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Кстати говоря, существует целая книга (увы, только на немецком), посвящённая Клебергеру и его портрету: Ernst Rebel, Die Modellierung der Person: Studien zu Dürers Bildnis des Hans Kleberger.
В ней, помимо прочего, есть фотография ещё одной медали с символом Регула (в статье я её приводить не стал ввиду хренового качества).
Вот краткое (очень краткое) резюме данной книги на английском отсюда.
> A study of the enigmatic Kleeberger portrait (1526), developed from the author’s Habilitationsschrift (Personenmetaphorik und Personenbegriff im Porträt der Dürerzeit, Munich, 1988), with a wealth of interesting comparative material. Notes that the unusual Roman Imperial format, highly atypical for German merchants, has caused art historians to treat the painting in “stepmotherly” fashion, if at all. Gives a brief biography of Kleeberger (born Hans Scheuhenpflug, son of a harnessmaker who left town under a cloud of dishonesty). The family had been neighbors of Albrecht Dürer the Elder (1486) in the neighborhood “unter der Vesten.” Hans was a self-made man, becoming a financier and taking Bern citizenship, who had financial dealings with the French court. Recounts his marriage to and abandonment of Pirckheimer’s daughter, the widowed Felicitas Pirckheimer Imhoff, who died soon afterward (1530), and Pirckheimer’s contempt for him (“meer ein Jud da ein Christ…”), both as a sonin-law and as a usurer. Dürer’s portrait was done before the marriage, when Kleeberger appeared to be a wealthy, up-and-coming young man, and Rebel notes that he commissioned three actual medals in 1526, probably designed by Dürer. Pliny conveys the information that portraits of prominent ancient Romans were done on round shields (the imago clipeata), which were displayed on the wall during the sitters’ lifetimes.
Опять "древние" римляне засветились.
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