The Upper Section of the Right Portal, with the Inscription on a Stag Skin; a Frieze with Busts of Roman Emperors; and the Entablature of the Columns, from the Arch of Honor, proof, dated 1515, printed 1517-18

The Upper Section of the Right Portal, with the Inscription on a Stag Skin; a Frieze with Busts of Roman Emperors; and the Entablature of the Columns, from the Arch of Honor, proof, dated 1515, printed 1517-18 by Albrecht Dürer is a critical component of one of the largest and most complex woodcut projects of the Renaissance. Executed in woodcut and detailed with letterpress elements, this panel was designed to be one section of the monumental Arch of Honor, a massive three-part propaganda project commissioned by Emperor Maximilian I of the Holy Roman Empire. The work, dated 1515 in its proof state, showcases the technical precision required to translate grand architectural designs into the prints medium.

The composition focuses on the elaborate classical structure of the Arch's upper right portal. Detailed observation reveals an entablature supported by highly classical elements, beneath which runs a continuous frieze depicting busts of Roman Emperors. This visual integration of classical and imperial iconography served to legitimize Maximilian’s rule by asserting a direct historical lineage to ancient authority.

Further enriching the design, a detailed inscription is rendered upon a large, stretched stag skin, an element frequently utilized in imperial and hunting motifs of the era. The architecture is supported and guarded by mythological figures, including prominent Griffins positioned near the cornice, symbolizing vigilance, power, and protection.

This work underscores the extensive collaboration necessary for the overall completion of the Arch of Honor, involving Dürer and several specialized draftsmen and block-cutters. Classified as a foundational German Renaissance print, this historically significant proof is held in the collection of the Metropolitan Museum of Art. The continued study and accessibility of such public domain prints allow researchers to fully appreciate Dürer’s unparalleled contribution to printmaking technique and imperial visual culture.