Nuremberg and its art to the end of the 18th century. . d, in the British Museum (fig. 78). The sketches and studies furnish us witha valuable collection of material, in illustration of his further activity in the fieldof decorative art. Among others the art of the goldsmith and that of etchingon iron owe to him attractive designs (fig. 79). On the death, in 1519, of the Emperor Maximilian, \\\\o had granted to I20 ALBERT DURER. the Master an annual pension of lOO florins, Diirer travelled to the Netherlandsto secure the continuance of it from his successor. The diary, already mentioned,gives
Nuremberg and its art to the end of the 18th century. . d, in the British Museum (fig. 78). The sketches and studies furnish us witha valuable collection of material, in illustration of his further activity in the fieldof decorative art. Among others the art of the goldsmith and that of etchingon iron owe to him attractive designs (fig. 79). On the death, in 1519, of the Emperor Maximilian, \\\\o had granted to I20 ALBERT DURER. the Master an annual pension of lOO florins, Diirer travelled to the Netherlandsto secure the continuance of it from his successor. The diary, already mentioned,gives us a copious account of every detail of this journey, which lasted fromthe middle of 1520 to the middle of 1521, while the pages of a small sketch-book preserve a series of his artistic impressions. He executed in a large sizeand with especial care the head of an old man of 93 (fig. 80), one of the mostimportant of his drawings. He was especially busy with portraits, and it wasthis branch of his art that especially made demands upon him also after his. Fig. 78. Diirer: King Death. Chalk drawing, in the British Museum, London. return to Nuremberg. His portraits of his contemporaries, remarkable forhomely dignity and unstudied naturalness, are worthy forerunners of the four verypowerful ideal portraits, with which as with a mighty closing chord, he finishedhis artistic work, in 1526. They occupy two panels, preserved at figures ofSt. Paul and St. John have behind them, respectively, St. Markand St. Peter (fig. 81). The original inscriptions, now put on the copies left at Nurem-berg, show most plainly that they are on the side of the Reformation, and thecontrast, visible in the paintings, between St. Paul ready for action and St. Johncontemplatively looking at his open book, existed also between Luther andMelancthon. Diirers contemporaries recognised in the four figures representationsof the four types of temperaments. One feels compelled to give utterance to ALBE
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