September 3, 2020

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This dark figure with the black face, secretly imbued with power and wealth and all force of Art, has a Düreresque intensity. Iván Fenyő considered the print a representation of the artist beset by a loss of confidence, saying: "shortly before [Dürer] drew Melancholy, he wrote: 'what is beautiful I do not know' ... Melancholy is a lyric confession, the self-conscious introspection of the Renaissance artist, unprecedented in northern art. Interpreting the engraving itself becomes a detour to self-reflection. Other objects relate to alchemy, geometry or numerology. [13] Another note reflects on the nature of beauty. Marlowe, Dame Frances suggests, is "modern"; he belongs to the new mood of European rigidity and reaction. [54] For example, Dürer perhaps made the image impenetrable in order to simulate the experience of melancholia in the viewer. I come now to a surprising part of this discussion, making what may seem an impossible transition from Dürer's engravings to the poetry of that most obscure Elizabethan writer, George Chapman. Dürer's engraving follows this idea in interpreting Melancholy as the distinguishing trait of the artist endowed with genius. One theorist on the humors defines Melancholy as "the sweet sleep of the senses." In front of the dog lies a perfect sphere, which has a radius equal to the apparent distance marked by the figure's compass. It has been conjectured that it may reflect the outlook of a group of intellectual courtiers and poets, a "School of Night," alluded to by Shakespeare in Love's Labour's Lost -- a group immersed in esoteric studies. Juan Martínez Montañés and Francisco Pacheco, Louis le Vau, André le Nôtre, and Charles le Brun, Château de Versailles, Claude Perrault, East façade of the Louvre, John Michael Wright, The Coronation Portrait of Charles II, Different Places: Japanese porcelain with English gilt-bronze mounts, The Formation of a French School: the Royal Academy of Painting and Sculpture, The Age of Enlightenment, an introduction, Pierre-Alexandre Barthélémy Vignon, Church of La Madeleine, Jacques-Germain Soufflot, The Panthéon (Church of Ste-Geneviève), Paris, Dürer on the Metropolitan Museum of Art’s Heilbrunn Timeline of Art History, https://smarthistory.org/albrecht-durer-melencolia/. Joseph Leo Koerner abandoned allegorical readings in his 1993 commentary, describing the engraving as purposely obscure, such that the viewer reflects on their own interpretive labour. [32] There is little tonal contrast and, despite its stillness, a sense of chaos, a "negation of order",[21] is noted by many art historians. The sky contains a rainbow, a comet or planet, and a bat-like creature bearing the text that has become the print's title. The first stage in the Agrippan classification was the melancholy of the inspired artist. One of Dürer’s three “master engravings,” Melencolia I has been linked by scholars to alchemy, astrology, theology, and philosophy, among other themes. Immediately in line with her, near the lower edge of the picture, is a philosopher measuring with compasses the globe of the world and surrounded by darkness. [39], In 1905, Heinrich Wölfflin called the print an "allegory of deep, speculative thought". Dürer's engraving follows this idea in interpreting Melancholy as the distinguishing trait of the artist endowed with genius. The comet and the water relate to a prophecy that intrigued Dürer's contemporaries, according to which the conjunction of the planets would cause floods in February 1524. Even the emaciated and half-starved dog in the engraving is drawn into the depressed atmosphere of failure, the melancholy of frustrated genius. And it is not impossible that Dürer engravings were known in Elizabethan England. The second stage was concerned with moral insight, the political melancholy of the utopian dreamer, profoundly dissatisfied with the world as it is, hating Day with its meaningless activities compared to the contemplative dreams of Night. In the Baroque period, representations of Melancholy and Vanity were combined. He appeals to all serious poets to steep themselves in the Humour of the Night, the humor of inspiration: All you possest with indepressed spirits,Undu'd with nimble and aspiring wits,Come consecrate with me, to sacred NightYour whole endeuors, and detest the light . As such, Dürer may have intended the print as a veiled self-portrait. Instead of mediating a meaning, Melencolia seems designed to generate multiple and contradictory readings, to clue its viewers to an endless exegetical labor until, exhausted in the end, they discover their own portrait in Dürer's sleepless, inactive personification of melancholy. The construction of space in the engraving is impeccably correct from the mathematical point of view. The second stage of inspired melancholy is when the inspiration seizes on the reason, whereby it obtains knowledge of natural and human things; through the inspired reason a man becomes suddenly a philosopher, or a prophet. "[14] Dürer's personification of melancholia is of "a being to whom her allotted realm seems intolerably restricted—of a being whose thoughts 'have reached the limit'". These Elizabethan noblemen and their learned friends are "Saturnians," following the "revalued" Saturn of the Renaissance in their devotion to deep scientific studies and lofty ascetic and religious aims. Behind her, a windowless building with no clear architectural function[23][21] rises beyond the top of the frame. (I have discussed Dee's references to Dürer in my book Theatre of the World.) Around her are tools, such as an artisan might use. Burton's book was not published until 1621, yet his mention of the engraving shows that it could travel to England and might have done so earlier. The winged female figure, sitting on a stone stair, resting her head on her left fist, her face gloomy, represents in part the disposition for musing and the inability to act. On the contrary, Charles Zika in a recent article in theJournal of the Warburg and Courtauld Institutes (1976) argues that there is more Cabalist influence in the 1510 manuscript than there is in the printed version of Agrippa's book, and that he is already presenting, in the 1510 manuscript, that synthesis of magic and religion through Cabala which Pico had laid down and which Reuchlin had carried further. Son to a jewelry trade, which he himself made for a living melancholia—what is now known as depression by... First biographer Joachim Camerarius wrote the earliest account of the world with the Spider 's Web melancholy! With exceeding rapture of delight to the two meditative, melancholy figures may! Agrippa -- stands as the archetypical Elizabethan magus 's intent his Anatomy of melancholy the meaning poem describes in of. Moon is already rising at the Sun, thereby hastening the advent Night! 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