The Life and Jlrt of • • ALBRECHT DURER BY ERWIN PANOFSKY \ ·, - PRINCETON UNIVERSITY PRESS · 1955 PRINCETON, NEW JERSEY
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ALBRECHT DURER
REPRODUCTIONS BY THE MERIDEN GRAVURE COMPANY
DESIGNED BY P, J, CONKWRIGHT
SECOND EDITION, REVISED, 1945
PRINTED IN THE UNITED STATES OF AMERICA
THE FIRST EDITION OF THIS BOOK WAS AIDED BY A GRANT
FROM THE AMERICAN COUNCIL OF LEARNED SOCIETIES
FROM A FUND PROVIDED BY
THE CARNEGIE CORPORATION OF NEW YORK
To Walter W. S. Cook,
u!braham F!exner,
. i
Preface
F oR reasons best known to itself, the Princeton University Press has proposed to make my book on Albrecht Durer, last issued in 1948, available in what may be called a portable edition: a single volume containing the Text (including the
Bibliography and the previous Prefaces) as well as the Illustrations, but not the Handlist of Works. I have accepted this proposal the more readily as the remarkable improvement of the offset process, largely due to the ingenuity and patience of Mr. E. H. Hugo of the Meriden Gravure Company, now makes possible the successful duplication of the original illustrations.
The very nature of this process precluded major alterations;* but this restriction, it is hoped, will increase rather than impair the usefulness of the present volume. Since neither the pagination of the text nor the numeration of the pictures has been changed, references to the earlier editions are equivalent to references to the new one and vice versa. And that the text still bristles with Handlist numbers (Arabic numerals in parentheses), even though the Handlist itself has disappeared, may be helpful to those who wish for more specific information than the present volume provides.
This new edition, then, differs from its more ambitious predecessors in size and appear ance rather than in purpose: it is still the same book, addressed to the student as well as the "general reader." And with the interests of the former in mind, the Princeton Uni versity Press has agreed to the addition of an Appendix fp. 299) containing some correc tions and amplifications; so that, if the original editions may serve as a completive adjunct to the present volume, the present volume may serve as a corrective postscript to the original editions.
Princeton, N.J. November 1, 1954
E. P.
* Such changes as were made will be found in the follpwing places: p. 24, line 4 from the foot of the page; p. 44, line 14 s.; p. 7 5, beginning of first paragraph; p. Sg, line 5 s. of the section beginning with "The year .1 503" ; p. go, line 2; p. 91, opening of the section beginning with "Diirer did not do much paint· ing"; p. 146, last lines of the second paragraph; same page, last sentence of the third paragraph; p. 147, last line of the second paragraph; same page, line 14 ss. from the foot of the page; p. 157, line 6; p. 170, line 10 ss. from the foot of the page; p. 192, line 15 s.; p. 215, line 1.
IX
PREFACE TO THE FIRST EDITION
T HE text of the present publication was mainly developed from the Norman Wait Harris Lectures delivered at Northwestern University in 1938. It is therefore ad dressed to a "mixed audience" rather than to scholars. Time-honored truths and
errors are intermixed with new ones; what might be held indispensable in a comprehensive monograph is at times suppressed, and emphasis is placed on what may seem trivial to the specialist.
However, in order to make the book somewhat useful to the more serious student two additions have been made. Appended to the text is a Selected Bibliography (pp. 287-2¢), and in Volume II is found a Handlist of the Works of Durer, including Ascribed Works and Important Copies, followed by a Concordance of the Engravings, Woodcuts, Drawings and Book Illuminations. This Handlist-consistently referred to in the text-is not a "critical catalogue" but a mere inventory which, it is hoped, will help the English-speaking reader to find his way through the vast and bewildering mass of material which, rightly or wrongly, is associated with the name of Albrecht Durer. It will refer him to catalogues and corpuses where illustrations and more specialized information may be found, and indicates, as far as possible, the connections which exist between two or more works, particularly between draw ings on the one hand and prints and paintings on the other. As a rule, bibliographical refer ences are given only if not yet included in the catalogues and corpuses referred to, and explanatory remarks have been restricted to a minimum. The writer has mostly contented himself with expressing his personal opinion as to date and authenticity. Only where he hoped to make some contribution to the argument, or where he felt that the case needed restating, has he embarked upon a brief discussion. The Handlist thus serves a threefold purpose: first, to help the reader to locate illustrations not found in this book; second, to make him aware of the genesis and affiliations of the works discussed in the text; third, to call his attention to works not mentioned in the text at all.
The writer has to apologize, first, for having repeated in his last chapter several para graphs already published, in more or, less identical form, in a recent but not easily accessible study entitled The Codex Huygens and Leonardo da Vinci's Art Theory (Studies of the Warburg Institute, xm), London, 1940; second, for not having discussed Durer's Treatise on the. Theory of Fortification the subject of which is plainly beyond his compass; third, for having incorporated in the section on the engraving Melencolia I (pp. 156-171) the more important results of the as yet unpubljshed second edition of his and his friend Dr. Saxl's previous book on the subject (Bibliography, no. 166). Its publication having been prevented by the War, he could not help anticipating it to some extent, but he wants to make it perfectly clear that half of the credit, if any, goes to Dr. Saxl and his associates. He furthermore wishes to thank all those who, in one way or another, have assisted him in the preparation of these
Xl
Xll PREFACE
present volumes, particularly Mr. F. Lugt and Miss Agnes Mongan for information as to the present location of drawings; Messrs. H. H. Arnasson, Q. Beckley O.P., H. Bober, E. F. Detterer, H. A. Mayor, M. Meiss, R. Offner, H. P. Rossiter, G. SchOnberger, D. A. Stauffer, H. Swarzenski and Miss K. Serrell for various suggestions, general helpfulness, and assistance in procuring photographs; Messrs. George H. Forsyth, Jr. and Richard Stillwell for the design of Text Illustrations 1 and 2; and, first of all, Miss Margot Cutter for her understanding help in revising the English and for preparing the Indices of Vol. II. The writer's especial gratitude is due to the American Council of Learned Societies and the Carnegie Corporation whose financial help made this publication possible, and to Mr. Lessing J. Rosenwald and Miss Elizabeth Mongan who not only allowed most of the reproductions of prints and illustrated books to be made from the admirable originals in the Alverthorpe Gallery but also placed at the writer's disposal the skill of their excellent photographer, Mr. W. Auerbach.
PREFACE TO THE SECOND EDITION
THE second edition of this book appears so soon that the writer had no time to change his mind on any major point. He has therefore limited himself to minor corrections and adjust ments on the one hand and to a few Addenda on the other.
The corrections and adjustments have not been especially indicated, but the writer wishes to mention those-apart from simple typographical errors-which were suggested by others:
Vol. I, p. 25, 1. 16 from bottom: the fact that the material of the drawing L. 658 (653) cannot be sepia was pointed out in W. Stechow's Review of this book in Art Bulletin, XXVI, 1944, pp. 197-199 (hereafter referred to as "Stechow").
Vol. I, p. 64: the error in the original text ill. 1 (handle of the burin upside down) was kindly brought to the writer's attention by a letter from Mr. Kalman Kubinyi. ·
Vol. I, p. 66, second paragraph: the identity of the "praying-cricket" in the engraving B. 44 (151) was doubted by Dr. R. Bernheimer, and his doubts were subsequently confirmed by the Museum of Natural History in New York.
Vol. I, p. 109, last lines: the fact that the "Feast of the Rose Garlands" (38) is no longer in the Mon astery of Strahow was pointed out by Stechow.
Vol. II, p. 8, no. 13: the possible connection between the inscription on the Bearing of The Cross in Richmond and Diirer's theoretical views was pointed out by Stechow.
Vol. II, p. 93, no. 907: the writer's opinion of this drawing became still more favorable upon inspection of a large-scale photograph kindly shown to him by Mrs. E. Tietze-Conrat.
Vol. II, p. 109, nos. 1062 and 1063: F. Winkler's statement to the effect that the drawing T. 381 ( 1062) was done with the pen-unaccountably overlooked by the writer-was brought to his notice by Stechow.
Vol. II, p. 119, no. 1198: the fact that the attribution of the drawing L. 92 (u98) to Jacques de Gheyn had been rejected by J. Q. van Regteren Altena was pointed out by Stechow.
The Addenda consist, first, of two fortunately not very important Handlist items origi nally overlooked by the writer; second, of some supplementary remarks elicited by such contributions as have been published after the first edition of this book had gone to press. For
PREFACE X Ill
typographical reasons these Addenda are printed in an Appendix at the end of the Handlist ( vol. II, p. 164) to which reference has been made in the proper places.
The writer wishes to express his gratitude to Messrs. Bernheimer, Kubinyi and Ste chow, as well as to Mrs. Tietze-Conrat; and to repeat his thanks to all those who have
assisted him in the preparation of the first edition.
PREFACE TO THE THIRD EDITION
THE third edition follows the same principles as does the second. Remarks referring to the few Handlist items not yet included in the previous editions,
or elicited by such books and articles as were published or became accessible to the writer after the second edition had gone to press, are printed in another Appendix ( vol. II, P· 167) · * It should be noted, however, that the writer, in spite of the generous assistance of his good friends H. Bober, E. Breitenbach and F. Saxl, was still unable to keep up with the literature since 1939/40; in several cases he had to quote apparently noteworthy publications from
indirect sources without having been able to see them in the flesh. Other additions and corrections have been incorporated without special indication; but
only six of these amount to material changes, and only four to modest material contributions. By way of rectification, the writer is now inclined to accept the inscribed date-1527-
rather than the conjectural one-1521-for the Head of a Bearded Child in the Louvre ( vol. II, p. 18, no. 84), to be more optimistic as to the quality of• the Fugger Portrait in
Munich ( vol. II, p. 14, no. 55), and to admit the basic aut~enticity of the Portrait of Endres Durer in Budapest ( vol. I, p. 91 and vol. II, p. 19, no. 89) 'while dating it in 1504 instead of about 1515; he was able, thanks to detailed information kindly supplied by Drs. M. Pfister Burkhalter and W. Rotzler in Basel, to dispel the confusion surrounding the number of woodcuts preserved, and impressions from cut woodblocks lost, within the series of the Terence Illustrations in Basel (vol. II, p. 52 s., no. 43~ a); he has corrected the erroneous substitution of Pseudo-Anacreon for Pseudo-Theocritus in his remarks on the drawing Cupid the Honey T hz'ef ( vol. I, p. 172 and vol. II, p. 93, no. 908); and he now suggests Aulus Gellius rather than Aelian as the source of the drawing Androclus and the Lion ( vol. II,
p. 92,no.899). . . . By way of amplification, the writer proposes to interpret the some~hat puzz~mg I~scnp·
tion ~n the replicas of the Bearing of the Cross ( vol. II, p. 8, no. 13) m connectiOn With the still .more puzzling inscription on the Self-Portrait in Munich ( vol. II, p. 14, no. 50); he
*The :correction of the caption of fig. 3 (vol. II, p. ix) was suggested by n:. 0. Benesch who kindly called the writer's attention to his article in the Wiener Jahrbuch fur Kunstgeschtchte, VII, 1930, where the author of the picture is identified as the "Younger Master of the Schotten Altarpiece" (p. 189 s., fig. ~5 a). Though this master was an Austrian by birth he received his training in Nurember~ and helped ~o mtro· duce the Franconian style into his homeland (Benesch, l.c., p. 177 _ss.) ;_a work of hts can thus still serve to illustrate the characteristics of the "Wolgemut manner" as descnbed m vol. I, P· 17.
XIV PREFACE
conjectures that the intriguingly unattached woodcut Cain Slaying Abel ( vol. II, p. 31, no. 221) was intended for a broad-sheet the text of which would have consisted, as in three analogous cases ( vol. II, pp. 35 and 42, nos. 27 5, 352, 353), of a poem by Diirer himself; and he adduces some documentary evidence in connection with the drawing Androclus and the Lion ( vol. II, p. 92, no. 899) and with the much-debated Stag-Beetle ( vol. II, p. 131, no. 1359).
Losses and changes caused by the war are still unknown, except for the destruction of the manuscript formerly in the Landesbibliothek in Dresden which contained the following drawings: Handlist nos. 571,661, 701,839 (fig. 312), 947,952, 1082, 1122, 1126, 1131, 1182, 1183, 1262, 1307, 1316, 1326, 1404, 1444, 1445· 1446, 1459. 1460, 1461, 1462, 1463, 1464, 1510, 1530, 1550, 1568, 1569, 1602, 1603, 1612, 1616, 1617, 1618, 1619, 162o, 1621, 1623, 1631, 1632, 1635, 1636, 164o, 1641, 1643, 1647, 1649, 165o, 1654, 1655 (fig. 322), 1656, 1656a, 1663, 1664, 1686, 1689, 1701, 1702, 1705, 1707, 1708.
As for the illustrations, attempts have been made to replace some of the least satisfactory photographs by better ones but have been successful-through the good offices of Messrs. E. Breitenbach, E. Hanfstaengl, C. H. Smyth, H. Swarzenski, and John Walker III, to all of whom the writer wishes to express his gratitude-in only a limited number of cases. He is, however; pleased to announce that his, the Princeton University Press's and the Meriden Company's united efforts have finally succeeded in substituting, in fig. 68, the right picture of Katharina Fiirlegerin for the wrong one.
t '
PREFACES
II. FIVE YEARS OF INTENSE PRODUCTIVITY, 1495-1500 39
III. FIVE YEARS OF RATIONAL SYNTHESIS, 1500-1505 80
IV. THE SECOND TRIP TO ITALY AND THE CULMINATION OF PAINTING, 1505-1510/11 107
V. REORIENTATION IN THE GRAPHIC ARTS; THE CULMINATION OF ENGRAVING,
1507/11·1514 132
VI. DURER'S ACTIVITY FOR MAXIMILIAN I; THE "DECORATIVE STYLE," 1512/13-
1518/19 172
VII. THE CRISIS OF 1519; THE JOURNEY TO THE NETHERLANDS, 1520-1521; THE
LAST WORKS, 1521-1528 198
SELECTED BIBLIOGRAPHY
In the List of Illustrations the following abbreviations are used:
B., followed by a numeral, and B. app., followed by a numeral (B. I~ or B. app. 10), refers to the numbers in Adam Bartsch, Le Pemtre Gr~veur, Vienna, vol. VII, 1808, p. 30 ss. and . 173 ss. respectively. p
L., followe~ by a. nu~eral .C L. 1 o), refers to the numbers on the pl~tes ~n Fnedr~ch Ltppmann, Zeichnungen von Albrecht Durer tn .Nachbzldungen, Berlin, 1883-1929 (vols. VI and VII; F. Wmkler, ed.).
M., followed by a numeral (M. to), refers to the numbers in Jo.~eph M~der, Durer-Katalog, Ein Handbuch uber Albrecht Durers Sttche, Radierungen, H olzschnitte, deren Zustiinde
. Ausgaben und Wasserzeichen, Vienna, 1932. ' Pass.: followed by a numeral (Pass. 110), refers to the numbers
m J. D. Passavant, Le Peintre-Graveur, Leipzig, vol. III, t862 , p. 156 ss. and p. 177 ss.
W., followed b~ a n~me.ral (W. 10), refers to the numbers on th: plates 1~ Fnednch Winkler, Die Zeichnungen Albrecht Durers, Berlm, 1933 ss.
The numbe.~s in p~rentheses refer to the Handlist as printed in Albrecht Durer, Pnnceton, 1943, 1945, 1948, Vol. II.
p I
FRONTISPIECE. Durer, Self-Portrait as Man of Sorrows, 1522, Bremen, Kunsthalle. Drawing L. 131 (635), 408 by 290 mm.
-........J· Durer, Self-Portrait of 1484, Vienna, Albertina. Drawing L. 448 (996), 275 by 196 mm.
2. Albrecht Durer the Elder, Self-Portrait, Vienna, Albertina. Drawing L. 589 ( 1016), 284 by 212 mm.
3· "Younger Master of the Schotten Altarpiece," Martyrdom of St. Dymphna, Present Location Unknown.
4· Master of the Augustiner Altarpiece, The Vision of St. Bernard, Nuremberg, Germanisches National-Museum, 1487.
5· Hans Pleydenwurff, Detail from the Adoration of the Magi, Nuremberg, Lorenzkirche.
6. Durer, The Wire-Drawing Mill, probably 1489, Berlin, Kupferstichkabinett. Drawing L. 4 ( 1367), 286 by 426 mm.
7· Durer, The Cemetery of St. John's, probably 1489, Bremen, Kunsthalle. Drawing L. 104 (1369), 290 by 423 mm.
8. Michael Wolgemut (Shop), "Portugalia," Woodcut from the "Nuremberg Chronicle," published 1493.
9· Michael Wolgemut, Dance of the Dead. Woodcut from the "Nuremberg Chronicle," published 1493·
10. Michael Wolgemut (Shop; Design by Durer'?), Circe and Odysseus. Woodcut from the "Nuremberg Chronicle" (435, k, 3), published 1493.
11. St. Potentiana Giving Alms to the Poor. Woodcut from the "Lives of the Saints," Nuremberg (Koberger), 1488.
12. The Second and Fourth Works of Charity. Woodcut from "Bruder Claus"
(435, a, 2, 4), Nuremberg (Ayrer), 1488. 13. Durer, Cavalcade, 1489, Bremen, Kunsthalle. Drawing L. 100 (1244), 201
by309mm.
*Because of the war some of the paintings and drawings here illustrated had to be reproduced from fairly unsatisfactory photographs. The prints, however, could be reproduced, with very few excep· tions, from the originals in the Alverthorpe Gallery at Jenkintown (Pennsylvania), the Metropolitan Museum in New York, the Pierpont Morgan Library in New York, and the Museum of Fine Arts in Boston. To these institutions and their staffs the writer wishes to express his sincere gratitude.
In order to correct the misleading impression produced by the changing scale of reduction the actual measurements of Diirer's prints and drawings have been indicated in the customary fashion (height preceding width).
XVll
22.
24.
~S·
~6.
LIST OF ILLUSTRATIONS
The Housebook Master, The Three Living and the Three Dead. Dry Point. Martin Schongauer, The Bearing of the Cross. Engraving. The House book Master, The Bearing of the Cro~s. Dry Point. Martin Schongauer, The Nativity. Engraving. The Housebook Master, The Holy Family. Dry Point. Martin Schongauer, Griffon. Engraving. The House book Master, Dog Scratching Itself. Dry Point. Martin Schongauer, Apprentices Romping. Engraving. The Housebook Master, Children Romping. Dry Point. Durer, The Holy Family, probably 14g1, Erlangen, Universitiitsbibliothek. Drawing L. 430 (723), 204 by 208 mm. Durer, The Holy Family, probably 14g2jg3, Berlin, Kupferstichkabinett. Drawing L. 615 (725), 2go by 214 mm. Durer, Self-Portrait of about 14g1, Erlangen, Universitatsbibliothek. Draw ing L. 42g (gg7), 204 by 2o8 mm. Durer, Self-Portrait of 14g3, New York, Robert Lehman Coli. (formerly Lemberg, Lubomirski Museum). Drawing L. 613 (gg8), 276 by 202 mm.
The House book Master, Death and Youth. Dry Point. Durer, Young Couple Taking a Walk, 14g2jg3, Hamburg, Kunsthalle. Drawing L. 620 (1245), 258 by 1g1 mm. Durer, Frolickers Threatened by Death (called "The Pleasures of the World"), probably 14g3/g4, Oxford, Ashmolean Museum. Drawing L. 644 (874), 211 by 330 mm. Durer, Self-Portrait of 14g3, Paris, Louvre (48). Durer, Portrait of His Father, 14go, Florence, Uffizi (52). Durer, St. Jerome in His Study, 14g2. Woodcut Pass. 246 (414), 165 by 115 mm. (here reproduced from a restrike, Metropolitan Museum,…
REPRODUCTIONS BY THE MERIDEN GRAVURE COMPANY
DESIGNED BY P, J, CONKWRIGHT
SECOND EDITION, REVISED, 1945
PRINTED IN THE UNITED STATES OF AMERICA
THE FIRST EDITION OF THIS BOOK WAS AIDED BY A GRANT
FROM THE AMERICAN COUNCIL OF LEARNED SOCIETIES
FROM A FUND PROVIDED BY
THE CARNEGIE CORPORATION OF NEW YORK
To Walter W. S. Cook,
u!braham F!exner,
. i
Preface
F oR reasons best known to itself, the Princeton University Press has proposed to make my book on Albrecht Durer, last issued in 1948, available in what may be called a portable edition: a single volume containing the Text (including the
Bibliography and the previous Prefaces) as well as the Illustrations, but not the Handlist of Works. I have accepted this proposal the more readily as the remarkable improvement of the offset process, largely due to the ingenuity and patience of Mr. E. H. Hugo of the Meriden Gravure Company, now makes possible the successful duplication of the original illustrations.
The very nature of this process precluded major alterations;* but this restriction, it is hoped, will increase rather than impair the usefulness of the present volume. Since neither the pagination of the text nor the numeration of the pictures has been changed, references to the earlier editions are equivalent to references to the new one and vice versa. And that the text still bristles with Handlist numbers (Arabic numerals in parentheses), even though the Handlist itself has disappeared, may be helpful to those who wish for more specific information than the present volume provides.
This new edition, then, differs from its more ambitious predecessors in size and appear ance rather than in purpose: it is still the same book, addressed to the student as well as the "general reader." And with the interests of the former in mind, the Princeton Uni versity Press has agreed to the addition of an Appendix fp. 299) containing some correc tions and amplifications; so that, if the original editions may serve as a completive adjunct to the present volume, the present volume may serve as a corrective postscript to the original editions.
Princeton, N.J. November 1, 1954
E. P.
* Such changes as were made will be found in the follpwing places: p. 24, line 4 from the foot of the page; p. 44, line 14 s.; p. 7 5, beginning of first paragraph; p. Sg, line 5 s. of the section beginning with "The year .1 503" ; p. go, line 2; p. 91, opening of the section beginning with "Diirer did not do much paint· ing"; p. 146, last lines of the second paragraph; same page, last sentence of the third paragraph; p. 147, last line of the second paragraph; same page, line 14 ss. from the foot of the page; p. 157, line 6; p. 170, line 10 ss. from the foot of the page; p. 192, line 15 s.; p. 215, line 1.
IX
PREFACE TO THE FIRST EDITION
T HE text of the present publication was mainly developed from the Norman Wait Harris Lectures delivered at Northwestern University in 1938. It is therefore ad dressed to a "mixed audience" rather than to scholars. Time-honored truths and
errors are intermixed with new ones; what might be held indispensable in a comprehensive monograph is at times suppressed, and emphasis is placed on what may seem trivial to the specialist.
However, in order to make the book somewhat useful to the more serious student two additions have been made. Appended to the text is a Selected Bibliography (pp. 287-2¢), and in Volume II is found a Handlist of the Works of Durer, including Ascribed Works and Important Copies, followed by a Concordance of the Engravings, Woodcuts, Drawings and Book Illuminations. This Handlist-consistently referred to in the text-is not a "critical catalogue" but a mere inventory which, it is hoped, will help the English-speaking reader to find his way through the vast and bewildering mass of material which, rightly or wrongly, is associated with the name of Albrecht Durer. It will refer him to catalogues and corpuses where illustrations and more specialized information may be found, and indicates, as far as possible, the connections which exist between two or more works, particularly between draw ings on the one hand and prints and paintings on the other. As a rule, bibliographical refer ences are given only if not yet included in the catalogues and corpuses referred to, and explanatory remarks have been restricted to a minimum. The writer has mostly contented himself with expressing his personal opinion as to date and authenticity. Only where he hoped to make some contribution to the argument, or where he felt that the case needed restating, has he embarked upon a brief discussion. The Handlist thus serves a threefold purpose: first, to help the reader to locate illustrations not found in this book; second, to make him aware of the genesis and affiliations of the works discussed in the text; third, to call his attention to works not mentioned in the text at all.
The writer has to apologize, first, for having repeated in his last chapter several para graphs already published, in more or, less identical form, in a recent but not easily accessible study entitled The Codex Huygens and Leonardo da Vinci's Art Theory (Studies of the Warburg Institute, xm), London, 1940; second, for not having discussed Durer's Treatise on the. Theory of Fortification the subject of which is plainly beyond his compass; third, for having incorporated in the section on the engraving Melencolia I (pp. 156-171) the more important results of the as yet unpubljshed second edition of his and his friend Dr. Saxl's previous book on the subject (Bibliography, no. 166). Its publication having been prevented by the War, he could not help anticipating it to some extent, but he wants to make it perfectly clear that half of the credit, if any, goes to Dr. Saxl and his associates. He furthermore wishes to thank all those who, in one way or another, have assisted him in the preparation of these
Xl
Xll PREFACE
present volumes, particularly Mr. F. Lugt and Miss Agnes Mongan for information as to the present location of drawings; Messrs. H. H. Arnasson, Q. Beckley O.P., H. Bober, E. F. Detterer, H. A. Mayor, M. Meiss, R. Offner, H. P. Rossiter, G. SchOnberger, D. A. Stauffer, H. Swarzenski and Miss K. Serrell for various suggestions, general helpfulness, and assistance in procuring photographs; Messrs. George H. Forsyth, Jr. and Richard Stillwell for the design of Text Illustrations 1 and 2; and, first of all, Miss Margot Cutter for her understanding help in revising the English and for preparing the Indices of Vol. II. The writer's especial gratitude is due to the American Council of Learned Societies and the Carnegie Corporation whose financial help made this publication possible, and to Mr. Lessing J. Rosenwald and Miss Elizabeth Mongan who not only allowed most of the reproductions of prints and illustrated books to be made from the admirable originals in the Alverthorpe Gallery but also placed at the writer's disposal the skill of their excellent photographer, Mr. W. Auerbach.
PREFACE TO THE SECOND EDITION
THE second edition of this book appears so soon that the writer had no time to change his mind on any major point. He has therefore limited himself to minor corrections and adjust ments on the one hand and to a few Addenda on the other.
The corrections and adjustments have not been especially indicated, but the writer wishes to mention those-apart from simple typographical errors-which were suggested by others:
Vol. I, p. 25, 1. 16 from bottom: the fact that the material of the drawing L. 658 (653) cannot be sepia was pointed out in W. Stechow's Review of this book in Art Bulletin, XXVI, 1944, pp. 197-199 (hereafter referred to as "Stechow").
Vol. I, p. 64: the error in the original text ill. 1 (handle of the burin upside down) was kindly brought to the writer's attention by a letter from Mr. Kalman Kubinyi. ·
Vol. I, p. 66, second paragraph: the identity of the "praying-cricket" in the engraving B. 44 (151) was doubted by Dr. R. Bernheimer, and his doubts were subsequently confirmed by the Museum of Natural History in New York.
Vol. I, p. 109, last lines: the fact that the "Feast of the Rose Garlands" (38) is no longer in the Mon astery of Strahow was pointed out by Stechow.
Vol. II, p. 8, no. 13: the possible connection between the inscription on the Bearing of The Cross in Richmond and Diirer's theoretical views was pointed out by Stechow.
Vol. II, p. 93, no. 907: the writer's opinion of this drawing became still more favorable upon inspection of a large-scale photograph kindly shown to him by Mrs. E. Tietze-Conrat.
Vol. II, p. 109, nos. 1062 and 1063: F. Winkler's statement to the effect that the drawing T. 381 ( 1062) was done with the pen-unaccountably overlooked by the writer-was brought to his notice by Stechow.
Vol. II, p. 119, no. 1198: the fact that the attribution of the drawing L. 92 (u98) to Jacques de Gheyn had been rejected by J. Q. van Regteren Altena was pointed out by Stechow.
The Addenda consist, first, of two fortunately not very important Handlist items origi nally overlooked by the writer; second, of some supplementary remarks elicited by such contributions as have been published after the first edition of this book had gone to press. For
PREFACE X Ill
typographical reasons these Addenda are printed in an Appendix at the end of the Handlist ( vol. II, p. 164) to which reference has been made in the proper places.
The writer wishes to express his gratitude to Messrs. Bernheimer, Kubinyi and Ste chow, as well as to Mrs. Tietze-Conrat; and to repeat his thanks to all those who have
assisted him in the preparation of the first edition.
PREFACE TO THE THIRD EDITION
THE third edition follows the same principles as does the second. Remarks referring to the few Handlist items not yet included in the previous editions,
or elicited by such books and articles as were published or became accessible to the writer after the second edition had gone to press, are printed in another Appendix ( vol. II, P· 167) · * It should be noted, however, that the writer, in spite of the generous assistance of his good friends H. Bober, E. Breitenbach and F. Saxl, was still unable to keep up with the literature since 1939/40; in several cases he had to quote apparently noteworthy publications from
indirect sources without having been able to see them in the flesh. Other additions and corrections have been incorporated without special indication; but
only six of these amount to material changes, and only four to modest material contributions. By way of rectification, the writer is now inclined to accept the inscribed date-1527-
rather than the conjectural one-1521-for the Head of a Bearded Child in the Louvre ( vol. II, p. 18, no. 84), to be more optimistic as to the quality of• the Fugger Portrait in
Munich ( vol. II, p. 14, no. 55), and to admit the basic aut~enticity of the Portrait of Endres Durer in Budapest ( vol. I, p. 91 and vol. II, p. 19, no. 89) 'while dating it in 1504 instead of about 1515; he was able, thanks to detailed information kindly supplied by Drs. M. Pfister Burkhalter and W. Rotzler in Basel, to dispel the confusion surrounding the number of woodcuts preserved, and impressions from cut woodblocks lost, within the series of the Terence Illustrations in Basel (vol. II, p. 52 s., no. 43~ a); he has corrected the erroneous substitution of Pseudo-Anacreon for Pseudo-Theocritus in his remarks on the drawing Cupid the Honey T hz'ef ( vol. I, p. 172 and vol. II, p. 93, no. 908); and he now suggests Aulus Gellius rather than Aelian as the source of the drawing Androclus and the Lion ( vol. II,
p. 92,no.899). . . . By way of amplification, the writer proposes to interpret the some~hat puzz~mg I~scnp·
tion ~n the replicas of the Bearing of the Cross ( vol. II, p. 8, no. 13) m connectiOn With the still .more puzzling inscription on the Self-Portrait in Munich ( vol. II, p. 14, no. 50); he
*The :correction of the caption of fig. 3 (vol. II, p. ix) was suggested by n:. 0. Benesch who kindly called the writer's attention to his article in the Wiener Jahrbuch fur Kunstgeschtchte, VII, 1930, where the author of the picture is identified as the "Younger Master of the Schotten Altarpiece" (p. 189 s., fig. ~5 a). Though this master was an Austrian by birth he received his training in Nurember~ and helped ~o mtro· duce the Franconian style into his homeland (Benesch, l.c., p. 177 _ss.) ;_a work of hts can thus still serve to illustrate the characteristics of the "Wolgemut manner" as descnbed m vol. I, P· 17.
XIV PREFACE
conjectures that the intriguingly unattached woodcut Cain Slaying Abel ( vol. II, p. 31, no. 221) was intended for a broad-sheet the text of which would have consisted, as in three analogous cases ( vol. II, pp. 35 and 42, nos. 27 5, 352, 353), of a poem by Diirer himself; and he adduces some documentary evidence in connection with the drawing Androclus and the Lion ( vol. II, p. 92, no. 899) and with the much-debated Stag-Beetle ( vol. II, p. 131, no. 1359).
Losses and changes caused by the war are still unknown, except for the destruction of the manuscript formerly in the Landesbibliothek in Dresden which contained the following drawings: Handlist nos. 571,661, 701,839 (fig. 312), 947,952, 1082, 1122, 1126, 1131, 1182, 1183, 1262, 1307, 1316, 1326, 1404, 1444, 1445· 1446, 1459. 1460, 1461, 1462, 1463, 1464, 1510, 1530, 1550, 1568, 1569, 1602, 1603, 1612, 1616, 1617, 1618, 1619, 162o, 1621, 1623, 1631, 1632, 1635, 1636, 164o, 1641, 1643, 1647, 1649, 165o, 1654, 1655 (fig. 322), 1656, 1656a, 1663, 1664, 1686, 1689, 1701, 1702, 1705, 1707, 1708.
As for the illustrations, attempts have been made to replace some of the least satisfactory photographs by better ones but have been successful-through the good offices of Messrs. E. Breitenbach, E. Hanfstaengl, C. H. Smyth, H. Swarzenski, and John Walker III, to all of whom the writer wishes to express his gratitude-in only a limited number of cases. He is, however; pleased to announce that his, the Princeton University Press's and the Meriden Company's united efforts have finally succeeded in substituting, in fig. 68, the right picture of Katharina Fiirlegerin for the wrong one.
t '
PREFACES
II. FIVE YEARS OF INTENSE PRODUCTIVITY, 1495-1500 39
III. FIVE YEARS OF RATIONAL SYNTHESIS, 1500-1505 80
IV. THE SECOND TRIP TO ITALY AND THE CULMINATION OF PAINTING, 1505-1510/11 107
V. REORIENTATION IN THE GRAPHIC ARTS; THE CULMINATION OF ENGRAVING,
1507/11·1514 132
VI. DURER'S ACTIVITY FOR MAXIMILIAN I; THE "DECORATIVE STYLE," 1512/13-
1518/19 172
VII. THE CRISIS OF 1519; THE JOURNEY TO THE NETHERLANDS, 1520-1521; THE
LAST WORKS, 1521-1528 198
SELECTED BIBLIOGRAPHY
In the List of Illustrations the following abbreviations are used:
B., followed by a numeral, and B. app., followed by a numeral (B. I~ or B. app. 10), refers to the numbers in Adam Bartsch, Le Pemtre Gr~veur, Vienna, vol. VII, 1808, p. 30 ss. and . 173 ss. respectively. p
L., followe~ by a. nu~eral .C L. 1 o), refers to the numbers on the pl~tes ~n Fnedr~ch Ltppmann, Zeichnungen von Albrecht Durer tn .Nachbzldungen, Berlin, 1883-1929 (vols. VI and VII; F. Wmkler, ed.).
M., followed by a numeral (M. to), refers to the numbers in Jo.~eph M~der, Durer-Katalog, Ein Handbuch uber Albrecht Durers Sttche, Radierungen, H olzschnitte, deren Zustiinde
. Ausgaben und Wasserzeichen, Vienna, 1932. ' Pass.: followed by a numeral (Pass. 110), refers to the numbers
m J. D. Passavant, Le Peintre-Graveur, Leipzig, vol. III, t862 , p. 156 ss. and p. 177 ss.
W., followed b~ a n~me.ral (W. 10), refers to the numbers on th: plates 1~ Fnednch Winkler, Die Zeichnungen Albrecht Durers, Berlm, 1933 ss.
The numbe.~s in p~rentheses refer to the Handlist as printed in Albrecht Durer, Pnnceton, 1943, 1945, 1948, Vol. II.
p I
FRONTISPIECE. Durer, Self-Portrait as Man of Sorrows, 1522, Bremen, Kunsthalle. Drawing L. 131 (635), 408 by 290 mm.
-........J· Durer, Self-Portrait of 1484, Vienna, Albertina. Drawing L. 448 (996), 275 by 196 mm.
2. Albrecht Durer the Elder, Self-Portrait, Vienna, Albertina. Drawing L. 589 ( 1016), 284 by 212 mm.
3· "Younger Master of the Schotten Altarpiece," Martyrdom of St. Dymphna, Present Location Unknown.
4· Master of the Augustiner Altarpiece, The Vision of St. Bernard, Nuremberg, Germanisches National-Museum, 1487.
5· Hans Pleydenwurff, Detail from the Adoration of the Magi, Nuremberg, Lorenzkirche.
6. Durer, The Wire-Drawing Mill, probably 1489, Berlin, Kupferstichkabinett. Drawing L. 4 ( 1367), 286 by 426 mm.
7· Durer, The Cemetery of St. John's, probably 1489, Bremen, Kunsthalle. Drawing L. 104 (1369), 290 by 423 mm.
8. Michael Wolgemut (Shop), "Portugalia," Woodcut from the "Nuremberg Chronicle," published 1493.
9· Michael Wolgemut, Dance of the Dead. Woodcut from the "Nuremberg Chronicle," published 1493·
10. Michael Wolgemut (Shop; Design by Durer'?), Circe and Odysseus. Woodcut from the "Nuremberg Chronicle" (435, k, 3), published 1493.
11. St. Potentiana Giving Alms to the Poor. Woodcut from the "Lives of the Saints," Nuremberg (Koberger), 1488.
12. The Second and Fourth Works of Charity. Woodcut from "Bruder Claus"
(435, a, 2, 4), Nuremberg (Ayrer), 1488. 13. Durer, Cavalcade, 1489, Bremen, Kunsthalle. Drawing L. 100 (1244), 201
by309mm.
*Because of the war some of the paintings and drawings here illustrated had to be reproduced from fairly unsatisfactory photographs. The prints, however, could be reproduced, with very few excep· tions, from the originals in the Alverthorpe Gallery at Jenkintown (Pennsylvania), the Metropolitan Museum in New York, the Pierpont Morgan Library in New York, and the Museum of Fine Arts in Boston. To these institutions and their staffs the writer wishes to express his sincere gratitude.
In order to correct the misleading impression produced by the changing scale of reduction the actual measurements of Diirer's prints and drawings have been indicated in the customary fashion (height preceding width).
XVll
22.
24.
~S·
~6.
LIST OF ILLUSTRATIONS
The Housebook Master, The Three Living and the Three Dead. Dry Point. Martin Schongauer, The Bearing of the Cross. Engraving. The House book Master, The Bearing of the Cro~s. Dry Point. Martin Schongauer, The Nativity. Engraving. The Housebook Master, The Holy Family. Dry Point. Martin Schongauer, Griffon. Engraving. The House book Master, Dog Scratching Itself. Dry Point. Martin Schongauer, Apprentices Romping. Engraving. The Housebook Master, Children Romping. Dry Point. Durer, The Holy Family, probably 14g1, Erlangen, Universitiitsbibliothek. Drawing L. 430 (723), 204 by 208 mm. Durer, The Holy Family, probably 14g2jg3, Berlin, Kupferstichkabinett. Drawing L. 615 (725), 2go by 214 mm. Durer, Self-Portrait of about 14g1, Erlangen, Universitatsbibliothek. Draw ing L. 42g (gg7), 204 by 2o8 mm. Durer, Self-Portrait of 14g3, New York, Robert Lehman Coli. (formerly Lemberg, Lubomirski Museum). Drawing L. 613 (gg8), 276 by 202 mm.
The House book Master, Death and Youth. Dry Point. Durer, Young Couple Taking a Walk, 14g2jg3, Hamburg, Kunsthalle. Drawing L. 620 (1245), 258 by 1g1 mm. Durer, Frolickers Threatened by Death (called "The Pleasures of the World"), probably 14g3/g4, Oxford, Ashmolean Museum. Drawing L. 644 (874), 211 by 330 mm. Durer, Self-Portrait of 14g3, Paris, Louvre (48). Durer, Portrait of His Father, 14go, Florence, Uffizi (52). Durer, St. Jerome in His Study, 14g2. Woodcut Pass. 246 (414), 165 by 115 mm. (here reproduced from a restrike, Metropolitan Museum,…
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