ABSTRACT This contribution examines a selection of engravings in the parallel edition of frontispieces to Goethe’s last edition of his collected works, published in Leipzig by Fleischer (1829–34). Select engravings, based on the five designs by an independent painter and popular illustrator, Peter Carl Geissler, are juxtaposed with those by Gustav Heinrich Nae[c]ke, who was professor of painting at the Saxon Academy. Striking differences in style and the choice of subjects become apparent. Two special cases in the collection round out the analysis: the portrait of Cellini after Vasari, probably by the Nuremberg painter Friedrich Wagner; the Frankfurt painter Johannes Thomas provided the only design with a detailed representation of urban architecture in the collection.

中文翻译：

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莱比锡和德累斯顿艺术家彼得·卡尔·盖斯勒和古斯塔夫·海因里希·内克以及约翰内斯·托马斯和弗里德里希·瓦格纳为歌德的最后一版冠名

摘要该论文研究了歌德上一部与弗莱彻（1829–34）在莱比锡出版的收藏作品的上一版平行的版画中的一些雕刻。根据独立画家和著名插画家彼得·卡尔·盖斯勒（Peter Carl Geissler）的五种设计，精选版画与撒克逊学院绘画教授古斯塔夫·海因里希·内埃[c] ke的版画并列。风格上的惊人差异和主题的选择变得显而易见。该系列中的两个特殊情况使分析更加完善：可能是纽伦堡画家弗里德里希·瓦格纳（Friedrich Wagner）创作的瓦萨里之后的切利尼肖像；法兰克福画家约翰尼斯·托马斯（Johannes Thomas）提供了唯一的设计，并在该系列中详细描述了城市建筑。