dopted by them; but it so completely accords with the character
of their drawings, and would be so easy to attain in this material, and
so difficult in any other, that it seems to bear the impress of
accuracy.

The work of Wohlgemuth, by which he is now most familiarly known, are
the illustrations of the _Nuernberg Chronicle_, of Hartmann Schedel,
published in 1493, which he executed in conjunction with William
Pleydenwurff. This once famous history is a folio, full of historic
learning, and illustrated by more than a thousand woodcuts, many of
which are very large. It would appear that Pleydenwurff executed the
views of cities and minor illustrations, and his greater fellow-labourer
designed and drew upon the wood the historical scenes. In conformity
with the custom of ancient chronicles, the history begins with the
creation of the world, the various incidents connected therewith being
all delineated. There is considerable invention, but great lack of
grace, in all these designs; they bear, however, strong resemblances to
the leading characteristics of Wohlgemuth's paintings, and they are
superior to the woodcuts that preceded him, particularly as regards the
amount of finish and chiaroscuro they exhibit. The earliest woodcuts by
Duerer bear some resemblance to these works, and are in the dry hard
style of a master who evidently valued positive drawing at a higher rate
than the blandishments of colour; this, indeed, has always been a
characteristic of German art.

The three years of Duerer's pupilage having expired, in conformity with
the usual German custom, he travelled to see the world and improve
himself. Of the early works of his genius we have no certain trace. That
he was a good portrait painter we may be assured by the examination of
his own picture in the gallery of the Uffizi at Florence, painted in
1498, and that of his father, in the Pinacotheck at Munich; but earlier
chalk drawings exist, showing his proficiency in this branch of art at
the age of fourteen. In the course of his peregrinations in Germany he
visited his brother artists, returning to his native city in 1494. His
earliest works on his return seem to have been designs on wood, for in
1498 appeared the series of woodcuts, illustrating the Revelations of
St. John. Dr. Kuegler says "we should regard them as proofs of his
activity in the years immediately preceding; such at least is the case
in similar works. In these compositions the artist has a