That Luther was not devoid of a sense of the beautiful and of its practical value in the service of religion is proved by his outspoken love of music, particularly of church-music, his numerous poetic efforts, no less than by that strongly developed appreciation of well-turned periods, clearness and force of diction so well seen in his translation of the Bible. His life’s struggle, however, led him along paths which make it easy to understand how it is that he has so little to say in his writings in commendation of the other liberal arts. It also explains the baldness of his reminiscences of his visit to Italy and the city of Rome; the young monk, immersed in his theology, was even then pursuing quite other interests than those of art. It is true Luther, once, in one of the rare passages in favour of ecclesiastical art, speaking from his own point of view, says: “It is better to paint on the wall how God created the world, how Noah made the ark and such-like pious tales, than to paint worldly and shameless subjects; would to God I could persuade the gentry and the rich to have the whole Bible story painted on their houses, inside and out, for everyone’s eye to see; that would be a good Christian work.”[800] Manifestly he did not intend his words to be taken too literally in the case of dwelling-houses. A fighter such as Luther was scarcely the right man to give any real stimulus in the domain of art. The heat of his religious polemics scorched up in his soul any good dispositions of this sort which may once have existed, and blighted in its very beginnings the growth of any real feeling for art among his zealous followers. Hardly a single passage can be found in which he expresses any sense of satisfaction in the products of the artist. It is generally admitted that in the 16th century German art suffered a severe set-back. For this the bitter controversies which for the while transformed Germany into a hideous battlefield were largely responsible; for such a soil could not but prove unfavourable for the arts and crafts. The very artists themselves were compelled to prostitute their talents in ignoble warfare. We need only call to mind the work of the two painters Cranach, the Elder and the Younger, and the horrid flood of caricatures and base vilifications cast both in poetry and in prose. “The rock on which art suffered shipwreck was not, as a recent art-writer says, the fact that ‘German art was too early severed from its bond with the Church,’ but that, with regard to its subject-matter and its methods of expression, it was forced into false service by the intellectual and religious leaders.”[801] CHAPTER XXXI LUTHER IN HIS DISMAL MOODS, HIS SUPERSTITION AND DELUSIONS 1. His Persistent Depression in Later Years Persecution Mania and Morbid Fancies