ALBRECHT See also:

• ALBRECHT DURER (1471-1528)

DURER (1471-1528)  , See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German painter, See also:

• DRAUGHTS (from AS. dragan, to draw)

draughts-See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man and engraver, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• NUREMBERG (Ger. Nurnberg)

Nuremberg on the 21st of May 1471 . His See also:

• FAMILY

family was not of Nuremberg descent, but came from the See also:

• VILLAGE

village of Eytas in See also:

• HUNGARY
• HUNGARY (Hungarian Magyarorszdg)

Hungary . The name, however, is German, and the family See also:

• DEVICE

device—an open See also:

• DOOR (corresponding to the Gr. Bbpa,. Lat. fores or valvae; the English word, with other forms common in allied languages, comes from the same Indo-European stem as the Gr. Obpa and Lat. fares)

door—points to an See also:

• ORIGINAL

original See also:

• FORM (Lat. forma)

form Thurer, meaning a maker of doors or See also:

• CARPENTER, LANT (1780-1840)
• CARPENTER, MIRY (1807-1877)
• CARPENTER, WILLIAM BENJAMIN (1813-1885)

carpenter . Albrecht See also:

• DURER, ALBRECHT (1471-1528)

Durer the See also:

• ELDER (0. Eng. ellarn; Ger. Holunder; Fr. sureau)
• ELDER (Gr. 1rpev(3iTepos)

elder was a See also:

• GOLDSMITH
• GOLDSMITH, LEWIS (c. 1763–1846)
• GOLDSMITH, OLIVER (1728–1774)

goldsmith by See also:

• TRADE (O. Eng. trod, footstep, from tredan, to tread; in M. Eng. the forms teed, trod and trade appear, the last in the sense of a beaten track)
• TRADE, BOARD OF

trade, and settled soon after the See also:

• MIDDLE

middle of the 15th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century in Nuremberg . He served as assistant under a See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master-goldsmith of the See also:

• CITY (through Fr. cite, from Lat. civitas)

city, Hieronymus Holper, and in 1468 married his master's daughter See also:

• BARBARA, SAINT

Barbara, the bridegroom being See also:

• FORTY

forty and the See also:

• BRIDE (a common Teutonic word, e.g..Goth. bruths, O. Eng. bryd, O. H. Ger. prs2t, Mod. Ger. Bract, Dut. bruid, possibly derived from the root bru-, cook, brew; from the med. latinized form bruta, in the sense of daughter-in-law, is derived the Fr. bru)

bride fifteen years of See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age . They had eighteen See also:

• CHILDREN, LAW RELATING TO

children, of whom Albrecht was the second . The elder Durer was an esteemed craftsman and pious See also:

• CITIZEN (a form corrupted in Eng., apparently by analogy with " denizen," from O. Fr. citeain, mod. Fr. citoyen)

citizen, sometimes, as was natural, straitened in means by the pressure of his numerous progeny . His famous son writes with reverence and See also:

• AFFECTION (Lat. ad, and facere, to do something to, sc. a person)

affection of both parents, and has See also:

• LEFT

left a touching narrative of their See also:

• DEATH

death-See also:

• BED
• BED (a common Teutonic word, cf. German Bett, probably connected with the Indo-European root bhodh, seen in the Lat. fodere, to dig; so " a dug-out place " for safe resting, or in the same sense as a garden " bed ")

bed See also:

• HOURS, CANONICAL

hours . He painted the portrait of his See also:

• FATHER

father twice, first in 1490, next in 1497 . The former of these is in the697 Uffizi at See also:

• FLORENCE
• FLORENCE (Ital. Firenze, Lat. Florentia)

Florence; of the latter, four versions exist, that in the See also:

• NATIONAL

National See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

Gallery (formerly in the See also:

• ASHBURTON
• ASHBURTON, ALEXANDER BARING
• ASHBURTON, JOHN DUNNING, 1ST

Ashburton-See also:

• NORTHAMPTON
• NORTHAMPTON, ASSIZE OF
• NORTHAMPTON, EARLS AND MARQUESSES OF

Northampton collections) having the best claim to originality . The See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

young Albrecht was his father's favourite son . " My father," he writes, " took See also:

• SPECIAL

special delight in me .

Seeing that I was industrious in working and learning, he put me to school; and when I had learned to read and write, he took me See also:

• HOME
• HOME, DANIEL DUNGLAS (1833-1886)
• HOME, EARLS OF

home from school and taught me the goldsmith's trade." By and by the boy found himself See also:

• DRAWN

drawn by preference from goldsmith's See also:

• WORK

work to See also:

• PAINTING

painting; his father, after some hesitation on the See also:

• SCORE (O.E. scor, from sceran, to cut, notch, cf. " shear ")

score of the See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time already spent in learning the former trade, gave way and apprenticed him for three years, at the age of fifteen and a See also:

• HALF

half, to the See also:

• PRINCIPAL

principal painter of the See also:

• TOWN

town, See also:

• MICHAEL
• MICHAEL (1596-1645)
• MICHAEL (Hebrew Sn,q, " Who is like God? ")

Michael Wolgemut . Wolgemut furnishes a See also:

• COMPLETE

complete type of the German painter of that age . At the See also:

• HEAD (in 0. Eng. heafad; the word is common to Teutonic languages; cf. Dutch hoofd, Ger. Haupt, generally taken to be in origin connected with Lat. caput, Gr. KerbOvi7)
• HEAD, SIR EDMUND WALKER, BART
• HEAD, SIR FRANCIS BOND, BART

head of a large See also:

• SHOP

shop with many assistants, his business was to turn out, generally for a small See also:

• PRICE
• PRICE, BARTHOLOMEW (1818–1898)
• PRICE, BONAMY (1807-1888)
• PRICE, RICHARD (1723-1791)

price, devotional pieces commissioned by See also:

• MERCANTILE (or COMMERCIAL) AGENCIES

mercantile corporations or private persons to decorate their chapels in the churches—the preference being usually for scenes of the See also:

• PASSION (post-classical Lat. passio, formed from pati, passus, to suffer, endure)

Passion, or for tortures and martyrdoms of the See also:

• SAINTS, BATTLE OF THE

saints . In such work the painters of Upper See also:

• GERMANY
• GERMANY (Ger. Deutschland)

Germany at this time, working in the spirit of the See also:

• LATE

late See also:

• GOTHIC

Gothic See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style just before the See also:

• DAWN (the 16th-century form of the earlier " Jawing " or " dawning," from an old verb " daw," O. Eng. dagian, to become day; cf. Dutch dagen, and Ger. tagen)

dawn of the See also:

• RENAISSANCE, THE

Renaissance, show considerable technical attainments, with a love of See also:

• QUAINT (O. Fr. cointe, from Lat. cognitus, known, probably influenced by association with Lat. corn plus, neat)

quaint costumes and See also:

• RICH, BARNABE (c. 1540-1617)
• RICH, CLAUDIUS JAMES (1787-1821)
• RICH, JOHN (1692-1761)
• RICH, PENELOPE, LADY (c. 1562–1607)
• RICH, RICHARD, 1ST BARON RICH (1490?-1567)

rich draperies crumpled in complicated angular folds, some feeling for See also:

• ROMANCE

romance in landscape backgrounds, none at all for clearness or See also:

• BALANCE (derived through the Fr. from the Late Lat. bilantia, an apparatus for weighing, from bi, two, and lanx, a dish or scale)

balance in' See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition, and in the attitudes and expressions of their over-crowded figures a degree of grotesqueness and exaggeration amounting often to undesigned See also:

• CARICATURE (Ital. caricatura, i.e. "ritratto ridicolo," from caricare, to load, to charge; Fr. charge)

caricature . There were also produced in the workshop of Wolgemut, as in that of other artist-craftsmen of his town, a See also:

• GREAT

great number of woodcuts for See also:

• BOOK

book See also:

• ILLUSTRATION

illustration . We cannot with certainty identify any of these as being by the 'prentice See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand of the young Durer . See also:

• AUTHENTIC (from Gr. aOO 'rns, one who does a thing himself)

Authentic drawings done by him in boyhood, however, exist, including one in See also:

• SILVER

silver-point of his own likeness at the age of thirteen in the Albertina at See also:

• VIENNA (Ger. Wien; Lat. Vindobona)
• VIENNA, CONGRESS OF (1814-1815)

Vienna, and others of two or three years later in the See also:

• PRINT

print See also:

• ROOM

room at See also:

• BERLIN
• BERLIN, CONGRESS AND TREATY OF
• BERLIN, ISAIAH (1725–1799)

Berlin, at the See also:

• BRITISH

British Museum and at See also:

• BREMEN

Bremen . In the school of Wolgemut Durer learned much, by his own See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account, but suffered not a little from the roughness of his companions . At the end of his See also:

• APPRENTICESHIP (from Fr. apprendre, to learn)

apprenticeship in 1490 he entered upon the usual course of travels—the Wanderjahre—of a German youth . Their direction we cannot retrace with certainty . There had been no one at Nuremberg skilled enough in the See also:

• ART

art of See also:

• METAL
• METAL (through Fr. from Lat. metallum, mine, quarry, adapted from Gr. µATaXAov, in the same sense, probably connected with ,ueraAAdv, to search after, explore, µeTa, after, aAAos, other)

metal-See also:

• ENGRAVING

engraving to See also:

• TEACH [THATCH OR THACH], EDWARD (d. 1718)

teach it him to much purpose, and it had at one time been his father's intention to apprentice him to See also:

• MARTIN (Martinus)
• MARTIN, BON LOUIS HENRI (1810-1883)
• MARTIN, CLAUD (1735-1800)
• MARTIN, FRANCOIS XAVIER (1762-1846)
• MARTIN, HOMER DODGE (1836-1897)
• MARTIN, JOHN (1789-1854)
• MARTIN, LUTHER (1748-1826)
• MARTIN, SIR THEODORE (1816-1909)
• MARTIN, SIR WILLIAM FANSHAWE (1801–1895)
• MARTIN, ST (c. 316-400)
• MARTIN, WILLIAM (1767-1810)

Martin See also:

• SCHONGAUER (or Suon), MARTIN (c. 1445-c. 1488)

Schongauer of See also:

• COLMAR, or KOLMAR

Colmar, the most refined and accomplished German painter-engraver of his time . But after travelling two years in various parts of Germany, where we are unable to follow him, the young Durer arrived at Colmar in 1492, only to find that Schongauer had died the previous See also:

• YEAR

year .

He was received kindly by three See also:

• BROTHERS, RICHARD (1757-1824)

brothers of the deceased master established there, and afterwards, still in 1492, by a See also:

• FOURTH

fourth See also:

• BROTHER

brother at See also:

• BASEL (Fr. Bale)
• BASEL (Fr. Belle, but Basle is a wholly erroneous form; Ital. Basilea)
• BASEL, CONFESSION OF
• BASEL, COUNCIL OF

Basel . Under them he evidently had some practice both in metal-engraving and in furnishing designs for the woodcutter . There is in the museum at Basel a See also:

• WOOD, ANTHONY A2 (1632-1695)
• WOOD, JOHN GEORGE (1827—1889)
• WOOD, MRS HENRY [ELLEN] (1814—1887)
• WOOD, SEARLES VALENTINE (1798—188o)

wood-See also:

• BLOCK
• BLOCK (from the Fr. bloc, and possibly connected with an Old Ger. Block, obstruction, cf. " baulk ")
• BLOCK, MAURICE (1816–19or)

block of St See also:

• JEROME, JEROME KLAPKA (1859– )
• JEROME, ST (HIERONYMUS, in full EUSEBIUS SOPHRONIUS HIERONYMUS) (c. 340–420)

Jerome executed by him and elaborately signed on the back with his name . This was used in an edition of Jerome's letters printed in the same city in the same year, 1492 . Some critics also maintain that his hand is to be recognized in several See also:

• SERIES (a Latin word from serere, to join)

series of small blocks done about the same date or somewhat later for Bergmann and other printers of Basel, some of them being illustrations to See also:

• TERENCE

Terence (which were never printed), some to the romance of the See also:

• RITTER, HEINRICH (1791-1869)
• RITTER, KARL (1779–1859)

Ritter mm Turm, and some to the Narrenschiff of See also:

• SEBASTIAN
• SEBASTIAN, ST

Sebastian Brandt . But the prevailing See also:

• OPINION (Lat. opinio, from opinari, to think)

opinion is against this conjecture, and See also:

• SEES

sees in these designs the work not of a strenuous student and searcher such as Durer was, but of a riper and more facile hand working in a spirit of settled routine . Whether the young Durer's stay at Basel was See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long or See also:

• SHORT, FRANCIS JOB (1857– )

short, or whether, as has been supposed, he travelled from there into the See also:

• LOW, SETH (1850- )
• LOW, WILL HICOK (1853- )

Low Countries, it is certain that in the See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early See also:

• PART

part of 1494 he was working at See also:

• STRASSBURG, or STRASBURG (French Strasbourg)

Strassburg, and returned to his home at Nuremberg immediately after Whitsuntide in that year . Of See also:

• WORKS

works certainly executed by him during his years of travel there are extant, besides the Basel wood-block, only a much-injured portrait of himself, very finely dressed and in the first See also:

• BLOOM (from A.S. bloma, a flower)

bloom of his admirable manly beauty, dated 1493 and originally painted on vellum but. since transferred to See also:

• CANVAS

canvas (this is the portrait of the See also:

• FELIX
• FELIX, ANTONIUS
• FELIX, LIA (1830– )

Felix Goldschmid collection); a See also:

• MINIATURE

miniature painting on vellum at Vienna (a small figure of the See also:

• CHILD
• CHILD, FRANCIS JAMES (1825-1896)
• CHILD, L
• CHILD, LYDIA MARIA (1802-1880)
• CHILD, SIR FRANCIS (1642-1713)
• CHILD, SIR JOHN (d. 1690)
• CHILD, SIR JOSIAH (163o - 1699)

Child-See also:

• CHRIST (Gr. X pLQTOS, Anointed)
• CHRIST, WILHELM VON (1831-1906)

Christ); and some half a dozen drawings, of which the most important are the characteristic See also:

• PEN (Lat. penna, a feather, pen)

pen portrait of himself at See also:

• ERLANGEN

Erlangen, with a See also:

• HOLY

Holy Family on the See also:

• REVERSE

reverse much in the manner of Schongauer; another Holy Family in nearly the same style at Berlin; a study from the See also:

• FEMALE

female nude in the See also:

• BONNAT

Bonnat collection; a man and woman on horseback in Berlin; a man on horseback, and an executioner about to behead a young man, at the British Museum, &c . These drawings all show Durer See also:

• INTENT (from Lat. intend ere, to stretch out, extend, particularly in the phrase intendere animum, to turn one's mind to, purpose)

intent above all things on the sternly accurate delineation of ungeneralized individual forms by means of strongly accented outline and shadings curved, some-what like the shadings of Martin Schongauer's engravings, so as to follow their modellings and roundness . Within a few See also:

• WEEKS, EDWIN LORD (1849-1903)

weeks of his return (See also:

• JULY

July 7th, 1494) Durer was married, according to an arrangement apparently made between the parents during his See also:

• ABSENCE (Lat. absentia)

absence, to See also:

• AGNES, SAINT

Agnes See also:

• FREY (Old Norse, Freyr)

Frey, the daughter of a well-to-do See also:

• MERCHANT (O. Fr. marcheant, modern marchand; from Lat. mercari, to trade, merx, goods, merchandise)

merchant of the city . By the autumn of the same year, probably feeling the incompleteness of the See also:

• ARTISTIC

artistic training that could be obtained See also:

• NORTH
• NORTH, BARONS
• NORTH, MARIANNE (1830—1890)
• NORTH, ROGER (1653-1734)
• NORTH, SIR THOMAS (1535?-16o1?)

north of the See also:

• ALPS

Alps, he must have taken See also:

• ADVANTAGE

advantage of some opportunity, we know not what, to make an excursion of some months to See also:

• ITALY
• ITALY (Italia)

Italy, leaving his lately married wife at Nuremberg . The evidences of this travel (which are really incontestable, though a small minority of critics still decline to admit them) consist of (1) some See also:

• FINE

fine drawings, three of them dated 1494 and others undated, but plainly of the same time, in which Durer has copied, or rather boldly translated into his own Gothic and German style, two famous engravings by See also:

• MANTEGNA, ANDREA (1431–1506)

Mantegna, a number of the "Tarocchi" prints of single figures which pass erroneously under that master's name, and one by yet another See also:

• MINOR
• MINOR (Lat. for smaller, lesser)
• MINOR, ROBERT CRANNELL (1839-1904)

minor master of the North-See also:

• ITALIAN

Italian school; with another See also:

• DRAWING

drawing dated 1495 and plainly copied from a lost original by See also:

• ANTONIO
• ANTONIO (1429—1498)
• ANTONIO, NICOLAS (1617-1684)

Antonio See also:

• POLLAIUOLO

Pollaiuolo, and yet another of an See also:

• INFANT (in early forms enfaunt, enfant, through the Fr. enfant, from Lat. infans, in, not, and fans, the present participle of fari, to speak)

infant Christ copied in 1495 from Lorenzo di See also:

• CREDI, LORENZO DI (1459-1537)

Credi, from whom also Durer took a See also:

• MOTIVE (from Lat. movere, to move)

motive for the composition of one of his earliest Madonnas; (2) several landscape drawings done in the passes of See also:

• TIROL (or TYROL 1)

Tirol and the Trentino, which technically will not See also:

• FIT

fit in with any other See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period of his work, and furnish a clear See also:

• RECORD (Lat. recordari, to recall to mind, from cor, heart or mind)

record of his having crossed the Alps about this date; (3) two or three drawings of the costumes of Venetian courtesans, which he could not have made anywhere but in See also:

• VENICE
• VENICE (continued)
• VENICE (Venezia)

Venice itself, and one of which is used in his great woodcut See also:

• APOCALYPSE
• APOCALYPSE (Gr. aaoKaXvti/hr, disclosure)
• APOCALYPSE, KNIGHTS OF THE

Apocalypse series of 1498; (4) a See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general preoccupation which he shows for some years from this date with the problems of the female nude, treated in a manner for which Italy only could have set him the example; and (5) the clear implication' contained in a See also:

• LETTER (through Fr. lettre from Lat. littera or litera, letter of the alphabet; the origin of the Latin word is obscure; it has probably no connexion with the root of linere, to smear, i.e. with wax, for an inscription with a stilus)

letter written from Venice in 15o6 that he had been there already eleven years before; when things, he says, pleased him much which at the time of See also:

• WRITING
• WRITING (the verbal noun of " to write," O. Eng. writan, to inscribe)

writing please him no more .

Some time in 1495 Durer must have returned from this first Italian See also:

• JOURNEY (through O. Fr. jornee or journee, mod. Fr. journee, from med. Lat. diurnata, Lat. diurnus, of or belonging to dies, day)

journey to his home in Nuremberg, where he seems to have lived, without further See also:

• CHANGE (derived through the Fr. from the Late Lat. cambium, cambiare, to barter; the ultimate derivation is probably from the root which appears in the Gr. «a urmu', to bend)

change or removal, in the active practice of his art for the next ten years . The See also:

• HOUR

hour when Durer, the typical artist of the German nation, attained maturity was one of the most pregnant in the See also:

• HISTORY

history of his See also:

• RACE

race . It was the crisis, in See also:

• NORTHERN

northern See also:

• EUROPE

Europe, of the transition between the middle ages and our own . The awakening of Germany at the Renaissance was not, like the awakening of Italy a See also:

• GENERATION (from Lat. generare, to beget, procreate; genus, stock, race)

generation or two earlier, a See also:

• MOVEMENT

movement almost exclusively intellectual . It was indeed from Italy that the races of the north caught the impulse of intellectual freedom, the spirit of See also:

• SCIENCE (Lat. scientia, from scire; to learn, know)

science and curiosity, the eager retrospect towards the classic past; but joined with these in Germany was a moral impulse which was her own, a craving after truth and right, a See also:

• REBELLION

rebellion against spiritual tyranny and corruption—the Renaissance was big in the north, as it was not in the See also:

• SOUTH
• SOUTH, ROBERT (1634–1716)

south, with a See also:

• REFORMATION
• REFORMATION, THE

Reformation to come . The art of See also:

• PRINTING (from Lat. imprimere, O. Fr. empreindre)

printing had been invented in See also:

• GOOD, JOHN MASON (1764-1827)

good time to help and hasten the new movement of men's minds . Nor was it by the See also:

• DIFFUSION (from the Lat. diffundere; dis-, asunder, and fundere, to pour out)

diffusion of written ideas only that the new art suppliedthe means of popular enlightenment . Along with word-printing, or indeed in advance of it, there had sprung into use another See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind of printing, picture-printing, or what is commonly called engraving . Just .as books were the means of multiplying, cheapening and disseminating ideas, so engravings on See also:

• COPPER (symbol Cu, atomic weight 63.1, H=1, or 63.6, O = 16)

copper or wood were the means of multiplying, cheapening and disseminating images which gave vividness to the ideas, or served, for those ignorant of letters, in their See also:

• STEAD, WILLIAM THOMAS (1849– )

stead . Technically one of these arts, that of See also:

• LINE

line-engraving on copper, sprang from the See also:

• CRAFT (a word common to Teutonic languages for strength, or power; cf. Ger. Kraft)

craft of the goldsmith and metal-chaser; while that of wood-engraving sprang from the craft of the printers of See also:

• PATTERN

pattern-blocks and playing See also:

• CARDS, PLAYING

cards . The engraver on metal habitually cut his own designs, and between the arts of the goldsmith and the painter there had always been a See also:

• CLOSE
• CLOSE (from Lat. clausum, shut)
• CLOSE, MAXWELL HENRY (1822-1903)

close See also:

• ALLIANCE

alliance, both being habitually exercised by persons of the same family and some-times by one and the same See also:

• PERSON, OFFENCES AGAINST THE

person; so that there was no lack of hands ready-trained for the new craft which required of the man who practised it that he should See also:

• DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design like a painter and cut metal like a goldsmith . Designs intended to be cut on wood, on the other hand, were usually drawn by the artist on the block and handed over for cutting to a class of workmen—Formschneider or Brief miler—especially devoted to that See also:

• INDUSTRY (Lat. industria, from indu-, a form of the pre, position in, and either stare, to stand, or struere, to pile up)

industry .

Both kinds of engraving soon came to be in great demand . Independently of the illustration of written or printed books, for which purpose woodcuts were almost exclusively used, See also:

• SEPARATE

separate engravings or sets of engravings in both kinds were produced, the more finely wrought and more expensive, appealing especially to the more educated classes, on copper, the bolder, simpler and cheaper on wood; and both . kinds found a ready See also:

• SALE
• SALE, GEORGE (c. 1697-1736)
• SALE, SIR ROBERT HENRY (1782—1845)

sale at all the markets, fairs and See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church festivals of the See also:

• LAND

land . Subjects of popular devotion predominated . Figures of the Virgin and Child, of the apostles and evangelists, the fathers of the Church, the saints and martyrs, with illustrations of sacred history and the Apocalypse, were supplied in endless repetition to satisfy the cravings of a pious and See also:

• SIMPLE

simple-minded See also:

• PEOPLE

people . But to these were quickly added subjects of See also:

• ALLEGORY (iXXos, other, and ayopeuav, to speak)

allegory, of classical learning, of See also:

• WITCHCRAFT

witchcraft and superstition and of daily See also:

• LIFE

life; scenes of the parlour and the See also:

• CLOISTER (Lat. claustrum; Fr. cloitre; Ital. chiostro; Span. claustro; Ger. Kloster)

cloister, of the shop, the See also:

• FIELD (a word common to many West German languages, cf. Ger. Feld, Dutch veld, possibly cognate with O.E. f olde, the earth, and ultimately with root of the Gr. irAaror, broad)
• FIELD, CYRUS WEST (1819-1892)
• FIELD, DAVID DUDLEY (18o5-1894)
• FIELD, EUGENE (1850-1895)
• FIELD, FREDERICK (18o1—1885)
• FIELD, HENRY MARTYN (1822-1907)
• FIELD, JOHN (1782—1837)
• FIELD, MARSHALL (183 1906)
• FIELD, NATHAN (1587—1633)
• FIELD, STEPHEN JOHNSON (1816-1899)
• FIELD, WILLIAM VENTRIS FIELD, BARON (1813-1907)

field, the See also:

• MARKET (Lat. mercatus, trade or place of trade)

market and the See also:

• CAMP (from Lat. campus, field)

camp; and lastly portraits of famous men, with scenes of See also:

• COURT
• COURT (from the O. Fr. court, Late Lat. cortis, curtis, a popular form of class. Lat. cohors, gen. cohortis; the mod. Fr. form tour is due to the influence of the Lat. curia, the word used in medieval documents to translate " court " in the feudal sense)
• COURT, ANTOINE (1696-176o)

court life and princely See also:

• PAGEANT

pageant and ceremony . Thus the new art became a See also:

• MIRROR (through O. Fr. mirour, mod. miroir, from a sup-posed Late Lat. miratorium, from mirari, to admire)

mirror of almost all the life and thoughts of the age . The See also:

• GENIUS (from Lat. genere, gignere)

genius of Albrecht Durer cannot be rightly estimated without taking into account the position which the arts of engraving on metal and on wood thus held in the culture of this time . He was indeed professionally and in the first See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place a painter; but throughout his career a great, and on the whole the most successful, part of his industry was devoted to drawing on the block for the woodcutter or engraving with his own hand on copper . The town of Nuremberg in See also:

• FRANCONIA (Ger. Franken)

Franconia, in the age of Durer's early manhood, was a favourable home for the growth and exercise of his See also:

• POWERS, HIRAM (1805-1873)

powers . Of the See also:

• FREE

free imperial cities of central Germany, none had a greater historic fame or a more settled and patriotic See also:

• GOVERNMENT
• GOVERNMENT (0. Fr. governement, mod. gouvernement, O. Fr. governer, mod. gouverner, from Lat. gubernare, to steer a ship, guide, rule; cf. Gr. xv(3epvav)

government . None was more the favourite of the emperors, nor the seat of a more active and flourishing See also:

• COMMERCE
• COMMERCE (Lat. commercium, from, cum, together, and rnerx, merchandise)

commerce . Nuremberg was the See also:

• CHIEF (from Fr. chef, head, Lat. caput)

chief mart for the merchandise that came to central Europe from the See also:

• EAST
• EAST, ALFRED (1849- )

east through Venice and over the passes of Tirol .

She held not only a close commercial intercourse, but also a close intellectual intercourse, with Italy . Without being so forward as the See also:

• RIVAL

rival city of See also:

• AUGSBURG
• AUGSBURG, CONFESSION OF
• AUGSBURG, WAR OF THE LEAGUE OF

Augsburg to embrace the architectural fashions of the Italian renaissance—continuing, indeed, to be profoundly imbued with the old and homely German burgher spirit, and to See also:

• WEAR

wear, in a degree which time has not very much impaired even yet, the quaintness of the old German civic aspect—she had imported before the close of the 15th century a See also:

• FAIR

fair See also:

• SHARE (O. Eng. scearu, chiefly in compounds, e.g. land-scearu, a share of land, from sceran to cut; cf. " shear" )

share of the new learning of Italy, and numbered among her citizens distinguished humanists like See also:

• HARTMANN, KARL ROBERT EDUARD VON (1842–1906)
• HARTMANN, MORITZ (1821–1872)

Hartmann Schedel, Sebald Schreier, Willibald Pirkheimer and See also:

• CONRAD (d. 955)
• CONRAD, JOSEPH (1856– )
• CONRAD, or KONRAD (M. H. Ger. Kuonrdl, i.e. " keen in counsel," Lat. Conradus, It. Corrado, cf. the A.S. Ccenred)

Conrad See also:

• CELTES, KONRAD (1459-'1508)

Celtes . From associates like these Durer could imbibe the spirit of Renaissance culture and See also:

• RESEARCH (O. Fr. recerche, from recercher, re- and cercer, mod. chercher, to search; Late Lat. circare, to go round in a circle, to explore)

research; but the See also:

• EXTERNAL

external aspects and artistic traditions which surrounded him were purely Gothic, and he had to work out for himself the style and form-See also:

• LANGUAGE (adapted from the Fr. langage, from langue, tongue, Lat. lingua)

language fit to See also:

• EXPRESS (through the French from the past participle of the Lat. exprimere, to press out, by transference used of representing objects in painting or sculpture, or of thoughts, &c. in words)

express what was in him . During the first seven or eight years of his settled life in his native city from 1495, he betrays a conflict of artistic tendencies as well as no small sense of spiritual See also:

• STRAIN (through O. Fr. straindre, estraindre, mod. i treindre, from Lat. stringere, to draw tight, related to stress, stretch, string, &c.)

strain and strife . His finest work in this period was that which he provided for the woodcutter . After some half - dozen See also:

• MISCELLANEOUS

miscellaneous single prints—" See also:

• SAMSON (1135-1211)
• SAMSON (cf. Heb. shemesh, " sun ")
• SAMSON, JOSEPH ISIDORE (1793-1871)

Samson and the See also:

• LION
• LION (Lat, leo, leonis; Gr. Mew)

Lion," the "See also:

• ANNUNCIATION

Annunciation," the " Ten Thousand Martyrs," the "See also:

• KNIGHT, CHARLES (1791-1873)
• KNIGHT, DANIEL RIDGWAY (1845– )
• KNIGHT, JOHN BUXTON (1843–1908)

Knight and Men-at-arms," the "Men's See also:

• BATH
• BATH, THOMAS THYNNE
• BATH, WILLIAM

Bath," &c.—he undertook and by 1498 completed his famous series of sixteen great designs for the Apocalypse . The northern mind had long dwelt with eagerness on these phantasmagoric mysteries of things to come, and among the earliest block-books printed in Germany is an edition of the Apocalypse with See also:

• RUDE, FRANCOIS (1784–1855)

rude figures . See also:

• FOUNDING (from Lat. fundere, to pour)

Founding himself to some extent on the traditional motives, Durer conceived and carried out a set of designs in which the qualities of the German late Gothic style, its rugged strength and restless vehemence, its love of gnarled forms, writhing actions and agitated lines, are fused by the See also:

• FIRE (in O. Eng. f j'r; the word is common to West German languages, cf. Dutch vuur, Ger. Feuer; the pre-Teutonic form is seen in Sanskrit pu, pavaka, and Gr. irup; the ultimate origin is usually taken to be a root meaning to purify, cf. Lat. purus)

fire of the young master's spirit into vital See also:

• COMBINATION (Lat. combinare, to combine)

combination with something of the majestic See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power and classic severity which he had seen and admired in the works of Mantegna . Of a little later date, and of almost as fine a quality, are the first seven of a large series of woodcuts known as the Great Passion; and a little later again (probably after 1500), a series of eleven subjects of the Holy Family and of saints singly or in See also:

• GROUPS
• GROUPS, THEORY

groups: then, towards 1504-1505, come the first seventeen of a set illustrating the life of the Virgin: neither these nor the Great Passion were published till several years later . In copper-engraving Durer was at the same time diligently training himself to develop the methods practised by Martin Schongauer and earlier masters into one suitable for his own self-expression . He attempted no subjects at all commensurate with those of his great woodcuts, but contented himself for the most part with Madonnas, single figures of scripture or of the saints, some nude mythologies of a kind wholly new in northern art and founded upon the impressions received in Italy, and groups, sometimes bordering on the satirical, of humble folk and peasants . In the earliest of the Madonnas, the " Virgin with the See also:

• DRAGON (Fr. dragon, through Lat. draco, from the Greek; connected with SEpeoµay " see," and interpreted as " sharp-sighted "; O.H. Ger. tracho, dracho, M.H.G. trache, Mod. Ger. Drachen; A.S. draca, hence the equivalent English form " drake," " fire-drake,

Dragon-See also:

• FLY (formed on the root of the supposed original Tent. fleugan, to fly)

fly" (1495-1496), Durer has thrown something of his own rugged See also:

• ENERGY (from the Gr. ivipyela; iv, in, ipyov, work)

energy into a design of the traditional Schongauer type .

In examples of a few years later, like the "Virgin with the See also:

• MONKEY

Monkey," the design of See also:

• MOTHER

Mother and Child clearly betrays the See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence of Italy and specifically of Lorenzo di Credi . The subjects of the "Prodigal Son" and "St Jerome in the See also:

• WILDERNESS

Wilderness " he on the other hand treats in an almost purely northern spirit . In the nudes of the next four or five years, which included a "St Sebastian," the so-called "Four Witches" (1497), the "See also:

• DREAM (from a root dreug, connected with Germ. trugen, to deceive)

Dream" or "Temptation," the "See also:

• RAPE
• RAPE (from Lat. rapere, to seize)
• RAPE (Lat. rapum or rapa, turnip)

Rape of Amymome," and the " See also:

• JEALOUSY (adapted from Fr. jalousie, formed from jaloux, jealous, Low Lat. zelosus, Gr. j'i os, ardour, zeal, from the root seen in '&u', to boil, ferment; cf. " yeast ")

Jealousy" or "Great See also:

• HERCULES
• HERCULES (0. Lat. Hercoles, Hercles)

Hercules," Venetian, Paduan and Florentine memories are found, in the treatment of the human form, competing somewhat uncomfortably with his own inherited Gothic and northern instincts . In these early engravings the highly-wrought landscape backgrounds, when-ever they occur, are generally the most satisfying feature . This feature reaches a See also:

• CLIMAX, JOHN (c. 525–600 A.D.)

climax of beauty and elaboration in the large print of " St Eustace and the See also:

• STAG (0. Eng. stagga, a Norse word, cf. Icel. steggr, steggi, a male animal, cf. Steggander, a drake; it is usually referred to stigan, to climb, to mount, but this is doubtful)

Stag," while the figures and animals remain still somewhat cramped and immature . In the first three or four years of the 16th century, we find Durer in his graver-work still contending with the problems of the nude, but now with added power, though by methods which in different subjects contrast curiously with one another . Thus the "See also:

• NEMESIS

Nemesis," belonging probably to 1503, is a marvellously wrought piece of quite unflinching See also:

• REALISM (from Low Lat. realis, appertaining to res, things, as opposed to ideas and imaginations)

realism in the rendering of a See also:

• COMMON

common type of mature, See also:

• MUSCULAR

muscular, unshapely German womanhood . The conception and attributes of the figure are taken, as has lately been recognized, from a description in the "Manto" of See also:

• POLITIAN (1454–1494)

Politian: the goddess, to whose shoulders are appended a 'pair of huge wings, stands like See also:

• FORTUNE, ROBERT (1813-188o)

Fortune on a revolving See also:

• BALL (in Mid. Eng. bal; the word is probably cognate with " bale," Teutonic in origin, cf. also Lat. falls, and Gr. 7raXXa)
• BALL, JOHN (1585-1640)
• BALL, JOHN (1818-1889)
• BALL, JOHN (d. 1381)
• BALL, SIR ALEXANDER JOHN, BART
• BALL, THOMAS (1819- )

ball, holding the emblems of the See also:

• CUP (in O.E. cuppe; generally taken to be from Late Lat. cuppa, a variant of Lat. cupa, a cask, cf. Gr. KuaeXXov)

cup and bridle, and below her feet is spread a rich landscape of See also:

• HILL
• HILL (0. Eng. hyll; cf. Low Ger. hull, Mid. Dutch hul, allied to Lat. celsus, high, collis, hill, &c.)
• HILL, A
• HILL, AARON (1685-175o)
• HILL, AMBROSE POWELL
• HILL, DANIEL HARVEY (1821-1889)
• HILL, DAVID BENNETT (1843–1910)
• HILL, GEORGE BIRKBECK NORMAN (1835-1903)
• HILL, JAMES J
• HILL, JOHN (c. 1716-1775)
• HILL, MATTHEW DAVENPORT (1792-1872)
• HILL, OCTAVIA (1838– )
• HILL, ROWLAND (1744–1833)
• HILL, SIR ROWLAND (1795-1879)

hill and valley . In the " See also:

• ADAM
• ADAM (or ADAN) DE LE HALE (died c. 1288)
• ADAM, ALEXANDER (1741–1809)
• ADAM, JULIETTE (1836– )
• ADAM, LAMBERT SIGISBERT (1700-1759)
• ADAM, MELCHIOR (d. 1622)
• ADAM, PAUL (1862– )
• ADAM, ROBERT (1728—1792)
• ADAM, SIR FREDERICK (1781-1853)
• ADAM, WILLIAM (1751-1839)

Adam and See also:

• EVE

Eve" of the next year, we find Durer treating the human form in an entirely opposite manner; constructing it, that is, on principles of abstract geometrical proportion . The Venetian painter-etcher, Jacopo de Barbari, whom Durer had already, it would seem, met in Venice in 1494-1495, and by the example of whose engravings he had already been much influenced, came to See also:

• SETTLE
• SETTLE, ELKANAH (1648–1724)

settle for a while in Nuremberg in 15oo . He was conversant to some extent with the new sciences of See also:

• PERSPECTIVE (Lat. peespicere, to see through)

perspective, See also:

• ANATOMY
• ANATOMY (Gr. avaroyil, from ava-silo c', to cut up)

anatomy and proportion, which had been making their way for years past in Italy, and from him it is likely that Durer received the impulse to similar studies and speculations . At any See also:

• RATE

rate a whole series of extant drawings enables us to trace the German gradually working out his own ideas of a See also:

• CANON

canon of human proportion in the composition of his famous engraving of "Adam and Eve" (1504); which at first, as a drawing in the British Museum proves, had been intended to be an See also:

• APOLLO (Gr. 'A2r6XXwv,'Airkkhwv)

Apollo and See also:

• DIANA

Diana conceived on lines somewhat similar to one of Barbari's .

The See also:

• DRAMA (literally "action," from Gr. Snail, act or do)

drama of the subject has in this instance not interested him at all, but only the forms and designs of the figures, the realization of the quality of flesh surfaces by the subtlest use of the graving-See also:

• TOOL (0. Eng. tdl, generally referred to a root seen in the Goth. taujan, to make, or in the English word " taw," to work or dress leather)

tool known to him, and the rendering, by methods of which he had become the greatest of all masters, of the richness and intricacy of the See also:

• FOREST

forest background . Two or three other technical masterpieces of the engraver's art, the " Coat-of-Arms with the See also:

• SKULL

Skull," the "Nativity," with its exquisite background of ruined buildings, the "Little See also:

• HORSE (a word common to Teutonic languages in such forms as hors, hros, ros; cf. the Ger. ross)

Horse" and the "Great Horse," both of 1505, complete the See also:

• LIST (O.E. lisle, a Teutonic word, cf. Dut. lust, Ger. Leiste, adapted in Ital. lista and Fr. lisle)
• LIST, FRIEDRICH (1789-1846)

list of the master's chief productions in this kind before he started in the last-named year for a second visit to Italy . The pictures of this earlier Nuremberg period are not many in number and not very admirable . Dijrer's powers of hand and See also:

• EYE
• EYE (O. Eng. edge, Ger. Auge; derived from an Indo-European root also seen in Lat. oc-ulus, the organ of vision (q.v.)

eye are already extraordinary and in their way almost unparalleled, but they are often applied to the too insistent, too glittering, too emphatic rendering of particular details and individual forms, without due regard to subordination or the See also:

• HARMONY (Gr. dpµovia, a concord of musical sounds, dpA'ew to join; &plan midi (sc. TeXvil)

harmony of the whole . Among the earliest seem to be two examples of a method practised in Italy especially by the school of Mantegna, but almost without precedent in Germany, that of See also:

• TEMPERA (the Italian term), or DISTEMPER

tempera-painting on See also:

• LINEN

linen . One of these is the portrait of See also:

• FREDERICK
• FREDERICK (Mod. Ger. Friedrich; Ital. Federigo; Fr. Frederic and Federic; M.H.G. Friderich; O.H.G. Fridurih, " king or lord of peace," from O.H.G. fridu, A.S. frith, " peace," and rfh " rich," " a ruler," for derivation of which see HENRY)

Frederick the See also:

• WISE, HENRY ALEXANDER (1806-1876)
• WISE, ISAAC MAYER (1819-1900)

Wise of See also:

• SAXONY
• SAXONY (Ger. Provinz Sachsen)

Saxony, formerly in the See also:

• HAMILTON
• HAMILTON (GRAND or ASHUANIPI)
• HAMILTON, ALEXANDER (1757-1804)
• HAMILTON, ANTHONY, or ANTOINE (1646-1720)
• HAMILTON, ELIZABETH (1758–1816)
• HAMILTON, EMMA, LADY (c. 1765-1815)
• HAMILTON, JAMES (1769-1831)
• HAMILTON, JAMES HAMILTON, 1ST DUKE OF (1606-1649)
• HAMILTON, JOHN (c. 1511–1571)
• HAMILTON, MARQUESSES AND DUKES OF
• HAMILTON, PATRICK (1504-1528)
• HAMILTON, ROBERT (1743-1829)
• HAMILTON, SIR WILLIAM
• HAMILTON, SIR WILLIAM (1730-1803)
• HAMILTON, SIR WILLIAM ROWAN (1805-1865)
• HAMILTON, THOMAS (1789-1842)
• HAMILTON, WILLIAM (1704-1754)
• HAMILTON, WILLIAM GERARD (1729-1796)

Hamilton collection and now at Berlin; the second, much disfigured by restoration, is the See also:

• DRESDEN

Dresden altarpiece with a Madonna and Child in the middle and St See also:

• ANTHONY, SAINT
• ANTHONY, SUSAN BROWNELL (1820-1906)

Anthony and Sebastian in the wings . A See also:

• MYTHOLOGY

mythology reminiscent of Italy is the " Hercules and the Stymphalian Birds" in the Germanic Museum at Nuremberg, founded directly upon the "Hercules and Centaur Nessus" of Pollaiuolo, now at New Haven, See also:

• CONNECTICUT

Connecticut, U.S.A . Of portraits, besides that of his father already mentioned as done in 1497, there is his own of 1498 at See also:

• MADRID

Madrid . Two totally dissimilar portraits of young See also:

• WOMEN

women, both existing in duplicate examples (one pair at Augsburg and See also:

• FRANKFORT

Frankfort, the other pair in the collections of M . Hengel in See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris and See also:

• BARON
• BARON (1835-1895)
• BARON, MICHEL (1653—1729)

Baron Speck von Sternburg at Lutz-schema, for each of which has been claimed the name Furlegerin, that is, a member of the Furleger family at Nuremberg), belong to nearly the same time . Other See also:

• PANEL (O. Fr. panel, mod. panneau, piece of cloth, from Med. Lat. pannellus, diminutive of pannus, cloth)

panel portraits of the period are three small ones of members of the Tucher family at See also:

• WEIMAR

Weimar and See also:

• CASSEL
• CASSEL, or KASSEL

Cassel, and the striking, restlessly elaborated half-length of See also:

• OSWALD (c. 605—642)
• OSWALD (d. 992)

Oswald Krell at See also:

• MUNICH (Ger. Munchen)

Munich . In some devotional pictures of the time Durer seems to have been much helped by pupils, as in the two different compositions of the Maries weeping over the See also:

• BODY

body of Christ preserved respectively at Munich and Nuremberg .

In an altarpiece at Ober St See also:

• VEIT, PHILIPP (1793-1877)

Veit and in the scattered wings of the Jabach altarpiece severally preserved at Munich, Frankfort and See also:

• COLOGNE (Ger. Koln, or officially, since 1900, Coln)

Cologne, the workmanship seems to be exclusively that of journeymen working from his drawings . The period is closed, so far as paintings are concerned, by two examples of far higher value than those above named, that is to say the Paumgartner altarpiece at Munich, with its romantically attractive composition of the Nativity with angels and donors in the central panel, and the fine armed figures of St See also:

• GEORGE
• GEORGE, 8TH MARQUESS OF TWEEDDALE (1787-1876)
• GEORGE, HENRY (1839—1897)
• GEORGE, LAKE
• GEORGE, SAINT (d. 303)

George and St Eustace (lately freed from the over-paintings which disfigured them) on the wings; and the happily conceived and harmoniously finished "See also:

• ADORATION (Lat. ad, to, and os, mouth; i.e. " carrying to one's mouth ")

Adoration of the Magi" in the Uffizi at Florence . In the autumn of 1505 Durer journeyed for a second time to Venice, and stayed there until the See also:

• SPRING (from " to spring," " to leap or jump up," " burst out," O. Eng., springau, a common Teut. word, cf. Ger. springer, possibly allied to Gr. QnrFpxecOac, to move rapidly)

spring of 1507 . The occasion of this journey has been erroneously stated by See also:

• VASARI, GIORGIO (1511-1571)

Vasari . Diirer's engravings, both on copper and wood, had by this time attained great popularity both north and south of the Alps, and had begun to be copied by various hands, among others by the celebrated See also:

• MARCANTONIO [MARCANTONIO RAIMONDI]

Marcantonio of See also:

• BOLOGNA
• BOLOGNA, GIOVANNI DA (1524–1608)

Bologna, then in his youth . According to Vasari, Marcantonio, in copying Diirer's series of the Little Passion on wood, had imitated the original See also:

• MONOGRAM (from Late Lat. monogramma, in Late Gr. µovoypaµµov, from µovos, single, ypaµµa, letter)

monogram, and Durer, indignant at this See also:

• FRAUD (Lat. fraus, deceit)

fraud, set out for Italy in See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order to protect his rights, and having lodged a complaint against Marcantonio before the signory of Venice, carried his point so far that Marcantonio was forbidden in future to add the monogram of Durer to copies taken after his works . This account will not See also:

• BEAR
• BEAR, BLACK
• BEAR, BROWN
• BEAR, GRIZZLY
• BEAR, ISABELLINE
• BEAR, WHITE

bear examination . See also:

• CHRONOLOGICAL

Chronological and other proofs show that if such a suit was fought at all, it must have been in connexion with another set of Diirer's woodcuts, the first seventeen of the Life of the Virgin . Durer himself, a number of whose See also:

• FAMILIAR (through the Fr. familier, from Lat. familiaris, of or belonging to the familia, family)

familiar letters written from Venice to his friend Pirkheimer at Nuremberg are preserved, makes no mention of anything of the kind . Nevertheless some such grievance may possibly have been among the causes which determined his journey . Other causes, of which we have explicit record, were an outbreak of sickness at Nuremberg; Durer's See also:

• DESIRE

desire, which in fact was realized, of finding a good market for the proceeds of his art; and the prospect, also realized, of a See also:

• COMMISSION (from Lat. commissio, committere)

commission for an important picture from the German community settled at Venice, who had lately caused an