CORNELL UNIVERSITY LIBRARIES ITHACA, N. Y, 14583 Fine Arts Library Sibley Hall GAYLORD Cornell University Library NE 654.H72H66 “Wii il his Old Testame NIN fine LISKAB OANEX PRINTEOINU.S.A. GREAT ENGRAVERS : EDITED BY ARTHUR M. HIND PLOUGHMAN Dance of Death, 38 HANS HOLBEIN THE YOUNGER HIS OLD TESTAMENT ILLUSTRATIONS DANCE OF DEATH AND OTHER WOODCUTS WILLIAM HEINEMANN LONDON L912 dS. a yr SS ng Te Se AAbousy HANS HOLBEIN THE YOUNGER Son of Hans Holbein the elder, who was an excellent painter, and remarkable for his portrait drawings in silver-point: b. 1497, at Augsburg; left Augsburg about 1513-1514 with his elder brother Ambrosius Holbein; settled in Basle, 1515, as pupil of Hans Herbster; worked at Lucerne between 1517-1519, being commissioned to decorate the house of Jakob von Hertenstein : the influence of Lombard portraiture on his painting suggests a probable visit to Italy about 1518; returned to Basle and became Master of the Guild in 1519, probably taking over the studio of his brother Ambrosius, of whom there is no record after 1518; did much designing for glass painting about this date, also decorative paintings (of which practically nothing remains) for the Council Chamber in the Rathaus, 1521-1522; the earliest of his designs for woodcut illustrations date about 1519; the famous portraits of Erasmus, who was then living at Basle, painted at this period (e.g., the pictures at Basle and Paris) ; visited France 1524, where acquaintance with chalk drawings of the Clouet school may have helped to form the later style of his portrait drawings; in 1526 travelled in the Netherlands, and settled for a time at Antwerp; paid his first visit to England, 1527, being introduced by Erasmus to Sir Thomas More, his earliest English patron; returned to Basle 1528, and in 1529 was again working for Basle pub- lishers, designing illustrations for Sebastian Munster’s “ Cosmography ” (published 1534); Elizabeth Schmid, whom he had married about 1520 (portrayed with her two children in a picture of about 1528-9 at Basle), remained throughout Holbein’s life at Basle ; Holbein again in England 1532, doing the famous picture of the Ambassadors (National Gallery) about this time; entered the Royal service about 1536, being given apartments in Whitehall, perhaps over the gate called after him, “Holbein’s Gate”; en- gaged on wall decoration in the palace, and is said to have painted a Dance of Death (but all his work GREAT ENGRAVERS here was destroyed in the fire of 1698); the won- derful series of chalk drawings of famous personages at the court of Henry VIII (chiefly preserved at Windsor, others at British Museum, &c.) done at about this period; also reached the zenith of his power as a portrait painter, showing an unsurpassed mastery and reserve in naturalistic portrait ; undertook various commissions abroad for the King, in Brussels, Bur- gundy, Cleves, &c., 1538-1539, painting eligible con- sorts for his royal master, i.e., the Duchess of Milan and Anne of Cleves; d. in London, 1543, leaving unfinished the picture still preserved in the Barber- Surgeons’ Hall. H sicsin Images of the Old Testament,* as they were called in the English edition of 1549, are the most wonder- ful series of illustration to the Bible in existence. Even outside the more limited sphere of book illustration they have practically no rivals, except the scriptural prints of Direr and Rembrandt. Inspiration is so much more often found in separate works than in aseries, that it is all the more remarkable to see so higha level of artistic power preserved throughout the ninety-one uniform cuts that make up Holbein’s Old Testament. In some respects Holbein’s genius: is pedestrian in relation to the great masters I have mentioned. He has neither Durer’s intellect nor Rembrandt’s passion and penetrative insight. But he is more purely the painter than either of them. He depicts nature from the outside with an unerring vision, His eye for the facts of life and the details of physiognomy is so true, that the heart of things is communicated even when it may have escaped his own understanding. It is this ungarnished truth to life, rather than any interpretative insight, that chiefly characterises Holbein’s woodcuts. In some ways it is not a matter for regret that he did not continue his illustrations to the New Testament, which had already found a perfect inter- preter in Diirer. Holbein’s simpler genius was more adapted to the heroic narratives of Jewish history, akin to Homer in their direct and naive appeal. In his second great series, the Dance of Death, one might have * The title of the first edition of 1538 was Historiarum Veteris Instru- menti Icones ad vivum expresse, Instrumenti being changed to Testamenti in the second and later issues. 6 HANS HOLBEIN expected that success would only be achieved by an artist of the highest imaginative power. But even here the directness of his out- look on life lends a vigour to his presentation which a more = subtly imaginative rendering might have lost. The subject of the Danse Macabre* was typically eee and Holbein’s treatment of the theme still partakes of the simple: medieval spirit. ‘The conventional skeleton is made a thoroughly living, and almost sympathetic figure, and terrible, less in himself than in the occasional fear he inspires in his victims. But Holbein often leaves terror on one side, and attempts no more than some common incident from daily life, in which Death plays his part unrecognised by the actors, and only lends a pathos to the scene in the spectator’s eyes. Death was never so present in life as in the adventurous times of the later Middle Ages in Europe, and it was natural that popular poems and miracle plays should have been composed to fire the popular imagination, through fear of sudden death, to right living and religious devotion. The thirteenth century poem of the Three Dead and the Three Living (wherein the three living are accosted by the spectres with the words ‘“‘ What you are, that were we ; what we are, that you will be”), and Petrarch’s Triumph of Death are other examples analogous to the miracle plays. It was these miracle plays which must have inspired the numerous series of paintings of the Dance of Death in cloister and church,t and found their final and most typical illustration in Holbein’s wonderful cuts. In this Dance of Death,{ which was first published by the brothers Trechsel of Lyons in the same year as the Old Testament Illustra- tions, there is no mention of Holbein as the author. The dedicatory * The origin of this title, popularly connected with a mythical poet Macaber, is obscure. It is probably the French rendering of the medieval Latin Chorea Machabaorum. In this dance, of which there is mention in the fifteenth century, the characters apparently fell out one by one as Death appeared, and from its title it is likely that the seven Maccabees played the chief réles. See Grimm, Deutsche Mythohgie, 1835, p. 495, and Du Cange, Glossarium mediae Latinitatis, IV (1845). Douce less plausibly suggests derivation from Macairus, the hermit traditionally con- nected with the story of the Three Dead and the Three Living (see Vasari, on Orcagna and the fresco at Pisa). +t E.g., Klingenthalkloster, Basle (14th century), Predigerkloster, Basle, Paris (Cloister of the Innocents), Old St. Paul’s, London (15th century). ft First issued with the title Les Simudlachres et historices faces de la Mort ; later as Les Images de la Mort, Imagines or Icones Mortis, etc. 7 GREAT ENGRAVERS epistle by Jean de Vauzelle regrets the death of “celuy qui nous en a icy imaginé si élégantes figures,” which could only refer to Hans Lutzelburger the woodcutter, who died in 1526. Why Holbein’s name appears in no edition of this series is a question that has been variously answered. Probably Woltmann is right in suggesting that the authorship needed to be veiled and the book dedicated to an abbess to secure it from the censor in view of its pronounced pro- testant and satirical tendencies. In any case in spite of the editor’s words, Hans Liitzelburger, whose signature appears on the cut of the Duchess (36), can only be regarded as the cutter of the designs. Apart from tradition, absolute proof is furnished by the presence of the first four cuts of the Dance of Death in the separate issues of the Old Testament Illustrations, ‘The latter series was also published anonymously on its first issue, but in the second and following issues (1539, &c.), verses are added in praise of Holbein, as well as a distich by Nicolas Bourbon de Vandceuvre directly attributing the authorship. Both series must have been designed and, to a large extent, cut in the three or four years preceding Litzelburger’s death in 1526. A set of contemporary drawings copied from twenty-three cuts of the Dance of Death, now preserved in Berlin, is dated 1527. From the preface to the Dance of Death it would appear that Hans Liitzelburger had left various blocks with the designs traced upon them ready for cutting, but that the publishers had hitherto failed to find a successor worthy of completing the work. We may assume, in consequence, that the first edition of 1538 was throughout cut by Litzelburger. It was only for the editions of 1545 and 1562 that the other blocks were completed. In regard to the Old Testament Illustrations we have no such guide as to which of the cuts are by Liitzelburger, for the series was already complete in the first edition, and the set of early proofs belonging to the Basle Museum also shows the complete series. But there is no difficulty in distinguishing the crudeness of such blocks as the Zechariah (90) and the Joe/ (86) from the genius for cutting shown in others like the Destruction of Pharaoh’s Host (13), with its wonderfully subtle rendering of multitudes and aerial perspective on sosmall a scale. Many of the earlier cuts are almost as broad in their lineal character as the Zechariah, but the Hannah and Elkanah (33) is enough to show the distinction in expressive power. Probably Holbein supplied designs which were to be followed line by line by his cutter—and in general cutters are forgotten as mere efficient craftsmen ; but in this case the work of reproduction is so superlative, not only in its perfect delicacy but in its revelation of subtle varieties HANS HOLBEIN of tone and expression achieved with the fewest lines, that we must always think of the work as the most perfect collaboration of two artists of genius. From the technical point of view it is interesting to compare the copies of the Dance of Death engraved on wood by Thomas Bewick, almost entirely in his white-line method, and published under the title Emblems of Mortality, London, 1789. Litzelburger, like nearly all the early cutters, worked in the negative method, clearing away all the wood on the white portions of the design, leaving the lines in relief to print black. Bewick found that the most direct method for the wood-engraver was to treat the surface of the block as a black ground, and to engrave * the lines of the design into this to print white, the ink being, of course, printed from the surface, not pulled out of the incised lines as in line-engraving and etching. The com- parison of Bewick’s very pedestrian work serves also to show the perfection of expressive and subtle line attained by Holbein and his original translator. The Dance of Death is known in five complete sets of proofs with German titles, evidently printed at Basle, and now preserved in Paris, Carlsruhe, Basle, Berlin, andthe British Museum. They are printed in much blacker ink than the Lyons editions, and included everything of the first Lyons edition except the Astronomer, On the other hand, only one set of proofs of the Old Testament I[|lustrations is known— that preserved at Basle. Each series was first published by the brothers Trechsel t in small quarto form, with one cut on each page ; but the later editions of the Dance of Death (though practically no smaller in form) are in octavo, They both went through a large number of editions in the twenty years or so succeeding first publication. The complete set of designs for the Dance of Death did not appear, as we have already indicated, before the edition of 1562, but the supplementary cuts in both the 1545 and 1562 issues were partly subjects alien to the main thesis, Perhaps Holbein may have originally intended these gambols and triumphs of children to form a part of his scheme in a sort of symbolic reference to the young life that has no thought of death. Each subject had a verse from Scripture at its head, and a French quatrain by Gilles Corozet at the foot, the latter being translated * Using the durin (the same tool as the line-engraver’s) not the Anife of the early cutters. { The succeeding editions by the brothers Frellon. GREAT ENGRAVERS for the Latin edition by Luther’s brother-in-law, George Oemmel (Aemilius). , Apart from the small quarto editions, the Old Testament cuts appeared in various folio Bibles issued by Trechsel and Frellon at Lyons (1538, 1544, and 1551). In Holbein’s treatment of the different subjects there must of course have been a considerable element of convention, and a large number were directly suggested by the attractive little Venetian cuts of the Malermi Bible of 1490, which in its turn had drawn freely from the Cologne Bible of 1480. But Holbein’s work so far surpasses _ anything in the Malermi Bible, turning shorthand symbols into real life, that it has established a permanent appeal to the popular imagination while the other remains the more exclusive delight of the antiquarian. I have not attempted to give a complete list of Holbein’s cuts out- side the two famous series. Since Woltmann’s book (which is still the standard catalogue of Holbein’s work) research has brought many other illustrations into relation with Holbein. All I will do here is to refer the student to the most recent literature, and to give a few representative illustrations. The small woodcut Initials with the Dance of Death, which was issued with Liitzelburger’s name attached, is a tour de force in. its perfect precision of cutting and in the wonderful adaptation of these designs in so small a compass.* The Initials with Illustrations to the Old Testament t are somewhat larger, but hardly equal in merit to the former set. Both are known in proof impressions, and were used in numerous books pzinted at Basle. The Portrait of Erasmus isa masterpiece of portraiture in woodcut, as well as one of the most perfect examples of Renaissance decorative art. Dibdint states that the second state was issued as frontispiece to Erasmus’s collected works (Basle, 1540), but Woltmann was unable to authenticate this. Its plastic qualities would render it a perfect design for a sculpture monument. In England Holbein was too occupied with his larger works to devote much time to book illustration. The English cutters were far inferior to Liitzelburger and his Basle contemporaries, but the two examples given from Cranmer’s “Catechism” of 1548, as well as another, the Christ as the Good Shepherd in a “Little Treatise” by Urbanus Rhegius (also published by W. Lynne in 1548), show that even cruder cutting failed to impair Holbein’s vivid and expressive touch. * Each initial 25 mm. square ; reduced in our illustrations. } Each initial 44 mm. square. ft Decameron, i. p. 236. 10 BOOKS OF REFERENCE Disoin, T. F. Bibliographical Decameron. London 1817. (Vol. I, p. 33, etc). Doucs, F. The Dance of Death exhibited in elegant engravings on wood ; with a dissertation on the several representations of that subject, but more particularly those ascribed to Macaber and Hans Holbein. London 1833 Rumour, C. F. von, Hans Holbein der jiingere in seinem Verhiltniss zum deutschen Formschnittwesen. Leipzig 1836 Massmann, H. F. Literatur der Totentinze. Leipzig 1840 Passavant, J. D. Peintre-graveur. Vol. III (1862), p. 353 Woxtmann, Alfred, Holbein und seine Zeit. 2 vols. Leipzig 1866-68. 2nd Ed., 1874-76. (This still remains the standard work on Holbein. Tt contains a catalogue of his woodcut work) Wornvum, R. N. Some account of the life and works of Hans Holbein, painter of Augsburg. London 1867 His, E. Hans Litzelburger le graveur des simulacres de la mort d’Holbein. Gazette des Beaux Arts, 2° pér. IV (1871), 481 Vécrtin, S. Ergainzungen und Nachweisungen zum Holzschnittwerk Hans Holbeins des jiingeren. Repertorium fur Kunstwissenschaft, 11 (1877) 162, 312, V. 179 Loca, V. von. Der Triumph des Jacobus Castricus. Jahrbuch der Preuss. Kunstsammlungen, XV (1894), 58 Gorrtt, A. Holbein’s Totentanz und seine Vorbilder. Strassburg 1897 Scumipt, H. A. Holbein’s Thiatigkeit fiir die Baseler Verleger. Jahrbuch der Preuss, Kunstsammlungen, XX, 233 Scunegeui, G., and Heirz, P. Initialen von Holbein. Strassburg 1900 Daviss, Gerald S. Hans Holbein the younger. London 1903 Dopcson, Campell. Neues tiber Holbein’s Metallschnitte zum Vaterunser. Mitteilungen der Gesellsch. fiir vervielfaltig. Kunst. 1903, p. 1, and 1905, p. 10 Das Holzschnitt portrat von N. Borbonius. Mitteilungen, 1908, p. 37 Korcter, Hans. Erganzungen zum Holzschnittwerk des Hans und Ambrosius Holbein. Jahrbuch der Preuss. Kunstsamml. XXVIII (1907). Beiheft, « 85s Hea: Holbein’s Holzschnitte fiir Sebastian Miinster’s “Instrument iiber die zwei Lichter” (Basel 1534). Jahrbuch, XXXI, 254. Kleine Beitrige. Monatshefie fir Kunstwissenschaft IV (1911), 389 Major, E, Basler Horologien bicher mit Holzschnitten von Hans Holbein. Monatshefte, IV (1911), 77 Ganz, Paul. Hans Holbein. Stuttgart 1911 (Klassiker der Kunst). Contains a complete reproduction of Holbein’s paintings Die Handzeichnungen Hans Holbeins des jiingeren. Berlin Ig, etc. Il LIST OF PLATES The Frontispiece is No. 38 from the Dance of Death. ‘OLD TESTAMENT CUTS The order of the original publication, that of the Vulgate, is preserved. The cuts are reproduced complete with the exception of seven purely decorative subjects of little artistic interest. 1. The Fall. Genesis, iii. TAis cut does not occur in the separately printed series of the cuts, but occurs in several of the editions of the Old Testament published at Basle (e.g. Trechel, 1538, and Frellon, 1551). Its place was regularly taken in the series by the first four subjects of the Dance of Death. : 2. Noah’s Ark. Genesis, vii 3. The Building of the Tower of Babel. Genesis, xi 4. Abraham and the Three Angels. Genesis, xvili 5. Abraham’s Sacrifice. xxii 6. Isaac Blessing Jacob. Genesis, xxvii 7. Joseph in the Pit. XXXVil 8. Pharaoh’s Dreams. Genesis, xli g. Jacob Blessing Ephraim and Manasseh. Genesis, xlviii 10. The Burial of Joseph. Exodus, i 11. Moses and the Burning Bush. Exodus, ili 12. Moses and Aaron before Pharaoh. Exodus, v 13. The Destruction of Pharaoh’s Host. Exodus, xiv and xv 14. The Gathering of the Manna. Exodus, xvi 15. Moses on Mount Sinai. Exodus, xix 17. Moses Receiving the Tables of the Law. Exodus, xxxiv 12 Genesis, Genesis, 18. Moses Receiving God’s Law of the Burnt Offerings. Leviticus, i 19. Moses Receiving God’s Law of the Consecration of Priests. Levi- ticus, viii 20. Nadab and Abihu, for Offering Strange Sacrifices, are Burnt by Fire. Leviticus, x 21. Moses Receiving God’s Law of the Harvest and Gleanings. Levi- ticus, xix 22. Mosés and Aaron Numbering the People. Numbers, i 24. The Destruction of Korah and his Followers. Numbers, xvi 25. The Brazen Serpent. Numbers, xxi 26. Moses and the Midianite Wo- men and Children. Numbers, XXxi 27. Moses Addressing the People of Israel. Deuteronomy, 1 28. Moses Exhorting the People to Obedience. Deuteronomy, iv 29. Moses Addressing the Levites. Deuteronomy, xviii 30. Joshua and the Kings that he had Smitten. Joshua, xii 31. Adoni-Bezek Mutilated. Judges, i 32. Ruth Gleaning in the Fields of Boaz. Ruth, ii 33. Hannah and Elkanah., 1 Sam- uel, i 34. Samuel Samuel, x Anointing Saul. I 35. David and Goliath. xvii 36. David Hearing of the Philistines Fighting Against Keilah, 1 Samuel, xxiii 37. David Hearing of Saul’s Death. 2 Samuel, i 38. David Subduing His Enemies. 2 Samuel, viii 39. David and Uriah. 2 Samuel, xi 40. Nathan before David. 2 Samuel, xu 41. David and the Woman of Tekoah. 2 Samuel, xiv 42. The Murder of Amasa, 2 Samuel, xx 43- David and Abishag. 1 Kings, i 44. Hiram’s Messenger before Solo- mon. I Kings, v 45. The Prophet Ahijah and Jero- boam’s Wife. 1 Kings, xiv 46. Elijah’s Sacrifice. 1 Kings, xviii 47. The Children Mocking Elisha. 2 Kings, ii 48. Jehoiada, the manding Athaliah’s Kings, xi 49. Ahaz’s Offering. 2 Kings, xvi 50. Josiah Causing the Book of the Law to be Read in a Solemn As- sembly. 2 Kings, xxiii 51. Rehearsing the Genealogy of Israel. 1 Chronicles, i 52. Saul’s Head and Armour Brought into the Temple of the Philis- tines. 1 Chronicles, x 53. The Levites Playing Before the Ark. 1 Chronicles, xvi 54. Solomon’s Prayer. 2 Chroni- cles, i 55. Solomon Blesses the People. 2 Chronicles, vi t Samuel, Priest, Com- Death. 2 HANS HOLBEIN 56. Shishak Carrying Away the Treasures of the Temple. 2 Chronicles, xii 57. The Destruction of Sen- nacherib’s Host. 2 Chronicles, xxxil 58. The Return of the Jews from Captivity. Ezra, i 59. Nehemiah’s Prayer. miah, i 60. Josiah Keeps the Passover. Apocrypha: 1 Esdras, i (also 2 Chronicles, xxxv) 61. The Blindness of Tobit. crypha : Tobit, i and ii 62. Job in his Mourning Blesses God. Job, i 63. Job and Eliphaz. Job. xv 64. God Answers Job. Job, xxxviii and xlii 65. Esther Before Ahasuerus. Esther, i and il 66. Judith Sets Forth From the City. Apocrypha: Judith, x 67. Judith with the Head of Holo- fernes. Apocrypha: Judith, xiii 68. David Writing the Psalms. Psalms, i 69. The Fool. Psalms, liii , 70. The Lord said unto my Lord, Sit thou at my right hand. Psalms, cx 71. The Lovers. Song of Solomon, i 72. Isaiah Lamenting over Jerusa- lem. Isaiah, i 73. Isaiah and the Vision of the Lord. Isaiah, vi 75. Ezekiel’s Vision. Ezekiel, i 79. The Fiery Furnace. Daniel, iii (and Apocrypha: The Song of the Three Holy Children) 80. Daniel’s Vision of the Four Beasts. Daniel, vii 81. Gabriel Interprets the Vision of 13 Nehe- Apo- GREAT ENGRAVERS the Ram and the Goat. Daniel, Vill 83. Daniel, Susanna and the Elders. Apocrypha: Susanna 84. Daniel in the Lion’s Den. (Daniel, vi, and Apocrypha: Bel and the Dragon) 85. Hosea and his Wife. Hosea, i 86. Joel. Joel, i 87. Amos Teaching. Amos, i 88. Jonah and Nineveh. Jonah, i, ii and iii 89. Habakkuk about to take Dinner to the Reapers, is commanded by the Angel to carry it to Daniel. Aprocrypha: Bel and the Dragon, 33, 34 vats go. Zechariah. Zechariah, i gi. The Vision of the Horseman over Jerusalem. 2 Maccabees, v DANCE OF DEATH The order followed is that of the edition of 1562. The reproductions are numbered according to this order, but their arrangement on the plates after No. 44 has been slightly altered to bring kindred subjects together. In the original book only one cut occurs on each page. The first edition of 1538 (probably Liitzelburger’s work in its entirety) contained Nos. 1-39 and 56 and 57. To the edition of 1545 were added Nos. 40-45, and 48- 53, and to that of 1562 Nos. 46, 47, 54, 55 and 58. 1. The Creation 2. The Fall 3. Adam and Eve driven from the Garden of Eden 4. Adam Tilling the Ground 5. The Trumpeters of Death 6. Pope 7. Emperor 8. King g. Cardinal. 10. Empress 11. Queen 12. Bishop 13. Duke 14. Abbot 15. Abbess 16, Nobleman 17. Canon 18. Judge 19. Advocate 20. Councillor 21. Preacher 22. Pastor 23. Monk 24. Nun 25. Old Woman 26. Doctor 27. Astronomer 28. Miser 29. Merchant 30. Sailor 31. Knight 32. Earl 33. Old Man 34. Countess 35. Noblewoman 36. Duchess 37. Pedlar 38. Ploughman. Frontispiece 39. Child 40. Soldier 41. Robber 42. Drinkers 43- Fool 44. Gamblers : 45. Children’s Triumph: TheVictor 46. Young Wife 47. Young Husband 48. Children’s Triumph: The Standard-bearer 49. Blind Man 50. Carter 51. Sick Beggar 52. Child with Shield and Arrow HANS HOLBEIN 53. Children, one carrying a Hare 54. Children with Grapes and Vine Leaves 55. Children with a Suit of Armour 56. The Last Judgement 57. The Coat of Arms of Death 58. Children with Trumpets and Drum MISCELLANEOUS CUTS 1. St. Paul. From the New Testa- ment in Greek, Basle (T. Platter), 1540. Woltmann, 192 Two cuts from Cranmer’s Catechism. London (W. Lynne) 1548. Wolt- mann, 198 and 199 2. The Pharisee and the Publican . 6) 3. Christ Healing the Man Possessed of a Devil (p. 102) 4. Portrait of Erasmus. Woltmann, 206. Second state. The first state hadan inscription of two lines only. 5. Title-page Border to the German New ‘Testament, Basle (Adam Petri), 1522-3. Woltmann, 215 6. The Alphabet with the Dance of of Death. Woltmann,252. @ The Trumpeters of Death. 4 Pope. ¢ Emperor. @ King. e Cardinal. J Empress. g Queen. 4 Bishop. i Duke. & Earl. /Canon, m Doctor. ma Rich man. o Monk. @ Soldier. gNun. rFool. sMaid. ¢Drunkard. v Rider. w Hermit. « Gamblers. y Infant. z Last Judgement. The title-page border was first used in Breve Leonis X ad Erasmum. Basle 1515. Woltmann, 234. The decorative piece at the back of the title-page is the printer’s mark of R. Wolfe, London, Woltmann, 249. 15 OLD TESTAMENT CUTS 1. THE FALL. Genesis, iii This cut does not occur in the separately printed series of the cuts, but occurs in several of the editions of the Old Testament published at Basle (e.g., Trechsel, 1538, and Frellon, 1551) z. NOAH’S ARK. Genesis, vii H OLD TESTAMENT CUTS 3. THE BUILDING OF THE TOWER OF BABEL. Genesis, xi 4. ABRAHAM AND THE THREE ANGELS. Genesis, xviii OLD TESTAMENT CUTS 5. ABRAHAM’S SACRIFICE. Genesis, xxii 6. ISAAC BLESSING JACOB. Genesis, xxvii than + of 2 el as SF get oP ROeES SS re wat ae Ms ( ; z Alt! Ee rs . WY \ ow) P — La } ‘ ee , / he \ i 9 . urAnet, |} : i q (/ P h A yg P| i] a8 My _—— CS AD 7X Hy Z tj . ap | \ I} 9 ///) i) 4 M SA Kim ii, i = Y he 9 y U Ig SE A ee” it J} hg jj ) a | ft j [ete Sf ; $ ya 3 i ' 4 4 ie , tis A \y yy A ~ ae | di WY | Be sanel 2 Ny Y vy! : t ( i eb Wi i \] 6 = Hi, y +H) “wih i‘ c , Ps \ AE | ; ’ f Ci" tem, SH) UP eee mt NY Y\ aa = as Aa) 7 i ae Nass dar POT) ee: es OLD TESTAMENT CUTS 7. JOSEPH IN THE PIT. Genesis, xxxvii 8. PHARAOH’S DREAMS. Genesis, xli mab eh ko mz aa IZ OLD TESTAMENT CUTS 9. JACOB BLESSING EPHRAIM AND MANASSEH. Genesis, xlviii 1o. THE BURIAL OF JOSEPH. Exodus, i OLD TESTAMENT CUTS 11. MOSES AND THE BURNING BUSH. Exodus, iii 12, MOSES AND AARON BEFORE PHARAOH. Exodus, v OLD TESTAMENT CUTS 13. THE DESTRUCTION OF PHARAOH’S HOST. Exodus, xiv and xv 14. THE GATHERING OF THE MANNA. Exodus, xvi OLD TESTAMENT CUTS 15. MOSES ON MOUNT SINAI. Exodus, xix 17, MOSES RECEIVING THE TABLES OF THE LAW. Exodus, xxxiv PR ee SN UY BEE ae SEF WG? TY a YEOOE ~-- 5 —— fie IP LE Zip SSae OS OLD TESTAMENT CUTS 18. MOSES RECEIVING GOD’S LAWOF THE BURNT OFFERINGS. , Leviticus, i 19. MOSES RECEIVING GOD’S LAW OF THE CONSECRATION OF PRIESTS. Leviticus, viii OLD TESTAMENT CUTS 20. NADAB AND ABIHU, FOR OFFERING STRANGE SACRIFICES, ARE BURNT BY FIRE. Leviticus, x 21. MOSES RECEIVING GOD’S LAW OF THE HARVEST AND GLEANINGS. Leviticus, xix OLD TESTAMENT CUTS : 22. MOSES AND AARON NUMBERING THE PEOPLE. Numbers,i,- 24. THE DESTRUCTION OF KORAH AND HIS FOLLOWERS. . Numbers, xvi. TL / SeCCT ROE iy AU ‘ TlsZy VT eT aay y ( ees Wi Fy \ . sap CRY he AU fast OLD TESTAMENT CUTS 25. THE BRAZEN SERPENT. Numbers, xxi 26. MOSES AND THE MIDIANITE WOMEN AND CHILDREN. Numbers, xxxi SA gl ea, CW SSO WGC : 3) x ry Hh OLD TESTAMENT CUTS 27. MOSES ADDRESSING THE PEOPLE OF ISRAEL. Denceroncmy 28. MOSES EXHORTING THE PEOPLE TO OBEDIENCE. Deutero- nomy, iv an PL Beak aa CY OLD TESTAMENT CUTS 29. MOSES ADDRESSING THE LEVITES. Deuteronomy, xviii 30. JOSHUA AND THE KINGS THAT HE HAD SMITTEN. _ Joshua, xii OLD TESTAMENT CUTS 31. ADONI-BEZEK MUTILATED. Judges, i 32. RUTH GLEANING IN THE FIELDS OF BOAZ. Ruth, ii OLD TESTAMENT CUTS 33. HANNAH AND ELKANAH. 1 Samuel, i 34. SAMUEL ANOINTING SAUL. 1 Samuel, x OLD TESTAMENT CUTS 35. DAVID AND GOLIATH. 1 Samuel, xvii 36. DAVID HEARING OF THE PHILISTINES FIGHTING AGAINST KEILAH. 1 Samuel, xxiii Naveen nc AN cM H OLD TESTAMENT CUTS 37. DAVID HEARING OF SAUL’S DEATH. 2 Samuel, i 38. DAVID SUBDUING HIS ENEMIES. 2 Samuel, viii OLD TESTAMENT CUTS 39. DAVID AND URIAH. 2 Samuel, xi 40, NATHAN BEFORE DAVID. 2 Samuel, xii OLD TESTAMENT CUTS 41 DAVID AND THE WOMAN OF TEKOAH. 42. THE MURDER OF AMASA, 2 Samuel, xx 2 Samuel, xiv Se age io) OLD TESTAMENT CUTS 43. DAVID AND ABISHAG. 1 Kings, i 44. HIRAM’S MESSENGER BEFORE SOLOMON. 1 Kings, v .. \Y N\\Y wae LES OLD TESTAMENT CUTS 4s. THE PROPHET AHIJAH AND JEROBOAM’S WIFE. 1 Kings, xiv 46. ELIJAH’S SACRIFICE. 1 Kings, xviii (ime eee aT mee ee Mh Ki i| WH WE PCr am Re aed yA 4 3 ii ua HH Mh 7. NEA Ay } y { PX. Fe A i, SW NN $ eT) MA y \\ ‘ = S = » ee ioe f | = XN 4 \ | r MV fe SS a) x \ ) OLD TESTAMENT CUTS 47. THE CHILDREN MOCKING ELISHA. 2 Kings, ii 48. JEHOIADA, THE PRIEST, COMMANDING ATHALIAH’S DEATH. 2 Kings, xi OLD TESTAMENT CUTS 49. AHAZ’S OFFERING. 2 Kings, xvi 50. JOSIAH CAUSING THE BOOK OF THE LAW TO BE READ IN A SOLEMN ASSEMBLY. 2 Kings, xxiii A . . TS LE A f\\\ " fl ito’ H yt Yep ! (al uy OA A rf My yyw OLD TESTAMENT CUTS 51. REHEARSING THE GENEALOGY OF ISRAEL. 1 Chronicles, i 52, SAUL’S HEAD AND ARMOUR BROUGHT INTO THE TEMPLE OF THE PHILISTINES. 1 Chronicles, x H 4 OLD TESTAMENT CUTS 53. THE LEVITES PLAYING BEFORE THE ARK. 1 Chronicles, xvi 54. SOLOMON’S PRAYER. 2 Chronicles, i Ee mo at if ere Bs Z oy Fr E —<—<—< MLL A 13 OLD TESTAMENT CUTS 55. SOLOMON BLESSES THE PEOPLE. 2 Chronicles, vi 56. SHISHAK CARRYING AWAY THE TREASURES OF THE TEMPLE, 2 Chronicles, xii ad a (LEZ VILLE we en. SE a 1 OLD TESTAMENT CUTS 57. THE DESTRUCTION OF SENNACHERIB’S HOST. 2 Chronicles, XXXxii 58. THE RETURN OF THE JEWS FROM CAPTIVITY. Ezra, i OLD TESTAMENT CUTS 59. NEHEMIAH’S PRAYER. Nehemiah, i 60. JOSIAH KEEPS THE PASSOVER. Apocrypha: 1 Esdras, i (also 2 Chronicles, xxxv) OLD TESTAMENT CUTS 61. THE BLINDNESS OF TOBIT. Apocrypha: Tobit, i and ii 62. JOB IN HIS MOURNING BLESSES GOD. Job, i en FM ; ed Z SS - uate a> aan SSS SSM ee “WK OLD TESTAMENT CUTS 63. JOB AND ELIPHAZ. Job, xv 64. GOD ANSWERS JOB. Job, xxxviii and xii OLD 'TESTAMENT CUTS 65. ESTHER BEFORE AHASUERUS. Esther, i and ii 66. JUDITH SETS FORTH FROM THE CITY. Apocrypha: Judith, x OLD TESTAMENT CUTS 67. JUDITH WITH THE HEAD OF HOLOFERNES. Apocrypha Judith, xiii 68. DAVID WRITING THE PSALMS. Psalms, i En ere Ws eR A lt ae {Vs ‘ Ny \\ Ky \ wi {iy \ hay Pee SSNS TS SEew . . a i = rrr EMAL H OLD TESTAMENT CUTS 69. THE FOOL. Psalms, liii 70. THE LORD SAID UNTO MY LORD, SIT THOU AT RIGHT HAND. Psalms, cx OLD TESTAMENT CUTS 71. THE LOVERS. Song of Solomon, i 72. ISAIAH LAMENTING OVER JERUSALEM. | Isaiah, i 3 ie OLD TESTAMENT CUTS 73. ISAIAH AND THE VISION OF THE LORD. Isaiah, vi 75. EZEKIEL’S VISION. Ezekiel, i OLD TESTAMENT CUTS 79. THE FIERY FURNACE. Daniel, iii (and Apocrypha: The Song of the Three Holy Children) 8c, DANIEL’S VISION OF THE FOUR BEASTS. Daniel, vii Y)§ SA en = na SE k Fae de — * AN a Ga if SEA S EAE eee AR See Fe = ; UY gf jp — OLD TESTAMENT CUTS 81. GABRIEL INTERPRETS THE VISION OF THE RAM AND THE GOAT. Daniel, viii 83. DANIEL, SUSANNA AND THE ELDERS. Apocrypha: Susanna OLD TESTAMENT CUTS 84. DANIEL IN THE LION’S DEN. (Daniel, vi, and Apocrypha : and the Dragon) 85. HOSEA AND HIS WIFE. Hosea, i \\ AVN \\\\\ Sass WRN AS \ ~ Ary \ Wy : <\\\ A \\. RS Y\ ii wi I WA \ 4 oe 1) \ DSA \) f- M's SH, KY < OLD TESTAMENT CUTS 86. JOEL. Joel, i 87. AMOS TEACHING. Amos, i OLD TESTAMENT CUTS 88. JONAH AND NINEVEH. Jonah, i, ii and iii 89. HABAKKUK, ABOUT TO TAKE DINNER TO THE REAPERS, IS COMMANDED BY THE ANGEL TO CARRY IT TO DANIEL. Apocrypha: Bel and the Dragon, verses 33-34 H6 OLD TESTAMENT CUTS go. ZECHARIAH, Zechariah, i gt. THE VISION OF THE HORSEMEN OVER JERUSALEM. 2 Maccabees, v SSS Wi ze p ACHARSSS \ ee SE ey of ; \\ vias GNA} a | nO ie I} ~ DANCE OF DEATH 1. THE CREATION 2. THE FALL 3. ADAM AND EVE DRIVEN 4. ADAM TILLING THE FROM THE GARDEN OF GROUND EDEN = ca (Ex Sy ase Keay Be (ie (4% € - ea + La Pa it, ht Gis2.* MINS om RO * Sy See) rf STW DANCE OF DEATH 5. THE TRUMPETERS OF 6. POPE DEATH 7. EMPEROR s. KING De VO way: | Sy Fees Week 5 Cant RL) SS = DSI Nee SL Ea SS AB DANCE OF DEATH g. CARDINAL Io. EMPRESS 11, QUEEN 12. BISHOP DANCE OF DEATH 13. DUKE 14. ABBOT 15. ABBESS 16. NOBLEMAN DANCE OF DEATH 17. CANON 18. JUDGE 19. ADVOCATE 20. COUNCILLOR pie ef Sor ope HF ee Seat ck — Mi PMT Ne DANCE OF DEATH 21. PREACHER 22. PASTOR 23. MONK 24. NUN - -. DANCE OF DEATH 25. OLD WOMAN 26. DOCTOR 27. ASTRONOMER 28. MISER DANCE OF DEATH 30. SAILOR 3z. EARL 29. MERCHANT 31. KNIGHT Zt wea SEZ Lr = DANCE OF DEATH 33. OLD MAN 34. COUNTESS 35. NOBLEWOMAN 36. DUCHESS DANCE OF DEATH 37. PEDLAR , “39. CHILD DANCE OF DEATH 40. SOLDIER 41. ROBBER 42. DRINKERS 43. FOOL DANCE OF DEATH 44. GAMBLERS 49. BLIND MAN 50. CARTER 51. SICK BEGGAR Se a. PN See RN AY DANCE OF DEATH 46. YOUNG WIFE 47. YOUNG HUSBAND DANCE OF DEATH 45. CHILDREN’S TRIUMPH : 48. CHILDREN’S TRIUMPH. THE VICTOR THE STANDARD-BEARER 52. CHILD WITH SHIELD 53. CHILDREN, ONE CARRY- AND ARROW ING A HARE DANCE OF DEATH 58. CHILDREN WITH TRUMPETS AND DRUM 54. CHILDREN WITH GRAPES 55. CHILDREN WITH A SUIT AND VINE LEAVES OF ARMOUR DANCE OF DEATH 56. THE LAST JUDGEMENT 57. THE COAT OF ARMS OF DEATH MISCELLANEOUS CUTS 1. ST. PAUL. From the New Testament in Greek, Basle (T. Platter), 1540. Woltmann, 192 MISCELLANEOUS CUTS TWO CUTS FROM CRANMER’S CATECHISM. London (W. Lynne) 1548. Woltmann, 198 and 199 2. THE PHARISEE AND THE PUBLICAN (. 6) 3. CHRIST HEALING THE MAN POSSESSED OF A DEVIL (p. 102) MISCELLANEOUS CUTS 4. PORTRAIT OF ERASMUS. Woltmann, 206 Second state. The first had an inscription of two lines only. Hane art,aternnm Bibliotheca colar. Dedalezmmonfirat Mais HOC BSINNIUS ariem, Exfumins Ingen Magna E RAS cou $ opes, MISCELLANEOUS CUTS 5. TITLE-PAGE BORDER TO THE GERMAN NEW TESTAMENT, Basle (Adam Petri), 1522-3. Woltmann, 215 Eel in ww i j aw 1 1 Ss ; AEA it i i Hi A Hi Ra ee : : S i) = D) || re. F a f <—z tho Hi | Me MISCELLANEOUS CUTS 6. THE ALPHABET WITH THE DANCE OF DEATH (continued). Woltman, 252 N.. Rich man T. Drunkard O. Monk V. Rider P. Soldier W. Hermit Q. Nun X. Gamblers R. Fool Y. Infant S Maid Z. Last Judgement, MISCELLANEOUS CUTS 6. THE ALPHABET WITH THE DANCE OF DEATH (continued), Woltman, 252 N. Rich man T. Drunkard O. Monk V. Rider P. Soldier W. Hermit Q. Nun X. Gamblers R. Fool Y. Infant S Maid Z. Last Judgement. 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