The high appreciation in which this book was held appears from the fact that it passed through several German editions, besides three Latin, two Italian, two French, Portuguese, Dutch, and English editions. Most of the original MS. is now in the British Museum. Among Dürer's other works were treatises on Civic Architecture, Music, the Art of Fencing, Landscape-Painting, Colors, Painting, and the Proportions of the Horse. But the year 1527 was nearly barren of new art-works; for the master's hand was losing its power, and his busy brain had grown weary. His constitution was slowly yielding before the fatal advances of a wasting disease, possibly the low fever which he had contracted in Zealand, or it may have been an affection of the lungs. In the latter days he made a memorandum: "Regarding the belongings I have amassed by my own handiwork, I have not had a great chance to become rich, and have had plenty of losses; having lent without being repaid, and my work-people have not reckoned with me; also my agent at Rome died, after using up my property. Half of this loss was thirteen years ago, and I have blamed myself for losses contracted at Venice. Still we have good house-furnishing, clothing, costly things as earthenware [maiolica], professional fittings-up, bed-furnishings, chests, and cabinets; and my stock of colors is worth 100 guldens." The last design of the master was a drawing on gray paper, showing Christ on the Cross. When this was all completed except the face of the Divine sufferer, the artist was summoned by Death, and ascended to behold in glory the features which he had so often portrayed under the thorns. A violent attack of his chronic disease prostrated him so far that he was unable to rally; and after a brief illness he passed gently away, on the 6th of April, 1528. It was the anniversary of the day on which Raphael died, eight years before. His friends were startled and grief-stricken at his sudden death, which came so unexpectedly that even Pirkheimer was absent from the city. It was long supposed that he died of the plague, on the evidence of a portrait-drawing of himself, showing him pointing to a discolored plague-spot on his side, and inscribed, "Where my fingers point, there I suffer." It was said that this sketch was for the information of his doctor, who dared not visit the pestilence-stricken sick-chamber. But this hypothesis is no longer considered tenable. The remains of the master were buried in the lot of his father-in-law, Hans Frey, at the Cemetery of St. John, beyond the walls; and his monument bore Pirkheimer's simple epitaph: "ME. AL. DU. QUICQUID ALBERTI DURERI MORTALE FUIT, SUB HOC CONDITUR TUMULO. EMIGRAVIT VIII IDUS APRILIS, MDXXVIII. A.D." On Easter Sunday, 1828, the third centenary of his death, a great procession of artists and scholars from all parts of Germany moved in solemn state from Nuremberg to the grave of Dürer, where they sang hymns.