only by the
production of this painting, but of three or four other notable works
which still exist, and which reflect the great influence upon him of
the Italian school of painting, with which he had attained
familiarity. His stay in Venice lasted about a year. In the fall of
1506, he returned to Nuremberg, and there remained for the next
fourteen years, engaged in the practice of his art. These years were
years of success and prosperity. His name and fame had spread over the
whole of Europe, and the greatest artists of the day were glad to do
him homage. Raphael said of him, when contemplating some of his
designs, "Truly this man would have surpassed us all, if he had the
masterpieces of ancient art constantly before his eyes as we have." A
friendly correspondence was maintained between the immortal Italian
and his German contemporary, and in his own country, all men, from the
emperor to the peasant, delighted to do honor to his genius, the
products of which were found alike in church and palace, and through
his printed designs in the homes of the humble poor.

The proud old imperial city of Nuremberg had gathered within its
battlemented walls a multitude of men who were distinguished not only
for their commercial enterprise and wealth, but many of whom were the
exponents of the literary and artistic culture of the time. Among the
men with whom Duerer found congenial companionship were Adam Krafft,
the sculptor; Veit Stoss, whose exquisite carvings in wood may reflect
in some measure in the wild luxuriance of the imagination which they
display, the restless, "dare-devil" spirit with which his biographers
invest him; Peter Vischer, the bronze founder; and last but not least.
Hans Sachs, the cobbler poet, whose quaint rhymes are a source of
delight to this day, and were a mighty force in the great work of the
Reformation, by which the fetters of mediaeval traditions and
ecclesiastical abuse were thrown off by the German people.

Of the personal appearance of Duerer at this time, we are not left in
ignorance. A portrait of himself from his own hands has been preserved
and is well known. His features reveal refinement and great
intellectuality, united with grace, and his attire shows that he was
not oblivious to matters of personal adornment. After the fashion of
the time, his hair was worn in long and graceful ringlets, which fell
in heavy masses about his shoulders.

The first six years which followed his return fro