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Figure 1. Albrecht Dürer, Portrait of Philip Melanchthon (Engraving, 1526). Image courtesy of the Metropolitan Museum of Art, Accession No. 19.73.117.
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Figure 2. Albrecht Dürer, Portrait of a Young Venetian Woman (Painting, 1506). Image courtesy of Staatliche Museen zu Berlin, Gemäldegalerie, Identification No. 557G.
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Figure 3. Albrecht Dürer, The Master-Builder Jerome of Augsburg (Drawing, 1506). Image courtesy of the Staatliche Museen zu Berlin, Kupferstichkabinett, Identification No. KdZ 2274.
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Figure 4. Albrecht Dürer, Knight, Death, and Devil (Engraving, 1513). Image courtesy of the Raclin Murphy Museum of Art, University of Notre Dame, Accession No. 2916.030.
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Figure 5. Albrecht Dürer, The Apocalypse: The Torture of St. John the Evangelist (Woodcut, 1511). Image courtesy of the Raclin Murphy Museum of Art, University of Notre Dame, Accession No. 2013.013.002.
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Figure 6. Albrecht Dürer, The Apocalypse: St. John Devouring the Book (Woodcut, 1511). Image courtesy of the Raclin Murphy Museum of Art, University of Notre Dame, Accession No. 2013.013.010.
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Figure 7. Albrecht Dürer, The Apocalypse: The Hymn in Adoration of the Lamb (Woodcut, 1511). Image courtesy of the Raclin Murphy Museum of Art, University of Notre Dame, Accession No. 2013.013.007.
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Figure 8. Albrecht Dürer, The Apocalypse: The Whore of Babylon (Woodcut, 1511). Image courtesy of the Raclin Murphy Museum of Art, University of Notre Dame, Accession No. 2013.013.013.
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Figure 9. Albrecht Dürer, The Apocalypse: The Four Horsemen (Woodcut, 1511). Image courtesy of the Raclin Murphy Museum of Art, University of Notre Dame, Accession No. 2013.013.005.
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Figure 10. Pythagorean tuning system, showing Pythagorean comma and similarity to pentagram. Illustration courtesy of Wikimedia Commons Contributor Cmglee.
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Figure 11. The Schweighart farm in Polling, Thomas Mann’s model for the Schweigestill farm in Pfeiffering (Photograph, ca. 1920s, photographer unknown). Image courtesy of ETH-Bibliothek Zürich, Thomas-Mann-Archiv, Accession No. TMA_1809.
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Figure 12. The parlor of the Schweighart farm, Thomas Mann’s model for the “winged-victory-room” of the Schweigestill farm in Pfeiffering (Photograph, taken prior to 1915, photographer unknown). Image courtesy of Ms. Tina Mayr, Bernried.