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Abstract: In 1799 Samuel Taylor Coleridge studied at the University of Göttingen to research German literature for his projected biography of Lessing. On his return journey to England in June 1799, Coleridge visited the Wolfenbüttel library, where he discovered a double portrait of the German Meistersinger Hans Sachs by Andreas Herneisen. Familiar with the afterlives of Sachs’s likeness, Coleridge understood the significance of this obscure portrait and recorded a detailed description in his notebooks. This article engages in a comparative analysis of Coleridge’s note and his studies of the visual-media afterlives of Hans Sachs, showing his scholarly engagement with German literature.
Maximiliaan van Woudenberg (Mon,) studied this question.