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Updated: May 18, 2025
Hubert, B. 57; the august and tranquil Cannon, B. 99: and lastly, perhaps, in the little Horse, B. 96, we come upon a theme and motive of the kind best suited to Duerer's peculiar powers, in which he produces an effect really comparable to those of the old Greek masters, about whose lost works he was so eager for scraps of information, and whose fame haunted him even into his slumbers, so that he dreamed of them and of those who should "give a future to their past."
Thausing quotes the following passage from it: I have known Duerer's name for a long time as that of the first celebrity in the art of painting. Some call him the Apelles of our time. But I think that did Apelles live now, he, as an honourable man, would give the palm to Duerer.
Duerer's spirit is the spirit of the great artist who will learn even from "dull men of little judgment." "Let none be ashamed to learn, for a good work requireth good counsel. Nevertheless, whosoever taketh counsel in the arts, let him take it from one thoroughly versed in those matters, who can prove what he saith with his hand.
Johann Neudoerffer, who lived opposite the Duerers, has recorded the fact that Duerer's brother Endres inherited all his expensive colours, his copper plates and wood blocks, as well as any impressions there were, and all his drawings beside.
The drawing, which bears the above inscription in Duerer's own handwriting on the back, is a fine one in red sanguine, representing the same male model in two different poses, in the Albertina.
Thausing insists on the fact that in this letter there is no mention of Duerer's death having been caused by his wife's behaviour; but as the relation of Ulrich to the deceased seems to have been well-nigh as intimate as his own, there may have been no need to mention a fact painfully present to both their minds.
And, had circumstances permitted, or Duerer's dowry of great gifts been more complete than it was, and enabled him to become as great a creator of pictures as he is a great draughtsman and portrait-painter, no doubt his pictures would have resembled Greek statues both in their effect and their method, however different they might have been in subject and in range.
It invites comparison rather with the similar subjects painted by Fra Angelico than with the Disputa of Raphael, to which German critics compare it; however, it possesses as little of Angelico's sweet blissfulness as the Dominican painter possessed of Duerer's accuracy of hand and searching intensity of visual realisation.
But it is as an etcher or engraver, rather than as a painter, that Duerer's reputation was earned. His greatest engravings such as the Knight and Death, and St. Jerome in his Study set a standard in a new art which has never been reached by his successors. The first considerable employment of engraving, one of the most useful of the arts, synchronized with the invention of printing.
I did not then remember that just before I came out I had been gazing, as I often gazed, upon an Ecce Homo of Albert Duerer's that hung in my room. Immediately my heart awoke within me. My whole being still trembling with passionate struggle and gratified hate, a rush of human pity swept across it. I took my hand from my enemy's throat, rose, withdrew some paces, and burst into tears.
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