DOI Page / Citation link:
https://doi.org/10.11588/diglit.52770#0114
A great variety of interpretations has been put upon the different tools, etc., in the
engraving, and no approach to general agreement exists. Giehlow was unable to
substantiate his theory that they could be read on the principle of hieroglyphics as
a sentence explaining the intention of the engraving, and in this respect Panofsky
and Saxl do not support him. A monograph has been written, by the architect,
F. A. Nagel, of Nuremberg, on the solid body or “ crystal.” The symbolical figure
according to him is “ Architecture.” Another architect, W. Buhler, has recently
put forward a new theory, connecting some of the objects designed for the (according
to him) unfinished Gothic building in the background with the legend of the building
of the Temple of the Holy Grail for Titurel. This is far-fetched, and there is no
hint that Diirer knew or ever gave a thought to this legend. Buhler examines the
objects and implements that lie about on the platform with professional acumen and
special knowledge of the practice of architects in Diirer’s time, and it may be that
he has corrected some errors of interpretation by his predecessors. Those who are
interested in the details must be referred to the writings quoted. One word more,
on the wreath worn by Melancholy. The leaves have been called myrtle, or bitter-
sweet (Teucrium, or Solan urn dulcamara—P. Weber). Buhler says that it is apium,
or selinon (Wasser-Eppich), a plant of which the ancient Greeks made mourning
wreaths, as sacred to the gods of the nether world. It grows wild near Nuremberg.
It can hardly be denied, in any interpretation, that Melancholy in the modern sense—
depression, Schwermut—was also present in Diirer’s mind Wolfflin, especially,
insists on this.
96
engraving, and no approach to general agreement exists. Giehlow was unable to
substantiate his theory that they could be read on the principle of hieroglyphics as
a sentence explaining the intention of the engraving, and in this respect Panofsky
and Saxl do not support him. A monograph has been written, by the architect,
F. A. Nagel, of Nuremberg, on the solid body or “ crystal.” The symbolical figure
according to him is “ Architecture.” Another architect, W. Buhler, has recently
put forward a new theory, connecting some of the objects designed for the (according
to him) unfinished Gothic building in the background with the legend of the building
of the Temple of the Holy Grail for Titurel. This is far-fetched, and there is no
hint that Diirer knew or ever gave a thought to this legend. Buhler examines the
objects and implements that lie about on the platform with professional acumen and
special knowledge of the practice of architects in Diirer’s time, and it may be that
he has corrected some errors of interpretation by his predecessors. Those who are
interested in the details must be referred to the writings quoted. One word more,
on the wreath worn by Melancholy. The leaves have been called myrtle, or bitter-
sweet (Teucrium, or Solan urn dulcamara—P. Weber). Buhler says that it is apium,
or selinon (Wasser-Eppich), a plant of which the ancient Greeks made mourning
wreaths, as sacred to the gods of the nether world. It grows wild near Nuremberg.
It can hardly be denied, in any interpretation, that Melancholy in the modern sense—
depression, Schwermut—was also present in Diirer’s mind Wolfflin, especially,
insists on this.
96