DOI Page / Citation link:
https://doi.org/10.11588/diglit.52770#0116
engravings of approximately the same date and equal dimensions and finish, one of
an incomplete set of the Four Temperaments or Complexions, viz. the Phlegmatic
Temperament. See, especially, Thausing’s Life, C. Ephrussi, in Gaz.d. Beaux-Arts,
1881, xxiv, 226, and P. Weber’s Monograph, “ Beitrage zu D.’s Weltanschauung
(Strassburg, 1900). Both of these writers contest the temperament theory, while
Weber, following Anton Springer and Konrad Lange (who subsequently changed
his mind) regards Melancholia and St. Jerome as a pair, quite unconnected with the
Knight, Death and the Devil, interpreting them as typical of profane and sacred learn-
ings, respectively. The lighting of the two subjects, the one stormy, restless and full of
gloom, the other all sunshine and repose, contrasts the discontent of the man of science
with the peace of the theologian, studying in the light of divine revelation. This
introduces a modern point of view, which should be received with caution. It is
certainly significant, however, that Diirer, in his notes on engravings which he gave
away or sold, never records parting with all of these three prints together, whereas
the two engravings of 1514 were often sold together (and also separately). The
interesting theory of Lippmann (“ Der Kupferstich,” 1893, p. 51, English Translation,
1906, p. 62) may also be mentioned, that the three engravings form a complete set,
corresponding to the Virtutes intellectuales (B.74), morales (B.98), and theologicales
(B.60), as classified in Gregor Reisch’s “ Margaritha philosophica ” (1496).
S. R. Koehler’s remarks on the technical and aesthetic qualities of this engraving
are well worth reading. An excellent analysis of the engraving, rather from the
aesthetic point of view, is given by Wolfflin.
98
an incomplete set of the Four Temperaments or Complexions, viz. the Phlegmatic
Temperament. See, especially, Thausing’s Life, C. Ephrussi, in Gaz.d. Beaux-Arts,
1881, xxiv, 226, and P. Weber’s Monograph, “ Beitrage zu D.’s Weltanschauung
(Strassburg, 1900). Both of these writers contest the temperament theory, while
Weber, following Anton Springer and Konrad Lange (who subsequently changed
his mind) regards Melancholia and St. Jerome as a pair, quite unconnected with the
Knight, Death and the Devil, interpreting them as typical of profane and sacred learn-
ings, respectively. The lighting of the two subjects, the one stormy, restless and full of
gloom, the other all sunshine and repose, contrasts the discontent of the man of science
with the peace of the theologian, studying in the light of divine revelation. This
introduces a modern point of view, which should be received with caution. It is
certainly significant, however, that Diirer, in his notes on engravings which he gave
away or sold, never records parting with all of these three prints together, whereas
the two engravings of 1514 were often sold together (and also separately). The
interesting theory of Lippmann (“ Der Kupferstich,” 1893, p. 51, English Translation,
1906, p. 62) may also be mentioned, that the three engravings form a complete set,
corresponding to the Virtutes intellectuales (B.74), morales (B.98), and theologicales
(B.60), as classified in Gregor Reisch’s “ Margaritha philosophica ” (1496).
S. R. Koehler’s remarks on the technical and aesthetic qualities of this engraving
are well worth reading. An excellent analysis of the engraving, rather from the
aesthetic point of view, is given by Wolfflin.
98