It has of late years become a contested point as to whether Dürer really engraved his woodcuts with his own hands, or whether he only drew the designs on the wood, and left their mechanical execution to practical workmen. It is only within the present century that a theory to the latter effect has been advanced and supported by powerful arguments and first-class authorities. The German scholars Bartsch and Von Eye, and the historians of engraving Jackson and Chatto, concur in denying Dürer's use of the graver. But there is a strong and well-supported belief that many of the engravings attributed to him were actually done by his hand, and that during the earlier part of his career he was largely engaged in this way. The exquisite wood-carvings which are undoubtedly his work show that he was not devoid of the manual dexterity needful for these plates; and it is also certain that the mediæval artists did not hold themselves above mechanical labors, since even Raphael and Titian were among the _peintres-graveurs_. Dürer's efforts greatly elevated the art of wood-engraving in Germany, and this improvement was directly conducive to its growth in popularity. A large number of skilful engravers were developed by the new demand; and in his later years Dürer doubtless found enough expert assistants, and was enabled to devote his time to more noble achievements. He used the art to multiply and disseminate his rich ideas, which thus found a more ready expression than that of painting. Heller attributes one hundred and seventy-four wood-engravings to him; and many more, of varying claims to authenticity, are enumerated by other writers. Twenty-six were made before 1506. The finest and the only perfect collection of Dürer's woodcuts is owned by Herr Cornill d'Orville of Frankfort-on-the-Main. In 1500 Dürer painted the noble portrait of himself which is now at Munich, and is the favorite of all lovers of the great artist. It shows a high and intellectual forehead, and tender and loving eyes, with long curling hair which falls far down on his shoulders. In many respects it bears the closest resemblance to the traditional pictures of Christ, with its sad and solemn beauty, and large sympathetic eyes, and has the same effeminate full lips and streaming ringlets.