481:'This and 1876,0708.2638/ 1876,0708.2639 were intended as illustrations to a work glorifying the two Habsburg emperors and their ancestors. Dodgson compared them with the miniatures by Jörg Breu the Younger in the manuscript written by Breu's brother-in-law, Hans Tirol (c. 1505-76) in Eton College Library, ‘Joannis Tirolli Antiquitates’ (see BM ‘Dürer and Holbein’, 1988, pp. 184-5, no. 155, repr.; E. Scheicher, ‘Journal of the History of Collections’, Oxford, ii, no. 1, 1990, pp. 75 -78). The illuminations occur in the first volume, of which the finest are: the ‘Triumph of L. Tarquinius Priscus over the Etruscans’, dated 1541 (fol. 40) and the ‘Battle of Regillus’, and ‘Scenes from the life of Lucretia’ (fol. 42). It is likely that the sheets now in the BM collection were either done for this history by Hans Tirol or another, a chronicle of the world from Noah to the reign of Emperor Charles v, executed for presentation to Philip II of Spain (Library of the Escorial, Ms. 28 1 10-12; H. Essenwein, ‘Mitt. Nuremberg’, ii, 1887-89, pp. 2-22; E. Scheicher, op. cit., p. 76, and n. 17). Breu was much employed in Augsburg decorating various ‘Ehrenbücher’ (presentation books) for patrician families and for the city of Augsburg itself (now in Augsburg, Babenhausen and Munich, Bayerisches Nationalmuseum; see Augsburg, ‘Umbruch’, i, pp. 221ff, nos. 157-9, 161-2). Although not as fine as the illuminations in the Eton College manuscript, which are arguably the younger Breu's finest work, his drawings on vellum in the British Museum, are good examples of his illustrations to manuscripts.'
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This tag is designed for use where there may be a need to assert that any enhancements (eg brightness, contrast, colour-matching, sharpening) are in themselves insufficiently creative to generate a new copyright. It can be used where it is unknown whether any enhancements have been made, as well as
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Portrait of the
Emperor Maximilian I (left hand of sheet); Portrait of Emperor Charles V (right hand of sheet); two separate studies, both seated in elaborate chairs, Maximilian turned to left and holding a sword, a wheel hanging above him, inscribed in a tablet above: "Halt Mass", Charles V in
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because it is a mere mechanical scan or photocopy of a public domain original, or – from the available evidence – is so similar to such a scan or photocopy that no copyright protection can be expected to arise. The original itself is in the public domain for the following reason:
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Summary of J. Rowlands, 'Drawings by German
Artists and Artists from German-speaking regions of Europe in the Department of Prints and Drawings at the British Museum: the Fifteenth Century, and the Sixteenth Century by Artists born before 1530', London, BM Press, 1993, no.95:
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Verso: The imperial eagle with the arms of
Maximilian I (entire sheet); at centre the the arms surrounded with the chain of the Order of the Golden Fleece, outside of which are further arms of the imperial possessions
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Further lit: Jörg Völlnagel, 'Prachtminiaturen für die
Habsburger und die Freie Reichstadt Augsburg: Beobachtungen and neue Erkenntnisse zum sogenannten Etoncodex' Jahrbuch der Berliner Museen, 2007, NF, vol.49,
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Lit from
Rowlands 1993: C. Dodgson, Munich Jahrbuch, NF, xi, 1934, pp. 206ff., repr. pl. 11 (detail of Charles V).
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profile to right, holding a sword and sceptre, inscribed above: "PLVS VLTRA"
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https://www.britishmuseum.org/collection/object/P_1876-0708-2634-2635
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Cultural depictions of
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