Then amongst the most perfect larger plates I cannot refrain from mentioning the _St. Jerome_, B. 60, with its homely seclusion as of Dürer's own best parlour in summer time which not even the presence of a lion can disturb; the idyllic and captivating _St. Hubert_, B. 57; the august and tranquil _Cannon_, B. 99: and lastly, perhaps, in the little _Horse_, B. 96, we come upon a theme and motive of the kind best suited to Dürer's peculiar powers, in which he produces an effect really comparable to those of the old Greek masters, about whose lost works he was so eager for scraps of information, and whose fame haunted him even into his slumbers, so that he dreamed of them and of those who should "give a future to their past." This delightful work may illustrate an allegory now grown dark or some misconception of a Grecian story; but though the relation between the items that compose it should remain for ever unexplained, its beauty, like that of some Greek sculpture that has been admired under many names, continues its spell, and speaks of how the simplicity, austerity and noble proportions of classical art were potent with the spirit of the great Nuremberg artist, and occasionally had free way with him, in spite of all there was in his circumstances and origins to impede or divert them. (See also the spirited drawing, Lipp. 366.) V It would be idle to attempt to say something about every masterpiece in Dürer's splendidly copious work on metal plates. There is perhaps not one of these engravings that is not vital upon one side or another, amazingly few that are not vital upon many. One other work, however, which has been much criticised and generally misunderstood, it may be as well to examine at more length, especially as it illustrates what was often Dürer's practice in regard to his theories about proportion, with which my next Part will deal. I speak of the _Great Fortune_ or _Nemesis_ (B. 77). His practice at other times is illustrated by the splendid _Adam and Eve_ (B. 1), over the production of which the nature of the canon he suggested was perhaps first thoroughly worked out. But before this and afterwards too he no doubt frequently followed the advice he gives in the following passage. To him that setteth himself to draw figures according to this book, not being well taught beforehand, the matter will at first become hard. Let him then put a man before him, who agreeth, as nearly as may be, _with the proportions he desireth_; and let him draw him in outline according to his knowledge and power. And a man is held to have done well if he attain accurately to copy a figure according to the life, so that his drawing resembleth the figure and is like unto nature. _And in particular if the thing copied as beautiful; then is the copy held to be artistic_, and, as it deserveth, it is highly praised.