Dürer died in 1528 from a disease contracted during his journey to the Netherlands. Among his principal pupils were Georg Pencz (_c._ 1500-1550), to whom is without sufficient reason attributed the indifferent half figure of _St. John the Evangelist_ (No. 2730); and Hans Sebald Beham (_c._ 1500-1550), the famous engraver, of whom the Louvre is fortunate to possess the only known painting, a table top divided by golden lances into four compartments, each of which contains a _Subject from the Story of David_ (No. 2701): the _Entry of Saul into Jerusalem; David and Bathsheba_ (in which scene is introduced a portrait of Archbishop Albrecht of Mayence, for whom the work was executed); the _Siege of Rabbath_; and the _Prophet Nathan before David_ (with a portrait of the artist and the initials of his name, “H. S. B.”). LUCAS CRANACH This same Archbishop Albrecht, whose features are also known to us from two engravings by Dürer and a painting by Grünewald, was one of the most generous patrons of Lucas Cranach the Elder (1472-1553), whose busy workshops at Wittenberg supplied the whole north and east of Germany with portraits, altarpieces, historical and mythological pictures. Lucas Cranach was a follower of Grünewald, the great head of the Colmar school. Apart from his merit as a colourist and an excellent draughtsman, he attracts by the naïve grace of his nude figures and by the complete manner in which he reflects the taste of his time and country. But of the five little pictures that figure in the Louvre Catalogue under his name, not one is from his own hand. Indeed, the _Venus in a Landscape_ (No. 2703) is the only one that may with a degree of safety be attributed to his son, Lucas Cranach the Younger, who carried on the management of the studio some years before his father’s death, and continued to imitate his style until his own death in 1586. The _Venus_ bears the usual Cranach signature of a winged serpent and the date 1520. The same crest, with the date 1532, figures on the portrait of _Johann Friedrich III., Elector of Saxony_ (No. 2704), who is known on one occasion to have given a wholesale order of sixty replicas of the same portrait to the Wittenberg master. It may be imagined that a commission of this nature would not be executed by the head of the studio, but left to his staff of assistants. The _Fighting Savages_ (No. 2702A) and the two _Portraits_ (Nos. 2703A and 2705) are, at the best, studio works. HANS HOLBEIN