some of his most celebrated paintings: Adam and Eve (1507), Martyrdom of the Ten Thousand (1508, for Frederick of Saxony), Virgin with the Iris (1508), the altarpiece Assumption of the Virgin (1509, for Jacob Heller of Frankfurt), and Adoration of the Trinity (1511, for Matthaeus Landauer). During this period he also completed two woodcut series, the Great Passion and the Life of the Virgin, both published in 1511 together with a second edition of the Apocalypse series. The post-Venetian woodcuts show Dürer's development of chiaroscuro modelling effects, creating a mid-tone throughout the print to which the highlights and shadows can be contrasted. Other works from this period include the thirty-seven Little Passion woodcuts, first published in 1511, and a set of fifteen small engravings on the same theme in 1512. Complaining that painting did not make enough money to justify the time spent when compared to his prints, he produced no paintings from 1513 to 1516. In 1513 and 1514 Dürer created his three most famous engravings: Knight, Death and the Devil (1513, probably based on Erasmus's Handbook of a Christian Knight), St. Jerome in His Study, and the much-debated Melencolia I (both 1514, the year Dürer's mother died). Further outstanding pen and ink drawings of Dürer's period of art work of 1513 were drafts for his friend Pirckheimer. These drafts were later used to design Lusterweibchen chandeliers, combining an antler with a wooden sculpture. In 1515, he created his woodcut of a Rhinoceros which had arrived in Lisbon from a written description and sketch by another artist, without ever seeing the animal himself. An image of the Indian rhinoceros, the image has such force that it remains one of his best-known and was still used in some German school science text-books as late as last century. In the years leading to 1520 he produced a wide range of works, including the woodblocks for the first western printed star charts in 1515 and portraits in tempera on linen in 1516. His only experiments with etching came in this period, producing five between 1515–1516 and a sixth in 1518; a technique he may have abandoned as unsuited to his aesthetic of methodical, classical form. Patronage of Maximilian I From 1512, Maximilian I became Dürer's major patron. He commissioned The Triumphal Arch, a vast work printed from 192 separate blocks, the symbolism of which is partly informed by Pirckheimer's translation of Horapollo's