Page:History of the German people at the close of the Middle Ages vol1.djvu/235

WOOD AND COPPEE ENGRAVING 223 and armed with a grappling-hook, stretches his claws towards the rider, who, without fear of either, rides calmly forwards, his firm faith and consciousness of duty fulfilled giving him a sure hope of victory. 1 The sentiments which the artist symbolises in ' The Knight, Death, and the Devil ' are further developed in the second picture. This one introduces us into the chamber of St. Jerome, who sits at a desk writing. The sun pours through the small window-panes ; its rays fall on the figure of a lion stretched out with half- opened eyes, and a dog slumbering at his side. All is order and harmony, and no outward disturbance seems capable of ruffling the peaceful expression which rests on the countenance of the venerable Father of the Church, a peace, however, which he is not satisfied to enjoy alone, for he is at work to spread abroad the knowledge which he possesses, and which is the source of his own happiness. The third picture is of an en- tirely different character — a winged woman, bearing a myrtle crown on her head, which rests on her left hand, while a book and compass are held in the right hand, sits on the seashore. A lean and exhausted greyhound lies stretched at her feet. The various implements and symbols of science that are scattered around her in wild confusion produce a chaotic effect, which is heightened by the straggling beams of a comet that pierces the clouds. Here there is no vivifying sunlight, no har- monious order, as in the chamber of St. Jerome ; none of the sustained expression of peace and calm which charac- terises the saint at his work, or the knight in the midst 1 H. Grimm connects Ritter, Tod und Tcufel with the Enchiridion Militis CJiristiani from Erasmus. See Preussische Jahrbucher, 1875, xxxvi. 543-549.