The products of this period (from the es tablishment of his studio to 1505) are numer ous, although there is some confusion as to the authenticity of a large number of engrav ings and lesser paintings attributed to him. The doubtful ones cannot be mentioned here.
The example of Wohlgemuth is clearly seen in his earlier works, together with some dis tinct traces of the influence of Mantegna and a conscious striving for the better grasp of per spective and human proportions gained from Jacopo de' Barbari, an Italian painter practis ing at Nuremberg after 1500. The large works of this period (prior to his second visit to Venice in 1505) are mainly altar-pieces. A comparison of some of the rough drafts with \ se e final canvas show distinctly that the de s] and the main figures are probably the only pa which can be rightfully assigned to Du r. The mass of detail was doubtless exe cuted by the various members of his studio. The Dresden altar-piece, depicting the Virgin in the centre, with Saint Sebastian and Saint Antony on either side, shows extreme care in execution and is homely and naive in its simple representation of the life of the holy family. The Saint Viet altar-piece is inferior in per spective and weaker in color effects. It is a crowded representation of the descent from the cross, too naturalistic in its suffering and in harmonious. The Holzschuler from the Cross' in the Moritskappelle in Nuremberg gains in dignity and simplicity. The best of this group of studio paintings is the Paum gartner altar-piece from the church of Saint Catherine in Nuremberg (now at the Pina kothek in Munich) depicting the nativity of Christ. In the wings are the figures of knights in full armor, who arc evidently the donors, representing Saints George and Eu stachius. To this period of his art belongs also The Adoration of the Magi' (Uffizi Gal lery). It shows decided improvement in per spective, composition and dignity. The colors are fresh and harmonious; the outlines deli cate and clear. But it is in the portraits of this period that Diirer hints at the realistic di rection which his later works were to take. Most striking are the two of himself. One, painted in 1498 (now at Madrid), shows a young man attired in the gay garb of the lav ish fashion of the time. Long fair hair frames a gentle, refined and sensitive face. The other, dated 1500 (Munich), depicts a more mature face with luxuriant beard and hair and direct, fixed eyes. Dignity and great sensitiveness are combined in the calm expression. Two portraits of his father, one in the Uffizi (1490) and the other at the National Gallery, London (1497), show but a passing resemblance to the artist. The sense of increased age is carried in the second by a realistic use of shade and in the now listless hands—which in the first por trait are strong and vigorous. Other portraits
are those of Frederick the Wise of Saxony (Berlin) • of the a lovely young girl with masses of rich golden hair (Royal Gallery at Augsburg), of which two copies of disputed authenticity exist at Munich and Frankfort; Oswald Krell (1499, Pinakothek at Munich); and the Imperial Councillor, Sextus Oelhaf en (1503), copies of which are in the Derschau collection and in the library of the university at Wiirzburg. Another unique painting of the year 1500 is Battling with the Stymphalian Birds) in the Germanic Museum at Nuremberg. It is highly important as an indication of the struggle awakening in the artist as he began to be conscious of the wealth of material in theme and convention which was being rediscovered with the renais sance of classical study.
Diirer's first experiments in wood-cuts were copied after Wohlgemuth. After a few pre liminary pieces, there appeared his 16 illustra tions for the (Apocalypse' (1498), a German and Latin edition. The series is full of action, vivid in imagination and composition; intensely realistic, even where incorrect in drawing. The whole is permeated by the awakening religious fervor of Germany—the intense desire to in vigorate Christianity once more; and is brim ming with joyous youthful faith in the possi bility of accomplishing that result. In the clarity of the prints, the artistic handling of light and shade and the subtle rendering of texture, Diirer sets a new standard for the en gravers' art. Others of his cuts, though of a little later date, are seven of the series of the 'Great Passion' ; part of The Holy Family' and part of the 'Life of the Virgin.' In his copper engravings, Diirer likewise shows the effect of various influences at work in his desire for self-expression by means of the conventions he had acquired both at Nuremberg and in Italy. The careful study of human proportions is the key to the copper plates of this period. Of special note are some early Madonnas, 'Saint Sebastian,' the (Old Man's Dream,' 'Saint Eustace,) 'Nem esis,'