Summary

Various Encyclopaedia Britannica, 11th Edition…

The hour when Dürer, the typical artist of the German nation, attained maturity was one of the most pregnant in the history of his race. It was the crisis, in northern Europe, of the transition between the middle ages and our own. The awakening of Germany at the Renaissance was not, like the awakening of Italy a generation or two earlier, a movement almost exclusively intellectual. It was indeed from Italy that the races of the north caught the impulse of intellectual freedom, the spirit of science and curiosity, the eager retrospect towards the classic past
Source: Gutenberg

Various Encyclopaedia Britannica, 11th Edition…

For fifty years, and these the most glorious in the annals of Holland, these two streams of influence, one towards beauty and melody, the other towards lively comedy, ran side by side, often in the same channel, and producing a rich harvest of great works. It was in the house of the daughters of Roemer Visscher that the tragedies of Vondel and the comedies of Bredero, the farces of Coster and the odes of Huygens, alike found their first admirers and their best critics.
Source: Gutenberg

Various Encyclopaedia Britannica, 11th Edition…

Very late in life, through no fault of his own, financial ruin fell on the aged poet, and from 1658 to 1668—that is, from his seventieth to his eightieth year—this venerable and illustrious person, the main literary glory of Holland through her whole history, was forced to earn his bread as a common clerk in a bank, miserably paid, and accused of wasting his masters’ time by the writing of verses. The city released him at last from this wretched bondage by a pension, and the wonderful old man went on writing odes and tragedies almost to his ninetieth year.
Source: Gutenberg

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