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 an artist in Raphael's, Bellini's, or Titian's sense. He was pre-eminently a thinker, a moralist, a scientist, a searcher after absolute truth, seeking expression in Art. Once this is realised his pictures make wonderfully good reading.

The "Deposition," for example, is full of interest. The dead Christ, whose still open lips have not long since uttered "Into Thy hands, O Lord," is being gently laid on the ground, His poor pierced feet rigid, the muscles of His legs stiff as in a cramp. The Magdalen holds the right hand of the beloved body, and the stricken mother of Christ is represented in a manner almost worthy of the classic Niobe. Wonderfully expressive, too, are all the hands in this picture. Dürer found never-ending interest in the expressiveness of the hand. But if we were to seek in his colour any beauty other than intensity, we should be disappointed, as we should for the matter of