Menacing, colossal in conception these figures rise, simple with the simplicity Dürer aimed for, and at last attained; Byzantine in their awe-inspiring grandeur. But instead of the splendour of Byzantine gold he places his figures upon a jet-black ground, as if he wished to instil the knowledge that there is no light except that which the four Apostles reflect. He had said as much indeed himself years ago. These four figures, "painted with greater care than any other," are his artistic last will and testament. In the letter, by which he humbly begs acceptance of these pictures from the Council, he quotes the words of the four Apostles, which his pictures illustrate, viz:-- St. Peter, in his second epistle in the second chapter. St. John, in the first epistle in the fourth chapter. St. Paul, in the second epistle to Timothy in the third chapter. St. Mark, in his Gospel in the twelfth chapter. Read them and behold: The Book and the sword! The religion of love in Saracenic fierceness. The menacing guardians of the Word. Dürer with finality excludes the faithless from all hope. It is this finality, this absolute faith in the Word, this firm conviction of the finiteness of all things, which characterise the whole of his Art. The spirit which brooks no uncertainty and suffers no metaphor, glues a veritable sword to the lips of the "Son of man." This finality is the cause of Dürer's isolation. He has no followers in the world of creative _Art_. Close the doors of Dürer's cathedral and the world rolls on, rolls by unheeding. After Dürer and Luther had gone--Luther, on whose behalf Dürer uttered so touching a prayer--Germany, the holy empire, fell upon evil times. After the death of Maximilian the fields of the cloth of gold and the fields of golden harvest were turned into rude jousting places of ruder rabble. The hand of time was set back for centuries. We have a shrewd suspicion that Carlyle's German, with his cowhorn blasts, did not tell the universe "what o'clock it really is." We have a shrewd suspicion that in the beginning of last century the clocks in Germany had only just begun ticking after centuries of rest. I am straying, reader. What was it that Dürer had inscribed on the Apostle Panels? "All worldly rulers in these times of danger should beware that they receive not false Teaching for the Word of God. For God will have nothing added to His Word nor yet taken away. Hear, therefore, these four excellent men, Peter, John, Paul, and Mark, their warning." The narrow outlook of his time speaks here! For words which bear addition or suffer subtraction, can never be the words of God. God's words are worlds. Our words are stammerings, scarcely articulate. Reader! look you, my torch burns dimly; let us back unto the day. The plates are printed by BEMROSE & SONS, LTD., London and Derby The text at the BALLANTYNE PRESS, Edinburgh