Abstract

AMONG THE GREAT German painters of the sixteenth century Lucas Cranach takes a special, and rather controversial, place. Though his humanist friends at the university of Wittenberg, Christoph Scheurl and Philipp Melanchthon, stated emphatically that he would be surpassed only by Albrecht Durer, and even in spite of the high opinion Diirer himself had for Cranach,' he has been treated with condescension and even scorn by art historians more often than not. Significantly this was done for the very same reasons that incited Direr's and Scheurl's ad-

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