[Footnote V-49: Von Murr, Journal, 7er Theil, S. 88-93. In volume X, p. 41, Von Murr gives from Peucer, the son-in-law of Melancthon, the following anecdote: “Melancthon, when at Nuremberg, on church and university affairs, was much in the society of Pirkheimer; and Albert Durer, the painter, an intelligent man, whose least merit, as Melancthon used to say, was his art, was frequently one of the party. Between Pirkheimer and Durer there were frequent disputes respecting the recent [religious] contest, in which Durer, as he was a man of strong mind, vigorously opposed Pirkheimer, and refuted his arguments as if he had come prepared for the discussion. Pirkheimer growing warm, for he was very irritable and much plagued with the gout, would sometimes exclaim “Not so:--these things cannot be _painted_.”--“And the arguments which you allege,” Durer would reply, “can neither be correctly expressed nor comprehended.”--Whatever might have been the particular points in dispute between the two friends, Pirkheimer, as well as Durer, was a supporter of the doctrines of Luther.”] About this time a large wood-cut, of which the following is a reduced copy, was published; and though the satire which it contains will apply equally to any monk who may be supposed to be an instrument of the devil, it was probably directed against Luther in particular, as a teacher of false doctrine through the inspiration of the father of lies. In the cut the arch-enemy, as a bag-piper, is seen blowing into the ear of a monk, whose head forms the “bag,” and by skilful fingering causing the nose, elongated in the form of a “chanter,” to discourse sweet music. The preaching friars of former times were no less celebrated for their nasal melody than the “saints” in the days of Cromwell. A serious portrait of Luther, probably engraved or drawn on wood by Hans Baldung Grün, a pupil of Durer, was also published in 1521. It is printed in a quarto tract, entitled, “Acta et Res gestæ D. Martini Lutheri in Comitiis Principum Vuormaciæ, Anno MDXXI,” and also in a tract, written by Luther himself in answer to Jerome Emser, without date, but probably printed at Wittenberg about 1523. In this portrait, which bears considerable resemblance to the head forming the bag of Satan’s pipe, Luther appears as if meditating on a passage that he has just read in a volume which he holds open; his head is surrounded with rays of glory; and the Holy Ghost, in the form of a dove, appears as if about to settle on his shaven crown. In an impression now before me, some one, apparently a contemporary, who thought that Luther’s inspiration was derived from another source, has with pen and ink transformed the dove into one of those unclean things between bat and serpent, which are supposed to be appropriate to the regions of darkness, and which are generally to be seen in paintings and engravings of the temptation of St. Anthony.