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


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V. General negotiation. Artistic and aesthetic reasons.
VI. Historical reasons.
VII. The question of authenticity of the Darmstadt specimen in particular.
VIII. The question of authenticity of the Dresden specimen insbesondre.
IX. Resumé.
Second division.
Files.

First department.
Discussion.
I. entrance.
The picture, the authenticity of which is here to be referred to as "our picture" in
the future, is known to exist in two copies, which are distinguished according to their
permanent sites as Dresdener and Darmstädter copy. One, the Dresdener, bought for
Dresden in the year 1743 as Holbein's painting in Venice, has since become known
under the name of Holbein's Madonna, and of all the German Madonna pictures the
only thing that is more general than that of the art public Interest in it, and how in the
rooms of the Dresden gallery dared to face the walls of the rooms of the Raphael
Sixtina. The other, the Darmstädter, has not turned up until less than 50 years ago,
and has remained quite unknown to the larger public until very recently; From the
very beginning, however, it has engaged the attention of art historians and
connoisseurs with an interest which is growing, and finally the Dresden specimen
almost overwhelming, and finally attracting a wider audience, and thus increasing its
interest more and more, by becoming more and more determined as Rival of the
Dresdener, and now faces it as a truly dangerous rival in beauty and
genuineness. Also, it shows with substantial agreement in the main content so many
and so significant deviations in the execution of the Dresden picture that the dispute
over the preference of one or the other thereby receives the most fertile points of
attack. From the very beginning, however, it has engaged the attention of art
historians and connoisseurs with an interest which is growing, and finally the
Dresden specimen almost overwhelming, and finally attracting a wider audience, and
thus increasing its interest more and more, by becoming more and more determined
as Rival of the Dresdener, and now faces it as a truly dangerous rival in beauty and
genuineness. Also, it shows with substantial agreement in the main content so many
and so significant deviations in the execution of the Dresden picture that the dispute
over the preference of one or the other thereby receives the most fertile points of
attack. From the very beginning, however, it has engaged the attention of art
historians and connoisseurs with an interest which is growing, and finally the
Dresden specimen almost overwhelming, and finally attracting a wider audience, and