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 gested but present, truly realised. When I say Dürer was not imaginative I mean to convey that imagination was characteristic of the age, not of him alone, but the materialisation, the realisation of fancy, that is his strength.

All these considerations can find, unfortunately, no room for discussion in these pages, for it were tedious to refer the reader to examples which are not illustrated.

We must perforce accept the limitations of our programme, and devote our attention to his paintings—far the least significant part of his activity.

Dürer was the great master of line—he thinks in line. This line is firstly the outline or contour in its everyday meaning; secondly, it is the massed army of lines that go to make shadow; thirdly, it is line in its psychical aspect, as denoting direction, aim, tendency, such as we have it in the print of the "Melancholia." No one before