Zitierlink:
https://digi.ub.uni-heidelberg.de/diglit/duerer_society1903/0009
sense, but can hardly be the right reading. “ Fladen ” may mean filth or rubbish, as well as cake.
The point of the inscription and of the drawing itself is obscure. Spengler, secretary to the Nuremberg
Council, and an intimate friend of Diirer, took a leading part in the Reformation. We have already
heard of him in connection with Diirer’s poetical effusions. (Series IV., p. 16).
VIII.
DURER. Portrait of the Artist’s Mother, Barbara Holper.
Collotype from the charcoal drawing of 1514- (16J by nf in.^ 42*1 by 30*3 cm?) in the Berlin Cabinet
of Engravings, (Euphrussi, p. 178; Lippmann^ 40).
Diirer has written on the drawing in charcoal “ 1514 an oculy. Dz ist albrecht diirers muter
dy was alt 63 Jor” (19th March, 1514. This is Albrecht Diirer’s mother who was aged 63); and
lower down in ink “vnd ist verschiden Im 1514 Jor am erchtag vor der crewtzwochn um zwey genacht”
(and who died in the year 1514, on Tuesday, 16th May, in the week of the Holy Cross, at two of the
clock towards evening). The drawing was in the collection of the Imhoff family in 1588.
IX.
DURER. Christ on the Mount of Olives.
Collotype from the pen and ink drawing of 1515 (nj by 8j in.^ 29’6 by 2 2’1 cm?) in the Albertina^
Vienna. (Ephrussi, p. 198; Schonbrunner and Meder^ 154).
A study for the etching of the same date, B. 19 (see Portfolio I., xiv.). In the etching the angel’s
wings are drawn in detail, and the cloud extends over the Saviours’s head as far as the tree; in other
respects the etching agrees pretty closely with the sketch.
DURER.
River Landscape.
Collotype from the silver-point drawing (5I 8 J in.^ 14*5 by 20'7 cm.) on grey prepared paper, in the
Collection of Mr. C. S. Tricketts and Mr. C. H. Shannon, London.
A landscape composition of great charm, which has, unfortunately, been spoilt to some extent
by re-touching; the hills have a wavering double outline, and the buildings, some of the trees, the fence
and the shore of the river itself have been gone over with pen and ink.
In subject, especially, this sketch is unlike the landscape drawings by Diirer which are generally
recognised, and it must be owned that in the absence of the monogram (which may, however, be genuine)
few people would have thought of ascribing it to him. The attribution, however, gains in probability
the more the drawing is studied. The trees, especially, are sketched quite in Diirer’s manner; they may
be compared, for instance, with the trees in a drawing made at Brussels in 1520, now in the Academy at
Vienna. It is a tempting conjecture that Diirer may have made the present sketch on his way to the
Netherlands, though the sheet is larger than the leaves of the famous sketch-book. The river seems
hardly wide enough for the Rhine itself; it might be the Main, but this is mere conjecture.
XI.
DURER. Landscape, with a Fort near the Sea.
Collotype from the pen and ink drawing (8f by 8 zzz., 21*3 by 20*2 cm?) in the Ambrosiana, Milan.
(Ephrussiy pp. 239, 346).
This drawing is not mentioned in Professor Haendcke’s work on the chronology of Diirer’s
landscapes. It is evidently not a sketch from nature, but a composition connected with his studies
of fortification, which were published in 1527. M. Ephrussi has quoted a passage from that work, in
which Diirer recommends placing a fort in such a position as this, on a narrow space of flat land, situated
between the sea and a mountain or cliff.
6
The point of the inscription and of the drawing itself is obscure. Spengler, secretary to the Nuremberg
Council, and an intimate friend of Diirer, took a leading part in the Reformation. We have already
heard of him in connection with Diirer’s poetical effusions. (Series IV., p. 16).
VIII.
DURER. Portrait of the Artist’s Mother, Barbara Holper.
Collotype from the charcoal drawing of 1514- (16J by nf in.^ 42*1 by 30*3 cm?) in the Berlin Cabinet
of Engravings, (Euphrussi, p. 178; Lippmann^ 40).
Diirer has written on the drawing in charcoal “ 1514 an oculy. Dz ist albrecht diirers muter
dy was alt 63 Jor” (19th March, 1514. This is Albrecht Diirer’s mother who was aged 63); and
lower down in ink “vnd ist verschiden Im 1514 Jor am erchtag vor der crewtzwochn um zwey genacht”
(and who died in the year 1514, on Tuesday, 16th May, in the week of the Holy Cross, at two of the
clock towards evening). The drawing was in the collection of the Imhoff family in 1588.
IX.
DURER. Christ on the Mount of Olives.
Collotype from the pen and ink drawing of 1515 (nj by 8j in.^ 29’6 by 2 2’1 cm?) in the Albertina^
Vienna. (Ephrussi, p. 198; Schonbrunner and Meder^ 154).
A study for the etching of the same date, B. 19 (see Portfolio I., xiv.). In the etching the angel’s
wings are drawn in detail, and the cloud extends over the Saviours’s head as far as the tree; in other
respects the etching agrees pretty closely with the sketch.
DURER.
River Landscape.
Collotype from the silver-point drawing (5I 8 J in.^ 14*5 by 20'7 cm.) on grey prepared paper, in the
Collection of Mr. C. S. Tricketts and Mr. C. H. Shannon, London.
A landscape composition of great charm, which has, unfortunately, been spoilt to some extent
by re-touching; the hills have a wavering double outline, and the buildings, some of the trees, the fence
and the shore of the river itself have been gone over with pen and ink.
In subject, especially, this sketch is unlike the landscape drawings by Diirer which are generally
recognised, and it must be owned that in the absence of the monogram (which may, however, be genuine)
few people would have thought of ascribing it to him. The attribution, however, gains in probability
the more the drawing is studied. The trees, especially, are sketched quite in Diirer’s manner; they may
be compared, for instance, with the trees in a drawing made at Brussels in 1520, now in the Academy at
Vienna. It is a tempting conjecture that Diirer may have made the present sketch on his way to the
Netherlands, though the sheet is larger than the leaves of the famous sketch-book. The river seems
hardly wide enough for the Rhine itself; it might be the Main, but this is mere conjecture.
XI.
DURER. Landscape, with a Fort near the Sea.
Collotype from the pen and ink drawing (8f by 8 zzz., 21*3 by 20*2 cm?) in the Ambrosiana, Milan.
(Ephrussiy pp. 239, 346).
This drawing is not mentioned in Professor Haendcke’s work on the chronology of Diirer’s
landscapes. It is evidently not a sketch from nature, but a composition connected with his studies
of fortification, which were published in 1527. M. Ephrussi has quoted a passage from that work, in
which Diirer recommends placing a fort in such a position as this, on a narrow space of flat land, situated
between the sea and a mountain or cliff.
6