Dürer's first important issue of woodcuts was the _Apocalypse_. A great deal has been written in praise of this production as a political pamphlet against the corrupt Papacy. It was undoubtedly the most important series of woodcuts that had ever appeared, by the size, number and elaboration of the designs. It also undoubtedly attacks ecclesiastical corruption, but not ecclesiastical only. Whether to Dürer and his friends it appeared even chiefly directed against prelates, or even against those who sat in high places; whether the popes, bishops and figures typical of the Church seemed to him to illustrate the moral in any pre-eminent degree, may be doubted. Still more doubtful is it whether there was any objection to papacy or priesthood as institutions connected with these figures in his mind. Unworthy popes, unworthy bishops, and an unworthy Rome were censured: but not popes, bishops, or Rome as the capital see of the Church. Dürer's work as a whole shows no distaste for saints, the Virgin, or bishops and popes; he had no objection, no scruple apparently, to introducing the notorious Julius II. into his _Feast of the_ Rosary, some ten years later. There has perhaps been a tendency to read the intention of these designs too much in the light of after events: and by so doing a great slur is cast on Dürer's consistency; for, had these designs the significance read into them, he must be supposed an altogether convinced enemy of the Church; and the tremendous salaams which he afterwards made to her in far more important works ought, to logical minds, to appear horribly insincere.