About the authenticity question the Holbein's Madonna. English Gustav Theodor Fechner.pdf


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and Holbein 's alone worthy. "The refutation of this appearance is introduced by the
author as follows:
"At this point, the undersigned is permitted to submit his observations and views on
this question, and he believes that he is entitled to do so, since he is assisted by wellknown connoisseurs of art in both places - in Munich Woltmann 's himself - 'As long
and frequently, under such favorable circumstances, and provided with such wealth of
individual observations and notes, has investigated how no one else had been given
the opportunity before.'
As a first suspicion, the author then asserted the green Madonna dress of the
Dresden painting, first emphasized by Wollmann in this regard, by declaring the
Darmst├Ądter painting "wonderfully intact" and, despite the fact that he was
everywhere else [even by Woltmann ] The Darmstadt Madonna is described as
"bluish green", says: the dress looks so decidedly green that a well-known Munich
artist recognized it as green ". "Green, then," he continues, "as it seems, one may well
suppose that the author of the Dresden picture saw the dress, and therefore painted it
the way he did." Then on: "Now it is a question of how those two objections stand."
The Dresdener does not even protrude with her whole head in the unlovely and
without necessity about an eleventh of the diameter of excessive vaulting, the child
remains outside, the room is empty, the connection with the shell shape is lost, the
added round does not capture a picture , But as the whole room was raised, the
copyist had to rely on his own invention, for he had to show pieces of architecture
that Holbein had not imagined for him. While in this everything statically impeccably
correct thought is, the consoles evolve projecting, a cover sheet - in the original also
runs over the consoles - completes the articulated structure, the details grow in a
clearly recognizable structure, all that is so in the Dresden picture wild, so contrived
with all the healthy architectural sense of style, that it is impossible to blame Holbein,
who understood architecture, better than the simultaneous master builders in
Germany. He would not have created something like that under his eyes; and it was
only possible at a time when one was not able to compose architecturally simple and
large, but at most to invent an inorganic, frizzy, though admittedly inexperienced,
eye-catching detail. Thus, with the whole elevation of the room, nothing more is
gained than that the mayor can straighten up a little more freely, but on the other hand
he loses a great deal and much more important things, but this is certainly not too
difficult a play for a copyist. He would not have created something like that under his
eyes; and it was only possible at a time when one was not able to compose
architecturally simple and large, but at most to invent an inorganic, frizzy, though
admittedly inexperienced, eye-catching detail. Thus, with the whole elevation of the
room, nothing more is gained than that the mayor can straighten up a little more
freely, but on the other hand he loses a great deal and much more important things,
but this is certainly not too difficult a play for a copyist. He would not have created
something like that under his eyes; and it was only possible at a time when one was
not able to compose architecturally simple and large, but at most to invent an
inorganic, frizzy, though admittedly inexperienced, eye-catching detail. Thus, with
the whole elevation of the room, nothing more is gained than that the mayor can