About this time the master's brother Andreas, the goldsmith, returned to Nuremberg after his long wanderings, and eased the evident anxiety of his family by settling respectably in life. Hans was still in his brother's studio, where he learned his art so well that he afterwards became court-painter to the King of Poland. In 1511 Dürer published a third edition of the engravings of the Apocalypse, with a warning to piratical engravers that the Emperor had forbidden the sale of copies or impressions other than those of the author, within the Empire, under heavy penalties to transgressors. To the same year belong three of the master's greatest works in engraving on wood. "The Great Passion" contains twelve folio woodcuts, unequal in their execution, and probably made by different workmen of varying abilities. The vignette is an "Ecce Homo;" and the other subjects are, the Last Supper, Christ at Gethsemane, His Betrayal, the Scourging, the Mockery, Christ Bearing the Cross, the Crucifixion, the Descent into Hell, the Maries Mourning over Christ's Body, the Entombment, and the Resurrection. These powerful delineations of the Agony of Our Lord are characterized by rare originality of conception, pathos, and grandeur. They were furnished with Latin verses by the monk Chelidonius, and bore the imperial warning against imitation. Four large editions were printed from these cuts, and numerous copies, especially in Italy, where the Emperor's edict was inoperative. "The Little Passion" was a term applied by Dürer himself to distinguish his series of thirty-seven designs from the larger pictures of "The Great Passion." It is the best-known of the master's engravings; and has been published in two editions at Nuremberg, a third at Venice in 1612, and a fourth at London in 1844. The blocks are now in the British Museum, and show plainly that they were not engraved by Dürer. This great pictorial scene of the fall and redemption of man begins with the sin of Adam and Eve, and their expulsion from Eden, and follows with thirty-three compositions from the life and passion of Christ, ending with the Descent of the Holy Ghost and the Last Judgment. Its title was _Figuræ Passionis Domini Nostri Jesu Christi_; and it was furnished with a set of the Latin verses of Chelidonius. The third of Dürer's great works in wood-engraving was "The Life of the Virgin," with explanatory Latin verses by the Benedictine Chelidonius. This was published in 1511, and contains twenty pictures, full of realistic plainness and domestic homeliness, yet displaying marvellous skill and power of invention. To the same year belong the master's engravings of the Trinity, St. Christopher, St. Gregory's Mass, St. Jerome, St. Francis Receiving the Stigmata, the Holy Family with the Guitar, Herodias and the Head of John the Baptist, and the Adoration of the Magi; and the copper-plates of the Crucifixion and the Virgin with the Pear.