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 The finest portrait under his name is the "Portrait of a Woman" at Berlin. This indeed is a brilliant piece of portraiture, absolutely modern in feeling, exceeding Holbein; and unless my eyes, which have not rested upon its surface for over ten years, deceive me, it is quite unlike any portrait painted by him before—the nearest perhaps being the man's portrait at Munich of 1507. The picture is supposed to show Venetian influence, and might therefore belong to this epoch; but, to my thinking, documentary evidence alone could make this picture in its not Dürer-like mode of seeing an undoubted work from his hand.

Space forbids further enumeration, further discussion of his work. As to details of his biography the reader will find in almost every library some reliable records of his life, and several inexpensive books have also appeared of recent years.