DOI Page / Citation link:
https://doi.org/10.11588/diglit.28460#0365
jDivision A.—School of Nuremberg.—Durer.
331
133. THE ITALIAN JOUST.
H. 2099. P. 290.
Freydal, with his crest, on the other side of tlie barrier, has kept his
seat; his opponent, Jacob de Heri, has fallen with his horse.
[223 x 242.] A fine, early impression, but the paper has been slightly torn and
repaired. Watermark, see no. 132.
Collection, Banks.
Presented by Lady Banks, 1818.
This woodcut, the finest of the series, and unmistakably by Diirer, is reproduced by
Hirth, no. 477, and v. Leitner, p. x. For an acoount of Jacob de Heri, who is perhaps
identical witli Jacob de Heere, burgomaster of Bruges in 1485, see v. Leitner, p. lxxxiii.
The woodcut is founded on no. 82 of the Freydal miniatures. Diirer has treated the
original with greater freedom in this case; his style is evident in the drawing of the
lion, the fluttering scarf, the heads of the two horses, the haunohes and trappings of the
one which has fallen, and the antlers.
134. THE COMBAT ON FOOT, WITH DAOGEKS.
H. 2100. P. 291.
Freydal 1., who wears a crest of long ostrich feathers, is getting the
better of his opponent, Jorg von Weispriach, who has a crest of cock’s
feathers.
[223 x 242.] A fine, early impression, the paper somewhat stained and creased,
and cut rather close at the top. Watermark, a triple mount with star on a stem
over it.
Collection, Banks.
Presented by Lady Banks, 1818.
For reproductions, see Hirth, no. 473, and v. Leitner, p. xii; for an account of
Weyspriacher, or Weispriach, ibid. p. ci. The action and costume of the two figures in
the miniature (no. 159) are scarcely altered, but the characteristic landscape and sky,
with a hawk attacking a heron, are entirely Diirer’s own. In the miniature the com-
batants stand on a marble floor.
135. THE MASQUERADE.
B. app. 38. II. 2101. P. 292, R.—A 51.
Three ladies and three masked gentlemen in fantastic attire dance
hand in hand in a circle. Three masked men bearing torches stand
outside the circle; one of these, who wears a chain and a hat with
feathers, is Freydal. A princess, with three ladies of her court and other
attendants, watches the dance from a balcony.
[225 x 250.] A late impression (the block is in the Derschau collection). Water-
mark, a gate (“ Burgthor ”) ; not in IJa.
Collection, Banks.
Presented by Lady Banks, 1818.
For a reproduction, see v. Leitner, p. viii. The woodcut is founded onminiature no.
88, but Diirer has treated the details very freely, while preserving the raain features in
the composition, for the drawing of the miniatureis childishly weak. The old man with
hat in hand is a characteristic creation of Diirer’s; the feminine types may be compared
with those on the following woodcut, no. 136, and on the great Triumphal Car, no. 145,
which was designed in 1518. Four of the masked men are identified on the miniature
as Embs, Kopernol, Geltinger, and Franciscus Prager. The usual title of this woodcut
in German catalogues, “ Der Fackeltanz,” is inaccurate, for the dance of tlxat name, in
which the arrangement of the dancers was etrictly prescribcd, does not occur in Freydal
(see v. Leitner, p. liii). Torcli-bearers are present in almost all the masquerades, and
Freydal himself is usually one of tliem. It does not appear for what reason Heller
supposes that the dance here represented took place in 1517. H. attributes tho woodcut
to Schaufelein. An early impression at Hamburg has “ Jeronimus Forrqschneyder ” on
the Jower margin.
331
133. THE ITALIAN JOUST.
H. 2099. P. 290.
Freydal, with his crest, on the other side of tlie barrier, has kept his
seat; his opponent, Jacob de Heri, has fallen with his horse.
[223 x 242.] A fine, early impression, but the paper has been slightly torn and
repaired. Watermark, see no. 132.
Collection, Banks.
Presented by Lady Banks, 1818.
This woodcut, the finest of the series, and unmistakably by Diirer, is reproduced by
Hirth, no. 477, and v. Leitner, p. x. For an acoount of Jacob de Heri, who is perhaps
identical witli Jacob de Heere, burgomaster of Bruges in 1485, see v. Leitner, p. lxxxiii.
The woodcut is founded on no. 82 of the Freydal miniatures. Diirer has treated the
original with greater freedom in this case; his style is evident in the drawing of the
lion, the fluttering scarf, the heads of the two horses, the haunohes and trappings of the
one which has fallen, and the antlers.
134. THE COMBAT ON FOOT, WITH DAOGEKS.
H. 2100. P. 291.
Freydal 1., who wears a crest of long ostrich feathers, is getting the
better of his opponent, Jorg von Weispriach, who has a crest of cock’s
feathers.
[223 x 242.] A fine, early impression, the paper somewhat stained and creased,
and cut rather close at the top. Watermark, a triple mount with star on a stem
over it.
Collection, Banks.
Presented by Lady Banks, 1818.
For reproductions, see Hirth, no. 473, and v. Leitner, p. xii; for an account of
Weyspriacher, or Weispriach, ibid. p. ci. The action and costume of the two figures in
the miniature (no. 159) are scarcely altered, but the characteristic landscape and sky,
with a hawk attacking a heron, are entirely Diirer’s own. In the miniature the com-
batants stand on a marble floor.
135. THE MASQUERADE.
B. app. 38. II. 2101. P. 292, R.—A 51.
Three ladies and three masked gentlemen in fantastic attire dance
hand in hand in a circle. Three masked men bearing torches stand
outside the circle; one of these, who wears a chain and a hat with
feathers, is Freydal. A princess, with three ladies of her court and other
attendants, watches the dance from a balcony.
[225 x 250.] A late impression (the block is in the Derschau collection). Water-
mark, a gate (“ Burgthor ”) ; not in IJa.
Collection, Banks.
Presented by Lady Banks, 1818.
For a reproduction, see v. Leitner, p. viii. The woodcut is founded onminiature no.
88, but Diirer has treated the details very freely, while preserving the raain features in
the composition, for the drawing of the miniatureis childishly weak. The old man with
hat in hand is a characteristic creation of Diirer’s; the feminine types may be compared
with those on the following woodcut, no. 136, and on the great Triumphal Car, no. 145,
which was designed in 1518. Four of the masked men are identified on the miniature
as Embs, Kopernol, Geltinger, and Franciscus Prager. The usual title of this woodcut
in German catalogues, “ Der Fackeltanz,” is inaccurate, for the dance of tlxat name, in
which the arrangement of the dancers was etrictly prescribcd, does not occur in Freydal
(see v. Leitner, p. liii). Torcli-bearers are present in almost all the masquerades, and
Freydal himself is usually one of tliem. It does not appear for what reason Heller
supposes that the dance here represented took place in 1517. H. attributes tho woodcut
to Schaufelein. An early impression at Hamburg has “ Jeronimus Forrqschneyder ” on
the Jower margin.