511." After this
follows the renowned monogram used by the artist in signing his works
after 1496, the "D" enclosed in a large "A" something after this
style. He then designed a very beautiful and elaborate frame for this
picture to be carved from wood. It was adorned with figures in relief,
beautiful vine traceries and architectural ornaments which showed our
artist master of still another national art--wood-carving.

[Illustration]

It is interesting, too, to know that about this time Durer, finding
painting not so lucrative as he had hoped, turned his attention to
engraving on all sorts of hard materials, such as ivory and
hone-stone. To this period belongs that tiny triumph of his art, the
"_Degennoph_," or gold plate, which contains in a circle of little
more than an inch in diameter the whole scene of the Crucifixion
carefully represented.

Through his indefatigable labors Durer's circumstances were now
greatly improved and so he planned to publish his works, a matter of
large expense. Instead of going to some large publishing house, as we
to-day do, Durer had a press set up in his own house. We delight in
illustrated books to-day, indeed we will hardly have a book without
pictures. Imagine then the joy that must have been felt in this time
of the scarcity of even printed books to have those that were
illustrated. There was ready sale for all the books Durer could print.

Some prints came into Raphael's hands. He wrote a friendly letter to
the artist and sent him several of his own drawings. In return Durer
sent his own portrait, life size, which Raphael greatly prized and at
his death bequeathed to his favorite pupil, Julio Romano.

Durer's prosperity continuing, he purchased the house now known to
fame as "Albrecht Durer's House." It is still very much as it was in
the artist's lifetime. Here one may study at his leisure the kitchen
and living-room which seem as if Durer had just left them.

The artist's reputation was now fully established. In 1509, he was
made a member of the Council that governed the city and he was granted
the important commission of painting two pictures for the relic
chamber in Nuremberg. In this room, which was in a citizen's house,
the crown jewels were kept on Easter night, the time of their annual
exhibition to the public. _Sigismund_ and _Charlemagne_ were the
subjects selected, the former probably because it was he who first
gave to Nuremberg the custody of the precious jewe