In the martyrdom of St. Sebastian, the Saint wears that almost inane expression which often does duty, however unintentionally, for the look of deep suffering in Wolgemut’s work. The guard, however, are pleasingly and vividly portrayed. Evidently they are akin to the rabble which is found in the scenes of the Passion in Schongauer’s works.
But it is when we come to the scenes from the legend of St. Vitus that we seem to trace only the faintest signs of Wolgemut’s style. The composition here bears only a distant resemblance to his, and in the execution the assistant employed must surely have been he who painted the scene of St. Vitus denouncing the idols in the Lorenzkirche (see p. [254]), and whose initials are R. F.
The pictures by Albrecht Durer in the Museum we have already mentioned (pp. [188], [193-9]).
| (1) | Hercules and the Stymphalian Birds, | 205 | Room | 72 |
| (2) | Kaiser Maximilian, | 209 | Room | 72 |
| (3) | Pietà—Mourning over Christ’s Body, | 206 | Room | 73 |
| (4) | Charlemagne, | 207 | Room | 73 |
| (5) | Kaiser Sigismund, | 208 | Room | 73 |
Besides these originals there are several copies of the master’s works, including the excellent copies of the Four Apostles (283, 284) by Johann Georg Fischer. The original inscriptions are retained. The Allerheiligen or Trinity picture, No. 210, is a bad copy in a worse frame.
Among other works by contemporaries or followers of Durer are:—
In the following rooms the decline of German art is historically well represented. But in room 78, which is devoted mainly to painters of the Dutch School of the seventeenth century, mention should be made of the interior by Peter de Hooch (330) and an early portrait of Rembrandt by himself (325) and his powerful St. Paul (326). Johann Kupetzky is also well represented (371-378).
ROOMS 81, 82.
Models of cannons and weapons.