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Updated: May 24, 2025
The earliest wood blocks, though no doubt they aimed at being facsimiles, were not such in fact; but the engraver took certain liberties for his own convenience, and probably did not attempt to render what Duerer calls "the hand" of the designer.
Jerome, on the back of which is an authentic signature; there is besides a series of uncut wood-blocks, the designs on which it is easy to imagine to have been produced by the travelling journeyman that Duerer then seemed to the printers and painters of the towns he passed through.
What may not have happened to a picture after or before it left the artist's studio? Critics are too quick to determine that such changes have been introduced by others. In this case we must remember how experimental Duerer was, even with regard to his engravings on metal.
A Duerer, not only secluded from Luther and his troubling denunciations, but living to see Titian and Giorgione's early masterpieces, perhaps forming friendships with them, and later visiting Rome, standing in the Sistine Chapel, seated in the Stanze between the School of Athens and the Disputa!
The wares that Duerer lost in Rome were doubtless chiefly woodcuts and engravings which his prentice had taken to sell during his wanderjahre, as Duerer himself during his own had very likely sold prints for Wolgemut.
The aim of Duerer may be found in some respects in Bach's work, because both men were men of integrity, great and patient in soul. This, of course, is not to say that Bach was affected by Duerer, but is merely an endeavor to find what was noblest in Germany preceding Bach. One more allusion.
Though fearing that it will appear but tedious, I will now attempt briefly to describe in succession the remaining master portraits which we owe to Duerer, and the effect that each produces. It is by these works and not by his creative pictures that his ranks among the greatest names of painting.
We know that Duerer stopped on at Venice into the year 1507, by a note which he made in a copy of Euclid, now in the library at Wolfenbuettel. "This book have I bought at Venice for a ducat in the year 1507. Albrecht Duerer"; and by another stray note we learn the state of his worldly affairs on his return.
Duerer, like Luther, was depressed and distressed at the course the Reformation had run; but, like Erasmus, though regretting and disparaging the present, he looked forward to the future, and knew "that he would be surpassed," and had no morbid inclination to see the end and final failure of human effort in his own exhaustion. The block is in the Court Library at Vienna. Philos.
We often find that the rudest copies from copies of his actual life are like the biscuit china Venus of Milo sold by the Italian pedlar, which still dimly reflects the main beauties of the marble in the Louvre. In 1512 Kaiser Maximilian came to Nuremberg, and soon afterward Duerer began working for him.
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