Of what Luther must have been, judging by his descriptions, not one of the portraits which have come down to us gives any good idea.[413] This sounds strange, as the art of portrait painting was already very highly developed in Luther’s day, whilst his likenesses were in great demand and were despatched from Wittenberg to every quarter in order to increase his popularity. Dürer and Holbein, who have left us characteristic and faithful likenesses of Melanchthon, never employed their brush or pencil in depicting Luther. The death-mask which we still have was not taken till four days after Luther’s death from a stroke, i.e. after decomposition had already made some progress, while the portrait of the dead man painted in haste by Lucas Fortenagel is almost terrifying and betrays a very unpractised hand.[414] Lucas Cranach the elder, as is well known, sketched or painted several likenesses of Luther, and as the two were very intimate with each other we might have anticipated something reliable. He was, however, not sufficiently true to life; he suppressed what he considered to be defects in his sitter, and, in spite of his artistic talent, he did not possess the special qualifications for faithfully reproducing in a portrait the expression of the soul. In his pictures of Luther we are at a loss to find certain traits mentioned in the accounts we possess; the artist introduces into the face an expression of mildness and tenderness which was foreign to Luther. Neither is it a fact that we have hundreds of pictures from his studio, as is so often stated, for of all the portraits and engravings ascribed to Cranach only five can be considered as absolutely genuine, the copper plates of 1520 and 1521,[415] then the “Squire George” of the Wartburg in the Leipzig Town Library, and two portraits in the Kaufmann Gallery in Berlin. “If we examine the absolutely genuine ‘Cranachs’ we at once notice that they have nothing in common with the typical Luther features [of a later day].” From these original likenesses down to the pictures of Luther which circulate to-day there are many steps. The transformation was carried further and further, though the “broad, peasant face” and the “powerful jaw” were destined to remain. Nearly all these pictures represent an elderly man, inclined to corpulence, with somewhat blurred features, with surprisingly abundant curly hair and small, kindly eyes.