A copy of this print recently turned up at a flea market in eastern France. It had gone missing from the Stuttgart Staatsgalerie after the war, and still bore the museum's stamp on the back. The finder returned it. Source.
This porcelain rhinoceros, modelled on the famous woodcut, reminds us that Dürer too existed in a world of product. And, admit it, having seen it, you want one, you know you do. It's part of the British Museum's exhibit, Germany: Memories of a Nation, on till January 25th.
On the Sunday after Assumption I saw the great procession of the Church of Our Lady of Antwerp, at which the whole town were present, all the crafts and ranks, each splendidly dressed according to his rank. Each guild and rank had its emblem by which it might be recognized. Before each group, great and splendid candles were carried, and long, silver Frankish trumpets. And there were also, like in Germany, many pipes and drums, blown loudly and beaten vigorously. I also saw in the procession the long train, widely spaced, of goldsmiths, painters, stonemasons, silk-borderers, sculptors, joiners, carpenters, sailors, fishermen, butchers, tanners, clothmakers, bakers, tailors, shoemakers, and every kind of craftsman and many artisans and traders ... Similarly there were the shopkeepers and merchants and their various assistants. There followed those who shoot with the gun, bow and arquebus, and the horsemen and infantry. And after them came a great contingent of the town's officials; and then, a cavalcade of distinguished men, nobly and splendidly, attired, proceded by the various Orders and Foundations in their different robes, and very devout. There was also in this procession a large group of widows, who supported themselves and observe a special rule, all dressed in white linen that covered them from head to foot, very moving to see. Among them I saw many distinguished persons. And at the end of the procession came the Chapter of the Church of Our Lady with all the priests and scholars in all their splendour. Twenty persons carried the Image of the Virgin and Child, adorned most magnificently, to the honour of the Lord. And in the procession were many magnificent things, splendidly contrived and adorned. There were many carts, and plays performed on ships, and other devices. Among these were the Prophets in their order, followed by the New Testament: thus, the Annunciation, the Three Kings mounted on large camels, and other strange beasts, ingeniously contrived, like Our Lady on the Flight into Egypt, very devout; and many another thing which for the sake of brevity we shall omit. Towards the end came a large dragon led by a girdle by Saint Margaret and her maidens, and she was especially lovely. There followed Saint George with his squires, a very charming knight. There also rode in this group boys and girls from many lands, splendidly dressed in their native costumes, representing different Saints. From the beginning to the end, the procession took more than two hours to pass our house. There was so much that I could not write it in a book, and I leave the rest ....
Ink drawing of Agnes Frey, age nineteen, in 1494, the year she was married to Albrecht Dürer. Possibly she was not crazy about the match. The drawing resides in the Albertina Museum in Vienna among a large collection of Dürer's stuff. At some point in history the sheet was cropped and mounted, which is why you can't find a copy with all the lines of her back intact. Here's the restorer's report.
Dürer's Netherlands Sketchbook includes pages that juxtapose cityscape and portrait to create a very strong sense of character, as if each sitter is saying, "This is me and here I am." St Anthony improves on that by putting the subject in front of the cityscape, in a posture that duplicates the shape of the hill town behind him, creating a micro/macro relationship. Despite its intricate solidity, the city is like a thought or emanation of the saint. There might be 1200 years between the foreground and background, but the time feels like a quiet afternoon.