"Durer immediately produced several ordinary brushes such as Bellini himself used, and begged him to take the best, or all if he would. Bellini said 'No, I don't mean these. I mean the ones with which you draw several hairs with one stroke. They must be more spread out and more divided; otherwise in a long sweep such regularity of curvature and distance could not be preserved.' 'I use no other than these,' Albrecht replies, 'and, to prove it, you may watch me.' Then taking up one of the same brushes, he drew some very long, wavy tresses, such as women generally wear, in the most regular order and symmetry. Bellini looked on wondering, and afterwards admitted that no human being could have convinced him by report of the truth of that which he had seen with his own eyes." "Nature had given him a body," says the same writer, "noble in build and structure, consonant with the beautiful mind it contained. His head was expressive, the eyes flashing, the nose nobly formed, and what the Greeks called [Greek: tetragônon] (Roman). His neck was long, and his chest broad; his thighs muscular, and legs powerful." And most noteworthy of all are his exquisitely beautiful hands and fingers, which strike us equally in the portrait of the boy of thirteen, and in the Munich portrait which forms our frontispiece. No one who studies the latter picture can fail to notice how closely the countenance of Durer approaches the ideal type of Jesus Christ in art. The artist, indeed, was conscious of this himself, for his own representations of Christ bear a resemblance to his own features.