early as 1514, At a later period lie Lad sittings from Margrave Christopher of Baden, Ottilia his wife, and all their children, and the picture containing these portraits is still in the grand-ducal gallery at Carlsruhe. Like Diirer and Cranach, Griin became a hearty supporter of the Reformation. He was present at the diet of Augsburg in 1518, and one of his woodcuts represents Luther under the protection of the Holy Ghost, which hovers over him in tho shape of a dove.
GRUNBERG, or Grüneberg, a town of Prussian
Silesia, chief town of a circle in the government district of
Liegnitz, is beautifully situated on an affluent of the Oder,
and on the railway from Breslau to Stettin by Kiistrin, 36
miles N.N.W. of Glogau. It has a real-school of the first
order, a higher female school, and a trade school. The
prosperity of the town depends chiefly on the vine culture
in the neighbourhood, from which, besides the exportation
of a large quantity of grapes, about 700,000 gallons of wine
are manufactured annually. The wine is a kind of cham
pagne, and is largely exported to Russia. There are also
manufictures of machinery, cloth, preserved fruits, and
lignite. The population of the town in 1875 was 12,200.
GRUNDTVIG, Nikolai Frederik Severin (1783-
1872), the Danish poet, statesman, and divine, was born at
Udby on the 8th of September 1783 ; in 1791 he was
sent to live at the house of a priest in Jutland, and studied
at the free school of Aarhuus until he went up to the uni
versity of Copenhagen in 1800. At the close of his uni
versity life he made Icelandic his special study, until in
1805 he took the position of tutor in a house on the island
of Langeland. The next three years were spent in the
study of Shakespeare, Schiller, and Fichte. His cousin,
the philosopher Henrik Steffens, had returned to Copen
hagen in 1802 full of the teaching of Schelling, and his
lectures and the early poetry of Oehlenschlager opened the
eyes of Grundtvig to the new era in literature that was
commencing. The latter began to essay writing himself,
but his first work, On the Songs in the Edda, attracted no
attention. Returning to Copenhagen in 1808, he achieved
a greater success with his Northern Mythology, and in 1809
with his Decline of the Heroic Life in the North. The
boldness of his theological vievs having provoked opposi
tion, he retired to a country parsonage for a while, but soon
returned to pursue a literary career with extraordinary
earnestness. From 1812 to 1817 he published five or six
works, of which the Rhyme of Roeskilde is the most remark
able. From 1816 to 1819 he was editor of a polemical
journal entitled Dannevirke, and in 1818 to 1822 appeared
his Danish paraphrases of Saxo Grammaticus and Snorre.
During these years he was preaching to an enthusiastic con
gregation in Copenhagen, but he accepted in 1821 the
country living of Pnesto, only to return to the metropolis
the year after. His theological career was, however,
presently stopped, for, having in 1825 published a brochure,
The Church s Reply, against the popular Dr Clausen, he
was publicly prosecuted and fined. For seven years he was
forbidden to preach, years which he spent in publishing a
collection of his theological works, in paying two visits to
England, and in studying Anglo-Saxon. In 1832 he ob
tained permission to preach again, and in 1839 he became
priest of the workhouse church of Vartou Hospital, a post
he continued to hold until his death. In 1837 he published
Songs for the Danish Church, a rich collection of spiritual
poema; in 1838 he brought out a selection of early Scandi
navian verse ; in 1840 he edited the Anglo-Saxon poem of
the Phoenix, with a Danish translation. He visited England
a third time in 1843. From 1844 until after the first
German war Grundtvig took a very prominent part in
politics. In 1861 he received the titular rank of bishop,
but without a see. He went on writing occasional poems
till 1866, and preached in the Vartou every Sunday until
a month before his death. He was married thrice, the last
time in his seventy-sixth year, and left children by each
marriage. He died September 2, 1872. Grundtvig holds
a unique position in the literature of his country ; he has
been styled the Danish Carlyle. He was above all things
a man of action, not an artist ; and the formless vehemence
of his writings, which have had a great influence over his
own countrymen, is hardly agreeable or intelligible to a
foreigner. His spiritual poems are among the best that the
North has produced, but they are apt to be too lung. The
writings of Grundtvig have not yet been collected in a
permanent form, but the best of his poetical works were
published in a selection by his eldest son, Svend Grundtvig,
the eminent comparative mythologist, in 1869, with a
critical memoir by the poet Hostrup, who belongs to the
religious body denominated Grundtvigians.
GRUNEWALD, Mathias. The accounts which are given of this painter, a native of Aschaffenburg, are curi ously contradictory. Between 1518 and 1530, according to statements adopted by Waagen and Passavant, he was commissioned by Albert of Brandenburg, elector and arch bishop of Mainz, to produce an altarpiece for the collegiate church of St Maurice and Mary Magdalen at Halle on the Saale ; and he acquitted himself of this duty with such cleverness that the prelate in after years caused the picture to be rescued from the Reformers and brought back to Aschaffenburg. From one of the churches of that city it was taken to the Pinakothek of Munich in 1836. It represents St Maurice and Mary Magdalen between four saints, and displays a style so markedly characteristic, and so like that of Lucas Cranach, that Waagen was induced to call Grunewald Cranach s master. He also traced the same hand and technical execution in the great altarpieces of Annaberg and Heilbronn, and in various panels exhibited in the museums of Mainz, Darm stadt, Aschaffenburg, Vienna, and Berlin. A later race of critics, declining to accept the statements of Waagen and Passavant, affirm that there is no documentary evidence to connect Grunewald with the pictures of Halle and Annaberg, and they quote Sandrart and Bernhard Jobin of Strasburg to show that Grunewald is the painter of pictures of a different class. They prove that he finished before 1516 the large altarpiece of Issenheim, at present in the museum of Colmar, and starting from these premises they connect the artist with Altdorfer and Diirer to the exclusion of Cranach. That a native of the Palatinate should have been asked to execute pictures for a church in Saxony can scarcely be accounted strange, since we observe that Hans Baldung was entrusted with a commission of this kind. But that a painter of Aschaffenbnrg should display the style of Cranach is strange and indeed incredible, unless vouched for by first class evidence. In this case documents are altogether wanting, whilst on the other hand it is beyond the possibility of doubt, even according to Waagen, that the altarpiece of Issenheim is the creation of a man whose teaching was altogether different from that of the painter of the pictures of Halle and Annaberg. At this stage the controversy now stands ; and it is needless to do more than observe that the altarpiece of Issenheim is a fine and powerful work, completed as local records show before 1516 by a Swabian, whose distinguishing mark is that he followed the traditions of Martin Schongauer, and came under the influence of Altdorfer and Diirer. As a work of art tho altarpiece is important, being a poliptych of eleven panels, a carved central shrine covered with a double set of wings, and two side pieces containing the Temptation of St Anthony, the hermits Anthony and Paul in converse, the Virgin adored by Angels, the Resurrection, the Annunciation, the Crucifixion, St Sebastian, St Anthony, and the Marys
