nd
on the order of Von Zlatko, the Bishop of Vienna. The Emperor
Maximilian, Philip of Spain, Bishop Zlatko, and other notables, were
shown around the couch. This large and important work was in the sale
of the Fries collection in 1822, but cannot now be found, although
there is a rumor that it is on the altar of a rural church near St.
Wolfgang's Lake, in Upper Austria.

In 1518 Duerer visited Augsburg, during the session of the Diet of the
Empire, and not only sold many of his engravings, but made a number of
new sketches and portraits. His most important work on this journey
was a portrait of the Emperor, who gave an order on the town of
Nuremberg to pay 200 guldens "to the Emperor's and the Empire's dear
and faithful Albert Duerer." On this picture the master inscribed,
"This is the Emperor Maximilian, whom I, Albert Duerer, drew at
Augsburg, in his little room high up in the imperial residence, in the
year 1518, on the Monday after St. John the Baptist." About the same
time the master painted the unpleasant picture of "The Suicide of
Lucretia," now at Munich, showing an ill-formed nude woman of life
size, said to have been copied from Agnes Frey. The portrait of the
witty and learned Lazarus Spengler dates from the same year.

When Maximilian died, the Rath of Nuremberg refused to continue the
pension which he had granted to Duerer, though the artist addressed its
members as "Provident, Honorable, Wise, Gracious, and Dear Lords," and
enumerated his services to the dead Emperor. He also vainly demanded
the payment of the imperial order for 200 florins, "to be paid to him
as if to Maximilian himself, out of the town taxes due to the Emperor
on St. Martin's Day," though he offered to leave his house in pledge,
so that the town might lose nothing if the new Emperor refused to
acknowledge the validity of the claim.

At the time of the death of Maximilian the great woodcut of "The
Triumphal Arch" was unfinished, and the blocks remained in the hands
of the engraver. Duerer and Roesch published a large round cut
containing twenty-one of the historical scenes, as a memorial of the
late sovereign, and this singular production speedily went through
four editions. A few trial-impressions of the whole Arch had been
struck off before the Emperor's death, two of which are now at
Copenhagen, one in the British Museum, and one at Stockholm. In 1559
the first edition of the entire Arch was printed at Vienna, at the
request of th