,,artist-,,biographies4   ,d,,rer4      
,,boston3  ,,houghton1 ,,osgood1 ,,and  
,,company4   ,the ,riverside ,press1    
,cambridge4   #ahgi4      ,,copyright4  
,,by ,,james ,r4 ,,osgood  ,,co4  #ahgg4
   ,,franklin ,,press3  ,,rand1 ,,avery1
 ,,and ,,company1  ,,boston4            
,,artist-,,biographies4  ,,publishers'  
,,announcement4   ,the growth of a      
popular interest in art and its history 
has been very rapid during the last     
decade of ,american life1 and is still  
in progress4 ,this interest is          
especially directed towards the lives of
 artists themselves2 and a general      
demand exists for a uniform series of   
biographies of those most eminent1 which
 shall possess the qualities of         
reliability1 compactness1 and cheapness4
  ,to answer this demand the present    
series has been projected4 ,the         
publishers have intrusted its           
preparation to ,mr4 ,m4 ,f4 ,sweetser1  
whose qualities of thoroughness in      
research and fidelity in statement have 

been proved in other fields of          
authorship4 ,it is believed that by the 
omission of much critical and discursive
 matter commonly found in art           
biographies1 an account of an artist's  
life may be presented1 which is at once 
truthful and attractive1 within the     
limits prescribed for these volumes4    
,the series will be published at the    
rate of one or two volumes each month1  
at #ej cents each volume1 and will      
contain the lives of the most famous    
artists of medival and modern times4 ,it
 will include the lives of many of the  
following3--   ,raphael1                
,claude1             ,van ,dyck1        
,michael ,angelo1         ,poussin1     
,gainsborough1  ,leonardo da ,vinci1    
,delacroix1          ,reynolds1         
,titian1                 ,delaroche1    
,wilkie1  ,tintoretto1                  
,greuze1             ,lawrence1  ,paul  
,veronese1          ,drer1              
,landseer1  ,guido1                     
,rubens1             ,turner1  ,murillo1

                ,rembrandt1             
,west1  ,velasquez1                     
,holbein1            ,copley1  ,salvator
 ,rosa1          ,teniers1              
,allston4     ,,preface4   ,this little 
volume presents an account of the life  
of one of the noblest and most versatile
 artists of ,germany1 with a passing    
glance at the activities of ,northern   
,europe at the era of the ,reformation4 
,the weird and wonderful paintings of   
,drer are herein concisely described1 as
 well as the most famous and            
characteristic of his engravings and    
carvings2 and his quaint literary works 
are enumerated4 ,it has also been       
thought advisable to devote considerable
 space to details about ,nuremberg1 the 
scene of the artist's greatest labors2  
and to reproduce numerous extracts from 
his fascinating ,venetian letters and   
,lowland journals4  ,the modern theory  
as to ,drer's wife and his home has been
 accepted in this work1 after a long and
 careful examination of the arguments on

 both sides4 ,it is pleasant thus to be 
able to aid in the rehabilitation of the
 much-slandered ,agnes1 and to have an  
oppressive cloud of sorrow removed from 
the memory of the great painter4  ,the  
chief authorities used in the           
preparation of this new memoir are the  
recent works of ,dr4 ,thausing and ,mr4 
,w4 ,b4 ,scott1 with the series of      
articles now current in ,the ,portfolio1
 written by ,professor ,colvin4 ,mrs4   
,heaton's biography has also been       
studied with care2 and other details    
have been gathered from modern works of 
travel and art-criticism1 as well as    
from ,the ,art ,journal1 ,la ,gazette   
des ,beaux ,arts1 and other periodicals 
of a similar character4                 
,m4 ,f4 ,,sweetser4     ,,contents4     
,,chapter ,i4   #adga-adid4             
,,page   ,the ,activities of            
,nuremberg4--,the ,drer ,family4--,early
 ,years of  ,albert4--,his ,studies with
 ,wohlgemuth4--,the ,wander-,jahre      
#g    ,,chapter ,,ii4   #adid-aeje4     

,drer marries ,agnes ,frey4--,her       
,character4--,early ,engravings4        
--,portraits4--,the ,apocalypse4--,death
 of ,drer's ,father4  --,drawings       
#bh    ,,chapter ,,iii4   #aeje-aeji4   
,the ,journey to ,venice4--,bellini's   
,friendship4--,letters to               
,pirkheimer4--,the ,feast of ,rose      
,garlands4--,bologna4--,adam and        
,eve4--,the ,coronation of the ,virgin  
#dg    ,,chapter ,,iv4   #aeji-aead4    
,drer's ,house4--,his                   
,poetry4--,sculptures4--,the ,great and 
,little  ,passions4--,life of the       
,virgin4--,plagiarists4--,works for the 
,emperor  ,maximilian                   
#fc    ,,chapter ,v4   #aead-aebj4      
,st4 ,jerome4--,the ,melencolia4--,death
 of ,drer's ,mother4--,raphael4         
--,etchings4--,maximilian's             
,arch4--,visit to ,augsburg             
#ha    ,,chapter ,,vi4   #aebj-aebb4    
,drer's ,tour in the ,netherlands4--,his
 ,journal4--,cologne4--,feasts  at      
,antwerp and ,brussels4--,procession of 

,notre ,dame4--,the                     
,confirmatia4--,zealand                 
,journey4--,ghent4--,martin ,luther     
#id    ,,chapter ,,vii4   #aebb-aebf4   
,nuremberg's ,reformation4--,the ,little
 ,masters4--,glass-,painting4           
--,architecture4--,letter to the ,city  
,council4--,art of ,mensuration4        
--,portraits4--,melanchthon             
#aah    ,,chapter ,,viii4   #aebf-aebh4 
,the ,four ,apostles4--,drer's ,later   
,literary ,works4--,four ,books of      
,proportion4--,last ,sickness and       
,death4--,agnes ,drer4--,drer described 
by a ,friend                            
#aca     ,,albert ,d,,rer4     ,,chapter
 ,i4  ,the ,activities of               
,nuremberg4--,the ,drer ,family4--,early
 ,years of ,albert4--,his ,studies with 
,wohlgemuth4--,the ,wander-,jahre4      
,the free imperial city of ,nuremberg1  
in the heart of ,franconia1 was one of  
the chief centres of the active life of 
the ,middle ,ages1 and shared with      
,augsburg the great trans-continental   

traffic between ,venice and the ,levant 
and ,northern ,europe4 ,its municipal   
liberties were jealously guarded by     
venerable guilds and by eminent         
magistrates drawn from the families of  
the merchant-princes1 forming a         
government somewhat similar to the      
,venetian ,council4 ,the profits of a   
commercial prosperity second only to    
that of the ,italian ports had greatly  
enriched the thrifty burghers1 aided by 
the busy manufacturing establishments   
which made the city the ,birmingham of  
the ,middle ,ages4 ,public and private  
munificence exerted itself in the       
erection and adornment of new and       
splendid buildings2 and the preparation 
of works of art and utility was         
stimulated on all sides4 ,it was the era
 of the discovery of ,america1 the      
revival of classic learning1 and the    
growth of free thought in matters       
pertaining to religion4 ,so far had the 
inventions of the artisans contributed  
to the comfort of the people1 that ,pope

 ,pius ,,ii4 said that ,a ,nuremberg    
citizen is better lodged than the ,king 
of ,scots2 and so widely were they      
exported to foreign realms1 that the    
proud proverb arose that                
,nuremberg's hand      ,goes through    
every land4  ,nuremberg still stands1 a 
vast medival relic1 in the midst of the 
whirl and activity of modern ,germany1  
rich and thriving1 but almost unchanged 
in its antique beauty4 ,the narrow      
streets in which ,drer walked are       
flanked1 as then1 by quaint gable-roofed
 houses1 timber-fronted1 with mullioned 
windows and arching portals4 ,in the    
faded and venerable palaces of the      
fifteenth century live the descendants  
of the old patrician families1          
cherishing the memories and archives of 
the past2 and the stately ,gothic       
churches are still rich in religious    
architecture1 and in angular old        
,byzantine pictures and delicate ,german
 carvings4 ,on the hill the castle rears
 its ponderous ramparts1 which have     

stood for immemorial ages2 and the high 
towers along the city walls have not yet
 bowed their brave crests to the spirit 
of the century of boulevards and        
railroads4  ,with two essentials of     
civilization1 paper and                 
printing-presses1 ,nuremberg supplied   
herself at an early day4 ,the first     
paper-mill in ,germany was established  
here in #acij2 and its workmen were     
obliged to take an oath never to make   
paper for themselves1 nor to reveal the 
process of manufacture4 ,they went out  
on a strike when the mill was enlarged1 
but the authorities imprisoned them     
until they became docile once more4     
,koberger's printing-house contained    
twenty-four presses1 and employed over a
 hundred men1 printing not only ,bibles 
and breviaries1 but also chronicles1    
homilies1 poems1 and scientific works4  
,as the ,aldine ,press attracted many   
authors and scholars to ,venice1 so     
,koberger's teeming press led several   
,german literati to settle at           

,nuremberg4 ,for the four first years of
 ,drer's life1 the wonderful            
mathematician and astronomer            
,regiomontanus dwelt here1 and had no   
less than twenty-one books printed by   
,koberger4 ,his numerous inventions and 
instruments awakened the deepest        
interest in the ,nuremberg craftsmen1   
and stimulated a fruitful spirit of     
inquiry for many years4  ,the           
clockmakers of ,nuremberg were famous   
for their ingenious productions4        
,watches were invented here in the year 
#aejj1 and were long known as ,nuremberg
 eggs4 ,the modern composition of brass 
was formed by ,erasmus ,ebner2          
wire-drawing machinery also was a       
,nuremberg device2 the air-gun was      
invented by ,hobsinger2 the clarionet1  
by ,denner2 and the church-organs made  
here were the best in ,germany4 ,there  
were also many expert metal-workers and 
braziers2 and fifty master-goldsmiths   
dwelt in the town1 making elegant and   
highly artistic works1 images1 seals1   

and medals1 which were famous throughout
 ,europe4 ,the most exquisite flowers   
and insects1 and other delicate objects1
 were reproduced in filagree silver2 and
 the first maiolica works in ,northern  
,europe were also founded here4         
,isolated1 like the ducal cities of     
,italy1 from the desolating wars of the 
great powers of ,europe1 and like them  
also growing rapidly in wealth and      
cultivation1 ,nuremberg afforded a      
secure refuge for ,art and its children4
 ,in ,drer's day the great churches of  
,st4 ,sebald1 ,st4 ,lawrence1 and ,our  
,lady were finished2 ,peter ,vischer    
executed the exquisite and unrivalled   
bronze ,shrine of ,st4 ,sebald2 and     
,adam ,kraft completed the fairy-like   
,sacrament-house1 sixty feet high1 and  
delicate as a tree covered with         
hoar-frost4 ,intimate with these two    
renowned artificers was ,lindenast1 the 
red smith1 who worked skilfully in      
beaten copper2 and their studies were   
conducted in company with ,vischer's    

five sons1 who1 with their wives and    
children1 all dwelt happily at their    
father's house4 ,vischer lived till a   
year after ,drer's death1 but there is  
no intimation that the two artists ever 
met4 ,another eminent craftsman was the 
unruly ,veit ,stoss1 the marvellous     
wood-carver1 many of whose works remain 
to this day2 and there was also ,hans   
,beheim1 the sculptor1 an honorable1    
pious1 and ,god-fearing man2 and        
,bullman1 who was very learned in       
astronomy1 and was the first to set the 
,theoria ,planetarum in motion by       
clockwork2 and he who made the great    
alarm-bell1 which was inscribed1 ,i am  
called the mass and the fire bell3 ,hans
 ,glockengeiser cast me3 ,i sound to    
,god's service and honor4 ,what shall we
 say also of ,hartmann1 ,drer's pupil1  
who invented the measuring-rod2         
,schoner1 the maker of terrestrial      
globes2 ,donner1 who improved screw     
machinery2 and all the skilful          
gun-makers1 joiners1 carpet-workers1 and

 silk-embroiderers8 ,there was also the 
burgher ,martin ,behaim1 the inventor of
 the terrestrial globe1 who anticipated 
,columbus by sailing ,eastward across   
the ,pacific ,ocean1 passing through the
 ,straits of ,magellan and discovering  
,brazil1 as early as #adhe4  ,in        
,germany1 as in ,italy1 the studio of   
the artist1 full of pure and lofty      
ideals1 had hardly yet evolved itself   
from the workshop of the                
picture-manufacturer4 ,nuremberg's chief
 artists at this time were ,michael     
,wohlgemuth1 ,drer's master2 ,lucas     
,kornelisz1 also called ,ludwig ,krug1  
who1 though a most skilful engraver1 was
 sometimes forced to adopt the          
profession of a cook in order to support
 himself2 and ,matthias ,zagel1 who was 
expert in both painting and engraving4  
,still another was the ,venetian ,jacopo
 de' ,barbari1 or ,jacob ,walch1 the    
master of the ,caduceus1 a dexterous    
engraver and designer1 whom ,drer       
alludes to in his ,venetian and         

,netherland writings4 ,the art of       
engraving had been invented early in the
 fifteenth century1 and was developing  
rapidly and richly toward perfection4   
,the day of versatile artists had       
arrived1 when men combined the fine and 
industrial arts in one life1 and devoted
 themselves to making masterpieces in   
each department4 ,the northern nations1 
unaided by classic models and           
traditions1 were developing a new and   
indigenous sthetic life1 slow of growth1
 but bound to succeed in the long run4  
,the literary society of ,drer's epoch  
at ,nuremberg was grouped in the        
,sodalitas ,literaria ,rhenana1 under   
the learned ,conrad ,celtes1 who        
published a book of ,latin comedies1    
pure in ,latinity and lax in morals1    
which he mischievously attributed to the
 ,abbess ,roswitha4 ,pirkheimer and the 
monk ,chelidonius also belonged to this 
sodality4 ,other contemporary literati  
of the city were ,cochlus1 ,luther's    
satirical opponent2 the ,hebraist       

,osiander2 ,venatorius1 who united the  
discordant professions of poetry and    
mathematics2 the ,provost ,pfinzing1 for
 whose poem of ,tewrdannkh1 ,drer's     
pupil ,schuffelein made #aah            
illustrations2 ,baumgrtner1             
,melanchthon's friend2 ,veit ,dietrich1 
the reformer2 and ,joachim ,camerarius1 
the ,latinist4 ,but the most illustrious
 of ,nuremberg's authors at that time   
was the cobbler-poet1 ,hans ,sachs1 a   
radical in politics and religion1 who   
scourged the priests and the capitalists
 of his day in songs and satires which  
were sung and recited by the workmen of 
all ,germany4 ,he himself tells us that 
he wrote #d1bjj master-songs1 #bjh      
comedies and tragedies1 #gc devotional  
and love songs1 and #a1jjg fables1      
tales1 and miscellaneous poems2 and     
others say that his songs helped the    
,reformation as much as ,luther's       
preaching4  ,thus the activities of     
mechanics1 art1 and literature pressed  
forward with equal fervor in the quaint 

old ,franconian city1 while ,albert     
,drer's life was passing on4 ,abroad and
 far off still mightier things were     
doing2 ,copernicus was writing in his   
observatory1 ,vasco di ,gama was on the 
,southern ,seas4  ,i1 ,albrecht ,drer   
the younger1 have sought out from among 
my father's papers these particulars of 
him1 where he came from1 and how he     
lived and died holily4 ,god rest his    
soul6 ,amen4 ,in this manner the pious  
artist begins an interesting family     
history1 in which it is stated that the 
,drers were originally from the romantic
 little ,hungarian hamlet of ,eytas1    
where they were engaged in herding      
cattle and horses4 ,anthony ,drer       
removed to the neighboring town of      
,jula1 where he learned the goldsmith's 
art1 which he taught to his son         
,albrecht1 or ,albert1 while his other  
sons were devoted to mechanical         
employments and the priesthood4 ,albert 
was not content to stay in sequestered  
,jula1 and1 wandering over ,germany and 

the ,low ,countries1 at last came to    
,nuremberg1 where he settled in #adee1  
in the service of the goldsmith         
,hieronymus ,haller4 ,this worthy       
,haller and his wife ,kunigund1 the     
daughter of ,oellinger of ,weissenberg1 
at that time had an infant daughter2 and
 as she grew up ,albert endeared himself
 to her to such purpose that1 in #adfg1 
when ,barbara had become a fair and     
handy maiden of fifteen1 he married her1
 being forty years old himself4 ,during 
the next twenty-four years she bore him 
eighteen children1 seven daughters and  
eleven sons1 of whose births1 names1 and
 godparents the father made careful     
descriptions4 ,three only1 ,albert1     
,andreas1 and ,hans1 arrived at years of
 maturity4 ,it may well be believed that
 the poor master-goldsmith was forced to
 work hard and struggle incessantly to  
support such a great family2 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 face4 ,yet he had    
certain sources of peace and gentleness 
in his life1 and never sank into        
moroseness or selfishness4 ,let us quote
 the tender and reverent words of his   
son3 ,my father's life was passed in    
great struggles and in continuous hard  
work4 ,with my dear mother bearing so   
many children1 he never could become    
rich1 as he had nothing but what his    
hands brought him4 ,he had thus many    
troubles1 trials1 and adverse           
circumstances4 ,but yet from every one  
who knew him he received praise1 because
 he led an honorable ,christian life1   
and was patient1 giving all men         
consideration1 and thanking ,god4 ,he   
indulged himself in few pleasures1 spoke
 little1 shunned society1 and was in    
truth a ,god-fearing man4 ,my dear      
father took great pains with his        
children1 bringing them up to the honor 
of ,god4 ,he made us know what was      
agreeable to others as well as to our   
,maker1 so that we might become good    

neighbors2 and every day he talked to us
 of these things1 the love of ,god and  
the conduct of life4  ,albert ,drer was 
the third child of ,albert the ,elder   
and ,barbara ,hallerin1 and was born on 
the morning of the #bast of ,may1 #adga4
 ,the house in which the ,drers then    
lived was a part of the great pile of   
buildings owned and in part occupied by 
the wealthy ,pirkheimer family1 and was 
called the ,pirkheimer ,hinterhaus4 ,it 
fronted on the ,winkler ,strasse of     
,nuremberg1 and was an ambitious home   
for a craftsman like ,albert4 ,the      
presence of ,antonius ,koberger1 the    
famous book-printer1 as godfather to the
 new-born child1 shows also that the    
,drers occupied an honorable position in
 the city4  ,the ,pirkheimers were then 
prominent among the patrician families  
of ,southern ,germany1 renowned for     
antiquity1 enormously wealthy through   
successful commerce1 and honored by     
important offices in the ,state4 ,the   
infant ,willibald ,pirkheimer was of    

about the same age as the young ,albert 
,drer2 and the two became close         
companions in all their childish sports1
 despite the difference in the rank of  
their families4 ,when the goldsmith's   
family moved to another house1 at the   
foot of the castle-hill1 five years     
later1 the warm intimacy between the    
children continued unchanged4  ,the     
instruction of ,albert in the rudiments 
of learning was begun at an early age1  
probably in the parochial school of ,st4
 ,sebald1 and was conducted after the   
singular manner of the schools of that  
day1 when printed books were too costly 
to be intrusted to children4 ,he lived  
comfortably in his father's house1 and  
daily received the wise admonitions and 
moral teachings of the elder ,albert4   
,his friendship for ,willibald enabled  
him to learn certain elements of the    
higher studies into which the young     
patrician was led by his tutors2 and his
 visits to the ,pirkheimer mansion      
opened views of higher culture and more 

refined modes of life4  ,albert was     
enamoured with art from his earliest    
years1 and spent many of his leisure    
hours in making sketches and rude       
drawings1 which he gave to his          
schoolmates and friends4 ,the ,imhoff   
,collection had a drawing of three      
heads1 done in his eleventh year2 the   
,posonyi ,collection claimed to possess 
a ,madonna of his fifteenth year2 and   
the ,british ,museum has a chalk-drawing
 of a woman holding a bird in her hand1 
whose first owner wrote on it1 ,this was
 drawn for me by ,albert ,drer before he
 became a painter4 ,the most interesting
 of these early works is in the         
,albertina at ,vienna1 and bears the    
inscription3 ,this ,i have drawn from   
myself from the looking-glass1 in the   
year #adhd1 when ,i was still a         
child4--,,albert ,d,,rer4 ,it shows a   
handsome and pensive boy-face1 oval in  
shape1 with large and tender eyes1      
filled with solemnity and vague         
melancholy2 long hair cut straight      

across the forehead1 and falling over   
the shoulders2 and full and pouting     
lips4 ,it is faulty in design1 but shows
 a considerable knowledge of drawing1   
and a strong faculty for portraiture4   
,the certain sadness of expression tells
 that the schoolboy had already become  
acquainted with grief1 probably from the
 straitened circumstances of his family1
 and the melancholy deaths of so many   
brothers and sisters4 ,the great mystery
 of sorrow was full early thrown across 
the path of the solemn artist4 ,this    
portrait was always retained by ,drer as
 a memorial of his childhood4  ,he says 
of his father1 ,for me1 ,i think1 he had
 a particular affection2 and1 as he saw 
me diligent in learning1 he sent me to  
school4 ,when ,i had learned to write   
and read1 he took me home again1 with   
the intention of teaching me the        
goldsmith's work4 ,in this ,i began to  
do tolerably well4 ,he was taken into   
the goldsmith's workshop in his         
thirteenth year1 and remained there two 

years1 receiving instruction which was  
not without value in his future life1 in
 showing him the elements of the arts of
 modelling and design4 ,the accuracy and
 delicacy of his later plastic works    
show how well he apprehended these      
ideas1 and how far he acquired sureness 
of expression4 ,the elder ,albert was a 
skilful master-workman1 highly esteemed 
in his profession1 and had received     
several important commissions4 ,it is   
said that the young apprentice executed 
under his care a beautiful piece of     
silver-work representing the ,seven     
,agonies of ,christ4  ,but my love was  
towards painting1 much more than towards
 the goldsmith's craft4 ,when at last ,i
 told my father of my inclination1 he   
was not well pleased1 thinking of the   
time ,i had been under him as lost if ,i
 turned painter4 ,but he left me to have
 my will2 and in the year #adhf1 on ,st4
 ,andrew's ,day1 he settled me          
apprentice with ,michael ,wohlgemuth1 to
 serve him for three years4 ,in that    

time ,god gave me diligence to learn    
well1 in spite of the pains ,i had to   
suffer from the other young men4 ,thus  
,drer describes his change in life1 and 
the embarkation on his true vocation1 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 scenes1 and away   
from his companionship4  ,wohlgemuth was
 one of the early religious painters who
 stood at the transition-point between  
the school of ,cologne and that of the  
,van ,eycks1 or between the old         
pietistic traditions of ,byzantine art  
and the new ideas of the art of the     
,northern ,reformation4 ,the            
conventionalisms of the ,rhenish and    
,franconian paintings were being        
exchanged for a fresher originality and 
a truer realism2 and the pictures of    
this time curiously blended the old and 
the new4 ,wohlgemuth seems to have      
considered art as a money-getting trade 
rather than a high vocation1 and his    

workroom was more a shop than a studio4 
,he turned out countless ,madonnas and  
other religious subjects for churches   
and chance purchasers1 and also painted 
chests and carved and colored images of 
the saints1 many of which were executed 
by his apprentices4 ,a few of his works1
 however1 were done with great care and 
delicacy1 and show a worthy degree of   
sweetness and simplicity4 ,evidently the
 young pupil gained little besides a    
technical knowledge of painting from    
this master1--the mechanical processes1 
the modes of mixing and applying colors1
 the chemistry of pigments1 and a       
certain facility in using them4 ,it was 
well that the influences about him were 
not powerful enough to warp his pure and
 original genius into servile imitations
 of decadent methods4 ,his hands were   
taught dexterity2 and his mind was left 
to pursue its own lofty course1 and use 
them as its skilful allies in the new   
conquests of art4  ,wood-engraving was  
also carried on in ,wohlgemuth's studio1

 and it is probable that ,drer here     
learned the rudiments of this branch of 
art1 which he afterwards carried to so  
high a perfection4 ,some writers        
maintain that his earliest works in this
 line were done for the famous          
,nuremberg ,chronicle1 which was        
published in #adic by ,wohlgemuth and   
,pleydenwurf4  ,the three years which   
were spent in ,wohlgemuth's studio were 
probably devoted to apprentice-work on  
compositions designed by the master1 who
 was then about fifty years old1 and at 
the summit of his fame4 ,but few of     
,drer's drawings now existing date from 
this epoch1 one of which represents a   
group of horsemen1 and another the three
 ,swiss leaders1 ,frst1 ,melchthal1 and 
,staufacher4 ,the beautiful portrait of 
,drer's father1 which is now at         
,florence1 was executed by the young    
artist in #adij1 probably to carry with 
him as a souvenir of home4 ,mndler says1
 ,for beauty and delicacy of modelling1 
this portrait has scarcely been         

surpassed afterwards by the master1     
perhaps not equalled4  ,it was claimed  
by certain old biographers that the     
eminent ,martin ,schongauer of ,colmar  
was ,drer's first master2 but this is   
now contested1 although it is evident   
that his pictures had a powerful effect 
on the youth4 ,schongauer was the       
greatest artist and engraver that       
,germany had as yet produced1 and       
exerted a profound influence on the art 
of the ,rhineland4 ,he renewed the      
fantastic conceits and grotesque        
vagaries which the ,papal artists of    
,cologne had suppressed as heathenish1  
and prepared the way for1 or perhaps    
even suggested1 the weird elements of   
,drer's conceptions4 ,at the same time  
he passed back of his ,netherland       
art-education1 and studied a mystic     
benignity and dreamy spirituality       
suggestive of the ,umbrian painters1    
with whose chief1 the great ,perugino1  
,martin was acquainted4 ,herein ,drer's 
works were in strong contrast with      

,schongauer's1 and showed the new spirit
 that was stirring in the world4  ,next 
to ,schongauer1 the great ,italian      
artist ,mantegna exercised the strongest
 influence upon ,drer1 who studied his  
bold and austere engravings with earnest
 admiration1 showing his traits in many 
subsequent works4 ,probably he met the  
famous ,mantuan painter during the      
,wander-jahre1 in ,italy2 and at the    
close of his ,venetian journey he was   
about to pay a visit of homage to him1  
when he heard of his death4  ,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 companions1 
rough hand-workers who doubtless failed 
to understand the poignancy of the      
torments which they inflicted on the    
sad-eyed son of genius4 ,but his home   
was near at hand1 and the tender care of
 his parents1 always beloved4 ,how often
 he must have wandered through the      
familiar streets of ,nuremberg1 with his

 dreamy artist-face and flowing hair1   
and studied the ,gothic palaces1 the    
fountains adorned with statuary1 and the
 rich treasures of art in the great     
churches6 ,beyond the tall-towered town1
 danger lurked on every road2 but inside
 the gray walls was peace and safety1   
and no free lances nor marauding        
men-at-arms could check the aspiring    
flight of the youth's bright            
imagination4  ,and when the three years 
were out1 my father sent me away4 ,i    
remained abroad four years1 when he     
recalled me2 and1 as ,i had left just   
after ,easter in #adij1 ,i returned home
 in #adid just after ,whitsuntide4 ,thus
 ,albert describes the close of his     
,lehr-jahre1 or labor-years1 and the    
entrance upon his ,wander-jahre1 or     
travel-years4 ,according to a ,german   
custom1 still prevalent in a modified   
degree1 the youth was obliged to travel 
for a long period1 and study and        
practise his trade or profession in     
other cities1 before settling for life  

as a master-workman4 ,unfortunately all 
that ,drer records as to these eventful 
four years is given in the sentences    
above2 and we can only theorize as to   
the places which he visited1 and his    
studies of the older art-treasures of   
,europe4 ,some authors believe that a   
part of the ,wander-jahre was spent in  
,italy1 and ,dr4 ,thausing1 ,drer's     
latest and best biographer1 clearly     
proves this theory by a close study of  
his notes and sketches4 ,others claim   
with equal positiveness1 and less       
capability of proof1 that they were     
devoted to the ,low ,countries4 ,it is  
certain that he abode at ,colmar in     
#adib1 where he was honorably received  
by ,gaspar1 ,paul1 and ,louis1 the three
 brothers of ,martin ,schongauer4 ,the  
great ,martin had died some years       
before2 but many of his best paintings  
were preserved at ,colmar1 and were     
carefully studied by ,drer4 ,at a later 
day he wandered through the ,rhineland  
to ,basle1 and spent his last year at   

,strasbourg4 ,his portraits of his      
master and mistress in the latter city  
were dated in #adid1 and pertained to   
the ,imhoff ,collection4  ,his portrait 
painted by himself in #adic was procured
 at ,rome by the ,hofrath ,beireis1 and 
described by ,goethe4 ,it shows a bright
 and vigorous face1 full of youthful    
earnestness and joy1 rich1 harmonious1  
and finely executed1 though thinly      
colored4 ,he is attired in a blue-gray  
cloak with yellow strings1 an           
embroidered shirt whose sleeves are     
bound with peach-colored ribbons1 and a 
purple cap2 and holds a piece of the    
blue flower called ,manns-treue1 or     
,man's-faith4     ,,chapter ,,ii4  ,drer
 marries ,agnes ,frey4--,her            
,character4--,early ,engravings4        
--,portraits4--,the ,apocalypse4--,death
 of ,drer's ,father4--,drawings4   ,and 
when my ,wander-jahre was over1 ,hans   
,frey treated with my father1 and gave  
me his daughter1 by name the ,jungfrau  
,agnes1 with a dowry of #bjj guldens4   

,our wedding was held on the ,monday    
before ,st4 ,margaret's ,day 7in ,july71
 in the year #adid4 ,this dry statement 
of the most important event of the      
artist's life illustrates the ancient   
,german custom of betrothal1 where the  
bond of wedlock was considered as a     
matter-of-fact copartnership1 with      
inalienable rights and duties1 devoid of
 sentiment or romance4 ,since the       
relatives of the contracting parties    
were closely affected by such           
transactions1 they usually managed the  
negotiations themselves2 and the young  
people1 thus thrown by their parents at 
each other's heads1 were expected to1   
and usually did1 accept the situation   
with submissiveness and prudent         
obedience4 ,in this case it appears that
 the first overtures came from the      
family of the lady2 and perhaps the     
order for ,albert to return from his    
wanderings was issued for this reason4  
,hans ,frey was a burgher with large    
possessions in ,nuremberg and the       

adjacent country2 and his daughter was a
 very beautiful maiden4 ,her future     
husband does not appear to have seen her
 until the betrothal was made4  ,most of
 ,drer's biographers have dwelt at great
 length on the malign influence which   
,agnes exercised upon his life1         
representing her as a jealous virago1   
imbittering the existence of the noble  
artist4 ,but ,dr4 ,thausing1 in his new 
and exhaustive history of ,drer's life1 
vindicates the lady from this evil      
charge2 and his position is carefully   
reviewed and sustained by ,eugne ,mntz4 
,he points out the fact that the long   
story of ,agnes's uncongeniality rests  
solely on ,pirkheimer's letter1 and then
 shows that that ponderous burgher had  
reasons for personal hostility to her4  
,the unbroken silence which ,drer       
preserves as to home-troubles1          
throughout his numerous letters and     
journals1 is held as proof against the  
charges2 and none of his intimate       
friends and contemporaries 7save        

,pirkheimer7 allude to his domestic     
trials1 though they wrote so much about 
him4 ,the accusation of avarice on her  
part is combated by several facts1 among
 which is the cardinal one of her       
self-sacrificing generosity to the ,drer
 family after her husband's death1 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
 support4 ,pirkheimer's acrimonious     
letter 7see p4 #adb7 gives her credit at
 least for virtue and piety2 and perhaps
 we may regard her aversion to the      
doughty writer as a point in her favor4 
,it is a singular and unexplained fact1 
that although ,drer was accustomed to   
sketch every one about him1 yet no      
portrait of his wife is certainly known 
to exist1 though several of his sketches
 are so called1 without any foundation  
or proof4 ,what adds to the strangeness 
of this omission is the fact that all   

accounts represent ,agnes ,drer as a    
very handsome woman4  ,probably the     
newly married couple dwelt at the house 
of the elder ,drer during the first     
years of their union4 ,in #adid ,albert 
was admitted to the guild of painters1  
submitting a pen-drawing of ,orpheus and
 the ,bacchantes as his test of ability2
 and at about the same time he drew the 
,bacchanal and ,the ,battle of the      
,tritons1 which are now at ,vienna4     
,herein he showed the contemporary      
classical tendency of art1 which he so  
soon outgrew4 ,about this same time he  
designed a frontispiece for the ,latin  
poem which ,dr4 ,ulsen had written about
 the pestilence which was devastating   
,nuremberg1 showing a ghastly and       
repulsive man covered with plague-boils4
 ,the portrait of ,drer's father1 in    
oil-colors1 which is now at ,frankfort1 
was also executed during this year4     
,drer's first copper-plate engraving    
dates from #adig1 and represents four   
naked women1 under a globe bearing the  

initials of ,o ,gott ,hilf1 or ,o ,god1 
help1 while human bones strew the floor1
 and a flaming devil appears in the     
background4 ,during the next three years
 the master made twenty copper-plate    
engravings4 ,the composition of ,st4    
,jerome's ,penance shows the noble old  
ascetic kneeling alone in a rocky       
wilderness1 beating his naked breast    
with a stone1 and gazing at a crucifix1 
while the symbolical lion lies beside   
him4 ,the ,penance of ,st4 ,john        
,chrysostom depicts the long-bearded    
saint expiating his guilt in seducing   
and slaying the princess by crawling    
about on all-fours like a beast4 ,she is
 seen at the mouth of a rocky cave1     
nursing her child4 ,the ,prodigal ,son  
is another tender and exquisitely       
finished copper-plate engraving1 in     
which the yearning and prayerful        
,prodigal1 bearing the face of ,drer1 is
 kneeling on bare knees by the trough at
 which a drove of swine are feeding4 ,in
 the background is a group of           

substantial ,german farm-buildings1 with
 unconcerned domestic animals and fowls4
 ,the ,rape of ,amymone shows a gloomy  
,triton carrying off a very ugly woman  
from the midst of her bathing ,danaide  
sisters4 ,the ,dream portrays an obese  
,german soundly sleeping by a great     
stove1 with a foolish-faced naked ,venus
 and a winged ,cupid standing by his    
side1 and a little demon blowing in his 
ear4 ,the ,love ,offer is made by an    
ugly old man to a pretty maiden1 whose  
waist is encircled by his arm1 while her
 hand is greedily outstretched to       
receive the money which he offers4      
,another early engraving on copper shows
 a wild and naked man holding an        
unspeakably ugly woman1 who is          
endeavoring to tear herself from his    
arms4 ,still others delineate ,justice  
sitting on a lion1 ,the ,little ,fortune
 standing naked on a globe1 and the     
monstrous hog of ,franconia4  ,it was   
chiefly through his engravings that     
,drer became and remains known to the   

world2 and by the same mode of          
expression he boldly showed forth the   
doubts and despairs1 yearnings and      
conflicts1 not only of his own pure and 
sorrowful soul1 but also of ,europe1    
quivering in the throes of the          
,reformation4  ,the artists of ,italy1  
when the age of faith was ended1 turned 
to the empty splendors and symmetries of
 paganism2 but their ,german brothers   
faced the new problems more sternly1 and
 strove for the life of the future4     
,under ,drer's hard and homely ,german  
scenes1 there seem to be double meanings
 and unfathomable fancies1 usually      
alluding to sorrow1 sin1 and death1 and 
showing forth the vanity of all things  
earthly4 ,in sharp contrast with these  
profound allegories are the humorous    
grotesqueness and luxuriant fancifulness
 which appear in others of the artist's 
engravings1 fantastic1 uncouth1 and     
quaint4 ,he frequently yielded to the   
temptation to introduce strange animals 
and unearthly monsters into his         

pictures1 even those of the most sacred 
subjects2 and his so-called ,virgin with
 the ,animals is surrounded by scores of
 birds1 insects1 and quadrupeds of      
various kinds4  ,it is interesting to   
hear of the rarity of the early         
impressions of ,drer's engravings1 and  
the avidity with which they are sought  
and the keenness with which they are    
analyzed by collectors4 ,in many cases  
the copies of these engravings are as   
good as the originals1 and can be       
distinguished only by the most trifling 
peculiarities4 ,the water-marks of the  
paper on which they are printed form a  
certain indication of their period4     
,before his ,venetian journey ,drer used
 paper bearing the water-mark of the    
bull's head2 and1 after his return from 
the ,netherlands1 paper bearing a little
 pitcher2 while the middle period had   
several peculiar symbols4 ,a fine       
impression of the copper-plate engraving
 of ,st4 ,jerome recently brought over  
#ejj2 and the ,passion in ,copper sold  

in #ahfd for #cjj4  ,the ,portfolio for 
#ahgg contains a long series of articles
 by ,prof4 ,sidney ,colvin on ,albert   
,drer3 ,his ,teachers1 his ,rivals1 and 
his ,scholars1 treating exhaustively of 
his relations as an engraver to other   
contemporary masters1--,schongauer1     
,israhel van ,meckenen1 ,mantegna1      
,boldini and the ,florentines1 ,jacopo  
de' ,barbari 7,jacob ,walch71 ,marc     
,antonio1 ,lucas van ,leyden1 and       
certain other excellent but nameless    
artists4  ,vasari says1 ,the power and  
boldness of ,albert increasing with     
time1 and as he perceived his works to  
obtain increasing estimation1 he now    
executed engravings on copper1 which    
amazed all who beheld them4 ,three      
centuries later ,von ,schlegel wrote1   
,when ,i turn to look at the numberless 
sketches and copper-plate designs of the
 present day1 ,drer appears to me like  
the originator of a new and noble system
 of thought1 burning with the zeal of a 
first pure inspiration1 and eager to    

diffuse his deeply conceived and        
probably true and great ideas4  ,in     
#adig ,drer painted the excellent       
portrait of his father1 which the ,rath 
of ,nuremberg presented to ,charles ,i4 
of ,england1 and which is now at ,sion  
,house1 the seat of the ,earl of        
,northumberland4 ,it shows a man aged   
yet strong1 with grave and anxious eyes1
 compressed lips1 and an earnest        
expression4 ,another similar portrait of
 the same date is in the ,munich        
,pinakothek4 ,he also executed two      
portraits of the pretty patrician       
damsel1 ,catherine ,frleger2 one as a   
loose-haired ,magdalen 7which is now in 
,london71 and the other as a ,german    
lady 7now at ,frankfort74  ,in #adih    
,drer painted a handsome portrait of    
himself1 with curly hair and beard1 and 
a rich holiday costume4 ,his expression 
is that of a man who appreciates and    
delights in his own value1 and is       
thoroughly self-complacent4 ,this       
picture was presented by ,nuremberg to  

,king ,charles ,i4 of ,england2 and1 in 
the dispersion of his gallery during the
 ,commonwealth1 it was bought by the    
,grand ,duke of ,tuscany4 ,it is now in 
the ,uffizi ,gallery1 though ,mndler    
calls this ,florentine picture a copy of
 a nobler original which is in the      
,madrid ,gallery4  ,during this year    
,drer published his first great series  
of woodcuts1 representing the           
,apocalypse of ,st4 ,john1 in fifteen   
pictures full of terrible impressiveness
 and the naturalistic quaintness of     
early ,german faith4 ,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  
compositions4 ,this series of rich and  
skilful engravings marked a new era in  
the history of wood-engraving1 and the  
entrance of a noble artistic spirit into
 a realm which had previously been      
occupied by rude monkish cuts of saints 
and miracles4 ,jackson calls these      

representations of the ,apocalypse much 
superior to all wood-engravings that had
 previously appeared1 both in design and
 execution4 ,the series was brought out 
simultaneously in ,german and ,latin    
editions1 and was published by the      
author himself4 ,it met with a great    
success1 and was soon duplicated in new 
pirated editions4  ,it has of late years
 become a contested point as to whether 
,drer really engraved his woodcuts with 
his own hands1 or whether he only drew  
the designs on the wood1 and left their 
mechanical execution to practical       
workmen4 ,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   
authorities4 ,the ,german scholars      
,bartsch and ,von ,eye1 and the         
historians of engraving ,jackson and    
,chatto1 concur in denying ,drer's use  
of the graver4 ,but there is a strong   
and well-supported belief that many of  
the engravings attributed to him were   

actually done by his hand1 and that     
during the earlier part of his career he
 was largely engaged in this way4 ,the  
exquisite wood-carvings which are       
undoubtedly his work show that he was   
not devoid of the manual dexterity      
needful for these plates2 and it is also
 certain that the medival artists did   
not hold themselves above mechanical    
labors1 since even ,raphael and ,titian 
were among the peintres-graveurs4       
,drer's efforts greatly elevated the art
 of wood-engraving in ,germany1 and this
 improvement was directly conducive to  
its growth in popularity4 ,a large      
number of skilful engravers were        
developed by the new demand2 and in his 
later years ,drer doubtless found enough
 expert assistants1 and was enabled to  
devote his time to more noble           
achievements4 ,he used the art to       
multiply and disseminate his rich ideas1
 which thus found a more ready          
expression than that of painting4       
,heller attributes one hundred and      

seventy-four wood-engravings to him2 and
 many more1 of varying claims to        
authenticity1 are enumerated by other   
writers4 ,twenty-six were made before   
#aejf4 ,the finest and the only perfect 
collection of ,drer's woodcuts is owned 
by ,herr ,cornill d',orville of         
,frankfort-on-the-,main4  ,in #aejj     
,drer painted the noble portrait of     
himself which is now at ,munich1 and is 
the favorite of all lovers of the great 
artist4 ,it shows a high and            
intellectual forehead1 and tender and   
loving eyes1 with long curling hair     
which falls far down on his shoulders4  
,in many respects it bears the closest  
resemblance to the traditional pictures 
of ,christ1 with its sad and solemn     
beauty1 and large sympathetic eyes1 and 
has the same effeminate full lips and   
streaming ringlets4  ,during the next   
five years ,drer was in some measure    
compensated for the trials of his home  
by the cheerful companionship of his old
 friend ,pirkheimer1 who had recently   

returned from service with the          
,emperor's army in the ,tyrolese wars4  
,at his hospitable mansion the artist   
met many eminent scholars1 reformers1   
and literati1 and broadened his         
knowledge of the world1 while receiving 
worthy homage for his genius and his    
personal accomplishments4 ,baumgrtner1  
,volkamer1 ,harsdorfer1 and other       
patricians of the city1 were his near   
friends2 and the ,augustine ,prior1     
,eucharius ,karl1 and the brilliant     
,lazarus ,spengler1 the ,secretary of   
,nuremberg1 were also intimate with both
 ,drer and ,pirkheimer4 ,during the next
 twenty years the harassed artist often 
sought refuge among these gatherings of 
choice spirits1 when weary of his       
continuous labors of ambition4  ,drer   
pathetically narrates the death of his  
venerable father1 in words as vivid as  
one of his pictures1 and full of quaint 
tenderness3 ,soon he clearly saw death  
before him1 and with great patience     
waited to go1 recommending my mother to 

me1 and a godly life to all of us4 ,he  
received the sacraments1 and died a true
 ,christian1 on the eve of ,st4 ,matthew
 7,sept4 #ba71 at midnight1 in #aejb4444
 ,the old nurse helped him to rise1 and 
put the close cap upon his head again1  
which had become wet by the heavy sweat4
 ,he wanted something to drink2 and she 
gave him ,rhine wine1 of which he tasted
 some1 and then wished to lie down      
again4 ,he thanked her for her aid1 but 
no sooner lay back upon his pillows than
 his last agony began4 ,then the old    
woman trimmed the lamp1 and set herself 
to read aloud ,st4 ,bernard's dying     
song2 but she only reached the third    
verse1 and behold his soul had gone4    
,god be good to him6 ,amen4 ,then the   
little maid1 when she saw that he was   
dying1 ran quickly up to my chamber1 and
 waked me4 ,i went down fast1 but he was
 gone2 and ,i grieved much that ,i had  
not been found worthy to be beside him  
at his end4  ,at this time ,albert took 
home his brother ,hans1 who was then    

twelve years old1 to learn the art of   
painting in his studio2 and his other   
young brother1 ,andreas1 the goldsmith's
 apprentice1 now set forth upon his     
,wander-jahre4 ,within two years his    
mother1 the widowed ,barbara1 had       
exhausted her scanty means2 and she also
 was taken into ,drer's home1 and       
lovingly cared for by her son4  ,in     
#aejc ,drer's frail constitution yielded
 to an attack of illness4 ,a drawing of 
,christ crowned with thorns1 now in the 
,british ,museum1 bears his inscription3
 ,i drew this face in my sickness1      
#aejc4 ,in the same year he executed a  
copper-plate engraving of a skull       
emblazoned on an escutcheon1 which is   
crowned by a winged helmet1 and         
supported by a weird woman1 over whose  
shoulder a satyr's face is peering4 ,a  
contemporary copper-plate shows the     
,virgin nursing the ,infant ,jesus4 ,the
 painting of this same subject1 bearing 
the date of #aejc1 is now in the ,vienna
 ,belvedere1 portraying an unlovely     

,german mother and a very earthly baby4 
,the celebrated ,green ,passion was     
executed in #aejd1 and is a series of   
twelve drawings on green paper1         
illustrating the sufferings of ,christ4 
,some critics prefer this set1 for      
delicacy and power1 to either of the    
three engraved ,passions4 ,the theory is
 advanced that these exquisite drawings 
were made for the ,emperor1 or some     
other magnate1 who wished to possess a  
unique copy4 ,the ,green ,passion is now
 in the ,vienna ,albertina1 the great   
collection of drawings made by the      
,archduke ,albert of ,sachsen-,teschen1 
which includes #afj of ,drer's sketches1
 designs1 travel-notes1 studies of      
costume and architecture1 c4  ,over #fjj
 authentic sketches and drawings by     
,drer are now preserved in ,europe1 and 
are of great interest as showing the    
freedom and firmness of the great       
master's first conceptions1 and the     
gradual evolution of his ultimate ideas4
 ,they are drawn on papers of various   

colors and different preparations1 with 
pen1 pencil1 crayon1 charcoal1 silver   
point1 tempera1 or water-colors4 ,some  
are highly finished1 and others are only
 rapid jottings or bare outlines4 ,the  
richest of the ancient collections was  
that of ,hans ,imhoff of ,nuremberg1 who
 married ,pirkheimer's daughter         
,felicitas1 and in due time added his   
father-in-law's ,drer-drawings to his   
own collection4 ,his son ,willibald     
further enriched the family             
art-treasures by many of the master's   
drawings which he bought from ,andreas  
,drer1 and by inheriting the pictures of
 ,barbara ,pirkheimer4 ,he solemnly     
enjoined in his will that this great    
collection should never be alienated1   
but should descend through the ,imhoff  
family as an honored possession4 ,his   
widow1 however1 speedily offered to sell
 the entire series to the ,emperor      
,rudolph1 and it was soon broken up and 
dispersed4 ,the ,earl of ,arundel       
secured a great number of ,drer's       

drawings here1 and carried them to      
,england4 ,in #afcg ,arundel bought a   
large folio containing nearly #bjj of   
these sketches1 which was bequeathed to 
the ,british ,museum in #agec by ,sir   
,hans ,sloane4 ,the museum has now one  
of the best existing collections of     
these works1 some of which are of rare  
interest and value1 especially the      
highly finished water-colors and        
pen-drawings4  ,the interesting         
sketch-books used by ,drer on his       
journeys to ,venice and to the          
,netherlands remained forgotten in the  
archives of a noble ,nuremberg family   
until within less than a century1 when  
the family became extinct1 and its      
property was dispersed4 ,they were then 
acquired by the venerable antiquary     
,baron von ,derschau1 who sold them to  
,nagler and ,heller4 ,nagler's share was
 afterwards acquired by the ,berlin     
,museum2 and ,heller's was bequeathed to
 the library of ,bamberg4  ,in #aejd    
,pirkheimer's wife ,crescentia died in  

childbirth1 after only two years of     
married life4 ,her husband bore witness 
that she had never caused him any       
trouble1 except by her death2 and       
engaged ,drer to make a picture of her  
death-bed4 ,this work was beautifully   
executed in water-colors1 and depicts   
the expiring woman on a great bedstead1 
surrounded by many persons1 among whom  
are ,pirkheimer and his sister          
,charitas1 the ,abbess1 with the        
,augustinian ,prior4  ,the exquisite    
copper-plate engraving of ,the ,nativity
 dates from this year1 and shows the    
,virgin adoring the new-born ,jesus1 in 
the shelter of a humble ,german house   
among massive ancient ruins1 while      
,joseph is drawing water from the well1 
and an old shepherd approaches the      
,child on his knees4 ,the ,adam and ,eve
 was also done on copper this year1 with
 the parents of all mankind1 surrounded 
by animals1 and standing near the tree  
of knowledge1 from which the serpent is 
delivering the fatal apple to ,eve4  ,in

 the same year ,drer painted a carefully
 wrought ,adoration of the ,kings1 for  
the ,elector ,frederick the ,wise of    
,saxony4 ,it was afterwards presented by
 ,christian ,,ii4 to the ,emperor       
,rudolph1 and is now in the ,uffizi1 at 
,florence1 which contains more pictures 
by ,drer than any other gallery outside 
of ,germany4 ,here also is the          
controverted picture of ,calvary1 dated 
#aeje1 displaying on one small canvas   
all the scenes of the ,passion1 with an 
astonishing number of figures finished  
in miniature4  ,the ,satyr's ,family is 
an engraving on copper1 showing the     
goat-footed father cheerily playing on a
 pipe1 to the evident amusement of his  
human wife and child4 ,the ,great ,horse
 and ,the ,little ,horse are similar    
productions of this period1 in which the
 commentators vainly strive to find some
 recondite meaning4 ,sixteen engravings 
on copper were made between #aejj and   
#aejf4  ,drer has been called ,the      
,chaucer of ,painting1 by reason of the 

marvellous quaintness of his            
conceptions2 and ,ruskin speaks of him  
as intense in trifles1 gloomily minute4 
,his details1 minute as they were1      
received the most careful study1 and    
were all thought out before the pictures
 were begun1 so that he neither erased  
nor altered his lines1 nor made         
preliminary sketches4 ,he was           
essentially a thinker who drew1 rather  
than a drawer who thought4     ,,chapter
 ,,iii4  ,the ,journey to               
,venice4--,bellini's                    
,friendship4--,letters to               
,pirkheimer4--,the ,feast of ,rose      
,garlands4--,bologna4--,adam and        
,eve4--,the ,coronation of the ,virgin4 
,late in #aeje ,drer made a journey to  
,venice1 probably with a view to recover
 his health1 enlarge his circle of      
friends and patrons1 and study the      
famous ,venetian paintings4 ,he was worn
 down by continuous hard work1 and weary
 of the dull uneventfulness of his life1
 and hailed an opportunity to rest in   

sunny ,italy4 ,he borrowed money from   
,pirkheimer for his journey1 and left a 
small sum for family expenses during his
 absence4 ,between ,nuremberg and her   
rich ,southern rival there was a large  
commerce1 with a weekly post2 and many  
,german merchants and artists were then 
residing in ,venice4 ,drer rode down on 
horseback2 and suffered an attack of    
illness at ,stein1 near ,laibach1 where 
he rewarded the artist who had nursed   
him by painting a picture on the wall of
 his house4 ,on arriving at ,venice1 the
 master was cordially received1 and     
highly honored by the chief artists and 
literati of the city4 ,the heads of     
,venetian art at that time were         
,giovanni ,bellini and ,carpaccio1 both 
of whom were advanced in years2 and     
,giorgione and ,titian1 who were not    
mentioned by our traveller1 though they 
were both at work for the ,fondaco de'  
,tedeschi at the same time as himself4  
,during his residence in ,venice he     
wrote nine long letters to the honorable

 and wise ,herr ,willibald ,pirkheimer1 
,burgher of ,nuremberg1 which were      
walled up in the ,imhoff mansion during 
the ,thirty ,years' ,war1 and discovered
 at a later age4 ,much of these letters 
is taken up with details about          
,pirkheimer's commissions for precious  
stones and books1 or with badinage about
 the burgher's private life1 with       
frequent allusions to the support of the
 ,drers at home4 ,of greater interest   
are the accounts of the writer's        
successes in art1 and the friends whom  
he met in ,venetian society4 ,the       
letters were embellished with rude      
caricatures and grotesques1 matching the
 broad humor of the jovial allusions in 
the text4 ,either ,pirkheimer was a man 
of most riotous life1 or ,drer was a    
bold and pertinacious jester1 unwearying
 in mock-earnest reproofs4 ,these       
letters were sealed with the ,drer      
crest1 composed of a pair of open doors 
above three steps on a shield1 which was
 a punning allusion to the name ,drer1  

or ,threr1 ,thr being the ,german word  
for door4 ,in the second letter he      
says1--      ,i wish you were in        
,venice4 ,there are many fine fellows   
among     the painters1 who get more and
 more friendly with me2 it     holds    
one's heart up4 ,well-brought-up folks1 
good     lute-players1 skilled pipers1  
and many noble and excellent     people1
 are in the company1 all wishing me very
 well1 and     being very friendly4 ,on 
the other hand1 here are the falsest1   
most lying1 thievish villains in the    
whole world1 appearing     to the unwary
 the pleasantest possible fellows4 ,i   
laugh to     myself when they try it    
with me3 the fact is1 they know their   
rascality is public1 though one says    
nothing4 ,i have many     good friends  
among the ,italians1 who warn me not to 
eat or     drink with their painters2   
for many of them are my enemies1     and
 copy my picture in the church1 and     
others of mine     wherever they meet   
with them2 and yet1 notwithstanding     

this1     they abuse my works1 and say  
that they are not according to          
ancient art1 and therefore not good4    
,but ,gian ,bellini has     praised me  
highly before several gentlemen1 and he 
wishes to     have something of my      
painting4 ,he came himself1 and asked me
     to do something for him1 saying    
that he would pay me well for     it2   
and all the people here tell me what a  
good man he is1 so     that ,i also am  
greatly inclined to him4  ,these        
sentences show the artist's pleasure at 
the kindly way in which the ,italians   
received him1 and also reveal the danger
 in which he stood of being poisoned by 
jealous rivals4 ,another ambiguous      
sentence has given rise to the belief   
that ,drer had visited ,venice eleven   
years previously1 during his            
,wander-jahre4  ,camerarius says that   
,bellini was so amazed and delighted at 
the exquisite fineness of ,drer's       
painting1 especially of hair1 that he   
begged him to give him the brush with   

which he had done such delicate work4   
,the ,nuremberger offered him any or all
 of his brushes1 but ,bellini asked     
again for the one with which he had     
painted the hair2 upon which ,drer took 
one of his common brushes1 and painted a
 long tress of woman's hair4 ,bellini   
reported that he would not have believed
 such marvellous work possible1 if he   
had not seen it himself4  ,the third    
letter describes the adventures of the  
inexpert artist in securing certain     
sapphires1 amethysts1 and emeralds for  
his dear ,herr ,pirkheimer1 and         
complains that the money earned by      
painting was all swallowed up by living 
expenses4 ,the jealous ,venetian        
painters had also forced him1 by process
 of law1 to pay money to their          
art-schools4  ,his brother ,hans was now
 sixteen years old1 and had become a    
source of responsibility1 for ,drer     
adds3 ,with regard to my brother1 tell  
my mother to speak to ,wohlgemuth1 and  
see whether he wants him1 or will give  

him work till ,i return1 or to others1  
so that he may help himself4 ,i would   
willingly have brought him with me to   
,venice1 which would have been useful to
 him and to me1 and also on account of  
his learning the language2 but my mother
 was afraid that the heavens would fall 
upon him and upon me too4 ,i pray you1  
have an eye to him yourself3 he is lost 
with the women-folk4 ,speak to the boy  
as you well know how to do1 and bid him 
behave well and learn diligently until  
,i return1 and not be a burden to the   
mother2 for ,i cannot do every thing1   
although ,i will do my best4  ,in the   
fourth letter he speaks of having traded
 his pictures for jewels1 and sends     
greetings to his friend ,baumgrtner1    
saying also3 ,know that by the grace of 
,god ,i am well1 and that ,i am working 
diligently4444 ,i wish that it suited   
you to be here4 ,i know you would find  
the time pass quickly1 for there are    
many agreeable people here1 very good   
amateurs2 and ,i have sometimes such a  

press of strangers to visit me1 that ,i 
am obliged to hide myself2 and all the  
gentlemen wish me well1 but very few of 
the painters4  ,the fifth letter opens  
with a long complimentary flourish in a 
barbarous mixture of ,italian and       
,spanish1 and then chaffs ,pirkheimer   
unmercifully for his increasing         
intrigues4 ,it also thanks ,pirkheimer  
for trying to placate ,agnes ,frey1 who 
is evidently much disappointed because  
her husband lingers so long at ,venice4 
,the ,prior ,eucharius is besought to   
pray that ,drer might be delivered from 
the new and terrible ,french disease1   
then fatally prevalent in ,italy4       
,mention is made of ,andreas1 the       
goldsmith1 ,drer's brother1 meeting him 
at ,venice1 and borrowing money to      
relieve his distress4  ,the next letter 
starts off with quaint mock-deference1  
and alludes to the splendid ,venetian   
soldiery1 and their contempt of the     
,emperor4 ,farther on are unintelligible
 allusions1 and passages too vulgar for 

translation4 ,he says that the ,doge and
 ,patriarch had visited his studio to   
inspect the new picture1 and that he had
 effectually silenced the artists who   
claimed that he was only good at        
engraving1 and could not use colors4    
,soon afterwards he writes about the    
completion of his great painting of the 
,rose ,garlands2 and says1 ,there is no 
better picture of the ,virgin ,mary in  
the land1 because all the artists praise
 it1 as well as the nobility4 ,they say 
they have never seen a more sublime1 a  
more charming painting4 ,he adds that he
 had declined orders to the amount of   
over #b1jjj ducats1 in order to return  
home1 and was then engaged in finishing 
a few portraits4  ,the last letter      
congratulates ,pirkheimer on his        
political successes1 but expresses a    
fear lest so great a man will never go  
about the streets again talking with the
 poor painter ,drer1--with a poltroon of
 a painter4 ,in response to             
,pirkheimer's threat of making love to  

his wife if he remained away longer1 he 
said that if such was done1 he might    
keep ,agnes until her death4 ,he also   
tells how he had been attending a       
dancing-school1 but could not learn the 
art1 and retired in disgust after two   
lessons4  ,the picture which ,drer      
painted for the ,fondaco de' ,tedeschi  
was until recently supposed to be a ,st4
 ,bartholomew2 but it is now believed   
that it was the renowned ,feast of ,rose
 ,garlands1 which is now at the         
,bohemian ,monastery of ,strahow4 ,he   
worked hard on this picture for seven   
months1 and was proud of its beauty and 
popularity4 ,the ,emperor ,rudolph ,,ii4
 bought it from the church in which it  
was set up1 and had it carried on men's 
shoulders all the way from ,venice to   
,prague1 to avoid the dangers attending 
other modes of conveyance4 ,when ,joseph
 ,,ii4 sold his pictures1 in #aghb1 this
 one was bought by the ,abbey of        
,strahow1 and remained buried in        
oblivion for three-quarters of a        

century4 ,the picture shows the ,virgin 
sitting under a canopy and a star-strewn
 crown held by flying cherubs1 with the 
graceful ,child in her lap4 ,she is     
placing a crown of roses on the head of 
the ,emperor ,maximilian1 while ,jesus  
places another on the head of the ,pope2
 and a monk on one side is similarly    
honored by ,st4 ,dominic1 the founder of
 the ,feast of the ,rose ,garlands4 ,a  
multitude of kneeling men and women on  
either side are being crowned with roses
 by merry little child-angels1 flying   
through the air2 while on the extreme   
right1 ,drer and ,pirkheimer are seen   
standing by a tree4  ,pirkheimer and    
,agnes had both been urging the master  
to return2 but he seemed reluctant to   
exchange the radiance of ,italy for the 
quietness of his home-circle1 and       
mournfully exclaims1 ,oh1 how ,i shall  
freeze after this sunshine6 ,here ,i am 
a gentleman1 at home only a parasite6 ,a
 brilliant career was open before him at
 ,venice1 whose ,government offered him 

a pension of #bjj ducats2 but his sense 
of duty compelled him to return to      
,germany1 though in bitterness of       
spirit4 ,before turning ,northward he   
rode to ,bologna1 because some one there
 will teach me the secret art of        
perspective 7,francesco ,francia72 and  
met ,christopher ,scheurl1 who greatly  
admired him4 ,a year later ,raphael also
 came to ,bologna1 and saw some works   
left there by ,drer1 from which arose an
 intimate correspondence and exchanges  
of pictures between the artists4 ,the   
master had been invited to visit the    
venerable ,mantegna1 at ,mantua2 but    
that ,nestor of ,north-,italian art died
 before the plan was carried out4 ,drer 
afterwards told ,camerarius that this   
death caused him more grief than any    
mischance that had befallen him during  
his life4  ,art-critics agree in        
rejoicing that ,drer conquered the      
temptations which were held out to him  
from the gorgeous ,italian city1 and    
returned to his plain life in the cold  

,north4 ,he escaped the danger of       
sacrificing his individualism to the    
glowing and sensuous ,venetian school of
 art1 and preserved the quaintness and  
vigor of his own ,gothic inspirations   
for the joy of future ages4  ,the marine
 backgrounds in many of ,drer's later   
pictures are referred by ,ruskin to the 
artist's pleasant memories of ,venice1  
where he received the rarest of all     
rewards granted to a good workman2 and1 
for once in his life1 was understood4   
,other and wilder landscapes in his     
woodcuts were reminiscences of the      
pastoral regions of the ,franconian     
,switzerland4  ,the personal history of 
,drer between #aejg and #aebj was barren
 of details1 but evidently full of      
earnest work1 as existing pictures bear 
witness4 ,it was the golden period of   
his art-life1 abounding in              
productiveness4 ,his workshop was the   
seat of the chief art-school in         
,nuremberg1 and contained many excellent
 young painters and engravers1 to whom  

the master delivered his wise axioms and
 earnest thoughts in rich profusion4    
,during this period1 also1 he probably  
executed certain of his best works in   
carving1 which are hereinafter          
described4 ,dr4 ,thausing denies that   
,drer used the chisel of the sculptor to
 any extent1 and refuses to accept the  
genuineness of the carvings which the   
earlier biographers have attributed to  
him4 ,scott is of the opinion that in   
most cases these rich and delicate works
 were executed by other persons1 either 
from his drawings or under his          
inspection4  ,on his return from        
,venice1 ,drer painted life-sized nude  
figures of ,adam and ,eve1 representing 
them with the fatal apple in their      
hands1 at the moment of the ,fall4 ,they
 are well designed in outline1 but      
possess a certain anatomical hardness1  
lacking in grace and mobility4 ,they    
were greatly admired by the             
,nurembergers1 in whose ,rath-haus they 
were placed2 but were at length         

presented to the ,emperor ,rudolph ,,ii4
 ,he replaced them with copies1 which   
,napoleon1 in #agif1 supposed to be     
,drer's original works1 and removed to  
,paris4 ,he afterwards presented them to
 the town of ,mayence1 where they are   
still exhibited as ,drer's4 ,the true   
originals passed into ,spain1 where they
 were first redeemed from oblivion by   
,passavant1 about the year #ahec4 ,a    
copy of the ,adam and ,eve1 which was   
executed in ,drer's studio and under his
 care1 is now at the ,pitti ,palace4    
,in the spring of #aejg ,drer met at the
 house of his brother-in-law ,jacob     
,frey1 the rich ,frankfort merchant     
,jacob ,heller1 who commissioned him to 
paint an altar-piece4 ,he was delayed by
 a prolonged attack of fever in the     
summer1 and by the closing works on the 
,elector's picture4  ,between #aejg and 
#aead 7inclusive7 ,drer made forty-eight
 engravings and etchings1 and over a    
hundred woodcuts1 bespeaking an iron    
diligence and a remarkable power of     

application4 ,the rapid sale of these   
works in frequent new editions gave a   
large income to their author1 and placed
 him in a comfortable position among the
 burghers of ,nuremberg4 ,the religious 
excitement then prevailing throughout   
,europe1 on the eve of the ,reformation1
 increased the demand for his engravings
 of the ,virgin1 the saints1 and the    
great ,passion series4  ,in #aejh ,drer 
finished the painting of ,the ,martyrdom
 of the ,ten ,thousand ,christians1 to  
which he professed to have given all his
 time for a year4 ,it was ordered by    
,frederick of ,saxony1 the patron of    
,lucas ,cranach1 who had seen the       
master's woodcut of the same subject1   
and desired it reproduced in an         
oil-painting4 ,it is a painful and      
unpleasant scene1 full of brutality and 
horror2 and the picture is devoid of    
unity1 though conspicuous for clear and 
brilliant coloring4 ,drer and           
,pirkheimer stand in the middle of the  
foreground4  ,on the completion of this 

work the master wrote to ,heller1 ,no   
one shall persuade me to work according 
to what ,i am paid4 ,he then began      
,heller's altar-piece1 under unnecessary
 exhortation to paint his picture well1 
and made a great number of careful      
studies for the new composition4 ,when  
fairly under way1 he demanded #bjj      
florins for his work instead of the #acj
 florins of the contract-price1 which   
drew an angry answer from the frugal    
merchant1 with accusations of           
dishonesty4 ,the artist rejoined        
sharply1 dwelling upon the great cost of
 the colors and the length of the task1 
yet offering to carry out his contract  
in order to save his good faith4        
,throughout the next year ,heller       
stimulated the painter to hasten his    
work1 until ,drer became angry1 and     
threw up the commission4 ,he was soon   
induced to resume it1 and completed the 
picture in the summer of #aeji1 upon    
which the delighted merchant paid him   
gladly1 and sent handsome presents to   

his wife and brother4 ,drer wrote to    
,heller1 ,it will last fresh and clean  
for five hundred years1 for it is not   
done as ordinary paintings are4444 ,but 
no one shall ever again persuade me to  
undertake a painting with so much work  
in it4 ,herr ,jorg ,tauss offered       
himself to pay me #djj florins for a    
,virgin in a landscape1 but ,i declined 
positively1 for ,i should become a      
beggar by this means4 ,henceforward ,i  
will stick to my engraving2 and1 if ,i  
had done so before1 ,i should be richer 
by a thousand florins than ,i am to-day4
  ,the picture which caused so much     
argument and toil was ,the ,coronation  
of the ,virgin1 which was set up over   
the bronze monument of the ,heller      
family in the ,dominican ,church at     
,frankfort4 ,its exquisite delicacy of  
execution attracted great crowds to the 
church1 and quickly enriched the        
monastery4 ,singularly enough1 the most 
famous part of the picture was the sole 
of the foot of one of the kneeling      

,apostles1 which was esteemed such a    
marvellous work that great sums were    
offered to have it cut out of the       
canvas4 ,the ,emperor ,rudolph ,,ii4    
offered the immense amount of #aj1jjj   
florins for the painting1 in vain2 but  
in #afac it passed into the possession  
of ,maximilian of ,bavaria1 and was     
destroyed in the burning of the palace  
at ,munich1 sixty years later4 ,so the  
renowned picture1 which ,drer said gave 
him more joy and satisfaction than any  
other he ever undertook1 passed away1   
leaving no engraving or other memorial1 
save a copy by ,paul ,juvenal4 ,this    
excellent reproduction is now at        
,nuremberg1 and is provided with the    
original wings1 beautifully painted by  
,drer1 showing on one the portrait of   
,jacob ,heller and the death of ,st4    
,james1 and on the other ,heller's wife1
 and the martyrdom of ,st4 ,catherine4  
,in #aeja the burgher ,schiltkrot and   
the pious copper-smith ,matthus ,landuer
 founded the ,house of the ,twelve      

,brothers1 an alms-house for poor old   
men of ,nuremberg2 and eight years      
later1 ,landuer ordered ,drer to paint  
an altar-piece of ,the ,adoration of the
 ,trinity1 for its chapel4 ,much of the 
master's time for the next two years was
 devoted to this great work4            
,,chapter ,,iv4  ,drer's ,house4--,his  
,poetry4--,sculptures4--,the ,great and 
,little ,passions4--,life of the        
,virgin4--,plagiarists4--,works for the 
,emperor ,maximilian4   ,some time after
 his marriage with ,agnes ,frey1 ,drer  
moved into the new house near the       
,thiergrtner ,gate1 which had perhaps   
been bought with the dowry of his bride4
 ,here he labored until his death1 and  
executed his most famous works4 ,it is a
 spacious house1 with a lower story of  
stone1 wide portals1 a paved interior   
court1 and pleasant upper rooms between 
thick half-timber walls1 whose mullioned
 windows look out on lines of quaint    
,gothic buildings and towers1 and on the
 broad paved square at the foot of the  

,zisselgasse 7now                       
,albrecht-,drer-,strasse74 ,just across 
the square was the so-called ,pilate's  
,house1 whose owner1 ,martin ,koetzel1  
had made two pilgrimages to the ,holy   
,land1 and brought back measurements of 
the ,dolorous ,way4 ,the artist's house 
is now carefully preserved as public    
property1 and contains the gallery of   
the ,drer ,art-,union4 ,in #ahbh1 on the
 third centennial of his death1 the     
people erected a bronze statue of the   
master1 designed by ,rauch1 on the      
square before the house4  ,in #aeji-aj  
,drer derived pleasure and furnished    
much amusement to his friends from      
verse-making1 in which he suffered a    
worse failure even than ,raphael had    
done4 ,it seems that ,pirkheimer        
ridiculed a long-drawn couplet which he 
had made1 upon which the master composed
 a neat bit of proverbial philosophy1 of
 which the following is a translation3--
       ,strive earnestly with all thy   
might1      ,that ,god should give thee 

,wisdom's light2      ,he doth his      
wisdom truly prove1      ,whom neither  
death nor riches move2      ,and he     
shall also be called wise1      ,who joy
 and sorrow both defies2      ,he who   
bears both honor and shame1      ,he    
well deserves the wise man's name2      
,who knows himself1 and evil shuns1     
,in ,wisdom's path he surely runs2      
,who 'gainst his foe doth vengeance     
cherish1      ,in hell-flame cloth his  
wisdom perish2      ,who strives against
 the ,devil's might1      ,the ,lord    
will help him in the fight2      ,who   
keeps his heart forever pure1      ,he  
of ,wisdom's crown is sure2      ,and   
who loves ,god with all his heart1      
,chooses the wise and better part4  ,but
 ,pirkheimer was not more pleased with  
this2 and the witty ,secretary ,spengler
 sent ,drer a satirical poem1 applying  
the moral of the fable of the shoemaker 
who criticised a picture by ,apelles4   
,he answered this in a song of sixty    
lines1 closing with1--       ,therefore 

,i will still make rhymes1      ,though 
my friend may laugh at times3      ,so  
the ,painter with hairy beard      ,says
 to the ,writer who mocked and jeered4  
#aeaj1 this have ,i made on ,good and   
,bad ,friends4 ,thus the master prefaces
 a platitudinous poem of thirty lines2  
which was soon followed by ,the         
,teacher1 of sixty lines4 ,later in the 
year he wrote the long ,passion-,song1  
which was appended to the print of      
,christus am ,kreuz4 ,it is composed of 
eight sections1 of ten lines each1 and  
is full of quaint medival tenderness and
 reverence1 and the intense             
prayerfulness of the old ,german faith4 
,the sections are named ,matins1 the    
,first1 ,third1 ,sixth1 and ,ninth      
,hours1 ,vespers1 ,compline1 and ,let   
,us ,pray1 the latter of which is       
redolent with earnest devotion3--       
,o ,almighty ,lord and ,god1      ,who  
the martyr's press hast trod2           
,jesus1 the only ,god1 the ,son1        
,who all this to ,thyself hast done1    

,keep it before us to-day and to-morrow1
      ,give us continual rue and sorrow2
      ,wash me clean1 and make me well1 
,i pray ,thee1 like a soul from hell4   
,lord1 ,thou hast overcome3 look down2  
,let us at last to share the crown4     
,the marvellous high-relief of ,the     
,birth of ,st4 ,john the ,baptist as    
executed in #aeaj1 and shows ,drer's    
remarkable powers as a sculptor4 ,it is 
cut in a block of cream-colored         
lithographic stone1 #g-a_/b  #e-a_/b    
inches in size1 and is full of rich and 
minute pictorial details4 ,elizabeth is 
rising in bed1 aided by two attendants2 
and the old nurse brings the infant to  
,zacharias1 who writes its name on a    
tablet1 while two men are entering at   
the doorway4 ,the room is furnished with
 the usual utensils and properties of a 
,german bedroom4 ,this wonderful and    
well-preserved work of art was bought in
 the ,netherlands about eighty years    
ago1 for #b1ejj1 and is now in the      
,british ,museum4 ,the companion-piece1 

,st4 ,john the ,baptist ,preaching in   
the ,wilderness1 is now in the          
,brunswick ,museum1 and is carved with a
 similar rich effect4 ,this museum also 
contains a carving in wood1 representing
 the ,ecce ,homo4  ,space would fail to 
tell of the many beautiful little pieces
 of sculpture which ,drer executed in   
ivory1 boxwood1 and stone1 or of the    
numerous excellently designed medals    
ascribed to him4 ,chief among these was 
the exquisite ,birth of ,christ1 and the
 altar of agate1 formerly at ,vienna2   
,adam and ,eve1 in wood1 at ,gotha2     
reliefs of the ,birth and the ,agony of 
,christ1 in ivory2 the ,four            
,evangelists1 in boxwood1 lately at     
,baireuth2 several carvings on ivory1 of
 religious scenes1 at ,munich2 a woman  
with padlocked mouth1 sitting in the    
stocks1 cut in soapstone2 a delicate    
relief of the ,flight into ,egypt2 busts
 of the ,duke and ,duchess of ,burgundy2
 and the ,love-,fountain1 now at        
,dresden1 with figures of six persons   

drinking the water4  ,the famous        
painting of ,the ,adoration of the      
,trinity was finished in #aeaa1 and     
represents ,god the ,father holding up  
,his crucified ,son for the worship of  
an immense congregation of saints1 while
 overhead is the mystic ,dove1          
surrounded by a circle of winged        
cherubs' heads4 ,the kneeling multitude 
includes princes1 prelates1 warriors1   
burghers1 and peasants1 equally         
accepting the ,athanasian dogma4 ,on the
 left is a great group of female saints1
 led by the sweet and stately ,virgin   
,mary2 and on the right are the kneeling
 prophets and apostles1 ,moses with the 
tables of the ,law1 and ,david with his 
harp4 ,on the broad terrestrial         
landscape1 far below1 ,drer stands      
alone1 by a tall tablet bearing the     
,latin inscription of his name and the  
date of the picture4 ,the whole scene is
 full of light and splendor1 delicate   
beauty of angels1 and exquisite         
minuteness of finish4 ,a century later  

the ,rath of ,nuremberg removed this    
picture from the sepulchral chapel of   
its founder1 and presented it to the    
,emperor ,rudolph ,,ii4 ,it is now one  
of the gems of the ,vienna ,belvedere4  
,about this time the master's brother   
,andreas1 the goldsmith1 returned to    
,nuremberg after his long wanderings1   
and eased the evident anxiety of his    
family by settling respectably in life4 
,hans was still in his brother's studio1
 where he learned his art so well that  
he afterwards became court-painter to   
the ,king of ,poland4  ,in #aeaa ,drer  
published a third edition of the        
engravings of the ,apocalypse1 with a   
warning to piratical engravers that the 
,emperor had forbidden the sale of      
copies or impressions other than those  
of the author1 within the ,empire1 under
 heavy penalties to transgressors4 ,to  
the same year belong three of the       
master's greatest works in engraving on 
wood4  ,the ,great ,passion contains    
twelve folio woodcuts1 unequal in their 

execution1 and probably made by         
different workmen of varying abilities4 
,the vignette is an ,ecce ,homo2 and the
 other subjects are1 the ,last ,supper1 
,christ at ,gethsemane1 ,his ,betrayal1 
the ,scourging1 the ,mockery1 ,christ   
,bearing the ,cross1 the ,crucifixion1  
the ,descent into ,hell1 the ,maries    
,mourning over ,christ's ,body1 the     
,entombment1 and the ,resurrection4     
,these powerful delineations of the     
,agony of ,our ,lord are characterized  
by rare originality of conception1      
pathos1 and grandeur4 ,they were        
furnished with ,latin verses by the monk
 ,chelidonius1 and bore the imperial    
warning against imitation4 ,four large  
editions were printed from these cuts1  
and numerous copies1 especially in      
,italy1 where the ,emperor's edict was  
inoperative4  ,the ,little ,passion was 
a term applied by ,drer himself to      
distinguish his series of thirty-seven  
designs from the larger pictures of ,the
 ,great ,passion4 ,it is the best-known 

of the master's engravings2 and has been
 published in two editions at           
,nuremberg1 a third at ,venice in #afab1
 and a fourth at ,london in #ahdd4 ,the 
blocks are now in the ,british ,museum1 
and show plainly that they were not     
engraved by ,drer4 ,this great pictorial
 scene of the fall and redemption of man
 begins with the sin of ,adam and ,eve1 
and their expulsion from ,eden1 and     
follows with thirty-three compositions  
from the life and passion of ,christ1   
ending with the ,descent of the ,holy   
,ghost and the ,last ,judgment4 ,its    
title was ,figur ,passionis ,domini     
,nostri ,jesu ,christi2 and it was      
furnished with a set of the ,latin      
verses of ,chelidonius4  ,the third of  
,drer's great works in wood-engraving   
was ,the ,life of the ,virgin1 with     
explanatory ,latin verses by the        
,benedictine ,chelidonius4 ,this was    
published in #aeaa1 and contains twenty 
pictures1 full of realistic plainness   
and domestic homeliness1 yet displaying 

marvellous skill and power of invention4
 ,to the same year belong the master's  
engravings of the ,trinity1 ,st4        
,christopher1 ,st4 ,gregory's ,mass1    
,st4 ,jerome1 ,st4 ,francis ,receiving  
the ,stigmata1 the ,holy ,family with   
the ,guitar1 ,herodias and the ,head of 
,john the ,baptist1 and the ,adoration  
of the ,magi2 and the copper-plates of  
the ,crucifixion and the ,virgin with   
the ,pear4  ,drer was much afflicted by 
the boldness of many imitators1 who     
plagiarized his engravings without      
stint1 and flooded the market with      
pictures from his designs4 ,his rights  
were protected but poorly by the edicts 
of the ,emperor and the city of         
,nuremberg2 and a swarm of parasitical  
copyists reproduced every fresh design  
as soon as it was published4 ,marc      
,antonio ,raimondi1 the great ,italian  
engraver who worked so many years with  
,raphael1 was the most dangerous of     
these plagiarists1 and reproduced ,the  
,little ,passion and ,the ,life of the  

,virgin in a most exquisite manner1     
close after their publication4 ,vasari  
says1 ,it happened that at this time    
certain ,flemings came to ,venice with a
 great many prints1 engraved both in    
wood and copper by ,albert ,drer1 which 
being seen by ,marc ,antonio in the     
,square of ,st4 ,mark1 he was so much   
astonished by their style of execution1 
and the skill displayed by ,albert1 that
 he laid out on those prints almost all 
the money he had brought with him from  
,bologna1 and amongst other things      
purchased ',the ,passion of ,jesus      
,christ1' engraved on thirty-six wooden 
blocks4444 ,marc ,antonio therefore1    
having considered how much honor as well
 as advantage might be acquired by one  
who should devote himself to that art in
 ,italy1 resolved to attend to it with  
the greatest diligence1 and immediately 
began to copy these engravings of       
,albert1 studying their mode of         
hatching1 and every thing else in the   
prints he had purchased1 which from     

their novelty as well as beauty1 were in
 such repute that every one desired to  
possess them4  ,it appears that ,marc   
,antonio was afterwards enjoined from   
using ,drer's monogram on his copies of 
the ,nuremberger's engravings1 either by
 imperial diplomatic representations to 
the ,italian courts1 or else as the     
result of a visit which some claim that 
,drer made to ,italy for that purpose4  
,many of the copies of ,marc ,antonio   
were rather idealized adaptations than  
exact reproductions of the ,german's    
designs1 but were furnished with the    
forged monogram ,a4 ,d41 and sold for   
,drer's works4 ,sixty-nine of our       
artist's engravings were copied by the  
skilful ,italian1 profoundly influencing
 ,southern art by the manual dexterity  
of the ,north4 ,this wholesale piracy   
was carried on between #aeje and #aeaa1 
and before ,marc ,antonio passed under  
,raphael's overmastering influence4  ,in
 later years the ,rath of ,nuremberg    
warned the booksellers of the city      

against selling false copies of ,drer's 
engravings1 and sent letters to the     
authorities of ,augsburg1 ,leipsic1     
,frankfort1 ,strasbourg1 and ,antwerp1  
asking them to put a stop to such sales 
within their jurisdictions4 ,his works  
have been copied by more than three     
hundred artists1 the best of whom were  
,solis1 ,rota1 the ,hopfers1 ,wierx1    
,vischer1 ,schn1 and ,kraus4  ,in #aeab 
,drer made most of the plates for ,the  
,passion in ,copper1 a series of sixteen
 engravings on copper1 which was begun  
in #aejg and finished in #aeac4 ,these  
plates show the terrible scenes of the  
last griefs of the ,saviour1 surrounded 
with uncouth ,german men and women1     
buildings and landscapes1 yet permeated 
with mysterious reverence and solemn    
simplicity4 ,the series was never       
published in book form1 with descriptive
 text1 but the engravings were put forth
 singly as soon as completed4 ,the      
prints of ,christ ,bound and ,st4       
,jerome were published this same year4  

,in #aeab ,drer was first employed by   
the ,emperor ,maximilian1 who was not   
only a patron of the arts but also an   
artist himself1 and munificently        
employed the best painters of ,germany1 
though his treasury was usually but     
poorly filled4 ,science and literature  
also occupied much of his attention2    
and1 while his realm was engaged in     
perpetual wars1 he kept up a careful    
correspondence on profound themes with  
many of the foremost thinkers of his    
day4 ,the records of his intercourse    
with ,drer are most meagre1 though      
during the seven years of their         
connection they must have had many      
interviews1 especially while the        
imperial portrait was being made4       
,melanchthon tells a pretty story1 which
 he heard from ,drer himself4 ,one day  
the artist was finishing a sketch for   
the ,emperor1 who1 while waiting1       
attempted to make a drawing himself with
 one of the charcoal-crayons2 but the   
charcoal kept breaking away1 and he     

complained that he could accomplish     
nothing with it4 ,drer then took it from
 his hand1 saying1 ,this is my sceptre1 
your ,majesty2 and afterwards taught the
 sovereign how to use it4  ,the story   
which is told of so many geniuses who   
have risen from low estate is applied   
also to this one3 ,the ,emperor once    
declared to a noble who had proudly     
declined to perform some trivial service
 for the artist1 ,out of seven          
ploughboys ,i can1 if ,i please1 make   
seven lords1 but out of seven lords ,i  
cannot make one ,drer4  ,tradition      
states that the ,emperor ennobled ,drer1
 and gave him a coat-of-arms4 ,possibly 
this was the crest used in his later    
years1 consisting of three shields on a 
blue field1 above which is a closed     
helmet supporting the armless bust and  
head of a winged negro6  ,the idea of   
the immense woodcut of the ,triumphal   
,arch of ,maximilian was conceived after
 #aeab1 either by the ,emperor or by the
 poet-laureate ,stabius2 and ,drer was  

chosen to put it into execution4 ,the   
history of the deeds of ,maximilian1    
with his ancestry and family alliances1 
was to be displayed in the form of a    
pictorial triumphal arch1 after the     
manner of those erected in honor of the 
,roman emperors4 ,the master demanded   
payment in advance1 and received an     
order from the ,emperor to the ,rath of 
,nuremberg to hold his and the ,empire's
 true and faithful ,albert ,drer exempt 
from all the town taxes and rates1 in   
consideration of our esteem for his     
skill in art4 ,but he surrendered this  
immunity1 in deference to the wishes of 
the ,rath2 and ,maximilian granted him  
an annual pension of #ajj florins       
7#bjj71 which was paid1 however1        
somewhat reluctantly4  ,the ,knight1    
,death1 and the ,devil1 is the most     
celebrated of ,drer's engravings1 and   
dates from #aeac4 ,it shows a panoplied 
knight riding through a rocky defile1   
with white-bearded ,death advancing     
alongside and holding up an hour-glass1 

and the loathsome ,satan pursuing hard  
after and clutching at the undismayed   
knight4 ,the numerous commentators on   
this picture variously interpret its    
meaning1 some saying that the knight is 
an evil-doer1 intent on wicked purposes1
 whom ,death warns to repentance1 while 
,satan rushes to seize him2 others1 and 
the most1 that he is the ,christian man1
 fearless among the menaces of ,death   
and ,hell1 and steadily advancing in    
spite of the horrible apparitions4      
,others claim that the ,knight          
represents ,franz von ,sickingen1 a     
turbulent hero of the ,reformation2 or  
,philip ,ring1 the ,nuremberg herald1   
who was confronted by the ,devil on one 
of his night-rides2 or ,drer himself1   
beset by temptations and fears2 or      
,stephen ,baumgrtner1 the master's      
friend1 whose portrait bears a          
resemblance to the knight's face4 ,still
 another interpretation is given in the 
romance of ,sintram and his ,companions1
 which was suggested by this engraving1 

as we are told by its author1 ,la ,motte
 ,fouqu4  ,kugler says3 ,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 produced4 ,it was made in  
,drer's blooming time1 and the plate is 
a wonderful specimen of delicate and    
exquisite execution4 ,it has frequently 
been copied1 in many forms4  ,the       
,little ,crucifixion is one of the most 
exquisitely finished of ,drer's         
engravings on copper1 and is a small    
round picture1 about one inch in        
diameter1 which was made for an ornament
 on the pommel of the ,emperor's sword4 
,it contains seven figures1 full of     
clearness and individuality1 and        
engraved with marvellous skill4 ,there  
are1 fortunately1 several very beautiful
 copies of this print4 ,other           
copper-plates of #aeac were ,the        
,judgment of ,paris1 and the small round
 ,st4 ,jerome4  ,the famous ,baumgrtner 
altar-piece was painted for the         

patrician family of that name1 as a     
votive picture1 in thanksgiving for the 
safe return of its knightly members from
 the ,swiss campaigns4 ,nuremberg       
unwillingly surrendered it to           
,maximilian of ,bavaria1 and it is now  
in the ,munich ,pinakothek4 ,it consists
 of a central picture of ,the ,nativity1
 of no special merit1 with two wings1   
the first of which shows ,stephen       
,baumgrtner1 a meagre-faced and resolute
 knight1 in the character of ,st4       
,george1 while the other portrays the   
plain-mannered and practical ,lucas     
,baumgrtner1 in the garb of ,st4        
,eustachius4 ,these excellent           
portrait-figures are clad in armor1 and 
stand by the sides of their horses4     
,the ,vision of ,st4 ,eustachius was    
executed on copper-plate1 and is one of 
,drer's most delicate and beautiful     
works4 ,it shows the huntsman           
,eustachius as a strong and earnest     
,german mystic1 kneeling before the     
miraculous crucifix set in the stag's   

forehead1 which has appeared to convict 
him of his sins1 and to stimulate in him
 that faith by which he led a new life  
of prayer and praise1 and won a martyr's
 crown4 ,his solemn-faced horse seems to
 realize that a miracle is taking place2
 and in the foreground are five         
delicately drawn hounds4 ,on the steep  
hill in the rear a noble and picturesque
 medival castle rears its battlemented  
towers above long lines of cliffs4      
,tradition says that the face of        
,eustachius is a portrait of the        
,emperor ,maximilian4 ,when the ,emperor
 ,rudolph secured the original plate of 
the engraving1 he had it richly gilded4 
,the ,great ,fortune1 or ,the ,nemesis1 
is a copper-plate showing a repulsively 
ugly naked woman1 with wings1 holding a 
rich chalice and a bridle1 while on the 
earth below is a beautiful mountain     
village between two confluent rivers4   
,sandrart says that this is the         
,hungarian village of ,eytas1 where     
,drer's father was born2 but there is no

 proof of this theory4 ,the             
,coat-of-,arms with the ,cock is a fine 
copper-plate1 with some obscure         
allegorical significance1 representing1 
perhaps1 ,vigilance by the cock which   
stands on a closed helmet1 and ,faith by
 the rampant lion on the shield below4  
,,chapter ,v4  ,st4 ,jerome4--,the      
,melencolia4--,death of ,drer's         
,mother4--,raphael4                     
--,etchings4--,maximilian's             
,arch4--,visit to ,augsburg4   ,the     
copper-plate engraving of ,st4 ,jerome  
in his ,chamber was executed in #aead1  
and is one of ,drer's three greatest    
works1 a marvel of brilliancy and       
beauty1 full of accurate detail and     
minute perfection4 ,the saint has a     
grand and venerable head1 firmly        
outlined against a white halo1 and is   
sitting in a cheerful monastic room1    
lighted by the sun streaming through two
 large arched windows1 while he writes  
at his desk1 translating the            
,scriptures4 ,in the foreground the lion

 of ,st4 ,jerome is drowsing1 alongside 
a fat watch-dog2 a huge pumpkin hangs   
from one of the oaken beams overhead2   
and patristic tomes and convenient      
,german utensils are scattered about the
 room4  ,the ,virgin on the ,crescent   
,moon was a copper-plate executed also  
in #aead1 showing the graceful and      
charming ,mary1 treated with an idealism
 which almost suggests ,raphael4 ,this  
is one of the best of the seventeen     
,mary-pictures 7,marien-bilder7 which   
,drer executed in copper4 ,other        
copper-plates of #aead represented ,sts4
 ,paul and ,thomas1 the                 
,bagpipe-,player1 and a ,dancing ,rustic
 and his ,wife4  ,the ,melencolia is the
 most weirdly fascinating of ,drer's    
works1 and the most mysterious and      
variously interpreted4 ,it represents a 
woman1 goddess1 or devil1 fully clad1   
and bearing keys and a purse at her     
girdle1 her head wreathed with          
spleenwort1 and great wings springing   
from her shoulders2 the while she gazes 

intently1 and with unutterable          
melancholy1 into a magic crystal globe  
before her4 ,on one side a drowsy ,cupid
 is trying to write1 near a ladder which
 rises from unseen depths to unimagined 
heights2 and on the wall are the        
balanced scales1 the astrological table 
of figures1 the hour-glass running low1 
and the silent bell4 ,the floor is      
strewn with scientific and necromantic  
instruments1 and a great cube of strange
 form lies beyond4 ,the prevailing gloom
 of the picture is but dimly lighted by 
a lurid and solitary comet1 whose rays  
shimmer along an expanse of black ocean1
 and are reflected from a firm-arched   
rainbow above4 ,across the alternately  
black and blazing sky flies a horrible  
bat-winged creature1 bearing a scroll   
inscribed with the word ,,melencolia1   
before the blank negations symbolized by
 the disastrous portent of the comet and
 the joyous sign of the rainbow4  ,under
 the guise of this mystic black-browed  
woman the artist probably typifies the  

profound sorrow of the human soul1      
checked by ,divine limitations from     
attaining a full knowledge of the       
secrets of nature or the wisdom of      
heaven4 ,the discarded implements of    
natural and occult science are alike    
useless2 and nought remains but gloomy  
introspection and a consciousness of    
insufficiency4  ,drer describes his     
mother's death with mournful tenderness 
and touching simplicity1 saying3 ,now   
you must know that in the year #aeac1 on
 a ,tuesday in ,cross-week1 my poor     
unhappy mother1 whom ,i had taken under 
my charge two years after my father's   
death1 because she was then quite poor1 
and who had lived with me for nine      
years1 was taken deathly sick on one    
morning early1 so that we had to break  
open her room2 for we knew not1 as she  
could not get up1 what to do4 ,so we    
bore her down into a room1 and she had  
the sacraments in both kinds            
administered to her1 for every one      
thought that she was going to die1 for  

she had been failing in health ever     
since my father's death4 ,and her custom
 was to go often to church2 and she     
always punished me when ,i did not act  
rightly1 and she always took great care 
to keep me and my brothers from sin2    
and1 whether ,i went in or out1 her     
constant word was1 ',in the name of     
,christ2' and with great diligence she  
constantly gave us holy exhortations1   
and had great care over our souls4 ,and 
her good works1 and the loving          
compassion that she showed to every one1
 ,i can never sufficiently set forth to 
her praise4 ,this my good mother bore   
and brought up eighteen children2 she   
has often had the pestilence and many   
other dangerous and remarkable          
illnesses2 has suffered great poverty1  
scoffing1 disparagement1 spiteful words1
 fears1 and great reverses3 yet she has 
never been revengeful4 ,a year after the
 day on which she was first taken ill   
444 my pious mother departed in a       
,christian manner1 with all sacraments1 

absolved by ,papal power from pain and  
sin4 ,she gave me her blessing1 and     
desired for me ,god's peace1 and that ,i
 should keep myself from evil4 ,and she 
desired also ,st4 ,john's blessing1     
which she had1 and she said she was not 
afraid to come before ,god4 ,but she    
died hard2 and ,i perceived that she saw
 something terrible1 for she kept hold  
of the holy water1 and did not speak for
 a long time4 ,i saw also how ,death    
came1 and gave her two great blows on   
the heart2 and how she shut her eyes and
 mouth1 and departed in great sorrow4 ,i
 prayed for her1 and had such great     
grief for her that ,i can never express4
 ,god be gracious to her6 ,her greatest 
joy was always to speak of ,god1 and to 
do all to his honor and glory4 ,and she 
was sixty-three years old when she died1
 and ,i buried her honorably according  
to my means4 ,god the ,lord grant that  
,i also make a blessed end1 and that    
,god with his heavenly hosts1 and my    
father1 mother1 and friend1 be present  

at my end1 and that the ,almighty ,god  
grant us eternal life6 ,amen4 ,and in   
her death she looked still more lovely  
than she was in her life4  ,in #aead the
 prince of ,italian painters and the    
noblest of ,german artists exchanged    
pleasant civilities by correspondence1  
accompanied by specimens of their       
labors4 ,drer sent to ,raphael his own  
portrait1 which was afterwards inherited
 and dearly prized by ,giulio ,romano4  
,raphael returned several of his own    
studies and drawings1 one of which1     
showing two naked men drawn in red      
crayon1 is now preserved in the         
,albertina at ,vienna4 ,it still bears  
,drer's inscription3 ,raphael of        
,urbino1 who is so highly esteemed by   
the ,pope1 has drawn this study from the
 nude1 and has sent it to ,albert ,drer 
at ,nuremberg1 in order to show him his 
hand4  ,the invention of the art of     
etching has been generally attributed to
 ,drer1 though it now seems that he     
merely improved and perfected the       

process4 ,there are but few etchings in 
existence which can certainly be        
ascribed to him2 and the chief of these1
 an ,ecce ,homo and ,christ in the      
,garden1 date from #aeae4 ,the iron     
plate of the latter was found two       
centuries later1 in a blacksmith's shop1
 where it was about to be made into     
horse-shoes4 ,a third etching represents
 a frightfully homely woman being       
carried off by a man on a unicorn1 a    
wild and incomprehensible composition1  
calculated to awaken an uncomfortable   
impression in the beholder4 ,some of the
 etchings were on iron1 and others on   
pewter2 but none were on copper1 which  
was afterwards universally used4 ,the   
corrosive nitrous acid acted            
inefficiently on the metals which he    
employed1 and so his etchings fall short
 of excellence4  ,in #aead ,jorg        
,vierling uttered disgraceful libels and
 threats against ,drer1 and finally     
attacked him in the street4 ,he was     
imprisoned by the authorities2 but the  

kind-hearted artist interceded for him1 
and he was released1 after being bound  
over to keep the peace4  ,in the same   
year ,drer wrote to ,herr ,kress to see 
if the laureate ,stabius had done any   
thing about his delayed pension2 saying 
also1 ,but if ,herr ,stabius has done   
nothing in my matter1 or my desire was  
too difficult for him to attain1 then ,i
 pray of you to be my favorable lord to 
his ,majesty4444 ,point out to his      
,majesty that ,i have served his        
,majesty for three years1 that ,i have  
suffered loss myself from doing so1 and 
that if ,i had not used my utmost       
diligence his ornamental work would     
never have been finished in such a      
manner2 therefore ,i pray his ,majesty  
to reward me with the #ajj guilders4 ,in
 ,september an imperial decree was      
issued1 giving ,drer his promised       
pension of #bjj a year out of the tax   
due from ,nuremberg to the ,emperor4    
,this annuity was paid to the artist    
until his death1 with one short         

intermission4  ,drer executed for the   
,emperor a series of most fantastic and 
grotesque pen-drawings1 on the borders  
of his prayer-book1 now in the ,munich  
town-library4 ,alongside the solemn     
sentences of the breviary are whimsical 
monkeys and pigs1 ,indians and          
men-at-arms1 satyrs and foxes1          
screeching devils and saints1 hens and  
prophets1 martyrs and ,german crones1   
mingled in a weird wonderland1 and not  
inappropriate according to medival ideas
 of taste4 ,the ,great ,column is       
another quaint and inexplicable         
engraving1 which ,drer did for the      
,emperor in #aeag1 and is composed of   
four blocks #e-a_/c feet high4 ,it shows
 two naked angels holding a large       
turnip1 from which springs a tall column
 with two horrible female monsters at   
the base1 and a horned satyr at the top1
 holding long garlands4  ,the marvellous
 ,triumphal ,arch of ,maximilian is     
composed of ninety-two blocks1 forming  
an immense woodcut ten and a half feet  

high and nine feet wide4 ,it shows three
 great towers1 under which are the three
 gates of ,praise1 ,nobility1 and ,honor
 and ,power1 with the six chained       
harpies of temptation1 and two vigilant 
,archdukes in armor1 and figures holding
 garlands and crowns4 ,the great        
genealogical tree rises above the       
figures that represent ,france1         
,sycambria1 and ,troy1 and bears        
portrait-like half-figures of the       
twenty-six ,christian princes from whom 
,maximilian claimed descent1 with       
pictures of himself and his family4     
,there are also twenty-four minutely    
delicate cuts1 showing the most         
remarkable events in the ,emperor's     
life1 accompanied with rugged           
explanatory rhymes by the poet-laureate4
 ,dr4 von ,eye says that the extent and 
difficulty of the task appear to have   
called forth the powers of the artist to
 their highest exercise4 ,in no work of 
,drer's do we find more beautiful       
drawing than there is here4 ,each single

 piece might be taken out and prized as 
an independent work of art4  ,the master
 drew these very elaborate and intricate
 designs between #aeab and #aeae2 and   
the enormous work of engraving them was 
devolved upon ,hieronymus ,rsch of      
,nuremberg4 ,during its progress the    
,emperor frequently visited ,rsch's     
house in the ,fraengsslein2 and it      
became a town saying1 that ,the ,emperor
 still drives often to ,petticoat ,lane4
 ,on one of his visits1 a number of the 
artist's pet cats ran into his presence2
 whence1 it is said1 arose the proverb1 
,a cat may look at a ,king4  ,in #aeaf  
,drer painted a fine portrait of        
,wohlgemuth1 now at ,munich1 showing a  
wrinkled old face lit up by bright eyes1
 and inscribed1 ,this portrait has      
,albert ,drer painted after his master  
,michael ,wohlgemuth1 in the year #aeaf1
 when he was #hb years old2 and he lived
 until the year #aeai1 when he died1 on 
,st4 ,andrew's ,day1 early1 before the  
sun had risen4 ,about the same period he

 designed and partly executed the ,piet1
 which is now in the ,st4 ,maurice      
,gallery at ,nuremberg2 and carved a    
,virgin and ,child standing on the      
crescent moon1 similar to the one which 
he had engraved three years before4  ,in
 #aeah ,drer also painted the scene of  
the death-bed of the ,empress ,mary of  
,burgundy1 under the title of ,the      
,death of the ,virgin1 and on the order 
of ,von ,zlatko1 the ,bishop of ,vienna4
 ,the ,emperor ,maximilian1 ,philip of  
,spain1 ,bishop ,zlatko1 and other      
notables1 were shown around the couch4  
,this large and important work was in   
the sale of the ,fries collection in    
#ahbb1 but cannot now be found1 although
 there is a rumor that it is on the     
altar of a rural church near ,st4       
,wolfgang's ,lake1 in ,upper ,austria4  
,in #aeah ,drer visited ,augsburg1      
during the session of the ,diet of the  
,empire1 and not only sold many of his  
engravings1 but made a number of new    
sketches and portraits4 ,his most       

important work on this journey was a    
portrait of the ,emperor1 who gave an   
order on the town of ,nuremberg to pay  
#bjj guldens to the ,emperor's and the  
,empire's dear and faithful ,albert     
,drer4 ,on this picture the master      
inscribed1 ,this is the ,emperor        
,maximilian1 whom ,i1 ,albert ,drer1    
drew at ,augsburg1 in his little room   
high up in the imperial residence1 in   
the year #aeah1 on the ,monday after    
,st4 ,john the ,baptist4 ,about the same
 time the master painted the unpleasant 
picture of ,the ,suicide of ,lucretia1  
now at ,munich1 showing an ill-formed   
nude woman of life size1 said to have   
been copied from ,agnes ,frey4 ,the     
portrait of the witty and learned       
,lazarus ,spengler dates from the same  
year4  ,when ,maximilian died1 the ,rath
 of ,nuremberg refused to continue the  
pension which he had granted to ,drer1  
though the artist addressed its members 
as ,provident1 ,honorable1 ,wise1       
,gracious1 and ,dear ,lords1 and        

enumerated his services to the dead     
,emperor4 ,he also vainly demanded the  
payment of the imperial order for #bjj  
florins1 to be paid to him as if to     
,maximilian himself1 out of the town    
taxes due to the ,emperor on ,st4       
,martin's ,day1 though he offered to    
leave his house in pledge1 so that the  
town might lose nothing if the new      
,emperor refused to acknowledge the     
validity of the claim4  ,at the time of 
the death of ,maximilian the great      
woodcut of ,the ,triumphal ,arch was    
unfinished1 and the blocks remained in  
the hands of the engraver4 ,drer and    
,rsch published a large round cut       
containing twenty-one of the historical 
scenes1 as a memorial of the late       
sovereign1 and this singular production 
speedily went through four editions4 ,a 
few trial-impressions of the whole ,arch
 had been struck off before the         
,emperor's death1 two of which are now  
at ,copenhagen1 one in the ,british     
,museum1 and one at ,stockholm4 ,in     

#aeei the first edition of the entire   
,arch was printed at ,vienna1 at the    
request of the ,archduke ,ferdinand1 and
 another edition was issued by ,bartsch 
in #agii4  ,in #aeai ,drer published an 
excellent wood-engraving of the late    
,emperor ,maximilian1 with inscriptions 
recording his titles and the date of his
 death4 ,it showed a pleasant face1 full
 of strength and character4 ,among the  
painted portraits of ,maximilian which  
are attributed to the master1 the best  
is in the ,vienna ,belvedere2 and       
another was in the late ,northwick      
,collection1 in ,england4 ,a beautiful  
portrait in water-colors is in the      
library of the ,erlangen ,university4   
,in #aeai ,drer also prepared an        
exquisitely finished copper-plate       
engraving of ,st4 ,anthony1 showing the 
meditative hermit before a background of
 a quaint medival city1 very like       
,nuremberg1 abounding in irregular      
gable-roofs and tall castle-towers4     
,several admirable copies of this work  

have been made4     ,,chapter ,,vi4     
,drer's ,tour in the ,netherlands4--,his
 ,journal4--,cologne4--,feasts at       
,antwerp and ,brussels4--,procession of 
,notre ,dame4--,the ,confirmatia4       
--,zealand ,journey4--,ghent4--,martin  
,luther4   ,drer's famous tour to the   
,netherlands began in the summer of     
#aebj1 and continued until late in      
#aeba4 ,his main object appears to have 
been to secure from ,charles ,v4 a      
confirmation of the pension which the   
,emperor ,maximilian had granted him1   
since the ,rath of ,nuremberg had       
refused to deliver any further sums     
until he could obtain such a            
ratification4 ,possibly he also hoped to
 obtain the position of court-painter1  
to which ,titian was afterwards         
appointed4 ,several biographers say that
 ,drer made the journey in order to get 
a respite from his wife's tirades2 but  
this is unlikely1 since he took her and 
her maid ,susanna with him4 ,the        
,archduchess ,margaret1 daughter of the 

late ,emperor ,maximilian and aunt of   
,charles ,v41 was at ,brussels1 acting  
as ,regent of the ,netherlands2 and     
,drer made strong but ineffectual       
attempts to secure her good graces4     
,drer's journal of his tour is a        
combination of cash account1 itinerary1 
memoranda1 and notebook1 and would fill 
about fifty of these pages4 ,it is      
usually barren of reflections1 opinions1
 or prolonged descriptions2 and is but a
 terse and business-like record of facts
 and expenses1 rich only in its         
revelations of medival ,flemish         
hospitality and municipal customs1 and  
certain personal habits of the writer4  
,the greatest impression seems to have  
been made upon the traveller by the     
enormous wealth of the ,low ,countries1 
and the adjective costly continually    
recurs4 ,the new-found treasures of     
,america were then pouring a stream of  
gold into the ,flemish cities1 and      
manufactures and commerce were in full  
prosperity4 ,the devastating storm of   

,alva's ,spanish infantry had not yet   
swept over the doomed but heroic        
,netherlands2 and her great cities      
basked in peace1 prosperity1 and wealth4
  ,on the ,thursday after ,whitsuntide1 
,i1 ,albert ,drer1 at my own cost and   
responsibility1 set out with my wife    
from ,nuremberg for the ,netherlands4444
 ,i went on to ,bamberg1 where ,i gave  
the ,bishop a picture of the ,virgin1   
',the ,life of the ,virgin1' an         
,apocalypse1 and other engravings of the
 value of a florin4 ,he invited me to   
dinner1 and gave me an exemption from   
customs1 and three letters of           
recommendation4 ,he hired a carriage to 
take him to ,frankfort for eight florins
 of gold1 and received a parting        
stirrup-cup from ,meister ,benedict1 and
 the painter ,hans ,wolfgang            
,katzheimer4 ,he gives the names of the 
forty-three villages through which he   
passed along the route by ,wrzburg and  
,carlstadt to ,frankfort1 with his      
expenditures for food and for gifts to  

servants2 and tells how the ,bishop's   
letter freed him from paying tolls4 ,at 
,frankfort he was cheaply entertained by
 ,jacob ,heller1 for whom he had painted
 ,the ,coronation of the ,virgin4 ,from 
thence he descended by boat to ,mayence1
 where he received many gifts and       
attentions4 ,in the river-passages hence
 to ,cologne1 he was forced to haul in  
shore and arrange his tolls at          
,ehrenfels1 ,bacharach1 ,caub1 ,st4     
,goar1 and ,boppart4 ,at ,cologne he was
 entertained by his cousin ,nicholas    
,drer1 who had learned the goldsmith's  
trade in the shop of ,albert's father1  
and was now settled in business4 ,the   
master made presents to him and his     
wife4 ,the ,barefooted ,monks gave ,drer
 a feast at their monastery2 and ,jerome
 ,fugger presented him with wine4 ,the  
journey was soon resumed2 and the master
 passed through fourteen villages1 and  
at last reached ,antwerp1 where he was  
feasted by the factor of the illustrious
 ,fugger family4 ,jobst ,planckfelt was 

,drer's host while he remained in the   
city1 and showed him the ,burgomaster's 
,palace and other sights of ,antwerp1   
besides introducing him to ,quentin     
,matsys and other eminent ,flemish      
artists4  ,on ,st4 ,oswald's ,day1 the  
painters invited me to their hall1 with 
my wife and maid2 and every thing there 
was of silver and other costly          
ornamentation1 and extremely costly     
viands4 ,there were also all their wives
 there2 and when ,i was conducted to the
 table all the people stood up on each  
side1 as if ,i had been a great lord4   
,there were amongst them also many      
persons of distinction1 who all bowed   
low1 and in the most humble manner      
testified their pleasure at seeing me1  
and they said they would do all in their
 power to give me pleasure4 ,and1 as ,i 
sat at table1 there came in the         
messenger of the ,rath of ,antwerp1 who 
presented me with four tankards of wine 
in the name of the ,magistrates2 and he 
said that they desired to honor me with 

this1 and that ,i should have their     
good-will4444 ,and for a long time we   
were very merry together until quite    
late in the night2 then they accompanied
 us home with torches in the most       
honorable manner1 and they begged us to 
accept their good-will1 and said they   
would do whatever ,i desired that might 
be of assistance to me4 ,then ,i thanked
 them1 and went to bed4  ,he next speaks
 of making portraits of his friend the  
,portuguese consul1 his host            
,planckfelt1 and the musician ,felix    
,hungersberg2 and keeps account of his  
sales of paintings and engravings1 on   
the same pages which record his         
junketings with various notable men4 ,he
 dined with one of the ,imhoffs and with
 ,meister ,joachim ,patenir1 the        
landscape-painter1 with whom he had     
certain professional transactions4 ,he  
soon became intimately acquainted with  
the three ,genoese brothers1 ,tomasin1  
,vincent1 and ,gerhartus ,florianus1    
with whom he dined many times1 and for  

whom he drew several portraits4 ,he also
 met the great scholar and half-way     
reformer1 ,erasmus1 who gave him several
 pleasing presents4  ,our ,lady's       
,church at ,antwerp is so immensely big1
 that many masses may be sung in it at  
one time without interfering with each  
other2 and it has altars and rich       
foundations1 and the best musicians that
 it is possible to have4 ,the church has
 many devout services1 and stone work1  
and particularly a beautiful tower4 ,and
 ,i have also been to the rich ,abbey of
 ,st4 ,michael1 which has the costly    
stone seat in its choir4 ,and at        
,antwerp they spare no cost about such  
things1 for there is money enough there4
  ,he made portraits of ,nicholas       
,kratzer1 then professor of astronomy at
 ,oxford ,university2 ,hans ,plaffroth2 
and ,tomasin's daughter2 and gave       
several score of his engravings to the  
,portuguese consul and to his compatriot
 ,ruderigo1 who had sent a large        
quantity of sweetmeats to the artist1   

and a green parrot to his wife4         
,something of diplomatic tact is shown  
in ,drer's making presents to ,meister  
,gillgen1 the ,emperor's door-keeper1   
and to ,meister ,conrad1 the sculptor of
 the ,archduchess ,margaret4 ,he seems  
to have been preparing to seek an       
invitation to court4  ,in ,september    
,drer and ,tomasin journeyed to         
,mechlin1 where they invited ,meister   
,conrad and one of his artist-friends to
 a supper4 ,the next day they passed    
through ,vilvorde1 and came to          
,brussels4 ,here the master was         
introduced to a new and splendid society
 and a city rich in works of art4 ,he   
speaks of dining with ,my ,lord of      
,brussels1 the ,imperial ,councillor    
,bannisius1 and the ambassadors of      
,nuremberg2 and ,bernard van ,orley1    
formerly a pupil of ,raphael and now    
court-painter to the ,regent ,margaret1 
invited him to a feast at which he met  
the ,regent's treasurer1 the royal      
court-master1 and the town-treasurer of 

,brussels4 ,he also visited the         
,margrave of ,anspach and ,baireuth1    
with a letter of introduction from the  
,bishop of ,bamberg2 and drew portraits 
of ,meister ,conrad1 ,bernard van       
,orley1 and several others4 ,the ,regent
 ,margaret received him with especial   
kindness1 and promised to use her       
influence for his advancement at the    
imperial court4 ,he presented copies of 
the ,passion to her and her treasurer1  
and many other engravings to other      
eminent persons in the city4  ,and ,i   
have seen ,king ,charles's house at     
,brussels1 with its fountains1          
labyrinth1 and park4 ,it gave me the    
greatest pleasure2 and a more delightful
 thing1 and more like a ,paradise1 ,i   
have never before seen4444 ,at ,brussels
 there is a very big and costly         
,town-hall1 built of hewn stone1 with a 
splendid transparent tower4 ,i have seen
 in the ,golden ,hall the four painted  
matters which the great ,meister ,rudier
 ,roger van der ,weyden has done4444 ,i 

have also been into the ,nassau-house1  
which is built in such a costly style   
and so beautifully ornamented4 ,and ,i  
saw the two beautiful large rooms and   
all the costly things in the house      
everywhere1 and also the great bed in   
which fifty men might lie2 and ,i have  
also seen the big stone which fell in a 
thunderstorm in the field close to the  
,count of ,nassau4 ,this house is very  
high1 and there is a fine view from it1 
and it is much to be admired2 and ,i do 
not think in all ,germany there is any  
thing like it4444 ,also ,i have seen the
 thing which has been brought to the    
,king from the new ,golden ,land        
,mexico1 a sun of gold a fathom broad1  
and a silver moon just as big4 ,likewise
 two rooms full of armor2 likewise all  
kinds of arms1 harness1 and wonderful   
missiles1 very strange clothing1        
bed-gear and all kinds of the most      
wonderful things for man's use1 that are
 as beautiful to behold as they are     
wonderful4 ,these things are all so     

costly1 that they have been valued at   
#ajj1jjj gulden4 ,and ,i have never in  
all the days of my life seen any thing  
that has so much rejoiced my heart as   
these things4 ,for ,i have seen among   
them wonderfully artistic things1 and ,i
 have wondered at the subtle ,ingenia of
 men in foreign lands4  ,while at       
,brussels ,drer was the guest of ,conrad
 the sculptor1 and ,ebner the ,nuremberg
 ambassador4 ,he returned at length to  
,antwerp1 where his ,portuguese friends 
sent him several maiolica bowls and some
 ,calcutta feathers1 and his host gave  
also certain ,indian and ,turkish       
curiosities4 ,the jovial dinners with   
,planckfelt and ,tomasin were again     
begun1 and were supplemented by feasts  
with the ,von ,rogendorffs and ,fugger's
 agent4 ,the master gave away hundreds  
of his engravings here1 either to his   
friends or to influential courtiers2 and
 all these details he faithfully        
records4 ,he seems to have been an      
indefatigable investigator and collector

 of curiosities1 imported trinkets1 and 
china4 ,with childlike delight he       
narrates the brilliant spectacles around
 him4  ,i have seen1 on the ,sunday     
after the ,assumption of ,our ,blessed  
,lady1 the great procession from ,our   
,lady's ,church at ,antwerp1 when the   
whole town was assembled1 artisans and  
people of rank1 every one dressed in the
 most costly manner according to its    
station4 ,every class and every guild   
had its badge by which it might be      
recognized2 large and costly tapers were
 also borne by some of them4 ,there were
 also long silver trumpets of the old   
,frankish fashion4 ,there were also many
 ,german pipers and drummers1 who piped 
and drummed their loudest4 ,also ,i saw 
in the street1 marching in a line in    
regular order1 with certain distances   
between1 the goldsmiths1 painters1      
stonemasons1 embroiderers1 sculptors1   
joiners1 carpenters1 sailors1           
fishmongers1 444 and all kinds of       
artisans who are useful in producing the

 necessaries of life4 ,in the same way  
there were the shopkeepers and merchants
 and their clerks4 ,after these came the
 marksmen with firelocks1 bows1 and     
cross-bows1 some on horseback and some  
on foot4 ,after that came the ,city     
,guards2 and at last a mighty and       
beautiful throng of different nations   
and religious orders1 superbly costumed1
 and each distinguished from the other1 
very piously4 ,i remarked in this       
procession a troop of widows who lived  
by their labor4 ,they all had white     
linen cloths covering their heads1 and  
reaching down to their feet1 very seemly
 to behold4 ,behind them ,i saw many    
brave persons1 and the canons of ,our   
,lady's ,church1 with all the clergy and
 bursars1 where twenty persons bore ,our
 ,lady with the ,lord ,jesus ornamented 
in the most costly manner to the glory  
of the ,lord ,god4 ,in this procession  
there were many very pleasant things1   
and it was very richly arranged4 ,there 
were brought along many wagons1 with    

moving ships1 and other things4 ,then   
followed the ,prophets1 all in order2   
the ,new ,testament1 showing the        
,salutation of the ,angel1 the three    
,holy ,kings on their camels1 and other 
rare wonders very beautifully           
arranged4444 ,at the last came a great  
dragon led by ,st4 ,margaret and her    
maidens1 who were very pretty2 also ,st4
 ,george1 with his squire1 a very       
handsome ,courlander4 ,also a great many
 boys and girls1 dressed in the most    
costly and ornamental manner1 according 
to the fashion of different countries1  
rode in this troop1 and represented so  
many saints4 ,this procession from      
beginning to end was more than two hours
 passing by our house2 and there were so
 many things that ,i could never write  
them all down even in a book1 and so ,i 
leave it alone4  ,raphael died during   
this year1 and ,drer made strenuous     
efforts to secure some of his drawings  
or other remains4 ,he met ,tommaso      
,vincidore of ,bologna1 a pupil of the  

great master1 and gave him an entire set
 of his best engravings for an antique  
gold ring1 and another set to be sent to
 ,rome in exchange for some of          
,raphael's sketches4 ,he also gave a    
complete set of his engravings to the   
,regent ,margaret1 and made for her two 
careful drawings on parchment4          
,vincidore painted his portrait1 to be  
sent to ,rome2 and it was engraved by   
,adrian ,stock1 showing his glorious    
eyes and long flowing hair1 together    
with a short dense beard overshadowed by
 a massive moustache1 curled back at the
 points4  ,later in the autumn ,drer    
journeyed to ,aix-la-,chapelle1 where he
 attended the splendid ceremonies of the
 coronation of the ,emperor ,charles ,v4
 ,at ,aix he saw the famous columns     
brought from ,rome by ,charlemagne1 the 
arm of ,kaiser ,henry1 the chemise and  
girdle of the ,virgin ,mary1 and other  
relics4 ,his wife was back at ,antwerp2 
and so the reckless artist chronicles   
his outlays for drinking1 gaming1 and   

other reprehensible expenses4 ,after    
being entertained for three weeks at the
 ,nuremberg embassy1 ,drer went to      
,cologne1 where he remained a fortnight1
 distributing his engravings with       
generous hand1 visiting the churches and
 their pictures1 and buying all manner  
of odd things4 ,early in ,november1 by  
the aid of the ,nuremberg ambassadors1  
he obtained from the ,emperor his       
,confirmatia1 with great trouble and    
labor4 ,this coveted document1 which    
formed one of the main objects of his   
journey to the ,north1 confirmed him in 
the pension which ,maximilian had       
granted him1 and made him painter to the
 ,emperor4  ,from ,cologne he returned  
with all speed down the river to        
,antwerp1 being entertained at          
,bois-le-,duc1 a pretty town1 which has 
an extraordinarily beautiful church1 by 
the painter ,arnold de ,ber and the     
goldsmiths1 who showed me very much     
honor4 ,on arriving at ,antwerp1 he     
resumes his accounts of the sales and   

gifts of his engravings1 and the        
enumeration of his domestic expenses4   
,soon afterward he heard of a monstrous 
whale being thrown up on the ,zealand   
coast1 and posted off in ,december to   
see it1 taking a vessel from            
,bergen-op-,zoom1 of whose well-built   
houses and great markets he speaks4 ,we 
sailed before sunset by a village1 and  
saw only the points of the roofs        
projecting out of the water2 and we     
sailed for the island of ,wohlfrtig     
,walcheren1 and for the little town of  
,sunge in another adjacent island4      
,there were seven islands2 and ,ernig1  
where ,i passed the night1 is the       
largest4 ,from thence we went to        
,middleburg1 where ,i saw in the abbey  
the great picture that ,johann de ,abus 
,mabuse had done4 ,the drawing is not so
 good as the painting4 ,after that we   
came to ,fahr1 where ships from all     
lands unload3 it is a fine town4 ,but at
 ,armuyden a great danger befell me2 for
 just as we were going to land1 and our 

ropes were thrown out1 there came a     
large ship alongside of us1 and ,i was  
about to land1 but there was such a     
press that ,i let every one land before 
me1 so that nobody but ,i1 ,georg       
,kotzler1 two old women1 and the skipper
 with one small boy1 were left in the   
ship4 ,and when ,i and the above-named  
persons were on board1 and could not get
 on shore1 then the heavy cable broke1  
and a strong wind came on1 which drove  
our ship powerfully before it4 ,then we 
all cried loudly for help1 but no one   
ventured to give it2 and the wind beat  
us out again to sea4444 ,then there was 
great anxiety and fear2 for the wind was
 very great1 and not more than six      
persons on board4 ,but ,i spoke to the  
skipper1 and told him to take heart1 and
 put his trust in ,god1 and consider    
what there was to be done4 ,then he said
 he thought1 if we could manage to hoist
 the little sail1 he would try whether  
we could not get on4 ,so with great     
difficulty1 and working all together1 we

 got it half way up1 and sailed on      
again2 and when those on the land saw   
this1 and how we were able to help      
ourselves1 they came and gave us        
assistance1 so that we got safely to    
land4 ,middleburg is a good town1 and   
has a very beautiful ,town-house with a 
costly tower4 ,and there are also many  
things there of old art4 ,there is an   
exceedingly costly and beautiful seat in
 the abbey1 and a costly stone aisle1   
and a pretty parish church4 ,and in     
other respects also the town is very    
rich in subjects for sketches4 ,zealand 
is pretty and marvellous to see1 on     
account of the water1 which is higher   
than the land4  ,the tide had carried   
off the stranded whale2 and so ,drer    
returned to ,antwerp1 staying a few days
 at ,bergen4 ,soon afterwards he gave   
,von ,rafensburg three books of fine    
engravings in return for five           
snail-shells1 nine medals1 four arrows1 
two pieces of white coral1 two dried    
fish1 and a scale of a large fish4      

,improvident collector of curiosities6  
how did the matronly ,agnes endure such 
tradings8 ,many dinners with the        
,genoese ,tomasin are then recorded1 and
 fresh collations with new friends1 in  
the hearty and hospitable spirit of the 
easy-living ,netherlanders4 ,he repaid  
the quaint presents of his admirers with
 many copies of his engravings1 and     
occasionally made some money in the     
practice of his profession4  ,on ,shrove
 ,tuesday early the goldsmiths invited  
me and my wife to dinner4 ,there were   
many distinguished people assembled1 and
 we had an extremely costly meal1 and   
they did me exceeding much honor2 and in
 the evening the senior magistrate of   
the town invited me1 and gave me a      
costly meal1 and showed me much honor4  
,and there came in many strange masks4  
,he then records his exchanges of       
engravings for such singular returns as 
satin1 candied citron1 ivory            
salt-cellars from ,calcutta1 sea-shells1
 monk's electuary1 sweetmeats in        

profusion1 porcelains1 an ivory pipe1   
coral1 boxing-gloves1 a shield1 lace1   
fishes' fins1 sandal-wood1 c4 ,the      
,portuguese ambassador invited him to a 
rich ,carnival feast1 where there were  
many very costly masks2 and the learned 
,petrus gidius entertained him and      
,erasmus of ,rotterdam together4 ,he    
climbed up the cathedral tower1 and saw 
over the whole town from it1 which was  
very agreeable4 ,many of the curiosities
 which he had acquired were sent as     
presents to ,pirkheimer1 the ,imhoffs1  
the ,holzschuhers1 and other noble      
friends in ,nuremberg4 ,arion1 the      
ex-,pensionary of ,antwerp1 gave him a  
feast1 and presented him with ,patenir's
 painting of ,lot and his ,daughters4   
,soon after ,easter1 ,drer made another 
pleasant tour in the ,netherlands1      
attended by the painter ,jan ,plos1     
passing by the rich ,abbey of ,pol1 and 
the great long village of ,kahlb1 to the
 splendid and beautiful town of ,bruges4
 ,plos and the goldsmith ,marx each gave

 him costly feasts1 and showed him the  
,emperor's palace1 the ,archery ,court1 
and many paintings by ,roger van der    
,weyden1 ,hubert and ,jan van ,eyck1 and
 ,hugo van der ,goes1 together with an  
alabaster ,madonna by ,michael ,angelo4 
,we came at last to the ,painters'      
,chapel1 where there are many good      
things4 ,after that they prepared a     
banquet for me4 ,and from thence ,i went
 with them to their guild1 where many   
honorable folk1 goldsmiths1 painters1   
and merchants1 were assembled2 and they 
made me sup with them1 and did me great 
honor4 ,and the ,rath gave me twelve    
measures of wine2 and the whole         
assembly1 more than sixty persons1      
accompanied me home with torches4  ,and 
when ,i arrived at ,ghent1 the chief of 
the painters met me1 and he brought with
 him all the principal painters of the  
town2 and they showed me great honor1   
and received me in very splendid style1 
and they assured me of their good-will  
and service2 and ,i supped that evening 

with them4 ,on ,wednesday early they    
took me to ,st4 ,john's ,tower1 from    
which ,i saw over all the great and     
wonderful town4 ,after that ,i saw      
,johann's picture ,van ,eyck's          
',adoration of the ,spotless ,lamb'4 ,it
 is a very rich and grandly conceived   
painting2 and particularly ,eve1 the    
,virgin ,mary1 and ,god the ,father1 are
 excellent4444 ,ghent is a beautiful and
 wonderful town1 and four great waters  
flow through it4 ,and ,i have besides   
seen many other very strange things at  
,ghent1 and the painters with their     
chief have never left me2 and ,i have   
eaten morning and night with them1 and  
they have paid for every thing1 and have
 been very friendly with me4  ,the      
master soon returned to ,antwerp1 in    
distress4 ,in the third week after      
,easter a hot fever attacked me1 with   
great faintness1 discomfort1 and        
headache4 ,and when ,i was in ,zealand1 
some time back1 a wonderful illness came
 upon me1 which ,i had never heard of   

any one having before2 and this illness 
,i have still4 ,this low fever never    
quite left him1 and was the cause of    
many doctor's bills thereafter4 ,soon   
afterward he made a portrait of the     
landscape-painter ,joachim ,patenir2 and
 on the ,sunday before ,cross-week1     
,meister ,joachim invited me to his     
wedding1 and they all showed me much    
respect2 and ,i saw two very pretty     
plays there1 particularly the first1    
which was very pious and clerical4      
,drer seems to have had strong          
,protestant sympathies1 though it is    
claimed that he died in the faith of    
,rome4 ,his journal in #aeba contains   
the following significant sentences     
about ,martin ,luther3 ,he was a man    
enlightened by the ,holy ,ghost1 and a  
follower of the true ,christian         
faith4444 ,he has suffered much for     
,christ's truth1 and because he has     
rebuked the unchristian ,papacy which   
strives against the freedom of ,christ  
with its heavy burdens of human laws2   

and for this we are robbed of the price 
of our blood and sweat1 that it may be  
expended shamefully by idle1 lascivious 
people1 whilst thirsty and sick men     
perish of hunger4444 ,lord ,jesus       
,christ1 call together again the sheep  
of thy fold1 of whom part are still to  
be found amongst the ,indians1          
,muscovites1 ,russians1 and ,greeks1 who
 through the burdens and avarice of the 
,papacy have been separated from us4    
,never were any people so horribly      
burdened with ordinances as us poor     
people by the ,romish ,see2 we who1     
redeemed by thy blood1 ought to be free 
,christians4  ,o ,god1 is ,luther dead8 
,who will henceforth explain to us so   
clearly the holy ,gospel8 ,o all pious  
,christian men1 bewail with me this     
,god-inspired man1 and pray to ,god to  
send us another enlightened teacher6 ,o 
,erasmus of ,rotterdam1 where dost thou 
remain8 ,behold how the unjust tyranny  
of this world's might and the powers of 
darkness prevail6 ,hear1 thou knight of 

,christ2 ride forth in the name of the  
,lord1 defend the truth1 attain the     
martyr's crown2 thou art already an old 
manikin1 and ,i have heard thee say that
 thou gavest thyself only two years     
longer in which thou wilt still be fit  
for work4 ,employ these well1 then1 in  
the cause of the ,gospel and the true   
,christian faith4  ,more junketings1    
gamings1 collecting of outlandish       
things1 visits to religious and civic   
pageants1 new sketches and paintings1   
doctor's bills and monk's fees1 minutely
 recorded4 ,meister ,gerhard1 the       
illuminator1 has a daughter of eighteen 
years1 called ,susanna2 and she has     
illuminated a plate1 a ,saviour1 for    
which ,i gave a florin4 ,it is a great  
wonder that a woman should do so        
well6444 ,i have again and again done   
sketches and many other things in the   
service of different persons1 and for   
the most part of my work ,i have        
received nothing at all4  ,after ,corpus
 ,christi ,day1 ,drer sent off several  

bales of his acquisitions to ,nuremberg1
 by the wagoner ,cunz ,mez4 ,he and his 
wife then went to ,mechlin2 and the     
painters and sculptors entertained me at
 my inn1 and showed me great honor2 and 
,i went to ,popenreuther's house1 the   
cannon-founder1 and found many wonderful
 things there4 ,i have also seen the    
,lady ,margaret the ,archduchess and    
,regent1 and carried the portrait of the
 ,emperor1 which ,i intended to present 
to her2 but she took such a displeasure 
therein1 ,i brought it away with me     
again4 ,and on the ,friday she showed me
 all her beautiful things1 and amongst  
them ,i saw forty small pictures in oil1
 pure and good3 ,i have never seen finer
 miniatures4 ,and then ,i saw other good
 things of ,johann's ,van ,eyck and     
,jacob ,walch's4 ,i begged my ,lady to  
give me ,meister ,jacob's little book1  
but she said she had promised it to her 
painter4  ,drer seems to have been      
treated with scant courtesy by the      
,archduchess1 and soon returned to      

,antwerp4 ,here he was entertained by   
the eminent ,lucas van ,leyden1 for whom
 he made a portrait1 and received one of
 himself in return4 ,the stately        
,nuremberger and the diminutive artist  
of ,leyden were much astonished at each 
other's personal appearance1 but had a  
warm mutual respect and esteem4 ,drer   
next struck up a warm friendship with   
certain of the ,augustine monks1 and    
dined often at their cloister4 ,in      
addition to the bric--brac which he     
still continued to collect1 he now began
 to buy precious stones1 in which he was
 badly swindled by a ,frenchman1 and    
dolefully wrote1 ,i am a fool at a      
bargain4  ,he was now about to return   
home1 and naturally found it necessary1 
after having bought such a museum of    
oddities and curiosities1 to borrow     
enough money to take him to ,nuremberg4 
,his friend ,alexander ,imhoff lent him 
#ajj gold florins1 receiving ,drer's    
note in return4 ,in some bitterness of  
spirit he wrote3 ,in all my transactions

 in the ,netherlands1 with people both  
of high and low degree1 and in all my   
doings1 expenses1 sales1 and other      
trafficking1 ,i have always had the     
disadvantage2 and particularly the ,lady
 ,margaret1 for all ,i have given her   
and done for her1 has given me nothing  
in return4  ,on the eve of ,drer's      
departure1 the ,king of ,denmark1       
,christian ,,ii41 came to ,antwerp1 and 
not only had the master draw his        
portrait1 but also invited him to a     
dinner4 ,he then went to ,brussels1 on  
business for his new royal patron1 and  
was present at the pompous reception and
 banquet with which the ,emperor and the
 ,archduchess ,margaret received the    
,danish ,king4 ,soon afterwards the     
,king invited ,drer to the feast which  
he gave to the ,emperor and             
,archduchess2 and then had his portrait 
painted in oil-colors1 paying thirty    
florins for it4 ,after a sojourn of     
eight days in ,brussels1 the master and 
his wife went south to ,cologne1        

spending four long days on the road2 and
 soon afterwards prolonged their journey
 to ,nuremberg4  ,the municipality of   
,antwerp had offered him a house and a  
liberal pension1 to remain in that city2
 but he declined these1 being content   
with his prospects and his noble friends
 in ,franconia4     ,,chapter ,,vii4    
,nuremberg's ,reformation4--,the ,little
 ,masters4--,glass-,painting4           
--,architecture4--,letter to the ,city  
,council4--,art of ,mensuration4        
--,portraits4--,melanchthon4   ,what a  
commotion must ,drer's return have      
caused in ,nuremberg1 with his          
commission as court-painter1 and his    
bales and crates of rarities from       
,america and ,india and all ,europe6    
,the presents which he had brought for  
so many of his friends must have given  
the liveliest delight1 and afforded     
amusement for months to the ,sodalitas  
,literaria and the ,rath-,elders4  ,in  
the mean time the purifying storm of the
 ,reformation was sweeping over         

,germany1 and the people were in times  
of great doubt and perplexity4          
,nuremberg was the first of the free    
cities of the ,empire to pronounce      
herself ,protestant1 though the change  
was effected with so much order and     
moderation that no iconoclastic fury was
 allowed to dilapidate its churches and 
convents4 ,pirkheimer and ,spengler were
 excommunicated by the ,pope1 though    
their calm conservatism had curbed the  
fanatical fury of the puritans1 and     
saved the ,catholic art-treasures of the
 ,franconian capital4  ,it is a         
significant fact that ,drer1 during the 
last six years of his life1 made no more
 ,madonnas1 and but one ,holy ,family4  
,the era of ,mariolatry had passed1 so  
far as ,nuremberg was concerned4 ,yet1  
during the year of his return from the  
,netherlands1 he made two engravings of 
,st4 ,christopher bearing the ,holy     
,child safely above the floods and      
through the storms1 as if to indicate   
that ,christianity would be carried     

through all its disasters by an         
unfailing strength4  ,during the        
remaining six years of his life ,drer's 
art-works were limited to a few         
portraits and engravings1 and the great 
pictures of the ,four ,apostles4 ,much  
of his time was devoted to the          
publication of the fruits of his long   
experience1 in several literary         
treatises1 most of which are now lost4  
,his broken health would not allow of   
continuous work1 as the inroads of      
insidious disease slowly wasted his     
strength and ate away his vitality4     
,the ,little ,masters were a group of   
artists who were formed in the studio or
 under the influence of ,drer1 shining  
as a bright constellation of genius in  
the twilight of ,german art4 ,among     
these were the ,bavarian ,altdorfer1 who
 combined in his brilliant paintings and
 engravings both fantasy and            
romanticism2 the ,westphalian           
,aldegrever1 a laborious painter and a  
prolific engraver2 ,barthel ,beham1 who 

afterwards studied with and             
counterfeited the works of ,marc        
,antonio in ,italy2 ,hans ,sebald       
,beham1 who illustrated lewd fables and 
prayer books with equal skill and       
relish1 and was finally driven from     
,nuremberg2 ,jacob ,binck of ,cologne1 a
 neat and accurate draughtsman1 who     
removed to ,rome1 and engraved          
,raphael's works under the  supervision 
of ,marc ,antonio2 ,george ,pensz1 who  
also studied under the great ,italian   
engraver1 and executed #abf fine prints1
 besides several paintings4 ,other      
assistants and pupils of ,drer1 of whom 
little but their names are now          
remembered1 were ,hans ,brosamer of     
,fulda1 and ,hans ,springinklee4 ,hans  
von ,culmbach was a careful follower1   
who surpassed his master in love of     
nature and her warm and harmonious      
colors4 ,the ,tucher altar-piece in ,st4
 ,sebald's ,church was his              
master-picture4 ,contemporary with the  
,nuremberg painter1 ,matthew ,grunewald 

was doing excellent work at             
,aschaffenburg1 in northern ,franconia4 
,among the ,german artists of his time1 
he was surpassed only by ,drer and      
,holbein4  ,the ,diet of the ,empire was
 held at ,nuremberg in #aebb1 and the   
,rath-haus was repainted and decorated  
for its sessions4 ,drer was paid #ajj   
florins for his share in this work1     
although it is not known what it was4   
,the best of the paintings were executed
 by his pupil1 ,george ,pensz1 and it is
 probable that the master furnished some
 of the designs4  ,although our artist  
held a pension from the ,emperor as his 
court-painter1 his services seem to have
 never been called into requisition4    
,charles spent but little time at       
,nuremberg1 and while yet in his youth  
had no care for seeing himself portrayed
 on canvas4 ,it was after the master's  
death that the ,emperor first met       
,titian1 and retained him as            
court-painter4  ,in #aebb ,drer         
published at his own cost the first     

edition of the ,triumphal ,car of       
,kaiser ,maximilian1 a woodcut whose    
labored and ponderous allegorical idea  
was conceived by ,pirkheimer1 designed  
in detail by ,drer1 and engraved by     
,rsch on eight blocks1 forming a picture
 #g-a_/b feet long by #a-a_/b feet high4
 ,the ,emperor is shown seated in a     
chariot1 surrounded by female figures   
representing the abstract virtues1 while
 the leaders of the twelve horses1 and  
even the wheels and reins1 have         
magniloquent ,latin names4 ,maximilian  
was greatly interested in this work1 but
 died before its completion4 ,the first 
edition was accompanied by explanatory  
,german text1 and the second by ,latin  
descriptions4  ,the large woodcut of    
,ulrich ,varnbhler1 whom ,drer calls his
 single friend1 is one of the master's  
best works1 and was printed over with   
three blocks1 to produce a chiaroscuro4 
,a little later1 he made two            
copper-plates of the ,cardinal          
,archbishop ,albert of ,magdeburg and   

,mayence4  ,in #aebc1 while under the   
influence of the art-schools of the     
,lower ,rhine1 the master painted the   
pictures of ,sts4 ,joachim and ,joseph  
and ,st4 ,simeon and ,bishop ,lazarus1  
small figures on a gold ground4  ,drer's
 ,family ,relation records that1 ,my    
dear mother-in-law took ill on ,sunday1 
,aug4 #ah1 #aeba2 and on ,sept4 #bi1 at 
nine of the night1 she died piously4    
,and in #aebc1 on the ,feast of the     
,presentation1 early in the morning1    
died my father-in-law1 ,hans ,frey4 ,he 
had been ill for six years1 and had his 
share of troubles in his time4 ,they    
were buried in ,st4 ,john's ,cemetery1  
in the same lot where the remains of    
their illustrious son-in-law were       
afterwards laid4  ,it is said that ,drer
 largely occupied himself with          
glass-painting1 during the earlier part 
of his career2 and he probably designed 
much for the workers in stained glass   
then in ,upper ,germany and the ,low    
,countries4 ,lacroix says that he       

produced twenty windows for the ,temple 
,church at ,paris2 and ,holt attributes 
to him the church-windows at ,fairford1 
near ,cirencester4  ,as an architect    
,albert executed but few works1 and only
 a slight record remains to our day4 ,he
 made two plans for the ,archduchess    
,margaret1 and another for the house of 
her physician4 ,heideloff has proved    
that the gallery of the ,gessert house  
at ,nuremberg was built by ,drer1 in a  
strange combination of geometric and    
,renaissance forms4  ,pirkheimer's      
portrait was engraved in #aebd1 showing 
a gross and heavy face1 obese to the    
last degree1 and verifying in its       
physiognomy the probability that the    
playful innuendoes in ,drer's ,venetian 
letters were well grounded4 ,it is not  
easy to see how such a spirit1 learned  
in all the sciences of the age1 and in  
close communion with ,erasmus1          
,melanchthon1 and ,ulrich von ,hutten1  
could have worn such a drooping mask of 
flesh4 ,in the same year1 ,drer         

published an engraved portrait of       
,frederick the ,wise1 ,elector of       
,saxony1 the supporter of ,luther and   
the political leader of the             
,reformation4 ,the head is admirably    
drawn and full of character1 with       
firmness plainly indicated by strongly  
compressed lips4  ,the following letter 
to the ,council of ,nuremberg was       
written in the year #aebd3--            
,provident1 ,honorable1 ,wise1 and ,most
 ,favorable ,lords1--,by my      works  
and with the help of ,god1 ,i have      
acquired #a1jjj florins      of the     
,rhine1 and ,i would now willingly lay  
them by for my      support4 ,although  
,i know that it is not the custom with  
your      ,wisdoms to pay high interest1
 and that you have refused to      give 
one florin in twenty2 yet ,i am moved by
 my necessity1 by      the particularly 
favorable regard which your ,wisdoms    
have      ever shown towards me1 and    
also by the following causes1 to        
beg this thing of your ,honors4 ,your   

,wisdoms know that ,i have      always  
been obedient1 willing1 and diligent in 
all things      done for your ,wisdoms1 
and for the common ,state1 and for      
other persons of the ,rath1 and that the
 ,state has always had      my help1    
art1 and work1 whenever they were       
needed1 and that      without payment   
rather than for money2 for ,i can write 
with      truth1 that1 during the thirty
 years that ,i have had a house      in 
this town1 ,i have not had #ejj guldens'
 worth of work from      it1 and what ,i
 have had has been poor and mean1 and ,i
 have      not gained the fifth part for
 it that it was worth2 but all      that
 ,i have earned1 which ,god knows has   
only been by hard      toil1 has been   
from princes1 lords1 and other foreign  
persons4 ,also ,i have expended all my  
earnings from foreigners      in this   
town4 ,also your ,honors doubtless know 
that1 on      account of the many works 
,i had done for him1 the late           
,emperor ,maximilian1 of praiseworthy   

memory1 out of his own      imperial    
liberality granted me an exemption from 
the rates      and taxes of this town1  
which1 however1 ,i voluntarily gave     
up1 when ,i was spoken to about it by   
the ,elders of the ,rath1      in order 
to show honor to my ,lords1 and to      
maintain their      favor and uphold    
their customs and justice4              
,nineteen years ago the ,doge of ,venice
 wrote to me1 offering      me #bjj     
ducats a year if ,i would live in that  
city4 ,more      lately the ,rath of    
,antwerp1 while ,i remained in the ,low 
,countries1 also made me an offer1 #cjj 
florins of ,philippe a      year1 and a 
fair mansion to live in4 ,in both places
 all that      ,i did for the           
,government would have been paid over   
and above      the pension4 ,all of     
which1 out of my love for my honorable  
and wise ,lords1 for this town1 and for 
my ,fatherland1 ,i      refused1 and    
chose rather to live simply1 near your  
,wisdoms1      than to be rich and great

 in any other place4 ,it is therefore   
my dutiful request to your ,lordships1  
that you will take all      these things
 into your favorable consideration1 and 
accept      these thousand florins      
7which ,i could easily lay out with     
other worthy people both here and       
elsewhere1 but which ,i      would      
rather know were in the hands of your   
,wisdoms71 and      grant me a yearly   
interest upon them of fifty florins1 so 
that ,i and my wife1 who are daily      
growing old1 weak1 and      incapable1  
may have a moderate provision against   
want4 ,and ,i      will ever do my      
utmost to deserve your noble ,wisdoms'  
favor      and approbation1 as          
heretofore4  ,this touching letter shows
 the poverty of ,drer's savings1 and his
 sad feeling that he had lived as a     
prophet without honor in his own        
country4 ,it produced the desired       
effect1 and brought him five per cent on
 his little capital1 though after his   
death the ,council hastened to reduce it

 to four per cent4  ,drer's wide study  
and remarkable versatility1 rivalling   
that of ,leonardo da ,vinci1 found      
further expression in literary work4    
,camerarius states that he wrote a      
hundred and fifty different treatises1  
showing a marked proficiency in several 
of the sciences4 ,his first work was    
entitled ,instruction in the ,art of    
,mensuration1 c41 and was published in  
#aebe for the use of young painters4 ,it
 is composed of four books1 treating of 
the practical use of geometrical        
instruments1 and the drawing of volutes1
 ,roman letters1 and winding stairs2 and
 is illustrated by numerous woodcuts4   
,the fourth book elucidates the idea of 
perspective1 and contains pictures of an
 instrument devised by the author1 which
 will be found particularly useful to   
persons who are not sure of drawing     
correctly4 ,this was not the only       
invention of ,drer's2 for there still   
exists a small model of a gun-carriage  
in wood and iron1 made by him1 and      

exhibiting certain improvements which he
 had designed and advocated4 ,the ,art  
of ,mensuration was a successful book1  
and passed through one ,latin and three 
,german editions4  ,the finest of       
,drer's works in portraiture was        
executed in #aebf1 and represents the   
grand old ,jerome ,holzschuher1 one of  
the chief rulers of the city1 with all  
the strength and keenness of his heroic 
nature lighting up the canvas4 ,enormous
 sums have been offered for this work2  
but it is still faithfully preserved in 
,nuremberg1 and retains its original    
rich and vivid coloring4 ,another fine  
portrait1 like an antique bust1 now in  
the ,vienna ,belvedere1 shows ,johann   
,kleeberger1 the generous and charitable
 man who was known abroad as the good   
,german4 ,still another portrait of this
 year was that of the ,burgomaster      
,jacob ,mffel1 a well-modelled and      
carefully executed likeness of one of   
the master's best friends4 ,two very    
famous engravings of this date portray  

,erasmus of ,rotterdam and ,philip      
,melanchthon4 ,erasmus is represented as
 a venerable scholar1 sitting at a desk1
 with a pen in his hand and a soft cap  
on his head2 and the engraving is       
remarkable for its admirable execution  
and strong character4 ,still1 the old   
philosopher was not pleased with it1 and
 sent to ,sir ,thomas ,more his portrait
 by ,holbein1 which1 he said1 is much   
more like me than the one by the famous 
,albert ,drer4 ,when ,erasmus first saw 
the picture he said1 ,oh6 if ,i still   
resemble that ,erasmus1 ,i may look out 
for getting married1 as if it gave him  
too young an appearance4  ,in #aebf the 
wise and noble-hearted ,melanchthon came
 to ,nuremberg to establish a           
,protestant ,latin school1 and formed a 
close intimacy with the master1 whose   
tender and dreamy spirit was so like his
 own4 ,during their constant            
intercourse1 the artist became          
strengthened and comforted in the mild  
and pure doctrines of the true          

reformation1 and was quietly yet        
strongly influenced to abandon even the 
forms of ,catholicism which still       
remained4 ,drer published a fine        
engraving of this friend of his last    
years on earth1 showing                 
delicately-chiselled features1 with     
large and tender eyes and a lofty       
forehead4  ,melanchthon wrote that in   
one of his frequent conversations with  
,drer1 the artist explained the great   
change which his methods had undergone1 
saying1 ,in his youth he was fond of a  
florid style and great combination of   
colors1 and that in looking at his own  
work he was always delighted to find    
this diversity of coloring in any of his
 pictures2 but afterwards in his mature 
years he began to look more entirely to 
nature1 and tried to see her in her     
simplest form4 ,then he found that this 
simplicity was the true perfection of   
art2 and1 not attaining this1 he did not
 care for his works as formerly1 but    
often sighed when he looked at his      

pictures and thought of his incapacity4 
,,chapter ,,viii4   ,the ,four          
,apostles4--,drer's ,later ,literary    
,works4--,four ,books of                
,proportion4--,last ,sickness and       
,death4--,agnes ,drer4--,drer described 
by a ,friend4   ,schlegel says that     
,albert ,drer may be called the         
,shakespeare of ,painting2 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 originality4 ,the 
equal homage which was offered to him at
 ,venice and ,antwerp1 the two          
art-antipodes1 shows how highly he was  
regarded in his own day4 ,his earlier   
works were executed in the crude and    
angular methods of ,wohlgemuth and his  
contemporaries2 and most of the pictures
 now attributed to him1 often           
incorrectly1 are of this character4 ,but
 in his later works he swung clear of   
these trammelling archaisms1 and        
produced brilliant and memorable        

compositions4  ,the ,four ,apostles1 now
 in the ,munich ,pinakothek1 were       
,drer's last and noblest works1 and     
fairly justify ,pirkheimer's assurance1 
that if he had lived longer the master  
would have done many more wonderful1    
strange1 and artistic things4 ,they are 
full of grand thought and clear insight1
 free from exaggeration or              
conventionalism1 perfect in execution   
and harmonious simplicity1 and so       
distinct in individuality that it has   
been generally believed that the ,four  
,temperaments are here impersonated4 ,on
 one panel are ,sts4 ,john and ,peter1  
in life-size1 the former deeply         
meditating1 with the ,scriptures in his 
hand1 and the latter bending forward and
 earnestly reading the ,holy ,book4 ,the
 other panel shows the stately ,st4     
,paul1 robed in white1 standing before  
the ardent and impassioned ,st4 ,mark4  
,kugler calls these panels the first    
complete work of art produced by        
,protestantism2 and the truth and       

simplicity of the paintings prefigured  
the return of a pure and incorrupt      
faith4  ,late in #aebf1 ,drer sent these
 pictures to the ,rath of ,nuremberg1   
with the following letter3 ,provident1  
,honorable1 ,wise1 ,dear ,lords1--,i    
have been for some time past minded to  
present your ,wisdoms with something of 
my unworthy painting as a remembrance2  
but ,i have been obliged to give this up
 on account of the defects of my poor   
work1 for ,i knew that ,i should not    
have been well able to maintain the same
 before your ,wisdoms4 ,during this past
 time1 however1 ,i have painted a       
picture1 and bestowed more diligence    
upon it than upon any other painting2   
therefore ,i esteem no one worthier than
 your ,wisdoms to keep it as a          
remembrance2 on which account ,i present
 the same to you herewith1 begging you  
with humble diligence to accept my      
little present graciously and favorably1
 and to be and remain my favorable and  
dear ,lords1 as ,i have always hitherto 

found you4 ,this1 with the utmost       
humility1 ,i will sedulously endeavor to
 merit from your ,wisdoms4  ,the ,rath  
eagerly accepted this noble gift1 and   
hung the two panels in the ,rath-haus1  
sending also a handsome present of money
 to ,drer and his wife4 ,a century      
afterwards ,maximilian of ,bavaria saw  
and coveted the pictures1 and used      
bribery and threats alike to secure     
them4 ,in #afbg he accomplished his     
purpose2 and the ,rath1 fearful of his  
wrath and dreading his power1 sent the  
panels to ,munich4  ,the woodcut        
portrait of ,drer1 dated #aebg1 shows   
the worn face of a man of fifty-six     
years1 whose life has been stormy and   
sometimes unhappy4 ,it is much less     
beautiful than the earlier pictures1 for
 his long flowing hair and beard have   
both been cut short1 perhaps on account 
of sickness1 or in deference to the new 
puritan ideas4 ,the face is delicate and
 melancholy1 and seems to rest under the
 shadow of approaching death1 which is  

to be met with a calm and simple faith4 
,his second book1 entitled ,some        
,instruction in the ,fortification of   
,cities1 ,castles1 and ,towns1 appeared 
in #aebg1 and was dedicated to          
,ferdinand ,i41 and adorned with several
 woodcuts4 ,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 done4 ,much        
attention is paid to the proper         
sheltering of heavy artillery from      
hostile shot2 and the plans of the      
towers and bastions about ,nuremberg1   
which were built after ,drer's death1   
were suggested in this work4 ,a large   
contemporary woodcut by the master shows
 the siege of a city1 with cannon       
playing from the bastions1 and the      
garrison making a sortie against the    
enemy4  ,the celebrated ,four ,books of 
,human ,proportion was ,drer's greatest 
literary work1 and was completed about  
this time1 having been begun in #aebc4  

,its preparation was suggested by       
,pirkheimer1 to whom it was dedicated1  
and who published it after the author's 
death1 with a long ,latin elegy on him4 
,great labor was bestowed on this work1 
and many of the original sketches and   
notes are still preserved4 ,the first   
and second books show the correct       
proportions of the human body and its   
members1 according to scale1 dividing   
the body into seven parts1 each of which
 has the same measurement as the head1  
and then considering it in eighths4 ,the
 proportions of children are also       
treated of2 and the dogma is formulated1
 that the woman should be one-eighteenth
 shorter than the man4 ,the third book  
is devoted to transposing or changing   
these proportions1 and contains examples
 of distorted and unsymmetrical figures2
 and the fourth book treats of          
foreshortening1 and shows the human body
 in motion4 ,in his preface he says3    
,let no one think that ,i am            
presumptuous enough to imagine that ,i  

have written a wonderful book1 or seek  
to raise myself above others4 ,this be  
far from me6 for ,i know well that but  
small and mediocre understanding and art
 can be found in the following work4    
,the high appreciation in which this    
book was held appears from the fact that
 it passed through several ,german      
editions1 besides three ,latin1 two     
,italian1 two ,french1 ,portuguese1     
,dutch1 and ,english editions4 ,most of 
the original ,,ms4 is now in the        
,british ,museum4  ,among ,drer's other 
works were treatises on ,civic          
,architecture1 ,music1 the ,art of      
,fencing1 ,landscape-,painting1 ,colors1
 ,painting1 and the ,proportions of the 
,horse4  ,but the year #aebg was nearly 
barren of new art-works2 for the        
master's hand was losing its power1 and 
his busy brain had grown weary4 ,his    
constitution was slowly yielding before 
the fatal advances of a wasting disease1
 possibly the low fever which he had    
contracted in ,zealand1 or it may have  

been an affection of the lungs4 ,in the 
latter days he made a memorandum3       
,regarding the belongings ,i have       
amassed by my own handiwork1 ,i have not
 had a great chance to become rich1 and 
have had plenty of losses2 having lent  
without being repaid1 and my work-people
 have not reckoned with me2 also my     
agent at ,rome died1 after using up my  
property4 ,half of this loss was        
thirteen years ago1 and ,i have blamed  
myself for losses contracted at ,venice4
 ,still we have good house-furnishing1  
clothing1 costly things as earthenware  
maiolica1 professional fittings-up1     
bed-furnishings1 chests1 and cabinets2  
and my stock of colors is worth #ajj    
guldens4  ,the last design of the master
 was a drawing on gray paper1 showing   
,christ on the ,cross4 ,when this was   
all completed except the face of the    
,divine sufferer1 the artist was        
summoned by ,death1 and ascended to     
behold in glory the features which he   
had so often portrayed under the thorns4

  ,a violent attack of his chronic      
disease prostrated him so far that he   
was unable to rally2 and after a brief  
illness he passed gently away1 on the   
#fth of ,april1 #aebh4 ,it was the      
anniversary of the day on which ,raphael
 died1 eight years before4 ,his friends 
were startled and grief-stricken at his 
sudden death1 which came so unexpectedly
 that even ,pirkheimer was absent from  
the city4 ,it was long supposed that he 
died of the plague1 on the evidence of a
 portrait-drawing of himself1 showing   
him pointing to a discolored plague-spot
 on his side1 and inscribed1 ,where my  
fingers point1 there ,i suffer4 ,it was 
said that this sketch was for the       
information of his doctor1 who dared not
 visit the pestilence-stricken          
sick-chamber4 ,but this hypothesis is no
 longer considered tenable4  ,the       
remains of the master were buried in the
 lot of his father-in-law1 ,hans ,frey1 
at the ,cemetery of ,st4 ,john1 beyond  
the walls2 and his monument bore        

,pirkheimer's simple epitaph3 ,,me4     
,,al4 ,,du4 ,,quicquid ,,alberti        
,,dureri ,,mortale ,,fuit1 ,,sub ,,hoc  
,,conditur ,,tumulo4 ,,emigravit ,,viii 
,,idus ,,aprilis1 ,,mdxxviii4 ,a4,d4    
,on ,easter ,sunday1 #ahbh1 the third   
centenary of his death1 a great         
procession of artists and scholars from 
all parts of ,germany moved in solemn   
state from ,nuremberg to the grave of   
,drer1 where they sang hymns4       ,in 
the valley of the ,pegnitz1 where across
 broad meadowlands      ,rise the blue  
,franconian mountains1 ,nuremberg the   
ancient stands4       ,quaint old town  
of toil and traffic1 quaint old town of 
art and song1      ,memories haunt thy  
pointed gables1 like the rooks that     
round them throng4       ,memories of   
the ,middle ,ages1 when the emperors    
rough        and bold      ,had their   
dwelling in thy castle1 time-defying1   
centuries        old2       ,and thy    
brave and thrifty burghers boasted1 in  
their        uncouth rhyme1      ,that  

their great imperial city stretched its 
hand through        every clime4        
,in the courtyard of the castle1 bound  
with many an iron        band1          
,stands the mighty linden planted by    
,queen ,cunigunde's        hand2        
,on the square the oriel window1 where  
in old heroic days      ,sat the poet   
,melchior singing ,kaiser ,maximilian's 
praise4       ,everywhere ,i see around 
me rise the wondrous world of           
,art1      ,fountains wrought with      
richest sculpture standing in the       
common mart2       ,and above cathedral 
doorways1 saints and bishops carved in  
stone1      ,by a former age            
commissioned as apostles to our own4    
,in the church of sainted ,sebald sleeps
 enshrined his holy        dust1        
,and in bronze the ,twelve ,apostles    
guard from age to age        their      
trust3       ,in the church of sainted  
,lawrence stands a pix of sculpture     
rare1      ,like the foamy sheaf of     
fountains1 rising through the painted   

air4       ,here1 when ,art was still   
religion1 with a simple1 reverent       
heart1      ,lived and labored ,albrecht
 ,drer1 the ,evangelist of ,art2        
,hence in silence and in sorrow1 toiling
 still with busy hand1      ,like an    
emigrant he wandered1 seeking for the   
,better ,land4       ,emigravit is the  
inscription on the tombstone where he   
lies3      ,dead he is not1 but         
departed1 for the artist never dies4    
,,longfellow4  ,pirkheimer wrote to     
,ulrich1 ,although ,i have been often   
tried by the death of those who were    
dear to me1 ,i think ,i have never until
 now experienced such sorrow as the loss
 of our dearest and best ,drer has      
caused me4 ,and truly not without cause2
 for1 of all men who were not bound to  
me by ties of blood1 ,i loved and       
esteemed him the most1 on account of his
 countless merits and rare integrity4   
,as ,i know1 my dear ,ulrich1 that you  
share my sorrow1 ,i do not hesitate to  
allow it free course in your presence1  

so that we may consecrate together a    
just tribute of tears to our dear       
friend4 ,he has gone from us1 our       
,albert6 ,let us weep1 my dear ,ulrich1 
over the inexorable fate1 the miserable 
lot of man1 and the unfeeling cruelty of
 death4 ,a noble man is snatched away1  
whilst so many others1 worthless and    
incapable men1 enjoy unclouded          
happiness1 and have their years         
prolonged beyond the ordinary term of   
man's life4  ,pirkheimer died two years 
after ,drer's death1 and was buried near
 him4 ,during his last days1 and        
therefore so long after his friend's    
decease that the first violence of his  
emotions had fully subsided1 and his    
mind had become calm1 he wrote to ,herr 
,tschertte of ,vienna1 and gave the     
following arraignment of the widow      
,drer3 ,truly ,i lost in ,albert the    
best friend ,i ever had in the world1   
and nothing grieves me so much as to    
think that he died such an unhappy      
death2 for after the providence of ,god 

,i can ascribe it to no one but his     
wife1 who so gnawed at his heart1 and   
worried him to such a degree1 that he   
departed from this world sooner than he 
would otherwise have done4 ,he was dried
 up like a bundle of straw1 and never   
dared to be in good spirits1 or to go   
out into society4 ,for this bad woman   
was always anxious1 although really she 
had no cause to be2 and she urged him on
 day and night1 and forced him to hard  
work only for this1--that he might earn 
money1 and leave it to her when he died4
 ,for she always feared ruin1 as she    
does still1 notwithstanding that ,albert
 has left her property worth about six  
thousand gulden4 ,but nothing ever      
satisfied her2 and in short she alone   
was the cause of his death4 ,i have     
often myself expostulated with her about
 her suspicious1 blameworthy conduct1   
and have warned her1 and told her       
beforehand what the end of it would be2 
but ,i have never met with any thing but
 ingratitude4 ,for whoever was a friend 

of her husband's1 and wished him well1  
to him she was an enemy2 which troubled 
,albert to the highest degree1 and      
brought him at last to his grave4 ,i    
have not seen her since his death3 she  
will have nothing to do with me1        
although ,i have been helpful to her in 
many things2 but one cannot trust her4  
,she is always suspicious of anybody who
 contradicts her1 or does not take her  
part in all things1 and is immediately  
an enemy4 ,therefore ,i would much      
rather she should keep away from me4    
,she and her sister are not loose       
characters1 but1 as ,i do not doubt1    
honorable1 pious1 and very ,god-fearing 
women2 but one would rather have to do  
with a light woman who behaved in a     
friendly manner1 than with such a       
nagging1 suspicious1 scolding1 pious    
woman1 with whom a man can have no peace
 day or night4 ,we must1 however1 leave 
the matter to ,god1 who will be gracious
 and merciful to our good ,albert1 for  
he lived a pious and upright man1 and   

died in a very ,christian and blessed   
manner2 therefore we need not fear his  
salvation4 ,god grant us grace1 that we 
may happily follow him when our time    
comes6  ,it is said that ,raphael1 after
 studying ,drer's engravings1 exclaimed1
 ,of a truth this man would have        
surpassed us all if he had had the      
masterpieces of art constantly before   
his eyes as we have4 ,even so at the    
present day is it seen1 that if ,drer   
had studied classic art1 and imbibed its
 principles1 he might have added a rare 
beauty to the weird ugliness and        
solemnity of his designs1 and           
substituted the sweet ,graces for the   
grim ,walkyrie4 ,yet in that case the   
world would have lost the fascinations  
of the sad and profound ,nuremberg      
pictures1 with their terrific realism   
and fantastic richness4  ,italy did not 
disdain to borrow the ideas of the      
transalpine artist2 and even ,raphael   
took the design of his famous picture of
 ,the ,entombment 7,lo ,spasimo7 from   

,drer's picture in ,the ,great ,passion4
 ,titian borrowed from his ,life of the 
,virgin the figure of an old woman1     
which he introduced in his ,presentation
 in the ,temple4 ,the ,florentine       
,pontormo copied a whole landscape from 
one of ,drer's paintings2 and ,andrea   
del ,sarto received many direct         
suggestions from his works4       ,it is
 very surprising in regard to that man1 
that in a      rude and barbarous age he
 was the first of the ,germans who      
not only arrived at an exact imitation  
of nature1 but has      likewise left no
 second2 being so absolute a master of  
it in      all its parts1--in etching1  
engraving1 statuary1      architecture1 
optics1 symmetry1 and the rest1--that he
 had      no equal except ,michael      
,angelo ,buonarotti1 his contemporary   
and rival2 and he left behind him such  
works as were too      much for the life
 of one man4--,,john ,,andreas4  ,in the
 preface to his ,latin translation of   
,the ,four ,books of ,human ,proportion1

 the ,rector ,camerarius says3 ,nature  
gave our ,albert a form remarkable for  
proportion and height1 and well suited  
to the beautiful spirit which it held   
therein2 so that in his case she was not
 unmindful of the harmony which         
,hippocrates loves to dwell upon1       
whereby she assigns a grotesque body to 
the grotesquely-spirited ape1 while she 
enshrines the noble soul in a befitting 
temple4 ,he had a graceful hand1        
brilliant eyes1 a nose well-formed1 such
 as the ,greeks call ,greek3 ,tetragnon1
 the neck a little long1 chest full1    
stomach flat1 hips well-knit1 and legs  
straight4 ,as to his fingers1 you would 
have said that you never saw any thing  
more graceful4 ,such1 moreover1 was the 
charm of his language1 that listeners   
were always sorry when he had finished  
speaking4  ,he did not devote himself to
 the study of literature1 though he was 
in a great measure master of what it    
conveys1 especially of natural science  
and mathematics4 ,he was well acquainted

 with the principal facts of these      
sciences1 and could apply them as well  
as set them forth in words3 witness his 
treatises on geometry1 in which there is
 nothing to be desired that ,i can find1
 at least so far as he has undertaken to
 treat the subject4444 ,but ,nature had 
especially designed him for painting1   
which study he embraced with all his    
might1 and was never tired of           
considering the works and methods of    
celebrated painters1 and learning from  
them all that commended itself to       
him4444 ,if he had a fault it was this3 
that he worked with too untiring        
industry1 and practised a degree of     
severity towards himself that he often  
carried beyond bounds4      ,a ,,list   
,,of  ,,albert ,d,,rer',s ,,chief       
,,paintings   ,,now ,,in ,,existence1   
,,with ,,the ,,dates ,,of ,,their       
,,execution1 ,,and ,,their  ,,present   
,,locations4  ,the interrogation-mark is
 annexed to the titles of certain       
paintings which two or more critics     

regard as of doubtful authenticity4     
,,germany4  ,,nuremberg4--,germanic     
,museum1--,emperor ,maximilian2         
,burgomaster ,holzschuher1 #aebf4 ,st4  
,maurice ,gallery1--,piet2 ,ecce ,homo4 
,rath-,haus1--,emperor ,sigismund7872   
,charlemagne7874  ,,munich              
,,pinakothek4--,baumgrtner ,altar-piece1
 #aeac2 ,suicide of ,lucretia1 #aeah2   
,albert ,drer1 #aejj2 ,oswald ,krell1   
#adii2 ,michael ,wohlgemuth1 #aeaf2     
,albert ,drer the ,elder1 #adig2 the    
,nativity2 ,sts4 ,paul and ,mark1 #aebf2
 ,sts4 ,peter and ,john1 #aebf2 a       
,knight in ,armor7872 ,sts4 ,joachim and
 ,joseph1 #aebc2 ,st4 ,simeon and       
,bishop ,lazarus1 #aebc2 ,death of the  
,virgin2 a ,young ,man1 #aejj2 ,piet7872
 ,mater ,dolorosa4  ,,dresden           
,,museum4--,christ ,bearing the ,cross2 
the ,crucifixion2 a ,hare2 ,lucas van   
,leyden2 ,madonna and ,saints 7874      
,,cologne4--,museum1--,drummer and      
,piper2 ,madonna 7874 ,church of ,sta4  
,maria im ,capitol1--,death of the      

,virgin4  ,,frankfort4--,municipal      
,gallery1--,two portraits4 ,stdel       
,institute1--,catherine ,frleger2       
,albert ,drer the ,elder4               
,,cassel4--,friedrich ,museum1--,the    
,passion4 ,bellevue1--,erasmus of       
,rotterdam4  ,,pommersfelden4--,jacob   
,mffel4  ,,lustschena 7,baron           
,speck74--,a ,young ,lady4              
,,aschaffenburg4--,albert ,drer4        
,,augsburg4--,two ,masques4 ,several    
others in the ,castle of ,stolzenfels4  
,,austria4                              
,,vienna4--,belvedere1--,emperor        
,maximilian1 #aeai2 ,martyrdom of the   
,ten ,thousand ,christians1 #aejh2      
,madonna1 #aejf2 ,adoration of the      
,magi1 #aejd2 ,madonna1 #aejc2          
,adoration of the ,holy ,trinity1 #aeaa2
 ,madonna2 ,young ,man1 #aejg2 ,johann  
,kleeberger1 #aebf2 and others not      
definitely authenticated4 ,the          
,albertina1--,emperor ,maximilian1      
,green ,passion1 and #afj drawings4     
,czernin ,palace1--,portrait4 ,the old  

,ambraser1 ,lichtenstein1 and ,von      
,lamberg collections included four      
portraits and two religious pictures4   
,st4 ,wolfgang's ,church1 ,upper        
,austria1--,death of the ,virgin4       
,,pesth4--,christ on the ,cross4        
,,prague4--,strahow ,abbey1--,the ,feast
 of ,rose ,garlands4   ,,northern       
,,europe4  ,,st4                        
,,petersburg4--,hermitage               
,palace1--,christ ,led to ,calvary2     
,christ ,bearing the ,cross2 the        
,elector of ,saxony4  ,hague            
,museum4--,two portraits4  ,beloeil     
7,prince de ,ligne71--,two pictures4    
,basle ,museum 7,switzerland74--,two    
pictures4  ,coire ,cathedral1--,christ  
,bearing the ,cross4   ,,italy4         
,,florence4--,uffizi                    
,gallery1--,adoration of the ,magi1     
#aejd2 ,madonna1 #aebf2 ,drer's ,father1
 #adij2 ,apostle ,philip1 #aeaf2 ,st4   
,james the ,great1 #aeaf2 ,albert ,drer1
 #adih2 ,ecce ,homo 7872 ,nativity 7872 
,piet 7874 ,pitti ,palace1--,adam and   

,eve 7replica74  ,,rome4--,barberini    
,palace1--,christ among the ,doctors1   
#aejf4 ,borghese ,palace1--,louis ,,vi4 
of ,bavaria2 ,pirkheimer1 #aeje2 and    
five pictures of dubious authenticity4  
,corsini ,palace1--,a ,hare2 ,cardinal  
,albert of ,brandenburg4 ,doria         
,palace1--,st4 ,eustace 7872 ,ecce ,homo
 7874 ,sciarra-,colonna ,palace1--,death
 of the ,virgin4  ,,milan4--,casa       
,trivulzi1--,ecce ,homo1 #aead4         
,ambrosiana1--,coronation of the        
,virgin1 #aeaj4 ,bergamo                
,academy1--,christ ,bearing the ,cross4 
,brescia ,gallery1--,drawings4          
,,venice4--,manfrini                    
,palace1--,adoration of the ,shepherds2 
,holy ,family4                          
,,naples4--,santangelo1--,garland-,beare
r1 #aejh4 ,museum1--,nativity1 #aeab4   
,villafranca ,palace1--,christ on the   
,cross4   ,,spain4                      
,,madrid4--,museum1--,albert ,drer1     
#adih2 ,drer's ,father2 ,adam and ,eve4 
,marquis of ,salamanca1--,altar-piece1 a

 ,passion scene4   ,,france4  ,besanon  
,museum4--,christ on the ,cross4        
,lyons1--,madonna and ,child ,giving    
,roses to ,maximilian 7874   ,,great    
,,britain4  ,national ,gallery1--,a     
,senator1 #aead4 ,stafford ,house1      
,death of the ,virgin4 ,hampton-,court  
,palace1--,young ,man1 #aejf2 ,st4      
,jerome 7874 ,buckingham                
,palace1--,virgin and ,child4 ,rev4 ,j4 
,f4 ,russell1 --,crucifixion2 ,christ's 
,farewell to ,mary 7874 ,thirlestaine   
,house1--,maximilian4 ,kensington       
,palace1--,young ,man4 ,new ,battle     
,house1--,madonna and ,angels4 ,belvoir 
,castle1--,portrait4 ,sion              
,house1--,drer's ,father4 ,mr4 ,wynn    
,ellis1 ,london1--,catherine ,frleger2  
,virgin and ,child4 ,fitz,william       
,museum1 ,cambridge1 --,annunciation    
7874 ,windsor ,castle1--,pirkheimer4    
,bath ,house1--,man in ,armor4 ,howard  
,castle1--,vulcan2 ,adam and ,eve2      
,abraham and ,isaac4  ,the latest of the
 lists of ,drer's paintings1 compiled by

 ,mr4 ,w4 ,b4 ,scott in #ahgj1          
enumerates the following collections1   
long since dispersed1 with the dates    
when they were cataloged3 #aa pictures  
at ,aix1 in #ahbb2 #b at ,anspach1      
#ahaf2 #e at ,augsburg1 #ahbb2 #aj at   
,bamberg1 #ahba2 #b at ,banz1 #ahad2 #d 
at ,berlin1 #ahbb2 #c at ,blankenberg1  
#ahag2 #c at ,bologna1 #agcj2 #c at     
,breslau1 #agda2 #f at ,brussels1 #ahaa4
 ,many of these cannot now be located1  
the collections having been broken up4  
,a ,,list ,,of  ,d,,rer',s ,,wood       
,,engravings4   ,bible ,subjects4--,cain
 ,killing ,abel2 ,samson ,slaying the   
,lion2 ,adoration of the ,magi1 #aeaa2  
the ,last ,supper1 #aebc2 the ,mount of 
,olives2 ,pilate ,showing ,christ to the
 ,jews2 the ,sudarium2 ,ecce ,homo2 the 
,crucifixion1 #aeaj2 the ,crucifixion1  
#aeaf2 ,calvary2 the ,crucifixion2      
,christ on the ,cross1 with ,angels2 the
 ,trinity1 #aeaa2 the ,holy ,family1    
#aeaa2 the ,holy ,family with a ,guitar1
 #aeaa2 the ,holy ,family1 #aebf2 the   

,holy ,family in a ,chamber2 the ,virgin
 with the ,swaddled ,child2 the ,virgin 
,crowned by ,angels1 #aeah2 the ,holy   
,family with ,three ,rabbits4           
,saints4--,st4 ,arnolf1 ,bishop2 ,st4   
,christopher1 #aeaa2 ,st4 ,christopher  
with the ,birds2 ,st4 ,christopher1     
#aebe2 ,st4 ,colman of ,scotland1 #aeac2
 ,st4 ,francis ,receiving the ,stigmata2
 ,st4 ,george2 the ,mass of ,st4        
,gregory1 #aeaa2 ,st4 ,jerome in a      
,chamber1 #aeaa2 ,st4 ,jerome in the    
,grotto1 #aeab2 the ,little ,st4        
,jerome2 the ,beheading of ,st4 ,john   
the ,baptist2 the ,head of ,st4 ,john   
brought to ,herod1 #aeaa2 ,st4 ,sebald2 
the ,penitent2 ,elias and the ,raven2   
,sts4 ,john and ,jerome2 ,sts4          
,nicholas1 ,udalricus1 and ,erasmus2    
,sts4 ,stephen1 ,gregory1 and ,lawrence2
 the ,eight ,austrian ,saints2 the      
,martyrdom of ,ten ,thousand            
,christians2 the ,beheading of ,st4     
,catherine2 ,st4 ,mary ,magdalen4       
,portraits4--,the ,emperor ,maximilian1 

#aeai2 the ,emperor2 ,ulrich ,varnbhler1
 #aebb2 ,albert ,drer1 #aebg4  ,heraldic
 ,subjects4--,the ,beham ,arms2 the     
,drer ,arms1 #aebc2 the ,ebner-,furer   
,arms1 #aeaf2 the ,kressen ,arms2 the   
,shield of ,nuremberg2 the ,shield with 
three ,lions' ,heads2 the ,shield with a
 ,wild ,man and two ,dogs2 the          
,scheurl-,zuiglin ,arms2 the ,stabius   
,arms2 the ,staiber ,arms4              
,miscellaneous ,subjects4--,the         
,judgment of ,paris2 ,hercules2 the     
,rider2 the ,bath2 the ,embrace2 the    
,learner1 #aeaj2 ,death and the         
,soldier1 #aeaj2 the ,besieged ,city1   
#aebg2 the ,rhinoceros1 #aeae2 the      
,triumphal ,chariot of ,maximilian1     
#aebb2 the ,great ,column1 #aeag2 a ,man
 ,sketching2 two ,men ,sketching a      
,lute2 a ,man ,sketching a ,woman2 a    
,man ,sketching an ,urn2 ,hemispherium  
,australe2 ,imagines ,coeli             
,septentrionalis2 ,imagines ,coeli      
,meridionalis2 the ,pirkheimer          
,title-border2 six ,ornamental designs2 

two title-borders4  ,the ,great ,passion
 7#ab cuts2 #aeaj74--;,ecce ,homo2 the  
,last ,supper2 the ,agony in the        
,garden2 the ,seizing of ,christ2 the   
,flagellation2 the ,mocking2 ,bearing   
the ,cross2 the ,crucifixion2 ,christ in
 ,hades2 the ,wailing ,maries2 the      
,entombment2 the ,resurrection4  ,the   
,little ,passion 7#cg cuts2             
#aeaa74--;,ecce ,homo2 ,adam and ,eve2  
the ,expulsion from ,eden2 the          
,annunciation2 the ,nativity2 the ,entry
 into ,jerusalem2 the ,cleansing of the 
,temple2 ,christ's ,farewell to ,his    
,mother2 the ,last ,supper2 the ,washing
 of the ,feet2 the ,agony in the        
,garden2 the ,kiss of ,judas2 ,christ   
before ,annas2 ,caiaphas ,rends his     
,clothes2 the ,mocking2 ,christ and     
,pilate2 ,christ before ,herod2 the     
,scourging2 the ,crowning with ,thorns2 
,christ ,shown to the ,jews2 ,pilate    
,washing his ,hands2 ,bearing the       
,cross2 the ,veronica2 ,nailing ,christ 
to the ,cross2 the ,crucifixion2        

,descent into ,hell2 the ,descent from  
the ,cross2 the ,weeping ,maries2 the   
,entombment2 the ,resurrection2 ,christ 
in ,glory ,appearing to ,his ,mother2   
,appearing to ,mary ,magdalen2 at       
,emmaus2 the ,unbelief of ,st4 ,thomas2 
the ,ascension2 the ,descent of the     
,holy ,ghost2 the ,last ,judgment4  ,the
 ,life of the ,virgin 7#bj designs2     
#aeaa74--,the ,virgin and ,child2       
,joachim's ,offering ,rejected2 the     
,angel ,appears to ,joachim2 ,joachim   
,meeting ,anna2 the ,birth of ,mary2 the
 ,virgin's ,presentation at the ,temple2
 the ,betrothal of ,mary and ,joseph2   
the ,annunciation2 the ,visitation of   
,st4 ,elizabeth2 the ,nativity2 the     
,circumcision2 the ,purification of     
,mary2 the ,flight into ,egypt2 the     
,repose in ,egypt2 ,christ ,teaching in 
the ,temple2 ,christ's ,farewell to ,his
 ,mother2 the ,death of the ,virgin2 the
 ,assumption2 the ,virgin and ,child    
with seven ,saints4  ,the ,apocalypse of
 ,st4 ,john 7#af designs2 #adih74--,the 

,virgin and ,child ,appearing to ,st4   
,john2 ,his ,attempted ,martyrdom2 the  
,seven ,golden ,candlesticks and the    
,seven ,stars2 the ,throne of ,god with 
the ,four-and-twenty ,elders and the    
,beasts2 the ,descent of the ,four      
,horses2 the ,martyrs ,clothed in ,white
 and the ,stars ,falling2 the ,four     
,angels ,holding the ,winds1 and the    
,sealing of the ,elect2 the ,seven      
,angel ,trumpeters and the ,glorified   
,host of ,saints2 the ,four ,angels     
,slaying the ,third ,part of ,men2 ,john
 is ,made to ,eat the ,book2 the ,woman 
,clothed with the ,sun1 and the         
,seven-headed ,dragon2 ,michael and his 
,angels ,fighting the ,great ,dragon2   
the ,worship of the ,seven-headed       
,dragon2 the ,lamb in ,zion2 the ,woman 
of ,babylon ,sitting on the ,beast2 the 
,binding of ,satan for a ,thousand      
,years4  ,there are #bfa other          
wood-engravings described in the        
catalogue attached to ,scott's ,life of 
,drer1 and ranked as doubtful4 ,many of 

these are held to be authentic by one or
 more of the three critical authorities 
on ,drer's works1--,heller1 ,bartsch1   
and ,passavant4 ,other connoisseurs1    
however1 ascribe them to different      
engravers of the early ,german schools1 
mostly to pupils and colleagues of      
,drer4   ,,engravings ,,on ,,copper4    
,bible-,subjects4--,adam and ,eve1      
#aejd2 the ,nativity1 #aejd2 the        
,passion on copper 7#af designs71       
#aejh-ac2 ,crucifixion1 #aejh1 #aeaa2   
,little ,crucifixion1 #aeac2 ,christ    
,showing ,his ,five ,wounds2 ,angel with
 the ,sudarium1 #aeaf2 two ,angels with 
the ,sudarium1 #aeac2 the ,prodigal     
,son1 #aejj2 the ,virgin and ,anna2     
,mary on the ,crescent ,moon1 no date2  
,mary on the ,crescent ,moon1 #aead2    
,mary with a ,crown of ,stars1 #aejh2   
,mary with the ,starry ,crown and       
,sceptre1 #aeaf2 ,mary ,crowned by an   
,angel1 #aebj2 ,mary ,crowned by two    
,angels1 #aeah2 the ,nursing ,mary1     
#aejc2 the ,nursing ,mary1 #aeai2 ,mary 

with the ,swaddled ,child1 #aebj2 ,mary 
under a ,tree1 #aeac2 ,mary by the      
,well1 #aead2 ,mary with the ,pear1     
#aeaa2 ,mary with the ,monkey1 no date2 
the ,holy ,family with the ,butterfly1  
early work4  ,saints4--,st4 ,philip2    
,st4 ,bartholomew1 #aebc2 ,st4 ,thomas1 
#aead2 ,st4 ,simon1 #aead2 ,st4 ,paul1  
#aead2 ,st4 ,anthony1 #aeai2 ,st4       
,christopher1 #aeba2 ,st4 ,christopher1 
second design2 ,st4 ,john ,chrysostom2  
,st4 ,eustace1 no date2 ,st4 ,george2   
,equestrian ,st4 ,george1 #aejh2 ,st4   
,jerome1 #aead2 ,st4 ,jerome ,praying2  
the same1 smaller1 #aeac2 ,st4          
,sebastian2 ,st4 ,sebastian ,bound to a 
,pillar4  ,miscellaneous4--,the         
,judgment of ,paris1 #aeac2 ,apollo and 
,diana2 the ,rape of ,amymone2          
,jealousy2 the ,satyr's ,family1 #aeje2 
,justice2 the ,little ,fortune2 the     
,great ,fortune2 ,melencolia1 #aead2 the
 ,dream2 the ,four ,naked ,women1 #adig2
 the ,witch2 ,three ,cupids2 ,gentleman 
and ,lady ,walking2 the ,love ,offer2   

the ,wild ,man ,seizing a ,woman1 early 
work2 the ,bagpiper1 #aead2 the ,dancing
 ,rustics1 #aead2 the ,peasant and his  
,wife2 ,peasant ,going to ,market2      
,three ,peasants2 the ,cook and the     
,housekeeper2 the ,turk and his ,wife2  
the ,standard-bearer2 the ,six          
,soldiers2 the ,little ,courier2 the    
,equestrian ,lady2 the ,great ,white    
,horse1 #aeje2 the ,small ,white ,horse1
 #aeje2 the ,knight1 ,death1 and the    
,devil1 #aeac2 the ,monster ,pig2 the   
,coat-of-arms with the ,cock1 #aead2 the
 ,coat-of-arms and ,death's ,head1      
#aejc4  ,portraits4--,the               
,cardinal-,archbishop ,albert of        
,mayence1 #aeai1 #aebb2 larger portrait 
of the same2 ,frederick the ,wise1      
,elector of ,saxony1 #aebd2 ,erasmus of 
,rotterdam1 #aebf2 ,philip ,melanchthon1
 #aebf2 ,willibald ,pirkheimer1 #aebd4  
,etchings4--,christ with ,bound ,hands1 
#aeab2 ,ecce ,homo1 #aeae2 ,christ on   
the ,mount of ,olives1 #aeae2 the ,holy 
,family2 ,st4 ,jerome2 ,pluto and       

,proserpine2 the ,bath2 the ,cannon4    
,,index4    ,adam and ,eve1 #de1 #eg4   
,adoration of the ,kings1 #de4          
,adoration of the ,trinity1 #fb1 #fh4   
,aix-la-,chapelle1 #aje4  ,aldegrever1  
#abj4  ,altdorfer1 #abj4  ,antwerp1 #ig1
 #ajf1 #aag1 #abf4    -- ,cathedral1    
#ii1 #aaj4  ,architectural ,works1 #abc4
  ,art of ,mensuration1 #abg4           
,augsburg1 #ia4   ,bamberg1 #dd1 #if4   
,basle1 #bf4  ,baumgrtner1 #ad1 #ci1    
#eb1 #gg1 #gh4  ,behaim1 ,martin1 #ab4  
,beham1 #abj4  ,beheim1 ,hans1 #aa4     
,bellini1 ,giovanni1 #dh1 #ej4          
,bergen-op-,zoom1 #ajg1 #aji4  ,bernard 
van ,orley1 #ajj4  ,binck1 #abj4  ,birth
 of ,st4 ,john1 #ff4  ,bois-le-,duc1    
#ajf4  ,bruges1 #aaj4  ,brussels1 #ajj4 
,bullman1 #ab4   ,calvary1 #de4         
,camerarius1 #ad1 #ade4  ,carvings1 #eg1
 #ff4  ,celtes1 ,conrad1 #ac4           
,chelidonius1 #ac1 #gj1 #ga4            
,coat-of-,arms1 #di1 #ge4  ,colmar1 #bc1
 #bf4  ,cologne1 #if1 #ajf1 #aag4       
,colvin1 ,sidney1 #cd4  ,confirmatia1   

,the1 #ajf4  ,coronation of the ,virgin1
 #fa4   ,danger at ,sea1 #ajg4  ,death  
of ,parents1 #dj1 #hc4  ,death of the   
,virgin1 #ij4  ,delayed ,pensions1 #hg1 
#ib4  ,denmark's ,king1 #aaf4           
,drawings1 #db4  ,drer1 ,albert1 the    
,elder1 #ae1 #bj1 #bc1 #dj4    --       
,agnes1 #bh1 #eb1 #ed1 #adb4    --      
,andreas1 #af1 #da1 #ec1 #fh4    --     
,anthony1 #ae4    -- ,barbara1 #ae1 #da1
 #hc4    -- ,hans1 #da1 #ea1 #fi4    -- 
,nicholas1 #if4  ,drer's ,house1 #fc4   
-- ,marriage1 #bh4    -- ,poetry1 #fd4  
-- ,portraits1 #bg1 #cf1 #ci1 #aje1     
#acd4   ,early ,drawings1 #ai4          
,engravings1 #ca1 #fj4  ,erasmus1 #ii1  
#aaj1 #aad1 #abi4  ,etchings1 #hf4      
,eytas1 #ae1 #gi4   ,fever1 ,the1 #aab4 
,flemish ,feasts1 #ig1 #aji1 #aaa4      
,flemish ,wealth1 #ie4  ,fortifications1
 ,treatise on1 #acd4  ,four ,apostles1  
,the1 #aca4  ,francia1 #ee4  ,frey      
,family1 #bi1 #abc4   ,ghent1 #aaa4     
,glass-,painting1 #abc4  ,great ,column1
 ,the1 #hh4  ,great ,passion1 ,the1 #fi4

  ,green ,passion1 ,the1 #db4           
,grunewald1 #aba4   ,haller ,family1    
#ae4  ,heller1 ,jacob1 #eh1 #ei1 #if4   
,holzschuher1 #abh4  ,human             
,proportions1 #ace4   ,imhoff           
,collection1 ,the1 #dc4  ,inventions1   
#abh4   ,karl1 ,eucharius1 #ci1 #eb4    
,knight1 ,death1 etc41 #gf4  ,koberger1 
#i1 #ag4  ,kornelisz1 #ab4  ,kraft1 #aa4
   ,landuer1 #fb4  ,letters to the      
,rath1 #abd1 #acb4  ,life of the        
,virgin1 #ga4  ,lindenast1 #aa4         
,literary ,work1 #abg4  ,little         
,crucifixion1 ,the1 #gh4  ,little       
,masters1 #abj4  ,little ,passion1 ,the1
 #gj4   ,mantegna1 #bd1 #ef4  ,marc     
,antonio1 #ga4  ,margaret1 ,archduchess1
 #id1 #ajj1 #aje1 #aae4  ,martin        
,luther1 #aac4  ,martyrdom1 ,the1 #ei4  
,maximilian1 ,emperor1 #gd1 #gf1 #hi1   
#ia1 #ic1 #abb4  ,mechlin1 #ajj1 #aae4  
,melanchthon1 #ge1 #abi4  ,melencolia1  
,the1 #hb4  ,middleburg1 #ajg1 #ajh4    
,netherland ,journey1 #id4  ,nuremberg1 
#g1 #aah1 #aci4   ,passion1 ,the ,great1

 #fi4    -- ,the ,green1 #db4    -- ,the
 ,little1 #gj4    -- ,song1 #fe4    --  
in ,copper1 #gd4  ,patenir1 #ih1 #aab4  
,pensz1 ,george1 #abj1 #aba4  ,perugino1
 #bd4  ,piratical ,engravers1 #fi1 #ga4 
,pirkheimer1 #ag1 #cj1 #ci1 #dc1 #dd1   
#dh1 #fd1 #aaj1 #aai1 #abd1 #ace1 #acg1 
#ada4  ,prayer-,book1 ,max's1 #hh4      
,procession1 ,the1 #ajc4   ,raphael1    
#ef1 #he1 #aje1 #add4  ,regiomontanus1  
#aj4  ,rose-,garlands1 ,feast of1 #ec1  
#ed4  ,ruskin ,quoted1 #df1 #ef4        
,sachs1 ,hans1 #ad4  ,st4 ,anthony1 #ic4
  ,st4 ,eustachius1 #gi4  ,st4 ,jerome1 
#ha4  ,schongauer1 #bc4  ,silver-,work1 
#bj4  ,sketch-,books1 #dd4  ,spengler1  
#ci1 #fe1 #ib1 #aai4  ,stein1 #dg4      
,stoss1 ,veit1 #aa4  ,strasbourg1 #bf4  
,teacher1 ,the 7,poem71 #fe4  ,tomasin1 
#ih1 #ajj1 #aji4  ,triumphal ,arch1 #ge1
 #hh1 #ib4  ,triumphal ,car1 #aba4      
,van ,leyden1 ,lucas1 #aae4  ,vasari    
,quoted1 #gb4  ,venetian ,journey1 #dg4 
,venice1 #dg1 #ef1 #abf4  ,vincidore1   
#aje4  ,vischer1 ,peter1 #aa4  ,von     

,culmbach1 #abj4   ,walch1 ,jacob1 #ac1 
#aae4  ,wander-jahre1 ,the1 #be1 #ej4   
,water-,marks1 #cd4  ,wohlgemuth1 #ab1  
#ba1 #ea1 #ij4  ,woodcuts1 #cg4         
,zealand1 ,journey to1 #ajg4            
,,transcriber',s ,,note3  ,minor changes
 have been made to correct typesetters' 
errors2 otherwise every effort has been 
made to remain true to the author's     
words and intent4