|
|
Scalawag on the Web Sectory 23
Page 12
Lucas Cranach (1472-1553) was a Franconian master, who settled in Saxony and was successively court-painter to three Electors and the leader of a small local school there. He, perhaps, studied under Gruenewald, but was so positive a character that he showed no strong school influence. His work was fantastic, odd in conception and execution, sometimes ludicrous, and always archaic-looking. His type was rather strained in proportions, not always well drawn, but graceful even when not truthful. This type was carried into all his works, and finally became a mannerism with him. In subject he was religious, mythological, romantic, pastoral, with a preference for the nude figure. In coloring he was at first golden, then brown, and finally cold and sombre. The lack of aerial perspective and shadow masses gave his work a queer look, and he was never much of a brushman. His pictures were typical of the time and country, and for that and for their strong individuality they are ranked among the most interesting paintings of the German school. Perhaps his most satisfactory works are his portraits. Lucas Cranach the Younger (1515-1586) was the best of the elder Cranach's pupils. Many of his pictures are attributed to his father. He followed the elder closely, but was a weaker man, with a smoother brush and a more rosy color. Though there were many pupils the school did not go beyond the Cranach family. It began with the father and died with the son.
The eighth chapel is that of the Sposalizio, is certainly not by Aureggio, and I should say was mainly by the same sculptor who did the Presentation in the Temple. On going inside I found the figures had come from more than one source; some of them are constructed so absolutely on Valsesian principles, as regards technique, that it may be assumed they came from Varallo. Each of these last figures is in three pieces, that are baked separately and cemented together afterwards, hence they are more easily transported; no more clay is used than is absolutely necessary; and the off-side of the figure is neglected; they will be found chiefly, if not entirely, at the top of the steps. The other figures are more solidly built, and do not remind me in their business features of anything in the Valsesia. There was a sculptor, Francesco Sala, of Locarno (doubtless the village a short distance below Varallo, and not the Locarno on the Lago Maggiore), who made designs for some of the Oropa chapels, and some of whose letters are still preserved, but whether the Valsesian figures in this present work are by him or not I cannot say.
Higher up in the scale of life we get many instances which show various stages in the same progressive development towards greater care for the safety and education of the young. Among the larger lizards, for example, a distinct advance may be traced between the comparatively uncivilized American alligator and his near ally, the much more cultivated African crocodile. On the banks of the Mississippi, the alligator lays a hundred eggs or thereabouts, which she deposits in a nest near the water's edge, and then covers them up with leaves and other decaying vegetable matter. The fermentation of these leaves produces heat and so does for the alligator's eggs what sitting does for those of hens and other birds: the mother deputes her maternal functions, so to speak, to a festering heap of decomposing plant-refuse. Nevertheless, she loiters about all the time, like Miriam round the ark which contained Moses, to see what happens; and when the eggs hatch out, she leads her little ones down to the river, and there makes alligators of them. This is a simple and relatively low stage in the nursery arrangements of the big lizards.
|
