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Updated: May 18, 2025
He suggests that the colour was once bright and varied, and that by varnish and glazes it has been reduced to its present harmonious condition. The hair is certainly much darker than the other portraits would have led one to expect, and the almost walnut brown of the general colour scheme is unique in Duerer's work.
On the other hand, it is at least as probable that the idea was not present even to the mind of the writer, who, in a style less studiously commonplace, inscribed on Duerer's tomb: Me. All that was mortal of Albrecht Duerer is laid beneath this mound.
Nevertheless, this tour de force is the picture of Duerer's most pleasing in surface and colour, with the exception of the Wings of the Dresden Altar-piece. It contains beautiful groups and figures, and is extremely well executed; so that it may amuse and delight the eye for a long time while the significance of the subject is forgotten.
It was only at Venice and Antwerp that he was welcomed as the Albert Duerer whom we to-day know, love, and honour. C. S. Ricketts and Mr. C. H. Shannon, reproduced in the sixth folio of the Duerer Society, 1903. Mr. Campbell Dodgson describes the drawing as in a measure spoilt by retouching, but what convinces him that these retouches are not by Duerer? DUeRER'S METAL ENGRAVINGS
There are a certain number of letters which give a glimpse of Duerer's relations with his clients; they show him appealing always to the judgment of artists against the ignorant buyer, and giving more than he bargained to give, though thereby he eats up his legitimate profits; lastly, they show him vowing never again to enter upon work so unprofitable, but to give all his time to the creation of engravings and woodcuts.
We shall, I think, often do well, when considering the superb ostentation of Duerer's workmanship, with its superabundance of curve and flourish, its delight in its own ease and grace, to think of those young men among his ancestors who made their living from horses on the wind-swept plains of Hungary.
On the other hand, Pirkheimer's words probably had some slight basis; and as Duerer's sickness increased upon him, while at the same time he applied himself less and less to making money, the anxious Frau may have become fretful or even nagging at times; and Pirkheimer, whose companionship was probably a cause of extravagances to Duerer, may have been scolded by Agnes, or heard his friend excuse himself from taking part in some convivial meeting, on the plea that his wife found he was spending out of proportion to his takings at the moment.
In it we find a very considerable influence of Italy in general, and Giovanni Bellini in particular; it is a splendid and pompous parade piece, and probably the portraits of the German merchants which it contained were the part of the work which was most successful, as it was certainly that most congenial to Duerer's genius.
His drawings were not prepared to receive additions in the course of cutting, such as could only be rendered by the engraver. Faithfulness was the only virtue he required of Hieronymus Andreae. Yet even in such drawings as Duerer's no doubt were, there would have been some qualities, some defects perhaps, that the print does not possess.
In all probability there would have been besides the learned protonotary of the supreme court, Ulrich Varenbuler, often mentioned as a friend in the letters of Erasmus and Pirkheimer, and the subject of the largest of Duerer's portrait woodcuts, which shows him to us some ten years later, still a handsome trenchant personality, with a liking for fine clothes, and the self-reliant expression of a man who is conscious that the thought he takes for the morrow is not likely to be in vain.
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