Part 13 (1/2)

No testimony to his merit could be higher than that of Goethe, the prince of German critics in literature. It may be of value, however, in addition to this, to give the opinion of two very different men respecting Sachs. Dr. Hagenbach in his ”History of the Reformation”

says: ”A happy union of wholesome humor and moral purity meets us in Hans Sachs of Nuremberg;” and Thomas Carlyle, in his own style, which happily is ”inimitable,” speaks of him as a ”gay, childlike, devout, solid character--a man neither to be despised nor patronized, but left standing on his own basis as a singular product, and legible symbol, and clear mirror of the time and country where he lived.”

He died on the 25th of January, 1576, at the age of eighty-two, in full mental vigor. He was busy writing verses and tales almost to the last days of his life. His grave is still shown in the churchyard of St.

John's, Nuremberg.

JACOB BOEHMEN, THE MYSTIC.

Jacob Boehmen, or Boehme, was born at the village of Altseidenberg, near Gorlitz, in Prussian Silesia, about a year before the death of Hans Sachs. A shoemaker for the greater part of his life, Boehmen devoted the powers of a remarkable mind to philosophical and religious speculation, and produced works which, notwithstanding their mystical and well-nigh unintelligible character, are declared by some of the best authorities in Germany and England to have laid the foundation of metaphysics and philosophy. It is impossible to give a true idea of the writings of this extraordinary man except by a complete review of his philosophy and its influence on German philosophical writers. The most contradictory opinions have been expressed in regard to the value of his productions.

By some critics he is set down as a rhapsodist who wrote nothing but mystical jargon, and by others as a profound philosopher whose thoughts and dreams are full of inspiration. Mosheim, _e.g._, says: ”It is impossible to find greater obscurity than there is in these pitiable writings, which exhibit an incongruous mixture of chemical terms, mystical jargon, and absurd visions.” On the other hand, it is curious to read the opinions expressed by our own King Charles I., who of all the Stuarts, not excepting his own father, James I., that ”so learned and judicious a prince,” was most capable of being a judge in such matters. Charles is reported to have said of the writings of the shoemaker of Gorlitz: ”Had they been the productions of a scholar and a man of learning, they would have been truly wonderful; but if, as he heard, they were the productions of a poor shoemaker, they furnished a proof that the Holy Ghost had still a habitation in the souls of men.”

Sir Isaac Newton was a student of Boehmen, whose dissertation on ”The Three Principles” is said to have furnished hints to the philosopher which put him on the track of some of his great discoveries; and Blake, the half-mad, half-inspired poet, painter, and engraver, frequently spoke of him as a divinely inspired man. Before Blake's day the writings of Boehmen had been translated by William Law, author of ”The Serious Call,” and published by Ward & Co. in two quarto volumes (1762-84).

Law's writings had immense influence over the minds of John and Charles Wesley, and their followers, the Methodists. Law, who was no mean judge of the worth of Boehmen's writings, held them in high esteem.

But of more value than these opinions is the estimate formed by philosophers themselves as to the works of this great mystic. Spinoza frequently studied them, and acknowledged their influence on his own mind. Sch.e.l.ling, the idealist philosopher, bears testimony to Boehmen's great merits as a thinker. Hegel speaks of him as the ”Teutonic philosopher,” and adds, ”In reality, through him, for the first time, did philosophy in Germany come forward with a characteristic stamp.” S.

T. Coleridge in his ”Literary Remains”[93] says: ”I have often thought of writing a book to be ent.i.tled 'A Vindication of Great Men Unjustly Branded,' and at such times the names prominent to my mind's eye have been Giordano Bruno, Jacob Boehmen, Benedict Spinoza, and Emanuel Swedenborg.” In the library of Manchester New College, London, is a copy of the works of Spinoza with marginal notes written by Coleridge,[94]

and among them is the following note to Epistle x.x.xvi.: ”The truth is, Spinoza, in common with all metaphysicians before him (Boehme perhaps excepted), began at the wrong end,” etc., etc. Coleridge frequently spoke of Boehmen in the warmest terms of admiration.

[93] Vol. iv. p. 423.

[94] This book once belonged to Henry Crabb Robinson: see H. C. R.'s Diary, etc., vol. i. pp. 400, 401, for the above quotation.

At a very early age Jacob Boehmen showed a disposition to pious meditation and fancied himself inspired. He was poorly educated as a youth, and nearly all his knowledge was self-acquired. His first work was published when he was thirty-seven years of age, and was ent.i.tled ”Aurora,” or _the morning dawn_. He was severely attacked by the religious leaders of his day, but the court at Dresden patronized and protected him. His death took place November 27th, 1624. His works have been frequently published in Germany, Holland, and England, where they are much more warmly appreciated now than they were in his own lifetime.

ITALY.

GABRIEL CAPPELLINI, IL CALIGARINO, OR THE LITTLE SHOEMAKER.

If it be characteristic of Germany that one of her ill.u.s.trious shoemakers should be a _poet_ and another a _philosopher_, it is no less characteristic of Italy and Holland that several followers of the gentle craft in these countries should have distinguished themselves as _painters_. We take three examples from the sixteenth and seventeenth centuries.

Gabriel Cappellini of Ferrara in Italy was more generally known by the appellation _Il Caligarino_, or the _little shoemaker_, a name derived from his original occupation. He is said to have been led to throw down the awl and take to the brush in consequence of a compliment paid to him one day by one of the great family of painters called Dossi, who told the shoemaker that a pair of shoes he had just made were so elegant that they looked as if they had been painted. He became a scholar of Dossi, and made a fair name as an artist in the sixteenth century. He is praised by Barotti for ”the boldness of his design and the sobriety of his color.” Several of his paintings may now be seen in the city of Ferrara, the best of which is in the Church of St. Giovannino. This is an altar-piece representing the Virgin and Child with infant saints attending upon them. In the Church of St. Francesco is a painting of SS. John and James. There is also an altar-piece ascribed to him in the Church of St. Alesandro at Bergamo, representing the Last Supper. A small painting of the same subject is in the possession of Count Carrara.[95]

[95] Lanzi's ”History of Painting.” London: Bohn, vol.

iii. p. 200; and Bryan's ”Dictionary of Painters.” London: Bohn, p. 138.

FRANCEs...o...b..IZZIO, THE ARTIST.

Frances...o...b..izzio (or Briccio) was the most eminent of the three painters we have to name who began life as shoemakers. He was born at Bologna in 1574. Up to the age of twenty he worked as a shoemaker, and then, being free to follow his bent, became at first a pupil of Pa.s.serotti, who taught him design, afterward of Agostini, who initiated him in the engraver's art, and finally of Lodovico Caracci, under whom he became so proficient that ”by some he has been p.r.o.nounced the most eminent disciple of Caracci;” and it has been affirmed of this son of Crispin that of all Caracci's pupils except Domenichino he was gifted with the most universal genius. In perspective, landscape, architecture, and figures, a competent critic, Andrea Sacchi, the famous Roman artist, says, ”Brizzio surpa.s.sed all his rivals.” Guido speaks highly of the beauty of his cherubs. His extant paintings are an altar-piece ent.i.tled ”The Coronation of the Virgin,” which is very rich in coloring, and the ”Table of Cebes,” a grand painting executed for the Angellili family.

Numerous engravings of his are known to connoisseurs, and highly prized as the work of an artist ”who often approaches Guido.” ”His pictures were not only admired for the truth of the perspective and the beauty of his coloring, but also for the grandeur of his ideas, the majestic style of the architecture, the elegance of the ornaments, and the n.o.ble taste of the landscapes which he introduced to set off his buildings.” Brizzio died in 1623 at the age of forty-nine.[96]

[96] Lanzi's ”History of Painting.” London: Bohn, vol.