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On his journey to see Charles V., Maximillian's successor, Durer kept a diary in which he noted the minutest details of all that happened to him. He told of the coronation of Charles; of hearing about a whale that had been cast upon the shore; of his disappointment that it had been removed before he had reached the place.
In 1506 Albrecht Dürer re-visited Italy alone, making a stay of eight months in Venice, where he formed his friendship with the old Gian Bellini, and where Albrecht had the misfortune to show the proofs and plans of his engravings to the Italian engraver, Raimondi, who engraved Raphael's paintings, and who proved himself base enough to steal and make use of Albrecht Dürer's designs to the German's serious loss and inconvenience.
At this period, in the countries we may speak of collectively as German, women artists were numerous. Many were miniaturists, some of whom were invited to the English Court and received with honor. In 1521 Albert Dürer was astonished at the number of women artists in different parts of what, for conciseness, we may call Germany.
During that time God gave me great industry so that I learned many things; but I had to suffer much at the hands of the other apprentices." When in 1490 his apprenticeship was completed Dürer set out on his Wanderjahre, to learn what he could of men and things, and, more especially, of his own trade.
The Emperor Maximilian was a great patron of the arts, but particularly of that branch which had newly arisen the art of wood-engraving which he fostered with continual care, and by the help of such men as Dürer, Burgmeyer, Schaufflein, and Cranach, produced works which have never been excelled.
In the days of Albert Dürer the street in which he resided was known as “die Zisselgasse;” it is now appropriately named after the great artist himself.
It is said that for several years Durer had won a prize for which a friend of his had also competed, and upon losing the prize the last time he tried for it, the friend raised his hands and prayed for the power to accept his failure with resignation and humility. Durer, looking at him, was impressed with the eloquence of the gesture; thus the "Praying Hands" was conceived.
It is a singular fact that, although Dürer painted several portraits of his father and himself, he is not known to have made any of his wife. Some of his sketches are called by her name, but there is no good reason for this.
In the Germanic Museum they fled to the Italian painters from the German pictures they had inspired; in the great hall of the Rathhaus the noble Processional of Durer was the more precious, because his Triumph of Maximilian somehow suggested Mantegna's Triumph of Caesar.
Nicolò da Modena, 1450. Perhaps the earliest engraved example: very remarkable for the elegance of the motifs and the imperfect execution, engraving on copper being then a new art. Albert Durer. The beautiful and well-known set of twenty-five wood-cuts, published in 1510. A perfect example of the German treatment. Bernardino Luini, 1515.
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