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Beaming Directory 06
At Piriatingalini and Puchalini we found light cable suspension bridges, very shaky, which swung to and fro as you rode over them. Most of them were not more than four feet wide and had no parapet at all. I cannot say that I felt particularly happy when my mule--sure-footed, I grant--took me across, the bridge swinging, quivering, and squeaking with our weight on it, especially when we were in the middle. The rivers were extremely picturesque, with high mountains on either side, among which they wound their way in a snake-like fashion over a rocky bed, forming a series of cascades. We went that day 25 kil., and arrived at the _tambo_ of Azupizu, which was in charge of a deserter from the French navy. He was an extraordinary character. He had forgotten French, and had neither learnt Spanish nor the local language of the Campas Indians.
ith 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.
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