is pictures, in 1782, this one was bought by the Abbey of
Strahow, and remained buried in oblivion for three-quarters of a
century. The picture shows the Virgin sitting under a canopy and a
star-strewn crown held by flying cherubs, with the graceful Child in
her lap. She is placing a crown of roses on the head of the Emperor
Maximilian, while Jesus places another on the head of the Pope; and
a monk on one side is similarly honored by St. Dominic, the founder
of the Feast of the Rose Garlands. A multitude of kneeling men and
women on either side are being crowned with roses by merry little
child-angels, flying through the air; while on the extreme right,
Duerer and Pirkheimer are seen standing by a tree.

Pirkheimer and Agnes had both been urging the master to return; but he
seemed reluctant to exchange the radiance of Italy for the quietness
of his home-circle, and mournfully exclaims, "Oh, how I shall freeze
after this sunshine! Here I am a gentleman, at home only a parasite!"
A brilliant career was open before him at Venice, whose Government
offered him a pension of 200 ducats; but his sense of duty compelled
him to return to Germany, though in bitterness of spirit. Before
turning Northward he rode to Bologna, "because some one there will
teach me the secret art of perspective" (Francesco Francia); and met
Christopher Scheurl, who greatly admired him. A year later Raphael
also came to Bologna, and saw some works left there by Duerer, from
which arose an intimate correspondence and exchanges of pictures
between the artists. The master had been invited to visit the
venerable Mantegna, at Mantua; but that Nestor of North-Italian art
died before the plan was carried out. Duerer afterwards told Camerarius
that this death "caused him more grief than any mischance that had
befallen him during his life."

Art-critics agree in rejoicing that Duerer conquered the temptations
which were held out to him from the gorgeous Italian city, and
returned to his plain life in the cold North. He escaped the danger of
sacrificing his individualism to the glowing and sensuous Venetian
school of art, and preserved the quaintness and vigor of his own
Gothic inspirations for the joy of future ages.

The marine backgrounds in many of Duerer's later pictures are referred
by Ruskin to the artist's pleasant memories of Venice, "where he
received the rarest of all rewards granted to a good workman; and, for
once in his life, was understood." Oth