which description best applies to the engraving knight death and the devil by albrecht dürer
Knight, Death and the Devil (German: Ritter, Tod und Teufel) is a large 1513 engraving by the German artist Albrecht Dürer, one of the three Meisterstiche (master prints)  completed during a period when he almost ceased to work in paint or woodcuts to focus on engravings. The image is infused with complex iconography and symbolism, the precise meaning of which has been argued over for centuries.
It is generally believed that the portrayal is a literal, though pointed, celebration of the knight’s Christian faith, and also of the ideals of humanism. An alternative interpretation was presented in 1970 by writer Sten Karling, and later by Ursula Meyer, who suggested that the work did not seek to glorify the knight, but instead depicts a “robber knight” (raubritter). They point to the lack of Christian or religious symbolism in the work and to the fox’s tail wrapped on top the knight’s lance – in Greek legend  the fox’s tail was a symbol of greed, cunning and treachery, as well as lust and whoring.  However, knights were commonly depicted in contemporary art with a fox tail tied to the tip of their lance. Moreover, the fox tail was a common form of protective amulet.  in this interpretation Death and the Devil are merely the knight’s companions on his journey, not omens. 
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:
A visual feast and technical marvel, Albrecht Dürer’s Knight, Death, and the Devil caused a sensation in 16th century Europe and still inspires awe today. But do you know the secrets hidden in its scratches?
There were times when melancholy is considered the least desirable of the four moods. However, in the Renaissance, it became identified with the artistic temperament, or rather with the creativity. Moreover, in times of Durer melancholics were begun to separate on three types: the first group includes artists and artisans, the second – people whose mind is dominated by the senses – statesmen and scholars, the third – those who have prevailed intuition – theologians and philosophers. Separation of it was probably quite arbitrary, since the engraving, which is named not just “Melancholia” but “melancholy I” depicted not only the attributes of the artist or craftsman, but also the astronomer and mathematician.
Mandate that granted Dürer Emperor Maximilian I, after the latter’s death in 1519 the authority of Nuremberg refused to recognize, thus depriving the artist of the guaranteed annual income. Therefore, the artist was forced to go along with his wife on his confirmation to the new Emperor Charles I. And since his coronation was to be held in Aachen, the ultimate goal of this trip was the Netherlands. This trip for Albrecht Dürer became a triumphal and lasted more than a year. He was solemnly accepted in the cities, which he passed; Antwerp painters, united in a guild of St. Luke’s, gave in his honor a celebratory dinner, and then the magistrate asked him to settle permanently in the city and get a hundred, as in Nuremberg, and three hundred guilders a year! However, as once in Venice, Dürer refused such an honor – saying that without his hometown he can not live.
The most striking painting illustrating Dürer’s growth toward the Renaissance spirit is a self-portrait, painted in 1498. Here Dürer sought to convey, in the representation of his own person, the aristocratic ideal of the Renaissance. He liked the way he looked as a handsome, fashionably attired young man, confronting life rather conceitedly. In place of the conventional, neutral, monochromatic background, he depicts an interior, with a window opening on the right. Through the window can be seen a tiny landscape of mountains and a distant sea, a detail that is distinctly reminiscent of contemporary Venetian and Florentine paintings. The focus on his own figure in the interior distinguishes his world from the vast perspective of the distant scene, another world to which the artist feels himself linked.
The trip to Italy had a strong effect on Dürer; direct and indirect echoes of Italian art are apparent in most of his drawings, paintings, and graphics of the following decade. While in Venice and perhaps also before he went to Italy, Dürer saw engravings by masters from central Italy. He was most influenced by the Florentine Antonio Pollaiuolo, with his sinuous, energetic line studies of the human body in motion, and by the Venetian Andrea Mantegna, an artist greatly preoccupied with classical themes and with precise linear articulation of the human figure.
He became proficient in painting, printmaking, engraving and mathematics, he was also a theorist, a prolific writer on perspective and the proportions of the human body. He is regarded as the greatest artist of the Northern Renaissance, a true all-rounder, the equal of the artistic giants from Italy.
Durer travelled throughout Western Germany learning his trade from masters in Strasberg, Colmar and Basel, perfecting his techniques in the German tradition of the times. On 7th July 1494 at the age of 23 and on his return to Nuremberg, he married Agnes Frey, a marriage arranged in his absence.