In attempting to bring such a theme within the compass of the powers of expression which art possesses, he strove to give speech to the unutterable, and to imprison the unsubstantial, so that it is no wonder if, although the fertility of invention and power of drawing which he displayed, and the variety and richness of effect which he obtained, made his work a masterpiece of art, yet much of what he intended to express is not readily comprehended.
This series was succeeded by three others, in which the human interest is far greater, although they are not unmarked by fantastic invention; they were the Larger Passion of our Lord, a series of twelve cuts, including this impressive vignette (Fig. 41),
Fig. 42.—Christ Mocked. Vignette to Dürer's "Smaller Passion." Christ Suffering; the Life of the Virgin, a series of twenty cuts; and the Smaller Passion of our Lord (Figs. 42, 43), a series of thirty-six cuts, the vignette to which (Christ Mocked) is a design marvellous for its intensity, for its seizure of the malignant, mocking spirit in devilish possession of every lineament of the face and every muscle working in that sinuous gesture, for the ideal endurance in the Saviour's attitude, which needs not those symbols of his sufferings beside him for pity, though Dürer's genius must crowd every corner with thought and suggestion. These three great series were published about 1511,
