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Updated: May 17, 2025
It is this inventiveness in handling which most distinguishes Duerer from painters like Raphael and Holbein, and makes his work comparable with the masterpieces of Rembrandt and Titian, in spite of the extreme opposition in aspect between their work and his. The vivid Oswolt Krel at Munich shows the peculiarity of Duerer's caligraphic touch better than perhaps any other of his portraits.
After a little trouble, Traugott found a place at one of the crowded tables; he took a sheet of paper, dipped his pen in the ink, and was about to begin with a free caligraphic flourish, when, running over once more in his mind what he wished to say, he cast his eyes upwards.
In this portrait of his father, Duerer has developed a shaken brushline, admirably adapted to suggest the wrinkled features of an old man, but in complete contrast to the rapid sweep of the caligraphic work in the Oswolt Krel; and it is to be noticed how in both pictures the touch seems to have been invented to facilitate the rendering of the peculiar curves and lines of the sitter's features, and further variations of it developed to express the draperies and other component parts of the picture.
On entering, he noticed that next to the door there was a high desk, so cunningly constructed both as regards height and inclination that all the discomforts of writing were removed; and the brightness of the silver inkpot, the arrangement of the numerous pens and the order-book on the desk, all was so perfect that the fingers of the lettered and unlettered itched alike with desire of the caligraphic art.
It has obvious affinities with the Oswolt Krel, but the caligraphic method is again modified in harmony with the character of the sitter's features. The companion piece, representing Felicitas Tucherin, would seem at some period to have been restored to the insignificance and obscurity that belonged to the sitter before Duerer painted her.
I did not suspect that you, it is true, possessed a caligraphic talent so far advanced; but having the charge of your fortunes, ever since you had no more fortune, I knew you were completely ruined. I had drawn up the deed by which your horses, your carriages, the furniture of this hotel, belonged to Boyer and Patterson.
The young couple had first a son, whose caligraphic education was confided to Buvat from the age of four years. The young pupil was making the most satisfactory progress when he was carried off by the measles. The despair of the parents was great; Buvat shared it, the more sincerely that his pupil had shown such aptitude.
I have been even requisitioned, rebelliously, I will confess, to turn my hand to despatch writing; but my fingers, so long accustomed only to rifle-bolts and triggers, and a clumsy wielding of entrenching tools, produce such a hideous caligraphic result, that I have been coldly excused from further attempts.
Madame Wesendonck has given me a gold pen of indestructible power, which has once more turned me into a caligraphic pedant. The scores will be my most perfect masterpiece of caligraphy. One cannot fly from his destiny. Meyerbeer years ago admired nothing so much in my scores as the neat writing. This act of admiration has been my curse; I must write neat scores as long as I live in this world.
Now, perhaps, she would understand what his reserve concealed. The satisfaction of declining further assistance was enormous. He read his letter several times aloud. This was the great style; he could imagine this incident forming a landmark in the biography of a notable man. Now for a fair copy, and in a hand, mind you, that gave no hint of his care for caligraphic seemliness: bold, forthright.
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