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 sincerity, akin to Michelangelo in its grandeur, and German wholly in the naturalness of its mystery. With more than photographic sharpness and minuteness of detail does Dürer materialise the vision: God-Father, an aged King—a Charlemagne; God-Son, the willing sufferer; the Holy Ghost, the dove of Sancgrael; the Heavenly Hosts above; the Saints beside and below—Saints that have lived and suffered, and are now assembled in praise—for the crowd is a living, praying, praising, and jubilant crowd.

Well might the creator of this masterpiece portray himself, and proudly state on the tablet he is holding:

This picture is not a vision—it is the statement of a dogmatic truth; as such it is painted with all the subtlety of doctrinal reasoning; not a romantic vision, nor a