CATALOGUE OF DURER’S ENGRAVINGS,
finest being that in the cabinet at Berlin. An impression equally fine is in the
Gray Collection, Boston.
Called also “The Little Cardinal,” to distinguish it from B 103 (No. 98 of
this catalogue), known as “ The Great Cardinal.” Albert, or Albrecht, Mar-
grave of Brandenburg, born 1489 or 1490, died 1545, was the man who, after
he had received the pope’s authority to sell indulgences within his diocese, on
condition of making over to the papal treasury one-half of the profits, appointed
the Dominican Tezel, and thus indirectly caused Luther to post his ninety-five
theses. His titles are given in the inscription on the upper part of the plate:
“Albert, by divine mercy the most holy Roman church’s titular presbyter cardi-
nal of St. Chrysogonus, archbishop of Mayence and Magdeburg, primate elec-
tor of the empire, administrator of Halberstadt, margrave of Brandenburg.”
The lower inscription reads: “ Thus were his eyes, his cheeks, his features.
Aged 29, 1519.” The plate was engraved for a book of relics, etc., belonging
to the church of Sts. Maurice and Mary Magdalen at Halle, which was pub-
lished in 1520. In a letter written by Diirer to George Spalatin, at the begin-
ning of the year 1520, this plate is mentioned as follows: “At the same time I
send herewith to my most gracious lord three impressions of an engraving on
copper, which I engraved after my most gracious lord of Mayence and at his
request. I sent and presented the plate to His Electoral Grace with 200 im-
pressions; in return His Electoral Grace has shown himself gracious to me, for
His Electoral Grace has made me a present of 200 florins in gold and 20 ells
of damask for a coat.” Mr. Ruskin justly objects to the reflections of windows
in the eyes of most of Diirer’s portraits, as in this one. They are due to an
affectation of knowledge, displayed with a childish pride in lately acquired
powers of observation, which was quite characteristic of the time. Neverthe-
less, this portrait not only stands preeminent for delicacy and noble simplicity
among those engraved by Diirer, but it will always be ranked among the best
portraits engraved anywhere, and at any time. The later impressions are those
from the book above mentioned, with type printing on the back, or rather, the
engraving is printed on the back of the title of the book above alluded to.
For further details, see Heller, according to whom these impressions with type
are the best,— which would seem to be doubtful, unless there should also be
later impressions without type, printed from the plate after it had been used in
the book. From Diirer’s letter, as here quoted, it is evident that at least 200
proofs were printed before it was used in the book.
Ephrussi (p. 260) mentions two studies, one in the Kunsthalle, Bremen,
evidently rejected by Lippmann, as he does not reproduce it, the other in the
Albertina, at Vienna.
80
finest being that in the cabinet at Berlin. An impression equally fine is in the
Gray Collection, Boston.
Called also “The Little Cardinal,” to distinguish it from B 103 (No. 98 of
this catalogue), known as “ The Great Cardinal.” Albert, or Albrecht, Mar-
grave of Brandenburg, born 1489 or 1490, died 1545, was the man who, after
he had received the pope’s authority to sell indulgences within his diocese, on
condition of making over to the papal treasury one-half of the profits, appointed
the Dominican Tezel, and thus indirectly caused Luther to post his ninety-five
theses. His titles are given in the inscription on the upper part of the plate:
“Albert, by divine mercy the most holy Roman church’s titular presbyter cardi-
nal of St. Chrysogonus, archbishop of Mayence and Magdeburg, primate elec-
tor of the empire, administrator of Halberstadt, margrave of Brandenburg.”
The lower inscription reads: “ Thus were his eyes, his cheeks, his features.
Aged 29, 1519.” The plate was engraved for a book of relics, etc., belonging
to the church of Sts. Maurice and Mary Magdalen at Halle, which was pub-
lished in 1520. In a letter written by Diirer to George Spalatin, at the begin-
ning of the year 1520, this plate is mentioned as follows: “At the same time I
send herewith to my most gracious lord three impressions of an engraving on
copper, which I engraved after my most gracious lord of Mayence and at his
request. I sent and presented the plate to His Electoral Grace with 200 im-
pressions; in return His Electoral Grace has shown himself gracious to me, for
His Electoral Grace has made me a present of 200 florins in gold and 20 ells
of damask for a coat.” Mr. Ruskin justly objects to the reflections of windows
in the eyes of most of Diirer’s portraits, as in this one. They are due to an
affectation of knowledge, displayed with a childish pride in lately acquired
powers of observation, which was quite characteristic of the time. Neverthe-
less, this portrait not only stands preeminent for delicacy and noble simplicity
among those engraved by Diirer, but it will always be ranked among the best
portraits engraved anywhere, and at any time. The later impressions are those
from the book above mentioned, with type printing on the back, or rather, the
engraving is printed on the back of the title of the book above alluded to.
For further details, see Heller, according to whom these impressions with type
are the best,— which would seem to be doubtful, unless there should also be
later impressions without type, printed from the plate after it had been used in
the book. From Diirer’s letter, as here quoted, it is evident that at least 200
proofs were printed before it was used in the book.
Ephrussi (p. 260) mentions two studies, one in the Kunsthalle, Bremen,
evidently rejected by Lippmann, as he does not reproduce it, the other in the
Albertina, at Vienna.
80