DriJKU Family, Emperor of Austria (1852) ; Louis II. of Bavaria (1865) ; Count YOU Seinsheim, Baron von der Tann, New Pinokothek, Mu- nich ; Hebe with the Eagle, Aurora, Chil- dren in the Alps, South Kensington Museum; General Summons to Arms, Violin Solo (1855); Little Republican; Meran Shepherd- Boy ; Little School-Mistress ; Songs without Words ; Evening Devotion. Brockhaus, iv. 668 ; Kunst-Chronik, xx. 106. DURER, ALBKECHT, born in Nurem- berg, May 21, 1471, died there, April 6, 1528. German school; history and portrait painter and en- graver. Son of a goldsmith, who first in- structed him in his trade, and then apprenticed him to the painter Michael Wolgemuth for three years and a half, after which (1490) he visited Strasburg, Colrnar, Basle, and Venice, where he was much im- pressed by the works of Andrea Mantegna. Returning home about 1494, he married Agnes Frey, and probably worked in Wolge- muth's studio until 1497, when he removed to an atelier of his own, where during the succeeding eight years he produced a large number of pictures, wood-cuts, and engrav- ings. From 1505 to 1507 he lived at Venice, where he was much esteemed as a painter, and though he lost none of his German spirit, felt the charm of the Italian Renais- sance masters, Bellini and Mantegna, whose influence he showed in his subsequent works. Then followed his most active years at Nuremberg. From 1512 he worked for the Emperor Maximilian, who made him his court painter, and whom he waited on at Augsburg in 1518 as deputy for his native city to the assembled Diet. In 1515 Nu- remberg assigned him a yearly pension of 100 gulden. His visit to the Netherlands | in 1521-22, undertaken for the sale of Ins engravings, brought him into contact with Lucas van Leyden, Jacopo do' Barbari, and other artists, and introduced him to the Archduchess Margaret, for whom he worked, but whose favour ho somewhat lost tlirough his pronounced advocacy of Luther's doc- trines. He attended the coronation of Charles V. at Aix-la-Chapelle, and obtained the appointment of court painter before his return to Nuremberg, where he continued to work until his death. DOrer never dealt with fresco, though he furnished the designs for the mural decorations of the City Hall at Nuremberg the Calumny of Apelles, and the Triumph of Maximilian probably painted by George Pencz. The works iu oil and distemper from his hand are reli- gious subjects and portraits. Those in water-colour are Hercules and the Birds of Stymphalis (1500), iu the German Museum at Nuremberg, an allegorical head (1507) in the Vienna Museum, and a Lucretia (1518) in the Munich Gallery. Works : Altarpiece with wings, except centre picture ; Chrixt on the Cross (1506), Christ bearing his i Cross (1521), Dresden Gallery; Dead Christ, 2 Baumgartner portraits (pendants belong- ing to an altarpiece), Christ bearing his Cross, SS. Paul and Mark, SS. Peter and John the Evangelist, Assumption of the Vir- gin, Munich Gallery ; Job, Stadel Institute, Frankfort ; Drummer and Fifer, Cologne Museum ; Saint with Glass Glol>e, Eugeu Felix, Leipsic ; Saints, landscape back- ground, Bremen Gallery ; Virgin (1503), Vienna Museum ; Adoration of Magi (1504), Madonna (1526), Uffizi ; Feast of Rose-Gar- lands (1506), painted for the Church of St. Bartholomew, Venice, Norbertine Stra- how Convent, Prague (copies in Ambras Collection, Vienna, and Lyons Museum) ; Christ among the Doctors, Pal. Barberini, Rome; Madonna (1506), Marquis of Lothian, Scotland ; small Crucifixion (1506), Dresden Gallery ; Adam and Eve, Florence (Pitti), Mentz, and Madrid Museums ; Martyrdom of the 10,000 (1508), Vienna Museum ; 437
