Christopher bearing the Infant Christ, in two distinct manners,[1] both exceedingly beautiful, and finished with great care, the separate tresses of the hair finely distinguished, and every part very carefully made out.
After having completed these works, Albert Dürer, perceiving that copper-plate engravings required a large expenditure of time, and having a vast number of subjects designed in different manners, set himself to the execution of wood cuts,[2] in which method those who possess a more extensive power of design may find a wider field for the display of their advantages. In the year 1510, therefore, he sent forth two small plates in this manner, the one representing the Decapitation of St. John, and the other showing Herod seated at table and receiving the head of the baptist, which is presented to him on a charger; on other plates he represented San Cristofano, the Pope San Sixtus, San Stefano, and San Lorenzo.
Finding that this mode of proceeding offered much greater facility than the engraving on copper-plate, Albert then proceeded to the execution of other works, and produced a San Gregorio singing the Mass and accompanied by the deacon and sub-deacon; next, encouraged by success, he engraved a part of the Passion of Christ on royal folio, executing four plates that is to say, with the intention of completing the whole; these four plates represent the Last Supper, our Saviour Christ being led away by night in the garden; His departure to the Limbo or entrance of hell, for the purpose of recalling thence the souls of the holy fathers, and his glorious Resurrection: they were executed in the year 1510. The second of these plates Albert likewise painted in oil, a small but very beautiful picture which is now at Florence, in the possession of the Signor Bernardetto de’ Medici.[3] There were afterwards published eight parts more, which were stamped with the signature of Albert Dürer, but
- ↑ They are distinguished chiefly by a diiference of attitude, the one being turned towards the left, the other towards the right. —Förster.
- ↑ For such details with respect to the disputed periods of Albert Dürer’s works as cannot here find place, the reader is referred to Heller, Geschichte der Holzschneidekunst; Ottley, Inquiry into the Origin and early History of Engraving; and the authors before cited.
- ↑ This plate is now in the Public Gallery of Florence.—Ed. Flor., 1832-8.
