ALBERT DURER 233 they are stars of lesser magnitude in the constellation of German art. But Diirer was not contented simply to employ his talents in the production of painted altar-pieces, and we find him turning out a number of engravings, the most noticeable among which are his sixteen great wood-cuts illustrating the Apoca- lypse, which were published in 1498. The theme was one which had peculiar fascinations for all classes at the time. The breaking up of all pre-existing systems, the wonderful stirrings of a new life which were beginning to be felt everywhere with the close of the Middle Age and the dawning of the Renais- sance, had filled the. minds of men with wonder, and caused them to turn to the writings of the Apocalyptic Seer with keenest interest. A recent critic, com- menting upon his work as represented in these engravings, says : " The energy and undismayed simplicity of his imagination enable him, in this order of crea- tions, to touch the highest point of human achievement. The four angels keep- ing back the winds that they blow not, the four riders, the loosing of the angels of the Euphrates to slay the third part of men — these and others are conceptions of such force, such grave or tempestuous grandeur, in the midst of grotesque- ness, as the art of no other age or hand has produced." At this period Diirer was also engaged in experimenting upon the art of copper-plate engraving, in which he restricted himself mainly to reproducing copies of the works of other artists, among them those of Jacopo de Barbari, a painter of the Italian school, who was residing in Nuremberg, and who among other things gave the great artist instruction in plastic anatomy. The influence of his instructor is plain, when we compare engravings executed about 1504 with those published at a previous date, and especially when we examine his design of the Passion of our Lord painted in white upon a green ground, commonly known as " The Green Passion," which is treasured in the Albertina at Prague. He also during these twelve years finished seven of the twelve great wood-cuts illustrating the passion, and sixteen of the twenty cuts which compose the series known as "The Life of the Virgin." The activities of Diirer in Nuremberg were temporarily interrupted by a journey to Italy, which he undertook in the fall of the year 1505. What the immediate occasion for undertaking this journey may have been is not plain, though it seems most likely that one of his objects was to enable him to recuperate from the effects of a protracted illness, from which he had suffered during the summer of this year, and also incidentally to secure a market for his wares in Venice, the commercial relationships of which with Nuremberg were very close at this period. A German colony, composed largely of Nuremberg factors and merchants, was located at this time in Venice, and they had secured the privilege of dedicating a great painting in the church of St. Bartholomew. The commission for the execution of this painting was secured by Diirer. It represents the adoration of the Virgin, but has been com- monly known under the name of " The Feast of the Rose Garlands." After having undergone many vicissitudes, it is preserved to-day in a highly mutilated condition in the monastery of Strachow, near Prague. Durer's stay in Venice was signalized not only by the production of this painting, but of three or four
