Room 16
Cranach the Elder, Huber and Seisenegger
Paintings in this room
The man in this portrait has not yet been identified. The upper ring on his left forefinger may provide a clue: it seems to show the arms of the Strauss family (the other ring seems to have shown another coat of arms which can no longer be deciphered). It has been suggested that the man depicted...
This panel was most probably the right-hand wing of a diptych (a painting made up of two panels), and was probably made in Cologne in the 1530s. The location of the left-hand panel is unknown, but it most probably showed the dead Christ.The figures huddle together and look in the direction of the...
In 1 Corinthians 13, Saint Paul discusses three traits that would become known as the theological virtues: faith, hope and charity. He believed that charity, an expression of the love of God and of one’s neighbour, was the most important. Here, the inscription ‘CHARITAS’ at the top of the picture...
Cupid, the god of erotic love, is complaining to his mother, Venus, the goddess of love: he has been stung by bees after stealing a honeycomb. Venus directs her attention towards the viewer instead. Her narrowed gaze appears flirtatious and she clutches the branch of an apple tree, evocative of t...
We don‘t know the identity of this woman dressed in sumptuous fabrics and heavy gold jewellery, but her clothing is like that worn by the elite of society and ladies of the Saxon court. Her outfit is, in parts, physically impossible: the rings she wears under her gloves are higher up her fingers...
This painting makes up the right panel of a portrait diptych (a painting made of two parts) that depicts two future electors of Saxony, Johann the Steadfast and his son, Johann Friedrich the Magnanimous.Johann Friedrich was six years old when this portrait was made. Against convention, he was por...
Johann the Steadfast, Elector of Saxony from 1525 to 1532, would have been about 38 when this portrait was made. He wears a sumptuous black hat and coat, both decorated with gold thread and seed pearls.This panel is part of a diptych (a painting made of two parts) – the conjoining panel depicts J...
The coat of arms on the left resembles that of Johann Feige, chancellor of Hesse (a state in central Germany) between 1514 and 1542, while the shield on the right may represent that of his mother. Feige moved in the same Protestant circles that employed Cranach, and is likely to have known the ar...
The subject of this painting has been much debated, but it’s generally thought to show an imagined view of a past and primitive society. Cranach made a number of similar paintings from 1527 to 1535. Since the twentieth century it has been assumed that the origin of the subject lies in a classical...
This painting, which shows Saints Christina and Ottilia, was part of a multi-panelled altarpiece made by Cranach in 1506, shortly after he was appointed court painter to the Elector of Saxony, Friedrich the Wise.Saint Christina of Bolsena was a third-century virgin martyr. When she renounced her...
Saint Genevieve, born in the fifth century, is the patron saint of Paris. She was a nun, and helped protect the city from attack from the Huns and the Franks. Here, she holds the candle that miraculously relit after the devil blew it out while she was praying alone one night.Saint Apollonia was a...
This portrait was made to hang with one of a woman by the same artist (Oscar Reinhart Collection, Winterthur), possibly to commemorate the couple’s engagement or marriage. This seems likely as both are shown with flowers associated with marriage: the carnation or pink held by the man was part of...
The subject of Christ bidding farewell to his mother, the Virgin Mary, as he heads to Jerusalem to face his arrest, trial and death was very popular in southern Germany. This is a fragment of a larger painting, which has been cut at the right edge – only Christ’s hands and part of his long crimso...
The demure young woman in this portrait is Susanna Stefan of Nuremberg. The picture may well have been painted around the time of her marriage to Wolfgang Furter, probably along with a pendant portrait of her husband. A damaged inscription gives her age as 18 and a date in the 1560s; the coats of...
We don't know the identity of this girl, but she surely belonged to an important dynasty. Her large, rounded cheeks suggest that she is still quite young, but nonetheless she’s dressed in a stiff formal outfit: a ruffled collar peeks out from beneath a high-necked net bodice woven in alternating...