Citation link:
https://digi.ub.uni-heidelberg.de/diglit/duerer_society1899/0014
in another medium.1 Comparing the composition,
observed that the angels with the instruments of
the mantle of the Almighty, instead of forming a
except in the group of saints headed by Our
placed in the lower group, behind the Emperor,
portrait of Durer himself. The design for the
elaborate than that which was ultimately adopted
as sketched, with the finished picture, it will be
the Passion are wanting; the Cherubim bear up
circle round the Dove; no women are introduced,
Lady; the kneeling Donor is omitted; Moses is
instead of following the Baptist; and there is no
columns, base and predella of the frame is less
XI.
A. Durer. Portrait Sketch of Matthaus Landauer.
From a charcoal drawing (8^ x 7^in.), signed and dated 1511, in the Stadel Institute, Frankfort on the
Maine; purchased for £72 at the sale of Mr. VF. Mitchell’s drawings in 18go (Lippmann 77).
The indistinct inscription in Durer’s hand, “ Landawer styfter”, identifies the lean face with
aquiline nose and long hair as that of the donor of the All Saints’ Altarpiece, who appears in a
prominent place on the left-hand side of the picture. No other study for the picture has been
preserved, with the exception of the general sketch, in water-colours, at Chantilly, and the pen
and ink drawing of the Dove, formerly in the collection of the Marquis de Chennevibres, at Paris
(Ephrussi, p. 171). This drawing was purchased from M. de ChenneviOres some years ago by
M. Thibaudeau, but all trace of it has now been lost.
Study of the Dove, All Saints’ Altarpiece.
By the courtesy of the editor of “Die Graphischen Kunste” (Vienna) we are enabled to
reproduce the reduced facsimile which appeared in that periodical in 1887 (X. 12), the only reproduction
of the drawing hitherto published.
1 A design for painting a house is described by Durer himself in his Netherlands Diary as “ Ein Visirung mit halben Farblein und gerissen,”
i.e., a pen-drawing with a light water-colourwash. (Durer’s Schriftlicher Nachlass, 152).
I I
observed that the angels with the instruments of
the mantle of the Almighty, instead of forming a
except in the group of saints headed by Our
placed in the lower group, behind the Emperor,
portrait of Durer himself. The design for the
elaborate than that which was ultimately adopted
as sketched, with the finished picture, it will be
the Passion are wanting; the Cherubim bear up
circle round the Dove; no women are introduced,
Lady; the kneeling Donor is omitted; Moses is
instead of following the Baptist; and there is no
columns, base and predella of the frame is less
XI.
A. Durer. Portrait Sketch of Matthaus Landauer.
From a charcoal drawing (8^ x 7^in.), signed and dated 1511, in the Stadel Institute, Frankfort on the
Maine; purchased for £72 at the sale of Mr. VF. Mitchell’s drawings in 18go (Lippmann 77).
The indistinct inscription in Durer’s hand, “ Landawer styfter”, identifies the lean face with
aquiline nose and long hair as that of the donor of the All Saints’ Altarpiece, who appears in a
prominent place on the left-hand side of the picture. No other study for the picture has been
preserved, with the exception of the general sketch, in water-colours, at Chantilly, and the pen
and ink drawing of the Dove, formerly in the collection of the Marquis de Chennevibres, at Paris
(Ephrussi, p. 171). This drawing was purchased from M. de ChenneviOres some years ago by
M. Thibaudeau, but all trace of it has now been lost.
Study of the Dove, All Saints’ Altarpiece.
By the courtesy of the editor of “Die Graphischen Kunste” (Vienna) we are enabled to
reproduce the reduced facsimile which appeared in that periodical in 1887 (X. 12), the only reproduction
of the drawing hitherto published.
1 A design for painting a house is described by Durer himself in his Netherlands Diary as “ Ein Visirung mit halben Farblein und gerissen,”
i.e., a pen-drawing with a light water-colourwash. (Durer’s Schriftlicher Nachlass, 152).
I I