"von kulturhistorischer Bedeutung," the German would say.
In 1506 and 1507 he visited Venice, as already stated, gracefully received by the nobles and Giovanni Bellini, but disliked by the other painters.
He returned home apparently uninfluenced by the great Venetians, Titian, remember, amongst them. Gentile Bellini and Vittore Carpaccio were then the only painters at Venice who saw the realistic side of Nature; but they were prosaic, whilst our Dürer imbued a wooden bench or a tree trunk with a personal and human interest. Those of my readers who can afford the time to linger on this aspect of Dürer's activity should compare Carpaccio's rendering of St. Jerome in his study with Dürer's engraving of the same subject.
Dürer the craftsman referred in everything he painted or engraved to Nature. But of course it was Nature as he and his
