The earlier works of Durer are largely wood-cuts, the art which more
than any other was the artist's very own. The discussions of the times
regarding religious matters made a demand for books even at great
cost. It was a time when written and spoken words held people's
attention, but when, in addition, the text was illustrated by strong
pictures the power and reach of the books were increased ten-fold. A
place thus seemed waiting for Albrecht Durer, the master
wood-engraver.

His first great series was the _Apocalypse_--pictures to illustrate
the book of Revelations. Such a subject gave Durer ample scope for the
use of his imagination. Then came the story of Christ's agony twice
engraved in small and large size. These were followed by still another
series illustrating the life of Mary. This series was especially
popular, for it glorified family life--the family life of the Germans,
so worthy, so respected. To be sure, Mary is represented as a German
woman tending a dear German child. The kings who come to adore could
be found any day on the streets of Nuremberg. The castles and churches
that figure in the backgrounds are those of mediaeval and renaissance
Germany. But this was Durer's method of truth speaking and it appealed
strongly to the people of his time as it must to us of to-day.

In 1506, when the last series was not quite completed, Durer went to
Venice, perhaps to look after the sale of some of his prints, but more
likely because the artist wished to work in the sunshine and art
atmosphere of the island city. While away he wrote regularly to his
friend Pirkheimer. His letters are exceedingly interesting, as we
learn from them much about the art society of the time. Durer was
looked upon with favor by the Venetian government but most of the
native artists were jealous of the foreigner and not friendly. They
complained that his art was like nothing set down as "correct" or
"classical" but still they admired it and copied it, too, on the sly.

[Illustration: DURER IN VENICE _Theobald von Oer_]

Gentile Bellini, the founder of the Venetian School, was then a very
old man. He was fond of Durer and showed him many kindnesses, not the
least of which was praising him to the Venetian nobles. There is a
charming story told of Bellini's admiration of Durer's skill in
painting hair: One day, after examining carefully the beard of one of
the saints in a picture by Durer, he begged him to allow him to use
the