after the master's death that the Emperor first met Titian, and
retained him as court-painter.

In 1522 Duerer published at his own cost the first edition of the
Triumphal Car of Kaiser Maximilian, a woodcut whose labored and
ponderous allegorical idea was conceived by Pirkheimer, designed
in detail by Duerer, and engraved by Roesch on eight blocks, forming
a picture 7-1/2 feet long by 1-1/2 feet high. The Emperor is shown
seated in a chariot, surrounded by female figures representing the
abstract virtues, while the leaders of the twelve horses, and even
the wheels and reins, have magniloquent Latin names. Maximilian was
greatly interested in this work, but died before its completion. The
first edition was accompanied by explanatory German text, and the
second by Latin descriptions.

The large woodcut of Ulrich Varnbuehler, whom Duerer calls his "single
friend," is one of the master's best works, and was printed over with
three blocks, to produce a chiaroscuro. A little later, he made two
copper-plates of the Cardinal Archbishop Albert of Magdeburg and
Mayence.

In 1523, while under the influence of the art-schools of the Lower
Rhine, the master painted the pictures of Sts. Joachim and Joseph and
St. Simeon and Bishop Lazarus, small figures on a gold ground.

Duerer's Family Relation records that, "My dear mother-in-law took ill
on Sunday, Aug. 18, 1521; and on Sept. 29, at nine of the night, she
died piously. And in 1523, on the Feast of the Presentation, early in
the morning, died my father-in-law, Hans Frey. He had been ill for six
years, and had his share of troubles in his time." They were buried in
St. John's Cemetery, in the same lot where the remains of their
illustrious son-in-law were afterwards laid.

It is said that Duerer largely occupied himself with glass-painting,
during the earlier part of his career; and he probably designed much
for the workers in stained glass then in Upper Germany and the Low
Countries. Lacroix says that he produced twenty windows for the Temple
Church at Paris; and Holt attributes to him the church-windows at
Fairford, near Cirencester.

As an architect Albert executed but few works, and only a slight
record remains to our day. He made two plans for the Archduchess
Margaret, and another for the house of her physician. Heideloff has
proved that the gallery of the Gessert house at Nuremberg was built by
Duerer, in a strange combination of geometric and Renaissance forms.

Pi