[Footnote 75: See the exquisite landscape in the collection of Mr. C. S. Ricketts and Mr. C. H. Shannon, reproduced in the sixth folio of the Dürer Society, 1903. Mr. Campbell Dodgson describes the drawing as in a measure spoilt by retouching, but what convinces him that these retouches are not by Dürer? The pen-work seems to be at once too clever and too careless to have been added by another hand to preserve a fading drawing.] [Footnote 76: XII. Discourse.] [Footnote 77: XIII, Discourse.] [Footnote 78: Ibid.] [Footnote 79: Literary Remains of Albrecht Dürer, p. I 50.] CHAPTER IV DÜRER'S METAL ENGRAVINGS I For the artist or designer the chief difference between the engraving done on a wood block and that done on metal lies in the thickness of the line. The engraved line in a wood block is in relief, that on a metal plate is entrenched; the ink in the one case is applied to the crest of a ridge, in the other it fills a groove into which the surface of the paper is squeezed. Though lines almost as fine as those possible on metal have been achieved by wood engravers, in doing this they force the nature of their medium, whereas on a copper plate fine lines come naturally. Perhaps no section of Dürer's work reveals his unique powers so thoroughly as his engravings on metal. They were entirely his own work both in design and execution; and no expenditure of pains or patience seems to have limited his intentions, or to have hindered his execution or rendered it less vital. And perhaps it is this fact which witnesses with our spirit and bids us recognise the master: rather than the comprehension of natural forms which he evinces, subtle and vigorous though it be; or than the symbols and types which he composed from such forms for the traditional and novel ideas of his day. And this unweariable assiduity of his is continually employed in the discovery of very noble arabesques of line and patterns in black and white, more varied than the grain in satin wood or the clustering and dispersion of the stars. Intensity of application, constancy of purpose, when revealed to us by beautifully variegated surfaces, the result of human toil, may well impress us, may rightly impress us, more than quaint and antiquated notions about the four temperaments, or about witches and their sabbaths, or about virtues and vices embodied in misconceptions of the characters of pagan divinities, and in legends about them which scholars had just begun to translate with great difficulty and very ill. It is the astonishing assurance of the central human will for perfection that awes us; this perception that flinches at no difficulty, this perception of how greatly beauty deserves to be embodied in human creations and given permanence to. II