DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.52444#0129
DRY-POINTS, AND ETCHINGS.
As Quad von Kinkelbach calls the “ Hercules” (No. 17) “The Great Her-
cules,” it seems probable that this print was known as “ The Little Hercules.”
Thausing (I, p. 313) suggests that it may be meant to represent Hercules car-
rying off the mares of the Thracian Diomedes. (See the remarks under No. 38.)
40 THE THREE GENII WITH HELMET AND SHIELD.
— B 66; H 871; R 114; M 42.—Monogram.
a. Very fine impression, warmish black ink, clean wiped. Would be
absolutely perfect if the paper were in better condition.
b. Late impression, from the worn plate. Washed with India ink in
the shadows. From the Cabinet Louis Galichon.
c. Copy by Jerome Wierix, “ 7E 12,” i. e., engraved when he was
twelve years of age. Alvin, No. 1574.
All the impressions from this plate in the collections examined are clean wiped.
Retberg, about 1507 ; Heller, 1507-14. Thausing, on the contrary, holds the
plate to be an early one, showing the influence of Mantegna; but this theory is
plainly contradicted by the workmanship and the monogram. As here placed,
it would precede the second journey to Venice, which Diirer undertook in the
year 1506.
A good example of the farfetched explanations attempted by the older ad-
mirers of Diirer is furnished in this instance by Retberg. According to him we
have here a piece of Diireresque humor which he brought home with him from
Venice in 1507, and which is to be thus expounded: “Genii trumpet forth
Diirer’s name to the right and to the left, and they also hold an escutcheon, to
possess which was at that time every one’s desire. But nothing is as yet recorded
upon it, and the helmet that is being brought by another still hangs in air.”
See Von Sallet, p. 17, to the effect that the design is merely one of the fanciful
coats-of-arms, without special meaning, which were then quite frequently en-
graved.
45
As Quad von Kinkelbach calls the “ Hercules” (No. 17) “The Great Her-
cules,” it seems probable that this print was known as “ The Little Hercules.”
Thausing (I, p. 313) suggests that it may be meant to represent Hercules car-
rying off the mares of the Thracian Diomedes. (See the remarks under No. 38.)
40 THE THREE GENII WITH HELMET AND SHIELD.
— B 66; H 871; R 114; M 42.—Monogram.
a. Very fine impression, warmish black ink, clean wiped. Would be
absolutely perfect if the paper were in better condition.
b. Late impression, from the worn plate. Washed with India ink in
the shadows. From the Cabinet Louis Galichon.
c. Copy by Jerome Wierix, “ 7E 12,” i. e., engraved when he was
twelve years of age. Alvin, No. 1574.
All the impressions from this plate in the collections examined are clean wiped.
Retberg, about 1507 ; Heller, 1507-14. Thausing, on the contrary, holds the
plate to be an early one, showing the influence of Mantegna; but this theory is
plainly contradicted by the workmanship and the monogram. As here placed,
it would precede the second journey to Venice, which Diirer undertook in the
year 1506.
A good example of the farfetched explanations attempted by the older ad-
mirers of Diirer is furnished in this instance by Retberg. According to him we
have here a piece of Diireresque humor which he brought home with him from
Venice in 1507, and which is to be thus expounded: “Genii trumpet forth
Diirer’s name to the right and to the left, and they also hold an escutcheon, to
possess which was at that time every one’s desire. But nothing is as yet recorded
upon it, and the helmet that is being brought by another still hangs in air.”
See Von Sallet, p. 17, to the effect that the design is merely one of the fanciful
coats-of-arms, without special meaning, which were then quite frequently en-
graved.
45