Metzger goes even further in bringing in Hans Baldung Grien, who was an apprentice at the time Dürer came back from Venice. On stylistic grounds Metzger proposes, that Baldung finished the painting, specifically the heads in the background including the one with the black hat looking into a book. In 1926 Baldass noticed that the panel was enlarged by a lath patched onto the upper edge, so the heads at the top on the left and the one on the far right could have been later additions. But this was believed to be an esthetic decision of the Baroque era or even later. Bialostocki, p. 18, citing Ludwig Baldass (1926), "Betrachtungen zum Werke des Hieronymus Bosch", Jahrbuch der Kunsthist. Sammlungen (in German), Vienna: A. Schroll, p. 120, doi:10.11588/diglit.68539.14. Bialostocki himself "suppose[d] that Dürer's picture remained in Venice in the sixteenth century." Bialostocki, p. 30.
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objektkatalog.gnm.de
For a proper (not downloadable) reproduction see online catalog Hz5481 of the Germanische Nationalmuseum.
Neville Rowley (2019), "Als Bellini Mantegna abpauste. Zwei Versionen der Darbringung im Tempel", in Caroline Campbell; Dagmar Korbacher; Neville Rowley; Sarah Vowles (eds.), Mantegna & Bellini. Meister der Renaissance (in German), London, Berlin, München: National Gallery of Art, Gemäldegalerie, Staatliche Museen zu Berlin, Hirmer, pp. 140–147 (An English edit on was published.) A variation of the text in German and English was published in the museum's online catalogue.
