Back in Nuremberg, he settled down into the life of a responsible citizen, lived in a fine new house, in time became a member of the council, and his studio was a veritable workshop. Studios were quite different from those of to-day. Then the pupils turned to and ground colours, did much of their own manufacturing, engaged at first in such commonplace occupations, which were nevertheless teaching them the foundation of their art, while they watched the work of the master. Such a studio as Dürer's must have been full of young men coming and going, not all working at the art of painting, but engraving, preparing materials for such work, designing, and executing many other details of art work. After this time Dürer made his smallest picture, which is hardly more than an inch in diameter. On that tiny surface he painted the whole story of the crucifixion, and it is now in the Dresden Gallery. To those of us who see little mentality in the faces of the Italian subjects, the German art of Dürer, often ugly in the choice of models, and so exact as to bring out unpleasing details, is nevertheless the greater; because in all cases, the faces have sincere expressions. They exhibit human purposes and emotions which we can understand, and despise or love as the case may be. They say that his Madonna is generally a "much-dressed round-faced German mother, holding a merry little German boy." That may be true; but at any rate, she is every inch a mother and he a well-beloved little boy, which is considerably more than can be said of some Italian performances. Dürer made a painting of "Praying Hands," a queer subject for a picture, but those hands are nothing _but_ praying hands. The story of them is touching. It is said that for several years Dürer had won a prize for which a friend of his had also competed, and upon losing the prize the last time he tried for it, the friend raised his hands and prayed for the power to accept his failure with resignation and humility. Dürer, looking at him, was impressed with the eloquence of the gesture; thus the "Praying Hands" was conceived. Dürer was also called the _Father of Picture Books_, because he designed so many woodcuts that he first made possible the illustration of stories. He printed his own illustrations in his own house, and was well paid for it. The Emperor Maximillian visited Nuremberg, and wishing to honour Dürer, commanded him to make a triumphal arch. "It was not to be fashioned in stone like the arches given to the victorious Roman Emperors; but instead it was to be composed of engravings. Dürer made for this purpose ninety-two separate blocks of woodcuts. On these were represented Maximillian's genealogical tree and the principal events of his life. All these were arranged in the form of an arch, 9 feet wide and 10-1/2 feet high. It took Dürer three years to do this work, and he was never well paid," so says one who has compiled many incidents of his life.