DOI Page / Citation link:
https://doi.org/10.11588/diglit.52444#0150
CATALOGUE OF DURER’S ENGRAVINGS,
the horseman is simply the “ Christian Knight,” and that the inspiration came
from a book, “ Miles Christianas,” written by Erasmus, in which said knight is
exhorted to do battle against the world, the flesh, and the devil. As this inter-
pretation would need three apparitions, the poor dog, who is faithfully trotting
along at the heels of his master, would have to be degraded to the role of the
flesh! It is interesting to note also Vasari’s description. He speaks of the
plate (Mrs. Foster, III, p. 494) as representing “ an armed man on horseback, as
the symbol of Human Force, which is finished with such care that the glitter
of the arms and the gloss of the black horse’s coat are clearly to be distin-
guished, an effect of very difficult production in design. This bold rider had
Death with his hour-glass beside him, and the Devil behind. There was in the
same picture a rough-haired dog, executed with the most subtle delicacy that
can possibly be given to an engraving.” Even the blades of grass under the
hoof of the right hind leg of the horse have become objects of discussion, some
holding them to indicate a trap into which the horse is about to step, while others,
like Mr. Ruskin (see his remarks, “ Modern Painters,” Part IX, Chap, iv), ex-
plain them as a former outline which Diirer did not know how to efface. It is
claimed by Grimm, who is followed by Thausing, that the horse is modeled on
that of Verrocchio’s Colleoni. This is quite impossible, however, unless we
assume that Diirer, in trying to improve upon his model, falsified it after a most
astonishing fashion. For while Verrocchio’s horse is correct in its gait, Diirer’s
has the position of the feet conventionally adopted by most sculptors, but which,
as Mr. Muybridge’s investigations have shown us, is totally at variance with
nature. Diirer’s studies for this plate (in the Ambrosiana, at Milan, and the
Uffizi, at Florence, according to Ephrussi), or at least the studies which he
utilized in it, reach back to the year 1498. (See also the remarks in regard to
“ Stimmung,” etc., under No. 71.)
70 MELANCHOLY—B 74; H 846; R 209; M 74.— Monogram;
dated 1514.
a. Very brilliant impression, with the face of the brooding genius in
perfect condition. Strong black ink, on white paper, practically clean
wiped, but rather full in the lines, and therefore the darkest parts filled.
All this, however, tends to add to the effect of disquietude, which is the
keynote of the composition. (See below, under No. 71.) From the
Brodhurst Collection.
b. Fine impression, printed in a softer, warmish black ink, very slight
60
the horseman is simply the “ Christian Knight,” and that the inspiration came
from a book, “ Miles Christianas,” written by Erasmus, in which said knight is
exhorted to do battle against the world, the flesh, and the devil. As this inter-
pretation would need three apparitions, the poor dog, who is faithfully trotting
along at the heels of his master, would have to be degraded to the role of the
flesh! It is interesting to note also Vasari’s description. He speaks of the
plate (Mrs. Foster, III, p. 494) as representing “ an armed man on horseback, as
the symbol of Human Force, which is finished with such care that the glitter
of the arms and the gloss of the black horse’s coat are clearly to be distin-
guished, an effect of very difficult production in design. This bold rider had
Death with his hour-glass beside him, and the Devil behind. There was in the
same picture a rough-haired dog, executed with the most subtle delicacy that
can possibly be given to an engraving.” Even the blades of grass under the
hoof of the right hind leg of the horse have become objects of discussion, some
holding them to indicate a trap into which the horse is about to step, while others,
like Mr. Ruskin (see his remarks, “ Modern Painters,” Part IX, Chap, iv), ex-
plain them as a former outline which Diirer did not know how to efface. It is
claimed by Grimm, who is followed by Thausing, that the horse is modeled on
that of Verrocchio’s Colleoni. This is quite impossible, however, unless we
assume that Diirer, in trying to improve upon his model, falsified it after a most
astonishing fashion. For while Verrocchio’s horse is correct in its gait, Diirer’s
has the position of the feet conventionally adopted by most sculptors, but which,
as Mr. Muybridge’s investigations have shown us, is totally at variance with
nature. Diirer’s studies for this plate (in the Ambrosiana, at Milan, and the
Uffizi, at Florence, according to Ephrussi), or at least the studies which he
utilized in it, reach back to the year 1498. (See also the remarks in regard to
“ Stimmung,” etc., under No. 71.)
70 MELANCHOLY—B 74; H 846; R 209; M 74.— Monogram;
dated 1514.
a. Very brilliant impression, with the face of the brooding genius in
perfect condition. Strong black ink, on white paper, practically clean
wiped, but rather full in the lines, and therefore the darkest parts filled.
All this, however, tends to add to the effect of disquietude, which is the
keynote of the composition. (See below, under No. 71.) From the
Brodhurst Collection.
b. Fine impression, printed in a softer, warmish black ink, very slight
60