Viewing page 94 of 154

This transcription has been completed. Contact us with corrections.

Das Deutsche Bildnis der Spaetgotik und der Fruhen Durerzeit. by Ernst Buchner Director of the Pinakothek,  Munich, Bavaria.

[[underlined]]PORTRAIT OF A YOUNG PRINCE[[/underlined]]

Plate no. 194      London Private Coll.
Description page 167, Item 192.
**********
[[underlined]]German (?) Master, circa 1490-1500[[/underlined]]

Despite all my efforts, I have not been able to lift the veil which covers the pale young princeling with the dark, secretive eyes:  although the painting is most likely a courting or engagement picture of a member of one of the highest noble families.

Out of a dark background, lightened by a costly crown and rich jewelery peers a young swain, his hands resting on a small stone ledge.  Under a golden damask robe with trimming of fur, is disclosed a richly embroidered vest and collar. The beautifully waved strands of hair reach down to his shoulders, framing his noble and sharply carved features with dark widespread eyes, the lower part ending in a pointed chin: sensitive nostrils and a small finely chiselled mouth and tensed throught muscles.  The sharply cut bang covers the over part of his forehead.

A bridegroom's wreath crowns his head, from which a costly pendant hangs with a large peral-surrounded jewel surmounted by a spread-winged eagle.  At the bottom of a bright strip of material is mounted a piece of jewelery rich in jewels and pearls.  Below that appears a sword hilt at the top of which is a not easily identified coat-of-arms, a rearing horse.

Appearing out of richly gold-embroidered sleeves are his gloved hands.  On the small finger of the right hand is a ring, the left hand holds a veil-like cloth.  A pearl studded crown is par ly hidden by a fold of the curtain.  A jewelled cross hangs to his left on the dark wall.

****************

The full size photograph (46 x 60 cm.), I was unfortunately unable to investigate the original, showed distinct damage, especially at top and bottom and along the panel joinings. There has also been lost some paint in the features but despite this, the highly advanced technique and inner nobility of the composition produce an incomparable and indestructible magic.

****************

The question of who painted the picture is almost as difficult to answer as is the question of who the sitter was. the first thought was that the painter was Jacopo di Barbari, who worked in Wittenberg, Frankfurt a.d. Oder and since 1510 in Brussels as court painter.  However, comparison with pictures and portraits which are definitely of his authorship are not proof enough. The country to which the noble master belonged is equally difficult to ascertain.  Only the possibility that he was one of the painters who worked for German Courts justifies the inclusion of this problematic work in our collection in this book, because the re-