Albrecht Dürer in the context of Crosshatching

Eschatology (/ˌɛskəˈtɒlədʒi/ ; from Ancient Greek ἔσχατος (éskhatos) 'last' and -logy) concerns expectations of the end of present age, human history, or the world itself. The end of the world or end times is predicted by several world religions (both Abrahamic and Dharmic), which teach that negative world events will reach a climax. Belief that the end of the world is imminent is known as apocalypticism, and over time has been held both by members of mainstream religions and by doomsday cults. In the context of mysticism, the term refers metaphorically to the end of ordinary reality and to reunion with the divine. Many religions treat eschatology as a future event prophesied in sacred texts or in folklore, while other religions may have concepts of renewal or transformation after significant events.

The Abrahamic religions maintain a linear cosmology, with end-time scenarios containing themes of transformation and redemption. In Judaism, the term "end of days" makes reference to the Messianic Age and includes an in-gathering of the exiled Jewish diaspora, the coming of the Messiah, the resurrection of the righteous, and the world to come. Christianity depicts the end time as a period of tribulation that precedes the second coming of Christ, who will face the rise of the Antichrist along with his power structure and false prophets, and usher in the Kingdom of God. The explicit description of a new earth is primarily found in Christian teachings (this description can be found in Chapter 21 of the Book of Revelation). In later traditions of Islam, separate hadiths detail the Day of Judgment as preceded by the appearance of the Masīḥ ad-Dajjāl, and followed by the descending of ʿĪsā (Jesus), which shall triumph over the false Messiah or Antichrist; his defeat will lead to a sequence of events that will end with the sun rising from the west and the beginning of the Qiyāmah (Judgment Day).

Renaissance art (1350 – 1620) is the painting, sculpture, and decorative arts of the period of European history known as the Renaissance, which emerged as a distinct style in Italy in about AD 1400, in parallel with developments which occurred in philosophy, literature, music, science, and technology. Renaissance art took as its foundation the art of Classical antiquity, perceived as the noblest of ancient traditions, but transformed that tradition by absorbing recent developments in the art of Northern Europe and by applying contemporary scientific knowledge. Along with Renaissance humanist philosophy, it spread throughout Europe, affecting both artists and their patrons with the development of new techniques and new artistic sensibilities. For art historians, Renaissance art marks the transition of Europe from the medieval period to the Early Modern age.

The body of art, including painting, sculpture, architecture, music and literature identified as "Renaissance art" was primarily produced during the 14th, 15th, and 16th centuries in Europe under the combined influences of an increased awareness of nature, a revival of classical learning, and a more individualistic view of man. Scholars no longer believe that the Renaissance marked an abrupt break with medieval values, as is suggested by the French word renaissance, literally meaning "rebirth". In many parts of Europe, Early Renaissance art was created in parallel with Late Medieval art.

Engraving is the practice of incising a design on a hard, usually flat surface by cutting grooves into it with a burin. The result may be a decorated object in itself, as when silver, gold, steel, or glass are engraved, or may provide an intaglio printing plate, of copper or another metal, for printing images on paper as prints or illustrations; these images are also called "engravings". Engraving is one of the oldest and most important techniques in printmaking. Wood engravings, a form of relief printing and stone engravings, such as petroglyphs, are not covered in this article.

Engraving was a historically important method of producing images on paper in artistic printmaking, in mapmaking, and also for commercial reproductions and illustrations for books and magazines. It has long been replaced by various photographic processes in its commercial applications and, partly because of the difficulty of learning the technique, is much less common in printmaking, where it has been largely replaced by etching and other techniques.

Usury (/ˈjuːʒəri/) is the practice of making loans that are seen as unfairly enriching the lender. The term may be used in a moral sense—condemning taking advantage of others' misfortunes—or in a legal sense, where an interest rate is charged in excess of the maximum rate that is allowed by law. A loan may be considered usurious because of excessive or abusive interest rates or other factors defined by the laws of a state. Someone who practises usury can be called a usurer, but in modern colloquial English may be called a loan shark.

In many historical societies including ancient Christian, Jewish, and Islamic societies, usury meant the charging of interest of any kind, and was considered wrong, or was made illegal. During the Sutra period in India (7th to 2nd centuries BC) there were laws prohibiting the highest castes from practising usury. Similar condemnations are found in religious texts from Buddhism, Judaism (ribbit in Hebrew), Christianity, and Islam (riba in Arabic). At times, many states from ancient Greece to ancient Rome have outlawed loans with any interest. Though the Roman Empire eventually allowed loans with carefully restricted interest rates, the Catholic Church in medieval Europe, as well as the Reformed Churches, regarded the charging of interest at any rate as sinful (as well as charging a fee for the use of money, such as at a bureau de change). Christian religious prohibitions on usury are predicated upon the belief that charging interest on a loan is a sin.

The wild man (German: Wilder Mann, der Wilde Mann), wild man of the woods is a mythical figure and motif resembling a hairy human that appears in the art and literature of medieval Europe. Generally considered large-statured race of humans who are hairy all over its body, living in the wilderness or woodlands. They are often thought to be covered with moss, or wear green or vegetative clothing, and iconically wield a club or hold an uprooted tree as a staff. They also occur in female versions as wild women.

The Wilde Mann (Middle High German: wilde man) is attested in Middle High German literature, particularly German heroic epics while the female Wilde Weib (wildez wîp) figures in the Arthurian works, typically appear as adversaries. These beings are also called by names meaning "wood men" and in older forms of the language, "wood wife". In Middle English a corresponding term for the wild man is woodwose or wodewose.

The Apocalypse, properly Apocalypse with Pictures (Latin: Apocalipsis cum figuris; German: Die heimliche Offenbaru[n]g ioh[an]nis), is a 1498 printed book by Albrecht Dürer containing fifteen woodcuts accompanied by text. The book depicts scenes from the Book of Revelation, and rapidly brought Dürer fame across Europe. These woodcuts likely drew on theological advice, particularly from Johannes Pirckheimer, the father of Dürer's friend Willibald Pirckheimer.

Work on the book started during Dürer's first trip to Italy (1494–95), It was published in both Latin and German at Nuremberg in 1498, at a time when much of secular Europe feared an invasion of the Ottoman Empire and Christian Europe anticipated a possible Last Judgment in the year 1500. Dürer was the publisher and seller of this series, and became the first artist to publish a book and create a copyright. Considering the 15 woodcuts, The Four Horsemen of the Apocalypse (c. 1497–98), referring to Revelation 6:1–8, is often viewed as the most famous piece. The overall layout of the cycle has the illustrations on the recto (right) and the text on the following verso (left). This would suggest the importance of illustration over text.

Apocalypticism is the religious belief that the end of the world is imminent, even within one's own lifetime. This belief is usually accompanied by the idea that civilization will soon come to a tumultuous end due to some sort of catastrophic global event.

Apocalypticism is one aspect of eschatology in certain religions, the part of theology concerned with the final events of human history, or the ultimate destiny of humanity (societal collapse, human extinction, and so on).

Woodcut is a relief printing technique in printmaking. An artist carves an image into the surface of a block of wood—typically with gouges—leaving the printing parts level with the surface while removing the non-printing parts. Areas that the artist cuts away carry no ink, while characters or images at surface level carry the ink to produce the print. The block is cut along the wood grain (unlike wood engraving, where the block is cut in the end-grain). The surface is covered with ink by rolling over the surface with an ink-covered roller (brayer), leaving ink upon the flat surface but not in the non-printing areas.

Multiple colours can be printed by keying the paper to a frame around the woodblocks (using a different block for each colour). The art of carving the woodcut can be called xylography, but this is rarely used in English for images alone, although that term and xylographic are used in connection with block books, which are small books containing text and images in the same block. They became popular in Europe during the latter half of the 15th century. A single-sheet woodcut is a woodcut presented as a single stand alone image or print, as opposed to a book illustration.

Adam and Eve is the title of two famous works in different media by Albrecht Dürer, a German artist of the Northern Renaissance: an engraving made in 1504, and a pair of oil-on-panel paintings completed in 1507. The 1504 engraving depicts Adam and Eve in the Garden of Eden, surrounded by several symbolic animals. The engraving transformed how Adam and Eve were popularly depicted in art.

The 1507 painting in the Museo del Prado offered Dürer another opportunity to depict the ideal human figure in a different medium. Painted in Nuremberg soon after his return from Venice, the panels were influenced by Italian art. Dürer's observations on his second trip to Italy provided him with new approaches to portraying the human form. Here, he depicts the figures at human scale—the first full-scale nude subjects in German painting.

The Palazzo Brignole Sale or Palazzo Rosso is a house museum located in Via Garibaldi, in the historical center of Genoa, in Northwestern Italy. The palace is part of the UNESCO World Heritage Site Genoa: Le Strade Nuove and the system of the Palazzi dei Rolli. The rich art collection inside, along with the galleries of Palazzo Bianco and Palazzo Doria Tursi, is part of the Musei di Strada Nuova and consists of the works of artists of the caliber of Antoon van Dyck, Guido Reni, Paolo Veronese, Guercino, Gregorio De Ferrari, Albrecht Dürer, Bernardo Strozzi and Mattia Preti.

Saint Jerome in His Study (German: Der heilige Hieronymus im Gehäus) is a copper engraving of 1514 by the German artist Albrecht Dürer. Saint Jerome is shown sitting behind his desk, engrossed in work. The table, on the corner of which is a cross, is typical of the Renaissance. An imaginary line from Jerome's head passing through the cross would arrive at the skull on the window ledge, as if contrasting death and the Resurrection. The lion in the foreground is part of the traditional iconography of St. Jerome, and near it is a sleeping dog, an animal found frequently in Dürer's works, symbolizing loyalty. Both creatures are part of Jerome's story in the Golden Legend (c. 1260), which contained fanciful hagiographies of saints.

St. Jerome in His Study is often considered as part of a group of three Dürer engravings (his Meisterstiche), the other two being the well-known Melencolia I (1514) and Knight, Death and the Devil (1513). Together they have been viewed as representing the three spheres of activity recognized in medieval times: Knight, Death, and the Devil belongs to the moral sphere and the "active life"; Melencolia I represents the intellectual; and St. Jerome the theological and contemplative life.

Hatching (French: hachure) is an artistic technique used to create tonal or shading effects by drawing, painting, or scribing closely spaced parallel lines. When lines are placed at an angle to one another, it is called cross-hatching. Hatching is also sometimes used to encode colours in monochromatic representations of colour images, particularly in heraldry.

Hatching is especially important in essentially linear media, such as drawing and many forms of printmaking, such as engraving, etching, and woodcut. In Western art, hatching originated in the Middle Ages and developed further into cross-hatching, especially in the old master prints of the fifteenth century. Master ES and Martin Schongauer in engraving and Erhard Reuwich and Michael Wolgemut in woodcut were pioneers of both techniques. Albrecht Dürer in particular perfected the technique of crosshatching in both media.

A logarithmic spiral, equiangular spiral, or growth spiral is a self-similar spiral curve that often appears in nature. The first to describe a logarithmic spiral was Albrecht Dürer (1525) who called it an "eternal line" ("ewige Linie"). More than a century later, the curve was discussed by Descartes (1638), and later extensively investigated by Jacob Bernoulli, who called it Spira mirabilis, "the marvelous spiral".

The logarithmic spiral is distinct from the Archimedean spiral in that the distances between the turnings of a logarithmic spiral increase in a geometric progression, whereas for an Archimedean spiral these distances are constant.

Sebastian Brant (also Brandt; 1457/1458 – 10 May 1521) was a German humanist and satirist. He is best known for his satire Das Narrenschiff (The Ship of Fools).

Ship of Fools (Modern German: Das Narrenschiff; Latin: Stultifera Navis; original medieval German title: Daß Narrenschyff ad Narragoniam) is a satirical allegory in German verse published in 1494 in Basel, Switzerland, by the humanist and theologian Sebastian Brant. It is the most famous treatment of the ship of fools trope and circulated in numerous translations.

Saint George and the Dragon is a legend in which Saint George—a soldier venerated in Christianity—defeats a dragon. The story goes that the dragon originally extorted tribute from villagers. When they ran out of livestock and trinkets for the dragon, they started giving up a human tribute once a day. One day, the princess herself was chosen as the next offering. As she was walking toward the dragon's cave, St. George saw her and asked her why she was crying. The princess told the saint about the dragon's atrocities and asked him to flee immediately, in fear that he might be killed too. But the saint refused to flee, slew the dragon, and rescued the princess. The narrative was first set in Cappadocia in the earliest sources of the 11th and 12th centuries, but transferred to Libya in the 13th-century Golden Legend.

The narrative has pre-Christian origins (Jason and Medea, Perseus and Andromeda, Typhon, etc.), and is recorded in various saints' lives prior to its attribution to Saint George specifically. It was particularly attributed to Saint Theodore Tiro in the 9th and 10th centuries, and was first transferred to Saint George in the 11th century. The oldest known record of Saint George slaying a dragon is found in a Georgian text of the 11th century.

Joachim Patinir, also called Patenier (c. 1480 – 5 October 1524), was a Flemish Renaissance painter of history and landscape subjects. He was Flemish, from the area of modern Wallonia, but worked in Antwerp, then the centre of the art market in the Low Countries. Patinir was a pioneer of landscape as an independent genre and he was the first Flemish painter to regard himself primarily as a landscape painter. He effectively invented the world landscape, a distinct style of panoramic northern Renaissance landscapes which is Patinir's important contribution to Western art. His work marks an important stage in the development of the representation of perspective in landscape painting.

Patinir was a friend of not only Dürer, but also of the leading Antwerp painter Quentin Metsys, with whom he often collaborated. The Temptation of St Anthony (Prado) was executed in collaboration with Metsys, who added the figures to Patinir's landscape. His career was nearly contemporary with that of Albrecht Altdorfer, the other major pioneer of paintings dominated by the landscape, who worked in a very different style. He may have been the uncle of Herri met de Bles, but there is not a single piece of contemporary evidence to support it. De Bles was probably only 14(?) when Patinir died, and his style was quite different, although both came from Dinant. The latter is the only fact connecting the two artists at the moment.