DOI Page / Citation link:
https://doi.org/10.11588/diglit.52770#0113
L. Cust. “ Engravings of A.D.” (Portfolio Monograph), 1894, p. 63.
K. Giehlow. “ Durer’s Stich ' Melencolia I’ und der Maximilianische Humanisten-
kreis.” Mitteilungen der Gesellschaft fur vervielf altigende Kunst (Vienna), 1903,
pp. 29-41; 1904, pp. 6-18, 57-78.
R. Wustmann. Kunstchronik, 1903, N.F. XIV., 427.
C. Dodgson. Diirer Society, 1904, vii, 12 (text).
W. Ahrens. “ Das ‘ magische ’ Quadrat auf Durer’s ‘ Melancholic.’ ” Zeitschrift f.
bild. Kunst, 1915. N.F., xxvi, 291.
H. Wolfflin. Die Kunst A. Durer’s, 4te Auflage, 1920, pp. 205-211.
A. Warburg. “ Heidnisch-antike Weissagung,” 1920, pp. 58-65.
F. A. Nagel. “ Der Kristall auf Diirers Melancholic,” 1922.
E. Panofsky and F. Saxl. “ Durer’s ‘ Melencolia I.’ ” 1923.
H. Wolfflin, “ Zur Interpretation von Diirers Melancholic.” Jahrb. f. Kunstwissen-
schaft, 1923, p. 175.
S. Strauss-Kloebe, “Melencolia I.” Milnchner Jahrbuch der bildenden Kunst, 1925.
N.F., ii, 55.
W. Buhler. “Diirers Melencolia I—Baukunst-Gral.” Mitteilungen der Gesellschaft
fur vervielfaltigende Kunst (Vienna), 1925, p. 44. “ Diirers Melancholie und die
Reformation,” ibid., 1926, p. 10.
The view, popularised by Thausing, that the Melancholia belongs, with B.60 and
B. 98, to a series of the Four Temperaments, of which the fourth is missing, is open to
many objections. Lippmann’s interesting theory that the same three prints
illustrate the scholastic trilogy of virtues—intellectual, moral and theological—as
expounded in Reisch’s “ Margaritha philosophica,” has not found acceptance. Nor
can Melancholia, be regarded, with A. Springer, K. Lange and P. Weber, as being
so closely connected with Si!. Jerome, B.60, that the two form a pair. Weber believed
the pair to be typical of profane and sacred learning respectively, and displayed
great ingenuity in explaining the accessories of melancholy as emblems of the
seven liberal and seven mechanical arts. He denied that the subject of the print
is one of the four temperaments. It is now, however, believed by most authorities,
since the publication of Giehlow’s very important series of articles, of which the
planned conclusion never appeared, that the Melancholia is the first of a projected
set of the Four Temperaments, and stands alone.
It is impossible in such a catalogue as this to give more than the briefest indication
of the interpretation built by Giehlow upon profound study of a multitude of obscure
authors, and since his death corrected and expanded by Panofsky-Saxl. I believe
it to be substantially correct.
The old-fashioned mediaeval doctrine, which regarded Melancholy as the lowest
and most ignoble of the temperaments, was giving place at this time to the theory
of Marsilius Ficinus, that the melancholy man, under proper conditions and by dint
of persistence in concentrated thought, was capable of the highest intellectual
achievements. Opinions differed as to whether this result could be attained under
the influence of Saturn, to which planet the melancholic temperament was subject,
or whether to counteract this influence the aid of Jupiter must be sought by means
of talismans. The magic square, in which the figures added up in any direction
make 34,1 is according to Giehlow, a talisman, the “ tabula (or mensula) Jovis,” to
counteract the influence of Saturn,2 and to preserve the thinker from falling into
melancholy, in the medical sense of the word.
1 Cust and Wustmann thought that this alluded to the death of Durer’s mother on May 17,
1514.
2 Ahrens, who has found many extant specimens of the “ Sigillum Jovis,” denies Giehlow’s
interpretation of the square in this sense, on account of the absence of any symbol of the planet.
He regards the square as simply a symbol of arithmetic, as in an engraving of 1644 which he
reproduces.
95
K. Giehlow. “ Durer’s Stich ' Melencolia I’ und der Maximilianische Humanisten-
kreis.” Mitteilungen der Gesellschaft fur vervielf altigende Kunst (Vienna), 1903,
pp. 29-41; 1904, pp. 6-18, 57-78.
R. Wustmann. Kunstchronik, 1903, N.F. XIV., 427.
C. Dodgson. Diirer Society, 1904, vii, 12 (text).
W. Ahrens. “ Das ‘ magische ’ Quadrat auf Durer’s ‘ Melancholic.’ ” Zeitschrift f.
bild. Kunst, 1915. N.F., xxvi, 291.
H. Wolfflin. Die Kunst A. Durer’s, 4te Auflage, 1920, pp. 205-211.
A. Warburg. “ Heidnisch-antike Weissagung,” 1920, pp. 58-65.
F. A. Nagel. “ Der Kristall auf Diirers Melancholic,” 1922.
E. Panofsky and F. Saxl. “ Durer’s ‘ Melencolia I.’ ” 1923.
H. Wolfflin, “ Zur Interpretation von Diirers Melancholic.” Jahrb. f. Kunstwissen-
schaft, 1923, p. 175.
S. Strauss-Kloebe, “Melencolia I.” Milnchner Jahrbuch der bildenden Kunst, 1925.
N.F., ii, 55.
W. Buhler. “Diirers Melencolia I—Baukunst-Gral.” Mitteilungen der Gesellschaft
fur vervielfaltigende Kunst (Vienna), 1925, p. 44. “ Diirers Melancholie und die
Reformation,” ibid., 1926, p. 10.
The view, popularised by Thausing, that the Melancholia belongs, with B.60 and
B. 98, to a series of the Four Temperaments, of which the fourth is missing, is open to
many objections. Lippmann’s interesting theory that the same three prints
illustrate the scholastic trilogy of virtues—intellectual, moral and theological—as
expounded in Reisch’s “ Margaritha philosophica,” has not found acceptance. Nor
can Melancholia, be regarded, with A. Springer, K. Lange and P. Weber, as being
so closely connected with Si!. Jerome, B.60, that the two form a pair. Weber believed
the pair to be typical of profane and sacred learning respectively, and displayed
great ingenuity in explaining the accessories of melancholy as emblems of the
seven liberal and seven mechanical arts. He denied that the subject of the print
is one of the four temperaments. It is now, however, believed by most authorities,
since the publication of Giehlow’s very important series of articles, of which the
planned conclusion never appeared, that the Melancholia is the first of a projected
set of the Four Temperaments, and stands alone.
It is impossible in such a catalogue as this to give more than the briefest indication
of the interpretation built by Giehlow upon profound study of a multitude of obscure
authors, and since his death corrected and expanded by Panofsky-Saxl. I believe
it to be substantially correct.
The old-fashioned mediaeval doctrine, which regarded Melancholy as the lowest
and most ignoble of the temperaments, was giving place at this time to the theory
of Marsilius Ficinus, that the melancholy man, under proper conditions and by dint
of persistence in concentrated thought, was capable of the highest intellectual
achievements. Opinions differed as to whether this result could be attained under
the influence of Saturn, to which planet the melancholic temperament was subject,
or whether to counteract this influence the aid of Jupiter must be sought by means
of talismans. The magic square, in which the figures added up in any direction
make 34,1 is according to Giehlow, a talisman, the “ tabula (or mensula) Jovis,” to
counteract the influence of Saturn,2 and to preserve the thinker from falling into
melancholy, in the medical sense of the word.
1 Cust and Wustmann thought that this alluded to the death of Durer’s mother on May 17,
1514.
2 Ahrens, who has found many extant specimens of the “ Sigillum Jovis,” denies Giehlow’s
interpretation of the square in this sense, on account of the absence of any symbol of the planet.
He regards the square as simply a symbol of arithmetic, as in an engraving of 1644 which he
reproduces.
95