Zitierlink:
https://digi.ub.uni-heidelberg.de/diglit/duerer_society1898/0006
PAINTINGS.
i.
a. durer (after). The Feast of the Rose-Garlands.
Photogravure from an old copy, perhips by Johann Tlyttenhammer, formerly in the Palaeo Grimani-
Spago, Venice: now the property of <M. VP. ^Miller, Esq., Woodlands, Sevenoaks, Kent.
(62 x 76in.)
HE original, painted in 1^06 for the Church of San Bartolommeo, Venice, was
purchased about 1600 by the Emperor Rudolph IL, and is now the property
of the Monastery of Strahow, Prague. It has been greatly damaged and
restored.
The Virgin is placing a rose-garland on the head of the Emperor
Maximilian I., while the Child on her lap is about to crown the Pope Julius II. The persons
kneeling to left and right, behind the Pope and Emperor, represent the clergy and the laity.
St. Dominic, to the left of the throne, is crowning a cardinal (probably Domenico Grimani) with a
rose-garland. Two cherubs hold a richly-jewelled crown over the Virgin’s head. The angel at
her feet, playing a lute, shows the influence of Giovanni Bellini on Durer. The artist has intro-
duced his own portrait under a tree to the right of the picture, holding a sheet of paper in
his hand.
A further account of the original and the copy is given on another page.
II.
A. Durer. Portrait of a Man. ipi.
Photogravure from the picture in the Prado Gallery, Madrid, &fo. 1317. (19^ x 14m.)
This is generally regarded as the finest’of Diirer’s portraits, and shows a wonderful power
of expressing character. Thausing believes the person represented to be Hans Imhoff (1461-15^22),
the famous Nuremberg banker. In that case Durer must have painted the portrait in the autumn
of 1521, after his return from the journey in the Netherlands, perhaps in part payment of the
money which he owed to Imhoff. Most later critics (e.g., M. Henri Hymans, “Gazette des Beaux-
Arts,” October, 1893, p. 340; Mr. Lionel Cust, “Portfolio,” January, 1897, p. 86), arguing from its
resemblance to the portrait of Barend van Orley in the Dresden Gallery, regard it as one of the
portraits which Durer is known to have painted at Antwerp in the spring and early summer of 1521.
J
i.
a. durer (after). The Feast of the Rose-Garlands.
Photogravure from an old copy, perhips by Johann Tlyttenhammer, formerly in the Palaeo Grimani-
Spago, Venice: now the property of <M. VP. ^Miller, Esq., Woodlands, Sevenoaks, Kent.
(62 x 76in.)
HE original, painted in 1^06 for the Church of San Bartolommeo, Venice, was
purchased about 1600 by the Emperor Rudolph IL, and is now the property
of the Monastery of Strahow, Prague. It has been greatly damaged and
restored.
The Virgin is placing a rose-garland on the head of the Emperor
Maximilian I., while the Child on her lap is about to crown the Pope Julius II. The persons
kneeling to left and right, behind the Pope and Emperor, represent the clergy and the laity.
St. Dominic, to the left of the throne, is crowning a cardinal (probably Domenico Grimani) with a
rose-garland. Two cherubs hold a richly-jewelled crown over the Virgin’s head. The angel at
her feet, playing a lute, shows the influence of Giovanni Bellini on Durer. The artist has intro-
duced his own portrait under a tree to the right of the picture, holding a sheet of paper in
his hand.
A further account of the original and the copy is given on another page.
II.
A. Durer. Portrait of a Man. ipi.
Photogravure from the picture in the Prado Gallery, Madrid, &fo. 1317. (19^ x 14m.)
This is generally regarded as the finest’of Diirer’s portraits, and shows a wonderful power
of expressing character. Thausing believes the person represented to be Hans Imhoff (1461-15^22),
the famous Nuremberg banker. In that case Durer must have painted the portrait in the autumn
of 1521, after his return from the journey in the Netherlands, perhaps in part payment of the
money which he owed to Imhoff. Most later critics (e.g., M. Henri Hymans, “Gazette des Beaux-
Arts,” October, 1893, p. 340; Mr. Lionel Cust, “Portfolio,” January, 1897, p. 86), arguing from its
resemblance to the portrait of Barend van Orley in the Dresden Gallery, regard it as one of the
portraits which Durer is known to have painted at Antwerp in the spring and early summer of 1521.
J