Zitierlink:
https://digi.ub.uni-heidelberg.de/diglit/duerer_society1903/0012
ENGRAVINGS.
DURER. The Satyr and his Family. 1505. B. 69.
Photogravure from an impression in the British Museum,
OSSIBLY derived, as Thausing suggests, from Lucian’s description of a “ Family of
Centaurs ” painted by Zeuxis. This subject found favour with several artists of the Renais-
sance, on both sides of the Alps. As Botticelli represents it, on the base of the judge’s
throne in the “ Calumny,” the parents are true centaurs, but their offspring have goats’
legs. Centaurs and satyrs were often confused. It must be observed, however, that in
Diirer’s engraving there is but one satyr; the mother and child are human. The engraving is often
called “The Little Satyr,” to distinguish it from B. 73.
XVI.
DURER. Five Foot Soldiers and a Mounted Turk. B. 88.
Photogravure from an impression in the British Museum,
The subject of this print is unknown. It is, perhaps, mainly a study of costumes. The form
of the monogram is very early, and Koehler places it third in his chronological catalogue, after the
Holy Family with the butterfly. It is, at any rate, earlier than 1497.
XVII.
DURER. The Engraved Passion, concluded. - B. 15-18.
(See Series IL, xvi.; V., xvi.)
13. The Entombment. 1512.
14. Christ descending into Hell. 1512.
15. The Resurrection. 1512.
16. St. Peter and St. John healing a cripple. 1513*
Photogravures from impressions in the British Museum,
XVIII.
DURER. St. George on Horseback. 1508. B. 54.
Photogravure from an impression in the British Museum,
The date was originally 1505. Diirer probably began the plate in that year, when he was
specially occupied with the study of the horse, and took it up again after his return from Venice.
XIX.
DURER. St. Anthony. 1519. B. 58.
Photogravure from an impression in the British Museum,
The hermit saint is reciting his daily office, while a staff, surmounted by two of his usual
emblems, a cross and a bell, is planted in the ground by his side. The wonderful effectiveness of this
cross in the composition will be noticed. The background is repeated from an allegorical drawing at
9
DURER. The Satyr and his Family. 1505. B. 69.
Photogravure from an impression in the British Museum,
OSSIBLY derived, as Thausing suggests, from Lucian’s description of a “ Family of
Centaurs ” painted by Zeuxis. This subject found favour with several artists of the Renais-
sance, on both sides of the Alps. As Botticelli represents it, on the base of the judge’s
throne in the “ Calumny,” the parents are true centaurs, but their offspring have goats’
legs. Centaurs and satyrs were often confused. It must be observed, however, that in
Diirer’s engraving there is but one satyr; the mother and child are human. The engraving is often
called “The Little Satyr,” to distinguish it from B. 73.
XVI.
DURER. Five Foot Soldiers and a Mounted Turk. B. 88.
Photogravure from an impression in the British Museum,
The subject of this print is unknown. It is, perhaps, mainly a study of costumes. The form
of the monogram is very early, and Koehler places it third in his chronological catalogue, after the
Holy Family with the butterfly. It is, at any rate, earlier than 1497.
XVII.
DURER. The Engraved Passion, concluded. - B. 15-18.
(See Series IL, xvi.; V., xvi.)
13. The Entombment. 1512.
14. Christ descending into Hell. 1512.
15. The Resurrection. 1512.
16. St. Peter and St. John healing a cripple. 1513*
Photogravures from impressions in the British Museum,
XVIII.
DURER. St. George on Horseback. 1508. B. 54.
Photogravure from an impression in the British Museum,
The date was originally 1505. Diirer probably began the plate in that year, when he was
specially occupied with the study of the horse, and took it up again after his return from Venice.
XIX.
DURER. St. Anthony. 1519. B. 58.
Photogravure from an impression in the British Museum,
The hermit saint is reciting his daily office, while a staff, surmounted by two of his usual
emblems, a cross and a bell, is planted in the ground by his side. The wonderful effectiveness of this
cross in the composition will be noticed. The background is repeated from an allegorical drawing at
9