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Overview
Philip Melanchthon (1497-1560) was a leading figure of the Protestant Reformation in Germany.
His importance for the Reformation lay in the fact that he systematised Martin Luther's ideas, defended them in public, and made them the basis of a religious education. These two, by complementing each other, were central to the effectiveness and credibility of the Reformation. Melanchthon was impelled by Luther to work for the cause, whereas his own inclinations would have kept him a student. Without Luther's influence, Melanchthon would have been 'a second Erasmus', although his heart was filled with a deep religious interest in the Reformation. While Luther scattered the sparks among the people, Melanchthon by his humanistic studies won the sympathy of educated people and scholars. Besides Luther's strength of faith, Melanchthon's many-sidedness and calmness, as well as his temperance and love of peace, contributed to the success of the movement. (See https://en.wikipedia.org/wiki/Philip_Melanchthon)
In 1525 Melanchthon was invited to Dürer's city of Nuremberg to undertake educational reform. During his stay, Melanchthon lodged with Dürer's close friend Willibald Pirckheimer and undoubtedly met the artist, either through his host or through other members of the city’s humanist circle. Melanchthon would later praise the artist’s abilities, and probably owned several of his prints. A portrait drawing of Melanchthon by Dürer, probably made at this time, survives in Florence (Casa Horne) and formed the basis for this engraving. The image of Melanchthon was one of the last portrait prints made in Dürer's lifetime.
As was his practice, Dürer made a bust portrait which he placed over a fictive stone plinth bearing a Latin inscription. In a departure from earlier portraits, however, Dürer placed Melanchthon against a dappled background which suggests sky. Rather than being enclosed within a confined area, Melanchthon thus appears in the open, giving an illusion of space. The inscription (which translates as ‘Dürer was able to depict the features of the living Philip, but the skilled hand could not portray his mind’) notes his skill as an artist through a conventional observation on the limits of artistic representation. It is also a reflection of Melanchthon’s own views on images, which he believed served as valuable signs and prompts to religion, but which were not interchangeable with the subject (and thus in the field of religious imagery could not be the object of worship themselves). Melanchthon’s image, the inscription states, is a good likeness, facilitating remembrance of the sitter, but it does not bear his essence and therefore falls short of being the man himself. (See https://www.royalcollection.org.uk/collection/800111/philip-melanchthon).
This print is one of some 600 presented to the Colonial Museum by Bishop Ditlev Monrad in 1869, which forms the foundation basis of Te Papa's art collection. It is speculative, but highly likely, that Monrad as a Lutheran bishop would have admired Melanchthon, and would have been keen to acquire Dürer's engraving for his collection.
Dr Mark Stocker, Curator Historical International Art December 2016