She was probably a
woman of a practical and prosaic turn, to whom the dreamy, poetic,
imaginative nature of the artist-student, her husband, was intolerably
irritating. Yet as we look at his portraits of himself--and no man
except Rembrandt has painted himself so often--it is difficult to
understand how any one could have been angry with Albert Duerer. Never
did the face of man bear a more sweet, benign, and trustful expression.
In those portraits we see something of the beauty, of the strength, of
the weakness of the man so beloved in his generation. His fondness for
fine clothes and his legitimate pride in his personal beauty reveal
themselves in the rich vestments he wears and the wealth of silken
curls, so carefully waved, so wondrously painted, falling proudly over
his free neck.
[Footnote A: From "The Story of Nuremberg." Published by E.P. Dutton &
Co.]
III
OTHER BAVARIAN CITIES
MUNICH[A]
BY BAYARD TAYLOR
Art has done everything for Munich. It lies on a large flat plain
sixteen hundred feet above the sea and continually exposed to the cold
winds from the Alps. At the beginning of the present century it was but
a third-rate city, and was rarely visited by foreigners; since that time
its population and limits have been doubled and magnificent edifices in
every style of architecture erected, rendering it scarcely secondary in
this respect to any capital in Europe.
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