where
he states that he was offered 200 ducats a year in Venice and 300
Philips-gulden in Antwerp, if he would settle in either of those cities.
And Holbein fared still worse: there is no evidence whatever that any
German prince ever troubled himself at all about the great painter while
at Basle, and his art was so little cared for that necessity compelled
him to go to England, where a genius fitted for the highest undertakings
of historical painting was limited to the sphere of portraiture. The
crowning impediments finally, which hindered the progress of German art,
and perverted it from its true aim, were the Reformation, which narrowed
the sphere of ecclesiastical works, and the pernicious imitation of the
great Italian masters which ensued.

LUCAS CRANACH, born in 1472, received his first instructions in art from
his father, his later teaching probably from Matthew Grunewald. In some
instances he attained to the expression of dignity, earnestness and
feeling, but generally his characteristics are a naive and childlike
cheerfulness and a gentle and almost timid grace. The impression
produced by his style of representation reminds one of the "Volksbuecher"
and "Volkslieder." Many of his church pictures have a very peculiar
significance: in these he stands forth properly speaking as the painter
of the Reformation. Intimate both with Luther and Melanchthon, he seizes
on the central aim of their doctrine, viz., the insufficiency of good
works and the sole efficacy of faith. His mythological subjects appeal
directly to the eye like real portraits; and sometimes also by means of
a certain grace and naivete of motive. We may cite as an instance the
Diana seated on a stag in a small picture at Berlin, No. 564. _The
Fountain of Youth_, also at Berlin, No. 593, is a picture of peculiar
character; a large basin surrounded by steps and with a richly adorned
fountain forms the centre. On one side, where the country is stony and
barren, a multitude of old women are dragged forward on horses, waggons
or carriages, and with much trouble are got into the water. On the other
side of the fountain they appear as young maidens splashing about and
amusing themselves with all kinds of playful mischief; close by is a
large pavilion into which a herald courteously invites them to enter and
where they are arrayed in costly apparel. A feast is prepared in a
smiling meadow, which seems to be followed by a dance; the gay crowd
loses itself in a