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

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

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

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