Melchior Lorck

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Self-portrait

Melchior Lorck (also Lorch , Lorichs and Lürig ; * around 1527 in Flensburg , † after 1594 in Copenhagen ) was a German artist and subject of the Danish crown during the Renaissance . His work includes paintings , engravings , woodcuts and drawings . In Hamburg he created a map of the Elbe . He is the first artist in Danish art history whose biography can be reconstructed in detail and to whom an impressive work can be assigned. Lorck's portraits of scholars and rulers, his archaeological studies, traditional costumes, and a unique panorama of Constantinople form the most thorough visual evidence of the Ottoman Empire in the 16th century.

Youth and early work

Lorck's birthplace Flensburg belonged to the Duchy of Schleswig ruled by Denmark . The Danish king was a guest at the house of the old, wealthy noble family when he was in town. Melchior Lorck's father Thomas Lorck was mayor, councilor and royal toll collector. Melchior had three brothers, Caspar, the merchant Balthasar (around 1520–1589) and Andreas Lorck and a sister Anna († 1600), who worked as a fully capable merchant and from 1564 as a royal customs collector.

Melchior Lorck received training as a goldsmith in Lübeck . He later wrote in his autobiography that he had accompanied his master on an extended business trip in the Baltic Sea region. After completing his apprenticeship, in which the first copperplate engravings were made, he went to southern Germany and was probably in Nuremberg . He took part in the Augsburg Reichstag in 1547/1548, where he met Prince Otto Truchseß von Waldburg for the later Catholic Archbishop of Augsburg and for the Protestant Count Palatine and later Elector Ottheinrich of the Palatinate. The first surviving document in which Lorck's name is mentioned is dated March 22, 1549, when he met his King Christian III from Flensburg . Thanked by Denmark and Norway for accepting a donation. It was a travel grant from 30 Danish Rigsdalers (see Reichstaler ) and Lorck undertook to work for the king afterwards.

Lorcks first copied popular copper engravings by Heinrich Aldegrever (1543), two years later he created Der Pope als Wilder Mann , a testimony to his religious views, like the Luther portrait from 1548. Lorck gives his age on this engraving as twenty-one.

Lorck did not go to the Netherlands, as expected, with his royal scholarship, but went back to southern Germany. He was in Nuremberg in 1550/1551, where he made friends with the artists Lorentz Stöer and the older Hanns Lautensack , who is assigned to the Danube School. A woodcut by Lorck was printed as a leaflet on the Tiburtine Sibyl together with a poem by Hans Sachs . He created a portrait of Albrecht Dürer based on the Hans Schwarz Dürer medal . Lorck traveled to Italy at the end of 1551 and saw Venice, Bologna, Florence and finally Rome. From there three drawings dated 1551 have been preserved. After the scholarship expired, Lorck avoided going to the Danish court; it is not known where he was staying. In 1552 the picture of a Madonna was created as an oil painting on wood that shows the influences of Tintoretto , but may well have been painted in the north. He is then probably at the court of Elector Ottheinrich in Neuburg an der Donau . A drawing by three rabbis was made in Neuburg in 1553. A drawing by Lorck reveals a stylistic similarity to the work of the Neuburg court artist Hans Bocksberger . Lorck probably also worked for the Fugger family in Augsburg .

With Busbecq's embassy in Constantinople

Ogier Ghiselin de Busbecq

Lorck was a member of Ogier Ghiselin de Busbecq's legation in Turkey from 1555 to autumn 1559 . Busbecq's mission (1554–1562) in Constantinople , at the High Gate of the Ottoman Empire, was sent by the Habsburg King and Emperor Ferdinand I to resolve the conflict between the Habsburg Empire and the Ottoman Empire over Hungary and Transylvania . Lorck reached what is now Istanbul at the end of 1555, studies of turtles from Asia Minor were made on the way in Venice.

Sultan Suleyman the Magnificent defeated the Hungarian army in the battle of Mohács in 1526 , while King Ludwig II of Hungary drowned while retreating. In the succession dispute between Ferdinand I and Prince Johann Zápolya of Transylvania, Zápolya, supported by the Sultan, got the upper hand. In the civil war in Hungary , the Turks were ultimately superior. Busbecq's embassy had been held in the embassy, ​​the Elçi Hanı, for a large part of the time in Constantinople, apparently by order of Grand Vizier Riistem Paşa († 1561). Busbecq's four Turkish letters , which first appeared individually in Antwerp between 1581 and 1588 and for the first time as Legationis Turcicae epistulae quatuor in Paris in 1589, expressed themselves quite critically about Ottoman politics. Overall, the Turkish letters paint a colorful and multi-faceted picture of life in the Ottoman Empire in the 16th century, which is particularly characterized by the neutral description of the 'Turks'. This can certainly be understood as the reason why Busbecq's text enjoyed great popularity, as evidenced by the countless editions and translations throughout Europe; In addition, the Turkish letters are still in circulation today, most recently in 2007.

View over the roofs of Constantinople
A picture of a giraffe at the Sultan's court, printed in 1559 from a drawing by Lorck

Lorck's portraits of Sultan Suleyman I, whom Lorck may have seen on February 15, 1559, engravings by the Persian ambassador at court, by Ogier de Busbecq, Bishop Anton Wranczy ( Antonius Verantius , Antun Vrančič) and fleet commander Ferenc Zay and most of the others his Turkish motifs were only worked out in Vienna. Only a few animal motifs, the drawing of a Pomona statue (1559) and a drawing that captured the view from the top floor of the delegates' apartment towards the Arcadius column and with the Atik Ali Pasha Mosque in the picture were made in Constantinople.

Sultan Suleiman the Magnificent

Lorck returned to Europe in autumn 1559 and is in Vienna from August 1560 to 1566 . The large panoramic picture of Constantinople, the portrait engravings of Sultan Suleyman I and the diplomats, the genre pictures and the comprehensive depictions of the military, such as the Janissaries and the elaborated archaeological drawings of ancient, Byzantine monuments were only now being created. They show: a figure relief from the base of the Column of Constantine Constantine the Great , figures from the base of the Theodosius column Theodosius I on the hippodrome. and Lorck also formed part of the Emperor Arcadius dedicated Arkadiussäule from.

The topographical drawing of the Ottoman capital kept at the University of Leiden is approx. 1132 cm long. It is a detailed drawing with explanatory inscriptions, originally connected, but today on twenty-one sheets, done in brown and black ink and initially with water color. It shows the city as it stretched north across the Golden Horn from Topkapı Palace and Hagia Sophia over Byzantine ruins and the hippodrome, taken from several points in the Asian part of Constantinople. Lorck himself spoke of the perspective of Pera and Galata . The drawing begins very carefully on the far left in the south, only there (faded) water color has also been used, but the care then subsides a little. It is remarkable that mosques are drawn just as correctly as the Christian Hagia Sophia.

In imperial service in Vienna

In Vienna, Melchior Lorck was approached by King Friedrich II of Denmark and Norway , the son of the recently deceased King Christian III, and by Duke Johann von Schleswig-Holstein-Hadersleben , both of whom demanded his services, but Lorck replied evasively and pushed his work before.

Lorck sent his King Friedrich II a detailed letter in early 1563, which gave an account of his life and work and is referred to as his autobiography . In 1562 he made portrait engravings of Suleyman I and of the Persian ambassador Ismaïl, each of which he sent ten copies to his king. He asked for further assistance and he received 200 Danish riksdaler (rigsdaler) brought to him by his brother Andreas Lorck , who had recently entered the service of the king in Copenhagen.

As early as January 1563, Lorck had new tasks to perform in Vienna and he stayed there for another five years.

In 1562, the son of Emperor Ferdinand I, Maximilian II. Was elected Roman-German King in Frankfurt am Main and he then moved along the Danube to Vienna, where he was to be given a great reception on March 15, 1563. Melchior Lorck was responsible for the organization of the event, he erected gates of honor and decorated wine fountains, the population wore costumes in the Habsburg colors, differentiated according to position and occupation. On February 22, 1564, the emperor confirmed the elevation of Melchior Lorck and his brothers Caspar, Balthasar and Andreas to the nobility. The document justified this mainly with Lorck's Turkish order. Lorck also received the post of Hartschier in the emperor's mounted guard, a paid position which he held until 1579. In 1566 he took part in the emperor's campaign in Hungary, in which Sultan Suleyman I was killed in the battle of Szigetvár .

In December Maximilian II, Emperor of the Holy Roman Empire, wrote an unusual letter addressed to his cousin , King Frederick II of Denmark and Norway, in which he asked him to graciously receive Melchior Lorck. He wanted to travel to Denmark so that he could inherit from his eldest brother Caspar, who was killed in the Three Crowns War (between Sweden and Denmark). The emperor asked Friedrich to enable Lorck to return to the imperial service. King Friedrich II should therefore give up all claims to Lorich's service. But he only visited his hometown Flensburg and did not travel to Copenhagen, which could have to do with the fact that his brother Andreas had fallen deeply out of favor at court.

Lorck's copperplate engraving by Michael von Aitzing , a Catholic humanist historian of the Netherlands, cartographer and collaborator with Frans Hogenberg , is dated 1565.

In Hamburg

In 1567 Lorck is mentioned in the files of the Council of the Free Hanseatic City of Hamburg . He was still living there in 1572 when he made his will . Lorck was initially commissioned as a cartographer to lay down the course of the Lower Elbe . The map shows the Elbe from Geesthacht to the North Sea . It was supposed to prove Hamburg's claim to customs revenue ( stacking right ) against the Duchy of Braunschweig and Lüneburg at the Reich Chamber Court. The Hamburg Elbe map was the answer to a map on the opposing side that was fifteen years older. The one meter high and twelve meter long card is in the State Archives of the Free and Hanseatic City of Hamburg .

and display information about the image
Elbe map, 1568 (here tracing from 1845 by Eugen Schuback).

The construction of a new Schartor , the city ​​gate to the harbor (today destroyed), was a second important order (started in 1568 and finished in 1570). Lorck's pamphlet Ein Liedt vom Türcken and Anti-Christ was also created in Hamburg. The tone of this pamphlet against the Turks differs from its later, more balanced and factual depictions. The Hamburg Testament allows a very rare look at his private life. Lorck bequeathed all of his possessions to an otherwise never mentioned Anna Schrivers, a widow who is addressed as the bride he was promised. Lorck stayed in Antwerp for a while. The last news about him from Hamburg concerns his wages and expenses for the construction of the Schartor and, in the following year 1575, a hearing in the legal dispute before the Reich Chamber of Commerce to determine the ownership structure in the Vierlanden . In this context, another Lorck map was created.

In Antwerp

Lorck was perhaps in Antwerp as early as 1573, certainly in 1574. He was quickly integrated into the local scholarly world. He was one of the first to sign up for Abraham Ortelius's amicorum album and made friends with the engraver and publisher Philipp Galle , who dedicated Hans Vredeman de Vriese's book on fountains and fountains to him. In 1574, Galle stabbed a Fortuna based on a Lorck model. Lorck also worked in the printing works of the great humanist Christoph Plantin , wooden blocks based on his templates are kept in the Plantin-Moretus Museum . Lorck provided five illustrations of the Folio Missal from 1575.

He is mentioned in the fourth volume (1574) of the Civitates orbis terrarum (city views of the whole world) by Georg Braun and Frans Hogenberg. Etienne de Hollande proposed a bronze medal in his honor. Lorck's portrait of Hubertus Goltzius appeared in his historical and numismatic work Sicilia & eius Italiae partis quae Magna Graecia olim dicta fuit, Historia ex antiquis Numismatibus illustrata (1576). Hendrik Goltzius' relative was a scholar, copperplate engraver, painter, archaeologist, numismatist and poet.

The turmoil of the uprising of the Dutch probably forced Lorck to leave Antwerp in the summer of 1574, as his letter to Ortelius in October 1574 shows.

The Turkish book

The stay in one of the most important centers of humanism must have been a stimulating time in Lorck's life. In April 1574 in Antwerp he was able to publish his only larger book, Soldan Soleyman Tvrckhischen Khaysers, and also Prince Ismaelis from Persia, Whare and his own contrafectung and bildtnuss . This work, the only known copy of which was destroyed in the Hamburg firestorm in June 1943, contained two portrait engravings and two full-length portraits of Sultan Suleiman I and Ismaïl , the Persian envoy at the Hohe Pforte , as well as poems by Conrad Leicht and by the well-known poet Paul Melissus . Lorck's autobiography served as an introduction.

Atik Ali Pasha Mosque
The cook of the Janissaries

Lorck had promised in the Soldan Soleyman ... that he would produce a detailed work on Turkey, and he seems to have pursued this project seriously. In a letter to Frederick II of Denmark on May 19, 1575, he refers to his financial need and asks for help in the publication of such a work.

He had already commissioned some woodcuts based on his Turkish drawings, probably in Antwerp. Twelve architectural motifs were created in 1570, five pictures of the Turkish military are dated 1575. In the following years the project grew to the 128 woodcuts that make up the Turkish book for us. Only a few templates for these cuts have survived, including a depiction of slaughtered oxen , today in the Hermitage in St. Petersburg (inv. No. 38 225), which suggests that the book should contain other motifs unknown to us.

Two versions of a sample title page for the Turkish book are known, both from the same day in 1575 and with an identical formulation of the title: Wolgeissene and cut figures in copper and wood. The art-rich and well-known Melcher Lorch for Mahler Bildthawers and art lovers. given on day . The book could not be published in 1619, as announced. It was not until seven years later that the woodcuts were published in Hamburg under the title of the trial prints. The wooden blocks are likely to have remained in Hamburg after Lorck's death. Erik Fischer assumes that the published Turkish book is actually only a fragment. In the second edition of 1646 there is a register of the motifs, but this index does not match the selection of prints. So it is likely that images have been lost.

Fischer suspects that the Turkish book should originally appear with a comprehensive description of Turkish society. This assumption is corroborated by the way in which the woodcuts were used in another Hamburg publication. In Eberhard Werner Happel's reports on the Turkish wars of the 1680s and his description of Turkish society, there are clear indications that Happel was able to use a third-party report that had arisen from personal experience and knowledge of Turkey and that went perfectly with Lorck's woodcuts.

The traditional costumes

Seventeen surviving drawings from the period from 1567 to 1573 show contemporary costumes , mainly from northern Germany, also some historical and exotic costumes from Bayonne in the French Basque Country and Russia. The sheets note the origin, region or city, of the costumes, which speaks for their planned use as a costume book . The format of the sheets and the drawing style also suggest this. But there are probably no woodcuts as printing templates for such a fashionable costume.

At the Danish court

In 1578 he asked the imperial Habsburg court for a Silesian fiefdom, this was refused by Emperor Rudolf II and Lorck asked for his retirement in 1579. That also applied to the service as Hartschier. He was granted a pension.

King Frederik II

Lorck traveled to Copenhagen and was commissioned by His Royal Majesty on February 19, 1580 as a painter and porter . Of the work for the Danish court, only a single woodcut has survived, which should be the title page of an edition of the rules of the Elephant Order , as well as a large portrait engraving of King Frederick II of Denmark from 1583, perhaps based on a painting that has not survived . This engraving was the first of its kind in Denmark. Lorck's last work dates from 1583 and shows, again in the manner of costume books, residents of the gold coast of West Africa .

Ash-colored Morin, who lives by the Niger River, MLF Antilis

The king dismissed Lorck on November 10, 1582. The artist received the last expense on March 4, 1583, this is also the last documented sign of life of Melchior Lorichs - but his name is, probably by mistake, on a list of the Viennese court pay office from 1588, which counts him among the Hartschiers whose expenses for the mourning clothes for the funeral of Maximilian II. 1576 had to be reimbursed.

Afterlife

Melchior Lorck was a well-known personality during his lifetime and afterwards, Karel van Mander mentions him in his Schilder-Boeck and mentions that the Antwerp artist Hendrik van Cleve (born 1525; died 1589?) Used drawings by the Hanseatic Lorck for his exotic engravings . A description of Flensburg by Martin Zeiller called him the famous son of the city in 1655 and gave an abbreviated mention of Lorck in the fourth volume of the Civitates orbis terrarum by Georg Braun and Frans Hogenberg (1574). The Turkish woodcuts of 1626 were immediately used by artists and Lorck's paintings influenced the western representations of Turks for a long time. Artists like Nicolas Poussin and Stefano della Bella used it and Rembrandt also owned the book.

The University of Leiden, founded in 1575, received the Constantinople panorama from Nicolaas Stalpaert, the university's tentmaster and son-in-law of Georg Douza. The framed frieze hung in the library room until 1653. The badly damaged work was rediscovered in the town hall in Leiden in 1969 and dismantled into 21 individual sheets.

In 1955, Lorck's drawings , which the young John Evelyn had collected and saved, were rediscovered.

The Suleymaniye in Constantinople

Publications

  • A song of the Turk and Antichrist, poemed by Melchior Lorichs at Constantinople, in Jar 1559. It went out in Jar 1568. May be sung in the melody, hear my wordt my speech in front, my king God and Lord Oderim Thon From deeper nodt I scream to you etc. Iten the Christian faith to sing in the sound O man weep sin big etc. [Hamburg?] 1568
  • Soldan Soleyman Tvrckhischen Khaysers, and also Prince Ismaelis from Persia, Whare and own contrafectung and educated nut. Sampt announcement, report on khurzest, but I was told by the basic division which countries and empires of the world, the Turckh owned by him: how many Jarlichs intraden or coming, he fell, the Turck, of the same: his and his empire Embter and Limbs, we vñ what each of them is special, also with their own name vñhey: how much of them, also how much an ides ampt, vñ an ider Turkish gentleman, from the highest to the nidrigist, war people, Reutter and servants, or horses and feet vnder him. Described by the Erbaren vnd Ehrnuesten Melichiorn Lorich von Flensburg, Gecontrafect, in right stature vnd Khleydung, made according to life at Constantinople , Antwerp 1574
  • The well-known, art-rich and experienced Mr. MELCHIOR Lorichs, Flensburgensis. Torn and cut figures, on horse and foot, sampt beautiful Turkish buildings, and all sorts of things to see in the Türckey. Everything after life and the perspectives presented to everyone. Now for the first time, however, all art-loving painters, form cutters, copper engravers, etc., also given to all art experts and the same lovers in honor and pleasure , Hamburg 1626
  • The artful, well-known and experienced men, MELCHIORIS LORICHII Flensburgensis, torn and cut figures, on horseback and feet, sampt beautiful Turkish buildings, and all sorts of things to see in the Türckey: Everything after life and the perspective presented to everyone, in Kupffer vnd Holtz. Now for the third time, with a register of the figures, from the original manuscript, presented to all art lovers, painters, form cutters, copper engravers, also to all art experts and the same lovers, in honor and favor , Hamburg 1646

Individual evidence

  1. ↑ Melchior Lorcks signed his work MLF , Melchior Lorck (since 1562 Lorichs ) Flensburgensis
  2. ^ Family history in: Lorck-Schierning (1949); Wolfgang J. Müller: Lorck. (possibly) , NDB, p. 163ff. New German Biography , Volume 15, Berlin, 1987, pp. 163-165.
  3. ↑ Fischer, Bencard and Rasmussen (2009–2010), Document no. 1549 - March 22
  4. ↑ The Pope as a Wild Man , 1545, Kupferstichkabinett, Inv. 394-7, SMPK, Berlin
  5. ↑ Portrait of Martin Luther , 1548 ( Memento of the original from July 19, 2011 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / soeg.smk.dk
  6. ↑ Since 1556, Emperor of the Holy Roman Empire
  7. ↑ Ludwig II was married to Maria of Hungary , a younger sister of Ferdinand I, Ferdinand and Marias - and Karl V - sister Isabella to the Danish King Christian II.
  8. ↑ Ferenc Zay
  9. ↑ View over the roofs of Constantinople in the direction of Arkadius Column ( Memento of the original from July 19, 2011 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / soeg.smk.dk
  10. ↑ In the year of the dedication of Constantinople, 330, erected on the Forum of Constantine; Rudolf HW Stichel : On the pedestal of the porphyry column Konstantins de Grossen in Constantinople . In: Istanbul communications. Volume 44, 1994, pp. 317-331; Figure relief on the base of the Constantine Column ( Memento of the original from July 19, 2011 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. . @1@ 2Template: Webachiv / IABot / soeg.smk.dk
  11. ↑ The Theodosius column was erected in 386–394 on the Forum Tauri , which was later called the Forum of Theodosius . The pillar is the obelisk of Thutmose III. The base of the Theodosius column (of the Tutmosis obelisk) ( Memento of the original from July 19, 2011 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / soeg.smk.dk
  12. ↑ The column was erected in the years 401–421 on the Arcadius Forum Excerpt from the Arkadius column ( memento of the original from July 19, 2011 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. ; Josef Strzygowski : The column of Arcadius in Konstrantinopel . In: Yearbook of the Imperial German Archaeological Institute. Volume 8, 1893, Berlin 1894, pp. 230-249. @1@ 2Template: Webachiv / IABot / soeg.smk.dk
  13. ↑ Panorama of Constantinople ( Memento of the original from July 19, 2011 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / bc.ub.leidenuniv.nl
  14. ↑ The full text in Fischer, Bencard and Rasmussen (2009–2010), Document no. 1563 – January 1.
  15. ↑ Weinbrunnen ( Memento of the original from July 19, 2011 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / soeg.smk.dk
  16. ↑ Kayser (1979)
  17. ^ Fischer, Bencard and Rasmussen (2009–2010), Document no. 1566 - December 1.
  18. ^ Fischer, Bencard and Rasmussen (2009-2010), Document no. 1572 - February 15
  19. ↑ Lappenberg (1847); Bolland (1964)
  20. ↑ In and title page of: Lichtwark booklet No. 70. Verlag HB-Werbung, Hamburg-Bergedorf, 2005. ISSN  1862-3549
  21. ↑ Fischer, Bencard and Rasmussen (2009-2010), Document nos. 1570 - September 17, 1570 - October 22 and 1574 - August 30 .
  22. ↑ Fischer, Bencard and Rasmussen (2009-2010), Document no. 1574 - August 30
  23. ↑ Fischer, Bencard and Rasmussen (2009-2010), Document no. 1575 - June 13; catalog no.1575, 1.
  24. ↑ Fischer, Bencard and Rasmussen (2009-2010), Document no. 1574 - n. D. (a)
  25. ↑ Civitates orbis terrarum
  26. ^ Fischer, Bencard and Rasmussen (2009–2010), Document no. 1574 - nd (b)
  27. ↑ Located in the Kunsthistorisches Museum Vienna .
  28. ^ Fischer, Bencard and Rasmussen (2009-2010), Document no. 1574 - October 10
  29. ^ Fritz Fuglsang from the Flensburg Museum had made a copy that he gave Erik Fischer.
  30. ↑ Fischer, Bencard and Rasmussen (2009-2010), Document no. 1575 - May 19
  31. ↑ You are now in the Städtisches Museum Flensburg and in the Copenhagen Kupferstichkabinett Archived copy ( memento of the original from July 19, 2011 in the Internet Archive ) Info: The archive link has been inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / soeg.smk.dk
  32. ↑ On this problem and on Lorck's Turkish book in general, with the texts mentioned and the facsimile of the publication of the woodcuts 1626: Fischer, Bencard and Rasmussen (2009–2010).
  33. ↑ Fischer, Bencard and Rasmussen (2009-2010), Documents no. 1578 - March 7 (a) - (b) and Document no. 1579 - March
  34. ^ Fischer, Bencard and Rasmussen (2009-2010), Documents nos. 1579 – June 15 , 1579 – July 9 (a) - (c) and 1579 - September 17
  35. ↑ Document no.1580 - February 19
  36. ↑ Fischer, Bencard and Rasmussen (2009-2010), Document no. 1582 - November 10
  37. ↑ Fischer, Bencard and Rasmussen (2009-2010), Document no. 1583 - March 4
  38. ↑ Fischer, Bencard and Rasmussen (2009-2010), Document no. 1588 - December 31

Web links

Commons : Melchior Lorck  - collection of images, videos and audio files

literature

  • Erik Fischer, Ernst Jonas Bencard, Mikael Bøgh Rasmussen: Melchior Lorck. 5 volumes, Vandkunsten and Royal Library, Copenhagen 2009–2010 [1] (standard work)
  • Jürgen Bolland : The Hamburg Elbe map by Melchior Lorichs. With an introduction to the purpose of the card and the activities of Melchior Lorichs in Hamburg. (= Publications from the State Archives of the Free and Hanseatic City of Hamburg , Volume 8), Hamburg 1964.
  • Erik Fischer: Melchior Lorck. Drawings from the Evelyn Collection at Stonor Park, England and from the Department of Prints and Drawings, the Royal Museum of Fine Arts, Copenhagen . Copenhagen 1962.
  • Erik Fischer: Melchior Lorck. In dansk vagants levnedsløb i the 16th aarhundrede . In: Fund og Forskning. Volume 11 (XI), København, 1964, pp. 33-72 (Danish, with a German summary, pp. 176-180). [2]
  • Erik Fischer: From further copies based on Melchior Lorck plus an excursus on the proto-iconography of the giraffe . In: Nordelbingen. Volume 43, 1974, pp. 81-92.
  • Erik Fischer: Melchior Lorck . In: Biographical Lexicon for Schleswig-Holstein and Lübeck. Volume 6, Neumünster 1982, pp. 174-180.
  • Erik Fischer: Melchior Lorck . In: Dansk Biografisk Leksikon. 3rd edition, Volume 9, Copenhagen 1981, pp. 112-115 ( full text ).
  • Erik Fischer: An artist on the Bosporus: Melchior Lorck . In: Gereon Sievernich and Hendrik Budde (eds.): Europe and the Orient, 800–1900. Bertelsmann Lexikon Verlag, Gütersloh, for the Berlin Festival 1989, pp. 794–798.
  • Erik Fischer: Melchior Lorck i Tyrkiet . Melchior Lorck in Turkey. The royal Kobberstiksamling, København 1990.
  • Erik Fischer: Danskeren Melchior Lorck som kejserlig tegner i 1550ernes Constantinople . In: K. von Folsach u. a. (Ed.): The Arabiske Rejse. Thanks forbindelser med den islamiske denem 1000 år. Århus 1996, pp. 30-43.
  • Erik Fischer: Melchior Lorck . In: Weilbach's Kunstnerleksikon. Volume V, København 1996, pp. 152-154.
  • Erik Fischer: Melchior Lorichs . In: The Dictionary of Art. Volume 19, 1996, pp. 661-663.
  • Ulrike Ilg: Stefano della Bella and Melchior Lorck: The Practical Use of an Artists' Model Book . In: Master Drawings. Volume 14, No. 1, 2003, pp. 30-43
  • Werner Kayser: Melchior Lorichs' Ehrenpforte and Weinbrunnen for the entry of Emperor Maximilian II into Vienna, especially the Ehrenpforte at the Waaghaus . In: Philobiblion. Volume 23, No. 4, 1979, pp. 279-295
  • Karl Ernst Hermann Krause:  Lorichs, Melchior . In: Allgemeine Deutsche Biographie (ADB). Volume 19, Duncker & Humblot, Leipzig 1884, p. 196 f.
  • Johann Martin Lappenberg: Melchior Lorich's Elbe map from 1568. Hamburg 1847 ( digitized )
  • Andreas Lorck-Schierning: The chronicle of the Lorck family. Neumünster 1949.
  • Cyril Mango , Stéphane Yerasimos: Melchior Lorichs' Panorama of Istanbul, 1559. Commentary text. Istanbul, Ertug & Kocabıyık 1999.
  • Wolfgang J. Müller:  Lorck, Melchior. In: New German Biography (NDB). Volume 15, Duncker & Humblot, Berlin 1987, ISBN 3-428-00196-6 , p. 164 f. ( Digitized version ).
  • Marlene Müller-Haas: An artist on the Bosporus: Melchior Lorch . In: Gereon Sievernich and Hendrik Budde (eds.): Europe and the Orient, 800–1900. Bertelsmann, Gütersloh 1989, pp. 241–244.
  • Hanne Kolind Poulsen: At brande Frederik 2. Om Melchior Lorcks kobberstik-portræt af Frederik 2 . In: SMK Art Journal. 2006, pp. 22-35 ( PDF ).
  • Alexandrine St. Clair: A Forgotten Record of Turkish Exotica . In: The Metropolitan Museum of Art Bulletin. May 1969, pp. 411-423.
  • Peter Ward-Jackson: Some Rare Drawings by Melchior Lorichs in the Collection of Mr. John Evelyn of Wotton And Now at Stonor Park, Oxfordshire . In: The Connoisseur. March 1955, London, pp. 83-93.
personal data
SURNAME Lorck, Melchior
ALTERNATIVE NAMES Lorichs, Melchior; Lorch, Melchior
BRIEF DESCRIPTION German engraver, draftsman and painter
DATE OF BIRTH around 1527
PLACE OF BIRTH Flensburg
DATE OF DEATH after 1594
Place of death Copenhagen