Hostname: page-component-cd9895bd7-gxg78 Total loading time: 0 Render date: 2025-01-03T16:58:12.912Z Has data issue: false hasContentIssue false
  • English
  • Français

A Matter of Choice: Printed Design Proposals and the Nature of Selection, 1470–1610

Published online by Cambridge University Press:  20 November 2018

Shira Brisman
Shira Brisman*
Affiliation:
University of Wisconsin–Madison
Get access Rights & Permissions [Opens in a new window]

Abstract

In the third decade of the sixteenth century, engravers began to frame booklets that offered examples of decorative images and objects with written explanations of their motivations for issuing the proposed designs. Prior to this use of text, earlier engravings by Martin Schongauer and Israhel van Meckenem employed vegetal motifs with severed stems to convey that their compositions were available for selection, drawing an analogy between the utilization of prints by fellow craftsmen and the process of plucking from nature. This vocabulary of extraction returns in the rhymed couplets and playful images of Christoph Jamnitzer’s “Neuw Grotteßken Buch” of 1610.

Type
Research Article
Information
Renaissance Quarterly , Volume 71 , Issue 1 , Spring 2018 , pp. 114 - 164
Copyright
Copyright © Renaissance Society of America 2018

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Achilles-Syndram, Katrin. Die Kunstsammlung des Paulus Praun. Die Inventare von 1616 und 1719. Nuremberg: Stadt Nürnberg Stadtarchiv, 1994.Google Scholar
Alberti, Leon Battista. On Painting. Trans. John R. Spencer. New Haven: Yale University Press, 1966.Google Scholar
Albrecht Dürer: His Art in Context. Ed. Sander, Jochen. Munich: Prestel, 2013.Google Scholar
Amman, Jost. Kunst- und Lehrbüchlein für die anfahenden jungen daraus Reissen und Malen zu lernen. Frankfurt: Fayerabend, 1578.Google Scholar
Angerer, Martin. Gothic and Renaissance Art in Nuremberg 1300–1550. New York: Metropolitan Museum of Art, 1986.Google Scholar
Ashcroft, Jeffrey. Albrecht Dürer: Documentary Biography. 2 vols. New Haven: Yale University Press, 2017.Google Scholar
Bark, Sabine. Auf der Suche nach dem verlorenen Paradies: Die Thema des Sündenfalles in der altdeutschen Kunst (1495–1545). Frankfurt am Main: Peter Lang, 1994.Google Scholar
Barolsky, Paul. “Metaphorical Meaning in the Sistine Ceiling.” Source: Notes in the History of Art 9.2 (1990): 19–22.Google Scholar
Bartrum, Giulia, German Renaissance Prints 1490–1550. London: British Museum Press, 1995.Google Scholar
Bartsch, Adam von. Le peintre graveur. 11 vols. Vienna: J. V. Degen, 1803–21.Google Scholar
Beck, Herbert, and Decker, Bernhard. Dürers Verwandlung in der Skulptur zwischen Renaissance und Barock. Frankfurt am Main: Liebieghaus Museum Alter Plastik, 1981.Google Scholar
Benjamin, Walter. “The Work of Art in the Age of Its Technological Reproducibility (Second Version).” In Selected Writings. trans. Jephcott, Edmund and Zohn, Harry, ed. Eiland, Hoard and Jennings, Michael W., 3:101–33. Cambridge, MA: Harvard University Press, 2002.Google Scholar
Bergau, Rudolf. “Hans Brosamer und sein Kunstbüchlein.” Kunstchronik 13 (1878): 494–96.Google Scholar
Bloom, Harold. Wallace Stevens: The Poems of Our Climate. Ithaca: Cornell University Press, 1977.Google Scholar
Borea, Eveline. “Vasari e le stampe.” Prospettiva 57–60 (1989–90): 18–38.Google Scholar
Brisman, Shira. “The Image That Wants to Be Read: An Invitation for Interpretation in a Drawing by Albrecht Dürer.” Word and Image 29.3 (2013): 273–303.CrossRefGoogle Scholar
Brisman, Shira. “The Unassembled Grammar of the Drawing in the Era of Reform.” Art History 40.2 (2017): 2–23.Google Scholar
Brosamer, Hans. Das Kunstbüchlein des Hans Brosamer von Fulda nach den alten Ausgaben in Lichtdruck nachgebildet. Ed. Lippmann, Friedrich. Berlin: G. Grote, 1882.Google Scholar
Brosamer, Hans. Hans Brösamer, Ein new Kunst-Büchlein: A Book of Ornamental Designs for Goldsmiths. London: G. Forman and Son and Bernard Quaritch, 1897.Google Scholar
Brott, Gerhard, ed. Wenzel Jamnitzer und die Nürnberger Goldschmiedekunst 1500–1700: Goldschmiedearbetien, Entwürfe, Modelle, Medaillen, Onnamentstiche, Schmuck, Porträts: Germanisches Nationalmuseum, Nürnberg, 28.6–15.9.1985. Munich: Klinkhardt and Biermann, 1985.Google Scholar
Bury, Michael. “The Taste for Prints in Italy to c. 1600.” Print Quarterly 2.1 (1985): 12–26.Google Scholar
Butler, Judith. “The Sensibility of Critique: Response to Asad and Mahmood.” In Is Critique Secular? Blasphemy, Injury, and Free Speech. ed. Asad, Talal, Brown, Wendy, Butler, Judith, and Mahmood, Saba, 95–130. New York: Fordham University Press, 2013.Google Scholar
Butts, Barbara, and Hendrix, Lee. “Drawn on Paper—Painted on Glass.” In Painting on Light (2000a), 1–16.Google Scholar
Butts, Barbara. “Nuremberg.” In Painting on Light (2000b), 83–127.Google Scholar
Chmelarz, Eduard. “Die deutschen Kleinmeister des 16. Jahrhunderts.” Mittheilungen des k.k. Österreichischen Museums für Kunst und Industrie: Monatsschrift für Kunstgewerbe 20 (1887): 357–61, 404–08.Google Scholar
Cicero, Marcus Tullius. De inventione. Trans. Hubbell, H. M.. Cambridge, MA: Harvard University Press, 1952.Google Scholar
Clifton, James. “Vasari on Competition.” Sixteenth Century Journal 27.1 (1996): 23–41.Google Scholar
de Jong, Marijnke, and de Groot, Irene. Ornamentprenten in het Rijksprentenkabinet 1: 15de & 16de Eeuw. The Hague: Staatsuitgeverij, 1988.Google Scholar
de Man, Paul. “Criticism and Crisis.” In Blindness and Insight: Essays in the Rhetoric of Contemporary Criticism. 3–19. Minneapolis: University of Minnesota Press, 1993.Google Scholar
Derrida, Jacques. Of Grammatology. Trans. Spivak, Gayatri Chakravorty. Baltimore: Johns Hopkins University Press, 1974.Google Scholar
Derrida, Jacques. “The Retrait of Metaphor.” Trans. Kamuf, Peggy. In Psyche: Inventions of the Other. ed. Peggy Kamuf and Elizabeth Rottenberg, 1:48–80. Stanford: Stanford University Press, 2007.Google Scholar
Detering, Alfred. Die Bedeutung der Eiche seit der Vorzeit. Leipzig: Rabisch, 1939.Google Scholar
Dodd, James. Crisis and Reflection: An Essay on Husserl’s Crisis of the European Sciences. Dordrecht: Kluwer Academic Publishers, 2004.Google Scholar
Dürer, Albrecht. Underweysung der Messung. Nuremberg: Hieronymus Andreas Formschneider, 1525.Google Scholar
Evans, Joan. A History of Jewellery 1100–1870. New York: Dover Publications, 1989.Google Scholar
Falk, Tilman, and Hirthe, Thomas. Martin Schongauer: Das Kupferstichwerk. Munich: Staatliche Graphisches Sammlung, 1991.Google Scholar
Farago, Claire, ed. Re-Reading Leonardo: The Treatise on Painting across Europe, 1500–1900. Farnham: Ashgate, 2009.Google Scholar
Felfe, Robert. “Sehen am Faden der Linie. Spiele des Bildermachens bei Abraham Bosse.” In Spektakuläre Experimente: Praktiken der Evidenzproduktion im 17. Jahrhundert. ed. Schramm, Helmar, Schwarte, Ludger, and Lazardzig, Jan, 78–113. Berlin: Walter de Gruyter, 2006.Google Scholar
Ferrey, Benjamin. Recollections of A. W. N. Pugin and His Father Augustus Pugin. London: Scholar Press, 1978.Google Scholar
Feulner, Karoline. “Tradition and Innovation: Dürer’s Goldsmith Training as a Foundation for His Printing Activity.” In Albrecht Dürer (2013), 22–35.Google Scholar
Friedrich, Verena, ed. Pomona Franconica: Früchte für den Fürstbischof. Würzburg: Bonitas-Bauer Druck and Medien, 2007.Google Scholar
Funke, Jutta. “Beiträge zum graphischen Werk Heinrich Vogtherrs des Älteren.” PhD diss., Freie Universität Berlin, 1967.Google Scholar
Gregory, Sharon. Vasari and the Renaissance Print. Farnham: Ashgate, 2012.Google Scholar
Griffiths, Antony. “Some Ornament Prints and Their Link with Craftsmanship.” In The Renaissance Workshop. ed. Saunders, David, Spring, Marika, and Meek, Andrew, 114–20. London: Archetype Publications, 2013.Google Scholar
Grimm, Jacob, and Grimm, Wilhelm, eds. Deutsches Wörterbuch von Jacob und Wilhelm Grimm. 33 vols. Berlin: Berlin-Brandenburgischen Akademie der Wissenschaften, 2007.Google Scholar
Günther, Hubertus. Deutsche Architekturtheorie zwischen Gotik und Renaissance. Darmstadt: Wissenschaftliche Buchgesellschaft, 1988.Google Scholar
Gurlitt, Wilibald. “Über die Phantasie in den musischen und bildenden Künsten.” Revue belge de Musicologie 8.2/4 (1954): 71–74.Google Scholar
Hackenbroch, Yvonne. “Wager Cups.” Metropolitan Museum of Art Bulletin 26.9 (1968): 380–88.Google Scholar
Halliwell, Stephen. The Aesthetics of Mimesis: Ancient Texts and Modern Problems. Princeton: Princeton University Press, 2002.Google Scholar
Hampe, Theodor. Nürnberger Ratsverlässe: über Kunst und Künstler im Alter der Spätgotik und Renaissance. 3 vols. Vienna: Gräser, 1904.Google Scholar
Hartman, Geoffrey. “The Voice of the Shuttle: Language from the Point of View of Literature.” Review of Metaphysics 23.2 (1969): 240–58.Google Scholar
Hayward, J. F. Virtuoso Goldsmiths and the Triumph of Mannerism 1540–1620. London: Sotheby Parke, 1976.Google Scholar
Heidegger, Martin. Unterwegs zur Sprache. Frankfurt am Main: V. Klostermann, 1985.Google Scholar
Heinrichs, Ulrike. Martin Schongauer: Maler und Kupferstecher. Berlin: Deutscher Kunstverlag, 2007.Google Scholar
Heppe, Karl Benard, ed. Heinrich Aldegrever die Kleinmeister und das Kunsthandwerk der Renaissance. Unna: Kreis Unna, 1986.Google Scholar
Hernmarck, Carl. The Art of the European Silversmith 1430–1830. London: Sotheby Parke Bernet, 1977.Google Scholar
Hess, Daniel, and Hirschfelder, Dagmar, eds. Renaissance: Barock. Aufklärung. Kunst und Kultur vom 16. bis zum 18. Jahrhundert. Nürnberg: Germanisches Nationalmuseum, 2010.Google Scholar
Heuer, Christopher P. The City Rehearsed: Object, Architecture, and Print in the World of Hans Vredeman de Vries. New York: Routledge, 2009.CrossRefGoogle Scholar
Heuer, Christopher P.. “The Scrawl of Thought: On Dürer and Design.” In Intersections and Counterpoints: Proceedings of the Impact 7 International Mutli-Disciplinary Printmaking Conference. ed. Morgan, Luke, 229–32. Melbourne: Monas University Press, 2013.Google Scholar
Hollstein, F. W. H. German Engravings, Etchings and Woodcuts, ca. 1400–1700. 85 vols. Amsterdam: M. Herzberger, 1957.Google Scholar
Honig, Elizabeth Alice. Painting and the Market in Early Modern Antwerp. New Haven: Yale University Press, 1998.Google Scholar
Huizinga, Johann. Homo Ludens: A Study of the Play-Element in Culture. Mansfield Center, CT: Martino Publishing, 2014.CrossRefGoogle Scholar
Irmscher, Günther. “Modern oder altfränkisch? Zur ‘Nachgotik’ bei Hans Vredeman de Vries und Chrsitoph Jamnitzer.” Barockberichte 13 (1996): 475–94.Google Scholar
Jamnitzer, Christoph. Neuw Grotteßken Buch. Nuremberg: 1610.Google Scholar
Jamnitzer, Christoph. Neuw Grottessken Buch. Ed. Heinrich Gerhard Franz. Graz: Akademische Druck- u. Verlagsanstalt, 1966.Google Scholar
Juchheim, Goda. “Das ‘Neuw Grottessken Buch’ Nürnberg 1610, von Christoph Jamnitzer.” PhD diss., Ludwig-Maximilians-Universität zu München, 1976.Google Scholar
Kemp, Martin. “From Mimesis to Fantasia: The Quattrocento Vocabulary of Creation, Inspiration and Genius in the Visual Arts.” Viator 8 (1977): 347–98.Google Scholar
Kemperdick, Stephan. Martin Schongauer: Eine Monographie. Petersberg: Michael Imhof Verlag, 2004.Google Scholar
Kleinbeck, Julia. “Künstlerwissen in und aus dem Buch—Zu einigen deutschsprachigen Kunstbüchlein vor Sandrarts, Teutscher Academie.” In Unter Minervas Schutz. Bildung durch Kunst in Joachim von Sandrarts Teutscher Academie. ed. Schreurs, Anna and Kleinbeck, Julia, 123–33. Wiesbaden: Harrassowitz, 2012.Google Scholar
Koerner, Joseph Leo. The Moment of Self-Portraiture in German Renaissance Art. Chicago: University of Chicago Press, 1993.Google Scholar
Kohlhaussen, Heinrich. Nürnberger Goldschmiedekunst des Mittelalters und der Dürerzeit 1240 bis 1540. Berlin: Deutscher Verlag für Kunstwissenschaft, 1968.Google Scholar
Koselleck, Reinhart. “Krise.” In Geschichtliche Grundbegriffe: Historisches Lexikon zur politisch-sozialen Sprache in Deutschland. ed. Otto Brunner, Werner Conze, and Reinhart Koselleck, 3:617–50. Stuttgart: Ernst Klett, 1982.Google Scholar
Koselleck, Reinhart. Critique and Crisis: Enlightenment and the Pathogenesis of Modern Society. Cambridge, MA: MIT Press, 1988.Google Scholar
Krohm, Hartmut. “Der ‘Modellcharakter’ der Kupferstiche mit dem Bischofsstab und Weihrauchfaß.” In Le beau Martin: Études et mises au point; actes du colloque organisé par le Musé d’Unterlinden à Colmar. ed. Albert Châtelet, 185–207. Colmar: Châtelet, 1994.Google Scholar
Kubler, George. The Shape of Time: Remarks on the History of Things. New Haven: Yale University Press, 1962.Google Scholar
Lehmann-Haupt, Hellmut, ed. The Göttingen Model Book: A Facsimile Edition and Translation of a Fifteenth-Century Illuminators’ Manual. Columbia, MO: University of Missouri Press, 1972.Google Scholar
Mansfield, Elizabeth C. Too Beautiful to Picture: Zeuxis, Myth and Mimesis. Minneapolis: University of Minnesota Press, 2007.Google Scholar
Maul, Birgit. Frühmittelalterliche Gläser des 5.-7./8. Jahrhunderts n. Chr: Sturzbecher, glockenförmige Becher, Tummler und Glockentummler. Bonn: R. Habelt, 2002.Google Scholar
Morel, Philippe. Les grotesques: Les figures de l’imaginaire dans la peinture italienne de la fin de la Renaissance. Paris: Flammarion, 1997.Google Scholar
Morris, Amy. “The Artist’s Lament in Early Modern Germany: Complaint or Self-Promotion?” In Die Klage des Künstlers: Verarbeitung von Krise und Umbruch in Text und Bild. ed. Münch, Birgit Ulrike, Tacke, Andreas, Herzog, Markwart, and Heudecker, Sylvia, 11–23. Petersberg: Michael Imhof Verlag, 2015.Google Scholar
Muller, Frank. Heinrich Vogtherr l’Ancien (1490–1556): Un Artiste entre Renaissance et Réforme. Wiesbaden: Harrassowitz, 1997.Google Scholar
Müntz, Eugène. “De quelques monuments d’art alsaciens conserves à Vienne.” Revue d’Alsace 1 (1872): 367–73.Google Scholar
Oltrogge, Doris. “Recipe Books for Illuminators in 15th Century German and Netherlands—Workshop Practice and Encyclopedic Ambition.” In Craft Treatises and Handbooks: The Dissemination of Technical Knowledge in the Middle Ages, ed. Córdoba, Ricardo, 55–68. Turnhout: Brepols, 2013.CrossRefGoogle Scholar
Painting on Light: Drawings and Stained Glass in the Age of Dürer and Holbein. Ed. Butts, Barbara and Hendrix, Lee. Los Angeles: J. Paul Getty Trust, 2000.Google Scholar
Erwin, Panofsky. Dürers Kunsttheorie: Vornehmlich in ihrem Verhältnis zur Kunsttheorie der Italiener. Berlin: G. Reimer, 1915.Google Scholar
Erwin, Panofsky. Albrecht Dürer. 2 vols. Princeton: Princeton University Press, 1948.Google Scholar
Erwin, Panofsky. “An Unpublished Portrait Drawing by Albrecht Dürer.” Master Drawings 1.1 (1963): 35–41.Google Scholar
Erwin, Panofsky. Idea: A Concept in Art Theory. Trans. Joseph J. S. Peake. New York: Harper and Row, 1968.Google Scholar
Parshall, Peter. “Graphic Knowledge: Albrecht Dürer and the Imagination.” Art Bulletin 95.3 (2013): 393–410.Google Scholar
Pechstein, Klaus, ed. Deutsche Goldschmiedekunst vom 15. Bis zum 20. Jahrhundert aus dem Germanischen Nationalmuseum. Berlin: Willmuth Arenhövel, 1987.Google Scholar
Petri, Grischka. “Der Fall Dürer vs. Raimondi: Vasaris Erfindung.” In Fälschung – Plagiat – Kopie: Künstlerische Praktiken in der Vormoderne. ed. Münch, Birgit Ulrike, Tacke, Andreas, Herzog, Markwart, and Heudecker, Sylvia, 52–69. Petersberg: Michael Imhof Verlag, 2014.Google Scholar
Plaßmann, Otmar. “Einführung.” In Heinrich Aldegrever die Kleinmeister und das Kunsthandwerk der Renaissance. ed. Heppe, Karl Bernard, 25–28. Unna: Kreis Unna, 1986.Google Scholar
Plato, . The Commentaries of Proclus on the Timaeus of Plato. Trans. Taylor, Thomas. London, 1820.Google Scholar
Pliny the Elder. Natural History. Trans. Harris Rackham, H.. Cambridge, MA: Harvard University Press, 1952.Google Scholar
Pon, Lisa. Raphael, Dürer, and Marcantonio Raimondi: Copying and the Italian Renaissance Print. New Haven: Yale University Press, 2004.Google Scholar
Quaritch, Bernard. A Catalogue of Rare and Valuable Books Comprising Early Foreign Works Illustrated with Woodcuts. London: Bernard Quaritch, 1905.Google Scholar
Remond, Jaya. “The Kunstbüchlein: Printed Artists’ Manuals and the Transmission of Craft in Renaissance Germany.” PhD diss., Harvard University, 2014.Google Scholar
Röttgers, Kurt. “Kritik.” In Geschichtliche Grundbegriffe: Historisches Lexikon zur politisch-sozialen Sprache in Deutschland. ed. Otto Brunner, Werner Conze, and Reinhart Koselleck, 3:651–85. Stuttgart: Ernst Klett, 1982.Google Scholar
Rowlands, John. Drawings by German Artists and Artists from German-Speaking Regions of Europe in the Department of Prints and Drawings at the British Museum. London: Trustees of the British Museum, 1993.Google Scholar
Rupprich, Hans, ed. Dürer: Schriftlicher Nachlass. 3 vols. Berlin: Deutscher Verein für Kunstwissenschaft, 1956.Google Scholar
Schleif, Corine. “Albrecht Dürer between Agnes Frey and Willibald Pirckheimer.” In The Essential Dürer. ed. Silver, Larry and Smith, Jeffrey Chipps, 185–205. Philadelphia: University of Pennsylvania Press, 2010.Google Scholar
Schmitt, Lothar. Martin Schongauer und seine Kupferstiche: Materialien und Anregungen zur Erforschung früher Druckgraphik. Weimar: Verlag und Datenbank für Geisteswissenschaften, 2004.Google Scholar
Schoch, Rainer, Mende, Matthias, and Scherbaum, Anna. Albrecht Dürer: Das druckgraphische Werk. 3 vols. Munich: Prestel, 2001.Google Scholar
Schütte, Rudolf-Alexander. “Kleinodienbücher und Kunstbüchlein: Die Veröffentlichung von Vorlagen für Goldschmiede im 16. und beginnenden 17. Jahrhundert.” Librarium: Zeitschrift der Schweizerischen Bibliophilen-Gesellschaft 40.2 (1997): 66–81.Google Scholar
Schürer, Ralf. “Aller Goldschmidt Ordnung auf Pueß.” In Wenzel Jamnitzer und die Nürnberger Goldschmiedekunst 1500–1700. ed. Bott, Gerhard, 71–85. Munich: Klinkhardt and Biermann, 1985.Google Scholar
Smith, H. Clifford. Jewellery. London: Methuen, 1908.Google Scholar
Smith, Jeffrey Chipps. Nuremberg: A Renaissance City, 1500–1618. Austin: University of Texas Press, 1983.Google Scholar
Steinberg, Leo. “Eve’s Idle Hand.” Art Journal 35.2 (1975): 130–35.Google Scholar
Stielau, Allison. “Intent and Independence: Late Fifteenth-Century Object Engravings.” In Visual Acuity and the Arts of Communication in Early Modern Germany. ed. Smith, Jeffrey Chipps, 21–42. Farnham: Ashgate, 2014.Google Scholar
Swan, Claudia. “Counterfeit Chimeras: Early Modern Theories of the Imagination and the Work of Art.” In Vision and Its Instruments: Art, Science, and Technology in Early Modern Europe. ed. Payne, Alina, 216–37. University Park: Pennsylvania State University Press, 2015.Google Scholar
Terrenato, Francesca. “The Shaping of Individual and Collective Identities in Vasari’s and van Mander’s Lives of Artists.” Fragmenta 3 (299): 127–46.Google Scholar
Thornton, Dora. “The Use of Dürer Prints as Sources for Italian Renaissance Maiolica.” In Albrecht Dürer and His Legacy. ed. Bartrum, Giulia, 1–13. London: British Museum, 2004.Google Scholar
Tietze, Hans. Der junge Dürer: Verzeichnis der Werke bis zur venezianische Reise im Jahre 1505. Augsburg: Filser, 1928.Google Scholar
Vasari, Giorgio. Le vite de’ più eccellenti pittori, scultori e architettori. Ed. Gaetano, Milanesi. 9 vols. Florence, 1880.Google Scholar
Viljoen, Madeleine. “The Airs of Early Modern Ornament Prints.” Oxford Art Journal 37.2 (2014): 117–33.Google Scholar
Viljoen, Madeleine. “Christoph Jamnitzer’s Neuw Grotteßken Buch, Cosmography, and Early Modern Ornament.” Art Bulletin 98.2 (2016): 213–36.Google Scholar
Vogtherr, Heinrich. Ein Frembds und wunderbars Kunstbüchlin allen Molern, Bildschnitzern, Goldschmiden, Steinmetzen, Schreinern, Patnern, Waffen unn Messerschmiden hochnutzlich zu gebrauchen. Strasbourg: Heinrich Vogtherr, 1538.Google Scholar
Wagner, Berit. “Through the Eyes of the Related Arts: Dürer as Designer.” In Albrecht Dürer (2013), 277–93.Google Scholar
Wampole, Christy. Rootedness: The Ramifications of a Metaphor. Chicago: University of Chicago Press, 2016.CrossRefGoogle Scholar
Warncke, Carsten-Peter. “Christoph Jamnitzers Neuw Grotteßken Buch—ein Unikat in Wolffenbüttel.” Wolfenbütteler Beiträge 3 (1978): 65–87.Google Scholar
Warncke, Carsten-Peter. Die ornamentale Groteske in Deutschland 1500–1650. Berlin: Volker Spieß, 1979.Google Scholar
Weinryb, Ittai. “Living Matter: Materiality, Maker, and Ornament in the Middle Ages.” Gesta 52.2 (2013): 113–32.CrossRefGoogle Scholar
Wick, Peter A. “A New Book of Grotesques by Christoph Jamnitzer.” Museum of Fine Arts Boston Bulletin 60.321 (1962): 83–104.Google Scholar
Williams, Robert. “Leonardo and the Florentine Academy.” In Re-Reading Leonardo: The Treatise on Painting across Europe, 1500–1900. ed. Farago, Claire, 61–76. Farnham: Ashgate, 2009.Google Scholar
Winkler, Friedrich. Die Zeichnungen Albrecht Dürers. 4 vols. Berlin: Deutscher verein für Kunstwissenschaft, 1937.Google Scholar
Winzinger, Franz. Albrecht Altdorfer: Graphik, Holzschnitte, Kupferstiche, Radierungen. Munich: R. Piper, 1963.Google Scholar
Witcombe, Christopher L. C. E. Copyright in the Renaissance: Prints and the Privilegio in Sixteenth-Century Venice and Rome. Leiden: Brill, 2004.Google Scholar
Witoszek, Nina, and Trägårdh, Lars. Culture and Crisis: The Case of Germany and Sweden. New York: Berghahn Books, 2002.Google Scholar
Wittkower, Margot, and Wittkower, Rudolf. Born under Saturn: The Character and Conduct of Artists. New York: New York Review Books, 2007.Google Scholar
Wölfflin, Heinrich. Die Kunst Albrecht Dürers. Munich: F. Bruckmann, 1908.Google Scholar
Wölfflin, Heinrich. The Art of Albrecht Dürer. Trans. Grieve, Alastair and Grieve, Heide. London: Phaidon, 1971.Google Scholar
Wood, Christopher S. “Riegl’s ‘Mache.’” RES 46 (2004): 155–72.Google Scholar
Woods-Marsden, Joanna. “Introduction: Collective Identity / Individual Identity.” In Fashioning Identities in Renaissance Art. ed. Rogers, Mary, 1–16. Farnham: Ashgate, 2000.Google Scholar
Würtenberger, Thomas. “Albrecht Dürer und das Strafrecht der Stadt Nürnberg.” Zeitschrift für die gesamte Strafrechtswissenschaft 61 (1942): 139–65.CrossRefGoogle Scholar
Xenophon, . Memorabilia. Oeconomicus. Symposium. Apology. Trans. Marchant, E. C., Todd, O. J., and Henderson, Jeffrey. Cambridge, MA: Harvard University Press, 2013.Google Scholar
Zündt, Matthias. Insigne Ac Plane Novum Opus Cratero Graphicum. Nuremberg, 1551.Google Scholar