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 When we come to his subject pictures, we will have to notice at once that they have been constructed, not felt. It has been remarked that Dürer did for northern Art, or at least attempted, what Leonardo did for Italian Art, viz., converted empirical Art into a theoretical science. Whether such conversion was not in reality a perversion, is a question that cannot be discussed here. We have, at any rate, in Dürer a curious example of an artist referring to Nature in order to discard it; the idealist become realist in order to further his idealism. Most of his pictures contain statements of pictorial facts which are in themselves most true, but taken in conjunction with the whole picture quite untrue. Dürer lacked the courage to trust his sense of sight, his optic organ: beauty with him is a thing which must be thought out, not seen. Dürer had come into direct contact with Italian Art, had felt himself a