Albert Dürer, born at Nuremberg in 1471, was a vigorous painter, and was not less remarkable for the productions of his _burin_ and etching-needle. We do not intend to describe all his works, though all are worthy of notice, but must content ourselves with mentioning “Adam and Eve standing by the Tree of Knowledge of Good and Evil,” a small plate of delicate workmanship and admirable perfectness of design; the “Passion of Jesus Christ,” in a series of sixteen plates; “Christ praying in the Garden of Gethsemane,” the first work executed by this master by means of _aquafortis_, then a new method, which, being less soft than the _burin_, gave rise to an idea not dispelled for some time, that this print and several others were engraved on iron or tin; several figures of the “Virgin with the Infant Jesus,” which are all remarkable for expression and simplicity, and have received odd _sobriquets_ on account of some accessory object which accompanies them (for instance, the “Virgin with the pear, butterfly, ape,” &c.); the “Prodigal Son keeping Swine,” a composition in which the painter himself is represented; “St. Hubert praying before the Cross borne by a Stag” (Fig. 266), a very rare and beautiful plate; the “Chevalier and his Lady;” lastly, the “Chevalier of Death,” a _chef-d’œuvre_, dated 1515, and representing Francis of Sickingen, who was destined to be the firmest supporter of Luther’s Reformation.[42] Marc Antonio Raimondi, born at Bologna about the year 1475, was first a pupil of Francis Raibolini, and afterwards of Raphael,[43] whose style he often [Illustration: Fig. 266.--“St. Hubert praying before the Cross borne by a Stag.” Engraved by Albert Dürer.] followed, and in his compositions did his utmost to imitate his pure and noble manner. Everything in his designs is ideally true, and all is harmonious in the _ensemble_ of his works. Most of his engravings still existing are very much sought after, and as any description we could give would only convey but an imperfect idea of the excellence of these works, the strongest testimony in favour of their merit will be to mention the high prices given for certain prints by this master at the public sale which took place in 1844. For example:--“Adam and Eve,” a print after Raphael, 1,010 francs (£40); “God commanding Noah to build the Ark,” from the same master, 700 francs (£28); the “Massacre of the Innocents,” 1,200 francs (£48); “St. Paul preaching at Athens,” 2,500 francs (£100); the “Lord’s Supper,” 2,900 francs (£116); the “Judgment of Paris,” which is regarded as the _chef-d’œuvre_ of Marc Antonio, 3,350 francs (£134); three pendentives of the “Farnesina,” 1,620 francs (£64 10s.), &c. Subsequently, these enormous prices have been even exceeded.