Diirer made his second journey to Venice in 1505, to remain for nearly two years. There has been much dispute as to the cause of this journey, but sufficient proof has been brought forward to invalidate Vasari's assumption that the motive was the protection of an abused copyright on his wood-cuts. The most prob able reasons were his desire to escape a plague at Nuremberg, to find a market for his works and to execute an altar-piece for the church of Saint Bartholomew at the order of a German colony at Venice. For the fulfilment of this, Diirer painted his 'Feast of the Rose Garlands' (Prague). The Pope and the em peror are represented kneeling before the Vir gin and Child, a crowd of saints kneel in the background, where the artist and donor are also depicted, while cherubs bearing garlands of roses float above. In Venice, Diirer met the elder Bellini for whom he had the warmest praise. Other large religious pieces painted during his Venetian visit are Virgin and Child with the Goldfinch' (Berlin) ; and 'Christ Disputing with the Doctors,' an unsatisfactory and hasty work. The best products of those eventful months are several smaller portraits of Italian types. From the letters to Pirk heimer, we receive an accurate account of the busy and, on the whole, happy time Wirer spent in Italy. His health profited by the milder climate; and the admiring courtesy of the Italians afforded him great satisfaction. He had intended to visit Mantegna at Mantua, but the old master died before his pupil ac complished this pilgrimage, and Diirer returned in 1507 to Nuremberg.
The years from 1507-20 in his native town were filled with high honors and praise. His fame became widespread all over Europe and all the great men of the world sought his ac quaintance. His paintings showed increased breadth of treatment, more delicate shading and coloring. 'Adam and Eve' is a triumph in the study of the nude. The original dip tych is now in the Pitti Gallery at Florence. The copies at Madrid and Mayence also lay claim to authenticity. In 1508 he painted
carries the eye into the distance, while above, the Virgin appears between Christ and God who lift the crown above her bent head. Gay little cherubs with variously colored wings sur round them. Of great originality and preci sion is the religious painting of 1511, 'Adora tion of the Trinity' now in the Imperial Gal lery at Vienna.
In wood-cuts, Diirer now completed his se ries of the 'Great Passion' and 'The Life of the The later ones are superior in design and in breadth of handling. The 'Mass of Saint Gregory,' the 'Saint Christopher,' the 'Holy Family) are single cuts of this period. The 'Little Passion) in 37 wood-cuts appeared in 1511 and was executed likewise in copper in the succeeding year. Infinite variety of con ception and splendid imagination mark these works.
In copper engraving, his three greatest masterpieces were achieved: 'The Knight> (1513); 'Melancolia' and 'Saint Jerome in his Study' (1514). Diirer reaches heights in vig orous handling of the bodies and the depth of emotional expression and the carefully studied light effects. About this time also, Diirer be gan his experiments in dry-point and acid etching and produced several notable studies. Under the patronage of the Emperor Maxi milian he executed in wood 'The Triumphal 'The Triumphal Arch,' in which work he doubtless employed many helpers. The pen sketches 'in the emperor's prayer-book are preserved at Munich and Besancon. A por trait of Maximilian is also one of his finest works. Several smaller copper engravings conclude the work of the artist until the death of his greatest patron and friend in 1519.
In 1520, Dfirer journeyed with his wife to the Netherlands, in order to gain further patron age. A journal of his travels supplies us with information concerning the various events. He visited Erasmus at Antwerp and throughout his travels was received with honor and ac claim. After attending the coronation of Charles V at Aachen, his journey led him to Nijmwegen, Brussels, Ghent and Zealand. Diirer filled his sketch-book with studies of the things he had seen and notes of ideas for new works. In 1521 we find him back in Nu remberg much enfeebled in health. Religious themes seem to have occupied him mainly in this last period. Numerous studies and sketches are preserved, showing his plans for new groups. These include drawings of the Virgin, a (Crucifixion,) the 'Apostles' (1523), Pinta tothek, Munich), all admirable studies in ex pression and temperament, which he pre sented to the Council of Nuremberg in 1526 (1627). 'The Adoration of the Magi) is also a fine pen-drawing, wonderfully simple, realis tic and expressive. Copper-engraved. portrfiits of Hieronymous Holzschuler, PirkheImer, Melanchthon, Erasmus, Frederick .the Wise and the Cardinal of Mainz are the best of his line engravings of his last years. Staailet stbod cuts also survive — coats-of-arms, book Masi trations, etc., for his friends. Diirer was syrti4 pathetic with the Reformation and a warm ad' *rimer of its leaders, especially of Melanchthon, but he remained aloof from the stirring•contro Versies of the times and probably adhered to the Wittenberg • confession of faith until his death.