albrecht durer the knight death and the devil symbolism which symbol of fidelity
Rather than crudely cutting a signature into the piece (as some impetuous artists might do), the German printmaker incorporated his initials and the date onto a plaque in the picture’s lower left side. The way he carved his “AD” served as a sort of logo that allowed him to protect his rights to the sales of his prints as they made their way across Europe.
Some historians argue the Dutch Catholic priest’s 1501 book Handbook of a Christian Soldier may have inspired Knight, Death, and the Devil’s horseman. One particular passage seems to suit the knight’s firm-chinned stare:
The work was mentioned by Giorgio Vasari as one of “several sheets of such excellence that nothing finer can be achieved”.  It was widely copied and had a large influence on later German writers. Philosopher Friedrich Nietzsche referenced the work in his work on dramatic theory The Birth of Tragedy (1872) to exemplify pessimism, while it was later idealised in the 20th century by the Nazis as representing the racially pure Aryan, and was sometimes used in their propaganda imagery. 
The work is considered one among three of Dürer’s “Meisterstiche” (master prints); along with Saint Jerome in His Study (1514) and Melencolia I (1514).  In particular, the horse is skillfully rendered in geometric shapes that call to mind Leonardo da Vinci and reflect the Renaissance interest in natural sciences and anatomy. 
Albrecht Dürer. Comet. Painted on the reverse of St. Jerome in the Wilderness. Oil on panel. 9.1 x 6.7”. 1495-96.
In contrast, St. Jerome in His Study shows a man who has come to terms with the facts of his own imperfection, has reconciled his faith, and works comfortably in his study. You still see the presence of death—the hourglass, the skull, and so on. There is a lion this time, an attribute of St. Jerome, and another dog sleeping peacefully.
The engraving depicts a procession of earthly and supernatural beings travelling along a mountain pass from the right-hand-side of the frame to the left while the high-gabled roofs, crenellated walls and lofty towers of a citadel are visible in the distance. A horseman, wearing plate-armour and resting a lance on his shoulder, is riding a powerful charger in the company of two monstrous figures that are considered to be manifestations of Death and the Devil.
A tablet, resting against the tree stump on top of which the skull is positioned, is located at the bottom-left-hand corner of the print and displays the year of the engraving’s creation as well as the artist’s initials. The skull, lacking a jawbone, is facing towards the right-hand-side of the print which gives the impression that its lifeless form is looking towards the approaching party.
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Throughout the ages, artists have frequently depicted dogs as symbols of positive values such as courage, loyalty, and vigilance. Whether serving as guards, guides, companions, or hunters, dogs have a very strong presence in the great artworks.