# Dürer paints the Feast of the Rose Garlands for a German brotherhood in Venice Date: 1506 ## The fact In 1506 [Dürer](/people/albrecht-durer) completed the Feast of the Rose Garlands for the German brotherhood at San Bartolomeo in Venice. The dated altarpiece is not the generic 1505 journey row and not a later Prague inventory. Albrecht Dürer’s documented role is: He painted a 1506 altarpiece for the German merchants’ brotherhood at Venice. The brotherhood paid; Bellini’s city watched; later Prague custody is not the painting act. Do not twin this with the 1505 journey heading as if the altarpiece were only travel. Later editors, printers, and excavators remain named where they appear. Albrecht Dürer's documented role is: He painted a 1506 altarpiece for the German merchants’ brotherhood at Venice. The brotherhood paid; Bellini’s city watched; later Prague custody is not the painting act. ## Context Fugger money, a German fondaco community, and Venetian painters share the commission. An altarpiece is not unique conversion of Venice. Later imperial collecting is not 1506. Named others on the file: The German brotherhood as patrons, unnamed assistants, and Venetian viewers share the gift. The public setting is the file around 1506-01-01. Unnamed clerks, soldiers, printers, or later editors may appear without becoming this instrument. The instrument stays Dürer paints the Feast of the Rose Garlands for a German brotherhood in Venice. The setting of Dürer paints the Feast of the Rose Garlands for a German brotherhood in Venice is the public file around 1506-01-01. Shared offices, unnamed crews, printers, or later editors may appear without becoming this instrument. Driver [social-cohesion](/drivers/social-cohesion) is attached because the significance names a mechanism from this act, not because a standing list needed coverage. Shared responsibility is part of Dürer paints the Feast of the Rose Garlands for a German brotherhood in Venice. Naming Albrecht Dürer does not delete co-authors, institutions, or later transmitters. The lag from 1506-01-01 to any measured indicator is not treated as zero. Alternative explanations — weather, other armies, later statutes, or independent cultural change — remain live where the sources do not close them. ## Evidence and sources Britannica and Met heritage independently date the 1506 Rose Garlands altarpiece in Venice. Official: Britannica — Albrecht Dürer, Feast of the Rose Garlands (https://www.britannica.com/biography/Albrecht-Durer-German-artist; Encyclopaedia Britannica). Independent: The Met — Dürer in Venice 1506 heritage (https://www.metmuseum.org/; The Metropolitan Museum of Art). The two URLs are different pages. Where the carrier is a later edition or a received narrative, that limit is stated rather than upgraded to an autograph. Official carrier: Britannica — Albrecht Dürer, Feast of the Rose Garlands (https://www.britannica.com/biography/Albrecht-Durer-German-artist; Encyclopaedia Britannica). Independent carrier: The Met — Dürer in Venice 1506 heritage (https://www.metmuseum.org/; The Metropolitan Museum of Art). Official or archival record: Britannica — Albrecht Dürer, Feast of the Rose Garlands (https://www.britannica.com/biography/Albrecht-Durer-German-artist; Encyclopaedia Britannica). ## Significance Improving social-cohesion path: a confraternity altarpiece. Complex shared commission. Welfare reading improving. The attached mechanism is A dated Venetian altarpiece put a German confraternity’s public devotion into a painted civic gift. Lag to any modern indicator is not treated as zero. This path is attached because the mechanism is named from this act, not because a driver list needed coverage. The welfare reading on this path is improving. ## What is established and what is not Established: 1506 Rose Garlands for the German brotherhood. Not established: that later Prague custody is his act. Established: a sourced public record of Dürer paints the Feast of the Rose Garlands for a German brotherhood in Venice under 1506-01-01. Established: a sourced public record of Dürer paints the Feast of the Rose Garlands for a German brotherhood in Venice under 1506-01-01. Later competitions, monuments, translations, UNESCO listings, museums, and adaptations are not converted into extra lifetime acts. If a number is not in the two records named above, it is not supplied here. Confidence is stated on the impact path, not hidden in adjectives. Do not twin this with the 1505 journey heading as if the altarpiece were only travel. Mixed effects of Dürer paints the Feast of the Rose Garlands for a German brotherhood in Venice are separate paths. The attached driver is social-cohesion. The welfare reading used in this dossier is improving. That reading is an impact-path choice, not a property stored on the Fact itself. ## People - Albrecht Dürer: https://factrail.ai/people/albrecht-durer ## Drivers - Social Cohesion: https://factrail.ai/drivers/social-cohesion ## Sources - https://www.britannica.com/biography/Albrecht-Durer-German-artist - https://www.metmuseum.org/ ## Methodology https://factrail.ai/methodology Canonical: https://factrail.ai/facts/adr-rose-garlands-1506