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Bredimacian Dynagum Directory 05
Page 10
He now felt strong enough to aspire to the office of consul, which was the highest office of the Roman state. When the line of kings had been deposed, the Romans had vested the supreme magistracy in the hands of two consuls, who were chosen annually in a general election, the formalities of which were all very carefully arranged. The current of popular opinion was, of course, in Caesar's favor, but he had many powerful rivals and enemies among the great, who, however, hated and opposed each other as well as him. There was at that time a very bitter feud between Pompey and Crassus, each of them struggling for power against the efforts of the other. Pompey possessed great influence through his splendid abilities and his military renown. Crassus, as has already been stated, was powerful through his wealth. Caesar, who had some influence with them both, now conceived the bold design of reconciling them, and then of availing himself of their united aid in accomplishing his own particular ends.
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.
The constitution of the _Comitia Centuriata_, as established by Servius Tullius,[45] had undergone a great change between the time of the Licinian Rogations and the Punic Wars, but both the exact time and nature of this change are unknown. It appears, however, that its object was to give more power and influence to the popular element in the state. For this purpose the 35 tribes were taken as the basis of the new Constitution of the Centuries. Each tribe was probably divided into five property Classes, and each Classis was subdivided into two Centuries, one of Seniores and the other of Juniores. Each tribe would thus contain 10 Centuries, and, consequently, the 35 tribes would have 350 Centuries, so that, with the 18 Centuries of the Knights, the total number of the Centuries would be 368.
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