were it not for the resolute mouth and the puissant side-glance of the eyes. Bernard van Orley, the only youthful person immortalised in this group, has a gentle, responsible air which his features are a little too heavy to enhance. I have now mentioned the chief of his portraits, which are the best of his painting, and by which he ranks for the directness and power of his workmanship and of his visual analysis in the company of the very greatest. Raphael and Holbein have alone produced portraits which, as they can be compared to Dürer's, might also be held to rival them; Titian, Rubens, Velasquez, Rembrandt, Van Dyck, Reynolds have done as splendidly, but the material they used and the aims they set themselves were too different to make a comparison serviceable. These men are pre-eminent among those who have produced portraits which, while unsurpassed for technical excellences, present to us individuals whose beauty or the character it expresses are equally exceptional. [Illustration: "JAKOB MUFFEL" Oil portrait in the Berlin Gallery] CHAPTER III DÜRER'S DRAWINGS I Perhaps Dürer is more felicitous as a draughtsman than in any other branch of art. The power of nearly all first-rate artists is more wholly live and effective in their drawings than in elaborated works. Dürer himself says: An artist of understanding and experience can show more of his great power and art in small things, roughly and rudely done, than many another in his great work. Powerful artists alone will understand that in this strange saying I speak truth. For this reason a man may often draw something with his pen on a half sheet of paper in one day, or cut it with his graver on a small block of wood, and it shall be fuller of art and better than another's great work whereon he hath spent a whole year's careful labour. But it is possible to go far beyond this and say not only "another's great work," but his own great work.