DOI Page / Citation link:
https://doi.org/10.11588/diglit.52770#0063
The scratch can only be regarded as an accident, and not an intentional alteration
made by the artist, but it must have occurred at an early stage in the printing of
the plate, and its absence is a definite indication of a very early proof. Hausmann
makes the mistake of treating this line as one of the three supports of the bridge,
not having noticed that impressions occur without it, and that the bridge is complete
with two supports. He notices the progressive wearing away of the “ burr ” on this
line as a mark of later impressions.
Watermarks : ‘ bull’s head ’ (Ha.i) ; ‘ high crown ’ (Ha.4) on the best impressions.
The landscape has been identified by Handcke (' Die Chronologic der Landschaften
A.D.’s,’ 1899, p. 12) as a view of Klausen in South Tirol. On the interpretation of
the subject, the most important article is that of Giehlow [Mitteilungen der Gesellsch.
f. vervielf. Kunst, Vienna, 1902, p. 25) who quotes the lines from “ Manto,” a poem
by Angelo Poliziano, printed in 1498 by Aldus at Venice, which Diirer illustrated.
The following phrases apply with peculiar exactitude to the engraving :—
“ Est dea quae vacuo sublimis in aere pendens It ...” ; “ stridentibus insonat
alis ” ; “ Quam veteres Nemesin genitam de nocte silenti (indicated by the darkness
beneath the cloud) Oceano dixere patri ” ; “ frenamanu pateramque gerit, semperque
verendum Ridet ” ; “ Hue et illuc ventorum turbine fertur.”
The pressure of her feet, causing the sphere of fortune to revolve, illustrates the words
“ summis ima revolvens.” It was probably to Pirkheimer on his return from the
Swiss war of 1499, with which this engraving had already been connected by Thausing,
that Diirer owed his acquaintance with this poem. Diirer himself names the engrav-
ing “ Nemesis ” in his Netherlands journal. None of the other titles given to it
need to be discussed.
The nude is partly founded on study of nature, partly “ constructed,” by the unusual
method of drawing protuberant outlines with the compasses (L. Justi, ‘ Konstruierte
Figuren A.D.’s,’ 1902, p. 32).
45
made by the artist, but it must have occurred at an early stage in the printing of
the plate, and its absence is a definite indication of a very early proof. Hausmann
makes the mistake of treating this line as one of the three supports of the bridge,
not having noticed that impressions occur without it, and that the bridge is complete
with two supports. He notices the progressive wearing away of the “ burr ” on this
line as a mark of later impressions.
Watermarks : ‘ bull’s head ’ (Ha.i) ; ‘ high crown ’ (Ha.4) on the best impressions.
The landscape has been identified by Handcke (' Die Chronologic der Landschaften
A.D.’s,’ 1899, p. 12) as a view of Klausen in South Tirol. On the interpretation of
the subject, the most important article is that of Giehlow [Mitteilungen der Gesellsch.
f. vervielf. Kunst, Vienna, 1902, p. 25) who quotes the lines from “ Manto,” a poem
by Angelo Poliziano, printed in 1498 by Aldus at Venice, which Diirer illustrated.
The following phrases apply with peculiar exactitude to the engraving :—
“ Est dea quae vacuo sublimis in aere pendens It ...” ; “ stridentibus insonat
alis ” ; “ Quam veteres Nemesin genitam de nocte silenti (indicated by the darkness
beneath the cloud) Oceano dixere patri ” ; “ frenamanu pateramque gerit, semperque
verendum Ridet ” ; “ Hue et illuc ventorum turbine fertur.”
The pressure of her feet, causing the sphere of fortune to revolve, illustrates the words
“ summis ima revolvens.” It was probably to Pirkheimer on his return from the
Swiss war of 1499, with which this engraving had already been connected by Thausing,
that Diirer owed his acquaintance with this poem. Diirer himself names the engrav-
ing “ Nemesis ” in his Netherlands journal. None of the other titles given to it
need to be discussed.
The nude is partly founded on study of nature, partly “ constructed,” by the unusual
method of drawing protuberant outlines with the compasses (L. Justi, ‘ Konstruierte
Figuren A.D.’s,’ 1902, p. 32).
45