Page:History of the German people at the close of the Middle Ages vol1.djvu/215

 SCULPTURE AND PAINTING 203 elder, in early life one of the best of German artists, received also much valuable help from Schongauer. In the earliest works of Hans Holbein the younger we also detect strong marks of the influence of the Colmar master. Even Albert Diirer, in spite of the entire originality of his genius, was in some measure influenced by him. To Diirer and Holbein the younger is due the glory of having exalted German art to its highest pinnacle. These two painters excelled all others in creative genius and grandeur of conception. Their powers of observation were so keen and penetrating, they were so fertile in invention and so rapid in execution, that we may well apply to them what was once said of Shake- speare : ' The sceptre of his genius held sway over thousands of spirits.' Their best works belong to the Christian period at the close of the Middle Ages. They are by no means champions of the so-called Eenaissance. Whatever they adopted from foreign schools of art never detracted in the least from their German origi- nality and depth of humour. If we find them imitating certain antique styles and decorations, it is only through concession to the fashion of their day, and without prejudice to their individuality. Such deviations are but as the tiny offshoots of a deeply rooted stem. Had there been no outbreak of religious wars, or had their genius been encouraged by like favourable con- ditions as were granted to a Eaphael or a Titian, they would have accomplished far more that was worthy of them. Albert Diirer is the only German artist of his day who has left us any personal records of his parentage and early bringing-up. His memoirs are not only of