ponderously clasped, a conscientious worker, an exemplary father of a family. See now the great artist of the age, a laborious and conscientious workman, a follower of Luther's, a true Northman--Albert Dürer.[7] He also, like Raphael and Titian, has his ideal of man, an inexhaustible ideal, whence spring by hundreds living figures and the representations of manners, but how national and original! He cares not for expansive and happy beauty: to him nude bodies are but bodies undressed: narrow shoulders, prominent stomachs, thin legs, feet weighed down by shoes, his neighbor the carpenter's, or his gossip the sausage-seller's. The heads stand out in his etchings, remorselessly scraped and scooped away, savage or commonplace, often wrinkled by the fatigues of trade, generally sad, anxious, and patient, harshly and wretchedly transformed by the necessities of realistic life. Where is the vista out of this minute copy of ugly truth? To what land will the lofty and melancholy imagination betake itself? The land of dreams, strange dreams swarming with deep thoughts, sad contemplation of human destiny, a vague notion of the great enigma, groping reflection, which in the dimness of the rough woodcuts, amidst obscure emblems and fantastic figures, tries to seize upon truth and justice. There was no need to search so far; Dürer had grasped them at the first effort. If there is any decency in the world, it is in the Madonnas which are constantly springing to life under his pencil. He did not begin, like Raphael, by making them nude; the most licentious hand would not venture to disturb one stiff fold of their robes; with an infant in their arms, they think but of him, and will never think of anybody else but him; not only are they innocent, but they are virtuous. The good German housewife, forever shut up, voluntarily and naturally, within her domestic duties and contentment, breathes out in all the fundamental sincerity, the seriousness, the unassailable loyalty of their attitudes and looks. He has done more; with this peaceful virtue he has painted a militant virtue. There at last is the genuine Christ, the man crucified, lean and fleshless through his agony, whose blood trickles minute by minute, in rarer drops, as the feebler and feebler pulsations give warning of the last throe of a dying life. We do not find here, as in the Italian masters, a sight to charm the eyes, a mere flow of drapery, a disposition of groups. The heart, the very heart is wounded by this sight: it is the just man oppressed, who is dying because the world hates justice. The mighty, the men of the age, are there, indifferent, full of irony: a plumed knight, a big-bellied burgomaster, who, with hands folded behind his back, looks on, kills an hour. But the rest weep; above the fainting women, angels full of anguish catch in their vessels the holy blood as it trickles down, and the stars of heaven veil their face not to behold so tremendous an outrage. Other outrages will