Knackfuss, Darer (Bielefeld and Leipzig, 6th ed., 1899), English translation, 190o; B.
According to Vasari, Marcantonio, in copying Diirer's series of the Little Passion on wood, had imitated the original monogram, and Darer, indignant at this fraud, set out for Italy in order to protect his rights, and having lodged a complaint against Marcantonio before the signory of Venice, carried his point so far that Marcantonio was forbidden in future to add the monogram of Darer to copies taken after his works.
But after travelling two years in various parts of Germany, where we are unable to follow him, the young Darer arrived at Colmar in 1492, only to find that Schongauer had died the previous year.
Even in its present ruined state, it is apparent that in spite of the masterly treatment of particular passages, such as the robe of the pope, Darer still lacked a true sense of harmony and tone-relations, and that the effect of his work must have been restless and garish beside that of a master like the aged Bellini.
In the meantime Darer had added a few to the number of his line-engravings and had completed the two woodcut series of the Great Passion, begun about 1498-1499, and the Life of the Virgin.
Albrecht Darer the elder was a goldsmith by trade, and settled soon after the middle of the 15th century in Nuremberg.
But among its native surroundings the career of Darer stands out with an aspect of ideal elevation and decorum which is its own.
Zucker, Albrecht Darer (Halle, 1899-1900); L.
From the spring of 1507 until the summer of 1520, Darer was again a settled resident in his native town.
The face of the rider seems to recall that of the statue of Bartolommeo Colleoni at Venice; for the armour Darer had recourse to an old drawing of his own, signed and dated in 1498.