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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.
"The fact is, he has a very high opinion indeed of you. And he speaks uncommonly well--does Casaubon. He has deferred to me, you not being of age. In short, I have promised to speak to you, though I told him I thought there was not much chance. I was bound to tell him that. I said, my niece is very young, and that kind of thing. But I didn't think it necessary to go into everything. However, the long and the short of it is, that he has asked my permission to make you an offer of marriage--of marriage, you know," said Mr. Brooke, with his explanatory nod. "I thought it better to tell you, my dear."
Some 13 kil. farther, the river being smooth but swift, we came to a basin 700 m. broad, where the river described a turn toward the north-east. We came upon a large clearing on the hill-side on the left bank. There we saw the remains of two or three huts which had been destroyed by fire. We perceived one or two people, and we landed. We found that it was the shed of an enterprising Peruvian trader who had established himself there in order to collect rubber. Only a few days before we arrived a great fire had taken place, which had destroyed nearly all he possessed; but--fortunately for us--they had saved a few things, and I was able to purchase a quantity of rice, biscuits, dried meat, beans, _farinha_, condensed milk, _banho_ (liquid lard in tins), and a number of other things, such as clothes, shirts, rope, nails, axes, etc., which we needed badly.
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