that Marc Antonio was afterwards enjoined from using
Duerer's monogram on his copies of the Nuremberger's engravings, either
by imperial diplomatic representations to the Italian courts, or else
as the result of a visit which some claim that Duerer made to Italy for
that purpose. Many of the copies of Marc Antonio were rather idealized
adaptations than exact reproductions of the German's designs, but were
furnished with the forged monogram A. D., and sold for Duerer's works.
Sixty-nine of our artist's engravings were copied by the skilful
Italian, profoundly influencing Southern art by the manual dexterity
of the North. This wholesale piracy was carried on between 1505 and
1511, and before Marc Antonio passed under Raphael's overmastering
influence.

In later years the Rath of Nuremberg warned the booksellers of
the city against selling false copies of Duerer's engravings, and
sent letters to the authorities of Augsburg, Leipsic, Frankfort,
Strasbourg, and Antwerp, asking them to put a stop to such sales
within their jurisdictions. His works have been copied by more than
three hundred artists, the best of whom were Solis, Rota, the Hopfers,
Wierx, Vischer, Schoen, and Kraus.

In 1512 Duerer made most of the plates for "The Passion in Copper," a
series of sixteen engravings on copper, which was begun in 1507 and
finished in 1513. These plates show the terrible scenes of the last
griefs of the Saviour, surrounded with uncouth German men and women,
buildings and landscapes, yet permeated with mysterious reverence and
solemn simplicity. The series was never published in book form, with
descriptive text, but the engravings were put forth singly as soon as
completed. The prints of "Christ Bound" and "St. Jerome" were
published this same year.

In 1512 Duerer was first employed by the Emperor Maximilian, who
was not only a patron of the arts but also an artist himself, and
munificently employed the best painters of Germany, though his
treasury was usually but poorly filled. Science and literature also
occupied much of his attention; and, while his realm was engaged in
perpetual wars, he kept up a careful correspondence on profound themes
with many of the foremost thinkers of his day. The records of his
intercourse with Duerer are most meagre, though during the seven years
of their connection they must have had many interviews, especially
while the imperial portrait was being made.

Melanchthon tells a pretty story, which