The Grolier Club; Koehler, Sylvester Rosa [Editor]: A chronological catalogue of the engravings, dry-points and etchings of Albert Dürer as exhibited at the Grolier Club (New York: The Grolier Club of New York, 1897)

BIOGRAPHICAL ILLUSTRATIONS.
a NUREMBERG in the fifteenth and sixteenth centuries.
1. View of the western side of Nuremberg, taken from the Haller-
wiese, at the mouth of the Pegnitz. “ From the low-lying point of view,
the observer, facing north, sees, above, the Thiergartner Tower, or the
New Gate Tower, which was then still quadrangular, whence the city
wall runs toward the right in front, while in the distance, wooded
heights extend up to the houses of St. Johann” (Thausing, I, p. 123,
2d ed.). Heliotype from a drawing in colors by Diirer, in the Kunsf-
halle at Bremen. Above is written “ Nornperg,” with Diirer’s mono-
gram, which is, however, a later addition. (Lippmann, No. 103.)
2. The houses of St. Johann, near Nuremberg. Above is written
“ Sant Johans Kirchn,” i. e., “St. John’s Church,” with Diirer’s mono-
gram, which is again a later addition. To the right are seen the chapel
and the cemetery, where Diirer was to find his last resting-place (Thau-
sing, I, p. 123, 2d ed.). Heliotype from the drawing in body colors, by
Diirer, in the Kunsthalle at Bremen. (Lippmann, No. 104.)
3. Nuremberg in 1552. Etching by Hans Sebald Lautensack. The
inscription over the coat-of-arms reads: “ True representation of the
praiseworthy city of the realm Nuremberg, against the rising of the sun.
1552.” Lautensack etched also a companion view, “against the setting
of the sun.”
There are other views near Nuremberg by Diirer, drawn, probably, toward the
end of the fifteenth century. Of these the “ Weidenmuhle” (willow-mill), still
existing near the Hallerwiese, according to Thausing; the “ Drahtziehmiihle ”
7 xlix