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 scores of painters whose portrait-painting is considerably more impressive than their subject-painting—not because portrait-painting is less difficult, but because it is more difficult to detect the weaknesses of painting in a portrait.

From the early Goethe-praised self portrait of 1493 down to the wonderful portraits of 1526 there are but few that are not rare works of Art, and of the few quite a goodly proportion may not be genuine at all.

Dürer's ego loomed large in his consciousness, and therefore, unlike Rembrandt (who also painted his own likeness time and again, though only for practice), Dürer was really proud of his person—as to be sure he had reason to be.

The portrait of 1493 shows us the young Dürer, who was in all probability betrothed to his "Agnes"; he is holding the emblem of Fidelity— Man's Troth as it is called in German—which on Goethe's authority I