List of Illustrations

Front January. Illumination in the Calendar part of the Très riches heures de Jean, duc

cover de Berry. Chantilly, Musée Condé. 29 x 21 cm.

Page 5 Alexander Mornauer. Portrait in oil on softwood panel circa 1480, earlier attributed

to a Master of the Mornauer Portrait, here now ascribed to Albrecht Dürer the Elder.

London, The National Gallery. 46,5 x 38,7 cm.

Page 7 The Fishing Party. Copy of an ironic representation of Jacoba of Bavaria´s many

marriage constellations, maybe after a painting by Jan van Eyck. Watercolour

and ink on two sheets of paper glued side by side on wood. Paris, Musée du

Louvre, Cabinet des dessins.

Page 13 Duke Jean of Berry on a Journey. Illumination in the Belles heures de Jean, duc de

Berry. New York, The Metropolitan Museum of Art, The Cloisters Collection.

10,7 x 8,7 cm.

Page 17 April. Illumination in the Calendar part of the Très riches heures de Jean, duc de

Berry. Chantilly, Musée Condé. 29 x 21 cm.

Page 21 The Flight. Illumination in the Petites heures de Jean, duc de Berry. Paris, Biblio-

thèque nationale. 21,5 x 14,5 cm.

Page 25 The Temptation and the Fall. Illumination in the Très riches heures de Jean, duc de

Berry. Chantilly, Musée de Condé. 29 x 21 cm.

Page 29 King Charles VI with the Author and Three Nobles. Illumination in Résponses de

Pierre Salmon. Geneva, Bibliothèque Publique et Universitaire. 26,5 x 19,5 cm.

Page 35 The Lamentation of the Virgin. Illumination by André Beauneveu in the so-called

Rohan Book of Hours. Paris, Bibliothèque nationale. 29 x 20,8 cm.

Page 40 The Man with the Pinks. Probably a copy of a lost original by Robert Campin (i.e.

Hubert van Eyck), showing Count Wilhelm VI of Holland-Bavaria, who may have

commissioned the Ghent altarpiece. Painting in oil. Berlin, Gemäldegalerie,

Staatliche Museen zu Berlin, Preussischer Kulturbesitz. 41,5 x 31,5 cm.

Page 45 The Virgin pretending to be reading. The central Annunciation of the so-called

Mérode Triptych. Painting in oil by Robert Campin (i.e. Hubert van Eyck),

here maybe in a later replica by his brother Jan van Eyck. New York, The

Metropolitan Museum of Art, The Cloisters Collection.

Page 51 Oswald von Wolkenstein. Portrait in Liederhandschrift B. Innsbruck, Universitäts-

bibliothek. 46,5 x 32,5 cm.

Page 55 Cardinal Niccolò Albergati (?). Portrait in oil on wood by Jan van Eyck, probably

in 1431. Vienna, Kunsthistorisches Museum. 27,3 x 34,1 cm.

Page 59 Dean Gerhard von Manderscheid (?). Portrait in oil on wood by Jan van Eyck 1432.

London, The National Gallery. 33,4 x 19 cm.

Page 64 Nicolaus Cusanus. Self-portrait in drawing in a manuscript 1426. Munich, Baye-

risches Geheimes Hausarchiv.

Page 67 The Betrothal of Arnold, Duke of Guelders, and a Lady, earlier known as The

Marriage of Giovanni Arnolfini. Double portrait by Jan van Eyck in oil on panel

1434. London, The National Gallery. 81,8 x 59,7 cm.

Page 74 Plaidoirie d´amours, earlier known as a Hawking Party or a Jardin d´amours.

Painting on panel, probably copy after a painting by Jan van Eyck. Versailles.

161 x 117 cm.

Page 81 The Annunciation. The right wing of a panel where the donor may be a portrait of

Duke Wilhelm of Bavaria-Munich as pilgrim. Painting in oil on panel, probably

painted by Robert Campin (i.e. Hubert van Eyck). Musée de Laon.

Page 86 Duke Philip the Good at his Court. Illumination (frontispiece) of the Choniques de

Hainaut, maybe by Jean Fouquet. Brussels, Bibliothèque Royale Albert 1er.

Page 91 Portrait of Arthur of Richemont, Duke of Bretagne. Probably a painting by Jean

Fouquet in oil on oak, earlier misinterpreted as a portrait of Robert de Masmines by

Robert Campin. Berlin, Gemäldegalerie, Staatliche Museen zu Berlin, Preussischer

Kulturbesitz. 28,5 x 17,7 cm.

Page 96 Desire Kneeling Before the General Honour. Miniature from a version of the Livre

du Cœur d´amours épris, dated 1477 over an erased earlier date. Probably by Jean

Fouquet. Österreichische Nationalbibliothek.

Page 97 A Man Holding a Book. Portrait painting in oil on oak, probably a self-portrait by

Simon Marmion. Karlsruhe, Staatliche Kunsthalle. 30 x 22,5 cm.

Page 102 The Encampment. Detail of pen-and-ink drawing on parchment (fols 53r-53r1) in

the so-called Medieval Housebook by the earlier so-called Housebook Master, now

here identified with the goldsmith Albrecht Dürer the Elder. Maybe copy by one of

his followers. Fürstlich zu Waldburg-Wolfegg´sche Kunstsammlungen, Wolfegg

Castle, Germany. C. 29 x 18,6 cm.

Page 111 A Tournament. The right part of a double-page (fols 20v-21r) in the so-called

Medieval Housebook. Pen-and-ink drawing on parchment, probably scenes

composed with the help of copies after different original drawings by the earlier so-

called Housebook Master, now here identified with the goldsmith Albrecht Dürer

the Elder. Fürstlich zu Waldburg-Wolfegg´sche Kunstsammlungen, Wolfegg

Castle, Germany. C. 29 x 18,6 cm.

Page 116 A Tournament. Part of the distinguished festivities in Innsbruck at the wedding of

Duke Sigmund of Austria and Duchess Catherine of Sachsen on 4 February 1484.

Stained-glass panel after design by Albrecht Dürer the Elder. Private owner,

Germany. 47 x 45 (originally probably c. 55 x 60) cm.

Page 117 Albrecht Dürer the Elder. Portrait in oil on limewood by his son Albrecht Dürer the

Younger. London, The National Gallery. 51 x 39,7 cm.

Page 119 Albrecht Dürer the Elder Directing a Tournament. Detail of the left part of the

double-page (fols 20v-21r) of A Tournament in the so-called Medieval Housebook.

Pen-and-ink drawing, probably copy by a follower after original by Albrecht Dürer

the Elder. Fürstlich zu Waldburg-Wolfegg´sche Kunstsamlungen, Wolfegg Castle.

Page 129 A Young Man and the Death. Pencil drawing, probably an original by Albrecht

Dürer the Elder. Amsterdam, Rijksmuseum, Rijksprentenkabinet, Slg. van Leyden.

12,4 x 7,6 cm.

Together with the same motif in engraving, probably executed by the artist´s

helping son Albrecht Dürer the Younger. The same collection. 14,1 x 8,7 cm.

Page 135 Portrait of Rudolf Agricola. Earlier misinterpreted to show Bishop Johann of

Dalberg. Stained-glass panel, probably by Wilhelm Pleydenwurff. Karlsruhe, Ba-

disches Landesmuseum. 86 x 60 cm.

Page 143 The Gothaer Liebespaar. Double portrait on lime-wood, probably showing Count

Palatine Philip of Pfalz and Duchess Margarete of Bavaria-Landshut. Attributed to

the so-called Housebook Master, now here identified with Albrecht Dürer the

Elder. Gotha, Schlossmuseum. 118 x 82,5 cm.

Page 147 Portrait of a Man with a Turban. Pen drawing by Martin Schongauer, here identi-

fied to show the book publisher Johann Froben. Braunschweig, Herzog-Anton-

Ulrich-Museum. 13,1 x 9,3 cm.

Page 155 Lienhart Holl. An earlier unidentified self-portrait on lime-wood, signed with the

help of symbols. Madrid, Museo Thyssen-Bornemisza. 61,5 x 38 cm.

Page 159 St Bridget and Monk Climbing up a Ladder to Heaven. Woodcut in Revelationes

sanctae Birgittae (1492), seemingly signed by Lienhart Holl with his self-portrait

farthest to the right.

Page 162 Playing Children, here suggested to show Albrecht Dürer the Younger and

Willibald Pirckheimer. Drypoint c. 1473 by the earlier so-called Housebook Master,

now here identified with Albrecht Dürer the Elder. Amsterdam, Koninklijke

Bibliotheek. 5,1 x 7 cm.

Page 163 Albrecht Dürer the Younger. Self-portrait in pen and brown ink on paper c. 1493.

Metropolitan Museum of Art. 28 x 20 cm.

Page 173 Dancing couples. Handcoloured woodcut in Hartmann Schedel´s Buch der Chro-

niken und Geschichten (1493) on which a young man wearing a headgear with

Schnürlein is not unlike a rather childish Albrecht Dürer the Younger as he is seen

on some woodcuts in Voragine´s Passional oder Leben der Heiligen (1488). Prob-

ably in the year he married, 1494, Dürer made a masterly drawing of the central

loving couple with the young man as a self-portrait (Hamburger Kunsthalle).

Page 176 The Engagement of Count Palatine Philip of Pfalz and Duchess Margarete of Bava-

ria in 1468. Silver-point on paper by Albrecht Dürer the Elder. Berlin, Kupfertich-

kabinet, Staatliche Museen zu Berlin, Preussischer Kulturbesitz. 19,5 x 13,5 cm.

Back Plaidoirie d´amours. Probably copy after a painting by Jan van Eyck. Versailles.

cover 161 x 117 cm.