Part 13 (2/2)

[Footnote 51: It is a.s.sumed by commentators that _Chapel_ means _Altar-piece_, and it is guessed that the particular altar-piece is the one in the Berlin Museum which Charles V. is reported to have carried about with him, and which belonged to the Miraflores Convent. The guesses are worthless.]

[Footnote 52: In St. Jacob's was the _Entombment_ by Hugo van der Goes.]

[Footnote 53: It is in white marble. It was sculpted about 1501-6. Some critics have refused to accept it as a genuine work. Durer ought to have been in a position to know the truth.]

[Footnote 54: At this time there were plenty of his pictures at Bruges.

Durer doubtless saw his Madonna in St. Donatien's, now in the Academy of the same town.]

[Footnote 55: The famous altar-piece painted by Hubert and Jan van Eyck, of which the central part is still in its original place and the wings are divided, two of their panels being at Brussels and the rest at Berlin.]

[Footnote 56: This drawing from Durer's sketch-book is in the Court Library at Vienna (see pl. opposite).]

[Footnote 57: The story is recounted in _Flandria ill.u.s.trata_ (A.

Sanderi, Colon., 1641, i. 149.)]

[Footnote 58: Gerhard h.o.r.eboul of Ghent. Charles V.'s 'Book of Hours' in the Vienna library is his work. He also had a hand in the Grimani Breviary. After 1521 he went to England and entered the service of Henry VIII. His daughter Susanna was likewise in the service of the English King. She married and died in England.]

[Footnote 59: Perhaps Jan van den Perre, afterwards goldsmith to Charles V.]

[Footnote 60: That is to say, drawings representing _Christ bearing HIS CROSS_. _Mount of Olives_ means the Agony _in the_ Garden.]

[Footnote 61: The inn-keeper of the _Golden Head_ is known to have been a painter. His name was Heinrich Keldermann.]

[Footnote 62: Though born at Koln, he was called Hans von Nurnberg. He was cannon-founder and gun-maker to Charles V.]

[Footnote 63: Doubtless Durer's portrait of Maximilian, now in the Gallery at Vienna, dated 1519. (_see_ p. 215).]

[Footnote 64: Jacopo de' Barbari.]

[Footnote 65: Bernard van Orley.]

[Footnote 66: The catalogue of this library exists in the inventory of the Archd.u.c.h.ess' possessions.]

[Footnote 67: This is in the Musee Wicar at Lille; another portrait of Lukas van Leyden by Durer was in the Earl of Warwick's collection (_see_ opposite).]

[Footnote 68: Hieronymus Imhof.]

[Footnote 69: A quarto tract by Luther, printed in 1520 (without place or date), ent.i.tled _Von der Babylonischen gefenglnuss der Kirchen_.]

CHAPTER VII

DuRER'S LAST YEARS

I

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