Page:History of the German people at the close of the Middle Ages vol1.djvu/252

 240 HISTORY OF THE GERMAN PEOPLE some samples are still extant, betrays the same care. Thus it was with excusable pride that Wimpheling said that Germany deserved universal admiration not only on account of its sublime creations in painting, sculp- ture, and architecture, but also in the originality dis- played in the making of common things. This may be explained by the sympathy which existed between the artists and mechanics. Art had grown out of manual work as a flower from its stem, and, retaining its close connection with its fountain-head, it continued to exercise the most im- portant influence on all the productions of artisans or mechanics. The earliest artists, indeed, called them- selves mechanics. For instance, in the early documents, Syrlin of Ulm is described as 'joiner,' Adam Kraflft as ' stonecutter,' and Peter Vischer as ' coppersmith.' The architect of a cathedral was not above designing a simple villa. The carver of the choir-stalls also made house furniture. The most renowned painters used their talents for decorating houses, painting windows, or illuminating the coats of arms. Artists and mechanics worked in conjunction and perfected each other. The latter aimed at artistic merit in their work, but had no wish to overstep its limits, finding in their workshops sufficient employment, remuneration, renown, and pleasure. The simplest work was a labour of love, and hence the lasting im- pression which it was able to produce. Art and art handiwork found ready welcome and encouragement amongst the well-to-do classes, who were proud of pos- sessing treasures of art grown on native soil, ' beautiful things of home production.'