| Notes |
- This Kaspar Rosenthaler is listed as the first son of Martin Rosenthaler (1418-1492).
The fresco painting of the three brothers in 1514 at the Franziskaner Kloster is supposed to be that of Kaspar, Johannes, and Jacob.
The etching of Caspar Rosenthaler is not Caspar but a wood cutting by Wolf Traut of St Francis of Assisi. Caspar, a metal dealer, paid for a series of woodcuts.
Email to Wilbur Hanson Kalb:
I now believe that the Rosenthaler family was a well to do family. Egidius was the son of Martin whose portrait is attached. Heck, I grew up with only an 8-pack of Crayola Crayons. My portraits were selfies in wax. There is a coat of arms for the Rosentahler family of Nuremberg as shown in the attached. While the spelling is not exactly the same, I have little doubt that it is for the same family. My Sunday go to church coat was from my older brother who got it from his older brother, etc. Finally there is Caspar, a brother to Egidius. He was a metal dealer along with Anton. And the best that I can determine is that he commissioned a series woodcuts of St. Francis of Assisi by a local craftsman named Wolf Traut. The Caspar Rosenthal image is not of him but of St Francis.
Actually, it get stranger. From The painter-engraver: The Dutch and German masters of the sixteenth. Century for Caspar Rosenthaler: https://books.google.com/books?id=2_JwAAAAMAAJ&pg=PA129&lpg=PA129&dq=caspar+Rosenthaler+of+Nuremberg&source=bl&ots=Y41iKZOpD4&sig=ACfU3U1a1WPUW6tkIll2erfYdvYJePQRQg&hl=en&sa=X&ved=2ahUKEwj95MvW8ejhAhVCIjQIHawfC84Q6AEwAXoECAYQAQ#v=onepage&q=caspar%20Rosenthaler%20of%20Nuremberg&f=false; it appears that Caspar or Gaspard was a painter and wood engraver. That a Johannes and Jacob were also painters along with Gaspar and that all followed the style of Albrect Durer. And since Caspar also used gold gilt on his printings, it is also conceivable that he would be a metal dealer. From the online information he appears to have died 1514 in Nuremberg.
Nuremberg Masters of the first half of
XVI. century.
Gaspard Rosenthaler from Nuremberg, mert to Schwats 1514.
This Nuremberg painter had two brothers, Jean and Jacques,
who practiced the same profession as him, but who have little
lift as artists. All three were religious of the convent
Franciscans in Schwatz, Tyrol, which had even been built by
Gaspard, as J. de Sperges tells us in his
titled: "Bergwerksgeschichte Tyrols" * p. 102. The frescoes of the clofter
of the convent, representing the life and passion of Jesus Christ, remain
still as much evidence of their work. We can
that from the Wohlgemuth school they followed the
dances of Albert Durer. Registration Half-erased on these frescoes
still contains the words: "Caspar Rosenthaler + 1514" and "Johannes
and Jacob Rosenthaler, Norembergenses pictorials. "Gaspar made
drawings for woodcuts, which he probably executed
himself for a couple of books rich in prints of this kind
and that he had printed in Nuremberg in 1512 and 1514 ") These are
The following:
1-57. The legend of father Francois (Die Legend
Heyligen vatters Francisci) according to the description of
Englishman Bonaventure. "Gedrnckt und vollendet, In der
Kayserlichen Stat Nuremberg, durch Hieronymum Höltzel.
In verlegung of the Erbern Caspar Rosenthaler yetzundt
wohnhafft zu Schwatz. Am Sybenden tag of the Aprilis Monats. Nach Christi unsers Herren gepurt Tausent Funfundund nun Im zwelften Jare. "* (1512.) In-4 °. The 57 woodcuts are partly dated to 1511, only one bears the vintage of 1512. Most measure H. 3 p. L.3 p. 91 The dimensions of those which exceed this magnitude will be given.
1. The stigmas of St. Francois. Bottom left, 1511.
H. 5 p. L. 4 p.
2. St Francois as head of the Order of Franciscans de-
shod; whole figure, a crucifix between the arms. H.5 p. 61. L.4p.
3. Repetition of the same engraving.
4. St. Francois, still a child, recognized and revered as
Saint. H. 3 p.L.3 p.9L
5. St. Francois lying in a bed.
6. The Saint embraces a sick person.
7. St. Francois stigmatized.
8. The Saint with the poor.
9. He is worshiping before a crucifix.
10. The saint before his bishop.
11. He is in the midst of thieves.
12. I work as a laborer.
13. He strips off his superfluous clothes.
. 14. MI is armed with a cross in front of the Assisi dragon.
15. Jesus appears to him. -
16. He receives seven brothers in his order.
17. I cut down a big tree.
... 18. St. Francois before the Pope.
19. Repetition of No. 15.
20. St. Francois in the fire cart.
"21. 1 gives the rules of his order.
22. The Saint with cross swords on his chest and arms.
23. Like Saint, blessing during the sermon in the house
its chapter.
24. IÌ is crucifixed.
25. I'm tempted by the demon.
26. An angel plays him the harp during his illness.
27. As a contrite sinner.
Masters of Nuremberg of the First Half of the 16th Century.
Caspar Rosenthaler from Nuremberg, died in Schwaz in 1514.
This Nuremberg painter had two brothers, Johannes and Jacob, who practiced the same profession, but who are of little importance as artists. All three were religious of the Franciscan monastery in Schwaz, in the Tyrol, which had even been built by Caspar, as J. de Sperges tells us in his work entitled Bergwerksgeschichte Tyrols [ German, “History of the Mines of the Tyrol” ], page 102. The frescoes of the cloisters of the monastery, representing the Life and Passion of Jesus Christ, remains as much evidence of their work, and it can be deduced that, from the school of [ Michael ] Wohlgemuth, they followed the tendencies of Albert Dürer. The half-erased part of these frescoes still contains the words: “Caspar Rosenthaler + 1514” and “Johannes and Jacob Rosenthaler, pictorials Norembergenses” [ Latin, “Artists from Nuremberg” ]. Caspar made drawings for the woodcuts, which he probably executed himself for a couple of books rich with engravings of this kind and which he had printed in Nuremberg in 1512 and 1514. 13) These are the following:
Nos 1-57. The Legend of Holy Father Francis ( [ The English meaning of the German title] Die Legend des Heyligen vatters Francisci ) from the description of the Angelic Doctor Bonaventure, “Gedruckt und vollendet, In der Kayserlichen Stat Nuremberg, durch Hieronymum Höltzel. Inverlegung des Erbern Caspar Rosenthaler yetzundt wohnhafft zu Schwatz. Am Sybenden tag of the Aprilis Monats. Nach Christi unsers Herren gepurt. Tausent Funfhundert nun Im zwelften Jare.” [ Old German, “Completed and printed, in the Imperial City of Nuremberg, by Hieronymous Höltzel. Installed by Inheritance of Casper Rosenthaler now living in Schwaz. On the Seventh day of the Month of April. After the birth of the Christ Our Lord Fifteenth Century now in twelfth Year.” ] ( 1512 ) In four folios. The 57 woodcuts are partly dated from 1511 ; only one of them bears the date of 1512. Most of them measure 3.192 inches high, 3.192 inches wide, 0.799 inch deep. [ Here the old French measures of length are used in spite of the fact that the metric system was made mandatory in 1840 throughout France and her territories. “p.” is pouce, the French inch that equals 27 mm or our 1.066 inches and “l.” is ligne, which equals 2.256 mm or 0.08 inch. ]
13) Communication of Count Enzenberg of Innsbruck in the Kunstblatt for 1844, Nos. 29 and 30, and R. Weigel [ Rudolph Weigel, 1804 – 1867 ], Kunstcatalog [ German, “Art Catalog” ] Nos. 16354 and 17885 [ in Part 19, self-published in Leipzig in 1847, pages 20 and 21 ]
[ J. de Sperges was Joseph Freiherr von Sperges auf Palenz und Reisdorf, 1725 – 1791, the Tyrolean jurist and historian who worked as a diplomat for Austria. The actual title of his book is Tyrolische Bergwerksgeschichte, mit alten Urkunden, und einem Anhange, worinn das Bergwerk zu Schwaz beschrieben wird ( Tyrolean Mining History, with ancient documents, and an appendix, in which the mine of Schwaz is described ) ( Vienna : Johann Thomas von Trattnern, 1765 ), and it’s available online at the University of Köln’s Digital Collection. I did try to see page 102 but my iPad wouldn’t work with the website. ]
[ F. von Enzenberg, “Die Gebrüder Rosenthaler. Ein Beitrag zur oberdeutschen Kunstgeschichte” [ The Rosenthaler Brothers. A Description for the History of Upper German Art ], Kunstblatt [ Art Bulletin ], Stuttgart and Tübingen, Württemberg, Volume XXV, No 29, 9 April 1844, pages 121 - 123, and No 30, 11 April 1844, pages 126 and 127. The Count is probably Franz Josef Graf von Enzenberg-Freyen-Jöchelsthurn, 1802 – 1879, who lived in Innsbruck after marrying a local princess. His family had lived in Schwaz for generations — and still lives there today. The Count’s article is available online at Google Books, too., but both parts are very dense with text! It does not name the father of the Rosenthaler brothers — they are not in Ursula’s Ahnentafel — but it does mention Christoph Rosenthaler the mintmaster and wonders if the inheritance came from his will. ]
[ R. Weigel was Rudolph Weigel of Leipzig, 1804 – 1867, a publisher and dealer of art and books. No 16354, Rudolph Weigel’s Kunstlager-Catalog. Neunzehnte Abtheilung. ( Rudolph Weigel’s Stock Catalog of Art. Nineteenth Part. ) ( Leipzig, Saxony : Author, 1847 ), pages 20 - 21 and No 17885, Rudolph Weigel’s Kunstlager-Catalog. Zweiundzwanzigste Abtheilung. ( Rudolph Weigel’s Stock Catalog of Art. Twenty-Second Part. ) ( Leipzig, Saxony : Author, 1850 ), page 25. No 17885 is the other book published by Caspar with his inheritance, on 18 February 1514. It’s basically St Bonaventure’s Life of Jesus Christ, with a few engravings borrowed from Caspar’s own biography of St Francis of Assisi. All the 35 parts — yes, 35 parts! — of Weigel’s Catalog are available and searchable at the Hathi Trust website. ]
Schwazer Helmarkblätter
SCHWAZER KÖPPE
Kaspar Rosentaler
Schwazer copper was no better off than silver. The copper had to replace the iron in the Middle Ages up to the recent time up in many areas. In the ignorance of hard coal, iron was very expensive due to the difficult melting and the primitive blast furnaces and was procured around 1500 from the one-time large iron mine of the Austrian lands, the Styrian Erzberg. The copper melts even at low heat (with wood and charcoal) and was recovered in Schwaz as part of the silver ore in large quantities. This copper then went to Nuremberg for the most part. There was the headquarters of the copper-working craft.
There it was processed by the boiler and coppersmiths to household utensils, above all crockery, or mixed with pewter as bronze into vessels, mortars and also to cannons. Since the Nuremberg copper goods went all over the world, the demand for copper was very high there. Already in the early days of mining operation, the Nuremberg had their citizen Lukas Hirschvogl go to Schwaz as a permanent representative and copper buyers. When he died in 1475 (about his tomb in the parish church see Issue 3). Another Nuremberg took over the copper trade: Martin Rosenthaler Although he did not live in Schwaz, but incidentally he also procured many shops for the sovereign archduke Sigmund and supplied him with fine pewterware, parchment for primeval customers and gold goods from Nuremberg. Finally, as a pious man, he made a pilgrimage to the Holy Land, from which he returned in 1492. Soon after he died in Nuremberg. He has also made a name for himself as the publisher of books.
His son Kaspar first appeared in Schwaz in 1505, when he obtained tin in Nuremberg for the pipes of the new organ of the Schwaz parish church. Although he operated his own smelter but was not involved in the actual mining. He lived in Schwaz and was still interested in copper trading. Sometimes, of course, the raw copper sold to Nuremberg returned to Schwaz as a finished product. This is how it was in 1514, when Rosentaler bought the bronze door handles with the lion's heads in Nuremberg, which can still be seen today at the two main gates of the parish church. Just this year he had sold 50 quintals of copper to Nuremberg. Rosentaler was not only in Schwaz, but also in Innsbruck with the state government in great reputation as a mining expert. The government stately called it "our dear friend" and often used it to settle disputes. So, he was able to settle the dispute of the miners and trades as a commissioner of King Ferdinand on the mountain retreat to Sterzing in 1521. He was, however, not only a respected merchant, but above all a great friend of art, and, like his father, a zealous patron of the faith in the critical period of the Lutheran and Companionship among the Schwaz citizens and miners. He is the leading figure in the founding of the Franciscan monastery and his greatest benefactor. From the founding of 1507 until his death, he is church provost and builder (ie financial supervisor) of the monastery. His activity succeeds in completing the monastery and the church as early as 1515. Soon after, he participates in the painting of the cloister, where he paints the painting "Christ before Pilate" at his expense in the south wing. There he is also shown kneeling and in front of him the coat of arms. It shows a wise angle (rafters) on a black field. In the white corner are three red roses (Rosentaler), represented in the lower black box, a large golden star. But he also worked diligently for other ecclesiastical foundations. So, he was 1520-1530 hospital master, so stewards of the hospital on the Inn Bridge, which had been founded in 1515, and 1517 to 1518 site manager of the convent of St. Martin in the village. When he died in 1542 (probably childless), he was buried as the preferred benefactor in the Franciscan church of the high altar. He did not want a splendid tomb, but only a simple stone slab with the short inscription: "In 1542 the noble Mr. Kaspar Rosentaler of Nuremberg, the monastery of Baumeister, died." Unfortunately, this simple monument has disappeared. Rosentaler was one of the few upstanding men in the first half of the sixteenth century who had not only depended on wealth and money but was acquired for the good of the general public and for the religious, despite undeniable skills and expertise Concerns of the time began.
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Abt 1440 - 1514 (74 years)
[3, 5] 
