HAND - German Painting
HAND - German Painting
HAND - German Painting
OF THE FIFTEENTH
SYSTEMATIC CATALOGUE
German Paintings
OF THE FIFTEENTH THROUGH
SEVENTEENTH CENTURIES
Sally E. Mansfield
N A T I O N A L G A L L E R Y OF ART W A S H I N G T O N
L I B R A R Y OF C O N G R E S S C A T A L O G I N G - I N - P U B L I C A T I O N D A T A
vii Foreword
ix Acknowledgments
xi Introduction and Notes to the Reader
xv Abbreviations for Frequently Cited Periodicals
xvi Abbreviations for Books
1 CATALOGUE
German Paintings of the Fifteenth through Seven- Widener Collection includes the only seven-
teenth Centuries is the fifth volume published in teenth-century painting in this catalogue, The
a series of systematic catalogues of the paintings, Satyr and the Peasant by Johann Liss; attributed
sculpture, and decorative arts belonging to the to Velazquez earlier in this century, it is now
National Gallery of Art. When completed, the regarded generally as an autograph Liss of supe-
series will comprise more than thirty volumes rior quality that engendered several copies.
and is intended to provide both the inquiring German and Austrian painting have not re-
general visitor and the specialized community ceived the attention in the United States ac-
of scholars with thorough, accurate descriptions corded other areas of art history. The art of this
and cogent interpretations of the Gallery's ex- region is, however, increasingly the subject of
traordinary collections. exhibition and study, and the Gallery has proudly
The National Gallery's collection of German presented exhibitions focused primarily on the
paintings, although not large in number when graphic works of Albrecht Durer and Hans Bal-
compared with its holdings in other areas, is one dung Grien. John Hand, the Gallery's talented
of the finest in the United States. Thanks to the curator of early Netherlandish and German
generosity of Andrew W. Mellon, Samuel H. painting, is to be congratulated on this volume,
Kress and the Samuel H. Kress Foundation, and the second of his systematic catalogues to appear
other collectors such as Ralph and Mary Booth, in this series. It is anticipated that this catalogue,
it is possible for Gallery visitors to see excellent which combines the results of scholarly research
examples of fifteenth-century German painting. with technical investigations conducted in the
Works by artists such as the Master of the Saint Gallery's conservation and scientific research
Bartholomew Altar and Johann Koerbecke are laboratories, will foster a greater understanding
represented, as are outstanding paintings by the and appreciation of the myriad pleasures for the
great masters of the sixteenth century: Albrecht eye and the mind offered by the German paint-
Durer, Hans Holbein the Younger, and Lucas ings in the National Gallery of Art.
Cranach the Elder. The Gallery also holds Mat- Earl A. Powell III
thias Grnewald's Small Crucifixion, the only Director
painting by Grnewald in the United States. The
FOREWORD vii
ACKNOWLEDGMENTS
It has taken almost five years to prepare this (1972.73.1-4) by a Tyrolean artist. It is a pleasure
catalogue. During this time I have benefited im- to acknowledge her assistance.
measurably from the advice and assistance of Within the Gallery I am extremely grateful to
many colleagues, and their specific contribu- J. Carter Brown, director emeritus, for his sus-
tions are acknowledged at appropriate places in tained and enthusiastic support. Several depart-
the text. This catalogue contains the results of ments were vital to the success of this project.
several technical investigations. Peter Klein of The department of painting conservation not
the Institut fr Holzbiologie, Universitt Ham- only examined every painting and prepared writ-
burg, undertook the dendrochronological exam- ten reports but also on several occasions re-
ination of the Gallery's panels and contributed examined paintings and patiently answered my
an appendix on this subject. In 1981-1982 Molly numerous questions. I am particularly indebted
Faries of Indiana University spent several to systematic catalogue conservators Catherine
months at the Gallery documenting with infrared Metzger, Paula de Cristofaro, and Elizabeth
reflectography the underdrawing in early Neth- Walmsley as well as David Bull, Kermit Ceder-
erlandish and German paintings, and several of holm, Kristin Casaletto, Sarah Fisher, Ann Hoe-
her reflectogram assemblies appear in this vol-. nigswald, Maria R. von Mller, Susanna Pauli,
urne. I am also grateful to Katherine Crawford Kate Russell, and Michael Swicklik, and techni-
Luber, who generously shared the results of her cians Melissa Boring and Barbara Pralle. Valu-
technical investigation of Drer's Madonna and able analyses were provided by Barbara Berrie
Child. I thank Walter Angst for the accurate he- and Michael Palmer of the scientific research
raldic descriptions. department. Requests for interlibrary loans were
The staffs of the many museums in Europe handled with alacrity by Thomas McGill and Ted
and the United States that I visited or corres- Dalziel, and my research in the photographic
ponded with were unfailingly helpful and hospi- archives was ably assisted by Ruth Philbrick and
table. I am particularly grateful to Gisela her staff. In the registrar's office, the art handlers
Goldberg, Bernd Konrad, Fritz Koreny, Kurt led by John Poliszuk and Daniel Shay safely and
Lcher, Jochen Luckhardt, and Karl Schtz in carefully moved paintings for examination and
Germany and Austria for sharing their expertise. treatment. Richard Amt, Ira Bartfield, and their
I also wish to thank Julius Bhler, Nancy C. Little, staffs in the department of photographic services
formerly of M. Knoedler & Co., and Gerald G. did excellent work and cheerfully responded to
Stiebel as well as other dealers, galleries, and requests for special photography. My deep
auction houses who granted me access to files thanks go to the following summer interns who
or undertook provenance research. assisted my research: Kelly Holbert, Daniel Le-
A special note of thanks must be sounded for vine, Louise Martinez, Cynthia Morris, and
my former research assistant, Sally E. Mansfield. Tatjana Swihart. I am very grateful to the
Without her thoroughness, tenacity, and superb departmental secretaries, especially Rene Fitz-
organizational skills this catalogue would be in- patrick and Julia Thompson, who typed the man-
estimably poorer. Several entries are enriched uscript and endured with patience and good hu-
by her art historical observations, and she is the mor what must have seemed like countless
author of the entry on the four panels depicting revisions.
Saints Alban, Wolfgang, Valentine, and Alcuin The manuscript was greatly improved by the
ACKNOWLEDGMENTS ix
expert criticism and comment of the outside completion of this catalogue. It was a pleasure
readers, Christiane Andersson and Martha Wolff. to work with editors Barbara Anderman and Tarn
I am substantially indebted to Suzannah Fabing, Curry, and with designer Klaus Gemming. Last,
coordinator of the systematic catalogue project, but surely not least, I owe much to Dare Hartwell,
her successor Mary Yakush, and Frances Smyth, whose love and inspiration are as perennial and
editor-in-chief, whose continued support, en- as welcome as daffodils in the spring.
couragement, and, when necessary, artful prod- John Oliver Hand
ding, were essential to the successful and timely Curator of Northern Renaissance Painting
X ACKNOWLEDGMENTS
INTRODUCTION AND NOTES TO THE READER
Between the late Middle Ages and the modern era Given Germany's large size and numerous ter-
the frontiers of Germany and Austria, like those ritorial and political divisions, it is not surprising
of other European nations, shifted in response to that German art between the late fourteenth and
changing economic and political conditions. A the sixteenth century is marked by a strong re-
glance at a map indicates how Germany's large gional character. At the same time, however,
land area guarantees it a pivotal position in cen- there existed a psychological and linguistic unity
tral Europe. The region, including present-day and a sense of national identity. As part of the
Austria, is bounded on the west by the Nether- study of classical literature, German humanists,
lands, Belgium, and France, and on the east by Conrad Celtis in particular, rediscovered Tacitus'
Poland, Czechoslovakia, and Hungary. To the Germania (an edition was published in Nurem-
south are the Alps, and to the north, Jutland, the berg in 1473), in which Germans of the first cen-
North Sea, and the Baltic Sea. tury A.D. are described and favorably compared
German history may be said to have begun in with their Roman counterparts. Similarly, one of
911 with the election of a German king. After 962 the factors contributing to the success of the Re-
the king was also crowned by the pope and be- formation was the outrage and resentment ex-
came a Holy Roman Emperor. As codified by the pressed by Martin Luther over the fact that money
Golden Bull of 1356, however, the emperor was from the sale of indulgences was drained from
chosen by an electoral college of seven princes. Germany to support the papacy in Rome. The Re-
Of these, three were ecclesiastical: the archbish- formation was undoubtedly the decisive event in
ops of Mainz, Trier, and Cologne; and four were Germany in the sixteenth century, but its effects
secular: the king of Bohemia, the duke of Saxony, were not felt equally in all places. Certain cities
the margrave of Brandenburg, and the count suffered upheaval and iconoclasm more than
Palatine. This system promoted disunity and self- others, and while some artists fled the country,
interest, and the emperor was often stymied by others continued to produce traditional religious
the electors' unwillingness to challenge local au- images or to depict what have been called "Prot-
thority. Power was diffused among the electors, estant" subjects such as Christ Blessing the Chil-
princes, clergy, and other territorial rulers. Fur- dren. German art retained its vitality until the
thermore, "imperial" cities under the protection seventeenth century, when it was severely dis-
of the emperor were autonomous and free of rupted by the Thirty Years War (1618-1648) and
princely influence. Beginning with Frederick III, overshadowed by new developments in Italy and
who became king in 1440 and was crowned em- Holland.
peror in 1452, Germany was ruled by members of Although the National Gallery of Art possesses
the Habsburg family of Austria. Frederick's son one of the finest collections of German paintings
Maximilian I reigned from 1493 to 1519, and his in the United States, its holdings are not large in
grandson Charles V reigned from 1519 to 1558; number. Compared, for example, with the quan-
during this period much of the power and wealth tities of Italian, Dutch, or French paintings ac-
of the Habsburgs derived from their holdings, quired by American collectors and museums, the
gained through marriage, in the Netherlands and number of German paintings in such collections
Spain. Thanks to their natural resources and is much smaller. I suspect the same is true of col-
mercantile activities, Germany and Austria also lections in Great Britain. In part this is because
prospered. German paintings were less available; many al-
INTRODUCTION xi
tarpieces are still in the churches for which they biography and bibliography, with entries on his
were commissioned or have been absorbed into individual works following in order of their acqui-
German museums. Two world wars have also had sition. Anonymous artists are also incorporated
a dampening effect on the interest in acquiring alphabetically under designations such as Ger-
German painting. It appears that in the postwar man, Master of Heiligenkreuz, or Tyrolean. In
period many German art historians turned their 1983 the National Gallery assigned new accession
talents to the study of other schools of art. More- numbers by year of acquisition; these are fol-
over, attention has been focused on major artists lowed by the old number in parentheses.
and schools. The German genius for graphic art
The following attribution terms are used to in-
has always been recognized. Holbein, Grne-
dicate the nature of the relationship to a named
wald, and the School of Cologne have been exten-
artist:
sively studied, and it goes almost without saying
that the literature on Durer is enormous. The full Workshop of: Produced in the named artist's
range and brilliance of German painting is not workshop or studio, by students or assistants, pos-
generally known, and there is much research and sibly with some participation by the named artist.
rvaluation to be done. Happily, in recent years It is important that the creative concept is by the
there has been increased activity in this field in named artist and that the work may have been
the form of symposia, scholarly publications, and meant to leave the studio as his.
exhibitions often accompanied by excellent cata- Attributed to: Indicates the existence of doubt
logues. as to whether the work is by the named artist.
Of the 111 paintings given to the nation by An- School: Indicates a geographical distinction
drew W. Mellon in 1937, only 3 are German2 only and is used where it is impossible to desig-
superb portraits by Hans Holbein and a portrait nate a specific artist, his studio or followers.
purchased as by Durer but now attributed to Hans
The following conventions for dates are used:
Schufelein. From the Widener Collection came
Johann Liss' The Satyr and the Peasant, the only 1575 executed in 1575
painting by a German artist in that collection and c. 1575 executed sometime around
the only seventeenth-century picture in this cata- 1575
logue. By far the greatest number of works were 1575-1580 begun in 1575, completed in
given to the National Gallery by the Samuel H. 1580
Kress Foundation, in three groups in 1952, 1959, 1575/1580 executed sometime between
and 1961. The Kress Collection is marked by both 1575 and 1580
high quality and diversity, containing works by c. 1575/1580 executed sometime around
fifteenth-century masters as well as outstanding the period 1575-1580
pictures by Durer and the only painting by Mat-
thias Grnewald in the United States, The Small Dimensions are given in centimeters, height
Crucifixion. The National Gallery's holdings have preceding width, followed by dimensions in
been further enriched over the years by donations inches in parentheses. Left and right refer to the
from Ralph and Mary Booth, Chester Dale, Adolph viewer's left and right unless the context clearly
Caspar Miller, Clarence Y. Palitz, and Joanne indicates the contrary.
Freedman. The Gallery continues to acquire ex- The author examined each painting jointly
cellent German paintings such as Hans Mielich's with the conservators. Except for the Durer Ma-
A Member of the Frschl Family, purchased in donna and Child/Lot and His Daughters and the
1984. portraits of Margarethe Vhlin and Hans Roth by
Entries in this volume are arranged alphabeti- Strigel, each painting was removed from its
cally by artist. Each named artist is given a short frame. The front and back of every painting was
xii INTRODUCTION
examined under visible light with the naked eye in consultation with John K. Delaney, Colin
and with the assistance of a binocular microscope Fletcher, and Raymond Rehberg. The infrared re-
having a magnifying power up to 40 X. The paint- flectogram mosaic of the lower portion of the
ings were studied subsequently under ultraviolet Christ in Limbo by the Workshop of Hans Mielich
light. All significant areas of retouching are dis- was digitized from the vidicon signal using IP-Lab
cussed in the Technical Notes. X-radiographs are Spectrum by Signal Analytics to download them
available for each painting; however, they are onto a Perceptics frame grabber. The gray-scale
discussed in the Technical Notes only when the values were adjusted using the program "Image"
information they provide is pertinent to under- by Wayne Rasband of the National Institutes of
standing the construction and condition of the Health, then Adobe Photoshop was used to as-
painting, such as when they show reworking of semble the composite reflectogram from the mul-
the original composition. Each picture was also tiple i mages collected. The reflectogram compos-
examined with infrared reflectography to reveal ites for the Madonna and Child, The Crucifixion,
underdrawing and changes in composition. and Christ in Limbo were printed with a Kodak
When useful information was discovered, re- XL7700 printer. Several of the reflectogram as-
flectograrns were prepared, although only those semblies published in this catalogue were made
considered essential to the interpretation of a in 1981-1982 by Molly Faries; the equipment she
painting are discussed in the Technical Notes. used is discussed in John Oliver Hand and Martha
X-radiography was carried out with equipment Wolff, Early Netherlandish Painting, Systematic
consisting of a Eureka Emerald 125 MT tube, a Catalogue of the Collections of the National Gal-
Continental o-110 kV control panel, and a Duo- lery of Art (Washington, 1986), 261.
con M collumator. Kodak X-OMAT x-ray film was The majority of the paintings were executed on
used. The x-radiograph composites were pre- wooden supports. Joins between planks are par-
pared from photographs developed from the film allel to the wood grain. The wood has been ana-
and assembled in a manner similar to the re- lyzed scientifically, and results are noted in the
flectogram composites described below. technical reports, unless the way in which the
Infrared reflectography was carried out with a panel was cradled or marouflaged prevented a
vidicon system consisting of a Ilamamatsu C/ positive determination of the wood type. Drer's
1000-03 camera fitted with either an N26o6-1 o or Portrait of a Clergyman (Johann Dorsch?) is on
an N214 lead sulphide tube and a Nikon 55mm. parchment, and Johann Liss' The Satyr and the
macro lens with a Kodak 87A Wratten filter, a Peasan: is on fabric.
C/1000-03 camera controller, and a Tektronics Consistent with the technique of painting in
634 monitor. The reflectogram composites were northern Europe, the panels have a white ground
created by splicing together photographs of the layer, assumed to be chalk (CaCo3) but analyzed
monitor images taken with a Nikon F3 camera, as such in only a few cases. In most instances this
55mm. macro lens, and Kodak Tmax 35mm. was applied overall. Panels in engaged frames
black and white film. The infrared reflectogram and those with gold leaf have thicker grounds.
assemblies of the details of the Madonna and Since, with rare exceptions, no paint samples
Child by Albrecht Drer and The Crucifixion by were taken, the paint medium has not been ana-
the Workshop of Hans Mielich were collected lyzed. The medium is presumably oil, except in a
with a modified Kodak thermal imaging camera few instances where the application of paint as a
adapted for the study of paintings. The modifica- buildup of hatched lines is more characteristic of
tions were made under the guidance of National an egg tempera technique. Most of the paintings
Gallery conservators Catherine Metzger and exhibit a similar working technique. The paint
Elizabeth Walmsley, whose research was funded film is quite thin although consisting of many lay-
by The Circle of the National Gallery of Art, and ers. Generally, the layers were built up with wet-
INTRODUCTION xiii
in-wet, blended underlayers, followed by glazes colon indicates that the work passed directly from
and precise, fine details applied over the dried one owner to the next, while a period indicates
underlayers. For certain paintings energy disper- uncertainty or a break in the chain of ownership.
sive x-ray fluorescence spectroscopy (XRF), a Every attempt has been made to be inclusive in
nondestructive analytical technique, was used to citing references, especially for the earliest publi-
obtain elemental information and a preliminary cations, but picture books and blatantly trivial
determination of the pigments used by the artist. publications have been omitted. Sales and exhibi-
This w a s carried o u t with a Kevex 075VV0A Spectro- tion catalogues cited in the provenance and exhi-
photometer. bition sections are not repeated in the References
In the Provenance section parentheses indi- list. A list of standard abbreviations used through-
cate a dealer, auction house, or agent. A semi- out the volume follows.
xiv INTRODUCTION
Abbreviations for Frequently Cited Periodicals
ABBREVIATIONS XV
Abbreviations for Books
xvi ABBREVIATIONS
NCathEnc New Catholic Encyclopedia. 16 vols. New York and
London, 1967.
NGA1941 National Gallery of Art. Preliminary Catalogue of
Paintings and Sculpture. Washington, 1941.
NGA 1975 National Gallery of Art. European Paintings: An
Illustrated Summary Catalogue. Washington, 1975.
NGA 1985 National Gallery of Art. European Paintings: An
Illustrated Catalogue. Washington, 1985.
Panofsky 1943 Panofsky, Erwin. Albrecht Durer. 2 vols. Princeton,
N.J., 1943. 4th ed. in 1 vol. The Life of Albrecht Durer.
Princeton, N.J., 1955.
Rau, Iconographie Rau, Louis, Iconographie de l'art chrtien. 3 vols, in
6. Paris, 1955-1959.
Ryan and Ripperger, The Ryan, Granger, and Helmut Ripperger, trans. The
Golden Legend Golden Legend of Jacobus Voragine. 2 vols. London,
1941.
Seymour 1961 (Kress) Seymour, Charles. Art Treasures for America: An
Anthology of Paintings & Sculpture in the Samuel H.
Kress Collection. London, 1961.
Shapley 1979 Shapley, Fern Rusk. Catalogue of the Italian
Paintings, National Gallery of Art. 2 vols. Washington,
1979.
Stange DMG Stange, Alfred. Deutsche Malerei der Gotik. 11 vols.
Berlin and Munich, 1934-1961.
Thieme-Becker Thieme, Ulrich, and Felix Becker. Allgemeines
Lexikon der bildenden Kunstler von der Antike bis zur
Gegenwart. Leipzig, 1907-1950. Continuation by
Hans Vollmer. Allgemeines Lexikon der bildenden
Knstler des XX. Jahrhunderts. Leipzig, 1953-1962.
Thurston and Attwater Thurston, Herbert, and Donald Attwater. Butler's
Lives of the Saints. 4 vols. New York, 1956.
Walker 1956 Walker, John. National Gallery of Art, Washington.
New York, 1956.
Walker 1963 Walker, John. National Gallery of Art, Washington.
New York, 1963.
Walker 1976 Walker, John. National Gallery of Art, Washington.
New York, 1976.
Wolff 1983 Wolff, Martha. German Art of the Later Middle Ages
and Renaissance in the National Gallery of Art.
Washington, 1983.
ABBREVIATIONS xvii
CATALOGUE
Albrecht Altdorfer
c.1480/1488-1558
ALBRECHT ALTDORFER 3
and Vienna in the first years of the sixteenth cen- 1480-1561), worked in his manner. Hans Mielich
tury. The term, however, has also become a stylis- was in his shop in the 15305 and Mielich's minia-
tic designation applied to artists not from the re- ture of 1536 for the Regensburg Freiheitenbuch
gion. In the works of Altdorfer there is a nearly (Museen der Stadt Regensburg) depicts Altdorfer
pantheistic synthesis of man and nature that has along with other members of the city council.
been compared both to the writings of Paracelsus
and the Neoplatonists. His paintings assert the Bibliography
primacy of landscape, his figures are rarely indi- Winzinger, Franz. Albrecht Altdorfer. Die Gemlde.
vidualized, and he produced only a handful of por- Munich and Zurich, 1975.
Mielke, Hans. Albrecht Altdorfer. Zeichnungen, Deck-
traits. While Altdorfer seems to have had a large farbenmalerei, Druckgraphik. Exh. cat., Rupfer-
workshop, few individual members are identifi- stichkabinett, Berlin; and Museen der Stadt Re-
able. We do know that his brother, Erhard (c. gensburg. Berlin, 1988.
4 GERMAN PAINTINGS
Workshop of Albrecht Altdorfer
6 GERMAN PAINTINGS
Workshop of Albrecht Altdorfer, The Rule of Bacchus, The Fall of Man, The Rule of Mars, 1952.5.3^-0
8 GERMAN PAINTINGS
matter strongly suggest that the triptych was com- compared them to Altdorfer's Loi and His Daugh-
missioned for a humanist patron. According to ters, dated 1537 (Runsthistorisches Museum, Vi-
Winzinger, the inscriptions on the surviving enna).26 Baldass put the panels between about
panels are rendered not in classical, but in six- 1526 and the Vienna Lot and His Daughters?1 In
teenth-century humanist Latin.20 It is perhaps not the most recent and extensive discussion, Win-
unreasonable also to suppose that the patron zinger compared the naked figures in the Wash-
wasor thought himself to bea melancholic or ington panels to Lot's daughter in the background
child of Saturn. As is evident in Drer's famous of the Vienna picture and pointed out connections
engraving Melencolia I or in the writings of Neo- between the figures of Adam and Eve and those in
platonists such as Marsilio Ficino, melancholy Altdorfer's graphics. Qualitatively these compari-
had become popular and a mark of greatness in sons pointed up the weaknesses in color, drafts-
philosophy, poetry, and the arts by the late fif- manship, and anatomical understanding in the
teenth century.21 National Gallery's panels, and Winzinger rele-
The influence of Drer's engraving of Adam gated them to an unknown member of Altdorfer's
and Eve, 1504, on The Fall of Man panel was ob- shop working around 1535-28 Eisler and Goldberg
served by Hugelshofer and subsequent authors.22 concurred in this opinion and the National Gal-
The poses of the figures have been somewhat al- lery changed the official attribution to Workshop
tered, but there is no doubt that the artist was of Albrecht Altdorfer in 1979.29 Winzinger did not
aware of Drer's print. In light of this, it is interest- rule out the possibility that the panels were
ing to note that while the animals in Drer's en- painted by Hans Mielich, but this is not confirmed
graving have been interpreted as representing all by comparison with Mielich's known early works
four temperaments, those in the National Gal- such as the Crucifixion, dated 1536 (Niedersch-
lery's panel are incomplete: only the lion can be sisches Landesmuseum, Hannover).30 Neither
easily associated with a temperament, the cho- can the panels be successfully associated with
leric. Possible, but less immediately convincing is the work of other known artists in Altdorfer's or-
Ruhmer's relation of the figures in The Fall of Man bit, such as Michael Ostendorfer or Nicolaus Kir-
to those in Drer's painting of Adam and Eve, berger.31
1507 (Museo del Prado, Madrid).23 Mansfield
found in paintings by Lucas Cranach the Elder Notes
and his workshop parallels to the figures on the 1. The stock number is confirmed by Nancy C.
Little, M. Knoedler & Co., letter to the author, 2 March
inner wings in both somatic type and subject mat- 1988, in NGA curatorial files.
ter. Pictures such as the Age of Silver, c. 1530 (Na- 2. Friedlnder 1891, 56, no. 27; for reproductions
tional Gallery, London), based on Hesiod's Works of the panels prior to their separation see Benesch 1930,
and Days, or Bacchus at the Wine Tub, dated 1530 184-185, figs. 5-6.
(private collection, Switzerland), offer the kind of 3. The original support was reported to be linden
in Benesch 1939, 48, and in Eisler 1977, 33, but it has
classical, humanistic theme not encountered in
not been possible to confirm this through direct exami-
Altdorfer's works.24 nation.
Most discussions have centered on the date of 4. Kress Condition and Restoration Record in NGA
The Rule of Bacchus, The Fall of Man, and The Rule curatorial files indicates that the work was done prior
of Mars and their proximity to Altdorfer's work. to acquisition by the Samuel H. Kress Foundation. Eis-
The panels were first published by Friedlnder as ler 1977,33, states that the panels were treated by Wil-
liam Suhr around 1950.
competent works in the manner of Altdorfer, but 5. As per Friedlnder 1891, 56, no. 27.
not from his hand.25 The pictures were not in- 6. Cited by Heinemann 1937, 2.
cluded in the 1923 monographs by Friedlnder, 7. Information from annotated copy of exh. cat.
Baldass, or Tietze, but from 1930 on they were Munich 1930, in the possession of Mrs. Walter Feil-
published as autograph works. The catalogue of chenfeldt, Sr., Zurich: letter to the author, 28 January
1989, in NGA curatorial files. I am very grateful to Mrs.
the Munich exhibition of 1930 cited Friedlnder
Feilchenfeldt for this information. Eisler 1977, 35, er-
as proposing a date of about 1525, while Hugels- roneously listed Walter Feilchenfeldt as the owner of
hofer placed them around 1530, and Benesch the pictures.
10 GERMAN PAINTINGS
1930 Benesch, Otto. "Altdorfers Badstubenfresken Masters." National Geographic Magazine no, no. 5
und das Wiener Lothbild." Jb Berlin 51: 182-186, figs. (November): 643, repro. 626.
5-6. 1960 Broadley: 26, repro. 27.
1930 Hugelshofer, Walter. "Die altdeutschen 1964 Stange, Alfred. Malerei der Donauschule.
Bilder der Sammlung Schloss Rohoncz." Der Cicerone Munich: 39, 141, no. 25, fig. 118.
22:409. 1965 Runnier, Eberhard. Albrecht Altdorfer. Mu-
1930 Mayer, August L. "Die Ausstellung der nich: 52, no. 12,figs. i3ia-b, 132.
Sammlung 'Schloss Rohoncz' in der Neuen Pina- 1966 Cairns and Walker: 116, repro. 117.
1
kothek, Mnchen." Pantheon 6: 304, repro. 299. 975 NGA: 10, repro. 11.
1937 Heinemann, Rudolf. Stiftung Sammlung 1975 Winzinger (see Biography): 59,130-132^08.
Schloss Rohoncz. Lugano-Castagnola: i -2, no. 4, pi. 35. 109-11 i,repros.
1939 Benesch, Otto. Der Maler Albrecht Altdorfer. 1976 Walker: 147, nos. 156-158, repro.
Vienna: 28,48-49, nos. 71-72, figs. 71-72. 1977 Eisler: 33-35, figs. 28-30.
1941 Baldass, Ludwig von. Albrecht Altdorfer. Zu- 1985 NGA: 17, repro.
rich: 176-178, 194, repros. 306-307. 1990 Dlberg, Angelica. Privatportrts. Geschich-
1956 Kress: 20, no. i, repro. 21. te und Ikonologie einer Gattung im ij. und 16. Jahr-
1956 Walker, John. "The Nation's Newest Old hundert. Berlin: 299-300, no. 349, figs. 173-175.
12 GERMAN PAINTINGS
153- Although Baldung continued to produce
religious subjects for private patrons, he in-
creasingly painted portraits or scenes from an-
cient legends and history, such as the Hercules
and Antaeus of 1531 (Staatliche Gemaldegalerie,
Rassel).
At the time of his death in September 1545, Bal-
dung was a member of the city council of Stras-
bourg and one of that city's richest citizens. His
artistic estate went to Nicolaus Kremer, who
was probably a pupil. Hans Baldung Grien was
Drer's most inventive and talented disciple, who
nonetheless achieved a distinctive style. Bal-
dung's oeuvre consists of approximately 90 paint-
ings and altarpieces, about 350 drawings, and 180
woodcuts and book illustrations.
Bibliography
Hans Baldung Grien. Exh. cat., Staatliche Runsthalle.
Karlsruhe, 1959.
Shestack, Alan. "An Introduction to Hans Baldung
Grien." Hans Baldung Grien. Prints & Drawings.
Exh. cat., National Gallery of Art, Washington; Yale
University Art Gallery. New Haven, 1981, 3-18.
Osten, Gert von der. Hans Baldung Grien. Gemalde
und Dokumente. Berlin, 1983.
Fig. i. Infrared reflectogram assembly of a detail of Saint
Anne with the Christ Child, the Virgin, and Saint John the
Baptist, 1961.9.62 [infrared reflectography: Molly Faries]
1961.9.62 (1614)
Technical Notes: The painting support was thinned to
Saint Anne with the Christ Child, a veneer and marouflaged to hardboard in 1953. Exam-
ination of the remaining veneer at the top and bottom
the Virgin, and Saint John edges indicated that the original support was spruce
the Baptist wood (sp. Picea).1 The original support was probably
comprised of five, or possibly six boards with vertically
c. 1511 oriented grain. At the right side several long cracks sug-
Spruce, 89 X 77.6 (35 x so1/); gest a sixth, very narrow plank, but there is no corres-
painted surface: 87 X 75 (34!/4 x 29'/2) ponding continuous crack on the surface to verify its
Samuel H. Kress Collection position. There is a barbe at the top and bottom edges
suggesting that the painting once had an engaged
Inscriptions frame. The lateral edges are not original, but are fill
material colored with wood stain.
On the base of the middle pillar of the throne, the Examination with the naked eye in flesh and white
areas, and with infrared reflectography, reveals con-
artist's monogram:
siderable underdrawing using a brush and what is
On the halos, from left to right: probably black ink (fig. i). Striations over the under-
S IOHANE drawing, seen with the aid of a stereobinocular micro-
scope, may indicate the presence of an intermediate, or
S ANNA isolation layer over the underdrawing, but the stria-
tions are not disclosed in the reflectograms.
MARIA The halos are mordant gilded, applied over the mod-
II A N S B A L D U N G G R I E N 13
erately thick white ground. Paint overlaps the edges of
the leaf. The glazing and inscriptions are applied over
the fold.
Relatively large areas of ground have flaked away,
and corresponding areas of paint are missing, particu-
larly along the cracks joining the boards. Figure 2
shows the appearance of the painting in 1934, prior to
treatment. The painting also suffered generalized
abrasion. There is extensive retouching in Saint John's
halo, the central areas of the Virgin's halo, and much of
Saint Anne's halo. Major areas of retouching exist in
John's left thigh, the bottom of the child's left thigh and
a portion of Anne's skirt just below it, the front of the
lamb's torso, and in much of the sky at the upper left. It
should be noted, however, that the background land-
scape is not heavily retouched and that faces and limbs
are in generally good condition.
Fig. 3. Hans Baldung Grien, The Mass of Saint Gregory, panel, The Cleveland Museum of Art,
Gift of the Hanna Fund, 52.112 [photo: The Cleveland Museum of Art]
Exhibitions: Karlsruhe, Staatliche Kunsthalle, 1959,
Hans Baldung Grien, no. 14. New York, Metropolitan
Museum of Art; Nuremberg, Germanisches Nation-
almuseum, 1986, Gothic and Renaissance Art in Nur-
emberg 1400-1330,110. 1790 (shown only in New York).
Osten and rejected in favor of reading the sen- scribed as an adult help to confirm the identifica-
tence as a clerical abbreviation.10 Records from tion with the National Gallery's painting.
the following years, 1511/1512, are no longer ex- Von der Osten's proposed reconstruction (fig.
tant, so the possibility of further payments should 5) calls for a nonfolding triptych with Saint Anne
not be excluded. with the Christ Child, the Virgin, and Saint John
The second set of documents published by von the Baptist on the left wing, The Mass of Saint
der Osten comes from a manuscript inventory, Gregory in the center, and Saint John on Palmos
dated 1741, of the contents of the Church of the on the right wing. In addition to the documents of
Order of Saint John. It needs to be pointed out that 1510/1511 and 1741, technical and stylistic evi-
during the Thirty Years' War the order at Stras- dence reinforces the probable conjunction of
bourg lost its buildings, and in 1633 the church in these paintings. The dimensions, especially the
Gruen Worth was pulled down and its contents heights of the three paintings, are in accord, and
apparently put in storage. In 1687, after long ne- the reverse of the Saint John on Palmos, the only
gotiations, the order moved into the cloister of work not marouflaged to hardboard, is un-
Saint Marx in Strasbourg, where it remained until painted.11
the French Revolution. The inventory of 1741 de- The manner of painting, particularly the use of
scribes three separate paintings as hanging in the acid greens and yellow-greens in conjunction
sacristy of the church, and these can be convinc- with red and red-orange, the use of white high-
ingly identified with The Mass of Saint Gregory m lights in the faces and flesh tones, the calligraphic
Cleveland, the Saint John onPatmos in New York, strokes of white in the hair, the general concor-
and the National Gallery's Saint Anne with the dance of facial types, and similarly rendered ha-
Christ Child, the Virgin, and Saint John the Bap- los, is congruent in all three paintings. Moreover,
tist. The altarpiece was probably dismantled in the underdrawing, as revealed by infrared re-
the 16308 during the disruption at Gruen Worth. flectography, is basically homogeneous in the
In the inventory the Washington picture is listed three pictures. There appear to be several color
as follows: "26) Item Ein gleiche, worauf S. Anna notations in the Cleveland underdrawing, while
B.V. und S. Johannes Bapt. pelle indutus in erwax- in the National Gallery's picture there is one in-
enem alter, auch in der Sacristy ober dem Kirch- stance of what may be the letter g, forgrun, in the
fass." That the picture is mentioned as being the Virgin's robe (fig. 6). In the New York panel the
same size as the preceding Saint John on Palmos sketchy, looping notations for trees and bushes,
and that John the Baptist, in hair shirt, is de- for example, are comparable to those in the Wash-
16 GERMAN PAINTINGS
Hans Baldung Grien, Saint Anne with the Christ Child, the Virgin, and Saint John the Baptist, 1961.9.62
18 GERMAN PAINTINGS
The lamb at his knee refers to John 1129, "Behold, with the Order of Saint John is, however, strongly
the lamb of God, who takes away the sin of the suggested by two portraits: of Balthasar Gerhardi,
world."19 Christ's role as savior is further evident monogrammed and dated 1528 (Alte Pinakothek,
in his sharing a fruit with the Virgin, for, as noted Munich); and of Gregorius Beit, monogrammed
by Eisler and others, Christ is the new Adam and and dated 1534 (Staatsgalerie, Bamberg).22 Beit
Mary the new Eve, who are free from sin.20 This, succeeded Gerhardi as commander of the order
in turn, may be related to the Anna Selbdritt at Gruen Worth, and it is possible that their por-
grouping, which expressed an important aspect traits were originally part of a series. A group of
of the Immaculate Conception, the belief that silverpoint drawings of the harbor and buildings
from the moment of conception Mary was pre- on the island of Rhodes (Staatliche Kunsthalle,
served free from the stain of original sin. Such pu- Karlsruhe) has also been seen as linking Baldung
rity was a miraculous but necessary prerequisite with the Johannites, for Rhodes was a principal
to the birth of the Savior who would redeem man's outpost of the order until it was taken by the Turks
sins.21 in the summer of 1522.23
Thus the three panels of the altarpiece illus- Even without the documents, there is no ques-
trate in sequence the miraculous, visionary na- tion that Saint Anne with the Christ Child, the
ture of Christ's incarnation, sacrifice, and second Virgin, and Saint John the Baptist belongs to Bal-
coming and together put forward the most basic dung's first Strasbourg period. The Washington
tenet of Christianity: God's promise for man's panel and the other two panels of the triptych
salvation. have consistently been dated around 1511, and
This is Hans Baldung Grien's earliest known dated paintings and woodcuts from this time offer
commission for the Order of Saint John in Jerusa- abundant confirming comparisons.24
lem, and there is no record of other commissions In the face of Saint John the Baptist, we have an
for altarpieces. Baldung's continued association early example of a stock type used frequently by
Baldung. It is preceded by a John the Baptist in
Fig. 7. Hans Baldung Grien, Head of Saint John the a stained glass window, c. 1506, in the church of
Baptist, 1516, black chalk, 33.6 x 29.8 cm., National Saint Lorenz, Nuremberg, based on Baldung's de-
Gallery Art, Washington, Pepita Milmore Memorial
Fund, 1980.12.1 signs.25 Essentially the same face appears in the
National Gallery's drawing of 1516 (fig. y),26 the
face of Saint John in the Baptism wing of the
Schnewlin altar of c. 1515/1516 (Mnster, Frei-
burg),27 and the face of Saint John in the Baptism
of Christ of c. 1518 (Stdelsches Kunstinstitut,
Frankfurt).28
Notes
1. The identification of the wood was made by the
National Gallery's scientific research department.
2. Osten 1977,52-53, cites two sets of documents,
Archives dpartementales du Bas-Rhin, Strasbourg,
nos. H2158, and H2232. The first are records of pay-
ment in the accounts of the Order of Saint John, under
the heading, "Uff die Kirch": "It. X G(ulden) meister
Hans baldung dem maler vff die tafel zu malen. It. XIIII
G(ulden) meister Hans baldung dem maler von dem
fur altar zu malen." The second is the manuscript of
1741 by F. Francisco Josepho Ignatio Goetzman, Ermel-
ten Hausses Custode, "Inventarium ber All des Rit-
terlichen St. Johann Ordens Hauses in Strassburg
Custorey-oder Kirchen Schatz," 149, no. 26: "Item Ein
gleiche, worauf S. Anna B.V. und S. Johnannes Bapt.
20 GEKMAN PAINTINGS
the Crucifixion, both dated 1512 (Gemldegalerie, Ber- cher von Hans Baldung-Grien." Kunstchronik 6: 297.
lin; and fentliche Runstsammlung, Basel), ana Dead 1956 Kress: 26, no. 5, repro. 27.
Christ with the Virgin, Saint John, and God the Father, 1959 Mhle, Hans. "Hans Baldung Grien. Zur
1512, (National Gallery, London); Osten 1983 (see Bi- Rarlsruher Baldung-Ausstellung Sommer 1959."
ography) , 77-84, nos. 16-18, pis. 45-51. In terms of both Zeitschrijtfr Kunstgeschichte 22: 128.
style and subject matter, comparison has been made to 1960 Weihrauch, Hans R. "Berichte. Deutsch-
the woodcuts of the Holy Family with Saint Anne and land." Pantheon 18:46.
Joachim, c. 151 o/i 511, and the Holy Family with Saint 1960 Broadley: 32, repro. 33.
Anne, 1511; Shestack 1981 (see Biography), 124-131, 1963 Oettinger, Karl, and Karl-Adolf Knappe.
nos. 20-21, repro. Oettinger and Rnappe 1963, 105, n. Hans Baldung Grien undAlbrecht Durer in Nurnberg.
247, compared the National Gallery's painting to Bal- Nuremberg: 105, no. 247.
dung's woodcuts for the Hortulus animae, published 1964 Tolzien, G. "Baldung, Hans, genannt Grien."
in Strasbourg, 1511-1512, repro. See also Matthias Kindlers. i: 188.
Mende, Hans Baldung Grien. Das graphische Werk 1967 Fritz, Rolf. Sammlung Becker. I. Gemlde Al-
(Unterschneidheim, 1978), nos. 329-400. ter Meister. Dortmund: under no. i.
25. Oettinger and Knappe 1963, figs. 43,51. 1974 Koch, Robert A. Hans Baldung Grien. Eve, the
26. Shestack 1981 (see Biography), 221-223, no. 56. Serpent, and Death. Masterpieces in the National Gal-
27. Osten 1983 (see Biography), 256-259, no. W97, lery of Canada, no. 2. Ottawa: 7.
pis. 188-189, considers the wings to be from Baldung's 1975 NGA: 16, repro. 17.
workshop. J. E. von Borries, in a review of Osten 1983 1976 Walker: 151, no. 164, repro.
in BurlM 127 (1985), 98, was not convinced of the 1977 Eisler: 29-30, fig. 32.
downgrading and thought the panels were autograph. 1977 - Osten, Gert von der. "Ein Altar des Hans Bal-
28. Osten 1983 (see Biography), 143-146, no. 45, pi. dung Grien aus dem Jahre 1511und eine Frage nach
112, considered the National Gallery's drawing prepa- verschollenen Werken des Malers." Zeitschrift des
ratory to the head of John the Baptist in Frankfurt. deutschen VereinsfiirKunstwissenschaft 31:51-61, figs.
4,6,8.
References 1979 Pariset, Franois-Georges. "Reflexions pro-
1934 Pariset, Franois-Georges. "Deux oeuvres pos de Hans Baldung Grien." GBA 94: 2.
indites de Baldung Grien." GBA 11: 13-23. 1981 Marrow, James H., and Alan Shestack. Hans
1941 Perseke, Helmut. Hans Baldungs Schaffen in Baldung Grien. Prints & Drawings. Exh. cat., National
Freiburg. Freiburg im Breisgau: 49-50, 66-67, fig. 8. Gallery of Art, Washington; Yale University Art Gallery.
1943 Fischer, Otto. Hans Baldung Grien. Munich: New Haven: 125, 129, 221, fig. 563.
20. 1983 Osten, Gert von der (see Biography): 21,66-
1953 Koch, Carl. "Ratalog der erhaltenen Ge- 69, no. i2a, 71-74, pis. 32, 34-35.
malde, der Einblattholzschnitte und illustrierten B- 1985 NGA: 35, repro.
22 G KRM AN PAINTINGS
Attributed to Bartholomaeus Bruyn the Elder
References
Notes 1936 Ruhn: 27, no. 22, pi. 7.
1. See Appendix. 1975 NGA: 50, repro. 51.
2. Cited as owned by Miller in Kuhn 1936,27, no. 22. 1985 NGA: 70, repro.
24 G K RM AN PAINTINGS
Attributed to Bartholomaeus Bruyn the Elder, Portrait of a Man, 1953.5.5
A T T R I B U T E D TO B A R T H O L O M A E U S B R U Y N THE ELDER 25
Lucas Cranach the Elder
1472-1553
26 GERMAN PAINTINGS
mines this somewhat romantic notion, but has 1947.6.1 (896)
been seen as an attempt by Cranach to distinguish
the work of his sons. A Prince of Saxony
Cranach is probably the artist most closely as-
c. 1517
sociated with the Protestant Reformation. He was Linden,43.7 x 34.4(i7'/ 4 x 15'/a)
a friend of Martin Luther, who lived and taught in Ralph and Mary Booth Collection
Wittenberg under the protection of the electors
Technical Notes: The painting is executed on a single
of Saxony. Cranach and his shop produced great piece of linden that was cut tangentially.1 Additional
numbers of portraits of Luther, his wife, and other wooden strips approximately i cm. wide have been
reformers as well as depictions of such "Protes- attached to the left and right edges and retouched to
tant" themes as Christ Blessing the Children match the adjoining paint. The reverse, including the
cradle, has been coated with a paint, possibly con-
(Church of Saint Wenceslaus, Naumburg) and taining lead, that is absolutely opaque to x-radiogra-
Christ and the Woman Taken in Adultery (Szp- phy. The painting is in good condition. The contour
mvszeti Mzeum, Budapest). It should be re- lines around the face have been strengthened, and the
paint is thin in the face and in areas of shadow beneath
membered that the artist also worked for Luther's
the chin. The shadows in the robe have been rein-
adversary, Cardinal Albrecht von Brandenburg, forced.
and in 1525 and 1527 depicted the cardinal as
Saint Jerome in indoor and outdoor settings (Hes- Provenance: (Julius Bhler, Munich, owned jointly
with August Salomon, Dresden, through Paul Cassirer,
sisches Landesmuseum, Darmstadt, and Geml- Berlin);2 purchased August 1925 by Ralph Harman and
degalerie, Berlin). The range of subject matter Mary B. Booth, Detroit.
found in Cranach's paintings is, in fact, quite
wide. In addition to religious works he produced Exhibitions: Detroit Institute of Arts, 1926, The Third
Loan Exhibition of Old Masters, no. 18. Art Institute of
a variety of mythological and secular subjects, Chicago, 1933, A Century of Progress Exhibition of
probably intended for humanist or courtly pa- Paintings and Sculpture, no. 16. New York, World's Fair,
trons. He was also an excellent portraitist; the 1939, Masterpieces of Art, no. 60.
full-length portraits of Henry the Pious of Sax-
ony and his wife Catherine, c. 1514 (Staatliche
Kunstsammlungen, Gemldegalerie, Dresden),
achieve an almost mannerist decorative gran- 1947.6.2 (897)
deur, while others, in particular the portrait of a
scholar, possibly Dr. Johannes Scheyring, dated A Princess of Saxony
1529 (Muses Royaux des Beaux-Arts, Brussels),
are marked by an intense naturalism. c. 1517
Linden, 43.4 X 34.3 (ly'/s x is1/*)
Along with Durer, Grnewald, and Holbein, Ralph and Mary Booth Collection
Cranach must be reckoned as one of the dominant
German artists of the sixteenth century. Technical Notes: The support consists of a single piece
of linden that was cut tangentially.3 The painting has
been cradled. Additional strips of wood approximately
Bibliography i cm. wide have been attached to the left and right
Friedlnder, Max J., and Jakob Rosenberg. Die Ge- edges and retouched to match the adjoining paint. The
rnalde von Lucas Cranach. Berlin, 1932. English rev. painting is in fairly good condition, although there is
d., Amsterdam, 1978. extensive worm tunneling on the reverse. The face is
Schade, Werner. Die Malerfamilie Cranach. Dresden, somewhat abraded, and there is a good deal of thin re-
1974. English d., New York, 1980. touching in the shadows. Scattered throughout are very
Koepplin, Dieter, and Tilmann Falk. Lukas Cranach. small retouchings covering losses and abrasion.
Gemalde, Zeichnungen, Druckgraphik. 2 vols. Exh.
cat., Kunstmuseum. Basel, 1974, 1976. Provenance: Same as 1947.6.1.
L U C A S C R A N A C H T H E ELDER 27
Lucas Cranach the Elder, A Prince of Saxony, 1947.6. i
28 GERMAN PAINTINGS
Lucas Cranach the Elder, A Princess of Saxony, 1947.6.2
L U C A S C R A N A C H THE ELDER 2Q
Exhibitions: Detroit Institute of Arts, 1926, The Third children in the National Gallery portraits. Fried-
Loan Exhibition of Old Masters, no. 17. New York, lander and Rosenberg thought they were possibly
Reinhardt Galleries, 1929, Portraits of Women and the children of Duke George the Bearded of Sax-
Children from the ijth to the 2oth Centuries. New
York, World's Fair, 1939, Masterpieces of Art, no. 61. ony: Prince Friedrich, born in 1504, and Princess
Christine, born in 1505^ Werl suggested that they
might be Count Philipp of Hesse and Duchess
THESE PICTURES rank among Cranach's most Elisabeth of Saxony, but Koepplin, the only author
engaging and charming portraits of children. In to comment, did not find this proposal convinc-
the expressions of the boy and girl the artist has ing.9 Neither identification can be verified. While
captured the wistful innocence and gentle seri- it is often difficult to guess the ages of children
ousness of childhood. Depicted in half length in portraits, it seems to this author that the girl is
against a black background, the pair are regally several years older than her brother, which ar-
dressed. The boy wears a high-necked doublet gues against the identification put forward by
richly embroidered in gold and white and bearing Friedlnder and Rosenberg.
images of flowers and what appears to be a rabbit Following Friedlnder and Rosenberg, most
and a fox. His sleeves are a lustrous red damask authors agree in dating the portraits to the period
and appear through the armholes of his brown around 1516/1518. Ruhmer thought they might
outer robe. At a jaunty angle on his head is a gar- be later but declined specific comments, while
land made not of flowers but of gold, pearls, and Werl would like to date them around 1512, pri-
leaves of green enamel. The girl's costume is marily because Elisabeth of Saxony was born in
equally splendid. Her dress is a heavy red fabric, 1502.10 As noted by Talbot, however, there are sty-
perhaps velvet or a dull satin, with a floral pattern listic comparisons with the pair of portraits of
in yellow and with slashed and puffed sleeves. At Maurice Buchner, dated 1518, and his wife Anna
the top of the bodice is a wide piece of cloth-of- (Minneapolis Institute of Arts), and further, the
gold, and around her shoulders is an elaborate National Gallery's paintings are not as patterned
gold chain. A final touch of elegance is provided and as severe as the Portrait of a Young Girl,
by the gold necklace edged with delicate white usually dated around 1520 (Muse du Louvre,
flowers (daisies?) made of enamel. Paris).11
Although there is no way of identifying the sit-
Notes
ters precisely, it seems reasonable to suggest, as 1. The wood was identified as linden (sp. Tilia) by
was first done by Friedlnder and Rosenberg, that Peter Klein, examination report, 29 September 1987, in
they could be a Saxon prince and princess.4 The NGA curatorial files.
regal costume accords well with that found in 2. Julius Bhler, letter to the author, 9 November
other of Cranach's portraits of Saxon nobility. The 1987, in NGA curatorial files.
crown worn by the boy is a traditional sign of en- 3. Klein, examination report, 29 September 1987,
in NGA curatorial files.
gagement.5 The girl is probably the boy's sister, 4. Friedlnder and Rosenberg 1932 (see Biog-
as the absence of a garland on her head makes it raphy), 50, nos. 104-105.
unlikely that she is his fiance. The betrothal of 5. Compare, for example, Cranach's portraits of
noble children was not uncommon; Talbot called Johann Friedrich the Magnanimous and Sibyl of
attention to Bernhard Strigel's portrait of Ludwig Cleves, both dated 1526 (Schlossmuseum Weimar),
Friedlnder and Rosenberg 1978 (see Biography), 128,
of Hungary (Runsthistorisches Museum, Vien-
nos. 304-305, repro. Both persons wear crowns; the be-
na), aged nine and wearing a crown, painted in trothal took place in September 1526 and the wedding
1515 on the occasion of a double engagement of in June of the following year. See also Otto Bramm,
Ludwig and his sister to a daughter and son of "Brautkranz, Brautkrone," Reallexikon zur deutschen
Philip the Fair.6 In addition, Cranach's portrait Kunstgeschichte, 8 vols. (Stuttgart and Munich, 1937-
dated 1529 of a young boy wearing a betrothal 1988), vol. 2 ( 1948) : cols. 1125-1130.
6. Charles Talbot, draft catalogue entry, 1966, in
crown (Wallraf-Richartz-Museum, Cologne) is NGA curatorial files. For the portrait of Ludwig of Hun-
tentatively identified as a prince of Saxony.7 gary see Gertrud Otto, Bernhard Strigel (Munich and
There have been two attempts to identify the Berlin, 1964), 68,102, no. 61, fig. 129.
30 GERMAN PAINTINGS
7- Friedlnder and Rosenberg 1978 (see Biog- 1955.3.1 (1173)
raphy), 134, no. 329, repro.
8. Friedlnder and Rosenberg 1932 (see Biog- Madonna and Child
raphy), 50, nos. 104-105.
9. Werl 1965, 31-35; Koepplin 1974, 34 n. 47. Probably c. 1535 or later
10. Ruhmer 1963,84^08. 16-17; Werl 1965,34. Beech, 71.2 x 52.1 (28 x 20'/2)
11. Talbot, draft catalogue entry, 166, in NGA cura- Gift of Adolph Caspar Miller
torial files. For the portraits of Buchner and his wife and
of the young girl in the Muse du Louvre see Fried- Inscription
lander and Rosenberg 1978 (see Biography), 95, nos. At right, above the Madonna's shoulder: a serpent with
127-128, repro., and 100, no. 153, respectively. folded (?) wings
References Technical Notes: The painting is comprised of two
1929 "New York." Pantheon 3: 196, repro. 199. boards with vertically oriented grain. A dendrochrono-
1932 Friedlnder and Rosenberg (see Biography): logical examination by Peter Rlein yielded dates of
50, nos. 104-105, repro. Rev. d., 1978:94, nos. 123-124, 1406-1453 and 1480-1513 for the boards.1 The panel
repro. has been thinned down to a thickness of 0.2 cm. and
1933 Frankfurter, Alfred M. "Art in the Century of an auxiliary support added. The support consists of a
Progress." The Fine Arts 20: repro. 19. plywood composite board sandwiched between two
1936 Ruhn:37,90-9i,pl. 19. thin sheets of wood. The panel was then cradled. Either
1939 Craven, Thomas. A Treasury of Art Master- before or after the panel was thinned, an inset of oak,
pieces from the Renaissance to the Present Day. New 16.4 x 17 cm., was added to the top right corner, replac-
York: 261-262, pi. 62. ing the original wood and paint, which had been lost.
1943 Posse, Hans. Lucas Cranach d. A. Vienna: 57, The x-radiograph indicates extensive woodworm da-
nos. 45-46, repro. mage throughout the panel, and this may be related
1948 "Gifts from the Booth Collection." Conn 122: to the loss of the corner, although it is also possible that
40, repro. this area contained a landscape that was cut out. The x-
1948 Louchheim, Aline B. "Children Should Be radiograph also suggests that a knot was removed and
Seen.Mri News Annual 46: 56-57, repro. replaced with an inset and a filler before the panel was
1948 Recent Additions to the Ralph and Mary- painted, because the craquelure pattern of the paint
Booth Collection. Washington: unpaginated, repro. goes over the inset and also because the worm chan-
1949 L. J. Roggeveen. "De National Gallery of Art nels continue into the inset. Examination with infrared
te Washington." Phoenix 4: 340, repro. 338. reflectography disclosed underdrawing in what ap-
n.d. National Gallery of Art, Portfolio Number 3. pears to be a liquid medium, which is especially visible
Washington: no. i, repro. in the knot of the Madonna's sash (fig. i).
1960 Broadley: 28, repro. 29. The painting is not in good condition. In order to dis-
1963 Ruhmer, Eberhard. Cranach. London: 84, guise the extent of the loss in the top right corner the
nos. 16-17, repro. background has been overpainted; moreover, the orig-
1963 Walker: 124, repro. 125.
1965 Werl, Elisabeth. "Herzogin Elisabeth von
Sachsen die Schwester Landgraf Philipps von Hessen Fig. i. Infrared reflectogram of a detail of
in bildlicher Darstellung. Zur Identifizierung von Cra-
Madonna and Child, 1953.3.1
nachbildnissen Landgraf Philipps von Hessen Rin-
derbild?" Hessisches Jahrbuch fur Landesgeschichte 15:
31-35, repro.
1966 Cairns and Walker, i: 114, repro. 115.
1974 Roepplin, Dieter. "Zwei Frstenbildnisse
Cranachs von 1509." Pantheon 32: 29.
1975 NGA: 84, 86, repro. 85,87.
1976 Walker: 162, no. 183,165, no. 186, repro. 163,
164.
1978 Ring, Marian. Adventures in Art. New York:
34, repro.
1979 Watson, Ross. National Gallery of Art, Wash-
ington. New York: 56, repro. 57.
1985 NGA: 104, repro.
inal paint is badly abraded. Two splits are visible; one may be associated with a group of pictures de-
extends upward from the bottom edge through the picting the Christ Child standing on the Ma-
glass, while the second occurred along the join line. donna's lap and preparing to eat a grape.9
There are numerous other losses, some of which are
due to flaking, most of which have been filled and in- Sometimes the Child holds a bunch of grapes, and
painted. sometimes the Madonna does. Another related
type includes the infant John the Baptist asleep.10
Provenance: (Probably H. Michels Gallery, Berlin, by Because the Child is shown standing on a parapet
ig2g). 2 (Van Diemen & Co., New York, by November and not in the Madonna's lap, the National Gal-
192Q).3 Adolph Caspar Miller, Washington, by April
lery's picture does not correspond exactly to the
19374-
other depictions of this theme. A version of the
Exhibitions: New York, Van Diemen Galleries, 1929, Washington panel that was on the art market in
Lucas Cranach (1472-1353). Washington, Phillips Me- Switzerland in 1972 contains a window looking
morial Gallery, 1937, Paintings and Sculpture Owned out on a landscape at the upper right corner.11 The
in Washington, no. 6. size of the landscape appears to correspond to the
size of the missing top right corner of the National
DRESSED IN ROBES of light and dark blue, bright Gallery's painting and suggests that the back-
orange, and orangish red, the Madonna is shown ground may once have been enlivened by a win-
behind a parapet, holding a bunch of grapes in dow and a landscape view. A second replica, also
one hand and supporting the Christ Child with the containing a landscape, recently appeared on the
other. The Child stands on the ledge, balancing market.12
on one foot; he is about to eat a grape and holds an Interestingly, the Madonna and Child was
apple against his upraised knee. On the ledge is strongly influenced by the early works of Albrecht
another apple and a glass containing what is prob- Durer. As observed by Talbot, the crinkled, angu-
ably wine. These objects may be interpreted in lar drapery folds of the Madonna's robe and knot-
light of traditional religious symbolism. The ted sash are similar to those found in Drer's
apples mark Christ as the "new Adam," who will engraving of \he Madonna with the Monkey from
redeem the sins of mankind, and the liquid in the about 14Q8.13 The motif of the standing Child and
glass refers to the wine of the Eucharist. The the placement of the Virgin behind a foreground
grapes are also widely used symbols of the Eucha- ledge are found in the Madonnas of Giovanni Bel-
rist and can refer to other biblical passages that lini, but it is likely that they were transmitted to
associate Christ with grapes.5 From the position Cranach through Durer. For example, Drer's
of the bunch of grapes held by Mary, it is possible The Virgin with the Sleeping Child between Saints
to suggest a secondary meaning, based on the Anthony and Sebastian (Staatliche Runstsamm-
Song of Solomon (7:7-8), which identifies the lungen, Gemldegalerie, Dresden), painted just
grapes with Mary's breasts in their function of after his first trip to Venice, shows the Christ Child
providing nourishment for the infant Christ.6 on a ledge in the foreground with the Madonna
The Madonna and Child is a good example of behind. Since Drer's painting was commis-
Cranach's mature style, and although the back- sioned by Friedrich the Wise for the palace
ground is overpainted, other portions of the paint- church in Wittenberg, it would have been well
ing, such as the sleeves of the Madonna's robe, are known to Cranach.14 Moreover, as probably first
executed with skill and vigor. Possibly because noted by Shapley, the pose of the infant Christ,
they thought the wings of the serpent in the artist's balancing on one leg with the other raised and the
device might be folded, Friedlnder and Rosen- foot pressed against the knee, is found in reverse
berg dated the panel around 1537,7 while Talbot in Drer's Madonna and Child (ig52.2.i6a),
proposed a date around 1535, citing stylistic simi- which derives from Bellini and was painted fol-
larities to Cranach's Madonna and Child with lowing Drer's first trip to Venice.15 Although the
John the Baptist and Angels, which is dated 1535 use of such Venetian-inspired devices as the fore-
(Staatsgalerie, Stuttgart).8 In terms of both style ground ledge is perhaps more frequent in Cra-
and compositional type, the Washington painting nach's works from around 1510, they are not
32 GERMAN PAINTINGS
Lucas Cranach the Elder, Madonna and Child, 1953.3. i
34 GERMAN PAINTINGS
ing." These words are an abbreviated paraphrase
of a poem actually composed in the late fifteenth
century but thought to be classical from the six-
teenth century well into the nineteenth. Suppos-
edly it was found on a fountain with a statue of a
sleeping nymph, situated on the banks of the Dan-
ube river. The epigram was popular in Italy and
used in conjunction with contemporary fountains
adorned with sleeping nymphs. Moreover, there
are literary sources in antiquity for representing
fountain nymphs as reclining sleeping figures,
and the visual precedent for the pose, distin-
Fig. i. Detail of The Nymph of the Spring, 1957.12.1 guished by one arm bent back behind the head,
lies in ancient sculptural depictions of Ariadne
that were known in the fifteenth and sixteenth
that the left branch of the tree on the right was painted centuries.6
later than the trunk. There are also pentimenti visible
The epigram was also known in humanistic
to the naked eye in the contour of the lower part of the
nymph's leg and right forearm and in the townscape. circles in Germany, for it appears shortly before
The painting is generally in good condition but has 1500 in the writings of Conrad Celtis.7 Important
suffered some damage. There are checks at the left and visual evidence is provided by a drawing attrib-
right sides, chips missing from the top left and right cor- uted to Albrecht Durer (fig. 2) that depicts a re-
ners, and a few small drill holes on the top and bottom clining nymph sleeping in front of a fountain.8 On
edges. On the top left edge there are two large losses
that have been filled and retouched, and there is scat- the side of the fountain is the complete text of the
tered retouching throughout. poem, which identifies the figure as the guardian
of the sacred spring and admonishes the reader
Provenance: Probably Baron von Schenck, Flech- and visitor not to disturb her slumber.
tingen Castle, near Magdeburg.2 (Bonier and Stein- In the National Gallery's panel the nymph is
meyer, Lucerne and New York, i93i-i933).3 Clarence more than the protectress of the spring, and she
Y. Palitz [d. 1958], New York, by 1939.4
is not sleeping; her eyes are open, and she coyly
Exhibitions: New York, M. Rnoedler & Co., 1939, Clas- regards her surroundings. The bow and quiver of
sics of the Nude, no. 5A. New York, World's Fair, 1939, arrows hanging from the tree at the right suggest
Masterpieces of Art, no. 59. Exhibited at National Gal- an additional association with Diana, goddess of
lery of Art, Washington, from 1946.5 the hunt. The two partridges at the lower right
may be part of the Diana imagery, but they could
IN THE F O R E G R O U N D a young woman reclines have other meanings as well. Partridges can al-
on a lush carpet of leaves and grasses, her head lude to sexual excess or perversion and are also
and arm cushioned by the rich fabric of a courtly ancient symbols of Venus and luxuria? While it
dress. Her nakedness is emphasized by her jew- seems clear that TheNymph oftheSpringhad sev-
elry and the transparency of the filmy gauze cov- eral levels of meaning for the contemporary
ering her thighs and head. Behind her is a pool viewer, these are not now easily elucidated. Ref-
that is filled by a stream of water issuing from a erences to Diana call to mind her chastity as well
trough carved out of rock at the source. Although as the fact that it was both forbidden and fatal for
connected to the distant town by a bridge, the set- her to be seen by mortals, as the story of Diana and
ting appears psychologically and compositionally Actaeon makes clear. Both Diana and the Nymph
secluded and removed from the world of man. of the Spring are creatures of the natural world
The initial clue to the meaning of this painting and may almost be taken as personifications of
is provided by the inscription at the upper left, nature. Yet the sophisticated and self-conscious
which in translation reads, "I am the nymph of the presentation of naked allurement is perhaps
sacred spring. Do not disturb my sleep. I am rest- more suited to an image of Venus and contradicts
L U C A S C R A N A C H THE E L D E R 37
made to the version in the Nasj onalgalleriet, Oslo, 152 x 200 mm. The attribution to Durer is not fully ac-
dated i55o.19 cepted by all authorities; for a brief discussion and ref-
Even though late in date, the National Gallery's erences to earlier literature see Walter L. Strauss, The
Complete Drawings of Albrecht Durer, 6 vols. (New
painting is to be grouped with the works of Lucas
York, 1974). 3: 1462, no. 1514/36.
Cranach the Elder and is different in style and ex- 9. Talbot 1967,81. Liebmann 1968,437, while not-
ecution from those versions in Rassel and New ing the combination of two motivesthat of Nymph of
York that are likely to be by Lucas the Younger.20 the Spring with Venus-Luxuria in Cranach's later
worksstresses that Luxuria should be interpreted not
Notes as voluptuousness, but as "luxuriant growth" or "pow-
1. The wood was identified as linden by Peter erful increase." For the iconography of partridges see
Klein, examination report, 29 September 1987, in NGA Talbot 1967,87 n. 35; and Herbert Friedmann, A Besti-
curatorial files, and by the National Gallery's scientific ary for Saint Jerome: Animal Symbolism in European
research department. Religious Art (Washington, 1980), 282, 284, 131-132.
2. Not verified, but Friedlnder and Rosenberg Two gray partridges (Perdix cinrea) similar to those
1932 (see Biography), 89, no. 324, cite the painting as in the National Gallery's painting occur in Cranach's
being formerly in the von Schenck collection. Saint Jerome in His Study, dated 1526 (John and Mable
3. Information from a copy of the Bonier stock rec- Ringling Museum of Art, Sarasota); Friedmann 1980,
ords in the Getty Provenance Index, Santa Monica; figs. 104-105. As pointed out by Friedmann 1980,131-
Martha Hepworth to Sally E. Mansfield, 18 August 1988, 132, although Jerome considered the birds satanic,
in NGA curatorial files. The painting is listed as being partridges could also refer to the eventual triumph of
on consignment from "Sarasota." It has not been pos- truth and hence are not easily interpreted within the
sible to verify Hepworth's suggestion that this might re- context of depictions of Saint Jerome.
fer to John Ringling. A notation in the stock records sug- 10. Talbot 1967, 81, 83-84. Schade 1974 (see Biog-
gests that the painting passed to the dealer Paul Cas- raphy), 69-71, without referring specifically to the Na-
sirer, but it has not been possible to confirm this. Bhler tional Gallery's panel, sees a connection between the
and Steinmeyer was the firm created by Julius Bhler, bow and arrow of Diana and the legendary spring of
Munich, and Fritz Steinmeyer, Lucerne, and operated the alchemist Bernardus Trevisanus. The theme of the
from the 19208 on; see Julius Bhler to the author, Nymph of the Spring is discussed at some length in
29 August 1988, in NGA curatorial files. Roepplin and Falk 1974-1976 (see Biography), vol. i,
4. Listed as being in Palitz' collection in exh. cat. with Dieter Koepplin, "Cranachs vor-manieristische
New York, 1939,110.54. Formeln," 421-432, and vol. 2, 631-641, nos. 543-548,
5. John Walker, letter to Clarence Y. Palitz, 16 Jan- and related images, nos. 549-554. See also Bonicatti
uary 1946, in NGA curatorial files. and Cieri 1974, 272-285.
6. See Otto Rurz, "Huius nympha loci: A Pseudo- 11. Talbot 1967, 81-84, discusses and reproduces
Classical Inscription and a Drawing by Durer," JWCI \ 6 Cranach's Venus and Cupid of 1509 (Hermitage, St. Pe-
( ! 953) > 171 -177; Elisabeth B. MacDougall, "The Sleep- tersburg) and Venus with Cupid as the Honey Thief,
ing Nymph: Origins of a Humanist Fountain Type," AB dated 1531 (Gallera Borghese, Rome). In this regard
57 C1975)? 357-365. The poem appears in a manuscript it is perhaps significant that Drer's drawing of Venus
compilation of inscriptions dated between 1477 and with Cupid as the Honey Thief, monogrammed and
1484 by Michael Fabricius Ferrarinus, prior at the Car- dated 1514 (Runsthistorisches Museum, Vienna), is as-
melite monastery at Reggio Emilia. The Latin poem sociated with the drawing of the Nymph of the Spring
reads: "Huius nympha loci, sacri custodia fontis / attributed to Durer; see Rurz 1953,171. The drawing is
Dormio, dum blandae sentio murmur aquae / Parce reproduced in Bonicatti and Cieri 1974, fig. 19.
meum, quisquis tangis cava marmora somnum / 12. Unless otherwise noted the paintings are on
Rumpere: sive bibas, sive lavere tace," or, as charm- wood:
ingly translated in 1725 by Alexander Pope: "Nymph of 1. Staatliche Schlsser und Garten, Jagdschloss
the grot, these sacred springs I keep, And to the mur- Grunewald, Berlin, 58.2 x 87 cm.; Friedlnder and
mur of these waters sleep; Ah, spare my slumbers, Rosenberg 1978 (see Biography), 93, no. ugA;
gently tread the cave! And drink in silence, or in silence Roepplin and Falk 1974-1976 (see Biography), vol.
lave!" MacDougall 1975, 359, notes that images of Ari- i, fig. 236.
adne on sarcophagi were available in the late fifteenth 2. Museum derbildenden Rnste, Leipzig, 1518,
and early sixteenth centuries but feels that it is unlikely 59 x 92 cm.; Friedlnder and Rosenberg 1978 (see
that ancient depictions of water nymphs or river gods Biography), 93, no. 119, repro.
were known until at least the 15308. 3. Formerly Staatliche Runstsammlungen, Rup-
7. Dieter Wuttke, "ZuHuius nympha loci "Arcadia ferstich-Rabinett, Dresden, pen and brown ink and
3 (1968), 305-307. gray wash, 116 x 206 mm.; Jakob Rosenberg, Die
8. Pen and brown ink and brush with watercolor, ZeichnungenLucas Cranach d.A. (Berlin, 1960)522,
38 GERMAN PAINTINGS
no. 40, repro., dated the drawing c. 1525. Venus on The Nymph of the Spring. This view was ac-
4. Thyssen-Bornemisza collection, Lugano, 77 cepted by several subsequent authors, among them
x 21.5 cm.; Friedlnder and Rosenberg 1978 (see Friedlnder and Rosenberg 1932 (see Biography), 49,
Biography), 94, no. 120, repro. no. 100. Rurz 1953, 176, however, suggested that the
5. Private collection, 36.5 x 25 cm.; Friedlnder prototype might have been a lost painting by Giorgione
and Rosenberg 1978 (see Biography), 94, no. i2oA; depicting Venus resting after the hunt with a herd of
Roepplin and Falk 1974-1976 (see Biography), vol. deer in the background. Bonicatti and Cieri 1974, fig.
2, fig. 317- 15, reproduce a Giorgionesque drawing of a nymph
6. Walker Art Gallery, Liverpool, 1534, 50.8 x and faun with a deer in the background. And as noted
76.2 cm.; Friedlnder and Rosenberg 1978 (see Biog- by Rurz, deer appear in the background of Cranach's
raphy), 121, no. 259, repro. drawing in Dresden.
7. Kunstsammlungen, Veste Coburg, diameter 14. Liebmann 1968, 435-437, emphasizes the im-
14.7 cm.; Friedlnder and Rosenberg 1978 (see Biog- portance of the Hypnerotomachia Poliphili, published
raphy), 116, no. 2326; Roepplin and Falk 1974-1976, in Venice in 1499. For Mocetto's engraving ofAmymone
vol. i,fig. 146. as a possible allegory of Mantua see Wolfgang Remp,
8. Present location unknown (in a private col- "Eine mantegneske Allgorie fur Mantua," Pantheon
lection, Paris, in 1932), 50 x 75 cm.; Friedlnder and 27 (1969), 12-17. For discussions of the complicated
Rosenberg 1978 (see Biography), 150, no. 402, repro. questions of the sources and interpretation of Cra-
9. Art market, Switzerland, in 1963, 48 x 72.5 nach's depictions of the Nymph of the Spring and their
cm.; Friedlnder and Rosenberg 1978 (see Biog- relation to other images see Harry Murutes, "Personi-
raphy), 150, no. 402 A. fications of Laughter and Drunken Sleep in Titian's
10. Staatliche Runstsammlungen, Rassel, 14.8 x 'Andrians,' " BurlM 115 (1973), 518-525; Roepplin and
20.6 cm.; Friedlnder and Rosenberg 1978 (see Bi- Falk 1974-1976 (see Biography), vol. 1,426-432; vol. 2,
ography), 150, no. 403A, as likely to be by Lucas 631-641; Schade 1974 (see Biography), 69-70; Boni-
Cranach the Younger; Anja Schneckenburger- catti and Cieri 1974,272-285; Ratrin Wernli, "Die schla-
Broschek, Die altdeutsche Malerei (Rassel, 1982), fende Nymphe," Der Mensch um ijoo. Werke aus
95, as workshop of Lucas Cranach the Younger. Kirchen und Kunstkammern [exh. cat., Gemldega-
11. Metropolitan Museum of Art, New York, Rob- lerie] (Berlin, 1977), 134-137, no. 23.
ert Lehman Collection, 16 x 20 cm.; Friedlnder 15. See note 12, nos. 1,2.
and Rosenberg 1978 (see Biography), 150, no. 4036, 16. See note 12, no. 3.
as likely to be by Lucas Cranach the Younger; 17. See note 12, nos. 4, 6. Helmut Brsch-Supan,
George Szab, The Robert Lehman Collection (New "Cranachs Quellnymphen und sein Gestaltungsprin-
York, 1975), pi. 72. zip der Variation," Akten des Kolloquiums zur Easier
12. Muse des Beaux-Arts, Besanon, 48 x 73 Cranach-Ausstellung 1974 (Basel, 1977), 21-22, sees
cm.; Friedlnder and Rosenberg 1978 (see Biog- the Thyssen-Bornemisza collection painting as the
raphy), 150, no. 403C; LeXVIe sicle europen. Pein- point of departure for later versions, and this was dis-
tures et dessins dans les collections publiques cussed in light of Cranach's workshop practice by
franaises [exh. cat., Petit Palais] (Paris, 1965), no. Lcher and Roepplin in an addendum.
95- 18. Roepplin and Falk 1974-1976 (see Biography),
13. Private collection, Switzerland, in 1969,48 x 638, under no. 547.
72.5 cm. (same as no. 8?); Friedlnder and Rosen- 19. See note 12, no. 15.
berg 1978 (see Biography), 150, no. 404, repro. 20. See note 12, nos. 10,11. Werner Schade, conver-
14. Hessisches Landesmuseum, Darmstadt, sation with the author, 31 October 1990, expressed his
SS* 37 x 24 cm-; Roepplin and Falk 1974-1976 belief that the National Gallery's panel might be by Lu-
(see Biography), vol. 2, fig. 316, no. 546. cas the Younger.
15. Nasjonalgalleriet, Oslo, 1550,71.5 x 122 cm.;
Nasjonalgalleriet. Katalog over Utenlandsk Maler- References
kunst (Oslo, 1973), 376, no. 832. 1932 Friedlnder and Rosenberg (see Biography):
16. Runsthalle, Bremen, 34.5 x 56 cm. Photo- 89, no. 324, repro. Rev. ed. 1978: 150, no. 403, repro.
graph in NGA curatorial files. 1959 Rosten, Leo. "Cranach: The Impish Nude."
17. Earl of Crawford and Balcarres collection in Look 20 January: repro. (Reprinted in The Story Behind
1958, 35.6 x 24.1 cm. Photograph in NGA photo- the Painting. New York, 1962: 52, repro. 53.)
graphic archives. 1967 Talbot, Charles W., Jr. "An Interpretation of
18. Art market, Switzerland, in 1970, 46.5 x 72 Two Paintings by Cranach in the Artist's Late Style."Na-
cm.; Pantheon 28 (1970), 271. tional Gallery of Art, Report and Studies in the History
13. Curt Glaser, Lukas Cranach (Leipzig, 1921), of Art: 68,78-85, repro. 79.
i oo-1 o i, in discussing the Leipzig version of 1518, was 1968 Liebmann, Michael. "On the Iconography of
apparently the first to see the influence of Giorgione's the Nymph of the Fountain" JWCI31:436.
L U C A S C R A N A C H THE ELDER 39
1974 Bonicatti, Maurizio, and Claudia Cieri. "Lu- painting. It appears that a brown layer was applied over
cas Cranach all soglie delPUmanesimo italiano." the ground throughout, visible in the upper left under
Journal of Medieval and Renaissance Studies 4: 280 the artist's serpent device. The background consists of
n.42. additional green-yellow and green-blue layers as well
1975 NGA: 86, repro. 87. as a glaze layer to create areas of shadow.
1976 Koepplin and Falk (see Biography), 2: 638, The painting is in very good condition, with only
under no. 547. small areas of retouching scattered throughout.
1976 Walker: 165, no. 189, repro.
1983 Wolff: unpaginated, repro. Provenance: Possibly Dr. Friedrich Campe, Nurem-
1985 NGA: 105, repro. berg, by 1844.2 Bernhard von Lindenau, Altenburg; by
inheritance to his niece, Mrs. von Watzdorf-Bachoff, Al-
tenburg.3 (Paul Cassirer, Berlin, by i92i). 4 Private col-
1959.9.1 (1371) lection, possibly von der Heydt.5 August Lederer,
Vienna, probably by 1923.6 (Rosenberg & Stiebel, Inc.,
New York, by 1954); purchased January 1954 by the
Portrait of a Man Samuel H. Kress Foundation, New York.7
1522 Exhibitions: Berlin, Paul Cassirer Gallery, 1921.
Beech, 58.7 x 41 (23'/s x i6'/s);
painted surface: 57.6 x 39.9 (225/8 x 153/4)
Samuel H. Kress Collection
Inscription
At top left corner, above a serpent with upright wings 1959.9.2 (1372)
holding a ring in its mouth, facing right: 7^22 (fig. i)
40 GERMAN PAINTINGS
are the white slashings of the black sleeves and Ratharina von Bora's is contained within its
the finely embroidered knot pattern in his shirt. boundaries. Only Koepplin, in a verbal opinion re-
The woman wears an elaborate black hat with corded by Eisler, raised the possibility that the
what appears to be an enamel pin attached at the pictures were by one of Cranach's sons or by an-
top. The color combination of her dress is the other artist not necessarily in the studio, finding
same as her husband's, but reversed; the bodice is the somewhat grainy paint and unusually flat sur-
black and the sleeves are brown. Notes of brighter faces not characteristic of Cranach at this time.13
color are provided by the red belt and band of More importantly, Koepplin noted the influence
embroidered fabric beneath it. The costumes of Netherlandish portraiture, such as that of Jos
suggest that the man and woman are either patri- van Cleve. There are some points of comparison,
cians or members of the wealthy middle class. for instance, with van Cleve's portraits of Joris
There is a clear physical disparity between the Vezeleer and Margaretha Boghe in the National
two figures, which has the effect of affirming the Gallery (1962.9.1 -2), probably painted in 1518, in
dominance of the man. His body occupies a which the figures are set against a green back-
greater area of the picture and his shoulders ex- ground with cast shadows.14
tend beyond the edges of the panel. The woman
is smaller and more slender, and her pale ivory Notes
complexion contrasts with the ruddier skin tones 1. The wood was identified by Peter Klein, exami-
nation report, 10 April 1987, in NGA curatorial files,
of her husband. By eliminating the hands and re- and by the National Gallery's scientific research de-
ducing the details of the costumes, the artist has partment.
focused the viewer's attention on the sitters' 2. Joseph Heller, Das Leben und die Werke Lucas
faces, which are sensitively delineated and thinly Cranach's (Bamberg, 1844), 89, lists "Ein mannliches
but subtly modeled. und ein weibliches Brustbild, bezeichnet mit 1522 und
An interesting feature of these portraits is the der Schlange" as belonging to the art and book dealer
Dr. Friedrich Campe of Nuremberg. Unfortunately, it is
shadows cast on the background behind the fig- not possible to determine whether these are the Na-
ures and along the top and side edges. In addition tional Gallery's paintings, and they are not mentioned
to noting that the shadows related the figures spa- in other descriptions of the collection, such as Ritter
tially to the background, Talbot observed that the C. Heideloff, Verzeichniss der Friedrich Campe'schen
portraits were probably intended to be hung on Samrnlung von Oelgemlden und geschmeltzen Glas-
malereien (Nuremberg, 1847).
either side of a window.9 The pattern of the shad- 3. H.-C. v. d. Gabelentz, director, Staatliches Lin-
ows indicates that the light source is between the denau-Museum, Altenburg, letter to Dr. Use Franke,
two pictures. The window panes reflected in the Munich, 19 July 1968, in NGA curatorial files. As Gabe-
sitters' eyes also allude to an interior.10 Cast shad- lentz notes in his letter, Bernhard von Lindenau or-
ows appear in Cranach's portraits with some reg- dered all his papers destroyed after his death, so it is not
ularity but were a device that was enthusiastically possible to determine, for example, when he acquired
the paintings.
adopted and made more emphatic by his son Lu- 4. Scheffler 1921, 298, cites the painting as being
cas the Younger and followers.11 with Cassirer. Gabelentz to Franke, 19 July 1968, says
Although not often discussed, these portraits that Mrs. von Watzdorf-Bachoff sold the portraits to
have been recognized since first published in Cassirer.
1921 as excellent examples of Cranach's portrai- 5. Not verified. Gabelentz to Franke, 19 July 1968,
says that the portraits were in the von der Heydt collec-
ture in the 15208. Talbot compared their sober tion, but it has not been possible to locate them in any
mood with that found in the depictions of Martin catalogues associated with the name von der Heydt.
Luther and his wife, first produced around 1525 6. Glaser 1923,179, reproduces the portraits as be-
but existing in nearly countless replicas.12 The ing in a private collection, Vienna; this is not included
same format is used: dark figures set against a fea- in the 1921 edition. Scheffler 1921, 298, reports only
tureless monochrome background that empha- that the portraits went from Cassirer into a private col-
lection, so it is possible, although not verified, that Led-
sizes the silhouettes and the differences in fig- erer owned them as early as 1921. Friedlnder and
ure size. As in the Washington portraits, Martin Rosenberg 1932 (see Biography), 53-54, nos. 123-124,
Luther's figure extends beyond the frame while are the first to mention Lederer as owner.
42 GERMAN PAINTINGS
Lucas Cranach the Elder, Portrait of a Woman, 1959.9.2
44 GERMAN PAINTINGS
Exhibitions: Dresden, 1899, Cranach-Ausstellung, no. Erasmus of Rotterdam's Enchiridion Militis Chris-
65. National Gallery of Art, Washington, from June tiani or Drer's engraving Knight, Death, and the
1Q53- Devil? Although secondary in importance, the
Good Thief may also be seen as an example of sal-
CHRIST'S DEATH onthecrosshereoccursinaset- vation through faith. Moreover, the use of the ver-
ting that has rightly been called frozen and time- nacular rather than Latin in the inscriptions is in
less.5 The bodies of Christ and the two criminals line with the Lutheran belief that the word of God
crucified with him are brightly lit and silhouetted should be directly accessible to all believers.
against the inky darkness of the turbulent sky. Be- At the time of its exhibition in Dresden in 1899
low are bands of yellow, orange, pink, and blue The Crucifixion with the Converted Centurion was
light that call to mind such eerie atmospheric considered by Friedlnder to be "probably auto-
phenomena as the aurora borealis. The barren graph," while Flechsig thought it was by Hans
foreground is strewn with pebbles and rocks, and Cranach but that Lucas Cranach the Younger
the contour of the horizon suggests the curvature should also be considered.9 Subsequent authors,
of the earth, reinforcing both the isolation and the however, have confirmed the attribution to Lucas
universality of the event. Cranach the Elder, and whether the panel was
Inscribed at the top of the painting are the painted entirely by Cranach himself or contains
words spoken by Christ just before his death, "Fa- workshop participation, the quality of execution
ther, into thy hands I commit my spirit!" (Luke is, in fact, quite high.
23:46). Flanking Christ are the two criminals, tra- Although Cranach produced numerous im-
ditionally called the Good Thief and the Bad Thief. ages of the Crucifixion throughout his career, The
While the Bad Thief on the right turns away, the Crucifixion with the Converted Centurion is ap-
Good Thief on the viewer's left, hence at Christ's parently the earliest of a relatively small number
right hand, recognizes Jesus' divinity and ac- of versions of this type. Closest to the National
cording to the biblical account (Luke 23:39-43) Gallery's picture, but smoother and blander in
will join him in paradise. At the foot of the cross is appearance, is the panel in the Staatsgalerie,
the centurion, clad in armor and wearing a fash- Aschaffenburg (fig. 2), which is monogrammed
ionable hat trimmed with ostrich feathers. To the and dated i539.10Two other versions, each dated
right are inscribed the words spoken by the centu- 1538 (Museo de Bellas Artes, Seville,11 and Yale
rion after Christ's death, "Truly this man was the University Art Gallery, New Haven12), repeat the
Son of God!" (Mark 15:39). Along with Longinus composition but alter details such as the pose of
the spear bearer, with whom he is sometimes con- the Bad Thief or the costume of the centurion.
fused, this anonymous soldier was among the first Friedlnder and Rosenberg list another version
Gentiles to recognize the Savior's divinity.6 containing a bust-length donor portrait that in
Painted in 1536, when the Protestant Reforma- 1931 was in a private collection in Paris.13 A close
tion was well established in many regions of Ger- replica of the National Gallery's panel is in a pri-
many, the National Gallery's panel and related vate collection in Basel.14
versions have been interpreted as reflecting one
of the central tenets of Lutheran doctrine, salva- Notes
tion through faith alone. The prominently dis- 1. The wood was identified as beech (sp. Fagus) by
Peter Klein, examination report, i o April 1987, and by
played centurion may be seen as a personification the National Gallery's scientific research department,
of the idea that salvation is achieved through the report, 15 July 1988, both in NGA curatorial files. The
gift of God's grace, and his conversion to Christi- wood was erroneously identified as linden in exh. cat.
anity as evinced by his words constitutes an indi- Dresden 1899, which was repeated in Eisler 1977, 24.
vidual statement of faith.7 Talbot also noted as- 2. Listed as owner in exh. cat. Dresden 1899.
3. Max Stern, Dominion Gallery, letter to Charles
sociations between the centurion, mounted on Henschel, M. Knoedler & Co., 8 January 1952, in
a white charger, and Saint George, the almost ar- Knoedler files, stating that Feigel acquired the painting
chetypal Christian knight, and, further, the im- from Salamon in 1947 and that it had been previously
ages of the militant Christian soldier found in owned by Mrs. Jen Hubay, born Countess Cebrian
Rosa, who sold it after the death of her husband. I am "Protestant" subjects, 498-522. See also Laurinda S.
grateful to Nancy C. Little, M. Knoedler & Co., for her Dixon, "The Crucifixion by Lucas Cranach the Elder: A
assistance. Study in Lutheran Reform Iconography," Perceptions i
4. Nancy C. Little, M. Knoedler & Co., letter to the (1981), 35-42, and Christiane D. Andersson, "Religiose
author, 2 March 1988, in NGA curatorial files. A report Bilder Cranachs im Dienste der Reformation," Human-
of the Getty Provenance Index, in NGA curatorial files, ismus und Reformation als kulturelle Krafte in der
states that the painting was jointly owned by Pinakos, deutschen Geschichte. Ein Tagungsbericht (Berlin,
Inc. (Rudolf Heinemann). 1980,43-79.
5. Talboti 9 67, 7 8. 8. Talbot 1967,71 -72, citing and reproducing Cra-
6. See Rau, Iconographie, vol. 2, pt. 2 (1957), 496- nach's Saint George, formerly Staatliche Runst-
497. Prior to 1980 the painting had been entitled The sammlungen, Dessau. For a discussion of Durer's
Crucifixion with Longinus. engraving in relation to Erasmus' writings see Panof-
7. Talbot 1967, 71; Eisler 1977, 24-25; Roepplin sky 1943,151-154. For the possible influence on Durer
and Falk 1976 (see Biography), 486, and for further of Cranach's woodcut of 1506, Knight in Armor Riding
46 GERMAN PAINTINGS
Lucas Cranach the Elder, The Crucifixion with the Converted Centurion, 1961.9.69
L U C A S C R A N A C H THE E L D E R 47
toward the Right, see Lynda S. White, "A New Source 14. Wood, 51.3 x 33.2 cm., photograph in NGA cu-
for Drer's Knight, Death and the Devil" Source 2 ratorial files. The painting was examined by Martha
(1982), 5-9. Wolff, 13 May 1985, memorandum in NGA curatorial
9. Friedlnder 1899, 242; Flechsig 1900, 275. files; see also letter from Dieter Roepplin, 20 April 1985,
10. No. 13255, wood, 51.5 x 34 cm.; see Galerie in NGA curatorial files.
Aschaffenburg. Katalog (Munich, 1975), 46. Fried-
lander and Rosenberg 1932 (see Biography), 85, no. References
303, include exhibition and provenance information 1899 Friedlnder, Max J. "Die Cranach-Ausstel-
that pertains to the National Gallery's picture, not this lung in Dresden." RfK 22: 242.
one; this conflation continues in the revised edition of 1900 Flechsig, Eduard. Cranachstudien. Leipzig:
1978, 145, no. 378. 275, no. 65, 282, under no. 1*15.
11. Wood, 85 x 56 cm. ngulo Iiguez 1972, 1-7, 1932 Friedlnder and Rosenberg (see Biography):
repro.; Koepplin and Falk 1976 (see Biography), 485- 85, under no. 303. Rev. ed. 1978: 145, no. 3780.
486, fig. 267. 1956 Kress: 60, no. 20, repro. 61.
12. No. 1959.15.23, wood, 60 X 40.6 cm. Charles 1967 Talbot, Charles W., Jr. "An Interpretation of
Seymour, Jr., The Rabinowitz Collection of European Two Paintings by Cranach in the Artist's Late Style."
Paintings (New Haven, 1961), 40, repro. 41, states that National Gallery of Art, Report and Studies in the His-
the centurion is a portrait of Johann Friedrich, elector tory of Art: 68,71-78, repro. 69.
of Saxony. This is repeated in Andrew Carnduff Ritchie 1972 ngulo Iiguez, Diego. "Lucas Cranach: el
and Katharine B. Neilson, Selected Paintings and Sculp- Calvario de 1538 del Museo de Sevilla." Archivo Es-
ture from the Yale University Art Gallery (New Haven paol de Arte 45: 6.
and London, 1972), no. 6. Talbot 1967,86 n. 15, did not 1974 Schade (see Biography): 86.
find the comparison with known portraits of Johann 1975 NGA: 86, repro. 87.
Friedrich convincing but noted that the centurion's 1976 Walker: 165, no. 187, repro. 164.
face was more individualized than in other versions, 1976 Koepplin and Falk (see Biography) 2: 486,
including the National Gallery's panel. under no. 334.
13. Friedlnder and Rosenberg 1932 (see Biog- 1977 Eisler: 24-25, fig. 15.
raphy), 85-86, under no. 303; rev. ed. 1978 (see Biog- 1983 Wolff: unpaginated, repro.
raphy), 145, no. 378D; the painting apparently bore the 1985 NGA: 106, repro.
artist's devise and was dated 153[8].
48 GERMAN PAINTINGS
Albrecht Durer
1471-1528
ALBRECHT DURER 49
solemnity and use of Venetian color and motifs companied by his wife and a maid. He arrived in
silenced any criticism of Drer's abilities as a Antwerp on 3 August 1520 and visited Mechelen
painter. From Venice, Durer apparently went to and Brussels, where he was received by Margaret
the university city of Bologna to learn about per- of Austria. His diary, kept during his j ourney, is an
spective and then j ourneyed farther south to Flor- invaluable source of information and reveals that
encewhere he saw the work of Leonardo da the artist was highly esteemed and often enter-
Vinci and the young Raphaeland to Rome. tained by his Netherlandish colleagues. In Octo-
Christ among the Doctors, 1506 (Thyssen-Bor- ber he attended the coronation of Charles in
nemisza Collection, Lugano), was painted in Aachen and then spent several weeks in Cologne
Rome in five days and reflects the influence of before returning to Antwerp for the winter. The
Leonardo's grotesques. Durer was back in Venice impact of his art can be seen, in part, in the
early in 1507 before returning to Nuremberg in numerous Netherlandish copies of the Saint
the same year. Jerome painted in An twerp in 1521 (Museo Nacio-
Except for a few short journeys, Durer re- nal de Arte Antiga, Lisbon). He, in turn, was in-
mained in Nuremberg from 1507 until 1520. His fluenced by the engravings of Lucas van Leyden.
work alternated between periods when painting Leaving Brussels and traveling by way of Lou-
predominated and periods when graphic work vain, Aachen, and Cologne, Durer arrived back in
received more attention. The All Saints altar- Nuremberg early in August 1521.
piece, completed in 1511 (Kunsthistorisches Mu- In his last years Durer became increasingly in-
seum, Vienna), was commissioned by Matthus volved in his theoretical writings. The Teaching of
Landauer, and the presentation drawing of 1508 Measurements was completed in 1525 and fol-
(Muse Cond, Chantilly) shows that Durer de- lowed by Various Instructions of the Fortification
signed the frame as well. This was followed by of Towns, Castles, and Large Villages of 1527. His
several print cycles, the Small Passion woodcuts last and most important treatise, Four Books on
of 1509 to 1511 and the engraved Passion of 1512. Human Proportion, was published posthumously
Durer attracted the attention of Emperor Maxi- on 31 October 1528. A number of painted and en-
milian I, who visited Nuremberg in February 1512 graved portraits were produced in these years,
and subsequently gave Durer several commis- but the major work is the Four Apostles, dated
sions, including the marginal drawings for Maxi- 1526 (Alte Pinakothek, Munich), presented to the
milian's prayerbook (Bayerische Staatsbiblio- city council in Nuremberg. The Apostles John,
thek, Munich), to which other artists also contrib- Peter, and Paul, and the Evangelist Mark are ac-
uted. The three so-called "Master Engravings" companied by inscriptions warning against false
Knight, Death, and the Devil of 1513 and Saint Je- prophets. It is generally agreed that the apostles
rome in His Study and Melencolia /, both of 1514 personify the Four Temperaments, but there is
raised the engraving technique to new heights less consensus on the degree to which the panels
and reflect Drer's ongoing assimilation of Italian reflect Drer's Lutheranism or his concern over
art, theory, and in the case o Melencolia /, Neo- the excesses of the Reformation.
platonic philosophy. From about 1518 on Durer Durer died on 6 April 1528, possibly as a result
seemed to be striving for a greater simplicity and of a malarial infection contracted in 1521 when he
solidity of form, as can be seen in the Madonna went to Zeeland in the hopes of seeing a stranded
and Child with Saint Anne of 1519 (Metropolitan whale. He is the best-known and arguably the
Museum of Art, New York). greatest German artist of the Renaissance, whose
Following the death of Maximilian I, Drer's work was admired and influential throughout
need to have his pension confirmed by Charles V Europe.
prompted him to travel to the Netherlands, ac-
50 GERMAN PAINTINGS
Bibliography
Panofsky 1943.
Anzelewsky 1971.
Mende, Matthias. Drer-Bibliographie. Wiesbaden,
1971-
Anzelewsky, Fedja. Durer: His Art and Life. Translated
by Heide Grieve. London, 1982.
1952.2.16a-b (1099)
Inscriptions
Coat-of-arms at lower left: Gules, a chap emanating
from the dexter flank argent, charged with a dexter
gyron sable. Crest: out of a wreath of the liveries the
torso of an armless Moorish woman proper, habited
gules, crined and braided sable, earringed Or, wear-
ing a "flying head band" (fliegende Binde) twisted
gules and argent. Mantling: gules, lined argent*
Coat-of-arms at lower right: rendered heraldically in-
describable by later alterations (see Technical
Notes)
On reverse, on rock at left center:
Technical Notes: Examination of the panel and the x- Fig. i. Infrared reflectogram assembly of a detail of
radiograph show that the support is comprised of four Madonna and Child, 1952.2.163
boards with vertically oriented grain. Unsmoothed adz
marks are visible on the reverse, indicating that the
panel was thinned and smoothed after joining. The commercially produced until around i828.3 The Ma-
edges are obscured by the picture frame, although it is donna and Child is in excellent condition. There is a
possible to see that the bottom edge has been cut. Thin scratch and a retouched loss in the window at the left.
strips of wood are nailed to each picture edge. There is light abrasion in the flesh tones and in the
Underdrawing in what appears to be a liquid mate- glazes of the greens. The blue paint of the Madonna's
rial, possibly iron gall ink, can be seen in the Child's robe is deeply cracked and has accumulated dark ac-
body with the unaided eye. Examination with infrared cretions in the thickest areas.
reflectography reveals diagonally hatched underdraw- Lot and His Daughters is quite different from the ob-
ing in the face of the Madonna (fig. i), and elsewhere verse in both its manner of execution and state of pres-
a few contour lines. The Child's left foot was changed ervation. A ground or preparation layer is either not
slightly from its underdrawn position. The coat-of- present or not readily discernible; it is possible that
arms at the lower right has been heavily altered. The there is a layer of glue or glue with a very small admix-
original arms are painted out, and both the x-radio- ture of calcium carbonate that has become transpar-
graph and infrared reflectogram show only a single ent. There is no underdrawing visible either to the
dark form against a light background. On the surface is naked eye or under infrared reflectography. The
a design of vertical and diagonal bars and three balls. monogram (fig. 2) rendered in brown paint is not vis-
Optical microscopy of the blue paint in this design dis- ible under infrared reflectography, whereas the dark
closed synthetic ultramarine, a pigment that was not lines defining the surrounding rock formations are vis-
ALBRECHT DURER 51
cepted by virtually all of the major authorities,
and isolated attempts to give the panel to Hans
Baldung Grien, Hans Sebald Beham, or even Al-
brecht Altdorfer have proven untenable.9
On the obverse the Virgin in half length sup-
ports a naked Christ Child who stands with one
foot on a cushion and holds in his proper left hand
a fruit, probably an apple. These figures are set in
a shallow marble interior, and at the left a window
opens onto a mountainous landscape in which a
winding trail leads upward to a castle tower.
Northern and Italian compositional elements are
combined. As observed by Panofsky, the place-
ment of figures in the corner of a room with a win-
dow containing a landscape view is an essentially
Netherlandish device and may be said to begin
Fig. 2. Detail of Lot and His Daughters, 1952.2. i6b with Dirck Bouts' Portrait of a Man of 1462 (Na-
tional Gallery, London).10 The Tietzes also saw
ible, indicating the presence of black pigment in the the influence of Martin Schongauer's engraving,
latter. If the monogram were very recent, it is likely that the Madonna and Child with a Parrot (Bartsch,
it would be made visible with infrared reflectography. 29), which shows both a corner of a domestic inte-
Numerous small losses are scattered throughout and rior with a window and the Christ Child seated on
reflect worm damage, abrasion, impacts to the surface, a large cushion.11
and flaking due to movement of the unprimed wood.
It is, however, Drer's admiring absorption of
The j oins of the panel have opened in the past and have
visible inpainting. Venetian art that is most striking and most com-
mented upon. Although the Tietzes mentioned
Provenance: Probably a member of the Haller family, Antonello da Messina, it is the impact of Giovanni
Nuremberg. Possibly Paul von Praun [d. 1616] and de- Bellini that is immediately apparent. One can find
scendants, Nuremberg, until at least 1778.* Charles close comparisons to Bellini's paintings of the late
Court Repington [d. 1925], Amington Hall, Warwick-
shire; sold to Mrs. Phyllis Loder, London5 (sale, Chris-
14808, both stylistically and in the general ar-
tie, Manson & Woods, London, 29 April 1932, no. 51, as rangement of half-length Madonna, standing
by Bellini); (Vaz Bias).6 Baron Heinrich Thyssen- Child, and foreground parapet, specifically the
Bornemisza, Villa Favorita, Lugano, by 1934; (Pinakos, Madonna degli Alberetti, dated 1487 (Gallerie
Inc. [Rudolf Heinemann], on consignment to M. dell'Accademia, Venice) and the center panel of
Knoedler & Co., New York, i95o);7 purchased 1950 by the Frari altarpiece, dated 1488 (Church of the
the Samuel H. Kress Foundation, New York.
Frari, Venice).12 While retaining the proportions
Exhibitions: New York, Metropolitan Museum of Art; of Bellini's poised, self-aware bambino, Durer
Nuremberg, Germanisches Nationalmuseum, 1986, transformed him into a fidgety, awkward infant.
Gothic and Renaissance Art in Nuremberg ijoo-ijjo, The solidly modeled oval of the Madonna's head,
no. 109 (shown only in New York). her serious expression, and distant gaze also de-
rive from Bellini, as can be seen in the faces of the
THIS PANEL was unknown until 1932 when it was Virgin in the Pala di San Giobbe of 1487 and the
sold, as a Bellini, at auction in London. Following Madonna and Child with Saint Catherine and the
its cleaning8 and the disclosure of an image on the Magdalene, c. 1490 (both Gallerie dell'Accade-
reverse, it was acquired by Baron Heinrich Thys- mia, Venice).13
sen-Bornemisza and first published as by Durer In contrast to the finely rendered details and
in Friedlnder 1934. The picture has emerged as finished surfaces of the Madonna and Child, the
one of the most important paintings from the art- representation of Lot and His Daughters on the
ist's early maturity. The attribution to Durer is ac- reverse is handled in a broad, fluid, and some-
52 GERMAN PAINTINGS
Albrecht Durer, Madonna and Child, 1952.2.16a
ALBRECHT DURER 53
Albrecht Durer, Lot and His Daughters, 1952.2.16b
54 GERMAN PAINTINGS
what summary manner that has been compared left there would seem to be little doubt that the
to watercolor technique. The image is based on National Gallery's panel was first owned and
the account in Genesis 19:24-29. In the fore- probably executed for a member of the Haller
ground Lot, wearing a hat of Turkish, probably family of Nuremberg.17 The Hallers were one of
Ottoman, design14 and followed by his two daugh- Nuremberg's largest and most influential pa-
ters, who carry a few possessions, departs the cit- trician families. But our inability to identify the
ies of Sodom and Gomorrah. The destruction of coat-of-arms at the lower right renders it all but
these cities in a cataclysmic explosion of fire and impossible to find a candidate. Notwithstanding,
billowing smoke takes place in the background. Anzelewsky raised the possibility that the panel
On the path at the upper left is Lot's wife, who has was painted for Wilhelm Haller (d. 1534), whose
been turned into a pillar of salt after defying the second marriage to Dorothea Landauer took
Lord's injunction against looking back. Unlike place in 1497, while Mansfield has suggested
the obverse, there is nothing overtly Italianate Hieronymus II Haller (d. 1519), who married
about the style or composition. Catharina Wolf von Wolfstal in 1491.18
The juxtaposition of the Madonna and Child It is not clear whether the panel in its present
with a representation of Lot and his daughters is form is complete or not. Anzelewsky and Strieder
highly unusual, if not unique, and according to believe that it was originally the left wing of a dip-
Anzelewsky is the first depiction of the story of Lot tych and that a donor portrait would have been
in panel painting. Anzelewsky and Eisler arrived on the right wing.19 Among Drer's extant por-
at similar interpretations of the possible icono- traits there are no viable candidates. Noting that
graphie relationship between obverse and re- neither Madonna nor Child faces in the direction
verse. Both authors noted that in the typological of the donor, Lcher argues against the idea of a
writings of the later Middle Ages, such as the Spec- diptych and suggests instead that the obverse had
ulum Humanae Salvationis and the Biblia Pau- a sliding cover that most likely bore a coat-of-
perum, the theme of Lot in Sodom and Gomorrah arms.20 The fact that the obverse is in much better
is an Old Testament typology, or prfiguration of condition than the reverse may be seen as an indi-
Christ in Limbo.15 Both are demonstrations of cation that it was protected in some manner,
God's redemption of mankind. The motif of re- whether by a cover or a portrait.
demption is found on the obverse, for Christ is It is generally agreed that the National Gal-
born, assumes human form, and dies on the cross lery's panel dates after Drer's first trip to Venice
in order to save man from sin. By carrying an of 1494-1495 and, as suggested by the Haller
apple, the Child is marked as the "new Adam," arms, was probably executed in Nuremberg.
while the Virgin, perhaps in a moment of premo- There has been, nevertheless, a divergence of
nition, looks outward with an expression of great opinion. The question is complicated by the dif-
seriousness. Eisler in particular stressed the pas- ferences in style, finish, and subject matter be-
sional aspect of the Virgin's demeanor and found tween obverse and reverse, which have prompted
in the marble setting overtones of the Entomb- several authors to propose different dates for
ment. The destruction of Sodom and Gomorrah each side, with Lot and His Daughters generally
is also a typology for the destruction of the world seen as being earlier. Friedlnder dated the Ma-
predicted in Revelation and, as noted by Seymour donna and Child to 1498/1502 and the reverse to
and Benesch, may reflect the chiliasm and fears 1497 or a little later.21 Buchner also dated the re-
that the world would end that gripped Germany verse to 149671497 but saw a connection between
as the year 1500 approached.16 the backward-bent wrist of the Child's arm and
While some have credited Durer with the Eve's left arm in Drer's 1504 engraving of Adam
choice of subjects, it is perhaps more likely that and Eve, which suggested a date of c. 1504 for the
they reflect the wishes of the patron. Unfortu- Madonna and Child.22 Panofsky, who had not
nately there are no documents, and the physical seen the original, dated the obverse to c. 14987
evidence for the commission is incomplete and 1499 and the reverse to c. H97-23 Winkler put for-
inconclusive. From the coat-of-arms at the lower ward 1495 for the re verse ande. 149671499 for the
ALBRECHT DURER 55
obverse, while Strieder suggested that Lot and reverse.30 A difference in style or speed of execu-
His Daughters, c. 1498, was slightly later than the tion does not necessarily mean a difference in
Madonna and Child of 149671497.^ Eisler dated date.
the reverse to the mid-14908 and the obverse to A comparison of the Madonna and Child and
c. 1500 but allowed that the Madonna and Child Lot and His Daughters with Drer's other works
could be as late as c. 15O5.25 affirms, I believe, the views of those who think
The Tietzes, Suida, Seymour, Anzelewsky, and that both sides are contemporaneous and date
Stechow believe that both sides were painted si- from c. 1496/1499. For the Madonna and Child
multaneously and more or less agree on a date of the closest comparisons are with the Madonna
1496/1498. Influenced by Buchner's observa- and Child (Magnani Rocca Collection, Parma)
tions, Shapley dated the panel c. 1505, and this and the Madonna and Child before a Landscape
dating is preserved in subsequent National Gal- (Georg Schfer Collection, Schweinfurt).31 The
lery publications.26 Waetzoldt put the picture at National Gallery's picture shares with these the
the time of the second Venetian journey, 15057 direct influence of Giovanni Bellini, visible in the
1507, while Longhi placed it before the second stable triangular arrangement of the half-length
trip.27 figures and the large-headed, Italianate, and
In order to arrive at a viable date, it is necessary somewhat ungainly infants. In the Parma panel
to consider Drer's two-sided paintings as well as the surrounding marble architecture and the
the relation of the Madonna and Child and Lot modeling of the Virgin's face are especially close,
and His Daughters to his work in all media. Ex- while the proportions of the Christ Child and the
cluding the Washington panel, only four of manner of rendering trees are more like those in
Drer's paintings bear images on both sides. Two the Schweinfurt picture. Both paintings are dated
of these have coats-of-arms on the reverse: the 1494/1495 by Anzelewsky but put closer to 1506
portrait of Albrecht Durer the Elder of 1490 (Gal- by a few authors.32 The change in style effected by
lera degli Uffizi, Florence) and that of Hans the first trip to Italy can be seen in the differences
Tucher, dated 1499 (Schlossmuseum, Weimar).28 between the Christ Child with the World Globe,
The other two are the Saint Jerome Penitent, monogrammed and dated 1493 (Graphische
c. 1494/1497 (Fitzwilliam Museum, Cambridge, Sammlung Albertina, Vienna), and the Infant in
on loan from the Edmund Bacon collection), the Holy Family, c. 1495 (Museum Boymans-van
which has on the reverse an unidentified celestial Beuningen, Rotterdam, on loan from the Rijks-
or cosmic event, and the Portrait of a Man, dated dienst Beeldende Runst, The Hague); 33 the for-
1507 (Runsthistorisches Museum, Vienna), on mer is more delicate and gothic, while the latter
the back of which is depicted an old woman hold- is larger and more active.
ing a sack of money, which is possibly an allegory The concern for the solidity and volume of the
of avarice or vanity.29 In the latter two instances human figure that one sees in the Washington
the subjects on the reverse and the relationship of Madonna and Child is also evident in certain of
front to back are unusual; the reverse of the por- Drer's drawings of the mid-14905, such as the
trait probably reflects the wishes of the sitter, but Nude Woman Seen from Behind (Muse du
the back of the Saint Jerome may have been the Louvre, Paris),34 the sheet of studies including a
artist's choice. Although it is perhaps more appar- nude man and a Christ Child (Gallera degli Uffizi,
ent in these two instances, it should be noted that Florence), or the Madonna and Child in a Niche
in all four panels the obverse is more carefully (Wallraf-Richartz-Museum, Cologne).35 Com-
painted than the reverse. In his writings Durer pare also the Angel with a Lute, dated 1497 (Rup-
seems to differentiate between degrees of finish; ferstichkabinett, Berlin), the Women's Bath,
careful "fiddling" (klaubelh) is distinguished dated 1496 (formerly Runsthalle, Bremen), and
from looser "common painting" (gemeinegemal). the Woman Standing in a Niche, dated 1498 (?)
And as suggested by Anzelewsky with specific ref- (Metropolitan Museum of Art, Robert Lehman
erence to Lot and His Daughters, the broader Collection, New York).36
manner was considered more appropriate for the Further comparisons are to be found in Drer's
56 GERMAN PAINTINGS
portraits of the late 14905. In the portraits of face of the Virgin is fundamentally different in
Hans and Felicitas Tu cher, dated 1499 (Schloss- type, less symmetrical, more particularized, and,
museum, Weimar), and the portrait of Elsbeth one might say, more "Germanic."45 Further, in
Tucher from the same year (Gemaldegalerie, two paintings of the Lamentation, one produced
Kassel), the placement of the figure next to a win- for the Holzschuher family (Germanisches Na-
dow and the way in which the landscape foliage is tionalmuseum, Nuremberg), the other for Al-
painted are quite similar.37 Durer also used this brecht Glimm (Alte Pinakothek, Munich), both
arrangement for his 1497 portrait of a female dated c. 1500, the elaborate, extensive landscape
member of the Frleger family (Gemaldegalerie, is not so much differently executed as it is differ-
Berlin)38 and for his Self-Portrait of 1498 (Museo ently conceived.46 Lastly, and with regard to
del Prado, Madrid),39 although in these instances Buchner's date of c. 1504, accepted by Shapley
the landscape is not particularly close in style. and others, it should be noted that the backward-
The portrait of Oswald Rrell, however, dated 1499 bent wrist of the Christ Child appears in embryo
(Alte Pinakothek, Munich), is related in the man- in Giovanni Bellini's Madonna degliAlberetti and
ner in which the trees at KrelPs left are painted could easily have been appropriated by Durer.
and in the use of "wild men" to support coats-of- As noted by Eisler, it is highly unusual for Durer
arms.40 to place his monogram on the reverse of a paint-
Turning to Lot and His Daughters, perhaps the ing,47 and the particular form of this monogram is
most important parallel, initially observed by apparently unique. Nonetheless, the monogram
Friedlnder, is that the destruction of the cities of is consistent with our suggested dating of c. 14967
Sodom and Gomorrah appears, in reverse, in the 1499. In the late 14905 Durer seems to have exper-
woodcut of the Whore of Babylon from Drer's imented with various arrangements of his initials
Apocalypse series of ngS.41 Note also the compa- before settling, around 1497, on the famous
rable explosion that occurs in the lower left of the monogram of a capital D set under the crossbar of
Seven Trumpets woodcut in the same series.42 The a larger capital A48 As first observed by Buchner,
Turkish garb of Lot and the sturdy proportions of the monogram in the Washington painting is
all three figures are echoed in Drer's pen and closest to that found in Drer's engraving of The
watercolor studies of'orientals from c. 1495 as Virgin with the Dragonfly, c. 1495 (Bartsch, 44).49
well as in engravings such as the Turkish Family Technical examination does not seem to indicate
and the Three Peasants in Conversation, both c. that the monogram has been altered or that it is
1496/1497.43 Moreover, as has been observed on not original, despite Anzelewsky's claims.50
several occasions, the thin, fluid, and somewhat Winkler cited a chiaroscuro woodcut of the
cursory rendering of the landscape corresponds Madonna and Child by Hans Wechtlin, active in
to that found in Drer's watercolors, c. 1494/1497, Strasbourg between 1506 and 1526, as directly in-
done in Italy and after his return to Germany.44 spired by Drer's Madonna and Child.51 Eisler
In the small painting of Saint Jerome Penitent saw the influence of Drer's Madonna in the
mentioned earlier, the rocks are similarly con- woodcut of The Holy Family by Hans Schufelein,
structed, but as one might expect for an ob- dated c. 1508 (Bartsch, 13), indicating its avail-
verse, the overall landscape is more finished ability in the workshop.52
and nuanced.
The particular mixture and character of stylis- Notes
tic elements seen in the Madonna and Child and i. Since it was not possible to disengage the panel
Lot and His Daughters are not discernible in the from its frame, these measurements derive from an
works generally dated around or after 1500. analysis of x-radiographs and include thin strips of
There are admittedly very few Madonna paint- wood added to all four sides. Kress 1951, 192, gives as
ings by Durer until the time of his second Venetian measurements: 52.6 x 42.9(207/8 x iGVs); painted sur-
face, obverse, 50.5 x 40(197/8 x 153/4); painted surface,
tripand these are very differentbut in the pic- reverse, 50.2 x 40 (19% x i53/4). The panel thickness
ture closest in date, the Madonna and Child of is estimated to be 0.3 cm. in notes in NGA conservation
1503 (Runsthistorisches Museum, Vienna), the department files.
ALBREUT DURER 57
2. I am indebted to Walter Angst for the heraldic by later authors. For Charles Court Repington see J.
description. E. Edmonds in The Dictionary of National Biography,
3. Rutherford J. Gettens and George L. Stout, supplement (Oxford and London, 1922-1930), 717-
Painting Materials: A Short Encyclopedia (rev. d., 718. That he dealt in pictures on occasion is stated in
New York, 1966), 163. Mary Repington, Thanks for the Memory (London,
4. Christophe Gottlieb von Murr, Beschreibung 1938), 223,278. No information has come to light con-
der vornehmsten Merkwrdigkeiten in des H. R. Reichs cerning Phyllis Loder. There is no justification for the
freyen Stadt Nrnberg und aufder hohen Schule zuAlt- assertion in Sutton 1979,205, that the picture was once
/o//(Nuremberg, 1778), 476: "Von einem unbekannten owned by Robert Langton Douglas.
sehr alten Meister. N. 239 Lot eilet mit seinen Tchtern 6. Art Prices Current 11, pt. A (London, 1933),
aus Sodom. Man siehet unter andern auch ein Marien- A154, no. 2445; see also tne handwritten annotation in
bild angebracht. Auf Holz." Listed as belonging to the the copy of the Christie's sales catalogue in the Frick
"Praunisches Museum." The suggestion, which re- Art Reference Library, New York, as cited by Eisler
mains unverified, that this refers to the National Gal- 1977, 14. A note in the provenance section of the card
lery's painting was first made by Erika Tietze, letter to file in the NGA curatorial records office suggests that
Fern Rusk Shapley, 4 February 1953, in NGA curatorial the panel passed from Vaz Dias to the dealer Botten-
files. In Murr's later catalogue of the collection, how- wieser in Berlin, but it has not been possible to verify
ever, the painting is given to Joachim Patinir. See Chris- this.
tophe Thophile de Murr, Description du Cabinet de 7. M. Rnoedler & Co. stockbook; I am grateful to
Monsieur Paul de Praun Nuremberg (Nuremberg, Nancy C. Little for making this information available.
1797) ,31: "Joachim Patenier, 239. Lot et ses deux Filles 8. A photograph of the painting before cleaning is
sortans de Sodome. Les figures sont comme de- in the NGA curatorial files.
coupes, sans justes ombres. Sur bois. Albert Durer re- 9. Lanckoroska 1971,57,59, attributed the paint-
ut ce petit Tableau en 1521 Anvers par le Secrtaire ing to Hans Baldung Grien and dated it c. 1502/1503;
de cette Ville . . . haut 8 p. larg. 8 p." The dimensions in Oehler 1973,72, gave the picture to Hans Sebald Beham
pouces, approximately 8 x 8 in., do not correspond to and dated it after 1504; Walter Strauss, letter to Perry
those of the Washington panel, and a verso is not de- Cott, 28 June 1968, in NGA curatorial files, attributed it
scribed, suggesting that a different painting had been to Albrecht Altdorfer, primarily on the basis of the
assigned the same catalogue number. The Praun col- monogram.
lection was dispersed in sales of 1797 and 1802; see Th. 10. Panofsky 1943, 1:41-42.
Hampe, "Runstfreunde im alten Nrnberg und ihre 11. Tietze 1937,2:15; Schonguaer's engraving as re-
Sammlungen," Festschrift des Vereinsfr Geschichte der produced in Jane C. Hutchison, d., The Illustrated
Stadt Nrnberg zurFeier seines 2jjahr. Restehens (Nur- Bartsch: Early German Artists (New York, 1980), 8:243.
emberg, 1903), 82-87. 12. Reproduced in color and catalogued in Renato
Eisler 1977, 14, listed Willibald Imhoff the Elder Ghiotto and Terisio Pignatti, L'opra complta di Gio-
(d. 1580) of Nuremberg as a possible owner. Although vanni Bellini (Milan, 1969), 98, no. 106; 100-101, no.
there are several images of the Madonna or of the burn- 134; pis. 31 and 41, respectively.
ing of Sodom and Gomorrah listed in the ImhofT inven- 13. Ghiotto and Pignatti 1969, pis. 33-34.36-37; 97-
tories, they are not conjoined or described in enough 98, no. 101; 101, no. 138.
detail to permit identification with the National Gal- 14. Eisler 1977,13, notes that Lot's costume was re-
lery's picture. By the same token, it is not possible to garded as Near Eastern, specifically Turkish. Julian
verify the interesting suggestion in Eisler 1977, 16 n. Raby, Venice, Durer, and the Oriental Mode (London,
46, that the Washington panel might be the "Marienbild 1982), 22-30, discussed Durer's use of the "Ottoman
von Albrecht Durer" belonging to both the Imhoff and mode" in works made during and just after his first trip
Praun collections. See Joseph Heller, DasLeben und die to Venice. Lot's hat in particular corresponds to the type
Werke Albrecht DUrer's (Bamberg, 1827), vol. 2, pt. i, of headdress called Ottoman by Raby.
78, no. i (Imhoff), 230-231, no. y (Praun). There is also 15. Anzelewsky 1971,56-57; Eisler 1977,13-14. See
some question as to whether the many works listed as Rau, Iconographie, vol. 2, pt. i (1956), 115-118.
by Durer in the Imhoff collections were autograph or 16. Seymour 1961 (Kress), 83; Benesch 1966, 20.
deliberate falsifications; see Moriz Thausing, Durer, 17. For the Haller arms see Otto Titan von Hefner
Geschichte seines Lebens und seiner Kunst (Leipzig, and Gustav Adelbert Seyler, Die Wappen des bayer-
1876), 141-144 (English trans., Albert Durer: His Life ischen Adels. J. Siebmacher's grosses IVappenbuch, 34
and Works, ed. Fred A. Eaton, 2 vols. [London, 1882], i : vols. (Neustadt an der Aisch, 1971), 22:38, pi. 36. An ex-
184-188). tant example of the arms in the National Gallery paint-
5. This and the preceding are unverified but are ing is the Memorial Shield of Erhart Haller, c. 1457
first cited in Friedlnder 1934, 322, which states that (Germanisches Nationalmuseum, Nuremberg, on loan
Loder purchased the painting from Court Repington; from the Freiherrn Haller von Hallerstein), reproduced
repeated in Heinemann 1937,47, no. 127, and accepted and discussed in exh. cat. New York and Nuremberg
58 GERMAN PAINTINGS
i 986,203-204, no. 61. The direction of the Haller arms and that the drawing is before 1497).
in the National Gallery's painting is reversed so that it 37. Anzelewsky 1971, 163-164, nos. 60-63, pis. 61 -
may "respect" the arms of what is presumed to be the 64.
wife's family at the lower right; see Gustav A. Seyler, 38. Anzelewsky 1982 (see Biography), 77, repro. 76,
"Die Orientirung der Wappen," Geschichte der Her- pi. 63, considers this version, which entered the Berlin
aldik. J. Siebmacher's grosses Wappenbuch, vols. A-G museum from a private collection in Paris in 1977, to be
(Neustadt an der Aisch, 1970), A:454-48y;Walter Angst, the original. The version in the Museum der bildenden
letter to the author, 16 April 1988, in NGA curatorial Kiinste, Leipzig, however, contains a landscape that is
files. much closer to that in the National Gallery's Madonna
18. Anzelewsky 1971, 142. Wilhelm Haller was ac- and Child-, see Anzelewsky 1971,146-148, no. 46, pi. 47.
quainted with Durer and, as the son-in-law of Matthus 39. Anzelewsky 1971, 152-155, no. 49, pi. 49, color
Landauer, appears in Drer's All Saints altarpiece of pi. 4-
1511 (Runsthistorisches Museum, Vienna); see Anzel- 40. Anzelewsky 1971, 16o-161, no. 56, pis. 58-59.
ewsky 1971, 228, no. 118, pi. 141; and Ernst Waller, 41. Willi Rurth, The Complete Woodcuts ofAlbrecht
"Haller v. Hallerstein," Neue Deutsche Biographie 17 Durer (New York, 1963), fig. 119.
(1966), 556. Hieronymus II Haller was a Nuremberg 42. Rurth 1963, fig. 112.
humanist who commissioned paintings from Lucas 43. Strauss 1974, i: 284-291, nos. 1495/12-1495/
Cranach the Elder and Bernhard Strigel; see Sally E. 16; Walter L. Strauss, The Complete Engravings, Etch-
Mansfield, report, in NGA curatorial files. ings, andDrypoints ofAlbrecht Durer (New York, 1972),
19. Anzelewsky 1971, 141; Strieder 1982, 318. An- 28, no. 14, repro. 29; 34, no. 17, repro. 35.
zelewsky noted that while the Portrait of a Man in a Red 44. Rress 1951, 192; Anzelewsky 1971, 141; Anzel-
Cloak (Accademia Carrara, Bergamo) is the same size, ewsky 1982 (see Biography), 82. Benesch 1966,19, mis-
the painting in its present state is so heavily reworked takenly says that Lot and His Daughters is painted in
that no compositional parallels exist; Anzelewsky 1971, watercolor. For comparisons see Walter Roschatzky,
161-163, no. 59, pi. 60. Albrecht Durer: The Landscape Water-Colours (New
20. Kurt Lcher in exh. cat. New York and Nurem- York, 1973), especially nos. 8,10-12,15-16,19-22. The
berg 1986, 276, no. 109. concordance of datings given by Roschatzky 1973,106,
21. Friedlnder 1934, 322, 324. indicates that for modern scholars the watercolors
22. Buchner 1934, 262, 268. with the exception of nos. 31-32, both views of Ral-
23. Panofsky 1943, 2: 10, no. 25. creuthdate between c. 1489 and 1497.
24. Winkler 1957, 73, 77-78; Strieder 1976, 40, 42; 45. Anzelewsky 1971, 174-175, no. 71, pi. 85.
Strieder 1982, 318, dated the Madonna and Child c. 46. Anzelewsky 1971, 159-160, no. 55, pi. 57; 173-
1498. 174, no. 70, pis. 69-72, color pi. 5.
25. Eisler 1977, 13-14- 47. Eisler 1977, 14.
26. Shapley 1956, no. 5. 48. For a succinct discussion see Gustav Pauli,
27. Waetzoldt 1935, 210; Longhi 1961, 5-7. "Drers Monogramm," Festschrift fur Max J. Fried-
28. Anzelewsky 1971, 114, no. 2, pis. 1-3; 163, nos. lander zum 60. Geburtstage (Leipzig, 1927), 34-40.
60-61, pis. 61,63. 49. Buchner 1934, 262; Strauss 1972,9.
29. Anzelewsky 1971, 122-123, nos. H-^pls- 12~ 50. Anzelewsky, 1971, 141, thought that he could
14; 205-207, nos. 99-101V, pis. 125-127. make out traces of an original signature underneath
30. Anzelewsky 1982 (see Biography), 70. Drer's the present monogram. The examination by Catherine
remarks about finish are contained in his letter to Jakob A. Metzger of the National Gallery's conservation staff
Heller, 26 August 1509; see Hans Rupprich, Durer. did not substantiate this (see Technical Notes), but her
SchriftlicherNachlass,$vols. (Berlin, 1956-1969), 1:72. report notes that the area of the monogram is some-
31. Anzelewsky 1971, 123-124, no. 16, pi. 15, color what less abraded than other areas and appears slightly
pi. 2; 124-125, no. 17, pis. 16-24. dark in ultraviolet light, which may reflect greater care
32. Longhi 1961, 3-9; Musper 1965(7), 24. taken in cleaning around the monogram. The author
33. Anzelewsky 1971,120, no. 11, pi. i o; 125, no. 18, believes that what seems to be a doubled is an attempt
pi. 25. by Durer to adjust the proportions of the letter.
34. Walter L. Strauss, The Complete Drawings ofAl- 51. Winkler 1951,9-11.
brechtDurer, 6 vols. (New York, 1974), 1:280, no. H95/ 52. Eisler 1977, 14; Max Geisberg, The German
10, repro. 281. Single-Leaf Woodcut: ijoo-ijjo (rev. ed. by Walter
35. Strauss 1974, i: 292, no. 1495/17, repro. 293; L. Strauss, New York, 1974), no. G. 1048.
196, no. 1494/1, repro. 197.
36. Strauss 1974, i:43O,no. 1497/1,repro.431; 142,
no. 1493/4, repro. 143 (Strauss does not accept the date, References
1496, that appears on the drawing); 274, no. 1495/7, 1934 Buchner, Ernst. "Die sieben Schmerzen Ma-
repro. 275 (Strauss believes the date is a later addition ria. Eine Tafel aus der Werkstatt des jungen Durer."
ALBRECHT DURER 59
Mnchner Jahrbuch der bildendenKunst, n.s., 11: 262, 1971 Anzelewsky 1971: 28-29, 56-57, 70-71, 90,
265, 268, 270, figs. 10-11, 14. 92-93, 140-142, nos. 43-44. fig- 20, pis. 39-46, color pi.
1934 Friedlnder, Max J. "Eine unbekannte 3 opposite 40.
Drer-Madonna." Pantheon 14: 321-324, repro. 1971 Hofmann, Walter Jrgen. berDrers Farbe.
1935 Deusch, Werner R. Deutsche Malerei des sech- Nuremberg: 43 n. 105,87.
zehntenJahrhunderts. Berlin: 25, pis. 4-5. 1971 Lanckororiska, Maria Grfin. Neue Neithart-
1935 Waetzoldt, Wilhelm. Durer und seine Zeit. Vi- Studien. Neithart bei Durer, zur Dokumentation und
enna: 210,331. zum neu entdeckten Werk vonMatthus G o tt hart Neith-
1936-1939 Pilz, Kurt. "Der Totenschild in Nrn- art. Baden-Baden: 55-60, figs. 28-29.
berg und seine deutschen Vorstufen. Das 14.-15. 1971 Mende, Matthias. "1471Albrecht Durer
Jahrhundert."y4/6!M49: 72. 1971." Conn 176: 165.
1937 Heinemann, Rudolf. Stiftung Sammlung 1972 Ldecke, Heinz. Albrecht Durer. New York:
Schloss Rohoncz. I. Teil. Verzeichnis der Gemalde. Lu- 14, fig. 2.
gano-Castagnola: 47, no. 127, pis. 30-31. 1973 Oehler, Lisa. "Das Drermonogramm auf
1937 Tietze, Hans, and Erika Tietze-Conrat. Kri- Werken der Drerschule." Stadel-Jahrbuch, n.s., 4:72,
tisches Verzeichnis der Werke Albrecht Drers. 3 vols. fig. 63.
Basel and Leipzig, 2: 15-16, nos. i3oa, i3ob, repros. 1974 Stechow, Wolfgang. "Recent Durer Studies."
173- AS 56: 260.
1943 Panofsky. 1:41-42; 2: 10, no. 25. 1975 NGA: 116, repro. 117.
1949 "Die Sammlung Thyssen der "Offentlichkeit 1975 Paltrinieri, Marisa, and Franco De Poli. I geni
zugnglich." Die Weltkunst 19 (i September): 8. delirarte. Durer. Milan: 34,37, repro., 57,59,63, repro.,
1951 Kress: 190-193, no. 84, repros. 93, repro.
1951 Winkler, Friedrich. "Hans Wechtlins 'Schne 1976 Strieder, Peter. Durer. Milan: 40-45, repro.,
Maria.'" Berliner Museen, n.s., 1:9-11, fig. 2. 181,nos. 11-12.
1952 Frankfurter, Alfred M. "Interpreting Master- 1976 Walker: 148-151, nos. 16o, 163, repro.
pieces: Twenty-four Paintings from the Kress Collec- 1976 Mende, Matthias. Albrecht Durer. Das Friih-
tion. " Art News Annual 111-112, repro. 106. werk bis ijoo. Herrsching: 68-69, pis- 3O-31-
1956 Shapley, Fern Rusk. National Gallery of Art, 1977 Eisler: 12-16, figs. 11-14.
Portfolio Number j: Masterpieces from the Samuel H. 1979 Westrum, Geerd. Altdeutsche Malerei. Mu-
Kress Collection. Washington: no. 5, repro. nich: 84, 86, repro. 85.
1957 Winkler, Friedrich. Albrecht Durer. Leben 1979 Sutton, Denys. "Robert Langton Douglas.
und Werk. Berlin: 72-73* 77-?8, 138, fig. 37- Part IV." Apollo 110 (July): 205, fig. 30.
1959 Stange, Alfred. "Ein Gemlde aus Drers 1982 Anzelewsky (see Biography): 70,82, figs. 70-
Wanderzeit?" Studien zur Kunst des Oberrheins. Fest- 71-
schrift fur Werner Noack. Konstanz and Freiburg: 116. 1982 Strieder, Peter. Albrecht Durer. Paintings.
1960 Broadley: 20, repro. 21. Prints. Drawings. Translated by Nancy M. Gordon and
1961 Longhi, Roberto. "Una Madonna del Durer a Walter L. Strauss. New York: 318, figs. 417-418.
Bagnacavallo." Paragone 139: 5-7. 1983 Wolff: unpaginated, repro.
1961 Seymour (Kress): 80, 83, 210, pis. 73-74. 1984 Sgarbi, Vittorio. Fondazione Magnani-Rocca.
1962 Cairns and Walker: 70, repro. 71. Capolavori della pittura antica. Milan: 74.
1962 Ldecke, Heinz. "Durer und Italien." Dezen- 1984 Walker, John. National Gallery of Art, Wash-
niurn i. Zehn Jahre VEB Verlag der Kunst. Dresden: ington. Rev. ed. New York: 148, no. 154, repro. 149 (Ma-
292, repro. 293. donna and Child)-, 151, no. 157, repro. 150 (Lot and His
1962 Neugass, Fritz. "Die Auflsung der Samm- Daughters).
lung Kress." Die Weltkunst 32 (i January): 4. 1985 NGA: 141, repro.
1963 Walker: 116, repro. 117. 1986 Mulazzani, Germano. "Raphael and Venice:
1964 Ldecke, Heinz. "Albrecht Durer und Ita- Giovanni Bellini, Durer, and Bosch." StHist 17: 151,
lien." Bildende Kunst, no. 2: 77, repro. 75. repro.
1965 Grote, Ludwig. Durer. Geneva: 49,51, repro. 1990 Dlberg, Angelica. Privatportrats. Geschich-
50. te und Ikonologie einer Gattung im ij. und 16. Jahr-
19b5(?) Musper, Heinrich Theodor. Albrecht Durer. hundert. Berlin: 297, no. 341, figs. 325-326.
New York: 24, 74, repro. 75.
1966 Benesch, Otto. German Painting. FromDurer
to Holbein. Geneva: 19-20, repro. 18
1966 Cairns and Walker: 11 o, repro. 111.
1968 Zampa, Giorgio, and Angela Ottino della
Chiesa. Uopera completa di Durer. Milan: 95, no. 50
a-b, pis. 9-10.
60 GERMAN PAINTINGS
1952.2.17 (1100) Exhibitions: Nuremberg, Germanisches Museum,
1928, Albrecht Durer Ausstellung, no. 61. Zurich,
Portrait of a Clergyman Schweizerisches Landesmuseum, 1948-1949, loaned
to a small exhibition of portraits of Huldrych Zwingli.7
(Johann Dorsch?}
1516 THE SITTER, set against a green background,
Parchment, 43 x 33 (iGVsx 13); wears a black tunic and a black pileus, or cap, a
painted surface: 41.7 X 32.5-32.7 type of costume appropriate to either an aca-
(l63/8 X 123/4-127/8)
demic or an ecclesiastic.8 A rigorous forthright-
Samuel H. Kress Collection
ness and intensity permeate this portrait, and the
Inscription simplified color scheme underscores the man's
craggy features, heavy jaw, and straightforward
At top right: ijio gaze. Durer's monogram and the date of 1516
have never been seriously questioned, and the
Marks: On reverse, at top of stretcher, in pencil: 2j8; at painting is accepted by virtually all authors.9
top of stretcher, in red crayon: ly, on a paper sticker, The primary discussion, therefore, has cen-
handwritten in brown-black ink: N ii4J/Rom/iic/Al- tered on the identity of the sitter, and two principal
brecht Durrers-, on a paper sticker: No. 57737 Size candidates have been put forward: the Swiss re-
ijXij/Port. ofaMan/AlbrechtDrer.
former Huldrych (Ulrich) Zwingli (1484-1531),
Technical Notes: There are scored lines at the junction and Johann Dorsch, a cleric active mainly in Nu-
of the painted surface and the unpainted edges, and remberg. Eisler has also suggested the Augustin-
these appear to be part of the preparation of the parch- ian Hans Link.10 There are major impediments to
ment. The unpainted area is not intact along the right the identification of the sitter as Zwingli, and
edge. The parchment has been adhered to a single- these became apparent in 1948-1949 when the
thread, plain-weave fabric then mounted on a
stretcher.1 It is not known when the lining took place National Gallery's painting, then in the Czernin
although Eisler suggests the early nineteenth cen- collection, was lent to the Schweizerisches
ury2 or if there was, as seems likely, an original aux- Landesmuseum, Zurich, for comparison with
iliary support, probably wood. The paint surface is known depictions of Zwingli. The evidence was
marred by weave interference that presumably oc- inconclusive at best; not only was there a low de-
curred during the lining process. There is no evidence gree of physiognomic similarity to Durer's por-
of a ground under the paint layer, and examination with
infrared reflectography did not disclose underdraw- trait, but other images on medals and paintings
ing. The green background seems to have been put in show Zwingli in profile.11 Moreover, as far as we
first, with space left for the head and clothing. A sig- know, the earliest that Durer could have met
nificant design change occurs in the chin, which is Zwingli was in April or May 1519 when the artist
larger than the space allotted for it. accompanied Wilibald Pirckheimer and Martin
There are several tears in the parchment along the
bottom, left, and top edges. Areas of abrasion are vis-
Tucher to Zurich.12
ible, particularly in the neck and hair on the right of the The biographical information about Johann
face, and there are extensive pinpoint losses. There are Dorsch is incomplete, and especially scant for the
small losses in the eyes and the mouth, possibly the re- period around 1516 that might relate him to this
sult of vandalism that took place before i934-3 portrait.13 The date and place of Johann Dorsch's
birth are unknown. He was a hermit in the Au-
Provenance: Paul von Praun [d. 1616] and descen-
dents, Nuremberg, by 1719 until at least i8oi.4 Count gustinian cloister in Nuremberg, but there is no
Johann Rudolph Czernin von Chudenitz [d. 1845], Vi- record of when he j oined the order or how long he
enna, by 182 1.5 The Counts Czernin, Vienna. Count remained a hermit. He studied at the University
Eugen Czernin von Chudenitz, Vienna, until 1950; of Wittenberg from at least the summer semester
(Frederick Mont, New York, and Newhouse Galleries, of 1506 and received his baccalaurens artium in
New York);6 purchased 1950 by the Samuel H. Kress
Foundation, New York.
December 1507. Kressel suggested, without doc-
umentation, that Dorsch took over the duties of
Johannes Werner, head pastor of the Church of
ALBRECUT DURER 6l
Although perhaps less compelling as evidence,
we must also consider that Dorsch, who resided
in Nuremberg, could easily have been known to
Durer. The Church of Saint John was Augustinian
before the Reformation; it was Drer's parish
church, and Johannes Werner, the scholarly and
mathematically gifted pastor wrho preceded
Dorsch, was a member of Drer's close circle of
humanist friends.17 In this regard Mende has sug-
gested that the National Gallery's painting be-
longs to a series of "friendship portraits" that
Durer made between c. 1516 and i5i8.18
As already noted, the costume is so generalized
as neither to confirm nor exclude the identifica-
tion of the sitter as an Augustinian.19 If the sitter
Fig. i. Detail of Portrait of a Clergyman, 1952.2.17
was an academic, then the presence of a pileus
means that he most probably possessed either a
master's or a doctor's degree.20
Saint John in Nuremberg, who died in May 1522. In sum, Johann Dorsch is the strongest known
We next hear of Dorsch in 1524 when he was candidate for the sitter in the Washington paint-
called to preach in the nearby town of Schwabach. ing. The absence of confirming documentation or
In the interim he had apparently joined the cause of another verifiable representation of Dorsch,
of the Reformation, and on 14 February his first however, means that the identification will re-
sermon was delivered with such stormy fervor main uncertain.
that it was also his last, and he was forced to return It is not known if Durer attached any special
to Nuremberg. In 1525 he appears as a member of importance to the use of parchment as a support,
the Augustinian cloister in that city and is possibly but his paintings on parchment appear at three
mentioned on 18 March as a father confessor for different periods. There are several small pic-
the women's cloister of Saint Clare. From 1528 tures from the 14908, such as the Christ Child with
until his death in 1541 he was the pastor (Pfarrer) a World Globe, monogrammed and dated 1493
of the reformed Church of Saint John in Nur- (Graphische Sammlung Albertina, Vienna), the
emberg. Portrait of a Girl in a Red Beret, dated 1507 (Ge-
Strong evidence for the identification of mldegalerie, Berlin), and, in addition to the
Dorsch with Drer's portrait is provided by the Washington portrait, two works from the year
association in the earliest written recordthe 1516, the Madonna and Child with a Pink (Alte
Praun family inventory of 1719and in subse- Pinakothek, Munich) and the Portrait of Michael
quent eighteenth- and early nineteenth-century Wolgemut (private collection, southern Ger-
catalogues.14 As several authors have pointed out, many).21 That these last three works have a wood
these citations probably continue a traditional base for the parchment possibly suggests that the
identification that goes back to the sixteenth cen- support for the Washington picture was also origi-
tury.15 The 1719 inventory also contains the im- nally wood.
portant information that the painting was then The depiction of windows reflected in eyeballs
equipped with a cover (Schber). If original, a is a device first used by Durer around 1500 and
cover such as that painted by Durer for the 1526 can be seen in his famous Self-Portrait of 1500
portrait of Hieronymus Holzschuher (Gemalde- (Alte Pinakothek, Munich).22 In the case of the
galerie, Berlin) might well have borne a coat-of- Washington picture there is actually a double
arms, which would explain the absence of identi- reflection (fig. i). The appearance of window
fying arms or inscriptions on the Washington reflections in Drer's work is discussed by
portrait.16 Bialostocki as an illusionistic device, one facet of
62 GERMAN PAINTINGS
Albrecht Durer, Portrait of a Clergyman (Johann Dorsch?), 1952.2.17
ALBRECHT DURER 63
the artist's realism; as an indication of Drer's in- grund auf Leinwand; ohnegefhr 15Z. hoch, loZ.
terest in optics, light, and perspective; and on a breit." The mention of Leinwand suggests but does not
symbolic level, as a "window to the soul." Bialo- confirm that the backing with fabric took place before
1827.
stocki also touches on the mystical and religious 6. Frederick Mont, letter to the Samuel H. Kress
overtones of the crosslike shape formed by the Foundation, 6 February 1950, in NGA curatorial files.
window mullions, ideas that would certainly Nancy Marshall, Newhouse Galleries, letter to the au-
seem to be relevant for the Portrait of a Clergy- thor, 3 May 1988, in NGA curatorial files, noted that
man (Johann Borsch?)?** from the extant records it was unclear whether the
painting was owned jointly or given on consignment.
Marshall did confirm that the number 57737 on a paper
Notes sticker on the reverse was a Newhouse Gallery num-
1. Several authors, beginning with Tietze and ber, as indicated by Eisler 1977, 16.
Tietze-Conrat 1937 and including Panofsky 1943 and 7. According to Dr. Lucas Wthrich, Schweizer-
Anzelewsky 1971, have mistakenly listed wood as the isches Landesmuseum, Zurich, letter to the author,
auxiliary support for the parchment. 8 April 1988, in NGA curatorial files, there was no cat-
2. Eisler 1977, 16. alogue.
3. The hole in the lips is mentioned in Tietze 1934, 8. Denna Jones Anderson, letter and accompa-
no. nying bibliography to the author, 17 August 1988, in
4. Stadtarchiv, Nuremberg, Familienarchiv von NGA curatorial files; Anderson notes the development
Praun, E28, no. 1477, unpublished manuscript, "In- of university garb out of clerical dress. Stella Mary New-
ventar des Paulus von Praunschen Runstkabinetts im ton, letter to Colin Eisler, 23 July 1968, in NGA curato-
Stiftungshaus am alten Weinmarkt..." (1719), 9: rial files, also observes that the costume could be worn
"N. 119 Von Albr. Durer Johann Dors gewesen Pfarrers by either a cleric or an academic.
beij St./Johanis contrefait auf Pergament von oel/farb 9. Oehler 1973, 70-71, on the basis of the mono-
gemahlt, mit ein Schuber, Das Gemahl/ist 18 [sic] gram gave the painting to Hans Sebald Beham, an attri-
S.[chuh] 4 Z[oll] hoch und i.8 S.[chuh] i. Z[oll] breit." I bution followed by no one else. Waagen 1866, 298,
am extremely grateful to Dr. Max Nchterlein, Nur- thought the portrait might be by Hans Suss von Rulm-
emberg, for this citation (letter to the author, 9 April bach; Weixlgrtner 1905, 69, also doubted the attribu-
1977, in NGA curatorial files). A photocopy of the in- tion to Durer.
ventory entry and a transcription by Dr. G. Hirsch- 10. Eisler 1977, 17.
mann, Stadtarchiv, Nuremberg, included in a letter to 11. Favoring the identification of the sitter as
Nchterlein, 2 February 1977, are also in NGA curato- Zwingli are Hoffmann 1948, the anonymous author in
rial files. The transcription above is based on my exam- Atlantis 1948, and Farner 1972, 146-152. As noted by
ination of the manuscript on 10 September 1988; I am Hoffmann 1948,497, the known depictions of Zwingli,
grateful to Mr. Reichmacher of the Stadtarchiv for his a medal by Jakob Stampfer (Schweizerisches Lan-
assistance. desmuseum, Zurich) and paintings by Hans Asper
A Schuh is a unit of measurement equal to approxi- (Runstmuseum, Winterthur, and Zentralbibliothek,
mately one foot, while a Zoll equals approximately one Zurich), were done either at the time of his death, 1531,
inch. See John Henry Alexander, Universal Dictionary or posthumously.
of Weights and Measures, Ancient and Modern: Reduced 12. Noted by Braune 1948,13, and many subsequent
to the Standards of the United States of America (Balti- authors, including Winkler 1957,268, and Anzelewsky
more, 1850), 103-104, 124-125. In the cemetery of the 1971,242.
Sankt Johannis church in Nuremberg, the author found 13. The following account is based on the transcrip-
a label accompanying an iron "Grabsteinmass," used tion of a lecture given by Hans Rressel, former Kirchen-
for measuring graves, which indicated that a "Nrn- rat of the Church of Saint John, Nuremberg, 1971. It
berger Werkschuh" equaled 27.84 cm. The dimensions was kindly brought to my attention by Max Nchterlein
given in Murr 1797, 14, are: "Haut, i Pied, 4 Pouces; of Nuremberg, letter to the author, 12 May 1974, in NGA
Larg. i Pied, i Pouce." Heller 1827, 231, gives the Ger- curatorial files. Thanks to Kurt Lcher, who facilitated
man equivalent as: "i Sch[uh] 4Z[oll] hoch, i Sch[uh] i my research in the outstanding library of the Ger-
Z[oll| breit." manisches Nationalmuseum, Nuremberg, I was able to
5. Heller 1827, 260, cites the painting as being in verify the following references cited by Kressel: An-
the Czernin collection in 1821 but seems unaware that dreas Wrfel, Verzeichnis und Lebensbeschreibungen
this is the same painting he noted earlier in the Praun der Herrn Prediger (Nuremberg, 1757), 302; Hermann
collection. His description, however, is clearly that Clauss, Die Einfuhrung der Reformation in Schwabach
of the National Gallery's picture: "Brustbild eines IJ2I-IJJO (Leipzig, 1917), 59-60; Julie Rosenthal-
Mannes, welcher nach Rechts gewendet ist, mit dem Metzger, "Das Augustinerkloster in Nrnberg," Mit-
Zeichen und der Jahrszahl AD 1516. Griiner hinter- teilungen des Vereins fur Geschichte der Stadt
64 GERMAN PAINTINGS
Nrnberg 30 (1931), 102; Johannes Rist, Die Matrikel Sebald Beham's woodcut oaPfaffen standt from a se-
der Geistlichkeit des Bisturns Bamberg 1400-1556 ries of representations of the attire of clerics and mem-
(Wrzburg, 1965), 79, no. 1125; Matthias Simon, Nrn- bers of orders, reproduced by Max Geisberg, The
bergisches Pfarrerbuch. Die evangelisch-Lutherische German Single-leaf Woodcut: ijoo-ijjo, ed. Walter L.
Geistlichkeit der Reichsstadt Nrnberg und ihres Ge- Strauss (New York, 1974), 209, no. G. 228. This costume
bietes 1524-1806 (Nuremberg, 1965), 49; and Gerhard is not connected with a specific order.
Pfeiffer, Quellen zur Nrnberger Refprmations- 20. See note 9.
geschichte. yon der Duldung liturgischer Anderungen 21. Anzelewsky 1971, 120, no. 11, pi. 10; 207-208,
bis zurAusbung des Kirchenregiments durch den Rat no. 102, pi. 128; 240-241, nos. 130, 131, pis. 159, 160-
(Juni ij24-Juni 1525) (Nuremberg, 1968), 5, no. 21,59, 161.
no. 401, 365, no. 153. The exact date of Dorsch's death 22. Anzelewsky 1971, 164-168, no. 66, pis. 67-68.
is unclear; Wrfel 1757 and Simon 1965 give 19 January 23. Bialostocki 1970, esp. 172-174.
1541, but Dr. von Andrian-Werburg of the Staatsarchiv,
Nuremberg, letter to Kurt Lcher, 26 July 1988, in NGA
curatorial files, notes that Johann Dorsch's name ap- References
pears in the Totengelutbuch of Saint Sebald for the 1769 Schober, David Gottfried. Albrecht Drers,
period 8 June-2i September 1541. I am extremely eines der grssesten Meister und Knstler seiner Zeit,
grateful to Kurt Lcher, who made additional inquiries Leben, Schriften u. Kunstwerke. Leipzig and Schleiz:
to the Landeskirchliches Archiv and the Stadtarchiv of 162.
Nuremberg in search of documents mentioning 1778 Murr, Christophe Gottlieb von. Beschreibung
Dorsch; unfortunately no new material came to light. der vornehmsten Merkwurdigkeiten in des PL R. Reichs
14. See note 5; Schober 1769, 162; Murr 1778, 470, freyen Stadt Nrnberg und aufder hohen Schule zuAlt-
no. 119; Murr 1797, 14, no. 119; Heller 1827,231^0.6. dorf. Nuremberg: 470, no. 119.
15. Flechsig 1928,411-412, was probably the first. 1797 Murr, Christophe Thophile de. Description
16. For the Holzschuher portrait and cover see An- du Cabinet de Monsieur Paul de Praun Nuremberg.
zelewsky 1971, 271, nos. 179-180, pis. 182-183. It is Nuremberg: 14, no. 119.
worth noting that in the 1719 Praun inventory, no. 120, 1823 Bckh, Franz Heinrich. Merkwurdigkeiten
Drer's portrait of Michael Wolgemut is also listed as derHaupt- und Residenz-Stadt Wien und ihrer nchsten
having a cover. This is almost certainly the same paint- Umgebungen. Ein Handbuch fur Einheimische und
ing now in the Germanisches Nationalmuseum, Nur- Fremde. 2 vols. Vienna, i : 296.
emberg; see Anzelewsky 1971, 241-242, no. 132, pi. 1827 Heller, Joseph. Das Leben und die Werke Al-
162. brecht Drer's. Bamberg, 2: 231, no. 6, 260, no. e.
17. See Hans Rressel, "Hans Werner. Der gelehrte 1866 Waagen, Gustav Friedrich. Die vornehmsten
Pfarrherr von St. Johannis. Der Freund und wis- Kunstdenkmaler in Wien. 2 vols. Vienna, i: 298, no. 28.
senschaftliche Lehrmeister Albrecht Drers, "Mit- 1876 Thausing, Moriz. Durer, Geschichte seines
teilungen des Vereinsfr Geschichte der Stadt Number g Lebens und seiner Kunst. Leipzig: 384. English ed.
52 (1963-1964), 287-304; and Siegfried Bachmann, Albert Durer. His Life and Works. 2 vols. London, 1882,
"Johannes Werner, kaiserlicher Hofkaplan, Mathe- 2: 132.
matiker und Astronom zu Nrnberg, ais Chronist der 1891 Katalog der G emalde-G aline seiner Ex-
Jahre 1506 bis 1521," 702. Berichtdes historischen Ver- cellenz des Grafen Jaromir Czernin von Chudenitz. Vi-
einsfr die Pflege der Geschichte des ehemaligen Frst- enna: 17, no. 164 (also subsequent catalogues, 1903,
bistums Bamberg (1966), 315-337. As noted by Eisler 1908,1936).
!977> !? it is quite possible that Dorsch presided at 1893 Thode, Henry. "Drei Portrts von Albrecht
Drer's funeral in 1528. For the church and cemetery Durer." JbRerlin 14: 210.
of Saint John see Otto Glossner, Der St. Johannisfried- 1905 Weixlgrtner, Arpad. Review of Valentin
hof zu Nrnberg (Munich and Berlin, 1984); and Hans Scherer, Durer. Des Meisters Gemalde, Kupferstiche
Rressel, Fhrer durch die evangelischen Kirchen von und Holzschnitte. Rlassiker der Runst, vol. 4. In Die
Nurnberg-St. Johannis (Nuremberg, 1977). Graphischen Kunste, supplement, Mitteilungen der Ge-
18. Mende 1982 included in this group portraits of sellschaft fur vervielfltigende Kunst 28, nos. 3/4: 69.
Raspar Ntzel (original lost, but known through a copy 1908 Scherer, Valentin. Durer. Des Meisters Ge-
in Jagdschloss Grunewald, Berlin), Lazarus Spengler malde, Kupferstiche und Holzschnitte. Rlassiker der
(original of 1518 lost, known through an engraving), Runst, vol. 4. 3d ed. Stuttgart and Leipzig: 393, repro.
and Michael Wolgemut (Germanisches Nationalmu- 55-
seum, Nuremberg). 1914 Friedlnder, Max J. "Durer, Albrecht." In
19. Eisler 1977, 17, noted that, unlike Augustinian Thieme-Becker, 10: 70.
hermits, Augustinian canons were not tonsured and 1916 Waldmann, Emil. Albrecht Durer. Leipzig:
did not wear monastic garb. Close to the costume worn 89, no. 57, repro.
by the sitter in the National Gallery's picture is Hans 1928 Flechsig, Eduard. Albrecht Durer. Sein Leben
ALBRECHT DURER 65
und seine knstlerische Entwicklung. 2 vols. Berlin, i : 1960 Broadley: 24, repro. 25.
411-412. 1962 Neugass, Fritz. "Die Auflsung der Samm-
1928 Winkler, Friedrich. Durer. Des Meisters Ge- lung Kress." Die Weltkunst 32 (i January): 4.
mlde, Kupferstiche und Holzschnitte. Klassiker der 1963 Walker: 118, repro. 119.
Runst, vol. 4.4th ed. Berlin and Leipzig: 416, repro. 59. 1965(7) Musper, Heinrich Theodor. Albrecht Durer.
1934 "Ein neuer Durer." [Rleine Mitteilungen] New York: 26.
Technische Mitteilungen fur Malerei 50: 115-116. 1966 Cairns and Walker: 112, repro. 113.
1934 Tietze, Hans. "Das Drerbild der Sammlung 1968 Zampa, Giorgio, and Angela Ottino della
Czernin."Pantheon 13-14: no, repro. Chiesa. L'opra completa di Durer. Milan: 110, no. 148,
1937 Tietze, Hans, and Erika Tietze-Conrat. Kri- repro.
tisches Verzeichnis der Werke Albrecht Drers. 3 vols. 1970 Bialostocki, Jan. "The Eye and the Window.
Basel and Leipzig, 2: 119, no. 663, repro. 278. Realism and Symbolism of Light-Reflections in the Art
1943 Panofsky. i : 192; 2:18, no. 81. of Albrecht Durer and His Predecessors." Festschriftfiir
1946 Hoffman, Hans. "Zu Drers Bildnis eines Gert von der Osten. Cologne: 159, 164,161, fig. 4.
jungen Mannes in der Galerie Czernin in Wien." In 1971 Anzelewsky 1971: 242, no. 133, pis. 163-165.
Oskar Earner, Huldrych Zwingli. Seine Entwicklung 1972 Earner, Konrad. "Hat Durer Zwingli gemalt?"
zumReformator 1306-1320. 3 vols. Zurich, 2:425-436, Zrich-Aspekte eines Kantons. Zurich: 146-152, repro.
frontispiece. 1973 Oehler, Lisa. "Das Drermonogramm auf
1948 Braune, Heinz. "Zu Drers 'Zwinglibildnis' Werken der Drerschule," StdelJahrbuch, n.s., 4:70-
im Landesmuseum." Neue Zrcher Zeitung (6 Decem- 71,63, fig. 27.
ber): 13. 1975 NGA: 116, repro. 117.
1948 "Ein Zwingli-Bildnis von Durer?" Atlantis 20: 1976 Strieder, Peter. Durer. Milan: 139, repro., 186,
27-29, repro. no. 52.
1948 Hoffmann, Hans. "Ein mutmassliches 1977 Eisler: 16-19, fig. 17.
Bildnis Huldrych Zwinglis." Zwingliana. Beitrge zur 1979 Hadley, Rollin van N. "What Might Have
Geschichte Zwinglis 7:497-501, repro. Been: Pictures Mrs. Gardner Did Not Acquire."Fenway
1949 "Ausstellungen." Schweizerisches Landes- Court: 44, repro.
museum in Zurich. SiebenundJunfzigsterJahresbericht 1979 Watson, Ross. National Gallery of Art Wash-
1948. Zurich: 12. ington. New York: pi. 39.
1951 "Ausstellungen." Schweizerisches Landes- 1982 Anzelewsky (see Biography): 182-183, 187,
museum in Zurich. Achtundfunfzigster und Neunund- repro. 188.
funfzigsterJahresbericht 1949/30. Zurich: 17. 1982 Mende, Matthias. "Drers Bildnis des Kaspar
1951 "Drers 'Zwingli' ging nach USA." Die IVelt- Ntzel." Mitteilungen des Vereins fur Geschichte der
kunstzi (i January): 4, repro. StadtNrnberg 69: 130, 132,136,138-139, fig. 8.
1951 Kress: 194, no. 85, repro. 195. 1982 Strieder, Peter. Albrecht Durer. Paintings,
1955 Shapley, Fern Rusk. "The National Gallery of Prints, Drawings. New York: 242, repro. 245.
Art at Washington: Acquisitions 1945-1955." The Stu- 1985 NGA: 141, repro.
dio 150 (July): 6, repro. 3. 1987 Hadley, Rollin van N. The Letters of Bernard
1957 Winkler, Friedrich. Albrecht Durer. Leben Berenson and Isabella Stewart Gardner 1887-1924.
und Werk. Berlin: 268, repro. fig. 138. Boston: 138-144.
66 GERMAN PAINTINGS
German
1942.16.3 (700) on her belt and the rings on her fingers. She holds
a small book, handsomely bound and tooled in
Portrait of a Lady gold. The inscription at the top of the painting is
from Job 1:21, "Naked T came from my mother's
1552 womb, and naked shall I return." The severity of
Oak, 44.2 x 31.7(173/8 x i2'/2)
Chester Dale Collection this sentiment is in marked contrast to the
woman's material wealth, and its use as a per-
Inscriptions sonal motto may reflect the increased popularity
At top: Bloes bin ich aufl mutter leib home. Bloes werd of the Book of Job in the sixteenth century in
ich wider hingnoe/Anno ijj2etatis su-4j northern Europe.8 The second line of the inscrip-
At lower left: coat-of-arms, argent, a horse salient
forcen gules^ tion gives the date as 1532 and the sitter's age as
forty-five. The coat-of-arms cannot be identified
Technical Notes: The painting is comprised of three with certainty.9
boards with vertical grain, and each board is cut some- Any attempt to investigate this painting is seri-
what differently, varying from radial to tangential. The ously hampered by the fact that its pendant, a Por-
painting support was thinned, and a cradle was at-
tached. A dendrochronological examination by Peter
trait of a Man, was separated from its mate in 1930
Klein suggested that the earliest possible felling date and its present location is unknown. Although it
was 1529.2 Since a barbe is visible at each edge of the is known that the male portrait is also dated 1532,
panel, the panel may have been painted in an engaged vital information such as the content of the in-
frame. During the 1989 laboratory examination the scription or the coat-of-arms is not discernible in
medium was estimated to be egg tempera applied over the poor reproduction in the sales catalogue.10
a white ground. Examination with infrared reflectog-
raphy did not disclose underdrawing. There are scat- The traditional attribution of the Portrait of a
tered losses and retouchings and abrasion throughout, Lady ana its companion to the Westphalian artist
but losses are particularly evident along the join lines. Ludger torn Ring the Elder (1496-1547) was re-
Until the present varnish and extensive retouchings jected by Riewerts and Pieper, who declared that
are removed, the full extent of loss and abrasion cannot the panels were scarcely by any member of the
be accurately determined. It is possible that the coat- torn Ring family.11 Subsequent authorities have
of-arms at the lower left has been reinforced.
affirmed this opinion on both stylistic and linguis-
Provenance: Possibly Prince Demidoff, San Donato, tic grounds; the inscription is written in a High
near Florence.3 Probably the family of Count Filicaja German dialect that effectively excludes Mnster
(or Filicaia), Arezzo, until 19O2;4 purchased by Henry in Westphalia, where Low German was spoken.12
Osborne Havemeyer [d. 1907], New York, 19O2;5 by in- Thus far it has not been possible to assign the
heritance to his wife, Mrs. Henry Osborne Havemeyer
[ne Louisine Waldron Elder, d. 1929], New York; (sale,
Portrait of a Lady to an artist or school, and there
American Art Association, Anderson Galleries, New is no consensus as to whether it should be local-
York, 10 April 1930, no. 54, as Ludger torn Ring); pur- ized in northern or southern Germany. Lcher
chased by Chester Dale, New York.6 believed the painting was produced in north Ger-
many, in a coastal city such as Hamburg or Bre-
Exhibitions: New York, Museum of French Art, 1931, men, or possibly in Limeburg or Friesland, while
Degas and His Tradition (not in catalogue).7
noting that this area was not much studied and
few artists were known.13 He also observed that
THE U N K N O W N SITTER, shown in half length, 1532 was rather early for a half-length portrait.
wears a costume that is at once austere and rich. Pieper commented that from the inscription one
Set against the simplicity of her white kerchief could surmise that the artist was "Oberdeutsch,"
and black dress are the elaborate design in gold that is, south German, but that the painting could
G KKM AN 67
have been painted in northern Germany as well.14 31.7 (17 x i2'/2). The painting is given as pendant to
Luckhardt also called the inscription "Ober- the National Gallery's portrait, and the catalogue states
deutsch" but found the woman's headdress closer that it is dated 1532 and bears an inscription in German.
A handwritten annotation in the NGA copy of the cata-
to types found in the Netherlands or Low Ger- logue indicates that it was purchased by Bonier and
many than in south Germany and suggested that Steinmeyer, New York.
the portrait could have originated in a border re- 11. Riewerts and Pieper 1955, 68-69,nos- ! 9~2-
gion such as Hessen or Saxony-Thuringia.15 On a 12. Charles Talbot, draft catalogue entry, 1966, in
later occasion Luckhardt thought that a southern NGA curatorial files, rejected the attribution to Ludger
torn Ring the Elder but thought the artist might be West-
origin, perhaps around Freiburg, was also pos-
phalian. The attribution to Ludger torn Ring the Elder
sible.16 Given the absence of confirming visual and to Mnster is rejected by Jochen Luckhardt, letter
evidence, especially for northern Germany at to the author, 15 August 1989, in NGA curatorial files,
this time, the question of where the Portrait of a and by Paul Pieper, letter to the author, 4 August 1989,
Lady was painted must remain open. in NGA curatorial files; both note that the dialect in the
inscription does not correspond to the Low German
Notes (Niederdeutsche) spoken in Mnster. In addition to
1. The heraldic description was provided by Wal- Luckhardt and Pieper, Mhring of the Staatsarchiv,
ter Angst. Hamburg, identifies the inscription as "Oberdeutsch,"
2. Examination report, 2 April 1987, in NGA cura- letter to the author, 6 July 1989, in NGA curatorial files.
torial files. 13. Kurt Lcher, letter to the author, 20 August 1979,
3. Unverified, but mentioned by Helena A. Dil- in NGA curatorial files, and in conversation, 15 Septem-
lingham, for the estate of Louisine W. Havemeyer, let- ber 1988. Lars Olof Larsson, letter to the author, 13 July
ter to Mary Bullard, 21 April 1930, in NGA curatorial 1989, in NGA curatorial files, tentatively suggested Ja-
files, and in the American Art Association sale cata- cob Binck (c. 1500-1569), who was active in northern
logue, i o April 1930. Germany, Denmark, and Sweden. Unfortunately, most
4. Mary Bullard, Chester Dale's secretary, letter to of Binck's few surviving paintings were court portraits
John Walker, 29 March 1943, in NGA curatorial files; done in Scandinavia, and he was in Copenhagen by the
Dillingham to Bullard, 21 April 1930. early 15305. See Thieme-Becker, 4(1910): 36-37.
5. Dillingham to Bullard, 21 April 1930. 14. Pieper, letter to the author, 4 August 1989, in
6. Handwritten annotation in NGA copy of the NGA curatorial files.
American Art Association sale catalogue. 15. Luckhardt, letter to the author, 15 August 1989,
7. Bullard to Walker, 29 March 1943; the painting in NGA curatorial files.
was mentioned in a review of the exhibition by Edward 16. In conversation, 20 October 1989.
Alden Jewell in the New York Times, 22 March 1931,
12X. References
8. See the comments in Hand 1980, 38-41. 1930 "Havemeyer Sale Brings $296,699 For Parts I
9. The only three examples of corresponding and HI.Mr#V28 (19 April): 4.
coats-of-arms are from Saxony, Nuremberg, and Swit- 1955 Riewerts, Theodor, and Paul Pieper, Die
zerland; see Johann Siebmachers Wappen-Buch. Fak- Moler torn Ring. Ludger der Altere, Hermann, Ludger
similie-Nachdruck der ijoi/oj bei Rudolph Johann derJungere. Munich: 69, no. 20.
Helmers in Nrnberg erschienenen Ausgabe (Munich, 1975 NGA: 306, repro. 307.
1975), fig. i, dukes of Saxony, fig. 155, Reypper of Nu- 1980 Hand, John Oliver. "The Portrait of Sir Brian
remberg, and fig. 208, Frick of Switzerland. Tuke by Hans Holbein the Younger." StHist 9: 39-40,
10. Last recorded and reproduced in the sale cata- repro. 44.
logue, American Art Association, Anderson Galleries, 1985 NGA: 352, repro.
New York, i o April 1930, no. 55, wood (cradled), 43.2 x
68 GERMAN PAINTINGS
German, Portrait of a Lady, 1942.16.3
G K R M AN 69
Matthias Grnewald
c. 1475/1480-1528
70 GERMAN PAINTINGS
gested that he was dismissed because of his par- 1961.9.19 (1379)
ticipation in the Peasant Rebellion of 1525.
Around this time he moved to Frankfurt, where The Small Crucifixion
he stayed in the home of Hans von Saarbrucken,
c. 1511/1520
a silk embroiderer. Linden, 61.3 x 46 (24'/s x iS'/s)
In 1527 Grunewald moved to Halle, where he Samuel H. Kress Collection
worked as a hydraulic engineer for the city. He
died in late August of 1528. The inventory of his Inscription
On placard at top of cross: I-N-R-I
possessions is a fascinating document, listing
what appears to be expensive clothing for court Technical Notes: The painting is composed of three
use, artist's materials, pigments in particular, vertical boards.1 As viewed from the recto, the widths
coins and medals, two paintings, copies of Lu- of the boards are approximately 11.8 cm., 11.5 cm., and
21.6 cm. wide, from right to left. There is a shallow saw-
ther's sermons, and a New Testament (the latter dust fill on the verso along the right-hand join. The left
described as "Lutheran trash"). board contains two rectangular inserts that are prob-
Grunewald is one of the greatest German art- ably replacements for knotholes. The panel is warped
ists of the sixteenth century. Only about twenty- in a continuous convex curve and has suffered worm
infestation. On the verso, which has been thinned, a
two individual paintings and approximately series of shallow saw kerfs form a diamond pattern.
thirty-seven drawings have been attributed to Original paint extends to the edges of the support, and
him. Unlike Durer and Cranach, he seems not to earlier reports of an unpainted border approximately i
cm. wide suggest that the panel edges may have been
have had a school or pupils, although his work in-
trimmed.2 Examination with infrared reflectography
fluenced his contemporaries and was in demand did not disclose underdrawing. X-radiography (fig. i)
into the late sixteenth century. He was redis- reveals that the undermodeling in John's robes origi-
covered, after a long period of obscurity, in the nally described different folds and contours. The little
finger of the Virgin's proper left hand has been short-
early twentieth century and was particularly ad- ened, and the right contour of Christ's loincloth has
mired by the German expressionists. been altered.
Most of the figures are intact despite damage and
numerous areas of retouching and abrasion. There are
Bibliography four roughly circular losses in John's robe and a large
Zlch, Walter Karl. Der historische Grunewald. Mathis irregular loss in the sky to the left of Christ's torso.
Gothardt-Neithardt. Munich, 1938. There are small scattered losses throughout and abra-
Fraundorfer, Paul. "Altes und Neues zur Grnewald- sion of the paint surface, particularly in the background
Forschung."HerbipolisJubilans 14/15 (1952/1953): landscape.
373-431- . The painting was restored in 1922 (fig. 2).3 In 1936
Schdler, Alfred. "Zu den Urkunden ber Mathis Goth- the letters mg were revealed at the top of the cross as a
art Neithart." Mnchner Jahrbuch der bildenden result of restoration; these are in all likelihood a com-
Kunst 13, III.F. (1962): 69-74. posite of an old and a more recent retouching.4
Sitzmann, Karl, and Eugenio Battisti, "Grunewald,
Matthias." Encyclopedia of World Art. 16 vols. New Provenance: Wilhelm V, duke of Bavaria [d. 1597], Mu-
York, Toronto, and London, 1959-1983. Vol. 7 (1963): nich. Maximilian I, duke of Bavaria [d. 1651], Munich.5
cols. 182-191. Private collection, western Germany, possibly West-
falia.6 Dr. Friedrich Schne, Essen and Stettin (now
Szczecin), by 1922; Franz Wilhelm Roenigs [d. 1941],
Haarlem, purchased 27 September 1927;* heirs of
Franz Wilhelm Koenigs; purchased 1953 by the Samuel
H. Kress Foundation, New York.
MATTHIAS GRNKWALD yi
Fig. i. X-radiograph of
The Small Crucifixion,
1961.9.19
six months in 1935. Lent by Franz Roenigs to the Kai- lection of Maximilian I of Bavaria, but Sandrart
ser-Friedrich-Museum, Berlin, 1936.10 Rotterdam, Mu- noted that it had belonged to Duke Wilhelm V and
seum Boymans, 1938, Meesterwerken uit vier Eeuwen was engraved in 1605 by Raphael Sadeler. There
1400-1800, no. 31. Deposited by Franz Roenigs and
heirs with the Rijksmuseum, Amsterdam, from
is no question that the engraving (fig. 3) repro-
c. 1940-1953, with the exception of 1952, when the duces the National Gallery's painting, and a por-
painting was lent to the Runsthistorisches Museum, tion of the inscription further confirms Wilhelm's
Vienna.11 possession of it.12 It is not known where The Small
Crucifixion was between the time Sandrart saw it
THE EARLIEST and perhaps most important writ- and around 1922, but since its rediscovery, there
ten source for The Small Crucifixion is Sandrart's has been unanimous consent that it is a major
account, published in 1675. When Sandrart saw autograph work by Grnewald.
the painting around 1640/1650, it was in the col- In the National Gallery's painting, Christ's
72 GERMAN PAINTINGS
death on the cross is witnessed by the Virgin, Saint A framework for Grnewald's extraordinary
John the Evangelist, and the Magdalene, who depictions of Christ's Passion is found in several
kneels at the foot of the cross. In accordance with northern European visual and religious tradi-
the Gospel accounts, especially Luke 23:45, a so- tions. Of particular importance are aspects of
lar eclipse is depicted and a few stars are visible German mystical practices from the thirteenth
against the darkness. Set against this inky sky is and fourteenth centuries onward, the intense mo-
the ravaged body of the crucified Christ; the nastic contemplation of the sorrows of Christ, and
emphasis here is on Christ's physical suffering. the devotion to the Five Wounds of Christ. In the
His body is covered with wounds and blood, and fifteenth century the Imitatio Christi urged the lay
its weight bends down the ends of the crossbar.13 Christian to identify with Christ's life and to expe-
Hands and feet are contorted into gestures of rience his suffering personally. Visual anteced-
agony. Grnewald's expressive power is equally ents can be found in painting and sculpture of the
evident in the strident harmonies of the Virgin's fourteenth and early fifteenth centuries that pre-
blue-green robe set against the red and purple of sent the Crucifixion with gruesome realism.14
the Magdalene's costume, in the ragged edges of There is also the example of theatrical perfor-
John's voluminous cloak, which echo those of mances, such as the Frankfurt Passion Play of
Christ's loincloth, and in the gesture of John's 1493, cited by Zlch,15 that graphically describe
hands clasped together and bent backward at the Christ's physical torment.
wrist at a painful angle. Feurstein was probably the first to recognize
MATTHIAS GRNEWALD 73
that one of the most important influences on Crucifixion panel at Karlsruhe (fig. 5) is generally
Grnewald was the writings of the fourteenth- assigned a late date, c. i52o/i524.23
century mystic, Saint Bridget of Sweden.16 In her The various dates proposed for The Small Cru-
Revelations, available by the early sixteenth cen- cifixion may be clustered in certain groups.
tury in both Latin and German,17 the Virgin relates Weixlgrtner, Ldecke, and Sarn believe that
to Bridget an eye-witness account of the Crucifix- the panel records a solar eclipse that took place
ion. This reads, in part: "Then the color of death on i October 1502 and must have been painted
came on wherever he could be seen for the blood; very shortly thereafter.24 Stylistic comparison
his cheeks clung to his j a w s , . . . his belly, ex- with Grnewald's Mocking of Christ, dated 1503
hausted of all its humors, collapsed on his (Alte Pinakothek, Munich),25 however, quickly
back.... Then his whole body quivered, and his eliminates this proposal from serious considera-
beard sank on his breast.... His mouth being tion. Following the lead of Friedlnder, a second
open, as he had expired, his tongue, teeth, and the group places the National Gallery's painting be-
blood in his mouth could be seen by those looking tween the Basel and Colmar Crucifixions.26 Panof-
on ... ; and his body, now dead, hung heavily, the sky saw the influence of Grnewald, and The
knees inclining to one side, the feet to the other, Small Crucifixion in particular, on Drer's en-
on the nails as on hinges."18 Although not corre- graved Crucifixion of 1508, thus implying an early
sponding in every detail, the National Gallery's date for the Washington panel.27 Anzelewsky,
painting as well as others by Grnewald were however, reversed the direction of influence.28
clearly influenced by Bridget's description of the Zlch's dating of c. 1511 places The Small Cruci-
horrors of Christ's death. fixion just before the Isenheim altarpiece and is
The title, The Small Crucifixion, first appearing accepted by numerous authors, including Vogt,
in Sandrart, has continued to be used primarily to Lanckororiska, Lauts, Behling, and Mller.29 Na-
distinguish this painting from the larger repre- tional Gallery catalogues have dated the painting
sentation of the same theme in the Isenheim al- c. 151 o.30 A final group of critics favor a relatively
tarpiece. Given the relatively modest size of the late date, around or a little before the Karlsruhe
Washington panel, it is likely that it functioned as Crucifixion panel; Feurstein, Burkhard, Ruhmer,
a private devotional image, either in a domestic and Rieckenberg date The Small Crucifixion c.
or an intimate ecclesiastical setting, such as a 1519, the date of the Miracle of the Snows altar-
side chapel. There is no confirming evidence for piece (Augustinermuseum, Freiburg im Breis-
the suggestion first made by Feurstein that The gau), while Eisler suggests that it could be placed
Small Crucifixion belonged successively to Cas- well into the i52os.31
par Schantz, Heinrich Reitzmann, and Georg An examination of the Basel, Colmar, and
Schantz, canons of the collegiate church in Karlsruhe Crucifixions in chronological se-
Aschaffenburg, and was mentioned in the 1528 quence reveals a movement toward greater sim-
inventory of Reitzmann's possessions.19 plification and monumentality coupled with in-
The area of greatest disagreement concerns creased emphasis on corporeal physicality and
the date of the Small Crucifixion, for the painting textural palpability.32 In the Basel Crucifixion the
has been placed in every phase of Grnewald's figure of Christ is frontally and symmetrically dis-
career, from early to late. At first glance this is played; the horizontal bar of the cross is straight.
somewhat surprising since Grnewald's other The foreground is densely filled by the Three
depictions of the same theme would seem to pro- Marys, John the Evangelist, and the centurion. In
vide a framework for comparison. The Crucifix- the Karlsruhe Crucifixion the number of figures
ion in the Runstmuseum, Basel, is dated early, has been reduced to three and there is ample
c. I505/i5o6,20 as is a drawing in the Staatliche space around them. Even making allowances for
Kunsthalle, Karlsruhe.21 The Crucifixion on the the greatly increased size of the Karlsruhe panel,
outer wings of the Isenheim altarpiece in Colmar the figures are thicker and stockier in their pro-
(fig. 4) is dated between c. 1512 and 1516,22 while a portions. We are made conscious of the physical
74 GERMAN PAINTINGS
Matthias Grnewald, The Small Crucifixion, 1961.9.19
MATTHIAS GRNEWALD 75
Fig. 4. Matthias Grnewald, The Crucifixion, panel, Muse d'Unterlinden,
Colmar [photo: Muse d'Unterlinden, 0. Zimmerman]
presence of Christ's body, whose weight bends ton panel to the Colmar and Karlsruhe Crucifix-
down the ends of the cross. In relation to the verti- ions is not as easily defined, in part because of the
cal member of the cross, the body is off center; differences in scale and function. On the one
the suppedaneum under Christ's feet is seen at an hand, the somatic type of Christ in the Washington
angle, the torso is twisted toward the left while the picture is like that of the Isenheim Christ, al-
feet, bent around the nail "as on hinges," point in though the musculature is less clearly defined.
an agonized gesture toward the right. Between On the other hand, there are elements that ally
the Basel and Karlsruhe panels is the Isenheim themselves more with the Karlsruhe panel:
Crucifixion in Colmar. Here the torso of Christ is greater torsion in the hips and torso of Christ,
more symmetrical and frontal and the horizontal greater emphasis on the ragged edges of Christ's
crossbar of the cross less bent than in the Karls- loincloth and John's robes, and a greater empha-
ruhe picture. In the Isenheim Crucifixion the ges- sis on texture and volume in John's robes. Other
tures and emotions of the Virgin, John the indications that The Small Crucifixion is closer to
Evangelist, and the Magdalene are more exter- the Karlsruhe Crucifixion are the similar render-
nalized and histrionic, although in this and other ing of long, curving drapery folds in the costume
instances the differences may reflect the specific of the Magdalene and in that of the Karlsruhe Vir-
function and requirements of the Isenheim com- gin and the somewhat more self-contained emo-
mission. tional states of the onlookers in the Washington
The Small Crucifixion, then, seems to be least and Karlsruhe panels as compared to those in the
like the Basel Crucifixion and cannot be dated as Basel and Colmar Crucifixions.
early as c. 1505. The relationship of the Washing- Ruhmer perceives stylistic similarities be-
76 GERMAN PAINTINGS
tween The Small Crucifixion and the Miracle of potent life of its own. An accurate copy, possibly
the Snows of i5ig. 33 The facial types of Mary and from the late sixteenth century (Kunstsamm-
John are echoed in the two kneeling figures at the lungen des Klosters, Einsiedeln), is virtually the
left in the Freiburg panel, and the broad areas of same size as the National Gallery's painting.34 At
the red robes worn by Pope Liberius and his at- least ten other copies are known, all based on the
tendants are akin in handling to John's cloak engraving and dating from the seventeenth cen-
and robes. tury.35 What has been called the "Grnewald-
The foregoing comparisons suggest that while Renaissance" parallels the "Drer-Renaissance"
The Small Crucifixion may date slightly before the at the turn of the century and in this instance may
Isenheim altarpiece, the Washington painting is also testify to the needs of the Counter Reforma-
more likely to be contemporary with or later than tion for emotionally gripping depictions of
it, and shows somewhat greater stylistic affinities Christ's death.36
with the Miracle of the Snows and the Karlsruhe
Crucifixion. I would suggest a date for it between Notes
1. The wood was identified as linden by Peter
1511 and 1520. Klein, examination report, 29 September 1987, in NGA
The image of The Small Crucifixion, trans- curatorial files.
mitted through Sadeler's 1605 engraving, had a 2. Schoenberger 1922,36, and Zlch 1938 (see Bi-
MATTHIAS GRNEWALD 77
ography), 325, mention unpainted edges; Schoen- arrow about to be shot heavenward. The imagery was
berger states that a chalk ground extended over the used by Joris-Karl Huysmans in La-fozs (Paris, 1891) to
unpainted edges. describe Grnewald's Crucifixion in Karlsruhe; Eng-
3. Schoenberger 1922,35-36, describes the paint- lish translation of Huysmans in Ruhmer 1958,7. Com-
ing's condition. pare also Osten and Vey 1969, 93.
4. According to Zlch 1938 (see Biography), 325, 14. Otto Benesch, The Art of the Renaissance in
the painting was treated twice before it was restored by Northern Europe (Cambridge, Mass., 1945)* 26-28;
Otto Klein in 1936. See also the memorandum re- Mller 1984, 20-27, reproduces in his fig. 10 a carved
cording a conversation between William P. Campbell crucifix dated 1304 (Sankt Maria im Kapitol, Cologne)
and Otto Klein, 8 May 1970, in NGA curatorial files; and as a visual and emotional antecedent. For devotion to
Sarn and Schmeidler 1974, 212-213, based on an in- the wounds of Christ see John Oliver Hand, "The Por-
terview with Klein in 1965. trait of Sir Brian Tuke by Hans Holbein the Younger,"
The letters mg were accepted as autograph by Zlch StHist 9 (1980), 41-47. The exact relationship between
1938 (see Biography), 325, and many subsequent au- mysticism and art is often difficult to explain, but see
thors. Kress 1956, 100, suggested that the letters were Ernst Benz, "Christliche Mystik und christliche Kunst,"
from the seventeenth century and stood for "Mathis Deutsche J/ierteljahrsschriJt fur Literaturwissenschaft
Grnewald." I am grateful to Laetitia Yeandle, curator und Geistesgeschichte 12 (1934), 22-48; J. Sauer, "Mys-
of manuscripts, Folger Shakespeare Library, for her tik und Kunst unter besonderer Bercksichtigung des
palographie observations. Oberrheins," Kunstwissenschaftliches Jahrbuch der
5. Sandrart 1675, 23@; Peltzer 1925, 82: "Ferner Grresgesellschaft i (1928), 3-28.
haben ihre Fiirstl. Durchl. Herzog Wilhelm in Bayern 15. Zlch 1938 (see Biography), 128.
hochseligsten Andenkens ais vernnftiger Urtheiler 16. Feurstein 1924, especially 140-161. For Bridget
und Liebhaber der edlen Kunst ein klein Crucifix mit see Thurston and Attwater, 4: 54-59.
unser Lieben Frauen und S. Johann samt einer nieder- 17. The Revelationes were first printed in Lbeck in
knienden und andchtig betenden Maria Magdalena 1492, as noted by Weixlgrtner 1962,30. A Latin edition
so fleissig gemahlt von dieser Hand gehabt, auch sehr was published in Nuremberg by Anton Koberger in
geliebt, ohne dass sie gewust, von wem es sey. Selbiges 1500, and a German edition appeared in 1502.
ist wegen des verwunderlichen Christus am Creutz, so 18. Revelations of St. Bridget, on the Life and Passion
ganz abhenkend auf den Fssen ruhet, sehr seltsam, of Our Lord, and the Life of His Blessed Mother (New
dass es das wahre Leben nicht anderst thun knte, und York, 1862), 67; see also Benesch 1945, 30.
gewiss ber all Crucifix natrlich wahr und eigentlich 19. Feurstein 1930, 116-117, citing the research of
ist, wann ihm mit vernnftiger Gedult lang nachgeson- Josef Hohbach, who believed that the National Gal-
nen wird, solches ist deswegen halb-Bogen gross auf lery's painting was probably identical with the "telin
gndigen Befehl hochgedachten Herzogs Anno 1605 mit einem crucifix" in the estate of Heinrich Reitzmann
von Raphael Sadler in Kupfer gestochen worden, und (d. 1527) and, further, that the panel was probably be-
erfreute ich hernachmalen Ihre Churfurstl. Durchl. queathed to Reitzmann by Caspar Schantz and in turn
Maximilian seligster Gedchnis hchlich, da ich des passed from Reitzmann to Caspar's brother Georg.
Meisters amen geoffenbaret." Zlch 1938 (see Biography), 325, and 420 n. 39, cau-
6. Friedlnder 1922, 60; Scharf 1929, 370. tiously mentions Feurstein's and Hohbach's proposal
7. Mrs. Christie van der Waals, daughter of Franz and then notes that Caspar Schantz died in 1525 and
Koenigs, statement, in NGA curatorial files. that Georg died between 1528 and 1531.
8. Scharf 1929, 370; see also "Fine Grnewald- This provenance, accepted by many subsequent
Ausstellung in Berlin," Der Cicerone 20 (1928), 716. authors, is unverified. I have been unable to locate
9. Pantheon 16 (1935), 380. any publications by Joseph Hohbach concerning this
10. Troche 1936, 306. material. However, the information is provided in
11. Van der Waals, statement, in NGA curatorial Paul Fraundorfer, "Quellen zur Begrndung der
files; Ernst Buschbeck, director of the Kunsthisto- Maria-Schnee-Verehrung in Aschaffenburg," Aschaf-
risches Museum, Vienna, letter to John Walker, 8 No- fenburger Jahrbuch fur Geschichte Landeskunde und
vember 1952. Kunst des Untermaingebietes 7 (1981), 119-221. In the
12. F. W. H. Hollstein, Dutch and Flemish Etchings, inventory of Reitzmann's goods, 22 April 1528, appears
Engravings, and Woodcuts ca. 1450-1700.32 vols. (Am- "item i teftlin mit einem crucifix" (Fraundorfer 1981,
sterdam 1949-1988), 21: 220, no. 32. The inscription 21 o); in Reitzmann's will, 5 August 1527, appears a pro-
reads in part: SKRENISSIMO PRINCIPI GVILIELMO COMITI vision that the goods inherited from Caspar Schantz are
PALATINO, RHENI, VTRIVSQVE BAVARIAE DVCI. As noted by bequeathed to his brother Georg (Fraundorfer 1981,
Eisler 1977, 21 n. 9, the engraving also carries papal 179). There is nothing to connect the Crucifixion panel
privilege. of the Reitzmann inventory with Grnewald or the Na-
13. Zlch 1938 (see Biography), 124, compares the tional Gallery's painting, and nothing to connect it with
bent crossbar to a bow and the body of Christ to an either member of the Schantz family.
78 GERMAN PAINTINGS
Equally unsubstantiated is the proposal in Troe- presumably was part of the Miracle of the Snows altar-
scher 1973,85, that the painting came to Duke Wilhelm piece. The altarpiece was commissioned by Heinrich
V from the dukes of Lorraine (Lotharingia) and was Reitzmann for the chapel of the brothers Caspar and
originally in the Order of Saint Anthony in France, or Georg Schantz in the collegiate church of Aschaffen-
the assertion in Rieckenberg 1976, 10, that it was burg, a fact that undoubtedly influenced several au-
painted for Cardinal Albrecht of Brandenburg. thors to accept the same origin for the National
20. Ziilch 1938 (see Biography), 106-114,324^0.6; Gallery's panel; see note 19.
Ruhmer 1958, 117, no. 3. 34. Linden, 61.5 x 46 cm. See Meyenberg 1933,
21. Ruhmer 1970,79, no. i, pis. i -2. Kress 1956, i oo, 104-107; Goldberg 1980,161 n. 139; Grimm and Konrad
associated the drawing with the National Gallery's 1990,252.1 am extremely grateful to Bernd Konrad for
painting on the basis of Christ's right thumb being bent bringing this painting to my attention and for a photo-
against the palm, a detail visible in the x-radiograph of graph of it; letter to the author, 11 June 1988, in NGA
the painting. See also Borries 1974. curatorial files.
22. Not all authors accept the markings on the Mag- 35. These copies include:
dalene's ointment jar as containing a date of 1515; see 1. Formerly Dr. von Pauer, Munich; wood, 62.5
Christian Heck, Grnewald et le retable d'Issenheim X 47 cm.; Schoenberger 1922, pi. i4b.
(Colmar, 1982), 19. 2. Formerly Baron von Cramer-Klett, Hohen-
23. Mller 1984, 31; Ruhmer 1958, 126-127, no. 9. aschau; probably identical with the painting sold at
Ewald M. Vetter, "Matthias Grnewalds Tauber- Adolph Weinmller, Munich, 15-16 April 1953, no.
bischofsheimer Kreuztragung. Rekonstrukion und 771; wood, 70 x 52 cm.; Schoenberger 1922, pi. i4a.
Deutung," Pantheon 43 (1985), 45, 48, fig. 10; Vetter 3. Frstenberg Sammlungen, Donaueschin-
sees the artist's first name and 1524 on the Christ Car- gen; wood, 33.5 x 22 cm.; Schoenberger 1922, fig.
rying the Cross, the now separated verso of the Cruci- 13; Grimm and Konrad 1990,252, no. 73, repro. 253.
fixion. My examination of the picture did not confirm 4. Bodemuseum, Berlin, no. 1694; copper, 20 x
this date. 15 cm.; photograph in NGA curatorial files.
24. Weixlgrtner 1949, 28-29; Weixlgrtner 1962, 5. Kunstmuseum, Basel, no. 1480; wood, 29 x
30; Ldecke 1971, 25; Geissler and Sarn 1973, 218- 20.7 cm.; Schoenberger 1922, pi. HC; photograph in
219; Sarn and Schmeidler 1974, 213-220. NGA curatorial files. The figure of the Magdalene is
25. Ruhmer 1958,115, no. i,pls. 1-3. As noted in the missing.
Biography, 1503 is probably the death date of the donor; 6. Wetterau-Museum, Friedberg; wood, 97 x
the picture was painted shortly thereafter. 71 cm., including frame; Schoenberger 1922,35, no.
26. Friedlnder 1922, 61; Schoenberger 1922, 42; 8; color transparency in NGA curatorial files.
Hagen 1923, 80, 235; Kress 1956, 98; Seymour (Kress) 7. Kunstsammlung Lorenzkapelle, Rottweil,
1961, 211; Benesch 1966,84; Sterling 1974, 130. wood, 94.5 X 70 cm.; Schoenberger 1922, pi. i4d;
27. Panofsky 1943, 1:146. photograph in NGA curatorial files. Only the figure
28. Anzelewsky 1955, 294. of Christ is taken from Grnewald.
29. Ziilch 1938 (see Biography), 324, no. 9; Vogt 8. Historisches Museum, Basel, no. 1870.950;
*957> 158, no - 7; Lanckororiska 1963, 66; Lauts 1968, wood, low-relief sculpture, 59 x 29 cm.; Schoen-
unpaginated; Behling 1969, 31 ; Mller 1984, 31. berger 1922, fig. 14; photograph in NGA curatorial
30. NGA 1975, 166; NGA 1985, 192. files.
31. Feurstein 1930, 118; Knapp 1935, 39; Burkhard 9. Kupferstichkabinett, Berlin, no. 7934; pen,
!936, 50; Ruhmer 1958, 120-121; Ruhmer 1970, 93; brown ink, and wash on paper, 27.9 x 20.9 cm.;
Rieckenberg 1976, 10; Eisler 1977, 21. Christian Heck, Schoenberger 1922, fig. 15; photograph in NGA cu-
former curator of the Muse d'Unterlinden, Colmar, in ratorial files.
conversation with Martha Wolff, inclined toward a date 10. Formerly Schlesisches Museum, Breslau
c. 1519/1520 (memorandum, 26 August 1981, in NGA (Wroclaw), no. 1341; copper, 61 x 41 cm.; see Mari -
curatorial files). Schmid 1909, 413, and Schmid 1911, usz Hermansdorfer, director, Muzeum Narodowe,
226-228, placed the painting c. 1512/1517, between the Wroclaw, letter, 3 June 1987, in NGA curatorial files;
Colmar and Karlsruhe Crucifixions-, Josten 1913, 68, Ziilch 1938 (see Biography), 325, partial copy.
proposed a date of c. 1519; at this time only the engrav- 11. Private collection or museum, Walldrn?
ing and the later copies were known. Unverified, see Knapp 1935, 39.
32. I am grateful to Paul Boerlin in Basel, Christian 36. For Grnewald's influence see Ruhmer 1974
Heck in Colmar, and Dietmar Ldke and Babette Hart- and Hausenberg 1927, especially 15-46. Virch 1958,
wieg in Karlsruhe for facilitating my examination of the 224, cites Sadeler's engraving as an influence on Hen-
paintings in their care. drick Terbrugghen's Crucifixion (Metropolitan Mu-
33. Ruhmer 1958, 121, pis. 67-69 (Freiburg paint- seum of Art, New York). Compare also Gisela Gold-
ing); Eisler 1977,21, also observes similarities with the berg, "Drer-Renaissance am Mnchner Hof," in Urn
Madonna and Child (Pfarrkirche, Stuppach), which Glauben und Reich. Kurfilrsl Maximilian I. Wittelsbach
MATTHIAS GRNEWALD 79
undBayern [exh. cat., Residenz] (Munich, 1980), vol. 2, 1935 Rnapp, Fritz. Grnewald. Bielefeld and Leip-
pt. 1,318-322. zig: 39,46, no. ix, repro. 41.
1
935 "Kln, Wallraf-Richartz-Museum."/>m/*eora
References 16:380.
1675 Sandrart, Joachim von. Teutsche Acadmie 1936 Burkhard, Arthur. Matthias Grnewald: Per-
der edlen Bau-, Bild-, und Mahlerey-Knste (Der sonality and Accomplishment. Cambridge, Mass.: 10-
Teutschen Acadmie. Zwenter theil/von der alt/ 11,49-52, pi. 50.
undneu-berhmtenegyptischen/griechischen/rmi- 1936 Fraenger, Wilhelm. Matthias Grnewald in
schen/italinischen/hoch- und niederteutschen Bau-, seinen Werken. Berlin: 12, repro. 11.
Bild-, und Mahlerey Kunstlere Lob und Leben). Nur- 1936 Troche, E. G. "Deutsche Zeichnungen aus
emberg: 236. der Sammlung Koenigs-HaarJem." Pantheon 18: 306.
1884 Niedermayer, Friedrich. "Mathias Grne- 1938 Zulen (see Biography): 123-131,324-326,no.
wald." RJK 7: 249-251. 9, figs. 63-67a.
1894 Reber, Franz von. Geschichte der Malerei 1939 Hrlimann, Martin, and Werner R. Deusch,
vomAnfangdes 14. bis zumEnde des 18. Jahrhunderts. Grnewald. Das Werk des Meisters Mathis Gothardt
Munich: 247. Neithardt. Berlin and Zurich: n.p., no. 49, repro.
1909 Schmid, Heinrich Alfred. "Die Chronologie 1943 Panofsky. i: 146; 2: fig. 197.
der Werke Grnewalds." RJK 32:413. 1948 Schoenberger, Guido. The Drawings of
1911 Schmid, Heinrich Alfred. Die Gemalde und Mathis Gothart Nithart called Gruenewald. New York:
Zeichnungen von Matthias Grnewald. Strasbourg: 25-26, under no. 2; 45, under A4, fig. A6.
226-228. 1949 Weixlgrtner, Arpad. Durer und Grnewald.
1913 Josten, H. H. Matthias Grnewald. Bielefeld Ein Versuch, die beiden Knstler zusammenin ihren
and Leipzig: 66-68. Besonderheiten, ihrem Gegenspiel, ihrer Zeitgebunden-
1920 Mayer, August L. Matthias Grnewald. Mu- heitzu Verstehen. Gteborg: 28-29, 38-39,42, 52-53,
nich: 42-43,82, no. 20. 58-59, 62-63,72,90-91,152.
1922 Friedlnder, Max J. "Grnewalds einst beim 1949 Zlch, Walter Karl. Grnewald. Mathis
Bayernherzog bewahrte Rreuzigung." JbBerlin 43:60- Gothardt-Neithardt. Munich: 21-22, 61, no. 6, figs.
62, repro. 22-23.
1922 Schmid, Heinrich Alfred. "Grnewald, Mat- !953 "Das Klein-Kruzifix des Bayern-Herzogs."
thias." Thieme-Becker. 15: 137. Die Weltkunst 23 (15 January): 4, repro.
1922 Schoenberger, Guido. "Matthias Grne- 1954 Tietze, Hans. Treasures of the Great National
walds 'Klein Crucifix.' " Stadel-Jahrbuch 2: 33-52, Galleries. New York: 117-118,123, pi. 200.
repro., pis. 9-13. 1955 Anzelewsky, Fedja. "Albrecht Durer und
1923 Hagen, Oskar. Matthias Grnewald. Munich: Mathis Gothardt Nithardt." Edwin Redslob zum 70.
80-81,89-91, 234-235, no. 2a, figs. 2oa-c. Geburtstag. Berlin: 294.
1924 Feurstein, Heinrich. "Zur Deutung des Bild- 1955 Dittmann, Lorenz. Die Farbe bei Grnewald.
gehaltes bei Grnewald." OberdeutscheKunstderSpat- Munich: 120.
gotik und Reformationszeit. Edited by Ernst Buchner !955 "Famous Venetian, French and German
and Karl Feuchtmayr. Augsburg: 144 n. 3. Paintings for America: Acquisitions for the Washing-
1925 Peltzer, Alfred R. Joachim von Sandrarts Aca- ton, D.C., National Gallery." The Illustrated London
dmie der Bau-, Bild-, und Mahlerey-Knste von 1675. News 227 (16 July): 115, repro.
Munich: 82, 389 n. 261. 1956 Frankfurter, Alfred. "Crystal Anniversary in
1927 Hausenberg, Margarethe. Matthias Grne- the Capital.",4rtyV 55: 35, repro. 26,27.
wald im Wandel der deutschen Kunstanschauung. 1956 Kress: 98-103, no. 36, repros.
Leipzig: 19,39-44. 1956 "New Kress Gift at Washington." The Studio
1929 Scharf, Alfred. "Alte Malerei aus Rheinisch- 151: 80, repro.
Westfalischem Privatbesitz. Die Jubilaumsausstel- 1956 Shapley, Fern Rusk. National Gallery of Art,
lung des Kunstvereins fur die Rheinlande und Westfa- Portfolio Number j: Masterpieces from the Samuel H.
len in Dusseldorf." Der Cicerone 21: 370, repro. Kress Collection. Washington: no. 6, repro.
1930 Feurstein, Heinrich. Matthias Grnewald. 1956 Walker: 9, repro.
1
Bonn: 73, 114-118, fig. 45. 957 Vogt, Adolf Max. Grnewald. Mathis Gothart
1932 Feulner, Adolf. "Ein Zinnkruzifix nach Nithart, Meister gegenklassischer Malerei. Zurich and
Grnewald." Stadel-Jahrbuch 7-8: 172. Stuttgart: 43-45, i58-159, n- 7, g- H-
1933 Meyenberg, Clemens. "Ein echter 'Grne- 1958 Pevsner, Nikolaus, and Michael Meier.
wald'?" St. Meinrads Roben 22: 104-107. Grnewald. New York: 36, no. 59, repro.
1935 Deusch, Werner R. Deutsche Malerei des sech- 1958 Ruhmer, Eberhard. Grnewald: The Paint-
zehnten Jahrhunderts. Berlin: 26, pi. 38. English d., ings. London: 120-121, pis. 60-61.
New York, 1973: 28, pi. 38. 1958 Virch, Glaus. "The Crucifixion by Hendrick
80 GERMAN PAINTINGS
Terbrugghen." BMMA 16: 224. 1974 Ruhmer, Eberhard. "Grnewalds Ausstrah-
1
959 "Grnewald." SeleArte 43: 11. lung im 16. und 17. Jahrhundert." Grnewald et son
1959 Kress: 304, repro. oeuvre. Actes de la table ronde organise par le Centre
1960 Broadley: 42, repro. on cover. national de la recherche scientifique Strasbourg et
1961 Seymour (Kress): 83,85,211, pis. 75-77. Colmar du 18 au 21 octobre: 182-184.
1962 Cairns and Walker: 68, repro. 69. 1974 Sarn, Bernhard, and Flix Schmeidler,
1962 Weixlgrtner, Arpad. Grnewald. Vienna "Grnewalds 'Klein-Kruzifix' und die Sonnenfin-
and Munich: 14, 21, 28-30, pi. 2. sternis vom i. Oktober 1502." Maltechnik 80: 210-220,
1963 Lanckoroska, Maria. Matthaus Gotthart repro.
Neithart. Sinngehalt und Historischer Untergrund der 1974 Sterling, Charles. "Grnewald vers 1500-
Gemalde. Darmstadt: 65-69, fig. 38. 1505." Grnewald et son oeuvre. Actes de la table ronde
1963 Sitzmann, Karl. "Grnewald, Matthias." En- organise par le Centre national de la recherche scien-
cyclopedia of World Art. 16 vols. New York, Toronto, tifique Strasbourg et Colmar du 18 au 21 octobre: 130,
and London, 1959-1983,7: col. 183. 142,144-
1963 Walker: 114, repro. 115. !975 Cinotti, Mia, d. The National Gallery of Art
1965 Winzinger, Franz. "Grnewald Mathis Got- of Washington and Its Paintings. Edinburgh: unpagi-
hart mit Beinamen Neithart oder Nithart, genannt." nated, no. 93, repro.
Kindlers. 2:790,802, no. 18, repro. 800. 1975 NGA: 166, repro. 167.
1966 Benesch, Otto. German Painting:From Durer 1976 Bodino, Maristella, and Franco De Poli.
to Holbein. Geneva: 84,86. Grnewald. Milan: 34, repro., 92-93, repro.
1966 Cairns and Walker: 108, repro. 109. 1976 Grnewald, with an Essay byJ.-K. Huysmans.
1968 Guttler. Northern Painting. 361 -362, fg. 470. Oxford and New York: 14, pi. 7.
1968 Lauts, Jan. Grnewald. Kreuztragung und 1976 Rieckenberg, Hans Jrgen. Matthias Grne-
Kreuzigung. Karlsruhe: unpaginated, pi. 13. wald. Herrsching: 10,76, no. 9, pi. 12.
1969 Behling, Lottlisa. Matthias Grnewald. K- 1976 Walker: 144, no. 152, repro. 145.
nigstein im Taunus: 9-10, repro. 31. 1977 Eisler: 19-23, figs. 20, 21.
1969 Osten, Gert von der, and Horst Vey. Painting 1977 Vetter, Ewald M. "Wer war Matthias Grne-
and Sculpture in Germany and the Netherlands ijoo to wald?" Pantheon 35: 189.
1600. Harmondsworth: 94. 1979 Watson, Ross. National Gallery of Art, Wash-
1970 Ruhmer, Eberhard. Grnewald Drawings. ington. New York: 54, pi. 37.
London: 12,93, under no. 29. 1980 Diemer, Peter. "Wilhelm V. as Mzen." Urn
1971 Ldecke, Heinz. Grnewald. Dresden: 5-6, Glauben und Reich. Kurjurst Maximilian I. Wittelsbach
25, pi. 2. und Bayern. Exh. cat., Residenz. Munich: vol. 2, pt. 2,
1973 Geissler, Heinrich, Bernhard Sarn, et al. p. 76, under no. 112.
Mathis Gothart Nithart. Grnewald. Der Isenheimer 1980 Goldberg, Gisela. "Zur Ausprgung der
Altar. Stuttgart: 23, 218-219. Drer-Renaissance in Mnchen." Mnchen Jahrbuch
1973 Troescher, Georg. "Die Entstehung des derbildenden Kunst 31:140,160-161 n. 139.
Hochaltars der Antoniter-Praeceptorei zu Isenheim." 1981 Winzinger, Franz. "Zu Drers Kaiserbildnis-
GiessenerBeitrge zur Kunstgeschichte 2:84-89, fig. 19. sen." Pantheon 39: 206-207, fig. 6.
1974 Blum, Henri. "Le Problme des signatures de 1983 Wolff: unpaginated, repro.
Grnewald." Grnewald et son oeuvre. Actes de la table 1984 Mller, Christian. Grnewalds Werke in
ronde organise par le Centre national de la recherche Karlsruhe. Karlsruhe: 31, repro. 33.
scientifique Strasbourg et Colmar du 18 au 21 octobre: 1984 Walker, John. National Gallery of Art, Wash-
97n. 11,99-100,repro. ioi,fig. 11. ington. Rev. ed. New York: 144, repro. 145.
1974 Borries, Johann Eckart von. "Bemerkungen 1985 NGA: 192, repro.
zu der Karlsruher Grunewald-Zeichnung." Grne- 1990 Grimm, Glaus, and Bernd Konrad. Die Fr-
wald et son oeuvre. Actes de la table ronde organise stenberg Sammlungen Donaueschingen. Altdeutsche
par le Centre national de la recherche scientifique und schweizerische Malerei des ij. und 16. Jahrhun-
Strasbourg et Colmar du 18 au 21 octobre: 192-194, derts. Munich: 252.
fig. 4-
MATTHIAS GRNEWALD 8l
Hans Holbein the Younger
1497/1498-1543
82 GERMAN PAINTINGS
the circle of Sir Thomas More. Unfortunately the Henry. It was on one of these trips in 1538 that the
major work of this period, the Family of. Sir artist returned to Basel, where a banquet was held
Thomas More, was destroyed and is known only in his honor and the city council attempted with-
through a drawing by Holbein (Runstmuseum, out success to persuade him to stay. He died of the
Kupferstichkabinett, Basel) and later copies. plague in London sometime between 7 October,
Holbein returned to Basel in the summer of the date of his testament and will, and 29 Novem-
1528 and purchased a house on 29 August. He ber 1543.
completed a mural for the council chamber of the Although he was a skillful and inventive drafts-
town hall and revised the Madonna and Child man, printmaker, miniaturist, and jewelry de-
with Jacob Meyer and His Family begun earlier. signer, Holbein is best known as a painter, in
He also painted a portrait of his wife and two el- particular as a portraitist. An assured, meticulous
dest children (Runstmuseum, Basel), which is technician, his insights into the character of his
imbued with a haunting sadness and was possibly sitters are achieved, somewhat paradoxically,
influenced by Leonardo da Vinci's late composi- through his cool, emotional detachment and ob-
tions. jective, astonishing realism. Working primarily
As demonstrated by an outbreak of iconoclasm in Switzerland and England, he is nonetheless
in 1529, the religious and political climate of Basel one of the greatest German artists of the sixteenth
was still "freezing," to use Erasmus' word, and by century.
early September 1532 Holbein was back in Eng-
land. There, too, the situation had altered with the Bibliography
death of Archbishop Wareham and the removal Die Malerfamilie Holbein in Basel. Exh. cat., Kunstmu-
from power of Sir Thomas More, and Holbein's seum. Basel, 1960.
Strong, Roy. Holbein and Henry VIH. London and New
first portraits were of the German merchants of York, 1967.
the Hanseatic League housed in the steelyard in Rowlands, John. Holbein: The Paintings of Hans Hol-
London. His circle of clients quickly broadened, bein the Younger. Oxford, 1985.
however, and one of his largest and most complex
works, The Ambassadors, dated 1533 (National
Gallery, London), is a double portrait of the
1 9 3 7 . 1 . 6 4 (64)
French envoys to England, Jean de Dintville and
Georges de Selve. Edward VI as a Child
Because the account books are missing, it is not
known exactly when Holbein began working for Probably 1538
Oak, 56.8 x 44 (22Vs x 173/8)
Henry VIII, but it was no later than 1536. The most
Andrew W. Mellon Collection
important commission from the king was for the
fresco in Whitehall Palace depicting Henry VIII, Inscription
Queen Jane Seymour, and his parents, Henry VII At bottom:
Ps\RWLE PATRISSA, PATRICE VIRTVTIS ET
and Elizabeth of York, accompanied by Latin H/ERES /ESTO, NIHIL MAIVS MAXIMES ORBIS
verses praising Henry VIII for suppressing the HABET. / GNATVM VIXPOSSVNT COELVMET
popes and thus restoring religion. The wall paint- NATVRA DEDISSE, /HVIVS QVEM PATRIS,
ing was destroyed by fire in 1698, but part of Hol- VICTVSHONORETIONOS. //EQVATO TANTVM,
TANTI TVFACTA PARENT1S, / VOTA HOMINVM,
bein's cartoon is preserved (National Portrait Gal- VIX QVO PROGREDIANTVR, HABENT/ VINCITO,
lery, London), as are later copies of the entire YIC1STI. QVOT REGES PRISCVS ADORAT/ORBIS,
composition. NEC TE QVl ENCERE POSSIT, ER1T. Ricard:
Morysini. Car :
In addition to depicting the king and members
of the nobility, Holbein was called upon to travel Labels
to Europe to make portraits of potential brides for On reverse, inscribed in black ink on paper: Edward
84 GERMAN PAINTINGS
Hans Holbein the Younger, Edward VI as a Child, 1937. i .64
ciwani Prime. *
i ally agreed ti\atEdward Vas a Child is the paint-
ing that was presented by Holbein as a gift to
Henry VIII on i January 1539 and is so recorded
on a roll of New Year's gifts as "By hanse holbyne
a table of the pictour of the p[ri]nce grace."11 The
king was apparently pleased with the painting, for
the same document indicates a gift to the artist
of a golden vessel weighing i oV4 ounces made by
Cornelius Hayes, the king's goldsmith.12 The Na-
tional Gallery's panel is the only autograph ver-
sion of this type of depiction of Edward VI either
extant or known. It is most likely that Holbein
painted the portrait in 1538, following his return
in late autumn or early winter from Burgundy,
Nancy, and Basel. The work must have proceeded
rather quickly in order for it to have been finished
and ready for the king by i January.
Even though it has suffered some damage, the
Fig. 5. Wenceslaus Hollar after Hans Holbein the Fig. 4. Wenceslaus Hollar after Hans Holbein the
Younger, Edward VI as a Child, pen and ink and Younger, Edward VI as a Child, 1650, etching, Her
brown wash, 23.6 x 17.9 cm. Pepys Library, Majesty Queen Elizabeth II, Royal Library, Windsor
Magdalene College, Cambridge [photo: Masters Castle [photo: Windsor Castle, Royal Library. 1992
and Fellows of Magdalene College, Cambridge] Her Majesty Queen Elizabeth II]
portrait of Edward VI as a Child is one of the most hand raised in a speaking gesture.14 As befits a
important works by Holbein in the United States royal effigy, the image has an imposing, iconic
and amply demonstrates Holbein's superb con- dignity and rigidity. Even though his features are
trol of his technique and means of expression. astutely observed, Edward is depicted by Holbein
Particularly striking is the splendidly rendered as a sturdy child, free from any physical frailty.
detail in the cloth-of-gold sleeves and the careful This image of the king's only male heir and suc-
draftsmanship and subtle modeling of the child's cessor to the throne was intended to flatter Henry
face. Some critics have argued for a later date for VIII and to bolster and consolidate his authority
the panel on the grounds that the child appears and power. Underscoring this aspect of the paint-
older than his age in 1538 of approximately four- ing's function is Sir Richard Morison's inscription
teen months.13 This ignores a central contradic- at the bottom of the panel, which challenges Ed-
tion that relates to the function of the painting. ward to equal the achievements of his father and
Taken by itself, Edward's face is that of an infant adds that should he surpass Henry he would have
who is perhaps a little more than a year old, but bettered all the kings in history.
who is given the posture and serious demeanor Strong discussed the National Gallery's por-
of an adult. Although there is a slight twist to the trait in the larger context of Reformation politics
torso, the pose is basically frontal and hieratic. and propaganda in England. In particular he
Separated from the viewer by the parapet, the noted a connection between Hans Holbein,
child appears to look down upon the spectator, his Thomas Cromwell, a counselor to the king who
88 GERMAN PAINTINGS
in 1646. His will of 5 September 1640 left his possessions unverified but intriguing. No portrait of Edward VI by
to his wife; see Charles Howard, Historical Anecdotes Holbein appears in the royal collection inventories of
of Some of the Howard Family (London, 1817), 93-96. 1709, 1754, 1781, or 1803; I am extremely grateful to
Alathea Howard died in Amsterdam in 1654; an inven- Hans Georg Gmelin for this information, letter to the
tory in the Rijksarchief, Utrecht, of the Arundel collec- author, 16 December 1977, in NGA curatorial files. The
tion made in Amersfoort in 1655 usts two portraits of earliest published mention of the picture is Molthan
Edward VI by Holbein; see F.H.C. Weijtens, DeArundel- 1844,65, no. 12, and conceivably it thus could have en-
Collectie. Commencement de la fin Amersfoort i6jj tered the collection sometime after 1803 and before
(Utrecht, 1971 ), 30, no. 19; and 31, no. 49, "Eduwart de 1844.
seste, Holben"; and "Eduwardus den sesten, Holben." 7. Nancy C. Little, M. Knoedler & Co., letter to the
These correspond to an inventory in Italian in the Pub- author, 2 March 1988, in NGA curatorial files, states that
lic Record Office, London; Cox 1911,323. It is assumed the painting came to Rnoedler's from Colnaghi in 1925.
that the painting copied by Oliver and Hollar corre- I am also indebted to Ms. Little for access to stockbooks
sponds to one of the works listed. It is not clear what and files at M. Knoedler & Co., New York, on 15 March
happened next to the collection. At the time of Alathea 1988. A rather sensational but unverified account of
Howard's death, her only surviving son, William Vis- how the painting passed from the duke of Cumber-
count Stafford (d. 1680), claimed that a nuncupative land's collection to Colnaghi's to a representative of
will entitled him to her personal possessions, including Knoedler's was given by A. Martin de Wilde in Betty
the art collection, but this was disputed by his nephew, Beale, "Will of Billionaire Deprives U.S. of krt," Buffalo
Henry, who succeeded his father, Henry Frederick Evening News (6 June 1960), clipping in NGA curatorial
(d. 1652), as earl of Arundel and Surrey; see Hervey files.
1921,473; Weijtens I97l> 18-24. Weijtens 1971, pi. 14, 8. See W.A.J.A., "Morison, Sir Richard," DNB 39
published a document of u October 1662 signed by (1894), 60-61.
the painter Herman Saftleven indicating that Lord 9. This translation appears in the M. Knoedler &
Stafford's collection was probably sold in Utrecht in Co. brochure, in NGA curatorial files, and is used in sev-
that year. eral NGA publications, including Cairns and Walker
5. Drossaers and Lunsingh Scheurleer 1974, "In- 1966, 120, and NGA 1985, 204. Wornum 1867, 324,
ventaris van de inboedel van het Huis Het Loo, het Oude translates the inscription, "Little one! Imitate your fa-
Loo en Het Huis Merwell, 1713," 679, no. 886; and 700, ther and be the heir of his virtue, the world contains
no. 10, "Een koning Eduard van denselven [i.e., Hol- nothing greaterHeaven and Nature could scarcely
bein] met een descriptie van Richard Morosini" and give a son whose glory should surpass that of such a
"Schilderijen die volgens het zeggen van den kunstbe- father. You only equal the acts of your parent, the
waerder Du Val door Hare Majt. de coninginne van wishes of men cannot go beyond this. Surpass him, and
Groot-Brittannin zijn gereclameert geworden als tot you have surpassed all the kings the world ever wor-
de croon behorende"; and "Koning Eduart van dito [i.e., shipped, and none will ever surpass you."
Holbein]" (in the margin, "Staet niet aengeteekent"). 10. See S.L.L., "Edward VI," DNB 17 (1889), 84-90;
As observed by Broos in Brenninkmeyer-de Rooij et al. Encyclopaedia Britannica, 8th ed. (1945), s.v. "Edward
1988, 117, Du Val's marginal notation of "not listed" VI," 9-10.
(Staet niet aengeteekenf) may be taken as an indication 11. See note 2. Caution is expressed by Ganz 1950,
that the portrait was not on the list of works requested 251, no. 105, and Strong 1969, 91-92.
for return to the English royal collection because it was 12. Folger Shakespeare Library, Washington, MS.
acquired from a private collection, that of Arundel. Z. d. 11: "to hanse holbyne paynter a gilte cruse wt a
Broos 1988, 118, suggested, without verification, that couer Cornelis weing Xoz qu[ar]t[er]." A photocopy is
the portrait was in Het Loo by about 1700 and that it in NGA curatorial files.
hung next to a portrait of Henry VIII by Holbein as indi- 13. Parker 1945, 49, and Roberts 1987, 86. Strong
cated in the 1713 inventory in Drossaers and Lunsingh 1969, 91-92, is in error when he states that year 30 of
Scheurleer 1974,679, no. 885, "Een Hendrick de Achts- Henry's reign began on 21 April 1539; see note 2.
te van Holbeen." The portrait was in Het Loo in 1711, 14. Louchheim 1948, 56, and Joan A. Holladay,
for in that year it was described by Zacharias Conrad memorandum, August 1977, in NGA curatorial files, in-
von Uffenbach; see Uffenbach 1753, 376-377, who terpret the gesture as one of blessing, which associates
transcribed the inscription at the bottom of the painting Edward with Christ as Ruler and King.
but believed that it represented Henry VIII as a child. 15. Strong 1967 (see Biography), 14,17-18; the title
6. It is not known exactly when and by what means page of the Coverdale Bible is reproduced 15, pi. 8, and
the painting entered Germany's royal collections. the woodcuts, 17, pis. 12-14.
Broos 1988, 117-118, suggested that the portrait came 16. Parker 1945,49, no. 46.
to Germany from Het Loo as a result of the marriage in 17. Roberts 1987,86; and Ainsworth 1990,182-183,
1734 of William IV, king of the Netherlands, to Anna of who notes that perhaps the circumstances of the com-
Hannover, duchess of Braunschweig-Luneberg; this is mission "did not require the working methods that had
H A N S H O L B E I N THE Y O U N G E R 8g
been established for other portraits produced in mul- References
1
tiple versions." The discrepancy in sizes between the 753 Uffenbach, Zacharias Conrad von.Merkwur-
painted and drawn faces is discussed in a series of let- dige Reisen durch Niedersachsen Holland und Engel-
ters between the author and Susan Foister, 12 August land. 3 vols. Ulm, 2: 376-377.
1980-11 February 1982, in NGA curatorial files. See 1844 Molthan, Justus. Verzeichniss der Bildhau-
also Martha Wolff, letter to Maryan Ainsworth, 20 June erwerke und Gemlde welche sich in den kniglich
1985, in NGA curatorial files, which discusses the ad- hannoverschen Schlssern und Gebuden befinden.
justments in contour between painting and drawing Hannover: 65, no. 12.
and includes a photocopy of the drawing superimposed 1854 Waagen, Gustav Friedrich. Treasures of Art in
on the painted face. This image shows that the drawing Great Britain.... 4 vols. London, 2: 448.
is smaller than the painting, the contours varying in 1859 Nichols, John Gough./l Catalogue of the Por-
width from 6 mm. to 20 mm. traits of King Edward the Sixth, Both Painted and En-
18. Peter Oliver's miniature is reproduced and dis- graved, n.p.: 3, no. 2.
cussed in Daphne Foskett, British Portrait Miniatures 1863 Franks, Augustus W. "Remarks on the Dis-
(London, 1963), 57, fig. 6; there are brief remarks on covery of the Will of Hans Holbein." Archaeologia 39:
Oliver in Roy Strong, The English Renaissance Minia- 8-9.
ture (London, 1983), 186-187. For the drawing and 1863 Nichols, John Gough. "Notices of the Con-
etching by Hollar see Franz Sprinzels, Hollar Hand- temporaries and Successors of Holbein. "Archaeologia
zeichnungen (Vienna, Leipzig, Prague, 1938), 16, 59, 39: 20.
no. 2; Richard Pennington, A Descriptive Catalogue of 1863 Parthey, Gustav Friedrich. Deutscher Bilder-
the Etched Work of Wenceslaus Hollar 1607-1677 saal. yerzeichniss derinDeutschlandvorhandenen Oel-
Cambridge, 1982), 239-240, no. 1395. bilder verstorbener Maler aller Schulen. 2 vols. Berlin,
19. Wood, 57.2 x 43.2 (22'/2 x 17); sale, Christie, i: 600, no. 29.
Manson and Woods, London, 12 July 1929, no. 40, 1864 Das kniglich WeIJen-Museum zu Hannover
repro., purchased by Francis Harvey, as reported, for imJahre r86j. Hannover: 93, no. 239.
example, in "Notes from Abroad," International Studio 1866 Woltmann, Alfred. Holbein und seine Zeit.
94 ( 1929), 65. Although this version is often described in Leipzig: 333-334- English d., London, 1872: 431-433-
the earlier literature as an excellent copy (Woltmann 1867 Wornum, Ralph Nicholson. Some Account of
1866, 334, Ganz 1912, 242), the provenance was con- the Life and Works of Hans Holbein, Painter, of Augs-
fused with that of the National Gallery's portrait, for ex- burg. London: 322-324.
ample by Wornum 1867, 324, and Ganz 1950, 251, who 1897 Knackfuss, Hermann. Holbein der jngere.
believed that Hollar's etching reproduced the earl of Bielefeld and Leipzig: 136, 138, repro. 132. English
Yarborough's painting. Grossmann 1951, 21, empha- d., Bielefeld and Leipzig, 1899: 147, repro. 138.
sized that it was the National Gallery's portrait that was 1903 Davies, Gerald S. Hans Holbein the Younger.
in the Arundel collection and hence the subject of Hol- London: 177.
lar's etching. 1912 Ganz, Paul. Hans Holbein D. J. Des Meisters
20. See Kings & Queens AD 6j3-195) [exh. cat., Di- Gemlde in 25 2 Abbildungen. Rlassiker der Runst, vol.
ploma Galleryl (London, 1953), 19, no. 80, repro. 22. 20. Stuttgart and Leipzig: 242, repro. 122.
Grossmann 1951, 21, suggests that Holbein's original 1912 Gust, Lionel. "Notes on the Collections
full-length painting was the second portrait of Edward Formed by Thomas Howard, Earl of Arundel and Sur-
VI owned by the earl of Arundel and that it passed into rey, K. G.-V." BurlM 21: 258, no. 30.
the collections of Everhard Jabach and, later, of L. F. 1913 Chamberlain, Arthur B. Hans Holbein the
Crozat. Younger. 2 vols. London, 2: 164-165.
21. Of the several depictions of Edward VI associ- 1921 Hervey, Mary F. S. The Life, Correspondence,
ated with Holbein, a panel, 52 x 36.6 cm., sold at Chris- & Collections of Thomas Howard, Earl of Arundel.
tie, Manson and Woods, London, 21 January 1977, no. Cambridge: 482.
22, might from its size and description be a copy of the 1924 Schmid, Heinrich Alfred. "Holbein, Hans,
Washington painting. Unfortunately 1 have been un- d. J." Thieme-Becker, 17:351.
able to find a reproduction. A drawing, 203 x 254 mm., 1927 Vaughan, Malcolm. "Holbein Portraits in
attributed to Hollar and reproducing the National Gal- America. Part II." International Studio 88:63-64, repro.
lery's painting in reverse, was sold at Sotheby's, Lon- 66.
don, 30 June 1920, no. 437. Grossmann 1951, 21 n. 83, 1928 "Amerika." Pantheon i : 270, repro. 273.
observed that the drawing was done after the painting 1929 Stein, Wilhelm. Holbein. Berlin: 308, 31o.
and suggested thatit might be by Vorsterman. A portrait 1931 Frankfurter, Alfred M. "Thirty-five Portraits
of Edward VI accompanied by Morison's inscription from American Collections." ArtN 29, no. 33: 4, repro.
was seen in Whitehall Palace, London, in 1600 by a trav- 27.
eler, Baron Waldstein, who, however, described the sit- 1936 Ruhn: 83, no. 370, pi. 80.
ter as about twelve years old; see Groos 1981,46-47. 1937 Christoffel, Ulrich. "Das Kinderbildnis." Die
90 G K RM AN PAIN TIN GS
Kunsl 75: 226, repro. 1979 Gelder, Jan Gerrit van. "The Stadholder-King
!937 Cortissoz, Royal. An Introduction to the Mel- William III as Collector and 'Man of Taste.' " In William
lon Collection, n.p.: 43. & Mary and Their House. Exh. cat., Pierpont Morgan
1937 Jewell, Edward Alden. "Mellon's Gift." Mag- Library. New York: 35-36.
azine of Art 30: 82, repro. 79. 1979 Hadley, Rollin van N. "What Might Have
1937 "Trends." American Architect and Architec- Been: Pictures Mrs. Gardner Did Not Acquire." Fenway
ture 150 (March): 4, repro. Court: 37, 42.
1938 Waetzoldt, Wilhelm. Hans Holbein der Jn- 1979 Roberts, Jane. Holbein. London: 85, repro. 84.
gere. Werk und Welt. Berlin: 197-198, repro. pi. 93. 1979 Watson, Ross. National Gallery of Art, Wash-
1941 Held, Julius S. "Masters of Northern Europe, ington. New York: 56, pi. 40.
1430-1660, in the National Gallery."/l/tyV40: 12, repro. 1981 Groos, G. W. The Diary of Baron Waldstein:
15- A Traveller in Elizabethan England. London: 46-47,
1941 NGA: 98-99, no. 64. repro. 14.
1943 Ganz, Paul. "Holbein and Henry VIII." BurlM 1983 Foister, Susan. Drawings byHolbeinfrom the
83: 272, pi. A. Royal Library Windsor Castle. London: 2, 21, 32, 43,
1945 Parker, Karl Theodore. The Drawings of under no. 46, fig. 44.
Hans Holbein in the Collection of His Majesty the King at 1983 Wolff: unpaginated, repro.
Windsor Castle. London and New York: 49, under no. 1985 NGA: 204, repro.
46, repro. 1985 Rowlands (see Biography): 116,146-147,.
1948 Louchheim, Aline B. "Children Should Be 70, color pi. 32, pi. 110.
Seen." Art News Annual 46: 55-56, repro. 1987 Roberts, Jane. Drawings byHolbeinfrom the
1948 Schmid, Heinrich Alfred. Hans Holbein der Court of Henry nil: Fifty Draw ings from the Collection
Jungere. Sein Aufstieg zur Meisterschaft und sein en- of Her Majesty Queen Elizabeth II, Windsor Cas tie. Exh.
glischer Stil. 3 vols. Basel, 2: 376. cat., Museum of Fine Arts. Houston: 86, under no. 25.
1950 Ganz, Paul. The Paintings of Hans Holbein: 1988 Brenninkmeyer-de Rooij, Beatrijs, et al.
First Complete Edition. London: 251, no. 105, pi. 146. Paintings from England: William III and the Royal Col-
German d., Basel: 235, no. 105, pi. 146. lections. Exh. cat., Koninklijk Kabinet van Schilderijen
1950 Goldblatt, Maurice H. "Leonardo da Vinci "Mauritshuis." The Hague: 39, 6o, 117-118, no. XIII,
and Andrea Salai." Conn 125: 73-74, repro. repro. i ib.
1951 Grossmann, Fritz. "Holbein, Flemish Paint- 1990 Ainsworth, Maryan. "Tatemes for phiosio-
ings, and Everhard Jabach." BurlM 93:21. neamyes': Holbein's Portraiture Reconsidered." BurlM
1958 Cauman, Samuel. The Living Museum. Ex- 132: 182-183.
periences of an Art Historian and Museum Director 1990 Campbell, Lome. Renaissance Portraits: Eu-
Alexander Dorner. New York: 30-31,47. ropean Portrait-Painting in the i4th, ijth, and loth
1958 Waetzoldt, Wilhelm. Hans Holbein der Jun- Centuries. New Haven and London: 104, repro.
gere. Knigstein im Taunus: 24, 80, repro. 71.
1960 Broadley: 40, repro. 41.
1958-1960 Millar, Oliver. "Abraham van der
Doort's Catalogue of the Collections of Charles I." Wai-
pole Society 37: 108, no. 22, 233. 1937.1.65 (65)
1963 Walker: 120, repro. 121.
1966 Cairns and Walker: 120, repro. 121. Sir Brian Take
1967 Strong (see Biography): 14, 17-18, repro.
1968 Guttler. Northern Painting: 415, repro. c. 1527/1528 ore. i532/i534
1969 Strong, Roy. Tudor & Jacobean Portraits. Na- Oak, 49.1 X 38.5(193/8 x i5'/8)
tional Portrait Gallery. London: 91-92, pi. 164. Andrew W. Mellon Collection
1971 Salvini, Roberto, and Hans Werner Grohn.
L'opra pittorica completa di Holbein ilgiovane. Milan: Inscriptions
106, no. 115, pi. 50. On back wall, top: BRIANVS TVKE, MILES, AN
1974 Drossaers, S.W.A., and Th. H. Lunsingh ETATIS SV&, LVII
Scheurleer. Inventarissen van de inboedels in de verblij- On back wall, center: .DROIT ET AVANT.
ven an de Oranjes en daarmede gelijk te stellen stukken On paper, lower left: NVNQY1D NON PAVCITAS
1567-1793. 3 vols. The Hague, i: 679, no. 886, 700, no. DIERVM / MEORVM FINIETVR BREVl?^
10. At top of cross: INRI
1975 NGA: 176, repro. 177.
1976 Walker: 160, repro. 161. Technical Notes: The painting is composed of two
1978 King, Marian. Adventures in Art. New York: boards with vertical grain. The panel has been thinned
33, Pi- u- very slightly; this is indicated by the presence on the
HANS H O LB K IN TH K Y O U N G E R 9l
reverse, at the upper right, of a red resinous seal that ing from the gold chain around his shoulders is a
sits about 2mm. above the surface of the panel.2 The cross decorated with black pearls and bearing the
picture has been cradled. Peter Klein's dendrochrono-
Five Wounds of Christ. The inscription at the top
logical examination indicated that the wood was from
the Baltic/Polish region and provided felling dates of of the mottled green-brown background identi-
1525^2 and 153O2 for the two boards.3 Examination fies the sitter as Brian Tuke, knight, and gives his
with infrared reflectography did not disclose under- age as fifty-seven. Inscribed below is what is al-
drawing. While there are no maj or alterations, infrared most certainly a personal motto, DROIT ET AVANT,
reflectography and x-radiography indicated very mi- which may be translated "upright and forward."
nor alterations in the outline of the figure, such as the
reduction in size of the outer edge of the left elbow and At the lower left, on a piece of folded paper, is a
changes in the position of the thumb. quotation from Job 10:20, "Are not the days of my
In general the painting is in very good condition. life few?" Tuke appears to be shyly pointing at this
There are two checks at the left. There is retouching inscription with his index finger.
along the left and right edges and scattered retouching Tuke was a figure of considerable importance
in the face and hands. The painting exhibits an unusual
to English court and intellectual life in the first
craquelure pattern with localized areas of wide drying
cracks. half of the sixteenth century.10 Unfortunately his
exact date of birth is unknown, although the early
Provenance: Probably Sir Paul Methuen [d. 1757], Lon- 14705 have been suggested. He was probably the
don; by bequest to his cousin and godson, Paul Methuen son of Richard and Agnes Tuke. Richard Tuke is
[d. 1795], Corsham Court, Wiltshire;4 by inheritance to said to have been tutor to the duke of Norfolk, and
his son, Paul Cobb Methuen [d. 1816], Corsham House,
Wiltshire; by inheritance to his son, Paul, first Lord it is possibly because of this connection that Brian
Methuen [d. 1849], Corsham House, Wiltshire. Richard Tuke obtained, in 1508, his first public position,
Sanderson, London and Edinburgh (sale, Christie & that of king's bailiff in Sandwich. Other appoint-
Manson, London, 17 June 1848, no. 7); possibly to Se- ments followed rapidly; in 1509 he was clerk of
guier(?), London.5 Richard Grosvenor [d. 1869], second the signet and also was appointed feodary, that is,
marquis of Westminster, Eaton Hall, Cheshire, by
an officer authorized to collect rents, for Wal-
i867;6 his daughter, Lady Theodora Guest, Inwood,
Somerset, probably by inheritance in 1869, until 1913; lingford and Saint Walric. In the following year he
(Robert Langton Douglas, London, 1913, held jointly was made clerk of the Council of Calais and was a
with P. & D. Colnaghi & Co., London);7 (M. Rnoedler & member of the commission for peace in Rent in
Co., London and New York, 20 May igis); 8 Watson B. 1512 and for Essex in 1513.
Dickerman [d. 1923], New York, April 1914; his widow In 1516 Tuke was made a Knight of the King's
Mrs. Watson B. Dickerman, New York, probably 1923-
Body and in the next year was named Governor of
1929/1930; consigned to (M. Rnoedler & Co., New York,
1929-1930) ;9 purchased April 1930 by Andrew W. Mel- the King's Posts, a position he retained through-
lon, Washington; deeded 30 March 1932 to The Andrew out his career. As Britain's first postmaster gen-
W. Mellon Educational and Charitable Trust, Pitts- eral, he was charged with ensuring that domestic
burgh. letters were delivered promptly and safely, and
he seems to have been responsible for arranging
Exhibitions: London, South Kensington Museum,
1868, Third Special Exhibition of National Portraits, payment for messengers and couriers operating
no. 625. London, Royal Academy, 1880, Exhibition of on the king's business in Europe. Sometime after
Works by the Old Masters and by Deceased Masters of the 1517 he became secretary to Cardinal Wolsey. He
British School, no. 188. London, Burlington Fine Arts was French secretary to Henry VIII in 1522, and
Club, 1909, Exhibition Illustrative of Early English Por- in April of the following year he was granted the
traiture, no. 43. New York, M. Rnoedler & Co., 1915,
clerkship of Parliament. Henry VIII was obviously
Loan Exhibition of Masterpieces by Old and Modern
Painters, no. 4. impressed by his abilities, for in 1528 Tuke was
made treasurer of the royal household and was
one of the commissioners appointed to treat for
THIS SPLENDID PORTRAIT depicts Sir Brian peace with France. In addition to his skills as post-
Tuke in half length, wearing a soft black cap with master, treasurer, and secretary, he was in de-
ear flaps, a black mantle with a fur collar, and me- mand as a skilled cryptographer.11 During this
ticulously rendered cloth-of-gold sleeves. Hang- period he was a member of the circle of intellectu-
92 GERMAN PAINTINGS
Hans Holbein the Younger, Sir Brian Tuke, 1937. i .65
H A N S H O L B E I N THE Y O U N G E R 93
ais gathered around Sir Thomas More and seems Henry Wyatl (Muse du Louvre, Paris), which is
to have been regarded as a speaker and writer of undated but usually placed 1527/1528, until re-
great eloquence.12 cently when, primarily on the basis of dendro-
In the 15305 Tuke not only survived the dra- chronological evidence, a date of 1535 /1537 was
matic changes that took place in Henry's court but proposed.21 Moreover, as noted by Ganz, the use
apparently prospered. In 1533 he served as the of gold letters on either side of the sitterperhaps
sheriff of Essex and Hertfordshire. He wrote the the earliest use of this device by the artistrelates
preface to the edition of The Workes of Geffray the National Gallery's panel to Holbein's portraits
Chaucer published in 1532 by William Thynne.13 of the German steelyard merchants, painted on
It was as treasurer of the royal household that he his return to England, such as that of Hermann
was mentioned in 1538 as paying the salary of Wedigh, dated 1532 (Metropolitan Museum of Art,
Hans Holbein, "Paynter."14 As rewards for his New York).22 While not decisive in itself, the den-
service to the king he was presented with the drochronological evidence tends to favor a dating
manors of Southweald, Layer Marney, Thorpe, in the first part of the second English period.23
and East Lee in Essex. It was at Layer Marney that Although there is not a great change in the por-
he died on 16 October 1545. He was buried in the traits during the period 1539 to 1541, Holbein's
church of Saint Margaret Lothbury, London, with late works often appear to have harder, more
his wife Grissel, who predeceased him. enamel-like surfaces and slightly finer, more lin-
Holbein's portrait of Tuke does not bear a date, ear rendering of detail. The modeling of faces is
and it has not been possible to date the painting sometimes at once flatter and more subtle.
through documentary means. As observed by The author has discussed elsewhere the ico-
Roberts, it is often difficult to situate Holbein's un- nography of the cross worn by Tuke and inscrip-
dated paintings, 15 and consequently various dates tions from the Book of Job in the foreground as
have been put forward for the National Gallery's possibly shedding light on the private, emotional
picture. Beginning with Ganz in 1912, most au- life of the sitter.24 The cross, which is possibly
thors have placed the portrait in Holbein's first unique, depicts the Five Wounds of Christ; the red
English period, c. 1527/1528.16 Others, including stone at its center encircled by the Crown of
Gust and Schmid, date the picture between 1539 Thorns signifies the wound in the Lord's heart,
and 1541, well into the second English period.17 while the hands and feet of the crucified Christ
Schmid proposed a date between 1532 and 1536^ are rendered in what is apparently flesh-colored
while Rowlands placed it between 1538 and enamel. From the early fifteenth century onward
1540.18 Ganz, followed by the present author, later there was increasing veneration of the Five
suggested that the portrait could have been Wounds in England, and a major reason for the
painted either in the first English period or at the popular devotion to the Five Wounds lay in their
beginning of the second.19 supposed restorative powers. Depictions of the
Close stylistic comparisons for Sir Brian Tuke Five Wounds of Christ as well as prayers and talis-
are to be found in Holbein's first English period. manic phrases are found on gold rings of English
The modeling of Tuke's face and hands is similar manufacture from the late fifteenth and early six-
to the rendering of skin tones in such works as Sir teenth century and were intended as protection
Henry Guildford, dated 1527 (Royal Collection, against various kinds of illnesses, evil, and even
Windsor Castle), Nicholas Kratzer, dated 1528 death.
(Muse du Louvre, Paris), Thomas Godsalve with The prophylactic qualities of the cross may be
His Son, John, dated 1528 (Gemldegalerie Alte associated with the pessimism of the words "Are
Meister, Dresden), and Sir Thomas More, 1527 not the days of my life few?" spoken by Job in the
(Frick Collection, New York).20 The possibility midst of his afflictions. In addition to being an ex-
that the Washington portrait dates from the early emplar of patient suffering in his own right, Job
years of Holbein's second English period should typologically prefigures the torment, death, and
also be considered. Particularly comparable in resurrection of Christ.
terms of pose and expression is the portrait of Sir As observed by several authors, there is an un-
94 G E R M A N PAIN TINGS
dercurrent of pain and melancholy in Tuke's faint ber Institute, Birmingham. The person has not been
smile and unfocused gaze. His own correspon- identified; William Seguier, the dealer, restorer, and
dence and the writings of others indicate that first keeper of the National Gallery, London, died in
1843.
from early June to mid-July of 1528 Tuke was 6. Wornum 1867, 294, is the first mention of the
gravely ill with a plague that took the form of a painting as being in the possession of the marquis of
sweating sickness. I have elsewhere suggested Westminster but notes that it was bought for the mar-
that the National Gallery's portrait was produced quis at the Sanderson sale of 1848. This is not indepen-
at the time of or after Tuke's illness and thus that dently verified, but if it is the case, the name in the mar-
gin of the catalogue could refer to the agent.
the cross bearing the Five Wounds might have
7. Sutton 1979,423-425, and Provenance Index, J.
been worn specifically to protect against the Paul Getty Trust, Santa Monica. Robert Langton Doug-
sweating sickness. This is only a hypothesis, and las, letter to John G. Johnson, 6 May 1913, in Archive of
it is possible that the cross does not allude to any the John G. Johnson Collection, Philadelphia Museum
specific incident. There is a certain irony in the of Art. I am indebted to Lawrence W. Nichols for his
quotation from Job, for while Tuke may have felt assistance (letter to the author, 29 March 1990, in NGA
curatorial files). I have not been able to confirm Doug-
that death was imminent, he survived Wolsey, las' joint ownership with Colnaghi; see Jeremy How-
Wareham, More, and even Holbein. ard, letter to the author, 29 August 1989, in NGA
The portrait of Sir Brian Tuke was copied sev- curatorial files.
eral times. Four of the five extant versions are vir- 8. Nancy C. Little, M. Knoedler & Co., letter to the
tually the same size as the Washington panel: author, 4 December 1978, in NGA curatorial files, states
that the painting was purchased from Colnaghi's on
Bayerische Staatsgemaldesammlungen, Munich
20 May 1913 and sold to W. B. Dickerman in April 1914.
(distinguished by a skeleton in the background) ;25 9. Little to author, 4 December 1978.
Norton Simon Foundation, Los Angeles;26 for- i o. The biography that follows is based primarily on
merly the art market, Ronstanz;27 Sir Anthony that given in DNB 57 (1899), 295-296; the family name
Tuke, Wherwell, near Andover;28 and Nicholas was spelled Tuke, Toke, and Tooke.
Toke, Hastings, East Sussex.29 Other versions ap- n. In J. S. Brewer, d., Letters and Papers, Foreign
andDomestic, of the Reign of Henry ^//(London, 1862-
pear in the literature.30 1910), Tuke's name appears in hundreds of documents.
To cite one example of his reputation as a cryptogra-
Notes pher, Gardiner and Foxe writing from Orvieto on
1. Examination by the NGA conservation depart- 27 March 1528 request Tuke "to take some trouble in
ment does not confirm the assertion of Ganz 1950,234, deciphering their ciphers, as they know his skill" (vol.
that the top line of the background inscription and the 4,pt. i, no. 4103).
quotation from Job are later additions. 12. Some indication of Tuke's fame can be inferred
2. Also on the reverse is a paper sticker that reads: from the praise given him by a contemporary, the anti-
930070/40 x j 6/Knoedler/pour ce soir/j heures. quarian John Leland (d. 1552), in Principum, Ac illus-
3. Peter Klein, examination report, 3 December trium aliquot & eruditorum in Anglia virorum, En-
1986, and letter to the author, 28 March 1990, in NGA comia, Trophaea, Genethliaca, & Epithalamia (Lon-
curatorial files; see Appendix. don, 1589),4,15-16,22-23,31,34,41,47-48,77. Origi-
4. The first published reference to the painting is nally presented to Henry VIII, these verses and epi-
Passavant 1836,87. For the history of the collection see grams were not published until after Leland's death.
Corsham Court (Wiltshire, 1983), 23-31. There is no 13. The full title is The Workes ofGeffray Chaucer
way of knowing if the portrait of Tuke belonging to Newly Printed, with Dyvers Workes Which Were Never
Robert Sidney, Lord Lisle, and seen by John Evelyn on in Print Before (London, 1532). The preface is dedicated
27 August 1678, is the National Gallery's panel or an- to Henry VIII and appears to be by Thynne. Tuke's au-
other version, although this is sometimes given as part thorship is confirmed, however, by the inscription in
of the provenance; see E. S. de Beer, d., The Diary of his own hand in the copy of the book in Clare College,
John Evelyn, 6 vols. (Oxford, 1955), 4, 143. Cambridge, which reads, "This preface I Sir Brian Tuke
5. The copy of the Christie & Manson sale cata- knight wrot at the request of Mr. Clarke of the kechyn
logue of the Sanderson collection (Provenance Index, then being tarying for the tyde at Grenewich." See
J. Paul Getty Trust, Santa Monica) has a handwritten "Thynne, William," DNB 56 (1898), 374; andE. P. Ham-
inscription in the margin, of "Seguier" or possibly "Le- mand, Chaucer. A Bibliographical Manual (New York,
guin." Martha Hepworth, letter to Susan E. Davis, 2 Au- 1933), n6.
gust 1988, in NGA curatorial files, notes that this is a 14. See "Vertue Note Books. Volume i," The Walpole
later annotation by Frank Simpson, librarian at the Bar- Society 18 (1930), 59-6o.
96 GERMAN PAINTINGS
i g i 2 Ganz, Paul. Hans Holbein d.J. des Meisters seums in the United States. New York: 131, repro.
Gemalde in 232 Abbildungen. Rlassiker der Kunst, vol. 1968 Guttler. Northern Painting: 411, repro.
20. Stuttgart and Leipzig: 238, repro. 79. 1971 Salvini, Roberto, and Hans Werner Grohn.
1913 Chamberlain, Arthur B. Hans Holbein the L'opra pittorica completa di Holbein ilgiovane. Milan:
Younger. 2 vols. London, i: 331-333. 107, no. 120, repro.
1923 Tatlock, R. R. "Sir Bryan Tuke, by Holbein." 1975 NGA: 178, repro. 179.
BurlM42: 246,251. 1976 Walker: 156, no. 174, repro. 157.
1924 Schmid, Heinrich Alfred. "Holbein, Hans, 1979 Sutton, Denys. "Robert Langton Douglas.
d.J." Thieme-Becker, 17: 352. Part III" Apollo 109:423-425, repro.
1927 Vaughan, Malcolm. "Holbein Portraits in 1980 Hand, John Oliver. "The Portrait of Sir Brian
America." International Studio 88: 23, repro. 25. Tuke by Hans Holbein the Younger." StHist 9: 33-49,
1936 Ruhn: 79-80, no. 351. repros.
1
937 Cortissoz, Royal. An Introduction to the Mel- 1981 Sutton, Denys. "British Collecting. 1. Early
lon Collection: 43. Patrons and Collectors."Apollo 114: 286, repro. 284.
1941 NGA: 99, no. 65. 1983 Fletcher, John, and Margaret Cholmondeley
1948 Schmid, Heinrich Alfred. Hans Holbein der Tapper. "Hans Holbein the Younger at Antwerp and in
Jngere. Sein Aufstieg zur Meisterschaft und sein en- England, 1526-28."Apollo 117:93.
glischer Stil. 3 vols. Basel, 2: 386. 1985 Rowlands (see Biography): 144-145, no. 64,
1950 Christoffel, Ulrich. Hans Holbein d.J. Berlin: pi. 102.
38. 1985 NGA: 205, repro.
1950 Ganz, Paul. The Paintings of Hans Holbein: 1988 Rowlands, John. The Age of Durer and Hol-
First Complete Edition. London: 11, 234, no. 51, pi. 88. bein: German Drawings 1400-1550. Exh. cat., British
German d., Basel: 217, 219, pi. 88. Museum. London: 238, under no. 206.
1959 Frankfurter, Alfred. "Midas on Parnassus." 1989 Ford, Boris, ed. The Cambridge Guide to the
Art News Annual 28: 53, repro. Arts in Britain. Vol. 3. Renaissance and Reformation.
1960 Broadley: 38, repro. 39. Cambridge: 230, repro. 231.
1963 Walker: 122, repro. 123. 1992 Cherry, John. "The Milton Keynes Gold
1966 Cairns and Walker, i : 118, repro. 119. Cross." Minerva 3 (May/June): 34-36, repro.
1968 Christensen, Erwin 0. A Guide to Art Mu-
98 GERMAN PAINTINGS
Attributed to Hans Holbein the Younger, Portrait of a Young Man, 1961.9.21
In its combination of carved and painted sec- are undifferentiated. The motif of Christ's foot-
tions, the Marienfeld altarpiece was typical of prints indelibly impressed into the rock appears
many fifteenth-century northern European altar- in late medieval representations of the Ascension
pieces, and while the iconographie program is far and, as noted by Broadley, may refer to the proph-
from unique, it is interesting that the work most ecy in Zechariah 14:4: "On that day his feet shall
often compared to it, the Seven Joys of the Virgin stand on the Mount of Olives which lies before Je-
altarpiece, c. 1480 (Muse du Louvre, Paris, and rusalem on the east."18
Germanisches Nationalmuseum, Nuremberg), In the center of the upper zone Christ, seated
by the Master of the Holy Kindred, came from a on a cloud, raises one hand in blessing and holds
Benedictine cloister in Cologne.15 the red banner of Resurrection with the other. The
The National Gallery's panel, depicting the As- gold background is arched at the top, and in the
Inner
left wing
The Presentation of the Virgin, panel, Muzeum The Annunciation, canvas transferred from panel,
Narodowe w Krakowie [photo: Muzeum The Art Institute of Chicago, Mr. and Mrs. Martin A.
Narodowe w Krakowie] Ryerson Collection [photo: The Art Institute of
Chicago]
The Presentation in the Temple, panel, Christ and the Virgin Enthroned in Heaven, panel,
Westflisches Landesmuseum fur Runst und Westflisches Landesmuseum fur Runst und
Rulturgeschichte, Mnster [photo: Westflisches Rulturgeschichte, Mnster [photo: Westflisches
Landesmuseum fur Runst und Rulturgeschichte] Landesmuseum fur Runst und Rulturgeschichte]
The Ascension, 1959.9.5 The Assumption of the Virgin, canvas over panel,
Thyssen-Bornemisza Collection, Lugano [photo:
Thyssen-Bornemisza Collection]
109
RECONSTRUCTION OF THE MARIENFELD ALTARPIECE
Outer
left wing
Christ Carrying the Cross, canvas over panel, The Crucifixion, canvas over panel,
Gemldegalerie, Berlin [photo: Jrg P. Anders] Gemldegalerie, Berlin [photo: Jrg P. Anders]
The Arrest of Christ, panel, Westflisches Christ before Pilate, panel, Westflisches
Landesmuseum fur Runst und Rulturgeschichte, Landesmuseum fur Runst und Rulturgeschichte,
Munster [photo: Westflisches Landesmuseum fur Mnster [photo: Westflisches Landesmuseum fur
110 Runst und Rulturgeschichte] Runst und Rulturgeschichte]
Outer
right wing
The Entombment, panel, Westflisches The Resurrection, panel, Muse Calvert, Avignon
Landesmuseum fur Runst und Rulturgeschichte, [photo: Muse Calvert, Avignon]
Mnster [photo: Westflisches Landesmuseum fur
Runst und Rulturgeschichte]
The Mocking of Christ, panel, Westflisches Christ at the Column, panel, Pushkin Museum of
Landesmuseum fur Runst und Rulturgeschichte, Fine Arts, Moscow [photo: Pushkin Museum of
Mnster [photo: Westflisches Landesmuseum fur Fine Arts]
Runst und Rulturgeschichte] ill
spandrels cloud motifs and welcoming angels are expressiveness.20 As a mature work, The Ascen-
delicately painted in white on the blue sky. The sion exemplifies the new, more realistic style that
bust-length figures on either side of Christ are typifies both Koerbecke and Westphalian paint-
thought to represent those persons that he took ing around mid-century. Colors are clear, of me-
out of Limbo and brought with him into heaven. dium value, and limited to red, blue, yellow-
At the left, starting at the top, are: Aaron with a green, and light red; outlines are firm, and details
flowering branch; John the Baptist holding a lamb such as hair and facial features are crisp and lin-
on a book; Moses with the tablets of the Law; and ear. Both the composition and individual figures
David wearing a crown and holding a harp. The are endowed with clarity and solidity.
figures on the right are less easily identified: the
figure at the top holding a sword is usually consid- Notes
ered to be Joshua, but might also be Paul;19 below 1. As, for example, on The Presentation in the
him is Gideon holding a fleece. The bottom two Temple and Christ and the Virgin Enthroned in Heaven
(both Westflisches Landesmuseum fur Runst und
figures lack identifying attributes, but it has been Rulturgeschichte, Munster), which are also from the
plausibly suggested that they are Enoch and Eli- inner wing of the altarpiece. The outer wings have or-
jah, both of whom were miraculously translated ange painted edges with gold floral motifs on the bot-
into heaven and both appear as typological pr- tom edges.
figurations of the Ascension of Christ.20 Other 2. Sommer 1937 (see Biography), 14, citing the
documents in the Staatsarchiv, Mnster, Marienfelder
possibilities suggested by Eisler are Jeremiah, Akten, I, i5b, i5d.
Jacob, and Zechariah.21 3. See notes 11-12.
As observed by Luckhardt, the arrangement of 4. Exhibited with the Cardon collection in Brus-
the inner panels, with the exception of ttie Annun- sels, 1912 (see Exhibitions).
ciation, follows the sequence of the liturgical cal- 5. Unverified, but listed as such by Hugelshofer
endar.22 The Ascension is celebrated forty days 192671927,179; Lippe 1927,175; and Hugelshofer 1930,
after Easter and ten days before Pentecost. Eisler 373-
6. Sommer 1937 (see Biography), 16, no. 7, listed
suggested that what appear to be tongues of flame the painting as being in a private collection in Basel.
tooled into the gold over the heads of the apostles 7. Joint ownership confirmed by Melissa De Me-
refer to Pentecost and the descent of the Holy deiros, librarian, M. Rnoedler & Co., letter to the au-
Spirit.23 It must also be kept in mind that the inner thor, 7 March 1989, in NGA curatorial files.
8. Staatsarchiv, Mnster, Urkunde Marienfeld, no.
wings of the Marienfeld altarpiece constitute a 1040, the notice written by Johannes Alen, bursar, on
Marian cycle, and the prominent place given to the reverse of p. 6 of a Gterverzeichnis for the year 1456
the Virgin in The Ascension directly relates to the also includes mention of a payment to Roerbecke for a
next and final panel in the series, The Assumption window, but the relevant portion reads: "Sunder do de
of the Virgin. Luckhardt has demonstrated how, tlele uppe unsen oversten altare reyde was" (cited in
in paralleling the Ascension and the Assumption, full in Sommer 1937 [see Biography], 9-10). See also
Rensing 1933, 262, 264.
popular devotional texts such as the Vita Christi 9. J. B. Nordhoff, "Runstzustnde eines reichen
of Ludolphus of Saxony or the Meditations on the Rlosters um 1700," RfK 5 (1882), 305-310. Hartmann
Life of Christ by Pseudo-Bonaventura under- was a monk at the Marienfeld cloister for eighteen
scored the identification of Christ with the Bride- years, and his chronicle covers the years 1610-1715;
groom allied with Mary as Bride and as Ecclesia.24 see J. B. Nordhoff, "Der Churfurst Friedrich III. erwirbt
ein Tafelgemlde," Zeitschrift fur preussische Ge-
It doubtless took several years to paint all the schichte und Landeskunde 18 (1881), 576-577; see also
panels of the Marienfeld altarpiece, and Sommer Jos. Wigger, Antiquitates et inscriptiones Campi Sanc-
put the beginning of the work at c. i45o.25 Stange tae Mariae. Eine Handschrift ber das Kloster Marien-
saw a process of stylistic development within the feld aus dem Jahr e 7713 (Warendorf, 1898), 14.
inner panels that seemed to follow the narrative i o. Reproduced in Luckhardt 1987, 7.
sequence; The Presentation of the Virgin is ra- 11. Sommer 1937 (see Biography), 17-18, cites
Hartmann's description in Latin and provides a Ger-
ther tentatively painted and is close to trecento man translation. Luckhardt 1987, 24,34, notes the tra-
models, while The Ascension and The Assumption dition of reliquary altars in the Cistercian Order and
of the Virgin achieve greater monumentality and reproduces two examples from the fourteenth century.
J O H A N N LISS 121
evolved in recent years. The first of these centers patron.17 Yet in addition to its proximity to Jor-
on the relation of the Washington painting to an- daens, The Satyr and the Peasant was clearly in-
other depiction of the same subject, of almost fluenced in some manner by Caravaggio. The
identical dimensions, acquired in 1962 by the dark tonality, the way in which the large figures
Gemldegalerie, Berlin.11 While the latter was are composed, the closeness of the subjects to the
still on the art market, Steinbart accepted both it picture plane, the particular realism and empha-
and the Washington painting as autograph but sis on texture, and especially the dramatic light-
thought that the Berlin version was several years ing, all bespeak Liss' assimilation of the ideas
later than the National Gallery's picture.12 In 1966 of Caravaggio. Rowlands, Zucker, and Shapley
Bloch cautiously expressed doubts about the Ber- therefore maintain that the picture was executed
lin painting, but for the most part it was accepted in Italy, quite possibly during or just following
as an autograph replica and exhibited as such in Liss' Roman sojourn, and that it reflects his direct
1975-1976.13 In the aftermath of the exhibition, contact with Caravaggesque painting.18
which had juxtaposed different renditions of the Supporting the later dating is the current belief
same subject, critics began to question the au- that no paintings can be assigned to Liss' Nether-
thenticity of many of the pictures. The strongest landish years and that depictions of scenes of
voice in this process of revision was that of Spear, peasant life were meant to satisfy an Italian taste
who found the concept of autograph replicas both for "Flemish" subjects.19 It is not possible to estab-
methodologically and stylistically unjustifiable lish precise dates for Liss' stay in Rome. His
and, further, found it unlikely that Liss even had membership in the Schildersbent, a group only
a workshop. With regard to the Berlin painting, established in i623,20 would seem to put him in
Spear asserted that, as evidenced by its hard, Rome around this time, and several critics have
glossy finish and many awkward passages of suggested dates of c. 1623-1626 for his Roman pe-
drawing and brushwork, it was a copy, but one riod.21 It is difficult to place the National Gallery's
done by a Northern artist.14 Although the national- painting in his first Venetian period, c. 1620-1623,
ity of the artist is undetermined, the Berlin version when Domenico Fetti's influence is dominant,
is now believed to be a contemporary replica of and the picture is certainly not from Liss' last
the Washington original.15 years in Venice. With our present knowledge,
The second question of when and where The however imprecise, a date of c. 1623/1626 for The
Satyr and the Peasant was painted is, if anything, Satyr and the Peasant seems most viable.
less easily resolved, for although we have a gen- A handsome study in black chalk on blue paper
eral idea of the sequence of Liss' life and works, of the head of a woman (fig. i ) is one of Liss' very
the exact chronology is highly problematic, with few preparatory drawings from life for a known
few certain points of reference. Beginning with painting.22
Oldenbourg in 1916, however, critics unani- The influence and importance of Johann Liss'
mously agree that Liss was strongly influenced by Satyr and the Peasant can be inferred from the fact
Jacob Jordaens' numerous paintings and draw- that, in addition to the Berlin version, there exist
ings of the satyr and the peasant, produced in the at least twelve copies of the composition.23 Ac-
period c. 1616/1621. In paintings such as that of cording to Lurie, the copy by Antoine de Favray
c. 1620/1621 (Muses Royaux des Beaux-Arts, and the adaptations by Sebastiano Ricci support
Brussels), Jordaens, like Liss, sets the scene in the the notion of an early Italian provenance, if not
peasant's home.16 Consequently, several authors the painting's actual origin in Italy.24
put the National Gallery's painting into Liss' first
Netherlandish period; Klessmann believed it was Notes
not much later than 1616/1619, and in the cata- i. Widener 1885-1900, 270, no. 270. The painting
logue of the Augsburg and Cleveland exhibition is not listed in the catalogue of the de Pinto sale (Van der
Schley & Yver, Amsterdam, 11 April 1785); Gerbrand
Lurie suggested that either the Berlin or the Rotting, Rijksbureauvoor Kunsthistorische Documen-
Washington version was painted in Antwerp, tatie, The Hague, letter to the author, 16 December
while the other was a later repetition for an Italian 1988.
J O H A N N LISS 123
cus Gheeraerts the Elder," Print Collector's Quarterly
15(1928), 191-197, pi. 4.
7. Widener 1885-1900, 270, no. 270; Mayer 1915,
316.
8. Undated handwritten notes by Edith Standen,
in NGA curatorial files.
9. Oldenbourg 1916, 53-58; Bode 1920, 172-173;
Valentiner 1923, unpaginated.
10. Steinbart 1940 (see Biography), 173-174; the
National Gallery's painting is not mentioned in
Steinbart's later book, Johann Liss (Vienna, 1946);
Steinbart 1959,168-170,204.
11. Inv. no. RFMV 245, canvas, 130.5 x 166.5 cm.
12. Steinbart 1959,204.
13. Vitale Bloch, " 'German Painters and Draughts-
men of the Seventeenth Century' in Berlin," BurlM 108
(1966), 546; Klessmann 1965, especially 83; exh. cat.
Augsburg and Cleveland 1975 (see Biography), 68-70,
no. A9, repro., entry by Ann Tzeutschler Lurie.
14. Spear 1976,583-586,588,591. The distance be-
tween the views at the time of the exhibition and subse-
quent opinion can be seen in Klessmann 1986,191 n. 2,
who states that now only The Toilet of Venus (Gallera
degli Uffizi, Florence) can be considered an autograph
replica (of the painting lent to the exhibition [A28] by
Dr. Karl Graf von Schnborn-Wiesentheid, Schloss
Pommersfelden). At the time of the exhibition twenty-
four paintings were considered to be autograph repli-
cas by Liss.
15. Listed as such in Henning Bock et al., Gemalde-
galerie Berlin. Gesamtverzeichnis der Gemalde. Com-
plete Catalogue of the Paintings (London, 1986), 44,
cat. no. RFMV 245, fig. 241.
16. For Jordaens' versions see Roger-Adolf d'Hulst,
Fig. i. Johann Liss, Head of a Woman, black chalk, Jacob Jordaens (London, 1982), 60-61, 94, 96, 98-101,
29.8 x ig.8cm.,Rijksprentenkabinet, Rijksmuseum- 367 (the Brussels painting is reproduced on p. 98).
Stichting, Amsterdam [photo: Rijksmuseum- D'Hulst 1982, 61, notes the likely influence of Marcus
Stichting] Gheeraerts on Jordaens. See also Michael Jaffe, Jacob
Jordaens ij93-1678 [exh. cat., National Gallery of Can-
2. See note i. ada] (Ottawa, 1968), 72, no. 6, who observes the impor-
3. Notes by Edith Standen, secretary to Joseph Wi- tance of Jordaens for Liss; in addition, see nos. 142,146,
dener, in NGA curatorial files, indicate that a typewrit- 220,293,296.
ten copy of the 1885-1900 catalogue of the Widener 17. Klessmann in exh. cat. Augsburg and Cleveland
Collection, dated i February 1908 on the binding, adds 1975 (see Biography), 24-25, and entry by Lurie, 70-72,
the words "Nardus, 1897," to the entry on this painting. no. A i o. Klessmann 1965,85, dated the Berlin painting
4. The fable is usually numbered 74 and has the and by implication the National Gallery's picture to
traveler visiting the satyr's home; see, for example, shortly after c. 1618/1619.
Francis Barlow, Aesop's Fables with His Life: In Eng- 18. Observation of the influence of Caravaggio be-
lish, French and Latin (London, 1687), 148-149. gan with Oldenbourg 1916,53-58. Rowlands 1975,835,
5. The greatest number of representations of this thought that both the Berlin and Washington versions
theme, listed in Andor Pigler, Barockthemen. EineAus- were painted in Italy and that the Berlin version was
wahl von Verzeichnissen zur Ikonographie des 17. und later and close to c. 1622/1624. Mark J. Zucker, draft
18. Jahrhunderts, 2 vols. (Budapest, 1956), 2: 324, 326, catalogue entry, 1967, in NGA curatorial files, dates the
are Netherlandish, with only three Italian paintings painting to the early 16205. Shapley 1979 proposes a
listed. date of c. 1622/1623, during Liss' Roman period or
6. See Edward Hodnett, Marcus Gheeraerts the shortly after the return to Venice.
Elder of Bruges, London, and Antwerp (Utrecht, 1971), 19. Spear 1976,590, believes that the only painting
31 -34, fig. 11 ; and A. E. Popham, "The Etchings of Mar- possibly produced in the pre-Italian years is the Diana
J O H A N N LISS 125
1959 Valentiner, Wilhelm R. "Willem Drost, Pupil and Work." In exh. cat. Augsburg and Cleveland (see
of Rembrandt." ,4 () 2: 322. Biography): 24-25.
1939 Waterhouse, Ellis R. Review of L'volution du 1975 NGA: 206, repro. 207.
got aux Etats-Unis d'aprs l'histoire des collections by 1975 Richards, Louise S. "Johann LissDrawings
Ren Brimo. BurlMjfr 86. and Prints." In exh. cat. Augsburg and Cleveland: 39.
1940 Steinbart (see Biography): 173-174. 1975 Rowlands, John. " 'Johann Liss' at Augsburg."
1941 Valentiner, Wilhelm R. "Jan van de Cap- BurlM 117:835.
pelle.M(>4:289. 1975 Safarik, Eduard A. "La mostra di Johann
1959 Steinbart, Rurt. "Das Werk des Johann Liss Liss." Arte Vneta 29: 303, no. Ai o.
in alter und neuer Sicht." Saggi e memorie di storia 1976 Bean, Jacob. "Johann Liss (and Paolo Pa-
dell'arte<2: 168-170,204, fig. 13. gini)."MZ) 14: 64-65.
1965 Rlessmann, Rdiger. "Ein neues Werk des 1976 Butler, Joseph T. "America." Conn 193: 147.
Johann Liss in der Berliner Gemldegalerie." Nordel- 1976 Spear, Richard E. "Johann Liss Reconsid-
bingen 34: 83. ered."^ 58: 586,588,590-591-
1967 "Rijksmuseum Amsterdam. Verschillende 1979 Shapley: 290-293, no. 635, pi. 206.
Verzamelingen." yerslagen der Rijksverzamelingen 1981 Pallucchini, Rodolfo. La pittura veneziana
van Geschiedenis en Kunst 89: 98. delseicento. Milan: 144, fig. 397.
1975 Blankenagel, Gabriele. "Johann Liss." Welt- 1985 NGA: 231, repro.
kunst 45: 1361. 1986 Rlessmann, Rdiger. "Addenda to Johann
1975 Rlessmann, Rdiger. "Johann LissHis Life Liss." BurlM 128: 192.
MASTER OF H E I L I G E N K R E U Z 129
Fig. i. Master of Heiligenkreuz,
The Death of the Virgin, panel, The
Cleveland Museum of Art, Gift of
Friends of the Museum in memory of
John Long Severance [photo: The
Cleveland Museum of Art]
Clare and The Death of the Virgin are by the same As noted in the Biography, there has been a
hand as the Master of Heiligenkreuz's name lively but inconclusive debate over the origins
pieces, his Annunciation and Mystic Marriage of and training of the Master of Heiligenkreuz.
Saint Catherine (Kunsthistorisches Museum, Vi- Whatever his artistic heritage, the master worked
enna). 21 The artist's idiosyncratic style is quickly in Central Europe, and the visual precedents and
recognized in the figures' high bulbous fore- parallels for his Death of Saint Clare can be found
heads, small pointed chins, triangular sloping in Germanic painting, specifically in the pictures
noses, and thin, angular arms that end in ex- cited by Eisler in the Germanisches Nationalmu-
tremely long, brittle, spidery fingers. At the same seum, Nuremberg, and formerly in the Deutsches
time, the combination of saturated color, richly Museum, Berlin.24 The artistic situation at the be-
patterned and embroidered fabrics, and gold leaf ginning of the fifteenth century, however, was
enlivened by delicate punch work creates an ele- one of great fluidity. As a cosmopolitan center and
gant and courtly effect. On the basis of period possible source for the punch work and tooling
style, the National Gallery's painting and its com- that are found in The Death of Saint Clare, Prague
panion in Cleveland are usually dated c. 1410, al- is as viable as Paris.25
though Sterling and Eisler put forward a date in
the I420S.22 The Vienna panels are sometimes
considered slightly earlier in date.23
M AS T K H 0 F H h: I I, I G E N K H E U /, 13l
quotes Richard Zinser, who once owned the Cleveland References
panel, as believing that it belonged to the Radziwill 1924 Buchner, Ernst. "Eine Gruppe deutscher
family. Wilhelm Suida, undated memorandum, in NGA Tafelbilder vom Anfang des XV. Jahrhunderts." Ober-
curatorial files, recording a conversation with Freder- deutsche Kunst der Spatgotik undReformationszeit. Ed-
ick Stern, 31 January 1952, gives a private collection in ited by Ernst Buchner and Karl Feuchtmayr. Beitrge
northeast Germany, possibly out of a monastery in the zur Geschichte der deutschen Kunst. Vol. i. Augsburg:
same region, as the source of the panels. This last is 1-13, fig. 2.
given as provenance in Kress 1956,122. 1926 Baldass, Ludwig. Review of Oberdeutsche
20. Daniel Levine, NGA summer intern, depart- Kunst der Spatgotik und Reformationszeit. Belvedere 9 /
ment of northern Renaissance painting, memoran- 10: 133-156.
dum, 1986, in NGA curatorial files. For the displaced 1926 Suida, Wilhelm. sterreichs Malerei in der
potent-counter-potent (in German, Verschobenes Ge- ZeitErzherzog Ernst des Eisernen undKonigAlbrechtll.
gensturzkrckenfeh) see Arthur Charles Fox-Davies,^ Vienna: 25.
Complete Guide to Heraldry (London, 1929), 84-85,80, 1929 Baldass, Ludwig. "Die Wiener Tafelmalerei
fig. 395. Interestingly, this device appears in the arms von 1410-1460 (Neuerwerbungen des Wiener Kunst-
of the Cistercian Order of Clairvaux (Johann Sieb- historischen Museums)." Der Cicerone 21: 65-67.
macher's grosses Wappenbuch, 34 vols. [1854; reprint, 1936 Oettinger (see Biography): 78.
Neustadt an der Aisch, 1970-1984] ; Die Wappen derBis- 1938 Ring, Crete. "Primitifs franais." GBA 19:
tmer und Klster 8 [1976], pi. 145), and of the city of 157-168.
Champagne (Die Wappen und Flaggen der Herrscher 1942 Sterling, Charles. Les peintres du moyen age.
und Staaten der Welt i [ 1978], pi. 32). Levine also notes Paris: 15, no. 9.
what may be a purely decorative appearance of the mo- 1943 Larsen-Roman, Erik, and Lucy Larsen-Ro-
tif in the hem of the Virgin's robe in an early fifteenth- man. "Les origines provenales du Matre de Heiligen-
century Parisian panel of the Enthroned Madonna and kreuz." Apollo. Chronique des Beaux-Arts 18: 17-19.
Child with Saints and a Donor, discussed and repro- 1949 Ring, Crete. A Century of French Painting
duced in Michel Laclotte, "Tableaux de chevalet fran- 1400-1300. London: 199, no. 59.
ais vers i400,M/t de France 3 (1963), 220-222. 1950 "Meister von Heiligenkreuz." In Thieme-
21. Inv. no. 6523; Wolfgang Prohaska, Kunsthisto- Becker, 37: 144-145.
risches Musum Wien. II. Die Gemldegalerie (Munich 1956 Frankfurter, Alfred. "Crystal Anniversary in
and London, 1984), 91, color repro. the Capital." ArtN 55: 26, repro.
22. Sterling 1942,15,0.1420/1430; Eisler 1977,234. 1956 Kress: 120-123, no. 46, repro.
Eisler considered as by the Heiligenkreuz master and 1956 "The Kress Collection.'M/ts 30:49, repro. 48.
close in date pendant panels of the Man of Sorrows and 1960 Broadley: 12, repro. 13.
the Madonna and Child (Runstmuseum Basel), cata- 1961 Musper, Heinrich Theodor. Gotische Malerei
logued as Bohemian, c. 1360; see Kunstmuseum Basel. nrdlich derAlpen. Cologne: 119, repro.
Katalog. i. Die Kunst bis 1800, 2d ed. (Basel, 1966), 5, 1961 Seymour (Kress): 18, 21, pi. 16.
repro. 1961 Stange DMG, 11:4.
23. Buchner 1924, 5. Baldass 1929, 66, and Ring 1963 Walker: no, repro. 111.
1949, 199, call the Cleveland and Washington panels 1966 Cairns and Walker: 102, repro. 103.
"less French" than the Vienna pictures, perhaps im- 1968 Guttler. Northern Painting: 51.
plying a later date. 1969 Steingrber, Erich. "Nachtrge und Mar-
24. Eisler 1977, 233; the Nuremberg panel, repre- ginalien zur franzosisch-niederlandischen Gold-
senting the Death and Coronation of Saint Clare, fig. schmiedekunst des frhen 15. Jahrhunderts." AdGM
51, is dated c. 1365. The Death of Saint Clare formerly 32, 34, fig. 6.
in Berlin came from Augsburg and was dated 1430 on 1970 Musper, Heinrich Theodor. Altdeutsche Ma-
the reverse; see StangeDMG, 4(1951): 121, fig. 186. lerei. Cologne: 28,92, no. 18, repro. 93.
25. Steingrber 1969, 32-33, discusses the punch 1974 Stechow, Wolfgang. "Master of Heiligen-
work in the National Gallery's painting as belonging to kreuz, ca. 1400." European Paintings Before ijoo. Pt. i.
the French court and the Franco-Netherlandish tradi- Cleveland Museum of Art Catalogue of Paintings.
tion. On the other hand, there are equally legitimate Cleveland: 4-5, repro.
comparisons with the punch work in Bohemian paint- 1975 NGA: 222, repro. 223.
ing of the early fifteenth century; for examples see An- 1976 Walker: 147, no. 154, repro. 146.
tonin Matejcek and Jaroslav Pesina, Gothic Painting in 1977 Eisler: 232-236, figs. 225-226.
Bohemia i}50-1430 (Prague, n.d. [1956?]), pi. 194: Ma- 1984 Walker, John. National Gallery of Art, Wash-
donna of Saint Thomas' Church (Provincial Museum, ington. Rev. ed. New York: 5, repro. 3.
Brno); pi. 203, Madonna of Vyssi Brod (Monastery 1985 NGA: 254, repro.
Church of the Virgin, Vyssi Brod).
demolished in 1817, and the first mention of the tion of baptized souls.13 Levine emphasized the
painting in connection with the "cathdrale" in relationship between baptism and Pentecost
Arnhem occurs in igos.11 the descent of the Holy Spirit on the Christian
Although The Baptism of Christ is without vis- communitywhose celebration is the culmina-
ual or textual precedent, a few remarks about its tion of the paschal cycle.14
general liturgical function are possible. Christ's Many of the plants arrayed across the fore-
Baptism by John marks his acceptance of and his ground strengthen the associations between bap-
cleansing of the sins of the world, and in this re- tism, the Passion of Christ, and the Trinity. The
gard, it foreshadows his death on the cross. In ad- columbines prominently displayed below Christ
dition, the descent of the Holy Spirit upon Christ can refer both to the dove of the Holy Spirit and
is a critical indication of his status as the Messiah. to the Passion of Christ.15 At the left are plantain,
The Christian who follows Christ through the first associated with Christ's death, and mint, a heal-
sacrament of baptism symbolically dies and is ing and purifying herb. At the far right are straw-
resurrected. It is only through rebirth by means berries, whose leaves allude to the Trinity and
of baptism that one enters the community of the whose petals symbolize the blood and wounds of
Church.12 Here, the opening of the heavens at the Christ.16
moment of Christ's Baptism and the witnessing of The Baptism of Christ is solidly attributed to the
the event by numerous saints may, as suggested Master of the Saint Bartholomew Altar and is
by Eisler, represent the Church and its congrega- unanimously praised as a work of importance and
Fig. 2. Master of the Saint Bartholomew Altar, The Saint Thomas Altar,
panel, Wallraf-Richartz-Museum, Cologne [photo: Rheinisches Bildarchiv]
The Crucifixion
logne, and Saint Veronica and several other works
c. 1400/1410
ascribed to him were originally in religious insti- Oak,46.2 X 31.1 (i8'/4 x i2'/4);
tutions in that city. No dated or documented design area, 40.7 x 25.2 (16 x gVs)
works by him are known, and previous attempts Samuel H. Kress Collection
to identify him with known Cologne artists such Inscriptions
as Herman Wynrich von Wesel have been unsuc- Attopofcross:/-7V-/-/-
cessful. Although the master's oeuvre consists of In Mary's halo: possibly salv [illegible]
only about eleven paintings, it has been possible, rn{?]ar[?]ia:m[?]a
In Christ's halo: [illegible]
nonetheless, to establish a general chronologi- In John's halo: :s:Joha [illegible]:ma [illegible]1
cal order. For example, his Small Crucifixion
(Wallraf-Richartz-Museum, Cologne) is dated Marks: On reverse, three National Gallery paper stick-
ers; also, at top, a paper sticker: Aj}22\ below, in black
early, c. 1400, while the Munich Saint Veronica
grease pencil or crayon: A$)22\ at bottom: illegible red
and the Madonna of the Sweet Pea (Germanisches and black circular stamps.
Nationalmuseum, Nuremberg) are considered to
be late, c. 1420. Technical Notes: The picture and its engaged frame
are composed of a single piece of vertically grained
The Master of Saint Veronica was the most im- wood; the frame is 2.3 cm. thick, and the design area
portant artist in Cologne before Stefan Lochner. is approximately 1.3 cm. thick. Dendrochronological
He shares with other practitioners of the Interna- examination by Peter Klein suggests a felling date of
tional Style around 1400 a gentle lyricism, decora- 13982 Gold leaf over red bole covers both the frame
and the background. Delicate punch work is used
tive elegance, and delicacy of coloring. Although throughout the areas of gold leaf; small dots and circles
his origins and possible travels are unknown, as- decorate the frame, while the clouds, the angels' wings,
sociations with French and Burgundian art are and the outlines of the chalices are created out of tiny
evident. dots. Larger punched dots were used to create the halos
and the lettering within them. Fine, shallow incised
The master's style was continued in Cologne by contours outline the figures. There is some overlap-
the Master of Saint Lawrence, who was probably ping of the major figures and the gold leaf, visible at the
part of the shop and, according to Zehnder, may top of the Virgin's head, in the monk's left eye, and in
areas of loss. The angels and Longinus' spear are
have collaborated on such paintings as the Ma- painted over the gold. Examination with infrared re-
donna of the Sweet Pea (Wallraf-Richartz-Muse- flectography reveals a small amount of underdrawing
um, Cologne). in the torso of Christ.
The panel is in good condition. The right half of the
face of the bottom edge was damaged and has been re-
Bibliography constructed and regilded. In some areas of paint there
Stange DMG, 3: 56-67. is moderate abrasion, and tiny flake losses exist in paint
Zehnder, Frank Gunter. "Der Meister der HI. Veron- over gold leaf. Damage and regilding in the halos
ika." Ph.D. diss., Rheinischen Friedrich-Wilhelms- greatly reduce the legibility of the inscriptions. A small
Universitt, Bonn. Sankt Augustin, 1981. amount of regilding occurs above the monk's head and
above John's halo.
The reverse of the panel is covered with a layer of
white ground, which is in turn covered with a thin, red,
bolelike paint; both are possibly original.
MASTER OF SAINT V E R O N I C A Hi
Provenance: Possibly the Carthusian monastery of a large and important institution that underwent
Saint Barbara, Cologne.3 Richard von Schnitzler, Co- a major building campaign between 1391 and
logne, by 191 j.4 (M. Rnoedler & Co., New York, owned
1405. Given the order's emphasis on solitary con-
withPinakos [Rudolf Heinemann] by 1953) ;5 purchased
1954 by the Samuel H. Kress Foundation, New York. templation and devotion, it would seem likely that
the National Gallery's panel adorned the cell of a
Exhibitions: Cologne, Rolnischer Runstverein, 1922, single monk. It is possible that it was originally
Alte Malerei aus klnischem Privatbesitz, no. 60, as by part of a commission for multiple images, as was
follower of Meister Wilhelm. Cologne, Wallraf-Ri- the case with the Crucifixions painted by Jean de
chartz-Museum, 1961, Der Meister des Bartholomaus-
Altares, derMeister des Aachener Altares. KlnerMaler Beaumetz and his shop for the Charterhouse at
der Sptgotik, catalogue insert, unpaginated, unnum- Champmol.10
bered. This Crucifixion has always been recognized
as an important work of the School of Cologne. It
was first published in 1917 as by Hermann Wyn-
rich von Wesel, an attribution that proved unten-
STANDING on either side of the crucified Christ able since the artist is known only through
are the Virgin and Saint John the Evangelist. Four documents.11 By 1920 the National Gallery's panel
small angels, holding chalices to collect Christ's was identified as the work of the artist known as
blood, hover around the wounds in the hands, the Master of Saint Veronica, and now it is virtu-
feet, and side, while a fifth angel, perhaps added ally unanimously identified as such.
for symmetry, is at the right of Christ's chest. The question of what constitutes the oeuvre of
Kneeling at the foot of the cross at the left is an the master, however, remains a matter of some
elegantly clad Saint Longinus, a spear held deli- discussion. Schweitzer believed that The Cruci-
cately between his fingers. Longinus is the name fixion was by an artist in the workshop of the Ve-
traditionally given to the unnamed soldier who ronica master but also wondered whether the
pierced Christ's side with a spear (John 19:34- stillness and intensity he observed was typical of
35), but it is also given to the equally anonymous the representation of emotion in the Cologne
centurion who was the first Gentile to recognize School of painting.12 Pieper expressed similar
Christ's divinity (Matthew 2y:54).6 What appear thoughts in his 1950 discussion of a related Trinity
to be drops of blood falling from the tip of the lance in the Landesmuseum, Mnster, suggesting that
may refer to an incident recounted in The Golden both The Crucifixion and the panel in Munster
Legend, whereby Longinus' eye malady is mirac- were possibly by a Westphalian artist under the
ulously cured by a drop of Holy Blood.7 The pres- influence of the quieter style of Cologne and of the
ence of Longinus at the Crucifixion carries with it Veronica master in particular.13 Pieper has since
associations of pardon, redemption, and conver- accepted both paintings as by the Master of Saint
sion, as does the veneration of the Holy Blood and Veronica, but more recently Eisler, seeing in
the wounds of Christ. the National Gallery's panel a greater delicacy
Kneeling to the right of the foot of the cross is than in the master's other works, wondered if
the Carthusian monk for whose private devotion Schweitzer's doubts might not be correct.14
and meditation this panel was almost certainly in- The overwhelming majority of authors have
tended. I agree with Eisler that the young monk's placed The Crucifixion among the core paintings
features are so generalized and so like those of by the Master of Saint Veronica. No work is dated
Saint John the Evangelist that it is doubtful that earlier, and Zehnder listed it as perhaps the mas-
they portray an individual.8 Although unverified, ter's earliest picture.15 Frster dated The Cruci-
it is possible, as Eisler first suggested, that the fixion in the 13808, but most critics, following
Crucifixion was originally located in the Char- Stange, place it around or a little before 14OO.16
terhouse of Saint Barbara in Cologne, the city Dendrochronological examination suggests a
where the Master of Saint Veronica was active and date of c. 14 io,17 which is in accord with the date
where Saint Bruno, founder of the Carthusian Or- of c. 1407 proposed by Eisler on the basis of King
der, was born. The Charterhouse in Cologne was Ruprecht's decision in 1407 to place the Char-
M A S T E R OF SAINT V E R O N I C A 143
terhouse in Cologne under the protection of the for calling attention to this detail. Both Broadley 1960,
Holy Roman Empire.18 14, and Eisler 1977,4, observe that the point of the lance
The National Gallery's painting fits easily into was a relic that was among the insignia of the Holy Ro-
man Empire and was in Prague by 1350 and Nuremberg
the group of works generally agreed to be early:
from 1424 until it was taken to Vienna in 1800. See Al-
the Man of Sorrows (Koninklijk Museum voor bert Buhler, " 'Die Heilige Lanze.' Ein ikonograph-
Schone Kunsten, Antwerp); the Small Crucifixion ischer Beitrag zur Geschichte der deutschen Reichs-
(Wallraf-Richartz-Museum, Cologne); the altar- kleinodien," Das Munster 16 (1963): 85-116. Several
piece of the Madonna and Child with Saints and other items have been claimed as relics of the Holy
Lance, including a point lost in the French Revolution
Angels (Kisters Collection, Kreuzlingen);19 and
that was given to Saint Louis in 1241, and another por-
portions of the Clara altarpiece (Cathedral, tion presented by the Turks in 1492 to the pope and now
Schntgen-Museum, and Dizesan-Museum, in Saint Peter's, Rome. See The Oxford Dictionary of the
Cologne). As Zehnder observed, the closest com- Christian Church, 2d d., 797.
parisons are with the Antwerp Man of Sorrows 8. Eisler 1977, i.
and the Small Crucifixion in Cologne, where the 9. J. J. Merlo, "Kunst und Runsthandwerk im
Rarthuserkloster zu Rln," Annalen des historischen
facial types, the soft delicate colors, the modeling, Vereinsfur den Niederrhein insbesondere die alte Erzdi-
especially the brownish tones in Christ's face, and ceseKoln 45 (1886), 1-2. See also Paul Clemen et al.,
the highly symmetrical compositions are stylisti- Die Kunstdenkmler der Stadt Kln, vol. 2, pt. 3 (Dus-
cally congruent.20 There are, however, a few seldorf, 1934), 137-162; and Otto Braunsberger, "Die
small differences; color is perhaps a bit more at- Rlner Rartause. Erinnerungen aus alter Zeit," Stim-
men der Zeit. KatholischeMonatschriftfurdas Geistes-
mospheric and delicate in the Washington Cruci-
leben der Gegenwart 94 ( 1918), 134-152. If the National
fixion, particularly in the shot colors of John's Gallery's panel had been in the Charterhouse, it might
robe. Stange, Pieper, Zehnder, and others have have remained there until 1794 when the monastery
emphasized that the tenderness and elegant re- was dispersed.
finement of the Veronica master's art ally him 10. Noted by Eisler 1977, i. For the Dijon com-
with the International Style around 1400 and thus mission and two extant paintings see Cyprien Monget,
La Chartreuse de Dijon d'aprs les documents des ar-
invite comparison with the paintings of Ronrad chives de Bourgogne (Mon\reui\-sur-Mer, 1898), i, 175;
von Soest in Westphalia, or with Franco-Burgun- Charles Sterling, "Oeuvres retrouves de Jean de
dian manuscript illumination. These associa- Beaumetz, peintre de Philippe le Hardi," Bulletin des
tions are particularly evident in The Crucifixion, Muses Royaux des Beaux-Arts de Belgique 4 (1955;
perhaps because of its early date. Budde has seen Miscellanea Erwin Panofsky), 57-81 ; Henry S. Francis,
"Jean de Beaumetz, Calvary with a Carthusian Monk,"
the work as specifically influenced by Andr
Bulletin of the Cleveland Museum of Art 53 (1966), 329-
Beauneveu. 21 338.
11. Bombe 1917,366.
Notes 12. Schweitzer 1935,70-71.
1. Eisler 1977, i, noted that the damage precluded 13. Pieper 1950,190-191.
secure transcription but suggested for Mary, Christ, 14. Pieper 1968, 667, 669; Pieper 1970, 95; Eisler
and John, respectively: SALVE /EG///V/A MATER; Jiisu; s. 1977,2.
.1011 ANN us. 15. Zehnder 1981, 94; exh. cat. Cologne 1974,85.
2. See Appendix. 16. Frster 1923,41 ; Stange DMG, 3: 58.
3. Unverified; see entry text. 17. See Appendix.
4. Bombe 1917, 366. 18. Eisler 1977, 1-2; see also Braunsberger 1918,
5. M. Knoedler & Co. account book, where a pen- 135.
ciled notation suggests that the panel was previously 19. Exh. cat. Cologne 1974, 158, no. 18; 156, no. 16;
owned by a Dr. Howard in partnership with Mont and 161,no. 19.
Newhouse. I am very grateful to Nancy Little for access 20. Zehnder 1981, 86-87, 9^94; compare also
to Rnoedler's files. Zehnder's comments in exh. cat. Cologne 1974,38-39,
6. Rau, Iconographie, vol. 3, pt. 2, 812-815; F. L. 84,85.
Cross and E. A. Livingstone, eds., The Oxford Diction- 21. Budde 1986,42.
ary of the Christian Church, 2d ed. (Oxford, 1983), 835.
7. Ryan and Ripperger, The Golden Legend, 1:191. References
I am grateful to Daniel Levine, NGA summer intern, 1917 Bombe, Walter. "Die Sammlung Dr. Richard
department of northern Renaissance painting, 1986, vonSchnitzlerinCom."Z)erC/cerofte9:366,repro. 362.
the proper right hand extends onto the ground of the Provenance: Lord North wick [d. 1859], Thirlestane
unpainted lower ledge. House, Cheltenham, possibly by the early nineteenth
The painting is in very good condition and appears century4 (sale, Phillips, London, 26 July~3O August
to have been restored shortly before its acquisition by 1859, no. 134, as Amberger). Alfred Morrison [d. 1897],
the National Gallery. There are minor inpainted losses Fonthill House, Tisbury, Wiltshire, by iSSy;5 by inheri-
along the top and bottom of the join, and very small tance to his son, Hugh Morrison [d. 1931], Fonthill
areas of abrasion and loss in and around the hands. House, Tisbury, Wiltshire, and Islay House, Argyll; by
There are some pinpoint inpainted losses in the back- inheritance to his son, John Granville Morrison, ist
ground, especially in the window frame and along the Baron Margadale, Fonthill House and Islay House; (P.
edges of the painting. & D. Colnaghi & Co., New York, owned jointly with Ar-
The paint on the reverse is more directly painted temis/David Carritt Limited, London, by 1983);6 pur-
with a dry, sketchy technique, and underdrawing is not chased by the National Gallery, November 1984, with
evidenthere. The reverse has suffered scattered losses, funds provided by David Edward and Margaret Eustis
and along the edges an area of paint approximately 5 Finley.
cm. wide has been abraded or damaged. Along the join
the paint and ground have been sanded away to pre- Exhibitions: Bristol, British Museum Art Gallery, Royal
pare the area for the reinforcing spline. West of England Academy, 1937,^ Treasures of the
148 G E R M A N P A I N I1 I N G S
West Country, no. 195, as by Christopher Amberger.
City of Manchester Art Gallery, 1961, German Art 1400-
1800 from Collections in Great Britain, no. 101, as by
Christoph Amberger. New York, Colnaghi, 1983, The
Northern Renaissance, ijth and loth Century Nether-
landish Paintings, no. 10.
HANS MIELICH H9
2. At top, in black ink on paper: Alfred Morrison
Esqre Wc2/Portrait of a Man in black cap &/dress by
Amberger/28/i2/87No.2Rt. [or Dr.?] Hank [or Frank?]
EumerHall-, in brown ink on paper: FromJ. C. Morrison
Esqre/Fonthill House/Tisbury/Wilts/Bristol/May 7927;
in light brown ink: CNY-167. At bottom left, circular pa-
per sticker: [ . . . ] ILL/OS/HEIRLOOMS. At bottom left, paper
sticker: LotNo.Pi8290. Piece No.jo.
3. The wood was identified by Peter Klein, exami-
nation report, 29 September 1987, in NGA curatorial
files, and by the National Gallery's scientific research
department.
4. Timothy Bathurst, who knows the Northwick
Collection well, suggested that the paintings were ac-
quired early in the century (letter to the author, 30 Jan-
uary 1989, in NGA curatorial files). The first published
reference is the Phillips auction catalogue, 1859.
5. The date 28 December 1887 occurs on a paper
label on the reverse of the panel.
6. I am grateful to Charles S. Moffett and Timothy
Bathurst for information on the j oint ownership and for
assistance in locating the pendant.
7. Wood (presumably linden), approximately 64.5
x 47 cm. (measured from the reverse). The panel has
a slight convex warp but appears to be in excellent
condition; the reverse is better preserved than that of
the National Gallery's painting. Reverse, bottom cen-
ter, inscribed: F.G.VZ; at bottom right a paper label:
Fig. 2. Hans Mielich, Portrait of a Woman (reverse),
From Lord Northwick's Gallery/at Thirlestane House,
panel, The Schroder Collection, London [photo:
Cheltenham/No. ijj/Sold in 1839, and bought by Sir
Eileen Tweedy]
Thomas Phillipps Bart./of Middle Hill. At top right, a
circular sticker: J/449/F. The painting is no. 135, as
Amberger, in the sale, Phillips, London, 26 July~3O Au-
panel has been associated with the Danube gust 1859. Purchased by Leggatt Gallery at the sale,
School, recalling Mielich's early years in Regens- Christie, Manson & Woods, London, 26 June 1964, no.
burg with Albrecht Altdorfer; Wolff, in regard to 90. According to Lcher 1967,74, the picture was in the
style and date, has called attention to the land- Tribune Gallery, New York, in 1966.1 am very grateful
to the owner for allowing me to examine the painting.
scape in Mielich's drawing of the Crucifixion 8. See Johann Siebmachers Wappen-Buch. Fak-
(Stdelsches Kunstinstitut, Frankfurt), mono- simile-Nachdruck der 17 o i/o j bei Rudolph Johann
grammed and dated 1539.14 The National Gal- Helmers in Nrnberg erschienene Ausgabe (Munich,
lery's panel thus belongs to the group of early 1975), Pis. 90, 221.
portraits that are among Mielich's finest works. 9. Lcher 1967,75. Most recently Kurt Lcher has
After his trip to Rome his style changed and his suggested to me that the sitters might be Peter Froschl
zu Marzoll und Karlstein and his wife, Anna Reit-
portraits became mannerist and in some in- mor (letter to the author, 16 July 1992, in NGA curatori-
stances, as noted by Lcher, coarser. al files). Unfortunately, the date of their marriage is not
known. I am grateful to Dr. Martin Geiger, brger-
Notes meister of Wasserburg am Inn, for information on the
i. I am grateful to Walter Angst for the heraldic de- Froschl family (letter to the author, 15 February 1989,
scription (letter to the author, 20 August 1989, in NGA in NGA curatorial files). A representation of the Froschl
curatorial files). The frog is at present dark brown and arms similar to that on the reverse of the National Gal-
should be called bruntre, but as Angst notes, the place- lery's panel is found on the armorial gravestone of Peter
ment of dark brown on dark red violates the tincture Froschl (d. 24 January 1475) in the Church of Saint Ja-
rule of heraldry. The frog might have originally been kob, Wasserburg am Inn; see Volker Liedke, DieBurg-
either green (verf) or gold (or), but it has not yet been hauser Sepulkralskulptur der Sptgotik. I. Zum Leben
possible to determine whether an alteration has taken und Werk des Meisters Franz Sickinger (Munich, 1982),
place. 6, fig. 3-
10. Rttger 1931 (see Biography), 51-53, no. 2, Frankfurt drawing is reproduced in Hans Georg
repro. Gmelin, "Ein frhes Gemalde der Rreuzigung Christi
n. Michaelis 1989, 82-84, no. 2124, repro., states von Hans Mielich," Niederdeutsche Retirage zurKunst-
erroneously that this is the pendant to the National Gal- geschichte 16 (i977)> 35, fig- 3-
lery's portrait. See also Lcher 1967,75; and Bernhard
Hermann Rttger, "Zum Werke und zur Beurteilung References
Hans Mielichs," Pantheon 8 (1931), 473, where the !937 Constable, W. G. "Art Treasures of the West
painting is mentioned as being in the Galerie Caspari, Country at Bristol. I. The Pictures." BurlM71:4,2.
Munich. While both Lcher and Rttger mention a date 1967 Lcher, Kurt. "Studien zur oberdeutschen
of 1556, none is cited by Michaelis. Bildnismalerei des 16. Jahrhunderts." Jahrbuch der
12. Rttger 1931 (see Biography), 55-58, nos. 4-5, Staatlichen Kunstsammlungen in Baden-Wurttemberg
repro.; Alte Pinakothek Munich: Explanatory Notes on 4: 74-75, fig- 52.
the Works Exhibited (Munich, 1986), 361-362, nos. 19, 1985 NGA: 289, repro.
12, repro. 1989 Michaelis, Rainer. Deutsche Gemalde 14.-18.
13. Ace. nos. 55.226-55.227. See Toledo Museum of Jahrhundert. Staatliche Museen zu Berlin. Gemalde-
Art: European Paintings (Toledo, 1976), 115-116. galerie. Berlin: 82.
14. The association with the Danube School was 1990 Dlberg, Angelica. Privatportrts. Geschich-
made in exh. cat. Manchester 1961,42, no. i o i. Martha te und Ikonologie einer Gattung im ij. und 16. Jahr-
Wolff, memorandum, 1984, in NGA curatorial files; the hundert. Berlin: 109, 200, no. 82, fig. 576.
W O R K S H O P OF HANS M I E L I C H 153
walled city in the background represents Jeru- hand and holding a staff with the banner of Re-
salem. surrection in the other. Behind him is a billow-
The theme of the second panel, Christ in ing white cloth that is surrounded by bands of yel-
Limbo, is not found in the Bible but appears in the low and pink clouds. Limbo is situated in the ruins
apocryphal Gospel of Nicodemus and was pop- of classical Rome; at the left are the remains of
ularized by such devotional texts as The Golden the Septizonium, while, as noted by Eisler, other
Legend? According to these accounts, in the time structures recall the Baths of Caracalla and the
between the Crucifixion and the Resurrection, Colosseum.6 In the distance burn the fires of Hell,
Christ descended into Limbo, on the borders of and a flying demon can be seen at center right. It
Hell, to liberate Adam and Eve, the prophets of the is possible to suggest identifications for some of
Old Testament, the Holy Innocents, and others. the figures in the lower zone. The muscular male
In the National Gallery's painting Christ hovers figure standing in the right foreground may be
overhead, blessing the figures below with one Adam, or possibly John the Baptist.7 The woman
with upraised arms standing behind him is prob-
ably Eve. The figure wearing a crown at the left
Fig. i. Infrared reflectogram assembly of a detail of in the middle distance is likely to be Ring David,
The Crucifixion, 1952.5.84 often included because Psalm 107:10-16 was in-
terpreted as a prophecy of Christ's descent into
Limbo and deliverance of true believers.8 Eisler
suggested that the seated male in the foreground
was Abel, and the children flanking him the Holy
Innocents.
Suida and Shapley and Eisler have suggested
that both panels were originally part of an altar-
piece, possibly a large polyptych.9 It now appears
more likely that they were originally the wings of
an epitaph, probably installed in the family cha-
pel of a church. The laboratory examination dis-
closed at the bottom of each panel a series of
heads, male at the left and female on the right,
that are visible in the x-radiographs. This is al-
most certainly a family; at the extreme left the
bearded father is accompanied by at least three
sons, and at the far right the mother, wearing a
kerchief and wimple, is joined by two or three
daughters. Crosses over the heads of some of the
children indicate that they are deceased;10 one of
these, a red cross, is visible in The Crucifixion be-
low the hem of the Magdalene's robe. The epitaph
might have been in the form of a nonfolding trip-
tych with The Crucifixion on the left and Christ
in Limbo on the right. The now-lost center panel
may have borne an inscription containing prayers
and information about the deceased, and above it
an image, possibly that of the triumphant, resur-
rected Christ. Clearly appropriate for an epitaph
is the theological import of the redemption of sin,
salvation, and life after death contained in depic-
tions of Christ's Crucifixion, Resurrection, and
Fig. 2. X-radiograph of a detail of The Crucifixion, 1952.5.84
liberation of the inhabitants of Limbo.11 as noted by Eisler, in Lucas Cranach the Elder's
Since it is likely that the donors in the National Lamentation beneath the Cross of 1503 (Alte Pina-
Gallery's panels were shown either kneeling or in kothek, Munich).15
half-length, the original appearance of the panels As observed by Suida and Shapley and Eisler,
must have been unusually tall and narrow. It is the artist who painted these scenes probably
hard, however, to extrapolate from this the width spent time in ItalyRome in particularand the
of the center panel. influences of Pontormo, Baldassare Peruzzi,
The somewhat astonishing diversity of stylistic Raphael, Michelangelo, and Tintoretto are all
influences discernible in The Crucifixion and cited.16 To this one might add that the use of an
Christ in Limbo has made the task of attribution underdrawn grid is more Italianate than North-
difficult. Friedlnder considered the paintings to ern. Additionally, as noted by Eisler, Mielke, and
be late works by Wolf Huber.12 Suida initially ac- Rose, the figures recall the work of Netherlandish
cepted this attribution but later published the Romanists such as Lambert Lombard, Lambert
works as by an anonymous German artist work- van Noort, or Gerard Grnning. The classicizing
ing after Huber in the third quarter of the six- architecture reminded Rose of that found in
teenth century.13 Rose did not find the attribution paintings by Pieter Coecke van Aelst.17
to Huber convincing, while Wilhelm believed the The best and most specific attribution is that of
panels were painted about 1560/1570 by a south Jrgen Rapp, who believes that The Crucifixion
German follower of Huber.14 There is agreement and Christ in Limbo are late works by Hans Mie-
in many quarters, however, that the panels repre- lich and were painted around 1559/156os.18 This
sent a continuation of the Danube School; there proposal is endorsed by Mielke and Geissler.19
are Danubian precedents for the oblique place- The most convincing evidence for associating the
ment of the crucified Christ and for the frag- National Gallery's panels with Mielich lies not in
mented thieves in the work of Wolf Huber and, the artist's paintings but rather in the illumina-
Fig. 4. X-radiograph
of a detail of Christ in Limbo,
1952.5-85
W O R K S H O P OF HANS M I E L I C H 157
tions for the large and sumptuous manuscripts of Roman ruins published in 1551, this would pro-
the Penitential Psalms by Orlando di Lasso and vide a terminus post quern,25 but a date as late as
the Motets by Cyprian de Rore (both Bayerische the mid-15708 should also be considered pos-
Staatsbibliothek, Munich). In particular, the first sible.
volume of the Penitential Psalms, which bears a A copy of Christ in Limbo, attributed to An-
date of 1565 on the title page and was apparently thonis Blocklandt, was on the art market in Rome
finished in that year, contains numerous in- ini989.26
stances of scenes of the Crucifixion and Christ in
Limbo as well as individual figures that are ex- Notes
tremely similar in composition, conception, and 1. The wood was identified as poplar by Mario
pose. There are also many comparable figures in Modestini in or before 1953, almost certainly on the ba-
the second volume, which was probably begun in sis of a visual examination.
2. Unverified. There are no records of the paint-
1565 and finished in isyo/isyi. 20 Even making
ings having been in the Muzeum Narodowe (Mariusz
allowances for the differences in medium and Hermansdorfer, letter to the author, 11 April 1989, in
scale, the National Gallery's panels would appear NGA curatorial files), or the Muzeum Archidiecezjalne
to be the work of another artist, whose style is (Jzef Pater, letter to the author, 25 June 1989, in NGA
somewhat rougher and freer; the distinctive curatorial files). See also note 3.
"cat's eyes" and ropy muscles in figures such as 3. Memorandum of a communication from Lilly
Frhlich, London, 1956, in NGA curatorial files, which
the bearded male in the foreground of Christ in states that Otto Frhlich acquired the paintings in 1916
Limbo do not occur in the Penitential Psalms. from an unspecified museum in Breslau through de
Some comparisons can also be found in the illu- Burlet and sold them to Stefan Auspitz.
minations of the Motets by Cyprian de Rore, but 4. Gerald G. Stiebel, letter to the author, 13 April
there seems to be a distinct shift in style or more 1989, in NGA curatorial files. The invoice is dated
than one hand at work.21 23 October 1951.
5. Reau,/co^o^rap/i/e,vol.2,pt.2(1957),531-537;
It is harder to find close comparisons with Mie- Ryan and Ripperger, The Golden Legend, 221-223; the
lich's late religious paintings because of both the Gospel of Nicodemus can be found in Montague Rhodes
scarcity of examples and the intervention of what James, The Apocryphal New Testament (Oxford, 1926),
must have been a sizeable workshop. There are, 94-146; see also Karl W. Schmidt, Die Darstellung von
however, some similarities in the chalky whites ChristiHllenfahrt in den deutschen und den ihnen ver-
tu andten Spielen des Mittelalter s (Marburg, 1915).
in the sky and the handling of background figures 6. Eisler 1977,43.
in The Conversion of Saul, left panel of the Ligsalz 7. Eisler 1977,43, suggested that the figure might
epitaph of 1545/1550 (Dizesanmuseum, Freis- be John the Baptist because of John's appearance in
ing).22 Mielich's last work, the high altar of the Drer's depiction of the Descent into Limbo in the Small
Church of Our Beautiful Lady in Ingolstadt, was Passion woodcut series of 150971511.
8. For example, in the account in The Golden Leg-
completed in 1572 with the discernible assistance
end David is present in Limbo and mentions his proph-
of his workshop. The scenes of the Resurrection ecy. Eisler 1977,43, suggested that the figure might be
and Christ in Limbo on the first set of inner wings Solomon.
show certain compositional and figurai similarit- 9. Kress 1956,84; Eisler 1977,43.
ies but, like the other panels of the altarpiece, are 10. Compare, for the example, Pieter Pourbus the
not as calligraphic in brushwork and are Elder's portraits of the family of Anselme de Boodt,
dated 1573 (Onze Lieve Vrouwekerk, Bruges), which
smoother and more Italianate than the National flank Gerard David's Transfiguration. See Paul Hu-
Gallery's panels.23 venne, Pierre Pourbus. Peintre brugeois 1524-1384
In sum, the author of The Crucifixion and [exh. cat., Muse Memling](Bruges, 1984), 193-197,
Christ in Limbo would seem to be a member of no. 13, repro. As noted by Huvenne, the red crosses on
Mielich's workshop or possibly a close follower. the heads of three of the seven children indicate that
Rapp's dating of the panels to the 15608 is emi- they were dead before 1573.
11. Rapp 1987,191 n. 17, was the first to suggest that
nently acceptable.24 If the depiction of the Septi- the panels belonged to an epitaph and, in conversation
zonium and other buildings is, as observed by with the author, 16 October 1989, suggested that the
Rapp, based on Hieronymus Cock's etchings of inscription would have been between the panels rather
162 G K \\ M A N P A I N T I N G S
Hans Schufelein, Portrait of a Man, 1937. i .66
166 GERMAN PA IN T IN G S
seems to have abandoned religious works and de- outer edge of the frame. Examination with infrared re-
voted himself almost exclusively to portraiture. flectography revealed a faint outlining of the eyes,
which is possibly underdrawing. Infrared photography
Strigel died in Memmingen sometime between discloses that the third and fourth fingers of the sitter's
4 May and 23 June 1528. His oeuvre consists of hand were originally shorter. The obverse is generally
approximately ninety paintings and a small cor- in good condition. There is, however, extensive re-
pus of attributed drawings. In the absence of a touching in the face, and the tops of the letters in the
first five words of the inscription show signs of damage
son, his workshop was taken over by his brother- and possible retouching.
in-law Hans Goldschmidt, who resided in the Stri- Reverse: An area roughly the size of the coat-of-arms
gel household from at least 1521 on. StrigePs true was prepared with a white ground. A layer of greenish
paint and small yellow dots was applied directly to the
artistic heir, however, was the Tyrolean painter
wood in the remaining areas of the panel and frame.
Hans Maler zu Schwaz (active c. 1510-1530). Numerous small losses in the coat-of-arms have been
inpainted. There are scratches and losses scattered
throughout the greenish area. Examination with infra-
Bibliography
red reflectography did not reveal underdrawing. The
Otto, Gertrud. Bernhard Strigel. Munich and Berlin,
reverse is not varnished.
1964.
Provenance: Probably Hans Roth [d. 14 March 1573]
and Margarethe Vhlin [d. 5 July 1582], Memmingen,
Augsburg, and Ulm.3 Manoli Mandelbaum, Berlin. (Ju-
lius Bhler, Munich, January 1922); (Paul Cassirer,
1947.6.5 (900) Berlin); purchased March 1922 by Ralph Harman and
Mary B. Booth, Detroit.4
Margarethe Vhlin, Exhibitions: Lent by Ralph H. Booth to the Detroit Insti-
Wife of Hans Roth tute of Arts, 1923.5 Detroit Institute of Arts, 1926, The
Third Loan Exhibition of Old Masters (Catalogue of a
1527 Loan Exhibition from Detroit Private Collections), no.
Linden, visible surface: 42.6-43 x 30 (i63/4-i67/8 X 20. Detroit Institute of Arts, 1927, The Fifth Loan Exhibi-
1i3/4); original, engaged frame: 49.6 x 37 (ig'A x tion of Old and Modern Masters, no. 27. New York, New
i4'/a) York World's Fair, 1939, Masterpieces of Art (Catalogue
Ralph and Mary Booth Collection of European Paintings and Sculpture from ij 00-1800),
no. 364.
Inscriptions
On bottom edge of frame: Tausen undfunfhundert
iar Auch siben undzwaintzge das ist war v? /
Zallt man, do hett ich zwaintzg iar wol + Am tag
Margrethe ich sagen sol ?D 1947.6.4 (899)
On reverse: coat-of-arms, argent, on afess sable, three
majuscule letters "P" silver; crest, a demi-vol argent, Hans Roth
afess sable charged with three majuscule letters "P"
silver. ' 1527
At upper right above coat-of-arms: U.). Linden, visible surface: 42.6 x 30.0 (161/4 x 11V4);
original, engaged frame: 49.6 x 37.0 (ig'A x i4'/2)
Technical Notes: The examination was conducted Ralph and Mary Booth Collection
without disengaging the panel from its frame. The sup-
port is a single piece of wood with vertically oriented Inscriptions
grain,2 painted on both sides and set into an engaged On bottom edge of frame: Gleich in gemeldtem iar (ich
frame. It is estimated that the frame, like its pendant, is ich ido Hess ich Conterfeten mich :> /j2/^/ Und
made of poplar. A barbe is visible on all four edges of ward Octobris sechtzehn tag Alt sechsundzwaintzg
the panel, suggesting a once continuous ground and
paint layer; it is likely that at the time the panel was iar wie ich sag W
cradled it was detached from its frame. Along the left, On ring of sitter's forefinger: ,flH and Roth family
right, and bottom sides wooden strips are nailed to the coat-of-arms
1961.9.89 (1641)
Inscriptions
On halo of female figure:
SANCTA MARIA SALOME
On halo of child at center:
SANCTVS IACOBVS MA
On halo of child at lower left:
SANCTY IOHANES EWAN
Figs, i and 2. Infrared reflectogram assemblies of Technical Notes: The painting is on a fir panel appar-
details of Saint Mary Cleophas and Her Family, ently composed of two boards with vertical grain,11 al-
1961.9.88 [infrared reflectography: Molly Faries] though numerous cracks make it difficult to determine
the number of joins. In 1947 the panel was thinned, ma-
rouflaged to mahogany, and cradled. As with the pen-
dant, the ground is rather thick and the bole under the
gilding is reddish in tone. The same extensive under-
drawing is revealed under examination with infrared
reflectography; changes in the eye and thumb of the
man to the right of Mary Salome are visible (fig. 3).
The picture is basically in good condition. There is a
certain amount of worm tunneling, visible at the edges
of the panel. The paint layer is in generally good condi-
tion; retouching is confined to the edges, the joins, and
the numerous vertical cracks in the bottom third of the
painting.
TYROLEAN i8i
Tyrolean, Portrait of a Man, 1952.5.71
TYROLEAN 183
can be found on coins and medals and in paintings ingen, attributed to a Munich artist working around
both in Italy and in the North.32 Pertinent compari- 1470; see Ernst Buchner, Das DeutscheBildnis derSpt-
sons are to be found in the group of portraits of gotikundderfrhenDrerzeit (Berlin, 1953), 104,203,
no. 108, fig. 108.
Mary of Burgundy usually given to Hans Maler zu 8. For examples of rings similar to those depicted,
Schwaz but recently attributed to Nielas Reiser. which were apparently worn by both the bourgeois and
Paintings in the Runsthistorisches Museum, Vi- the nobility, see Die Renaissance im deutschen Sdwes-
enna, in Schloss Ambras, Innsbruck, and else- ten zwischen Reformation und Dreissigjahrigem Krieg
where show Mary in profile standing in front of a [exh. cat., Badisches Landesmuseum], 2 vols. (Karls-
ruhe, 1986), 2:698-699, nos. L16o-L 161, repro.; and in
cloth of honor; one example shows a ledge in the
the British Museum, 0. M. Dalton, Franks Request: Cat-
foreground, and another provides a view through alogue of the Finger Rings, Early Christian, Byzantine,
a window to a landscape.33 The relevance of these Teutonic, Medieval, and Later (London, 1912), 256,267,
images is twofold: first, they are dated, at the earli- nos. 1809, 1890, 1891, pi. 25. For Sixten Ringbom, "Fi-
est, around 1500 and hence after Mary's death in lippo Lippis New Yorker Doppelportrt: Eine Deutung
1482; and second, both Hans Maler and Nielas Re- (1er Fenstersymbolik," Zeitschrift fur Kunstgeschichte
48 ( 1985) ,135-136, the window or loggia is a symbol of
iser were active in Schwaz in the Tyrol, indicating dignity and majesty.
something of the availability of this type of portrait 9. Cortissoz 1929, 34; Venturi 1930, 384, 393;
in the region around the turn of the century. In Fiocco 1931,250; Berenson 1932,161; van Marie 1936,
this regard it should be noted that other portraits 18,20-22. Shapley 1968, 39, cites Berenson in a manu-
of nobility, particularly of the Habsburgs, by Hans script opinion, 1951, as attributing the painting to Giro-
lamo di Giovanni da Camerino, but no document
Maler and his probable teacher Bernhard Strigel,
appears in NGA curatorial files.
are profiles.34 In sum, the possibility should be 10. Fiocco 1932, 340.
considered that the Portrait of a Man is a posthu- n. Anzelewsky 1967, 156-164.
mous portrait of a nobleman. As suggested by 12. Zeri 1969,455.
Lcher, Schtz, and others, the painting may be 13. Ringler 1970,77-78.
dated c. i4go/i5oo.35 14. Bonsanti 1983, 18-19.
15. Shapley 1968, 38-39; Shapley 1979, 437-438;
Konrad Oberhuber associated the National Gallery's
portrait with Saint Martin and Saint George (Kunstmu-
Notes seum, Basel) by the Master of Sierenz (memorandum
1. The wood was identified as linden by Michael to Anna Voris, 1974, in NGA curatorial files). See Walter
Palmer, National Gallery's scientific research de- Ueberwasser, Konrad Witz (Basel, 1938), figs. 95-96.
partment. Ann Sutherland Harris, letter to J. Carter Brown, 27
2. Unverified, but quite likely; mentioned as com- September 1971, in NGA curatorial files, thought the
ing from the dukes of Anhalt by Venturi 1930,384, and portrait was related to Witz but dated it after the artist's
by Peter J. Wojcik, Paul Drey Gallery, letter to the au- lifetime because of the hat. Ronrad Oberhuber, letter
thor, 4 October 1989, in NGA curatorial files. to Fern Rusk Shapley, 10 May 1978, in NGA curatorial
3. Wojcik to author, 4 October 1989. files, called attention to the similarities in color and fa-
4. Cortissoz 1929 records the painting as belong- cial types to the Finding of the True Cross by the Upper
ing to Mackay. Rhenish Master of 1479 (Kunstmuseum, Basel); see
5. Wojcik to author, 4 October 1989. Kunstmuseum Basel. Katalog. I. Die Kunst bis 1800.
6. Charles Grant Ellis, letter to Fern Rusk Shapley, Samtliche ausgestellten Werke (Basel, 1966), 20, inv. no.
12 May 1971, in NGA curatorial files. For a discussion 204.
of the appearance of oriental carpets in paintings see 16. Kurt Lcher, in conversation, 12 September
John Mills, Carpets in Paintings (London, 1983). 1988.
7. Martha Wolff, memorandum of a communica- 17. Hans Georg Gmelin, letter to the author, 21
tion with Stella Newton, 2 April 1984, in NGA curatorial October 1988, in NGA curatorial files. Jochen Luck-
files. For examples of a tall cap in Netherlandish por- hardt, in conversation, 20 October 1989; and Bernhard
traits in the 14605 (Dirck Bouts) and 14808 (Master of Schnackenburg, in conversation, 19 October 1989, also
the View of Sainte Gudule) see Margaret Scott, A Visual expressed opinions that the portrait was Tyrolean.
History of Costume: The Fourteenth and Fifteenth Centu- 18. Paul Boerlin, in conversation, 22 September
ries (London, 1986),97, in,nos. 100,119. It should be 1987.
pointed out, however, that a tall cap similar to that in the 19. Erich Egg, letter to the author, 16 June 1989,
National Gallery's painting is worn by the male sitter in in NGA curatorial files; he also thought it might be
a portrait formerly in Schloss Hohenzollern, Sigmar- Venetian.
TYROLEAN 185
velli, a Vittore Carpaccio." L'Arte, n.s. i : 384,393, repro. sches Frstenportrat des 15. Jahrhunderts." JbBerlin
385- 9: 156-164, repro
1931 Fiocco, Giuseppe. "Ein neuer Crivelli." Pan- 1968 Shapley, Fern Rusk, Paintings from the Sam-
theon 7: 250. uel H. Kress Collection: Italian Schools XV-XVl Century.
1931 Venturi, Lionello. Pitture italiane in Amer- London: 38-39, fig. 91.
ica. Milan: pi. 278. 1969 Zeri, Federico. Review of Paintings from the
1932 Berenson, Bernhard. Italian Pictures of the Samuel H. Kress Collection: Italian Schools XV-XVl
Renaissance. Oxford: 161. Century by Fern Rusk Shapley. BurlM in:455.
1932 Fiocco, Giuseppe. "Portrts aus der Emilia." 1970 Ringler, Josef. "Ein tiroler Frstenbildnis der
Pantheon 10: 340, repro. 341. Sptgotik in Washington." DerSchlern 44:77-78, repro.
1933 Venturi, Lionello. Italian Paintings in opposite 76.
America. 3 vols. New York and Milan. 2: pi. 372. 1975 NGA: 254, repro. 255.
1936 Berenson, Bernhard. / pittori italiani del 1976 Walker: 116, no. 99, repro.
rinascimento. Milan: pi. 6. 1979 Shapley: 437-438, pi. 317.
1936 van Marie, Raimond. The Development of the 1983 Bonsanti, Giorgio. "Maria di Borgogna in un
Italian Schools of Painting. 19 vols. The Hague. 18: 18, ritratto di Michael Pacher." Paragone 34, no. 397: 18-
20-22, fig. 12. i9,pl-9-
1967 Anzelewsky, Fedja. "Ein unbekanntes deut- 1985 NGA: 293, repro.
TYROLEAN 187
appears between. Infrared reectography reveals that create shadows. The painted image follows the under-
underdrawing established outlines throughout and drawing.
that washes were used to create shadows. The only The condition of the panel is similar to that of the
change seems to be in the saint's right hand; the outline Saint Alban panel. The paint surface is cupped, and
of the index finger extends farther in the underdrawing there are rather extensive losses. There is some blis-
than in the final painted version. The screen is tex- tering in the bottom section, particularly in the re-
tured, with a combination of tooled lines and thick touching to the left of the letter Fand near the barbe on
paint, as in the Saint Alban. The surface pattern was the right-hand side. In areas of red pigment there is
created in black paint; black outlines also appear in the some evidence of shrinkage of tte paint film during
tracery, around the model of the church, and around drying. Retouching was carried out in two stages. The
the axe. earlier, more generalized stage covered much original
Throughout the panel there are areas of severe cup- paint in the figure and in the bottom section, mainly
ping, slight washboarding, and a series of checks. The along the left-hand side. The second stage of re-
left side of the saint's cloak is badly damaged, and there touching covered losses along the left join, near the
are severe losses along the bottom edge of the panel, saint's upper right arm, across the platform, along the
along the central join, and in the saint's upper left arm, top edge of the panel, and in scattered small areas
extending into the background. Retouching appears to throughout. There is a split in the panel along the left
be have been carried out in two stages: the first and edge, and there are several checks. The small donor
older stage was more generalized, extending over orig- figure in seventeenth-century dress has been painted
inal paint; the second was confined to specific losses. over the letters "... anct" and is a later addition.
The retouching is visible in the gilded areas, along the
sides of the panel, in the lower section, in the figure, and Provenance: Same as 1972.73.1.
following the lines of the tracery. The crudely applied
lines in the model of the church are later retouching.
SaintAlcuin
1972.75.3 (2636) c. 1500/1525
Spruce, 155.3 x 51-6 (61'/s x 203/3)
Saint Valentine Gift of Joanne Freedman
c. 1500/1525 Inscriptions
Spruce, 155.6 x 51.7 (61'/4 x 20 Vs)
Gift of Joanne Freedman Across bottom: Sanctus Alcuinus +
On scroll across chest:
Inscription
On blade of sword:
Across bottom: 5 us Vallentin
On back of glove:
Technical Notes: Like Saint Wolfgang (1972.73.2) this
panel is composed of three boards of spruce wood. Technical Notes: The panel is constructed of four
Dendrochronological analysis has shown that the boards of spruce wood, joined vertically, with vertical
boards of this panel match those of the Saint Wolfgang grain. Dendrochronological analysis revealed that the
panel in reverse, the two having once been obverse and boards match those of the Saint Alban of Mainz panel
reverse of one wing of an altarpiece. The Saint Valen- (i 972.73. i) in reverse, the two once having formed ob-
tine, like the SaintAlban of Mainz, was an interior wing, verse and reverse of one wing of an altarpiece.3
and the two are technically quite similar. The ground The Saint Alcuin panel is comparable to the Saint
is formed by a relatively thin white layer, which has Wolfgang panel in technique, with both having formed
discolored. In the upper section of the panel, above the exterior wings. The panel has a relatively thin white
screen, cloth has been applied over the relatively thin ground. Work was first carried out on areas to be gilded,
white ground, as in the Saint Alban panel, but here the such as the tracery, staff, sword, and decoration of the
cloth is of a tighter weave. Underdrawing, applied with miter. Gilding was applied directly to the white ground,
a brush in a vigorous style, is visible in the flesh tones. with black underpaint used to create shadows. Under-
Infrared reflectography reveals that it is used exten- drawing is visible to the naked eye in areas of flesh tone.
sively to outline and^detail forms, with wash used to Viewed with infrared reflectography, it appears to have
TYROLEAN 189
Tyrolean, Saint Valentine, 1972.73.5 Tyrolean, Saint Alban o/Mainz, 1972.73.1
TYROLEAN IQl
whose wings are so similar to our painted exam- Linz in 994 and was buried at Regensburg in the
ples, have high-relief or nearly free-standing cloister church of Saint-Emmeram. The cult of
carvings of a Madonna and Child as the center, Saint Wolfgang is localized in Bavaria, Austria,
usually with two flanking attendant saints. Reich- Hungary, and the Tyrol, and the saint is patron of
lich's painted Perckhamer altarpiece has these Bavaria, of the city and diocese of Regensburg,
carved figures at its center, and the painted Utten- and of Hungary. Most representations of him date
heim altarpiece has a Madonna and Child en- from the fifteenth and early sixteenth centuries,
throned with two angels as its center panel. The where he appears as seen here, as a bishop with
preponderance of examples with this arrange- crozier and miter. His individual attributes, the
ment makes it tempting to suggest that the lost hatchet and the model of the church, refer to the
center of the altarpiece once formed by the Na- legend that, in order to fix the spot for his monas-
tional Gallery's panels might also have included tery at Salzkammergut, he threw the hatchetan
a Madonna and Child, possibly flanked by saints, old German custom to claim territoryand then
possibly also carved. built the church of Saint Wolfgang at Abersee with
The similarity of the type of saintly depiction his own hands.18
in the National Gallery's panels to that found in Saint Alcuin (Alkuin, Alcwin) shares with Saint
painted and relief examples from the Tyrol, Wolfgang an eminence in the Benedictine Order.
coupled with the awkwardness and limitations of Theologian, grammarian, poet, philosopher, as-
the artist's style, argue for an attribution of these tronomer, and the "schoolmaster" and "Erasmus
paintings to a provincial artist of the Tyrol. A con- of his age," Alcuin was born in about 730/735 to
nection with the Tyrol may further be suggested a noble family in York, England. He entered the
by the saints represented. Both Saints Valentine Benedictine Order there and in 767 became the
and Wolfgang were widely venerated in that area. director of the cathedral school where he had
Saint Valentine (Valentin) was an abbot and studied. In 780 he traveled to Rome, and on his
then became the first bishop of Passau and Rtien return journey he met Charlemagne and joined
(Rhtein). Later he traveled as an itinerant mis- his court as an ecclesiastical advisor. In France he
sionary bishop. Upon his death in 470 he was in- helped to found several schools and was one of
terred in Mais, near Merano, in the Italian Tyrol. the driving forces of the Carolingen Renaissance.
His legs were translated to Trent in 739 or 750 and He was director of the palace school at Aachen
moved again in 764 or 768 by Tassilo III, duke of and in 796 became abbot of Tours, traveling for
Bavaria, to the city of Passau. Saint Valentine was Charlemagne and attending councils at Frank-
made patron of the diocese. He was frequently furt and Aachen. He also held abbeys at Ferrires,
represented in art in the late fifteenth and early Troues, and Cormery. He died on 19 May 804,
sixteenth centuries, with special popularity in leaving behind many religious and educational
Germany and many churches in the Tyrol.16 He is writings; his relics are at Saint Martin of Tours.
usually depicted, as seen here, as a bishop with Alcuin was beatified but never canonized, and his
miter, crozier, and sword, and with a cripple or cult was not confirmed until 1907. Representa-
epileptic beneath his feet. The legend of his heal- tions of him are rare; his memory was only cele-
ing of these afflicted was appropriated from the brated in Benedictine cloisters.19 In the National
story of another Saint Valentine, bishop of Terni.17 Gallery's panel he appears as a bishop (although
Saint Wolfgang was born in Swabia in 924 and he was not) with crozier, miter, and book. The
studied at the Abbey of Reichenau on an island sword may be a reference to his close relationship
in Lake Constance. He taught at Wrzburg and to Charlemagne ecclesial defensor et amator or
Trier, and in 965 became a Benedictine monk at because his name appears in the Benedictine
Einsiedeln. In 968 he became a priest and was martyrology. The obscurity of visual representa-
sent to teach the Magyars in Hungary. A great re- tions of Alcuin may account for the artist's re-
former and teacher, he was made bishop of Re- peated labeling of him: below the saint's feet, in a
gensburg, retiring to the convent at Mondsee in banner across his chest, and in the initial/! that
976. He died while traveling in Puppingen near appears both on his glove and his sword.
TYROLEAN 193
APPENDIX
Dr. Peter Klein, of the Ordinariat fur Holz- mainly from the Baltic region (Eckstein et al.
biologie, Universitt Hamburg, conducted den- 1986).
drochronological examinations of the National An analysis of the number of sapwood rings
Gallery's German panels on 12-16 September from north Poland and the Baltic region resulted
1983,18 February-8 March 1986, and 27 August- in a median value of 15, with 50% of all values
12 September 1986. It was not possible to ex- lying between 13 and 19, a minimum of 9, and
amine all of the paintings, and not all exam- a maximum of 36. In addition, the number of
inations yielded concrete results. sapwood rings also depends on the age of the tree,
Unlike Netherlandish artists, who generally that is, one expects more sapwood rings on a tree
used oak, German artists painted on a variety of 300 years old than on a tree 100 years old. Panels
woods: oak from both western Europe and the from eastern Europe that include a few sapwood
Baltic/Polish region, beech, spruce, fir, poplar, rings make possible determination of the felling
and linden. Linden was often used, and several date within the range of + 4 and - 2 years. Where
of the National Gallery's German paintings are the sapwood is missing, the felling date can only
on linden, but it has not been possible to establish be approximated; this is illustrated by the
a master chronology for this wood. The chrono- mathematical term 15-^-.... In this expression
logies established for other wood species by the the "15-2" accounts for the sapwood rings
Ordinariat fur Holzbiologie were used as the possibly involved, while "x" stands for an
basis for interpreting the data gathered from the unknown number of missing heartwood rings.
National Gallery's panels. For oak that has been dated with western
In manufacturing oak panels, the panel European chronologies a median value of 17
makers normally used radially cut wood planks. sapwood rings is used, with 50% of all values lying
The bark and the light and perishable sapwood between 13 and 23 rings. For the determination of
were cut off, making a determination of the exact an earliest possible felling date, a minimum of 7
felling year impossible. Only the year of the sapwood rings must be considered. A probable
last measured growth ring can be determined felling date can be estimated by adding 17^ or
exactly. 17$
The estimate of the number of sapwood rings Because beech and spruce do not contain
to be added is derived by statistical evaluation, visible sapwood, it may be assumed that in
which must consider each case separately (table making the panels only the bark was removed and
i). For the sapwood statistic, the provenance of the entire tree was utilized (table 2). Therefore
the oak wood is significant. The number of the last measured ring always means the earliest
sapwood rings is different in western and eastern felling date. For beech, mainly used by Lucas
Europe. The new evidence elaborated in the Cranach the Elder, storage time can be estimated
revised eastern provenance chronology for oak between 2 and 7 years. For spruce in the sixteenth
panels must be considered in determining the century a similar length of storage time can be
sapwood allowance. It has been proven that the presumed.
wood used for Netherlandish panels originated
195
TABLE 1
Attributed to Bartholomaeus Oak i 132 1475 1484 1490 The wood comes from the
Bruyn the Elder Baltic/Polish region.
Portrait of a Man
1953-3-5
German Oak i 92 1522 1529 1539 All boards came from the
Portrait of a Lady n 67 1515 same tree. The wood comes
1942.16.3 in 53 1522 from western or central
Europe. The date of 1532 on
the panel could be reconciled
with the dendrochronology if
the minimum of 7 sapwood
rings were present, no further
heartwood rings were cut off,
and storage time was at a
minimum of two years. This
would give an earliest possible
felling date of 1529 and an
earliest creation time of 1531.
Hans Holbein the Younger Oak i 130 Comparisons with extant
Edward H as a Child \\ 133 master chronologies for
1937.1.64 Europe did not yield dates.
Hans Holbein the Younger Oak i 182 1510 1519 1525 The wood comes from the
Sir Brian Tuke ( + 40) Baltic/Polish region.
1937.1-65 u 77 1515 1524 1530
Johann Roerbecke Oak i 109 1403 1410 1420 The wood comes from central
The Ascension n 95 1348 Europe, and all boards are
m
1959.9.5 78 1401 from the same tree.
Nicolaus Rremer Oak i The panel is dated 1529. Only
Portrait of a Nobleman n 165 1476 1483 1493 the middle board, which
1947.6.3 in comes from central Europe,
could be measured.
Master of Saint Veronica Oak i no 1381 1388 1398 The wood comes from central
The Crucifixion Europe; its growth ring
1961 .9.29 structure is identical to that in
panels of the Cologne School.
1. With 7 or 9 sapwood rings dependent on the origin of the wood.
2. With the range of 15 ij, 15^ or lyij, 17^ sapwood rings.
Bibliography
Bauch, Josef, Dieter Eckstein, and Peter Klein. "Den- In John Oliver Hand and Martha Wolff, Early
drochronologische Untersuchungen an Gemalde- Netherlandish Painting. Systematic Catalogue of
tafeln des Wallraf-Richartz-Museums, Koln." In the Collections of the National Gallery of Art.
Frank Gunter Zehnder, Katalog der altklner Washington 1986, 259-260.
Malerei. Kataloge des Wallraf-Richartz-Museums XL Klein, Peter. "Zum Forschungsstand der Dendro-
Cologne, 1990,667-683. chronologie europischer Tafelmalerei." Restaura-
Eckstein, Dieter, et al. "New Evidence for the Dendro- torenblatter IIC 10. Vienna, 1989, 33-47.
chronological Dating of Netherlandish Paintings." Klein, Peter. "Tree-Ring Chronologies of Conifer Wood
Nature (1986), 320,465-466. and Its Application to the Dating of Panels." ICOM
Klein, Peter. "Dendrochronological Analysis of Early Committee for Conservation. Vol. i. Dresden, 1990,
Netherlandish Panels in the National Gallery of Art." 58-60.
APPENDIX 197
General Index
INDICES 199
Dead Christ in the Tomb, 82 Frschl arms, 149
Dorothea Kannengiesser, 82, 100 Bremen
Erasmus of Rotterdam, 100-101 Roseliushaus
Jacob Meyer zum Hasen, 82, 100 Cranach, Lucas, the Elder, Virgin and Child with
Jakob Meyer zum Pfeil(P), i o i Angels, 33-34
portrait of his wife and two children, 83, 100 Brussels
signboard for Oswald Geisshsler, 82 Muses Royaux des Beaux-Arts
works attributed to: Cranach, Lucas, the Elder, portrait of a scholar
A Schoolmaster Teaching Two Adults to Write (possibly Dr. Johannes Scheyring), 27
(signboard), 82 Bruyn, Bartholomaeus (or Barthel), the Elder, 22
Schufelein, Hans, Portrait of a Man in a Red works:
Cap, 162 Adoration of the Kings (Cathedral, Essen), 22
Kunstmuseum, Kupferstichkabinett Crucifixion (Cathedral, Essen), 22
Holbein, Hans, the Younger high altar of Cathedral in Essen, 22
Family of Sir Thomas More (drawing), 83 high altar of Church of Saint Victor in Xanten, 22
marginal pen illustrations for Erasmus' Praise Lamentation (Cathedral, Essen), 22
of Folly, 82 Nativity (Cathedral, Essen), 22
Beham, Hans Sebald, 52, 64 note 9, 65 note 19 works attributed to: Portrait of a Man [1953.3.5],
Bellini, Giovanni, 32, 49, 52, 56 23-25, ill on 25
Frari 'altarpiece (Church of the Frari, Venice), 52 group projects: high altar of the Nikolaikirche in
Madonna and Child with Saint Catherine and the Kalkar, 22
Magdalene (Gallerie dell'Accademia, Ven- Budapest
ice), 52 Szpmvszeti Mzeum
Madonna degli Alberetti (Gallerie dell'Accademia, Cranach, Lucas, the Elder, Christ and the Woman
Venice), 52, 57 Taken in Adultery, 27
Pala de San Giobbe (Gallerie dell'Accademia, Ven- Liss, Johann, Peasant Wedding, 120
ice), 52 Burgkmair, Hans, 12, 82, 178
Benedictine Order, 192, 193
Berlin C
Akademie der bildenden Kiinste, 106
Gemaldegalerie Cambridge
Altdorfer, Albrecht, Landscape with Satyr Family, Fitzwilliam Museum
Durer, Albrecht, Saint Jerome Penitent (on loan
3 from the Edmund Bacon collection), 56
Cranach, Lucas, the Elder, portrait of Cardinal
Albrecht von Brandenburg as Saint Je- Caravaggio, Michelangelo Merisi da, 120, 122
rome, 27 Carthusian monk, 142, ill. on 143
Durer, Albrecht Celtis, Conrad, xi, 35
portrait of a female member of the Frleger Charles V, emperor, xi, 26, 50, 70
family, 57 Chicago
Portrait of a Girl in a Red Beret, 62 Art Institute of Chicago
portrait of Hieronymus Holzschuher, 62 Koerbecke, Johann, Marienfeld altarpiece, An-
Koerbecke, Johann nunciation, 105, 108 (figure), 112
Marienfeld altarpiece Christ, 1321, ill. on 17
Christ Carrying the Cross, no (figure) Ascension, 103104, ill. on ioj
The Crucifixion, 11 o (figure) Baptism, 133-140, ill. on 135
Liss, Johann, The Satyr and the Peasant, 122 Crucifixion, 44-48, ill. on 47; 7181, ill. on 7/5
Strigel, Bernhard 141-145, ill on 143; 152-159, ill on 153
Eliud before Mary and the Christ Child, 177, Five Wounds of, 94
in Limbo, 152159, ill on 157
179 (fig- 4) Cistercian Order, 105, 106, 113 note 11
portrait of Maximilian I, 166
Gemaldegalerie, Kupferstichkabinett Cleve, Jos van, 22, 41
Durer, Albrecht, Angel with a Lute, 56 Joris Vezeleer [1962.9.1], 41
Holbein, Hans, the Elder, drawing of Hans and Margaretha Boghe [1962.9.2], 41
Cleveland
Ambrosius, 82
Cleveland Museum of Art
Schufelein, Hans, illuminations of prayer book
Baldung Grien, Hans, altarpiece of the Order
for the counts of Oettingen, 160
of Saint John in Jerusalem, Gruen
Staatliche Museen
Worth, The Mass of Saint Gregory, 14 (fig.
Mielich, Hans, portrait of a woman bearing
3) !5> l6
INDICES 20 i
Child between Saints Anthony and Sebas- thek, Munich), 62
tian, 32 Madonna and Child with Saint Anne (Metropoli-
Giorgione, Venus, 36 tan Museum of Art, New York), 50
Durer, Albrecht, xii, 27, 49-50, 115 Madonna with the Monkey (engraving), 32
association with Grunewald, 70 Maximilian's Prayer Book, drawings for (Bayer-
association with Schufelein, 160, 161 ische Staatsbibliothek, Munich), 50
Heller altarpiece, 70 Melencolia I (engraving), 9, 50
influence on Altdorfer, 3 Nude Woman Seen from Behind (drawing, Muse
influence on Cranach, 26, 32 du Louvre, Paris), 56
influence on Kremer, 118 The Nymph of the Spring (drawing, Kunsthis-
Lutheranism, 50 torisches Museum, Vienna), 3536, 36
monogram, 57, 61, 162
portrait style, 161
(fig. *)
Ober-Sankt Veit altarpiece (drawings, Stdel-
works: sches Kunstinstitut, Frankfurt), 160, 162
Adam and Eve (1504 engraving), 9, 49, 55 Passion (engravings), 50
Adam and Eve (1507 painting, Museo del Prado, Portrait of a Clergyman (Johann Dorsch?)
Madrid), 9 [1952.2.17], xiii, 44 note 10, 61-66, ill. on
Adoration of the Magi (Gallera degli Uffizi, Flor-
ence), 49
63
portrait of Elsbeth Tucher (Gemldegalerie, Kas-
All Saints altarpiece (Kunsthistorisches Museum, sel), 57
Vienna), 50 ' portrait of a female member of the Furleger fam-
Angel with a Lute (Kupferstichkabinett, Berlin), ily (Gemldegalerie,-Berlin), 57
56 Portrait of a Girl in a Red Beret (Gemldegalerie,
Apocalypse (woodcut series), 49, 57 Berlin), 62
Christ among the Doctors (Thyssen-Bornemisza portrait of Hieronymus Holzschuher (Gemlde-
collection, Lugano), 50 galerie, Berlin), 62
Christ Child with the World Globe (Graphische portrait of his father (Gallera degli Uffizi, Flor-
Sammlung Albertina, Vienna), 56, 62 ence), 49, 56
Crucifixion (engraving), 74 portrait of his mother (Germanisches National-
Feast of the Rose Garlands (Nrodn Galerie, museum, Nuremberg), 49
Prague), 49 Portrait of a Man (Kunsthistorisches Museum, Vi-
Four Apostles (Alte Pinakothek, Munich), 50 enna), 56
"friendship portraits" series, 62 Portrait of Michael Wolgemut (private collection,
Hans and Felicitas Tucker (Schlossmuseum, Wei- southern Germany), 62
mar), 56, 57, 170 portrait of Oswald Krell (Alte Pinakothek, Mu-
Holy Family (Museum Boymans-van Beuningen, nich), 57
Rotterdam, on loan from the Rijksdienst Saint Jerome (Museo Nacional de Arte Antiga,
Beeldende Kunst, The Hague), 56 Lisbon), 50
Knight, Death, and the Devil (engraving), 45, 50 Saint Jerome in His Study (engraving), 50
Lamentation (Alte Pinakothek, Munich), 57 Saint Jerome Penitent (Fitzwilliam Museum,
Lamentation (Germanisches Nationalmuseum, Cambridge), 56
Nuremberg), 57 Self-Portrait of 1484 (Graphische Sammlung Al-
Large Piece of Turf (Graphische Sammlung Al- bertina, Vienna), 49
bertina, Vienna), 49 Self-Portrait of 1498 (Museo del Prado, Madrid),
Little Cardinal (engraving), 70 57 !7<>
Lot and His Daughters [1952.2.i6b], xii, 51-60, Self-Portrait of 1500 (Alte Pinakothek, Munich),
ill. on 54 62
Madonna and Child [i952.2.i6a], xii, 32, 51-60, sheet of studies including a nude man and a
ill on 53 Christ Child (Gallera degli Uffizi, Flor-
Madonna and Child before a Landscape (Georg ence), 56
Schfer collection, Schweinfurt), 56 The Ship of Fools by Sebastian Brant, woodcut
Madonna and Child (Kunsthistorisches Museum, illustrations for, 49
Vienna), 57 Small Passion (woodcuts), 50, 158 note 7
Madonna and Child (Magnani Rocca collection, Three Peasants in Conversation (engraving), 57
Parma), 56 Turkish Family (engraving), 57
Madonna and Child in a Niche (Wallraf-Richartz- The Virgin with the Dragonfly (engraving), 57
Museum, Cologne), 56 The Virgin with the Sleeping Child between Saints
Madonna and Child with a Pink (Alte Pinako- Anthony and Sebastian (Staatliche Kunst-
INDICES 203
Kunsthalle, Kupferstichkabinett Madonna and Child with Jacob Meyer and His
Liss, Johann, Fighting Gobbi Musicians, 120 Family (Schlossmuseum, Darmstadt), 82,
Hannover
Niederschisches Landesmuseum
83
marginal pen illustrations for Erasmus' The
Mielich, Hans, Crucifixion, 9, 146 Praise of Folly (Kunstmuseum, Kupfer-
Heemskerck, Maerten van, 8, 22 stichkabinett, Basel), 82
Heiligenkreuz, Cistercian abbey, 127 Nicholas Kratzer (Muse du Louvre, Paris), 94
hell, 154, ill on 153 portrait of Erasmus (collection of the Earl of Rad-
Henry VIII, king of England, 83, 86, 87, 88, 92 nor, Longford Castle, Wiltshire), 82
Holbein Ambrosius, 82, 100 portrait of Erasmus (Muse du Louvre, Paris), 82
works: portrait of his wife and two children (Kunstmu-
depiction of a young man in an architectural set- seum, Basel), 83, 100
ting (Hermitage, St. Petersburg), 100 portraits of German steelyard merchants, 94
signboard for Oswald Geisshsler (Kunstmu- signboard for Oswald Geisshsler (Kunstmu-
seum, Basel), 82 seum, Basel), 82
works attributed to, 101 note 14 Sir Brian Tuke [1957.1.65], 91-97, ill on 93
Holbein, Hans, the Elder, 70, 82, 160 copies, 95
drawing of Hans and Ambrosius (Kupferstichkabi- Sir Henry Guildford (Royal Collection, Windsor
nett, Berlin), 82 Castle, London), 94
Holbein, Hans, the Younger, xii, 27, 82-83 Sir Henry Wyatt (Muse du Louvre, Paris), 94
works: Sir Thomas More (Frick Collection, New York),
The Ambassadors (National Gallery, London), 83 94
Bonifacius Amerbach (Kunstmuseum, Basel), 100 Thomas Godsalve with His Son, John (Gemlde-
Catechism by Thomas Cranmer, woodcut series, galerie Alte Meister, Dresden), 94
88 Whitehall Palace fresco (destroyed), 83
Coverdale's 1535 translation of the Bible, wood- cartoon (National Portrait Gallery, London), 83
cut frontispiece, 88 works attributed to:
Dead Christ in the Tomb (Kunstmuseum, Basel), Portrait of a Young Man [1961.9.21], 98-102, ill.
82 on 99
Dorothea Kannengiesser (Kunstmuseum, Basel), infrared reflectogram, 98 (fig. i)
82, 100 A Schoolmaster Teaching Two Adults to Write
drawings of the tomb sculptures of Jean, duc de (signboard, Kunstmuseum, Basel), 82
Berry, and his wife, 82 Huber, Wolf, 3, 155
Edward VIas a Child [1937.1.64], 83-91, ill. on
85
copies by Hollar, 87 (figs. 3 and 4)
I
Ingolstadt
copy by Oliver, 86 (fig. 2), 88, 88 note 3
Church of Our Beautiful Lady
copy (Earl of Yarborough collection), 88
Mielich, Hans, altarpiece, 146, 158
copy (panel, Duke of Northumberland, Syon
Christ in Limbo, 158
House), 88
Resurrection, 158
Latin inscription by Sir Richard Morison, 84,
International Style, 144
86, 87, 88
preparatory drawing (Royal Library at Windsor
Castle, London), 86 (fig. i), 88
J
Enthroned Madonna and Child with Saints Nich- Jerusalem, 152-154, ill. on 153
olas and George (Museum der Stadt, Solo- Job, Book of, 67, 94
thurn), 82 Jordaens, Jacob, The Satyr and the Peasant (Muses
Erasmus of Rotterdam (Kunstmuseum, Basel), Royaux des Beaux-Arts, Brussels), 122
100101
Family of Sir Thomas More (destroyed), 83 K
drawing (Kunstmuseum, Kupferstichkabinett,
Karlsruhe
Basel), 83 Staatliche Kunsthalle
Hermann Wedigh (Metropolitan Museum of Art, Baldung Grien, Hans, drawings of the harbor and
New York), 94 buildings on the island of Rhodes, 19
Jacob Meyer zum Hasen (Kunstmuseum, Basel),
Grnewald, Matthias
82, 100
Crucifixion, 74, 76, 77 (fig. 5)
Johannes Zimmermann (Xylotectus) (Germani-
grisaille representations of saints for Domini-
sches Nationalmuseum, Nuremberg), 101
can church in Frankfurt, 70
INDICES 205
Liss, Johann, Judith, 120 Master of the Mornauer Portrait, Portrait of Duke Si-
National Portrait Gallery gismund, Count of Tyrol(?) (Alte Pinako-
Holbein, Hans, the Younger, cartoon of White- thek, Munich), 182
hall Palace fresco, 83 Master of the Saint Bartholomew Altar, 155
Schroder Collection Adoration of the Kings (Alte Pinakothek, Munich),
Mielich, Hans, Portrait of a Woman, 149 (fig. i), !33
150 (fig. 2) The Baptism of Christ [1961.9.78], 133-140, ill. on
Windsor Castle 135
Royal Collection Crucifixion altarpiece (Wallraf-Richartz-Museum,
Holbein, Hans, the Younger, Sir Henry Guild- Cologne), 133
ford, 94 Hours of Sophia van Bylant miniatures (Wallraf-
Royal Library Richartz-Museum, Cologne), 133, 138
Holbein, Hans, the Younger, Edward VI as a Flagellation, 133
Child (preparatory drawing), 86 (fig. i), 88 Madonna and Child with Saint Anne (Alte Pinako-
Hollars' etching after Holbein's Edward VI as a thek, Munich), 133, 138
Child, 87 (fig. 4) Madonna and Child with Saints Augustine and
Lot and his daughters, 51-60, ill. on 54 Adrian (Hessisches Landesmuseum,
Lugano Darmstadt), 137138
Thyssen-Bornemisza collection Saint Bartholomew Altar (Alte Pinakothek, Mu-
Durer, Albrecht, Christ among the Doctors, 50 nich), 133,138
Koerbecke, Johann, Marienfeld altarpiece, As- Saint Thomas altarpiece (Wallraf-Richartz-Mu-
sumption of the Virgin, 109 (figure), 112 seum, Cologne), 133, 137 (fig. 2)
Lutheranism, 45, 50. See also Reformation The Master of Saint Veronica, 141
Luther, Martin, xi, 27 works:
Clara altarpiece (Cathedral, Schntgen-Muse-
M um, and Diozesan-Museum, Cologne),
Madrid 144
Museo del Prado The Crucifixion [1961.9.29], 141-145, ill on 143
Durer, Albrecht Madonna and Child with Saints and Angels Altar
Adam and Eve (1507 painting), 9 (Kisters Collection, Kreuzlingen), 144
Self-Portrait of 1498, 57, 170 Madonna of the Sweet Pea (Germanisches Na-
Maler zu Schwaz, Hans, 26, 167, 184, 185 note 34 tionalmuseum, Nuremberg), 141
Marienfeld, Cistercian cloister, 103, 104-105 Man of Sorrows (Koninklijk Museum voor
Master of Frankfurt and his shop, The Adoration Schone Kunsten, Antwerp), 144
of the Magi (Koninklijk Museum voor Saint Veronica Holding the Sudarium (Alte Pi-
Schone Kunsten, Antwerp), 178 nakothek, Munich), 141
Master of Heiligenkreuz, 127 Small Crucifixion (Wallraf-Richartz-Museum,
works: Cologne), 141, 144
Annunciation (Kunsthistorisches Museum, Vi- works attributed to: Trinity panel (Westflisches
enna), 127, 130 Landesmuseum fur Kunst und Kultur-
Death of Saint Clare [1952.5.83], 127-132, ill on geschichte, Munster), 142
129
Master of Sierenz, 181, 184 note 15
The Death of the Virgin (panel, Cleveland Mu- Master of Uttenheim (Master Hans von Brixen), 181,
seum of Art), 128, 130 (fig. i) 185 note 15
Madonna and Child (Kunsthistorisches Museum, Uttenheim altarpiece (Osterreichische Galerie, Vi-
Vienna), 127 enna), 189
Mystic Marriage of Saint Catherine (fragment, Maximilian I, emperor, xi, 3, 15, 50, 72, 160, 166
formerly in the Recker collection, Dort- medieval and Renaissance subjects
mund), 127 Five Wounds of Christ, 94
Mystic Marriage of Saint Catherine (Kunsthis- Four Humors, 8
torisches Museum, Vienna), 127, 130 Fourteen Holy Helpers, 134
Saint Dorothy (Kunsthistorisches Museum, Vi- Melancholy, 9, 50
enna), 127 Original Sin, 8
works attributed to, 132 note 22 Rule of Saturn, 8
Master of the Holy Kindred, Seven Joys of the Virgin Memmingen
altarpiece (Muse du Louvre, Paris, and Church of Our Lady
Germanisches Nationalmuseum, Nurem- Strigel, Bernhard, "Holy Tomb," 166
berg), 106 Michelangelo, 146, 155
INDICES 207
Bacchus, 5-11, ill on 6-j 0
and Christian themes, 8-9
Mars, 511, ill. on 67 Oliver, Peter, miniature after Holbein's Edward VI as
a Child, 86 (fig. 2), 88
nymph of the spring, 34-39, ill on 7
Order of Saint John in Jerusalem, Gruen Worth, 15
N 16, 18-19
Ostendorfer, Michael, 9
Naumburg Ottobeuren Master (Hans Thoman), collaboration
Church of Saint Wenceslaus with Bernhard Strigel, 166, i 77
Cranach, Lucas, the Elder, Christ Blessing the
Children, xi, 27 p
Neoplatonists, 4, 5, 50 Pacher, Michael, 3, 181, 189
New Haven Altarpiece of the Church Fathers (Alte Pinakothek,
Yale University Art Gallery Munich), 189
Cranach, Lucas, the Elder, The Crucifixion with Saint Wolfgang Altar. (Parish Church of Saint Wolf-
the Converted Centurion, 45 gang, Abersee), 189
New York Paracelsus (Theophrastus Bombast von Hohenheim),
Frick Collection
Holbein, Hans, the Younger, Sir Thomas More, 4,8
Paris
94 Muse du Louvre
Metropolitan Museum of Art Cranach, Lucas, the Elder, Portrait of a Young
Baldung Grien, Hans, altarpiece of the Order of Girl, 30.
Saint John in Jerusalem, Gruen Worth, Durer, Albrecht, Nude Woman Seen from Behind
Saint John on Patmos, 15 (fig. 4), 16 (drawing), 56
Durer, Albrecht Holbein, Hans, the Younger
Madonna and Child with Saint Anne, 50 Nicholas Kratzer, 94
Woman Standing in a Niche (Robert Lehman portrait of Erasmus, 82
collection), 56 Sir Henry Wyatt, 94
Holbein, Hans, the Younger, Hermann Wedigh, Muse du Louvre, Cabinet des Dessins
94 Baldung Grien, Hans
Nordlingen Aristotle and Phyllis, 12
Reichsstadtmuseum self-portrait drawing, 12
Schufelein, Hans, Epitaph for Emmeran Wager, Kremer, Nicolaus, Count Friedrich von Kriehlin-
160 gen (drawing), 118
Nuremberg Parma
Church of Saint Lorenz Magnani Rocca collection
Baldung Grien, Hans, designs for stained-glass Durer, Albrecht, Madonna and Child, 56
window, 19 portraits
Germanisches Nationalmuseum children
Baldung Grien, Hans Edward VI, King of England, 83-91, ill. on 8$
Martyrdom of Saint Sebastian triptych, 12 Prince of Saxony, 27-31, ill. on 28
portrait of an unknown man at age twenty- Princess of Saxony, 27-31, ill. on 29
nine, 118 men
Durer, Albrecht clergyman (Johann Dorsch?), 61-66, ill. on 63
Lamentation, 57 member of the Frschl family, 146152, ill. on
portrait of his mother, 49
147
Holbein, Hans, the Younger, Johannes Zimmer- nobleman, 115-119, ill. 0 / 7 7 / 7
mann (Xylotectus), i o i Roth, Hans, 167-173, ill. on iji
Koerbecke, Johann, Marienfeld altarpiece, The Tuke, Brian, 91-97, ill. on 93
Nativity, 108 (figure) unknown, 23-25, ill. on 5; 40-44, ill on 42; 98
Liss, Johann, Banquet of Soldiers and Courtesans, 102, ill. on 99; 160-165, ui on I^3't 181-
i 20 186, ill. on 183
The Master of Saint Veronica, Madonna of the women
Sweet Pea, 141 unknown, 40-44, ill. on 43; 67-69, ill. on 69
Schufelein, Hans, Crucifixion with John the Vohlin, Margarethe, wife of Hans Roth, 167-173,
Baptist and King David, 160 ill. on 168
Strigel, Bernhard, Holy Kindred altarpiece, 166, Prague
179 note 17 Nrodn Galerie
TNDICES 209
donna and Child with Saints Nicholas and Kremer, Nicolaus, Madonna Adoring the Child
George, 82 (drawing) , 1 1 5
St. Petersburg Schufelein, Hans, Adoration of the Magi, 162
Hermitage Suss von Kulmbach, Hans, 12, 64 note 9, 160, 162
Cranach, Lucas, the Elder, Venus and Cupid, 36 works attributed to, 119 note 15
Strigel, Bernhard, 166-167 Swabian artists
works: Saint Barbara and Saint Dorothea (Bayerisches
Eliud before Mary and the Christ Child (Geml- Nationalmuseum, Munich), 189
degalerie, Berlin), 177, 179 (fig. 4) Saint Wolfgang and Saint Otilia (Bayerisches
Hans Roth [1947.6.4], xii, 167-173, ill. on 171 Nationalmuseum, Munich), 189
Holy Kindred altarpiece (Germanisches Natio-
nalmuseum, Nuremberg, and four panels T
in the collection of Count von Rechberg,
Thoman, Hans. See Ottobeuren Master (Hans Tho-
Donzdorf), 166, 179 note 17
man)
Holy Kindred (Kunsthistorisches Museum, Vi-
Toledo
enna), 166, 177-178
Toledo Museum of Art
"Holy Tomb" (Church of Our Lady, Memmin-
Mielich, Hans
gen), 166
Portrait of a Man (panel), 151 (fig. 3)
Margarethe Vhlin, Wife of Hans Roth
Portrait of a Woman (panel), 151 (fig. 4)
[1947.6.5], xii, 167-173, ill on 168
Tolentino
portrait of Hieronymus Haller (Alte Pinakothek,
Church of San Nicol
Munich), 166
Liss, Johann, The Vision of Saint Jerome, 120
portrait of Johannes Cuspinian and his family
Tuke, Sir Brian, 9295
(private collection, Lower Austria), 166
Tyrolean artists
portrait of Ludwig of Hungary (Kunsthistorisches Four Panels from an Altarpiece, 187-193
Museum, Vienna), 30 Saint Alban of Mainz [1972.73.1], 187, ill. on 190
portrait of Maximilian I (Gemaldegalerie, Berlin), Saint Alcuin [1972.73.4], 188-189, ill on 191
166
Saint Valentine [1972.73.3], 188, ill on 191
portrait of Maximilian I and his family (Kunsthis- Saint Wolfgang [1972.73.2], 187-188, ill. on 190
torisches Museum, Vienna), 166, 177-178 Martyrdom of Saint Andrew (Germanisches Natio-
portrait of Ulrich Wolfhard (Neuerburg collec- nalmuseum, Nuremberg), 182
tion, Hennef-Sieg), 172 Portrait of a Man [1952.5.71], 181-186, ill. on 183
portraits of Konrad Rehlinger the Elder and his
children (Alte Pinakothek, Munich), 166 U
portraits of an unidentified couple (Prince of
Lichtenstein collection, Vaduz), 172 Ulm
Saint Mary Cleophas and Her Family Munster
[1961.9.88], 173-180, ill on 175 Schufelein, Hans, Last Supper, 160
Saint Mary Salome and Her Family [1961.9.89],
174-180, ill. on ij6 V
Saints Vinzentius, Sebastian, and Michael altar- Vaduz
piece (Schweizerisches Landesmuseum, Prince of Lichtenstein collection
Zurich), 166 Mielich, Hans, portrait of Ladislaus von Fraun-
sleeping soldiers paintings (Alte Pinakothek, Mu- berg, Count of Haag, 146
nich, and City Art Gallery, York, En- Strigel, Bernhard, portraits of an unidentified
gland), 166 couple, 172
works in collaboration: Vienna
with Bartholomus Zeitblom, altar (cloister Dom und Dizesanmuseum
church, Blaubeuren), 166
Schufelein, Hans, Ober-Sankt Veit alterpiece,
with Ottobeuren Master (Hans Thoman), altar- 160, 162
piece (lost, church in Feldkirch), 166 Graphische Sammlung Albertina
Strozzi, Bernardo, 121
Altdorfer, Albrecht, workshop of, Maximilian I
Stuttgart
battles (illuminations), 3
Staatsgalerie
Durer, Albrecht
Baldung Grien, Hans. Hans Jacob von Morsperg,
Christ Child with the World Globe, 56, 62
118
Large Piece of Turf, 49
Cranach, Lucas, the Elder, Madonna and Child
Self-Portrait of 1484, 49
with John the Baptist and Angels, 32
INDICES 21 i
Index of Previous Owners
Agnew, Thomas, & Sons (London): 1961.9.88, Denver Art Museum, Colorado: 1961.9.88
1961.9.89 Dias, Vaz; i952.2.i6a-b
Alsace, village church: 1961.9.62 Dickerman, Watson B.: 1937.1.65
American Art Association, Anderson Galleries (New Dickerman, Mrs. Watson B.: 1937.1.65
York): 1942.16.3, 1947-6.3 Dominion Gallery (Montreal): 1961.9.69
Anhalt, dukes of: 1952.5.71 Douglas, Robert Langton: see Langton Douglas,
Aram, Dr. Siegfried R: 1947.6.3 Robert
Arnhem, church: 1961.9.78 Drey, Paul (New York): 1952.5.71
Artemis/David Carritt Limited (London): 1984.66.1 Duveen Brothers (Paris): 1961.9.88,1961.9.89
Augustus, Ernst [d. 1851], duke of Cumberland and Duveen Brothers (New York): 1952.5.71
king of Hannover: 1937.1.64 Eger, Convent of the Poor Clares: 1952.5.83
Augustus, Ernst [d. 1923], duke of Cumberland and Eisack, Lcher von: 1952.5.3^-0
crown prince of Hannover: 1937.1.64 Emden, Dr. Jacob and Mathilde (Kann): 1961.9.88,
Auspitz-Lieben, Stefan von: 1952.5.84, 1952.5.85 1961.9.89
Bonier, Julius (Munich): 1947.6.1, 1947.6.2, 1947.6.4, Fankhausen, Fritz (Basel): 1961.9.62
1947.6.5, 1959-9-5 Feigel, Aladar: 1961.9.69
Bonier and Steinmeyer (Lucerne and New York): Filicaja (or Filicaia), Count, family of: 1942.16.3
1957.12.1 Fischer, Galeries (Thodore Fischer)
Bonde, Carl Carlsson: 1937.1.66 (Lucerne): 1959.9.5
Bonde, Carl Gotthard Carlsson: 1937.1.66 Fischer, Thodore (Lucerne): 1947.6.3
Booth, Ralph Harman, and Mary B.: 1947.6. i, Freedman, Joanne: 1972.73.1, 1972.73.2, 1972.73.3,
1947.6.2, 1947-6.3, 1947.6.4, 1947.6.5 1972.734
Bottenwieser (Berlin); 1952.2.i6a-b French and Company (New York): 1952.5.71
Breslau [now Wroclaw], museum: 1952.5.84, Frhlich, Dr. Otto: 1952.5.84, 1952.5.85
1952.5-85 George V, king of Hannover: 1937.1.64
Bromberg, Martin and Eleanore (Kann): 1961.9.88, Graupe, Paul (Berlin): 1961.9.78
1961.9.89 Grosvenor, Richard: 1937.1.65
Bryas, Count Jacques de: 1961.9.78 Gruen Worth, Church of the Order of Saint John in
Burlet, Charles de (Berlin): 1952.5.84, 1952.5.85 Jerusalem: 1961.9.62
Campe, Dr. Friedrich: 1959-9. i> 1959-9-2 Guest, Lady Theodora: 1937.1.65
Cardon, Charles Lon: 1959.9.5 Haller family: 1952.2. i6a-b
Cassirer, Paul (Berlin): 1947.6.1, 1947.6.2, 1947.6.4, Haskard Bank (Florence): 1961.9.88,1961.9.89
1947.6.5, i952.5.3ia-c, i9599.i> i9599'2> Havemeyer, Henry Osborne: 1942.16.3
1961.9.78 Havemeyer, Mrs. Henry Osborne (Louisine Waldron
Cebrian Rosa, Countess: see Hubay, Mrs. Jen Elder): 1942.16.3
Chillingworth, Rudolph: 1959.9.5 Helbing, Hugo (Berlin): 1961.9.78
Christie & Manson: 1937.1.65 Heinemann, Rudolf: see Pinakos, Inc.
Christie, Manson & Woods (London): 1952.2. i6a-b Henkell, Otto: 1961.9.78
Colnaghi, P. & D., & Co. (London): 1937.1.64, Henry VIII, king of England: 1937. i .64
1937.1.65. 1937.1.66 Heydt,vonder[?]: 1959.9*1.1959-9-2
Colnaghi, P. & D., & Co. (New York): 1937.1.66, Hildebrand, David Henric: 1937.1.66
1984.66.1 Hildebrand, David Gotthard Henric: 1937.1.66
Cologne, Carthusian monastery of Saint Barbara: Htel Drouot (Paris): 1961.9.78
1961.9.29 Howard, Alathea (Mrs. Thomas Howard): 1937.1.64
Court Repington, Charles : i952.2.i6a-b Howard, Dr.: 1961.9.29
Czernin, Counts: 1952.2.17 Howard, Thomas, earl of Arundel and Surrey:
Czernin von Chudenitz, Count Eugen: 1952.2.17 1937.1.64
Czernin von Chudenitz, Count Johann Rudolph: Hubay, Mrs. Jen (Countess Cebrian Rosa): 1961.9.69
1952.2.17 Imhoff the Elder, Willibald: 1952.2. i6a-b
Dale, Chester: 1942.16.3 Rann, Edouard: 1961.9.88, 1961.9.89
Demiani,Dr.: 1961.9.69 Rann, Rodolphe: 1961.9.88, 1961.9.89
Demidoff, Prince: 1942.16.3 Rann family members: 1961.9.88, 1961.9.89
INDICES 213
Concordance of Old-New Titles
CONCORDANCES 215