e Archduke Ferdinand, and another edition was issued by
Bartsch in 1799.

In 1519 Duerer published an excellent wood-engraving of the late
Emperor Maximilian, with inscriptions recording his titles and the
date of his death. It showed a pleasant face, full of strength and
character. Among the painted portraits of Maximilian which are
attributed to the master, the best is in the Vienna Belvedere; and
another was in the late Northwick Collection, in England. A beautiful
portrait in water-colors is in the library of the Erlangen University.

In 1519 Duerer also prepared an exquisitely finished copper-plate
engraving of "St. Anthony," showing the meditative hermit before a
background of a quaint mediaeval city, very like Nuremberg, abounding
in irregular gable-roofs and tall castle-towers. Several admirable
copies of this work have been made.

CHAPTER VI.

Duerer's Tour in the Netherlands.--His Journal.--Cologne.--Feasts at
Antwerp and Brussels.--Procession of Notre Dame.--The _Confirmatia_.
--Zealand Journey.--Ghent.--Martin Luther.

Duerer's famous tour to the Netherlands began in the summer of 1520,
and continued until late in 1521. His main object appears to have been
to secure from Charles V. a confirmation of the pension which the
Emperor Maximilian had granted him, since the Rath of Nuremberg had
refused to deliver any further sums until he could obtain such a
ratification. Possibly he also hoped to obtain the position of
court-painter, to which Titian was afterwards appointed. Several
biographers say that Duerer made the journey in order to get a respite
from his wife's tirades; but this is unlikely, since he took her and
her maid Susanna with him. The Archduchess Margaret, daughter of the
late Emperor Maximilian and aunt of Charles V., was at Brussels,
acting as Regent of the Netherlands; and Duerer made strong but
ineffectual attempts to secure her good graces.

Duerer's journal of his tour is a combination of cash account,
itinerary, memoranda, and notebook, and would fill about fifty of
these pages. It is usually barren of reflections, opinions, or
prolonged descriptions; and is but a terse and business-like record of
facts and expenses, rich only in its revelations of mediaeval Flemish
hospitality and municipal customs, and certain personal habits of the
writer. The greatest impression seems to have been made upon the
traveller by the enormous wealth of the Low Countries, and the
adjective "cost