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Tamoskaro Directory 11
He entered the camp of Livius in the night, that his arrival might not be known to the Carthaginians. After a day's rest the two Consuls proceeded to offer battle; but Hasdrubal, perceiving the augmented numbers of the Romans, and hearing the trumpet sound twice, felt convinced that the Consuls had united their forces, and that his brother had been defeated. He therefore declined the combat, and in the following night commenced his retreat toward Ariminum. The Romans pursued him, and he found himself compelled to give them battle on the right bank of the Metaurus. On this occasion Hasdrubal displayed all the qualities of a consummate general; but his forces were greatly inferior to those of the enemy, and his Gaulish auxiliaries were of little service. The gallant resistance of the Spanish and Ligurian troops is attested by the heavy loss of the Romans; but all was of no avail, and seeing the battle irretrievably lost, he rushed into the midst of the enemy, and fell, sword in hand, in a manner worthy of the son of Hamilcar and the brother of Hannibal. The Consul Nero hastened back to Apulia almost as speedily as he had come, and announced to Hannibal the defeat and death of his brother by throwing into his camp the severed head of Hasdrubal.
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.
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