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"Poor old Dunman," said Tite, "he was so kind to us all, and tried so much to relieve our sufferings and make us feel contented that we all liked him, and felt his death was a severe loss to us. There was something so terrible in the story of his life that we used to talk about it at night, and fancy all sorts of strange spirits haunting the place where his money was buried. It was this that made us all impatient to get away from the dreary place. Three or four days after we had buried him, we removed the stones he said the gold was buried under, and there found, as he had told us, bags and boxes of gold and silver, in bars and coin of various kinds, heavy silver and gold ornaments that had been plundered from churches and convents, with pearls and diamonds and other precious stones, enough to fill two iron chests two feet square and two feet deep. There was the thought that it was the price of so much crime. And what good after all was this gold and silver to do us, if we were to die on the island, like old Dunman? We divided it among us, just as we would something of little value, not caring which got the biggest portion. Then, after keeping out what we thought we might want, each buried his part in separate spots, and marked the places with piles of big stones.

With Duerer and Holbein German art reached its apogee in the first half of the sixteenth century, yet their work was not different in spirit from that of their predecessors. Painting simply developed and became forceful and expressive technically without abandoning its early character. There is in Duerer a naive awkwardness of figure, some angularity of line, strain of pose, and in composition oftentimes huddling and overloading of the scene with details. There is not that largeness which seemed native to his Italian contemporaries. He was hampered by that German exactness, which found its best expression in engraving, and which, though unsuited to painting, nevertheless crept into it. Within these limitations Duerer produced the typical art of Germany in the Renaissance time--an art more attractive for the charm and beauty of its parts than for its unity, or its general impression. Duerer was a travelled man, visited Italy and the Netherlands, and, though he always remained a German in art, yet he picked up some Italian methods from Bellini and Mantegna that are faintly apparent in some of his works. In subject he was almost exclusively religious, painting the altar-piece with infinite care upon wooden panel, canvas, or parchment. He never worked in fresco, preferring oil and tempera. In drawing he was often harsh and faulty, in draperies cramped at times, and then, again, as in the Apostle panels at Munich, very broad, and effective. Many of his pictures show a hard, dry brush, and a few, again, are so free and mellow that they look as though done by another hand. He was usually minute in detail, especially in such features as hair, cloth, flesh. His portraits were uneven and not his best productions. He was too close a scrutinizer of the part and not enough of an observer of the whole for good portraiture. Indeed, that is the criticism to be made upon all his work. He was an exquisite realist of certain features, but not always of the _ensemble_. Nevertheless he holds first rank in the German art of the Renaissance, not only on account of his technical ability, but also because of his imagination, sincerity, and striking originality.

His landscapes, again, were a synthesis of all landscapes, a grouping of the great truths of light, air, shadow, space. Whatever he turned his hand to was treated with that breadth of view that overlooked the little and grasped the great. He painted many subjects. His earliest work dates from 1627, and is a little hard and sharp in detail and cold in coloring. After 1654 he grew broader in handling and warmer in tone, running to golden browns, and, toward the end of his career, to rather hot tones. His life was embittered by many misfortunes, but these never seem to have affected his art except to deepen it. He painted on to the last, convinced that his own view was the true one, and producing works that rank second to none in the history of painting.

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