This, the typical Luther of to-day, appears perhaps for the first time in the so-called “_Epitaphium Lutheri_,” a woodcut which was made after Luther’s death by the elder Cranach’s son, Lucas Cranach the younger. The type in question became very generally known owing to the picture of Luther painted nine years after his death by the younger Cranach for an altar-piece in the parish church at Weimar, although in this likeness, which has been so frequently copied, there may still be found some traces of the bold, warrior features of the real Luther. Böhmer, the Protestant historian, remarks: “In the most popular of these modern ‘ideal pictures,’ viz. the oleograph of Luther in the fur cappa which ‘adorns’ so many churches, even the Doctor’s own Catherine would be unable to recognise her Martin.” The pictured Luther has become almost a fable among Protestants. This may well make us suspicious of the pen-picture of him now spread abroad by so many of his followers and admirers. Is it in the least trustworthy? Here again it is the Protestant authority cited above who complains: “The literary Luther-portraits, though strikingly similar, are all more or less unlike the original. In the strict sense they are not portraits at all, but presentments of a type.” * * * * * The strain of such strenuous literary work, in the case of one whose public life was so full of commotion as Luther’s, could not fail to tax the most healthy nervous system. We can only wonder how he contrived to cope with the excitement and incessant labour of the years from 1520 to 1525 and to continue tirelessly at the task till his life’s end.