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(2) Paul Juvenel I
(b Nuremberg, bapt 22 Dec 1579; d Pozsony, Hungary [now Bratislava, Slovakia], 1643). Son of (1) Nicolas Juvenel I. He trained with his father, sharing his interest in perspective and in architectural views. Among his earliest works is a drawing of the walls of Mantua (Berlin, Kupferstichkab.) that he executed on a trip to Italy some time before 1613. Like many painters in Nuremberg, Juvenel received commissions to copy and to restore works by Albrecht Dürer. In 1607 Archduke Maximilian I of Bavaria ordered Frederik van Valckenborch and Juvenel to replicate Dürer’s Assumption of the Virgin and her Coronation by the Holy Trinity (destr. 1729), the central panel of the altar of St Thomas, donated by Jakob Heller (c. 1460–1522), then in the Dominikanerkirche (destr. 1944) in Frankfurt am Main; their copy is untraced. Juvenel executed four paintings (Bamberg, Obere Pfarrkirche) after scenes from Dürer’s series of woodcuts of the Life of the Virgin. His Presentation in the Temple (1611; Gdansk, N. Mus.) reveals the influence of Adam Elsheimer and Paul Bril, whose pictures he probably saw in Rome. In 1613 and 1614 Juvenel, Georg Gärtner, Jobst Harrich ( fl 1580–1617) and Gabriel Weyer were commissioned by the Nuremberg City Council to restore the paintings in the great hall of the Rathaus. This extensive ensemble, which included mural paintings of the Triumphal Procession of Emperor Maximilian I, the Calumny of Apelles and the Power of Women, had been designed by Dürer and painted c. 1521–2 by Georg Pencz, Hans Springinklee, and perhaps Hans Süss von Kulmbach. Before embarking on the restoration programme, Juvenel painted a view of the hall for the city architect, Wolf Jakob Stromer. Not only is this small picture (Nuremberg, Ger. Nmus.) the oldest depiction of the great hall, but it also shows how it appeared before the destruction in 1619 of the west end of the room.
Part of the Juvenel family
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