The delaying of the engraving of St Philip, completed in 1523 but not distributed until 1526, may have been due to Dürer's uneasiness with images of Saints ; even if Dürer was not an iconoclast, in his last years he evaluated and questioned the role of art in religion.

Dürer's belief in the abilities of a single artist over inspiration prompted him to assert that " one man may sketch something with his pen on half a sheet of paper in one day, or may cut it into a tiny piece of wood with his little iron, and it turns out to be better and more artistic than another's work at which its author labours with the utmost diligence for a whole year.

An allegorical painting by Hieronymus Bosch, The Ship of Fools ( painting ), a fragment of a triptych said to be painted by Bosch between 1490 and 1500, may have been influenced by Dürer's frontispiece for the book.

In late medieval depictions, the Doctors, often now carrying or consulting large volumes, may be given specifically Jewish features or dress, and are sometimes overtly anti-Semitic caricatures, like some of the figures in Albrecht Dürer's version in the Thyssen-Bornemisza Museum in Madrid.

Dürer's later works have also been claimed to show Protestant sympathies.

His work in engraving seems to have had an intimidating effect upon his German successors, the " Little Masters " who attempted few large engravings but continued Dürer's themes in small, rather cramped compositions.

Dürer's work was destroyed by fire and survives only in copies, but fortunately the wings have survived, one pair of saints being displayed in Frankfurt's Municipal Art Gallery and the other in Karlsruhe's, Staatliche Kunsthalle.

He seems to have travelled a certain amount, and visits are recorded to Antwerp in 1521, the year of Albrecht Dürer's Netherlandish journey, and to Middelburg in 1527, when he met Jan Mabuse.

However Dürer's woodcuts had raised the standard of the medium considerably, and since Marcantonio continued to copy a large number of both Dürer's engravings and woodcuts, he must have found it profitable.

Two large and copiously illustrated books have woodcuts supplied by Wolgemut and his stepson Wilhelm Pleydenwurff ; both were printed and published by Germany's largest publisher, the Nuremberger Anton Koberger, who was also Dürer's godfather.

Van Mander states that Albrecht Dürer said of Geertgen " Truly he was a painter in his mother's womb ", although Dürer's journal of his Netherlandish travels doesn't mention the painter, and it has been suggested that Van Mander was using a form of epideictic rhetoric to build esteem for a fellow Haarlemer.

He left in 1490, possibly to work under Martin Schongauer, the leading engraver of Northern Europe, but who died shortly before Dürer's arrival at Colmar in 1492.

Dürer's work on geometry is called the Four Books on Measurement ( Underweysung der Messung mit dem Zirckel und Richtscheyt or Instructions for Measuring with Compass and Ruler ).

Dürer's work on human proportions is called the Four Books on Human Proportion ( Vier Bücher von Menschlicher Proportion ) of 1528.

Altdorfer's figures are invariably the complement of his romantic landscapes ; for them he borrowed Albrecht Dürer's inventive iconography, but the panoramic setting is personal and has nothing to do with the fantasy landscapes of the Netherlands A Susanna in the Bath and the Stoning of the Elders ( 1526 ) set outside an Italianate skyscraper of a palace shows his interest in architecture.

A prominent instance of a baby satyr outside ancient Greece is Albrecht Dürer's 1505 engraving, " Musical Satyr and Nymph with Baby ( Satyr's Family )".

When analysing the work of the artist as a whole, Ronald Paulson says, " In A Harlot's Progress, every single plate but one is based on Dürer's images of the story of the Virgin and the story of the Passion.

The Passion is often covered by a cycle of depictions ; Albrecht Dürer's print cycles were so popular that he produced three different versions.

The book ( whose early draft, quite different from the final form, circulated in manuscript long before it was published ) is often cited in discussions of Albrecht Dürer's famous engraving Melencolia I ( 1514 ).

The visionary character of his work, with its expressive colour and line, is in stark contrast to Dürer's works.

* Albrecht Dürer's book on geometry and perspective, The Painter's Manual ( more literally, the Instructions on Measurement ) is published at Nuremberg.

The painting is dense in symbolism and is indebted to, if not actually satirical of Albrecht Dürer's frontispiece of Sebastian Brant's book of the same name.

The obvious resemblance with Dürer's Rhinoceros is quite clear.

Albrecht Dürer's father was one such craftsman who later taught his young son to draw in metalpoint, to such good effect that his 1484 self-portrait at age 13 is still considered a masterpiece.

An early claw hammer is seen in Albrecht Dürer's etching " Melencolia I ," dated 1514, halfway up the left side.

Analyzing Albrecht Dürer's famous 1515 woodcut, it is possible that the liberties taken with the rhino's design were in fact designs for a suit of armour created for the rhinoceros's fight against an elephant in Portugal.

The German artist Albrecht Dürer saw the sketches and descriptions and carved a woodcut of the rhino, known ever after as Dürer's Rhinoceros.

Dürer's godfather was Anton Koberger, who left goldsmithing to become a printer and publisher in the year of Dürer's birth.

Albrecht Dürer's drawing contrasts a well turned out bourgeoise from Nuremberg ( left ) with her counterpart from Venice.

Dürer's introduction of classical motifs into Northern art, through his knowledge of Italian artists and German humanists, has secured his reputation as one of the most important figures of the Northern Renaissance.

Dürer's first painted self-portrait ( now in the Louvre ) was painted at this time, probably to be sent back to his fiancée in Nuremberg.

Dürer's father died in 1502, and his mother died in 1513.

A series of extant drawings show Dürer's experiments in human proportion, leading to the famous engraving of Adam and Eve ( 1504 ), which shows his subtlety while using the burin in the texturing of flesh surfaces.

By this time Dürer's engravings had attained great popularity and were being copied.

The post-Venetian woodcuts show Dürer's development of chiaroscuro modelling effects, creating a mid-tone throughout the print to which the highlights and shadows can be contrasted.

From 1512, Maximilian I became Dürer's major patron.

Dürer's work on the book was halted for an unknown reason, and the decoration was continued by artists including Lucas Cranach the Elder and Hans Baldung.

While providing valuable documentary evidence, Dürer's Netherlandish diary also reveals that the trip was not a profitable one.

This detail from Salvator Mundi, an unfinished oil painting on wood, reveals Dürer's highly detailed preparatory drawing.

As for engravings, Dürer's work was restricted to portraits and illustrations for his treatise.

For those of the Cardinal, Melanchthon, and Dürer's final major work, a drawn portrait of the Nuremberg patrician Ulrich Starck, Dürer depicted the sitters in profile, perhaps reflecting a more mathematical approach.

Dürer's Rhinoceros, Drawing | Ink drawing on paper, 1515.

However, Dürer's influence became less dominant after 1515, when Marcantonio perfected his new engraving style, which in turn traveled over the Alps to dominate Northern engraving also.

Dürer's geometric constructions include helices, conchoids and epicycloids.

Albrecht Dürer's Renaissance: Humanism, Reformation and the Art of Faith.