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+The Project Gutenberg EBook of Durer, by M. F. Sweetser
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Durer
+       Artist-Biographies
+
+Author: M. F. Sweetser
+
+Release Date: June 13, 2010 [EBook #32787]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK DURER ***
+
+
+
+
+Produced by D Alexander, Juliet Sutherland and the Online
+Distributed Proofreading Team at https://www.pgdp.net
+
+
+
+
+
+
+
+
+
+ _ARTIST-BIOGRAPHIES._
+
+ DÜRER.
+
+ BOSTON:
+ HOUGHTON, OSGOOD, AND COMPANY.
+
+ The Riverside Press, Cambridge.
+
+ 1879.
+
+
+
+
+ COPYRIGHT.
+ BY JAMES R. OSGOOD & CO.
+ 1877.
+
+ FRANKLIN PRESS:
+ RAND, AVERY, AND COMPANY,
+ BOSTON.
+
+
+
+
+ARTIST-BIOGRAPHIES.
+
+PUBLISHERS' ANNOUNCEMENT.
+
+
+The growth of a popular interest in art and its history has been very
+rapid during the last decade of American life, and is still in
+progress. This interest is especially directed towards the lives of
+artists themselves; and a general demand exists for a uniform series
+of biographies of those most eminent, which shall possess the
+qualities of reliability, compactness, and cheapness.
+
+To answer this demand the present series has been projected. The
+publishers have intrusted its preparation to Mr. M. F. Sweetser, whose
+qualities of thoroughness in research and fidelity in statement have
+been proved in other fields of authorship. It is believed that by the
+omission of much critical and discursive matter commonly found in art
+biographies, an account of an artist's life may be presented, which is
+at once truthful and attractive, within the limits prescribed for
+these volumes.
+
+The series will be published at the rate of one or two volumes each
+month, at 50 cents each volume, and will contain the lives of the most
+famous artists of mediæval and modern times. It will include the lives
+of many of the following:--
+
+ Raphael,                Claude,             Van Dyck,
+ Michael Angelo,         Poussin,            Gainsborough,
+ Leonardo da Vinci,      Delacroix,          Reynolds,
+ Titian,                 Delaroche,          Wilkie,
+ Tintoretto,             Greuze,             Lawrence,
+ Paul Veronese,          Dürer,              Landseer,
+ Guido,                  Rubens,             Turner,
+ Murillo,                Rembrandt,          West,
+ Velasquez,              Holbein,            Copley,
+ Salvator Rosa,          Teniers,            Allston.
+
+
+
+
+PREFACE.
+
+
+This little volume presents an account of the life of one of the
+noblest and most versatile artists of Germany, with a passing glance
+at the activities of Northern Europe at the era of the Reformation.
+The weird and wonderful paintings of Dürer are herein concisely
+described, as well as the most famous and characteristic of his
+engravings and carvings; and his quaint literary works are enumerated.
+It has also been thought advisable to devote considerable space to
+details about Nuremberg, the scene of the artist's greatest labors;
+and to reproduce numerous extracts from his fascinating Venetian
+letters and Lowland journals.
+
+The modern theory as to Dürer's wife and his home has been accepted
+in this work, after a long and careful examination of the arguments
+on both sides. It is pleasant thus to be able to aid in the
+rehabilitation of the much-slandered Agnes, and to have an oppressive
+cloud of sorrow removed from the memory of the great painter.
+
+The chief authorities used in the preparation of this new memoir are
+the recent works of Dr. Thausing and Mr. W. B. Scott, with the series
+of articles now current in "The Portfolio," written by Professor
+Colvin. Mrs. Heaton's biography has also been studied with care; and
+other details have been gathered from modern works of travel and
+art-criticism, as well as from "The Art Journal," "La Gazette des
+Beaux Arts," and other periodicals of a similar character.
+
+                                  M. F. SWEETSER.
+
+
+
+
+CONTENTS.
+
+
+ CHAPTER I.
+
+ 1471-1494.                                                       PAGE
+
+ The Activities of Nuremberg.--The Dürer Family.--Early Years of
+ Albert.--His Studies with Wohlgemuth.--The _Wander-Jahre_          7
+
+
+ CHAPTER II.
+
+ 1494-1505.
+
+ Dürer marries Agnes Frey.--Her Character.--Early Engravings.
+ --Portraits.--"The Apocalypse."--Death of Dürer's Father.
+ --Drawings                                                        28
+
+
+ CHAPTER III.
+
+ 1505-1509.
+
+ The Journey to Venice.--Bellini's Friendship.--Letters to
+ Pirkheimer.--"The Feast of Rose Garlands."--Bologna.--"Adam and
+ Eve."--"The Coronation of the Virgin"                             47
+
+
+ CHAPTER IV.
+
+ 1509-1514.
+
+ Dürer's House.--His Poetry.--Sculptures.--The Great and Little
+ Passions.--Life of the Virgin.--Plagiarists.--Works for the Emperor
+ Maximilian                                                        63
+
+
+ CHAPTER V.
+
+ 1514-1520.
+
+ St. Jerome.--The Melencolia.--Death of Dürer's Mother.--Raphael.
+ --Etchings.--Maximilian's Arch.--Visit to Augsburg                81
+
+
+ CHAPTER VI.
+
+ 1520-1522.
+
+ Dürer's Tour in the Netherlands.--His Journal.--Cologne.--Feasts
+ at Antwerp and Brussels.--Procession of Notre Dame.--The
+ Confirmatia.--Zealand Journey.--Ghent.--Martin Luther             94
+
+
+ CHAPTER VII.
+
+ 1522-1526.
+
+ Nuremberg's Reformation.--The Little Masters.--Glass-Painting.
+ --Architecture.--Letter to the City Council.--"Art of Mensuration."
+ --Portraits.--Melanchthon                                        118
+
+
+ CHAPTER VIII.
+
+ 1526-1528.
+
+ "The Four Apostles."--Dürer's Later Literary Works.--Four Books of
+ Proportion.--Last Sickness and Death.--Agnes Dürer.--Dürer described
+ by a Friend                                                      131
+
+
+
+
+ALBERT DÜRER.
+
+
+
+
+CHAPTER I.
+
+The Activities of Nuremberg.--The Dürer Family.--Early Years of
+Albert.--His Studies with Wohlgemuth.--The _Wander-Jahre._
+
+
+The free imperial city of Nuremberg, in the heart of Franconia, was
+one of the chief centres of the active life of the Middle Ages, and
+shared with Augsburg the great trans-continental traffic between
+Venice and the Levant and Northern Europe. Its municipal liberties
+were jealously guarded by venerable guilds and by eminent magistrates
+drawn from the families of the merchant-princes, forming a government
+somewhat similar to the Venetian Council. The profits of a commercial
+prosperity second only to that of the Italian ports had greatly
+enriched the thrifty burghers, aided by the busy manufacturing
+establishments which made the city "the Birmingham of the Middle
+Ages." Public and private munificence exerted itself in the erection
+and adornment of new and splendid buildings; and the preparation of
+works of art and utility was stimulated on all sides. It was the era
+of the discovery of America, the revival of classic learning, and the
+growth of free thought in matters pertaining to religion. So far had
+the inventions of the artisans contributed to the comfort of the
+people, that Pope Pius II. said that "A Nuremberg citizen is better
+lodged than the King of Scots;" and so widely were they exported to
+foreign realms, that the proud proverb arose that
+
+     "Nuremberg's hand
+     Goes through every land."
+
+Nuremberg still stands, a vast mediæval relic, in the midst of
+the whirl and activity of modern Germany, rich and thriving, but
+almost unchanged in its antique beauty. The narrow streets in which
+Dürer walked are flanked, as then, by quaint gable-roofed houses,
+timber-fronted, with mullioned windows and arching portals. In the
+faded and venerable palaces of the fifteenth century live the
+descendants of the old patrician families, cherishing the memories and
+archives of the past; and the stately Gothic churches are still rich
+in religious architecture, and in angular old Byzantine pictures and
+delicate German carvings. On the hill the castle rears its ponderous
+ramparts, which have stood for immemorial ages; and the high towers
+along the city walls have not yet bowed their brave crests to the
+spirit of the century of boulevards and railroads.
+
+With two essentials of civilization, paper and printing-presses,
+Nuremberg supplied herself at an early day. The first paper-mill in
+Germany was established here in 1390; and its workmen were obliged to
+take an oath never to make paper for themselves, nor to reveal the
+process of manufacture. They went out on a strike when the mill was
+enlarged, but the authorities imprisoned them until they became docile
+once more. Koberger's printing-house contained twenty-four presses,
+and employed over a hundred men, printing not only Bibles and
+breviaries, but also chronicles, homilies, poems, and scientific
+works. As the Aldine Press attracted many authors and scholars to
+Venice, so Koberger's teeming press led several German literati to
+settle at Nuremberg. For the four first years of Dürer's life, the
+wonderful mathematician and astronomer Regiomontanus dwelt here, and
+had no less than twenty-one books printed by Koberger. His numerous
+inventions and instruments awakened the deepest interest in the
+Nuremberg craftsmen, and stimulated a fruitful spirit of inquiry for
+many years.
+
+The clockmakers of Nuremberg were famous for their ingenious
+productions. Watches were invented here in the year 1500, and were
+long known as "Nuremberg eggs." The modern composition of brass was
+formed by Erasmus Ebner; wire-drawing machinery also was a Nuremberg
+device; the air-gun was invented by Hobsinger; the clarionet, by
+Denner; and the church-organs made here were the best in Germany.
+There were also many expert metal-workers and braziers; and fifty
+master-goldsmiths dwelt in the town, making elegant and highly
+artistic works, images, seals, and medals, which were famous
+throughout Europe. The most exquisite flowers and insects, and other
+delicate objects, were reproduced in filagree silver; and the first
+maiolica works in Northern Europe were also founded here.
+
+Isolated, like the ducal cities of Italy, from the desolating wars of
+the great powers of Europe, and like them also growing rapidly in
+wealth and cultivation, Nuremberg afforded a secure refuge for Art and
+its children. In Dürer's day the great churches of St. Sebald, St.
+Lawrence, and Our Lady were finished; Peter Vischer executed the
+exquisite and unrivalled bronze Shrine of St. Sebald; and Adam Kraft
+completed the fairy-like Sacrament-house, sixty feet high, and
+"delicate as a tree covered with hoar-frost." Intimate with these two
+renowned artificers was Lindenast, "the red smith," who worked
+skilfully in beaten copper; and their studies were conducted in
+company with Vischer's five sons, who, with their wives and children,
+all dwelt happily at their father's house. Vischer lived till a year
+after Dürer's death, but there is no intimation that the two artists
+ever met. Another eminent craftsman was the unruly Veit Stoss, the
+marvellous wood-carver, many of whose works remain to this day; and
+there was also Hans Beheim, the sculptor, "an honorable, pious, and
+God-fearing man;" and Bullman, who "was very learned in astronomy,
+and was the first to set the Theoria Planetarum in motion by
+clockwork;" and he who made the great alarm-bell, which was inscribed,
+"I am called the mass and the fire bell: Hans Glockengeiser cast me: I
+sound to God's service and honor." What shall we say also of Hartmann,
+Dürer's pupil, who invented the measuring-rod; Schoner, the maker of
+terrestrial globes; Donner, who improved screw machinery; and all the
+skilful gun-makers, joiners, carpet-workers, and silk-embroiderers?
+There was also the burgher Martin Behaim, the inventor of the
+terrestrial globe, who anticipated Columbus by sailing Eastward across
+the Pacific Ocean, passing through the Straits of Magellan and
+discovering Brazil, as early as 1485.
+
+In Germany, as in Italy, the studio of the artist, full of pure and
+lofty ideals, had hardly yet evolved itself from the workshop of the
+picture-manufacturer. Nuremberg's chief artists at this time were
+Michael Wohlgemuth, Dürer's master; Lucas Kornelisz, also called
+Ludwig Krug, who, though a most skilful engraver, was sometimes forced
+to adopt the profession of a cook in order to support himself; and
+Matthias Zagel, who was expert in both painting and engraving. Still
+another was the Venetian Jacopo de' Barbari, or Jacob Walch, "the
+master of the Caduceus," a dexterous engraver and designer, whom Dürer
+alludes to in his Venetian and Netherland writings. The art of
+engraving had been invented early in the fifteenth century, and was
+developing rapidly and richly toward perfection. The day of versatile
+artists had arrived, when men combined the fine and industrial arts in
+one life, and devoted themselves to making masterpieces in each
+department. The northern nations, unaided by classic models and
+traditions, were developing a new and indigenous æsthetic life, slow
+of growth, but bound to succeed in the long run.
+
+The literary society of Dürer's epoch at Nuremberg was grouped in the
+_Sodalitas Literaria Rhenana_, under the learned Conrad Celtes, who
+published a book of Latin comedies, pure in Latinity and lax in
+morals, which he mischievously attributed to the Abbess Roswitha.
+Pirkheimer and the monk Chelidonius also belonged to this sodality.
+Other contemporary literati of the city were Cochläus, Luther's
+satirical opponent; the Hebraist Osiander; Venatorius, who united the
+discordant professions of poetry and mathematics; the Provost
+Pfinzing, for whose poem of _Tewrdannkh_, Dürer's pupil Schäuffelein
+made 118 illustrations; Baumgärtner, Melanchthon's friend; Veit
+Dietrich, the reformer; and Joachim Camerarius, the Latinist. But the
+most illustrious of Nuremberg's authors at that time was the
+cobbler-poet, Hans Sachs, a radical in politics and religion, who
+scourged the priests and the capitalists of his day in songs and
+satires which were sung and recited by the workmen of all Germany. He
+himself tells us that he wrote 4,200 master-songs, 208 comedies and
+tragedies, 73 devotional and love songs, and 1,007 fables, tales, and
+miscellaneous poems; and others say that his songs helped the
+Reformation as much as Luther's preaching.
+
+Thus the activities of mechanics, art, and literature pressed forward
+with equal fervor in the quaint old Franconian city, while Albert
+Dürer's life was passing on. "Abroad and far off still mightier things
+were doing; Copernicus was writing in his observatory, Vasco di Gama
+was on the Southern Seas."
+
+"I, Albrecht Dürer the younger, have sought out from among my father's
+papers these particulars of him, where he came from, and how he lived
+and died holily. God rest his soul! Amen." In this manner the pious
+artist begins an interesting family history, in which it is stated
+that the Dürers were originally from the romantic little Hungarian
+hamlet of Eytas, where they were engaged in herding cattle and horses.
+Anthony Dürer removed to the neighboring town of Jula, where he
+learned the goldsmith's art, which he taught to his son Albrecht, or
+Albert, while his other sons were devoted to mechanical employments
+and the priesthood. Albert was not content to stay in sequestered
+Jula, and, wandering over Germany and the Low Countries, at last came
+to Nuremberg, where he settled in 1455, in the service of the
+goldsmith Hieronymus Haller. This worthy Haller and his wife Kunigund,
+the daughter of Oellinger of Weissenberg, at that time had an infant
+daughter; and as she grew up Albert endeared himself to her to such
+purpose that, in 1467, when Barbara had become "a fair and handy
+maiden of fifteen," he married her, being forty years old himself.
+During the next twenty-four years she bore him eighteen children,
+seven daughters and eleven sons, of whose births, names, and
+godparents the father made careful descriptions. Three only, Albert,
+Andreas, and Hans, arrived at years of maturity. It may well be
+believed that the poor master-goldsmith was forced to work hard and
+struggle incessantly to support such a great family; and his portrait
+shows that the hand-to-mouth existence of so many years had told
+heavily and left its imprint on his weary and careworn face. Yet he
+had certain sources of peace and gentleness in his life, and never
+sank into moroseness or selfishness. Let us quote the tender and
+reverent words of his son: "My father's life was passed in great
+struggles and in continuous hard work. With my dear mother bearing so
+many children, he never could become rich, as he had nothing but what
+his hands brought him. He had thus many troubles, trials, and adverse
+circumstances. But yet from every one who knew him he received praise,
+because he led an honorable Christian life, and was patient, giving
+all men consideration, and thanking God. He indulged himself in few
+pleasures, spoke little, shunned society, and was in truth a
+God-fearing man. My dear father took great pains with his children,
+bringing them up to the honor of God. He made us know what was
+agreeable to others as well as to our Maker, so that we might become
+good neighbors; and every day he talked to us of these things, the
+love of God and the conduct of life."
+
+Albert Dürer was the third child of Albert the Elder and Barbara
+Hallerin, and was born on the morning of the 21st of May, 1471. The
+house in which the Dürers then lived was a part of the great pile of
+buildings owned and in part occupied by the wealthy Pirkheimer family,
+and was called the _Pirkheimer Hinterhaus_. It fronted on the Winkler
+Strasse of Nuremberg, and was an ambitious home for a craftsman like
+Albert. The presence of Antonius Koberger, the famous book-printer, as
+godfather to the new-born child, shows also that the Dürers occupied
+an honorable position in the city.
+
+The Pirkheimers were then prominent among the patrician families of
+Southern Germany, renowned for antiquity, enormously wealthy through
+successful commerce, and honored by important offices in the State.
+The infant Willibald Pirkheimer was of about the same age as the young
+Albert Dürer; and the two became close companions in all their
+childish sports, despite the difference in the rank of their families.
+When the goldsmith's family moved to another house, at the foot of the
+castle-hill, five years later, the warm intimacy between the children
+continued unchanged.
+
+The instruction of Albert in the rudiments of learning was begun at an
+early age, probably in the parochial school of St. Sebald, and was
+conducted after the singular manner of the schools of that day, when
+printed books were too costly to be intrusted to children. He lived
+comfortably in his father's house, and daily received the wise
+admonitions and moral teachings of the elder Albert. His friendship
+for Willibald enabled him to learn certain elements of the higher
+studies into which the young patrician was led by his tutors; and his
+visits to the Pirkheimer mansion opened views of higher culture and
+more refined modes of life.
+
+Albert was enamoured with art from his earliest years, and spent many
+of his leisure hours in making sketches and rude drawings, which he
+gave to his schoolmates and friends. The Imhoff Collection had a
+drawing of three heads, done in his eleventh year; the Posonyi
+Collection claimed to possess a Madonna of his fifteenth year; and the
+British Museum has a chalk-drawing of a woman holding a bird in her
+hand, whose first owner wrote on it, "This was drawn for me by Albert
+Dürer before he became a painter." The most interesting of these early
+works is in the Albertina at Vienna, and bears the inscription: "This
+I have drawn from myself from the looking-glass, in the year 1484,
+when I was still a child.--ALBERT DÜRER." It shows a handsome and
+pensive boy-face, oval in shape, with large and tender eyes, filled
+with solemnity and vague melancholy; long hair cut straight across the
+forehead, and falling over the shoulders; and full and pouting lips.
+It is faulty in design, but shows a considerable knowledge of drawing,
+and a strong faculty for portraiture. The certain sadness of
+expression tells that the schoolboy had already become acquainted with
+grief, probably from the straitened circumstances of his family, and
+the melancholy deaths of so many brothers and sisters. The great
+mystery of sorrow was full early thrown across the path of the solemn
+artist. This portrait was always retained by Dürer as a memorial of
+his childhood.
+
+He says of his father, "For me, I think, he had a particular
+affection; and, as he saw me diligent in learning, he sent me to
+school. When I had learned to write and read, he took me home again,
+with the intention of teaching me the goldsmith's work. In this I
+began to do tolerably well." He was taken into the goldsmith's
+workshop in his thirteenth year, and remained there two years,
+receiving instruction which was not without value in his future life,
+in showing him the elements of the arts of modelling and design. The
+accuracy and delicacy of his later plastic works show how well he
+apprehended these ideas, and how far he acquired sureness of
+expression. The elder Albert was a skilful master-workman, highly
+esteemed in his profession, and had received several important
+commissions. It is said that the young apprentice executed under his
+care a beautiful piece of silver-work representing the Seven Agonies
+of Christ.
+
+"But my love was towards painting, much more than towards the
+goldsmith's craft. When at last I told my father of my inclination, he
+was not well pleased, thinking of the time I had been under him as
+lost if I turned painter. But he left me to have my will; and in the
+year 1486, on St. Andrew's Day, he settled me apprentice with Michael
+Wohlgemuth, to serve him for three years. In that time God gave me
+diligence to learn well, in spite of the pains I had to suffer from
+the other young men." Thus Dürer describes his change in life, and the
+embarkation on his true vocation, as well as the reluctance of the
+elder Albert to allow his noble and beloved boy to pass out from his
+desolated household into other scenes, and away from his
+companionship.
+
+Wohlgemuth was one of the early religious painters who stood at the
+transition-point between the school of Cologne and that of the Van
+Eycks, or between the old pietistic traditions of Byzantine art
+and the new ideas of the art of the Northern Reformation. The
+conventionalisms of the Rhenish and Franconian paintings were being
+exchanged for a fresher originality and a truer realism; and the
+pictures of this time curiously blended the old and the new.
+Wohlgemuth seems to have considered art as a money-getting trade
+rather than a high vocation, and his workroom was more a shop than a
+studio. He turned out countless Madonnas and other religious subjects
+for churches and chance purchasers, and also painted chests and carved
+and colored images of the saints, many of which were executed by his
+apprentices. A few of his works, however, were done with great care
+and delicacy, and show a worthy degree of sweetness and simplicity.
+Evidently the young pupil gained little besides a technical knowledge
+of painting from this master,--the mechanical processes, the modes of
+mixing and applying colors, the chemistry of pigments, and a certain
+facility in using them. It was well that the influences about him were
+not powerful enough to warp his pure and original genius into servile
+imitations of decadent methods. His hands were taught dexterity; and
+his mind was left to pursue its own lofty course, and use them as its
+skilful allies in the new conquests of art.
+
+Wood-engraving was also carried on in Wohlgemuth's studio, and it is
+probable that Dürer here learned the rudiments of this branch of art,
+which he afterwards carried to so high a perfection. Some writers
+maintain that his earliest works in this line were done for the famous
+"Nuremberg Chronicle," which was published in 1493 by Wohlgemuth and
+Pleydenwurf.
+
+The three years which were spent in Wohlgemuth's studio were probably
+devoted to apprentice-work on compositions designed by the master, who
+was then about fifty years old, and at the summit of his fame. But few
+of Dürer's drawings now existing date from this epoch, one of which
+represents a group of horsemen, and another the three Swiss leaders,
+Fürst, Melchthal, and Staufacher. The beautiful portrait of Dürer's
+father, which is now at Florence, was executed by the young artist in
+1490, probably to carry with him as a souvenir of home. Mündler says,
+"For beauty and delicacy of modelling, this portrait has scarcely been
+surpassed afterwards by the master, perhaps not equalled."
+
+It was claimed by certain old biographers that the eminent Martin
+Schongauer of Colmar was Dürer's first master; but this is now
+contested, although it is evident that his pictures had a powerful
+effect on the youth. Schongauer was the greatest artist and engraver
+that Germany had as yet produced, and exerted a profound influence on
+the art of the Rhineland. He renewed the fantastic conceits and
+grotesque vagaries which the Papal artists of Cologne had suppressed
+as heathenish, and prepared the way for, or perhaps even suggested,
+the weird elements of Dürer's conceptions. At the same time he passed
+back of his Netherland art-education, and studied a mystic benignity
+and dreamy spirituality suggestive of the Umbrian painters, with whose
+chief, the great Perugino, Martin was acquainted. Herein Dürer's works
+were in strong contrast with Schongauer's, and showed the new spirit
+that was stirring in the world.
+
+Next to Schongauer, the great Italian artist Mantegna exercised the
+strongest influence upon Dürer, who studied his bold and austere
+engravings with earnest admiration, showing his traits in many
+subsequent works. Probably he met the famous Mantuan painter during
+the _Wander-jahre_, in Italy; and at the close of his Venetian journey
+he was about to pay a visit of homage to him, when he heard of his
+death.
+
+During his three years of study we have seen that the delicate and
+sensitive youth suffered much from the reckless rudeness and jeering
+insults of his companions, rough hand-workers who doubtless failed to
+understand the poignancy of the torments which they inflicted on the
+sad-eyed son of genius. But his home was near at hand, and the tender
+care of his parents, always beloved. How often he must have wandered
+through the familiar streets of Nuremberg, with his dreamy artist-face
+and flowing hair, and studied the Gothic palaces, the fountains
+adorned with statuary, and the rich treasures of art in the great
+churches! Beyond the tall-towered town, danger lurked on every road;
+but inside the gray walls was peace and safety, and no free lances nor
+marauding men-at-arms could check the aspiring flight of the youth's
+bright imagination.
+
+"And when the three years were out, my father sent me away. I remained
+abroad four years, when he recalled me; and, as I had left just after
+Easter in 1490, I returned home in 1494 just after Whitsuntide." Thus
+Albert describes the close of his _Lehr-jahre_, or labor-years, and
+the entrance upon his _Wander-jahre_, or travel-years. According to a
+German custom, still prevalent in a modified degree, the youth was
+obliged to travel for a long period, and study and practise his trade
+or profession in other cities, before settling for life as a
+master-workman. Unfortunately all that Dürer records as to these
+eventful four years is given in the sentences above; and we can only
+theorize as to the places which he visited, and his studies of the
+older art-treasures of Europe. Some authors believe that a part of the
+_Wander-jahre_ was spent in Italy, and Dr. Thausing, Dürer's latest
+and best biographer, clearly proves this theory by a close study of
+his notes and sketches. Others claim with equal positiveness, and less
+capability of proof, that they were devoted to the Low Countries. It
+is certain that he abode at Colmar in 1492, where he was honorably
+received by Gaspar, Paul, and Louis, the three brothers of Martin
+Schongauer. The great Martin had died some years before; but many of
+his best paintings were preserved at Colmar, and were carefully
+studied by Dürer. At a later day he wandered through the Rhineland to
+Basle, and spent his last year at Strasbourg. His portraits of his
+master and mistress in the latter city were dated in 1494, and
+pertained to the Imhoff Collection.
+
+His portrait painted by himself in 1493 was procured at Rome by the
+Hofrath Beireis, and described by Goethe. It shows a bright and
+vigorous face, full of youthful earnestness and joy, rich, harmonious,
+and finely executed, though thinly colored. He is attired in a
+blue-gray cloak with yellow strings, an embroidered shirt whose
+sleeves are bound with peach-colored ribbons, and a purple cap; and
+holds a piece of the blue flower called _Manns-treue_, or Man's-faith.
+
+
+
+
+CHAPTER II.
+
+Dürer marries Agnes Frey.--Her Character.--Early Engravings.
+--Portraits.--"The Apocalypse."--Death of Dürer's Father.--Drawings.
+
+
+"And when my _Wander-jahre_ was over, Hans Frey treated with my
+father, and gave me his daughter, by name the _Jungfrau_ Agnes, with a
+dowry of 200 guldens. Our wedding was held on the Monday before St.
+Margaret's Day (in July), in the year 1494." This dry statement of the
+most important event of the artist's life illustrates the ancient
+German custom of betrothal, where the bond of wedlock was considered
+as a matter-of-fact copartnership, with inalienable rights and duties,
+devoid of sentiment or romance. Since the relatives of the contracting
+parties were closely affected by such transactions, they usually
+managed the negotiations themselves; and the young people, thus thrown
+by their parents at each other's heads, were expected to, and usually
+did, accept the situation with submissiveness and prudent obedience.
+In this case it appears that the first overtures came from the family
+of the lady; and perhaps the order for Albert to return from his
+wanderings was issued for this reason. Hans Frey was a burgher with
+large possessions in Nuremberg and the adjacent country; and his
+daughter was a very beautiful maiden. Her future husband does not
+appear to have seen her until the betrothal was made.
+
+Most of Dürer's biographers have dwelt at great length on the malign
+influence which Agnes exercised upon his life, representing her as a
+jealous virago, imbittering the existence of the noble artist. But Dr.
+Thausing, in his new and exhaustive history of Dürer's life,
+vindicates the lady from this evil charge; and his position is
+carefully reviewed and sustained by Eugéne Müntz. He points out the
+fact that the long story of Agnes's uncongeniality rests solely on
+Pirkheimer's letter, and then shows that that ponderous burgher had
+reasons for personal hostility to her. The unbroken silence which
+Dürer preserves as to home-troubles, throughout his numerous letters
+and journals, is held as proof against the charges; and none of his
+intimate friends and contemporaries (save Pirkheimer) allude to his
+domestic trials, though they wrote so much about him. The accusation
+of avarice on her part is combated by several facts, among which is
+the cardinal one of her self-sacrificing generosity to the Dürer
+family after her husband's death, and the remarkable record of her
+transferring to the endowment of the Protestant University of
+Wittenberg the thousand florins which Albert had placed in the hands
+of the Rath for her support. Pirkheimer's acrimonious letter (see p.
+142) gives her credit at least for virtue and piety; and perhaps we
+may regard her aversion to the doughty writer as a point in her favor.
+
+It is a singular and unexplained fact, that although Dürer was
+accustomed to sketch every one about him, yet no portrait of his wife
+is certainly known to exist, though several of his sketches are so
+called, without any foundation or proof. What adds to the strangeness
+of this omission is the fact that all accounts represent Agnes Dürer
+as a very handsome woman.
+
+Probably the newly married couple dwelt at the house of the elder
+Dürer during the first years of their union. In 1494 Albert was
+admitted to the guild of painters, submitting a pen-drawing of
+Orpheus and the Bacchantes as his test of ability; and at about the
+same time he drew the "Bacchanal" and "The Battle of the Tritons,"
+which are now at Vienna. Herein he showed the contemporary classical
+tendency of art, which he so soon outgrew. About this same time he
+designed a frontispiece for the Latin poem which Dr. Ulsen had written
+about the pestilence which was devastating Nuremberg, showing a
+ghastly and repulsive man covered with plague-boils. The portrait of
+Dürer's father, in oil-colors, which is now at Frankfort, was also
+executed during this year.
+
+Dürer's first copper-plate engraving dates from 1497, and represents
+four naked women, under a globe bearing the initials of "_O Gott
+Hilf_," or "O God, help," while human bones strew the floor, and a
+flaming devil appears in the background. During the next three years
+the master made twenty copper-plate engravings. The composition of
+"St. Jerome's Penance" shows the noble old ascetic kneeling alone in
+a rocky wilderness, beating his naked breast with a stone, and gazing
+at a crucifix, while the symbolical lion lies beside him. "The Penance
+of St. John Chrysostom" depicts the long-bearded saint expiating
+his guilt in seducing and slaying the princess by crawling about
+on all-fours like a beast. She is seen at the mouth of a rocky
+cave, nursing her child. "The Prodigal Son" is another tender and
+exquisitely finished copper-plate engraving, in which the yearning and
+prayerful Prodigal, bearing the face of Dürer, is kneeling on bare
+knees by the trough at which a drove of swine are feeding. In the
+background is a group of substantial German farm-buildings, with
+unconcerned domestic animals and fowls. "The Rape of Amymone" shows a
+gloomy Triton carrying off a very ugly woman from the midst of her
+bathing Danaide sisters. "The Dream" portrays an obese German soundly
+sleeping by a great stove, with a foolish-faced naked Venus and a
+winged Cupid standing by his side, and a little demon blowing in his
+ear. "The Love Offer" is made by an ugly old man to a pretty maiden,
+whose waist is encircled by his arm, while her hand is greedily
+outstretched to receive the money which he offers. Another early
+engraving on copper shows a wild and naked man holding an unspeakably
+ugly woman, who is endeavoring to tear herself from his arms. Still
+others delineate Justice sitting on a lion, "The Little Fortune"
+standing naked on a globe, and the monstrous hog of Franconia.
+
+It was chiefly through his engravings that Dürer became and remains
+known to the world; and by the same mode of expression he boldly
+showed forth the doubts and despairs, yearnings and conflicts, not
+only of his own pure and sorrowful soul, but also of Europe, quivering
+in the throes of the Reformation.
+
+The artists of Italy, when the age of faith was ended, turned to the
+empty splendors and symmetries of paganism; but their German brothers
+faced the new problems more sternly, and strove for the life of the
+future. Under Dürer's hard and homely German scenes, there seem to be
+double meanings and unfathomable fancies, usually alluding to sorrow,
+sin, and death, and showing forth the vanity of all things earthly. In
+sharp contrast with these profound allegories are the humorous
+grotesqueness and luxuriant fancifulness which appear in others of the
+artist's engravings, fantastic, uncouth, and quaint. He frequently
+yielded to the temptation to introduce strange animals and unearthly
+monsters into his pictures, even those of the most sacred subjects;
+and his so-called "Virgin with the Animals" is surrounded by scores of
+birds, insects, and quadrupeds of various kinds.
+
+It is interesting to hear of the rarity of the early impressions of
+Dürer's engravings, and the avidity with which they are sought and the
+keenness with which they are analyzed by collectors. In many cases the
+copies of these engravings are as good as the originals, and can be
+distinguished only by the most trifling peculiarities. The water-marks
+of the paper on which they are printed form a certain indication of
+their period. Before his Venetian journey Dürer used paper bearing the
+water-mark of the bull's head; and, after his return from the
+Netherlands, paper bearing a little pitcher; while the middle period
+had several peculiar symbols. A fine impression of the copper-plate
+engraving of "St. Jerome" recently brought over $500; and the Passion
+in Copper sold in 1864 for $300.
+
+"The Portfolio" for 1877 contains a long series of articles by Prof.
+Sidney Colvin on "Albert Dürer: His Teachers, his Rivals, and his
+Scholars," treating exhaustively of his relations as an engraver to
+other contemporary masters,--Schongauer, Israhel van Meckenen,
+Mantegna, Boldini and the Florentines, Jacopo de' Barbari (Jacob
+Walch), Marc Antonio, Lucas van Leyden, and certain other excellent
+but nameless artists.
+
+Vasari says, "The power and boldness of Albert increasing with time,
+and as he perceived his works to obtain increasing estimation, he now
+executed engravings on copper, which amazed all who beheld them."
+Three centuries later Von Schlegel wrote, "When I turn to look at the
+numberless sketches and copper-plate designs of the present day, Dürer
+appears to me like the originator of a new and noble system of
+thought, burning with the zeal of a first pure inspiration, and eager
+to diffuse his deeply conceived and probably true and great ideas."
+
+In 1497 Dürer painted the excellent portrait of his father, which the
+Rath of Nuremberg presented to Charles I. of England, and which is now
+at Sion House, the seat of the Earl of Northumberland. It shows a man
+aged yet strong, with grave and anxious eyes, compressed lips, and an
+earnest expression. Another similar portrait of the same date is in
+the Munich Pinakothek. He also executed two portraits of the pretty
+patrician damsel, Catherine Fürleger; one as a loose-haired Magdalen
+(which is now in London), and the other as a German lady (now at
+Frankfort).
+
+In 1498 Dürer painted a handsome portrait of himself, with curly hair
+and beard, and a rich holiday costume. His expression is that of a man
+who appreciates and delights in his own value, and is thoroughly
+self-complacent. This picture was presented by Nuremberg to King
+Charles I. of England; and, in the dispersion of his gallery during
+the Commonwealth, it was bought by the Grand Duke of Tuscany. It is
+now in the Uffizi Gallery, though Mündler calls this Florentine
+picture a copy of a nobler original which is in the Madrid Gallery.
+
+During this year Dürer published his first great series of woodcuts,
+representing the Apocalypse of St. John, in fifteen pictures full of
+terrible impressiveness and the naturalistic quaintness of early
+German faith. The boldness of the youth who thus took for his theme
+the marvellous mysteries of Patmos was warranted in the grand
+weirdness and perennial fascination of the resulting compositions.
+This series of rich and skilful engravings marked a new era in the
+history of wood-engraving, and the entrance of a noble artistic spirit
+into a realm which had previously been occupied by rude monkish cuts
+of saints and miracles. Jackson calls these representations of the
+Apocalypse "much superior to all wood-engravings that had previously
+appeared, both in design and execution." The series was brought out
+simultaneously in German and Latin editions, and was published by the
+author himself. It met with a great success, and was soon duplicated
+in new pirated editions.
+
+It has of late years become a contested point as to whether Dürer
+really engraved his woodcuts with his own hands, or whether he only
+drew the designs on the wood, and left their mechanical execution to
+practical workmen. It is only within the present century that a theory
+to the latter effect has been advanced and supported by powerful
+arguments and first-class authorities. The German scholars Bartsch and
+Von Eye, and the historians of engraving Jackson and Chatto, concur in
+denying Dürer's use of the graver. But there is a strong and
+well-supported belief that many of the engravings attributed to him
+were actually done by his hand, and that during the earlier part of
+his career he was largely engaged in this way. The exquisite
+wood-carvings which are undoubtedly his work show that he was not
+devoid of the manual dexterity needful for these plates; and it is
+also certain that the mediæval artists did not hold themselves above
+mechanical labors, since even Raphael and Titian were among the
+_peintres-graveurs_. Dürer's efforts greatly elevated the art of
+wood-engraving in Germany, and this improvement was directly conducive
+to its growth in popularity. A large number of skilful engravers were
+developed by the new demand; and in his later years Dürer doubtless
+found enough expert assistants, and was enabled to devote his time to
+more noble achievements. He used the art to multiply and disseminate
+his rich ideas, which thus found a more ready expression than
+that of painting. Heller attributes one hundred and seventy-four
+wood-engravings to him; and many more, of varying claims to
+authenticity, are enumerated by other writers. Twenty-six were made
+before 1506. The finest and the only perfect collection of Dürer's
+woodcuts is owned by Herr Cornill d'Orville of Frankfort-on-the-Main.
+
+In 1500 Dürer painted the noble portrait of himself which is now at
+Munich, and is the favorite of all lovers of the great artist. It
+shows a high and intellectual forehead, and tender and loving eyes,
+with long curling hair which falls far down on his shoulders. In many
+respects it bears the closest resemblance to the traditional pictures
+of Christ, with its sad and solemn beauty, and large sympathetic eyes,
+and has the same effeminate full lips and streaming ringlets.
+
+During the next five years Dürer was in some measure compensated for
+the trials of his home by the cheerful companionship of his old friend
+Pirkheimer, who had recently returned from service with the Emperor's
+army in the Tyrolese wars. At his hospitable mansion the artist met
+many eminent scholars, reformers, and literati, and broadened his
+knowledge of the world, while receiving worthy homage for his genius
+and his personal accomplishments. Baumgärtner, Volkamer, Harsdorfer,
+and other patricians of the city, were his near friends; and the
+Augustine Prior, Eucharius Karl, and the brilliant Lazarus Spengler,
+the Secretary of Nuremberg, were also intimate with both Dürer and
+Pirkheimer. During the next twenty years the harassed artist often
+sought refuge among these gatherings of choice spirits, when weary of
+his continuous labors of ambition.
+
+Dürer pathetically narrates the death of his venerable father, in
+words as vivid as one of his pictures, and full of quaint tenderness:
+"Soon he clearly saw death before him, and with great patience waited
+to go, recommending my mother to me, and a godly life to all of us. He
+received the sacraments, and died a true Christian, on the eve of St.
+Matthew (Sept. 21), at midnight, in 1502.... The old nurse helped him
+to rise, and put the close cap upon his head again, which had become
+wet by the heavy sweat. He wanted something to drink; and she gave him
+Rhine wine, of which he tasted some, and then wished to lie down
+again. He thanked her for her aid, but no sooner lay back upon his
+pillows than his last agony began. Then the old woman trimmed the
+lamp, and set herself to read aloud St. Bernard's dying song; but she
+only reached the third verse, and behold his soul had gone. God be
+good to him! Amen. Then the little maid, when she saw that he was
+dying, ran quickly up to my chamber, and waked me. I went down fast,
+but he was gone; and I grieved much that I had not been found worthy
+to be beside him at his end."
+
+At this time Albert took home his brother Hans, who was then twelve
+years old, to learn the art of painting in his studio; and his other
+young brother, Andreas, the goldsmith's apprentice, now set forth upon
+his _Wander-jahre_. Within two years his mother, the widowed Barbara,
+had exhausted her scanty means; and she also was taken into Dürer's
+home, and lovingly cared for by her son.
+
+In 1503 Dürer's frail constitution yielded to an attack of illness. A
+drawing of Christ crowned with thorns, now in the British Museum,
+bears his inscription: "I drew this face in my sickness, 1503." In the
+same year he executed a copper-plate engraving of a skull emblazoned
+on an escutcheon, which is crowned by a winged helmet, and supported
+by a weird woman, over whose shoulder a satyr's face is peering. A
+contemporary copper-plate shows the Virgin nursing the Infant Jesus.
+The painting of this same subject, bearing the date of 1503, is now in
+the Vienna Belvedere, portraying an unlovely German mother and a very
+earthly baby.
+
+The celebrated "Green Passion" was executed in 1504, and is a series
+of twelve drawings on green paper, illustrating the sufferings of
+Christ. Some critics prefer this set, for delicacy and power, to
+either of the three engraved Passions. The theory is advanced that
+these exquisite drawings were made for the Emperor, or some other
+magnate, who wished to possess a unique copy. The Green Passion is now
+in the Vienna Albertina, the great collection of drawings made by the
+Archduke Albert of Sachsen-Teschen, which includes 160 of Dürer's
+sketches, designs, travel-notes, studies of costume and architecture,
+&c.
+
+Over 600 authentic sketches and drawings by Dürer are now preserved in
+Europe, and are of great interest as showing the freedom and firmness
+of the great master's first conceptions, and the gradual evolution of
+his ultimate ideas. They are drawn on papers of various colors and
+different preparations, with pen, pencil, crayon, charcoal, silver
+point, tempera, or water-colors. Some are highly finished, and
+others are only rapid jottings or bare outlines. The richest of the
+ancient collections was that of Hans Imhoff of Nuremberg, who
+married Pirkheimer's daughter Felicitas, and in due time added his
+father-in-law's Dürer-drawings to his own collection. His son
+Willibald further enriched the family art-treasures by many of
+the master's drawings which he bought from Andreas Dürer, and by
+inheriting the pictures of Barbara Pirkheimer. He solemnly enjoined
+in his will that this great collection should never be alienated, but
+should descend through the Imhoff family as an honored possession. His
+widow, however, speedily offered to sell the entire series to the
+Emperor Rudolph, and it was soon broken up and dispersed. The Earl of
+Arundel secured a great number of Dürer's drawings here, and carried
+them to England. In 1637 Arundel bought a large folio containing
+nearly 200 of these sketches, which was bequeathed to the British
+Museum in 1753 by Sir Hans Sloane. The museum has now one of the best
+existing collections of these works, some of which are of rare
+interest and value, especially the highly finished water-colors and
+pen-drawings.
+
+The interesting sketch-books used by Dürer on his journeys to Venice
+and to the Netherlands remained forgotten in the archives of a noble
+Nuremberg family until within less than a century, when the family
+became extinct, and its property was dispersed. They were then
+acquired by the venerable antiquary Baron von Derschau, who sold them
+to Nagler and Heller. Nagler's share was afterwards acquired by the
+Berlin Museum; and Heller's was bequeathed to the library of Bamberg.
+
+In 1504 Pirkheimer's wife Crescentia died in childbirth, after only
+two years of married life. Her husband bore witness that she had never
+caused him any trouble, except by her death; and engaged Dürer to make
+a picture of her death-bed. This work was beautifully executed in
+water-colors, and depicts the expiring woman on a great bedstead,
+surrounded by many persons, among whom are Pirkheimer and his sister
+Charitas, the Abbess, with the Augustinian Prior.
+
+The exquisite copper-plate engraving of "The Nativity" dates from this
+year, and shows the Virgin adoring the new-born Jesus, in the shelter
+of a humble German house among massive ancient ruins, while Joseph is
+drawing water from the well, and an old shepherd approaches the Child
+on his knees. The "Adam and Eve" was also done on copper this year,
+with the parents of all mankind, surrounded by animals, and standing
+near the tree of knowledge, from which the serpent is delivering the
+fatal apple to Eve.
+
+In the same year Dürer painted a carefully wrought "Adoration of
+the Kings," for the Elector Frederick the Wise of Saxony. It was
+afterwards presented by Christian II. to the Emperor Rudolph, and is
+now in the Uffizi, at Florence, which contains more pictures by
+Dürer than any other gallery outside of Germany. Here also is the
+controverted picture of "Calvary," dated 1505, displaying on one small
+canvas all the scenes of the Passion, with an astonishing number of
+figures finished in miniature.
+
+"The Satyr's Family" is an engraving on copper, showing the
+goat-footed father cheerily playing on a pipe, to the evident
+amusement of his human wife and child. "The Great Horse" and "The
+Little Horse" are similar productions of this period, in which the
+commentators vainly strive to find some recondite meaning. Sixteen
+engravings on copper were made between 1500 and 1506.
+
+Dürer has been called "The Chaucer of Painting," by reason of the
+marvellous quaintness of his conceptions; and Ruskin speaks of him as
+"intense in trifles, gloomily minute." His details, minute as they
+were, received the most careful study, and were all thought out before
+the pictures were begun, so that he neither erased nor altered his
+lines, nor made preliminary sketches. He was essentially a thinker who
+drew, rather than a drawer who thought.
+
+
+
+
+CHAPTER III.
+
+The Journey to Venice.--Bellini's Friendship.--Letters to
+Pirkheimer.--"The Feast of Rose Garlands."--Bologna.--"Adam and
+Eve."--"The Coronation of the Virgin."
+
+
+Late in 1505 Dürer made a journey to Venice, probably with a view to
+recover his health, enlarge his circle of friends and patrons, and
+study the famous Venetian paintings. He was worn down by continuous
+hard work, and weary of the dull uneventfulness of his life, and
+hailed an opportunity to rest in sunny Italy. He borrowed money from
+Pirkheimer for his journey, and left a small sum for family expenses
+during his absence. Between Nuremberg and her rich Southern rival
+there was a large commerce, with a weekly post; and many German
+merchants and artists were then residing in Venice. Dürer rode down on
+horseback; and suffered an attack of illness at Stein, near Laibach,
+where he rewarded the artist who had nursed him by painting a picture
+on the wall of his house. On arriving at Venice, the master was
+cordially received, and highly honored by the chief artists and
+literati of the city. The heads of Venetian art at that time were
+Giovanni Bellini and Carpaccio, both of whom were advanced in years;
+and Giorgione and Titian, who were not mentioned by our traveller,
+though they were both at work for the Fondaco de' Tedeschi at the same
+time as himself.
+
+During his residence in Venice he wrote nine long letters to "the
+honorable and wise Herr Willibald Pirkheimer, Burgher of Nuremberg,"
+which were walled up in the Imhoff mansion during the Thirty Years'
+War, and discovered at a later age. Much of these letters is taken up
+with details about Pirkheimer's commissions for precious stones and
+books, or with badinage about the burgher's private life, with
+frequent allusions to the support of the Dürers at home. Of greater
+interest are the accounts of the writer's successes in art, and the
+friends whom he met in Venetian society. The letters were embellished
+with rude caricatures and grotesques, matching the broad humor of the
+jovial allusions in the text. Either Pirkheimer was a man of most
+riotous life, or Dürer was a bold and pertinacious jester, unwearying
+in mock-earnest reproofs. These letters were sealed with the Dürer
+crest, composed of a pair of open doors above three steps on a shield,
+which was a punning allusion to the name Dürer, or Thürer, _Thür_
+being the German word for _door_. In the second letter he says,--
+
+    "I wish you were in Venice. There are many fine fellows among
+    the painters, who get more and more friendly with me; it
+    holds one's heart up. Well-brought-up folks, good
+    lute-players, skilled pipers, and many noble and excellent
+    people, are in the company, all wishing me very well, and
+    being very friendly. On the other hand, here are the falsest,
+    most lying, thievish villains in the whole world, appearing
+    to the unwary the pleasantest possible fellows. I laugh to
+    myself when they try it with me: the fact is, they know their
+    rascality is public, though one says nothing. I have many
+    good friends among the Italians, who warn me not to eat or
+    drink with their painters; for many of them are my enemies,
+    and copy my picture in the church, and others of mine
+    wherever they meet with them; and yet, notwithstanding this,
+    they abuse my works, and say that they are not according to
+    ancient art, and therefore not good. But Gian Bellini has
+    praised me highly before several gentlemen, and he wishes to
+    have something of my painting. He came himself, and asked me
+    to do something for him, saying that he would pay me well for
+    it; and all the people here tell me what a good man he is, so
+    that I also am greatly inclined to him."
+
+These sentences show the artist's pleasure at the kindly way in which
+the Italians received him, and also reveal the danger in which he
+stood of being poisoned by jealous rivals. Another ambiguous sentence
+has given rise to the belief that Dürer had visited Venice eleven
+years previously, during his _Wander-jahre_.
+
+Camerarius says that Bellini was so amazed and delighted at the
+exquisite fineness of Dürer's painting, especially of hair, that he
+begged him to give him the brush with which he had done such delicate
+work. The Nuremberger offered him any or all of his brushes, but
+Bellini asked again for the one with which he had painted the hair;
+upon which Dürer took one of his common brushes, and painted a long
+tress of woman's hair. Bellini reported that he would not have
+believed such marvellous work possible, if he had not seen it himself.
+
+The third letter describes the adventures of the inexpert artist in
+securing certain sapphires, amethysts, and emeralds for his "dear Herr
+Pirkheimer," and complains that the money earned by painting was all
+swallowed up by living expenses. The jealous Venetian painters had
+also forced him, by process of law, to pay money to their art-schools.
+
+His brother Hans was now sixteen years old, and had become a source of
+responsibility, for Dürer adds: "With regard to my brother, tell my
+mother to speak to Wohlgemuth, and see whether he wants him, or will
+give him work till I return, or to others, so that he may help
+himself. I would willingly have brought him with me to Venice, which
+would have been useful to him and to me, and also on account of his
+learning the language; but my mother was afraid that the heavens would
+fall upon him and upon me too. I pray you, have an eye to him
+yourself: he is lost with the women-folk. Speak to the boy as you
+well know how to do, and bid him behave well and learn diligently
+until I return, and not be a burden to the mother; for I cannot do
+every thing, although I will do my best."
+
+In the fourth letter he speaks of having traded his pictures for
+jewels, and sends greetings to his friend Baumgärtner, saying also:
+"Know that by the grace of God I am well, and that I am working
+diligently.... I wish that it suited you to be here. I know you would
+find the time pass quickly, for there are many agreeable people here,
+very good amateurs; and I have sometimes such a press of strangers to
+visit me, that I am obliged to hide myself; and all the gentlemen wish
+me well, but very few of the painters."
+
+The fifth letter opens with a long complimentary flourish in a
+barbarous mixture of Italian and Spanish, and then chaffs Pirkheimer
+unmercifully for his increasing intrigues. It also thanks Pirkheimer
+for trying to placate Agnes Frey, who is evidently much disappointed
+because her husband lingers so long at Venice. The Prior Eucharius is
+besought to pray that Dürer might be delivered from the new and
+terrible "French disease," then fatally prevalent in Italy. Mention is
+made of Andreas, the goldsmith, Dürer's brother, meeting him at
+Venice, and borrowing money to relieve his distress.
+
+The next letter starts off with quaint mock-deference, and alludes to
+the splendid Venetian soldiery, and their contempt of the Emperor.
+Farther on are unintelligible allusions, and passages too vulgar for
+translation. He says that the Doge and Patriarch had visited his
+studio to inspect the new picture, and that he had effectually
+silenced the artists who claimed that he was only good at engraving,
+and could not use colors. Soon afterwards he writes about the
+completion of his great painting of the Rose Garlands; and says,
+"There is no better picture of the Virgin Mary in the land, because
+all the artists praise it, as well as the nobility. They say they have
+never seen a more sublime, a more charming painting." He adds that he
+had declined orders to the amount of over 2,000 ducats, in order to
+return home, and was then engaged in finishing a few portraits.
+
+The last letter congratulates Pirkheimer on his political successes,
+but expresses a fear lest "so great a man will never go about the
+streets again talking with the poor painter Dürer,--with a poltroon
+of a painter." In response to Pirkheimer's threat of making love to
+his wife if he remained away longer, he said that if such was done, he
+might keep Agnes until her death. He also tells how he had been
+attending a dancing-school, but could not learn the art, and retired
+in disgust after two lessons.
+
+The picture which Dürer painted for the Fondaco de' Tedeschi was until
+recently supposed to be a "St. Bartholomew;" but it is now believed
+that it was the renowned "Feast of Rose Garlands," which is now at the
+Bohemian Monastery of Strahow. He worked hard on this picture for
+seven months, and was proud of its beauty and popularity. The Emperor
+Rudolph II. bought it from the church in which it was set up, and had
+it carried on men's shoulders all the way from Venice to Prague, to
+avoid the dangers attending other modes of conveyance. When Joseph II.
+sold his pictures, in 1782, this one was bought by the Abbey of
+Strahow, and remained buried in oblivion for three-quarters of a
+century. The picture shows the Virgin sitting under a canopy and a
+star-strewn crown held by flying cherubs, with the graceful Child in
+her lap. She is placing a crown of roses on the head of the Emperor
+Maximilian, while Jesus places another on the head of the Pope; and
+a monk on one side is similarly honored by St. Dominic, the founder
+of the Feast of the Rose Garlands. A multitude of kneeling men and
+women on either side are being crowned with roses by merry little
+child-angels, flying through the air; while on the extreme right,
+Dürer and Pirkheimer are seen standing by a tree.
+
+Pirkheimer and Agnes had both been urging the master to return; but he
+seemed reluctant to exchange the radiance of Italy for the quietness
+of his home-circle, and mournfully exclaims, "Oh, how I shall freeze
+after this sunshine! Here I am a gentleman, at home only a parasite!"
+A brilliant career was open before him at Venice, whose Government
+offered him a pension of 200 ducats; but his sense of duty compelled
+him to return to Germany, though in bitterness of spirit. Before
+turning Northward he rode to Bologna, "because some one there will
+teach me the secret art of perspective" (Francesco Francia); and met
+Christopher Scheurl, who greatly admired him. A year later Raphael
+also came to Bologna, and saw some works left there by Dürer, from
+which arose an intimate correspondence and exchanges of pictures
+between the artists. The master had been invited to visit the
+venerable Mantegna, at Mantua; but that Nestor of North-Italian art
+died before the plan was carried out. Dürer afterwards told Camerarius
+that this death "caused him more grief than any mischance that had
+befallen him during his life."
+
+Art-critics agree in rejoicing that Dürer conquered the temptations
+which were held out to him from the gorgeous Italian city, and
+returned to his plain life in the cold North. He escaped the danger of
+sacrificing his individualism to the glowing and sensuous Venetian
+school of art, and preserved the quaintness and vigor of his own
+Gothic inspirations for the joy of future ages.
+
+The marine backgrounds in many of Dürer's later pictures are referred
+by Ruskin to the artist's pleasant memories of Venice, "where he
+received the rarest of all rewards granted to a good workman; and, for
+once in his life, was understood." Other and wilder landscapes in his
+woodcuts were reminiscences of the pastoral regions of the Franconian
+Switzerland.
+
+The personal history of Dürer between 1507 and 1520 was barren of
+details, but evidently full of earnest work, as existing pictures bear
+witness. It was the golden period of his art-life, abounding in
+productiveness. His workshop was the seat of the chief art-school in
+Nuremberg, and contained many excellent young painters and engravers,
+to whom the master delivered his wise axioms and earnest thoughts in
+rich profusion.
+
+During this period, also, he probably executed certain of his best
+works in carving, which are hereinafter described. Dr. Thausing
+denies that Dürer used the chisel of the sculptor to any extent, and
+refuses to accept the genuineness of the carvings which the earlier
+biographers have attributed to him. Scott is of the opinion that in
+most cases these rich and delicate works were executed by other
+persons, either from his drawings or under his inspection.
+
+On his return from Venice, Dürer painted life-sized nude figures of
+Adam and Eve, representing them with the fatal apple in their hands,
+at the moment of the Fall. They are well designed in outline, but
+possess a certain anatomical hardness, lacking in grace and mobility.
+They were greatly admired by the Nurembergers, in whose Rath-haus
+they were placed; but were at length presented to the Emperor Rudolph
+II. He replaced them with copies, which Napoleon, in 1796, supposed to
+be Dürer's original works, and removed to Paris. He afterwards
+presented them to the town of Mayence, where they are still exhibited
+as Dürer's. The true originals passed into Spain, where they were
+first redeemed from oblivion by Passavant, about the year 1853. A copy
+of the Adam and Eve, which was executed in Dürer's studio and under
+his care, is now at the Pitti Palace.
+
+In the spring of 1507 Dürer met at the house of his brother-in-law
+Jacob Frey, the rich Frankfort merchant Jacob Heller, who commissioned
+him to paint an altar-piece. He was delayed by a prolonged attack of
+fever in the summer, and by the closing works on the Elector's
+picture.
+
+Between 1507 and 1514 (inclusive) Dürer made forty-eight engravings
+and etchings, and over a hundred woodcuts, bespeaking an iron
+diligence and a remarkable power of application. The rapid sale of
+these works in frequent new editions gave a large income to their
+author, and placed him in a comfortable position among the burghers
+of Nuremberg. The religious excitement then prevailing throughout
+Europe, on the eve of the Reformation, increased the demand for his
+engravings of the Virgin, the saints, and the great Passion series.
+
+In 1508 Dürer finished the painting of "The Martyrdom of the Ten
+Thousand Christians," to which he professed to have given all his time
+for a year. It was ordered by Frederick of Saxony, the patron of Lucas
+Cranach, who had seen the master's woodcut of the same subject, and
+desired it reproduced in an oil-painting. It is a painful and
+unpleasant scene, full of brutality and horror; and the picture is
+devoid of unity, though conspicuous for clear and brilliant coloring.
+Dürer and Pirkheimer stand in the middle of the foreground.
+
+On the completion of this work the master wrote to Heller, "No one
+shall persuade me to work according to what I am paid." He then began
+Heller's altar-piece, under unnecessary exhortation "to paint his
+picture well," and made a great number of careful studies for the new
+composition. When fairly under way, he demanded 200 florins for his
+work instead of the 130 florins of the contract-price, which drew an
+angry answer from the frugal merchant, with accusations of dishonesty.
+The artist rejoined sharply, dwelling upon the great cost of the
+colors and the length of the task, yet offering to carry out his
+contract in order to save his good faith. Throughout the next year
+Heller stimulated the painter to hasten his work, until Dürer became
+angry, and threw up the commission. He was soon induced to resume it,
+and completed the picture in the summer of 1509, upon which the
+delighted merchant paid him gladly, and sent handsome presents to his
+wife and brother. Dürer wrote to Heller, "It will last fresh and clean
+for five hundred years, for it is not done as ordinary paintings
+are.... But no one shall ever again persuade me to undertake a
+painting with so much work in it. Herr Jorg Tauss offered himself to
+pay me 400 florins for a Virgin in a landscape, but I declined
+positively, for I should become a beggar by this means. Henceforward I
+will stick to my engraving; and, if I had done so before, I should be
+richer by a thousand florins than I am to-day."
+
+The picture which caused so much argument and toil was "The Coronation
+of the Virgin," which was set up over the bronze monument of the
+Heller family in the Dominican Church at Frankfort. Its exquisite
+delicacy of execution attracted great crowds to the church, and
+quickly enriched the monastery. Singularly enough, the most famous
+part of the picture was the sole of the foot of one of the kneeling
+Apostles, which was esteemed such a marvellous work that great sums
+were offered to have it cut out of the canvas. The Emperor Rudolph II.
+offered the immense amount of 10,000 florins for the painting, in
+vain; but in 1613 it passed into the possession of Maximilian of
+Bavaria, and was destroyed in the burning of the palace at Munich,
+sixty years later. So the renowned picture, which Dürer said gave him
+"more joy and satisfaction than any other he ever undertook," passed
+away, leaving no engraving or other memorial, save a copy by Paul
+Juvenal. This excellent reproduction is now at Nuremberg, and is
+provided with the original wings, beautifully painted by Dürer,
+showing on one the portrait of Jacob Heller and the death of St.
+James, and on the other Heller's wife, and the martyrdom of St.
+Catherine.
+
+In 1501 the burgher Schiltkrot and the pious copper-smith Matthäus
+Landäuer founded the House of the Twelve Brothers, an alms-house for
+poor old men of Nuremberg; and eight years later, Landäuer ordered
+Dürer to paint an altar-piece of "The Adoration of the Trinity," for
+its chapel. Much of the master's time for the next two years was
+devoted to this great work.
+
+
+
+
+CHAPTER IV.
+
+Dürer's House.--His Poetry.--Sculptures.--The Great and Little
+Passions.--Life of the Virgin.--Plagiarists.--Works for the Emperor
+Maximilian.
+
+
+Some time after his marriage with Agnes Frey, Dürer moved into the new
+house near the Thiergärtner Gate, which had perhaps been bought with
+the dowry of his bride. Here he labored until his death, and executed
+his most famous works. It is a spacious house, with a lower story of
+stone, wide portals, a paved interior court, and pleasant upper rooms
+between thick half-timber walls, whose mullioned windows look out on
+lines of quaint Gothic buildings and towers, and on the broad paved
+square at the foot of the Zisselgasse (now Albrecht-Dürer-Strasse).
+Just across the square was the so-called "Pilate's House," whose
+owner, Martin Koetzel, had made two pilgrimages to the Holy Land, and
+brought back measurements of the Dolorous Way. The artist's house is
+now carefully preserved as public property, and contains the gallery
+of the Dürer Art-Union. In 1828, on the third centennial of his death,
+the people erected a bronze statue of the master, designed by Rauch,
+on the square before the house.
+
+In 1509-10 Dürer derived pleasure and furnished much amusement to his
+friends from verse-making, in which he suffered a worse failure even
+than Raphael had done. It seems that Pirkheimer ridiculed a long-drawn
+couplet which he had made, upon which the master composed a neat bit
+of proverbial philosophy, of which the following is a translation:--
+
+     "Strive earnestly with all thy might,
+     That God should give thee Wisdom's light;
+     He doth his wisdom truly prove,
+     Whom neither death nor riches move;
+     And he shall also be called wise,
+     Who joy and sorrow both defies;
+     He who bears both honor and shame,
+     He well deserves the wise man's name;
+     Who knows himself, and evil shuns,
+     In Wisdom's path he surely runs;
+     Who 'gainst his foe doth vengeance cherish,
+     In hell-flame cloth his wisdom perish;
+     Who strives against the Devil's might,
+     The Lord will help him in the fight;
+     Who keeps his heart forever pure,
+     He of Wisdom's crown is sure;
+     And who loves God with all his heart,
+     Chooses the wise and better part."
+
+But Pirkheimer was not more pleased with this; and the witty Secretary
+Spengler sent Dürer a satirical poem, applying the moral of the fable
+of the shoemaker who criticised a picture by Apelles. He answered this
+in a song of sixty lines, closing with,--
+
+     "Therefore I will still make rhymes,
+     Though my friend may laugh at times:
+     So the Painter with hairy beard
+     Says to the Writer who mocked and jeered."
+
+"1510, this have I made on Good and Bad Friends." Thus the master
+prefaces a platitudinous poem of thirty lines; which was soon followed
+by "The Teacher," of sixty lines. Later in the year he wrote the long
+Passion-Song, which was appended to the print of _Christus am Kreuz_.
+It is composed of eight sections, of ten lines each, and is full
+of quaint mediæval tenderness and reverence, and the intense
+prayerfulness of the old German faith. The sections are named Matins,
+the First, Third, Sixth, and Ninth Hours, Vespers, Compline, and Let
+Us Pray, the latter of which is redolent with earnest devotion:--
+
+     "O Almighty Lord and God,
+     Who the martyr's press hast trod;
+     Jesus, the only God, the Son,
+     Who all this to Thyself hast done,
+     Keep it before us to-day and to-morrow,
+     Give us continual rue and sorrow;
+     Wash me clean, and make me well,
+     I pray Thee, like a soul from hell.
+     Lord, Thou hast overcome: look down;
+     Let us at last to share the crown."
+
+The marvellous high-relief of "The Birth of St. John the Baptist"
+as executed in 1510, and shows Dürer's remarkable powers as a
+sculptor. It is cut in a block of cream-colored lithographic stone,
+7-1/2 × 5-1/2 inches in size, and is full of rich and minute pictorial
+details. Elizabeth is rising in bed, aided by two attendants; and the
+old nurse brings the infant to Zacharias, who writes its name on a
+tablet, while two men are entering at the doorway. The room is
+furnished with the usual utensils and properties of a German bedroom.
+This wonderful and well-preserved work of art was bought in the
+Netherlands about eighty years ago, for $2,500, and is now in the
+British Museum. The companion-piece, "St. John the Baptist Preaching
+in the Wilderness," is now in the Brunswick Museum, and is carved with
+a similar rich effect. This museum also contains a carving in wood,
+representing the "Ecce Homo."
+
+Space would fail to tell of the many beautiful little pieces of
+sculpture which Dürer executed in ivory, boxwood, and stone, or of the
+numerous excellently designed medals ascribed to him. Chief among
+these was the exquisite "Birth of Christ," and the altar of agate,
+formerly at Vienna; Adam and Eve, in wood, at Gotha; reliefs of the
+Birth and the Agony of Christ, in ivory; the Four Evangelists, in
+boxwood, lately at Baireuth; several carvings on ivory, of religious
+scenes, at Munich; a woman with padlocked mouth, sitting in the
+stocks, cut in soapstone; a delicate relief of the Flight into Egypt;
+busts of the Duke and Duchess of Burgundy; and the Love-Fountain, now
+at Dresden, with figures of six persons drinking the water.
+
+The famous painting of "The Adoration of the Trinity" was finished in
+1511, and represents God the Father holding up His crucified Son for
+the worship of an immense congregation of saints, while overhead is
+the mystic Dove, surrounded by a circle of winged cherubs' heads. The
+kneeling multitude includes princes, prelates, warriors, burghers, and
+peasants, equally accepting the Athanasian dogma. On the left is a
+great group of female saints, led by the sweet and stately Virgin
+Mary; and on the right are the kneeling prophets and apostles, Moses
+with the tables of the Law, and David with his harp. On the broad
+terrestrial landscape, far below, Dürer stands alone, by a tall tablet
+bearing the Latin inscription of his name and the date of the picture.
+The whole scene is full of light and splendor, delicate beauty of
+angels, and exquisite minuteness of finish. A century later the Rath
+of Nuremberg removed this picture from the sepulchral chapel of its
+founder, and presented it to the Emperor Rudolph II. It is now one of
+the gems of the Vienna Belvedere.
+
+About this time the master's brother Andreas, the goldsmith, returned
+to Nuremberg after his long wanderings, and eased the evident anxiety
+of his family by settling respectably in life. Hans was still in his
+brother's studio, where he learned his art so well that he afterwards
+became court-painter to the King of Poland.
+
+In 1511 Dürer published a third edition of the engravings of the
+Apocalypse, with a warning to piratical engravers that the Emperor had
+forbidden the sale of copies or impressions other than those of the
+author, within the Empire, under heavy penalties to transgressors. To
+the same year belong three of the master's greatest works in engraving
+on wood.
+
+"The Great Passion" contains twelve folio woodcuts, unequal in
+their execution, and probably made by different workmen of varying
+abilities. The vignette is an "Ecce Homo;" and the other subjects are,
+the Last Supper, Christ at Gethsemane, His Betrayal, the Scourging,
+the Mockery, Christ Bearing the Cross, the Crucifixion, the Descent
+into Hell, the Maries Mourning over Christ's Body, the Entombment,
+and the Resurrection. These powerful delineations of the Agony of Our
+Lord are characterized by rare originality of conception, pathos,
+and grandeur. They were furnished with Latin verses by the monk
+Chelidonius, and bore the imperial warning against imitation. Four
+large editions were printed from these cuts, and numerous copies,
+especially in Italy, where the Emperor's edict was inoperative.
+
+"The Little Passion" was a term applied by Dürer himself to
+distinguish his series of thirty-seven designs from the larger
+pictures of "The Great Passion." It is the best-known of the master's
+engravings; and has been published in two editions at Nuremberg, a
+third at Venice in 1612, and a fourth at London in 1844. The blocks
+are now in the British Museum, and show plainly that they were not
+engraved by Dürer. This great pictorial scene of the fall and
+redemption of man begins with the sin of Adam and Eve, and their
+expulsion from Eden, and follows with thirty-three compositions from
+the life and passion of Christ, ending with the Descent of the Holy
+Ghost and the Last Judgment. Its title was _Figuræ Passionis Domini
+Nostri Jesu Christi_; and it was furnished with a set of the Latin
+verses of Chelidonius.
+
+The third of Dürer's great works in wood-engraving was "The Life
+of the Virgin," with explanatory Latin verses by the Benedictine
+Chelidonius. This was published in 1511, and contains twenty pictures,
+full of realistic plainness and domestic homeliness, yet displaying
+marvellous skill and power of invention. To the same year belong the
+master's engravings of the Trinity, St. Christopher, St. Gregory's
+Mass, St. Jerome, St. Francis Receiving the Stigmata, the Holy Family
+with the Guitar, Herodias and the Head of John the Baptist, and the
+Adoration of the Magi; and the copper-plates of the Crucifixion and
+the Virgin with the Pear.
+
+Dürer was much afflicted by the boldness of many imitators, who
+plagiarized his engravings without stint, and flooded the market with
+pictures from his designs. His rights were protected but poorly by the
+edicts of the Emperor and the city of Nuremberg; and a swarm of
+parasitical copyists reproduced every fresh design as soon as it was
+published. Marc Antonio Raimondi, the great Italian engraver who
+worked so many years with Raphael, was the most dangerous of these
+plagiarists, and reproduced "The Little Passion" and "The Life of the
+Virgin" in a most exquisite manner, close after their publication.
+Vasari says, "It happened that at this time certain Flemings came to
+Venice with a great many prints, engraved both in wood and copper by
+Albert Dürer, which being seen by Marc Antonio in the Square of St.
+Mark, he was so much astonished by their style of execution, and the
+skill displayed by Albert, that he laid out on those prints almost all
+the money he had brought with him from Bologna, and amongst other
+things purchased 'The Passion of Jesus Christ,' engraved on thirty-six
+wooden blocks.... Marc Antonio therefore, having considered how much
+honor as well as advantage might be acquired by one who should devote
+himself to that art in Italy, resolved to attend to it with the
+greatest diligence, and immediately began to copy these engravings of
+Albert, studying their mode of hatching, and every thing else in the
+prints he had purchased, which from their novelty as well as beauty,
+were in such repute that every one desired to possess them."
+
+It appears that Marc Antonio was afterwards enjoined from using
+Dürer's monogram on his copies of the Nuremberger's engravings, either
+by imperial diplomatic representations to the Italian courts, or else
+as the result of a visit which some claim that Dürer made to Italy for
+that purpose. Many of the copies of Marc Antonio were rather idealized
+adaptations than exact reproductions of the German's designs, but were
+furnished with the forged monogram A. D., and sold for Dürer's works.
+Sixty-nine of our artist's engravings were copied by the skilful
+Italian, profoundly influencing Southern art by the manual dexterity
+of the North. This wholesale piracy was carried on between 1505 and
+1511, and before Marc Antonio passed under Raphael's overmastering
+influence.
+
+In later years the Rath of Nuremberg warned the booksellers of
+the city against selling false copies of Dürer's engravings, and
+sent letters to the authorities of Augsburg, Leipsic, Frankfort,
+Strasbourg, and Antwerp, asking them to put a stop to such sales
+within their jurisdictions. His works have been copied by more than
+three hundred artists, the best of whom were Solis, Rota, the Hopfers,
+Wierx, Vischer, Schön, and Kraus.
+
+In 1512 Dürer made most of the plates for "The Passion in Copper," a
+series of sixteen engravings on copper, which was begun in 1507 and
+finished in 1513. These plates show the terrible scenes of the last
+griefs of the Saviour, surrounded with uncouth German men and women,
+buildings and landscapes, yet permeated with mysterious reverence and
+solemn simplicity. The series was never published in book form, with
+descriptive text, but the engravings were put forth singly as soon as
+completed. The prints of "Christ Bound" and "St. Jerome" were
+published this same year.
+
+In 1512 Dürer was first employed by the Emperor Maximilian, who
+was not only a patron of the arts but also an artist himself, and
+munificently employed the best painters of Germany, though his
+treasury was usually but poorly filled. Science and literature also
+occupied much of his attention; and, while his realm was engaged in
+perpetual wars, he kept up a careful correspondence on profound themes
+with many of the foremost thinkers of his day. The records of his
+intercourse with Dürer are most meagre, though during the seven years
+of their connection they must have had many interviews, especially
+while the imperial portrait was being made.
+
+Melanchthon tells a pretty story, which he heard from Dürer himself.
+One day the artist was finishing a sketch for the Emperor, who,
+while waiting, attempted to make a drawing himself with one of
+the charcoal-crayons; but the charcoal kept breaking away, and he
+complained that he could accomplish nothing with it. Dürer then took
+it from his hand, saying, "This is my sceptre, your Majesty;" and
+afterwards taught the sovereign how to use it.
+
+The story which is told of so many geniuses who have risen from low
+estate is applied also to this one: The Emperor once declared to a
+noble who had proudly declined to perform some trivial service for the
+artist, "Out of seven ploughboys I can, if I please, make seven lords,
+but out of seven lords I cannot make one Dürer."
+
+Tradition states that the Emperor ennobled Dürer, and gave him a
+coat-of-arms. Possibly this was the crest used in his later years,
+consisting of three shields on a blue field, above which is a closed
+helmet supporting the armless bust and head of a winged negro!
+
+The idea of the immense woodcut of the Triumphal Arch of Maximilian
+was conceived after 1512, either by the Emperor or by the
+poet-laureate Stabius; and Dürer was chosen to put it into execution.
+The history of the deeds of Maximilian, with his ancestry and family
+alliances, was to be displayed in the form of a pictorial triumphal
+arch, "after the manner of those erected in honor of the Roman
+emperors." The master demanded payment in advance, and received an
+order from the Emperor to the Rath of Nuremberg to hold "his and the
+Empire's true and faithful Albert Dürer exempt from all the town taxes
+and rates, in consideration of our esteem for his skill in art." But
+he surrendered this immunity, in deference to the wishes of the Rath;
+and Maximilian granted him an annual pension of 100 florins ($200),
+which was paid, however, somewhat reluctantly.
+
+"The Knight, Death, and the Devil," is the most celebrated of Dürer's
+engravings, and dates from 1513. It shows a panoplied knight riding
+through a rocky defile, with white-bearded Death advancing alongside
+and holding up an hour-glass, and the loathsome Satan pursuing
+hard after and clutching at the undismayed knight. The numerous
+commentators on this picture variously interpret its meaning, some
+saying that the knight is an evil-doer, intent on wicked purposes,
+whom Death warns to repentance, while Satan rushes to seize him;
+others, and the most, that he is the Christian man, fearless among the
+menaces of Death and Hell, and steadily advancing in spite of the
+horrible apparitions. Others claim that the Knight represents Franz
+von Sickingen, a turbulent hero of the Reformation; or Philip Ring,
+the Nuremberg herald, who was confronted by the Devil on one of his
+night-rides; or Dürer himself, beset by temptations and fears; or
+Stephen Baumgärtner, the master's friend, whose portrait bears a
+resemblance to the knight's face. Still another interpretation is
+given in the romance of "Sintram and his Companions," which was
+suggested by this engraving, as we are told by its author, La Motte
+Fouqué.
+
+Kugler says: "I believe I do not exaggerate when I particularize this
+print as the most important work which the fantastic spirit of German
+art has ever produced." It was made in Dürer's blooming time, and the
+plate is a wonderful specimen of delicate and exquisite execution. It
+has frequently been copied, in many forms.
+
+"The Little Crucifixion" is one of the most exquisitely finished of
+Dürer's engravings on copper, and is a small round picture, about one
+inch in diameter, which was made for an ornament on the pommel of the
+Emperor's sword. It contains seven figures, full of clearness and
+individuality, and engraved with marvellous skill. There are,
+fortunately, several very beautiful copies of this print. Other
+copper-plates of 1513 were "The Judgment of Paris," and the small
+round "St. Jerome."
+
+The famous Baumgärtner altar-piece was painted for the patrician
+family of that name, as a votive picture, in thanksgiving for the safe
+return of its knightly members from the Swiss campaigns. Nuremberg
+unwillingly surrendered it to Maximilian of Bavaria, and it is now in
+the Munich Pinakothek. It consists of a central picture of "The
+Nativity," of no special merit, with two wings, the first of which
+shows Stephen Baumgärtner, a meagre-faced and resolute knight, in the
+character of St. George, while the other portrays the plain-mannered
+and practical Lucas Baumgärtner, in the garb of St. Eustachius. These
+excellent portrait-figures are clad in armor, and stand by the sides
+of their horses.
+
+The "Vision of St. Eustachius" was executed on copper-plate, and is
+one of Dürer's most delicate and beautiful works. It shows the
+huntsman Eustachius as a strong and earnest German mystic, kneeling
+before the miraculous crucifix set in the stag's forehead, which has
+appeared to convict him of his sins, and to stimulate in him that
+faith by which he led a new life of prayer and praise, and won a
+martyr's crown. His solemn-faced horse seems to realize that a miracle
+is taking place; and in the foreground are five delicately drawn
+hounds. On the steep hill in the rear a noble and picturesque mediæval
+castle rears its battlemented towers above long lines of cliffs.
+Tradition says that the face of Eustachius is a portrait of the
+Emperor Maximilian. When the Emperor Rudolph secured the original
+plate of the engraving, he had it richly gilded.
+
+"The Great Fortune," or "The Nemesis," is a copper-plate showing a
+repulsively ugly naked woman, with wings, holding a rich chalice and
+a bridle, while on the earth below is a beautiful mountain village
+between two confluent rivers. Sandrart says that this is the Hungarian
+village of Eytas, where Dürer's father was born; but there is
+no proof of this theory. "The Coat-of-Arms with the Cock" is a
+fine copper-plate, with some obscure allegorical significance,
+representing, perhaps, Vigilance by the cock which stands on a closed
+helmet, and Faith by the rampant lion on the shield below.
+
+
+
+
+CHAPTER V.
+
+St. Jerome.--The Melencolia.--Death of Dürer's Mother.--Raphael.
+--Etchings.--Maximilian's Arch.--Visit to Augsburg.
+
+
+The copper-plate engraving of "St. Jerome in his Chamber" was executed
+in 1514, and is one of Dürer's three greatest works, a marvel of
+brilliancy and beauty, full of accurate detail and minute perfection.
+The saint has a grand and venerable head, firmly outlined against a
+white halo, and is sitting in a cheerful monastic room, lighted by the
+sun streaming through two large arched windows, while he writes at his
+desk, translating the Scriptures. In the foreground the lion of St.
+Jerome is drowsing, alongside a fat watch-dog; a huge pumpkin hangs
+from one of the oaken beams overhead; and patristic tomes and
+convenient German utensils are scattered about the room.
+
+"The Virgin on the Crescent Moon" was a copper-plate executed also in
+1514, showing the graceful and charming Mary, treated with an idealism
+which almost suggests Raphael. This is one of the best of the
+seventeen Mary-pictures (_Marien-bilder_) which Dürer executed in
+copper. Other copper-plates of 1514 represented Sts. Paul and Thomas,
+the Bagpipe-Player, and a Dancing Rustic and his Wife.
+
+"The Melencolia" is the most weirdly fascinating of Dürer's works, and
+the most mysterious and variously interpreted. It represents a woman,
+goddess, or devil, fully clad, and bearing keys and a purse at her
+girdle, her head wreathed with spleenwort, and great wings springing
+from her shoulders; the while she gazes intently, and with unutterable
+melancholy, into a magic crystal globe before her. On one side a
+drowsy Cupid is trying to write, near a ladder which rises from unseen
+depths to unimagined heights; and on the wall are the balanced scales,
+the astrological table of figures, the hour-glass running low, and the
+silent bell. The floor is strewn with scientific and necromantic
+instruments, and a great cube of strange form lies beyond. The
+prevailing gloom of the picture is but dimly lighted by a lurid and
+solitary comet, whose rays shimmer along an expanse of black ocean,
+and are reflected from a firm-arched rainbow above. Across the
+alternately black and blazing sky flies a horrible bat-winged
+creature, bearing a scroll inscribed with the word MELENCOLIA, before
+the blank negations symbolized by the disastrous portent of the comet
+and the joyous sign of the rainbow.
+
+Under the guise of this mystic black-browed woman the artist probably
+typifies the profound sorrow of the human soul, checked by Divine
+limitations from attaining a full knowledge of the secrets of nature
+or the wisdom of heaven. The discarded implements of natural and
+occult science are alike useless; and nought remains but gloomy
+introspection and a consciousness of insufficiency.
+
+Dürer describes his mother's death with mournful tenderness and
+touching simplicity, saying: "Now you must know that in the year 1513,
+on a Tuesday in Cross-week, my poor unhappy mother, whom I had taken
+under my charge two years after my father's death, because she was
+then quite poor, and who had lived with me for nine years, was taken
+deathly sick on one morning early, so that we had to break open her
+room; for we knew not, as she could not get up, what to do. So we bore
+her down into a room, and she had the sacraments in both kinds
+administered to her, for every one thought that she was going to die,
+for she had been failing in health ever since my father's death. And
+her custom was to go often to church; and she always punished me when
+I did not act rightly, and she always took great care to keep me and
+my brothers from sin; and, whether I went in or out, her constant word
+was, 'In the name of Christ;' and with great diligence she constantly
+gave us holy exhortations, and had great care over our souls. And her
+good works, and the loving compassion that she showed to every one, I
+can never sufficiently set forth to her praise. This my good mother
+bore and brought up eighteen children; she has often had the
+pestilence and many other dangerous and remarkable illnesses; has
+suffered great poverty, scoffing, disparagement, spiteful words,
+fears, and great reverses: yet she has never been revengeful. A year
+after the day on which she was first taken ill ... my pious mother
+departed in a Christian manner, with all sacraments, absolved by
+Papal power from pain and sin. She gave me her blessing, and desired
+for me God's peace, and that I should keep myself from evil. And she
+desired also St. John's blessing, which she had, and she said she was
+not afraid to come before God. But she died hard; and I perceived that
+she saw something terrible, for she kept hold of the holy water, and
+did not speak for a long time. I saw also how Death came, and gave her
+two great blows on the heart; and how she shut her eyes and mouth, and
+departed in great sorrow. I prayed for her, and had such great grief
+for her that I can never express. God be gracious to her! Her greatest
+joy was always to speak of God, and to do all to his honor and glory.
+And she was sixty-three years old when she died, and I buried her
+honorably according to my means. God the Lord grant that I also make a
+blessed end, and that God with his heavenly hosts, and my father,
+mother, and friend, be present at my end, and that the Almighty God
+grant us eternal life! Amen. And in her death she looked still more
+lovely than she was in her life."
+
+In 1514 the prince of Italian painters and the noblest of German
+artists exchanged pleasant civilities by correspondence, accompanied
+by specimens of their labors. Dürer sent to Raphael his own portrait,
+which was afterwards inherited and dearly prized by Giulio Romano.
+Raphael returned several of his own studies and drawings, one of
+which, showing two naked men drawn in red crayon, is now preserved in
+the Albertina at Vienna. It still bears Dürer's inscription: "Raphael
+of Urbino, who is so highly esteemed by the Pope, has drawn this study
+from the nude, and has sent it to Albert Dürer at Nuremberg, in order
+to show him his hand."
+
+The invention of the art of etching has been generally attributed to
+Dürer, though it now seems that he merely improved and perfected the
+process. There are but few etchings in existence which can certainly
+be ascribed to him; and the chief of these, an "Ecce Homo" and "Christ
+in the Garden," date from 1515. The iron plate of the latter was found
+two centuries later, in a blacksmith's shop, where it was about to be
+made into horse-shoes. A third etching represents a frightfully
+homely woman being carried off by a man on a unicorn, a wild and
+incomprehensible composition, calculated to awaken an uncomfortable
+impression in the beholder. Some of the etchings were on iron, and
+others on pewter; but none were on copper, which was afterwards
+universally used. The corrosive nitrous acid acted inefficiently on
+the metals which he employed, and so his etchings fall short of
+excellence.
+
+In 1514 Jorg Vierling uttered disgraceful libels and threats against
+Dürer, and finally attacked him in the street. He was imprisoned by
+the authorities; but the kind-hearted artist interceded for him, and
+he was released, after being bound over to keep the peace.
+
+In the same year Dürer wrote to Herr Kress to see if the laureate
+Stabius had done any thing about his delayed pension; saying also,
+"But if Herr Stabius has done nothing in my matter, or my desire was
+too difficult for him to attain, then I pray of you to be my favorable
+lord to his Majesty.... Point out to his Majesty that I have served
+his Majesty for three years, that I have suffered loss myself from
+doing so, and that if I had not used my utmost diligence his
+ornamental work would never have been finished in such a manner;
+therefore I pray his Majesty to reward me with the 100 guilders." In
+September an imperial decree was issued, giving Dürer his promised
+pension of $200 a year out of the tax due from Nuremberg to the
+Emperor. This annuity was paid to the artist until his death, with one
+short intermission.
+
+Dürer executed for the Emperor a series of most fantastic and
+grotesque pen-drawings, on the borders of his prayer-book, now in the
+Munich town-library. Alongside the solemn sentences of the breviary
+are whimsical monkeys and pigs, Indians and men-at-arms, satyrs and
+foxes, screeching devils and saints, hens and prophets, martyrs and
+German crones, mingled in a weird wonderland, and not inappropriate
+according to mediæval ideas of taste. "The Great Column" is another
+quaint and inexplicable engraving, which Dürer did for the Emperor in
+1517, and is composed of four blocks 5-1/3 feet high. It shows two
+naked angels holding a large turnip, from which springs a tall column
+with two horrible female monsters at the base, and a horned satyr at
+the top, holding long garlands.
+
+The marvellous "Triumphal Arch of Maximilian" is composed of
+ninety-two blocks, forming an immense woodcut ten and a half feet high
+and nine feet wide. It shows three great towers, under which are the
+three gates of Praise, Nobility, and Honor and Power, with the six
+chained harpies of temptation, and two vigilant Archdukes in armor,
+and figures holding garlands and crowns. The great genealogical tree
+rises above the figures that represent France, Sycambria, and Troy,
+and bears portrait-like half-figures of the twenty-six Christian
+princes from whom Maximilian claimed descent, with pictures of himself
+and his family. There are also twenty-four minutely delicate cuts,
+showing the most remarkable events in the Emperor's life, accompanied
+with rugged explanatory rhymes by the poet-laureate. Dr. von Eye says
+that "the extent and difficulty of the task appear to have called
+forth the powers of the artist to their highest exercise. In no work
+of Dürer's do we find more beautiful drawing than there is here. Each
+single piece might be taken out and prized as an independent work of
+art."
+
+The master drew these very elaborate and intricate designs between
+1512 and 1515; and the enormous work of engraving them was devolved
+upon Hieronymus Rösch of Nuremberg. During its progress the Emperor
+frequently visited Rösch's house in the Fraüengässlein; and it became
+a town saying, that "The Emperor still drives often to Petticoat
+Lane." On one of his visits, a number of the artist's pet cats ran
+into his presence; whence, it is said, arose the proverb, "A cat may
+look at a King."
+
+In 1516 Dürer painted a fine portrait of Wohlgemuth, now at Munich,
+showing a wrinkled old face lit up by bright eyes, and inscribed,
+"This portrait has Albert Dürer painted after his master Michael
+Wohlgemuth, in the year 1516, when he was 82 years old; and he lived
+until the year 1519, when he died, on St. Andrew's Day, early, before
+the sun had risen." About the same period he designed and partly
+executed the Pietà, which is now in the St. Maurice Gallery at
+Nuremberg; and carved a Virgin and Child standing on the crescent
+moon, similar to the one which he had engraved three years before.
+
+In 1518 Dürer also painted the scene of the death-bed of the Empress
+Mary of Burgundy, under the title of "The Death of the Virgin," and
+on the order of Von Zlatko, the Bishop of Vienna. The Emperor
+Maximilian, Philip of Spain, Bishop Zlatko, and other notables, were
+shown around the couch. This large and important work was in the sale
+of the Fries collection in 1822, but cannot now be found, although
+there is a rumor that it is on the altar of a rural church near St.
+Wolfgang's Lake, in Upper Austria.
+
+In 1518 Dürer visited Augsburg, during the session of the Diet of the
+Empire, and not only sold many of his engravings, but made a number of
+new sketches and portraits. His most important work on this journey
+was a portrait of the Emperor, who gave an order on the town of
+Nuremberg to pay 200 guldens "to the Emperor's and the Empire's dear
+and faithful Albert Dürer." On this picture the master inscribed,
+"This is the Emperor Maximilian, whom I, Albert Dürer, drew at
+Augsburg, in his little room high up in the imperial residence, in the
+year 1518, on the Monday after St. John the Baptist." About the same
+time the master painted the unpleasant picture of "The Suicide of
+Lucretia," now at Munich, showing an ill-formed nude woman of life
+size, said to have been copied from Agnes Frey. The portrait of the
+witty and learned Lazarus Spengler dates from the same year.
+
+When Maximilian died, the Rath of Nuremberg refused to continue the
+pension which he had granted to Dürer, though the artist addressed its
+members as "Provident, Honorable, Wise, Gracious, and Dear Lords," and
+enumerated his services to the dead Emperor. He also vainly demanded
+the payment of the imperial order for 200 florins, "to be paid to him
+as if to Maximilian himself, out of the town taxes due to the Emperor
+on St. Martin's Day," though he offered to leave his house in pledge,
+so that the town might lose nothing if the new Emperor refused to
+acknowledge the validity of the claim.
+
+At the time of the death of Maximilian the great woodcut of "The
+Triumphal Arch" was unfinished, and the blocks remained in the hands
+of the engraver. Dürer and Rösch published a large round cut
+containing twenty-one of the historical scenes, as a memorial of the
+late sovereign, and this singular production speedily went through
+four editions. A few trial-impressions of the whole Arch had been
+struck off before the Emperor's death, two of which are now at
+Copenhagen, one in the British Museum, and one at Stockholm. In 1559
+the first edition of the entire Arch was printed at Vienna, at the
+request of the Archduke Ferdinand, and another edition was issued by
+Bartsch in 1799.
+
+In 1519 Dürer published an excellent wood-engraving of the late
+Emperor Maximilian, with inscriptions recording his titles and the
+date of his death. It showed a pleasant face, full of strength and
+character. Among the painted portraits of Maximilian which are
+attributed to the master, the best is in the Vienna Belvedere; and
+another was in the late Northwick Collection, in England. A beautiful
+portrait in water-colors is in the library of the Erlangen University.
+
+In 1519 Dürer also prepared an exquisitely finished copper-plate
+engraving of "St. Anthony," showing the meditative hermit before a
+background of a quaint mediæval city, very like Nuremberg, abounding
+in irregular gable-roofs and tall castle-towers. Several admirable
+copies of this work have been made.
+
+
+
+
+CHAPTER VI.
+
+Dürer's Tour in the Netherlands.--His Journal.--Cologne.--Feasts at
+Antwerp and Brussels.--Procession of Notre Dame.--The _Confirmatia_.
+--Zealand Journey.--Ghent.--Martin Luther.
+
+
+Dürer's famous tour to the Netherlands began in the summer of 1520,
+and continued until late in 1521. His main object appears to have been
+to secure from Charles V. a confirmation of the pension which the
+Emperor Maximilian had granted him, since the Rath of Nuremberg had
+refused to deliver any further sums until he could obtain such a
+ratification. Possibly he also hoped to obtain the position of
+court-painter, to which Titian was afterwards appointed. Several
+biographers say that Dürer made the journey in order to get a respite
+from his wife's tirades; but this is unlikely, since he took her and
+her maid Susanna with him. The Archduchess Margaret, daughter of the
+late Emperor Maximilian and aunt of Charles V., was at Brussels,
+acting as Regent of the Netherlands; and Dürer made strong but
+ineffectual attempts to secure her good graces.
+
+Dürer's journal of his tour is a combination of cash account,
+itinerary, memoranda, and notebook, and would fill about fifty of
+these pages. It is usually barren of reflections, opinions, or
+prolonged descriptions; and is but a terse and business-like record of
+facts and expenses, rich only in its revelations of mediæval Flemish
+hospitality and municipal customs, and certain personal habits of the
+writer. The greatest impression seems to have been made upon the
+traveller by the enormous wealth of the Low Countries, and the
+adjective "costly" continually recurs. The new-found treasures of
+America were then pouring a stream of gold into the Flemish cities,
+and manufactures and commerce were in full prosperity. The devastating
+storm of Alva's Spanish infantry had not yet swept over the doomed but
+heroic Netherlands; and her great cities basked in peace, prosperity,
+and wealth.
+
+"On the Thursday after Whitsuntide, I, Albert Dürer, at my own cost
+and responsibility, set out with my wife from Nuremberg for the
+Netherlands.... I went on to Bamberg, where I gave the Bishop a
+picture of the Virgin, 'The Life of the Virgin,' an Apocalypse,
+and other engravings of the value of a florin. He invited me to
+dinner, and gave me an exemption from customs, and three letters of
+recommendation." He hired a carriage to take him to Frankfort for
+eight florins of gold, and received a parting stirrup-cup from Meister
+Benedict, and the painter Hans Wolfgang Katzheimer. He gives the names
+of the forty-three villages through which he passed along the route by
+Würzburg and Carlstadt to Frankfort, with his expenditures for food
+and for gifts to servants; and tells how the Bishop's letter freed him
+from paying tolls. At Frankfort he was cheaply entertained by Jacob
+Heller, for whom he had painted "The Coronation of the Virgin." From
+thence he descended by boat to Mayence, where he received many gifts
+and attentions. In the river-passages hence to Cologne, he was forced
+to haul in shore and arrange his tolls at Ehrenfels, Bacharach, Caub,
+St. Goar, and Boppart. At Cologne he was entertained by his cousin
+Nicholas Dürer, who had learned the goldsmith's trade in the shop of
+Albert's father, and was now settled in business. The master made
+presents to him and his wife. The Barefooted Monks gave Dürer a feast
+at their monastery; and Jerome Fugger presented him with wine. The
+journey was soon resumed; and the master passed through fourteen
+villages, and at last reached Antwerp, where he was feasted by the
+factor of the illustrious Fugger family. Jobst Planckfelt was Dürer's
+host while he remained in the city, and showed him the Burgomaster's
+Palace and other sights of Antwerp, besides introducing him to Quentin
+Matsys and other eminent Flemish artists.
+
+"On St. Oswald's Day, the painters invited me to their hall, with my
+wife and maid; and every thing there was of silver and other costly
+ornamentation, and extremely costly viands. There were also all their
+wives there; and when I was conducted to the table all the people
+stood up on each side, as if I had been a great lord. There were
+amongst them also many persons of distinction, who all bowed low,
+and in the most humble manner testified their pleasure at seeing me,
+and they said they would do all in their power to give me pleasure.
+And, as I sat at table, there came in the messenger of the Rath of
+Antwerp, who presented me with four tankards of wine in the name of
+the Magistrates; and he said that they desired to honor me with this,
+and that I should have their good-will.... And for a long time we were
+very merry together until quite late in the night; then they
+accompanied us home with torches in the most honorable manner, and
+they begged us to accept their good-will, and said they would do
+whatever I desired that might be of assistance to me. Then I thanked
+them, and went to bed."
+
+He next speaks of making portraits of his friend the Portuguese
+consul, his host Planckfelt, and the musician Felix Hungersberg;
+and keeps account of his sales of paintings and engravings, on the
+same pages which record his junketings with various notable men. He
+dined with one of the Imhoffs and with Meister Joachim Patenir, the
+landscape-painter, with whom he had certain professional transactions.
+He soon became intimately acquainted with the three Genoese brothers,
+Tomasin, Vincent, and Gerhartus Florianus, with whom he dined many
+times, and for whom he drew several portraits. He also met the great
+scholar and half-way reformer, Erasmus, who gave him several pleasing
+presents.
+
+"Our Lady's Church at Antwerp is so immensely big, that many masses
+may be sung in it at one time without interfering with each other; and
+it has altars and rich foundations, and the best musicians that it is
+possible to have. The church has many devout services, and stone work,
+and particularly a beautiful tower. And I have also been to the rich
+Abbey of St. Michael, which has the costly stone seat in its choir.
+And at Antwerp they spare no cost about such things, for there is
+money enough there."
+
+He made portraits of Nicholas Kratzer, then professor of astronomy at
+Oxford University; Hans Plaffroth; and Tomasin's daughter; and gave
+several score of his engravings to the Portuguese consul and to his
+compatriot Ruderigo, who had sent a large quantity of sweetmeats to
+the artist, and a green parrot to his wife.
+
+Something of diplomatic tact is shown in Dürer's making presents to
+Meister Gillgen, the Emperor's door-keeper, and to Meister Conrad, the
+sculptor of the Archduchess Margaret. He seems to have been preparing
+to seek an invitation to court.
+
+In September Dürer and Tomasin journeyed to Mechlin, where they
+invited Meister Conrad and one of his artist-friends to a supper. The
+next day they passed through Vilvorde, and came to Brussels. Here the
+master was introduced to a new and splendid society and a city rich
+in works of art. He speaks of dining with "My Lord of Brussels," the
+Imperial Councillor Bannisius, and the ambassadors of Nuremberg; and
+Bernard van Orley, formerly a pupil of Raphael and now court-painter
+to the Regent Margaret, invited him to a feast at which he met the
+Regent's treasurer, the royal court-master, and the town-treasurer of
+Brussels. He also visited the Margrave of Anspach and Baireuth, with a
+letter of introduction from the Bishop of Bamberg; and drew portraits
+of Meister Conrad, Bernard van Orley, and several others. The Regent
+Margaret received him "with especial kindness," and promised to use
+her influence for his advancement at the imperial court. He presented
+copies of the Passion to her and her treasurer, and many other
+engravings to other eminent persons in the city.
+
+"And I have seen King Charles's house at Brussels, with its fountains,
+labyrinth, and park. It gave me the greatest pleasure; and a more
+delightful thing, and more like a Paradise, I have never before
+seen.... At Brussels there is a very big and costly Town-hall, built
+of hewn stone, with a splendid transparent tower. I have seen in the
+Golden Hall the four painted matters which the great Meister Rudier
+[Roger van der Weyden] has done.... I have also been into the
+Nassau-house, which is built in such a costly style and so beautifully
+ornamented. And I saw the two beautiful large rooms and all the costly
+things in the house everywhere, and also the great bed in which fifty
+men might lie; and I have also seen the big stone which fell in a
+thunderstorm in the field close to the Count of Nassau. This house is
+very high, and there is a fine view from it, and it is much to be
+admired; and I do not think in all Germany there is any thing like
+it.... Also I have seen the thing which has been brought to the King
+from the new Golden Land [Mexico], a sun of gold a fathom broad, and a
+silver moon just as big. Likewise two rooms full of armor; likewise
+all kinds of arms, harness, and wonderful missiles, very strange
+clothing, bed-gear and all kinds of the most wonderful things for
+man's use, that are as beautiful to behold as they are wonderful.
+These things are all so costly, that they have been valued at 100,000
+gulden. And I have never in all the days of my life seen any thing
+that has so much rejoiced my heart as these things. For I have seen
+among them wonderfully artistic things, and I have wondered at the
+subtle _Ingenia_ of men in foreign lands."
+
+While at Brussels Dürer was the guest of Conrad the sculptor, and
+Ebner the Nuremberg ambassador. He returned at length to Antwerp,
+where his Portuguese friends sent him several maiolica bowls and some
+Calcutta feathers, and his host gave also certain Indian and Turkish
+curiosities. The jovial dinners with Planckfelt and Tomasin were again
+begun, and were supplemented by feasts with the Von Rogendorffs and
+Fugger's agent. The master gave away hundreds of his engravings here,
+either to his friends or to influential courtiers; and all these
+details he faithfully records. He seems to have been an indefatigable
+investigator and collector of curiosities, imported trinkets, and
+china. With childlike delight he narrates the brilliant spectacles
+around him.
+
+"I have seen, on the Sunday after the Assumption of Our Blessed Lady,
+the great procession from Our Lady's Church at Antwerp, when the whole
+town was assembled, artisans and people of rank, every one dressed in
+the most costly manner according to its station. Every class and every
+guild had its badge by which it might be recognized; large and costly
+tapers were also borne by some of them. There were also long silver
+trumpets of the old Frankish fashion. There were also many German
+pipers and drummers, who piped and drummed their loudest. Also
+I saw in the street, marching in a line in regular order, with
+certain distances between, the goldsmiths, painters, stonemasons,
+embroiderers, sculptors, joiners, carpenters, sailors, fishmongers,
+... and all kinds of artisans who are useful in producing the
+necessaries of life. In the same way there were the shopkeepers and
+merchants and their clerks. After these came the marksmen with
+firelocks, bows, and cross-bows, some on horseback and some on foot.
+After that came the City Guards; and at last a mighty and beautiful
+throng of different nations and religious orders, superbly costumed,
+and each distinguished from the other, very piously. I remarked in
+this procession a troop of widows who lived by their labor. They all
+had white linen cloths covering their heads, and reaching down to
+their feet, very seemly to behold. Behind them I saw many brave
+persons, and the canons of Our Lady's Church, with all the clergy
+and bursars, where twenty persons bore Our Lady with the Lord Jesus
+ornamented in the most costly manner to the glory of the Lord God. In
+this procession there were many very pleasant things, and it was very
+richly arranged. There were brought along many wagons, with moving
+ships, and other things. Then followed the Prophets, all in order; the
+New Testament, showing the Salutation of the Angel, the three Holy
+Kings on their camels, and other rare wonders very beautifully
+arranged.... At the last came a great dragon led by St. Margaret and
+her maidens, who were very pretty; also St. George, with his squire, a
+very handsome Courlander. Also a great many boys and girls, dressed in
+the most costly and ornamental manner, according to the fashion of
+different countries, rode in this troop, and represented so many
+saints. This procession from beginning to end was more than two hours
+passing by our house; and there were so many things that I could never
+write them all down even in a book, and so I leave it alone."
+
+Raphael died during this year, and Dürer made strenuous efforts to
+secure some of his drawings or other remains. He met Tommaso Vincidore
+of Bologna, a pupil of the great master, and gave him an entire set of
+his best engravings for an antique gold ring, and another set to be
+sent to Rome in exchange for some of Raphael's sketches. He also gave
+a complete set of his engravings to the Regent Margaret, and made for
+her two careful drawings on parchment. Vincidore painted his portrait,
+to be sent to Rome; and it was engraved by Adrian Stock, showing his
+glorious eyes and long flowing hair, together with a short dense beard
+overshadowed by a massive moustache, curled back at the points.
+
+Later in the autumn Dürer journeyed to Aix-la-Chapelle, where he
+attended the splendid ceremonies of the coronation of the Emperor
+Charles V. At Aix he saw the famous columns brought from Rome by
+Charlemagne, the arm of Kaiser Henry, the chemise and girdle of the
+Virgin Mary, and other relics. His wife was back at Antwerp; and so
+the reckless artist chronicles his outlays for drinking, gaming, and
+other reprehensible expenses. After being entertained for three weeks
+at the Nuremberg embassy, Dürer went to Cologne, where he remained a
+fortnight, distributing his engravings with generous hand, visiting
+the churches and their pictures, and buying all manner of odd things.
+Early in November, by the aid of the Nuremberg ambassadors, he
+obtained from the Emperor his _Confirmatia_, "with great trouble and
+labor." This coveted document, which formed one of the main objects
+of his journey to the North, confirmed him in the pension which
+Maximilian had granted him, and made him painter to the Emperor.
+
+From Cologne he returned with all speed down the river to Antwerp,
+being entertained at Bois-le-Duc, "a pretty town, which has an
+extraordinarily beautiful church," by the painter Arnold de Ber and
+the goldsmiths, "who showed me very much honor." On arriving at
+Antwerp, he resumes his accounts of the sales and gifts of his
+engravings, and the enumeration of his domestic expenses. Soon
+afterward he heard of a monstrous whale being thrown up on the
+Zealand coast, and posted off in December to see it, taking a vessel
+from Bergen-op-Zoom, of whose well-built houses and great markets he
+speaks. "We sailed before sunset by a village, and saw only the points
+of the roofs projecting out of the water; and we sailed for the island
+of Wohlfärtig [Walcheren], and for the little town of Sunge in another
+adjacent island. There were seven islands; and Ernig, where I passed
+the night, is the largest. From thence we went to Middleburg, where I
+saw in the abbey the great picture that Johann de Abus [Mabuse] had
+done. The drawing is not so good as the painting. After that we came
+to Fahr, where ships from all lands unload: it is a fine town. But at
+Armuyden a great danger befell me; for just as we were going to land,
+and our ropes were thrown out, there came a large ship alongside of
+us, and I was about to land, but there was such a press that I let
+every one land before me, so that nobody but I, Georg Kotzler, two old
+women, and the skipper with one small boy, were left in the ship. And
+when I and the above-named persons were on board, and could not get on
+shore, then the heavy cable broke, and a strong wind came on, which
+drove our ship powerfully before it. Then we all cried loudly for
+help, but no one ventured to give it; and the wind beat us out again
+to sea.... Then there was great anxiety and fear; for the wind was
+very great, and not more than six persons on board. But I spoke to the
+skipper, and told him to take heart, and put his trust in God, and
+consider what there was to be done. Then he said he thought, if we
+could manage to hoist the little sail, he would try whether we could
+not get on. So with great difficulty, and working all together, we got
+it half way up, and sailed on again; and when those on the land saw
+this, and how we were able to help ourselves, they came and gave us
+assistance, so that we got safely to land. Middleburg is a good town,
+and has a very beautiful Town-house with a costly tower. And there are
+also many things there of old art. There is an exceedingly costly and
+beautiful seat in the abbey, and a costly stone aisle, and a pretty
+parish church. And in other respects also the town is very rich in
+subjects for sketches. Zealand is pretty and marvellous to see, on
+account of the water, which is higher than the land."
+
+The tide had carried off the stranded whale; and so Dürer returned
+to Antwerp, staying a few days at Bergen. Soon afterwards he gave
+Von Rafensburg three books of fine engravings in return for five
+snail-shells, nine medals, four arrows, two pieces of white coral,
+two dried fish, and a scale of a large fish. Improvident collector
+of curiosities! how did the matronly Agnes endure such tradings?
+Many dinners with the Genoese Tomasin are then recorded, and fresh
+collations with new friends, in the hearty and hospitable spirit of
+the easy-living Netherlanders. He repaid the quaint presents of his
+admirers with many copies of his engravings, and occasionally made
+some money in the practice of his profession.
+
+"On Shrove Tuesday early the goldsmiths invited me and my wife to
+dinner. There were many distinguished people assembled, and we had an
+extremely costly meal, and they did me exceeding much honor; and in
+the evening the senior magistrate of the town invited me, and gave me
+a costly meal, and showed me much honor. And there came in many
+strange masks." He then records his exchanges of engravings for such
+singular returns as satin, candied citron, ivory salt-cellars from
+Calcutta, sea-shells, monk's electuary, sweetmeats in profusion,
+porcelains, an ivory pipe, coral, boxing-gloves, a shield, lace,
+fishes' fins, sandal-wood, &c. The Portuguese ambassador invited him
+to a rich Carnival feast, where there were "many very costly masks;"
+and the learned Petrus Ægidius entertained him and Erasmus of
+Rotterdam together. He climbed up the cathedral tower, and "saw over
+the whole town from it, which was very agreeable." Many of the
+curiosities which he had acquired were sent as presents to Pirkheimer,
+the Imhoffs, the Holzschuhers, and other noble friends in Nuremberg.
+Arion, the ex-Pensionary of Antwerp, gave him a feast, and presented
+him with Patenir's painting of "Lot and his Daughters."
+
+Soon after Easter, Dürer made another pleasant tour in the
+Netherlands, attended by the painter Jan Plos, passing by "the rich
+Abbey of Pol," and "the great long village of Kahlb," to "the splendid
+and beautiful town" of Bruges. Plos and the goldsmith Marx each gave
+him costly feasts, and showed him the Emperor's palace, the Archery
+Court, and many paintings by Roger van der Weyden, Hubert and Jan van
+Eyck, and Hugo van der Goes, together with an alabaster Madonna by
+Michael Angelo. "We came at last to the Painters' Chapel, where there
+are many good things. After that they prepared a banquet for me. And
+from thence I went with them to their guild, where many honorable
+folk, goldsmiths, painters, and merchants, were assembled; and they
+made me sup with them, and did me great honor. And the Rath gave me
+twelve measures of wine; and the whole assembly, more than sixty
+persons, accompanied me home with torches.
+
+"And when I arrived at Ghent, the chief of the painters met me, and
+he brought with him all the principal painters of the town; and they
+showed me great honor, and received me in very splendid style, and
+they assured me of their good-will and service; and I supped that
+evening with them. On Wednesday early they took me to St. John's
+Tower, from which I saw over all the great and wonderful town.
+After that I saw Johann's picture [Van Eyck's 'Adoration of the
+Spotless Lamb']. It is a very rich and grandly conceived painting;
+and particularly Eve, the Virgin Mary, and God the Father, are
+excellent.... Ghent is a beautiful and wonderful town, and four great
+waters flow through it. And I have besides seen many other very
+strange things at Ghent, and the painters with their chief have never
+left me; and I have eaten morning and night with them, and they have
+paid for every thing, and have been very friendly with me."
+
+The master soon returned to Antwerp, in distress. "In the third
+week after Easter a hot fever attacked me, with great faintness,
+discomfort, and headache. And when I was in Zealand, some time back, a
+wonderful illness came upon me, which I had never heard of any one
+having before; and this illness I have still." This low fever never
+quite left him, and was the cause of many doctor's bills thereafter.
+Soon afterward he made a portrait of the landscape-painter Joachim
+Patenir; and "on the Sunday before Cross-week, Meister Joachim invited
+me to his wedding, and they all showed me much respect; and I saw two
+very pretty plays there, particularly the first, which was very pious
+and clerical."
+
+Dürer seems to have had strong Protestant sympathies, though it is
+claimed that he died in the faith of Rome. His journal in 1521
+contains the following significant sentences about Martin Luther: "He
+was a man enlightened by the Holy Ghost, and a follower of the true
+Christian faith.... He has suffered much for Christ's truth, and
+because he has rebuked the unchristian Papacy which strives against
+the freedom of Christ with its heavy burdens of human laws; and for
+this we are robbed of the price of our blood and sweat, that it may be
+expended shamefully by idle, lascivious people, whilst thirsty and
+sick men perish of hunger.... Lord Jesus Christ, call together again
+the sheep of thy fold, of whom part are still to be found amongst the
+Indians, Muscovites, Russians, and Greeks, who through the burdens and
+avarice of the Papacy have been separated from us. Never were any
+people so horribly burdened with ordinances as us poor people by the
+Romish See; we who, redeemed by thy blood, ought to be free
+Christians.
+
+"O God, is Luther dead? Who will henceforth explain to us so clearly
+the holy Gospel? O all pious Christian men, bewail with me this
+God-inspired man, and pray to God to send us another enlightened
+teacher! O Erasmus of Rotterdam, where dost thou remain? Behold how
+the unjust tyranny of this world's might and the powers of darkness
+prevail! Hear, thou knight of Christ; ride forth in the name of the
+Lord, defend the truth, attain the martyr's crown; thou art already an
+old manikin, and I have heard thee say that thou gavest thyself only
+two years longer in which thou wilt still be fit for work. Employ
+these well, then, in the cause of the Gospel and the true Christian
+faith."
+
+More junketings, gamings, collecting of outlandish things, visits to
+religious and civic pageants, new sketches and paintings, doctor's
+bills and monk's fees, minutely recorded. "Meister Gerhard, the
+illuminator, has a daughter of eighteen years, called Susanna; and she
+has illuminated a plate, a Saviour, for which I gave a florin. It is a
+great wonder that a woman should do so well!... I have again and again
+done sketches and many other things in the service of different
+persons, and for the most part of my work I have received nothing at
+all."
+
+After Corpus Christi Day, Dürer sent off several bales of his
+acquisitions to Nuremberg, by the wagoner Cunz Mez. He and his wife
+then went to Mechlin; "and the painters and sculptors entertained me
+at my inn, and showed me great honor; and I went to Popenreuther's
+house, the cannon-founder, and found many wonderful things there. I
+have also seen the Lady Margaret [the Archduchess and Regent], and
+carried the portrait of the Emperor, which I intended to present to
+her; but she took such a displeasure therein, I brought it away with
+me again. And on the Friday she showed me all her beautiful things,
+and amongst them I saw forty small pictures in oil, pure and good: I
+have never seen finer miniatures. And then I saw other good things of
+Johann's [Van Eyck] and Jacob Walch's. I begged my Lady to give me
+Meister Jacob's little book, but she said she had promised it to her
+painter."
+
+Dürer seems to have been treated with scant courtesy by the
+Archduchess, and soon returned to Antwerp. Here he was entertained
+by the eminent Lucas van Leyden, for whom he made a portrait, and
+received one of himself in return. The stately Nuremberger and the
+diminutive artist of Leyden were much astonished at each other's
+personal appearance, but had a warm mutual respect and esteem. Dürer
+next struck up a warm friendship with certain of the Augustine monks,
+and dined often at their cloister. In addition to the _bric-à-brac_
+which he still continued to collect, he now began to buy precious
+stones, in which he was badly swindled by a Frenchman, and dolefully
+wrote, "I am a fool at a bargain."
+
+He was now about to return home, and naturally found it necessary,
+after having bought such a museum of oddities and curiosities, to
+borrow enough money to take him to Nuremberg. His friend Alexander
+Imhoff lent him 100 gold florins, receiving Dürer's note in return. In
+some bitterness of spirit he wrote: "In all my transactions in the
+Netherlands, with people both of high and low degree, and in all my
+doings, expenses, sales, and other trafficking, I have always had the
+disadvantage; and particularly the Lady Margaret, for all I have given
+her and done for her, has given me nothing in return."
+
+On the eve of Dürer's departure, the King of Denmark, Christian II.,
+came to Antwerp, and not only had the master draw his portrait, but
+also invited him to a dinner. He then went to Brussels, on business
+for his new royal patron, and was present at the pompous reception and
+banquet with which the Emperor and the Archduchess Margaret received
+the Danish King. Soon afterwards the King invited Dürer to the feast
+which he gave to the Emperor and Archduchess; and then had his
+portrait painted in oil-colors, paying thirty florins for it. After a
+sojourn of eight days in Brussels, the master and his wife went south
+to Cologne, spending four long days on the road; and soon afterwards
+prolonged their journey to Nuremberg.
+
+The municipality of Antwerp had offered him a house and a liberal
+pension, to remain in that city; but he declined these, being content
+with his prospects and his noble friends in Franconia.
+
+
+
+
+CHAPTER VII.
+
+ Nuremberg's Reformation.--The Little Masters.--Glass-Painting.
+  --Architecture.--Letter to the City Council.--"Art of Mensuration."
+  --Portraits.--Melanchthon.
+
+
+What a commotion must Dürer's return have caused in Nuremberg, with
+his commission as court-painter, and his bales and crates of rarities
+from America and India and all Europe! The presents which he had
+brought for so many of his friends must have given the liveliest
+delight, and afforded amusement for months to the Sodalitas Literaria
+and the Rath-Elders.
+
+In the mean time the purifying storm of the Reformation was sweeping
+over Germany, and the people were in times of great doubt and
+perplexity. Nuremberg was the first of the free cities of the Empire
+to pronounce herself Protestant, though the change was effected with
+so much order and moderation that no iconoclastic fury was allowed to
+dilapidate its churches and convents. Pirkheimer and Spengler were
+excommunicated by the Pope, though their calm conservatism had
+curbed the fanatical fury of the puritans, and saved the Catholic
+art-treasures of the Franconian capital.
+
+It is a significant fact that Dürer, during the last six years of his
+life, made no more Madonnas, and but one Holy Family. The era of
+Mariolatry had passed, so far as Nuremberg was concerned. Yet, during
+the year of his return from the Netherlands, he made two engravings of
+St. Christopher bearing the Holy Child safely above the floods and
+through the storms, as if to indicate that Christianity would be
+carried through all its disasters by an unfailing strength.
+
+During the remaining six years of his life Dürer's art-works were
+limited to a few portraits and engravings, and the great pictures of
+the Four Apostles. Much of his time was devoted to the publication of
+the fruits of his long experience, in several literary treatises, most
+of which are now lost. His broken health would not allow of continuous
+work, as the inroads of insidious disease slowly wasted his strength
+and ate away his vitality.
+
+The Little Masters were a group of artists who were formed in
+the studio or under the influence of Dürer, shining as a bright
+constellation of genius in the twilight of German art. Among these
+were the Bavarian Altdorfer, who combined in his brilliant paintings
+and engravings both fantasy and romanticism; the Westphalian
+Aldegrever, a laborious painter and a prolific engraver; Barthel
+Beham, who afterwards studied with and counterfeited the works of
+Marc Antonio in Italy; Hans Sebald Beham, who illustrated lewd
+fables and prayer books with equal skill and relish, and was finally
+driven from Nuremberg; Jacob Binck of Cologne, a neat and accurate
+draughtsman, who removed to Rome, and engraved Raphael's works under
+the  supervision of Marc Antonio; George Pensz, who also studied under
+the great Italian engraver, and executed 126 fine prints, besides
+several paintings. Other assistants and pupils of Dürer, of whom
+little but their names are now remembered, were Hans Brosamer of Fulda,
+and Hans Springinklee. Hans von Culmbach was a careful follower, who
+surpassed his master in love of nature and her warm and harmonious
+colors. The Tucher altar-piece in St. Sebald's Church was his
+master-picture. Contemporary with the Nuremberg painter, Matthew
+Grunewald was doing excellent work at Aschaffenburg, in northern
+Franconia. Among the German artists of his time, he was surpassed
+only by Dürer and Holbein.
+
+The Diet of the Empire was held at Nuremberg in 1522, and the
+Rath-haus was repainted and decorated for its sessions. Dürer was paid
+100 florins for his share in this work, although it is not known what
+it was. The best of the paintings were executed by his pupil, George
+Pensz, and it is probable that the master furnished some of the
+designs.
+
+Although our artist held a pension from the Emperor as his
+court-painter, his services seem to have never been called into
+requisition. Charles spent but little time at Nuremberg, and while yet
+in his youth had no care for seeing himself portrayed on canvas. It
+was after the master's death that the Emperor first met Titian, and
+retained him as court-painter.
+
+In 1522 Dürer published at his own cost the first edition of the
+Triumphal Car of Kaiser Maximilian, a woodcut whose labored and
+ponderous allegorical idea was conceived by Pirkheimer, designed
+in detail by Dürer, and engraved by Rösch on eight blocks, forming
+a picture 7-1/2 feet long by 1-1/2 feet high. The Emperor is shown
+seated in a chariot, surrounded by female figures representing the
+abstract virtues, while the leaders of the twelve horses, and even
+the wheels and reins, have magniloquent Latin names. Maximilian was
+greatly interested in this work, but died before its completion. The
+first edition was accompanied by explanatory German text, and the
+second by Latin descriptions.
+
+The large woodcut of Ulrich Varnbühler, whom Dürer calls his "single
+friend," is one of the master's best works, and was printed over with
+three blocks, to produce a chiaroscuro. A little later, he made two
+copper-plates of the Cardinal Archbishop Albert of Magdeburg and
+Mayence.
+
+In 1523, while under the influence of the art-schools of the Lower
+Rhine, the master painted the pictures of Sts. Joachim and Joseph and
+St. Simeon and Bishop Lazarus, small figures on a gold ground.
+
+Dürer's Family Relation records that, "My dear mother-in-law took ill
+on Sunday, Aug. 18, 1521; and on Sept. 29, at nine of the night, she
+died piously. And in 1523, on the Feast of the Presentation, early in
+the morning, died my father-in-law, Hans Frey. He had been ill for six
+years, and had his share of troubles in his time." They were buried in
+St. John's Cemetery, in the same lot where the remains of their
+illustrious son-in-law were afterwards laid.
+
+It is said that Dürer largely occupied himself with glass-painting,
+during the earlier part of his career; and he probably designed much
+for the workers in stained glass then in Upper Germany and the Low
+Countries. Lacroix says that he produced twenty windows for the Temple
+Church at Paris; and Holt attributes to him the church-windows at
+Fairford, near Cirencester.
+
+As an architect Albert executed but few works, and only a slight
+record remains to our day. He made two plans for the Archduchess
+Margaret, and another for the house of her physician. Heideloff has
+proved that the gallery of the Gessert house at Nuremberg was built by
+Dürer, in a strange combination of geometric and Renaissance forms.
+
+Pirkheimer's portrait was engraved in 1524, showing a gross and heavy
+face, obese to the last degree, and verifying in its physiognomy the
+probability that the playful innuendoes in Dürer's Venetian letters
+were well grounded. It is not easy to see how such a spirit, learned
+in all the sciences of the age, and in close communion with Erasmus,
+Melanchthon, and Ulrich von Hutten, could have worn such a drooping
+mask of flesh. In the same year, Dürer published an engraved portrait
+of Frederick the Wise, Elector of Saxony, the supporter of Luther and
+the political leader of the Reformation. The head is admirably drawn
+and full of character, with firmness plainly indicated by strongly
+compressed lips.
+
+The following letter to the Council of Nuremberg was written in the
+year 1524:--
+
+     "Provident, Honorable, Wise, and Most Favorable Lords,--By my
+     works and with the help of God, I have acquired 1,000 florins
+     of the Rhine, and I would now willingly lay them by for my
+     support. Although I know that it is not the custom with your
+     Wisdoms to pay high interest, and that you have refused to
+     give one florin in twenty; yet I am moved by my necessity, by
+     the particularly favorable regard which your Wisdoms have
+     ever shown towards me, and also by the following causes, to
+     beg this thing of your Honors. Your Wisdoms know that I have
+     always been obedient, willing, and diligent in all things
+     done for your Wisdoms, and for the common State, and for
+     other persons of the Rath, and that the State has always had
+     my help, art, and work, whenever they were needed, and that
+     without payment rather than for money; for I can write with
+     truth, that, during the thirty years that I have had a house
+     in this town, I have not had 500 guldens' worth of work from
+     it, and what I have had has been poor and mean, and I have
+     not gained the fifth part for it that it was worth; but all
+     that I have earned, which God knows has only been by hard
+     toil, has been from princes, lords, and other foreign
+     persons. Also I have expended all my earnings from foreigners
+     in this town. Also your Honors doubtless know that, on
+     account of the many works I had done for him, the late
+     Emperor Maximilian, of praiseworthy memory, out of his own
+     imperial liberality granted me an exemption from the rates
+     and taxes of this town, which, however, I voluntarily gave
+     up, when I was spoken to about it by the Elders of the Rath,
+     in order to show honor to my Lords, and to maintain their
+     favor and uphold their customs and justice.
+
+     "Nineteen years ago the Doge of Venice wrote to me, offering
+     me 200 ducats a year if I would live in that city. More
+     lately the Rath of Antwerp, while I remained in the Low
+     Countries, also made me an offer, 300 florins of Philippe a
+     year, and a fair mansion to live in. In both places all that
+     I did for the Government would have been paid over and above
+     the pension. All of which, out of my love for my honorable
+     and wise Lords, for this town, and for my Fatherland, I
+     refused, and chose rather to live simply, near your Wisdoms,
+     than to be rich and great in any other place. It is therefore
+     my dutiful request to your Lordships, that you will take all
+     these things into your favorable consideration, and accept
+     these thousand florins (which I could easily lay out with
+     other worthy people both here and elsewhere, but which I
+     would rather know were in the hands of your Wisdoms), and
+     grant me a yearly interest upon them of fifty florins, so
+     that I and my wife, who are daily growing old, weak, and
+     incapable, may have a moderate provision against want. And I
+     will ever do my utmost to deserve your noble Wisdoms' favor
+     and approbation, as heretofore."
+
+This touching letter shows the poverty of Dürer's savings, and his
+sad feeling that he had lived as a prophet without honor in his own
+country. It produced the desired effect, and brought him five per cent
+on his little capital, though after his death the Council hastened to
+reduce it to four per cent.
+
+Dürer's wide study and remarkable versatility, rivalling that of
+Leonardo da Vinci, found further expression in literary work.
+Camerarius states that he wrote a hundred and fifty different
+treatises, showing a marked proficiency in several of the sciences.
+His first work was entitled "Instruction in the Art of Mensuration,"
+&c., and was published in 1525 for the use of young painters. It is
+composed of four books, treating of the practical use of geometrical
+instruments, and the drawing of volutes, Roman letters, and winding
+stairs; and is illustrated by numerous woodcuts. The fourth book
+elucidates the idea of perspective, and contains pictures of an
+instrument devised by the author, "which will be found particularly
+useful to persons who are not sure of drawing correctly." This was not
+the only invention of Dürer's; for there still exists a small model of
+a gun-carriage in wood and iron, made by him, and exhibiting certain
+improvements which he had designed and advocated. "The Art of
+Mensuration" was a successful book, and passed through one Latin and
+three German editions.
+
+The finest of Dürer's works in portraiture was executed in 1526, and
+represents the grand old Jerome Holzschuher, one of the chief rulers
+of the city, with all the strength and keenness of his heroic nature
+lighting up the canvas. Enormous sums have been offered for this work;
+but it is still faithfully preserved in Nuremberg, and retains its
+original rich and vivid coloring. Another fine portrait, "like an
+antique bust," now in the Vienna Belvedere, shows Johann Kleeberger,
+the generous and charitable man who was known abroad as "the good
+German." Still another portrait of this year was that of the
+Burgomaster Jacob Müffel, a well-modelled and carefully executed
+likeness of one of the master's best friends. Two very famous
+engravings of this date portray Erasmus of Rotterdam and Philip
+Melanchthon. Erasmus is represented as a venerable scholar, sitting
+at a desk, with a pen in his hand and a soft cap on his head; and
+the engraving is remarkable for its admirable execution and strong
+character. Still, the old philosopher was not pleased with it, and
+sent to Sir Thomas More his portrait by Holbein, which, he said, "is
+much more like me than the one by the famous Albert Dürer." When
+Erasmus first saw the picture he said, "Oh! if I still resemble that
+Erasmus, I may look out for getting married," as if it gave him too
+young an appearance.
+
+In 1526 the wise and noble-hearted Melanchthon came to Nuremberg
+to establish a Protestant Latin school, and formed a close intimacy
+with the master, whose tender and dreamy spirit was so like his own.
+During their constant intercourse, the artist became strengthened and
+comforted in the mild and pure doctrines of the true reformation, and
+was quietly yet strongly influenced to abandon even the forms of
+Catholicism which still remained. Dürer published a fine engraving of
+this friend of his last years on earth, showing delicately-chiselled
+features, with large and tender eyes and a lofty forehead.
+
+Melanchthon wrote that in one of his frequent conversations with
+Dürer, the artist explained the great change which his methods had
+undergone, saying, "In his youth he was fond of a florid style and
+great combination of colors, and that in looking at his own work he
+was always delighted to find this diversity of coloring in any of his
+pictures; but afterwards in his mature years he began to look more
+entirely to nature, and tried to see her in her simplest form. Then he
+found that this simplicity was the true perfection of art; and, not
+attaining this, he did not care for his works as formerly, but often
+sighed when he looked at his pictures and thought of his incapacity."
+
+
+
+
+CHAPTER VIII.
+
+ "The Four Apostles."--Dürer's Later Literary Works.--Four Books of
+  Proportion.--Last Sickness and Death.--Agnes Dürer.--Dürer described
+  by a Friend.
+
+
+Schlegel says that "Albert Dürer may be called the Shakespeare of
+Painting;" and it is doubtless true that he filled out the narrow
+capabilities of early German art with a full measure of deep and
+earnest thought and powerful originality. The equal homage which was
+offered to him at Venice and Antwerp, the two art-antipodes, shows how
+highly he was regarded in his own day. His earlier works were executed
+in the crude and angular methods of Wohlgemuth and his contemporaries;
+and most of the pictures now attributed to him, often incorrectly, are
+of this character. But in his later works he swung clear of these
+trammelling archaisms, and produced brilliant and memorable
+compositions.
+
+"The Four Apostles," now in the Munich Pinakothek, were Dürer's last
+and noblest works, and fairly justify Pirkheimer's assurance, that if
+he had lived longer the master would have done "many more wonderful,
+strange, and artistic things." They are full of grand thought and
+clear insight, free from exaggeration or conventionalism, perfect in
+execution and harmonious simplicity, and so distinct in individuality
+that it has been generally believed that the Four Temperaments are
+here impersonated. On one panel are Sts. John and Peter, in life-size,
+the former deeply meditating, with the Scriptures in his hand, and the
+latter bending forward and earnestly reading the Holy Book. The other
+panel shows the stately St. Paul, robed in white, standing before the
+ardent and impassioned St. Mark. Kugler calls these panels "the first
+complete work of art produced by Protestantism;" and the truth and
+simplicity of the paintings prefigured the return of a pure and
+incorrupt faith.
+
+Late in 1526, Dürer sent these pictures to the Rath of Nuremberg, with
+the following letter: "Provident, Honorable, Wise, Dear Lords,--I have
+been for some time past minded to present your Wisdoms with something
+of my unworthy painting as a remembrance; but I have been obliged to
+give this up on account of the defects of my poor work, for I knew
+that I should not have been well able to maintain the same before your
+Wisdoms. During this past time, however, I have painted a picture,
+and bestowed more diligence upon it than upon any other painting;
+therefore I esteem no one worthier than your Wisdoms to keep it as
+a remembrance; on which account I present the same to you herewith,
+begging you with humble diligence to accept my little present
+graciously and favorably, and to be and remain my favorable and dear
+Lords, as I have always hitherto found you. This, with the utmost
+humility, I will sedulously endeavor to merit from your Wisdoms."
+
+The Rath eagerly accepted this noble gift, and hung the two panels in
+the Rath-haus, sending also a handsome present of money to Dürer and
+his wife. A century afterwards Maximilian of Bavaria saw and coveted
+the pictures, and used bribery and threats alike to secure them. In
+1627 he accomplished his purpose; and the Rath, fearful of his wrath
+and dreading his power, sent the panels to Munich.
+
+The woodcut portrait of Dürer, dated 1527, shows the worn face of a
+man of fifty-six years, whose life has been stormy and sometimes
+unhappy. It is much less beautiful than the earlier pictures, for his
+long flowing hair and beard have both been cut short, perhaps on
+account of sickness, or in deference to the new puritan ideas. The
+face is delicate and melancholy, and seems to rest under the shadow of
+approaching death, which is to be met with a calm and simple faith.
+
+His second book, entitled "Some Instruction in the Fortification of
+Cities, Castles, and Towns," appeared in 1527, and was dedicated to
+Ferdinand I., and adorned with several woodcuts. In this the artist
+showed the same familiarity with the principles of defensive works
+as his great contemporaries Leonardo da Vinci and Michael Angelo
+had done. Much attention is paid to the proper sheltering of heavy
+artillery from hostile shot; and the plans of the towers and bastions
+about Nuremberg, which were built after Dürer's death, were suggested
+in this work. A large contemporary woodcut by the master shows the
+siege of a city, with cannon playing from the bastions, and the
+garrison making a sortie against the enemy.
+
+The celebrated "Four Books of Human Proportion" was Dürer's greatest
+literary work, and was completed about this time, having been begun
+in 1523. Its preparation was suggested by Pirkheimer, to whom it was
+dedicated, and who published it after the author's death, with a long
+Latin elegy on him. Great labor was bestowed on this work, and many of
+the original sketches and notes are still preserved. The first and
+second books show the correct proportions of the human body and its
+members, according to scale, dividing the body into seven parts, each
+of which has the same measurement as the head, and then considering
+it in eighths. The proportions of children are also treated of; and
+the dogma is formulated, that the woman should be one-eighteenth
+shorter than the man. The third book is devoted to transposing or
+changing these proportions, and contains examples of distorted and
+unsymmetrical figures; and the fourth book treats of foreshortening,
+and shows the human body in motion. In his preface he says: "Let no
+one think that I am presumptuous enough to imagine that I have written
+a wonderful book, or seek to raise myself above others. This be far
+from me! for I know well that but small and mediocre understanding
+and art can be found in the following work."
+
+The high appreciation in which this book was held appears from the
+fact that it passed through several German editions, besides three
+Latin, two Italian, two French, Portuguese, Dutch, and English
+editions. Most of the original MS. is now in the British Museum.
+
+Among Dürer's other works were treatises on Civic Architecture, Music,
+the Art of Fencing, Landscape-Painting, Colors, Painting, and the
+Proportions of the Horse.
+
+But the year 1527 was nearly barren of new art-works; for the master's
+hand was losing its power, and his busy brain had grown weary. His
+constitution was slowly yielding before the fatal advances of a
+wasting disease, possibly the low fever which he had contracted in
+Zealand, or it may have been an affection of the lungs. In the latter
+days he made a memorandum: "Regarding the belongings I have amassed by
+my own handiwork, I have not had a great chance to become rich, and
+have had plenty of losses; having lent without being repaid, and my
+work-people have not reckoned with me; also my agent at Rome died,
+after using up my property. Half of this loss was thirteen years ago,
+and I have blamed myself for losses contracted at Venice. Still we
+have good house-furnishing, clothing, costly things as earthenware
+[maiolica], professional fittings-up, bed-furnishings, chests, and
+cabinets; and my stock of colors is worth 100 guldens."
+
+The last design of the master was a drawing on gray paper, showing
+Christ on the Cross. When this was all completed except the face of
+the Divine sufferer, the artist was summoned by Death, and ascended to
+behold in glory the features which he had so often portrayed under the
+thorns.
+
+A violent attack of his chronic disease prostrated him so far that he
+was unable to rally; and after a brief illness he passed gently away,
+on the 6th of April, 1528. It was the anniversary of the day on which
+Raphael died, eight years before. His friends were startled and
+grief-stricken at his sudden death, which came so unexpectedly that
+even Pirkheimer was absent from the city. It was long supposed that he
+died of the plague, on the evidence of a portrait-drawing of himself,
+showing him pointing to a discolored plague-spot on his side, and
+inscribed, "Where my fingers point, there I suffer." It was said that
+this sketch was for the information of his doctor, who dared not visit
+the pestilence-stricken sick-chamber. But this hypothesis is no longer
+considered tenable.
+
+The remains of the master were buried in the lot of his father-in-law,
+Hans Frey, at the Cemetery of St. John, beyond the walls; and his
+monument bore Pirkheimer's simple epitaph: "ME. AL. DU. QUICQUID
+ALBERTI DURERI MORTALE FUIT, SUB HOC CONDITUR TUMULO. EMIGRAVIT VIII
+IDUS APRILIS, MDXXVIII. A.D."
+
+On Easter Sunday, 1828, the third centenary of his death, a great
+procession of artists and scholars from all parts of Germany moved in
+solemn state from Nuremberg to the grave of Dürer, where they sang
+hymns.
+
+     In the valley of the Pegnitz, where across broad meadowlands
+     Rise the blue Franconian mountains, Nuremberg the
+       ancient stands.
+
+     Quaint old town of toil and traffic, quaint old town of
+       art and song,
+     Memories haunt thy pointed gables, like the rooks that
+       round them throng.
+
+     Memories of the Middle Ages, when the emperors rough
+       and bold
+     Had their dwelling in thy castle, time-defying, centuries
+       old;
+
+     And thy brave and thrifty burghers boasted, in their
+       uncouth rhyme,
+     That their great imperial city stretched its hand through
+       every clime.
+
+     In the courtyard of the castle, bound with many an iron
+       band,
+     Stands the mighty linden planted by Queen Cunigunde's
+       hand;
+
+     On the square the oriel window, where in old heroic days
+     Sat the poet Melchior singing Kaiser Maximilian's praise.
+
+     Everywhere I see around me rise the wondrous world of
+       Art,
+     Fountains wrought with richest sculpture standing in the
+       common mart;
+
+     And above cathedral doorways, saints and bishops carved in
+       stone,
+     By a former age commissioned as apostles to our own.
+
+     In the church of sainted Sebald sleeps enshrined his holy
+       dust,
+     And in bronze the Twelve Apostles guard from age to age
+       their trust:
+
+     In the church of sainted Lawrence stands a pix of sculpture
+       rare,
+     Like the foamy sheaf of fountains, rising through the painted
+       air.
+
+     Here, when Art was still religion, with a simple, reverent
+       heart,
+     Lived and labored Albrecht Dürer, the Evangelist of Art;
+
+     Hence in silence and in sorrow, toiling still with busy hand,
+     Like an emigrant he wandered, seeking for the Better Land.
+
+     _Emigravit_ is the inscription on the tombstone where he
+       lies:
+     Dead he is not, but departed, for the artist never dies.
+
+                              LONGFELLOW.
+
+Pirkheimer wrote to Ulrich, "Although I have been often tried by the
+death of those who were dear to me, I think I have never until now
+experienced such sorrow as the loss of our dearest and best Dürer has
+caused me. And truly not without cause; for, of all men who were not
+bound to me by ties of blood, I loved and esteemed him the most, on
+account of his countless merits and rare integrity. As I know, my dear
+Ulrich, that you share my sorrow, I do not hesitate to allow it free
+course in your presence, so that we may consecrate together a just
+tribute of tears to our dear friend. He has gone from us, our Albert!
+Let us weep, my dear Ulrich, over the inexorable fate, the miserable
+lot of man, and the unfeeling cruelty of death. A noble man is
+snatched away, whilst so many others, worthless and incapable men,
+enjoy unclouded happiness, and have their years prolonged beyond the
+ordinary term of man's life."
+
+Pirkheimer died two years after Dürer's death, and was buried near
+him. During his last days, and therefore so long after his friend's
+decease that the first violence of his emotions had fully subsided,
+and his mind had become calm, he wrote to Herr Tschertte of Vienna,
+and gave the following arraignment of the widow Dürer: "Truly I lost
+in Albert the best friend I ever had in the world, and nothing grieves
+me so much as to think that he died such an unhappy death; for after
+the providence of God I can ascribe it to no one but his wife, who so
+gnawed at his heart, and worried him to such a degree, that he
+departed from this world sooner than he would otherwise have done. He
+was dried up like a bundle of straw, and never dared to be in good
+spirits, or to go out into society. For this bad woman was always
+anxious, although really she had no cause to be; and she urged him on
+day and night, and forced him to hard work only for this,--that he
+might earn money, and leave it to her when he died. For she always
+feared ruin, as she does still, notwithstanding that Albert has left
+her property worth about six thousand gulden. But nothing ever
+satisfied her; and in short she alone was the cause of his death.
+I have often myself expostulated with her about her suspicious,
+blameworthy conduct, and have warned her, and told her beforehand
+what the end of it would be; but I have never met with any thing but
+ingratitude. For whoever was a friend of her husband's, and wished him
+well, to him she was an enemy; which troubled Albert to the highest
+degree, and brought him at last to his grave. I have not seen her
+since his death: she will have nothing to do with me, although I have
+been helpful to her in many things; but one cannot trust her. She is
+always suspicious of anybody who contradicts her, or does not take her
+part in all things, and is immediately an enemy. Therefore I would
+much rather she should keep away from me. She and her sister are not
+loose characters, but, as I do not doubt, honorable, pious, and very
+God-fearing women; but one would rather have to do with a light
+woman who behaved in a friendly manner, than with such a nagging,
+suspicious, scolding, pious woman, with whom a man can have no peace
+day or night. We must, however, leave the matter to God, who will be
+gracious and merciful to our good Albert, for he lived a pious and
+upright man, and died in a very Christian and blessed manner;
+therefore we need not fear his salvation. God grant us grace, that
+we may happily follow him when our time comes!"
+
+It is said that Raphael, after studying Dürer's engravings, exclaimed,
+"Of a truth this man would have surpassed us all if he had had the
+masterpieces of art constantly before his eyes as we have." Even so at
+the present day is it seen, that if Dürer had studied classic art, and
+imbibed its principles, he might have added a rare beauty to the weird
+ugliness and solemnity of his designs, and substituted the sweet
+Graces for the grim Walkyrie. Yet in that case the world would have
+lost the fascinations of the sad and profound Nuremberg pictures, with
+their terrific realism and fantastic richness.
+
+Italy did not disdain to borrow the ideas of the transalpine artist;
+and even Raphael took the design of his famous picture of "The
+Entombment" (_Lo Spasimo_) from Dürer's picture in "The Great
+Passion." Titian borrowed from his "Life of the Virgin" the figure of
+an old woman, which he introduced in his "Presentation in the Temple."
+The Florentine Pontormo copied a whole landscape from one of Dürer's
+paintings; and Andrea del Sarto received many direct suggestions from
+his works.
+
+     "It is very surprising in regard to that man, that in a
+     rude and barbarous age he was the first of the Germans who
+     not only arrived at an exact imitation of nature, but has
+     likewise left no second; being so absolute a master of it in
+     all its parts,--in etching, engraving, statuary,
+     architecture, optics, symmetry, and the rest,--that he had
+     no equal except Michael Angelo Buonarotti, his contemporary
+     and rival; and he left behind him such works as were too
+     much for the life of one man."--JOHN ANDREAS.
+
+In the preface to his Latin translation of "The Four Books of Human
+Proportion," the Rector Camerarius says: "Nature gave our Albert a
+form remarkable for proportion and height, and well suited to the
+beautiful spirit which it held therein; so that in his case she was
+not unmindful of the harmony which Hippocrates loves to dwell upon,
+whereby she assigns a grotesque body to the grotesquely-spirited ape,
+while she enshrines the noble soul in a befitting temple. He had a
+graceful hand, brilliant eyes, a nose well-formed, such as the Greeks
+call [Greek: Tetragônon], the neck a little long, chest full, stomach
+flat, hips well-knit, and legs straight. As to his fingers, you would
+have said that you never saw any thing more graceful. Such, moreover,
+was the charm of his language, that listeners were always sorry when
+he had finished speaking.
+
+"He did not devote himself to the study of literature, though he was
+in a great measure master of what it conveys, especially of natural
+science and mathematics. He was well acquainted with the principal
+facts of these sciences, and could apply them as well as set them
+forth in words: witness his treatises on geometry, in which there is
+nothing to be desired that I can find, at least so far as he has
+undertaken to treat the subject.... But Nature had especially designed
+him for painting, which study he embraced with all his might, and was
+never tired of considering the works and methods of celebrated
+painters, and learning from them all that commended itself to him....
+If he had a fault it was this: that he worked with too untiring
+industry, and practised a degree of severity towards himself that he
+often carried beyond bounds."
+
+
+
+
+ A LIST OF
+ ALBERT DÜRER'S CHIEF PAINTINGS
+
+ NOW IN EXISTENCE, WITH THE DATES OF THEIR EXECUTION, AND THEIR
+ PRESENT LOCATIONS.
+
+_The interrogation-mark is annexed to the titles of certain paintings
+which two or more critics regard as of doubtful authenticity._
+
+
+GERMANY.
+
+NUREMBERG.--_Germanic Museum,_--Emperor Maximilian; Burgomaster
+Holzschuher, 1526. _St. Maurice Gallery,_--Pietà; Ecce Homo.
+_Rath-Haus_,--Emperor Sigismund(?); Charlemagne(?).
+
+MUNICH PINAKOTHEK.--Baumgärtner Altar-piece, 1513; Suicide of
+Lucretia, 1518; Albert Dürer, 1500; Oswald Krell, 1499; Michael
+Wohlgemuth, 1516; Albert Dürer the Elder, 1497; the Nativity; Sts.
+Paul and Mark, 1526; Sts. Peter and John, 1526; a Knight in Armor(?);
+Sts. Joachim and Joseph, 1523; St. Simeon and Bishop Lazarus, 1523;
+Death of the Virgin; a Young Man, 1500; Pietà(?); Mater Dolorosa.
+
+DRESDEN MUSEUM.--Christ Bearing the Cross; the Crucifixion; a Hare;
+Lucas van Leyden; Madonna and Saints (?).
+
+COLOGNE.--_Museum,_--Drummer and Piper; Madonna (?). _Church of Sta.
+Maria im Capitol,_--Death of the Virgin.
+
+FRANKFORT.--_Municipal Gallery,_--Two portraits. _Städel
+Institute,_--Catherine Fürleger; Albert Dürer the Elder.
+
+CASSEL.--_Friedrich Museum,_--The Passion. _Bellevue,_--Erasmus of
+Rotterdam.
+
+POMMERSFELDEN.--Jacob Müffel.
+
+LUSTSCHENA (Baron Speck).--A Young Lady.
+
+ASCHAFFENBURG.--Albert Dürer.
+
+AUGSBURG.--Two Masques. Several others in the Castle of Stolzenfels.
+
+
+AUSTRIA.
+
+VIENNA.--_Belvedere,_--Emperor Maximilian, 1519; Martyrdom of the Ten
+Thousand Christians, 1508; Madonna, 1506; Adoration of the Magi, 1504;
+Madonna, 1503; Adoration of the Holy Trinity, 1511; Madonna; Young
+Man, 1507; Johann Kleeberger, 1526; and others not definitely
+authenticated. _The Albertina,_--Emperor Maximilian, Green Passion,
+and 160 drawings. _Czernin Palace,_--Portrait. The old Ambraser,
+Lichtenstein, and Von Lamberg collections included four portraits and
+two religious pictures. _St. Wolfgang's Church,_ Upper Austria,--Death
+of the Virgin.
+
+PESTH.--Christ on the Cross.
+
+PRAGUE.--_Strahow Abbey,_--The Feast of Rose Garlands.
+
+
+NORTHERN EUROPE.
+
+ST. PETERSBURG.--_Hermitage Palace,_--Christ Led to Calvary; Christ
+Bearing the Cross; the Elector of Saxony.
+
+_Hague Museum._--Two portraits.
+
+_Beloeil_ (Prince de Ligne),--Two pictures.
+
+_Basle Museum_ (Switzerland).--Two pictures.
+
+_Coire Cathedral,_--Christ Bearing the Cross.
+
+
+ITALY.
+
+FLORENCE.--_Uffizi Gallery,_--Adoration of the Magi, 1504; Madonna,
+1526; Dürer's Father, 1490; Apostle Philip, 1516; St. James the Great,
+1516; Albert Dürer, 1498; Ecce Homo (?); Nativity (?); Pietà (?).
+_Pitti Palace,_--Adam and Eve (replica).
+
+ROME.--_Barberini Palace,_--Christ among the Doctors, 1506. _Borghese
+Palace,_--Louis VI. of Bavaria; Pirkheimer, 1505; and five pictures of
+dubious authenticity. _Corsini Palace,_--A Hare; Cardinal Albert of
+Brandenburg. _Doria Palace,_--St. Eustace (?); Ecce Homo (?).
+_Sciarra-Colonna Palace,_--Death of the Virgin.
+
+MILAN.--_Casa Trivulzi,_--Ecce Homo, 1514. _Ambrosiana,_--Coronation
+of the Virgin, 1510. _Bergamo Academy,_--Christ Bearing the Cross.
+_Brescia Gallery,_--Drawings.
+
+VENICE.--_Manfrini Palace,_--Adoration of the Shepherds; Holy Family.
+
+NAPLES.--_Santangelo,_--Garland-Bearer, 1508. _Museum,_--Nativity,
+1512. _Villafranca Palace,_--Christ on the Cross.
+
+
+SPAIN.
+
+MADRID.--_Museum,_--Albert Dürer, 1498; Dürer's Father; Adam and Eve.
+_Marquis of Salamanca,_--Altar-piece, a Passion scene.
+
+
+FRANCE.
+
+_Besançon Museum._--Christ on the Cross. _Lyons,_--Madonna and Child
+Giving Roses to Maximilian (?).
+
+
+GREAT BRITAIN.
+
+_National Gallery,_--A Senator, 1514. _Stafford House,_ Death of
+the Virgin. _Hampton-Court Palace,_--Young Man, 1506; St. Jerome (?).
+_Buckingham Palace,_--Virgin and Child. _Rev. J. F. Russell,
+--Crucifixion; Christ's Farewell to Mary (?). _Thirlestaine
+House,_--Maximilian. _Kensington Palace,_--Young Man. _New Battle
+House,_--Madonna and Angels. _Belvoir Castle,_--Portrait. _Sion
+House,_--Dürer's Father. _Mr. Wynn Ellis, London,_--Catherine
+Fürleger; Virgin and Child. _FitzWilliam Museum, Cambridge,_
+--Annunciation (?). _Windsor Castle,_--Pirkheimer. _Bath House,_--Man
+in Armor. _Howard Castle,_--Vulcan; Adam and Eve; Abraham and Isaac.
+
+_The latest of the lists of Dürer's paintings, compiled by Mr. W. B.
+Scott in 1870, enumerates the following collections, long since
+dispersed, with the dates when they were cataloged: 11 pictures at
+Aix, in 1822; 2 at Anspach, 1816; 5 at Augsburg, 1822; 10 at Bamberg,
+1821; 2 at Banz, 1814; 4 at Berlin, 1822; 3 at Blankenberg, 1817; 3 at
+Bologna, 1730; 3 at Breslau, 1741; 6 at Brussels, 1811. Many of these
+cannot now be located, the collections having been broken up._
+
+
+
+
+ A LIST OF
+ DÜRER'S WOOD ENGRAVINGS.
+
+
+_Bible Subjects._--Cain Killing Abel; Samson Slaying the Lion;
+Adoration of the Magi, 1511; the Last Supper, 1523; the Mount of
+Olives; Pilate Showing Christ to the Jews; the Sudarium; Ecce
+Homo; the Crucifixion, 1510; the Crucifixion, 1516; Calvary; the
+Crucifixion; Christ on the Cross, with Angels; the Trinity, 1511; the
+Holy Family, 1511; the Holy Family with a Guitar, 1511; the Holy
+Family, 1526; the Holy Family in a Chamber; the Virgin with the
+Swaddled Child; the Virgin Crowned by Angels, 1518; the Holy Family
+with Three Rabbits.
+
+_Saints._--St. Arnolf, Bishop; St. Christopher, 1511; St. Christopher
+with the Birds; St. Christopher, 1525; St. Colman of Scotland, 1513;
+St. Francis Receiving the Stigmata; St. George; the Mass of St.
+Gregory, 1511; St. Jerome in a Chamber, 1511; St. Jerome in the
+Grotto, 1512; the Little St. Jerome; the Beheading of St. John the
+Baptist; the Head of St. John brought to Herod, 1511; St. Sebald; the
+Penitent; Elias and the Raven; Sts. John and Jerome; Sts. Nicholas,
+Udalricus, and Erasmus; Sts. Stephen, Gregory, and Lawrence; the Eight
+Austrian Saints; the Martyrdom of Ten Thousand Christians; the
+Beheading of St. Catherine; St. Mary Magdalen.
+
+_Portraits._--The Emperor Maximilian, 1519; the Emperor; Ulrich
+Varnbühler, 1522; Albert Dürer, 1527.
+
+_Heraldic Subjects._--The Beham Arms; the Dürer Arms, 1523; the
+Ebner-Furer Arms, 1516; the Kressen Arms; the Shield of Nuremberg; the
+Shield with three Lions' Heads; the Shield with a Wild Man and two
+Dogs; the Scheurl-Zuiglin Arms; the Stabius Arms; the Staiber Arms.
+
+_Miscellaneous Subjects._--The Judgment of Paris; Hercules; the Rider;
+the Bath; the Embrace; the Learner, 1510; Death and the Soldier, 1510;
+the Besieged City, 1527; the Rhinoceros, 1515; the Triumphal Chariot
+of Maximilian, 1522; the Great Column, 1517; a Man Sketching; two Men
+Sketching a Lute; a Man Sketching a Woman; a Man Sketching an Urn;
+Hemispherium Australe; Imagines Coeli Septentrionalis; Imagines
+Coeli Meridionalis; the Pirkheimer Title-border; six Ornamental
+designs; two title-borders.
+
+_The Great Passion_ (12 cuts; 1510).--Ecce Homo; the Last Supper; the
+Agony in the Garden; the Seizing of Christ; the Flagellation; the
+Mocking; Bearing the Cross; the Crucifixion; Christ in Hades; the
+Wailing Maries; the Entombment; the Resurrection.
+
+_The Little Passion_ (37 cuts; 1511).--Ecce Homo; Adam and Eve; the
+Expulsion from Eden; the Annunciation; the Nativity; the Entry into
+Jerusalem; the Cleansing of the Temple; Christ's Farewell to His
+Mother; the Last Supper; the Washing of the Feet; the Agony in the
+Garden; the Kiss of Judas; Christ before Annas; Caiaphas Rends his
+Clothes; the Mocking; Christ and Pilate; Christ before Herod; the
+Scourging; the Crowning with Thorns; Christ Shown to the Jews; Pilate
+Washing his Hands; Bearing the Cross; the Veronica; Nailing Christ to
+the Cross; the Crucifixion; Descent into Hell; the Descent from the
+Cross; the Weeping Maries; the Entombment; the Resurrection; Christ in
+Glory Appearing to His Mother; Appearing to Mary Magdalen; at Emmaus;
+the Unbelief of St. Thomas; the Ascension; the Descent of the Holy
+Ghost; the Last Judgment.
+
+_The Life of the Virgin_ (20 designs; 1511).--The Virgin and Child;
+Joachim's Offering Rejected; the Angel Appears to Joachim; Joachim
+Meeting Anna; the Birth of Mary; the Virgin's Presentation at the
+Temple; the Betrothal of Mary and Joseph; the Annunciation; the
+Visitation of St. Elizabeth; the Nativity; the Circumcision; the
+Purification of Mary; the Flight into Egypt; the Repose in Egypt;
+Christ Teaching in the Temple; Christ's Farewell to His Mother; the
+Death of the Virgin; the Assumption; the Virgin and Child with seven
+Saints.
+
+_The Apocalypse of St. John_ (16 designs; 1498).--The Virgin and Child
+Appearing to St. John; His Attempted Martyrdom; the Seven Golden
+Candlesticks and the Seven Stars; the Throne of God with the
+Four-and-twenty Elders and the Beasts; the Descent of the Four Horses;
+the Martyrs Clothed in White and the Stars Falling; the Four Angels
+Holding the Winds, and the Sealing of the Elect; the Seven Angel
+Trumpeters and the Glorified Host of Saints; the Four Angels Slaying
+the Third Part of Men; John is Made to Eat the Book; the Woman Clothed
+with the Sun, and the Seven-headed Dragon; Michael and his Angels
+Fighting the Great Dragon; the Worship of the Seven-headed Dragon; the
+Lamb in Zion; the Woman of Babylon Sitting on the Beast; the Binding
+of Satan for a Thousand Years.
+
+There are 261 other wood-engravings described in the catalogue
+attached to Scott's "Life of Dürer," and ranked as "doubtful." Many of
+these are held to be authentic by one or more of the three critical
+authorities on Dürer's works,--Heller, Bartsch, and Passavant. Other
+connoisseurs, however, ascribe them to different engravers of the
+early German schools, mostly to pupils and colleagues of Dürer.
+
+
+ENGRAVINGS ON COPPER.
+
+_Bible-Subjects._--Adam and Eve, 1504; the Nativity, 1504; the Passion
+on copper (16 designs), 1508-13; Crucifixion, 1508, 1511; Little
+Crucifixion, 1513; Christ Showing His Five Wounds; Angel with the
+Sudarium, 1516; two Angels with the Sudarium, 1513; the Prodigal Son,
+1500; the Virgin and Anna; Mary on the Crescent Moon, no date; Mary on
+the Crescent Moon, 1514; Mary with a Crown of Stars, 1508; Mary with
+the Starry Crown and Sceptre, 1516; Mary Crowned by an Angel, 1520;
+Mary Crowned by two Angels, 1518; the Nursing Mary, 1503; the Nursing
+Mary, 1519; Mary with the Swaddled Child, 1520; Mary under a Tree,
+1513; Mary by the Well, 1514; Mary with the Pear, 1511; Mary with the
+Monkey, no date; the Holy Family with the Butterfly, early work.
+
+_Saints._--St. Philip; St. Bartholomew, 1523; St. Thomas, 1514; St.
+Simon, 1514; St. Paul, 1514; St. Anthony, 1519; St. Christopher, 1521;
+St. Christopher, second design; St. John Chrysostom; St. Eustace, no
+date; St. George; Equestrian St. George, 1508; St. Jerome, 1514; St.
+Jerome Praying; the same, smaller, 1513; St. Sebastian; St. Sebastian
+Bound to a Pillar.
+
+_Miscellaneous._--The Judgment of Paris, 1513; Apollo and Diana; the
+Rape of Amymone; Jealousy; the Satyr's Family, 1505; Justice; the
+Little Fortune; the Great Fortune; Melencolia, 1514; the Dream; the
+Four Naked Women, 1497; the Witch; Three Cupids; Gentleman and Lady
+Walking; the Love Offer; the Wild Man Seizing a Woman, early work; the
+Bagpiper, 1514; the Dancing Rustics, 1514; the Peasant and his Wife;
+Peasant Going to Market; Three Peasants; the Cook and the Housekeeper;
+the Turk and his Wife; the Standard-bearer; the Six Soldiers; the
+Little Courier; the Equestrian Lady; the Great White Horse, 1505; the
+Small White Horse, 1505; the Knight, Death, and the Devil, 1513; the
+Monster Pig; the Coat-of-arms with the Cock, 1514; the Coat-of-arms
+and Death's Head, 1503.
+
+_Portraits._--The Cardinal-Archbishop Albert of Mayence, 1519, 1522;
+larger portrait of the same; Frederick the Wise, Elector of Saxony,
+1524; Erasmus of Rotterdam, 1526; Philip Melanchthon, 1526; Willibald
+Pirkheimer, 1524.
+
+_Etchings._--Christ with Bound Hands, 1512; Ecce Homo, 1515; Christ on the
+Mount of Olives, 1515; the Holy Family; St. Jerome; Pluto and
+Proserpine; the Bath; the Cannon.
+
+
+
+
+INDEX.
+
+
+ _Adam and Eve,_ 45, 57.
+ _Adoration of the Kings,_ 45.
+ _Adoration of the Trinity,_ 62, 68.
+ Aix-la-Chapelle, 105.
+ Aldegrever, 120.
+ Altdorfer, 120.
+ Antwerp, 97, 106, 117, 126.
+   -- Cathedral, 99, 110.
+ Architectural Works, 123.
+ Art of Mensuration, 127.
+ Augsburg, 91.
+
+ Bamberg, 44, 96.
+ Basle, 26.
+ Baumgärtner, 14, 39, 52, 77, 78.
+ Behaim, Martin, 12.
+ Beham, 120.
+ Beheim, Hans, 11.
+ Bellini, Giovanni, 48, 50.
+ Bergen-op-Zoom, 107, 109.
+ Bernard van Orley, 100.
+ Binck, 120.
+ _Birth of St. John,_ 66.
+ Bois-le-Duc, 106.
+ Bruges, 110.
+ Brussels, 100.
+ Bullman, 12.
+
+ _Calvary,_ 45.
+ Camerarius, 14, 145.
+ Carvings, 57, 66.
+ Celtes, Conrad, 13.
+ Chelidonius, 13, 70, 71.
+ Coat-of-Arms, 49, 75.
+ Colmar, 23, 26.
+ Cologne, 96, 106, 117.
+ Colvin, Sidney, 34.
+ Confirmatia, The, 106.
+ _Coronation of the Virgin,_ 61.
+
+ Danger at Sea, 107.
+ Death of Parents, 40, 83.
+ _Death of the Virgin,_ 90.
+ Delayed Pensions, 87, 92.
+ Denmark's King, 116.
+ Drawings, 42.
+ Dürer, Albert, the Elder, 15, 20, 23, 40.
+   -- Agnes, 28, 52, 54, 142.
+   -- Andreas, 16, 41, 53, 68.
+   -- Anthony, 15.
+   -- Barbara, 15, 41, 83.
+   -- Hans, 41, 51, 69.
+   -- Nicholas, 96.
+ Dürer's House, 63.
+   -- Marriage, 28.
+   -- Poetry, 64.
+   -- Portraits, 27, 36, 39, 105, 134.
+
+ Early Drawings, 19.
+ Engravings, 31, 60.
+ Erasmus, 99, 110, 114, 129.
+ Etchings, 86.
+ Eytas, 15, 79.
+
+ Fever, The, 112.
+ Flemish Feasts, 97, 109, 111.
+ Flemish Wealth, 95.
+ Fortifications, Treatise on, 134.
+ _Four Apostles, The,_ 131.
+ Francia, 55.
+ Frey Family, 29, 123.
+
+ Ghent, 111.
+ Glass-Painting, 123.
+ _Great Column, The,_ 88.
+ _Great Passion, The,_ 69.
+ _Green Passion, The,_ 42.
+ Grunewald, 121.
+
+ Haller Family, 15.
+ Heller, Jacob, 58, 59, 96.
+ _Holzschuher,_ 128.
+ Human Proportions, 135.
+
+ Imhoff Collection, The, 43.
+ Inventions, 128.
+
+ Karl, Eucharius, 39, 52.
+ _Knight, Death, etc.,_ 76.
+ Koberger, 9, 17.
+ Kornelisz, 12.
+ Kraft, 11.
+
+ Landäuer, 62.
+ Letters to the Rath, 124, 132.
+ _Life of the Virgin,_ 71.
+ Lindenast, 11.
+ Literary Work, 127.
+ _Little Crucifixion, The,_ 78.
+ Little Masters, 120.
+ _Little Passion, The,_ 70.
+
+ Mantegna, 24, 56.
+ Marc Antonio, 71.
+ Margaret, Archduchess, 94, 100, 105, 115.
+ Martin Luther, 113.
+ _Martyrdom, The,_ 59.
+ Maximilian, Emperor, 74, 76, 89, 91, 93, 122.
+ Mechlin, 100, 115.
+ Melanchthon, 75, 129.
+ _Melencolia, The,_ 82.
+ Middleburg, 107, 108.
+
+ Netherland Journey, 94.
+ Nuremberg, 7, 118, 139.
+
+ _Passion, The Great,_ 69.
+   -- _The Green,_ 42.
+   -- _The Little,_ 70.
+   -- _Song,_ 65.
+   -- _in Copper,_ 74.
+ Patenir, 98, 112.
+ Pensz, George, 120, 121.
+ Perugino, 24.
+ Piratical Engravers, 69, 71.
+ Pirkheimer, 17, 30, 39, 43, 44, 48, 64, 110, 119, 124, 135, 137, 141.
+ Prayer-Book, Max's, 88.
+ Procession, The, 103.
+
+ Raphael, 56, 85, 105, 144.
+ Regiomontanus, 10.
+ _Rose-Garlands, Feast of,_ 53, 54.
+ Ruskin Quoted, 46, 56.
+
+ Sachs, Hans, 14.
+ _St. Anthony,_ 93.
+ _St. Eustachius,_ 79.
+ _St. Jerome,_ 81.
+ Schongauer, 23.
+ Silver-Work, 20.
+ Sketch-Books, 44.
+ Spengler, 39, 65, 92, 119.
+ Stein, 47.
+ Stoss, Veit, 11.
+ Strasbourg, 26.
+
+ Teacher, The (Poem), 65.
+ Tomasin, 98, 100, 109.
+ _Triumphal Arch,_ 75, 88, 92.
+ _Triumphal Car,_ 121.
+
+ Van Leyden, Lucas, 115.
+ Vasari Quoted, 72.
+ Venetian Journey, 47.
+ Venice, 47, 56, 126.
+ Vincidore, 105.
+ Vischer, Peter, 11.
+ Von Culmbach, 120.
+
+ Walch, Jacob, 13, 115.
+ Wander-jahre, The, 25, 50.
+ Water-Marks, 34.
+ Wohlgemuth, 12, 21, 51, 90.
+ Woodcuts, 37.
+
+ Zealand, Journey to, 107.
+
+
+
+
+TRANSCRIBER'S NOTE:
+
+Minor changes have been made to correct typesetters' errors; otherwise
+every effort has been made to remain true to the author's words and
+intent.
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+
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+<pre>
+
+The Project Gutenberg EBook of Durer, by M. F. Sweetser
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Durer
+       Artist-Biographies
+
+Author: M. F. Sweetser
+
+Release Date: June 13, 2010 [EBook #32787]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK DURER ***
+
+
+
+
+Produced by D Alexander, Juliet Sutherland and the Online
+Distributed Proofreading Team at https://www.pgdp.net
+
+
+
+
+
+
+</pre>
+
+
+<div class="figcenter" style="width: 347px;">
+<img src="images/cover.jpg" width="347" height="500" alt="" title="" />
+</div>
+
+<hr class="large" />
+
+<div class="centerbox bbox">
+<p>&#160;</p>
+<h3><i>ARTIST-BIOGRAPHIES.</i></h3>
+
+<hr class="tiny" />
+
+<p class="gap">&#160;</p>
+
+<h1>D&Uuml;RER.</h1>
+
+<p class="gap">&#160;</p>
+
+<div class="figcenter" style="width: 102px;">
+<img src="images/durertitle.jpg" width="102" height="100" alt="" title="" />
+</div>
+
+<p class="gap">&#160;</p>
+
+<h4>BOSTON:<br />
+HOUGHTON, OSGOOD, AND COMPANY.</h4>
+
+<p class="center">The Riverside Press, Cambridge.</p>
+
+<p class="center">1879.</p></div>
+
+<hr class="large" />
+
+<p class="center"><span class="smcap">Copyright.<br />
+By JAMES R. OSGOOD &amp; CO.</span><br />
+1877.</p>
+<p class="smallgap">&#160;</p>
+
+<p class="center">FRANKLIN PRESS:<br />
+RAND, AVERY, AND COMPANY,<br />
+BOSTON.</p>
+
+<hr class="large" /><div class="centerbox2 bbox2">
+<h3>ARTIST-BIOGRAPHIES.</h3>
+
+<h4>PUBLISHERS&#8217; ANNOUNCEMENT.</h4>
+
+<hr class="tiny" />
+
+<p>The growth of a popular interest in art and its history has been very
+rapid during the last decade of American life, and is still in
+progress. This interest is especially directed towards the lives of
+artists themselves; and a general demand exists for a uniform series
+of biographies of those most eminent, which shall possess the
+qualities of reliability, compactness, and cheapness.</p>
+
+<p>To answer this demand the present series has been projected. The
+publishers have intrusted its preparation to Mr. M. F. Sweetser, whose
+qualities of thoroughness in research and fidelity in statement have
+been proved in other fields of authorship. It is believed that by the
+omission of much critical and discursive matter commonly found in art
+biographies, an account of an artist&#8217;s life may be presented, which is
+at once truthful and attractive, within the limits prescribed for
+these volumes.</p>
+
+<p>The series will be published at the rate of one or two volumes each
+month, at 50 cents each volume, and will contain the lives of the most
+famous artists of medi&aelig;val and modern times. It will include the lives
+of many of the following:&mdash;</p>
+
+<div class="centered">
+<table border="0" width="80%" cellpadding="1" cellspacing="1" summary="SERIES TITLES">
+
+<tr>
+<td align="left">Raphael,</td>
+<td align="left">Claude,</td>
+<td align="left">Van Dyck,</td></tr>
+
+<tr>
+<td align="left">Michael Angelo,</td>
+<td align="left">Poussin,</td>
+<td align="left">Gainsborough,</td></tr>
+
+<tr>
+<td align="left">Leonardo da Vinci,</td>
+<td align="left">Delacroix,</td>
+<td align="left">Reynolds,</td></tr>
+
+<tr>
+<td align="left">Titian,</td>
+<td align="left">Delaroche,</td>
+<td align="left">Wilkie,</td></tr>
+
+<tr>
+<td align="left">Tintoretto,</td>
+<td align="left">Greuze,</td>
+<td align="left">Lawrence,</td></tr>
+
+<tr>
+<td align="left">Paul Veronese,</td>
+<td align="left">D&uuml;rer,</td>
+<td align="left">Landseer,</td></tr>
+
+<tr>
+<td align="left">Guido,</td>
+<td align="left">Rubens,</td>
+<td align="left">Turner,</td></tr>
+
+<tr>
+<td align="left">Murillo,</td>
+<td align="left">Rembrandt,</td>
+<td align="left">West,</td></tr>
+
+<tr>
+<td align="left">Velasquez,</td>
+<td align="left">Holbein,</td>
+<td align="left">Copley,</td></tr>
+
+<tr>
+<td align="left">Salvator Rosa,</td>
+<td align="left">Teniers,</td>
+<td align="left">Allston.</td></tr>
+
+</table></div></div>
+
+<hr class="large" /><p><span class='pagenum'><a name="Page_3" id="Page_3">[Pg 3]</a></span></p>
+<h2><a name="PREFACE" id="PREFACE"></a>PREFACE.</h2>
+
+<p>This little volume presents an account of the life of one of the
+noblest and most versatile artists of Germany, with a passing glance
+at the activities of Northern Europe at the era of the Reformation.
+The weird and wonderful paintings of D&uuml;rer are herein concisely
+described, as well as the most famous and characteristic of his
+engravings and carvings; and his quaint literary works are enumerated.
+It has also been thought advisable to devote considerable space to
+details about Nuremberg, the scene of the artist&#8217;s greatest labors;
+and to reproduce numerous extracts from his fascinating Venetian
+letters and Lowland journals.</p>
+
+<p>The modern theory as to D&uuml;rer&#8217;s wife and his home has been accepted in
+this work, after a long and careful examination of the arguments on
+both sides. It is pleasant thus to be able to aid in the
+rehabilitation of the much-slandered Agnes, and to have an oppressive
+<span class='pagenum'><a name="Page_4" id="Page_4">[Pg 4]</a></span>cloud of sorrow removed from the memory of the great painter.</p>
+
+<p>The chief authorities used in the preparation of this new memoir are
+the recent works of Dr. Thausing and Mr. W. B. Scott, with the series
+of articles now current in &#8220;The Portfolio,&#8221; written by Professor
+Colvin. Mrs. Heaton&#8217;s biography has also been studied with care; and
+other details have been gathered from modern works of travel and
+art-criticism, as well as from &#8220;The Art Journal,&#8221; &#8220;La Gazette des
+Beaux Arts,&#8221; and other periodicals of a similar character.</p>
+
+<p class="right"><span class="smcap">M. F. Sweetser.</span></p>
+
+<hr class="large" /><p><span class='pagenum'><a name="Page_5" id="Page_5">[Pg 5]</a></span></p>
+<h2>CONTENTS.</h2>
+<div class="centered">
+<table border="0" width="80%" cellpadding="1" cellspacing="1" summary="CONTENTS">
+
+<tr><td colspan="2" align="center">CHAPTER I.</td></tr>
+
+<tr><td colspan="2" align="center">1471-1494.</td></tr>
+
+<tr><td>&#160;</td>
+<td align="right"><span class="smaller">PAGE</span></td></tr>
+
+<tr><td align="left"><p style="margin-left: 1.5em; text-indent: -1.5em;">The Activities of Nuremberg.&mdash;The D&uuml;rer Family.&mdash;Early Years of
+Albert.&mdash;His Studies with Wohlgemuth.&mdash;The <i>Wander-Jahre</i></p></td>
+<td align="right"><a href="#Page_7">7</a></td></tr>
+
+<tr><td colspan="2" align="center">CHAPTER II.</td></tr>
+
+<tr><td colspan="2" align="center">1494-1505.</td></tr>
+
+<tr><td align="left"><p style="margin-left: 1.5em; text-indent: -1.5em;">D&uuml;rer marries Agnes Frey.&mdash;Her Character.&mdash;Early
+Engravings.&mdash;Portraits.&mdash;&#8220;The Apocalypse.&#8221;&mdash;Death of D&uuml;rer&#8217;s
+Father.&mdash;Drawings</p></td>
+<td align="right"><a href="#Page_28">28</a></td></tr>
+
+<tr><td colspan="2" align="center">CHAPTER III.</td></tr>
+
+<tr><td colspan="2" align="center">1505-1509.</td></tr>
+
+<tr><td align="left"><p style="margin-left: 1.5em; text-indent: -1.5em;">The Journey to Venice.&mdash;Bellini&#8217;s Friendship.&mdash;Letters to
+Pirkheimer.&mdash;&#8220;The Feast of Rose Garlands.&#8221;&mdash;Bologna.&mdash;&#8220;Adam and
+Eve.&#8221;&mdash;&#8220;The Coronation of the Virgin&#8221;</p></td>
+<td align="right"><a href="#Page_47">47</a></td></tr>
+
+<tr><td colspan="2" align="center">CHAPTER IV.</td></tr>
+
+<tr><td colspan="2" align="center">1509-1514.</td></tr>
+
+<tr><td align="left"><p style="margin-left: 1.5em; text-indent: -1.5em;">D&uuml;rer&#8217;s House.&mdash;His Poetry.&mdash;Sculptures.&mdash;The Great and Little
+Passions.&mdash;Life of the Virgin.&mdash;Plagiarists.&mdash;Works for the Emperor
+Maximilian</p></td>
+<td align="right"><a href="#Page_63">63</a></td></tr>
+
+<tr><td colspan="2" align="center">CHAPTER V.</td></tr>
+
+<tr><td colspan="2" align="center">1514-1520.</td></tr>
+
+<tr><td align="left"><p style="margin-left: 1.5em; text-indent: -1.5em;">St. Jerome.&mdash;The Melencolia.&mdash;Death of D&uuml;rer&#8217;s
+Mother.&mdash;Raphael.&mdash;Etchings.&mdash;Maximilian&#8217;s Arch.&mdash;Visit to Augsburg</p></td>
+<td align="right"><a href="#Page_81">81</a></td></tr>
+
+<tr><td colspan="2" align="center"><p><span class='pagenum'><a name="Page_6" id="Page_6">[Pg 6]</a></span></p>CHAPTER VI.</td></tr>
+
+<tr><td colspan="2" align="center">1520-1522.</td></tr>
+
+<tr><td align="left"><p style="margin-left: 1.5em; text-indent: -1.5em;">D&uuml;rer&#8217;s Tour in the Netherlands.&mdash;His Journal.&mdash;Cologne.&mdash;Feasts at
+Antwerp and Brussels.&mdash;Procession of Notre Dame.&mdash;The
+Confirmatia.&mdash;Zealand Journey.&mdash;Ghent.&mdash;Martin Luther</p></td>
+<td align="right"><a href="#Page_94">94</a></td></tr>
+
+<tr><td colspan="2" align="center">CHAPTER VII.</td></tr>
+
+<tr><td colspan="2" align="center">1522-1526.</td></tr>
+
+<tr><td align="left"><p style="margin-left: 1.5em; text-indent: -1.5em;">Nuremberg&#8217;s Reformation.&mdash;The Little
+Masters.&mdash;Glass-Painting.&mdash;Architecture.&mdash;Letter to the City
+Council.&mdash;&#8220;Art of Mensuration.&#8221;&mdash;Portraits.&mdash;Melanchthon</p></td>
+<td align="right"><a href="#Page_118">118</a></td></tr>
+
+<tr><td colspan="2" align="center">CHAPTER VIII.</td></tr>
+
+<tr><td colspan="2" align="center">1526-1528.</td></tr>
+
+<tr><td align="left"><p style="margin-left: 1.5em; text-indent: -1.5em;">&#8220;The Four Apostles.&#8221;&mdash;D&uuml;rer&#8217;s Later Literary Works.&mdash;Four Books of
+Proportion.&mdash;Last Sickness and Death.&mdash;Agnes D&uuml;rer.&mdash;D&uuml;rer described
+by a Friend</p></td>
+<td align="right"><a href="#Page_131">131</a></td></tr>
+
+</table></div>
+
+<hr class="large" /><p><span class='pagenum'><a name="Page_7" id="Page_7">[Pg 7]</a></span></p>
+<h2><a name="ALBERT_DURER" id="ALBERT_DURER"></a>ALBERT D&Uuml;RER.</h2>
+
+<h2><a name="CHAPTER_I" id="CHAPTER_I"></a>CHAPTER I.</h2>
+
+<div class="blockquot"><p style="margin-left: 1.5em; text-indent: -1.5em;">The Activities of Nuremberg.&mdash;The D&uuml;rer Family.&mdash;Early Years of
+Albert.&mdash;His Studies with Wohlgemuth.&mdash;The <i>Wander-Jahre</i>.</p></div>
+
+<p>The free imperial city of Nuremberg, in the heart of Franconia, was
+one of the chief centres of the active life of the Middle Ages, and
+shared with Augsburg the great trans-continental traffic between
+Venice and the Levant and Northern Europe. Its municipal liberties
+were jealously guarded by venerable guilds and by eminent magistrates
+drawn from the families of the merchant-princes, forming a government
+somewhat similar to the Venetian Council. The profits of a commercial
+prosperity second only to that of the Italian ports had greatly
+enriched the thrifty burghers, aided by the busy manufacturing
+establishments <span class='pagenum'><a name="Page_8" id="Page_8">[Pg 8]</a></span>which made the city &#8220;the Birmingham of the Middle
+Ages.&#8221; Public and private munificence exerted itself in the erection
+and adornment of new and splendid buildings; and the preparation of
+works of art and utility was stimulated on all sides. It was the era
+of the discovery of America, the revival of classic learning, and the
+growth of free thought in matters pertaining to religion. So far had
+the inventions of the artisans contributed to the comfort of the
+people, that Pope Pius II. said that &#8220;A Nuremberg citizen is better
+lodged than the King of Scots;&#8221; and so widely were they exported to
+foreign realms, that the proud proverb arose that</p>
+
+<div class="centerbox3 bbox3"><p>&#8220;Nuremberg&#8217;s hand<br />
+Goes through every land.&#8221;</p></div>
+
+<p>Nuremberg still stands, a vast medi&aelig;val relic, in the midst of the
+whirl and activity of modern Germany, rich and thriving, but almost
+unchanged in its antique beauty. The narrow streets in which D&uuml;rer
+walked are flanked, as then, by quaint gable-roofed houses,
+timber-fronted, with mullioned windows and arching portals. In the
+faded and venerable palaces of the fifteenth century <span class='pagenum'><a name="Page_9" id="Page_9">[Pg 9]</a></span>live the
+descendants of the old patrician families, cherishing the memories and
+archives of the past; and the stately Gothic churches are still rich
+in religious architecture, and in angular old Byzantine pictures and
+delicate German carvings. On the hill the castle rears its ponderous
+ramparts, which have stood for immemorial ages; and the high towers
+along the city walls have not yet bowed their brave crests to the
+spirit of the century of boulevards and railroads.</p>
+
+<p>With two essentials of civilization, paper and printing-presses,
+Nuremberg supplied herself at an early day. The first paper-mill in
+Germany was established here in 1390; and its workmen were obliged to
+take an oath never to make paper for themselves, nor to reveal the
+process of manufacture. They went out on a strike when the mill was
+enlarged, but the authorities imprisoned them until they became docile
+once more. Koberger&#8217;s printing-house contained twenty-four presses,
+and employed over a hundred men, printing not only Bibles and
+breviaries, but also chronicles, homilies, poems, and scientific
+works. As the Aldine Press attracted many authors and scholars to
+Venice, so Koberger&#8217;s teeming press <span class='pagenum'><a name="Page_10" id="Page_10">[Pg 10]</a></span>led several German literati to
+settle at Nuremberg. For the four first years of D&uuml;rer&#8217;s life, the
+wonderful mathematician and astronomer Regiomontanus dwelt here, and
+had no less than twenty-one books printed by Koberger. His numerous
+inventions and instruments awakened the deepest interest in the
+Nuremberg craftsmen, and stimulated a fruitful spirit of inquiry for
+many years.</p>
+
+<p>The clockmakers of Nuremberg were famous for their ingenious
+productions. Watches were invented here in the year 1500, and were
+long known as &#8220;Nuremberg eggs.&#8221; The modern composition of brass was
+formed by Erasmus Ebner; wire-drawing machinery also was a Nuremberg
+device; the air-gun was invented by Hobsinger; the clarionet, by
+Denner; and the church-organs made here were the best in Germany.
+There were also many expert metal-workers and braziers; and fifty
+master-goldsmiths dwelt in the town, making elegant and highly
+artistic works, images, seals, and medals, which were famous
+throughout Europe. The most exquisite flowers and insects, and other
+delicate objects, were reproduced in filagree silver; and <span class='pagenum'><a name="Page_11" id="Page_11">[Pg 11]</a></span>the first
+maiolica works in Northern Europe were also founded here.</p>
+
+<p>Isolated, like the ducal cities of Italy, from the desolating wars of
+the great powers of Europe, and like them also growing rapidly in
+wealth and cultivation, Nuremberg afforded a secure refuge for Art and
+its children. In D&uuml;rer&#8217;s day the great churches of St. Sebald, St.
+Lawrence, and Our Lady were finished; Peter Vischer executed the
+exquisite and unrivalled bronze Shrine of St. Sebald; and Adam Kraft
+completed the fairy-like Sacrament-house, sixty feet high, and
+&#8220;delicate as a tree covered with hoar-frost.&#8221; Intimate with these two
+renowned artificers was Lindenast, &#8220;the red smith,&#8221; who worked
+skilfully in beaten copper; and their studies were conducted in
+company with Vischer&#8217;s five sons, who, with their wives and children,
+all dwelt happily at their father&#8217;s house. Vischer lived till a year
+after D&uuml;rer&#8217;s death, but there is no intimation that the two artists
+ever met. Another eminent craftsman was the unruly Veit Stoss, the
+marvellous wood-carver, many of whose works remain to this day; and
+there was also Hans Beheim, the sculptor, &#8220;an honorable, pious, and
+God-fearing <span class='pagenum'><a name="Page_12" id="Page_12">[Pg 12]</a></span>man;&#8221; and Bullman, who &#8220;was very learned in astronomy,
+and was the first to set the Theoria Planetarum in motion by
+clockwork;&#8221; and he who made the great alarm-bell, which was inscribed,
+&#8220;I am called the mass and the fire bell: Hans Glockengeiser cast me: I
+sound to God&#8217;s service and honor.&#8221; What shall we say also of Hartmann,
+D&uuml;rer&#8217;s pupil, who invented the measuring-rod; Schoner, the maker of
+terrestrial globes; Donner, who improved screw machinery; and all the
+skilful gun-makers, joiners, carpet-workers, and silk-embroiderers?
+There was also the burgher Martin Behaim, the inventor of the
+terrestrial globe, who anticipated Columbus by sailing Eastward across
+the Pacific Ocean, passing through the Straits of Magellan and
+discovering Brazil, as early as 1485.</p>
+
+<p>In Germany, as in Italy, the studio of the artist, full of pure and
+lofty ideals, had hardly yet evolved itself from the workshop of the
+picture-manufacturer. Nuremberg&#8217;s chief artists at this time were
+Michael Wohlgemuth, D&uuml;rer&#8217;s master; Lucas Kornelisz, also called
+Ludwig Krug, who, though a most skilful engraver, was sometimes forced
+to adopt the profession of a cook in order <span class='pagenum'><a name="Page_13" id="Page_13">[Pg 13]</a></span>to support himself; and
+Matthias Zagel, who was expert in both painting and engraving. Still
+another was the Venetian Jacopo de&#8217; Barbari, or Jacob Walch, &#8220;the
+master of the Caduceus,&#8221; a dexterous engraver and designer, whom D&uuml;rer
+alludes to in his Venetian and Netherland writings. The art of
+engraving had been invented early in the fifteenth century, and was
+developing rapidly and richly toward perfection. The day of versatile
+artists had arrived, when men combined the fine and industrial arts in
+one life, and devoted themselves to making masterpieces in each
+department. The northern nations, unaided by classic models and
+traditions, were developing a new and indigenous &aelig;sthetic life, slow
+of growth, but bound to succeed in the long run.</p>
+
+<p>The literary society of D&uuml;rer&#8217;s epoch at Nuremberg was grouped in the
+<i>Sodalitas Literaria Rhenana</i>, under the learned Conrad Celtes, who
+published a book of Latin comedies, pure in Latinity and lax in
+morals, which he mischievously attributed to the Abbess Roswitha.
+Pirkheimer and the monk Chelidonius also belonged to this sodality.
+Other contemporary literati of the city were Cochl&auml;us, Luther&#8217;s
+satirical opponent; <span class='pagenum'><a name="Page_14" id="Page_14">[Pg 14]</a></span>the Hebraist Osiander; Venatorius, who united the
+discordant professions of poetry and mathematics; the Provost
+Pfinzing, for whose poem of <i>Tewrdannkh</i>, D&uuml;rer&#8217;s pupil Sch&auml;uffelein
+made 118 illustrations; Baumg&auml;rtner, Melanchthon&#8217;s friend; Veit
+Dietrich, the reformer; and Joachim Camerarius, the Latinist. But the
+most illustrious of Nuremberg&#8217;s authors at that time was the
+cobbler-poet, Hans Sachs, a radical in politics and religion, who
+scourged the priests and the capitalists of his day in songs and
+satires which were sung and recited by the workmen of all Germany. He
+himself tells us that he wrote 4,200 master-songs, 208 comedies and
+tragedies, 73 devotional and love songs, and 1,007 fables, tales, and
+miscellaneous poems; and others say that his songs helped the
+Reformation as much as Luther&#8217;s preaching.</p>
+
+<p>Thus the activities of mechanics, art, and literature pressed forward
+with equal fervor in the quaint old Franconian city, while Albert
+D&uuml;rer&#8217;s life was passing on. &#8220;Abroad and far off still mightier things
+were doing; Copernicus was writing in his observatory, Vasco di Gama
+was on the Southern Seas.&#8221;</p>
+
+<p><span class='pagenum'><a name="Page_15" id="Page_15">[Pg 15]</a></span></p><p>&#8220;I, Albrecht D&uuml;rer the younger, have sought out from among my father&#8217;s
+papers these particulars of him, where he came from, and how he lived
+and died holily. God rest his soul! Amen.&#8221; In this manner the pious
+artist begins an interesting family history, in which it is stated
+that the D&uuml;rers were originally from the romantic little Hungarian
+hamlet of Eytas, where they were engaged in herding cattle and horses.
+Anthony D&uuml;rer removed to the neighboring town of Jula, where he
+learned the goldsmith&#8217;s art, which he taught to his son Albrecht, or
+Albert, while his other sons were devoted to mechanical employments
+and the priesthood. Albert was not content to stay in sequestered
+Jula, and, wandering over Germany and the Low Countries, at last came
+to Nuremberg, where he settled in 1455, in the service of the
+goldsmith Hieronymus Haller. This worthy Haller and his wife Kunigund,
+the daughter of Oellinger of Weissenberg, at that time had an infant
+daughter; and as she grew up Albert endeared himself to her to such
+purpose that, in 1467, when Barbara had become &#8220;a fair and handy
+maiden of fifteen,&#8221; he married her, being forty years old himself.
+<span class='pagenum'><a name="Page_16" id="Page_16">[Pg 16]</a></span>During the next twenty-four years she bore him eighteen children,
+seven daughters and eleven sons, of whose births, names, and
+godparents the father made careful descriptions. Three only, Albert,
+Andreas, and Hans, arrived at years of maturity. It may well be
+believed that the poor master-goldsmith was forced to work hard and
+struggle incessantly to support such a great family; and his portrait
+shows that the hand-to-mouth existence of so many years had told
+heavily and left its imprint on his weary and careworn face. Yet he
+had certain sources of peace and gentleness in his life, and never
+sank into moroseness or selfishness. Let us quote the tender and
+reverent words of his son: &#8220;My father&#8217;s life was passed in great
+struggles and in continuous hard work. With my dear mother bearing so
+many children, he never could become rich, as he had nothing but what
+his hands brought him. He had thus many troubles, trials, and adverse
+circumstances. But yet from every one who knew him he received praise,
+because he led an honorable Christian life, and was patient, giving
+all men consideration, and thanking God. He indulged himself in few
+pleasures, spoke <span class='pagenum'><a name="Page_17" id="Page_17">[Pg 17]</a></span>little, shunned society, and was in truth a
+God-fearing man. My dear father took great pains with his children,
+bringing them up to the honor of God. He made us know what was
+agreeable to others as well as to our Maker, so that we might become
+good neighbors; and every day he talked to us of these things, the
+love of God and the conduct of life.&#8221;</p>
+
+<p>Albert D&uuml;rer was the third child of Albert the Elder and Barbara
+Hallerin, and was born on the morning of the 21st of May, 1471. The
+house in which the D&uuml;rers then lived was a part of the great pile of
+buildings owned and in part occupied by the wealthy Pirkheimer family,
+and was called the <i>Pirkheimer Hinterhaus</i>. It fronted on the Winkler
+Strasse of Nuremberg, and was an ambitious home for a craftsman like
+Albert. The presence of Antonius Koberger, the famous book-printer, as
+godfather to the new-born child, shows also that the D&uuml;rers occupied
+an honorable position in the city.</p>
+
+<p>The Pirkheimers were then prominent among the patrician families of
+Southern Germany, renowned for antiquity, enormously wealthy through
+successful commerce, and honored by important <span class='pagenum'><a name="Page_18" id="Page_18">[Pg 18]</a></span>offices in the State.
+The infant Willibald Pirkheimer was of about the same age as the young
+Albert D&uuml;rer; and the two became close companions in all their
+childish sports, despite the difference in the rank of their families.
+When the goldsmith&#8217;s family moved to another house, at the foot of the
+castle-hill, five years later, the warm intimacy between the children
+continued unchanged.</p>
+
+<p>The instruction of Albert in the rudiments of learning was begun at an
+early age, probably in the parochial school of St. Sebald, and was
+conducted after the singular manner of the schools of that day, when
+printed books were too costly to be intrusted to children. He lived
+comfortably in his father&#8217;s house, and daily received the wise
+admonitions and moral teachings of the elder Albert. His friendship
+for Willibald enabled him to learn certain elements of the higher
+studies into which the young patrician was led by his tutors; and his
+visits to the Pirkheimer mansion opened views of higher culture and
+more refined modes of life.</p>
+
+<p>Albert was enamoured with art from his earliest years, and spent many
+of his leisure hours <span class='pagenum'><a name="Page_19" id="Page_19">[Pg 19]</a></span>in making sketches and rude drawings, which he
+gave to his schoolmates and friends. The Imhoff Collection had a
+drawing of three heads, done in his eleventh year; the Posonyi
+Collection claimed to possess a Madonna of his fifteenth year; and the
+British Museum has a chalk-drawing of a woman holding a bird in her
+hand, whose first owner wrote on it, &#8220;This was drawn for me by Albert
+D&uuml;rer before he became a painter.&#8221; The most interesting of these early
+works is in the Albertina at Vienna, and bears the inscription: &#8220;This
+I have drawn from myself from the looking-glass, in the year 1484,
+when I was still a child.&mdash;<span class="smcap">Albert D&uuml;rer.</span>&#8221; It shows a handsome and
+pensive boy-face, oval in shape, with large and tender eyes, filled
+with solemnity and vague melancholy; long hair cut straight across the
+forehead, and falling over the shoulders; and full and pouting lips.
+It is faulty in design, but shows a considerable knowledge of drawing,
+and a strong faculty for portraiture. The certain sadness of
+expression tells that the schoolboy had already become acquainted with
+grief, probably from the straitened circumstances of his family, and
+the melancholy deaths of so <span class='pagenum'><a name="Page_20" id="Page_20">[Pg 20]</a></span>many brothers and sisters. The great
+mystery of sorrow was full early thrown across the path of the solemn
+artist. This portrait was always retained by D&uuml;rer as a memorial of
+his childhood.</p>
+
+<p>He says of his father, &#8220;For me, I think, he had a particular
+affection; and, as he saw me diligent in learning, he sent me to
+school. When I had learned to write and read, he took me home again,
+with the intention of teaching me the goldsmith&#8217;s work. In this I
+began to do tolerably well.&#8221; He was taken into the goldsmith&#8217;s
+workshop in his thirteenth year, and remained there two years,
+receiving instruction which was not without value in his future life,
+in showing him the elements of the arts of modelling and design. The
+accuracy and delicacy of his later plastic works show how well he
+apprehended these ideas, and how far he acquired sureness of
+expression. The elder Albert was a skilful master-workman, highly
+esteemed in his profession, and had received several important
+commissions. It is said that the young apprentice executed under his
+care a beautiful piece of silver-work representing the Seven Agonies
+of Christ.</p>
+
+<p><span class='pagenum'><a name="Page_21" id="Page_21">[Pg 21]</a></span></p><p>&#8220;But my love was towards painting, much more than towards the
+goldsmith&#8217;s craft. When at last I told my father of my inclination, he
+was not well pleased, thinking of the time I had been under him as
+lost if I turned painter. But he left me to have my will; and in the
+year 1486, on St. Andrew&#8217;s Day, he settled me apprentice with Michael
+Wohlgemuth, to serve him for three years. In that time God gave me
+diligence to learn well, in spite of the pains I had to suffer from
+the other young men.&#8221; Thus D&uuml;rer describes his change in life, and the
+embarkation on his true vocation, as well as the reluctance of the
+elder Albert to allow his noble and beloved boy to pass out from his
+desolated household into other scenes, and away from his
+companionship.</p>
+
+<p>Wohlgemuth was one of the early religious painters who stood at the
+transition-point between the school of Cologne and that of the Van
+Eycks, or between the old pietistic traditions of Byzantine art and
+the new ideas of the art of the Northern Reformation. The
+conventionalisms of the Rhenish and Franconian paintings were being
+exchanged for a fresher originality and a truer realism; and the
+pictures of this <span class='pagenum'><a name="Page_22" id="Page_22">[Pg 22]</a></span>time curiously blended the old and the new.
+Wohlgemuth seems to have considered art as a money-getting trade
+rather than a high vocation, and his workroom was more a shop than a
+studio. He turned out countless Madonnas and other religious subjects
+for churches and chance purchasers, and also painted chests and carved
+and colored images of the saints, many of which were executed by his
+apprentices. A few of his works, however, were done with great care
+and delicacy, and show a worthy degree of sweetness and simplicity.
+Evidently the young pupil gained little besides a technical knowledge
+of painting from this master,&mdash;the mechanical processes, the modes of
+mixing and applying colors, the chemistry of pigments, and a certain
+facility in using them. It was well that the influences about him were
+not powerful enough to warp his pure and original genius into servile
+imitations of decadent methods. His hands were taught dexterity; and
+his mind was left to pursue its own lofty course, and use them as its
+skilful allies in the new conquests of art.</p>
+
+<p>Wood-engraving was also carried on in Wohlgemuth&#8217;s studio, and it is
+probable that D&uuml;rer here <span class='pagenum'><a name="Page_23" id="Page_23">[Pg 23]</a></span>learned the rudiments of this branch of art,
+which he afterwards carried to so high a perfection. Some writers
+maintain that his earliest works in this line were done for the famous
+&#8220;Nuremberg Chronicle,&#8221; which was published in 1493 by Wohlgemuth and
+Pleydenwurf.</p>
+
+<p>The three years which were spent in Wohlgemuth&#8217;s studio were probably
+devoted to apprentice-work on compositions designed by the master, who
+was then about fifty years old, and at the summit of his fame. But few
+of D&uuml;rer&#8217;s drawings now existing date from this epoch, one of which
+represents a group of horsemen, and another the three Swiss leaders,
+F&uuml;rst, Melchthal, and Staufacher. The beautiful portrait of D&uuml;rer&#8217;s
+father, which is now at Florence, was executed by the young artist in
+1490, probably to carry with him as a souvenir of home. M&uuml;ndler says,
+&#8220;For beauty and delicacy of modelling, this portrait has scarcely been
+surpassed afterwards by the master, perhaps not equalled.&#8221;</p>
+
+<p>It was claimed by certain old biographers that the eminent Martin
+Schongauer of Colmar was D&uuml;rer&#8217;s first master; but this is now
+contested, although it is evident that his pictures had a <span class='pagenum'><a name="Page_24" id="Page_24">[Pg 24]</a></span>powerful
+effect on the youth. Schongauer was the greatest artist and engraver
+that Germany had as yet produced, and exerted a profound influence on
+the art of the Rhineland. He renewed the fantastic conceits and
+grotesque vagaries which the Papal artists of Cologne had suppressed
+as heathenish, and prepared the way for, or perhaps even suggested,
+the weird elements of D&uuml;rer&#8217;s conceptions. At the same time he passed
+back of his Netherland art-education, and studied a mystic benignity
+and dreamy spirituality suggestive of the Umbrian painters, with whose
+chief, the great Perugino, Martin was acquainted. Herein D&uuml;rer&#8217;s works
+were in strong contrast with Schongauer&#8217;s, and showed the new spirit
+that was stirring in the world.</p>
+
+<p>Next to Schongauer, the great Italian artist Mantegna exercised the
+strongest influence upon D&uuml;rer, who studied his bold and austere
+engravings with earnest admiration, showing his traits in many
+subsequent works. Probably he met the famous Mantuan painter during
+the <i>Wander-jahre</i>, in Italy; and at the close of his Venetian journey
+he was about to pay a visit of homage to him, when he heard of his
+death.</p>
+
+<p><span class='pagenum'><a name="Page_25" id="Page_25">[Pg 25]</a></span></p><p>During his three years of study we have seen that the delicate and
+sensitive youth suffered much from the reckless rudeness and jeering
+insults of his companions, rough hand-workers who doubtless failed to
+understand the poignancy of the torments which they inflicted on the
+sad-eyed son of genius. But his home was near at hand, and the tender
+care of his parents, always beloved. How often he must have wandered
+through the familiar streets of Nuremberg, with his dreamy artist-face
+and flowing hair, and studied the Gothic palaces, the fountains
+adorned with statuary, and the rich treasures of art in the great
+churches! Beyond the tall-towered town, danger lurked on every road;
+but inside the gray walls was peace and safety, and no free lances nor
+marauding men-at-arms could check the aspiring flight of the youth&#8217;s
+bright imagination.</p>
+
+<p>&#8220;And when the three years were out, my father sent me away. I remained
+abroad four years, when he recalled me; and, as I had left just after
+Easter in 1490, I returned home in 1494 just after Whitsuntide.&#8221; Thus
+Albert describes the close of his <i>Lehr-jahre</i>, or labor-years, and
+the entrance upon his <i>Wander-jahre</i>, or travel-years. <span class='pagenum'><a name="Page_26" id="Page_26">[Pg 26]</a></span>According to a
+German custom, still prevalent in a modified degree, the youth was
+obliged to travel for a long period, and study and practise his trade
+or profession in other cities, before settling for life as a
+master-workman. Unfortunately all that D&uuml;rer records as to these
+eventful four years is given in the sentences above; and we can only
+theorize as to the places which he visited, and his studies of the
+older art-treasures of Europe. Some authors believe that a part of the
+<i>Wander-jahre</i> was spent in Italy, and Dr. Thausing, D&uuml;rer&#8217;s latest
+and best biographer, clearly proves this theory by a close study of
+his notes and sketches. Others claim with equal positiveness, and less
+capability of proof, that they were devoted to the Low Countries. It
+is certain that he abode at Colmar in 1492, where he was honorably
+received by Gaspar, Paul, and Louis, the three brothers of Martin
+Schongauer. The great Martin had died some years before; but many of
+his best paintings were preserved at Colmar, and were carefully
+studied by D&uuml;rer. At a later day he wandered through the Rhineland to
+Basle, and spent his last year at Strasbourg. His portraits of his
+master and mistress <span class='pagenum'><a name="Page_27" id="Page_27">[Pg 27]</a></span>in the latter city were dated in 1494, and
+pertained to the Imhoff Collection.</p>
+
+<p>His portrait painted by himself in 1493 was procured at Rome by the
+Hofrath Beireis, and described by Goethe. It shows a bright and
+vigorous face, full of youthful earnestness and joy, rich, harmonious,
+and finely executed, though thinly colored. He is attired in a
+blue-gray cloak with yellow strings, an embroidered shirt whose
+sleeves are bound with peach-colored ribbons, and a purple cap; and
+holds a piece of the blue flower called <i>Manns-treue</i>, or Man&#8217;s-faith.</p>
+
+<hr class="large" /><p><span class='pagenum'><a name="Page_28" id="Page_28">[Pg 28]</a></span></p>
+<h2><a name="CHAPTER_II" id="CHAPTER_II"></a>CHAPTER II.</h2>
+
+<div class="blockquot"><p style="margin-left: 1.5em; text-indent: -1.5em;">D&uuml;rer marries Agnes Frey.&mdash;Her Character.&mdash;Early
+Engravings.&mdash;Portraits.&mdash;&#8220;The Apocalypse.&#8221;&mdash;Death of D&uuml;rer&#8217;s
+Father.&mdash;Drawings.</p></div>
+
+<p>&#8220;And when my <i>Wander-jahre</i> was over, Hans Frey treated with my
+father, and gave me his daughter, by name the <i>Jungfrau</i> Agnes, with a
+dowry of 200 guldens. Our wedding was held on the Monday before St.
+Margaret&#8217;s Day (in July), in the year 1494.&#8221; This dry statement of the
+most important event of the artist&#8217;s life illustrates the ancient
+German custom of betrothal, where the bond of wedlock was considered
+as a matter-of-fact copartnership, with inalienable rights and duties,
+devoid of sentiment or romance. Since the relatives of the contracting
+parties were closely affected by such transactions, they usually
+managed the negotiations themselves; and the young people, thus thrown
+by their parents at each other&#8217;s heads, were expected to, and usually
+did, accept the situation with submissiveness and <span class='pagenum'><a name="Page_29" id="Page_29">[Pg 29]</a></span>prudent obedience.
+In this case it appears that the first overtures came from the family
+of the lady; and perhaps the order for Albert to return from his
+wanderings was issued for this reason. Hans Frey was a burgher with
+large possessions in Nuremberg and the adjacent country; and his
+daughter was a very beautiful maiden. Her future husband does not
+appear to have seen her until the betrothal was made.</p>
+
+<p>Most of D&uuml;rer&#8217;s biographers have dwelt at great length on the malign
+influence which Agnes exercised upon his life, representing her as a
+jealous virago, imbittering the existence of the noble artist. But Dr.
+Thausing, in his new and exhaustive history of D&uuml;rer&#8217;s life,
+vindicates the lady from this evil charge; and his position is
+carefully reviewed and sustained by Eug&eacute;ne M&uuml;ntz. He points out the
+fact that the long story of Agnes&#8217;s uncongeniality rests solely on
+Pirkheimer&#8217;s letter, and then shows that that ponderous burgher had
+reasons for personal hostility to her. The unbroken silence which
+D&uuml;rer preserves as to home-troubles, throughout his numerous letters
+and journals, is held as proof against the charges; and none of his
+intimate <span class='pagenum'><a name="Page_30" id="Page_30">[Pg 30]</a></span>friends and contemporaries (save Pirkheimer) allude to his
+domestic trials, though they wrote so much about him. The accusation
+of avarice on her part is combated by several facts, among which is
+the cardinal one of her self-sacrificing generosity to the D&uuml;rer
+family after her husband&#8217;s death, and the remarkable record of her
+transferring to the endowment of the Protestant University of
+Wittenberg the thousand florins which Albert had placed in the hands
+of the Rath for her support. Pirkheimer&#8217;s acrimonious letter (see p.
+<a href="#Link1">142</a>) gives her credit at least for virtue and piety; and perhaps we may
+regard her aversion to the doughty writer as a point in her favor.</p>
+
+<p>It is a singular and unexplained fact, that although D&uuml;rer was
+accustomed to sketch every one about him, yet no portrait of his wife
+is certainly known to exist, though several of his sketches are so
+called, without any foundation or proof. What adds to the strangeness
+of this omission is the fact that all accounts represent Agnes D&uuml;rer
+as a very handsome woman.</p>
+
+<p>Probably the newly married couple dwelt at the house of the elder
+D&uuml;rer during the first years of their union. In 1494 Albert was
+admitted to <span class='pagenum'><a name="Page_31" id="Page_31">[Pg 31]</a></span>the guild of painters, submitting a pen-drawing of
+Orpheus and the Bacchantes as his test of ability; and at about the
+same time he drew the &#8220;Bacchanal&#8221; and &#8220;The Battle of the Tritons,&#8221;
+which are now at Vienna. Herein he showed the contemporary classical
+tendency of art, which he so soon outgrew. About this same time he
+designed a frontispiece for the Latin poem which Dr. Ulsen had written
+about the pestilence which was devastating Nuremberg, showing a
+ghastly and repulsive man covered with plague-boils. The portrait of
+D&uuml;rer&#8217;s father, in oil-colors, which is now at Frankfort, was also
+executed during this year.</p>
+
+<p>D&uuml;rer&#8217;s first copper-plate engraving dates from 1497, and represents
+four naked women, under a globe bearing the initials of &#8220;<i>O Gott
+Hilf</i>,&#8221; or &#8220;O God, help,&#8221; while human bones strew the floor, and a
+flaming devil appears in the background. During the next three years
+the master made twenty copper-plate engravings. The composition of
+&#8220;St. Jerome&#8217;s Penance&#8221; shows the noble old ascetic kneeling alone in a
+rocky wilderness, beating his naked breast with a stone, and gazing at
+a crucifix, while the symbolical lion lies beside him. &#8220;The Penance of
+St. John Chrysostom&#8221; <span class='pagenum'><a name="Page_32" id="Page_32">[Pg 32]</a></span>depicts the long-bearded saint expiating his
+guilt in seducing and slaying the princess by crawling about on
+all-fours like a beast. She is seen at the mouth of a rocky cave,
+nursing her child. &#8220;The Prodigal Son&#8221; is another tender and
+exquisitely finished copper-plate engraving, in which the yearning and
+prayerful Prodigal, bearing the face of D&uuml;rer, is kneeling on bare
+knees by the trough at which a drove of swine are feeding. In the
+background is a group of substantial German farm-buildings, with
+unconcerned domestic animals and fowls. &#8220;The Rape of Amymone&#8221; shows a
+gloomy Triton carrying off a very ugly woman from the midst of her
+bathing Danaide sisters. &#8220;The Dream&#8221; portrays an obese German soundly
+sleeping by a great stove, with a foolish-faced naked Venus and a
+winged Cupid standing by his side, and a little demon blowing in his
+ear. &#8220;The Love Offer&#8221; is made by an ugly old man to a pretty maiden,
+whose waist is encircled by his arm, while her hand is greedily
+outstretched to receive the money which he offers. Another early
+engraving on copper shows a wild and naked man holding an unspeakably
+ugly woman, who is endeavoring to tear herself from his arms. Still
+<span class='pagenum'><a name="Page_33" id="Page_33">[Pg 33]</a></span>others delineate Justice sitting on a lion, &#8220;The Little Fortune&#8221;
+standing naked on a globe, and the monstrous hog of Franconia.</p>
+
+<p>It was chiefly through his engravings that D&uuml;rer became and remains
+known to the world; and by the same mode of expression he boldly
+showed forth the doubts and despairs, yearnings and conflicts, not
+only of his own pure and sorrowful soul, but also of Europe, quivering
+in the throes of the Reformation.</p>
+
+<p>The artists of Italy, when the age of faith was ended, turned to the
+empty splendors and symmetries of paganism; but their German brothers
+faced the new problems more sternly, and strove for the life of the
+future. Under D&uuml;rer&#8217;s hard and homely German scenes, there seem to be
+double meanings and unfathomable fancies, usually alluding to sorrow,
+sin, and death, and showing forth the vanity of all things earthly. In
+sharp contrast with these profound allegories are the humorous
+grotesqueness and luxuriant fancifulness which appear in others of the
+artist&#8217;s engravings, fantastic, uncouth, and quaint. He frequently
+yielded to the temptation to introduce strange animals and unearthly
+monsters into his <span class='pagenum'><a name="Page_34" id="Page_34">[Pg 34]</a></span>pictures, even those of the most sacred subjects;
+and his so-called &#8220;Virgin with the Animals&#8221; is surrounded by scores of
+birds, insects, and quadrupeds of various kinds.</p>
+
+<p>It is interesting to hear of the rarity of the early impressions of
+D&uuml;rer&#8217;s engravings, and the avidity with which they are sought and the
+keenness with which they are analyzed by collectors. In many cases the
+copies of these engravings are as good as the originals, and can be
+distinguished only by the most trifling peculiarities. The water-marks
+of the paper on which they are printed form a certain indication of
+their period. Before his Venetian journey D&uuml;rer used paper bearing the
+water-mark of the bull&#8217;s head; and, after his return from the
+Netherlands, paper bearing a little pitcher; while the middle period
+had several peculiar symbols. A fine impression of the copper-plate
+engraving of &#8220;St. Jerome&#8221; recently brought over $500; and the Passion
+in Copper sold in 1864 for $300.</p>
+
+<p>&#8220;The Portfolio&#8221; for 1877 contains a long series of articles by Prof.
+Sidney Colvin on &#8220;Albert D&uuml;rer: His Teachers, his Rivals, and his
+Scholars,&#8221; treating exhaustively of his relations as <span class='pagenum'><a name="Page_35" id="Page_35">[Pg 35]</a></span>an engraver to
+other contemporary masters,&mdash;Schongauer, Israhel van Meckenen,
+Mantegna, Boldini and the Florentines, Jacopo de&#8217; Barbari (Jacob
+Walch), Marc Antonio, Lucas van Leyden, and certain other excellent
+but nameless artists.</p>
+
+<p>Vasari says, &#8220;The power and boldness of Albert increasing with time,
+and as he perceived his works to obtain increasing estimation, he now
+executed engravings on copper, which amazed all who beheld them.&#8221;
+Three centuries later Von Schlegel wrote, &#8220;When I turn to look at the
+numberless sketches and copper-plate designs of the present day, D&uuml;rer
+appears to me like the originator of a new and noble system of
+thought, burning with the zeal of a first pure inspiration, and eager
+to diffuse his deeply conceived and probably true and great ideas.&#8221;</p>
+
+<p>In 1497 D&uuml;rer painted the excellent portrait of his father, which the
+Rath of Nuremberg presented to Charles I. of England, and which is now
+at Sion House, the seat of the Earl of Northumberland. It shows a man
+aged yet strong, with grave and anxious eyes, compressed lips, and an
+earnest expression. Another similar portrait of the same date is in
+the Munich Pinakothek. He also executed <span class='pagenum'><a name="Page_36" id="Page_36">[Pg 36]</a></span>two portraits of the pretty
+patrician damsel, Catherine F&uuml;rleger; one as a loose-haired Magdalen
+(which is now in London), and the other as a German lady (now at
+Frankfort).</p>
+
+<p>In 1498 D&uuml;rer painted a handsome portrait of himself, with curly hair
+and beard, and a rich holiday costume. His expression is that of a man
+who appreciates and delights in his own value, and is thoroughly
+self-complacent. This picture was presented by Nuremberg to King
+Charles I. of England; and, in the dispersion of his gallery during
+the Commonwealth, it was bought by the Grand Duke of Tuscany. It is
+now in the Uffizi Gallery, though M&uuml;ndler calls this Florentine
+picture a copy of a nobler original which is in the Madrid Gallery.</p>
+
+<p>During this year D&uuml;rer published his first great series of woodcuts,
+representing the Apocalypse of St. John, in fifteen pictures full of
+terrible impressiveness and the naturalistic quaintness of early
+German faith. The boldness of the youth who thus took for his theme
+the marvellous mysteries of Patmos was warranted in the grand
+weirdness and perennial fascination of the resulting compositions.
+This series of rich and <span class='pagenum'><a name="Page_37" id="Page_37">[Pg 37]</a></span>skilful engravings marked a new era in the
+history of wood-engraving, and the entrance of a noble artistic spirit
+into a realm which had previously been occupied by rude monkish cuts
+of saints and miracles. Jackson calls these representations of the
+Apocalypse &#8220;much superior to all wood-engravings that had previously
+appeared, both in design and execution.&#8221; The series was brought out
+simultaneously in German and Latin editions, and was published by the
+author himself. It met with a great success, and was soon duplicated
+in new pirated editions.</p>
+
+<p>It has of late years become a contested point as to whether D&uuml;rer
+really engraved his woodcuts with his own hands, or whether he only
+drew the designs on the wood, and left their mechanical execution to
+practical workmen. It is only within the present century that a theory
+to the latter effect has been advanced and supported by powerful
+arguments and first-class authorities. The German scholars Bartsch and
+Von Eye, and the historians of engraving Jackson and Chatto, concur in
+denying D&uuml;rer&#8217;s use of the graver. But there is a strong and
+well-supported belief that many of the engravings attributed to him
+<span class='pagenum'><a name="Page_38" id="Page_38">[Pg 38]</a></span>were actually done by his hand, and that during the earlier part of
+his career he was largely engaged in this way. The exquisite
+wood-carvings which are undoubtedly his work show that he was not
+devoid of the manual dexterity needful for these plates; and it is
+also certain that the medi&aelig;val artists did not hold themselves above
+mechanical labors, since even Raphael and Titian were among the
+<i>peintres-graveurs</i>. D&uuml;rer&#8217;s efforts greatly elevated the art of
+wood-engraving in Germany, and this improvement was directly conducive
+to its growth in popularity. A large number of skilful engravers were
+developed by the new demand; and in his later years D&uuml;rer doubtless
+found enough expert assistants, and was enabled to devote his time to
+more noble achievements. He used the art to multiply and disseminate
+his rich ideas, which thus found a more ready expression than that of
+painting. Heller attributes one hundred and seventy-four
+wood-engravings to him; and many more, of varying claims to
+authenticity, are enumerated by other writers. Twenty-six were made
+before 1506. The finest and the only perfect collection of D&uuml;rer&#8217;s
+woodcuts is owned by Herr Cornill d&#8217;Orville of Frankfort-on-the-Main.</p>
+
+<p><span class='pagenum'><a name="Page_39" id="Page_39">[Pg 39]</a></span></p><p>In 1500 D&uuml;rer painted the noble portrait of himself which is now at
+Munich, and is the favorite of all lovers of the great artist. It
+shows a high and intellectual forehead, and tender and loving eyes,
+with long curling hair which falls far down on his shoulders. In many
+respects it bears the closest resemblance to the traditional pictures
+of Christ, with its sad and solemn beauty, and large sympathetic eyes,
+and has the same effeminate full lips and streaming ringlets.</p>
+
+<p>During the next five years D&uuml;rer was in some measure compensated for
+the trials of his home by the cheerful companionship of his old friend
+Pirkheimer, who had recently returned from service with the Emperor&#8217;s
+army in the Tyrolese wars. At his hospitable mansion the artist met
+many eminent scholars, reformers, and literati, and broadened his
+knowledge of the world, while receiving worthy homage for his genius
+and his personal accomplishments. Baumg&auml;rtner, Volkamer, Harsdorfer,
+and other patricians of the city, were his near friends; and the
+Augustine Prior, Eucharius Karl, and the brilliant Lazarus Spengler,
+the Secretary of Nuremberg, were also intimate with both D&uuml;rer and
+Pirkheimer. During <span class='pagenum'><a name="Page_40" id="Page_40">[Pg 40]</a></span>the next twenty years the harassed artist often
+sought refuge among these gatherings of choice spirits, when weary of
+his continuous labors of ambition.</p>
+
+<p>D&uuml;rer pathetically narrates the death of his venerable father, in
+words as vivid as one of his pictures, and full of quaint tenderness:
+&#8220;Soon he clearly saw death before him, and with great patience waited
+to go, recommending my mother to me, and a godly life to all of us. He
+received the sacraments, and died a true Christian, on the eve of St.
+Matthew (Sept. 21), at midnight, in 1502.... The old nurse helped him
+to rise, and put the close cap upon his head again, which had become
+wet by the heavy sweat. He wanted something to drink; and she gave him
+Rhine wine, of which he tasted some, and then wished to lie down
+again. He thanked her for her aid, but no sooner lay back upon his
+pillows than his last agony began. Then the old woman trimmed the
+lamp, and set herself to read aloud St. Bernard&#8217;s dying song; but she
+only reached the third verse, and behold his soul had gone. God be
+good to him! Amen. Then the little maid, when she saw that he was
+dying, ran quickly up to <span class='pagenum'><a name="Page_41" id="Page_41">[Pg 41]</a></span>my chamber, and waked me. I went down fast,
+but he was gone; and I grieved much that I had not been found worthy
+to be beside him at his end.&#8221;</p>
+
+<p>At this time Albert took home his brother Hans, who was then twelve
+years old, to learn the art of painting in his studio; and his other
+young brother, Andreas, the goldsmith&#8217;s apprentice, now set forth upon
+his <i>Wander-jahre</i>. Within two years his mother, the widowed Barbara,
+had exhausted her scanty means; and she also was taken into D&uuml;rer&#8217;s
+home, and lovingly cared for by her son.</p>
+
+<p>In 1503 D&uuml;rer&#8217;s frail constitution yielded to an attack of illness. A
+drawing of Christ crowned with thorns, now in the British Museum,
+bears his inscription: &#8220;I drew this face in my sickness, 1503.&#8221; In the
+same year he executed a copper-plate engraving of a skull emblazoned
+on an escutcheon, which is crowned by a winged helmet, and supported
+by a weird woman, over whose shoulder a satyr&#8217;s face is peering. A
+contemporary copper-plate shows the Virgin nursing the Infant Jesus.
+The painting of this same subject, bearing the date of 1503, is now in
+the <span class='pagenum'><a name="Page_42" id="Page_42">[Pg 42]</a></span>Vienna Belvedere, portraying an unlovely German mother and a very
+earthly baby.</p>
+
+<p>The celebrated &#8220;Green Passion&#8221; was executed in 1504, and is a series
+of twelve drawings on green paper, illustrating the sufferings of
+Christ. Some critics prefer this set, for delicacy and power, to
+either of the three engraved Passions. The theory is advanced that
+these exquisite drawings were made for the Emperor, or some other
+magnate, who wished to possess a unique copy. The Green Passion is now
+in the Vienna Albertina, the great collection of drawings made by the
+Archduke Albert of Sachsen-Teschen, which includes 160 of D&uuml;rer&#8217;s
+sketches, designs, travel-notes, studies of costume and architecture,
+&amp;c.</p>
+
+<p>Over 600 authentic sketches and drawings by D&uuml;rer are now preserved in
+Europe, and are of great interest as showing the freedom and firmness
+of the great master&#8217;s first conceptions, and the gradual evolution of
+his ultimate ideas. They are drawn on papers of various colors and
+different preparations, with pen, pencil, crayon, charcoal, silver
+point, tempera, or water-colors. Some are highly finished, and others
+are only <span class='pagenum'><a name="Page_43" id="Page_43">[Pg 43]</a></span>rapid jottings or bare outlines. The richest of the ancient
+collections was that of Hans Imhoff of Nuremberg, who married
+Pirkheimer&#8217;s daughter Felicitas, and in due time added his
+father-in-law&#8217;s D&uuml;rer-drawings to his own collection. His son
+Willibald further enriched the family art-treasures by many of the
+master&#8217;s drawings which he bought from Andreas D&uuml;rer, and by
+inheriting the pictures of Barbara Pirkheimer. He solemnly enjoined in
+his will that this great collection should never be alienated, but
+should descend through the Imhoff family as an honored possession. His
+widow, however, speedily offered to sell the entire series to the
+Emperor Rudolph, and it was soon broken up and dispersed. The Earl of
+Arundel secured a great number of D&uuml;rer&#8217;s drawings here, and carried
+them to England. In 1637 Arundel bought a large folio containing
+nearly 200 of these sketches, which was bequeathed to the British
+Museum in 1753 by Sir Hans Sloane. The museum has now one of the best
+existing collections of these works, some of which are of rare
+interest and value, especially the highly finished water-colors and
+pen-drawings.</p>
+
+<p><span class='pagenum'><a name="Page_44" id="Page_44">[Pg 44]</a></span></p><p>The interesting sketch-books used by D&uuml;rer on his journeys to Venice
+and to the Netherlands remained forgotten in the archives of a noble
+Nuremberg family until within less than a century, when the family
+became extinct, and its property was dispersed. They were then
+acquired by the venerable antiquary Baron von Derschau, who sold them
+to Nagler and Heller. Nagler&#8217;s share was afterwards acquired by the
+Berlin Museum; and Heller&#8217;s was bequeathed to the library of Bamberg.</p>
+
+<p>In 1504 Pirkheimer&#8217;s wife Crescentia died in childbirth, after only
+two years of married life. Her husband bore witness that she had never
+caused him any trouble, except by her death; and engaged D&uuml;rer to make
+a picture of her death-bed. This work was beautifully executed in
+water-colors, and depicts the expiring woman on a great bedstead,
+surrounded by many persons, among whom are Pirkheimer and his sister
+Charitas, the Abbess, with the Augustinian Prior.</p>
+
+<p>The exquisite copper-plate engraving of &#8220;The Nativity&#8221; dates from this
+year, and shows the Virgin adoring the new-born Jesus, in the shelter
+of a humble German house among massive <span class='pagenum'><a name="Page_45" id="Page_45">[Pg 45]</a></span>ancient ruins, while Joseph is
+drawing water from the well, and an old shepherd approaches the Child
+on his knees. The &#8220;Adam and Eve&#8221; was also done on copper this year,
+with the parents of all mankind, surrounded by animals, and standing
+near the tree of knowledge, from which the serpent is delivering the
+fatal apple to Eve.</p>
+
+<p>In the same year D&uuml;rer painted a carefully wrought &#8220;Adoration of the
+Kings,&#8221; for the Elector Frederick the Wise of Saxony. It was
+afterwards presented by Christian II. to the Emperor Rudolph, and is
+now in the Uffizi, at Florence, which contains more pictures by D&uuml;rer
+than any other gallery outside of Germany. Here also is the
+controverted picture of &#8220;Calvary,&#8221; dated 1505, displaying on one small
+canvas all the scenes of the Passion, with an astonishing number of
+figures finished in miniature.</p>
+
+<p>&#8220;The Satyr&#8217;s Family&#8221; is an engraving on copper, showing the
+goat-footed father cheerily playing on a pipe, to the evident
+amusement of his human wife and child. &#8220;The Great Horse&#8221; and &#8220;The
+Little Horse&#8221; are similar productions <span class='pagenum'><a name="Page_46" id="Page_46">[Pg 46]</a></span>of this period, in which the
+commentators vainly strive to find some recondite meaning. Sixteen
+engravings on copper were made between 1500 and 1506.</p>
+
+<p>D&uuml;rer has been called &#8220;The Chaucer of Painting,&#8221; by reason of the
+marvellous quaintness of his conceptions; and Ruskin speaks of him as
+&#8220;intense in trifles, gloomily minute.&#8221; His details, minute as they
+were, received the most careful study, and were all thought out before
+the pictures were begun, so that he neither erased nor altered his
+lines, nor made preliminary sketches. He was essentially a thinker who
+drew, rather than a drawer who thought.</p>
+
+<hr class="large" /><p><span class='pagenum'><a name="Page_47" id="Page_47">[Pg 47]</a></span></p>
+<h2><a name="CHAPTER_III" id="CHAPTER_III"></a>CHAPTER III.</h2>
+
+<div class="blockquot"><p style="margin-left: 1.5em; text-indent: -1.5em;">The Journey to Venice.&mdash;Bellini&#8217;s Friendship.&mdash;Letters to
+Pirkheimer.&mdash;&#8220;The Feast of Rose Garlands.&#8221;&mdash;Bologna.&mdash;&#8220;Adam and
+Eve.&#8221;&mdash;&#8220;The Coronation of the Virgin.&#8221;</p></div>
+
+<p>Late in 1505 D&uuml;rer made a journey to Venice, probably with a view to
+recover his health, enlarge his circle of friends and patrons, and
+study the famous Venetian paintings. He was worn down by continuous
+hard work, and weary of the dull uneventfulness of his life, and
+hailed an opportunity to rest in sunny Italy. He borrowed money from
+Pirkheimer for his journey, and left a small sum for family expenses
+during his absence. Between Nuremberg and her rich Southern rival
+there was a large commerce, with a weekly post; and many German
+merchants and artists were then residing in Venice. D&uuml;rer rode down on
+horseback; and suffered an attack of illness at Stein, near Laibach,
+where he rewarded the artist who had nursed him by painting a picture
+on the wall of his house. On arriving at <span class='pagenum'><a name="Page_48" id="Page_48">[Pg 48]</a></span>Venice, the master was
+cordially received, and highly honored by the chief artists and
+literati of the city. The heads of Venetian art at that time were
+Giovanni Bellini and Carpaccio, both of whom were advanced in years;
+and Giorgione and Titian, who were not mentioned by our traveller,
+though they were both at work for the Fondaco de&#8217; Tedeschi at the same
+time as himself.</p>
+
+<p>During his residence in Venice he wrote nine long letters to &#8220;the
+honorable and wise Herr Willibald Pirkheimer, Burgher of Nuremberg,&#8221;
+which were walled up in the Imhoff mansion during the Thirty Years&#8217;
+War, and discovered at a later age. Much of these letters is taken up
+with details about Pirkheimer&#8217;s commissions for precious stones and
+books, or with badinage about the burgher&#8217;s private life, with
+frequent allusions to the support of the D&uuml;rers at home. Of greater
+interest are the accounts of the writer&#8217;s successes in art, and the
+friends whom he met in Venetian society. The letters were embellished
+with rude caricatures and grotesques, matching the broad humor of the
+jovial allusions in the text. Either Pirkheimer was a man of <span class='pagenum'><a name="Page_49" id="Page_49">[Pg 49]</a></span>most
+riotous life, or D&uuml;rer was a bold and pertinacious jester, unwearying
+in mock-earnest reproofs. These letters were sealed with the D&uuml;rer
+crest, composed of a pair of open doors above three steps on a shield,
+which was a punning allusion to the name D&uuml;rer, or Th&uuml;rer, <i>Th&uuml;r</i>
+being the German word for <i>door</i>. In the second letter he says,&mdash;</p>
+
+<div class="blockquot"><p>&#8220;I wish you were in Venice. There are many fine fellows among
+the painters, who get more and more friendly with me; it
+holds one&#8217;s heart up. Well-brought-up folks, good
+lute-players, skilled pipers, and many noble and excellent
+people, are in the company, all wishing me very well, and
+being very friendly. On the other hand, here are the falsest,
+most lying, thievish villains in the whole world, appearing
+to the unwary the pleasantest possible fellows. I laugh to
+myself when they try it with me: the fact is, they know their
+rascality is public, though one says nothing. I have many
+good friends among the Italians, who warn me not to eat or
+drink with their painters; for many of them are my enemies,
+and copy my picture in the church, and others of mine
+wherever they meet with them; <span class='pagenum'><a name="Page_50" id="Page_50">[Pg 50]</a></span>and yet, notwithstanding this,
+they abuse my works, and say that they are not according to
+ancient art, and therefore not good. But Gian Bellini has
+praised me highly before several gentlemen, and he wishes to
+have something of my painting. He came himself, and asked me
+to do something for him, saying that he would pay me well for
+it; and all the people here tell me what a good man he is, so
+that I also am greatly inclined to him.&#8221;</p></div>
+
+<p>These sentences show the artist&#8217;s pleasure at the kindly way in which
+the Italians received him, and also reveal the danger in which he
+stood of being poisoned by jealous rivals. Another ambiguous sentence
+has given rise to the belief that D&uuml;rer had visited Venice eleven
+years previously, during his <i>Wander-jahre</i>.</p>
+
+<p>Camerarius says that Bellini was so amazed and delighted at the
+exquisite fineness of D&uuml;rer&#8217;s painting, especially of hair, that he
+begged him to give him the brush with which he had done such delicate
+work. The Nuremberger offered him any or all of his brushes, but
+Bellini asked again for the one with which he had painted the hair;
+upon which D&uuml;rer took one of his common <span class='pagenum'><a name="Page_51" id="Page_51">[Pg 51]</a></span>brushes, and painted a long
+tress of woman&#8217;s hair. Bellini reported that he would not have
+believed such marvellous work possible, if he had not seen it himself.</p>
+
+<p>The third letter describes the adventures of the inexpert artist in
+securing certain sapphires, amethysts, and emeralds for his &#8220;dear Herr
+Pirkheimer,&#8221; and complains that the money earned by painting was all
+swallowed up by living expenses. The jealous Venetian painters had
+also forced him, by process of law, to pay money to their art-schools.</p>
+
+<p>His brother Hans was now sixteen years old, and had become a source of
+responsibility, for D&uuml;rer adds: &#8220;With regard to my brother, tell my
+mother to speak to Wohlgemuth, and see whether he wants him, or will
+give him work till I return, or to others, so that he may help
+himself. I would willingly have brought him with me to Venice, which
+would have been useful to him and to me, and also on account of his
+learning the language; but my mother was afraid that the heavens would
+fall upon him and upon me too. I pray you, have an eye to him
+yourself: he is lost with the women-folk. Speak to the boy as <span class='pagenum'><a name="Page_52" id="Page_52">[Pg 52]</a></span>you
+well know how to do, and bid him behave well and learn diligently
+until I return, and not be a burden to the mother; for I cannot do
+every thing, although I will do my best.&#8221;</p>
+
+<p>In the fourth letter he speaks of having traded his pictures for
+jewels, and sends greetings to his friend Baumg&auml;rtner, saying also:
+&#8220;Know that by the grace of God I am well, and that I am working
+diligently.... I wish that it suited you to be here. I know you would
+find the time pass quickly, for there are many agreeable people here,
+very good amateurs; and I have sometimes such a press of strangers to
+visit me, that I am obliged to hide myself; and all the gentlemen wish
+me well, but very few of the painters.&#8221;</p>
+
+<p>The fifth letter opens with a long complimentary flourish in a
+barbarous mixture of Italian and Spanish, and then chaffs Pirkheimer
+unmercifully for his increasing intrigues. It also thanks Pirkheimer
+for trying to placate Agnes Frey, who is evidently much disappointed
+because her husband lingers so long at Venice. The Prior Eucharius is
+besought to pray that D&uuml;rer might be delivered from the new and
+terrible &#8220;French disease,&#8221; then fatally prevalent in Italy. Mention is
+made <span class='pagenum'><a name="Page_53" id="Page_53">[Pg 53]</a></span>of Andreas, the goldsmith, D&uuml;rer&#8217;s brother, meeting him at
+Venice, and borrowing money to relieve his distress.</p>
+
+<p>The next letter starts off with quaint mock-deference, and alludes to
+the splendid Venetian soldiery, and their contempt of the Emperor.
+Farther on are unintelligible allusions, and passages too vulgar for
+translation. He says that the Doge and Patriarch had visited his
+studio to inspect the new picture, and that he had effectually
+silenced the artists who claimed that he was only good at engraving,
+and could not use colors. Soon afterwards he writes about the
+completion of his great painting of the Rose Garlands; and says,
+&#8220;There is no better picture of the Virgin Mary in the land, because
+all the artists praise it, as well as the nobility. They say they have
+never seen a more sublime, a more charming painting.&#8221; He adds that he
+had declined orders to the amount of over 2,000 ducats, in order to
+return home, and was then engaged in finishing a few portraits.</p>
+
+<p>The last letter congratulates Pirkheimer on his political successes,
+but expresses a fear lest &#8220;so great a man will never go about the
+streets <span class='pagenum'><a name="Page_54" id="Page_54">[Pg 54]</a></span>again talking with the poor painter D&uuml;rer,&mdash;with a poltroon
+of a painter.&#8221; In response to Pirkheimer&#8217;s threat of making love to
+his wife if he remained away longer, he said that if such was done, he
+might keep Agnes until her death. He also tells how he had been
+attending a dancing-school, but could not learn the art, and retired
+in disgust after two lessons.</p>
+
+<p>The picture which D&uuml;rer painted for the Fondaco de&#8217; Tedeschi was until
+recently supposed to be a &#8220;St. Bartholomew;&#8221; but it is now believed
+that it was the renowned &#8220;Feast of Rose Garlands,&#8221; which is now at the
+Bohemian Monastery of Strahow. He worked hard on this picture for
+seven months, and was proud of its beauty and popularity. The Emperor
+Rudolph II. bought it from the church in which it was set up, and had
+it carried on men&#8217;s shoulders all the way from Venice to Prague, to
+avoid the dangers attending other modes of conveyance. When Joseph II.
+sold his pictures, in 1782, this one was bought by the Abbey of
+Strahow, and remained buried in oblivion for three-quarters of a
+century. The picture shows the Virgin sitting under a canopy and a
+star-strewn crown held by <span class='pagenum'><a name="Page_55" id="Page_55">[Pg 55]</a></span>flying cherubs, with the graceful Child in
+her lap. She is placing a crown of roses on the head of the Emperor
+Maximilian, while Jesus places another on the head of the Pope; and a
+monk on one side is similarly honored by St. Dominic, the founder of
+the Feast of the Rose Garlands. A multitude of kneeling men and women
+on either side are being crowned with roses by merry little
+child-angels, flying through the air; while on the extreme right,
+D&uuml;rer and Pirkheimer are seen standing by a tree.</p>
+
+<p>Pirkheimer and Agnes had both been urging the master to return; but he
+seemed reluctant to exchange the radiance of Italy for the quietness
+of his home-circle, and mournfully exclaims, &#8220;Oh, how I shall freeze
+after this sunshine! Here I am a gentleman, at home only a parasite!&#8221;
+A brilliant career was open before him at Venice, whose Government
+offered him a pension of 200 ducats; but his sense of duty compelled
+him to return to Germany, though in bitterness of spirit. Before
+turning Northward he rode to Bologna, &#8220;because some one there will
+teach me the secret art of perspective&#8221; (Francesco Francia); and met
+Christopher Scheurl, who greatly admired him. <span class='pagenum'><a name="Page_56" id="Page_56">[Pg 56]</a></span>A year later Raphael
+also came to Bologna, and saw some works left there by D&uuml;rer, from
+which arose an intimate correspondence and exchanges of pictures
+between the artists. The master had been invited to visit the
+venerable Mantegna, at Mantua; but that Nestor of North-Italian art
+died before the plan was carried out. D&uuml;rer afterwards told Camerarius
+that this death &#8220;caused him more grief than any mischance that had
+befallen him during his life.&#8221;</p>
+
+<p>Art-critics agree in rejoicing that D&uuml;rer conquered the temptations
+which were held out to him from the gorgeous Italian city, and
+returned to his plain life in the cold North. He escaped the danger of
+sacrificing his individualism to the glowing and sensuous Venetian
+school of art, and preserved the quaintness and vigor of his own
+Gothic inspirations for the joy of future ages.</p>
+
+<p>The marine backgrounds in many of D&uuml;rer&#8217;s later pictures are referred
+by Ruskin to the artist&#8217;s pleasant memories of Venice, &#8220;where he
+received the rarest of all rewards granted to a good workman; and, for
+once in his life, was understood.&#8221; Other and wilder landscapes in his
+woodcuts were reminiscences of the pastoral regions of the Franconian
+Switzerland.</p>
+
+<p><span class='pagenum'><a name="Page_57" id="Page_57">[Pg 57]</a></span></p><p>The personal history of D&uuml;rer between 1507 and 1520 was barren of
+details, but evidently full of earnest work, as existing pictures bear
+witness. It was the golden period of his art-life, abounding in
+productiveness. His workshop was the seat of the chief art-school in
+Nuremberg, and contained many excellent young painters and engravers,
+to whom the master delivered his wise axioms and earnest thoughts in
+rich profusion.</p>
+
+<p>During this period, also, he probably executed certain of his best
+works in carving, which are hereinafter described. Dr. Thausing denies
+that D&uuml;rer used the chisel of the sculptor to any extent, and refuses
+to accept the genuineness of the carvings which the earlier
+biographers have attributed to him. Scott is of the opinion that in
+most cases these rich and delicate works were executed by other
+persons, either from his drawings or under his inspection.</p>
+
+<p>On his return from Venice, D&uuml;rer painted life-sized nude figures of
+Adam and Eve, representing them with the fatal apple in their hands,
+at the moment of the Fall. They are well designed in outline, but
+possess a certain anatomical hardness, lacking in grace and mobility.
+They were greatly <span class='pagenum'><a name="Page_58" id="Page_58">[Pg 58]</a></span>admired by the Nurembergers, in whose Rath-haus
+they were placed; but were at length presented to the Emperor Rudolph
+II. He replaced them with copies, which Napoleon, in 1796, supposed to
+be D&uuml;rer&#8217;s original works, and removed to Paris. He afterwards
+presented them to the town of Mayence, where they are still exhibited
+as D&uuml;rer&#8217;s. The true originals passed into Spain, where they were
+first redeemed from oblivion by Passavant, about the year 1853. A copy
+of the Adam and Eve, which was executed in D&uuml;rer&#8217;s studio and under
+his care, is now at the Pitti Palace.</p>
+
+<p>In the spring of 1507 D&uuml;rer met at the house of his brother-in-law
+Jacob Frey, the rich Frankfort merchant Jacob Heller, who commissioned
+him to paint an altar-piece. He was delayed by a prolonged attack of
+fever in the summer, and by the closing works on the Elector&#8217;s
+picture.</p>
+
+<p>Between 1507 and 1514 (inclusive) D&uuml;rer made forty-eight engravings
+and etchings, and over a hundred woodcuts, bespeaking an iron
+diligence and a remarkable power of application. The rapid sale of
+these works in frequent new editions gave a large income to their
+author, and <span class='pagenum'><a name="Page_59" id="Page_59">[Pg 59]</a></span>placed him in a comfortable position among the burghers
+of Nuremberg. The religious excitement then prevailing throughout
+Europe, on the eve of the Reformation, increased the demand for his
+engravings of the Virgin, the saints, and the great Passion series.</p>
+
+<p>In 1508 D&uuml;rer finished the painting of &#8220;The Martyrdom of the Ten
+Thousand Christians,&#8221; to which he professed to have given all his time
+for a year. It was ordered by Frederick of Saxony, the patron of Lucas
+Cranach, who had seen the master&#8217;s woodcut of the same subject, and
+desired it reproduced in an oil-painting. It is a painful and
+unpleasant scene, full of brutality and horror; and the picture is
+devoid of unity, though conspicuous for clear and brilliant coloring.
+D&uuml;rer and Pirkheimer stand in the middle of the foreground.</p>
+
+<p>On the completion of this work the master wrote to Heller, &#8220;No one
+shall persuade me to work according to what I am paid.&#8221; He then began
+Heller&#8217;s altar-piece, under unnecessary exhortation &#8220;to paint his
+picture well,&#8221; and made a great number of careful studies for the new
+composition. When fairly under way, he demanded <span class='pagenum'><a name="Page_60" id="Page_60">[Pg 60]</a></span>200 florins for his
+work instead of the 130 florins of the contract-price, which drew an
+angry answer from the frugal merchant, with accusations of dishonesty.
+The artist rejoined sharply, dwelling upon the great cost of the
+colors and the length of the task, yet offering to carry out his
+contract in order to save his good faith. Throughout the next year
+Heller stimulated the painter to hasten his work, until D&uuml;rer became
+angry, and threw up the commission. He was soon induced to resume it,
+and completed the picture in the summer of 1509, upon which the
+delighted merchant paid him gladly, and sent handsome presents to his
+wife and brother. D&uuml;rer wrote to Heller, &#8220;It will last fresh and clean
+for five hundred years, for it is not done as ordinary paintings
+are.... But no one shall ever again persuade me to undertake a
+painting with so much work in it. Herr Jorg Tauss offered himself to
+pay me 400 florins for a Virgin in a landscape, but I declined
+positively, for I should become a beggar by this means. Henceforward I
+will stick to my engraving; and, if I had done so before, I should be
+richer by a thousand florins than I am to-day.&#8221;</p>
+
+<p><span class='pagenum'><a name="Page_61" id="Page_61">[Pg 61]</a></span></p><p>The picture which caused so much argument and toil was &#8220;The Coronation
+of the Virgin,&#8221; which was set up over the bronze monument of the
+Heller family in the Dominican Church at Frankfort. Its exquisite
+delicacy of execution attracted great crowds to the church, and
+quickly enriched the monastery. Singularly enough, the most famous
+part of the picture was the sole of the foot of one of the kneeling
+Apostles, which was esteemed such a marvellous work that great sums
+were offered to have it cut out of the canvas. The Emperor Rudolph II.
+offered the immense amount of 10,000 florins for the painting, in
+vain; but in 1613 it passed into the possession of Maximilian of
+Bavaria, and was destroyed in the burning of the palace at Munich,
+sixty years later. So the renowned picture, which D&uuml;rer said gave him
+&#8220;more joy and satisfaction than any other he ever undertook,&#8221; passed
+away, leaving no engraving or other memorial, save a copy by Paul
+Juvenal. This excellent reproduction is now at Nuremberg, and is
+provided with the original wings, beautifully painted by D&uuml;rer,
+showing on one the portrait of Jacob Heller and the death of St.
+James, and on the other Heller&#8217;s wife, and the martyrdom of St.
+Catherine.</p>
+
+<p><span class='pagenum'><a name="Page_62" id="Page_62">[Pg 62]</a></span></p><p>In 1501 the burgher Schiltkrot and the pious copper-smith Matth&auml;us
+Land&auml;uer founded the House of the Twelve Brothers, an alms-house for
+poor old men of Nuremberg; and eight years later, Land&auml;uer ordered
+D&uuml;rer to paint an altar-piece of &#8220;The Adoration of the Trinity,&#8221; for
+its chapel. Much of the master&#8217;s time for the next two years was
+devoted to this great work.</p>
+
+<hr class="large" /><p><span class='pagenum'><a name="Page_63" id="Page_63">[Pg 63]</a></span></p>
+<h2><a name="CHAPTER_IV" id="CHAPTER_IV"></a>CHAPTER IV.</h2>
+
+<div class="blockquot"><p style="margin-left: 1.5em; text-indent: -1.5em;">D&uuml;rer&#8217;s House.&mdash;His Poetry.&mdash;Sculptures.&mdash;The Great and Little
+Passions.&mdash;Life of the Virgin.&mdash;Plagiarists.&mdash;Works for the Emperor
+Maximilian.</p></div>
+
+<p>Some time after his marriage with Agnes Frey, D&uuml;rer moved into the new
+house near the Thierg&auml;rtner Gate, which had perhaps been bought with
+the dowry of his bride. Here he labored until his death, and executed
+his most famous works. It is a spacious house, with a lower story of
+stone, wide portals, a paved interior court, and pleasant upper rooms
+between thick half-timber walls, whose mullioned windows look out on
+lines of quaint Gothic buildings and towers, and on the broad paved
+square at the foot of the Zisselgasse (now Albrecht-D&uuml;rer-Strasse).
+Just across the square was the so-called &#8220;Pilate&#8217;s House,&#8221; whose
+owner, Martin Koetzel, had made two pilgrimages to the Holy Land, and
+brought back measurements of the Dolorous Way. The artist&#8217;s house is
+now carefully preserved as public property, <span class='pagenum'><a name="Page_64" id="Page_64">[Pg 64]</a></span>and contains the gallery
+of the D&uuml;rer Art-Union. In 1828, on the third centennial of his death,
+the people erected a bronze statue of the master, designed by Rauch,
+on the square before the house.</p>
+
+<p>In 1509-10 D&uuml;rer derived pleasure and furnished much amusement to his
+friends from verse-making, in which he suffered a worse failure even
+than Raphael had done. It seems that Pirkheimer ridiculed a long-drawn
+couplet which he had made, upon which the master composed a neat bit
+of proverbial philosophy, of which the following is a translation:&mdash;</p>
+
+<div class="centerbox4 bbox3"><p>&#8220;Strive earnestly with all thy might,<br />
+That God should give thee Wisdom&#8217;s light;<br />
+He doth his wisdom truly prove,<br />
+Whom neither death nor riches move;<br />
+And he shall also be called wise,<br />
+Who joy and sorrow both defies;<br />
+He who bears both honor and shame,<br />
+He well deserves the wise man&#8217;s name;<br />
+Who knows himself, and evil shuns,<br />
+In Wisdom&#8217;s path he surely runs;<br />
+Who &#8217;gainst his foe doth vengeance cherish,<br />
+In hell-flame cloth his wisdom perish;<br />
+Who strives against the Devil&#8217;s might,<br />
+The Lord will help him in the fight;<br />
+<span class='pagenum'><a name="Page_65" id="Page_65">[Pg 65]</a></span>Who keeps his heart forever pure,<br />
+He of Wisdom&#8217;s crown is sure;<br />
+And who loves God with all his heart,<br />
+Chooses the wise and better part.&#8221;</p></div>
+
+<p>But Pirkheimer was not more pleased with this; and the witty Secretary
+Spengler sent D&uuml;rer a satirical poem, applying the moral of the fable
+of the shoemaker who criticised a picture by Apelles. He answered this
+in a song of sixty lines, closing with,&mdash;</p>
+
+<div class="centerbox4 bbox3"><p>&#8220;Therefore I will still make rhymes,<br />
+Though my friend may laugh at times:<br />
+So the Painter with hairy beard<br />
+Says to the Writer who mocked and jeered.&#8221;</p></div>
+
+<p>&#8220;1510, this have I made on Good and Bad Friends.&#8221; Thus the master
+prefaces a platitudinous poem of thirty lines; which was soon followed
+by &#8220;The Teacher,&#8221; of sixty lines. Later in the year he wrote the long
+Passion-Song, which was appended to the print of <i>Christus am Kreuz</i>.
+It is composed of eight sections, of ten lines each, and is full of
+quaint medi&aelig;val tenderness and reverence, and the intense
+prayerfulness of the old German faith. The sections <span class='pagenum'><a name="Page_66" id="Page_66">[Pg 66]</a></span>are named Matins,
+the First, Third, Sixth, and Ninth Hours, Vespers, Compline, and Let
+Us Pray, the latter of which is redolent with earnest devotion:&mdash;</p>
+
+<div class="centerbox5 bbox3"><p>&#8220;O Almighty Lord and God,<br />
+Who the martyr&#8217;s press hast trod;<br />
+Jesus, the only God, the Son,<br />
+Who all this to Thyself hast done,<br />
+Keep it before us to-day and to-morrow,<br />
+Give us continual rue and sorrow;<br />
+Wash me clean, and make me well,<br />
+I pray Thee, like a soul from hell.<br />
+Lord, Thou hast overcome: look down;<br />
+Let us at last to share the crown.&#8221;</p></div>
+
+<p>The marvellous high-relief of &#8220;The Birth of St. John the Baptist&#8221; was
+executed in 1510, and shows D&uuml;rer&#8217;s remarkable powers as a sculptor.
+It is cut in a block of cream-colored lithographic stone, 7&frac12; &times;
+5&frac12; inches in size, and is full of rich and minute pictorial
+details. Elizabeth is rising in bed, aided by two attendants; and the
+old nurse brings the infant to Zacharias, who writes its name on a
+tablet, while two men are entering at the doorway. The room is
+furnished with the usual utensils and properties of a German bedroom.
+<span class='pagenum'><a name="Page_67" id="Page_67">[Pg 67]</a></span>This wonderful and well-preserved work of art was bought in the
+Netherlands about eighty years ago, for $2,500, and is now in the
+British Museum. The companion-piece, &#8220;St. John the Baptist Preaching
+in the Wilderness,&#8221; is now in the Brunswick Museum, and is carved with
+a similar rich effect. This museum also contains a carving in wood,
+representing the &#8220;Ecce Homo.&#8221;</p>
+
+<p>Space would fail to tell of the many beautiful little pieces of
+sculpture which D&uuml;rer executed in ivory, boxwood, and stone, or of the
+numerous excellently designed medals ascribed to him. Chief among
+these was the exquisite &#8220;Birth of Christ,&#8221; and the altar of agate,
+formerly at Vienna; Adam and Eve, in wood, at Gotha; reliefs of the
+Birth and the Agony of Christ, in ivory; the Four Evangelists, in
+boxwood, lately at Baireuth; several carvings on ivory, of religious
+scenes, at Munich; a woman with padlocked mouth, sitting in the
+stocks, cut in soapstone; a delicate relief of the Flight into Egypt;
+busts of the Duke and Duchess of Burgundy; and the Love-Fountain, now
+at Dresden, with figures of six persons drinking the water.</p>
+
+<p><span class='pagenum'><a name="Page_68" id="Page_68">[Pg 68]</a></span></p><p>The famous painting of &#8220;The Adoration of the Trinity&#8221; was finished in
+1511, and represents God the Father holding up His crucified Son for
+the worship of an immense congregation of saints, while overhead is
+the mystic Dove, surrounded by a circle of winged cherubs&#8217; heads. The
+kneeling multitude includes princes, prelates, warriors, burghers, and
+peasants, equally accepting the Athanasian dogma. On the left is a
+great group of female saints, led by the sweet and stately Virgin
+Mary; and on the right are the kneeling prophets and apostles, Moses
+with the tables of the Law, and David with his harp. On the broad
+terrestrial landscape, far below, D&uuml;rer stands alone, by a tall tablet
+bearing the Latin inscription of his name and the date of the picture.
+The whole scene is full of light and splendor, delicate beauty of
+angels, and exquisite minuteness of finish. A century later the Rath
+of Nuremberg removed this picture from the sepulchral chapel of its
+founder, and presented it to the Emperor Rudolph II. It is now one of
+the gems of the Vienna Belvedere.</p>
+
+<p>About this time the master&#8217;s brother Andreas, the goldsmith, returned
+to Nuremberg after his <span class='pagenum'><a name="Page_69" id="Page_69">[Pg 69]</a></span>long wanderings, and eased the evident anxiety
+of his family by settling respectably in life. Hans was still in his
+brother&#8217;s studio, where he learned his art so well that he afterwards
+became court-painter to the King of Poland.</p>
+
+<p>In 1511 D&uuml;rer published a third edition of the engravings of the
+Apocalypse, with a warning to piratical engravers that the Emperor had
+forbidden the sale of copies or impressions other than those of the
+author, within the Empire, under heavy penalties to transgressors. To
+the same year belong three of the master&#8217;s greatest works in engraving
+on wood.</p>
+
+<p>&#8220;The Great Passion&#8221; contains twelve folio woodcuts, unequal in their
+execution, and probably made by different workmen of varying
+abilities. The vignette is an &#8220;Ecce Homo;&#8221; and the other subjects are,
+the Last Supper, Christ at Gethsemane, His Betrayal, the Scourging,
+the Mockery, Christ Bearing the Cross, the Crucifixion, the Descent
+into Hell, the Maries Mourning over Christ&#8217;s Body, the Entombment, and
+the Resurrection. These powerful delineations of the Agony of Our Lord
+are characterized by rare originality of conception, pathos, and
+grandeur. <span class='pagenum'><a name="Page_70" id="Page_70">[Pg 70]</a></span>They were furnished with Latin verses by the monk
+Chelidonius, and bore the imperial warning against imitation. Four
+large editions were printed from these cuts, and numerous copies,
+especially in Italy, where the Emperor&#8217;s edict was inoperative.</p>
+
+<p>&#8220;The Little Passion&#8221; was a term applied by D&uuml;rer himself to
+distinguish his series of thirty-seven designs from the larger
+pictures of &#8220;The Great Passion.&#8221; It is the best-known of the master&#8217;s
+engravings; and has been published in two editions at Nuremberg, a
+third at Venice in 1612, and a fourth at London in 1844. The blocks
+are now in the British Museum, and show plainly that they were not
+engraved by D&uuml;rer. This great pictorial scene of the fall and
+redemption of man begins with the sin of Adam and Eve, and their
+expulsion from Eden, and follows with thirty-three compositions from
+the life and passion of Christ, ending with the Descent of the Holy
+Ghost and the Last Judgment. Its title was <i>Figur&aelig; Passionis Domini
+Nostri Jesu Christi</i>; and it was furnished with a set of the Latin
+verses of Chelidonius.</p>
+
+<p>The third of D&uuml;rer&#8217;s great works in wood-engraving <span class='pagenum'><a name="Page_71" id="Page_71">[Pg 71]</a></span>was &#8220;The
+Life of the Virgin,&#8221; with explanatory Latin verses by the Benedictine
+Chelidonius. This was published in 1511, and contains twenty pictures,
+full of realistic plainness and domestic homeliness, yet displaying
+marvellous skill and power of invention. To the same year belong the
+master&#8217;s engravings of the Trinity, St. Christopher, St. Gregory&#8217;s
+Mass, St. Jerome, St. Francis Receiving the Stigmata, the Holy Family
+with the Guitar, Herodias and the Head of John the Baptist, and the
+Adoration of the Magi; and the copper-plates of the Crucifixion and
+the Virgin with the Pear.</p>
+
+<p>D&uuml;rer was much afflicted by the boldness of many imitators, who
+plagiarized his engravings without stint, and flooded the market with
+pictures from his designs. His rights were protected but poorly by the
+edicts of the Emperor and the city of Nuremberg; and a swarm of
+parasitical copyists reproduced every fresh design as soon as it was
+published. Marc Antonio Raimondi, the great Italian engraver who
+worked so many years with Raphael, was the most dangerous of these
+plagiarists, and reproduced &#8220;The Little Passion&#8221; and &#8220;The Life of the
+Virgin&#8221; in <span class='pagenum'><a name="Page_72" id="Page_72">[Pg 72]</a></span>a most exquisite manner, close after their publication.
+Vasari says, &#8220;It happened that at this time certain Flemings came to
+Venice with a great many prints, engraved both in wood and copper by
+Albert D&uuml;rer, which being seen by Marc Antonio in the Square of St.
+Mark, he was so much astonished by their style of execution, and the
+skill displayed by Albert, that he laid out on those prints almost all
+the money he had brought with him from Bologna, and amongst other
+things purchased &#8216;The Passion of Jesus Christ,&#8217; engraved on thirty-six
+wooden blocks.... Marc Antonio therefore, having considered how much
+honor as well as advantage might be acquired by one who should devote
+himself to that art in Italy, resolved to attend to it with the
+greatest diligence, and immediately began to copy these engravings of
+Albert, studying their mode of hatching, and every thing else in the
+prints he had purchased, which from their novelty as well as beauty,
+were in such repute that every one desired to possess them.&#8221;</p>
+
+<p>It appears that Marc Antonio was afterwards enjoined from using
+D&uuml;rer&#8217;s monogram on his copies of the Nuremberger&#8217;s engravings, either
+<span class='pagenum'><a name="Page_73" id="Page_73">[Pg 73]</a></span>by imperial diplomatic representations to the Italian courts, or else
+as the result of a visit which some claim that D&uuml;rer made to Italy for
+that purpose. Many of the copies of Marc Antonio were rather idealized
+adaptations than exact reproductions of the German&#8217;s designs, but were
+furnished with the forged monogram A. D., and sold for D&uuml;rer&#8217;s works.
+Sixty-nine of our artist&#8217;s engravings were copied by the skilful
+Italian, profoundly influencing Southern art by the manual dexterity
+of the North. This wholesale piracy was carried on between 1505 and
+1511, and before Marc Antonio passed under Raphael&#8217;s overmastering
+influence.</p>
+
+<p>In later years the Rath of Nuremberg warned the booksellers of the
+city against selling false copies of D&uuml;rer&#8217;s engravings, and sent
+letters to the authorities of Augsburg, Leipsic, Frankfort,
+Strasbourg, and Antwerp, asking them to put a stop to such sales
+within their jurisdictions. His works have been copied by more than
+three hundred artists, the best of whom were Solis, Rota, the Hopfers,
+Wierx, Vischer, Sch&ouml;n, and Kraus.</p>
+
+<p>In 1512 D&uuml;rer made most of the plates for <span class='pagenum'><a name="Page_74" id="Page_74">[Pg 74]</a></span>&#8220;The Passion in Copper,&#8221; a
+series of sixteen engravings on copper, which was begun in 1507 and
+finished in 1513. These plates show the terrible scenes of the last
+griefs of the Saviour, surrounded with uncouth German men and women,
+buildings and landscapes, yet permeated with mysterious reverence and
+solemn simplicity. The series was never published in book form, with
+descriptive text, but the engravings were put forth singly as soon as
+completed. The prints of &#8220;Christ Bound&#8221; and &#8220;St. Jerome&#8221; were
+published this same year.</p>
+
+<p>In 1512 D&uuml;rer was first employed by the Emperor Maximilian, who was
+not only a patron of the arts but also an artist himself, and
+munificently employed the best painters of Germany, though his
+treasury was usually but poorly filled. Science and literature also
+occupied much of his attention; and, while his realm was engaged in
+perpetual wars, he kept up a careful correspondence on profound themes
+with many of the foremost thinkers of his day. The records of his
+intercourse with D&uuml;rer are most meagre, though during the seven years
+of their connection they must have had many interviews, especially
+while the imperial portrait was being made.</p>
+
+<p><span class='pagenum'><a name="Page_75" id="Page_75">[Pg 75]</a></span></p><p>Melanchthon tells a pretty story, which he heard from D&uuml;rer himself.
+One day the artist was finishing a sketch for the Emperor, who, while
+waiting, attempted to make a drawing himself with one of the
+charcoal-crayons; but the charcoal kept breaking away, and he
+complained that he could accomplish nothing with it. D&uuml;rer then took
+it from his hand, saying, &#8220;This is my sceptre, your Majesty;&#8221; and
+afterwards taught the sovereign how to use it.</p>
+
+<p>The story which is told of so many geniuses who have risen from low
+estate is applied also to this one: The Emperor once declared to a
+noble who had proudly declined to perform some trivial service for the
+artist, &#8220;Out of seven ploughboys I can, if I please, make seven lords,
+but out of seven lords I cannot make one D&uuml;rer.&#8221;</p>
+
+<p>Tradition states that the Emperor ennobled D&uuml;rer, and gave him a
+coat-of-arms. Possibly this was the crest used in his later years,
+consisting of three shields on a blue field, above which is a closed
+helmet supporting the armless bust and head of a winged negro!</p>
+
+<p>The idea of the immense woodcut of the Triumphal Arch of Maximilian
+was conceived <span class='pagenum'><a name="Page_76" id="Page_76">[Pg 76]</a></span>after 1512, either by the Emperor or by the
+poet-laureate Stabius; and D&uuml;rer was chosen to put it into execution.
+The history of the deeds of Maximilian, with his ancestry and family
+alliances, was to be displayed in the form of a pictorial triumphal
+arch, &#8220;after the manner of those erected in honor of the Roman
+emperors.&#8221; The master demanded payment in advance, and received an
+order from the Emperor to the Rath of Nuremberg to hold &#8220;his and the
+Empire&#8217;s true and faithful Albert D&uuml;rer exempt from all the town taxes
+and rates, in consideration of our esteem for his skill in art.&#8221; But
+he surrendered this immunity, in deference to the wishes of the Rath;
+and Maximilian granted him an annual pension of 100 florins ($200),
+which was paid, however, somewhat reluctantly.</p>
+
+<p>&#8220;The Knight, Death, and the Devil,&#8221; is the most celebrated of D&uuml;rer&#8217;s
+engravings, and dates from 1513. It shows a panoplied knight riding
+through a rocky defile, with white-bearded Death advancing alongside
+and holding up an hour-glass, and the loathsome Satan pursuing hard
+after and clutching at the undismayed knight. The numerous
+commentators on this picture variously <span class='pagenum'><a name="Page_77" id="Page_77">[Pg 77]</a></span>interpret its meaning, some
+saying that the knight is an evil-doer, intent on wicked purposes,
+whom Death warns to repentance, while Satan rushes to seize him;
+others, and the most, that he is the Christian man, fearless among the
+menaces of Death and Hell, and steadily advancing in spite of the
+horrible apparitions. Others claim that the Knight represents Franz
+von Sickingen, a turbulent hero of the Reformation; or Philip Ring,
+the Nuremberg herald, who was confronted by the Devil on one of his
+night-rides; or D&uuml;rer himself, beset by temptations and fears; or
+Stephen Baumg&auml;rtner, the master&#8217;s friend, whose portrait bears a
+resemblance to the knight&#8217;s face. Still another interpretation is
+given in the romance of &#8220;Sintram and his Companions,&#8221; which was
+suggested by this engraving, as we are told by its author, La Motte
+Fouqu&eacute;.</p>
+
+<p>Kugler says: &#8220;I believe I do not exaggerate when I particularize this
+print as the most important work which the fantastic spirit of German
+art has ever produced.&#8221; It was made in D&uuml;rer&#8217;s blooming time, and the
+plate is a wonderful specimen of delicate and exquisite execution. It
+has frequently been copied, in many forms.</p>
+
+<p><span class='pagenum'><a name="Page_78" id="Page_78">[Pg 78]</a></span></p><p>&#8220;The Little Crucifixion&#8221; is one of the most exquisitely finished of
+D&uuml;rer&#8217;s engravings on copper, and is a small round picture, about one
+inch in diameter, which was made for an ornament on the pommel of the
+Emperor&#8217;s sword. It contains seven figures, full of clearness and
+individuality, and engraved with marvellous skill. There are,
+fortunately, several very beautiful copies of this print. Other
+copper-plates of 1513 were &#8220;The Judgment of Paris,&#8221; and the small
+round &#8220;St. Jerome.&#8221;</p>
+
+<p>The famous Baumg&auml;rtner altar-piece was painted for the patrician
+family of that name, as a votive picture, in thanksgiving for the safe
+return of its knightly members from the Swiss campaigns. Nuremberg
+unwillingly surrendered it to Maximilian of Bavaria, and it is now in
+the Munich Pinakothek. It consists of a central picture of &#8220;The
+Nativity,&#8221; of no special merit, with two wings, the first of which
+shows Stephen Baumg&auml;rtner, a meagre-faced and resolute knight, in the
+character of St. George, while the other portrays the plain-mannered
+and practical Lucas Baumg&auml;rtner, in the garb of St. Eustachius. These
+excellent portrait-figures are clad in armor, and stand by the sides
+of their horses.</p>
+
+<p><span class='pagenum'><a name="Page_79" id="Page_79">[Pg 79]</a></span></p><p>The &#8220;Vision of St. Eustachius&#8221; was executed on copper-plate, and is
+one of D&uuml;rer&#8217;s most delicate and beautiful works. It shows the
+huntsman Eustachius as a strong and earnest German mystic, kneeling
+before the miraculous crucifix set in the stag&#8217;s forehead, which has
+appeared to convict him of his sins, and to stimulate in him that
+faith by which he led a new life of prayer and praise, and won a
+martyr&#8217;s crown. His solemn-faced horse seems to realize that a miracle
+is taking place; and in the foreground are five delicately drawn
+hounds. On the steep hill in the rear a noble and picturesque medi&aelig;val
+castle rears its battlemented towers above long lines of cliffs.
+Tradition says that the face of Eustachius is a portrait of the
+Emperor Maximilian. When the Emperor Rudolph secured the original
+plate of the engraving, he had it richly gilded.</p>
+
+<p>&#8220;The Great Fortune,&#8221; or &#8220;The Nemesis,&#8221; is a copper-plate showing a
+repulsively ugly naked woman, with wings, holding a rich chalice and a
+bridle, while on the earth below is a beautiful mountain village
+between two confluent rivers. Sandrart says that this is the Hungarian
+village of Eytas, where D&uuml;rer&#8217;s father was born; but <span class='pagenum'><a name="Page_80" id="Page_80">[Pg 80]</a></span>there is no
+proof of this theory. &#8220;The Coat-of-Arms with the Cock&#8221; is a fine
+copper-plate, with some obscure allegorical significance,
+representing, perhaps, Vigilance by the cock which stands on a closed
+helmet, and Faith by the rampant lion on the shield below.</p>
+
+<hr class="large" /><p><span class='pagenum'><a name="Page_81" id="Page_81">[Pg 81]</a></span></p>
+<h2><a name="CHAPTER_V" id="CHAPTER_V"></a>CHAPTER V.</h2>
+
+<div class="blockquot"><p style="margin-left: 1.5em; text-indent: -1.5em;">St. Jerome.&mdash;The Melencolia.&mdash;Death of D&uuml;rer&#8217;s
+Mother.&mdash;Raphael.&mdash;Etchings.&mdash;Maximilian&#8217;s Arch.&mdash;Visit to Augsburg.</p></div>
+
+<p>The copper-plate engraving of &#8220;St. Jerome in his Chamber&#8221; was executed
+in 1514, and is one of D&uuml;rer&#8217;s three greatest works, a marvel of
+brilliancy and beauty, full of accurate detail and minute perfection.
+The saint has a grand and venerable head, firmly outlined against a
+white halo, and is sitting in a cheerful monastic room, lighted by the
+sun streaming through two large arched windows, while he writes at his
+desk, translating the Scriptures. In the foreground the lion of St.
+Jerome is drowsing, alongside a fat watch-dog; a huge pumpkin hangs
+from one of the oaken beams overhead; and patristic tomes and
+convenient German utensils are scattered about the room.</p>
+
+<p>&#8220;The Virgin on the Crescent Moon&#8221; was a <span class='pagenum'><a name="Page_82" id="Page_82">[Pg 82]</a></span>copper-plate executed also in
+1514, showing the graceful and charming Mary, treated with an idealism
+which almost suggests Raphael. This is one of the best of the
+seventeen Mary-pictures (<i>Marien-bilder</i>) which D&uuml;rer executed in
+copper. Other copper-plates of 1514 represented Sts. Paul and Thomas,
+the Bagpipe-Player, and a Dancing Rustic and his Wife.</p>
+
+<p>&#8220;The Melencolia&#8221; is the most weirdly fascinating of D&uuml;rer&#8217;s works, and
+the most mysterious and variously interpreted. It represents a woman,
+goddess, or devil, fully clad, and bearing keys and a purse at her
+girdle, her head wreathed with spleenwort, and great wings springing
+from her shoulders; the while she gazes intently, and with unutterable
+melancholy, into a magic crystal globe before her. On one side a
+drowsy Cupid is trying to write, near a ladder which rises from unseen
+depths to unimagined heights; and on the wall are the balanced scales,
+the astrological table of figures, the hour-glass running low, and the
+silent bell. The floor is strewn with scientific and necromantic
+instruments, and a great cube of strange form lies beyond. The
+prevailing gloom of the picture is but dimly lighted by a lurid and
+solitary <span class='pagenum'><a name="Page_83" id="Page_83">[Pg 83]</a></span>comet, whose rays shimmer along an expanse of black ocean,
+and are reflected from a firm-arched rainbow above. Across the
+alternately black and blazing sky flies a horrible bat-winged
+creature, bearing a scroll inscribed with the word <span class="smcap">Melencolia</span>, before
+the blank negations symbolized by the disastrous portent of the comet
+and the joyous sign of the rainbow.</p>
+
+<p>Under the guise of this mystic black-browed woman the artist probably
+typifies the profound sorrow of the human soul, checked by Divine
+limitations from attaining a full knowledge of the secrets of nature
+or the wisdom of heaven. The discarded implements of natural and
+occult science are alike useless; and nought remains but gloomy
+introspection and a consciousness of insufficiency.</p>
+
+<p>D&uuml;rer describes his mother&#8217;s death with mournful tenderness and
+touching simplicity, saying: &#8220;Now you must know that in the year 1513,
+on a Tuesday in Cross-week, my poor unhappy mother, whom I had taken
+under my charge two years after my father&#8217;s death, because she was
+then quite poor, and who had lived with me for nine years, was taken
+deathly sick on one morning <span class='pagenum'><a name="Page_84" id="Page_84">[Pg 84]</a></span>early, so that we had to break open her
+room; for we knew not, as she could not get up, what to do. So we bore
+her down into a room, and she had the sacraments in both kinds
+administered to her, for every one thought that she was going to die,
+for she had been failing in health ever since my father&#8217;s death. And
+her custom was to go often to church; and she always punished me when
+I did not act rightly, and she always took great care to keep me and
+my brothers from sin; and, whether I went in or out, her constant word
+was, &#8216;In the name of Christ;&#8217; and with great diligence she constantly
+gave us holy exhortations, and had great care over our souls. And her
+good works, and the loving compassion that she showed to every one, I
+can never sufficiently set forth to her praise. This my good mother
+bore and brought up eighteen children; she has often had the
+pestilence and many other dangerous and remarkable illnesses; has
+suffered great poverty, scoffing, disparagement, spiteful words,
+fears, and great reverses: yet she has never been revengeful. A year
+after the day on which she was first taken ill ... my pious mother
+departed in a Christian manner, with all sacraments, absolved <span class='pagenum'><a name="Page_85" id="Page_85">[Pg 85]</a></span>by
+Papal power from pain and sin. She gave me her blessing, and desired
+for me God&#8217;s peace, and that I should keep myself from evil. And she
+desired also St. John&#8217;s blessing, which she had, and she said she was
+not afraid to come before God. But she died hard; and I perceived that
+she saw something terrible, for she kept hold of the holy water, and
+did not speak for a long time. I saw also how Death came, and gave her
+two great blows on the heart; and how she shut her eyes and mouth, and
+departed in great sorrow. I prayed for her, and had such great grief
+for her that I can never express. God be gracious to her! Her greatest
+joy was always to speak of God, and to do all to his honor and glory.
+And she was sixty-three years old when she died, and I buried her
+honorably according to my means. God the Lord grant that I also make a
+blessed end, and that God with his heavenly hosts, and my father,
+mother, and friend, be present at my end, and that the Almighty God
+grant us eternal life! Amen. And in her death she looked still more
+lovely than she was in her life.&#8221;</p>
+
+<p>In 1514 the prince of Italian painters and the <span class='pagenum'><a name="Page_86" id="Page_86">[Pg 86]</a></span>noblest of German
+artists exchanged pleasant civilities by correspondence, accompanied
+by specimens of their labors. D&uuml;rer sent to Raphael his own portrait,
+which was afterwards inherited and dearly prized by Giulio Romano.
+Raphael returned several of his own studies and drawings, one of
+which, showing two naked men drawn in red crayon, is now preserved in
+the Albertina at Vienna. It still bears D&uuml;rer&#8217;s inscription: &#8220;Raphael
+of Urbino, who is so highly esteemed by the Pope, has drawn this study
+from the nude, and has sent it to Albert D&uuml;rer at Nuremberg, in order
+to show him his hand.&#8221;</p>
+
+<p>The invention of the art of etching has been generally attributed to
+D&uuml;rer, though it now seems that he merely improved and perfected the
+process. There are but few etchings in existence which can certainly
+be ascribed to him; and the chief of these, an &#8220;Ecce Homo&#8221; and &#8220;Christ
+in the Garden,&#8221; date from 1515. The iron plate of the latter was found
+two centuries later, in a blacksmith&#8217;s shop, where it was about to be
+made into horse-shoes. A third etching represents a frightfully homely
+woman being carried off by a man on a unicorn, a wild and
+incomprehensible composition, <span class='pagenum'><a name="Page_87" id="Page_87">[Pg 87]</a></span>calculated to awaken an uncomfortable
+impression in the beholder. Some of the etchings were on iron, and
+others on pewter; but none were on copper, which was afterwards
+universally used. The corrosive nitrous acid acted inefficiently on
+the metals which he employed, and so his etchings fall short of
+excellence.</p>
+
+<p>In 1514 Jorg Vierling uttered disgraceful libels and threats against
+D&uuml;rer, and finally attacked him in the street. He was imprisoned by
+the authorities; but the kind-hearted artist interceded for him, and
+he was released, after being bound over to keep the peace.</p>
+
+<p>In the same year D&uuml;rer wrote to Herr Kress to see if the laureate
+Stabius had done any thing about his delayed pension; saying also,
+&#8220;But if Herr Stabius has done nothing in my matter, or my desire was
+too difficult for him to attain, then I pray of you to be my favorable
+lord to his Majesty.... Point out to his Majesty that I have served
+his Majesty for three years, that I have suffered loss myself from
+doing so, and that if I had not used my utmost diligence his
+ornamental work would never have been finished in such a manner;
+therefore I pray his Majesty to <span class='pagenum'><a name="Page_88" id="Page_88">[Pg 88]</a></span>reward me with the 100 guilders.&#8221; In
+September an imperial decree was issued, giving D&uuml;rer his promised
+pension of $200 a year out of the tax due from Nuremberg to the
+Emperor. This annuity was paid to the artist until his death, with one
+short intermission.</p>
+
+<p>D&uuml;rer executed for the Emperor a series of most fantastic and
+grotesque pen-drawings, on the borders of his prayer-book, now in the
+Munich town-library. Alongside the solemn sentences of the breviary
+are whimsical monkeys and pigs, Indians and men-at-arms, satyrs and
+foxes, screeching devils and saints, hens and prophets, martyrs and
+German crones, mingled in a weird wonderland, and not inappropriate
+according to medi&aelig;val ideas of taste. &#8220;The Great Column&#8221; is another
+quaint and inexplicable engraving, which D&uuml;rer did for the Emperor in
+1517, and is composed of four blocks 5&#8531; feet high. It shows two
+naked angels holding a large turnip, from which springs a tall column
+with two horrible female monsters at the base, and a horned satyr at
+the top, holding long garlands.</p>
+
+<p>The marvellous &#8220;Triumphal Arch of Maximilian&#8221; <span class='pagenum'><a name="Page_89" id="Page_89">[Pg 89]</a></span>is composed of
+ninety-two blocks, forming an immense woodcut ten and a half feet high
+and nine feet wide. It shows three great towers, under which are the
+three gates of Praise, Nobility, and Honor and Power, with the six
+chained harpies of temptation, and two vigilant Archdukes in armor,
+and figures holding garlands and crowns. The great genealogical tree
+rises above the figures that represent France, Sycambria, and Troy,
+and bears portrait-like half-figures of the twenty-six Christian
+princes from whom Maximilian claimed descent, with pictures of himself
+and his family. There are also twenty-four minutely delicate cuts,
+showing the most remarkable events in the Emperor&#8217;s life, accompanied
+with rugged explanatory rhymes by the poet-laureate. Dr. von Eye says
+that &#8220;the extent and difficulty of the task appear to have called
+forth the powers of the artist to their highest exercise. In no work
+of D&uuml;rer&#8217;s do we find more beautiful drawing than there is here. Each
+single piece might be taken out and prized as an independent work of
+art.&#8221;</p>
+
+<p>The master drew these very elaborate and intricate designs between
+1512 and 1515; and the <span class='pagenum'><a name="Page_90" id="Page_90">[Pg 90]</a></span>enormous work of engraving them was devolved
+upon Hieronymus R&ouml;sch of Nuremberg. During its progress the Emperor
+frequently visited R&ouml;sch&#8217;s house in the Fra&uuml;eng&auml;sslein; and it became
+a town saying, that &#8220;The Emperor still drives often to Petticoat
+Lane.&#8221; On one of his visits, a number of the artist&#8217;s pet cats ran
+into his presence; whence, it is said, arose the proverb, &#8220;A cat may
+look at a King.&#8221;</p>
+
+<p>In 1516 D&uuml;rer painted a fine portrait of Wohlgemuth, now at Munich,
+showing a wrinkled old face lit up by bright eyes, and inscribed,
+&#8220;This portrait has Albert D&uuml;rer painted after his master Michael
+Wohlgemuth, in the year 1516, when he was 82 years old; and he lived
+until the year 1519, when he died, on St. Andrew&#8217;s Day, early, before
+the sun had risen.&#8221; About the same period he designed and partly
+executed the Piet&agrave;, which is now in the St. Maurice Gallery at
+Nuremberg; and carved a Virgin and Child standing on the crescent
+moon, similar to the one which he had engraved three years before.</p>
+
+<p>In 1518 D&uuml;rer also painted the scene of the death-bed of the Empress
+Mary of Burgundy, under the title of &#8220;The Death of the Virgin,&#8221; <span class='pagenum'><a name="Page_91" id="Page_91">[Pg 91]</a></span>and
+on the order of Von Zlatko, the Bishop of Vienna. The Emperor
+Maximilian, Philip of Spain, Bishop Zlatko, and other notables, were
+shown around the couch. This large and important work was in the sale
+of the Fries collection in 1822, but cannot now be found, although
+there is a rumor that it is on the altar of a rural church near St.
+Wolfgang&#8217;s Lake, in Upper Austria.</p>
+
+<p>In 1518 D&uuml;rer visited Augsburg, during the session of the Diet of the
+Empire, and not only sold many of his engravings, but made a number of
+new sketches and portraits. His most important work on this journey
+was a portrait of the Emperor, who gave an order on the town of
+Nuremberg to pay 200 guldens &#8220;to the Emperor&#8217;s and the Empire&#8217;s dear
+and faithful Albert D&uuml;rer.&#8221; On this picture the master inscribed,
+&#8220;This is the Emperor Maximilian, whom I, Albert D&uuml;rer, drew at
+Augsburg, in his little room high up in the imperial residence, in the
+year 1518, on the Monday after St. John the Baptist.&#8221; About the same
+time the master painted the unpleasant picture of &#8220;The Suicide of
+Lucretia,&#8221; now at Munich, showing an ill-formed nude woman of life
+size, said to have <span class='pagenum'><a name="Page_92" id="Page_92">[Pg 92]</a></span>been copied from Agnes Frey. The portrait of the
+witty and learned Lazarus Spengler dates from the same year.</p>
+
+<p>When Maximilian died, the Rath of Nuremberg refused to continue the
+pension which he had granted to D&uuml;rer, though the artist addressed its
+members as &#8220;Provident, Honorable, Wise, Gracious, and Dear Lords,&#8221; and
+enumerated his services to the dead Emperor. He also vainly demanded
+the payment of the imperial order for 200 florins, &#8220;to be paid to him
+as if to Maximilian himself, out of the town taxes due to the Emperor
+on St. Martin&#8217;s Day,&#8221; though he offered to leave his house in pledge,
+so that the town might lose nothing if the new Emperor refused to
+acknowledge the validity of the claim.</p>
+
+<p>At the time of the death of Maximilian the great woodcut of &#8220;The
+Triumphal Arch&#8221; was unfinished, and the blocks remained in the hands
+of the engraver. D&uuml;rer and R&ouml;sch published a large round cut
+containing twenty-one of the historical scenes, as a memorial of the
+late sovereign, and this singular production speedily went through
+four editions. A few trial-impressions of the whole Arch had been
+struck off <span class='pagenum'><a name="Page_93" id="Page_93">[Pg 93]</a></span>before the Emperor&#8217;s death, two of which are now at
+Copenhagen, one in the British Museum, and one at Stockholm. In 1559
+the first edition of the entire Arch was printed at Vienna, at the
+request of the Archduke Ferdinand, and another edition was issued by
+Bartsch in 1799.</p>
+
+<p>In 1519 D&uuml;rer published an excellent wood-engraving of the late
+Emperor Maximilian, with inscriptions recording his titles and the
+date of his death. It showed a pleasant face, full of strength and
+character. Among the painted portraits of Maximilian which are
+attributed to the master, the best is in the Vienna Belvedere; and
+another was in the late Northwick Collection, in England. A beautiful
+portrait in water-colors is in the library of the Erlangen University.</p>
+
+<p>In 1519 D&uuml;rer also prepared an exquisitely finished copper-plate
+engraving of &#8220;St. Anthony,&#8221; showing the meditative hermit before a
+background of a quaint medi&aelig;val city, very like Nuremberg, abounding
+in irregular gable-roofs and tall castle-towers. Several admirable
+copies of this work have been made.</p>
+
+<hr class="large" /><p><span class='pagenum'><a name="Page_94" id="Page_94">[Pg 94]</a></span></p>
+<h2><a name="CHAPTER_VI" id="CHAPTER_VI"></a>CHAPTER VI.</h2>
+
+<div class="blockquot"><p style="margin-left: 1.5em; text-indent: -1.5em;">D&uuml;rer&#8217;s Tour in the Netherlands.&mdash;His Journal.&mdash;Cologne.&mdash;Feasts at
+Antwerp and Brussels.&mdash;Procession of Notre Dame.&mdash;The
+<i>Confirmatia</i>.&mdash;Zealand Journey.&mdash;Ghent.&mdash;Martin Luther.</p></div>
+
+<p>D&uuml;rer&#8217;s famous tour to the Netherlands began in the summer of 1520,
+and continued until late in 1521. His main object appears to have been
+to secure from Charles V. a confirmation of the pension which the
+Emperor Maximilian had granted him, since the Rath of Nuremberg had
+refused to deliver any further sums until he could obtain such a
+ratification. Possibly he also hoped to obtain the position of
+court-painter, to which Titian was afterwards appointed. Several
+biographers say that D&uuml;rer made the journey in order to get a respite
+from his wife&#8217;s tirades; but this is unlikely, since he took her and
+her maid Susanna with him. The Archduchess Margaret, daughter of the
+late Emperor Maximilian and aunt of Charles V., was at Brussels,
+acting <span class='pagenum'><a name="Page_95" id="Page_95">[Pg 95]</a></span>as Regent of the Netherlands; and D&uuml;rer made strong but
+ineffectual attempts to secure her good graces.</p>
+
+<p>D&uuml;rer&#8217;s journal of his tour is a combination of cash account,
+itinerary, memoranda, and notebook, and would fill about fifty of
+these pages. It is usually barren of reflections, opinions, or
+prolonged descriptions; and is but a terse and business-like record of
+facts and expenses, rich only in its revelations of medi&aelig;val Flemish
+hospitality and municipal customs, and certain personal habits of the
+writer. The greatest impression seems to have been made upon the
+traveller by the enormous wealth of the Low Countries, and the
+adjective &#8220;costly&#8221; continually recurs. The new-found treasures of
+America were then pouring a stream of gold into the Flemish cities,
+and manufactures and commerce were in full prosperity. The devastating
+storm of Alva&#8217;s Spanish infantry had not yet swept over the doomed but
+heroic Netherlands; and her great cities basked in peace, prosperity,
+and wealth.</p>
+
+<p>&#8220;On the Thursday after Whitsuntide, I, Albert D&uuml;rer, at my own cost
+and responsibility, set out with my wife from Nuremberg for the
+Netherlands.... <span class='pagenum'><a name="Page_96" id="Page_96">[Pg 96]</a></span>I went on to Bamberg, where I gave the Bishop a
+picture of the Virgin, &#8216;The Life of the Virgin,&#8217; an Apocalypse, and
+other engravings of the value of a florin. He invited me to dinner,
+and gave me an exemption from customs, and three letters of
+recommendation.&#8221; He hired a carriage to take him to Frankfort for
+eight florins of gold, and received a parting stirrup-cup from Meister
+Benedict, and the painter Hans Wolfgang Katzheimer. He gives the names
+of the forty-three villages through which he passed along the route by
+W&uuml;rzburg and Carlstadt to Frankfort, with his expenditures for food
+and for gifts to servants; and tells how the Bishop&#8217;s letter freed him
+from paying tolls. At Frankfort he was cheaply entertained by Jacob
+Heller, for whom he had painted &#8220;The Coronation of the Virgin.&#8221; From
+thence he descended by boat to Mayence, where he received many gifts
+and attentions. In the river-passages hence to Cologne, he was forced
+to haul in shore and arrange his tolls at Ehrenfels, Bacharach, Caub,
+St. Goar, and Boppart. At Cologne he was entertained by his cousin
+Nicholas D&uuml;rer, who had learned the goldsmith&#8217;s trade in the shop of
+Albert&#8217;s father, <span class='pagenum'><a name="Page_97" id="Page_97">[Pg 97]</a></span>and was now settled in business. The master made
+presents to him and his wife. The Barefooted Monks gave D&uuml;rer a feast
+at their monastery; and Jerome Fugger presented him with wine. The
+journey was soon resumed; and the master passed through fourteen
+villages, and at last reached Antwerp, where he was feasted by the
+factor of the illustrious Fugger family. Jobst Planckfelt was D&uuml;rer&#8217;s
+host while he remained in the city, and showed him the Burgomaster&#8217;s
+Palace and other sights of Antwerp, besides introducing him to Quentin
+Matsys and other eminent Flemish artists.</p>
+
+<p>&#8220;On St. Oswald&#8217;s Day, the painters invited me to their hall, with my
+wife and maid; and every thing there was of silver and other costly
+ornamentation, and extremely costly viands. There were also all their
+wives there; and when I was conducted to the table all the people
+stood up on each side, as if I had been a great lord. There were
+amongst them also many persons of distinction, who all bowed low, and
+in the most humble manner testified their pleasure at seeing me, and
+they said they would do all in their power to give me pleasure. And,
+as I sat at table, there came <span class='pagenum'><a name="Page_98" id="Page_98">[Pg 98]</a></span>in the messenger of the Rath of
+Antwerp, who presented me with four tankards of wine in the name of
+the Magistrates; and he said that they desired to honor me with this,
+and that I should have their good-will.... And for a long time we were
+very merry together until quite late in the night; then they
+accompanied us home with torches in the most honorable manner, and
+they begged us to accept their good-will, and said they would do
+whatever I desired that might be of assistance to me. Then I thanked
+them, and went to bed.&#8221;</p>
+
+<p>He next speaks of making portraits of his friend the Portuguese
+consul, his host Planckfelt, and the musician Felix Hungersberg; and
+keeps account of his sales of paintings and engravings, on the same
+pages which record his junketings with various notable men. He dined
+with one of the Imhoffs and with Meister Joachim Patenir, the
+landscape-painter, with whom he had certain professional transactions.
+He soon became intimately acquainted with the three Genoese brothers,
+Tomasin, Vincent, and Gerhartus Florianus, with whom he dined many
+times, and for whom he drew several portraits. He also met <span class='pagenum'><a name="Page_99" id="Page_99">[Pg 99]</a></span>the great
+scholar and half-way reformer, Erasmus, who gave him several pleasing
+presents.</p>
+
+<p>&#8220;Our Lady&#8217;s Church at Antwerp is so immensely big, that many masses
+may be sung in it at one time without interfering with each other; and
+it has altars and rich foundations, and the best musicians that it is
+possible to have. The church has many devout services, and stone work,
+and particularly a beautiful tower. And I have also been to the rich
+Abbey of St. Michael, which has the costly stone seat in its choir.
+And at Antwerp they spare no cost about such things, for there is
+money enough there.&#8221;</p>
+
+<p>He made portraits of Nicholas Kratzer, then professor of astronomy at
+Oxford University; Hans Plaffroth; and Tomasin&#8217;s daughter; and gave
+several score of his engravings to the Portuguese consul and to his
+compatriot Ruderigo, who had sent a large quantity of sweetmeats to
+the artist, and a green parrot to his wife.</p>
+
+<p>Something of diplomatic tact is shown in D&uuml;rer&#8217;s making presents to
+Meister Gillgen, the Emperor&#8217;s door-keeper, and to Meister Conrad, the
+sculptor of the Archduchess Margaret. He seems to have been preparing
+to seek an invitation to court.</p>
+
+<p><span class='pagenum'><a name="Page_100" id="Page_100">[Pg 100]</a></span></p><p>In September D&uuml;rer and Tomasin journeyed to Mechlin, where they
+invited Meister Conrad and one of his artist-friends to a supper. The
+next day they passed through Vilvorde, and came to Brussels. Here the
+master was introduced to a new and splendid society and a city rich in
+works of art. He speaks of dining with &#8220;My Lord of Brussels,&#8221; the
+Imperial Councillor Bannisius, and the ambassadors of Nuremberg; and
+Bernard van Orley, formerly a pupil of Raphael and now court-painter
+to the Regent Margaret, invited him to a feast at which he met the
+Regent&#8217;s treasurer, the royal court-master, and the town-treasurer of
+Brussels. He also visited the Margrave of Anspach and Baireuth, with a
+letter of introduction from the Bishop of Bamberg; and drew portraits
+of Meister Conrad, Bernard van Orley, and several others. The Regent
+Margaret received him &#8220;with especial kindness,&#8221; and promised to use
+her influence for his advancement at the imperial court. He presented
+copies of the Passion to her and her treasurer, and many other
+engravings to other eminent persons in the city.</p>
+
+<p>&#8220;And I have seen King Charles&#8217;s house at Brussels, with its fountains,
+labyrinth, and park. <span class='pagenum'><a name="Page_101" id="Page_101">[Pg 101]</a></span>It gave me the greatest pleasure; and a more
+delightful thing, and more like a Paradise, I have never before
+seen.... At Brussels there is a very big and costly Town-hall, built
+of hewn stone, with a splendid transparent tower. I have seen in the
+Golden Hall the four painted matters which the great Meister Rudier
+[Roger van der Weyden] has done.... I have also been into the
+Nassau-house, which is built in such a costly style and so beautifully
+ornamented. And I saw the two beautiful large rooms and all the costly
+things in the house everywhere, and also the great bed in which fifty
+men might lie; and I have also seen the big stone which fell in a
+thunderstorm in the field close to the Count of Nassau. This house is
+very high, and there is a fine view from it, and it is much to be
+admired; and I do not think in all Germany there is any thing like
+it.... Also I have seen the thing which has been brought to the King
+from the new Golden Land [Mexico], a sun of gold a fathom broad, and a
+silver moon just as big. Likewise two rooms full of armor; likewise
+all kinds of arms, harness, and wonderful missiles, very strange
+clothing, bed-gear and all kinds of the most <span class='pagenum'><a name="Page_102" id="Page_102">[Pg 102]</a></span>wonderful things for
+man&#8217;s use, that are as beautiful to behold as they are wonderful.
+These things are all so costly, that they have been valued at 100,000
+gulden. And I have never in all the days of my life seen any thing
+that has so much rejoiced my heart as these things. For I have seen
+among them wonderfully artistic things, and I have wondered at the
+subtle <i>Ingenia</i> of men in foreign lands.&#8221;</p>
+
+<p>While at Brussels D&uuml;rer was the guest of Conrad the sculptor, and
+Ebner the Nuremberg ambassador. He returned at length to Antwerp,
+where his Portuguese friends sent him several maiolica bowls and some
+Calcutta feathers, and his host gave also certain Indian and Turkish
+curiosities. The jovial dinners with Planckfelt and Tomasin were again
+begun, and were supplemented by feasts with the Von Rogendorffs and
+Fugger&#8217;s agent. The master gave away hundreds of his engravings here,
+either to his friends or to influential courtiers; and all these
+details he faithfully records. He seems to have been an indefatigable
+investigator and collector of curiosities, imported trinkets, and
+china. With childlike delight he narrates the brilliant spectacles
+around him.</p>
+
+<p><span class='pagenum'><a name="Page_103" id="Page_103">[Pg 103]</a></span></p><p>&#8220;I have seen, on the Sunday after the Assumption of Our Blessed Lady,
+the great procession from Our Lady&#8217;s Church at Antwerp, when the whole
+town was assembled, artisans and people of rank, every one dressed in
+the most costly manner according to its station. Every class and every
+guild had its badge by which it might be recognized; large and costly
+tapers were also borne by some of them. There were also long silver
+trumpets of the old Frankish fashion. There were also many German
+pipers and drummers, who piped and drummed their loudest. Also I saw
+in the street, marching in a line in regular order, with certain
+distances between, the goldsmiths, painters, stonemasons,
+embroiderers, sculptors, joiners, carpenters, sailors, fishmongers,
+... and all kinds of artisans who are useful in producing the
+necessaries of life. In the same way there were the shopkeepers and
+merchants and their clerks. After these came the marksmen with
+firelocks, bows, and cross-bows, some on horseback and some on foot.
+After that came the City Guards; and at last a mighty and beautiful
+throng of different nations and religious orders, superbly costumed,
+and each distinguished <span class='pagenum'><a name="Page_104" id="Page_104">[Pg 104]</a></span>from the other, very piously. I remarked in
+this procession a troop of widows who lived by their labor. They all
+had white linen cloths covering their heads, and reaching down to
+their feet, very seemly to behold. Behind them I saw many brave
+persons, and the canons of Our Lady&#8217;s Church, with all the clergy and
+bursars, where twenty persons bore Our Lady with the Lord Jesus
+ornamented in the most costly manner to the glory of the Lord God. In
+this procession there were many very pleasant things, and it was very
+richly arranged. There were brought along many wagons, with moving
+ships, and other things. Then followed the Prophets, all in order; the
+New Testament, showing the Salutation of the Angel, the three Holy
+Kings on their camels, and other rare wonders very beautifully
+arranged.... At the last came a great dragon led by St. Margaret and
+her maidens, who were very pretty; also St. George, with his squire, a
+very handsome Courlander. Also a great many boys and girls, dressed in
+the most costly and ornamental manner, according to the fashion of
+different countries, rode in this troop, and represented so many
+saints. This procession from <span class='pagenum'><a name="Page_105" id="Page_105">[Pg 105]</a></span>beginning to end was more than two hours
+passing by our house; and there were so many things that I could never
+write them all down even in a book, and so I leave it alone.&#8221;</p>
+
+<p>Raphael died during this year, and D&uuml;rer made strenuous efforts to
+secure some of his drawings or other remains. He met Tommaso Vincidore
+of Bologna, a pupil of the great master, and gave him an entire set of
+his best engravings for an antique gold ring, and another set to be
+sent to Rome in exchange for some of Raphael&#8217;s sketches. He also gave
+a complete set of his engravings to the Regent Margaret, and made for
+her two careful drawings on parchment. Vincidore painted his portrait,
+to be sent to Rome; and it was engraved by Adrian Stock, showing his
+glorious eyes and long flowing hair, together with a short dense beard
+overshadowed by a massive moustache, curled back at the points.</p>
+
+<p>Later in the autumn D&uuml;rer journeyed to Aix-la-Chapelle, where he
+attended the splendid ceremonies of the coronation of the Emperor
+Charles V. At Aix he saw the famous columns brought from Rome by
+Charlemagne, the arm of Kaiser Henry, the chemise and girdle of the
+Virgin <span class='pagenum'><a name="Page_106" id="Page_106">[Pg 106]</a></span>Mary, and other relics. His wife was back at Antwerp; and so
+the reckless artist chronicles his outlays for drinking, gaming, and
+other reprehensible expenses. After being entertained for three weeks
+at the Nuremberg embassy, D&uuml;rer went to Cologne, where he remained a
+fortnight, distributing his engravings with generous hand, visiting
+the churches and their pictures, and buying all manner of odd things.
+Early in November, by the aid of the Nuremberg ambassadors, he
+obtained from the Emperor his <i>Confirmatia</i>, &#8220;with great trouble and
+labor.&#8221; This coveted document, which formed one of the main objects of
+his journey to the North, confirmed him in the pension which
+Maximilian had granted him, and made him painter to the Emperor.</p>
+
+<p>From Cologne he returned with all speed down the river to Antwerp,
+being entertained at Bois-le-Duc, &#8220;a pretty town, which has an
+extraordinarily beautiful church,&#8221; by the painter Arnold de Ber and
+the goldsmiths, &#8220;who showed me very much honor.&#8221; On arriving at
+Antwerp, he resumes his accounts of the sales and gifts of his
+engravings, and the enumeration of his domestic expenses. Soon
+afterward he heard of a monstrous <span class='pagenum'><a name="Page_107" id="Page_107">[Pg 107]</a></span>whale being thrown up on the
+Zealand coast, and posted off in December to see it, taking a vessel
+from Bergen-op-Zoom, of whose well-built houses and great markets he
+speaks. &#8220;We sailed before sunset by a village, and saw only the points
+of the roofs projecting out of the water; and we sailed for the island
+of Wohlf&auml;rtig [Walcheren], and for the little town of Sunge in another
+adjacent island. There were seven islands; and Ernig, where I passed
+the night, is the largest. From thence we went to Middleburg, where I
+saw in the abbey the great picture that Johann de Abus [Mabuse] had
+done. The drawing is not so good as the painting. After that we came
+to Fahr, where ships from all lands unload: it is a fine town. But at
+Armuyden a great danger befell me; for just as we were going to land,
+and our ropes were thrown out, there came a large ship alongside of
+us, and I was about to land, but there was such a press that I let
+every one land before me, so that nobody but I, Georg Kotzler, two old
+women, and the skipper with one small boy, were left in the ship. And
+when I and the above-named persons were on board, and could not get on
+shore, then the <span class='pagenum'><a name="Page_108" id="Page_108">[Pg 108]</a></span>heavy cable broke, and a strong wind came on, which
+drove our ship powerfully before it. Then we all cried loudly for
+help, but no one ventured to give it; and the wind beat us out again
+to sea.... Then there was great anxiety and fear; for the wind was
+very great, and not more than six persons on board. But I spoke to the
+skipper, and told him to take heart, and put his trust in God, and
+consider what there was to be done. Then he said he thought, if we
+could manage to hoist the little sail, he would try whether we could
+not get on. So with great difficulty, and working all together, we got
+it half way up, and sailed on again; and when those on the land saw
+this, and how we were able to help ourselves, they came and gave us
+assistance, so that we got safely to land. Middleburg is a good town,
+and has a very beautiful Town-house with a costly tower. And there are
+also many things there of old art. There is an exceedingly costly and
+beautiful seat in the abbey, and a costly stone aisle, and a pretty
+parish church. And in other respects also the town is very rich in
+subjects for sketches. Zealand is pretty and marvellous to see, on
+account of the water, which is higher than the land.&#8221;</p>
+
+<p><span class='pagenum'><a name="Page_109" id="Page_109">[Pg 109]</a></span></p><p>The tide had carried off the stranded whale; and so D&uuml;rer returned to
+Antwerp, staying a few days at Bergen. Soon afterwards he gave Von
+Rafensburg three books of fine engravings in return for five
+snail-shells, nine medals, four arrows, two pieces of white coral, two
+dried fish, and a scale of a large fish. Improvident collector of
+curiosities! how did the matronly Agnes endure such tradings? Many
+dinners with the Genoese Tomasin are then recorded, and fresh
+collations with new friends, in the hearty and hospitable spirit of
+the easy-living Netherlanders. He repaid the quaint presents of his
+admirers with many copies of his engravings, and occasionally made
+some money in the practice of his profession.</p>
+
+<p>&#8220;On Shrove Tuesday early the goldsmiths invited me and my wife to
+dinner. There were many distinguished people assembled, and we had an
+extremely costly meal, and they did me exceeding much honor; and in
+the evening the senior magistrate of the town invited me, and gave me
+a costly meal, and showed me much honor. And there came in many
+strange masks.&#8221; He then records his exchanges of <span class='pagenum'><a name="Page_110" id="Page_110">[Pg 110]</a></span>engravings for such
+singular returns as satin, candied citron, ivory salt-cellars from
+Calcutta, sea-shells, monk&#8217;s electuary, sweetmeats in profusion,
+porcelains, an ivory pipe, coral, boxing-gloves, a shield, lace,
+fishes&#8217; fins, sandal-wood, &amp;c. The Portuguese ambassador invited him
+to a rich Carnival feast, where there were &#8220;many very costly masks;&#8221;
+and the learned Petrus &AElig;gidius entertained him and Erasmus of
+Rotterdam together. He climbed up the cathedral tower, and &#8220;saw over
+the whole town from it, which was very agreeable.&#8221; Many of the
+curiosities which he had acquired were sent as presents to Pirkheimer,
+the Imhoffs, the Holzschuhers, and other noble friends in Nuremberg.
+Arion, the ex-Pensionary of Antwerp, gave him a feast, and presented
+him with Patenir&#8217;s painting of &#8220;Lot and his Daughters.&#8221;</p>
+
+<p>Soon after Easter, D&uuml;rer made another pleasant tour in the
+Netherlands, attended by the painter Jan Plos, passing by &#8220;the rich
+Abbey of Pol,&#8221; and &#8220;the great long village of Kahlb,&#8221; to &#8220;the splendid
+and beautiful town&#8221; of Bruges. Plos and the goldsmith Marx each gave
+him costly feasts, and showed him the Emperor&#8217;s palace, <span class='pagenum'><a name="Page_111" id="Page_111">[Pg 111]</a></span>the Archery
+Court, and many paintings by Roger van der Weyden, Hubert and Jan van
+Eyck, and Hugo van der Goes, together with an alabaster Madonna by
+Michael Angelo. &#8220;We came at last to the Painters&#8217; Chapel, where there
+are many good things. After that they prepared a banquet for me. And
+from thence I went with them to their guild, where many honorable
+folk, goldsmiths, painters, and merchants, were assembled; and they
+made me sup with them, and did me great honor. And the Rath gave me
+twelve measures of wine; and the whole assembly, more than sixty
+persons, accompanied me home with torches.</p>
+
+<p>&#8220;And when I arrived at Ghent, the chief of the painters met me, and he
+brought with him all the principal painters of the town; and they
+showed me great honor, and received me in very splendid style, and
+they assured me of their good-will and service; and I supped that
+evening with them. On Wednesday early they took me to St. John&#8217;s
+Tower, from which I saw over all the great and wonderful town. After
+that I saw Johann&#8217;s picture [Van Eyck&#8217;s &#8216;Adoration of the Spotless
+Lamb&#8217;]. It is a very rich and grandly conceived <span class='pagenum'><a name="Page_112" id="Page_112">[Pg 112]</a></span>painting; and
+particularly Eve, the Virgin Mary, and God the Father, are
+excellent.... Ghent is a beautiful and wonderful town, and four great
+waters flow through it. And I have besides seen many other very
+strange things at Ghent, and the painters with their chief have never
+left me; and I have eaten morning and night with them, and they have
+paid for every thing, and have been very friendly with me.&#8221;</p>
+
+<p>The master soon returned to Antwerp, in distress. &#8220;In the third week
+after Easter a hot fever attacked me, with great faintness,
+discomfort, and headache. And when I was in Zealand, some time back, a
+wonderful illness came upon me, which I had never heard of any one
+having before; and this illness I have still.&#8221; This low fever never
+quite left him, and was the cause of many doctor&#8217;s bills thereafter.
+Soon afterward he made a portrait of the landscape-painter Joachim
+Patenir; and &#8220;on the Sunday before Cross-week, Meister Joachim invited
+me to his wedding, and they all showed me much respect; and I saw two
+very pretty plays there, particularly the first, which was very pious
+and clerical.&#8221;</p>
+
+<p>D&uuml;rer seems to have had strong Protestant <span class='pagenum'><a name="Page_113" id="Page_113">[Pg 113]</a></span>sympathies, though it is
+claimed that he died in the faith of Rome. His journal in 1521
+contains the following significant sentences about Martin Luther: &#8220;He
+was a man enlightened by the Holy Ghost, and a follower of the true
+Christian faith.... He has suffered much for Christ&#8217;s truth, and
+because he has rebuked the unchristian Papacy which strives against
+the freedom of Christ with its heavy burdens of human laws; and for
+this we are robbed of the price of our blood and sweat, that it may be
+expended shamefully by idle, lascivious people, whilst thirsty and
+sick men perish of hunger.... Lord Jesus Christ, call together again
+the sheep of thy fold, of whom part are still to be found amongst the
+Indians, Muscovites, Russians, and Greeks, who through the burdens and
+avarice of the Papacy have been separated from us. Never were any
+people so horribly burdened with ordinances as us poor people by the
+Romish See; we who, redeemed by thy blood, ought to be free
+Christians.</p>
+
+<p>&#8220;O God, is Luther dead? Who will henceforth explain to us so clearly
+the holy Gospel? O all pious Christian men, bewail with me this
+God-inspired man, and pray to God to send us another <span class='pagenum'><a name="Page_114" id="Page_114">[Pg 114]</a></span>enlightened
+teacher! O Erasmus of Rotterdam, where dost thou remain? Behold how
+the unjust tyranny of this world&#8217;s might and the powers of darkness
+prevail! Hear, thou knight of Christ; ride forth in the name of the
+Lord, defend the truth, attain the martyr&#8217;s crown; thou art already an
+old manikin, and I have heard thee say that thou gavest thyself only
+two years longer in which thou wilt still be fit for work. Employ
+these well, then, in the cause of the Gospel and the true Christian
+faith.&#8221;</p>
+
+<p>More junketings, gamings, collecting of outlandish things, visits to
+religious and civic pageants, new sketches and paintings, doctor&#8217;s
+bills and monk&#8217;s fees, minutely recorded. &#8220;Meister Gerhard, the
+illuminator, has a daughter of eighteen years, called Susanna; and she
+has illuminated a plate, a Saviour, for which I gave a florin. It is a
+great wonder that a woman should do so well!... I have again and again
+done sketches and many other things in the service of different
+persons, and for the most part of my work I have received nothing at
+all.&#8221;</p>
+
+<p>After Corpus Christi Day, D&uuml;rer sent off several bales of his
+acquisitions to Nuremberg, by the <span class='pagenum'><a name="Page_115" id="Page_115">[Pg 115]</a></span>wagoner Cunz Mez. He and his wife
+then went to Mechlin; &#8220;and the painters and sculptors entertained me
+at my inn, and showed me great honor; and I went to Popenreuther&#8217;s
+house, the cannon-founder, and found many wonderful things there. I
+have also seen the Lady Margaret [the Archduchess and Regent], and
+carried the portrait of the Emperor, which I intended to present to
+her; but she took such a displeasure therein, I brought it away with
+me again. And on the Friday she showed me all her beautiful things,
+and amongst them I saw forty small pictures in oil, pure and good: I
+have never seen finer miniatures. And then I saw other good things of
+Johann&#8217;s [Van Eyck] and Jacob Walch&#8217;s. I begged my Lady to give me
+Meister Jacob&#8217;s little book, but she said she had promised it to her
+painter.&#8221;</p>
+
+<p>D&uuml;rer seems to have been treated with scant courtesy by the
+Archduchess, and soon returned to Antwerp. Here he was entertained by
+the eminent Lucas van Leyden, for whom he made a portrait, and
+received one of himself in return. The stately Nuremberger and the
+diminutive artist of Leyden were much astonished at each <span class='pagenum'><a name="Page_116" id="Page_116">[Pg 116]</a></span>other&#8217;s
+personal appearance, but had a warm mutual respect and esteem. D&uuml;rer
+next struck up a warm friendship with certain of the Augustine monks,
+and dined often at their cloister. In addition to the <i>bric-&agrave;-brac</i>
+which he still continued to collect, he now began to buy precious
+stones, in which he was badly swindled by a Frenchman, and dolefully
+wrote, &#8220;I am a fool at a bargain.&#8221;</p>
+
+<p>He was now about to return home, and naturally found it necessary,
+after having bought such a museum of oddities and curiosities, to
+borrow enough money to take him to Nuremberg. His friend Alexander
+Imhoff lent him 100 gold florins, receiving D&uuml;rer&#8217;s note in return. In
+some bitterness of spirit he wrote: &#8220;In all my transactions in the
+Netherlands, with people both of high and low degree, and in all my
+doings, expenses, sales, and other trafficking, I have always had the
+disadvantage; and particularly the Lady Margaret, for all I have given
+her and done for her, has given me nothing in return.&#8221;</p>
+
+<p>On the eve of D&uuml;rer&#8217;s departure, the King of Denmark, Christian II.,
+came to Antwerp, and not only had the master draw his portrait, but
+also invited him to a dinner. He then went to <span class='pagenum'><a name="Page_117" id="Page_117">[Pg 117]</a></span>Brussels, on business
+for his new royal patron, and was present at the pompous reception and
+banquet with which the Emperor and the Archduchess Margaret received
+the Danish King. Soon afterwards the King invited D&uuml;rer to the feast
+which he gave to the Emperor and Archduchess; and then had his
+portrait painted in oil-colors, paying thirty florins for it. After a
+sojourn of eight days in Brussels, the master and his wife went south
+to Cologne, spending four long days on the road; and soon afterwards
+prolonged their journey to Nuremberg.</p>
+
+<p>The municipality of Antwerp had offered him a house and a liberal
+pension, to remain in that city; but he declined these, being content
+with his prospects and his noble friends in Franconia.</p>
+
+<hr class="large" /><p><span class='pagenum'><a name="Page_118" id="Page_118">[Pg 118]</a></span></p>
+<h2><a name="CHAPTER_VII" id="CHAPTER_VII"></a>CHAPTER VII.</h2>
+
+<div class="blockquot"><p style="margin-left: 1.5em; text-indent: -1.5em;">Nuremberg&#8217;s Reformation.&mdash;The Little
+Masters.&mdash;Glass-Painting.&mdash;Architecture.&mdash;Letter to the City
+Council.&mdash;&#8220;Art of Mensuration.&#8221;&mdash;Portraits.&mdash;Melanchthon.</p></div>
+
+<p>What a commotion must D&uuml;rer&#8217;s return have caused in Nuremberg, with
+his commission as court-painter, and his bales and crates of rarities
+from America and India and all Europe! The presents which he had
+brought for so many of his friends must have given the liveliest
+delight, and afforded amusement for months to the Sodalitas Literaria
+and the Rath-Elders.</p>
+
+<p>In the mean time the purifying storm of the Reformation was sweeping
+over Germany, and the people were in times of great doubt and
+perplexity. Nuremberg was the first of the free cities of the Empire
+to pronounce herself Protestant, though the change was effected with
+so much order and moderation that no iconoclastic fury was allowed to
+dilapidate its churches and convents. <span class='pagenum'><a name="Page_119" id="Page_119">[Pg 119]</a></span>Pirkheimer and Spengler were
+excommunicated by the Pope, though their calm conservatism had curbed
+the fanatical fury of the puritans, and saved the Catholic
+art-treasures of the Franconian capital.</p>
+
+<p>It is a significant fact that D&uuml;rer, during the last six years of his
+life, made no more Madonnas, and but one Holy Family. The era of
+Mariolatry had passed, so far as Nuremberg was concerned. Yet, during
+the year of his return from the Netherlands, he made two engravings of
+St. Christopher bearing the Holy Child safely above the floods and
+through the storms, as if to indicate that Christianity would be
+carried through all its disasters by an unfailing strength.</p>
+
+<p>During the remaining six years of his life D&uuml;rer&#8217;s art-works were
+limited to a few portraits and engravings, and the great pictures of
+the Four Apostles. Much of his time was devoted to the publication of
+the fruits of his long experience, in several literary treatises, most
+of which are now lost. His broken health would not allow of continuous
+work, as the inroads of insidious disease slowly wasted his strength
+and ate away his vitality.</p>
+
+<p><span class='pagenum'><a name="Page_120" id="Page_120">[Pg 120]</a></span></p><p>The Little Masters were a group of artists who were formed in the
+studio or under the influence of D&uuml;rer, shining as a bright
+constellation of genius in the twilight of German art. Among these
+were the Bavarian Altdorfer, who combined in his brilliant paintings
+and engravings both fantasy and romanticism; the Westphalian
+Aldegrever, a laborious painter and a prolific engraver; Barthel
+Beham, who afterwards studied with and counterfeited the works of Marc
+Antonio in Italy; Hans Sebald Beham, who illustrated lewd fables and
+prayer books with equal skill and relish, and was finally driven from
+Nuremberg; Jacob Binck of Cologne, a neat and accurate draughtsman,
+who removed to Rome, and engraved Raphael&#8217;s works under the
+supervision of Marc Antonio; George Pensz, who also studied under the
+great Italian engraver, and executed 126 fine prints, besides several
+paintings. Other assistants and pupils of D&uuml;rer, of whom little but
+their names are now remembered, were Hans Brosamer of Fulda, and Hans
+Springinklee. Hans von Culmbach was a careful follower, who surpassed
+his master in love of nature and her warm and harmonious colors. The
+<span class='pagenum'><a name="Page_121" id="Page_121">[Pg 121]</a></span>Tucher altar-piece in St. Sebald&#8217;s Church was his master-picture.
+Contemporary with the Nuremberg painter, Matthew Grunewald was doing
+excellent work at Aschaffenburg, in northern Franconia. Among the
+German artists of his time, he was surpassed only by D&uuml;rer and
+Holbein.</p>
+
+<p>The Diet of the Empire was held at Nuremberg in 1522, and the
+Rath-haus was repainted and decorated for its sessions. D&uuml;rer was paid
+100 florins for his share in this work, although it is not known what
+it was. The best of the paintings were executed by his pupil, George
+Pensz, and it is probable that the master furnished some of the
+designs.</p>
+
+<p>Although our artist held a pension from the Emperor as his
+court-painter, his services seem to have never been called into
+requisition. Charles spent but little time at Nuremberg, and while yet
+in his youth had no care for seeing himself portrayed on canvas. It
+was after the master&#8217;s death that the Emperor first met Titian, and
+retained him as court-painter.</p>
+
+<p>In 1522 D&uuml;rer published at his own cost the first edition of the
+Triumphal Car of Kaiser <span class='pagenum'><a name="Page_122" id="Page_122">[Pg 122]</a></span>Maximilian, a woodcut whose labored and
+ponderous allegorical idea was conceived by Pirkheimer, designed in
+detail by D&uuml;rer, and engraved by R&ouml;sch on eight blocks, forming a
+picture 7&frac12; feet long by 1&frac12; feet high. The Emperor is shown
+seated in a chariot, surrounded by female figures representing the
+abstract virtues, while the leaders of the twelve horses, and even the
+wheels and reins, have magniloquent Latin names. Maximilian was
+greatly interested in this work, but died before its completion. The
+first edition was accompanied by explanatory German text, and the
+second by Latin descriptions.</p>
+
+<p>The large woodcut of Ulrich Varnb&uuml;hler, whom D&uuml;rer calls his &#8220;single
+friend,&#8221; is one of the master&#8217;s best works, and was printed over with
+three blocks, to produce a chiaroscuro. A little later, he made two
+copper-plates of the Cardinal Archbishop Albert of Magdeburg and
+Mayence.</p>
+
+<p>In 1523, while under the influence of the art-schools of the Lower
+Rhine, the master painted the pictures of Sts. Joachim and Joseph and
+St. Simeon and Bishop Lazarus, small figures on a gold ground.</p>
+
+<p>D&uuml;rer&#8217;s Family Relation records that, &#8220;My <span class='pagenum'><a name="Page_123" id="Page_123">[Pg 123]</a></span>dear mother-in-law took ill
+on Sunday, Aug. 18, 1521; and on Sept. 29, at nine of the night, she
+died piously. And in 1523, on the Feast of the Presentation, early in
+the morning, died my father-in-law, Hans Frey. He had been ill for six
+years, and had his share of troubles in his time.&#8221; They were buried in
+St. John&#8217;s Cemetery, in the same lot where the remains of their
+illustrious son-in-law were afterwards laid.</p>
+
+<p>It is said that D&uuml;rer largely occupied himself with glass-painting,
+during the earlier part of his career; and he probably designed much
+for the workers in stained glass then in Upper Germany and the Low
+Countries. Lacroix says that he produced twenty windows for the Temple
+Church at Paris; and Holt attributes to him the church-windows at
+Fairford, near Cirencester.</p>
+
+<p>As an architect Albert executed but few works, and only a slight
+record remains to our day. He made two plans for the Archduchess
+Margaret, and another for the house of her physician. Heideloff has
+proved that the gallery of the Gessert house at Nuremberg was built by
+D&uuml;rer, in a strange combination of geometric and Renaissance forms.</p>
+
+<p><span class='pagenum'><a name="Page_124" id="Page_124">[Pg 124]</a></span></p><p>Pirkheimer&#8217;s portrait was engraved in 1524, showing a gross and heavy
+face, obese to the last degree, and verifying in its physiognomy the
+probability that the playful innuendoes in D&uuml;rer&#8217;s Venetian letters
+were well grounded. It is not easy to see how such a spirit, learned
+in all the sciences of the age, and in close communion with Erasmus,
+Melanchthon, and Ulrich von Hutten, could have worn such a drooping
+mask of flesh. In the same year, D&uuml;rer published an engraved portrait
+of Frederick the Wise, Elector of Saxony, the supporter of Luther and
+the political leader of the Reformation. The head is admirably drawn
+and full of character, with firmness plainly indicated by strongly
+compressed lips.</p>
+
+<p>The following letter to the Council of Nuremberg was written in the
+year 1524:&mdash;</p>
+
+<div class="blockquot"><p>&#8220;Provident, Honorable, Wise, and Most Favorable Lords,&mdash;By my
+works and with the help of God, I have acquired 1,000 florins
+of the Rhine, and I would now willingly lay them by for my
+support. Although I know that it is not the custom with your
+Wisdoms to pay high interest, and that you have refused to
+give one florin in twenty; yet I am moved by my necessity, by
+<span class='pagenum'><a name="Page_125" id="Page_125">[Pg 125]</a></span>the particularly favorable regard which your Wisdoms have
+ever shown towards me, and also by the following causes, to
+beg this thing of your Honors. Your Wisdoms know that I have
+always been obedient, willing, and diligent in all things
+done for your Wisdoms, and for the common State, and for
+other persons of the Rath, and that the State has always had
+my help, art, and work, whenever they were needed, and that
+without payment rather than for money; for I can write with
+truth, that, during the thirty years that I have had a house
+in this town, I have not had 500 guldens&#8217; worth of work from
+it, and what I have had has been poor and mean, and I have
+not gained the fifth part for it that it was worth; but all
+that I have earned, which God knows has only been by hard
+toil, has been from princes, lords, and other foreign
+persons. Also I have expended all my earnings from foreigners
+in this town. Also your Honors doubtless know that, on
+account of the many works I had done for him, the late
+Emperor Maximilian, of praiseworthy memory, out of his own
+imperial liberality granted me an exemption from the rates
+and taxes of this town, which, however, I voluntarily <span class='pagenum'><a name="Page_126" id="Page_126">[Pg 126]</a></span>gave
+up, when I was spoken to about it by the Elders of the Rath,
+in order to show honor to my Lords, and to maintain their
+favor and uphold their customs and justice.</p>
+
+<p>&#8220;Nineteen years ago the Doge of Venice wrote to me, offering
+me 200 ducats a year if I would live in that city. More
+lately the Rath of Antwerp, while I remained in the Low
+Countries, also made me an offer, 300 florins of Philippe a
+year, and a fair mansion to live in. In both places all that
+I did for the Government would have been paid over and above
+the pension. All of which, out of my love for my honorable
+and wise Lords, for this town, and for my Fatherland, I
+refused, and chose rather to live simply, near your Wisdoms,
+than to be rich and great in any other place. It is therefore
+my dutiful request to your Lordships, that you will take all
+these things into your favorable consideration, and accept
+these thousand florins (which I could easily lay out with
+other worthy people both here and elsewhere, but which I
+would rather know were in the hands of your Wisdoms), and
+grant me a yearly interest upon them of fifty florins, so
+that I and my wife, who are daily growing old, <span class='pagenum'><a name="Page_127" id="Page_127">[Pg 127]</a></span>weak, and
+incapable, may have a moderate provision against want. And I
+will ever do my utmost to deserve your noble Wisdoms&#8217; favor
+and approbation, as heretofore.&#8221;</p></div>
+
+<p>This touching letter shows the poverty of D&uuml;rer&#8217;s savings, and his sad
+feeling that he had lived as a prophet without honor in his own
+country. It produced the desired effect, and brought him five per cent
+on his little capital, though after his death the Council hastened to
+reduce it to four per cent.</p>
+
+<p>D&uuml;rer&#8217;s wide study and remarkable versatility, rivalling that of
+Leonardo da Vinci, found further expression in literary work.
+Camerarius states that he wrote a hundred and fifty different
+treatises, showing a marked proficiency in several of the sciences.
+His first work was entitled &#8220;Instruction in the Art of Mensuration,&#8221;
+&amp;c., and was published in 1525 for the use of young painters. It is
+composed of four books, treating of the practical use of geometrical
+instruments, and the drawing of volutes, Roman letters, and winding
+stairs; and is illustrated by numerous woodcuts. The fourth book
+elucidates the idea of perspective, and contains pictures of an
+instrument <span class='pagenum'><a name="Page_128" id="Page_128">[Pg 128]</a></span>devised by the author, &#8220;which will be found particularly
+useful to persons who are not sure of drawing correctly.&#8221; This was not
+the only invention of D&uuml;rer&#8217;s; for there still exists a small model of
+a gun-carriage in wood and iron, made by him, and exhibiting certain
+improvements which he had designed and advocated. &#8220;The Art of
+Mensuration&#8221; was a successful book, and passed through one Latin and
+three German editions.</p>
+
+<p>The finest of D&uuml;rer&#8217;s works in portraiture was executed in 1526, and
+represents the grand old Jerome Holzschuher, one of the chief rulers
+of the city, with all the strength and keenness of his heroic nature
+lighting up the canvas. Enormous sums have been offered for this work;
+but it is still faithfully preserved in Nuremberg, and retains its
+original rich and vivid coloring. Another fine portrait, &#8220;like an
+antique bust,&#8221; now in the Vienna Belvedere, shows Johann Kleeberger,
+the generous and charitable man who was known abroad as &#8220;the good
+German.&#8221; Still another portrait of this year was that of the
+Burgomaster Jacob M&uuml;ffel, a well-modelled and carefully executed
+likeness of one of the <span class='pagenum'><a name="Page_129" id="Page_129">[Pg 129]</a></span>master&#8217;s best friends. Two very famous
+engravings of this date portray Erasmus of Rotterdam and Philip
+Melanchthon. Erasmus is represented as a venerable scholar, sitting at
+a desk, with a pen in his hand and a soft cap on his head; and the
+engraving is remarkable for its admirable execution and strong
+character. Still, the old philosopher was not pleased with it, and
+sent to Sir Thomas More his portrait by Holbein, which, he said, &#8220;is
+much more like me than the one by the famous Albert D&uuml;rer.&#8221; When
+Erasmus first saw the picture he said, &#8220;Oh! if I still resemble that
+Erasmus, I may look out for getting married,&#8221; as if it gave him too
+young an appearance.</p>
+
+<p>In 1526 the wise and noble-hearted Melanchthon came to Nuremberg to
+establish a Protestant Latin school, and formed a close intimacy with
+the master, whose tender and dreamy spirit was so like his own. During
+their constant intercourse, the artist became strengthened and
+comforted in the mild and pure doctrines of the true reformation, and
+was quietly yet strongly influenced to abandon even the forms of
+Catholicism which still remained. D&uuml;rer published a fine engraving of
+this friend of his last <span class='pagenum'><a name="Page_130" id="Page_130">[Pg 130]</a></span>years on earth, showing delicately-chiselled
+features, with large and tender eyes and a lofty forehead.</p>
+
+<p>Melanchthon wrote that in one of his frequent conversations with
+D&uuml;rer, the artist explained the great change which his methods had
+undergone, saying, &#8220;In his youth he was fond of a florid style and
+great combination of colors, and that in looking at his own work he
+was always delighted to find this diversity of coloring in any of his
+pictures; but afterwards in his mature years he began to look more
+entirely to nature, and tried to see her in her simplest form. Then he
+found that this simplicity was the true perfection of art; and, not
+attaining this, he did not care for his works as formerly, but often
+sighed when he looked at his pictures and thought of his incapacity.&#8221;</p>
+
+<hr class="large" /><p><span class='pagenum'><a name="Page_131" id="Page_131">[Pg 131]</a></span></p>
+<h2><a name="CHAPTER_VIII" id="CHAPTER_VIII"></a>CHAPTER VIII.</h2>
+
+<div class="blockquot"><p style="margin-left: 1.5em; text-indent: -1.5em;">&#8220;The Four Apostles.&#8221;&mdash;D&uuml;rer&#8217;s Later Literary Works.&mdash;Four Books of
+Proportion.&mdash;Last Sickness and Death.&mdash;Agnes D&uuml;rer.&mdash;D&uuml;rer described
+by a Friend.</p></div>
+
+<p>Schlegel says that &#8220;Albert D&uuml;rer may be called the Shakespeare of
+Painting;&#8221; and it is doubtless true that he filled out the narrow
+capabilities of early German art with a full measure of deep and
+earnest thought and powerful originality. The equal homage which was
+offered to him at Venice and Antwerp, the two art-antipodes, shows how
+highly he was regarded in his own day. His earlier works were executed
+in the crude and angular methods of Wohlgemuth and his contemporaries;
+and most of the pictures now attributed to him, often incorrectly, are
+of this character. But in his later works he swung clear of these
+trammelling archaisms, and produced brilliant and memorable
+compositions.</p>
+
+<p>&#8220;The Four Apostles,&#8221; now in the Munich <span class='pagenum'><a name="Page_132" id="Page_132">[Pg 132]</a></span>Pinakothek, were D&uuml;rer&#8217;s last
+and noblest works, and fairly justify Pirkheimer&#8217;s assurance, that if
+he had lived longer the master would have done &#8220;many more wonderful,
+strange, and artistic things.&#8221; They are full of grand thought and
+clear insight, free from exaggeration or conventionalism, perfect in
+execution and harmonious simplicity, and so distinct in individuality
+that it has been generally believed that the Four Temperaments are
+here impersonated. On one panel are Sts. John and Peter, in life-size,
+the former deeply meditating, with the Scriptures in his hand, and the
+latter bending forward and earnestly reading the Holy Book. The other
+panel shows the stately St. Paul, robed in white, standing before the
+ardent and impassioned St. Mark. Kugler calls these panels &#8220;the first
+complete work of art produced by Protestantism;&#8221; and the truth and
+simplicity of the paintings prefigured the return of a pure and
+incorrupt faith.</p>
+
+<p>Late in 1526, D&uuml;rer sent these pictures to the Rath of Nuremberg, with
+the following letter: &#8220;Provident, Honorable, Wise, Dear Lords,&mdash;I have
+been for some time past minded to present your Wisdoms with something
+of my unworthy <span class='pagenum'><a name="Page_133" id="Page_133">[Pg 133]</a></span>painting as a remembrance; but I have been obliged to
+give this up on account of the defects of my poor work, for I knew
+that I should not have been well able to maintain the same before your
+Wisdoms. During this past time, however, I have painted a picture, and
+bestowed more diligence upon it than upon any other painting;
+therefore I esteem no one worthier than your Wisdoms to keep it as a
+remembrance; on which account I present the same to you herewith,
+begging you with humble diligence to accept my little present
+graciously and favorably, and to be and remain my favorable and dear
+Lords, as I have always hitherto found you. This, with the utmost
+humility, I will sedulously endeavor to merit from your Wisdoms.&#8221;</p>
+
+<p>The Rath eagerly accepted this noble gift, and hung the two panels in
+the Rath-haus, sending also a handsome present of money to D&uuml;rer and
+his wife. A century afterwards Maximilian of Bavaria saw and coveted
+the pictures, and used bribery and threats alike to secure them. In
+1627 he accomplished his purpose; and the Rath, fearful of his wrath
+and dreading his power, sent the panels to Munich.</p>
+
+<p><span class='pagenum'><a name="Page_134" id="Page_134">[Pg 134]</a></span></p><p>The woodcut portrait of D&uuml;rer, dated 1527, shows the worn face of a
+man of fifty-six years, whose life has been stormy and sometimes
+unhappy. It is much less beautiful than the earlier pictures, for his
+long flowing hair and beard have both been cut short, perhaps on
+account of sickness, or in deference to the new puritan ideas. The
+face is delicate and melancholy, and seems to rest under the shadow of
+approaching death, which is to be met with a calm and simple faith.</p>
+
+<p>His second book, entitled &#8220;Some Instruction in the Fortification of
+Cities, Castles, and Towns,&#8221; appeared in 1527, and was dedicated to
+Ferdinand I., and adorned with several woodcuts. In this the artist
+showed the same familiarity with the principles of defensive works as
+his great contemporaries Leonardo da Vinci and Michael Angelo had
+done. Much attention is paid to the proper sheltering of heavy
+artillery from hostile shot; and the plans of the towers and bastions
+about Nuremberg, which were built after D&uuml;rer&#8217;s death, were suggested
+in this work. A large contemporary woodcut by the master shows the
+siege of a city, with cannon playing from the bastions, and the
+garrison making a sortie against the enemy.</p>
+
+<p><span class='pagenum'><a name="Page_135" id="Page_135">[Pg 135]</a></span></p><p>The celebrated &#8220;Four Books of Human Proportion&#8221; was D&uuml;rer&#8217;s greatest
+literary work, and was completed about this time, having been begun in
+1523. Its preparation was suggested by Pirkheimer, to whom it was
+dedicated, and who published it after the author&#8217;s death, with a long
+Latin elegy on him. Great labor was bestowed on this work, and many of
+the original sketches and notes are still preserved. The first and
+second books show the correct proportions of the human body and its
+members, according to scale, dividing the body into seven parts, each
+of which has the same measurement as the head, and then considering it
+in eighths. The proportions of children are also treated of; and the
+dogma is formulated, that the woman should be one-eighteenth shorter
+than the man. The third book is devoted to transposing or changing
+these proportions, and contains examples of distorted and
+unsymmetrical figures; and the fourth book treats of foreshortening,
+and shows the human body in motion. In his preface he says: &#8220;Let no
+one think that I am presumptuous enough to imagine that I have written
+a wonderful book, or seek to raise myself above others. This be far
+<span class='pagenum'><a name="Page_136" id="Page_136">[Pg 136]</a></span>from me! for I know well that but small and mediocre understanding
+and art can be found in the following work.&#8221;</p>
+
+<p>The high appreciation in which this book was held appears from the
+fact that it passed through several German editions, besides three
+Latin, two Italian, two French, Portuguese, Dutch, and English
+editions. Most of the original MS. is now in the British Museum.</p>
+
+<p>Among D&uuml;rer&#8217;s other works were treatises on Civic Architecture, Music,
+the Art of Fencing, Landscape-Painting, Colors, Painting, and the
+Proportions of the Horse.</p>
+
+<p>But the year 1527 was nearly barren of new art-works; for the master&#8217;s
+hand was losing its power, and his busy brain had grown weary. His
+constitution was slowly yielding before the fatal advances of a
+wasting disease, possibly the low fever which he had contracted in
+Zealand, or it may have been an affection of the lungs. In the latter
+days he made a memorandum: &#8220;Regarding the belongings I have amassed by
+my own handiwork, I have not had a great chance to become rich, and
+have had plenty of losses; having lent without being repaid, and my
+work-people <span class='pagenum'><a name="Page_137" id="Page_137">[Pg 137]</a></span>have not reckoned with me; also my agent at Rome died,
+after using up my property. Half of this loss was thirteen years ago,
+and I have blamed myself for losses contracted at Venice. Still we
+have good house-furnishing, clothing, costly things as earthenware
+[maiolica], professional fittings-up, bed-furnishings, chests, and
+cabinets; and my stock of colors is worth 100 guldens.&#8221;</p>
+
+<p>The last design of the master was a drawing on gray paper, showing
+Christ on the Cross. When this was all completed except the face of
+the Divine sufferer, the artist was summoned by Death, and ascended to
+behold in glory the features which he had so often portrayed under the
+thorns.</p>
+
+<p>A violent attack of his chronic disease prostrated him so far that he
+was unable to rally; and after a brief illness he passed gently away,
+on the 6th of April, 1528. It was the anniversary of the day on which
+Raphael died, eight years before. His friends were startled and
+grief-stricken at his sudden death, which came so unexpectedly that
+even Pirkheimer was absent from the city. It was long supposed that he
+died of <span class='pagenum'><a name="Page_138" id="Page_138">[Pg 138]</a></span>the plague, on the evidence of a portrait-drawing of himself,
+showing him pointing to a discolored plague-spot on his side, and
+inscribed, &#8220;Where my fingers point, there I suffer.&#8221; It was said that
+this sketch was for the information of his doctor, who dared not visit
+the pestilence-stricken sick-chamber. But this hypothesis is no longer
+considered tenable.</p>
+
+<p>The remains of the master were buried in the lot of his father-in-law,
+Hans Frey, at the Cemetery of St. John, beyond the walls; and his
+monument bore Pirkheimer&#8217;s simple epitaph: &#8220;<span class="smcap">Me. Al. Du. Quicquid
+Alberti Dureri Mortale Fuit, Sub Hoc Conditur Tumulo. Emigravit VIII
+Idus Aprilis, MDXXVIII. A.D.</span>&#8221;</p>
+
+<p>On Easter Sunday, 1828, the third centenary of his death, a great
+procession of artists and scholars from all parts of Germany moved in
+solemn state from Nuremberg to the grave of D&uuml;rer, where they sang
+hymns.</p>
+
+<p><span class='pagenum'><a name="Page_139" id="Page_139">[Pg 139]</a></span></p><div class="centerbox6 bbox3"><p>In the valley of the Pegnitz, where across broad meadowlands<br />
+Rise the blue Franconian mountains, Nuremberg the
+ancient stands.<br />
+<br />
+Quaint old town of toil and traffic, quaint old town of art
+and song,<br />
+Memories haunt thy pointed gables, like the rooks that
+round them throng.<br />
+<br />
+Memories of the Middle Ages, when the emperors rough
+and bold<br />
+Had their dwelling in thy castle, time-defying, centuries
+old;<br />
+<br />
+And thy brave and thrifty burghers boasted, in their
+uncouth rhyme,<br />
+That their great imperial city stretched its hand through
+every clime.<br />
+<br />
+In the courtyard of the castle, bound with many an iron
+band,<br />
+Stands the mighty linden planted by Queen Cunigunde&#8217;s
+hand;<br />
+<br />
+On the square the oriel window, where in old heroic days<br />
+Sat the poet Melchior singing Kaiser Maximilian&#8217;s praise.<br />
+<br />
+Everywhere I see around me rise the wondrous world of
+Art,<br />
+Fountains wrought with richest sculpture standing in the
+common mart;<br />
+<br />
+<span class='pagenum'><a name="Page_140" id="Page_140">[Pg 140]</a></span>And above cathedral doorways, saints and bishops carved in
+stone,<br />
+By a former age commissioned as apostles to our own.<br />
+<br />
+In the church of sainted Sebald sleeps enshrined his holy
+dust,<br />
+And in bronze the Twelve Apostles guard from age to age
+their trust:<br />
+<br />
+In the church of sainted Lawrence stands a pix of sculpture
+rare,<br />
+Like the foamy sheaf of fountains, rising through the painted
+air.<br />
+<br />
+Here, when Art was still religion, with a simple, reverent
+heart,<br />
+Lived and labored Albrecht D&uuml;rer, the Evangelist of Art;<br />
+<br />
+Hence in silence and in sorrow, toiling still with busy hand,<br />
+Like an emigrant he wandered, seeking for the Better Land.<br />
+<br />
+<i>Emigravit</i> is the inscription on the tombstone where he
+lies:<br />
+Dead he is not, but departed, for the artist never dies.</p>
+
+<p class="right"><span class="smcap">Longfellow.</span></p></div>
+
+<p><span class='pagenum'><a name="Page_141" id="Page_141">[Pg 141]</a></span></p><p>Pirkheimer wrote to Ulrich, &#8220;Although I have been often tried by the
+death of those who were dear to me, I think I have never until now
+experienced such sorrow as the loss of our dearest and best D&uuml;rer has
+caused me. And truly not without cause; for, of all men who were not
+bound to me by ties of blood, I loved and esteemed him the most, on
+account of his countless merits and rare integrity. As I know, my dear
+Ulrich, that you share my sorrow, I do not hesitate to allow it free
+course in your presence, so that we may consecrate together a just
+tribute of tears to our dear friend. He has gone from us, our Albert!
+Let us weep, my dear Ulrich, over the inexorable fate, the miserable
+lot of man, and the unfeeling cruelty of death. A noble man is
+snatched away, whilst so many others, worthless and incapable men,
+enjoy unclouded happiness, and have their years prolonged beyond the
+ordinary term of man&#8217;s life.&#8221;</p>
+
+<p><a name="Link1" id="Link1"></a>Pirkheimer died two years after D&uuml;rer&#8217;s death, and was buried near
+him. During his last days, and therefore so long after his friend&#8217;s
+decease that the first violence of his emotions had fully subsided,
+and his mind had become calm, he <span class='pagenum'><a name="Page_142" id="Page_142">[Pg 142]</a></span>wrote to Herr Tschertte of Vienna,
+and gave the following arraignment of the widow D&uuml;rer: &#8220;Truly I lost
+in Albert the best friend I ever had in the world, and nothing grieves
+me so much as to think that he died such an unhappy death; for after
+the providence of God I can ascribe it to no one but his wife, who so
+gnawed at his heart, and worried him to such a degree, that he
+departed from this world sooner than he would otherwise have done. He
+was dried up like a bundle of straw, and never dared to be in good
+spirits, or to go out into society. For this bad woman was always
+anxious, although really she had no cause to be; and she urged him on
+day and night, and forced him to hard work only for this,&mdash;that he
+might earn money, and leave it to her when he died. For she always
+feared ruin, as she does still, notwithstanding that Albert has left
+her property worth about six thousand gulden. But nothing ever
+satisfied her; and in short she alone was the cause of his death. I
+have often myself expostulated with her about her suspicious,
+blameworthy conduct, and have warned her, and told her beforehand what
+the end of it would be; but I have never met with <span class='pagenum'><a name="Page_143" id="Page_143">[Pg 143]</a></span>any thing but
+ingratitude. For whoever was a friend of her husband&#8217;s, and wished him
+well, to him she was an enemy; which troubled Albert to the highest
+degree, and brought him at last to his grave. I have not seen her
+since his death: she will have nothing to do with me, although I have
+been helpful to her in many things; but one cannot trust her. She is
+always suspicious of anybody who contradicts her, or does not take her
+part in all things, and is immediately an enemy. Therefore I would
+much rather she should keep away from me. She and her sister are not
+loose characters, but, as I do not doubt, honorable, pious, and very
+God-fearing women; but one would rather have to do with a light woman
+who behaved in a friendly manner, than with such a nagging,
+suspicious, scolding, pious woman, with whom a man can have no peace
+day or night. We must, however, leave the matter to God, who will be
+gracious and merciful to our good Albert, for he lived a pious and
+upright man, and died in a very Christian and blessed manner;
+therefore we need not fear his salvation. God grant us grace, that we
+may happily follow him when our time comes!&#8221;</p>
+
+<p><span class='pagenum'><a name="Page_144" id="Page_144">[Pg 144]</a></span></p><p>It is said that Raphael, after studying D&uuml;rer&#8217;s engravings, exclaimed,
+&#8220;Of a truth this man would have surpassed us all if he had had the
+masterpieces of art constantly before his eyes as we have.&#8221; Even so at
+the present day is it seen, that if D&uuml;rer had studied classic art, and
+imbibed its principles, he might have added a rare beauty to the weird
+ugliness and solemnity of his designs, and substituted the sweet
+Graces for the grim Walkyrie. Yet in that case the world would have
+lost the fascinations of the sad and profound Nuremberg pictures, with
+their terrific realism and fantastic richness.</p>
+
+<p>Italy did not disdain to borrow the ideas of the transalpine artist;
+and even Raphael took the design of his famous picture of &#8220;The
+Entombment&#8221; (<i>Lo Spasimo</i>) from D&uuml;rer&#8217;s picture in &#8220;The Great
+Passion.&#8221; Titian borrowed from his &#8220;Life of the Virgin&#8221; the figure of
+an old woman, which he introduced in his &#8220;Presentation in the Temple.&#8221;
+The Florentine Pontormo copied a whole landscape from one of D&uuml;rer&#8217;s
+paintings; and Andrea del Sarto received many direct suggestions from
+his works.</p>
+
+<p><span class='pagenum'><a name="Page_145" id="Page_145">[Pg 145]</a></span></p><div class="blockquot"><p>&#8220;It is very surprising in regard to that man, that in a
+rude and barbarous age he was the first of the Germans who
+not only arrived at an exact imitation of nature, but has
+likewise left no second; being so absolute a master of it in
+all its parts,&mdash;in etching, engraving, statuary,
+architecture, optics, symmetry, and the rest,&mdash;that he had
+no equal except Michael Angelo Buonarotti, his contemporary
+and rival; and he left behind him such works as were too
+much for the life of one man.&#8221;&mdash;<span class="smcap">John Andreas.</span></p></div>
+
+<p>In the preface to his Latin translation of &#8220;The Four Books of Human
+Proportion,&#8221; the Rector Camerarius says: &#8220;Nature gave our Albert a
+form remarkable for proportion and height, and well suited to the
+beautiful spirit which it held therein; so that in his case she was
+not unmindful of the harmony which Hippocrates loves to dwell upon,
+whereby she assigns a grotesque body to the grotesquely-spirited ape,
+while she enshrines the noble soul in a befitting temple. He had a
+graceful hand, brilliant eyes, a nose well-formed, such as the Greeks
+call &#932;&#949;&#964;&#961;&#940;&#947;&#969;&#957;&#959;&#957;, the neck a little long, chest full, stomach
+flat, hips well-knit, and legs straight. As to his fingers, you would
+have said that you never saw <span class='pagenum'><a name="Page_146" id="Page_146">[Pg 146]</a></span>any thing more graceful. Such, moreover,
+was the charm of his language, that listeners were always sorry when
+he had finished speaking.</p>
+
+<p>&#8220;He did not devote himself to the study of literature, though he was
+in a great measure master of what it conveys, especially of natural
+science and mathematics. He was well acquainted with the principal
+facts of these sciences, and could apply them as well as set them
+forth in words: witness his treatises on geometry, in which there is
+nothing to be desired that I can find, at least so far as he has
+undertaken to treat the subject.... But Nature had especially designed
+him for painting, which study he embraced with all his might, and was
+never tired of considering the works and methods of celebrated
+painters, and learning from them all that commended itself to him....
+If he had a fault it was this: that he worked with too untiring
+industry, and practised a degree of severity towards himself that he
+often carried beyond bounds.&#8221;</p>
+
+<hr class="large" /><p><span class='pagenum'><a name="Page_147" id="Page_147">[Pg 147]</a></span></p>
+<h4>A LIST OF</h4>
+
+<h3>ALBERT D&Uuml;RER&#8217;S CHIEF PAINTINGS</h3>
+
+<p class="center">NOW IN EXISTENCE, WITH THE DATES OF THEIR EXECUTION,<br />
+AND THEIR PRESENT LOCATIONS.</p>
+
+<p><sup>*</sup><sub>*</sub><sup>*</sup><i>The interrogation-mark is annexed to the titles
+of certain paintings which two or more critics regard as of doubtful
+authenticity.</i></p>
+
+<p class="center">GERMANY.</p>
+
+<p><span class="smcap">Nuremberg.</span>&mdash;<i>Germanic Museum,</i>&mdash;Emperor Maximilian; Burgomaster
+Holzschuher, 1526. <i>St. Maurice Gallery,</i>&mdash;Piet&agrave;; Ecce Homo.
+<i>Rath-Haus</i>,&mdash;Emperor Sigismund(?); Charlemagne(?).</p>
+
+<p><span class="smcap">Munich Pinakothek.</span>&mdash;Baumg&auml;rtner Altar-piece, 1513; Suicide of
+Lucretia, 1518; Albert D&uuml;rer, 1500; Oswald Krell, 1499; Michael
+Wohlgemuth, 1516; Albert D&uuml;rer the Elder, 1497; the Nativity; Sts.
+Paul and Mark, 1526; Sts. Peter and John, 1526; a Knight in Armor(?);
+Sts. Joachim and Joseph, 1523; St. Simeon and Bishop Lazarus, 1523;
+Death of the Virgin; a Young Man, 1500; Piet&agrave;(?); Mater Dolorosa.</p>
+
+<p><span class="smcap">Dresden Museum.</span>&mdash;Christ Bearing the Cross; the <span class='pagenum'><a name="Page_148" id="Page_148">[Pg 148]</a></span>Crucifixion; a Hare;
+Lucas van Leyden; Madonna and Saints (?).</p>
+
+<p><span class="smcap">Cologne.</span>&mdash;<i>Museum,</i>&mdash;Drummer and Piper; Madonna (?). <i>Church of Sta.
+Maria im Capitol,</i>&mdash;Death of the Virgin.</p>
+
+<p><span class="smcap">Frankfort.</span>&mdash;<i>Municipal Gallery,</i>&mdash;Two portraits. <i>St&auml;del
+Institute,</i>&mdash;Catherine F&uuml;rleger; Albert D&uuml;rer the Elder.</p>
+
+<p><span class="smcap">Cassel.</span>&mdash;<i>Friedrich Museum,</i>&mdash;The Passion. <i>Bellevue,</i>&mdash;Erasmus of
+Rotterdam.</p>
+
+<p><span class="smcap">Pommersfelden.</span>&mdash;Jacob M&uuml;ffel.</p>
+
+<p><span class="smcap">Lustschena</span> (Baron Speck).&mdash;A Young Lady.</p>
+
+<p><span class="smcap">Aschaffenburg.</span>&mdash;Albert D&uuml;rer.</p>
+
+<p><span class="smcap">Augsburg.</span>&mdash;Two Masques. Several others in the Castle of Stolzenfels.</p>
+
+<p class="center">AUSTRIA.</p>
+
+<p><span class="smcap">Vienna.</span>&mdash;<i>Belvedere,</i>&mdash;Emperor Maximilian, 1519; Martyrdom of the Ten
+Thousand Christians, 1508; Madonna, 1506; Adoration of the Magi, 1504;
+Madonna, 1503; Adoration of the Holy Trinity, 1511; Madonna; Young
+Man, 1507; Johann Kleeberger, 1526; and others not definitely
+authenticated. <i>The Albertina,</i>&mdash;Emperor Maximilian, Green Passion,
+and 160 drawings. <i>Czernin Palace,</i>&mdash;Portrait. The old Ambraser,
+Lichtenstein, and Von Lamberg collections included four portraits and
+two religious pictures. <i>St. Wolfgang&#8217;s Church,</i> Upper Austria,&mdash;Death
+of the Virgin.</p>
+
+<p><span class="smcap">Pesth.</span>&mdash;Christ on the Cross.</p>
+
+<p><span class="smcap">Prague.</span>&mdash;<i>Strahow Abbey,</i>&mdash;The Feast of Rose Garlands.</p>
+
+<p class="center">NORTHERN EUROPE.</p>
+
+<p><span class="smcap">St. Petersburg.</span>&mdash;<i>Hermitage Palace,</i>&mdash;Christ Led to Calvary; Christ
+Bearing the Cross; the Elector of Saxony.</p>
+
+<p><i>Hague Museum.</i>&mdash;Two portraits.</p>
+
+<p><i>Bel&oelig;il</i> (Prince de <span class='pagenum'><a name="Page_149" id="Page_149">[Pg 149]</a></span>Ligne),&mdash;Two
+pictures.</p>
+
+<p><i>Basle Museum</i> (Switzerland).&mdash;Two pictures.</p>
+
+<p><i>Coire Cathedral,</i>&mdash;Christ Bearing the Cross.</p>
+
+<p class="center">ITALY.</p>
+
+<p><span class="smcap">Florence.</span>&mdash;<i>Uffizi Gallery,</i>&mdash;Adoration of the Magi, 1504; Madonna,
+1526; D&uuml;rer&#8217;s Father, 1490; Apostle Philip, 1516; St. James the Great,
+1516; Albert D&uuml;rer, 1498; Ecce Homo (?); Nativity (?); Piet&agrave; (?).
+<i>Pitti Palace,</i>&mdash;Adam and Eve (replica).</p>
+
+<p><span class="smcap">Rome.</span>&mdash;<i>Barberini Palace,</i>&mdash;Christ among the Doctors, 1506. <i>Borghese
+Palace,</i>&mdash;Louis VI. of Bavaria; Pirkheimer, 1505; and five pictures of
+dubious authenticity. <i>Corsini Palace,</i>&mdash;A Hare; Cardinal Albert of
+Brandenburg. <i>Doria Palace,</i>&mdash;St. Eustace (?); Ecce Homo (?).
+<i>Sciarra-Colonna Palace,</i>&mdash;Death of the Virgin.</p>
+
+<p><span class="smcap">Milan.</span>&mdash;<i>Casa Trivulzi,</i>&mdash;Ecce Homo, 1514. <i>Ambrosiana,</i>&mdash;Coronation
+of the Virgin, 1510. <i>Bergamo Academy,</i>&mdash;Christ Bearing the Cross.
+<i>Brescia Gallery,</i>&mdash;Drawings.</p>
+
+<p><span class="smcap">Venice.</span>&mdash;<i>Manfrini Palace,</i>&mdash;Adoration of the Shepherds; Holy Family.</p>
+
+<p><span class="smcap">Naples.</span>&mdash;<i>Santangelo,</i>&mdash;Garland-Bearer, 1508. <i>Museum,</i>&mdash;Nativity,
+1512. <i>Villafranca Palace,</i>&mdash;Christ on the Cross.</p>
+
+<p class="center">SPAIN.</p>
+
+<p><span class="smcap">Madrid.</span>&mdash;<i>Museum,</i>&mdash;Albert D&uuml;rer, 1498; D&uuml;rer&#8217;s Father; Adam and Eve.
+<i>Marquis of Salamanca,</i>&mdash;Altar-piece, a Passion scene.</p>
+
+<p class="center">FRANCE.</p>
+
+<p><i>Besan&ccedil;on Museum,</i>&mdash;Christ on the Cross. <i>Lyons,</i>&mdash;Madonna and Child
+Giving Roses to Maximilian (?).</p>
+
+<p><span class='pagenum'><a name="Page_150" id="Page_150">[Pg 150]</a></span></p><p class="center">GREAT BRITAIN.</p>
+
+<p><i>National Gallery,</i>&mdash;A Senator, 1514. <i>Stafford House,</i> Death of
+the Virgin. <i>Hampton-Court Palace,</i>&mdash;Young Man, 1506; St. Jerome (?).
+<i>Buckingham Palace,</i>&mdash;Virgin and Child. <i>Rev. J. F.
+Russell,</i>&mdash;Crucifixion; Christ&#8217;s Farewell to Mary (?). <i>Thirlestaine
+House,</i>&mdash;Maximilian. <i>Kensington Palace,</i>&mdash;Young Man. <i>New Battle
+House,</i>&mdash;Madonna and Angels. <i>Belvoir Castle,</i>&mdash;Portrait. <i>Sion
+House,</i>&mdash;D&uuml;rer&#8217;s Father. <i>Mr. Wynn Ellis, London,</i>&mdash;Catherine
+F&uuml;rleger; Virgin and Child. <i>FitzWilliam Museum, Cambridge,</i>&mdash;Annunciation (?).
+<i>Windsor Castle,</i>&mdash;Pirkheimer. <i>Bath House,</i>&mdash;Man in Armor. <i>Howard
+Castle,</i>&mdash;Vulcan; Adam and Eve; Abraham and Isaac.</p>
+
+<p><sup>*</sup><sub>*</sub><sup>*</sup><i>The latest of the lists of D&uuml;rer&#8217;s paintings,
+compiled by Mr. W. B. Scott in 1870, enumerates the following
+collections, long since dispersed, with the dates when they were
+cataloged: 11 pictures at Aix, in 1822; 2 at Anspach, 1816; 5 at
+Augsburg, 1822; 10 at Bamberg, 1821; 2 at Banz, 1814; 4 at Berlin,
+1822; 3 at Blankenberg, 1817; 3 at Bologna, 1730; 3 at Breslau, 1741;
+6 at Brussels, 1811. Many of these cannot now be located, the
+collections having been broken up.</i></p>
+
+<hr class="large" /><p><span class='pagenum'><a name="Page_151" id="Page_151">[Pg 151]</a></span></p>
+<h4>A LIST OF</h4>
+
+<h3>D&Uuml;RER&#8217;S WOOD ENGRAVINGS.</h3>
+
+<p><i>Bible Subjects.</i>&mdash;Cain Killing Abel; Samson Slaying the Lion;
+Adoration of the Magi, 1511; the Last Supper, 1523; the Mount of
+Olives; Pilate Showing Christ to the Jews; the Sudarium; Ecce Homo;
+the Crucifixion, 1510; the Crucifixion, 1516; Calvary; the
+Crucifixion; Christ on the Cross, with Angels; the Trinity, 1511; the
+Holy Family, 1511; the Holy Family with a Guitar, 1511; the Holy
+Family, 1526; the Holy Family in a Chamber; the Virgin with the
+Swaddled Child; the Virgin Crowned by Angels, 1518; the Holy Family
+with Three Rabbits.</p>
+
+<p><i>Saints.</i>&mdash;St. Arnolf, Bishop; St. Christopher, 1511; St. Christopher
+with the Birds; St. Christopher, 1525; St. Colman of Scotland, 1513;
+St. Francis Receiving the Stigmata; St. George; the Mass of St.
+Gregory, 1511; St. Jerome in a Chamber, 1511; St. Jerome in the
+Grotto, 1512; the Little St. Jerome; the Beheading of St. John the
+Baptist; the Head of St. John brought to Herod, 1511; St. Sebald; the
+Penitent; Elias and the Raven; Sts. John and Jerome; Sts. Nicholas,
+Udalricus, and Erasmus; Sts. Stephen, Gregory, and Lawrence; the Eight
+Austrian Saints; the Martyrdom <span class='pagenum'><a name="Page_152" id="Page_152">[Pg 152]</a></span>of Ten Thousand Christians; the
+Beheading of St. Catherine; St. Mary Magdalen.</p>
+
+<p><i>Portraits.</i>&mdash;The Emperor Maximilian, 1519; the Emperor; Ulrich
+Varnb&uuml;hler, 1522; Albert D&uuml;rer, 1527.</p>
+
+<p><i>Heraldic Subjects.</i>&mdash;The Beham Arms; the D&uuml;rer Arms, 1523; the
+Ebner-Furer Arms, 1516; the Kressen Arms; the Shield of Nuremberg; the
+Shield with three Lions&#8217; Heads; the Shield with a Wild Man and two
+Dogs; the Scheurl-Zuiglin Arms; the Stabius Arms; the Staiber Arms.</p>
+
+<p><i>Miscellaneous Subjects.</i>&mdash;The Judgment of Paris; Hercules; the Rider;
+the Bath; the Embrace; the Learner, 1510; Death and the Soldier, 1510;
+the Besieged City, 1527; the Rhinoceros, 1515; the Triumphal Chariot
+of Maximilian, 1522; the Great Column, 1517; a Man Sketching; two Men
+Sketching a Lute; a Man Sketching a Woman; a Man Sketching an Urn;
+Hemispherium Australe; Imagines C&oelig;li Septentrionalis; Imagines
+C&oelig;li Meridionalis; the Pirkheimer Title-border; six Ornamental
+designs; two title-borders.</p>
+
+<p><i>The Great Passion</i> (12 cuts; 1510).&mdash;Ecce Homo; the Last Supper; the
+Agony in the Garden; the Seizing of Christ; the Flagellation; the
+Mocking; Bearing the Cross; the Crucifixion; Christ in Hades; the
+Wailing Maries; the Entombment; the Resurrection.</p>
+
+<p><i>The Little Passion</i> (37 cuts; 1511).&mdash;Ecce Homo; Adam and Eve; the
+Expulsion from Eden; the Annunciation; the Nativity; the Entry into
+Jerusalem; the Cleansing of the Temple; Christ&#8217;s Farewell to His
+Mother; the Last Supper; <span class='pagenum'><a name="Page_153" id="Page_153">[Pg 153]</a></span>the Washing of the Feet; the Agony in the
+Garden; the Kiss of Judas; Christ before Annas; Caiaphas Rends his
+Clothes; the Mocking; Christ and Pilate; Christ before Herod; the
+Scourging; the Crowning with Thorns; Christ Shown to the Jews; Pilate
+Washing his Hands; Bearing the Cross; the Veronica; Nailing Christ to
+the Cross; the Crucifixion; Descent into Hell; the Descent from the
+Cross; the Weeping Maries; the Entombment; the Resurrection; Christ in
+Glory Appearing to His Mother; Appearing to Mary Magdalen; at Emmaus;
+the Unbelief of St. Thomas; the Ascension; the Descent of the Holy
+Ghost; the Last Judgment.</p>
+
+<p><i>The Life of the Virgin</i> (20 designs; 1511).&mdash;The Virgin and Child;
+Joachim&#8217;s Offering Rejected; the Angel Appears to Joachim; Joachim
+Meeting Anna; the Birth of Mary; the Virgin&#8217;s Presentation at the
+Temple; the Betrothal of Mary and Joseph; the Annunciation; the
+Visitation of St. Elizabeth; the Nativity; the Circumcision; the
+Purification of Mary; the Flight into Egypt; the Repose in Egypt;
+Christ Teaching in the Temple; Christ&#8217;s Farewell to His Mother; the
+Death of the Virgin; the Assumption; the Virgin and Child with seven
+Saints.</p>
+
+<p><i>The Apocalypse of St. John</i> (16 designs; 1498).&mdash;The Virgin and Child
+Appearing to St. John; His Attempted Martyrdom; the Seven Golden
+Candlesticks and the Seven Stars; the Throne of God with the
+Four-and-twenty Elders and the Beasts; the Descent of the Four Horses;
+the Martyrs Clothed in White and the Stars Falling; the Four Angels
+Holding the Winds, and the Sealing of the Elect; <span class='pagenum'><a name="Page_154" id="Page_154">[Pg 154]</a></span>the Seven Angel
+Trumpeters and the Glorified Host of Saints; the Four Angels Slaying
+the Third Part of Men; John is Made to Eat the Book; the Woman Clothed
+with the Sun, and the Seven-headed Dragon; Michael and his Angels
+Fighting the Great Dragon; the Worship of the Seven-headed Dragon; the
+Lamb in Zion; the Woman of Babylon Sitting on the Beast; the Binding
+of Satan for a Thousand Years.</p>
+
+<p>There are 261 other wood-engravings described in the catalogue
+attached to Scott&#8217;s &#8220;Life of D&uuml;rer,&#8221; and ranked as &#8220;doubtful.&#8221; Many of
+these are held to be authentic by one or more of the three critical
+authorities on D&uuml;rer&#8217;s works,&mdash;Heller, Bartsch, and Passavant. Other
+connoisseurs, however, ascribe them to different engravers of the
+early German schools, mostly to pupils and colleagues of D&uuml;rer.</p>
+
+<h3>ENGRAVINGS ON COPPER.</h3>
+
+<p><i>Bible-Subjects.</i>&mdash;Adam and Eve, 1504; the Nativity, 1504; the Passion
+on copper (16 designs), 1508-13; Crucifixion, 1508, 1511; Little
+Crucifixion, 1513; Christ Showing His Five Wounds; Angel with the
+Sudarium, 1516; two Angels with the Sudarium, 1513; the Prodigal Son,
+1500; the Virgin and Anna; Mary on the Crescent Moon, no date; Mary on
+the Crescent Moon, 1514; Mary with a Crown of Stars, 1508; Mary with
+the Starry Crown and Sceptre, 1516; Mary Crowned by an Angel, 1520;
+Mary Crowned by two Angels, 1518; the Nursing Mary, 1503; the Nursing
+Mary, 1519; Mary with the Swaddled Child, <span class='pagenum'><a name="Page_155" id="Page_155">[Pg 155]</a></span>1520; Mary under a Tree,
+1513; Mary by the Well, 1514; Mary with the Pear, 1511; Mary with the
+Monkey, no date; the Holy Family with the Butterfly, early work.</p>
+
+<p><i>Saints.</i>&mdash;St. Philip; St. Bartholomew, 1523; St. Thomas, 1514; St.
+Simon, 1514; St. Paul, 1514; St. Anthony, 1519; St. Christopher, 1521;
+St. Christopher, second design; St. John Chrysostom; St. Eustace, no
+date; St. George; Equestrian St. George, 1508; St. Jerome, 1514; St.
+Jerome Praying; the same, smaller, 1513; St. Sebastian; St. Sebastian
+Bound to a Pillar.</p>
+
+<p><i>Miscellaneous.</i>&mdash;The Judgment of Paris, 1513; Apollo and Diana; the
+Rape of Amymone; Jealousy; the Satyr&#8217;s Family, 1505; Justice; the
+Little Fortune; the Great Fortune; Melencolia, 1514; the Dream; the
+Four Naked Women, 1497; the Witch; Three Cupids; Gentleman and Lady
+Walking; the Love Offer; the Wild Man Seizing a Woman, early work; the
+Bagpiper, 1514; the Dancing Rustics, 1514; the Peasant and his Wife;
+Peasant Going to Market; Three Peasants; the Cook and the Housekeeper;
+the Turk and his Wife; the Standard-bearer; the Six Soldiers; the
+Little Courier; the Equestrian Lady; the Great White Horse, 1505; the
+Small White Horse, 1505; the Knight, Death, and the Devil, 1513; the
+Monster Pig; the Coat-of-arms with the Cock, 1514; the Coat-of-arms
+and Death&#8217;s Head, 1503.</p>
+
+<p><i>Portraits.</i>&mdash;The Cardinal-Archbishop Albert of Mayence, 1519, 1522;
+larger portrait of the same; Frederick the Wise, Elector of Saxony,
+1524; Erasmus of Rotterdam, 1526; Philip Melanchthon, 1526; Willibald
+Pirkheimer, 1524.</p>
+
+<p><span class='pagenum'><a name="Page_156" id="Page_156">[Pg 156]</a></span></p><p><i>Etchings.</i>&mdash;Christ with Bound Hands, 1512; Ecce Homo, 1515; Christ on
+the Mount of Olives, 1515; the Holy Family; St. Jerome; Pluto and
+Proserpine; the Bath; the Cannon.</p>
+
+<hr class="large" /><h2>INDEX.</h2>
+
+<p class="center">&mdash;&mdash;&#9670;&mdash;&mdash;</p>
+
+<div class="centered">
+<table border="0" width="100%" cellpadding="0" cellspacing="0" summary="INDEX">
+
+<tr><td style="width: 50%; vertical-align: top;">
+<ul class="none">
+<li><i>Adam and Eve,</i> <a href="#Page_45">45</a>, <a href="#Page_57">57</a>.</li>
+<li><i>Adoration of the Kings,</i> <a href="#Page_45">45</a>.</li>
+<li><i>Adoration of the Trinity,</i> <a href="#Page_62">62</a>, <a href="#Page_68">68</a>.</li>
+<li>Aix-la-Chapelle, <a href="#Page_105">105</a>.</li>
+<li>Aldegrever, <a href="#Page_120">120</a>.</li>
+<li>Altdorfer, <a href="#Page_120">120</a>.</li>
+<li>Antwerp, <a href="#Page_97">97</a>, <a href="#Page_106">106</a>, <a href="#Page_117">117</a>, <a href="#Page_126">126</a>.</li>
+<li><span style="margin-left: 1em;">&mdash; Cathedral, <a href="#Page_99">99</a>, <a href="#Page_110">110</a>.</span></li>
+<li>Architectural Works, <a href="#Page_123">123</a>.</li>
+<li>Art of Mensuration, <a href="#Page_127">127</a>.</li>
+<li>Augsburg, <a href="#Page_91">91</a>.</li></ul>
+
+<ul class="none">
+<li>Bamberg, <a href="#Page_44">44</a>, <a href="#Page_96">96</a>.</li>
+<li>Basle, <a href="#Page_26">26</a>.</li>
+<li>Baumg&auml;rtner, <a href="#Page_14">14</a>, <a href="#Page_39">39</a>, <a href="#Page_52">52</a>, <a href="#Page_77">77</a>, <a href="#Page_78">78</a>.</li>
+<li>Behaim, Martin, <a href="#Page_12">12</a>.</li>
+<li>Beham, <a href="#Page_120">120</a>.</li>
+<li>Beheim, Hans, <a href="#Page_11">11</a>.</li>
+<li>Bellini, Giovanni, <a href="#Page_48">48</a>, <a href="#Page_50">50</a>.</li>
+<li>Bergen-op-Zoom, <a href="#Page_107">107</a>, <a href="#Page_109">109</a>.</li>
+<li>Bernard van Orley, <a href="#Page_100">100</a>.</li>
+<li>Binck, <a href="#Page_120">120</a>.</li>
+<li><i>Birth of St. John,</i> <a href="#Page_66">66</a>.</li>
+<li>Bois-le-Duc, <a href="#Page_106">106</a>.</li>
+<li>Bruges, <a href="#Page_110">110</a>.</li>
+<li>Brussels, <a href="#Page_100">100</a>.</li>
+<li>Bullman, <a href="#Page_12">12</a>.</li></ul>
+
+<ul class="none">
+<li>Calvary, <a href="#Page_45">45</a>.</li>
+<li>Camerarius, <a href="#Page_14">14</a>, <a href="#Page_145">145</a>.</li>
+<li>Carvings, <a href="#Page_57">57</a>, <a href="#Page_66">66</a>.</li>
+<li>Celtes, Conrad, <a href="#Page_13">13</a>.</li>
+<li>Chelidonius, <a href="#Page_13">13</a>, <a href="#Page_70">70</a>, <a href="#Page_71">71</a>.</li>
+<li>Coat-of-Arms, <a href="#Page_49">49</a>, <a href="#Page_75">75</a>.</li>
+<li>Colmar, <a href="#Page_23">23</a>, <a href="#Page_26">26</a>.</li>
+<li>Cologne, <a href="#Page_96">96</a>, <a href="#Page_106">106</a>, <a href="#Page_117">117</a>.</li>
+<li>Colvin, Sidney, <a href="#Page_34">34</a>.</li>
+<li>Confirmatia, The, <a href="#Page_106">106</a>.</li>
+<li><i>Coronation of the Virgin,</i> <a href="#Page_61">61</a>.</li></ul>
+
+<ul class="none">
+<li>Danger at Sea, <a href="#Page_107">107</a>.</li>
+<li>Death of Parents, <a href="#Page_40">40</a>, <a href="#Page_83">83</a>.</li>
+<li><i>Death of the Virgin,</i> <a href="#Page_90">90</a>.</li>
+<li>Delayed Pensions, <a href="#Page_87">87</a>, <a href="#Page_92">92</a>.</li>
+<li>Denmark&#8217;s King, <a href="#Page_116">116</a>.</li>
+<li>Drawings, <a href="#Page_42">42</a>.</li>
+<li>D&uuml;rer, Albert, the Elder, <a href="#Page_15">15</a>, <a href="#Page_20">20</a>, <a href="#Page_23">23</a>, <a href="#Page_40">40</a>.</li>
+<li><span style="margin-left: 1em;">&mdash; Agnes, <a href="#Page_28">28</a>, <a href="#Page_52">52</a>, <a href="#Page_54">54</a>, <a href="#Page_142">142</a>.</span></li>
+<li><span style="margin-left: 1em;">&mdash; Andreas, <a href="#Page_16">16</a>, <a href="#Page_41">41</a>, <a href="#Page_53">53</a>, <a href="#Page_68">68</a>.</span></li>
+<li><span style="margin-left: 1em;">&mdash; Anthony, <a href="#Page_15">15</a>.</span></li>
+<li><span style="margin-left: 1em;">&mdash; Barbara, <a href="#Page_15">15</a>, <a href="#Page_41">41</a>, <a href="#Page_83">83</a>.</span></li>
+<li><span style="margin-left: 1em;">&mdash; Hans, <a href="#Page_41">41</a>, <a href="#Page_51">51</a>, <a href="#Page_69">69</a>.</span></li>
+<li><span style="margin-left: 1em;">&mdash; Nicholas, <a href="#Page_96">96</a>.</span></li>
+<li>D&uuml;rer&#8217;s House, <a href="#Page_63">63</a>.</li>
+<li><span style="margin-left: 1em;">&mdash; Marriage, <a href="#Page_28">28</a>.</span></li>
+<li><span style="margin-left: 1em;">&mdash; Poetry, <a href="#Page_64">64</a>.</span></li>
+<li><span style="margin-left: 1em;">&mdash; Portraits, <a href="#Page_27">27</a>, <a href="#Page_36">36</a>, <a href="#Page_39">39</a>, <a href="#Page_105">105</a>, <a href="#Page_134">134</a>.</span></li></ul>
+
+<ul class="none">
+<li>Early Drawings, <a href="#Page_19">19</a>.</li>
+<li>Engravings, <a href="#Page_31">31</a>, <a href="#Page_60">60</a>.</li>
+<li>Erasmus, <a href="#Page_99">99</a>, <a href="#Page_110">110</a>, <a href="#Page_114">114</a>, <a href="#Page_129">129</a>.</li>
+<li>Etchings, <a href="#Page_86">86</a>.</li>
+<li>Eytas, <a href="#Page_15">15</a>, <a href="#Page_79">79</a>.</li></ul>
+
+<ul class="none">
+<li>Fever, The, <a href="#Page_112">112</a>.</li>
+<li>Flemish Feasts, <a href="#Page_97">97</a>, <a href="#Page_109">109</a>, <a href="#Page_111">111</a>.</li>
+<li>Flemish Wealth, <a href="#Page_95">95</a>.</li>
+<li>Fortifications, Treatise on, <a href="#Page_134">134</a>.</li>
+<li><i>Four Apostles, The,</i> <a href="#Page_131">131</a>.</li>
+<li>Francia, <a href="#Page_55">55</a>.</li>
+<li>Frey Family, <a href="#Page_29">29</a>, <a href="#Page_123">123</a>.</li></ul>
+
+<ul class="none">
+<li>Ghent, <a href="#Page_111">111</a>.</li>
+<li>Glass-Painting, <a href="#Page_123">123</a>.</li>
+<li><i>Great Column, The,</i> <a href="#Page_88">88</a>.</li>
+<li><i>Great Passion, The,</i> <a href="#Page_69">69</a>.</li>
+<li><i>Green Passion, The,</i> <a href="#Page_42">42</a>.</li>
+<li>Grunewald, <a href="#Page_121">121</a>.</li></ul>
+
+<ul class="none">
+<li>Haller Family, <a href="#Page_15">15</a>.</li>
+<li>Heller, Jacob, <a href="#Page_58">58</a>, <a href="#Page_59">59</a>, <a href="#Page_96">96</a>.</li>
+<li><i>Holzschuher,</i> <a href="#Page_128">128</a>.</li>
+<li>Human Proportions, <a href="#Page_155">155</a>.</li></ul></td>
+
+<td style="width: 50%; vertical-align: top;">
+<ul class="none">
+<li>Imhoff Collection, The, <a href="#Page_43">43</a>.</li>
+<li>Inventions, <a href="#Page_128">128</a>.</li></ul>
+
+<ul class="none">
+<li>Karl, Eucharius, <a href="#Page_39">39</a>, <a href="#Page_52">52</a>.</li>
+<li><i>Knight, Death, etc.,</i> <a href="#Page_76">76</a>.</li>
+<li>Koberger, <a href="#Page_9">9</a>, <a href="#Page_17">17</a>.</li>
+<li>Kornelisz, <a href="#Page_12">12</a>.</li>
+<li>Kraft, <a href="#Page_11">11</a>.</li></ul>
+
+<ul class="none">
+<li>Land&auml;uer, <a href="#Page_62">62</a>.</li>
+<li>Letters to the Rath, <a href="#Page_124">124</a>, <a href="#Page_132">132</a>.</li>
+<li><i>Life of the Virgin,</i> <a href="#Page_71">71</a>.</li>
+<li>Lindenast, <a href="#Page_11">11</a>.</li>
+<li>Literary Work, <a href="#Page_127">127</a>.</li>
+<li><i>Little Crucifixion, The,</i> <a href="#Page_78">78</a>.</li>
+<li>Little Masters, <a href="#Page_120">120</a>.</li>
+<li><i>Little Passion, The,</i> <a href="#Page_70">70</a>.</li></ul>
+
+<ul class="none">
+<li>Mantegna, <a href="#Page_24">24</a>, <a href="#Page_56">56</a>.</li>
+<li>Marc Antonio, <a href="#Page_71">71</a>.</li>
+<li>Margaret, Archduchess, <a href="#Page_94">94</a>, <a href="#Page_100">100</a>, <a href="#Page_105">105</a>, <a href="#Page_115">115</a>.</li>
+<li>Martin Luther, <a href="#Page_113">113</a>.</li>
+<li><i>Martyrdom, The,</i> <a href="#Page_59">59</a>.</li>
+<li>Maximilian, Emperor, <a href="#Page_74">74</a>, <a href="#Page_76">76</a>, <a href="#Page_89">89</a>, <a href="#Page_91">91</a>, <a href="#Page_93">93</a>, <a href="#Page_122">122</a>.</li>
+<li>Mechlin, <a href="#Page_100">100</a>, <a href="#Page_115">115</a>.</li>
+<li>Melanchthon, <a href="#Page_75">75</a>, <a href="#Page_129">129</a>.</li>
+<li><i>Melencolia, The,</i> <a href="#Page_82">82</a>.</li>
+<li>Middleburg, <a href="#Page_107">107</a>, <a href="#Page_108">108</a>.</li></ul>
+
+<ul class="none">
+<li>Netherland Journey, <a href="#Page_94">94</a>.</li>
+<li>Nuremberg, <a href="#Page_7">7</a>, <a href="#Page_118">118</a>, <a href="#Page_139">139</a>.</li></ul>
+
+<ul class="none">
+<li><i>Passion, The Great,</i> <a href="#Page_69">69</a>.</li>
+<li><span style="margin-left: 1em;">&mdash; <i>The Green,</i> <a href="#Page_42">42</a>.</span></li>
+<li><span style="margin-left: 1em;">&mdash; <i>The Little,</i> <a href="#Page_70">70</a>.</span></li>
+<li><span style="margin-left: 1em;">&mdash; <i>Song,</i> <a href="#Page_65">65</a>.</span></li>
+<li><span style="margin-left: 1em;">&mdash; <i>in Copper,</i> <a href="#Page_74">74</a>.</span></li>
+<li>Patenir, <a href="#Page_98">98</a>, <a href="#Page_112">112</a>.</li>
+<li>Pensz, George, <a href="#Page_120">120</a>, <a href="#Page_121">121</a>.</li>
+<li>Perugino, <a href="#Page_24">24</a>.</li>
+<li>Piratical Engravers, <a href="#Page_69">69</a>, <a href="#Page_71">71</a>.</li>
+<li>Pirkheimer, <a href="#Page_17">17</a>, <a href="#Page_30">30</a>, <a href="#Page_39">39</a>, <a href="#Page_43">43</a>, <a href="#Page_44">44</a>, <a href="#Page_48">48</a>, <a href="#Page_64">64</a>, <a href="#Page_110">110</a>, <a href="#Page_119">119</a>, <a href="#Page_124">124</a>, <a href="#Page_135">135</a>, <a href="#Page_137">137</a>, <a href="#Page_141">141</a>.</li>
+<li>Prayer-Book, Max&#8217;s, <a href="#Page_88">88</a>.</li>
+<li>Procession, The, <a href="#Page_103">103</a>.</li></ul>
+
+<ul class="none">
+<li>Raphael, <a href="#Page_56">56</a>, <a href="#Page_85">85</a>, <a href="#Page_105">105</a>, <a href="#Page_144">144</a>.</li>
+<li>Regiomontanus, <a href="#Page_10">10</a>.</li>
+<li><i>Rose-Garlands, Feast of,</i> <a href="#Page_53">53</a>, <a href="#Page_54">54</a>.</li>
+<li>Ruskin Quoted, <a href="#Page_46">46</a>, <a href="#Page_56">56</a>.</li></ul>
+
+<ul class="none">
+<li>Sachs, Hans, <a href="#Page_14">14</a>.</li>
+<li><i>St. Anthony,</i> <a href="#Page_93">93</a>.</li>
+<li><i>St. Eustachius,</i> <a href="#Page_79">79</a>.</li>
+<li><i>St. Jerome,</i> <a href="#Page_81">81</a>.</li>
+<li>Schongauer, <a href="#Page_23">23</a>.</li>
+<li>Silver-Work, <a href="#Page_20">20</a>.</li>
+<li>Sketch-Books, <a href="#Page_44">44</a>.</li>
+<li>Spengler, <a href="#Page_39">39</a>, <a href="#Page_65">65</a>, <a href="#Page_92">92</a>, <a href="#Page_119">119</a>.</li>
+<li>Stein, <a href="#Page_47">47</a>.</li>
+<li>Stoss, Veit, <a href="#Page_11">11</a>.</li>
+<li>Strasbourg, <a href="#Page_26">26</a>.</li></ul>
+
+<ul class="none">
+<li>Teacher, The (Poem), <a href="#Page_65">65</a>.</li>
+<li>Tomasin, <a href="#Page_98">98</a>, <a href="#Page_100">100</a>, <a href="#Page_109">109</a>.</li>
+<li><i>Triumphal Arch,</i> <a href="#Page_75">75</a>, <a href="#Page_88">88</a>, <a href="#Page_92">92</a>.</li>
+<li><i>Triumphal Car,</i> <a href="#Page_121">121</a>.</li></ul>
+
+<ul class="none">
+<li>Van Leyden, Lucas, <a href="#Page_115">115</a>.</li>
+<li>Vasari Quoted, <a href="#Page_72">72</a>.</li>
+<li>Venetian Journey, <a href="#Page_47">47</a>.</li>
+<li>Venice, <a href="#Page_47">47</a>, <a href="#Page_56">56</a>, <a href="#Page_126">126</a>.</li>
+<li>Vincidore, <a href="#Page_105">105</a>.</li>
+<li>Vischer, Peter, <a href="#Page_11">11</a>.</li>
+<li>Von Culmbach, <a href="#Page_120">120</a>.</li></ul>
+
+<ul class="none">
+<li>Walch, Jacob, <a href="#Page_13">13</a>, <a href="#Page_115">115</a>.</li>
+<li>Wander-jahre, The, <a href="#Page_25">25</a>, <a href="#Page_50">50</a>.</li>
+<li>Water-Marks, <a href="#Page_34">34</a>.</li>
+<li>Wohlgemuth, <a href="#Page_12">12</a>, <a href="#Page_21">21</a>, <a href="#Page_51">51</a>, <a href="#Page_90">90</a>.</li>
+<li>Woodcuts, <a href="#Page_37">37</a>.</li></ul>
+
+<ul class="none">
+<li>Zealand, Journey to, <a href="#Page_107">107</a>.</li></ul>
+</td></tr></table></div>
+
+<hr class="large" />
+
+<h3><span class="smcap">Transcriber's Note:</span></h3>
+
+<p>Minor changes have been made to correct typesetters&#8217; errors; otherwise
+every effort has been made to remain true to the author&#8217;s words and
+intent.</p>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of Durer, by M. F. Sweetser
+
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+</body>
+</html>
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+The Project Gutenberg EBook of Durer, by M. F. Sweetser
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Durer
+       Artist-Biographies
+
+Author: M. F. Sweetser
+
+Release Date: June 13, 2010 [EBook #32787]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK DURER ***
+
+
+
+
+Produced by D Alexander, Juliet Sutherland and the Online
+Distributed Proofreading Team at https://www.pgdp.net
+
+
+
+
+
+
+
+
+
+ _ARTIST-BIOGRAPHIES._
+
+ DUeRER.
+
+ BOSTON:
+ HOUGHTON, OSGOOD, AND COMPANY.
+
+ The Riverside Press, Cambridge.
+
+ 1879.
+
+
+
+
+ COPYRIGHT.
+ BY JAMES R. OSGOOD & CO.
+ 1877.
+
+ FRANKLIN PRESS:
+ RAND, AVERY, AND COMPANY,
+ BOSTON.
+
+
+
+
+ARTIST-BIOGRAPHIES.
+
+PUBLISHERS' ANNOUNCEMENT.
+
+
+The growth of a popular interest in art and its history has been very
+rapid during the last decade of American life, and is still in
+progress. This interest is especially directed towards the lives of
+artists themselves; and a general demand exists for a uniform series
+of biographies of those most eminent, which shall possess the
+qualities of reliability, compactness, and cheapness.
+
+To answer this demand the present series has been projected. The
+publishers have intrusted its preparation to Mr. M. F. Sweetser, whose
+qualities of thoroughness in research and fidelity in statement have
+been proved in other fields of authorship. It is believed that by the
+omission of much critical and discursive matter commonly found in art
+biographies, an account of an artist's life may be presented, which is
+at once truthful and attractive, within the limits prescribed for
+these volumes.
+
+The series will be published at the rate of one or two volumes each
+month, at 50 cents each volume, and will contain the lives of the most
+famous artists of mediaeval and modern times. It will include the lives
+of many of the following:--
+
+ Raphael,                Claude,             Van Dyck,
+ Michael Angelo,         Poussin,            Gainsborough,
+ Leonardo da Vinci,      Delacroix,          Reynolds,
+ Titian,                 Delaroche,          Wilkie,
+ Tintoretto,             Greuze,             Lawrence,
+ Paul Veronese,          Duerer,              Landseer,
+ Guido,                  Rubens,             Turner,
+ Murillo,                Rembrandt,          West,
+ Velasquez,              Holbein,            Copley,
+ Salvator Rosa,          Teniers,            Allston.
+
+
+
+
+PREFACE.
+
+
+This little volume presents an account of the life of one of the
+noblest and most versatile artists of Germany, with a passing glance
+at the activities of Northern Europe at the era of the Reformation.
+The weird and wonderful paintings of Duerer are herein concisely
+described, as well as the most famous and characteristic of his
+engravings and carvings; and his quaint literary works are enumerated.
+It has also been thought advisable to devote considerable space to
+details about Nuremberg, the scene of the artist's greatest labors;
+and to reproduce numerous extracts from his fascinating Venetian
+letters and Lowland journals.
+
+The modern theory as to Duerer's wife and his home has been accepted
+in this work, after a long and careful examination of the arguments
+on both sides. It is pleasant thus to be able to aid in the
+rehabilitation of the much-slandered Agnes, and to have an oppressive
+cloud of sorrow removed from the memory of the great painter.
+
+The chief authorities used in the preparation of this new memoir are
+the recent works of Dr. Thausing and Mr. W. B. Scott, with the series
+of articles now current in "The Portfolio," written by Professor
+Colvin. Mrs. Heaton's biography has also been studied with care; and
+other details have been gathered from modern works of travel and
+art-criticism, as well as from "The Art Journal," "La Gazette des
+Beaux Arts," and other periodicals of a similar character.
+
+                                  M. F. SWEETSER.
+
+
+
+
+CONTENTS.
+
+
+ CHAPTER I.
+
+ 1471-1494.                                                       PAGE
+
+ The Activities of Nuremberg.--The Duerer Family.--Early Years of
+ Albert.--His Studies with Wohlgemuth.--The _Wander-Jahre_          7
+
+
+ CHAPTER II.
+
+ 1494-1505.
+
+ Duerer marries Agnes Frey.--Her Character.--Early Engravings.
+ --Portraits.--"The Apocalypse."--Death of Duerer's Father.
+ --Drawings                                                        28
+
+
+ CHAPTER III.
+
+ 1505-1509.
+
+ The Journey to Venice.--Bellini's Friendship.--Letters to
+ Pirkheimer.--"The Feast of Rose Garlands."--Bologna.--"Adam and
+ Eve."--"The Coronation of the Virgin"                             47
+
+
+ CHAPTER IV.
+
+ 1509-1514.
+
+ Duerer's House.--His Poetry.--Sculptures.--The Great and Little
+ Passions.--Life of the Virgin.--Plagiarists.--Works for the Emperor
+ Maximilian                                                        63
+
+
+ CHAPTER V.
+
+ 1514-1520.
+
+ St. Jerome.--The Melencolia.--Death of Duerer's Mother.--Raphael.
+ --Etchings.--Maximilian's Arch.--Visit to Augsburg                81
+
+
+ CHAPTER VI.
+
+ 1520-1522.
+
+ Duerer's Tour in the Netherlands.--His Journal.--Cologne.--Feasts
+ at Antwerp and Brussels.--Procession of Notre Dame.--The
+ Confirmatia.--Zealand Journey.--Ghent.--Martin Luther             94
+
+
+ CHAPTER VII.
+
+ 1522-1526.
+
+ Nuremberg's Reformation.--The Little Masters.--Glass-Painting.
+ --Architecture.--Letter to the City Council.--"Art of Mensuration."
+ --Portraits.--Melanchthon                                        118
+
+
+ CHAPTER VIII.
+
+ 1526-1528.
+
+ "The Four Apostles."--Duerer's Later Literary Works.--Four Books of
+ Proportion.--Last Sickness and Death.--Agnes Duerer.--Duerer described
+ by a Friend                                                      131
+
+
+
+
+ALBERT DUeRER.
+
+
+
+
+CHAPTER I.
+
+The Activities of Nuremberg.--The Duerer Family.--Early Years of
+Albert.--His Studies with Wohlgemuth.--The _Wander-Jahre._
+
+
+The free imperial city of Nuremberg, in the heart of Franconia, was
+one of the chief centres of the active life of the Middle Ages, and
+shared with Augsburg the great trans-continental traffic between
+Venice and the Levant and Northern Europe. Its municipal liberties
+were jealously guarded by venerable guilds and by eminent magistrates
+drawn from the families of the merchant-princes, forming a government
+somewhat similar to the Venetian Council. The profits of a commercial
+prosperity second only to that of the Italian ports had greatly
+enriched the thrifty burghers, aided by the busy manufacturing
+establishments which made the city "the Birmingham of the Middle
+Ages." Public and private munificence exerted itself in the erection
+and adornment of new and splendid buildings; and the preparation of
+works of art and utility was stimulated on all sides. It was the era
+of the discovery of America, the revival of classic learning, and the
+growth of free thought in matters pertaining to religion. So far had
+the inventions of the artisans contributed to the comfort of the
+people, that Pope Pius II. said that "A Nuremberg citizen is better
+lodged than the King of Scots;" and so widely were they exported to
+foreign realms, that the proud proverb arose that
+
+     "Nuremberg's hand
+     Goes through every land."
+
+Nuremberg still stands, a vast mediaeval relic, in the midst of
+the whirl and activity of modern Germany, rich and thriving, but
+almost unchanged in its antique beauty. The narrow streets in which
+Duerer walked are flanked, as then, by quaint gable-roofed houses,
+timber-fronted, with mullioned windows and arching portals. In the
+faded and venerable palaces of the fifteenth century live the
+descendants of the old patrician families, cherishing the memories and
+archives of the past; and the stately Gothic churches are still rich
+in religious architecture, and in angular old Byzantine pictures and
+delicate German carvings. On the hill the castle rears its ponderous
+ramparts, which have stood for immemorial ages; and the high towers
+along the city walls have not yet bowed their brave crests to the
+spirit of the century of boulevards and railroads.
+
+With two essentials of civilization, paper and printing-presses,
+Nuremberg supplied herself at an early day. The first paper-mill in
+Germany was established here in 1390; and its workmen were obliged to
+take an oath never to make paper for themselves, nor to reveal the
+process of manufacture. They went out on a strike when the mill was
+enlarged, but the authorities imprisoned them until they became docile
+once more. Koberger's printing-house contained twenty-four presses,
+and employed over a hundred men, printing not only Bibles and
+breviaries, but also chronicles, homilies, poems, and scientific
+works. As the Aldine Press attracted many authors and scholars to
+Venice, so Koberger's teeming press led several German literati to
+settle at Nuremberg. For the four first years of Duerer's life, the
+wonderful mathematician and astronomer Regiomontanus dwelt here, and
+had no less than twenty-one books printed by Koberger. His numerous
+inventions and instruments awakened the deepest interest in the
+Nuremberg craftsmen, and stimulated a fruitful spirit of inquiry for
+many years.
+
+The clockmakers of Nuremberg were famous for their ingenious
+productions. Watches were invented here in the year 1500, and were
+long known as "Nuremberg eggs." The modern composition of brass was
+formed by Erasmus Ebner; wire-drawing machinery also was a Nuremberg
+device; the air-gun was invented by Hobsinger; the clarionet, by
+Denner; and the church-organs made here were the best in Germany.
+There were also many expert metal-workers and braziers; and fifty
+master-goldsmiths dwelt in the town, making elegant and highly
+artistic works, images, seals, and medals, which were famous
+throughout Europe. The most exquisite flowers and insects, and other
+delicate objects, were reproduced in filagree silver; and the first
+maiolica works in Northern Europe were also founded here.
+
+Isolated, like the ducal cities of Italy, from the desolating wars of
+the great powers of Europe, and like them also growing rapidly in
+wealth and cultivation, Nuremberg afforded a secure refuge for Art and
+its children. In Duerer's day the great churches of St. Sebald, St.
+Lawrence, and Our Lady were finished; Peter Vischer executed the
+exquisite and unrivalled bronze Shrine of St. Sebald; and Adam Kraft
+completed the fairy-like Sacrament-house, sixty feet high, and
+"delicate as a tree covered with hoar-frost." Intimate with these two
+renowned artificers was Lindenast, "the red smith," who worked
+skilfully in beaten copper; and their studies were conducted in
+company with Vischer's five sons, who, with their wives and children,
+all dwelt happily at their father's house. Vischer lived till a year
+after Duerer's death, but there is no intimation that the two artists
+ever met. Another eminent craftsman was the unruly Veit Stoss, the
+marvellous wood-carver, many of whose works remain to this day; and
+there was also Hans Beheim, the sculptor, "an honorable, pious, and
+God-fearing man;" and Bullman, who "was very learned in astronomy,
+and was the first to set the Theoria Planetarum in motion by
+clockwork;" and he who made the great alarm-bell, which was inscribed,
+"I am called the mass and the fire bell: Hans Glockengeiser cast me: I
+sound to God's service and honor." What shall we say also of Hartmann,
+Duerer's pupil, who invented the measuring-rod; Schoner, the maker of
+terrestrial globes; Donner, who improved screw machinery; and all the
+skilful gun-makers, joiners, carpet-workers, and silk-embroiderers?
+There was also the burgher Martin Behaim, the inventor of the
+terrestrial globe, who anticipated Columbus by sailing Eastward across
+the Pacific Ocean, passing through the Straits of Magellan and
+discovering Brazil, as early as 1485.
+
+In Germany, as in Italy, the studio of the artist, full of pure and
+lofty ideals, had hardly yet evolved itself from the workshop of the
+picture-manufacturer. Nuremberg's chief artists at this time were
+Michael Wohlgemuth, Duerer's master; Lucas Kornelisz, also called
+Ludwig Krug, who, though a most skilful engraver, was sometimes forced
+to adopt the profession of a cook in order to support himself; and
+Matthias Zagel, who was expert in both painting and engraving. Still
+another was the Venetian Jacopo de' Barbari, or Jacob Walch, "the
+master of the Caduceus," a dexterous engraver and designer, whom Duerer
+alludes to in his Venetian and Netherland writings. The art of
+engraving had been invented early in the fifteenth century, and was
+developing rapidly and richly toward perfection. The day of versatile
+artists had arrived, when men combined the fine and industrial arts in
+one life, and devoted themselves to making masterpieces in each
+department. The northern nations, unaided by classic models and
+traditions, were developing a new and indigenous aesthetic life, slow
+of growth, but bound to succeed in the long run.
+
+The literary society of Duerer's epoch at Nuremberg was grouped in the
+_Sodalitas Literaria Rhenana_, under the learned Conrad Celtes, who
+published a book of Latin comedies, pure in Latinity and lax in
+morals, which he mischievously attributed to the Abbess Roswitha.
+Pirkheimer and the monk Chelidonius also belonged to this sodality.
+Other contemporary literati of the city were Cochlaeus, Luther's
+satirical opponent; the Hebraist Osiander; Venatorius, who united the
+discordant professions of poetry and mathematics; the Provost
+Pfinzing, for whose poem of _Tewrdannkh_, Duerer's pupil Schaeuffelein
+made 118 illustrations; Baumgaertner, Melanchthon's friend; Veit
+Dietrich, the reformer; and Joachim Camerarius, the Latinist. But the
+most illustrious of Nuremberg's authors at that time was the
+cobbler-poet, Hans Sachs, a radical in politics and religion, who
+scourged the priests and the capitalists of his day in songs and
+satires which were sung and recited by the workmen of all Germany. He
+himself tells us that he wrote 4,200 master-songs, 208 comedies and
+tragedies, 73 devotional and love songs, and 1,007 fables, tales, and
+miscellaneous poems; and others say that his songs helped the
+Reformation as much as Luther's preaching.
+
+Thus the activities of mechanics, art, and literature pressed forward
+with equal fervor in the quaint old Franconian city, while Albert
+Duerer's life was passing on. "Abroad and far off still mightier things
+were doing; Copernicus was writing in his observatory, Vasco di Gama
+was on the Southern Seas."
+
+"I, Albrecht Duerer the younger, have sought out from among my father's
+papers these particulars of him, where he came from, and how he lived
+and died holily. God rest his soul! Amen." In this manner the pious
+artist begins an interesting family history, in which it is stated
+that the Duerers were originally from the romantic little Hungarian
+hamlet of Eytas, where they were engaged in herding cattle and horses.
+Anthony Duerer removed to the neighboring town of Jula, where he
+learned the goldsmith's art, which he taught to his son Albrecht, or
+Albert, while his other sons were devoted to mechanical employments
+and the priesthood. Albert was not content to stay in sequestered
+Jula, and, wandering over Germany and the Low Countries, at last came
+to Nuremberg, where he settled in 1455, in the service of the
+goldsmith Hieronymus Haller. This worthy Haller and his wife Kunigund,
+the daughter of Oellinger of Weissenberg, at that time had an infant
+daughter; and as she grew up Albert endeared himself to her to such
+purpose that, in 1467, when Barbara had become "a fair and handy
+maiden of fifteen," he married her, being forty years old himself.
+During the next twenty-four years she bore him eighteen children,
+seven daughters and eleven sons, of whose births, names, and
+godparents the father made careful descriptions. Three only, Albert,
+Andreas, and Hans, arrived at years of maturity. It may well be
+believed that the poor master-goldsmith was forced to work hard and
+struggle incessantly to support such a great family; and his portrait
+shows that the hand-to-mouth existence of so many years had told
+heavily and left its imprint on his weary and careworn face. Yet he
+had certain sources of peace and gentleness in his life, and never
+sank into moroseness or selfishness. Let us quote the tender and
+reverent words of his son: "My father's life was passed in great
+struggles and in continuous hard work. With my dear mother bearing so
+many children, he never could become rich, as he had nothing but what
+his hands brought him. He had thus many troubles, trials, and adverse
+circumstances. But yet from every one who knew him he received praise,
+because he led an honorable Christian life, and was patient, giving
+all men consideration, and thanking God. He indulged himself in few
+pleasures, spoke little, shunned society, and was in truth a
+God-fearing man. My dear father took great pains with his children,
+bringing them up to the honor of God. He made us know what was
+agreeable to others as well as to our Maker, so that we might become
+good neighbors; and every day he talked to us of these things, the
+love of God and the conduct of life."
+
+Albert Duerer was the third child of Albert the Elder and Barbara
+Hallerin, and was born on the morning of the 21st of May, 1471. The
+house in which the Duerers then lived was a part of the great pile of
+buildings owned and in part occupied by the wealthy Pirkheimer family,
+and was called the _Pirkheimer Hinterhaus_. It fronted on the Winkler
+Strasse of Nuremberg, and was an ambitious home for a craftsman like
+Albert. The presence of Antonius Koberger, the famous book-printer, as
+godfather to the new-born child, shows also that the Duerers occupied
+an honorable position in the city.
+
+The Pirkheimers were then prominent among the patrician families of
+Southern Germany, renowned for antiquity, enormously wealthy through
+successful commerce, and honored by important offices in the State.
+The infant Willibald Pirkheimer was of about the same age as the young
+Albert Duerer; and the two became close companions in all their
+childish sports, despite the difference in the rank of their families.
+When the goldsmith's family moved to another house, at the foot of the
+castle-hill, five years later, the warm intimacy between the children
+continued unchanged.
+
+The instruction of Albert in the rudiments of learning was begun at an
+early age, probably in the parochial school of St. Sebald, and was
+conducted after the singular manner of the schools of that day, when
+printed books were too costly to be intrusted to children. He lived
+comfortably in his father's house, and daily received the wise
+admonitions and moral teachings of the elder Albert. His friendship
+for Willibald enabled him to learn certain elements of the higher
+studies into which the young patrician was led by his tutors; and his
+visits to the Pirkheimer mansion opened views of higher culture and
+more refined modes of life.
+
+Albert was enamoured with art from his earliest years, and spent many
+of his leisure hours in making sketches and rude drawings, which he
+gave to his schoolmates and friends. The Imhoff Collection had a
+drawing of three heads, done in his eleventh year; the Posonyi
+Collection claimed to possess a Madonna of his fifteenth year; and the
+British Museum has a chalk-drawing of a woman holding a bird in her
+hand, whose first owner wrote on it, "This was drawn for me by Albert
+Duerer before he became a painter." The most interesting of these early
+works is in the Albertina at Vienna, and bears the inscription: "This
+I have drawn from myself from the looking-glass, in the year 1484,
+when I was still a child.--ALBERT DUeRER." It shows a handsome and
+pensive boy-face, oval in shape, with large and tender eyes, filled
+with solemnity and vague melancholy; long hair cut straight across the
+forehead, and falling over the shoulders; and full and pouting lips.
+It is faulty in design, but shows a considerable knowledge of drawing,
+and a strong faculty for portraiture. The certain sadness of
+expression tells that the schoolboy had already become acquainted with
+grief, probably from the straitened circumstances of his family, and
+the melancholy deaths of so many brothers and sisters. The great
+mystery of sorrow was full early thrown across the path of the solemn
+artist. This portrait was always retained by Duerer as a memorial of
+his childhood.
+
+He says of his father, "For me, I think, he had a particular
+affection; and, as he saw me diligent in learning, he sent me to
+school. When I had learned to write and read, he took me home again,
+with the intention of teaching me the goldsmith's work. In this I
+began to do tolerably well." He was taken into the goldsmith's
+workshop in his thirteenth year, and remained there two years,
+receiving instruction which was not without value in his future life,
+in showing him the elements of the arts of modelling and design. The
+accuracy and delicacy of his later plastic works show how well he
+apprehended these ideas, and how far he acquired sureness of
+expression. The elder Albert was a skilful master-workman, highly
+esteemed in his profession, and had received several important
+commissions. It is said that the young apprentice executed under his
+care a beautiful piece of silver-work representing the Seven Agonies
+of Christ.
+
+"But my love was towards painting, much more than towards the
+goldsmith's craft. When at last I told my father of my inclination, he
+was not well pleased, thinking of the time I had been under him as
+lost if I turned painter. But he left me to have my will; and in the
+year 1486, on St. Andrew's Day, he settled me apprentice with Michael
+Wohlgemuth, to serve him for three years. In that time God gave me
+diligence to learn well, in spite of the pains I had to suffer from
+the other young men." Thus Duerer describes his change in life, and the
+embarkation on his true vocation, as well as the reluctance of the
+elder Albert to allow his noble and beloved boy to pass out from his
+desolated household into other scenes, and away from his
+companionship.
+
+Wohlgemuth was one of the early religious painters who stood at the
+transition-point between the school of Cologne and that of the Van
+Eycks, or between the old pietistic traditions of Byzantine art
+and the new ideas of the art of the Northern Reformation. The
+conventionalisms of the Rhenish and Franconian paintings were being
+exchanged for a fresher originality and a truer realism; and the
+pictures of this time curiously blended the old and the new.
+Wohlgemuth seems to have considered art as a money-getting trade
+rather than a high vocation, and his workroom was more a shop than a
+studio. He turned out countless Madonnas and other religious subjects
+for churches and chance purchasers, and also painted chests and carved
+and colored images of the saints, many of which were executed by his
+apprentices. A few of his works, however, were done with great care
+and delicacy, and show a worthy degree of sweetness and simplicity.
+Evidently the young pupil gained little besides a technical knowledge
+of painting from this master,--the mechanical processes, the modes of
+mixing and applying colors, the chemistry of pigments, and a certain
+facility in using them. It was well that the influences about him were
+not powerful enough to warp his pure and original genius into servile
+imitations of decadent methods. His hands were taught dexterity; and
+his mind was left to pursue its own lofty course, and use them as its
+skilful allies in the new conquests of art.
+
+Wood-engraving was also carried on in Wohlgemuth's studio, and it is
+probable that Duerer here learned the rudiments of this branch of art,
+which he afterwards carried to so high a perfection. Some writers
+maintain that his earliest works in this line were done for the famous
+"Nuremberg Chronicle," which was published in 1493 by Wohlgemuth and
+Pleydenwurf.
+
+The three years which were spent in Wohlgemuth's studio were probably
+devoted to apprentice-work on compositions designed by the master, who
+was then about fifty years old, and at the summit of his fame. But few
+of Duerer's drawings now existing date from this epoch, one of which
+represents a group of horsemen, and another the three Swiss leaders,
+Fuerst, Melchthal, and Staufacher. The beautiful portrait of Duerer's
+father, which is now at Florence, was executed by the young artist in
+1490, probably to carry with him as a souvenir of home. Muendler says,
+"For beauty and delicacy of modelling, this portrait has scarcely been
+surpassed afterwards by the master, perhaps not equalled."
+
+It was claimed by certain old biographers that the eminent Martin
+Schongauer of Colmar was Duerer's first master; but this is now
+contested, although it is evident that his pictures had a powerful
+effect on the youth. Schongauer was the greatest artist and engraver
+that Germany had as yet produced, and exerted a profound influence on
+the art of the Rhineland. He renewed the fantastic conceits and
+grotesque vagaries which the Papal artists of Cologne had suppressed
+as heathenish, and prepared the way for, or perhaps even suggested,
+the weird elements of Duerer's conceptions. At the same time he passed
+back of his Netherland art-education, and studied a mystic benignity
+and dreamy spirituality suggestive of the Umbrian painters, with whose
+chief, the great Perugino, Martin was acquainted. Herein Duerer's works
+were in strong contrast with Schongauer's, and showed the new spirit
+that was stirring in the world.
+
+Next to Schongauer, the great Italian artist Mantegna exercised the
+strongest influence upon Duerer, who studied his bold and austere
+engravings with earnest admiration, showing his traits in many
+subsequent works. Probably he met the famous Mantuan painter during
+the _Wander-jahre_, in Italy; and at the close of his Venetian journey
+he was about to pay a visit of homage to him, when he heard of his
+death.
+
+During his three years of study we have seen that the delicate and
+sensitive youth suffered much from the reckless rudeness and jeering
+insults of his companions, rough hand-workers who doubtless failed to
+understand the poignancy of the torments which they inflicted on the
+sad-eyed son of genius. But his home was near at hand, and the tender
+care of his parents, always beloved. How often he must have wandered
+through the familiar streets of Nuremberg, with his dreamy artist-face
+and flowing hair, and studied the Gothic palaces, the fountains
+adorned with statuary, and the rich treasures of art in the great
+churches! Beyond the tall-towered town, danger lurked on every road;
+but inside the gray walls was peace and safety, and no free lances nor
+marauding men-at-arms could check the aspiring flight of the youth's
+bright imagination.
+
+"And when the three years were out, my father sent me away. I remained
+abroad four years, when he recalled me; and, as I had left just after
+Easter in 1490, I returned home in 1494 just after Whitsuntide." Thus
+Albert describes the close of his _Lehr-jahre_, or labor-years, and
+the entrance upon his _Wander-jahre_, or travel-years. According to a
+German custom, still prevalent in a modified degree, the youth was
+obliged to travel for a long period, and study and practise his trade
+or profession in other cities, before settling for life as a
+master-workman. Unfortunately all that Duerer records as to these
+eventful four years is given in the sentences above; and we can only
+theorize as to the places which he visited, and his studies of the
+older art-treasures of Europe. Some authors believe that a part of the
+_Wander-jahre_ was spent in Italy, and Dr. Thausing, Duerer's latest
+and best biographer, clearly proves this theory by a close study of
+his notes and sketches. Others claim with equal positiveness, and less
+capability of proof, that they were devoted to the Low Countries. It
+is certain that he abode at Colmar in 1492, where he was honorably
+received by Gaspar, Paul, and Louis, the three brothers of Martin
+Schongauer. The great Martin had died some years before; but many of
+his best paintings were preserved at Colmar, and were carefully
+studied by Duerer. At a later day he wandered through the Rhineland to
+Basle, and spent his last year at Strasbourg. His portraits of his
+master and mistress in the latter city were dated in 1494, and
+pertained to the Imhoff Collection.
+
+His portrait painted by himself in 1493 was procured at Rome by the
+Hofrath Beireis, and described by Goethe. It shows a bright and
+vigorous face, full of youthful earnestness and joy, rich, harmonious,
+and finely executed, though thinly colored. He is attired in a
+blue-gray cloak with yellow strings, an embroidered shirt whose
+sleeves are bound with peach-colored ribbons, and a purple cap; and
+holds a piece of the blue flower called _Manns-treue_, or Man's-faith.
+
+
+
+
+CHAPTER II.
+
+Duerer marries Agnes Frey.--Her Character.--Early Engravings.
+--Portraits.--"The Apocalypse."--Death of Duerer's Father.--Drawings.
+
+
+"And when my _Wander-jahre_ was over, Hans Frey treated with my
+father, and gave me his daughter, by name the _Jungfrau_ Agnes, with a
+dowry of 200 guldens. Our wedding was held on the Monday before St.
+Margaret's Day (in July), in the year 1494." This dry statement of the
+most important event of the artist's life illustrates the ancient
+German custom of betrothal, where the bond of wedlock was considered
+as a matter-of-fact copartnership, with inalienable rights and duties,
+devoid of sentiment or romance. Since the relatives of the contracting
+parties were closely affected by such transactions, they usually
+managed the negotiations themselves; and the young people, thus thrown
+by their parents at each other's heads, were expected to, and usually
+did, accept the situation with submissiveness and prudent obedience.
+In this case it appears that the first overtures came from the family
+of the lady; and perhaps the order for Albert to return from his
+wanderings was issued for this reason. Hans Frey was a burgher with
+large possessions in Nuremberg and the adjacent country; and his
+daughter was a very beautiful maiden. Her future husband does not
+appear to have seen her until the betrothal was made.
+
+Most of Duerer's biographers have dwelt at great length on the malign
+influence which Agnes exercised upon his life, representing her as a
+jealous virago, imbittering the existence of the noble artist. But Dr.
+Thausing, in his new and exhaustive history of Duerer's life,
+vindicates the lady from this evil charge; and his position is
+carefully reviewed and sustained by Eugene Muentz. He points out the
+fact that the long story of Agnes's uncongeniality rests solely on
+Pirkheimer's letter, and then shows that that ponderous burgher had
+reasons for personal hostility to her. The unbroken silence which
+Duerer preserves as to home-troubles, throughout his numerous letters
+and journals, is held as proof against the charges; and none of his
+intimate friends and contemporaries (save Pirkheimer) allude to his
+domestic trials, though they wrote so much about him. The accusation
+of avarice on her part is combated by several facts, among which is
+the cardinal one of her self-sacrificing generosity to the Duerer
+family after her husband's death, and the remarkable record of her
+transferring to the endowment of the Protestant University of
+Wittenberg the thousand florins which Albert had placed in the hands
+of the Rath for her support. Pirkheimer's acrimonious letter (see p.
+142) gives her credit at least for virtue and piety; and perhaps we
+may regard her aversion to the doughty writer as a point in her favor.
+
+It is a singular and unexplained fact, that although Duerer was
+accustomed to sketch every one about him, yet no portrait of his wife
+is certainly known to exist, though several of his sketches are so
+called, without any foundation or proof. What adds to the strangeness
+of this omission is the fact that all accounts represent Agnes Duerer
+as a very handsome woman.
+
+Probably the newly married couple dwelt at the house of the elder
+Duerer during the first years of their union. In 1494 Albert was
+admitted to the guild of painters, submitting a pen-drawing of
+Orpheus and the Bacchantes as his test of ability; and at about the
+same time he drew the "Bacchanal" and "The Battle of the Tritons,"
+which are now at Vienna. Herein he showed the contemporary classical
+tendency of art, which he so soon outgrew. About this same time he
+designed a frontispiece for the Latin poem which Dr. Ulsen had written
+about the pestilence which was devastating Nuremberg, showing a
+ghastly and repulsive man covered with plague-boils. The portrait of
+Duerer's father, in oil-colors, which is now at Frankfort, was also
+executed during this year.
+
+Duerer's first copper-plate engraving dates from 1497, and represents
+four naked women, under a globe bearing the initials of "_O Gott
+Hilf_," or "O God, help," while human bones strew the floor, and a
+flaming devil appears in the background. During the next three years
+the master made twenty copper-plate engravings. The composition of
+"St. Jerome's Penance" shows the noble old ascetic kneeling alone in
+a rocky wilderness, beating his naked breast with a stone, and gazing
+at a crucifix, while the symbolical lion lies beside him. "The Penance
+of St. John Chrysostom" depicts the long-bearded saint expiating
+his guilt in seducing and slaying the princess by crawling about
+on all-fours like a beast. She is seen at the mouth of a rocky
+cave, nursing her child. "The Prodigal Son" is another tender and
+exquisitely finished copper-plate engraving, in which the yearning and
+prayerful Prodigal, bearing the face of Duerer, is kneeling on bare
+knees by the trough at which a drove of swine are feeding. In the
+background is a group of substantial German farm-buildings, with
+unconcerned domestic animals and fowls. "The Rape of Amymone" shows a
+gloomy Triton carrying off a very ugly woman from the midst of her
+bathing Danaide sisters. "The Dream" portrays an obese German soundly
+sleeping by a great stove, with a foolish-faced naked Venus and a
+winged Cupid standing by his side, and a little demon blowing in his
+ear. "The Love Offer" is made by an ugly old man to a pretty maiden,
+whose waist is encircled by his arm, while her hand is greedily
+outstretched to receive the money which he offers. Another early
+engraving on copper shows a wild and naked man holding an unspeakably
+ugly woman, who is endeavoring to tear herself from his arms. Still
+others delineate Justice sitting on a lion, "The Little Fortune"
+standing naked on a globe, and the monstrous hog of Franconia.
+
+It was chiefly through his engravings that Duerer became and remains
+known to the world; and by the same mode of expression he boldly
+showed forth the doubts and despairs, yearnings and conflicts, not
+only of his own pure and sorrowful soul, but also of Europe, quivering
+in the throes of the Reformation.
+
+The artists of Italy, when the age of faith was ended, turned to the
+empty splendors and symmetries of paganism; but their German brothers
+faced the new problems more sternly, and strove for the life of the
+future. Under Duerer's hard and homely German scenes, there seem to be
+double meanings and unfathomable fancies, usually alluding to sorrow,
+sin, and death, and showing forth the vanity of all things earthly. In
+sharp contrast with these profound allegories are the humorous
+grotesqueness and luxuriant fancifulness which appear in others of the
+artist's engravings, fantastic, uncouth, and quaint. He frequently
+yielded to the temptation to introduce strange animals and unearthly
+monsters into his pictures, even those of the most sacred subjects;
+and his so-called "Virgin with the Animals" is surrounded by scores of
+birds, insects, and quadrupeds of various kinds.
+
+It is interesting to hear of the rarity of the early impressions of
+Duerer's engravings, and the avidity with which they are sought and the
+keenness with which they are analyzed by collectors. In many cases the
+copies of these engravings are as good as the originals, and can be
+distinguished only by the most trifling peculiarities. The water-marks
+of the paper on which they are printed form a certain indication of
+their period. Before his Venetian journey Duerer used paper bearing the
+water-mark of the bull's head; and, after his return from the
+Netherlands, paper bearing a little pitcher; while the middle period
+had several peculiar symbols. A fine impression of the copper-plate
+engraving of "St. Jerome" recently brought over $500; and the Passion
+in Copper sold in 1864 for $300.
+
+"The Portfolio" for 1877 contains a long series of articles by Prof.
+Sidney Colvin on "Albert Duerer: His Teachers, his Rivals, and his
+Scholars," treating exhaustively of his relations as an engraver to
+other contemporary masters,--Schongauer, Israhel van Meckenen,
+Mantegna, Boldini and the Florentines, Jacopo de' Barbari (Jacob
+Walch), Marc Antonio, Lucas van Leyden, and certain other excellent
+but nameless artists.
+
+Vasari says, "The power and boldness of Albert increasing with time,
+and as he perceived his works to obtain increasing estimation, he now
+executed engravings on copper, which amazed all who beheld them."
+Three centuries later Von Schlegel wrote, "When I turn to look at the
+numberless sketches and copper-plate designs of the present day, Duerer
+appears to me like the originator of a new and noble system of
+thought, burning with the zeal of a first pure inspiration, and eager
+to diffuse his deeply conceived and probably true and great ideas."
+
+In 1497 Duerer painted the excellent portrait of his father, which the
+Rath of Nuremberg presented to Charles I. of England, and which is now
+at Sion House, the seat of the Earl of Northumberland. It shows a man
+aged yet strong, with grave and anxious eyes, compressed lips, and an
+earnest expression. Another similar portrait of the same date is in
+the Munich Pinakothek. He also executed two portraits of the pretty
+patrician damsel, Catherine Fuerleger; one as a loose-haired Magdalen
+(which is now in London), and the other as a German lady (now at
+Frankfort).
+
+In 1498 Duerer painted a handsome portrait of himself, with curly hair
+and beard, and a rich holiday costume. His expression is that of a man
+who appreciates and delights in his own value, and is thoroughly
+self-complacent. This picture was presented by Nuremberg to King
+Charles I. of England; and, in the dispersion of his gallery during
+the Commonwealth, it was bought by the Grand Duke of Tuscany. It is
+now in the Uffizi Gallery, though Muendler calls this Florentine
+picture a copy of a nobler original which is in the Madrid Gallery.
+
+During this year Duerer published his first great series of woodcuts,
+representing the Apocalypse of St. John, in fifteen pictures full of
+terrible impressiveness and the naturalistic quaintness of early
+German faith. The boldness of the youth who thus took for his theme
+the marvellous mysteries of Patmos was warranted in the grand
+weirdness and perennial fascination of the resulting compositions.
+This series of rich and skilful engravings marked a new era in the
+history of wood-engraving, and the entrance of a noble artistic spirit
+into a realm which had previously been occupied by rude monkish cuts
+of saints and miracles. Jackson calls these representations of the
+Apocalypse "much superior to all wood-engravings that had previously
+appeared, both in design and execution." The series was brought out
+simultaneously in German and Latin editions, and was published by the
+author himself. It met with a great success, and was soon duplicated
+in new pirated editions.
+
+It has of late years become a contested point as to whether Duerer
+really engraved his woodcuts with his own hands, or whether he only
+drew the designs on the wood, and left their mechanical execution to
+practical workmen. It is only within the present century that a theory
+to the latter effect has been advanced and supported by powerful
+arguments and first-class authorities. The German scholars Bartsch and
+Von Eye, and the historians of engraving Jackson and Chatto, concur in
+denying Duerer's use of the graver. But there is a strong and
+well-supported belief that many of the engravings attributed to him
+were actually done by his hand, and that during the earlier part of
+his career he was largely engaged in this way. The exquisite
+wood-carvings which are undoubtedly his work show that he was not
+devoid of the manual dexterity needful for these plates; and it is
+also certain that the mediaeval artists did not hold themselves above
+mechanical labors, since even Raphael and Titian were among the
+_peintres-graveurs_. Duerer's efforts greatly elevated the art of
+wood-engraving in Germany, and this improvement was directly conducive
+to its growth in popularity. A large number of skilful engravers were
+developed by the new demand; and in his later years Duerer doubtless
+found enough expert assistants, and was enabled to devote his time to
+more noble achievements. He used the art to multiply and disseminate
+his rich ideas, which thus found a more ready expression than
+that of painting. Heller attributes one hundred and seventy-four
+wood-engravings to him; and many more, of varying claims to
+authenticity, are enumerated by other writers. Twenty-six were made
+before 1506. The finest and the only perfect collection of Duerer's
+woodcuts is owned by Herr Cornill d'Orville of Frankfort-on-the-Main.
+
+In 1500 Duerer painted the noble portrait of himself which is now at
+Munich, and is the favorite of all lovers of the great artist. It
+shows a high and intellectual forehead, and tender and loving eyes,
+with long curling hair which falls far down on his shoulders. In many
+respects it bears the closest resemblance to the traditional pictures
+of Christ, with its sad and solemn beauty, and large sympathetic eyes,
+and has the same effeminate full lips and streaming ringlets.
+
+During the next five years Duerer was in some measure compensated for
+the trials of his home by the cheerful companionship of his old friend
+Pirkheimer, who had recently returned from service with the Emperor's
+army in the Tyrolese wars. At his hospitable mansion the artist met
+many eminent scholars, reformers, and literati, and broadened his
+knowledge of the world, while receiving worthy homage for his genius
+and his personal accomplishments. Baumgaertner, Volkamer, Harsdorfer,
+and other patricians of the city, were his near friends; and the
+Augustine Prior, Eucharius Karl, and the brilliant Lazarus Spengler,
+the Secretary of Nuremberg, were also intimate with both Duerer and
+Pirkheimer. During the next twenty years the harassed artist often
+sought refuge among these gatherings of choice spirits, when weary of
+his continuous labors of ambition.
+
+Duerer pathetically narrates the death of his venerable father, in
+words as vivid as one of his pictures, and full of quaint tenderness:
+"Soon he clearly saw death before him, and with great patience waited
+to go, recommending my mother to me, and a godly life to all of us. He
+received the sacraments, and died a true Christian, on the eve of St.
+Matthew (Sept. 21), at midnight, in 1502.... The old nurse helped him
+to rise, and put the close cap upon his head again, which had become
+wet by the heavy sweat. He wanted something to drink; and she gave him
+Rhine wine, of which he tasted some, and then wished to lie down
+again. He thanked her for her aid, but no sooner lay back upon his
+pillows than his last agony began. Then the old woman trimmed the
+lamp, and set herself to read aloud St. Bernard's dying song; but she
+only reached the third verse, and behold his soul had gone. God be
+good to him! Amen. Then the little maid, when she saw that he was
+dying, ran quickly up to my chamber, and waked me. I went down fast,
+but he was gone; and I grieved much that I had not been found worthy
+to be beside him at his end."
+
+At this time Albert took home his brother Hans, who was then twelve
+years old, to learn the art of painting in his studio; and his other
+young brother, Andreas, the goldsmith's apprentice, now set forth upon
+his _Wander-jahre_. Within two years his mother, the widowed Barbara,
+had exhausted her scanty means; and she also was taken into Duerer's
+home, and lovingly cared for by her son.
+
+In 1503 Duerer's frail constitution yielded to an attack of illness. A
+drawing of Christ crowned with thorns, now in the British Museum,
+bears his inscription: "I drew this face in my sickness, 1503." In the
+same year he executed a copper-plate engraving of a skull emblazoned
+on an escutcheon, which is crowned by a winged helmet, and supported
+by a weird woman, over whose shoulder a satyr's face is peering. A
+contemporary copper-plate shows the Virgin nursing the Infant Jesus.
+The painting of this same subject, bearing the date of 1503, is now in
+the Vienna Belvedere, portraying an unlovely German mother and a very
+earthly baby.
+
+The celebrated "Green Passion" was executed in 1504, and is a series
+of twelve drawings on green paper, illustrating the sufferings of
+Christ. Some critics prefer this set, for delicacy and power, to
+either of the three engraved Passions. The theory is advanced that
+these exquisite drawings were made for the Emperor, or some other
+magnate, who wished to possess a unique copy. The Green Passion is now
+in the Vienna Albertina, the great collection of drawings made by the
+Archduke Albert of Sachsen-Teschen, which includes 160 of Duerer's
+sketches, designs, travel-notes, studies of costume and architecture,
+&c.
+
+Over 600 authentic sketches and drawings by Duerer are now preserved in
+Europe, and are of great interest as showing the freedom and firmness
+of the great master's first conceptions, and the gradual evolution of
+his ultimate ideas. They are drawn on papers of various colors and
+different preparations, with pen, pencil, crayon, charcoal, silver
+point, tempera, or water-colors. Some are highly finished, and
+others are only rapid jottings or bare outlines. The richest of the
+ancient collections was that of Hans Imhoff of Nuremberg, who
+married Pirkheimer's daughter Felicitas, and in due time added his
+father-in-law's Duerer-drawings to his own collection. His son
+Willibald further enriched the family art-treasures by many of
+the master's drawings which he bought from Andreas Duerer, and by
+inheriting the pictures of Barbara Pirkheimer. He solemnly enjoined
+in his will that this great collection should never be alienated, but
+should descend through the Imhoff family as an honored possession. His
+widow, however, speedily offered to sell the entire series to the
+Emperor Rudolph, and it was soon broken up and dispersed. The Earl of
+Arundel secured a great number of Duerer's drawings here, and carried
+them to England. In 1637 Arundel bought a large folio containing
+nearly 200 of these sketches, which was bequeathed to the British
+Museum in 1753 by Sir Hans Sloane. The museum has now one of the best
+existing collections of these works, some of which are of rare
+interest and value, especially the highly finished water-colors and
+pen-drawings.
+
+The interesting sketch-books used by Duerer on his journeys to Venice
+and to the Netherlands remained forgotten in the archives of a noble
+Nuremberg family until within less than a century, when the family
+became extinct, and its property was dispersed. They were then
+acquired by the venerable antiquary Baron von Derschau, who sold them
+to Nagler and Heller. Nagler's share was afterwards acquired by the
+Berlin Museum; and Heller's was bequeathed to the library of Bamberg.
+
+In 1504 Pirkheimer's wife Crescentia died in childbirth, after only
+two years of married life. Her husband bore witness that she had never
+caused him any trouble, except by her death; and engaged Duerer to make
+a picture of her death-bed. This work was beautifully executed in
+water-colors, and depicts the expiring woman on a great bedstead,
+surrounded by many persons, among whom are Pirkheimer and his sister
+Charitas, the Abbess, with the Augustinian Prior.
+
+The exquisite copper-plate engraving of "The Nativity" dates from this
+year, and shows the Virgin adoring the new-born Jesus, in the shelter
+of a humble German house among massive ancient ruins, while Joseph is
+drawing water from the well, and an old shepherd approaches the Child
+on his knees. The "Adam and Eve" was also done on copper this year,
+with the parents of all mankind, surrounded by animals, and standing
+near the tree of knowledge, from which the serpent is delivering the
+fatal apple to Eve.
+
+In the same year Duerer painted a carefully wrought "Adoration of
+the Kings," for the Elector Frederick the Wise of Saxony. It was
+afterwards presented by Christian II. to the Emperor Rudolph, and is
+now in the Uffizi, at Florence, which contains more pictures by
+Duerer than any other gallery outside of Germany. Here also is the
+controverted picture of "Calvary," dated 1505, displaying on one small
+canvas all the scenes of the Passion, with an astonishing number of
+figures finished in miniature.
+
+"The Satyr's Family" is an engraving on copper, showing the
+goat-footed father cheerily playing on a pipe, to the evident
+amusement of his human wife and child. "The Great Horse" and "The
+Little Horse" are similar productions of this period, in which the
+commentators vainly strive to find some recondite meaning. Sixteen
+engravings on copper were made between 1500 and 1506.
+
+Duerer has been called "The Chaucer of Painting," by reason of the
+marvellous quaintness of his conceptions; and Ruskin speaks of him as
+"intense in trifles, gloomily minute." His details, minute as they
+were, received the most careful study, and were all thought out before
+the pictures were begun, so that he neither erased nor altered his
+lines, nor made preliminary sketches. He was essentially a thinker who
+drew, rather than a drawer who thought.
+
+
+
+
+CHAPTER III.
+
+The Journey to Venice.--Bellini's Friendship.--Letters to
+Pirkheimer.--"The Feast of Rose Garlands."--Bologna.--"Adam and
+Eve."--"The Coronation of the Virgin."
+
+
+Late in 1505 Duerer made a journey to Venice, probably with a view to
+recover his health, enlarge his circle of friends and patrons, and
+study the famous Venetian paintings. He was worn down by continuous
+hard work, and weary of the dull uneventfulness of his life, and
+hailed an opportunity to rest in sunny Italy. He borrowed money from
+Pirkheimer for his journey, and left a small sum for family expenses
+during his absence. Between Nuremberg and her rich Southern rival
+there was a large commerce, with a weekly post; and many German
+merchants and artists were then residing in Venice. Duerer rode down on
+horseback; and suffered an attack of illness at Stein, near Laibach,
+where he rewarded the artist who had nursed him by painting a picture
+on the wall of his house. On arriving at Venice, the master was
+cordially received, and highly honored by the chief artists and
+literati of the city. The heads of Venetian art at that time were
+Giovanni Bellini and Carpaccio, both of whom were advanced in years;
+and Giorgione and Titian, who were not mentioned by our traveller,
+though they were both at work for the Fondaco de' Tedeschi at the same
+time as himself.
+
+During his residence in Venice he wrote nine long letters to "the
+honorable and wise Herr Willibald Pirkheimer, Burgher of Nuremberg,"
+which were walled up in the Imhoff mansion during the Thirty Years'
+War, and discovered at a later age. Much of these letters is taken up
+with details about Pirkheimer's commissions for precious stones and
+books, or with badinage about the burgher's private life, with
+frequent allusions to the support of the Duerers at home. Of greater
+interest are the accounts of the writer's successes in art, and the
+friends whom he met in Venetian society. The letters were embellished
+with rude caricatures and grotesques, matching the broad humor of the
+jovial allusions in the text. Either Pirkheimer was a man of most
+riotous life, or Duerer was a bold and pertinacious jester, unwearying
+in mock-earnest reproofs. These letters were sealed with the Duerer
+crest, composed of a pair of open doors above three steps on a shield,
+which was a punning allusion to the name Duerer, or Thuerer, _Thuer_
+being the German word for _door_. In the second letter he says,--
+
+    "I wish you were in Venice. There are many fine fellows among
+    the painters, who get more and more friendly with me; it
+    holds one's heart up. Well-brought-up folks, good
+    lute-players, skilled pipers, and many noble and excellent
+    people, are in the company, all wishing me very well, and
+    being very friendly. On the other hand, here are the falsest,
+    most lying, thievish villains in the whole world, appearing
+    to the unwary the pleasantest possible fellows. I laugh to
+    myself when they try it with me: the fact is, they know their
+    rascality is public, though one says nothing. I have many
+    good friends among the Italians, who warn me not to eat or
+    drink with their painters; for many of them are my enemies,
+    and copy my picture in the church, and others of mine
+    wherever they meet with them; and yet, notwithstanding this,
+    they abuse my works, and say that they are not according to
+    ancient art, and therefore not good. But Gian Bellini has
+    praised me highly before several gentlemen, and he wishes to
+    have something of my painting. He came himself, and asked me
+    to do something for him, saying that he would pay me well for
+    it; and all the people here tell me what a good man he is, so
+    that I also am greatly inclined to him."
+
+These sentences show the artist's pleasure at the kindly way in which
+the Italians received him, and also reveal the danger in which he
+stood of being poisoned by jealous rivals. Another ambiguous sentence
+has given rise to the belief that Duerer had visited Venice eleven
+years previously, during his _Wander-jahre_.
+
+Camerarius says that Bellini was so amazed and delighted at the
+exquisite fineness of Duerer's painting, especially of hair, that he
+begged him to give him the brush with which he had done such delicate
+work. The Nuremberger offered him any or all of his brushes, but
+Bellini asked again for the one with which he had painted the hair;
+upon which Duerer took one of his common brushes, and painted a long
+tress of woman's hair. Bellini reported that he would not have
+believed such marvellous work possible, if he had not seen it himself.
+
+The third letter describes the adventures of the inexpert artist in
+securing certain sapphires, amethysts, and emeralds for his "dear Herr
+Pirkheimer," and complains that the money earned by painting was all
+swallowed up by living expenses. The jealous Venetian painters had
+also forced him, by process of law, to pay money to their art-schools.
+
+His brother Hans was now sixteen years old, and had become a source of
+responsibility, for Duerer adds: "With regard to my brother, tell my
+mother to speak to Wohlgemuth, and see whether he wants him, or will
+give him work till I return, or to others, so that he may help
+himself. I would willingly have brought him with me to Venice, which
+would have been useful to him and to me, and also on account of his
+learning the language; but my mother was afraid that the heavens would
+fall upon him and upon me too. I pray you, have an eye to him
+yourself: he is lost with the women-folk. Speak to the boy as you
+well know how to do, and bid him behave well and learn diligently
+until I return, and not be a burden to the mother; for I cannot do
+every thing, although I will do my best."
+
+In the fourth letter he speaks of having traded his pictures for
+jewels, and sends greetings to his friend Baumgaertner, saying also:
+"Know that by the grace of God I am well, and that I am working
+diligently.... I wish that it suited you to be here. I know you would
+find the time pass quickly, for there are many agreeable people here,
+very good amateurs; and I have sometimes such a press of strangers to
+visit me, that I am obliged to hide myself; and all the gentlemen wish
+me well, but very few of the painters."
+
+The fifth letter opens with a long complimentary flourish in a
+barbarous mixture of Italian and Spanish, and then chaffs Pirkheimer
+unmercifully for his increasing intrigues. It also thanks Pirkheimer
+for trying to placate Agnes Frey, who is evidently much disappointed
+because her husband lingers so long at Venice. The Prior Eucharius is
+besought to pray that Duerer might be delivered from the new and
+terrible "French disease," then fatally prevalent in Italy. Mention is
+made of Andreas, the goldsmith, Duerer's brother, meeting him at
+Venice, and borrowing money to relieve his distress.
+
+The next letter starts off with quaint mock-deference, and alludes to
+the splendid Venetian soldiery, and their contempt of the Emperor.
+Farther on are unintelligible allusions, and passages too vulgar for
+translation. He says that the Doge and Patriarch had visited his
+studio to inspect the new picture, and that he had effectually
+silenced the artists who claimed that he was only good at engraving,
+and could not use colors. Soon afterwards he writes about the
+completion of his great painting of the Rose Garlands; and says,
+"There is no better picture of the Virgin Mary in the land, because
+all the artists praise it, as well as the nobility. They say they have
+never seen a more sublime, a more charming painting." He adds that he
+had declined orders to the amount of over 2,000 ducats, in order to
+return home, and was then engaged in finishing a few portraits.
+
+The last letter congratulates Pirkheimer on his political successes,
+but expresses a fear lest "so great a man will never go about the
+streets again talking with the poor painter Duerer,--with a poltroon
+of a painter." In response to Pirkheimer's threat of making love to
+his wife if he remained away longer, he said that if such was done, he
+might keep Agnes until her death. He also tells how he had been
+attending a dancing-school, but could not learn the art, and retired
+in disgust after two lessons.
+
+The picture which Duerer painted for the Fondaco de' Tedeschi was until
+recently supposed to be a "St. Bartholomew;" but it is now believed
+that it was the renowned "Feast of Rose Garlands," which is now at the
+Bohemian Monastery of Strahow. He worked hard on this picture for
+seven months, and was proud of its beauty and popularity. The Emperor
+Rudolph II. bought it from the church in which it was set up, and had
+it carried on men's shoulders all the way from Venice to Prague, to
+avoid the dangers attending other modes of conveyance. When Joseph II.
+sold his pictures, in 1782, this one was bought by the Abbey of
+Strahow, and remained buried in oblivion for three-quarters of a
+century. The picture shows the Virgin sitting under a canopy and a
+star-strewn crown held by flying cherubs, with the graceful Child in
+her lap. She is placing a crown of roses on the head of the Emperor
+Maximilian, while Jesus places another on the head of the Pope; and
+a monk on one side is similarly honored by St. Dominic, the founder
+of the Feast of the Rose Garlands. A multitude of kneeling men and
+women on either side are being crowned with roses by merry little
+child-angels, flying through the air; while on the extreme right,
+Duerer and Pirkheimer are seen standing by a tree.
+
+Pirkheimer and Agnes had both been urging the master to return; but he
+seemed reluctant to exchange the radiance of Italy for the quietness
+of his home-circle, and mournfully exclaims, "Oh, how I shall freeze
+after this sunshine! Here I am a gentleman, at home only a parasite!"
+A brilliant career was open before him at Venice, whose Government
+offered him a pension of 200 ducats; but his sense of duty compelled
+him to return to Germany, though in bitterness of spirit. Before
+turning Northward he rode to Bologna, "because some one there will
+teach me the secret art of perspective" (Francesco Francia); and met
+Christopher Scheurl, who greatly admired him. A year later Raphael
+also came to Bologna, and saw some works left there by Duerer, from
+which arose an intimate correspondence and exchanges of pictures
+between the artists. The master had been invited to visit the
+venerable Mantegna, at Mantua; but that Nestor of North-Italian art
+died before the plan was carried out. Duerer afterwards told Camerarius
+that this death "caused him more grief than any mischance that had
+befallen him during his life."
+
+Art-critics agree in rejoicing that Duerer conquered the temptations
+which were held out to him from the gorgeous Italian city, and
+returned to his plain life in the cold North. He escaped the danger of
+sacrificing his individualism to the glowing and sensuous Venetian
+school of art, and preserved the quaintness and vigor of his own
+Gothic inspirations for the joy of future ages.
+
+The marine backgrounds in many of Duerer's later pictures are referred
+by Ruskin to the artist's pleasant memories of Venice, "where he
+received the rarest of all rewards granted to a good workman; and, for
+once in his life, was understood." Other and wilder landscapes in his
+woodcuts were reminiscences of the pastoral regions of the Franconian
+Switzerland.
+
+The personal history of Duerer between 1507 and 1520 was barren of
+details, but evidently full of earnest work, as existing pictures bear
+witness. It was the golden period of his art-life, abounding in
+productiveness. His workshop was the seat of the chief art-school in
+Nuremberg, and contained many excellent young painters and engravers,
+to whom the master delivered his wise axioms and earnest thoughts in
+rich profusion.
+
+During this period, also, he probably executed certain of his best
+works in carving, which are hereinafter described. Dr. Thausing
+denies that Duerer used the chisel of the sculptor to any extent, and
+refuses to accept the genuineness of the carvings which the earlier
+biographers have attributed to him. Scott is of the opinion that in
+most cases these rich and delicate works were executed by other
+persons, either from his drawings or under his inspection.
+
+On his return from Venice, Duerer painted life-sized nude figures of
+Adam and Eve, representing them with the fatal apple in their hands,
+at the moment of the Fall. They are well designed in outline, but
+possess a certain anatomical hardness, lacking in grace and mobility.
+They were greatly admired by the Nurembergers, in whose Rath-haus
+they were placed; but were at length presented to the Emperor Rudolph
+II. He replaced them with copies, which Napoleon, in 1796, supposed to
+be Duerer's original works, and removed to Paris. He afterwards
+presented them to the town of Mayence, where they are still exhibited
+as Duerer's. The true originals passed into Spain, where they were
+first redeemed from oblivion by Passavant, about the year 1853. A copy
+of the Adam and Eve, which was executed in Duerer's studio and under
+his care, is now at the Pitti Palace.
+
+In the spring of 1507 Duerer met at the house of his brother-in-law
+Jacob Frey, the rich Frankfort merchant Jacob Heller, who commissioned
+him to paint an altar-piece. He was delayed by a prolonged attack of
+fever in the summer, and by the closing works on the Elector's
+picture.
+
+Between 1507 and 1514 (inclusive) Duerer made forty-eight engravings
+and etchings, and over a hundred woodcuts, bespeaking an iron
+diligence and a remarkable power of application. The rapid sale of
+these works in frequent new editions gave a large income to their
+author, and placed him in a comfortable position among the burghers
+of Nuremberg. The religious excitement then prevailing throughout
+Europe, on the eve of the Reformation, increased the demand for his
+engravings of the Virgin, the saints, and the great Passion series.
+
+In 1508 Duerer finished the painting of "The Martyrdom of the Ten
+Thousand Christians," to which he professed to have given all his time
+for a year. It was ordered by Frederick of Saxony, the patron of Lucas
+Cranach, who had seen the master's woodcut of the same subject, and
+desired it reproduced in an oil-painting. It is a painful and
+unpleasant scene, full of brutality and horror; and the picture is
+devoid of unity, though conspicuous for clear and brilliant coloring.
+Duerer and Pirkheimer stand in the middle of the foreground.
+
+On the completion of this work the master wrote to Heller, "No one
+shall persuade me to work according to what I am paid." He then began
+Heller's altar-piece, under unnecessary exhortation "to paint his
+picture well," and made a great number of careful studies for the new
+composition. When fairly under way, he demanded 200 florins for his
+work instead of the 130 florins of the contract-price, which drew an
+angry answer from the frugal merchant, with accusations of dishonesty.
+The artist rejoined sharply, dwelling upon the great cost of the
+colors and the length of the task, yet offering to carry out his
+contract in order to save his good faith. Throughout the next year
+Heller stimulated the painter to hasten his work, until Duerer became
+angry, and threw up the commission. He was soon induced to resume it,
+and completed the picture in the summer of 1509, upon which the
+delighted merchant paid him gladly, and sent handsome presents to his
+wife and brother. Duerer wrote to Heller, "It will last fresh and clean
+for five hundred years, for it is not done as ordinary paintings
+are.... But no one shall ever again persuade me to undertake a
+painting with so much work in it. Herr Jorg Tauss offered himself to
+pay me 400 florins for a Virgin in a landscape, but I declined
+positively, for I should become a beggar by this means. Henceforward I
+will stick to my engraving; and, if I had done so before, I should be
+richer by a thousand florins than I am to-day."
+
+The picture which caused so much argument and toil was "The Coronation
+of the Virgin," which was set up over the bronze monument of the
+Heller family in the Dominican Church at Frankfort. Its exquisite
+delicacy of execution attracted great crowds to the church, and
+quickly enriched the monastery. Singularly enough, the most famous
+part of the picture was the sole of the foot of one of the kneeling
+Apostles, which was esteemed such a marvellous work that great sums
+were offered to have it cut out of the canvas. The Emperor Rudolph II.
+offered the immense amount of 10,000 florins for the painting, in
+vain; but in 1613 it passed into the possession of Maximilian of
+Bavaria, and was destroyed in the burning of the palace at Munich,
+sixty years later. So the renowned picture, which Duerer said gave him
+"more joy and satisfaction than any other he ever undertook," passed
+away, leaving no engraving or other memorial, save a copy by Paul
+Juvenal. This excellent reproduction is now at Nuremberg, and is
+provided with the original wings, beautifully painted by Duerer,
+showing on one the portrait of Jacob Heller and the death of St.
+James, and on the other Heller's wife, and the martyrdom of St.
+Catherine.
+
+In 1501 the burgher Schiltkrot and the pious copper-smith Matthaeus
+Landaeuer founded the House of the Twelve Brothers, an alms-house for
+poor old men of Nuremberg; and eight years later, Landaeuer ordered
+Duerer to paint an altar-piece of "The Adoration of the Trinity," for
+its chapel. Much of the master's time for the next two years was
+devoted to this great work.
+
+
+
+
+CHAPTER IV.
+
+Duerer's House.--His Poetry.--Sculptures.--The Great and Little
+Passions.--Life of the Virgin.--Plagiarists.--Works for the Emperor
+Maximilian.
+
+
+Some time after his marriage with Agnes Frey, Duerer moved into the new
+house near the Thiergaertner Gate, which had perhaps been bought with
+the dowry of his bride. Here he labored until his death, and executed
+his most famous works. It is a spacious house, with a lower story of
+stone, wide portals, a paved interior court, and pleasant upper rooms
+between thick half-timber walls, whose mullioned windows look out on
+lines of quaint Gothic buildings and towers, and on the broad paved
+square at the foot of the Zisselgasse (now Albrecht-Duerer-Strasse).
+Just across the square was the so-called "Pilate's House," whose
+owner, Martin Koetzel, had made two pilgrimages to the Holy Land, and
+brought back measurements of the Dolorous Way. The artist's house is
+now carefully preserved as public property, and contains the gallery
+of the Duerer Art-Union. In 1828, on the third centennial of his death,
+the people erected a bronze statue of the master, designed by Rauch,
+on the square before the house.
+
+In 1509-10 Duerer derived pleasure and furnished much amusement to his
+friends from verse-making, in which he suffered a worse failure even
+than Raphael had done. It seems that Pirkheimer ridiculed a long-drawn
+couplet which he had made, upon which the master composed a neat bit
+of proverbial philosophy, of which the following is a translation:--
+
+     "Strive earnestly with all thy might,
+     That God should give thee Wisdom's light;
+     He doth his wisdom truly prove,
+     Whom neither death nor riches move;
+     And he shall also be called wise,
+     Who joy and sorrow both defies;
+     He who bears both honor and shame,
+     He well deserves the wise man's name;
+     Who knows himself, and evil shuns,
+     In Wisdom's path he surely runs;
+     Who 'gainst his foe doth vengeance cherish,
+     In hell-flame cloth his wisdom perish;
+     Who strives against the Devil's might,
+     The Lord will help him in the fight;
+     Who keeps his heart forever pure,
+     He of Wisdom's crown is sure;
+     And who loves God with all his heart,
+     Chooses the wise and better part."
+
+But Pirkheimer was not more pleased with this; and the witty Secretary
+Spengler sent Duerer a satirical poem, applying the moral of the fable
+of the shoemaker who criticised a picture by Apelles. He answered this
+in a song of sixty lines, closing with,--
+
+     "Therefore I will still make rhymes,
+     Though my friend may laugh at times:
+     So the Painter with hairy beard
+     Says to the Writer who mocked and jeered."
+
+"1510, this have I made on Good and Bad Friends." Thus the master
+prefaces a platitudinous poem of thirty lines; which was soon followed
+by "The Teacher," of sixty lines. Later in the year he wrote the long
+Passion-Song, which was appended to the print of _Christus am Kreuz_.
+It is composed of eight sections, of ten lines each, and is full
+of quaint mediaeval tenderness and reverence, and the intense
+prayerfulness of the old German faith. The sections are named Matins,
+the First, Third, Sixth, and Ninth Hours, Vespers, Compline, and Let
+Us Pray, the latter of which is redolent with earnest devotion:--
+
+     "O Almighty Lord and God,
+     Who the martyr's press hast trod;
+     Jesus, the only God, the Son,
+     Who all this to Thyself hast done,
+     Keep it before us to-day and to-morrow,
+     Give us continual rue and sorrow;
+     Wash me clean, and make me well,
+     I pray Thee, like a soul from hell.
+     Lord, Thou hast overcome: look down;
+     Let us at last to share the crown."
+
+The marvellous high-relief of "The Birth of St. John the Baptist"
+as executed in 1510, and shows Duerer's remarkable powers as a
+sculptor. It is cut in a block of cream-colored lithographic stone,
+7-1/2 x 5-1/2 inches in size, and is full of rich and minute pictorial
+details. Elizabeth is rising in bed, aided by two attendants; and the
+old nurse brings the infant to Zacharias, who writes its name on a
+tablet, while two men are entering at the doorway. The room is
+furnished with the usual utensils and properties of a German bedroom.
+This wonderful and well-preserved work of art was bought in the
+Netherlands about eighty years ago, for $2,500, and is now in the
+British Museum. The companion-piece, "St. John the Baptist Preaching
+in the Wilderness," is now in the Brunswick Museum, and is carved with
+a similar rich effect. This museum also contains a carving in wood,
+representing the "Ecce Homo."
+
+Space would fail to tell of the many beautiful little pieces of
+sculpture which Duerer executed in ivory, boxwood, and stone, or of the
+numerous excellently designed medals ascribed to him. Chief among
+these was the exquisite "Birth of Christ," and the altar of agate,
+formerly at Vienna; Adam and Eve, in wood, at Gotha; reliefs of the
+Birth and the Agony of Christ, in ivory; the Four Evangelists, in
+boxwood, lately at Baireuth; several carvings on ivory, of religious
+scenes, at Munich; a woman with padlocked mouth, sitting in the
+stocks, cut in soapstone; a delicate relief of the Flight into Egypt;
+busts of the Duke and Duchess of Burgundy; and the Love-Fountain, now
+at Dresden, with figures of six persons drinking the water.
+
+The famous painting of "The Adoration of the Trinity" was finished in
+1511, and represents God the Father holding up His crucified Son for
+the worship of an immense congregation of saints, while overhead is
+the mystic Dove, surrounded by a circle of winged cherubs' heads. The
+kneeling multitude includes princes, prelates, warriors, burghers, and
+peasants, equally accepting the Athanasian dogma. On the left is a
+great group of female saints, led by the sweet and stately Virgin
+Mary; and on the right are the kneeling prophets and apostles, Moses
+with the tables of the Law, and David with his harp. On the broad
+terrestrial landscape, far below, Duerer stands alone, by a tall tablet
+bearing the Latin inscription of his name and the date of the picture.
+The whole scene is full of light and splendor, delicate beauty of
+angels, and exquisite minuteness of finish. A century later the Rath
+of Nuremberg removed this picture from the sepulchral chapel of its
+founder, and presented it to the Emperor Rudolph II. It is now one of
+the gems of the Vienna Belvedere.
+
+About this time the master's brother Andreas, the goldsmith, returned
+to Nuremberg after his long wanderings, and eased the evident anxiety
+of his family by settling respectably in life. Hans was still in his
+brother's studio, where he learned his art so well that he afterwards
+became court-painter to the King of Poland.
+
+In 1511 Duerer published a third edition of the engravings of the
+Apocalypse, with a warning to piratical engravers that the Emperor had
+forbidden the sale of copies or impressions other than those of the
+author, within the Empire, under heavy penalties to transgressors. To
+the same year belong three of the master's greatest works in engraving
+on wood.
+
+"The Great Passion" contains twelve folio woodcuts, unequal in
+their execution, and probably made by different workmen of varying
+abilities. The vignette is an "Ecce Homo;" and the other subjects are,
+the Last Supper, Christ at Gethsemane, His Betrayal, the Scourging,
+the Mockery, Christ Bearing the Cross, the Crucifixion, the Descent
+into Hell, the Maries Mourning over Christ's Body, the Entombment,
+and the Resurrection. These powerful delineations of the Agony of Our
+Lord are characterized by rare originality of conception, pathos,
+and grandeur. They were furnished with Latin verses by the monk
+Chelidonius, and bore the imperial warning against imitation. Four
+large editions were printed from these cuts, and numerous copies,
+especially in Italy, where the Emperor's edict was inoperative.
+
+"The Little Passion" was a term applied by Duerer himself to
+distinguish his series of thirty-seven designs from the larger
+pictures of "The Great Passion." It is the best-known of the master's
+engravings; and has been published in two editions at Nuremberg, a
+third at Venice in 1612, and a fourth at London in 1844. The blocks
+are now in the British Museum, and show plainly that they were not
+engraved by Duerer. This great pictorial scene of the fall and
+redemption of man begins with the sin of Adam and Eve, and their
+expulsion from Eden, and follows with thirty-three compositions from
+the life and passion of Christ, ending with the Descent of the Holy
+Ghost and the Last Judgment. Its title was _Figurae Passionis Domini
+Nostri Jesu Christi_; and it was furnished with a set of the Latin
+verses of Chelidonius.
+
+The third of Duerer's great works in wood-engraving was "The Life
+of the Virgin," with explanatory Latin verses by the Benedictine
+Chelidonius. This was published in 1511, and contains twenty pictures,
+full of realistic plainness and domestic homeliness, yet displaying
+marvellous skill and power of invention. To the same year belong the
+master's engravings of the Trinity, St. Christopher, St. Gregory's
+Mass, St. Jerome, St. Francis Receiving the Stigmata, the Holy Family
+with the Guitar, Herodias and the Head of John the Baptist, and the
+Adoration of the Magi; and the copper-plates of the Crucifixion and
+the Virgin with the Pear.
+
+Duerer was much afflicted by the boldness of many imitators, who
+plagiarized his engravings without stint, and flooded the market with
+pictures from his designs. His rights were protected but poorly by the
+edicts of the Emperor and the city of Nuremberg; and a swarm of
+parasitical copyists reproduced every fresh design as soon as it was
+published. Marc Antonio Raimondi, the great Italian engraver who
+worked so many years with Raphael, was the most dangerous of these
+plagiarists, and reproduced "The Little Passion" and "The Life of the
+Virgin" in a most exquisite manner, close after their publication.
+Vasari says, "It happened that at this time certain Flemings came to
+Venice with a great many prints, engraved both in wood and copper by
+Albert Duerer, which being seen by Marc Antonio in the Square of St.
+Mark, he was so much astonished by their style of execution, and the
+skill displayed by Albert, that he laid out on those prints almost all
+the money he had brought with him from Bologna, and amongst other
+things purchased 'The Passion of Jesus Christ,' engraved on thirty-six
+wooden blocks.... Marc Antonio therefore, having considered how much
+honor as well as advantage might be acquired by one who should devote
+himself to that art in Italy, resolved to attend to it with the
+greatest diligence, and immediately began to copy these engravings of
+Albert, studying their mode of hatching, and every thing else in the
+prints he had purchased, which from their novelty as well as beauty,
+were in such repute that every one desired to possess them."
+
+It appears that Marc Antonio was afterwards enjoined from using
+Duerer's monogram on his copies of the Nuremberger's engravings, either
+by imperial diplomatic representations to the Italian courts, or else
+as the result of a visit which some claim that Duerer made to Italy for
+that purpose. Many of the copies of Marc Antonio were rather idealized
+adaptations than exact reproductions of the German's designs, but were
+furnished with the forged monogram A. D., and sold for Duerer's works.
+Sixty-nine of our artist's engravings were copied by the skilful
+Italian, profoundly influencing Southern art by the manual dexterity
+of the North. This wholesale piracy was carried on between 1505 and
+1511, and before Marc Antonio passed under Raphael's overmastering
+influence.
+
+In later years the Rath of Nuremberg warned the booksellers of
+the city against selling false copies of Duerer's engravings, and
+sent letters to the authorities of Augsburg, Leipsic, Frankfort,
+Strasbourg, and Antwerp, asking them to put a stop to such sales
+within their jurisdictions. His works have been copied by more than
+three hundred artists, the best of whom were Solis, Rota, the Hopfers,
+Wierx, Vischer, Schoen, and Kraus.
+
+In 1512 Duerer made most of the plates for "The Passion in Copper," a
+series of sixteen engravings on copper, which was begun in 1507 and
+finished in 1513. These plates show the terrible scenes of the last
+griefs of the Saviour, surrounded with uncouth German men and women,
+buildings and landscapes, yet permeated with mysterious reverence and
+solemn simplicity. The series was never published in book form, with
+descriptive text, but the engravings were put forth singly as soon as
+completed. The prints of "Christ Bound" and "St. Jerome" were
+published this same year.
+
+In 1512 Duerer was first employed by the Emperor Maximilian, who
+was not only a patron of the arts but also an artist himself, and
+munificently employed the best painters of Germany, though his
+treasury was usually but poorly filled. Science and literature also
+occupied much of his attention; and, while his realm was engaged in
+perpetual wars, he kept up a careful correspondence on profound themes
+with many of the foremost thinkers of his day. The records of his
+intercourse with Duerer are most meagre, though during the seven years
+of their connection they must have had many interviews, especially
+while the imperial portrait was being made.
+
+Melanchthon tells a pretty story, which he heard from Duerer himself.
+One day the artist was finishing a sketch for the Emperor, who,
+while waiting, attempted to make a drawing himself with one of
+the charcoal-crayons; but the charcoal kept breaking away, and he
+complained that he could accomplish nothing with it. Duerer then took
+it from his hand, saying, "This is my sceptre, your Majesty;" and
+afterwards taught the sovereign how to use it.
+
+The story which is told of so many geniuses who have risen from low
+estate is applied also to this one: The Emperor once declared to a
+noble who had proudly declined to perform some trivial service for the
+artist, "Out of seven ploughboys I can, if I please, make seven lords,
+but out of seven lords I cannot make one Duerer."
+
+Tradition states that the Emperor ennobled Duerer, and gave him a
+coat-of-arms. Possibly this was the crest used in his later years,
+consisting of three shields on a blue field, above which is a closed
+helmet supporting the armless bust and head of a winged negro!
+
+The idea of the immense woodcut of the Triumphal Arch of Maximilian
+was conceived after 1512, either by the Emperor or by the
+poet-laureate Stabius; and Duerer was chosen to put it into execution.
+The history of the deeds of Maximilian, with his ancestry and family
+alliances, was to be displayed in the form of a pictorial triumphal
+arch, "after the manner of those erected in honor of the Roman
+emperors." The master demanded payment in advance, and received an
+order from the Emperor to the Rath of Nuremberg to hold "his and the
+Empire's true and faithful Albert Duerer exempt from all the town taxes
+and rates, in consideration of our esteem for his skill in art." But
+he surrendered this immunity, in deference to the wishes of the Rath;
+and Maximilian granted him an annual pension of 100 florins ($200),
+which was paid, however, somewhat reluctantly.
+
+"The Knight, Death, and the Devil," is the most celebrated of Duerer's
+engravings, and dates from 1513. It shows a panoplied knight riding
+through a rocky defile, with white-bearded Death advancing alongside
+and holding up an hour-glass, and the loathsome Satan pursuing
+hard after and clutching at the undismayed knight. The numerous
+commentators on this picture variously interpret its meaning, some
+saying that the knight is an evil-doer, intent on wicked purposes,
+whom Death warns to repentance, while Satan rushes to seize him;
+others, and the most, that he is the Christian man, fearless among the
+menaces of Death and Hell, and steadily advancing in spite of the
+horrible apparitions. Others claim that the Knight represents Franz
+von Sickingen, a turbulent hero of the Reformation; or Philip Ring,
+the Nuremberg herald, who was confronted by the Devil on one of his
+night-rides; or Duerer himself, beset by temptations and fears; or
+Stephen Baumgaertner, the master's friend, whose portrait bears a
+resemblance to the knight's face. Still another interpretation is
+given in the romance of "Sintram and his Companions," which was
+suggested by this engraving, as we are told by its author, La Motte
+Fouque.
+
+Kugler says: "I believe I do not exaggerate when I particularize this
+print as the most important work which the fantastic spirit of German
+art has ever produced." It was made in Duerer's blooming time, and the
+plate is a wonderful specimen of delicate and exquisite execution. It
+has frequently been copied, in many forms.
+
+"The Little Crucifixion" is one of the most exquisitely finished of
+Duerer's engravings on copper, and is a small round picture, about one
+inch in diameter, which was made for an ornament on the pommel of the
+Emperor's sword. It contains seven figures, full of clearness and
+individuality, and engraved with marvellous skill. There are,
+fortunately, several very beautiful copies of this print. Other
+copper-plates of 1513 were "The Judgment of Paris," and the small
+round "St. Jerome."
+
+The famous Baumgaertner altar-piece was painted for the patrician
+family of that name, as a votive picture, in thanksgiving for the safe
+return of its knightly members from the Swiss campaigns. Nuremberg
+unwillingly surrendered it to Maximilian of Bavaria, and it is now in
+the Munich Pinakothek. It consists of a central picture of "The
+Nativity," of no special merit, with two wings, the first of which
+shows Stephen Baumgaertner, a meagre-faced and resolute knight, in the
+character of St. George, while the other portrays the plain-mannered
+and practical Lucas Baumgaertner, in the garb of St. Eustachius. These
+excellent portrait-figures are clad in armor, and stand by the sides
+of their horses.
+
+The "Vision of St. Eustachius" was executed on copper-plate, and is
+one of Duerer's most delicate and beautiful works. It shows the
+huntsman Eustachius as a strong and earnest German mystic, kneeling
+before the miraculous crucifix set in the stag's forehead, which has
+appeared to convict him of his sins, and to stimulate in him that
+faith by which he led a new life of prayer and praise, and won a
+martyr's crown. His solemn-faced horse seems to realize that a miracle
+is taking place; and in the foreground are five delicately drawn
+hounds. On the steep hill in the rear a noble and picturesque mediaeval
+castle rears its battlemented towers above long lines of cliffs.
+Tradition says that the face of Eustachius is a portrait of the
+Emperor Maximilian. When the Emperor Rudolph secured the original
+plate of the engraving, he had it richly gilded.
+
+"The Great Fortune," or "The Nemesis," is a copper-plate showing a
+repulsively ugly naked woman, with wings, holding a rich chalice and
+a bridle, while on the earth below is a beautiful mountain village
+between two confluent rivers. Sandrart says that this is the Hungarian
+village of Eytas, where Duerer's father was born; but there is
+no proof of this theory. "The Coat-of-Arms with the Cock" is a
+fine copper-plate, with some obscure allegorical significance,
+representing, perhaps, Vigilance by the cock which stands on a closed
+helmet, and Faith by the rampant lion on the shield below.
+
+
+
+
+CHAPTER V.
+
+St. Jerome.--The Melencolia.--Death of Duerer's Mother.--Raphael.
+--Etchings.--Maximilian's Arch.--Visit to Augsburg.
+
+
+The copper-plate engraving of "St. Jerome in his Chamber" was executed
+in 1514, and is one of Duerer's three greatest works, a marvel of
+brilliancy and beauty, full of accurate detail and minute perfection.
+The saint has a grand and venerable head, firmly outlined against a
+white halo, and is sitting in a cheerful monastic room, lighted by the
+sun streaming through two large arched windows, while he writes at his
+desk, translating the Scriptures. In the foreground the lion of St.
+Jerome is drowsing, alongside a fat watch-dog; a huge pumpkin hangs
+from one of the oaken beams overhead; and patristic tomes and
+convenient German utensils are scattered about the room.
+
+"The Virgin on the Crescent Moon" was a copper-plate executed also in
+1514, showing the graceful and charming Mary, treated with an idealism
+which almost suggests Raphael. This is one of the best of the
+seventeen Mary-pictures (_Marien-bilder_) which Duerer executed in
+copper. Other copper-plates of 1514 represented Sts. Paul and Thomas,
+the Bagpipe-Player, and a Dancing Rustic and his Wife.
+
+"The Melencolia" is the most weirdly fascinating of Duerer's works, and
+the most mysterious and variously interpreted. It represents a woman,
+goddess, or devil, fully clad, and bearing keys and a purse at her
+girdle, her head wreathed with spleenwort, and great wings springing
+from her shoulders; the while she gazes intently, and with unutterable
+melancholy, into a magic crystal globe before her. On one side a
+drowsy Cupid is trying to write, near a ladder which rises from unseen
+depths to unimagined heights; and on the wall are the balanced scales,
+the astrological table of figures, the hour-glass running low, and the
+silent bell. The floor is strewn with scientific and necromantic
+instruments, and a great cube of strange form lies beyond. The
+prevailing gloom of the picture is but dimly lighted by a lurid and
+solitary comet, whose rays shimmer along an expanse of black ocean,
+and are reflected from a firm-arched rainbow above. Across the
+alternately black and blazing sky flies a horrible bat-winged
+creature, bearing a scroll inscribed with the word MELENCOLIA, before
+the blank negations symbolized by the disastrous portent of the comet
+and the joyous sign of the rainbow.
+
+Under the guise of this mystic black-browed woman the artist probably
+typifies the profound sorrow of the human soul, checked by Divine
+limitations from attaining a full knowledge of the secrets of nature
+or the wisdom of heaven. The discarded implements of natural and
+occult science are alike useless; and nought remains but gloomy
+introspection and a consciousness of insufficiency.
+
+Duerer describes his mother's death with mournful tenderness and
+touching simplicity, saying: "Now you must know that in the year 1513,
+on a Tuesday in Cross-week, my poor unhappy mother, whom I had taken
+under my charge two years after my father's death, because she was
+then quite poor, and who had lived with me for nine years, was taken
+deathly sick on one morning early, so that we had to break open her
+room; for we knew not, as she could not get up, what to do. So we bore
+her down into a room, and she had the sacraments in both kinds
+administered to her, for every one thought that she was going to die,
+for she had been failing in health ever since my father's death. And
+her custom was to go often to church; and she always punished me when
+I did not act rightly, and she always took great care to keep me and
+my brothers from sin; and, whether I went in or out, her constant word
+was, 'In the name of Christ;' and with great diligence she constantly
+gave us holy exhortations, and had great care over our souls. And her
+good works, and the loving compassion that she showed to every one, I
+can never sufficiently set forth to her praise. This my good mother
+bore and brought up eighteen children; she has often had the
+pestilence and many other dangerous and remarkable illnesses; has
+suffered great poverty, scoffing, disparagement, spiteful words,
+fears, and great reverses: yet she has never been revengeful. A year
+after the day on which she was first taken ill ... my pious mother
+departed in a Christian manner, with all sacraments, absolved by
+Papal power from pain and sin. She gave me her blessing, and desired
+for me God's peace, and that I should keep myself from evil. And she
+desired also St. John's blessing, which she had, and she said she was
+not afraid to come before God. But she died hard; and I perceived that
+she saw something terrible, for she kept hold of the holy water, and
+did not speak for a long time. I saw also how Death came, and gave her
+two great blows on the heart; and how she shut her eyes and mouth, and
+departed in great sorrow. I prayed for her, and had such great grief
+for her that I can never express. God be gracious to her! Her greatest
+joy was always to speak of God, and to do all to his honor and glory.
+And she was sixty-three years old when she died, and I buried her
+honorably according to my means. God the Lord grant that I also make a
+blessed end, and that God with his heavenly hosts, and my father,
+mother, and friend, be present at my end, and that the Almighty God
+grant us eternal life! Amen. And in her death she looked still more
+lovely than she was in her life."
+
+In 1514 the prince of Italian painters and the noblest of German
+artists exchanged pleasant civilities by correspondence, accompanied
+by specimens of their labors. Duerer sent to Raphael his own portrait,
+which was afterwards inherited and dearly prized by Giulio Romano.
+Raphael returned several of his own studies and drawings, one of
+which, showing two naked men drawn in red crayon, is now preserved in
+the Albertina at Vienna. It still bears Duerer's inscription: "Raphael
+of Urbino, who is so highly esteemed by the Pope, has drawn this study
+from the nude, and has sent it to Albert Duerer at Nuremberg, in order
+to show him his hand."
+
+The invention of the art of etching has been generally attributed to
+Duerer, though it now seems that he merely improved and perfected the
+process. There are but few etchings in existence which can certainly
+be ascribed to him; and the chief of these, an "Ecce Homo" and "Christ
+in the Garden," date from 1515. The iron plate of the latter was found
+two centuries later, in a blacksmith's shop, where it was about to be
+made into horse-shoes. A third etching represents a frightfully
+homely woman being carried off by a man on a unicorn, a wild and
+incomprehensible composition, calculated to awaken an uncomfortable
+impression in the beholder. Some of the etchings were on iron, and
+others on pewter; but none were on copper, which was afterwards
+universally used. The corrosive nitrous acid acted inefficiently on
+the metals which he employed, and so his etchings fall short of
+excellence.
+
+In 1514 Jorg Vierling uttered disgraceful libels and threats against
+Duerer, and finally attacked him in the street. He was imprisoned by
+the authorities; but the kind-hearted artist interceded for him, and
+he was released, after being bound over to keep the peace.
+
+In the same year Duerer wrote to Herr Kress to see if the laureate
+Stabius had done any thing about his delayed pension; saying also,
+"But if Herr Stabius has done nothing in my matter, or my desire was
+too difficult for him to attain, then I pray of you to be my favorable
+lord to his Majesty.... Point out to his Majesty that I have served
+his Majesty for three years, that I have suffered loss myself from
+doing so, and that if I had not used my utmost diligence his
+ornamental work would never have been finished in such a manner;
+therefore I pray his Majesty to reward me with the 100 guilders." In
+September an imperial decree was issued, giving Duerer his promised
+pension of $200 a year out of the tax due from Nuremberg to the
+Emperor. This annuity was paid to the artist until his death, with one
+short intermission.
+
+Duerer executed for the Emperor a series of most fantastic and
+grotesque pen-drawings, on the borders of his prayer-book, now in the
+Munich town-library. Alongside the solemn sentences of the breviary
+are whimsical monkeys and pigs, Indians and men-at-arms, satyrs and
+foxes, screeching devils and saints, hens and prophets, martyrs and
+German crones, mingled in a weird wonderland, and not inappropriate
+according to mediaeval ideas of taste. "The Great Column" is another
+quaint and inexplicable engraving, which Duerer did for the Emperor in
+1517, and is composed of four blocks 5-1/3 feet high. It shows two
+naked angels holding a large turnip, from which springs a tall column
+with two horrible female monsters at the base, and a horned satyr at
+the top, holding long garlands.
+
+The marvellous "Triumphal Arch of Maximilian" is composed of
+ninety-two blocks, forming an immense woodcut ten and a half feet high
+and nine feet wide. It shows three great towers, under which are the
+three gates of Praise, Nobility, and Honor and Power, with the six
+chained harpies of temptation, and two vigilant Archdukes in armor,
+and figures holding garlands and crowns. The great genealogical tree
+rises above the figures that represent France, Sycambria, and Troy,
+and bears portrait-like half-figures of the twenty-six Christian
+princes from whom Maximilian claimed descent, with pictures of himself
+and his family. There are also twenty-four minutely delicate cuts,
+showing the most remarkable events in the Emperor's life, accompanied
+with rugged explanatory rhymes by the poet-laureate. Dr. von Eye says
+that "the extent and difficulty of the task appear to have called
+forth the powers of the artist to their highest exercise. In no work
+of Duerer's do we find more beautiful drawing than there is here. Each
+single piece might be taken out and prized as an independent work of
+art."
+
+The master drew these very elaborate and intricate designs between
+1512 and 1515; and the enormous work of engraving them was devolved
+upon Hieronymus Roesch of Nuremberg. During its progress the Emperor
+frequently visited Roesch's house in the Fraueengaesslein; and it became
+a town saying, that "The Emperor still drives often to Petticoat
+Lane." On one of his visits, a number of the artist's pet cats ran
+into his presence; whence, it is said, arose the proverb, "A cat may
+look at a King."
+
+In 1516 Duerer painted a fine portrait of Wohlgemuth, now at Munich,
+showing a wrinkled old face lit up by bright eyes, and inscribed,
+"This portrait has Albert Duerer painted after his master Michael
+Wohlgemuth, in the year 1516, when he was 82 years old; and he lived
+until the year 1519, when he died, on St. Andrew's Day, early, before
+the sun had risen." About the same period he designed and partly
+executed the Pieta, which is now in the St. Maurice Gallery at
+Nuremberg; and carved a Virgin and Child standing on the crescent
+moon, similar to the one which he had engraved three years before.
+
+In 1518 Duerer also painted the scene of the death-bed of the Empress
+Mary of Burgundy, under the title of "The Death of the Virgin," and
+on the order of Von Zlatko, the Bishop of Vienna. The Emperor
+Maximilian, Philip of Spain, Bishop Zlatko, and other notables, were
+shown around the couch. This large and important work was in the sale
+of the Fries collection in 1822, but cannot now be found, although
+there is a rumor that it is on the altar of a rural church near St.
+Wolfgang's Lake, in Upper Austria.
+
+In 1518 Duerer visited Augsburg, during the session of the Diet of the
+Empire, and not only sold many of his engravings, but made a number of
+new sketches and portraits. His most important work on this journey
+was a portrait of the Emperor, who gave an order on the town of
+Nuremberg to pay 200 guldens "to the Emperor's and the Empire's dear
+and faithful Albert Duerer." On this picture the master inscribed,
+"This is the Emperor Maximilian, whom I, Albert Duerer, drew at
+Augsburg, in his little room high up in the imperial residence, in the
+year 1518, on the Monday after St. John the Baptist." About the same
+time the master painted the unpleasant picture of "The Suicide of
+Lucretia," now at Munich, showing an ill-formed nude woman of life
+size, said to have been copied from Agnes Frey. The portrait of the
+witty and learned Lazarus Spengler dates from the same year.
+
+When Maximilian died, the Rath of Nuremberg refused to continue the
+pension which he had granted to Duerer, though the artist addressed its
+members as "Provident, Honorable, Wise, Gracious, and Dear Lords," and
+enumerated his services to the dead Emperor. He also vainly demanded
+the payment of the imperial order for 200 florins, "to be paid to him
+as if to Maximilian himself, out of the town taxes due to the Emperor
+on St. Martin's Day," though he offered to leave his house in pledge,
+so that the town might lose nothing if the new Emperor refused to
+acknowledge the validity of the claim.
+
+At the time of the death of Maximilian the great woodcut of "The
+Triumphal Arch" was unfinished, and the blocks remained in the hands
+of the engraver. Duerer and Roesch published a large round cut
+containing twenty-one of the historical scenes, as a memorial of the
+late sovereign, and this singular production speedily went through
+four editions. A few trial-impressions of the whole Arch had been
+struck off before the Emperor's death, two of which are now at
+Copenhagen, one in the British Museum, and one at Stockholm. In 1559
+the first edition of the entire Arch was printed at Vienna, at the
+request of the Archduke Ferdinand, and another edition was issued by
+Bartsch in 1799.
+
+In 1519 Duerer published an excellent wood-engraving of the late
+Emperor Maximilian, with inscriptions recording his titles and the
+date of his death. It showed a pleasant face, full of strength and
+character. Among the painted portraits of Maximilian which are
+attributed to the master, the best is in the Vienna Belvedere; and
+another was in the late Northwick Collection, in England. A beautiful
+portrait in water-colors is in the library of the Erlangen University.
+
+In 1519 Duerer also prepared an exquisitely finished copper-plate
+engraving of "St. Anthony," showing the meditative hermit before a
+background of a quaint mediaeval city, very like Nuremberg, abounding
+in irregular gable-roofs and tall castle-towers. Several admirable
+copies of this work have been made.
+
+
+
+
+CHAPTER VI.
+
+Duerer's Tour in the Netherlands.--His Journal.--Cologne.--Feasts at
+Antwerp and Brussels.--Procession of Notre Dame.--The _Confirmatia_.
+--Zealand Journey.--Ghent.--Martin Luther.
+
+
+Duerer's famous tour to the Netherlands began in the summer of 1520,
+and continued until late in 1521. His main object appears to have been
+to secure from Charles V. a confirmation of the pension which the
+Emperor Maximilian had granted him, since the Rath of Nuremberg had
+refused to deliver any further sums until he could obtain such a
+ratification. Possibly he also hoped to obtain the position of
+court-painter, to which Titian was afterwards appointed. Several
+biographers say that Duerer made the journey in order to get a respite
+from his wife's tirades; but this is unlikely, since he took her and
+her maid Susanna with him. The Archduchess Margaret, daughter of the
+late Emperor Maximilian and aunt of Charles V., was at Brussels,
+acting as Regent of the Netherlands; and Duerer made strong but
+ineffectual attempts to secure her good graces.
+
+Duerer's journal of his tour is a combination of cash account,
+itinerary, memoranda, and notebook, and would fill about fifty of
+these pages. It is usually barren of reflections, opinions, or
+prolonged descriptions; and is but a terse and business-like record of
+facts and expenses, rich only in its revelations of mediaeval Flemish
+hospitality and municipal customs, and certain personal habits of the
+writer. The greatest impression seems to have been made upon the
+traveller by the enormous wealth of the Low Countries, and the
+adjective "costly" continually recurs. The new-found treasures of
+America were then pouring a stream of gold into the Flemish cities,
+and manufactures and commerce were in full prosperity. The devastating
+storm of Alva's Spanish infantry had not yet swept over the doomed but
+heroic Netherlands; and her great cities basked in peace, prosperity,
+and wealth.
+
+"On the Thursday after Whitsuntide, I, Albert Duerer, at my own cost
+and responsibility, set out with my wife from Nuremberg for the
+Netherlands.... I went on to Bamberg, where I gave the Bishop a
+picture of the Virgin, 'The Life of the Virgin,' an Apocalypse,
+and other engravings of the value of a florin. He invited me to
+dinner, and gave me an exemption from customs, and three letters of
+recommendation." He hired a carriage to take him to Frankfort for
+eight florins of gold, and received a parting stirrup-cup from Meister
+Benedict, and the painter Hans Wolfgang Katzheimer. He gives the names
+of the forty-three villages through which he passed along the route by
+Wuerzburg and Carlstadt to Frankfort, with his expenditures for food
+and for gifts to servants; and tells how the Bishop's letter freed him
+from paying tolls. At Frankfort he was cheaply entertained by Jacob
+Heller, for whom he had painted "The Coronation of the Virgin." From
+thence he descended by boat to Mayence, where he received many gifts
+and attentions. In the river-passages hence to Cologne, he was forced
+to haul in shore and arrange his tolls at Ehrenfels, Bacharach, Caub,
+St. Goar, and Boppart. At Cologne he was entertained by his cousin
+Nicholas Duerer, who had learned the goldsmith's trade in the shop of
+Albert's father, and was now settled in business. The master made
+presents to him and his wife. The Barefooted Monks gave Duerer a feast
+at their monastery; and Jerome Fugger presented him with wine. The
+journey was soon resumed; and the master passed through fourteen
+villages, and at last reached Antwerp, where he was feasted by the
+factor of the illustrious Fugger family. Jobst Planckfelt was Duerer's
+host while he remained in the city, and showed him the Burgomaster's
+Palace and other sights of Antwerp, besides introducing him to Quentin
+Matsys and other eminent Flemish artists.
+
+"On St. Oswald's Day, the painters invited me to their hall, with my
+wife and maid; and every thing there was of silver and other costly
+ornamentation, and extremely costly viands. There were also all their
+wives there; and when I was conducted to the table all the people
+stood up on each side, as if I had been a great lord. There were
+amongst them also many persons of distinction, who all bowed low,
+and in the most humble manner testified their pleasure at seeing me,
+and they said they would do all in their power to give me pleasure.
+And, as I sat at table, there came in the messenger of the Rath of
+Antwerp, who presented me with four tankards of wine in the name of
+the Magistrates; and he said that they desired to honor me with this,
+and that I should have their good-will.... And for a long time we were
+very merry together until quite late in the night; then they
+accompanied us home with torches in the most honorable manner, and
+they begged us to accept their good-will, and said they would do
+whatever I desired that might be of assistance to me. Then I thanked
+them, and went to bed."
+
+He next speaks of making portraits of his friend the Portuguese
+consul, his host Planckfelt, and the musician Felix Hungersberg;
+and keeps account of his sales of paintings and engravings, on the
+same pages which record his junketings with various notable men. He
+dined with one of the Imhoffs and with Meister Joachim Patenir, the
+landscape-painter, with whom he had certain professional transactions.
+He soon became intimately acquainted with the three Genoese brothers,
+Tomasin, Vincent, and Gerhartus Florianus, with whom he dined many
+times, and for whom he drew several portraits. He also met the great
+scholar and half-way reformer, Erasmus, who gave him several pleasing
+presents.
+
+"Our Lady's Church at Antwerp is so immensely big, that many masses
+may be sung in it at one time without interfering with each other; and
+it has altars and rich foundations, and the best musicians that it is
+possible to have. The church has many devout services, and stone work,
+and particularly a beautiful tower. And I have also been to the rich
+Abbey of St. Michael, which has the costly stone seat in its choir.
+And at Antwerp they spare no cost about such things, for there is
+money enough there."
+
+He made portraits of Nicholas Kratzer, then professor of astronomy at
+Oxford University; Hans Plaffroth; and Tomasin's daughter; and gave
+several score of his engravings to the Portuguese consul and to his
+compatriot Ruderigo, who had sent a large quantity of sweetmeats to
+the artist, and a green parrot to his wife.
+
+Something of diplomatic tact is shown in Duerer's making presents to
+Meister Gillgen, the Emperor's door-keeper, and to Meister Conrad, the
+sculptor of the Archduchess Margaret. He seems to have been preparing
+to seek an invitation to court.
+
+In September Duerer and Tomasin journeyed to Mechlin, where they
+invited Meister Conrad and one of his artist-friends to a supper. The
+next day they passed through Vilvorde, and came to Brussels. Here the
+master was introduced to a new and splendid society and a city rich
+in works of art. He speaks of dining with "My Lord of Brussels," the
+Imperial Councillor Bannisius, and the ambassadors of Nuremberg; and
+Bernard van Orley, formerly a pupil of Raphael and now court-painter
+to the Regent Margaret, invited him to a feast at which he met the
+Regent's treasurer, the royal court-master, and the town-treasurer of
+Brussels. He also visited the Margrave of Anspach and Baireuth, with a
+letter of introduction from the Bishop of Bamberg; and drew portraits
+of Meister Conrad, Bernard van Orley, and several others. The Regent
+Margaret received him "with especial kindness," and promised to use
+her influence for his advancement at the imperial court. He presented
+copies of the Passion to her and her treasurer, and many other
+engravings to other eminent persons in the city.
+
+"And I have seen King Charles's house at Brussels, with its fountains,
+labyrinth, and park. It gave me the greatest pleasure; and a more
+delightful thing, and more like a Paradise, I have never before
+seen.... At Brussels there is a very big and costly Town-hall, built
+of hewn stone, with a splendid transparent tower. I have seen in the
+Golden Hall the four painted matters which the great Meister Rudier
+[Roger van der Weyden] has done.... I have also been into the
+Nassau-house, which is built in such a costly style and so beautifully
+ornamented. And I saw the two beautiful large rooms and all the costly
+things in the house everywhere, and also the great bed in which fifty
+men might lie; and I have also seen the big stone which fell in a
+thunderstorm in the field close to the Count of Nassau. This house is
+very high, and there is a fine view from it, and it is much to be
+admired; and I do not think in all Germany there is any thing like
+it.... Also I have seen the thing which has been brought to the King
+from the new Golden Land [Mexico], a sun of gold a fathom broad, and a
+silver moon just as big. Likewise two rooms full of armor; likewise
+all kinds of arms, harness, and wonderful missiles, very strange
+clothing, bed-gear and all kinds of the most wonderful things for
+man's use, that are as beautiful to behold as they are wonderful.
+These things are all so costly, that they have been valued at 100,000
+gulden. And I have never in all the days of my life seen any thing
+that has so much rejoiced my heart as these things. For I have seen
+among them wonderfully artistic things, and I have wondered at the
+subtle _Ingenia_ of men in foreign lands."
+
+While at Brussels Duerer was the guest of Conrad the sculptor, and
+Ebner the Nuremberg ambassador. He returned at length to Antwerp,
+where his Portuguese friends sent him several maiolica bowls and some
+Calcutta feathers, and his host gave also certain Indian and Turkish
+curiosities. The jovial dinners with Planckfelt and Tomasin were again
+begun, and were supplemented by feasts with the Von Rogendorffs and
+Fugger's agent. The master gave away hundreds of his engravings here,
+either to his friends or to influential courtiers; and all these
+details he faithfully records. He seems to have been an indefatigable
+investigator and collector of curiosities, imported trinkets, and
+china. With childlike delight he narrates the brilliant spectacles
+around him.
+
+"I have seen, on the Sunday after the Assumption of Our Blessed Lady,
+the great procession from Our Lady's Church at Antwerp, when the whole
+town was assembled, artisans and people of rank, every one dressed in
+the most costly manner according to its station. Every class and every
+guild had its badge by which it might be recognized; large and costly
+tapers were also borne by some of them. There were also long silver
+trumpets of the old Frankish fashion. There were also many German
+pipers and drummers, who piped and drummed their loudest. Also
+I saw in the street, marching in a line in regular order, with
+certain distances between, the goldsmiths, painters, stonemasons,
+embroiderers, sculptors, joiners, carpenters, sailors, fishmongers,
+... and all kinds of artisans who are useful in producing the
+necessaries of life. In the same way there were the shopkeepers and
+merchants and their clerks. After these came the marksmen with
+firelocks, bows, and cross-bows, some on horseback and some on foot.
+After that came the City Guards; and at last a mighty and beautiful
+throng of different nations and religious orders, superbly costumed,
+and each distinguished from the other, very piously. I remarked in
+this procession a troop of widows who lived by their labor. They all
+had white linen cloths covering their heads, and reaching down to
+their feet, very seemly to behold. Behind them I saw many brave
+persons, and the canons of Our Lady's Church, with all the clergy
+and bursars, where twenty persons bore Our Lady with the Lord Jesus
+ornamented in the most costly manner to the glory of the Lord God. In
+this procession there were many very pleasant things, and it was very
+richly arranged. There were brought along many wagons, with moving
+ships, and other things. Then followed the Prophets, all in order; the
+New Testament, showing the Salutation of the Angel, the three Holy
+Kings on their camels, and other rare wonders very beautifully
+arranged.... At the last came a great dragon led by St. Margaret and
+her maidens, who were very pretty; also St. George, with his squire, a
+very handsome Courlander. Also a great many boys and girls, dressed in
+the most costly and ornamental manner, according to the fashion of
+different countries, rode in this troop, and represented so many
+saints. This procession from beginning to end was more than two hours
+passing by our house; and there were so many things that I could never
+write them all down even in a book, and so I leave it alone."
+
+Raphael died during this year, and Duerer made strenuous efforts to
+secure some of his drawings or other remains. He met Tommaso Vincidore
+of Bologna, a pupil of the great master, and gave him an entire set of
+his best engravings for an antique gold ring, and another set to be
+sent to Rome in exchange for some of Raphael's sketches. He also gave
+a complete set of his engravings to the Regent Margaret, and made for
+her two careful drawings on parchment. Vincidore painted his portrait,
+to be sent to Rome; and it was engraved by Adrian Stock, showing his
+glorious eyes and long flowing hair, together with a short dense beard
+overshadowed by a massive moustache, curled back at the points.
+
+Later in the autumn Duerer journeyed to Aix-la-Chapelle, where he
+attended the splendid ceremonies of the coronation of the Emperor
+Charles V. At Aix he saw the famous columns brought from Rome by
+Charlemagne, the arm of Kaiser Henry, the chemise and girdle of the
+Virgin Mary, and other relics. His wife was back at Antwerp; and so
+the reckless artist chronicles his outlays for drinking, gaming, and
+other reprehensible expenses. After being entertained for three weeks
+at the Nuremberg embassy, Duerer went to Cologne, where he remained a
+fortnight, distributing his engravings with generous hand, visiting
+the churches and their pictures, and buying all manner of odd things.
+Early in November, by the aid of the Nuremberg ambassadors, he
+obtained from the Emperor his _Confirmatia_, "with great trouble and
+labor." This coveted document, which formed one of the main objects
+of his journey to the North, confirmed him in the pension which
+Maximilian had granted him, and made him painter to the Emperor.
+
+From Cologne he returned with all speed down the river to Antwerp,
+being entertained at Bois-le-Duc, "a pretty town, which has an
+extraordinarily beautiful church," by the painter Arnold de Ber and
+the goldsmiths, "who showed me very much honor." On arriving at
+Antwerp, he resumes his accounts of the sales and gifts of his
+engravings, and the enumeration of his domestic expenses. Soon
+afterward he heard of a monstrous whale being thrown up on the
+Zealand coast, and posted off in December to see it, taking a vessel
+from Bergen-op-Zoom, of whose well-built houses and great markets he
+speaks. "We sailed before sunset by a village, and saw only the points
+of the roofs projecting out of the water; and we sailed for the island
+of Wohlfaertig [Walcheren], and for the little town of Sunge in another
+adjacent island. There were seven islands; and Ernig, where I passed
+the night, is the largest. From thence we went to Middleburg, where I
+saw in the abbey the great picture that Johann de Abus [Mabuse] had
+done. The drawing is not so good as the painting. After that we came
+to Fahr, where ships from all lands unload: it is a fine town. But at
+Armuyden a great danger befell me; for just as we were going to land,
+and our ropes were thrown out, there came a large ship alongside of
+us, and I was about to land, but there was such a press that I let
+every one land before me, so that nobody but I, Georg Kotzler, two old
+women, and the skipper with one small boy, were left in the ship. And
+when I and the above-named persons were on board, and could not get on
+shore, then the heavy cable broke, and a strong wind came on, which
+drove our ship powerfully before it. Then we all cried loudly for
+help, but no one ventured to give it; and the wind beat us out again
+to sea.... Then there was great anxiety and fear; for the wind was
+very great, and not more than six persons on board. But I spoke to the
+skipper, and told him to take heart, and put his trust in God, and
+consider what there was to be done. Then he said he thought, if we
+could manage to hoist the little sail, he would try whether we could
+not get on. So with great difficulty, and working all together, we got
+it half way up, and sailed on again; and when those on the land saw
+this, and how we were able to help ourselves, they came and gave us
+assistance, so that we got safely to land. Middleburg is a good town,
+and has a very beautiful Town-house with a costly tower. And there are
+also many things there of old art. There is an exceedingly costly and
+beautiful seat in the abbey, and a costly stone aisle, and a pretty
+parish church. And in other respects also the town is very rich in
+subjects for sketches. Zealand is pretty and marvellous to see, on
+account of the water, which is higher than the land."
+
+The tide had carried off the stranded whale; and so Duerer returned
+to Antwerp, staying a few days at Bergen. Soon afterwards he gave
+Von Rafensburg three books of fine engravings in return for five
+snail-shells, nine medals, four arrows, two pieces of white coral,
+two dried fish, and a scale of a large fish. Improvident collector
+of curiosities! how did the matronly Agnes endure such tradings?
+Many dinners with the Genoese Tomasin are then recorded, and fresh
+collations with new friends, in the hearty and hospitable spirit of
+the easy-living Netherlanders. He repaid the quaint presents of his
+admirers with many copies of his engravings, and occasionally made
+some money in the practice of his profession.
+
+"On Shrove Tuesday early the goldsmiths invited me and my wife to
+dinner. There were many distinguished people assembled, and we had an
+extremely costly meal, and they did me exceeding much honor; and in
+the evening the senior magistrate of the town invited me, and gave me
+a costly meal, and showed me much honor. And there came in many
+strange masks." He then records his exchanges of engravings for such
+singular returns as satin, candied citron, ivory salt-cellars from
+Calcutta, sea-shells, monk's electuary, sweetmeats in profusion,
+porcelains, an ivory pipe, coral, boxing-gloves, a shield, lace,
+fishes' fins, sandal-wood, &c. The Portuguese ambassador invited him
+to a rich Carnival feast, where there were "many very costly masks;"
+and the learned Petrus AEgidius entertained him and Erasmus of
+Rotterdam together. He climbed up the cathedral tower, and "saw over
+the whole town from it, which was very agreeable." Many of the
+curiosities which he had acquired were sent as presents to Pirkheimer,
+the Imhoffs, the Holzschuhers, and other noble friends in Nuremberg.
+Arion, the ex-Pensionary of Antwerp, gave him a feast, and presented
+him with Patenir's painting of "Lot and his Daughters."
+
+Soon after Easter, Duerer made another pleasant tour in the
+Netherlands, attended by the painter Jan Plos, passing by "the rich
+Abbey of Pol," and "the great long village of Kahlb," to "the splendid
+and beautiful town" of Bruges. Plos and the goldsmith Marx each gave
+him costly feasts, and showed him the Emperor's palace, the Archery
+Court, and many paintings by Roger van der Weyden, Hubert and Jan van
+Eyck, and Hugo van der Goes, together with an alabaster Madonna by
+Michael Angelo. "We came at last to the Painters' Chapel, where there
+are many good things. After that they prepared a banquet for me. And
+from thence I went with them to their guild, where many honorable
+folk, goldsmiths, painters, and merchants, were assembled; and they
+made me sup with them, and did me great honor. And the Rath gave me
+twelve measures of wine; and the whole assembly, more than sixty
+persons, accompanied me home with torches.
+
+"And when I arrived at Ghent, the chief of the painters met me, and
+he brought with him all the principal painters of the town; and they
+showed me great honor, and received me in very splendid style, and
+they assured me of their good-will and service; and I supped that
+evening with them. On Wednesday early they took me to St. John's
+Tower, from which I saw over all the great and wonderful town.
+After that I saw Johann's picture [Van Eyck's 'Adoration of the
+Spotless Lamb']. It is a very rich and grandly conceived painting;
+and particularly Eve, the Virgin Mary, and God the Father, are
+excellent.... Ghent is a beautiful and wonderful town, and four great
+waters flow through it. And I have besides seen many other very
+strange things at Ghent, and the painters with their chief have never
+left me; and I have eaten morning and night with them, and they have
+paid for every thing, and have been very friendly with me."
+
+The master soon returned to Antwerp, in distress. "In the third
+week after Easter a hot fever attacked me, with great faintness,
+discomfort, and headache. And when I was in Zealand, some time back, a
+wonderful illness came upon me, which I had never heard of any one
+having before; and this illness I have still." This low fever never
+quite left him, and was the cause of many doctor's bills thereafter.
+Soon afterward he made a portrait of the landscape-painter Joachim
+Patenir; and "on the Sunday before Cross-week, Meister Joachim invited
+me to his wedding, and they all showed me much respect; and I saw two
+very pretty plays there, particularly the first, which was very pious
+and clerical."
+
+Duerer seems to have had strong Protestant sympathies, though it is
+claimed that he died in the faith of Rome. His journal in 1521
+contains the following significant sentences about Martin Luther: "He
+was a man enlightened by the Holy Ghost, and a follower of the true
+Christian faith.... He has suffered much for Christ's truth, and
+because he has rebuked the unchristian Papacy which strives against
+the freedom of Christ with its heavy burdens of human laws; and for
+this we are robbed of the price of our blood and sweat, that it may be
+expended shamefully by idle, lascivious people, whilst thirsty and
+sick men perish of hunger.... Lord Jesus Christ, call together again
+the sheep of thy fold, of whom part are still to be found amongst the
+Indians, Muscovites, Russians, and Greeks, who through the burdens and
+avarice of the Papacy have been separated from us. Never were any
+people so horribly burdened with ordinances as us poor people by the
+Romish See; we who, redeemed by thy blood, ought to be free
+Christians.
+
+"O God, is Luther dead? Who will henceforth explain to us so clearly
+the holy Gospel? O all pious Christian men, bewail with me this
+God-inspired man, and pray to God to send us another enlightened
+teacher! O Erasmus of Rotterdam, where dost thou remain? Behold how
+the unjust tyranny of this world's might and the powers of darkness
+prevail! Hear, thou knight of Christ; ride forth in the name of the
+Lord, defend the truth, attain the martyr's crown; thou art already an
+old manikin, and I have heard thee say that thou gavest thyself only
+two years longer in which thou wilt still be fit for work. Employ
+these well, then, in the cause of the Gospel and the true Christian
+faith."
+
+More junketings, gamings, collecting of outlandish things, visits to
+religious and civic pageants, new sketches and paintings, doctor's
+bills and monk's fees, minutely recorded. "Meister Gerhard, the
+illuminator, has a daughter of eighteen years, called Susanna; and she
+has illuminated a plate, a Saviour, for which I gave a florin. It is a
+great wonder that a woman should do so well!... I have again and again
+done sketches and many other things in the service of different
+persons, and for the most part of my work I have received nothing at
+all."
+
+After Corpus Christi Day, Duerer sent off several bales of his
+acquisitions to Nuremberg, by the wagoner Cunz Mez. He and his wife
+then went to Mechlin; "and the painters and sculptors entertained me
+at my inn, and showed me great honor; and I went to Popenreuther's
+house, the cannon-founder, and found many wonderful things there. I
+have also seen the Lady Margaret [the Archduchess and Regent], and
+carried the portrait of the Emperor, which I intended to present to
+her; but she took such a displeasure therein, I brought it away with
+me again. And on the Friday she showed me all her beautiful things,
+and amongst them I saw forty small pictures in oil, pure and good: I
+have never seen finer miniatures. And then I saw other good things of
+Johann's [Van Eyck] and Jacob Walch's. I begged my Lady to give me
+Meister Jacob's little book, but she said she had promised it to her
+painter."
+
+Duerer seems to have been treated with scant courtesy by the
+Archduchess, and soon returned to Antwerp. Here he was entertained
+by the eminent Lucas van Leyden, for whom he made a portrait, and
+received one of himself in return. The stately Nuremberger and the
+diminutive artist of Leyden were much astonished at each other's
+personal appearance, but had a warm mutual respect and esteem. Duerer
+next struck up a warm friendship with certain of the Augustine monks,
+and dined often at their cloister. In addition to the _bric-a-brac_
+which he still continued to collect, he now began to buy precious
+stones, in which he was badly swindled by a Frenchman, and dolefully
+wrote, "I am a fool at a bargain."
+
+He was now about to return home, and naturally found it necessary,
+after having bought such a museum of oddities and curiosities, to
+borrow enough money to take him to Nuremberg. His friend Alexander
+Imhoff lent him 100 gold florins, receiving Duerer's note in return. In
+some bitterness of spirit he wrote: "In all my transactions in the
+Netherlands, with people both of high and low degree, and in all my
+doings, expenses, sales, and other trafficking, I have always had the
+disadvantage; and particularly the Lady Margaret, for all I have given
+her and done for her, has given me nothing in return."
+
+On the eve of Duerer's departure, the King of Denmark, Christian II.,
+came to Antwerp, and not only had the master draw his portrait, but
+also invited him to a dinner. He then went to Brussels, on business
+for his new royal patron, and was present at the pompous reception and
+banquet with which the Emperor and the Archduchess Margaret received
+the Danish King. Soon afterwards the King invited Duerer to the feast
+which he gave to the Emperor and Archduchess; and then had his
+portrait painted in oil-colors, paying thirty florins for it. After a
+sojourn of eight days in Brussels, the master and his wife went south
+to Cologne, spending four long days on the road; and soon afterwards
+prolonged their journey to Nuremberg.
+
+The municipality of Antwerp had offered him a house and a liberal
+pension, to remain in that city; but he declined these, being content
+with his prospects and his noble friends in Franconia.
+
+
+
+
+CHAPTER VII.
+
+ Nuremberg's Reformation.--The Little Masters.--Glass-Painting.
+  --Architecture.--Letter to the City Council.--"Art of Mensuration."
+  --Portraits.--Melanchthon.
+
+
+What a commotion must Duerer's return have caused in Nuremberg, with
+his commission as court-painter, and his bales and crates of rarities
+from America and India and all Europe! The presents which he had
+brought for so many of his friends must have given the liveliest
+delight, and afforded amusement for months to the Sodalitas Literaria
+and the Rath-Elders.
+
+In the mean time the purifying storm of the Reformation was sweeping
+over Germany, and the people were in times of great doubt and
+perplexity. Nuremberg was the first of the free cities of the Empire
+to pronounce herself Protestant, though the change was effected with
+so much order and moderation that no iconoclastic fury was allowed to
+dilapidate its churches and convents. Pirkheimer and Spengler were
+excommunicated by the Pope, though their calm conservatism had
+curbed the fanatical fury of the puritans, and saved the Catholic
+art-treasures of the Franconian capital.
+
+It is a significant fact that Duerer, during the last six years of his
+life, made no more Madonnas, and but one Holy Family. The era of
+Mariolatry had passed, so far as Nuremberg was concerned. Yet, during
+the year of his return from the Netherlands, he made two engravings of
+St. Christopher bearing the Holy Child safely above the floods and
+through the storms, as if to indicate that Christianity would be
+carried through all its disasters by an unfailing strength.
+
+During the remaining six years of his life Duerer's art-works were
+limited to a few portraits and engravings, and the great pictures of
+the Four Apostles. Much of his time was devoted to the publication of
+the fruits of his long experience, in several literary treatises, most
+of which are now lost. His broken health would not allow of continuous
+work, as the inroads of insidious disease slowly wasted his strength
+and ate away his vitality.
+
+The Little Masters were a group of artists who were formed in
+the studio or under the influence of Duerer, shining as a bright
+constellation of genius in the twilight of German art. Among these
+were the Bavarian Altdorfer, who combined in his brilliant paintings
+and engravings both fantasy and romanticism; the Westphalian
+Aldegrever, a laborious painter and a prolific engraver; Barthel
+Beham, who afterwards studied with and counterfeited the works of
+Marc Antonio in Italy; Hans Sebald Beham, who illustrated lewd
+fables and prayer books with equal skill and relish, and was finally
+driven from Nuremberg; Jacob Binck of Cologne, a neat and accurate
+draughtsman, who removed to Rome, and engraved Raphael's works under
+the  supervision of Marc Antonio; George Pensz, who also studied under
+the great Italian engraver, and executed 126 fine prints, besides
+several paintings. Other assistants and pupils of Duerer, of whom
+little but their names are now remembered, were Hans Brosamer of Fulda,
+and Hans Springinklee. Hans von Culmbach was a careful follower, who
+surpassed his master in love of nature and her warm and harmonious
+colors. The Tucher altar-piece in St. Sebald's Church was his
+master-picture. Contemporary with the Nuremberg painter, Matthew
+Grunewald was doing excellent work at Aschaffenburg, in northern
+Franconia. Among the German artists of his time, he was surpassed
+only by Duerer and Holbein.
+
+The Diet of the Empire was held at Nuremberg in 1522, and the
+Rath-haus was repainted and decorated for its sessions. Duerer was paid
+100 florins for his share in this work, although it is not known what
+it was. The best of the paintings were executed by his pupil, George
+Pensz, and it is probable that the master furnished some of the
+designs.
+
+Although our artist held a pension from the Emperor as his
+court-painter, his services seem to have never been called into
+requisition. Charles spent but little time at Nuremberg, and while yet
+in his youth had no care for seeing himself portrayed on canvas. It
+was after the master's death that the Emperor first met Titian, and
+retained him as court-painter.
+
+In 1522 Duerer published at his own cost the first edition of the
+Triumphal Car of Kaiser Maximilian, a woodcut whose labored and
+ponderous allegorical idea was conceived by Pirkheimer, designed
+in detail by Duerer, and engraved by Roesch on eight blocks, forming
+a picture 7-1/2 feet long by 1-1/2 feet high. The Emperor is shown
+seated in a chariot, surrounded by female figures representing the
+abstract virtues, while the leaders of the twelve horses, and even
+the wheels and reins, have magniloquent Latin names. Maximilian was
+greatly interested in this work, but died before its completion. The
+first edition was accompanied by explanatory German text, and the
+second by Latin descriptions.
+
+The large woodcut of Ulrich Varnbuehler, whom Duerer calls his "single
+friend," is one of the master's best works, and was printed over with
+three blocks, to produce a chiaroscuro. A little later, he made two
+copper-plates of the Cardinal Archbishop Albert of Magdeburg and
+Mayence.
+
+In 1523, while under the influence of the art-schools of the Lower
+Rhine, the master painted the pictures of Sts. Joachim and Joseph and
+St. Simeon and Bishop Lazarus, small figures on a gold ground.
+
+Duerer's Family Relation records that, "My dear mother-in-law took ill
+on Sunday, Aug. 18, 1521; and on Sept. 29, at nine of the night, she
+died piously. And in 1523, on the Feast of the Presentation, early in
+the morning, died my father-in-law, Hans Frey. He had been ill for six
+years, and had his share of troubles in his time." They were buried in
+St. John's Cemetery, in the same lot where the remains of their
+illustrious son-in-law were afterwards laid.
+
+It is said that Duerer largely occupied himself with glass-painting,
+during the earlier part of his career; and he probably designed much
+for the workers in stained glass then in Upper Germany and the Low
+Countries. Lacroix says that he produced twenty windows for the Temple
+Church at Paris; and Holt attributes to him the church-windows at
+Fairford, near Cirencester.
+
+As an architect Albert executed but few works, and only a slight
+record remains to our day. He made two plans for the Archduchess
+Margaret, and another for the house of her physician. Heideloff has
+proved that the gallery of the Gessert house at Nuremberg was built by
+Duerer, in a strange combination of geometric and Renaissance forms.
+
+Pirkheimer's portrait was engraved in 1524, showing a gross and heavy
+face, obese to the last degree, and verifying in its physiognomy the
+probability that the playful innuendoes in Duerer's Venetian letters
+were well grounded. It is not easy to see how such a spirit, learned
+in all the sciences of the age, and in close communion with Erasmus,
+Melanchthon, and Ulrich von Hutten, could have worn such a drooping
+mask of flesh. In the same year, Duerer published an engraved portrait
+of Frederick the Wise, Elector of Saxony, the supporter of Luther and
+the political leader of the Reformation. The head is admirably drawn
+and full of character, with firmness plainly indicated by strongly
+compressed lips.
+
+The following letter to the Council of Nuremberg was written in the
+year 1524:--
+
+     "Provident, Honorable, Wise, and Most Favorable Lords,--By my
+     works and with the help of God, I have acquired 1,000 florins
+     of the Rhine, and I would now willingly lay them by for my
+     support. Although I know that it is not the custom with your
+     Wisdoms to pay high interest, and that you have refused to
+     give one florin in twenty; yet I am moved by my necessity, by
+     the particularly favorable regard which your Wisdoms have
+     ever shown towards me, and also by the following causes, to
+     beg this thing of your Honors. Your Wisdoms know that I have
+     always been obedient, willing, and diligent in all things
+     done for your Wisdoms, and for the common State, and for
+     other persons of the Rath, and that the State has always had
+     my help, art, and work, whenever they were needed, and that
+     without payment rather than for money; for I can write with
+     truth, that, during the thirty years that I have had a house
+     in this town, I have not had 500 guldens' worth of work from
+     it, and what I have had has been poor and mean, and I have
+     not gained the fifth part for it that it was worth; but all
+     that I have earned, which God knows has only been by hard
+     toil, has been from princes, lords, and other foreign
+     persons. Also I have expended all my earnings from foreigners
+     in this town. Also your Honors doubtless know that, on
+     account of the many works I had done for him, the late
+     Emperor Maximilian, of praiseworthy memory, out of his own
+     imperial liberality granted me an exemption from the rates
+     and taxes of this town, which, however, I voluntarily gave
+     up, when I was spoken to about it by the Elders of the Rath,
+     in order to show honor to my Lords, and to maintain their
+     favor and uphold their customs and justice.
+
+     "Nineteen years ago the Doge of Venice wrote to me, offering
+     me 200 ducats a year if I would live in that city. More
+     lately the Rath of Antwerp, while I remained in the Low
+     Countries, also made me an offer, 300 florins of Philippe a
+     year, and a fair mansion to live in. In both places all that
+     I did for the Government would have been paid over and above
+     the pension. All of which, out of my love for my honorable
+     and wise Lords, for this town, and for my Fatherland, I
+     refused, and chose rather to live simply, near your Wisdoms,
+     than to be rich and great in any other place. It is therefore
+     my dutiful request to your Lordships, that you will take all
+     these things into your favorable consideration, and accept
+     these thousand florins (which I could easily lay out with
+     other worthy people both here and elsewhere, but which I
+     would rather know were in the hands of your Wisdoms), and
+     grant me a yearly interest upon them of fifty florins, so
+     that I and my wife, who are daily growing old, weak, and
+     incapable, may have a moderate provision against want. And I
+     will ever do my utmost to deserve your noble Wisdoms' favor
+     and approbation, as heretofore."
+
+This touching letter shows the poverty of Duerer's savings, and his
+sad feeling that he had lived as a prophet without honor in his own
+country. It produced the desired effect, and brought him five per cent
+on his little capital, though after his death the Council hastened to
+reduce it to four per cent.
+
+Duerer's wide study and remarkable versatility, rivalling that of
+Leonardo da Vinci, found further expression in literary work.
+Camerarius states that he wrote a hundred and fifty different
+treatises, showing a marked proficiency in several of the sciences.
+His first work was entitled "Instruction in the Art of Mensuration,"
+&c., and was published in 1525 for the use of young painters. It is
+composed of four books, treating of the practical use of geometrical
+instruments, and the drawing of volutes, Roman letters, and winding
+stairs; and is illustrated by numerous woodcuts. The fourth book
+elucidates the idea of perspective, and contains pictures of an
+instrument devised by the author, "which will be found particularly
+useful to persons who are not sure of drawing correctly." This was not
+the only invention of Duerer's; for there still exists a small model of
+a gun-carriage in wood and iron, made by him, and exhibiting certain
+improvements which he had designed and advocated. "The Art of
+Mensuration" was a successful book, and passed through one Latin and
+three German editions.
+
+The finest of Duerer's works in portraiture was executed in 1526, and
+represents the grand old Jerome Holzschuher, one of the chief rulers
+of the city, with all the strength and keenness of his heroic nature
+lighting up the canvas. Enormous sums have been offered for this work;
+but it is still faithfully preserved in Nuremberg, and retains its
+original rich and vivid coloring. Another fine portrait, "like an
+antique bust," now in the Vienna Belvedere, shows Johann Kleeberger,
+the generous and charitable man who was known abroad as "the good
+German." Still another portrait of this year was that of the
+Burgomaster Jacob Mueffel, a well-modelled and carefully executed
+likeness of one of the master's best friends. Two very famous
+engravings of this date portray Erasmus of Rotterdam and Philip
+Melanchthon. Erasmus is represented as a venerable scholar, sitting
+at a desk, with a pen in his hand and a soft cap on his head; and
+the engraving is remarkable for its admirable execution and strong
+character. Still, the old philosopher was not pleased with it, and
+sent to Sir Thomas More his portrait by Holbein, which, he said, "is
+much more like me than the one by the famous Albert Duerer." When
+Erasmus first saw the picture he said, "Oh! if I still resemble that
+Erasmus, I may look out for getting married," as if it gave him too
+young an appearance.
+
+In 1526 the wise and noble-hearted Melanchthon came to Nuremberg
+to establish a Protestant Latin school, and formed a close intimacy
+with the master, whose tender and dreamy spirit was so like his own.
+During their constant intercourse, the artist became strengthened and
+comforted in the mild and pure doctrines of the true reformation, and
+was quietly yet strongly influenced to abandon even the forms of
+Catholicism which still remained. Duerer published a fine engraving of
+this friend of his last years on earth, showing delicately-chiselled
+features, with large and tender eyes and a lofty forehead.
+
+Melanchthon wrote that in one of his frequent conversations with
+Duerer, the artist explained the great change which his methods had
+undergone, saying, "In his youth he was fond of a florid style and
+great combination of colors, and that in looking at his own work he
+was always delighted to find this diversity of coloring in any of his
+pictures; but afterwards in his mature years he began to look more
+entirely to nature, and tried to see her in her simplest form. Then he
+found that this simplicity was the true perfection of art; and, not
+attaining this, he did not care for his works as formerly, but often
+sighed when he looked at his pictures and thought of his incapacity."
+
+
+
+
+CHAPTER VIII.
+
+ "The Four Apostles."--Duerer's Later Literary Works.--Four Books of
+  Proportion.--Last Sickness and Death.--Agnes Duerer.--Duerer described
+  by a Friend.
+
+
+Schlegel says that "Albert Duerer may be called the Shakespeare of
+Painting;" and it is doubtless true that he filled out the narrow
+capabilities of early German art with a full measure of deep and
+earnest thought and powerful originality. The equal homage which was
+offered to him at Venice and Antwerp, the two art-antipodes, shows how
+highly he was regarded in his own day. His earlier works were executed
+in the crude and angular methods of Wohlgemuth and his contemporaries;
+and most of the pictures now attributed to him, often incorrectly, are
+of this character. But in his later works he swung clear of these
+trammelling archaisms, and produced brilliant and memorable
+compositions.
+
+"The Four Apostles," now in the Munich Pinakothek, were Duerer's last
+and noblest works, and fairly justify Pirkheimer's assurance, that if
+he had lived longer the master would have done "many more wonderful,
+strange, and artistic things." They are full of grand thought and
+clear insight, free from exaggeration or conventionalism, perfect in
+execution and harmonious simplicity, and so distinct in individuality
+that it has been generally believed that the Four Temperaments are
+here impersonated. On one panel are Sts. John and Peter, in life-size,
+the former deeply meditating, with the Scriptures in his hand, and the
+latter bending forward and earnestly reading the Holy Book. The other
+panel shows the stately St. Paul, robed in white, standing before the
+ardent and impassioned St. Mark. Kugler calls these panels "the first
+complete work of art produced by Protestantism;" and the truth and
+simplicity of the paintings prefigured the return of a pure and
+incorrupt faith.
+
+Late in 1526, Duerer sent these pictures to the Rath of Nuremberg, with
+the following letter: "Provident, Honorable, Wise, Dear Lords,--I have
+been for some time past minded to present your Wisdoms with something
+of my unworthy painting as a remembrance; but I have been obliged to
+give this up on account of the defects of my poor work, for I knew
+that I should not have been well able to maintain the same before your
+Wisdoms. During this past time, however, I have painted a picture,
+and bestowed more diligence upon it than upon any other painting;
+therefore I esteem no one worthier than your Wisdoms to keep it as
+a remembrance; on which account I present the same to you herewith,
+begging you with humble diligence to accept my little present
+graciously and favorably, and to be and remain my favorable and dear
+Lords, as I have always hitherto found you. This, with the utmost
+humility, I will sedulously endeavor to merit from your Wisdoms."
+
+The Rath eagerly accepted this noble gift, and hung the two panels in
+the Rath-haus, sending also a handsome present of money to Duerer and
+his wife. A century afterwards Maximilian of Bavaria saw and coveted
+the pictures, and used bribery and threats alike to secure them. In
+1627 he accomplished his purpose; and the Rath, fearful of his wrath
+and dreading his power, sent the panels to Munich.
+
+The woodcut portrait of Duerer, dated 1527, shows the worn face of a
+man of fifty-six years, whose life has been stormy and sometimes
+unhappy. It is much less beautiful than the earlier pictures, for his
+long flowing hair and beard have both been cut short, perhaps on
+account of sickness, or in deference to the new puritan ideas. The
+face is delicate and melancholy, and seems to rest under the shadow of
+approaching death, which is to be met with a calm and simple faith.
+
+His second book, entitled "Some Instruction in the Fortification of
+Cities, Castles, and Towns," appeared in 1527, and was dedicated to
+Ferdinand I., and adorned with several woodcuts. In this the artist
+showed the same familiarity with the principles of defensive works
+as his great contemporaries Leonardo da Vinci and Michael Angelo
+had done. Much attention is paid to the proper sheltering of heavy
+artillery from hostile shot; and the plans of the towers and bastions
+about Nuremberg, which were built after Duerer's death, were suggested
+in this work. A large contemporary woodcut by the master shows the
+siege of a city, with cannon playing from the bastions, and the
+garrison making a sortie against the enemy.
+
+The celebrated "Four Books of Human Proportion" was Duerer's greatest
+literary work, and was completed about this time, having been begun
+in 1523. Its preparation was suggested by Pirkheimer, to whom it was
+dedicated, and who published it after the author's death, with a long
+Latin elegy on him. Great labor was bestowed on this work, and many of
+the original sketches and notes are still preserved. The first and
+second books show the correct proportions of the human body and its
+members, according to scale, dividing the body into seven parts, each
+of which has the same measurement as the head, and then considering
+it in eighths. The proportions of children are also treated of; and
+the dogma is formulated, that the woman should be one-eighteenth
+shorter than the man. The third book is devoted to transposing or
+changing these proportions, and contains examples of distorted and
+unsymmetrical figures; and the fourth book treats of foreshortening,
+and shows the human body in motion. In his preface he says: "Let no
+one think that I am presumptuous enough to imagine that I have written
+a wonderful book, or seek to raise myself above others. This be far
+from me! for I know well that but small and mediocre understanding
+and art can be found in the following work."
+
+The high appreciation in which this book was held appears from the
+fact that it passed through several German editions, besides three
+Latin, two Italian, two French, Portuguese, Dutch, and English
+editions. Most of the original MS. is now in the British Museum.
+
+Among Duerer's other works were treatises on Civic Architecture, Music,
+the Art of Fencing, Landscape-Painting, Colors, Painting, and the
+Proportions of the Horse.
+
+But the year 1527 was nearly barren of new art-works; for the master's
+hand was losing its power, and his busy brain had grown weary. His
+constitution was slowly yielding before the fatal advances of a
+wasting disease, possibly the low fever which he had contracted in
+Zealand, or it may have been an affection of the lungs. In the latter
+days he made a memorandum: "Regarding the belongings I have amassed by
+my own handiwork, I have not had a great chance to become rich, and
+have had plenty of losses; having lent without being repaid, and my
+work-people have not reckoned with me; also my agent at Rome died,
+after using up my property. Half of this loss was thirteen years ago,
+and I have blamed myself for losses contracted at Venice. Still we
+have good house-furnishing, clothing, costly things as earthenware
+[maiolica], professional fittings-up, bed-furnishings, chests, and
+cabinets; and my stock of colors is worth 100 guldens."
+
+The last design of the master was a drawing on gray paper, showing
+Christ on the Cross. When this was all completed except the face of
+the Divine sufferer, the artist was summoned by Death, and ascended to
+behold in glory the features which he had so often portrayed under the
+thorns.
+
+A violent attack of his chronic disease prostrated him so far that he
+was unable to rally; and after a brief illness he passed gently away,
+on the 6th of April, 1528. It was the anniversary of the day on which
+Raphael died, eight years before. His friends were startled and
+grief-stricken at his sudden death, which came so unexpectedly that
+even Pirkheimer was absent from the city. It was long supposed that he
+died of the plague, on the evidence of a portrait-drawing of himself,
+showing him pointing to a discolored plague-spot on his side, and
+inscribed, "Where my fingers point, there I suffer." It was said that
+this sketch was for the information of his doctor, who dared not visit
+the pestilence-stricken sick-chamber. But this hypothesis is no longer
+considered tenable.
+
+The remains of the master were buried in the lot of his father-in-law,
+Hans Frey, at the Cemetery of St. John, beyond the walls; and his
+monument bore Pirkheimer's simple epitaph: "ME. AL. DU. QUICQUID
+ALBERTI DURERI MORTALE FUIT, SUB HOC CONDITUR TUMULO. EMIGRAVIT VIII
+IDUS APRILIS, MDXXVIII. A.D."
+
+On Easter Sunday, 1828, the third centenary of his death, a great
+procession of artists and scholars from all parts of Germany moved in
+solemn state from Nuremberg to the grave of Duerer, where they sang
+hymns.
+
+     In the valley of the Pegnitz, where across broad meadowlands
+     Rise the blue Franconian mountains, Nuremberg the
+       ancient stands.
+
+     Quaint old town of toil and traffic, quaint old town of
+       art and song,
+     Memories haunt thy pointed gables, like the rooks that
+       round them throng.
+
+     Memories of the Middle Ages, when the emperors rough
+       and bold
+     Had their dwelling in thy castle, time-defying, centuries
+       old;
+
+     And thy brave and thrifty burghers boasted, in their
+       uncouth rhyme,
+     That their great imperial city stretched its hand through
+       every clime.
+
+     In the courtyard of the castle, bound with many an iron
+       band,
+     Stands the mighty linden planted by Queen Cunigunde's
+       hand;
+
+     On the square the oriel window, where in old heroic days
+     Sat the poet Melchior singing Kaiser Maximilian's praise.
+
+     Everywhere I see around me rise the wondrous world of
+       Art,
+     Fountains wrought with richest sculpture standing in the
+       common mart;
+
+     And above cathedral doorways, saints and bishops carved in
+       stone,
+     By a former age commissioned as apostles to our own.
+
+     In the church of sainted Sebald sleeps enshrined his holy
+       dust,
+     And in bronze the Twelve Apostles guard from age to age
+       their trust:
+
+     In the church of sainted Lawrence stands a pix of sculpture
+       rare,
+     Like the foamy sheaf of fountains, rising through the painted
+       air.
+
+     Here, when Art was still religion, with a simple, reverent
+       heart,
+     Lived and labored Albrecht Duerer, the Evangelist of Art;
+
+     Hence in silence and in sorrow, toiling still with busy hand,
+     Like an emigrant he wandered, seeking for the Better Land.
+
+     _Emigravit_ is the inscription on the tombstone where he
+       lies:
+     Dead he is not, but departed, for the artist never dies.
+
+                              LONGFELLOW.
+
+Pirkheimer wrote to Ulrich, "Although I have been often tried by the
+death of those who were dear to me, I think I have never until now
+experienced such sorrow as the loss of our dearest and best Duerer has
+caused me. And truly not without cause; for, of all men who were not
+bound to me by ties of blood, I loved and esteemed him the most, on
+account of his countless merits and rare integrity. As I know, my dear
+Ulrich, that you share my sorrow, I do not hesitate to allow it free
+course in your presence, so that we may consecrate together a just
+tribute of tears to our dear friend. He has gone from us, our Albert!
+Let us weep, my dear Ulrich, over the inexorable fate, the miserable
+lot of man, and the unfeeling cruelty of death. A noble man is
+snatched away, whilst so many others, worthless and incapable men,
+enjoy unclouded happiness, and have their years prolonged beyond the
+ordinary term of man's life."
+
+Pirkheimer died two years after Duerer's death, and was buried near
+him. During his last days, and therefore so long after his friend's
+decease that the first violence of his emotions had fully subsided,
+and his mind had become calm, he wrote to Herr Tschertte of Vienna,
+and gave the following arraignment of the widow Duerer: "Truly I lost
+in Albert the best friend I ever had in the world, and nothing grieves
+me so much as to think that he died such an unhappy death; for after
+the providence of God I can ascribe it to no one but his wife, who so
+gnawed at his heart, and worried him to such a degree, that he
+departed from this world sooner than he would otherwise have done. He
+was dried up like a bundle of straw, and never dared to be in good
+spirits, or to go out into society. For this bad woman was always
+anxious, although really she had no cause to be; and she urged him on
+day and night, and forced him to hard work only for this,--that he
+might earn money, and leave it to her when he died. For she always
+feared ruin, as she does still, notwithstanding that Albert has left
+her property worth about six thousand gulden. But nothing ever
+satisfied her; and in short she alone was the cause of his death.
+I have often myself expostulated with her about her suspicious,
+blameworthy conduct, and have warned her, and told her beforehand
+what the end of it would be; but I have never met with any thing but
+ingratitude. For whoever was a friend of her husband's, and wished him
+well, to him she was an enemy; which troubled Albert to the highest
+degree, and brought him at last to his grave. I have not seen her
+since his death: she will have nothing to do with me, although I have
+been helpful to her in many things; but one cannot trust her. She is
+always suspicious of anybody who contradicts her, or does not take her
+part in all things, and is immediately an enemy. Therefore I would
+much rather she should keep away from me. She and her sister are not
+loose characters, but, as I do not doubt, honorable, pious, and very
+God-fearing women; but one would rather have to do with a light
+woman who behaved in a friendly manner, than with such a nagging,
+suspicious, scolding, pious woman, with whom a man can have no peace
+day or night. We must, however, leave the matter to God, who will be
+gracious and merciful to our good Albert, for he lived a pious and
+upright man, and died in a very Christian and blessed manner;
+therefore we need not fear his salvation. God grant us grace, that
+we may happily follow him when our time comes!"
+
+It is said that Raphael, after studying Duerer's engravings, exclaimed,
+"Of a truth this man would have surpassed us all if he had had the
+masterpieces of art constantly before his eyes as we have." Even so at
+the present day is it seen, that if Duerer had studied classic art, and
+imbibed its principles, he might have added a rare beauty to the weird
+ugliness and solemnity of his designs, and substituted the sweet
+Graces for the grim Walkyrie. Yet in that case the world would have
+lost the fascinations of the sad and profound Nuremberg pictures, with
+their terrific realism and fantastic richness.
+
+Italy did not disdain to borrow the ideas of the transalpine artist;
+and even Raphael took the design of his famous picture of "The
+Entombment" (_Lo Spasimo_) from Duerer's picture in "The Great
+Passion." Titian borrowed from his "Life of the Virgin" the figure of
+an old woman, which he introduced in his "Presentation in the Temple."
+The Florentine Pontormo copied a whole landscape from one of Duerer's
+paintings; and Andrea del Sarto received many direct suggestions from
+his works.
+
+     "It is very surprising in regard to that man, that in a
+     rude and barbarous age he was the first of the Germans who
+     not only arrived at an exact imitation of nature, but has
+     likewise left no second; being so absolute a master of it in
+     all its parts,--in etching, engraving, statuary,
+     architecture, optics, symmetry, and the rest,--that he had
+     no equal except Michael Angelo Buonarotti, his contemporary
+     and rival; and he left behind him such works as were too
+     much for the life of one man."--JOHN ANDREAS.
+
+In the preface to his Latin translation of "The Four Books of Human
+Proportion," the Rector Camerarius says: "Nature gave our Albert a
+form remarkable for proportion and height, and well suited to the
+beautiful spirit which it held therein; so that in his case she was
+not unmindful of the harmony which Hippocrates loves to dwell upon,
+whereby she assigns a grotesque body to the grotesquely-spirited ape,
+while she enshrines the noble soul in a befitting temple. He had a
+graceful hand, brilliant eyes, a nose well-formed, such as the Greeks
+call [Greek: Tetragonon], the neck a little long, chest full, stomach
+flat, hips well-knit, and legs straight. As to his fingers, you would
+have said that you never saw any thing more graceful. Such, moreover,
+was the charm of his language, that listeners were always sorry when
+he had finished speaking.
+
+"He did not devote himself to the study of literature, though he was
+in a great measure master of what it conveys, especially of natural
+science and mathematics. He was well acquainted with the principal
+facts of these sciences, and could apply them as well as set them
+forth in words: witness his treatises on geometry, in which there is
+nothing to be desired that I can find, at least so far as he has
+undertaken to treat the subject.... But Nature had especially designed
+him for painting, which study he embraced with all his might, and was
+never tired of considering the works and methods of celebrated
+painters, and learning from them all that commended itself to him....
+If he had a fault it was this: that he worked with too untiring
+industry, and practised a degree of severity towards himself that he
+often carried beyond bounds."
+
+
+
+
+ A LIST OF
+ ALBERT DUeRER'S CHIEF PAINTINGS
+
+ NOW IN EXISTENCE, WITH THE DATES OF THEIR EXECUTION, AND THEIR
+ PRESENT LOCATIONS.
+
+_The interrogation-mark is annexed to the titles of certain paintings
+which two or more critics regard as of doubtful authenticity._
+
+
+GERMANY.
+
+NUREMBERG.--_Germanic Museum,_--Emperor Maximilian; Burgomaster
+Holzschuher, 1526. _St. Maurice Gallery,_--Pieta; Ecce Homo.
+_Rath-Haus_,--Emperor Sigismund(?); Charlemagne(?).
+
+MUNICH PINAKOTHEK.--Baumgaertner Altar-piece, 1513; Suicide of
+Lucretia, 1518; Albert Duerer, 1500; Oswald Krell, 1499; Michael
+Wohlgemuth, 1516; Albert Duerer the Elder, 1497; the Nativity; Sts.
+Paul and Mark, 1526; Sts. Peter and John, 1526; a Knight in Armor(?);
+Sts. Joachim and Joseph, 1523; St. Simeon and Bishop Lazarus, 1523;
+Death of the Virgin; a Young Man, 1500; Pieta(?); Mater Dolorosa.
+
+DRESDEN MUSEUM.--Christ Bearing the Cross; the Crucifixion; a Hare;
+Lucas van Leyden; Madonna and Saints (?).
+
+COLOGNE.--_Museum,_--Drummer and Piper; Madonna (?). _Church of Sta.
+Maria im Capitol,_--Death of the Virgin.
+
+FRANKFORT.--_Municipal Gallery,_--Two portraits. _Staedel
+Institute,_--Catherine Fuerleger; Albert Duerer the Elder.
+
+CASSEL.--_Friedrich Museum,_--The Passion. _Bellevue,_--Erasmus of
+Rotterdam.
+
+POMMERSFELDEN.--Jacob Mueffel.
+
+LUSTSCHENA (Baron Speck).--A Young Lady.
+
+ASCHAFFENBURG.--Albert Duerer.
+
+AUGSBURG.--Two Masques. Several others in the Castle of Stolzenfels.
+
+
+AUSTRIA.
+
+VIENNA.--_Belvedere,_--Emperor Maximilian, 1519; Martyrdom of the Ten
+Thousand Christians, 1508; Madonna, 1506; Adoration of the Magi, 1504;
+Madonna, 1503; Adoration of the Holy Trinity, 1511; Madonna; Young
+Man, 1507; Johann Kleeberger, 1526; and others not definitely
+authenticated. _The Albertina,_--Emperor Maximilian, Green Passion,
+and 160 drawings. _Czernin Palace,_--Portrait. The old Ambraser,
+Lichtenstein, and Von Lamberg collections included four portraits and
+two religious pictures. _St. Wolfgang's Church,_ Upper Austria,--Death
+of the Virgin.
+
+PESTH.--Christ on the Cross.
+
+PRAGUE.--_Strahow Abbey,_--The Feast of Rose Garlands.
+
+
+NORTHERN EUROPE.
+
+ST. PETERSBURG.--_Hermitage Palace,_--Christ Led to Calvary; Christ
+Bearing the Cross; the Elector of Saxony.
+
+_Hague Museum._--Two portraits.
+
+_Beloeil_ (Prince de Ligne),--Two pictures.
+
+_Basle Museum_ (Switzerland).--Two pictures.
+
+_Coire Cathedral,_--Christ Bearing the Cross.
+
+
+ITALY.
+
+FLORENCE.--_Uffizi Gallery,_--Adoration of the Magi, 1504; Madonna,
+1526; Duerer's Father, 1490; Apostle Philip, 1516; St. James the Great,
+1516; Albert Duerer, 1498; Ecce Homo (?); Nativity (?); Pieta (?).
+_Pitti Palace,_--Adam and Eve (replica).
+
+ROME.--_Barberini Palace,_--Christ among the Doctors, 1506. _Borghese
+Palace,_--Louis VI. of Bavaria; Pirkheimer, 1505; and five pictures of
+dubious authenticity. _Corsini Palace,_--A Hare; Cardinal Albert of
+Brandenburg. _Doria Palace,_--St. Eustace (?); Ecce Homo (?).
+_Sciarra-Colonna Palace,_--Death of the Virgin.
+
+MILAN.--_Casa Trivulzi,_--Ecce Homo, 1514. _Ambrosiana,_--Coronation
+of the Virgin, 1510. _Bergamo Academy,_--Christ Bearing the Cross.
+_Brescia Gallery,_--Drawings.
+
+VENICE.--_Manfrini Palace,_--Adoration of the Shepherds; Holy Family.
+
+NAPLES.--_Santangelo,_--Garland-Bearer, 1508. _Museum,_--Nativity,
+1512. _Villafranca Palace,_--Christ on the Cross.
+
+
+SPAIN.
+
+MADRID.--_Museum,_--Albert Duerer, 1498; Duerer's Father; Adam and Eve.
+_Marquis of Salamanca,_--Altar-piece, a Passion scene.
+
+
+FRANCE.
+
+_Besancon Museum._--Christ on the Cross. _Lyons,_--Madonna and Child
+Giving Roses to Maximilian (?).
+
+
+GREAT BRITAIN.
+
+_National Gallery,_--A Senator, 1514. _Stafford House,_ Death of
+the Virgin. _Hampton-Court Palace,_--Young Man, 1506; St. Jerome (?).
+_Buckingham Palace,_--Virgin and Child. _Rev. J. F. Russell,
+--Crucifixion; Christ's Farewell to Mary (?). _Thirlestaine
+House,_--Maximilian. _Kensington Palace,_--Young Man. _New Battle
+House,_--Madonna and Angels. _Belvoir Castle,_--Portrait. _Sion
+House,_--Duerer's Father. _Mr. Wynn Ellis, London,_--Catherine
+Fuerleger; Virgin and Child. _FitzWilliam Museum, Cambridge,_
+--Annunciation (?). _Windsor Castle,_--Pirkheimer. _Bath House,_--Man
+in Armor. _Howard Castle,_--Vulcan; Adam and Eve; Abraham and Isaac.
+
+_The latest of the lists of Duerer's paintings, compiled by Mr. W. B.
+Scott in 1870, enumerates the following collections, long since
+dispersed, with the dates when they were cataloged: 11 pictures at
+Aix, in 1822; 2 at Anspach, 1816; 5 at Augsburg, 1822; 10 at Bamberg,
+1821; 2 at Banz, 1814; 4 at Berlin, 1822; 3 at Blankenberg, 1817; 3 at
+Bologna, 1730; 3 at Breslau, 1741; 6 at Brussels, 1811. Many of these
+cannot now be located, the collections having been broken up._
+
+
+
+
+ A LIST OF
+ DUeRER'S WOOD ENGRAVINGS.
+
+
+_Bible Subjects._--Cain Killing Abel; Samson Slaying the Lion;
+Adoration of the Magi, 1511; the Last Supper, 1523; the Mount of
+Olives; Pilate Showing Christ to the Jews; the Sudarium; Ecce
+Homo; the Crucifixion, 1510; the Crucifixion, 1516; Calvary; the
+Crucifixion; Christ on the Cross, with Angels; the Trinity, 1511; the
+Holy Family, 1511; the Holy Family with a Guitar, 1511; the Holy
+Family, 1526; the Holy Family in a Chamber; the Virgin with the
+Swaddled Child; the Virgin Crowned by Angels, 1518; the Holy Family
+with Three Rabbits.
+
+_Saints._--St. Arnolf, Bishop; St. Christopher, 1511; St. Christopher
+with the Birds; St. Christopher, 1525; St. Colman of Scotland, 1513;
+St. Francis Receiving the Stigmata; St. George; the Mass of St.
+Gregory, 1511; St. Jerome in a Chamber, 1511; St. Jerome in the
+Grotto, 1512; the Little St. Jerome; the Beheading of St. John the
+Baptist; the Head of St. John brought to Herod, 1511; St. Sebald; the
+Penitent; Elias and the Raven; Sts. John and Jerome; Sts. Nicholas,
+Udalricus, and Erasmus; Sts. Stephen, Gregory, and Lawrence; the Eight
+Austrian Saints; the Martyrdom of Ten Thousand Christians; the
+Beheading of St. Catherine; St. Mary Magdalen.
+
+_Portraits._--The Emperor Maximilian, 1519; the Emperor; Ulrich
+Varnbuehler, 1522; Albert Duerer, 1527.
+
+_Heraldic Subjects._--The Beham Arms; the Duerer Arms, 1523; the
+Ebner-Furer Arms, 1516; the Kressen Arms; the Shield of Nuremberg; the
+Shield with three Lions' Heads; the Shield with a Wild Man and two
+Dogs; the Scheurl-Zuiglin Arms; the Stabius Arms; the Staiber Arms.
+
+_Miscellaneous Subjects._--The Judgment of Paris; Hercules; the Rider;
+the Bath; the Embrace; the Learner, 1510; Death and the Soldier, 1510;
+the Besieged City, 1527; the Rhinoceros, 1515; the Triumphal Chariot
+of Maximilian, 1522; the Great Column, 1517; a Man Sketching; two Men
+Sketching a Lute; a Man Sketching a Woman; a Man Sketching an Urn;
+Hemispherium Australe; Imagines Coeli Septentrionalis; Imagines
+Coeli Meridionalis; the Pirkheimer Title-border; six Ornamental
+designs; two title-borders.
+
+_The Great Passion_ (12 cuts; 1510).--Ecce Homo; the Last Supper; the
+Agony in the Garden; the Seizing of Christ; the Flagellation; the
+Mocking; Bearing the Cross; the Crucifixion; Christ in Hades; the
+Wailing Maries; the Entombment; the Resurrection.
+
+_The Little Passion_ (37 cuts; 1511).--Ecce Homo; Adam and Eve; the
+Expulsion from Eden; the Annunciation; the Nativity; the Entry into
+Jerusalem; the Cleansing of the Temple; Christ's Farewell to His
+Mother; the Last Supper; the Washing of the Feet; the Agony in the
+Garden; the Kiss of Judas; Christ before Annas; Caiaphas Rends his
+Clothes; the Mocking; Christ and Pilate; Christ before Herod; the
+Scourging; the Crowning with Thorns; Christ Shown to the Jews; Pilate
+Washing his Hands; Bearing the Cross; the Veronica; Nailing Christ to
+the Cross; the Crucifixion; Descent into Hell; the Descent from the
+Cross; the Weeping Maries; the Entombment; the Resurrection; Christ in
+Glory Appearing to His Mother; Appearing to Mary Magdalen; at Emmaus;
+the Unbelief of St. Thomas; the Ascension; the Descent of the Holy
+Ghost; the Last Judgment.
+
+_The Life of the Virgin_ (20 designs; 1511).--The Virgin and Child;
+Joachim's Offering Rejected; the Angel Appears to Joachim; Joachim
+Meeting Anna; the Birth of Mary; the Virgin's Presentation at the
+Temple; the Betrothal of Mary and Joseph; the Annunciation; the
+Visitation of St. Elizabeth; the Nativity; the Circumcision; the
+Purification of Mary; the Flight into Egypt; the Repose in Egypt;
+Christ Teaching in the Temple; Christ's Farewell to His Mother; the
+Death of the Virgin; the Assumption; the Virgin and Child with seven
+Saints.
+
+_The Apocalypse of St. John_ (16 designs; 1498).--The Virgin and Child
+Appearing to St. John; His Attempted Martyrdom; the Seven Golden
+Candlesticks and the Seven Stars; the Throne of God with the
+Four-and-twenty Elders and the Beasts; the Descent of the Four Horses;
+the Martyrs Clothed in White and the Stars Falling; the Four Angels
+Holding the Winds, and the Sealing of the Elect; the Seven Angel
+Trumpeters and the Glorified Host of Saints; the Four Angels Slaying
+the Third Part of Men; John is Made to Eat the Book; the Woman Clothed
+with the Sun, and the Seven-headed Dragon; Michael and his Angels
+Fighting the Great Dragon; the Worship of the Seven-headed Dragon; the
+Lamb in Zion; the Woman of Babylon Sitting on the Beast; the Binding
+of Satan for a Thousand Years.
+
+There are 261 other wood-engravings described in the catalogue
+attached to Scott's "Life of Duerer," and ranked as "doubtful." Many of
+these are held to be authentic by one or more of the three critical
+authorities on Duerer's works,--Heller, Bartsch, and Passavant. Other
+connoisseurs, however, ascribe them to different engravers of the
+early German schools, mostly to pupils and colleagues of Duerer.
+
+
+ENGRAVINGS ON COPPER.
+
+_Bible-Subjects._--Adam and Eve, 1504; the Nativity, 1504; the Passion
+on copper (16 designs), 1508-13; Crucifixion, 1508, 1511; Little
+Crucifixion, 1513; Christ Showing His Five Wounds; Angel with the
+Sudarium, 1516; two Angels with the Sudarium, 1513; the Prodigal Son,
+1500; the Virgin and Anna; Mary on the Crescent Moon, no date; Mary on
+the Crescent Moon, 1514; Mary with a Crown of Stars, 1508; Mary with
+the Starry Crown and Sceptre, 1516; Mary Crowned by an Angel, 1520;
+Mary Crowned by two Angels, 1518; the Nursing Mary, 1503; the Nursing
+Mary, 1519; Mary with the Swaddled Child, 1520; Mary under a Tree,
+1513; Mary by the Well, 1514; Mary with the Pear, 1511; Mary with the
+Monkey, no date; the Holy Family with the Butterfly, early work.
+
+_Saints._--St. Philip; St. Bartholomew, 1523; St. Thomas, 1514; St.
+Simon, 1514; St. Paul, 1514; St. Anthony, 1519; St. Christopher, 1521;
+St. Christopher, second design; St. John Chrysostom; St. Eustace, no
+date; St. George; Equestrian St. George, 1508; St. Jerome, 1514; St.
+Jerome Praying; the same, smaller, 1513; St. Sebastian; St. Sebastian
+Bound to a Pillar.
+
+_Miscellaneous._--The Judgment of Paris, 1513; Apollo and Diana; the
+Rape of Amymone; Jealousy; the Satyr's Family, 1505; Justice; the
+Little Fortune; the Great Fortune; Melencolia, 1514; the Dream; the
+Four Naked Women, 1497; the Witch; Three Cupids; Gentleman and Lady
+Walking; the Love Offer; the Wild Man Seizing a Woman, early work; the
+Bagpiper, 1514; the Dancing Rustics, 1514; the Peasant and his Wife;
+Peasant Going to Market; Three Peasants; the Cook and the Housekeeper;
+the Turk and his Wife; the Standard-bearer; the Six Soldiers; the
+Little Courier; the Equestrian Lady; the Great White Horse, 1505; the
+Small White Horse, 1505; the Knight, Death, and the Devil, 1513; the
+Monster Pig; the Coat-of-arms with the Cock, 1514; the Coat-of-arms
+and Death's Head, 1503.
+
+_Portraits._--The Cardinal-Archbishop Albert of Mayence, 1519, 1522;
+larger portrait of the same; Frederick the Wise, Elector of Saxony,
+1524; Erasmus of Rotterdam, 1526; Philip Melanchthon, 1526; Willibald
+Pirkheimer, 1524.
+
+_Etchings._--Christ with Bound Hands, 1512; Ecce Homo, 1515; Christ on the
+Mount of Olives, 1515; the Holy Family; St. Jerome; Pluto and
+Proserpine; the Bath; the Cannon.
+
+
+
+
+INDEX.
+
+
+ _Adam and Eve,_ 45, 57.
+ _Adoration of the Kings,_ 45.
+ _Adoration of the Trinity,_ 62, 68.
+ Aix-la-Chapelle, 105.
+ Aldegrever, 120.
+ Altdorfer, 120.
+ Antwerp, 97, 106, 117, 126.
+   -- Cathedral, 99, 110.
+ Architectural Works, 123.
+ Art of Mensuration, 127.
+ Augsburg, 91.
+
+ Bamberg, 44, 96.
+ Basle, 26.
+ Baumgaertner, 14, 39, 52, 77, 78.
+ Behaim, Martin, 12.
+ Beham, 120.
+ Beheim, Hans, 11.
+ Bellini, Giovanni, 48, 50.
+ Bergen-op-Zoom, 107, 109.
+ Bernard van Orley, 100.
+ Binck, 120.
+ _Birth of St. John,_ 66.
+ Bois-le-Duc, 106.
+ Bruges, 110.
+ Brussels, 100.
+ Bullman, 12.
+
+ _Calvary,_ 45.
+ Camerarius, 14, 145.
+ Carvings, 57, 66.
+ Celtes, Conrad, 13.
+ Chelidonius, 13, 70, 71.
+ Coat-of-Arms, 49, 75.
+ Colmar, 23, 26.
+ Cologne, 96, 106, 117.
+ Colvin, Sidney, 34.
+ Confirmatia, The, 106.
+ _Coronation of the Virgin,_ 61.
+
+ Danger at Sea, 107.
+ Death of Parents, 40, 83.
+ _Death of the Virgin,_ 90.
+ Delayed Pensions, 87, 92.
+ Denmark's King, 116.
+ Drawings, 42.
+ Duerer, Albert, the Elder, 15, 20, 23, 40.
+   -- Agnes, 28, 52, 54, 142.
+   -- Andreas, 16, 41, 53, 68.
+   -- Anthony, 15.
+   -- Barbara, 15, 41, 83.
+   -- Hans, 41, 51, 69.
+   -- Nicholas, 96.
+ Duerer's House, 63.
+   -- Marriage, 28.
+   -- Poetry, 64.
+   -- Portraits, 27, 36, 39, 105, 134.
+
+ Early Drawings, 19.
+ Engravings, 31, 60.
+ Erasmus, 99, 110, 114, 129.
+ Etchings, 86.
+ Eytas, 15, 79.
+
+ Fever, The, 112.
+ Flemish Feasts, 97, 109, 111.
+ Flemish Wealth, 95.
+ Fortifications, Treatise on, 134.
+ _Four Apostles, The,_ 131.
+ Francia, 55.
+ Frey Family, 29, 123.
+
+ Ghent, 111.
+ Glass-Painting, 123.
+ _Great Column, The,_ 88.
+ _Great Passion, The,_ 69.
+ _Green Passion, The,_ 42.
+ Grunewald, 121.
+
+ Haller Family, 15.
+ Heller, Jacob, 58, 59, 96.
+ _Holzschuher,_ 128.
+ Human Proportions, 135.
+
+ Imhoff Collection, The, 43.
+ Inventions, 128.
+
+ Karl, Eucharius, 39, 52.
+ _Knight, Death, etc.,_ 76.
+ Koberger, 9, 17.
+ Kornelisz, 12.
+ Kraft, 11.
+
+ Landaeuer, 62.
+ Letters to the Rath, 124, 132.
+ _Life of the Virgin,_ 71.
+ Lindenast, 11.
+ Literary Work, 127.
+ _Little Crucifixion, The,_ 78.
+ Little Masters, 120.
+ _Little Passion, The,_ 70.
+
+ Mantegna, 24, 56.
+ Marc Antonio, 71.
+ Margaret, Archduchess, 94, 100, 105, 115.
+ Martin Luther, 113.
+ _Martyrdom, The,_ 59.
+ Maximilian, Emperor, 74, 76, 89, 91, 93, 122.
+ Mechlin, 100, 115.
+ Melanchthon, 75, 129.
+ _Melencolia, The,_ 82.
+ Middleburg, 107, 108.
+
+ Netherland Journey, 94.
+ Nuremberg, 7, 118, 139.
+
+ _Passion, The Great,_ 69.
+   -- _The Green,_ 42.
+   -- _The Little,_ 70.
+   -- _Song,_ 65.
+   -- _in Copper,_ 74.
+ Patenir, 98, 112.
+ Pensz, George, 120, 121.
+ Perugino, 24.
+ Piratical Engravers, 69, 71.
+ Pirkheimer, 17, 30, 39, 43, 44, 48, 64, 110, 119, 124, 135, 137, 141.
+ Prayer-Book, Max's, 88.
+ Procession, The, 103.
+
+ Raphael, 56, 85, 105, 144.
+ Regiomontanus, 10.
+ _Rose-Garlands, Feast of,_ 53, 54.
+ Ruskin Quoted, 46, 56.
+
+ Sachs, Hans, 14.
+ _St. Anthony,_ 93.
+ _St. Eustachius,_ 79.
+ _St. Jerome,_ 81.
+ Schongauer, 23.
+ Silver-Work, 20.
+ Sketch-Books, 44.
+ Spengler, 39, 65, 92, 119.
+ Stein, 47.
+ Stoss, Veit, 11.
+ Strasbourg, 26.
+
+ Teacher, The (Poem), 65.
+ Tomasin, 98, 100, 109.
+ _Triumphal Arch,_ 75, 88, 92.
+ _Triumphal Car,_ 121.
+
+ Van Leyden, Lucas, 115.
+ Vasari Quoted, 72.
+ Venetian Journey, 47.
+ Venice, 47, 56, 126.
+ Vincidore, 105.
+ Vischer, Peter, 11.
+ Von Culmbach, 120.
+
+ Walch, Jacob, 13, 115.
+ Wander-jahre, The, 25, 50.
+ Water-Marks, 34.
+ Wohlgemuth, 12, 21, 51, 90.
+ Woodcuts, 37.
+
+ Zealand, Journey to, 107.
+
+
+
+
+TRANSCRIBER'S NOTE:
+
+Minor changes have been made to correct typesetters' errors; otherwise
+every effort has been made to remain true to the author's words and
+intent.
+
+
+
+
+
+End of the Project Gutenberg EBook of Durer, by M. F. Sweetser
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