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 Dürer therefore appeals to us of to-day more through such conceptions as the wings of the Paumgaertner altar-piece, or the four Temperaments (St. Peter, St. John, St. Mark, and St. Paul), than through the crowded centre panels of his altar-pieces; and the strong appeal of his engravings, such as the "Knight of the Reformation" (1513) or the "Melancholia" (1514), is mainly owing to the predominant big note of the principal figures, whilst in the beautiful St. Jerome ("Hieronymus im Gehäus") it is the effect of sunshine and its concomitant feeling of well-being—Gemüthlichkeit, to use an untranslatable German word—which makes us linger and dwell with growing delight on every detail of this wonderful print.

In spite of appearances to the contrary, Dürer was, as I have said, unimaginative. He needed the written word or another's idea as a guide; he never dreamt of an