One other aspect of Dürer’s genius must be introduced, namely, his mastery in portraiture. In the strong face of Cardinal Albrecht of Mayence, the keenest observation of the man is revealed with means astonishingly simple. Notice how far from extreme depth the shadings have been kept; all in the range of silvery grays, which Dürer sought in preference to dark shadows. The values in the figure, the arms and the inscription have all received careful consideration from this master whose genius was, indeed, the faculty of taking infinite pains. [Illustration: CARDINAL ALBRECHT OF MAYENCE Albrecht Dürer] From this brief glance at the great Nuremberg artist, we must turn now to his Northern contemporary, Lucas van Leyden, likewise a painter-engraver, and a solitary figure in the Netherlands at that period. Bred in the realistic maxims of the fifteenth century, his Northern origin asserts itself in the careful detail and truthful presentation of nature, in the characteristic types of his figures. Truthful rendering of natural facts--as has been mentioned before--is a quality common to Northern artists. Dürer, in his fondness for psychological themes, is in tune with the humanists of his time. Leyden, though strongly influenced by the German master, has not Dürer’s depth of thought. He does not infuse that deeper meaning into his plates. Following the bent of his Germanic mind, he reverts to the simple, daily scenes of life, and when he undertakes to render scenes from other times and from distant places, he transforms them into events of his own day and his own surroundings. He can thus express himself with the directness of an eye-witness, and therein lies much of the charm of his work, which was much appreciated even in Italy. One of the few large plates of Lucas van Leyden will illustrate his artistic and technical powers. The “Adoration of the Magi,” broad in composition, sober and harmonious in the handling of the graver, typically Northern in feeling, is perhaps the finest of his achievements. Later in life his restless, searching mind was diverted to the allurements of Italian grace of form, and gave itself up to its influence without reserve. [Illustration: ADORATION OF THE MAGI Lucas van Leyden]