GRUMENTUM

grumentum, an ancient town in the centre of lucania, 33 m. s. of potentia by the direct road through anxia, and 52 m. by the via herculia, at the point of divergence of a road eastward to heraclea. it seems to have been a native lucanian town, not a greek settlement. in 215 b.c. the carthaginian general hanno was defeated under its walls, and in 207 b.c. hannibal made it his headquarters. in the social war it appears as a strong fortress, and seems to have been held by both sides at different times. it became a colony, perhaps in the time of sulla, at latest under augustus, and seems to have been of some importance. its site, identified by holste from the description of the martyrdom of st laverius, is a ridge on the right bank of the aciris (agri) about 1960 ft. above sea-level, 1/2 m. below the modern saponara, which lies much higher (2533 ft.). its ruins (all of the roman period) include those of a large amphitheatre (arena 205 by 197 ft.), the only one in lucania, except that at paestum. there are also remains of a theatre. inscriptions record the repair of its town walls and the construction of _thermae_ (of which remains were found) in 57-51 b.c., the construction in 43 b.c., of a portico, remains of which may be seen along an ancient road, at right angles to the main road, which traversed grumentum from s. to n. see f. p. caputi in _notizie degli scavi_ (1877), 129, and g. patroni, ibid. (1897) 180. (t. as.) grun. hans baldung (c. 1470-1545), commonly called grun, a german painter of the age of durer, was born at gmund in swabia, and spent the greater part of his life at strassburg and freiburg in breisgau. the earliest pictures assigned to him are altarpieces with the monogram h. b. interlaced, and the date of 1496, in the monastery chapel of lichtenthal near baden. another early work is a portrait of the emperor maximilian, drawn in 1501 on a leaf of a sketch-book now in the print-room at carlsruhe. the "martyrdom of st sebastian" and the "epiphany" (berlin museum), fruits of his labour in 1507, were painted for the market-church of halle in saxony. in 1509 grun purchased the freedom of the city of strassburg, and resided there till 1513, when he moved to freiburg in breisgau. there he began a series of large compositions, which he finished in 1516, and placed on the high altar of the freiburg cathedral. he purchased anew the freedom of strassburg in 1517, resided in that city as his domicile, and died a member of its great town council 1545. though nothing is known of grun's youth and education, it may be inferred from his style that he was no stranger to the school of which durer was the chief. gmund is but 50 m. distant on either side from augsburg and nuremberg. grun prints were often mistaken for those of durer; and durer himself was well acquainted with grun's woodcuts and copper-plates in which he traded during his trip to the netherlands (1520). but grun's prints, though dureresque, are far below durer, and his paintings are below his prints. without absolute correctness as a draughtsman, his conception of human form is often very unpleasant, whilst a questionable taste is shown in ornament equally profuse and "baroque." nothing is more remarkable in his pictures than the pug-like shape of the faces, unless we except the coarseness of the extremities. no trace is apparent of any feeling for atmosphere or light and shade. though grun has been commonly called the correggio of the north, his compositions are a curious medley of glaring and heterogeneous colours, in which pure black is contrasted with pale yellow, dirty grey, impure red and glowing green. flesh is a mere glaze under which the features are indicated by lines. his works are mainly interesting because of the wild and fantastic strength which some of them display. we may pass lightly over the "epiphany" of 1507, the "crucifixion" of 1512, or the "stoning of stephen" of 1522, in the berlin museum. there is some force in the "dance of death" of 1517, in the museum of basel, or the "madonna" of 1530, in the liechtenstein gallery at vienna. grun's best effort is the altarpiece of freiburg, where the "coronation of the virgin," and the "twelve apostles," the "annunciation, visitation, nativity and flight into egypt," and the "crucifixion," with portraits of donors, are executed with some of that fanciful power which martin schon bequeathed to the swabian school. as a portrait painter he is well known. he drew the likeness of charles v., as well as that of maximilian; and his bust of margrave philip in the munich gallery tells us that he was connected with the reigning family of baden as early as 1514. at a later period he had sittings from margrave christopher of baden, ottilia his wife, and all their children, and the picture containing these portraits is still in the grand-ducal gallery at carlsruhe. like durer and cranach, grun became a hearty supporter of the reformation. he was present at the diet of augsburg in 1518, and one of his woodcuts represents luther under the protection of the holy ghost, which hovers over him in the shape of a dove.