a rocky defile, high above which is seen his goal, an imposing castle. Forms of horror beset the traveler. The horse sniffs impatiently at a skull in the road. ”

“ Hans was the favorite son, and both he and his brother Ambrose were educated to be artists in their father’s studio. There they worked until 1515, when Hans and Ambrose journeyed to Basel, at that time a center of learning and art.
There Holbein’s chief occupation was the drawing of title pages for books. Erasmus, the great scholar, is said to have been his patron, and helped him in many ways. Another powerful patron was Jacob Meier, the first commoner who ever held the office of burgomaster of Basel, and under whose rule the reformation of the city laws was peaceably carried out. ”

“ It is in many cases an intelligent taste, that readily responds to cultivation. A writer in one of our daily papers called attention recently to an impressive scene that may be observed every Saturday morning at the Metropolitan Museum. It is a gathering of school children, who are assembled with open eyes and ears and eager and hungry minds to see and hear and know the things of beauty and of curious interest in the museum. ”

“ They “want to know,” and they listen eagerly as long as anyone can tell them something that is interesting as well as informing. That is the attitude of mind that The Mentor addresses itself to, whether it is the mind of a child or of a grown-up. We have had plenty of assurances that The Mentor has interested and helped older readers. It is most gratifying to learn of the benefit that The Mentor is bringing to young readers—to have word from our readers that the children in the school or in the home are enjoying The Mentor. ”

“ DÜRER AND HOLBEIN By FRANK JEWETT MATHER, Jr.
Marquand Professor of Art and Archeology, Princeton University
THE MENTOR
SERIAL No. 48
DEPARTMENT OF FINE ARTS
MENTOR GRAVURES
ALBRECHT DÜRER
A great painter gives us much more than skilfully arranged lines and colors. These are only the symbols by which we may share his vision of the world. What we must try to find in any work of art is the soul of a great man. This is particularly true of so serious an artist as Albrecht Dürer (doo ́-rer) of Nuremberg, who was born in 1471, a little before the outbreak of the Protestant Reformation. ”

“ One reader tells us that he is taking The Mentor particularly for his children. “I want them to grow up with it,” he says. That interests us deeply. We want The Mentor to be a real factor in the life of the home, and a real part of the education of the young generation.
PORTRAIT OF A YOUNG WOMAN—Dürer
DÜRER AND HOLBEIN
The Young Artist ONE
Albrecht Dürer was born on May 21, 1471, at Nuremberg, Germany. His father was named Albrecht Dürer also. He was a goldsmith, who at the age of forty married his master’s daughter, who was only fifteen years old. ”

“ There he saw portraiture as faithful as his own, but softer and more agreeable. Open-minded student that he always was, he readily learned the lesson. The charming head of a young woman represents the fruits of this new experience. ”

“ A will, presumably made in October, 1543, by Holbein, was found in London some years ago. And not long after making this, in November, the great artist died, probably of the plague. His death was surrounded by mystery. Not even the place of his burial is known for certain. It was either in the church of Saint Andrew Undershaft or Saint Catharine Cree. His death, in the prime of his active life, was a great loss to the world; but his work survives, and will live forever.
PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION
ILLUSTRATION FOR THE MENTOR, VOL. 1, No. ”