This article examines two drawings by the Prussian artist Anton Möller the Elder (1563–1611), based in Danzig Gdańsk. In 1587, a Möller spent time in Marienburg Malbork near Dantzig, fresh from his post-apprenticeship travels. These drawings evidence his tuition in Northern Renaissance styles, subject matter, and disguised symbolism—embodying contemporary Lutheran ideologies of temperance, morality, and the powerful sway of music. While scholarship on Möller’s works is well established (mainly in Polish and German sources in brief catalogue-style entries), this article represents an in-depth analysis of the symbolism in his works—primarily missing from modern scholarship, especially in the English language. Möller’s Folk fair before Marienburg is entertaining, sensational, and serves as a graphic warning not to fall prey to alcohol’s destruction of moral character. Möller directly copies figures from Northern Renaissance artists working in the folk fair genre—I discuss these connections and symbolism. Musicians are given an incendiary role in the scene, spurring revelers on to indulge in base emotions and vices. In stark contrast, Möller’s An Elegant reception with Christburg Dzierzgoń Castle in the background, places music at the center of the scene, depicts “active listening” and provides a visual message on how music can cultivate a pure mind and heart, if one’s moral compass is properly attuned.
Emily Peppers (Sun,) studied this question.