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Rh early as 1514, At a later period lie Lad sittings from Margrave Christopher of Baden, Ottilia his wife, and all their children, and the picture containing these portraits is still in the grand-ducal gallery at Carlsruhe. Like Diirer and Cranach, Griin became a hearty supporter of the Reformation. He was present at the diet of Augsburg in 1518, and one of his woodcuts represents Luther under the protection of the Holy Ghost, which hovers over him in tho shape of a dove.

 GRUNBERG, or, a town of Prussian Silesia, chief town of a circle in the government district of Liegnitz, is beautifully situated on an affluent of the Oder, and on the railway from Breslau to Stettin by Kiistrin, 36 miles N.N.W. of Glogau. It has a real-school of the first order, a higher female school, and a trade school. The prosperity of the town depends chiefly on the vine culture in the neighbourhood, from which, besides the exportation of a large quantity of grapes, about 700,000 gallons of wine are manufactured annually. The wine is a kind of cham pagne, and is largely exported to Russia. There are also manufictures of machinery, cloth, preserved fruits, and lignite. The population of the town in 1875 was 12,200.

 GRUNDTVIG, (1783- 1872), the Danish poet, statesman, and divine, was born at Udby on the 8th of September 1783 ; in 1791 he was sent to live at the house of a priest in Jutland, and studied at the free school of Aarhuus until he went up to the uni versity of Copenhagen in 1800. At the close of his uni versity life he made Icelandic his special study, until in 1805 he took the position of tutor in a house on the island of Langeland. The next three years were spent in the study of Shakespeare, Schiller, and Fichte. His cousin, the philosopher Henrik Steffens, had returned to Copen hagen in 1802 full of the teaching of Schelling, and his lectures and the early poetry of Oehlenschlager opened the eyes of Grundtvig to the new era in literature that was commencing. The latter began to essay writing himself, but his first work, On the Songs in the Edda, attracted no attention. Returning to Copenhagen in 1808, he achieved a greater success with his Northern Mythology, and in 1809 with his Decline of the Heroic Life in the North. The boldness of his theological vievs having provoked opposi tion, he retired to a country parsonage for a while, but soon returned to pursue a literary career with extraordinary earnestness. From 1812 to 1817 he published five or six works, of which the Rhyme of Roeskilde is the most remark able. From 1816 to 1819 he was editor of a polemical journal entitled Dannevirke, and in 1818 to 1822 appeared his Danish paraphrases of Saxo Grammaticus and Snorre. During these years he was preaching to an enthusiastic con gregation in Copenhagen, but he accepted in 1821 the country living of Pnesto, only to return to the metropolis the year after. His theological career was, however, presently stopped, for, having in 1825 published a brochure, The Church s Reply, against the popular Dr Clausen, he was publicly prosecuted and fined. For seven years he was forbidden to preach, years which he spent in publishing a collection of his theological works, in paying two visits to England, and in studying Anglo-Saxon. In 1832 he ob tained permission to preach again, and in 1839 he became priest of the workhouse church of Vartou Hospital, a post he continued to hold until his death. In 1837 he published Songs for the Danish Church, a rich collection of spiritual poema; in 1838 he brought out a selection of early Scandi navian verse ; in 1840 he edited the Anglo-Saxon poem of the Phoenix, with a Danish translation. He visited England a third time in 1843. From 1844 until after the first German war Grundtvig took a very prominent part in politics. In 1861 he received the titular rank of bishop, but without a see. He went on writing occasional poems till 1866, and preached in the Vartou every Sunday until a month before his death. He was married thrice, the last time in his seventy-sixth year, and left children by each marriage. He died September 2, 1872. Grundtvig holds a unique position in the literature of his country ; he has been styled the Danish Carlyle. He was above all things a man of action, not an artist ; and the formless vehemence of his writings, which have had a great influence over his own countrymen, is hardly agreeable or intelligible to a foreigner. His spiritual poems are among the best that the North has produced, but they are apt to be too lung. The writings of Grundtvig have not yet been collected in a permanent form, but the best of his poetical works were published in a selection by his eldest son, Svend Grundtvig, the eminent comparative mythologist, in 1869, with a critical memoir by the poet Hostrup, who belongs to the religious body denominated Grundtvigians.

 GRUNEWALD,. The accounts which are given of this painter, a native of Aschaffenburg, are curi ously contradictory. Between 1518 and 1530, according to statements adopted by Waagen and Passavant, he was commissioned by Albert of Brandenburg, elector and arch bishop of Mainz, to produce an altarpiece for the collegiate church of St Maurice and Mary Magdalen at Halle on the Saale ; and he acquitted himself of this duty with such cleverness that the prelate in after years caused the picture to be rescued from the Reformers and brought back to Aschaffenburg. From one of the churches of that city it was taken to the Pinakothek of Munich in 1836. It represents St Maurice and Mary Magdalen between four saints, and displays a style so markedly characteristic, and so like that of Lucas Cranach, that Waagen was induced to call Grunewald Cranach s master. He also traced the same hand and technical execution in the great altarpieces of Annaberg and Heilbronn, and in various panels exhibited in the museums of Mainz, Darm stadt, Aschaffenburg, Vienna, and Berlin. A later race of critics, declining to accept the statements of Waagen and Passavant, affirm that there is no documentary evidence to connect Grunewald with the pictures of Halle and Annaberg, and they quote Sandrart and Bernhard Jobin of Strasburg to show that Grunewald is the painter of pictures of a different class. They prove that he finished before 1516 the large altarpiece of Issenheim, at present in the museum of Colmar, and starting from these premises they connect the artist with Altdorfer and Diirer to the exclusion of Cranach. That a native of the Palatinate should have been asked to execute pictures for a church in Saxony can scarcely be accounted strange, since we observe that Hans Baldung was entrusted with a commission of this kind. But that a painter of Aschaffenbnrg should display the style of Cranach is strange and indeed incredible, unless vouched for by first class evidence. In this case documents are altogether wanting, whilst on the other hand it is beyond the possibility of doubt, even according to Waagen, that the altarpiece of Issenheim is the creation of a man whose teaching was altogether different from that of the painter of the pictures of Halle and Annaberg. At this stage the controversy now stands ; and it is needless to do more than observe that the altarpiece of Issenheim is a fine and powerful work, completed as local records show before 1516 by a Swabian, whose distinguishing mark is that he followed the traditions of Martin Schongauer, and came under the influence of Altdorfer and Diirer. As a work of art tho altarpiece is important, being a poliptych of eleven panels, a carved central shrine covered with a double set of wings, and two side pieces containing the Temptation of St Anthony, the hermits Anthony and Paul in converse, the Virgin adored by Angels, the Resurrection, the Annunciation, the Crucifixion, St Sebastian, St Anthony, and the Marys