PENGUIN CLASSICS OF WORLD ART

THE COMPLETE PAilMTilMGS OF

Durer
INTRODUCTION BY NOTES AND CATALOGUE BY
Alnstatr Smith Angela Ottino delta
Ctiiesa

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BOSTOM
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 Penguin Classics of World Art

The Complete Paintings of DCirer

Albrecht Durer was born in Nuremberg in 1471, the son of a

goldsmith. He made his debut as an artist with the famous
siiverpoint Self-Portrait, which he executed at the age of thirteen
while an apprentice in his father's workshop. After overcoming
parental opposition he was bound for three years to the painter
Michael Wolgemut. He then undertook journeyman travels,
visiting Colmar, Basle and Strasbourg. He returned to Nurem-
berg in May 1494 where he married Agnes Frey. In the autumn of
that year he made his first visit to Italy and this initial encounter
with the ideas of the Renaissance had a profound effect upon him
and the direction of his art. Diirer returned home in the spring of
1495 and took up his woodcut and engraving work; the
remarkable series of watercolours of alpine scenery, among the
most evocative in landscape painting, date from this year. The
first of Durer's great books. The Revelation of St John, was

published in 1498. In 1505 he again visited Italy, where he was

feted and lived the life of a nobleman. In a letter he wrote, 'How I

shall long for the sun in the cold. Here am a gentleman, at home
I I

am only a parasite.' He met Giovanni Bellini whom he greatly

admired and painted several works, including The Feast of the
Rose Garlands. On his return he concentrated on the study of
mathematics, geometry, Latin and humanist literature, and
sought thecompany of scholars ratherthan of his fellow artisans.
In 1512 he became court painterto the Emperor Maximilian and I

in 1520 he obtained from Maximilian's successor, Charles V,

confirmation of his post and pension. In the latter part of his life
DiJrer devoted more time to his theoretical interests and made
plans to write a treatise on art. The last major works, the portraits
of Muffel, Holzschuher and Kleberger, The Virgin with the Pear
and the magnificent The Four Apostles, were all executed in 1 526.
Durer died on 6 April 1528 and his remains lie in the cemetery of
the Church of St John in Nuremberg.
Durer's enormous oeuvre consists of woodcuts, engravings,
paintings, preparatory and independent drawings, theoretical
treatises and a detailed diary of his Netherlands journey. Durer
was the first German artist to have a reputation which, during his
lifetime, spread far beyond his own country, and his work can be
compared with the great contemporary Italian artists. His genius
enabled him to handle with superb craftsmanship the cultural
traditions of his native land, whilst at the same time assimilating
the ideas and techniques of the Renaissance. In 1 506 he wrote to
a friend from Venice, 'I have stopped the mouths of all the
painters who used to say that I was good at engraving but, as to
painting, did not know how to handle my colours.' It is generally
I

thought that Durer's graphic art is superior to his paintings but as

Alastair Smith writes, 'Although his panels and canvases are
lesser works of art, they are perhaps clearer documents of his
personality. They constitute the conscious effort of a German,
born a draughtsman and print-maker, to learn an alien tradition
. That Durer's paintings were admired by
. . men like Bellini
. . .

and Mantegna, is measure enough of their achievement.'

 The Complete Paintings of

DiJrer

Introduction by Alistair Smith

Notes and catalogue by Angela Ottino della Chiesa

Penguin Books

^BRIGHTON
Penguin Books Harmondsworth, Middlesex, England
Ltd,
Viking Penguin 40 West 23rd Street, New York, New York 10010, U.S.A.
Inc.,

Penguin Books Australia Ltd, Ringwood, Victoria, Australia

Penguin Books Canada Limited, 2801 John Street, Markham, Ontario, Canada L3R 184
Penguin Books (N.Z.) Ltd, 182-190 Wairau Road, Auckland 10, New Zealand

Firstpublished by Rizzoli Editore 1968

This translationfirst published in Great Britain by Weidenfeld & Nicolson Ltd, 1971
Published in Penguin Books 1986
Text adapted and updated by Sebastian Wormell

Copyright© Rizzoli Editore, 1968

Introduction and translation © copyright by George Weidenfeld & Nicolson Ltd, 1970
All rights reserved

Printed in Italy

Except in the United States of America, this book is sold subject

to the condition that it by way of trade or otherwise, be lent,
shall not,
re-sold, hired out, or otherwise circulated without the
publisher's prior consent in any form of binding or cover other than
that in which it is published and without a similar condition
including this condition being imposed on the subsequent purchaser

Photographic sources

Colour plates: Ashmolean Museum, Oxford; Blauel,

Munich; British Museum, London; Brunei, Lugano;
Marques, Lisbon; Metropolitan Museum of Art, New York;
Meyer, Vienna; National Gallery, Washington d.c; Photo
Flammarion, Paris; Dominguez Ramos, Madrid; Schroll,
Vienna; Scala, Florence; Staatliche Kunstsammlungen,
Museen, Gemaldegalerie Dahlem,
Kassel; Staatliche
Berlin;Wallraf-Richartz-Museum. Cologne.
Black and white illustrations: Archives Photographiques,
Paris;Accademia Carrara, Bergamo; Rizzoli Archives,
Milan; Bayerische Staatsgemaldesammlungen, Munich;
Hessisches Landesmuseum, Darmstadt; Kunsthalle,
Bremen; Museum Boymans-van Beuningen, Rotterdam;
Museum of Fine Arts, Boston, Mass.; Narodni Galerie,
Prague; Steinkopf, Berlin.
Introduction

Diirer was highly aware of being Diirer. Perhaps the supposes a self-awareness almost as unhealthy as the
most outspoken document of this self-consciousness conceptual feat is daring. This sophistication is borne
and our clearest guide to his intentions is his self- out in the treatment of the image. The cool, detached,
portrait of 1500 (plate XVI). Here the artist does not self-contained boy is the product of the chillingly
portray himself objectively but invents an image of objective introspection of the young artist.
himself for (public) display. We do not see a record of The clear gaze of the child became the more know-
Diirer as he was, but as he declared himself to the ing scrutiny of the adolescent. Greater self-knowledge
world - the artist in his public persona. He presents and a study of his own moods are evident in the
himself^ imitatio Christi, with the long centre-parted hair pen-drawing at Erlangen (page 83). Here the hand
and in the full-face pose usually reserved for images of steadying the head and the sombre expression of the
the Redeemer himself. The steadfast gaze, the un- dark face pre-figure the later pose of Melencolia I (page
earthly luminosity of the stare, the inhuman symmetry 117). The young man (of nineteen or twenty) was
of the pose all make the comparison between the artist already conscious of the double-edged quality of his
and Christ. But what may seem a smack of arrogance genius. Soon afterwards, he made his third autobio-
was a deeply serious protestation. Diirer openly graphical drawing (page 83). On the back of a sheet
declares that he is to emulate Christ in his own way. on which a cushion is minutely studied six times, he
In his miraculous creativity, in his self-sacrifice and in studied a hand in the attitude of drawing, this looming
his attempt to communicate the truth to men, he will larger than his head, as if, at this time, the development
adopt the most dedicated mode of life. Further, just as of his technique was more important than his thought.
the artist's appearance is translated into the image of It is in his painted Self-portrait of 1493 (plate I) that
Christ, so his name is translated into the language of he first adopts a persona. Fully adult in his self-aware-
the Latin past. The signature - Albertus Durerus JVoricus ness, he cloaks himself in a disguise. The fashionable
- is almost a supplementary proclamation that the doublet, rakish cap and eryngium flower (symbol of
artist would remain a Northerner (JVoricus) but would fidelity in love) define him as Diirer' the Lover. The
master the visual style of the antique world. splendour of the costume, however, pathetically sets
Diirer made this declaration of artistic intent at the oflTthe carefully dishevelled locks and the sad, appeal-
age of twenty-eight, after having made several self- ing stare of the suppliant separated by his travels from
portraits in various media. His first showed him to be his future bride.
a child prodigy (page 83) It is executed in the difficult
. Diirer's habit of minute self-examination, both
medium of silverpoint in which the sharp, precise line physical and psychological, is documented in the above
and the lack of opportunity for changes demand an works. As he matured, however, his scrutiny turned
unfaltering hand and an unhesitant mind. What is to include not only his interior self but also his exterior
astonishing is not only the boy's technical success but environment. His consciousness deepened, his curiosity
also the image itself It is, in the whole period of widened. Having been impressed by Italian art
history, rare for a young boy to make a self-portrait, through prints, he undertook his first journey to Italy
but for a thirteen-year-old to do so in an age when the (Autumn 1494 -Spring 1495). This, the first recorded
self-portrait as a genre was not yet established, pre- pilgrimage of a German artist south of the Alps,
 ;

INTRODUCTION

changed the further development of all German visual but the linear excitement is northern in origin. The
expression. Here Diirer became acquainted at first total is pure Diirer, however, in its precise, frank

hand with "the arts of measurement, perspective and characterisation of the neurotic, impetuous Krel, the
other hke matters", as he was later to write. It was here hysterical expression of the head being heightened by
that his aspirations became truly
first concrete. Pre- the searing red foil and twisting tree-trunks.
viously self-aware enough to adopt the artificial guise Diirer's conscious assimilation of Italian ideals,
of the Lover in his 1493 Self-portrait, he now consciously which intensified during and after his second visit,
assimilated the Italian style. The effect upon him, seems to have demanded over the years that he make
personally and stylistically, is obvious in the Prado some paintings which are purely northern in spirit. It
Self-portrait of 1498 (plate XI). He appears as a svelte, is almost as if he felt the need to step out of the artificial-

composed young man, his hair carefully curled as if by ly induced classic personality and paint, occasionally,
a servant, his hand gloved in denial of the part that au naturel. Works devoid of Italian proportion and
manual labour played in his art. He is, in short, Diirer antique dignity but full of sympathy and tenderness,
the Gentleman, laying claim to the social position often laced with gothicising femininity and lyricism,
granted to Italian artists but not to their German appear throughout the years (plates XXVII - XXIX
counterparts who were ranked as mere craftsmen. and XLI).
Conscious now of the gulf between German and Diirer, nevertheless, increasingly measured his own
Italian art, aware not only of his talents but of his achievement in painting by Italian standards. In
mission, he deliberately set out to change the history 1506, he wrote to his friend Pirckheimer from Venice,
of German art and to make his own works the seeds of "I have stopped the mouths of all the painters who
this change. In the Munich Self-portrait (plate XVI) used to say that I was good at engraving but, as to
he signals his dedication to the teaching of the gospel in painting, I did not know how to handle my colours".
Germany - the gospel of the Italian style. His true achievement is perhaps not colouristic, but
Previous to 1494, Diirer had founded his art on the rather lies in his highly intellectual, sophisticated use
models available to him in the North, where there was of the Italians' main contributions to painting, i.e.
a strong graphic tradition. His drawings and woodcuts realistic pictorial space and highly plastic figures.
to this date, and also his painted portrait, show him These two attributes are in a major way responsible
to be peerless in his draughtsmanship and observation. for the highly physical and realistic effect common to
The rhythm of his contours defines the emotional all Italian pictures around 1500. Diirer's greatest use
content of his works and yet simultaneously describes of this reality-creating vocabulary is, strangely, in the
three-dimensional objects. Abstract, formal value creation of a visionary experience. The Adoration of the
exists side by side with realistic description. His Trinity (plate XLV). Here the universe is represented
encounter with Italian art introduced him to classical at the end of time with the Trinity accepting saints,
subject-matter, to the techniques of scientific per- pre-Christian characters and manner of earthly
all
spectival construction and anatomical analysis. The men into the City of God. Beneath this, dawn breaks
works executed between his two sojourns in Italy (the over the "new earth" re-created after destruction by
second lasted from 1505 to 1507) show the artist's fire. The artist himself is its only inhabitant. The high,
attempt to come to grips with Italian criteria of art- luminous colour leaps to the eye with the suddenness
making. His Madonnas (plates VIII and IX), his of a flash of intuition. This intuition becomes concrete
newly-found anatomical precision {Adam and Eve imagination is given physical reality by the amazing
engraving, page 117), his perspecdve (plate XXIII) illusionism of Diirer's description. The plastic empha-
and his sense of the elegant and heroic [St George, plate sis makes the massed figures project from the plane;
XXII) are all direct products of Itahan example. He their overlapping diminution produces infinite depth
was undoubtedly impressed by the characteristic — space itself. The inclusion of portraits heightens the
brilliant colour and expressive landscapes of Venetian reality of the dream. Miraculously, the heavy tangible
painters. His own watercolours (plates II - VIIB),
rows of figures float in the air. Their weight is given
while partaking of Venedan emodonal expression weightlessness by the magnetism of the Trinity. The
through landscape, retain their northern sense of the spectator is sucked into the composition by the sheer
particular. Similarly his Portrait of Oswolt Krel (plate force of the perspectival illusion.
XIII) adopts the Venedan modf of a cloth back-drop. These space-creating techniques and methods of
 INTRODUCTION

ordering a multitude of figures were obviously gleaned a greater sculptured quality than in the earlier works
by Diirer fi"om the Italians.But he in no way sacrifices, (plate LIV), and he even imitated sculptured busts in
in the unity of the design, his own northern concrete- the oil medium {Catalogue no. 185). This final, three-
ness of detail. He has learned how to make his pictures dimensional, marbled manner shows him closer to the
one unified whole to which the linear detail is sub- ideals represented by Mantegna than ever before. The
ordinated. Previously, when attempting an image Italian who most impressed Diirer in his youth is also
which could be seized by the eye in one glance and its his last influence.
atmosphere sensed by the spectator in one moment Art historians have always stressed the superiority
(plate XXXIX), he had found it necessary to relax of Diirer's graphic work over his paintings. Although
his detail. Now we find that his portrait poses or his panels and canvasses are lesser works of art, they
figure groupings (plates L and
LI) will have an almost are perhaps clearer documents of his personality. They
geometric simplification of contour, while, in areas, constitute the conscious effort of a German, born a
the modelling may similarly tend to rationalised draughtsman and print-maker, to learn an alien tradi-
generalisation (plates LII and LIII). His latest tion, a tradition which stretches back to the era of
pictures amazingly combine a unified image, to which antique sculpture and reaches its apex in Italian
the spectator can relate immediately, with a core of painting around 1500. That Diirer's paintings were
detail which is read piece by piece after the total image admired by the perfectors of the style, men like Bellini
has been appreciated. Portraits read in this manner and Mantegna, is measure enough of their achieve-
(plates LVIII and LXIV) thus present the spectator ment. What these paintings could not teach to the
with a definite analogy to the meeting of an actual German artist, Diirer put in verbal form in his treatises,
person. First a general impression is formed, then a emulating the Italian artist-theoretician to the last.
closer acquaintance is possible. The hallmark of One might echo Camararius who asked, "What can
Diirer's later paintings is not simply a precision of one say of the steadiness and exactitude of his hand?"
characterisation (plates LIX - LXII) in which each by adding, "What can one say of the steadiness of his
man's particular individuality is portrayed with sym- purpose?"
pathy and admiration (plate LVII). There exists also ALISTAIR SMITH
4i
An outline of the artist's critical history

Waagen, writing in the mid-nineteenth century, maintained that which Durer's work has long been credited. On 20 May 181 5,
the appeal of Diirer's works depends on the degree to which they Cornelius organised a celebration at his own house to mark
reflect a pure, noble and truly German spirit. "When we consider Diirer's birthday. Arranged around the portrait of the master
the conditions under which such a quantity of true works of art were an oak wreath and an assortment of palettes, paint brushes,
were made, our admiration turns to emotion. One is tempted to compasses and burins, and on a table set up as an altar were
compare the artist to a tree which springs up on barren ground prints and engravings. An autobiographical extract was read,
and is gnawed by cold and battered by winds but which never- and the group made a solemn pledge to commemorate the event
theless asserts its latent strength. It has a hard, gnarled bark, and every year. The ceremony was described by Friedrich Overbeck.
thrusts itself vigorously upwards, spreading out a rich leafy In 1840 Overbeck painted a large Triumph of Religion in the Arts
plumage." The literature on Diirer abounds in better definitions (or Alliance of the Church with the Arts) in which Diirer was given a
and more apt analogies than this, but Waagen's description is place of honour. The illustrator of the Apocalypse was seen as both
worth considering because it pinpoints those characteristics in the guardian of virtue and decency and as a champion of the
Diirer's art which have been constantly referred to throughout Catholic church. His Self-portrait of 1500 (Munich) in which he
three centuries. The importance of the man, the biographical appears posed as the Redeemer [Catalogue no. 59), his hair parted
context, the problems of environment, the links with Italy, the in the middle, falling in luxurious ringlets, with a short beard and
limitations (dryness, harshness, an apparent lack of a sense of long smooth moustache around a sensuous mouth, became the
formal beauty, the hard, almost metallic, colouring, the compo- talisman of the new school. In other words, the image of Durer
sitional weaknesses) and the merits (imagination, scientific as a simple, devout, indefatigable, versatile and essentially Ger-
knowledge, and technical versatility) all of these are aspects of
: man figure was replaced by a more spiritual and universal concept
his art which have been dwelt on time and time again. of him. The celebrations which took place in Nuremberg, Berlin
The man himself has always been interesting. His qualities, and Munich in 1828, to mark the third centenary of his death,
such as mildness, good breeding, devoutness, honesty and loyalty, established the Biedermeier image of Diirer as it is represented in
became legendary in the decades following his death, thanks to a Christian Ranch's monument, which was unveiled in Nuremberg
reputation which was without parallel in his day. Later, the in 1828. The hair framing the face is carved in stylised curls and
revelations of the letters, diaries and other autobiographical ringlets, the cloak is straight out of a theatrical wardrobe and the
writings could well have modified if not completely changed the pose is senatorial. This image is matched by Gottfried Keller's
accepted picture of his character. The bizarre and eccentric description in Henry the Green of the Munich Carnival of Artists in
quirks of character coupled with a certain naivety, evident even 1840 in which Diirer brought up the rear of the procession with
in his maturity, gave a fuller image of the artist which added to symbols and personifications on either side. In this period the
the too austere or over-assured characterisations of the famous man and his work were considered in the most arbitrary manner.
self-portraits. "Poor Diirer", wrote Goethe, in Bologna on i8 Goethe, who for a long time hesitated between admiration and
October 1786, "to think that in Venice he miscalculated and disapproval, was ecstatic about the pen drawings decorating one
made a deal with that bunch of priests which cost him weeks and of Maximilians prayerbooks (Munich). His enthusiasm left
months of his time; when he was travelling in the Netherlands, obvious traces on the German graphic art of the last century and
he bartered those superb works of art, with which he had hoped contributed far more to Diirer's popularity than the demon-
to make his fortune, for parrots to save himself tips he made
; strations of coteries. In 1808 Alois Senefelder, the inventor of the
portraits of the servants who had brought him a dish of fruit. The lithographic process, published the drawings made for the
thought of that poor fool of an artist distresses me infinitely, prayerbook; the consequences were immediate: Pforr's frontis-
because ultimately my fate is the same as his, with the difference piece for Gotz von Berlichingen (1810) recalls Diirer's decorative
that I know how to look after myself a bit better." Goethe's style, as do Cornelius's Faust illustrations of about the same
provocative assessment was not followed up. For Schlegel Diirer period. Eugen Napoleon Neureuther (a pupil of Cornelius)
was the Shakespeare, the Jakob Bohme, the Luther of painting. demonstrates Diirer's influence in his illustrations for a volume of
Franz Pforr, the head of the confraternity of St Luke and a ballads and stories by Goethe - which were quite inordinately
member of the Nazarene movement, considered Diirer the praised by the poet. The fashion lasted right up to the time of
indispensable model for an original and modern art. To Peter Adolf Menzcl and was assimilated easily into the organic decora-
Cornelius we owe the two epithets "passionate and ascetic" with tive forms of Jugendstil.
CRITICAL HISTORY

It was obviously necessary to redefine the essential character- Nazarenes he was a defender of the Faith the historians of the ;

istics of the artist through basic research into the background and late nineteenth century regarded him as a Protestant; finally

through establishing and personali-

his relationship to the milieu Nietzsche and Mann cast him in the role of Faust. Diirer was a
ties of his day. more difficult on account of
The work was all the diffisrent symbol for each age.

the accumulated weight of legend and tradition. It was difficult The influence of Diirer's graphic art has been immense nearly :

to pierce the stereotyped image. There were still unhistorical all Northern art of the sixteenth century was influenced by his

interpretations, though along different lines. In the Birth of work, and his motifs were used extensively by artists from Poland
Tragedy Nietzsche identified the Knight of the famous engraving to France, in the Balkans - including Mount Athos - and from
with Schopenhauer: "Alone, with his dog and his horse (alto- Spain to the New World. Furthermore his graphic work played
gether without hope), intrepid in the face of the fearsome mon- a crucial role in the development of Italian Mannerism, and
sters which surround him". Panofsky's researches, however, led there was even a brief but effective Diirer revival in the cultured
him to an exactly opposite view, which is that the artist intended circle of Rudolph II at the beginning of the seventeenth century.
to represent the Christian soldier (derived from Erasmus's In contrast to the Romantics' enthusiasm, Wolfflin's formalistic
Enchiridion .), who is confident in his intention of following the
. .
approach stimulated a more profound aesthetic understanding
road leading to eternal salvation, "fixing his eyes steadily and of Diirer's work, and the research carried out into the artist's
intensely on the thing itself" even in the presence of Death and background by Thausing, Flechsig and the Tietzes has filled
the Devil. another gap. It was work such as this that made possible Winkler's
Thus the conception of Diirer throughout has mirrored the work on attribution. Finally Panofsky, with his extensive experi-
paradoxes that lie at the heart of four centuries of German ence of iconography and his many personal contributions towards
culture the conflict between the desire for universality and the
: the understanding of the artist's biographical and cultural back-
love of detail, the tendency towards realism and at the same time ground, of his theoretical writings and his links with Italy,
towards abstraction, the need for norms, for a moral canon, which evolved a complex interpretation of the master. His remains the
is counterbalanced by spiritual Angst. To the Humanists Diirer standard work; it has put Diirer's various stylistic sources in
was Apelles; to the Baroque period he seemed a barbarian; perspective, so that the complexity of his work can be appreciated
Goethe saw him as a hero the Romantics idolised him for the ; ; in its totality.

I have also prepared the horoscope of our Albrecht Diirer and My heart rejoices for our Diirer; he is an artist worthy of eternal
have sent it to him the wheel of fortune is there, which means
. . . ; fame, erasmus of Rotterdam, Letter to W. Pirckheimer, 19
that he earns [much] money, because of the favour of Mercury, July 1523-
due to his talents as a painter. Besides Mercury Venus also . . .

appears, which signifies that he is a good painter, l. beheim. Ishould like Diirer to paint my portrait why should I not desire ;

Letter to W. Pirckheimer, 23 May 1507. thisof such an artist? erasmus of Rotterdam, Letter to W.
Pirckheimer, 8 January 1525.
Whereas Albrecht Durer, a loyal servant of us and our kingdom,
has taken great pains in the drawings executed at our bequest, Albrecht Diirer embellished the world with his pictures
First
. and whereas the said Diirer, according to many accounts,
. .
and every place with his magnificent art.
filled
exceeds in fame many other painters, we are moved to require of Now only the heavens remain for him to adorn with his
you that the said Durer shall be absolved from all dues
. . .
painting.
normally payable to the city ... in consideration of our wishes in Leaving the earth, he rises towards the stars.
this matter and of his celebrated art. Maximilian i. Letter to
the Council of Nuremberg, 12 December 151 2. All the components of genius, all that is honest and sincere,
all that is wise and worthy of praise,
It me that the origin of the Venetian saying, according
seems to friendship and art repose in this tomb.
to which all German cities are blind save Nuremberg which sees
with one eye, is to be sought in the fact that your people have O Albrecht, would that tears would bring you back to life,
established themselves as men of intellectual wisdom and con- that the earth could not cover your mortal remains.
siderable industry The same holds true also in the sphere of
. . .
But since neither tears nor laments can alter fate,
art That this conviction has taken root even in Italy is due to
. . .
let anguish express all that is due to the dead.
that Apelles of our day, Albrecht Durer, whom the Italians, w. PIRCKHEIMER, Three epitaphs to Diirer, 1528.
always loath to express praise for Germans, admire so much that
they disparage themselves, sometimes to the point of displaying This is the image of Albrecht Diirer, the famous
their works under his name in order to sell them more easily. Nuremberg painter, of great renown,
u. VON HUTTEN, Letter to W. Pirckheimer, 25 December 15 18. whose art was far superior

10
 CRITICAL HISTORY

to that of all other masters of his day. Reni's, but seem rather to be embodiments of the German idea
. . . He was held in great esteem by princes, noblemen of maternal affection; they are nearly all mature women, who
and all the artists, scarcely ever display qualities of virginal delicacy, j.h.merck,
who still praise and value his works, in "Der Teutscher Merkur", III, 1780.
and learn from his example.
H.SACHS, Rhyming inscription for a woodcut of Diirer made by If Raphael and Albrecht Diirer have attained perfection, what
E.Schon, 1528. should a true pupil avoid if not arbitrariness? j.w.goethe,
Letter to F. Miiller, 21 June 1781.
I remember the painter Albrecht Diirer, a man famous on
account of his talents, once saying that as a young man he had The figures in your paintings, Albrecht Diirer, seem to be real
preferred paintings with varied and dazzling colours. . . . Later, people conversing with each other. One would recognise each
as he grew older, he began and tried to convey
to observe nature one in a crowd, so exactly are they characterised; each is per-
its actual appearance; he had understood, then, that the best ceived in a way so essentially his own, that he fulfills his function
ornament of art is simplicity, melancthon Letter to G.von , perfectly. None of them is imperfectly characterised, which
Anhalt, 17 December 1546. certainly could not be said of those most alluring paintings by
modern masters; each figure is drawn from life and is vividly
I cannot describe with what contempt I regard our sham painters portrayed as a living being: those who are weeping seem really
of puppets they have seduced women with their theatrical poses,
: to weep those who are angry really are angry those who pray
; ;

artificially coloured faces, and garishly coloured clothes. Oh pray in earnest. Every detail makes itself felt: no gesture is
manly Albrecht Diirer, how much I prefer your sculptured form, superfluous or used simply to please the eye or to fill a space each
;

despite the ridicule it has suffered from the ignorant, j.w. individual element has equal importance and allows us to grasp
GOETHE, Von deutscher Baukunst, 1772. unequivocally the total effect. Everything the great master
portrays is convincing and leaves a permanent impression on the
You must not ridicule or underestimate anything, mind. . . .

must not exaggerate or coarsen anything; I do not agice at all with those who maintain that if only Diirer

you should see the world had been to Rome for any length of time and had become aware
as Albrecht Diirer saw it, of the pure, idealised beauty of Raphael, he would have become
throbbing with life, a great painter; that one should make allowances and, moreover,
driven by a vital force, unchangeable. marvel at what, in the circumstances, he was able to to do. I find
J.W.GOETHE, Ha ns Sachsens poetischer Sendung, 1776 nothing to make allowances for, and in fact I am positively
delighted that destiny granted Germany a painter so intrinsically
Of all the great men who could claim that they have been victims, national as Diirer. Any other eventuality would have meant the
at one time or another, of misguided criticism, or of tradition, distortion of his character, since he was not Italian.
none would have better reason than Albrecht Diirer. While critics He was not born to the perfection or the sublime achievements
admitted that his drawing possessed qualities of precision and of a Raphael his aim was to show us people as they really are, and
;

expressiveness, he was reproached for employing a gothic manner he succeeded toanextraordinaryextent. Allthesame, I remember
of representing ugly everyday reality. He was criticised for that, as a young man, when I first saw paintings by Raphael and
painting drapery too minutely and too dryly defects were found ; yourself, beloved Diirer, in a marvellous gallery, it struck me that
in the poses of his figures, and a harshness in the general effect of of all the artists whose work I knew these two, for some reason,
his pictures. There is some truth in all these judgements - the possessed a particular quality which established an immediate
germ, as it were, which has bred all these errors of criticism. It is rapport with my own temperament. Their simple, distinct and
true that he was not able to compose figures well this skill was ; convincing manner of representing people, without recourse to
developed later in the Flemish and Lombard schools. Diirer . . . the metaphorical elegances of other painters, pleased me. At the
has been criticised for depicting the vulgar commonplaces of time, however, I did not dare to admit such views, as I feared
everyday life in his drawings. It is true that he drew his inspiration public derision and knew that most people considered the work
solely from those around him, but his understanding of their of German aitists to be rigid and dry. w.h.wackenroder,
characters, their way of life and of the social conditions of the age, Ehrengeddchtnis unsers ehrwiirdingen Ahnherrn Albrecht Diirers, in
and the care and precision with which he executes them, result "Deutschland", 1796.
in figures which give evidence of profound study [from life] . . .

His drawing does not belong to the classical taste, and there is I consider Diirer's Self-portrait of 1493, made when he was

never any suggestion of the seductive form of the nude figure twenty-two years old, priceless [Catalogue no. 12]... the draughts-
beneath the drapery His Madonnas are considered his most
. . . manship is first class, detailed and exact; the parts harmonise
attractive and successful works; and, contrary to the traditional perfectly; the execution is of the highest standard and absolutely
belief, few, if any, were modelled on his ugly wife Agnes. In fact worthy of Diirer, although the colours are thinly painted and
it is difficult to find any similarities between the numerous have become more opaque in parts.
representations of the Madonna in his engravings, woodcuts, Diirer painted this priceless work on a fine panel a real con-
;

drawings, paintings and other graphic works: each has her own noisseur would have put it in a gilt frame and con.served it with
special character, either in her features or in the expression of her loving care, but it had no frame and was not looked after. . . .

soul. They are not heavenly images like Raphael's or Guido ]. w. GOETHE, Tag-und Jahres-Hefte, 1805.

//
CRITICAL HISTORY

We used to consider Diirer as a serious artist who imitated nature they looked like, whereas everyone knows, or thinks he knows,
with punctiUous care and a keen appreciation of Hfe, of colours what Diirer looked like. Besides this, letters, diaries and notes
and forms, who sometimes managed to represent these things have survived - documents which provide insights into his
without his habitual unpleasant harshness ... we recognised, appealing character. We can imagine him alive and live with
moreover, that he possessed a rich imagination; however, we him; we can witness his profound emotions and thus become
believed him graceless and considered him incapable of trans- intimate with him. But beyond this, who could deny that he
posing into a tranquil and poetic key. These drawings by Durer possesses, to a supreme degree, a national character? Not always,

[in Maximihan's Golden Book in the Munich Staatsbibliothek] it is true; there are some works which baffle us, but there are

and extended our opinion of his artistic talent. Here he

justified others in which he seems to communicate with us like a living
appears freer than we had formerly thought possible, more person, h.wolfflin, Lecture on Diirer, 1921.
enchanting, serene, witty, and far more skilful than we had
expected in his choice of motifs, despite the Hmitations [of space] . . . who, alone, was the first in the North to apply his
the artist
and the symbolic significamce of the representatir^ns. The work tireless mind
to the problems which had occupied the Italian
was intended to be purely decorative and yet, without rejecting artistic world for more than a century and who made them
his apparently narrow terms of reference, the master was able to accessible to his fellow nationals was the greatest German artist:
create a wealth of interesting motifs. It is almost as if he has Albrecht Diirer.
displayed before our eyes the whole spectrum of artistic devices, Diirer was the first Northern artist to combine the visual forms
from the figures of the divinity right down to the decorative of antiquity and Italian art. He was affected at an early stage by
design;-, of the calligraphers. w.k.f. (goethe[?]), in "Jenaische Italian engravings and drawings, which drew him into their
Allgemeine Literatur-Zeitung", 19 March 1808. sphere of influence. He sensed the existence of a new world in
. . .

the clear light beyond the Alps and in antiquity, a world which
. . . What
needs to be done is to collect together all the existing followed different laws from those of the medieval tradition of
copies of Durer's work and make them public property, thus his own country, and he applied all the vigour and strength of
creating a monument worthy of him only when this has been
; his mind and spirit to discovering the key to the closed door. His
done shall we be able to assess him properly, for to understand an desires were fulfilled, to some extent at least, by his two journeys
artist one must see his works. In thus paying tribute to the man, to Northern Italy.
we should also secure a complete knowledge of his greatness for Thus were formed, and we can trace the
his theoretical ideas
the future. Those who love him should always remember that stages of their evolution from the end of the preceding century.
his greatest attribute is his personality: this least apparent facet But his aspirations towards the ideal classical-Italian form were
of his works is an element of their perfection and the almost total; opposed by his artistic inheritance, the empiricism of the nordic
lack of any external event in his life is one of the conditions of his countries and the uninterrupted tradition of the Middle Ages,
development. particularly in the treatment of the human body. It must have
Those who do not know of Diirer have a serious lacuna in their been as difficult for him to come to terms with this world con-
concept of our history; but for those who do know of him, the ceptually - rather than superficially as later artists did - as it is
mere mention of his name evokes associations, as if it were for us today, as the heirs of the spiritual renaissance of Northern
synonymous with "Germany" or "fatherland", h.grimm, man, to approach
his art, or indeed almost any of the art of our
Albrecht Diirer, 1866. national without inhibitions of taste. The dichotomy
past,
between the subjective concept of beauty, and objective under-
Until now the name "Diirer" has been synonymous with German standing, a perception of the world conditioned by scientific
art.He was generally considered, despite certain reservations, to thought which has dominated artistic developments in Europe
stand for German art in the same way as Rembrandt stood for up to Impressionism (and is only now called in question by new
Dutch and Rubens for Flemish art.
art . . . modes of expression) was manifested - most strikingly personified
,

Today view no longer holds good. There are new concepts

this in the forceful individualism of Leonardo - in a conscious
of the essential characteristics of German art, and Griinewald, hostility towards the very different way of seeing of the "gothic"
formerly considered as a peripheral figure, has assumed a central world with its negation of and scorn for objective reality, with its
importance. It is he who now reflects, in the true sense of the word, deductive methods (so detested by Leonardo) and its delight in
the German spirit he is no longer thought of as an isolated figure
; spiritual things and in the existence of elemental spirits.
the work of Altdorfer, Cranach the Younger, Hans Baldung Grien It was a deep chasm, which could be bridged only with great
and others can be closely related to his. Now it is rather Diirer difficulty; Diirer realised this, and never quite succeeded in
v/ho appears to be isolated. ...It is difficult to dismiss such views bridging it altogether. In the new century his ceaseless, pains-
as these. Although
can easily be established that Durer's art
it taking energies were directed towards discovering the laws
is firmly rooted in German soil, and that he seems,
even now, to governing the form of those curiously fascinating images, to
exercise a de facto pre-eminence, this position has often been appropriating them, to adapting them to his own world, and
claimed, quite convincingly, for others. eventually to mastering them, j.schlosser magnino, Die
Certainly there is no other artist into whose character we can Kunstliteratur , 1924.
acquire such a close personal insight as into Durer's. We have
extensive biographical documentation for him, whereas the
To think of Diirer means to think of love, of grace and self-
personal lives of Grunewald and even Holbein are, by com- awareness. It means an understanding of that which is most
parison, mere shadows. It is not even possible to estabhsh what profound and impersonal, of all those things that are beyond and

12
 CRITICAL HISTORY

above the material confines of our ego but which determine and The study of perspective and of human and animal propor-
. . .

sustainit 1 1 is history as legend a history which is always material

. , tion - both already highly developed in Italy - found in Diirer a
and present, since we are far less individual than we either hope devoted enthusiast. But although he applied the laws in his own
or fear ourselves to be. t.mann, Diirer, 1928, in Altes und JVeues. work, he remained equally faithful to his own "personal" gothi-
Kleine Prosa ausfiinf Jahrzehnten, 1953. cised concept of space - so much so, in fact, that almost all his
works (apart from those most directly influenced by Italian
. . . The German art, pure nature or
old persistent dualism of models) present, one might say, simultaneously, a partial over-
pure fantasy, is compounded
him, through his contact with
in lapping of the two ideas. It is as if the image has, at the same time,
Italy, as a new dualism nature and the laws of nature.
: been conceived in accordance with the traditional German
Where was the secret? For us it did not exist, but Diirer practice in use at the time and realised through the new system.
believed that Italian artists possessed a secret, that they were There is thus a double standard for, and concept of, time and
endowed with a special, almost magic quality. space and it is the interlocking of the two, which are opposed but
He describes how, in his youth, he would have given all he which make equal demands, which gives his works that character-
possessed if the Venetian painter Jacopo de' Barbari, who was istic and inimitable quality of vibrancy which distinguishes them
travelling in the North, would reveal the mystery of proportion so clearly from both the static, decorative quality of late Gothic
to him. For us it was a question of a proportional norm (not
. . . art and from the monumental character, achieved through
a mystery), which was related, if I am not mistaken, to a spatial volume and chiaroscuro, of Italian art. We should say, rather,
norm, to Pacher had understood this
the "dolce prospettiva" . that it is precisely this chiaroscuro element which cannot (or does
perfectly, but Diirer's was a different disposition: he was the not want to) shake off the Gothic shadow. Even when his design
Northern equivalent of Pollaiuolo; he was obsessed by form, not isconstructed architectonically according to the new Renaissance
space - over and over again by form. canons, he continues to model his figures and landscapes with a
His curiosity in this sphere was insatiable - almost as great as delicate but constricting technique which never achieves the
that of a Leonardo: a finger, a book, a hand, a plant, a fold, a subtle sfumato effects we admire in a Pollaiuolo, aGiambellino
wood but, I would say, he never has the assurance or the
; and, most of all, a Leonardo, g.dorfles, A. Diirer, 1958.
methodical confidence of the Italians. On every occasion he tried
to immerse himself in the objects themselves, but he was ham- The personality of Albrecht Diirer offers itself to analysis,
pered by the old craftsmanlike technique which would rob a hand whether it be from the point of view of his historical importance

of its gesture and meaning and obscure the features through sheer or of the expressive content of the works, loaded as they are with
technical caprice. Even as he studied botany, geology, entomology contradictions which are only ultimately resolved - one might
and surgery, the old empiricism got in his way, and the free study say sometimes in extremis - by his quite exceptional vigour and
he had conceived became obstructed, clogged and unwieldy. He consequent formal assurance, into a tight and coherent unity.
began as a Pollaiuolo or a Verrocchio and finished by resembling His conception of art and of the social position of the artist was
more closely (particularly in his first phase) Schiavone or Zoppo. undoubtedly affected by his constant efforts to raise himself above
One might even ask oneself whether the first trip to Venice in '95 the traditional craftsman status of the German artist - who was
took him sooner to Murano and Vivarini's workshop than to still constricted, far into the fifteenth century, by the practice and
Venice and that of Bellini. ... It would be too Italian and too customs of the workshop - and to confer on art, following the
simple to single out from the German painter's oeuvre the few example of the Italians, the dignity of a science, thus assuring the
portraits alia veneta and say that in them Diirer is at his best; artist the status of a practitioner of the liberal arts. On the other
it would be
understand too little.
to hand, he was constantly preoccupied by technique, by the
His highest ambition was, soon, to achieve precisely that fully manual practice of different engraving processes, and his con-
integrated and rounded rhythm which was just beginning to tinual experimentation and his awareness of the expressive
emerge in Florence and Rome and which he had more or less potential inherent in the different techniques, and his search for
begun to understand in Leonardo's earlier experiments in an extreme formal perfection, bound him, with the strength of a
Lombardy. In any case, it was after the second journey to Italy longstanding and natural affection, to the craft tradition of his
in 1506 that he made his most ambitious efforts. But, to the . . . country. So we find existing side by side in Diirer a self-effacing
end, he was plagued by the thorny remnants of the old abstract- and painstaking diligence, a tenacious dedication to achieving a
ions, and the half-conceived norm became corrupted in faultless manual dexterity, and obvious humanistic sympathies,
mannerism. It was at this stage that Pontormo was drawn to him, an intellectual acuity which made it necessary for him to theorise
as Vasari noted in that famous passage from which the critics of about his art. And although before him Michael Pacher had
Germany have extracted every ounce of value. Diirer's tormented attempted to establish a more profound link with Italian art
and disquieting spirit taxes us to the limit with the perpetual without rejecting his artistic origins, it is Diirer alone who can be
question: what is form? or, more precisely, what is art? The considered as both the most national and the most universal of
enquiry overburdened the artist at work; his question thus all German he was as su.sceptible to the lure of the
artists:

remains open, even in his most famous engravings which, after Renais.sance as he was bound to the "gothic' traditions of the
so many years, I still always find - and I am not ashamed to North. This kind of bi-polaristic or dualistic character in his
admit it - rather difficult to read, r.longhi, in "Romanita conception of art, formed by the two opposing traditions which
e germanesimo", 1941. met in him, found, quite naturally, its counterpart in the aston-
ishing extension of his expressive range: from the fantastic.

13
CRITICAL HISTORY

hallucinated \asions of the Apocalypse to the precise "objective" of his observation, its restless probing power, and its ability at
treatment of the biblical patriarchs, from the supreme - though times to stimulate his imagination, cannot be paralleled in any
perhaps austere and dramatic - composure of the Holzschuher other artist - not even Leonardo. It was a curiosity about how
and Muffel portraits to the terrible admonitory fierceness of the everything works which came originally, one might guess, from
Four Apostles, r.salvini, Diirer, Incisioni, 1964. curiosity about himself. It was, fundamentally, a personal quest
_and an attempt to hold a dialogue with posterity. Observation
Diirer's mind was not one was rather the
to achieve synthesis ; his penetrated so far that it bared his heart when he described - in
talent of an observer, obsessed by the appearance of all pheno- words and in drawing - his dream a psychological self-portrait. :

mena but drawing hardly any conclusions. Yet the sheer range M.LEVEY, Diirer, 1964.

Diirer's writings that they have not studied the art of proportion, without which
. . . From there [Seeland] we went to Middleburg, where, in the no one can either be or become a true artist this is the fault of ;

abbey, one can admire Mabuse's great painting, a work which is their masters who were themselves ignorant of this art. Since
less appealing in its composition and drawing than in its this [proportion] is the true foundation of all painting, I have
colouring. . . . proposed that I should myself impart the principles and systems
On the Saturday after Easter [6 April 1521] I left Antwerp for of proportional measurement to all those who are desirous of
Bruges, together with Hans Liiber and master Jan -Prevost, a understanding art ... so that they may understand reality and
good painter and himself a native of Bruges. . . . learn to reproduce it, so that they do not concentrate their
There [in the Prince's Residence at Bruges] I saw the chapel attention exclusively on art and acquire a proper and complete
painted by Rogier van der Weyden, and some paintings by a maturity. Today, in our land, there are some who revile the
. . .

talented old master. Thence they took me to the Church of

. . . art of painting and say that it serves idolatry, that paintings and
St James to see the magnificent paintings by Rogier van der images lead the Christian to superstitious beliefs, no less but . . .

Weyden and Hugo van der Goes, both of them great painters. In a painting brings more good than harm when it is well made
the Church of Our Lady I admired the statue of the Virgin . . . and, from the artistic point of view, correctly done. With what
by Michelangelo of Rome. They also took me to many other honour and respect art was regarded by the Greeks and Romans
churches, and showed me all the wonderful paintings in which is proved sufficiently by ancient texts; in the course of time,

Bruges abounds. . . . however, art disappeared and remained buried for more than a
[At Ghent] I saw the polyptych in the Church of St John {The thousand years until, two hundred years ago, it was once more
Adoration of the Mystic Lamb by Jan van Eyck] it is a very deeply : brought to light by the Italians. Art is easily lost, but - although
considered painting; the figures of Eve, Mary and God the it may be only with difficulty and after a long time has elapsed
-
Father are particularly good. Tagebuch der niederldndischen Reise, it is rediscovered. Unterweisung der Messung . . . (Dedication to
1520-21. W.Pirckheimer), 1525.

. Until now many gifted young scholars have turned to the art
. .
. . . The German painters . . . are not inferior to anyone in their
of painting, but they have not been given proper instruction and use of colour, but they have shown themselves wanting in the
have only been taught the technical practice. They have, thus, arts of proportion, perspective and such like. Without . . .

grown up ignorance [of painting], like wild trees which have

in proportion no picture can ever be perfect, even if it is executed
not been pruned. And although some of them have acquired a with all possible care. ... It is therefore necessary for all those
certain freedom of handling through constant practice, with the who wish to grasp this art (of painting) first thoroughly to learn
result that their work is not devoid of skill, yet they do not conform the art of proportion and how to draw things in plan and in
to rational principles and can be seen to depend only on personal perspective. What is quite simple cannot be truly artistic,
. . .

taste. Painters
of intelligence and genuine artists who have seen and what is artistic demands diligence, dedication, and work, if
such works have, with good reason, scorned the blindness of it is to be understood and mastered. If a work is incorrectly
these fellows. For one who knows there is nothing more
really designed, then however great the care and diligence spent on it
displeasing than to discern a fundamental error in a picture, the work is in vain whereas one which is correctly proportioned
;

however technique may be. The reason why such

faultless the
can never be criticised by anyone. Proportionslehre (Dedication),
painters should have found satisfaction in their mistakes is solely
1528.

14
The paintings in colour
 ;

List of plates

PLATE I PLATE XIX PLATE XXXVIII PLATE LIX

Self-portrait (with Eryngium Lamentation of Christ, detail Virgin with the Siskin, details of The Four Apostles (no. 181, A-B)
Flower) (no. 12) landscape (no. 1 16) Saints John the Evangelist and Peter
PLATE XX (A) Saints Mark and Paul (B)
PLATE 11 Lamentation of Christ, detail PLATE XXXIX
Pine Tree (no. 33) Portrait of a Woman (no. 120) PLATE LX
PLATE XXI Four Apostles, St Mark, detail
PLATE III Paumgartner Altarpiece (detail
(181 B)
PLATE XL
Sea Crab (no. 18) of panel with Virgin with the Dove)
(no. 104 A')
Portrait of a Young Woman PLATE LXI
PLATE IV A (no. 109)
The Four Apostles, St Paul, detail
View of Trent (no. 16) PLATE XXII (181 B)
Paumgartner Altarpiece, St George PLATE XLI
PLATE IV B
panel (no. 104 A) St Eustace panel Adam and Eve (no. 123, A-B) PLATE LXII
Castle of Trent (no. 23)
(no. 104 C) The Four Apostles, St Peter, detail
PLATE V A PLATE XLII (181 A)
Alpine Landscape (no. 26) PLATE XXIII Adam, detail (no. 123 A)
Paumgartner Altarpiece, The PLATE LXIII
PLATE V B Nativity (no. 104 B) PLATE XLIII Portrait of Hieronymus
View of Innsbruck (no. 27) Eve, detail (no. 123 B) Holzschuher (no. 184)
PLATE XXIV
PLATE A
VI PLATE LXIV
Paumgartner Altarpiece, detail of PLATE XLIV
View of Arco (no. 22)
Portrait ofJacob Muffel (no. 183)
The Nativity (no. 104 B) The Martyrdom of the Ten I
PLATE VI B Thousand (no. 129)
View of Nuremberg (no. 42) PLATE XXV Cover: detail of Self-Portrait
Paumgartner Altarpiece, The PLATE XLV (plate XI)
PLATE VII A Nativity, detail (no. 104 B) Adoration of the Trinity (no. 134)
Pond in a Wood (no. 36)
PLATE XXVI PLATE XLVI
PLATE VII B
Paumgartner Altarpiece, St Adoration of the Trinity, details
Mills on a River Bank (no. 37)
Eustace panel, detail (no. 104 C) (no. 134)
PLATE VIM
PLATE XXVII PLATE XLVII
Dresden Altarpiece (no. 44, A-C)
(centre panel Virgin Adoring the Young Hare (no.,75) View of Kalchreut (no. 132)
Infant Jesus)
PLATE XXVIII PLATE XLVIII
PLATE IX The Great Piece of Turf (no. 97) Virgin with the Pear (no. 136)
Virgin in Half Length (Haller
Madonna) (no. 50 A) PLATE XXIX PLATE XLIX
Virgin with a Multitude of Virgin with the Pink (no. 146)
PLATE X
Animals (no. 96)
Lot and his Daughters (no. 50 B) PLATE L
PLATE XI
PLATE XXX Portrait of the Emperor
Two Musicians (no. loi B) Maximilian I (no. 158)
Self-portrait (with Gloves) (no. 48)
PLATE LI
PLATE XII PLATE XXXI
Magi Virgin and Child with St Anne
Self-portrait (with Gloves) The Adoration of the
(no. 156)
(detail, no. 48) (no. 106)

PLATE XIII PLATE XXXII PLATE Lll

Portrait of Oswolt Krel (no. 52, Virgin and Child with St Anne,
The Adoration of the Magi,
A-C) (centre panel) (A) detail of Landscape (no. 106)
detail St Anne (no. 156)

PLATE XIV A PLATE Llll

PLATE XXXIII
Portrait of Oswolt Krel, left hand Virgin and Child with St Anne,
wing of triptych (B) Christ among the Doctors (no. detail the Virgin (no. 156)
117)
PLATE XIV B PLATE LIV
Portrait of Oswolt Krel, right PLATE XXXIV Head of a Woman (no. 162)
hand wing of triptych (C) Christ among the Doctors, detail
PLATE LV
PLATE XV (no. 117)
St Jerome in Meditation
Portrait of Elspeth Tucher (no. 56) (no. 169)
PLATE XXXV
PLATE XVI Christ among the Doctors, detail PLATE LVI
Self-portrait (in a Fur-collared (no. 1
17) St Jerome in Meditation, detail
Robe) (no. 59) (no. 169)
PLATE PLATE XXXVI
XVII
Lamentation of Christ (no. 61) Christ among the Doctors, detail PLATE LVII The numerals in parenthesis
(no. 117)
Portrait of a Gentleman (no. 179) which follow the title of each
PLATE XVIII
plate refer to the catalogue
Lamentation of Christ, detail of PLATE XXXVII PLATE LVIII numbers given to the paintings
landscape Virgin with the Siskin (no. 1 16) Virgin with a Pear (no. 182) (pp. 88-114).

16
PLATE SELF-PORTRAIT WITH ERYNGIUM FLOWER Paris, Louvre
Whole (44.5 cm.)
PLATE II PINE TREE London, Bn
Whole (19.6 cm.)
»LATE III SEA CRAB Rotterdam, Museum Boymans-van Beuningen
Wtiole (35.5 cm.)
PLATE IV A VIEW OF TRENT Formerly Bremen, Kunsthalle
Whole(35.6 cm

PLATE IV B THE CASTLE OF TRENT London, British Museum

Whole (25.7 cm.)
 *';'oJ r^-./a

'LATE V A ALPINE LANDSCAPE Oxford, Ashmolean Museum

Whole (31.2 cm.)

"^t-^ M

LATE V B VIEW OF INNSBRUCK Vienna, Alberlina

Whole (18.7 cm.)
 IP.
^.-.x<<. fiJ.^,

PLATE VI A VIEW OF ARCO Paris, Louvre

Whole (22.1 cm.)

'"^—r?f fy<.

PLATE VI B VIEW OF NUREMBERG f-

Whole (34.4 cm.)

 .. . . -J*.

PLATE VII A POND IN A WOOD London, British Museum

Whole (37.4 cm.)

-1

PLATE VII B MILLS ON A RIVER BANK Paris, Bibliolh6que Nalionalo

Whole (36.7 cm.)
PLATE VIII DRESDEN ALTARPIECE Dresden
Virgin adoring the Infant Jesus (9ti
PLATE IX VIRGIN IN HALF LENGTH Washington, National Gallery nf Ail. Kress Col: (.Hon
Whole (39 cm.)
PLATE . LOT AND HIS DAUGHTERS Washington, National Gallery of Art, Kress Collection
Vhole (39 cm.)
PLATE XI SELF-PORTRAIT Madrid, Prado
Whole (41 cm.)
SELF-PORTRAIT Madrid, Prado
Detail (actual size)
PLATE XIII PORTRAIT OF OSWOLT KREL Munich, Alle Pinakothek
Whole (39 cm.)
 1 "^'^T^i^W^

1 /^^y^^i 7 ^"^ ^
^
^^^^^^^H|/
^.
cP ^^^^^1
H .•^

/
i

X'v*
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M^H
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^^^^^^^^ '^ ^^^^^ ,

^^^^r * ^^^^m

E ^^^BC«^"^' ^^^^^^^^^^^^^V

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^/^A-1
^^.,h^/w ^^mr /i?>

L^.-K (r-.^\x\^tW*^,' , /,

1 'M^^/"-
wKm
#T'7
V

PLATE XIV PORTRAIT Oi-

akothek
(15 7 cm. each)
PLATE XV PORTRAIT OF ELSPETH TUCHER Cassel, Gemaldegal'^tif
Whole (22 cm.)
PLATE XVI SELF-PORTRAil
Whole (49 cm.)
PLATE XVII LAMENTATION OF CHRIST Munich, Alte Pinakotliek
Whole (121 cm.)
PLATE XVill LAMENTATION OF CHRIST Mlj
Detail (41 cm.)
PLATE XIX LAMENTATION OF CHRIST Munich, Alle Pinakolh';
Detail (41 cm.)
PLATE XX LAMENTATION OF CHRIST Munich
Detail (41 cm.)

I
PLATE XXI PAUMGARTNER ALTAR Munich, Alte Pinakothek
Detail of Virgin with the Dove (61 cm.)
PLATE XXII PAUMGARTNER ALTAR Munlc.
St George and St Eustace (61 cm.
PLATE XXIII PAUMGARTNER ALTAR Munich, Alte Pinakothek
The Nativity (126 cm.)
PLATE XXIV PAUMGARTNER ALTAR K
Detail of the Nativity (28 cm
PLATE XXV PAUMGARTNER ALTAR Munich, Alte Pinakolhek
Detail of the Nativity (28 cm.)
PLATE XXVI PAUMGARTNER ALTAR
Detail of St Eustace (60 err,
 '¥
1
m
3

PLATE XXVII YOUNG HARE Vienna, Albertina

Whole (?2.6 cm.)
PLATE XXViri THE GREAT PIECE OF TUh
Whole (31.5 cm)
PLATE XXIX VIRGIN WITH A MULTITUDE OF ANlMAi:
Whole (24.3 cm.)
PLATE XXX TWO MUSICIANS C
Whole (51 cm.)
PLATE XXXI ADORATION OF THE MAGI Florence, uni?i
Whole (114 cm.)
PLATE XXXII ADORATION OF THE MA:
Detail (actual size)
PLATE XXXIII CHRIST AMONG THE DOCTORS Lugano, Thyssen Collection
Whole (80 cm.)
PLATE XXXIV CHRIST AMONG THE 0,
Detail (actual size)
PLATE XXXV CHRIST AMONG THE DOCTORS Luyc
Detail (actual size)

«BB
PLATE XXXVI CHRIST AMONG THE
Detail (actual size)
PLATE XXXVII VIRGIN WITH THE SISKIN Berlin, Sl.ialliciv Mi
Whole (76 cm.)
PLATE XXXVIII VIRGIN WITH THE SISKIN
Details (17 cm. each)
PLATE XXXIX PORTRAIT OF A WOMAN Berlin, Staatliche Museen
Whole (21.5 cm.)
PLATE XL PORTRAIT OF A YOUNG LADv
Whole (24.5 cm.)
PLATE XLI ADAM and EVE Madrid, Prado
Whole (80 cm. each)
PLATE XLII ADAM Madrid, Prado
i
Detail (50 cm.)
PLATE XLIV MARTYRDOM OF THE TEN THOL
Whole (87 cm.)
3s Museum
PLATE XLV ADORATION OF THE TRINITY Vienna, Kunsthistorlsches Museum
Whole (123,5 cm.)
 i
H^i^
Ti^^^HBH

^gSg^
'
m
W^
w^^'M .

.
^'^
mM> r.jL
p^H| mm g<^9[^^^H Il^r3
IP |i9H
^ p^^>^
1 ^^1 H ^^^^^1
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1.
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4^ ^
^^1

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in^ Mm ^
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^^^H^».^
^^^^L^ '*^-

PLATE XLVI ADORATION OF THE TRINITY

Details (21 cm. each)
 M

PLATE XLVII VIEW OF KALCHREUT Formerly Bremen, Kunslhalle

Whole (31.4 cm.)
PLATE XLVIII VIRGIN WITH THE PEAR Vk;'
Whole (37 cm.)
PLATE XLIX VIRGIN WITH THE PINK Munich, Alte Pinakolhek
Whole (29 cm.)
PLATE L PORTRAIT OF EMPEROR
Whole
-hes Museum
(61.5 cm.)

«
PLATE LI VIRGIN AND CHILD WITH ST ANNE New York. Metropolilan Museum o( Aii
Whole (50 cm.)
PLATE Lll VIRGIN AND CHILD WITH .cum of Art
Detail (actual size)
 PLATE Llll VIRGIN AND CHILD WITH ST ANNE New YorK, iv|..

Detail (actual size)

K*
PLATE LIV HEAD OF A WOMAN
Whole (24.5 cm.)
PLATE LV ST JEROME IN MEDITATION Lisbon, Museu Nacional de Aile Aiili:

Whole (48.5 cm.)

PLATE LVI ST JEROME IN MEDITATION Lisbor
/vntiga
Detail (actual size)
PLATE LVII PORTRAIT OF A GENTLEMAN Madrid, Praao
Whole (36 cm.)
 1

PLATE LVIII VIRGIN WITH THE PE/

Whore (31 cm.)
PLATE LIX THE FOUR APOSTLES Munich, Alte PInakolhek
St John and St Peter. StMark and St Paul (76 cm. each)
PLATE LX THE FOUR APOSTLES Munich
Detail of St Mark (28 cm.)
PLATE LXI THE FOUR APOSTLES Munich, Alte Pinakothei.
Detail of St Paul (28 cm.)
PLATE LXII THE FOUR Ah
Detail of Sf Pc
 S' vvlicMe Muoeor
PORTRAIT OF HIERONYMUS HOLZSCHUHFR
"o-:..-
PLATE LXm
Whole (36 cm.)
PLATE LXIV PORTRAIT C. JACOb m._
Whole (36 cm )
The works
 So that the essential elements in each
work may be immediately apparent,
each commentary is headed first by a
Bibliography
number (following the most reliable The literature on Durer is more extensive Durers, Augsburg-Basle-Leipzig 1928,
chronological sequence) which is given and complex than that on any other 1937 and 1938) is an indispensable study
every time that the work is quoted German artist. The first bibliographic of Durer's work in all media.
throughout the book, and then by a inventory appeared 1928 in There are innumerable studies of
series of symbols These refer to 1 ) its
(H.W. SINGER, Versuch either Durer individual works and of particular
execution, that is, to the degree to Bibliographie, Strasbourg) which was problems, amongst which the following
which It IS autograph, 2) its technique;
followed in the same year by a are worth mentioning: L.JUSTI {Durers
3) support: 4) its present where-
Its
bibliography of Durer's theoretical Dresden Altar, Leipzig 1904);
abouts; 5) the following additional writings (H.BOHATTA, Versuch einer E.PANOFSKY-F.SAXL {Durers
data whether the work is signed, dated, Kupferstich "Melencolia
Bibiliographie der kunst-theoretischen I", Leipzig-Berlin
present-day form is complete, if
Its
if
Werke Albrecht Durers, in Bdrsenblatt fur 1923); M.DVORAK (4po/ta//pse,
It IS a finished work Of the other two
den deutschen Buchhandel, XCV); for the Kunstgeschichte als Geistesgeschichte,
numbers in each heading, the upper most up to date bibliographical references Munich 1924); H.KAUFFMANN {DiJrers
numbers refer to the pictures measure-
see E.PANOFSKY's
important Dreikonig-Altar, 'WRJ" X, 1938 - see list
ment in centimetres (height and monograph {Albrecht Durer, Princeton of abbreviations below);
width), the lower numbers to its date
1943, 1945 and 1948) and A.WEIXLGARTNER (in Festschrift fur
When the date itself cannot be given J.BIALOSTOCKI (/^/brecht Durer in Julius Schlosser, Vienna 1927);
with certainty, and is therefore only
Encyclopedia of World Art, Vol. IV, F.J.STADLER {Durers Apokalypse und
approximate, it is followed or preceded
McGraw-Hill, London 1964, which ihr Umkreis, Munich 1929);
by an asterisk, according to whether
contains an exhaustive list of Durer E.PANOFSKY {Die "Vier Apostel",
the uncertainty relates to the period
studies, grouped according to theme). MJBK", NF 1931); H.STEINBART
VIII,
before the date given, the subsequent
period, or both All the information
The following monographs should be {ZK 1951); E. SCHILLING
noted: M.THAUSING (^/brechf Durer, {Werkzeichnungen zur Grunen Passion, in
given corresponds to the current
Geschichte seines Lebens und seiner Berliner Museen, 1954); L.GROTE {Durer
opinion of modern art historians; any
Kunst, Leipzig 1876 and 1884: French in Venedig, Munich 1956); C.KOCK
seriously different opinions and any
further clarification are mentioned in the
edition 1878; English edition, Albrecht {ZKW 1958), J.BIALOSTOCKirOpus
Durer, John Murray, 1882, 2 vols. This is quinque Dierum": Durer's "Christ among
text.
still an essential work): H.WCDLFFLIN the Doctors" and its Sources, in Journal
{Die Kunst Albrecht Durers, Munich 1905; of the Warburg and Courtauld Institutes,
6th ed. 1943; English edition: The Art of XXII, 1959) K.MARTIN {Die Vier Apostel,
Albrecht Durer, London 1971); Stuttgart 1960); E.HOLZINGER ("Essays
M.J.FRIEDLANDER {Albrecht Durer. in honor of Erwin Panofsky", New York I,

Leipzig 1921); E.FLECHSIG (Albrecht 1961). The most useful English edition of
Durer, 2 vols., Berlin 1928-31); Durer's writings is still W.M.CONWAY's
A.NEUMEYER (Durer, Paris 1930); {Literary Remains of Albrech Durer,
W.WATZOLDT {DiJrer und seine Zeit, Cambridge 1889).
Key to symbols used Konigsberg 1944, 5th ed.); E.PANOFSKY Among recent books are: Bibliography:
- in addition to the work already M M E N DE
.
( DurerBibliographie,
mentioned - {The Life and Art of Albrecht Wiesbaden 1971); Monographs and
Durer, Princeton 1955 and 1965); essays: H.HOETINK {Durer, London
Execution Additional Data F.WINKLER {Albrecht Durer, Berlin 1971); C.WHITE (Durer.' The Artist and
1957); W.BRAUNFELS {A. Durer, his Drawings, Oxford 1971),
E.ULLMANN
EM Autograph ^ Signed work
Wiesbaden-Berlin 1960); studies of a
more general character have included Durer: Zeit
et al., eds.,
und Werk,
{Albrecht
Leipzig 1971),
those by G.DORFLES (Milan 1958); R.F.TIMKEN-ZINKANN
BCB With assistants H Dated work
M.LEVEY (London 1964); M.BRION namens Durer, Berlin 1972), J.
{Ein Mensch
RICHER
rfn With collaboration H Fragment or incomplete work
(Paris 1966).
Of the catalogues, F. LIPPMANN on the
{La Gloire de Dijrer, Paris 1974),
P.STRIEDER (Durer, Milan 1979; English
C.R.DODWELL,
H-H With extensive collaboration Q Unfinished
drawings {Zeichnungen von Albrecht
Durer Nachbildungen, 7 vols., Berlin
edition:
ed.,
London 1982),
{Essays on Durer, Manchester 1979),

ffl Workshop Without any of the above-

1883-1929. L. followed by a number in F.ANZELEWSKY (Durer; His Life and
mewioned attributes
the present text refers to Lippmann's Art, New York 1980; Durer Werk und
catalogue) and the more recent work by Wirkung, Stuttgart 1980; Durer-Studien,
ZA Usually attributed to Durer
F.WINKLER {Die Zeichnungen A. Durers, Berlin 1983); Catalogues: F.

Fff^ Not usually accepted 4 vols., Berlin 1936-9); the fundamental ANZELEWSKY {Albrecht Durer: Das
work on the prints is by J.MEDER malerische Werk, Berlin 1971) a catalogue
{Durer-Katalog, Vienna 1932), but see also of the paintings, W.STRAUSS, ed., {The
yQ Traditional attribution
S.R.KOEHLER(A Chronological Complete Dravyings of Albrecht Durer,
fQ^ Recent attribution Catalogue of the Engravings . , ., New York 1974), GERMANISCHES
Liverpool 1910). A.BARTSCH's NATIONALMUSEUM, NUREMBERG
Of dubious authenticity (numbers are used to simplify references {Albrecht Durer 1471-1971, 1971)
[ffl
to the engravings) {Le Peintre-Graveur, quincentenary exhibition; On particular
Symbols given Vienna 1800-8) - abbreviated as B, works and problems: W.J.HOFMANN
in the text
Technique followed by the relevant number. For the {Uber Durers Farbe, Nuremberg 1971),
woodcuts see W.KURTH {Durers H.T.MUSPER( Durers Kalserbildnisse,
© OH samtliche Holzschnitte, Munich 1927 and
1935; London 1927; New York 1946) and
Cologne 1972), H.KAUFMANN {Albrecht
Durer: Die Vier Apostel', Utrecht 1972),
6A Tempera for the engravings C.DODGSON K. HERRMANN-FIORE (Durers
{Albrecht DiJrer, London-Boston 1926) Landschaftsaquarelle, Berne/Frankfurt
and R.SALVINI's brilliant study {Durer, a.M. 1972); The standard German edition
^^ Watercolour
Incision! scelte e annotate, Florence 1964). of DiJrer's writings is: H.RUPPRICH, ed.,
H.TIETZEand E.TIETZE-CON RAT {Diirers schriftlicher Nachlass,-3 vols.,
Support {Kritisches Verzeichnis der Werke Albrecht Berlin 1956, 1966, 1969).

@ Panel

^23f Canvas Abbreviations

Qp Paper or similar AA: Art in America Sammlungen in Wien SDK: Studien zur deutschen
AB : The Art Bul/elin JKW: Jahrbuch fur Kunstwissenschaft Kunstgeschichte
AN: Art News K:Kunstchronik SM: Suddeutsche Monatshefte
Whereabouts BA: Bollettino d'arte LA; Les Arts SJ: Stadeljahrbuch
B M
The Burlingtor^ Magazine
:
MJ8K : Munchner Jahrbuch der WJK: Wiener Jahrbuch fur
• Accessible to the public DH: Der Deutsche Herold (Berlin) bildenden Kunst Kunstgeschichte
• D M Deutsches Museum
:
M K: Monatshefte fur Kunstwissenschaft WRJ Wallraf-Richartz- Jahrbuch
° Private collection E: Emporium MZ: Maimer Zeitschrift ZB K: Zeitschrift fur bildende Kunst
o GBA: Gazette des Beaux- Arts M Oxford Mail
: ZDVK Zeitschrift des deutschen
• Unknown " -i-ihrbuch der preussischen M D Old Master Drawings Vereins fur Kunstwissenschaft
':'ijngen P: Pantheon ZK: Zeitschrift fur Kunstgeschichte
OZ o Lost ich dsr kunsthistorischen PA: Paragone ZKW: Zeitschrift fur Kunstwissenschaft
Outline biography

1455 11 March According to Hungarian word aito meaning godfather, and the most im- impossible to trace Durer's Nuremberg There are indirect
the family history (written by door (in German tur or dur), portant publisher in Germany, development as a painter up to references to him in a eulogy
Durer In 1524) his father, also and indeed an open door also lived in the area and had the Portrait of his Father of Anton Kres written by one
named Albrecht {a Hungarian appears on the family coat of his printing works there. (Florence, Uffizi) of 1490. Schewal and published in 1515
by birth), who was a gold- arms Although contemporary Equally has proved impossible
it and in some of Pirckheimer's
smith, celebrated his 28th documents refer to Albrecht 1481-2 Durer was a pupil at to establish whether he parti- writing. Durer's own early
birthday In Nuremberg, where the Elder as a very active the Latin school of St Lawrence. cipated in the increased drawings and woodcuts throw
he had settled after travelling workman it has proved im- In 1482 his father was elected production of woodcuts in some light on this period It
across Europe and living for possible to trace any of his a sworn master of the guild of Nuremberg between 1488 and appears that the pattern of his
some time In the Netherlands work: the descriptions we have goldsmiths. 1490. This was a period in journey was essentially con-
training "with the great masters" of him from his famous son which all the painters and ditioned by the necessity of
Durer's family was of peasant refer to him only as a man and 1483—6 Durer made his debut engravers in Nuremberg were earning a living and that he
stock, originally from the as a father On the other hand as an artist with the famous attempting to compete with stayed wherever he could find
Magyar village of Ajtas, but we have proof of his skills as a Self-portrait in sllverpoint of Wolgemut and all the best work.
Durer's grandfather Anton had draughtsman in the sllverpoint 1484, executed while he was printers with Koberger, the
migrated to the neighbouring Self-portrait of 1486 (Vienna, working as an apprentice in period of the Schatzbehalter, 1492 At the beginning of the
town of Gyula and set up as a Albertina). his father's workshop. In 1486 the Neue Weltchronik, the Lives year hewas in Colmar as the
goldsmith When Albrecht the his father rented a workshop of the Saints and the Bruder- guest of the goldsmiths Kaspar
Elder arrived in Nuremberg it 1470 5 December Willibald near the town hall for the sum claus, and although it would and Paulus and the painter
was a flourishing commercial Pirckheimer was born in the of five florins a year: he wanted be logical to suppose that Ludwig Schongauer, the
and industrial city: It was also hereditary home
overlooking his son to become a goldsmith Durer made some individual brother of the great painter
Important for publishing and Nuremberg Market Square, he and was at first strongly op- contribution, no concrete evi- Martin Schongauer who had
was the Franconlan centre of was later to become the first posed to the young Durer's dence has come to light to recently died. Apparently
Humanism. Durer's father found humanist of that rich and wish to become apprenticed to support this hypothesis. Durer had hoped to find him
regular employment In the illustrious patrician family. the painter Michael Wolgemut: alive. In the spring he was
still

flourishing workshop of however, Durer eventually 1489 30 November. The in Basle as the guest of the

HIeronymus Holper, an 1471 21 May In a depen- overcame parental opposition third anniversary of Durer's fourth Schongauer brother,
Influential member of the guild dency of the same house, and began his apprenticeship entry into Wolgemut's studio. Jorg.He stayed in Basle for
of goldsmiths and silversmiths overlooking the Winklerstrasse, In Wolgemut's studio on 30 It reasonable to suppose,
is some time and established
and one of the four assayers of which was let out to an November 1486 He was to however, that on account of contacts with the major Basle
precious metals to that same artisan's family, Albrecht Durer remain there over three
for the season and the good publishers. The first secure
body. was born: he was the third years. Works dating from this relations between the two work from this period is a
child of Albrecht Durer (the period include the pen drawing families Durer would have woodcut St Jerome in his
1467 6 August Albrecht, at Elder) and Barbara Holper dated 1485 (made whilst he stayed in the studio for the Study, for an edition of the
the age of forty, married was still work-
in his father's winter period until April 1490. Epistolae Beati Hieronymi
Barbara Holper, the fifteen- 1475 12 May Following the shop) of the Virgin with Musical published by Kessler in August
year-old daughter of his death of his father-in-law, Angels (Berlin, Kupferstich- 1490 11 April-1494 18 May 1492: it had an immediate
employer. the course of the
In Albrecht the Elder bought a kablnett. L.I): Young Woman "When had finished my
I success (the original wood
next twenty four years she house (using part of his with a Falcon (London, British apprenticeship", Durer noted, block still exists) He also
would bear him eighteen inheritance),which had Museum), which has an "my father sent me off. stayed I contributed to a series of one
children formerly belonged to the inscription indicating that it away for four years, until he hundred and fifty woodcuts
goldsmith Kraft, situated in the was executed the day that called me back again I left for an edition of the Comedies
1468 8 July On payment of Unter der Vesten (now 493 Durer entered Wolgemut's after Easter [11 April] in 1490 of Terence which was pre-
ten florins to the guild of Burgstrasse). For this he paid workshop (L.208): Three and returned home in 1494, pared by Amerback but not
goldsmiths and silversmiths two hundred florins and a Lansquenets (Berlin, Kupfer- after Whitsuntide [18 May] "
published, for which one
Albrecht the Elder formally further one hundred florins on stlchkabinett. L.2): Cavalcade There is no other evidence hundred and twenty four
attained the status of master a mortgage in perpetuity. This (Bremen, Kunsthalle. L.100) from Durer himself of his woodblocks still exist. About
craftsman, a title which had move contradicts the popular which is dated 1489 and travels through Germany on four fifths of the forty five
already been designated him legend that Durer's celebrated initialled: The Crucifixion his first and longest stay away woodcuts for Bitter von Turn -
In the same year, for the sum friendship with Willibald (Paris, Louvre. L.596) which is from home It is a matter of published by Furter and
of two florins paid to the Pirckheimer began when they undated but probably dateable conjecture whether he followed Bergmann von OIpe in 1493
corporation of Nuremberg (a were childhood neighbours in to 1490: the London drawing his route to the Low Countries: (Basle) - can be ascribed to
tax levied on those whose the house on the Market The Lord Blessing; and The Ox this hypothesis is favoured by Durer, and he also contributed
fortune did not exceed one Square Michael Wolgemut, (Lemberg, Lubomirski Museum) Sandrart, and it is true that illustrations to Sebastian
hundred florins) Albrecht the the most famous contemporary which is one of the most Durer's early work seems to be Brant's celebrated Stultifera
Elder became a citizen of painter and engraver in interesting of these early related to the work of Dirk Navis. published in 1494 by
Nuremberg It is on this oc- Nuremberg, lived in the same drawings on account of its Bouts and Geertgen tot Smt Bergmann von OIpe
casion that, for the first time, neighbourhood: so did Schedel, powerful rendering. No paint- Jans. The first direct reference
the name Durer appears Durer and Sebaldus Frey, the uncle ings from this period have we have is to his arrival m 1493 Towards the end of the
is rough translation of Ajtas,
a of Durer's future wife. Anton survived - even in the form of Colmar, "peragrata Cermania", year he Basle for Stras-
left

apparently connected with the Koberger, who was Durer's possible attributions - so It is a year and a half after leaving bourg, where, amongst other

Durers self-portraits: (from left) at 13 (1484; sllverpoint. 27.5 x. 19.6, Vienna. sick man (c. 1507; pen and ink. 12.7 x 11.7; Bremen. Kunsthalle). as the man of
(c. 1491; pen and ink. 20.4 y.20.8. Eriangen. Universitats-
20 sorrows" (1522, pen and ink. 40.8 x 29 formerly m Bremen. Kunsthalle) Other self qn
Albertina); at about
bibliothek); at 22 (1493: pen and ink. 27.6 x 20.2; New York. Lehman Collection); as a
portraits: see Catalogue nos 12. 48. 59. W1B. 106, 115 129. 130. 134 and 176 OJ
 things, he carved two wood- Swabian painter Friedrich own age - is essential, ac- On 7 July the marriage was Apocalypsis cum figuris (The
cuts for the Opus Speciale Heslin - a follower of Rogier cording to Brion, This recon- celebrated; the young couple Revelation of St John) There
Missarum (Gruninger?), van der Weyden - was very struction of the itinerary is went to live in Durers father's are fifteen full-page woodcuts
published in November The influential; from there he probably fairly close to the house. In the autumn Durer set opposite the text, and a
Eryngium
Self-portrait with moved on to Ulm, the artistic truth (although Brion takes no left, alone, for Venice, which sixteenth was
cut in 1 51 1 for
Flower dated 1493 (no. 12) centre of the region, where a account of the Housebook he reached via the Tyrol, the frontispiece to the second
was probably painted in group Hans Multschers
of Master) because it relies on the Alto Adige and Trentino edition in Latin The prints
Strasbourg Drawings from followerswas working; from supposition that the journey was (returning by the same route) (size39 2 X28 3 cms not
this period include The Ulm he went to Constance - a intended to widen the young with brief stops at Mantua, including the margins) achieved
Promenade (Hamburg, permeated with
city already Durers pictorial experience. Padua and perhaps Pavia - an unprecedented success and
Kunsthalie): the Self-portrait Humanism and Italian art (and where Pirckheimer was a Durers name soon became
(Eriangen, Universitatsbiblio- It was here that the recently 1494 In May he returned to student at the University. known all over Europe At the
thek) and the Self-portrait now deceased Lukas Moser had Nuremberg, where negotiations He may have Rome,
visited end of this same year he began
in the Lehman collection. New painted his Holy H/lagdalene between his father and Hans Although Durer would already work on seven of the eleven
York (formerly in Lemberg, cycle). According to Brion, Frey for Durers marriage to have had some knowledge of woodcuts of The Great Passion
Lubomirski Museum); The Durer then went to Basle and Frey's daughter must have been Italian art through prints and (again on atlas-size paper).
Holy Family (Eriangen) and only later to Colmar; for some nearly completed although drawings (some of which he The Self-portrait in the Prado
the marvellous Rape of Europa reason Brion ignores the evi- Durer himself describes the had copied), the impact also belongs to this year.
(Vienna. Albertina) dence of published books and agreement as concluded only made on him by the cultural
The French art historian printsand relies on the works after his return; "When I arrived and artistic ambiance of Venice 1499 Executed the Tucher
Marcel Brion has attempted to of Conrad Witz From Basle he home, Hans Frey treated with was overwhelming and the
portraits Portrait of
chart the possible itinerary of went to Colmar and from my father and gave me the 1495 In the spring he returned Oswolt Krel
the whole of Durers "bachelor Colmar to Strasbourg where a hand of his daughter Agnes home. From this period
date
journey":- the first stop was meeting with Hans Baldung and with her he gave me two the remarkable series of water- 1500 Concentrated on painting.
at Nordlingen where the Grien - a painter of Durers hundred florins." colours of Alpine scenery, and The best known of the Self-
the views of the environs of
Nuremberg Durer took up his
woodcut and engraving activi-
tiesagain; The Holy Family
with Dragonfly, The Penance
of St John Chrysostom. and St
Jerome in the Desert are all
dated 1495
1496 Frederick the Wise,
Elector of Saxony, whom
Durer greatly admired and who
was to be his lifelong patron,
visited Nuremberg and com-
missioned a portrait of himself
and subsequently two polyp-
tychs for the church of his
Wittenberg residence.
The large woodcut The
Men's Bath House is probably
-"'; - dateable to this year; a pendant Durer's coat of arms, woodcut
i-^''^'"'. by Durer (1523).
^ ^Mra •' "
* The Women's Bath House for
which there is a preparatory
L-
drawing (formerly Bremen, portraits (no 59), the Portrait
"

^- Mi •
Kunsthalie)
executed.
was never

1497 Preparatory work on the

Apocalypsis cum figuris
finally

and on
of a

brother
Man which was assumed
to be a portrait of
Hans (no
Durers
58), and
The Lamentation of Christ (no,
the paintings ordered by 61 ) all in Munich (Alte
Frederick the Wise; painted the Pinakothek) and Hercules
Portrait of his Father and the Stymphalian Birds
Killing the

two Furlegerin portraits; exe- (no. 60) were all painted in this
Ji(-i-bit^a:,C'^-^: ./^M-Mft'
year. Durer worked incessantly;
' cuted the allegorical engravings
The Four Witches and The he made himself independent
Doctor's Dream and acquired his own workshop.
1498 At his own expense, The period is characterised by
Durer printed and published his numerous activities, which

the first of his great books, the indicate both the astonishing
ideas and his
fertility of his

capacity to realise them; these

Portraits of Durer. (Top row) In a form the basis of all his future
German edition of Vitruvius edi- activities.
ted by W. Rivius (1528). wooden
model for a medal (c. 1519: 1501 A fairly uneventful year,
Brunswick, Herzog-Anton- although it began with the St
Ulrich-Museum); copy (1529) Eustace engraving and ended
of a medal (1527-8) by M. with two of his best known
Gebel (Berlin. Staatliche Mu- engravings. Nemesis ("Das
seen). (Second row) Woodcut Grosse Gluck") and Fortune
by E. Schon (1527); from a ("Das Kleine Gluck").
sketch book by J Sandrart
(Munich. Bayerische Staatsbib- 1502 Death of Durers father,
liothek):copy by E. de Boulonois to whom he had been very
(after 1629) of a drawing by T close (20 September). The
Vinci dor (16th century). (Third Young Hare (no. 75), The
row) Sandstone head by an ur- Virgin with a Multitude of
known artist (after 1550: Ant- Animals (no 96) and four of
werp. Fleischhaus- Museum): the large engravings of The Life
etching by L. Kilian (1608): of the Virgin all belong to this
engraving by J W. Heckenauer year.
for the frontispiece of a book
dedicated to the memory of 1503 Executed a series of very
Durer (Goslar, 1728) (Bottom striking portraits including the
row) Durer and Raphael Kneel- charcoal drawing of W
ing before the Throne of Art Pirckheimer, also began the
(etching by C Hoff after a draw- Jabach Altarpiece (no. 101,
ing by F Pforr [c. 1800]): Durer A-D) and painted the Great
and Pirckheimer, by E Steinle Piece of Turf (no 97). He was
(pencil: Leipzig, Museum der ill, but did not allow this to

84 Lj^^^ -
bildenden Kunst). interrupt the spate of activity.
 three masterpieces of engraving:
The Knight, Death and the
Devil of 1 51 3, St Jerome in his
Study and Melencolia of 1514;
the three works are similar in
that they all employ a complex
symbolism, and are of an un-
usually fine execution In 1514
Durer's mother, Barbara Holper,
died; the marvellous portrait
drawing of her (Berlin,
Museen) was made
Staatliche
two months before her death.

1515 Executed the well-known

woodcut The Rhinoceros, as
well as several charming water-
colour drawings of animals for
The Prayerbook of Maximilian I,
which was printed on vellum
and decorated with marginal
illustrations in pen and coloured
inks by Durer; these drawings

(From left) L. Kilian, Allegorical Double-portrait of Durer (etching. tions in honour of Durer at the Singakademie. Berlin (1828). Jacket
show a unique freshness and
inventiveness. He also began
1617). Display (in the centre, Durer's statue) prepared lor celebra of the magazine Kunstgewerbeblatt (December 1898).
work on the huge woodcut
The Triumphal Arch of
1504 His mother, Barbara His altarpiece of 1 506 for seven partt The Great Passion, 1512 Worked on the portraits
Maximilian I for which there
Helper, moved in with him; she the German church in Venice, partially published in single ofCharlemagne and Emperor are ninety two prints; joined up
already lived in the same house, San Bartolomeo, The Feast of sheets in 1498, was completed Sigismund (nos. 140 & 141 ); these make a total print of
but he now presumably became the Rose Garlands, certainly and reprinted; The Adoration of painted The Virgin with the
341 X 292 cm; the composition
responsible for her until her aroused great interest, and was the Magi, The Holy Family, The Pear (no. 1 36),-completed the consists of ten square metres
death. He completed the admired not only by painters Mass of St Gregory, St Jerome engraved Small Passion and of awkward, heavy, boring
Jabach Altarpiece, and painted but by the Doge, the Patriarch and St Christopher were issued executed the beautiful drypoint architecture, embellished with
The Adoration of the Magi and all the Venetian nobility. as separate prints. On 11 June St Jerome in the Desert, which statues, coats of arms and
(Uffizi, no. 106) and engraved The work represents the focal 1509 he acquired a house on is very Italianate in appearance. trophies, garlands, ornamental
The Fall of Man (Adam and point of his activity in Venice; the Zistelgasse, still known as He probably established contact scrolls, plaques and portraits,
Eve). from it stem other works, like Durer's House. The following with the Emperor Maximilian I

carved and printed by a team of

the two female portraits in year on 1 5 January he made a for the first time. 3 June he
artists and craftsmen under
1505—7 After completing a Vienna and Berlin (nos. 109 payment to the Treasury bought, for ninety florins, from Durer's supervision. The motley
series of important engravings,
& 120) and the portraits of Offices, thus releasing his one Bauer, the Tiergartnertor confusion of the assembled
men at Hampton Court, house from the endowment, which adjoined his house.
including The Large Horse and disparate parts made Durer
Krome'riz and Genoa (nos. 118, which was now looked after by whole undertaking.
The Small Horse, he left on his detest the
110 & 119), Christ among the the Treasury. 1513—4 Apart from some On 5 September the Emperor
second trip to Italy (the out-
Doctors, in Lugano (no 117) The Adoration of the Trinity watercolours, a well known
break of plague in Nuremberg settled an annual pension of
and The Virgin with the Siskin (no, 1 34) of 1 51 1 marked the engraving of peasants and the
may have encouraged his one hundred florins on Durer
(no. 116),and others (e.g. completion of the decoration of long preparatory work for the
On both the out-
departure). as payment, to be paid by the
ward and the return journey nos. 121 & 122) which may the chapel of the Zwolfbruder- Triumphal Arch of Maximilian I, city of Nuremberg.
have been painted in Bologna haus. the period is dominated by
Durer was the guest of the
Conrad Fuchs von
aristocrat where Durer went to meet 1516 He painted St Philip and
Evenhopen in Augsburg. He Jacopo de' Barbari He St James - both in the Uffizi —
may have paid a brief visit to already knew de' Barbari, (nos. 144 & 145), The Virgin
Florence and certainly went to eitherfrom Nuremberg or with the Pink, Munich (no.
Padua, where his portrait perhaps from his first visit to 1 46), the Portrait of Michael
appears in a fresco attributed Venice ten years earlier. In Wolgemut, Nuremberg (no.
to Campagnola the Scuola in Bologna Durer also met Luca 1 47), and the Portrait of a

del Carmine. It-was not the Pacioli whose treatise De Clergyman, Washington (no
young man of 1495, thirsty for divina proportione had been 148); the famous engravings of
art and culture, who arrived in
published the previous year In a rather ornamental character
Venice in 1500 but an artist in Venice. By this stage Durer's like The Desperate Man (which

his first maturity, whose graphic interest in the theory of pro- contains a possible portrait of
works had already excited the portion and perspective was Michelangelo) and the Suda-
art world, even in Italy. He
established. It is also just pos- rium Spread out by an Angel
sible that he met Leonardo in also belong to this year.
stayed as a guest of the Fugger
family, and was honoured and Milan.
sought after by the aristocrats 1517 Only a few charcoal and
and the learned, musicians and 1507 Durer returned to Nurem- watercolour drawings are
humanists alike. He was feted burg in February or March. He worthy of riote.
by the German colony and painted Adam and Eve (no.
lived the life of the noblemen 123, A & B), Prado. He appears 1518 He painted Z.oc/-ef/a,
amongst whom he now moved. to have abandoned his wood- Munich (no. 152), and The
In a letter to Pirckheimer he cut and engraving activity Virgin in Prayer Berlin
wrote: "How shall long for
I temporarily in favour of the (no 153) also made a
He
the sun in the cold. Here am I study of mathematics; at the first, extraordinarily vital,
a gentleman, at home am I same time he made his first sketch of The Triumphal Pro-
only a parasite." This second rather desultory attempts to cession of Maximilian I, this
stay in Venice
is largely docu- formulate an artistic theory. was later elaborated in a

mented by Durer's own cor- With the money he had earned sequence of twenty four bound
respondence with Pirckheimer, in Venice he paid off the woodcuts which depict
for whom he was collecting mortgage on his house. eighteen chariots designed in a
valuable objects - in particular bizarre baroque manner with

Venetian editions of classical 1508 Completed the Maz-fX''- futuristic mechanical parts,

books. The letters also indicate dom of the Ten Thousand (no separated by groups of infan-
that although important local 1 29) and worked on the Heller
trymen and cavallry Allhough
painters were ready to acknow- Altarpiece (no. 130). Possibly the whole operation was carried
ledge Durer's celebrity as an visited Frankfurt. out under Durer's supervision
engraver in wood and copper, by excellent carvers and the
they criticised his abilities as a 1509-11 Took up his woodcut work has an authentic quality
colourist, and it may have been and engraving activities again. to It, Durer himself apparently
for this reason that he turned W/orked on a version of The did not work directly on it at

down invitations, imagining Small Passion in copper, and (Above, from left) by Durer's father (silverpoint.
Self-portrait any stage The Emperor's
that the jealous local painters another, rather more complete Vienna, Albertina) Drawings by Durer: his mother (1514: Berlin.
Triumphal Chariot, which
might take reprisals and perhaps version in woodcut which was Staatliche Museen): (below) his wife Agnes as a young woman consists of eight bound wood
even try to poison him. published in 1511 in thirty fMein Agnes, 1495: Vienna. Albertina) and as an older woman cuts, is, however, by Ourer, it
85
(1521: Berlin. Staatliche Museen)
 inthe Low Countries he had
«|£1 ^l(lorif(^f executed several portraits,
mostly in chalk or charcoal
Amongst the best of these are
the portraits of Jobst Planckfelt
and his Wife, the portrait of
^7 "W ®efprd(|)e Lorenz Sterck. and one of an
unknown youth; besides these
Snifrficn he made a number of water-
tenen 6((Mn ^((t • Manntni XfinfHnn colour drawings of animals and
the Lisbon St Jerome (no
unb 169) Back in Nuremberg he
resumed much the same routine
RAPHAEL deVRBINO, as before in his house on the
SSoriimm Iwot Orturt, gtboi, ^ifforif(t« Zistelgasse; he worked inces-
SegeEitntcictn/Sktticfctungen unt SoB, mitfuttoi
siiimRc(uii0rn «
jur Srfttmtnu| i^m ^Bmfe , lubfl lOrra santly, although he was much
n)dl)rrn unb ngntllfbtn weakened by the illness he
PORTRAITS, had contracted whilst he was
fctfunfilit&fradcn. na(( ttnen Nflen enufrn accurattwrgefttUdBKittn. away. He devoted more time
to his scientific Interests and

tTurnberg / made plans to write a theore-

Zm (S«rs ajolfsaii} Snort , i73>- tical treatise on art; the notes
still exist, showing his re-
searches into proportion and
perspective and his studies of
urbanisation and fortification

1523 He may have completed

The Man of Sorrows (no.
1 76): he engraved the magni-
ficent Portrait of Cardinal
Albrecht of Brandenburg in
profile (B.I 03)

1524 He painted the striking

Gentleman in the
Portrait of a
Prado (no 179) and made the
(Left, from top) Note by Durer on Euclid, publisfied in Venice in 1505. frontispiece of tfie first edition of lastengraving of Frederick the (Top) Durer's house in
Outer's treatise on proportions (Nuremberg. 1528). (Rig fit. from top) "Historical divertimento on the life "
Wise. Elector ofSaxony (B Nuremberg, c. 1900.
and worlds of Durer and Raptiael. published by G. W. Knorr (ibid.. 1738): invitation (lithograph by J G 104) (Bottom) Monument to Durer
Schadow) to the Durer celebrations held in Berlin, of 18 April 1828 (by C Ranch) in Nuremberg.
1525 Durer's first theoretical
was only published in 1522, in his diary (Tagebuch script of a theoretical treatise work appeared in Nuremberg died. His remains lie beneath a
although was evidently
it der niederlandischen Reise. by Jacopo de'Barbari which a treatise on geometry entitled large commemorative tablet in

payment 1520-21 ). using Antwerp as Durer wanted. Later, Durer Underweysung der messung the cemetery of the church of
printed earlier. His for
this, in addition to the lite his base. In his diary he also visited Brussels, and on 23 dem Zirckel und richtscheyt in St John in Nuremberg On the

pension, was two hundred recorded his observations on October he was in Aachen for Lmien. Ebnen und gantzen bronze plaque is an inscription
florins, tobe paid, once again, the artists he met; it contains the coronation of Charles V Corporen by Willibald Pirckheimer: "Me
by the city of Nuremberg, but only brief references to the The Emperor eventually ratified Al. Du./Quicquid Alberti
was never paid. Durer's pension on 15 Novem- 1526 The last major works Dureri mortale/fuit sub hoc
in fact he paintings he had seen, whereas
Between 1517 and 1518 he there are long descriptions of ber of the following year Soon followed one after another: the conditur tumulo./Emigravit
Holzschuher VIII Idus aprilis/MDXXVIII "

visited Bamberg, briefly, and celebrations of one sort or after his return to Antwerp from portraits of Muffel.
.then went to Augsburg In another, and of the fairs and Aachen and Cologne, Durer and Kleberger (nos 183, 184 A few months after his death,
1518 he acquired his brother left once more, curious to see a & 185) The Virgin with the the third of Durer's theoretical
carnivals in Antwerp.
treatises, that on proportion,
Endress share of their fathers He details his purchases, his whale which had been reported Pear (no 182) and The Four
house encounters with people, stranded by high seas on a Apostles (no 181, A-B) On was published in a double

sketches for portraits, rare or beach at Zieriksee in Zeeland, 30 mortgage owed

April the to edition in both German and
1519 12 January the Emperor bizarre objects, collections he but by the time he arrived it the Tuchers on the house Latin, entitled De simmetria
Maximilian died and, whilst has seen, corals, Indian mate- had been washed away again. bought in 1509 expired parti urn in rectis for mis humano-

Durer was away in Switzerland rials, shells, and rare Aztec It was in Zeeland that he was
rum corporum libri (in German
with Pirckheimer, the munici- curios. attacked for the first time by an 1527 Durer painted the large Hierin sind begriffen vier
pality cut off his pension, In the summer Durer left illness which kept him in grisaille The Bearing of the Cross Bucher von menschlicher
which had terminated auto- Antwerp for Malines, where Antwerp for most of the winter (no 187): his treatise Etiiche Proportion).
matically with the death of his Lady Margaret of Austria, the and which was to prevent him Underricht zu Befestigung der
patron Durer returned to daughter of Maximilian and from enjoying a trip to Brussels Stett. Schloss und Flecken (On
Nuremberg only in July, and Governor of the Low Coun- with the King of Denmark and the Fortification of Cities,
attempted, unsuccessfully, to tries, lived. He offered her the other guests invited by the Castles and Towns) was pub-
get his pension renewed; the portrait of her father (no.
157) Emperor. lished in Nuremberg with a
Treasury suggested that he which she refused, perhaps on dedication to King Ferdinand
should ask Maximilian's suc- the grounds that she had 1521 In the middle of the year of Hungary
cessor Charles V to renew it already promised (to van Orley, Durer returned to Nuremberg
and accordingly he travelled to her own painter) the manu- from Antwerp During his stay 1528 6 April. Albrecht Durer
Antwerp in 1 520
The two portraits of
Maximilian (nos 1 57 & 158).
The Virgin and Child with St
Anne (no 1 56) and the
engraving of Cardinal Albrecht
of Brandenburg (B 102) are all
dated 1519

1520 After making a ijiupiiio-

tory pilgrimage to theSanctuary
of the Fourteen Saints -the
most famous sanctuary in
Franconia - Durer left on 1 5
July for Antwerp For the first
time his wife accompanied
him, together with her maid
Susanna The trip was a total
success and Durer made
numerous excurions to
other parts of the Low
86 Countries, which he recorded Stun The harbour at Antwerp, in an autograph drawing of 1520 (Vienna. Albertina).
 8

Grunewald or an Altdorfer His portrait), the over- praised

Catalogue of works inherited visual world

made up of infinitely subtle
was Rhinoceros (8 136), and the
majestic Trinity (B. 172).
shades of grey on white was It In the interval which sepa-
Durer's delicate monochrome rated his two journeys to Italy,
prints, alone, that broke down between the ages of twenty
the barriers of German artistic four and thirty four, Durer
isolation; they were of course created his most famous en-
influenced by the Italian gravings; in them he allied
Renaissance, but they brought qualities of imagination, of
about the Renaissance in composition and brilliant
In the quarter of the
last was known throughout the art in the classical and humanistic Germany and dominated the technique, achieving a fusion
fifteenth century Nuremberg world was due almost solely to world; but this was something style of European art, long after between Northern tradition and
was one of the richest, most the impact of a handful of more profound, a way of life, Durer's death, up to the end of borrowings from Pollaiuolo,
active, free and sophisticated prints Vasari wrote of him: "If an economy, a society which the sixteenth century. One Mantegna and Jacopo de'
cities in Germany, where thisremarkable man, so in- could replace the existing one, aspect of his graphic art has Barbari One is astounded, in
bankers, businessmen, mer- dustrious and so universal, had an attempt to break down often been dwelt on: whereas the work of this period, at the
chants and artisans all prospered been born a Tuscan and had constricting tradition and to he executed all his own en- way Durer can suggest an
with equal rights and responsi- been able to study the things inject new life into culture and gravings (including some almost invisible hair by an
bilities Figures such as the in Rome as we have done, he modes of thought, into taste etchings and occasional dry- imperceptible modification of
humanist Schedel, who col- might have been the best and manners of expression. It 'points) and had handled the the burin stroke, or how, with
lected paintings, drawings and painter of our land, just as he was in answer to this challenge burin since childhood, he did the effect of a brushstroke, he
prints of the monuments of was undoubtedly the most that Durer made his first jour- not actually carve the woodcuts can suggest rustling drapery
antiquity, the poet Celtis, the remarkable and famous of the ney to the South, for which his himself; although he drew the The sheer variety and range of
astronomer Walther, the cosmo- Flemings And how multi- "
mind and spirit had so long design directly onto the block expression, subtle but precise,
grapher Regiomontanus and faceted was his work - almost been prepared. What he dis- the carving was left to assis- are breathtaking. Some prints,
the navigator Behaim were the 1,000 drawings, 250 woodcuts, covered was a new conception tants. But we must assume that likethe St Eustace (8 57),
most eminent representatives of about 100 engravings and of space, conditioned by Durer's mastery of all the mark the end of an era, whilst
this society But people such some 70 paintings are all perspective and proportion, technical aspects of the craft others, such as the Fall of Man
as the Tuchers, the Stromers evidence of an output which which had raised art to the would have enabled him to (8 1), translate antique tradi-
and the Pirckheimers, who has, for the most part, survived dignity of a science and made maintain a constant supervision tions of proportion into a new
were all versed in Latin and In addition, he published three of the artist a gentleman versed and control of the work. His beauty In the Holy Family with
Italian and some of them in treatises, on proportion, on in the liberal arts. From this woodcuts show technical in- the Grasshopper one is almost
Greek, and above all Koberger, fortification, and on human moment onwards Durer devoted novations which would be astonished by the tentative
are equally representative The proportion He was more than allhis energies not only to otherwise inexplicable, as well strokes, seemingly groping for
last mentioned was the most a mere painter and engraver; applying these new principles as,on occasion, an astonishing the subtlest effect, while in the
important publisher in Germany: he tackled problems of mathe- to his own art, but to under- power and delicacy. It was Virgin with the Monkey (B. 42)
he owned forty printing presses matics and engineering as well standing them thoroughly, and certainly Durer and not his the monkey's baleful expression
and employed one hundred as questions of theory and of analysing and expounding the craftsmen who achieved the and the lively treatment of its
workmen, and he was a friend linguistic purity He is the only theory behind the new concepts intense lyricism of the visionary fur and features contrasts
of the goldsmith Albrecht German artist of his century of space and of the world. of Patmos in the fifteen large notably with the mother's mood
Durer the Elder, with whom he whose complex output can be And yet, in spite of his seem- blocks for the Apocalypse (B of serene contemplation and
discussed Latin literature and compared both in its nature ingly limitless response to the 60 75) as is illustrated by the the river slipping quietly past.
accounts of modern travels. and in its quality with that of fascination of the Renaissance, Four Horsemen (B 64), the Far removed from this masterly
But in Nuremberg, as else- the great contemporary Italian to its ideas of space, form, Opening of the Sixth Seal ( evocation of tranquillity are the
where, developments in the artists. composition, articulation, and 65), Sf Michael Fighting the tortured asceticism of St Jerome
spheres of science and litera- But if we are to see Durer colour, he remained firmly Dragon (8. 72), St John before in the Desert (8 59), the pathos
ture were not paralleled by a as a modern man, as an in- rooted in the Gothic tradition. God and the Elders (8. 63), of the Penitent St Chrysostom
similarly enlightened advance novating artist, we must look Moreover, he was able to the Hymn of the Chosen (8 (B 63) and the strident anguish
in the visual arts Art was still at the constituent parts of his resolve these contrasting 67), and the Four Angels of the Prodigal Son (8 28)
Gothic, anchored to the style genius, the paradoxes, contra- elements in a synthesis which Holding the Winds (B 66) expressed, but not exaggerated,
which reached its climax at the dictions and conflicts which go transcended the purely formal Behind the hallucinatory images by the accompanying landscape
end of the century. Throughout to form it, before turning to the level. Durer never accepted lurks the shadow of the Middle backgrounds In the Four

Northern Europe not only the works He was the child of a anything unquestioningly: he Ages, embodied in the graphic Witches (8 75) Durer falls
style but the attitudes which problematic age He was made a conscious choice, and medium itself, but the breadth back on an almost medieval
formed it remained essentially not an artist who, having dis- the new found extension of his and articulation of the prints is treatment of the female body
Gothic: man was not yet con- covered a language and style expressive range, combined inspired by the Renaissance, to express that synthesis of
ceived as the centre of the of his own, could move from with his absolute mastery of and in them Durer has resolved beauty and depravity which is
universe In Italy the Renais- strength to strength: he was, the media, allowed him to the stylistic confrontation, pro- the matter of erotic fantasy In
sance had evolved naturally rather, a poet and a craftsman dominate appearances and to ducing his first masterpieces. the Doctor s Dream (B 76),
out of the past. But in Germany who found it necessary to express them formally with The first prints of the Large however, the lure of Venus and
it had a disturbing effect which resolve conflicting impulses in maximum impact. he When Passion (B. 4-15), which date the Devil totally fails to rouse
was never entirely erased himself. He was dependent on allowed his quite remarkable from the same period, are the dreamer from his torpor
German traditions, aesthetics, the cultural traditions of his powers of expression free equally powerful in their effect Innumerable attempts have
taste and feelings were, and native land, and his art deve- reign, fantasticand visionary Eight years later, however, the been made to explain the
remained, essentially Gothic: loped through an apprentice- works such as the medieval dynamic elements were refined meaning of these mythological
certainly the Mediterranean ship with the longstanding Apocalypse (B. 60-75), the and channelled into an elegant subjects, as well as those of
Renaissance was seen as traditions of the craftsman- astrological Melencolia (B. 74) play of line and texture, deli- The Sea Monster (B 71 ) and
something to be aspired to, artist. He learned to handle the and the Four Apostles (no. catelyand rhythmically evolving Hercules (B 73), but they can
studied, imitated, envied, and burin and the decorative 182 A-B) resulted; when held atmosphere and space In
light, also be considered purely as
even loved, but as something arabesque which was first in check by objective study, he the Angel Appearing to
fact, in studies of the human body
to be learned about rather drawn and then incised or attained the perfect naturalism Joachim, the Meeting at the There is, for instance, a precise

than experienced, as appealing elaborated on the metal or of the Fall of Man (B. 1), the Golden Gate, the Birth of the reference to a poem of Poliziano
to the intellect and not to the silver At the same time he classic portraits, and the Ado- Virgin, the Presentation of the for the subject matter of

heart Thus Germany clung to mastered the principal craft of ration of the Magi (no. 106). Virgin in the Temple, the Nemesis (B 77) but the nude
her traditions and remained cut Wolgemufs workshop, the But in every case the two Visitation, the Flight into Egypt can also be referred to Durer s
off from the Italian Renaissance, woodcut Thus he was tied to expressive poles represented by and the Sojourn of the Family study of the human form which
despite valiant and often a tradition which was largely the Gothic tradition, with its in Egypt (B 78, 79, 80, 81, 84, culminates in the Fall of Man
radical efforts to bridge the secular in origin, which attention to detail, and the 89 & 90, Durer achieved a (B 1 ) Here the Adam and Eve
gap Durer's fame rests on the generations of skilled artists Italian Renaissance, with its sublime quality which is not could almost be Apollo and
quality of his farsighted con- had developed into an breadth and assurance, are present in either the thirty six Diana, curiously out of place in

tributions to this cause expressive and pictorial means fused. woodcuts of the Small Passion a German medieval forest, full

He was the first German perfectly attuned to the final It might be argued that if all (B. 16-52) and in those re- of strange animals some real,

artist to have a reputation flowering of the medieval Durer's prints had been lost he maining of the Great Passion some allegorical, but the ele-

which, during his own lifetime, world in the international would still be a great artist; (B. 4, etc ) or in any of the gant statuesque harmony of
spread beyond his own country, Gothic style But he was, as but his greatness lies first and rightly famous separate prints their bodies monopolises our

whose engraved work was well, a "new" man, a humanist foremost in his prints and like the Decapitation of St John attention and makes of this

known, sought after, imitated who responded to the lure of engravings, although he was the Baptist (B 125), the Mass printalmost an icon to the new
and even plagiarised while he the Italian Renaissance as, in undoubtedly a great painter as of St Gregory (8 123), Sr world of the Renaissance One
was still working in his native the wake of the bankers and well He was born into the Jerome in his Study (B 114) could scarcely imagine a
town, whose name was known merchants, the Italian air came tradition of the woodcut and and in the Cave (B 113), St greater contrast between this
to artists,humanists and pub- wafting across the Rhine. In the engraving, he became a Chnstopher (B 103), and the and the St Eustace (B 57)
lishers from Amsterdam to Germany there had already painter without the latent evocative Penitent (8 1191 where the exquisite elegance
Venice. That Durer's name been a reawakening of interest instinct which marks a (which IS a disguised self of the forms is subsumed by 87
 •

the wealth of detail five dogs, lightand shade, of tone and and those of the world (no 59) mitments, and probably man, and his work has re-
a Pisanellesque stag and a hue. are so complete that they Soon after this his features removes their opinion of mained isolated: none of his
horse vie with one another in a would put to shame the work appear in the figure ofthe themselves and of others, he pupils or his followers pene-

virtuoso, quivering tension of of the landscape painters of musician mocking Job in the analyses or interprets them so trated Its secret.

line to which the eye is ir- three centuries later The small Jabach Altarpiece (no 101 B); as to arrive at the hidden,

resistibly drawn by the dark, sketches which he painted, he IS present in the Adoration perhaps unconscious, essence
brooding lake with its white when he was twenty four of the Magi (no 106) as the of each character, and to
years old. on his way home most resplendent of the kings, capture the soul which illu-
swans Equally atmospheric are
from and after his return and his hynotic gaze goes minates even the humblest face
1 H©^V48V/'^g:
The Offer ol Love (B 93), Italy,

which contains one of the most in the surroundings of Nurem- almost unnoticed, paled by the Thus he discovers in or endows Portrait of a Boy
berg, convey the whole of effulgent colours, in the Feast on each of these financiers or Stettin. Muzeum Pomorza
realistic horses ever drawn by
Durer, Young Woman Attacked Durer's lyrical poetry One of the Rose Garlands: he prosperous merchants, men of Zachodniego
by Deatfi (B 92) - which is might claim that they possess reappears again in the Martyr- solid traditions, a moral nobi- The portrait was discovered
similar in theme to the only a documentary value, that dom ofthe Ten Thousand (no. lity, a vital intimate energy, a stuck inside a book of accounts
Promenade (B 94), Tfie they would have been unknown 129), and as an almost pro- curious empathetic quality of Philip of Pomerania which
II

Nativity (B 2) and the famous to his contemporaries- hidden phetic figure in the Coronation which transforms them into was given to the Pomeranian
Small Horse (B 96) and Large away as they were in his of the Virgin (the Heller Altar- real people, into symbols and Historical Society in 1888,

Horse (B 97), and other smal- sketchbooks - and that they piece) (no. 130) and at the representatives. His brushwork According to the frontispiece
ler but no less well known would simply have been foot of the Adoration of the is meticulous and detailed, the volume was compiled In
engravings. intended as mnemonics for his Trinity (no. 134). Finally, if we modifying the incisive drawing, 1617. and evidently included
With the fifteen plates for full scale paintings. Obviously leave the drawings and minor and his use of colours is con- this miniature The museum

the Small Passion and some this IS true, but they transcend engravings to one side, there trolled, suggesting a vibrant, director. F Henry, attributed
others, we enter the second the function of mere prepara- is the tragic figure of the fcce electrically charged vitality the work to Durer, and the
great phase of Durer's graphic tory sketches and reveal a Homo 523, of which,
of 1 beneath the painted features. similarity of the face with that

art between 1507-12 It began dialogue between the artist and besides one print (B 22), a But his best portraits are in in the magnificent Self-portrait
with Si Jerome in the Desert nature in the way they capture probable but almost unrecog- black and white. His drawn in the Albertina of exactly this

(B 59), followed by the Holy the feeling of a particular time nisable original has come down portraits alone can be com- date (1484) seems convincing
Family (B 43) in which he and a particular light with their to us (no. 176). What quirk of pared with contemporary However. Henry's view that the
attempted new effects through subtle colouring. Indeed, some character induced Durer to Italian portraiture; this is true work should be dated to the
the distribution of light; in the of them, like the House on an return time and again to his of the Pirckheimer, Hieronymus beginning of Durer's appren-
Coat of Arms with a Cock Island (no 29). the Pond in a own age when
features, in an of Augsburg, Lucas van Leyden ticeship to Wolgemut is less
(B 1001 the detail becomes Wood {no 36). and Alpine self-portraitswere unusual? and van Orley portraits - convincing as the painting is
completely self-indulgent; Road (no 25), are transfigura- And why, contemporary with several artists, that is - (only inscribed with the date 1484
finally there are the three great tions or transpositions of nature the austere and amost frighten- the portrait of Wolgemut is in The present condition of the
masterp:eces The Knight. which achieve a quality one ing, but vivid and real Prado oils, no. 147) Furthermore, painting makes it difficult to
Death and the Devil (B 98), would today call lyrical sur- Self-portrait painted |ust before these create a new dimension determine whether it is an
St Jerome in the Desert (B 60) realism There is nothing the exuberant, smiling image in in the art of engraving: they original of 1484. or a copy It
and Melencolia (B 74), which Northern about them: the the Jabach Altarpiece, did he are of a quality and technique is also difficult to decide
share a network of conceptual limpid, transparent colours are depict himsel' with such which, particularly in the whether this is a self-portrait
associations Perhaps these Venetian, the skies are Bel- disconcerting effect in the woodcut medium, have never by Durer or by some
a portrait
three prints mark the zenith of liman, and the landscapes Munich Self-portrait which, been equalled. other artist; the crude technique
Durers art; the symbols refer reminiscent of Cima or despite the intended hieratic The documentary evidence is quite unlike the technique of
to astrology and alchemy and Carpaccio; but there is nothing significance of the pose, con- presents Durer as a man who Durer's authentic early work.
seem to be used to give us a derivative about them. Durer is a veys such' a disturbing mood? treated himself rigorously: he The Tietzes' hypothesis (1928)
spiritual self-portrait; they poet here, rather than a "Gothic" In all the self-portraits, even in retained his craftsman's inte- IS that this is a sixteenth-
chart the artist's dreams and or "Renaissance artist; "
thosein which the figure is grity, but at the same time was century copy of an original of
aspirations, his fears and reso- he uses nature as a means of subsumed in a larger composi- cultured and sociable, capable 1484 Panofsky tends to agree
lutions, the passion involved in self-expression and transcends tion, there always a posed,
is of creating enduring and inti- with the Tietzes but raises the
creation, and finally the impo- the limits of the medium, of ritual element, almost as if he mate friendships Like Raphael doubt that it could be the work
tence of creation itself The style and of his period, to desired, perhaps unconsciously, he was influenced by almost of another local painter.
figure of Melencolia seems to arrive at the most direct inter- to assume the role, the attitude allthe important artists of his
tell us that absolute knowledge pretation of nature ever he instinctively felt was time, both German and Italian,
29X42,3
IS for ever out of reach; that

absolute creation, that ultimate

achieved by
In
a
the Self-portrait
European
made
artist. demanded
he expressed
of him,
in a
and which
considered
from Schongauer to Baldung
Grien. from Carpaccio to
2 E3® • 1489-90

truth, are unattainable; but the when he was an apprentice gesture, a theatrical pose Bellini. Pollaiuolo to Mantegna. Cemetery of St John's
artist-hero will continue, his goldsmith in his father's work- This quality is not present in but he blended his sources Church, Nuremberg
pace unfaltering, m his search shop, the young Durer tenta- the portraits of other people; with his own creative inven- Formerly Bremen. Kunsthalle
for the ultimate truth This then tively but courageously experi- they are always represented in tions. His technical skills Watercolour and gouache on
is the theme, reflecting the mented with the unfamiliar traditional poses, shoulder- derived from his training as a vellum Autograph inscription
doubts and contradications of silverpoint in place of his length portrait figures set goldsmith, developed in the '
Sant Johans Kirche at the "

the modern soul The triptych accustomed technique of the against a plain background, craft of the engraver, and top. and a monogram added at
attains a new height in the engraver's burin on metal. Here sometimes enlivened by a remained with him until his a later date in brighter paint.
graphic expression of pro- the child prodigy turned his curtain, a window ledge or a death, increasing in confidence The painting was stolen,
portion and beauty; the restless curiosity from the window framing a landscape and delicacy as his imagination together with several other
Verrocchiesque horse, the play world about him and fixed his view They employ a formula grew in breadth. And yet the works by Durer in the same
of dappled light on the study penetrating gaze on himself as which is acceptable, if not artist who is first revealed in museum, and has now dis-
walls, the relaxed prone ani- the centre of this world entirely conventional; they the little silverpoint Self- appeared altogether. Durer
mals, the palpable quality of Durer is the man of the self- portray his fellow countrymen - portrait, who gave
us his scholars are now generally
the objects and their textures, . portraits There is a whole mostly small-time officials and apologia in the Melencolia. and agreed that this is the earliest
are all evidence not only of an series of drawn and painted unknown bourgeois, with the whose supreme offering to the surviving work by the artist.
extraordinary, unparalleled self-portraits as well as nu- exception of the historical world was the Four Apostles Although the drawing is
technical virtuosity but of the merous representations of portraits of Frederick the Wise (no. 181 A-B). was a solitary rather naively composed, it

consistency with which Durer, himself major works.

in his and the Emperor Maximilian is drawn with an overall pre-
in a unique way. developed his They provided an outlet for (nos 40, 157 & 158). In these cision and coloured in a limited ,

theme study, self-criticism and self- latter he could have attempted range of greens and blues. The
The catalogues of
critical analysis, and a means of as- a courtly or heroic style of compositional and colouristic
Durer's work, from Lippmann's sessing his energies, his ideas portraiture, but he did not It weaknesses are too obvious for
classic study to those of the and his fantasies, as well as was only twenty years later, in Brion's dating of 1494 to be
Tielzes, Winkler and Panofsky, fulfilling a purely representa- the portrait of Maximilian I convincing Furthermore, the
do not include the watercolours tional function. They run from (Vienna), that he achieved any evident influence of Franconian
and gouaches amongst the the young boy searching for real feeling, or understanding, painting, which inspired Durer's
paintings, but group them with knowledge, through the exu- of majesty, or "Viru" as the predilection for landscape,
the drawings Quite apart from berant or thoughtful images of would say. Otherwise
Italians makes the date proposed by
the fact that there is no reason the young arti-et (in the he was less interested in Ephrussi (1882) of about
why a watercolour should not conveying the status of the 1505-6 and Haendke (1899)
be judged by the same criien,. man and more concerned with 1 506 seem quite
of after
as an oil tempera painting, th ;.'ie difficult and more direct absurd.
distinction has excluded some i.roblem of the man himself,
of Durer's most perceptive and •arching for the real features,
poetic works from serious con- -e character and the soul. 28.6X42.6
sideration. There are water- t'AO ,
!n his bourgeois portraits, 3 E3 •1489-90*
1

colours which his mastery of

in soppf Durer isolates his sitters from Wire Drawing Mill
line and colour and his almost Chris: 'fir everyday context, their (Trotszich Mull)
88 impressionistic treatment of both hi
:: occupations and com- Berlin. Kupferstichkabinett
The monogram has been added Grunling Collection and entering appears in conjunction with 29,5X21
date in brighter pamt
at a later the van Beuningen Collection. that of her husband - even 8 ES© D:
Similar to no. 2 (this is also The Tietzes (1928) and when there is no portrait of St Sebastian
watercolour and gouache on Panofsky (1948) linked it Barbara Helper herself. Berlin, Staatliche Museen
vellum), but more refmed with no. 4, Haendke,
stylistically Together with no. 8 B this
chromatically, which would however, assigned it to 1506 B. Coats of Arms depicts the martyrdom of St
suggest a slightly later date, Back of no 6 A See note. Sebastian. The panels probably
other factors
suggest a later
would again
date According
vi^w
6 Ea © VJ^ E :
59,5X71,9
formed the front of a triptych,
rather than one painting now
to Mitius (K 1912) A. Portrait of Durer's Father
It

of the Pegnitz valley painted

IS a
Florence, Uffizi 7 IS© D: divided into two Both have
been attributed to Durer largely
immediately before or after Signed with monogram and The Raising of the Cross on account of the horseman in
Durer's "bachelor journey" dated near top left corner. Frankfurt, Stadelsches the background of the left hand
However, in view of the Imks Pamted on the eve of Durer's Kunstinstitut panel who appears in reverse
in a Durer drawing of The
Cavalcade, dated 1489 (L. 100)
(formerly Bremen, Kunsthalle).
Obviously the unknown painter 6 A
of these panels and Durer both
took the motif from the House-
book fVlaster - Durer probably
using a lost drypoint, which
would explain the reversal of
the pose. Baldass (P 1928)
has attributed it, with good
reason, to Hans Baldung Grien
in his period under the in-

fluence of both the Housebook

Master and Schongauer.

Crossbowmen and
Archers,
Horsemen
Berlin, Staatliche Museen
See notes to 8 A.
6 B
f l-ttlji j Hr-ti
9 FS@"f.9/'^ii
Infant Saviour
Vienna, Albertina
Miniature on vellum. Mono-
gram and date in red, of
doubtful authenticity. Painted
in pale shades of violet, green
and gold. Weisbach (1906)
and Rdmer (JK 1926 & 1927)
stress its dependence on
Schongauer

10 H© il9i^9f, D :
City Square
between this group of four departure on his "bachelor Formerlyin the Hohenzollern- Vienna, Albertina 1490 (see nos. 2 & 3) and
watercolours (nos. 2, 3, 4 & journey", at the end of his Sigmaringen Collection, where Panofsky (1948) interpreted 1483, that is to say rather
5) and traditional Franconian three year apprenticeship to itwas traditionally ascribed to the subject as the courtyard of earlierthan his first journey to
methods, the date suggested Michael Wolgemut. It is the Wolgemut According to a castle: he dated the water- Italy If the location is not

by the Tietzes (1929) and first panel painting securely Panofsky it would have been colour circa 1490 The Tietzes Innsbruck, it would be a square
Panofsky (1948) of 1489-90 attributed to Durer. His later painted in Nuremberg c. (1928) interpreted the subject in some Franconian city, as the
seems more acceptable. addition of the coats of arms of 1490 using the same sources as an enclosed square in a assortment of buildings in this
Haendke (1899) dated it to both the Durer and Holper as are evident in Durer's work town, but did not consider that watercolour (and the following
1506-10. Bock (1921) and families, on the back of the of around this date: this does it was painted by Durer Various one, with which it is closely
others have dated it circa 1494. panel, has suggested (Fried- not mean that the work should scholars have identified it as connected) would suggest It
lander, 1921) the possibility necessarily be attributed to the courtyard of the Hofburg is difficult to agree with the

that this was originally part of Durer Rieffel (SJ 1924) at Innsbruck, but we should Tietzes that this pair of draw-
need definite proof that Durer
4 ES3@^-Ulfom2 a diptych with a portrait of
Durer's mother, Barbara Holper
attributed it to the school of
Schongauer; Winkler (ZK 11), visited Innsbruck on his travels
ings IS not by Durer, as they
are very delicately handled
Three Lime Trees (the latter now lost, according like the Tietzes (1938), was of through Germany 1492-3 Panofskys observation that it
Formerly Bremen, Kunsthalle. to Friedlander); however, this the opinion that it was not by would seem a plausible date isimpossible to link them
Watercolour and gouache on is pure hypothesis. Panofsky Durer, for stylistic reasons. and in fact it should
for this, with the most
stylistically
vellum For present where- (1948) pointed out that the probably be dated, on stylistic famous view of Innsbruck (no
abouts see no 2 The three Holper coat of arms often grounds, sometime between 27), which Durer painted on
trees may be those in the
garden behind the apse of the
Church of St John, or perhaps
those in the enclosed orchard
The Wire Drawing Mill (no 3)
This very simply composed
watercolour gives far more of
an impression of freshness
and spontaneity than no. 2.
Ephrussp (1882) and Haendke
dated it 1506

34.3 X 26,7 t—l •

5 Es3 • 1489-90'
U :
Lime Tree on a Bastion
Rotterdam, Boymans-van
Beuningen Museum
Like no 4, watercolour and
gouache on vellum Known to
have passed through various
hands between leaving the 89

J
 delicate, and the colour is

complemented by clear cut,

precise contours At the same
time, the unwavering gaze and
almost arrogant frown give the
portrait an air of toughness
According to Thausing (1884),
the painting, which was ori-
ginally on vellum, was trans-
ferred to canvas and restored
in about 1840 by Erasmus
Engerth when it was in the
possession of Dr Habel of
Baden

Scenes from the

Life of Christ, and
St Dominic
(The St Dominic Altarpjece)
Darmstadt, Hessisches
Landesmuseum
A group of six fragmented
panels which have been attri-
buted to Durer It has not,
however, been securely estab-
lished that they belonged to
the same altarpiece. Differences
in technique, support, icono-
graphy and style are discernible
in the various panels, but
they all derive from the in-
16 (plate IV A)
fluence of the Housebook
his return from Venice, is It was painted during Durers Master and Schongauer Durer, assigning them to
certainly correct 12 E3©^"?;93"'^g: "bachelor journey through
"

According to Panofsky (1948) 1492-3 Friedlander (1921)

Self-portrait (with Germany Three important early The Flagellation and The accepted them as authentic,
Eryngium Flower) self-portrait drawings precede Lamentation belong together but with some reservations, and

11 H®
City Square
33.5x26.71—1
1492-93? U Pans, Louvre
Formerly in the Felix Collection
in Leipzig and the Goldschmidt
the painting (see page 83)
They are: a) Self-portrait,
thirteen of 1484 In the
aged
and are markedly different from
the other four panels which
form a more or less homo-
dated them 1497, whereas
Rottinger (1926) accepted
both the attribution and the
Vienna, Albertina Collection in Pans Dated 1493 Albertina, Vienna: b) Self- geneous stylistic group 1492-3 date Bock (in the
This IS the same square or and inscribed "My sach die gat/ portrait, c 1491, in the Scheibler, Rieffel and Schmid Museum Catalogue, 1914)
courtyard as that in no 10, but Als esoben schtat" {"My affairs Univeritatsbibliothek, Eriangen attributed them to the school of attributed the works to the
seen from the other end Both shallgo as ordained on high ") (on the back of a Holy Family). Schongauer, whilst Bock and Master of the St Dominic
views must have been tal<en The eryngium flower - a sum- c) Self-portrait of 1493, in the Wechtlen favoured Grunewald Legend: he assumed that
from windows overlooking the bol of conjugal fidelity Lehman collection. New York, Pauli (ZBK 1912) argued per- The Betrayal and the three
square The clouds are evidently suggests that the painting which was executed the same suasively, with detailed if not Scenes from the Life of St
a later addition and do not blend may have been intended as a year as the painting. The always convincing analyses, Dominic were by the same
with the rest of the composition betrothal token for Agnes Frey handling of the painting is that the paintings are by hand, or at least from the same

90
13 D 13 F
 :

workshop, and that The journey from Verona to Trent.

Flagellation and The Lamenta- The Inscription 'Fenedier
tion came from the same source Klawsen is in Durer's hand but
"

but belonged to a different the monogram appears to have

polyptych Winkler (1936) been added by hand;
a later
claimed that the provenance of there is possibly a faint pen
the paintings from Strasbourg outline. The square format and
was established: If this Is the the intentional suppression of
case, it might be assumed that the distant mountain landscape
Durer had a hand In the better Indicate that Durer's main
examples (the St Dominic interest was in the fortified rock
scenes) during the period of Itself, at ihe mouth of the
his activity In Strasbourg Sarca valley; this Is the focal
(1493-4) out it would be point of the drawing, thus It Is
difficult to isolate his personal not, as the TIetzes (1937)
contributions. Panofskys thesis claimed, an example of his
that Durer did In fact collabor- naive conception of landscape.
rate on these pictures but that Beyond the chalky yellow
his hand Is indistinguishable hump in the foreground, and
from that of others seems to be beyond the middle ground of
the most acceptable theory. fields, pastures and clumps of
The TIetzes (1927) rejected the trees, the small town Is seen,
attribution to Durer altogether perched on the rocky spur;
everything Is drawn In the
sharp relief of a clear dawn

lO m TV 1493-94? l_|
light-. It has been suggested

that this and no. 23 (of the

A. Flagellation same date) were done for
Durer's treatise on the forti-

lO Cm TV 1493-94? U fication of cities, castles

towns which he published
and
in
B. Lamentation of Christ 1527, but It seems highly
unlikely that such early draw-

lO
C.
Bad
Betrayal
w 1493-94'' fcg
23 (plate IV B)

gested - we must assume that says, the Lion of St Mark's, of

(plate VI A)

(1936) Identified the castle as

ings as these should have been
intended as documentary
illustrations for the work In
Transferred to canvas from
Itwas painted on the journey which there are numerous the Castello dl Segonzano, and
question. At this stage Durer's
to Italy, in which case It is contemporary paintings and consequently assigned the
original panel and cut down Interest in military engineering
unusual. It appears to be more drawings. watercolour to the homeward
Is not yet apparent; here he Is

lO ffl W 1493-94? B
carefully drawn and
expressive than the water-
colours of 1495. Dorner,
less

18 E!3@^'?4^9f^D:
journey from Italy. ZInk, on the
other hand, (P 1942) identified
It as a view of the Castle of
obviously Interested in the
compositional and pictorial
D. Death of St Dominic qualities offered by the scene.
Canvas on panel (fragment). Winkler and Panofsky all dated Sea Crab Prunn In Franconia. Panofsky
Moreover, the defensive
It to the return journey from Rotterdam, Boymans-van (1948) considered that the
strength of both Arco and the
Museum
To ffl W 1493-94? Q
Venice In 1 495. Beunlngen
Watercolour and gouache.
Acquired by van Beuningen
identification of the locality as
Segonzano was rather
questionable; he dated the
castle of Trent had already
been broken down by this
E.Assumption of St 23,8X35.61 time.The TIetzes (1 937) related
Dominic
As above; cut down.
16 E3@ 1494' I
from the Behague Collection
In Paris. Sketched from the life,
watercolour after 1495, but not
later than 1500.
Mantegna's
this to a detail In
Martyrdom of St James in the
View of Trent during the artist's stay In
Church of the Eremltani, Padua,
lO ffl W 1493-94? H
Formerly In Bremen, Kunsthalle
For present whereabouts see
no. 2. (facsimile In British
Venice. Published by Winkler
J K L) and generally agreed to
date from 1495. The TIetzes
21 Eg@^V495^-
3,9f
which accords with a dating to
the return journey.
F. Coronation of St
Dominic Museum). Watercolour and thought that It might have Castle in the Alps
As above. gouache. Inscribed "Trmt" by been intended for a Horolo- Berlin, Kupferstichkabinett 23E3®^^l4f5"n:
Durer; monogram added later. graphia. The references to the Watercolour and gouache
The Castle of Trent
Although the landscape Is great Italian painters of animals Inscribed 'EIn Welsch Schlos".
London, British Museum
painted fairly sketchlly, and the such as Glovannino de'Grassi, The monogram may not be Inscribed "trint" at the top in
course of the River Adige was Pisanello and Leonardo seem authentic. RusconI identified
14 H© ^^4? D changed In the nineteenth
century, the outline of the town
fairly obvious. as a view of the Castello dl
Segonzano and related it to the
it
Durer's writing. The foreground
slope Is loosely sketched in;
St Christopher by contrast the castle
has remained more or less 24,3X43 drawings L. 108 (no. 20) and
Dessau, Gemaldegalerle
The attribution to Durer is unaltered and It has thus been 19 Es3@ 1495 L. 301, which are both
battlements are drawn in
precise detail The fortified
possible to establish the spot Lobster authentic. The TIetzes con-
controversial. The TIetzes castle was for centuries the
from which Durer made this Berlin, Kupferstlchkablnett sidered a workshop copy,
It
(1928) considered It to be an political, administrative and
early work (1494) inspired by
sketch. The TIetzes (1928) Watercolour and gouache with a fake monogram and even religious nucleus of both
dated It to the end of 1494; Executed during the first stay Inscription, but thisview Is
a drawing - now lost, but the city and the surrounding
known through two almost Meder agreed that It was ex- in Venice and, like no. 18, unacceptable although the
region This watercolour has an
ecuted on the way to Venice evidently drawn from the life, work Is rather crude in
identical copies, one at expressive quality which
judging by the realistically appearance because the main
Brunswick and the other at distinguishes it altogether from
observed detail. outline has been overworked
Eriangen. The composition and 12,6X17,2 63 the landscape watercolours
colour are reminiscent of the 17 Es3 1494 H J
S In pen According to Panofsky
this Is an authentic work, and
made on the return journey
15.4X25
Housebook Master
larly the altar panels of c
(particu- Lion
Hamburg, Kunsthalle 20E3@ 1495? should be dated 1494-5.
from Venice The Tietzes dated
It to the end of 1494
1487 Nuremberg). Panofsky
In Miniature (gouache on vellum, Ruined Castle on a Rock
(1948) agreed that the picture heightened with gold). Mono- Formerly Bremen, Kunsthalle 22.1x22.1
is based on a lost drawing gram and date In gold. Painted Watercolour and gouache The 22Es3® 1495 24E3@";495V^g°
possibly by Diirer but thought inVenice, but evidently not monogram may not be authen- View of Arco Trees on the Ridge of a Hill
that the painting was by from the life In spite of the tic. Formerly In the Grunling Pans, Louvre Berlin. Kupferstichkabinett
another hand. attempted naturalism. The Collection For present where- Watercolour and gouache Watercolour and gouache
model for this was, as Panofsky abouts see no. 2. RusconI Painted during the return. According to Rusconi (1936)

15 ES3®^^^4^4^'^D:
The Doss Trento
(Trintperg)
Basle, R. von Hirsch Collection
Watercolour and gouache.
Inscribed in Durer's hand
"Trintperg View of a mountain
".

ridge at Trent and the church

of Sant'Apollinare.
From the stylistic point of view
- as the Tietzes have sug- 91
 monogram added later. The
Tietzes (1928) related It to the
engraving St Jerome in Peni-
tence (B 61 and dated it c
)

1495-6. Ephrussi dated It

1510; Colvin, after 1506;
Haendke, after c 1506, The
spontaneity and vividness of
the brushwork would suggest
1495-6 as the most likely date.

19.8X30,61
31 E!3 1495-96 I

Quarry
Bremen, Kunsthalle
Pen drawing, with watercolour
washes Inscribed "Steinpruch"
in Durer's writing; the mono-
gram was added at a later date
and has faded Comparable to
no. 30 In subject matter. The
Tietzes dated this-IIke no. 30-
1495-6

V B) 8X17,8 r-|
27 (plate

the locality is in the vicinity of Wehlsch pirg' the name by enchanting composition, Watercolour and gouache; in-
32 1496-97 U
Segonzano The ridges of the which the painting is generally beautifully balanced and deli- scribed by Durer "Weier Haws"; Franconlan Landscape
cately handled. the monogram is spurious. The Paris, Louvre
mountains beyond the valley known) is usually accepted as
are faintly visible The Tietzes authentic The range of subject has been identified as a Watercolour and gouache. The
12,7X18,7 pond formed by the damming Tietzes dated this picturesque
(1928) related it to the Ruined
Castle on a Rock (no 20) and
mountains, seen here
clear dawn light, lies to
in the
the
27 53® 1495 g: of the River Pegnitz near view to 1495-6, because of its
Cembra View of Innsbruck Nuremberg; the small house is stylistic and technical affinities
dated it to the end of 1494 west of Trent, in the
According to Panofsky it valley near Segonzano The Vienna, Albertina popularly supposed to have with the exquisite View of
belongs ID 1495 Ephrussi locality was identified by Bears the inscription "Isprug" in been a refuge for city council- Nuremberg (no. 42). Panofsky
(1882) dated it to Durer's Rusconi (1936) who dated the Durer's hand. The monogram lors in times of unrest. F. denies Durer's authorship.
second Italian journey watercolour 1494 on account was added later and is in Frommau (Nurnberger Schau, Probably painted after his
it too is
return from Italy, c. 1496-7.
of the autumnal scenery brighter paint but 1941 ) identified it as the
20.5X29,5 Panofsky, however, dated it to probably autograph. This Haller Weiherhaus. The subtle,
25 ES® 1495 D the spring of 1495. The Tietzes watercolour is smaller than
others but highly
muted colouring, and the
contrast between the calm,
Alpine Road
dated it 1507, i.e to the return
journey from Venice on the finished
like it, it

It is assumed to have
is

reflective, shimmering water

33E3@^V95-^?^^D:
Escorial (Madrid)
second Italian journey. The been painted on the journey to and the threatening clouds Pine Tree
A view of the Val d'Isarco,
London, British Museum
inscription indicates an Italian Italy and the Tietzes accord- make this a particularly striking
between Chiusa and Ponte Watercolour and gouache This
location, but gives no clue to ingly dated it to the end of work. Parts, for instance the
Isarco (Rusconi, 1936).
the date The stylistic affinities 1494, but, as Rusconi (1936) boat, are carefully finished. may have been intended as an
Panofsky and the Tietzes dated illustration for a botanical
between water-
this exquisite has pointed out, the vegetation The Tietzes (1928) dated it
It 1495. It is a delightful
colour and others belonging to is more typical of spring, so it 1494, I.e. before the first Italian manual; it may also have been
example of plein-air painting
the first Italian journey make would be possible to date it to journey Wblfflin (1905) dated a preparatory study for other
the 1 507 date suggested by the the return journey (i e of It c 1500 watercolours of the Nuremberg

26 ea @ '^4^5^.^
D :
Tietzes seem very improbable,
and Rusconi's claim that this is
1495), which would fit the
more subtle character of the
30 E3® 29,2X22,4
1495-96
1
area.Panofsky (1948) dated it
1495-7; the Tietzes (1928)
Alpine Landscape (Wehlsch definitely an autumnal scene is painting. A strip of land is
I

suggested 1499-1500.
pirg) not particularly convincing, as enclosed between the sky and Quarry
Oxford, Ashmolean Museum the muted rather mellow colours the water; the crystalline trans- Formerly Bremen, Kunsthalle
Watercolour and gouache. of this watercolour are equally parency of the washes of colour For present location see no 2 34Esg©^i4^9i;^7^i
Formerly in the Chambers characteristic of the late spring are so expressive of atmospheric Watercolour Inscribed "Stein- Quarry
Collection The inscription in the Trent region It is an effect that this watercolour pruch" in Durer's writing; Milan, Biblioteca Ambrosiana
could only have been painted
after Durer's visit to Venice,
when he had assimilated his
Venetian experience.

37,2X26,6
28 ES® 1495*
I

Ruined Alpine Hut

Milan, Biblioteca Ambrosiana
The monogram and 1514 date
are not authentic; they may
have been added by Hans von
Kulmbach. According to
Kuhrmann (Catalogue of the
exhibition Zeichnungen der
Durerzeit. Munich, 1967), the
delicate atmospheric washes of
colour and carefully controlled
tonal gradation are typical of
Durer's watercolour style
after his trip to Venice. Both
the Tietzes (1928) and Stadler
(1929) rejected the work;
Winkler (1929 etc.) accepted
It as authentic and dated it

1495; Flechsig (1931 and

Degenhart-Kuhrmann (1967)
accepted it; Panofsky con-
idered the attribution question-
able, but proposed a date of
-i94-5, if genuine.

3x22.2
'9Es3®''i 495-96 I

• on an Island In a Pond
•\ British Museum
33 (plate II
 I

Inscribed at the top "Steinpruch" used as the nucleus around

inDurer's hand. The mono- which the rest of the composi-

gram IS later, possibly added tion IS organised. The Tier-

by Hans von Kulmbach Durer gartner and Neue towers have
probably made this study of been identified and it has thus
rocks in the Schmaussenbuchs been possible to establish the
quarry near Nuremberg, which point from which this view was

was noted fOr its reddish- taken

coloured, bizarrely formed,
21.4X16,81
rocks. There is a whole series
ofdrawings on this theme
43Es3® 1496-97? I

which were used as studies for Quarry [?]

engravings like St Jerome in Berlin, Kupferstichkabinett

Penitence (B 61) and The Watercolour and gouache. The

Penance of St John Chrysostom 37 monogram and date (1510)
36 (plate VII A (plate VII B)
are fake. Panofsky dated it
(B. 63) of c 1497 which
thereby provide a terminus colours which follows an greeting. The Tietzes accepted The image is abstracted in the 1495-7, the Tietzes c. 1510
ante quem for this watercolour. afternoon storm: above the it as an almost certainly au- same sort of way as no. 33 because the motif reappears in
The motif reappears in the houses and the enormous trees thentic work and pointed out The finely drawn rocky mass is the famous engraving of The
background of The Penance of stretches an expanse of storm- the combination of German painted in watercolour and Knight, Death and the Devil
StJohn Chrysostom The clouded sky. The mills were (eg Schongauer) and Flemish bounded by a contour so that it (B. 98 see p. 117) which is

watercolour is painted alia situated on the River Pegnitz, influences (e.g. Bouts and van appears suspended against the dated 1 51 3. It is quite possible
prima in washes of reddish- near the Hallerwiesen, to the der Goes) with Italian ones blank background The Tietzes that this watercolour was
brown, greenish-blue and west of Nuremberg. The Tietzes (the inclusion of St Joseph (1928) rejected this work, and painted during the period when
yellow hues. It has been con- (1928) dated this c 1499- transforms the theme of "Mother Conway (1910) and Pauli Durer made several plein-air
sidered authentic by Wischer
1500: Panofsky, 1495-7 and Child into a virtual "sacra
"

(1 91 1 ) dismissed it as a fake. studies. I.e. the 1490s: equally

(1886), Winkler (1927 etc ),

conversazione"). Panofsky Panofsky accepted it and dated it IS possible that it is related in

(1948) accepted it only pro- It 1495-7. date to the engraving.

the Tietzes (1928), E Schilling
(1929), Stadler (1929),
38H@^^44^9r-'^n: visionally and dated it, if

Flechsig (1931), Waldmann Holy Family genuine, c 1496

Rotterdam, Boymans-van
16,3X34,41 The Dresden
(1934), Panofsky (1948) and
Beuningen Museum
42Es3 1496-97 I
Altarpiece
Degenhart-Kuhrmann (1967)
Miniature: gouache, pen and
gold on vellum laid down on
wood. Formerly in the Koenigs
39 S® 21,5X16,51
1496? I
View of Nuremberg from
the West
Formerly in Bremen, Kunsthalle
Dresden Gemaldegalerie
Commissioned for the Schloss-
63©'''^'^" Young Couple on Horseback
35 1495-97 Collection. Probably painted
(see no. 9) as a New Year
Formerly in Berlin, Kupferstich- For present location see no 2
Watercolour and gouache
kirche at Wittenberg by the
Elector Frederick the Wise. In
kabinett
Tree in a Quarry
Ambrosiana Pen and watercolour. The date
Milan, Biblioteca
(1496) may be authentic, but
Watercolour and gouache.
the monogram is spurious. This
Monogram added later, perhaps
ISan incisively drawn, subtly
by Hans von Kulmbach The
coloured and well balanced
luminous ochre-coloured earth
composition. The motif is
and the intertwined leaves and
based on a representation from
branches are very delicately
the Housebook of a happy
painted. The Tietzes did not
couple, born under the sign of
accept this as an authentic
Jupiter - the sign of good
work, but it has been accepted
fortune according to medieval
by Winkler (1927), Stadler
astrology - on their way to
(1929), Flechsig (1931),
the hunt. Parts of the compo-
Panofsky (1948) and Degen-
sition e.g. the tree, house
dog,
hart-Kuhrmann (1967). Dated
etc also appear The
in 42 (plate VI B)
1495-7; painted immediately
Horseman and the Lansquenet 1496—7 DCirer painted only the
after his return from Ualy, or Inscribed in Durer's hand, top
(B. 131, see p. 118) of 1497.
during the eighteen months centre, "Nornperg": the mono- central panel The two side
Panofsky thought that this wings were executed in 1503-
which followed, in the environs gram added later. Formerly in
watercolour might be a copy,
of Nuremberg. the Grunling Collection One of 4 and are probably not by
possibly by Durer himself, of a
Durer's most famous water- Durer himself: they appear to
26.2X37.4 drawing of 1492-3 which had be connected in some way
colours Executed after his
36Es3@ 1495-97
1

I
earlier used the motif from the
Housebook Master. The same
return from Italy, as most Durer with the outbreak of the plague
Pond in a Wood scholars have agreed. The (St Anthony and St Sebastian
motif also inspired Hans
London, British Museum coach road, which both divides were both protectors against
Baldung Grien. The Tietzes did contagious diseases)
Watercolour and gouache and unifies the whole compo-
- not accept this as an authentic
Monogram - centre top is sition, is painted in muted
k105.5X42.5r-l •
false. Formerly in the Sloane
work.
colours: it is most effectively 44 H^^
Collection.
In
The scene
the soft, clear light of dawn,
the sky is already bright and the
is bathed
40 H^ 'i4%' i: A. St Anthony
The left hand panel of the
Portrait of Frederick the Dresden Altarpiece Like the
water still and sombre, becom-
Wise, Elector of Saxony right hand panel', this is of
ing brighter towards the
Berlin, Staatliche Museen disputed authenticity The
horizon: on the left, forming a
The monogram may be spurious Tietzes thought that the two
sharp contrast, are the stark
The painting was commis- paintings displayed some of
remains of pine trees which
sioned from Durer during the the characteristics of Cranachs
have been struck by lightning,
period of the Elector of Saxony"s work, but Cranach was only
seeming to strain their des-
sicated trunks vainly towards % .*• residence in Nuremberg
It is possible that some minor
appointed to the Court at
Wittenberg in 1 505 so that his
the growing It is one of
light.
passages are by another hand. authorship is impossible if the
Durer's most memorable water-
The figure, dressed in black generally accepted date of
colours Datable to c 1495-
and gold, dominates the execution is correct (Gersten-
7, after the Italian journey. The
picture space: the green berg, MK 1912) However, it
Tietzes (1928) dated it c. 1499
background and the ledge on seems reasonable to accept
which he leans both serve to Panofsky's dating of 1503-4,
25,1X36,7 [— emphasise the three-dimen- which has been confirmed in a

37 E3 1495-97 U sional quality of the figure,

Frederick the Wise was one of
more recent critical study (J
Bialostocki, 1959, etc ). and
Mills on a River Bank
Durer's most loyal admirers. the two pictures should
Paris, Bibliotheque Nationale
Durer also portrayed him in an probably be considered as the
Watercolour and gouache work of Durer and assistants
engraving of 1 524.
Inscribed "WeydenmuM "
and
the monogram. This less well
is
44B3®^?5^:^9fD:
known than
which it is
nos. 29 and 36,
related in type, but
equally impressive. Here,
to
41 H© 22,5X28,7 |—| •
1496-97 LI • B. Virgin Adoring the
Infant Jesus
Quarry
instead of a sunset or a dawn
London, British Museum Unquestionably authentic The 93
scene, we find the feast of
43
 Inclusion of the scene with St passed to Charles and I,

Joseph in the background, and in 1 827 It was acquired by the

also the physical type of the Prado Although the prototype

Virgin both derive from Flemish for this and the Portrait of
sources (see Schurer, ZK Katharina Furlegerin is gener-
1937) Pauh (ZBK 1915) ally accepted to be a portrait by
thought that Agnes Durer Dirk Bouts of 1462 (London,
might have modelled for the National Gallery), as Panofsky
Virgin The TIetzes (1927) DBA ^7
(^ft'':
has observed, the main char-
acteristics of this picture are
followed Justi and Flechslg In
pointing out stylistic analogies Italianate: it combines a
between this and Italian basically Flemish scheme with
pictures such as Bramantino's an Italianate sense of monu-
Adoration (Milan, Biblloteca mentality. If we leave aside the
Ambrosiana) for the hands, Self-portrait with Eryngium
and Giorgio Schiavone's Flower (no 12), painted for his
Virgin and Child (London. fiancee, this work of 1498
National Gallery) for the angel represents the autonomous
first

The Tietzes also related it to self-portrait in German art. It

Mantegnas Dead Christ was painted in the same year
(Milan, Brera) Quite apart from that Durer achieved an inter-
the question of pictorial design. national reputation through the
the Iconography of this picture Apocalypse engravings. He
Isunusual: the pathos engen- depicts himself as a man of
dered by the intimations of life learning and culture If this
and death, and strange twilit 44 A 44 B (plate VIII) 44 C seems almost commonplace In
atmosphere of the painting, the context of Italy, we should
were created intentionally by
Durer
the Child
It is a joyless
too pathetically
IS
Adoration; 45 H®
Portrait of Diirer's Father
'\t^' Di
Lutzschena, von Sternburg
Collection
Inscribed
(

in
?)
top right hand
characteristics, the identifica-
tion of
portraits of
nos 46 and 47 as
one and the same
remember that challenged

The scale, the monumental

it

the German Image of the artist.

small and Is sleeping too London, National Gallery corner, on a painted scroll. sitter is far from conclusive. conception, the bright colour,
deeply, and the yellowish Inscribed on the back 1497 "Also pin ihr gestalt/ln achcehe the modish dress, with braided
ALBRECHT THVRER Jor alt/1497" On the neck of
colourinc and stiffness of the
figure both suggest that it if,
actually a corpse, thus evoking
ELTER VND. ALT 70 lOR"
Given as a gift to Charles of
DER,

I
the sitters dress are the initials
"KM DDEW". and on the white
47 H© 56x43
1497
sleeves, the gloves
elegant pose, the dignity .
expressed in the oblique gaze
and

the theological parallel between England by the City of Nurem- underblouse "KAE". Under- Portrait of Katharina (?) and impassive expression of
neath the painted scroll, but Furlegerin (with her hair the sitter, are all indicative of
now no longer visible, was the loose) the Italian derivation of the
Furlegerin cost of arms Frankfurt, Stadelsches painting It is undoubtedly the

Kunstinstitut most compelling of Durer's

The Tietzes accepted
Canvas mounted on wood. early self-portraits.
the painting as a genuine
This is the best of three known The Tietzes (1928) con-
Durer; Panofsky considered
replicas of a lost original (the sidered It to be a pendant to
It to be the best of two
monogram is obviously spu- the Portrait of Durer's Father of
copies of a lost original of
rious). The version in Augsburg 1497 (no, 45). There a copy
1497 (the other version was in is
shows an almost imperceptibly in Florence (UffizI).
the Goldschmidt Collection in
thin veil over the hair The
Pans and has now disappeared
Budapest version shows a
without trace). The sitter is a X32,4
prayerbook on a balustrade in 41
young woman dressed for
dancing - the costume and
front of the young woman, 49EI3 1498 g
who clasps her hands in Soldier on Horseback
coiffure are like those in the
humble prayer The sitter is Vienna. Albertina
drawing L 703: she proffers
Katharina (?) Furlegerin (see Pen and watercolour As well
eryngium flowers and worm-
no. 46): she has been identi- as the date and monogram
wood in her right hand. From this
fied on the basis of a facial
the coat of arms originally on
resemblance (which is argu-
the painting the sitter has been
able) to the sitter in no 46, the
identified as Katharina
date 1497 on the Augsburg
Furlegerin at the age of
version, and the appearance of
eighteen. As the same girl is
the Furlegerin coat of arms.
apparently portrayed in no 47
Gumbel (1928) suggested that
(which has survived only in
thesitter in no. 46 was in fact
copies, and is of the same
one Cordula von Wolfsthal, who
date), but with her hair loose,
married Anton Tucher (see no.
eyes lowered and hands
112) in 1497. and that no 47
clasped in prayer in an image
represented Anna - not
which suggests the pose of
Katharina - Furlegerin Panofsky
both'a Virgin adoring the Child
(1948) disagreed with Gumbel.
and a Penitent Magdalene, the
pointing out the absurdity of
iconographical differences and
accepting the coat of arms as
therefore the moral content of
evidence of identity for one
the two representations have
picture and not for the other,
been discussed at great length
quite apart from the question of
by German scholars They have
date. It is possible that the
probed the symbolic signi-
portraits are of the sisters
the sleep of infancy and the ficance of the plaited hair, and
berg remained in England,
It Katharina and Anna Furlegerin
sleep of death of the loose hairstyle (parti-
was bought by the Marquess and were executed in the same
The Adoration and the of Northampton and In 1904
cularly when covered by a veil
year as a single commission.
Lamentation are fused in a was acquired by the National or small cloth), and of

singleimage It should also be the erotic connotations of the

Gallery. evidently the best
remembered that Venetian
representations of the Virgin
It is

of four replicas of a lost

original: the others, which are
eryngium flowers and the
wormwood. In no, 46 they
48 ESg e ^1^9^ S :

Adoring the Child, which show have discerned Pleasure, Love Self-portrait
identical In size, are at Erlangen,
the Virgin with the Child or Voluptas, and in no 47 Madrid, Prado
and Syon House
Frankfurt,
sleeping in her lap, often (Duke of Northumberland Virtue, Piety or Castitas A Signed and dated, with an
prefigure the Piet^ has been drawn with the
parallel inscription on the wall below
collection).
engraving The Combat of Virtue the window sill "1498/Das malt
and Pleasure in the Presence of Ich nach meiner Gestalt/lch
Hercules (B 73 see p 116), of war sex und zwanzig Jor alt/
1498-9, for the theme of the Albrecht Durer", followed by
/li' '.'jgglebetween Virtue and monogram The
the usual
C. St Sebastian jjsure The whole question is was presented to
picture Autograph drawing (24 6
Right hand wing of the altar- Porcr/. complicated by the fact that Thomas Howard, Earl of 18.5) in the Biblioteca
piece See note to no 44 A. Fiirlet: although both sitters have in Arundel, in 1636, by the Muni- Ambrosiana, Milan, connected
94 (with '

common certain physical cipality of Nuremberg, and with no 49

bears the inscription "Dz ist die portrait. The heraldic crests on that the paintings may have
Rustung zw det Zeit/im the two panels belong to the been cut slightly along the
Tewtzschlant gewest" ("This is Lindau branch of the Krel bottom edges and along the
the armour worn in Germany family; they are supported by sides on which the landscapes
now") at the top At the bottom savages (appositely under- appear
the date 1498 and monogram lining the mood of Oswolt
The costume study reappears
in the engravings St George on
Horseback (B, 54) of 1508 and
Krel)
55 Es3 ® ^4^99"
i :
Portrait of Felicitas Tucher
forms the basis for the drawing Weimar, Schlossmuseum
Armoured Knight on Horseback C. Wild Man with Coat of Inscribed along the top of the
(Milan, Biblioteca Ambrosiana), Arms brocade curtain ""Felitz Hans
which is also before 1 51 3, and Munich, Alte Pinakothek Tucherin. 33 Jor alt Salus
thus preparatory to the engrav- See note to 52 B. 1499" Painted as a pendant to
ing The Knight. Death and the
Devil (B. 98 see p. 117) In the
Milanese drawing Durer drew
the horse and horseman on the
53 sa®
recto first and evidently traced Oriental Archer on
them onto the verso, adding Horseback
the dog. The Milan version Milan, Biblioteca Ambrosiana
shows a more sophisticated Drawing in pen and water-
knowledge of animal anatomy colour. Monogram and date
(1514) added by Hans von
Kulmbach Authenticated by

50 ESa e 'S D :
Winkler (1936), and Panofsky
(1948), who dated it 1494-5,
but rejected by Weixigartner
A. Virgin In Half Length
(1927), the Tietzes (1928),
(Haller Madonna)
and Oehler (1957) who attri-
Washington, National Gallery
buted It to Kulmbach. It was
of Art, Kress Collection
exhibited as by Durer in Durer
This is the principal face of the
und seine Zeit. (Munich,
picture,which is painted on
1967-8) when Kuhrmann, in
both sides (see no 50 B) In
the exhibition catalogue, con-
the lower left hand corner is the
firmed it as a Durer on grounds
coat of arms of the Haller von
plate XIV B) of stylistic analogies with
Hallerstein family, who com-
drawings of the same subject
missioned the work; in the
Karlsruhe, Staatliche Kunsthalle structure It is an intense, rather in the Albertina and the British
lower right hand corner there is
Published by Pauli (P 1935). sombre portrait Krel, who was Museum, and suggested a date
another coat of arms, which
Panofsky (1948) disagreed the son of a respected Swabian of before 1 500
has not been identified.
with the attribution, but his family and an agent for a
It was published by
opinion was based only on a Ravensburg commercial con-
Fnedlander (P 1934) when
it appeared as a Giovanni
Bellini, and was attributed by
photograph, and he thought
that the painting was still in a
cern in Nuremberg up to 1502,

appears to have spent a month

54 EO © '?:9r g:
private collection at Aschaffen- in prison on account of a Portrait of Hans Tucher
him to Durer on account of the
burg, whereas in fact it had carnival |oke he had played on Weimar, Schlossmuseum
transparent, glazed colours
already been acquired by the a prominent Nuremberg citizen. The inscription along the top of
which resemble the colouring
Museum in 1941. Winkler In the portrait his gaze seems the brocade screen behind the
in the Self-portrait of 1498 (no
(1957), Musper (1965) and abstracted and almost threaten- sitter reads "Hans Tucher 42
48), which, moreover, is almost
Grote (ZK 1965) all attributed ing; the set of his mouth is ierig 1499"" On the back is the
exactly the same size. The determined, his nose and chin
It to Durer, and Grote ascribed Tucher family coat of arms
Tietzes pointed out the very
It to 1498-9 because of its |ut out, his forehead is low, he Durer painted the four small
Venetian features of the the portrait of her husband
stylistic affinities with the IS set against a blood-red portraits of the two Tucher
Virgin. The gesture of the Hans, and at the same time as
figure of Christ in the Large curtain which serves to isolate brothers and their consorts in
the portraits of her in-laws
Child's left arm anticipates him from the landscape back-
Passion series of woodcuts 1499. The portrait of Nicholas Elspeth and Nicholas (see nos
Eves pose inthe Adam and
(and particularly with the Ecce ground and seems to empha- Tucher has disappeared The 54. 56 and 57).
Eve (Fill of Man) engraving sise his inner tension. The
Homo. B 9 [see p 118], for composition of the remaining
(B. see p. 1 17) The Tietzes
1
both the face and the Crown immediacy with which the portraits is similar to that of the 28X22
also pointed out that the use of
the landscape motif on the left
of Thorns). sitter's mood
is captured in this Prado Self-portrait (no 48) of 56 53© 1499 i:
portraitnever appears again in 1498, with bust length figures,
is like that in the Furlegerin
Portrait of Elspeth Tucher
Durer's work. in three quarter view, seated in Kassel, Gemaldegalerie
portrait (no. 46) of 1497, 49.6x39
a space which is defined by
which has some
scholars
led 52Es3 1499 49,3X15.9 Inscribed along the top of the

to ascribe this painting

A. Portrait of Oswolt Krel
52 ea© 1499 D: the window frame and en-
livened by a landscape view
brocaded curtain "Elspet
Nichlas Tuchern 26 Ael 1499",
to the same year; Panofsky,
Munich, Alte Pinakothek B. Wild Man with Coat of through the window; the and the initials "NT" appear on
however, accepts this date for Arms
Inscribed at the top "OSWOLT architectural setting of the
the clasp of the sitters dress
the back of the panel (50 B), and
KREL", and dated 1499. The Munich, Alte Pinakothek 1 498 Self-portrait is here
A portrait of her husband
dates the Madonna 1498-9 was
formerly in the Together with 52 C this forms replaced by a brocaded screen,
portrait Nicholas almost certainly
collection of the princes of the shutters to the Portrait of but the space is still restricted existed, but has now been
B. Lot and his Daughters Oswolt Krel (52 A) The panels The precise observation of
Oettingen-Wallerstein. It is one lost The similarity in both
Fleeing from Sodom and
of Durers most famous por- were discovered by Braune detail in the brocaded back-
composition and size to nos.
Gomorrah (MJBK 1907) from a detailed grounds of three portraits
traitsand, together with nos all
54 and 55 is obvious
Reverse of 50 A. As in the the records of parallels the meticulous psy-
52 B and 52 C, forms part of a description in
Virgin in Half Length the
triptych - see K.Martin (1963), the Princes of Oettingen- chological analysis The portraits >"28x22-(?)|
Venetian influence is very
pronounced, particularly in the
who Jacob
cites Elsner"s Wallerstein; at that time the in each pair would have been 57 ' 1499' I

Conrat Imhof for this kind of wings were separated from the facing each other It is possible Portrait of Nicholas Tucher
small figures, which are some-
See notes to nos 54 56
what reminiscent of the Tucher
portraits (nos. 54-7). There are
traces of
in
Mantegna's influence
the austere rocky landscape.
58 ESa © 1^^' D :
Portrait of a Young Man
In the background the two
Munich, Alie Pinakothek
cities seem to explode rather
The dimensions indicated
than burn, and Panofsky has
include two strips which have
compared the motif of the
been added at the sides, each
conflagration with that in the
measuring 2 3 cms
woodcut of the Babylonian
According to Buchner (1953) -
Whore (B 73) of 1496-7
who based his opinion on the
traditional allribulion trans
5l Hi TV •1498-99* U S milted by Murr (1778) but
questioned as early as 1831 by
Christ the Sepulchre,
in
J Heller the sitter may be the
with the Symbols of
His Passion
second -son ot Albrechi Durer 95
56 (plate XV)
 the Elder,Hans (Johann) who
was born in 1478 and was at

one time thought to be the

Hans Durer admitted to the
Nuremberg tailors' guild in
1507 (see J Baader 'Zahns
Jahrbucher fur Kunstwissen-
schaft- 1868) F Rieffel (1919)
thought that the portrait might
be of the young Grunewald As
Panofsky has pointed out,
there is no similarity between
the sitter in this portrait and the
sitter in the silverpoint drawing
of1503 (Philadelphia, Lessing
Rosenwald Coll which is. )

according to the inscription, a

portrait of Durers brother Hans

59 53^ 1500 S:
Self-portrait (in a Fur-
62 A 62 8 62 D
collared Robe)
Munich, Alte Pinakothek blessing. The significance of give a quality which can only family reappeared in the lower asserted that the Glimm version
The painting is inscribed on the the painting is left in no doubt: be described as universal or right and lefthand corners of IS the earlier one. Schilling
leftwith a monogram and the the hieratic pose, severe brown timeless. The picture may have the picture. The main composi- (1920), and more recently
date 1500, but the date has robe, symmetrical d'sposition of been intended by Durer as an tional element is a triangle Winkler (1957), have argued
been disputed by scholars: on the hair which falls in ringlets Imitatio Christi: a more usual which has the figures of that theNuremberg (Holz-
the right is the inscription about the face, and the representation of the theme Nicodemus, St John the schuher) version was painted
Aibertus Durerus Noncus atmosphere of other-worldli- was that of the sitter m the Evangelist and Joseph of c 1498 The Tietzes also
ipsum ri'e propnis sic effin/ ness which emanates from it. guise of Christ carrying the Arimathaea at its angles. suggested that the Munich
geban colonbus aetatis/anno all combine to underline the Cross There is also, perhaps, Compared with the version had been painted with
XXVIII" Thausing (1876) symbolic significance and to another meaning illustrated in woodcut Lamentation of the help of workshop assis-
questioned the authenticity of this picture, which is the credo
the inscription (under which a of Durer's times that the power
butterfly shaped scroll is just of the artist derived directly
visible) Friedlander, Heidrich, from the power of God: it was
Haack and Wolfflin all pre- his duty to create, and in this
ferred to date the painting to sense he was the "eritis sicut
the second Italian journey Deus These underlying mean-
",

X-rays have, however, con- ings the Self-portrait of

in 1500
firmed that the 1 500 date is contrast with the arrogant
authentic, and Kehrer (1934) narcissism of the Prado Self-
and Buchner (1953) both portrait
suggested that Durer had
partially repainted the picture
date Flechsig (1 928)
at a later
pointed out that the butterfly
60 Es3 ^ '
150^ g :

motif appears in works after Hercules Killing the

1518, and suggested that the Stymphalian Birds
repainting may have
taken place Nuremberg, Germanisches
circa 1520 Winzinger (ZKW Nationalmuseum
1954) rejected the idea that This IS the only extant painting

the face had been repainted, by Durer using a mythological

and asserted that only the theme The drawings L. 207
background had been slightly and L, 347 are related to it. At
modified the beginning of the sixteenth
The portrait apparently century almost all private and
represents Durer as Christ, but public commissions in Germany
is evidently not intended to be were for religious paintings or
blasphemous or a statement of for portraits. Thus the decora-
proto- Reformation ideas The tions for Frederick the Wises
figure is shown in a centralised, castle were rather unusual:
frontal pose, which is unusual there were four paintings
in Durers work, set off against illustrating the myth of
a dark background, his right Hercules, including a Hercules
hand is shown in the position Killing the Stymphalian Birds
and exclusively
traditionally with Bow and Arrow. The most
associated with the Redeemer obvious influences in this
59 (plate XVI) painting are those of Pollaiuolo
for the figure of Hercules, but
1498-9 (B 13) this painting tants,and Thausing (1884)
there are other references to
IS much closer to the classic thought It possible that Hans
Italian painting It seems likely
Italian Renaissance conception von Kulmbach had collabo-
of the theme: in the woodcut, rated on the work, Flechsig's
that this was originally in
Fredericks Aestuarium at
the emphasis on the dramatic opinion that the British Museum
content tends to make the drawing L 230 of 1 503 is a life
Schleissheim, together with the
Mater Dolorosa now in poses and expressions of the study for the head of Christ has
Munich group around the Dead Christ been refuted by Winkler (1936).
(no. 62 A).
at the Sepulchre exaggerated,
but in this painting, the
retnterpretation of the theme is Polyptych (The
61 ESa © ''^\^ D :
magnificently inventive and
coherent, Flechsig (1928)
Seven Sorrows of
Lamentation of Christ considered, on account of the The Virgin)
Munich, Alte Pinakothek parallels with the engravings
Listed in the inventory of the of the Life of the Virgin and the According to Buchner (MJBK
Grand Duke of Munich's Green Passion, that the picture 1934-6) the /Wafer Dolorosa
Collection, which was compiled was painted in 1503. The (no 62 A) formed the central
between 1608-13 The paint- link between this and the element of the first polyptych
ing was executed around 1500 Holzschuher Lamentation (no commissioned by Frederick the
'oi the goldsmith Glimm: upon 70) has been considered Wise for the Schlosskirche at
tcration in 1924 the portrait variously: whereas the Tietzes Wittenberg and was surrounded
96 ?s of Glimm and his (1937) and Panofsky (1948) by the seven Scenes from the
62 E 62 F 62 G 62 H
Life of Christ now
Dresdenin D. Christ amongst the "Gedenckt mein in Ewern There is no monogram, but it

(nos. 62 B-H) The drawing Doctors 65E!3@^^?5^orS: Reych 1 500 Also geht man zu is inscribed, apparently in
L 660 {Berlin, Kupferstich- See notes to 62 B. Nuremberg Woman Dressed Normerck in die Kirchn" Durer s hand, "
Eine Normen-
kabinett). which Winkler (1936) for Dancing Monogram on lower edge genn als man zw Kirchen gatt"
was reworked E. The Bearing of the Cross Winkler and Panofsky have
asserts in 1512, Vienna, Albertina The figure reappears in
gives us an idea of the prob- See notes to 62 B One woodcut Marriage accepted this as authentic
Pen and watercolour of the of the
able structure of the group, the series of drawings already Virgin (8. 82) of 1504. This is
F. The Nailing on the Cross
showing that the Mater Dolo- mentioned (see no 64) and the third drawing in the 32,3x21,1
rosa would have been flanked
on either side and also sub-
See notes to 62 B
exquisitely drawn Monogram
on lower edge At the top, in
Albertina series (see nos 64
and 65). There another
68 E3® 1500* Ds
G. The Crucifixion is

tended by the Dresden pictures. See notes to 62 B Outers writing, "also gan die version in the British Museum Young Woman Dressed for
Normerger frawen zum thanz (no. 67). Dancing
H. The Lamentation of 1 500" IS inscribed.
109X43 Portland, Oregon, Le Roy
62Es3© •1500'
Christ
See notes to 62 B.
Collection
Inscribed in Durers hand. "Also
Mater Dolorosa 32X20.5 67E!3@^^75$o^-^'^n:
A.
Munich, Alte Pinakothek
63 E3 © ^?i^5oV^ D :
66 E3 1500
Nuremberg Woman dressed
gand dy Junckfrouwen zum
danz zu Normwerk Unlike the "

Formerly inscribed with a false Nuremberg Woman Dressed for Church other drawings in this series,
monogram and date (1515). Nuremberg Woman Dressed for Church London, British Museum the model is seen full face and
The painting appears to have for the Home Vienna, Albertina Identical to no 66, but not a appears to be younger The
been cut down by about Milan, Biblioteca Ambrosiana Written at the top in Durers copy and this may Tietzes dated it c 1500 and
eighteen cms at the top Pen and watercolour The hand is the following: have been the first version Panofsky dated it 1501
Restoration in 1935-6 revealed sub|ect IS identical with the
the point of the sword, the Nuremberg Woman Dressed for
halo, and the shell niche which ttie Home in the Albertina (no.
is |ust discernible in the back- 64), but is not signed It should
ground, thus dispelling earlier not be considered as a mere
doubts about the iconography replica of the Albertina draw-
of the figure, which Beenken ing; in fact it may even be the
(1928) and Flechsig (1931) version of the subject as
first

had interpreted as a Virgin the handling of the rather sober

Annunciate colour appears to be fresher
and more spontaneous It has

62^© 63X45,5
D been attributed to Durer by
Thausing (1876), Ephrussi
B. Circumcision (1882), Flechsig (1931), who
Dresden, Gemaldegalerie dated it to before 1500, Wink-
Together with the other six ler (1937 and 1957), Panofsky
paintings listed here (nos. 62 (1948), and Degenhart-
C-H), this came from the Kuhrmann (1967) Meder
Schlosskirche at Wittenberg. (1905) and Pauli (1915)
Although the original considered it to be a copy, and
idea for the polyptych was the Tietzes considered it a poor
worked out by Durer, as the example of work of the school
drawing L. 664 (for the execu- of Durer (1928 and' 1933).
tioner in no. 62 F) and the
engraving B 42 (the monkey
in no. 62 D) prove, Panofsky
64Es3® '-'is^^^^i:
thought that the seven Nuremberg Woman Dressed
panels could not have for the Home
been executed by Durer Vienna, Albertina
himself, although they are Watercolour and pen. The
traditionally assumed to have three Albertina studies of a
come from his workshop as Nuremberg woman dressed for
did the n/later Dolorosa The the home, for church, and for a
series has been attributed to a dance (see also nos 65 and
variety of people, notably 66) were evidently not con-
Schauffelein (Scheibler- ceived as preliminary studies
Thieme, 1892) and the Master for something else but as
of the Benedict Legend completely independent
(Dbrnhoffer, 1906; Panofsky, drawings This particular
1948) Bock (1929) referred to drawing is inscribed at the top
copies, by a follower of "also gett man in Hewsern
Cranach, in the Library of the Normerck there is a mono-
";

University of Eriangen. gram at the bottom of the

drawing. The work is datable to
C. Flight into Egypt 1500 It has been suggested
See notes to 62 B The that the model was Agnes
monogram is a later addition Durer, but there is no evidence 97
 69 S®
Covered Bridge
16x32.3
1500*

at
D: tion. B 13, with those of the
Munich painting (no 61)
From the woodcut it takes the
71
Alpine Castle
H 10.9X13,4
D:
Nuremberg general layout of the landscape Pans. Louvre
Vienna, Albertina background (which is very Watercolour and gouache,
Pen and watercolour Italianate), the pose of Christ supposed to be on vellum
The exquisite landscape is and the distribution of the although in fact the ground is
reminiscent of Altdorfer and mourners, and from the paint- paper sized with gesso
Wolf Huber Haendke dated it ing the figures of the Virgin, Rusconi (1936) claimed to
after 1 506 the Holy Women and Joseph have identified the subject as
of Anmathaea Along the the Castello di Segonzano, but
bottom edge of the picture the the watercolour is evidently a

70 He D: donor's family are ranged

prayer, on the left
in

the male and

copy of a section of the St
Eustace engraving, B 57 (see
which was the
Lamentation of Christ on the right the female mem- p. 1 1 6), largest
Nuremberg, Germanisches bers of the Holzschuher- and one of the best known of
Nationalmuseum Gruber family The Tietzes Dijrer's engravings The pre-
Traditionally attributed to Durer (1927) and Panofsky (1948) paration of the ground is quite
and thought to have been rejected this work, but Schilling uncharacteristic of Durers
painted soon after the Munich (JK 1928) and Winkler (JKW methods Panofsky did not
version, it combines character- 1928) accepted it as authentic consider this work to be
istics of the woodcut Lamenta- and dated it c. 1498 authentic and pointed out its
derivation from the engraving
mentioned above, the Tietzes
rejected it (1928).

72 ES® 220X170 1501?

Reclining Nude 75 (plate XXVII)

Vienna, Albertina
Pen and wash drawing on were evidently added later, and Panofsky rejected it and,
green ground (paper) Mono- perhaps by Hans von in spite of Its obvious quality,
gram and date (1 501 and an )
Kulmbach. This delightful their view must be shared
inscription "Dz hab ich gfisyrt' ,
watercolour demonstrates
which has been variously Durers sensitive observation
11,7X15 |—I •
interpreted as confirmation that
the drawing was done from the
when drawing from the life.
The drawing is incisive, but at
77 E3 •1502-03* • U
life (Thausing, 1876) or that it
the same time conveys the soft, Small Piece of Turf
was based on a system of downy quality of the bird's Vienna. Albertina
proportional modules, which head and wings This was used Watercolour and gouache on
Justi (Konstruierte Figuren . .
as a study for the parrot in the vellum Springer (1914) and
1902) claimed to have worked Virgin with a Multitude of the Tietzes (1928) thought it of
out The Tietzes (1928) sup- Animals (no 96) of c 1503. questionable authenticity;
ported the view that it was and in the Adam and Eve Panofsky thought that it was
drawn from the life, and engraving of 1504 According be by Durer
likely to

they also pointed out the links to legend the parrot was sup-
between this and two en- posed to have been able to
22,8X16.6
gravings (see
and
p- 116) (B. 71

73) and with Nemesis

B,
salute the Emperor with an
"Ave Caesar parodying the
"
78 ea® •1502-03*
1

(B, 77) Springer considered Christian "Ave Maria"; its green Head of a Roebuck
the authenticity of this work impermeable plumage was Bayonne. Musee Bonnat
questionable, but assigned supposed to have symbolised Fake monogram and date
It to 1 508 if genuine the purity of the Virgin Mary. (1514) The Tietzes (1928)
Winkler considered this an dated it c 1502-3. as did
authentic work, and dated it Panofsky (1948). according to

73 •1502*? 1 495-1 500; the Tietzes sug-

gested ca 1502. and Panofsky

Flechsig (1928). however, it
would be 1498
Two Squirrels 1502/3 while Kuhrmann
Dodgson (A Durer. 1926)
accepted a date at the begin-
assumed that a painting of this
ning of the sixteenth century 79E!3®^-^5^oi;i*Ds
subject existed, probably Weixigartner (1927) rejected it, Duck
watercolour as there are several
Pans ( ?). Gulbenkian
variants including one which
Collection
has a false monogram and is 75E3@^^l5^or'^i: Watercolour on vellum,
dated 1512 (indicated as in the
Young Hare heightened with gold. Not
Rosenthal Collection in Vienna)
Vienna. Albertina listed in the Lisbon catalogue
and a partial version (water-
Watercolour and gouache of the Gulbenkian Foundation.
colour, 25 X 1 8, in a private
Monogram and date certainly It resembles works of the early
collection in England) which
authentic Drawn from the life years of the sixteenth century,
has Hans Hoffman's mono-
(note the reflection of a i e c 1 502. rather than
gram and is dated 1578 Both the date indicated by the
window in the eye. and the 1 51 5.
Winkler and the Tietzes (1938)
cast shadow on the ground) later inscription. It is similar to
accepted this hypothesis, and
This drawing of a young hare. a well-known work by Jacopo
dated the work 1502 de'Barbari (Munich, Alte
IS comparable to Leonardo's

drawings; Durer manages to Pinakothek, 1504).

19.2X21.41
74Esa® •1502- 1
convey an extraordinary wealth
of detail with his brush It is an
Parrot
Milan. Biblioteca Ambrosiana
exquisitely drawn, highly 80E3©*i502-^oV^D:
expressive work, and is justi- Heron
The monogram and date (1 51 3)
72 fiablyone of the best known Berlin, Kupferstichkabinett
and most popular of Durers Watercolour on vellum. Ac-
watercolours. A copy from the cepted as authentic by Winkler
Gay Collection is now in the (JK 1 939) and Panofsky (1 948)
Louvre

81 H©';502:o3"*?ns
76 H 11,7X10.4
D Cormorant
Bunch of Violets Lausanne. Strolin Collection
Vienna, Albertina Published as an authentic work
Watercolour and gouache on by Campbell Dodgson (OMD
vellum Brion (1966) con- 1939); but Panofsky. judging
sidered it to be an authentic from a photograph, considered
98 work of 1502, but the Tietzes Its authenticity questionable.
noting the
for
weak drawing (in,
example, the claws) He
suggested a date of 1 502-3 if
84 a^ 26,3X22
•1503* D vellum. Inscribed with the date
1 526, which IS certainly false.

Alkanet (Anchusa Offici- Panofsky considered it (as he

genuine. Possibly a workshop nalis) did nos. 87and 88) of dubious
drawing with parts by Durer Formerly Bremen, Kunsthalle authenticityPossibly a work-
Watercolour and gouache shop copy.

82 a® •1502-03*?! Ds
Possibly by Durer Panofsky
thought it dubious, but if
genuine of 1 503.
87
Bird of Paradise
London, Koch Collection
Watercolour and gouache 85 H@ ^^i03^7 D Columbine (Aquilegia
Vulgaris)
Panofsky thought its authenti- Buttercup (Ranunculus Vienna, Albertina
city very improbable Acris) See notes to no 86 for all

Formerly London, Bale details, including false date.

Collection Watercolour
83ffl@-i4^-oI4n: and gouache Dubious. 96Es3@%^oP'^D:
Two Birds of Paradise 29,2X15 Peonies Virgin with a Multitude of
88
Eriangen. Universitatsbibliothek
Watercolour and gouache,
unusual size Technically rather
86 H@ 28,8X15

Celandine (Chelidonlum
Pansy, Pimpernel and
Heal-AII
Bremen, Kunsthalle
Watercolour and gouache.
Considered authentic by Brion,
Animals
Vienna, Albertina
Pen and watercolour Some
dull, like no. 82, to which it is Maius) Vienna, Albertina who referred it to 1 505 motifs from earlier drawings,
also related in sub|ect-matter. Vienna, Albertina Watercolour and gouache on Panofsky thought it question- such as the Parrot (no 74) and
Authenticity very improbable Watercolour and gouache on vellum. Same characteristics as able but, if genuine, 1503 the Crab (no 18), reappear
no. 86, but no date.

89 S® D
Iris (Gladiolus)
Bremen, Kunsthalle
Watercolour and gouache.
According to Panofsky, this
and no. 90 are more likely to
be authentic than nos. 86-8:
probably c 1503 However,
It IS by no means certainly

authentic, and the dimensions

are usual for a Durer water-
colour The TIetzes attributed
It to Durer's workshop and

suggested that it might be a

copy of an original by Durer;
this theory seems acceptable

90S® D:
Turk's Cap Lily
Formerly Bremen, Kunsthalle
Watercolour and gouache.
Similar subject and style to no.
89 (see notes to above). For
present location see no 2.

91 H^^'^^'D:
Wild Lettuce
Bayonne, Musee Bonnat
Watercolour and gouache.
Formerly identified as a
tobacco plant. Panofsky
thought it of dubious
authenticity.

9,7X11,8
92 D:
Lily
Bayonne, Musee Bonnat
Gouache and grisaille on
vellum. Likely not by Durer.

93 H@
Peony
Bamberg, Staatsbibliothek
Watercolour and gouache on
vellum. Signed by Hans
Hoffmann but related to an
original by Durer, according to
Winkler and Panofsky.

94 H @ := D :

Peonies
Vienna, Albertina
Watercolour and gouache on
vellum There Is a copy
(23.3 x32 2) In Berlin
(Kupferstlchkabinett). 99
 here, together with the griffon, assimilated the influence of
stag-beetle (no 195). wood- Jacopo de'Barbari and
pecker, sparrow, butterfly, Antonello, and allows us to
screech-owl, goats, sheep, examine Durers method of
swans, stork and the tethered under-drawing Flechsig (1928)
fox which surround the serene and Kuhn (A Catalogue of
and dignified Virgin and Child. Carman Paintings 1936).

in a landscape scattered with both identified the picture as the

flowers and stretching far into central element of the so-called
the distance. One of the most Bremen triptych, which would
obvious qualities of this work have had the Bremen pictures
lies in Durer's habitual delicacy St John the Baptist and St
of handling, Panofsky related Onuphrius (nos 102 B & A) as
the kneeling shepherd to the Its wings. Panofsky (1948)

Death of Orpheus drawing. rejected this thesis on the

L 159 (Hamburg. Kunsthalle). grounds that the dark back-
the stork to the drawing L 821 ground of the centre panel
(Ixelles. Musee). and the would have broken the con-
96 (p
sheepdog to the drawing sistency of the landscape
L 388 (Windsor) and to the background in the two flanking
St Eustace engraving (p 116) panels, thus producing a very
The small screech-owl re- unlikely structure. The Tietzes
appears in the illuminated suggested a date of 1 503 for
initial for a page of Aesop's the picture
Vita e fabellae (Venice. 1505)
possibly painted by Durer for
Pirckheimer (see no. 103 M). The Jabach
Altarpiece
41X31,5 Scholarly opinion as to how
97 E3 1503 i: thispolyptych should be
reconstructed is still divided
Great Piece of Turf 102 A 102 B
The four works mentioned
Vienna. Albertina
Watercolour and gouache.
Dated 1503 in lower right hand
below almost certainly belong
together Some Durer scholars 101 E3® S;D: panels It has also been
suggested that the two
have included the Adoration of A. Job and his Wife panels were originally one,
corner. This is a justifiably
97 iplate XXVIII) the /[/lagi (Florence), no. 106. Frankfurt. Stadelsches were subsequently divided
famous watercolour.
as the central panel, because Kunstinstitut into two and trimmed on all
42,2x26,8 this painting was also origin- This and no 101 B obviously sides, which would account
98Es3® •1503-
1

I
ally in the Schlosskirche at combined to form a single
image originally, and were
for the fact that the various
Wittenberg and therefore must elements which should be con-
Jousting Helmet: Three
have been commissioned by probably the outside faces of tinuous in the painting do not
Views
Pans. Louvre
Frederick the Wise, the date of the wings of a triptych; when now quite fit together
the Adoration (1503-4) makes closed, the landscape back- Kugler (1854) put forward
Watercolour and gouache,
It contemporary with the ground would have been con- the hypothesis that the two
over pen drawing. Used as a
panels tinuous between the two scenes would have formed
study for the engravings B 100
the outside of the Munich
and B 101 (p. 116) The
monogram and date (1514) panels (no 101 C and D) and
that they had been sawn off at
are both fake, and the precise
date to which this watercolour
some stage A technical
should be assigned is a matter examination of the wood has
of speculation, Durers master- confirmed that this is the case.
Flechsig (1928) thought that
fulhandling perfectly captures
the cold glint of the metal and the centre panel would have
the sheen of the leather and been a Virgin and Child with
brass There is an identical St Anne. Kauffman (WRJ
helmet the Higgins Armory
in
1938) suggested the Adoration
(Worcester. Mass which was)
of the Magi of 1504 (no 106);
for various reasons, including
98 armour made
part of a suit of
by the armourer Siebenburger the fact that the Munich panels
of Nuremberg, but as he was
evidently always had arched
born in 1510 this particular tops, this IS unlikely. Panofsky
helmet obviously cannot have (1948), following Heller
been the actual model (as was (1827), was of the opinion
once supposed. kH 1940). that the Job scenes belonged
to a single painting,and there
IS some support
for this view
24X18 drawing of the school of
99Es3^ 1503 g: in a
Cranach the Elder (Berlin,
Virgin Suckling the Child Kupferstichkabinett, no. 1292).
Vienna. Kunsthistorisches which was executed while the
Museum paintings were still at Witten-
A charming berg, showing a unified
small painting in
bright, brilliant colour. composition The iconography
of the panels has been vari-
ously interpreted. It is

looEsse 1503 0^4

Si probable, however, that the
scene was intended to convey
Salvator Mundl the idea of derision, not only
New York. Metropolitan because the facial expressions
Museum appear to express mockery, but
This has been identified with
because, in Christian sym-
the painting listed and des-
bology, the story of Job - an
cribed Imhoff's inventory of
in
innocent and resigned victim -
'it'- .!0. .?2) According to was often used as a prefigura-
"
1 it was later tion of the Passion, so that it

'eichardt of cannot be fortuitous that the

Christ in the frontispiece of the
Large Passion and that in
famous Melencolia are shown
in the same pose, conveying an

attitude of resignation The

theme of Job - who was
100 100
subjected to great suffering
and then redeemed and venera-
101 D
 ivr *»Tni M -nitfle,

TXfOf titf^t «t*1rr«W'

ted as the protector of victims central panel has been lost,

of skin diseases and the plague even that it was never
or i)i«'7hr^%AAit^Kalr J* 9x20
•1504
g
H;
•
- seems to have been particu- executed Judging from
B. Cupids Seated on a Bear
larly apposite, since Frederick the positions of the Saints
theWise is known to have within the panels it seems
and a Unicorn, jousting
Rotterdam, Boymans-van
been a hypochondriac and possible that they were part of
Beuningen Museum
since there was an outbreak of a series of saints perhaps
Histona
Illustration in Aristotle's
the plague in Germany at intended for a more complex
Animalium, Venice (Aldus),
precisely this date polyptych The paints are very
1495. As in 103 A, the em-
Venetian in character, which
blems of both the Pirckheimers
led Hartt (AB 1940) to inter-
101 ESa© fs^ot^o^D: pret St Onuphrius as a Job,
and the Rieters appear, thus
because the figure appears to
dating this before 1 7 May 1 504
B. Two IVlusicians
Cologne, Wallraf-Richartz- be modelled on Bellims St
(Vluseum Job for the S Giobbe altar- C. Cupids on Cornucopias,
See notes to no 101 A piece in Venice (now in the fiddling
Accademia); it may also be Copenhagen, Kongelige
worth noting that the figure Bibliotek
96 X 54 ig •
Com-
101 E3© 1503-04 B I
resembles the Frankfurt Job
(no 101 A) and was presum-
This is in Simplicius's
mentary on the works of
St Joseph and St Joachim ably painted from the same Aristotle (Venice, 1499) Both
C.
Pinakothek
IVIunich. Alte model Panofsky pointed out a coats of arms appear, thus,
Signed, in monogram, on the similar juxtaposition between before 1504
knob Josephs staff The
of St St John the Baptist and St
date (1523) was removed Onuphrius in the woodcut
at the end of the nineteenth B 112
century, when it was realised
B. St John the Baptist
that had been added later
It
Formerly Bremen, Kunsthalle
Von Hellwig (DM 1813) indi- See notes to no 1 02 A
cated that they had originally
belonged in "the private chapel
of a Cologne aristocrat' who, ,
Book Illuminations
according to Kugler (1854), for Willibald
would have been a member of Pirckheimer
the Jabach family Flechsig
two wings had
stated that the The following is a list of
probably been commissioned illuminations in books in

by Lazarus Spengler, the clerk Willibald Pirckheimers library,

of the works of the church of which may be attributable to
St Sebaldus in Nuremberg, Durer The phrase "illuminations
basing his suggestion on the in books seems more appropri-
iconography of the panels in ate than "illuminated books"
which St Lazarus is included since, apart from the first

The paintings are now example (no. 103 A), these are
usually considered as auto- not real illuminations, but small,
graph works, but have been delicately painted decorative
considered by some scholars motifs, usually showing
as products of Durers work- Pirckheimers coat of arms
shop, Wolfflin (1926) proposed enclosed by putti, dolphins, or
a date of 1 503-5, which has swags of fruit and flowers:
been generally accepted these are, moreover, the work
of a craftsman rather than an
artist With one or two excep-

101 \g^
TV
97X55
1503-04
H
H
•
:
tions these decorations are not
103 D 103 E

usually considered to be by 3MENnN lEPON 2TOMA.MH AENOH

O. St Simeon and St Lazarus Durer himself, but the work
IVIunich, Alte Pinakothek
See notes to 101 C The mono-
of his assistants after his
designs For type of deco-
this
MXIQIO AAXnN GPONON ANEPOZ C
gram appears on St Lazarus's rative idiom, Durer could have
pastoral cope drawn on his early experience
as an apprentice goldsmith in
his fathers workshop Where
only the Pirckheimer coat of
102Eg©4^o3-^oVa: arms appears, we can assume
that the illuminations belong
A. St Onuphrlus either before his marriage (13
Bremen, Kunsthalle October 1495) or after the
This belonged, together with death of his wife (17 May
no 102 B, to the Praun Col- 1504) Stylistically they seem
lection in Nuremberg and later to be closer to work of around
to the Heinlein Collection, it 1504. Where both the Pirck-
was left to the present collec- heimer and Rieter coats of arms
tion by H, Klu'gkist (1851).The appear the decorations must
two paintings were the lateral obviously belong between
wings of a small triptych 1495-1504 In the following
(Tietze, 1927); Panofsky has list of illuminations, the identi-

rejected the suggestion that the fying symbols used for no.
central element of the triptych 103 B are valid for all the
would have been the New York subsequent entries up to no
Salvator Mundi (no 100) 103 M; details of date, size,
because that picture has a dark location etc. are entered
background which does not separately where relevant
match the landscape back-
ground of the panels with St
Onuphrius and St John the 103 S® -150^4 D:
Baptist, and this would have A. Pastoral Scene
produced a composition quite London, London Library
untypical of Durers work The Inan edition of Theocritus,
combmations of the half length Venice (Aldus), 1495 Both the
figure of the Salvator Mundi Pirckheimer and Rieter coats of
with the full length figures of arms appear on shields sus-
the Saints would also have pended from the trees on right
been rather unlikely It seems and left, so it must have been
probable, therefore, that the painted before 17 May 1504 101
103 I 103 K
 7

an extraordinarily close resem-

blance to this work. Durer's
painting may also have inspired
an Italian intarsio choirscreen
(c. 500-5) now in the
1

Victoria and Albert Museum in

London

C Angel of the
Annunciation
Formerly on the outside of the
St Eustace panel (no 104 C):
known only through copies
(see Winkler) See also notes
to 104 A, and 1 04 A .

105Es3@ ^\^.f-m\
Elk
London, British Museum
Pen and watercolour Inscrip-
tion Heilemut' Dated 1519,
with monogram, but probably
executed c 1 504

106E53© °?5ol S:
Adoration of the IVIagi
Florence, Uffizi
Date and monogram inscribed
on a stone slab next to the
Virgin at the bottom of the
picture This is the most im-
portant work of the decade

104 A (plate XXII A) 104 B (plates XXIII-XXV) 104 C (plates XXII B and XXVI)

Cut out 'rom Suidas' Lexicon K. Two Siren's Supporting and C), which were originally (104 A ). The plain, dark
Graecum (Milan, 1499) Date Pirckheimer's Coat of Arms painted on both sides. Acquired background in both these side
uncertain as there are no coats Location unknown by Maximilian from the
I panels was at some stage
of arms On a copy of Etymologium Katharinenkirche in Nuremberg changed to a landscape, but

E. Cupids Supporting Magnum Graecum published in (1613). The date traditionally this overpaint was removed
Willibald Pirckheimer's Venice in 1499 Rieter arms associated with the painting during the present century
Coat of Arms absent After 17 May 1504 (1498) probably refers to the
Rotterdam. Boymans-van Paumgartner's commission for AV Virgin with the Dove
Beuningen Museum L. Wild Man and Female the picture The panels with (part of an Annunciation)
On a copy of Appianuss Nude with Pirckheimer's the two saints may have Painted on the ouside of the
Historia Romana de Bellis
Coat of Arms been painted slightly earlier St George panel (104 A).
Civilibus publisfied In Venice
Cambridge, Mass Hofer , than the central panel, and are Modern Durer scholars
in 1477 Rather poor quality.
Collection related to Durer's studies of do not consider this as Durer's
The Rieter coat of arms is In a copy of Aesop published human proportion, as drawings work. Rottinger (JKS 1907)
absent. in Venice in 1505. It may have and engravings made 1500-4 attributed it to one of the
been executed after a design demonstrate The Nativity Wechtlins: Winkler (K 1961)
F Cupids Supporting by Durer but there is no was probably painted c attributed it to Hans Baldung
Willibald Pirckheimer's evidence of Durer's hand. 1504, and it is generally agreed Grien It could have been
Coat of Arms to be contemporary with the painted in Durer's workshop,
Berlin, Furstenberg Collection M. Screech-Owl Adoration of the Magi in the under his supervision.
On a copy of Flavius Cambridge. Mass, Hofer Uffizi (no. 106).
Josephuss Opera (Verona, Collection
1480) Like 103 E, rather Initial on volume mentioned
mediocre Rieter arms absent above (103 L). 104 l®%1,i?^n:
B. Nativity
Pirckheimer's Coat of
G.
Arms
The Paumgartner A. St George In the background is the An-
Assumed to be a portrait of nunciation to the Shepherd: in
Rotterdam, Boymansvan Altarpiece Stephan Paumgartner This and the lower corners the members
Beuningen Museum The triptych consists of a no. 104 C originally had an of the donors family appear:
On a copy of the Anthologia centre panel (no 104 B) and Annunciation painted in on the left three men: Martin,
Graeca published in Florence two lateral wings (no 104 A grisaille on the exterior who died in 1478, and his sons
in 1484 Similar in quality to
Lukas and Stephan, together
103 E Rieter arms absent with an old man whose coat 104 A' (plate XXI
of arms has been variously
H. TwoCupids on Dolphins identified - Baumgarten (DH which separates Durer's first
with Pirckheimer's Coat of 1910) thought that he was one and second visits to Italy, and
Arms of Martins great uncles; von perhaps the only entirely
Hanover, Provinzialbibliothek Schmelzing (MJBK 1937-8) authentic painting of this
On a copy of Aristotle's interpreted the figure as period, outside portraiture The
Organon. Venice (Aldus). Martin's widow's second Italianate characteristics of this
1495- husband. On the right hand work, the lighting, composi-
I. Cupid with Pirckheimer's side are Martins wife Barbara tional rhythms, the scale and

Coat of Arms (d, 1494) with her daughters perspective of the ruined
Location unknown Maria and Barbara. The Tietzes buildings, and the landscape,
On a copy of Urbanus Bolzianus (1928 and 1937) thought appear to have become more
Bellunensis's Institutiones that Hans Schauffelein might pronounced on the eve of
Graecae Grammaticae (V.enice, have worked on this painting Durer's departure for Venice for
1497) Rieter arms absent Martin (1963) cited a drawing the second time There is
After 17 May 1504 in the British Museum (152 something almost obsessive in
198) as a copy of 1 04 B the motif of the repeated arches
J Cupids with probably by a member of which stand intact amidst the
Pirckheimer's Coat of Arms Durer's workshop crumbling remains of the
Rotterdam, Boymansvan buildings, and in the appearance
Beuningen Museum C. St Eustace of Durer himself, depicted as
On a copy of Aristophanes' Assumed to be a portrait of the most imposing and sump-
Comoediae Novem. published Lukas Paumgartner There is a tuously attired of the three
in Venice in 1498 Rieter arms Magi Like the Jabach panels
o/al of the overpainting of the woodcut St George (dated
102 absent, after 17 May 1504. 1506) by Cranach which bears (no. 101 A-D) this was com-
missioned for the Schloss- lished it as a Durer, but later Benesch (P 1934), who had
kirche at Wittenberg; it was (1938) ascribed it to an Upper suggested that it was
originally
also painted at the same time Rhenish Master in the manner of the work of theyoung Hans
and ISmore or less the same Hans Baldung Grien; Panofsky von Kulmbach (P 1928),
size as the combined Jabach related it to the painting dated accepted Longhis identifica-
panels, and has thus been 1491 and signed spuriously tion Panofsky (1948) dismis-
considered to be the centre H.H. in the Metropolitan sed both the identification of
panel of the Jabach Altarpiece Museum, New York (23 255) the sitter as Pirckheimer and
Kauffman (1938) claimed to the attribution to Durer,
have discovered documenta- together with no. 110, Delia
tion to support this theory in Pergola (Catalogue. 1059)
two descriptions; the first is an
109Es3e''i5or S: rejected the attribution to
anonymous source, incorpora- Portrait of a Young Woman Durer (formerly supported by
ted in Matthaus Faber's Vienna, Kunsthistonsches De Rinaldis, 1948) and sug-
Kurzgefasste Nachricht von der Museum gested that it could be by C
Schloss- und Akademischen In the Vienna museum since Amberger or a close follower of
Stiftskirche in Wittenberg, 1923 Formerly in a private Durer.
1717, written when the painting collection in Warsaw. It is
was still in Wittenberg; the and may be 46X33
second description is dated 28
thinly painted,
unfinished.
112 ES@ Ds
June 1619 when it had already Portrait of a Young Man
been transferred to the Im- Darmstadt, Grand Duke of
"Kunstkammer" in
perial
Vienna, where it remained from
110Eaa©^?5or i: Hesse Collection
Tempera and oil. Formerly
1603 until 1792 Both Portrait of a Bearded Man thought to be a portrait of
descriptions specify that a St Kromeriz. Czechoslovakia, Frederick II of the Palatinate
Joseph was in the painting; Umelecko historicke Muzeum (Peltzer, Albrecht Durer . . .

the earlierone specifically Dated 1505. Published by 1 905) and later thought to be
describes him as forming part Frimmel (K 1888-9) as a good a portrait of Anton Tucher, the
of a group together with the early copy of a Durer. Benesch husband Cordula von
of
animals tied to the manger (P 1928) accepted it as an Wolfsthal (see note to no 47)
There is. however, no St authentic work; the Tietzes The picture Is either by Durer
Joseph in either the Uffizi (1937), with some reservations, or by a copyist of his original
picture or the drawing in the considered that it might be a (Friedlander, 1901). but its
Eriangen Universitatsbibliothek self-portrait Panofsky thought authenticity has been ques-
(an early sixteenth-century that it was neither a self-portrait tioned on various occasions
copy of Durers painting made nor even by Durer, and singled Probably the work of a Franco-
when the picture was still at out the decorative use of the man or Middle Rhenish Master,
Wittenberg). Kauffmann con- numerals as quite uncharacter- circa 1505 (Panofsky, 1948)
cluded that the St Joseph istic of Durer The work appears
mentioned in the two docu- to be related stylistically to the
ments must therefore be the
Joseph in the Munich panel
St Borghese Gallery
Man (no 111),
Portrait of a
113 H© 52X40
D:
(no. 101 C), in spite of the Portrait of a Young Man as
fact that neither description St Sebastian
refers to the existence of
for the Adoration. Durer
certainly did not paint a St
wings
111 S© Is^of i: Bergamo, Accademia Carrara
Provenance from the Lochis
Collection, with an attribution
Portrait of a Man
Joseph - a figure long regarded
Rome, Borghese
Galleria to Durer; listed in the Bergamo
as a rather humorous character,
This may be the "head of an Catalogue, until 1930, as an
and often represented sleeping old man by Alberto Duro" authentic work Friedlander
108
- but it is quite possible that (Ciceronefestschrift. 1928),
listed in the Aldobrandini in-
was added to the
the figure parison with the Albertina who emphasised the badly
ventories of 1626 and 1682,
composition some time around drawing (L 533) executed in damaged head, and Winkler,
and is certainly the painting
1600 when St Joseph became 1514, which shows Endres ten considered that the transforma-
mentioned in the Borghese
a more prominent figure in the years older. tion of the figure Into a St
inventory of 1700 under Durers
Catholic liturgy, and that this name, and in the Deed of Sebastian, and the addition of
same figure was later removed Trust of 1833 under Holbein's the halo, had taken place at a
This would explain the content
of the sources quoted by 108 S® Is^of is name Waagen (1867)
fied it as a Durer and thought
identi- later date, and in other respects
compared it to the Virgin with
Kauffmann and disprove his the Siskin (no 116) and the
Portrait of a Young Man that is was probably a portrait
theory that this painting is
Clowes Collection of Pirckheimer; Longhi Tucher portraits (nos 54-7)
Indianapolis,
connected with the Jabach (Precisioni 1928) linked it The Tietzes did not accept the
Inscribed at the top (1504.
panels. In fact both of the with the Kromeriz portrait (no attribution to Durer, in spite of
ALT 25), The fact that the
descriptions used by Kauffman
110), which IS also dated
the resemblance between this
holding an eryngium
sitter IS
describe the Adoration un- 1 505, but thought that the
and the Krel portrait (no 52
flower suggests that this may
equivocally as a single picture present painting should be A); they ascribed it to another
be a "betrothal portrait" (see
("Tafel" in the first case and
ascribed to a later date artistresembling Cranach
no 12) Tietze (1933) pub-
"Stuck" in the second) which working under the influence of
makes the view that this picture Durers style of the end of the
belonged to a triptych totally century. Panofsky (1948) and
unlikely In iconographical all the more recent historians
terms would be extremely
it have rejected the work Prob-
difficult to justify a link between ably by a Franconian or Middle
this work and the Job scenes. Rhenish master

112
The Ober St Veit
Altarpiece
Portrait of a Young Man
Budapest, Szepmuveszeti
Muzeum
114 S© -isoe- D:
Ober St Veit near Vienna
in a very poor state of preserva-
Erzbischofliches Palais
tion. Of disputed authenticity.
Commissioned by Frederick the
Buchner (P 1928) and the
Wise for the Schlosskirche at
Tietzes (1938) related it on
Wittenberg, probably at the end
stylistic grounds to Hans von
of 1504 or the beginning of
Kulmbachs work; Panofsky
1 505 Composed of a central
thought that it might be a
panel of a Calvary, with
portrait of Durers brother
a Bearing ol the Cross on the
Endres, painted in 1504;
left and a Noli me tangere on
the date is suggested by
the right, on the inside of the
the Leonardesque "sweetness"
of the portrait, and by com-
wings, and a St Sebastian and 103
113
106 (plates XXXI XXXII
 114
a Sf Roch on their exteriors Signed with a Latin inscription Burcardis (see no 118) are only given the title The Feast of central part of the Feast of the
Durer probably intended to on a scroll held up by the identifiable The dignitary the Rose Garlands in the mid- Rose Garlands There is no
paint the central panel himself, artist, who is shown in the standing next to Durer may be nineteenth century, but there is reference to this important work
leaving the wings to be execu- middle distance on the right. Fugger, the head of the German no doubt that the theme of the in Durers correspondence
ted by workshop assistants, but Exegit quinquemestri spatio confraternities, who was Durer's painting concerns the Cult of
in fact whole project was
tha Albertus Durer Germanus host when he was in Venice the Rosary F HA
van der
entrusted to Hans Schaufeiein MDV (I)", with the usual According to the inscription on Oudendijk Pieterse {Durers ''^^
when Durer left for Italy in monogram It is a rigidly sym- the painting the whole work Rosenkranzfest en der Icono-
117 ESa© El
1505 Drawings by Durer metrical composition, based on was finished months,
in five grafie der Duties Rosenkranz-
would have provided the a triangle which has sides but from the evidence of the groepen van der XV en het Christ amongst the Doctors
basis for the wings (L 1 88 - formed by the figures of the extant letters it seems to have begin der XVI eeuw. Amster- Lugano, Thyssen collection
L 191), but the composition of Pope and the Emperor and an taken considerably longer dam, 1939) has done a detailed Besides the monogram and date
the centre panel must have study of the iconography the painting bears an Inscrip-
axis passing through the crown, There were two German con-
been by Schaufeiein himself, Panofsky (1948) was interested tion on a pieoe of paper
the Virgin and Child and the one was
fraternities in Venice,
borrowing various motifs from the symbolism which links sticking out of the book in the
lute-playing angel The picture a confraternity ofNuremberg in
engravings and woodcuts by IS designed to illustrate the idea actual roses with the beads of lower left hand corner of the
merchants, the other, headed "

Durer, as Panofsky has shown the rosary; he also pointed out picture, "opus quinque dierum
of a universal brotherhood of by Fugger, comprised the
It was executed during Durer's
(B 54 of 1505, published in Christianity on the right, merchants of other German the links between Durers
1508, B 88, B 9 B 11) behind the Emperor, are lay and Rosen- second stay in Venice, and is
cities The church of S picture earlier
There is a variation on the identifiable with the painting
figures, on the left, behind the Bartolomeo near the Fondaco krambilder, e, before 1500.
i

Calvary Basle (Offentliche which confirms the fairly mentioned by Durer in a letter
in Pope, are the clergy, the was administered by the
Kunstsammlung) strongly characterised faces Germans The picture was widespread existence of the 23 September
to Pirckheimer of

suggest that they are all installed in the second chapel Cult of the Rosary at the end of 1506 know that my picture

portraits, although almost none on the left of the nave and the fifteenth century, although [The Feast of the Rose
162X194.5H ; of them, apart from the Pope, the Feast of the Rose Garlands Garlands] is finished, likewise
remained there until the begin-
115 Ei30 1506
the Emperor, the artist, and the ning of the seventeenth century Itself was not officially insti-
another, the like of which I

The Brotherhood of The architect of the new Fondaco The Confraternity of the tuted until 1 573 The Feast of have never done before The
Rosary (The Feast of the del Tedeschi in Venice (Master Rosary had been founded in the Rose Garlands marks Durers compositional concept of the
Rose Garlands) Hieronymus) and someone 1476 by the Dominican Jacob total assimilation of the Renais- picture is obviously Italianate
Prague, Narodni Galene assumed to be Burcardus de Sprenger The painting was sance He considered Bellini to example the
in derivation, for

be the greatest Venetian painter, compact grouping of the figures,

and It IS Bellini's influence and the teonardesque doctor
which transforms his art; the seen in profile to the right of

musical angel is a direct tribute

Christ, but it can justifiably be
to Bellini, as are also the
described as "Gothic , it is a

Imperial mantle and the Pope's sym-

partly decorative, partly

cope, but there are also recog- bolic scheme composed around
nisable echoes of Northern the central motif of the four
masters such as Stephen hands According to Thausing
Lochner, Conrad Witz, the (1876) It would have been a
Master of Flemalle and the van gift from Durer to Giovanni
Eycks There are copies in Bellini, in whose possession it

Vienna and at Hampton Court was when Lotto saw it. (In his
Sacra Conversazione of 1 508,
Galleria Borghese. Rome. Lotto
used Durers motif of the scribe
116ES3e ^^50^ El for his St Onuphrius). One of
the doctors reappears in the
Virgin with the Siskin Christ and the Adulterous
Berlin, Staatliche Museen Woman by Palma Vecchio
Inscribed,on a painted scroll in (Rome. Museo Capitolino)
the bottom left hand corner, in There are several drawings
Durer's hand "Albertus durer related to this work, for instance
germanus faciebat post Virginis the studies for Christs head
partum 1506" followed by the and hands (in the Blasius
artist's monogram The Tietzes Collection. Brunswick, and the
(1937) related it to Titian's Albertina. Vienna) Kenneth
Virgin with the Cherries Clark has put forward the hypo-
(Vienna. Kunsthistorisches thesis that the painting is a
Museum) - Titian borrowed copy of a lost composition by
the figure of St John from the Leonardo (Leonardo da Vinci.
Durer Panofsky related this 1939). J Bialostocki defined
painting to the Bremen draw- the complex problems posed by
ing L. 1 1 2 which was among the picture in an exemplary
others used as a study The study in the Journal of the
composition is a much reduced Warburg and Courtauld Insti-
104 and simplified version of the 22. 1959)
tute. (Vol
115
 31.5X26.6
118 E3@ 1506 S: 121 ffle"-f5a7^^i:
Portrait of a Young Man Virgin and Child
Hampton Court, Royal Bagnacavallo, Monastero delle
Collection Cappuccine
Formerly in the collection of Discovered by Longhi, who
Charles This very sinking
I
published it in 1961 (PA no
portrait, which is dated and 139) The painting has been in
signed, was painted in Venice, the monastery since it was
the sitter may be Burcardus of founded in 1774, but nothing
Speyer The identification of IS known of its previous history,
the unknown young man (who although mediocre neo-
a
also appears amongst the classical copy of It IS known
spectators in The Feast of the (possibly made to preserve the
Rose Garlands) is based on the originalfrom the Napoleonic
existence of a miniature with lootings) and there is an en-
an inscription in the Weimar 118 graving of It by Marabini with
Schlossmuseum, published by the title Madonna del Patrocinio
K.F.Suter (ZBK 1929-30). A The picture was undoubtedly
comparison between the minia- painted during the second stay
ture, in which the composition in Italy Longhi has pointed out
has been elaborated, and which that the influence of Belliniand
shows the figure in half length Antonello has become very
(Panofsky. 1948), suggested to pronounced and that there are
the Tietzes (1 937) that the also echoes of (Vlontagna in
Hampton Court picture was this work, although Northern
originally larger Giovanni motifs such as the coif covering
Bellim's influence is evident, the Virgin's forehead, the slop-
123 A (plateb XLl A XLII) 123 B (plates XLl B and XLIII)
particularly in the intentional ing shoulders, the asymmetri-
understatement of the psycho- Eve (no. 123 B). on Durers the proportions attenuated.
cally arranged hair, and the
logical characterisation of the
return from his second visit to The figures in the engraving
shallow enclosing space are
(Fnedlander, 1919) Italy Although the two paint- calm com-
are classical in their
sitter still very much in evidence
ings wouldtogether almost
fit posure whilst those in the
Longhi favoured Bologna as
perfectly, they were unquestion- paintings seem to be caught in

119 Eg e
Portrait of a Young Man
isc^' S:
the probable place of execution
rather than Vicenza or Venice
Durer visited these towns evi-
ably painted as separate pic
tures. as both contemporary
movement of a dance and
the
more alluring as
are infinitely
copies and the separate signa- images of the nude figure
Genoa. Palazzo Rosso dently with the intention of
tures indicate Durer Panofsky considered the painted
Besides the monogram and meeting Jacopo de'Barbari and
has used the theme as
"

figures to be more "Gothic

date (1506), the painting bears learning the secrets of perspec-
an excuse to paint two nude than those in the engraving He
the inscription "Albert Durer tive from him, if the picture
figures Adam is signed with stated that Gothic taste pre
germanus faciebat post virginis was painted in Bologna, it
Durer's customary monogram, ferred soft, lyrical moods to the
partum" F Fihppini (BA 1929) would have been the last
in the lower right hand corner hard, dramatic (or epic ones),
has identified this with the picture painted in Italy It is in
of the picture,whereas Eve has and generally tends lo femi-
picture of an Italian which an excellent state of preserva-
an inscription on a card hang- nise the beauty of the male
Durer mentioned in his tion, but appears to have been
ing from the apple branch while the opposite is true of
Netherlandish Diary, for which cut slightly down the sides
which she carries in her right classicaland clasicistic art"
he was paid two florins. The hand. "Albertus Durer almanus/ Another feature distinguishes
authenticity of this painting has
never been seriously questioned, 122S •1507 faciebat post virginis/partum
1507 AD "
She is shown
the paintings from the engrav-
ing the print is endowed with
although some qualified doubts Virgin and Child accepting the forbidden fruit symbolism which is quite absent
have been expressed on account (Alpine Madonna) from the serpent from the paintings Adam is
of the ruinous state of preser- Together with the Bagnacavallo The two paintings belonged shown clinging to the rowan
vation; these doubts have been picture Longhi (PA 1961) Sweden and wisdom)
to Queen Christina of tree (the tree of life
dispelled since the painting has
120 (plate XXXIX)
indicated another Virgin and who gave them to Philip IV on the left, and the apple tree
been cleaned Child o^ 1505-7, which has
cannot be certain Panofsky has been dubbed the "(Vladonna of
criticised the recent restoration the Alps", because of the land-
120E3©^^ilo6-^o7^S: of the work the background is scape background The
Portrait of a Woman uncharacteristically tonal, the painting appeared in the trade
Berlin. Staatliche Museen light istoo diffuse, and the pale unpublished The stylistic
Painted in Venice The mono- blues of the sky seem partic- references suggested by the
gram at the top is not by Durer ularly suspect It may be, of painting are numerous, and it
The letters AD also appear in course, that Durer's approach would be impossible to make a
the embroidered trimming of to modelling had become more definitive identification of the
the dress. Although the sitter tonal, with the assimilation of locality as there are no identi-

bears no resemblance to Agnes Venetian influences, and that fiable topographical references

Frey (Durer) she has usually he had realised that light could in the picture
been identified as Durer's wife be used independently of
- this would account for the structure and diffused through-
initials on the braid; but as the out the painting This is un-
123E!g®^°r507^^g:
initials ES are also clearly doubtedly a masterpiece, but it A. Adam
visible in the decorative pattern IS also an exception to the (Vladrid, Prado
on the braid, the identification general tenor of his work Painted, together with the Prado
121 122
of Spam The two paintings (symbol of love) is between
represent the first life-size the two figures, in the rowan
nudes in the history of tree IS a parrot representing
German painting In them Durer wisdom and charity whilst in
returned to a theme which is the apple tree is the serpent.
fundamental throughout his I e the devil The charged
human figure
career, that of the relationship between the two
He had already treated in a il figures is echoed by other
monumental fashion in the motifs like the mouse crouching
engraving B The Fall ol Man
1. between Adam s feetand the
(Adam and Eve) of 1 504 (see cat at Eve s feet which is
p 1 1 7). but whereas the canon tensing itself for the kill

of measurement in the engrav Panofsky (1948) cited an

ing IS eight neads. here it is extract from Marziano Cappella s
nine, and whereas in the foimer edition of De nuptns Meicum
the contours of the figures are el Philologiae by the Bohemian
sharply and firmly defined, the humanist Johannes Dubtavius
anatomical articulation precise, (published in Vienna in 1516)
and the poses statuesque, here coniaining a description of a
the contours ate continuous. painting ol Adam and Eve 105
116 (plates XXXVII XXXVIII) 117 (plalus XXXIII XXXVI)
 ,

London. National Gallery Durer in the Nuremberg exhi- ing in Durer's own writing or in
125Es30 ^?5of @: The monogram is not authentic, bition of 1928). considered it that of his contemporaries, and
Portrait of a Young Girl/Boy and X-rays have shown that to be identical with the "Maria- an identification of it with the
Berlin, Staatliche Museen the 1 508 date was added later. bild "
offered by Durer to Jacob "Mariabild can only be
"

Oil on vellum, stuck on wood. as also the Virgin's veil The Heller in 1508. first for fifty, speculative The provenance has
Monogram and date (1 507) painting was acquired by the then thirty, and finally twenty- not been traced further back
National Gallery in 1945 and five florins In fact the "Maria- than 1821 in Nuremberg
Probably painted in Venice,
although Durer took it back to has a history of controversial bild" which Heller saw in Das Leben und die
(Heller,

Germany with him as it is listed attributions Thausing (1876). Durer's Nuremberg workshop Werke Albrecht Durers. 1827);
in the Imhofschen inventory of
on the evidence of the replica in the summer of 1507 was It passed to the Felsenberg
1 573 Apart from the which was in the Prague subsequently sold for 72 florins Collection in Vienna and then

Sell portrait of 1500 (no. Rudolphinum (exhibited as a to Johannes Thurzo. Bishop of came to England

59) this IS the only full face Breslau Fnedlander (Reperto- There are two variations on
portraitby Durer, it does not rium lur Kunstwissenschalt. the painting The one already
appear to have been painted on 1906) thought that it was by mentioned, in the Narodni
commission (particularly in an imitator, and Gluck (JKS Galerie in Prague, is almost
view of the ground) but seems 1909-10) put forward the 149 x
identical in size (panel

rather to have been painted as hypothesis that this was a work 120) and may have come from
a personal gift, or as a memento of the so-called Durer "revival" the workshop (the Tietzes
for Durer himself. The sitter which took place at the Court considered it as a copy of the
was originally taken to be a of Rudolph II at the end of London Picture). A second
girl, but more recent writers
the sixteenth and the beginning version is in the Benedictine
have interpreted it as a young of the seventeenth centuries Monastery at Wilhering in

boy and Panofsky (1948), with Austria Neither of these

The painting has also been
some justification, connected it variations has a monogram
considered as the result of
with the model for Christ or date, which suggests
collaboration between Durer
amongst the-Doctors (no 117) that Levey's thesis is correct.
and his pupils C Dodgson
124 B An extract from a letter from (The Durer Society. 1902), C
Canon Lorenz Beheim of Phillips (Daily Telegraph. 26
(bought for 1 20 ducats by the
Bamberg (a friend of both February 1902, and 14 June
Bishop of Bratislava, Johannes
Thurzo. to whom Durer also
Durer and Pirckheimer) which 1906) and C Rickets (BM 129E3© %or @:
alludes to Durer's suscepti- 1906) all followed up this
sold the \/iigin with the Ins. Martyrdom of the Ten
bility to handsome young men 125 hypothesis, and identified
(no 128 ), which so exactly Thousand
has been invoked as con- Baldung's hand, Flechsig
fits the F'rado pictures that one Vienna. Kunsthistorisches
firmation of the identification (1928) and the Tietzes (1937)
would be tempted to say that Museum
of the sitter as a boy. There is accepted this identification
they are identical, were it not Oils on wood, transferred to
no reason, of course, why a girl Dodgson restated his thesis canvas Besides a monogram
for the fact that the tree Is in
should not have modelled for (BM 1948), and it was taken
described as "in the middle ,
the centre of the composition
both this picture and for the up by Panofsky (1948), al-
and It IS unlikely that a com- there is an inscription, to the
figure of the twelve-year-old though with somequalifications.
mentator as perspicacious as right of the self-portrait of the
Christ, and the eyes, mouth, insofar as he was able to relate
Dubravius would have been resplendent in his French
artist,
rounded countours of both details to specific drawings by
mistaken on such a point In cloak bought in Venice. "Iste
neck and shoulders, and the Durer. as for instance 637 of
L.
the contemporary copies of domini 1508/
fatiebat af\o
play of light across the bare 1503. for the iris, the woodcut
both paintings (panel; Uffizi, alberto Dureraleman Durer's "

bosom suggest that this is in B 99 of 1504-5 for the general

Florence, 212 x85) which have companion may be identifiable
fact a girl composition, and the drawing
been attributed both to Durer's as the humanist Conrad Celtes
workshop and to Hans Baldung L 525 of 1 51 2 - the Albertina (but this identification, which
Grien (to whom Frizzoni also Virgin and Child - for the Child Panofsky (AB 1942) accepted,
ascribed the Prado originals)
the animals reappear but are
126S® Winkler (1957) supported
Gluck's thesis that the picture
has been dismissed by Gumbel).
The painting was ordered by
Portrait of a Man
not the same as those in the was the work of an unidentified Frederick the Wise for 280
Washington, National Gallery,
engraving There is also another painter, based on Durer draw- florins; later it passed to the
Mellon Collection
contemporary version, with ings and motifs. In his very Granvelle collection, and in
Acquired by the Mellon Col-
variations, in the Altertums informative entry to the National 1600 to Rudolph II There is
lection in 1937 Published by
museum at Mainz Gallery Catalogue of 1959. a precedent for the subject in
Winkler as an authentic Durer
Michael Levey rejected the Durer's woodcut of the same
(Durer, 1928) More recent
painting on the grounds that theme. B. 117. executed almost
historians have accepted
123E3©^Tsof S: Buchner s opinion (Festschrilt
he was unable to assign it to a exactly ten years earlier There
convincing date because it also a preparatory drawing
B. Eve lur MJ Fnedlander. 1927) that
contains Durerian motifs from
IS

dated 1507 (24 4 x42 8) in

Madrid, Prado this IS by Hans Schaufelein.
different periods. Levey ac- the Albertina. in which the
For all details, see note to 1 23 A Monogram and date obviously
cepted that the work was from composition is still horizontal
fake
Durer's workshop and sug- and Durers companion is not
gested that, from the first, it shown The theme is the

127 S@ 45,1X35 was never intended to be martyrdom of the 10.000

124 E3© Isof S: passed off as an original work Christians of Bithynia in 343
by the master. There is no by command of Sapor. King of
A. Portrait of a Young Man Portrait of a Woman

M
certain reference to this paint- Persia, following Diocletian's
Vienna. Kunsthistonsches New York. Metropolitan
127
Museum Museum of Art
Monogram and date Listed in Tempera and Oil Formerly in
the inventory of the Imperial the Bache collection. New
Kunstkammer of 1619 (no 82) York It became the focus of a
The Tietzes (1937) thought violent controversy when A L
was probably a
that the sitter Mayer (P 1929) published it as
German merchant in Venice. a work by Durer of 1506 (the
Painted on both sides painting actually bears a mono-
gram and 506 date, both fake)
1

B. Avarice Tietze (WJK 1930-2) im-

The image has been mterpreted mediately rejected it;
as Durer's revenge on the Fnedlander (AA 1934-5)
patron (his name ' "•

1
-i thought It was a Durer;
who refused i'. Panofsky (1948) considered it
painting at the ^ .
"s 30 obvious forgery of
a
It obviously
IS :
'alian painting, and the
Giorgione s Po' 938) came round to
'

^^
Woman (Ven .'; ^at it was a fake. In
as Tietze (193^ catalogue of 1 947

i
{Giorgione. 1 94; Ourer.
(AA 1942) have .i

this would confirni ;. X117

thesis that the picii.;": ..... i!
painted in Venice (see 124 A,
106
128 129 (plate XLIV)
 Renaissance models
to Italian (e.g. the heads of the Child
(such as Raphael's Coronation and StJoseph) motifs The
of the Virgin) The Italian only work by Durer that can be
references are the most evident related to this work is a draw-
In the lower foreground, the ing, which may not be authen-
apostles are grouped in a tic, in the Musee de Peinture,

concave semicircle around the Grenoble.

empty tomb, complementing
the convex group of figures
around the Virgin and the 132 ESa©''-'''^'' •1511*

Trinity in the upper half of the View of Kalchreut

picture The convex curve of Formerly Bremen. Kunsthalle
the upper group and the (For present location see no. 2)
concave curve of the lower Watercolour and gouache.
group are perfectly balanced Inscribed "Kalk rewt'" in Durer"s
In the middle distance writing, with a monogram
Durer depicts himself, elegantly which, according to Flechsig
holding an inscribed
attired, (1928), IS not original. It is an
Panofsky has related the
scroll, exquisitely painted view of a
drawing L 354 (Bayonne, village to the north east of
Musee Bonnat) and several Nuremberg, seen on a summer
drawings in the Albertina (some day from the top of a small
of which are dated 1508 and castle nearby, which belonged
others undated but presumably to Wilhelm Haller in 1511. The
coeval with the dated ones) dating has been a controversial
and some in Berlin, to the issue: Panofsky (1948) sug-
Coronation group He also gested a date of around 1500.
indicated the large watercolour but the summary treatment of
drawing of the Assumption and the landscape and the way in
Coronation of the Virgin which the unity between the
(London, British Museum) as foreground planes and those in
the first conception of the depth IS established would
subject of the Heller altarpiece. suggest the later date (1511)
There are no extant drawings favoured by the Tietzes (1937)
for the lateral panels The whole and A M Cetto (1954) The
composition was copied in a motif of the two peasants
smaller portable altarpiece resting in the shade after hop
(formerly in the Heller Collec- gathering is unusual
tion, which F.von Valckenburg
(Meder, JK 1902) ascribed to
Durer: Panofsky, on the other 133Ea@°' ''^-
B •1511* ;
hand, thought the authenticity Valley near Kalchreut
if 'his work questionable Berlin, Kupferstichkabinett
Watercolour and gouache
According to Bock (Zeichnung-
en Deutscher Meister in
130 Kupferstichkabinett zu Berlin.
31X38
edict. Compared with the 1 509. Durer originally agreed to St Elizabeth, StLucy ('), St 131 BSe 1509? 1 921 ) the monogram is of

dubious authenticity Evidently

engraving, the painting has paint the altarpiece for the sum Lawrence and St Cyriacus,
Holy Family made the same time as no.
been expanded and modified of 130 florins, but later at- added by Grunewald (the first at
Rotterdam, Boymans-van 32, from a lower viewpoint,
The horrifying torture of Bishop tempted to break the contract; two have been lost, but the other 1

Beuningen Museum
Acabius has been suppressed - he obtained a further 70 florins two are also in Frankfurt) From so that only the tips of the
(Heads only)
in the woodcut he is shown from Heller, plus 10 florins as a Durers correspondence with
Bears a monogram and inscrip-
having his eyes gouged out - gratuity for his brother, and a Heller we learn that he en-
tion (both suspect) in Roman
and is replaced by the cruci- present for his wife, but was trusted the wings to his
.

lettering 'ALBERTVS DVRER

fixion, in the left hand corner, still not satisfied He described assistants Weizsacker (Die
the work as "painstaking
NORENBERGENSIS FACIE-
of the two thieves: the thieves Kunstschatze des ehemaligen
BAT POST VIRGINIS
are shown already hanging on drudgery" About twenty Dommikanerklosters in Franl(-
furt. 1923) suggested Durer's
PARTVM 1509"
rough-hewn crosses whilst detailed studies exist for the
The Tietzes (1938) drew
Christ's cross, made of planks, centre panel alone; Heller brother Hans as the major
attention to the pastiche
lieson the ground between preserved Durers nine letters contributor to the lateral
it draws
quality of the picture:
them and Christ himself stands These letters now exist in panels (Tietze, 1937).
on Durerian (e.g. the head of
erect amidst his tormentors and seventeenth-century copies One of the wings, the left
the Virgin) and Bellinesque
the martyrs. The woodcut is The polyptych now belongs Adoration of the
half of the
used as the basis for the paint- to the Frankfurt Stadtisches has been lost: St Peter
IVIagi,

ing, but expanded in both Museum The structure and St Paul and St Thomas
volume and perspective to consists of a central panel Aquinas and St Christopher.
make one of Durer's richest and (now destroyed, but there which are also in monochrome,
most complex compositions is a copy) representing the have generally been accepted
The picture was engraved Coronation of the Virgin (or as shop work, possibly by Hans
(Tuii, 1 521 to demonstrate
) possibly an Assumption of the Durer. Only the central element
the relationship between solid Virgin) and two side wings was by Durer himself, and the
objects and surrounding space. which are painted on both Dominicans sold it in 1615 to
The Tietzes (1937) pointed out sides: on the insides are the Maximilian I, Elector of
a drawing of the painting in portraits of Jaliob l-leller and Bavaria In 1 729 it was
Copenhagen A copy by J.C. his wife Katharina von Melen destoyed by fire A fairly good
Ruprecht of 1643 is mentioned (each 42 x56) and' their and presumably accurate copy
in the Kunsthistorisches respective patron saints, St (panel 185 x 134) which was
Museum catalogue (1963). James and St Catherine of executed at about the
Alexandria (each 141 x60): on time the original was sold
the outsides, painted in grisaille, to Maximilian shows the
are the Two of the Three IVIagi composition of the original
The Heller (96.3 x60) and below two (see E.Staedel, 1935, for a
Altarpiece and St
pairs of saints, St Peter detailed study of the icono-
132 (plale XLVII)
Paul (96 x60) and St Thomas graphy). Compositionally the

130 H© 1507-09 Ml Aquinas and St Christopher

(965 x60). Originally the
painting divides into
heaven and earth: according
two halves,
to
The painting was probably donors each
portraits of the Panofsky (1948) it is related to
commissioned by Jacob Heller, formed a single panel with their three iconographical types, as
a rich Frankfurt merchant, as respective saints. Sandrart has follows a) to a version of the
early as 1503, for the Domini- argued very persuasively that Assumption of the Virgin (eg
can church in Frankfurt How- the structure of the whole the Master of rhe Imhof Altar-
ver, it was
not begun until comprised two
originally piece), b) to tilleenth century
1507 and was finished only in more wings depicting formulae (eg Bouts), and c) \().
 )

thus creating a contusion which bruder samt der stiftung

will end only after the Last und dieser thafell nach xpi
Judgement with the coming of gepurd MCCCCCXI lor"
the true and only Kingdom of (Matheus Landauer completed
God Here Durer makes the the chapel of the twelve
connection between the theme brothers together with the
inthe picture and the idea of asylum and this picture, after
the Last Judgement quite the birth of Christ. 1511 years.)
specific the frame is conceived There is a fragment of a
as integral part of the repre- cartoon (Boston, Museum of
sentation. It IS a door (i e. the Fine Arts, pen and watercolour.
Gate of Heaven) into which the 31 8 x41 8) of the Fall ol the
Last Judgement itself has been Rebel Angels, for a stained
inserted This is unquestionably glass window in the chapel
one of Durer s most profound Campbell Dodgson (Old
and inspired works, it is also Master Drawings. 1 930-1
the most complete expression identifies this as an authentic
we have of his assimilation Durer It IS closely connected
of the Renaissance at both an with the drawing L. 245
intellectual and a pictorial level (London. British Museum) and
The sketch for the altarpiece. was probably executed by Veit
now in the Musee Conde in Hirsvogel or Hans von
Chantilly (L 334. pen and Kulmbach following a Durer
watercolour 39 1 x26 3). was design
prepared by 1508 (probably the
one attached to the contract
between Durer and his patron) 135S© 175X121
D:
It shows the composition Christ in the Winepress
enclosed in a frame which is Ansbach. Gumbertuskirche
more or less followed in the The picture fits a description
final version There is one im- found amongst Durers papers
portant difference between the in Museum (pub-
the British
sketch and the finished work lished in facsimile by the Durer
the centrepiece, originally Society in 1911 ). and corres-
135 conceived as a rectangular area, ponds with an authentic
Franconian Juras appear Dated the solitary figure of the artist, has a curved top in the final drawing in Berlin (Kupferstich-
1514 according to the Tietzes who supports a large tablet work perhaps to link it more kabinett). L 28. except that in
(1937) with an inscription Pappenheim subtly with the frame There the painting the composition 137
(ZDVK 1936) Identified the may have been a gap of several has been reversed and a St
landscape as Lake Garda years between the execution of Peter with keys has replaced
The iconography of this the sketch and the painting, the beardless Pope of the
composition is very complex since the project was probably drawing In the painting Christ
and elaborate it is based on put aside whilst Durer fulfilled IS shown inside the winepress,
Adoration of the Trinity
the Augustinian doctrine ac- his commitments to Jacob with the Mater Dolorosa and
(All Saints)
Vienna. Kunsihistonsches
cording to which the City of Heller,and the inscription on God the Father on one side,
God founded by Abel, and the frame indicates that the surrounded by angels with
Museum
governed by Christ, exists installation of the painting enormous unrolled Gothic
In the bottom right hand corner
partly in heaven and partly on marked the completion of scrolls; the blood of Christ's
of the painting, next to Durer s
self-portrail IS the inscription
earth, overlapping with the Landauers chapel "Matheus wounds, transformed into Hosts.
lerrena civitas. founded by Landauer hat entlich volbract collected in a chalice by St
ALBERTVS DVRER IS

NORICVS FACIE BAT Cam and ruled by the Devil. das gotteshaus der tzwelf Peter; in the foreground is the

ANNO A VIRGINIS 138

PARTV 1511 and a mono Donor. Deacon Mathias von
gram The altarpiece, which Gulpen, adoring the Virgin, As
was originally enclosed in an von Gulpen died in 1475 and
elaborately carved frame(now the composition is decidedly
in Nuremberg Germanisches archaic, scholars have assumed
Museum the Vienna frame is that the painting was based on
a modern copy), was com an earlier original (Panofsky);
missioned by Matheus however, although Durer made
Landauer, a rich merchant for a preliminary drawing, the
the Allerheiligen Kapelle in painting was executed by
the Zwolfbruderhaus someone else (The unknown
The chapel was dedicated painter of this panel was
to the Trinity and All Saints probably also the author of the
which determined the theme Cleveland Museum of Fine
of the painting God the Arts Adoration of the
Father, robed in Imperial Shepherds which was formerly
garments, supports the Cross See C H
attributed to Durer
with the crucified Christ, above Kuhn. A Catalogue of German
Him hovers a dove (see the Paintings .. 1936, 206).
drawing L783) to either side
and below throng of people
is a
(divided into groups) all ador-
ing this Throne of Mercy" The 136Esge ?5if g:
painting divides into two zones
Virgin and Child (Virgin
in the upper zone, the Virgin
with the Pear)
Mary, on God's right hand Vienna. Kunsthistorisches
leads the Holy Martyrs gnd c" Museum
His left St John -
Monogram and date (1512)
leadstheprophe- Panofsky (1948)
According to
and sybils, in ih>
the lower part of the Child's
the faithful - on body IS related to a drawing of
ecclesiastics led i.
1506 (L 332) in the Biblio-
and on the right Id, theque Nationale. Pans The
all ranks headed by ,i :

Tietzes discerned the influence

an Emperor, with sevei^ of Verrocchio in the picture
minent Nuremberg figure (Top) General sketch for no Friedlander (1921) and Winkler
(including members of the 134 (1508 Chantilly. Musee (1929) both related the figure
Heller and. Landauer famiht; Conde) (Bottom) Drawing ol of the Virgin to the same figure
See L 75 The narrow strip oi angels fighting (Boston. Mus- in the Holy Family of 1 509
landscape below the celestial eum of Fine Arts) for the (no 1 31 Several copies of
)

vision IS devoid of figures or window with the Fall of the this painting were made during
108 objects, with the exception of Rebel Angels (see no 134) the Baroque period
 28X20 and Panofsky 1948); according second part of the inscription
137 1512 to the latter only the obviously inthe top right hand corner in

Dead Blue Roller spurious monogram and date 1519 immediately he heard the
Vienna, Albertina account for the attribution to news of his former masters
Durer The Tietzes. however, death It reads. "Das hat
Watercolour and gouache on
considered that a painting by Albrecht Durer abconterfet
vellum, heightened with gold.
Durer himself of this same noch seine lermeisler michel
Possibly inspired by a painting
subject, also dated 1514. may wolgemut im Jor 1516 und er
by Jacopo de'Barban. Mono-
gram and date (1512), Tietze have existed, as the numerous was 82 )or und hat gelebt pis

(1938) and Panofsky (1948)

known replicas of the theme das man zelet 1 51 9 |or do ist

both questioned the authenticity suggest The picture may have erverschieden an sant endres
of this drawing There is a copy
been cut down along the bottom dag fru ee dy sun awff gyng"
in the Behague collection in
edge, and is in an extremely (
'Albrecht Durei made tnis
poor state of preservation (also, likeness of his master Michel
Pans, together with a pendant
drawing of a similar bird seen heavily restored) Friedlander Wolgemut in 1516 and he was
from the back Panofsky sug- (1921) dated it c 1503 82 years old and lived until
gested that the latter was a free
Flechsig (1928) accepted it 1519 and passed away on St
as an authentic work and Andrew's day before the sun
copy executed to match this
dated it c 1 514 went down ") This is one of
copy, but this view is not
Durer's most moving portraits
altogether acceptable, as the
45X38 Thausing (1884) and others
backs of the birds appear to
have different plumage and the
144 EiS^ 1516 S: have regarded it as a copy.
St Philip The inscription has long
colours on their breasts are
Florence, Uffizi been a source of controversy:
different, so the latter drawing
Inscribed "Sancte Philippe ora Voll (Allgemeine Zeitung,
may also be a copy of a lost
pro nobis 1516", together with 1897) pronounced that
original (see no 139)
the monogram A pendant to both parts were by the
no. 145. These are both very
19,7X20
138 D: striking images, painted with
considerable detail They belong
Wing of a Blue Roller to Durer's fully mature period.
Vienna, Albertina According to Baldinucci
Same technique and ground as (Notizie III, 1728) they
no, 137, and obviously related were given by the Emperor
in character to the above work Ferdinand to the Grand
ii

Duke of Tuscany on his visit to

•28X20* (')
Vienna in 1620. Meder (JKS
1391 Di 1 902) indicated a Head of an

Small Dead Bird, Seen from Old Man (St Peter?) in a

the Back private collection as a possible
The possible existence of such companion piece to these two
a drawing (probably water- paintings, but Panofsky (1948)
colour and gouache on vellum, leiected this hypothesis on the
with gold) is suggested by the ground that this painting is in
copy in the Behague collection. oil, whereas nos 144 and 145
are in tempera, probably a free
copy of the St Philip

The Emperor Charlemagne

Nuremberg, Germanisches
145 ES^ l5if S:
Nationalmuseum Preliminary drawing for paintings nos. 140 and 141 (1510: formerly
in Lemberg, Lubomirski fl/luseum)
St James
This painting, which was com- Florence, Uffizi
missioned together with a Pendant to no 144 (see note
companion piece of the Em- graphical researches on the Pendant to no. 140 (see notes
above) Inscribed "Sancte
peror Sigismund (no. 141), effigies. Durer received 85 above for all details)
Jacobe ora pro nobis 1516 .

florins for the work, but did

was probably intended to hang together with monogram.
in the Heiltumskammer
not see fit to add either the
(Standards room) in the date or his monogram Both
pictures have bombastic in-
142 Ea© ^i^5i/^ i:
32X29
Schopperhaus on the Market
Square in Nuremberg, where scriptions painted on the frames. St Jerome
Siena, Pinacoteca Nazionale
146 E3 1516 S:
the Imperial insignia were kept
A partial copy exists of the
Monogram top right hand Virgin and Child (Virgin
at night during the Heiltumfest Sigismund picture (in the stores in

of the Kunsthistorisches corner; the date 1 51 3 was

with the Pink)
(Festival of the Standards)
formerly visible (Tietze, 1938) Munich. Alte Pinakothek
The Imperial insignia, Museum, Vienna),
and together with the pendant Thausing (1884) questioned Vellum, mounted on wood
first time
carried for the
Charlemagne (in trade), Its authenticity, as did the Monogram and date (1516) in
by Charlemagne, were a cartridge at the top The
both spuriously dated 1 51 4, Tietzes and Panofsky (1948)
entrusted to the City of painting belonged to the
was published by Isarlo (LA Brandi, however (Catalogue,
Nuremberg by the Emperor Elector of Bavaria in 1530 The
1947) as an authentic work 1931), attributed it to Durer,
Sigismund in 1424 A pre-
iconography is unusual because
done from the life pointing out that the attribution,
paratory sketch of c 1510 the Child IS shown clasping a
based on the monogram (the
(L. 785), formerly in the pear in his hands and ignores
only part of the inscription still
Lubomirski Museum in Lem- the carnation preferred to him
visible) went back to 1852, In
berg, indicates the terminating
date ante quern non for the
141 ^^^sT.'^.ni 1931 Brandi and Futterer by the Virgin. K Martin (1963)
transcribed the inscription on pointed out that the Virgin s
commission. There are also The Emperor Sigismund halo IS painted in the same
the left of the paintmg, "Sanctus
other drawings for the project Nuremberg, Germanisches manner as that of the 51 6
Hieronimus ora pro nobis" and 1

and evidence of Durer's icono- Nationalmuseum (New York, Metropolitan

Virgin
on the right, "Albertus Durer
Nurbergensis faciebat post Museum, no 149) which is of
Virgmis partum 1514" The questionable authenticity Ac- 146 (plale ILI

picture IS finely painted, com- cording to L Justi (Konstruierte

parable technically to the
Figuren und Kopfe unter den
Uffizi Apostles (nos 144 and
Werken Albrecht Durers. 1902)
the Virgins head is constructed
145) which are dated 1 516
and there seems to be no reason on Vitruvian principles
to question the authenticity.

147 E3© ^^5^1^ i

Portrait of fVlichael
Salvator Mundi Wolgemut
Formerly Bremen, Kunsthalle Nuremberg, Germanisches
Of questionable authenticity Nationalmuseum
according to the Tielzes (1938) Durer evidently added the 109
142 143
 work There is a replica in a The loin cloth which is draped dealer Rosslen. in 1630. sub-
private collection (indicated by around the figure standing at sequently the painting was at
Frimmel. Blatter fur Gemalde- the foot of a bed was enlarged Schleissheim for more than two
kunde. 1906). thus adding presumably around 1600 There hundred years Heller (1827)
weight to the hypothesis that are two known preparatory catalogued it as an original
the original of this painting drawings (Vienna, Albertina) work, and mentioned a small
has been lost L 516 and L 515. Suida copy in the same collection
{Leonardo und sein Kreis. at Schleissheim
In 1852 the
1929) connected the drawing which was discoloured
painting,
ISOH^'^'^^^'i: with Leonardo's Leda. which and damaged by varnishing and
Portrait of a Man Durer would certainly have restoration, was sold as a pre-
Berlin, Staatliche Museen known. Waagen dated the sumed copy. Becker (1857)
Indicated as a Durer by Buchner painting 1508; the Tietzes considered it to be the work of

(WRJ 1930) who ascribed it (1937). as also Panofsky, a contemporary imitator of

to the second decade of the thought that it was begun in Durer and it was subsequently
sixteenth century. The Tietzes 1508 soon after the drawings, considered in this light or
(1938) rejected the attribution but only resumed and com- treated as a copy by a number
to Durer, as did Panofsky pleted some ten years later, of scholars, including Waagen.
(1948) in 1518 According to It was Fnedlander (1 91 1 ) who
Winkler (1937) the whole 149 finally identified it as authentic
painting belongs to 1518. W Fnedlander (1921) ascribed it
151 H©i5^6^-lo.ns Stechow (Beitrage fur Georg to 1 51 6-20 There are two

Head of a Man Swarzenski zum 1 1 Januar drawings related to this paint-

1951, 1951 analysed the ing one IS a study dated 1 51 9
New York, Hickox Collection )

Vellum mounted on wood. connections between the figure for the figure of St Anne
Formerly in the von Nemes and Florentine and Roman (modelled possibly by Agnes
collection in Munich. The examples of this type. Durer) in the Albertina, Vienna,
Tietzes (1937) considered it L 560; the other is a study for
the Child, dated 1520, in the
authentic, of questionable
authenticity according to
153 ES3© ^^5^8^ @: Kunsthalle, Hamburg, L. 832.
Panofsky (1948), particularly Virgin in Prayer
in view of the repainted areas. Berlin, Staatliche Museen
Dodgson (1926) related it to Acquired from the Morosini-
Gattemburg sale (Venice.
157630 ^^5^1^ i:
the drawing L, 270 (London,
The Emperor Maximilian I

150 British Museum) of 1520: the 1894) See no 154 for a pos-
Nuremberg, Germanisches
Tietzes ascribed it to a slightly sible pendant There is a
Nationalmuseum
1516, and
earlier date, c reasonably faithful copy dating
Although Durer would already
Panofsky accepted a date of from the end of the sixteenth or
have been in the employ of
between 1516-20, if genuine, the beginning of the seven-
Maximilian for several years,
teenth century m the
I

the opportunity to paint this

Accademia, Venice
portrait only arose in 1518 at
152ES3e"i5irS: ,53X43(?)| the Diet of Augsburg when
Lucretia
'Munich, Alte Pinakothek
154 '
1518'? I
Durer was able to make the
pencil drawing of the Emperor
The Redeemer
Formerly in the Kunslkammer (Vienna, Albertina, L. 546) on
Munich
New York, Private Collection
of the Grand Duke of which this IS based (see also
Panofsky published a painting
no 158); the Emperor posed
with this subject (BM 1947)
for the drawing on 28 June
which had obviously been
There are drawings of details
repainted at least twice and cut
which are made use of in both
down to 48 x 39 cms from the
painted portraits. Maximilian is
presumed original size (indi-
shown holding a pomegranate,
151 cated above) and never
which IS a secular symbol of
completed, although its present
same hand but not authentic unity and peace. This version
appearance was established 155
Flechsig (1928) inferred the IS probably the picture which
c 600 He considered it as
1
existence of a pendant portrait Durer took to Holland with him
a pendant to no 1 53, con-
ot Wolgemut s wife There is and offered to Lady Margaret
ceived and begun in 1518.
a mediocre copy of this (Maximilians daughter and the
picture in Rome (E 1947) Governor of the Low Countries)
who
14863
41.5X33
1516 S:
155Se refused
the top there
it

is
(Panofsky) At

comiastic inscription referring

a long en-

Virgin and Child

Portrait of a Clergyman to Maximilians achievements.
Berlin. Staatliche Museen
Washington. National Gallery In spite of the monogram and
(Kress Collection)
Vellum mounted on wood
date (1518) inscribed in gold,
this IS evidently not an authen- 158Es3e
73X61
1519
a
B 2
:
Monogram and date Flechsig tic work, but a copy of a lost
followed the traditional identi- original or an imitation. The
The Emperor Maximilian I

fication of the sitier as Johannes Vienna, Kunsthistorisches

first hypothesis, favoured on
Dorsch, parson of the church Museum.
account of the fact that the
of St John in Nuremberg, This appears to be the principal
fake date is stylistically
although there is no docu- 156 (plates LI-LIII)
appropriate, was accepted
mentary evidence to support it
by Posse in the Catalogue
of1928 The Tietzes
(1938) compared the
149 ^e
facial
29,7X20,51
1516? I
characteristics with the Munich
Virginand Child (no 146) and
Virgin Seated with the
the Florence Virgin and Ctiild
Child on Her Lap (no 182)
(Virgin in Half Length)
New York, Metropolitan
Museum of Art 156E3@^V5ir@:
Indicated as an authentic work Virgin and Child with
in the catalogue (1924)
St Anne {'Anna Selbdritt ")
The attribution, long conu^,.-:
New York, Metropolitan
sial, was rejected by the Tie;.
Museum of Art
^.
. .

(1938) and Panofsky (1948) l^^mpera and oil, transferred to

The painting bears a mono- :^invas from original panel. This
gram and date (1516) and iiious painting was originally
recent cleaning has reveal'.- :

Gabriel Tucher's collection

an elaborate inscription wh; Anne (Vienna,
Muremberg, and was acquired Preliminan/ drawings tor painting no. 156. (Left) St
has caused ever greater doub (Hamburg. Kunstfialle)
iVIaximilian Elector of Albertina) (Rigfit) Head of tfie Cfiild
110 as to the authenticity of the .i.aria via the
I,

Nuremberg art
 mathematician and architect to
by E Drummond Lilberg (1936).
the Emperor, is completely un
The Tietzes (1938) considered
substantiated (see Panofsky
It authentic, as did Panofsky
who pointed out, in this con-
(1948) - but the latter had
nection, the woodcut portrait
some reservations.
of Tscherte of 1521, B 170)
Thode (JK 1893) ascribed the
painting to Durer, but there is

no evidence to support this i66Ea@"'^i5;rs:

attribution The painting is
now not considered to be Three Studies of Women's
authentic Costumes
Pans, Louvre (Rothschild
Collection)
160 ES® V2^ D: Watercolour drawing with
Portrait of Jacob Fugger monogram and date and an
the Rich inscription in old German.
Munich, Alte Pinakothek Together with nos 167 and
1 68 It forms part of a group of
Formerly in the collection of -
three related drawings of
the Grand Elector The Tietzes
agreed authenticity, which
(1937) have stated that the
background was repainted were reproduced in woodcut
in 1760 The date (1500) on form in the Habitus praeci-
the back of the canvas was
puorum populorum pub-
lished in Nuremberg in 1577
added later The portrait is

based on a well-known drawing The Tietzes (1928) recognised

of Fugger (Berlin, Kupferstich-
them as late examples of
kabinett, L 826) of 1 51 8
Durers "ethnographical" in-
terests, already evidenced in.
The painting was presumably
forexample, the costume studies
made 520 - the date
in 1

inscribed on a copy in the

of Nuremberg women (nos
63-8). and the drawings L 857
collection of the Torring family
in Munich (Thausing). The and L 62 (Milan, Ambrosiana.
Tietzes considered this to be a
and Berlin, Kupferstichkabinett),
workshop which can also be ascribed to
painting, but
Piehminary ijiawing loi painling 1521
Panofsky (1948) thought it an
no 157 (Vienna. Albertinaj
authentic work

1^ 161 Es3® r.i^ S:

Old Man Wearing a Red
Beret

iv Pans, Louvre

KH
The picture has been identified
- unconvincingly - with the

¥ Head of an Old Man which

T
kJI was in the collection of the
Governor
in
of the
1780 Weth-Muller (Albrecht
Durers niederlandiscfie Reise.
1918)
Low

identified the sitter as

Countries

the Portuguese agent Brandano,

of whom Durer made a charcoal
164 163 165
drawing in 1 520
158 them to c 1506 Panofsky See notes to no 163 191 x201
(plate L)
25,5X21,5 considered that they belonged details
for all
167E3® 1521 D:
162Es3^ 1520 D: with the Head of a Woman (no Two Studies of Women's
Head of a Woman 162), but the Tietzes saw no Costumes
Pans, Bibliotheque Nationale connection between them The 165Se^^^^5^2f'^D: Pans. Louvre. (Rothschild
The expression of austerity and attribution of this pair of Collection)
Portrait of Jobst
melancholy in this portrait pictures was made on the basis See note to no 166 for all
Planckfelt's Wife
suggests that it is not an of a series of drawings, one of details The lack of either a
Toledo (Ohio), Museum of Art
idealised portrait of Agnes which IS dated 1520 and the monogram or date on this
The identification is based on
Durer, as Conway (1905) and others 1 521 they are almost
; suggested to the Tietzes that it
the style and technique which
Pauh (ZBK 1915) - who dated certainly authentic, as a com- might be a section cut from a
suggest that this can only have
It 1497 - suggested; Tietze
parison with no 162 shows, larger sheet
been executed c 1521.
(1928) agreed with this dating. although the latter is both more
during the artists stay in the
Panofsky (1948), however, idealised and more technically
Netherlands It is the only
accepted the date 1520 pro- accomplished.
female portrait painted during 168H®"?5''2r@:
Study pomegranate posed by P.du Colombier The Study of Woman's
for the in this period sitter was the a
painting no 58 (1927-8), and related it wife of Jobst Planckfelt. Costume
1
to the drawing L 270, 1641 10 '^^2^ D: Durers host during May 1 521 Pans. Louvre, (Rothschild
version of the two almost iden-
dated 1520. The modelling and Head of a Boy (seeno 171) It was bequeathed Colleclion)
suggestion of volume in this Toledo Museum
tical versions of tfie subject Paris, Bibliotheque Nationale to the of Art See notes to nos 166 and 167
(see no. 157). Tfiis may also be
and the two boys' heads (nos.
the later version as the changed
163-4) in the same collection ,7«r^<r*'<r-i/»^
IS almost sculptural. According
position of the hands, com-
to Panofsky these three pic-
pared with both no 1 57 and
tures may be identifiable with
the Albertina drawing of Hands
the '3 Tuchlein' (small can-
Holding a Pomegranate (made
slightly later than the portrait vases) which Durer noted in
his diary as sold in 1 521
life drawing), would suggest

163ESg®^"/5^o-"D:
159 H is Boy with his Head Inclined
Portrait of a Man Pans, Bibliotheque Nationale
Borromeo Collection
Milan, This and the analogous work
Monogram and date (1519) in the same collection (no 1 64)
obviously spurious, as also the were formerly in the Marolle
indication of the sitters age as Collection According to
48 The identification of the Panofsky both works belong to
sitter as Johannes Tscherte, 1520, but the Tietzes dated ///
166 167

J
 17.7X28
169Se-'?5ir S: 173 D:
St Jerome in Meditation Lion Seen in Left Profile
Lisbon Museu Nacional de Vienna. Albertina
Arte Antiga Watercolour and gouache on
There is an entry in Durers vellum The monogram and
diary for 2 March 1521 {during date (1 521 appear under the
)

his stay in the Low Countries) lien's stomach, but according

which reads Ich hab em to aoth the Tietzes and Panofsky

Hieronymus mit fleiss gemalt this drawing is probably not by

von olfarben und geschenkt Durer but by one of his imi-

dem Rudrigo von Portugal" tators It seems possible that it
The picture was presented to IS a careful workshop copy of
Rudngo Ruy Fernandez a lost original
d'Almeida, ambassador of John ii

There are some magnificent

preparatory drawings con-
nected with the painting
174H® 16.8X25
Ds
(Vienna, Albertina) They con- Lion Seen in Right Profile
sist of studies for the head and Formerly in the Breuer Collec-
an astonishingly simple, classic tion in Vienna Like no 173. of 170
still life (L 568-571 ) Fried- dubious authenticity. Panofsky
lander has discussed this work (1948) thought that it was not
{Die allniederlandische by Durer although he con-
Malerei. XII1935) There ceded that It had been etched
copy of the picture by by Hollar as a drawing by
IS a
L ''fm
Georg Pencz (dated 1544) Durer Similar to no 1 73, but
in Nuremberg. Germanisches the freer handling suggests
Nationalmuseum that if either of these is to be
considered authentic it should
be this one

170 ESe §1

1
^i52f

Portrait of Lorenz Sterck •17X26-(?)F

1751 '
wf

1
'
Boston, Isabella Stewart
Gardner Museum Lion in Repose
The monogram has apparently Hollar made another engraving »^\
been repainted The painting of a lion besides the two
was discovered and bought by mentioned above (nos. 173
J T Dobie in England (1902);
It passed to the art dealer
and 174): so one must assume
that another watercolour
176
ieHr»i^9
analogous to the other two
Colnaghi, who had it restored Watercolour and pen. As well existed expression seems closer to that
by Hauser; the restorations as the monogram and date, in the drawing, but this may

later had to be removed there is an inscription in Durers only be the impression given by
90X60
The sitter was originally er-
roneously identified as one
hand "Das dosig thyr van dem
ich do das hawbt conterfett
176E3e •1523 Ds the photograph
that the painting
which shows
is in very
Lazarus Ravensburger, because hab. ist getange worden in der Man of Sorrows poor condition The Tietzes and
of a slight resemblance to the niderlendischen see und was Pommerstelden, Count Panofsky accepted it as an
Berlin drawing L 55. The XII ellen land brawendisch mit Schonborn Collection authentic work. F Schneider
identification, however, proved fur (?) fussen" Durer put up Based on a drawing of 1522 (MZ 1907) and H Swarzenski
unacceptable because Durers with considerable incon- (L 131 ) formerly in the (ZK 1933) established the
diary clearly indicates that the venience in order to make this Kunsthalle in Bremen which provenance of the picture from
Ravensburger portrait was a drawing, the animal had already shows Durer as the Man of the collection of Bishop
charcoal drawing mounted on a been dead for several days Sorrows There is a mezzotint Albrecht of Brandenburg (in
panel.By eliminating the other when Durer did the drawing. copy by Gaspar Dooms with a whose inventory it appears in
two possible sitters mentioned It IS probably the first ever monogram and 1523 date, the 1525) and have traced its later
by Durer during his stay in study of a walrus using the copy shows some variations on history
Holland, i,e Bernhardt von real animal as a model the painting, and the facial
Resten and Jobst Planckfelt, it
has been possible to identify 177Es3®^V523^''i:
this sitter as Lorenz Sterck, the Neat's Snout in Front View
Tax Collector The work is London, British Museum
obviously of high quality, in Inscribed with monogram and
spite of the restorations and evidently spurious 1523 date;
the fact that the painting has however, this date seems
apparently been reduced along plausible in view of the stylistic
both vertical edges, as the differences between this
long, narrow format and slight watercolour and those of
compositional imbalance animals of some twenty years
indicate, and as comparison earlier (nos. 78-83), Although
with the Hampton Court copy. this IS only a fragmentary study
A/hich shows both hands, It IS very precisely and power-
aroves fully drawn.

\*31x27*(?)l 178Ea©^V523^^-^D:
171 / 1521 I
Neat's Snout in Profile
Portrait of Jobst Planckfelt London, British Museum
Preparatory drawings for paint- This painting now lost must Similar to no 177 (see note).
ing no. 169 (Above) Bust of an have been executed in 172
old man (Vienna, Albertina) the Low Countries (see nos,
(Below) Lectern 165 and 170). but nothing is
known about it apart from the
brief reference to it by Durer
himself (see the drawing L
1 96. Frankfurt)

T2@^' >4V
112
173 174
 (Ephrussi); a Last Judgement
(Thausing) - can be accepted 181 E3®^"il2ris
Portrait of a Gentleman as definitive, as there no is B. StMark and St Paul
Madrid, Prado evidence in either the drawings Munich. Alte Pinakothek
The 1524 date Is authentic, but or in Durer's writing to support See note to 1 81 A for all details.
was for a long time read as them. It IS possible that the
1 521 . On the basis of the date commission for the projected
and the Frankfurt drawing triptych failed to materialise
L. 196 It was identified as the

portrait ofJobst Planckfelt,

and that Durer
the panels to the city as a
decided to offer
182 E3© ''.^^
m\
Durer's host m Antwerp, known "small gift "
or "memento ", they Virgin and Child (Virgin
to have been painted in May were completed with long with the Pear)
1521 (see no 171) It has also inscriptions invented by Durer Florence. Uffizi
been Identified as a portrait of and written by a professional Accepted as an authentic work
fHans Imhoff the Elder (who calligrapher named Johann by various art historians, in-
died in 1522) by Thausing, as Neudorffer. The inscriptions are cluding the Tietzes (1938) and
HIeronymus Holzschuher by jif^^ ^jlf^^MU 4.iC''.w>»i'~f;-: 'r'^i^rf^^ ^y.f„.r^rS-^ )-„'a-J^^^i^,^ of an admonitory and moralis- Panofsky (1948), although the
Frizzoni, and Lorenz Sterck by ing character. Catholics and latter agreed with Stechow
Gluck, etc The correct reading Protestants have attempted to (AB 1944) who suggested
of the date invalidated all these interpret them to their own that the painting should be
suggestions. This sitter is advantage, but they are anti- scientifically examined. This is
180
obviously a man of culture and sectanan. a late work, in which the
of an altogether higher social With the support of some of compactness ofvolume and
status than Planckfelt The Its most influential citizens, the fresh, bright colours are
personage is still unidentified including Pirckheimer, the City combined with Flemish
The painting was formerly in of Nuremberg had decided to reminiscences.
the collection of Philip li in Pope in the
"give leave to the "

Madrid- Spring of 1525, and it was

perhaps for this
triptych originally planned by
reason that the
183 EO© ^?5^2f S:
30X42
180 E3® 1525 i: Durer
The four
was abandoned
Saints, however, were
Portrait of
Berlin,
Jacob Muffel
Staatliche Museen
Flood (Dream Vision) general Christian images rather Inscribed at the top "EFFI-
Vienna, Albertina than specifically Catholic ones GIES. lACOBI. MVFFEL./
This IS dated and has a long The Reformation erupted AETATIS SVAE ANNO
inscription in Durer's writing It with such explosive violence
IS a moving and extremely that many of its original sup-
beautiful image, suffused with porters, like Pirckheimer, were
a haunting, visionary quality It alienated and returned to
represents a deluge which Catholicism. Durer's paintings
Durer dreamed after Whit- bear witness to the event
suntide 1525, and related to a through their inscriptions In
belief, widespread in the 1627 these inscriptions were
unsettled Germany of this sawn off when the paintings
period, that the world would were transferred from Pro-
be destroyed by a flood testantNuremberg to Catholic
Munich, and they have been
restored to the paintings only
recently.
The Four Apostles Some art historians have
attempted to discover whether
there is a kind of hierarchic
215.5x76
181 EI9^ 1526
I

I
discrimination in the placing of
the Saints: in the foreground
A, StJohn the Evangelist are St John - Luther's favourite
and St Peter Evangelist - and St Paul - who 179 (plate LVII)
Munich, Alte Pinakothek IS generally accepted as the
Given to the City of Nuremberg spiritual father of all Protestants
by the artist, together with the (who are called Paulines for
pendant no, 181 B, in return 181 A (plates LIX A and LXI 181 B (plates LIX B LXI)
precisely this reason); obviously
for 100 florins for himself, 12 intentionally subordinate to
for his wife and 2 for his maid These ate two of Durer's paintings, using St Philip for these two, in the background

most important late paintings the first In 1 525 (the date of of each panel, are St Mark and
and his last large scale works theBayonne drawing) Durer St Peter (the latter still shown
Voll (SM 1906) and Panofsky must have changed his with his keys as primate of the
(1948) considered that no. original plan: the StJames was church). Quite recently the
181 B was begun as the wing transformed into the St John figures have been identified as
of a triptych and represented the Evangelist, accompanied by portraits of Nuremberg worthies
St Philip, that this saint was St Peter, of this picture, and in The calligrapher Neudorffer
subsequently changed to a St the other, St Philip was re- informs us, in a short book of
Paul with St Mark added, and placed by St Paul, with a sword 1 546, that the four saints

that the metalpoint drawing of replacing the earlier staff, the represent the four humours:
St John the Evangelist, dated right hand lowered, the head the sanguine, the choleric, the
1525 (L 368, Bayonne, Musee altered, and the figure of St phlegmatic and the melan-
Bonnat), which was never Mark added. This hypothesis cholic, which are here identified 182 (plate LVIIIi
engraved, is a study for the has not been confirmed by with four essential forms of
present painting. The docu- either the scientific examination religious experience According
mentary evidence relating to of the panels carried out by the' to Panofsky, the ruddy com
the series of engravings of the museum or by K.Martin's plexioned but gentle Si John
apostles which Durer began -lo recent work On the other hand represents the sanguine, St
publish in 1523 indicates that a similar theory that the two Mark, with his yellowish skin
there was also a St Philip panels, now united, were and gnashing teeth, is the
(B 46) which was signed and intended originally as the wings choleric (his symbol is the
dated 1 523, with the date of a triptych similar to Bellini's lion); the forbidding, dusky
corrected to 1526 (for which Frar/ Altarpiece of 1 488 is more faced "
St Paul who intro-

there isdrawing in the

a plausible: the long narrow duced asceticism to Christian-
Albertina, signed and dated format of the panels strengthens ity, the melancholic, St Peter,
1523) Panofsky further sug- this view None of the various tired,an old man with down-
gested that Durer might have suggestions put forward as to cast eyes, is the phlegmatic

held back the publication of the subject of the centre piece Sulzberger (GBA 1959) pointed
the St Philip print in 1 523 and of this supposed triptych a out that these might have been
decided to use the figure and Sacra Conversazione (Pauli. inspired by Raphaels cartoons
that of Its pendant. St James. Panofsky), a Crucifixion of the Acts of tfie Apostles

lor two larger than life size (Springer); a Trans/ic/uration in Brussels //:;
178 183 (plate LXIV)
 o

LV SALVTIS VERO senator and a member of the interpreted this "On this panel
MDXXVI followed by Durers Council of Seven of Nurem- Albrecht Durer has made a
monogram The painting was berg On the back of the picture iesign of ash grey colour,
transferred from the original are the Holzschuher and fortuitously, and without the
panel to canvas in 1 870 For- Munzer coats of arms, enclosed aid of any [design] from
merly in the Schonborn in a laurelwreath, and the date real images [without studies
Collection at Pommersfelden: 1526 The Tietzes indicated a from This descrip-
life]"
later in the Narischkine Collec- copy by Hans Hoffmann of tion self-explanatory and to
IS

tion in St Petersburg: acquired 1578, in the Schlossmuseum at the point, but it has been sug-
in Pans1883
in Gotha (formerly in the gested that It IS neither authen-
was mayor of
Muffel Praunschen Kabinett). tic nor materially true It is an
Nuremberg when Durer pre- explanation rather than an
sented the Four Apostles to the apologia, indicating that the
187 event represented has been
185ES3e 'i5ir g: wife died one and a half years gift from the City of Nurem- constructed in Durers imagina-
Portrait of Johannes later. Kleberger spent the rest of berg It was described as a tion, without the help of studies
his life in Lyons, gradually "gar chone grosse taffel in the from life (although preparatory
Kleberger
Vienna, Kunsthistorisches giving away all his fortune inventory of the Imperial drawings do exist, the most
Museum On his death, the poor erected Kunstkammer of 1 621 Van . important being the Uffizi
A greyish-blue roundel con- a wooden statue to "le bon Mander (who mistook the drawing, signed and dated
taining a simulated sculptural Allemand", of which a replica Roman eagle on the large 1520. L 843). Panofsky, in
still exists. The unusual icono- standard for the Nuremberg pointing out that the inscription
relief portrait of the sitter.

Around the edge of the medal- graphy of this magnificent emblem) described it; so did reflectsDurers views on
lion IS the inscription "E portrait was probably inspired Sandrart. "painting out of ones head" or

lOANI KLEBERGERS. by Hans Burgkmairs series of The work in the Cook "heart", and in reminding us

NORICI AN AETA. SVAE woodcuts of Roman Emperors Collection is evidently notthe that Joachim Camerarius, in his

XXXX' In the four corners are (A. BurV.hs<6,Burgkmair. 1932) original, because of its size. It introduction to his translation

painted Kleberger? coat of arms The Tietzes 938) also pointed

(1 was acquired from the Saldanca of the treatise on human
to a probable source in Collection in Lisbon m 1871. proportion (Alberti Dureri de
and emblem and Durers mono-
gram and the date Although Mantegna, as well as "the and IS almost certainly the symmetna partium) constantly
the head is painted in natural- twelve ancient Emperors in version which was sold in emphasises these views and
istic colours (i.e. not mono-
medallions" engraved by 1633 by the Imhoff family of the artists ability to paint

chrome like the background), Marcantonio Raimondi of Nuremberg, although several "nulla designatione praemissa"

the parallel with Greek and which Raphael sent some to historians have considered it as or "nullis antea dispositis

Roman examples is quite Flanders to Albert Durer" a later copy. It may in fact be delineationibus", conjectures

obvious Durers only

It IS
(Vasari, Life of Raimondi) On the only version actually made that Camerarius himself, who
portrait of this type, and one of
Klebergers death the painting under Durer's supervision, and was very close to Durer in

his most striking and effective

passed to his stepson Willibald must be the version ordered by 1526, may have been the
images, perhaps for precisely Imhoff; later i; passed from the the Nuremberg dignitaries; but author of the inscription on the
this reason The sitter, a native
Imhoft Collection to Rudolph ii see also the Bergamo and Bearing of tfie Cross Panofsky's
of Nuremberg, was the son of a
Dresden versions mentioned thesis IS supported by the

man of hum-ble origins (one below. If this IS a workshop commemorative tone which
Scheuenpflug), who had been 186E3^"^52f^S: replica supervised by Durer, the
defects and harshness of style
IS a marked feature
inscription.
of the

obliged to leave Nuremberg,

but later returned under another Head of a Child with a which go side by side with The Bergamo version (panel,
name and with an immense Long Beard the complex
brilliant details in 32 X 47 cms.) in the Accademia
fortune; he fell in love with Pans, Louvre and dynamic composition Carrara — formerly in the

Pirckheimer's favourite daugh- Monogram and date authentic would be accounted for. The Lochis Collection - bears a
ter,Felicitas, and married her in
Panofsky was originally dubious way in which the whole picture similar inscription which is

1528, in the face of strong about the painting but then IS animated is only paralleled followed by the words "Maes
opposition from Pirckheimer, proposed (1948) an identifica- in the work of Tintoretto. Imp", probably signifying that
Coats of arms of tfie Ho/zscfiu-
but abandoned her after a few tion of the painting with There is a long inscription in the work was dedicated to the
her and IVIumer families, on the
days, and went to France. His
another described by Latin along the bottom edge of Emperor or in his collection,
back of no 184
Camerarius in the Latin two of the versions, including and also has Durer's mono-
so there may possibly be
city, translation ofde Symmetna the Cook one, which reads gram. This painting is of a
some connection between the Partium (1532) as executed "ALBERTUS. DURER. quality comparable to the
panels and this portrait Both without preliminary drawings SUPER TABULA HAC former Cook version, and in
this picture and no 184 to We do not know whether COLORIS. CINERICII fact seems more spontaneously
which It IS related sylistically Durer was recording the FORTUITO. ET CITRA painted, which has suggested
and which has identical dimen- appearance of a genuine freak VLLAM. A. VERIS IMA- to the Museum cataloguers
sions, were painted for (like all his generation he was GINIBUS DELINEATION- (Ricci, 1924; Morassi. 1930;
Nuremberg dignitaries and fascinated by this kind of EM, FACIEBAT ANNO Russoli, 1 967) that this may be
presumably for some official curiosity) or whether the image SALUTIS M D XXVII. an authentic work.
purpose, probably to hang in was intended to represent the AETATIS. VERO SUAE. The third version, in Dresden
some public building In both Paedogeron (symbolising at LVI" followed by Durers ' (Gemaldegalerie store) bears
portraits the features are one and the same time old age monogram. Panofsky has only the inscription "Imp Maes"
sculpturally modelled, and and youth, antiquity and
colour IS subordinate to line posterity) allegedly represented
The background in both is - according to a mistranslation
light blue, which is unique of Plutarch's De Iside et
amongst Durers portraits of Osinde by the humanist Italian
men Panofsky (1948)
discerned in them a deliberate
has Celio Calcagnini
at Sais
- in the temple
As a type, the
in Egypt.
Other works attributed
contrast of character, achieved face could be compared with
by a subtle, probably inten- the Boys' Heads of c 520 1 to Diirer
tional, humour. The Tietzes (nos. 163 4) —
mention two copies in Nurem
berg,one in the Germanische The works listed in this section various interpretations (Gluck;
Nationalmuseum and one in
private collection
.
187 H® 1527 is (alphabetically according to
places) have in the past been
Heidnch; Flechsig; Buchner;
Hugelshofer). According to
Bearing of the Cross attributed to Durer on the basis Panofsky, however, the work is
The composition is known only of tradition or of scholarly incompatible with Durer's spirit
184 E3C through copies, the best of
which (according to Tietze,
opinion, but are not
generally accepted by
now
modern
in both style and iconography.

The Tietzes' opinion (1938)

Portrait of Hif-. Panofsky etc.) is the grisaille Durer scholars that the present work is a
Holzschuher version (panel, 29x45 cms.) project for a panel by Jorg Breu
Berlin, Staatliche M .

formerly Cook Collection

in the 188. Holy Family in the church Anfhausen,
at
Bears, besides the nr,
in Richmond. The original must Basle, Offentliche Kunstsamm- and that it was probably
(on the right), an auth': have been a larger panel, lungen executed in Breu's workshop,
inscription HIERONir.' ijainted for the Emperor, (not Watercolour on paper (42 2 x has been generally accepted,
HOLZSCHVHER ANNO V.3ximilian as some people
, 28.3). The Holy Family is despite Musper's interpretation
DONI 1526/ETATIS SVt .ivesuggested, but Charles shown in the setting of a (P 1938). The Tietzes also
57" The painting forms a pai' hy virtue of the date of the Renaissance loggia; this un- drew attention to a copy on a
114 with no 183 The sitter was a lure) and may have been a usual iconography has prompted brown ground and heightened
with gold, bearing Durers 191. Portrait of a Man 192. Portrait of a Man in
monogram and the date 1509, Brussels. Musee Royal des Armour
which IS in the Dresden Beaux-Arts Cincinnati, (Ohio), Art Museum
Gemaldegalene, Panel (22 x15,5). Friedlander Panel (40.1 x35). Formerly in
(in Thieme-Becker. 1914) the Ashburton and Rothschild
189. Portrait of a Woman proposed an attribution to Collections in London, and in
Bergamo, Accademia Carrara Durer which Winkler originally the Amery collection, Cincin-
Panel (42 x33) A. L Mayer supported but later rejected, as natti.Listed by Friedlander (in
suggested that this was by the Tietzes indicated (1938). Thieme-Becker, 1914) as an
Durer (P 1929), but the work According to R Eisler (OM authentic work. Tietze (AS
has been rejected by almost all 1943) It would have been 1933) attributed it to an
Durer scholars, including the painted by Durer at Antwerp anonymous north German
Tietzes and Panofsky Frizzoni and would be a portrait of the painter of around 1540-50,
(1907) attributed it to an un- astronomer Nicolaus Kratzer and Panofsky agreed with this
known Venetian master of the Panofsky (1948), in rejecting (1948).
late fifteenth century Eislers assumptions, pointed
out that the portrait of Kratzer, 193 Christ on the Cross
190.Portrait of Hans made by Durer when he was Dresden, Gemaldegalene
Gunder of Nuremberg in Holland, is specifically Panel (20 x16) Monogram
Museen
Berlin, Staatliche referred to in the diary as a and date (1 506) This work was
Panel (39 x32,5). The mono- drawing (which may be the well known until the beginning
gram and 1509 date which are drawing L, 380 in the Louvre), of the century, but lost all

both spurious Pro-

visible are and that the features of the interest when it was redated,
venance from the Yerkes sitter in the present work do by common consent, to the
second half of the sixteenth
century. Probably school of
Cranach the Younger

194. Iris
Escorial,San Lorenzo Monastery Coat of arms painted on the back
Watercolour and gouache on of no. 202
paper. Of dubious authenticity 200
according to Panofsky (1948), attributed to Durer, but are 200. Portrait of Sixtus
but it genuine c 1 503 certainly from his workshop; Oelhafen
this work may be. like the Wurzburg, Universitatsbiblio-
195. Stag-Beetle drawings, by the Master of the thek
Pans. Delon Collection St Benedict Legend (see Panel (43 x30). dated 1503
Drawing coloured with tempera, Panofsky). and erroneously inscribed at a
(14.2 x11.5). Monogram and later date 'Sixtus Oelhafen
date (1505) in pen. The tip of 53 suae anno MDCIII
aetatis
the top left claw has been 198. Portrait of a Young in Schollenback The sitter "

reworked Accepted as authentic Man was a court councillor and

by Lipmann (no 169), ascribed Warsaw, Muzeum Narodowe politician He was born in 1466
to the circle of Durer by the Panel (41 x32) The Tietzes and would therefore have been
Tietzes (1928) on the basis of (1932) confirmed Buchner's thirty seven years old in 1503,
differences in handling, and suggestion that this should be not fifty three. The date has

anatomical incorrectness, been carelessly rewritten, and

compared with the stag-beetle in Schollenback was added "

which appears in the Virgin only in 1512 It isnot by

with a Multitude of Animals Durer; it is now generally
(no. 96) and in the Adoration ascribed to Hans Schaufelein
of the Magi (no. 106). As the (as suggested by Friedlander)
insect appears in both these The Tietzes (1938) indicated
pictures as well as in copies of a copy bearing the coats of
this drawing in Berlin and arms of Oelhaffen and his wife
Budapest made by Hans Barbara Rieten, and the date
Hofmann, it is possible that 1 508, at Brusslers, the
there was originally a drawing auctioneers.
by Durer himself.

196. The Trinity and St 201. Standing Nude Woman

Michael. St Martin, St Present whereabouts unknown
Christopher and St George Tempera on canvas, laid down
Nordlingen, Salvatorkirche on paper (21 6 x8 3) First

Published by Sitzmann (SDK indicated by Singer (1921 ),

1933). Not authentic, accord- when It was in the collection of
ing to the Tietzes (1938) Prince Frederick Augustus of
although they had not seen the Dresden, as an authentic early
original.A provincial work, work According to Tietze
with very slight Durerian (1927) an imitation of
It IS

reminiscences, according to Bosch datable to about 1500

Panofsky (1948). Panofsky denied any connection
with Durer
197. St Augustine ( ?) with
Canons
Rotterdam, Boymans-van 202 Portrait of a Gentle-
Beuningen Museum man (Hans Hermann or
Gouache on paper, with Durer's Norman ')
192 195 monogram (not genuine). 197 Present whereabouts unknown
Collection (1900) According not remotely resemble those Executed around 1500, accord- attributed to Hans Schaufelein, Panel (36 5 x29) Cluck (P
to the Museum cataloguers of the famous astronomer, ing to Panofsky (1948). It has as did Panofsky (1948), prob- 1931) and Zimmermann (ZBK
(1966), It IS by Martin whose physical characteristics been considered as an authen- ably datable to around the same 1 931 2) made a tentative

Schaffner. Winkler (1929) are known to us through the tic work on the basis of the time as the Portrait of Oelhatlen identification of the smer. from

thought that it was a copy of Louvre portrait of him by Hans Albertina drawing L 697, (no 200) the coat of arms painted on the
an authentic Durer of 1509; Holbein the Younger painted in which belongs to a series of back, as Hans Hermann or

according to Tietze (Anzeiger 1528 (in which Kratzer appears drawings for the stained glass 199. Altarpiece of St Horman. a city councillor of
des germanischen Museums. much younger than the sitter windows commissioned by the Quiriniis Kaufbeuren Fairly recently it
1934-5) It may be by Hans in the Brussels picture which Pfinzing and Tetzel families for Wimpfen am Berg. Ev.incieiirnI appeared m trade in New York
Durer; Panofsky (1948) denied IS supposed to have been the cloister of St Egidius in Parish Church as an authentic work, although
Silzmanns attribution of this it had already been reieclod by
any connection
stylistic painted eight years earlier in Nuremberg (there is one stained
between this work and Durer's 1520). The Tietzes saw no glass window in the museum work to Durer (SDK 1933) has the Tietzes (1938). according

work, although he conceded connection with Durer, at Gotha) The drawings, which no historical or stylistu Imsis M Pflnotsky it would belong
that the date (added later) Panofsky attributed this to the are now dispersed in various according to the Tiet.-i "•' 10 the Swabian rather than tho

would fit Flemish school. public collections, cannot be Panofsky (1938 and '
i.inconian school of painlinc) 115
 Appendix
DiJrer the engraver

On the next three flages can be found a selection of Outer's graphic woric its aim is to show the variety and
richness of themes of that artist and the wide sweep of his interest This selection also shows Durer's dual
artistic formations, the German Gothic and the Italian Renaissance.

(Above, from left) Hercules (Der ' X 22,3: 2nd state. B 73). Deaths
116 Escutcheon ^7503, 22 x 15,9j B
•"' 27.7 x32.2: B. 72).
(Above, from left) Adam and Eve (1504, 25,2 x 79,4, 2nd state, B.I). The Knight, Death and the Devil (1513. 25 x 19: B 98) The
Large Horse (1505: 16,7 x 11,9: B.97). Christ Crowned with Thorns, the Virgin and St John (1509: from the Small Passion of 1507-13,
11.6 X 7.5: B.3). (Below, from left) St Jerome in his Study (Hieronimus in Gehaus. 1514. 24.7 x 18.8. B 60), Melancholy (Melencolia
I,

1514: 23.9 X 16.8: 2nd state: B 74).

(Above) Peasants Dancing (1514.

1 1.8 X 7,5: B 90) The Rape on the

Unicorn (1516. 30,8 x21,3 B 72)

(Left) Archbishop Albrecht of Bran-
denburg 11523 17.4x12. 8 103)
Erasmus of Rotterdam (1526.
24.9 X 19,3: B 107) The Greal Cru-
57 x38,9: from
cifixion (xilograph.
the "Alberlma Passion", c 1495)
The Men s Bath House (c 1496 117
39.1 x28. 8 128)
 (Above, horn left) The Kniciht and the Lansquenet (C- 1496-7: woodcut [and the
following also]. 38.6 x28. B 131)- The Four Horsemen (1497-8. ftftti "piece of the
'

Apocalypsis cum figuns, published in 1498: 39,3 x28.3; B.64). Ecce Homo (c.
1497-8. fifth "piece" of the Great Passion, published in 151 1: 39. 1 x 28. 1: B.9). Noli
me Tangere (c 7570; thirty-second "piece" of the Small Passion, also published in
1511: 12.7 x9.7: B.48J.

(Left) Rest during the Flight into Egypt orThe Holy Family in a Courtyard (c. 150T-2:
fifteenth "piece" of the Life of the Virgin, woodcut published in 1511: 29.5x21:
B.90) The Holy Trmity or The Throne of Grace (1511: ibid: 39.2 x 28.4: B.I 22)

(Below, from left) The siege of a fortress, 7 and 2 (woodcuts. 22.4 x 38,1 and 22.4 x
34.6 respectively, from Durer's treatise on fortifications (Unterncht zur Befestigung der
Stadte, Schlosser und Flecken, published in 1527: B.137). The Rhinoceros (1515:
Ibid.. 21.2 x30. B.I 36).

Q (From left) The Triumphal Arch of Emperor Maxi: 7 5/7 8, 1516-8: from The Triumphal Procession of Maximilian I; woodcut. 46.8x231.8:
1 1
1 1O woodcut. 340.9 x 292.2. B 138) The first two "p. uHf.oi (c published between 1522 and 1526: B.I 39).

k
 ndexes

Subjects and titles

Adam 123 A Jousting Helmet: Three Views Augustine with Canons 197
Adoration of the Magi 106 98 Christopher 1 4
of tfie Trinity 134 Lamentation of Christ 61, 62 H, Dominic 1 3 A-F
Alkanet 84 70 Eustace 104 C
Alpine Castle 71 Lily 92 George 104 A
Landscape 26 Lime Tree on a Bastion 5 James 1 45
Road 25 Lion 17 Jerome 142, 169
Altarpiece of Dresden 44 A-C in Repose 1 75 John the Baptist 102 B
Heller 130 Sean in Right Profile 1 74 Evangelist and St Peter 1 81 A
Ober St Veit 114 Lobster 1 9 Joseph and St Joachim 1 01 C
Paumgartner 104 A-C Lot and his Daughters Fleeing Mark and St Paul 181 B
St Dominic 13 A-F from Sodom and Gomorrah Onuphrius 102 A
Angel of the Annunciation 50 B Philip 144
104 C Lucretia 152 Sebastian 8 A, 44 C
Archers. Crossbowmen and Man Sorrows 176
of Simeon and St Lazarus 101 D
Horsemen 8B Martyrdom of the Ten Salvator Mundi 100, 143
Avance 124 B Thousand 1 29 Screech-Owl 103 M
Bearing of the Cross 62 E, 187 Mater Dolorosa 62 A Sea Crab 1 8
Bird of Paradise 82 Mills on a River Bank 37 Self-Portrait (in a Fur-collared
Book Illuminations for Willibald Nailing on the Cross 62 F Robe) 59
Pirckheimer 103 A-M Nativity 104 B (with Eryngium Flowers) 12
Boy with his Head Inclined 163 Neat's Snout in Front View 177 (with gloves) 48
Brotherhood of the Rosary 1 1 5 Profile 178 Small Dead Bird Seen from the
Bunch of Violets 76 Nuremberg Woman Dressed for Back 139
Buttercup 85 Church 66, 67 Piece of Turf 77
Castle in the Alps 21 Dancing 65 Soldier on Horseback 49
of Trent 23 the Home 63, 64 Stag-Beetle 195
Celandine 86 Old Man Weari.ng a Red Beret Standing Nude Woman 201
Cemetery of St John's Church, 161 Study of a Woman's Costume
Nuremberg 2 Oriental Archer on Horseback 53 168
Christ amongst the Doctors Pansy, Pimpernel and Heal-AII Three Lime Trees 4
62 D, 117 88 Studies of Women's
in the Sepulchre, with the Parrot 74 Costumes 1 66
Symbols of His Passion 51 Pastoral Scene 103 A Trees Quarry 35
in a

in the Winepress 135 Peonies 94, 95 on the Ridge of a Hill 24

on the Cross 1 93 Peony 93 Trinity and St Michael, St
Circumcision 62 B Pine Tree 33 Martin. St Christopher and
City Square 10,11 Pirckheimer's Coat of Arms St George 196
Coats of Arms 6B 103 E-L Turk's Cap Lily 90
Columbine 87 Polyptych of the Seven Sorrows Two Birds of Paradise 83
Cormorant 81 62 A-H Musicians 101 B
Covered Bridge at Nuremberg Pond in a Wood 36 Sirens Supporting
69 Portrait of a Bearded Man 110 Pirckheimer's
Crucifixion 62 G a Boy 1 Coat of Arms 103 K
Cupids and Panel Inscribed in a Clergyman 1 48 Squirrels 73
Greek 103 D a Gentleman 179, 202 Studies of Women's
on Cornucopias, Fiddling a Man 111, 126, 150, 159, Costumes 167
103 C 191, 192 Valley near Kalchreul 133
Seated on a Bear and a a Woman 120, 127, 189 View of Arco 22
Unicorn, Jousting 103 B a Young Girl/Boy 1 25 Innsbruck 27
Supporting Pirckheimer's a Young Man 58. 108, 112, Kalchreut 132
Coat of Arms 103 E-F, 103 113, 118, 119, 124 A Nuremberg from the West 42
H-J a Young Woman 109 Trent 'l 6
Dead Blue Roller 137 Durer's Father 6 A, 45 Virgin Adoring the Infant Jesus
Doss Trento 15 Elspeth Tucher 56 44 B
Duck 79 Felicitas Tucher 55 and Child 121. 122. 128.
Elk 105 Frederick the Wise 40 136, 146, 155, 182. with St
Emperor Charlemagne 140 Hans Gunder of Nuremberg Anne 156
Maximilian 157, 158 I 190 in Half Length 50 A
Sigismund 1 41 Hans Tucher 54 in Prayer 1 53
Flight into Egypt 62 C Hieronymus Holzschuher 184 Seated with the Child on
Flood 180 Jacob Fugger the Rich 160 Her Lap 149
Four Apostles 181 A-B Jacob Muffel 183 Suckling the Child 99
Franconian Landscape 32 Jobst Planckfelt 171 with a Multitude of Animals
Great Piece of Turf 97 Jobst Planckfelfs Wife 165 96
Head Boy 164
of a Johannes Kleberger 185 with the Dov& 104 A '

Child with a Long Beard 186 Katharina Furlegerin 46 7 with the Pear 182
Man 151 Lorenz Sterck 170 with the Pink 146
Roebuck 78 Michael Wolgemut 147 with the Siskin 116
Walrus 172 Nicholas Tucher 57 Wild Lettuce 91
Woman 1 62 Oswolt Krel 52 A Man and Female Nude with
Hercules Killing the Stymphalian Sixtus Oelhafen 200 Pirckheimer s Coat of Arms
Birds 60 Quarry 30, 31. 34. 41 43 103 L
Heron 80 Raising of the Cross 7 Man with Coal ot Amis
Holy Family 38, 131, 188 Reclining Nude 72 52 B C
House on an Island in a Pond 29 Redeemer 154 Wing ot a Blue Roller 138

Infant Saviour 9 Ruined Alpine Hut 23 Wiie Drawing Mill 3

Castle on a Rock
"0 Young Couple on Horseback 3?
Iris 89, 194
Job and his Wife 101 A St Anthony 44 A Hare 75
Wonnan Droisod (or Dane""
•
/o
68
 CAMBRIDGE MUNICH
(Massachusetts) Alte Pinakothek 52 A-C, 58,
Hofer Collection 103 L-M 59, 61, 62 A, 101 CD,
194 A-C1, 146, 152, 160,
CINCIIMIMATI (Ohio) 181 A-B
Art Museum 1 92
NEW YORK
COLOGNE Hickox Collection 1 51
Wallraf-Richartz Museum 101 B Metropolitan Museum of Art
100, 127, 149, 156
COPENHAGEN Private Collection 1 54
Kongehge Bibliotek 103 C
NORDLINGEN
DARMSTADT Salvatorkircfie 196
Grand Duke Hesse
of
Collection 112 NUREMBERG
Hessisches Landesmuseum Germaniscfies Nationalmuseum
13 A-F 60, 70, 140, 141, 147, 157

DESSAU OBER ST VEIT

Gemaldegalerle 14 (Vienna)
Erzbiscfioflicties Palais 114
DRESDEN
Gemaldegalerle 44 A-C, OXFORD
62 B-H, 193 Ashmolean Museum 26

ERLANGEN PARIS
Graphische Sammlung der Bibliotheque Nationale 37,
Universitatsbibliothek 83 98, 161, 162, 163, 164
166, 167. 168. 186
ESCORIAL (Madrid) Delon Collection 1 95
New Museum 90 25.
San Lorenzo Monastery 194 PARIS (')
Gulbenkian Collection 79
FLORENCE
Galleria degli Uffizi 6 A-B. 106, POMMERSFELDEN
144. 145. 179, 182 Count Schonborn Collection
176
FRANKFURT
Stadelsches Kunstinstitut 7. 47. PORTLAND (Oregon)
101 A Le Roy Collection 68
Stadtisches Museen 130
PRAGUE
GENOA Narodni Galerie 1 1 5
Palazzo Rosso 119
Topographical
ROME
index HAMBURG Galleria Borghese III

Kunsthalle 17
ANSBACH ROTTERDAM
Gumbertuskircfie 135 HAMPTON COURT Museum Boymans-van
Royal Collection 1 18 Beuningen 5. 18, 38, 103 B,
BAGNACAVALLO 103 E, 103 G, 103 J, 131,
Capuchin Convent 121 HANOVER 197
Provinzialbibhothek 103 H
BAMBERG SIENA
Staatsbibliothek 93 INDIANAPOLIS Pmacoteca Nazionale 142
Clowes Collection 108
BASLE STETTIN
R von Hirsch Collection 15 KARLSRUHE Muzeum Pomorza Zachodniego
Offeniliche Kunstsammlungen Staatliche Kunsthalle 51
188 TOLEDO (Ohio)
KASSEL Museum of Art 165
BAYOIMNE Gemaldegalerle 56
Musee Bonnat 78, 91, 92 VIENNA
KROMERIZ Graphische Sammlung Alber-
BERGAMO (Czechoslovakia) tina 9, 10, 11, 27, 49, 64, 65,
Accademia Carrara 113, 189 Umelecko-historicke Muzeum 66, 69, 72, 75, 76, 77, 86. 87,
110 88, 94, 96, 97, 137, 138. 173,
BERLIN 180
Furstenberg Collection 103 F LAUSANNE Kunsthistorisches Museum 99,
Kupferstichkabinett 3, 19, 43, Strolin Collection 81 109, 124 A-B, 129, 134,
80, 133 136, 158. 185
Siaatliche Museen, Gemalde- LISBON
galerle DahleVn 8 A-B, 40, Museu Nacional de Arte WARSAW
116. 120, 125, 150, 153, Antiga 169 Muzeum Narodowe 198
183. 184, 190
LONDON WASHINGTON, DC.
BOSTON (Massachusetts) British Museum 23, 29 33, 36. National Gallery of Art 50 A-B,
Isabella Stewart Gardner 41, 67, 93, 103 D, 126
105 172
Museum 70 1
177, 178
Koch Collection 82 WEIMAR
BREMEN London Library 103 A Schlossmuseum 54, 55
Kunsthalle 31, 89, 95, 102 A National Gallery 45, 128
WIMPFEN AM BERG
BREMEN (formerly) LUGANO Evangelical Parish Church 199
Kunsthalle 2, 4. 16. 20. 30, 42, Thyssen Collection 1 1 7
84. 90. 102 B, 132. 143 WURZBURG
WIADRID Universitatsbibliothek 200
BRUSSELS -'larlo 49, 12'' ,

Musee Royal des Beaux-Arts

191 Mit A.;,
Whereabouts unknown 39,
57, 73, 85, 103 I. 103 K.

^^ BUDAPEST 122. 139, 171; 174, 175,

^
1 ZU Szepmuveszeti Muzeum 107 187. 201, 202
 BOSTON PUBLIC LIBRARY

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 PENGUIN CLASSICS WORLD ART

'To think of Diirer means to think of love, of grace

and self-awareness. It means an understanding of that
which is most profound and impersonal, of all those
things that are beyond and above the material
confines of our ego but w^hich determine and
sustain it'
- Thomas Mann

Albrecht Diirer (1471-1528) set out to change the history of German art and to make his own
work the seeds of this change. In his art he united two opposing artistic traditions. His
background was the stylization of the Northern Gothic, and Diirer early mastered the skills of the
craftsman-artist. The first Self-Portrait, executed at the age of thirteen, reveals his peerless draughts-
manship and power of observation. But his visit to Italy in 1494 gave him first-hand acquaintance
with 'the arts of measurement, perspective and other like matters', and his aspiration was to
assimilate Italian ideals and visual forms into his work. From this emerges the dualism of Diirer's
art: the minute reaHsm in The Great Piece of Turf and the mighty vision in The Four Apostles. Diirer's

oeuvre was enormous: he left drawings, paintings, engravings and woodcuts, as well as illustrated
treatises on mathematics, fortifications and ideal proportions for human and animal figures.

PENGUIN CLASSICS OF WORLD ART

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Each volume presents the complete paintings of the artist and includes: an introduction by a
distinguished art historian • critical comments on the painter from his own time to the present day
• 64 pages of full-colour plates • a chronological survey of his life and work a basic bibliography
•

• a fully illustrated and annotated catalogue raisoniic

Titles already published or in preparation

Botticelli • Bruegcl • Canaletto • Caravaggio • Cezanne • Diirer • Giorgione • Giotto

• Leonardo da Vinci • Manet • Mantcgna • Michelangelo • Picasso • Piero dclla Franccsca
• Raphael • Rembrandt • Toulouse-Lautrec • the Van Eycks • Vcrmeer • Watteau

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