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Deposited by the
Linonian and Brothers Library
1908

LIFE AND WORKS

OF

ALBERT DURER

LONDON : PRINTED BY
SPOTTISWOODE AND CO., NEW-STREET SQUARE
AND FARLIAMENT STREET

ALBERT DURER:

HIS LIFE AND WORKS.
INCLUDING
AUTOBIOGRAPHICAL PAPERS and complete catalogues.

BY
WILLIAM B. SCOTT,
Author of
' Half-Hour Lectures on the History and Practice of the Fine and Ornamental Arts.'
WITH SIX ETCHINGS BY THE AUTHOR
AND OTHER ILLUSTRATIONS.

Bronze Statue of Albert Durer, by Ranch, Diirer-Platz, Nurnberg.
LONDON:
LONGMANS, GREEN, AND CO.
'869.

PREFACE.

[HAT no English book about Albert Durer,
no complete translation of his Journal,
Letters, and other pieces, no catalogue or critical
account of his works, should have yet appeared, is
somewhat remarkable.* As we call to mind how
highly Durer is estimated in this country, how
carefully his Engravings are collected, and how
popular the tales founded on his history or works
are with us, we can scarcely help feeling that some
express and authentic account of the Master might
have been expected. In themselves his writings
are very interesting, and fully warrant the con-
* I leave this Preface as it was written, and as it was set up ready for
printing, when a life of Durer, by the hand (skilful a^d able, I believe) of
Mrs. C. Heaton, was advertised. That lady's book will, possibly, appear
before mine.— W. B. S., October 20, 1869.

vi Prefc

ace.

elusion to which his designs and pictures lead us,
that he was a simple-minded man, profound and
strong, viewing life, art, and religion in the same
serious spirit.
There is no doubt that the works of a born
artist are as much an expression of the man as the
verses of a true poet, and that his life, properly seen,
is another realisation, another picture or series of
pictures, in unison with the painted stories that
come from his hand. If Michael Angelo may be
taken as the representative of self-centred strength
in the garb of learning, so Durer may be accepted
as that of sympathetic strength in the garb of
science. In both we see a singularly clear re
flection of the thought and society of the age,
while we also see that they stand completely alone,
both obeying the law that works from within
outwards, both tending toward a painful severity
of thought, both influenced by a bias to the
mystical,— men who could never have lived at
all, or at least to great and good purpose, but for
the example of Christ, as felt and understood in
modern Europe.

Preface. vii
Our circumstantial knowledge of Durer is de
rived almost exclusively from his own writings.
Some points of detail have been ascertained from
contemporary or accidental testimony, as, for ex
ample, the character of his wife Agnes, who has,
rightly or wrongly, become almost a proverb ; but
I have thought it better to give the various pieces
entire than to use them as materials for a con
secutive narration, following thus the plan of
Dr. von Eye's ' Leben und Werken,' and leaving
some particulars to be embodied in the catalogues
of the Master's works.
The list of writers on Durer begins almost in
his own day.
Johann NeudorfFer collected particulars in Nurn-
berg, and published them in 1546. His notes are
not exclusively on Durer, but on all the painters
of that city prior to his own time.
Vasari's ' Lives of the most eminent Painters,
&c.,' 1568. His notice of Durer was evidently
written without direct information, but is very
useful, as we shall see.

Vlll

Preface.

Carl van Mander, in his ' Schilder Boeck,' 1604,
gave the earliest connected biographical sketch of
the painter ; NeudorfFer, and Hans Hauer who
also collected information in Nurnberg, and who
printed some Durer papers, being with Van
Mander the only authorities for the painter's life
until the end of last century. Hans Hauer died
in 1606. Sandrart, however, in his ' Teutsche
Academie,' 1675, published a memoir, which fur
nished the materials for many writers — -Baldinucci,
Des Piles, Descamps, Doppelmeyr, Melchior Adam
in his ' Vita Philosophorum Germanorum,' and
others. At the end of last century, Roth's ' Leben A.
Diirers ' was the first of a new series with larger
information, Murr, in his ' Journal,' having printed
the letters to Pirkheimer, and made the world
acquainted with the Diary in the Low Countries
then (about 1781) brought to light.
The following are the principal authorities more
recently printed :
Leben und Werlen A. Diirers. Chemnitz,
Cat. des (EuvresrTA. Durer. Paris, 1805.

Preface. ix
Bartsch, Le Pe'intre-Graveur.
W. Y. Otley, inquiry into the History of En
graving, 1816.
Dr. Weisse, A. Durer und sein Zeitalter, 18 19.
MargrafF, Erinnerungen an Albert Durer und
seinen Lehrer M. Wohlgemuth. No date.
Joseph Heller, Das Leben und die Werke A.
D'urers. Bamberg, 1827. ^ tms writer had com
pleted his two volumes, this would have been the
fullest work on Durer published to the present
time. But the author began with the second,
which is on the Works, and never wrote the first,
which was to have been on the Life. The exist
ing volume, containing 1090 pages, is the author
ity which I have principally followed for the
catalogues in the present volume.
F. Campe, Reliquien von A. Durer, Nurnberg,
1828, the year of the jubilee, when Durer's house
because the property of the city. This work is my
principal authority for the text of Durer's own
writings. Emile Galichon, A. Durer: sa Vie et ses (Euvres,
i860.

x Preface.
A. von Eye, Leben und Werlen A. Diirers, i860.
An excellent narrative, embracing all the inform
ation at present to be had ; Durer's own docu
ments, however, are not given in extenso.
G. C. Nagler, A. Durer und seine Kunst.
Munich, 1837.
J. D. Passavant, Le Peintre-Graveur, 1860-4.
O. B. Hausmann of Hanover, A. Diirers Kup-
ferstiche, Radirungen, Holzschnitte und Zeich-
nungen ; with references to paper-marks and other
incidental particulars, j86i.
Edinburgh Review, July t86i. An admirable
paper on Durer
Hermann Grimm, Albrecht Durer. Berlin, 1866.
Dr. Albert von Zahn, Diirers Kunstlehre und
sein Verhaltniss zur Renaissance. Leipsig, 1866.
Charles Narrey, A. Durer a.Venise et dans les
Pays-Bas. Paris, 1866. This is the Journal and
Letters from Venice in French. Of this handsome
illustrated book I have availed myself, especially by
adopting many of Narrey's Notes to the Journal.
In conclusion, I must request the critical reader
to grant me some indulgence. An artist who only

Preface.

xi

occasionally turns to authorship stands at a disad
vantage not only from the lack of literary habits,
but from the scanty amount of time at his com
mand. One merit I may claim. Rejecting all dis
quisitions and conjectures, I have confined the book
within the narrowest possible limits.

William B. Scott.

33 Elgin Road, London, 1869.

GB=

DURER S DRAWING-PEN^ FOUND IN REPAIRING HIS HOUSE, AND NOW IN THE POSSESSION OF
DOCTOR HEIDELOFF, NURNBERG.

CONTENTS.

I. Nurnberg in i 500 — Its Society : Artists, Mechanics, page
Literary Men ..... i

H

II. Durer's Boyhood — His Family Relation
III. Durer's Travels and Marriage — His Works up to
1506 — Martin Schon, Zatzinger, and Jacob Walsh 25
IV. Durer's Letters from Venice, 1506 . . 41
V. Agnes Durer — Jacob Walsh — Durer's Works to 15 14
— His Poetry . . . . .62
VI. Durer's Imitators : Marc' Antonio, Hopfer, &c. —
His Designs : Knight and Death, Melancholy,
Great Fortune, &c. . . . -79
VII. Work for the Emperor — Etchings — Durer visits
Augsburg, 1518 — Death of Maximilian — Durer
STARTS FOR THE Low COUNTRIES . . . 102
VIII. Journal — Durer at Antwerp — Excursion to Brussels
— Attends Charles V. at Cologne — Receives the
Appointment . . . . .114
IX. Journal — Return to Antwerp — Excursion to Bruges
and Ghent — Report of Luther's Death . 139

/

xiv Contents.

PAGE

X. End of Journal — Return to Nurnberg . ¦ 15^
XI. Durer's Pupils — The Little Masters — Durer's latest
Manner in Painting . . . .168
XII. Durer's Scientific Treatises — His Death, 1528 . 185

APPENDIX.
Catalogue of Copper Engravings and Etchings, with Copies 197
,, „ Wood Engravings .... 220
„ „ Doubtful „ .... 246
„ „ Pictures . . . . .261
,» „ Sketches and Drawings . . . 202
Addenda — Durer's Carvings, Medals, and Architecture. His
last Illness, Portraits of Agnes, &c. . . .116
Cover of the Volume: One of Durer's interlaced Designs
for Embroidery. The detached portions above and below
only are added, to suit the shape of the book.

ILLUSTRATIONS.

WOOD CUTS.
Durer's Statue by Rauch, in the Durer-Platz,
Nurnberg ....... Vignette on Title
Durer's Drawing-Pen, found in Repairing his
House ........ End of Preface
The Durer Shield and the Shield of Arms appointed him by
the Emperor ........ page 78
Durer's Grave, St. John's, Nurnberg . . . . -194

ETCHINGS ON STEEL.
Durer at 13. From his Drawing at that Age . Frontispiece
Village of Eytas. From the Print called ' The Great
Fortune'  To face page 15
Durer at 28. From his Picture at Munich . „ 41
Durer's House, at the Thiergartner-Thor . . ,,65
Durer's Portrait at 50. By Tommaso Vincidore „ 135
View from the Window of Durer's House . . „ 169

Erratum.
Page in, date 1055, 'n note! should be 1505.

LIFE AND WORKS
OF
ALBERT DURER.

Chapter I.
NURNBERG IN 1500.— ITS SOCIETY: ARTISTS,
MECHANICS, LITERARY MEN.

BOUT the end of the fifteenth century, the free
town of Nurnberg* had reached a state of com
mercial prosperity second only to the great
Italian ports, and the architectural splendours of private
mansions and public works kept pace with the wealth. It
was a free town with ancient guilds governed by a council,
tenacious of rights and privileges, the magistrates them
selves belonging almost exclusively to old families, or
being personally distinguished in some way that gave them
* The author has thought it proper to give the name of our painter and
his native town without the German form of diphthong : Albert Durer
and Nurnberg, not Albrecht Diirer and Nurnberg. The latter name is
frequently printed in English books Nuremberg, a radical difference he has
not adopted. B

Life and Works of Albert Durer.

the distinction of an aristocracy. It had also an ancient
royal residence, and entertained the Kaiser, its leading citi
zens having to turn out in time of war at their own charges,
the city furnishing a contingent to the Imperial army.
Nurnberg was, moreover, a centre of learning and science.
The discoveries of new countries beyond seas, and new
channels of commerce, which were ultimately to reduce the
importance of the Mediterranean, and assist in effacing
Venice, and Nurnberg itself, excited great interest among
its citizens. The advanced study of classic authors and
tendency to independence in religion were features in this
part of Germany that led to the adoption of new facilities
in book-making ; reading was almost general, and every
improvement was quickly adopted. The practical and use
ful was then and is still a leading feature in the national
character; and the inventions of the workshop, tools, and
their mechanical application, were much admired. It ap
pears to me that there is little doubt that the art of printing
from engraved plates, or rather, I ought to say, the art of
engraving for the purpose of printing, was really a German
invention. There is no question that making books' by
type-printing, following the earlier art of book-making
by block-pages, was a natural and speedy development ;
and that the block-page and the existence of the printing
press as naturally and much more easily developed the
arts of picture-making from wood and plates of metal.

Early German Love of Engraving. 3
The presence of a historian in Italy has made all the
difference between the two countries, and the goldsmith
Finiguerra has received all the honours of a discoverer,
and Florence the credit of having seen the first-fruits of
the art of engraving. The story, as recounted by Vasari
with all its interesting details, is constantly reproduced,
and will continue to be so, as there is no other wherewith
to supplant it. Nevertheless it is long since Strutt showed
that the date assigned to the discovery in Florence was
really posterior to that on existing prints executed in Upper
Germany; and, since his time, many others have been ob
served bearing an earlier or contemporary character. We
have the master of Martin Schon, and the master of Israel
von Mechen, with others, working in the same spirit ; and
even these great and accomplished engravers themselves,
who show no sign of having been the pioneers in a new art,
carry us back to Vasari's date. Schon died in i486 leaving
a lifetime of engravings behind him, which he must have
begun to produce before the date assigned to the Floren
tine discovery, and his master Zwott, or whoever he was,
takes us back to the earlier years of the printing press.*
* The truth is, the happy idea of rubbing off impressions from plates
prepared for nielli, was probably suggested by the sight or the rumour of
engravings printed on paper by pressure. The charts for the Ptolemy
published in Rome 1478 were commenced in 1472: they are, therefore,
the earliest known published copper-plates done in Italy, and they were done
by Germans, Conrad Sweynheym and Arnold Buckinck.

Life and Works of Albert Durer.

All forms of engraving and applications of printing were,
at all events, quickly carried to perfection in Germany, and
became astonishingly prolific. Artists seem immediately
to have bestowed attention on the new art, and the repre
sentative artist of the succeeding generation north of the
Alps was Albert Durer. He was equally able in many
arts. Painter, carver, architect, and engraver, Sandrart styles
him, and he was succeeded by pupils and others emulous of
his excellences. We shall not call them imitators, seeing
they were all original artists, who continued for a generation
or two to issue, from their studios or workshops in Nurn
berg, engravings of their own designs that took a place as
high and good art, and retain it still.
After three centuries and a half, the old Franconian
capital continues to interest the world in a considerable
measure as the home of Albert Durer. Not that the art-
life (Kunst-leben), as Herr von Rettberg has called it, of
Nurnberg is weak in other names, especially in the gene
ration immediately preceding that of Durer. But the
city itself has celebrated its great painter more emphati
cally than all its other sons. In the festival of 1828, the
anniversary of the third century since his death, the bronze
statue by Rauch was erected, and his house was made
public property, as Shakespere's has been more recently.
The statue stands in an open space at the foot of the Zis-
selgasse, the name of which was then changed to Durer-

The House in the Zisselgasse.

strasse, at the top of which, facing the most interesting of
the old town gates, the Thiergartner Thor, is the very
house where the artist worked and died.
In 1494, when, as he has recorded, cour wedding was
held on the Monday before S. Margaret's day,' and he
settled down at the age of twenty-three in this house, it
must have been newly built. With some show of likeli
hood (for every one who could do so then possessed his
own house), it is supposed that the dowry of his bride,
Agnes Frey, was expended in its purchase. A goodly
house with considerable accommodation it is, though not
certainly one of the princely mansions so rich in the
peculiar Gothic, modified by the novel forms of the
Renaissance art, that illustrate the splendour of the times
when ' a Nurnberg citizen was better lodged than the
King of Scots.' Its door is wide enough to admit a pack-
horse as easily as a man, and in the centre of the paved
interior (for the living rooms are all upstairs) is a solid
support to the floor above. On the right of this hall is a
small chamber, from which at one time projected a wooden
addition, said to have been the sanctum where the master
worked. The rooms above, on the first landing of the
darkish stair, are inferior to those still higher. The walls
of the house in this upper portion are c half timber '
construction, and the front room is a very fine apartment,
lighted by windows with cusped mullions, looking out on

6 Life and Works of Albert Durer.

the broad paved Place, and on the high tower protecting
the gate leading to the Castle, which runs along in an irre
gular line of steep roof above the houses. . The highest
of these houses, the one right opposite Durer's, had been
just then christened ' Pilate's house,' for there lived Mar
tin Koetzel, who had been twice to the Holy Land, and
had brought back exact measurements of the way to
Calvary from the supposed place of trial.. This distance he
measured from his own house, at the further end being
the cemetery of S. John, and, along this line of road,
Adam Kraft was just then erecting the sculptures of the
Seven Agonies, terminating in the Crucifixion, still well
preserved. It is possible that Durer may have used a small
chamber, such as that described as having existed until
lately, but, however that may have been, it is certain he
must have also had a large atelier to accommodate his
various labours, in which his pupils and workmen assisted.
There can be little doubt that his engravings were printed
under his own eye.*
There is no town, either in Germany or Italy, now
remaining more untouched from the period of its great-
* In the account of Marc' Antonio by Vasari, we are told that Raphael,
to save the time of that artist, and ease him of work, caused his man
Baviera, who had been his colour-grinder, to learn the art of printing the
impressions. Previous to this, Marc' Antonio must have printed his en
gravings with his own hand !

Nurnberg Public Buildings. j
ness than the imperial city of Nurnberg. Down to 14 17
the Emperor had the power of appointing a burg-graf, or
resident lord, who lived in a fortified residence within the
walls. At that time the city bought him off for 1 20,000
guldens, the residence was entirely rased by the people in
a furor of enthusiasm, and ever after they were governed
by their own council ; and, at the end of the century, the
castle was one of the favourite residences of the Emperors.
Some of the walls of this berg are the oldest pieces of
masonry in the locality, showing that here, as elsewhere,
the town had gathered round the fortification. The great
lime tree in the courtyard was doubtless an old tree in
Durer's time, and nearly every stone here was then exactly
as now. In the Rathhaus, too, we find little altered. The
fountain by Labenwolf in the interior square, was not
erected till after Durer's death probably, but the building
remains intact. The secret passages were there, though
unknown to any but the initiated few, and the dungeons,
now shown to travellers, had then their miserable inhabit
ants whom no one dared to ask after.
The great churches S. Sebald and S. Laurence and
the church of Our Lady (Frauenkirche) had just been
finished, although the two first mentioned had been begun
and mainly built centuries before. Peter Vischer was ac
tually working at the lovely Sebald-shrine, now one of the
jewels of art in iron ; and Adam Kraft had just finished

8 Life and Works of Albert Durer.

the Sacraments-house, or ambry for the sacred elements,
in the Laurence Kirche ; late in the day for so beautiful
a piece of pointed work. The gallery over the porch of
the Frauenkirche had just been completed with its figures
moving when the hours struck, and a space for the
exhibition of relics on certain holidays, such as pieces of
the holy manger, the table-cloth of the Last Supper, the
crown of thorns, and other lying trumpery, soon to be dis
credited by the Reformation.* The fountain opposite,
known to all the world as the Beautiful Well (the Schone-
brunnen), was then as now among the treasures of the
town ; but it was then alone, all the others now adorning
the public places having been since erected, I believe.
At the time Durer began life, therefore, all these
masters were working : — Peter Vischer the smith, with his
numerous sons ; Adam Kraft the sculptor ; Sebastian Lin-
denast the 'red smith,' worker in copper; Veit Stoss the
carver in wood, who survived for many years, old and blind,
living in the Spital.
These were all able artists in their several ways, plain
men and skilful workmen, as unlike the modern con
ception of an inventive artist as it is possible to be.
Actual painters and designers must have been numerous,
* The Frauenkirche is now the only Roman church in Nurnberg. Per
haps in its dusty presses are still preserved these ancient properties, though
hidden away even from the Roman Catholic people.

Early Nurnberg Artists and Mechanics. g
although we know few names. Wohlgemuth of course, and
his humble collaborateur Wilhelm Pleydenwurff; but, be
sides, there must have been many others. Schongauer
at Colmar made many pupils, and Mair at Landshut, not
equal to Schongauer but still eminent ; and these pupils
were likely to resort to Nurnberg. Martin Zatzinger,
or Zagel, who executed in 1500 the interesting plates,
the c Great Ball ' and the c Tournament,' lived here ;
and Lucas Kornelisz, otherwise called Ludwig Krug, who
died about the same time as Durer.
But a much greater artist than either of these was very
probably then working in Nurnberg, we mean Jacob Walsh,
' the master of the Caduceus.' This artist, wholly unknown
until lately, we shall hear Durer himself speak of.* It is
true he went early to Italy, since he published, in Venice,
the great view of that city in six sheets, about 1500, and
his drawing and style have entirely the Italian and classic
character; yet his fine and dexterous manipulation must have
shown the way to Durer when he executed the c Adam and
Eve,' one of his earliest and yet most perfect works.f
* The researches of E. Harzen, published in the 'Archives' of Nau-
niann, 1855, have supplied such information as we possess regarding this
Nurnberg artist, the most skilful engraver, except Durer, who ever engraved
his own designs.
f The number of engravings done about this time in Upper Germany
must have been very great. The British Museum has lately acquired
three little MS. volumes, illustrated by contemporary prints pasted in, to

io Life and Works of Albert Durer.
In mechanical arts Nurnberg was even more active, and
the list of inventors and improvers of instruments or pro
cesses, as given by R. von Rettberg, is long and curious.
Hans Menschel, who lived till 1533, improved the trum
pet in 1498. Peter Henleim (probably the same as Peter
Hele) made the pocket clock, the ' Niirnberger Eier,' the
Nurnberg egg: he lived till 1542. Casper Werner, some
what later, improved the same, and added decorations,
by chasing and engraving. About the same time Hans
Danner improved lifting apparatus and screw machinery,
and Erhard Etzlaub the compass. Johan Stabius designed
the sundial on the Laurence Kirche in 1502, and Johan
Schoner (born 1477) worked out the Globe of the world,
so essential in school and library. An unknown locksmith
invented the wheel-lock for small arms in 15 17, afterwards
improved and adapted by Wolf Danner. Then lived also
Bernhard Miillner the silk-embroiderer (born 1496), and
Bullmann, the locksmith and clockmaker, whom Charles V.
had conveyed all the way to Vienna in a sedan chair to put
his watch right! Hans Nockl the carpet-worker; Wolf
Weisskopf and Sebald Beck the skilful joiners ; George
Hartmann (whom Rettberg calls a pupil of Durer), who
first observed the variations of the magnet, improved the
the number of several hundreds. Mechen, Bocholt, and other engravers
appear, but, besides these, there are prints by about twenty men of whom
we have no other record.

Nurnberg Literary Men. j i
compass in consequence, and also invented the measuring
rod, have all to be mentioned. Also Ehemann, who in 1 540
first made the puzzle- lock which needs no key. The list
goes on still further, but we stop !
It is to be remembered that Durer had a great sympathy
with mechanics, which increased upon him in later life,
attested by his study of fortification and by his other
treatises, as well as by models made by him still preserved.
But there is still another circle of Nurnberg society to be
mentioned, with which he had even greater sympathy —
that of the learned and literary.
The principal figure in this circle is that Conrad Celtes,
who was settled for a time in Nurnberg at the beginning
of 1500, and there published, in 1501, the Latin Comedies
of the. nun Roswitha, which astonished the learned by their
pure latinity as well as by their laxity of morals and speech,
equalling that of their prototype Plautus. These comedies
are now shrewdly thought to have been forged by Celtes
and the friends associated with him in a society he founded
(the earliest in Germany), called the * Sodalitas Literaria
Rhenana.'* There was so close a bond of union between
the members of this society, that they must have at least
* The discoverer of this forgery, if forgery it was, is Professor Asch-
bach of Vienna. In the university of that city, a collection of Celtes'
letters exists, in which letters are many equivocal allusions to the wonder
ful nun of Gandersheim, who, at so early a date as the tenth century,
wrote better, purer Latin than was elsewhere found.

1 2, Life and Works of Albert Durer.

been cognisant of the deception. One of these, Bilibald
Pirkheimer, Durer's most intimate friend, wrote epigrams
on Roswitha, which, now that we know more of the affair,
show there was something to conceal. Pirkheimer was one
year older than Durer, and outlived him only two years.
He had two sisters, both remarkably learned ladies and
abbesses ; especially so was Charitas, the abbess of the
cloister of S. Clara, who corresponded with Durer.
Another member of this Nurnberg society intimately
associated afterwards with Durer, was Benedict Chelido-
nius, a monk of the cloister of S. Giles, who assisted in
the publication of the ' Greater Passion ' and the ' Life of
the Virgin,' by preparing the Latin verses printed on the
backs of the engravings.
A few other names I may mention as indicating the in
tellectual activity of the time when Durer was emanci
pating himself from pupilage and his father's obscurity.
At the head of the school attached to S. Laurence Kirche
was Johann Cochlaus, the opponent of the Reformation a
few years later, by the publication of a dramatic satire,
the ' Bockspiel Martin Luthers ; ' Andreas Osiander,
teacher of Hebrew and first ' preacher ' in the S. Laurence
Kirche reformed ; Thomas Jager (calling himself Vena-
torius), mathematician and poet, a combination then
seemingly natural ; Eoben Hess and Joachim Camerarius,
both intimate with our artist, though younger men ; also

Nurnberg Literary Men. 13
Steffan Baumgartner, in some sense his patron, though
not so noticeable for learning ; Melchior Pfinzing, provost
of S. Sebald's, who wrote the c Tewrdannkh,' a long
poem, pleasing to the Emperor Max, which was produced
in 1 5 17, with 118 illustrations by Durer's pupil Hans
SchaufHein ; Jerome Baumgartner, Melanchthon's scholar
and friend, when that great light settled in Nurnberg after
the tide had turned. Other notables, still distinguishable,
were Christof Purer, Christof Scheurl, Christof Kress, and
lastly Veit Dietrich, then a young man, fighting against
the already-mentioned schoolmaster Cochlaus for the new
liberties, afterwards preacher at the Sebald's Kirche.
Besides all these we must remember that the poet-shoe
maker Hans Sachs, at this distance of time the most
prominent*figure in the literary history of the city, and
worth all the pompous pedagogues and disputants put
together, was beginning his fraternity of ' master-singers,'
or at least he, Leonhard Nunnenbek, and others, were
rising into manhood. Abroad and far off still mightier
things .were doing : Copernicus was writing in his obser
vatory, Vasco di Gama was on the Southern Seas.

14 Life and Works of Albert Durer.

Chapter II.
DURER'S BOYHOOD.— HIS 'FAMILY RELATION:

F the childhood and early years of Durer, our
knowledge is exclusively derived from what he
has left written. His father's circumstances
were not excellent, perhaps even very restricted ; his mother
was quite young ; and the accession of new brothers and
sisters constantly going on, must have kept the household
wretched. We certainly know that Nurnberg was a hard
stepmother to him afterwards, and the men of position and
ability already named were mostly born in a better sphere.
It is more than probable that his father's circle was a
limited one, and did not include many of the men whose
names have been given. Indeed, to approach Albert with
certainty, we must narrow our observation to the pros
perous goldsmith Haller and his busy workshop, where
Albert the elder must be found, half artist, half mechanic,
working skilfully and making successful love towards the
very young daughter of his master ; and to the neighbours
and private friends of the house, — Koberger the future
printer of the Nurnberg Chronicle, the vicar of S. Sebald's,
and others.

Durer s 'Family Relation.'' 15
The following small piece of family 'history, remaining,
from the hand of Durer^ is 'dated: 1 5 24. We give; it- from
Campe's/ Reliquien,' merely interpolating within- brackets
the few additions we have' to 'make. 3 r • - ¦ '
. ; A Family Relation. ¦¦ -: • -1 r
1 1, Albrecht Diirer the younger;' h'aVe" -sought, out from
among my father's papers these particulars of him, wherd
he came from, and how he dived and died hdlily. Gdd
rest his soiil! Amen.'-,
1 Albrecht Diirer the elder' was born in'the "kingdom of
Hungary, not fair from the tdwn called Jula, eight- miles
under Wardein, at- a yillage'talled Eytas, where his family
occupied themselves-, with oxen and~ horses. [This Eytas
is supposed to be the romantic little1 townrepresented below
the figure of Temperance in the .clouds, usually called
1 The Great Fortune,' in ;Duref's wonderful engraving. I
cannot, however, learn-wh'o first asserted: this to be the
case.] My grandfather was-called Anthony, and he betook
himself to the town when "'still' a r young man, and learned
the goldsmith's art. He married a maiden called Elizabeth,
and they had four children, one girl, Catherine, and thred
sons. The eldest son was Albrecht, my dear' father, who*
became also a goldsmith;- and was a skilfuf and truthful
man. The second son was called" "-Laslen I (Eadislaus) and
he became a harness maker. He was the father of my

1 6 Life and Works of Albert Durer.
cousin Nicholas, who learned the goldsmith's art from my
father at Nurnberg, who now lives at Cologne, and whom
they there call Nicholas of Hungary. [We shall find
Durer mention this cousin in his ' Journal ; ' it will be
remembered that this c Family Relation ' was written after
his return from the Netherlands. From Albert the elder
taking apprentices on his own account, he must then have
had an atelier of his own.] The third, John, was allowed
to study, and was the priest of Wardein for thirty years.
c My dear father travelled into Germany, and also lived
long in the Netherlands, knowing there many great
artists. He at last came here to Nurnberg in 1454, on
S. Louis's day (August 25), the very day on which Philip
Pirkheimer held his wedding, and there was a great dance
under the lime trees. Then my dear father entered him
self with Joseph Haller, who became my grandfather ; for,
after a long service, up to the year 1467, my father having
asked him for his daughter Barbara, then a fair and handy
maiden of fifteen, they were married eight days before S.
Vitus [Aucht tage vor viti. S. Vitus's day is June 1 5 ;
S. Vitalis, April 28]. I must also record that my
mother's mother was the daughter of Oellinger of Weis-
senberg, and was called Cunegund.
' My dear parents had between them all these children
that follow, as I have copied them from the book, word
for word.'

Albert's Brothers and Sisters. i y
1 " i . Item : on the eve of S. Margaret (July 20) at 6
o'clock, 1468, my housewife, Barbara, bore my first daugh
ter. Old Margareth of Weissenberg was the godmother,
and named the child after its mother.
'"2. Item : on S. Mary's day (there is a difficulty in
determining what day this means), 1470, at 2 o'clock
before day, my wife bore me a son. Frederic Roth of
Beyreuth held him at the font, and called him Hans.
' " 3. At 6 o'clock, on S. Prudentius' day, the Friday in
Holy Week 1471, my housewife bore another son, to
whom Anthony Koberger was godfather, and named him
after me Albert.
c " 4. At 3 o'clock in the morning of S. Felix' day (there
are a dozen saints so named), 1472, my fourth child was
born, named Sebald, after his godfather Sebald Hotzle.
' " 5. At 6 o'clock, on S. Rupert's day (March 27),
our fifth child was born. Hans Schreiner of Laufer-Thor,
his godfather, called him Jerome, after my father-in-law.
' " 6. At 7 o'clock, the day of S. Domitian (S. Domitz-
tag, probably S. Donatian, May 23), 1474, my sixth
child was born. Ulric Mank, the goldsmith, named him
Anthony. ' " 7, 8. On S. Sebastian's day (January 20), 1476, at
the first hour, my housewife bore a daughter, who was
afterwards called Agnes by her godmother, the damsel

1 8 Life and Works of Albert Durer.
Agnes Bayrin ; and, after an hour of great pains, she bore
another, baptized at once Margaret.
'" 9. On Wednesday after S. Louis (August 25), 1477,
another daughter was born, named by the damsel Ursula,
after herself.
c" 10. In 1478, at 3 o'clock, on the day of SS. Peter
and Paul (June 30), a son was born, and called Hans by
Hans Sterger, Sohmbach's friend.
' " 1 1. On Sunday, being S. Arnold's day, 1479, at 3 or"
the clock, a daughter was born, and she was called by the
name of her godmother, Agnes Fritz Fischer.
("i2. At 1 o'clock on St. Peter's day (June 29), 148 1,
a boy was born, called Peter after the saint, by Nicholas,
Jobst Haller's clerk, who was his godfather.
'" 13. In 1482, at 4 o'clock, Thursday before S. Bar
tholomew's day (August 24), a daughter was born, to
whom Catherine, the daughter of Brintwar, gave her name.
' " 14. In 1484, on ,S. Mark's day (April 25) one hour
before midnight, my 14th child was born ; he was called
Andrew, after his godfather Andrew Stromayer.
'" 15. At midday, on the eve of S. George (April 22),
i486, a son was born and called Sebald, by Sebald de
Lochheim. This is the second Sebald among my chil
dren.' (Albert Durer was now about sixteen years of age,
and in a few months he was to begin art with Wohlgemuth.
As this is the second Sebald, and a few years after we find

Albert's Brothers and Sisters. i 9

the third Hans, death as well as birth must have been
busy in the household).
c" 16. At midday, on the Friday before Ascension,
1488, a daughter was born, and called Christine, after the
wife of Bernard Walter.
c ,c 17. In 1490, the Sunday before Lent, two hours after
midnight, a boy was born. Master George, vicar of S.
Sebald's, was his godfather, and called him Hans. This
is the third of that name among my children.
<<c 18. On St. Cyriac's day (August 8), 1492, two hours
before night, my eighteenth child was born. Carl von
Ochsenfurt was his godfather, and called him Carl."
' All these, my dear father's children, are now dead, some
very young, some living a little longer, except three ; and
those who still live, as long as God pleases, are Andrew
(who was thirteen years younger than Albert, survived
him, and was in away his executor), Hans (Hans, or John,
was nineteen years younger than Albert ; he was brought up
and educated as an artist by him, and he was afterwards
painter to the King of Poland), and myself Albert.
' My father's life was passed in great struggles and in
continuous hard work. With my dear mother bearing so
many children he never could become rich, as he had
nothing but what his hands brought him. He had thus
many troubles, trials, and adverse circumstances. But yet
from every one who knew him he received praise, because

2,o Life and Works of Albert Durer.
he led an honourable Christian life, and was patient, giving
all men consideration, and thanking God. He indulged
himself in few pleasures, spoke little, shunned society, and
was in truth a God-fearing man.
' My dear father took great pains with his children,
bringing them up to the honour of God. He made us
know what was agreeable to others as well as to our
Maker, so that we might become good neighbours ; and
every day he talked to us of these things, the love of God
and the conduct of life. For me, I think, he had a parti
cular affection, and, as he saw me diligent in learning, he
sent me to school. . When I had learned to write and read
he took me home again, with the -intention of teaching me
goldsmith's work. In this I began to do very well (we
are told by Nagler that he made the Seven Stations in
silver during this short time with his father, and that they
excited the wonder of every one). But my love was to
wards painting, much more than towards the goldsmith's
craft. When at last I told my father of my inclination,
he was not well pleased, thinking of the time I had been
under him as lost if I turned painter. But he let me
have my will, and in the year i486, on S. Andrew's day
(November 30) he settled me apprentice with Michael
Wohlgemuth, to serve him for three years.
' In that time God gave me diligence to learn well,
spite of the pains I had to suffer from the other young

Guilds. 2, i
men. And when the three years were out, my father
sent me away. I remained abroad four years, when he
recalled me ; and, as I had left just after Easter in 1490, I
returned home in 1494 just after Whitsuntide.'
(At this time, in every town in Europe, governed by a
corporate body, the guilds were in full force ; and it was
imperative on every one, following any employment what
ever, to become free of his particular society, as much as
it is now, in the learned professions, to obtain a diploma
or other qualification before being allowed to practise.
The first necessary document was the indenture of appren
ticeship, the second was a certificate of entry on the books
of the guild. The power of these associations continued
in Franconia down to 1658. After the ' freedom of the
trade' had been acquired, the liberty to work extended
under certain conditions to the whole imperial dominion,
then so extensive. We shall see that Durer during his re
sidence in Venice finds it necessary to pay money for the
privilege to practise ; and, if he practised his art during
those four years of travel before his marriage, we may
conclude he would either have to acquire the right or not
to travel beyond the boundary of the empire. It was ne
cessary to produce proofs of skill to be entered in the guild,
and Nagler says Albert sent in a drawing of Orpheus torn to
pieces by the Bacchantes, which drawing existed still in the
sixteenth century in the collection of Dr. Melchior Ayrer ;

22 Life and Works of Albert Durer.

now unfortunately it is lost. The earliest drawing now
extant, one done just before his going to Wohlgemuth,
and consequently long before his taking the freedom of any
guild, is his own portrait, now at Vienna. It is done on
parchment, and shows great accomplishment and much
freedom ; the face is most sweet and intelligent ; and
under it is written, in his own hand, ' I did this from my
self in a glass while I was still a child, in 1484.' There
'is an old and good copy in the British Museum which
we have taken as our authority.)
c And now, when my wanderjahre was over, Hans Prey
treated with my father and gave me his daughter, by
name the jungfrau Agnes, with a dowry of 200 guldens.
Our wedding was held on the Monday before S. Marga
ret's day (Monday before July 20), in the year 1494.
'After a time my father fell ill with a kind of dysentery
no one could cure. Soon he clearly saw death before him,
and with great patience waited to go, recommending my
mother to me, and a godly life to all of us. He received
the sacraments, and died a true Christian on the eve of S.
Matthew (September 21) at midnight, in 1502, as I have
written more at length in another book.'
(Of this other book, a leaf only is found. It is
marked page nineteen, and is the very piece recording at
greater length this pathetic deathbed. It says,) , The old
nurse helped him to rise and put the close cap upon his
head again, which had become wet by the heavy sweat.

Death of his Father. 23
He wanted something to drink and she gave him Rhine
wine, of which he tasted some, and then wished to lie down
again. He thanked her for her aid, but no sooner lay
back upon his pillows than his last agony began. Then
the old woman trimmed the lamp, and set herself to read
aloud S. Bernard's dying song, but she only reached the
third verse, and behold his soul had gone. God be good
to him ! Amen. Then the little maid, when she saw that
he was dying, ran quickly up to my chamber and waked
me. I went down fast but he was gone, and I grieved
much that I had not been found worthy to be beside him
at his end.
' After this my brother Hans came to live with me, but
Andrew we sent away ; and, two years later, my mother
came to me having nothing to live upon. With me she
remained the rest of her life. In 15 13 she took her last
illness suddenly, and lay for a whole year, till May 17,
1 5 14, when she received the sacraments and died two
hours before night as she had prayed. God have her in
his good keeping !
' My dear mother-in-law took ill on Sunday, August 18,
1 521 ; and on September 29, at 9 of the night, she died
piously. . And in 1523, on the Feast of the Presentation,
early in the morning, died my father-in-law, Hans Frey.
He had been ill for six years, and had his share of troubles
in his time.'

2\ Life and Works of Albert Durer.
The record of Albert's birth in this c Family Relation '
says he was born on Friday in Holy Week, S. Prudentius'
day. Friday in Holy Week is Good Friday, which, ac
cording to Bond's ' Handy-book of Dates,' was April 1 2,
in 147 1, while S. Prudentius is celebrated in the calen
dar on April 6. This difficulty has made a disagree
ment between the various writers on Durer. Dr. von Eye
says, ' six o' clock on S. Prudentius' day, that is, accord
ing to our reckoning, 1 1 in the morning of May 21.' Dr.
M. M. Mayer considers the true date, cMay 21, Tuesday
in Holy Week ;' why, he does not explain. Dr. R. Marg-
graff and Doppelmayer say, ' May 20.' Weise, Nagler,
and Sandrart content themselves with saying c Friday in
Holy Week.' If he was born on April 6, his birth and
death were on the same day.

Art in Italy, Marriage.

Chapter III.

DURER'S TRAVELS AND MARRIAGE.— HIS K _ >. ^ .)Ug.
—MARTIN SCHON, ZATZINGER, AND JACOB WALSH.

]HE difference between Italian and German art is
visible in every single work, great or small.
The range of the Alps divided the elevated
sentiment and the expression of beauty, from the realism
and individuality pervading even the religion and romance
of the Teutonic mind. The causes of this difference are
many and various, but the most patent and easy of detec
tion is the inheritance of classic influences in the shape of
antique sculpture and architecture. The preservation or
discovery of marbles determined in Italy the character of
modern sculpture, which art was nearly a century in advance
of painting. These marbles also afforded the best school
for the painter ; to originate or to interpret nature is so
difficult, to imitate bygone art so easy. Pointed architec
ture, 'Christian architecture,' was a northern development;
in Rome, the centre of the Papacy, architecture remained
' pagan.' This difference between Ultra and Trans-montane art im
plies corresponding differences in other fields of intellect.

2\ Life and Works of Albert Durer.
The record of Albert's birth er applications of printing
says he was born on Friday in "nany and in Italy. All the
day. Friday inre pious books, and the first volume printed
cording to Bone the Bible : nearly all the early German en-
in 147 1, while S the service of religion. In Italy the head-
quavers, ^"i1. Ourch, it was different: Virgil, Terence,
Dante, and the romance called < Hypnerotomachia,' were
the works there employing the new illustrative art.* More
over this difference must be admitted to have existed in
actual life. The Italian artist very generally painted his
mistress as the Madonna, and the further south we go we
find more f paganism ' in the habits of the community and
in the manners of the artist. It is impossible this e Family
Relation' could have proceeded from any Italian artist; a
monk in the cloister might have expressed himself much
more piously, but a man in the world south of the Alps
could never have written it.
At the time of their marriage the parents of our artist
were of very different ages, Barbara being no more than
fifteen while Albert the elder was forty. The result was
not a happy one : perpetual exhaustion in childbirth and
exhaustion in providing for the children followed for
twenty years ; still the filial affection of the son sustained
* I here express the difference as exhibited by the majority of examples.
Exceptions of course there were ; indeed the first book, illustrated by an
artist with pictures on copper, issued from the press in Italy, though not
containing the first plates engraved, was ' El Monte Sancto di Dio,' produced
at Florence, 1477.

Alb erf s Marriage. 2 J
no diminution. Then follows the record of his own mar
riage, a few words, without passion or sentiment, expressing
only docility and obedience to paternal authority.
It may have been the way at that time in Franconia, but
we are not prepared to find the exceptional man, the typi
cal genius in art, conforming so willingly to a custom so
arbitrary in the matter of marriage. How far his education
at school extended we know not, although we find unmis
takable evidences of some knowledge of Latin in his after
writings and subjects, but happily his docility in the
matter of choice of a profession was not so thorough as in
the equally important (that is, to a man of Durer's nature)
matter of marriage. He is transferred to Wohlgemuth ;
becomes a more skilful artist than his master ; he returns
from his wanderjahre at his father's call ; has seen other
countries and been his own master, and yet we find him
disposed of by these two old men, and he becomes the hus
band of a woman said to have been his destruction at last.
Albert was twenty-three, Agnes younger; and the only
explanation of the mystery we are entitled to find is, that
she was pretty (as she is, indeed, always represented
to have been) and lovable, and for the moment made him
happy. The evil day came after ; she was childless ; and
it may not have been till after the death of her parents and
Albert's that the peevish piety and avaricious discontent
supervened.

28 Life and Works of Albert Durer.
That Agnes was the model for any of his Madonnas,
either painted or engraved, is uncertain ; nor, indeed, is
there sufficient evidence that any of the studies and
sketches to be found among his remains are portraits of
his wife. Even that in the Esterhazy Collection is not in
scribed with her name. There are two engraved portraits,
one by Joh. Fr. Leonhard, inscribed 'Agnes Dureri con-
jux,' with Durer's monogram and date 1508 ; the other
is from a medal with the same date ; but the question
still recurs, What authority is there for supposing these
to be Agnes ? Tradition allows her to have been beautiful,
but an ingenious writer* has adduced some evidence that
another face had crossed the painter's dreams. There is
extant a sketch of a woman's head and bust, the face
slightly averted ; and underneath it, with Durer's mono
gram, the words, 'My Augusta.' Another sketch j- repre
sents a woman in Nurnberg costume passing into a church;
the inscription on the drawing, besides the painter's name,
consists of the words from Scripture, 'Remember me when
thou comest into thy kingdom.' 'The date is 1508,
after his return from Italy. Whose prayers did Albert
ask with the dumb strength of his manhood ? ' It is
pleasant to believe in this glimpse of romance. If the
character attributed to Agnes by Durer's personal friends
* In the Edinburgh Review, July 1821.
I These are both mentioned in our catalogue of sketches.

Albert's First Teaching. 29
be correct, it is just to the great man, who is said to have
borne his lot with more patience even than Socrates, to
believe diat he had his ideals, and retained the inner cham
ber of his heart unfilled.
While still with his father, the boy must have learned
at least to draw. The likelihood is, that the goldsmith his
father was well fitted to teach him, and used the pencil
and chalk as well as the modelling tool and graver. The
great number of painters in Italian art-history, originally
goldsmiths, shows that the training must have been very
advantageous to the further development of any department
of art ; and Durer speaks of his father as very skilful, and
as the friend of many good artists, before his settlement in
Nurnberg. The portrait of himself at thirteen, already
mentioned, shows acquired power in drawing, and its date
is two years prior to his going to Wohlgemuth.
Christof Scheurl,* whom Durer met at Bologna in 1 506,
says Durer told him that Martin Schon had been selected
for his master, and that he was to have been sent to Colmar,
where that artist and his brothers resided. Melchior
Adam, who is followed by Bayle, says, 'He attached
himself to a painter of small ability (!) called Martin
Hupse (Schon), who showed him how to engrave as well
» I rind this authority always cited in the different lives of Durer, but
confess 1 have not been able to learn in what original shape this contem
porary authority is to be found.

30 Life and Works of Albert Durer.
as paint.' This account we know to be substantially
wrong, and yet it may have a shadow of truth. Wohl
gemuth was not an engraver ; as a painter he belonged to
the archaic school; and although associated with the
publication of the Nurnberg Chronicle by drawing the
illustrations, may be confidently said to have never cut on
wood. No form of engraving was likely to be known to him
as a painter, the wood engraver being only a more educated
formschneider, or cutter of the block-page for the early
books, the copper engraver (a much higher artist, having
no drawing prepared for him), being developed from the
chaser and niellist, the newly invented printing press making
the sale of impressions possible. Much has been written
on this subject, in the absence of record and on imperfect
practical knowledge : it is enough to remind our readers,
that the first generation of engravers, in Italy as in Ger
many, all began life as goldsmiths, but had become painters
by the time that the press offered the means of usefully
applying their art-powers to engraving for its own sake.
With the second generation this was not necessarily the case.
Marc' Antonio and his chief assistants did not come from the
goldsmith's bench, though, as it happened, our Durer did.
He went to Wohlgemuth to learn to paint. This artist
was probably the best painter in his native town, and was
fifty-two years of age when the boy of fifteen was led into
his old fashioned atelier, more of a workshop than a

Visits Colmar. 31

studio. It is possible he might illuminate, or even
rubricate, the printed books now superseding the manu
script, and still more probable he made coats of arms on
panels or shields for hall or tournament. This kind of
work would seem good enough for the fellow-apprentices
Durer complains of ; he the future leader, and friend of
Melanchthon and Erasmus, they the future craftsmen and
jolly guild brethren. These comrades would have an ap
prenticeship of the legal seven years, while Durer was en
tered but for three ; and, at the expiry of this period, he
travels, as was customary in all skilful callings ; and now
it may have been he went to Colmar, and practised engrav
ing, associating himself, not with Martin who was dead,
but with the three remaining brothers, who continued the
same trade, and who are said to have welcomed him with
much satisfaction.
It is, indeed, nearly certain, that part of the four years
of travel were spent in Colmar. Some writers hold that
Durer visited- Italy at this early time, a supposition con
tradicted by the most irrefragable of all testimonies, that
of the spirit of his works : others that he went into the
Low Countries ; but this is discountenanced by the entire
silence in his journal as to any previous visit there.
However pleasing it may be to imagine him at either of
the centres of art-influence, and associating with notable
contemporaries, there is a presumption he did not, but

32 Life and Works of Albert Durer.
kept within the imperial jurisdiction. Colmar, now be
longing to France and the capital of the department of the
Upper Rhine, is forty- two miles south of Strasbourg, and
about the same north of Basle, both of which were places
likely to entertain a young German artist always ready
with his crayon to take the portrait of jungfrau or bur-
gomeister. We ought to remember, also, that Durer was a Hun
garian by family, and took an affectionate interest in his
father's history. This would induce him to travel east
ward, towards Prague, Pesth, and Gratz ; and if there is a
foundation in truth to the tradition, that the lovely little
town in the lower part of the print called the ' Great ¦
Fortune,' is the town of Eytas, from whence his father
came, he must have seen it and sketched it at this time.
At no other epoch of his life could he have done so.
Having alluded to the practice of goldsmiths in the use
of the graver, as well as in drawing, enabling his father to
induct him into the rudiments of the art, it may be well
to remark, that it would not appear he had practised his
father's trade to any good purpose. It is impossible now to
say what his surprising Seven Stations in silver were ; but
it is evident from his transactions in Venice as we shall see,
and in Flanders at a later time, that he had no knowledge of
jewels, and was unable to guess the value of any article offered
to him. When Albert the elder arrived in Nurnberg he

Wohlgemuth. 33

worked for Haller, and continued no doubt an employe to
the time of his marriage, when he established a separate
workshop, and took apprentices on his own account. It
must have been a disappointment to him to find he was not
to have his favourite boy, the diligent elder son, to assist
him and continue his work when cares and years were be
ginning to tell upon him, for he was now close on sixty
years of age. But the thoughtful sweet manhood dawning
in the boy's face, in the drawing at Vienna, would assure
the painstaking father that whatever young Albert wished
would turn out well in the end.
Of Wohlgemuth there is very little known. In several
galleries we find pictures under his name. In Munich, for
example, there are five, all of them sacred subjects, painted
in the earlier German manner, with little feeling, but in
materials still well preserved. In the same gallery are
pictures described as ' in the manner of Wohlgemuth ;'
but, as he did not inscribe his works, there is always a
measure- of uncertainty as to the correctness of the inscrip
tion of works to his hand or school. The only certain
thing we know of him is, that he was the master of Durer
in painting, and that he illustrated the ' Chronicon,' printed
and published by Durer's godfather Koberger, in 1493.
Had Durer been at home at this time, probably he would
have assisted in this work ; but he was then presumably at
Colmar, not returning to Nurnberg till Whitsuntide next
D

34 Life and Works of Albert Durer.
year. He does not appear, however, to have designed for
any of his godfathers publications. Drawing for the
bookseller must have then had but small reward, and, a
few years later, we may presume Durer was better em
ployed. The ' Historia Hebrseorum,' for example, printed
by Koberger in 15 17, was illustrated by Hans Schaufflein
and Urze Graf, the latter a very inferior artist.
The portrait of Wohlgemuth* by his pupil, in the
Munich Gallery, is inscribed, ' This portrait has Albert
Durer done after his master Michel Wohlgemuth, in 15 16,
when he was eighty-two: after this he lived till 15 19,
when he died on S. Andrew's day, just before the rising of
the sun.' Near this picture hangs a portrait of Martin
Schon by Hans Largkmair, inscribed on the back, ' The
portrait of Martin Schongauer, called Schon because of his
excellence ; born at Colmar. Because of his parentage he
was a burgher of Augsburg, and a noble. He died at Col
mar, 1499, on February 2. God give him grace. I, Hans
Largkmair, was his scholar in 1488.' If this be authen
tic, the story of Albert's being placed under Schon being
prevented by death is a fable ; but the face of the picture
shows a different date ; it is inscribed, ' Schon Martin,
1483,' with the mark 15L04. The time of Schon's death
by universal consent is 1486-8.
Schon, or Hubsche Martin — that is, Martin the Beauti-
* In Cabinet VII. No. 1 39.

Artistic Influences. 35

ful, or Martin the Skilful, was indeed the proper master
for Durer, and there has always been a feeling of this kind
associating their names — was a painter as well as an en
graver, of great purity and excellence. After his death,
his brothers, Gaspar, Paul, and Louis, certainly received
Durer with affection, and his influence was immense and
authoritative ; virtually he was Albert's master, and one of
the earliest and best of our artist's prints is simply a re
production from Schon.
At this time in Venice, Florence, Mantua, and Bologna,
the greatest masters were working ; but we can find no
influence from them on our artist's practice. In our day,
any new improvements, or higher conditions in art, are so
quickly known and absorbed elsewhere, that we may be
surprised at this fact. In the year 1500, however, it was
wholly different. Perhaps Leonardo da Vinci was a name
unknown in the Franconian city ; perhaps not one en
graving by Mantegna had been imported there. Had the
facilities of communication been easier, or the international
circulation of books and prints been greater, we must sup
pose the Italian masters, Mantegna,* Baldini, and Robetta,f
would have contributed to form his style. But he was so
thoroughly German, so opposed to southern or classic
* I ought, however, to mention, that he was not ignorant of Man
tegna, as an early drawing by him, a copy from Mantegna, shows.
f I am aware I here associate Robetta with earlier men than he is
usually classed among. But, by internal evidence, we may assign some of
d 2

3 6 Life and Works of Albert Durer.
tastes, that he even resisted Venetian influence ; while the
three Germans, Martin Schon, Matthew Zatzinger (Mar
tin Zagel), and Jacob Walsh (the master of the Caduceus),
had all considerable authority with him.
Durer's earliest engraving is supposed to be the 'Woman
in the Grasp of the Wildman' (92 in Bartsch's list, 80 in
Heller's) ; and, judging from its unskilful graver- work,
most probably it is. The second is the ' Holy Family
with the Butterfly' (B. 44, H. 43). The first of these has
been suspected of being a copy, the second is a direct
transcript, to the minutest particular, of the engraving by
Schon, a print of which is in the British Museum. The
print by Schon was unknown to Bartsch, and so it has
hitherto escaped observation that Durer's well-known plate
is simply a reproduction, reversed as copies usually are.
The dishonest practice of copying prints, and trading on
the inventions of other men, was then becoming com
mon ; but this is the only instance in which Durer did so,
and here he did not place Schon's monogram on the plate
as Marc' Antonio did the /q\ , but substituted his own.
It is therefore possible, that this plate may have been
actually done for the brothers Schongauer during Albert's
stay with them. The 'Woman and the Wildman' may
his works to a date prior to 1500. Bartsch says he flourished about 1520,
founding on Vasari, who says in his life of Rustici, that Robetta was one
of the companions of the Paiuolo, or Pot, a fantastic club, about 15 1 5 or
1520. He must have been an old man at that time.

Durer's Works, 1500.

37

have been so done also, and ' The Lady and Gentleman
Walking,' certainly one of his earliest works. The lady
in this print is evidently derived from a figure in the
interesting engraving by Martin Zagel, called ' The Great
Ball,' which is dated 1500.* The list of engravings
attributed to dates earlier than 1500 extends to twenty.

The Woman with the Wildman
Holy Family with the Butterfly
The Love- offer
The Messenger on the Horse .
The Lady on the Horse .
S. Christopher
The Little Fortune
S. Sebastian by the Pillar
S. Sebastian ....
The Peasant and his Wife
The Turk and his Wife .
The Monster Pig .
The Four Naked Women, 1497
The Six Captains .
The Madonna on the Half Moon
Christ with the Five Wounds .
Apollo and Diana .
Mary, Anna, and the Holy Child
S. Jerome Praying .
The Prodigal Son .
The designs on wood, prior to 1 500, are considerable in
number, and include the sixteen Apocalypse designs, done
* Heller has not observed this, and places it -among the prints supposed
to be done before 1 500. I have relegated it to the succeeding period,
1 $00 to 1 $06.

Heller.

Bartsch

80

92

43

44

79

93

90

80

91

8z

S3

63

70

78

61

56

62

ss

83

83

87

85

96

95

74

75

89

88

3°

3°

• 23

20

. 64

68

• 29

29

• 59

61

. 28

28

38

Life and Works of Albert Durer.

in 1498 ; the most wonderful for invention as well as the
most bizarre and naive of all the creations of Christian art.
These are mediaeval in spirit, and curiously contrast with
the series called Raphael's Bible, or any set of designs in
which the revival in Italy is represented.

The 16 Designs for the Apocalypse, 1498
Holy Family with the Three Hares
Martyrdom of 1 0,000 .
HerculesThe Man and Horse
Martyrdom of S. Katherine
The Bath .
Samson Killing the Lion .
The Calvary.
Holy Family in a Chamber
S. Christopher with the Birds

Heller.

Bartsch.

64-79

60-75

106

IOZ

127

117

132

127

'33

138

128

120

J34

128

2

2

40

59

103

100

109

104

I am not sure that any of the pictures now extant,
except portraits, can be with certainty attributed to this
early period ; but of these we have
His Father's Portrait, 1497 ;
His own at the age of 28, 1500 ;
. His brother Hans', same date ;
Oswald Krel, 1499 :
all these in Munich. Besides these we have —
Katherine Fiirleger, 1497 ;
Do. as the Madonna, 1497;
His own Portrait in Florence ;
Do. in Madrid :
all showing his practice as a portrait painter at this
time ; and immediately after his return home, when, at the

Durer s Works, 1506.

39

age of twenty-three, he began to occupy his own home
at. the Thiergartner Thor.
The list of engravings done, from 1500 to 1506, when
he visited Venice, is also large.
Copper Engravings, 1500-6.
The Rape of Amymone .
The Banner-bearer.
The Three Peasants.
The Cook and Housekeeper .
The Virgin with the Ape
The Virgin suckling, 1503
Shield with Death's Head, 1 503
The Dream ....
The Nativity, 1 504
Adam and Eve, 1 504 .
The Nemesis (falsely so called)
Jealousy ....
The Satyr's Family
The Little White Horse .
The Great White horse . .
The Holy Family .
The list of woodcuts already given contains those up
to the time of his visiting Venice.
The pictures painted within this time are less certain,
and the reader must be referred to the catalogue. The
' Calvary,' now in Florence, may however be cited as
showing Durer's manner at this time. It is a multi
tudinous composition, exhibiting on the same canvas the
whole story of the Passion. In the background is the
city of Jerusalem, with the crowd, and Christ bearing the

Heller.

Bartsch.

6.5

7«

88

87

85

86

86

84

42

42

36

34

98

IOI

73

76

2

2

1

1

69

79

67

73

68

69

92

96

93

97

44

43

40 Life and Works of Albert Durer.
cross. The principal figures appear several times, and
the foreground shows the casting of the lots. These in
numerable small figures are finished in miniature, and con
trast strangely with the practice of Bellini and the others
he met in Venice. At this time he did the votive pic
ture for Pirkheimer, on the death of his wife Crescentia,
in 1 503 ; a circumstance which was the probable begin
ning of that friendship, which increased on the part of
both men up to the end of life.
In engraving; Durer had now attained his full power.
The ' Adam and Eve ' must have been the wonder of all
who saw it, exhibiting at once all the clear and intense
richness the burin is capable of. The only forerunner of
Durer in softness of effect was Jacob Walsh (the master
of the Caduceus), whose works Durer must have carefully
studied. Indeed the figure of Apollo in his little print
(B. 68), and the Satyr's family (B. 69) show that he did
not disdain to derive ideas from Walsh. Other prints, the
'Shield with the Death's Head,' the 'Great and Little
Horses,' and others, also show the mastery of the artist ;
and the little ascertainable meaning in some of these de
signs leads us to suppose the pleasure he must have had in
producing these prints lay principally in the elaboration
and texture he could now give in the difficult and hard
material.

AGE 28.
Origin/U I'i,r<f>/{.rr m tfc&Mrt.a.-cotAecJfu.nuu.

Venice. 4 1

Chapter IV.
DURER" S LETTERS FROM VENICE, 1506.

URER'S visit to Venice in 1 506 was his first
journey since his marriage. It appears to have
been mainly undertaken to execute the altar-r
piece we shall find mentioned, and for which he received
1 10 florins. , As yet, the unscrupulous and talented ^Marc'
Antonio had not begun the many forgeries systematically
manufactured and circulated to the detriment of the ori
ginal artist ; so that he could not have gone there to apply
to the authorities to stop the piracy, as he is said to have
done at a later date.
It was then an easy matter to pass between the two
cities — -a weekly communication by post and waggon was
regularly established. The German residents were nume
rous, and of all classes ; many adventurers, usurers, and
knaves, as well as important merchants, whose interests
were protected by embassies from Nurnberg and- other
places; and artists, among whom was living most probably
Jacob Walsh.
The leading artists of the school of Venice then living
were Gian Bellini, at the age of 80, still with several

42 Life and Works of Albert Durer.
years of work in him ; Carpaccio, also advanced in years ;
Marco Basaiti, who died in 1520; Giorgione, then only
29 ; and Titian, the same age. While Durer was writing
these friendly letters, Mantegna was actually on his death
bed at so short a distance as Mantua.
Letter I. — ' Willing service to you, my dear Master
Pirkheimer. I pray God, in the matter of health, yours
may be better than mine; and I wish you and yours a
good happy new year. As you requested, I looked about
to buy some pearls and stones, but have only to tell you
that everything good, or well worth our money, is
snapped up at once, and by Germans too. And they arc
a rare lot ! One must pay fourfold to get anything out of
them ; they are such cheats, and never do anyone a good
turn. I have been warned to keep clear of them ; and
have been told that better things can be bought at Frank
fort and for less money.
'As for the books you ordered, I have sent them by
Imhoff, and if you want anything else let me know. I will
aid you with all diligence, and wish to God I could do
you more service, which would be a great pleasure to me,
knowing how much you have already done for me. Mean
time, I pray you, don't lose patience with me; but I dare say
I think oftener than you do of the money I owe, and will
honourably return with thankfulness, when God helps me
home again. The picture I am to paint for the German

Letters to Pirkheimer.

43

community will be no Rhenish guldens, and there will
be only 5 guldens cost.* I shall prepare my design,
and get it ready for painting in eight days ; and, God
willing ! it will stand on the altar a month after Easter.
Then I expect to be able to save the money, and send it
to you to pay you, as I shall scarcely need to send any to
my mother and wife. I left my mother 10 when I went
away ; she has received 9 or 10 for works of art ; and
the wireworker has paid her 12. I have sent her 9 by
Bastian Imhoff, out of which she must pay Gartner the
Whitsuntide rent. As to my wife, I gave her 1 2 florins,
and she has had 13 from Frankfort, altogether 25. I
fancy she will not need any, or, if she does, the brother-in-
law can help her till I return, when I shall repay him you
may be sure. Yours in good remembrance. Dated from
Venice, day of the Three Kings. Greet for me Stefen
Paumgartner, and anyone else asking for me.
'Albrecht Durer.'
Letter II. — ' My willing service to you, my dear sir,
wishing you well with all my heart, even as I wish myself.
I lately wrote you. Will you let me know whether you
* This picture, done for the embassy apparently, was a S. Bartholomew.
It was afterwards in the possession of Rodolph II., and placed in the
gallery of Prague. We learn from Vasari that Giorgione, just about this
time, painted the facade of the German Exchange in Venice, and Titian
' certain stories upon the same building, over the Merceria.' It is re
markable that Durer says nothing of these works.

44 Life and Works of Albert Durer.
received my letter, because my mother writes, scolding me
for not sending you tidings. She makes me understand
you are angry at my silence. I must make haste to
answer for myself; she seems as vexed as you can be.
I have not much to say indeed, but that I have been idle,
and that you were from home. As soon as I heard you
had returned, or were returning, I immediately wrote, and
I especially commanded Kastell to present my services to
you. I don't hesitate to beg you to pardon me ; to say
the truth, I hardly have any other friend in the world.
But I can't believe you are really irate against me ; I
hold you as nothing less than a father.
' I wish you were in Venice! There are many fine fellows
among the painters, who get more and more friendly with
me: it holds one's heart up. Well-brought up folks,
good lute players, skilled pipers, and many noble and
excellent people, are in the company, all wishing me very
well, and being very friendly. On the other hand, here
are the falsest, most lying, thievish villains in the whole
world, I believe, appearing to the unwary the pleasantest
possible fellows. I laugh to myself when they try it
with me; the fact is, they know their rascality is public,
although one says nothing.
' The good friends I have among the painters warn me I
should not even eat and drink with these others, because
of their hostility to me and my church work, abusing me

Master Jacob. 45

when they have a chance, and making a disturbance.
They say my art is not as the antique, and therefore is not
good. But Gian Bellini, who has praised me much before
many gentlemen, wishes to have something from my hand.
He has come himself to me, and asked me to do him
something, and he will pay well for it. Several people
have told me I am in great favour with him, and I under
stand he is a pious man ; he is very old indeed, but yet the
best among them.
' What pleased me eleven years ago does not give me
the same pleasure now, I confess. Then I praised no one
but Master Jacob ; but I now let you know there are better
painters here, though Anthony Kolb swears there is no
better in the world than Jacob. They laugh at him for
saying so, but still he continues.*
' I have just to-day begun to sketch my picture. My
hands have been so bad I could not use them to work at
all. Now they are better. And now be good, and don't
scold me so hastily. I know you won't learn of me ; I
* Campe supposes this Jacob to be a certain Jacob Eisner, a versatile
and successful artist then living ; but it is evidently Jacob Walsh, Giacomo
de' Barbari (as a picture in the Augsburg Gallery is said to be signed, with
the Caduceus added). Kolb published the great view of Venice, by Walsh,
in six blocks, in 1498 or 1500, and is thus properly associated with him.
Durer, moreover, admired and imitated him at an earlier time, as his
' Satyr's Family ' and ' Apollo and Diana ' show ; the first subject having
been suggested by a print by Walsh, and the figure of Apollo in the second.
Now he avows a change of opinion. Passavant quite gratuitously suggests
some jealousy on Durer's part.

46 Life and Works of Albert Durer.
know not why. Still I think you had better. My dear
Pirkheimer, I would like to know if any sweetheart is
dead — perhaps suddenly, by water ? — whether one like this

or this .«\ or this <rrzi ^ '=^*' that

you might get another in place of her.* Come to Venice.
Given at Venice at 9 of the evening, Saturday after
Candlemas, in the year 1506. My services to Stephen
Baumgartner, to Hans Harstorfer and to Folkamer.'
Letter III. — ' My willing service to you, my dear Master
Pirkheimer. I send you the ring with the sapphire about
which you have lately written me. I could not send it
sooner. I have been going about constantly for two days,
with a skilful fellow, to all the goldsmiths, German and
Italian, throughout Venice, comparing all we saw, but
found none at the price. With good management I
bought this for 18 ducats 4 martzells, from a man who
wore it, and sold it me as a favour. I left him in the idea
I was buying for myself. As soon as I had made the
bargain, a German goldsmith who saw me with it, offered
3 ducats more. I hope it will please you. Every one says
it is a prize, and ought to bring 50 ducats in Germany.
* * Like a flower, a scrubbing brush, or a female dog,' in short.

Precious Stones.

47

You will soon see whether this be true or not. I myself
don't understand this kind of thing.
' Before this I had thought of an amethyst, a good friend
offered me for 1 2 ducats, but found it was not worth so
much. After I had it I was advised to give it back, and
I made up the affair by a fish dinner. I was mighty glad
to get my money back again. Good men have valued
the ring ; the stone is not more than 1 9 florins Rhenish, as
it weighs about 5 golden florins, so I did not overstep
your mark, as you said 1 5 to 20 florins.
' As for the other stone you wanted, I have not been
able to buy one, it is so rare ; but I shall still look out for
it. There is said to be much slight poor work brought
from Germany, especially Frankfort, into Italy. People
laugh when I speak of two ducats for jacinths : so write
me, and say what more I shall do. I have seen a good
diamond, but I don't yet know how much they ask for it ;
but if you give me the order, no doubt I can buy it.
' Emeralds are the dearest of all things here, but you can
have a light amethyst for about 20 to 25 ducats.
' From one indication and another, I conclude you have
taken a mistress. Take care she does not become a mas
ter. Pray be wise, and look to your real good. Andrew
Kiinhoffer sends you his service. He will soon write :
he begs you to excuse him to his master, for he has not
remained at Padua ; there, he says, he found nothing to

48 Life and Works of Albert Durer.
learn. Now, pray don't get angry because I have Hot sent
you all the stones ; in spite of diligence it was impossible to
get them all ready.
' They say you should have the stone mounted again ;
the ring is old and the foil gone, but the stone is very
fine. I pray you tell my mother to write to me, and do
you be kind to her yourself. I commend myself to you.
Given at Venice, second Sunday in Lent, 1506. I greet
you : your servant,
' Albrecht Durer.'
Letter IV. — ' My. willing service to~you, my dear sir.
On the Thursday before Palm day, I received your letter
with the emerald ring. I went instantly to the person
from whom I got it, that I might reclaim my money. He
gave it up to me unwillingly, sorry to have it on his
hands again, for he was certain the jeweller had bought and
sold it as a true emerald. Friends assure me the other
two rings are well worth six ducats. They are considered
very fine and pure, with no alloy ; and I am told you
should not hesitate about the price of such treasures, but
secure them when they can be got. I have so managed as
to lose only two ducats upon the three rings. Bernard
Holdsbock was willing to bargain for them.
' I sent you a sapphire ring by Hans Imhoff, and sup
pose you have received it. That I hold to be a good

The Venetian Painters. 49
purchase, I was offered an advance on it. But, as I told
you before, I really know nothing of the value of such
things, and have to go by the advice of others.
' The painters are becoming very obnoxious to me.
They have had me three times before the Lords, and com
pelled me to give- four good florins to their guild.
' Now I see I might have made a good deal of gold, if I
had not taken in hand this picture for the Germans. It
takes great work, and I can't expect to have it done be
fore Whitsuntide. As I only receive eighty-five ducats,
you may suppose my purse is soon empty. I have
bought some things, and sent some money away, so that I
am cleared out. But, you may believe me, I wish to be
economical till God grants me wherewith to repay you.
I might easily have made 100 florins but for this picture,
for all the world wishes me well — except the painters.
'About my brother: tell my mother to speak to
Wohlgemuth. If he can be of use, let Wohlgemuth give
him work, or help him somehow till I return. I would
willingly have brought him with me here, which would
have done him good, and he would have learned the lan
guage ; but she was afraid the sky would fall upon us both.
I beg you watch that he does not lose himself with women.
Advise the boy to hold himself honest and sensible till I
come, and not be a trouble to my mother. Though I
cannot command the Fates, I shall try my best.
E

50 Life and Works of Albert Durer.
' For myself I am still unruined, but have still to reap
the harvest. It is very hard that no one throws his money
at me. Remind my mother to see after the sale of the
Easter eggs ; * yet I feel that my wife will be home, and I
have written everything to her.
. ' I will not buy the diamond unless you write. I am
sure I can't leave this before harvest, if even the picture is
ready by Pentecost. All goes at present for necessaries,
yet I hope to be able to keep some money for you, but
cannot tell what may be depended on from day to day.
' I write home as if I was coming soon, but still I hesitate
what to do exactly. I 'do not know indeed what I shall
do, so write me again. ' Albrecht Durer, your servant.'
Letter V. — ' My willing service to dear Master Pirka-
mer. When you are well, it gives me great joy. I also
am well by the grace of God, and hard at work, but I
think I can't be ready before Pentecost.
'I have sold all my pictures except one. Two for
twenty-four ducats ; the other three I have given for three
* All this about his young brother Hans is most interesting. It is
clear that, at this time, the Durer family were but poorly off. The Easter
eggs are still sold in Nurnberg, Prague, and elsewhere, some of them
elaborately painted and gilt. In St. Petersburg porcelain eggs with gold
arabesques are in demand. Hans, we may presume, was to make himself
useful in painting these eggs.

Durer's Popularity in Venice. 51
rings which were knocked down to me for twenty-four
ducats ; but friends tell me their value is twenty-two.
As you have told me to buy you such things, I thought
I would send you these rings to see what they are, and have
them estimated if you wish to keep them. If, however, you
do not want them, return them by next messenger, for
here one of my acquaintances will get me twelve ducats for
the emerald, and ten for the ruby and diamond ; so I shall
not lose more than two ducats. I wish you could be here,
the time would pass quickly. Here are pleasant people
to meet, true artists. I have sometimes such, a crowd of
strangers visiting me, I have to hide myself to get painting.
All the noblemen* wish me well, but few painters.
' My dear sir, Andrew Kiinhoffer sends you his service.
He will write you by next messenger. I commend
myself to you. Will you tell my mother how much I
wonder at her long silence ; also I begin to think I have
lost my wife, it is so long since she wrote. I have read
yours written about me to Sebastian Imhoff. I beg you
to give the two enclosed to my mother, and to cultivate
patience towards me till God's time; you know I will
honourably pay you. Greet S. Baumgartner and other
good friends for me. Let me know if any of your loves
are dead. Make out this writing as well as you can ; I
* * Tzentilamen ' is the word in the original : Gentiluomini, those in the
Libro d'Oro. e 2

52 Life and Works of Albert Durer.
have had to hurry it. Given inWenice, Saturday before
Whitsunday (Weissen-sundag), 1506. 'Albrecht Durer.
' The morning is good confession time.'
Letter VI. — ' Grandissimo primo homo de mundo, woster
serf tor ell schiavo Alberto Durer dizi salus suo magnifico
Miser Willibaldo Pircamer my fede el alby ivolontiri cum
grando pisir woster sanita e grando honor el my maraw eio
como ell possibile star uno homo cosi son contra thanto sapien-
tissimo Tirasibaly milztas non altro modo ny sy una gracia de
Dio quando my leser woster litera de questi strania fysa de
catza my habe thanto paura et para my uno grande kosa.*
But I hold that the Scots have frightened you, and you
would yourself appear wild and singular, going along in a
kilt at a splitting pace.f It is an ill sign when such lans
quenets anoint themselves with civet. You would also
be soft as a swan, and you think all is right if the woman
is pleased. However, you need not scorn to be an amiable
fellow like me ; you have so many affairs on hand ; and
yet, when you fail in one, you are a month or longer in
recovering. * Such is the polyglot of Italian, Spanish, Portuguese, which I may
leave for the reader's amusement, as it means little besides compliments.
f The words in the original are ' wild und sunderlich im heilten wen Ir
den schritt hypferle Zand.' I translate heilten (Keilten) kilt, on the authority
of the Rev. Alex. Reid, of Girvan, Ayrshire, whom I have consulted under
difficulties.

Durer s Mention of his JTlfe. 53
' Thanks for having arranged my affairs with my wife
in the best way. I know there is much wisdom locked
up in you ; if you were only tender-hearted (like myself
for example) you would have every excellence. Thanks
also about the rings ; letting me do as I like. " If they
don't please, off with their heads and throw them on the
midden," as Peter Weisbecker says.
' What do you think, by degrees I am drawn on to be
quite a great man (Gentilam) in Venice. But I hear you
are making rhymes : you would be in capital company
with our fiddles here, wliich are so skilful they weep of
themselves. I wish to God our reckoning-mistress* (;v-
chenmeisterin) could hear them, even she might weep.
But I will follow your advice, not letting my anger get
the better of me, but going on as I have done hitherto.
' I cannot leave this in two months. I have nothing to
send,. as I have already told you; therefore I beg you will
give mv mother ten florins if she wants them, till God
helps me forward. Of course I will thankfully pay you
all. I send the Venice glass by the courier. As to the
two carpets, Anthony Kolb will help me to choose the
handsomest and cheapest : I shall give them to young
Imhoff to send to you. I shall see after the crane's pens ;
as yet I have seen none, but only swan's, which they write
with here, and these you might stick in your hat for a
* He speaks here of his wife.

54 Life and Works of Albert Durer.
while. I have asked a printer about the Greek works : he
says none have appeared lately, but when any are pub
lished he will let me know, and I can communicate with
you. Let me know what paper you Want, but I really
think there is none finer than we have at home, and
there are no special books of a historic sort worth my
choosing for your present studies : you can select best for
yourself. ' I have written you lately by the messenger Kanteri-
gysserle. I wish you would tell me if you are yet friendly
with Kunz Imhoff. Let me pray you to remember me to
our Prior.* Tell him to say some prayers for my preser
vation from disease, and especially my preservation from
" Frankzosen." There is no evil I fear so much, for nearly
every one has it here, and many are so eaten up, they die.f
' Salute S. Baumgartner for me, Master Lorenz, and
sweethearts and friends asking after me.
' Albertus Durer,
'Norikorius sibus (civis?).
'Venice, 8 August, 1506.'
' Item. Andrew is here and sends you his service. He
is not strong, and is sadly in want of money : long sickness
and debt have swallowed up all he had. I have lent him
* Euchius Karl, prior of the Augustines.
t One of the leading features of this age was the spread of the dreadful
disease then brought, it is supposed, from the New World. At this precise
time it was not yet known to be communicated by contact.

Pirkheimer s Greatness. $$
eight ducats, but do not speak of it; he would think I
mistrusted him. You know he will have his harvest yet :
every one wishes him well.* If the King comes to Italy,
I propose to go with him to Rome.'
Letter VII. — ' Most learned, wise, valued, experienced
in many tongues, quick at discovering lies, sure discoverer
of truth, completed Herr Wilbalt Pirkamer, your servant
A. D. gives you honourable greeting — " en Diawulo tanto
pella tyansa chi tene pare Io vole denegiare cor woster."
You believe, I dare say, that I am an orator of a hundred
powers, — a room must have more than four corners for the
ideas to sit like gods. But I will not bewilder my head
with the matter, in it there is not room enough even for
my pencil. The Margraf would not give audience to ioo
items, every item ioo words : it would need 9 days,
7 hours, 52 minutes, not reckoning the time for groans.
One does not arrive at once at such oratory, though one
may wish to speak like Tettel (Tetzel ?).f
'I have been looking for carpets as well as Anthony
Kolb, but we cannot find any ; they are all long and nar
row. Bernard Hirsfogel sends you greetings, and again
* If this was his brother Andrew, which is not likely however, as
Albert would have spoken of him more affectionately, he was now
twenty-three. f All this has reference, no doubt, to Pirkheimer's last letter now lost.
He was at this time one of an embassy sent by Nurnberg to the Con
federation. The negotiation still exists in the archives of Nurnberg,
under the title of conventions between the Margrave of Brandenburg and
the city of Nurnberg, 1506.

56 Life and Works of Albert Durer.
offers his service ; he is much troubled, for his son is dead,
the prettiest boy I ever saw in all my days. I cannot
find the fool's feathers you want ; you must write your
best without them.
'Oh if you were but here, what fine Italian lansquenets
you would see.* I wish to God you could examine their
boot-hose ; they have roncoins (bills) with 218 points, and if
they pink a man with any of these points, the man is dead,
as they are all poisoned. I do my best to please them.
The Venetians form large companies of these fellows ; the
Pope too and the King of France., What is going to
come out of it, I don't know. They make sport of our
King. ' Good luck to Stefen Baumgartner! I do not wonder he
has taken a wife. Remember me to Borcht, Lorenz, the
handsome serving-maid, and also to our reckoning-mistress
(rechnmeisterin) : thanks to your chamber-maid for her
greeting, but I hear she is only a slattern.

* Pirkheimer had command of the Nurnberg contingent, when the
Emperor Max ordered the muster and marched into Italy. This took
place later, but he must have had a taste for soldiers.

The Altar-piece finished. £?
' I have sent your palm wood from Venice to Augsburg,
where it can lie: it weighs two hundred weight. They
will not look after it, sponte vel spinte.
' You would give a ducat to see my picture, it is so
good and rich in colour. I have great praise for it but
little profit. I might easily have made 200 in the time,
and have had to refuse good offers. I might in fact have
returned by this time. I have silenced all the painters,
who say, " He engraves well, but he knows little about
colour." Indeed every one praises the colour.
'My French mantle and my Italian coat greet you,
both of them !
But, seriously, you are getting into such bad odour ; I
can scent you out at this distance. You go about making
love everywhere, you can't be more than five and twenty.
I can believe it, though we may reckon otherwise. There
are Italian perennials here just the same: / can't make
them out.
' The Doge and the Patriarch* have both seen my pic
ture. Let me hear from you. Truly I must go to sleep,
it strikes seven at night. I have written to the Prior of
the Augustines, to my sister-in-law, the Trittrichen,f and
to my wife, spoiling good white pages. Now I must end.
* Leonardo Loredano was Doge 1500 to 152 1. The Patriarch of
Venice at this time was Antonio Suriano.
f My adviser Mr. Reid would translate this ' Little Gretchen ; ' Narrey
translates it, ' la marchande de couleur.'

58 Life and Works of Albert Durer.
No doubt you think me slow, and would be more amused
talking to the Princess. Good night then, and good day
too. ' At Venice, on Lady's day in September. Item : I
think you need not lend my mother or wife any money.
* Albrecht Durer.'
Letter VIII. — ' As I know you believe in my good will
to be serviceable to you, I need not write of that ; but I must
tell you of the joy I have had, hearing of your masculine
wisdom and enlightened knowledge of things. It is sur
prising such qualities should be found in so juvenile a
body ; but they are God's gifts, no doubt, like some I
receive myself! We are both so well off, and think so
much of ourselves naturally, I with my pictures, you with
your wisdom. When the crowd glorify us, we keep our
chins in the air, and perhaps some one is making sport of
us behind our backs. Don't let us believe all the praises
we get ; as for you, you may be naughtier than you fancy,
and no great credit. Methinks I see you with the Mar
gravine, and how you do talk, just as you coquet and
bargain with that rose girl.
' I find from your letters you have been making your
self happy with H * * *. You ought to be ashamed of
yourself: remember you are an old fellow, and not so
handsome either. Your love-making must be like a great

Pirkheimer s Ladies. gg
hairy dog playing with a kitten. If I was burgomaster I
would tame you ; I would shut you up in the Lant ;* shut
you up at once, and with you the Mezereon, the Rose,
the Southernwood, Ash, Leek, and others I know not.
It seems I am in request as well as you ; that is, you say
so : that H * * * and other pious women ask after me
must be a good sign of me ; but if God helps me home, I
don't know how I shall live with you, you are becoming
so wise. Still I am glad to think of your virtue and
gentleness; you would not hurt a lamb, so even a dog
may be the better for you. So great a man will never go
about the streets again talking with Durer the hard-up'
painter — with a poltroon of a painter, f
' O. I. Hr. Pirkheimer, J even so it is, I can write to you
so merrily ; though there has been a fire that burned six
hours near by Peter Penders, and I had woollen cloth
burned which cost me eight ducats, so I have cause to
look grave. There are many reports about the fire.
' After hearing from you I shall soon come home, only
I want to carry away enough for my needs. I have given
out ioo ducats for colours and other things. I have be
spoke two carpets for you, which I pay for to-morrow, but
I have not been able to buy them with advantage. I
* The Lant was a tower used apparently as a menagerie.
f ' Cum pultron de pentor ! ' Pirkheimer was a linguist, and Durer
is * fooling him to the top of his bent.'
X These letters are possibly initials of a title.

60 Life and Works of Albert Durer.
shall pack them with my things. You say you will make
love to my wife if I don't come back soon, but that won't
do unless your bride be dead.
' I must tell you I have actually been to learn dancing
here, and have been twice to school ; I must pay the master
a ducat. No one could get me into it however, so I have
lost all my trouble, and can do nothing.
' Pott the messenger will bring the Venetian glass. I
can find nothing new indeed in the Greek tongue. I shall
send a ream of your paper. I thought Kepler had more
of it. I could not get the pens you would have liked, but
I have since bought white ones ; if, I find green ones I
shall "buy them to bring with me. Stefan Baumgartner
has written me to buy him fifty grains of cainelian for a
rosary. I have done so, but paid dear. I shall send them
by next messenger.
' I will let you know, as you request, when I am coming
back, so that the embassy (meine heren) may be apprised
what to do. I may be finished here in ten days. On
leaving this I should like to go to Bologna for an artistic
reason ; to learn the mystery of perspective an artist there
can teach. I shall return here in eight or ten days, and
then homewards by the next courier. Alas ! how shall I
live in Nurnberg after the bright sun of Venice ? Here I
am the lord, at home only the hanger-on (schmarotzer).
' I had many things to write, but will soon be with you

Leaving Venice. 61

myself. Let me know if the old corn mill you gave me
is still fit for use. Given at Venice, I know not what day
of the month, about fourteen days after Michaelmas, 1506.
'Albrecht Durer.
' Let me know if any one of your children is dead.
You once wrote me that Joseph Rumell has married your
daughter ; but how am I to tell which of them ?
' Had I only my piece of cloth again ! My mantle is
also perhaps burned with it ; if so-, I shall go mad. Am I
not unlucky ? a debtor the other day ran off with eight
ducats of mine.'

62 Life and Works of Albert Durer.

Chapter V.
AGNES DURER.— JACOB WALSH.— DURER'S WORKS TO 1514-— HIS
POETRY.
HESE letters are addressed to ' My good lord the
honourable and wise Wilbolt Pirkamer, burgher
of Nurnberg.' If we read them by the light of
the portraits of the two men, writer and receiver, the con
trast is very amusing. Durer, with a face of perfect
manly beauty, both in form and expression, indeed, re
sembling the ideal head attributed to the founder of Chris
tianity ; Pirkheimer with coarse features, without elegance,
heavy and large-boned, indicating a short man tending to
obesity. Durer, anxious about many things, bothered by
the wickedness of those about him, and anxious to assure
Pirkheimer that he is certain to pay some debt or other,
perhaps contracted to enable him to enjoy this holiday, the
weight of all his family still on his shoulders however far
he may travel ; the other occupying the artist by trumpery
commissions for jewellery, and other trifling belongings.
Durer having left a wife at home, whom he only mentions
as requiring some care, and as a landlady casting up the
reckoning ; Pirkheimer, the widower, with marriageable

Agnes Durer. 63

daughters, although only thirty-six, and one year older than
our artist, having no end of intrigues and light-o'-loves, and
at the same time employed at court on state affairs and at the
meetings of the ' Sodalitas Literaria,' enjoying the forgery
of Celtes in passing off his indecent imitations of Plautus,
as the work of the Abbess Roswitha.
Durer's few notices of Agnes, we have observed, are
such as tend to confirm the character given of her in later
years. Even at this early period of their union, there
seems to have been but little love left. If the union were
not prolonged in such cases, how much better it would be !
the man would be restored to all his energies, and the
woman would learn how little outside friends would accept
the troubles she caused. The amiable husband is the
victim, and it does seem reasonable that a wife, whose love
for her husband is so cold, and whose sense of the natural
relations of the sexes is so weak that she is unable to
sacrifice her wishes and ways, should be removed. The
law of divorce should set her on* her own feet again. But,
as it is, the man must carry through life the live incubus ;
the sky is darkened to him, the marriage bed and board
are rival hells to the sensitive. Agnes had no children.
She is represented as pious, peevish, urgent for industry,
parsimony, and privacy. We seem to recognise her ; a
woman physically unloving, unenjoying; such stuff as
saints are made of. But, alas for Albert, returning to

64 Life and Works of Albert Durer.
this wife, and to the coarse, purse-proud, controversial,
trading community of the free northern town !
If Durer had never returned, but remained under the
sun of Italy, as we now know he could have done, the
Signory having made such overtures to him (doubtless on
account of his engravings), he would have been happier.
Beauty was the supreme Madonna in Italy, but in Albert's
mind it was Duty. And he was so entirely a German, he
could not have remained with advantage, although Jacob
Walsh had done so, and lost all trace of national character.
Durer's allusion to Master Jacob is most interesting. That
the Jacob mentioned is Walsh, the association of the name
with Anthony Kolb is nearly certain evidence, Kolb having
been his publisher or employer. Dr. Campe says it could
not be Walsh, because he was already dead in 1500 ; but
of this I can find no evidence. If so, the mastery of his
engravings, and the perfect freedom in his drawing from
any archaic taint, would be still more surprising than it is.
Besides, there appears to be a picture in Augsburg, dated
1504, which proves him still to have been alive, and
Durer's mention of him in his ' Journal ' in the Low
Countries in 1520 indicates his recent decease.
Durer's mention of Jacob has been criticised as derisive :
this therefore could not be Walsh, they say, seeing that
Durer imitated him in his early works, must have been,
indeed, inspired by him. But I fail to see anything that

D///Y/' in Nurnberg again. /V*^^q \
can be construed into ingratitude; and the mairi^tp-est- of .\^>'
the sentence lies in the acknowledgment that his Ju4g3n4it$- -"*'
had changed, and that he did not now admire the Italianised
Nurnberger so much as he had done. It is certain that,
after this time, and much as he enjoyed Italy and admired
Bellini, we see no diminution of his Teutonic, and little of
his .mediaeval character ; no new admiration of the antique.
The Italian influence that afterwards modified his practice
was that of Raphael.
We follow Durer back to Nurnberg and to his labours.
Whatever social position, humble or otherwise, his father
or his master may have placed him in, we now find him
necessarily in the front, associating with Lazarus Spengler,
Stabius, and others ; and, as far as the dates on his works
enable us to judge, the turning-point in his fortunes had
come. Although nearly all the popular anecdotes of the poverty
of oreat painters have been critically erased from history,
still we know that great prosperity was enjoyed only by
the minority. In Durer's case it was doubtless his en
gravings that secured his income. They must have cir
culated very largely ; they became an article of commerce,
and went to Venice and Frankfort in vast numbers, so that
he became celebrated from Rome to Utrecht.
The five or seven following years were the most pro
ductive of his life. He now began the habit of signing

66 Life and Works of Albert Durer.
and dating, so that we know the history of each print,
and it is unnecessary to give here a list distinct from the
catalogue, at the close of the volume.
It is enough to say that, from 1507 to 15 14, were
executed all his great inventions and suites of designs : —
The Little Passion on copper, 16 miniature1! of wonderful finish,
The various Veronicas, S. Georges and Virgin groups,
S. Jerome in his Cell,
S. Hubert (Eustache),
Melancholy,
The Knight and Death.
Altogether the engravings and etchings dated or attri
buted to the period 1507 to 15 14 inclusive, amount to
forty-eight in number, embracing the most perfect and
elaborate. And on wood he drew
The Little Passion (the Fall and Redemption), 36 prints,
The Great Passion, 12 in number,
Life of the Virgin, zo ;
and a mass of other work, over 100 altogether. This
shows great power of application and certainty of hand ;
and we cannot expect many pictures of a studied character
during the same period. All these engravings must have
been continually in the printer's hands ; several editions of
the larger works were quickly issued ; and the number
still existing all over Europe astonish one with a sense of
the quantity that must have been issued, even after making
allowance for the reprintings of subsequent times. His

The Emperor s Favour. 6j
prices, as we shall see in the ' Journal,' were very small to
our eyes ; but to speak of him henceforth as anything but
a rich man is folly. He must have taken a place among
the warm burghers, frugal and farseeing, of the town of
which it was said, ' Nurnberg's hand reaches every land.'
The sunshine of court favour also now lit upon him.
Kaiser Max, a large, magnanimous, imperial nature, vain of
his power, and desirous of its celebration, generally living
elsewhere, but sometimes in the castle of Nurnberg, we
can with certainty believe frequently visited Durer in his
studio, and took an interest in his doings. At a later
time, when the large blocks of the Triumphal Car* were in
progress, he displayed great curiosity and impatience, not
only visiting the artist, but the formschneider, Jerome
Rosch, who cut them, almost daily.f
Durer was made painter to the Emperor with a pension
of one hundred florins a year, and had a grant of arms,
three shields on a blue field, according to Carl van Mander.
* It is next to certain Durer never engraved on wood, only drew the
design with a pen. Otirley and others think, that he may have occasionally
engraved, and that ' God the Father with the Body of Christ in the Clouds '
may be his own cutting. But the supposition is gratuitous ; even time
will not permit it.
f This anecdote is told in Murr's Journal, 2nd theil, s. 1 56—9, where it
is quoted from Neudorffer, who collected particulars of the Nurnberg artists
in 1 546. Rosch lived in the wide street approached by Fraiiengasslein,
a narrow lane ; and it became a proverb (to quote from Chatto's History of
Wood Engraving, p. 287), 'The Emperor still often drives to Petticoat
Lane.' F Z

68 Life and Works of Albert Durer.
This fact I find corroborated by a small engraving by
H. Sebald Beham (B. 258) dated 1535, representing a
genius holding the Durer crest, the blackamoor's head,
in one hand,* and resting the other on a shield with the
bearings named. This engraving seems done in grateful
remembrance by the master's pupil. The following letter,
showing the Emperor's interest in Albert, probably took
the grave and reverend seniors of the Council by
surprise. To the Council of the City of Nurnberg.
' Honourable and dear Lieges. The care which our
liege Albert Durer has always shown towards us in the
execution of works of art, we have commanded of him ;
the assurance we have of his continuing to so serve us ;
and the pleasure we have derived from such works,
have determined us to aid and serve him in a special
manner.
' We therefore demand of you that you forthwith, and
with good will, exempt him from communal imposts,
and all other contributions in money, in testimony
of our friendship for him, and for the sake of the mar
vellous art of which it is but just that he should freely
benefit.
' We trust that you will not refuse the demand we now
make and address to you, because it is proper, as far
as possible, to encourage the arts he cultivates and so
largely develops among you.
. * See remarks on No. 161, in the Catalogue of Wood Engravings, in
the Appendix

The Empcrcr's Favour. 69
" You will thus acknowledge the singular goodwill that
we have always shown to you and your citv.
'Given at our imperial town of Landau, the 12th of
the month of December 1512, of our reijn the 27th.
-/./ matuwtum Dr;': hxpcr.it :rh J/, ppria.'
This demand of the Emperor is a further proof of
the importance of Durer's trade, as it seems to refer to
commercial imposts. Whether the free town resented the
imperial interference, or any jealous feeling was shown by
his brother citizens, we know not ; but Durer says, in a
letter to the Council at a later time, that he had renounced
the privilege. We find, however, that he continued to re
ceive till his death 100 guldens a year as a honorarium.
Sometimes he lived at the court at Augsburg (twice at
least we know), and at home he must have been looked
upon as an honour to his native citv.
At this time he wrote another series of letters still pre
served, those to Jacob Heller in Frankfort. These are,
for the most part, short business letters about their trans
actions, especially a ! Mariabildt ' he wanted to sell, but
feared he would not, he had had it so long by him ; so he
offered it at a small price. Afterwards he writes he has
sold it well for seventv-rwo florins to the Bishop of Breslau.*
* The painter, it is now seen, congr.5tal3-.ed himself too soon, as a letter
from the Bishop to * the worthy Wolfgang Hofmann of Xurnberg' shows.
He say.- in this letter, the K^rifxfiU, painted by Durer, which he had
from him some rear? ico, was still unpaid, and that payment having been

yo Life and Works of Albert Durer.
The ubiquitous Hans Imhoff is here also with his friendly
assistance. These letters I will spare the reader, but in one
there is an allusion to Agnes, which is worth notice as an
illustration of her character. Albert says his housefrau
prays Heller to let her have a gratuity ; and in the next
letter, the last of the series, Durer thanks Heller, on the
part of his wife, for the favour : ' What you sent her she
will wear for your sake.' Such an incident, however, it
is but justice to remark, may have had quite a different
character then from what it appears to have now. But
Dr. Campe looks upon it as an indication of usurious
tendencies, ' very characteristic,' he concludes, ' of the
reckoning-mistress Agnes ! '
These letters are dated for the most part in 1509, in
which year Durer began to write verses, the most impor
tant pieces of which we must produce here. His own
account of his poetic attempts is amusing. The paper
wherein he records the matter is dated 1509. He first
quotes a doggrel couplet, and says, ' This is the first rhyme
I made, but when Bilibald Pirkamer saw it, he laughed at
asked, he will be glad if his good friend would enquire into the price
and let him know ; which being done he would write to Augustine
Eber, or Wilhelm Artzt, about defraying the expense. Whether he ever
got paid or not, the picture has quite disappeared, and no recollection of it
exists at Breslau. Well might Durer incline to fall back upon engraving as
the more profitable art, as he says in these letters and elsewhere that pain
ting is a loss to him from the difficulty he had in disposing of his pictures.
Even the Emperor was the patron of his engravings, rather than of his
paintings.

Durer's First Verse-making. Ji
me, saying the lines should have only eight syllables : so I
made these, — Mit grosser Begier, Ehr und Lob,
Bitt' ich Gott umb die acht Gob,
and eighteen more,' which we need not quote or translate.
Then he asked Lazarus Spengler (the learned recorder of
Nurnberg) to give him his advice, who also makes sport
of the painter, and shows him what lie can do in the
making of verse. Albert revenges himself by a response^
ending with lines to this effect, —
So I shall make my rhymes,
And the lawyer laugh no more,
Said the hairy-bearded painter
To the satirical clerk !
After this follows a piece prefaced thus: — ' 1510, this
have I made on vC Good and Bad Friends." This and the
following pieces I paraphrase, rather than translate word
for word : —
Who falls behind when troubles rise,
And lightly credits scoffs and Hes ;
Who cannot in his own heart know
Which is the friend, and which the foe ;
Who thinks himself for ever right,
And wears us out by day and night ;
Who still must rule, who chides and scorns,
And goes about as if he had horns !
Is such a one the man of might,
The friend we hold by, always right?

73 Life and Works of Albert Durer.
Who looks as if asking heads to bow,
And knees to bend before his brow :
Companionship of such as this,
It seems to me 'twere best to miss.
Whoever is thy worthy friend
Employs no arts, no selfish end
Is his ; he tries to keep you straight ;
Walks not before, nor is too late,
Nor leaves thee in thy needs ; his hand
Is armed when you in battle stand ;
Can show compassion too, even tears,
When sorrow or Atropos appears.
He never makes you feel how strong
And good he is, though you be wrong !
To honour such a friend take heed,
Let nothing part you, word or deed :
He is the gift of God ; you must
Do nothing to impair the trust.
Durer's other poems were printed under woodcut de
signs: — 'Death and the Soldier;' ( The Teacher,' 1510;
and one on the ( Passion,' under a woodcut headed c Chris-
tus am Kreuz,' of the same date. The pious and moral
tendencies of the painter come out in these attempts at
poetry ; indeed, the poet is very second to the moralist.
The design at the top of the c Teacher ' represents a peda
gogue and his boys, and the verses are only maxims strung
together.

Durer's Poetry. 7$

THE TEACHER.
(Der Lehrer, 1510.)
These verses ..'<• trpferje.l to tie fr:-:t. B. 133.
\\ ho will not to mv teaching yield
His heart and mind a fruitful field,
In the struggles of life his brand may be
Against himself worse than his enemy.
What ought to be secret, keep it so,
If you would peace and quiet know ;
Few counsellors can remain so fast
They will not turn and change at last.
If you would be happy, do not find
Mocking and drolling much to vour mind.
Laugh not, if laughing may annov,
For there are many who make great jov
Of neighbour's ills, and think the worst
Of all one does ; let these be curst,
And with them envv and jealousy,
Passions that twist whatever we see.
But trv to have some end of good
By those who hear vou understood ;
And if thev do not understand,
Stupid of head, or hard of hand,
Receive them not as friends ; and more,
If you see either a fault or a sore,
Do not speak doubtfully,
Thoughdessly, hastily ;
Stick by truth and do not lie -.
Use no craft, but candidly
Sav and do as prompts your heart,
For, otherwise, vou su rel v part

74 Life and Works of Albert Durer.
From God, betraying yourself, and be
Only of manhood a mockery.
Judge not rashly ; do not scorn ;
Say not, ' I am better, am born
For greater things ; ' — if thus you grow
Vain, you ride with the devil I know.
Again, be slow to anger; think
Twice before you leap the brink ;
Think twice, this is more worth than gold :
For there are times to be angry, to hold
The sword, but still I say again
Think twice, nor answer foolish men.
Suffer ; be patient ; overhead
Something for thee will be answered,
That thing you wanted, or another,
Providence is the richest mother :
Moreover, moderation grows
To be your custom even to foes.
And when, in these days, argument
Arises to no man's content,
With neither party build your nest,
Most like the middle way is best ;
If this you see not, stay behind,
Drink no one's bath, fight not the wind.
Let pass what does not suit thee ; love
Justice ; but pity 's from above,
And makes you better ; go not near
What gives you needless pain or fear;
Forget not modesty ; be brave ;
No deadly heartache shalt thou have ;
Sincere and mild, I do not see
What on this earth can injure thee.

Poem on the Passion. 75
THE PASSION.
(Christus am Kreuz, 1 510.)
Verses appended to the small print, B. 55.
Matins.
By God the Father's laws decreed
God-man the Son his sufferings dreed.
First he was bought by lying Jews,
And brought up bound in felon's noose ;
At matin time thus was he taken,
His human heart with sorrow shaken.
All his disciples and his friends
Turned away to their own ends,
Only Mary, mother and maid,
Stedfast stood in her woes arrayed.
First Hour.
So to Pilate was he brought
By falsest witnesses distraught :
He was mocked and beaten sore,
But that all patiently he bore.
As the prophet wrote of old,
So it came, as we are told.
Blindfold they him, and ask him then,
When they struck the king of men —
Tell us which of us did strike thee,
If thou canst like a seer see !
Third Hour.
Mark again, at the third hour all
These villain Jews did shout and call,

j6 Life and Works of Albert Durer.
Crucify him ! crucify him !
Till Pilate also did deny him,
And pointed to him with his hand,
As all in purple did he stand,
Mockingly, and crowned with thorn,
' Lo ! the king they would adorn ! '
They made him under his cross to go,
And suffer immeasurable woe !
Sixth Hour.
They nailed aloft upon the tree
His noble, delicate, fair body ;
Alas, what suffering made him cry,
' I thirst ! ' before his flesh did die*.
They gave him vinegar mixed with gall,
While darkness over them did fall ;
The left-hand robber scoffed at him,
That moment when his eyes grew dim,
The right-hand robber prayed for grace,
And rose anon to the heavenly place.
Ninth Hour.
At the ninth hour he died, and we
By his death live eternally :
The All-great Father be obeyed,
And down to hell, in his powers arrayed,
Went he, and took his own again,
Drawing them out of all their pain ;
While a soldier pierced him in the side !
The sun its sorrowful face did hide,
And the shiverings of a great earthquake
From out their graves the dead saints shake.

Poem on the Passion. yy
Vespers.
At vesper time, from the high tree,
The Lord was lowered to Mary's knee,
Stark and stiff, and hidden away,
In God's care was his life that day.
O man, this diligently read,
And find the treasure in thy need.
O pure maid Mary, 'twas to be,
And Simeon's sword has pierced thee ;
The crown of the earth laid low we see,
And all our sins have remedy.
Compline.
Joseph of Arimathee then came,
And Nicodemus did the same ;
By them the noble Lord was laid
In the tomb all properly arrayed,
With right rich spices smelling sweet,
As Jewish custom was complete.
And all these things were done, they knew,
That prophets' words might so be true.
Let's learn and bear all this at heart,
Making the sorrow ours in part.
Let us Pray.
O Almighty Lord and God,
Who the martyr's press hast trod,
Jesus, the only God, the Son,
Who all this to thyself hast done,
Keep it before us to-day and to-morrow,
Give us continual rue and sorrow ;

78

Life and Works of Albert Durer.

Wash me clean and make me well,
I pray thee, like a soul from hell.
Lord, thou hast overcome; look down ;
Let us at last to share the crown.

THE DURERS SHIELD.
[A pictorial pun on the name, presumably
invented by Albert.)

SHIELD GRANTED TO ALBERT
DURER BY THE EMPEROR.
[From a small print by H. 8. Beham, 1535.)

 J 
Success qf his Engr^'Qtgs. yg

Chapter VI.
DURER- S IMITATORS: MARC ANTONIO, HOPFER, &C.—HIS
DESIGNS: KNIGHT OF DEATH, MELANCHOLY, GREAT
FORTUNE, &c.
O sooner had the tide of fortune begun to flow
towards Durer, by means of the sale of his
prints, than he had to contend with dishonest
counterfeits, and experienced the difficulty of protecting
himself from imitators. The plan of international copy
right in literary works is only now, after all these centuries,
become a subject for legislation. But an international
arrangement for published works of art (I do not speak
of photographs) would seem to be rendered unnecessary
by the difficulty and outlay involved in re-engraving.
The immense popularity of Durer's works among the
religious public in Germany, at this time of excitement,
was very great ; and even in Italy it would seem to have
been nearly as general. It was sufficient to cause the young
and rapid Marc' Antonio Raimondi to devote himself for
years to the systematic copying of c The Life of the
Virgin,' the 'Little Passion,' and other works, as fast as
they appeared.
If any further evidence of the profitable extent of the

80 Life and jforks of Albert Durer.
sale of an artist's engraved works were required, it would
be found in this wholesale piracy. The most able
engraver in Italy employed himself, year after year, not
only before his settlement in Rome, but after it, when he
enjoyed Raphael's friendship, and had that master's sketches
placed at his disposal, in imitating Durer's woodcuts on
copper, forging the monogram at the bottom, and selling
them for the work of the master ! Marc' Antonio was born
about 1488 ; so he was but a young man, although already
the caposcuola, and was drawing about him other men
of talent — Agostino Veneziano and Marco of Ravenna.
These were probably younger than himself, one of the
early works of Veneziano being a print which must have
been executed after the date of the publication of the ' Life
of the Virgin.' It was also a forgery, a very curious ex
ample of the unscrupulous character of Italian artists, repre
senting Raphael's ' Venus and Cupid ' after Marc' Antonio,
with a background made up from Durer's ' Rape of Amy-
mone ' and ' S. Hubert ! ' And it is to be observed he did
not place to this rechauffe the monogram of Marc' Antonio
but of Durer, showing how much more popular even in
Italy were the works of the German. Another proof of
this is the much finer print called cLa Vierge a la Porte,'
which has been made up by putting pieces together from
various designs in the 'Life of the Virgin.'* Altogether
* See a Paper by G. W. Reid, of the British Museum, in Fine Arts
Quarterly, N.S. vol. i. Mr. Reid discovered the composite character of

Marc Antonio' s Forgeries. 81
Marc' Antonio copied nearly seventy prints, principally
woodcuts ; and, when he reproduced the engravings on
copper, he did not attempt to rival the delicacy of finish
and fulness of effect.
We have seen Albert on leaving Venice go to Bologna,
to learn the mystery of perspective from an able artist
there. This was Francia (Raibolini), who had been a
goldsmith in his youth, and was a skilful engraver, as well
as a great and noble painter. Marc' Antonio, who must
have been but eighteen years of age or so, might have
been Francia's pupil at the very time of this visit. The
few dated subjects in the c Life of the Virgin ' bear the dates
1509 and 15 10, yet two of the imitations on copper by
Marc' Antonio bear 1506, suggesting the possibility that
Durer, having had them lying by him waiting till the
whole were ready, had given proofs of them to the youth
at this time. If the date 1506 be a true date it must
have been so, and, perhaps without any clear idea of de
frauding Durer, Marc' Antonio had at once set himself to
the task of copying.* Vasari's account of the trans
action is, however, very different.
Vasari says, ' Marc' Antonio departed from Bologna
this design, which had escaped the observation of Passavant and other
writers. * Mr. Richard Fisher, in his biographical notice of Marc' Antonio,
published to the members of the Burlington Club, on the occasion of the
G

8 2 Life and Works of Albert Durer.
with the good favour of his master Francia, and repaired to
Venice, where he was well received among the artists of
that city. At the same time there arrived in the same
place certain Flemings, who brought numerous copper
plate engravings and woodcuts by Durer, which were then
seen by Marc' Antonio exposed for sale on the Piazza di
San Marco. Amazed at what he beheld, and charmed
with the excellent* execution of Albert, Marc' Antonio spent
almost all the money he had brought from Bologna in the
purchase of these plates ; and among others he bought
the Passion of our Saviour Christ, thirty-six woodcuts,
which had been completed but a short time previously by
the Flemish master, and which, commencing with the fall
of Adam and with his expulsion from Paradise, con
tinued to the descent of the Holy Spirit on the Apostles.
' Marc' Antonio, perceiving to what honour and profit
the man might aspire who should attach himself to that
branch of art in Italy, determined 'to devote his whole
time thereto, and commenced his work with all possible
zeal and diligence. He first began by copying these
engravings thus obtained of Albert Durer, carefully
studying the method of each stroke, and every other par
ticular of the prints he had thus purchased, and which had
exhibition there, in 1 868, of the collected works of this celebrated engraver,
says he has come to the conclusion that the date was false, added after
wards for some reason or other.

Vasari's Account. 83
obtained so much reputation by their novelty and beauty, that
all were seeking to become possessed of them. Having thus
imitated the woodcuts with strong lines on copperplates,
which he rendered as similar as possible to the work of
Albert Durer, until he had copied all the said thirty-six
plates of the Life and Passion of Christ, and having added
the signature of Albert on the plates, thus /[y\ namely,
he produced the most faithful similitude of his subjects,
insomuch that no one knew them to be done by Marc'
Antonio ; they were supposed to be by Albert Durer him
self, as whose work they were accordingly bought and
sold. c When intelligence of this thing was written to Flanders,
and one of the counterfeit plates was at the same time sent
to Albert, he fell into a most violent rage, and leaving
Flanders, he at once repaired to Venice. Here he had
recourse to the Signoria, and made his complaint against
Marc' Antonio, but could obtain nothing beyond the
command that Marc' Antonio should no longer affix the
name or signature aforesaid of Albert Durer. Marc' An
tonio after this repaired to Rome.'*
The statement that Durer repaired to Venice to apply
in person to the Signoria is unsupported by any other
evidence. It is also certain that many of these plates
* This extract is from Bohn's edition, translated by Mrs. Jonathan
Foster, 1851. o 2

84 Life and Works of Albert Durer.
were done by Marc' Antonio after his going to Rome, and
that the plates still exist, or did until lately, with the tablet
and "monogram of Durer still upon them, so that the
correctness of the whole history is seriously impaired.
That Albert felt seriously aggrieved and his fortunes re
tarded we cannot doubt. He may have applied to the
Signoria, and a prohibition of some kind may have been
enforced. He had the right hand of the Emperor to de
fend his rights, and it reached far. The remarkable
warning, afterwards printed at the end of his works, was
doubtless the result : —
Heus tu, insidiator, ac alieni laboris et ingenii surreptor :
ne manus temerarias his nostris operibus iniicias,
cave ! Scias enim a gloriosissimo Romanorum Im-
peratore Maximiliano nobis concessum esse : ne
quis suppositiciis formis has imagines impri-
mere : seu impressas per imperii limites
vendere audeat : quod si per contemp-
tum, seu Avaricie crimen secus
feceris : post bonorum confis-
cationem tibi maximum
periculum subeundum
esse, certissime
scias.
We should have expected this denunciation and warn
ing would prevent spurious imitations, circulating at least
within the jurisdiction of the Emperor, but it does not
appear to have done so. Besides the able and systematic
republications of Marc' Antonio, all the inferior engravers

Forgeries of Prints. 85
in Upper Germany endeavoured to benefit surreptitiously
by the published works of Durer. In the Catalogue will
be found all their imitations particularised, among the
most extensive being those by the Hopfers. David Hopfer,
probably the elder of the name, was especially an inventive
and peculiar genius, but all of them, David (or Daniel,
because it is uncertain which was his true name), Jerome,
and Lambert, were coarse and sometimes even base in
taste. They executed their works by etching, and were
the earliest who dedicated themselves to this method alone,
suggesting the possibility that they may have entered the
region of art from the workshop of the casket maker and
armourer : the ornamentation, by corroding the ground
of the steel and leaving figures in smooth relief, being then
in great demand, requiring workmen with a certain power
of drawing- and inventing- ornament.
This copying of Durer may have been suspended for a
time however : the dates on surreptitious prints being rare,
we cannot say whether they were done immediately on the
appearance of the originals. There is only one date, on D.
Hopfer's works, 1527 ; on Jerome's several, 1520, 15 21,
It is pleasant to find, that none of Durer's own pupils,
and few of the men of great powers, now called Little
Masters, lent themselves to this underhand trade, which con
tinued after Durer's death. In Venice, a complete wood-

86 Life and Works of Albert Durer.
cut set of the thirty-six prints of the 'Fall and Redemp
tion ' were published. But no one until John Wierix,
about 1560, attempted the perfect reproduction of the
most elaborate of the copperplates. His facsimile of the
exceedingly fine print of ' The Nativity ' (B. 2), done at
the age of sixteen, is astonishing, as indeed are all the
others, by him and his brothers mentioned in our Catalogue.
They amount to twenty-nine from the copperplates alone.*
Of all the works of Durer the most celebrated is the
c Knight with Death and the Devil.' It is, indeed, the
most typical creation of the romantic phase of thought, the
most thorough of all the inventions of the German mind in
art, not belonging in any degree to the dilettante poetic
art of later ages, or in any way a consciously sentimental
production, but a direct outcome of its age and country.
Nor is it wonderful that it should remain an enigma, and
be now more and more obscure in its motive and meaning.
The tendency to emblematic didactic design then be
coming fashionable south of the Alps, where the Renais
sance was fully accomplished and not yet degenerated,
actuated Durer to a very small extent. The ' Four Naked
Women,' 1497, and the ' Dream,' supposed to have been
done previous to 1506, exhibit a condition of this tendency,
since they have a moral bearing. But they are more
complete as poetic inventions, and infinitely more interest-
* See Cat. des CEuvres des trois Freres Wierix. Par Alvin.

Durer's Emblematic Designs. 87
ing as modern art than the semi-classic emblems current
in Italy from the time of Giotto downwards. There is
little doubt a moral was always present to Durer when
employed on secular subjects, and that these two designs
and the third also, belonging to his early time, the ' Lady
and Gentleman Walking ' with Death peeping from behind
a tree, were all ' moralities.' There are very few excep
tions to this rule in the long catalogue of his works, and
those, as it happens, are his weakest productions. We
speak of the ' Jealousy,' the ' Offer,' and the ' Woman and
the Wildman,' this last considered his earliest trial with the
graver. There is, however, another class of designs by Albert,
the object of which it is not easy to conjecture. We
mean the prints representing fanciful armorial shields,
the 'Shield with the Skull' and the 'Shield with the
Cock.' These are amongst the most perfect of the
master's productions, a fine and elaborate imitation of
texture by the graver. And yet we are entirely at a loss
to understand, why so great an artist, with an imagination
so rich and inventive, should have expended so much
charming manipulation on subjects apparently so unmean
ing. I am inclined to suppose there may be more in these
designs than we now see. Heraldry was then a science, and
had much importance to all people ; emblematic heraldry
may have had an interest. At all events, one of these,

88 Life and Works of Albert Durer.
the ' Shield with the Skull,' suggests, a symbolic meaning.
We may describe the design in the words of Bartsch :
' On the left is a lady dressed in the German costume of
the upper classes, held by a hairy savage, who seems on the
point of kissing her, and who holds an escutcheon sur
mounted by a helmet with two wings ; upon the shield
appears a Death's head.' On this design M. Charles Blanc
has made the following observations : ' Who can fail to
read and understand the dread lesson it essays to teach ?
The most subtle and learned king-at-arms never embla
zoned heraldic picture such as this. Here, upon honour's
shield, is painted the sign that must hang over all our doors
at last, the grim feature of Death. O ! the painter is a
moralist indeed. A bare, eyeless skull, supported by
civilisation and barbarism, the crowned lady and the naked
savage, is the picture here held up before the eyes of our
pride. It is a lesson every one may take to heart, and the
crest to this dread coat of arms is an empty helmet fantas
tically crowned with eagle's wings, emblematical of worldly
honours and the worthlessness of pride. Well" may the
satyr leer in the lady's eyes, for the jewelled head no less
than the beggar's must come one day to be a thing like that
depicted on the shield.'
This, which we quote from a pamphlet by Mr. H. F.
Holt, which goes much further in finding meanings in the
two heraldic designs, is very well ; but we must remember

The Knight with Death. 89
that the savage was not an uncommon supporter, nor the
pair of wings by any means an unknown crest, and that all
helmets emblazoned on coats of arms were represented as
empty helmets ; nor can we follow the pamphlet, which not
only finds in the design a commentary on St. Paul's de
claration, ' the wages of sin is death,' but that the satyr
represents the priesthood of the day, and that the other ex
quisite engraving, the shield of arms with a lion, and a cock
for the crest, signifies or at least alludes to Peter's denial of
Christ. By the ' armorial bearings of the cock,' says this
writer, ' the disciples of the new faith are warned against
infidelity, and encouraged to watchfulness and prayer.'
Leaving these confessedly less noble inventions, we shall
speak of the ' Knight with Death and the Devil,' an in
vention the most perfect, and the most interesting problem
presented by the art of the master.
This beautiful invention, which we need not describe, as
every one who has seen it never forgets it, has no name
except that of the characters represented. Vasari says, ' He
produced an armed man on horseback as the symbol of
Human Force ; ' * and in his further description tells us,
' this strong man had Death with his hour-glass beside him,
and the Devil behind.' This mention, if we except Durer's
* This is the translation of Mr. Bohn's edition. The original Italian is
' Fece un uomo armato a cavallo per la fortezza umana ' — which properly
means ' human fortitude ' (not 'force').

go Life and I forks qf Albert Dure/.

own c Journal ' (which in the meantime we must do, as
some question exists regarding the designation of the sub
ject there), is the earliest notice we have. Hans Hauer of
Nurnberg, who died 1660, describes the print in his cata
logue as ' a phantom cavalier (Gespenst Reuter) with a
dog in a forest,' and makes allusion to a story then better
known, the story of Philippe Rinck, a sergeant in the
Nurnberg cavalry, who saw certain spectres or apparitions.
Later commentators have been nearly unanimous in finding
in this picture the Good Knight, the knight of the Refor
mation, the Christian knight, and Franz von Sickengen has
been selected as the individual represented : ' Ni la mort,
ni le diable, n'arrete un brave et loyal chevalier,' is the
commentary of one of the latest critics.
Having honestly tried to get to the motif of this design,
I came to the conclusion, that it represented the opposite
of this, and that the knight and his companions arc well
together, he and Death, ' Arcades ambo ; ' but further
reflection makes me less willing to advance my opinion,
except as the conclusion of a single individual diffidently
given. In the first place, making the good man thus
accompanied by the powers of evil, is not characteristic of
the art of that direct and simple time. It has an intellec
tual subtlety about it, and an epigrammatic taste of a
later day. This objection appears to me most important
and indeed decisive against the received interpretation. I

The Knight zvith Death. 9.1
am afraid we English even think of Bunyan's Pilgrim when
we assent so readily to the goodness of the armed rider.
But there are many other arguments, and first among
these is the fact that there is no symptom of antagonism
on the part of the knight to his companions ; he is
evidently unconscious of them. Moreover, the subject of
Death interfering in human action was so common a pic
torial morality of the day, that we have no right to put
any modern interpretation on the work. If the face of the
rider was a noble face, if it had anything of the saint or
even of the loyal knight, we could there find an argument
for the subtlety ; but the expression is that of hardness,
weathered by hardships ; he is sworn to no self-sacrifice,
although there remains something of sense of duty in its
firm lines.
Oh the tablet which bears the monogram and date, in
the corner of the print, is the letter S. This letter has
been supposed the initial of the friend of Luther, Von
Sickengen, without the Von or even V., which would
be very uncommon. But Emile Galichon, in the ' Gazette
des Beaux- Arts, i860,' has shown that the countenance of
Sickengen preserved on medals bears no resemblance to
that of the rider. In the set of large lithographs from
pictures in the Munich Gallery, the fine picture by Durer
(No. 1, Pin. Cat.), of a Cavalier standing by his Horse, is
named Franz von Sickengen ; and in that picture the

g2 Life and Works of Albert Durer.
attitude of the horse, and the background, including the
castle in the distance, are exactly the same as that in the
' Knight and Death.' This would have been a coincidence
remarkable enough, if the faces in print and picture had at
all corresponded to that of Durer's Knight ; but they do
not ; and the fact is, this picture is one of the volets of an
altarpiece, and represents one of the brothers Baumgartner.
The picture must have been in process of painting while the
engraving was incubating ; but the authentic portraits of
Sickengen by Jerome Hopfer and others are unlike both
picture and print.
This letter S, then, seems to promise a clue, and it does
appear that a famous robber knight, named Sparnecker, was
executed at Nurnberg about this time.* The privileged
baron and knight of the previous century was now one
of the nuisances of the country, and gradually became so
great a plague by local wars and duels, levying tolls and
other troubles, that the edict of the Diet of 1496 suppres
sing private wars struck at the rights of the fortified houses
and the free knights. The letter S will remain most pro
bably for ever undeciphered; but we cannot believe that
the armed man we see in the ' Knight and Death ' had
anything to do with chivalry ; nor would he stand in the
* This suggestion belongs to Mr. H. F. Holt, who strongly advocates
the opinion, that the rider in the picture is the impersonation of the armed
robber, and that the Devil is about to seize him.

The ' Nemesis.'

93

mind of Durer, or in the popular apprehension of Germany,
as the representative of Christian warfare.
Let us now see whether Durer's Journal contains any
evidence on the subject. We quoted Vasari's definition of
the invention, a symbol of Human Force, and among all the
presents Durer makes to friends and others during his stay
in the Netherlands, we find no mention of the ' Knight
and Death ' by that name ; but we several times find him
giving away as one of his best and most precious works,
a print called ' a Nemesis.' It is true a small inferior
print was so christened by Bartsch to fill up the gap,
representing a figure with flaming eyes exactly like God in
the Apocalypse design of the Seven Golden Candlesticks,
sitting on a lion ; a male figure by the way, as well as the
' Knight.' But this insignificant print can scarcely be the
work indicated, and it is not reasonable to suppose his
finest work left entirely out of his portfolio.
It may be said, neither is the ' Great Fortune " mentioned,
which is another of the five most important works ; and
Passavant, Housman, and Waagen have all suggested the
' Nemesis ' of the ' Journal ' may be it. The Roman
Nemesis, whose statue was in the Capitol, was certainly a
female, a goddess with wings ; but to suppose this figure
with the bridle, the common adjunct of Temperance to be
her is too arbitrary. The ' Great Fortune ' print was one
of Durer's latest works, and was perhaps done, or at least

94 Life and Works of Albert Durer.
finished after his return, although I do not affirm this,
while the 'Knight and Death' bears its own date ' 15 13.'
The name of the infernal goddess is now used to signify
retributive justice, vengeance in short, and it may have
had that meaning in Durer's design.
The engravings mentioned in the 'Journal' (I leave the
woodcut designs aside) are : ' Adam and Eve,' presented 3
times; '.Melancholy,' 8 ; 'S. Hubert' (Eustache), 5; the
two ' S. Jeromes,' seated in his study and praying, 8 ; ' S.
Veronica,' 1 ; ' S. Anthony,' 4; the 'Passion,' on copper,
often; ' Nemesis] 4; and a ' Cavalier] 1. It will be imme
diately observed these are his best works, and that he
gives them away in proportion to their excellence ; the
c Melancholy ' and ' S. Hubert ' most frequently, as they
are popular, one pious, the other allegorical. Then
come the two ' S. Jeromes,' ' S. Anthony,' and ' Nemesis]
all in equal number. 'Of the Adam and Eve,' being one of
his earliest works, he may not have had many copies ; but
' a Cavalier,' which has been pointed to as the ' Knight
and Death,' but is no doubt the ' Great White Horse,'
occurs but twice. Had the ' Cavalier ' been the ' Knight ' he
would have bestowed it more frequently. The little print
representing Divine Justice, Vengeance, or what not, is
too insignificant to be presented at all.
So much difficulty having been made of this wonderful
invention, let me ask the reader to try to unprejudice his
mind, and consider the subject from Durer's point of view.

The Knight with Death. 95

The prosperous free towns of Franconia had no association
with armed men and warhorses, but those of citizens with
the enemies of wealth and their rights. They had bought
off the lord who held an armed court within the city.
When the Emperor went to war they had to furnish a
contingent, and Pirkheimer had been appointed to the
command of the Nurnberg corps, in which the two brothers
Baumgartner served, for whose safe return their parents
were so grateful that they had a votive picture painted by
Durer on the occasion. Durer's other designs in which
soldiers appear, the 'Six Captains,' the 'White Horses,'
great and small, ' Death and the Soldier ' woodcut, &c. do
not show that Durer viewed the personality of war from a
romantic point of view ; and his engineering studies go to
prove that cannon and fortification were the means of
offence and defence most interesting to him, and they are
the means of making armour and the sword-hand of the
least possible value. At that time the bands of men
hiring themselves to fight on either side still existed, and
were held in detestation.
The design itself represents an old war-worn soldier
firm in his saddle, fully armed, on a strong old charger.
He bears a long lance such as horsemen then carried, as
represented in ' Der weiss Kunig,' by Burgmair,* and else-
* The thing wrapped about the top of the lance, which has been con
sidered a foul beast the knight has speared, by Motte Fouque and others, is
nothing but a usual appendage to the weapon; possibly for cleaning

g6 Life and Works of Albert Durer.
where. He is unconscious of his supernatural sur
roundings, or is so accustomed to such society, he takes
no note of it, pursuing his journey up a hollow way con
cealed by rocks, the dry bed of a stream it may be, or
swept by rains, as the pebbles heaped together here and
there indicate. He. is followed by an old dog, the en
graving of whose hair is a subject of .eulogy to Vasari.
Then comes the interpretation ! Is an evil errand his, and
is it his last ? Death rides beside him on a little horse,
with a bell round its neck like an ecclesiastic bearing the
sacrament, only he bears an hour-glass with a dial on the top,
which he seems to show the unregarding old man of war,
and the Devil follows close behind, the pig-faced devil
Durer has elsewhere shown us. He too has been to the
wars as he bears a kind of glaive, or he is going to assist
the rider, whom he looks at with a sharp satisfaction, and
to whom he extends his arm as if to keep hold of him.
The print usually called the 'Great Fortune' ('Das
grosse Gliick ') has been mentioned, and has been intro
duced into this vexed question, by having been actually
supposed by some critics to be the 'Nemesis' of the
'Journal.' Vasari is the first to describe this print, which he
does in these words : 'Albert on his part would not suffer
it. See plates 60, 77, of ' Der weiss Kunig.' It is on the lance of the
man in armour, the sketch now at Vienna, evidently a study for this figure
by Durer.

The ' Temperance.' gy
himself to be surpassed by Lucas (of Leyden), whether in
the number or excellence of his works ; he therefore en
graved a nude figure amidst the clouds, a ' Temperance,'
having wings of singular beauty and holding a cup of gold
and a bridle in her hands; beneath is a fine landscape.'
The bridle is the usual adjunct of the emblem of Tem
perance. But Durer may have had an additional meaning
in this design- The figure is far removed from the perfect
or most lovely female form, such as he could draw and
did when he had occasion, as in the Eve, in his exquisite
engraving, or the Magdalene in the woodcut of her vision,
done near his end. Many of the . chalk drawings show a
singular sense of beauty, but here we lack that, and her
face is evidently a portrait. Mr. Holt suggests that it
is that of the Lady Marguerite, with whom Durer was
dissatisfied at the end of his visit to the Low Countries ;
who however might have been a dangerous enemy. More
likely that of Agnes ; it represents at all events a woman
who has a smile, and an unlovely character though hand
some. Besides the bridle she carries a cup of carved gold,
not properly belonging to Temperance, but rather ex
pressing worldly well-being allied to wealth and indul
gence. The Woman in the Apocalypse (second print
from the end of the series) riding on the Seven-headed
Beast, bears a similar cup. We may remark, however, that
it is a cup with a cover, a closed cup.
The landscape below, which surpasses all others ever

98. Life and Works of Albert Durer.
•done ih\ romantic truth as in minuteness of detail, has been
said to represent the village of Eytas, the cradle of the
Durer family.*
The only other invention it may be necessary to
particularise, as having been considered a puzzle to the
critic, is that of ' Melancholy.' She leans her head on her
hand, and looks far away dreamily and sadly. In attitude
and expression she may recall the Penseroso of Milton ; she
is surrounded by the implements of crafts and the utensils
of science. Why are all these, and why the sleepy Cupid
trying to write ? Why so many other objects on the wall
above ? The difficulty in answering definitively and ex
plaining the exact shade of Durer's intention in thus accu
mulating such a mass of surroundings, has placed the design
among problems. The inscription ' Melencholia I,' which,
as has been remarked, is simply the number one following
the name, seeming to show that Durer meant to prosecute
a series of emblems thus inaugurated, has been supposed to
be the imperative of the Latin verb eo, and made to mean,
' Melancholy, begone ! ' Thus the intention of the design
would be at once reversed ; others again have ignored the
name altogether, and found the emblem to be Truth,
Intellectual Industry, and so on.f
* There is a very excellent little print by Durer's pupil, Aldegrever,
dated 1555, one of the rarer works of that ' Little Master,' which has been
also called the ' Great Fortune,' from its having been derived from Durer's
print. The figure, however, is beautiful in form, and holds in her left hand
a dead serpent, ^'The cup and bridle are in the other hand.
¦(• The beautiful small print by Hans Sebald Beham, dated 1539, one of

The 'Melancholy.'

'Vanity of vanities, all is vanity, saith the p^cTLer**** ^
Such is the text of Durer's design. The plane, the ham- r'>\ ^
mer, and the saw ; the compasses, the crucible, and^he£ •W**'
cube ; mechanics and sciences, what do they profit the
soul ? The hourglass hangs upon the wall, with sand
wearing down ; the scales also evenly hang, and the magic
quadrant of numerals of Cornelius Agrippa and other
mystics, which added in any direction gives the same result,
is also there ; for whatever one does, the same result follows ;
death levels the labour down ; ' the same thing happeneth
to all men under the sun.' The bell is here also ready to
sound alike for birth, marriage, or death ; and may we
not interpret the comet and the rainbow as bearing on the
same result of negation, — the one a portent of fear, the other
an assurance of safety ? May we not also attribute a
meaning to the ladder which rises from some solid ground
we see not, and ascends beyond the sphere of the picture ?
Genius works instinctively, and meanings are enclosed by
it that never consciously appeared to the artist.
Descriptions of all these designs, and especially of the
last mentioned, are very numerous and curious, as showing
how diverse are the interpretations of such things by men
who want sympathy. To quote them would lead to too
the ' Little Masters,' representing the same subject, and evidently borrowed
from Durer, has nearly all the same adjuncts lying about the figure. She,
however, sleeps, which is not so expressive. In a corner on a label is the
name * Melencholia,' spelt thus as in Durer's print, but here we have no
letter I, H z

ioo Life and Works of Albert Durer.
great length. Where so many objects are massed to
gether, ' the rubbish he has thrown about her,' as Fuseli
says (himself a vacuous designer depending, like Ossian's
poems, on ' the force of style),' there will be much mis
understanding. But we must consider the old German
method of thought, the realism in small things, the plea
sure in mere exact portraiture, which introduced curious
matter however irrelevant, as a fly on a lady's veil in a
portrait ; and also the utter absence of the conventional,
the academic, or the quasi-classic. We must remember,
moreover, that chiaroscuro scarcely existed as an artistic
motive ; had it done so, perhaps Durer would have ignored
it as he ignored the antique ; he who never made a sketch
from an ancient sculpture, nor introduced a morsel of
acanthus into his ornament. So, while there is no easy
mystification by shadow, and many objects selected for
the pleasure of imitation, there are features in all works of
the time that puzzle the modern eye. Melancholy, for
example, has a bunch of keys like a good Hausfrau, and a
couple of purses hanging by her side ; she is fully clothed
yet she has wings, and her head is bound by a wreath of
spleenwort, perhaps for no other reason than the beauty
and the smallness of the foliage.* Who can say whether
* Has this plant, which the Germans call milzkraut, any occult use or
significance ? I find it on Gabriel's head in Schon's • Annunciation,' and
also on his S. Agnes and on the Wise Virgins. In a small print by a rare
German monogramist, H. L. (B. viii. 35, 1) a figure of Christ wears a
wreath of this plant.

Michael Angelo' s and Raphael's 'Dreams.' 101
the large lizard in the ' Knight and Death ' has a bearing
on the subject ? May it not be there only because he wished
to enrich his picture ?
In Italian art there are also riddles still to be read, such as
Michael Angelo's ' Dream ;' but in these we see none but the
legitimate allegorical elements ; there are no distractions,
no realisms. To this rule, showing a wide national differ
ence, there is, however, one exception, and a notable one —
the multifarious composition designed by Raphael, and en
graved by George Ghisi of Mantua, called also a ' Dream.'
After mature consideration, I can only conjecture that the
greatest of modern painters, delighted as we know him to
have been with Durer's works, and conversant as he was
with them through his unscrupulous friend, Marc' Antonio,
had set to work to outdo him in richness of invention,
and to leave him behind in variety and curiousness of
the objects introduced. In another enigmatic design by
Raphael, engraved by Marc' Antonio (B. 359) wherein
sleeping women lie by a stream and Tartarus flames in
the distance, there is also a German influence apparent.
In conclusion, the reader may rest assured that the work
of imagination, which can be exhaustively understood, is not
the greatest work ; and let us rejoice that, twenty genera
tions hence, there will still be some unexplained wonders,
such as the Apocalypse of S. John, and the illustrations to
the same by Albert Durer, and also his design of the
' Knight with Death and the Devil.'

103 Life and Works qf Albert Durer.

Chapter VII.

WORK FOR THE EMPEROR.— ETCHINGS.— DURER VISITS AUGS
BURG 1518.— DEATH OF MAXIMILIAN— DURER STARTS FOR
THE LOW COUNTRIES.

HE consideration of these, the engraved works of
the master, brings us down to the later period of
Durer's life. Like the majority of indefatigable
men, he was of a restless temperament, ready to take up
new things. His office of painter to the Emperor does
not appear to have led so much to the usual amount of
portrait painting as to the practice of drawing on wood,
illustrating the reign by engraved and published works.
Maximilian must have had some considerable enthusiasm
for the new art of engraving, as the great undertakings
ordered by him, and already mentioned, were in that walk.
The ' Teuerdank,' illustrated by Hans Schauflein, was
rather an offering to the Emperor ; but the ' Triumphs,' by
Hans Burgkmair, and the 'Triumphal Arch' were his own
ideas. This last must have occupied Durer much time,
and furnished work for many formschneider s. These, with
the ' Weiss Kunig ' and other works, must have supported
and improved Nurnberg as a school of wood engraving.
The ' Ehren Pforte des Kaiser Max ' is an impossible

Durer's Works for the Emperor. 103
structure, with portraits of all the ancestors of the
Emperor, and many other matters, in ninety-two large
blocks which need never be put together. These were
designed about 1515 and 15 16, but not finished for
many years ; and the Triumphal Car, ' Der Triumph
Wagen des Kaiser Max,' was drawn at a later time. Ima
gine this immense engraved facade erected, the triumphal
car placed so as to enter it, and the one hundred and twenty
sheets of procession by Burgkmair in a long line advan
cing. There is a barbaric magnificence in the scheme ; it
is such a work as could only be inspired by the undefined
capabilities of a new art.
The portrait of Maximilian on wood is also of the same
magnitude. It is the head with a bonnet on, and the shoul
ders only, but they are very near the size of life. Other
prints he did, also commemorating the Kaiser, of inferior
moment. In 15 15 and 151 8 Durer visited the court at Augsburg,
and there painted in the palace. The sketches in chalk of
the illustrious people he met, and of others also, still exist ;
many of them no doubt drawings for portraits, as the
ordinary German plan of that day was to make a correct
drawing only from the life. Here too he made those
freehand borders to surround the ample pages of the
Emperor's prayerbook (though probably at the earlier date)
now in the Royal Library at Munich. They are pen and

104 Life and Works of Albert Durer.
ink, and now are somewhat faded, but decipherable in all
their variety and fancy.
At this period the art of etching appears to have come
before Durer ; the dates on the specimens by his hand are
15 15, 1 5 16, and 15 1 8. It is a pity there are only three
dated out of the nine plates he etched ; had they all been
dated, we might have found that he was entitled to the
honour of having first used corrosion by acid to assist, or
to supersede, the graver, as Sandrart asserts he did. Other
claimants of course there are. Zani attributes it to Par-
migiano, but we can't at all tell how much Parmigiano
really engraved himself. He certainly employed other
engravers, and is not the less likely on this account to
have fallen on a new method likely to facilitate the pro
duction of prints. But the invention has been generally
made over to Lucas of Leyden ; and it may have come
in the natural course of things from the armourers and
others practising it, the makers of Nurnberg caskets more
particularly, so that, properly speaking, invention there
was none.
Of Durer's nine plates, Bartsch says some were iron and
some pewter ; on which Ottley remarks, ' I am unable to
conjecture on what authority.' It appears, however, that
one of these plates still exists in a disabled state, and that
it is iron.
These etchings cannot be said to be Durer's best works ;
they have been rather tentative, than anything else, at least

Durer's Etchings. 105
the majority. The slight sketch of one of the best, ' Christ's
Agony in the Garden,' at Vienna, is much finer than the
etching. And even the best of them, ' The Cannon ' for
example, wants that command over the biting-in process
which enables the artist to give the exact light and shade
he wants. It had not yet occurred to Durer to keep the
corrosive acid longer on one portion of the design than on
another, so as to get variety of strength in the line. Be
sides, the corrosion of sharp lines on iron or steel needs
much practice and good chemicals ; the ornamentation of
the small iron caskets by Nurnberg smiths, and of breast
plates and helmets, was not deep but shallow. In using
the acid on steel without agitating it while the action is
going on, there is apt to take place a deposition of the
disengaged carbon, which obstructs the further deepening
of the line. And this result appears evident in Durer's
etchings : they have a faint grey character instead of the
sharp spirited incision we recognise in his engravings.
Afterwards copper was universally used, and the action of
nitrous acid on that metal is not subject to the same
difficulty; and as copper was the metal Durer used for
engraving, we may conclude that his use of iron was
simply the imitation of the craftsmen whose previous
practice we have mentioned.
On some of these iron plates Durer has fallen back, not
upon the graver which perhaps he broke in the attempt,
but on the etching point on the bare plate without corro-

106 Life and Works of Albert Durer.
sion at all : ' dry point,' as it is called, merely scratching
and scribbling; and this printed gives a black and grey
smudge admirable for light and shadow. It was thus
Rembrandt enriched the art, and Durer certainly was the
perceptive genius showing the way.
In 15 19, on January 17, died the Emperor Maximilian,
one of the notables of modern European history, and the
friend of Durer. The supreme control devolved on the
Elector Frederick of Saxony till a successor was appointed,
and the seven forming the electoral college offered him the
purple in permanence. In this case Lucas Cranach would
have held the post Durer had hitherto enjoyed with the
salary of 100 guldens. Frederick, however, declined the
difficult work ; and ultimately Charles V., the grandson of
the late Emperor, a youth of nineteen, was chosen. Durer
seems to have thought it his duty to make an effort to be
attached to the court of the new Caesar ; or rather, perhaps,
we may say, he made this object his determining reason for
undertaking a journey to the Low Countries, not without
a view to the exercise of his portrait art and the further
ance of his trade in prints.
The Lady Marguerite was at Antwerp, daughter to his
former patron and aunt to the new ruler. Thither Durer
set out, leaving Nurnberg so as to be present at the recep
tion in Antwerp and Cologne, which however was delayed
considerably by Charles being unable to leave the Cortes.

Durer's 'Journal.' \oy
The journal he kept during this period of nearly two years'
absence from home, was made public at the end of last
century. It is a kind of day-book recording small ex
penses as well as great, small incidents often to the
omission of greater. It also mentions all the notable
artists and others he meets, and curious things he saw.
Albert Durer's Journal,
WRITTEN DURING HIS VISIT TO THE LOW COUNTRIES, I5ZO, 1 52 1.
{Age of Durer 49.)
' At my own costs and charges, I left Nurnberg for the
Low Countries, on Thursday after S. Kilian,* my wife
being with me.f The same day we passed by Erlangen,
and lodged at Baiersdorf, which cost me three stivers less six
deniers. From thence we went by the shortest route to
Forchheim, where, on arriving (Friday), I paid twenty-two
deniers for a safe-conduct. I went on to Bamberg, where
I offered to the Bishop J a picture of the Virgin, the " Life
of the Virgin," an " Apocalypse," and other engravings of
the value of a florin.
' He made me leave the inn where I had already spent
nearly a florin, and invited me to be with him, when he
* Jour de S. Kilian, July 1 2.
f Sandrart, (p. 225, Academia Teutsche, 1675) and writers who follow
him, have said Durer did not take his wife Agnes. Since that writer's time
this journal has been made public.
\ George III. d. 1522. Known to Durer, who painted his portrait.

108 Life and Works of Albert Durer.
gave me a pass for the Douane, and three letters of recom
mendation. I then arranged with the driver of a voiture
to take me on to Frankfort for six florins of gold.* Master
Nicholas Lanx, Benedict, and Hans the painter,-)- offered
me the stirrup cup ; I drank and went my way.
' I gave four stivers for bread and thirteen for drink-
money. I went rapidly from Bamberg to Eltman, thence
to Zeil ; spent twenty-one stivers, arrived at Hasfurth,
showed my pass at the Douane, and was allowed to go.
' I spent a florin in the chancery of the Bishop of
Bamberg. At Theres, in the convent, I exhibited my
papers, and continued my route. We arrived at last on
the edge of the Rhine, where we passed the night for a

* It would be most interesting could we understand the value of the
coins and sums of money mentioned throughout this journal, compared to
the prices and values now current. To do this with precision is impossible ;
but perhaps, if we estimated the exchange of commodities for money at
twelve times what it is now, we come somewhat near the average. In
Nurnberg the value of money would be greater than in the Low Countries.
The coins mentioned in the journal, or generally current, were
Crona, or crown, worth a number of gold florins (10?).
Angel, or angelot, worth 2 fl. 2 st.
Florin of gold (gulden), worth 8 francs ; 60 of our money to-day.
„ de Philippe, worth 1 gulden 1 8 stivers.
„ du Rhin, about the same.
Albus, weisse pfennig, silver penny, worth about 9 pence.
Stiiber, stiver, pfennig, penny : value uncertain.
Heller, very small coin (24th of a stiver), denier?
f Hans Wolfang Katzheimer, probably, who lived at Bamberg, 1492-
1527.

Durer on the Rhine. 109

stiver ; thence we went to Maynberg. At Sweinfurth I
was invited by Dr. George Rebart, who gave me wine,
which I placed in our boat. They exempted me from the
charges at the Douane. (I have expended ten stivers for
a roasted pullet and eighteen to the cook and his boy.)
Next we reach Volkach, and go on to Zwartzach, where
we pass the night at a cost of twenty-two stivers.
'Monday. — We rise early to get forward to Tettelbach.
At Kitzing we spend twenty-seven stivers. Going by
Seilzfeldt we reach Markbreit, where they allow me to
pass on showing my papers. Then by Frickenhaussen
and Ochsenfurth we arrive at Eivel-stadt and Murzburg,
and at last Erla-Brunn, where we pay twenty -two stivers
for a bed.
c Next morning we passed by Retzbach and Zelling, and
gained Karlstadt and Gemund. We dined there tolerably
for twenty-two stivers. We saw successively Holstettin,
Lohr, and Nevenstadt, where I had to show my pass.
(Spent ten stivers for wine and crayfish.)
' Wednesday Morning — After leaving behind us Rotenfels
we came to Saint Ecarig, thence to Heudenfeldt, Triffel-
stein, Homburg, Wertheim ; then on again by Brodselten,
to Feudenberg, Miltenberg, Klingenberg, Worth, Obern-
berg, Asschaffenberg, Selgenstadt, and Steinheim, having
often to show my papers. We passed the night close to
Johansen, and in the morning they opened the town gates

1 10 Life and Works of Albert Durer.
for us, and we had many kindnesses. (I spent there six
albuses.) 'Friday. — We go to Kesselstadt to reach Frankfort
from thence, and at that city I show my pass at the
Douane. Our bed costs six stivers, and I give besides two
to the waiter. Jacob Heller entertains me with wine
at the inn, and I make an agreement with a man to con
duct me from Frankfort to Mayence for one florin two
stivers. At night we spend eight stivers.
'Sunday. — I take the boat in the morning to go to
Mayence. Half-way, that is to say, at Hochst, I show my
papers and they let me pass. I spend eight Frankfort
deniers, and on to Mayence : an albus is spent discharg
ing my effects, eighteen stivers being paid for straps.
I here make an agreement with the captain of a boat of
Cologne, to carry us there with my baggage for three
florins. (I have spent seventeen albuses at Mayence.)
Peeter, the assayer of the guild of goldsmiths, made me a
gift of two bottles of wine. Veith Farnpuhler invited me
to his house, but the host at my inn considered me
his guest, and would not receive my money. Indeed
they treated me with honour. I left Mayence, this
place where the Mayne throws itself into the Rhine, on S.
Margaret's day,* bread and eggs taken into the boat with
us costing nineteen hellers. Leonhard the goldsmith pre-
* July 20, 1520.

Durer on the Rhine. in
sented me with wine and game ; he gave me also charcoal
to serve us in cooking on board. The brother of Joostes
also offered me a bottle of wine, and the Corporation of
Painters two.
'After passing before Erfeld and Rudisheim, we reach
Erenfels. I show my pass, but they exact two golden
florins of me, promising however to return the same, if,
within two months, I can show a letter of exemption ; and
on arriving at Bacharach I have to engage, within two
months, either to pay the dues, or to produce my letter of
exemption. 'At Caub they allowed me to pass on the same con
ditions. Again, at Saint Goar, the collector required to
know where I had paid the dues : I contented myself with
telling him I had no money to give him.
'At Bopart, the douane of Treves allowed me to pass on
my showing the paper, in which I declare and sign that I
have no kind of merchandise with me. From thence we
reach Lahnstein, where I show my papers, and the collec
tor not only allows me to pass, but prays me to re
commend him to the Seigneur of Mayence, and presented
me with a bottle of wine. He knew my wife well, and he
has desired to see me for a long time.
'At Engers, my letter carried me through; the place
belongs to the duchy of Treves.
' At Andernach I spend nine hellers, and we quit this
town for Bonn on S. James's day. Thence to Cologne.

112 Life and Works of Albert Durer.
(We have spent nine stivers on the boat : one stiver four
deniers for fruit and charcoal, seven stivers for discharging
on arrival, and forty hellers for the servants on board.) I
made a gift to my cousin Nicholas * of my upper coat
lined and bordered with velvet, and I gave his wife a
florin. Jerome Fugger, Jan Ghrosserpeck, and my cousin
entertained me with wine. I dined at the convent of the
Chartreux, where a brother offered me a piece of cloth.
Herr Jan Ghrosserpeck made me a gift of twelve
measures of wine. I spend, however, in Cologne, two
florins forty stivers, besides three stivers for fruit, one
for drink-money, and one for a messenger.
' On S. Pantaleon's day we left Cologne for Postorff,
where we pass the night at a cost of three stivers.
Sunday, we dine at Rodingen. Next day early we started
from Freendorf for the little town of Gangelt, dining in a
village called Systerhyln for two stivers two hellers. We
pass Sittard, a pretty little town, and get to Starkem, a
charming place, at which we descend at an excellent inn.
We eat very well, and have a fine bed, but the bill does
not rise to more than four stivers.
' Friday morning : we pass the Meuse, and enter
Marten, Lewbehrn (?) : I gave a stiver for a chicken. We
went on to Stosser. Wednesday, we were at Merpeck,
* 'Le fils da sellier, l'eleve du pere d'Albert Durer.' Narrey, p. Ixxxiv.
This cousin is mentioned in the ' Family Relation ' as called in Cologne
* Nicholas of Hungary.'

Arrives at Antwerp. 113
where I bought bread and wine for three stivers. Passing
by Brantenmiihl and Culenberg we had, on Tuesday
morning, at La Croix, an excellent repast for three stivers
two deniers.
'We take the road to Antwerp, and immediately on
arriving go to the inn kept by Jobst Plankfelt: the srme
evening, factor Bernard Stecher gave me a splendid supper ;
my wife remained at the inn. I gave three florins to the
carriage driver, for our expenses on arriving,'

ii4

Life and I Corks of Albert Durer.

Chapter VIII.

¦JOl'RNAL—DURKR AT ANTWERP. EXCURSION TO BRUSSHI.S.
—ATTENDS CHARMS I'. AT COLOGNE.— RECMl'ES '7tfK
APPOINTMENT.

BEGIN my stay at Antwerp, and my host took
me to the burgomaster.* His house is ot
great size and well arranged ; the apartments
very large and truly beautiful. It is flanked by a tower
beautifully wrought, and surrounded by immense gardens;
in short, it is the dwelling for a prince. I have not seen
its equal in all Germany. A great street, all new, gives
access on two sides to this house, which the burgomaster
has built to please himself.
'On Sunday, the day of S. Oswald, the painters have
invited me into their guildhall, with my wife and hcr
niaid. We eat an excellent dinner on an entire service of
silver. All the wives of the painters were there, and,
when they conducted me to my place at the feast, the
* The burgomaster of Antwerp, then called by the (iennans Antorl,
at least so tailed by Duicr iu his 'Journal,' was die Chevalier Arnold dc
Ijicrc, who died in olliec in i ^zg. His house, mi i 11 existing in the Rue des
Princes as a niilitaiy hospital, is sometimes tailed the Maison Anglaise.
Charles V. resided in it.

The Painters' Welcome. 115
entire assembly, standing up, made a lane for me as if
they entertained a great lord. There were at the banquet
people of consideration in Antwerp who bowed to me, and
made me many compliments, saying they all wished to do
what might be agreeable to me. After I was seated, the
messenger of the council of the city approached me with
two liverymen, and made me accept four measures of wine,
saying that he did so on the part of the gentlemen to show
me honour, and as a sign of esteem. I prayed him to ex
press to the gentlemen my thanks, and I offered him my
very humble services.
c After him came Master Peeter,'* who presented to me
two other measures of wine, with his respects. We passed
a long time at table with very great pleasure, indeed a part
of the night, and then they conducted me home with flam
beaux, and made a thousand demonstrations of friendship.
I thanked them with fervour, and betook myself to bed.
' I am going to see Quentin Matsysf in his own house. J
* Master Peeter held the appointment of carpenter to the city.
f Quentin Matsys was born at Louvain, about 1466 ; he was consequently
about fifty-four years of age. It has been represented that he was much older,
and that he died at the age of eighty-four in the year 1 530; but we learn from
M. Narrey's note to this sentence, that M. Edward van Eden, an anti
quarian of Louvain, had discovered a paper which settled the date of his
birth very nearly.
% His first house was in Huidevetters Straet (Tanners' Street), Section 3,
No. 1037. His second house, in which he died, was in Garden Street,
in Schutters-hof Street, possibly near one of the ' great shooting-grounds '
Durer mentions as visited by him. Van Fornenberg says this house was
1 2

1 1 6 Life and Works of Albert Durer.
I have visited the three grand shooting-grounds.* I made
an excellent dinner with Haber, and another with the Con
sul of Portugal whose portrait I drew. I also drew the
portrait of my host of the inn, Jobst Plankfelt, who
offered me a branch of coral. (I gave two sous for beer
money, and the same sum to the carpenters of the painters.)
My host conducted me to an atelier, where the painters,
pensioners of the city, were working on arches of triumph,
to be raised on the line of progress of the Emperor Charles
V. There are not less than four hundred, each one forty
feet long ; they are to be ranged on either side of the street,
all well painted, with two stages on which allegorical
representations are to be given. The wood-work and
decoration cost together 400 florins. The effect will be
splendid. ' I dined again with the Consul of Portugal, and with
Alexander, f
' Sebald Vischer bought of me 16 little designs of the
"Passion" for four florins; 32 of the large book for eight
known by a figure of S. Quentin in iron by the master himself. This was in
1658; but there is no other record of the fact, the figure being now gone.
* These were places for the practice of the crossbow, two of them
were where the corn market and new theatre now stand. They were
important establishments, and three of them were rebuilt or improved by
GilJibert van Schoonbeke in 1552.
t Goldsmith and amateur of Nurnberg, then a youth of nineteen, if we
can depend on the assumed date of his birth, 1501. He was received into
the guild of S. Luke 15 16, and died 1546.

Prices qf Durer's Prints. i i y
florins ; 6 of the engravings of the " Passion " for three
florins ; 20 half leaves of different subjects, one with
another, worth a florin ; he took them for three florins.
I sold also quarter leaves for five and a half florins, and
8 large leaves for a florin.*
' I made over to my host a figure of the Virgin painted
on cloth ; he has sold it on my account for two florins of
the Rhine.
' I did the portrait of Felix, the lute- player, f I spent
two stivers for beer and bread, two for a bath, and four
teen for three small panels.
' I dined with Alexander the goldsmith, and also with
Felix. Master Joachim J has dined with me here. Also
his servant. I have done for the painters a shield in
half-tint, and accepted a florin for my expenses. I gave
my four new pieces to Peter Wolfgang, and to Joachim
designs of the value of a florin, because he had lent me
* The first item is most likely part of the ' Little Passion ' on wood ; the
second, the 'Greater Passion;' the third, the ' Little Passion ' on copper, as
he particularises them as ' engravings.' From the sizes, ' half leaves ' and
' quarter leaves ' being mentioned, it appears he classified his prints as we
still do books, as 4to, 8vo, &c. ; the two last mentioned sales, and the prices
attached to these seem impossible of reconcilement with the rest.
f Felix Hungersberg, a celebrated musician, and ' captain of the
empire,' whatever that may mean.
| Joachim Patinier, or De Patiner ; born at Dinant ; his age at this
time uncertain. He was celebrated for his pictures of landscape and for
his debauched habits. He had a singular mark on his pictures — a little
figure of a man squatting in a certain position. Whether any of his
pictures still exist I do not know.

1 1 8 Life and Works of Albert Durer.
his domestic and his colours ; besides, I had retained his
young man to dinner, and given him designs worth three
stivers. I have sent my four new pieces to Alexander the
goldsmith. I have made in charcoal the portraits of the
Genoese Tommaso Florianus, of Romanus of Lucca, and of
Tommaso's two brothers, Vincenzo and Gerardo. These
three brothers are of the family of Pombelli. I have dined
twelve times with Tommaso.
' The treasurer gave me the head of a child painted on
cloth and a wooden shield, and one, too, of the rare light
wood from Calcutta.* Tommaso also made me a friendly
gift of a plaited hat of elder-pith. I dine with the Consul
of Portugal, and one of the brothers of Tommaso made me
accept engravings worth three guldens.
' Erasmus f offered me a Spanish mantle and three
drawings — portraits of men. I received from the brother
of Tommaso a pair of gloves, and I made a second portrait
of Vincenzo. I gave to Master Augustine LumbarthJ
the two parts of the celestial map (Imagines Cceli) ; § also
I painted the portrait of the Italian Opitius with the
crooked nose. Also my wife and her maid Susanna have
dined with Tommaso in his house ; that is, four times.
* (' Ein Catacutisch hiilzem Wehr.') I follow Narrey in translating this
of or from Calcutta. The same word occurs frequently afterwards.
f Desiderius Erasmus, whose portrait Durer afterwards engraved. We
shall see how the painter apostrophises him in regard to the Reformation.
He was born at Rotterdam, 1467, and died at Basle in July 1536.
1 Perhaps the brother of Lombardus the painter. § Bartsch, 151, 152.

The Procession of Notre Dame. 1 1 9
' Notre Dame of Antwerp is a very grand church. In
it they can say many masses at once without confusion.
The altars have very wealthy foundations. The best
musicians are attached to it. The church possesses many
remarkable sculptures and ornaments, and a lovely tower.
I have visited the richabbey of S. Michael, of which the
choir is garnished with fauteuils carved in stone. Here in
Antwerp there is plenty of money, so they don't allow cost
to interfere with art.
' I have made the portrait of Nicholas, the astronomer of
the King of England.* He is a German born at Munich,
and has made himself useful to me on divers occasions.
Also the portrait of Tommaso's daughter Suten.
' Hans Pfaffroth has given me a florin of Philippe for
¦his portrait in charcoal. I have dined again with Tommaso.
The brother-in-law of my host has invited my wife and
me. (Two bad florins I have exchanged away for twenty-
four stivers ; also gave a stiver for drink- money to a man
who showed me the picture.) The Sunday after Assump
tion : I have seen the grand procession of Notre Dame ; it
is an enchanting spectacle. All the corporate bodies and
all the trades are present sumptuously apparelled. Each
profession and guild had its peculiar attributes ; many per
sons carried enormous wax-candles and long trumpets of
* Nicholas Kratzer, chemist and astronomer, at Oxford, 1 5 1 7. Holbein
painted his portrait in 1528.

120 Life and Works qf Albert Durer.
massive silver. Then there went a great number of players
on the flute and the drum dressed in the. German style,
who made a tremendous noise with their instruments :
these were to be seen in separate bands about the streets.
This was the order in which the trades went : goldsmiths,
painters,* builders, silk-embroiderers, sculptors, joiners,
carpenters, sailors, fishermen, masons, tanners, cloth-work
ers, bakers, tailors, shoemakers, and many others. There
were also a multitude of shopkeepers and merchants with
their clerks and assistants. After those came the shooters
with their weapons, guns, bows, and arbalasts ; then cava
liers and mummers, the guards of the functionaries, and,
at last, a mighty and beautiful throng of different orders
and nations superbly costumed in special fashions. I
remarked in this procession a troop of widows who lived
by their labour ; and, according to cloistral rule, they were
clad from the head to the ground in long white cloth ; it
was most curious : among those women were very distin
guished figures. I remarked also the chapter of Notre
Dame, with a ruck of priests, with scholars and bursars
bringing up the rear. Twenty persons carried the images
of the Virgin and the infant Jesus splendidly ornamented.
' For this procession had .been constructed, at great cost,
* It is worthy of remark that the goldsmiths take the lead : the gold
smith was the man of science as well as the artist towards the end of the
middle ages. This procession, witnessed by Durer, has furnished Baron
Henri Leys with a subject for a great picture.

The Procession of Notre Dame. 121
many remarkable objects : chariots and moving ships on
which they represented scenes of all kinds ; among others
the following allegories — the Order of Prophets, the Salu
tation of the Angel, the Magi on camels, and other rare
animals curiously caparisoned ; the Flight into Egypt, and
many other subjects I pass over for brevity. One I must
mention, a great dragon held in leash by S. Margaret and
her Virgins, who were very pretty ; also S. George, a very
handsome fellow with pages, and a crowd of youths and
young women representing saints, male and female, by
different fashions of dress.
' This procession took two hours to pass before our
house, and presented many more particulars than I can
relate here.
' I have been in the new Antwerp house that Focker
(Fugger) * has had constructed. It is very costly in
arrangements, with a fair tower and beautiful and wide
gardens. Above all I admired the magnificent stables.
' Tommaso has given my wife fourteen yards of good
thick satin damask for her robe, and two yards and a half
of satin to line it with. I have made, at the order of
the goldsmiths, a sketch for a crown to the Virgin. The
Consul of Portugal has regaled .me in his hotel f with the
* This house exists still in the Rampart des Tailleurs de Pierre, but much
dismantled. The Fuggers of Augsburg were the richest bankers and mer
chants of Europe; the Antwerp branch of the family was established in 1K55.
t The city appears to have presented the house, W. 2, No. 1668, in

122 Life and Works of Albert Durer.
wines of France and of his own country ; and Roderigo *
has given me a little cask of sweets of various sorts :
among them I found a box of sugar-candy and two dishes
of refined sugar ; also marchpanes {marzipahe) and other
confections, and some sugar canes as they grow. I have
given his domestic a florin. Item: I have exchanged a
bad gulden for twelve stivers.
' The columns of the parish church of S. Michael are all
made of a single stone each, of a black colour.
' I have given to Herr Gillgen, doorkeeper to King
Charles, and to Master Conrad, f a good sculptor in the
service of Marguerite, the daughter of Kaiser Max, the
following :
' " S. Jerome in Prayer, " J the " Melancholy," § the three
new "Maries," "S. Anthony," || the holy "Veronica:"^"
Kipdorp, to the consulate of Portugal in 1 5 1 1 . This hotel was made into
a caserne of pompiers in 18 17.
* This Roderigo Fernandes succeeded to the consulate in 1528. The
foreigners in Antwerp, including Erasmus and Kratzer, appear to have
cultivated the painter very much.
f Conrad Meyt; born at Malines ; received into the guild of S. Luke,
in 1536.
% Is this the etching, B. 59, or the engraving B? most probably the
latter. § This wonderful engraving is mentioned more frequently than any
other in the journal, as having been presented to strangers by Durer. It
occurs six times.
|| Bartsch, 58.
11 Probably the small print now so very rare. As it is done with great
delicacy, and in a manner that would not stand many impressions, it may
have been much prized from the first.

Prices of Durer's Prints. 123
and afterwards, to Gilgen, a " S. Eustache " * and a
" Nemesis." f
' (Item : Sunday before S. Bartholomew : I owe to my
host, seven florins twenty stivers one heller.)
' (Item : my salon, chamber, and bed accommodation
(Bettgewandt) cost me eleven florins a month.)
' The 27th of August, the Monday of S. Bartholomew,
I make a new contract, by which I pay two stivers for a
repast including drink : my wife and her maid may cook
in the kitchen and eat in the chamber. I have given to
the Consul of Portugal a little carving of a child's head.
Also I have given him an " Adam and Eve," " S. Jerome
in Prayer," "Hercules," "S. Eustache," " Melancholy," and
" Nemesis." Afterwards, on half-sheets, three new figures
of the " Virgin," " Veronica," " S. Anthony," the " Nati
vity " and the " Crucifix " (das Creutz).% Afterwards my
best designs on four leaves, that is, eight pieces. After
wards the three books, " Life of the Virgin," the " Apoca
lypse," and the " Great Passion ;" also the " Little Passion,"
and the " Passion" on copper ; all that is worth five florins. §
* B. 57 ; also called S. Hubert, one of the finest works of the master.
\ It has been suggested (without any reason however), that Durer thus
designates the little print, B. 79, or that now called the ' Great Fortune,'
but much more probably he means ' The Knight of Death.'
" X Probably the small circular crucifixion, said to have been engraved on
the pommel of the Emperor's sword.
§ Here we have an invaluable hint as to the value of the master's works
at the time of their appearance. All this collection of his finest works,

134 Life and Works of Albert Durer.
I made the same gift to the other Portuguese, Roderigo,
who has given to my wife a small green parroquet.
'Sunday after S. Bartholomew (Sept. 2): I leave
Antwerp with Tommaso for Malines, where we pass the
night. I invite to dinner a painter, and the excellent
sculptor of Lady Marguerite, Master Conrad. From
Malines we pass by Vilvorde to Brussels, where we arrive
next day. (I gave three stivers to a messenger.) I dine
with the Gentlemen (Meinen Herren) at Brussels ; and
also with Herr Bonisius,* to whom I offer a Passion on
copper. I remit to the Margrave John the recommend
atory letter written by the Bishop of Bamberg, along
with a Passion on copper, as a remembrance : also I dine
with the Gentlemen (Meinen Herren) of Nurnberg.
' In the Rathhaus, in the Golden Chamber, I have seen
with admiration four pictures by the great painter Rudierf
(Rogier). Behind the palace I have seen the fountains,
labyrinths, beast-gardens, and all the other beautiful
including the ' Melancholy,' ' S. Eustache ' (Hubert), 'Adam and Eve,' all the
' Passions ' on wood and copper, is apparently valued at five florins, little
more than five guldens ! The words are clear ' das ist alles werth funf Fl.'
The list of prints however, it will be observed, is expressed in four sen
tences, and the estimate is contained in the last sentence ; so it is possible,
he means the items mentioned in that sentence are worth this sum. The
sum seems inadequate to the whole, but too much for the ' Passions,' &c, by
themselves. * A rich merchant and agent of other merchants.
f Rogier van der Weyden, who died advanced in years in 1464.

Mexican Spoils. 12$

things, the like of which I had never seen ; the place is
like a Paradise. Item : The Rathhaus of Brussels is lordly
and large, built with fine stone, and having a superb tower.
Item : Erasmus is the name of the little man who brought
my Supplication to Jacob Bonisius. I have done the por
trait by candlelight, of Master Conrad my host. Also I
have done that of the son of Dr. Lamparter in chalk,
and that of my hostess.
' I have seen among the curiosities they have brought to
the King from the new land of gold,* a sun of gold of the
size of a fathom, and a moon of silver of the same size.
I have admired two chambers full of all kinds of curious
things from the same land ; arms, harness, engines of war,
vests the most astonishing. I remark that nearly all these
things are richer and more beautiful than the same kind of
things to be seen at home. They are, it is said, worth a
hundred thousand florins. I own that never any sight
has excited and gratified me so much as these extraordinary
products of that distant country. They show art-work of
a subtilty and ingenia f altogether new in its shape.
' At Brussels I saw many beautiful things, and especially
a gigantic fish-bone, which seemed as if it had been made
of cut stones. It weighed about fifteen centner, and was
* Mexico. These must have been part of the spoils of the monstrous
cruelties of the Spaniards.
f This word, and the word Supplication above, are the words used by
Durer, and written not in German, but in Italic letters.

126 Life and Works of Albert Durer.

a fathom in size. Its shape was like this — (the sketch had
never been inserted). This bone was found at the back
of the head of the fish.*
' I visited the Hotel of Nassau ; it is a costly building,
beautifully furnished. I have lately dined twice with the
" Gentlemen." Item: Madame (Madonna) Marguerite has
sent to seek me in Brussels, and has promised to recom
mend me to King Charles. She has been towards me very
good and gracious. I have given her the Passion engraved
on copper, and have made the same gift to her treasurer
Jan Marini. I have given two stivers for a mushroom
(fungus of rare kind ?) and two to hire them to open the
picture of the altar of S. Luke.
' On my visit to the Hotel of Nassau, I saw the excellent
picture of Master Hugo.f I took notice of the two great
salons and all the precious objects dispersed about, parti
cularly the bed that can hold fifty sleepers. I have seen
also the great stone that the storm threw down close to
the feet of the Count of Nassau.^ The house is on a high
place, and has such a beautiful prospect that no one in
Germany can equal it. Master Bernard the painter§ has
* Here and elsewhere Durer appears immensely impressed by novelties
in natural history. In these days nature seemed inexhaustible ; mermaids,
dragons, even devils might be captured some day, who could say !
¦j- Hugo Vandergoes, ' Hugh of Antwerp ' of Vasari. He was born at
Ghent 1430, became priest in 1476, and died in 1482. He was a great
artist of that dry time and school.
| Possibly an aerolite. The surprising bed is inexplicable.
§ Bernard Van Orley. He was painter to Marguerite. Born at Brussels,

Erasmus of Rotterdam. izy
invited me to his table, and served such a sumptuous
dinner, they tell me must have cost him ten florins. To
meet me the treasurer of Madame, whose portrait I did, the
chamberlain of the court, Meteni by name, and the
treasurer of the city, Pusfladis, to whom I gave a Passion
engraved on copper, and he presented me with a black
Spanish purse of the value of three florins.
' I have given the same set of prints to Erasmus of
Rotterdam, and also to Erasmus, the secretary of Boni-
sius. The Antwerper who gave me the head of a child
is named Lawrence Sterk, and I have offered him the
seated "S. Jerome" and the " Melancholy." I have drawn
in chalk the portrait of Master Bernard, and have be
gun that of Erasmus of Rotterdam.* (Six persons of
Brussels, of whom I have done portraits, have given me
nothing.) ' I have bought a pair of bull's horns for three stivers,
and given one for two Eulenspiegels.f The Sunday after
1476, he was a few years younger than his guest. He died in 154 1.
Considering the value of money at that time his entertainment must have
been princely.
* This portrait of the philosopher Durer engraved. Erasmus is said to
have jocularly remarked, on seeing his portrait from the hand of Durer,
' Oh, if I still resemble this Erasmus, I may look out for getting married,' as
if he thought it too young and handsome.
f Either a certain small engraving (most rare, though not one of his best),
by Lucas of Leyden, or a little book published in 1483, called Thyl
Aylenspiegel. Campe says, 'If he means the first, the two prints then
costing one stiiber/would now bring nearly twenty napoleons.'

128 Life and Works of Albert Durer.
S. Gilgen I say farewell to Hans Ebner.* He would
receive nothing for the seven days I have spent with him.
I gave his domestic a stiver and we parted, Tommaso and
I for Malines. That evening I dine with Madame New-
kirchen, and on Monday betimes I return to Antwerp.
' I breakfast with the Consul of Portugal, who gives me
three Porzolana,f and Roderigo prayed me to accept some
objects of feathers from Calcutta. I purchase for Susanna
a mantle, for two florins ten stivers. In my absence, my
wife has spent four Rhenish florins for washing, a pair of
bellows, an earthenpot, slippers, wood for cooking, stock
ings, a cage for the parroquet, two goblets, and drink-
money. Also she has spent for eating, drinking, and other
necessaries, twenty-one stivers.
' Monday after S. Giles : I rearrange with my host Jobst
Plankfelt, and I dine there sixteen times. J I give to
Nicholas, the domestic of Tommaso, a stiver for himself and
three for a gift. My host made me a gift of an Indian
fowl (turkey ?) and a Turkish whip. I dine thirteen times
* Ambassador of Nurnberg : he was councillor and burgomaster : he
died in 1553. It is pleasant to find Durer so valued by the ambassador of
his native city. The MS. of this journal was preserved by the Ebner
family. t Majolica dishes.
X Durer's simple means of recording the number here and on several
other occasions, is by so many separate strokes, 1 1 1 1 1 1 | ] | , | | 1 1 | | .

Makes Presents qf Engravings. 129
with Tommaso. Item : the two gentlemen of Regendorf
invite me to dinner ; I accept their invitation, and I sketch
their coat of arms on wood, that it may be engraved. I
spend a stiver, and my wife changes a gulden for twenty-
four stivers. I dine once in the house of the Fuggers,
with young Jacob Rehlinger, and another time with him
alone. I have given Prince-Palatine Frederick's man,
Wilhelm Havenhuth, the engraving of " S. Jerome,"
and the two half pages of " Marv " and " S. Anthony."
Item : to Jacob Bonisius a well painted " Veronica," a
" S. Eustache," the " Melancholy." " S. Jerome Sitting "
" S. Anthony " and two new " Maries," and a new rustic :
to his secretary Erasmus, who has sent on my supplication,
a sitting " S. Jerome," the " Melancholy," " S. Anthony,"
and two new "Maries ; " all these gifts are worth seven
florins. I have also offered to the goldsmith Marx a
" Passion " on copper, and sold him engravings for three
florins. Also works of art for three florins twentv stivers.
I have given to the painter on glass Honig, four httle pieces
on copper. I dine three times with Bonisius. I have
given four stivers for charcoal and black chalk, one florin
eight stivers for wood ; three stivers more have gone. I
have dined ten times with the Gentlemen of Number g.
Item : Master Dietrich, the glass painter, has given me
some red colour, which is found in newly-baked bricks
here in Antwerp. I have done the portrait in chalk of

130 Life and Works of Albert Durer.
Master Jacob of Lubeck, who gave my wife a florin of
Philippe. I have given to the Lady Marguerite a sitting
" S. Jerome " on copper ; I sell a " Passion " on wood
for twelve stivers, and an " Adam and Eve " for four.
Captain Felix, the lute-player, bought all my works on
copper, my " Passion " on copper, that on wood, two half
leaves and two quarter leaves, for eight florins of gold.*
I do the portrait of Bonisius. Item : Roderigo sends me
again a parroquet, and I give two stivers to his messenger.
I present to the trumpet-player, Johann von der Winkel,
a " Little Passion " on wood, a " S. Jerome Praying," and
a " Melancholy."
' I buy a pair of shoes for six stivers, and give five
for a sea-staff (Meerruten). (George Schlautersbach had
given me one worth six.) I dine with the Fuggers' agent,
Wolf Haller, on the occasion of an invitation he had given
the Gentlemen of Nurnberg. Item : I have got for my
works, two florins of Philippe, six stivers. I dine with my
wife, and give a stiver to Hans Dener's servant. I get for
my works 100 stivers. Item : Master Jacob, Van Rogen-
dorf s painter, I have drawn in chalk ; j- and the arms of
* The word here used is difFerent from the usual ' florin,' or ' gulden ; '
it is ' Goldgulden.' The word used above for the price of the ' Passion ' on
wood and ' Adam and Eve ' is ' stiiber,' which I have translated ' stiver.'
Charles Narrey, ' sou : ' the same coin is used here for the price of the pair
of shoes. He sells • Adam and Eve ' for four and pays six for a pair of
shoes, so that the prices of the finest works of the master were manifestly
very small.
f Jacob Cornelisz, a good painter, in much repute before this date.

The Allegories at the Kaiser's Entrance. 131
Van Rogendorf I have sketched on wood, who gave me
seven yards of velvet. I draw in chalk the portrait of Jara-
rott Priick, who gave me a florin. Item : I give twenty-
three stivers for ein Kiill riicken Kiirschen (?).
' I have given two florins to Hans Schwarzen* for my
countenance, to send from Antwerp to Augsburg, by the
Fuggers, in a letter. I have bought a shirt of red linen
for thirty-one stivers ; some of the red colour they get
from the newly burnt bricks, two stivers ; an ox's horn
for nine stivers. I draw the portrait of a Spaniard with
chalk. Dine with my wife. Give two stivers for a dozen
small pipes (ein Duzet Pfeiflein) ; three stivers for two
cups similar to those Felix and Martin Jacob, of Lubeck,
gave my wife. Dine with Rogendorf. Give a stiver for
a printed sheet relative to the triumphal entry of the King
into Antwerp. The gates are garnished with costly
allegories, and plays are rehearsed with young girls of ra e
beauty nearly naked ; I have never seen more perfect
forms.f (I change a florin.)
He was master to Hans Schobel. Durer elsewhere calls him Jacob of
Lubeck, because he had a pension from that city.
* Hans Schwarts, a painter of various kinds of subjects, now very rare.
Wood engravings after his designs are to be seen. This sentence is very
obscure. The word Durer employs for a portrait is not used here, but
' Angesicht,' which is really ' appearance.' Was this a miniature sent to
some one !
t The allegorical plays at this time were made occasions for the display
of the beauty of the locality ; maidens of the best families competing for
K2

132 Life and Works of Albert Durer.

' Here they show people many bones of a giant. His
thigh bone is four and a half feet long, and is extremely
heavy : his shoulder blade is as large as the whole back of
an ordinary man. This giant was eighteen feet high,
he governed Antwerp, and did many surprising things;
certain men of the city have written a great book about
him.* ' The works going on under Raphael d'Urbino are sus
pended now that great man is dead. One of his disciples,
by name Thomas Polonier,f a good painter, desired to
see me, and on that occasion presented to me a ring
of gold, an antique, with an engraved stone worth five
florins, but in fact I have been already offered double that
sum for it. I have given him of my best printed works
six florins value. Item : I have given three stivers for a
the preference, their future husbands boasting of the honour their wives had
had in their early time. When the day actually arrived, Charles V. gave
great offence by dropping his eyes instead of admiring and applauding. He
was only nineteen, and had no doubt been brought up in a severe school.
Durer confessed to Melanchthon, who used to- visit him during his stay at
Nurnberg in 1526, that he was much delighted, too much so, by these
damsels, ' he being a painter.' Melanchthon records this in his Manlii
Collectanea Locor. communium, p. 345. (Note in Campe's Reliquien,
p. 96.)
* This book exists still in the archives of Antwerp. It is a folio bound
in skin of the fifteenth century, and is called Le vieux Regittre de divers
Mandements. P. 33 begins the history of the Giant Brabon and others of
his species.
f Supposed to be Tommaso Vincidore of Bologna : he appears to have
been sent to Flanders to superintend the execution of certain tapestries
after Raphael's designs.

Tommaso Vincidore.

l33

Calacut (turkey hen ?), one for a messenger, and three for
company. ' Item : I have offered to Dame Marguerite, sister to King
Charles, an example of my engraving. I have also made
for her two designs on parchment with the greatest care,
which I estimated at thirty florins ; and for her physician,
the plan of a house he proposes to build ; this plan I
would not do under ten florins. I give also to Nicholas
Ziegler a " Dead Christ," worth three florins ; and to the
factor of Portugal a head of a child painted ; this I could
sell for a florin.*
' I have bought a buffalo's horn for ten stivers, and the
foot of an elk for a gulden. I have drawn Master
Adrian in chalk, and given him works of art of two
florins value. I have painted the portrait of a noble lady
in the house of Tommaso, and done the portrait of Wolf
Rogendorf with the needle (mit dem Stefft). Item: I paid
a stiver for red chalk, and two for the Condemnation and
the Dialogues. I give Nicholas a " S. Jerome in Prayer "
and two new Virgins.
' Monday after S. Michael : I give Thomas Polonius
(Tommaso Vincidore) all my engraved works. By the
* Here we see how a suitor for place, Durer's object being to succeed
as court painter to Charles as he had been to Maximilian, had to distribute
his gifts. Suppose the increase on the value of money to be rightly esti
mated at fifteen times, these gifts at the present day would amount to more
than 700/.

134 Life and Works of Albert Durer.
care of another painter they are to be sent to Rome, and
I am to receive in exchange designs from the hand of
Raptiael. Item : I dine with my wife and spend three on a
. small tractate. Polonius has done my portrait to be sent
to Rome.* I give twenty stivers for an elk's foot ; two
gulden four stivers for a tablet for Hans Ebner : I change
a crown to have money for current expenses, giving nine
stivers for wood, and twenty for the carriage of my
travelling malle.
' I do the portrait of a lady of Bruges, who gives me a
florin of Philippe. (Two stivers for varnish, one for
stone-colour, thirteen to the furrier, one for leather, two
for two shells, two florins four stivers for a portmanteau.)
In John Gabriel's house I paint the portrait of an Italian
gentleman, who presents me with two florins of gold.
' I leave Antwerp on Thursday after S. Michael for Aix-
la-Chapelle, taking a florin and a noble in my purse, and I
arrive on Sunday, after passing through Maestricht and
Gulpen. Up to this writing my journey has cost me
three florins. Here I see the Orders (proportionirten
S'dulen) with their good capitals of red and green por
phyry, brought from Rome by Charles. They are very
* This portrait was engraved by Adrian Stock. Below it is this in
scription : ' Effigies Alberti Dureri Norici, pictoris et sculptoris hactenus
excellentissimi, delineata ad imaginem ejus quam Thomas Vincidor de
Bolognia ad vivum depinxit Antwerpise, 1520. And. Stock sculp. H.
Hondius excudit, 1639.' We have given this portrait etched by the author.

ALBERT DURER, J&. 50.

"a/j/StS fry .Fcmma&o V&u-<ydoy>: /./.i^lnr-,: erp. 2320
/>'/, ¦-///¦//¦ fro???., ffiy J^ru/mi-/,/,,'/ by A .Stack, Jfili'S.

Coronation of Charles V. 135
artistically made after Vitruvius. I paint the portrait of
Hans Ebner twice,* and I draw George Schlautersbach with
chalk ; also young Christoph Groland and my host Peter
van Enden. I give two stivers for a whetstone, five for a
bath, a gulden for living expenses, two white-pennies to the
official who conducted me into the hall, five for a bath and
drinking with friends ; also three stivers for the same ; and
I have lost seven stivers at play with Hans Ebner. I have
sketched Paulus Topler and Martin Pfinzing in my book.
' I have seen the arm of Kaiser Henry and the chemise of
the Virgin Mary, and other relics. I sketch the church of
Notre Dame and the portrait of Sturm,f and the sisters of
Kopffinger twice, once with charcoal and once with black
chalk. I give ten white-pennies for a great bull's horn,
and I lose three at play. I give the daughter of Tommaso
a picture of the Trinity worth four florins. Spend a
stiver for wax, three for a bath, eight for a buffalo's horn,
and two for a belt. Item: a gulden of Philippe for a
scarlet breast-plate and six white-pennies for paper: one
florin for expenses.
'On the 23 rd October, King Charles is crowned. The
spectacle is so superb I never before was present at any
such, and I despair of making any description of it.
* The family of Ebner preserved this journal of Durer ; and Murr, who
first printed it, did so from the MS. ex Bibliotheca Ebneriana.
f Sketch still existing. Caspar Sturm had charge of Luther at the Diet
of Worms.

136 Life and Works of Albert Durer.
'I have given Mathias engravings for eleven florins,
and three prints to Stephen, Dame Marguerite's chamber
lain. I give a florin ten white-pennies for a rosary ot
cedar wood, a stiver to little Hans, another to the child in
the house, and two to a barber, four for two eye-glasses. I
lose a white-penny at play, and give eight for two ox horns.
' I proceed to Louvain Friday before SS. Simon and
Jude, and visit the church where is the head of S. Anna.
Sunday at Cologne. At Brussels I have been harboured
and entertained entirely by the Gentlemen of Nurnberg,
who would not allow me to pay. At Aix it was the
same ; for three weeks they insisted on being my hosts,
and conducted me from Cologne without my undertaking
any trouble.
' I have bought Luther's tractate for five white-pennies,
given one for the Condemnation of that mighty man, also
one for a rosary and two for a belt. I give my great
bull's horn to Leonhart Groland, and my great cedar wood
rosary to Hans Ebner. Shoes, six white-pennies ; small
mort-head, two; beer and bread, one; two messengers,
four ; a barber, two ; and two for a sight of the picture by
Stephen :* two with friends ; one for a little treatise. I
* Stephen Lochner, died 145 1. This is a picture said to have been
painted in oil in 1410, a triptych, the principal subject being the Adora
tion of the Magi. It is now in the chapel of S. Agnes, in the cathedral of
Cologne.

Receives his Appointment. i$y
give Ziegler Lindhart works for two florins, and I do the
portrait of the sister of Gott Schalken.
'Sunday evening after All Saints, 1520. Am still at
Cologne, and was at King Charles's grand dance (Fiirsten-
tanz) and banquet : they were very fine and costly. I
draw the armorial bearings of Staber on wood. I give a
young Count I meet in Cologne the " Melancholy ; " and
to Duke Frederick a new Virgin. I draw Nicholas Haller
in charcoal. I give two white-pennies to an usher, three
for two little tracts, and ten for a cow's horn.
' I have been to the church of S. Ursula, where she is
buried with all her Virgins, and seen many other holy
things. I draw Forherwergen in charcoal. I have spent
a florin ; given eight white-pennies to the wife of Nicholas,
because she offered me hospitality; also a stiver for two
copper-plate prints. All this time (eight days in Brus
sels, three weeks in Aix-la-Chapelle, and fourteen days
in Cologne) the Gentlemen of die Nurnberg embassy
(Hans Ebner, Leonhard Haller, and Nicholas Haller) have
allowed me to be at no expenses for entertainment. Item :
I have made the portraits of the nuns at seven white-
pennies, and presented them with three half sheet engrav
ings. Now the Messieurs of Nurnberg inform me they
have obtained for me the title of painter of the Court of
Kaiser Charles, with great labour and much ado. Monday
after S. Martin, 1520.'

138 Life and Works of Albert Durer.
(This brief still remains in the archives of Nurnberg.
It bears date Nov. 4, 1520, at Cologne, and requires the
magistrates of his city to charge themselves with the
continuance of the pension of 100 florins granted Durer
by the Kaiser Max. The ' Journal ' continues without any
break, and records a great many petty expenses and trifling
purchases, a few of which we omit.)

Returns to Antwerp. 139

.

Chapter IX.
JOURNAL.— RETURN TO ANTWERP.— EXCURSION TO BRUGES
AND GHENT.— REPORT OF LUTHER'S DEATH.
URER having thus attained the object of his
ambition, we might have expected he would
have prepared to return home. This, however,
he makes no sign of doing. His wife and her maid are at
Antwerp, so he must return thither. His journey back
occupies a few sentences; he makes a present of a
' Nemesis,' and is entertained by the goldsmiths. He takes
boat, but encounters a storm of wind, so he takes horse
and gets on well enough in the saddle.
' Thursday after Assumption I see Antwerp again. I
pay fifteen stivers to the driver. So here again I take up
my quarters with Jobst Plankfelt, and dine with him
four times, and my wife twice.* During the seven weeks
I have been absent, my wife and her maid have spent
seven crowns and four florins on articles purchased. I
dine six times with Tommaso. On S. Martin's day my wife
had her purse cut off in the church of Our Lady. It was
* This statement is a little remarkable. After his eventful journey he
does not seem to live in daily intercourse with his wife. The words are,
und hab diese Mai mit imgessen iiii: das mein Weib ii.

140 Life and Works of Albert Durer.
worth a florin itself, and in it were two florins and a bunch
of keys. Item : On S. Catherine's evening, I pay my host
Jobst Plankfelt ten gold crowns of my reckoning. Item :
I dine twice with the Portuguese ; Rodrigo presented me
with six Indian nuts, and I gave his servant two stivers,
and I spent nineteen for parchment. I change two crowns
into smaller money. I sell some of my engravings : two
"Adam and Eve," a " Sea Monster," *" S. Jerome," a
"Cavalier," " Nemesis," "S. Eustache," seventeen etchings,
eight quarter sheets, nineteen woodcuts, seven damaged
woodcuts, two books, and ten of the " Little Passion " on
wood ; all for eight florins. I give three greater books for
a half ounce of fine colour. I change a Philippe and my
wife another florin.
' At Zirkgen in Zealand, a huge fish was then thrown
on land by a storm. It was more than a hundred fathoms
long, and no one had ever seen the like. It could not be
floated, and the smell of it infected the country ; the
inhabitants were much embarrassed, but it was cut in
pieces, and oil extracted for six months time.
' Stephan Capello gave me a rosary of cedar, on
condition that I sketch his portrait. I gave four stivers
for kettlebrown (Kesselbraun) f and a small pair of snuffers,
* Ein Mehrwunder : this is no doubt the print now called the ' Rape of
Amymone.' •f ' Kesselbraun.' This word is of some importance, and I think goes
far to connect Dufer with glass painting. It means kali, a plant, a species

Goes to Holland. 141
three for paper. I did Felix kneeling in his book with
the pen, and he sends me 1 00 oysters. I present to Herr
Lazarus, the big man, a " S. Jerome " and three large
books, and Rodrigo has sent me strong wine and oysters.
I give seven white-pennies for black chalk. I invite
Tommaso Gerhard, his daughter and her husband, the
glass-painter Honing, Jobsten and his wife, and Felix,
to dinner, which costs me two florins. Item : Tommaso
sends me a present of four yards of grey damask for a
doublet. Item : I change a Philippe.
' S. Barbara's eve I rode out of Antwerp, going to
Bergen-op-Zoom. Spent one florin six stivers and twelve
for the horse. At Bergen I buy a Netherland down
cloth for the head, for my wife, at a cost of one florin seven
stivers. I buy three pairs of shoes for six stivers, an eye
glass for one, and an apple of ivory for six ; drink money
two stivers. I counterfeit Jan de Haas,* his wife, and his
two daughters, in black charcoal, and sketch their damsel
and an old woman in chalk in my book. The townhall
here is well built, and the town is good : very agreeable in
summer, with two notable markets in the course of the year.
On the eve of our Lady (Sept. 7) I leave with my com-
of salsola or glasswort, the ashes of which are used in the making of glass.
The literal meaning is ' kettle or furnace brown,' which you will find is
the old German name for our more modern kali.' I am indebted for this
note to Rev. A. Reid of Ayrshire.
* Sculptor, born at Metz.

142 Life and Works of Albert Durer.
panions for Zealand, Sebastian Imhoff lending me five
florins. We pass the first night at anchor on the sea ; it
was very cold, and we had nothing either to eat or drink.
Saturday, we reach Ter-Goes, where I draw a girl in the
costume here. We leave for Erma, arrive at the isle of
Walcheren, pass the night at Ernig, and pass on to
Middleburg. In the church of the abbey I see the
picture by Johann de Abus (Mabuse) ; a great picture,* not
so good in head-work (Hauptstreichen) as in execution.
Hence we go to Terveer, where ships from all countries
congregate. 'At Armuidem a great misfortune happens. At the
moment of our landing, after we had thrown the cable on
shore, and some had already got out, a great ship came
against us with a tremendous crash. So many crowding
out, I had not pushed forward, but was still in the boat
with George Kotzler, two old women, the captain, and
cabin-boy. The ship that struck us could not be disen
gaged for some time, but drew us out into the current, and
a strong wind blowing at the time, the cable broke, and no
sailors on board, our situation was not very pleasant, when
we found ourselves in the open sea. It was vain to call to
those on shore ; they would not hazard themselves in the
* John Gossaert, called Mabuse, from the place of his birth, about 1470.
He died at Antwerp in 1532. The picture in question was a 'Descent
from the Cross.' It was destroyed by lightning on January 24, 1568.

On Shipboard. 143

terrific gale that so strangely sprang up. The captain
gave himself up to despair. I told him to take courage and
put his trust in God. 'And what shall we do then?'
answered he. My advice was to hoist the small sail and
turn the boat by that means. By a united effort we did so,
and tacked against the wind, and were in a fair way to get
into harbour again, which those watching us along the
shore seeing, at last came to our aid.
' Middleburg is a fair city with a fine hotel de ville and
a grand tower, all done with good art. In the abbey is a
rood-loft of a beautiful and costly character, and a re
markable portico of stone. The parish church very good.
If I return here I shall take a sketch of this charming
place. Zealand is a wonderful country with skilful people.
The great ships sail about as if on the fields. At Ernig
I sketch the portrait of mine host. Master Hugo, Alex
ander Imhoff, and Frederich, the servant of Hirchvogel,
all gave me a turkey hen they had won at a game ; the
landlord presented me with a growing onion.
' In the morning we part again in the ship, and arrive at
Terveer, then at Ziericzee, where I wish to see the whale,
but have not the fortune. I spend two florins for pens,
two for a mantle, four stivers for a cage, and three to the
porter. I lose six stivers at play, and pass on to Bergen.
I have given ten stivers for an ivory comb ; I have done
portraits of Clausen and the landlord Aiden. I have

144 Life and Works of Albert Durer.
given two florins less five stivers for tin, and again two
florins for a bad piece of the tin. I have done portraits
of young Bernhard de Bresles, of George Kotzler, and
Francis de Cambrai. Each gave me a florin. Also Has
Eiden, who gave me the same. Also Nicholas Soilir.
Again I buy two pieces of bedticks for four florins less
ten stivers.
' This is the ninth time I have dined at Bergen, four
stivers each time. I give the coachman three stivers, and
arrive again in Antwerp, Friday after S. Lucy (December
13), with Jobst Plankfelt, with whom and my wife I dine,
paying him past expenses.
' Herr Lazarus von Rafensburg gives me in exchange for
my three books, certain curiosities, five snail shells, a great
fish scale, four silver medoien (medals ?), five copper do,
two small dried fish, two white corals, four cane arrrows.
I change a crown. I dine by myself nine times.
' The Consul of Portugal has sent me a bag of brown
velvet, and a box with pretty lattice-work. I have given
a florin for two small tablets, four gold guldens for sea
cats, fourteen stivers for five fishes, two stivers for two
treatises. I give Lazarus Rafensburg his portrait painted
on a tablet, which cost six stivers, eight large prints on
copper, eight half sheet engravings, a " Passion " on copper,
with other engravings and woodcuts, altogether worth
more than four guldens. Item: thirty-one stivers for

Gifts on all sides. 1 45
wood. Draw Bernhard Pombelli's portrait, and that of
the daughter of the procurator Sebastian. Gerhard Pom-
belli sends me a Turkish cloth, and Wolff seven Brabant
yards of velvet : I give his messenger a florin. I dine
eight times with Portugal, once with the Treasurer, ten
times with Tommaso, once with Lazarus, with Wolff,
with Bernard Stecher, with Arnold Meyting, with Gas-
pard Lewenter, and each time I give four stivers to
domestics. ' I have given three stivers to a man of whose face I
made a study, and two to his serving-man, and receive
four florins for art-works.* I change a crown : six stivers
lost at play, and spend six. I .change a noble : give
eighteen stivers for rosin and three pairs of knives : two
florins to Jobst. I give to Master Jacob two " S. Jeromes "
on copper, and to each of the three daughters of Tom
maso a pair of knives cost five stivers. I have been at play
many times and end by losing seven stivers. Receive
twenty-nine stivers for art-works, and Roderigo gave me
a scented apple, a basket of musk tree, a box of sugar,
and other rarities. I make a portrait of Jobst's wife in
charcoal. My wife has been godmother to a child, and
given childgift one florin four stivers : lose two stivers at
play. Give an " Apocalypse " to Master Dietrich the glass
* This we must suppose to mean the sale of engravings, as it occurs so
repeatedly, although the word used is Kunst (art).

146 Life and Works of Albert Durer.

painter and the six knots,* forty stivers for flax ; eight lost
at play. I have given the Consul of Portugal junior my
canvas with the little child, worth ten florins ; Dr. Loffen of
Antwerp four books and a " S. Jerome " on copper. I do
the portraits of the son and daughter of Tommaso with
the point. Item : I paint the figure of the Archduke in
oil on a tablet. Roderigo of Portugal has given me two
cloths of Calcutta, one of silk, a baretta much ornamented,
a green pot full of mirabulonf\ and a branch of cedar
(ten florins worth). I have made a design for Fugger of
a mask ; he gave me an angelot. \ I give eight stivers for
two small powder-horns. I lose three stivers at play, and
change an angelot. I do two leaves of masks, pretty
ones, for Tommaso. I paint a good " S. Veronica " in oil
on panel, worth twelve florins, which I give Franciscus
the Consul of Portugal ; and a portrait of his wife, better
than the last mentioned, which I give him. For the first
our maid had a florin given her, for the Veronica a florin,
and she received another from Brandon.
' On the eve of the Carnival, the goldsmiths invite me to
dinner with my wife. There are many distinguished people
* Most probably the woodcuts of ornaments in the shape of runic knots.
f ' There be fruits that be sweet before they be ripe, as mirabolanes ;
so fennel seeds are sweet before they ripen, and after grow spicie, &c.'
And afterwards : ' but as for the mirabolane, it hath parts of contrarie
natures, for it is sweet and yet astringent.' — Bacon's Syl-ua Sylvarum, 2nd
ed. p. 157.
% A coin bearing the figure of the Archangel Michael, worth two florins
two stivers.

Entertainments and Gifts. 147
at this gathering ; the banquet is superb, and they show me
much honour. Towards the evening, the former burgo
master* of the town invited me. He gave me a costly
entertainment, and did me honour; at the end came in
mummers. ' I have done the portrait in chalk of Flores, the organ
ist of Dame Marguerite. On the Monday of the Carnival
I was invited to a grand dinner by N. Lopez,-)- which took
two hours to serve, and was very finely done. Item :
Lorenz Stark has given me a Spanish surcoat, and at this
festival were also mummers, splendidly decked, especially
Tommaso and Branbell. I won two florins at play. I
give fourteen stivers for a basket of raisins, and draw the
portrait in chalk of Bernard von Castell, from whom I won
the money at play. Item : Tommaso's brother Gerard has
sent me four yards of the best Brabantish black satin, and
three great boxes with others inside. Wood costs me thir
teen stivers, varnish two. I do the portrait of the Procu
rator's daughter with the point. Master John, J from
Metz, the good statuary, has asked me to do his portrait.
I do it with pleasure ; he has studied in Italy, and much
resembles Christopher Kohler. I have bought Italian
works of art from Jan Tiirken for three florins, and given
* Chevalier Gerard van de Werve.
f Chevalier Lopez, ambassador of the King of Portugal.
X John de Haes. L 2

J48 Life and Works of Albert Durer.

twelve ducats worth of my works for an ounce of good ul
tramarine. For the " Little Passion " on wood I have re
ceived three florins, and for two sketches and four books
of Schaufelein's * art three more. Two ivory salt cellars
from Calcutta cost me three florins. I receive two florins
for my works. Item : Rudiger von Gelern has given
me a little box full of coins, gold and silver, worth a
quarter florin : I send him my three large books and
a " Cavalier " on copper. I spend eleven stivers on objects
of art, and two florins for " SS. Peter and Paul,"
which I present to Frau Koler. Item : Roderigo has
given me a box of plaited work and many other things,
and Lazarus Ravensburger a sugar loaf. Wood costs me
six stivers. Item : I dine once with the Frenchman,
twice with Herchvogel, once with Erasmus of Rotterdam
along with secretary Peter, f I give a stiver to a man who
shows me the tower of Antwerp. This tower J is higher
than that of Strasburg ; one sees the whole town from it.
Consul Brandon makes me a gift of two great white sugar-
* Hans Schauflein, one of the best of Durer's pupils : principally, how
ever, only a draughtsman for wood engraving.
f Peter Egidius, or Giles, afterwards recorder of Antwerp: born i486,
died 1533. He was the intimate friend of Sir T. More and Erasmus.
Matsys did the portraits of Egidius and Erasmus on two panels connected
by some Latin lines, wherein they are called Castor and Pollux.
X This tower was begun in 1422, by the architect John Amelius of
Bologna, or by Peter Smit, called Apelmans ; it is uncertain which. It was
long unfinished, and was never as high as the Strasburg spire, or tower
supporting the spire, perhaps we ought to say.

Begins to send Things Home. 149
loaves, a box of sugar, and two green pots of sweets, also
four yards of black satin.* I make a portrait of the pretty
daughter of Gerhard. I dine with Laurent Stark, who
gives me an ivory flute and a pretty piece of porcelain ;
and I give him some works in exchange ; also, to Adrian,
orator of the town; and to the great rich guild of merchants
a " S. Nicholas" seated : they have prayed me to accept
three florins as a gratuity.
' I have confided my malle to Jacob and Andrew Hessler
for transportation to Nurnberg ; it is to be lodged with
Hans Imhoff the elder. They are to have two florins
per quintal ; I have already given them two florins. On
the Sunday, j1 Roderigo sent me six cocoa-nuts, a beautiful
coral branch, and two Portuguese golden florins, each
weighing ten ducats.
' I have made a sketch for Tommaso, partly coloured,
after which he may have his house painted. J I have made
with much study a "S. Jerome " in oil for Roderigo, who
gave Susanna a ducat. I give ten stivers to my con
fessor, and four for a little tortoise. I dine with Gilbert,
* Durer's invariable entry after every gift is the ' trinckgelt,' he gives
the knecbt or magd. After repeating this formula about twenty times,- I
leave it to be implied. I omit also the repetition of his changing large
money for small.
f ' Sontag Judica,' in the original.
X ' Ich hab den Tomasin ein Viesirung gemacht, mit halben Farblein
und gerissen, darnach er sein Haus wird lassen mahlen.' This seems to
show that interiors of private houses had already begun to be painted.

J 5° Life and Works of Albert Durer.

who gives me a small shield from Calcutta made of fish-
scales and two small gauntlets. I have sketched in red
chalk the portrait of Cornelius, secretary of Antwerp. I
have bought six brushes for twenty stivers ; five silk belts
for three florins sixteen stivers. Six porten (?) I have sent
to the wives of Caspar Rutslin, Hans Imhoff, Straubin,
Spengler, Loffelholz, and a good pair of gloves to each ;
to Pirkheimer a rich barret, a costly inkhorn, a silver
kaiser, and three sugar-canes ; to Caspar Niitzel a great
elk's foot, and ten large ornamented dancing monkeys ;
to Jacob Muffel a scarlet pinafore ; to little Hans Imhoff a
scarlet baretta, ornamented ; to little Fraulein Lochinger,
to Fraulein Kramer, to the two Spenglers, each some
presents and three pretty horns ; to Herr Jerome Holz-
schuher a very large horn.
' I have dined twice with the Consul and once with Master
Adrian, who has given me a small picture of Lot and his
daughters by Master Joachim.* I have sold works for
twelve florins, and bought some of Hans Griin for a florin.f
I paint in oil Bernard de Reszen, who gives me eight
florins for the picture, and presents a crown to my wife
and a twenty-four-stiver florin to Susanna. I have given
* Joachin Patinier, before mentioned.
f Hans Beldung Griin designed on wood with great power. About
this part of the ' Journal ' I have omitted a number of small items : all,
however, unimportant, and for the most part repetitions. Also after his
return from Ghent.

Visits Bruges. 151

Ambrose Hochstetter a " Life of the Virgin," and he has
sent me a drawing of his ship. Roderigo has presented
my wife with a fine ring worth more than five florins. I
do the portrait of Consul Brandon with charcoal, and that
of his negress with the point, and that of Roderigo with
the brush on a great sheet of paper in black and white. I
have bought a piece of camlet of twenty-four yards for
eleven florins, two stivers for gloves. Lucas of Dantzig,
whose portrait I did in charcoal, gave me a florin and a
piece of sandal wood.
' Sunday after Easter, 1 5 2 1 . Leave Antwerp for
Bruges with Hans Luber and Master Jan Plos, a good
painter, born at the latter place. We go by the Scheldt
and pass Bevern, a great village, and Vracene, another
large village. From town to town, and village to village,
we reach S. Paul, where is a rich abbey ; afterwards, by
Kalve, we sleep at Erdvelde. Next morning to Eccloo, a
town with a large paved place and market. We breakfast
there and go on to Maldeghem and other fair villages,
and arrive at Bruges, a mighty beautiful city. Jan Plos
gives me hospitality, and, in the evening, has a royal
entertainment with a crowd of people. Next day gold
smith Marc does the same thing. They take me to the
Kaiserhaus, great and rich. In the chapel I have the
pleasure of seeing Rudiger's* picture, and others of that
* Roger Van der Weyden.

152 Life and Works of Albert Durer.
great old master. (Thirty stivers for three ivory combs.)
They convoy me also to the church of S. Jacques, where
are very fine works both of Rudiger and Hugo,* great
men. I see also the statue of the Virgin in alabaster, by
Michelangelo of Rome,f in the church of Notre Dame.
In many other churches are fine pictures, that by Johannes J
and other masters. The chapel of the painters § contains
many interesting things. They invite me to a rich banquet
in the guild-chamber, where I meet the best men among
painters, goldsmiths, and merchants. They do me no end
of honour ; I sup with them also ; and the two brothers
Jacob and Peter Must, the town-councillors, present me
with twelve cans of wine, and, at the end, the whole society,
sixty persons, conduct me home with torches. I also visit
the Shooters' guild, and see the great fish-tub they eat from ;
it is nineteen feet long, seven high, and seven broad. ||
Before leaving the town I do the portraits of Jan Plos and
his wife with the point, and give his people ten stivers for
adieus. * One of the pictures here indicated seems to be a Virgin with the Child
Christ, by Hugo Van der Goes.
f This Madonna still keeps the same place over the altar in the same
church. X Most probably Durer speaks of Van Eyck, but as Hemlinck and
Spital, also a much esteemed artist, were both called John, it is difficult to
determine. § The chapel of the guild, or academy.
|| This great dish, like the great bed mentioned before, requires some
explanation.

Visits Ghent. 133

' Leave Bruges. Breakfast at Orchel, and, after passing
six villages, reach Ghent. On stepping from the boat, I
am met by the dean of the painters and the foremost men
with him, who do me much honour, and offer me their
services. They take me with them, and in the evening
we feast together. Wednesday morning they take me
to the top of the tower of S. John, whence I see the whole
of this wonderful and great city. The great picture of
Johannes* is truly a skilful and noble work. I admire it
completely ; how fine are the figures of Eve, Mary, and
God the Father ! I visit the living lions, and I draw one
of them with the point.f On the bridge where the exe
cutions take place, there are two statues, commemora
ting the fact of a son having beheaded his father. Ghent
is a splendid city. Four streams flow through it. The
Ghentois have shown me much friendship and honour ;
from morning to night every thing has been at my
service. On Thursday morning, after breakfasting at the
sign of the Swan, I leave for Antwerp.
'Friday before Pentecost, 1521, the cry reaches us at
* This is the Adoration of the Lamb, from the Apocalypse, by John and
Hubert van Eyck. In some respects, one of the most notable pictures in
the world.
f This sketch was etched on copper by Hollar ; it was then in the Arundel
Collection. A lion and four lionesses were sent by Charles V. from Tunis
to Dorn van Vaernewyck of Ghent, a few years later, no doubt, for this
town menagerie.

154 Life and Works of Albert Durer.
Antwerp that Martin Luther has been treacherously
seized. Under escort of the Kaiser's guards, and travel
ing with a safe-conduct, it seems he was abandoned in a
solitary place near Eisenach. The herald declared he
ceased any longer to be his guide, and so quitted him ;
immediately ten horsemen emerged and laid hands on him.
So this man, enlightened by the Holy Ghost to be the
continuer of the true faith, has disappeared. Have they
murdered him ? — I do not know.
' If he has suffered, it 'is for the Christian truth against
the unchristian papacy, which works against the freedom of
Christ, exacting from us our blood and sweat therewith to
nourish itself in idleness while the peoples famish. It is
very sad and heavy to me, that God allows so much false
teaching and blindness in men we call fathers, and
permits the excellent worth of religion to be falsified and
removed. God of heaven, have pity upon us ! O Lord
Jesu Xpe ! pray for thy people; save us in thy right time ;
preserve in us the true faith ; collect thy widely wandering
sheep through thy voice in the Bible, called the Word
of God. Help us to know thy voice, and prevent us
following the paths of men. Lord Jesu Xpe ! call thy
sheep from all lands, now wandering, some in the Romish
church, and some among the Indians, Muscovites, and
Greeks, separated from each other by the pretensions of
popes. Oh God ! make thy poor people free, now bound

Report of Luther's Death. 155
by commandments and laws causing them to sin against
conscience. O God ! never were men so cruelly put
down under human laws as under those of the Roman
chair, men who were saved by thy precious blood, and
made free Christians. O Father, highest in heaven ! pour
into our hearts, through thy Son Ihm XSM., the light
that will guide us and show us the true leader, that we
may leave the false guides with a clear conscience, and
serve thee with the joy of our hearts.
' And so this man, who has written more clearly than
any other for 1 40 years, to whom Thou hast given a spirit
so evangelic, being gone, raise us up another who will be
able to gather all the world into the faith, and bring
Turks, Pagans, Indians, within the Christian fold. But
Lord, Thou, whose Son Ihs XS died by the priests, was
raised and ascended into heaven, hast willed that his
follower Martin Luther may be killed treacherously
through the pope's hirelings : raise again the spirit of this
apostle. As Jerusalem was destroyed of old, so destroy
with thy power the chair of Rome. Give us a new Jeru
salem, adorned with the splendours as written in the Apo
calypse, a new evangel cleared of human commentaries !
' Every one sees how clear the doctrine in Luther's
books is announced, and how it conforms to the holy
evangel. We must preserve them from being burned ;
rather let us throw into the fire the books that have been

i $6 Life and Works qf Albert Durer.
written to oppose them, with their falsehoods and preten
sions changing men into gods ! If Luther is dead, who
will explain to us the evangel with the same clearness ?
How much might he not have still written in ten or
twenty years ! All you pious Christians, deplore with me
the loss of this man, and pray the Lord that he will send
another guide. O Erasmus, of Rotterdam, where wilt
thou remain ? * Wilt thou see the injustice and blind
tyranny of the powers now ruling ? Hear me, knight of
Christ ! ride by the side of our Lord XS ; old as thou art
and but a feeble creature (mdnniken), thou too mayst win the
martyr's crown. I heard thee say that thou wilt only give
thyself two years for work; employ them well for the
love of the evangel and the true faith. Make thy voice
heard : the Roman chair, even the gates of hell, will
not prevail against thee ; and if thou reachest thy journey's
end in the same manner as thy master Christ, with pain
and ignominy, if thy days are a little shortened, through
death life will come, and through Christ thou wilt be
glorified.f Drinking of his cup, thou wilt reign and judge
with him. O Erasmus ! may God, thy judge, be glorified
in thee. As of David it is written, so do thou : Slay
* In Basle ; there to live as comfortably as his feeble health would
allow, not for two years only but for fifteen, long after Durer himself was
in the grave, writing in opposition to all the leaders of the movement.
t Durer here uses a peculiar word, ' durch Christum clarificirt.' His
use of the initial letters for the name of Christ, I have retained.

Prayer for Religious Freedom. 157
Goliath. For the Lord will be with thee in the Christian
church. May the Divine will help us to the beatitudes
at last. Glory to the Father, Son, and Holy Ghost, one
God ! Amen.
' O ye Christians ! pray to God for help, for his judg
ment approaches, and his justice will be shown. Then
shall we see of whom the blood of the Innocents will be
required, whether of popes, priests, or monks, and that
they will be tried and condemned. " These, under the
altar, are the saints who were slain ; they cry for ven
geance. To whom a voice from heaven answered, Labour
still, until the number of the martyrs is made up ; then
shall I judge!"'

138 Life and Works of Albert Durer.

Chapter X.
END OF THE. JOURNAL.— RETURN TO NURNBERG.
FTER this burst of enthusiasm and indignation,
now, as we know, without cause, as far as
Luther's well-being was concerned, the ' Journal '
returns to its bald entries of daily doings. It is very
interesting to see the interpretation of Luther's dis
appearance, indicating, as it does, the suspicion that the
priestly party would stop at nothing. Instead, however,
of danger to the Reformer, his disappearance was his
safety, the Elector Frederick having carried him to the
castle of Wurtburg. Albert's strong bias may have been
loudly expressed by word of mouth, as well as entered in
his book, for the Lady Marguerite shows him no more
favour, as we shall see.
Continuation of ' Journal.' ' Master Gerhard, the illumi
nator, has a daughter of eighteen years, named Susanna,
who has ilkiminated a small plate for which I have given
her a florin.* She is a wonderful child to be able to do
* This is Gerard Horebout, or Hurembout, who became painter to our
Henry VIII., and this daughter Susanna flourished at court, and was much
esteemed. Her brother Lucas also followed the same art.

Services ill-paid. 159

the work so perfectly. I lose six stivers at play. On the
day of the Holy Trinity, I witness the splendid pro
cession. ' Master Conrad sends me a gift of a beautiful razor.
I present his old serving man with a "Life of the Virgin."
John, the goldsmith of Brussels, has given me three florins
of Philippe for two portraits in charcoal and a design for a
seal. I have exchanged with him the " Veronica " I painted
on cloth, and the " Adam and Eve " done by Franz, for a
jacinth and an agate, on which is engraved a " Lucretia,"
valued by every one at fourteen florins ; and for a ring and
six small precious stones I have given him all my printed
works ; we reckon the value at seven florins.*
Item : I pay fourteen stivers for two pairs of shoes :
I have made three designs and two oil studies on three
half-sheets, and three portraits with black and white on
grey papers. Also in this way, with white and black, three
portraits of Flemish costumes. Also the coat of arms of
an Englishman in colours, who sent me a florin. Here
and there I have done a great many things to serve people I
have met, but for the greater part my works have brought
me nothing.
' Here was another immense procession on Easter eve.
* The literal meaning is not very clear, but we may understand that
both parties consider the value of their articles so much : seven florins of
gold, therefore, was Durer's price for such a set of his engravings. He
afterwards values the set he presents to Lucas of Leyden at eight florins.

160 Life and Works of Albert Durer.
Six stivers to the doctor and one for a box. I dine five
times with Tommaso. To the apothecary ten stivers and
also fourteen : to apothecary also fifteen for recipes. To
the doctor six stivers ; to the apothecary ten ; and eight to
a monk who came to see my wife.
' For a whole piece of satin of Arras I have given eight
florins, and also eight for fourteen yards of fine Arras.
To the apothecary, for the doctor, I gave thirty -two
stivers. '1521, this Wednesday, after Corpus Christi, I get
Antony Mez von Schlauderdorff to take my great pack
ages for transport to Nurnberg : half a florin per quintal.
I have paid him a gulden. Herr Hans Imhoff will
answer for me. (I have done the portrait of young
Rehlinger in charcoal.)
' The eighth day after Corpus Christi I go to Malines
with my family, to see Dame Marguerite. We stop at
the Golden Head, with Master Heinrich the painter.*
Before I had got settled, the painters and sculptors invited
me to their hall, and did me much honour. I was after
wards taken to the house of Popenreuther, the founder of
artillery, where I saw many things worthy of admiration.
' I have been to see the Lady Marguerite, and took the
portrait of the Kaiser, which I intended to present to her,
* Supposed to be Heinrich van Bles, or Henri a la Houppe. He had
a peculiarity of introducing an owl in some obscure corner of his pictures.

Durer meets Lucas of Leyden. 161
but she took such a displeasure therein, I withdrew it.
On Friday after, she showed me all her beautiful things in
art. Among these were forty small pictures in oil, pure
and good; I never have seen finer miniatures. Also other
good things by Johannes,* and by Jacob Walsh. f I
asked my Lady to give me Master Jacob's book, \ but she
said she had promised it to his successor. § I saw many
other costly things, and a rich library.
' Master Popenreuter invited me to dine with him, and 1
had Conrad twice to dine with me and his wife once. I
do his portrait, and that of Stephan Kemmerling, and the
same day leave Mechlin for Antwerp again ; my baggage
having gone first. I have dined twice with the Augustines.
I have also done Master Jacob's face in charcoal, from
which I make a little picture and present it to him. Also
Bernard Stecher and his wife, and I give him all my
engraved works ; indeed this is the second time I have
drawn her ; he gives me ten florins.
' Master Lucas has invited me to eat with him. He is
* John van Eyck.
\ Jacob Walsh, called also Jacopo de' Barbarj, having lived a great part
of his life in Venice, although a native of Nurnberg. His pictures are
now little known, but his engravings are of astonishing beauty. They were
jndeed unrivalled in technical qualities at that period.
X Presumably a book of sketches left in her hands by her deceased
painter. § Bertrand von Orley. M

i6~2 Life and Works of Albert Durer.
the engraver on copper, a little man, here at Antwerp for
pleasure, having come from his own town Leyden in
Holland. ' I have portrayed Master Lucas of Leyden with the
point. Lose a florin at play. Given the doctor six
stivers twice. I have sent the abbot of the Augustine
cloister a " Life of the "Virgin." For fourteen fish skins I
pay two florins Philippe. I do portraits of Arst Braun
and his wife in black chalk.
' I have given works to the value of a florin to the gold
smith who valued my rings, the three rings for which I
exchanged copies of my works. The two of least worth are
valued at fifteen crowns, and that with the sapphire at
twenty-five, which makes fifty-four florins eight stivers.
Besides other things, the Frenchman had thirty-six great
books at nine florins. I find he has given me too little
value by half. I am a fool at a bargain.*
' I pay eighteen stivers for a red barette for my godchild.
Lose twelve at play. Buy three lovely (small) rubies
for eleven guldens twelve stivers. Dine with the Augus-
tines, and twice with Tommaso. Pay six stivers for
thirteen wild sea-swine brushes, and three for six others.
I do Arst Braun and his housewife in black chalk on two

* Literally ' I have no intellect ' (Ich habs nit verstanderi). It is clear
his old acquaintance with the jeweller's art must have been quite forgotten.

Gifts and Exchanges. 163
sheets, and these I have afterwards done with the point ; he
paid me an angel. I pay a florin for a pair of gravers
and twenty-one stivers for a dozen ladies' gloves.
' Anthony Haunolt gives me three Philippes for his
portrait, and Bernard Stecher has presented me with a little
book bound in tortoise-shell. I do the portrait of his
sister-in-law's daughter, and dine with the husband ; he
gives me two Philippes. To master Joachim I give the
things by Griinhausen.* To mine host Jobst's wife I
give four wood engravings, and two great books to his
man Frederick, and two to the son of Honigen the glass-
painter. Roderigo sends me a gift of a parroquet from
Malaga. ' To Master Ast, the glass-painter, I give a " Life of the
Virgin," and to Master John, the French sculptor, my
whole printed works, he having presented my wife with
six precious glass flaskets filled with rose-water. Corne
lius the secretary has given me Luther's " Captivity of
Babylon," for which I return him my three great books,
and give the monk, Peter Puz, engravings worth a florin.
' Lucas of Leyden and I exchange our entire printed
works ; I value mine at eight florins.
' Item : A purse, nine stivers ; a half dozen Netherland
cards, seven ; a little yellow post horn, three ; coarse cloths,
* Hans Baldung Griin, the painter, better known by the remarkable
wood engravings from his designs.
m 2

164 Life and Works of Albert Durer.
twelve and five stivers ; for cord, seven ; placards, three.
Roderigo has presented me with six yards black cloth for a
cap, worth a crown a yard.
' I have reckoned with Jobst, and have paid him thirty-
one florins, counting in the two portraits I did in oil,
closing my bill to him on SS. Peter and Paul's day.
He has given me by way of compliment five Netherland
pounds of borax.
' I may say here that, in all my affairs, expenditure,
trading, and so on, with great or little people, I have let
others have the advantage, especially the Lady Marguerite,
who has given me nothing for my works, presented to, or
executed for, her.*
' I arrange for our transport to Cologne for thirteen light
guldens and twenty-four light stivers, the driver and boy
to be provisioned by me ; Jacob Relinger pays me a
ducat for his portrait in chalk ; Gerhard sends me two
small barrels of capers and olives ; and I have exchanged
* This sentence is printed by Campe in a more conspicuous type than
the rest of the 'Journal ;' also the sentence below, recording ImhofFs loan.
Whether this is done for any reason found in the MS. we know not.
Various small items of purchases, &c, are here omitted in our translation.
This act of borrowing has been much dwelt upon by all previous writers
on Durer as showing his poverty ; also his doing the portraits of his host
and hostess. Nothing can be more gratuitous, or even absurd. He gives
his bond for the money, and indeed within the next week or two gains by
his painting nearly half of this large sum. With regard to Jobst Plankfelt,
at that time the host was a man of great importance, and associated with
his guests on an equality.

The King of Denmark. 165
with Jacob, the son-in-law of Tommaso, my portrait of the
Kaiser for English white cloth.
'Eve of the Feast of the Virgin, 1521. Alex. Imhoff
lends me 100 florins. I give him my seal and signature
with promise to pay with thanks on the same being presented
to me at Nurnberg. I pay the apothecary eleven stivers,
and give some gifts ; to Tommaso's cook a Philippe (with
him I have dined many times lately) ; to the little jungfrau
his daughter a golden florin ; to my host Jobst's wife a
florin, one also to his cooks, and some stivers to others.
And now, as I prepare to leave Antwerp on the day of the
Visitation, the King of Denmark * sends for me in haste,
to ask me to sketch his portrait. This I did in charcoal,
and also that of his chamberlain Antonio. He made me
eat with him, and was very frank and gracious.
' That done, I give over my baggage to Leonard Tucher,
including the white cloth, but I have not agreed with the
voiture, as I thought I had. Gerhard, too, gives me more
Italian works. I had already given the Vicarius charge of
certain curiosities, and we leave for Brussels on the same
day with the King of Denmark, to whom I offer some of
my best engravings worth five florins : our voiture costs
two. It is curious to see how the Antwerpers wonder at
the great manly beauty of the King, and at his traversing
* Christian II., king of Denmark, Sweden, and Norway, a remarkable
man, who was called by some the ' Nero of the North.'

1 66 Life and Works qf Albert Durer.
without fear his enemy's country. I witnessed his arrival
at Brussels, where he was received with great pomp ; and I
went to the splendid and costly banquet given him by the
Kaiser and Lady Marguerite next day. Item: for my
gloves two stivers.
' Master Antonio pays me twelve florins ; I give two to
the painter who prepares the panel and colours for the
portrait. The King of Denmark gives a grand banquet
to the Emperor, Lady Marguerite, and the Queen of Spain.
He invites me, and I go. Item : I give twelve stivers to
the King's provider, and to the King himself I exhibited
his portrait finished in oil, for which he presented me with
thirty florins.
' At Brussels I remain eight days and pay twenty-two
stivers for my lodging, making a number of gifts of my
works to those who serve me, particularly to Bartholomew,
the master-painter's apprentice, who prepared my colours.
Also Polonius (Tommaso Vincidore before mentioned)
gave me some more Italian works. With Nicholas Zigler
I dine. ' After a detention of two days for want of a conveyance,
I arrange to pay ten florins for a voiture, and quit
Brussels early on Friday morning, paying my hostess five
stivers for the lodging overnight. After traversing two
little towns we reach Louvain, where we refresh ourselves
for thirteen stivers. We arrive at Tirlemont in the

End qf the Journal. \6y
evening, where we sleep. Early next morning we leave :
passing two villages we reach S. Trond, where is a very
well built tower : we then gain Tongres, where we break
fast. After passing some very poor villages we arrive at
Maastricht, where we sleep. I spend twelve stivers, and
give two white-pennies to the watch.
' Sunday morning early we are at Aix, where we eat very
well for fourteen stivers. From thence in six hours to p-et
to Altenburg, where we must stay, as the driver had lost
his way several times. Monday we pass through Juliers,
and go on to Bercham, where we refresh ourselves.
From this place we go to Cologne.'
End of the Journal.

1 68 Life and Works of Albert Durer.

Chapter XI.

DURERS PUPILS: THE LITTLE MASTERS.— DURER'S LATEST
MANNER IN PAINTING.

EFORE the ' Journal ' now ended was known to
exist, Durer's journey and motive in taking it
were described in the wildest manner. Sandrart
and Arend, another old Nurnberg writer on Durer, ven
ture to affirm he left home to escape domestic broils and
the tyranny of Agnes. And this fable, even now that the
production of the ' Journal ' shows he took Agnes with him
and her maid Susanna too, has been reluctantly resigned.
Another fable, hitherto tenaciously reiterated, is the poverty
of Durer. The latest writer, Dr. Waagen, in his 'Histoire
de la Peinture en Allemagnej' 1863, perpetuates this folly
in print. ' Afin d'introduire un peu d'aisance dans son
interieur, monte cependant sur un pied bien modeste,' (!)
he says, ' pour y vendre ses gravures, qui etaient reelle-
ment son gagne-pain,' &c, so difficult it is to dispossess
a weak understanding of a pre-established idea.
We must suppose the house at the Thiergartner gate

VIEW PROM DURER'S HOUSE.

Agnes' Want of Influence. i6g
all the time of Durer's absence inhabited, possibly by
his brother and by - his assistant Hans Springinklee, .who
certainly spent many years in Durer's . service .and hbuse.-
hold. The return of Durer with, his female belongings,
parroquets in cages, small tortoises, and all the sumptuous
and curious gatherings he and his wife had made; must
have been an event in Nurnberg. His Oriental objects:,
Calcutta specimens, natural history curiosities, "never
before seen there, would supply amusement for some" time
to come.
Whatever may have been the influence of Agnes, there
is no evidence of any power exercised by her in restraining
Albert's habits of collecting. And there Was ample reason,
one Would say: the odds and ends, large objects and small}
involving outlays amounting altogether to a large sum
purchased • by him either to keep or to give away, are no
less amusing than unaccountable. Sell his prints he
certainly does, and get money by painting, but his gifts
are continuous, and his -purchases. without end. We are
not surprised his money came to an end. When he does
paint or design portraits, the etiquette seems to have .been
to leave the honorarium to the employer, a very bad plan
certainly, and likely to bring a noble nature and modest
man to grief. He had, however, a resource: few other
painters ever had, a long list of • much coveted en4
gravings.

170 Life and Works of Albert Durer.
But he had attained his object and he returned home
with the continuance of his appointment of painter to
the Kaiser. We must remember that the importance of
patronage was then tremendous, and continued so for
many generations. On every one of Lucas Cranach's designs
we see the arms of Saxony, as if art were an impertinence
without the heraldry of the patron ; and there is no doubt
that the complaint of Albert on his return from Venice in
1506, that there he was a gentleman, but in Nurnberg
nobody, expresses very much the different conditions of
the painter north and south of the Alps. Even very lately
in England we know what the life of a poet without
fortune was : the position of the painter must have been
even worse. At this very time was living in Nurnberg
an artist who has left remarkable works, Ludwig Krug, or
as he is now more correctly called, Lucas Kornelisz. His
mark is a little jug (Krug) and his initials L. K., one letter
on either side. Why he chose this sign and got this name,
it is difficult to say ; perhaps he was not favourable to
abstinence from Bavarian beer. But this artist (who ex
pressed himself by the new art of engraving, designing
and executing his own works ably, and in one print, that
of the 'Adoration of the Shepherds,' dated 1516, correctly
expressed for the first time in German art the light
issuing from the babe in the manger) was called 'The
Cook,' because he was so poor that he had to fall back

Importance qf a Patron. iyi
upon that trade, and hire himself out for marriage and
other festivals ! * One man wore the gold chain of his
native city like Lucas Cranach, another hired himself out
as a cook ; and the difference might lie, not in the men
but in their patrons, the one being the servant of the
Elector, the other of the public.
The appointment of court painter did not lead to any
employment. It may be that Charles V. never came
within the range of Durer during the remaining years of
the life of the artist. At Durer's death he was still a
very young man, but he had been painted in Venice, in
Spain, and elsewhere ; and there is an anecdote of his
sitting to Christopher Amberger of Augsburg in 1532,
whom he presented, on the completion of the portrait, with
a gold chain and thirty-six rix dollars, more than double .
the price asked, remarking that he thought the picture as
good as that he had paid Titian 100 for.f
Back in Nurnberg Durer draws towards his end. He is
now becoming rich, and finds a difficulty in placing out his
money safely at interest. The illness we have seen alarm
him in the Netherlands, and for which he was constantly
consulting doctors and paying them no exorbitant fees,
* Van Mander with notes by Jac. dejongh. Edition, 1764. T. I. 102.
t Another peculiarly characteristic anecdote of Charles V. relates that,
a heavy shower coming on one day he had on a new velvet cap, he took
it off, and put it in his pocket, saying, ' the rain might spoil the velvet, but
would do his head no harm ! '

173 Life and Works of Albert Durer.
never left him. At least so it has been said : he had not
the same energy as before these two years of absence from
home. His sympathy with Luther and the new doctrine
might cut him off from the Lady Marguerite and the
court, but as he had actually received his appointment, he
might not feel this at home in Nurnberg. But this mys
terious illness was a more serious thing, and the illustrious
citizens, Spengler, Pirkheimer, the Baumgartners, who
would gather about him, would have the mortification of
seeing the fatal mark upon him. Not that we can ascertain
any decrease of application, nor in his powers ; although
a considerable change in their direction. Not so many
engravings follow this time, but his noblest and most ac
complished paintings, his study of Proportion, Geometry,
and Fortification, with the three literary labours on these
subjects remaining to us ; also his carvings and his
architectural works, if it is true that the Round Towers,
still defending the walls of Nurnberg, are indeed his.*
Springinklee has been mentioned as Durer's assistant.
He was an artist of moderate abilities, and though associ
ated with Burgkmair in ' Der Weiss Kunig ' and in some
other publications coming before the public on his own feet,
he is understood to have been principally occupied in super-
* This Nurnberg tradition seems to be discredited by one of Durer's
own prints. In the ' Virgin by the Wall ' one of these towers appears in
the background as a feature in the landscape, and the print is dated 15 14..

Pupils of Durer. i y^
intending Durer's works. That he continued to do so after.
the master's death there is also reason to suppose, Madame
Durer no doubt requiring aid in winding up his affairs
and making money of his stock of prints. Sandrart says
that Jan van Culmbach also worked for Durer. He is
supposed to have been a disciple of Jacob Walsh, and, in
Bartsch's opinion, was Durer's senior. It is possible that,
after the death of Walsh, he may have assisted Durer,
though it is difficult to say in what capacity, as the touch
and manner of Durer, so distinct and well known, assure us
that no hand but his own was employed on his copper
plates. The mention of these men suggests that some notice
should be taken of the pupils of Durer. But here we
encounter the greatest difficulty, in determining which of
the group of skilful engravers and inventive artists then
rising in Nurnberg were actually his pupils studying in his
atelier, and which were only inspired by his presence and
works. I am inclined to think they must all have been
more or less in personal contact with him, and that they
must have associated together when young men, emu
lating each other, and doing their earlier works in the light
of friendship.
In Leyden we find no such school spring up round Lucas,
who was, as a skilful manipulator, second only to Durer ;
nor do we find Jacob Walsh had any following whatever.

174 Life and Works of Albert Durer.
Lucas, however, was after Durer : the impression was made
and the way shown by the Nurnberg master in the repre
sentation of textures and variety of surface, and also in the
fulness of effect, the light and shadow exemplified in the
'Adam and Eve' and 'Knight and Death.' These
qualities had not been attempted to any extent by Schon
gauer, and, as for Marc' Antonio and all the Italian school,
form and roundness were only valued. These secondary
beauties essential to romantic, and now to all modern art,
were peculiarly studied in the school of Nurnberg.
The term 'Little Masters' is, correctly speaking, limited
to the Nurnberg set, and comprises only these seven : —

A. Altdorfer .
H. Aldegrever
Bartel Beham .
H. Sebald Beham
George Pensz i
Jacob Bink
Hans Brosamer

Born.

Died.

1488

1540

1502

1 555-65

1504

1540

1500

1550

1500

1555

All of them born in Nurnberg, or repairing thither
to pursue their art for a time, then leaving for various
countries. I think it is not too much to suppose the
presence of the Master the reason for this extraordinary
gathering of talent. We see the subjects treated have a
common character, and in many instances are traceable to
the Durer influence, although that of Burgkmair also is

Little Masters. iyg

w

* "*

apparent. The last on the list, Hans Brosame^-wjts 'S^pO
native of Fulda, and possibly died there; while Altdorferss^Jj.. ^
is understood to have derived his name from his'n^iv^ \\ \»*y^
place Altdorf, on the S. Gothard route. Aldegrever was""
a Westphalian, and of him we may say with certainty that
he was Durer's pupil. The works of this artist are such
as show him to have been a man of quite extraordinary
powers, not a ' Little ' but a ' great master,' realising Bible
histories like a poet. How curious is the contrast between
the German treatment, wherein the characters of the Old
and New Testaments are treated in the garb and according
to the manners of the day in Nurnberg, and the Italian,
where the semi-classic loose drapery and generalised ideal
separates the characters represented from our sympathy !
In some of Aldegrever's series of designs, as in that illus
trating the story of Amnon and Tamar in the Book of
Kings, he has given the figures a preposterous altitude,
which suggests an application of Durer's scale of Propor
tion in some of the diagrams in his book. Aldegrever's
' Marriage Groups ' also exhibit this absurd length of
figure, and as these are exceptional in the practice of the
artist, I think we may fairly conclude his respect for his
former teacher had made him adopt the idea. Altdorfer
is also said to have been in Durer's studio, but his style is
not so closely resembling Durer's as to support this
supposition ; and he has been said to have been the pupil

176 Life and Works of Albert Durer.
of old Holbein. The woodcuts done by Altdorfer have a
style so peculiar and distinct from any other engravings
on wood, that they have suggested the likelihood of his hav
ing cut them with his own hand, an exception to the rule.
Next in invention and power of hand to Henry Alde-
grever is H. Sebald Beham, who is said to have learned
engraving from Bartel, who was however his junior ; and also
to have studied under Durer. Certainly Sebald's manner
is more resembling Durer's than that of any other of these
little masters, even Aldegrever. George Pensz was, by all
accounts, a pupil of Durer, and on leaving Nurnberg re
paired to Italy, attracted by the celebrity of Raphael and
Marc' Antonio. There can be no doubt that he assisted in
engraving some of the finest works attributed to the hand
of Marc' Antonio. Passavant considers the ' Massacre
of the Innocents' (the plate with the chicot) to be the
work of Pensz. The early death of Raphael must have
broken up the school of engraving in Rome ; Pensz, how
ever, did the large plate of the attack on the Goletta after
Julio Romano, and other works on his own account.
Bartel Beham and Jacob Bink both followed the same
attraction. What came of Bartel is now quite uncertain,
but Bink returned to Germany and resided at Cologne,
showing a decided Italian influence in his drawing and
design, leading the way to that furor for Roman art and
Michael Angelo's manner which Goltzius, himself so skilful
in design, carried into fantastic mannerism.

Italian Engravers not Inventors. lyy
All these men differed from Marc' Antonio and his
Italian companions in an essential particular. The Italians
were exclusively copyists, the Germans were inventors, and
so artists in a much higher sense. No one of the great
early period of engraving in Germany could have been
much assisted, because they all worked out their ideas, as
a painter does. It is true Marc' Antonio was very great
in drawing, and his prints have the singular interest of
preserving to us sketches and inventions by Raphael ; but
otherwise he is undistinguishable from his assistants, and
doubtless availed himself of hired aid from various hands
without much detriment to the quality of his work. His
prints have little charm of texture, or of curious manipu
lation. What Raphael required was not executive delicacy
(Marc' Antonio's works done entirely by himself had this
to a singular degree, but they soon degenerated into a
coarser and stronger manner) but perfect drawing, and
this he would try to ensure by supervision.
To return to Durer. There is a letter to the Council
written at this time, a year or two before his death, which
ought to be here inserted. It is addressed to the
' Honourable, wise, and gracious gentlemen,'
' By my works and with the help of God, during these
past years, I have acquired the sum of iooo florins of the
Rhine, which I wish to place at interest. As I know that

178 Life and Works of Albert Durer.
you have not the custom of paying very high interest, and
that you have refused to give one florin in twenty, I have
hesitated to ask your services in my affairs. However, I
have come to the resolution to do so, seeing you have
always treated me with particular favour in all circum
stances. ' Your worships know well that I have devoted myself
to the services of the Council, in all affairs, public and
particular, in which I could be useful. In our city, in
matters of my own Art, I have worked more frequently
for nothing than for money. During thirty years I have
lived in the place I can say, with truth, the works with
which I have been charged have not amounted to 500 ¦
guldens, an inconsiderable sum, of which I have really not
received above a fifth part.
' I have gained my fortune, or, I may say, my poverty,
with great application, God knows, among princes, lords,
and other personages out of Nurnberg. I live in Nurn
berg, indeed, as if a stranger. Your worships also
remember that the Kaiser Max (Maxili) of glorious
memory, made me exempt from the city dues of his own
thought, in gratitude for my loyal services rendered to
him, but that I waved the privilege, following the advice
of some of the elders of your council. I did so to
preserve your goodwill, and in the honour of my masters
your worships.

Durer's Offers from Venice and Antwerp. 179
' Nineteen years ago the Doge of Venice wrote to me
offering me 200 ducats a year, if I would live in that city.
More lately, the Council of Antwerp, while I remained in
the Low Countries, also made me an offer : 300 florins of
Philippe a year and a fair mansion to live in. In the one
city as in the other, anything I did was paid at once.
' I refused these offers out of love and inclination for my
country, for our city, and for your worships. I have pre
ferred to live very simply here, to riches and power abroad.
' I pray you then take all these things into considera
tion, and accept my 1000 florins, which I shall be better
pleased to place in your hands than elsewhere ; and give
me as a favour fifty florins of interest annually, for myself
and my wife, both of us being day by day feebler and
infirm. ' I shall recognise in your doing so, the regard your
wisdoms bear to me, and shall continue to try to merit it.
' Your worships' very devoted fellow-burgher,
' Albrecht Durer.'
The offer made by the Doge of Venice, no doubt on
account of his mastery in the new art of engraving, must
have been made when his fortunes were at their lowest in
1506 ; the more liberal offer of Antwerp, of 300 florins
and a fair house, a noble income indeed at that time, in
1 5 2 1 during his stay there. These were unable to tempt

180 Life and Works qf Albert Durer.

him ; we may therefore reasonably conclude his prospects
in the one case and his actual income in the other must
have been good. There is no reason to suppose that
Durer, at any time after his return from Venice, was other
than prosperous. Writing to Heller of Frankfort, for
whom he painted an Ascension of the Virgin in 1509,
he says, ' I mean now to fall back upon my engravings ;
had I done so sooner I should have been richer at this
moment some 1000 florins.' He did so, and in a few
years possessed a fund in the annual increasing sale of his
printed works.
The engravings we can certainly attribute to this his
latest period are principally portraits. Erasmus, Melanch
thon, Albert of Maintz, Frederick of Saxony, Pirkheimer,
and also some of the figures of Apostles. But the earnest
ness in matters of religion seems to have now grown upon
him, as the struggle of the Reformation increased.
From his earliest day, when he copied from Martin
Schon the 'Holy Family with the Butterfly,' he had devoted
his art to the service of the B. Virgin Mary. Every year
or so he produced a new ' Marienbildt,' till we find
fourteen groups of the 'Virgin and Child' among his finest
copper engravings, and thirteen among his woodcuts,
(doubtful, however, some of these last,) besides the noble
series of the ' Life of the Virgin' from the apocryphal gos
pels. Now there was a change ; she was no more the ludi-

Pictures of Apostles. 1 8 i
crous heathenism, ' the Mother of God,' but the Christian
idea, the Mother of the Body of Christ. We find him
doing no more Marienbilds, but Apostles. It is to be re
gretted he did not finish the series of the Twelve in engra
ving ; his finest painted works were the two Apostles'
pictures now done.
Nurnberg was becoming frightfully heretical ; Lazarus
Spengler, Durer's friend, ' the satirical clerk,' was excom
municated by special bull, and we do not hear with any
bad result ; even Pirkheimer was carried away for a time.
Melanchthon came to reside in Nurnberg. The favour of
Charles V., as has been said, never came to Durer ; it may
have been that Nurnberg itself and all its belongings did
not please the semi-Spanish youth, or it may have been
simply by the accident of his residing elsewhere. But it
did not matter happily to the mast'er now. He began to
paint in a nobler and larger manner, and could afford to
present his works to the Rathhaus. The two large panels,
representing SS. Peter and John, and SS. Mark and
Paul, the size of life, were painted in 1526,* this date
appearing on them. They are grave and powerful,
worthy of the culmination of our German hero ; among
the grandest Apostles ever painted.
On bequeathing these to the city of Nurnberg, he
* The sketches of these Apostles at Vienna, which closely resemble the
pictures, are dated 1523.

183 Life and Works of Albert Durer.
affixed an inscription containing a warning to all Christian
kings and rulers, not to add to or take from the blessed
Word, nor yet to mistake for God's decrees man's wisdom.
That his inspection of the painters of the Netherlands
influenced him in this change, perceivable in the breadth
and strength of these pictures, there can be no doubt.
Kugler says, the Virgin in the Belvedere in Vienna, a half
figure in a furred mantle, the naked Child having a string
of amber beads round its neck, bears a striking resem
blance to the art of the Low Countries. It is dated 1520,
and he thinks may have been done during his journey.
These two large pictures of Apostles were preserved long
in the Rathhaus, but were carried away at last, and may
now be seen in Munich.
The oil painting of the ' Triumphal Car ' of Kaiser
Max, on the wall of the large room in the Rathhaus, the
same as the engraved design, is now but faintly seen
along the wall. It is conjectured this was not from his own
hand, but by his pupils, and yet it may be part of the
work referred to in the letter already given, or that which
follows, on the presentation of his large picture of Adam
and Eve. ' Gracious and wise gentlemen, well-beloved,
' I have long wished to bring my unworthy picture before
your worshipful remembrance, and have been delayed by

Picture of Adam and Eve. 183
many little labours necessary to be attended to. Still I may
say that I have not allowed the same to stand quite still.
' But in a former time I painted a picture upon which
I bestowed extraordinary pains, and I believe I have no
worthier. I therefore send you the same, laying it before
your worships, and begging, with humble earnestness, you
will graciously accept it as a gift, seeing I have always
found you to be my loving friends. I shall continue with
all humbleness to serve you diligently.
' I am humbly your worships'
' Albrecht Durer,'
This picture the ungrateful Council, at a subsequent
time, gave the Emperor, then forming his gallery at
Prague, whence it was at a later time carried to Vienna,
but again returned to Prague, where it remains. On
giving away the gift of their most illustrious townsman,
those pigheaded ' worships ' thought a copy would do for
them, and this bad copy was carried to Paris as a treasure
in 1796 by the victorious French ! The savants soon
saw, however, that they had got hold of the wrong thing,
and it was never hung in the Louvre, but sent to the
Departmental Museum, Mayence, where it remains.
' At this time Durer and Melanchthon were on intimate
terms, and it is interesting to find the change we have
indicated in Durer's painting recorded by that illustrious

184 Life and Works of Albert Durer.
man in one of his letters.* ' I remember,' he says, ' that
Albert Durer the painter, a man excelling in talent as in
virtue, used to say, that when a youth he liked bright and
varied composition, and that he could not choose but re
joice in his own works when he saw them again. But
that, after he attained to mature years, and could see
better, and more truly understood the significance of the
face of nature, he knew that simplicity was the greatest
glory of art. However, as he could not altogether attain
to that simplicity, he said he no longer admired his own
works as he formerly did, but rather groaned and
lamented over his early pictures, thinking of his own
weakness.1 The strange and unaccountable circumstance in this
change is, that it did not take place in his early prime,
on his visit to Venice, when he saw the works of the old
Gian Bellini and the young Titian and Giorgione, but in
his advanced years, on seeing the art of Belgium !
* Epistolae Ph. Melanchthonis, ep. xiii. p. 42.

Mechanics and Controversial Religion. 185

Chapter XII.
DURER'S SCIENTIFIC TREATISES.— HIS DEATH, 1528.

HE poetic inventions of Durer belonged to his
middle life ; his later years were troubled by the
study of mechanical sciences, and by the agi-
tations of controversial religion. It was the spirit of the
time and locality. Luther, who was twelve years younger
than Durer, had a present of a clock sent him by an abbe
of Nurnberg, a clock of the newest invention (perhaps
one of the ' Nurnberg Eggs ' of Peter Henleim), and the
lion-hearted disputant, who had never seen the like, enter
tained for a time a vivid idea of earning his bread by
clockmaking. This was in 1527. Nurnberg was one of
the twenty-nine imperial free towns represented at Augs
burg, and subscribing the famous ' Confession,' and the
Diet afterwards held at Worms was first proposed for
Nurnberg, but in consequence of an epidemic prevailing
there the place of meeting was changed. This was
during Albert's visit to the Low Countries, and of course
just before his penning the eloquent address to Erasmus in

1 86 Life and Works of Albert Durer.
his 'Journal.' 'Ego peperi ovum, Lutherus exclusit.'
' Ego posui ovum, gallinaceum Lutherus exclusit pullum
longe dissimillimum.'* 'I laid the egg that Luther
hatched into a very different kind of bird ! ' says Erasmus.
It is clear that the philosopher, in his conversation with
Durer, must have impressed him as a reformer worthy of
succeeding the stronger and less scrupulous Luther.
There remains to say a few words of his scientific
treatises before we close. The first of these was the
Geometry in four books or parts, and this was published
in small folio in Nurnberg in 1525. It was written in
German, and is mainly ' Directions for measuring by circle
and right line, superficial or solid bodies.' On the front
was printed an address, ' To my dearly beloved master and
friend, Wilibolden Pirckheymer.'
It will not be necessary in speaking of this, or of the
treatises that followed, to enter into any lengthy de
scription or analysis. Like the shorter and less systematic
writings of Leonardo da Vinci, they are superseded by
other works, and these again by later. The Geometry
has little to do with Euclid and exact theorems, but busies
itself in geometric applications by instruments to practical
purposes of trades and mysteries. The volute, the
winding stair, even the constructing of Roman letters by
rule, is elaborately described. The last book is occupied
* Epistolae, lib. xx. ep. 24.

Durer's 'Perspective.' 187
by perspective, Durer being much given to elucidation by
means of mechanical contrivances. Among his models
still existing, and lately sold as part of the valuable
collection of M. Posonyi of Vienna, now belonging to
M. Hulot of Paris, are, a small lay-figure then un
common,* and a gun carriage (ponton) made of wood
garnished with iron, curiously well done and exhibiting
improvements advocated by Durer. Accordingly Per
spective is taught in the treatise by means of a contri
vance. A frame occupied by glass, in front of which is a
fixed point of sight, stands opposite the object to be drawn.
The observer, placing his eye at the fixed point of sight,
delineates the object on the glass as he sees it. In the
first and best edition are four designs showing this ope
ration ; in one a woman is the model, in another a vase,
in a third a man sitting, and in the fourth a lute. The
foreshortened picture of this last is seen on the opened
glass. The first engravings of these prints are dated
1525. Editions of this book are numerous : it was quickly
translated into Latin, and published in Paris by C. Wechel
(Lutetiae, apud Christianum Wechelum) in 1532. Re
printed there in 1535. The second German edition was
printed in Nurnberg (durch Hieronymum Formschneyder),
* Mr. Posonyi describes this in his catalogue as being a remarkable like
ness in the face to Madame Durer!

188 Life and Works qf Albert Durer.
1533. Then again at Arnheim, bei Johan Janssen, 1603 ;
and again at Arnheim in Latin, 1605.
The second treatise Durer published was on Fortifica
tion. ' Some Statements how to Fortify Town, Castle, or
other Place,' published at ' Nurnberg, from the birth of
Christ 1527, in the month of October.' This is a short
essay, well illustrated in the first edition with the picture of
a great cannon at the end, and also a long print of a siege,
curious and interesting. The second edition is in Latin,
by Wechel, in Paris, 1535. The third is by Janssen at
Arnheim, in German, 1603. It was lately printed again
in Berlin, 1823, with fourteen lithographic prints. In re
printing the Geometry, Wechel styles Durer ' Painter and
Geometrician;' and on the Fortification, 'Painter and
Architect.' The third treatise, and by far the most elaborate,
occupied Durer up to the hour of his death, and was then
left ready for the press, but unpublished. It is ' The Four
Books of Human Proportion,' printed in Durer's German in
the year of his death, 1528. It contains 132 folios, about
the half of these being outline diagrams of male and
female figures. At the end appears the ' Privilegium von
Kaiser Karl V., granted to Agnes the widow of Durer, on
August 14, for ten years.' The second edition is in Latin,
in Nurnberg also, 1532, by Jeronimo the wood-engraver
(Hieronymum Formschneider), 'at the expense of the

Durer's ' Human Proportion.' 189
widow Durer. The third is at Paris, in Latin, by Christian
Wechel, 1537 ; and the fourth is also in Latin, at Paris,
by Charles Perier. The fifth is by the same publisher in
French, 1 557 ; the sixth in Italian at Venice, by Domenico
Nicolini, 1591. Since that time several editions, in dif
ferent languages, have appeared, which it may be unne
cessary to particularise.
This work on Human Proportion is to me a riddle,
inasmuch as I can perceive no motive in the elaborate
scales of relative sizes, reiterated without end. Here we
have male and female figures, six, seven, eight, and nine
head-lengths high, stout ones called rustics interspersed,
and every new figure has the same elaborate but apparently
arbitrary divisions according to scale. In some of the early
copies these figures are nicely tinted flesh colour.
It is clear that the principle, if such exists a
priori, on which these proportions are built, might be
announced once for all, and the application left to the
artist or reader. But no artist ever yet resorted to such
means in drawing and it is scarcely possible that a true
artist could. Aldegrever, as we have hinted, had been
attracted by the tall figures to imitate them in his designs ;
but this is a different thing ; having determined to make
his figures so tall, he drew them doubtless by the eye.
Scientific processes are antipathetic to the artist ; he arrives
at the end of science, but he ignores the means, the wheels

i go Life and Works of Albert Durer.

and cranks, to convey him there: he arrives as the bird
flies, and, when the scientific guide comes labouring in, he
finds his restive pupil there before him at his ease. Such
is my impression ; there may be quite another view of the
matter, more discriminating ; and there is little doubt,
much that had an aspect of revelation as to the beauty of
proportionable limbs and body would be at first recognised
in the book, especially where the antique was unknown.
Let us hope it pleasantly employed the evening, the early
evening, of the day of our noble Albert.
Here are two more fragments of writing showing his
anxiety to leave Agnes rich, which he appears by Pirkhei-
mer's testimony to have done. The first is a quittance to
the Council of the city a few months before his death.
' I, Albrecht Diirer, burgher of Nurnberg, acknowledge
herewith openly, for myself and my heirs on the one hand,
and the wise Burgomaster and Councillors on the other :
The ioo Rhenish florins, that formerly the highly
extolled Kaiser Max provided for me, and which has been
furnished by the state of Nurnberg, falling at this present
S. Martinmas day this year, willingly has been paid.
Esteemed Burgomaster, Councillors, and your successors,
that such ioo guldens and all money due to me up to
this time has been paid, I hereby testify, and for that
purpose set my seal at the end of this my writing.
Given the twelfth day of November, 1527.
' Albrecht Durer.'

Durer's Property. 1 9 1
The other is a memorandum. ' Item : 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 workpeople 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 my
self for debts (losses ?) contracted in Venice. Still we
have good house furnishing, clothing, costly things as
earthenware, professional fittings-up (possibly printing
presses), bed furnishings, chests, and cabinets ; and my
stock of colours is worth 100 guldens.'
It must be remembered that this was about the time
when inventories in England were still made out at the
demise of nobles of a few pewter plates, glasses, towels, and
silver cups, and when the testament contained the bequest
of the ' best bed ' and the ' napery ; ' and seventy years
before the time when Shakspeare purchased Sir Hugh
Clopton's mansion of New Place for ' L. 60.' According
to Pirkheimer's authority Durer left over 6000 florins, a
very large fortune, to Agnes, who continued to reside in
the house, and no doubt found the engravings a continuous
source of additional wealth. That the great painter died
in a kind of odour of sanctity, and deeply regretted, we
have ample testimony.
'Shall I weep for the death of Albert Durer?' writes

igz Life and Works of Albert Durer.
Erasmus, at Basle : ' to what good, seeing we are all
mortal ? I have made an epitaphium in my little book
for him.'
' I have lost in Albert the best friend I have had in my
life,' writes Pirkheimer to Tcherte in Vienna, the architect
to Charles V. 'His death has been to me the most painful
trial, and the more so that I believe he need not have
died ! ' Then follow very serious accusations against poor
Agnes, which we shall not quote.*
Durer died on April 6, 1528, at the age of 57, and
was buried in the cemetery of S. John, but a short way
out from the Thiergartner Gate, over the road by which
Adam Kraft's Stations had just shortly before been placed,
at regular intervals, from ' Pilate's House ' (rich old
Koetzel's mansion opposite Durer's) to the churchyard
gate where the Calvary stands.
These Stations on this Dolorous Way still stand in their
original beauty ; and that Calvary with the Divine Man
on his Cross still rises against the sky, the type and exem
plar of all good men who have suffered, who have fought
a good fight, who have used well the talents given to
them, who have left -the world better for their lives. Since
* This letter is a long one, and very interesting about many things
then transpiring. In another part of it he reverts to ' our Albert,' and
says he left many beautiful watches and things, and one in particular he
wanted, but Agnes removed it beyond his reach. I am afraid Pirkheimer
was not unbiassed in his denunciation of Agnes.

Durer's Tomb. 193

Albert was carried past, how many generations of the
notables of Nurnberg have been carried past these sad
painful sculptures. Now the Gods-acre is fully paved!
You enter and have not long to seek before you discover
the solid stone that marks the grave of the greatest of
German artists. Many of the worthies of that time lie
about, but here is the worthiest.
The patrician Nurnberg graves are, for the most part,
solid blocks of stone with a bronze plaque let in, bearing
the heraldry and name. Durer's is of this kind, and the
inscription was written by Pirkheimer, who survived him
scarcely two years. ME. AL. DU.
quidquid ALBERTI DURERI mortale
FUIT SUB HOC COND1TUR TUMULO.
EMIGRAVIT
VIII IDUS APRILIS,
MDXXVIII.
When Sandrart the skilful engraver and diligent historian
of German painters came to Nurnberg, a century and
a half after the death of the master, he was grieved
to find this monument a ruin, and he was the means of
getting it re-edified and increased in importance in 1681.
On the new portion he added two inscriptions of his own,
one in Latin the other in German, which latter I have para
phrased thus : —

194 Life and Works of Albert Durer.
Rest here, thou Prince of Painters ! thou who wast better than
great,
In many arts unequalled in the old time or the late.
Earth thou didst paint and garnish, and now, in thy new abode,
Thou paintest the holy things overhead in the city of God.
And we, as our patron saint, look up to jthee ever will,
And crown with a laurel crown the dust left here with us still.

APPENDIX,
CONTAINING CATALOGUES OF
COPPER ENGRAVINGS (with Copies).
WOOD ENGRAVINGS (with Copies).
PAINTINGS.
SKETCHES and DRAWINGS.

I.
CATALOGUE OF DURER'S ENGRAVINGS ON
COPPER, AND ETCHINGS,
WITH ENUMERATION OF COPIES.
{The initial numbers are Heller's ; those of Bartsch {B ) are added.)

Old Testament.

I. Adam and Eve. — Dated 1504, Durer's thirty-third year,
one of his earliest dated engravings on copper, and one of his
most perfect. Nothing previously done in the new art had the
same perfection in the use of the graver, and the influence of this
print on contemporary and subsequent engravers cannot be over
rated. There was also a greater purity in the form, and an
emancipation from archaic peculiarities new to German art. In
the British Museum are several studies for these figures : similar
studies exist in Vienna and elsewhere. There were two unfinished
proofs of this plate sold in Paris, some time ago, for 1500 francs.
Copes. — ( 1 ) By John Wierix, whose name appears on the tablet
hanging from the tree, and the date 1568 on the corner. A very
good imitation, and surprising if done by John Wierix at the age
of 16, as stated on the tablet (iEt. 16) after his name. (2) By-
John van Goosen, ' Johannes van  ' being inscribed on the
tablet after Durer's name. (3) Without the tablet, a poor en
graving with a death's head on the ground. Dutch and Latin

198 Life and Works of Albert Durer.
inscriptions. (4) A small copy. (5) Copy by Marc' Antonio
reversed. (6) Another Italian copy, also reversed, supposed by
Augustino Veneziano. (7) Another Italian copy, by Antonio
of Brescia. Several modern reproductions, generally small. B. 1.

New Testament.
2. The Birth of Christ. — The Virgin, with her hands in the
attitude of adoration, looks down on the Holy Child lying before
her. A shepherd kneels in the dark interior behind her ; Joseph
draws water from a draw-well. The figures are very small, and
the picture is principally the half-timber house and ruinous gate
way behind. Dated 1504.
Copies. — (1) Very beautiful imitation by Wierix, done at the
age of 16 like the last, if indeed we can believe the inscription,
I.H.W. JE. 16, 1566. (2) By Adrian Huber, 1514, inscribed.
(3) Without Durer's tablet, as in the original. (4) With the
tablet, which bears the date 1557, and V.C. in cipher. (5) By
Jerome Hopfer. (6) Reversed, by Paul Gottrich. (7) Reversed,
by Benedict Montagna. (8) Reversed, by Zelman von Wesel.
(9) A very good copy of an early date, also reversed, but with
out name. (10) Another reversed copy, (n) By Balthazar
Janischen, also reversed. B. 2.
The Passion, in Sixteen Designs.
3. Ecce Homo. The Virgin and S. John Looking sadly at the
Suffering Christ. — The three figures are treated abstractly from any
incident in the historical narrative. Dated 1509. B. 3.
4. Christ on the Mount of Olives. 1508. B. 4.
5. The Kiss of Judas. 1508. B. 5.
6. Christ before Caiaphas. 15 12. B. 6.
7. Christ before Pilate. 1512. B. 7.

Appendix. igg
8. The Scourging. 15 12. B. 8.
9. The Crowning with Thorns. 1512. B. 9.
10. Christ Presented to the People (Ecce Homo). 1512. B. 10.
11. Pilate Washing his Hands. 15 12. B. 11.
12. Bearing the Cross. 15 12. B. 12.
13. Our Lord on the Cross. 1511. B. 13.
14. Christ Freeing Souls from Hades. 15 12. B. 14.
15. The Descent from the Cross. 1507. B. 15.
16. The Entombment. 15 12. B. 16.
17. The Resurrection. 1512. B. 17.
18. SS. Peter and John Healing the Cripple. 1 5 13. B. 18.
Copies. — All these sixteen beautiful miniature prints have been
reproduced many times, from the very year of their publication ;
the greatest favourites, as Christ before Pilate, no less than twenty
times. Some of these copies, those done in sets expressly to
counterfeit the originals in the market, are difficult to distinguish
from Durer's work without considerable experience. It would
be an unnecessary task to append to each of the 1 6 prints a list of
all the copies. The following are those of the complete set :
(1) By Lambert Hopfer, with Durer's monogram, and also L. H.
(2) By an unknown engraver. (3) By Wilhelm de Haen, with
his name and date, 161 1. (4) By Van Goosens, with name Jo.
Goo. scp. (5) By I. V. C. (J. C. Vischer) with these initials.
(6) By Marc' Antonio, with the tablet of Durer, but without his
monogram. (7) Set of woodcuts, with the mark of Virgil Solis.
Marc Sadeler engraved many of the series ; and Aldegrever, who
may have been Durer's pupil or apprentice at the time of its
execution (15 11), engraved a copy of Our Lord on the Cross,
embellished with texts from Isaiah and the Gospel of John.
This ' Passion on Copper,' as the set of 16 small prints is usually
called, must be considered equal to the best work of Durer, and
among the most extraordinary feats of the art of engraving : the

200 Life and Works of Albert Durer.
curiousness of execution, the power of hand in minutiae combined
with the dramatic reality and terrible truthfulness of Durer's
nature, can never be reproduced, emulated, or supplanted.
Thirty-seven pages of Heller's ' Leben und Werke ' are oc
cupied with these plates of the Passion.
19. Christ on the Mount of Olives, 15 15. — This is one of Durer's
etchings, or, as they have been called, his ' iron-plates.' B. 19.
20. Christ Dying on the Cross, 1508. — The holy women
at the foot of the cross and S. John on the right, with
stretched-out hands. A small plate. Copies.— (1) On wood.
Supposed by Hans Schauflein. (2) A deceptive copy on copper,
by unknown hand. (3) A copy with the letters 3. C. and date
1562. (4) Wierix's copy, which is reversed, and three other
copies, all reversed. B. 24.
21. The Little Crucifix. A circular miniature, little more than
an inch and a half diameter. The Maries and S. John are on
either side of the dying Saviour. Will, in his ' Miinzbelustigung '
(iv. s. 406), says this was done by Durer for the pommel of the
sword of Kaiser Max, and that it was brought to Vienna from the
Cabinet of the Elector Ferdinand at Ambrass, by Insbruck. In
the inventory of the Vienna collection by Aloys Primisser (Vienna,
18 19), Heller regrets to find no remarks on the subject. It has
been said by some collectors to have been engraved not for the
sword, but for the hat of the Emperor. We know he wore an
immense hat, ornamented in Durer's large woodcut with a figure
of the Virgin, and this Crucifix may have been for the medallion
or pendant called by the French enseigne, then fashionable. This
is very rare, and has been several times copied. (1) That by
Jerome Wierix is deceptive and perfect. (2) Another very s.m.lar,
and a (3) also, and a fourth. There are, also, four reversed copes,
one of them by Anthony Wierix. B. 23.
22. Christ with his Hands bound, i5i2.-On his right shoulder

Appendix. 2,01

a mantle is cast, the left arm and breast uncovered. An etching,
or drypoint ('iron plate'). The copies are all reversed. B. 21.
,,- 23. Christ Showing his Five Wounds. — A small plate represent
ing Christ naked by the cross. On the ground lie his clothes, with
the dice, sponge, &c. and a skull. Copies. — (1) By J. Wierix at
the age of twelve : very exact. (2) A copy with B. M. (Benedict
Montagna) on the tablet. (3) Another copy, which may be
recognised by the D on the tablet being reversed. (4) By
Prestel. Besides these there are four reversed copies. B. 20.
24. Christ Seated, 1515. — The crown of thorns is on the head,
and, with his right hand, the Saviour holds the scourge and reed.
Etching, or rather drypoint. A pewter plate (?). Copies.— Two
like the original, but easily recognisable, and two reversed. B. 22.
25. S. Veronica, 15 10. — A small plate of three inches high,
showing the imaginary saint holding the cloth with its ' true image '
of our Lord's face. Copied on wood. B. 64.
26. An Angel Flying with the Cloth exhibiting the Veronica,
1516. — An etching (' iron plate'). Below are four angels, who
hold the implements of the crucifixion. B. 26.
27. Two Flying Angels displaying the Holy Cloth with the Image
of our Lord's Face. — Very fine. 15 13. This beautiful work has
been copied many times, but always reversed. There are nine
well known ; one has ' a.d. 1625, fecit Cracoviae. iEtatis suae 66,'
inscribed on it. Another is by one of the Wierix family. B. 25.
28. The Prodigal Son. — One of Durer's larger engravings.
The Prodigal has reached the last stage of degradation, and is
kneeling by the trough from which the swine are feeding, on his
bare knees. This print has no date, but all the critics are agreed
that it was one of his early works, before 1500 ; and Mr. H. F.
Holt discovers that the artist has humbly identified himself with
his subject by studying the head of the young man from himself.
The original sketch, which is in the British Museum, however, is
much less like the master than the finished engraving. Copies.

202 Life and Works of Albert Durer.
— (i) One so deceptive that it is with difficulty distinguished from
the master's own. (2) Another, also intended to be deceptive,
almost as good. Also three reversed copies, one of them sup
posed to be by Marc' Antonio. B. 28.
29. The Virgin and Anna. — This is an early work, of small size
but important. The full figures are seen ; Mary, who holds the
Child on her left arm, is the back view. Anna is on the left side
of the print. The copies are all reversed. B. 29.
30. Mary on the Half Moon, without Crown. — An early work
without date. The Holy Child is sitting on her right arm. Her
hair flows behind her. Copies. — ( 1 ) By Hans Schauflein, with his
monogram. (2) Another by him on the back of the title of a
sermon by Luther. (3) One on copper with the sign G. Four
other copies, besides eight reversed, making fifteen in all ; this and
all the other ' Marienbilds ' that follow having been very great
favourites at the time and afterwards. B. 30.
31. Mary on the Half Moon, without Crown, but with date,
15 14. — She looks to the right. The Holy Child in her arms
holds a fruit . (apple or pear) in his hand. This excellent print
is called by Bartsch, the ' Virgin with the Short Hair.' Copies. —
(1) By Jerome Hopfer. (2) By an unknown. (3) Reversed
copy by J. C. Vischer. (4) Another reversed, by L. Guidotti,
and seven others ; all reversed. B. 33.
32. Mary on the Half Moon with the Crown of Stars, 1508. —
The B. Virgin supports the Infant Christ with her left arm, her
long hair waves out behind her shoulders. Copies. — (1) By John
Wierix, very perfect and deceptive. (2) With the letters I. H.
V. F. (3) By Wilhelm de Haen, very well done. (3) By
Jerome Hopfer : reversed. Four others, all reversed. B. 31.
33. Mary on the Half Moon, with the Crown of Stars and Sceptre,
15 16. — The child is on her left arm, and she holds a sceptre
in her right hand: longhair. Copies. — (1) By Jerome Hopfer.
(2) With the date altered 1564, instead of 1516. (3) With the

Appendix. 203

monogram yfj^ instead of fe\ . (4) Without date and
monogram. (5) By Jacob Bink, marked ^^. (6) Marked
1579, a.m. Four reversed copies : ten altogether. B. 32.
34. Mary Crowned by an Angel, 1520. — She sits on a cushion
placed on a bank. The Holy Child in her arms has a bird in his
right hand. Copies. — (1) That by Wierix, difficult to distinguish
from the master. All the other eight copies, one of them by
Jacob Bink, are reversed. B. 37.
35. Mary crowned by Two Angels, 15 18. — The Virgin sits
looking to the right, a beautiful head slightly inclined, with a
crown of roses. The Holy Child in her lap has a fruit in his right
hand. This is a very excellent work. ( 1) A very exact and decep
tive copy : all the rest are reversed. (2) A beautiful reversed copy.
(3) Marked P- Ouer. ex. (4) Another of the year 1538. (5)
By Wierix. (6) By Jacob Bink, marked TgD. (7) Marked
M VG There are nine others, some signed. B. 39.
36. The Nursing Mary, 1503. — The Holy Child is held by
the right hand to the left breast. The tablet, with the year 1503,
hangs behind her on a twig. Copies. — ( 1 ) By Wierix ; published,
as some of the others by Wierix are, by Vischer, and having the
monogram-^. (2) Very early copy : marked 1506. (3) One
marked L. but not by Lucas of Leyden. (4) Marked P.
Ouerrat excu. This is reversed, as are all the others, seven in
number. B. 34.
37. The Nursing Mary, 15 19. — In this print also the child is
held to the left breast. The Virgin sits on a bank. The initials
and date, which are on the left, doubtfully rendered in the figure
9, which is sometimes catalogued as 2 (1512). Copies. — (1)
By Wierix, marked on the left M. 12, and on the right, 1566.
Published by Vischer fjf. (2) By Joh. da Brescia. (3) With
M. D. on the right on the stone. (4) Another good copy ; and
four others reversed. B. 36.

204 Life and Works of Albert Durer.
38. Mary with the Swaddled Child, 1520. — She sits on a
cushion placed on a great stone, and the Child is swathed some
what in the manner still in use in Franconia. In this, as in 37,
lines radiating from the Virgin's head as a centre of glory, cover
the whole sky portion of the print. The Holy Child is asleep,
and very admirably done. On the left is the tablet with mono
gram and date. This print Mr. H. F. Holt supposes to have
been engraved in commemoration of Durer's visit to the Low
Countries with his wife, and that the head of the Virgin is a
portrait of her. Copies. — (1) A deceptive copy. (2) Another
intended for sale as the original. (3) One by E. von Sichem, a
woodcut. All the others, nine in number, are reversed, one by
Wierix, another by Jacob Bink; both beautiful. B. 38.
39. Mary Sitting under a Tree, 15 13. — She sits on a bank at
the foot of a tree, turned to the left, the Holy Child sitting on her
right arm, she embraces him with the left. The Child has a
pear in his left hand. Copies. — One like the original, and nine
reversed; one of these last by Hollar. 1626. B. 35.
40. Mary by the Wall, 1514. — A beautiful print. The
Virgin holds the Child in both her arms, he having an apple in
his right hand. By her side hang purse and keys, and the
drapery drawn round from behind over her left knee is of singular
delicacy. The town in the background is certainly Nurnberg.
Copies. — (1) One deceptive, exceedingly well done. (2) Another,
also very close in its resemblance. (3) One with the letters I. B. on
a stone to the right. (4) One with a quatrain in German attached,
and the name M. Kellner, 1580. Five other copies in reverse,
including one by Wierix, and another by Jerome Hopfer. B. 40.
41. Mary with the Pear, 151 1. — She sits at the foot of a
great tree, in her right hand a pear, to which she appears to draw
the Child's attention. Behind her is a singular city gate. On the
ground lies the tablet with monogram, and on the top in centre is
the date. There are six copies, three of them reversed. B. 41.

Appendix. 2°9

42. Mary with the Monkey. — No date. She sits near the a
of a stream on a bank, her left hand on a book, the right
holding the Child in her lap, which plays with a bird held in his
right hand. The monkey sits on the ground at the left of the
Virgin's feet. This is considered among Durer's best works, and
has been a great favourite, no doubt on account of the monkey.
In copies it is distinguished by the high character of the copyists.
Wierix only, however, has copied it as it stands, and he has
inscribed his plate I. H. W. IE. 17. All the others are reversed,
including those by Winceslaus of Olmiitz, Marc' Antonio, Augus-
tino Veneziano, Zoan Andrea, &c. In all fourteen copies. B. 42.
43. The Holy Family with the Butterfly. — A larger plate than
any other of the Marienbilds. Supposed to be one of his very
earliest works. Mary holds the Child affectionately near her face.
Joseph sleeps behind the embankment on which she sits. God
the Father is in the centre of the upper part of the work. This
design is copied from Martin Schongauer, reversed and enlarged,
and is the only instance of Durer having copied the works of
another. The Butterfly, which gives the print its name, is on the
ground at the right corner. It has been copied four times in re
verse, Israel von Mecken and Marc' Antonio being copyists. B. 44.
44. The Holy Family. — One of the etchings, or ' iron plates ;'
or possibly on a softer metal, done principally with dry point. Rare.
Mary sits with the Child in her lap. Joseph sits on the left of
the plate behind. On the other side is Elizabeth with two men.
Of this there are three copies, one of them modern, in Ottley, p.
727. B. 43. Saints.
45. S. Philip. — He holds in his left hand the long staff with
the cross. Copies. — (1) By Wierix, very perfect, marked I. H.
W. JE. 17. Five reversed copies, unnecessary to particularise.
B. 46.

204 TjUfe and Works of Albert Durer.
-jfo. S. Bartholomew, 1523. — The knife is in his left hand, a
book in his right arm. Copies. — (1) By Wierix, done same year
as the preceding. Six reversed copies. B. 47.
47. S. Thomas, 1514. — In his right hand is the instrument
of his martyrdom, the spear. Copies. — (1) Wierix, as before.
Seven reversed copies. B. 48.
48. S. Simon, 1523. — In his right hand is the saw. Copies
as in the preceding. B. 49.
49. S. Paul, 1 5 14. — Very fine indeed. His left arm sup
ports the open book, to which he points with his right hand.
Copies as before. These five Apostles seem to have been done
with a view to a complete set never accomplished ; a set of the
Apostles being a work apparently very popular, and done by
several great engravers, as Lucas of Leyden, Marc' Antonio,
Henry Goltzius, &c. B. 50.
50. S. Anthony, 1519. — He sits in the foreground, and reads
in a book held by both hands. By him, stuck in the ground,
stands a tall staff with a double cross and bell, and behind him is
piled up the most charming old Rhine town, the moat occupy
ing the left side of the picture : this is one of the most lovely and
characteristic of all the engraved works of Durer ; that is to say, of
all his designs whose interest does not lie in the passion depicted.
This was given by Ottley, and had been previously copied
frequently. (1, 2) Two deceptive copies very well done; one
of them can scarcely be distinguished, although the original is so
fine ; Wierix has not tried his hand on it. There are nine
reversed copies. B. 58.
51. S. Christopher, 1521. — In this design the saint turns
his head as if to remonstrate with the miraculous burden
which weighs him down. In the right corner in the water is
a stone having the monogram and the date above it. Copies.
— There is only one deceptive copy ; there are five reversed.
B. Si.

Appendix. ^QC.

52. S. Christopher. Same date. — Both these plates are smai.
In this the Holy Child lays his right arm on the saint's head, the
fingers being in benediction. In the left corner of foreground is
an island of grass with a stone having the date on the top, and
the monogram on the front. Of this there is no deceptive copy.
One in woodcut, by C. von Sichem, and five reversed, one
being by Aldegrever. B. 52.
53. S. John Chrysostom. — The saint creeping on hands and
knees towards the left, and in the middle of the composition, at
the mouth of a grotto, a woman nurses a child at her breast.
A castle in the distance. Three reversed copies. B. 63. This
legend, and that of S. Christopher, were very favourite subjects
for illustration at this time.
54. S. Hubert, properly S. Eustachius. — No date. The most
elaborate of all Durer's plates ; not more perfect in finish certainly
than some others, but the largest. The five dogs in the foreground
were then considered wonderful ; nothing so distinctively true to
nature having been seen before. They are alluded to by Vasari, and
were copied as a distinct print by Virgil Solis and by Augustino
Veneziano. The size of this plate is only 13! by io£, but the
elaboration and the detail make it equal to a larger field. Heller
calls this ' Diirers Hauptblatt.' Copies. — Of this work no deceptive
copy has been attempted, although it has been imitated many times.
(1) By Albert Schmid, inscribed ' S. Eystachius venantium et
peregrinantium patronus populi ' (' S. Eustace, patron of hunters
and travellers '). (2) By Jerome Hopfer with his name. (3) A
later copy, inscribed S. Hubertus. (4) A very correct copy in
reverse, with G. H. on either side of Durer's monogram. There
are three others, all reversed. B. 57.
55. S. George on Foot. — He stands turned towards the right, a
kind of hood on his hair. His right hand holds a banner with the
cross. The dead dragon lies behind his feet. On the left is
the tablet with Durer's monogram, without date. A small print.

 ^r_ 
308 Life and Works of Albert Durer.
Copies. — (1) Early copy with monogram, resembling P. H. Seven
reversed copies, more or less good. B. 53.
56. S. George on Horseback, 1508. — He looks to the right, and
holds the small banner in his right hand. The dead dragon lies
along by the horse's feet. Copies. — (1) By Jerome Hopfer. (2)
By Christoph von Sichem. (3) By Wierix. (4) Another correct
copy. Five others reversed. One of these is remarkably distin
guished by an inscription identifying the saint with Franz von
Sickengen, one of the leading heroes of the Reformation. ' Fran-
ciscus a Sickengen eques ac miles fortissimns,' followed by some
Latin lines unnecessary to quote. The dragon in this point of
view represents error, and this application of the design is interest
ing, as very possibly expressing, literally, what Durer left to the
interpretation of the observer. B. 54.
57. S. Jerome in his Study, 15 14. — One of the wonders of
the master. The sun shines through the round lattice panes of
two windows, on the left of the design. On the foreground lies
the lion ; beside him a curious dog. An immense melon hangs
from the veined and stratified beams of the roof. The saint and
all the belongings of his desk are elaborately finished. This is one
of the larger prints. Copies. — Copyists have made a trial of skill
in imitating this engraving. (1) A deceptive rendering, often
sold for the original, so perfect that Heller can only point out a
small difference in the nail of the little toe of the foremost left
foot of the lion. (2) One by Jerome Wierix, which is also at
tempted to be so sold : the initials of Wierix and his astonishingly
youthful age, JE. 13, however, are engraved near the bottom edge.
(3) By Marias Kartarus. (4) One with an inscription making a
curious alteration in the subject :— S. V. BED. PRESBYTERE,'
&c. with Latin lines, beginning —
Fcecundat scriptis arentes BEDa Britannos ;
Scilicet exhaustas e cruce fundit opes.

Appendix. 2og

(5) One, supposed by Marc' Antonio. (6) A reversed copy, very
perfect in execution. Nine other copies reversed, are distinguished,
some of them signed by their engravers. B. 60.
58. S. Jerome. — An etching, or ' iron-plate,' having a great
amount of the blur, or ' burr,' caused by scratching with the point,
as practised by Rembrandt with so much effect. The saint sits
in a wild place in a storm of wind and rain. Of this there are five
recognised copies mostly reversed. B. 59.
59. S. Jerome Praying. — One of the larger plates upright. The
saint looks to the crucifix on the left side, and holds the stone,
wherewith he beats his breast, in his right hand. Copies. — (1)
Deceptive. (2) By Jerome Hopfer. (3) One reduced in size.
(4) Reversed by Zoan Andreas. (5) An adaptation of the Lion
and other portions with the Saint from another master. B. 61.
60. The little Praying Jerome. — He kneels to a crucifix which
is attached to a tree, his right hand on his breast, his left outstretched
with the stones. This is a very small round plate, very rare in
deed ; quite out of the possibility of collection. No copies. B. 62.
61. S. Sebastian bound to a Pillar. — Three copies reversed.
B. 56.
62. S. Sebastian bound to a Tree. — He turns to the left, his
hands crossed over his head. Copies. — Two right, one of them by
Wierix; and three reversed. B. 55.
Mythology and other Subjects.
63. Judgment of Paris. — Small, and, like the little S. Jerome,
so rare as to be inaccessible, even for inspection, in this country.
B. 65.
64. Apollo and Diana. — A small plate, very beautiful. Apollo
bends his bow looking to the right. Diana sits on the ground,
her right hand on the head of a stag. There are five copies, all
reversed. B. 68.

2io Life and Works qf Albert Durer.
65. The Rape ofAmymone. — Called by Durer in his ' Journal' a
' Meerwunder.' The Triton carries her through the water ; she
looks towards the left sitting in a reclining attitude upon him. The
background is a beautifully designed Rhine castle. Copies. — ( 1 )
By Winceslaus of Olmutz. (2) By George Pensz. Nine reversed
copies, including one by Hans Sebald Beham, and one on wood.
B.7i. 66. Pluto carrying away Proserpine. — An etching or ' iron-
plate.' B. 72.
67. Jealousy. — A large plate. A satyr lies in the left corner
of the design, a naked woman beside him. Another nymph ap
proaches from behind swinging a great bough, in the act of striking
them, while a satyr, or wild man, prevents the blow falling by
raising his arms with a staff. Several copies, not very good.
B- 73- f
68. The Satyr's Family, 1505. — The satyr advances from the
left of the design, playing on a pipe, or trumpet. A small plate.
Copies. — (1) By Wierix, JE. 12, 1566, published by C. Vischer.
(2) By Jerome Hopfer. (3) By Prestel, reversed. (4) By An
tonio da Brescia, also reversed, and two others. B. 69.
69. The Vengeance of Justice. — A small engraving, which has
been called the ' Nemesis,' this title having never been fully ap
propriated to any other of Durer's works, and having been men
tioned in his 'Journal.' It represents a man riding on a lion,
in his right hand a sword, in his left scales. One of Durer's
poorest works, not likely to be presented by him to new friends.
This subject is elsewhere referred to. B. 79.
70. The Little Fortune. — So called for want of a truer name. A
naked woman of common type, the back presented to the spectator,
standing on a globe. A small plate in little more than outline.
There is one very perfect copy and six reversed.* B. 78.
* As this little design bears a resemblance to the large and beautiful
print usually called ' The Great Fortune,' we ought to point out one of

Appendix. 311

7 1 . Temperance : usually called ' The Great Fortune,' ' Das
grosse Gliick,' date uncertain. A wonderful landscape, which
has always been received as the village of Eytas, fills the lower
part of the picture, below a fringe of cloud, in the centre of which
is a small globe, supporting a large female figure, bearing a bridle
and trappings in her left hand, the insignia of Temperance, and
a beautiful but covered cup in her right. This is, in point of
technical mastery, one of the finest engravings ever done. Studies
for the wings are in the B.M., and in the possession of Mr. Alfred
Morrison. On the last mentioned is the date 15 18, which goes
to prove it one of Durer's latest works, so that it may not have
been done till after his return from Flanders. Of its allegory and
significance we have spoken elsewhere. The copies, six in num
ber, are all reversed. One of them, without a date, however, is
entitled ' Opulentia.' B. 77.
72. Melancholy, 15 14. — Another of the master's greatest achieve
ments, spoken of in a former part of this book. This is the em
blem of knowledge of a purely scientific or worldly kind, leading
to l weariness of the flesh.' Copies. — (1) A very fine copy, distin
guishable by minute differences only. The key at the girdle of the

figure has been given as a test. ' Clement de Jonghe exc' is,
however, at the bottom on the right. (2) A copy, for the most
these copies as affording evidence that the subject was considered to be
•Fortune' as early as 1585, the date of the copy, the following lines
being attached : Passibus ambiguis Fortuna volubilis errat,
Ilia tamen regitur omnipotente manu.
p 2

2\2 Life and Works of Albert Durer.

part left unfinished. (3) Admirably done by Johann Wierix,
having his name and date 1602. Three reversed copies on
copper, and one on wood. Modern copies are numerous. B.
74- 73. The Dream. — A young man sleeps on a bench by the side
of a great stove, the niched tiles of which rise to the top of the
left side of the picture, while a demon blows into his ear with a
pair of bellows. Turning towards the sleeper, but with her back
to him, a naked woman stands, and Cupid is essaying to walk on
stilts by her feet. An excellently engraved work ; the head of the
sleeper has a very interesting character, the woman's head is that
of a fool. The dream is a dream of the earthly Venus. Copies —
all reversed, by Winceslaus Olmutz, Antonio da Brescia, Tzetter,
Marc' Antonio, and others, six in number. B. 76.
74. The Four Naked Women, 1497. — They stand in a chamber,
the one in the middle having her back to the spectator. The
forms are unideal ; at their feet lies a death's head, and outside
an open door on the left a foul demon is listening. Above the
figures hangs a ball or sphere, on which the date 1497 is inscribed,
and the letters O. G. H., a puzzle for commentators.* Copies.
— (1) By Winceslaus Olmutz. (2) Reversed, by Israel von
Mecken. (3) Reversed, by J§£ (4) Reversed also, by Nicolaus
of Modena, whose print has been copied by another Italian artist.
B. 75-
75. The Witch. — A wild woman rides a flying or leaping
animal, her face being towards the left. She holds a distaff,
and cries with open mouth. Below, on the ground, are four
winged children, one of whom is about to throw a somersault.
An inexplicable and unimportant small print. Three reversed
copies, one by Benedict Montagna. B. 67.
* These letters have been supposed to stand for ' O Gott, Hilf ! ' (' O
God, help ! ') ; or ' O geliebte Hexe ! ' (' O swe-theart witch ! ').

Appendix.

76. The Three Genii, or Cupids. — Similar in size and style to the
last. A child flying to the right bears a helmet, another blows a
trumpet. Copies. — (1) By Wierix, JE. 12, 1565. (2) A reversed
copy, dated 1515. Eight other reversed copies. B. 66.
77. The Bath. — An etching, or ' iron-plate.' Five figures, or
rather studies of figures, naked for the most part. B. 70.
78. Gentleman and Lady Walking. — They go towards the left;
the interest is mainly in the character and costumes.* (1) An
early copy, reduced to a very small size. Five other copies all
reversed, three of them by the great engravers of the time, Marc'
Antonio, Winceslaus of Olmutz, Israel von Mecken. B. 94.
79. The Love Offer. — A middle-aged man, with a short beard,
sits beside a young woman, his left hand in his purse, and the
woman's extended left hand is readv to receive the monev. Be
hind, on the right of the design, his horse is tied to a tree. This
is a subject afterwards much treated by the Dutch and Flemish
artists. f The attempt to identify this with certain stories from
the Old Testament seems quite unnecessary. There is one copy
reversed. B. 93.
80. The Wild Man seizing a Woman. — This is an early work,
small in size, a very curious production, but not of great excel
lence. There is a deceptive copy. B. 92.
81. The Bagpiper, 1514. — Small. He leans his back against
a tree on the right of the engraving. This has been a great
favourite, as we see by the sixteen copies, some of them decep
tive ; six of them being like the original, and ten reversed. B. 91.
* On the border of the lady's dress, passing across the shoulder, are thi
letters NRIA, not hitherto noticed. Possibly these letters stand for Norica,
as showing the costume of the ladies of Nurnberg.
f I am informed by a note from Mr. H. H. Bothamley, that there is an
exact copy of the two figures in this design carved on one of the Misereres
in Henry VII.'s chapel, Westminster. A very interesting and curious
circumstance. It is to be observed the figures in Durer's print use their
left hands as if the work had been a copy on his part. ¦•*

3T4 Life and Works of Albert Durer.
82. The Dancing Peasants. — A group full of vigour and enjoy
ment, the sturdy little woman being as strong and frisky as a
young bear. Eight copies, one of them by Wierix, JE. 12. B. 90.
83. The Peasant and his Wife. — They stand looking towards
the left. A small plate, like the last. Copies. — (1) By Jerome
Wierix, I. H. W. JE. 17, 1565. (2) One dated 1523. Seven
other copies reversed. B. 83.
84. The Peasant going to Market. — He goes to the left, stretch
ing out his right hand in a remonstrating manner. A study from
nature. Copies. — (1) With Vischer's monogram as publisher.
(2) A moderately good imitation. (3) Inscribed I. B. 1523.
Thirteen other copies reversed, some with initials. B. 89.
85. The Three Peasants. They stand together in talk, grum
bling it would seem. One leans on a sword with a very old scab
bard ; the man he addresses holds a basket of eggs in his left hand,
and sticks his right into his girdle. Copies.— One by Wierix,
and two others closely resembling. Eight reversed copies. B. 86.
86. The Cook and the Housekeeper. — A fat big man holding a
ladle, and a pretty little woman with her arms crossed before her.
They go towards the left. There is one deceptive copy, difficult
to distinguish. Six reversed copies. B. 84.
87. The Turk and his Wife, — He is on the left, the woman on
the right of the print. A little engraving like the last, an early
and inferior production. There are five copies reversed. B. 85.
88. The Standard-bearer. — A soldier with bare head holding a
banner in his right hand, with the arms of Burgundy. Small,
and fine. There are two right copies and one reversed. B. 87.
89. The Six Soldiers, — A miscellaneous assemblage of men
partially armed, several being manifest rascals, like all the hired
soldiers of the time. The one on the left is not in the conversa
tion, but looking out with his back to the group. An early work.
There are four reversed copies. B. 88.
90. The Little Courier. — A small early work ; he gallops to the

Appendix. 315

left, his right hand flourishing a whip. Three reversed copies.
B. 80.
91. The Lady on the Horse. — Small and early. Interesting
for costume. Copies. — (1) By Winceslaus Olmutz. (2) By
Wierix, IE. 12. Six reversed copies, one of them by Marc'
Antonio. B. 82.
92. The smaller War-horse, 1505. — The white heavy charger
is turned to the right. Behind, the knight or free lance stands,
with a fantastic helmet on his head, and a partisan over his right
shoulder. Copies. — There are two deceptive copies, one marked
at the right edge I. H. V. E. ; the other by Wierix, marked
I. H. W. JE. 17. (3) Another, without Durer's monogram
and date. There are five others reversed, two of them Italian.
B. 96.
93. The larger War-Horse, 1505. — A foot soldier, holding a
halbert, and with a helmet on his head, steps towards the left.
The great white horse stands. Copies. — (1) A deceptive one,
and (2) one by Wierix, the date 1564 being in place of Durer's
date, and on the wall is also JE. 15. (3) By Antony of Brescia.
B. 97.
94. The Knight, with Death and the Devil, 1513. — This has
been called the most perfect artistic invention Germany has
produced. We are convinced it is a damnatory epitaph on the
private right of plunder : the free lance and robber knight, up
to that time, infested and vexed Upper Germany and the Rhine.
There is a sketch of an armed rider exactly resembling the knight
in our subject, in the collection of the Archduke Albert, Vienna.
On the top is written in Durer's hand, ' Das ist die Riistung zu
der Zeit, in Deutschland gewist ' (' This is the armour of the
time, in Germany to wit '). This sketch is dated 1498. There is
( 1 ) an admirable copy, which may be known by the absence of the
date 15 13 on the tablet. (2) By Wierix, at the age of 15. (3)
A reversed copy, marked H. R. 1559. B. 98.

2 1 6 Life and Works of Albert Durer.
95. The Cannon, 1 5 18. — A landscape, with a great cannon
and two figures ; waggoners they have been called. This is the
best of the so-called ' iron-plates,' and has excellent character.
Even here, however, it is evident Durer could not direct or
manage the process of corrosion by the acid, the sky being as
strong in darkness of line as any other part. One copy, by Jerome
Hopfer. B. 99.
96. The monster Pig. — A porcine Siamese-twins. In Durer's
c Journal ' there is evidence of his interest in natural wonders, and
also in novelties brought from the then new countries. B. 95.
97. The Shield with the Lion and Cock. — In manipulation with
the graver, this is one of the most excellent pieces of work ever
done. One reversed copy. B. 100.
98. The Shield of the Death' s Head, 1503. — A 'wildman,' a
hairy Orson, who supports the shield, is about to kiss a woman, .
who also assists in sustaining it. She is dressed in the fashion of
the time. A perfect copy by Wierix. B. 101-
We may remark that the cock always appears perched on the
top of the waggon in the prints of marching trains or foraging
parties, about or shortly after that time, as in H. Sebald Beham's
large woodcut, with Death bringing up the rear. In the second
of these armorial prints, it appears to me, Durer has a moral
intention.

Portraits.
99. The smaller Cardinal Archbishop Albert of Magdeburg and
Maintz, 1519. — A head and shoulders looking to the right. On
his head is a barette, and he is clothed with the mozzetta, or cape.
He was born in 1490, made archbishop at 23 : he would be 29 at
the date of this engraving. This print is scarce. The background
is a curtain. Below is a shaded field with this inscription :— < sic.
OCULOS. SIC. GENAS. SIC. IL1E. ORA. FEREBAT. ANNO ETATIS SUE

Appendix. 217

xxix. mdxix. Copies. — (1) By Lucas Cranach, dated 1520. (2) A
very perfect copy, often sold as the original. (3) Copy dated
1755. Three others like Durer's, and two reversed. B. 102.
100. The larger Portrait of the same. He also looks to the
right and wears a barette ; he is dressed in a rochet. The back
ground is wholly shaded with oblique parallel lines, and Durer's
monogram is on the left under the shadow. Of this there are three
copies, two of them reversed. B. 103.
101. Frederick the Wise, Elector of Saxony, 1524. — Head and
shoulders turned to the left. Below is a tablet with a long in
scription. The admirable head is full of character, the compressed
lips giving sure indication of ability and firmness, as well as ex
pressing a deficiency of teeth within them. Copies. — (1) There
is one copy of this plate so deceptive that it is scarcely possible
to detect the difference. (2) Copy inscribed C. Fritzsch sculp.
Hamb.; also five reversed. B. 104,
102. Erasmus, 1526. — The philosopher, more than reformer,
was at Brussels when Durervisited the Low Countries in 1520-1,
and he says in his ' Journal,' ' I have recommenced the portrait of
Erasmus.' Erasmus writes. The inscription on the white tablet,
which covers the background, contains the name and the words
' ad vivum delineata.' Copies. — (1) By H. Hondius ; the upper part
only. (2) Another similarly treated. Six reversed copies. B. 107.
103. Philip Melanchthon, 1526. — Head and shoulders looking
to the right. These two portraits of his friends may be con
sidered as companions, and, had Durer lived, no doubt we
would have had others of the intellectual leaders of the great
movement of the sixteenth century. Copies. — (1) By Hering, with
his name. (2) By Froschel, with name also. Two others, like
the original, and thirteen reversed copies, by Hondius and others.
B. 105.
104. Bilibald Pirkheimer, 1524. — The head is full of charac
ter and thought, but of a coarse type. This plate was a great

2 [8 Life and Works of Albert Durer.
favourite with the world, although it seems to have been private
property, and his son-in-law Hans Imhoff possessed it in 1598.
The works of Pirkheimer were published by M. Goldast, Frankfort,
1 610, folio. He also appears in Imhoff's ' Theatrum Virtutis
Honoris.' Copies. — (1) There is a very perfect copy, which can
scarcely be distinguished from the original, even by comparing
them line by line. (2) Another, almost as good. (3) Another,
without the year in the inscription. (4) Marked c Joh. Jac. Haid
excud. Aug. v.' (5) One without Durer's monogram and the
date. (6) One by C. W. Knorr, 1550, so marked. (7) As
a medal. (8) In an oval. (9) On wood, by T. Stimmer.
Two others, and nine others reversed, some very closely imitated.
Twenty altogether. B. 106.

Bartsch admits these engravings into the list of Durer's works ;
but they are certainly riot by him, viz.
105. The Trinity. B. 27.
106. Portrait of Joachim Patinier. B. 108. A print by C. Cort,
after the drawing by Durer done on his travels, 152 1.
107. La Vierge a la Porte. B. 45.
This last Passavant considers by Marc' Antonio, after a design
by Durer ; but Mr. G. W. Reid, of the British Museum, made
the ingenious discovery, that the whole subject, even to a single
weed growing by the edge of the composition, is made up by ar
ranging portions from various of Durer's works all reversed, the
only original portion being the head of the Virgin, which has an
Italian character. This composite character is the more extra
ordinary, as the print is evidently by an artist of ability.*
* There is a Venetian print of * Venus after the Bath,' the figures copied
from Marc' Antonio's print after Raphael, the background made up from
the 'Rape of Amymone ' and 'S. Hubert,' which M. Emile Galichon
('A. Durer, sa Vie et ses CEuvres,' p. 1 7) attributes to Veneziano. It bears
Durer's monogram.

Appendix. 21 9

Passavant admits these into his catalogue, and has besides two
additions which he numbers consecutively with Bartsch.
108. The Crucifixion. — Only partially done in the faint outline
usual to Durer's practice in commencing a print. This is men
tioned by Sandrart as a great engraving of the Crucifixion left
unfinished. 109. The Conversion of S. Paul. — Paul is seated on horseback.
If this is really Durer's, it would be one of his very earliest essays,
like the ' Wild Man seizing the Woman.'

II.
CATALOGUE OF DURER'S WOOD ENGRAVINGS.
{The initial numbers are Heller's ; the numbers of Bartsch (B.) are added.)

In Durer's time, wood engraving was an old, and copper en
graving a new art. The block-books and playing cards were the
earliest woodcuts, whether pages of lettering only, or with pictures ;
and the engraver was a Formschneider, or cutter for the case or form
of the printing press. The block-book had been superseded by
the metal types, and the Formschneider was now only employed on
pictures ; but the new art of copper engraving (or engraving
proper) immediately took a higher position than that of clearing
out the wood so as to leave only the lines drawn by the pen of
the designer, which is in fact what the wood engraver has to do.
The idea, first started by Bartsch, that Durer never actually
engraved on the wood but only drew the picture on the block,
is now generally admitted as true. Ottley, however, and others
consider he did engrave occasionally. The reader may consult
Chatto in Jackson's ' History of Wood Engraving.'
In the early period of the art the process was materially differ
ent from that now in use. Now box wood, cut sectionally, is
exclusively used ; the tool employed being the burin. In
Durer's time pear-tree and other woods were used, and in the
plank simply ; a very fine knife was the instrument principally
employed. The thirty-six blocks of the c Little Passion,' now in

Appendix. 221

the British Museum, are cutout of the plank. It will thus be seen
that a large size was an immense advantage, and we need less
to wonder at the dimensions of Durer's and other early artists'
block pictures, those by Hans Sebald Beham and Burgkmair for
example. The copper engraving was a miracle of miniature detail
in the hands of H. S. Beham, his wood engravings gigantic. The
impressions of Durer's Triumphal Arch of Maximilian show the
seams of the planks running from end to end.
Old Testament.
i. Cain Killing Abel. B. i.
2. Samson Killing the Lion. — A large print, finely cut, but poorly
felt. B. 2.

New Testament.
3. Adoration of the Magi, 151 1. — A beautiful work of medium
size. Copies. — (1) (2) Without the monogram and date. (3)
On copper, by Marc' Antonio. Four others reversed. B. 3.
The Greater Passion: a Series of Twelve. Size, 15 inches by iof.
4. The Title. — Our Lord seated ; the crown of thorns on his
head, and his hands clasped. Before him a soldier mocks him
with the reed, which he offers as a sceptre. B. 4-15.
5. The Last Supper, 1510. — -A grand composition, in which it
is to be observed, if we count the figure standing with the German
flagon and mug in his hands, there are twelve Apostles besides
Judas. 6. The Agony in the Garden. — This composition, and the
peculiar treatment of the Angel especially, has a much earlier
character than the last. It is indeed like an early work. There
is no date.

222 Life and Works of Albert Durer.
7. The Seizing of Christ, 15 10. — He is already in the violent
grasp of an armed mass of men. Nothing more terrible or pa
thetic was ever done of this subject.
8. The Flagellation. — This is without date, and I would venture
from internal evidence, to consider it an earlier work.
9. The Mocking. — Christ is presented to the Jews, who disclaim
him, and call out ' Crucify him ! ' A grand work of the dramatic
sort. 10. Bearing the Cross. — Durer never did anything finer than
this noble work.
11. The Crucifixion. Another work above criticism. Noble
beyond the most of the creations of human genius. The sad
mother sunk upon the ground and the group supporting her are
truly touching. The treatment is mystical— the sun and moon
sympathise, and three angels save the blood from the blessed
wounds in cups.
12. Christ taking the First Redeemed from Hades.— This incident,
called by our old English mystery playwrights, ' The Harrowing
of Hell,' 15 10, is always placed immediately after the crucifixion
and before the entombment ; not as in the Creed, ' He was crucified,
dead, and buried ; he descended into hell, and the third day he rose
again.' This is another mighty creation of the art of our master.
The treatment was indeed settled for him to some extent, but the
realisation is more full than in any other representation, early or
later. 13. The Bewailing of the Maries. — A truly noble work. B. 13.
14. The Entombment. — Another great and admirable production,
although a little archaic in the action of the figures.
15. The Resurrection. — This finishes the series, twelve in num
ber, of the ' Greater Passion,' one of the five prolonged works
of the master illustrating the Christian history. Three of these
refer to the ' Passion,' viz. that we are now speaking of; the c Lesser
Passion,' on wood, thirty-seven designs ; and the « Passion ' on

Appendix. 223

copper, very elaborate small plates already described ; the other two
being the ' Apocalypse,' fifteen wood engravings, same size as the
' Greater Passion,' and the ' Life of the Virgin,' twenty in number.
The ' Apocalypse ' series was done in 1498 ; and it appears to me
the unequal prints in the series of the * Greater Passion ' have been
done at or about that period, and retained till an opportunity oc
curred for the completion of the set.
Passavant enumerates four editions, or issues, of the ' Greater
Passion:' —
1 . Without text on the back of prints and title ; very perfect.
2. With the text ; strong and good.
3. Without text ; coarser in printing.
4. Printed by Koppmayer of Augsburg,. 1675.
These last are those commonly offered for sale, but there must
have been a very large issue of the second and third classes as well.
On the back of the last plate (the Resurrection) there are no
verses, only the imprint, — ' Impressum Nurnberge per Albertum
Durer pictorem. Anno Christiano Millesimo quingentesimo
undecimo.' Then follows the curious caution to imitators and
pirates, from whom Durer must have suffered all his life. The
greatest pirates, however, were beyond the power of the Kaiser,
in Venice and elsewhere. This Latin inscription is given else
where. The following is the title to the work : — ' Passio Domini
nostri Jesu, ex Hieronymo Paduano, Dominico Manico, Sedulio
et Baptista Mantuano, per fratrem Chelidonium collecta, cum
figuris Alberti Dureri Norici Pictoris.' The verses so collected
and made by Brother Chelidonius are printed on the backs of the
pictures. The 'Lesser Passion' and the 'Life of the Virgin'
were also furnished with verses by him.
Copies. — Notwithstanding the proclamation of the danger to
rash and avaricious hands, and of the difficulty in execution,
copies were made ; one or two, the ' Crucifixion ' especially,
very closely imitative. Marc' Antonio engraved on copper the

22 4 Life and Works of Albert Durer.
' Bewailing of the Maries,' and Henry Goltzius the c Entomb
ment.' No complete series of deceptive copies, however, does
exist. The Little Passion : A Series of 37, title included.
Size, 5 inches by 3^.
16. The Title. — Christ seated with the crown of thorns on his
head. B. 16.
17. Adam and Eve taking the Apple. B. 17.
18. The Expulsion from Paradise. — These two preliminary
designs show the sin and consequent loss of happiness which the
suffering of Christ was to cancel and restore. B. 18.
19. The Annunciation by Gabriel. B. 19.
20. The Nativity : Adoration of the Shepherds. — It will be
observed the master has not chosen the Magi, but the Shepherds
for his one illustration of the Nativity. B. 20,
21. The Entry into Jerusalem. B. 21.
22. The Cleansing of the Temple. B. 22.
23. Christ taking leave of his Mother before his Passion. — It must
be admitted that Durer in all his works has shown great respect
for the mother of the Saviour. B. 23.
24. The Last Supper. B. 24.
25. The Washing of the Feet. B. 25.
26. The Agony in the Garden. B. 26.
27. The Kiss of Judas. B. 27.
28. Christ brought before Annas. B. 28.
29. The High-priest Caiaphas rends his Clothes. B. 29.
30. The Mocking in the House of Caiaphas. B. 30.
31. Our Lord brought before Pilate. B. 31.
32. Before Herod. B. 32.
33. The Flagellation. B. 33.
34. The Crowning with Thorns. B. 34.
35. Presented to the People. B. 35.

Appendix. 22$

36. Pilate Washing his Hands. B. 36.
37. Bearing the Cross. B. 37.
38. The Veronica. — This design breaks the continuity of suffer
ing. It represents the woman who wiped the face of our Lord,
exhibiting her true image. SS. Peter and Paul on either side.
B. 38.
39. Nailing Christ on the Cross, prone on the Ground. B. 39.
40. The Crucifixion. B. 40.
41. The Harrowing of Hell. B. 41.
42. 77*<? Descent from the Cross. B. 42.
43. The Weeping of the Maries. B. 43.
44. The Entombment. B. 44.
45. The Resurrection. B. 45.
46. Christ in Glory appearing to his Mother. B. 46.
47. Appearing to the Magdalene. B. 47.
48. At Emmaus. B. 48.
49. The Unbelief of S. Thomas. B. 49.
50. The Ascension. B. 50.
51. 7he Descent of the Holy Ghost. B. 51.
52. Christ seated for Judgment.^- John the Baptist and the
Virgin in the clouds with him ; the good and evil, in the distance
below, go to their respective destinies. B. 52.
Such is the list of subjects in this most complete of all pictorial
schemes of Christian history. No works of Durer's are so well
known, and it is unnecessary to describe them. The complete
work was published, like the ' Greater Passion,' in 151 1. A few
seem to have been printed without text at first, although not sold
in such numbers as to be considered an edition. The regular
editions were the following: —
1. 151 1. Over the vignette of the sitting figure of Christ,
is the title ' Figura Passionis Domini Nostri Jesu Christi.'
Q

226 Life and Works of Albert Durer.
At the end, ' Finis impressum Norimberga, 15 11.' No
letterpress.
2. Entitled ' Passio Christi ab Alberto Durer,' &c. Frater
Chelidonius supplying the verses, which were printed
on the backs of the prints. At the end, ' Impressum
Numberge per Albertum Durer, pictore ; ' then follows
the long admonition and warning to piratical imitators,
as on the ' Greater Passion.'
3. 16 12. The blocks having been carried to Venice, they
were printed there by Daniel Bissuccio, in small 4to., with
Italian verses in ottava rima, by P. R. Maurizio Moro.
4. 1844. The blocks were sold to the British Museum in
1839, and Mr. Henry Cole edited an edition in London
in 1844; two of the designs, viz. the Title and Christ
Taking Leave of his Mother, having been lost, were re-
engraved by Thurston Thompson.
5. Finally, in 1856, Archdeacon Allen, of Salop, issued an
edition of thirty-two from stereotypes, with texts from the
Evangelists, entitled ' The Humiliation and Exaltation of
Our Redeemer ;' published at the wonderfully low price
of one shilling.
These London editions are now out of print, and the price of
the old copies is higher than before. They have been repeatedly
copied ; one complete set of deceptive, or ' Mommardische,'
copies, as Heller styles them, being so complete and exact as to
be undistinguishable by the uninitiated.
It is difficult to give an account of these copies. The one
already mentioned has the title similar to the first issue, without the
name of a publisher or date. Heller, in his ' Leben und Werken,'
gives a little piece, a few lines, or small object, from both original
and copy side by side, to afford a criterion for distinguishing them ;
and even then the difficulty is considerable.

Appendix. 22y

Virgil Solis copied the majority of the set several times ; one
series of eighteen, and another, different from these, of the whole
number, a third of twenty-four. Marc ' Antonio copied the whole
series, on copper of course : Mr. H. Cole thinks, with the ex
ception of the vignette figure of Christ. An engraver, with the
initials G. S., executed a set which were published in 1569, and
again issued at Brussels. ' Bruxellas, etc. Johan Mommartius,
1644.' Still another set is entitled, under the vignette figure,
' Passio Christi ab Alberto Durer Nuremburgensi effigiata. J. A.
Colom exc. A. B. Waesbergen excudit.'
53. The Last Supper, 1523. — This is a long shaped design,
the table being seen in all its length, with the disciples, eleven in
number, behind it and at either end. In the foreground is a flat
basin ready for the washing of the feet. The dramatic expression
of several of the disciples on the announcement of their Lord, that
one of them would betray him, is admirably true. It has been
copied deceptively. B. 53.
54. The Mount of Olives. — A small engraving. B. 54.
55. Pilate showing Christ to the People. — Our Lord wears a
mantle put upon him in mockery, which Pilate holds with his left-
hand, stretching the right out to the people. (Not in Bartsch.)
56. The Head of Christ (the Veronica). The crown of thorns
is on the head. The head is given as on the cloth, which is
fastened by two nails. B. Ap. 27.
57. The great Head of Christ. — Larger than life. A short beard
a little curled, the hair parted under the crown of thorns. Durer's
monogram, very large, outside the enclosing line of the print.
Hauer, an early authority, considers this drawn by H. Sebald
Beham, who, though one of the ' Little Masters ' on copper, was
fond of very large woodcuts. This head is also found printed in
tints (chiaroscuro).
58. Christ on the Cross, 1510. — The figure is rather turned to

228 Life and Works of Albert Durer.

the left. A wild landscape behind : a Death's head lies at the foot
of the cross. This was printed with a series of eight verses
appended in columns on the same sheet. These eight verses are
headed ' Matins : The first hour. Second hour. Third hour.
The sixth hour. Ninth hour. Vespers. Compline, and a Prayer.'
Durer's monogram is at the end of these verses, marking them to
be his as well as the design. B. 55-*
59. Christ on the Cross, 1516. — On the left stands Mary, her
arms crossed on her breast ; on the right, John. Above is the
Holy Ghost with God the Father in a glory of angels. On the
two sides of the design are broad borders with angels carrying the
implements of the Passion and vine leaves. This is a fine work,
and was afterwards printed as one of the titlepages in the large
and fine Bible by Martin Luther, printed in Nurnberg, by Frederic
Peppus, 1524. (Another of these titlepage designs is by Durer's
friend and assistant Hans Springinklee.) This has been often
copied at an early time, the copies now passing as original im
pressions. B. 56.
60. Calvary. — Christ is on the Cross between the two thieves,
the Magdalene at the foot, and in the left foreground Mary is
fainting. A composition full of figures. B. 59.
61. The Crucifixion. — On the right S. John, the mother has
fainted. A large block. B. 57.
62. Christ on the Cross with Three Angels. — The angels save the
blood from the wounds in four cups. A large design, done on two
blocks. Sometimes only the upper half is found as a complete
work, the figures being then in half. B. 58. This has been
closely imitated in a copy.
63. The Trinity, 1511. — A very noble mystical work, and one
of the most excellent of Durer's designs on wood. Ottley has
conjectured that this was intended by Durer as an addition to the
* These verses are elsewhere given in this volume.

Appendix. 22g

series of the ' Greater Passion ; ' and he says the engraving is so
perfect, Durer may have cut as well as drawn it. This may be
said of the ' Mass of S. Gregory' and of the 'Christ on the Cross,'
1516 (B. 56), also. In the 'Trinity,' God the Father supports
the dead body of the Son. The subject is a Mystery, not in
vented by Durer, but seen in illuminations. It has been repeatedly
copied. B. 122.
The Apocalypse of S. John: A Series of 16 Designs, including
Title, 1498.
64. Title. — John writing, the Virgin and Infant Jesus ap
pearing to him. This is on the lower portion of the page as a
vignette : above, in great ornamental text, are the words,
Apocalipsis.
Cu Figuris.
65. The attempted Martyrdom ofS. John, in a Cauldron of Boiling
Oil, under Domitian, previous to his banishment to Patmos, where
he saw the Visions. B. 61—75.
66. The Seven Golden Candlesticks and the Seven Stars.
67. The Throne of God with the Beasts and the Twenty-four
Elders. 68. The Four Horses with their Riders.
69. The Martyrs clothed in White, and the Stars Falling.
70 . The Four Angels Holding the Winds, and the Multitude who
were Sealed.
71. The Seven Angel Trumpeters.
72. The Four Angels Slaying the Third Part of Men.
73. John is made to eat the Book.
74. The Woman clothedwith the Sun, and the Seven-headed Dragon.
75. The Archangel Michael fights with the Dragon.
76. The Worship of the Seven-headed Dragon, and of the Horned
Lion.

230 Life and Works of Albert Durer.
77. The Lamb in Zion.
78. The Woman of Babylon Sitting on the Beast.
79. The Angel Imprisoning the Dragon.
In this stupendous series of realisations of the visions seen in
the island of Patmos, Durer of course employs the purely natural
istic expression of early German art and literal faith, and, wonderful
to say, without any gross absurdities ; except perhaps in the figure
whose legs were pillars, and who stood on sea and land. Of the
terribleness of many of these designs it is not necessary to speak,
except indeed to point out that, fearfully impressive as they are,
there is nothing of the Sublime in the designs ; that is to say, the
Sublime as defined by Longinus and Edmund Burke ; but they
command the feelings and the imagination like the original.
This is Durer's earliest series ; and it is possible that then
for the first time, at the age of twenty-seven, the artist had ac
cess to the book itself. We presume every one remembers the
impressive effect of his first perusal of the Apocalypse in early
youth, while it still held to him the sacred character of a revelation.
In Durer's time, when the great movement was yet unshapen —
the date of publication is before any translation by Luther or other
leaders of freedom — it would have the authority of prophecy.
Passavant says, there were five different editions of the Apoca
lypse : 1. Proofs without the text, excellent.
2. With the text in German, 1498.
3. With the text in Latin, 1498.
4. Also with Latin text, and title, 15 11.
5. Impressions subsequent : most common.
The edition of 15 11 was the first appearance of the tidepage
design. The first edition has this title, ' Die heimlich offenbarug
Johariis : ' and at the end : ' Ein Ende hat das Buch der heimlichen

Appendix. 23 1

Offenbarung Sant Johansen des zweltboten und Evangelisten.'
Then follow ' Piinted at Nurnberg, by Albrecht Durer the painter,
after the birth of Christ 1498 years.' It will be observed he calls
himself ' Durer the painter ' at this early time. In the edition
of 151 1, it is in Latin, ' p. Albertum Durer pictorem.'
Of these many copies have been made ; one of the whole series
same size by Jerome Greff, and in Dutch and other Bibles we find
small adaptations of these unique inventions.
Celebrations of the Virgin. The Life of the Virgin :
20 Designs, 151 1.
80. Title. — Mary sitting on a cushion on the half-moon nursing
the Holy Child. B. 76-95.
81. Joachim's Offering rejected. — The authorities for the facts
of Mary's history, and indeed for rhe early history of our Lord as
well, prior to the great Reform, were the Apocryphal not Canonical
Gospels, for some clerical reason or other. In the ' Gospel of the
Birth of Mary ' and in the ' Protevangelion,' it is recorded that the
offering of Joachim and Anna was rejected by the High Priest
because they were childless. The parents of the Virgin then
parted, and Joachim repaired to the sheepfolds to bewail himself.
82. The Angel of the Lord appears to Joachim with a promise he
shall have a child. — This is a beautiful work. Observe the truly
mediaeval idea of the angel giving Joachim a guarantee in the shape
of a charter or document with seal attached !
83. Joachim returns home, and Anna meets him at the Golden Gate.
84. The Birth of Mary.
85. The Virgin ascending the Steps of the Temple. — At three years
of age the Virgin is carried to be dedicated to the service of the
Temple, and in a miraculous manner is able to ascend the sacred
stair. A subject often painted by the great Italian masters.
86. The Marriage of Joseph and Mary.
87. The Annunciation.

232 Life and Works of Albert Durer.
88. The Visitation of Elizabeth.
89. The Nativity : with the Adoration of the Shepherds.
90. The Circumcision.
91. The Adoration of the Three Kings.
92. The Purification of Mary.
93. The Flight into Egypt.
94. The Repose in Egypt.
95. Christ Teaching in the Temple.
96. Christ Bidding his Mother farewell.
97. The Death of the Virgin, 1 5 10.
98. The Assumption of the Virgin. — Received by the Trinity in
a glory of angels.
99. A Celebration of the Virgin-mother. — A lovely design, with
the nai've introduction of little angels playing about the foreground,
as in the still lovelier design, the ' Repose in Egypt.' Before the
Virgin a greater angel plays on the harp, and S. John amuses the
Child by showing it a book — a picture book, we may presume !
S. Catherine kneels on the other side. Behind are John the
Baptist, SS. Joseph, Paul, Anthony, and Jerome.
The twenty noble and beautiful works form the most excellent
votive offering ever made by engraving to the mother of our Lord's
body. To commend them, or describe them one by one, is un
necessary ; and now to do so in fitting terms of reverence and love
is difficult ; there is so much that has passed away, and the re
mainder has got congealed into a dogma by Pius IX. They
were published with Latin verses by Brother Chelidonius in 151 1,
with a warning to pirates and copyists similar to that already given
at the end of the ' Greater Passion.'
Passavant enumerates three editions :
1. Proofs. First state without text : most perfect.
2. Edition 151 1, with Latin text.
3. Without text : most common.

Appendix. 233

Copies. — This series was immediately copied in Italy and else
where. Marc' Antonio engraved them on copper, and sold them
in hundreds at Venice. These are often to be found, and im
pressions, worn out by printing, show how successful the piracy
was. His series consists of seventeen plates, Christ teaching in
the Temple, the Death of the Virgin, and the Assumption, being
omitted. A set of fourteen on wood was also done in Venice,
1557. The woodcuts are often sold as the originals. A set in a
small size, with the names of the subjects in Latin below, was
also engraved on copper by Le Blond and several others. J.
Hopfer etched the flight into Egypt and others.
100. The Holy Family, 151 1. — An upright composition. Mary
is giving the Child to S. Elizabeth, SS. Joseph, and Joachim on
either side. — B. 96.
101. The Holy Family "-with the Cithern,' 1511. -Two little
angels in the foreground, one of whom plays on a cithern, gives
the picture its name. S. Elizabeth reads, and there are four old
men and two young women (heads) in the group. B. 97.
102. The Holy Family, 1526.— She sits on a bank, holding the
Child with her right hand, an apple in the left. B. 98.
103. The Holy Family in a Chamber. — The Virgin looks to
the left. On her lap is a cushion, on which the Child stands.
Marc' Antonio pirated this on copper. B. 100.
104. Mary with the Swaddled Child.— She sits on a bank of
turf, the swaddled Child held in both arms : two angels fly above
her with a crown. A round engraving, beneath which, and dis
connected from the subject, is a portion of landscape, as if done by
a learner in practice. Rare.
105. Mary Crowned by Two Angels, 1518.— A sumptuous in
vention. Rather large size. A number of little angels in the
foreground gambol and play. Larger angels surround the Virgin
and Child : two fly above with a great crown. The crown is of
that character still to be seen in Roman Catholic churches, part

234 Life and Works of Albert Durer.
of the ' art treasures ' of many a sacristy which one would like
now to see consigned to the dust-heap. In Durer's gorgeous
picture even it mars the work. It has been three times copied
on copper. B. 101.
1 06. The Holy Family with the Three Rabbits. — In an enclosure,
usually called a garden, with a landscape in the distance. The
Virgin sits, the Child in her lap turning over the leaves of a book.
Joseph on the right. Two angels with the ' crown.' The rab
bits are in the foreground. B. 102.
Saints.
107. S. Arnolf, Bishop. — He blesses with his right hand; in the
left, the pastoral staff.
108. S. Christopher, 1511. — Wading with the Holy Child,
who holds the Saint's head with his right. B. 103.
109. S. Christopher with the Birds. — The hermit stands with
his lantern in the foreground. The birds that give the name to
the print are in the sky. B. 104. Copied by M. Antonio
among others.
no. S. Christopher, 1525. B. 105.
in. S. Colman, 15 13.* — A Scotch saint, it would seem, mar
tyred by hanging, 1020, at Stockerau in Austria. The shields
of Austria and Scotland are on two sides of the subject, two
other shields being on the remaining sides. B. 106.
112. S. Francis receiving the Stigmata. — Impressions are also
* Nicolas Kratzer, a distinguished astronomer and mathematician of
Munich, in the service of our Henry VIII., writes from London to
Durer : ' Je vous prie de vouloir me envoyer le portrait de Stabig (Stabius)
qui a ere portraite dans la figure de S. Colman, gravure sur bois.' The
quotation is from Passavant. The print was first published in a poem by
Jean Stabius, then in Nurnberg, in connection with whom Durer drew
the three geographical pieces of the celestial hemisphere. The poem is
on S. Colman.

Appendix. 235

found in chiaroscuro by printing a tint over the woodcut. Copied
by Marc' Antonio. B. no.
113. S. George. — He is on his horse, the dragon lying below
receives the lance in his mouth. B. in.
114. The Mass of S. Gregory, 181 1. — The saint kneels
with the deacon and subdeacon on either side before the altar,
from which, open like a tomb, rises the pathetic figure of our
Lord, all the instruments of his death appearing about him.
This is one of the examples of engraving, with such power and
expression in every line as to support the idea that Durer never
quite consigned to inferior hands the engraving knife. In every
way a noble work. Five times copied on copper. B. 123.
115. S. Jerome in a Chamber, 1511. — Another noble piece
of woodcutting. He sits at a little desk in a cardinal's dress.
The great lion sleeps uneasily in the foreground. Four times
copied on copper. B. 114.
116. S. Jerome in the Grotto, 1512. — This has been twice
printed, once without the date, with a long inscription in German.
B. 113.
117. The Little S. Jerome. B. 115.
118. The Beheading of S. John the Baptist. — Copied many
times on copper. B. 125.
119. The Head of the Baptist brought to Herod, 151 1. B. 126.
120. S. Sebald; with his foot on a pillar, in his left the model of
S. Sebald's kirk in Nurnberg. B. Ap. 22.*
121. The Penitent.— With a scourge before an altar on which
burn two candles. B. 119.
122. The Prophet Elias and the Raven.— Described in Heller
as Elias and S. Anthony. (S. Paul the Hermit?) B. 107.
* This is a doubtful engraving, according to Bartsch. The Appendix
which that very good authority gives of doubtful works, or works ascribed
to Durer, consists of sixty-two pieces. S. Sebald is one ; I am inclined to
agree with Heller in considering it a genuine print designed by the master

2 36 Life and Works of Albert Durer.
123. SS. John and Jerome. B. 112.
124. SS. Nicholas, Udalricus, and Erasmus. — Three bishops.
Nicholas on the left. B. 118.
125. SS. Stephen, Gregory, and Lawrence. — On the left is
Stephen, holding in his right a palm branch. B. 108.
126. The Eight Austrian Saints. — A long print : the eight patron
saints of Austria stand separately in order with inscribed names
below. B. 116. A rare print, at least in its first edition, 1527.
127. The Martyrdom of the 10,000, in Nicomedia, Bithynia.
B. 117.
128. The Beheading of S. Catherine. B. 120.
129. S. Mary Magdalene. — Six angels surround the naked Mag
dalene. The legend is, that she was carried to heaven daily for
seven days, to hear the singing of the choirs; after which she
rested in her cave. B. 121.
1 30. Kaiser Max attending Mass. — This is a rather large print
with a number of figures. B. App. 31. Having adopted Heller's
order in this catalogue of Durer's engravings, we enter this one as
he has numbered it ; I do not think it is by Durer. Passavant
rejects it. Mythological and Natural Subjects.
131. Judgment of Paris. — Very small. Paris, who is in armour
seems to sleep, while the three goddesses stand before him. The
same design as the copper engraving, No 63. B. 134.
132. ' Hercules.'— This name is on a label in the engraving,
but no one has been able to make out the meaning of the design,
which shows an armed figure lying on the ground trodden by a
wild man ; two women, corresponding somewhat in character to
the two men, are also visible. B. 127.
133. The Rider. B. 13 1.
134. The Bath. — A number of squalid men sittir^ in water.

Appendix. 2$/

Both these cuts are of considerable size and inferior character.
B. 128.
135. The Embrace. — The couple sit at the foot of a great tree.
On the left another man waits with a drinking glass. B. 135.
136. The Learner, 1510. — He sits in a 'garden,' a book on
his knee, in his right hand a staff, a boy before him. On the
right sit other youths, inkhorns at their girdles. This is a very
scarce print, and the early copies have a number of verses ap
pended in two columns. These verses I have translated ; they
will be found elsewhere. B. 133.
137. Death and the Soldier, 15 10. — The Soldier leans on his
partisan, Death holds the hour-glass in his right hand. This is
nearly the same size as the last, is equally scarce, and the early
impressions have also verses attached in two columns. These I
have not translated.
138. The Besieging of a Town, 1527. — This is a long and nar
row print, about twenty-seven inches, by less than a third of that in
height. It appeared in Durer's work on 'Fortification,' published
in the above year, the year before he died, at the end of the book ;
a labour of love, and a vindication of the author in his character
of artist, rather than a necessary illustration to the book. The
walls of the town are defended by a moat, and the attack brings
into play many companies of small figures with cannon. This is
an extraordinary piece of clear and delicate drawing and engraving.
There is a repetition of half of this long and crowded print, some
times accredited to Durer. B. 137.
139. The Rhinoceros, 1515.— The original sketch, which was
in the Sloane Collection, is now in the British Museum. It is not
evidently from nature. The first animal of this species brought
to Europe came to Lisbon in 1513, and King Emmanuel in
tended it for the Pope. It was lost near Genoa by shipwreck,
and Durer, with his love of strange things, must have had some
sketch transmitted to him. There is a description of the Rhi-

238 Life and Works of Albert Durer.
noceros printed on the two early editions in German, and on the
third in Dutch. There were many copies issued. B. 136.
140. The Triumphal Chariot of Kaiser Maximilian I. — This is a
series of large blocks, eight in number, engraved by Jeronre Rosch,
exhibiting the gorgeous chariot drawn by twelve lichly caparisoned
horses led by emblematical nymphs, united in a great wreath. The
Kaiser sits in the car holding sceptre and laurel, Victory behind him
holding the laurel also over him. The nymphs are the Virtues,
their names being given, and the wreaths they carry also re
present qualities. The horses also are representative, and even
the wheels of the chariot. Altogether it is a splendid piece of de
corative invention ; all this emblematic matter being characteristic
of the time, young ladies actually enacting the Virtues on great
occasions of rejoicing, as we see recorded in Durer's ' Journal.'
The mandate of Kaiser Max appears on the eighth sheet of this
immense train of horses and nymphs, and is addressed to Pirk
heimer : Honorabili nostro et Imperii sacri fideli, dilecto Bilibaldo
Pirckheymer, consiliario nostro.' This is on the second edition,
that of 1523, and the invention is claimed by Durer thus:
' Excogitatus et depictus est Currus iste Nurembergae : Impressus
vero per Albertum Durer. Anno mdxxiii.' The painting of
this subject on the wall of the Rathhouse is much effaced. The
first edition was in 1522, with the mandate in German. A third
edition, 1598, appears also with Latin text. The Kaiser died in
15 19 ; so neither this, nor the admirable portrait, nor the prodigious
Triumphal Arch, all three celebrations of his greatness by his court
painter, were published in his lifetime. A fourth edition appeared
in 1609. It has been twice copied in small. B. 139.
141. The Triumphal Arch of the Kaiser Max.— This is a com
bination of ninety-two blocks, making an engraved surface of 1 1
feet 3 inches by 10 feet wide. It represents three doors ap
proached by steps, and divided and surmounted by columns and a
kind of panels. The centre port, the royal entrance, is inscribed,

Appendix. 2^g

' The Door of Honour and Power.' That on the left is the ' Door
of Praise,' and, on the right, the ' Door of Magnanimity or Nobility.'
The whole decoration is in fantastic, impracticable renaissance taste,
with a wild German flavour, made up of capitals composed of
living eagles or storks, real men-at-arms on the panels or in the
niches, and all the Kaisers who had preceded Maximilian in their
costume, as portraits, amidst endless vine leaves. The centre block,
representing the upper part of the ' Door of Honour and Power,'
with the keystone of the arch composed of a winged woman holding
the imperial crown, taken by itself, is a delightful bizarre piece of
architecture, but the whole ninety-two blocks laid together entirely
fail in their impression. There is no largeness, mass, or shadow.
This huge labour was begun most likely in 1515 ; but there is
no clear account of how the work progressed, or when it was
finished. Stabius, who died at Gratz, 1522, wrote five folio sheets
of explanation. Dr. Dibden, on whose authority we give the
number of blocks as ninety-two, states the size of the whole as 1 1
feet 3 by 10 feet, and imagines one of the blocks has never been
finished. Be this as it may, we may with some certainty suppose
the Formschneiders of Nurnberg, then becoming a numerous body,
among them peihaps the round-faced young damsel who appears
in his book of sketches inscribed ' Fronica, Formschneiderin,' en
gaged year after year on these wide squares of engraving. Jerome
Rosch undoubtedly worked on them.
The first printing, we can't speak of an edition, is of uncertain
date, most probably issued in portions. There are impressions of
early character in the cabinet of Vienna and elsewhere. What is
called the second printing was in 1559, thirty-one years after the
death of the artist, forty after the death of the Kaiser, at ' Vienna
in Austria, by Raphael Hofhalter.' Third printing. In 1779,
under the superintendence of Bartsch, entitled * Ehrenpforte.
Arc triomphal de 1'Empereur Max I, grave en bois d'apres les
dessins d'Albert Durer. A Vienne, chez T. Mollo et Comp.' It

240 Life and Works qf Albert Durer.

was found that twenty-one blocks had been lost, and Bartsch did
these on copper. The number printed was of course small.
B. 138.
142. The Great Column with the Satyr, 1517. — This curious
piece of ornament is composed of four sheets, which, joined
together, form a grotesque column of about 4^ feet in height. B.
129. 143. A Man sketching another sitting opposite, by means of a
square frame. B. 146.
144. Two Men sketching a Lute. B. 147.
145. A Man sketching an Urn. B. 148.
146. A Man sketching a Woman. B. 149. — These four are .
illustrations in his work on Geometry and Perspective, and ex
hibit scientific contrivances to explain the difference between real
and apparent form.
147- Hemispherium Australe. B. 150.
148. Imagines Cceli Septentrionalis. B. 151.
149. Imagines Cceli Meridionalis. B. 151. — The three prints
are, in fact, celestial geography, and were very extraordinary and
learned things, when no such maps had ever been printed before
in a similar manner. They evidently did not originate with Durer ;
as the names of John Stabius, Conrad Heinfogel, and Albert Durer
appear on them : thus, on the last of the three, 'Joann. Stabius
ordinavit, Conradus Heinfogel Stellas posuit, Albertus Durer ima-
ginibus circumscripsit,' the three shields of these three learned
coadjutors appearing below. Stabius must have had the greater
hand in the work. He was a leading Latin poet and philosopher
at that day, and Durer would appear to have given a portrait of
him in the figure of S. Colman, as already mentioned in a note
to the engraving of that saint (in). Stabius died at Gratz, 1522.
150-155. Six round ornamental Designs, on Black Ground; sup
posed patterns for embroidering. — These are labyrinths or inter
laced ornaments, such as could be well expressed by braiding.

Appendix. 24 r

Durer's monogram is in the centre of one of these. There is a
copy of this one with the words, ' Academia Leonardi Vici ;' but
what this means it is impossible to say. B. 140-145.*
156. A Decoration, with the figures of God the Father holding
the chalice in one hand and tables of the law in the other, and
Christ bearing his Cross. A doubtful work. B. App. 28.
157. A Title- Border, with John baptizing Christ. B. App.
30. — The four sides of the enclosing border exhibit different
subjects. John writing his visions in Patmos, .the Virgin appear
ing to him, &c. This title was used for more than one book.
158. Another Title-Border, for a book published 1526, in 4to. —
On the upper part of the design an angel sits, playing on a cithern.
Below, a shield, with various devices.
159. The Pirkheimer Title-Border. — Two little angels hold a
heart-shaped shield, on which a birch tree with its root is seen.
Two other angels are behind, on right and left, blowing trumpets,
&c. This title was used for several books by Bilibald Pirkheimer,
published by Fredericus Peypus of Nurnberg, 1516, 1517.
Heraldic Pieces^
160. The Arms of the Patrician Family of Beham. — The shield,
bearing a river, is divided by a perpendicular line, and decorated
with arabesques. The helmet is beside it, with an eagle with out
spread wings as a crest. This was done by Durer for the counsellor
Michael Beham in 1511. B. 154.
161. Shield of Arms of the Durers, dated 1523. — A fanciful shield
founded on the pun on the name Diirer, Thiirer, Thor, a door.
There-are no initials A.D. within the door, to identify it with the
painter himself, whose bearings, as we have seen, were three ecus-
sons on a field of blue, granted by the Emperor, according to Van
* One of these deigns has been adopted as the stamp on the board of
this bock.

242 Life and Works of Albert Durer.
Mander, and engraved by H. S. Beham (B. 258). Another in
stance of this shield with the door being applied to Albert, is on
the portrait (174 in this list) done after his death, and there are
no initials within it, either, in the first printings. The crest is also
a pun on the name, which means also a fool. A blackamoor, a
dwarf, and a motley, were all considered within the definition of
court fool. Here a negro's head with two wings is the crest ; in
Beham's print, a negro's head with two antlers. Copy \ small, on
copper, by Le Blon : he has placed the A. D. on the shield, and
below, ' Insignia celeberrimi Alberti Durer,' which is a mistake.
B. 160.
162. The Shield of Arms of the Nurnberg families Ebner and
Purer, 15 16. — Two little winged angels hold the shield. B.
App. 45.
163. The Shield of Arms of the Kressen Family. — A sword.
An open helmet surmounts the shield, the crest being a man
demi. B. 161.
164. The Arms of the Town of Nurnberg, 1521. — Two angels
with great wings stand right and left, holding the shields of the
Emperor, the double eagle, and of the town, the ' Jungfern-adler,'
young eagle. Two winged female figures appear behind, — the one
crowned, with a sword in her right hand ; the other, wearing a
chaplet, holds a purse of money in her right hand ; the left, from
which fire streams, is open against her breast. Over this is a tablet
with the words Sancta Justicia, 1521. This heraldic and em
blematic design was printed on the back of a book-title, ' Reforma
tion der Stat Nuremberg.'
165. The Shields of Albert von Scheuerl and of Ann Ziuglin.
B. 164.
166. Arms of Johann Stabius. — A single eagle with spread wings.
This learned poet and man of science we have seen associated with
Durer in various ways ; they having their names and shields on the
maps of the celestial hemisphere, and Stabius having written a

Appendix. 243

long explanatory text to the Triumphal Arch. The wood-block of
this heraldic design was preserved in the Hof-bibliothek of Vienna,
and was reprinted in 1781 with this inscription, ' Tabula ab Al
berto Durer ligno incisa, quas in Augustissima Bibliotheca Cass.
Vindobonensi asservatur. mdcclxxxi.' B. 165.
167. The Shield of Stabius with a Border. — This also was
reprinted at Vienna at the same time as the preceding. B. 166.
168. The Arms of Laurence Staiber. — A divided shield with
leopard and hound. B. 167, 168.
169. The Shield with Three Lions' Heads. B. 169.
170. The Arms with the Wild Man and Two Dogs. B. 170. —
These ten heraldic cuts are included in all lists of Durer's works,
one or two excepted. Prints of heraldry were then prized, and or
naments of the florid kind with fanciful figures applied to enhance
the interest. Jost Amman's Wappenbuch has some good art of
this kind. Durer may have done all these enumerated ; but it is
more probable he did not, at least with his own hand. However,
rarity is the main interest to many collectors, and the Rhinoceros,
or a coat of arms, will be paid for as highly as the Mass of S.
Gregory, or other excellent work.

Portraits.
171. The Emperor Maximilian, 1519. — A head, nearly the size
of life, of the great ruler and good friend to Durer, bordered by
a decoration on sides and top, and an inscription below. This
inscription shows the print to have been published after, the death
of the great Kaiser : ' Der Teur Furst Kayser Maximilianus ist
auff den XII. tag des Jenners seines alters im 59 jar seligklich
von dyser zeyt geschaiden. Anno Dorn. 15 19.' The singularly
expressive face is admirably rendered. He wears a barret with a

244 Life and Works of Albert Durer.
little medallion of the Virgin on the front. He is clean shaved.
On either side of the head are the words
IMPERATOR CffiSAR
DIVUS MAXI MILIANUS
PIUS FELIX AUGUSTUS.
When the Earl of Arundel was ambassador at the court of Vienna
in 1623, he purchased the wood-block of this portrait from a dealer
named Schwankhard, and at this time there were impressions taken.
What came of this wood-block is not known : it may still exist.
B. 153-
172. Emperor Maximilian. — Like the last mentioned, a three-
quarter face turned towards the right. Over the head is a label
with the words, ' Imperator Cassar Divus Maximilian Pius Felix
Augustus.' B. 154.
173. Ullrich Varnbuler, 1522. — A profile turned to the right,
very admirably expressed. A great hat with flaps on his head,
with a cap under it. This also is a large size, and there were
three blocks prepared to print over the woodcut, so as to produce
a chiaroscuro. This and Nos. 57 and 112 are probably the only
instances of Durer having employed this method, which was at
one time claimed as the Italian invention of Ugo da Carpi, but
now resigned to the Germans. There are engravings by both
Lucas Cranach and H. Baldung Griin, dated 1509, nine years
previous to the earliest Italian example. B. 155.
174. Albert Durer's portrait. B. 156. — Inscribed ' Albrecht
Durers contrefeyt in seinem alter Des LVI Jares.' B. 156.
Following Heller I enter this portrait, which is a large print, with
the he^d in profile looking to the left : straight thick hair cut short
round, and beard of the same character. In the top left corner is
the Durer shield, the open door ; and, under the print, a poem of
twenty-four lines, in praise of Durer. But internal evidence proves
this work to the eye of an artist to be by another hand, and not

Appendix. 245

by Durer himself. The elongated form of the eye betrays the
inferior draughtsman as well as the barrenness of the execution
throughout. The earlier varieties of impression do not indeed
show any intention to pass off the portrait as the work of Durer
himself; it is only the fourth printing that exhibits the monogram
and date a.d. 1527 on the door on the shield previously vacant.
I am inclined to go still further and question the veracity of the
portrait altogether ; the general shape of the head and face, the
straight character of hair and beard are specifically different from
all the earlier portraits. Moreover, the ignorance of Durer shown
in the last line of the verses goes to show the print to have been
issued by some one little intimate with the great artist. The verse
says he died on May 6, whereas he died on April 6, 1528, aged
fifty-seven years, having been born most probably on April 6, 147 1.
This portrait was copied five several times, one of these often pass
ing as the original. In late times also it has had much favour.
The first and genuine engraving is recognised by a small portion
of shading (one of the folds of the dress touching the lower edge
near the middle of the print) being done by five short curved lines
and a dot, the second engraving (copy) having eight. It has no
A. D. within the door on the shield.

2\6 Life and Works of Albert Durer.

III.
DOUBTFUL WOOD ENGRAVINGS.

i. Adam and Eve. — Eve stands on the left and takes the apple
from the Serpent's mouth with her left hand. On the tree sits an
owl. B. App. i.
2. Adam, lying on the Ground.
3. Eve. — Companion to the last. In her left hand the apple.
4. Job. — His wife stands by him, and the Devil tempts him.
B. App. 2.
5. David, playing on the Harp.
6. Judith. — She holds the head of Holofernes.
All these are passed over by Passavant as not Durer's.
7. The Annunciation. — The Angel holds a sceptre in his left
hand. (Passavant's ' list of additional wood engravings.')
8. The Nativity. — The Wise Men making their offering. Two
pieces : in one Mary kneels before the Holy Child, in the other the
Magi advance. (Passavant's list. B. App. 3.)
9. The Sister of Lazarus meeting Jesus.
10. Christ bidding his Mother farewell. — This is supposed to be
by Schauflein.
1 1 . The Agony on the Mount of Olives.
12. The Crowning with Thorns. — Christ holds the reed in his
right hand. B. App. 4.
13. Christ on the Cross. — The Virgin and S. John standing
below; over is Durer's monogram. (Passavant's list.)

Appendix. 2\y

14. Christ on the Cross, 1 509. — He is turned towards the left.
S. John at the right side. Round is an arabesque, in which are
angels bearing the lance, sponge, veronica, &c.
15. Christ on the Cross. — Turned towards the left. On the
right stands S. John, and over him the half-moon. On the left
the Virgin, the sun above her head. Printed by Hans Gulden-
mund. 16. Christ on the Cross. — Under the cross kneels the Magdalene.
On the right are Mary and S. John. On the other side a man has
the sponge on the reed. B. App. 6.
17. Christ appearing to Mary Magdalene. — Christ holds in his
left hand a spade. B. App. 8.
18. Christ sitting on his Grave.
19. Christ sitting on the Cross. — He is turned to the right.
Above are the words, Ecce Homo. This appears also as a chia
roscuro shaded with two blocks.
20. Virgin kneeling by the Body of Christ. B. App. 7.
21. Christ with the Lamb.
22. Christ in half-figure, with arabesque. — On the right is A.D.
23. An Altar. — Pillars on either hand, the centre being di
vided into thirteen small pictures of incidents in the life of the
Virgin. This was printed in a book against Luther, Leipsig,
1530, in 410, intituled ' Aliqua Opuscula magistri Hieronimi
Dungerszheym ex Ostrofranciae Bosphoro, vulgo Ochsenfarth,'
&c. B. App. 9.
24. The Holy Family, 1519. — The Virgin kneels before the
Holy Child at the right side. S. Anna supporting the infant on
her lap. B. App. 10. (Passavant's list.)
25. S.Anna on a Throne. — She sits with the Holy Child on her
lap. On the right kneels Mary. B. App. 11.
26. S.Anna, 1518. — Sitting on a bank ; an open book, which
she holds by her right hand, on her lap. Before her sits Mary,
with the Holy Child held by both hands.

248 Life and Works qf Albert Durer.
27. The Nursing Mary — She sits in the middle of the picture
on a bank holding the Child to her right breast with both hands.
B. 99.
28. The Virgin with the Holy Child on her Lap: he holds an
apple in the left hand. A Saint kneels to her on the right. B.
App. 12. (Passavant's list.)
29 The Virgin with a Crown on her Head. — She holds the Child
on her lap by both hands. In his right hand is an apple. B. App. 13.
30. The Virgin with the Standing Child. — The Virgin sits with
the Holy Child on her lap standing on a cushion. On her head is
a veil. B. App. 14.
31. The B. Virgin. — A half length. In her left hand a book,
and with her right she holds the Child standing on a cushion.
B. App. 15.
32. The B. Virgin, 1520.
33. The B. Virgin. — On the moon.
34. The Virgin between Two Bishops. — The Holy Child on her
arm. 35. The Virgin with Two Angels. — She stands in a kind of
Gothic niche.
36. The Virgin and Child Sitting on a Throne, near her standing
the SS., Henry the Emperor and Ulrich.
37. La Ste. Vierge aux Chartreux. — In her left hand a sceptre,
in her right the Child. Her mantle is held on the left by S. John,
on the right by S. Bruno : on both sides kneel Carmelites.
(Passavant's list.)
38. SS. Jude and Matthias.
39'. S. Anthony.
40. S. Augustine.
41. S. Christopher. — The hermit on the left.
42. S. Christopher. — Wading, he turns his head to the left.
43. The same. — Turned towards the right. He holds the staff
with both hands. B. App. 16. (Passavant's list.)

Appendix. 249
44. The same. — The Saint is in the water towards the left.
God the Father is seen in the upper part of the design.
45. S. George with the Dragon. — An oval medallion.
46. S. Jerome. — He kneels on his right knee. (Passavant's
list.) 47. S. John, sitting under a tree, sees the Virgin and Child in
the clouds.
48. S. Laurence. — The Martyrdom. One of the executioners
has a bellows.
49. The same subject.
50. S. Martin, cutting his mantle for the beggar He is on
horseback as usual.. B. App. 18.
51. Conversion of S. Paul. — B. App. 17.
52. S. Sebald. — Very small.
53. The same. — He holds the model of the Sebalds-kirk in
Nurnberg in his right hand. B. App. 19. (Passavant's list.)
54. The same, 1518. — He stands under a stone arch; in his
hand a model of the Sebalds-kirk.
55. S. Sebastian. — Bound to a tree on the left ; two men on the
right with arrows.
56. The same. — Bound to a tree on the right of the design ; on
the left stands a man with a bent bow. B. App. 22.
57. The Martyrdom of S. Sebastian. — The Saint is bound to a
tree on the right; opposite, a man shoots at him. In the back
ground are two Turks. A castle and town in the distance. (Pas
savant's list.)
58. S. Simon, 1523.
59. The Stoning of S. Stephen.
60. The Unbelief of S. Thomas.
61, S. Ulrich. — The mitre in his hand.
62. S. Willibald. (Passavant's list.)
63. The same, sitting. Below, the arms of the town, with
three lions and a pastoral staff.

230 Life and Works of Albert Durer.
64. A Bishop standing. — In his left hand the staff. Called by
Passavant S. Arnolf, No. 191, in his list of additions. B. App. 23.
65. Two kneeling Bishops. — Angels stand behind, and in the
sky are angels.
66. A Bishop with a Knight in Armour.-^-The black eagle on
the shield.
67. Six Saints standing near one another. — The Saint on the
left is a bishop, who holds the shield of Austria ; that on the right
is in armour, the black eagle on his shield, and Durer's monogram
on his breast.
68. S. Barbara, seated, with a cup, on which stands the host
held by both hands. Her tower stands beside her on the left. B.
App. 24.
69. S. Catherine. — An open book held in both hands, she sits
on a curved stool, the sword by her side. B. App. 25.
70. S. Catherine, with the year 1519.
7 1 . The same.
72. S. Dorothea ; with long hair streaming from under a crown.
In her right hand a bunch of flowers, and in her left an open book.
73. A Female Saint, on a little altar, a star on her left breast.
74. The Emperor Maximilian, praying to God in the company
of the Holy Virgin and a number of Saints, 1519. This is a large
and very able design. The Kaiser kneels in the centre, and from a
portal (left hand side) appears God with the ball of the world in his
left hand, a noble figure. The cross in the nimbus, and the cha
racter of the face and figure indicate rather Christ than the Father
eternal, although the figure is usually considered the latter. That
the Virgin holds the Holy Child in her arms would seem to mili
tate against my supposition. Behind the Kaiser are SS. Andrew,
Sebastian, Leopold, George, and Maximilian, the emperor's patron.
Bartsch says there are impressions with Durer's monogram stamped
on the back. The work has, however, a rather later character,
but is worthy of Durer. B. 32.

Appendix. 23 l

75. The Trinity in a Wreath of Roses. — Christ is on the Cross,
surrounded by Apostles and Angels. Above are the Holy Ghost
and God the Father. B. App. 29.
76. The Trinity. — This is double the size of the last, about
fourteen inches, but the same composition slightly changed.
77. The Day of Judgment. — Christ sits on a rainbow, and
blesses with his right hand. The sword is on one side, and the
lily branch on the other ; Mary below on the left, John on the
right. The earliest impressions are not marked, but the later
printing showed Durer's monogram. Bartsch included it : B.
124. Heller thinks it may be by Hans Schaufflein.
78. The same. — The entrance to heaven is on the right, at
which stands S. Peter with his Keys to admit the Blessed. On
the opposite is the mouth of hell. The Holy Trinity appears as
three figures, of equal importance, seated, in long drapery. This
is a titlepage to the following : ' Ein nutzbarliches buchlein, bei
vater Johannes von Staupitz, Doctor, und der reformirten Augus-
tiner Vicarius.' (' A useful litde book, by father John von Staupitz,
doctor, and vicar of the Reformed Augustines. Nurnberg, 15 1 6.')
Under the print is 15 JESUS 17.
DEIN BIN ICH, MACH MICH SELIG.
V. I. V. S.
79. The Little Mass.
80. The Altar. — This is in three pieces. In the first is the
Trinity. In the second the Bearing the Cross, the Suffering Christ,
the Assumption of Mary : this last copied from Durer's print,
No. 98, in the catalogue. In the third division are SS. Chris
topher and Barbara, and Purgatory.
81. A Letter of Indulgence. — (This and No. 79 I have not seen
but simply copy from Heller, who makes no comment, quoting
from Heinecke.)
82. Venus and Cupid : small.

232 Life and Works of Albert Durer.
83. Venus on a Dolphin with a Banner over her. — This is men
tioned in an old catalogue by Von Hauer, the early authority on
Durer's works.
84. Daphne changed into a Tree. — (Quoted from Heinecke.)
85. The Tapestry Picture of Michelfeld, or an Allegory. — This is
a long-shaped design of three blocks, made for working in tapestry
or carpet. In the first block we see a woman who shows the
hour, and a fox that drives a wheel on which birds sit, as eagle,
jay, magpie, with other matters difficult to unriddle. The second
division shows three emblematic figures held in stocks, their names
above them : Judgment, Truth, and Reason, &c. The third por
tion shows a scholar, with a priest following him. Opposite, on
the right, is a figure in long garments representing Providence.
The whole is garnished with couplets of uncouth verse. B.
App. 34.
86. The Running Match. — Two men run after a third ; an ass
follows. In the background are a man and a hart. B. App. 39.
87. An Allegory of the Folly of the World. — A man in armour
mounted on an ass. He holds a sceptre in one hand, and an arrow
in the other. This is ' Tyranny.' Behind him a man with a
knife cuts or shaves the ass's hide. He is labelled ' Geitz '
(Avarice?). On the ground lies Hypocrisy. ' Vernunft,'
' Gerechtikeyt,' and ' Wort Gottes ' are all represented and
lahelled. Murr says this was engraved by Hans Guldenmund.
B. App. 33.
88. Philosophy, represented as a queen on a throne ; in her
right hand a book, in her left a sceptre. This appeared in Conrad
Celtes' book, ' Protucii : Quatuor Libri Amorum, 1502, Nori-
bergae;' and afterwards in other books. Durer was certainly
associated with Celtes in other matters. Bartsch accepted this as
Durer's. B. 130.
80-93. Five Designs, to illustrate the Six Comedies of Roswitha
the Nun. Edited by Conrad Celtes, and published in Nurnberg,

Appendix. 253

1 50 1. 'Opera Hroswitha illustris virginis et monialis Germane
gente Saxonica orta nuper a Conrado Celte inventa.' These
Comedies are in Latin, and resemble Terence, and were just
then brought to light and published as the work of Roswitha,
abbess of Gandersheim, in the north of Germany. For pure
latinity and laxity of morals they were the wonder of the age and of
many learned men down to the present time, when the subject has
been thoroughly investigated, and an entirely new conclusion re
specting their authorship arrived at. It is now very nearly cer
tain that they were the production of Conrad Celtes. It is a pity
we cannot accept the illustrations as the work of Durer ; yet it
is difficult to attribute them to any known artist of the day.
94. Cardinal on a Horse.
95. The Cobbler, the Priest, and his Cook.
96. The Fool. (In Hauer's list.)
97. An Old Woman cajoles a Man. — Durer's monogram on the
man's purse.
98. The Old Man with a Woman. (In Hauer's list.)
99. The Woman and Death. — An interior : a young naked
Woman lies in a bed, a flower in one hand and a fan in the other.
Death approaches with a sword. Durer's monogram appears below.
(In Passavant's list of additions.)
ioc-iii. The Months. — The Twelve Months ; small designs
for a calendar. (In Hauer's list.)
1 12. Conrad Celtes, presenting his Book of Roswitha' s Comedies to
the Elector Frederick of Saxony. — This is a design in the opera
Hroswitha, 1501, on the back of the titlepage.
113. Celtes presenting his Book to Kaiser Maxmilian, 1502.
114. Kaiser Max, and Louis of Bavaria under a Portal, 1515.
(Passavant's list.)
1 15. John Teuschlein, presenting his Book to the Bishop of
Wurtzburg. — This is a good engraving, and appeared in a book
by Dr. J. Teuschlein. At the end of the book is this announce-

234 Life and Works of Albert Durer.
ment ' Impressum sumptibus et expensis Jo. Kobergers. In
officina Friderici Peypus, Nurembergensium civium, 15 17.' It
appears also on back of the title-border mentioned in the authentic
works of our master, No 157.
116. Roswitha, the Nun of Gandersheim, presenting her book
to Kaiser Otto II. — She kneels to the Emperor, in her nun's
habit. This is in the opera Roswitha.
117. The Printers. — Three men employed in the work of the
press, dated 1520.
118. Another.
1 19-123. Five Designs, Tournaments. — ist. Two knights on
horseback rush together unhorsing each other. 2nd. Two knights
also in collision, or, rather, one is down, and the other lifted
up with the concussion. 3rd. Two knights, again in fight ; one
falls over his horse with his feet in the air and his head down. 4th.
Two knights, separated by lists, have met in force, the lances being
shivered, the knights bent out of the saddle. 5th. Two knights
fighting on foot with daggers. B. App. 36. 37.
124. The Torch Dance. — Three masked gentlemen dance with
three ladies in a circle. On the left are two men holding torches,
and one on the right. B. App. 38.
125. Basreliefwith Two Marine Centaurs. (Passavant's list.)
126. Large Basrelief with Vine, in which are two satyrs, two
women, two children, and two birds. (Passavant's list ; called by
him Design for Tapestry, in two sheets. )
127. A Dragon. — He draws after him the signs of the heavenly
bodies, and his belly is decorated with a mathematical emblem. B.
App. 40. (Passavant's list.)
128-130. Three Horoscopes of Stabius. — ist. Horoscopion omni
generaliter congruens climati, 1512. 2nd. Horoscopium omni
generaliter congruens climati. 3rd. Horoscopion universale pro
multiplici diversarum gentium ritu, diei noctisque horas et mo-

Appendix. 2^5

menta distinguens. These are decorated with shields of arms, and
the last and first with angels.
131. Another Stabian Mystery (Culminatorium fixarum).
132. Mappa Mundi, 15 15. (Passavant's list.)
133. The Sundial. — At the top, between two lines, ' Gegen dem
Nidergang Auf. 49. Grad.'
134. An ornamental Title with Adam and Eve. — This is the
titlepage to ' Chronica aus der Heil. Schrift.' On one side Adam,
on the other Eve. Below Adam, Death is seen seizing an infant.
Under Eve, the Resurrection.
135. Title, with the Resurrection of Christ.
136. Title, ' In festo omnium Sanctorum.'
137. Title, with Genii and Shields ('Tabulae de Schematibus,'
&c. 1511).
138. Title, with Four Angels, of whom two blow trumpets.
139. Title Border, with Two Satyrs in Chains.
Heraldry.
140. Five Shields with the Bearings of the Emperor, 1504.
B. 158.
141. Arms of Ferdinand, King of Hungary and Bohemia, 1527.
(Passavant's list.)
the Archduke Charles.
Bavaria.the Family of Beham and another unknown. B.
App. 57.
Mgidius v. Berlichingen. B. App. 44.
the Margraf of Brandenburg.
Don Pedro Lasco de Castilia. (Passavant's list.)
Gabriel von Eyb, Bishop of Erchstddt, 1525. B.
App. 46.
149. „ Another. B. App. 47.

142.

5>

H3-

•>¦>

144.

¦>•>

145.

•)t

146.

•>•)

147.

JJ

148.

3J

B.

App. 48.

49.

B.

App.. 50,

256 Life and Works of Albert Durer.
150. Arms of John Fernberger von Egenburg.
151. „ Dr. Johann Gartgeb. B. App.
152.. „ (Geundherrisches.)
J53- » *he Haller Family of Nurnberg.
154. „ Bartholomew Keyzer.
155. „ Hans Loffelholtz von Kolberg.
156. „ Martin Loffelholtz.
157. „ Ochsenf elder.
158. ,, Grafen Gabriel of Ortenburg, Freiherrn of Freistain
and Carlespag. .B. App. 51.
159. „ Degenhard Pfeffnger.
160. „ the Pfinzings.
161. „ the Pirkheimers and Rieter s. — Pirkheimer's shield
shows the punning heraldry of the time — a birch tree (a pirke ox
birke) ; that of Rieter, two fishes twisted. Behind the shields
are two angels. There is much more in the design not necessary
to describe. What makes it interesting is the inscription, ' LiBer
Bilibald Pirkheimer ;' and below, l Sibi et amicis P.' Pirkheimer
married Crescentia Rieter in 1497, and this seems to be a label
for his books although rather large. B. App. 52. (Passavant's
list.) This may be the earliest evidence of an acquaintance be
tween Pirkheimer and Durer.
162. Arms of Hector Pomer, Provost of S. Laurence in Nurnberg.
B. App. 53.
163. „ the Pomer Family.
164. „ the Rehm Family, 1526. B. App. 54.
165. „ John Revelles, Bishop of Vienne, 1524. B. App. 55.
166. „ the Family of Rothenhan.
167. „ Hartmann Schedels.
168. „ Scheuerland Tucher Family, supported by a.woman
with flying hair. (Passavant's list.)
1 69. „ same Families, supported by a woman with a plume
of feathers,.

Appendix. 2$y

170. Arms of John Segger of Messnpach. B. App. 56. (Pas
savant's list.)
171. „ Lazarus Spengler, Council Clerk in Nurnberg.
B. App. 58.
172. „ with Griffin and Stag.
I73- » Florian Waldauf.
174. „ with a Crown. B. App. 61.
x75- » with an Eagle, a Griffin, and Lamb.
176. „ with Two Wings on the Helmet. B. App. 60.
177. „ with a Cock.
178. ,, with Two Lions, a Key, and a Sword.
179. „ with a Leopard.
180. ,, with wild Pig. B. App. 59.
181. „ with a Tower. B. App. 62.

Portraits.
182. Emperor Maximilian. — A small print.
183. Emperor Charles V.-, 1519. — Durer. was appointed court
painter to Charles V. in the following year when in the Low
Countries, but never seems to have received any commissions.
It is not likely that he would have done an undistinguished
portrait. B. App. 41.
184. Another oi Charles V.; smaller in size. B. App. 42.
185. Another of Charles V. in a medallion ; small.
186. Kaiser Ferdinand II.
187. Ludwig, King of Hungary. — Medallion.
188. Maria, ^ueen of Hungary. — Ditto.
189. Maria, £{ueen of Castile, 15 19.
190. Frederick the Wise, Elector of Saxony, 15 19.
191. Ditto Ditto.
192. Duke George of Saxony.

258 Life and Works of Albert Durer.
193. Eoben Hess. (Passavant's list.) Passavant mentions that
on the back are epigrams on the artist as well as poet :
In imaginem Eobani Hess, sui ab Alberto Durero hujus
setatis Apelle graphice expressam, &c.
1 94. Graf Gabriel of Ortenburg.
195. Presbiter Antonius.
196. Dr. Christopher Scheurl.
197. John von Schwarzenberg. — A medallion. This is a small
portrait. This has generally passed as Durer's. There is a copy
on copper by Professor Christ, an authority, inscribed ' Io.
Schwartzenbergici verissima imago, Alberti Dureri, pictoris inter
Germanicos facile principis, opus.' Dibdin engraved it in his
Biblio. Decameron. B. 157.
198. An unknown Portrait with the arms of Saxony, with
Durer's monogram.
199. Another Male Portrait, unknown, with Durer's monogram.
Works attributed falsely to Durer.
A series of thirty-eight small woodcuts of the Fall and Redemp
tion. These were published in 1604 with this title: 'Alberti
Dureri Noriberg. Germ. Icones Sacrae, &c.' These are copies
after Altdorfer.
A series of the Apostles, twelve in number, with Durer's mono
gram. S. Stephen with Two Bishops.
The Witches. — Some sit on the ground, one prepares herself for
the dance which goes on in the background. Durer's monogram
and date 1510. B. App. 35.
This list of doubtful pieces is long. The major part will
always remain more than doubtful, but the reader may still find
great interest in the catalogue, so curious in some of its items,.

Appendix. 2Sg

As we have adopted Heller's enumeration as the most complete,
we have marked in the above list those Passavant considers really
done by the master. A few in his list of ' Additions to Bartsch '
were already given as genuine in Heller ; the few remaining not
yet mentioned are the following :
Passavant's Additions to Durer's Engravings on Wood, not
mentioned already.
The numbers he gives are intended to be supplementary to those
of Bartsch. 176. Deposition from the Cross.
194. The Celestial Revelations of S. Bridget. — Printed by
Anthony Koberger, Nurnberg. Passavant says, one finds evidence
in the invention and characteristic expression of the hand of a
master, and that master, Durer. He does not seem, however, to
have even drawn the designs on the wood, and they are very
badly cut. The first edition is in Latin, 1500. There are
eighteen cuts, or sheets of cuts, in this work; some of them armo
rial, others, S. Bridget, Christ on the Cross, &c. The second
edition, 1502.
195. A Figure of Justice.
196. A Gardener, in a Garden. — He holds a vase.
198. The Man Suffering under Disease. — This is on a leaf issued
with a Latin poem by Dr. Theodore Alsenius. It represents
a man covered by a mantle. Near the head the arms of Nurn
berg, at his feet a shield with the sun upon it. Abcve him
is a celestial sphere with the date 1484, the date at which the
disease, then puzzling the medical world, and called ' Le Mai de
Naples,' appeared. It was brought first to Nurnberg in 1494,
and three years after there is a record of a certain doctor acquiring
a prescriptive right to treat it because of the number of his cures.
This is supposed to have been Ulsenius. The drawing of the figure

260 Life and Works of Albert Durer.
is said by Passavant to be certainly Durer's. There is an allusion to
the subject of the print in his letters to Pirkheimer from Venice.
It was not then understood. (For the early history of this disease,
in which bishops and other dignitaries play a considerable part, see
a very interesting monograph by Sir J. Simpson of Edinburgh.)
199. The Owl. — A print, with verses under it. As this is
given exclusively on Passavant's authority, I have not translated
the verses.
202. The Armillary Sphere.
208. Marine Centaurs winged.
209. Ditto, on a black ground.
215. Arms of Wilhelm Loffelholtz.
The number of wood engravings thus supposed to be Durer's
in design or drawing, or falsely attributed to him by the adhibition
of his monogram, is altogether 261. It is quite possible that the
master had some supervision of nearly the whole of them, although
he may never have touched them with his own hand. The
difficulty in accounting for the time and practice of his numerous
pupils, seeing that his own authentic engravings appear entirely
done by himself, may be solved by the supposition that many
things coming to him in an occasional manner, in the way of trade,
were consigned to his assistants. Not only the artists already
mentioned' as ' Little Masters ' were his pupils, but Hans Burgk
mair, Hans Schaufflein, Martin Griinewald, and others known
exclusively by wood engravings, are said to have proceeded from
his workshop. Springinklee also was a designer for wood, and
we are certain he laboured many years in Durer's service, as did
the master's voun^er brothers, Hans and Andrew.

Appendix. 261

IV.
CATALOGUE OF ALBERT DURER'S WORKS.

Pictures.
Arranged according to the localities where the pictures are or
were to be. seen. The catalogue of Heller has been followed,
who wrote in 1827. Many pictures, however, mentioned by him
have been omitted, as he enumerates copies, and every picture
reported to have existed in former times. Where the works have
changed their localities within the knowledge of the writer, such
change has been recorded. That even all those pictures ac
credited as genuine works of Durer's hand, small as the number
is compared to the number ascribed to him, are really his work,
I by no means venture to assert. Probably the number of
paintings finished by Durer was not very great. He says himself
that he could make much more money when he engraved. At
the same time the industry and celerity of this great master must
have allowed plenty of time for all the pictures attributed to him.
Aachen.
Eleven pictures in the gallery of Leopold Fr. von Bettendorf,
1822. 1. The Flight into Egypt.
2. Christ parting from His Mother, dated 1525. — A very rich
composition of twenty-two figures, including the two side pieces
or wings.3. Descent from the Cross, dated 1505, or 1525.

262 Life and Works of Albert Durer.
4. The Trinity. — A small picture similar in design to the large
one in Vienna.
5. S. Jerome in his Study. — Similar composition to the copper
engraving. 6. S. Jerome, dated 1527. — A work Heller reports to be in an
able and great style.
7, 8. SS. Anthony and John, with landscape background. —
The two wings to an unknown picture.
9, 10. Two other wings: The Visitation of Elizabeth, and The
Offering in the Temple.
11. Boaz, in a landscape with other figures, herds and flocks.
This is an endless variety of objects, all painted with extraordinary
care : gilding occasionally used. Anspach.
In the Collection of Private Secretary (Kammers-Sekretars)
Hartmann (1816).
1. S. Simon, with the saw in his hand, on which is the mono
gram of the master.
2. S. Luke, sitting at a table writing in a great book. Both
pictures are on wood. These were publicly sold in that year.
Heller says we must suppose them copies ; but at the same time
he says a work by Raphael sold at the same sale for 176 fl. 30 kr.
What became of the Durers he does not say.
Antwerp.
In his Journal, Durer mentions a number of pictures left here.
1. The Virgin. — He gave a picture of this subject to his land
lord, Jobst Plankfelt.
2. Portrait of his Landlady.
3. S. Veronica. — Given to Bonisius.
4, 5. S. Veronica, and a Child's Head. — Two pictures he gave
Signor Franciscus.

Appendix. 263

6. Portrait of the Wife of Franciscus.
7. S. Jerome. — Painted for Roderigo.
8. Portrait of the Treasurer Sterk. — -Painted in oil, which was
paid at 20 fl.
All these pictures are now unknown. In the church of the
Beguines, there was an Adoration of the Shepherds; but this sub
ject is not mentioned in the Journal, and the picture has been
attributed also to Johann von Gref.
Aschaffenburg.
In the Gallery of the Castle, 1822, Durer's own Portrait. —
Considered genuine. Augsburg.
In the Gallery of the Rathhaus, 1822.
1. The Madonna praying. — Half length, the size of life; on
wood. 2. The Virgin and Child. — On parchment, painted in oils.
These two pictures are declared true pictures of the master in the
catalogue by the director, J. G. Giindter.
3. An Ecce Homo.
4. Portrait of Maximilian, in water colours. — These two pic
tures are now considered not by Durer, but the latter is probably
by Von Amberger.
In the Collection of Johann G. Deuringer.
1. The Trinity. — A large and admirable picture on wood. An
ex voto picture, two shields of arms representing the family for
whom it was painted. It has Durer's monogram, and the date
1523. It has been engraved at the instance of the possessor.
2. The Head of Christ with the Crown of Thorns, with the
monogram. — On wood. The catalogue of this Collection speaks
of this head as a great work, the expression of the Saviour's face
being full of tenderness and suffering.

264 Life and Works of Albert Durer.
3. Two Fathers of the Church :' with Durer"s monogram, and
date 1492. — On wood. This picture was discovered in Russia,
and bought for 60 carolin.
In the Collection of George Christoph Kilian. On the autho
rity of Murr, 'Journal,' iv. 20, 1777, there was then a Portrait of
Durer, by himself. We have no account of it since that date.
Baruth, Prussia.
In the Collection of Privy Councillor von Lindenfels were
some reputed pictures by Durer ; in particular a fragment, which
Huber (1789) calls a Vestal. This collection was sold and carried
to Frankfort.
In the Collection of the architect Riedel, 1822.
1. A naked Female Figure, with a thin gauze scarf.
2. A Christ on Ivory. — These two have been repeatedly pro
nounced the work of the master.

Bamberg. *
In the (Pfarkirk) Church of our Lady, 1822, were four pictures
on wood, painted from Durer's designs in the Life of the Virgin
— The Visitation, the Nativity, the Adoration of the Magi, and the
Flight into Egypt. These are painted by Paul Juvenel, 1614.
In the Church of S. Jacob there were, in 1821, SS. Peter,
John, Mark, and Paul. These are copied from the fine pictures
now in Munich. And Leonard Ohlmiiller had a reputed picture,
the Virgin and Child at the foot of a tree, which is, however, a
copy from the copper engraving, painted on wood.
Murr, in his 'Journal,' xiv. 132, 1787, mentions with grea
commendation a picture of Adam and Eve, the size of life, as thei
existing at Bamberg. This picture he describes as a work o
wonderful finish, Adam standing with the apple in his hand, Evi

Appendix. 26 3
lying on the ground, a deer beside her. Where this remarkable
picture now is, may be highly worthy of inquiry, if the account
was not published for purposes of sale. The two figures were
on two separate panels. Banz.
Principality of Bamberg, 1797. In the old Benedictine abbey
was an altarpiece, with wings, of the 'Virgin Mary, with her mother
Anna sitting, the Holy Child in her lap, God the Father appearing
above, and the Holy Ghost above the infant Christ.
The other picture, formerly the two wings, is painted on both
sides. On one side are SS. Barbara and Katharine with their
symbols, the angel Gabriel and the Virgin on the back. Over
the angel are the words, Ave Gra. plena, Dns tecum, and over the
Virgin, Ancilla Dni, fiat in secundum verbii tuum. This is the
two wings joined together after the altar was discontinued, and the
picture sold. The possessor, P. Joh. Roppelt, died in 1814, and
the altarpiece, now two pictures, disappeared. There is some
doubt as to its having been by Durer at all,
Berlin.
In the Royal Collection, 1790. Portrait of Young Lady. — Her
hands are folded together. A fair amiable face, with a hat and a
caul for the hair (Haarhaube), a string of pearls round her neck,
and other jewellery about her person. On wood, small, highly
finished. In the Justinian Gallery. Pilate Washing his Hands : before him
Christ is standing. — On wood, two feet and a half high.
In the Royal Art and Natural History Cabinet. Frederick,
brother of Johan, Elector of Brandenburg.
In the collection of Consul Dehn, 1821. A Holy Family :
Mary and Anna, 15 19. — On wood. This picture came from the
u

266 Life and Works of Albert Durer.
cabinet of Herr Praun, and has been engraved on copper by
Prestel. Painted on wood, nearly two feet six inches high.
In Herr Stobasser's Collection, 1821. Durer's Portrait, the
head only, on wood ; also from the Praun Collection,
Besanfon.
In the palace of the Cardinal Granvellano, in 1 650, were two
pictures by Durer, mentioned by Hauer (ioq, N. 6).
Blankenburg.
In the gallery of the castle, 1817. 1. Entering the Cloister. —
A picture not otherwise described, signed with the monogram and
date 1520. Very much injured.
2. Christ Teaching in the Temple. — Painted on wood, and signed
A.D. 1527.
3. Virgin and Child. — Before the group stands a damsel in the
attitude of prayer. Signed with the date 1519. A very fine
work in colour and careful finish.
St. Blasien, Swabia.
In the old princely abbey in 1795, as reported by Hirschingand
Huber, was a picture of Mary sitting on a Stone,. with the Holy
Child on her lap, two angels crowning her. Present locality not
known. Bologna.
In the cloister of S. Giovanni in Monte, Huber reports the
existence of a picture of the Virgin, by Durer. And in the
Dominican abbey (Del Bosco), in the prior's apartment, in 1730,
were pictures of the Life of Christ, with multitudes of figures so
small that a magnifying glass was necessary to examine them.
They were reported to have cost 1 1 00 sequins ; but both the
pictures and the price are doubtful.

Appendix. 26y

Breslau.
It will be remembered the Bishop of Breslau bought a picture
of the Virgin from Durer, as related at p. 69. This picture does
not now exist at Breslau, and is one of the many lost pictures by
the master.
In Breslau, in 1741, in the Hopfeldischen House, were two
Durer pictures :
1. An Ecce Homo, with two other figures, 15 12. — A small
picture. 2. The Head of S. John.
And at this time a large collection of Durer's engravings, both
on copper and wood, belonging to John G. Pauli, consisting of
836 sheets, was sold for 400 florins.
Brussels.
In the Museum des Departments de la Dyle (so given in
Heller), in 181 1. A God the Father, in a rich garment and crown,
supporting the dead body of our Lord in his lap. Angels on
either side. A very beautiful work.
In the Stadtholder's Gallery, in 1780, was placed a fine head of
an Old Man, afterwards removed to Paris by Napoleon. It was
returned after the Peace, but from that time nothing is known of
it. (See Hague.)
In the collection of Rath von Burtin, 18 14 (Huber, ii. 422;
Fiorillo, ii. 38) :
1. An Ecce Homo.
2. The Little Financier.
3. The Portrait of a Young Lady of Nurnberg. — This is now
in the possession of Max. Speck, merchant, in Leipsig.
4. The Knight, with Death and the Devil. — The composition of
this painting is that of the engraving. Nothing more interesting
could be found than a true painting of this subject from the hand
of the master. Whether this is so, can only be judged by close
u 2

268 Life and Works of Albert Durer.
examination; but it is scarcely possible that such a priceless
treasure could exist without all the world knowing it. The
proprietor has, indeed, written an account of the picture, with
Fiorillo, as reported by Heller, to indorse his opinion of the work.
He expresses wonder that this, one of the masterpieces of the
father of German art, is only known to so few, and in his de
scription identifies the Knight with the Baron von Sickingen.
The figures are eighteen German inches high. In the Singers'
Festival in 1818 (Sangersfahrt) was sung a poem of nine verses
on this picture. It is, however, next to certain, that no picture
of Albert Durer quite resembling any of the engravings from his
hand exists. S. Hubert, S. Jerome, and others, are all by other
bands copied from the prints. The same may be said of the
Knight of Death. Carlsruhe.
In the court collection of engravings, in 1792, there existed a
picture by Durer, as Huber and Hirsching report, the subject
being a half-length Portrait of a Priest.
Cassel.
In the Picture Gallery, in 1783, were three pictures :
1. Christ appearing to Mary Magdalen in the Garden.
2. Portrait of a Man having a Hat on his Head, and a Rosary
in his Hand. — On wood, small.
3. Portrait of a Man in an old Switzer Dress.
Coblenz.
In the collection of Mathieu (notary), 1822. Job in his Afflic
tion. — A good work, dated 15 13.
Colmar.
In the Town Library. An altarpiece with wings. Painted
with various pictures, S, Anthony being the saint celebrated, who

Appendix. 26g

appears in the principal subjects. Outside the wings are groups
of the Virgin and Child and Virgin in Heaven. The picture was
originally in the church of the cloister of S. Anthony.
Cologne.
In the church of S. Mary of the Capitol, 1822. An altarpiece.
On one side the Death of the Virgin, on the other the Departing
of the Apostles. — Very uncertain. Large. On wood.
Copenhagen.
In the Royal Gallery. Ramdohr (Studien, 131) mentions in
1792 an original and fine portrait of Durer.
Dantzig.
In the collection of Schwarz, burgomaster (on the authority
of Huber, i. 190, and Hirsching, ii. 109), were two pictures by
Durer :
1. A Young Woman, dated 1512.
2. Another similar picture, dated 1505. — On wood.
On the death of Schwarz in 17 — , his sister-in-law, who came
into possession of his pictures, dispersed them, and no account of
these two pictures can now be found.
Dessau.
In the Ducal Gallery, 1822. Four pictures :
1. Portrait of a Man with a Beard. — Dark clothes and cap ; on
his breast the chain of the Golden Fleece. A very excellent work.
2. S. Christopher with the Infant Christ on his Shoulder.
3. SS. Peter and John, with the Lamb.
4. John the Baptist with the Lamb on his Knees. — The figures
in both these last mentioned are five inches in height. These
are considered truly the work of the master : there are besides
others in the manner and with the monogram of Durer.

270 Life and Works of Albert Durer.
Dresden.
In the Royal Picture Gallery, 1822. Five pictures :
1. Christ with the Crown of Thorns, sitting on a Stone with
Folded Hands. — On wood, two feet in height.
2. Christ Bearing the Cross. — On wood, about one foot and
a half high by two and a half in length.
3. S. Jerome with a Skull in his Hand. — On wood.
4. Portrait of Ulrich Zwinglius, without a Beard. — In black
dress and hat, on wood. This picture is not given as Durer's in
the catalogue of the Dresden Gallery, but as unknown, with
resemblance to Lucas of Leyden.
5. Death of the Virgin. — On copper. This is catalogued since
18 19, as after Durer, by a contemporary painter.
Besides these, in the old catalogue of the gallery, by Von
Ridel, 1 77 1, are two others : 1. A small Altar with Wings: the
centre picture being the Virgin and Child, with a Gothic church
as a background ; the two wings being SS. Catherine and
Michael. This is now entered as by an early German master
unknown. 2. The Adoration of the Magi, nearly nine feet in
height, on wood.
In the Private Royal Gallery is a series of eight or ten small
pictures of the Passion, which were popularly considered Durer's.
These, Heller says, the best judges hold to be most probably by
Wolgemuth. If this were proved, they would be sufficiently
interesting. England.
Under this head I shall extract all the pictures mentioned in
Heller's list under their several heads, with those in Passavant, as
quoted by Nagler in his catalogue of Durer's works, ' A. Durer
und seine Kunst,' 1837: also such as are elsewhere mentioned.
Bath House, Piccadilly, Lord Ashburton. A small picture,
Portrait of an unknown Man in Armour.

Appendix. 2yi

Burleigh House, seat of the Marquis of Exeter. A picture of
S. Eustachius. (Huber, i. 204 ; Heller, 148.) If this composition
is that of the engraving usually called S. Hubert, it will be a copy
from the print, Durer never having painted the same composition
he engraved as far as I know.
Buckingham Palace, in the Queen's Gallery. An altarpiece in
three parts, which formerly belonged to Charles I., and is de
scribed in James II. 's catalogue as ' Our Lady, with Christ in her
Lap, with a coronet on her head ; two fryers by them ; and two
doors.' Mrs. Jameson has given a full account of this work in
her ' Companion to Private Picture Galleries,' p.- 23.
Broughton Hall. A good old German picture, ascribed to
Durer, is declared by Passavant not to be from his hand.
Cambridge, in the Fitzwilliam Museum. An Annunciation,
with Durer's name attached to it, is also declared by Passavant to
be erroneously ascribed. Hauer (102, 26), quoted by Heller,
mentions a S. Mark by Durer as existing in Cambridge.
Chatsworth, in the Duke of Devonshire's collection. A
Young and an Old Woman in a Bath. — A drawing in pen and ink.
Heller, p. 76.
Kensington Palace. A Portrait of a Young Man, in half length.
This Passavant considers the only certain work of Durer he saw
in England (' Kunstreise,' 50). (Nagler, 77.)
Hampton Court Palace. A Portrait of a Youth (303), and a
S. Jerome (563) : neither genuine (?).
Howard Castle, Lord Carlisle. Three pictures : Vulcan ;
Adam and Eve; Abraham and Isaac. (Huber, i. 204; Nagler,
I77-) London, in the possession of Mr. Wynn Ellis. 1. Portrait of
Catherine Fiirleger, 1497 ; her hair plaited up, her hands resting on
a sort of window-sill. — Half length. This admirable picture was
engraved by Hollar, when in the collection of Lord Arundel, in
1646. In Heller's list it appears as belonging, at the date of his

2/2 Life and Works of Albert Durer.
publication, to Herr Speck in Leipsig. Mr. Ellis purchased the
picture from the well-known dealer Mr. T. B. Brown.
2. A small picture of the Virgin and Child seated in a land
scape, with many animals and birds. This is the same composi
tion as the well-known engraving by Sadeler, and we think the
painting belongs to the same date.
In Lord Arundel's great collection, unfortunately dispersed about
the same time as that of Charles I., were four pictures by Durer :
i. This portrait of Catherine Fiirleger.
2. The same young lady, her hair spread out all over her
shoulders, her hands in the attitude of prayer, 1497. Where this
beautiful work now is, if it still exists, is unknown. Both of these
pictures are well known by the admirable etchings by Hollar.
3. Portrait of Himself, 1498. — Now in the Uffizi. (See
Florence. )
4. Portrait of his Father, 1497.
Nagler, under the head of London, mentions two beautiful
drawings, in pen and ink, in the New Palace. The reader must
take this unexplained reference as I find it. (Nagler, 78.)
Longford Castle. Madonna and Child on a Throne, surrounded
by Angels. — This picture Passavant attributes to Lucas of Leyden.
Milton House, Lord Pembroke. On the authority of Huber,
(i. 204), a Taking Down from the Cross is mentioned by Heller as
the work of Durer.
New Battle House, Edinburgh. Marquis of Lothian. Virgin
and Child with Four Angels. — The angels are crowning the Virgin
with roses. A true and important picture. The treatment of the.
figure of the Virgin and of the design of the picture is somewhat
in the manner of Bellini, and the inscription
ALBERTO DURER, GERM ....
FACIEBAT POST VIRGINIS PARTUM I506.

K

Appendix. 2y$

is written on a counterfeited label after the manner of Bellini.
The panel is also said to be Italian. These circumstances with the
date prove beyond doubt that the picture was painted in Venice.
The particular work he mentions in his letters from that city,
done for the Germans there, has been always represented as the
S. Bartholomew, now at Prague; but he speaks of other works, and
especially mentions that Gian Bellini wished to have a picture from
his hand ; perhaps this is the very painting done for the great
Venetian, then of patriarchal years, but still in vigour.*
Sion House. Portrait of Albert Durer, goldsmith, father of
the painter. Presumably the picture formerly in the Arundel
collection. Engraved by Hollar.
Stow. A picture mentioned by Huber (ii. 204) and Nagler
(245), under the name of the Maid of Orleans. — A manifest
fallacy. Sutherland Gallery. A small painting on copper of the Death
of the Virgin. — Described by Mrs. Jameson, p. 204.
Windsor, in the Castle. A Portrait of Bilibald Pirkheimer
(Heller, p. 263), without description or reference.
National Gallery, London. Portrait of a Senator, No. 245.
* This picture was bought by the marquis in a furniture-shop in
Edinburgh, when it was said to have been taken out of Holyrood Palace
with other effects belonging to some rooms Lord Buchan formerly had
there. It is at present in the hands of Mr. Merritt, Devonshire Street,
London, for cleaning. Mr. F. Madox Brown writes regarding it to the
author : — ' The colour is everywhere a mere wash and too transparent.
The picture seems to me just such a work as Durer would produce under
the circumstances ; the treatment intended to suit Italian tastes and vie
with them.' * Wings, flowers, and parts of drapery delicately painted, a
skilfully balanced composition, a power of drawing of the right kind,
thoroughly imbued with the beauty of nature as drawing, though full of
such small defects as pertain to the method, the outline being drawn on
gesso from a cartoon, and no alterations or attempts at improvements
made.'

274 Life and Works qf Albert Durer.
An old man with grey beard, in a purple robe with fur collar, and
a cap on his head, and on his neck a chain and order. The back
ground is plain blue. The picture is signed with the monogram,
and dated 1514. 1 ft. n£ in. by 1 ft. 7 in. Purchased in 1854
at the sale of M. Joly de Bammeville. Not a good example.
Eichstadt.
In the Frauenkirche there was a picture by Durer of the
Trinity, mentioned by Huber and Hirsching, in 1789. This was
carried off and lost in 1804. Florence.
In the ' Imperial' (Uffizi ?) Gallery, according to Heller, 1827,
are no fewer than fourteen pictures by Durer, or credited to him :
1. Adam and Eve (properly two pictures), more probably by
Lucas Cranach.
2. The Birth of Christ.
3. The Adoration of the Magi.
4. The Agony in the Garden.
5. The Betrayal of Christ.
6. Ecce Homo, from a former Medici Gallery.
7. A Calvary, 1505. — An astonishing composition, with many
groups and figures, showing various successive acts in the great
drama of the Crucifixion. This picture is upright. It was very
well engraved by Matham the same size : the picture is small,
the figures being like miniatures in size and finish.
8. The Body of our Lord in the Hands of his Disciples.
9. The Virgin and Child. Doubtful,
10. The Head of S. Philip, with monogram and date 15 16.
11. S.James, with long Beard, 15 16.
12. Portrait of Himself. — A beautiful and noble work. On
the background is written :

Appendix. 2y$

1498.
DAS MACHT ICH NACH MEINER GESTALT.
ICH WAS SEX UND ZWANTZIG YAR ALT.
ALBRECHT DURER.
He has the long waving brown hair ; is in a whitish dress, with
gloves on his hands. It has been engraved by Hollar and
Preisler. 13. Portrait of his Father.
14. Portrait of a Man with a Rosary.
On referring to the catalogue of the Uffizi, I can find only five
of these pictures mentioned. The portrait of Durer himself,
however, occurs in the collection of portraits of artists, and the
Adam and Eve seems to have been removed to the Pitti. The
five in the catalogue are Virgin and Child (9) ; So1. Philip and
James (10, 11); Portrait with a Chaplet (14), said to be Durer's
father, thus making one picture of the last two in Heller's list as
above, and the Adoration of the Magi (3), which is in the Tribune.
The Calvary, one of Durer's most elaborate works, which was
(or is) enclosed in a case, and which is well known from Mathanv s
engraving, does not appear in the catalogue of either Uffizi or
Pitti (1832). Frankfort,
In the Predigerkirche, in 16 12, was a picture of the Assumption
of the Virgin, 1509.— This was the church of the Dominicans,
and the picture was a source of revenue merely by the payments
of visitors, as no one ever visited Frankfort without seeing this
picture, which was celebrated all over Germany, particularly by
the painting of the splendours of angels' hair, and, strange to say,,
by the curiously perfect painting of the sole of the foot of a kneel
ing apostle. Durer himself mentions the picture. He painted it
with great care after his return from Venice, going over it
repeatedly, and at last varnishing it himself. It seems, indeed,
X a

2y6 Life and Works of Albert Durer.
from the great attention paid to it by the people, and from the
extraordinary eulogiums of Carl von Mander and Sandrart, the
last of whom lived at the time the picture was gained (after great
competition with the Emperor Rudolph II. and others) by Maxi
milian I. of Bavaria, and carried to Munich, to have been the
chef ' d 'ceuvre of the master. This particular incident in Romish
mythology, the Assumption and Crowning of the Virgin by the
Trinity, is admirably treated by him in the wood engraving.
In 1613, Maximilian, by some means now unknown, got pos
session of this picture, and returned the Dominicans a copy by
Paul Juvenel, which, it appears, still may be seen. Rudolph II.
had offered 10,000 florins, how much Maximilian gave is not
known. Durer himself received 200 florins for the picture, and
is recorded to have been so careful about the colours he used, that
he gave 12 ducats an ounce for ultramarine to be used in the
execution. In the fire that destroyed the Residenz at Munich,
Durer's work perished.
In the Museum, the copy by Paul Juvenel is to be seen, and
also a genuine work by the master.
Fourteen Saints. — One of the earliest of Durer's paintings, on
wood. Dame Gutze von Hering had this picture done, and
presented it to the Dominicans, 3 ft. high by 3 ft. 4 in.
In Post-Secretary Chandel's collection. 1. The Mocking of our
Lord. — On wood.
2. Christ on the Cross, — On wood. Full of figures. With
Durer's monogram.
3. The Nativity.
4. On the back of the last is also a picture, a S. Hubert, not
as in the engraving, but quite a different composition. These are
on wood, thirty-six inches by twenty-five.
5. Mater Dolorosa. — With white head-gear, in attitude of
prayer. In Carl Friedrich Wendelstadt's collection. A very fine pic-

Appendix. 2yy
ture of the Ecce Homo, wearing the crown of thorns and mantle.
— A small highly finished picture on wood.
Furth, near Nurnberg.
In Joh. G. Zapfs collection, 1815. 1. Female Portrait, with
date 1520 and monogram.
2. Portrait of an Old bearded Man in a Fur Cap.
3. A Head of Christ.
4. Ecce Homo. — All these are more than doubtful, as it appears
Herr Zapf was the prey of dealers. Gera.
In the castle of this place, in 1769, was a Lot and his Daughters,
with Durer's monogram and date, 151 1.
Gotha.
In the Duke's private gallery, 1789, was,- and perhaps is still, •
a Portrait of a Prince of Saxony. Gottingen.
In the University Picture Gallery, 1805. A Head of Christ
with Crown ofThorm, with date and initials; thus, 15 A. D. 14.
Gratz.
In the collection of Herr Stand, 1 8 2 1. Virgin and Child.— On
wood. Greifswalde.
In the possession of Professor Schildener. A small picture of
Christ resting on the Cross, in a landscape.
At the Hague. (Stadtholder's Cabinet.)
A portrait of Laurence Coster, so called. This claimant of the
invention of printing lived too early to have been painted by

278 Life and Works of Albert Durer.
Durer. This picture is supposed by Heller to be the same
mentioned as having been at Brussels and Paris.
Halle.
In the collection of Dr. Adam Weise, 18 19. Portrait of
Durer, with a white cap on his head. — This is engraved in
Dr. Weise's ' Diirer und sein Zeitalter.' It is a three-quarter
face with long hair, with monogram and date, 1503, consequently
at the age of thirty-two. Hamburg.
In the collection of Herr Bundsen, painter, 1820. A Head of
Christ. — This has been published in lithograph as Durer's, but is
not by any means certainly his.
In the collection of I. G. Herold, 1822. A Taking Down from
the Cross. — Uncertain.
In the collection of H. Schwalbe, 1778. On the authority of
a catalogue published at Leipsig, 1779. Firstly, The Adoration
of the Magi. Secondly, Head of Christ, with hand raised.
Thirdly, The Virgin, with clasped hands. All on wood.
Heidelberg.
In the castle in 1679, Sandrart mentions a portrait of the
Elector Friedrich II. with the date 1522, as one of the most skilful
and highly finished works of the master..
Kiel.
In the collection of the lawyer Friedrich Schmidt, 1795 :
1 . The Adoration of the Magi.
2. Christ with the Crown of Thorns. — On wood.
3. Mary with the dead Body of our Lord in her Lap. — On wood.
4. Virgin and Child.
5. The same subject differently treated.

Appendix. zyg

Schmidt's collection appears to have been a miscellaneous mass
of about 1,000 pictures. Many by unknown hands, but with
names affixed by the possessor. They were sold by auction,
September 1822 and March 1823.
Leipsig.
In collection of the Burgomaster Adlershelm, 1650. On the
authority of Hauer, The Murder of the Innocents.
In collection of the Consul-General Campe, 182 1. Adam and
Eve. There is a record of the destruction of a picture of Durer's in
the tumults in Leipsig in 1593. This picture, an Adam and Eve,
was cut to pieces with a hatchet.
In the catalogue of the collection of Gottfried Winkler, 1768,
was a Christ on the Cross, with angels and many figures ; and an
Agony in the Garden : doubtful.
In the collection of Dr. Christian Wolf, in 17 14, was a small
picture of the Virgin. (Museum Wolffianum, 99.)
Luiz, Austria.
In the possession of Herr von Iosch, 1821, in an excellent
collection :
1. An Ecce Homo, with two Jews right and left. — This has
the following very interesting inscription, besides the date, a.d.
1512: VENERABILI PIENTISSIM.ffiQUE MATRI CHARITATI PIRKHEIMERIJE,
CONVENTUS SANCTI CLARJE ABATISSiE, HANC SALVATORIS IMA
GINEM OFFERT W1LLIBALDUS PIRKHEIMER.
Clara, the sister of Bilibald, it will be remembered, was the
abbess of the cloister of the same name in Nurnberg.
2. The Head of S. Peter, with a.d. 1512.
3. The large Satyr. — This appears to be the engraved design,
and an exception to the rule that Durer never painted the same
compositions he engraved, this being considered a genuine work. "

280 Life and Works of Albert Durer.
Madrid.
I. In the Escurial Palace, 1822. The Adoration of the Magi. —
This appears there under a wrong name, that of Jerome Bosch
(Geronimo del Bosco).
2. The Crowning with Thorns. — A picture of four figures, half-
length, the size of life, on a gold ground, with four dark corners, on
which are angels and devils. This also was formerly catalogued
as the work of Bosch.
3. Christ on the Cross with Mary below.
4. Taking Down from the Cross. — One of the greatest known
works of the master. Figures half-life size. Napoleon had this
picture conveyed to Paris.
5. The same subject with small figures, 15 13.
6. The same subject. This is indeed three figures from the
large and important picture, and most probably by one of Durer's
scholars. 7. A Saint : doubtful.
8. A Female Saint : doubtful.
In the Bueno Retiro palace, in 1782, were (or are) three
reputed Durers. Adam and Eve, on cloth, probably a copy ;
Portrait of Luther ; and Portrait of Calvin. As the latter was only
nineteen at the time of Durer's death, this picture, if it repre
sents the author of the ' Institutes,' could not be by the master.
Mantua.
In the Gallery. The Portrait of Albert Durer, sent by the
master to Raphael. Vasari, in his account of Durer, Marc
Antonio, and other engravers, in the third volume of his ' Lives,'
mentions Durer's sending his portrait to Raphael in return for
some of Marc Antonio's prints the Italian master had forwarded
to him. This water-colour head in Mantua is said to be this
portrait, which had descended to Julio Romano after Raphael's

Appendix. 281

death, and was carried by him to Mantua when he was expelled
from Rome, and went to live with the Cardinal del Te. That
such a portrait was sent has no support from any other writer, and
Vasari says Raphael sent the prints- for Durer to Flanders. Now
Raphael died when Durer was in Flanders, and in his Journal
Durer mentions the fact, but says nothing of having received any
engravings, or sending any portrait. Mayence.
In the Provincial Gallery, 1822. Adam and Eve, between them
the free of knowledge, with the serpent. — On it is written, ' Al
brecht Diirer alman : faciebat, post partum Virginis, 1507, A.D.'
This picture was carried away from Nurnberg by Napoleon, and
after a considerable stay in Paris was given by him to the town of
Mayence, doubt as to its originality being the reason he did not
retain it in the Louvre. Nurnberg reclaimed it, but without
effect. It appears that Rudolph II. got the original, highly
prized, from the Council of Nurnberg, and carried it away, this
copy having been put up in its place.
Munich.
As Heller's catalogue of Durer's works in Munich is dated
1818, I prefer the catalogue of the Pinacotheque, 1853, which is
an authoritative compilation. The numbers are those in the
Gallery. 1. An Armed Knight, in a red coat of arms. On wood, 4 ft.
10 in. high by 2 ft. 8 in.
3. Another Knight, with similar arms. Same size.
These pictures were the doors of an altar founded by the family
Baumgartner, in the Church of S. Catherine in Nurnberg, and
given to the Elector Maximilian I. of Bavaria in 1612 by the
Rath of Nurnberg. Y

282 Life and Works of Albert Durer.
17. Christ bearing the Cross (School of Durer). — Said to be by
Hans Vischer, an imitator of Durer. This was brought from
Schleisheim, and is full of figures, finished with wonderful care.
On wood, 6 ft. 1 in. high by 4 ft. 6 in.
51. Portrait of a Man. — Supposed to be that of Jacques Fugger.
In tempera on cloth, 2 ft. 1 in. 4I. by 1 ft. 7 in. 3 1.
71. SS. Peter and John. — Figures the size of life. 15 A.D. 26.
76. SS. Paul and Mark. — Companion to the last. Same size,
6 ft. 6 in. by 2 ft. 4 in. 6 1. Both pictures among the finest works
of the master. They were presented to the town of Nurnberg by
Durer, and were first placed in the Rathhaus.
72. The Nativity. — Five angels surround the infant Jesus.
On wood, 4 ft. 10 in. by 4 ft., the altarpiece of which 1 and 3
were the volets.
93. Lucretia Killing herself, dated 1518. — Size of life. On
wood, 5 ft. 2 in. 3 1. by 2 ft. 4 in.
94. The Descent from the Cross. — On wood, 4 ft. 9 in. by 3 ft.
9 in. 6 1.
120. (Cabinet VII.) Portrait of Oswald Krel, dated 1499. —
On wood, 1 ft. 7 in. by 1 ft. 2 in.
123. SS. Joachim and Joseph. — Small figures. Picture painted
under the influence of the school of the Lower Rhine, says the
catalogue : dated 1523. On wood, on a gold ground, 3 ft. 6 in.
by 1 ft. 8 in.
124. The Portrait of Himself, at the age of twenty-
eight. — On the left is the inscription, ' Albertus Durerus Noricus
ipsum me propriis sic efingebam coloribus aetatis xxviii.' On the
right is the monogram and date 1500. On wood, 2 ft. 1 in.
by 1 ft. 6 in.
127. S. Simeon and Bishop Lazarus. — Small figures on a gold
ground. Monogram and date 1523. On wood, 3 ft. 6 in. by
1 ft.' 8 in.
128. Portrait of Durer's lather, at the age of seventy. — This

Appendix. 283

interesting work has an inscription in which the painter says, he did
it from his father at the age of sixty and ten, with monogram and
date 1497, when Durer was twenty-six. On wood.
139. Portrait of Michael Wolgemuth, painted in 151 6, when
Wolgemuth was eighty-two. — The inscription (see p. 34) has
been added by Durer after the death of the aged painter. In it
Durer calls him ' Seim (sein) Lermeister Michll Wolgemut.' In
the Munich Gallery are several very fine works by the ' Lermeis
ter,' as well as by his greater pupil. They have come together
again after three centuries and a half. On wood, 10 in. by 9 in.
147. Portrait of a young Man, called Johann Durer, the painter's
brother. — It is dated 1500. It is not that of the painter's brother,
although it has been so entitled on the lithographic print. Small ;
8 in. 9I. by 8 'in. 4I.
153. The Mater Dolorosa. — The figure is half the natural size.
On wood, 3 in. 5 1. by 1 in. 4 1.
154. The Death of the Virgin, surrounded by the Apostles. — A
beautiful small picture on stone. The size is 8 in. 6 1. by 6 in.
91. To return to Heller, there are several collectors in Munich who
claim the possession of pictures by the master ; but, as they do not
appear in Nagler's list, whose 'A. Diirer und seine Kunst' was
published in Munich ten years later than the date of Heller's
book, I do not consider it necessary to enumerate the scattered
works alluded to. Naples.
In the Palazzo Villafranca.— Christ on the Cross.

Neunkirken on Brand.
In the Pfarrkirche of S. Michael, 18 14.- 73* Virgin Offering
in the Temple. Also the Eight Stations, said to be Durer's, hung on
the two sides of the choir.

284 Life and Works of Albert Durer.

Nurnberg.
In the. native city of the painter we expect to find his works,
and in former years they were numerous. King Ludwig and
others carried off some of the best for Munich and elsewhere, and
now there are scarcely any but copies remaining in the original
positions : doubtful even are those in the Rathhaus, executed on
the wall itself. Formerly the Praun Collection, as well as other
cabinets, contained much of Durer's work now dispersed.
In the Schloss are the two copies of SS. Paul and Mark,
Peter and John, instead of the originals now in Munich : also The
Mother ofZebedee's Children, dated 1496. Much injured.
Portrait of Charlemagne.
Portrait of Kaiser Sigismund. Both doubtful.
The Nativity. A copy.
A Holy Family. Also a copy.
His own Portrait. A copy from that in Munich.
In the Rathhaus. In the great hall is a large painting in oil
on the wall, of the Triumphal Car of the Emperor Maximilian.
The composition is that of the woodcut, and the painting is judged
to be by one of Durer's scholars, not by his own hand. Between
the doors is a company of musicians represented in a balcony,
which may have been Durer's, but has been repainted by Gabriel
Meyer in the first half of the eighteenth century. Here is also a
copy of the Adam and Eve. Sandrart mentions in 1604 a portrait
of Durer's mother as existing in the Rathhaus. This picture is
no longer to be found.
In the Town Library, 1801. — A Portrait of Wilibald Pirk
heimer, with date 15 14. Not from Durer's hand, and in the
Convertiten-Bibliothek were, or are, portraits of Luther and
Melanchthon ; both worse than doubtful, dated 1520.
In the Lindauer Briiderhaus. According to Heck's ' Conver-

Appendix. 28^

sations-Lexicon,' there was, at the date of that publication, a
picture of Hercules Shooting the Harpy : on cloth.
In the church of S. Sebald. — The Entombment. John holds the
body of our Lord. This picture, which was unfortunately cleaned
in 1813, was the gift of the family of Holzschuher, who all appear
in the lower part of the composition. The picture has the mo
nogram of the master, and is one of the earlier works : 4 ft. 6 in. by
3 ft. 6 in. Here is also another votive painting, given by the Culm-
bach family. It is, however, only after a sketch by Durer, as are
likewise a Last Judgment in the chancel, and a small picture of
Durer, Pirkheimer, his sister, and other persons.
Lorenz Church, behind the chancel, a Christ on the Cross, 1494 ;
not from Durer's hand.
In the chapel of S. Roch, in the graveyard out of the town, is a
votive picture presented by Hans Imhoff, a descendant of Pirk
heimer. It is a threefold work, containing the Death of Crescentia
Pirkheimer, with the Trinity and the Birth of Christ. This has
been supposed to be Durer's, but is not from his hand.
In the possession of H. Campe, 1822. — Christ on the Cross.
On wood, 5 ft. 3 in. by 5 ft. Engraved by Fleischmann.
In the collection of Herr Von Derschau, 1822. — A Portrait
of Sixtus Olhafen, at the age of thirty-seven, with monogram and
date 1503. On wood, i8i in. by 14J in.
Christ bound to a Pillar, with Durer's monogram. On wood,
very small.
Minerva and the Muses.
In the collection of Herr Heinlein, 1822. — John the Baptist.
On wood.
S. Onophrius, with date 1504.
Ecce Homo.
Durer's wife, Agnes Frey, 15 19.— These two last are sketches
on canvas. All four were formerly in the Praun Collection.
In the house of the Holzschuher family, 1822. — Portrait of

286 Life and Works of Albert Durer.
Durer's Friend, Jerome Holzschuher, with date 1526. On wood..
This is certainly one of the finest pictures by the master.
In the collection of Herr Merckel, 1822, a Portrait of Jacob
Muffels ; and in the collection of Herr Peller, 1822, another portrait
of the same. Both of these, it is contended, are by Durer. Jacob
Muffels was burgomaster in 15 14. He was the same age as the
painter, and was on terms of friendship with him. He died in 1526.
In the collection of Thomasius, called by Heller Der grossen
Polyhistors Thomasius, in 1741, was a portrait of another friend of
Durer, Lazarus Spengler. On it was the painter's monogram,
with this inscription :
VICTRIX !J FORTUNE % SAPIENTIA ? .
LAZARUS SPENGLER.
-ffiTATIS SV&. XXXIX. ANNO MDXVIII.
Paris.
In the Musee Royal, in 1740, we find four of Durer's pictures :
The Magi, A Christ with the Crown of Thorns, '¦The History of S.
John,' and another. And at same date, in the Orleans Gallery,
were four, The Nativity, The Magi, The Flight into Egypt, Portrait
of a Man zvith a Paper in his Hand.
In the Musee Napoleon, in 1806, we find these works catalogued
by Durer. — Portrait of a Geometrician, Portrait of a Musician (both
problematical titles), A Holy Family, Head of an Old Man.
St. Petersburg.
In the Imperial Gallery, according to Huber (i. 207), three
pictures :
Christ led to Calvary.
Christ carrying his Cross.
Portrait of John Frederick, Elector of Saxony.
In the Imperial Academy a picture of Durer's exists, which,

Appendix. 28y

according to Meusel (Miscell. Heft xi. S. 264), was taken off its
wormeaten panel by Lucas Panzelt, under the rule of the Empress
Elizabeth, and preserved on a copper plate.
Prague.
In the palace of the Emperor Rudolph II., in the new gallery
in 1610, were various pictures by Durer.
1. The Wise Men of the East (now at Vienna).
2. The Madonna, with Two Angels holding a Wreath of Roses
wherewith to crown her. — Probably the picture Hauer reports to
have been bought by the Emperor from Imhoff.
3. Adam and Eve, 1507. — The picture mentioned berore as
having been taken from the Rathhaus of Nurnberg, and a copy
substituted. 4. Christ on the Cross, 1508.
5. The Martyrdom of the 10,000 Saints (now in Vienna, see
p. 288).
6. The Trinity (Vienna, see p. 288).
7. Bearing the Cross. — Was this the picture presented by the
Nurnberg Council to the Emperor, mentioned by Carl van Man
der? Heller enquires. In the picture in question were all the
councillors of Nurnberg painted among the crowd of characters
represented. 8. The Martyrdom of S. Bartholomew : painted for the German
society or company (Gesellschaft) in Venice, in 1506, when
Durer was there. The painter received no florins for the
picture, and when the Emperor Rudolph II. got possession of it
by a great sum of money, he had it carried all the way from
Venice to Prague on men's shoulders, for fear the shaking of the
usual luggage-waggons would injure it. Rudolph died 16 12. The
best of his gallery was shortly after taken to the seat of the new
government at Vienna. The remainder, after a century of seclu
sion in the closed apartments, were publicly sold in 1782.

288 Life and Works of Albert Durer.
Rome.
In the Borghese Palace. — I. The Three Magi. 2. The Woman
taken in Adultery. 3. Two Portraits of Women. 4. S. Francis.
Very beautiful work.
In the Villa Chigi, in 1767, was a Dead Christ ; and in the
Colonna Palace, according to Huber (i. 206), was a picture of
a Cardinal in a library; and in the Corsini Palace, in 1822, 3
portrait of a German Cardinal, probably Cardinal Albert.
In the Doria Palace, S. Eustace, a good work with many
figures : on wood, 2 ft. high. The Marchese Luigi Zappi dis
covered here a very fine Ecce Homo, by Durer, in 1821 ; dated
1520 ; valued at 1500 florins, and engraved. To all this Heller
places a note of interrogation. Venice.
In the Ducal Palace (Markus-Pallast), Christ before Pilate : z
picture with many figures.
In the Grimani collection (1821), A Virgin with Angels bearing
a Wreath, and many figures. Most probably an Italian adaptation.
In the Manfrini Gallery. — The Holy Child adored by the Shepherd
and Angels : on canvas. Also the Child with Mary and Joseph.
Vienna.
In the Belvedere. — 1. The Adoration of the Magi. A very elabo
rate composition of many figures; dated 1504: on wood, 3ft.
3 in. by 3 ft. 7 in. This picture was executed for Frederick ths
Wise, and was in the All Saints Church of Wittenberg.
2. A Madonna with the Child at her Breast. — Signed a.d.
1503. On wood, 9 in. by 7 in.
3. An Altarpiece. — In the centre sits the Virgin, two angels
holding a great crown above her. She has the Child in her arms,
and S. Katherine kneels before him. Behind her are S. Eliza-

Appendix. 289
beth and six others, with Gabriel standing farther back. On the
other side, the Kaiser Max kneels with his second wife Blanka
Maria, and other characters of the time. Durer himself and
Willibald Pirkheimer stand under a tree. — On wood, 5 ft. 2 in. by
4 ft. 3 in. Dated 1506. This is a picture of disputed authority,
and is not mentioned by Nagler in his list.
4. Madonna with the Child, who has a pear in his hand ; 1 ft.
8 in. by 1 ft. 2 in.
5. The same. — An interior ; on a table stand an apple, a
knife, and a glass of red wine. A landscape seen through the
window ; 2 ft. 4 in. by 1 ft. 9 in.
6. The same. A similar composition : same size. — On the
table are a knife and a half-lemon.
7. The Martyrdom of the 10,000. — A picture with many
figures, Durer and Pirkheimer appearing in the distance ; 3.ft. 2 in.
by 2 ft. 10 in. One of the most admirable works of Durer.
8. The Trinity. — The painter himself is on the left holding a
tablet, inscribed ' A. Durer Noricus faciebat Anno Virginis Partu,
151 1.' Small figures, on wood ; 4 ft. 3 in. by 2 ft. 9 in.
9. Portrait of Maximilian I. ; painted in the year of the
Kaiser's death, 15 1 9. He is in brown fur, with a cap on his
head. Half figure ; 2 ft. 3 in. by 2 ft.
10. Portrait of Johann Kleebergers ; painted like 'an antique
bust,' 1526. Inscribed CE. Ioani. Klebergers, Norici an. aetat.
suae xxxx.' This came from the Imhoff collection.
n. Portrait of a Man with blond Hair and Beard.— Head
life-size, on wood.
12. Portrait of a Young Man with short Moustache and Beard,
1 round cap on his head, 1507.
In the Ambraser collection, Vienna. — 1. Portrait of a Young
Woman in Profile with long Hair and Pearls. — On wood, 1 ft. 6 in.
by 1 ft. 3 in.
2. His own portrait with fur mantle and cap, dated 1515. In
z

290 Life and Works of Albert Durer.
scribed, ' Als ich was 55 (45) jar alt, da het ich die gestalt.' In
this gallery are five others called Durer's, but not by his hand.
In the Esterhazy gallery. Christ on the Cross ; 4 ft. 6 in. by 4 ft.
5 in. In the collection of Count von Fries. The Death of the Virgin ;
3 ft. 1 in. by 2 ft. 4 in. ; dated m\ 15 18. A remarkable work of
the master. This picture, among the sixteen figures contained in
it, comprises portraits of the Kaiser; Mary of Burgundy, his wife
in 15 18 ; Bishop Zlatko of Vienna, for whom it was painted;
and others of the court ; and was probably painted during Durer's
stay at Augsburg.*
Collection of Count v. Lamberg, 1821. 1. Christ bearing
the Cross.
2. The Death of Mary.
3. The Rape of a Nymph by a Merman.
In the Lichtenstein gallery, 1821. Two portraits ; a man and
a woman. Waller stein.
In the collection of the Duke of Ottingen-Wallerstein (1822).
1 . Portrait of Durer's Father. Heller writes under the impres
sion that this is the original of Hollar's etching done in 1644. 2.
Portrait of Oswald Krel, dated 1499. 3. Christ with the Crown of
Thorns : brown hair and beard : on wood. 4. The Nativity ; five
angels surround the Hob/ Child. 5. A Holy Family : on wood.
Weimar.
In the Duke's gallery. 1. Portrait of Charles V. 2. Christ
bearing the Cross. 3. Portrait of Durer. 4. Two Heads of Old
Monks. These three last mentioned were destroyed by the burning
of the Schloss.
* This picture has left Vienna. A paragraph in the Athenaeum, August
21,1 869, informs us it is now above the high altar, S. Wolfgang's Church,
on Lake Wolfgang, Upper Austria.

Appendix. 2g I

Wittenberg.
Besides the picture of The Adoration of the Magi, now at Vienna,
before mentioned, were formerly three other pictures by Durer :
— The Agony in the Garden, Mary with Angels, and S. Joseph.
These were destroyed in 1 760, when the church in which they
were was burnt in the siege. Wurtzburg.
In the bishop's country house. A Portrait of Durer. A Mater
Dolorosa. In the bishop's house at Werdeck, a Trinity with
the Assumption of the Virgin, and at his house at Veitshochheim,
Christ bearing the Cross, with S. Veronica.
In Herr Hartman's collection were, or are — 1. The Agony in
the Garden. 2. Adoration of the Magi; a very admirable work,
on wood ; 3 ft. 1 in. by 3 ft. 8 in. 3. Madonna and Child in a
Landscape; 3 ft. 1 in. by 2 ft. 7 in. 4. Portrait of Sixtus Oel-
hafen, 1503.

292 Life and Works of Albert Durer.

V.
CATALOGUE OF ALBERT DURER'S WORKS.

Sketches and Drawings.
It does not seem possible to make this division of the works of
Durer anything like complete or reliable. Without actual exami
nation, the authenticity of the numerous pieces mentioned by Heller,
or affirmed by their possessors to be from the master's hand, is
at best doubtful. Works of this nature are also more liable to
change hands and to be lost, as well as more difficult to reach.
At the same time there is certainly a very large number of true
sketches from Durer's hand still existing, and the following list
enumerates all that are preserved in public institutions or are other
wise verified as at present to be found.
In the possession of Joseph Heller (1827), the author we have
followed in previous lists, were two sketch-books bound together —
Durer's own books, used for sketches of his friends' portraits, first
ideas of subjects, and memorandum sketches, carried to Augsburg
on his visit in "1518, and to the Low Countries in 1520-21.
This singularly interesting book he acquired in an accidental
manner, the same having been unknown to Sandrart and others,
although it seems to have been preserved in Nurnberg, and the
drawings much injured. The number of sketches in Heller's
collection was eighty in all, four only being in water-colour, one
in pen, and the rest in charcoal and crayon on strong paper
grounded with colour, green or brown. Several of these, according
to his own acknowledgment, were not by Durer's hand.

Appendix. 2g$

This collection Heller left to the town of Bamberg, at his death,
about thirty years ago.
Alexander Posonyi of Vienna formed an important collection, in
which were forty-eight original studies and sketches. These are
now in the possession of M. A. Hulot, a la Monnaie, Paris, by
private purchase, a sale having been advertised by auction at
Munich to take place on November n, 1867. Posonyi had
previously offered the entire cabinet, including a small lay figure
and a model in oak and iron of a gun-carriage, examples of the
versatile science of the artist, to connoisseurs in various countries,
at the price of 3,000/. (I believe), without effect; but fortunately,
at the last moment, and after the circulation of the sale catalogue,
M. Hulot came to terms, and preserved the very interesting
collection from dispersion. The drawings were formerly in the
Praun, Esterhazy, Lawrence, Woodward, Rogers, and other
cabinets. 1. The Madonna on a Throne with the Infant, IjA 1485. Pen
drawing ; 8 in. by 5 in. 6 1.
2. The Three Swiss Founders of Independence, 1489 : Werner
Stauffacher, Arnold de Melanthal, and Walther Fiirst : pen and
ink. 3. A young Cavalier with a Lady behind him on the Horse, i^qb.
8 in. by 6 in 4. 1.
4. Female Head: pen.
5, 6. Flowers. Several studies by the pen on each sheet.
7. Philip le Beau (son of Kaiser Max.) ; 14 in. by 10 in.
8. Fantastic Heads and Studies of Drapery : pen.
9. Head of an Old Man. On the back, another pen sketch of a
Maid carrying a Pot on her Head.
10. Head of Emperor Max. I., 1507. Three-quarters natural
size : black chalk.
1 1. Hercules and a Dragon.
12. Galloping Knight, 1508 ^d\- Silver point.

294 Life and Works of Albert Durer.
13. Head of an Apostle, 1508. China ink on blue paper.
14. „ „ „ ditto.
15. „ S. John. „ ditto.
16. Full length Figure of Himself, ' 1509. er selber.' China ink,
with white ; 15 in. by 9 in.
17. Christ on the Mount of Olives : pen.
18. Vision of a Saint : pen.
19. History of Samson, 15 10. An important and beautiful
work. On grey-green paper with China ink.
20. The Nativity : on the reverse a Crucifixion, a fine work :
pen. 2 1 . Virgin and Child. This is the original sketch of the print
called The Virgin with the Pear, B. 41, 151 1. A beautiful study
with the pen.
22. Another Virgin and Child.
23. Sheet of Pen Studies: The Madonna: four figures, men.
1514. 24. Agnes, Sister of Durer: SO called without reason. A head
half-life size, formerly called by the more probable name of
Suzanna, Durer's wife Agnes' maid, 15 15. Chalk, 16 in. by
n in.
25. S. Nicholas. Pen, 7 in. 9 1. by 6 in. 9 1.
26. A Bishop standing. Pen, 12 in. 3 1. by 5 in. 3 1.
27. Mother and Child, 1517. Very fine sketch : pen.
28. An Ornament, 15 17. Fine pen drawing.
29, 30. Landscape Studies : water colours, of great and minute
beauty, 16 in. by n in. and 12 in. by 4 in.
31. The Dead Christ. Fine design with the pen, 1519.
32. The Bombardment of Assberg, i$ig. Vigorous pen drawing.
33. A Crucifixion ; 8 in. 9 1. by 8 in. 3 1. Pen.
34. S. Lawrence ; 10 in. 3 1. by 9 in. 3 1. Strong drawing
with pen.

Appendix. 2g$

35, 36, 37. Draperies, 1521. Charcoal drawings, 15 in. 6 1.
by 11 in. 3 1.
38. Portrait of an Old Man. Chma ink.
39. Durer's Wife Agnes, 1521. This must be a most interesting
drawing, if it really represents Agnes, as it is said to do, in her
Netherland costume, twenty-seven years after marriage. This
would be in 1521, towards the end of their journey through the
Low Countries. The drawing was first in the keeping of the
Imhoff family, afterwards in that of Woodburn and Sir T.
Lawrence. Silver point on grey paper. Half life size; 15 in.
6 1. by 10 in. 3 1.
40. Warriors and common Soldiers of Ireland. This also is
perhaps a very curious relic of the ' Journey,' most probably
Irish soldiers of fortune he had seen passing through Flanders.
Above is written, ' Thus go the head men " krigs man," in Ireland
beyond England,' and, ' Thus go the common men " dy pawern "
(Bauern), in Ireland,' 1521. 8 in. by 10 in. 9 1. Pen, with
washes of colour, most interesting.
41. Leaf of Studies. Supposed from his sketch-book, during his
' Journey : ' drawn on both sides, 1521.
42. An Anatomical Study. Water colour, 10 in. 6 1. by 6 in.
6 1., 1523.
43. S. Jude seated, 1523. Pencil, on green paper, 10 in. by
7 in. 6 1.
44. Animals, 1523. Water colour, 9 in. 3 1. by 6 in.
45. Flowers. Water colour, 1526 ; 13 in. by 10 in. 3 1. : parch
ment. 46. S. Mark, a Head, 1526 ; 14 m. 3 1. by 10 in.
47. Figure of a Woman. Study for the ' proportions.' China ink.
48. Study of a Stag's Head. Water colours : 7 in. by 6 in.
British Museum. The large volume of Durer's sketches, which
came to our National Museum from Mr. Soane, is of extraordinary

2g6 Life and Works of Albert Durer.
interest. Although it is the most important collection in number
and in excellence of some of the examples, it is scarcely at all
noticed in the most comprehensive German books on the master.
Heller does not seem to have known that such a treasure existed.
The volume belonged to Lord Arundel, and, as stated in the cata
logue of the MSS., British Museum, ' the drawings were probably
part of the collection of Willibald Pirkheimer.'
i. Durer's Portrait at thirteen years of age. This is an old copy
from the well-known original at Vienna, as the inscription acknow
ledges. 2, 3. Cherubs' Heads. Chalks, slightly tinted with colour,
which has faded. (No. 4 taken out.)
5, 6, 7. Male Heads, in pen : small : very interesting. (8
illegible.) 9. Small study for Head of Lucretia killing Herself, in the
Pinacothec at Munich.
10, 11, 12, 13. Very fine Head on vellum; pen : small.
14, 15, 16. Others on paper.
17. Female Head, in chalk.
18, 19. Male Heads of great character, in colour. (20-22
illegible.) 23, 24, 25. Very careful and beautiful studies of Old Men's
Heads, in colour, small. (26 taken out.)
27. Male Head, in chalk, size of life ; dated 15 18.
28. Another similar in size and manner.
29. An impressive, somewhat terrible Head of Dead Christ:
the action leaning back with mouth open. Inscribed in Durer's
hand, ' I drew this in my sickness.'
30. Head, in chalk, 1513.
31. „ in pen : a head of singular character.
32. „ in chalk : A Young Man. I consider this not Durer's ;
it is inscribed, ' alt 16 jar.'
33, 34. Two Female Heads, in red chalk ; 1510, 1506.

Appendix. 2gy

35. A Child's Head: black and white chalk, 15 19. — On red
paper. 36. Another, on red paper : An Old Woman ; very fine.
37, 38. A Cherub's Head, and a Woman's : on red paper.
39. Two Studies of a Child's Head.
40. Child's Head: on blue paper, very fine, 1521.
41. Fine study on light drab paper: a Boy's Head.
42. Life size, Old Man's Head : chalk, on dark paper : 1522.
43. Young Woman ; a head highly shaded in black and white :
on dark paper, 1502.
45. Large drawing, in chalk : a Female Head and Shoulders,
1521. (Preceding No. gone.)
46. Fine work in colour : a Man's Head : large.
47,48. „ chalk, „ „
49. Female Head, nearly size of life : much rubbed.
50. Another, same size : a Young Woman : inscribed above in
large letters 'Fronica, formschneiderin, 1525.' This Fraulein
Fronica, the first female engraver on wood on record, we may
reasonably fancy coming to the great artist with a proof of her
work, and the simple and candid Nurembergeoise face, with its
smooth hair scantily seen, attracting his attention. At all
events, here she is ; rather pretty, a good soul, a little stiff in the
temper, with powers of work and application. The name is
written so large above the drawing that it suggests some joke on
the part of the artist, perhaps to have it published to the world
to make her famous.
51. A Man's Head. — This drawing and the two following, a
male and female head, appear to me of doubtful authenticity.
54. Life size, Male Head in a Hat : in chalk, 1521.
55. S. Lawrence in a Circle of Foliage. (Doubtful.)
56, 57. (Not Durer's, I believe.)
58. Slight pen sketch of Two Knights. (May be Durer's.)
a a

298 Life and Works of Albert Durer.
59, 60. Curiously complicated Plans of Fortification or Mathe
matical Figures : drawn by compass, 1506. (May be Durer's.)
61, 62, 63. Slight Armorial Sketches.
64. A Jewel : very similar in style of ornament to the draw
ings of Holbein of similar objects.
65. Allegorical Pen Sketch in a Circle; small.
66. A Sarcophagus and Canopy. — This is so similar to the
erection in Padua, called the Tomb of Antenor, I suspect it to
be a sketch of that monument. (All these are doubtful pieces.)
67, 68. A Medal commemorating A. Durer (not his, of course),
and a sketch of his Shield of Arms : 'the Open Door.'
69, 70, 71. (Not Durer's.)
72. An extraordinarily careful study of the Inside of a Bird's
Wing. Preparatory to the engraving of the Great Fortune,
Vasari's Temperantia.
73. Upright arabesque Pilaster Design. (Doubtful.)
74. Design for a Ring.
75, 76. Arabesques. 77, 78. Designs for Cups. (Doubtful.)
79. Two Sketches for Wine Flasks, or Epernes. (No. 80 want
ing-) 81. Design for Cup and Cover, 1506.
82. Two .Designs for Ornaments : upright, 15 15.
83. A large elaborate Design for a centre Ornament in Silver
work. (Not from the hand of Durer ; similar to a drawing of his,
described in the Imperial Library in Vienna.)
84. A large Stork. (Doubtful. 85 and 86 not Durer's.)
87, 88, 89. An arabesque Column. — There is a woodcut by
Durer of a similar column in three blocks. (Doubtful drawing.)
90-93. (Not Durer's.)
94. Presentation in the Temple : studies of parts only finished.
(Doubtful.) 95. Armour for the Leg. 96. A Soldier. (Both doubtful.)
97. Pen Sketch of a Soldier, 15 10. (98, 99, not Durer's.)

Appendix. 2gg

101-108. Tarock Card Drawings: some of them certainly
taken from those of Baccio Baldini. These were conjectured by
Mr. Carpenter to have been done by Durer in Venice in 1506.
(Doubtful.) 109. A Flagellant : pen; small.
no. Design for a Stool, and for a plain Silver Measure : small.
in. Allegories: small and slight pen sketches. (Doubtful.)
112. S. John and the Virgin : pen ; very good.
113. A Naked Woman with a Pair of Scales : another draped.
(Doubtful.) 114. Study of a Bird's Wing for the ' Great Fortune;' also a
sketch for the Figure : this last very slight.
115. Slight sketch in pen : Naked Woman carrying something.
116. Fine pen sketch : Christ on the Cross ; and a Man's Head,
1511. 1 17-123. Siege Attacks, &c. (Not by Durer.)
124-127. Four Divisions of an Altarpiece. (Not Durer's.)
128, 129. North American Indians (?). (Doubtful.)
130-132. (Not by Durer.)
133. Sketch of a Fireplace and Table ; from the objects.
134-148. Illegible.
136. Beautiful pen sketch, Virgin and Child: preparation for
the engraving of the Virgin with the Pear.
139, 140. (Not Durer's.)
141, 142. Designs for Spoon Handles. (Doubtful.)
143-147. Small Friezes of the Passion, &c. (Doubtful.)
148-150. (Doubtful.)
151, 152. (Not Durer's.)
153. Slight pen sketch of two capitals, studies for the Triumphal
Gate of Maximilian ; and 154, Half of an Eagle, for the same.
155. Pen Sketch of a Cock; and, 156, of a Coiu. (This last not
Durer's.) 157. Rabbits: pen sketch. (158, 159, not Durer's.)

300 Life and Works of Albert Durer.
1 60. Two Studies of the Sturgeon : water colour.
161. Original Drawing of the Rhinoceros, 15 15.
162-164. Three small pen studies of landscape ; one of them
a tree-stem ; most admirable. (165 taken out.)
166. Most beautiful study of rocks in body colour, 1506. All
the stratification and surface growth given with exactitude.
166*, 167. Landscape studies : Fir Trees.
168. Careful Drawing of a Carrot and a Bulrush Top.
1 69 . Cherub with the Instruments of the Crucifixion. (Doubtful. )
170. A Saint : chalks on dark paper.
171. Orpheus. (Doubtful.)
172. Saint Kneeling : Executioner behind him with a Sword: pen.
173. First sketch for the engraving of the Prodigal Son : fine
and interesting : pen and ink,
174. Study from nature : Female Figure introduced behind the
Virgin in the print of the Marriage, Life of the Virgin series.
175-177. (Not Durer's.)
178. S. Christopher. (Doubtful.) No 179.
180. Beautiful sketch : Old Woman's Hands: chalk, 15 18.
181. Hands and Arms of Adam, for the engraving. Beaut'ful
pen sketch.
182. Beautiful pen studies of Eve in different attitudes, one of
them having been adopted for the engraving.
183. Apollo: a careful pen study.
184. A pen study : Venus, or Eve, 15CO.
185. Pen outline: Profile of a Male Naked Figure, 1526. The
next number is another, similar. These are studies for the work
on ' Proportion,' or for a lay-figure.
The remaining drawings, about twenty in number, following
186, may be safely pronounced not viy Durer, although some of
them are after his known works. Altogether the volume is rich
in interest to the critical eye. The British Museum possesses,

Appendix. 301

besides, ten drawings carefully mounted ; some of them having
been extracted from the volume. These are,
1 . Beautiful drawing in black and white chalk : Head of a Young
Bearded Man Looking up.
2. Study of the colour of the Kingfisher : size of nature.
3. Chalk head, size of life : Young Man, 15 16.
4. Careful landscape study : a tall House by a River : similar to
the tall house in the background of the engraving, The Virgin with
the Monkey.
5. Virgin and Child with Cherubs : fine drawing, on very dark
paper, white chalk principally.
6. Similarly executed : Old Man's Head with Long Beard.
7. Study of a Dog sitting: pen with light ink.
8. Two Angels with a Crown : study in pen for the engraving
of the Virgin crowned by Two Angels.
9. Slight pen sketch of a Camel.
10. Pen study of Virgin with Child sitting, 1503.
The extraordinary precision of some of these studies is highly
noticeable. Those in white are especially wonderful. The land
scape studies (166 in particular) show exactly the opposite practice
to the modern English landscape school. Our present painters,
with a vague notion of general and romantic impressions, and what
they call ' painting light,' have utterly lost specific detail and
exactitude, individuality in foliage, and consequently all the charm
that belongs to the multiplicity of nature and imitation of ' still life.'
Few of our landscape painters indeed paint anything but distances ;
pictures with distinctive objects near the eye and the charm of fore
grounds are left to figure painters. Durer's heads are studied very
much in the same manner as his still life : the eyelids and brows,
the moustache and beard, are elaborated not in a mechanical but
in an intellectual manner, gi . ing the life of the surface, and the
individuality that makes the man or woman what he or she is, and
none other.

302 Life and Works of Albert Durer.
Dresden. In the Royal Collection of Engravings are six draw
ings by Durer.
i. The Virgin with the Child on her Knee. A very fine pen
drawing on brown paper, heightened with gold. 1509.
2. Christ with the Crown of Thorns. A very skilful sketch
with the pen. The figure leans against the pillar, 15 10.
3. S. Francis. Pen drawing shaded with bistre.
4. Justice : the figure sits upon a lion.
5. The Virgin with the Child in her Arms, standing on the
Half-moon. The sixth is a sketch of a coat of arms.
In the Royal Library in Dresden is a very interesting memorial
of Durer. It is some portion of the work on Human Proportion,
with a written title, ' Varii Schizzi di manu propria di Alberto
Durero, Pittore Alamano. /q\ .' The illustrations to this book
are the original drawings by Durer, 94 in number. These are
described at length by O. B. Hausmann in his work on Durer's
engravings, sketches, &c, published at Hanover in 1861. .
Vienna. In the Royal Library and Gallery are several reputed
sketches by Durer ; but the collection of Archduke Albert is of
the greatest value and undoubted authenticity. These came from
the Imhoff family, from the royal treasures of Prague and else
where. Sandrart in his ' Academie ' mentions the drawings of
the Passion on green grounds and others, now in this cabinet.
1. This is the Portrait of himself in 1484, of which we have
an early copy in the British Museum. On it is written : ' This
have I imitated from myself in a glass in 1484, while I was yet a
child.' 2. Andreas Durer, his brother: pen, 15 14. Inscribed in a
doggerel couplet, which may be rendered,
Andreas Durer looked like this
At thirty years of age I wis.

Appendix. 303
3. Adam and Eve by the Tree of Knowledge : pen, 1510.
4. The Virgin Meeting S. Elizabeth : alight pen drawing of the
design for the woodcut in the Life of the Virgin.
5. The Nativity: pen, 15 14.
6. Adoration of the Magi, 1524: pen.
7. S. Anna, with the Child on her Knee, with the Virgin : pen,
1512. 8. The Last Supper: sketch for the woodcut, 1523, pen.
9. The Agony in the Garden : beautiful pen sketch.
10. „ „ „ 1515 : also pen sketch, resembling
the composition in the etching (' the iron plate').
11. Christ before Herod: pen drawing.
12. The Crowning with Thorns: pen.
13. Christ Carrying the Cross : pen.
14. Crucifixion : composition full of figures : pen and China
ink, 15 1 1.
15. Christ on the Cross, with Mary and John, 1521 : pen.
16. The Maries Weeping over the Body of Christ, 15 19 : pen,
17. The Death of the Virgin Mary. — Sketch for the grand
woodcut in the Life of the Virgin.
18. A Holy Family : free sketch with pen.
19. SS. John, Evangelist and Baptist, Catherine and Barbara
adorning the Infant Christ : light pen, 151 1.
20. The Virgin Nursing the Holy Child : pen.
21. The Veronica : a pen sketch for the copper engraving.
22. S.Paul sitting: a beautiful pen sketch, 1517.
23. Temptation of S. Anthony : pen, 1515.
24. Venus on a Dolphin with Cupid standing on a Staff she holds :
pen, 1503.
25. An Old Man : pen, 15 14. — On the back is a sketch of a
lion. 26. An excellent Study of the Nude : male : 1515.
27. Two Naked Figures in outline. (Doubtful.)

304 Life and Works of Albert Durer.
28. Triumphal Car of Maximilian. — Preparatory sketch for the
work. 29. Six Mounted Figures, as if a study for the Triumph.
29.* A Soldier with a staff, on which spear, bow, &c, hang.
Inscribed in Durer's hand, ' dy Franziszt troffea.' 1518.
30. A Knight on a Horse, holding a spear with Italian armorial
bearings: ' dy Welsch troffea.' 1518.
31. A Knight splendidly caparisoned, holding a lance, &c. ; ' dy
Pemisch (Bohemian) troffea.' 1518.
32. A similar subject. — Hungarian trophy.
33* 55 55
34" 55 55
35. A Visor of a Helmet with Ornaments : in pen, 15 17.
36. The Guard (stich-platte) of a tournay lance : pen, 1517.
37. A View of the Cathedral of Antwerp. — One of the towers
appears not to have been built at this time ; the other still requires
the pinnacle, 15 14. An interesting sketch with an inscription in
Durer's hand. (Is the date correct ?)
38. View of Antwerp from the Water Side, with Ships, 1520.
39. Rocky Landscape : pen drawing.
40. Bacchanalian Design of Ten Figures : in the middle a Faun
with Two Satyrs, 1494. — Very beautifully executed, but derived
from Andrea Mantegna.
41. Fight between Tritons and Naiads, 1494. — Also from
Mantegna. 42. A Sheet of many Studies of Beasts, Sec. : pen.
43. Judge Minos. — An allegorical composition : pen.
44. The Virgin Suckling the Child: chalk, 15 12.
45. The Emperor Max, half length, same as woodcut. This
is inscribed in Durer's hand : ' Here is the Kaiser of whom I,
Albert Durer, in Augsburg, high in the palace (" hoch oben auff
die pfalz"), in his little chamber, made the counterfeit 1518, on
the Monday after John the Baptist.' Black chalk.

Appendix. 303

t
46. Half-length of Archbishop Albert : same position as in the
copper engraving.
47. Ulric Varnbiiler, as in the woodcut : the original drawing
in chalk.
48. Half-length of a Negro, 15 18 : black chalk.
49. A Man's Head and Shoulders, with Beard: chalk.
50. Ditto, a Priest with the Barretta on his Head.
51. Portrait : a man half life-size, leaning his hand on a table
in front of him : 15 14.
52. Portrait of Felix Hungersperg. — He holds a shield with the
Emperor's heraldry on it. Written in Durer's hand is the inscrip
tion ' Felix Hungersberg : der kostlich und Ubiegrad Lawten-
schlacher.' Pen drawing.
53. Half-length Portrait of a Woman : turned to the left, a
kerchief over her head. Above is ' 1520 a.d. Zu prussel
gemacht.' Done at Brussels, 1520.
54. Half-length of Lautenschlager Felix Hungersberg : written
above is ' Zu Antorf gemacht, 1520/ — Done at Antwerp, 1520.
'Das ist hawbtman felix der kostlich lawtenschlacher.' Pen.
55. Half-length of Hofnarr Claus, 1521. — This pen-drawing
was engraved on copper by Bartsch.
56-57. Adam and Eve. — Sketches of the two figures in the
engraving ; skilful pen drawings.
58. The Nativity. — Mary kneels by the Child, 1512. On
brown paper, beautifully drawn by the pen, and the lights painted
in white.59. The Transfiguration, 1507. — Pen drawing on blue paper,
with white.
60-71. The Sufferings of Christ. — A series of twelve draw
ings. They are on green paper, with the pen, the lights
painted in white with great delicacy. These were in the Imperial
collection formerly, and so mentioned by Sandrart, 1675. The
subjects are the same as those of the engraved Passion, and many
B B

2,o6 Life and Works of Albert Durer.
of the sketches are the originals of the engravings: — The Adoration
of the Magi; The Taking of Christ ; Christ before Caiaphas, 1504;
Christ before Herod, 1504; The Scourging, 1504; The Crowning
with Thorns, 1504; Our Lord Shown to the People; Christ led
out, 1504; Bearing the Cross, 1504; The Crucifixion, 1504;
Descent from the Cross, 1504 ; The Entombment, 1504.
72. The Resurrection. — A rich composition finely done in
water colours : dated by Durer, ' Post Virginis par'tum, 15 10.'
73. S. Peter. — On grey paper with white : engraved by Bartsch.
74. The Virgin Reading, 1 52 1. — On greenish paper, very
beautiful, 1521.
75. S. Thomas.
76. S. Philip.
77. A Saint, 1523.
78. The same Saint, 1523.
79. Temptation of S. Anthony, 152 1. — On green paper, with
white. 80. Lucretia Killing Herself , 1508. — On grey paper, with white.
8 1 . The same composition : same date.
82. A Female Lying with her Back on a Stone, quite naked. —
Seen in front view. In Durer's hand inscribed, ' D% hab ich
yfifyrt' {visiert), 1501.
83. An old German Standard-bearer, 15 1 3.
84. A half-length Portrait of a Woman, with a kerchief over her
head, 15 19.
85. Portrait of Van Heigh : a barrette on his head.
86. Portrait of a Monk, 1506.
87. Michael Wohlgemuth. — Black chalk with white, on blue
paper ; engraved by Bartsch.
88. Portrait of an Aged Man with a strong beard, a cap on his
head : life-size, on grey paper. Above is written, ' Der man
ward 93 yar alt, noch gesundt und vermichlich : zu andorff.' 15 19.
89. The same Head differently treated, with the same in
scription.

Appendix. 307

90. A Man' s Head with long Beard, 1508. — On green paper.
This has been well engraved by Sadeler.
91. Another Man's Head with long Beard, same date.
92. Half-length of a Man Looking up, 1508. — On green
ground. 93. Head of a Woman Looking upwards, 1506. — Well engraved
by Egid. Sadeler.
94. Head of a Woman Looking down. — Also engraved by Egid.
Sadeler. 95. A Study of Two Hands, united.
96. „ a Hand.
97. „ an Arm of an Old Man, 1521.
98. „ an Uncovered Arm with a Sword.
99. „ a Hand.
100. ,, a Hand with a Book.
101. „ Two Hands, 1506.
102. A Death's Head lying on a Table, 1521.
103. Study of Three Books.
104. „ a Lady's Garment, 1521.
105. „ Another ; lying on a Man's knee.
106, 7-8. Studies of a similar character.
109. A Dagger in a richly ornamented Sheath.
1 10. Three Female Heads seen in front.
in. The Holy Child holding the Globe. — Parchment with water
colour: very beautiful, 1493.
112. The Nativity. — Angels surround the Child, and SS.
Katherine and Barbara are beside Joseph and Mary.
113. The Virgin sitting. — The Holy Child in her lap : Angels
behind, with SS. Jerome, Anthony, &c. On the left is S.
Sebastian, on the right S. Roche.
1 14. The Virgin in a rich Landscape. — Near her an owl sits on
a stem. 115. Christ on the Cross, 1509.

308 Life and Works qf Albert Durer.
116, 17. The left and right Thieves.
118. The first sketch for the Knight and Death. — Engraved by
Bartsch : beautiful sketch in water-colour.
119. A Nurnberg Woman going Jo Church. Sketch in water-
colour. On this drawing is written. ' Remember me when you
come into your Kingdom, 1508.' And ' Thus go they to Church in
Nurnberg.' 120. A Nurnberg Maiden dressed for the Dance. — Inscribed,
' Thus the Nurnberg Fr'duleins go to the Dance, 1500.'
121. A Fraulein in her House Clothes. — Inscribed, ' Thus they do
the House-work.'
122. An old German Noble Lady. — Three-quarters figure, 1495.
123. The Emperor Charles in State Robes, with Crown, Sceptre,
and Sword. Above, ' Das ist des Heiligen grossen Kaiser Karels
habits, 15 1 0.'
124. The Dress of the Serving Men of the Emperor Maximilian.
— Black upper dress ornamented with gold, green under-clothes,
1517. 125. The Dress of the Servants at Court of an Eastern Prince. —
Similar to the last, hlack and green.
126. A Carriage Servant, 15 15.
127. Study of a Kneeling Pope, 1514.
128. A great Gold Cup and Cover, 1526.
129. The Town of Ispurg. — A view of a town under the snowy
heights, with a strong river below ; inscribed ' Ispurg, A.D.'
This is said to be coloured from nature ; but as Ispurg appears to
be a town in Russian Lithuania, we should require to know
when Durer visited it. Possibly in his Wanderjahre.
130. View of the Old Drying Stakes (Trockenstege) of Nurn-
lerg. — A pen sketch coloured from nature.
131. The Outlook from Durer's Home at the Thiergdrtner Thor
Platz. 132. Another, coloured from nature.

Appendix. 309

133. An Angry Lion, 1520.
134. A Sitting Hare: dated 1502, a.d. — In Dresden is a
similar drawing, so that there is a question which is the original .
135. A Dead Bird; a nut-hatch probably, 15 12, a.d. — In blue
and green, with the pen. From the Imhoff cabinet.
136. A Bird's Wing, done with great care on parchment, 1512.
— A favourite object with Durer, who appears to have delighted
in the delicacy and infinite detail of the small feathers and down.
Also from Imhoff.
137. A Sitting Partridge. — In colour, on brown paper.
138. An Owl; standing, 1508.
139. A Snipe.
140. A Flying Bat. — Very beautifully painted.
141. A Nosegay of Violets. — On parchment.
142. Brier and some small White Blossoms. — On parchment.
143. Two Stalks with Violet-coloured Blossom. — A very beautiful
miniature painting.
144. A Blue-bell{J). — Very carefully painted on parchment,
1526. 145. A Stalk with a Yellow Blossom, 1526.
146. A Group of Grasses. — Extremely careful.
147. The Triumphal Chariot of Maximilian, 15 18. — A pen
drawing : size of the engraving, for which this is the preliminary
sketch. From the Imhoff Collection.
148. A great Beaker or Tankard. — Decorated with borders
and small figures : a rich composition, carefully drawn with pen
and coloured, on parchment. The lower part of the beaker
shows soldiers marching; above are peasants, a shepherd with
his herd, a hunter, a man before a crucifix, and other incidents
represented in an early German manner.
The last sketch in this great collection mentioned by Heller,
is not Durer's but Raphael's. It is the drawing sent by the
great Italian to the great German, so often mentioned, as showing

31 o Life and Works of Albert Durer.
the'high esteem in which Durer was held by the most cultivated
painter living, and first favourite of fortune. It is apparently only
a study, and that of two naked male figures, one of them a back
view, the other sideways, with both hands leaning on a staff.
In size it is about 15 in. by 11 in.
On this sketch is written, in Durer's hand : —
'1515.
' Raffahell di Urbin der so hoch peim Pabst geacht ist gewest hat der hat
dyse Nackette Bild gemacht und hat se dem Albrecht Durer gen Nornberg
geschickt, im sein hand zu weisen.'
Raphael of Urbino, in such high favour with the Pope, has made this
sketch of the nude, and sent it to Albert Durer to show his manner. 1515.
Having gone through this long catalogue, and that in our own
British Museum, it does not seem necessary, to enumerate all the
scattered sketches of Durer to be found in various parts of Europe,
as it is not possible to verify them.
Notwithstanding the absence of this possibility, there are several
drawings, however, not to be passed over without particular men
tion. In the portfolio of Joseph V. Griinling, Vienna (1827), con
taining 55 reputed drawings by the master, Heller mentions one
of his wife, Agnes Frey (?). The face is turned to the right, the
head bare, with the hair drawn back and tied by a band. She is
dressed in a bodice*
In the collection of Inspector Lefever, also at Vienna (1827),
along with three other Durer sketches, is one of a maiden ; half-
length figure ; her mouth resting on her right hand : a three-
quarters view of the fair face. A pen-and-ink sketch, with the
inscription in Albert's hand, ' MEIN AUGUST. A.D.'
In Braun's Catalogue of Vienna photographs, this sketch is
called Agnes Durer, which is manifestly a mistake.
In the Ambrosian Library, Milan, are fourteen authentic Durer
drawings ; two of these are the immediate studies for the Knight

Appendix. 3 1 1

and Death, in which the warrior and his dog only are seen, with
dark backgrounds. One of these has been traced from the other
by reversing ; so exactly like the print is one, that the change
in the action of the right hind leg of the horse, which a close
inspection of the print shows has been made, is seen to have been
done on the sketch first.
At Florence are eighteen Durer sketches. One of these is an
outline sketch of the warrior in the Knight and Death, the horse
having every part — head, neck, legs, and flank — covered with
careful measurements from nature, an instance of the thoroughness
of Durer's study. Here are also two pen-and-ink drawings of
compositions of many figures, subject Christ on His Way to
Calvary. Slight sketches, but very fine.
The collection of drawings made by Sir T. Lawrence comprised
no fewer than roo by Durer. These were chiefly pen drawings,
and on the death of Lawrence, when Messrs. Woodward made a
series of ten exhibitions of his drawings, each exhibition comprising
100 drawings, these were shown to the public in May 1836.
They were at that time sold in a mass for 800/., and subsequently
dispersed. Some are now in the collections already enumerated,
in the British Museum, and in the possession of M. Hulot, of the
Mint, Paris. The majority are dispersed about this country, in
private collections ; also in that of the King of Holland, I believe.
In the absence of exact information, however, they must be left
uncertain in the present catalogue.* All these drawings were
stamped with Sir T. Lawrence's initials.
In May, 1869, the Burlington Fine Arts Club opened an
Exhibition of the works of Albert Durer and Lucas van Leyden.
In the Durer section of this exhibition, which comprised nearly
* I take this opportunity of inviting possessors of Durer's drawings to
communicate information. In the event of a future edition, I shall grate
fully acknowledge such aid.

312 Life and Works of Albert Durer.

all the copper engravings, the impressions of the Adam and Eve,
the Melancholy, the Knight and Death, and other principal works
exhibited by Mr. Fisher, Mr. A. Morrison,* Mr. G. Vaughan,
Mr. F. S. Haden, Mr. W. Mitchell, Mr. R. S. Holford, and
others, were of the highest excellence and rarity. The four
examples of the Knight and Death, sent by the four first-men
tioned gentlemen, were all equally splendid, and the three of Adam
and Eve by Mr. Fisher, Mr. S. John Dent, and Mr. Holford,
were also perfect. f Mr. Mitchell exhibited the small circular
Crucifixion (B. 23), supposed to have been done for the hilt of
the sword of the Emperor Maximilian, now so rare. An early
impression of the etching or dry point work, the Madonna seated
with the Infant on her Lap, S. Joseph and three Saints behind (B.
43), exhibited by Mr. J. C. Robinson, showed how strong and
effective the burr was in Durer's hand. The drawings amounted
to thirty-six. 124 in the Exhibition Catalogue. Two Turks followed by a
Negro Slave. — Pen, tinted with water-colour. From the Lawrence
collection. Mr. Malcolm.
125. Study of the Standing Figure of a Stork : dated 1517, pen.
Mr. R. S. Holford.
* The Knight and Death exhibited by Mr. Morrison was purchased
by him at Sir J. S. Hippisley's sale, May 23, 1868, at the price of 94/.
f ' On the back of Mr. Fisher's beautiful impression of A. Durer's
Adam and Eve, now at the Burlington Club, is an interesting memo
randum which illustrates one of the whims of a once well-known collector.
This note was made by John Barnard, who was in the habit of inscribing
his fine possessions to persons whom he thought worthy of that distinction.
In this case he wrote "Accomplished Miss Betty Cooper, of St. James's
Street." Miss Cooper was a handsome dealer in flowers, who resided in
St. James's Street, and attracted many admirers and much custom to her
shop. Mr. Barnard was the son of Sir John Barnard, Lord Mayor of
London in 1737, who was six times elected M.P. for the city; a very
strong opponent to Sir Robert Walpole, and greatly feared by that
minister.' — Atbenteum, June 29, 1869.

Appendix. 3 r 3

126. Female Figure. — Pen, washed. Inscribed ' Eine Nurem-
bergerin, als man zur kirche geht.' (Very fine.) Mr. Malcolm.
127. Virgin and Child with S. Elizabeth. In colours, dated
15 14 : not characterised by Durer's manner. Mr. Mitchell.
128. Two Studies from the Muzzle of an Ox.— In colours, with
the monogram and date, 1523. Mr. Malcolm.
129. A Knight with a Trophy of Arms: dated 1518. — Mr. R.
S. Holford.
130. The Wing of a Kingfisher. — Highly finished in colours.
From the Esdaile collection. (A beautiful study.) Mr. Morrison.
131. A Beetle. — Highly finished in colours, dated 1505. (Very
fine.) Mr. C. S. Bale.
132. Study of Marigolds. — Highly finished in colours. (Very
fine.) Mr. C. S. Bale. .
133. Study of the Virgin and Child. — In pen. Mr. C. S. Bale.
134. „ „ „ „ —Also in pen. Mr. C. S.
Bale. 135. Study of Wild Flowers. — A Lily of the Valley, and a
species of Blue Nettle. (Very fine.) Mr. Malcolm.
136. Studies of the Wings of a Bittern, dated 1515. — In
-colours. Mr. C. S. Bale.
137. Study of the Body of a Jay, dated 1509. — Highly finished
in colours. Mr. C. S. Bale. These two sketches are not
entirely certain to be Durer's work.
138. Study of a Buttercup and Root of Red Clover. — In colours.
(Very fine.) Mr. C. S. Bale.
139-140. Might have been omitted, as they are pen-and-ink
drawings, line for line from the prints of the Portrait of Pirkheimer
(B. 106) and the Veronica (B. 26). The latter is possibly by one
of the brothers Wierix.
141. Study of a Foot, nearly of the full size, with the bones also
drawn in the same pose as in the sketch. From the Crozat
collection. Mr. Malcolm. c C

3H Life and Works of Albert Durer.

143. A Skeleton with a Scythe in his Hand, riding on an old half-
starved Horse, evidently intended as an impersonation of Death.
Inscribed 'Memento Mei.'— (These two drawings are very able
sketches, roughly done in black chalk, a manner of working not
at all characteristic of Durer.) Mr. Malcolm.
144. Two standing figures, SS. Catherine and Barbara. —
Charcoal, on light brown tinted paper, 15 14. (Very fine example.)
Mr. Malcolm.
145. Study of the Head of a Boy with curling hair. — Dated
1508. Pen, heightened with white. Mr. Malcolm.
146. Virgin seated on the ground, holding the Child in swaddling
clothes on her knees. — Pen and Indian ink. Mr. Malcolm.
147. Head of a Child or Amorino, of small life-size. — Black
chalk, heightened with white, on dark green ground. Mr. Malcolm.
148. Profile Head of a Young Man, who wears a raised broad-
brimmed hat : his mantle fastened with loops up to the throat. —
Dated 1518. Black chalk and charcoal. (Very fine.) Earl of
Warwick. 149. Study for the Head of the Virgin. — Silver point heightened
with white, on light red ground.* Mr. Malcolm.
150. Sheet of Two Studies from the Life. — Two views of the
same nude standing female figure with a mirror in her hand.
Silver point on cream colour. From the Reynolds and Lawrence
collection. Mr. Malcolm.
151. Head of Young Man with close curling hair. — 1 503. Pen,
heightened with white. From the collection of Count Nilo
Barck. Mr. Fred. Locker.
152. Holy Family. Virgin with the Infant standing in her lap,
* This and No. 143 represented Durer in the great Leeds Exhibition,
1868. There and in the Burlington Club Catalogue it is said, on the
authority of Mr. Robinson, to be ' Apparently a life-study from his wife,
Agnes Frey.' An unfounded conjecture, similar to those we have recorded
before.

Appendix. 313

under a great tree. — In pen. From the collection of S.imuel
Rogers (?). Mr. Malcolm.
153. An Angel playing upon a Guitar, dated 1491. — Silver
point heightened with white. From the Lawrence, Woodburn,
and Hawkins collections. A curious and interesting drawing.
Mr. Mitchell.
154. Death holding the train of a Female over his right arm, and
raising his left in derision. — Pen. (An admirable example.)*
Mr. Mitchell.
155. The Taking of Christ. — A composition of many figures.
Pen and bistre (?). Mr. Holford.
156. Two Old Men's Heads, dated 1520.— Silver point.
(Very fine.) Mr. Holford.
157. Four Naked Women.— (Like Nos. 139, 140.)— A copy
from the print, B. 75.
* At the sale of Sir J. S. Hippisley, Bart., at Sotheby's, May 1868,
reappeared five of the Lawrence Collection of Durer drawings : Portrait
of Melanchthon, Holy Family, Two Sketches of Frederick of Saxony,
Studies for Two Apostles, and this drawing, which then brought £66.

ADDENDA.

Durer's Carvings and Medals.
N these four catalogues, the works of the master as painter
and engraver are given, but there are other classes
of productions attributed to him, particularly carvings
in wood and ivory. In the Journal we have seen that he presented
a child carved. in wood to the Factor of Portugal. In some early
accounts of Durer, he is styled sculptor, as well as painter, and in
the Paris translation of the book on geometry, he is called
architect ; so that all the arts except music were within his grasp,
besides the sciences of fortification, geometry, with its dependent,
perspective, and certain branches of mechanics. We have not,
however, thought it proper to give a catalogue of the carvings,
as it is extremely probable that these, like the wood-engravings,
were the actual handiwork of others following Durer's directions
or sketches.
Some account of these, however, is necessary, and the following
is an enumeration of all that have come under our notice in Heller
or elsewhere.
In the British Museum the finest example of Durer's plastic art
is to be found. It is a small carving in soapstone representing the
birth of John the Baptist, and is cut with extreme delicacy and
beauty. The monogram is on it.
In the collection lately sold by Herr Posonyi to M. Hulot of
Paris, is a small lay figure claimed as Durer's work, and a model of
a gun-carriage, very probably showing some invention by the artist.
These have been already mentioned.

3 1 8 Life and Works of Albert Durer.
In Narrey's ' A. Durer a. Venise et dans les Pays-Bas,' an
engraving is given of a medal, representing a portrait of an elderly
man, Durer's monogram and date, 15 14, on the background, in
the collection of M. Niel.
Amsterdam, 1821 : J. A. Brentano possessed a portrait carved
in wood, and a medallion of a young man in terracotta. Augs
burg: In the possession of Hofrath v. Ahorner, 1 62 1, was a crucifix
in wood. Bamberg: In the Pfarrkirche, 1823, was a relief of
the Birth of Christ and other sculptures. Baireuth, 1821 : With
Herr Rath von Herder, the Four Evangelists cut in box-woodi
Brunswick: In the Ducal Cabinet, 1796, John preaching in
the Desert, almost as fine a work as the Birth of S. John Baptist
in the British Museum. This, however, is in wood. It is
engraved in M. Lacroix's beautiful work, ' Les Arts au Moyeri
Age,' Paris, 1869 : and an Ecce Homo, in wood. Cassel, in the
Elector's collection, 1 760 : Christ in Agony, and the Birth of Christ,
cut in ivory, background coloured. Frankfort, with Clemens A.
Hochweisner, 18 18 : Adam and Eve, in wood ; and in the collec
tion of the amateur Hiisgen, in 1798, was a profile portrait of
Durer in wood, inscribed ' Imago Alberti Dureri, aetatis sua LVI.'*
* This carving was kept by Herr Hiisgen in a casket shaped like an
urn, in the base of which was a drawer containing a precious relic of the
long-deceased master, a lock of his hair. With this sacred treasure was a
paper to the effect that the lock of hair had been reverently cut from the
head of Durer and preserved by Hans Baldung Grun, till his death at
Strasburg in 1545, when the lock came into the possession of the brother-
in-law of the writer of the paper, Nikolaus Kramer. At his death in
1550 the writer's sister Dorothy possessed it. This paper was signed
Sebold Buheler, 1 559. To this was added another certificate, dated 1 595,
signed Josias Schacher, glass painter, and a paper written by H. S. Hiisgen,
with further particulars. At Hiisgen's death, the lock of hair, without
the bust and urn, the documents having been previously published, came
into the possession of Herr Rath Schlosser, where they remained when
Heller published his 'Leben und Werke,' 1827. Does this precious relic
still exist ?

Addenda. gjg

Also at Frankfort, in the Stadel Institute, 1822, was a carving
in wood of a naked male figure holding his right hand on his
breast : Durer's monogram on the stand. Gotha : In the Duke's
gallery, an Adam and Eve in wood, a beautiful work ; Adam
thirteen, Eve twelve inches high. This work was bought by the
Duke in 18 18, from a dealer, for 100 ducats. Leipzig : With the
engraver Frosch, in 1822, was a very small carving in soapstone
bearing Durer's monogram, a woman sitting in the stocks with
a padlock on her mouth, the words ' Consuerce* abstinere1
MDXXIX.' under the monogram.
Munich : In the cabinet of ivories are several attributed to Durer ;
two Venuses or naked female figures six inches high ; a very fine
small Christ on the Cross ; Portrait (whether bust or relief not
stated) of an Emperor ; and an Entombment, the dead Christ with
four figures, about fourteen inches high, cut in wood, dated 1496.
Nurnberg : In the church of S. Sebald, are some very doubtful
specimens, and in the possession of the old family of Beheim is a
Carving in stone of ' Frederick Beheim, alt XXXV Jar,' with date
1526 and monogram. Paris: A bas-relief of the Flight into Egypt
was placed in the museum in 1507. Prague : In 161 1, in the col
lection of Rudolph II. , were two busts in wood of Duke Charles
of Burgundy and his wife, attributed to Durer. Stuttgard : In the
Boissiere collection, 1822, was a Virgin and Child standing on the
half-moon, with monogram and date 15 13, and another similarly
supported, dated 1516. Venice: In the Little Arsenal, 1712, was
an Adam and Eve in wood. Vienna : In the Treasury, 1700 (?), a
small circular box enclosing a carving of the Birth of Christ,
which Heller says cost 30,000 thalers ; a Flight into Egypt in
wood, a S. Sebastian, and two small altars, one of them carved in
agate. Many of these would no doubt be found on examination to be
works produced subsequently to the time of Durer, and some
times to be adaptations from his engravings. But besides his

320 Life and Works of Albert Durer.
m
carvings, a considerable number of medals are assigned to him.
Of these it is only necessary to mention one, a token or penny he
is supposed to have done for Luther. On the one side is a profile
of Luther ; on the other, within a circle, is Durer's monogram with
D.M.L. above it, and the date 1526 below.
Durer's Architecture and Painted Glass.
Regarding Durer's works as an architect, there is much less
evidence to be brought forward. We have seen (p. 133), when
in Antwerp suing for the continuance of his place of court
painter, he presents the Lady Marguerite's physician with a design
for a house he proposes to build. He calls it a plan, and says he
would not do it on commission under ten florins — a considerable
sum if multiplied by the increased value of money in modern
times. At the same place in his Journal he makes two designs for
the lady herself, which he presents to her, and estimates at thirty
florins. The round towers still adorning, if not defending, the
walls of Nurnberg, crowned by wooden galleries corbelled out,
and covered by high conical slated roofs, are attributed to him,
apparently without support. Nothing corresponding to them
appears in his Book on Fortification. On the contrary, he is there
mainly employed in sheltering heavy cannon, and contriving Con
cealed galleries in stone defences.
There is, however, at least one house in Nurnberg with s^rne of
the design of Durer still existing. Director Heideloff, who has
studied the architecture of the old city most carefully, says the
gallery of the house No. 40 (in another reference he makes it 46),
belonging to Franz Michael Gessert the merchant, is proved with
certainty to have been added by Durer. The house, which was
not new at that time, had been bought by Catherine Floker,
widow of a rich merchant; and her daughters, celebrated for
their beauty, were much interested in art, and were the private

Addenda. S21

friends of the master. After Durer designed the Gate of Triumph
for the Emperor, the widow Floker added the gallery in question
from his design in 15 16, the date appearing on it. In 'Die
Ornamentik des Mittelalters,' Heideloff gives the twelve designs
contained in the whole length of the balcony. They are in heavy
geometrical tracery, thoroughly German of that day, the latest of
the existence of Gothic, which the Director calls the style of the
Reformation — an unfortunate name, as it was the dying effort of
the architecture of the middle ages. In many of these the tracery
is intentionally broken, so as to leave the geometrical figure in
complete, and the flat spaces are filled with Renaissance relics.
See ' Die Orna. des Mittelalters,' pp. 27, 40, and Heft xi. pi. 2,
3> 45 5-
There is still another division of art in which Durer, it is
asserted, largely occupied himself, that of glass painting. The
Low Countries were at that time the most productive of lands in
painted glass, but it is certain that Upper Germany was also
celebrated for the manufacture. None of the earlier authorities
for the facts of Durer's life mention his glass paintings, but several
later writers assert that he employed himself in that art, and that
among other undertakings he produced twenty windows for the
Church of the Temple, in Paris. This assertion is definitively
repeated by M. Paul Lacroix in his 'Arts au Moyen Age, etc.,'
just published. Proofs, however, seem to be wanted in con
firmation of the statement. Mr. H. F. Holt has found what he
considers good reason for believing the windows in the church of
Fairford, near Cirencester, to be the work of the master, but
certain features in the composition of the pictures at Fairford bear
evidence 'against the theory he has so strenuously advocated.
Although no existing windows can be traced b)r internal evidence
to the hand of Durer, it is exceedingly likely that in the earlier
part of his career he executed designs for glass.
D D

322 Life and Works of Albert Durer,

Portraits of Agnes Durer.
We have seen in the catalogue of drawings and sketches, that
several female heads have been said to be probably studies from
Durer's wife, and with a view to give a portrait of that lady, the
author has investigated the question of these surmises, without
finding any foundation for them. The result on his mind is that
Durer was not in the habit of making studies from his wife's face,
who is however said to have been very handsome. This is a sig
nificant fact, if it is one : Durer's habit of sketching everybody and
everything about him being remarkable and persevering through
many years.
In the collection of Prince Esterhazy, which is said to be rich
in Durer sketches, is a vigorous drawing in brown chalk of a
female in a bodice, with bare neck, three-quarters face, signed by
Durer's monogram and dated 1503, size 11 in. 3 1. by 7 in.
1 t 1. But this drawing has no name "written on it, as his own
portrait at thirteen and very many of his drawings have, so as to
identify it as Agnes, nor does there appear to be any reason for
calling it by her name.
The only engraved portraits are two, and both of them repre
sent sculpture. The first is an engraving by J. Frederick Leon-
hard, representing a plaster bust standing on a table : on the
background Durer's monogram and date 1508 ; below are the
words c Agnes Alberti Dureri conjux, J.F.L.' It is a small
print, 3 in. 8 1. by 2 in. 2 1. The other was published in Will's
u Nurnberg Munzbelustigung,' i. 369, and represents a medal :
Durer's monogram and date 1508 being on it. From these it
would appear that Durer had left no known painting or drawing of
his wife, but that he had modelled or carved her likeness, which
was adopted by those engravers.
I may here say that some attempt has been lately made in

Addenda.

30 2

Germany to reverse the evil conclusions historians have arrived at re
garding the character of Albert's wife Agnes. Perhaps we shall have
some interesting additions to our knowledge on the subject from
Mrs. Heaton, in the work which I am glad to hear is in the press.
With regard to Durer's own portrait, the authentic paintings
and engravings are so numerous that there is no difficulty ; but
yet the large woodcut issued with verses under it, on the death of
Durer, has been often re-engraved. Mr. Cole, in his reprint of
the cuts of the ' Little Passion ' from the blocks in the British
Museum, adopted it. The reader may be referred to No. 174 in
our catalogue of wood engravings. Durer's Latin.
In the family relation, Durer says he was taken from school by
his father when he had learned to read and write. This may be
a modest statement on the part of Durer ; the ' reading ' may have
included Latin. Or perhaps his reading may have been in that
language alone, as taught in church schools of the middle ages, and
the school may have been that of S. Sebald, though it is said to
have been the Spital school. There are many evidences of a
knowledge of Latin in Durer's inscriptions, and some in his
writings. At the end of Letter VI. from Venice, p. 54, Durer
signs himself Albertus Durer Norikorius Sibus. These words
have been hitherto unsolved. The latter word has been guessed at
as ' Civis ' phonetically written, but this is only a partial explana
tion. My friend Mr. W. M. Rossetti has suggested as possible a
very ingenious solution. He supposes the MS. wrongly read. Let
it be printed ' Noricor. iussibus,' i.e. Noricorum jussibus, ' At the
command of the Nurnbergers' (or, as one might say, ' The Nurn-
bergers' humble servant to command'), and the difficulty is removed.
The phrase referred to in page 149, ' Sontag Iudica,' as a date,
is, I am told, a certain Sunday when the introit of the Mass begins
with the words ' Judica me, Deus, et discerne.'

324 Life and Works of Albert Durer.
I may mention here that the able critic mentioned above thinks
it likely, prima facie, that the design which Durer calls Nemesis
should be identified with the so-called Great Fortune (Vasari's
Temperantia), rather than with the Knight and Death.
Albert Durer's Illness.
While this book is still in the hands of the printer, I find a page
of the MS. of Durer's Journal in the Netherlands has dropped out
while in the author's hands at some early time, and the small
portion thus unhappily omitted contains the account of the fevei
and subsequent illness that attacked him at Antwerp. Here is the
passage ; it follows the paragraph ending at the foot of p. 153 : —
' In the third week after Easter, a hot fever attacked me, with
very great weakness, unhappiness, and headache. I had the same
when in Zealand, and now again this wonderful illness overcame
me. It is such an illness as I never heard of any other man
having, and it continues upon me still.' This paragraph is
followed by repeated payments to doctor and apothecary;
Roderigo being kind, and sending him sweetmeats during his con
finement. In the remaining portion of this journal, the reader
may have observed, his payments to the doctor continue, and it
has been supposed that he never quite threw off this sickness, bu:
that it increased upon him to the time of his death. It appears he
was much reduced and weakened before the end, and if this disease
was consumption, as some have supposed, Pirkheimer's insinuation,
or rather accusation, of Agnes having caused his death by vexation
and worry, must be considered in a great degree overcharged, to
say the least. The pains inflicted by the worldly-minded saint
must have been mitigated by endurance at an earlier period of life,
and to a man of Durer's nature they would subside into a kind of
perpetual penance.

Sfottisweode &= Co., Printers, New-street Square and Parliament Street.

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