picture than the original. With these productions begins the zenith of this master's fame, in which a great number of works follow one another within a short period. Of these we first notice a picture of 1508, in the Imperial Gallery at Vienna, painted for Duke Frederick of Saxony, and which afterwards adorned the gallery of the Emperor Rudolph II. It represents _The Martyrdom of the Ten Thousand Saints_. In the centre of the picture stand the master and his friend Pirckheimer as spectators, both in black dresses. Duerer has a mantle thrown over his shoulder in the Italian fashion, and stands in a firm attitude. He folds his hands and holds a small flag, on which is inscribed, "Iste faciebat anno domini 1508 Albertus Duerer Alemanus." There are a multitude of single groups exhibiting every species of martyrdom, but there is a want of general connection of the whole. The scenes in the background, where the Christians are led naked up the rocks, and are precipitated down from the top, are particularly excellent. The whole is very minute and miniature-like; the colouring is beautifully brilliant, and it is painted (the accessories particularly) with extraordinary care. To 1511 belongs also one of his most celebrated pictures, _The Adoration of the Trinity_, which is also at Vienna, painted for the chapel of the Landauer Bruederhaus in Nuremberg. Above in the centre of the picture are seen the First Person, who holds the Saviour in his arms, while the Holy Spirit is seen above; some angels spread out the priestly mantle of the Almighty, whilst others hover near with the instruments of Christ's passion. On the left hand a little lower down is a choir of females with the Virgin at their head; on the right are the male saints with St John the Baptist. Below all these kneel a host of the blessed of all ranks and nations extending over the whole of this part of the picture. Underneath the whole is a beautiful landscape, and in a corner of the picture the artist himself richly clothed in a fur mantle, with a tablet next him with the words, "Albertus Duerer Noricus faciebat anno a Virginis partu, 1511." It may be assumed beyond doubt that he held in particular esteem those pictures into which he introduced his own portrait. In the Vienna Gallery is also a picture of the year 1512, the Virgin holding the naked Child in her arms. She has a veil over her head and blue drapery. Her face is of the form usual with Albert Duerer, but of a soft and maidenly character; the Child is beautiful--the countenance particularly so. It is painted with exceeding delicacy of finish. Two altar-pieces of his earliest period must be mentioned. One is in the Dresden Gallery, consisting of three pictures painted in tempera on canvas, representing the Virgin, S. Anthony, and S. Sebastian respectively. Although this is probably one of his very earliest works, it is remarkable for the novelty of its treatment and its independence of tradition.