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The men agreed to this. As I could not trust any of them, I took the precaution to take along with me all my notebooks and the maps I had made of the entire region we had crossed, four hundred glass negatives which I had taken and developed, a number of unexposed plates, a small camera, my chronometer, one aneroid, a sextant, a prismatic compass, one other compass, and a number of other things which were absolutely necessary. The rest of the baggage I left at that spot. I begged the men to take special care of the packages. All I asked of them was to prop them up on stones so that the termites and ants should not destroy my possessions, and to make a shed with palm leaves so as to protect the packages as much as possible from the rain. The men promised to do all this faithfully. We drew lots as to who were to be the two to accompany me on the difficult errand across the virgin forest. Fate selected Filippe the negro and Benedicto, both terribly ill.

Lucas Cranach (1472-1553) was a Franconian master, who settled in Saxony and was successively court-painter to three Electors and the leader of a small local school there. He, perhaps, studied under Gruenewald, but was so positive a character that he showed no strong school influence. His work was fantastic, odd in conception and execution, sometimes ludicrous, and always archaic-looking. His type was rather strained in proportions, not always well drawn, but graceful even when not truthful. This type was carried into all his works, and finally became a mannerism with him. In subject he was religious, mythological, romantic, pastoral, with a preference for the nude figure. In coloring he was at first golden, then brown, and finally cold and sombre. The lack of aerial perspective and shadow masses gave his work a queer look, and he was never much of a brushman. His pictures were typical of the time and country, and for that and for their strong individuality they are ranked among the most interesting paintings of the German school. Perhaps his most satisfactory works are his portraits. Lucas Cranach the Younger (1515-1586) was the best of the elder Cranach's pupils. Many of his pictures are attributed to his father. He followed the elder closely, but was a weaker man, with a smoother brush and a more rosy color. Though there were many pupils the school did not go beyond the Cranach family. It began with the father and died with the son.

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