Good impression on ivory paper. An enigmatic image that has puzzled viewers for a long time. With all the paraphernalia is it a depiction of artstic depression or Malancholia as it was then known? Are those the nails of the Passion or just woodworker’s nails? Melancholia; a winged woman representing Melancholy wearing a wreath seated amongst numerous objects, including a bell, an hourglass, scales, and a magic square; a putto seated on a grindstone, next to a sleeping dog; in the background a flying bat, carrying a banner with the inscription 'Melencolia I'; in the foreground, carpenter tools and a sphere. Created in 1514. Bibliographic references Meder 1932 / Dürer Katalog (75) Bartsch / Le Peintre graveur (VII.87.74) Dodgson 1926 / Albrecht Dürer (73) Schoch 2001-04 / Albrecht Dürer, das druckgraphische Werk. 3 vols I Intaglio, II Woodcuts, III Book illustrations (I.71) (British Museum) Dürer's Melencolia I is one of three large prints of 1513 and 1514 known as his Meisterstiche (master engravings). The other two are Knight, Death, and the Devil (43.106.2) and Saint Jerome in His Study (19.73.68). The three are in no way a series, but they do correspond to the three kinds of virtue in medieval scholasticism--moral, theological, and intellectual--and they embody the complexity of Dürer's thought and that of his age. Melencolia I is a depiction of the intellectual situation of the artist and is thus, by extension, a spiritual self-portrait of Dürer. In medieval philosophy each individual was thought to be dominated by one of the four humors; melancholy, associated with black gall, was the least desirable of the four, and melancholics were considered the most likely to succumb to insanity. Renaissance thought, however, also linked melancholy with creative genius; thus, at the same time that this idea changed the status of this humor, it made the self-conscious artist aware that his gift came with terrible risks. The winged personification of Melancholy, seated dejectedly with her head resting on her hand, holds a caliper and is surrounded by other tools associated with geometry, the one of the seven liberal arts that underlies artistic creation--and the one through which Dürer, probably more than most artists, hoped to approach perfection in his own work. An influential treatise, the De Occulta Philosophia of Cornelius Agrippa of Nettesheim, almost certainly known to Dürer, probably holds the explanation for the number I in the title: creativity in the arts was the realm of the imagination, considered the first and lowest in the hierarchy of the three categories of genius. The next was the realm of reason, and the highest the realm of spirit. It is ironic that this image of the artist paralyzed and powerless exemplifies Dürer's own artistic power at its superlative height. (Metropolitan Museum) Condition is good. Engraving after the original 1514 engraving; Leipzig 1912.