during the Flight into Egypt,” marked with the initials L.C., and the date of 1504, is by far the most graceful creation of his pencil. The scene is laid on the margin of a forest of pines, and discloses the habits of a painter familiar with the mountain scenery of Thuringia. There is more of gloom in landscapes of a later time; and this would point to a defect in the taste of Cranach, whose stag hunts are otherwise not unpleasing. Cranach’s art in its prime was doubtless influenced by causes which but slightly affected the art of the Italians, but weighed with potent consequence on that of the Netherlands and Germany. The business of booksellers who sold woodcuts and engravings at fairs and markets in Germany naturally satisfied a craving which arose out of the paucity of wall-paintings in churches and secular edifices. Drawing for woodcuts and engraving of copper-plates became the occupation of artists of note, and the talents devoted in Italy to productions of the brush were here monopolized for designs on wood or on copper. We have thus to account for the comparative unproductiveness as painters of Dürer and Holbein, and at the same time to explain the shallowness apparent in many of the later works of Cranach; but we attribute to the same cause also the tendency in Cranach to neglect effective colour and light and shade for strong contrasts of flat tint. Constant attention to mere contour and to black and white appears to have affected his sight, and caused those curious transitions of pallid light into inky grey which often characterize his studies of flesh; whilst the mere outlining of form in black became a natural substitute for modelling and chiaroscuro. There are, no doubt, some few pictures by Cranach in which the flesh-tints display brightness and enamelled surface, but they are quite exceptional. As a composer Cranach was not greatly gifted. His ideal of the human shape was low; but he showed some freshness in the delineation of incident, though he not unfrequently bordered on coarseness. His copper-plates and woodcuts are certainly the best outcome of his art; and the earlier they are in date the more conspicuous is their power. Striking evidence of this is the “St Christopher” of 1506, or the plate of “Elector Frederick praying before the Madonna” (1509). It is curious to watch the changes which mark the development of his instincts as an artist during the struggles of the Reformation. At first we find him painting Madonnas. His first woodcut (1505) represents the Virgin and three saints in prayer before a crucifix. Later on he composes the marriage of St Catherine, a series of martyrdoms, and scenes from the Passion. After 1517 he illustrates occasionally the old gospel themes, but he also gives expression to some of the thoughts of the Reformers. In a picture of 1518 at Leipzig, where a dying man offers “his soul to God, his body to earth, and his worldly goods to his relations,” the soul rises to meet the Trinity in heaven, and salvation is clearly shown to depend on faith and not on good works. Again sin and grace become a familiar subject of pictorial delineation. Adam is observed sitting between John the Baptist and a prophet at the foot of a tree. To the left God produces the tables of the law, Adam and Eve partake of the forbidden fruit, the brazen serpent is reared aloft, and punishment supervenes in the shape of death and the realm of Satan. To the right, the Conception, Crucifixion and Resurrection symbolize redemption, and this is duly impressed on Adam by John the Baptist, who points to the sacrifice of the crucified Saviour. There are two examples of this composition in the galleries of Gotha and Prague, both of them dated 1529. One of the latest pictures with which the name of Cranach is connected is the altarpiece which Cranach’s son completed in 1555, and which is now in the Stadtkirche (city church) at Weimar. It represents Christ in two forms, to the left trampling on Death and Satan, to the right crucified, with blood flowing from the lance wound. John the Baptist points to the suffering Christ, whilst the blood-stream falls on the head of Cranach, and Luther reads from his book the words, “The blood of Christ cleanseth from all sin.” Cranach sometimes composed gospel subjects with feeling and dignity. “The Woman taken in Adultery” at Munich is a favourable specimen of his skill, and various repetitions of Christ receiving little children show the kindliness of his disposition. But he was not exclusively a religious painter. He was equally successful, and often comically naïve, in mythological scenes, as where Cupid, who has stolen a honeycomb, complains to Venus that he has been stung by a bee (Weimar, 1530; Berlin, 1534), or where Hercules sits at the spinning-wheel mocked by Omphale and her maids. Humour and pathos are combined at times with strong effect in pictures such as the “Jealousy” (Augsburg, 1527; Vienna, 1530), where women and children are huddled into telling groups as they watch the strife of men wildly fighting around them. Very realistic must have been a lost canvas of 1545, in which hares were catching and roasting sportsmen. In 1546, possibly under Italian influence, Cranach composed the “Fons Juventutis” of the Berlin Gallery, executed by his son, a picture in which hags are seen entering a Renaissance fountain, and are received as they issue from it with all the charms of youth by knights and pages.
Cranach’s chief occupation was that of portrait-painting, and we are indebted to him chiefly for the preservation of the features of all the German Reformers and their princely adherents. But he sometimes condescended to depict such noted followers of the papacy as Albert of Brandenburg, archbishop elector of Mainz, Anthony Granvelle and the duke of Alva. A dozen likenesses of Frederick III. and his brother John are found to bear the date of 1532. It is characteristic of Cranach’s readiness, and a proof that he possessed ample material for mechanical reproduction, that he received payment at Wittenberg in 1533. for “sixty pairs of portraits of the elector and his brother” in one day. Amongst existing likenesses we should notice as the best that of Albert, elector of Mainz, in the Berlin museum, and that of John, elector of Saxony, at Dresden.
Cranach had three sons, all artists:—John Lucas, who died at Bologna in 1536; Hans Cranach, whose life is obscure; and Lucas, born in 1515, who died in 1586.
See Heller, Leben und Werke Lukas Cranachs (2nd ed., Bamberg, 1844); Chr. Schuchard, Lukas Cranachs des älteren Leben und Werke (3 vols., Leipzig, 1851–1871); Warnecke, Cranach der ältere (Görlitz, 1879); M. B. Lindau, Lucas Cranach (1883); Lippmann, Lukas Cranach, Sammlung, &c. (Berlin, 1895), reproductions of his most notable woodcuts and engravings; Woermann, Verzeichnis der Dresdener Cranach-Ausstellung von 1899 (Dresden, 1899); Flechsig, Tafelbilder Cranach’s des ältern und seiner Werkstatt (Leipzig, 1900); Muther, Lukas Cranach (Berlin, 1902); Michaelson, L. Cranach der ältere (Leipzig, 1902). (J. A. C.)
CRANBERRY, the fruit of plants of the genus Oxycoccus, (natural order Vacciniaceae), often considered part of the genus Vaccinium. O. palustris (or Vaccinium Oxycoccus), the common cranberry plant, is found in marshy land in northern and central Europe and North America. Its stems are wiry, creeping and of varying length; the leaves are evergreen, dark and shining above, glaucous below, revolute at the margin, ovate, lanceolate or elliptical in shape, and not more than half an inch long; the flowers, which appear in May or June, are small and stalked, and have a four-lobed, rose-tinted corolla, purplish filaments, and anther-cells forming two long tubes. The berries ripen in August and September; they are pear-shaped and about the size of currants, are crimson in colour and often spotted, and have an acid and astringent taste. The American species, O. macrocarpus, is found wild from Maine to the Carolinas. It attains a greater size than O. palustris, and bears bigger and finer berries, which are of three principal sorts, the cherry or round, the bugle or oblong, and the pear or bell-shaped, and vary in hue from light pink to dark purple, or may be mottled red and white. O. erythrocarpus is a species indigenous in the mountains from Virginia to Georgia, and is remarkable for the excellent flavour of its berry.
Air and moisture are the chief requisites for the thriving of the cranberry plant. It is cultivated in America on a soil of peat or vegetable mould, free from loam and clay, and cleared of turf, and having a surface layer of clean sand. The sand, which needs renewal every two or three years, is necessary for the vigorous existence of the plants, and serves both to keep the underlying soil cool and damp, and to check the growth of grass and weeds. The ground must be thoroughly drained, and should be provided with a supply of water and a dam for flooding the plants during
