Testing Composition

DRIVER, DEATH AND DEVIL

[Not noticeable as such, yet probably following the etching Ritter, Tod und Teufel (1513) by Albrecht Dürer (1471-1528) - PA. ] WALTER HEYMANN (1882-1915)

Converted by Philip Appelbaum

WALTER HEYMANN (1882-1915)

Translated by Peter Appelbaum

A strong fearless knight must always ride

With Death and Devil simply by his side.

The Devil is his lancer man

Staying the very soft parts when he can.

Name: Knight, Death and Devil

The Christian knight in a northern forest

Artist: Albrecht Dürer

Germany, signed and dated ADVERTISING 1513

Style: Upper Renaissance

Genre: Allegorical Painting

Technique: Decoration

Title: Knight, Death and Devil

The Christian dark night in a north forest

Musician: Albrecht Dürer

Germany, agreed upon and went out with AD 1513

Style: Northern Renaissance

Genre: Meaningful Painting

Technique: Engraving

This individual walks lurking behind; with owl-attack

He looks into his armoured back

The feel of death is included with pain

Dr. murphy is the horse's good neck-chain.

Who have begs impertinent and outdated

And says to the ghost-rider: hold!

The knight is usually sitting in the steed

His visor wide open due to want.

The rider stares and rides and duels

With ghostly comrade that him rules

What weighs his armour straight down so low

What in his saddle occurs so?

A righteous knight has got to drive

With Death and Devil by his side.

Where hell truly does stink and boils and so grim

The Devil has falsified arms intended for him

The armour that the rider would wear

Is subsequent to helmet, sword and spears

His leg is usually splinted most along

He follows to whom he acts so long.

Nevertheless he must constantly

Death dog-like still go along with.

He is as thin while an old man

But journeys on as best he can.

The knight with pity then is misled

Although the rider's lance can be hurled.

Hearts blood then simply comes all streaming away

And fatality does scrunch up your eyes round him about.

This individual knows the tracery of iron

That rib crate struck by simply cruel design.

He is aware a steel so hard serious

It pulls from the Last Day's light.

He knows about the cerebrovascular accident so serious

He tours his last day along with his Sir

‘Though I walk through the area of the darkness of loss of life, I will fear no evil' (Psalm 23), could be a caption for this engraving. The horseman is the 'knight of Christ', a key phrase that Dürer was to usage of his modern day Erasmus of Rotterdam, who written a Handbook with the Christian Soldier in 1501. Death is in the horse's feet as a skull, beside the plaque with Dürer's monogram. Death is also the ghastly cadaver without nose or lip area, who keeps a hourglass up to the dark night as a reminder that his time on earth is restricted. The dark night rides about, looking neither to the correct, left, nor backwards, in which the Devil, with an ingratiating grin, appears powerless when ignored. Substantial above this kind of dark forest rises a safe stronghold, evidently the vacation spot of the knight's journey.

Dürer engraved three copper dishes in 1513 and 1514 which have been named his Meisterstiche, or master prints, for unequalled excellence. This print out was the initial, while St Jerome in his Study and Melancholia We followed in 1514. They share the same size and format and an overall silvery tone with brilliant whites and blacks. Together the Meisterstiche represent Dürer's supreme achievement since an engraver.

E. Panofsky, The life and art of Albrecht Deb (Princeton School Press, 1945, 1971) *******************

-------------------------------------------------

During 1513 and 1514 Dürer created the greatest of his copperplate engravings: the Knight, St Jerome in His Research, and Melencolia I - all of roughly the same size. The considerable, complex, and often contradictory materials concerning these types of three engravings deals generally with their enigmatic, allusive, iconographic details. Even though repeatedly competitive, it most likely must be accepted that the engravings were can be interpreted together. There is general agreement, however , that Dürer, in these three master engravings, wished...



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