ne, by a tall tablet
bearing the Latin inscription of his name and the date of the picture.
The whole scene is full of light and splendor, delicate beauty of
angels, and exquisite minuteness of finish. A century later the Rath
of Nuremberg removed this picture from the sepulchral chapel of its
founder, and presented it to the Emperor Rudolph II. It is now one of
the gems of the Vienna Belvedere.

About this time the master's brother Andreas, the goldsmith, returned
to Nuremberg after his long wanderings, and eased the evident anxiety
of his family by settling respectably in life. Hans was still in his
brother's studio, where he learned his art so well that he afterwards
became court-painter to the King of Poland.

In 1511 Duerer published a third edition of the engravings of the
Apocalypse, with a warning to piratical engravers that the Emperor had
forbidden the sale of copies or impressions other than those of the
author, within the Empire, under heavy penalties to transgressors. To
the same year belong three of the master's greatest works in engraving
on wood.

"The Great Passion" contains twelve folio woodcuts, unequal in
their execution, and probably made by different workmen of varying
abilities. The vignette is an "Ecce Homo;" and the other subjects are,
the Last Supper, Christ at Gethsemane, His Betrayal, the Scourging,
the Mockery, Christ Bearing the Cross, the Crucifixion, the Descent
into Hell, the Maries Mourning over Christ's Body, the Entombment,
and the Resurrection. These powerful delineations of the Agony of Our
Lord are characterized by rare originality of conception, pathos,
and grandeur. They were furnished with Latin verses by the monk
Chelidonius, and bore the imperial warning against imitation. Four
large editions were printed from these cuts, and numerous copies,
especially in Italy, where the Emperor's edict was inoperative.

"The Little Passion" was a term applied by Duerer himself to
distinguish his series of thirty-seven designs from the larger
pictures of "The Great Passion." It is the best-known of the master's
engravings; and has been published in two editions at Nuremberg, a
third at Venice in 1612, and a fourth at London in 1844. The blocks
are now in the British Museum, and show plainly that they were not
engraved by Duerer. This great pictorial scene of the fall and
redemption of man begins with the sin of Adam and Eve, and their
expulsion from Eden, and follows with thirty-three c