however, most of his occasional resumptions of the process were marked by the production of masterpieces, if we put on one side the workshop monsters produced for Maximilian--and even in these, in details, Dürer's full force is recognisable. I may mention the _Madonna_ crowned and _worshipped by a concert of Angels_, 1518 (B. 101), which, though a little cold, like all the work of that period, is still a masterpiece; and then, after the inspiriting visit to Antwerp, we have the magnificent portrait of Ulrich Varnbüler, 1522 (B. 155), the _Last Supper_, 1523 (B. 53) (see illustration here), and the glorious piece of decoration representing Dürer's Arms, 1523 (B. 160) (see illustration). I have reproduced less of Dürer's wood engravings than would be necessary to represent their importance and beauty, because most, being large and bold, are greatly impoverished by reduction; besides, they are nearly all well known through comparatively cheap reproductions. I have enlarged two details to give an idea of Dürer's workmanship when employed upon racy realism (see illustration, page 264), and when employed in endowing a single figure with supreme grace and dignity (see illustration, page 265). [Illustration: Christ haled before Annas From the "Little Passion"--_Between_ pp. 266 & 267] [Illustration: DÜRER'S ARMORIAL BEARINGS Woodcut, B. 160] CHAPTER VI DÜRER'S INFLUENCES AND VERSES I Before closing this part of my book something must be said of Dürer's influence on other artists. It is one of the foibles of modern criticism to please itself by tracing influences, a process of the same nature as that of tracing resemblances to ferns and other growths on a frosted pane. No one would deny that resemblances are there; it is to distinguish them and estimate their significance without yielding to fancifulness, which is the well-nigh hopeless task. It is often forgotten that similar circumstances produce similar effects, and that coincidences from this cause are very rife. Then, too, it is forgotten that the influence that produces rivalry is stronger, more important, and less easily estimated, than that which is expressed by imitation or plagiarism; besides, it affects more original and fertile natures. The stimulus of a great creative personality often is more potent where discernible resemblances are few and vague, than where they are many and obvious. In Dürer's day the study and imitation of antique art which had brought about the Renascence in Italy was the fashion that in successive waves was passing over Europe and moulding the future. He himself felt it, and welcomed it now as an authority not to be gainsaid, and again as an example to be competed against and surpassed. This fashion, this trend of opinion and hope, was the significance behind the effect produced on him by Jacopo de' Barbari, whose charming but ineffectual originality succeeded merely in creating an eddy in that stream. It was