DOI Page / Citation link:
https://doi.org/10.11588/diglit.74231#0537
507
2251. J. Rasmussen (1974), S.18
2252. H. Tietze und E. Tietze-Conrat (1928), S.48
2253. Kleine SW-Abbildungen bei G. Giovannoni (1987) auf S.73-77.
2254. Albrecht Dürers Zeichnung "Genius der Zeit" (W.134), 1495/96
London, British Museum (Collection: Sloane. 5218-105)
2255. F. Anzelewsky (1971), S.158
2256. E. Panofsky (1948), S.92
2257. Diesbezüglich sei auch auf E. Panofsky (1923), S.53-58 (Kapitel II: »Die
antike Schönheit«) verwiesen.
2258. O. Hagen (1917), S.257 f. und S.259
2259. Pinturicchios "Entwurfszeichnung zu einem der Fresken in der Engelsburg
- SW-Abbildung bei E. Steinmann (1898), S.82 (Abb.73)
2260. H.F. Secker (1918), S.136 und S.138
2261. Andrea Mantegnas Fresko "Trasporto del corpo di San Cristoforo
decapitato", ca. 1455-1460
Padova, Eremitani-Kirche, Capella Ovetari
- Detail-Abbildung bei H.F. Secker (1918), S.139 (Abb.5a)
- Gesamtansicht des Freskos: G. Fiocchi (1978), Farbtafel XVII
2262. Albrecht Dürers Holzschnitt "Das Männerbad" (B.128), um 1496
Schweinfurt, Sammlung Otto Schäfer (Inv.-Nr. D-266)
2263. H.F. Secker (1918), S.135 f. und S.133 (Fußnote I); »schlagend« fand Secker
die Ähnlichkeit der beiden Köpfe des Männerbades mit denen des Georg und
Eustachius vom Paumgartner-Altar. Die Gesichter der Brüder »ähnelten sich
von Natur«; doch meinte Secker in dem Mann mit der Nelke die Züge des
Stefan Paumgartner, in dem anderen seinen Bruder Lukas zu erblicken; vgl.
H.F. Secker (1918), S.135.
2264. R. Eisler (1944), S.102:
- "As to the sufferer himself [Dürers träumender Schläfer am Ofen], Professor
Beazley has kindly pointed out to me that he has the characteristic big satyr-
like ugly ear, the receding forehead, nose and the weak chin of Stephan Baum-
gartner as Dürer portrayed him in the guise of a St. George on a wing of the
Paumgartner altar [...]. The face shown on a wing of the engraving is con-
siderably younger than the one of the donator's portrait on the Paumgartner
altar. This agrees with the date of the engraving which Scherer-Winckler at-
tributed to the years 1497-1499 [...]."
- "[...] The face of the podagric dreamer suggests that the little skit was a joke
composed and probably recited at a particular occasion in order to tease
Georg Paumgartner who may have been molly-coddling himself and may
have begun to suffer of gout at a much earlier age than Pirckheimer whose
first attack occurred in the nigth from the first to the second of December,
1512. Laus Podagrae [Schrift Willibald Pirckheimers / 1522] may have been
sent in this form and with Dürer's engraving showing a recognisable portrait
of Georg Paumgartner to the sufferer as an ironical consolation and to all his
2251. J. Rasmussen (1974), S.18
2252. H. Tietze und E. Tietze-Conrat (1928), S.48
2253. Kleine SW-Abbildungen bei G. Giovannoni (1987) auf S.73-77.
2254. Albrecht Dürers Zeichnung "Genius der Zeit" (W.134), 1495/96
London, British Museum (Collection: Sloane. 5218-105)
2255. F. Anzelewsky (1971), S.158
2256. E. Panofsky (1948), S.92
2257. Diesbezüglich sei auch auf E. Panofsky (1923), S.53-58 (Kapitel II: »Die
antike Schönheit«) verwiesen.
2258. O. Hagen (1917), S.257 f. und S.259
2259. Pinturicchios "Entwurfszeichnung zu einem der Fresken in der Engelsburg
- SW-Abbildung bei E. Steinmann (1898), S.82 (Abb.73)
2260. H.F. Secker (1918), S.136 und S.138
2261. Andrea Mantegnas Fresko "Trasporto del corpo di San Cristoforo
decapitato", ca. 1455-1460
Padova, Eremitani-Kirche, Capella Ovetari
- Detail-Abbildung bei H.F. Secker (1918), S.139 (Abb.5a)
- Gesamtansicht des Freskos: G. Fiocchi (1978), Farbtafel XVII
2262. Albrecht Dürers Holzschnitt "Das Männerbad" (B.128), um 1496
Schweinfurt, Sammlung Otto Schäfer (Inv.-Nr. D-266)
2263. H.F. Secker (1918), S.135 f. und S.133 (Fußnote I); »schlagend« fand Secker
die Ähnlichkeit der beiden Köpfe des Männerbades mit denen des Georg und
Eustachius vom Paumgartner-Altar. Die Gesichter der Brüder »ähnelten sich
von Natur«; doch meinte Secker in dem Mann mit der Nelke die Züge des
Stefan Paumgartner, in dem anderen seinen Bruder Lukas zu erblicken; vgl.
H.F. Secker (1918), S.135.
2264. R. Eisler (1944), S.102:
- "As to the sufferer himself [Dürers träumender Schläfer am Ofen], Professor
Beazley has kindly pointed out to me that he has the characteristic big satyr-
like ugly ear, the receding forehead, nose and the weak chin of Stephan Baum-
gartner as Dürer portrayed him in the guise of a St. George on a wing of the
Paumgartner altar [...]. The face shown on a wing of the engraving is con-
siderably younger than the one of the donator's portrait on the Paumgartner
altar. This agrees with the date of the engraving which Scherer-Winckler at-
tributed to the years 1497-1499 [...]."
- "[...] The face of the podagric dreamer suggests that the little skit was a joke
composed and probably recited at a particular occasion in order to tease
Georg Paumgartner who may have been molly-coddling himself and may
have begun to suffer of gout at a much earlier age than Pirckheimer whose
first attack occurred in the nigth from the first to the second of December,
1512. Laus Podagrae [Schrift Willibald Pirckheimers / 1522] may have been
sent in this form and with Dürer's engraving showing a recognisable portrait
of Georg Paumgartner to the sufferer as an ironical consolation and to all his