雷根斯堡犹太会堂入口大厅 - 美国大都会艺术博物馆展品查阅

品名（中）	雷根斯堡犹太会堂入口大厅
品名（英）	The Entrance Hall of the Regensburg Synagogue
入馆年号	1926年，26.72.68
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Albrecht Altdorfer【1480 至 1538】【德国人】
创作年份	公元 1519
创作地区	绘制于: 德国, 雷根斯堡（Depicted: Germany, Regensburg）
分类	印刷品（Prints）
尺寸	页: 6 1/4 × 4 3/8 英寸 (15.9 × 11.1 厘米)
介绍（中）	在敞开的门口和玫瑰花结窗的柔和光线下，两名犹太男子穿过雷根斯堡犹太教堂的入口门廊。阿尔特多夫在 1519 年 2 月 22 日寺庙被摧毁之前对这座寺庙进行了两次蚀刻：这张照片和内部中殿之一。马克西米利安皇帝长期以来一直是帝国城市中犹太人的保护者，从他们那里榨取大量税收作为交换。然而，在他去世后的几周内，雷根斯堡市将其经济问题归咎于其繁荣的犹太社区，驱逐了犹太人。外议会成员阿尔特多夫（Altdorfer）是被选中通知犹太人的人之一，他们有两个小时的时间清空犹太教堂，五天的时间离开这座城市。刻在印刷品顶部的拆除日期表明，阿尔特多夫制作了准备草图以及蚀刻版画本身，知道该建筑将被摧毁。这些印刷品似乎很快就产生了，很可能是在寺庙被毁前的五天里：板子没有均匀蚀刻，特别是在密集的阴影区域，其中个别线条失去清晰度。此外，略带醉意的拱顶似乎是徒手追踪的，而不是用指南针追踪的。尽管描绘看似敏感，但这幅印刷品并不是为了同情犹太文化的某个方面，而是作为对该遗址的更冷静的记录。因此，这是欧洲版画中第一幅实际建筑纪念碑的肖像。
介绍（英）	In the muted light of an open doorway and a rosette window, two Jewish men are shown walking through the entry porch of the Regensburg synagogue. Altdorfer made two etchings of the temple just before it was destroyed on February 22, 1519: this view and one of the interior nave. Emperor Maximilian had long been a protector of the Jews in the imperial cities, extracting from them substantial taxes in exchange. Within weeks of his death, however, the city of Regensburg, which blamed its economic troubles on its prosperous Jewish community, expelled the Jews. Altdorfer, a member of the Outer Council, was one of those chosen to inform the Jews that they had two hours to empty out the synagogue and five days to leave the city. The date of the demolition inscribed at the top of the print suggests that Altdorfer made the preparatory sketches, as well as the etchings themselves, with the knowledge that the building was to be destroyed. The prints appear to have been quickly produced, quite possibly during the five days prior to the temple's destruction: the plate was not evenly etched, particularly in the areas of dense hatching, where the individual lines lose clarity. In addition, the slightly tipsy vaults appear to have been traced freehand rather than with a compass. Despite the seemingly sensitive portrayal, the print was not intended as a sympathetic rendering of an aspect of Jewish culture, but rather as a much more dispassionate recording of the site. It is thus the first portrait of an actual architectural monument in European printmaking.