Czére Andrea szerk.: A Szépművészeti Múzeum közleményei (Budapest, 2007)
SZILVIA BODNÁR: On the Draughtsmanship of Caspar Freisinger
Galerie Bassenge, Berlin, Auktion 70, 28.11.1997, cat. 5493. Kaulbach also mentions that the Stuttgart copy and the Bremen Freisinger drawing show similarities in their compositions: Kaulbach 2007, 114, cat. 178, n.l. There is a variation of the Bremen composition in Munich, Staatliche Graphische Sammlung inv. no. 29822, Thöne 1940, 60, cat. 52 (as a copy by G. Kopp). 21 On the Bremen drawing the word "Decëb" is one letter longer and the day of the execution is not stated. 22 Kunsthalle Bremen 1998, 78. :i See e. g. Albrecht Diirer's two woodcuts representing Christ Bidding Farewell to his Mother, one of them being part of the series The Life of Virgin Mary, the other of the small Passion cycle. See R. Schoch, M. Mende and A. Scherbaum, Albrecht Dürer. Das druckgraphische Werk, vol. 2, Holzschnitte und Holzschnittfolgen, München, Berlin, London, and New York 2002, cats. 182 and 193. Among the documents of the former Heilig-Kreuz-Kirche in Ingolstadt (which has been demolished) there is a reference to a payment for Fresinger for an altar dedicated to Virgin Mary: "Vonn vnser lieben Frawen Altar dem Maler bezalt, thut : 145 fl. 42 kr. 2h." See S. Hofmann, "Caspar Freisingers Entwurfszeichnungen und der Hochaltar der Heilig-Kreuz-Kirche in Ingolstadt mit einem Anhang: Die Erbauung der Heilig-Kreuz-Kirche des Jesuitenkollegs in Ingolstadt, auch ein Leistungsnachweis des Ingolstädter Handwerks: die Baurechnung von 1586/95", Sammelblatt des Historischen Vereins Ingolstadt 101 (1992), 159. 24 Europäische Meisterzeichnungen aus der Sammlung der Fürsten zu Waldburg-Wolfegg, ed. B. M. Mayer and T. Falk, exh. cat., Ravensburg, Städtische Galerie 2003, cat. 30 (B. M. Mayer). 25 A. Breysig, Wörterbuch der Bildersprache, Leipzig 1830, 227 and 606. This work is cited by F. Kobler, Fackel als Attribut, in Reallexikon zur deutschen Kunstgeschichte, Hrsg. O. Schmitt, vol. 6, Stuttgart 1973, 1012. 2r ' "As in the fourth Book of the Fasti, Ovid crowns the night with poppies: Meanwhile Night arrived, her calm brow wreathed / With poppies bringing with her shadowy dreams.'" (Ovid translation by A. S. Kline.) See C. Ripa, Delia pin che novissima Iconologia, Padova 1630, 518. : ' The stylistic reminiscence ol the Danube School is especially evident e. g. in one of Freisinger's recently published drawings in Avignon: see / Disegni della donazione Marcel Puech alMuseuo Calvet di Avignon, ed. S. Bégiun et ab, Napoli 1998, cat. 141 (T. Gerszi).
