[223-*] These incipient bastions and horn-works may be seen in our cut, p. 194.
[223-†] Marc Antonio had copied Dürer’s cuts on copper, but they are poor substitutes for the originals. They, however, did Dürer an injury of which he complained.
[225-*] In her “Visits and Sketches of Art at Home and Abroad,” 4 vols. 8vo., 1834.
[227-*] L. E. L.
[227-†] Mrs. Jameson speaks of his portrait as “beautiful, like the old heads of our Saviour; and the predominant expression is calm, dignified, intellectual, with a tinge of melancholy. This picture was painted at the age of twenty-eight; he was then suffering from that bitter domestic curse, a shrewish, avaricious wife, who finally broke his heart.” We have engraved this portrait in the head-piece to this subject (p. 187), along with those of his wife and of his friend Pirkheimer.
[228-*] Leopold Schefer has constructed a novelette on his domestic career, which has been cleverly translated by Mrs. Stodart. It is entitled “The Artist’s Married Life, being that of Albert Dürer.” It teaches much by its pure philosophy.
[229-*] They are now in the Pinacothek at Munich.
[229-†] Dürer had warmly espoused the Reformation, and had placed quotations from the gospels and epistles of the Apostles beneath each picture, containing pressing warnings not to swerve from the written word, or listen to false prophets and perverters of the truth. When the town presented these pictures to the Roman Catholic Elector Maximilian I., of Bavaria, in 1627, they cut off these inscriptions, and affixed them to the copies they had made for themselves by Vischer, and which are now in the Landauer Gallery at Nürnberg.
[230-*] There is an old tradition that Dürer intended these figures also as embodiments of the four mental temperaments—John, representing the melancholic; Peter, the meditative, or phlegmatic; Mark, the sanguine; and Paul, the resolute or choleric.
[231-*] Kügler. Mrs. Jameson, in her “Visits at Home and Abroad,” also speaks of them as “wonderful! In expression, in calm religious majesty, in suavity of pencilling, and the grand, pure style of the heads and drapery, quite like Raffaelle.”