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Knight, Death and the Devil; or, Reuter ("Rider") Illustrated by Albrecht Dürer
Known to the modern world as "Knight, Death and the Devil", this masterwork was known by the artist simply as "Reuter" (Rider). It is a truly magnificent image that contains wonderfully evocative images rendered - as may be expected - in superb detail.
While Dürer's personal inspiration for the illustration is not known to have been recorded, a variety of descriptions have been provided for the allegory presented by the scene. One such explanation has been provided by Panofsky (The life and art of Albrecht Durer: Princeton University Press; 1945) thus:
'Though I walk through the valley of the shadow of death, I will fear no evil' (Psalm 23), could be the caption for this engraving. The horseman is the 'knight of Christ', a phrase that Dürer used of his contemporary Erasmus of Rotterdam, who had written a Handbook of the Christian Soldier in 1501. Death is at the horse's feet in the form of a skull, beside the plaque with Dürer's monogram. Death is also the ghastly corpse without nose or lips, who holds a hourglass up to the knight as a reminder that his time on earth is limited. The knight rides on, looking neither to the right, left, nor backwards, where the Devil, with an ingratiating grin, seems powerless while ignored. High above this dark forest rises a safe stronghold, apparently the destination of the knight's journey.
A different perspective on the iconography has been provided by those who would either link Dürer with secret societies or contend that his illustrations included deliberately hidden symbols to avoid accusations of heresy. One such example is provided by the explanation related to Masonic and Templar iconography, summarised as follows:
The dimensions of Dürer's "Reuter" provide a height-to-width ratio of 13:10, which may refer to 13 October (the final suppression of the Templars included the arrest of their Grand Master [de Molay] on 13 October 1313). 1513 is preceded by a symbol "S" - the Greek equivalent being Sigma (∑) that has a gematrical value of 200 (the presentation of a symbolic representation of the value 200 before the year 1513 would transform the year to 1313). The Knight may be seen to represent the Templars (perhaps de Molay), with the French King, Philip le Bel being represented by Death and Pope Clement V is shown as the Devil. Translation of the names of the central characters into a simple Masonic alpha-numeric code reveals that the sum of each numerical string equals "106" (the gematrical value of the Hebraic letter "Nun" [נ,ן] that is the attribute of "Death" in traditional Tarot), symbolically representing the deaths of all three protagonists in the same year, 1314 (as reputedly foretold by de Molay in his final words). The Tarot correspondences related to the number in the year of the engraving "15" and "13" are the "Devil" and "Death" respectively. Further, substituting the alpha-numeric values for "15" and "13" in the signature table (presented adjacent to a skull) spells "SONAD", which, when reversed, spells "DANOS", a Greek word meaning burnt - possibly referring to the burning at the stake experienced by de Molay.
Regardless of the explanation behind Dürer's illustration, it is undoubtedly a true Masterpiece that is packed with symbolism. In closing, we mention a significant symbolic value of the subtle double-crown ornamentation to the Sallet worn by the Knight (crown ornamentation on war-ready helms were extremely rare - one of the few recorded examples being King Henry V at the Battle of Agincourt) - perhaps this detail provides a vital clue to the identity of Dürer's famous Knight.
Our Greeting Cards and Reproduction Prints
Should you wish to order a Reproduction Print or an individual Greeting Card of this image, we have provided some options below. Of course, should you wish to discuss some customised options, we welcome your contact on any matter through ThePeople@SpiritoftheAges.com.
In the meantime, enjoy perusing this glorious illustration by Albrecht Dürer.
The illustration
Some details from the illustration
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