§ 15. I do not care to trace the various hold which Hades takes on this fallen soul. It is no part of my work here to analyze his art, nor even that of Durer; all that we need to note is the opposite answer they gave to the question about death. To Salvator it came in narrow terms. Desolation, without hope, throughout the fields of nature he had to explore; hypocrisy and sensuality, triumphant and shameless, in the cities from which he derived his support. His life, so far as any nobility remained in it, could only pass in horror, disdain, or despair. It is difficult to say which of the three prevails most in his common work; but his answer to the great question was of despair only. He represents "Umana Fragilita" by the type of a skeleton with plumy wings, leaning over a woman and child; the earth covered with ruin round them--a thistle, casting its seed, the only fruit of it. "Thorns, also, and thistles shall it bring forth to thee." The same tone of thought marks all Salvator's more earnest work. § 16. On the contrary, in the sight of Durer, things were for the most part as they ought to be. Men did their work in his city and in the fields round it. The clergy were sincere. Great social questions unagitated; great social evils either non-existent, or seemingly a part of the nature of things, and inevitable. His answer was that of patient hope; and twofold, consisting of one design in praise of Fortitude, and another in praise of Labor. The Fortitude, commonly known as the "Knight and Death," represents a knight riding through a dark valley overhung by leafless trees, and with a great castle on a hill beyond. Beside him, but a little in advance, rides Death on a pale horse. Death is gray-haired and crowned;--serpents wreathed about his crown; (the sting of death involved in the kingly power). He holds up the hour-glass, and looks earnestly into the knight's face. Behind him follows Sin; but Sin powerless; he has been conquered and passed by, but follows yet, watching if any way of assault remains. On his forehead are two horns--I think, of sea-shell--to indicate his insatiableness and instability. He has also the twisted horns of the ram, for stubbornness, the ears of an ass, the snout of a swine, the hoofs of a goat. Torn wings hang useless from his shoulders, and he carries a spear with two hooks, for catching as well as wounding. The knight does not heed him, nor even Death, though he is conscious of the presence of the last.