"O all you who are my friends," writes Albert, in words that remind us of St. Augustine, "I pray you for the love of God, when you read the account of my good father's death, remember his soul, and say for him a _Pater_ and an _Ave_. Do so too for your own salvation, that we may all obtain the grace of truly serving God, and that it may be granted to us to lead a holy life and to make a good end. No, it is not possible that he who has lived a good life should leave this world with regret or fear, for God is full of mercy." In the following year were produced the tender _Virgin and Child_, and in 1504 the _Adam and Eve_, in which the fruits of his study of the nude were given to the world in ideal figures of man before the Fall. Next year another break occurred in Durer's career. Whether, as Vasari says, to secure himself against the piracy of his engravings, or merely in search of fresh knowledge, towards which "his lofty mind was ever striving," Durer paid another visit to Venice in 1505. Here he painted for the German colony, as an altar-piece in the Church of St. Bartolommeo, the _Madonna del Rosario_, now at Prague. This picture contains portraits of Maximilian, Julius II., Durer, Pirkheimer, and several German merchants. So great was the admiration roused by it that the Doge visited the artist and endeavours were made to induce him to live permanently in Venice. But in 1507, in spite of all temptations, he returned to his native town and proceeded to execute many commissions. In 1508 he obtained an injunction from the Council to prevent the fraudulent copying of his prints. In the same year a Nuremberg worthy, Matthäus Landauer, added a chapel to the almshouses (Zwölfbrüderhaus or Landauerkloster) he had founded in 1501. The chapel was dedicated to All Saints, and Durer was invited to paint an altar-piece for it, representing "The Adoration of the Trinity by all Saints." The result, the Allerheiligenbild, is one of the artist's noblest and most famous compositions, but it too has left Nuremberg. For in 1585 the Rat sold it to Emperor Rudolph II., replacing it by a copy for which they retained the original frame.