Citation link:
https://digi.ub.uni-heidelberg.de/diglit/duerer_society1911a/0078
7°
SUPPLEMENTARY NOTES
IX. ix.-xvi. DURER. Studies from the “ Tarocchi" Engravings.
In 1909 Dr. Oskar Fischel discovered among the reproductions of Raphael's
works at Windsor Castle a photograph of a drawing attributed by Passavant to
G. F. Penni (Raphael d'Urbin, Paris, i860, ii., p. 449, No. 256), which is
nothing less than another of Dtirer's studies from the " Tarocchi," representing
Justice. The drawing was in Passavant's time the property of Savigny, " Con-
seiller d'etat," at Berlin. It has not at present been discovered in the possession
of his descendants or elsewhere.
Dr. Weixlgartner accepts the division of these copies of the " Tarocchi" into
two groups, but considers that less than a year separates the two series. He
remarks that in 1504/5 Dtlrer was no longer in the habit of "copying so exactly."
He does not appear to have noticed that one of the main reasons for assuming
a considerable lapse of time between the first and second series is that the latter
are much freer and more personal in design as well as in execution, and depart
very appreciably from their originals.—S. M. P.
IX. xvii. DURER. Allegorical Drawing. (Rennes.)
That part of Dr. Weixlgartner's defence of Durer's authorship which is based
on the handwriting is irrelevant. Those who attribute the drawing to the
" Brigittenmeister" would not deny that it was produced under Durer's eye,
and that he wrote the note at the foot with his own hand. Seidlitz ("Jahrbuch,"
xxviii., 17) notes the latter fact expressly.
IX. xxi. DURER. St. Michael. (Salting Collection.)
This drawing was bequeathed by Mr. Salting to the British Museum, which
entered into possession of it in 1910.
IX. xxii. DURER. Christ on the Cross between the Virgin and
St. John. (British Museum.)
When publishing this drawing I overlooked the fact that the principal group
is a study for the little round Crucifixion, B. 23, which was engraved on gold for
the Emperor Maximilian I., probably in 1518 (see Koehler, p. 76).
IX. xxiii. DURER. Design for a Woodcut in the Triumphal
Procession of the Emperor Maximilian.
This drawing has recently changed hands, the entire Fairfax Murray collec-
tion of drawings having been bought by Mr. J. Pierpont Morgan. Its
authenticity cannot be seriously maintained, but it represents a lost original.
The first word inscribed on the drawing, 'huk,' refers to a political party in
the Netherlands; the word is of frequent occurrence in the text of the Weiss-
kunig.
IX. xxv. DURER. Portrait of Lucas van Leyden. (Lille.)
The alleged portrait of Lucas van Leyden mentioned at the end of the article
has passed by bequest, with the remainder of the Salting drawings, to the British
Museum. The most recent article on the portraits of Lucas van Leyden, con-
taining interesting new suggestions, is one by Dr. Elfried Bock, in " Monatshefte
fur Kunstwissenschaft," 1910, iii., 405.
SUPPLEMENTARY NOTES
IX. ix.-xvi. DURER. Studies from the “ Tarocchi" Engravings.
In 1909 Dr. Oskar Fischel discovered among the reproductions of Raphael's
works at Windsor Castle a photograph of a drawing attributed by Passavant to
G. F. Penni (Raphael d'Urbin, Paris, i860, ii., p. 449, No. 256), which is
nothing less than another of Dtirer's studies from the " Tarocchi," representing
Justice. The drawing was in Passavant's time the property of Savigny, " Con-
seiller d'etat," at Berlin. It has not at present been discovered in the possession
of his descendants or elsewhere.
Dr. Weixlgartner accepts the division of these copies of the " Tarocchi" into
two groups, but considers that less than a year separates the two series. He
remarks that in 1504/5 Dtlrer was no longer in the habit of "copying so exactly."
He does not appear to have noticed that one of the main reasons for assuming
a considerable lapse of time between the first and second series is that the latter
are much freer and more personal in design as well as in execution, and depart
very appreciably from their originals.—S. M. P.
IX. xvii. DURER. Allegorical Drawing. (Rennes.)
That part of Dr. Weixlgartner's defence of Durer's authorship which is based
on the handwriting is irrelevant. Those who attribute the drawing to the
" Brigittenmeister" would not deny that it was produced under Durer's eye,
and that he wrote the note at the foot with his own hand. Seidlitz ("Jahrbuch,"
xxviii., 17) notes the latter fact expressly.
IX. xxi. DURER. St. Michael. (Salting Collection.)
This drawing was bequeathed by Mr. Salting to the British Museum, which
entered into possession of it in 1910.
IX. xxii. DURER. Christ on the Cross between the Virgin and
St. John. (British Museum.)
When publishing this drawing I overlooked the fact that the principal group
is a study for the little round Crucifixion, B. 23, which was engraved on gold for
the Emperor Maximilian I., probably in 1518 (see Koehler, p. 76).
IX. xxiii. DURER. Design for a Woodcut in the Triumphal
Procession of the Emperor Maximilian.
This drawing has recently changed hands, the entire Fairfax Murray collec-
tion of drawings having been bought by Mr. J. Pierpont Morgan. Its
authenticity cannot be seriously maintained, but it represents a lost original.
The first word inscribed on the drawing, 'huk,' refers to a political party in
the Netherlands; the word is of frequent occurrence in the text of the Weiss-
kunig.
IX. xxv. DURER. Portrait of Lucas van Leyden. (Lille.)
The alleged portrait of Lucas van Leyden mentioned at the end of the article
has passed by bequest, with the remainder of the Salting drawings, to the British
Museum. The most recent article on the portraits of Lucas van Leyden, con-
taining interesting new suggestions, is one by Dr. Elfried Bock, in " Monatshefte
fur Kunstwissenschaft," 1910, iii., 405.