of Martin Schoen, of Colmar, the most distinguished artist of his time in Germany, but the death of the latter happening about that time, he became a pupil of Michael Wolgemut, in 1486, the first artist then in Nuremberg, with whom he studied diligently four years.  He also cultivated the study of perspective, the mathematics, and architecture, in all of which he acquired a profound knowledge.  Having finished his studies, he commenced his travels in 1490, and spent four years in traveling through Germany, the Netherlands, and the adjacent counties and provinces.  On his return to Nuremberg, in 1494, he ventured to exhibit his works to the public, which immediately attracted great attention.  His first work was a piece of the Three Graces, represented by as many female figures, with a globe over their heads.  He soon after executed one of his masterpieces, a drawing of Orpheus.  About this time, to please his father, as it is said, he married the daughter of Hans Fritz, a celebrated mechanic, who proved a fierce Xantippe, and embittered, and some say shortened his life.  In 1506, he went to Venice to improve himself, where his abilities excited envy and admiration.  Here he painted the Martyrdom of St. Bartholomew for the church of S. Marco, which was afterwards purchased by the Emperor Rodolphus, and removed to Prague.  He also went to Bologna, and returned home in 1507.  This journey to Italy had no effect whatever upon his style, though doubtless he obtained much information that was valuable to him, for at this period commenced the proper era of his greatness.

DURER’S WORKS AS A PAINTER.

Though Durer was most famous as an engraver, yet he executed many large paintings, which occupy a distinguished place in the royal collections of Germany, and other European countries.  In the imperial collection at Munich are some of the most celebrated, as Adam and Eve, the Adoration of the Magi, the Crucifixion—­a grand composition—­the Crowning of the Virgin, the Battle between Alexander and Darius, and many other great works.  Durer painted the Wise Men’s Offering, two pictures of the Passion of Christ, and an Assumption of the Virgin, for a monastery of Frankfort, which proved a source of income to the monks, from the presents they received for exhibiting them.  The people of Nuremberg still preserve, in the Town Hall, his portraits of Charlemagne and some Emperors of the House of Austria, with the Twelve Apostles, whose drapery is remarkable for being modern German, instead of Oriental.  He sent his own portrait to Raffaelle, painted on canvas, without any coloring or touch of the pencil, only heightened with shades and white, yet exhibiting such strength and elegance that the great artist to whom it was presented expressed the greatest surprise at the sight of it.  This piece, after the death of Raffaelle, fell into the possession of Giulio Romano, who placed it among the curiosities of the palace of Mantua.  Besides