Albert Durer Part 13

[Footnote 27: There is a portrait drawing of Jobst Plankfelt by Durer in the Stadel collection at Frankfurt.]

[Footnote 28: That is the head of the Fuggers' branch house at Antwerp.]

[Footnote 29: Erasmus of Rotterdam, the famous Humanist.]

[Footnote 30: Holbein also painted a portrait of this man in 1528. The picture is in the Louvre.]

[Footnote 31: A pen-and-ink likeness of him by Durer is in the possession of the painter Bendemann, of Dusseldorf. It bears the inscription in Durer's hand, "1520. _Hans Pfaffroth van Dantzgen ein Starkmann_."]

[Footnote 32: These were four pictures painted upon linen. They represented _The justice of Trajan, Pope Gregory praying for the Heathen_, and two incidents in the story of Erkenbald. The pictures were burnt in 1695, but their compositions are reproduced in the well-known Burgundian tapestries at Bern. See Pinchart, in the _Bulletins de l'Academie de Bruxelles_, 2nd Series, XVII.: also Kinkel, _Die brusseler Rathhausbilder_, &c., Zurich, 1867.]

[Footnote 33: A rapid sketch made by Durer in this place is in the Academy at Vienna. It is dated 1520, and inscribed, "that is the pleasure and beast-garden at Brussels, seen down behind out of the Palace."]

[Footnote 34: A reproduction of an old view of this house will be found in _L'Art_, 1884, I. p. 188.]

[Footnote 35: This picture was painted on four panels and represented the Seven Sacraments and a Crucifix. It is now lost. A similar picture is in the Antwerp Gallery, ascribed to Roger van der Weyden.]

[Footnote 36: This is perhaps the drawing in the Bounat collection at Paris; it has been photographed by Braun (see illus. opposite).]

[Footnote 37: It is believed that Durer here refers to an edition of the satirical tale edited by Thomas Murner, and published at Stra.s.sburg in 1519.]

[Footnote 38: "He afterwards particularly described to Melanchthon the splendid spectacles he had beheld, and how in what were plainly mythological groups, the most beautiful maidens figured almost naked, and covered only with a thin transparent veil. The young Emperor did not hocour them with a single glance, but Durer himself was very glad to get near, not less for the purpose of seeing the tableaux than to have the opportunity of observing closely the perfect figures of the young girls." As he himself says, "Being a painter, I looked about me a little more boldly."--See Thausing's "Life of Durer," vol. ii., p. 181.]

[Footnote 39: _Het oud register van diversche mandementen_, a fifteenth-century folio ma.n.u.script, still preserved in the Antwerp archives.]

[Footnote 40: On April 6, 1520.]

[Footnote 41: Tommaso was sent to Flanders in 1520 by Pope Leo X. to oversee the manufacture of the "second series" of tapestries. The painter does not seem to have returned to Italy.]

[Footnote 42: Engravings by Marcantonio from Raphael's designs.]

[Footnote 43: The picture is lost, but an engraving of it made by And.

Stock in 1629 is well-known.]

[Footnote 44: The fine monoliths brought from Ravenna and still to be seen in Aachen Cathedral.]

[Footnote 45: The confirmation of his pension; _see_ p. 166.]

[Footnote 46: Member of a Nurnberg family.]

[Footnote 47: The object of the whole expedition was doubtless, that Durer might see and sketch the whale. In the British Museum is a study of a walrus by Durer, dated 1521, and inscribed, "The animal whose head I have drawn here was taken in the Netherlandish sea, and was twelve Brabant ells long and had four feet."]

[Footnote 48: Gerhard van de Werve.]

[Footnote 49: Pupil and afterwards friend of Erasmus.]

[Footnote 50: These people were Durer's princ.i.p.al Nurnberg friends.]

[Footnote 51: It is a.s.sumed by commentators that _Chapel_ means _Altar-piece_, and it is guessed that the particular altar-piece is the one in the Berlin Museum which Charles V. is reported to have carried about with him, and which belonged to the Miraflores Convent. The guesses are worthless.]

[Footnote 52: In St. Jacob's was the _Entombment_ by Hugo van der Goes.]

[Footnote 53: It is in white marble. It was sculpted about 1501-6. Some critics have refused to accept it as a genuine work. Durer ought to have been in a position to know the truth.]

[Footnote 54: At this time there were plenty of his pictures at Bruges.

Durer doubtless saw his Madonna in St. Donatien's, now in the Academy of the same town.]

[Footnote 55: The famous altar-piece painted by Hubert and Jan van Eyck, of which the central part is still in its original place and the wings are divided, two of their panels being at Brussels and the rest at Berlin.]

[Footnote 56: This drawing from Durer's sketch-book is in the Court Library at Vienna (see pl. opposite).]

[Footnote 57: The story is recounted in _Flandria ill.u.s.trata_ (A.

Sanderi, Colon., 1641, i. 149.)]

[Footnote 58: Gerhard h.o.r.eboul of Ghent. Charles V.'s 'Book of Hours' in the Vienna library is his work. He also had a hand in the Grimani Breviary. After 1521 he went to England and entered the service of Henry VIII. His daughter Susanna was likewise in the service of the English King. She married and died in England.]

[Footnote 59: Perhaps Jan van den Perre, afterwards goldsmith to Charles V.]

[Footnote 60: That is to say, drawings representing _Christ bearing HIS CROSS_. _Mount of Olives_ means the Agony _in the_ Garden.]

[Footnote 61: The inn-keeper of the _Golden Head_ is known to have been a painter. His name was Heinrich Keldermann.]

[Footnote 62: Though born at Koln, he was called Hans von Nurnberg. He was cannon-founder and gun-maker to Charles V.]

[Footnote 63: Doubtless Durer's portrait of Maximilian, now in the Gallery at Vienna, dated 1519. (_see_ p. 215).]

[Footnote 64: Jacopo de' Barbari.]

[Footnote 65: Bernard van Orley.]

[Footnote 66: The catalogue of this library exists in the inventory of the Archd.u.c.h.ess' possessions.]

[Footnote 67: This is in the Musee Wicar at Lille; another portrait of Lukas van Leyden by Durer was in the Earl of Warwick's collection (_see_ opposite).]

[Footnote 68: Hieronymus Imhof.]

[Footnote 69: A quarto tract by Luther, printed in 1520 (without place or date), ent.i.tled _Von der Babylonischen gefenglnuss der Kirchen_.]

CHAPTER VII

DuRER'S LAST YEARS

I