in thirty-six parts, he added to
these the signature that Albrecht used for all his works, which was
"A.D.," and they proved to be so similar in manner, that, no one knowing
that they had been executed by Marc' Antonio, they were ascribed to
Albrecht, and were bought and sold as works by his hand. News of this
was sent in writing to Albrecht, who was in Flanders, together with one
of the counterfeit Passions executed by Marc' Antonio; at which he flew
into such a rage that he left Flanders and went to Venice, where he
appeared before the Signoria and laid a complaint against Marc' Antonio.
But he could obtain no other satisfaction but this, that Marc' Antonio
should no longer use the name or the above-mentioned signature of
Albrecht on his works.

[Illustration: S. JEROME IN HIS STUDY

(_After the engraving by =Albrecht Duerer=. London: British Museum, B.
60_)

_M.S._]

After this affair, Marc' Antonio went off to Rome, where he gave his
whole attention to design; and Albrecht returned to Flanders, where he
found that another rival had already begun to execute many most delicate
engravings in competition with him. This was Lucas of Holland,[14]
who, although he was not as fine a master of design as Albrecht, was yet
in many respects his equal with the burin. Among the many large and
beautiful works that Lucas executed, the first were two in 1509, round
in shape, in one of which is Christ bearing the Cross, and in the other
His Crucifixion. Afterwards he published a Samson, a David on horseback,
and a S. Peter Martyr, with his tormentors; and then he made a
copper-plate engraving of Saul seated with the young David playing in
his presence. And not long after, having made a great advance, he
executed a very large plate with the most delicate engraving, of Virgil
suspended from the window in the basket, with some heads and figures so
marvellous, that they were the reason that Albrecht, growing more subtle
in power through this competition, produced some printed sheets of such
excellence, that nothing better could be done. In these, wishing to
display his ability, Albrecht made an armed man on horseback,
representing Human Strength, which is so well finished, that one can see
the lustre of the arms and of the black horse's coat, which is a
difficult thing to reproduce in design. This stalwart horseman had
Death, hour-glass in hand, beside him, and the Devil behind. There was
also a long-haired dog, executed with the mo