"The Four Apostles."--Duerer's Later Literary Works.--Four Books of
Proportion.--Last Sickness and Death.--Agnes Duerer.--Duerer described
by a Friend.
Schlegel says that "Albert Duerer may be called the Shakespeare of
Painting;" and it is doubtless true that he filled out the narrow
capabilities of early German art with a full measure of deep and
earnest thought and powerful originality. The equal homage which was
offered to him at Venice and Antwerp, the two art-antipodes, shows how
highly he was regarded in his own day. His earlier works were executed
in the crude and angular methods of Wohlgemuth and his contemporaries;
and most of the pictures now attributed to him, often incorrectly, are
of this character. But in his later works he swung clear of these
trammelling archaisms, and produced brilliant and memorable
compositions.
"The Four Apostles," now in the Munich Pinakothek, were Duerer's last
and noblest works, and fairly justify Pirkheimer's assurance, that if
he had lived longer the master would have done "many more wonderful,
strange, and artistic things." They are full of grand thought and
clear insight, free from exaggeration or conventionalism, perfect in
execution and harmonious simplicity, and so distinct in individuality
that it has been generally believed that the Four Temperaments are
here impersonated. On one panel are Sts. John and Peter, in life-size,
the former deeply meditating, with the Scriptures in his hand, and the
latter bending forward and earnestly reading the Holy Book. The other
panel shows the stately St. Paul, robed in white, standing before the
ardent and impassioned St. Mark. Kugler calls these panels "the first
complete work of art produced by Protestantism;" and the truth and
simplicity of the paintings prefigured the return of a pure and
incorrupt faith.
Late in 1526, Duerer sent these pictures to the Rath of Nuremberg, with
the following letter: "Provident, Honorable, Wise, Dear Lords,--I have
been for some time past minded to present your Wisdoms with something
of my unworthy painting as a remembrance; but I have been obliged to
give this up on account of the defects of my poor work, for I knew
that I should not have been well able to maintain the same before your
Wisdoms. During this past time, however, I have painted a picture,
and bestowed more diligence upon it than upon any other painting;
therefore I esteem no one worthier than your Wisdoms to keep it as
a remembrance; on which account I present the same to you herewith,
begging you with humble diligence to accept my little present
graciously and favorably, and to be and remain my favorable and dear
Lords, as I have always hitherto found you. This, with the utmost
humility, I will sedulously endeavor to merit from your Wisdoms."
The Rath eagerly accepted this noble gift, and hung the two panels in
the Rath-haus, sending also a handsome present of money to Duerer and
his wife. A century afterwards Maximilian of Bavaria saw and coveted
the pictures, and used bribery and threats alike to secure them. In
1627 he accomplished his purpose; and the Rath, fearful of his wrath
and dreading his power, sent the panels to Munich.
The woodcut portrait of Duerer, dated 1527, shows the worn face of a
man of fifty-six years, whose life has been stormy and sometimes
unhappy. It is much less beautiful than the earlier pictures, for his
long flowing hair and beard have both been cut short, perhaps on
account of sickness, or in deference to the new puritan ideas. The
face is delicate and melancholy, and seems to rest under the shadow of
approaching death, which is to be met with a calm and simple faith.
His second book, entitled "Some Instruction in the Fortification of
Cities, Castles, and Towns," appeared in 1527, and was dedicated to
Ferdinand I., and adorned with several woodcuts. In this the artist
showed the same familiarity with the principles of defensive works
as his great contemporaries Leonardo da Vinci and Michael Angelo
had done. Much attention is paid to the proper sheltering of heavy
artillery from hostile shot; and the plans of the towers and bastions
about Nuremberg, which were built after Duerer's death, were suggested
in this work. A large contemporary woodcut by the master shows the
siege of a city, with cannon playing from the bastions, and the
garrison making a sortie against the enemy.
The celebrated "Four Books of Human Proportion" was Duerer's greatest
literary work, and was completed about this time, having been begun
in 1523. Its preparation was suggested by Pirkheimer, to whom it was
dedicated, and who published it after the author's death, with a long
Latin elegy on him. Great labor was bestowed on this work, and many of
the original sketches and notes are still preserved. The first and
second books show the correct proportions of the human body and its
members, according to scale, dividing the body into seven parts, each
of which has the same measurement as the head, and then considering
it in eighths. The proportions of children are also treated of; and
the dogma is formulated, that the woman should be one-eighteenth
shorter than the man. The third book is devoted to transposing or
changing these proportions, and contains examples of distorted and
unsymmetrical figures; and the fourth book treats of foreshortening,
and shows the human body in motion. In his preface he says: "Let no
one think that I am presumptuous enough to imagine that I have written
a wonderful book, or seek to raise myself above others. This be far
from me! for I know well that but small and mediocre understanding
and art can be found in the following work."
The high appreciation in which this book was held appears from the
fact that it passed through several German editions, besides three
Latin, two Italian, two French, Portuguese, Dutch, and English
editions. Most of the original MS. is now in the British Museum.
Among Duerer's other works were treatises on Civic Architecture, Music,
the Art of Fencing, Landscape-Painting, Colors, Painting, and the
Proportions of the Horse.
But the year 1527 was nearly barren of new art-works; for the master's
hand was losing its power, and his busy brain had grown weary. His
constitution was slowly yielding before the fatal advances of a
wasting disease, possibly the low fever which he had contracted in
Zealand, or it may have been an affection of the lungs. In the latter
days he made a memorandum: "Regarding the belongings I have amassed by
my own handiwork, I have not had a great chance to become rich, and
have had plenty of losses; having lent without being repaid, and my
work-people have not reckoned with me; also my agent at Rome died,
after using up my property. Half of this loss was thirteen years ago,
and I have blamed myself for losses contracted at Venice. Still we
have good house-furnishing, clothing, costly things as earthenware
[maiolica], professional fittings-up, bed-furnishings, chests, and
cabinets; and my stock of colors is worth 100 guldens."
The last design of the master was a drawing on gray paper, showing
Christ on the Cross. When this was all completed except the face of
the Divine sufferer, the artist was summoned by Death, and ascended to
behold in glory the features which he had so often portrayed under the
thorns.
A violent attack of his chronic disease prostrated him so far that he
was unable to rally; and after a brief illness he passed gently away,
on the 6th of April, 1528. It was the anniversary of the day on which
Raphael died, eight years before. His friends were startled and
grief-stricken at his sudden death, which came so unexpectedly that
even Pirkheimer was absent from the city. It was long supposed that he
died of the plague, on the evidence of a portrait-drawing of himself,
showing him pointing to a discolored plague-spot on his side, and
inscribed, "Where my fingers point, there I suffer." It was said that
this sketch was for the information of his doctor, who dared not visit
the pestilence-stricken sick-chamber. But this hypothesis is no longer
considered tenable.
The remains of the master were buried in the lot of his father-in-law,
Hans Frey, at the Cemetery of St. John, beyond the walls; and his
monument bore Pirkheimer's simple epitaph: "ME. AL. DU. QUICQUID
ALBERTI DURERI MORTALE FUIT, SUB HOC CONDITUR TUMULO. EMIGRAVIT VIII
IDUS APRILIS, MDXXVIII. A.D."
On Easter Sunday, 1828, the third centenary of his death, a great
procession of artists and scholars from all parts of Germany moved in
solemn state from Nuremberg to the grave of Duerer, where they sang
hymns.
In the valley of the Pegnitz, where across broad meadowlands
Rise the blue Franconian mountains, Nuremberg the
ancient stands.
Quaint old town of toil and traffic, quaint old town of
art and song,
Memories haunt thy pointed gables, like the rooks that
round them throng.
Memories of the Middle Ages, when the emperors rough
and bold
Had their dwelling in thy castle, time-defying, centuries
old;
And thy brave and thrifty burghers boasted, in their
uncouth rhyme,
That their great imperial city stretched its hand through
every clime.
In the courtyard of the castle, bound with many an iron
band,
Stands the mighty linden planted by Queen Cunigunde's
hand;
On the square the oriel window, where in old heroic days
Sat the poet Melchior singing Kaiser Maximilian's praise.
Everywhere I see around me rise the wondrous world of
Art,
Fountains wrought with richest sculpture standing in the
common mart;
And above cathedral doorways, saints and bishops carved in
stone,
By a former age commissioned as apostles to our own.
In the church of sainted Sebald sleeps enshrined his holy
dust,
And in bronze the Twelve Apostles guard from age to age
their trust:
In the church of sainted Lawrence stands a pix of sculpture
rare,
Like the foamy sheaf of fountains, rising through the painted
air.
Here, when Art was still religion, with a simple, reverent
heart,
Lived and labored Albrecht Duerer, the Evangelist of Art;
Hence in silence and in sorrow, toiling still with busy hand,
Like an emigrant he wandered, seeking for the Better Land.
_Emigravit_ is the inscription on the tombstone where he
lies:
Dead he is not, but departed, for the artist never dies.
LONGFELLOW.
Pirkheimer wrote to Ulrich, "Although I have been often tried by the
death of those who were dear to me, I think I have never until now
experienced such sorrow as the loss of our dearest and best Duerer has
caused me. And truly not without cause; for, of all men who were not
bound to me by ties of blood, I loved and esteemed him the most, on
account of his countless merits and rare integrity. As I know, my dear
Ulrich, that you share my sorrow, I do not hesitate to allow it free
course in your presence, so that we may consecrate together a just
tribute of tears to our dear friend. He has gone from us, our Albert!
Let us weep, my dear Ulrich, over the inexorable fate, the miserable
lot of man, and the unfeeling cruelty of death. A noble man is
snatched away, whilst so many others, worthless and incapable men,
enjoy unclouded happiness, and have their years prolonged beyond the
ordinary term of man's life."
Pirkheimer died two years after Duerer's death, and was buried near
him. During his last days, and therefore so long after his friend's
decease that the first violence of his emotions had fully subsided,
and his mind had become calm, he wrote to Herr Tschertte of Vienna,
and gave the following arraignment of the widow Duerer: "Truly I lost
in Albert the best friend I ever had in the world, and nothing grieves
me so much as to think that he died such an unhappy death; for after
the providence of God I can ascribe it to no one but his wife, who so
gnawed at his heart, and worried him to such a degree, that he
departed from this world sooner than he would otherwise have done. He
was dried up like a bundle of straw, and never dared to be in good
spirits, or to go out into society. For this bad woman was always
anxious, although really she had no cause to be; and she urged him on
day and night, and forced him to hard work only for this,--that he
might earn money, and leave it to her when he died. For she always
feared ruin, as she does still, notwithstanding that Albert has left
her property worth about six thousand gulden. But nothing ever
satisfied her; and in short she alone was the cause of his death.
I have often myself expostulated with her about her suspicious,
blameworthy conduct, and have warned her, and told her beforehand
what the end of it would be; but I have never met with any thing but
ingratitude. For whoever was a friend of her husband's, and wished him
well, to him she was an enemy; which troubled Albert to the highest
degree, and brought him at last to his grave. I have not seen her
since his death: she will have nothing to do with me, although I have
been helpful to her in many things; but one cannot trust her. She is
always suspicious of anybody who contradicts her, or does not take her
part in all things, and is immediately an enemy. Therefore I would
much rather she should keep away from me. She and her sister are not
loose characters, but, as I do not doubt, honorable, pious, and very
God-fearing women; but one would rather have to do with a light
woman who behaved in a friendly manner, than with such a nagging,
suspicious, scolding, pious woman, with whom a man can have no peace
day or night. We must, however, leave the matter to God, who will be
gracious and merciful to our good Albert, for he lived a pious and
upright man, and died in a very Christian and blessed manner;
therefore we need not fear his salvation. God grant us grace, that
we may happily follow him when our time comes!"
It is said that Raphael, after studying Duerer's engravings, exclaimed,
"Of a truth this man would have surpassed us all if he had had the
masterpieces of art constantly before his eyes as we have." Even so at
the present day is it seen, that if Duerer had studied classic art, and
imbibed its principles, he might have added a rare beauty to the weird
ugliness and solemnity of his designs, and substituted the sweet
Graces for the grim Walkyrie. Yet in that case the world would have
lost the fascinations of the sad and profound Nuremberg pictures, with
their terrific realism and fantastic richness.
Italy did not disdain to borrow the ideas of the transalpine artist;
and even Raphael took the design of his famous picture of "The
Entombment" (_Lo Spasimo_) from Duerer's picture in "The Great
Passion." Titian borrowed from his "Life of the Virgin" the figure of
an old woman, which he introduced in his "Presentation in the Temple."
The Florentine Pontormo copied a whole landscape from one of Duerer's
paintings; and Andrea del Sarto received many direct suggestions from
his works.
"It is very surprising in regard to that man, that in a
rude and barbarous age he was the first of the Germans who
not only arrived at an exact imitation of nature, but has
likewise left no second; being so absolute a master of it in
all its parts,--in etching, engraving, statuary,
architecture, optics, symmetry, and the rest,--that he had
no equal except Michael Angelo Buonarotti, his contemporary
and rival; and he left behind him such works as were too
much for the life of one man."--JOHN ANDREAS.
In the preface to his Latin translation of "The Four Books of Human
Proportion," the Rector Camerarius says: "Nature gave our Albert a
form remarkable for proportion and height, and well suited to the
beautiful spirit which it held therein; so that in his case she was
not unmindful of the harmony which Hippocrates loves to dwell upon,
whereby she assigns a grotesque body to the grotesquely-spirited ape,
while she enshrines the noble soul in a befitting temple. He had a
graceful hand, brilliant eyes, a nose well-formed, such as the Greeks
call [Greek: Tetragonon], the neck a little long, chest full, stomach
flat, hips well-knit, and legs straight. As to his fingers, you would
have said that you never saw any thing more graceful. Such, moreover,
was the charm of his language, that listeners were always sorry when
he had finished speaking.
"He did not devote himself to the study of literature, though he was
in a great measure master of what it conveys, especially of natural
science and mathematics. He was well acquainted with the principal
facts of these sciences, and could apply them as well as set them
forth in words: witness his treatises on geometry, in which there is
nothing to be desired that I can find, at least so far as he has
undertaken to treat the subject.... But Nature had especially designed
him for painting, which study he embraced with all his might, and was
never tired of considering the works and methods of celebrated
painters, and learning from them all that commended itself to him....
If he had a fault it was this: that he worked with too untiring
industry, and practised a degree of severity towards himself that he
often carried beyond bounds."
A LIST OF
ALBERT DUeRER'S CHIEF PAINTINGS
NOW IN EXISTENCE, WITH THE DATES OF THEIR EXECUTION, AND THEIR
PRESENT LOCATIONS.
_The interrogation-mark is annexed to the titles of certain paintings
which two or more critics regard as of doubtful authenticity._
GERMANY.
NUREMBERG.--_Germanic Museum,_--Emperor Maximilian; Burgomaster
Holzschuher, 1526. _St. Maurice Gallery,_--Pieta; Ecce Homo.
_Rath-Haus_,--Emperor Sigismund(?); Charlemagne(?).
MUNICH PINAKOTHEK.--Baumgaertner Altar-piece, 1513; Suicide of
Lucretia, 1518; Albert Duerer, 1500; Oswald Krell, 1499; Michael
Wohlgemuth, 1516; Albert Duerer the Elder, 1497; the Nativity; Sts.
Paul and Mark, 1526; Sts. Peter and John, 1526; a Knight in Armor(?);
Sts. Joachim and Joseph, 1523; St. Simeon and Bishop Lazarus, 1523;
Death of the Virgin; a Young Man, 1500; Pieta(?); Mater Dolorosa.
DRESDEN MUSEUM.--Christ Bearing the Cross; the Crucifixion; a Hare;
Lucas van Leyden; Madonna and Saints (?).
COLOGNE.--_Museum,_--Drummer and Piper; Madonna (?). _Church of Sta.
Maria im Capitol,_--Death of the Virgin.
FRANKFORT.--_Municipal Gallery,_--Two portraits. _Staedel
Institute,_--Catherine Fuerleger; Albert Duerer the Elder.
CASSEL.--_Friedrich Museum,_--The Passion. _Bellevue,_--Erasmus of
Rotterdam.
POMMERSFELDEN.--Jacob Mueffel.
LUSTSCHENA (Baron Speck).--A Young Lady.
ASCHAFFENBURG.--Albert Duerer.
AUGSBURG.--Two Masques. Several others in the Castle of Stolzenfels.
AUSTRIA.
VIENNA.--_Belvedere,_--Emperor Maximilian, 1519; Martyrdom of the Ten
Thousand Christians, 1508; Madonna, 1506; Adoration of the Magi, 1504;
Madonna, 1503; Adoration of the Holy Trinity, 1511; Madonna; Young
Man, 1507; Johann Kleeberger, 1526; and others not definitely
authenticated. _The Albertina,_--Emperor Maximilian, Green Passion,
and 160 drawings. _Czernin Palace,_--Portrait. The old Ambraser,
Lichtenstein, and Von Lamberg collections included four portraits and
two religious pictures. _St. Wolfgang's Church,_ Upper Austria,--Death
of the Virgin.
PESTH.--Christ on the Cross.
PRAGUE.--_Strahow Abbey,_--The Feast of Rose Garlands.
NORTHERN EUROPE.
ST. PETERSBURG.--_Hermitage Palace,_--Christ Led to Calvary; Christ
Bearing the Cross; the Elector of Saxony.
_Hague Museum._--Two portraits.
_Beloeil_ (Prince de Ligne),--Two pictures.
_Basle Museum_ (Switzerland).--Two pictures.
_Coire Cathedral,_--Christ Bearing the Cross.
ITALY.
FLORENCE.--_Uffizi Gallery,_--Adoration of the Magi, 1504; Madonna,
1526; Duerer's Father, 1490; Apostle Philip, 1516; St. James the Great,
1516; Albert Duerer, 1498; Ecce Homo (?); Nativity (?); Pieta (?).
_Pitti Palace,_--Adam and Eve (replica).
ROME.--_Barberini Palace,_--Christ among the Doctors, 1506. _Borghese
Palace,_--Louis VI. of Bavaria; Pirkheimer, 1505; and five pictures of
dubious authenticity. _Corsini Palace,_--A Hare; Cardinal Albert of
Brandenburg. _Doria Palace,_--St. Eustace (?); Ecce Homo (?).
_Sciarra-Colonna Palace,_--Death of the Virgin.
MILAN.--_Casa Trivulzi,_--Ecce Homo, 1514. _Ambrosiana,_--Coronation
of the Virgin, 1510. _Bergamo Academy,_--Christ Bearing the Cross.
_Brescia Gallery,_--Drawings.
VENICE.--_Manfrini Palace,_--Adoration of the Shepherds; Holy Family.
NAPLES.--_Santangelo,_--Garland-Bearer, 1508. _Museum,_--Nativity,
1512. _Villafranca Palace,_--Christ on the Cross.
SPAIN.
MADRID.--_Museum,_--Albert Duerer, 1498; Duerer's Father; Adam and Eve.
_Marquis of Salamanca,_--Altar-piece, a Passion scene.
FRANCE.
_Besancon Museum._--Christ on the Cross. _Lyons,_--Madonna and Child
Giving Roses to Maximilian (?).
GREAT BRITAIN.
_National Gallery,_--A Senator, 1514. _Stafford House,_ Death of
the Virgin. _Hampton-Court Palace,_--Young Man, 1506; St. Jerome (?).
_Buckingham Palace,_--Virgin and Child. _Rev. J. F. Russell,
--Crucifixion; Christ's Farewell to Mary (?). _Thirlestaine
House,_--Maximilian. _Kensington Palace,_--Young Man. _New Battle
House,_--Madonna and Angels. _Belvoir Castle,_--Portrait. _Sion
House,_--Duerer's Father. _Mr. Wynn Ellis, London,_--Catherine
Fuerleger; Virgin and Child. _FitzWilliam Museum, Cambridge,_
--Annunciation (?). _Windsor Castle,_--Pirkheimer. _Bath House,_--Man
in Armor. _Howard Castle,_--Vulcan; Adam and Eve; Abraham and Isaac.
_The latest of the lists of Duerer's paintings, compiled by Mr. W. B.
Scott in 1870, enumerates the following collections, long since
dispersed, with the dates when they were cataloged: 11 pictures at
Aix, in 1822; 2 at Anspach, 1816; 5 at Augsburg, 1822; 10 at Bamberg,
1821; 2 at Banz, 1814; 4 at Berlin, 1822; 3 at Blankenberg, 1817; 3 at
Bologna, 1730; 3 at Breslau, 1741; 6 at Brussels, 1811. Many of these
cannot now be located, the collections having been broken up._
A LIST OF
DUeRER'S WOOD ENGRAVINGS.
_Bible Subjects._--Cain Killing Abel; Samson Slaying the Lion;
Adoration of the Magi, 1511; the Last Supper, 1523; the Mount of
Olives; Pilate Showing Christ to the Jews; the Sudarium; Ecce
Homo; the Crucifixion, 1510; the Crucifixion, 1516; Calvary; the
Crucifixion; Christ on the Cross, with Angels; the Trinity, 1511; the
Holy Family, 1511; the Holy Family with a Guitar, 1511; the Holy
Family, 1526; the Holy Family in a Chamber; the Virgin with the
Swaddled Child; the Virgin Crowned by Angels, 1518; the Holy Family
with Three Rabbits.
_Saints._--St. Arnolf, Bishop; St. Christopher, 1511; St. Christopher
with the Birds; St. Christopher, 1525; St. Colman of Scotland, 1513;
St. Francis Receiving the Stigmata; St. George; the Mass of St.
Gregory, 1511; St. Jerome in a Chamber, 1511; St. Jerome in the
Grotto, 1512; the Little St. Jerome; the Beheading of St. John the
Baptist; the Head of St. John brought to Herod, 1511; St. Sebald; the
Penitent; Elias and the Raven; Sts. John and Jerome; Sts. Nicholas,
Udalricus, and Erasmus; Sts. Stephen, Gregory, and Lawrence; the Eight
Austrian Saints; the Martyrdom of Ten Thousand Christians; the
Beheading of St. Catherine; St. Mary Magdalen.
_Portraits._--The Emperor Maximilian, 1519; the Emperor; Ulrich
Varnbuehler, 1522; Albert Duerer, 1527.
_Heraldic Subjects._--The Beham Arms; the Duerer Arms, 1523; the
Ebner-Furer Arms, 1516; the Kressen Arms; the Shield of Nuremberg; the
Shield with three Lions' Heads; the Shield with a Wild Man and two
Dogs; the Scheurl-Zuiglin Arms; the Stabius Arms; the Staiber Arms.
_Miscellaneous Subjects._--The Judgment of Paris; Hercules; the Rider;
the Bath; the Embrace; the Learner, 1510; Death and the Soldier, 1510;
the Besieged City, 1527; the Rhinoceros, 1515; the Triumphal Chariot
of Maximilian, 1522; the Great Column, 1517; a Man Sketching; two Men
Sketching a Lute; a Man Sketching a Woman; a Man Sketching an Urn;
Hemispherium Australe; Imagines Coeli Septentrionalis; Imagines
Coeli Meridionalis; the Pirkheimer Title-border; six Ornamental
designs; two title-borders.
_The Great Passion_ (12 cuts; 1510).--Ecce Homo; the Last Supper; the
Agony in the Garden; the Seizing of Christ; the Flagellation; the
Mocking; Bearing the Cross; the Crucifixion; Christ in Hades; the
Wailing Maries; the Entombment; the Resurrection.
_The Little Passion_ (37 cuts; 1511).--Ecce Homo; Adam and Eve; the
Expulsion from Eden; the Annunciation; the Nativity; the Entry into
Jerusalem; the Cleansing of the Temple; Christ's Farewell to His
Mother; the Last Supper; the Washing of the Feet; the Agony in the
Garden; the Kiss of Judas; Christ before Annas; Caiaphas Rends his
Clothes; the Mocking; Christ and Pilate; Christ before Herod; the
Scourging; the Crowning with Thorns; Christ Shown to the Jews; Pilate
Washing his Hands; Bearing the Cross; the Veronica; Nailing Christ to
the Cross; the Crucifixion; Descent into Hell; the Descent from the
Cross; the Weeping Maries; the Entombment; the Resurrection; Christ in
Glory Appearing to His Mother; Appearing to Mary Magdalen; at Emmaus;
the Unbelief of St. Thomas; the Ascension; the Descent of the Holy
Ghost; the Last Judgment.
_The Life of the Virgin_ (20 designs; 1511).--The Virgin and Child;
Joachim's Offering Rejected; the Angel Appears to Joachim; Joachim
Meeting Anna; the Birth of Mary; the Virgin's Presentation at the
Temple; the Betrothal of Mary and Joseph; the Annunciation; the
Visitation of St. Elizabeth; the Nativity; the Circumcision; the
Purification of Mary; the Flight into Egypt; the Repose in Egypt;
Christ Teaching in the Temple; Christ's Farewell to His Mother; the
Death of the Virgin; the Assumption; the Virgin and Child with seven
Saints.
_The Apocalypse of St. John_ (16 designs; 1498).--The Virgin and Child
Appearing to St. John; His Attempted Martyrdom; the Seven Golden
Candlesticks and the Seven Stars; the Throne of God with the
Four-and-twenty Elders and the Beasts; the Descent of the Four Horses;
the Martyrs Clothed in White and the Stars Falling; the Four Angels
Holding the Winds, and the Sealing of the Elect; the Seven Angel
Trumpeters and the Glorified Host of Saints; the Four Angels Slaying
the Third Part of Men; John is Made to Eat the Book; the Woman Clothed
with the Sun, and the Seven-headed Dragon; Michael and his Angels
Fighting the Great Dragon; the Worship of the Seven-headed Dragon; the
Lamb in Zion; the Woman of Babylon Sitting on the Beast; the Binding
of Satan for a Thousand Years.
There are 261 other wood-engravings described in the catalogue
attached to Scott's "Life of Duerer," and ranked as "doubtful." Many of
these are held to be authentic by one or more of the three critical
authorities on Duerer's works,--Heller, Bartsch, and Passavant. Other
connoisseurs, however, ascribe them to different engravers of the
early German schools, mostly to pupils and colleagues of Duerer.
ENGRAVINGS ON COPPER.
_Bible-Subjects._--Adam and Eve, 1504; the Nativity, 1504; the Passion
on copper (16 designs), 1508-13; Crucifixion, 1508, 1511; Little
Crucifixion, 1513; Christ Showing His Five Wounds; Angel with the
Sudarium, 1516; two Angels with the Sudarium, 1513; the Prodigal Son,
1500; the Virgin and Anna; Mary on the Crescent Moon, no date; Mary on
the Crescent Moon, 1514; Mary with a Crown of Stars, 1508; Mary with
the Starry Crown and Sceptre, 1516; Mary Crowned by an Angel, 1520;
Mary Crowned by two Angels, 1518; the Nursing Mary, 1503; the Nursing
Mary, 1519; Mary with the Swaddled Child, 1520; Mary under a Tree,
1513; Mary by the Well, 1514; Mary with the Pear, 1511; Mary with the
Monkey, no date; the Holy Family with the Butterfly, early work.
_Saints._--St. Philip; St. Bartholomew, 1523; St. Thomas, 1514; St.
Simon, 1514; St. Paul, 1514; St. Anthony, 1519; St. Christopher, 1521;
St. Christopher, second design; St. John Chrysostom; St. Eustace, no
date; St. George; Equestrian St. George, 1508; St. Jerome, 1514; St.
Jerome Praying; the same, smaller, 1513; St. Sebastian; St. Sebastian
Bound to a Pillar.
_Miscellaneous._--The Judgment of Paris, 1513; Apollo and Diana; the
Rape of Amymone; Jealousy; the Satyr's Family, 1505; Justice; the
Little Fortune; the Great Fortune; Melencolia, 1514; the Dream; the
Four Naked Women, 1497; the Witch; Three Cupids; Gentleman and Lady
Walking; the Love Offer; the Wild Man Seizing a Woman, early work; the
Bagpiper, 1514; the Dancing Rustics, 1514; the Peasant and his Wife;
Peasant Going to Market; Three Peasants; the Cook and the Housekeeper;
the Turk and his Wife; the Standard-bearer; the Six Soldiers; the
Little Courier; the Equestrian Lady; the Great White Horse, 1505; the
Small White Horse, 1505; the Knight, Death, and the Devil, 1513; the
Monster Pig; the Coat-of-arms with the Cock, 1514; the Coat-of-arms
and Death's Head, 1503.
_Portraits._--The Cardinal-Archbishop Albert of Mayence, 1519, 1522;
larger portrait of the same; Frederick the Wise, Elector of Saxony,
1524; Erasmus of Rotterdam, 1526; Philip Melanchthon, 1526; Willibald
Pirkheimer, 1524.
_Etchings._--Christ with Bound Hands, 1512; Ecce Homo, 1515; Christ on the
Mount of Olives, 1515; the Holy Family; St. Jerome; Pluto and
Proserpine; the Bath; the Cannon.
INDEX.
_Adam and Eve,_ 45, 57.
_Adoration of the Kings,_ 45.
_Adoration of the Trinity,_ 62, 68.
Aix-la-Chapelle, 105.
Aldegrever, 120.
Altdorfer, 120.
Antwerp, 97, 106, 117, 126.
-- Cathedral, 99, 110.
Architectural Works, 123.
Art of Mensuration, 127.
Augsburg, 91.
Bamberg, 44, 96.
Basle, 26.
Baumgaertner, 14, 39, 52, 77, 78.
Behaim, Martin, 12.
Beham, 120.
Beheim, Hans, 11.
Bellini, Giovanni, 48, 50.
Bergen-op-Zoom, 107, 109.
Bernard van Orley, 100.
Binck, 120.
_Birth of St. John,_ 66.
Bois-le-Duc, 106.
Bruges, 110.
Brussels, 100.
Bullman, 12.
_Calvary,_ 45.
Camerarius, 14, 145.
Carvings, 57, 66.
Celtes, Conrad, 13.
Chelidonius, 13, 70, 71.
Coat-of-Arms, 49, 75.
Colmar, 23, 26.
Cologne, 96, 106, 117.
Colvin, Sidney, 34.
Confirmatia, The, 106.
_Coronation of the Virgin,_ 61.
Danger at Sea, 107.
Death of Parents, 40, 83.
_Death of the Virgin,_ 90.
Delayed Pensions, 87, 92.
Denmark's King, 116.
Drawings, 42.
Duerer, Albert, the Elder, 15, 20, 23, 40.
-- Agnes, 28, 52, 54, 142.
-- Andreas, 16, 41, 53, 68.
-- Anthony, 15.
-- Barbara, 15, 41, 83.
-- Hans, 41, 51, 69.
-- Nicholas, 96.
Duerer's House, 63.
-- Marriage, 28.
-- Poetry, 64.
-- Portraits, 27, 36, 39, 105, 134.
Early Drawings, 19.
Engravings, 31, 60.
Erasmus, 99, 110, 114, 129.
Etchings, 86.
Eytas, 15, 79.
Fever, The, 112.
Flemish Feasts, 97, 109, 111.
Flemish Wealth, 95.
Fortifications, Treatise on, 134.
_Four Apostles, The,_ 131.
Francia, 55.
Frey Family, 29, 123.
Ghent, 111.
Glass-Painting, 123.
_Great Column, The,_ 88.
_Great Passion, The,_ 69.
_Green Passion, The,_ 42.
Grunewald, 121.
Haller Family, 15.
Heller, Jacob, 58, 59, 96.
_Holzschuher,_ 128.
Human Proportions, 135.
Imhoff Collection, The, 43.
Inventions, 128.
Karl, Eucharius, 39, 52.
_Knight, Death, etc.,_ 76.
Koberger, 9, 17.
Kornelisz, 12.
Kraft, 11.
Landaeuer, 62.
Letters to the Rath, 124, 132.
_Life of the Virgin,_ 71.
Lindenast, 11.
Literary Work, 127.
_Little Crucifixion, The,_ 78.
Little Masters, 120.
_Little Passion, The,_ 70.
Mantegna, 24, 56.
Marc Antonio, 71.
Margaret, Archduchess, 94, 100, 105, 115.
Martin Luther, 113.
_Martyrdom, The,_ 59.
Maximilian, Emperor, 74, 76, 89, 91, 93, 122.
Mechlin, 100, 115.
Melanchthon, 75, 129.
_Melencolia, The,_ 82.
Middleburg, 107, 108.
Netherland Journey, 94.
Nuremberg, 7, 118, 139.
_Passion, The Great,_ 69.
-- _The Green,_ 42.
-- _The Little,_ 70.
-- _Song,_ 65.
-- _in Copper,_ 74.
Patenir, 98, 112.
Pensz, George, 120, 121.
Perugino, 24.
Piratical Engravers, 69, 71.
Pirkheimer, 17, 30, 39, 43, 44, 48, 64, 110, 119, 124, 135, 137, 141.
Prayer-Book, Max's, 88.
Procession, The, 103.
Raphael, 56, 85, 105, 144.
Regiomontanus, 10.
_Rose-Garlands, Feast of,_ 53, 54.
Ruskin Quoted, 46, 56.
Sachs, Hans, 14.
_St. Anthony,_ 93.
_St. Eustachius,_ 79.
_St. Jerome,_ 81.
Schongauer, 23.
Silver-Work, 20.
Sketch-Books, 44.
Spengler, 39, 65, 92, 119.
Stein, 47.
Stoss, Veit, 11.
Strasbourg, 26.
Teacher, The (Poem), 65.
Tomasin, 98, 100, 109.
_Triumphal Arch,_ 75, 88, 92.
_Triumphal Car,_ 121.
Van Leyden, Lucas, 115.
Vasari Quoted, 72.
Venetian Journey, 47.
Venice, 47, 56, 126.
Vincidore, 105.
Vischer, Peter, 11.
Von Culmbach, 120.
Walch, Jacob, 13, 115.
Wander-jahre, The, 25, 50.
Water-Marks, 34.
Wohlgemuth, 12, 21, 51, 90.
Woodcuts, 37.
Zealand, Journey to, 107.
TRANSCRIBER'S NOTE:
Minor changes have been made to correct typesetters' errors; otherwise
every effort has been made to remain true to the author's words and
intent.