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"However, what total beauty is that I know not. Nobody knows it but God," said Albrecht Durer, before producing his engraving (29 Finkelstein). Melencolia I, created in 1514, conveys this statement visually in the engraving about not being able to acquire divine understanding. Section of a designed series of big prints, Melencolia I belongs to the three virtues of medieval scholasticism, that can be morality, theology, and intellectuality. Though linked to insanity, Renaissance studies imply that depression, a depressive condition, was connected to creative genius, praising it as a present than a curse. This change in definition could only be implemented to Dürer, as he had mastered his craft, yet couldn't achieve celestial beauty (Met Museum). To understand the meaning behind this highly detailed piece of art, it must be divided up into various regions of focus; to completely comprehend the topic of the piece: knowledge is divine. To understand the theme, we must first examine the artist's biographical makeup to understand why he decided to create such an elaborate print. The piece itself must be analyzed to gain understanding of the theme of divine knowledge, as well as make crucial connections between the piece and the artist. Albrecht Dürer took printmaking to a different level, to some form of fine art all of its own. Melencolia I, along with other prints proved to be far more superior to prints created in the past. Although Dürer grew up in Germany, visits to Italy profoundly influenced his artistic personality and thirst for artistic [removed]Met Museum). Not merely did he strive for artistic perfection, he also excelled in other types of math and science, but which carried over into his notions of geometry and perspective within his artwork. His approaches made him an iconic figure on the...