[Footnote 24: He was one of the leading Humanists of the time. The Madonna referred to was still at Bamberg, at the beginning of the present century.] [Footnote 25: Owing to the existence of some rudimentary form of Zollverein, Dürer's pass not only freed him of dues in the Bamberg district but as far down the Rhine as Köln.] [Footnote 26: Hans Wolf, successor to Hans Wolfgang Katzheimer.] [Footnote 27: There is a portrait drawing of Jobst Plankfelt by Dürer in the Städel collection at Frankfurt.] [Footnote 28: That is the head of the Fuggers' branch house at Antwerp.] [Footnote 29: Erasmus of Rotterdam, the famous Humanist.] [Footnote 30: Holbein also painted a portrait of this man in 1528. The picture is in the Louvre.] [Footnote 31: A pen-and-ink likeness of him by Dürer is in the possession of the painter Bendemann, of Düsseldorf. It bears the inscription in Dürer's hand, "1520. _Hans Pfaffroth van Dantzgen ein Starkmann_."] [Footnote 32: These were four pictures painted upon linen. They represented _The justice of Trajan, Pope Gregory praying for the Heathen_, and two incidents in the story of Erkenbald. The pictures were burnt in 1695, but their compositions are reproduced in the well-known Burgundian tapestries at Bern. See Pinchart, in the _Bulletins de l'Academie de Bruxelles_, 2nd Series, XVII.: also Kinkel, _Die brusseler Rathhausbilder_, &c., Zurich, 1867.] [Footnote 33: A rapid sketch made by Dürer in this place is in the Academy at Vienna. It is dated 1520, and inscribed, "that is the pleasure and beast-garden at Brussels, seen down behind out of the Palace."] [Footnote 34: A reproduction of an old view of this house will be found in _L'Art_, 1884, I. p. 188.] [Footnote 35: This picture was painted on four panels and represented the Seven Sacraments and a Crucifix. It is now lost. A similar picture is in the Antwerp Gallery, ascribed to Roger van der Weyden.] [Footnote 36: This is perhaps the drawing in the Bounat collection at Paris; it has been photographed by Braun (see illus. opposite).] [Footnote 37: It is believed that Dürer here refers to an edition of the satirical tale edited by Thomas Murner, and published at Strassburg in 1519.] [Footnote 38: "He afterwards particularly described to Melanchthon the splendid spectacles he had beheld, and how in what were plainly mythological groups, the most beautiful maidens figured almost naked, and covered only with a thin transparent veil. The young Emperor did not hocour them with a single glance, but Dürer himself was very glad to get near, not less for the purpose of seeing the tableaux than to have the opportunity of observing closely the perfect figures of the young girls." As he himself says, "Being a painter, I looked about me a little more boldly."--See Thausing's "Life of Dürer," vol. ii., p. 181.] [Footnote 39: _Het oud register van diversche mandementen_, a fifteenth-century folio manuscript, still preserved in the Antwerp archives.]