Zitierlink:
https://digi.ub.uni-heidelberg.de/diglit/duerer_society1903/0008
DRAWINGS.
Attributed to DURER.
The Last Supper.
Collotype from the pen and ink^ drawing (8f by i2f in.; 22'2 by 31*5 cml) in the Collection ofM. Eugene
Tfdrigues, Varis.
HRIST and the Apostles are seated at a round table, on curved benches. At the end of the
right-hand bench sits Judas, grasping the money-bag in his left hand and opening his
mouth to receive the sop from the hand of our Lord. St. John leans on the Saviour’s bosom.
St. James, seen over the head of Judas, is recognisable by his traditional likeness to our Lord,
for both alike wear a short beard and flowing locks. The rugged, middle-aged man at the
right hand of Christ must be St. Peter. The Apostle sitting apart on a round stool in the foreground
is characterised by the knife on the table near him as St. Bartholomew, while the remaining members
of the company have no distinguishing attributes. The whole group is wreathed in clouds, as if Diirer
wished to treat the scene as more than a mere historical event, and to invest it with supernatural and
symbolical meaning. Just such a belt of clouds conceals the censing angel from the gaze of the women
in the scene of Mary’s birth, and withholds her coronation from the eyes of the Apostles round her tomb;
clouds part the risen Christ from the sleeping warders in the Great Passion, as in the engraving of Nemesis
they screen the floating goddess from the world below. Such instances might be multiplied indefinitely;
but I remember no other case in which Diirer or any artist of his period frames in clouds a subject from
the earthly life of Christ. The whole composition, moreover, is unusual; the round table rarely occurs
in such a scene, and if one Apostle is isolated from the rest, we naturally expect that Apostle to be
Judas. The drawing, if by Diirer, cannot be much later than 1495, and the type of Christ, especially,
still reveals the inspiration of Schongauer. We are much indebted to M. Rodrigues for permission to
reproduce this interesting work for the first time.
DURER.
VI.
Christ bearing the Cross, y
Collotype from the pen and ink^ drawing (n§ by 8j in., 29*5 by 22 cm.} in the Albertina, Vienna.
(Thausing, E. T., II., 40; Schonbrunner and Meder, 572).
Christ, bearing the cross, attended by the holy women, issues from the portal of a renaissance
building; the soldiers who follow him are seen through another door. Near the latter is a column
supporting two statues. In the foreground are a horseman and a foot-soldier. The two thieves, with
their hands bound behind their backs, go on before. Pilate, accompanied by another rider, halts on the
hillside, watching the scene. A free and spirited sketch, dated by Thausing about 1511.
VII.
DURER. Satirical Drawing addressed to Lazarus Spengler.
Collotype from the pen and ink^ drawing of 1511 (8 by n| in., 20*4 by 29*8 cm I) in the Collection
of M. Leon Bonnat, Paris. (Lippmann, 356).
The drawing is in three compartments. In the first a smith, working the bellows with his left
hand, takes documents out of the forge with tongs and lays them on a stool. In the second a printer
works the press, by the side of which documents are seen lying on a shelf. In the third a baker is
thrusting similar productions, on a long shovel, into the oven. At the top Diirer has written: “eytell
missyff dy werdn do gschmit truckt vnd pachn jm 1511 jor” (monogram). At the bottom: “libr
lasaros spenglr jch schick vch do den fladn / grosser v . . . halbn hab jch jn nit er pachen miigen / lat
jn ewch also wohl gefalln.” These inscriptions may be thus translated : “Idle missives which are here
forged, printed and baked in the year 1511”; “Dear Lazarus Spengler, I send you here the cake, on
account of great ... I have not liked to bake it before, so let it please you well.” One word
in the lower inscription is difficult to decipher; “unruh,” suggested by Dr. Lippmann, makes good
5
Attributed to DURER.
The Last Supper.
Collotype from the pen and ink^ drawing (8f by i2f in.; 22'2 by 31*5 cml) in the Collection ofM. Eugene
Tfdrigues, Varis.
HRIST and the Apostles are seated at a round table, on curved benches. At the end of the
right-hand bench sits Judas, grasping the money-bag in his left hand and opening his
mouth to receive the sop from the hand of our Lord. St. John leans on the Saviour’s bosom.
St. James, seen over the head of Judas, is recognisable by his traditional likeness to our Lord,
for both alike wear a short beard and flowing locks. The rugged, middle-aged man at the
right hand of Christ must be St. Peter. The Apostle sitting apart on a round stool in the foreground
is characterised by the knife on the table near him as St. Bartholomew, while the remaining members
of the company have no distinguishing attributes. The whole group is wreathed in clouds, as if Diirer
wished to treat the scene as more than a mere historical event, and to invest it with supernatural and
symbolical meaning. Just such a belt of clouds conceals the censing angel from the gaze of the women
in the scene of Mary’s birth, and withholds her coronation from the eyes of the Apostles round her tomb;
clouds part the risen Christ from the sleeping warders in the Great Passion, as in the engraving of Nemesis
they screen the floating goddess from the world below. Such instances might be multiplied indefinitely;
but I remember no other case in which Diirer or any artist of his period frames in clouds a subject from
the earthly life of Christ. The whole composition, moreover, is unusual; the round table rarely occurs
in such a scene, and if one Apostle is isolated from the rest, we naturally expect that Apostle to be
Judas. The drawing, if by Diirer, cannot be much later than 1495, and the type of Christ, especially,
still reveals the inspiration of Schongauer. We are much indebted to M. Rodrigues for permission to
reproduce this interesting work for the first time.
DURER.
VI.
Christ bearing the Cross, y
Collotype from the pen and ink^ drawing (n§ by 8j in., 29*5 by 22 cm.} in the Albertina, Vienna.
(Thausing, E. T., II., 40; Schonbrunner and Meder, 572).
Christ, bearing the cross, attended by the holy women, issues from the portal of a renaissance
building; the soldiers who follow him are seen through another door. Near the latter is a column
supporting two statues. In the foreground are a horseman and a foot-soldier. The two thieves, with
their hands bound behind their backs, go on before. Pilate, accompanied by another rider, halts on the
hillside, watching the scene. A free and spirited sketch, dated by Thausing about 1511.
VII.
DURER. Satirical Drawing addressed to Lazarus Spengler.
Collotype from the pen and ink^ drawing of 1511 (8 by n| in., 20*4 by 29*8 cm I) in the Collection
of M. Leon Bonnat, Paris. (Lippmann, 356).
The drawing is in three compartments. In the first a smith, working the bellows with his left
hand, takes documents out of the forge with tongs and lays them on a stool. In the second a printer
works the press, by the side of which documents are seen lying on a shelf. In the third a baker is
thrusting similar productions, on a long shovel, into the oven. At the top Diirer has written: “eytell
missyff dy werdn do gschmit truckt vnd pachn jm 1511 jor” (monogram). At the bottom: “libr
lasaros spenglr jch schick vch do den fladn / grosser v . . . halbn hab jch jn nit er pachen miigen / lat
jn ewch also wohl gefalln.” These inscriptions may be thus translated : “Idle missives which are here
forged, printed and baked in the year 1511”; “Dear Lazarus Spengler, I send you here the cake, on
account of great ... I have not liked to bake it before, so let it please you well.” One word
in the lower inscription is difficult to decipher; “unruh,” suggested by Dr. Lippmann, makes good
5