Dr. Anzelewski, author of the standard catalogue of Dürer’s paintings, who retired as Director of the Berlin Kupferstichkabinett in 1984, celebrated his eightieth birthday on 17 March 1999, and was honored five days later with the symposium at which the twenty-five papers included in this Festschrift were presented. The papers are divided into four groups: 1) on late gothic art; 2) new discoveries concerning Dürer’s own work; 3) those dealing with Berlin’s own holdings; and 4) Dürer’s historical context. Of particular interest in relation to the artist himself are Peter Strieder’s article regarding Agrippa’s categorization of the term “Melencolia I “ as pertinent to painters and architects, who have the ability to foretell natural catastrophe; Matthias Mende’s identification of the Small Horse (B.6) as Bucephalos, the favorite steed of Alexander the Great; Werner Schade’s article on the fragment in the Kisters collection representing the rescue of a drowned boy; Tilman Falk’s study of a copy after a lost Dürer drawing, done on a Brussels paper securely datable to 1522; Hartmut Krohm’s essay linking the Holy Family in Egypt, from the Marienleben, with both Philostratus’s description of Daedalus’s workshop, and with Sixtus IV’s institution of the feast day of Joseph and sermon for Nativity stressing Joseph’s role as surrogate for God the Father; Dürer’s personal interest in fashion, by Volker Manuth; Helmut Nickel’s on his reaction to the items sent from Mexico to Charles V by Cortez, and the afterlife of Dürer’s Rhinoceros in eighteenth-century Japan, by Naoki Sato.

Papers dealing with aspects of Netherlandish art were contributed by Albert Châtelet, on an item of costume in the October page from the Très riches heures; Bodo Brinkman’s attribution of a Pietá formerly in the Chrysler Museum (Norfolk, Virginia) to Josse Lieferinxe; Barbara Welzel’s article on the relationship of the Master of the Love Garden’s Large Garden of Love to Burgundian tapestry; Matthias Weniger’s on Jan Provost as miniaturist; and Bernd Konrad’s discovery of the influence of Lucas van Leyden’s Last Judgment in the underdrawing of an altarpiece in the Germanisches Nationalmuseum attributed to Narziss Renner..

Among the items from the Kupferstichkabinett are Holm Bevers’s study of a drawing after Ludwig Schongauer; Renate Kroll’s attribution of a flower study to Matthias Grünewald; Wolfgang Milde’s discussion of a manuscript of the Passion of St. Lucy from the cloister of St. Vincent, Metz, with miniatures by Sigebert of Gembloux; and Sabine Heiser’s article on Goya’s Sleep of Reason (Capricho 43). By way of a coda, Michael Roth has traced the posthumous adventures of the cast of Dürer’s hand; Ursula Mielke discusses Lucas Schnitzer’s etchings of seventeenth-century Nuremberg ceremonial fireworks; and, most importantly, Magdalena Anzelewski and Matthias Weniger have provided a full bibliography of the guest of honor’s own publications, from 1954 until 1999