Dfirer's Moritz Carrire, in his Renaissance and Rrfiumation ire Cullure, Art, and Literature, speaks as follows cOncerning Diirer's portrait of himself (Jr. 8): "This is indeed the noble face of the serious and thoughtful artist in the bloom of his strength. It is well drawn and finely modelled; the color, deep in the shadows, is made some what glassy in the lights by the use of ultramarines. The hair falls iu becoming waves upon the shoulders; it is executed with minute care and admirable linear precision; an appearance of motion is imparted to it by the glistening sheen of the curls. But in the hand against the fur the arrangement of the fingers is tasteless and cramped; here we see one of those knots which in the struggle with wind and weather were developed upon the healthy growth of the German oak, Darer. Thus the whole man, with his greatness and his defects, stands bodily before us, but the greatness is overpowering." Raphael' s Portrait of himself (fil. 35, Jig 7) in its bright, youthful beauty seems spellbound upon the canvas. Of it Ernst Forster writes: " With
the most unassuming simplicity this picture sets before us the noble cha racter of Raphael—the profundity of his thoughtful spirit, the warmth of his feelings, so easily fanned into a flame; nor is the trait of melan choly absent, which is so often the omen of an early death. \\Thy has this picture always inspired me with a feeling of compassion ? It looks at us with frank eyes, sweetness and kindliness play around the mouth, all the features proclaim purity, depth, and richness of spirit, and not a movement indicates any inward unrest or passionate yearning. But it is the face of a man whose soul one might call too finely strung. The essence of this soul is harmony, but it can bear no rough touch and promises but short endurance. The expression is characterized by sad ness; it smiles through tears, and in its first kindly greeting lurks a monition of the farewell that is to be."