This will be seen in the case of the book on Geometry, which a learned man has in hand and will shortly publish in a more elaborate form, and with more explanation of certain points than it possesses at present. For it will be increased by no less than twenty-six [Greek: schêmata] (figures) and countless corrections or improvements of earlier editions. The author himself on rereading had thus improved and amplified what had already been issued. As though he foresaw that he would publish no more, he had directed his future editors as to what was to be done about the letterpress and figures; and we shall take care that it is published at the earliest possible date in the German language, in which the author wrote it. It is only to be expected that this will be welcome to the public, who will thus return thanks for the author's burning desire to do something by his discoveries for the public good, and for our own labour and eagerness in publishing to all nations what appears to be written only for one. Though these testimonies may often seem either trifling, or obscured by the pedantic affectation of the writers, they, like the signatures of well-respected men, endorse the impression produced by Dürer's works and writings. As we study the character of Dürer's creative gift in relation to his works, several of the phrases used by Erasmus, Camerarius, and Melanchthon should take added significance, being probably remembered from conversations with the great artist himself.[72] Dürer, like Luther, was depressed and distressed at the course the Reformation had run; but, like Erasmus, though regretting and disparaging the present, he looked forward to the future, and knew "that he would be surpassed," and had no morbid inclination to see the end and final failure of human effort in his own exhaustion. FOOTNOTES: [Footnote 70: B. 106, published in 1513. The block is in the Court Library at Vienna. Thawing says it was designed by Burgkmair or Springinklee.] [Footnote 71: "_Caput argutum_". The phrase is from Virgil's description of the thorough-bred horse (_Georg. iii_). The above passage is introduced (with modifications) into Melchior Adam's _Vitae Germ. Philos._ (p.66). where this sentence runs: "The deep-thinking, serene-souled artist was seen unmistakably in his _arched_ and _lofty_ brow and in the fiery glance of his eye."] [Footnote 72: In the foregoing quotations the sentences which seem to me most reminiscent of Dürer's ideas are printed in italics.] PART III DÜRER AS A CREATOR [Illustration] CHAPTER I DÜRER'S PICTURES I