Such is the account in all the books that deal with Dürer, from the work of the German Sandrart, in the seventeenth century, down to the biographical dictionaries published in our own time by French writers; such is the story which has served as text to so many denunciations of this new Xantippe, and to so many elegies upon her victim. But the facts of the case were not carefully examined. The result of Herr Thausing's scrupulous investigation of the subject, and the authentic testimony he has adduced, show, on the contrary, that Albert Dürer and his wife lived on pretty good terms till his death; so that we may banish as idle fables the torments which he was supposed to have suffered, and the sorrows that were said to have shortened his life.
The story so frequently repeated after Vasari, of Dürer's quarrels with a certain forger of his works at Venice, where copies signed with his monogram were publicly sold as originals, rests on a surer basis. The said forger was a young man of no reputation who had conceived this idea of commanding a sale for his works, and of thus quickly realising a profit on the renown of Dürer and the simplicity of his customers. It was not long, however, before the fraud was discovered, when he tried, it is said, to turn it into a joke; but the German artist could not be brought to see it in that light. It was a case in which his wife was not concerned, and he could take his own part openly. He applied at once to the Senate, denounced the fraud, and obtained a decree condemning the offender thenceforth to affix to his plates no other name than his own. This name, destined to become celebrated, was no other than that of Marc Antonio Raimondi.
In our own days the truth of this story has been more than once doubted, at least in so far as the legal consequences are concerned, for the forgery itself cannot be denied. The plates of the "Life of the Virgin," engraved by Marc Antonio from Albert Dürer, and bearing the monogram of the latter, are known to every one; but it has been objected as an argument against the sentence that, in the state of morals and legislation in the sixteenth century, to affix another person's signature to these plates did not constitute a misdemeanour; and that Marc Antonio, by appropriating the name and the works of Albert Dürer, did no worse than many imitators of Martin Schongauer had done before him, no worse, indeed, than was presently to be done with regard to his own works by imitators as unscrupulous as himself. This is quite true; but it is no less so that Albert Dürer's signature, so deliberately added by Marc Antonio to the copies he engraved of the "Life of the Virgin," is not to be found on the plates of the "History of the Passion," engraved later on by Marc Antonio in imitation of the German master. It is impossible not to suppose that in the meantime a judgment of some sort was passed, obliging the copyist to appear under his true colours.