CHAPTER VIII.

"The Four Apostles."--Dürer's Later Literary Works.--Four Books of Proportion.--Last Sickness and Death.--Agnes Dürer.--Dürer described by a Friend.

Schlegel says that "Albert Dürer may be called the Shakespeare of Painting;" and it is doubtless true that he filled out the narrow capabilities of early German art with a full measure of deep and earnest thought and powerful originality. The equal homage which was offered to him at Venice and Antwerp, the two art-antipodes, shows how highly he was regarded in his own day. His earlier works were executed in the crude and angular methods of Wohlgemuth and his contemporaries; and most of the pictures now attributed to him, often incorrectly, are of this character. But in his later works he swung clear of these trammelling archaisms, and produced brilliant and memorable compositions.

"The Four Apostles," now in the Munich Pinakothek, were Dürer's last and noblest works, and fairly justify Pirkheimer's assurance, that if he had lived longer the master would have done "many more wonderful, strange, and artistic things." They are full of grand thought and clear insight, free from exaggeration or conventionalism, perfect in execution and harmonious simplicity, and so distinct in individuality that it has been generally believed that the Four Temperaments are here impersonated. On one panel are Sts. John and Peter, in life-size, the former deeply meditating, with the Scriptures in his hand, and the latter bending forward and earnestly reading the Holy Book. The other panel shows the stately St. Paul, robed in white, standing before the ardent and impassioned St. Mark. Kugler calls these panels "the first complete work of art produced by Protestantism;" and the truth and simplicity of the paintings prefigured the return of a pure and incorrupt faith.

Late in 1526, Dürer sent these pictures to the Rath of Nuremberg, with the following letter: "Provident, Honorable, Wise, Dear Lords,--I have been for some time past minded to present your Wisdoms with something of my unworthy painting as a remembrance; but I have been obliged to give this up on account of the defects of my poor work, for I knew that I should not have been well able to maintain the same before your Wisdoms. During this past time, however, I have painted a picture, and bestowed more diligence upon it than upon any other painting; therefore I esteem no one worthier than your Wisdoms to keep it as a remembrance; on which account I present the same to you herewith, begging you with humble diligence to accept my little present graciously and favorably, and to be and remain my favorable and dear Lords, as I have always hitherto found you. This, with the utmost humility, I will sedulously endeavor to merit from your Wisdoms."

The Rath eagerly accepted this noble gift, and hung the two panels in the Rath-haus, sending also a handsome present of money to Dürer and his wife. A century afterwards Maximilian of Bavaria saw and coveted the pictures, and used bribery and threats alike to secure them. In 1627 he accomplished his purpose; and the Rath, fearful of his wrath and dreading his power, sent the panels to Munich.

The woodcut portrait of Dürer, dated 1527, shows the worn face of a man of fifty-six years, whose life has been stormy and sometimes unhappy. It is much less beautiful than the earlier pictures, for his long flowing hair and beard have both been cut short, perhaps on account of sickness, or in deference to the new puritan ideas. The face is delicate and melancholy, and seems to rest under the shadow of approaching death, which is to be met with a calm and simple faith.

His second book, entitled "Some Instruction in the Fortification of Cities, Castles, and Towns," appeared in 1527, and was dedicated to Ferdinand I., and adorned with several woodcuts. In this the artist showed the same familiarity with the principles of defensive works as his great contemporaries Leonardo da Vinci and Michael Angelo had done. Much attention is paid to the proper sheltering of heavy artillery from hostile shot; and the plans of the towers and bastions about Nuremberg, which were built after Dürer's death, were suggested in this work. A large contemporary woodcut by the master shows the siege of a city, with cannon playing from the bastions, and the garrison making a sortie against the enemy.

The celebrated "Four Books of Human Proportion" was Dürer's greatest literary work, and was completed about this time, having been begun in 1523. Its preparation was suggested by Pirkheimer, to whom it was dedicated, and who published it after the author's death, with a long Latin elegy on him. Great labor was bestowed on this work, and many of the original sketches and notes are still preserved. The first and second books show the correct proportions of the human body and its members, according to scale, dividing the body into seven parts, each of which has the same measurement as the head, and then considering it in eighths. The proportions of children are also treated of; and the dogma is formulated, that the woman should be one-eighteenth shorter than the man. The third book is devoted to transposing or changing these proportions, and contains examples of distorted and unsymmetrical figures; and the fourth book treats of foreshortening, and shows the human body in motion. In his preface he says: "Let no one think that I am presumptuous enough to imagine that I have written a wonderful book, or seek to raise myself above others. This be far from me! for I know well that but small and mediocre understanding and art can be found in the following work."

The high appreciation in which this book was held appears from the fact that it passed through several German editions, besides three Latin, two Italian, two French, Portuguese, Dutch, and English editions. Most of the original MS. is now in the British Museum.

Among Dürer's other works were treatises on Civic Architecture, Music, the Art of Fencing, Landscape-Painting, Colors, Painting, and the Proportions of the Horse.

But the year 1527 was nearly barren of new art-works; for the master's hand was losing its power, and his busy brain had grown weary. His constitution was slowly yielding before the fatal advances of a wasting disease, possibly the low fever which he had contracted in Zealand, or it may have been an affection of the lungs. In the latter days he made a memorandum: "Regarding the belongings I have amassed by my own handiwork, I have not had a great chance to become rich, and have had plenty of losses; having lent without being repaid, and my work-people have not reckoned with me; also my agent at Rome died, after using up my property. Half of this loss was thirteen years ago, and I have blamed myself for losses contracted at Venice. Still we have good house-furnishing, clothing, costly things as earthenware [maiolica], professional fittings-up, bed-furnishings, chests, and cabinets; and my stock of colors is worth 100 guldens."

The last design of the master was a drawing on gray paper, showing Christ on the Cross. When this was all completed except the face of the Divine sufferer, the artist was summoned by Death, and ascended to behold in glory the features which he had so often portrayed under the thorns.

A violent attack of his chronic disease prostrated him so far that he was unable to rally; and after a brief illness he passed gently away, on the 6th of April, 1528. It was the anniversary of the day on which Raphael died, eight years before. His friends were startled and grief-stricken at his sudden death, which came so unexpectedly that even Pirkheimer was absent from the city. It was long supposed that he died of the plague, on the evidence of a portrait-drawing of himself, showing him pointing to a discolored plague-spot on his side, and inscribed, "Where my fingers point, there I suffer." It was said that this sketch was for the information of his doctor, who dared not visit the pestilence-stricken sick-chamber. But this hypothesis is no longer considered tenable.

The remains of the master were buried in the lot of his father-in-law, Hans Frey, at the Cemetery of St. John, beyond the walls; and his monument bore Pirkheimer's simple epitaph: "ME. AL. DU. QUICQUID ALBERTI DURERI MORTALE FUIT, SUB HOC CONDITUR TUMULO. EMIGRAVIT VIII IDUS APRILIS, MDXXVIII. A.D."

On Easter Sunday, 1828, the third centenary of his death, a great procession of artists and scholars from all parts of Germany moved in solemn state from Nuremberg to the grave of Dürer, where they sang hymns.

In the valley of the Pegnitz, where across broad meadowlands Rise the blue Franconian mountains, Nuremberg the ancient stands.

Quaint old town of toil and traffic, quaint old town of art and song, Memories haunt thy pointed gables, like the rooks that round them throng.

Memories of the Middle Ages, when the emperors rough and bold Had their dwelling in thy castle, time-defying, centuries old;

And thy brave and thrifty burghers boasted, in their uncouth rhyme, That their great imperial city stretched its hand through every clime.

In the courtyard of the castle, bound with many an iron band, Stands the mighty linden planted by Queen Cunigunde's hand;

On the square the oriel window, where in old heroic days Sat the poet Melchior singing Kaiser Maximilian's praise.

Everywhere I see around me rise the wondrous world of Art, Fountains wrought with richest sculpture standing in the common mart;

And above cathedral doorways, saints and bishops carved in stone, By a former age commissioned as apostles to our own.

In the church of sainted Sebald sleeps enshrined his holy dust, And in bronze the Twelve Apostles guard from age to age their trust:

In the church of sainted Lawrence stands a pix of sculpture rare, Like the foamy sheaf of fountains, rising through the painted air.

Here, when Art was still religion, with a simple, reverent heart, Lived and labored Albrecht Dürer, the Evangelist of Art;

Hence in silence and in sorrow, toiling still with busy hand, Like an emigrant he wandered, seeking for the Better Land.

_Emigravit_ is the inscription on the tombstone where he lies: Dead he is not, but departed, for the artist never dies.

LONGFELLOW.

Pirkheimer wrote to Ulrich, "Although I have been often tried by the death of those who were dear to me, I think I have never until now experienced such sorrow as the loss of our dearest and best Dürer has caused me. And truly not without cause; for, of all men who were not bound to me by ties of blood, I loved and esteemed him the most, on account of his countless merits and rare integrity. As I know, my dear Ulrich, that you share my sorrow, I do not hesitate to allow it free course in your presence, so that we may consecrate together a just tribute of tears to our dear friend. He has gone from us, our Albert! Let us weep, my dear Ulrich, over the inexorable fate, the miserable lot of man, and the unfeeling cruelty of death. A noble man is snatched away, whilst so many others, worthless and incapable men, enjoy unclouded happiness, and have their years prolonged beyond the ordinary term of man's life."

Pirkheimer died two years after Dürer's death, and was buried near him. During his last days, and therefore so long after his friend's decease that the first violence of his emotions had fully subsided, and his mind had become calm, he wrote to Herr Tschertte of Vienna, and gave the following arraignment of the widow Dürer: "Truly I lost in Albert the best friend I ever had in the world, and nothing grieves me so much as to think that he died such an unhappy death; for after the providence of God I can ascribe it to no one but his wife, who so gnawed at his heart, and worried him to such a degree, that he departed from this world sooner than he would otherwise have done. He was dried up like a bundle of straw, and never dared to be in good spirits, or to go out into society. For this bad woman was always anxious, although really she had no cause to be; and she urged him on day and night, and forced him to hard work only for this,--that he might earn money, and leave it to her when he died. For she always feared ruin, as she does still, notwithstanding that Albert has left her property worth about six thousand gulden. But nothing ever satisfied her; and in short she alone was the cause of his death. I have often myself expostulated with her about her suspicious, blameworthy conduct, and have warned her, and told her beforehand what the end of it would be; but I have never met with any thing but ingratitude. For whoever was a friend of her husband's, and wished him well, to him she was an enemy; which troubled Albert to the highest degree, and brought him at last to his grave. I have not seen her since his death: she will have nothing to do with me, although I have been helpful to her in many things; but one cannot trust her. She is always suspicious of anybody who contradicts her, or does not take her part in all things, and is immediately an enemy. Therefore I would much rather she should keep away from me. She and her sister are not loose characters, but, as I do not doubt, honorable, pious, and very God-fearing women; but one would rather have to do with a light woman who behaved in a friendly manner, than with such a nagging, suspicious, scolding, pious woman, with whom a man can have no peace day or night. We must, however, leave the matter to God, who will be gracious and merciful to our good Albert, for he lived a pious and upright man, and died in a very Christian and blessed manner; therefore we need not fear his salvation. God grant us grace, that we may happily follow him when our time comes!"

It is said that Raphael, after studying Dürer's engravings, exclaimed, "Of a truth this man would have surpassed us all if he had had the masterpieces of art constantly before his eyes as we have." Even so at the present day is it seen, that if Dürer had studied classic art, and imbibed its principles, he might have added a rare beauty to the weird ugliness and solemnity of his designs, and substituted the sweet Graces for the grim Walkyrie. Yet in that case the world would have lost the fascinations of the sad and profound Nuremberg pictures, with their terrific realism and fantastic richness.

Italy did not disdain to borrow the ideas of the transalpine artist; and even Raphael took the design of his famous picture of "The Entombment" (_Lo Spasimo_) from Dürer's picture in "The Great Passion." Titian borrowed from his "Life of the Virgin" the figure of an old woman, which he introduced in his "Presentation in the Temple." The Florentine Pontormo copied a whole landscape from one of Dürer's paintings; and Andrea del Sarto received many direct suggestions from his works.

"It is very surprising in regard to that man, that in a rude and barbarous age he was the first of the Germans who not only arrived at an exact imitation of nature, but has likewise left no second; being so absolute a master of it in all its parts,--in etching, engraving, statuary, architecture, optics, symmetry, and the rest,--that he had no equal except Michael Angelo Buonarotti, his contemporary and rival; and he left behind him such works as were too much for the life of one man."--JOHN ANDREAS.

In the preface to his Latin translation of "The Four Books of Human Proportion," the Rector Camerarius says: "Nature gave our Albert a form remarkable for proportion and height, and well suited to the beautiful spirit which it held therein; so that in his case she was not unmindful of the harmony which Hippocrates loves to dwell upon, whereby she assigns a grotesque body to the grotesquely-spirited ape, while she enshrines the noble soul in a befitting temple. He had a graceful hand, brilliant eyes, a nose well-formed, such as the Greeks call [Greek: Tetragônon], the neck a little long, chest full, stomach flat, hips well-knit, and legs straight. As to his fingers, you would have said that you never saw any thing more graceful. Such, moreover, was the charm of his language, that listeners were always sorry when he had finished speaking.

"He did not devote himself to the study of literature, though he was in a great measure master of what it conveys, especially of natural science and mathematics. He was well acquainted with the principal facts of these sciences, and could apply them as well as set them forth in words: witness his treatises on geometry, in which there is nothing to be desired that I can find, at least so far as he has undertaken to treat the subject.... But Nature had especially designed him for painting, which study he embraced with all his might, and was never tired of considering the works and methods of celebrated painters, and learning from them all that commended itself to him.... If he had a fault it was this: that he worked with too untiring industry, and practised a degree of severity towards himself that he often carried beyond bounds."

A LIST OF ALBERT DÜRER'S CHIEF PAINTINGS

NOW IN EXISTENCE, WITH THE DATES OF THEIR EXECUTION, AND THEIR PRESENT LOCATIONS.

_The interrogation-mark is annexed to the titles of certain paintings which two or more critics regard as of doubtful authenticity._

GERMANY.

NUREMBERG.--_Germanic Museum,_--Emperor Maximilian; Burgomaster Holzschuher, 1526. _St. Maurice Gallery,_--Pietà; Ecce Homo. _Rath-Haus_,--Emperor Sigismund(?); Charlemagne(?).

MUNICH PINAKOTHEK.--Baumgärtner Altar-piece, 1513; Suicide of Lucretia, 1518; Albert Dürer, 1500; Oswald Krell, 1499; Michael Wohlgemuth, 1516; Albert Dürer the Elder, 1497; the Nativity; Sts. Paul and Mark, 1526; Sts. Peter and John, 1526; a Knight in Armor(?); Sts. Joachim and Joseph, 1523; St. Simeon and Bishop Lazarus, 1523; Death of the Virgin; a Young Man, 1500; Pietà(?); Mater Dolorosa.

DRESDEN MUSEUM.--Christ Bearing the Cross; the Crucifixion; a Hare; Lucas van Leyden; Madonna and Saints (?).

COLOGNE.--_Museum,_--Drummer and Piper; Madonna (?). _Church of Sta. Maria im Capitol,_--Death of the Virgin.

FRANKFORT.--_Municipal Gallery,_--Two portraits. _Städel Institute,_--Catherine Fürleger; Albert Dürer the Elder.

CASSEL.--_Friedrich Museum,_--The Passion. _Bellevue,_--Erasmus of Rotterdam.

POMMERSFELDEN.--Jacob Müffel.

LUSTSCHENA (Baron Speck).--A Young Lady.

ASCHAFFENBURG.--Albert Dürer.

AUGSBURG.--Two Masques. Several others in the Castle of Stolzenfels.

AUSTRIA.

VIENNA.--_Belvedere,_--Emperor Maximilian, 1519; Martyrdom of the Ten Thousand Christians, 1508; Madonna, 1506; Adoration of the Magi, 1504; Madonna, 1503; Adoration of the Holy Trinity, 1511; Madonna; Young Man, 1507; Johann Kleeberger, 1526; and others not definitely authenticated. _The Albertina,_--Emperor Maximilian, Green Passion, and 160 drawings. _Czernin Palace,_--Portrait. The old Ambraser, Lichtenstein, and Von Lamberg collections included four portraits and two religious pictures. _St. Wolfgang's Church,_ Upper Austria,--Death of the Virgin.

PESTH.--Christ on the Cross.

PRAGUE.--_Strahow Abbey,_--The Feast of Rose Garlands.

NORTHERN EUROPE.

ST. PETERSBURG.--_Hermitage Palace,_--Christ Led to Calvary; Christ Bearing the Cross; the Elector of Saxony.

_Hague Museum._--Two portraits.

_Beloeil_ (Prince de Ligne),--Two pictures.

_Basle Museum_ (Switzerland).--Two pictures.

_Coire Cathedral,_--Christ Bearing the Cross.

ITALY.

FLORENCE.--_Uffizi Gallery,_--Adoration of the Magi, 1504; Madonna, 1526; Dürer's Father, 1490; Apostle Philip, 1516; St. James the Great, 1516; Albert Dürer, 1498; Ecce Homo (?); Nativity (?); Pietà (?). _Pitti Palace,_--Adam and Eve (replica).

ROME.--_Barberini Palace,_--Christ among the Doctors, 1506. _Borghese Palace,_--Louis VI. of Bavaria; Pirkheimer, 1505; and five pictures of dubious authenticity. _Corsini Palace,_--A Hare; Cardinal Albert of Brandenburg. _Doria Palace,_--St. Eustace (?); Ecce Homo (?). _Sciarra-Colonna Palace,_--Death of the Virgin.

MILAN.--_Casa Trivulzi,_--Ecce Homo, 1514. _Ambrosiana,_--Coronation of the Virgin, 1510. _Bergamo Academy,_--Christ Bearing the Cross. _Brescia Gallery,_--Drawings.

VENICE.--_Manfrini Palace,_--Adoration of the Shepherds; Holy Family.

NAPLES.--_Santangelo,_--Garland-Bearer, 1508. _Museum,_--Nativity, 1512. _Villafranca Palace,_--Christ on the Cross.

SPAIN.

MADRID.--_Museum,_--Albert Dürer, 1498; Dürer's Father; Adam and Eve. _Marquis of Salamanca,_--Altar-piece, a Passion scene.

FRANCE.

_Besançon Museum._--Christ on the Cross. _Lyons,_--Madonna and Child Giving Roses to Maximilian (?).

GREAT BRITAIN.

_National Gallery,_--A Senator, 1514. _Stafford House,_ Death of the Virgin. _Hampton-Court Palace,_--Young Man, 1506; St. Jerome (?). _Buckingham Palace,_--Virgin and Child. _Rev. J. F. Russell, --Crucifixion; Christ's Farewell to Mary (?). _Thirlestaine House,_--Maximilian. _Kensington Palace,_--Young Man. _New Battle House,_--Madonna and Angels. _Belvoir Castle,_--Portrait. _Sion House,_--Dürer's Father. _Mr. Wynn Ellis, London,_--Catherine Fürleger; Virgin and Child. _FitzWilliam Museum, Cambridge,_ --Annunciation (?). _Windsor Castle,_--Pirkheimer. _Bath House,_--Man in Armor. _Howard Castle,_--Vulcan; Adam and Eve; Abraham and Isaac.

_The latest of the lists of Dürer's paintings, compiled by Mr. W. B. Scott in 1870, enumerates the following collections, long since dispersed, with the dates when they were cataloged: 11 pictures at Aix, in 1822; 2 at Anspach, 1816; 5 at Augsburg, 1822; 10 at Bamberg, 1821; 2 at Banz, 1814; 4 at Berlin, 1822; 3 at Blankenberg, 1817; 3 at Bologna, 1730; 3 at Breslau, 1741; 6 at Brussels, 1811. Many of these cannot now be located, the collections having been broken up._

A LIST OF DÜRER'S WOOD ENGRAVINGS.

_Bible Subjects._--Cain Killing Abel; Samson Slaying the Lion; Adoration of the Magi, 1511; the Last Supper, 1523; the Mount of Olives; Pilate Showing Christ to the Jews; the Sudarium; Ecce Homo; the Crucifixion, 1510; the Crucifixion, 1516; Calvary; the Crucifixion; Christ on the Cross, with Angels; the Trinity, 1511; the Holy Family, 1511; the Holy Family with a Guitar, 1511; the Holy Family, 1526; the Holy Family in a Chamber; the Virgin with the Swaddled Child; the Virgin Crowned by Angels, 1518; the Holy Family with Three Rabbits.

_Saints._--St. Arnolf, Bishop; St. Christopher, 1511; St. Christopher with the Birds; St. Christopher, 1525; St. Colman of Scotland, 1513; St. Francis Receiving the Stigmata; St. George; the Mass of St. Gregory, 1511; St. Jerome in a Chamber, 1511; St. Jerome in the Grotto, 1512; the Little St. Jerome; the Beheading of St. John the Baptist; the Head of St. John brought to Herod, 1511; St. Sebald; the Penitent; Elias and the Raven; Sts. John and Jerome; Sts. Nicholas, Udalricus, and Erasmus; Sts. Stephen, Gregory, and Lawrence; the Eight Austrian Saints; the Martyrdom of Ten Thousand Christians; the Beheading of St. Catherine; St. Mary Magdalen.

_Portraits._--The Emperor Maximilian, 1519; the Emperor; Ulrich Varnbühler, 1522; Albert Dürer, 1527.

_Heraldic Subjects._--The Beham Arms; the Dürer Arms, 1523; the Ebner-Furer Arms, 1516; the Kressen Arms; the Shield of Nuremberg; the Shield with three Lions' Heads; the Shield with a Wild Man and two Dogs; the Scheurl-Zuiglin Arms; the Stabius Arms; the Staiber Arms.

_Miscellaneous Subjects._--The Judgment of Paris; Hercules; the Rider; the Bath; the Embrace; the Learner, 1510; Death and the Soldier, 1510; the Besieged City, 1527; the Rhinoceros, 1515; the Triumphal Chariot of Maximilian, 1522; the Great Column, 1517; a Man Sketching; two Men Sketching a Lute; a Man Sketching a Woman; a Man Sketching an Urn; Hemispherium Australe; Imagines Coeli Septentrionalis; Imagines Coeli Meridionalis; the Pirkheimer Title-border; six Ornamental designs; two title-borders.

_The Great Passion_ (12 cuts; 1510).--Ecce Homo; the Last Supper; the Agony in the Garden; the Seizing of Christ; the Flagellation; the Mocking; Bearing the Cross; the Crucifixion; Christ in Hades; the Wailing Maries; the Entombment; the Resurrection.

_The Little Passion_ (37 cuts; 1511).--Ecce Homo; Adam and Eve; the Expulsion from Eden; the Annunciation; the Nativity; the Entry into Jerusalem; the Cleansing of the Temple; Christ's Farewell to His Mother; the Last Supper; the Washing of the Feet; the Agony in the Garden; the Kiss of Judas; Christ before Annas; Caiaphas Rends his Clothes; the Mocking; Christ and Pilate; Christ before Herod; the Scourging; the Crowning with Thorns; Christ Shown to the Jews; Pilate Washing his Hands; Bearing the Cross; the Veronica; Nailing Christ to the Cross; the Crucifixion; Descent into Hell; the Descent from the Cross; the Weeping Maries; the Entombment; the Resurrection; Christ in Glory Appearing to His Mother; Appearing to Mary Magdalen; at Emmaus; the Unbelief of St. Thomas; the Ascension; the Descent of the Holy Ghost; the Last Judgment.

_The Life of the Virgin_ (20 designs; 1511).--The Virgin and Child; Joachim's Offering Rejected; the Angel Appears to Joachim; Joachim Meeting Anna; the Birth of Mary; the Virgin's Presentation at the Temple; the Betrothal of Mary and Joseph; the Annunciation; the Visitation of St. Elizabeth; the Nativity; the Circumcision; the Purification of Mary; the Flight into Egypt; the Repose in Egypt; Christ Teaching in the Temple; Christ's Farewell to His Mother; the Death of the Virgin; the Assumption; the Virgin and Child with seven Saints.

_The Apocalypse of St. John_ (16 designs; 1498).--The Virgin and Child Appearing to St. John; His Attempted Martyrdom; the Seven Golden Candlesticks and the Seven Stars; the Throne of God with the Four-and-twenty Elders and the Beasts; the Descent of the Four Horses; the Martyrs Clothed in White and the Stars Falling; the Four Angels Holding the Winds, and the Sealing of the Elect; the Seven Angel Trumpeters and the Glorified Host of Saints; the Four Angels Slaying the Third Part of Men; John is Made to Eat the Book; the Woman Clothed with the Sun, and the Seven-headed Dragon; Michael and his Angels Fighting the Great Dragon; the Worship of the Seven-headed Dragon; the Lamb in Zion; the Woman of Babylon Sitting on the Beast; the Binding of Satan for a Thousand Years.

There are 261 other wood-engravings described in the catalogue attached to Scott's "Life of Dürer," and ranked as "doubtful." Many of these are held to be authentic by one or more of the three critical authorities on Dürer's works,--Heller, Bartsch, and Passavant. Other connoisseurs, however, ascribe them to different engravers of the early German schools, mostly to pupils and colleagues of Dürer.

ENGRAVINGS ON COPPER.

_Bible-Subjects._--Adam and Eve, 1504; the Nativity, 1504; the Passion on copper (16 designs), 1508-13; Crucifixion, 1508, 1511; Little Crucifixion, 1513; Christ Showing His Five Wounds; Angel with the Sudarium, 1516; two Angels with the Sudarium, 1513; the Prodigal Son, 1500; the Virgin and Anna; Mary on the Crescent Moon, no date; Mary on the Crescent Moon, 1514; Mary with a Crown of Stars, 1508; Mary with the Starry Crown and Sceptre, 1516; Mary Crowned by an Angel, 1520; Mary Crowned by two Angels, 1518; the Nursing Mary, 1503; the Nursing Mary, 1519; Mary with the Swaddled Child, 1520; Mary under a Tree, 1513; Mary by the Well, 1514; Mary with the Pear, 1511; Mary with the Monkey, no date; the Holy Family with the Butterfly, early work.

_Saints._--St. Philip; St. Bartholomew, 1523; St. Thomas, 1514; St. Simon, 1514; St. Paul, 1514; St. Anthony, 1519; St. Christopher, 1521; St. Christopher, second design; St. John Chrysostom; St. Eustace, no date; St. George; Equestrian St. George, 1508; St. Jerome, 1514; St. Jerome Praying; the same, smaller, 1513; St. Sebastian; St. Sebastian Bound to a Pillar.

_Miscellaneous._--The Judgment of Paris, 1513; Apollo and Diana; the Rape of Amymone; Jealousy; the Satyr's Family, 1505; Justice; the Little Fortune; the Great Fortune; Melencolia, 1514; the Dream; the Four Naked Women, 1497; the Witch; Three Cupids; Gentleman and Lady Walking; the Love Offer; the Wild Man Seizing a Woman, early work; the Bagpiper, 1514; the Dancing Rustics, 1514; the Peasant and his Wife; Peasant Going to Market; Three Peasants; the Cook and the Housekeeper; the Turk and his Wife; the Standard-bearer; the Six Soldiers; the Little Courier; the Equestrian Lady; the Great White Horse, 1505; the Small White Horse, 1505; the Knight, Death, and the Devil, 1513; the Monster Pig; the Coat-of-arms with the Cock, 1514; the Coat-of-arms and Death's Head, 1503.

_Portraits._--The Cardinal-Archbishop Albert of Mayence, 1519, 1522; larger portrait of the same; Frederick the Wise, Elector of Saxony, 1524; Erasmus of Rotterdam, 1526; Philip Melanchthon, 1526; Willibald Pirkheimer, 1524.

_Etchings._--Christ with Bound Hands, 1512; Ecce Homo, 1515; Christ on the Mount of Olives, 1515; the Holy Family; St. Jerome; Pluto and Proserpine; the Bath; the Cannon.

INDEX.

_Adam and Eve,_ 45, 57. _Adoration of the Kings,_ 45. _Adoration of the Trinity,_ 62, 68. Aix-la-Chapelle, 105. Aldegrever, 120. Altdorfer, 120. Antwerp, 97, 106, 117, 126. -- Cathedral, 99, 110. Architectural Works, 123. Art of Mensuration, 127. Augsburg, 91.

Bamberg, 44, 96. Basle, 26. Baumgärtner, 14, 39, 52, 77, 78. Behaim, Martin, 12. Beham, 120. Beheim, Hans, 11. Bellini, Giovanni, 48, 50. Bergen-op-Zoom, 107, 109. Bernard van Orley, 100. Binck, 120. _Birth of St. John,_ 66. Bois-le-Duc, 106. Bruges, 110. Brussels, 100. Bullman, 12.

_Calvary,_ 45. Camerarius, 14, 145. Carvings, 57, 66. Celtes, Conrad, 13. Chelidonius, 13, 70, 71. Coat-of-Arms, 49, 75. Colmar, 23, 26. Cologne, 96, 106, 117. Colvin, Sidney, 34. Confirmatia, The, 106. _Coronation of the Virgin,_ 61.

Danger at Sea, 107. Death of Parents, 40, 83. _Death of the Virgin,_ 90. Delayed Pensions, 87, 92. Denmark's King, 116. Drawings, 42. Dürer, Albert, the Elder, 15, 20, 23, 40. -- Agnes, 28, 52, 54, 142. -- Andreas, 16, 41, 53, 68. -- Anthony, 15. -- Barbara, 15, 41, 83. -- Hans, 41, 51, 69. -- Nicholas, 96. Dürer's House, 63. -- Marriage, 28. -- Poetry, 64. -- Portraits, 27, 36, 39, 105, 134.

Early Drawings, 19. Engravings, 31, 60. Erasmus, 99, 110, 114, 129. Etchings, 86. Eytas, 15, 79.

Fever, The, 112. Flemish Feasts, 97, 109, 111. Flemish Wealth, 95. Fortifications, Treatise on, 134. _Four Apostles, The,_ 131. Francia, 55. Frey Family, 29, 123.

Ghent, 111. Glass-Painting, 123. _Great Column, The,_ 88. _Great Passion, The,_ 69. _Green Passion, The,_ 42. Grunewald, 121.

Haller Family, 15. Heller, Jacob, 58, 59, 96. _Holzschuher,_ 128. Human Proportions, 135.

Imhoff Collection, The, 43. Inventions, 128.

Karl, Eucharius, 39, 52. _Knight, Death, etc.,_ 76. Koberger, 9, 17. Kornelisz, 12. Kraft, 11.

Landäuer, 62. Letters to the Rath, 124, 132. _Life of the Virgin,_ 71. Lindenast, 11. Literary Work, 127. _Little Crucifixion, The,_ 78. Little Masters, 120. _Little Passion, The,_ 70.

Mantegna, 24, 56. Marc Antonio, 71. Margaret, Archduchess, 94, 100, 105, 115. Martin Luther, 113. _Martyrdom, The,_ 59. Maximilian, Emperor, 74, 76, 89, 91, 93, 122. Mechlin, 100, 115. Melanchthon, 75, 129. _Melencolia, The,_ 82. Middleburg, 107, 108.

Netherland Journey, 94. Nuremberg, 7, 118, 139.

_Passion, The Great,_ 69. -- _The Green,_ 42. -- _The Little,_ 70. -- _Song,_ 65. -- _in Copper,_ 74. Patenir, 98, 112. Pensz, George, 120, 121. Perugino, 24. Piratical Engravers, 69, 71. Pirkheimer, 17, 30, 39, 43, 44, 48, 64, 110, 119, 124, 135, 137, 141. Prayer-Book, Max's, 88. Procession, The, 103.

Raphael, 56, 85, 105, 144. Regiomontanus, 10. _Rose-Garlands, Feast of,_ 53, 54. Ruskin Quoted, 46, 56.

Sachs, Hans, 14. _St. Anthony,_ 93. _St. Eustachius,_ 79. _St. Jerome,_ 81. Schongauer, 23. Silver-Work, 20. Sketch-Books, 44. Spengler, 39, 65, 92, 119. Stein, 47. Stoss, Veit, 11. Strasbourg, 26.

Teacher, The (Poem), 65. Tomasin, 98, 100, 109. _Triumphal Arch,_ 75, 88, 92. _Triumphal Car,_ 121.

Van Leyden, Lucas, 115. Vasari Quoted, 72. Venetian Journey, 47. Venice, 47, 56, 126. Vincidore, 105. Vischer, Peter, 11. Von Culmbach, 120.

Walch, Jacob, 13, 115. Wander-jahre, The, 25, 50. Water-Marks, 34. Wohlgemuth, 12, 21, 51, 90. Woodcuts, 37.

Zealand, Journey to, 107.

TRANSCRIBER'S NOTE:

Minor changes have been made to correct typesetters' errors; otherwise every effort has been made to remain true to the author's words and intent.