By Albrecht Dürer

All of Dürer's works in 3 mediums are reproduced during this version. between them are his most renowned works, Knight, demise and satan; Melencolia I; and St. Jerome in His Study. additionally incorporated are photographs of his contemporaries, together with Erasmus of Rotterdam and Frederick the Wise, as well as six engravings previously attributed to Dürer.

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BARTHOLOMEW * * * Monogram and date, 1523, on a pill. 122 X seventy six mm; four 3/4 X 2 7/8 in. No border strains. B. forty seven; okay. seventy nine; D. ninety seven; T. 908; M. forty five; P. 154. * * * The knife within the hand of the saint is the software of his martyrdom. based on Wölfflin,1 “the engravings of the Apostles of this final interval are really subdued and unemotional. The stance calls for the viewer to examine the top of the saint and to find what characterizes his greatness. ” Dodgson2 issues out the absence of a halo, which distinguishes this plate and “St. Simon” (No. ninety nine) from the sooner contributors of the set of Apostles. Tietze3 comments upon the “Raphaelesque pathos, just like that of ‘St. Paul’ [No. 73]. ” Winkler4 phrases it “more down-to-earth than the lofty form of 1514. those males are extra modest, like artisans; their our bodies disappear underneath the draperies. They fill the image quarter from most sensible to backside and feature a steel caliber, just like bronze statues. ” The preparatory drawing5 is, as a result, a lot better than the print. * * * 1 1905, p. 338. 2 D. ninety seven. three T. 908. four 1957, p. 327. five W. 876. ninety nine. ST. SIMON * * * With monogram and date, 1523. 118 X seventy five mm; four 5/8 X 2 7/8 in. No border traces. B. forty nine; ok. seventy eight; D. ninety eight; T. 911; M. forty nine; P. 156. * * * The observed was once St. Simon’s software of torture. Wölfflin1 says of this print “although at the floor it sounds as if to be in a extra renowned vein, this can be a false impression. it really is as serene because the different representations of the Apostles of this sequence. ” Panofsky2 asserts that this engraving and the “St. Bartholomew” (No. ninety eight) are “done within the ‘corrugated type’ the place stereometrically simplified varieties are contrasted with advanced platforms of prominences and indentations in order that the total gives the look of a compact massif damaged up into enormous tablelands, craggy rocks and deep ravines. ” The preparatory drawing3 have been meant for the St. John of the “Great Crucifixion” (No. a hundred) yet was once revised and used for this print. * * * 1 1905, p. 338. 2 1943, vol. I, p. 205. three W. 875. a hundred. CRUCIFIXION WITH MANY FIGURES * * * with no monogram or date [1523]. 320 X 225 mm; 12 half X eight 3/4 in. ok. 109; D. 107; T. 913; M. 25; P. 216. * * * The authenticity of this incomplete engraving used to be puzzled till Passavant’s catalog in 1862. 1 Retberg2 states emphatically that “had Dürer accomplished it, it should were his such a lot beautiful engraving. It was once started after Dürer’s go back from the Netherlands, inspired through new and unusual impressions. He got here again from his journey bodily and spiritually a replaced guy. His contours are much less specified and not more soft than sooner than. ” Ephrussi3 under pressure that the varied extant preparatory experiences truly point out that this engraving is by way of Dürer. Panofsky4 calls the composition brilliant even if most complicated. Ehrenfest,5 noting the advance of a moderate crack within the plate starting to be progessively better from the influence at St. Louis to that at Berlin, means that this was once the explanation Dürer discontinued paintings at the engraving. A moment plate exists, in keeping with Meder,6 that are unusual by means of the entire double circle round the tower clock and the shortcoming of the dot within the middle of its dial.

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