I can give you no description of Duerer's many works, and although it is true that he was a very great master, yet it is also true that his pictures and engravings are not noted for their beauty so much as for their strength and power. His subjects were often ugly and repulsive rather than beautiful, and his imagination was full of weird, strange fancies that can scarcely be understood. Indeed, some of them never have been explained, and one of his most famous engravings, called "The Knight, Death, and the Devil," has never yet been satisfactorily interpreted, and many different theories have been made about it. Many of the principal galleries of Europe have Duerer's paintings, though they are not as numerous as his engravings, and, indeed, his fame rests more upon the latter than the former, and very large sums are paid by collectors for good impressions of his more important plates. Duerer had several followers. His most gifted scholar was LUCAS SUNDER (1472-1553), who is called Lucas Cranach, from the place of his birth. He established a school of painting in Saxony, and was appointed court-painter. Although there were a goodly number of German painters late in the sixteenth century, there were none of great eminence, and, in truth, there have been few since that time whose lives were of sufficient interest to be recounted here, so I shall tell you of but one more before passing to the artists of Spain. ANGELICA KAUFFMAN (1742-1808) was a very interesting woman who gained a good reputation as an artist; but there is such a difference of opinion among judges as to her merits as a painter that it is difficult to decide what to say of her. As a person, she excited an interest in her lifetime which has never died out, and Miss Thackeray's novel, "Miss Angel," tells what is claimed to be her story, as nearly as such stories are told in novels. She was born at Coire, in the Grisons. Her father was an artist, a native of Schwarzenburg, and when Angelica was born he was occupied in executing some frescoes at Coire. When the child was a year old he settled at Morbegno, in Lombardy, and ten years later, when she had shown a taste for music, her parents again removed to Como, where there were better opportunities for her instruction. Her progress in music was remarkable, and for a time she was unable to say whether she loved this art or that of painting the better. Later in life she painted a picture in which she represented herself, as a child, standing between allegorical figures of Music and Painting.