Among the more remarkable single subjects engraved on wood from Durer’s designs, the following are most frequently referred to: God the Father bearing up into heaven the dead body of Christ, with the date 1511; a Rhinoceros, with the date 1515; a portrait of Ulrich Varnbuler, with the date 1522; a large head of Christ crowned with thorns, without date; and the Siege of a fortified town, with the date 1527. In the first of the above-named cuts, God the Father wears a kind of tiara like that of the Pope, and above the principal figure the Holy Ghost is seen hovering in the form of a dove. On each side of the Deity and the dead Christ are angels holding the cross, the pillar to which Christ was bound when he was scourged, the crown of thorns, the sponge dipped in vinegar, and other emblems of the Passion. At the foot are heads with puffed-out cheeks intended to represent the winds. This cut is engraved in a clearer and more delicate style than most of the other subjects designed by Durer on wood. There are impressions of the Rhinoceros, and the portrait of Varnbuler, printed in chiaro-scuro from three blocks; and there are also other wood-cuts designed by Durer executed in the same manner. The large head of Christ, which is engraved in a coarse though spirited and effective manner, is placed by Bartsch among the doubtful pieces ascribed to Durer; but Mr. Ottley says, “I am unwilling to deny to Durer the credit of this admirable and boldly executed production.”[V-29] The cut representing the siege of a fortified town is twenty-eight inches and three-eighths wide, by eight inches and seven eighths high. It has been engraved on two blocks, and afterwards pasted together. A number of small figures are introduced, and a great extent of country is shown in this cut, which is, however, deficient in effect; and the little figures, though drawn with great spirit, want relief, which causes many of them to appear as if they were riding or walking in the air. The most solid-like part of the subject is the sky; there is no ground for most of the figures to stand on; and those which are in the distance are of the same size as those which are apparently a mile or two nearer the spectator. There is nothing remarkable in the execution, and the design adds nothing to Durer’s reputation. [Footnote V-29: There is a copy of this head, also engraved on wood, of the size of the original, but without Durer’s, or any other mark. Underneath an impression of the copy, in the Print Room of the British Museum, there is written in a hand which appears to be at least as old as the year 1550, “Dieser hat [[HSB]]ehaim gerissen”--“H. S. Behaim drew this.” Hans Sebald Behaim, a painter and designer on wood, was born at Nuremberg in 1500, and was the pupil of his uncle, also named Behaim, a painter and engraver of that city. The younger Behaim abandoned the arts to become a tavern-keeper at Frankfort, where he died in 1550.]