for the purposes of thought; he could close them without disturbing the pageants of his vision. But whereas we have no hint that his dreams were of beauty, we have every indication that they were literal transcriptions of literary thoughts. When he came to put these materialisations into the form of pictures or prints, the craftsman side, the practical side of his nature, resolved them into scientific problems, with the remarkable result that these visions are hung on purely materialistic facts. From our modern point of view Dürer was decidedly lacking in artistic imagination, which even such men as Goya and Blake, or "si parva licet comparere magnis" John Martin and Gustave Doré, and the delightful Arthur Rackham of our own times possess.
His importance was his craftsmanship, whilst the subject-matter of his pictures—the portraits excepted— and particularly of his prints, are merely of historic interest—
