a term
may be applied to the art which was the hand-maiden of Gothic
architecture (the term _Gothic_ being by no means understood as meaning
_barbaric_)--had run its course by aid of its own experience alone,
possessing qualifications of its own, but being in some degree more
remarkable for its strength of feeling than grace of expression. The
Italian school inoculated it with elegance; but it naturally possessed
an independent power, together with a vigour and native grace which
rewarded those who sought for it, rather than courted them by its
palpable display. Gothic art in its native strength, as it had grown
gradually and achieved its own position, may be seen in the works of the
northern contemporaries of Raffaelle; the study of its rise and progress
is no unworthy study of the human mind in its onward course toward
excellence, nor should we allow prejudice to weigh with us in
contemplating these labours. It has been well observed that "in art as
in many other branches of human knowledge and industry, exclusiveness,
or the tendency to depreciate that which does not conform to our own
taste and feelings, is a fertile source of error and mischief. Such a
disposition deprives mankind of the free and unrestrained enjoyment of
much that is calculated to cheer and improve them. The _naivete_ of the
early German and Italian painters, the earnest simplicity with which
they conceived and expressed the devotional subjects treated by them,
and the moral beauty of the subjects themselves, may excite our
admiration, without disqualifying us for duly admiring the brilliant
breadth of light and shadow of Rembrandt, or the genuine truth and
humour of Wilkie."[190-*] In this spirit must we study the works of the
early native artists of the northern schools, and in this way comprehend
their true philosophic position, and the aesthetics of their style.

Germany, a great and powerful nation, was in the fifteenth century the
home of northern intelligence; and nowhere was it more fully made
visible than in the old town of Nuernberg; it was the centre of trade,
the abode of opulence, the patron of literature and the arts. Here, amid
congenial spirits, lived Albert Duerer--"in him," says Dr. Kuegler, "the
style of art already existing attained its most peculiar and its highest
perfection. He became the representative of German art at this period."
To himself and his works, therefore, must we look for a true knowledge
of the German school;