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 foreground; the Dresden altar-piece, or the "Crucifixion," with the soft body of the crucified Christ and the weirdly fluttering loin-cloth; the strangely grotesque "Christ as a Boy in the Temple" in the Barberini Palace; the "Adam and Eve"; the "Martyrdom of the 10,000 Christians"—thus, I say, we see them one after the other pass before us, and are almost unmoved.

True, the Paumgaertner altar-piece has stirred us on account of the wing-pictures, but there is good reason for that, and we will revert to this reason later. The "Adoration of the Magi" seems reminiscent of Venetian influence. Not until we reach the year 1511 do we encounter a work that must arrest the attention of even the most indolent: it is the "Adoration of the Holy Trinity," or the All Saints altar-piece, painted for Matthew Landauer, whom we recognise, having seen Dürer's drawing of his features, in the man with the long nose