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The present study attempts to analyze several prints by Albrecht Durer, as well as his painting Christ among the Doctors, in relation to the well-known Hieroglyphica of Horapollo, which we published in Spanish in 1991 (Akal). Erwin Panofsky analyzed the works of the German artist, but he apparently did not take into consideration certain iconographic details. Durer, following the advice of his protector Pirckheimer, elaborated the drawings for Horapollo’s Hieroglyphica, published by Professor George Boas. This visual and semantic vocabulary, of great importance in the History of Art from the Renaissance onward, and specifically in Durer’s graphic art, is evident in the carvings for the Triumphal Arch of Maximilian (1515), studied by Panofsky.

Durero y los Hieroglyphica. Tres estampas y una pintura. Némesis (La Gran Fortuna). La Justicia. Melancolía I. Cristo ante los Doctores