Triumphal Arch (woodcut)
[1] It is a part of a series of three huge prints created for Maximilian, the others being a Triumphal Procession (1516–18, 137 woodcut panels, 54 metres (177 ft) long) which is led by a Large Triumphal Carriage (1522, 8 woodcut panels, 8 × 1.5 feet (244 × 46 cm)); only the Arch was completed in Maximilian's lifetime and distributed as propaganda, as he intended.
Very large multi-sheet prints designed to decorate walls were a feature of the early 16th century, although their use in this way means their survival rate is exceptionally low.
The prints were intended to be hand-colored, but only two sets of impressions from the first edition survive with contemporary coloring (held in Berlin and Prague).
The design includes elements of Egyptian hieroglyphs, influenced by Willibald Pirckheimer's 1514 translation of the Hieroglyphica by Roman author Horapollo.
It reflects Maximilian's position as Holy Roman Emperor and links him to the triumphal arches and triumphs of Ancient Rome Albrecht Dürer, a painter, draftsman, and writer, known for his highly elaborate woodcuts designed 192 of the woodblocks.
[4] Albrecht Dürer's ambition, talent, and wide-ranged intellect earned him the recognition of some of the most prominent figures like Maximilian I (and successor Charles V).
[5] Dürer apprenticed with his father (a goldsmith) and Michael Wolgemut (a painter), who produced woodcuts for written text and publications.
[5] The earliest and most imposing uses of the triumphal arch motif in Renaissance art begun in 1462 with Leon Battista Alberti’s Basilica of Sant’Andrea in Mantua.
[6] The Triumphal Arch was one of the largest prints ever produced (295 × 357 centimeters or 116 × 141 in) and was intended to be distributed as propaganda and to be put on display in magnificent public areas.
[7] The display history of this monumental print demonstrates that Maximilian recognized the potential of woodcuts as a vehicle for conversations about politics.
The design includes elements of Egyptian hieroglyphs, influenced by Willibald Pirckheimer's 1514 translation of the Hieroglyphica by Roman author Horapollo.
Durer worked on the middle gateway (not including the genealogical tree, coats of arms, and cupola), middle columns with ornamental statues, ornamental portions, round tower scene, the historical scenes (2nd, 15th, 22nd, and 23rd), three figures in the genealogical tree, and the busts of six emperors.
[1] A separate print of the tomb, itself another major piece of Habsburg propagandizing, was created, to be pasted over the empty 24th historical panel.
A fourth edition was published by Adam Bartsch in Vienna in 1799, with many of the block showing considerable wear - several missing blocks were replaced by etchings by Bartsch (including the Battle of Utrecht, Maximilian's coronation, and the First Congress of Vienna; the 24th panel shows a new image of the Battle of Pavia).
