DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.28460#0345
Bividon A.—School of Nuremberg.—Diirer.
311
Berlin Cabinet. Diirer’s autkorsliip bas been doubted, unjustly, as I believe, by Dr. W.
Schmidt,1 who attributes the woodcut to Springinklee. Its resemblance to B. app. 32,
which is undoubtedly the work of the pupil, is very superficial. At Sigmoringen there
is an undescribed early copy of two saints only, Florian and Leopold, in a circle with
double border [diam. 191]; their attitudes are reversed, so that St. Leopold, placed 1.,
faces St. Florian r.; a curtain suspended from a rod at the height of the saints’ necks
is introduced by way of background. The block from which it was printed is in the
Bavarian National Museum at Munich (Saal 56); it bears the number 1380.
The date of the original woodcut is probably 1515, since Stabius, as we liave seen,
was at Nuremberg in that year. The cutting of the iuscriptions resembles tbat on
Diirer’s scientific woodcnts of 1515 (nos. 126-128). In its origin the woodcut was
doubtless connected with the researches of Stabius into the history of the Austrian
house, though we are not aware that it was commissioned by Maximilian. The saints
represented are the patrons of Austria as a country, as distinguished from those of
Maxitnilian himself, designed by Springinklee (B. vii, 185, 32), and the iong series of
saints connected with Maximilian’s ancestry, designed by Beck (B. vii, 240, 82). The
first three are connected with Lorcli in IJpper Austiia, of which place Quirinus and
Maximilian are said to have been archbishops. Tlie latter suffered martyrdom at Cilli
in Styria about 284; his relics were translated by St. Iiupert to Lorch, and thence, in
the time of the Emperor Henry II, to Passau. St. Florian suffered martyrdom by
drowning in the Enns at Lorch in the ni century. St. Severinus, called the Apostle
of Austria, died in 482 ; his relics were transla+ed to Naples. St. Coloman, who suffered
martyrdom by hanging at Stockerau in Lower Austria, in 1012, was translated by tlie
Margrave Henry I to Melk in 1014. Leopold IV, sixth Margrave of the Babenberg
line, reigned from 1096 to 1136; he was buried in the Abbey of Klosterneuburg, near
Vitnna, his own foundation. Poppo, Archbishop of Trier, 1016-1047, and Otto, Bishop
of Freising, 1138-1158, are not recognised by the Bollandists as saints. They were
added as an afterthought, somewhat inconsistent.ly, as members of the kousc of Baben-
berg (Marchio Orientalis was the title of the ruler of the Ostmark, aftervvards called
Oesterreich), but not otherwise specially coDnected witli Austria. The grave of Arch-
bishop Poppo, in the cliurch of St. Simeon, was opened at the request of Maximilian, on
the occasion of his second visit to Trier, in January, 1517 (Beissel, “Gesch. der Trierer
Kirchen,” 1889, ii, 104). Lives of SS. Maximilian, Florian, Severinus, and Coloman
are printed in Hier. Pez, “Scriptores Rerurn Austriacarum,” 1743, tom. i. Tbe same
volume contains an account of the canonisation of St. Leopold in 1485.
[130-136.]
WOODCUTS COMMISSIONED BY TTIE EMPEROR
MAXIMILIAU I. 1515-1518.
Of the great series of woodcuts designed to glorify the house of Habsburg and
Mnximilian’s own achievements, certain portions were assigned to Nuremberg, others
to Augsburg artists. In those executed at Nuremberg, Diirer’s personal share was
important, but not large. His handiwork can only be traced in certain portions of the
Ehrenpforte, or Triumphal Arch, in the Freydal woodcuts, in the small Triumplial
Car commemorating the Burgundian Marriage, which forms part of the Triumphal
Procession, and in the large Triumplial Car of 1522.
130. THE TBIUMPHAL ARCH. 1515. B. 138. H. 1915. R. 217.
Stabius, the author of the literary scheme of the Triumphal Arch,
divided its contents into seven parts : (1) the three gates of Honour,
Praise, and Xobility ; (2) the central tower ; (3) the historical events of'
Maximilian’s reign in 23 (24) compartments over the side gates ; (4) the
Repertorium, xvii, 39,
311
Berlin Cabinet. Diirer’s autkorsliip bas been doubted, unjustly, as I believe, by Dr. W.
Schmidt,1 who attributes the woodcut to Springinklee. Its resemblance to B. app. 32,
which is undoubtedly the work of the pupil, is very superficial. At Sigmoringen there
is an undescribed early copy of two saints only, Florian and Leopold, in a circle with
double border [diam. 191]; their attitudes are reversed, so that St. Leopold, placed 1.,
faces St. Florian r.; a curtain suspended from a rod at the height of the saints’ necks
is introduced by way of background. The block from which it was printed is in the
Bavarian National Museum at Munich (Saal 56); it bears the number 1380.
The date of the original woodcut is probably 1515, since Stabius, as we liave seen,
was at Nuremberg in that year. The cutting of the iuscriptions resembles tbat on
Diirer’s scientific woodcnts of 1515 (nos. 126-128). In its origin the woodcut was
doubtless connected with the researches of Stabius into the history of the Austrian
house, though we are not aware that it was commissioned by Maximilian. The saints
represented are the patrons of Austria as a country, as distinguished from those of
Maxitnilian himself, designed by Springinklee (B. vii, 185, 32), and the iong series of
saints connected with Maximilian’s ancestry, designed by Beck (B. vii, 240, 82). The
first three are connected with Lorcli in IJpper Austiia, of which place Quirinus and
Maximilian are said to have been archbishops. Tlie latter suffered martyrdom at Cilli
in Styria about 284; his relics were translated by St. Iiupert to Lorch, and thence, in
the time of the Emperor Henry II, to Passau. St. Florian suffered martyrdom by
drowning in the Enns at Lorch in the ni century. St. Severinus, called the Apostle
of Austria, died in 482 ; his relics were transla+ed to Naples. St. Coloman, who suffered
martyrdom by hanging at Stockerau in Lower Austria, in 1012, was translated by tlie
Margrave Henry I to Melk in 1014. Leopold IV, sixth Margrave of the Babenberg
line, reigned from 1096 to 1136; he was buried in the Abbey of Klosterneuburg, near
Vitnna, his own foundation. Poppo, Archbishop of Trier, 1016-1047, and Otto, Bishop
of Freising, 1138-1158, are not recognised by the Bollandists as saints. They were
added as an afterthought, somewhat inconsistent.ly, as members of the kousc of Baben-
berg (Marchio Orientalis was the title of the ruler of the Ostmark, aftervvards called
Oesterreich), but not otherwise specially coDnected witli Austria. The grave of Arch-
bishop Poppo, in the cliurch of St. Simeon, was opened at the request of Maximilian, on
the occasion of his second visit to Trier, in January, 1517 (Beissel, “Gesch. der Trierer
Kirchen,” 1889, ii, 104). Lives of SS. Maximilian, Florian, Severinus, and Coloman
are printed in Hier. Pez, “Scriptores Rerurn Austriacarum,” 1743, tom. i. Tbe same
volume contains an account of the canonisation of St. Leopold in 1485.
[130-136.]
WOODCUTS COMMISSIONED BY TTIE EMPEROR
MAXIMILIAU I. 1515-1518.
Of the great series of woodcuts designed to glorify the house of Habsburg and
Mnximilian’s own achievements, certain portions were assigned to Nuremberg, others
to Augsburg artists. In those executed at Nuremberg, Diirer’s personal share was
important, but not large. His handiwork can only be traced in certain portions of the
Ehrenpforte, or Triumphal Arch, in the Freydal woodcuts, in the small Triumplial
Car commemorating the Burgundian Marriage, which forms part of the Triumphal
Procession, and in the large Triumplial Car of 1522.
130. THE TBIUMPHAL ARCH. 1515. B. 138. H. 1915. R. 217.
Stabius, the author of the literary scheme of the Triumphal Arch,
divided its contents into seven parts : (1) the three gates of Honour,
Praise, and Xobility ; (2) the central tower ; (3) the historical events of'
Maximilian’s reign in 23 (24) compartments over the side gates ; (4) the
Repertorium, xvii, 39,