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​NIVERSITY OF MICHIGAN
GENERAL NERARY
LIBRAI
OCTAVIA WILLIAMS BATES
BEQUES
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1
1
Fine Arts
NE
1050
1386
کچھ
CATALOGUE
OF
H
EARLY GERMAN AND FLEMISH WOODCUTS

:
!
CATALOGUE
OF
EARLY GERMAN AND FLEMISH

WOODCUTS
PRESERVED IN THE
DEPARTMENT OF PRINTS AND DRAWINGS
IN THE
BRITISH MUSEUM
BY
CAMPBELL DODGSON, M.A.
ASSISTANT IN THE DEPARTMENT OF PRINTS AND DRAWINGS
VOL. II
LONDON
PRINTED BY ORDER OF THE TRUSTEES
Sold at the BRITISH MUSEUM; and by LONGMANS & Co., 39, Paternoster Row;
BERNARD QUARITCH, 11, Grafton Street, New Bond Street, W.;
ASHER & Co., 14, Bedford Street, Covent Garden;
and HENRY FROWDE, OXFORD UNIVERSITY PRESS, Amen Corner.
1911
[All rights reserved]
LONDON:
PRINTED BY WILLIAM CLOWES AND SONS, LIMITED,
DUKE STREET, STAMFORD STREET, S. E., AND GREAT WINDMILL STREET, W.
PREFACE
Tramfer to
Fine Art
8.3-67
THE present volume of the Catalogue of Early German and Flemish
Woodcuts by Mr. Campbell Dodgson contains Part II, Divisions
B, C, and D of the original scheme as set forth in the Preface to
Volume I. It deals, that is, with the Schools of Augsburg, Bavaria,
Suabia, Austria, Poland, and Saxony, the most important and
prolific masters handled being Hans Leonhard Schäufelein, Hans
Burgkmair, Hans Weiditz, Matthias Gerung, Albrecht Altdorfer,
Wolfgang Huber, Lucas Cranach and his school, Georg Lemberger,
and Hans Brosamer. The names most fully represented in the
Museum Collection are those of Schäufelein, Burgkmair, and Cranach,
again largely through the benefaction of the late Mr. W. Mitchell,
though in the work of these schools his collection was not so pre-
eminently rich as in that of the school of Nuremberg.
The present Catalogue is largely a work of original research
and not merely of compilation, and the thoroughness of the
author's methods, together with the many claims made upon
his time by other branches of departmental work, have very con-
siderably delayed its completion. Hence the accounts given of
one or two of the craftsmen discussed have become obsolete or
insufficient by reason of the progress of inquiry since the passages
concerning them were printed. In these cases, which occur
exclusively in Division B (the school of Augsburg), and especially
in regard to Jörg Breu the father and son, the new information
which has recently come to light is given in an Appendix at the
end of the volume (beginning p. 417).
The twenty-one illustrations given have been chosen to represent
characteristically the various schools and masters, by examples, so
far as possible, which on the one hand are rare and little known,
and on the other are of such dimensions as to admit reproduction
for the purpose of the volume either on the original scale or without
serious loss of effect by reduction.
SIDNEY COLVIN.
326179
TABLE OF CONTENTS
Part II.-German Woodcuts, 1501-1550.
""
Division B.-School of Augsburg
""
""
Section
""
""
I.-Hans Leonhard Schäufelein
II.-Hans Burgkmair.
19
""
,,
""
""
""
""
""
17
III.-Jörg Breu I
""
""
Jörg Breu II
Hans Tirol .
""
""
133
""
""
""
""
""
""
""
99
""
""
PAGE
1
3
3
56
108
120
121
•
122
139
•
187
189
192
•
193
195
IV.-Leonhard Beck
V.-Hans Weiditz
•
VI.-Christoph Amberger
VII.-Daniel Hopfer
VIII. The Master DS
IX.—The Master
X.-The Master
•M
XI.-Anonymous Woodcuts of the Augsburg
School
202
•
XII.-Augsburg Woodcutters
204
""
C.-Schools of Suabia, Bavaria, Austria, and Poland
209
•
Section
I.-Matthias Gerung
212
""
"}
II.—Anonymous Woodcuts from
books
""
""
""
33
33
༤
""
""
33
""
printed in Würtemberg
III.-Albrecht Altdorfer
IV.-Master of the "Tross "
V.-Michael Ostendorfer
VI.-Wolfgang Huber.
VII.—The Master 'CW
VIII.-Hans Wurm
•
IX.-Caspar Clofigl
X.-Anonymous Woodcuts from
printed in Bavaria and Austria
XI.-Woodcuts published at Cracow
D.-School of Saxony
219
221
232
239
253
261
263
266
books
Section
""
I.-Lucas Cranach I
II.-Hans Cranach
·
268
·
271
273
274
322
"}
11
""
*
""
viii
Table of Contents.
Part 11. Division D.-Section
III.-Lucas Cranach II
Appendix to Cranach
IV.-Anonymous Woodcuts of the School of
""
""
""
""
>>
""
>>
"
""
༤
""
S
པ
""
35
""
Cranach.
V.-Georg Lemberger
VI.-Erhard Altdorfer
""
VII.
Hans Brosamer
""
•
•
VIII. The Master of the Adoration of the
Shepherds
IX.—The Master +
PAGE
338
349
351
353
374
380
396
399
400
X.-The Master
""
M
11
""
22
""
??
>>
XI.-The Master
5
XII. The Master MS.
XIII.-Michel Buchfürer
XIV. Anonymous-Erfurt
XV.-Anonymous--Leipzig
XVI.—Anonymous-Wittenberg
Appendix to Division B.-Section I. Schäufelein
II.—Burgkmair
401
404
409
•
409
411
•
414
417
418
""
3
III.-Breu I and II
423
""
""
IV.-Beck.
438
""
3
"
V.-Weiditz
439
>>
་
VI.-Amberger
442
.
""
""
XI.-Anonymous
442
XII.-Woodcutters
445
>>
""
""
C.-Introduction
Section I.-Gerung
447
447
*
""
""
3
""
D.
V.-Ostendorfer
III.-Lucas Cranach II
447
19
XI.-Woodcuts printed at Cracow 448
VIII. The Master of the Adoration
of the Shepherds
449
450
*
LIST OF PLATES
With reference to the page of the Catalogue on which each is described
PLATE
I. HANS LEONHARD SCHÄUFELEIN. A Standard
Bearer
II.-HANS LEONHARD
SCHÄUFELEIN.
P. 34, no. 91
The
P. 37, no. 115
•
P. 42, no. 135
Martyrdom of St. Andrew
III. HANS LEONHARD SCHÄUFELEIN. Frontis-
piece to "Die Schön Magelona
V.
VI.
"
IV.—HANS BURGKMAIR. The Virgin and Child.
Samson and the Lion.
(?) Louis XII, King of
P. 79, no. 19
P. 89, and p. 421, no. 194
France.
P. 105, no. 185
"For-
P. 111, no. 3
P. 109, no. 3
VII.- JÖRG BREU I.-a. Illustration to
tunatus
JÖRG BREU I.-b. Illustration to "Warto-
man's Reise "
VIII.-JÖRG BREU I.
Constance
The Patron Saints of
IX.-LEONHARD BECK. Angels with Monstrance
X.-HANS WEIDITZ.
XI.
XII.-HANS
Christ before Herod
Samson carrying off the
P. 114, and p. 423, no. 1a (1)
P. 127,
no. 5
P. 141, no. 6 (23)
P. 147, no. 26 (8)
Title-page of Celestina.
P. 151, no. 24
Gates of Gaza
-HANS WEIDITZ.
XIII. THE MASTER NH. Illustration to Apuleius
XIV.—ALBRECHT ALTDORFER. St. Christopher
XV.-WOLF HUBER. The Holy Family
XVI.-LUCAS CRANACH I. The Martyrdom of St.
Barbara (reduced).
P. 199, no. 3
•
P. 229, no. 55
XVII. HANS CRANACH. Christian II, King of
Denmark
XVIII.—GEORG LEMBERGER. The Division of the
Apostles
XIX.-ERHARD ALTDORFER. St. James
P. 256, no. 2
P. 300, no. 77
P. 331, no. 26
P. 355, no. 2 (6)
P. 376, no. 1 (53)
XX.-HANS BROSAMER.-a. Christ on the Cross. P. 392, no. 26
""
""
b. David
•
P. 390, no. 10
P. 396, no. 1.
XXI.-ANONYMOUS. The Adoration of the Shep-
herds (detail, reduced)
PART II.
GERMAN WOODCUTS, 1501-1550,
CONTINUED.
DIVISION B.-SCHOOL OF AUGSBURG.
I.-HANS LEONHARD SCHÄUFELEIN.
Painter and draughtsman on wood¹; said to have been the son of
Franz Schäufelin, or Scheifelin, wool merchant, of Nördlingen, who
settled at Nuremberg in 1476; born about 1480, probably at
Nuremberg²; worked in Dürer's studio, and painted from his designs
the altarpiece now at Ober St. Veit, near Vienna; illustrated books
issued by the private press of Ulrich Pinder, 1505-1507; removed
about 1510-11 to Augsburg, where he remained till 1515, illustrating
books published by the two Otmars, the two Schönspergers and
Miller; took part in illustrating the works commissioned by Maxi-
milian I.; other illustrations by him appeared at Basle, 1514, and
Hagenau, 1516; removed finally to Nördlingen, where he became a
citizen on 8 May, 1515, and painted in the same year the “Siege of
While
Bethulia," containing his own portrait, in the Rathaus.
residing at Nördlingen he was chiefly engaged in painting, but
continued to illustrate books printed at Augsburg until 1523; from
that date nothing is known of his work till 1531; from 1533
onwards he was employed by the Augsburg printer, Heinrich
Steiner, and in 1538 by Alexander Weissenhorn; painted in
1537-38 the miniatures of the Oettingen prayer-book, now at
Berlin; died 1539 or, according to Doppelmayr, in March, 1540; his
widow, born Afra Tucher, married in 15423 Hans Schwarz, of
Oettingen, painter; little is known of his son, Hans Schäufelein the
younger.
4
¹ Perhaps also in his youth engraver. See Max Lehrs, "Hans Schäufelein als
Kupferstecher." Chronik für vervielfältigende Kunst, ii, 75, 91.
2 On the reason for describing Schäufelein's work here instead of in Division A,
see Vol. I., Preface, p. ix.
3 According to Nagler; some authorities give the date 1540.
* On the son see Nagl. Mon. iii, No. 1445, and Modern, Vienna Jahrbuch, xvii,
363, note 3.
г
B 2
4
Early German and Flemish Woodcuts.-Part II.
E
Authorities :-
Steinmeyer, Preface to his reprints of woodcuts by old masters,
Frankfort, 1620.
Sandrart, "Teutsche Akademie," Nuremberg, 1675.
Doppelmayr, "Historische Nachrichten," Nuremberg, 1730.
Bartsch, P.-G., vii, 244.
Passavant, P.-G., iii, 227.
Nagler, K.-L., xv, 106; Mon. iii, no. 1444, and v, no. 28.
Muther, "Bücherillustration," i, 145, and "Gesammelte Studien
zur Kunstgeschichte," Leipzig, 1885, p. 160.
Laschitzer, Jahrb. d. Kunsthist. Samml. d. Allerh. Kaiserhauses, viii.
Thieme, “H. L. Schäufelein's malerische Thätigkeit," Leipzig, 1892.
Modern, "Der Mömpelgarter Flügelaltar des H. L. S. und der
Meister von Messkirch," Jahrb. d. Kunsthist. Samml. d. Allerh.
Kaiserhauses, 1896, xvii, 307, especially pp. 354-382.
Schmidt, "Zur Kenntnis H. Schäufelein's," Repertorium für Kunst-
wissenschaft, xvi, 306.
Dodgson, "Zum Holzschnittwerk Schäufelein's," Mitt. d. Ges. f.
vervielf. Kunst, 1905, Heft. 1, p. 2.
In the section on Schäufelein a transition is made from the
Nuremberg to the Augsburg school. Whether he may be called in
the strict sense a pupil of Dürer or not, the style of Schäufelein betrays,
at any rate in his early work, the decisive influence of the great
Nuremberg master. His family, on the other hand, was connected
with Nördlingen and Augsburg¹; he lived for some years in the latter
city, and produced a vast number of illustrations for the Augsburg
publishers, who continued to employ him even after his final
migration to Nördlingen. His connection with Nuremberg was even
then not definitely severed, for in the last decade of his life, while
Steiner, of Augsburg, was publishing his illustrations, his separate
woodcuts often appeared as broadsides with the address of a Nurem-
berg Briefmaler.
Schäufelein's style underwent such extraordinary changes that it
is impossible to form any clear estimate of the quality of his work
without studying it in chronological order. His early woodcuts,
down to 1515, will be found, on the whole, the most interesting; it
must be remembered, however, that much of the work he did for
publishers, both then and later, was mere hackwork, careless in
drawing and execution. The most remarkable modification in his
style is that which appears towards 1516, in the illustrations to
""
¹ See Muther, "Bücherillustration," i, 145. The Martin Scheifelin mentioned
there (Augsburg, 1502) may possibly be identical with the "Martin Schiffelin mäler,'
who wrote his name followed by a shovel, in a copy of Geiler's "Granatapfel,'
Strassburg, 1511, in the library of the British Museum (3908, h. 1). See Kunstchronik,
N.F., xi, 245 (22 Feb. 1900).
Division B.-School of Augsburg-Schäufelein.
5
the Hagenau "Evangelienbuch," and in a number of separate
woodcuts, signed with the monogram $, some of which were
printed at Durlach, in Baden. The difference from earlier and
contemporary woodcuts, signed with the ordinary monogram, is so
marked that some critics have been inclined to attribute these
woodcuts to another artist; such a conclusion, however, seems to
me unwarrantable.¹ It is likely that, whereas the illustrations to
Petri's "Plenarium" (Basle, 1514) were cut at Augsburg, Schäufelein
two years later sent his drawings uncut to Anshelm, at Hagenau, and
that the handiwork of an Alsatian woodcutter largely accounts for
their unfamiliar appearance. The different monogram must, of course,
have been adopted deliberately. The woodcuts produced in the last
decade of Schäufelein's life, though they bear his habitual monogram,
are very different from anything that he had done before, especially
in the treatment of foliage; they are more original, perhaps, than
those of his first or second period, but most of them show signs of
haste and carelessness.
The woodcuts fall into the following groups :-
i. 1505-1508 (nos. 1-37, with no. 1 of the books).
Various early woodcuts. The Passion of 1507.
ii. 1509-1510 (nos. 38-56).
Life of Christ, Saints, and other subjects.
iii. 1511-1515 (nos. 57-91 and nos. 2, 3, 11, 12 of the books).
Woodcuts done at Augsburg, chiefly illustrations.
iv. c. 1516 (nos. 92-118 and nos. 4 and 9 of the books).
Woodcuts signed I. S., published at Durlach and Hagenau.
v. 1517–1523 (nos. 119–127 and nos. 5, 6 and 13-15 of the books).
Illustrations with normal signature.
vi. 1533-1538 (nos. 128-209 and nos. 7, 8, and 10 of the books).
Illustrations of the late period.
vii. 1533-1538 (nos. 210-238).
Separate woodcuts of the late period.
BOOKS ILLUSTRATED BY SCHÄUFELEIN.
A. IN THE DEPARTMENT OF PRINTS AND DRAWINGS.
1. [PINDER.] Speculum passionis domini nostri Ihesu christi.
Printed at the private press of the author, Dr. Ulrich Pinder, Nuremberg,
30 August, 1507; fol. (Muther 897; Pr. 11031).
¹ The question is briefly touched upon by Dr. H. Röttinger ("Hans Weiditz der
Petrarka-Meister," Strassburg. 1904, p. 34), who also adheres to the traditional
attribution.
:
E
!
!
6
Early German and Flemish Woodcuts.-Part II.
Presented by Mr. W. Mitchell, 1904.
Another copy, purchased from Mr. Asher, 1850.
Of the thirty-four large Passion subjects [236 × 160] (five of which occur twice),
thirty are by Schäufelein, three by Hans Baldung, and one (fol. 21 v.) perhaps by
Wolf Traut (see Vol. I, p. 505). The small cuts, chiefly by Baldung, are repeated
from "Der beschlossen Gart," 1505.
The following subjects are by Schäufelein :-
(1) Back of title, sig. A 1 v. (repeated fol. 56). Christ on the Cross, St. John and
the Holy Women 1., the Centurion, Soldiers and Jews r. The cut on fol. 1 v., attributed
by Bartsch (vii., 254) to Schäufelein, is by Baldung. (2) Fol. 16 v. Christ's Entry
into Jerusalem. (3) Fol. 17 v. Christ purifying the Temple. (4) Fol. 18 v. Christ
taking leave of his Mother. (5) Fol. 19 v. The Last Supper. (6) Fol. 20 v. Christ
washing St. Peter's feet. (7) Fol. 23. Christ on the Mount of Olives. (8) Fol. 24 v.
(repeated fol. 25 v.). The Betrayal. (9) Fol. 27 v. (repeated fol. 28 v.). Christ before
Annas. (10) Fol. 30 v. Christ before Caiaphas. (11) Fol. 32 v. Christ mocked.
(12) Fol. 35 (repeated fol. 39 v.). Christ before Pilate. (13) Fol. 37 (repeated
fol. 33 v.). Christ before Herod. (14) Fol. 41. Christ stripped. (15) Fol. 42. Christ
scourged. (16) Fol. 43 v. Christ crowned with thorns. (17) Fol. 45 v. Christ shown
to the people. (18) Fol. 48. Pilate washing his hands. (19) Fol. 49. Christ bearing
the cross. (20) Fol. 62. The Lamentation for Christ. (21) Fol. 63 v. The Entomb-
The
ment. (22) Fol. 67 v. Christ descending into Hell (signed). (23) Fol. 68 v.
Resurrection. (24) Fol. 69 v. Christ appearing to his Mother after the Resurrection.
(25) Fol. 70 v. Christ appearing to St. Mary Magdalen. (26) Fol. 71 v. The
Incredulity of St. Thomas. (27) Fol. 72 v. The Ascension. (28) Fol. 73 v. The
Descent of the Holy Ghost (signed). (29) Fol. 74 v. The Coronation of the Virgin.
(30) Fol. 75 v. The Last Judgment.
2. [EYBE.] Albrecht von Eybe, Spiegel der Sitten.
Augsburg, 20 Sept. 1511; fol. (Muther 979; Pr. 10688).
Purchased from Messrs. J. and J. Leighton, 1905.
J. Otmar,
The frontispiece (the author writing, 211 × 141, coloured), is by Schäufelein.
Repr. in Leighton's Catalogue, 1902, pt. 3, no. 1895, and on p. 65 of Könnecke's
Bilderatlas zur Geschichte der Deutschen Nationallitteratur," 1887. See Mitt. d.
Ges. f. vervielf. Kunst, 1905, p. 7, no. 2.
3. [MAEN.] Das leiden Jesu | Christi vnnsers erlösers. | Sonders
andächtiger lere Nutzperlicher betrachtunng ausz den vier Evange-
listen entlichen durch | Wolffgang von Män. in gesatz weisz be |
zwungen. J. Schönsperger, jun., Augsburg, 1515; 4to. (Muther 909;
Pr. 10738).
Presented by Mr. W. Mitchell, 1904.
The following cuts are by Schäufelein :-
(1) Sig. c 4. Christ's entry into Jerusalem [93 × 66]. (2) Sig. d 3 v. Christ
teaching in the Temple [92 × 68]. (3) Sig. e 4. Christ taking leave of his Mother
[85 × 61], signed. (4) Sig. f 1 v. The Last Supper [93 × 68]. (5) Sig. f 2 v. Christ
washing St. Peter's feet [87 x 62], signed. (6) Sig. g 4. Christ on the Mount of
Olives [86 x 62], signed. (7) Sig. g 6. The Betrayal of Christ [87 × 62]. (8)
Sig. h 2 v. Christ before Annas [87 x 62]. (9) Sig. h 4 v. Christ before Caiaphas
[87 × 61]. (10) Sig. 11 v. Christ scourged [93 × 68]. (11) Sig. 1 2 v. Christ shown
to the people [87 x 62]. (12) Sig. 1 4 v. Pilate washing his hands [88 x 63], signed.
×
(13) Sig. m 2 v. Christ bearing the cross [86 × 60]. (14) Sig. m 4 v. Preparations
for the Crucifixion [87 × 62]. (15) Sig. n 3 v. Christ on the cross [93 x 67]. (16)
Sig. o 1 v. Christ descending into Hell [87 x 63]. (17) Sig. o 4 v. The Lamentation
for Christ [87 × 61]. (18) Sig. q 1. The Resurrection [93 x 68].
As the dimensions show, the cuts belong to different sets; nos. (1), (2), (4), (10),
(15) and (18) fit the passe-partouts in which they are printed, while the remaining
subjects are too small for them.
Division B.-School of Augsburg-Schäufelein.
7
4. [VIGERIUS.] Marci Vigerii Decachordum Christianum. Thomas
Anshelm for Johann Koberger, Hagenau, January, 1517; fol. (Muther
912; Pr. 11684).
Purchased from Mr. Gutekunst, 1870.
The title-border is by Urs Graf. Each of the nine cuts by Schäufelein [c. 140 × 102]
is enclosed in a passe-partout, which is not from his design. These cuts, eight of
which are signed, were first used in the "Evangelienbuch," printed by Anshelm at
Hagenau in 1516 (Muther 911). The Annunciation on fol. 2 v is not signed; its
dimensions are slightly different [144 × 99]; it does not belong to the " Evange-
lienbuch" of 1516, and in spite of faulty drawing the type of face of the Virgin and
Gabriel is more refined and pleasing than is usual with Schäufelein. On these
grounds the attribution of this cut to Schäufelein is questionable.
The undisputed cuts, all signed except no. (1), are the following :—
(1) Fol. 22 v. The Nativity. (2) Fol. 40 v. The Circumcision. (3) Fol. 46 v. The
Adoration of the Magi. (4) Fol. 59. The Presentation of Christ in the Temple.
(5) Fol. 70. Christ's Entry into Jerusalem. (6) Fol. 75 v. Christ on the Mount of
Olives. (7) Fol. 164. The Resurrection. (8) Fol. 168 v. The Ascension. (9) Fol. 174
v. The Descent of the Holy Ghost.
With the exception of no. (3) these cuts were used again in "Doctrina, Vita et
Passio," etc, 1537, 1542, 1550.
5. [PFINZING.] Theuerdank. J. Schönsperger, sen., Nuremberg,
1517 (dedication dated March 1); fol. (Muther 845; Pr. 11180).
An imperfect copy on vellum. (See Vol. I, p. 419).
Purchased from Messrs. Smith, 1845.
The following subjects (quoted by the numbers attached to them in the book) are
by Schäufelein :--
(1) No. 10. The evil spirit appears in disguise to Theuerdank. Ehrenhold, r.
(2) No. 13. Theuerdank in danger when hunting the stag. The head of Fürwittig,
1, has been corrected; the new head inserted is drawn by Beck. Ehrenhold on
horseback r. (signed).
(3) No. 16. Theuerdank's adventure with a lion. Ehrenhold stands 1, Fürwittig
r; the latter's head is drawn by Beck.
(4) No. 21. Theuerdank in danger of having his foot crushed by a millstone.
Ehrenhold and Fürwittig stand r., the latter's head is by Beck.
(5) No. 26. Theuerdank imperilled by an unsafe staircase; Ehrenhold stands 1.,
Unfalo r.; the latter's head is by Beck.
(6) No. 30. Theuerdank, while hunting, catches his spurs in a bush and falls.
Ehrenhold stands 1., Unfalo, mounted, r., has a head redrawn by Beck (signed).
(7) No. 32. Theuerdank in danger of shipwreck. Ehrenhold is in the boat;
Unfaló stands 1. on shore. The latter's head is by Beck.
(8) No. 39. Theuerdank endangered by a gun. Ehrenhold stands 1., Unfalo
rides r.; his head has not been altered (signed).
(9) No. 42. Theuerdank induced by Unfalo to venture into a den of lions.
Ehrenhold stands 1., Unfalo r. (signed).
(10) No. 45. Theuerdank's horse falls with him.
horseback 1.; the former's head is by Beck.
(11) No. 46. Theuerdank's boat damaged by ice.
stands r. on shore.
Unfalo and Ehrenhold on
Unfalo (the head by Beck)
(12) No. 48. Theuerdank in danger at a bear hunt. Unfalo 1., Ehrenhold r. (signed).
(13) No. 50. Theuerdank again endangered by a gun. Both Theuerdank and
Unfalo have been corrected by Beck.
(14) No. 57. Another adventure with a gun. Unfalo's head is by Beck.
(15) No. 58. A sack of powder is ignited on board ship without exploding the
barrels on which it lies (signed). The figures of Theuerdank and Unfalo are by Beck.
(16) No. 69. The man next Theuerdank is struck by a stone on a chamois hunt.
Unfalo 1., Ehrenhold riding r. (signed).
(17) No. 70. Theuerdank recovers from sickness after the physicians have
despaired of his life. Unfalo's head is by Beck. Ehrenhold stands r. This block
bore the signatures both of Schäufelein and of Jost de Negker, but they have been
partially effaced.
8
Early German and Flemish Woodcuts.-Part II.
(18) No. 72.
Theuerdank endangered by a violent storm.
Unfalo are by Beck.
Theuerdank and
(19) No. 87. Theuerdank attacked by a party of armed men. The head of
Neidelhart (r. behind Ehrenhold) is by Beck.
(20) No. 105. Theuerdank's encounter with the fifth knight in the lists. Neidel-
hart stands 1., Ehrenhold r., in the background.
Each cut measures 158 x 138 mm. On Theuerdank see S. Laschitzer in Bd. viii.
of Jahrbuch d. kunsthist. Samml. d. Allerh. Kaiserhauses (1888).
6. [PFINZING.]
Theuerdank. J. Schönsperger, sen., Augsburg,
1519; fol. (Muther 846; Pr. 10939).
Imperfect, wanting sig. P 4.
Presented by Mr. W. Mitchell, 1904.
The same cuts as in the first edition.
7. [PLUTARCH.] Plutarchus Teutsch (translated by Hieronymus
Boner). H. Steiner, Augsburg, 7 March, 1534; fol. (Muther 928;
P. iii, 233, 134).
Purchased from Mr. Gutekunst, 1870.
The following cuts are by Schäufelein :-
(1) Fol. 1. Philip, Olympias and Alexander (signed) [155 × 143]. (2) Fol. 49 v.
Caius Marius (signed; repeated fol. 144 v. as Cato of Utica) [154 × 141]. (3) Fol. 81.
Demetrius (inferior to the rest, but probably also by S.) [142×153]. (4) Fol. 104 v.
Marcus Antonius, B. 93 (signed) [141 × 153]. (5) Fol. 128 v. Phocion, B. 98
(signed) [153 × 141].
Nos. (3) and (5) had previously been used in Schwartzenberg's "Memorial der
Tugent," 1534 (nos. 21 and 40).
8. [PAULI.] Das Buch Schimpff vnnd Ernst genant. H. Steiner,
Augsburg, 10 April, 1535; fol. (Muther 1100, edition of 1534).
Purchased at the Singer sale, 1860.
The following cuts are by Schäufelein :-
(1) Fol. 53. A woman weeping beside a grave in which a skeleton lies. [142 × 153.]
(2) Fol. 96 v. Death pointing to a charnel house. [142×153.]
Both cuts are repeated from "Memorial der Tugent" (nos. 32, 33).
9. [JESUS CHRIST.] Doctrina, Vita et Passio Iesu Christi.
Christian Egenolff, Frankfort, 1542; 4to. (Muther 914).
Purchased from Mr. Fry, 1871.
With the exception, probably, of the Annunciation (see 4, above) all the cuts are
by Schäufelein. Fifty-five are reprinted from the "Evangelienbuch" of 1516, while
seventeen (nos. 4, 6, 8, 11, 13-15, 17, 18, 21, 23, 26, 28, 31, 32, 71, 72) were not used
in that work, though they appear to be of the same date as the rest of the series.
The "Evangelienbuch contains three subjects (Adoration of the Magi, Christ
among the Doctors, Parable of the Mote and Beam) which do not occur in the
"Doctrina." The total number of subjects amounts, therefore, to seventy-five,
excluding the Annunciation.
""
(1) A 2 v. The Nativity. (2) A 3. The Circumcision (signed). (3) A 3 v.
Christ in the House of Simon the Pharisee (signed). (4) A 4. Christ taking leave
of his Mother before the Passion. (5) A 4 v. The Entry into Jerusalem (signed).
(6) B 1. Christ purifying the Temple. (7) B 1 v. The Last Supper (signed).
(8) B 2. Christ washing St. Peter's feet. (9) B 2 v. Christ on the Mount of Olives
(signed). (10) B 3. The Betrayal (signed). (11) B 3 v. Christ before Annas.
(12) B 4. Christ mocked. (13) B 4 v. Christ before Caiaphas. (14) C 1. Christ
before Pilate. (15) C1 v. Christ before Herod. (16) C 2. Christ sent back to
Pilate (signed). (17) C 2 v. Pilate washing his hands. (18) C 3. Christ stripped.
(19) C 3 v. Christ scourged (signed). (20) C 4. Christ crowned with thorns
(signed). (21) C 4 v. Christ shown to the people. (22) D 1. Christ bearing his
Cross (signed). (23) D 1 v. Christ nailed to the Cross. (24) D 2. The raising of
Division B.-School of Augsburg-Schäufelein.
9
the Cross. (25) D 2 v. Christ on the Cross. (26) D 3. The Lamentation beneath
the Cross (signed). (27) D 3 v. The Entombment (signed). (28) D 4. Christ
descending into Hell. (29) D 4 v. The Resurrection (signed). (30) E 1. The
three Maries at the Sepulchre (signed). (31) E 1 v. Christ appearing to St. Mary
Magdalen. (32) E (misprinted D) 2. Christ appearing to his Mother. (33) E 2 v.
Christ appearing to the Apostles (signed). (34) È 3. The Incredulity of St. Thomas.
(35) E 3 v. The Ascension (signed). (36) E 4. The Descent of the Holy Ghost
(signed). Here begins the second part of the book, illustrating the Gospels in the
liturgical order. (37) F 1. Christ prophesying signs in the heavens (signed).
(38) F 1 v. John the Baptist sending his disciples to Christ (signed). (39) F 2.
John the Baptist preaching (signed). (40) F 2 v. The Presentation of Christ in the
Temple (signed). (41) F 3. The Miracle of Cana (signed). (42) F 3 v. Christ
cleansing a leper (signed). (43) F 4. Christ sleeping in the boat (signed).
(44) F 4 v. The Parable of the Sower. (45) G 1. Christ addressing the Apostles.
(46) G 1 v. The Parable of the Labourers in the Vineyard (signed). (47) G 2. The
Temptation (signed). (48) G 2 v. Christ and the Woman of Canaan (signed).
(49) G 3. Christ expelling an evil spirit (signed). (50) G 3 v. The feeding of the
five thousand (signed). (51) G 4. The Jews attempt to stone Christ (signed).
(52) G 4 v. Christ going to his Father (signed). (53) H 1. Nicodemus comes to
Jesus (signed). (54) H 1 v. The Parable of the man without a wedding garment
(signed). (55) H2. The Parable of the rich man and Lazarus (signed). (56) H 2 v.
Christ teaching from a boat (signed). (57) H 3. Christ weeping over Jerusalem
(signed). (58) H3 v. The Pharisee and the Publican (signed). (59) H 4. Christ
cleansing the ten lepers (signed). (60) H 4 v. Christ raising the son of the widow
of Nain (signed). (61) I 1. Christ healing the man with the dropsy on the Sabbath
(signed). (62) I 1 v. Christ healing a man sick of the palsy. (63) I 2. Christ
restoring sight to a blind beggar (signed). (64) I 2 v. Christ and the woman of
Samaria (signed). (65) I 3. Christ and the woman taken in adultery (signed).
(66) I 3 v. Parable of the guests bidden to a wedding (signed). (67) I 4. Parable
of the unmerciful servant (signed). (68) I 4 v. The woman healed of an issue of
blood (signed). (69) K 1. Zaccheus in the tree (signed). (70) K 1 v. The raising
of Lazarus (signed). (71) K 2. The Coronation of the Virgin. (72) K 2 v. The
Last Judgment.
10. [VERGILIUS.] Polydorus Vergilius Urbinas. Von den Erfindern
der ding (translated by Marcus Tatius Alpinus). H. Steiner, Augsburg,
July, 1544; fol.
Purchased from Messrs. Willis and Sotheran, 1858.
The following cuts are by Schäufelein :~
(1) Fol. 3. The Creation of plants, birds and beasts (signed). (2) Fol. 4. The
Creation of Eve (signed). (3) Fol. 8 (repeated fol. 116 v.). The Death of Abel
(signed). (4) Fol. 61 v. A tree. [86×68]. (5) Fol. 61 v. A gardener planting a
tree. [88x70].
The first three cuts [c. 141 x 153] are repeated from "Memorial der Tugent"
(nos. 2, 3, and 5).
11. [BABELIUS.] Thomæ Babelii Rationale mysteriorum dominicæ
passionis domini nostri Iesu Christi. Joannes Carbo, Vienna, 1550; 4to.
Purchased from Mr. Gutekunst, 1874.
(1) M 3 v. Christ on the Cross, between the Virgin and St. John (signed)
[100×63]. First used in "Via Felicitatis," Augsburg, 1513.
The Last Judgment (signed) [101 × 63]. First used in "Via Felici-
(2) M 4.
tatis," 1513.
12. [PEUSCHEL.] Querela Lazari contempti ante fores divitis scripta
a Lazaro Peuschelio Noribergensi. Joannes Carbo, Regensburg, 1554; 4to.
Purchased from Mr. Wilson, 1873.
(1) A 1 v. Christ on the Cross = 11 (1).
B. 3. Lazarus in Abraham's bosom, the rich man in hell. [93×67.] A bad
copy or imitation of Schäufelein, somewhat resembling the composition in the 1514
Plenarium.
10
Early German and Flemish Woodcuts.-Part II.
13. [STEINMEYER.] Neue Künstliche, | wohlgerissene, vnnd in
Holtz ge- schnittene Figuren. V. Steinmeyer, Frankfort, 1620; 4to.
Imperfect, ending with sig. Tt instead of Yy.
Presented by the National Art Collections Fund, 1906.
(1) Ll 2 v. St. Luke, from Schönsperger's New Testament, 1523 (Muther 924).
14. [PFINZING.] Theuerdank. M. Wagner, Ulm, 1679; fol.
Imperfect copy: see Vol. I., p. 504. The book should contain, in addition to the
same cuts as appear in the first edition (no. 5), one other subject by Schäufelein
printed for the first time. See Vienna Jahrbuch, viii., 73. The title-page of this
edition is responsible for the reckless attribution of the whole series of cuts to
Schäufelein, which was accepted almost without question till the work was critically
examined by Laschitzer for the purposes of the recent Vienna edition.
15. [TREITZSAURWEIN.] Der Weisskunig. Vienna, 1775; fol.
Purchased from Mr. Asher, 1850.
The following cuts are by Schäufelein :-
(1) No. 123. The Blue King conversing with eight men seated in a circle.
(2) No. 200. The battle of Čividale (signed).
The initials HS appear, together with H B, on no. 232, a cut undoubtedly
designed by Burgkmair.
16. [TREITZSAURWEIN.] Kaiser Maximilian's Triumph. Vienna,
1796; fol.
Purchased from Messrs. Willis and Sotheran, 1859.
(1-2) Two cuts, nos. 120, 121 in this edition, nos. 127, 128 in that of 1883-84, are
by Schäufelein. Each represents ten foot soldiers marching five in a rank, armed in
one case with spears, in the other with long swords. No. 120 was cut by Cornelius
Liefrinck.
17. [BECKER.] Hans Sachs im Gewande seiner Zeit. Gotha, 1821; fol.
The cuts on fol. 8-10 and 14 are by Schäufelein; that on fol. 21 is a copy.
B.-IN THE DEPARTMENT OF PRINTED BOOKS.¹
1. [MARY.] Der beschlossen gart des rosenkrātz marie. Printed
for Ulrich Pinder, Nuremberg, 9 Oct., 1505; fol. (Muther 896; Pr.11030).
A number of the unsigned cuts may be attributed to Schäufelein, but it is not
always easy to draw the line, among the small illustrations, between his work and
that of Baldung. The following are the chief subjects designed by Schäufelein :--
Between fol. 64 and 65 of vol. ii., the Crucifixion, afterwards used again in
'Speculum Passionis," 1507 (back of title).
Vol. i., fol. 122. Frontispiece to Book 4. [122 × 163.]
Vol. ii., fol. 9 v. The pursuit of the Unicorn; allegory of the Incarnation (see
above, Vol. I., p. 181) [122 × 163].
Vol. ii., fol. 11. A banquet [122 × 163].
90,
!. Vol. i., fol. 267-269, three subjects [c. 82 × 160].
A long series of subjects [c. 93 × 72]. Vol. i., fol. 10, 12, 20 v., 48 v., 55, 58 v.,
90 v., 117, 152, 153, 154, 155, 171, 172, 177, 182, 185. Vol. ii., fol. 11 v., 14, 17, 19,
20 v., 22 v., 24 v., 26 v., 27 v., 28, 31 v., 32 v., 33 v., 38, 38 v., 39 v., 40 v., 41, 167 v.
A few subjects of this size, c.g., vol. i, fol. 91 v., 113, 191, 206, 298, are by different
hands,
1 No attempt has been made to give an exhaustive list of books issued after
Schäufelein's death in which earlier illustrations were reprinted.
[
Division B.-School of Augsburg-Schäufelein.
11
A large proportion of a much longer series [c. 65 x 48], distributed over both
volumes, must also be ascribed to Schäufelein, but many of these cuts, especially in
vol. ii, are by Baldung, and others by inferior hands. It does not appear that
Schäufelein designed any of the smallest series of cuts [43 × 36].
2. [TENGLER.] Der neü Layenspiegel. J. Otmar, Augsburg, 18
June, 1511; fol. (Pr. 10686).
Five cuts by Schäufelein:-Sig. 5, § 6, § 6 v., fol. 190, 222. The second is
repeated on fol. 258 v. These cuts, important as they are for the study of
Schäufelein's development, have not been recognised as his by earlier writers. The
fourth subject has been wrongly attributed to Burgkmair. (Jahrb. d. k. preuss.
Kunstsamml., xii, 166, 2.) The fifth is reproduced in Mitt. d. Ges. f. vervielf. Kunst,
1905, p. 5; the whole book is there described (p. 7, no. 1).
3. [AMANDUS.] Henricus Suso, genannt Seuss. J. Otmar, Augs-
burg, 20 June, 1512; fol. (Muther 983; Pr. 10689).
Sixteen cuts by Schäufelein, unsigned, of various sizes, following in subject the
illustrations to Sorg's edition of 1482. The compositions are usually reversed. See
Mitt. d. Ges. f. vervielf. Kunst, 1905, p. 7, no. 3, with reproduction (p. 6) of the cut
on fol. 55 v.
4. [TENGLER.] Der neü Layenspiegel. J. Otmar, Augsburg, 24
Dec., 1512; fol. (Pr. 10691).
The same cuts as in no. 2.
5. [GEILER.] Das Schiff der Penitentz. J. Otmar, Augsburg,
March, 1514; fol. (Muther 988, Pr. 10693).
On the last page, the Crucifix adored by Prophets and Saints [190 × 145],
originally used in Otmar's "Heiligenleben" of 1513 (Muther 901).
6. [BIBLE.] Das Plenarium oder Ewagely buoch. A. Petri, Basle,
24 March, 1514; fol. (Muther 904).
Five large cuts [195 x 130] and fifty-two small subjects from the Gospels
[90 × 65], some of which are repeated, are by Schäufelein.
7. [CATHARINE.] Hystori und wunderbarlich legend Katharine
von Senis. J. Otmar, Augsburg, 1515; fol. (Muther 908; Pr. 10694).
Title-woodcut (signed) and forty-two illustrations [90 × 65], excluding repetitions,
by Schäufelein.
8. [LITURGIES.] Cursus B.V.M. J. Schönsperger, jun. (?), Augs-
burg, n.d.; 4to (Pr. 10696, imperfect).
Six cuts, a guardian angel, St. George, St. Andrew, the consternation of the
soldiers, the Virgin and Child on the crescent, the Crucifixion. The last of these is
the same cut as was used on sig. n 3 v. of "Das leiden Jesu Christi," while the St.
George, with the signature CH (presumably that of the woodcutter, since the
same monogram is found on a woodcut designed by Urs Graf, Nagler, Mon. ii.,
no. 113), is described by Bartsch (vii, 494, 1). This last cut is clearly from a design
by Schäufelein. It was also used on sig. E 6 of the "Taschen büchlin" printed
by J. Schönsperger, jun., 24 March, 1514 (a copy at Bamberg). The angel, Virgin and
Child and Crucifixion also occur in the last-named work, which is not the edition
described by Muther (no. 903).
·
12
Early German and Flemish Woodcuts.-Part II.
9. [SAXONY.] Sassenspegel. S. Otmar, Augsburg, 1 February,
1516; fol. (Pr. 10755).
On the last page, the third cut from Tengler's "Neu Layenspiegel," 1511 (no. 2),
the Emperor and Electors.
10. [BIBLE.] Das Plenarium oder Ewangely buoch. A. Petri, Basle,
8 August, 1516; fol. (Muther 905, imperfect).
The same cuts as in no. 6.
11. [EYBE.] Albrecht von Eybe. Ob ainem sey zu nemen ain Eelich
weib. S. Otmar, Augsburg, 1517; 4to (Muther 920; Pr. 10760).
On the last page, the Last Judgment (signed) [150 × 97], also used in Leonrodt's
"Himmelwagen." The portrait of the author on the title-page [140 × 112] seems
not to be by Schäufelein (cf. no. 2, p. 6).
12. [BIEL.] Der übertrefflichst weg zu der Säligkait. S. Otmar,
Augsburg, 29 May, 1518; 4to (Pr. 10764).
On back of title-page, the Trinity (signed), the tenth cut of Leonrodt's "Himmel-
wagen," 1517.
13. [LEONRODT.] Hymelwagen; Hellwagen. S. Otmar, Augsburg,
20 Nov., 1518; 4to (Muther 918; Pr. 10769).
Twenty-two cuts, excluding repetitions, by Schäufelein (B. vii, 269, 110-131);
all are signed except the seventh. They appeared in the first edition, 1517 (Muther
917).
14. [BIBLE.] Das new Plenariu oder ewangely buch. A. Petri,
Basle, 1518; fol. (Muther 906, imperfect).
The same cuts as in no. 6.
15. [PINDER.] Speculum Passionis domini nostri Jesu Christi. F.
Peypus, Nuremberg, 11 Oct., 1519; fol. (Pr. 11132).
The same cuts by Schäufelein as in the first edition, 1507. The Crucifixion on
fol. 56 has been attributed to Schäufelein, but in my opinion wrongly.
16. [LUTHER.] Ain tröstlichs büchlein in aller widerwertigkait ains
yeden Christglaubigen menschen. S. Otmar, Augsburg, 1520; 4to (Pr.
10800).
On fol. 33 v., the fourteenth cut from Leonrodt's "Himmelwagen."
17, 18. [LUTHER.] Ain Sermon von der Beraytung (Beraitung) zum
sterben. (S. Otmar, Augsburg, 1520 ?); 4to.
Two slightly different editions (Pr. 10815-6). On the title-page of each is the
seventeenth cut of Leonrodt's "Himmelwagen.
"
19. [LUTHER.] Ain Sermon von dem Wucher. S. Otmar, Augs-
burg, 1520; 4to. (Pr. 10803).
On the title-page, the thirteenth cut of Leonrodt's "Himmelwagen." P. iii,
239, 174.
I
Division B.-School of Augsburg.-Schäufelein.
13
&
•
•
predig
20, 21. [LUTHER.] Ein
wie sich ein christen
mensch mit freüden bereyten sol zu sterben. A. Petri, Basle, 1520, 1523 ;
4to.
Two editions, each containing the same three cuts from the 1514 "Plenarium."
22. [BIBLE.] Das neü Testament. S. Otmar, Augsburg, 21 March,
1523; fol. (Muther 998).
On the title-page the Crucifix adored by Prophets and Saints, as in no. 5.
23. [LUTHER.] Ain betbüchlin Der Zehen gepott. Des Glaubens.
Des Vatter vnsers. Vnd des Aue Marien. D. Martini Lutheri. (J.
Schönsperger, jun., Augsburg), 1523; 8vo.
On the title-page is the small cut of the Infant Christ on a cushion, bearing
cross, scourge, etc., that occurs in Schönsperger's N. T. of 1523. The following cuts
in the text (coloured) are by Schäufelein :-D 4 v., Christ seated, blessing [92 × 65];
D 7 v., the Good Shepherd (92 × 65]; E 4 v., the Dove, [36 × 58]; E 8 v., Christ on
the Cross, turning to 1., three persons on either side of the cross [86 × 59]; H 7.,
the Annunciation [85 x 60], signed.
24. [BIBLE.] Das neü Testament. S. Otmar, Augsburg, 7 June,
1524; fol.
On the title-page the Crucifix adored by Prophets and Saints, as in nos. 5 and 22.
25. [IOHANN, VON ECK.] Der Drit Tail Christenlicher Predigen
durch Johan von Eck. A. Weissenhorn, Augsburg, 1531 (−33); fol.
Contains forty-four cuts attributed to Schäufelein, first used in the "Heiligenleben,"
printed by J. Otmar, Augsburg, 1513 (Muther 901).
26. [BIBLE.] Biblia beyder Alt vnnd Newen Testaments Teutsch.
H. Steiner, Augsburg, 1534; fol. (Muther 926).
Title border [276 × 190], signed. The upper part is an imitation of Beham's
border in the Vulgate printed by Peypus in 1530 (Pauli 878). The Creation of Adam
and Eve [98 × 182] on fol. 1, also attributed by Muther to Schäufelein, appears to
me to be by Erhard Schön; it may be compared with nos. 32–34 of my catalogue of
Schön's works.
27. [BIBLE.] Evangeliorum textus, tam Dominicalium, ut uocant,
quam de Sanctis. A. Weissenhorn, Augsburg, 1534; 8vo.
Sig. G 5. The Annunciation [86 × 71], unsigned, Eck, Drit Tail Christenlicher
Predigen, 88v. There is a copy of this cut [89 x 68], in Luther, Das Magnificat
Verteütschet und auszgelegt (Augsburg, 1521).
fol.
28. [CICERO.] Der Teutsch Cicero. H. Steiner, Augsburg, 1535;
Fol. 39 v., at the end of the "De Senectute," a death-bed scene, signed. In a
later part," Memorial der Tugent," by Johann von Schwartzenberg, fol. 98-119, are
forty-one woodcuts by Schäufelein (B. vii, 261, 55-94), printed on both sides of the
page. The death-bed scene, which occurs earlier in the book, is repeated as the
thirty-first subject of "Memorial der Tugent." An earlier edition of the whole work
appeared in 1534 (Muther 927, 1097).
14 Early German and Flemish Woodcuts.-Part II.
29. [HERODOTUS.] Herodotus der allerhochberumptest griechische
geschichtschreyber (translation by Hieronymus Boner.) H. Steiner, Augs-
burg, 1535; fol. (Muther 1107).
Fol. 96 v. A king on his throne [95 x 155], first used in Boner's translation of
Thucydides, 1533 (Muther 925).
30. [STAFFELSTEINER.] Ein kurtze vnderrichtung, das man
einfeltig dem Herrn Jesu Christo nach wandern sol. H. Guldenmund,
Nuremberg, 1536; 4to.
Undescribed title border containing the Lamb and flag and symbols of the four
Evangelists in medallions; in the centre below a flock of sheep beneath Christ on
the Cross [163 x 128; opening, 88 x 78].
31. [JESUS CHRIST.] Doctrina, Vita et Passio Iesu Christi. C.
Egenolff, Frankfort, 1537; 4to. (Muther 913).
The same cuts as in no. 9 (p. 8).
32. [APULEIUS.] Ain schön lieblich, auch kurtzweylig gedichte
Lucij Apuleij von ainem gulden Esel. A. Weissenhorn, Augsburg, 1538;
fol. (Muther 929).
Forty-one cuts by Schäufelein (one signed), commencing at fol. 36. P. iii, 239,
175. The earlier illustrations are by the Master
Na
q.v.
33. [BRUNI.] Historien der Rhömer krieg wider die Carthaginenser
durch Leonhardum Aretinum beschriben. H. Steiner, Augsburg,
7 Oct., 1540; fol. (Muther 1115).
Two cuts repeated from Plutarchus Teutsch and the sea fight first used in
Boner's Thucydides, 1533.
34. [BOCCACCIO.] Von den fürnämlichsten Weybern. H. Steiner,
Augsburg, 1541; fol. (Muther 1118).
On fol. 1, the Fall of Man from "Memorial der Tugent."
35. [BOCCACCIO.] Die gantz Römer Hystori. H. Steiner, Augs-
burg, 1542; fol. (Muther 1120).
On fol. 3, the Death of Lucretia from "Memorial der Tugent."
36. [SACCHI.] (Platina) Von der Eerlichē, zimlichen auch erlaubten
Wolust des leibs. H. Steiner, Augsburg, 1542; fol. (Muther 1121).
Contains sixteen cuts, eight of which belong to the small series [67 x 72]
intended to illustrate an edition of the Decameron which never appeared; eight
others are similar in style but of different subjects and dimensions.
37. [VIVES.] Von underweysung ayner Christlichen Frauwen. H.
Steiner, Augsburg, 1544; fol. (Muther 1126)
Contains eight of the small Decameron cuts, printed two together.
38. [BOCCACCIO.] Von widerwertigem Glück. H. Steiner, Augs-
burg, 1545; fol. (Muther 1127).
Contains three cuts, The Fall, Abraham's Sacrifice, and The Last Judgment, from
"Memorial der Tugent"; also two cuts from "Plutarchus Teutsch" and the king
on his throne from Thucydides and Herodotus.
Division B.-School of Augsburg.—Schäufelein.
15
39. [PONTHUS.] Ritter Pontus. H. Steiner, Augsburg, 1548; fol.
(Muther 1130).
On the title-page, Philip, Olympias, and Alexander, from "Plutarchus Teutsch.”
40. [SCHERZ.] Schertz mit der Warheyt. C. Egenolff, Frankfort,
1550; fol.
Contains two large cuts [176 x 163], P. iii, 238, 173, and twenty small ones,
designed for the Decameron.
41. [GOBLER.] Der Rechten Spiegel. C. Egenolff, Frankfort,
1550; fol.
Contains Rehoboam from "Memorial der Tugent" and Caius Marius from
"Plutarchus Teutsch" (Pt. 3, fol. 209 v., 219 v.).
42. [LONICER.] Naturalis Historia Opus Novum. C. Egenolff
Frankfort, 1551; fol.
Ff. 2, 4, 8. Nine of a series of cuts representing the planting, grafting, and
pruning of vines and fruit-trees. One of these had been used in the Polydorus
Vergilius printed by Steiner.
43, 44. [ACADEMIES. SALERNO.] De conservanda bona valetudine
opusculum. Opera et studio J. Curionis, etc. C. Egenolff, Frankfort,
1551, 1553. 8vo. (two editions).
Contain four and five cuts respectively from the small Decameron series.
45. [LOBERA DE AVILA.]
Bancket der Hofe und Edelleut.
Heirs of C. Egenolff, Frankfort, 1556; 8vo.
Contains ten cuts of the small Decameron series.
46. [BIBLE.] Novi Testamenti Iesu Christi historia effigiata. Heirs
of C. Egenolff, Frankfort, 1557; 8vo.
Sig. g 7. The Scourging of Christ, with Schäufelein's monogram in 1. lower
corner. Badly cut, perhaps a copy [88 x 61].
47. [ACADEMIES. SALERNO.]
Conservandæ Sanitatis præcepta
saluberrima. Heirs of C. Egenolff, Frankfort, 1559; 8vo.
Contains several cuts of the small Decameron series.
48-50. [LONICER.] Kreuterbuch. C. Egenolff, Frankfort, 1560,
1564, 1593; fol. (three editions).
Each edition contains seven cuts of the series described under no. 42.
51. [BECKER.] Holzschnitte alter deutscher Meister. Gotha, 1808–
1816; fol.
The following cuts are by Schäufelein :-
B 32-39, 41-43, E 7. B 37 is the Crucifixion (B. vii, 252, 31) not represented in
the Print-room.
16
=
==
WOODCUTS BY SCHÄUFELEIN.
I-VARIOUS WOODCUTS, 1505-1508. Nos. 1-37.
For numerous unsigned woodcuts published in 1505 see list of books, p. 10, no. 1.
The signed works of the early period have either the monogram in its first form (S
twined round the r. vertical stroke of H), accompanied by one or two shovels, or else
a shovel alone without monogram. A drawing in this collection, dated 1509, already
has the monogram in its normal later form, in which a small S crosses the horizontal
stroke of the H. An early variation of this type may be seen on the woodcut of the
death of St. Christopher at Gotha and Dresden, represented here by a reproduction.
† THE LEGEND OF ST. CHRISTOPHER.
Photographs of sixteen subjects, on two sheets, in the Ducal Museum at Gotha,
hitherto undescribed. The last subject has Schäufelein's monogram, and the primi-
tive style of the whole series makes it probable that this is the earliest extant cut
that bears his signature. The signed subject by itself is also in the Dresden Cabinet.
Each cut measures 110 x 89 mm., and is headed by a Latin elegiac couplet describ-
ing the subject. The headings to the first four cuts have, however, been cut off.
The birth and childhood of St. Christopher, as related, for instance, in Muther
"Danube'
no. 1701 (a book with very interesting woodcuts of the Bavarian or
school), are omitted here. The story is taken up, following the Golden Legend, at
the point where the giant Christopher, having set out in search of the mightiest lord
on earth, is in the service of a Christian king, whom (1) he leaves because he fears
Satan. Christopher (2) encounters Satan himself and enters his service, but quits
him (3) when Satan turns back in dread from a wayside cross. Christopher now (4)
seeks for Christ, as mightier still than Satan, and meets a hermit, who bids him
(5) serve God by carrying passengers across a deep river. As Christopher (6) is
sleeping one night in his cabin on the bank, he hears a child's voice asking to be
carried over.
He bears the child on his shoulders (7), but almost succumbs under
the burden. The Child Jesus reveals himself (8). He bids Christopher plant his
staff in the ground, and it breaks into leaf. In the city of Samos (9) Christopher's
staff again breaks into leaf, and many unbelievers are converted. Christopher (10) is
bound and led before the king, Dagnus, who puts him in prison (11), and sends two
women, Aquilina and Nicea, to seduce him from virtue. Instead of that, he converts
them to the faith, and (12) they pull down an idol in the temple. For this (13)
Aquilina is hung, and Nicea, after passing unscathed through fire, is beheaded.
Christopher himself (14) is tortured with a red-hot helmet, and condemned (15) to be
shot. The arrows, however, avoid him; one recoils and puts out the king's eye.
Finally (16) Christopher is beheaded in presence of the king, who recovers his sight
by the virtue of the saint's blood, and is converted to Christianity.
1. ST. SEBASTIAN.
B. vii, 257, 39.
The saint stands r., pierced by three arrows, with arms raised above
his head and bound by the wrists to a tree. An archer stands 1. with bow
and arrows in his r. hand, while a second kneels in the foreground and
winds up his cross-bow. A turbaned man on horseback, attended by four
other persons, watches the scene 1. Landscape background. The signa-
ture (monogram and shovel), which should appear below the bent 1. knee
of the archer, has been erased.
[378 x 280.] Fair impression, somewhat damaged and backed. No watermark.
In the inventory of 1837.
Very rare; the Albertina has an impression with the monogram. Evidently
produced under the influence of Dürer's large woodouts of 1495-1498. Probably
earlier than the Passion series, published in 1507.
Division B.-School of Augsburg.—Schäufelein.
17
[2-31.]
THE PASSION. 1507. B. vii, 253, 34.
The Crucifixion appeared in "Der beschlossen gart des rosenkrantz marie," which
is dated 9 Oct., 1505. Some of the remaining woodcuts of the series may date from
the same year, though they were first published on 30 Aug., 1507, in "Speculum
Passionis," printed at the private press of the author, Dr. Ulrich Pinder, physician
at Nuremberg. The whole series was reprinted by Vietor, at Cracow, in 1522, in
Zywot wssechmocnego syna bozego pana Jezu krysta," by Balthasar Opeć, a
translation from St. Bonaventura (Cracow, University Library, ix. c. 27). A copy
of the Last Judgment was used in Bielski, "Kronika Swiata," Cracow, 1554.
2. CHRIST'S ENTRY INTO JERU-
SALEM.
3. CHRIST PURIFYING
TEMPLE.
18. PILATE WASHING HIS HANDS.
19.
CHRIST BEARING THE CROSS.
THE
20.
CHRIST ON THE CROSS.
4. CHRIST TAKING LEAVE OF
HIS MOTHER.
5.
THE LAST SUPPER.
6.
CHRIST WASHING ST. PETER'S
FEET.
7. CHRIST ON THE MOUNT OF
OLIVES.
8. THE BETRAYAL.
9.
CHRIST BEFORE ANNAS.
10. CHRIST BEFORE CAIAPHAS.
11. CHRIST MOCKED.
12. CHRIST BEFORE PILATE.
13. CHRIST BEFORE HEROD.
14. CHRIST STRIPPED.
15. CHRIST SCOURGED.
16. CHRIST CROWNED
THORNS.
PEOPLE.
WITH
17. CHRIST SHOWN ΤΟ THE
21. THE LAMENTATION FOR
CHRIST.
22. THE ENTOMBMENT.
23. CHRIST DESCENDING INTO
HELL, signed.
24. THE RESURRECTION.
25. CHRIST APPEARING TO HIS
MOTHER.
26. CHRIST APPEARING TO ST.
MARY MAGDALEN.
27. THE INCREDULITY OF ST.
THOMAS.
28. THE ASCENSION.
29. THE DESCENT OF THE HOLY
GHOST, signed. P. iii, 236, 145.
30. THE CORONATION OF THE
31.
VIRGIN.
THE LAST JUDGMENT.
[c. 235 x 160.] Nos. 2-4, 6-24, 26-28, 30 are impressions without text, not strictly
speaking proofs, for they show the same defects in the blocks as the impressions of
1507, and are probably of later date than the book, though still early, as the water-
marks prove. On the other hand, they are earlier than the impressions in the edition
of 1519, where nos. 9, 10 and 28 show cracks extending from top to bottom of the
blocks. These impressions seem, therefore, to have been taken between 1507 and
1519. Nos. 25, 29 and 31 are impressions with text from the edition of 1507, and
no. 5 is from that of 1519. The watermark of nos. 2, 8, 9, 11, 14, 17-19, 23, 24, 27,
30 is the large high crown; that of no. 12, the large ox's head with cross and serpent.
Nos. 2, 3, 9, 23 and 28 were presented by Mr. W. Mitchell, 1895; the remainder
are in the inventory of 1837. There are also duplicates without text of nos. 9, 11-16,
17-21, and 26 from the Mitchell collection, and of nos. 2, 23, 28 and 30 from the old
Museum collection. Most of these are almost equal to the impressions selected, and
have the same watermarks.
30a. THE CORONATION OF THE VIRGIN.
A coarse copy in the same direction, reduced in size.
[198 × 151.] Poor impression, from an “Evangelienbuch," printed by Grüninger
at Strassburg (1510 or 1513 ?).
Presented by Sir A. Wollaston Franks, K.C.B., 1895.
18
Early German and Flemish Woodcuts.-Part II.
30b. THE CORONATION OF THE VIRGIN.
Second state of the same copy.
A correction has been made in the face of the Virgin by the insertion
of a new piece in the block, whereby the hair is brought lower on the brow.
[198 × 151.] Poor impression, from the "Evangelienbuch " printed by Grüninger
in 1515 (Proctor 9937).
Purchased from Mr. Willis, 1848.
The copy in this state also occurs on fol. 86 v. of Geiler von Kaisersberg's
“Brösamlein,” Grüninger, 24 March, 1517 (Proctor 9941b). These books contain, in
the form of large initials, numerous copies from Schäufelein's cuts in the Basle
"Plenarium" of 1514.
For a smaller copy [140 × 100], see p. 9, no. 9 (71).
32. CHRIST BEARING THE CROSS.
B. vii, 251, 28.
St. Veronica kneels and offers her napkin to Christ, who advances to
r. in the midst of a procession which issues from a fortified gate 1. Two
mounted men are seen r., with a hilly and wooded landscape beyond them,
and behind Christ we see the Virgin with another holy woman, accompanied
by St. John, whose features resemble those of Dürer's St. John in the
Great Passion (B. 6 and 10). Near a boy in the foreground 1. is the early
monogram with two crossed shovels, as in no. 29.
[305 × 213.] A good impression, cut close. Watermark, “Reichsapfel" with
star.
Collections: Lely (F. 415), Mitchell.
Presented by Mr. W. Mitchell, 1895.
Repr. in Hirth and Muther's "Meisterholzschnitte," no. 56. One of the
best of Schäufelein's early works, and evidently contemporary with the "Speculum
woodcuts. The Veronica and the group of the Virgin and St. John betray the
influence of Dürer. The boy in the foreground is an almost exact repetition of a
figure by Schäufelein himself in no. 17. The woodcut is rare; there is a fine
impression in the Albertina.
32a.
CHRIST BEARING THE CROSS.
B. vii, 251, 28.
A later impression, with margin [6–8], better preserved, except that the monogram
and shovels have been erased. Watermark, gateway with two towers.
In the inventory of 1837.
33. THE CRUCIFIXION.
P. iii, 235, 141.
The cross stands exactly in the middle, facing to the front. To 1. are
St. John, the Virgin and three other women; behind the cross are three
men on foot, and to r. a group of men on horseback. Landscape back-
ground with an expanse of water. In the centre in front is the early
monogram with a slanting shovel in contact with the letters.
[363 × 272.] Good impression without watermark.
Presented by Mr. W. Mitchell, 1895.
Approximately of the same date as the Crucifixion in the "Speculum," which
appeared in "Der beschlossen Gart," 1505. The landscape background is inspired
by Dürer. Rather rare; a cut impression [340 × 265] is at Wilton House.
34. THE HOLY FAMILY.
B. vii, 248, 13.
The Virgin sits, in a building with a vaulted roof, supporting the Child,
who stands before her on a cushion. Joseph r. offers an apple. Through
Division B.-School of Augsburg.—Schäufelein.
19
a window over his head a landscape is seen.
signature, a shovel only.
[222 × 154.] A rather poor impression.
Purchased from Messrs. Evans, 1856.
On a ledge in front 1. is the
Evidently an early work. For the round arch with a curtain under it, compare
Rare; a fine impression in the Albertina, a good one, partly coloured, at
no. 11.
Munich.
35. ST. CHRISTOPHER.
P. iii, 237, 157.
The saint crosses the water towards the r., carrying the child, wrapped
in a voluminous mantle, on his shoulders; to 1. the hermit, holding a
lantern, kneels on the bank. In the foreground r. is the shovel without
monogram.
[222 × 155.] A black, heavy impression on discoloured paper, watermark, small
bull's head.
In the inventory of 1837.
To some extent an imitation of Dürer's early St. Christopher, B. 104, which is
approximately of the same size.
36. A LANDSKNECHT.
B. vii, 266, 99.
A landsknecht, with ostrich plumes and a peacock's feather in his hat,
walks to 1. with his r. hand raised, and carries a halberd in his 1. hand over
his shoulder. The signature, a shovel only, is on the ground.
[225 × 118.] Good impression. No watermark.
In the inventory of 1837.
Repr. in Breunner-Enkevoërth, Ser. iii, no. 7, and Hirth, no. 332. An early
work. For the costume (shoes, peacock's feather) compare the halberdiers 1. in
nos. 1 and 32. There is an early drawing of a similar subject in the Museum.
37. CHRIST APPEARING TO ST. MARY MAGDALEN.
B. vii, 175, 8. H. 1978. P. iii, 199, 231 and 236, 144. R.-A26.
Christ stands 1., resting his 1. hand on the handle of a spade, and giving
the benediction with his r. hand to the Magdalen, who kneels before him,
holding the jar of ointment in both hands. Between them is a tall,
slender tree; behind the tree a low wall, over which a landscape is seen.
In the 1. lower corner is the (false) monogram of Dürer.
[183 × 183.] Good impression with margin [5]; watermark, gateway with two
towers.
In the inventory of 1837.
Attributed by P. and R. to Schäufelein. The faces of Christ and the Magdalen
agree so closely with types to be found in the "Speculuin Passionis " (e.g., nos. 2, 5,
19, 28, see also St. Veronica in no. 32) that there can be little doubt that the present
subject is a work of the same artist and time. The foliage is also in his style, though
the drawing of architecture is unusual.
II. VARIOUS WOODCUTS, 1509-1510. Nos. 38-56.
To this period may be assigned a set of at least twenty-four subjects, uniform in
dimensions and style, two of which bear the date 1510. I have described them in
Mitteilungen der Gesellschaft für vervielfältigende Kunst, Vienna, 1905, Heft 1, p. 4.
Nineteen of these are woodcuts illustrating the life of Christ, which were not
recognised by earlier writers as forming a connected whole.¹ Other subjects (e.g.,
the
C 2
20
Early German and Flemish Woodcuts.—Part II.
::
Annunciation, Christ before Herod, the Entombment, the Ascension, the Last
Judgment) have probably been lost. The remainder, with one exception (B. 95), are
subjects connected with the Virgin and the Saints. Here, again, it is probable that
many subjects are lost. The subject to which I gave the number 25 is, as I am now
convinced, by Huber, not by Schäufelein. In this set trees are drawn in quite a
different manner from that of the first period. Architecture, remaining massive, as
in the "Speculum Passionis," is no longer so severely plain, but is enriched with
medallions, wreaths, or bizarre ornaments.
I append a list of the subjects at present known to me, mentioning in the case of
undescribed or rare woodcuts the collections in which I have seen them. I have not
seen the St. Christopher, dated 1510, small folio, mentioned by Nagler, Mon. iii,
p. 581, no. 46; it may belong to this series.
1.
The Nativity. P. iii, 234, 138b.
2.
3.
The Adoration of the Magi. B. vii, 247, 8. P. iii, 234, 138c.
The Presentation in the Temple. B. vii, 249, 14.
4.
The Jews sending messengers to St. John the Baptist. [233 × 158.]
Berlin, Nuremberg.
5.
The disciples of the Baptist returning from Christ to their master in
prison. P. iii, 238, 171. London, Paris (Courboin 10531).
6. The Miracle at Cana. B. vii, 250, 21.
7. The Last Supper. B. vii, 250, 22.
8. The Agony in the Garden. [231 x 156.] Muther, "Gesammelte
Studien," p. 172. Berlin, London, Munich (coloured), collection of
the Earl of Pembroke, Wilton House (early chiaroscuro impression, the
tone-block light green).
9.
The Betrayal of Christ. Basle, Paris (cut), Stuttgart, Vienna (Liechten-
stein collection).
10. Christ before Caiaphas. B. vii, 251, 27. Basle, London, Vienna (Albertina,
Hofbibliothek and Liechtenstein collection).
11. Christ before Pilate. B. vii, 251, 25. Basle, London.
12. Christ scourged. Basle, London, Vienna (Liechtenstein collection).
13. Christ crowned with thorns. Muther, "Gesammelte Studien,” p. 162.
Basle, London, Munich.
14. Pilate washing his hands.
collection).
15. Christ bearing the Cross.
collection).
Basle, London, Vienna (Liechtenstein
London, Paris, Vienna (Liechtenstein
16. The Crucifixion. B. vii, 252, 31. P. iii, 234, 138d. Basle, Berlin (good).
17. The Lamentation for Christ. B. vii, 253, 32. Berlin, London, Vienna
(Albertina).
18. The Resurrection. P. iii, 234, 138e.
19. The Descent of the Holy Ghost. P. iii, 234, 138f.
20. The Mater Dolorosa and St. Joseph. [232 × 157.] B. vii, 248, 11.
Basle, Vienna (Albertina and Hofbibliothek).
21. The Virgin and Child and St. Anne. 1510. B. vii, 248, 12, and 250, 20.
22. St. Roch and St. Sebastian. 1510. B. vii, 257, 37.
23. The Martyrdom of St. Catherine. B. vii, 257, 38.
24. Pyramus and Thisbe. B. vii, 265, 95. Berlin (cut), London.
Nos. 4, 9, 16, 18, and 20 are wanting in the British Museum collection.
38. THE NATIVITY.
P. iii, 234, 138b. C.D. Mitt. 1.
The Child lies on the ground, with ox and ass standing near him, in
an open shed with sloping roof. The Virgin kneels 1.; Joseph stands r.
¹ For a partial recognition of their continuity, see B. vii, 250, 19-22 (B. 19,
however, though uniform in dimensions with this set, is much later in style), and the
note on B. 27. P. and Muther describe the five subjects which were published in
Schönsperger's "Evangelienbuch" in 1512 and 1513.
in 1512 and 1513. See Centralblatt für Biblio-
thekswesen, 1895, p. 428, for a description of two editions, both different from Weigel
20074 in Georg's Antiquariat, Basle, and St. Peter's Stiftsbibliothek, Salzburg,
respectively. The Resurrection is said not to be by Schäufelein.
Division B.-School of Augsburg.—Schäufelein.
21
with a candle, and a shepherd stands bareheaded near the wall 1. In the
sky are two angels with a scroll. Signature below in the centre.
[228 × 157.] Late impression, coloured. No watermark.
In the inventory of 1837.
This cut was used in the "Evangelienbücher" of 1512 (fol. 9) and 1513
(Muther 898, 899),
39. THE ADORATION OF THE MAGI.
B. vii, 247, 8. P. iii, 234, 138 c. C. D. Mitt. 2,
ruined building with a flat,
Caspar kneels before them,
behind him with vessels of
The Virgin and Child are seated r. in a
thatched roof, on which shrubs are growing.
offering gold. Melchior and Balthasar stand
frankincense and myrrh, and two attendants stand farther back. The
head of an ox is seen r. and that of a dog 1. The signature is on a wall
above the ox's head.
[233 x 157.] Good impression, on paper stained brown. No watermark.
Presented by Mr. W. Mitchell, 1895.
This cut was also used in the "Evangelienbücher" of 1512 (fol. 15) and 1513.
39a. THE ADORATION OF THE MAGI.
B. 8. P. 138 c. C. D. Mitt. 2.
A later impression; on the margin below, 11 mm. wide, is printed the name of
Hans Guldenmundt. No watermark.
In the inventory of 1837.
40. THE PRESENTATION OF CHRIST IN THE TEMPLE.
B. vii, 249, 14. C. D. Mitt. 3.
The Virgin kneels 1., holding a pair of pigeons in her hands; Joseph
and two other men stand behind her. The Child is laid on the altar,
supported by a priest; another priest holds a book, and a third a taper.
Signature on the step of the altar.
[219 × 153.] Late impression, cut, border-line drawn with Indian ink. No
watermark.
In the inventory of 1837.
41. ST. JOHN THE BAPTIST IN PRISON. P. iii, 238, 171. C. D. Mitt. 5.
St. John 1. is conversing through the barred window of his prison with
the two disciples whom he had sent to Jesus (Matth. xi., 2, Luke vii., 19).
Jesus himself appears, standing behind them. A soldier armed with
halberd and sword sits 1. guarding the prison; near his feet is the
signature.
[234x158.] Good, early impression. Watermark, small ox's head.
Presented by Mr. W. Mitchell, 1895.
A woodcut in
Repr. in Hirth and Muther's "Meisterholzschnitte," no. 53.
"Doctrina, Vita et Passio Jesu Christi" (sig. F 1 v.) represents the two disciples
actually talking to Jesus outside the barred window of St. John's prison.
42. THE MIRACLE AT CANA.
B. vii, 250, 21. C. D. Mitt. 6
The Virgin is seated at table among the wedding guests. Christ stands
1., blessing the water in six vessels, two of which a servant holds in his
hands. Signature in the foreground. Double border.
[234 × 159.] Late impression. No watermark.
In the inventory of 1837.
22
Early German and Flemish Woodcuts.-Part Il.
43. THE LAST SUPPER.
B. vii, 250, 22. C. D. Mitt. 7.
Christ and the apostles are grouped about a round table in a room with
renaissance decoration. St. James is seated at Christ's right hand, St.
Peter at his left; St. John leans his head on the Lord's bosom. Judas
is seated 1., holding the money-bag. Signature on a wine-cooler.
[233 × 157.] Good impression on stout paper. No watermark.
Presented by Mr. W. Mitchell, 1895.
43a. THE LAST SUPPER.
B. 22. C. D. Mitt. 7.
[228 x 156.] Late impression on white paper, the block much worn; re-touched
with Indian ink. No watermark.
In the inventory of 1837.
44. THE AGONY IN THE GARDEN. Muther, Ges. Stud., p. 172. C. D. Mitt. 8.
Christ kneels in profile to 1. at the foot of a rock, on a ledge of which a
chalice is placed, while an angel hovers above it. The three apostles sleep
in the foreground, and soldiers, guided by Judas, enter the garden r.
Monogram below 1. on a scroll; the shovel below it.
[228 × 156.] Late impression on white paper. No watermark.
In the inventory of 1837.
Rare. The Munich impression, mentioned by Muther, is an early one, coloured,
with wide scarlet margin. There are other impressions at Berlin and Wilton House.
45. CHRIST BEFORE CAIAPHAS.
B. vii, 251, 27. C. D. Mitt. 10.
The high priest, wearing a mitre, is seated r. Christ, whose hands are
tied with a cord, stands before him with bowed head, surrounded by
soldiers and accusing Jews. A wreath is suspended overhead in front of a
round arch on which the signature is placed.
[231 × 156.] A rather late impression. Watermark, small high crown.
In the inventory of 1837.
Rare. The late impression in a passe-partout, described by B., is in the Hofbiblio-
thek, Vienna. The Albertina also has a late impression. B. calls the subject
"Christ before Annas," but only Caiaphas would wear the mitre. Though Caiaphas
is not rending his robes, the scene corresponds well with the description in St.
John's Gospel, xviii, 19-24.
46. CHRIST BEFORE PILATE.
B. vii, 251, 25. C. D. Mitt. 11.
Pilate, standing 1., leans over a low wall and speaks to Jesus, who
stands r. surrounded by guards. A scribe with a document in his hand
stands between the accused and his judge, and a man in the foreground
with bent knee puts out his tongue with a mocking gesture. Signature in
r. lower corner.
[239 × 162.] The subject [228 × 155] is enclosed in a passe-partout, apparently
of architectural design, of which only a fragment is preserved. Sharp, early
impression. Watermark, large ox's head with cross and serpent.
In the inventory of 1837.
47. CHRIST SCOURGED.
C.D. Mitt. 12.
Near the middle Christ is bound to a pillar, similar in architecture to
those in no. 40. He is surrounded by officers and gaolers, one of whom
is beating him with rods, while another tugs at the cord about his waist,
and a third plucks out his hair. Signature in r. lower corner.
[229 × 156.] A rather late impression. Watermark, small high crown.
In the inventory of 1837.
Rare; there is another impression in the Liechtenstein collection, Vienna.
Division B.-School of Augsburg.—Schäufelein.
23
48. CHRIST CROWNED WITH THORNS.
Muther, Ges. Stud., p. 162. C.D. Mitt. 13.
Two men are pressing down the crown of thorns with a bar, while a
third is aiming at Christ's head with a stick. Pilate and two other officers
look on. Signature on a wall at top 1.
[230 × 156.] Sharp, early impression. Watermark, small "Reichsapfel."
In the inventory of 1837.
Rare; Muther describes the Munich impression.
48a. CHRIST CROWNED WITH THORNS.
Muther, Ges. Stud., p. 162. C.D. Mitt. 13.
[234 × 156.] A slightly later, blunter impression, mutilated at the top, and
incorrectly restored.
Presented by Mr. W. Mitchell, 1895.
49. PILATE WASHING HIS HANDS.
C.D. Mitt. 14.
Christ 1., wearing the crown of thorns, followed by soldiers, is being led
away towards the front from the presence of Pilate, who sits r. on a throne
with renaissance ornament at the back and washes his hands in water which
a servant pours from an ewer. The monogram and shovel, wide apart, are
in the foreground r.
[233 x 158.] Sharp, early impression, on white paper without watermark.
In the inventory of 1837.
Rare; there is another impression in the Liechtenstein collection, Vienna.
50. CHRIST BEARING THE CROSS.
C.D. Mitt. 15.
Christ, advancing to 1., is escorted by two soldiers and followed by the
Virgin and St. John, who are passing through the city gate. Simon of
Cyrene helps to bear the cross, and Veronica kneels r. with her napkin.
Beyond the cross we see a rider and a soldier with a halberd. Landscape
background. Monogram (on a scroll) and shovel in 1. lower corner.
[232 × 156.] Sharp, early impression. No watermark.
In the inventory of 1837.
Rare; other impressions at Paris and Vienna (Liechtenstein collection).
51. THE LAMENTATION FOR CHRIST.
B. vii, 253, 32. C.D. Mitt. 17.
The body of Christ, at the foot of the cross, is surrounded by mourners.
Joseph of Arimathea stands 1., holding in both hands a large jar of
ointment. Landscape background. Signature in r. lower corner.
[231 × 156.] Good impression, somewhat discoloured. No watermark.
In the inventory of 1837.
Rare; the Albertina has a fine impression.
52. THE DESCENT OF THE HOLY GHOST. P. iii, 234, 138f. C.D. Mitt. 19.
The Virgin sits in the middle, surrounded by the twelve Apostles who
stand or kneel. Flames fall from the Holy Ghost and alight upon the
heads of all present. On the wall are two medallions with heads. Signature
below in the middle.
[232 × 157.] Fair impression, lightly coloured, with text on back, from one of
the younger Schönsperger's editions of Geiler's "Evangelienbuch," 1512 (fol. 84)
and 1513.
In the inventory of 1837.
24
Early German and Flemish Woodcuts.-Part II.
52a. THE DESCENT OF THE HOLY CHOST.
P. 138f. C.D. Mitt. 19.
[233 × 158.] A later impression, better printed and uncoloured, from Schön-
sperger's New Testament, Augsburg, 1523 (Muther 924). On the back is the title,
"DAS Ander Teyl desz / Euangeli Sanct Lucas / von der Apostel / Geschichte,"
followed by a cut of the infant Christ with the instruments of the Passion.
Presented by Mr. W. Mitchell, 1895.
53. ST. ROCH AND ST. SEBASTIAN. 1510. B. vii, 257, 37. C. D. Mitt. 21.
St. Roch 1. and St. Sebastian r., each with a nimbus, and bare-headed,
stand in front of a portico of renaissance architecture, with suspended
wreaths. Mountains 1. Monogram in the foreground on a tablet;
shovel 1. ; in r. upper corner the date 1510 reversed.
[231x154.] Good, early impression. Watermark, small ox's head.
Presented by Mr. W. Mitchell, 1895.
Repr. in Hirth and Muther's "Meisterholzschnitte," no. 54. This state is also
at Vienna (Albertina).
53a. ST. ROCH AND ST. SEBASTIAN.
B. 37. C. D. Mitt. 21.
Water-
Second state. The date has been almost entirely obliterated.
[230 × 152.] Still a good impression, though the block is somewhat worn.
mark, small shield with Augsburg arms.
In the inventory of 1837.
54. THE VIRGIN AND CHILD WITH ST. ANNE. 1510.
B. vii, 248, 12 and 250, 20. C. D. Mitt. 22.
St. Anne sits 1., near a portico, with suspended wreath, holding the
infant Christ on her lap; the Virgin kneels adoring her child. On a table
r. a jar, knife, and some fruit; behind a wall a date-palm, sea beyond.
In 1. lower corner monogram, shovel and date 1510 reversed.
[231×153.] Early impression, but discoloured, damaged and mended.
Purchased from Messrs. Evans, 1856.
There are impressions of this state at Oxford (Bodleian) and Vienna (Albertina
and Liechtenstein collection).
54a. THE VIRGIN AND CHILD WITH ST. ANNE. B. 12, 20. C. D. Mitt. 22.
[228 × 156.] Second state, the date removed. Late impression on white paper
without watermark.
In the inventory of 1837.
Modern,' evidently unacquainted with the first state of this woodcut, assigns it to
Schäufelein's latest period.
55. THE MARTYRDOM OF ST. CATHERINE. B. vii, 257, 38. C. D. Mitt. 23.
The Saint, crowned, kneels r. with folded hands, near the broken
wheel, awaiting the headsman's sword. Fire and stones fall from heaven
upon her would-be executioners, some of whom are fallen to the ground,
while others hurry away 1. Trees 1., water r., and beyond it a castle on a
hill. Signature in the foreground 1.
[251×176.] The subject [231 × 153] is enclosed by a second border-line or plain
passe-partout, separated from the inner line by an interval of 10 mm. Fine, early
impression. Watermark, high crown.
In the inventory of 1837.
An early impression is in the v. Lanna collection at Prague (Singer 6222).
1 Jahrb. d. kunsthist. Samml. d. Allerh. Kaiserhauses, xvii, 371.
Division B.-School of Augsburg-Schäufelein.
25
F
56. PYRAMUS AND THISBE.
B. vii, 265, 95. C. D. Mitt. 24.
Pyramus lies r. under a tree, holding with his r. hand the hilt of a
dagger which is plunged into his body. Thisbe stands bending over him,
wringing her hands. Behind her is the lion. Landscape background.
Monogram r. on a tablet suspended from a branch; shovel in I. lower
corner.
[230×156.] Good, early impression. No watermark.
Collection: Lely (F. 415).
In the inventory of 1837.
Modern strangely assigns this subject, like no. 54, to Schäufelein's latest period.
56a. PYRAMUS AND THISBE.
B. 95. C. D. Mitt. 24.
[228×153.] Another impression, also good, not so black, slightly cut. No
watermark.
Collections: Liphart (F. 328), Mitchell.
Presented by Mr. W. Mitchell, 1895.
Repr. in Hirth and Muther's "Meisterholzschnitte," no. 55.
III.-VARIOUS WOODCUTS, 1511-1515. Nos. 57-91.
This group includes a number of Schäufelein's early Augsburg illustrations
and some few separate woodcuts of the same period. The small illustrations, nos.
58-73, belong to sets used in a number of devotional works, "Via Felicitatis,
"Taschenbüchlein," "Das Leiden Jesu Christi," etc., published by Schönsperger,
jun.. during the years 1513-1516, and sometimes reprinted later.
57. AN ILLUSTRATION TO TENGLER'S "NEU LAIENSPIEGEL."
C.D. Mitt. p. 7, no. 1a.
Interior of a room. The author, Ulrich Tengler, sits 1. at a desk, behind
which another person stands. R. stand Sebastian Brant and Jacobus
Locher (Philomusus), authors of the prefaces, and two other men, looking
up at a vision of the Coronation of the Virgin. A mirror (Laienspiegel)
reflecting light on all sides is on a wall at the back of the room.
[190 × 134.] Good impression, with text on the back from the edition of 24 Dec.,
1512 (the first edition is dated 18 June, 1511, see p. 11, no. 2).
Presented by Mr. W. Mitchell, 1895.
This cut was attributed to Schäufelein while still in Mr. Mitchell's collection.
It is one of five illustrations, in all of which his style plainly appears. They are
allied to the group of 1510, though the figures are drawn on a much smaller scale.
† THE LAST JUDGMENT.
Facsimile of the last cut in Tengler's "Neu Laienspiegel." From Mitt. d. Ges. f.
vervielf. Kunst, 1905, p. 5 (described p. 7, no. 1e).
26
Early German and Flemish Woodcuts.-Part II.
#
:
[58-66.]
CUTS FROM
“VIA FELICITATIS.'
58. FRONTISPIECE.
Nagl. Mon. iii, p. 571, no. 19 (2).
In the foreground, Christ as judge; 1. angels raising souls from
purgatory; r. the jaws of hell. Farther back, Christ standing, crowned
with thorns, a man at his side; a man rides up from r., to whom St. Peter
turns, pointing to Christ; the Virgin and other saints kneel 1. Farther
back again, Christ, on the cross, holds out a key to a priest 1., who is
absolving a penitent; on the priest's chair are the monogram and shovel.
R. the penitent thief; between his cross and that of Christ two men kneel,
and a child clings to a tree.
[115 x 77.] Good impression. On the back, printed in red, the title "Via felici-
tatis." (Schönsperger? Augsburg, 1513. Muther 900; copies at Munich, Hof-
und Staatsbibliothek, Asc. 5058, and Augsburg, Stadt-und Kreisbibliothek).
Presented by Mr. W. Mitchell, 1895.
The block was used at Thierhaupten in 1594 (Nagler). On "Via Felicitatis" see
Kraenzler in Kunstchronik, 1878, no. 1. The book contains twenty-five different cuts
by Schäufelein, twelve of which are reproduced by Muther, nos. 178–183.
59. A GROUP OF ANGELS.
B. vii, 258, 44.
Three angels are clearly seen in the foreground standing with folded
hands and looking down; the heads and wings of others appear behind;
rays stream down from the sky. Signature in r. lower corner.
[100 × 63.] Early impression without text on thin white paper, margin [7-10].
In the inventory of 1837.
Used on fol. 132 v. of " Via Felicitatis."
60. THE AUXILIARY SAINTS.
B. vii, 258, 47.
SS. George, Pantaleon, and Erasmus are conspicuous in front; the
heads of the remainder of the fourteen "Nothelfer " appear behind them.
[100 × 64.] Similar impression to no. 59.
In the inventory of 1837.
Used on fol. 146 (misprinted 156) of " Via Felicitatis," and on sig. d 7 of "Taschen-
büchlin,” J. Miller, Augsburg, 1516, 8vo. (Muther 910, Berlin, Kupf.-Kab., no. 27).
61. A MAN KNEELING AT THE WINDOW OF A CHARNEL HOUSE.
A church 1. The kneeling man faces r. The signature is on the wall
of the charnel house.
[100 x 63.] Fair impression, with text in German and Latin from a late XVI
century book on the back.
Presented by Mr. W. Mitchell, 1895.
Used on fol. 98 of " Via Felicitatis."
62. THE ANNUNCIATION.
P. iii, 230, 43a.
The Virgin sits r., a book on her lap. Over her head, beneath a
canopy, is the Dove. Gabriel, holding a wand in his 1. hand, enters 1.
On a ledge in the middle is a pot of lilies, beyond it a trellis and trees.
__
1
Division B.-School of Augsburg.—Schäufelein.
27
The signature, originally present in 1. lower corner, has disappeared from
the block.
[100 × 62.] Late impression (Derschau).
Purchased from Mr. Bihn, 1875.
Used on fol. 40 v. of " Via Felicitatis."
63. THE VIRGIN AND CHILD WITH ST. ANNE.
P. iii, 230, 43c.
The Virgin sits 1., holding the Child in her lap; St. Anne sits r.,
holding out both hands; overhead the Dove. Signature in 1. lower corner.
[100 × 63.] Late impression (Derschau).
Purchased from Mr. Bihn, 1875.
Used on fol. 52 of " Via Felicitatis," and on sig. e 8 v. of "Taschenbüchlin,” 1516.
64. THE TRINITY.
The First and
poised over them.
B. vii, 258, 42.
Second Person of the Trinity are seated; the Dove is
Signature below in the middle.
[99 × 63.] Late impression (Derschau).
Purchased from Mr. Bihn, 1875.
Used on fol. 115 v. of "Via Felicitatis."
65. THE TWELVE APOSTLES.
B. vii, 258, 45.
The Apostles stand grouped closely together; SS. Peter, John and Paul
are prominent. Signature below in the middle.
[100 × 62.] Late impression (Derschau).
Purchased from Mr. Bihn, 1875.
Used on fol. 134 of "Via Felicitatis."
66. THE LAST JUDGMENT.
B. vii. 258, 43.
Christ as Judge, seated on a rainbow. The Virgin kneels 1., St. John
the Baptist r. Signature below in the middle.
[99 × 63.] Late impression (Derschau).
Purchased from Mr. Bihn, 1875.
Used on fol. 167 v. of "Via Felicitatis." See also p. 9, no. 11 (2).
67. ADAM AND EVE. THE FALL.
Adam stands to 1. of the tree, his back to the spectator, his head in
profile to r. Eve stands r. facing the spectator, with her head turned
towards Adam, to whom she offers the apple in her 1. hand. Her r. arm is
raised and the hand hidden behind the tree. The serpent is coiled round
a branch; the head of a stag is seen in the shade 1. Signature below 1.
[85 x 61.] Good, early impression, placed within the passe-partout [142 × 95]
designed (probably by Burgkmair) for "Das Leiden Jesu Christi," 1515. This cut
does not belong to that book, and I have not discovered where it appeared.
In the inventory of 1837.
68. ADAM AND EVE. THE EXPULSION.
B. vii, 246, 2.
The angel r. with uplifted sword is driving away Adam and Eve to 1.
Trees in background; signature low down in the middle.
[86 × 61] Old impression, not so good as no. 67; narrow margin.
In the inventory of 1837.
1
28 Early German and Flemish Woodcuts.-Part II.
-.
69. THE ADORATION OF THE MAGI.
The Virgin is seated in the middle under an arch.
Melchior stands r. raising his crown from his head;
Signature on the wall over the latter's head.
[84 × 60.] Late impression; narrow margin.
In the inventory of 1837.
70. THE LAMENTATION FOR CHRIST.
Caspar kneels r.;
Balthasar stands 1.
P. iii, 230, 43 f.
The body of Christ rests on the arms of Nicodemus at the foot of the
cross. Joseph of Arimathea stands 1.; St. John, the Virgin, and another
woman are also present. No signature.
[86 x 60.] Late impression.
Purchased from Mr. Bihn, 1875.
Used on sig. o 4 v. of "Das Leiden Jesu Christi," 1515.
71. THE RESURRECTION.
Christ stands in the foreground near the end of the tomb, pointing
upwards with his r. hand and holding the banner in his 1. R. lies one of
the sleeping guards. Farther back the three Maries have just entered the
garden. Signature below r. on a ledge near the tomb.
[86 × 60.] Good, early impression.
In the inventory of 1837.
72. THE DEATH OF THE VIRGIN.
B. vii, 249, 15. P. iii, 230, 43 h.
The Virgin, lying on her bed, around which the apostles are grouped,
receives a taper from the hands of St. John. An apostle with a hood over
his head sits l. reading. The signature is on a chest at the foot of the bed.
[86 × 59.] Late impression (Derschau).
Purchased from Mr. Bihn, 1875.
73. ST. VERONICA WITH SS. PETER AND PAUL.
P. iii, 230, 43 g.
St. Veronica stands in a niche with St. Peter r. and St. Paul 1. No
signature.
[85 × 60.] Late impression (Derschau).
Purchased from Mr. Bihn, 1875.
73*. ST. GEORGE.
B. vii, 494, 1. Nagl. Mon. ii, no. 118, 3.
The saint, riding to 1., raises his sword to strike at the prostrate
dragon, already transfixed by his spear. The princess kneels r. ; on a hill
1. a fortified town. In the 1. lower corner the monogram of the wood-
cutter
CH.
[93 × 67.] Old impression; no text on the back; no watermark.
Purchased at the Durazzo sale, 1873.
This subject is not by the same artist as the other woodcuts connected with it
by Nagler. It occurs on sig. E 6 of the "Taschen büchlin" printed by Hans
Schönsperger, jun. at Augsburg, 24 March 1514; 4to. (Weller 856), a copy of which I
have examined at Bamberg (see p. 11, no. 8). It is there found as one of a long
set of woodouts designed by Schäufelein, and I am convinced that the monogram on
... 3
Division B.-School of Augsburg.-Schäufelein.
29
this subject is that of the woodcutter. The block is preserved and late impressions
are to be found in Becker's edition of the Derschau blocks (C 17).
Nagler, not recognising that the design of the St. George is by Schäufelein, leaves
it an open question whether the monogrammist was a draughtsman or a woodcutter.
The fact that his signature also occurs on a woodcut signed by Urs Graf makes it
certain that he must have cut blocks designed by other artists. As a collaborator
with Graf, Nagler assumes that he lived at Basle, but not only does the St. George
appear, as we have seen, in a book printed by Schönsperger junior at Augsburg, but
even the lute player (Nagler 4) signed by Graf is found in another book from the
same press (Pr. 10745; a copy, retaining both monograms, in Pr. 11587, Schobser,
Munich). I do not know the two woodcuts dated 1515 mentioned by Nagler (1, 2).
† ST. BRIDGET GIVING THE RULE TO HER ORDER.
St. Bridget, in monastic dress, a crown at her feet, sits on a low seat in
front of a wall and gives a book with either hand to kneeling groups of
four monks r. and five nuns I., who wear the Brigittine habit. An angel
stands with hands folded at the Saint's r. shoulder; the Holy Ghost hovers
over her head. Two male saints, holding empty scrolls, stand behind the
wall, looking over. In the background is a genealogical tree of the
Brigittine order, in two stems, each with four branches, with scrolls
attached. St. Bridget herself, with a book, is recognisable 1. and her
daughter, St. Catherine of Sweden, with lily and lamp, r. The arms of
Sweden r. rest on the wall. At the top of the tree Christ and the Virgin
Mary are seen in the clouds. No signature. Near the r. lower corner is
the date 1513, rather indistinct.
Photograph of the only known impression [242 × 222], in the Hofbibliothek,
Vienna, on thick paper, not very early.
I recognised this woodcut in 1900 as a work of Schäufelein; it is very character-
istic of his manner at this date. It must be observed, however, that the heads of
the monks and nuns have been inserted; the new blocks which contain them were
evidently drawn by Leonhard Beck, whose work in "Theuerdank" they resemble
closely. This woodcut has already been mentioned in Vol. I, p. 254, note 1.
74. THE CRUCIFIX ADORED BY PATRIARCHS AND SAINTS.
P. iii, 232, 133.
The crucifix, with the holy dove poised over it, is adored by four groups
of kneeling worshippers, separated by a band of clouds. Below the clouds
are patriarchs and prophets 1., among whom Abraham and Isaac, Moses and
St. John the Baptist are recognisable, and Apostles r. with St. John and
St. Paul in the foreground; St. Peter occupies a position between the two
groups. Above the clouds are a group of female martyrs 1. and a number
of men r., either saints or members of the church militant. Schäufelein's
monogram and shovel are near St. Paul's sword, and the signature of the
woodcutter, M¹, appears on the clouds.
[190 × 145.] Good impression, with two lines of text below, "Gloriosa dicta sunt
de te
in secula seculorum laudabunt te," and on the back the colophon of
•
Nagl. Mon. iv, no. 1475. Presumably an Augsburg woodcutter. As Dr. W.
Schmidt has pointed out (Repert. f. Kunstw., xvi, 254), the same signature occurs on
one subject," Khünig Ludwig jn Vngern," of the series, "Die Wunder von Maria
Zell," which Dr. Schmidt attributes to Wolf Huber, whereas I believe it to have
been produced in Augsburg. The cut in question must be attributed, as Dr. Dörn-
höffer remarked in a letter to me, to Jörg Breu. The woodcuts reproduced by Hirth
in 1883 are now at Berlin; there is a second set, wanting two subjects, in the
Liechtenstein collection at Vienna.
30
Early German and Flemish Woodcuts.-Part II.
Geiler von Kaiserberg's "Schiff der Penitenz," printed at Augsburg by J. Otmar,
March 1514 (Muther 988, Proctor 10693).
In the inventory of 1837.
The cut first appeared in J. Otmar's "Heiligenleben," 1513 (Muther 901). It was
used again in S. Otmar's editions of the New Testament printed in 1523 and 1524
(Muther 998). The lower part of this composition may be compared with a drawing
by Schäufelein (pen and ink tinted with water colour) in the British Museum, which
has similar groups of patriarchs and apostles. The upper part of the drawing
represents the Coronation of the Virgin.
75. THE ARMS OF HARTMANN SCHEDEL.
P. iii, 238, 172.
The shield and crest, a blackamoor's head wearing a wreath, stand on
grass under a round arch with renaissance ornament from which a wreath
of flowers and fruit is suspended. Monogram on the ground.
[211 × 160.] Late impression (Derschau).
Duplicate from the Franks collection of book-plates, bequeathed 1897.
Before 1514, when Schedel died. The architecture has ornaments (medallions,
wreaths), which remind us of the 1510 cuts, but the capitals are more ornate. The
grass is treated exactly as in the first of Schäufelein's cuts in the Triumphal Pro-
cession (1775, no. 120).
76. A TITLE BORDER.
A wide border with only a small opening [45 × 40] to contain a title.
At the top Christ is seated in clouds, bending to 1., holding the orb in his
1. hand. Below are three men in a landscape, arguing; long winding
scrolls rise 1. and r. Monogram on the ground towards the 1. side.
[157 × 121.] Old but late impression, after the block had been much used.
In the inventory of 1837.
Undescribed; I have not been able to ascertain in what book the border was
used. An approximate date is given by the fact that the composition is borrowed
from Burgkmair's border to Ricci's "Dialogus in Apostolorum Symbolum," J. Miller,
Augsburg, 1514, 4to. (Muther 867). The style agrees well with that date.
77. THE ANNUNCIATION.
B. vii, 246, 6.
The Virgin kneels 1. at a prie-dieu near her bed, in a building of hand-
some renaissance design. Gabriel stands on steps r. delivering his message.
The Almighty appears in the clouds with attendant cherubim. Monogram
on the base of a column and shovel on the end of a step. In the foreground
1. is a vase standing on a rug thrown over a chest.
[283 × 197.] Old impression, but not early. Watermark, a small orb in a shield,
over the letter p.
In the inventory of 1837.
Probably about 1514; closely allied to no. 76. The drapery of Gabriel may be
compared with that of the angel in the Brigittine woodcut of 1513 at Vienna.
Muther dates this subject much later, regarding it as contemporaneous with the
Apocalypse (1523). A very fine early impression at Berlin, with German text below,
is reproduced in Lippmann's "Engravings and Woodcuts by Old Masters," i, 40.
78. THE MAN OF SORROWS.
B. vii, 257, 41.
Christ, half length, crowned with thorns, stands facing the spectator,
and raises his r. hand. A mantle is held behind his back by two angels.
This composition is enclosed in an architectural frame, drawn on the same
block, with a shell ornament at the top, under which a weeping child is seated,
Division B.-School of Augsburg.—Schäufelein.
31
and an oblong panel below containing two children who hold a wreath
from which a mirror is suspended. Over the wreath is a tablet containing
Schäufelein's monogram and a space which may in an earlier state have
contained a date, and over the tablet is a mask emerging from leaves, in
the taste of Hopfer's borders.
[242 × 171.] Good impression, not very early; damaged and restored by hand
immediately over Christ's head. Watermark damaged and indistinct.
Purchased from Messrs. Colnaghi, 1852.
Muther dates this subject, with the Annunciation, about 1523. Some support is
given to this view by the fact that Schäufelein used a very similar shell ornament
for the tops of the niches which contain St. Barbara and St. Elizabeth on the wings
of the Ziegler altarpiece at Nördlingen, painted in 1521.¹ Modern² dates the wood-
cut 1522 (sic) by comparison with the Christ (Ecce Homo) in the same picture. But
the drawing of the figures seems to me characteristic of an earlier period, 1513-1515,
and the nearest parallel to the wreath may be found in the Annunciation, which Í
refer, on other grounds, to that date. The same shell ornament was used at a much
earlier date by an Augsburg artist, Hans Burgkmair, in his drawing (at Berlin) for
the Madonna painted in 1509 (at Nuremberg, Germanic Museum, no. 170).
[79-84.]
CUTS FROM THE PLENARIUM, PRINTED BY A. PETRI, BASLE, 1514.
79. THE NATIVITY.
P. iii, 229, 9a, and 235, 139b.
In a ruined building the Virgin kneels r., adoring the new-born child,
and Joseph stands 1., sheltering the flame of a taper with his hand. A
shepherd stands in the doorway, and another is seen approaching, beyond a
wall. Landscape background. Monogram (on a tablet) and shovel in 1.
lower corner; initials of the woodcutter, MA³, on the base of a column
behind Joseph.
3
[198 × 129.] Good impression; German text on the back.
In the inventory of 1837.
79a. THE NATIVITY.
[194 × 150.] Copy in the same direction, enlarged to r., retaining Schäufelein's
monogram, but not that of the woodcutter. From fol. 8 v. of Geiler's "Evangelien-
buch," printed by Grüninger at Strassburg in 1515 (Proctor 9937). Lightly coloured.
Purchased from Mr. Willis, 1848.
80. THE ADORATION OF THE MAGI.
B. vii, 247, 9.
The Virgin sits r. with the child upon her knees. Caspar kneels before
them, offering gold coins in a box. Melchior stands I., taking off his
crown with his 1. hand, and Balthasar stands behind. Landscape back-
ground. Schäufelein's monogram and that of the woodcutter, on a
column 1.
[198 × 130.] Good impression. German text on back.
In the inventory of 1837.
3
¹ Klassischer Bilderschatz, xii, 1617.
2 Jahrb. d. kunsthist. Samml. d. Allerh. Kaiserhauses, xvii, 371.
³ Nagl. Mon. iv, no. 1540. The monogram belongs in all probability to an Augs-
burg, not a Basle, woodcutter.
Nagl. Mon. iii, no. 896, p. 314, 2. This is not a Basle woodcutter, but more
probably the Hans Franck who was associated with Jost de Negker in cutting the
Triumphal Procession of Maximilian. See Burlington Magazine, 1907, x, 320.
32
Early German and Flemish Woodcuts.-Part II.
81. THE CRUCIFIXION.
B. vii, 252, 30.
Christ on the cross, to 1. St. John, Mary and two other women; to r.,
Pilate, the centurion and others. Monograms of Schäufelein and the wood-
cutter ¹ on the ground 1.
1
[200 × 131.] Good impression. German text on back.
Presented by Mr. W. Mitchell, 1895.
82. THE DESCENT OF THE HOLY GHOST.
P. iii, 235, 139a.
The Virgin, with folded hands, is seated in the midst of the Apostles,
two of whom kneel 1., while the rest stand. Overhead the Dove, in
clouds. Landscape background. No signature.
[198 × 130.] Fair impression, rather blunt. Low German text on the back in
Adam Petri's type. In the inventory of 1837.
83. ST. JOHN THE BAPTIST REPLYING TO THE QUESTIONS OF THE
JEWS.
St. John 1. leans over a wooden rail, addressing three of the priests and
Levites sent by the Pharisees; trees in the background. No signature.
[92 × 66.] Late impression with Latin text on the back from S. Münster's
'Cosmographia." It occurs on p. 630 of the 1550 edition.
In the inventory of 1837.
The fourth of fifty-two small cuts which illustrate the "Plenarium" of 1514 and
subsequent editions. For the subject see John i, 19–28.
84. CHRIST AMONG THE DOCTORS IN THE TEMPLE.
Christ sits at a desk; four doctors are seated round the room; Joseph
and Mary enter 1.
[92 × 65.] Similar impression to no. 83.
In the inventory of 1837.
The eighth of the small illustrations to the "Plenarium." See Luke ii, 46.
85. THE HOLY FAMILY REPOSING.
B. vii, 247, 7.
The Virgin sits with the child in her lap under a date-palm in a
fenced enclosure, while Joseph sleeps r. with his elbow resting on a hillock.
Mountainous background with buildings. Signature in r. lower corner.
[111 x 89.] Good impression on stained paper. No watermark.
In the inventory of 1837.
85a. THE HOLY FAMILY REPOSING.
B. 7.
[236 × 153 (cut).] Another impression, in a border with numerous little angels
climbing vine-stems and playing on musical instruments; at the bottom four
children, one of whom is winged, are drawing a fifth, who holds a palm, in a car.
L. a tablet with the date 1515.
In the inventory of 1837.
B. describes this border as a passe-partout, but in the present impression it is
connected at several points with the border line of the Holy Family, and both appear
to have been drawn on the same block. The border occurs again, this time indis-
putably as a passe-partout, in connection with a late impression of Baldung's St.
1 See note on no. 80.
Division B.-School of Augsburg.—Schäufelein.
33
Sebastian, B. 36, in this collection. But here the border is in a second state. The
inner frame of vine-stems, which fits closely round the Holy Family in the first
state, has been entirely cut away, and the inner opening of the passe-partout now
measures 132 x 101 mm. The outer dimensions of the passe-partout, perfectly
preserved in this late impression and enclosed by a wide border-line, are 241 × 176 mm.
86. PROOF OF A SUBJECT FROM "DER WEISSKUNIG" (no. 123).
A king sits with a canopy suspended behind him, holding a conference
with eight men, five 1. and three r., who are seated within a circular
enclosure. A dog lies in the foreground. No signature.
[220 × 198.] Brilliant proof on white paper without watermark.
Collections: Thos. Allen,' W. Y. Ottley.
Purchased at the Ottley sale, 1837.
The cut represents the Blue King (King of France) tempting the subjects of the
young White King (Maximilian) to disloyalty. The original block has Schäufelein's
monogram on the back. The blocks were prepared about 1512-1516, but the first
complete edition appeared in 1775, the second, edited by A. Schultz, in 1888 (see
p. 161 of the latter). The only other subject designed by Schäufelein is no. 200,
which is signed on the front as well as on the back of the block.
87. A SUBJECT FROM THE TRIUMPHAL PROCESSION OF MAXIMILIAN
(no. 120).
Ten foot soldiers marching to r., armed with spears. No signature.
[362 × 378.] Impression of the XVIII century, earlier than Bartsch's edition;
the scrolls are still black.
Purchased from Messrs. Smith, 1845.
Subject no. 120 in the 1796 edition, no. 127 in that of 1883-4. Cut by Cornelius
Liefrinck.
88. A SUBJECT FROM THE TRIUMPHAL PROCESSION OF MAXIMILIAN
(no. 121).
Ten foot soldiers marching to r., armed with long swords. No
signature.
[348 × 374.] A similar impression.
Purchased from Messrs. Smith, 1845.
Subject no. 121 in the 1796 edition, no. 128 in that of 1883-4.
[89-91.]
SEPARATE WOODCUTS OF SOLDIERS.
These probably belong to the years 1512–1515, during which Schäufelein was at
Augsburg, taking part in the preparation of blocks for the Emperor Maximilian's
projected works. No. 91 bears the monogram of the leading Augsburg woodcutter,
Jost de Negker.
89. THREE MUSKETEERS.
The three men march to r. carrying muskets over their shoulders ;
the middle one of the three is bareheaded and looks back at the third.
Trees and hills in the background. Near the 1. lower corner the mono-
gram and shovel on the ground. Single border-line.
[208 × 159.] Good impression. No watermark.
In the inventory of 1837.
Closely allied to nos. 87, 88. Repr. in Breunner-Enkevoërth, Ser. iii, no. 8.
1 Allen's mark resembles the second mark given by Fagan (no. 3) as that of the
Earl of Aylesford.
D
34
Early German and Flemish Woodcuts.-Part 11.
.: ..
90. TWO LANDSKNECHTS CONVERSING.
B. vii, 267, 101.
A tall man with his plumed hat slung over his shoulder stands 1.,
supporting in his 1. hand the shaft of a long pole or spear, the point of
which is not visible. The other soldier, standing r., carries a halberd in
his 1. hand and holds the hilt of a sword in his r. hand. Monogram in 1.
lower corner on a solid tablet, representing a wood-block, and shovel on
the ground near it. Trees in the background. Single border line.
[238 × 169.] Good impression. Watermark, eagle and imperial crown.
In the inventory of 1837.
Reproduced in Breunner-Enkevoërth, Ser. iii, no. 9, and Hirth, no. 331.
91. A STANDARD BEARER.
B. vii, 266, 100.
He walks to r., wearing a hat with ostrich plumes and holding in his
I. hand the end of the standard, which floats back behind his head.
Mountain landscape with a castle and bridge. Schäufelein's monogram is
on a tablet on the ground r., the shovel near it, and the signature of Jost
de Negker is in the 1. lower corner.
[208 × 133.] Good impression. Watermark indistinct.
In the inventory of 1837.
Repr. (inaccurate) in Breunner-Enkevoërth, Ser. iii, no. 6.
† A STANDARD BEARER.
His body is directed nearly
hand on the hilt of a poinard.
falls in folds behind his head.
apart on a label.
to the front, but he walks to r. with his 1.
Large tree 1., bushes r. A large standard
Signed below r. with shovel and monogram
Photograph of an undescribed woodcut [208 × 138] in the Kunsthalle at
Carlsruhe.
+ TWO DRUMMERS AND A FIFE-PLAYER.
They walk to r., the fife-player between the two drummers. High on
the left is a cottage on a steep hill. The signature is on a tablet near 1.
lower corner.
Photograph of an undescribed woodcut [206 × 146] in the Kunsthalle at
Carlsruhe.
IV.—WOODCUTS SIGNED &c. 1516. Nos. 92–118.
In this section are grouped together the woodcuts which Schäufelein signed with
the monogram either by the side of the shovel or more often within the shovel
itself. The only fixed point by which this group can be dated is the publication
of the "Evangelienbuch," containing fifty-eight cuts in this style, printed by
T. Anshelm at Hagenau in 1516 (Muther 911, a copy at Munich). Some of the single
cuts (nos. 77, 78, 82, 83) were printed at Durlach, in Baden.
Since the woodcuts belonging to this group are imperfectly known and in part
undescribed, I append a list of them, so far as they are known to me.¹
1 This list was first printed, in German, in Mitt. d. Ges. f. vervielf. Kunst, Vienna,
1905, p. 7.
·
PLATE
HANS LEONHARD SCHÄUFELEIN
A STANDARD BEARER. B. 100
1
1
1

ame
*
xfta
·
.
Division B.-School of Augsburg.—Schäufelein.
35
1-58. Fifty-eight illustrations, exclusive of repetitions, to the "Evangelienbuch
of 1516 (T. Anshelm, Hagenau). Nine of these were reprinted in "Deca-
chordum Christianum," 1517.
59-75. Fifty-five of this series, with the addition of seventeen subjects, raising the
total number to seventy-five,¹ were reprinted at Frankfort in 1537, 1542
and 1550 under the title "Doctrina, Vita et Passio Jesu Christi." B. vii, 255, 35.
76. The Crucifixion [283 x 213]. P. iii, 235, 142. Dresden, collection of K.
Frederick Augustus II.
77. The Crucifixion [298 x 215]. Nagl. Mon. v. p. 6, no. 28. Nuremberg.
78. Eve and the Virgin Mary, an allegorical subject, ibid. London, Nuremberg.
79. Mary as protectress of the human race. P. iii, 236, 150. Unknown to me.
SO. The martyrdom of St. Andrew. London.
81.
St. Florian [289 × 202]. P. iii, 237, 156. Berlin, London.
82. St. Florian [206 × 140]. Coburg.
83. The power of death and the ten ages of man. P. iii, 325, 83. Meyer's
K.-L. ii, 636, 8. Bamberg, Berlin (Latin text), London, Guildhall library
(a fragment), Vienna, Hofbibliothek (1. side wanting, German text).
Alexander carried into the air by griffins. London.
84.
85.
Hilo
A standard-bearer. P. iii, 238, 166.
[92-110.]
PROOFS OF THE ILLUSTRATIONS TO THE GOSPELS.
B. vii, 255, 35.
92. CHRIST WASHING ST. PETER'S FEET (= D.², no. 8, sig. B 2).
93. THE BETRAYAL OF CHRIST. Signed (= E.3, no. 26, D., no. 10).
94. CHRIST BEFORE ANNAS (= D., no. 11).
95. CHRIST BEFORE CAIAPHAS (= D., no. 13).
96. CHRIST STRIPPED (= D., no. 18).
97. CHRIST CROWNED WITH THORNS. Signed (= E., no. 30, D., no. 20).
98. CHRIST SHOWN TO THE PEOPLE (= D., no. 21).
99. PILATE WASHING HIS HANDS (= D., no. 17).
100. CHRIST BEARING HIS CROSS. Signed (= E., no. 31, D., no. 22).
101. CHRIST NAILED TO THE CROSS (= D., no. 24).
102. THE ELEVATION OF THE CROSS (= E., no. 32, D., no. 24).
103. THE LAMENTATION FOR CHRIST. Signed (= D., no. 26).
104. THE ENTOMBMENT. Signed (= E., no. 34, D., no. 27).
105. THE THREE MARIES AT THE SEPULCHRE. Signed
(= E., no. 36, D., no. 30).
106. CHRIST APPEARING TO ST. MARY MAGDALEN (= D., no. 31).
107. CHRIST APPEARING TO HIS MOTHER (= D., no. 32).
108. THE INCREDULITY OF ST. THOMAS (= E., no. 37, D., no. 34).
109. THE DESCENT OF THE HOLY GHOST. Signed
(= E., no. 42, D., no. 37).
¹ Or seventy-six, if the Annunciation be included. See p. 7, no. 4.
Doctrina, Vita et Passio Jesu Christi," 1537.
Evangelienbuch,” 1516.
? D.
3 E.
D 2
36
Early German and Flemish Woodcuts.—Part II.
110. THE LAST JUDGMENT (= D., no. 72).
[138 × 112.] Good early impressions (except no. 109) without text. Watermark
on nos. 99, 103, 107, 108, 110, the arms of Basle. No. 109 is on thinner, yellowish
paper.
Nos. 94, 109 in the inventory of 1837, the rest presented by Mr. W. Mitchell, 1895.
There is nothing to show exactly at what date these impressions were issued, or
how far they deserve the name of proofs. Though ten of these subjects did not appear
in the "Evangelienbuch," that is no proof that they are later than the rest; and, on
the other hand, the watermark suggests that these impressions were taken, in Alsace,
about the time when that book was printed (at Hagenau, 1516). They are, at any
rate, earlier and much better than the impressions of 1537.
100a. CHRIST BEARING HIS CROSS.
103a. THE LAMENTATION FOR CHRIST.
Duplicate impressions, very well preserved, with margin [5-7]. Watermark (100a),
arms of Basle.
Presented by Mr. W. Mitchell, 1895.
[111, 112.]
IMPRESSIONS, BELONGING TO THE SAME SET, FROM
“DECACHORDUM CHRISTIANUM,” 1517.
111. THE CIRCUMCISION. Signed (=E. no. 8, D. no. 3).
112. THE ENTRY INTO JERUSALEM. Signed (=E. no. 1, D. no. 6).
[190×145.] Good impressions, with borders (not by Schäufelein), and Latin text
on the back.
Presented by Mr. W. Mitchell, 1895.
For the complete book, see p. 7, no. 4.
113. HORARIA COMMEMORATIO DOMINICE PASSIONIS. 1547.
A "Bilderbogen" or broadside, with the above title, containing seven
woodcuts from the same set, in a single row, with verses (Latin above the
woodcuts, German below) relating to the seven canonical hours of prayer
The subjects are the following:-
(1) Ad Matutinas. The Betrayal of Christ.
(2) Ad Primam.
(3) Ad Tertiam.
(4) Ad Sextam.
(5) Ad Nonam.
Christ shown to the People.
Christ bearing his Cross.
Christ nailed to the Cross.
Christ on the Cross (= E. 33, D. 25).
The Lamentation beneath the Cross.
(7) Ad Completorium. The Entombment.
(6) Ad Vesperas.
At the end is the address, "Druckts Frantz Behem zu S. Victor.
Anno 1547."
[Sheet, 275 × 800.] The cuts are coloured. This broadside is printed on the back
of waste copies of the "Almanach Mentzisch" for 1545 and 1547, joined together,
which contain several small woodcuts after the manner of H. S. Beham. Franz
Behem was a Mentz printer.
In the inventory of 1837.

།།ང་
!
PLATE II
HANS LEONHARD SCHÄUFELEIN
THE MARTYRDOM OF ST. ANDREW
•
:
Division B.-School of Augsburg.—Schäufelein.
37
114. EVE˚AND THE VIRGIN MARY. AN ALLEGORY OF THE FALL
AND REDEMPTION OF MAN.
B. vii, 260, 54. Nagl. Mon. v., p. 6, no. 28. C. D. Mitt. p. 8, no. 78. Pr. 11965.
Two trees, an apple and an olive (?), grow in the middle, with their
stems twined round one another. Round a branch of the apple-tree is
coiled the serpent, holding in its mouth an apple, which contains a death's
head. Eve stands under the tree, raising her hand to take the fruit. Adam
passes on a similar apple to an emperor, who stands r. with two attendants.
Under the other tree stands Mary, crowned, with a nimbus round her
head; she holds a host in her r. hand, which she extends towards a group
of ecclesiastics, pope, cardinal, and bishop. Over her head is an angel,
also with a host in his r. hand. Schäufelein's monogram, on the shovel,
is in the foreground.
Below are two paragraphs of Latin text:
text: 1. "Marie virginitatis
castitas, cum humilitate, gratia in uēta apud deum, redemptoris meruit
fieri mater, qui no- | bis corporis et sanguinis sui sacramentum instituit
via- ticum, cibum anime cum ceteris sacramentis in remissio | onem
omnium peccatorum, si tamen eius mandatis obe- | dientes fuerimus."
r. "Per diaboli inuidiam mors introiuit in orbem terraru | operabatur enim.
eius instigatio, atqz persuasio trasgres- sionem mandati creatoris, quia
inuidebat homini, vt ali | quando possideret locu, de quo, olim superbia
tumidus eiectus est. Impressum per Frat. Nicola. keibss, | Plebanum in
Durlach."
[Woodcut, 323 × 241, sheet, 357 × 241.] Fine impression.
Purchased from Messrs. Evans, 1856.
This very rare woodcut is also in the Germanic Museum, Nuremberg, where it
has printed on the back the Crucifixion described by Nagler in the same place.¹ The
printer calls himself "Nicolaus Keibs, frater Ordinis S. Iohannis, plebanus in
Durlach," in the only dated book from his press, "Passio Christi," Panzer, viii,
332, 1. The single book from this press in the British Museum, Proctor 11964, has
an interesting woodcut of St. Adelaide [157×106], which has, however, nothing to do
with Schäufelein. Keibs printed at least two more of Schäufelein's woodcuts of this
group, viz., those to which I have given the numbers 82 and 83 in the list on p. 35.
115. THE MARTYRDOM OF ST. ANDREW.
C. D. Mitt. p. 9, no. 80.
The Apostle, bareheaded, clad in a long tunic, is bound by cords at
the wrists and ankles to a X cross. He is conversing with a man on
horseback 1. wearing a hat, by whose side stands a soldier with his hand
on the hilt of a poniard. Two other heads are seen between the soldier
and the cross; to r. of the latter are three men and three women, com-
panions of St. Andrew. There are clouds in the sky; in the foreground is
a clump of lilies of the valley, with the monogram on the shovel near it.
[206×147.] Fair impression, not early. No watermark.
In the inventory of 1837.
The woodcut is undescribed and I have nowhere met with another impression.
The style is very closely allied to that of the Gospel series.
116. ST. FLORIAN.
P. iii, 237, 156. C. D. Mitt. p. 10, no. 81.
St. Florian, with a round nimbus, wearing a cap, striped jerkin and
hose, and a breastplate, throws water from a bucket into the door of a
¹ The inscription given by Nagler should read: "O Jhesu Christ ewiger künig.
himelischer artzet," etc., and the address: "Jacob Furchamerr zu Durlach."
•
38
Early German and Flemish Woodcuts.-Part 11.
burning house 1., from which flames and smoke issue. His mantle lies on
the ground beside him. A man looks out at the window of another house
r'. In the distance, across a wall, is a small castle on a hill. Schäufelein's
monogram, apart from the shovel, is on the ground near the 1. corner.
[288 × 202.] Good impression, with margin [2-4]. White paper, no watermark.
In the inventory of 1837.
Rare; another impression at Berlin.
† ST. FLORIAN.
C. D. Mitt. p. 10, no. 82.
St. Florian, with a nimbus of rays, wears a cap on his long, curly hair,
and is accoutred in a complete suit of armour. A standard bearing a cross
lies at his feet. He throws water from a bucket into the door of a burning
house 1., from the upper storey of which a man looks out, throwing up his
hands in terrified entreaty. Other buildings r. and in the background are
also on fire. Near St. Florian's r. foot is the monogram on the shovel.
[206×140.] On the lower margin are German verses in two columns of six and
four lines respectively, printed in the type of Keibs of Durlach, easily recognisable by
the D:-
O hailiger märtler Florian
wir ruffen dich in noten an
Bit got das vns kein feures not
ym leben schad oder auch im todt
Durch seines leidens bitterkait
das vns sein gnad nit werd verseit
Am letsten end das bit wir alle
er vns bewar vor helschem valle
Begern wir alle vnd sprechen Amen
war, es geschehe in gottes namen.
Photograph of the only impression known to me, at Coburg. Repr. Mitt. p. 7.
† THE POWER OF DEATH AND THE TEN AGES OF MAN.
P. iii, 325, 83. C. D. Mitt. p. 10, no. 83.
Reduced facsimile of the imperfect impression in the Hofbibliothek, Vienna.
See Mitt. d. Ges. f. vervielf. Kunst, 1905, p. 9. A fragment is in the Willshire
collection in the Guildhall library, the complete woodcut [260 × 265] at Bamberg
and Berlin. The Berlin impression has Latin text beneath the woodcut, "Elegia
H. Bebelii," in three columns of 12, 12 and 8 lines respectively. At the end:
Impressum per Fratrem | Nicolaum köibss | Plebanum in Durlach.
117. ALEXANDER CARRIED INTO THE AIR BY GRIFFINS.
C. D. Mitt. p. 10, no. 84.
The King of Macedon, a youthful knight fully armed but bare-headed,
stands upright in a round cage, which reaches a little above his knees, and
holds in both hands a spear, to which is attached the headless carcase of
an animal. The cage is drawn up into the air by griffins, harnessed to
the cage by strong chains which are attached to girths round their bodies.
These creatures are striving to reach the carcase held above their heads,
and their efforts carry the cage up. Clouds above and below it indicate
that a considerable height has already been attained. Schäufelein's mono-
gram and shovel (separate as in no. 116) are on the bottom of the cage.
[210x143.] Fair impression, not very early; somewhat repaired.
In the inventory of 1837.
This woodcut, which is unique so far as I am aware, has been reproduced and
fully described in the Burlington Magazine, 1905, vi, 395. The subject is taken from
"Historia de preliis," a fabulous history of the exploits of Alexander the Great,
written in the tenth century at Naples by the Archpriest Leo, and translated in the
middle ages into all the languages of western Europe. This narrative was mainly
1
1 For the Latin text see "Die Vita Alexandri Magni des Archipresbyters Leo
(Historia de preliis), herausgegeben von Dr. Gustav Landgraf," Erlangen, 1885, p. 131.
Division B.-School of Augsburg.—Schäufelein.
39
2
derived from the original Greek romance, written at Alexandria about 200 A.D.,
which goes by the name of Pseudo-Callisthenes. This particular incident, however,
and that which immediately follows it, a descent into the sea in a diving bell, form
no part of the original narrative, and only occur in two late MSS. of Pseudo-Callis-
thenes, the best of which is at Leyden.¹ The editions of the "Historia de preliis
in Latin or German printed in Germany before the date of Schäufelein's woodcut,
seem to contain no illustration of the ascent to the sky. It is depicted, however, in
several French MSS. in the British Museum, the text of which invariably mentions
sixteen griffins. A relief of this subject with two griffins, on the north side of
St. Mark's, Venice, is reproduced in Ongania's work on the basilica, and in Didron's
Annales archéologiques, 1865, xxv, 141. See also Cahier and Martin's Nouveaux
mélanges d'Archéologie, 1874, i, 165-180, on the occurrence of this subject as a
pendant to the Fall of Man, both being examples of the pride that goes before a fall.
118. A STANDARD-BEARER.
P. iii, 238, 166. C. D. Mitt. p. 10, no. 85.
A bearded man, looking to r., in a cap with ostrich feathers, a slashed
doublet and tightly fitting hose, holds a large standard by a short staff in
his r. hand, and rests his 1. hand on the hilt of a poniard. He walks on
rough grass. The monogram is on a shovel which lies in the foreground r.
[247×176.] Good impression on white paper without watermark.
In the inventory of 1837.
V.-ILLUSTRATIONS. 1517-1523. Nos. 119-127.
It is difficult to understand Schäufelein's reversion, at this date, to his earlier
style. It might be conjectured that the "Himmelwagen" woodcuts were designed
earlier than the year of their publication (1517). With regard to the New Testament
woodcuts, no such hypothesis can be allowed, for the book is a reprint of Luther's
version, which was not itself printed at Wittenberg till September, 1522.
[119-121.]
ILLUSTRATIONS FROM LEONRODT'S "HIMMELWAGEN." (S. Otmar,
Augsburg, 1517, 1518. 4to.)
[108 × 97.] Late impression of the third subject in "Der
119. A MAN ADORING CHRIST ON THE CROSS.
cut was used afterwards in other books.
Purchased from Mr. Gutekunst, 1867.
B. vii, 269, 112.
Himmelwagen." The
120. TWO MEN AND A WOMAN OVERCOME WITH GRIEF AT THE
SIGHT OF A DEAD MAN.
[107 × 97.] Early impression of the seventeenth subject.
Presented by Mr. W. Mitchell, 1895.
121. THE HEAD OF CHRIST CROWNED WITH THORNS.
B. vii, 271, 126.
B. vii, 271, 127.
[107 × 97.] Good impression of the eighteenth subject, on the same leaf (verso)
as no. 120 (recto).
Presented by Mr. W. Mitchell, 1895.
¹ The Greek text may be found in "Pseudo-Callisthenes, nach der Leidener
Handschrift herausgegeben von Heinrich Meusel," Leipzig, 1871, p. 767.
2 Three illustrated editions, Augsburg, 1483, Strassburg, 1488, 1514, are in B.M.
3 Roy. 15 E vi, 19 D i, 20 A v; Harl. 4979. Durand (Ann. archéol., u.s.) cites
MSS. at Paris containing illustrations of this subject.
40
Early German and Flemish Woodcuts.-Part II.
:..
[122-127.]
ILLUSTRATIONS FROM THE NEW TESTAMENT. (J. Schönsperger, jun.,
Augsburg, 1523; fol. Muther 924.)
122-125. THE FOUR EVANGELISTS.
P. iii, 236, 151. Nagl. Mon. iii, p. 581, 43.
St. Matthew sits r. on a stone bench and reads a book held before him
by a kneeling angel. Monogram in 1. lower corner.
St. Mark sits writing at a desk which stands on a table. The winged
lion lies 1. in a doorway; near it is the monogram.
St. Luke sits 1., writing at a high desk. The winged ox lies r. in a
doorway. Monogram near 1. lower corner.
St. John sits in the middle, on a bench, reading a book which he holds
in both hands. The eagle stands r. near a pillar. Monogram on the
floor 1.
[93 × 135.] Good impressions cut from the book.
Purchased from Mr. Daniell, 1877.
Repr. Muther, pl. 192, 193. St. Paul (repr. Muther, pl. 190) is wanting to com-
plete this set.
126. ANGELS
RESTRAINING THE FOUR WINDS.
THE ELECT
MARKED ON THEIR FOREHEADS,
[232 × 157.] Good impression, from the book.
From the Storck collection, Milan 1797.
Purchased from Messrs. Evans, 1849.
B. vii, 260, 53.
Repr. Muther, pl. 195. Bartsch strangely calls the angel in the clouds St.
Francis.
127. THE ANGEL WITH THE KEY OF THE PIT.
[232 × 158.] A rather faint impression, from the book.
Purchased from Messrs. Evans, 1856.
B. vii, 260, 52.
Repr. Muther, pl. 198. Schäufelein designed only five of the illustrations to the
Apocalypse in this edition (all described and reproduced by Muther). The remainder
are by an unknown artist, who copied the Wittenberg woodcuts.
..
VI.-ILLUSTRATIONS. 1533-1538.
1533-1538. Nos. 128-209.
For ten years, 1523-1533, there was a complete cessation in Schäufelein's work as
a draughtsman on wood. In 1533 he reappears as an illustrator of books printed at
Augsburg by Steiner, for whom he designed a large number of blocks in the years
1534-1536. Steiner also acquired a series of blocks designed to illustrate the
Decameron, very few of which were used in Schäufelein's lifetime; they served
occasionally as illustrations to books published after 1540. The Steiner illustrations
are very imperfectly represented among the separate woodcuts, and the student is
therefore referred to the lists of books illustrated by Schäufelein, pp. 8, 9, nos. 7, 8, 10,
and pp. 13-15, nos. 26, 28, 29, 33–39.
Similar in style to the Boccaccio series is a set of ten cuts, varying in height
from 86 to 72 mm., about 68 mm. in width, of which only two appear to have been
used by Steiner (p. 9, no. 10); the remaining eight were published by Egenolff
and his successors in works of Adam Lonicer printed from 1551 to 1593 (p. 15,
nos. 42, 48–50).
The latest book illustrated by Schäufelein was the Apuleius printed by Weissen-
horn in 1538 (p. 14, no. 32).
Division B.-School of Augsburg-Schäufelein.
41
[128-129.]
ILLUSTRATIONS TO BONER'S TRANSLATION OF THUCYDIDES. 1533.
128. A KING ON HIS THRONE.
P. iii, 237, 163. Nagl. Mon. iii, p. 581, 58.
The king is seated, holding orb and sceptre in his 1. hand, raising his
r. hand. He appears to be giving judgment in a case at issue between
two young noblemen who stand 1. and r. attended by their respective
supporters. The monogram is on the floor in the middle.
[95 × 152.] Late impression, with no text on back.
In the inventory of 1837.
Used three times (fol. 11, 24 and 88 v.) in Boner's Thucydides (not in B. M.);
also in the following books:-
Boner's Herodotus, 1535 (fol. 96 v.).
Dictys Cretensis, 1536, 1540.
Boccaccio," Die Gantz Römisch Hystori," 1542.
Bracellus, “Ein schöne Cronica vom Künigreich Hispania," 1543 (fol. 36 v.).
Boccaccio, "Von widerwertigem Glück," 1545 (fol. 35 v.).
129. A SEA FIGHT.
Nagl. Mon. iii, p. 582, 83.
The crews of two sailing vessels are engaged in a hand-to-hand fight.
Monogram on the water, near the middle.
[95 × 156.] Fair impression, with German text on the back, from Bracellus,
"Ein schöne Cronica vom Künigreich Hispania," 1543, fol. 121 v. (also used on
fol. 23).
Presented by Sir A. Wollaston Franks, K.C.B., 1895.
First used in Boner's Thucydides, 1533 (fol. 19), also in Aretinus, "Rhömer
Krieg wider die Carthaginienser," 1540 (fol. 12, 19 v., 31).
[130-131.]
ILLUSTRATIONS TO BONER'S "PLUTARCHUS TEUTSCH," 1534.
130. CAIUS MARIUS.
P. iii, 233, 134 c. Nagl. Mon. iii, p. 582, 67.
A general on horseback, holding a bâton in his r. hand, addresses an
officer who stands 1. under a tree, near which Schäufelein's monogram is
placed on the ground.
[154 × 140.] Good impression, from a German edition of Josephus.
In the inventory of 1837.
First used in Plutarch, fol. 49 v., and 144 v. (as Cato). Also in Aretinus, "Rhömer
Krieg," etc., 1540, Bracellus, "Ein schöne Cronica," etc., 1543, fol. 94 v., and in
Boccaccio, "Von widerwertigem Glück, 1545, fol. 120 v.
131. PHOCION. B. vii, 266, 98. P. iii, 233, 134 f. Nagl. Mon. iii, p. 581, 61.
An officer, holding a spear in his 1. hand, speaks to a man standing 1.,
who holds his hat in r. hand; soldiers stand in the background on both
sides; monogram on the ground 1.
[153 x 142.] Good impression, from a German edition of Josephus.
In the inventory of 1837.
First used in Plutarch, fol. 128 v.; also in the three books enumerated in the
note on no. 130.
42 Early German and Flemish Woodcuts.-Part II.
[132-134.]
ILLUSTRATIONS TO SCHWARTZENBERG'S "MEMORIAL DER TUGENT,” 1534.
132. JUDITH PLACING THE HEAD OF HOLOFERNES IN A BAG.
B. vii, 263, 77.
[139 × 153.] Fair impression on yellowish paper, with the text of "Memorial der
Tugent " below the woodcut, not from the edition (1535) which is in the British
Museum. On the back is the Temptation of Job, copied from an illustration to the
Wittenberg edition of Luther's Old Testament.
Presented by Sir A. Wollaston Franks, K.C.B., 1895.
133. THE TROJAN HORSE.
B. vii, 264, 89.
[142 × 154.] Fair impression, on yellowish paper, with the text of a different
book on the back. The woodcut was also used in two editions of Dictys Cretensis,
printed by Steiner in 1536 and 1540.
Presented by Mr. J. H. Anderdon, 1872.
134. THE JUSTICE OF TRAJAN.
B. vii, 264, 91.
[143 × 154.] Fair impression, with text from a German edition of Josephus on
the back.
In the inventory of 1837.
135. FRONTISPIECE TO "DIE SCHÖN MAGELONA,” 1536.
A gentleman stands 1. under a tree, holding a dagger in his r. hand,
and holding out his 1. hand towards a lady who stands r., with a wreath
of leaves upon her head, looking down. Behind her are trees, and in the
background are two castles, one standing low, the other on a hill. No
signature.
[116 × 109.] Good impression, no text on the back.
In the inventory of 1837.
This woodcut is undescribed. Though unsigned, it is recognisable at once as a
characteristic example of Schäufelein's late style. It was used as the frontispiece of
the first German edition of the French romance, "La belle Maguelonne,” which was
printed by Steiner in 1536. The title-page, including this woodcut, is reproduced on
p. 89 of Könnecke's "Bilderatlas zur Geschichte der Deutschen Nationallitteratur,"
Marburg, 1887, from a copy in the Berlin library. The edition of 1536 at Berlin,
which I have myself seen, differs in the lettering on the title-page from that repro-
duced by Könnecke. The edition of 1545, also in the Berlin library, has the same
woodcut, which was also used on the title-page of the 1548 edition, printed by
Zimmermann, Augsburg (collection of King Frederick Augustus II., Dresden).
136. THE GARDEN OF LOVE. ILLUSTRATION TO BOCCACCIO.
B. vii, 266, 97. P. iii, 238, 173b. Nagl. Mon. iii, p. 582, 75, 76.
In the foreground are two couples walking and a third seated on a
bank. A flask of wine stands in a wine-cooler marked with Schäufelein's
monogram and shovel. In the background is a well into which a man
and a woman are looking; other couples are seen in various parts of the
garden. Outside the palings is a palm-tree, and there are buildings on a
hill in the distance.
[176 x 163.] Fair, late impression, from Steinmeyer. On the back is the head
of an Oriental (Scanderbeg?) not by Schäufelein.
Purchased from Mr. Daniell, 1877.
PLATE III
HANS LEONHARD SCHÄUFELEIN
FRONTISPIECE TO "DIE SCHÖN MAGELONA”

i
101

!
Division B.-School of Augsburg.—Schäufelein.
43
One of a pair of blocks designed for Steiner's "Decameron," which was never
printed. First used in "Schertz mit der Warheyt," printed at Frankfort in 1550 by
Egenolff, who had acquired Steiner's stock of wood-blocks. Inaccurately described
by Passavant as "Solomon, surrounded by his wives." Nagler describes it twice
over. Late impressions were issued by Steinmeyer, 1620, and in Oettingen-
Wallersteinisches Museum," 1820, a publication of impressions from old blocks now
preserved at Maihingen.
66
The companion subject, representing a betrothal, is reproduced in Weigel's
"Holzschnitte berühmter Meister."
[137-208.]
SMALL ILLUSTRATIONS TO BOCCACCIO.
These were designed about 1536, to illustrate Steiner's projected edition of the
Decameron. They are closely allied in style to Schäufelein's miniatures in the
Oettingen prayer-book, a MS. in the Berlin Cabinet, dated 1537-38. Five of these
blocks were used in the first edition of "Die schön Magelona," 1536¹; a larger
number occur in Christoph Bruno's "Historien und Fabulen," printed by Steiner in
1541 (Muther 934), and eight in Platina, "Von der eerlichen Wolust des leibs,"
1542 (Muther 1121). The blocks subsequently passed into the possession of
Egenolff, who used many of them in other books printed at Frankfort 2, but the
complete series was never published. The Bibliothèque Nationale at Paris possesses
a set of seventy-two subjects, printed in rows of four, on six sheets, twelve subjects
to a sheet, without repetitions.
137. A MAN IN BED, WITH HEAD TO R.
138. THREE MEN AND A WOMAN STANDING; TREES L. AND R.
139. A MAN AND A WOMAN RIDE TO R.; A YOUNG MAN STANDS L.
NEAR A GATE.
140. A WOMAN SEATED AT TABLE BETWEEN TWO MEN; WINE-COOLER
IN FOREGROUND.
141. A MAN AT TABLE RAISES HIS GLASS TOWARDS A WOMAN WITH
A CHILD.
142. A KING AND ANOTHER MAN AT TABLE, CONVERSING.
143. A MAN BEATING A WOMAN ON HER KNEES.
144. A MAN AND WOMAN SEATED UNDER A TREE, CONVERSING.
145. A MAN SEATED UNDER A TREE, CONVERSING WITH A LANDS-
KNECHT.
145a. THE SAME; ANOTHER IMPRESSION.
146. A MAN BEATING A CAPTIVE.
147. THREE WOMEN RECLINE UNDER A TREE; A FOURTH STANDS L.
148. A MAN ATTACKING HIS WIFE, WHILE A MONK PUTS A CHILD
INTO THE BED.
149. TWO SOLDIERS WATCH A MAN RECLINING WITH HIS HEAD ON
A WOMAN'S LAP.
1 See no. 135. Some of the series also occur in the editions of 1545 and 1548.
2 See p. 15, nos. 40, 43–45.
44
Early German and Flemish Woodcuts.-Part II.
150. A LOVER FLEEING FROM AN IRATE HUSBAND; THE WIFE STANDS
BETWEEN THEM.
151. A CARPENTER HEWING A PLANK INTO SHAPE.
152.
A MONK PREACHING TO TWO WOMEN AND AN OLD MAN.
153. AN OLD MAN TAKING A FLASK FROM A BOY; TWO WOMEN R.
154. FOUR MEN, A WOMAN AND A DOG.
155. A WOMAN MEETS A CARDINAL RIDING, ESCORTED BY A
HALBERDIER.
156. A BOAT IN DANGER; A WOMAN IN THE SEA; TWO RIDERS ON
THE SHORE.
157. A HALBERDIER NEAR A TOWN GATE.
158. A WOMAN AT TABLE WITH A MONK.
159. A WOMAN ON HER KNEES NEAR A PILLAR, BETWEEN TWO
MEN.
159a. THE SAME; ANOTHER IMPRESSION.
160. A SERVANT OFFERING A CUP TO THREE MEN; TWO OTHER
PERSONS IN BACKGROUND R.
161. A WOMAN AND A CHILD IN BED; AN OLD MAN STANDING R.
162. A WOMAN ROUSING A MAN FROM SLEEP; SMALL FIGURES IN
BACKGROUND R.
163. A ROOM WITH THREE BEDS; FIVE PERSONS IN THEM.
164. A MAN AND WOMAN CONVERSING UNDER AN ARCH.
165. LOVERS WATCHED BY AN OLD MAN BEHIND A CURTAIN.
166. A MAN AND WOMAN RIDING TO R. WITH MOUNTED PURSUERS.
167. A NAKED WOMAN CHASED BY A HUNTSMAN WITH DOGS.
168. A PRIEST, A NAKED WOMAN ON ALL FOURS, AND A MAN
HOLDING A TAPER.
169. A WOMAN IN BED; A MAN DRIVING ANOTHER AWAY WITH
A SWORD.
170. A MAN, SWORD IN HAND, OFFERING A COVERED CUP TO A
WOMAN IN BED.
171. TWO BOATS, EACH CONTAINING TWO PERSONS.
172. AN OLD MAN SURROUNDED BY THREE OTHERS.
173. A PILGRIM APPROACHING THE GATE OF A TOWN.
174, A MONK ENDEAVOURING TO ESCAPE FROM A WOMAN WHO
HOLDS HIS SCAPULAR.
174a. THE SAME; ANOTHER IMPRESSION.
175. A PILGRIM AND A HALBERDIER.
Division B.-School of Augsburg.-Schäufelein.
45
176. THROUGH A WINDOW A MONK AND A WOMAN ARE SEEN AT
TABLE; IN THE FOREGROUND A WOMAN HOLDS A MONK BY
HIS CLOTHING.
177. A YOUNG MAN CONVERSING WITH A MAN AND WOMAN AT
A WINDOW.
178. A CHURCH L.; NEAR IT A YOUNG WOMAN R. IN A BOAT.
178a. THE SAME; ANOTHER IMPRESSION.
179. THREE PAIRS OF LOVERS; ONE SEATED, TWO STANDING.
180. A HUSBAND RIDING AWAY WITH ARMED MEN, WHILE HIS
WIFE CONVERSES FROM A WINDOW WITH HER LOVER.
180a. THE SAME; ANOTHER IMPRESSION.
181. A WOMAN UNDER A PALM TREE, CONVERSING WITH ANOTHER
WOMAN SEATED.
182. A MOUNTED MAN OUT HAWKING, WITH A DOG.
183. A WOMAN IN BED; A KING STANDING IN HER CHAMBER;
TWO OTHER PERSÓNS R.
184. A WOMAN SITTING UNDER A TREE; ON EITHER SIDE OF HER
A WOLF AND A STAG.
185. A WOMAN PURSUED BY A WOLF.
186. A WOMAN AND A MAN CONVERSING OUTSIDE A GATE.
187. A KING CONVERSING WITH ANOTHER MAN ACROSS A TABLE.
188. A MAN ADDRESSING A WOMAN SEATED UNDER A TREE.
189. A YOUTH CONVERSING WITH AN OLD MAN ABOUT A SEATED
WOMAN.
190. WOMEN SPEAKING ΤΟ AN OLD MAN SEATED NEAR A
FOUNTAIN.
191. THREE MEN SEATED AT TABLE CONVERSING; PILLARS IN
BACKGROUND.
192. A MAN AND WOMAN AT TABLE; A SERVANT APPROACHING L.
193. A MAN CARRYING A CORPSE, WATCHED BY A WOMAN FROM A
WINDOW.
194. TWO WOMEN CONVERSING; ONE SITS UNDER A TREE.
195. A MAN SEATED NEAR A FOUNTAIN; THREE PERSONS WALKING.
196. TWO MEN LEADING A CAPTIVE TO R.
197. A MAN AND A WOMAN SEATED; CASKS R.
198. A HALBERDIER WALKING TO L.
199. A MONK HEARING A WOMAN'S CONFESSION.
200. TWO MEN RIDING TO R.
46
Early German and Flemish Woodcuts.-Part II.
201. TWO WOMEN LIFTING THE LID OF A CHEST IN WHICH A MAN
IS HIDDEN.
202.
A WOMAN ROWING A BOAT WITH A SMALL SAIL HOISTED.
203. A MAN ACCOSTING A MOUNTED ECCLESIASTIC.
204.
205.
A WOMAN POINTING TO L., CONVERSING WITH A MAN; A
YOUTH LISTENS.
A MAN RIDING A HORSE WITH PANIERS, IN WHICH ARE TWO
CHILDREN.
206. A SOLDIER FOLLOWING A HALF-NAKED PRISONER; TWO MEN
STANDING R.
207. A MAN AT TABLE, WITH A HEART IN A DISH; A WOMAN
WALKING AWAY.
208. TWO WOMEN WADING WITH NETS.
[c. 67 x 70.] Late impressions varying in quality, some on white, some on
yellowish paper.
In the inventory of 1837.
Nos. 144, 166, 181, 185, 188 were used in "Die schön Magelona,” 1536.
209. BUILDINGS ON A PRECIPITOUS ROCK.
[72 × 66.] Late impression.
In the inventory of 1837.
This seventy-third subject does not belong, perhaps, to the Boccaccio set, though
it has been preserved with them, and the block is of uniform dimensions, though the
subject is drawn upright.
VII.-WOODCUTS PUBLISHED SEPARATELY. LATEST PERIOD.
Nos. 210-238.
The only date that occurs among the woodcuts of this group is 1536 on no. 212.
The majority may be referred to the prolific years 1534-1536, being closely allied to
the illustrations published at that period. The arrangement of this section is by
subject.
210. LOT AND HIS DAUGHTERS.
B. vii, 246, 4.
Lot sits r. under a fruit tree. One of the daughters lays her 1. hand
on his shoulder and holds a wine-cup in her r. hand; the other daughter
holds a flagon. In the distance 1. we see Sodom burning and Lot's wife
turned to a pillar of salt. The monogram is on a scroll fastened to a
stump, 1.
[179 × 373.] Old impression, though not very early. Watermark, two shields
surmounted by a mitre.
In the inventory of 1837.
Repr. Hirth, no. 78.
Division B.-School of Augsburg.—Schäufelein.
47
211. ESTHER AND AHASUERUS.
P. iii, 233, 135.
In the foreground 1., Esther, crowned, kneels before the king, extending
her r. hand towards the sceptre which he has lowered (Esther, v. 2). In
the background are four subordinate scenes: Ahasuerus and Haman at
the banquet (v., 4), Mordecai riding in royal apparel (vi., 11), Haman
hanged on the gallows prepared for Mordecai (vii., 10), the Jews slaying
their enemies (ix., 5-16). The monogram and shovel are on a step r.
[212 × 355.] Late impression. Traces of cracks disguised. No watermark.
In the inventory of 1837.
Repr. Hirth, no. 4. The block is in the Derschau collection (B 32).
212. SUSANNA AND THE ELDERS.
P. iii, 233, 136.
In the foreground r. is a garden. The two elders are first seen climb-
ing the wall, then accosting Susanna, who sits near a fountain; her
waiting women are outside the gate. In a hall 1. Daniel is seen on the
judgment seat, and in the distance the elders are being stoned. The date
1536 is placed over a gateway, and the monogram and shovel on a door 1.
[207 × 354.] Late impression, retouched. No watermark.
In the inventory of 1837.
Repr. Hirth, no. 5. The block is in the Derschau collection (B 33).
213. THE HISTORY OF BEL AND THE DRAGON.
Copy?
R. the Temple of Bel. Daniel enters 1., talking with Cyrus. In the
foreground is the table on which the offerings of flesh, bread and wine are
laid for the idol's consumption, with the secret opening by which the
priests and their families enter by night to take away the food. Near it
Cyrus is seen addressing the priests of Bel, who are denounced by Daniel.
L. Daniel is seen about to put a ball of pitch, fat and hair into the dragon's
mouth. He is arrested and led towards the lions' den. We see him again
in the den, on the brink of which stands the prophet Habakkuk, who has
been carried by an angel, by the hair of his head, from Judea to Babylon,
to bring food to Daniel.
[215 × 361.] Late impression of a block in the Derschau collection, not
published by Becker. No watermark.
In the inventory of 1837.
This subject is unsigned and has not been previously attributed to Schäufelein.
The design is undoubtedly by him, but the block is very badly cut, and is probably a
mere copy of an original no longer extant, which was uniform with nos. 211, 212.
In subject this woodcut is a sequel to no. 212.
214. THE CIRCUMCISION.
B. vii, 250, 19.
The child Christ 1. is surrounded by a group of seven priests and
ministrants; Mary and Joseph stand r., and a woman is seen in a doorway
at the back. A fire burns on a raised hearth or low altar over an arch r.
Monogram and shovel in 1. lower corner.
[233 × 157.] Late impression on white paper with a small heraldic watermark.
In the inventory of 1837.
Though uniform in dimensions with the early set, nos. 38-56, this subject clearly
belongs in style to the late period; it is closely akin, for instance, to no. 211.
=
2
48
Early German and Flemish Woodcuts.—Part II.
215. THE RICH MAN AND LAZARUS.
B. vii, 249, 16.
The rich man and a lady sit at table on a covered terrace, attended by
cup-bearer, majordomo and manciple. In the foreground, Lazarus is
seated; two dogs stand near him, one of which licks the sores on his foot;
the monogram is on the steps 1. Above, the soul of the rich man is seen
in torment, and that of Lazarus in Abraham's bosom.
[216 × 161.] Late impression. Heraldic watermark.
In the inventory of 1837.
216. CHRIST AND THE WOMAN OF SAMARIA.
B. vii, 249, 18.
Christ sits r., near the well, extending his r. hand towards the woman,
who stands holding a pitcher in her r. hand. The Apostles are seen 1.
returning from the town. Monogram and shovel on one of the upright
pillars of the well.
[222 × 164.] Late impression, retouched with Indian ink.
In the inventory of 1837.
217. THE LAST SUPPER.
B. vii, 251, 26.
At an oblong table in the foreground, in a renaissance building, Christ
is seated, addressing the eleven Apostles who remain after the departure of
Judas. Under arches in the background are represented two subordinate
scenes: 1. Christ giving the sop to Judas, r. Christ washing St. Peter's
feet. Servants and other persons, unconcerned in the main action, are
seen about the building, carrying baskets and flasks, or leaning on a
parapet and listening to Christ's discourse. The monogram and shovel are
on a flask in the foreground.
[645 × 1075.] Printed from eight blocks. Good impression, not early.
Purchased from Mr. Lauser, 1892.
Repr. Hirth, no. 594.
218. THE MARTYRDOM OF ST. SEBASTIAN.
The saint, whose body is already pierced by two arrows, stands r.,
bound by the arms to a tree. Two archers armed with long-bow and
cross-bow stand 1. under trees, accompanied by officers and others (seven
persons in all). Monogram and shovel on the ground in 1. lower corner.
[288 × 227.] Late impression on brownish paper, the block much worn.
Purchased from Messrs. Colnaghi, 1852.
Undescribed, perhaps unique. The character of the foliage shows the work to be
quite late.
219. A BATTLE BETWEEN TURKS AND EUROPEAN TROOPS.
Separate engagements are in progress in many parts of a wooded
country. In the foreground 1. European infantry, commanded by an
officer on horseback, have routed some Turkish cavalry, who ride away to
r. past a village church; some stragglers, who have fallen into a river, are
being killed with a spear. In the background a cavalry engagement is in
progress in a defile between two hills. Detachments of European troops.
stand waiting on either side; Turkish stragglers are shot down and their
riderless horses escape into the open. R. the tents of the European camp,
and buildings on a low hill.
Division B.-School of Augsburg.—Schäufelein.
49
[285 x 385.] Old impression, not very early.
In the inventory of 1837.
Not signed, but certainly by Schäufelein, in the style of the Siege of Bethulia
(Derschau, B 34), though the figures are on a much smaller scale. The subject may
be an incident in the campaign of 1532 against Soliman. The woodcut was doubtless
published with text, perhaps as an illustration to the poem by Hans Sachs, entitled
Historia des Türckischen Scharmützels bey der newen stat in Osterreich, Anno
1532," and dated 28 Dec. 1532 (fol. 211 v. of vol. i of the collected edition, Nurem-
berg, 1558).
220. THE TRIUMPHAL PROCESSION OF CHARLES V.
B. ix, 150, 1. P. iii, 247, 1. Nagl. Mon. iii, p. 345, 2.
The procession, advancing from r. to 1., is printed from nine blocks.
The first contains a standard-bearer, two trumpeters and a drummer, all
mounted. These are followed by another mounted group of six trumpeters
and a soldier on foot. On the third block, four soldiers lead the first team
of four horses that draw the Emperor's car; four more men, one mounted,
escort the second team (fourth block), while the third team (fifth block) is
in charge of three soldiers on foot. In the upper part of the fifth block
is a large wreath of bay, supported by two genii, holding the pillars of
Hercules. The bay leaves are inscribed with the names of thirty-six
virtues, three together, MODERATIO, IVSTICIA, POTENTIA, etc., in Roman
capitals; all these virtues may be found inscribed on various parts of the
great Triumphal Car of Maximilian, by Dürer,¹ which has evidently served
as a precedent. Inside the wreath is the inscription (also xylographic),
TRIVMPHVS Caroli | IMPERATORIS EIVSI NOMINIS QVINTI. The sixth
and seventh blocks are occupied by the triumphal car itself, with its driver
and escort. Charles is seated on the car under a canopy adorned with the
imperial eagle, the arms of Spain, Austria and Burgundy, and laurel
wreaths, and surmounted by the sun. The Emperor holds the orb and
sceptre, while the crown is held over his head by a winged genius. His
grandfather, Maximilian, and father, Philip, stand behind him; two other
princes (Ferdinand of Aragon and Charles the Bold of Burgundy ?) stand
before him. Another ancestor, perhaps Rudolph of Habsburg, is repre-
sented on the side of the car, reclining. The car is further adorned with
the arms of the various dominions ruled by Charles. At the back is a
lion. On either side, immediately before the driver, ride two heralds,
each carrying one of the pillars of Hercules, surmounted by the royal and
imperial crowns. Several soldiers accompany the car and help to turn the
wheels. On the eighth block are five mounted officers, or noblemen, the
last of whom carries a laurel branch, with two attendants on foot; and on
the ninth five more mounted men, with three foot-soldiers and a dog, bring
up the rear of the procession. Every member of the procession wears a
wreath of bay, as in the Triumph of Maximilian by Burgkmair and others.
[400 × 2740.] Late impression, with no publisher's address. Watermark in-
distinct (eagle ?).
In the inventory of 1837.
Repr. Hirth, nos. 734, 739, 744. The woodcut does not bear Schäufelein's
signature, and is ascribed in all the older catalogues to Hans Guldenmund, who was
merely the publisher of the first edition. It was strangely overlooked by Muther in
his brief survey of the work of Schäufelein, though it is one of the most important
of the artist's late works.
¹ Vol. I, p. 338, no. 145.
E
50
Early German and Flemish Woodcuts.-Part II.
..
i
The earliest edition is that printed by Guldenmund in 1537, of which the
Albertina and the Berlin Cabinet possess early illuminated copies, the former on
vellum, enriched with gold, and in brilliant preservation. The Berlin copy, coloured,
measures 44 × 270 cm.; it is mounted on linen and rolled. This edition has Latin
text, partly prose, partly verse, printed at the top in seven columns of unequal
width, and at the end the address, NORNBERGAE EXCUDEBAT | IOHANNES
GULDENMUND. | ANNO M.D. xxxvii."¹ Nagler describes, probably from the
copy now at Berlin, an edition with the same address, but the date M.D. xxxviii.
This is evidently a mistake; he also quotes inaccurately the inscription printed
within the wreath of bay. This, in the edition of 1537, is printed with movable
type, in the following form, SOLA TVO CAPITI | DIGNA EST HAEC | LAVREA
CAESAR. This, as we have seen, was replaced later by a different inscription,
printed from a block, being a mere description of the subject, whereas the original
words may almost be described as a dedication.
The Hofbibliothek, Vienna, possesses an undated edition,2 later than Gulden-
mund's, with the address "Gedruckt zu Nürnberg bey Johann Kramer."³ In this
edition there is no inscription in the wreath and no printed text except the publisher's
address. Nagler mentions another edition, "Gedruckt zu Nürnberg durch Peter
Steinbach Formschneider," which I have not seen. His suggestion that this
address is earlier than Guldenmund's is absurd, for Steinbach occurs in the lists of
Briefmaler at Nuremberg from 1577 to 1636, when he died. (Zahn's Jahrbücher,
i, 230, 231).
220a. THE TRIUMPHAL PROCESSION OF CHARLES V.
A still later impression; the outline of the standard, intact in no. 220, is now
broken. Xylographic inscriptions as before; no address.
In the inventory of 1837.
[221-235.]
DANCERS AT A WEDDING.
B. vii, 267, 103.
On certain numbers of this series, by other artists than Schäufelein, see Vol. I,
pp. 477, 540. The whole series has been reproduced by Andresen, Paris, 1865, and
by Hirth, "Bilderbuch," i, 55-74. The separate subjects are described by Prof. H.
W. Singer in his catalogue of the v. Lanna collection (nos. 6224-6247) more fully
than elsewhere. The order in which they should stand is uncertain; the MS.
numbering, in two old hands, on the backs of our own impressions, may be right.
I found evidence some years ago that the series was published in 1535, but I have,
unfortunately, lost my note, and no longer remember where I saw a dated impression.*
Berlin possesses old, though not very early, coloured impressions of fourteen couples,
with verses at the top, and the address "Gedruckt durch Hans Guldenmundt " on
three sheets. Nuremberg possesses old coloured impressions with the address
There is an interesting contemporary reference to this edition in the "Nürnberger
Ratsverlässe," ed. Hampe, 1904 (Quellenschriften für Kunstgeschichte, N. F. xi), p.
313, no. 2237, 5 (?) April 1537. "Hannsen Guldenmunds keiserischen triumph,
damit er Meine Herren verehrt, also ruhen lassen, bisz das verteutscht auch kompt;
alsdan, wormit man ine verehren wöll rätig werden.' Guldenmund, it appears,
presented the Council with a copy of the Latin edition, announcing that a German
edition was to follow. The Council decided to wait for the arrival of the latter and
then consider what sum to give him in return for his offering.
2 L, 3, fol. 18-24, uncoloured.
3 Probably identical with Hanns Cremer, mentioned in the list of Nuremberg
Briefmaler in 1558 and 1561 (Zahn's Jahrbücher, i, 230). Hans Cramer occurs as Form-
schneider in 1547 (ibid. 234), and as Buchdrucker in 1560 (ibid. 238). See p. 55, no. 7.
Breu's Augsburg Chronicle (p. 78, edition of 1906) describes a splendid dance
held in that city on 6 February 1537, eight days after the wedding of Hans
Baumgartner and Anna von Stadion (not Stetten); "darnach ain kostlichen dantz,
[wie] der in langer zeit nie gesehen ist worden da was kain tadl, in keiner
hoffart nichts gespart." The dance drawn by Schäufelein took place, most likely, at
Nuremberg; the quotation is only given to illustrate the custom of holding such a
dance at a fashionable wedding at this period.
•
Division B.-School of Augsburg.—Schäufelein.
51
"Gedruckt zu Nurnberg, durch Peter Steinbach Formschneider." In these old
impressions many more subjects bear Schäufelein's signature than in the ordinary,
late impressions of which our own series consists.
All except no. 234 are in the inventory of 1837.
221. THE LEADERS OF THE PROCESSION.
Hirth 65.
A man with a wand in his r. hand, perhaps master of the ceremonies,
goes first. He has Austrian and other heraldic badges attached to his
coat. He is followed by two men carrying flambeaux.
[222 × 232.] Old, but late impression; watermark, small imperial eagle.
Numbered 1 in old MS.
The old impression at Berlin has a tablet with the printed words "Vmb umb
(round, round) over the leader.
222. A COUPLE EMBRACING.
Hirth 71. Singer 6229.
The body is seen 1., full face to front; the gentleman r., from the back. He wears
the collar of the Golden Fleece.
[230 × 175.] As no. 221 in all respects. Numbered 3 and 4 in two different
hands.
223. A PAIR OF DANCERS.
Hirth 68, Singer 6234.
The gentle-
The lady 1. wears leaves on her head, which is profile to r.
man r. wears a soft cap, and has a large chain round his neck; his 1. hand
is on his rapier. Monogram in l. lower corner.
[247 × 208.] As no. 221. Numbered 5 in two different hands.
224. A PAIR OF DANCERS.
Hirth 58, Singer 6230.
The lady 1. wears a wide hat with feathers and very large sleeves. The
gentleman r. is bare-headed; the fore-finger of his I. hand is bent round
the hilt of his sword.
[224 × 176.] As no. 221. Numbered 6 in the later hand.
225. A PAIR OF DANCERS.
Hirth 60, Singer 6242.
I.
Both seen from the back, their heads in profile to 1. The gentleman 1.
has his hair in a net, the lady r. has a small hat with feathers; a scarf
flutters behind her.
[240 × 205.] As no. 221, but watermark A in a circle. Not numbered.
226. A PAIR OF DANCERS.
Hirth, 67, Singer 6243.
The lady l., in a hat with feathers, turns her head round towards the
gentleman r., who holds her 1. hand in his r. hand; the train of the lady's
dress extends to the extreme r. Monogram below 1.
[257 × 195.] As no. 221. Numbered 10 in the later hand.
227. A PAIR OF DANCERS.
Hirth 63, Singer 6241.
They move to 1., the lady in advance, holding one another by the hand.
The lady is seen in profile to 1., the man is middle-aged, with a beard, and
bare-headed; he holds a cap in his 1. hand; small trees 1.
[240 x 190.] As no. 221. Numbered 11 in the later hand.
E 2
52
Early German and Flemish Woodcuts.-Part II.
:
228. A PAIR OF DANCERS.
Hirth 69, Singer 6232.
They move to r., the gentleman in advance, looking back to 1. and
holding a hat in his 1. hand. The lady has a wide hat with feathers.
Monogram and shovel in r. lower corner.
[250 × 206.] As no. 221. Numbered 12 in the later hand.
229. A PAIR OF DANCERS.
Hirth 57, Singer 6244.
They hold their heads close together, as if whispering. The gentleman
wears the order of the Golden Fleece; his hat hangs at his back.
[240 × 188.] As no. 221. Numbered 13 in the later hand.
230. A PAIR OF DANCERS.
Hirth 72, Singer 6238.
They move to 1., both wearing wide hats; the man's has a feather in
front.
[245 × 190.] As no. 221. Numbered 14 in the later hand.
231. A PAIR OF DANCERS.
Hirth 61, Singer 6246.
The lady, wearing a hat with feathers, turns her head back to r. Her
partner, carrying a hat with feathers in his 1. hand, has his head in profile
to 1.
[248 × 182.] As no. 221. Numbered 15 in the later hand.
232. A PAIR OF DANCERS.
Hirth 62, Singer 6228.
The lady 1. is seen full face, in a wide hat with feathers under it. Her
partner wears a sprig of foliage on his head.
[240 × 190.]
serpent over it.
As no. 221, but a different watermark, a shield with staff and
Numbered 16 in the later hand.
233. A PAIR OF DANCERS.
Hirth 70, Singer 6233.
The lady 1., wears a coif on her head, which is turned back to r. Her
partner in a hat with feathers, holds his face close to hers.
[260 × 200.] As no 221. Numbered 17 in both hands.
234. A PAIR OF DANCERS.
Hirth 64, Singer 6227.
The lady 1., wears leaves on her head. The gentleman r. holding her
hand, turns away and looks back; he has large ostrich plumes on his hat.
[260 × 175.] Old coloured impression, unlike the rest of the series; on dis-
coloured paper without watermark. The monogram, which should appear 1., has
been cut off.
From the Bagford collection (Harl. 5944, 114). Transferred from the Department
of Printed Books, 1900.
234a. A PAIR OF DANCERS.
Hirth 64, Singer 6227.
[258 × 185.] Later impression, as no. 221. Numbered 18 in the later hand.
235. A COUPLE EMBRACING.
Hirth 66, Singer 6235.
The lady is seen from the back, with her face in profile to 1. The
gentleman's head is seen over her r. shoulder.
[260 × 190.] As no. 221, but no watermark. Numbered 19 in the later hand.
Division B.-School of Augsburg.—Schäufelein.
53
236. FEASTERS AND MUSICIANS.
B. vii, 265, 96.
A lady is seated 1. with her arms folded in her lap. To r. of a small
tree an elderly man is uncovering a cup and offering it to the lady by his
side; behind them is a man with a hawk on his 1. hand. A dwarf in a
fool's cap lays his hands on a column, on which Schäufelein's monogram
and shovel are drawn. To r. of the column are four musicians in a gallery,
and a woman seated on a stone bench with a dog lying beside her. In the
1. corner is a wine-cooler.
[273 × 403.] Good early impression without watermark.
Presented by Mr. W. Mitchell, 1895.
Repr. Hirth, no. 79. This subject is probably connected with the Dancers at a
Wedding.
[237-238.]
ILLUSTRATIONS TO POEMS BY HANS SACHS.
237. A PAIR OF WILD MEN OF THE WOODS.
Copy?
(cf. P. iii, 238, 169, 170.)
(1.) A hairy man crowned with leaves, in profile to r., holds a sapling
in his r. hand, while he lays his 1. hand on the head of a boy, who bends
over a standing dog. Grass and small bushes on the ground; the back-
ground otherwise is empty. [243 × 131 (cut).]
(2.) A hairy woman, crowned and girt about the waist and hips with
leaves, faces three-quarters 1. She holds a sprig of an apple tree in her 1.
hand, while she lays her r. hand on the head of a boy who turns away from
her, holding in both his hands a tall flowering plant. R. a small bush on
rising ground. [252 × 130 (cut).]
Old impressions, originally on the same sheet, but cut in two; on coarse paper
without watermark.
From the Bagford Collection; transferred from the Department of MSS., 1814.
Strictly speaking, these are not two separate woodcuts, but a single one cut in
halves. Late impressions of the undivided block are to be found in Becker's "Hans
Sachs im Gewande seiner Zeit," 1821, no. xiv. The poem by Hans Sachs which
Schäufelein illustrated is dated 2 June, 1530, in the first collected edition.
237a. A PAIR OF WILD MEN OF THE WOODS.
Copies.
P. iii, 238, 169, 170.
The two subjects are printed from separate blocks, side by side. To r.,
on the same sheet, is the poem by Hans Sachs in two columns, of sixty-six
and sixty-two lines respectively, with the title, " Klag der wilden Holtzleüt |
vber die vngetrewen Welt," and the address, "¶ Gedruckt zů Nürnberg
durch | Hans Guldenmundt | 1545.”
[Sheet, 262 × 395.] The woodcuts are coloured.
In the inventory of 1837.
These impressions are from the blocks now preserved in the Derschau Collection,
and published by Becker in 1810 (B 41), whereas the single block published by Becker
in 1821 ("Hans Sachs, etc.") is the other copy, of which no. 237 is an old impression.
The difference is most noticeable in the drawing of the plants on the ground.
No. 237a has a larger bush in the 1. lower corner than no. 237 (1), and the ground
rises higher between the legs of the dog and the 1. leg of the child. Between
no. 237 (2) and the corresponding portion of no. 237a there are differences of detail
less easy to describe.
54
Early German and Flemish Woodcuts.-Part II.
!
237b. A PAIR OF WILD MEN OF THE WOODS.
Copy.
Free reduced copy of the two groups combined. The child accompany-
ing the man now sits astride across the back of a seated dog. The other
child turns r. instead of 1. There is more landscape background and a stag
is seen on either side, at the extreme 1. and r. The woodcut [202 × 153]
is printed on the 1. side of a sheet which contains the same poem by Hans
Sachs, commencing above the woodcut, without title or address.
[Sheet, 250 x 330.] Late impression (c. 1600?) on coarse paper without
watermark.
Purchased from Messrs. Colnaghi, 1862.
The Berlin Museum possesses an early impression [255 × 275] of a copy in which
the two groups are united by a landscape background. We look out through the
opening of a cave, which forms a frame to the picture, over the heads of the man
and woman. In the middle, between the two children, we see in the distance a
stag, a horse, and a hare; through the open space between the woman's 1. arm and
her body we see a camel. The landscape, and especially the trees, are utterly alien to
Schäufelein in style, and suggestive of a much later period in the XVI century. The
groups themselves, the ground on which they stand, and the little bushes near them
agree very closely in drawing with our impression, no. 237a, but there are several
minute differences; e.g., in the termination of the man's beard, the large thorn r, on
his staff, details in the wreaths worn by both man and woman, the end of the dog's
tail and the outline of its belly, which is more hairy in no. 237 than in the copy at
Berlin. The back of the child r. in the Berlin copy touches his mother's thigh; in
237 and 237a there is a clear, though narrow, interval between them.
238. THE FABLE OF THE HERMIT AND HIS ASS.
(1) A herald 1. addresses the hermit (or the poet ?).
wall with a gateway in it. No signature.
B. vii, 268, 104-109.
Behind them is a
donkey's neck and
(2) The hermit and his son tie a millstone round the
sink it in the river. Two men look on r. standing under a tree. No
signature.
[Each cut, 108 × 150.] Old impressions, not very early.
In the inventory of 1837.
B. describes six woodcuts of this series, of which the fourth and fifth are signed.
He does not explain the subject. To judge by the copies, the complete series should
consist of eight subjects, of which the first (B. 104) and the eighth (not in B.), repre-
senting an emperor, herald, and pope, form, as it were, the prologue and epilogue.
The well-known story is divided by the illustrator of Hans Sachs' poem,
"Der
Waldbruder mit dem Esel. Der argen Welt thut niemand recht," into six scenes.
1. The hermit and his son set out to see the world, leading their donkey. They meet
a soldier, who makes fun of them for not riding on it (B. 108). 2. The son mounts.
the donkey, whereupon an old woman chides him for letting his old father walk
(B. 107). 3. The father mounts instead, and is reproached for letting his son walk
in the mud (B. 105). 4. Thereupon the son suggests that they should both ride, and
they are rebuked by a beggar for overworking the donkey (B. 106). 5. The son pro-
poses that they should carry the donkey, and see whether that plan meets with more
approval than the rest. They are rebuked again, and the son says they had better
kill the donkey (not in B.). 6. They do so, and sink it in the river with a millstone
(B. 109). The son admits that his father is right; it is impossible to please the
world, and they had better go back to their hermitage.
Schäufelein's woodcuts follow the story, but to judge by B.'s description, they do
not agree closely with Hans Sachs' poem as regards the rank of the various persons.
who encounter the travellers. The poem is dated 6 May, 1531.
238a. THE FABLE OF THE HERMIT AND HIS ASS.
Copy.
The story, divided into eight scenes, divided by pilasters, is drawn on
two blocks, printed one above the other.
Division B.-School of Augsburg.-Schäufelein.
55
[Each block, 90 x 340; sheet, 197 x 348.] Old, rather faint impression; on the
back is the woodcut described in Vol. I, p. 543, no. 2.
In the inventory of 1837.
This is, strictly speaking, an imitation, rather than a copy, of the series described
by Bartsch. It may even be based on an independent series of drawings by
Schäufelein, whose style is still clearly discernible in spite of the rough execution of
these blocks. The features resemble those in certain miniatures of the Oettingen
prayer-book (1537-38), and in the illustrations to Apuleius (1538), which are not
much better cut than this pair of blocks.
238b. THE FABLE OF THE HERMIT AND HIS ASS.
A fragment of the same copy, being the first compartment only [86 × 83] more
strongly printed.
In the inventory of 1837.
238c. THE FABLE OF THE HERMIT AND HIS ASS.
Another copy in eight scenes, similar in arrangement to 238a, but
different in detail; originally, no doubt, printed on one sheet, but now cut
into two longitudinally.
[First block, 93 x 351; second block, 94 x 347.] Old impressions, heavily
printed. On the back are fragments of a late woodcut of the Crucifixion.
Presented by Mr. W. Mitchell, 1895.
These blocks, reduced in width by the sacrifice of the first and eighth compart-
ments, were printed in Becker's "Hans Sachs, etc." 1821, no. xxi.
APPENDIX TO SCHÄUFELEIN.
The following are the more important of the remaining woodcuts of Schäufelein's
latest period, not represented in this collection.
1. Abraham's Sacrifice, 150 x 360. B. vii, 246, 3. Lanna collection, Prague,
(Singer, no. 6989); Hofbibliothek, Vienna.
2. The Story of Job, 150 × 360. Block in the Derschau collection, Berlin
(unpublished).
3. The Siege of Bethulia. P. iii, 234, 137. Nagl. Mon. iii, p. 579, no. 6.
Derschau, B 34.
4. The Temptation of Christ, 222 × 160. Dresden; an imperfect impression,
135 mm. in width, at Berlin.
5. The Raising of Lazarus, 370 x 1080, B. vii, 249, 17. Repr. Hirth, no. 619.
Hofbibliothek, Vienna.
6. Christ conversing with Zacchæus, 152 × 359. Block in the Derschau
collection, Berlin (unpublished).
7. The Last Judgment, 237 × 158. Germanic Museum, Nuremberg, is a border
also by Schäufelein, consisting of columns with heads of Emperors in medallions,
three on either side; above and below the woodcut a space for German text; signed
below, "Hans Kramer." Size of whole, 330 × 241.
8. A large battle scene, 390 x 1100. B. vii, 267, 102. Albertina, Vienna.
9. A woman being bled, 218 × 375. Albertina, Vienna.
10. Two men and a woman in a row, 176 (cut) x 158. Collection of Prince Thurn
and Taxis, Regensburg.
56
II. HANS BURGKMAIR.
Hans Burgkmair, the elder, painter, etcher and draughtsman on
wood; born at Augsburg, 1473; son of Thoman Burgkmair (died
1523); pupil of his father and of Schongauer; received as master by
the Augsburg guild of painters, 1498; illustrated books for the
leading Augsburg presses, those of Ratdolt, Öglin, J. and S. Otmar,
Schönsperger and Miller, and took a large part in the woodcut works
commissioned by Maximilian I; died 1531. His wife, Anna
Allerlahn, whose portrait he painted with his own in 1529, survived
him; their son, Hans (II) (died 1559), was an unimportant painter
and etcher.
Authorities:
i. Catalogues.
Bartsch, P. G. vii, 197.
Passavant, P. G. iii, 264.
Nagler, Mon. iii, 237, no. 708.
Muther, "Bücherillustration," i, 130.
Muther, "Chronologisches Verzeichniss der Werke H. B.'s,"
Repert. f. Kunstw., ix, 410.
ii. Biographical and critical notices.¹
Sandrart, "Teutsche Akademie," iii, 232.
Huber, "Die Malerfamilie Burgkmair von Augsburg," Zeitschr.
d. hist. Vereins f. Schwaben u. Neuburg, i, 310.
Muther, "H. B. Eine biographische Skizze," Zeitschr. f. bild.
Kunst, xix, 337, 378.
Schmid, "Forschungen über Hans Burgkmair," 1888.
Lützow, “Geschichte des deutschen Kupferstiches und Holzsch-
nittes," 1891, 130.
Jahrbuch d. Kunsthist. Samml. d. Allerh. Kaiserhauses, Wien,
1883, etc. Bd. i, Triumphal Procession (Schestag); vi,
Weisskunig (Schultz); vii, x, Genealogy (Laschitzer,
Frimmel); viii, Theuerdank (Laschitzer); xv, chiaroscuro
woodcuts (Chmelarz).
Dörnhöffer," Über B. und Dürer," in "Beiträge zur Kunst-
geschichte, Franz Wickhoff gewidmet," 1903, 111.
There is no adequate monograph on Burgkmair, while the catalogues
of his works subsequent to that of Bartsch are loaded with entries which
1 Those referring to a single woodcut or a limited group are not cited here, but in
the appropriate place in the catalogue.
Division B.-School of Augsburg.—Burgkmair.
57
properly relate to the woodcuts of Hans Weiditz, who was known for a
time as the Pseudo-Burgkmair, or Master of the Illustrations to Petrarch.
The reaction against the confusion of this master with Burgkmair was
inaugurated by Dr. W. von Seidlitz,¹ and culminated in the publication,
in 1904, of a monograph by Dr. H. Röttinger, devoted to the work of
Weiditz under his right name.2
BOOKS ILLUSTRATED BY BURGKMAIR.
A. IN THE DEPARTMENT OF PRINTS AND DRAWINGS.
1. [STAMLER.] Dyalogus Johannis Stamler Augustñ. | de diver-
sarum gencium sectis et mundi religionibus. G. Öglin and G. Nadler,
22 May, 1508; fol. (Muther3 858; Pr. 10704).
Presented by Mr. W. Mitchell, 1904. Another copy, transferred from the Depart-
ment of Printed Books, 1889.
Title-page, signed [288 × 185], repeated on the back of the leaf. B. 39; M. 19.
2. [GEILER.] Das buch granatapfel. Ain gaistliche bedeutung
des aussgangs der kinder Israhel von Egipto. Die gaistlich spinnerin.
Ain gaistliche bedeutung des heszlins. Die siben hauptsund. J. Otmar,
Augsburg, 1510; fol. (Muther 862; Pr. 10678).
Purchased from Mr. Gutekunst, 1870.
Six woodcuts by Burgkmair:—
(1) A 1 v. Christ with Lazarus, Martha and Mary. B. 16; M. 39. Signed.
(2) I 1 v. The destruction of Pharaoh in the Red Sea. B. 3; M. 40. Signed.
(3) a 1 v. St. Elizabeth of Hungary, spinning. B. 28 (wrongly described); M. 41
(4) A a 1 v. A cook disembowelling a hare. B. 71; M. 42. Signed.
(5) a a 1 v. Seven demons with swords, typifying the seven deadly sins. B. 62;
M. 43. Signed.
(6) c c 2. Seven scabbards, typifying the virtues contrary to the aforesaid sins.
3. [GEILER.] Predigen teütsch | vnd vil gutter leeren. Des hoch |
gelerten herrn Johān von Kaysersperg. | J. Otmar, Augsburg, 1510;
fol. (Pr. 10679).
Purchased at the Singer sale, 1860.
Three woodcuts by Burgkmair, repeated from the edition of 1508 (p. 61, no. 6).
(1) Fol. 1 v. Pilgrims climbing a hill (Der berg des schouwenden lebens, the
mountain of the contemplative life). M. 16.
(2) Fol. 38 v. Pilgrims passing a wayside cross and shrine. B. 72; M. 17. Signed.
(3) Fol. 136 v. Zaccheus climbing a tree to see Christ. M. 18.
¹ Jahrb. d. k. preuss. Kunstsammlungen, xii, 158.
2 "Hans Weiditz der Petrarkameister," Studien zur deutschen Kunstgeschichte,
Heft 50.
³ Muther, in the present list, applies, as usual, to that author's "Bücher-
illustration"; in the case of individual woodcuts, his "Chronologisches Verzeichniss
der Werke Hans Burgkmairs des Aelteren (Repertorium für Kunstwissenschaft, ix,
410) is cited as "M."
58
Early German and Flemish Woodcuts.-Part II.
!
4. [RICCI.] In Apostolorum simbolum | Pauli Ricii ora | toris
..dialogus. J. Miller, Augsburg, 4 April, 1514; 4to. (Muther 867 ;
Pr. 10823).
Purchased from Mr. Gutekunst, 1870.
Title-page by Burgkmair, M. 145. Signed.
5. [MAEN.] Das leiden Jesu Christi vnsers erlösers. Sonders
andächtigerlere Nutzperlicher betrachtung ausz den vier Euange-
listen entlichen durch | Wolffgang von Män. | in gesatz | weisz be
zwungen. Hans Schönsperger jun., Augsburg, 1515; 4to. (Muther
866; Pr. 10738).
1
Presented by Mr. W. Mitchell, 1904.
The following cuts are by Burgkmair :—
(1) a 3. The author presenting his book to the Emperor. M. 149 [91 × 67].
(2) a 3 v. (repeated m 4 v). Christ on the cross between the two thieves; the
centurion is piercing his side.2 M. 150. Signed [141 × 93].
(3) b 2. The raising of Lazarus. M. 151. Signed [142 × 94].
4) b 4. Caiaphas addressing the council. M. 152 [92 × 67].
(5) c 2. Mary Magdalen anointing Jesus' feet. M. 153. Signed [91 × 67].
d 2. Christ expelling the money-changers. M. 155. Signed [91 × 66].
(7) e 2. Judas going to the priests to betray Jesus. [92 × 68].
(8) k 3 v. Herod sending Jesus back to Pilate. M. 158 [93 x 68].
The passe-partouts [141 × 96], of four different designs, in which the smaller
woodcuts are enclosed, appear to be also by Burgkmair. Each pattern contains the
arms of the Empire and of Austria, with black arabesque ornament on a white
ground. The pattern dated 1515 contains in addition the arms of W. v. Maen, two
crescents addorsed.
6. [ECK.] Joan. Eckii Theologi in | summulas Petri Hispani.... [
..explanatio. J. Miller, Augsburg, May, 1516; fol. (Muther 869;
Pr. 10833).
•
Purchased from Mr. Gutekunst, 1870.
On the title-page, the imperial eagle with the arms of Ingolstadt, Freiburg and
Tübingen. B. 35; M. 323. Signed [130 × 127].
7. [PFINZING.]
Theuerdank. J. Schönsperger sen., Nuremberg,
1517; fol. (Muther 845; Pr. 11180). Imperfect copy on vellum (see
Vol. I, pp. 419, 504, Vol. II, p. 7).
Purchased from Messrs. Smith, 1845.
The following subjects (quoted by the numbers attached to them in the book) are
by Burgkmair :—
(1) 22. Theuerdank in peril on a chamois hunt.
(2) 36.
Theuerdank endangered by an avalanche.
(3) 44.
Theuerdank nearly shoots himself with a crossbow.
(4) 47.
Theuerdank's horse falls under him.
(5) 49.
the rain.
(6) 61.
Theuerdank, on a chamois hunt, is endangered by stones loosened by
The figure of Theuerdank, inserted in the block, is by Beck.
Theuerdank on a boar hunt.
1 See p. 63, no. 25. Prof. L. Kaemmerer has made the plausible suggestion that
a drawing of 1518 at Chatsworth, wrongly attributed to Dürer (L. 400), is a portrait
of Maen (Mitt. d österr. Vereins f. Bibliothekswesen, ix, 42).
2 This block was afterwards used at Venice in the Aquileia Missal printed by
Jacobus Pencius de Leucho at the expense of Johann Oswald, 16 Sept., 1517; 4to.
Weale, "Cat. Miss.", p. 27, Rivoli, "Les Missels Vénitiens, pp. 75, 142 (with
reproduction of the woodcut). The cut was there placed in the frame which encloses
the text on the opposite page in Maen's book.
Division B.-School of Augsburg.—Burgkmair.
59
(7) 63. Theuerdank, riding, escapes falling into a hidden spring. Corrections
have been made by Beck in the figure of Theuerdank.
(8) 102.
(9) 109.
(10) 113.
Theuerdank defeating another knight in single combat with swords.
The three captains brought up for judgment.
Queen Ehrenreich requiring of Theuerdank another exploit. Signed.
Ehrenhold delivering Ehrenreich's message to Theuerdank.
(11) 114.
(12) 115.
(13) 118.
An angel counselling Theuerdank to do the Queen's pleasure.
Theuerdank walking on swords.
8. [PFINZING.] Theuerdank. J. Schönsperger, sen., Augsburg,
1519; fol. (Muther 846; Pr. 10939).
1
Imperfect. Presented by Mr. W. Mitchell, 1904.
The same cuts as in no. 7.
9. [ZOLLER.] Durch betrachtung vñ | Bekärung Der bössen gebreych
in schweren sünden, Ist gemacht Dy- ser Spyegel Der Blinden. V[on].
H[aug]. Z[oller]. Im jar. 1522. (M. Ramminger, Augsburg, 1522)
4to. (Muther 888).
Purchased from Mr. Breslauer, 1905.
On the title-page, signed cut by Burgkmair, a round mirror with the sacred
monogram supported by an elderly man and held at the top by an elector and a
cardinal, both blindfolded. A nobleman and a peasant stand below, pointing up to
the mirror. Near the peasant are Burgkmair's initials. M. 810 [130 × 120].
Repr. (reduced) in Breslauer's catalogue, no. 1, p. 91. Two books in the library,
"Ain Spiegel Der Blind" and "Blinden Spiegel," s. 1. e. a., contain a woodcut of
the same subject but entirely different in composition, and unsigned [132 × 110].
10. [CICERO.] Officia M. T. C. H. Steiner, Augsburg, 16 Feb.
1531; fol.
Purchased from Mr. Breslauer, 1905.
One signed cut, B. 74, M. 499, fol. 78, first used in Alsaharavius [Khalaf],
Liber theoricae, etc., 1519 (Muther 875, see p. 62, no. 19).
11. [AVILA.] Ein nutzlich Regiment der gesundt heit, Genant das
Vanquete. H. Steiner, Augsburg, 11 May, 1531; 4to. (Muther 1083).
Purchased from Mr. Gutekunst, 1870.
One cut by Burgkmair, sig. A 4 v., the author writing in his study. M. 921.
Signed [118 × 120].
First used in the Spanish edition of 1530 (p. 63, no. 26).
12. [STEINMEYER.] Newe Künstliche, | Wohlgerissene, vnnd in
Holtz ge- schnittene Figuren. V. Steinmeyer, Frankfort, 1620; 4to.
(Imperfect).
Presented by the National Art Collections Fund, 1906.
(1) Sig. Tt 1 v. Six doctors seated at a table, B. 74. (2) Tt 2. An author
kneeling in the midst of a group of kings and queens (see p. 63, no. 29).
13. [PFINZING.]
(Muther 853).
Theuerdank. M. Wagner, Ulm, 1679; fol.
•
Imperfect, wanting the last ten leaves, with nine woodcuts, six of which appeared
for the first time in this edition (a perfect copy is in the library).
Purchased from Mr. Daniells, 1864.
The same cuts as in nos. 7 and 8. Among the last six cuts (missing in this copy),
which were not used in the early editions, is one by Burgkmair.
60
Early German and Flemish Woodcuts.—Part II.
14. [TREITZSAURWEIN.] Der Weisskunig. Vienna, 1775; fol.
Purchased from Mr. Asher, 1850.
(1-109) One hundred and nine of the woodcuts are by Burgkmair :-nos. 1, 3, 4, 11,
12, 14, 15, 18, 20, 22, 23, 25, 26, 28, 30, 31, 40, 42-46, 49-52, 54, 60, 62, 63, 65–73,
75–77, 80, 83, 84, 86, 88-90, 93–95, 100, 101, 103, 105, 107, 110, 115, 116, 118, 121, 122,
125-127, 130, 131, 136, 139, 143, 145, 146, 148, 149, 151, 153, 154, 161, 163, 166, 171,
173, 174, 177, 178, 183, 185, 191, 195-198, 206, 207, 209-212, 214-216, 219, 225, 228,
231-233, 235.
In a few cases the names of the wood engravers are recorded on the blocks at
Vienna. No. 68 was cut by Cornelis Liefrinck, nos. 154 and 207 by Hans Taberith.
15. [TREITZSAURWEIN.]
Vienna, 1796; fol.
Kaiser Maximilian's I. Triumph
Purchased from Messrs. Willis and Sotheran, 1859.
(1-66) Sixty-six of the woodcuts are by Burgkmair :-nos. 1-56, 109-112, 122–124,
132-134.
B.-IN THE DEPARTMENT OF PRINTED BOOKS.
1. [LITURGIES.] Missale Frisingense. E. Ratdolt, Augsburg, 10
March, 1502; fol. (Weale, "Cat. Miss.," p. 71. Pr. 10641).
At the beginning, the Virgin and Child with SS. Corbinian and Sigismund; in
the Canon, the Crucifixion, and initial T with angels bearing the instruments of the
Passion.
See Schmid, "Forschungen," p. 22, where these woodcuts were first mentioned in
connection with Burgkmair; Jahrb. d. k. preuss. Kunstsamml., xxi., 205, 207, 209,
where they are more fully described, unfortunately under the name of Breu;
F. Dörnhöffer, "Beiträge," etc., Vienna, 1903, 117-118, where they are rightly attri-
buted to Burgkmair; and Jahrbuch, xxiv, 336, where the amended attribution is
accepted. According to Dörnhöffer, the Munich copy of this Missal belongs to an
earlier (undated) edition which contains Burgkmair's title woodcut but an older
Crucifixion.
2. [LITURGIES.]
Missale Pataviense. E. Ratdolt, Augsburg,
6 Jan., 1505; fol. (Weale, "Cat. Miss." p. 121; Pr. 10644).
In the Canon the same Crucifixion and initial T as in no. 1.
3. [CELTES.]
Paywdíu, Laudes et Victoria de Boemannis. J.
Otmar, Augsburg, 1505; 4to. (Muther 856; Pr. 10665).
(1) At the beginning (not, strictly speaking, a part of the book) the imperial eagle
signed, P. 122. (2) Fol. A 1 v. A battle, which had previously been published on
a broadside," Die böhmische Schlacht." (3) B 1 v. Insignia poetarum, a woodcut also
found printed separately (see Muther 857, and Dörnhöffer, op. cit. 122-124, much the
best account of this book; also Thausing "Die Celtis-Ciste der Wiener Universität,"
in Mitteilungen des Alterthums-Vereines zu Wien, 1877, p. 251).
4. [LITURGIES.]
Missale Saltzeburgense.
Venice, 3 Dec. 1507; fol. (Weale, "Cat. Miss.," p. 177).
P. Liechtenstein,
Nothing in this Missal is by Burgkmair except the correction in the head of
St. John, constituting the second state of Breu's Crucifixion (Schr. 380). See the
articles cited under no. 1, and reproduction, Jahrbuch, xxi, 193.
Division B.-School of Augsburg-Burgkmair.
61
5. [TAULER.] Sermones. J. Otmar, Augsburg, 1508; fol. (Pr.
10670).
On last page of Register, facing sig. A, Christ bearing the Cross [119 × 148],
unsigned, coloured. See Jahrbuch, xxi, 203.
6. [GEILER.] Predigen Teütsch. J. Otmar, Augsburg, 1508; fol.
(Muther 857; Pr. 10671).
Three woodcuts by Burgkmair, M. 16-18 (coloured), Fol. 1 v, 38 v
(B. 72, signed), and 136 v. Used again in 1510 (Pr. 10679).
7. [LITURGIES.] Missale Augustense. E. Ratdolt, Augsburg, 27
March, 1510; fol. (Weale," Cat. Miss.," p. 31; Muther 344; Pr. 10651).
Crucifixion and initial by Burgkmair in the Canon, as in nos. 1, 2.
8. [PINICIANUS.] Carmina (Virtus et Voluptas, etc.) J. Otmar,
Augsburg, 25 March, 1511; 4to. (Pr. 10682).
Two cuts by Burgkmair (one repeated), P. 101, 102; M. 142, 143.
9. [CARBEN.] Ain schön vnd seüberlich Tractat võ der edlen
rainen vnd vnbeflecten junckfrauschafft Marie. . . . Durch mich Victor
von Carben, etc. J. Otmar, Augsburg, 12 April, 1511; 4to. (Muther
981; Pr. 10684).
On the title-page, the Virgin and Child by B., unsigned. This cut was used first
in the "Taschenbüchlein," printed by J. Otmar, 1510 (Weller 620, Munich, Asc.
2031), sig. f 3. It occurs again on a single sheet in the Munich print-room,
"Iohannis Piniciani Presbiteri Augustani ad diuam uirginem Mariam | uotum, in
sacra ede Oetingen solutum. M.D.XIII." The woodcut stands at the head of the
first column, containing 40 elegiac verses. The second column contains 60 verses,
and ends with "Finit Hecatostichon V.C.M." According to a MS. note, this sheet
was formerly inserted in a book purchased and bound for the monastery of Tegernsee
in 1516. The sheet measures 32 x 20 cm.
10. [BONAVENTURA.] Der psalter marie. J. Otmar, Augsburg,
31 May, 1511; 16mo. (Muther 982; Pr. 10685).
The cut (coloured) on the back of the title-page [68 × 46] appears to be by B.
11. [GEILER.] Nauicula penitentie. J. Otmar, Augsburg, Sept.
1511; fol. (Muther 863; Pr. 10687).
Signed cut on title-page, P. 110, M. 138.
12. [HENRICUS.] Suso, der Seusse. J. Otmar, Augsburg, 20 June,
1512; fol. (Muther 983; Pr. 10689).
One woodcut, "Der Berg des schauenden Lebens," M. 16, repeated from no. 6.
13. [GERMAN SONGS.] Tenor part of song book, printed by E.
Öglin, Augsburg, 19 July, 1512; obl. 4to. (Eitner's "Bibliographie der
Musik-Sammelwerke," 1877, p. 9).
Signed cut on title-page, Venus rising from the sea, holding two shields
[77 × 117]. Reproductions of all four parts, each with a woodcut by B., in
62
Early German and Flemish Woodcuts.-Part II.
!
!
:
Könnecke's "Bilderatlas," p. 76, and in "IX. Band der Publikation älterer Musik-
werke, herausgegeben von der Gesellschaft für Musikforschung," Berlin, 1880. The
frontispiece of "Discantus" represents Cupid, that of "Altus" Apollo enthroned
between Mercury and a poet, and that of "Bassus" Apollo enthroned between two
groups, each of five maidens, playing various instruments. See Schmid,
See Schmid, "Forschun-
gen," p. 33.
14. [PINICIANUS.] Carmina (Virtus et Voluptas, etc.) J. Otmar,
Augsburg, 31 July, 1512; 4to. (Muther 864; Pr. 10690).
Two cuts by Burgkmair, P. 101, 102, M. 142, 143, as in no. 8, but P. 102 is not
repeated in this edition.
15. [PINICIANUS.] Epitoma gramaticæ. S. Otmar, Augsburg,
1513; 4to. (Pr. 10751).
Signed cut, undescribed [104 × 96], on title-page.
16. [JORNANDES.] De rebus Gothorum. Paulus Diaconus Foro-
iuliensis de gestis Langobardorum. J. Miller, Augsburg, 21 March, 1515;
fol. (Muther 868; Pr. 10826).
Title-page, B. 63; M. 146.
17. [ARISTOTLE.] Dialectica. J. Miller, Augsburg, 27 April, 1517;
fol. (Pr. 10836).
On title-page, B. 35; M. 323.
18. [JOHANN VON ECK.]
Elementarius Dialectice. J. Miller,
Augsburg, 26 Dec., 1518; 4to. (Pr. 10844 A).
On title-page, B. 35; M. 323.
19. [KHALAF.] Liber theoricae necnon practicae. S. Grimm and
M. Wirsung, Augsburg, 24 March, 1519; 4to. (Muther 875; Pr. 10896).
Six physicians at a table, B. 74; M. 499.
20. [LUTHER.] Ain Sermo von dem Hayligen Creütz Geprediget
Von D. M. L. Im Jar. M. D. xxii. (Augsburg, 1522) 4to. (Muther 890).
On the title-page a crucifix (signed), with Mary and Moses below the arms of the
Cross [142 x 132], M. 811.
21. [CHRONIK.] Ein Schöne Cronick vñ Hystoria (by S. Meisterlein).
M. Ramminger, Augsburg, 1522; fol. (Muther 948).
Signed title-border with the arms of the Empire and of Augsburg, four medallions
(Augustus, Octavianus, Otho, Hainricus), and whole length figures of SS. Ulrich
and Afra [225 x 153]. P. iii, 279, 115.
22. [BIBLE.] Das neü Testament. S. Otmar, Augsburg, 21 March,
1523; fol. (Muther 892).
Twelve initials (to the four Gospels, the Acts, Romans, 2 Corinthians, 1 Peter,
1 John, Hebrews, James and Jude) and twenty-one woodcuts (all signed), illustrating
the Apocalypse. M. 812-832.
2
Muther describes an earlier edition (undated), in which only six of the
Apocalypse cuts appeared. A later edition is dated 21 June 1523.
Division B.-School of Augsburg.—Burgkmair.
63
!
23. [STYRIA.] Des loblichen Fürstenthumbs Steyer Erbhulldigung,
etc. (For) J. de Necker, Augsburg, 28 Sept., 1523; fol. (Muther 894).
Two coats of arms, those of the Duchy of Styria and of Sigmund von Dietrich
stein, both signed and dated 1523. M. 833, 834.
24. [BIBLE.] Das neu Testament, mit gantz nutzlichen vorreden,
etc. S. Ötmar, Augsburg, 7 June, 1524; fol. (Muther, " Bilderbibeln,” 46).
The same cuts as in no. 22.
25. [BURGER.]
1524; 4to.
Der Euangelisch Burger. J. Gastel, Zwickau,
On the title-page, the dedication woodcut (a 3) of W. von Män's "Leiden
Jesu Christi," 1515, M. 149.
26. [LOBERA DE AVILA.]
H. Steiner, Augsburg, 31 Aug., 1530;
One signed cut, M. 921 (repr. Hirth 649).
Vanquete de nobles Cavalleros.
4to. (Muther 895).
The rest are by other hands.
27. [CICERO.] Officia M. T. C. H. Steiner, Augsburg, 29 April,
1531; fol. (Muther 879).
One signed cut, B. 74, M. 499, fol. 78, first used in no. 19. It recurs in the later
editions of the Officia.
28. [WYLE.] Translation oder Deütschungen des Hochgeachten
Nicolai von Weil. H. Steiner, Augsburg, 18 Feb., 1536; fol.
The illustration to "Von der Kunigin Frawglück," after Aeneas Silvius, is by B.
See Kunstgeschichtliche Anzeigen, 1904, p. 61, note 2, in which the woodcut is
described.
29. [KOEBEL.] Glaubliche offenbarung, wie vil fürtreffenlicher
Reych vnd Kayserthumb auff erdtrich gewesen, etc. H. Steiner, Augsburg,
1540; fol.
On the title-page an author presenting his book to five emperors or kings and
three queens, sitting against a curtain. Not signed [145 × 128]. ¹
30. [SACCHI.] (Platina) Von der Eerliche zimlichen auch erlaubten
Wolust der leibs. H. Steiner, Augsburg, 14 March, 1542; fol. (Muther 951).
(Facing fol. 1). Maximilian and Mary of Burgundy learning one another's
languages (signed, repr. Muther, pl. 164), a woodcut designed for the Weisskunig.
An alternative woodcut of this subject by Beck (Muther, pl. 165) was used in
the edition of 1775.
The woodcut of a cook on fol. 52 v. [87 x 113] is signed H. B. Muther
interpreted this as the signature of the younger Burgkmair, but it may be a weak,
posthumous work by the father. A similar woodcut is the herald on the title-page
of "Churfürsten, etc. auf dem Reichstag zu Regenspurg," Steiner, 1541,
Of the other two cuts assigned by Muther to the same artist, the first is
by an imitator of Beham, the second by Breu.
fol.
•
•
¹Repeated in no. 34. Another book in which the same woodcut occurs is
"Das Buch der Weisheit der Alten Weisen von anbeginn der Welt, s.1. (Augsburg),
1548 (Hamburg, Stadtbibl.). It was reprinted in Steinmeyer's "Newe Künstliche
Figuren," Frankfort, 1620, Sig. Tt. 2.
•
64
Early German and Flemish Woodcuts.-Part II.
31. [PISTORIUS.] Dialogus de Fato et Fortuna, cui nomen Para-
clitus. H. Steiner, Augsburg, 1544; 4to.
The same cut as in no. 28.
32. [BOCCACCIO.] Furnemsten Historien vnd Exempel von wider-
wertigen Glück. H. Steiner, Augsburg, 1545; fol.
The same cut as in no. 28; also B. 74 on fol. 71.
33. Das HELDEN BUCH mit seinen Figuren. (H. Steiner,
Augsburg), 1545; fol.
Sig. C 1 v. Maximilian and Mary of Burgundy, as in no. 30.
34. SCHERTZ mit der Warheyt. C. Egenolff, Frankfort, March,
1550; fol.
On back of title-page, Maximilian and Mary of Burgundy, as in no. 30. Fol. 1.
The same unsigned cut as in no. 29, described from this book by Wiechmann-Kadow
in Naumann's Archiv, ii, 166.
35. [ROTTWEIL.] Ordenung.... des.... Hoffgerichts zu Rotweil.
C. Egenolff, Frankfort, 1551; fol.
On the title-page cut no. 109 of Theuerdank.
36. [GOBLER.]
Frankfort, 1564; fol.
Fol. 16 v., B. 74.
Der Rechten Spiegel. Heirs of C. Egenolff,
37. [BECKER.] Holzschnitte alter deutscher Meister. Gotha, 1808-
1816; fol.
B 25-28, D 12, E 1, 3 are by Burgkmair.
65
WOODCUTS BY BURGKMAIR.
[1, 2.]
EARLY WOODCUTS BEFORE 1507.
The earliest group, attributed to Burgkmair in part by Dr. Schmid¹ and more
explicitly by Dr. Dörnhöffer², consists of illustrations to liturgical books printed by
Erhard Ratdolt, 1499-1502. For these see pp. 60, 61, nos. 1, 2, 4, 7. They are repre-
sented in this Department only by reproductions of "The Virgin with the Patron
Saints of Constance" in two states, as issued in 1499 and 1505³, and of a "Salvator
Mundi" on a broadside at Munich printed by Ratdolt in 1500, in Schmidt's
“Denkmale des Holz-und Metallschnittes," pl. 73. Another group, belonging to the
years 1504–5, is also represented only in the library, p. 60, no. 3.
1. THE VIRGIN AND CHILD.
B. vii, 204, 13. M. 24.
The Virgin sits in three-quarter face to 1. holding the naked Child upon
her lap and handing him an apple. On a ledge in front lie a book, a
scroll with the initials H. B., and a cushion with a pomegranate upon it.
Through a window of Romanesque construction we see a square castellated
building, in the same style, with a woman at a window drawing up a
bucket of water from the moat. Landscape background with two tall
trees. Double border with a very thick outer line.
[218 × 158.] Good impression, no watermark.
Collection: F. Rechberger (MS.), 1807.
Purchased from Messrs. Smith, 1845.
The earliest signed woodcut, dated by Dörnhöffer about 1502, by Schmid before
1505, by Muther about 1509. The first date mentioned is the most probable; there
are analogies with the Freising Madonna of 1502, even with the Constance Madonna
of 1499 (position of the Child's arm). The modelling of flesh and drapery by means of
regular series of very fine lines is characteristic of this early time. There is no sign
of Italian influence as yet in the architecture or the costume of the Virgin. The
face of the woman at the window anticipates in a curious way Hans Weiditz's
method of drawing faces on a small scale. Repr. in Weigel's "Holzschnitte
berühmter Meister," no. 15.
2. A HERALD. 1504 (?).
Dörnhöffer, "Beiträge," p. 120.
He stands three-quarter face to 1. wearing a cap, a coat reaching to the
knees, and over that a lozenge-patterned tabard with the cross of Jerusalem
on the front. In his r. hand he holds a wand, while he supports with his
1. hand a shield with an unknown coat of arms (per bend sinister, sable
and or, a lion rampant crowned counterchanged). Near the shield is the
date 1504. Over the herald's head is a long empty scroll on which the
letter H. is written with ink. No border. Unsigned.
1
"Forschungen," p. 22.
2 (4
Beiträge," p. 117.
3 See Vol. I, p. 219.
* See p. 150, no, 16,
The first state is also reproduced in the "Beiträge,” pl. 2.
F
66
Early German and Flemish Woodcuts.-Part II.
[Size of subject, 152 × 97.] Good impression, but stained. No watermark.
Purchased 1834.
First recognised as a Burgkmair by Dr. Dörnhöffer, in whose article it is
reproduced. It is doubtful whether the date which appears is that of the work or
has some historical significance. In any case, the technique points to Burgkmair's
early period. It is difficult to interpret the subject in the absence of any information
as to the purpose for which the woodcut was intended. It has been suggested to me
that the person represented (evidently a portrait) was a knight of the Holy Sepulchre
in the mantle of his order, but the knight's mantle was white, and the wand seems
clearly to mark this person as a herald, while the garment seems no less clearly to
be a tabard, though if it be compared with the tabard worn by the heralds on Dürer's
Triumphal Arch a difference will be noticed; there the sleeves appear through a slit
in the side of the tabard, whereas here they are covered by a flap hanging down between
the front and back. The same difference is noticeable on Burgkmair's woodcut, P.
120 (no. 4), where this very personage, with the cross of Jerusalem (but no lozenges)
on his tabard, stands at Maximilian's 1. hand opposite to the imperial herald.
Heralds in the attitude of the present one, with wand and shield, but in tabards
without a covering for the sleeves, appear frequently in Ruexner's "Turnierbuch,'
Simmern 1530. The lozenges and the date 1504 on the present print suggest some
connection with the war about the Bavarian succession in which Maximilian took
part in that year, but I am unable to elucidate the point. The arms have not been
identified; Dörnhöffer mentions various unsatisfactory suggestions. See no. 3,
3. AN UNKNOWN COAT OF ARMS.
The same shield as appears in no. 2 is here surmounted by helm,
mantling and crest, a demi-lion rampant crowned and plumed holding two
swords. In the r. upper corner is the badge of the order of St. Catherine
of Mt. Sinai, consisting of sword, half-wheel and scroll; in the 1. upper
corner is the cross of Jerusalem, possibly a later addition to the block. At
the foot of the shield is the letter B., printed from the block; the letter
H., farther 1., has been broken off and only a fragment remains. No
border.
[Size of subject, 175 x 121.] Badly printed, apparently late in the XVI century.
From the Franks collection of bookplates, bequeathed 1897.
The woodcut may well be ten years later, but I describe it here for convenience
in connection with no. 2. The arms, which occur repeatedly on the coats of South
German families, are not to be found in Sibmacher or Rietstap in combination with
the present crest. The same two badges occur on a portrait painted in 1523 in the
collection of Sir Frederick Cook at Richmond (repr. "Illustrated Catalogue of the
Exhibition of Early German Art at the Burlington Fine Arts Club," 1906, no. 22),
and on the bookplate of Hans Helfrich (1581), by M.S., W. 800 (repr. pl. 30 in
Warnecke's "Bücherzeichen des xv. u. xvi. Jahrh."). Helfrich's plate shows the
badge of St. Catherine's order in its two forms, with a whole and with a broken
wheel, but without the scroll. The order is said to have been founded in the
XI century for the protection of the tomb of the saint and of the roads by which
pilgrims approached it. The order in the strict sense became extinct when the
country fell into the hands of infidels, but it remained customary, according to
Zedler,¹ even in the XVIII century, for pilgrims to the convent to receive the
knighthood of St. Catherine from the superior. The knighthood of the Holy
Sepulchre, an order founded by Alexander VI. in 1496 in succession to the
Augustinian canons of the Holy Sepulchre, was similarly conferred on pilgrims
to Jerusalem by the Guardian of the Franciscans, to whom the Pope delegated his
authority for that purpose.2 The badge of the order was this cross of Jerusalem
which is also the emblem of the Kingdom of Jerusalem, as shown on the Triumphal
Arch of Maximilian and among the quarterings of the Spanish coat, as borne by
Charles V.
1 "Universal-Lexicon," v. 1509. On the Order of St. Catherine see also Bieden-
feld, "Geschichte aller Ritterorden," i, 21.
2 Biedenfeld, Op. cit. i, 42. This custom is also said to have prevailed as late as
the XVIII century.
Division B.-School of Augsburg-Burgkmair.
67
[4-6.]
WOODCUTS OF THE YEAR 1507.
4. THE IMPERIAL EAGLE (1507). P. iii, 281, 120. Nagl., K.-L., iii, 245, 44.
The eagle, AQVILA IMPERIALIS, has round either head a nimbus with
the words SACRO.. IMPERIO.¹ From each head is suspended a wreath,
LAVREA, that on the 1. being identical in design with that which appears
in the woodcut, "Insignia poetarum."2 The eagle displays on its neck,
breast and wings a number of mythological or symbolical designs. At the
top we see the Emperor Maximilian, DIVVS MAXIMI, enthroned, with his
feet on a three-legged stool, TRIPOS, between two heralds with the arms
of the empire and the cross of Jerusalem on their respective tabards.³
Below the stool is the Muses' fountain, FONS MVSARVM, the spout of
which runs out between the letters H.B. of Burgkmair's signature. The
water falls into a basin, in which the Muses themselves, NOVEM MVSAE,
are grouped. Beneath this basin, which has four spouts, we read the
motto ERRADO DISCITVR. Then we see PHILOSOPHIA on a throne, her
feet upon the world, flanked by two genii with harp and square.
the steps of the throne are the seven liberal arts, SEPTE LIBERALES,
divided into Trivium and Quadrivium. At the bottom of all is the
Judgment of Paris, IVDICIVM PARIDIS, between MERCVR(ius) and
DISCORDIA, the latter of whom is about to throw the apple while the
former awakens Paris from slumber. On its dexter wing the eagle displays
in seven roundels the works of the six days of creation, SEX OPERA
DIERVM, and the Creator resting; on the sinister wing seven similar
roundels contain the mechanical arts, SEPTEM MECHANICAE, viz.,
VESTIARIA, AGRICVLTVRA, ARCHITECTVRA, MILICIA, VENA(cio),
MERCATVRA, COQVINARIA, METALLARIA. These two series of roundels
are headed by the titles DIVINA FABRICA and HVANA INVETA respectively.
At the extremity of the eagle's talons are the escutcheons of the Empire
and of Austria. At the top of the whole is the inscription :-
LAVREA SERTA GERIT SACRO IOVIS ALES IN ORE
MAXMILIANEIS IAM CELEBRATA SCOLIS.
At the foot is the distich :-
BVRGKMAIR HANC AQVILAM DEPINXERAT ARTE IOHAS
ET CELTIS PVLHRAM TEXVIT HISTORIAM.
Below that again we read :
ILLE NOVEM MUSIS SEPTENAS IVNXERAT ARTES
QVAS STVDIO PARILI DOCTA VIENA COLIT.
On
[Size of subject 327 x 215.] Good impression with margin. Watermark, large
bull's head with cross and serpent.
Presented by Mr. W. Mitchell, 1895.
¹ This inscription and all that follow are cut on the block. On the wings of the
eagle the letters are white on black, elsewhere black on white.
2 Repr. Hirth, i, 501. See p. 60, no. 3.
3 See above, remarks on no. 2,
F 2
68
Early German and Flemish Woodcuts.-Part II.
1
We gather from the inscriptions that Celtis provided Burgkmair with the subject
matter of the woodcut, which alludes to the studies pursued in the College of poets
and mathematicians founded by Maximilian at Vienna in 1501. The verses at the
top allude to the privilege possessed by the humanistic Societas Danubiana, and
afterwards transferred to the Vienna University, of crowning poets. Celtis was
himself a poet laureate. The ancient chest in which the poet laureate's insignia
were preserved is still in possession of the University. Celtis is said to have been
at Augsburg in 1507, and it was probably through his host, Conrad Peutinger, that
he became acquainted with Burgkmair, with whom he appears to have had similar
relations in the last year of his life to those which he enjoyed with Dürer some five
years previously at Nuremberg.2 The motto "errando discitur" doubtless alludes to
Celtis' own wandering life. The best accounts of that scholar are to be found in
Klüpfel, "De vita et scriptis Conradi Celtis," Freiburg. 1827, and in an essay by
F. von Bezold in Sybel's Historische Zeitschrift, 1883, N.F. xiii, 1, 193. The present
woodcut, which is rather rare, is discussed by Schmid, "Forschungen," p. 31.
† PORTRAIT MEDAL OF CONRAD CELTIS, 1507.
Nagl., K.-L., iii, 246.
On the obverse is a bust of Celtis in his laureate's wreath, inscribed
AN: VITAE XLVIII. On the reverse the inscription: ADDE SONÝ VOCIS
CELTIS IS ALTER ERIT M.D. VII. Over the medal is the title: NVMVS
AENEVS SYMMETRIE CELT.
[Size of subject 54 × 105, diam. of medal 47.] Process reproduction, from Mitt. d.
Ges. f. vervielf. Kunst, Vienna, 1904.
Presented by Dr. Dörnhöffer, 1904.
Dr. Dörnhöffer described this woodcut in the Beiträge," p. 127, from a bad
impression in the Hofbibliothek, Vienna (Codex 3448), discovered by Dr. Giehlow,
who mentioned it to me in a letter of 4 April 1902. Dr. Dörnhöffer subsequently
found a better impression in the Hof-u.-Staatsbibliothek, Munich, from which the
reproduction published in the Mitteilungen was made. There the woodcut is printed
on the lower margin of the "Imperial Eagle," P. 120, with which the subject is, of
course, closely connected. Prof. Lehrs had already described this impression to me
in a letter of 16 Nov. 1899, and it is likely that Nagler knew the Munich impression.
It is uncertain whether any such medal was actually made; it is not known to
exist.3
5. PORTRAIT OF CONRAD CELTIS. 1507.
Second state. 1508.
Naumann's Archiv. ii, 143. P. iii, 280, 118. M. 9.
The poet, with downcast eyes, wearing the laureate's wreath round his
hat, is seen to the waist behind a parapet, resting both hands on four
volumes of his own works, "Germania Illustrata," "Quatuor libri Amorum,"
"Octo libri Epigrammatum," and "Quatuor libri Odarum" some of which
were unpublished at the time of his death. Beneath these books we read:
OPERA EOR SEQVVTVR ILLOS, and on the front of the parapet a
shield with Celtis' arms lies broken through the middle. At either end
of the parapet is seated a lamenting genius, uttering the words:
CVR MORS TĀ DVLCES RŪPIS AMICICIAS and QVID NON LIBITINA
RESOLVIS. A large wreath of bay and a scroll with the words: EXITVS
ACTA PROBAT QVI BENE FECIT HABET unite to form a round arch
over the poet's head. Above the arch the laureate's wreath is repeated,
¹ Described by Thausing in Mitt. d. Alterthums-Vereines zu Wien, 1877, p. 251.
2 See nos. 22-24 of Dürer's woodcuts in this Catalogue.
3 For Burgkmair and medals see Mitth. d. Bayer. Numism. Gesellschaft, vi, 76,
where evidence is quoted that he designed a medal of Count Königstein in 1516.
Division B.-School of Augsburg.-Burgkmair.
69
and in the spandrels Apollo and Mercury are seated in attitudes expressive
of grief. On a tablet below is inscribed :-
DM S
FLETE PII VATES ET TVNDITE PECTORA PALMIS
VESTER ENIM HIC CELTIS FATA SVPREMA TVLIT
MORTVVS ILLE QVIDEM SED LONGV VIVVS IN EVVM
CōLOQVITVR DOCTIS PER SVA SCRIPTA VIRIS
CHVN. CEL. PRO¹. VIENNE LAVREE CVSTOS ET COLLATOR
HIC IN CHRIS. QVIESCIT VIXIT AN. IXL. SAL. SESQVIMILL.
SVB DIVO MAXIMIL. AVGVST:
ET VIII
Double border.
H. B.
[219 × 143.] Fine impression. Watermark, large high crown. Margin [22–52].
Presented by Mr. W. Mitchell, 1895.
This epitaphium was prepared for Celtis in 1507 for presentation to his
friends in anticipation of his death, which he felt to be imminent. He survived,
however, until 4 February 1508, and an additional was then added to the date
SESQVIMILL. ET VII, which appears on the first state. The oblique shading
from 1. to r., which in the first state is carried down along the 1. side of the inner
border line in continuation of the shading at the top of the tablet, was cut away to
make room for the addition. An impression of the first state (repr. Hirth, "Les Grands
Illustrateurs," i, 502, and Seidlitz, "Allgemeines Porträtwerk") is at Berlin; another
is inserted in Hartmann Schedel's copy of a book by Celtis, "Romanac vetustatis
fragmenta in Augusta Vindelicorum et eius dioecesi" (E. Ratdolt, Augsburg, 1505),
now in the Munich library (2º Arch. 112a). Muther ("Bücherillustration," i, 131, and
Zeitschr. xix, 344) speaks as if the portrait of Celtis were an integral part of the book,
but this is quite misleading. Our own copy of the second state appears, by the
proportion of the margins to the print, to have been also at one time bound up with a
book. The Munich library also possesses the second state.
The features of Celtis on this portrait resemble those on the medal very closely.
We possess a third portrait of Celtis by Burgkmair, as a correction introduced in the
block of the frontispiece to the "Quatuor Libri Amorum," originally designed by
Dürer (see Vol. I, p. 280, note on no. 23; the second state has since been reproduced
by Dr. Dörnhöffer in "Beiträge," p. 113).
6. ST. LUKE PAINTING THE PORTRAIT OF THE VIRGIN. 1507.
B. vii, 209, 24. M. 10.
The Virgin sits to the left, wearing a Byzantine robe with a star upon
the shoulder, under a portico of renaissance architecture, which bears the
date 1507. She holds the Child on her lap, and four angels are grouped
behind her. The initials H. B are on a socle to the 1., upon the ledge
of which lie a branch of a fig-tree and a pomegranate on a cushion. St.
Luke sits to the r. before an easel, painting on a panel, with his 1. thumb
passed through the hole in his palette. Beyond a low wall is a hilly
landscape with trees.
[221 × 152.] Good impression with small margin. No watermark.
Collections: Liphart (F. 328, 1), Mitchell.
Presented by Mr. W. Mitchell, 1895.
On the subject see Lehrs, in Chronik f. vervielf. Kunst, 1891, 34, who shows that
the costume is that of the Madonna attributed to St. Luke in Santa Maria Maggiore
at Rome. In addition to the engraving by Mair of Landshut there reproduced,
compare Schmidt, "Die frühesten Denkmale," etc., no. 57, a woodcut printed at
Pforzheim, 1500, which has the inscription, "Dis ist das bild der allerheiligesten
ungfrauwen marie in den kleidern vnd gezierden mit welchen sie gezieret was an
¹ For Protucius, the third name adopted by Celtis according to the custom of
the humanists of that age, in imitation of the threefold names of the ancient
Romans.
70
Early German and Flemish Woodcuts.-Part II.
den hochzeitlichō festē als sie besucht hat den heilige tempel zu iherusalē Als vō ir
schreibt der würdige Beda in eyner omely vnd hat sie also gemalt der Ewangelist
S. lux welch heilig gemeld ist zu Rom." Compare also Altdorfer's woodcuts, B. 48,
50, 51, Burgkmair's own Madonna of 1512, B. 26, H. S. Beham's engraving, B. 17,
and the woodcuts, Schr. 1036, 1037.
6a. ST. LUKE PAINTING THE PORTRAIT OF THE VIRGIN.
B. 24. M. 10.
A late impression tinted by hand in a dark greenish colour, leaving out the high
lights, in imitation of a chiaroscuro.
[219 × 151.] Cut at the top and at both sides.
Purchased from Messrs. Smith, 1845.
[7-10.]
ILLUSTRATIONS OF THE YEAR 1508.
A holy matron, the Church,
SANCTA. MATER. ECCLESIA.
"
·
7. TITLE-PAGE OF STAMLER'S "DYALOGUS DE DIVERSARUM GEN-
CIUM SECTIS ET MUNDI RELIGIONIBUS." B. vii, 214, 39. M. 19.
sits before a tent inscribed IHS. SOLA .
Behind her are a cross and the banners
of the Papacy and the Empire. The globe is her footstool. With her r.
hand she gives the keys to the Pope, and with her 1. the sword to the
Emperor. The inscriptions ORA ET CVRA. and PROTEGE IMPPERA,
on shields enclosed by wreath, indicate their respective functions. On a
lower level sit four queens, typifying false religions, Mahometan
(SARACENA . THVR), Jewish (SINAGOGA), Pagan (GENTILITAS), and
Tartar (S. TARTARICA). Each of these carries a banner with a broken
staff. A stream of water, FONS VERE SAPIENCIE, issues from beneath
the feet of Holy Church, and falls upon the head of the doctor seated in
the midst of a circle of DISPVTATORES, with IVSTA EST RELIGIO
inscribed on the cornice over his chair. (All inscriptions quoted so far are
xylographic; those which follow are printed with type.) The names of
the disputants are Doctor Oliuerius, Balbus historicus, Rudolphus laicus,
Arnestes Apostota, Samuel Iudeus, and Triphon phisicus. In the lower
corner 1. are the arms of Stamler in a wreath, with his initials 1. S., and 1.
the signature H. B. on a tablet suspended from the wall. At the top is the
title of the book. Single border. The woodcut with all inscriptions is
repeated on the back of the leaf.
[287 x 183.] Good impression.
Purchased from Mr. Asher, 1850.
·
The book, dated 22 May, 1508, was printed at Augsburg by Öglin and Nadler
(Pr. 10704). See p. 57, no. 1.
8. PILGRIMS CLIMBING A HILL. M. 16.
9. PILGRIMS PASSING A WAYSIDE CROSS AND SHRINE.
B. vii, 221, 72. M. 17.
10. ZACCHEUS CLIMBING A TREE TO SEE CHRIST.
M. 18.
[190 x 140.] Impressions with text from "Predigen teütsch," by Johann Geiler
von Kaisersberg, printed by J. Otmar, Augsburg, 1510; fol. (1 v., 38 v., 136 v.).
Purchased from Mr. Willis, 1854.
The book is in the Dept. The edition of 1508, in which the cuts first appeared,
is in the library (p. 61, no. 6). The first two, of which only the second is signed,
are roughly cut, but not more so than most of Burgkmair's early illustrations; the
third is so inferior in all ways that nothing except its conjunction with the other
two makes Burgkmair's authorship probable.
Division B.-School of Augsburg-Burgkmair.
71
[11, 12.]
REPRESENTATIVES OF AFRICAN AND ASIATIC RACES.
The first voyage of German merchants to the Portuguese Indies on three ships
fitted up by the Welsers, Fuggers, and other leading Augsburg houses took place in
the years 1505-6.¹ The German ships, Raphael, Jerome, and Leonard, formed
part of a squadron commanded by Francisco D'Almeida. The description of this
voyage by Balthasar Springer furnished Burgkmair with materials for a series of
ethnographical woodcuts, of which the original edition is only known to exist in the
archives of the Welser family at Schloss Ramhof. It consists of a set of woodcuts
on five sheets, with a short description of each country and its inhabitants printed
at the top, the arms of Springer on the first sheet, and the address "H. Burgkmair
zu Augspurg" at the foot of the first description. A different account of the voyage,
also by Springer, with another set of woodcuts, was issued as a book in 1509 with
the title "Die Merfart zu viln onerkanten Inseln und Künigreichen" (see note
on no. 11a). A Latin narrative by Springer is also extant. Later, but still old,
impressions of Burgkmair's woodcuts without the text (as no. 11) exist in various
collections, and the blocks, in the Derschau collection, were reprinted by Becker
(B 25) as well as a copy (B 26).
•
•
•
11. THE KING OF COCHIN.
(1.) Right-hand portion; original.
B. vii, 223, 77. M. 11-15.
Towards the right the king is carried on a palanquin preceded by
musicians and followed by warriors. Over the former is the title, DER
KUNIG VON GUTZIN, over the latter a tablet bearing the date 1508 and
Burgkmair's initials. To the left, on another sheet, is a clump of trees with
groups of savages on either side, on the right four adults, and on the left a
man, three women and three children surrounded by cattle (three cows, a
sheep and two goats; the laden camels mentioned by M. are wanting³).
[Size of sheet, 276 × 1100.] Old but not very early impression, on eight pieces
of paper joined together. Watermarks, arms of Nuremberg and a circle containing
a crown surmounted by a star.
Collections: Buttstaedt (blue stamp), Mitchell.
Presented by Mr. W. Mitchell, 1895.
(2.) Left-hand portion; copy.
Four groups of savages, with the respective headings, IN GENNEA
[Guinea], IN ALLAGO [Algoa, and not Alagoa (Ortelius, 1570), which is
now called Delagoa Bay], IN ARABIA [really the East coast of Africa],
DAS GROS INDIA, introduced by ten lines of xylographic text, Dise nachuol-
gende figuren.... abgelait.
¹ See F. Kunstmann, "Die Fahrt der ersten Deutschen nach dem portugiesischen
Indien," Munich, 1861. Later accounts of the voyage with accurate descriptions of
the different editions of Springer's narrative will be found in H. Harrisse, “Americus
Vespuccius," London, 1995, and F. Schulze, "Balthasar Springer's Indienfahrt,"
Heitz, Strassburg, 1902.
2 Muther 859. First described by J. M. Freiherr von Welser in Zeitschr. d. hist.
Vereins f. Schwaben u. Neuburg, 1875, ii, 121. See also Zeitschr. f. bild. Kunst, xxii,
241. According to Harrisse, who describes the whole contents of Burgkmair's cut
(p. 41), Baron Carl von Welser, at Ramhof, possesses only an incomplete set of the
original edition, the left-hand portion, or first five of the six groups. The whole,
according to him, should measure 26 by 190 cm. Reduced photographs of the Welser
originals are at Nuremberg (Germ. Mus.) and Augsburg (Hist. Verein für Schwaben).
3 A camel and an elephant are said to exist on a copy of larger dimensions and
later date at Vienna (Harrisse, p. 45).
72
Early German and Flemish Woodcuts.-Part 11.
:
[Size of sheet, 273 x 778.] Late impression on three sheets joined together.
Watermark on one sheet initials F M beneath a half-length figure of a bishop.
Presented by Mr. W. Mitchell, 1895.
This copy, according to Becker, is by G. Glockendon, and is dated on some
impressions 1509 or 1511. At Gotha there is an impression of the right-hand portion
signed below on the 1. "Jorg Glogkendon," and dated 1509. It has verses at the
foot, with the signature " Albrecht Glockenthon Illuminist/1.5.4.1.”
11. (1) a.
FREE REVERSED COPY, BY WOLF TRAUT, OF THE BLOCK
CONTAINING THE KING OF COCHIN.
The palanquin, borne by four men and accompanied by a man holding
an umbrella over the king, advances to the left preceded by four musicians
and followed by two warriors. Two other warriors march on the further
side of the litter. Low down in the l. corner is the date (15)09 (damaged).
At the top, outside the border-line, is the printed title TRIVMPHVS REGIS
GOSCI SIVE GVTSCMIN. IĤS.
[176 × 356, cut on 1. side; margin at top 17.] Early impression, damaged.
Watermark, a pitcher.
Purchased from Mr. Tiffin, 1851.
This copy, or imitation, may safely be attributed to Wolf Traut of Nuremberg,
and should have been included in the catalogue of his works in Vol. I. It is in the
same rough style as no. 11 (1, 517). It is a fragment of the rare book by B. Springer,
Die Merfart vñ erfarung nüwer Schiffung vnd Wege zu viln onerkanten Inseln vnd
Künigreichen, 1509, which has been reproduced in facsimile as no. 8 of Heitz's series,
"Drucke und Holzschnitte des xv und xvi Jahrhunderts in getreuer Nachbildung,'
Strassburg, 1902.
Four copies of the original are known-at Munich, Vienna, Frankfurt a. M., and
Copenhagen (the last imperfect). The editor, F. Schulze, describes these copies
on p. 9 of the introduction. It appears that the inscription at the head of the
folding plate differs in all the three copies of the book in which it is found. In
the Vienna copy the first line runs, "Der Triumph des Kunigks von Gutschin mit
seinen Spielleuten vnd Hofgesynde," followed by TRIUMPHUS, etc., as given
above. Our impression, accordingly, must be from the same edition with the first
part of the inscription cut off. The Munich copy has "Cochin" instead of
Gutschin," and is said to contain the date 1509, wanting in the Vienna copy.
The Frankfurt copy, reproduced by Heitz, has a different inscription altogether:
"Die Coninck van Gutschin met sinen hoffluyden,
sinen hoffluyden, REX GOSCI SIVE
GVTSCHMIN."
The illustrations in the text are partly by Traut, partly by a different artist. To
Traut I ascribe the arms of Springer (verso of title-page), the natives of Guinea
(a 3, a 3 v), and the "Arabs" (East Africans, b4, b 4 v). The natives of Allago and
India and the cut of a baobab tree are by the other hand. The Munich copy of the
book, according to Harrisse, has the watermark, a pitcher, found on this folding leaf.
It has been assumed, not proved, that the book was printed at Augsburg.
12. A FAMILY OF ABORIGINES AT ALLAGO [ALGOA].
B. vii, 222, 75.
A man standing r. under a tree offers a bunch of herbs to a woman who
stands 1. with a baby on her arm. Both wear a cloak and apron of fur and
sandals with very wide leather soles, as in the group headed "In Allago"
on the large woodcut, no. 11 (2). The woman's head is also covered with
fur; the man's hair and beard are ornamented with pearls or precious
stones, which were attached to the hair with gum and pitch. A naked boy,
his head similarly adorned, runs up to his father. Over the woman's head
1
¹ He illustrates the passage in Springer, "Sie bynden den iungen knaben yre
schwentzleyn über sich," or, in the Latin version, "filiis etiam suis verenda sursum
ligant."
Division B.-School of Augsburg.-Burgkmair.
73
$
1
is the inscription IN. ALLAGO. Burgkmair's initials are on a stone r.
Single border.
[229 × 155.] Good impression without margin. Watermark, small bull's head
surmounted by a tau cross.
Purchased from Messrs. Graves, 1856.
This is not, as Harrisse (p. 43) assumes, a separate impression of a fragment of
the large woodcut, no. 11, for in that " Allago" group the man and woman are seated.
This is an entirely different composition. On the identification of Allago with Algoa,
not Delagoa Bay, see Schulze, pp. 40-42. Schulze argues that the natives described
by Springer belonged to a Hottentot, not a Kaffir, race.
† ST. ONUPHRIUS.
An aged man, half length, with long beard and hairy body, girt with a
garland of leaves, kneels or stands with hands folded under a tree. His
arms rest on a low branch; a shield with three crowns in pale hangs from
a higher one. The saint wears a crown; behind it is a nimbus. He looks
up to 1. at an angel, partly hidden by the tree, who offers him a loaf.
Single border. No signature.
Photograph of the only impression known to me [133 x 100], coloured, in the
Hofbibliothek, Vienna. I attributed this woodcut to Burgkmair on seeing it in 1900.
The identification of the saint is not quite certain. The hairy breast, garland of
leaves, and loaf brought by an angel are attributes of St. Onuphrius, but I find no
authority for the three crowns. The recluse is said, however, to have been of princely
birth, and Cahier and Mrs. Jameson mention pictures which represent him with a
crown and sceptre at his feet in token of his renunciation of worldly rank.
†THE VIRGIN AND CHILD, 1508.
First state.
B. vii, 202, 8. M. 482.
The Virgin, three-quarter face to 1., holds the Child in her arms and a
chaplet of roses in her r. hand. She stands under a round arch of
simple Renaissance design, cut off at the top by the border-line. On the
shaded lower side of the arch 1. is the date 1508, followed by the initials
H, B.
Photograph of the only impression known to me [237 × 166] in the Hofbibliothek
Vienna. Bartsch read the date as 1518, not observing that the third figure is a
broken 0. He has been followed by subsequent writers, who have failed to observe
that this rare and important work belongs to an early stage in Burgkmair's
development.
13. THE VIRGIN AND CHILD.
Second state.
P. iii, 270, 84.
Impression from the same block as B.8, with an alteration in the
architecture. The width of the block has been reduced on the 1. side, but
otherwise all remains the same to the top of the pilasters. The original
truncated arch has been replaced by a complete round arch, the soffit of
which has square panels, alternately plain and ornamented with a flower.
With the removal of the original arch the signature and date have
disappeared.
[292 x 162.] Late impression, on thin white paper, without watermark.
Purchased from Messrs. Smith, 1845.
71
Early German and Flemish Woodcuts.—Part 11.
!
E..
P. 84 has not hitherto been recognised as a second state of B. 8, an omission
which may be explained by the rarity of the latter. The ornament on the soffit
rather suggests the style of Hans Weiditz, and it is possible that the alteration of
the block was carried out by him, about ten years after the first appearance of the
woodcut. In any case the alteration, which improves the proportions, must have
been made with Burgkmair's approval. The block is in the Derschau collection at
Berlin.
13a. THE VIRGIN AND CHILD.
Second state. Another impression.
P. iii, 270, 84.
[292 × 162] Late impression on thick paper, tinted in brown to simulate a
chiaroscuro woodcut.
Purchased from Messrs. Smith, 1845.
them as
Similar tinted impressions exist at Berlin, in the v. Lanna collection at Prague
(Singer 2163), and in the Albertina (green tint over brown). Passavant describes
épreuves en clair-obscur, mais dont les teintes plus foncées sont posées
au pinceau.' So does Singer, "Helldunkel (nachgemalt)." I believe the colour to
have been applied entirely with the brush. The greasy pigment used has stained
the paper right through to the back, an effect which I have never seen in genuine
chiaroscuro woodcuts. The St. Luke of Burgkmair (no. 6a) and some other false
chiaroscuro prints in this collection present exactly the same appearance at the back;
so does a hand-coloured late impression of Burgkmair's Maximilian (B. 32) in the
Albertina. Seen from the front the edges of the tinted surfaces and lines have no
appearance of being cut, but all the softness and irregularity of brushwork, while the
paler parts of the tint, which, according to Passavant, are printed, merge by imper-
ceptible gradations into the darker. I had a friendly controversy on this subject by
correspondence with the late Mr. S. R. Koehler in 1899-1900. On re-examining the
Albertina impression during his last visit to Vienna in the latter year he found
himself unable to agree with me. I remain equally unconvinced by his arguments
in favour of a portion of the tint being printed, and believe the colouring on all
impressions to be the work of a clumsy forger.
|
[14, 15.]
ST. GEORGE, AND EQUESTRIAN PORTRAIT OF THE EMPEROR MAXIMILIAN I.
A PAIR OF CHIAROSCURO WOODCUTS.
Special literature on these woodcuts :--
1508.
T. Herberger. "Conrad Peutinger in seinem Verhältnisse zum Kaiser
Maximilian I." Augsburg, 1851, p. 26, notes 81, 82.
E. Chmelarz. "Jost de Negker's Helldunkelblätter Kaiser Max und
St. Georg" (Jahrb. d. kunsthist. Samml. d. Allerh. Kaiserhauses, xv, 391).
F. Lippmann. Jahrb. d. k. preuss. Kunstsamml., xvi, 142.
K. Giehlow. Jahrb. d. kunsthist. Samml. d. Allerh. Kaiserhauses, xx,
36-57, pointed out the connection of this pair of woodcuts with the
Emperor's devotion to the patron saint of the order of St. George and his
desire to undertake a crusade against the Turks.
C. Dodgson. "Zu Jost de Negker" (Repert. f. Kunstw., xxi, 377), and
Vol. I, p. 254, of this catalogue. The statement on p. 256 that the Gotha
Museum possesses the Maximilian printed in black and gold is a regrettable
repetition of an error which gained currency from the article by Chmelarz.
The portrait in question is not Burgkmair's woodcut, but an illuminated
impression of Dürer's woodcut, B. 154, heightened with gold.¹
¹ See Vol. I, pp. 334, 568.
Division B.-School of Augsburg-Burgkmair.
75
Of the St. George (B. vii, 208, 23) I know six states, all very rare.
I. Printed in black and silver, from two outline blocks, with the date M.D.VIII
between two leaf ornaments under the monogram I Ĥ S. The only signature
is that of H. Burgkmair, cut on the first (black) outline block.
The only
known impression, on paper, was purchased by the late Valentin Weisbach at
the Holford sale in July, 1893, and is now in the collection of his son, Dr.
Werner Weisbach, at Berlin.
II. From the black block only, with the date M.D.VIII, without Jost de Negker's
name. Berlin, Carlsruhe.
III. A tone block substituted for the second outline block. The date retained.
Without Jost de Negker's name. Cambridge, Fitzwilliam Museum, from the
Kerrich collection. Very fine impression, the tone block printed in slate
colour.
IV. The name of Jost de Negker, printed with movable type, added on the right.
One impression known, printed in black and red. Reproduced in Lippmann's
Engravings and Woodcuts by Old Masters," viii, 42.
((
V. As IV, but the date has been cut away from the block. Jost de Negker's name
remains. British Museum and Liechtenstein collection at Vienna. The
latter impression is reproduced in Jahrb. d. Kunsthist. Samml. d. Allerh. Kaiser-
hauses, xv, Taf. 30, but the colour there given is too yellow; both the im-
pressions mentioned are printed in black and dull green.
VI. Later impressions from the black block only, without Jost de Negker's name.
Albertina. Dresden (Samml. K. Friedr. Aug. II.). Gotha (coloured by hand).
Of the Maximilian (B. vii, 211, 32; M. 20) I know seven states.
I. Printed from two outline blocks. The date on the scroll is 1508, and Jost de
Negker's name is absent. Of this state there are two varieties.
A. On paper tinted a slaty blue; the second outline is printed with a dull
white, sticky-looking material. This impression, hitherto undescribed, which
I saw in the Liechtenstein collection on May 23rd, 1905, corresponds to the
Dresden impression of Cranach's St. George of 1507.1 The white material
seems to have been used as a ground for the gold subsequently to be applied.
B. The second outline printed in gold. The only known impression is that
on vellum in the Liechtenstein collection, reproduced in the article by
Chmelarz, Taf. 29. The other two impressions there mentioned are different
woodcuts.
II. Impression from the black outline block only, with the date 1508. Munich
(watermark, large high crown).
III. Chiaroscuro, from black outline and one tone block. Still with the date
1508. Jost de Negker's name printed in type towards the left. Repr. in
Oppermann sale catalogue, Berlin 1882, no. 304. This impression, from the
Bale collection, now belongs to Baron Edmond de Rothschild, Paris.2 A
similar one, printed in greenish brown, was sold at Gutekunst's auction,
Stuttgart, 1902, no. 196.
IV. Chiaroscuro, with Jost de Negker's name, but with a gap between the 15 and
the 8 of the date.³ British Museum, dull brick-red. Dresden (Samml. K.
Friedr. Aug. II., Inv. 86160), dull green.
V. Chiaroscuro. The gap filled in with a slender stroke slanting from r. to 1.
Still with Jost de Negker's name. Berlin (red, reproduced in Die Graphischen
1 See Vol. I, p. 256.
2 The genuineness of the date on this impression has been doubted, because the 0
is in a different position and of a different shape from that on the Liechtenstein and
Munich impressions (I and II). Dr. Giehlow, who examined the print in 1898,
assured me that the date, though retouched, was originally printed. It is clear,
however, that the third figure of the date had already been taken out. It seems to
have been replaced at first by 0, then by 1, while in state IV the third place in the
date is left blank.
3 Without examining different specimens side by side it is impossible to deter-
mine whether the impressions dated 15-8 are earlier or later than good impressions
dated 1518 (state V).
76
Early German and Flemish Woodcuts.—Part II.
Künste, xvi, 13, Lippmann, v, 42, and Lützow, "Kupferstich u. Holzschnitt,"
132). Vienna, Hofbibliothek.
VI. Chiaroscuro. Instead of this slender stroke there is a thick wedge-shaped
stroke, placed lower than the other figures, wide at the top and tapering
towards the bottom. Without Jost de Negker's name. Vienna, Albertina and
Hofbibliothek (pale greenish brown).
VII. From the black block only, with the wedge-shaped stroke in the date.
Common. In the latest impressions (Albertina, Munich) there is no cross-
stroke in the H. of Burgkmair's signature.
† ST. GEORGE. 1508.
Lippmann's facsimile of the fourth state.
14. ST. GEORGE. 1508.
Fifth state. Chiaroscuro, undated.
B. vii, 208, 23.
B. vii, 208, 23.
The saint, on horseback, holding the reins in his 1. hand, the broken
shaft of a lance in his r., looks down on the Princess Cleodolinda, who
kneels r., with a lamb by her side. The dragon, transfixed by the lance,
lies writhing on the ground. On the sky at the top, to 1. of the crest
on the saint's helmet, is the xylographic inscription: DIVVS. GEORGIVS |
CHRISTIANORUM. I MILITVM. PRO=| PVGNATOR. Burgkmair's signa-
ture, also xylographic, is low down 1., that of Jost de Negker, type-printed,
in the corresponding position r.
[322 × 232.] Good impression, the tone-block printed in dull green. Cut close
to the border-line, which remains intact. Damaged in a few places (most seriously
under the signature), of which the letters MAI are restored), and backed with
stout paper.
Purchased at the De Paar sale, 1854.
The date of the impression is obviously later than 1508. This woodcut was
probably reprinted, together with the Maximilian, in 1518. There are impressions
of the latter (e.g., Vienna, Hofbibl.) in the same colour,
† MAXIMILIAN I. 1508.
B. vii, 211, 32. M. 20.
Reduced facsimile [256 × 180] of the first state, printed in black and
gold, in the Liechtenstein collection. Published in Jahrbuch d. kunsthist.
Samml. d. Allerh. Kaiserhauses, xv, Taf. 29.
15. MAXIMILIAN I. 1508.
Fourth state. Chiaroscuro, with date 15 8.
B. vii, 211, 32. M. 20.
The Emperor, in profile, to 1., is fully armed, with a lofty plume of
peacock's feathers on the crest of his helmet. He rides to 1. in a portico
of rich Renaissance architecture. On his horse's trappings are shields with
the old and new arms of Austria, and the Imperial eagle is on a hanging
banner or tapestry. Over this is the title: . IMP. CAES. MAXIMIL. AVG.
Burgkmair's signature is cut on the block, that of Jost de Negker printed
with type. The date, without 0, is on a scroll lying on the ground.
[320 × 226.] Fine impression without margin, the tone-block printed in dull
brick-red. Watermark, small bull's head with tau cross.
Collections: A. Firmin-Didot (autograph and stamp, F. 21), Mitchell (F. 551).
Presented by Mr. W. Mitchell, 1895.
Division B.-School of Augsburg-Burgkmair.
77
15a. MAXIMILIAN I. 1508.
B. vii, 211, 32. M. 20
Seventh state. From the black block only, with the date 1518, the 1
being a thick wedge-shaped stroke.
[322 × 228.] Good impression of this state, the H in Burgkmair's signature
intact. On stout paper without watermark.
Collections: J. A. Boerner (MS.), Slade.
Bequeathed by Mr. Felix Slade, 1868.
An equally good impression of this state, from the Cracherode collection, is
placed with the portraits of Maximilian I.
[16-18.]
VARIOUS REPRESENTATIONS OF THE FACE OF CHRIST ON THE
VERNICLE (ST. VERONICA'S NAPKIN). Dates uncertain.
16. ST. VERONICA WITH THE VERNICLE.
She stands, three-quarter face to 1., on a meadow with grass and
flowers, looking down and holding in both hands the gathered-up ends of
the napkin. The face of Christ looks with wide-open eyes directly to the
front; tears fall from the eyes and there are drops of sweat upon the
brow. The whole is enclosed by an architectural frame. A round arch
with black ornament is supported by a single column on either side. In
the upper corners are the papal and imperial arms, surrounded by wreaths,
and on the bases of the columns small black shields. At the foot of the
print is the xylographic inscription: SALVE. XPI. EFFIGIES. SACERRIA
The whole is surrounded by a very wide black line. No signature.
[284 × 198.] Good impression, coloured (carmine, yellow, green). No water-
mark. The back of the paper shows that it has been pasted to the cover of a book.
Purchased from Messrs. Colnaghi, 1904 (from an auction at Amsler and
Ruthardt's, Berlin).
The
There is another impression of this undescribed woodcut at Berlin.
attribution to Burgkmair can hardly be doubted. The date must be early: the
shading of the nose of Christ and the heavy black border-line remind us of no. 1
(B. 13); the colouring also suggests an early date.
+ ST. VERONICA WITH THE VERNICLE.
Jahrb. d. K. preuss. Kunstsamml., xii, 166, 1.
The attitude and costume of the saint are very similar to those on
no. 16, but she turns to r. and stands on a step or dais. A round arch,
cut off at the top, is supported by double columns on both sides. The
papal and imperial arms are placed, without wreaths, in the upper corners.
The face of Christ on the napkin is directed a little to r.; there are no
tears or drops of sweat.
Photograph of a woodcut, attributed to Burgkmair, in the Dresden Cabinet
[128 × 90]. Probably earlier than no. 16. Seidlitz dates it 1507. No other old
impression is known, but the block itself is in the Derschau collection at Berlin. (See
vol. i, p. 56 of the impressions of the unpublished blocks taken only for use in the
Berlin Cabinet.)
† ST. VERONICA WITH THE VERNICLE.
She stands, with body three-quarters to r., but face to front and eyes
a little to 1., upon an oblong base, with a semicircular step in front of it,
under a round arch, cut off at the top, which rests on pilasters. A wreath
78
Early German and Flemish Woodcuts.-Part II.
of leaves and fruit is suspended behind her head. She holds in her r. hand
the top and in her 1. hand the gathered-up corner of the napkin. The
face of Christ is directed to the front; the eyes are half closed and look
downwards. Single border. No signature.
Photograph of the impression [195 × 138] in the Dresden Cabinet. There are
others at Nuremberg and Brunswick, and the block itself is preserved in the Derschau
collection at Berlin.
The simple ornament on the front of the pilasters may have been suggested by the
pilasters between the Fugger monuments in St. Anne's, Augsburg, erected 1511–12.
17. SS. PETER AND PAUL WITH THE VERNICLE.
St. Paul 1. and St. Peter r. stand behind a low wall, over which the
napkin hangs. The eyes of Christ are open and look to the front; there
are no tears or drops upon his face. The architectural frame is richly
decorated with black ornament, the lowest decorative panel on the r.
containing the signature H B. The papal and imperial arms, surrounded
by wreaths, are placed in the upper corners, and a shield with the initials
SPQR in a medallion over the column which divides the two saints.
Broad outer border of black.
[378 x 282.] Fine impression. Watermark, a stag.
Collections: Fountaine, Mitchell.
Presented by Mr. W. Mitchell, 1895.
The only impression known. Reproduced in Hirth and Muther's "Meisterholz-
schnitte," nos. 85, 86.
To judge by the ornament the work might be as early as 1508, but the drawing
of the heads suggests a later date.
17a. TITLE-PAGE, PARTLY COPIED FROM NO. 17.
A border composed of four blocks with black ornament on a white
ground. The two side pieces are inaccurate copies of the lowest pair of
pilasters in no. 17, retaining Burgkmair's monogram on the r. panel.
[166 x 117.] Good impression, from Oecolam- | padij der haili- | gen schrifft
Doctor Sant Brigi ten ordens zu Alltenmünster | vrtayl vñ maynung.
Doctor | Martin Luther belangend, etc. (M. Ramminger, Augsburg), M.D. XXI.
Presented by Sir A. Wollaston Franks, K.C.B., 1895.
""
The side pieces were also used in Luther, " Võ dē neüwen Eckischen Bullen vnnd
lugen" (Ramminger, Augsburg), 1520, “Ich bin der Strigel der teutschen landt,”
by "Niclas unter dem Rottenhüt (M. Ramminger, Augsburg, 1521), and Luther,
"Ain Christ | lyche vnd vast Wolge--| grünte beweysung von dem Jñg (sic.) |
sten tag" (n.p.d.).
18. † FACE OF CHRIST ON THE
THORNS.
VERNICLE,
CROWNED WITH
B. vii, 207, 22.
Photograph of the impression at Berlin, which has "Salve scta facies
nostri redeptoris" printed in large type on the lower margin. The
initials H. B. are also on the margin, but are printed from the block
itself, though they stand outside the border line.
[196 × 160, omitting margin.]
A rare woodcut; impressions, with monogram and lettering preserved, at Berlin
and Vienna (Hofbibliothek); mutilated impressions at Frankfurt a. M. (cut to
191 x 131), Hanover (Kestner Museum, the monogram cut off), and Vienna
(Albertina), the signature erased and that of Dürer substituted).
In the Hofbibliothek, Vienna (L. 5. 34) is an undescribed copy [225 x 147] with
the addition of a cross, the instruments of the Passion, two angels, and an empty
tablet for inscription.

[ ] [ ] } } } } } } } } } } } } } } } }]}
HB
الامين
ANE REINA CE
in
DF
رو ارز
PLATE IV
HANS BURGKMAIR
THE VIRGIN AND CHILD. B. 7
Division B.-School of Augsburg-Burgkmair.
79
18a. AFTER BURGKMAIR, BY H (HANS LEU?). FACE OF CHRIST
ON THE VERNICLE, CROWNED WITH THORNS. COPY, WITH
ADDITION OF ST. VERONICA.
B. vii, 208. P. iii, 340, 9.
Above the vernicle we see the head and shoulders of St. Veronica,
standing, and looking down to r. Her hands rest on, but do not grasp,
the top of the napkin. This figure is perhaps added on a separate block,
since the border-line at the top of the napkin is not continuous with the
sides. The lower block, however, is not the original, as Bartsch supposed,
but a copy, not deceptive when the two are seen together, though the
difference is not easily described. The lines representing the folds of the
napkin are coarser throughout, and the white spots at the corners, repre-
senting pins which fasten the napkin to a board, are smaller. The shaded
border, which stands in the original for this board itself, is omitted on the
r. side, though preserved at the bottom. The monogram is placed low
down towards the 1. upon the napkin.
[296 × 151.] Good impression, a little retouched, on white paper with indistin-
guishable watermark.
Presented by Mr. W. Mitchell, 1895.
The attribution to Hans Leu being uncertain, the woodcut seems to be best
placed, as a copy from Burgkmair, in the latter's work. It is improbable that
Leu, though he imitated other artists, would have condescended to such literal
copying. The only ground on which an explanation of the monogram could be based
would be the Veronica, for that figure is clearly an original addition by the copyist.
An impression at Berlin has the note "Hans von Lyck oder Lederer" written on
the margin by an old, though not contemporary, hand. This attribution is without
authority.
[19-21.]
WOODCUTS OF THE VIRGIN AND CHILD. About 1509.
19. THE VIRGIN AND CHILD UNDER A VINE TRELLIS.
B. vii, 202, 7. M. 22.
The Virgin, with a nimbus of rays and crowned with stars, sits under
a trellis of vines, and with her 1. hand holds the naked Child sitting on her
lap. In her r. hand she holds a book, on which the Child's r. hand also
rests. The binding is decorated with the Burgundian emblems, St.
Andrew's cross and flint and steel, an indication that the woodcut has some
connection with Maximilian, whose patronage of Burgkmair seems to have
commenced in 1508. Mary's robe is inscribed: AVE REGINA CELORV (M).
The initials of the artist are on a scroll hanging from the trellis. Single
border.
[220 × 150.] Good impression, without watermark, cut to the border.
Purchased from Messrs. Colnaghi, 1905.
The modelling of the faces with slanting lines indicates, perhaps, an even earlier
date than that suggested. Muther dates the woodcut 1509, while Schmid (p. 39)
connects it with the picture of 1510 at Nuremberg. A later impression of this
woodcut in the Hofbibliothek, Vienna (which also possesses an early one), is enclosed
in a border by Hans Weiditz, which occurs at Berlin as a frame to Burgkmair, B. 11.¹
¹ Kunstgeschichtliche Anzeigen, i, 64.
80
Early German and Flemish Woodcuts.-Part II.
..
20. THE VIRGIN AND CHILD IN A CHAMBER.
B. vii, 202, 9. M. 23.
The Virgin sits, three-quarter face to r., and holds the Child upon her
knee. Beyond them is a credence which bears Burgkmair's initials on its
side. Beyond that again there is a view of open country on either side of
a pillar with wreaths suspended from its capital. On a ledge in the fore-
ground are a pitcher, a sprig of carnations, and an open book. A round
mirror hangs on a column to the left of Mary's head.
[235 × 175.] Late impression, without watermark,
In the inventory of 1837.
21. THE VIRGIN AND CHILD IN A CHAMBER.
B. vii, 203, 11.
Copy of B. 9 by Jost de Negker, whose monogram is introduced
towards the right on the architrave. Burgkmair's signature is omitted,
and the original composition is curtailed on all four sides.
[203 × 142.] Fair impression, not very early; no watermark.
Collections: Liphart (F 328,1), Mitchell.
Presented by Mr. W. Mitchell, 1895.
† THE VIRGIN AND CHILD IN A CHAMBER.
B. vii, 203, 11.
Reproduction (Dürer Society, ii, 22) of the impression in the Hof-
bibliothek, Vienna, which has on the lower margin a prayer in five lines,
"Gegrusset seistu....Maria. Amen," printed with type, followed by the
address, Jost de Negker zu Augspurg, stamped from a block.
Another copy, described twice by Bartsch, as no. 10 and no. 12, is the work of
Hans Weiditz (see p. 167).
[22-26.]
WOODCUTS OF 1510.
ILLUSTRATIONS TO DAS BUCH GRANATAPFEL," by J. Geiler von Kaisers-
berg, J. Otmar, Augsburg, 1510 (see p. 57, no. 2).
22. CHRIST IN THE HOUSE OF LAZARUS, MARTHA AND MARY.
B. vii, 205, 16. M. 39.
23. THE DESTRUCTION OF PHARAOH IN THE RED SEA.
24. ST. ELIZABETH OF HUNGARY SPINNING.
B. vii, 201, 3.
B. vii, 210, 28.
M. 40.
M. 41.
+
A COOK DISEMBOWELLING A HARE.
B. vii, 221, 71. M. 42.
25. SEVEN SWORDS-THE DEADLY SINS.
26. SEVEN SCABBARDS-THE SAVING VIRTUES.
B. vii, 218, 62
[c. 172 × 122.] No. 22 is a modern impression (Derschau), nos. 23-26 are cut
from the book. The facsimile of B. 71 is from The Dome, vol. 5, in which B. 62 was
also reproduced.
Purchased on various occasions, 1834-1854.
These compositions were freely copied by Baldung in the edition of "Granatapfel'
printed by Knoblouch at Strassburg in 1511, Muther 1395, and the copies have often
been confused with the originals; Bartsch, for instance, describes Baldung's "St.
Elizabeth" in his catalogue of Burgkmair.
Division B.-School of Augsburg.—Burgkmair.
81
[27-30.]
PROOFS OF THE GENEALOGY OF THE EMPEROR MAXIMILIAN I.
B. vii, 223, 79. M. 59-135.
Special literature: S. Laschitzer, "Die Genealogie des Kaisers Maxi-
milian I.,” Jahrb. d. kunsthist. Samml. d. Allerh. Kaiserhauses, vii, 1
(especially pp. 39-46, with summary of the earlier literature on p. 40),
followed by reproductions of the seventy-seven woodcuts in Codex 8018 of
the Hofbibliothek, Vienna. Four supposed designs for later numbers of
the Genealogy, from Maximilian himself onwards, are published in the same
volume, ii Th., Regesten 4578-4581.
H. A. Schmid, "Forschungen über H. B.," pp. 41-49.
T. v. Frimmel, "Ergänzungen zu B.'s Genealogie des Kaisers Maxi-
milian I.," Jahrbuch, x, cccxxv, followed by reproductions of thirteen.
additional woodcuts in the Hofmuseum, Vienna (Ambraser Sammlung).
The Genealogy, the earliest of the lengthy woodcut works commissioned by
Maximilian, was carried out entirely by Burgkmair. The researches connected with
two separate genealogical works, to be entitled "Stamm" and " Stammchronik
respectively, extended over a number of years, and were carried out successively by
Mennel, Sunthaim, Trithemius, and Stabius. The differences of opinion between
these several historians, and especially the severe strictures expressed by Stabius on
the work of his predecessors, led to the abandonment of the work, and the only
woodcut genealogy which actually appeared is that on the Triumphal Arch of Dürer,
superintended by Stabius. Burgkmair's Genealogy is based on the researches of
Mennel and Sunthaim, completed in 1509. He probably began to design the work
in that year. We know from a letter of Peutinger to Maximilian, dated 17 November,
1510, that a large portion of the work had then been completed, but the wood-
cutter hitherto employed had absconded, no substitute could be found in Augsburg,
and farther progress was accordingly delayed; the painter (presumably Burgkmair
himself) was competent, however, to help (not in cutting the blocks himself, as the
words have generally been explained, but in obtaining a woodcutter). The difficulty
seems soon to have been overcome, for Peutinger records the payment in 1510 of
113 gulden, 24 kreuzer, to Burgkmair, the carpenter, and two wood-engravers for the
preparation of 92 blocks. There is little doubt that all the 92 belonged to the
Genealogy, of which 90 woodcuts survive. It has been generally assumed, on some-
what insufficient grounds, that the second woodcutter was Jost de Negker. The work
cannot have been entirely finished in 1510, for a proof of no. 45 at Munich has the
date 1.5.1.1. under the signature H. BVRGKMAIR. The emperor proposed to
publish the work, if not in 1511, at least in the following year, for he wrote to
Siegmund von Dietrichstein on 14 October, 1512, that he had definitely settled the
form of the Genealogy, of which Peutinger would see to the printing, and that copies
would be ready in a fortnight. Nevertheless, the work was never published,
presumably owing to doubts of the correctness of the pedigree, in which many
alterations were subsequently made. There are indications that the Genealogy was
1 The editor of the Jahrbuch (Bd. vii, 1888) gives the date 1516-1519 to drawings
preserved in the Thun-Hohenstein library at Tetschen, supposed to be designs (or
more probably copies of designs) for four of the latest woodcuts of the series. This
date is derived from the heraldic bearings of the king whom he calls Charles I. of
Spain (Reg. 4580). But it is impossible that this bearded emperor (see the crown)
should be meant for the young Charles, who appears, moreover, on a woodcut of this
series as a small boy. The figure of Reg. 4580 appears in the woodcut no. 81 as
Philip I., with a different head and an escutcheon taken directly from Reg. 4579.
Reg. 4580 represents Charles at the age of thirty, at least, and the drawing appears
to have been made up later from the woodcut, no. 81, and to be in no sense a design
for that woodcut. The Tetschen drawings are thus of no authority for dating the
woodcuts, and it is unfortunate that the date 1516-1519 has been given to the
supplementary woodcuts published by Dr. Frimmel (Reg. 6254–6266, Bd. x).
G
82
Early German and Flemish Woodcuts.—Part II.
3
to have been published as a book,' that each ancester was to have been placed in an
architectural frame,² and that verses were to have been printed at the top. The set
in the Hofbibliothek, which was probably Maximilian's own copy of the unfinished
work, has the names printed with movable type.
The blocks are lost and very few impressions have survived. In addition to the
77 proofs in the Hofbibliothek, there are 86 in the Hofmuseum at Vienna, including
thirteen subjects not represented in the other collection. Of the 73 woodcuts common
to both, many vary in state, those in the Hofmuseum, which are without titles, being
the earlier. The Albertina has but one proof, the Augsburg library sixteen, while
the Munich collection has thirty-seven, including nos. 81, 83, 86, 87, 88, and the
Stuttgart collection has four of the later numbers (after 77).*
Every ancestor has a coat of arms, which in the earlier numbers of the series was
printed from a separate block, and in the later numbers from the same block as the
figure. In the former case the earlier proofs (Hofmuseum) are found without the
coat of arms. From no. 45 onwards almost every figure is accompanied by some
emblem, generally an animal, in a circle.
27. GLOTHEMUS II. (No. 29).
He stands, his
body directed to r., but looking back in three-quarter
sceptre in his r. hand and his 1. hand resting on the
Signed H. B. near the r. foot.
Signed H. B. near the r. foot. No coat of arms to 1.
as in the Hofbibliothek impression. No border.
face to 1., with a
handle of a sabre.
[170 × 106, sheet 177 x 164.] Good impression, no watermark.
Presented by Mr. W. Mitchell, 1895.
28. HILDERIUS (No. 30).
He sits three-quarter face to r. with legs stretched out before him, and
holds a wand in his 1. hand. Signed H. B. No coat of arms to r. as in
the Hofbibliothek impression.
[145 x 148.] Printed on the back of no. 27.
29. RUDOLFUS II. (No. 71).
First state.
He sits in profile to 1. with a sword held upright in his r., a sceptre in
his 1. hand. Connected with the sword is a medallion containing a lion,
and an escutcheon divided into six fields rests against the seat. The
middle field of the lower row is black, as in the Hofmuseum, not white, as
in the later impression reproduced in the Jahrbuch. The signature is on
the seat.
[167 × 138, sheet 200 × 156.] Good impression; watermark, large bull's head
with cross and serpent.
Presented by Mr. W. Mitchell, 1895.
30. ALBERTUS II. (No. 72).
He sits in profile to r. with a sceptre in his 1. and a sword, point
downwards, in his r. hand. The coat of arms leans against the throne,
and a detached medallion r. contains a griffin. The signature is low on
the 1. side.
[167 × 147, sheet 205 × 160.] Good impression; the same paper as no. 29.
Presented by Mr. W. Mitchell, 1895.
1 Stabius, text of the Ehrenpforte.
2 Treitzsaurwein, "Item der kaiser will alle seine vätter in arcus stellen."
3
³ Dietrichstein, "Item die reymen, so ob den bilden kays. maiestät geslecht
steen sollen."
¹ P. iii, 274, 103.
Division B.-School of Augsburg-Burgkmair.
83
[31-45.]
ALLEGORIES: VIRTUES, VICES, PLANETS.
These three sets, of seven woodcuts each, are assigned both by Muther and
Schmid to the year 1510. They are very imperfectly represented here.
The Virtues (B. 48-54) occur, according to Bartsch, in three states: (a) in a
single, (b) in a double frame, (c) with no frame. It may be doubted whether the
alleged first state is not merely the second with the outer frame cut off. The Berlin
cabinet possesses a complete set of what B. calls the second state. The inner frame
is from the same design as that used for the St. Sebastian of 1512, B. 25 (no. 52,
below), but not from the same block; it is more coarsely cut, with fewer lines in the
shading, and bears the initials H. B., divided by the base; the neater repetition by
Jost de Negker, described by B. as the original, lacks Burgkmair's signature. The
outer frame contains, at the sides, candelabra, cut in half; at the top, a vase in the
centre, from which two sphinxes, holding cornucopias, turn away, then on either
side a medallion with the head of a warrior in a helmet; at the bottom, an arabesque
of foliage with two dolphins and two nereids, whose arms, ending in foliage, support
by rings a tablet bearing the Latin name and number of the virtue. The dimensions
of the whole are 310 × 197mm. The inscriptions are as follows: (1) DER GLAVB |
VIDES I. (2) DIE. LIEBE. | CARIT= | AS. II. (3).HOFFNVNG. I SPES. | III.
(4) DIE. GERECHTIKAI | IVSTICIATIIII. (signed H. B. between the legs). (5)
DIE FIRSICHTIKAIT. Prvden | Cia IV. (6) DIE MESI KAIT. I.TEMPERI
ANCIA VI. (7) .DIE. STERCK | FORTID | VDO | VII.
x
The blocks of the Virtues themselves, in the third state, are preserved in the
Derschau collection (Becker, B 27, where Prudence is wrongly placed last). The
order given by Bartsch is wrong.
31. HOPE. HOFFNVNG.
The third of the series. Third state [159 × 73].
Purchased from Messrs. Colnaghi, 1852.
32. PRUDENCE.
FIRSICHTIKAIT.
The fourth of the series. Third state [160 × 74].
Purchased from Messrs. Smith, 1845.
B. vii, 216, 49. M. 45.
B. vii, 216, 54. M. 50.
The mirror held by Prudence is very similar to that in the Italian engravings
known as the Tarocchi, but there is no other indication that Burgkmair used that
set of virtues as his models. Schmid points out traces of Venetian influence.
The Vices (B. 55-61) occur in the first state with, in the second without, an
architectural frame, in which two columns stand out prominently in front of a
renaissance arch. Below the opening in which the allegorical figure stands is a
procession of children wading through shallow water and drawing a boat, which is
followed by sea-horses. Burgkmair's initials are on a scroll between the bases of the
columns. Avarice in this state is reproduced (from the Berlin impression) in J. E.
Wessely's "Das Ornament," i. 58. B. 55, 56 and 61 in the first state are in the
Albertina. The blocks of six subjects in the second state, wanting Envy, are in the
Derschau collection (Becker, D 12).
33. PRIDE. DIE HOFART.
34. AVARICE. DIE GEITIKAIT.
35. LUST. VNKEISCH.
36. WRATH. DER ZORN.
B. vii, 217, 55. M. 51.
B. 56. M. 52.
B. 57. M. 53.
B. 58. M. 54.
G 2
84 Early German and Flemish Woodcuts.-Part II.
;
L
1
==
37. GLUTTONY. DIE FRESIKEIT.
First state, in the frame described above.
[296 × 191.] Fine early impression, without watermark.
In the inventory of 1837.
B. vii, 218, 59. M. 55.
The Planets (B. 41-47) occur in the first state with, in the second without, an
architectural frame. The blocks are in the Derschau collection. The signs of the
Zodiac are introduced at the feet of the divinities. B. 41 and 46 betray acquaintance
with the Tarocchi (first set).
37a. GLUTTONY. DIE FRESIKEIT.
38. SLOTH. DIE TRAKAIT.
[c. 158 x 73.] Late impressions of the second state.
B. 59. M. 55.
B. 61. M. 57.
Nos. 33 and 34 purchased from Messrs. Smith, 1845, the remainder presented by
Mr. W. Mitchell, 1895.
Each of the Vices stands in flames. For additional emblems Pride has a peacock
and mirror, Avarice a salamander and money-bag, Wrath a lion and sword, Gluttony
a pig, goblet and pack of cards, Sloth an ass. Lust is represented by a pair of lovers
embracing, without a further emblem. Wrath is a warrior, the rest are women.
39. SATURNUS, WITH AQUARIUS AND CAPRICORNUS.
40. JUPITER, WITH SAGITTARIUS AND PISCES.
41. MARS, WITH SCORPIO AND ARIES.
42. SOL, WITH LEO.
43. VENUS, WITH LIBRA AND TAURUS.
44. MERCURIUS, WITH GEMINI AND VIRGO (also a cock).
45. LUNA, WITH CANCER.
[c. 150 x 70.] Old impressions of the second state.
a portion of a bull's head watermark.
Purchased from Messrs. Smith, 1845.
B. vii, 215, 41.
B. 42.
B. 43.
B. 44.
B. 45.
B. 46.
B. 47.
Saturnus and Luna show
40a-45a. SIX COPIES OF THE PLANETS, OMITTING SATURNUS, WITH
THE SIGNATURE ANSI-
These undescribed copies in the direction of the originals reproduce
Burgkmair's architectural frame. They are somewhat roughly cut. The
signature, unknown to Brulliot and Nagler, is on a tablet in front of the
base on which each divinity stands. The frame is a passe-partout with two
openings, one arched, to contain the divinity, the other round, in the
base, to contain the emblem of the Planet, a human face in flames for Sol,
a crescent for Luna, and a star for all the others. This round emblem is
placed in the midst of a frieze of children at play.
[c. 305 × 183.] Good impressions. The watermark of Sol is a bull's head with
a star (the eyes connected as if wearing spectacles), that of Luna a unicorn.
In the inventory of 1837.
40b-45b. SIX COPIES OF THE PLANETS, OMITTING SATURNUS, WITH
THE SIGNATURE IFM
These copies, also undescribed, are so closely similar to the last that it
must be supposed that one of the sets was copied from the other and not
Division B.-School of Augsburg.— Burgkmair.
85
directly from the originals. They also reproduce the frame, but this set
has been cut down, preserving only a portion of the niche and the base
with a tablet containing the signature.
[c. 180 × 78.] Good impressions on white early paper without watermark.
Provenance not recorded.
The same signature occurs on a set of copies of Cranach's Passion series, printed
at Paris late in the XVI century (Nagl. Mon. iii, 927, no. 2353).
46. THE LOVERS SURPRISED BY DEATH. 1510. B. vii, 215, 40. M. 58.
Chiaroscuro, printed from three blocks, cut by Jost de Negker.
Death, a lean, winged being with the face of a skull, but long hair,
plants one foot upon the breast of a fallen warrior and dislocates his jaw
with both hands,¹ while he clutches in his teeth the robe of a girl who
runs to the 1. screaming, and with both hands raised in terror. The
warrior's helmet and shield lie on the pavement. The costume is classical,
the architecture Italian renaissance with reminiscences of Venice. A skull
and crossbones are introduced as ornamental motives in a frieze. On a
pilaster to the 1. is the signature H. | BVRGKMAIR, printed from the
outline block.
[212 × 151.] Fine impression, the outline block printed in dark grey, the tone
blocks in lighter grey and dull pink, producing a lilac effect where the two overlap.
The woman's face retouched. No watermark.
Presented by Mr. W. Mitchell, 1895.
This is an impression of the third state (variety A), which would have Jost de
Negker's signature on the margin, if preserved; a similar impression is at Basle.
46a. THE LOVERS SURPRISED BY DEATH.
B. 40. M. 58.
[211 × 150.] A later impression (variety B), cut slightly within the border.
The outline block printed in black, the tone blocks in pale grey-blue and buff. The
woman's face and the capital of the pillar retouched. No watermark.
Purchased from Messrs. Smith, 1845.
46b. THE LOVERS SURPRISED BY DEATH.
B. 40. M. 58.
The
[213 × 152.] A later impression (variety B), with a narrow margin.
outline block printed in black, the tone blocks in light, dull green and buff (yellower
than in 46a). No watermark.
Purchased in 1834.
Apart from varieties of tint, this chiaroscuro occurs in four states.
I. Without Jost de Negker's name, but with the date, MD. X., cut on the block,
beneath that of Burgkmair.
Though dated impressions are mentioned by Heinecken (Dict. des Artistes iii,
462) and Passavant, their existence has been doubted (Nagl. Mon. iii, 240 and C. D.
in Repertorium, xxi, 377). There are, however, at least five in existence, of which I
have myself seen four. These are in the Städel Institute, Frankfurt a. M. (fine
impression, in shades of brown, or, rather, chocolate, colour), Liechtenstein collection,
Vienna (fine impression with margin, same colour), Karlsruhe (mentioned also by
Schmid, p. 43), and Heseltine collection, London (shades of grey only, cut). The fifth
impression is at Paris (see Vol. I, p. 257, note 1).
1 "Death the Strangler," which has been used as the English title of the print,
called in German "Der Tod als Würger," is misleading.
86
Early German and Flemish Woodcuts.-Part II.
II. Without date. "Jost de Negker" printed with type vertically (parallel to
the side of the block) beneath Burgkmair's name on the pilaster. Albertina (black,
light and dark indigo blue, another impression black and two shades of warm,
reddish brown), Berlin (black and two shades of green), Coburg (black?, green and
greenish grey), Lanna collection (Singer 2154).
III. Without date. "Jost de Negker zu Augspurg" is printed from a block on
the lower margin, which in many cases has been cut off,
Of this state there are two varieties:-
A. The outline block printed in a tint, not black. These are the best impressions.
Berlin (repr. Lippmann, iv, 40), two shades of warm brown, and purplish
grey, no black, from the Liphart collection (sale catalogue, no. 337). Basle
and London (no. 46), exactly alike, Coburg and Vienna (Hofbibliothek),
warmer in colour, resembling the best Berlin impression; all these four
are cut.
B. The outline block, including Burgkmair's signature, printed in black.
Albertina (black, yellow ochre and dull lilac), London (no. 46 a, b), collection
of the Earl of Pembroke, Wilton House, exactly as no. 46a, but with the
xylographic address preserved, Lanna collection, Prague (Singer 2155).
Gersdorf collection, Bautzen. Hamburg (black, green and yellow, as no.
46 b), etc. The commonest variety. Some of the latest impressions may be
reprints, not issued by Jost de Negker himself.
[47-49.]
WOODCUTS OF 1511.
ILLUSTRATIONS TO VIRTUS ET VOLUPTAS, CARMEN DE ORIGINE DUCUM
AUSTRIAE. BY JOANNES PINICIANUS.
J. Otmar, Augsburg, 1511, 1512; 4to.
Muther knew only the second edition of this book (B.-I. no. 864) and dated the
woodcuts, accordingly, 1512. The first edition (Pr. 10682) is dated 25 March, 1511,
the second (Pr. 10690), 31 July, 1512. In the first edition the second illustration
occurs twice, in the second only once. (See p. 61, no. 8, p. 62, no. 14.)
47. THE ARCHDUKE CHARLES AND A HERMIT. P. iii, 273, 101. M. 142.
The young prince stands 1. in hunting costume, with two dogs, at the
edge of a wood. The hermit stands r. Signed H. B. in 1. lower corner.
[144 × 90.] On thin paper, from the first edition. On the margin at the top is
printed 1. CAROLVS and r. HEREMITA.
47a. THE ARCHDUKE CHARLES AND A HERMIT.
[144 × 90.] On stouter paper, from the second edition.
names are less spaced.
P. 101. M. 142.
The letters in the
48. THE ARCHDUKE CHARLES CHOOSING BETWEEN VIRTUE AND
VICE.
P. 102. M. 143.
Two queens, VIRTVS and VOLVPTAS, the former in rags, the latter
handsomely apparelled, take the prince by the sleeve and by the 1. hand
respectively. Signed H. B. in r. lower corner.
[144 × 91.] As no. 47. On the top margin is printed VIRTVS CAROLVS
VOLVPTAS.
Division B.-School of Augsburg.—Burgkmair.
87
I
48a. THE ARCHDUKE CHARLES CHOOSING BETWEEN VIRTUE AND
VICE.
P. 102. M. 143.
[144 × 91.] As no. 48. Repetition from the same edition. No inscription on
the top margin.
48b. THE ARCHDUKE CHARLES CHOOSING BETWEEN VIRTUE AND
VICE.
P. 102. M. 143.
[144 × 91.] As no. 47a. Inscription as no. 48.
Nos. 47, 48, and 48a purchased from Mr. Bumstead, 1852, nos. 47a and 48b pre-
sented by Mr. W. Mitchell, 1895.
The two woodcuts are reproduced by Hirth, nos. 631, 629.
49. PORTRAIT OF JULIUS II. 1511.
•
B. vii, 212, 33. M. 137.
Bust, profile to 1., bare-headed, in a medallion advancing in relief
from a square frame. Within the medallion are the inscription IVLIVS ·
LIGVR. PAPA · SECVNDVS and the date MCCCCCXI. The signature
H. BVRGKMAIR is on a tablet in the 1. lower angle of the frame; the other
angles are filled with white leaf ornament on a black ground. The morse
of the cope contains the Rovere arms with keys and tiara.
[248 × 242.] Impression from the black outline block only, cut within the
border on the r. side. No watermark.
Purchased at the Wellesley sale, 1866.
It was known to Renouvier that this woodcut was taken from Caradosso's medal
of 1506. The latter is copied in reverse, with the same inscription but different
ornament. See Fabriczy, "Medaillen der italienischen Renaissance," p. 84, and
Jahrbuch d. k. preuss. Kunstsamml., iii, Taf. xxxv.
† PORTRAIT OF JULIUS II. 1511.
B. 33. M. 137.
Facsimile by the Reichsdruckerei, Berlin, of a chiaroscuro impression
printed with a grey tone block, cut to the circumference of the medallion.
There is an impression of the rare original, cut by Jost de Negker, at Dresden.
At Brunswick is an impression printed in a pale, greenish buff which has a
margin 20 mm. in width preserved at the bottom only. On this margin, 2 mm.
below the border of the woodcut, is printed Jost de Negker's xylographic address.
A study for the chiaroscuro, in the same direction, is among the drawings
at Berlin. Schmid (p. 52, n. 2) regards it as a proof of the woodcut, retouched, but
Geheimrat Lehrs assures me, in a letter dated 11 Sept., 1905, that he is mistaken.
The lines on the face, whether drawn with the pen or put in with the brush in olive-
green, are different from those in the print, and accessories like the embroidery on
the cope and the arms on the morse are slightly sketched, "Von einem Druck kann
nicht die Rede sein, wenn auch die Lavierungen auf den ersten Blick wie von einer
Tonplatte gedruckt aussehen." A subsequent inspection (December, 1906) has
convinced me that this is correct.
[50-52.]
WOODCUTS OF 1512.
50. PORTRAIT OF HANS PAUMGARTNER. 1512. B. vii, 212, 34. M. 141.
Chiaroscuro, printed from three blocks, cut by Jost de Negker.
Bust, three-quarter face to 1., under an arch to which the Paumgartner
arms are attached, while a tablet, suspended r., bears the inscription.
•
•
·
ANN SAL· MDXIII IOANNES PAVNGARTNER CI AVGVISTAN ÆTAT.
•
SVÆ· ANN · LVII. The signature H. BVRGKMAIR is printed vertically
towards the left.
88
Early German and Flemish Woodcuts.—Part II.
[293 × 241.] Good impression, but the r. lower corner is lost and has been
supplied by a restorer. The outline block is printed in dark greenish blue, the tone
blocks in two paler shades of the same colour. Watermark, imperial eagle and
crown, in the form found in the early proofs of the Weisskunig.
Presented by Mr. W. Mitchell, 1895.
Jost de Negker's share in this woodcut is certified by a letter from the wood-
engraver himself to the Emperor, dated 27 Oct., 1512, in which he declares that he
has done no work recently for any patron but Maximilian, with the exception of
Paumgartner's portrait "mit drey Formen aines bogen gross (quoted by
Herberger, "Conrad Peutinger in seinem Verhältnisse zum Kaiser Maximilian I,"
1851, p. 31). Schmid (p. 53) considers that the influence of this woodcut is shown
in Holbein's portrait of Jakob Meier (1516). It is generally considered the finest
specimen of chiaroscuro printing from three blocks, in imitation of grisaille painting,
"auf damast art," which Jost de Negker claims as his own invention.
There are other impressions of this rare woodcut at Cambridge (same colour, or
slightly greener, reproduced in photolithography by Praetorius, L'Art, xvi, 221, text
by S. Colvin), Berlin (lighter and bluer), Albertina, Brunswick and Lanna collection,
Prague (all three lilac, from two blocks only, the Albertina impression fair, the
others poor and made up with the brush).
51. THE HOLY FAMILY. 1512.
B. vii, 209, 26. M. 140.
St. Anne, seated towards the r., takes the Child Jesus in her arms from
his mother's lap. Mary has a mantle with Byzantine ornament and fringe,
a star upon her shoulder and seven stars at the points of her nimbus.
Joseph, wearing a hat, stands by her side, and Joachim appears behind
Anne. Twelve cherubs look down from the clouds, where the Holy Ghost
hovers in the midst of a wide circle of rays. Burgkmair's initials and the
date 1512 are on a scroll in the r. lower corner.
[223 × 151.] Good impression, without margin. Watermark, a small bull's head
with tau cross.
In the inventory of 1837.
51a. THE HOLY FAMILY.
1512.
B. vii, 209, 26. M. 140.
[223 × 151.] A later impression, more heavily printed. Watermark, large high
crown. Margin [16-18].
Presented by Mr. W. Mitchell, 1895.
52. ST. SEBASTIAN. 1512.
B. vii, 209, 25. M. 139.
The saint stands in a niche, bound by curiously twisted cords to a
column and pierced by six arrows. The date 1512 is placed vertically on
the shaded wall of the niche, and the name H. BVRGMAIR to r. of the
Ilt
column, with the signature of Jost de Negker,
below it.
ปี n
The arched inner block [160 × 73] is placed in the architectural frame
already described on p. 83, à copy of the signed frame used for the set of
Virtues.
1
[211 × 150.] Fair impression, cut; the round-arched top of the frame and its
base, printed from separate blocks, are wanting. Watermark, a small fleur-de-lys.
In the inventory of 1837.
The same frame was used for St. Clara, B. 27 (Hofbibliothek, Vienna), which has
the xylographic address, "Jost de Negker zu Augspurg."
¹ The whole is reproduced in Wessely's "Das Ornament und die Kunstindustrie,”
1877, i, 57. There are impressions at Carlsruhe and Vienna (Albertina).
1
Um

1515
HB
1
PLATE V
HANS BURGKMAIR
SAMSON AND THE LION. B. 2
Division B.-School of Augsburg.—Burgkmair.
89
[53, 54.]
TITLE-PAGES.
53. TITLE-PAGE OF RICIUS, IN APOSTOLORUM SIMBOLUM DIALOGUS,
J. Miller, Augsburg, 1514; 4to.
M. 145.
A single block with an opening [46 × 40] to hold the title. Above
the opening is the Almighty, seated on clouds, with his hand upon an
orb. A long scroll passes behind him, inscribed VBI DVO VEL TRES
CONGREGATI SVNT, etc. Below stand three disputants. The artist's
initials are low down on the r.
[161 × 122.] Good impression, text on the back. The title is IN APOSTOLO | RVM
SIMBOLVM PAVLI RICII ORA | TORIS, PHILOSOPHI ET THEO | LOGI OCVLATIS | SIMI,
A PRIORI DEMONSTRATI | VVS DIALOGVS. This is from the first edition, 4 April, 1514
(Muther 867; Pr. 10823).
Presented by Mr. W. Mitchell, 1895.
53a. THE SAME TITLE-PAGE.
From a later edition. The title runs: IN APOSTOLO- | RVM SIMBOLUM | IVXTA
PERIPA- TETICORVM DO GMA DIALOGVS | PERPLANE AC | SVMMO INGENII | ACVMINE
LUMI-NI GRATIAE LVMEN | CONCILIAT NATVRE.
Collection: Bell Scott (F. 489).
Presented by Sir A. Wollaston Franks, K.C.B., 1895.
54. TITLE-PAGE OF JORNANDES DE REBUS GOTHORUM.
Augsburg, 21 March, 1515; fol.
J. Miller,
B. vii, 218, 53. M. 146.
Alboin, King of the Lombards, and Athanaric, King of the Goths, are
seated in a hall in conversation. The title is on a shield suspended from
the roof, and Burgkmair's initials are on the cornice.
[253 × 166.] Good impression, from the book.
Purchased from Mr. Asher, 1850.
VARIOUS REPRODUCTIONS.
+ SAMSON AND THE LION.
1515.
B. vii, 201, 2. M. 148.
Photograph of the impression at Munich.
† PORTRAIT OF JESUS CHRIST IN A MEDALLION.
Photograph of the impression at Munich.
B. vii, 207, 20.
This woodcut, which is also in the Hofbibliothek at Vienna, has been
reproduced and discussed by Mr. G. F. Hill in an article on "Medallic
Portraits of Christ," in The Reliquary, July, 1904, x, 173 (continued October,
1905). It stands in relation to a group of medals derived, in Mr. Hill's opinion,
from the head of Christ painted by Jan van Eyck now in the Berlin Museum. The
particular medal from which Burgkmair appears to have worked is Mr. Hill's d,
specimens of which are preserved in the Uffizi and in the Ashmolean Museum at
Oxford. "It will be noticed that the inscription of the reverse has been transferred
to an outer circle, and that the copyist has slavishly followed the original in running
the two words IN HUNC into one." An earlier woodcut, founded on the same
group of medals, is that dated "Pforzheim, 1507," reproduced p. 97 of Kaemmerer's
"Hubert und Jan van Eyck," 1898. Mr. Hill believes that the type was invented
by Van Eyck and not in reality copied, as the inscriptions on the early medals state,
from the emerald sent by Bajazet II to Innocent VIII about 1492.
Another rare woodcut of this subject by Burgkmair, B. 21 [diam., 230; outline
of square, 228 × 228], is to be seen at Berlin and Vienna (Albertina, Hofbibliothek,
and Liechtenstein collection).
90
Early German and Flemish Woodcuts.-Part II.
+ CHRIST ON THE CROSS.
Photograph of an undescribed woodcut [252 × 181] at Basle.
Christ is naked. His legs are crossed and the feet are nailed
separately to a bracket. A cord with two broken ends hanging loose on
the 1. side passes round his chest; another cord passes three times about
his thighs and is knotted r. behind the cross. The background is a
wooded landscape with water 1. The initials are on the mound of earth
in which the cross is embedded. A scroll with INRI is tied to a staff
which rises from the transverse beam behind Christ's head. The nimbus,
with its fringe of small rays, is of the type found in no. 51 but rarely else-
where in Burgkmair's work. The landscape resembles that of the
Weisskunig cuts, and the date may be about 1515.
† THE DEATH OF LUCRETIA.
Woltmann, "Holbein und seine Zeit," ii, 219.
Photograph of a woodcut [167 x 138] in the Basle Museum, described
only by Woltmann.
Lucretia, with her breast pierced by a sword, lies fainting on the floor
of a room in which is a bed 1. with curtains partly drawn. She is
surrounded by four men, one of whom kneels and raises her. Burgkmair's
initials (the В reversed) are on the cornice to r. of a pilaster.
This cut must date from about the time of the Weisskunig. It was
copied in reverse on the Basle title-page, P. iii, 405, 93, wrongly ascribed to
Holbein. The copy omits the old man who stands over Lucretia with
both hands raised.
† THE LAMENTATION FOR CHRIST.
Jahrb. d. k. preuss. Kunstsamml., xii, 166, 4.
Photograph of the Dresden impression [162 × 122]. There are others
at Paris and in the Beuth-Schinkel collection at Charlottenburg; the latter
has the xylographic address of Jost de Negker on the margin. Seidlitz
dates the woodcut about 1515.
+ JUDITH.
Jahrb. d. k. preuss. Kunstsamml., xii, 166, 5.
Photograph of the Dresden impression [177 × 132] which has been
published in Hirth and Muther's "Meisterholzschnitte, no. 88. There
are others at Basle and in the Liechtenstein collection at Vienna. The
date, 1519, proposed by Seidlitz, is rather late.
[55-101.]
ILLUSTRATIONS TO THE WEISSKUNIG (1514–1516).
B. vii, 224, 80. M. 163-315.
"Der Weisskunig," the most extensive of the unfinished works of the Emperor
Maximilian, is a historical romance supplementary to Theuerdank and dealing chiefly
with the political history of his reign, though the first part is devoted to the life of
his parents and the second to his birth and education. The narrative is in the main
autobiographical, but the imperial author does not hesitate to interpolate a little
fiction and to represent events in a light more favourable to himself than strict
1 The name means the White," not "the Wise King." Maximilian thought of
changing the title to “blank kunig.” It is derived from the white (i.e., silver)
armour that he wore, according to the precedent of such titles as "der rote Ritter,
"Tirante el blanco," in the romances of chivalry (Schultz, p. xv).
I
•
Division B.-School of Augsburg.—Burgkmair.
91
historical truth can justify. The book is dedicated to the Archdukes Charles and
Ferdinand. Much of it was written down at the Emperor's dictation and put into
shape by his secretary, Marcus Treitzsaurwein, who may be regarded as the main
author of the first two parts; the more important third part is practically
Maximilian's own work, and the disguises under which he chose to describe persons
and events were only partially intelligible to anyone but himself. All the characters
go by fictitious names, chiefly derived from their heraldic bearings. Thus,
Frederick III is the Old, and Maximilian himself the Young White King; Archduke
Sigismund is the Merry White King. The Blue King is the King of France, the
King of the Steel the Duke of Burgundy, the King of Flowers, or White Roses,
Edward IV, the Red King Richard III, the White and Red King Henry VII, the
Green King the King of Hungary, the King of the Swan the Duke of Cleves, the
Ermine or Black and White King the Duke of Brittany, King Mana Alfonso of
Naples, the King of the Wild People (also Tenettenkunig) the King of Scotland, the
King of the Dragon (Biscione) the Duke of Milan, the King of the Fish the Doge of
Venice, the Black King the King of Spain, the Yellow King the King of Poland, the
Handsome King Philip the Handsome, and the Pope the King of the Three Crowns.
The White Company are Maximilian's subjects, the Blue Company the French, the
Grey Company the Dutch, the Dapple-grey Company the people of Gueldres, the
Coal-black the people of Liège, the Brown Company the Flemings, the Peasants
with the Strange Flag the Dutch insurgents, the Leapers the Frisians, and the
Peasant Company, or Company with the Many Colours, the Swiss.
A fragmentary autobiography in Latin preceded the composition of the Weiss-
kunig. Portions of this and of various later drafts in German written at the
Emperor's dictation are still extant, with notes relating to the projected illustrations.
In 1514 Treitzsaurwein put these drafts in order to the best of his ability and wrote
a fair copy of the whole,¹ which is exceedingly confused, as he did not sufficiently
understand the Emperor's intentions. When different drafts had been written at
dictation relating to the same event, Treitzsaurwein would copy them all, and insert
them in different places. The printed editions are based upon this MS., which
nothing but the Emperor's revision could have made completely intelligible. There
exists, further, a copy of the latter part of this MS., made for Maximilian's own use,²
which has numerous notes and corrections in his hand of great historical importance.
Thence we learn that Peutinger, Pfinzing and others had a share in the work.
The confused state of the text itself reacted on the illustrations, which were
carried out at Augsburg under Peutinger's supervision. Some subjects were cut
twice, many others omitted, and many illustrations represent subjects not included
in the text so far as it was finished. The contents of the illustrations were prescribed
by the Emperor and his advisers, and exact instructions were given about the
costumes; the compositions were then sketched with the pen by various artists and
submitted for approval or correction. Ninety-two of these drawings survive, six
being in Codex 3033 of the Hofbibliothek,³ fifty-one in an album in Prince
Liechtenstein's collection, and thirty-five in Treitzsaurwein's "book of queries,"
which was written after Whitsuntide in 1515. This book contains suggestions,
generally approved by Maximilian, as to the woodcuts required for the illustration
of every chapter, with drawings or proofs inserted in the appropriate places. It
further contains queries as to the subjects, names of the persons, etc., represented in
the woodcuts-queries which Maximilian, unfortunately, never answered. He wrote
on 9 August, 1515, that he had received the book and entrusted it to Pfinzing for
safe-keeping.
4
The final drawings on the block were made for the most part by Burgkmair and
Beck, while Springinklee and Schäufelein undertook two subjects each. The blocks
were cut by the group of wood-engravers who worked at Augsburg under the
supervision of Jost de Negker. Only five blocks have the cutter's name recorded on
the back; they are the work of four men, Claus Seman, Alexius Lindt, Cornelius
Liefrinck, and Hans Taberith; the name of Hans Franck is written on a proof of
another subject at Vienna. The date of their execution appears to range from 1514
to 1516; on May 16th in the latter year Maximilian sent to Peutinger a drawing
¹ Schultz's MS. A (Hofbibl. Codex 3032).
2 Schultz's MS. E (Hofbibl. Codex 2832).
3 Schultz's MS. F.
4 Schultz's MS. G.
5 Schultz's MS. H (Hofbibl. Codex 3034).
92
Early German and Flemish Woodcuts.-Part II.
i
for one of Burgkmair's subjects (no. 163, the Veneration of the Holy Coat) which
was then still uncut. One of Burgkmair's subjects (no. 54) bears the date 1515.
Two hundred and thirty-six of the blocks, found in the XVIII century at Graz,
are now preserved in the imperial library at Vienna; thirteen blocks are lost.
Very few contemporary impressions survive. The most important sets are the proofs
in the Hofbibliothek (116 in MS. A, another large set¹ in MS. F, printed on the back
of proclamations of Oct. 5th, 1514, and 82 in MS. H), and 128 in the Liechtenstein
collection (MS. G). The Berlin cabinet contains a few proofs, one of which is of
great interest, being an undescribed first state of the woodcut no. 26 (Maximilian
in the painter's studio), which has a shield suspended from a pair of antlers on the
wall over Max's head and the words "gelick det vil"; all this was subsequently
removed from the block. An early proof of the same subject, already in the second state,
with wide margin and a MS. inscription above, Der Lust (?) vnd die schicklicheit so er
in | angebung des gemaels gehabt vnd | bey sein zeiten (?) besserung der selbn, is preserved
at Coburg, along with a similar fine proof of no. 13 (1775 edition), inscribed, wie die
kunigin schwanger vnd | ain Sun geporen ward. A recent acquisition of the Berlin
Cabinet is a proof on vellum of the rare subject reproduced on p. 259 of the Vienna edition.
Of the 90 early proofs here (43 by Burgkmair, 48 by Beck, 1 by Schäufelein and 6
duplicates) 74 were acquired at the sale of W. Y. Ottley's prints in 1837 (lot 659),
and the remainder by subsequent purchases. Many of Ottley's proofs bear the stamp
of the Thos. Allen collection. Some of our proofs, like those in the Vienna Codex
3033, are printed on the back of a proclamation of 5 Oct., 1514, summoning a council
to meet at Landshut on the 30th of the same month, of which there are three
editions, printed with the type of J. Schönsperger, jun. (Pr. 10737).²
|
No edition appeared in Maximilian's lifetime, and his grandson Ferdinand's
project of issuing the work was frustrated by the death of Treitzsaurwein in 1527.
Notes in the volume of proofs and drawings now belonging to Prince Liechtenstein
show that two earlier possessors of the book, Baron Richard Strein von Schwarzenau
(d. 1600) and Georg Christoph von Schallenberg (1633), contemplated a publication
of the Weisskunig. The MS. (A) of the text was found at Schloss Ambras in 1665
and brought to Vienna, but it was not published till the blocks were found at Graz
a century later. The first edition appeared at Vienna in 1775, and the remaining
stock was bought by S. Edwards, of London, who re-issued it with a French title in
1779. For this edition the missing block of the last subject (no. 237) is supplied by
a modern copy signed F. F. instead of H.B.
The second edition forms the sixth volume (1888) of the Vienna Jahrbuch. It
contains impressions of the 236 blocks, increased to 238 by the use of the two supple-
mentary blocks to Springinklee's first subject (no. 156), which were omitted in the
first edition.3 The thirteen missing subjects are supplied by etchings on zinc from
early proofs, so that the total number of illustrations is 251. Specimens of the
sketches are given in the introduction, written by Dr. Alwin Schultz, who also
edited the text. I am indebted to his admirable essay for all the information
relating to the Weisskunig which I have summarised here.
It only remains to define more precisely Burgkmair's share in the work, with
which we are here immediately concerned. Five subjects are ascribed to him by
notes on the blocks, and 110 bear his initials." Schultz, further, regards three
subjects as certainly, and two as probably, his work, but doubts his responsibility for
nos. 73, 172, 190, 203. Only the first of these is, in my opinion, by Burgkmair
(observe, especially, the trees). Accepting this, the total number of his woodcuts
amounts to 121; 43 of these are represented here by proofs.
The latter are arranged in the order adopted by Schultz. The title of each
woodcut is followed by its number in the first edition (A), the page on which it stands
in the second edition (B), and its number in Muther's catalogue (M.). Muther's
explanations of the subjects are often wrong.
¹ According to Passavant (iii, 268) 155, but the list given by Schultz, p. xvii,
note 1, amounts only to 140, including duplicates.
? The conjecture is perhaps admissible that this set may have been derived from
the "two books of the Weisskunig with all belonging thereto" which could not be
found at Innsbruck when the Archduke Ferdinand ordered them to be sent thence
to Vienna in 1526.
³ See Vol. I, p. 374, where the first edition is inaccurately cited by the name of
Bartsch. It was edited by Hoffstätter.
* 109 according to Schultz, but no. 177 (p. 314) is also signed.
Division B.-School of Augsburg.-Burgkmair.
93
[55-97.]
EARLY PROOFS.
55. THE YOUNG WHITE KING LEARNING TO WRITE (signed). A, no. 18.
B, p. 57. M. 172.
56. THE YOUNG WHITE KING INSTRUCTED IN THE BLACK ART.
A, no. 23. B, p. 65. M. 175.
57. THE LIBERALITY OF THE YOUNG WHITE KING (signed). A, no. 25.
B, p. 71. M. 177.
57a. ANOTHER PROOF OF THE SAME, WITH THE PROCLAMATION ON
THE BACK.
58. HE CONDUCTS A MASQUERADE (signed). A, no. 33. B, p. 83. M. 180.
59. HE FORTIFIES A CAMP WITH BAGGAGE WAGGONS¹ (signed).
A, no. 44. B, p. 113. M. 186.
60. HE TELLS HIS FATHER THE QUEEN'S MESSAGE (signed). A,
no. 46. B, p. 126. M. 188.
61. THE YOUNG WHITE KING LEARNS THE FLEMISH LANGUAGE
FROM AN OLD PRINCESS (signed). A, no. 52. B, p. 139. M. 193.
62. HE LEARNS ENGLISH FROM ARCHERS IN THE NETHERLANDS 3
(signed). A, no. 228. B, p. 141. M. 306.
63. HE SPEAKS SEVEN LANGUAGES WITH AS MANY CAPTAINS
(signed). A, no. 80. B, p. 144. M. 213.
64. BATTLE IN A VINEYARD IN BURGUNDY (signed). A, no. 63. B,
p. 148. M. 198.
65. THE BLUE KING TAKING COUNSEL HOW TO SURPRISE THE
WHITE KING (signed H. S. and H. B.). A, no. 232. B, p. 322. M. 232.
66. THE WAR WITH THE BLUE KING (signed). A, no. 86.
M. 217.
B, p. 159.
67. THE WHITE KING'S DAUGHTER HANDED OVER TO THE BLUE
KING (signed). A, no. 88. B, p. 172. M. 218.
68. THE BATTLE OF SEYST (signed). A, no. 100. B, p. 193. M. 226.
1 Such a defence was called a "Wagenburg or "Tabor." See Vol. I, p. 314.
2 "The Queen of the Steel (Feuereisen)," i.e., Mary of Burgundy.
³ The subject may belong to the following chapter, of learning Spanish, as it is
interpreted in MS. H. It will be observed that the men do not carry bows, as
Henry VII.'s soldiers do on block 116 (no. 74 here).
* The head of the king has been inserted on a separate piece of wood.
• According to Schultz's note (p. 519) this subject properly belongs to p. 152, and
that order is adopted here. The historical allusion is to the expedition to Pont-à-
Vendin, 1478.
94
Early German and Flemish Woodcuts.-Part 11.
69. SIEGE OF A TOWN (signed). A, no. 101. B, p. 221. M. 227.
70. UTRECHT (signed; cut by Taberith). A, no. 207. B, p. 222. M. 294.
71. SIEGE OF A TOWN (signed). A, no. 105. B, p. 230. M. 231.
72. YPRES (signed). A, no. 118. B, p. 233. M. 239.
73. THREE TRANSPORTS (signed). A, no. 214. B, p. 247. M. 300.
74. PHILIP MAKES A TREATY WITH
HIS FATHER¹ (signed). A, no. 116.
HENRY VII. ON BEHALF OF
B. p. 248.
p. 248. M. 238.
75. THE STORMING OF NANTES (signed). A, no. 136. B, p. 253. M. 253.
78. THE WHITE KING IN CONFERENCE WITH HIS CAPTORS (signed).
A, no. 122. B, p. 260. M. 243.
77. THE WHITE KING GREETS THE MERRY WHITE KING 2 (signed).
A, no. 143. B, p. 271. M. 257.
78. A MESSENGER BRINGS A LETTER TO THE WHITE KING AS HE
SITS IN COUNCIL (signed). A, no. 71. B, p. 280. M. 206.
79. NEWS BROUGHT TO THE WHITE KING OF THE DEFEAT OF THE
CROATS (signed). A, no. 209. B, p. 286. M. 295.
80. THE VOYAGE DOWN THE DANUBE TO FIGHT THE TURKS
(signed). A, no. 89. B, p. 294. M. 219.
81. SHIPWRECK OFF THE LIGURIAN COAST (signed). A, no. 65. B,
p. 297. M. 200.
82. THE BATTLE OF BREGENZ (signed). A, no. 72. B, p. 304. M. 207.
83. LUDOVICO SFORZA, DUKE OF MILAN, TAKEN CAPTIVE (signed).
A, no. 60. B, p. 315. M. 196.
84. THE WHITE KING'S MESSAGE DELIVERED TO THE STRANGE
COMPANY (signed). A, no. 210. B, p. 320. M. 296.
85. THE COUNCIL AT GMUNDEN (signed; cut by Taberith).3 A, no. 154.
B, p. 324. M. 267.
86. THE CONQUEST OF GRADISCA, 1508 (signed). A, no. 196. B, p. 334.
M. 288.
87. THE CONQUEST OF
dated 1515). A, no. 54.
THE VENETIAN
B, p. 339. M. 194.
TERRITORY (signed and
88. THE POPE AND THE KING OF SPAIN RETIRING FROM THE
LEAGUE OF CAMBRAY, 1511 (signed). A, no. 51. B, p. 348. M. 192.
1 This appears to be the same incident as is represented on the tenth of the
historical subjects on the Triumphal Arch (see Vol. I, p. 325).
2 The Archduke Sigismund (1427-1496), first cousin of Frederick III. He resigned
the government of Tirol in 1489 in favour of Maximilian.
3 There is a proof of this at Berlin inscribed Das Concili zu Gmunden mit den vil
seltzamen Potschafften.
|
Division B.-School of Augsburg.-Burgkmair.
95
89. THE BATTLE OF RAVENNA (signed). A, no. 94. B, p. 350. M. 222.
90. THE SWISS EMBASSY AGAINST THE BLUE KING (signed). A,
no. 93. B, p. 355. M. 221.
90a. ANOTHER PROOF OF THE SAME SUBJECT, WITH THE PRO-
CLAMATION ON THE BACK.
91. THE BATTLE OF THE SPURS, 1513 (signed). A, no. 215. B, p. 362.
M. 301.
92. THE ELECTION OF MAXIMILIAN AS KING OF THE ROMANS
(signed). A, no. 166. B, p. 372. M. 270.
93. THE SPLENDID
FOUNDATIONS OF THE OLD WHITE KING¹
(signed). A, no. 206. B, p. 377. M. 293.
94. THE STORMING OF THE CASTLE OF SALINS (signed). A, no. 107.
B, p. 393. M. 232.
95. THE STORMING OF MORAN (signed). A, no. 174. B, p. 397. M. 275.
96. THE BATTLE OF KOCHSEE (signed). A, no. 191. B, p. 398. M. 284.
97. THE LEAGUE WITH THE WHITE RUSSIANS² (signed).
B, p. 400. M. 304.
A, no. 219.
[c. 217 × 196.] Brilliant early proofs on white paper. The watermark of
nos. 55, 57, 59, 61, 63, 68, 70, 77, 81-83, 85, 90, 93 is an imperial eagle and crown
[95 × 72], of nos. 58 and 89 the head of a jester (?), of nos. 62, 75, 86 the large high
crown, of nos. 71, 76, 92 a small orb (Reichsapfel); the remainder are without
watermark. Nos. 57a, 59, 66, 68, 70, 82, 90 and 96 have the text of the proclamation
on the back. Nos. 62, 65, 71, 72, 74, 79 and 94 have the stamp of the Thomas Allen
collection.3
No. 90 is from the Banks collection, presented 1818; nos. 56, 57, 60–74, 78–81,
83, 84, 86-89, 92, 94-98 were purchased at the Ottley sale, 1837; nos. 58, 75 and 82
from Evans, 1849; nos. 57a, 59, 77, 85, 91 at the Bammeville sale, 1854; nos. 55, 93
from Evans, 1858, and no. 76 was presented by Mr. J. H. Anderdon, 1872.
[98-101.]
LATER IMPRESSIONS (BEFORE 1775).*
98. THE YOUNG WHITE KING'S SKILL IN MUSIC (signed). A, no. 28.
B, p. 79. M. 179.
Fair impression on stout paper without watermark, apparently of the XVI century.
Purchased at the Bammeville sale, 1854.
Referring to the Bishoprics of Laibach, Vienna and Wiener-Neustadt, the
Cistercian abbey of Neukloster at Neustadt, and the religious order of Knights of
St. George at Millstatt.
2 A Russian embassy visited Vienna in 1515. Cardinal Lang stands behind
Maximilian.
3 See Fagan 5. The stamp, however, resembles that given by F. (no. 3) as the second
Aylesford stamp, the only difference being that the star is lighter (in outline, not
solid) and has a circle in the middle. The Allen collection was sold 13 May, 1807.
+ For the 1775 edition of the complete work, see p. 60, no. 14.
I
:
!
96
Early German and Flemish Woodcuts.-Part II.
99. THE KING OF THE STEEL AND HIS ONLY DAUGHTER' (signed).
A, no. 45. B, p. 115. M. 187.
Good impression on thin XVIII century paper.
Purchased at the Ottley sale, 1837. A similar impression, from the Mitchell
collection, 1895, is placed with prints of costume.
100. THE YOUNG WHITE KING AND HIS QUEEN LEARNING ONE
ANOTHER'S LANGUAGES (signed). B, p. 137.
Two different blocks of this subject were cut, from the designs of Burgkmair and
Beck respectively. Beck's block (B, p. 136) is preserved at Vienna, and was used in
A, no. 55. The proof of the first state of Burgkmair's block in the Liechtenstein
collection is described by Schultz as unique; this, however, is a second example. It
is on old paper without watermark, of much the same quality as no. 98, but inferior
to the early proofs. It must have been printed before 1542.
In the inventory of 1837.
100a.
THE SAME: SECOND STATE. M. 315.
A good, old impression, without text on the back.
In the inventory of 1837.
Burgkmair's block, cut down 1. to the width of 152 mm., was used in books
printed by Steiner and Egenolff, 1542–1550 (pp. 63, 64, nos. 30, 33, 34). It is reproduced
in Weigel's "Holzschnitte berühmter Meister," no. 1, and Muther, "B.-I.," pl. 164.
Muther's statement that it was used in "Schimpff und Ernst," 1534, appears to rest
on a confusion of this title with that of the later book, "Schertz mit der Warheyt,
Vonn gutten Gespräche, In Schimpff vnd Ernst Reden," Frankfort, 1550.
101. THE BATTLE OF NAUDERS (B, p. 518), called also THE BATTLE OF
NAPLES (¿.e., Cerignola, 28 April, 1503). A, no. 62. B, p. 318. M. 197.
Fair impression, on brownish XVIII century paper. Watermark, imperial eagle
holding two sceptres.
Provenance unknown.
[102-167.]
WOODCUTS FORMING PART OF THE TRIUMPHAL PROCESSION OF
MAXIMILIAN I. (1516–1518). B. vii, 229, 81.
Literature
J. G. A. Frenzel, "Über den Triumphzug Kaiser Maximilians."
Naumann's Archiv, 1856, ii, 71.
F. Schestag, "Kaiser Maximilians I. Triumph." Vienna Jahrbuch,
1883, i, 154–181.
K. Woermann, "Dresdener Burgkmairstudien." Zeitschrift für
bildende Kunst, 1890, N.F., i. 40.
See also Vol. I of this Catalogue, pp. 332, 398.
The original programme of the Triumph, written by Treitzsaurwein (1512) in
accordance with the Emperor's instructions, is preserved at Vienna (Hofbibl., Codex
2835). Miniatures were then painted, which are preserved in two forms, copy and
original, also in the Hofbibliothek. The originals, formerly at St. Florian, are
preserved only from no. 50 onwards; the copies, however, are complete. The
miniatures appear to have been carried out by Altdorfer and his pupils. For some
¹ I.e., Charles the Bold and Mary. Notice on the curtain the symbol of eternity
(a dragon swallowing its own tail), introduced also on the woodcut of the Planet
Saturn, B. 41, where it has a prototype in the Italian engraving (Tarocchi series).
Division B.-School of Augsburg.—Burgkmair.
97
of the compositions there are preliminary sketches in pen and ink; one such drawing
is in this collection (see Vol. I, p. 399, no. 1). The artists employed in drawing the
subjects on the blocks, with the written programme and the miniatures to guide
them, were Dürer, Springinklee, Schäufelein, Burgkmair, Beck and (probably)
Huber. The blocks, of which 135 out of a total of 138 are preserved at Vienna,
were cut by Hieronymus Andreä, Jan de Bom or Bonn, Hans Franck, Cornelius and
William Liefrinck, Alexius Lindt, Jost de Negker, Wolfgang Resch, Jakob Rupp,
Claus Seman and Jan Taberith. On most of the blocks notes are preserved, recording
the name of the cutter and the date on which he delivered (" praesentavit ") his
work, the earliest being 12 Nov., 1516, the latest (on any of Burgkmair's subjects)
8 May, 1518.
Burgkmair designed 67 blocks, including nos. 1-56 without interruption. A
specially interesting collection of trial proofs (52 in number, besides one duplicate) is
preserved in the Dresden cabinet, together with Burgkmair's working copy, with
annotations in his own hand, of the original written programme. The MS. has
Burgkmair's initials and the date M.D.XVI on the wrapper, and on the fly-leaf the
following inscription: H. Burgkmair, maler, Angefangen 1516 adi 7 abrilis, followed
by a drawing of the artist's arms, which occur again on the 28th woodcut of the
series. From this we learn exactly when he commenced his work, and it is evident
that the woodcuts are a set of the earliest trial proofs which came from his own
collection; the paper on which they are printed differs from that of the 1526 issue,
and the impressions are sharper. The tablets and scrolls appear white, not black,
as paper was pasted over the block in those places to prevent it from printing.
Eleven similar proofs, of which six only are by Burgkmair, are in the Berlin cabinet,
and one is in this collection (no. 145a, below). This set at Dresden contains one other-
wise unknown subject, not mentioned by Śchestag, which raises the total number of
blocks, hitherto stated as 137, to 138. It represents five men with battle-axes, a
subject mentioned in the programme, and should be placed after no. 36 of Bartsch
and Schestag, or no. 359 of Muther. It is reproduced on p. 41 of Woermann's
article.
Apart from such early proofs there have been four issues of the Triumph, of
which only the last two are complete editions with the text.
1. Printed by order of the Archduke Ferdinand in 1526. The watermark
is a two-headed eagle with a sickle on its breast, and the tablets are black.
2. Issued in 1777 after the discovery of the blocks at Graz and Schloss
Ambras. The tablets still printed black; after this the wood was cut away.
3. Bartsch's edition, printed at Vienna, 1796. The leaves have printed
numbers, sometimes corrected in red ink.
4. Schestag's edition, Vienna, 1883-84, issued as a supplement to Vol. I. of
the Jahrbuch.
IMPRESSIONS BOUND IN BOOK FORM.¹
1
102. A HORN-BLOWER RIDING ON A GRIFFIN, LEADING THE PRO-
S. 1. M. 324.
CESSION.
103. HORSES CARRYING A BOARD TO HOLD THE EMPEROR'S TITLES.
S. 2. M. 325.
104. A RIDER (ANTHONI VON DORNSTETT) CARRYING A TABLET,
FOLLOWED BY THREE FIFE-PLAYERS (signed).
105. FIVE MOUNTED DRUMMERS (signed).
S. 3. M. 326.
S. 4. M. 327.
106. A MOUNTED FALCONER (HANS TEUSCHEL), CARRYING A TABLET.
S. 5. M. 328.
1 On the composition and provenance of the volume, see Vol. I, p. 332. The order
in the following catalogue is that of Schestag (S.). When Bartsch's order (B.) differs
from his, both numbers are quoted.
H
98
Early German and Flemish Woodcuts.-Part II.
107. FIVE MOUNTED FALCONERS (signed).
S. 6. M. 329.
108. A MOUNTED HUNTSMAN (CONRAD ZUBERLE) WITH A TABLET,
FOLLOWED BY CHAMOIS AND IBEX (signed).
109. FIVE CHAMOIS-HUNTERS ON FOOT.
S. 7. M. 330.
S. 8. M. 331.
110. A MOUNTED HUNTSMAN (CONRAD VON ROT) WITH A TABLET,
FOLLOWED BY FIVE STAGS.
111. FIVE MOUNTED STAG-HUNTERS.
112.
S. 9. M. 332.
S. 10. M. 333.
A MOUNTED HUNTSMAN (WILHELM VON GREYSSEN) WITH A
TABLET, FOLLOWED BY FIVE BOARS (signed).
113. FIVE MOUNTED BOAR-HUNTERS.
S. 11. M. 334.
S. 12. M. 335.
114.
A MOUNTED HUNTSMAN (DIEPOLT VON SLANDERSBERG) WITH
A TABLET, FOLLOWED BY FIVE BEARS (signed).
S. 13. M. 336.
115. FIVE BEAR-HUNTERS ON FOOT.
S. 14. M. 337.
116. THE UNDER MARSHAL (EBERPACH), WITH A TABLET.
S. 15. M. 338.
117. THE COURT BUTLER, COOK, BARBER, TAILOR AND SHOEMAKER.
S. 16. M. 339.
118. TWO ELKS WITH A MOUNTED BOY, CARRYING A TABLET
(signed).
S. 17. M. 340.
119. FIVE MUSICIANS, INCLUDING ARTHUR, CHIEF LUTE-PLAYER,
ON A CAR.
S. 18. M. 341.
120. TWO BUFFALOES WITH A MOUNTED BOY, CARRYING A TABLET
(signed).
S. 19. M. 342.
121. FIVE MUSICIANS, INCLUDING NEYSCHEL, CHIEF TRUMPETER,
ON A CAR (signed).
S. 20.
M. 343.
122. A CAMEL RIDDEN BY A BOY, CARRYING A TABLET.
S. 21.
M. 344.
123. PAULUS HOFHAIMER,' CHIEF ORGANIST, ON A CAR. S. 22. M. 345.
124. A DROMEDARY RIDDEN BY A BOY, CARRYING A TABLET.
125. EIGHT MUSICIANS ON A CAR (signed).
S. 23.
S. 24.
M. 346.
M. 347.
126. TWO OXEN WITH A MOUNTED BOY, CARRYING A TABLET.
S. 25. M. 348.
1 A portrait of Hofhaimer, drawn by Dürer, is in the British Museum (L. 284).
See Kunstgeschichtliche Anzeigen, 1904, p. 58, and Burlington Magazine, vii, 152
(with illustrations).
Division B.-School of Augsburg.—Burgkmair.
99
127. JÖRG SLAKONY, BISHOP OF VIENNA, WITH A CHOIR AND MUSI-
CIANS, ON A CAR ADORNED WITH APOLLO AND THE MUSES
(signed).
S. 26. M. 349.
128. CONRAD VON DER ROSEN, COURT JESTER, MOUNTED, FOL-
LOWED BY TWO WILD HORSES WITH A MOUNTED BOY.
129.
S. 27. M. 350.
FIVE JESTERS IN A CAR DECORATED WITH MONKEYS. Burgk-
mair's arms and the date 1517 are on a flask held by one of the jesters.
S. 28. M. 351.
130. TWO ASSES WITH A MOUNTED BOY, CARRYING A TABLET.
S. 29. M. 352.
131. FIVE FOOLS IN A CAR DECORATED WITH GREENERY (signed).
S. 30. M. 353.
132. THE MASTER OF THE MASQUERADES (PETER VON ALTENHAUS),
MOUNTED, FOLLOWED BY FIVE MASKED TORCH-BEARERS OŃ
FOOT.
S. 31. M. 354.
133. FIVE PERFORMERS IN THE SPANISH MASQUE.
S. 32. M. 355.
134. THE MASTER OF THE FENCERS (HANS HOLLYWARS),
LOWED BY FIVE MEN WITH FLAILS (signed).
135. FIVE MEN WITH POLES (signed).
FOL-
S. 33. M. 356.
S. 34. M. 357.
136. FIVE MEN WITH LANCES (signed).
S. 35. M. 358.
137. FIVE MEN WITH HALBERDS.
S. 36. M. 359.
138. FIVE MEN WITH SWORDS AND BUCKLERS (signed).
S. 37. M. 360.
139. FIVE MEN WITH SWORDS AND SHIELDS (signed).
S. 38. M. 361.
140. FIVE MEN WITH SHIELDS AND HUNGARIAN MACES (signed).
S. 39. M. 362.
141. FIVE MEN WITH SHEATHED SWORDS (signed).
S. 40. M. 363.
142. THE MASTER OF THE TOURNAMENTS (ANTHONI VON YFAN),
MOUNTED (signed).
S. 41. M. 364.
143. FIVE KNIGHTS ARRAYED FOR THE TOURNAMENT, ON FOOT.
144. FIVE KNIGHTS MOUNTED.
145. THE MASTER OF "RENNEN UND GESTECH
POLHEIM), MOUNTED.
146. "WELSCH GESTECH" (signed).
147. "DEUTSCH GESTECH."
148.
"HOHENZEUGGESTECH" (signed).
S. 42. M. 365.
S. 43. M. 366.
(WOLFGANG VON
S. 44. M. 367.
S. 45. M. 368.
S. 46. M. 369.
S. 47. M. 370.
H 2
100
Early German and Flemish Woodcuts.-Part Il.
150.
149. “GESTECH IN PEINHARNISCH" (signed).
"WELSCH RENNEN."
S. 48. M. 371.
S. 49. M. 372.
151.
“ PUNDTRENNEN" (signed).
S. 50. M. 373.
152,
“GESCHIFFTRENNEN" (signed).
S. 51. M. 374.
153. "HELMRENNEN" (signed).
S. 52. M. 375.
154,
"SCHEIBENRENNEN."
S. 53. M. 376.
156.
157.
155. "SCHILDRENNEN" (signed).
"PFANNENRENNEN" (signed).
"FELDRENNEN" (signed).
158. FIRST GROUP OF CAPTIVES (signed).
159. SECOND GROUP OF CAPTIVES (signed).
160. FIRST GROUP OF VICTORS (signed).
181. SECOND GROUP OF VICTORS (signed).
B. 111. S. 113.
162. THE MASTER OF THE HORSE, MOUNTED, FOLLOWED BY A
HUNGARIAN AND A MAN IN OLD FRENCH COSTUME, LEADING
TWO HORSES (signed).
B. 132. S. 123. M. 384.
163. FIVE MEN LEADING HORSES (signed).
B. 133. S. 124. M. 385.
S. 54. M. 377.
S. 55. M. 378.
S. 56. M. 379.
B. 109. S. 111.
M. 380.
B. 110. S. 112.
M. 381.
S. 113. M. 382.
B. 112. S. 114. M. 383.
164. FIVE MEN LEADING HORSES (signed).
B. 134. S. 125. M. 386.
This woodcut is founded on a drawing by Dürer of 1517 (copy ?) in Mr. C. Fairfax
Murray's collection (Dürer Society, ix, 23), in which the nationalities of the men
(from 1. to r.) are given as huk (?), alt flemig, alter lüticher, Cleuischer, Junger francos.
"Alt" and "jung" refer to the fifteenth century and modern costumes respectively.
In the Dürer drawing there is a sixth person, pehaim (Bohemian); he has been
transferred by Burgkmair to the front of the other group, B. 133 (no. 163 here).
185. A RIDER ON AN ELEPHANT, FOLLOWED BY FIVE PEOPLE OF
CALICUT (signed).
B. 122. S. 129. M. 387.
188. TEN MEN OF CALICUT (signed).
B. 123. S. 130. M. 388.
167. PEOPLE OF CALICUT WITH BIRDS AND ANIMALS (signed).
B. 124. S. 131. M. 389.
All the proofs described above, except nos. 159-162 and 165-167, have the
watermarks of the 1526 edition; the impressions excepted are probably of the date
1777.
Purchased from Messrs. Smith, 1845.
Nos. 122, 123, 132, 136, 140, 155, were cut by Jan de Bom (or Bonn), no. 166 by
Hans Franck, nos. 129, 134, 139, 147 by Cornelius Liefrinck, nos. 115, 119, 137, 144,
156, 157 by Willem Liefrinck, no. 164 by Alexius Lindt, nos. 120, 121, 126, 127,
138, 143, 148, 151 by Jost de Negker, no. 159 by Wolfgang Resch, no. 160 by Jacob
Rapp, nos. 103, 124, 125, 130, 133, 145, 150, 153, 154, 163, 165, 167 by Jan Taberith.
Division B.-School of Augsburg.—Burgkmair.
101
145a.
LOOSE IMPRESSIONS.
WOLFGANG VON POLHEIM, MASTER OF THE TOURNAMENTS.
S. 44. M. 367.
[Sheet, 405 × 380.] Early trial proof, like those at Berlin and Dresden, with the
watermark described by Woermann, an anchor in a circle, surmounted by a star.
The tablet and scroll have been overlaid with paper, so that they print white.
In the inventory of 1837.
159a. SECOND GROUP OF CAPTIVES.
B. 110. S. 112. M. 381.
[Sheet, 245 × 375.] A very fine impression on white paper without watermark,
having wire marks 30 mm. apart (like the last 14 leaves of the Dresden proofs, as
described by Woermann).
In the inventory of 1837.
167a. PEOPLE OF CALICUT.
B. 124. S. 131. M. 389.
[Sheet, 285 × 380.] A similar impression to that in the volume.
Presented by Mr. W. Mitchell, 1895.
WOODCUTS OF 1519.
[168-171.]
THE INFLUENCE OF WOMEN OVER SAGES AND HEROES.
168. SAMSON AND DELILA.
B. vii, 201, 6. M. 488.
169. DAVID AND BATHSHEBA. Dated 1519.
B. vii, 201, 5. M. 486.
170. SOLOMON'S IDOLATRY.
B. vii, 201, 4. M. 487.
171. ARISTOTLE AND PHYLLIS.
B. vii, 221, 73.
[118 x 95.] Good impressions of the first state, on thin white paper without
watermarks, cut to the border line.
Presented by Mr. W. Mitchell, 1895
168a. SAMSON AND DELILA.
169a. DAVID AND BATHSHEBA.
170a. SOLOMON'S IDOLATRY.
171a. ARISTOTLE AND PHYLLIS.
B. 6.
B. 5.
B. 4.
B. 73.
Good impressions of the second state, in the architectural frame designed by
Hans Weiditz¹ [218 × 155], without watermark.
In the inventory of 1837.
Three subjects have German text printed below the woodcut, but within the
frame, in the type of the elder Schönsperger (Pr. 10941). No. 168a: “Samson ain
Iud vom gschlecht dan ain sun Manue der xii richter in Israhel regiert. 20. iar.”
No. 170a: Salomon ain iud vom gschlecht inda (sic) ain sun danid (sic). | der ander
king in israhel, regiert 40 Iar." No. 171a: "Aristoteless ain grekischer Nicomachi
sun. ain iunger | Platonis. ain maister des grossen alexanders."
¹ Röttinger 46.
102
Early German and Flemish Woodcuts.-Part II.
|
There were two editions with the border. At Berlin are impressions of B. 4 and 6
with the border but without text, corresponding to our impression of B. 5. The same
collection has B. 5 with text inside the border, "Dauid ain Iud vom gschlecht iuda
ain sun Isai | der erst king in Israhel. regiert. 40. iar," corresponding to our impres-
sions of B. 4 and 6. At Basle is an impression of B. 6 in the first state with the
xylographic address, "Jost de Negker zu Augspurg," on the wide margin. The four
subjects were doubtless cut by Jost de Negker.
[172-177.]
HEROES AND HEROINES.
172. THE THREE CHRISTIAN HEROES.
B. vii, 219, 64. M. 489.
The heroes collectively, Christian, Jewish and Pagan, constitute the set
known as the Nine Worthies. The Christians, DREI GVT CRISTEN,
are CÆSAR CAROLUS, KINIG ARTVS and HERCZOG GOTFRID. Signed.
173. THE THREE JEWISH HEROES.
B. vii, 219, 66. M. 491.
Inscribed: DIE DREI GVTEN JVDEN. JOSVE. REX DAVIT.
JVDAS MACHABEVS. Signed.
174. THE THREE PAGAN HEROES.
Inscribed: DIE DREI GVTEN HAIDEN.
GROS ALEXANDER. JULIVS CESAR. Signed.
B. vii, 219, 68. M. 493.
HECTOR VÕ DROI.
In some late impressions, otherwise quite good, the A of HAIDEN has lost its
cross-stroke.
175. THE THREE CHRISTIAN HEROINES.
B. vii, 219, 65. P. iii, 270, 86. M. 490.
Inscribed: DREI GVT KRISTIN. S. ELENA. S. BRIGITA. S.
ELSBETA. Signed.
176. THE THREE JEWISH HEROINES.
B. vii, 219, 67. M. 492.
Inscribed: DREI GVT JUDIN. HESTER. JVDITH. JAEL. Signed.
177. THE THREE PAGAN HEROINES.
Inscribed: DREI GVT HAIDIN.
Signed and dated 1519.
B. vii, 220, 69. M. 494.
LUCRECIA. VETVRIA. VIRGINIA.
[195 × 133.] Good impressions of the first state, without border. Watermark of
no. 172 a small high crown, of nos. 174 and 175 a fleur-de-lys, of no. 177 a bunch of
grapes; the remainder are without watermark.
No. 176 was purchased from Messrs. Graves, 1854, nos. 172 and 173 from Messrs.
Evans, 1858; the remainder are from the Mitchell collection, presented 1895.
173a. THE THREE JEWISH HEROES.
B. 66. M. 491.
Second state, enclosed in the border [322 × 217] designed by Hans
Weiditz.¹
[Sheet, 340 × 240.] Good impression, with margin; watermark, a jug.
Presented by Mr. W. Mitchell, 1895.
1 Röttinger 47.
Division B.-School of Augsburg.—Burgkmair.
103
175a. THE THREE CHRISTIAN HEROINES.
Second state, in the border.
B. 65. M. 490.
[310 x 206.] Good impression, but cut on all sides. Watermark, a jug.
Purchased from Messrs. Graves, 1856.
The series was cut by Jost de Negker. The Hofbibliothek, Vienna, possesses
impressions of B. 64 and 66 (first state) with his xylographic address on the margin;
a similar impression of B. 65 is at Paris (Pass.), and one of B. 67 in the Albertina,
which also possesses all six cuts in the second state.
[178, 179.]
ILLUSTRATIONS.
178. SIX PHYSICIANS SEATED AT A TABLE.
B. vii, 222, 74. M. 499.
[119 × 146.] Late impression with German text on the back.
In the inventory of 1837.
>"
This cut was first used in "Liber theoricae necnon practicae Alsaharavii," Grimm
and Wirsung, Augsburg, 24 March, 1519, and afterwards in many books printed by
Steiner, including the 1531 and later editions of Cicero's " Officia,' "Der Teutsch
Cicero," 1534, 1535, and Boccaccio, “Von widerwertigem Glück," 1545 (fol. 71). It
is the only cut bearing Burgkmair's initials which appeared in one of Grimm and
Wirsung's books, and I have already expressed the opinion' that, in spite of the
signature, the subject was really drawn upon the block by Hans Weiditz, to whom,
but for the initials H. B., I should have no hesitation in attributing it.
The Basle Museum possesses a beautiful early proof of this woodcut on vellum.
179. FORTUNE'S WHEEL.
Fortune, a woman with two heads, young and old, sits on a throne let
down from the clouds by cords and suspended in the air. With her 1. hand
she turns a handle which sets in motion a wheel up which several men
are clambering, while a group of aspirants wait their turn below. Fortune
points with her r. hand towards a group of seven demons holding a skin
stretched out, while a group of men below wait with a sheet held up in the
same manner. Two victims of her caprice are being tossed to and fro in
the air from one group to another.
[147 × 128.] Late impression, on the title-page of "Dialogus de Fato et Fortuna,
cui nomen Paraclitus, vere pius, & doctus," by Joannes Pistorius, Abbot of
Fürstenfeld, H. Steiner, Augsburg, 1544.
Presented by Sir A. Wollaston Franks, K.C.B., 1895.
Though not signed, this seems to be clearly a work of Burgkmair, about the
period of the Weisskunig; it may be compared, especially, with the cut in that work
dated 1515 (no. 54). The illustration is only found, however, in later books, e.g., in
"Translation oder Deutschungen des Hochgeachten Nicolai von Weil," H. Steiner,
Augsburg, 18 Feb. 1536, in Abt Johann zu Fürstenfeld's "Gespräch vom Glück und
ewiger Ordnung," ibid. 1544, and in Boccaccio, "Furnemste Historien vnd Exempel
von widerwertigen Glück," ibid. 1545. See Kunstgeschichtliche Anzeigen, 1904,
p. 61, note 2.
:
¹ Mitteilungen d. Ges. f. vervielf. Kunst, 1905, p. 65.
104
Early German and Flemish Woodcuts.-Part II.
[180-183.]
LARGE WOODCUTS OF SACRED SUBJECTS, 1524–1527.
180. ADAM AND EVE: THE FALL.
Printed from eight blocks; signed, but not dated.
[945 × 650.] Late impression (Derschau, E 1).
Presented by Mr. Albert Way, 1839.
181. CHRIST ON THE MOUNT OF OLIVES.
B. vii, 200, 1. M. 838.
B. vii, 205, 17.
M. 835.
Printed from eight blocks, signed and dated (in the lower margin)
MDXXIIII.
[970 × 660.] Late impression.
Presented by Mr. Albert Way, 1839.
182. THE CRUCIFIXION.
B. vii, 206, 19. M. 837.
Printed from eight blocks, signed and dated (in the lower margin)
MDXXVI. The margin contains a xylographic inscription in four lines,
beginning "Herr Jesu Christe, Der du vmb die ix. Stund am Krewtz
hangend," and ending "beuolhen sein. (Then, on a lower line) Jobst de
Necker Formschneider zw Augspurgh.'
''
[950 × 670.] Early impression, coloured, with margin [20].
Presented by Mr. W. Mitchell, 1895.
The edition with Jost de Negker's address is mentioned by Nagler, Mon. iii, 242, 15.
182a. THE CRUCIFIXION. B. 19 (copy). Nagl. Mon. iii, 243, 21, and iv, 106, 3.
Copy. The initials I R (separate), with a woodcutter's knife below
them, are placed on a tablet of irregular shape near the bottom of the
block on the right, but inside the border-line. The inscription on the
margin is the same as far as "beuolhen sein.' Then follows, on the same
line, "Gedruckt zu Nurnberg, bey Hans | Wolff Glaser. 1562." There is
no date on the cartouche which divides the inscription.
""
[940 × 670.] Good impression; watermark, a dog.
Presented by Mr. Albert Way, 1839.
The presence of Glaser's address, unknown to Nagler, makes it extremely unlikely
that this woodcut is the work of the Saxon monogrammist to whom he attributes
it. The copy in the Derschau collection is a different one, with no woodcutter's
signature; as printed by Becker (E 3) it has no inscription.
183. MATER DOLOROSA.
Nagl. Mon. iii, 243, 23.
The Virgin sits in a landscape, turned to 1., weeping and wringing her
hands; a single sword pierces her bosom. Above, in medallions surrounded
by clouds, are the Seven Sorrows of Mary: the Presentation of Christ in
the Temple, the Flight into Egypt, Christ among the Doctors, Christ
bearing the Cross, Christ on the Cross, the Lamentation beneath the
Cross, and the Entombment. The signature H. B. is low down to r. In
the margin is the inscription in three lines: "O herr Jhesu Criste vnser
Um

い
​•M DXVIIII‹
PLATE VI
HANS BURGKMAIR (P)
LOUIS XII, KING OF FRANCE
Division B.-School of Augsburg.-Burgkmair.
105
erlöser .
vnd bitten Dich du wöllest vnns vor ewige hertzlaid behüttē
A.," divided by a cartouche with the date MDXXIIII. Printed from
eight blocks.
[955 × 675.] Good impression, though not early; no watermark.
Presented by Mr. Albert Way, 1839.
This is rarer than some of the series, and has escaped the notice of Bartsch,
Passavant and Muther. Nagler describes the Gotha impression.
The unsigned cut of Christ bearing the Cross (P. iii, 270, 83, Nagl. Mon. iii, 242,
17, M. 836), with the date 1527 on the cartouche in the margin, belongs to the same
series, but cannot be attributed to Burgkmair. It is represented in this collection,
as also at Gotha and in the Albertina. A large cut of the Resurrection, preserved
with it here, is also not by Burgkmair and perhaps not connected with the series, as
its dimensions [986 × 672] are larger, and it has no margin or inscription at the foot.
The woodcut in question is from the same design as that in the Derschau
collection, signed R. (Nagl. Mon. iv, no. 3510, 3), but it is not printed from the same
blocks, and is unsigned.
+ FRONTISPIECE TO CANTZLEIBÚCHLEIN. 1528.
One man seated, two standing. Signed H.B. at foot of desk.
[141 × 122.] On the title-page of "Cantzley büchlin zaiget an, wie man schreiben
sol eim yeden," etc., H. Steiner, Augsburg, 1528, 4to.
Photograph from the copy in the Munich library. There is another copy in the
collection of Prince Liechtenstein. This cut, though signed, is not described in any
of the catalogues of Burgkmair. It is described and reproduced in Mitteilungen d.
Ges. f. vervielf. Kunst, 1907.
184. CHARLES V. 1519.
DOUBTFUL WOODCUTS.
P. iii, 223, 334a. See p. 170, no. 54.
185. LOUIS XII., KING OF FRANCE. 1519.
P. iii, 297, 5. Nagl. Mon. iii, 246, 49.
Bust, three-quarter face to 1., wearing the collar of scallop-shells of the
order of St. Michael, against a white background sprinkled with fleurs-de-
lys. The block containing the portrait is enclosed in an architectural
frame with the date MD.XVIII. on the base.
[136 × 109.] Good impression with narrow margin [1-4]. No watermark.
Purchased 1834.
Impressions with full margin have the xylographic address of Jost de Negker
below the woodcut. Such an impression is in the Willshire collection in the Guild-
hall library. The portrait has been drawn in reverse, probably by Burgkmair, from
the large medal presented by the town of Lyons in 1499 to Louis XII. and his
consort Anne (Jahrbuch d. k. preuss. Kunstsamml., iii, 205–207, and Taf. xli.). The
frame was probably used for other portraits, though none have been described. That
of Anne of Brittany would be likely to occur as a counterpart to the one now before
us. It is a copy by Jost de Negker from a frame dated M.D. XVIII., which belongs
to a portrait of a man in profile to r. with the initials H. S. D. over his head, and the
quotation SIC OCULOS SIC ILLE GENAS, SIC ORA FEREBAT, on the entablature of the
frame. This undescribed woodcut [136 × 108] is in the collection of K. Friedrich
August II, at Dresden (no. 86,287). The frame there is not a passe-partout, but
drawn on the same block as the portrait.
+ ANONYMOUS PORTRAIT OF H. S. D.
Photograph of the woodcut at Dresden mentioned above.
106
Early German and Flemish Woodcuts.-Part II.
186. THE ARMS OF THE REHM FAMILY. 1526.
B. vii, 153, 54. H. 2142. P. 317. R.-A 56. Pauli 1475.
Crest and coat an ox. The coat-of-arms is set back in the opening
between two square columns, ornamented with a black arabesque, which
support an entablature pierced by a round window with cross-bars.
foreground is the date MDXXVI.
[202 × 178.] Fine impression with margin. Watermark, a dog.
Presented by Mr. W. Mitchell, 1895.
In the
This fine and rare armorial woodcut has hitherto been attributed doubtfully to
Dürer or Beham. It has never been definitely accepted as the work of Dürer, of
whom, indeed, there is little to remind us except the bold Roman lettering of the
date. The Rehms were an Augsburg family, and the black ornament on white is
rather in Augsburg than in Nuremberg taste. That ornament and the drawing of
the animal suggest the hand of Burgkmair.
Literature:
[187-191.]
LANDSKNECHTS.
Breunner-Enkevoërth, "Römisch kaiserlicher Majestät Kriegsvölker
im Zeitalter der Renaissance," Vienna, 1883.
H. A. Schmid, Zeitschr. für bild. Kunst, N.F. v, 24 and Kunst-
chronik, 2 Nov. 1893, Sp. 56.
R. Stiassny, Zeitschr. für christl. Kunst, 1894, vii, Sp. 119, 120.
W. Schmidt, Repertorium für Kunstwissenschaft, xvii, 366.
F. Dörnhöffer, Jahrb. d. Kunsthist. Samml. d. Allerh. Kaiser-
hauses, xviii, 35.
C. Dodgson, Repertorium für Kunstwissenschaft, xxvi, 117.
A series of fifty landsknechts was published at Vienna, unfortunately without a
date, by David de Necker, introduced by a preface in which he says that the blocks
were cut over sixty years ago by his father, Jost de Necker, from the designs of three
good painters, all then living at Augsburg-Hans Burgkmair, Christoph Amberger,
and Jörg Breu. Some, however, are evidently by Hans Sebald Beham. According
to David de Necker, the blocks had "slept" and never been printed before. This is
disproved, however, by the existence of many early proofs and by the circulation of
copies cut by Guldenmund and Meldemann at Nuremberg about 1530. Only two
copies of David de Necker's edition are known to exist, in the cabinet of prints at
Stuttgart and the Liechtenstein collection at Vienna. The series is taken by
Breunner-Enkevoërth to represent the costumes of the Landsknechts engaged in
Charles V.'s Italian campaign of 1525, and the execution of the woodcuts may be
placed between that date and 1530.
Some uncertainty prevails as to the attribution of the woodcuts, none of which
are signed, to the respective artists. Those attributed by Schmidt to Burgkmair
which are represented in this collection are placed on that account only among his
doubtful works, the most doubtful cases, perhaps, being nos. 184 and 188.
187.
A LANDSKNECHT TO L. WITH L. HAND ON THE HEAD OF A
BATTLE-AXE.
D. de N. 3.
[Sheet, 261 × 150.] Good impression; no watermark.
Purchased from Messrs. Smith, 1845.
188. A LANDSKNECHT to L. DRAWN FROM THE BACK.
D. de N. 4.
[Sheet, 275 × 158.] Good impression; watermark, a small high crown.
Purchased from Messrs. Smith, 1845.
Division B.-School of Augsburg.-Burgkmair.
107
189. A STANDARD-BEARER TO R., WITH THE INITIALS V S A UPON
HIS HOSE.
First state, with the date 1489.
[Sheet, 270 × 157.] Good impression; no watermark.
Purchased from Messrs. Smith, 1845.
D. de N. 9.
The date 1489 (the second and fourth figures reversed) appears low down on the
block;
it was removed before the issue of David de Necker's edition. The meaning
of the date is unexplained.
190. A LANDSKNECHT TO R. CLEANING THE BARREL OF HIS FIRE-
ARM.
[Sheet, 257 × 160.] Good impression; watermark unrecognisable.
Purchased at Gutekunst's auction, 1901.
D. de N. 20.
191. A LANDSKNECHT TO R. HOLDING A POLE IN HIS L. HAND.
D. de N. 37.
[Sheet, 275 × 125.] Good impression; no watermark.
Purchased from Messrs. Smith, 1845.
+
108
III.-JÖRG BREU I.
Jörg (Georg) Breu,¹ the elder, painter and draughtsman on wood;
son of Georg Breu, of Augsburg, cloth-shearer and weaver (died
1501-02) and his wife Barbara (died 1527-28); born about 1480;
first dated picture 1501 (at Herzogenburg); already a master in 1502,
when he presented his brother Claus to the guild of painters as
apprentice; other presentations followed up to 1520; first dated
woodcut 1504, followed by numerous illustrations for the leading
Augsburg presses, in his later years especially for that of Steiner.
Breu's works show, from about 1510 onwards, a strong Italian
influence; he appears to have visited Venice more than once; he is
known to have travelled to Baden and Strassburg in 1522. He
composed a chronicle of Augsburg, extending from 1512 to 1537,
the year of his death.2
Authorities—
Bartsch, P.-G., vii, 448.
Nagler, Mon. i, nos. 1603-1606, iii, no. 1943.
Passavant, P.-G., iii, 294.
A. Rosenberg, Kunstchronik, 1875, x, 388.
R. Vischer, "Studien zur Kunstgeschichte," 1886 (see index).
R. Stiassny, Kunstchronik, 1890, N. F. ii, 33.
R. Stiassny, “J. B. von Augsburg," Zeitschr. f. christliche Kunst,
1893, vi, 289; 1894, vii, 101.
H. A. Schmid, "J. B. d. A. und J. B. d. J.," Zeitschr. f. bild.
Kunst, 1893-94, N. F. v, 21.
W. Schmidt, "Notizen zu deutschen Malern. 1, J. B.," Repert. f.
Kunstw., 1896, xix, 285.
F. Dörnhöffer, "Ein Cyclus von Federzeichnungen," etc. Vienna
Jahrbuch, 1897, xviii, 1, 274.
The name is variously spelt Breu, Brew, Brewy, Brue, Bruy, Prew and Prey.
The monogram, composed of i and b, indicates that Jörg Breu was the normal
orthography, though Prew is the form adopted on the fully signed pictures in the
Augsburg and Munich galleries. (These are ascribed officially to the younger Breu,
but see Dörnhöffer, pp. 16, 32–34.)
2 See Roth's introduction to Breu's Augsburg chronicle, in which the artist's
biography is more fully given than elsewhere. The date of his death has hitherto
been given as 1536 on the authority of the Augsburg Malerbuch (Vischer, p. 567).
This is contradicted by the chronicle, the entries in which are carried on without
breach of continuity or difference of literary style from 28 December, 1536, to
8 January, and later dates up to 12 May, 1537. In the Steuerbuch, made up
annually in October, he is mentioned in 1536, but not in 1537; his death seems,
therefore, to have occurred in the summer or early autumn of that year.
Division B.-School of Augsburg.—Breu.
109
R. Stiassny, "J. B. und Hans Knoder," Zeitschr. f. bild. Kunst,
1897-98, N. F., ix, 296.
K. Giehlow," Beiträge zur Entstehungsgeschichte des Gebetbuches
Kaiser Maximilians I.," Vienna Jahrbuch, 1899, xx, 97–100.
C. Dodgson, "Beiträge zur Kenntnis des Holzschnittwerks J. B.'s."
Berlin Jahrbuch, 1900, xxi, 192; "Nachtrag," ibid. xxiv, 335.
W. Schmidt, "Notiz zu J. B.," Repert. f. Kunstw., 1903, xxvi, 133.
A. Hagelstange, "J. B.'s. Holzschnitte im Konstanzer Brevier von
1516." Mitt. a. d. German. Nationalmuseum, 1905, 3.
"Die Chronik des Augsburger Malers Georg Preu des Älteren,
1512-1537," herausgegeben von F. Roth (Die Chroniken der
deutschen Städte, Bd. xxix; Augsburg, Bd. vi), Leipzig, 1906.
I
BOOKS ILLUSTRATED BY BREU.
A. IN THE DEPARTMENT OF PRINTS AND DRAWINGS.
1. [MAEN.] Das leiden Jesu Christi. J. Schönsperger, jun.,
Augsburg, 1515; 4to. (Muther 866; Pr. 10738).
Presented by Mr. W. Mitchell, 1904.
(1) i 2 v. The Mocking of Christ. Signed [93 x 68]. B. vii, 448, 1; P. iii, 295, 1.
This woodcut was attributed to "Georg Broy" in 1618 by Paulus Behaim, in the
catalogue of his collection of prints. Later impressions of it exist. Reproduced
by Dörnhöffer, p. 20, and Muther, ii, p. 175.
(2) i 4 v. Christ before Pilate [92 x 66].
(3) q 4. The Virgin and St. John adoring Christ as Man of Sorrows; in the
background Calvary, in the foreground Wolfgang von Maen kneeling, his coat-of-
arms before him; the imperial and Austrian arms in upper corners. Dated 1515
[140 × 95]. The remaining illustrations are by Schäufelein and Burgkmair (see
pp. 6, 58).
2. [PFINZING.] Theuerdank. J. Schönsperger, sen., Nuremberg,
1517; fol. (Muther 845; Pr. 11180).
Purchased from Messrs. Smith, 1845.
(1) Subject no. 31. Theuerdank in danger on a chamois hunt (corrections by
Beck inserted). By Laschitzer's "unknown artist D," identified by Dörnhöffer
(p. 22) with Breu.
3. [BARTHEMA.] Die Ritterlich vnd | lobwirdig raisz des gestrēg- |
en vnd über all ander weyt erfarnen ritters vñ landt- | farers, herren
Ludowico | Vartomans von Bolonia. (Grimm and Wirsung ?),¹ Augsburg,
1518; 4to. (Pr. 10891).
Purchased from Mr. Gutekunst, 1874.
(1) A i v. The author presenting his book to the Duchess of Urbino in presence
of her court [131 × 98]. Repr. Dörnhöffer, p. 21.
(2-41) Forty small illustrations [70 × 95], two of which, nos. 2 (A 3) and 21 (L 2)
are repeated (y 2, P 1). All the cuts are coloured.
¹ So acc. to Pr., but the edition of 16 June, 1515 (M. 1020, Pr. 10829) with the
same illustrations, was printed by Miller.
110
Early German and Flemish Woodcuts.--Part II.
7
Theuerdank. J. Schönsperger, sen., Augsburg,
4. [PFINZING.]
1519; fol. (Muther 846; Pr. 10939).
Presented by Mr. W. Mitchell, 1904.
The same woodcut as in no. 2.
5. [JUSTIN.] Justini warhafftige Hystorien. H. Steiner, Augsburg,
1531; fol. (Muther 1079).
Presented by Mr. W. Mitchell, 1904.
The cuts on ff. 19, 21, 38, 61 v (=92 v), 66 v (=80 v), 68 v, 70 v, 117 v, are by Breu.
6. [LOBERA DE AVILA.] Ein nutzlich Regiment der gesundt |
heit, Genant das Vanquete. H. Steiner, Augsburg, 11 May, 1531; 4to.
(Muther 1083).
Purchased from Mr. Gutekunst, 1870.
(1) Fol. 64 v. A knight riding, followed by two mounted attendants. From
Fortunatus," 1509.
(2) Fol. 71 v. A galley, a man standing in the prow. From "Wartoman's
(sig. A 3 in the edition of 1518).
Reise"
7. [PAULI.] Das Buch Schimpff vnnd Ernst genant. H. Steiner,
Augsburg, 10 April 1535 (Muther 1100, edition of 1534).
Purchased at the Singer sale, 1860.
(1) Fol. 28 v. A scene of witchcraft. From "Der Teutsch Cicero," 1534-35.
(2) Fol. 35. An usurer. From the same.
(3) Fol. 78 v.
Fol. 82.
A man teaching a dog to stand on its hind legs. From the same.
A preacher. From the same.
8. [REICHENTHAL.] Das Concilium | So zu Constantz gehalten
ist worden, | Des jars do man zalt von der geburdt vn- | sers erlösers
M.CCC. xiii. Jar. H. Steiner, Augsburg, Dec. 1536; fol. (Muther 1109).
Presented by Mr. Max Rosenheim, 1906.
(1-40.) Forty full page illustrations [205 x 145]. (41-44.) Three half-page cuts
[110-135 × 145], and numerous heraldic cuts, all redrawn from the original illustra-
tions in Sorg's edition of 1483 (see Vol. I, p. 25, and W. Schmidt in Repert. f. Kunstw.,
xxvi, 133).
9. [VERGILIUS.] Polydorus Vergilius Urbinas. Von den Erfindern
der ding. H. Steiner, Augsburg, July, 1544; fol.
Purchased from Messrs. Willis and Sotheran, 1858.
Contains many cuts by Breu, all repeated from earlier books. That on fol. 163 is
from "Fortunatus," 1509; those on ff. 93 v, 95, 121 v, 124 v, 131, 132 v, 161 v, are
from the history of the Council of Constance, 1536; those on ff. 97 v, 99 v, 137, 144 v,
from "Der Teutsch Cicero," 1534-35. The historian, fol. 15, is used in several other
books printed by Steiner.
REPRODUCTION.
Hans Tirols Holzschnitt darstellend die Belehnung König Ferdinands I.
mit den österreichischen Erbländern durch Kaiser Karl V. auf dem Reichs-
tage zu Augsburg am 5 September, 1530. Nach dem Originale im Besitze
der Stadtgemeinde Nürnberg herausgegeben von Dr. A. Essenwein.
Frankfurt a. M., 1887; fol.
t
Un
ME:
!!!!!
00
DO
1
3


PLATE VII
JÖRG BREU I
ILLUSTRATION TO "FORTUNATUS"
ILLUSTRATION TO "WARTOMAN'S REISE "
Division B.-School of Augsburg.—Breu.
111
Facsimile of the only known impression, in the Germanic Museum, of a woodcut,
measuring 1.57 by 2.38 metres, representing the investiture of Ferdinand with the
hereditary dominions of Austria (Nagler, Mon. iii, p. 805, 1943, no. 4). The woodcut,
accompanied by text, was printed in 1536 by Heinrich Steiner for, and at the expense
of, Breu's son-in-law, Hans Tirol. It is improbable that the latter had any share in
the actual design. The woodcut contains the monogram of Breu, together with the
letter I, which has been interpreted as the initial of Hans. It is clear that the
drawing of the figures, at least, is Breu's; the landscape, and especially the drawing
of the trees, is defective, and Dr. Dörnhöffer (loc. cit. p. 36) has suggested that the
elder Breu was assisted by his son, who may have drawn the subjects on the blocks
from the father's sketches. Both the drawing and the cutting, at any rate, were
finished before Breu's death, for the date of publication is 1536, and we know that
the blocks, eighteen in number, were cut by Stephan Ganseder of Nuremberg in
1535.¹ The best of the figure groups are closely allied in style to the illustrations in
Reichenthal's History of the Council of Constance, 1536.
B.-IN THE DEPARTMENT OF PRINTED BOOKS.
1. [LITURGIES.]
Missale Constantiense. E. Ratdolt, Augsburg,
24 April, 1504; fol. (Pr. 10642).
Frontispiece, the Virgin with the Patron Saints of Constance (see p. 114, no. 1). In
the Canon, the Crucifixion, signed, in first state [224 × 143], P. iii, 295, 2. Schr. 380.
See Jahrbuch, xxi, 192-195. Opposite, initial T [80 × 68), letter and border printed
in red; imitation of the similar initial [89 × 77] by Burgkmair, used first in 1502.
See Jahrbuch, xxi, 204-205, and Dörnhöffer, "Beiträge zur Kunstgeschichte,"
1903, p. 118.
2. [LITURGIES.] Missale Saltzeburgense. P. Liechtenstein, Venice,
3 Dec., 1507; fol. (Weale, p. 177).
In the Canon, the same Crucifixion, in second state. See Jahrbuch, xxi. 194, d.
3. FORTUNATUS. (J. Otmar), Augsburg, 1509; 4to. (Muther 1050;
Pr. 10675 A).
Title woodcut [149 x 113], repr. in Könnecke's "Bilderatlas," p. 71, and 44
different illustrations [68 × 93] in the text, one of which occurs twice, another thrice.
Two of the 44 (D 2 and N 1v) appear to be by another draughtsman. See Jahrbuch,
xxi, 210, note 1.
¹ Essenwein prints (p. 3) an instructive correspondence between Ganseder and
the Nuremberg Council on the one part, Tirol and the Augsburg Council on the
other. In 1538 Ganseder petitioned the Nuremberg Council to aid him in recovering
from Tirol 5 florins still due to him for his work in cutting eighteen blocks for
the Investiture of Ferdinand, which it had taken him thirty-six weeks to finish.
The Council wrote on 26 April, 1538, to the Augsburg Council, who called on
Hans Tirol for an explanation. He replied that Ganseder had been fully paid
for his work, but had asked, before leaving Augsburg, for a further "Trinkgeld
of 5 florins, which Tirol had agreed to give, if the King of the Romans should
make him a present for the work on which he had employed Ganseder and
others. But when he took the blocks to Steiner's press to be printed, he found the
cutting was much too shallow, so that he himself, the printer, his son and a joiner
had to spend two and a half weeks in completing the work which Ganseder ought to
have finished; in addition to the loss of time, this extra work cost 15 florins. Tirol
was informed that Ganseder had taken a hand-printed proof to Steiner, and it had
then been pointed out to him that the cutting was too shallow; that notwith-
standing, he had shirked doing the work properly. If he would pay the 15 florins
Tirol had lost over it, he was welcome to his " Trinkgeld." There the matter seems
to have ended.
112
Early German and Flemish Woodcuts.-Part II.
4. [LITURGIES.] Breviarium Ratisponense (Pars Hyemalis, Pars
Estivalis). (E. for) G. Ratdolt, Augsburg, 20 Nov., 1515; 8vo. (Pr. 10653).
Title-page of each part, St. Peter [152 x 84]; repr. Jahrbuch, xxi, 199. Initials
[37 × 30], in the winter part four different B's; in the summer part two of these
repeated, also V and A, all by Breu (described in Jahrbuch, 199–200). Also eight
letters of a smaller ornamental alphabet [27 × 23].
5. [LUTHER.] Ain Sermon von dem neuwen Testament. S. Otmar,
Augsburg, 21 Aug., 1520; 4to. (Pr. 10792).
Title-border from four blocks. At top, the Creator [32 x 61]; at sides [138 × 30],
1. Adam, r. Eve; below [32 × 122], socle with medallion of Charles V. Repeated in
another edition (Pr. 10802); also in "Theologia teutsch," 26 Sept., 1520 (Pr. 10793),
and in U. Regius, "Ain predig von der hailigen junckfrauwen Catharina," 14 Dec., 1521.
6. [STAND.] Von dem Eelichen Standt. J. Schönsperger, jun.,
Augsburg, c. 1520; 4to. (W. 1369; Pr. 10744).
On title-page, a priest joining the hands of bride and bridegroom; single border
[118 × 100].
7. [CHRISTIAN SOUL.] Der Gilgengart. (J. Schönsperger, sen.,
Augsburg, c. 1520); 8vo. (Muther 959; Pr. 10938).
(The Virgin as Queen of Heaven-wanting in this copy.) Virgin and Child seated,
and David [84 × 59], by Breu.
8. [LUTHER.] Das Magnificat Verteütschet vnd auszgelegt. (Augs-
burg ? c. 1521?); 4to.
K 3 v, copies [63 × 50, 62 × 50] of the Virgin and Child seated and David
kneeling, in no. 7.
9. [LUTHER.] Ain betbüchlin. (J. Schönsperger, sen., Augsburg,
1523); 8vo.
I 4 v, David, as in no. 7.
10. [ZWINGLI.] Herr Ulrich Zwingli leerbiechlein | wie man die
Knaben Christlichv nterweysen vnd erziehen soll,.....M.D. xxiiij.
(Augsburg); 4to.
Important cut by Breu [124 × 112] on title-page. Reproduced in Krackowizer's
"Die Sammelbände aus der Reformationszeit im Landes-Archiv zu Linz," Linz, 1904,
p. 36, and attributed to Breu by Röttinger in his review of that book.
11. [ARISTOTLE.] Das aller edlest vñ bewertest Regiment der
gesundheit. H. Steiner, Augsburg, 28 Dec., 1530; 4to.
On title-page, two kneeling men presenting a book to a king [98 x 108]; on verso,
Alexander the Great [163 x 103] repeated in Justin, 1531, fol. 38..
12. [WEIDWERK.] Waidwergk. (H. Steiner, Augsburg, c. 1530-
31); 4to.
On title-page, a huntsman in antique costume holding in a hound which is follow-
ing a trail [95 x 96]. A good cut, also used in "Meysterliche Stuck von Bayssen vnd
Jagen" (Muther 1081). See Repertorium xix, 286.
Division B.-School of Augsburg.—Breu.
113
13. [CHRONIK.] Chronic von an vñ abgang aller weltwesenn.
C. Egenolff, Frankfort (after 12 Jan.), 1533; 4to.
Fol. 34. A warrior with a tuft of hair on his head kneeling before an Oriental
monarch [65 × 100]. Style of the "Wartoman's Reise" cuts. Repeated on fol. 16
of the folio 1535 edition.
14. [BARLETIUS.] Des..
Des.... Herrn Georgen Castrioten, genant
Scanderbeg,.... Ritterliche thaten. H. Steiner, Augsburg, 21 Feb., 1533;
fol. (Muther 1090).
Numerous illustrations by Breu, of various sizes, coloured.
15. [CICERO.] Der Teutsch Cicero. H. Steiner, Augsburg, 4 March,
1535: fol.
Cuts by Breu on ff. 83, 83 v, 91 v, 92 and (doubtful) 119 v-132 v, 134-147. This
set includes several copies from Hans Weiditz. It can hardly be by the elder Breu.
16. [WYLE.] Translation oder Deütschungen des hochgeachten
Nicolai von Weil. H. Steiner, Augsburg, 18 Feb., 1536; fol. (Muther 1111).
The cuts on A 1 v and fol. 58 v belong to Reichenthal's History of the Council of
Constance, but are printed here some months before the issue of that book (Dec., 1536).
The illustrations to Euriolus and Lucretia (a 6 v) and The Golden Ass (fol. 66 v)
properly belong to this book.
17. [MELUSINA.] Die Histori oder geschicht von der edeln vnnd
schönen Melusina. H. Steiner, Augsburg, 1538; 4to.
Cut on title-page [102 × 138], repeated at end, and numerous illustrations
[68 × 105] in the text. That on D 4 v is from Fortunatus (K 2), that on K 1 v from
Wartoman's Reise (C 2, ed. of 1518). Those on A 3 v, I 2 v, K 3 are not by Breu.
18. [KOEBEL.] Glaubliche Offenbarung, etc. H. Steiner, Augsburg,
1540; fol.
A 1 v, an Emperor enthroned, from Reichenthal, 1536, fol. 141.
19. [BOCCACCIO.] Ein Schöne Cronica....von den fürnämlichsten
Weybern. H. Steiner, Augsburg, 1541; fol. (Muther 1118).
Seventy-five illustrations [70 x 100], two repeated.
20. [TRAUT.] Türkischer Kayser Ankunfft, Krieg vnd Sig, wider
die Christen, etc. H. Steiner, Augsburg, 1543; fol. (Muther 1123).
Illustrations of various sizes repeated from no. 15.
21. [BOCCACCIO.] Fürnemste Historien vnd exempel von wider-
wertigem Glück. H. Steiner, Augsburg, 1545; fol. (Muther 1127).
Illustrations repeated from earlier books, including eleven from no. 17.
Į
114
WOODCUTS BY BREU.
!
I. EARLY ILLUSTRATIONS. Nos. 1-2.
In 1504 and in 1515-16 Breu designed a number of woodcuts for liturgical books
printed by Erhard Ratdolt. The earlier group is still Gothic; in the later, the
transition to Renaissance style is already accomplished. Breu's secular illustrations
of this period are not represented among the separate woodcuts.
1. THE VIRGIN AND CHILD WITH THE PATRON SAINTS OF CONSTANCE.
1504.
Schreiber ii, no. 2022, note. Zeitschr. f. christl. Kunst, vi, col. 292. Berlin Jahr-
buch, xxi, 195, 2.
The Virgin stands on a pedestal against which rest a mitre and crosier
and the coat of arms (coloured red and yellow by hand) of Hugo von
Hohenlandenberg, Bishop of Constance from 1496 to 1532. To 1. stands
St. Conrad, a bishop holding a chalice with a spider on it, to r. St. Pelagius,
a young nobleman with sword and martyr's palm. The whole group is
framed by a portal of late Gothic stonework, containing in the spandrels
recumbent figures of Adam and Eve and the divided date 1504. In the
lower corner r. the monogram of Breu. Single border.
[226 x 141.] Good impression, uncoloured except the escutcheon, with margin
[23], on the verso of the title-page of "Constitutiones synodales ecclesie cōstantieй,"
E. Ratdolt, Augsburg, 1510; fol. (Panzer, "Ann. Typ.," xi, 368, 51b). On the recto
is the title in five lines, followed by an Elogium" of Sebastian Brant, addressed to
the bishop, in twelve elegiac verses.
Presented by Mr. W. Mitchell, 1895.
A perfect copy of the book is at St. Gallen (Stiftsbibliothek, Inc. 436b). The
woodcut was first used in the Constance Missal of 24 April, 1504 (E. Ratdolt, Augs-
burg), then in another missal (edition undetermined). In both cases the escutcheon
was printed in two colours, red and black. For full details see Jahrbuch, xxi, 196.
The woodcut is reproduced from the first edition in Zeitschr. f. christl. Kunst, vi,
col. 293-4, also in Zeitschr. f. Bilcherzeichen, v, 96.
† THE VIRGIN AND CHILD WITH ST. BRIDGET AND ST. CATHERINE OF
SWEDEN.
Berlin Jahrbuch, xxi, 210, xxiv, 337.
A proof of the collotype published in the Jahrbuch. The original woodcut
[243 × 167] is at Munich (K. B. Graphische Sammlung, Inv. Nr. 171550).
+ THE VIRGIN AND CHILD WITH THE PATRON SAINTS OF CONSTANCE,
+ THE ANNUNCIATION.
Photographs of two of the illustrations in the octavo Constance Breviary printed
by E. Ratdolt, Augsburg, 1516, from the copy at St. Gallen (Inc. 321). See Stiassny,
Zeitschr. f. christl. Kunst, vii, col. 107-8, Dörnhöffer, Vienna Jahrbuch, xviii, 21, Dodg-
son, Berlin Jahrbuch, xxi, 201, and Hagelstange, Mitteilungen aus dem Germanischen
Nationalmuseum, 1905, 3, where all the illustrations except the frontispiece, which
was already well known,' are reproduced. The remainder are David and Bathsheba,
the Calling of St. Peter, SS. Peter and Paul, the Descent of the Holy Ghost (badly
cut), and three ornamental borders; the initials are also by Breu.
¹ See Berlin Jahrbuch, xxi, 200, and Zeitschr. f. Bücherzeichen, v, 98, where the
woodcut is reproduced in colours as a bookplate, which, of course, it is not.
:
PLATE VII
JÖRG BREU I
THE PATRON SAINTS OF CONSTANCE

Sanctus Conradus.
Sanctus Pelagins:
I

:
Division B.-School of Augsburg.-Breu.
115
2. BORDER, DATED 1515, FROM THE CONSTANCE BREVIARY OF 1516.
[132 × 82; opening, 92 x 48.] Late impression, used on title-page of BERN-
HARDINI OCHINI Senensis expositio | Epistolæ diui Pauli ad | Romanos, de Itali-
co in latinum | translata. | AUGUSTE VINDE- | licorum (n.d.). See Berlin Jahrbuch,
xxi, 202 (border 2), and Hagelstange, p. 12 (reproduction).
From the Bagford collection (Harl. MS. 5989-115). Transferred from the Dept.
of Printed Books, 1900.

II. LANDSKNECHTS. Nos. 3-5.
For the literature on this series, see p. 106. There is more unanimity as to the
share to be ascribed to Breu than prevails with regard to that of the other artists
concerned.
The series was cut by Jost de Negker, probably about 1525-30. It is thought to
represent the costumes of the landsknechts engaged in Charles V.'s Italian campaign
in 1525.
3. A LANDSKNECHT DRAWN FROM THE BACK, HIS FACE IN PROFILE
TO R., HIS L. HAND RAISED, R. HAND HOLDING A SWORD.
D. de N. 28. Hirth 453.
[Sheet, 270 × 157.] Good impression; no watermark.
Purchased from Messrs. Smith, 1845.
Attributed to Breu by Schmidt, Schmid, Stiassny and Dörnhöffer.
4. A LANDSKNECHT THREE-QUARTER FACE TO L., HOLDING AN UP-
RIGHT POLE IN R. HAND, A PONIARD IN L. HAND. D. de N. 43.
[Sheet, 275 × 163.] As no. 3. This and no. 5 are attributed to Breu by Schmidt
and Dörnhöffer.
5. A LANDSKNECHT IN PROFILE TO L. BRANDISHING A POLE
RAISED R. HAND, A PONIARD IN L. HAND.
[Sheet, 270 × 133.] As no. 3.
IN
D. de N. 47.
III. LARGE SEPARATE WOODCUTS. Nos. 6-10.
With one exception, these belong to the latest period of Breu's life,
after 1530, when his works become mannered and betray a strong Italian
influence.
6. THE BATTLE OF PAVIA. 1525.
Berlin Jahrbuch, xxi, 211, 1.
To 1. the fortified town; before it, in a field surrounded by walls, the
battle proceeds. To r., beyond the wall, a church, which should be the
Certosa. In the midst of the battle-field the inscription on a flag,
CAPTIO REGIS F, indicates the capture of the King of France. The
landscape is bounded 1. by the Ticino, in the background by the Alps. At
the top 1. are the imperial arms, under them the biscione of Milan, and on
a scroll the name PAPIA in white letters upon black; to r., on a cloud, the
artist's monogram reversed. Above the rising sun r. is a tablet with
inscription in seven lines: Ain verzaichnug der belegerten stat Pauia | von
I 2
116
Early German and Flemish Woodcuts.-Part II.
Francisco dem Künig zu Franckreich, | mit erlegung allda seines gantzen
höres, vnd | aigner person, des Künigs gefencknus von Kayser Karoli
kriegsvolck, geschehen Frey- tag morgens den vierundzwaintzigsten
Februarij Anno M.D. XXV. Under this two coats of arms and the
initials B L and A K.
[380 × 528.] Printed from two blocks. Fine impression,
Presented by Mr. W. Mitchell, 1895.
The only other impressions known to me are at Stuttgart and Wolfegg. An oil
painting identical in composition with this woodcut is at Wilton House.
7. THE JUDGMENT OF PARIS.
Berlin Jahrbuch, xxi, 212, 2.
To r. Mercury, a bearded warrior, wakes Paris from his sleep near a
fountain under a large tree. The three goddesses stand 1.; in the clouds.
Cupid aims a shaft at Paris. A horse stands r. in the shade of the tree, and
a stag is seen in a field beyond the grove. Buildings in the distance.
[380 × 550.] Printed from two blocks.
Purchased from Messrs. Heussner & Lauser, 1873.
This rare woodcut is also at Wolfegg.
8. THE RICH MAN AND LAZARUS. 1535.
Berlin Jahrbuch, xxi, 212, 3.
Dives, on a balcony, is drinking the health of two guests to the sound
of trumpets. To r. a servant armed with a whip drives Lazarus down the
steps. The latter is seen again on a dung-hill before the stable with dogs
licking his wounds. In the background Lazarus appears in Abraham's
bosom, and the Rich Man in Hell. In the foreground huntsmen and
retainers bring in game and fish; a stag is being broken up and the
cellarer fetches wine. The parapet of the balcony is adorned with a frieze.
containing Medusa's head and other classical motives; on the wall is a
tablet with the date 1535.
[385 x 555.] From two blocks. Good impression, formerly coloured, but washed.
Purchased from Messrs. Colnaghi, 1862.
A portion is reproduced in the Jahrbuch, p. 213. I have seen no other impression.
Two copies exist, undated and with date 1508, both in the Albertina, the former also
at Wolfegg. This woodcut affords the strongest argument for attributing the whole
late group to the same artist as the early woodcuts of 1515.
9. A GARDEN FÊTE AT VENICE.
Berlin Jahrbuch, xxi, 214, 4.
The scene is the garden of a patrician villa; the Piazzetta is seen in
the distance across the lagoon. Four gentlemen and two ladies sit at a
table 1. under a canopy embroidered with the lion of St. Mark. A third
lady advances from the house. In the foreground 1. a girl holds a wreath
over a young man's head and picks his pocket with her other hand; near
this couple are a jester and a servant pouring wine. In the centre three
couples are dancing; a senator converses r. with another nobleman.
Musicians sit on a raised terrace under a tree. In the distance the Doge
approaches, escorted by four senators; near the ducal gondola a servant
kneels as he passes.
[380 x 820.] From three blocks. Good impression.
Purchased from Mr. Dunthorne, 1885.
The central portion is reproduced in Hirth's "Bilderbuch" (ii, 991). The 1.
portion is at Berlin. I have seen no other complete impression. The design seems
to prove that Breu visited Venice towards the end of his life and possessed a first-
hand acquaintance with Venetian habits and fashions,
Division B.--School of Augsburg.-Breu.
117
i
10. CHARLES V., KING FERDINAND AND THEIR CONSORTS IN
SLEDGES.
Repertorium xix, 286.
Two sledges, each drawn by a single horse richly caparisoned and
adorned with ostrich plumes, run side by side, preceded and followed by
running footmen. The Empress Isabella sits in the farther sledge, which
is a little in advance of the nearer one, occupied by Anne, Queen of
Hungary and Bohemia. The Emperor and King stand behind their
respective consorts, holding the reins. The pole of the nearer sledge
bears the initials F and A alternately, whereas on the side those letters
are combined in a monogram. The tall front of the Emperor's sledge
bears the pillars of Hercules and the motto PLVS VLTRE; his initial K
is on the pole.
[248 x 752.] From two blocks. A rather late impression.
Provenance not recorded.
Breu may have sketched the imperial and royal couples at the Diet of Augsburg
n 1530. This woodcut was ascribed to Breu in 1896 by Dr. W. Schmidt.
IV. PORTIONS OF A MOUNTED PROCESSION.
Nos. 11-18.
These woodcuts, with one exception undescribed, form part of a procession
connected, as no. 16 would seem to indicate, with the investiture of King Ferdinand
at the Diet of Augsburg in 1530. The series is obviously incomplete, and it is not
quite certain that all the sheets here represented belong to it. The cutting varies
much. The first three are late impressions, all the remainder uniform and early,
on a stout paper without watermark. All were in the inventory of 1837, but their
provenance is not recorded. Throughout there is a border line at the bottom only.
The dimensions given are those of the sheet.
The connexion with Breu is least obvious in the case of nos. 11 and 18. The
former, in fact, has been attributed by Dr. W. Schmidt' to Amberger. But even
here I think the resemblance of certain types to those in Hans Tirol's large sheet is
greater than to the numbers of David de Necker's landsknechts which are ascribed
to Amberger. In the remaining cases the resemblance to the Investiture and others
of Breu's late woodcuts is obvious. The attribution was suggested to me by Dr.
Dörnhöffer in 1900.
11. A GENERAL AND A HERALD MOUNTED, ESCORTED BY FOUR
FOOT-SOLDIERS.
[300 x 415.] Rather late impression on white paper.
Reproduced in Breunner-Enkevoërth, iii, 14, and Hirth, ii, 746.
12. FOUR NOBLEMEN RIDING ABREAST, ESCORTED BY SIX HAL-
BERDIERS.
[300 × 395.] Late impression on discoloured paper.
13. SIX SOLDIERS IN HELMETS RIDING ABREAST, PRECEDED BY
AN OFFICER IN A PLUMED HAT.
[280 × 395.] As no. 12.
1
Repertorium, xvii, 368.
118
Early German and Flemish Woodcuts.--Part II.
.
E.
.
14. SIX SOLDIERS IN HELMETS RIDING ABREAST, PRECEDED BY A
BURGUNDIAN TRUMPETER.
[238 x 390.] Early impression.
15. NINE NOBLEMEN RIDING (ONE ON A MULE), ESCORTED BY FOUR
SOLDIERS ARMED WITH SPEARS.
[213 × 388.] Early impression.
16. CHARLES AND FERDINAND RIDING BETWEEN ANOTHER PRINCE
AND A CARDINAL, ESCORTED BY EIGHT HALBERDIERS.
[252 × 390.] Early impression.
17. TEN HUNGARIAN LANCERS, IN TWO GROUPS.
[310 × 410.] Early impression.
18. THREE YOUTHFUL RIDERS.
To l. a youth in a wide, plumed hat, his back turned to the others. In
the middle a boy in Oriental costume with a single very long feather in his
hat, holding a bow, with a quiver hanging at his side. To r. a young
man in armour; the crest on his helmet is an ostrich, the tail composed
of long plumes. The horses, except the first, also wear plumes.
[260 × 410.] Early impression. The horses appear gigantic; their proportions
can only be explained by supposing that their riders are lads not fully grown.
V.-LATE ILLUSTRATIONS. Nos. 19-40.
19. FOUR TOPERS INTERRUPTED BY A DEVIL WITH A MESSAGE
FROM HELL.
[158 x 108.] Late impression without text. Originally used in Schwartzenberg,
"Ain Buchle wider das zutrincken" (part of "Der Teutsch Cicero"), H. Steiner,
Augsburg, 1534, 1535. Repr. Hirth, ii, 749.
Purchased from Messrs. Graves, 1858.
20. VISION OF THE SIBYL.
[175 × 156.] Late impression, probably from Steinmeyer, 1620, with a woodcut
of Alexandria on the back. Repr. Hirth, i, 349. Occurs in "Scanderbeg," 1533,
fol. 1, and in "Schertz mit der Warheyt," Frankfort, 1550 (fol. 61, “Von Träumen ").
Purchased from Miss Bury, 1877.
21. SIGISMUND, KING OF THE ROMANS, IN COUNCIL.
[203 × 141.] Good impression. From fol. 12 of Reichenthal's History of the
Council of Constance, 1536. Sigismund is here addressing the Pope with the words
'Pater sancte placet vobis Constancia?"
From the Bagford collection (Harl. MS. 5944-210).
Department of Printed Books, 1900.
Transferred from the
Division B.-School of Augsburg.—Breu.
119
DOUBTFUL.
22. ST. PETER.
He sits at a desk and hands a sealed packet to a messenger.
[105 x 70.] On title-page of "Bulla Jejuniorum, et Supplicationum pro pace,"
etc. (Augsburg, 1543 ?). Perhaps from a series of Evangelists and authors of Epistles
n a New Testament.
Presented by Sir A. Wollaston Franks, K.C.B., 1895.
23-40. EIGHTEEN
ILLUSTRATIONS
"MEMORIAL DER TUGENT."
FROM
SCHWARTZENBERG'S
From ff. 122, 123, 132, 135, 136, 139, 140, 141, 144, 145, 147 of "Der Teütsch
Cicero" (edition of 1535), printed in several cases on both sides of the leaf.
Presented by Sir A. Wollaston Franks, K.C.B., 1895.
120
梁
​JÖRG BREU II.
Jörg Breu, the younger, painter; b. about 1510; pupil of his
father; admitted a master, 1 May, 1534; in 1538 restored the old
paintings by Kaltenhofer in the Weberhaus, now, after subsequent
restorations, preserved in the Bavarian National Museum at Munich ;
presented pupils 1539, 1540, 1543; d. 1547.
Authorities as for Jörg Breu I, especially Vischer, pp. 522, 560, 562,
567, and Roth's introduction to Breu's Chronicle, p. 5. H. A. Schmid
attributed to him much work in painting and illustration, from 1520
onwards, that other critics agree in ascribing to the father.
No woodcuts in this collection can definitely be ascribed to
Jörg Breu II., but he probably assisted his father in producing his
numerous late illustrations and such a big piece of work as the
Investiture of Ferdinand I.' He signed a woodcut of the Story of
Susanna, 1540 (P. iii, 295, 3), at Berlin, and another of the Siege of
Algiers, published in 1541,2 with Latin and German text (address
"Excudit Auguste Vindelicoz Ioannes Hofer" on the
on the Gotha
impression, Sammelband i, 341, "Getruckt zu Augspurg durch Hans
Hofer Briemaler im klainen Sachssengesslin on that at Berlin).
To him, rather than to his father, I am inclined to attribute a large
undescribed and unsigned woodcut of the Rich Man and Lazarus,
printed from eight blocks [672 × 984] at Wolfegg.
¹ See p. 110.
""
"Hans Guldenmund brought out an Algeri Contrafactur" at Nuremberg in
the same year (Hampe, "Nürnberger Ratsverlässe über Kunst und Künstler," 1904.
i, no. 2626).
121
HANS TIROL.
Hans Tirol, painter, publisher and architect; b. about 1510;
pupil and housemate from 1531 onwards of Jörg Breu I, whose
daughter Anna he married; admitted a master in 1532; entered the
service of the town council of Augsburg as architect in 1537, and
constructed new fortifications; left Augsburg 1548, and was at
Prague in 1551, when he became herald and architect to King
Ferdinand, for whom he carried out much work on the castle and
cathedral; in 1570, after leaving the royal service, he was again at
Augsburg, where he died between October 1575 and 1576.
On a reproduction of the only woodcut with which Tirol's name
is associated, see p. 110.
122
IV. LEONHARD BECK.
Leonhard Beck, a member of an Augsburg artist family,' became a
master painter 1503; married Dorothea Lang 1505; received some
mark of favour from Maximilian I, 18 Feb., 1511, and took a large
share in the illustration of his works, "Der Weisskunig," "Theuer-
dank," "The Triumph," and "The Austrian Saints"; introduced five
pupils to the painters' guild between 1505 and 1538; otherwise
mentioned in documents 1516--17, 1522, 1523, 1527, 1534²; d. 1542.
His son Leonhard was ennobled by Charles V, 31 March, 1540.³
Authorities
S. Laschitzer in Vienna Jahrbuch, v, 1887 (biography, 170, 221,
criticism of style, 159–170).
A. Schultz, ibid., vi, p. xxv.
R. Vischer," Studien zur Kunstgeschichte," 1886 (see index, p. 614).
Nagler, "Monogrammisten," iv., 279, no. 942.
C. Lützow, "Geschichte des deutschen Kupferstiches und Holz-
schnittes," 137.
Repertorium für Kunstwissenschaft, xxvi, 511, xxviii, 61.
""
Of the very numerous woodcuts by Beck, three only are signed
with his monogram, the title-page of Geiler's "Schiff der Penitentz,'
1514, and two subjects in "Der Weisskunig" (39, 78). Five other
blocks in the Weisskunig series are inscribed with the name " Beckh.”
His style is so strongly marked that with this assistance it is possible
to determine with certainty his remaining contributions to the works
commissioned by the Emperor, and a few other illustrations in
Augsburg books. A picture of St. George and the Dragon in the
Vienna Gallery (no. 1431, cat. 1896) is attributed to Beck with great
probability.
The name Hans Beck occurs thrice (1498, 1523, 1547) in the records of Augsburg
artists published by Vischer. Jörg Beck, painter, first mentioned 1501, d. 1512 (for
a work by him, see "Catalogue of the Exhibition of Early German Art," Burlington
Fine Arts Club, 1906, p. 119). Mathes Beck is introduced as a pupil, 1511. Laux
Beck, glass-painter, occurs in 1528.
2 Our artist is probably, though not certainly, identical with the Leonhard
Becker mentioned as being at Frankfort in 1501 with Sigismund Holbein (Reper-
torium, xxvi, 511).
* The arms of "Leonhard Beckh von Beckenstain, Röm. Kay. Maye. Rath. &c.,"
appear in Boccaccio, "Furnemste Historien und Exempel von widerwirtigem glück
(H. Steiner, Augsburg, 1545), which was dedicated to Beck by H. Ziegler, the
translator.
Division B.-School of Augsburg.—Beck.
123
BOOKS ILLUSTRATED BY BECK.
A. IN THE DEPARTMENT OF PRINTS AND Drawings.
|
1. [ULRICH.] Glorioso | rum Christi confessor Vldari- | ci & Sym-
perti: necno beatissi- me martyris Aphre Augusta- | ne sedis patronoz...
historie, etc. Silvanus Otmar, at the expense of the Monastery of
SS. Ulrich and Afra, Augsburg, 14 April, 1516; 4to. (omitted by Proctor).
Presented by Mr. W. Mitchell, 1904.
Five cuts certainly, another probably, by Beck;' attributed to Burgkmair by
Weigel (cat. no. 16353), Passavant (iii, 277, 108), and Muther (M. 317–322).
(1) Architectural title-border with a seated satyr below, an angel_and wreath
above. [165 × 120, opening 103 x 60.] Proctor's border, S. Otmar-E, used again
in Luther, Predig von der wirdigen berayttung zu dem hochwirdigen Sacrament,
1518 (Pr. 10768).
(2) A 2. SS. Simpert, Ulrich and Afra, standing side by side; three coats-of-
arms (Lorraine, Kyburg, Cyprus) below. [165 × 120.]
(3) A 3 v. St. Ulrich, standing, holding in his 1. hand a book on which a fish lies.
Landscape background with a wall; below r. the arms of Kyburg. [120 × 78.] In
a passe-partout similar in style to the title-border [165 × 120].
(4) H 1. St. Simpert, standing, his pastoral staff in his 1. hand, giving a gesture
of command with his r. hand to a bear which has carried off a child and now restores
it uninjured. Landscape background with a wattled fence; a shield with the arms
of Lorraine hangs on a tree [120 x 78]. In the same passe-partout.
(5) M 1. St. Afra, standing, bound by the wrist to a dead tree, at the foot of
which a fire is kindled. She wears a crown, and the arms of Cyprus (here reversed,
1 and 4 Lusignan, 2 and 3 Jerusalem) hang from a stump behind her. Her face has
been re-drawn and inserted on a small square block [120 x 78]. In the same passe-
partout. The block is preserved in the town library at Augsburg, and was reprinted
by Mezger in 1840 (" Augsburgs älteste Druckdenkmale etc.").
(6) S 8. View of the church of SS. Ulrich and Afra [165 × 125], without border-
line. Perhaps also by Beck, but his style is not to be recognised in it.
2. [RICCI.] Portae Lucis (by Paulus Ricius). J. Miller, Augsburg,
9 June, 1516; 4to. (Pr. 10835).
Purchased from Mr. Gutekunst, 1870.
Cut on title-page; a Jewish doctor seated, holding a cabalistic emblem inscribed
with Hebrew letters, in a room with a door opening on mountainous scenery
[156 × 117]. See Jahrb. d. k. preuss. Kunstsamml. xxi, 211, note 5.
3. [PFINZING.] Theuerdank. J. Schönsperger, sen., Nuremberg,
1517; fol. (Muther 845; Pr. 11180). Imperfect copy on vellum (see
Vol. I, pp. 419, 504, Vol. II, pp. 7, 58, 109).³
Purchased from Messrs. Smith, 1845.
1 See Jahrb. d. k. preuss. Kunstsamml. xxi, 211, note 5.
2 Muther (B.-I., no. 942), describing the German edition of this book (4 Oct. 1516),
says that it contains a cut of this subject with a wood-engraver's mark (in reality
the arms of the abbey of SS. Ulrich and Afra) and the initials F.S.W. The cut so
signed is a late copy, made after 1600, of much larger dimensions [450 × 343], of
which modern impressions are to be found in Mezger, "Augsburg's älteste Druck-
denkmale und Formschneiderarbeiten," 1840.
3 As Beck designed by far the greater part of the illustrations to Theuerdank,
this is the most suitable place to mention a set of impressions in the collection of
Mr. A. H. Huth of a kind not yet described in the literature on this book. These
are not proofs, but impressions without text, later than the first edition; watermark,
a chalice. A border of four lines serves as a passe-partout. There are forty-four of
these impressions, numbered on the back by an old hand; the last has "44 e ultimo."
124
Early German and Flemish Woodcuts.-Part 11.
(1) 1.
(2) 2.
(3) 3.
The following subjects (numbered as in the book) are by Beck:
Romreich and Ehrenreich (Charles the Bold and Mary of Burgundy).
Romreich in council choosing a husband for his daughter.
The death of Romreich in a garden.
(4) 4.
(5) 5.
The death of her father announced to Ehrenreich by an old knight.
Ehrenreich in council addressed by the old knight.
(6) 6.
Ehrenreich despatching a message to Theuerdank.
(7) 7.
Fürwittig, Unfalo and Neidelhart resolve not to admit Theuerdank to
Ehrenreich's territory.
(8) 8.
Ehrenreich's message delivered to Theuerdank.
(9) 9.
Theuerdank receiving advice from his father.
(10) 11.
(11) 12.
(12) 15.
(13)
17.
(14)
18.
(15)
19.
(16)
23.
(17)
24.
(18)
27.
(19)
28.
(20)
29.
(21)
33.
(22)
35.
(23) 37.
24)
41.
(25)
43.
(26)
51.
(27)
52.
(28)
53.
(29)
54.
(30)
55.
(31) 56.
(32)
59.
(33) 60.
Theuerdank starting on his journey with Ehrenhold.
Their passage opposed by Fürwittig at the first barrier.
Theuerdank in danger on a chamois hunt.
Theuerdank in danger on a boar hunt.
Theuerdank again in danger on a chamois hunt.
Theuerdank again in danger on a boar hunt.
Fürwittig leading Theuerdank into peril by ice.
Theuerdank striking Fürwittig.
Unfalo leading Theuerdank into danger on a bear hunt.
Theuerdank stepping on a rotten plank.
Theuerdank again in danger on the ice.
Theuerdank taking a dangerous jump on a stag hunt.
Theuerdank impaling a boar with one foot still in the stirrup.
A stone knocks Theuerdank's hat off when chamois hunting.
Theuerdank slaying a boar which had wounded his horse's leg.
Theuerdank in danger of shipwreck.
Unfalo mounts Theuerdank on an unsafe horse.
Theuerdank nearly struck by a thunderbolt.
Theuerdank escapes injury from a fall of stones.
Theuerdank escapes injury in a tournament.
Theuerdank again nearly struck by a fall of stones.
Theuerdank on a chamois hunt endangered by a gust of wind.
Theuerdank falls, but is saved by clutching a tree.
A fool nearly sets fire to a cask of gunpowder.
(34) 62.
Theucrdank's nailed boots slip on a rock.
(35) 64.
Theuerdank again in peril of shipwreck.
(36) 65.
Theuerdank's boat damaged in a collision.
(37) 66.
Theuerdank's escape from an avalanche.
(38) 67.
(39) 68.
Theuerdank cures himself of an illness in spite of Unfalo's physician.
Theuerdank's horse falls on the ice on a boar hunt.
(40) 71.
A chamois nearly falls on Theuerdank.
(41) 73.
Theuerdank escapes being burnt as he sleeps.
(42) 74.
Theuerdank gets rid of Unfalo.
(43) 75.
Neidelhart meets Theuerdank at the third barrier.
(44) 76.
(45) 77.
Theuerdank's boat brought by Neidelhart within range of cannon.
Theuerdank wounds an enemy with the sword.
(46) 78.
Theuerdank hit by a cannon ball.
(47) 80.
Theuerdank's horse hit through the neck.
(48) 81.
Theuerdank attacked by a number of armed men.
(49) 82.
(50) 83.
Theuerdank wounds a knight sent by Neidelhart to attack him.
Theuerdank assailed by several knights.
(51) 84.
Theuerdank has his horse shot under him.
(52) 85.
Theuerdank defeats a hostile knight.
(53) 86.
A plot to murder Theuerdank in his chamber.
(54) 88.
Theuerdank holding a besieged fort.
(55) 89.
Theuerdank defeats another hostile knight.
(56) 90.
Theuerdank and thirteen men take over a hundred prisoners.
(57) 91.
Theuerdank attacked by the defenders of a town.
(58) 92.
Theuerdank defeats another hostile knight.
(59) 93.
Theuerdauk lays low a number of enemies.
(60) 94.
Theuerdank stoned.¹
¹ Used again in Vegetius, "Vier Bücher der Ritterschaft," Steiner, 1534, fol. 24 v.
Division B.--School of Augsburg.—Beck.
125
Traps set by Neidelhart for Theuerdank's destruction.
An attempt to poison Theuerdank.
Theuerdank dismisses Neidelhart.
Theuerdank received by Ehrenreich.
Fürwittig, Unfalo and Neidelhart conspire again.
Theuerdank challenged by six knights to games of chivalry.
"Scharfrennen" between Theuerdank and the first knight.
Italian joust with the third knight.
(61) 95.
(62) 96.
63) 97.
64) 98.
65) 99.
(66) 100.
(67) 101.
(68) 103.
69) 104.
(70)
106.
(71)
107.
(72)
108.
(73)
110.
(74)
111.
Unfalo hanged.
(75)
112.
Neidelhart thrown headlong.
(76) 116.
(77) 117.
Combat on foot with the fourth knight.
Combat on foot with the sixth knight.
Theuerdank crowned by Ehrenreich.
Ehrenhold accuses the three captains before the Queen.
Fürwittig beheaded.
Theuerdank promises to fulfil Queen Ehrenreich's behest.
Theuerdank starts on St. George's quest (a crusade against the Turks).'
4. [MENNEL.] De inclito atque apud Germanos rarissimo | actu
ecclesiastico Kaleñ. Augusti Auguste Celebrato anno domini | 1518.
(Grimm and Wirsung, Augsburg, after 1 Aug., 1518) 4to. (Pr. 10877).
Presented by Mr. W. Mitchell, 1904.
(1) On title-page an angel carrying a processional cross and cardinal's hat in his
r. hand, a sword and hat in his 1. hand. [116 × 95.] By comparison with the subor-
dinate figures on certain cuts among the Austrian saints (e.g., nos. 26, 31, 56, 78, 91
of the edition of 1799-notice especially the wings in 78), it seems that this illustra-
tion, which has hitherto remained anonymous, must be by Beck.
(2) At end, the arms of Mennel, a pair of wings; crest, a demy warrior in helmet
and chain mail between buffalo horns with peacock plumes [116 x 94].
There is nothing decisive to show the authorship of this cut, which reappears in
books by Mennel printed at Freiburg in 1522 and 1523, but its juxtaposition with
no. (1) in this book, where it first appears, makes it likely that Beck designed both.
In the years 1516-18 Beck was illustrating the work on the Austrian Saints, of
which Mennel was the literary author. On the present book see Vienna Jahrbuch iv,
83, 85. On 1 Aug., 1518, during the Diet of Augsburg, the two papal legates, Cajetan
and Lang, conferred on Albert of Brandenburg the dignity of cardinal, and on
Maximilian a sword and helmet, blessed by Leo X on Christmas Day, for the
defence of Christendom against the Turks.
5. [PFINZING.] Theuerdank. J. Schönsperger, sen., Augsburg,
1519; fol. (Muther 846; Pr. 10939).
Imperfect, wanting cut 117. Presented by Mr. W. Mitchell, 1904.
The same cuts as in the first edition, 1517 (no. 3).
6. [PFINZING.]
(Muther 853).
Theuerdank.
M. Wagner, Ulm, 1679; fol.
Imperfect, wanting the last ten leaves, with nine woodcuts, six of which appeared
for the first time in this edition (a perfect copy is in the library).
Purchased from Mr. Daniells.
The same cuts as in nos. 3 and 5.
7. [TREITZSAURWEIN.] Der Weisskunig. Vienna, 1775; fol.
Purchased from Mr. Asher, 1850.
One hundred and twenty-three of the woodcuts are by Beck:-nos. 2, 5–10, 13,
16, 17, 19, 21, 24, 27, 29, 32-39, 41, 47, 48, 53, 55-59, 61, 64, 74, 78, 79, 81, 82, 85, 87,
91, 92, 96-99, 102, 104, 106, 108, 109, 111-114, 117, 119, 120, 124, 128, 129, 132-135,
137, 138, 140-142, 144, 147, 150, 152, 155, 157-160, 162, 164, 165, 167–170, 172, 175,
176, 179-182, 184, 186-190, 192-194, 201-205, 208, 213, 217, 218, 220-224, 226, 227,
229, 230, 231, 234, 236.
¹ Used again in Traut, "Türkischer Kayser Ankunfft," Steiner, 1543, fol. 23 v.
·
126
Early German and Flemish Woodcuts.-Part II.
8. [TREITZSAURWEIN.] Kaiser Maximilians I. Triumph, Vienna
1796; fol.
Purchased from Messrs. Willis and Sotheran, 1859.
Seven of the woodcuts are by Beck:-nos. 113-119.
9. [BURGKMAIR.] Images de Saints et de Saintes issus de la famille
de l'Empereur Maximilien I. Vienna, 1799; fol.
Purchased from Mr. Asher, 1850.
One hundred and eighteen cuts by Beck, formerly attributed to Burgkmair
This edition contains the following Saints in addition to those which appeared in the
first edition described below (nos. 56-142) :-(1) Adelaide; (4) Athala; (6) Alibertus;
(7) Amalberga I; (8) Amalberga II; (14) Bavo; (19) Chlodoaldus (Cloud); (24)
Dagobert; (27) Edgar; (39) Firmin; (40) Fridolin; (42) Gangolfus; (48) Grimoaldus;
(52) Hedwig; (55) Hildegard; (60) Iduberga; (63) Ladislaus; (64) Landrada; (70)
Louis IX; (78) Otilia; (80) Otto; (82) Pharahildis; (84) Poppo; (85) Radegundis
(88) Rhaton (Guido); (90) Richarda; (97) Sebald; (98) Sigolina; (99) Severa; (106
Thomas à Becket; (111) Wenceslaus; (115) Wandrillus; (119) Wunnibaldus,
B.-IN THE DEPARTMENT OF PRINTED BOOKS,¹
1. [GEILER.] Das Schiff der penitentz. J. Otmar, Augsburg, March,
1514; fol. (Muther 938; Pr. 10693).
Signed title-border [246 × 159, opening 115 x 71], Proctor's border A (J. Otmar),
Fully described by Nagler, Mon., iv, 279, 942.
2. [LITURGIES.] Breviarium Frisingense, Pars Hyemalis, Pars
Estivalis, P. Liechtenstein for J. Oswald, Venice, 15 March, 1516; Svo.
2a. [LITURGIES.] Directorium . . . Secundum ritum ecclesie &
diocesis frisingēn. (Same place and printer) 20 June, 1516; 8vo.
Each of the three volumes has on the title-page a cut [115 x 85] representing the
Madonna and Child enthroned, with SS. Corbinian and Sigismund standing on
either side. It has not yet been attributed to Beck, but is undoubtedly by him. A
separate impression is in the Culemann collection at Hanover (Kestner Museum).
3. [ULRICH.] Das Leben
der säligen martrerin sant Aphre.
4to. (Muther 942; Pr. 10756).
sant Ulrichs, und Symprechts, auch
S. Otmar, Augsburg, 4 Oct., 1516;
The same cuts as in the Latin edition (p. 123, no. 1), with the exception of the
title-border. The passe-partout to the illustrations is here used on the title-page.
4. [MENNEL.] Von dem Eerlichen . . . gaistlichen Geschicht, in dē
ersten tag des monat Augusti zu Augspurg begangen, in dem jar dest
herren 1518. (Grimm and Wirsung, Augsburg, 1518) 4to. (Pr. 10878).
The same cut on the title-page as in the Latin edition (p. 125, no. 4).
1 No attempt has been made to enumerate those which merely contain
repetitions of the Theuerdank cuts.
2 For other instances of Augsburg cuts published at Venice, see pp. 58, 60, 111, 152
Un

عطلة
ひ
​PLATE IX
LEONHARD BECK
ANGELS WITH MONSTRANCE
Division B.--School of Augsburg.—Beck.
127
1
5. [LUTHER.] Ain Sermon von dem hochwirdigen Sacrament, des
hailigen waren leichnams Christi. S. Otmar, Augsburg, 13 Feb., 1520 ;
4to. (Pr. 10782).
On the title-page two kneeling angels in copes, supporting a monstrance, sur-
rounded by clouds [135 × 96]. I found this cut in 1899 in the Munich cabinet
attributed by a MS. note to Beck; the attribution is unquestionably right.
6. [TECKENDORF.] Von Tegkendorff das geschicht wie die Juden
das hailig sacrament haben zugericht. (S. Otmar, Augsburg, 1520 ?) 4to.
(Pr. 10807).
The same cut as in no. 5.
·
7. [CHRISTIAN SOUL.] Der Gilgengart ainer yetlichen Cristen-
lichen sel. J. Schönsperger, sen., Augsburg. (1520? Pr. 10938 says
"c. 1518," but this is too early.)
One woodcut, the Mass of St. Gregory, is by Beck (Jahrb. d. k. preuss.
Kunstsamml. xxi, 211. H. Röttinger, "Hans Weiditz,” p. 77).
8. [IOHANN, VON ECK.] Christenliche Auslegung der Evangelien,
J. Krapff, Ingolstadt, 1530; fol. (Muther 1145).
The signed title-border first used in 1514 (p. 126, no. 1).
9. [BOCCACCIO.] Ein Schöne Cronica oder Hystori buch von den
fürnåmlichsten Weybern (translated by Heinr. Steinhowel). H. Steiner,
Augsburg, 1541; fol. (Muther 930).
Two woodcuts in the style of Theuerdank, ascribed by Muther to Schäufelein.
(1) On title-page, three ladies seated under a canopy behind a table [131 × 140].
(2) A 6 v. the same three ladies seated, one at the end, the other at the back of
a table, on which a wreath of leaves and some pieces of cord or riband are lying.
Two men converse in the foreground [160 × 140].
Muther describes (no. 931) a third cut which appears to belong to the same set,
as occurring in Vives, " Von Underweysung ayner Christlichen Frauwen," 1544; but
the cut is not to be found there.
10. [PONTHUS.] Von Adelischen Mannlichen Tugenten . . .
Pontus. H. Steiner, Augsburg, 1548; fol. (Muther 1130).
Ritter
Fol. 34 v. the first of the two cuts described under no. 9, reduced in width to
125 mm.
Also repetitions from Theuerdank,
128
WOODCUTS BY BECK.¹
[1-48.]
ILLUSTRATIONS TO THE WEISSKUNIG (1514-1516).
B. vii, 224, 80. M.2 163-315.
For an account of the book, see p. 90. Two woodcuts (nos. 39 and 78-nos. 11
and 40 in this catalogue) of the series bear Beck's monogram; his name is written
on five of the blocks. Schultz ascribes to him 126 subjects altogether, but does not
include in his list no. 39, which he had already mentioned as signed; he should have
written, therefore, 127. To these may, perhaps, be added nos. 190 and 203, which
he treats as doubtful works of Burgkmair. Forty-eight of Beck's subjects are repre-
sented here by early proofs.
1. THE OLD WHITE KING'S AMBASSADOR ASKING FOR THE HAND
OF LEONORA.
A, no. 227. B, p. 9.
2. THE OLD WHITE KING AND LEONORA RECEIVING THE HOLY
COMMUNION FROM THE POPE AFTER THEIR MARRIAGE.
3. THE YOUNG WHITE KING AT HIS LESSONS.
A, no. 9. B, p. 38.
A, no. 17. B, p. 55. M. 171.
4. THE YOUNG WHITE KING INSTRUCTED IN THE SEVEN LIBERAL
ARTS.
A, no. 29. B, p. 59.
5. THE YOUNG WHITE KING LEARNING WENDISH FROM A PEASANT.
A, no. 24. B, p. 73. M. 176.
6. HE LEARNS THE ART OF BUILDING.
8. HAWKING.
A, no. 27.
B, p. 76.
7. HE LEARNS THE ART OF CARPENTERING.
A, no. 21. B, p. 78.
A, no. 34. B, p. 93.
A, no. 35. B, p. 95.
A, no. 36. B, p. 98.
9. STAG-HUNTING.
10. FISHING.
11. A COMBAT ON FOOT WITH HALBERDS. (Signed.) A, no. 39. B, p. 103.
12. THE YOUNG WHITE KING LEARNS THE MANAGEMENT OF
HORSES.
A, no. 41. B, p. 107.
¹ See p. 29 for a description of additions made by Beck to a woodcut by
Schäufelein of the year 1513.
? Muther, "Verzeichniss der Werke Hans Burgkmair's," Repertorium, ix, 410.
Division B.-School of Augsburg.—Beck.
129
13. THE SIEGE OF NEUSS.
A, no. 47. B, p. 117. M. 109.
14. THE DAUGHTER OF THE KING OF THE STEEL CONFERRING
WITH HER MOTHER AND COUNCILLORS.
A, no. 48. B, p. 122.
15. THE OLD WHITE KING GIVING COUNSEL TO HIS SON.
A, no. 57. B, p. 129.
15a. ANOTHER PROOF, WITH THE PROCLAMATION ON THE BACK.¹
16. THE MARRIAGE OF THE YOUNG WHITE KING. A, no. 53. B, p. 134.
17. THE YOUNG WHITE KING AND HIS QUEEN LEARNING ONE
ANOTHER'S LANGUAGE.
A, no. 55. B, p. 136.
18.
THE YOUNG WHITE KING LEARNING ITALIAN. A, no. 59. B, p. 142.
19. SOLDIERS RECEIVING A CHILD.
A, no. 87. B, p. 174.
A, no. 91. B, p. 177.
20. THE BLOCK-HOUSE AT ANTWERP.
21. SWINDRECHT.
22. A SEA-FIGHT.
A, no. 96. B, p. 178. M. 224.
A, no. 104. B, p. 195. M. 230.
23. SURRENDER OF A CITY.
24. ATTACK UPON A CITY.
A, no. 187. B, p. 201. M. 282.
A, no. 109. B, p. 208. M. 234.
25. THE YOUNG WHITE KING EXPLAINING HIS PLAN OF ACTION
TO HIS CAPTAINS.
26. THE YOUNG WHITE KING TAKING
CAPTAINS.
27. BATTLE IN THE TERRITORY OF NAPLES.
A, no. 117. B, p. 212.
COUNSEL WITH HIS
A, no. 164. B, p. 214.
B, p. 224.
A, no. 106. B, p.
28. ANOTHER BATTLE IN THE TERRITORY OF NAPLES.
A, no. 203. B, p. 226. M. 292.
29. THE ERMINE KING SENDING A MESSAGE TO THE BLUE KING.²
A, no. 205. B, p. 236.
30. THE WHITE KING SUING FOR THE HAND OF THE ERMINE
KING'S DAUGHTER.
A, no. 208. B, p. 238.
DAUGHTER OF THE
A, no. 192. B, p. 242. M. 285.
31. THE BLUE KING CARRYING OFF THE
ERMINE KING.
32. THE YOUNG WHITE KING AND HIS COUNCILLORS
CAPTIVE.
A, no. 114.
TAKEN
B, p. 256.
33. THE OLD WHITE KING SENDING HELP TO THE YOUNG WHITE
KING.
A, no. 111. B, p 258.
1 See p. 92.
2 See p. 91.
K
130 Early German and Flemish Woodcuts.-Part II.
34. THE YOUNG WHITE KING COMING TO TERMS WITH THE GREEN
KING.¹
A, no. 236. B, p. 276. M. 313.
35. THE TREATY MADE WITH THE GREEN KING AT PRESSBURG.
A, no. 155. B, p. 279.
36. THE ERMINE KING CONFERS HIS DAUGHTER'S HAND ON THE
YOUNG WHITE KING (?).
B, p. 283.
37. THE BATTLE WITH THE CROATIANS.
38. THE SWISS IN COUNCIL.
A, no. 234.
A, no. 82. B, p. 285.
A, no. 188. B, p. 301.
39. THE BATTLE OF STOCKHAMER HAIDE. A, no. 230. B, p. 308. M. 308.
40. THE BATTLE OF CREMA. (Signed.)
A, no. 78. B, p. 338.
41. MONSELICE.
A, no. 99. B, p. 340.
42. DISSOLUTION OF THE LEAGUE OF CAMBRAI.
A, no. 98. B, p. 346.
43. A SORTIE FROM VERONA.
A, no. 229. B, p. 359.
B, p. 359. M. 307.
44. THE BLUE KING SENDS TO KING DENETTE (JAMES IV. OF
SCOTLAND) FOR HELP.
A, no. 85. B, p. 365. M. 216.
A, no. 170. B, p. 366. M. 271.
45. THE BATTLE OF FLODDEN FIELD.
46. KING PHILIP RECEIVING HIS SPANISH BRIDE. A, no. 113. B, p. 379.
47. THE SUBJECTION OF LEYDEN.
A, no. 224. B, p. 395.
48. MAXIMILIAN MEETING HENRY VIII. AT TOURNAI (24 SEPT. 1513).
A, no. 204. B, p. 399.
[c. 217 × 196.] Brilliant early proofs on white paper. The watermark of nos. 5,
11, 17, 21 is the head of a jester(?), of nos. 6, 7, 10, 16, 26, 32, 33, 35, 37, 40, 45 a high
crown, of nos. 8, 9, 14, 22, 23 an imperial eagle and crown, of nos. 24, 28, 38, 42, 47
a small orb (Reichsapfel), and of no. 46 a chalice; the remainder are without water-
mark. Nos. 14, 15a, 22, 39 have the text of the proclamation on the back. Nos. 25,
30, 32, 36, 46 have the stamp of the Thomas Allen collection (see p. 33).
No. 1 is from the Banks collection, bequeathed 1818; nos. 2, 4-13, 16, 18-25,
27–34, 36, 37, 39-48 were purchased at the Ottley sale, 1837; nos. 3 and 15 from
Evans, 1849; nos. 14, 15a, 17, 26, 35 at the Bammeville sale, 1854, and no. 38 from
Evans, 1858.
[49-55.]
WOODCUTS FORMING PART OF THE TRIUMPHAL PROCESSION OF
MAXIMILIAN I. B. vii, 229, 81.2
49. FIVE DRUMMERS AND FIVE TRUMPETERS.
50. TEN TRUMPETERS.
B. 113. S. 115.
B. 114.
S. 116.
51 TEN TRUMPETERS.
B. 115.
S. 117.
¹ See p. 91.
2 See p. 96 for literature on this series.
Division B.-School of Augsburg.— Beck.
131
B. 116. S. 118.
52. TEN HERALDS.
53. TEN HERALDS.
54. TEN HERALDS.
B. 117. S. 119.
B. 118. S. 120.
55. THE LEADER OF THE "WERDIGEN KNECHT" FOLLOWED BY
TEN MEN WITH FIRE-ARMS.
B. 119. S. 126.
Nos. 50 and 52 were cut by Jan Taberith, no. 51 by Jan de Bom, no. 53 by Jacob
Rupp, no. 54 by Claus Seman, and no. 126 by Wilhelm Liefrinck.
Impressions varying in quality; no. 49 being of the 1526 edition (watermark,
eagle with sickle), nos. 50, 51, 53 and 55 of the 1777 edition, while nos. 52 and 54
belong to that of 1796.
Purchased from Messrs. Smith, 1845.
The subjects mentioned above form the whole of Beck's contribution to the
Triumph. His work can be identified by its resemblance to the signed cuts in the
Weisskunig and to the Austrian Saints.
[56-142.]
SAINTS CONNECTED WITH THE HOUSE OF HABSBURG. B. vii, 240, 82.
Literature:
'
S. Laschitzer, "Die Heiligen aus der Sipp-, Mag-und Schwäger-
schaft' des Kaisers Maximilian I.," in the Vienna Jahrbuch, iv,
70, v. 117. This exhaustive treatise supersedes the scanty and
inaccurate accounts contributed by earlier writers. A brief
summary of its contents is given here with references to the pages.
The researches connected with the genealogy, history and legends of the saints
connected with the House of Habsburg were carried out by Jacob Mennel (b. c. 1470,
d. bef. 6 Mar., 1526; biography, iv, 79-88, v, 220), and not, as was formerly supposed,
by Sebastian Brant. The literary work on which the series of woodcuts is based was
not originally designed for separate publication, but to form a part of the "Fürstliche
Chronik" ΟΙ Geburtspiegel," a general account of Maximilian's ancestry. The
projected publication was abandoned on the death of Maximilian, but Mennel
published on his own account an extract relating to the saints under the title, "Seel
vnnd heiligen buch keiser Maximilians altfordern " (J. Wörlin, Freiburg, 1522; 4to.,
with portrait of Maximilian and Mennel's arms). Of three MSS. extant in the
Hofbibliothek at Vienna (iv, 71-75), the second (Cod. 3077*, 3077**), dated Freiburg
i.B., 9 Aug., 1514, is that most closely connected with the illustrations. It contains
22 pedigrees and 123 legends, most of which are headed by small miniatures of more
iconographical than artistic importance. The first MS. is merely a draft preparatory
to the second, while the third (finished 5 Jan., 1518) contains the same 123 legends,
arranged on a different principle, viz., in the order of the saints' days according to
the calendar, instead of an order based on the relationship set forth in the pedigrees.
After the completion of the second MS. in 1514 it appears that Stabius and Pfinzing
were consulted with reference to changes desired by the Emperor (iv, 78), and it is
probable that they, and not Mennel himself, supervised the illustrations (v, 172),
which had reached an advanced stage before the completion of the third and final
MS. by Mennel.
The preliminary studies for the illustrations to the Austrian Saints are preserved
in greater abundance than those for any other of the woodcut works of the Emperor
Maximilian. There are three sets of pen and ink sketches (A., Hofbibl. Cod. 2857,
B., Ambraser Sammlung, no. 79a, C., Hofbibl. Cimel. Suppl. 3104, all minutely
described by Laschitzer, v, 119-128), in all of which each saint is represented as if
painted on an upright rectangular panel, resting on a socle, with a square compart-
ment in the middle for the arms. The artists in each case are different, anonymous,
and so far independent of one another that Laschitzer believes them to have
reproduced, each in his own way, a common original in the shape of the first, rough
K 2
132 Early German and Flemish Woodcuts.—Part II.
sketches of the compositions, now lost. There is also a set of miniatures, imperfectly
preserved, in the Benedictine abbey of St. Paul in Carinthia (v, 134–145), consisting,
in its present state, of 48 pictures, in each of which two saints stand side by side.
The arrangement of panel and socle is the same as in the sketches, with two coats of
arms instead of one, in square compartments. The miniatures were presumably
prepared later than the sketches, and submitted for the Emperor's approval, as a
more finished form of the work, before it advanced to its final stage, the preparation
of the wood blocks.
The miniatures stand much nearer to the sketches than to the woodcuts, which
are far superior to both in artistic merit. None of these preliminary studies are by
the designer of the woodcuts, nor did they influence him to any marked extent in
his composition. The most notable difference, in all three cases, is to be found in
the backgrounds.
The woodcuts themselves are 123 in number; 121 blocks are preserved at Vienna,¹
three of which are so badly injured that they were omitted from the edition of 1799,
while two more subjects exist in old proofs, though the blocks are lost. A large
number of the blocks, like those of the Weisskunig, bear the names of the cutters
and the dates on which they presented the work when finished. These dates range
from 3 Nov. 1516 to 7 Sept. 1518 (v, 148–158). The woodcutters are the group who
worked at Augsburg in the Emperor's service under the direction of Jost de Negker.
There is no recorded attribution of the woodcuts to any artist earlier than 1799,
when Bartsch published the first modern edition. Indeed, no early allusion whatever
to the series has been discovered, except in an undated letter of Glareanus to
Charles V, quoted by Laschitzer, iv, 76.
In spite of Muther's attempt to attribute definite portions of the designs to
Burgkmair, Schäufelein and Springinklee, there can no longer be the least doubt
that Bartsch was right in attributing the whole to a single artist, though it is now
ascertained by comparison with his signed works that that artist is Beck, not
Burgkmair (v, 159-171). The Austrian Saints are Beck's most original and impor-
tant work.
There have been four editions of the whole or a part of the woodcuts, two of
which appeared in the XVI century, while two are modern (v, 173–218, 222.) It is
evident that, for some reason, 89 of the blocks became separated at an early date
from the rest; the first two editions contain only that number of woodcuts, while
the only known old impressions of the minority have a different watermark
(v, 176, 178, 222).
1. Proofs on separate sheets of 89 woodcuts, having the name of the saint in
Latin printed with movable Gothic type at the foot of every woodcut but one. No
other text, number, or signature. Place and date of printing unknown, but the
exceptional inscription under St. Sebald, "Sancte Sebalde Ora Pro Nobis,
points to Nuremberg. Five different watermarks, viz., three types of high crown, a
low crown, and a combination of a human face with a triple prominence surmounted
by a stem and five-pointed star.
•
•
The only complete set known is in the abbey of St. Paul in Carinthia. That in
the British Museum, described below, contains 87 subjects, lacking Ladislaus
(no. 8, St. P.) and St. Sebald (no. 81, St. P.). Laschitzer (v, 176) describes loose
impressions of this edition in the Liechtenstein collection (11), the Albertina (3),
Dresden (2), and Nuremberg (1). Though both the St. Paul and London sets are
bound, their order differs so much that it seems unlikely that this edition appeared
originally in book form.
2. Edition printed on one side of the leaf, with German text (1-8 11.) above the
woodcuts and signatures below, issued in book form at some date between 1522 and
1551.2 124 leaves, A-X 4 in sixes, without title-page; 89 leaves contain woodcuts,
¹ Laschitzer, v, 156, gives the number by an oversight as 119, and reckons the
existing woodcuts accordingly as 121. The three saints, Nothburga, Karolomannus,
and Drogo, represented only in the sketches, would then bring up the number,
according to him, to 124, but really to 126. The highest number contemplated in
the preliminary studies is 124, in Codex A, which has St. Otto in addition to
Mennel's original 123. From notes in Codex A it appears that SS. Nothburga and
Karolomannus, at least, were actually cut.
2 Not earlier than 1522, for the text is reprinted (in a different order) from
Mennel's "Seel-und Heiligenbuch," printed in that year. Not later than 1551, for
one of the Vienna copies has a MS. title bearing that date (v, 215).
Division B.-School of Augsburg.—Beck.
133
the remaining 34 have the text only with a space left blank for the missing illustra-
tion. Watermark, an escutcheon with a bend between two six-pointed stars.
There are two varieties of this edition, differing only in the type and completeness
of the signatures. Of the first variety one perfect and one imperfect copy are
known, both in the Hofbibliothek; of the second variety the Hofbibliothek has a
perfect and an imperfect copy, the Albertina an imperfect, and the Berlin Cabinet a
perfect copy. A further perfect copy, in the possession of L. Rosenthal (1887), has
34 additional woodcuts (27 old and 7 late impressions) pasted on the blank leaves
(v, 222), while yet another, having 6 additional woodcuts inserted,¹ is in the library
of Mr. C. Fairfax Murray (described in Quaritch's Catalogue 209, Oct. 1901). Forty-
six leaves of this edition, cut down, are in the collection of K. Frederick Augustus II.
at Dresden, and four similar leaves in this collection.
3. Bartsch's edition, Vienna, 1799, with the title "Images de Saints et de
Saintes issus de la Famille de l'Empereur Maximilien I. En une Suite de cent dix
neuf planches gravées en bois par differens graveurs d'après les dessins de Hans
Burgmaier."
118 woodcuts, and one of St. George, by Springinklee, which has nothing to do
with the series.
4. Laschitzer's edition, Vienna Jahrbuch iv, 1886 (nos. 1-100), and v, 1887
(101-120).
118 subjects in this edition are printed from the blocks themselves, two are
reproduced from old proofs. Impressions from the three damaged blocks are placed
in the text (v, 181, 189, 219) in order not to mar the uniformity of the good
impressions.
EARLY PROOFS, BOUND: FIRST EDITION.
These are of necessity described in the order in which they are bound, though
that order does not correspond to any of the published editions, or even to that of
the other set of proofs with Latin titles at the Abbey of St. Paul. The volume has
been rebound since it entered the Museum, but the woodcuts are kept in their
original order, which appears to be more systematic than that of the similar set
in Austria (v, 174). The series opens with kings, emperors and princes (1–25);
then follow bishops (26-45), priests, hermits and pilgrims (46-59); all the women
form a series apart (60-86), and the last subject of all, as in the other set, is the
unnamed boy-saint, Denthelinus (87). This arrangement follows an absolutely
different principle from that of the second edition, where, as in the sketch-books
and miniatures, the saints are grouped by families according to the degrees of their
relationship to Maximilian. In both the modern editions the saints are arranged
alphabetically, Bartsch adopting the French and Laschitzer the Latin form of their
names. In the following list the names are given exactly as printed in the first
edition. They are followed by the numbers of the St. Paul set (St. P.), the second
edition (II), the third edited by Bartsch (B.), and the fourth edited by Laschitzer
(L.). The correct Latin version of the name adopted by Laschitzer is given when
the spelling of the first edition is corrupt; divergent names given by B. are also
mentioned. For the discussion of iconographical details the student is referred to
Laschitzer's essay (v, 179-215), where the full German text of the second edition is
reprinted with a commentary.
56 (1). SANCTUS. CLODOUEUS. St. P. 4. II, 1. B., 20. L., 18.
(2). SANCTUS. MAURICIUS. St. P. 9. II, 64. B., 73. L., 70.
57 (2).
58 (3). KAROLUS. MAGNUS. St. P. 1. II, 50. B., 18. L. 57.
59 (4).
(4). SANCTUS . RULANDUS. St. P. 2. II, 52. B., 93. L., 89 (Rolandus).
60 (5). SANCTUS. HEINRICUS. St. P. 6. II, 61. B., 53. L. 47.
¹ Not 7 (Q.), for one of them, St. Sigibertus, inserted under the name of
Fridolinus, has the watermark which proves it to belong to this edition.
134
Early German and Flemish Woodcuts.-Part II.
61 (6). SANCTUS. OSWALDUS. St. P. 14. II, 112. B., 79. L., 74.
62 (7). SANCTUS. LEOPOLDUS. St. P. 10. II, 83. B., 68. L., 65.
63 (8). SANCTUS. RUDOLFUS. St. P. 3. II, 79. B., 92. L. 91.
64 (9). SANCTUS. LUCIUS. St. P. 19. II, 111. B., 28 (Edmond). L., 24
(Eadmundus II).
65 (10). SANCTUS. RUPERTUS. St. P. 12. II, 114. B., 91. L., 88 (Robertus).
66 (11). SANCTUS. GUNTRAMUS. St. P. 22. II, 77. B., 47. L., 45.
67 (12). SANCTUS. LUCZ. St. P. 5. II, 97. B., 71. L., 66 (Lucius).
68 (13). SANCTUS. RADMUNDUS. St. P. 15. II, 110. B., 29 (Edmond I).
L., 23 (Eadmundus I).
69 (14). SANCTUS. SIGBERCHUS. St. P. 23. II, 66. B., 100. L., 96 (Sigi-
bertus).
70 (15). SANCTUS. STEPHANUS. St. P. 7. II, 89. B., 37. L., 101.
71 (16), SANCTUS. EDWARDUS. St. P. 18. II, 108. B., 31. L., 28 (Eduardus
II).
72 (17). SANCTUS. EMERICUS.
EMERICUS. St. P. 20. II, 90. B., 33. L., 30.
73 (18). SANCTUS. SIGISMUNDUS. St. P. 24. II, 63. B., 101. L., 97.
74 (19). SANCTUS. RUMOLDUS. St. P. 16. II, 95. B., 95. L., 92.
75 (20). SANCTUS. EDWARDUS. St. P. 11. II, 107. B., 30. L., 27 (Eduardus
I).
76 (21). SANCTUS. ADELBRECHTUS. St. P. 17. II, 105. B., 36 (Ethelbert).
L., 1 (Adalbertus).
II, 115. B., 54. L., 48
(Herminigildus).
77 (22). SANCTUS. HERMEGILDUS.
St. P. 13. II,
115.
78 (23). SANCTUS. VENANCUIS. St. P. 21.
II, 19.
B., 110. L., 108
(Venantius).
79 (24). SANCTUS. PEIIUUS. St. P. 25. II, 35. B., 81. L., 79 (Pippinus).
80 (25). SANCTUS. REINBERCHUS. St. P. 32. II, 28. B., 44 (Germain). L.,
83 (Reimbertus).
81 (26). SANCTUS. BOLFGANGNUS. St. P. 37. II, 121. B., 118. L., 119
(Wolfgangus).
82 (27). SANCTUS. LANDRICUS. St. P. 39. II, 10. B., 65. L., 62.
83 (28). SANCTUS. HUGO. St. P. 35. II, 54. B., 58. L., 52.
84 (29). SANCTUS. ARNOLPHUS. St. P. 30. II, 13. B., 11. L., 10.
85 (30). SANCTUS. LUDWICUS. St. P. 46. II, 91. B., 69. L., 67.
88 (31). SANCTUS. BILLIBALDUS. St. P. 36. II, 101. B., 51. L.,118 (Willi-
baldus).
-
Division B.-School of Augsburg.-Beck.
135
'
87 (32). SANCTUS. GORRICUS. St. P. 45. II, 14. B., 46 (Goëry. L., 40
(Goericus)
88 (33). SANCTUS. SIMPRECHTUS.
St. P. 42. II, 51. B., 103. L., 100
(Simpertus).
89 (34). SANCTUS. GEBHARDUS. St. P. 29. II, 84. B., 41. L., 38.
90 (35). SANCTUS. MODERICUS. St. P. 28. II, 4. B., 75. L., 71.
91 (36). SANCTUS. MODOALDUS. St. P. 27. II, 40. B., 74. L., 72.
92 (37). SANCTUS. BONOSBERCHUS. St. P. 43. II, 23. B. 3 (Adelbert). L.,
31 (Emesbertus).
93 (38). SANCTUS. LEO PAPA. St. P. 26. II, 118. B., 66. L., 63 (Leo IX).
94 (39). SANCTUS. VDALRICUS. St. P. 47. II, 120. B., 109. L., 106.
95 (40). SANCTUS. RUPERTUS. St. P. 33. II, 73. B., 96. L., 93.
96 (41). SANCTUS. HUPERTUS. St. P. 40. II, 60. B., 56. L., 50.
97 (42). SANCTUS. CUNRADUS. St. P. 34. II, 58. B., 58. L., 58 (Konradus).
98 (43). SANCTUS. BONEFACIUS. St. P. 31. II, 104. B., 16. L., 15.
99 (44). SANCTUS. AGNEBERTUS. St. P. 44. II, 36. B., 10 (Ansbert). L., 4.
100 (45). SANCTUS. REMIGIUS. St. P. 38. II, 47. B., 87. L., 85.
101 (46). SANCTUS. SILVINUS. St. P. 41. II, 44. B., 102. L. 99.
102 (47). SANCTUS. FERRECLUS. St. P. 48. II, 3. B., 38. L., 34 (Ferreolus).
103 (48). SANCTUS. DOOTHARIUS. St. P. 56. II, 16. B., 105. L., 103
(Theodardus).
104 (49). SANCTUS. DRUTPERTUS. St. P. 86. II, 74. B., 107. L., 105
(Trudbertus).
105 (50). SANCTUS. VEROMUS. St. P. 85. II, 56. B., 112. L., 110 (Veronus).
106 (51). SANCTUS. RICHARDUS. St. P. 87. II, 100. B., 89. L., 87.
107 (52). SANCTUS. BENDELMUS. St. P. 82. II, 96. B., 116. L., 116
108 (53). SANCTUS. ALARDUS. St. P. 49. II, 49. B., 2. L., 2.
(Wendelinus).
109 (54). SANCTUS. LEONHATUS.
St. P. 50.
II, 2.
B., 67. L., 64
(Leonardus).
110 (55). SANCTUS. JODOCUS. St. P. 84. II, 99. B., 61. L., 56.
111 (56). SANCTUS. BILHELMUS.
St. P. 76.
II, 78.
B., 50. L., 44
(Guilhelmus).
136
Early German and Flemish Woodcuts.-Part II.
*
112 (57). SANCTUS. SUGBALDUS.
St. P. 83. II, 119.
B., 57. L., 51
(Hugbaldus).
113 (58). SANCTUS. RAMARICUS. St. P. 77. II, 85.
B., 94. L., 90
(Romaricus).
114 (59). SANCTUS . COLOMANUS. St. P. 88. II, 94. B., 21. L., 19.
115 (60). SANCTA. GERDRUDIS. St. P. 60. II, 34. B., 45. L., 39.
118 (61). SANCTA. VERONA. St. P. 53. II, 57. B., 113. L., 109.
117 (62). SANCTA. BALPURGIS. St. P. 70. II, 103.
118 (63). SANCTA. ODA. St. P. 63. II, 6. B., 76. L., 73.
B., 108.
L., 113
(Walpurgis).
119 (64). SANCTA. BILDRUDIS.
St. P. 55.
II, 81. B., 117. L., 117
(Wildrudis).
120 (65). SANCTA. BATHILDIS. St. P. 73. II, 69. B., 13. L., 12 (Bathilda).
121 (66). SANCTA. BRIGITTA. St. P. 68.
St. P. 68. II, 93. B., 17.
L., 16.
122 (67). SANCTA. AMELBERGA. St. P. 71. II, 18. B., 9. L., 9 (Amal-
berga III).
St. P. 65. II, 75. B., 34. L., 32
(Erentrudis.)
123 (68). SANCTA. ERMENDRUDIS.
124 (69). SANCTA. MADELBERTHA. St. P. 72. II, 12. B., 72. L., 69.
125 (70). SANCTA REGA. St. P. 61. II, 33. B., 15. L., 14 (Bega).
128 (71). SANCTA. ITA. St. P. 78. II, 123. B., 59. L., 53.
127 (72). SANCTA. PLECTRUDIS. St. P. 79. II, 42. B., 83. L. 80.
128 (73). SANCTA. ADELDRUDIS. St. P. 75. II, 9. B.,
L., 5.
129 (74). SANCTA. GUDULA. St. P. 66. II, 24. B., 49. L., 42.
130 (75). SANCTA. IRMNIA. St. P. 80. II, 67. B., 62. L., 55 (Irmina).
131 (76). SANCTA. EDELDRUDIS. St. P. 59. II, 109. B., 12 (Audry). L.,
26 (Ediltrudis).
76.
132 (77). SANCTA. OTILLIA. St. P. 74. II, 70. B., 77. L.,
133 (78). SANCTA. KUNGUNDIS. St. P. 58. II, 62. B., 23. L., 59.
134 (79). SANCTA. BALDEDRUDIS.
St. P. 67. II, 8.
B.,
L., 112
(Waldetrudis).
135 (80). SANCTA. DODA. St. P. 62. II, 30. B., 26. L., 22.
138 (81). SANCTA. ELISABET. St. P. 64. II, 86. B., 32. L. 29.
Division B.-School of Augsburg.-Beck.
137
137 (82). SANCTA. VERTELA. St. P. 69. II, 21. B., 5 (Agnes). L., 111.
138 (83). SANCTA. REMELDIS. St. P. 52. II, 25. B., 86. L., 84 (Reineldis).
139 (84). SANCTA. TARSICIA. St. P. 57. II, 5. B., 104. L., 102 (Tharsitia).
140 (85). SANCTA. ERMOLINDIS. St. P. 54. II, 27. B., 35. L., 33.
141 (86). SANCTA . VRSULA . St. P. 51. II, 98. B., 114. L., 107.
142 (87).
St. P. 89. II, 11. B., 25. L., 21 (Denthelinus).
Nagl. Mon. iii, 242, 11.
Nos. 11, 17, 27, 40, 47, 49, 54, 62, 78, in the volume, were cut by H. Franck; nos.
18, 22 (?), 32, 43, 51–53, 56, 82 by C. Liefrinck; nos. 19, 59, 74 by W. Liefrinck; nos.
4, 5, 9, 29, 33, 42 (?), 44, 60, 65, 67, 77, 86, 87 by A. Lindt; nos. 7, 10, 35, 50, 64, 66
by J. de Negker; nos. 3, 8 (?), 13, 14, 21, 24, 26, 31, 37, 39, 41 (?), 55, 58, 63, 68, 80,
83 by W. Resch; nos. 2, 6 (?), 12, 15, 16, 20, 23, 25, 30, 38, 45, 48, 57, 61, 69–72, 75 (?),
76, 84, 85 by C. Seman; nos. 1 (?), 28, 34, 36, 46, 81 by J. Taberith; the cutter of
nos. 73 and 79 is unknown.
[c. 235 x 210.] Good impressions throughout, with wide margins [size of leaf,
397 × 297], in modern binding with one blank leaf of old paper (watermarks different
from those of the series) at either end. Watermarks as described by Laschitzer;
fourteen leaves have the composite mark, one (no. 73) the low crown, all the rest one
of three forms of the high crown.
Purchased from Mr. Ellis, 1865.
LOOSE IMPRESSIONS: SECOND EDITION.
56a. CLOVIS. II, 1. B., 20. L., 18.
82a. ST. LANDRICUS. II, 10. B., 65. L., 62.
89a. ST. GEBHARDUS. II, 84. B., 41. L., 38.
134a. ST. WALDETRUDIS. II, 81. B.,
L., 112.
[c. 235 x 210.] Good impressions but discoloured, without margin. Water-
mark, that found in all copies of the second edition, an escutcheon with a bend
between two six-pointed stars.
Nos. 56a, 89a, and 134a purchased from Mr. Durrell, 1848, no. 82a from Messrs.
Colnaghi, 1852. No. 134a is from one of the blocks lost before 1799, and therefore
omitted from Bartsch's edition.
The arms of the heathen Merovingian kings were or, three toads sable; when
Clovis became Christian his arms were changed to azure, three lilies or. In the
woodcut an angel is bringing him a standard with the new arms, which appear again
on a shield having, like most of the shields throughout the series, an inescutcheon
with the Habsburg lion. St. Landry, Bishop of Metz, has a razor lying on a book,
because he wished as a child to receive the tonsure.
143. ANGEL HOLDING THE INSIGNIA OF THE CARDINAL AND
EMPEROR. From Mennel, "De inclito actu ecclesiastico," 1518.
[116 × 95.] The first leaf of the book (see p. 125, no. 4), complete. Above the
woodcut, the title; on the back, the dedication "Ad Reuerendissimum in christo
patrem et Illustrem Principem | Fabricium de Carreto
Jacobi Manlij
Friburgensis Brisgaudij | doctoris divi Maximiliani Cesaris Augusti Hystoriographi.
et Consiliarij &c., Hystoria.
Purchased from Mr. Asher, 1849.
•
138
Early German and Flemish Woodcuts.-Part II.
DOUBTFUL WOODCUTS.
144. THE ARMS OF MENNEL, from the same book as no. 143.
[116 × 94.] The last leaf, complete; the verso blank. Provenance as above.
145. THE BOOK-PLATE OF ERASMUS STRENBERGER.
Arms, an eagle standing on a triple mount; crest, the same eagle. To
1. of the crest a naked man with bellows, standing on a dragon, surrounded
by a nimbus. The whole framed within an arch.
[252 × 179.] Worm-eaten on the r. side. On the lower margin ERASMUS
STRENBERGER CANONICVS TRIDENTINVS.
In the Franks collection of Ex-libris, bequeathed 1897.
See Ex-Libris-Zeitschrift, 1895, v. 8, where the book-plate is reproduced and
described as that of Stabius by Dürer. Doepler (ibid. p. 33) and myself in the first
volume of this catalogue (p. 368) rejected this attribution, but it was only later that
I became aware that Strenberger, not Stabius, was the owner of the book-plate (Ex-
Libris-Zeitschrift, 1904, xiv, 115). The impressions at Berlin and Munich lack the
margin, on which is printed in the Franks copy a Latin, and in Mr. Rosenheim's copy
a German, inscription giving the owner's name.
The attribution to Beck, which I think probable, was suggested to me by Dr.
Giehlow. The form of the nimbus round the title device is one which Beck con-
stantly employs. The small ovals among the feathers on the wings are also character-
istic. For the architecture of the columns compare the following woodcuts of
saints (Laschitzer's numbers): 4, 5, 31 (base), 62 (capital and shaft), 64 (capital), 66
(fluted shaft). There is wide difference of date between this book-plate and Beck's
certain woodcuts, unless the former should be older than the inscription found on its
margin, for Strenberger (d. 1558, aged 75) became a canon of Trent in 1529, eleven
years after the date of the Austrian Saints. In 1518, however, he was already a
person of some importance, for he succeeded Jacobus de Bannissis in that year as
archpriest of Roveredo; his book-plate may have been designed before his appoint-
ment to a canonry of Trent. The book-plate with the head of a wind (P. iii, 282,
127) may well be, as Doepler says, by the same artist (Ex-Libris-Zeitschrift, v, 34,
with reproduction, and xiv, 116).
139
V. HANS WEIDITZ.
Hans Weiditz, draughtsman on wood, biography unknown:
member of a Strassburg family, but worked at Augsburg from 1518
(1516?) to 1522 or 1523, afterwards at Strassburg, where he produced
new woodcuts up to 1536. Other members of the Weiditz or Widitz
family are known by name as artists, partly at Augsburg, partly at
Strassburg. Most of the early illustrations of Hans Weiditz were
published by Grimm and Wirsung, whose stock of blocks was
acquired about 1523 by Steiner, from whom it passed about 1550 to
Egenolff, of Frankfort. He was also employed by Miller, S. Otmar,
and the younger Schönsperger, and a few of his woodcuts appeared at
Nuremberg and Venice.
Authorities :-
Brunfels, “Herbarum Icones." Verses by Sapidus prefixed to the
Latin edition, 1530, mention Joannes Guidictius, and Brunfels'
own preface to the German edition, 1532, names Hans Weyditz.
of Strassburg, as the artist of the herbal.
Fischart, "Accuratae effigies Pontificum maximorum," Strassburg,
1573, mentions Weiditz, with Vogtherr and Baldung, among
Strassburg artists.
Steinmeyer, "Newe Künstliche Figuren," Frankfort 1620, preface
p. 1, first mentions the illustrator of Petrarch as a definite
artist, whose name was then forgotten.
Nagler, Künstlerlexikon, xxi, 364.
Seidlitz, "Der Illustrator des Petrarca (Pseudo-Burgkmair)," Berlin
Jahrbuch xii, 158.
Röttinger," Hans Weiditz der Petrarkameister," 1904. (Reviews:-
Dörnhöffer, Kunstgeschichtliche Anzeigen, 1904, 51; Dodgson,
Mitt. d. Ges. f. vervielf. Kunst, 1905, 64; Kaemmerer, Mitt.
d. Österr. Vereins f. Bibliothekswesen, 1905, 41.)
A monograph on Hans Weiditz by Campbell Dodgson, containing a
catalogue of his whole work, is in course of preparation and will be issued
by the Bibliographical Society.
None of the Augsburg work of Weiditz is described under his
name in the literature on woodcuts prior to 1904. All writers from
Sandrart to Muther attributed it to Burgkmair, and Seidlitz (1891)
was the first to declare this identification impossible. The artist was
only partially redeemed from the oblivion into which he had fallen.
for so long when he became known provisionally as the Petrarch
Master, Master of the "Trostspiegel," or Pseudo-Burgkmair. This
140 Early German and Flemish Woodcuts.—Part II.
་
1
3
oblivion was chiefly due to the fact that only three of his very
numerous woodcuts bear a signature: the martyrdom of St. Laurence
in "Sanctorum Icones" (1551), signed H. W., one of the cuts in
Cicero's "Officia," signed H. W.¹ and H b b², and the portrait of
Schwartzenberg, signed with a monogram composed of I and B.³ The
most probable explanation of the last two signatures is that in South
Germany b and w were frequently interchanged, and the letters stand
for Hans or Johannes Beiditz. Dr. Röttinger was the first to give
what is undoubtedly the true explanation of the first signature, and
to recognise that just when fresh illustrations by this master cease to
appear at Augsburg, woodcuts by the same hand begin to be published
at Strassburg, connected by an unbroken chain of evidence with the
illustrations to Brunfels' Herbal, which are known to be the work of
Weiditz.
BOOKS ILLUSTRATED BY WEIDITZ.
A. IN THE DEPARTMENT OF PRINTS AND DRAWINGS.
I. AUGSBURG PERIOD.
ΟΥΤΙΣ.
1. [HUTTEN.] OÝTIE. NEMO. J. Miller, Augsburg (1518); 4to.
(Böcking xv., 1; Muther 1024; Rött. 7).
Purchased from Mr. Breslauer, 1905.
On title-page a Roman general; over his head a tablet containing the xylographic
title; behind him, Polyphemus hurling a rock at the ship of Ulysses. R. a man
and woman throwing vessels on a heap of musical instruments, cards, backgammon
board, etc.; other implements 1. [160 x 111].
1a. [HUTTEN.] OYTIS. NEMO. n. p. d. (M. Schürer, Strassburg,
c. 1519-20) 4to. (Böcking xv., 2; Pr. 10258; mentioned by Rött.
under no. 7).
Purchased from Mr. Breslauer, 1905.
On title-page inferior but rather deceptive copy of the original cut. When the
original is not available for comparison, the copy may most readily be detected by
the serifs of the letter Y in the title, which turn inwards in the copy, outwards
in the original [161 × 111],
|
2. [HUTTEN.] Hoc in volumine haec continentur. VLR. DE HVT
TEN EQ. Ad Cæsarem Maximil. vt bellum in Venetos cœptum prose-
quatur. Exhortatorium. | etc. J. Miller, Augsburg, 2 Jan., 1519; 4to.
(Muther 871; Pr. 10845 A; Rött. 12).
Purchased from Mr. Gutekunst, 1874.
All the cuts are by Weiditz. The title-border (Pr.'s Miller-E.) is dated M.D.XVIII
[178 × 140]. In the text are twelve illustrations [91 × 102-104] alluding to Maxi-
milian's quarrel with the Republic of Venice.
1 Nagl. Mon. iii, 1707.
2 Ibid. iii, 723.
• Ibid. i, 1888.

PLATE X
HANS WEIDITZ
CHRIST BEFORE HEROD
Division B.-School of Augsburg.- Weiditz.
141
(1) A 3 v. Four Venetian envoys on their knees before Maximilian. Fighting
in the background.
(2) E 2 v.
by men of rank.
(3) F 3.
The imperial eagle, with the arms of Austria on its breast, surrounded
The eagle, poised over the Venetian territory, thrusts back a too
ambitious frog (emblem of Venice) into the lagoon.
(4) G 2.
A hand-to-hand fight. The standards display the imperial eagle and
the lion of St. Mark respectively.
(5) H 1 v. Fortune and her wheel; the papal tiara is at the summit, the French
cock descends, St. Mark's lion is at the bottom, and the eagle rises.
(6) I 1 v. The eagle, with Hutten himself beside it, contemplating an escutcheon
bearing quarterly the arms of France and Milan.
(7) I 4 v. The eagle, supported by Swiss landsknechts (with the arms of Uri and
Berne) vanquishing the cock of France. Victory of Novara, 6 June, 1513 (Böcking).
(8) L 1. The eagle confronting the two allies, lion and cock.
(9) M 1 v. Julius II stirring up strife throughout the Christian world.
(10) N 2 v.
The Venetians fishing.
(11) O 1. The crown snatched away from the lion of St. Mark.
(12) P. 3. Italy addressing a letter to the Emperor.
There are modern copies of these cuts in Hutteni Opera, ed. Böcking, iii, 123–330.
Röttinger justly remarks that the conventional representation of Venice proves that
Weiditz had not visited Italy.
3. [GREGORY.] Divi Gregorii Nazanzeni Erudi- | ti aliquot, et
mirae | frugis sermones. Grimm and Wirsung, Augsburg, 22 May, 1519;
4to (Pr. 10901).
From the Pirkheimer (afterwards Royal Society) library.
Presented by Mr. W. Mitchell, 1904.
Title-border (Pr.'s G. & W.-A), with sea-horses (repr. Butsch i, 28); on the last
page the arms of Grimm and Wirsung [124 × 126], without border line (Rött. 17 c).
Ornamental initials C G P Q R, v, without border.
4. [FRANCIS I.] Ora- | tio oratorv Francisci Regis Gallorum
Principibus Electoribus Francofordiam è confluentia | missa | Die
xviii. Mens. Junij. Anno M. D. xix. Grimm and Wirsung, Augsburg,
28 June, 1519; 4to. (Pr. 10905).
Presented by Mr. W. Mitchell, 1904.
Title-border (Pr.'s G. & W.-E) with chained satyrs [177 × 133]. Seidl. 4;
Rött. 17 (3); P. iii, 217, 302.
5. [HUTTEN.] Ulrichi Hutteni Equ. Super interfectione propinqui
sui Ioannis Hutteni Equ. Deploratio, etc. Ex arce Steckelbergk (J.
Schöffer, Mentz, Sept. 1519); 8vo. (Panzer, viii, 299, 1; Böcking, xxiv,
1; Pr. 9866; Rött. 6). Imperfect, wanting sig. c. 4, with the colophon.
Purchased from Mr. Voynich, 1905.
D 6 v. The murder of Johann von Hutten by Duke Ulrich of Würtemberg
[122 × 113], first used in Hutten's "Phalarismus," March, 1517. The portrait of
Ulrich von Hutten, X 2 v, is not by Weiditz.
6. [JESUS CHRIST.] Deuotissime Meditationes de vita: benefici |
is : et passiõe salva- | toris Jesu chri | cũ gratiarū| actione. Grimm
and Wirsung, Augsburg, 5 April, 1520; 8vo. (Muther 1025; Seidl. 11;
Rött. 25).
Presented by Mr. W. Mitchell, 1904.
Title-border, white ornament on black ground, dated M.D.XX [132 × 90].
Cuts in text [86 × 49-50, where no other dimensions are given] :-(1) A 3 v.
Creation of Eve. (2) A 5. Annunciation [68 × 75; incl. narrow orn. border
142
Early German and Flemish Woodcuts.-Part II.
orn.
(string of beads), 77 x 84]. (3) A 6. Nativity. (4) A 8 v. Circumcision [68 × 75;
incl. narrow orn. border, 77 x 84]. (5) B 1 v. Monogram I H S [71 × 72; incl.
x
orn. border, 81 x 83]. (6) B 2 v. Adoration of the Magi [68 × 74; incl.
border, 76 × 83]. (7) B. 4. Presentation in the Temple [69×74; incl. orn. border,
77 × 83]. (8) B 5. Flight into Egypt. (9) B 6. Massacre of the Innocents
[69 × 74; incl. orn. border, 77 x 83]. (10) B 7. Christ among the Doctors in the
Temple. (11) B 8. Baptism of Christ [69×75; incl. orn. border, 77×84]. (12) C 1.
Temptation of Christ. (13) C 2 v. Raising of Lazarus. (14) C 4 v. Entry into
Jerusalem. (15) C 6. Last Supper. (16) C 7. Christ washing St. Peter's feet.
(17) D 1. Judas receiving the thirty pieces of silver. (18) D 2. Christ on the
Mount of Olives. (19) D 3 v. The Betrayal of Christ. (20) D 5 v (repeated E 6).
Christ before Annas. (21) D 7 (repeated E 1). Christ before Caiaphas. (22)
E 3 v (repeated F 5). Pilate washing his hands. (23) E 4 v. Christ before Herod.
(24) E 7 v. Christ scourged. (25) F 1 v. Christ crowned with thorns. (26) F 2 v.
Christ shown to the people. (27) F 6. Christ bearing the Cross. (28) G 1. Christ
on the Cross. (29) H3 v. The title of Christ in Hebrew, Greek and Latin [82 × 81,
incl. orn. border]. (30) H 5 v. Christ on the Cross addressing Mary and John.
(31) H 8. Mater Dolorosa (with seven swords). (32) K 4 v. The piercing of Christ's
body on the Cross. (33) K 6 v. The Lamentation for Christ. (34) L 1 v. The
Entombment. (35) L3 v. The five wounds [82×81; incl. orn. border].
Of
Each of the upright subjects (nos. 1, 3, 8, 10, 12-28, 30-34) is enclosed in a passe-
partout [132 × 90], containing children, birds, animals, insects, plants and fruit.
these frames there are twenty-one varieties.
7. [CHARLES V.] Romischer vnd Hispanischer Küniglicher Maies-
tat Einreytten, vñ Krönung, zů Ach beschiehen (Grimm and Wirsung,
Augsburg, 1520) 4to. (Panzer, D.A. 995d; Muther 1056; Pr. 10925;
Rött. 23).
Duplicate transferred from the Dept. of Printed Books, 1904.
On the title-page, Charles V. enthroned and the seven Electors standing [158 × 112].
See pp. 151, 156, nos. 21, 22, 64.
8. [CICERO.] Des hochberůmpten Marci Tullü Ciceronis büchlein
vō dem | Alter, dürch herr Johan | Neüber, Caplan zů | Schwartzenberg |
vsz de latein in Teütsch gebracht. S. Grimm, Augsburg, 1522; fol.
(Muther 877; Seidl. 18; Rött. 44).
|
Purchased from Mr. Asher, 1849.
Folio border with trophies of arms (Proctor's G. & W.-F.), first used in July, 1520.
(Butsch, i, 29; Rött. 21.) Five cuts [138 × 155] in the text (Muther, Verz. 805–809):
(1) A 2 v. Scipio, Laelius and Cato conversing. (2) B 2v. A governor incapacitated
by old age from transacting business. (3) C 1 v. An old man watching a wrestling
match. (4) C 4 v. An old man unable to take part in dancing. (5) E 2. An old
man sits contemplating an open tomb. Some of the cuts are badly coloured in part.
|
9. [TRACHSELUS.] Suplicatio quorundam apud Heluetios
Euangelistaru ad R.D. Hugonem Episcopum Constantiensem, etc.
(Dated 'ex Eremo. D. Virginis [sc. Einsiedeln] apud Heluetios,
M.D.XXII. secunda Iulii." S. Grimm? Augsburg); 4to.
66
From the Pirkheimer (afterwards Royal Society) library.
Presented by Mr. W. Mitchell, 1904.
Border on title-page composed of four separate blocks [top and bottom each
14 × 109, sides 122 x 10]; black arabesque on white ground.. Also used in
Ecolampadius, "Vrtail und Meinung, etc.," 1521; "Das sechst Capitel S. Johannis
Euangelisten," 1524; Andreas Bodenstain, "Von manigfeltigkait des ainfeltigen
ainigen willen Gottes," 1524 (Linz, Krackowizer 49 (41)); and Dengk, "Was geredt
sey, etc." 1526.
Division B.-School of Augsburg.—Weiditz.
143
10. [BOESCHENSTAIN.] Das gebet salomonis | am driten buch der
künig ge- teuscht... durch Johan Boschēstain. (Dedication dated 16
Feb., 1523). S. Grimm, Augsburg, 1523; 8vo. (Muther 1028; Seidl.
20; Rött. 33).
Purchased from Messrs. Leighton, 1903.
Title-border of four separate blocks, white arabesque on black ground; in 1. panel
a satyr, in bottom panel (inverted) musical instruments; also used, according to
Rött., in the Psalter, 1523 (Rött. 32).
A 7 v. Moses receiving the tables of the law [86 × 51].
11. [BODENSTEIN.] Ain frage ob auch | yemant möge selig |
werden on die fůrbit Marie. Andreas Carolstat. Anno. M. D.
xxiiij. Wittenberg. (Augsburg, 1524) 4to.
Presented by Mr. W. Mitchell, 1904.
Title-border [149 × 104, opening 87 x 54], white arabesque, including two
cherubs' heads, on black ground, also used in Luther, "Wider den gaystlichen stand
(S. Grimm? Augsburg, 1522? W. 2201); J. Carolstadt, "Ain Christlicher Sendbrieff
an die Miltenberger," 1524 (W. 2834); Luther, "Sermon An dem xxiii. Sontag nach
Pfingsten"; "Vnterricht vnnd Antwort auff die siben todtsünd, etc." 1524; Haugk,
"Ain Christlich ordenung" (1524); Mandat von aynem Ersamen Radt der stadt
Basel, gegen der Bischofs Vicari, etc." (1524); Melanchthon, "Ain Sermon von dem
Priesterthumb," 1525; Linck, "Ob die gaystlichen auch schuldig sein, zynsze
zugeben," 1525.
12. [CICERO.] Officia M.T.C. H. Steiner, Augsburg, 16 Feb.,
1531; fol. (Muther 879; Seidl. 13; Rött. 43).
Purchased from Mr. Breslauer, 1905.
One hundred cuts by Weiditz, in addition to borders and initials. Thirty-three
of these (3 v, 6, 8, 9, 10, 10 v, 12 v, 14 v, 16 v, 19 v, 21 v, 22, 25, 27 v, 29 v, 33, 34, 35,
36, 40, 43 v, 44 v, 47, 48, 50 v, two on 51 v, 53, 72, 72 v, 75 v, 80 v, 82 v) belong to the
Petrarch set, while the remaining sixty-seven (from sixty-four blocks, three of which
are used twice) were designed for the Cicero itself. One cut (fol. 78) is by Burgkmair ;
two (50, 71 v) are anonymous. (The cut belonging to Petrarch, i, 17, is actually
printed on fol. 71 v, but the anonymous cut is pasted over it, as in all copies of the
first edition.) The cut on fol. 73 v is signed H Ŵ and Hb b.
13. [LOBERA DE AVILA.] Ein nutzlich Regiment der gesundt |
heit, Genant das Vanquete, etc. H. Steiner, Augsburg, 11 May, 1531;
4to. (Muther 1083).
Purchased from Mr. Gutekunst, 1870.
Two cuts by Weiditz :-(1) Fol. 75, "Aderlassmännchen " (naked man, seated,
with lines indicating various places for bleeding), first used in the 1530 edition of the
Spanish text (Rött. 37). (2) Fol. 82 v, Doctor in a sick-room [85 × 109], first used in
Marsilius Ficinus, De epidimiae morbo, 1518 (Muther 873; Proctor 10884; Seidl. 2;
Rött. 10. See p. 149, no. 5).
Also initials E, W, of a large alphabet by Weiditz, with children [47 × 47], and
many smaller initials.
14. [JUSTINUS.] ... Justini warhafftige Hystorien,
Trogo Pompeio gezogen, etc. Translated by Hier. Boner.
Augsburg, 1531; fol.
Presented by Mr. W. Mitchell, 1904.
die er auss
H. Steiner,
Eighteen cuts by Weiditz (excluding repetitions), either c. 140 x 155, or
c. 98 x 155, belonging to the two sets designed for Cicero's "Officien" and Petrarch's
Trostspiegel," published respectively in 1531 and 1532. Also initials W [47 × 47],
A, B, D, G, I, M, of a smaller alphabet [c. 32 x 32] with children (G a satyr), and smaller
letters with white ornament on black. Three tailpieces [21 × 82] and two upright
panels [100 × 12] with white arabesque on white. The cut on fol. 11 is from
Meisterlin's chronicle, M. Ramminger, Augsburg, 1522, fol. 11 v.
144
Early German and Flemish Woodcuts.-Part 11.
15. [PETRARCH.] Franciscus Petrarcha. Von der Artzney bayder
Glück, des gåten vnd widerwertigen, etc. H. Steiner, Augsburg, 1532;
fol. (Muther 886; Seidl. 12; Rött. 24).
Presented by Mr. W. Mitchell, 1904. Another copy, purchased from Mr.
Quaritch, 1897.
Contains 126 woodcuts in the first part, 135 in the second, all by Weiditz. The
date 1519 occurs i, 118 v, and 1520, ii, 176. The woodcuts, for which Sebastian
Brant supplied sketches of some kind, were completed in the years 1519-20 for the
firm of Grimm and Wirsung, but first published by Steiner in 1532 with the
exception of some cuts used in earlier books (e.g., five in Avila's" Vanquete," 1530,
thirty-three in Cicero's "Officia," 1531, fifteen in Justin, 1531). Five different tail-
pieces [21×82] are used in this book (e.g., i, 7 v, 9, 35 v, 40 v; ii, 58 v). One of these,
containing musical instruments, was used as part of the title-border of no. 9. Two
oblong panels [11 × 158 and 25 x 158] are used several times (e.g., ii, 39 v, 58).
Large initials H, S, V, W [47 x 47] are used. The illustrations were attributed by
Muther (Verz. 547-804) to Burgkmair.
16. [PLUTARCH.] Plutarchus Teutsch. H. Steiner, Augsburg, 7
March, 1534; fol. (Muther 928).
Purchased from Mr. Gutekunst, 1870.
Fol. 1. Initial D, bear carrying a basket of apples [46 × 47].
Fol. 28 v.
Julius Cæsar, from the Cicero of 1531.
17. [PAULI.] Das Buch Schimpff vnnd Ernst genant. H. Steiner,
Augsburg, 10 April, 1535; fol. (Muther 1100, edition of 1534). Im-
perfect, wanting ff. 69, 70, with two woodcuts.
Purchased at the Singer sale, 1860.
• •
-
Twenty-five cuts, repeated from the Cicero and Petrarch. Fol. 1 v, initial S
[47 x 47]. Fol. 55 v, a confession [68 × 97], is repeated from an early work of Weiditz,
Plautus, "Zwo Comedien, geteüwtscht durch Albrecht von Eybe," 1518, sig.
N 3 v (Rött. 5). Another confession, fol. 58 v [85 x 59], is from " Gilgengart einer
christlichen Seele," 1520, sig. a 1 v (Rött. 26). The cuts on fol. 62 and 92 are
from a series of devotional woodcuts (Rött. 27 B, b, d), first printed as a whole in 1551.
18. [MORE.] Ein glaubwirdige anzay-gung des tods, Herrn
Tho- | me Mori, vnnd andrer treffenlicher månner inn Engelland, ge- |
1
schehen im jar M.D. xxxv. (By P.M., i.e., Philippus Montanus? H.
Steiner, Augsburg) 1536; 4to.
Presented by Mr. W. Mitchell, 1904.
On the title-page the Martyrdom of St. James, on the recto of the last leaf (C 4)
that of St. Matthew, both from the series, Rött. 27.
19. [VERGILIUS.] Polydorus Vergilius Urbinas. Von den Erfin-
dern der ding. H. Steiner, Augsburg, July, 1544; fol.
Purchased from Messrs. Willis and Sotheran, 1858.
Sixty-four cuts (including two or three repetitions) from the Cicero and Petrarch
series. Nine cuts (fol. 84 v., 107, 123, 139, 142, 166 v.) from the series (Rött. 27)
first issued as a whole in 1551. On fol. 127 v. are two of the blocks which compose
the memorial of the death of Maximilian, Rött. 14 (P. iii, 272, 100), and on fol. 85 v
the Circumcision (a copy, see p. 165) from a series described by Rött. under nos. 28
and 30. The cuts on fol. 86 v. and 90 belong to the series, Rött. 34. That on fol.
102 v. belongs neither to the Petrarch or the Cicero series, so far as published,
though Rött. (p. 87) conjectures that it belongs to the latter.
1
Division B.-School of Augsburg.— Weiditz.
145
20. [BIBLE.] Novi Testamenti, Iesu Christi Historia effigiata. Vnà
'cum alijs quibusdam Iconibus. Das New Testament, vnd Histori Christi,
fürgebildet. C. Egenolff, Frankfort, March, 1551; 8vo. (Rött. 27, 30).
Presented by Mr. W. Mitchell, 1904.
The following cuts are by Weiditz:-(1) a 4 v. The creation of Eve. (2) a 5.
Moses receiving the tables of the law. (3) a 5 v. The embrace of Joachim and
Anne at the Golden Gate. (4) a 6. The Nativity of the Virgin. (5) a 6 v. The
Presentation of the Virgin. (6) a 7 v. The Annunciation. (7) a 8. The Annunciation.
(8) a 8 v. The birth of St. John Baptist. (9) b 1. The Nativity. (10) b 2. The
Annunciation to the Shepherds (copy; the original has "excelsis" in the legend on
the scroll, the copy "exelsis"). (11) b 3 v. The Circumcision. (12) b5. The Ador-
ation of the Magi. (13) b 5 v. The Virgin and Child and St. Anne. (14) b 6. The
Virgin and Child and Angels. (15) b 6 v. The Flight into Egypt. (16) b 7. The
Return from Egypt (copy; in the
grass are continued to 1. of the original, much more delicate throughout, the tufts of
donkey's foremost hoof). (17) b 8 v. The Baptism of
Christ. (18) c 1 v. The Temptation of Christ. (19) c 4. A man praying before a
crucifix. (20) d 2 v. The beheading of St. John Baptist. (21) e 7 v. The raising of
Lazarus. (22) g 1. Christ's entry into Jerusalem. (23) g 3 v. Judas bargaining to
betray Christ. (24) g 4 v. Christ washing Peter's feet. (25) g 5. The Last Supper;
the departure of Judas. (26) g 7 v. Christ on the Mount of Olives. (27) g 8. The
Betrayal of Christ. (28) g 8 v. Christ led before Annas. (29) h 1 v. Christ led away
from Gethsemane. (30) h 2. Christ before Caiaphas (more correctly Annas). (31)
h 3 v. Caiaphas rending his robes. (32) h 4. Peter denying Christ. (33) h 6.
Christ before Herod. (34) h 7. Christ scourged. (35) h 8. Christ mocked. (36)
i 1. Christ shown to the people. (37) i 2. Pilate washing his hands. (38) i 3.
Christ bearing the Cross. (39) i 4 v. Christ on the Cross; Mary Magdalen kisses his
feet. (40) i 5 v. Christ on the Cross commends his Mother to St. John. (41)
i 6. Joseph of Arimathea asks Pilate for the body of Christ. (42) i 6 v. The
piercing of Christ's side. (43) i7 v. The Lamentation for Christ. (44) k 1 v. The
Resurrection. (45) k 3. The Entombment. (46) k 3 v. Christ appearing to Mary
Magdalen. (47) k 7 v. The Trinity.
Nos. 7, 10 and 16 measure c. 93 x 71; nos. 3, 4, 6, 7, 11-13, 17 and 20,
c. 69 × 74, and the remaining subjects c. 86 × 52. Nos. 1, 6, 9, 11, 12, 15, 17, 18,
21-28, 31, 33-40, 42, 43, 45 were first used in "Devotissimae Meditationes," 1520
(no. 6), and the remaining cuts are of about the same date. No. 2 was used in
"Das gebet Salomonis," 1523 (no. 9); no. 7 in Luther's “ "Betbüchlin,” 1523
(Rött. 28).
21. [SAINTS.] Sanctorum, et Martyrum Christi Icones quædam arti-
ficiosissimæ. Der heiligen, vnd Martirer Gottes künstliche Bildtnussen.
C. Egenolff, Frankfort, 1551; 8vo.
Purchased from Mr. Fry, 1871.
presented by Mr. W. Mitchell, 1904.
Another copy (imperfect, lacking sig. F 1)
The cuts are all by Weiditz with two exceptions (p. 20 and 83). (1) Title-page
(repeated p. 32), Martyrdom of St. Laurence, signed H. WŴ. (2) Á 2. The Trinity.
(3) A 2 v. The Trinity and Our Lady in glory (copy; in the original the two lowest
figures r. are a pope and a cardinal). (4) A 3. The Crucifixion, with Mary, John
and Mary Magdalen (copy; the shading is much more regular and mechanical than
in the original; the navel of the impenitent thief is omitted). (5) A 3 v. The
Ascension. (6) A 4. The descent of the Holy Ghost. (7) A 4 v. Christ appearing
to Mary Magdalen. (8) A 5. The Virgin Mary surrounded by many emblems.
(9) A 5 v. The Visitation. (10) A 6 r. Mater dolorosa. (11) A 6 v. The Assump-
tion. (12) A 7. David and Bathsheba (deceptive copy; most easily distinguished
by the mechanical regularity of the shading on the wall to r. of David). (13) A 7 v.
The Martyrdom of St. Paul. (14) A 8. St. Matthew. (15) A 8 v. The Martyrdom
of St. Matthew. (16) B 1. St. Luke. (17) B 1 v. St. John in Patmos. (18)
B 2. The Crucifixion of St. Peter. (19) B 3. The Crucifixion of St. Andrew.
(20) B 3 v. The Martyrdom of St. James the Greater. (21) B 4. The Martyrdom
of St. James the Less. (22) B 4 v. The Crucifixion of St. Philip. (23) B 5. The
Martyrdom of St. Bartholomew. (24) B 5 v. The Martyrdom of St. Simon. (25)
L
146
Early German and Flemish Woodcuts.-Part II.
B 6. The Martyrdom of St. Jude. (26) B 6 v. The Martyrdom of St. Thomas.
(27) B 7. The Martyrdom of St. Matthias. (28) B 7 v. St. John descending into the
grave. (29) B 8. The Martyrdom of St. Stephen. (30) C 1. St. Mark. (31)
C 1 v. St. Michael. (32) C 2. St. Augustine. (33) C 2 v. St. Jerome. (34)
C 3. St. Sebastian. (35) C 3 v. St. Bernardine (called "Dominicus "). (36) C 4.
St. Francis. (37) C 4 v. The Mass of St. Gregory. (38) C 5. The Martyrdom of St.
Erasmus. (39) C 5 v. St. Roch. (40) C 6. St. John before the Latin Gate, called
'Vitus" (deceptive copy; the topmost curl of the smoke rising above the cherub is
omitted). (41) C 6 v. St. George. (42) C 7. “ Exaudi" (a procession). (43)
C 7 v.
"Terribilis" (entrance to a church). (44) C 8. A group of Saints: SS.
Andrew, Oswald, Urban, etc. ("Consortium divorum"). (45) C8 v. St. Alexius.
(46) D 1. St. Maternus. (47) D 1 v. St. Ambrose (called "Victor"). (48) D 2.
St. Bernard.¹ (49) D 2 v. The Temptation of St. Antony. (50) D 3. St. Bernard
receiving Christ in his arms (called "Benedictus"). (51) D 3 v.
(51) D 3 v. St. Ulrich
(cf. Rött. 18; called "Bonifacius"). (52) D 4. St.
"Bonifacius "). (52) D 4. St. Christopher. (53) D 4 v.
The ten thousand Martyrs. (54) D 5. The auxiliary Saints. (55) D 5 v. The
ecstasy of St. Mary Magdalen. (56) D 6. St. Catherine. (57) D 6 v. One of the
Wise Virgins. (58) D 7. The Martyrdom of St. Apollonia. (59) D 7 v. The
Martyrdom of St. Barbara. (60) D 8. The Martyrdom of St. Catherine. (61) D 8 v.
The Martyrdom of St. Dorothy. (62) E 1. St. Elizabeth of Hungary tending
lepers. (63) E 1 v. St. Helen finding the Cross. (64) E 2. St. Helen sitting with
her arm round the Cross. (65) E 2 v. St. Ottilia. (66) E 3. St. Afra (called
"Regina "). (67) E 3 v. St. Veronica. (68) E 4. St. Ursula. (69) E 4 v. The
Martyrdom of St. Lucy. (70) E 5. The Martyrdom of St. Agnes. (71) E 5 v.
St. Gudula ("Patientia "). (72) E 6. St. Margaret ("Tentatio "). (73) E 6 v.
Funeral of a bishop (St. Martin ?). (74) E 7. Veneration of relics ("Reliquiæ ").
(75) E 7 v. The "Confiteor at the Mass. (76) E 8. Peasants kneeling before
an image of the Virgin ("Grimmental "). (77) É 8 v. The Mass ("Missa"). (78)
F 1. Communion of the laity. (79) F1 v. Adoration of the Blessed Sacrament
("Eucharistia "). (80) F 2. Purgatory. (81) F 2 v. Confession. (82) F 3 v.
The Last Judgment. (83) F 4. Hell.
J7
Nos. 3, 4, 12 and 40 measure 93 × 70; nos. 7 and 8, 123 × 83; nos. 1, 9, 13-39,
41-48, 58-74, and 76, 69 × 74, and the remaining subjects 86 × 52.
No. 10 was used in "Devotissimae Meditationes," 1520; no. 2 in "Der Gilgen-
gart," 1520; no. 56 in "De Anima," 1520; and the remaining cuts, though not
used till later, are of about that date. Nos. 35 and 76 were used in Pauli's "Schimpff
und Ernst," 1535, and nos. 13, 18, 29, 42, 43, 74-77 in "Polydorus Vergilius," 1537
and 1544; nos. 14, 16, 17 and 30 were used in Steiner's folio Bible, 1535, and 14, 16
and 30 in the edition of 1534; no. 6 was used in Luther's " Betbüchlin," Steiner,
1523 (Rött. 28, not in the B.M.).
22. [STEINMEYER.] Newe Künstliche, | Wohlgerissene, vnnd in
Holtz ge- schnittene Figuren. V. Steinmeyer, Frankfort, 1620; 4to.
(Imperfect, ending with sig. Tt instead of Yy).
Presented by the National Art Collections Fund, 1906.
Three hundred and three woodcuts by Weiditz, printed on both sides of the leaf,
with short text below as far as Sig. Ii. Almost all are from the Petrarch and Cicero
sets. The exceptions are four large oblong cuts of saints, R. 34, SS. Luke and
Cosmas (?), Ii 3; St. John descending into the grave, K k1; St. James receiving the
book of magic from the sorcerer Hermogenes, K k 2 v; and St. Peter baptizing
Cornelius at Cæsarea, K k 4 v. There are also a few cuts by Beham, Burgkmair,
Schäufelein and unknown artists.
¹ The subject represented here is the accident in the hunting-field which caused
the death of Mary of Burgundy in 1482. Maximilian stands r. wringing his hands.
Nothing is said in the early accounts of the event about the appearance of any
saint, and I have not discovered what saint is actually represented. In the Bremen
Kunsthalle is a lithograph from a picture of the same subject in reverse, attributed
to Dürer.

PLATE XI
HANS WEIDITZ
SAMSON CARRYING OFF THE GATES OF GAZA
Division B.-School of Augsburg.— Weiditz.
147
DOUBTFUL.
23, 24. [PFINZING.] Theuerdank. Hans Schönsperger the elder,
Nuremberg, 1517, and Augsburg, 1519; fol. (Muther 845, 846; Pr.
11180, 10939).
Röttinger attributes one cut in each of these editions (no. 23, by Laschitzer's
"unknown master C") to Weiditz (Repr. Rött., pl. 1). Dr. Dörnhöffer (Kunstgesch.
Anzeigen 1, 1904, p. 62) agrees with him on the whole; I am not convinced by his
arguments.
II. STRASSBURG PERIOD.
25. [LUTHER.] XXVII Predig newlich vszgangen. Anno. xxiii.
J. Schott, Strassburg, 1 Sept., 1523; 4to. (Muther 1509; Krist. 464;
Rött. 57).
Imperfect, lacking the last leaf, D 4, with Schott's device by Weiditz and the
colophon.
Title-border by Weiditz, Christ preaching, a chapel in a wood 1. [140 × 98, opening
80 × 55]. Bad impression.
26. [BIBLE.] Das Annder teyl des alten Testaments. J. Knoblouch,
Strassburg, 1 July, 1524; fol. (Muther 1543; Rött. 60, part 2 only).
Purchased from Mr. Breslauer, 1905.
Twenty-three cuts by Weiditz [79 × 130] adapted in reverse from the illustrations
to the edition printed by Melchior Lotter at Wittenberg, 1524. These were repeated
in the edition of 1529 (W. Seltz, Hagenau). (1) 2 v. The ark passing through Jordan.
(2) 4. The fate of Jericho. (3) 7 v. The five kings hanged at Makkedah. (4) 23 v.
Gideon and the fleece; Gideon choosing the men that lapped water. (5) 24. Gideon
defeating the Midianites. (6) 29 v. Samson and the lion. (7) 30 v. Samson sending
foxes into the corn, etc. (8) 31. Samson carrying off the gates of Gaza. (9) 32.
Samson betrayed by Delilah. (10) 32 v. Samson breaking the pillars of the house of
Dagon. (11) 42. The death of Eli; the plague of mice; the fall of Dagon. (12) 44 v.
Samuel anointing Saul. (13) 50 v. Samuel anointing David. (14) 51 v. David slaying
Goliath. (15) 62 v. Saul's death; his crown brought to David. (16) 69. David and
Bathsheba. (17) 75. The death of Absalom. (18) 86 v. Solomon's temple. (19) 87 v.
Solomon's house. (20) 88. Hiram's two pillars. (21) 88 v. The molten sea. (22)
88 v. A laver standing on a base. (23) 92 v. Solomon on his throne.
27. [BRUNFELS.] Biblisch Bettbůchlin Der Altuåtter, vn herrlichē
Weibern, beyd Alts vnd Newes Testaments. J. Schott, Strassburg, 1531;
8vo. (Krist. 473; Rött. 73).
Purchased from Mr. Peach, 1905.
Title-border, dated 1528, with Manasse, King of Judah, in prison (cf. fol. 16)
[124 × 80, opening 64 × 43]; 219 page borders, each of four blocks, composing frames
of 16 different designs [129 x 83, opening 94 × 53], many of which are in the style
of the Devotissimae Meditationes, 1520, decorated with children, animals, birds, and
flowers. At the end the device of Schott with a stork's nest and fallen warrior
[79 × 65], which dates from 1523 (Kött. 57). Repr. Heitz iv. 9, and Rött., pl. 19.
28. TACUINI Sanitatis Elluchasem Elimithar Medici de Baldath.
De sex rebus non naturalibus, etc. J. Schott, Strassburg, 1531; fol.
(Krist. 475; Rött. 85).
Duplicate transferred from Dept. of Printed Books, 1889.
Forty cuts [c. 38 × 175, without border] on the recto of every leaf from p. 39 to
L 2
148
Early German and Flemish Woodcuts.-Part II.
1
p. 117, illustrating articles of food, utensils, methods of medical treatment, etc. On
p. 5, initial P, Lot and his daughters.
Nagler (Mon. iii, p. 669; no. 4) attributed these cuts to Vogtherr. They were
recognised as the work of Weiditz by Röttinger (p. 15), who describes the edition
of 1533.
29. TACUINI Egritudinum et Morborum, Buhahylyha Byngezla
autore. J. Schott, Strassburg, 1532; fol.
Duplicate transferred from the Dept. of Printed Books, 1889.
Two tailpieces [20 x 82, without border], repeated at the foot of the verso of
every leaf from p. 2 to p. 88.
30. [HUTTICHIVS.] Imperatorum et Caesarum Vitæ, cum Imagi-
nibus ad uiuam effigiem expressis. Libellus avctus cum elencho & Iconijs
Consulum ab Authore. W. Köpfel, Strassburg, 1534; 4to. (Rött. 67,
see p. 97).
Presented by Mr. C. Dodgson, 1906.
Title-border with sphinxes and figure of Justice, and border to the Elenchus
Consulum, with subjects from the Iliad (Rött. 65). Printer's mark, medallions of
emperors, and numerous ornaments throughout the book.
31. [BIBLE.] Biblia veteris Testamenti & Historie, artificiosis
picturis effigiata. Biblische Historien, Künstlich fürgemalet. C. Egenolff,
Frankfort, 1551; 8vo.
Sig. A 8 v, the small device of Egenolff, Adam and Eve after the Fall [57 × 48]
(p. 185, no. 148), used here as an illustration.
32. [COOKERY.] Koch vnd Kellermeysterei. Heirs of C. Egenolff,
Frankfort, 1564; 4to. (The edition of 1544 reissued with a new title-page.)
Bequeathed by Sir A. Wollaston Franks, K.C.B., 1897.
On the title-page, a cook in his kitchen [75 x 120], first used in 1530 (Rött. 78),
in the second state, coloured and damaged.
B.-IN THE DEPARTMENT OF PRINTED BOOKS.¹
I. AUGSBURG PERIOD.
1. [FRANCISCUS.] Abt von Werd. Anzeigung der Blutschweis-
sung des Dorns von der Krone Christi. Grimm and Wirsung, Augsburg
(after 4 April, 1518); 4to. (Pr. 10872).
Title-border (Pr.'s G. & W. — A),
A), = Rött. 8. Repr. Butsch i, 28. Also used in Pr.
10874, 10875, 10879, 10880, 10881, 10885, 10887, 10889, 10892, 10901, 10906b, 10912. Pr.
10879 is the earliest book known to Rött. in which the border occurs.
2. [PLAUTUS.] Zwo Comedien des synn reichen Poeten Plauti
nämlich in Menechmo vñ Bachide. Nachuolgent ain Comedien Vgolini
Philegenia genannt. (Grimm and Wirsung) Augsburg, 1518; 4to.
(Muther 1054; omitted by Pr.; Rött. 5).
Twenty illustrations by Weiditz [67 × 98].
1 In this list only one book containing each title-border is included. Repetitions
are mentioned in the notes, but with no guarantee of completeness.
SALE.
Division B.-School of Augsburg.— Weiditz.
149
3. [IOHANN, VON ECK.] Joan. Eckii....de materia Juramenti
acutiss. decisio ad Georgium Kungspergium Augustanum. Grimm and
Wirsung, Augsburg, 1518; 4to. (Pr. 10876).
On the title-page, arms of Georg Kungsperger [100 × 101], not described by Rött.
4. [HUTTEN.] Aula. Dialogus. Grimm and Wirsung, Augsburg,
17 Sept., 1518; 4to. (Pr. 10882; Seidl. 1; Rött. 9).
Title-border (Pr. G. &. W. — B¹), dated 1518. Also used in Pr. 10883, 10902, 10908.
5. [FICINUS.] Tractatus de Epidimiæ morbo. Grimm and Wirsung,
Augsburg, 26 Sept., 1518; 4to. (Muther 873; Pr. 10884; Seidl. 2;
Rött. 10).
Cut on title-page, doctor in sick room [85 × 109], attributed by Muther (Verz.
483) to Burgkmair.
6. [ENGEL.] Tractat von der Pestilentz Joanni Engel. (Grimm and
Wirsung) Augsburg, 4 Nov., 1518; 4to. (Pr. 10886).
The same cut as in no. 5, on the title-page.
7. [WIRSUNG.] Wann vnd vmb wellicher vrsachen willen das
loblich Ritterspil des turniers erdacht, vnd zum ersten geübet worden ist.
(Grimm and Wirsung) Augsburg, 13 Nov., 1518; 4to. (Muther 874;
Pr. 10888; Seidl. 8; Rött. 11).
On the title-page two cuts. At the top four coats-of-arms [28 × 114], for the four
races, Rhinelanders, Franconians, Suabians, and Bavarians (see sig. A 2). Under
this a tournament [93 × 113]. Attributed by Muther (Verz. 484) to Burgkmair.
8. [RICIUS.] De anima coeli compendium. Grimm and Wirsung,
Augsburg, 2 March, 1519; 4to. (Pr. 10893; Seidl. 5).
Title-border (Pr. G. & W. D), arabesque and scallop-shell, described by Rött.
under no. 15. Repr. Butsch i, 27. Also used in Pr. 10894, 10895, 10897, 10899 b, c,
10904, 10907, 10910.
9. [KHALAF.] Liber theoricae necnon practicae Alsaharavii. Grimm
and Wirsung, Augsburg, 24 March, 1519; fol. (Muther 875; Pr. 10896).
The cut on the title-page, B. vii, 222, 74, bears the monogram of Burgkmair, but I
believe it to have been drawn on the block by Weiditz. At the end is the first
heraldic device of Grimm and Wirsung [124 × 126], described by Rött. under no. 17
(3). This device (Pr. a) was also used in Pr. 10900–10902 (earlier than Rött. 17).
10. [JOHANN.] Eckius, Ad P. Ricium de anima coeli responsio.
Grimm and Wirsung, Augsburg (after 27 March, 1519); 4to. (Pr. 10898).
Title-border with chained satyrs (P. iii, 217, 302; Pr. G. & W.-E.; Seidl. 4),
described by Rött. under no. 17 (3). Also used in Pr. 10899 a, 10903, 10905, 10919.
11. [HUTTEN.] Ulrichi de Hutten Eq. de guaiaci medicina et morbo
gallico liber unus. J. Schöffer, Mentz, April, 1519; 4to. (Pr. 9865).
On title-page, arms of Albrecht of Brandenburg, Archbishop of Mentz [140 × 100],
undescribed.
150
Early German and Flemish Woodcuts-Part II.
12. [ARISTOTLE.] Libri de Cœlo IIII., etc.
Commentarijs.
Adiectis Eckij
Grimm and Wirsung, Augsburg, 18 May, 1519; fol.
(Pr. 10900; Rött. 16).
On the title-page the arms of Georg von Limburg, Bishop of Bamberg, attributed
to Burgkmair (B. vii, 214, 38). On the last leaf, the first device of Grimm and
Wirsung, as in no. 9.
13. [FABER.] Oratio funebris in depositione gloriosis. Imp. Cæs.
Maximiliani. Grimm and Wirsung, Augsburg, 26 July, 1519; 4to. (Pr.
10906a; Rött. 17 (1) ).
Fol. h 2 v. Memorial tablet to Philip the Handsome [173 × 123]. P. iii, 218, 304.
Fol. h 3. Memorial tablet to Maximilian [173 x 123]. P. iii, 217, 303.
14. [FILELFO.] Epistole Fracisci Philelphi. S. Otmar, Augsburg,
30 July, 1519; 4to. (Pr. 10777).
Title-border (Pr. S. Otmar- G) printed from four blocks, Rött. 20. Also used in
Pr. 10783, 10786, 10789, 10791, 10798-10801, and in Luther, "Von den guten
Wercken," 1521. Pr. 10789 is the first book mentioned by Rött. as containing this
border.
15. [BRASSICANUS.]
In Divum Carolum
Miller, Augsburg, 4 Aug., 1519; 4to. (Pr. 10849).
Dialogus. J.
Title-border (Pr. Miller-E.), as in Hutten (p. 140, no. 2), but the date removed.
Described by Rött. under no. 12.
16. [FREDERICK I.] Ein warhafftige history von dem kayser
Friderich der erst seines Namens, mit einem langen rotten Bart, den die
Walhen nennten Barbarossa Vnnd wie der Pundt schůch auff ist
khomen in Bairn. J. Weissenburger, Landshut, 1519; 4to. (Muther 1697;
Pr. 11812).
Four illustrations in the text (A3, A4, B1, B2, the first repeated B5) are by
Weiditz (not mentioned by Rött.). B2, representing Barbarossa taken prisoner by
Saladin, is in the most familiar style of Weiditz; the other cuts are chiefly recog-
nisable by his habit of drawing the eyes as black dots in faces on a tiny scale (cf.
Rött. 46 and Petrarch, ii, 87 v.).
17. [ARISTOTLE.] De anima Libri III., etc. . . . Adiectis Eckij
Commentarijs. Grimm and Wirsung, Augsburg, 16 March, 1520; fol.
(Pr. 10914; Rött. 19).
On the title-page the arms of Christoph von Schrovenstein, Bishop of Brixen.
Sig. 04. St. Catherine (used in Sanctorum Icones, 1551).
18. [BOEMUS.] Repertorium librorum trium Joannis Boemi de
omnium gentium_ritibus. Grimm and Wirsung, Augsburg, July, 1520 ;
fol. (Pr. 10918; Rött. 21).
Title-border [249 × 162] (Pr. G. & W.-F), repr. Butsch, i, 29. Also used in
Cicero, Büchlein von dem Alter, 1522 (p. 142, no. 8).
Um
}

Ain Hipsche Tragedia
võ źwaien liebhabendñ
mentſchen ainem Hitter
Calixstus vñ ainer Edlñ
junckfrawen Melibia ge
nãt/deren anfãg miesā
was, das mittel ſießt mit
de aller bittersten fr bay
der sterben beschlossen.
PLATE XII
HANS WEIDITZ
TITLE-PAGE OF "CELESTINA ”
Division B.-School of Augsburg.— Weiditz.
151
19. [CHARLES V.] Wie . . . König Karl von Hispanien .
erstlich geschifft nach Engellandt, nach maln fürterhin auffs Niderlandt
gen Flyssingen inn Flandern Gelegen, etc. (J. Weissenburger, Landshut,
not before June, 1520); 4to. (Pr. 11817).
On the title-page the cut by Weiditz which was first used on sig. A 3 and B 5 of
no. 16 (1519). Not described by Rött.
20. [ERASMUS.] Epistola de Luthero ad præsulem Moguntinum.
Grimm and Wirsung, Augsburg, 1520; 4to. (Pr. 10920).
Title-border (Pr. G. & W.-B²), described by Rött. under no. 9, in the second
state. This border also occurs in Pr. 10921.
21. [SBROLIUS.] In Divi Caroli Maximi Cæsaris Augusti, &c.
Foelice ex Hispania in Germaniam Reditum, Richardi Sbrulij Foro Iuliani,
C. P. Elegia. Cui Titulus, Vaticinium Protei. Grimm and Wirsung,
Augsburg, 1520; 4to. (Pr. 10923).
On the title-page the cut of Charles V and the seven Electors [158 × 112],
described by Rött. under no. 23.
22. [CHARLES V.] Römischer Küniglicher Maies. Krönung zů
Ach geschehe. (Grimm and Wirsung, Augsburg, 1520) 4to. (Weller
1447; Pr. 10924).
On the title-page the same cut as in no. 21.
23. [HUTTEN.] Hienach volget ein scharffes künstlichs gedicht võ
einē tyrannē, etc. (J. Schott, Strassburg, 1520 ?) 4to. (Weller 1118;
Böcking xii a; Pr. 10295).
On the title-page, the cut [120 x 112] representing the murder of Johann von
Hutten by Duke Ulrich of Würtemberg, first used in Phalarismus (Augsburg, 1517
or 1518). See Rött., no. 6, who mentions a Latin edition (Böcking xxiv, i. Schöffer,
Mentz, 1519) as containing the woodcut, but not the present edition. Repr. Hirth
i, 26.
24. [CELESTINA.] Ain Hipsche Tragedia vō zwaien liebhabendñ
mentschen ainem Ritter Calixtus vñ ainer Edlñ junckfrawen Melibia
genāt. Grimm and Wirsung, Augsburg, 20 Dec., 1520; 4to. (Muther
876; Pr. 10925A).
Border at the beginning with the arms of Lang and Wirsung (Pr. G. & W.-G.)
and at the end with those of Grimm and Wirsung (Pr. G. & W.-H). In the text
are one large cut [145 x 94], sig. A 3 v., and twenty-six small illustrations [69 × 92],
one of which occurs twice. Seidl. 9; Rött. 35. Ascribed by Muther (Verz. 501-523)
to Burgkmair.
¹ The flame of the cresset shows that this was the combination originally designed.
The portion of the block containing Grimm's arms was then sawn off, and Lang's
arms were drawn on a piece of wood of similar shape, so that either piece could be
printed with the main portion of the block.
152
Early German and Flemish Woodcuts.-Part II.
25. [OECOLAMPADIUS.] Ain Sermon von dem verss in Magnificat.
Exultauit spiritus meus in deo salutari meo. (Grimm and Wirsung, Augs-
burg, 1520); 4to. (Weller 1612; Pr. 10928).
Title-border of irregular outline. Pr. G. & W.-I; Seidl. 16; Rött. 40.
26. [LITURGIES.] Scamnalia s'm ritum ac ordine ecclesie & diocesis
Frisingen. Pars hyemalis. Pars estiualis. P. Liechtenstein for J.
Oswalt, Venice, 1520; fol. (Duc de Rivoli, "Bibliographie des livres à
figures vénitiens," p. 425).
Two woodcuts, not described by Rottinger (see pp. 166, 181). On the title-page of
each part the arms of the Bishop of Freising, under an arch [236 × 197]. On the
back of the leaf, the Virgin enthroned, between St. Corbinian and St. Sigismund,
described by Passavant (iii, 201, 243) under the name of Dürer. Both cuts are repro-
duced by Rivoli ("Les Missels imprimés à Venise," pp. 147, 148) from the Freising
Missal of the same year, in which they were also used.
27. [CHRISTIAN SOUL.] Das büechlin ist genant der Gilgengart
ainer yetlichen Cristeliche sel. (J. Schönsperger, Augsburg, 1521?) 8vo.
(Muther 959: Rött. 26; Jahrb. d. k. preuss. Kunstsamml. xxi, 210, 211).
Three cuts are by Weiditz :—(1) sig. a 1 v. a woman confessing to a priest; (2)
sig. d 1 v. the Trinity; (3) sig. g 3 v. a priest giving the host to a kneeling man (not
the cut used in "Sanctorum Icones," p. 79).
28. [ERASMUS.]
Die Unterweysung eines Christlichen Fursten.
Grimm and Wirsung, Augsburg, 1521; 4to.
On the back of title-page, the arms of Charles V; at the end, the second device
of Grimm and Wirsung.
29. [OECOLAMPADIUS.] Ein sonderliche lere vñ bewerug das die
beicht aine Christen meuschen nitt burdlich oder schwer sey bescrhryben
durch Jo. Hauszschein sust genat Ecolampadius sat Birgitten ordens.
Grimm and Wirsung, Augsburg, 28 Aug., 1521; 4to.
Title-border of irregular outline, Rött. 41, also used in "Divi Ioannis Chrysostomi
Sermo de Eleemosyna. Io. Oecolamp. Interprete." S. Grimm, Augsburg, 1522; 4to.
(Rött. 41). Rött. mentions no book earlier than 1522 in which the border occurs.
30. [KLAINMÜLLER.] Anzaygung diser sterbliche leuff. J.
Schönsperger, Augsburg (after 12 Oct.), 1521; 4to.
Title-border with leaf ornament, unshaded, on white ground [166 × 115; opening,
126 x 80], Rött. 42.
31. [LUTHER.] Wider den falsch genante gaystlichen stand des
Bapsts vnd der Bischofe. (S. Grimm ?) Augsburg, 1522; 4to.
Undescribed border, four blocks [top and bottom, 14 × 64; sides, 149 × 14],
black arabesque on white ground.
32. [OECOLAMPADIUS.] Ain schöne Epistel Oecolampadii an
Caspar Hedion. (Augsburg, after 1 June, 1522); 4to.
Undescribed border, eight rosettes on black ground spotted with white [160 × 116;
opening, 101 x 66], also used in "Haimliche Anschlag des Türckischen Kaysers,"
1523, and Locher, "Vom Aue Maria Leuthen,” 1524.
Division B.-School of Augsburg.— Weiditz.
153
33. [LUTHER.] Ein mercklicher Sermon Von der gepurt Marie.
(Augsburg) 1522; 4to.
Undescribed border, white arabesque on black_ground, small rosettes in top
corners [148 × 101; opening, 90 × 56]. Also used in Luther, "Ein sermo Am
Erichtag in Pfingst feyertagen geprediget," 1522; Luther, "Ain predig am fünfften
Sontage nach Ostern. Johannis xvi.," 1525; and "Das Salue regina, nach dem richt-
scheyt . . ermessenn vnnd abgericht" (Linz, Krackowizer 49 (27), not in B.M.).
34. [STAUPITZ.] Vō der liebe gottes (Augsburg, after 1518); 4to.
(W. 1148).
Undescribed title-border with putti riding on dolphins and sphinxes suckling
young fauns, obliquely shaded background [165 × 125; opening, 93 × 68]. Repr.
Hiersemann, Cat. 292, cover. Also used in Luther "Von menschen leren zu meyden,'
1522; Luther, "Acht Sermon," 1523; Luther, "Acht Sermones," 1523; and Sachs,
"Die Wittembergisch nachtigall," J. Gastel, Zwickau (1523. W. 2671).
35. [CASTENPAUR.] Artickel wider Doctor Steffan Castenpawr
Eingelegt. M.D. xxiij. (Augsburg); 4to.
Undescribed border, black arabesque on white ground [169 × 126; opening,
77 × 60], also used in Castenbaur, "Sermon von Sterben," 1523, and Huberinus,
“Ain tröstliche Sermō von der vrstendt Christi,” 1525.
36. [DISTELMAIR.] Ain trewe ermanung, das ain yeder Christ
selbs zu seiner seel hail sehe. (Augsburg) 1523; 4to.
Undescribed border, four blocks [top, 34 × 72; sides, 132 × 28; bottom, 38 × 126],
white arabesque on black ground.
37. [DISTELMAIR.] Ain gesprechbüchlein von aim Xodtschneyder
vñ aim Holtzhawer. (Augsburg) 1523; 4to.
Undescribed border, four blocks [top, 18 × 105; sides, 118 × 15; bottom, 21 x 104],
white arabesque on black ground, also used in "Summarium der schödlichen tödt-
lichen gyfften, etc., gedruckt zu Hohensteyn durch Hanns Fürwitzig" (1523?)
Hess, "Von disen nach geschriben Schluszreden, etc." (1524); Lindenmayer, “Ain
kurtzer gründtlicher bericht, etc." (1524?) ; "Ain Christenliche betrachtung in der
Mess"
(W. 2787); Seb. Mayer, "Widerrüffung," 1524; Luther, "An die herren
Deutschs ordens, das sy falsche keuschait meyden," 1524; "Supplication des
Pfarrers zu sant Thoman aim ersamen Radt zu Strassburg uberantwort," 1524 (W.
3186); Hedio, "Von den Zehenden," 1525; Osiander, "Ain Sermon über das Evan-
gelion Mathei am 17,” 1525 (W. 3600).
38. [GERUNG.] Ain kurtze vnderweysug wie man Got allain Beych-
ten sol. . . durch Christoffen Gerung vonn Memmingen
Im jar
M.D. xxiij quinto Septembris. (Augsburg); 4to.
•
Undescribed border, four blocks [top, 36 × 127; sides, 93 × 30; bottom, 37 x 127],
white arabesque on shaded ground, also used in Luther, "Von anbeten des Sacra-
ments," 1523; Luther, "Wie man ain menschen zum Christen glaubñ tauffen soll,"
1523. The top and bottom pieces were used in Xenophon," Der Teutsch Cicero," and
Köbel, “Offenbarung," 1540.
39. [WESTERBURCH.] Vom Fegfewer. (Augsburg) 1523; 4to.
Undescribed border, white ornament (sun, shells, masks, foliage and flowers) on
obliquely shaded ground [173 × 123; opening, 55 × 55].
154
Early German and Flemish Woodcuts.—Part II.
40. [MELANCHTHON.]
Anweisung in die warhafftig haylig
geschrifft gottes. S. Grimm, Augsburg, 1523; 4to.
Ornaments on title-page and large device of S. Grimm.
41. [BIBLE.] Psalter des küniglichen prophetten davids geteutscht
(by Caspar Amman). S. Grimm, Augsburg, 1523; 8vo. (Seidl. 19,
Rött. 32).
On back of title-page, David and Nathan [129 x 74]. On recto of last leaf, the
small device of S. Grimm. Six pages are surrounded by borders by Weiditz each
composed of four blocks.
42. [LUTHER.] Ain betbüchlin Der Zehen gepott. Des Glaubens.
Des vatter vnsers. Vnd des Aue Marien. D. Martini Lutheri (J.
Schönsperger, jun., Augsburg) 1523; 8vo. (Weller 2498, not mentioned
by Rött.).
Sig. a 6 v. Moses holding the tables of the law [85 × 58], not mentioned by Rött.
Sig. D 1 v. The Trinity, as in "Der Gilgengart."
43. [REGIUS.] Ain kurtze erklärung etlicher leüffiger puncten.
Augsburg, 30 July, 1523; 8vo.
On title-page, border with dog seizing a hare, from "Devotissimae meditationes."
44. [IESUS CHRIST.] Ein andechtige betrachtung des leydens
vnsers herren Ihesu Christi an dem hailigen creütz hangende, etc. (Augs-
burg), 1523; 4to.
Title border undescribed, white ornament on black ground [171 × 123; opening,
83 × 162], also used in "Ain Christenlich ansehen vnnd ordnung von den Ersamen
Burgermayster vnnd Radt. der Statt Zürich" (Augsburg), 29 Sept., 1523 (W.
2741), and Luther, "Von zwayerlay menschen," 1523. On back of title-page, the
Crucifixion from Rött. 28.
•
45. [BIBLE.] Allegoriae Psalmorum (by Ottomarus Luscinius). S.
Ruff for S. Grimm, Augsburg (August), 1524; 8vo.
Border (four blocks) on title-page, and initials from three alphabets.
46. [BIBLE.] Der Psalter des kinigs vñ propheten Davids. S.
Ruff for S. Grimm, Augsburg, August, 1524; 4to.
Numerous initials from various alphabets. Ornamental border (four blocks)
round printer's mark on last page.
47. [SCHATZGER.] Von dem waren Christlichen leben in wem es
stehe. (Augsburg) 1524; 4to.
On title-page, Christ on the cross, from "Devotissimae Meditationes,” 1520.
48. [BIBLE.] Das New Testament Deutsch. H. Steiner, Augsburg,
1529; 8vo.
Fol. 103. Annunciation to the shepherds, copy [92 × 70], see Rött. 30. Facing
fol. 1, the Stem of Jesse [94 × 71], belonging to the roughly cut set (copies) described
by Rött. under nos. 28 and 30.
Division B.--School of Augsburg.— Weiditz.
155
49. [VEGETIUS.] Flavij Vegetij Renati vier bücher der Ritterschaft.
H. Steiner, Augsburg, 1529; fol. (Muther 1071).
On the title-page a copy [133 × 112] of the cut used in Ciceros "Officia," fol. 83
(CA. FABRICIVS).
Marius Aretius. Dialogi. H. Steiner, Augsburg,
50. [AREZZO.] Marius Aretius.
30 Aug., 1530; 8vo. (Rött. 36).
E 4. The Planet Sol [79 x 47].
51. [LOBERA DE AVILA.] Vanquete de nobles cavalleros. H.
Steiner, Augsburg, 31 Aug., 1530; 4to. (Muther 895; Rött. 37).
Seven cuts by Weiditz:-
(1) Sig. K 1="Trostspiegel," i, 4. (2) Sig. S 1= Diagram for bleeding, new. (3)
Sig. S2="Trostspiegel," ii, 120 v. (4) Sig. S 4 = "Trostspiegel," ii, 116, but the
cut is here in an earlier state. (5) Sig. T 3 v = Trostspiegel," ii, 3 v. (6) Sig.
V1=" Trostspiegel," ii, 138 V. (7) Sig. X1 = Ficinus (p. 149, no. 5, title-page). The
cut on Sig. T 4, surrounded with borders by Weiditz, is a copy of part of the cut in
Trostspiegel," ii, 105 v (mentioned by Rött., p. 74).
52. [ALCIATUS.] Emblematum liber.
Emblematum liber. H. Steiner, Augsburg, 6
April, 1531; 8vo.
On title-page, the border from F 5 of "Devotissimae Meditationes." Also used in
the first edition of Alciatus, 28 Feb. 1531 (Rött. p. 76). Several small borders in the
book are in the manner of Weiditz.
53. [CICERO.] Officia M. T. C. H. Steiner, Augsburg, 29 April,
1531; fol. (Muther 879; Seidl. 13; Rött. 43).
The second edition, with the same cuts as the first excepting certain initials and
ornaments. The anonymous cut on fol. 71 v is now printed with the text instead of
being pasted over another.
54. [BUSTETER.] Ernstlicher Bericht, wie sich ain Frume Oberkayt
halten sol. H. Steiner, Augsburg, 17 May, 1532; 4to.
(Muther 1086).
On the title-page an anonymous copy [119 × 111] of part of the cut in "Trostspiegel,”
i, 116 v.
55. [VOGTER.] Ain nutzlich vnnd notwendigs Artzney Büchlin.
P. Ulhart, Augsburg, n.d.; 4to. (Muther, no. 1082, describes Steiner's
edition of 1531).
On the title-page an anonymous copy [100 × 112] of part of the cut in "Trostspiegel,"
ii, 120 v. Another book in which this copy occurs is mentioned by Rött. (p. 75).
fol.
56. [BARLETIUS.] Des Herrn Georgen Castrioten genant Scander-
beg Ritterliche Thaten. H. Steiner, Augsburg, 21 Feb., 1533
(Muther 1090).
Ten cuts (excluding repetitions) from "Trostspiegel," and one (fol. 169) from
"Officia" (fol. 83).
156
Early German and Flemish Woodcuts.-Part II.
57. [VEGETIUS.] Flauij Vegetij Renati Vier bücher der Ritter-
schaft. H. Steiner, Augsburg, 1534; fol. (Muther 1103).
On the title-page the cut, dated 1519, from "Trostspiegel," i, 118 v.
58. [BIBLE.] Biblia beyder Alt vnnd Newen Testaments Teutsch.
H. Steiner, Augsburg, 1534; fol. (Muther 1096).
Contains David and Nathan, by Weiditz (Rött. 32), before the Psalter, and the
Evangelists Matthew, Mark and Luke before their respective Gospels.
59. [BIBLE.] Biblia. Das ist die gantze heilige Schrifft Deudsch.
H. Steiner, Augsburg, 1535; fol. (Muther 1104).
A copy [106×71] of David and Nathan before the Psalter. The four Evangelists
at the beginning of the Gospels are by Weiditz.
60. [CICERO.] Der Teutsch Cicero. H. Steiner, Augsburg, 4 March,
1535; fol. (Rött. 45, edition of 1534).
Most of the illustrations are by Schäufelein and Breu. Seven by Weiditz are
from the "Trostspiegel," five from Cicero's "Officia," five from Cicero's "Buch vom
Alter," 1522, while three, Cicero writing (fol. 2), Cicero's birth (fol. 2 v), and Cicero's
death (fol. 19 v), had not been used before. Some of the cuts by Breu (?) in this book
are freely adapted from Weiditz. Compare fol. 136 with "Officia," fol. 20 v, fol. 135
v with "Trostspiegel," ii, 46 v, fol. 136 v with "Trostspiegel," i, 131, fol. 126 v with
"Trostspiegel," i, 108, and fol. 123 with "Trostspiegel," i, 58 v. The table on fol.
134 v is, perhaps, adapted from "Trostspiegel,” i, 19 v.
61. [WYLE.] Translation oder Deütschungen Nicolai von Weil. H.
Steiner, Augsburg, 18 Feb., 1536; fol.
Fourteen cuts from "Trostspiegel," one from "Officia."
62. [PAULI.] Das Buch Schimpff vnnd Ernst genant. H. Steiner,
Augsburg, 30 Oct., 1537; fol.
The same cuts as in the edition of 1535 (p. 144, no. 17).
63. [MELUSINA.] Die Histori
von der
•
schönen Melu-
sina. H. Steiner, Augsburg, 1538; 4to. (Rött. p. 64, mentions the
edition of 1539).
The cut on sig. A 3 v (repeated D 3 v) is from Plautus, 1518, K 1 v (Rött. 5).
64. [KOEBEL.] Glaubliche offenbarung, etc. H. Steiner, Augsburg,
1540; fol.
Sig. C 6 v. Charles V and the seven Electors, Rött. 23. See nos. 21, 22.
65. [BRUNI.] Historien der Rhömer krieg wider die Carthaginenser
Leonhardum Aretinum beschriben. H. Steiner, Augs-
durch.
burg, 7 Oct., 1540; fol. (Muther 1115).
One cut from "Buch von dem Alter," five from "Trostspiegel."
Division B.-School of Augsburg.— Weiditz.
157
66. [SACCHI.] (Platina) von der Eerliche. .. Wolust des leibs. H.
Steiner, Augsburg, 14 March, 1542; fol.
Four cuts from "Trostspiegel."
67. [BOCCACCIO.] Die Gantz Römisch histori
verteütscht
durch Christophorum Brunonem. H. Steiner, Augsburg, 12 June, 1542;
fol. (Muther 1120).
Six cuts from "Trostspiegel," and five from "Officia."
68. [BRACELLUS.] Ein schöne Cronica vom Künigreich Hispania.
H. Steiner, Augsburg, 18 Aug., 1543; fol. (Muther 1124).
Eight cuts from "Trostspiegel."
69. [VIVES.] Von Gebirliche Thun vnd Lassen aines Ehemanns. H.
Steiner, Augsburg, 1544; fol. (Muther 1125).
Eleven cuts (one used thrice) from "Trostspiegel."
70. [VIVES.] Von vnderweysung ayner Christlichen Frauwen.
Steiner, Augsburg, 1 March, 1544; fol. (Muther 1126).
Twelve cuts from "Trostspiegel," one (fol. 25) from "Celestina,” sig. L 7 v.
71. [BOCCACCIO:] Furnemste Historien vnd exempel von wider-
wertigem Glück. H. Steiner, Augsburg, 27 Feb., 1545; fol. (Muther
1127).
Forty-four cuts from "Trostspiegel," three from "Officia," one (Cicero writing,
fol 89 v) from "Der Teutsch Cicero," and one (Massacre of the Innocents [69 × 74],
fol. 163), from "Devotissimae Meditationes."
72. [PONTHUS.] Von Adelischen Mannlichen Tugenten
Pontus (H. Steiner, Augsburg), 1548; fol. (Muther 1130).
Ritter
Seven cuts from "Trostspiegel," one (the signed cut) from "Officia," and the
"Theuerdank" illustration (no. 25) which Röttinger attributes to Weiditz.
73. [GOBLER.]
March, 1550; fol.
Der Rechten Spiegel. C. Egenolff, Frankfort,
Thirty-two woodcuts by Weiditz, chiefly from " Officia,” some from “Trostspiegel.”
74. SCHERTZ mit der Warheyt. C. Egenolff, Frankfort, March,
1550; fol.
Eleven cuts from "Trostspiegel" and one (Rött. 82) of the Strassburg period, first
used in 1531.
75. [PETRARCH.] Zwei Trost bücher, Von Artznei beydes des
guten vnd wider wertigen Glücks. C. Egenolff, Frankfort, January,
1551; fol.
Reprint of the cuts from "Trostspiegel," 1532.
1
158
Early German and Flemish Woodcuts.-Part II.
||
11.
!
:
76. [BIBLE.] Novi Testamenti Iesu Christi historia effigiata. Heirs
of C. Egenolff, Frankfort, 1557, 8vo.
A reprint of the 1551 edition, except that on sig. g 7, a "Flagellation" by Schäu-
felein is substituted for that by Weiditz.
77. [PETRARCH.] Zwei Trost bücher, Von Artznei vnd Rath beyde
im guten vnd widerwertigen Glück. Heirs of C. Egenolff, Frankfort,
1559; fol.
Reprint of the cuts from "Trostspiegel," 1532,
78. [BIBLE.] Postilla... per Ioannem Spangenbergium. Heirs
of C. Egenolff, Frankfort, 1560; 8vo.
Two cuts (fol. 171, 185 v) from the upright series used in "N. T. hist. effigiata,"
1551.
79. [BARLETIUS.] Des aller Streyttbarsten
Georgen Castrioten, genannt Scanderbeg
Hahn and G. Rabe, Frankfort, 1561; 4to.
•
Eleven cuts, one used twice, from "Celestina," 1520.
Fürsten
Ritterliche Thaten. W.
80. [PETRARCH.] De rebus memorandis. Heirs of C. Egenolff,
Frankfort, 1566; fol.
Four cuts by Weiditz. Fol. 1 = "Officia,” 1531, fol. 63; 36 v = "Officia" 73; 67
v = "Trostspiegel," 1532, ii, 23 v; sig. T 5 v = "Officia" 17 v, with different verses
(17 11.) over the cut.
81. [SPANGENBERG.] Duodecim hymni ecclesiastici. Heirs of C.
Egenolff, Frankfort, 1570; 8vo.
Nativity and Trinity from the upright series used in "N. T. hist. effigiata,” 1551.
82. [PETRARCH.] Trostspiegel in Glück und Unglück. Heirs of
C. Egenolff, Frankfort, 1596; fol.
Reprint of the cuts from "Trostspiegel," 1532.
83. [PETRARCH.] Trostbücher, Von Rath, That, vnd Artzney in
Glück vnd Vnglück. J. Saur for V. Steinmeyer, Frankfort, 1604; fol.
Reprint of the cuts from "Trostspiegel," 1532.
84. [PETRARCH.] Trostspiegel in Glück und Unglück. Widow of
J. Bringer for V. Steinmeyer, Frankfort, 1620; fol.
Reprint of the cuts from "Trostspiegel," 1532.
DOUBTFUL.
85. [THURNMAIER.] Aventinus, Musicae rudimenta. J. Miller,
Augsburg, 21 May, 1516; 4to. (Muther 1021; Pr. 10834; Rött. 2).
On the title-page, the author presenting his book to Duke Ernest of Bavaria
[99 × 99]. Sig. D 2, four stringed instruments.
Rejected, rightly as I think, by Dr. Dörnhöffer (Kunstgesch. Anzeigen, 1904, p. 61).
Division B.-School of Augsburg.— Weiditz.
159
86. [ARISTOTLE.] Acroases physicæ libri viii Joan. Argyropilo
adiectis Ioan. Eckii adnotationibus. Grimm and Wirsung, Augsburg,
June, 1518; fol. (Pr. 10873).
Arms of Ernest, Count Palatine [116 × 118] on title-page, perhaps by Weiditz.
Also used on recto of last leaf of Aristotle, De Anima, etc., 17 March, 1520 (Pr. 10914).
87. [IOHANN, VON ECK.] Elementarius Dialectice d. Joan. Eckii
J. Miller, Augsburg, 26 Dec., 1518; 4to. (Pr. 10844 A).
On the back of the last leaf, D 6, the arms of Eck, Rött. 50, also used separately
as a bookplate. According to Nagler, the same woodcut occurs in the edition of
12 Feb., 1517. The British Museum copy of that edition (Pr. 10838) has a blank
page at the end.
Rejected by Dr. Dörnhöffer (loc. cit., p. 64).
II. STRASSBURG PERIOD.
88. [BIBLE. Concordances]. Concordantz des Newen Testaments
zu Teütsch. J. Schott, Strassburg, 17 June, 1524; fol. (Krist. 466;
Schmidt ii, 85; Rött. 59).
Title-page [211 x 163] with four subjects from the Pentateuch.
8. [BIBLE.] Ψαλτήριον προφήτου καὶ βασιλέως τοῦ Δαβίδ. W. Köpfel,
Strassburg, 1524; 8vo. (Rött. 61).
Title-border dated 1524 (repeated in 1528 edition), and device, Heitz xx, 17.
90. [BIBLE.] Τῆς θείας γραφῆς παλαίας δηλαδὴ καὶ νέας ἅπαντα
(Four parts in five vols.) W. Köpfel, Strassburg, 1524 (N. T. only),
1526; 8vo. (R. 68).
Four title-borders (that to N.T. described by R. under no. 67), and five different
devices of Köpfel (Heitz xvi, 2-4, xviii, 8, 10).
91. [SCHATZGER.] Tractatus de Missa. U. Morhard, Tübingen,
Jan., 1525; 8vo. (Steiff 100; Rött. 62).
Ornamental border, also used in [DOBNECK] Cochlæus, Pia exhortatio, Feb.,
1525 (Steiff 101).
92. [BIBLE.] Das neüw Testament, Recht gründtlich teutscht.
J. Knoblouch, Strassburg, 1525; fol. (Muther 1545; Krist. 430; R. 63).
Twenty illustrations to the Apocalypse, after Holbein. Three of the copies are in
the same direction, the rest reversed, wholly or in part. Twenty of Holbein's 21
original blocks (first printed by Wolff at Basle in 1523) were used by Knoblouch in his
folio N.T. of 1524. The illustration to ch. 19, fol. 193 v. of that edition, does not
appear in 1525; on the other hand, the latter contains one subject, the second
illustration to ch. 6, fol. 185, which is not in the edition of 1524; it is also after
Holbein. Röttinger's note on this book is misleading, as he has confused the 1528
edition, which contains 16 reversed copies by another hand after Holbein, with the
1524 edition, which contains the Holbein cuts themselves.
160
Early German and Flemish Woodcuts.-Part II.
93. [HOMER.] ΟΔΥΣΣΕΙΑ. Βατραχομυομαχία. ὕμνοι. W. Köpfel,
Strassburg, Myvi λapnẞwλiovi (March ?), 1525; 8vo.
Title-border with subjects from the Odyssey, R. 66, and two devices of Köpfel.
The border was repeated in the editions of 1542 and 1550 (not 1534).
94. [HOMER.]
(August ?), 1525; 8vo.
ΙΛΙΑΣ. W. Köpfel, Strassburg, Myvi yaµndivi
Title-border with subjects from the Iliad and two devices of Köpfel. The border
was repeated in the editions of 1534, 1542 and 1550.
95. [HUTTICHIUS.] Imperatorum Romanorum Libellus. W. Köpfel,
Strassburg, 1526; 8vo.
The second edition, containing a Bacchanalian title-border and medallions of
emperors, some of which are attributed to Weiditz by Röttinger.
96. [BUCER.] Vergleichung D. Luthers vnnd seins gegentheyls,
vom Abentmal Christi. W. Köpfel, Strassburg, 1528; 8vo.
The same border as in no. 90.
97. [DIOSCORIDES.] Pharmacorum simplicium, reiq' Medicæ Libri
VIII. Io. Ruellio interprete. J. Schott, Strassburg, 28 Aug., 1529;
fol. (Rött. 75).
Title-border and five initials with biblical subjects.
98. [NACHTIGALL.] Seria Iocique dulcissimo literaru Mecænati
D. Antonio Fuggero ab Ottomaro Luscinio.... congesta. (Strassburg,
1529); 8vo. Panzer vi, 117, 807.
Title-border, repeated sig. k 7, with the arms of the Fugger family. Repr. Jahrb.
d. k. preuss. Kunstsamml. xxvi, 131, as Burgkmair.
99. [WEIDWERK.] Weydtwergk. C. Egenolff, Strassburg, May,
1530; 4to.
Hunting, fowling and fishing. [84 x 117.]
100. [BRUNFELS.] Herbarium (Kräuterbuch). J. Schott, Strass-
burg, fol. (Rött. 77).
The following editions are in the library :-Latin, Tom. i (Herbarum vivae
eicones), 1530, 1532, 1537; ii, 1531, 1536; iii, 1536, 1540. German, i, 1532; ii,
1537. Woodcuts of plants certified both by verses in the Latin editions and by the
preface to the German as the work of the painter Joannes Guidictius or Hans
Weyditz of Strassburg. Reduced copies of the cuts, in reverse, occur in the quarto
German edition of 1539-40.
101. [BIBLE. Concordances.] Concordantiæ Maiores Biblia. J.
Schott, Strassburg, 3 Sept., 1530; fol. (Schmidt ii, 115; Rött. 59).
Title-page [211 × 163] with four subjects from the Pentateuch.
Division B.-School of Augsburg.— Weiditz.
161
102. [FECHTER.]
Der Allten Fechter gründtliche Kunst. C.
Egenolff, Frankfort, n.d.; 4to.
Forty illustrations, from 33 different blocks, of fencers, wrestlers, etc. R.
(no. 86) describes another edition.
103. [GUNTHERUS.] Guntheri Ligurinus, seu Opus De Rebus
gestis Imp. Cæsaris Friderici I. J. Schott, Strassburg, 26 Aug., 1531;
fol. (Schmidt ii, 118; Rött. 83).
Title-page [238 × 154] with the portraits and arms of Frederick I., Maximilian I.,
Charles V., and Ferdinand, King of Hungary.
104. [BOCCACCIO.] Compendium Romanae historiae. J. Frölich,
Strassburg, 1535; 8vo. (Rött. 89).
Device of Frölich, swan and fiddle, Heitz, xxv, 1.
105. [BRANT.] Der Richterlich Clagspiegel. J. Albrecht, 23 Mar.,
1536; fol.
On title-page, a judge trying a case [192 × 135]. Rött. 90.
106. [CUBE.] Kreuterbuch. C. Egenolff, Frankfort, Aug., 1536; fol.
Sig. b 6 v. An apothecary's distillery [49 × 120], undescribed.
107. [MENGENBERGER.] Naturbuch. C. Egenolff, Frankfort,
Sept., 1536; fol.
Fol. 10 v-11 v. The seven planets with the twelve signs of the zodiac [70 × 40],
without borders, not described by Rött. Fol. 18. Horses, cattle, poultry, etc., from
"Erziehung aller zahmen Thiere," 1530. Fol. 45 v. A garden, from " Von Lustgärten
vnd Pflantzungen," Jan., 1530.
108. [DIOSCORIDES.] In Dioscoridis Historiam Herbarum certis-
sima adaptatio....Der Kreüter rechte warhafftige Contrafactur. J. Schott,
Strassburg, 1543; fol.
Contains the majority of the cuts used in Brunfels' Herbal, with additions by
another hand.
M
162
WOODCUTS BY WEIDITZ.
A.-AUGSBURG PERIOD.
I-SACRED SUBJECTS. Nos. 1-52.
[1-43.]
SMALL ILLUSTRATIONS TO DEVOTIONAL BOOKS. Rött. 25, 27.
Two large series of woodcuts, of upright and oblong shape, were designed by
Weiditz towards 1520 for the publishers Grimm and Wirsung. A number of these
were published in "Devotissimae Meditationes de Vita Jesu Christi." Selections
from the remainder were used sparingly by Steiner during the following twenty
years, but the majority saw the light for the first time in 1551,' when they were
published by Egenolff at Frankfort in two books, "Novi Testamenti, Jesu Christi
Historia effigiata," and "Sanctorum et Martyrum Christi Icones." The set here
described includes many early impressions without text, the date of which cannot
be determined.
A. UPRIGHT CUTS [c. 86 × 52].
1. THE FLIGHT INTO EGYPT.
2. THE REPOSE IN EGYPT. "INFANTIA CHRISTI" (N.T. Hist.).
3. CHRIST ON THE MOUNT OF OLIVES.
4. THE BETRAYAL OF CHRIST.
5. CHRIST LED AWAY FROM GETHSEMANE.
6. CAIAPHAS RENDING HIS ROBES.
7. PETER DENYING CHRIST.
8. CHRIST BEFORE PILATE.
9. CHRIST BEFORE HEROD.
10. PILATE WASHING HIS HANDS.
¹ Röttinger mentions (p. 77) Egenolff's "Kleyne Bibel" of 1549 (Berlin, Munich)
as containing fourteen of the cuts which appeared in the Historia.
Division B.-School of Augsburg.—Weiditz.
163
11. CHRIST APPEARING TO MARY MAGDALEN.
12. MATER DOLOROSA.
13. THE ASSUMPTION OF THE VIRGIN.
14. THE AUXILIARY SAINTS.
15. THE TEMPTATION OF ST. ANTONY.
16. ST. CHRISTOPHER (called Bonifacius in the "Icones").
17. ST. ULRICH..
18. ST. CATHERINE OF ALEXANDRIA.
19. THE ECSTASY OF ST. MARY MAGDALEN.
20. CONFESSION.
21. THE "CONFITEOR" AT THE MASS.
22. ADORATION OF THE BLESSED SACRAMENT.
23. THE LAST JUDGMENT.
24. HELL.
Nos. 1-11 and 13-15 are early impressions with the verso blank; nos. 12 and
16-24, on thinner paper, are from the "Icones,” 1551.
In the inventory of 1837.
Nos. 1, 3, 4, 7, 9, 10, 12 were used in "Devotissimae Meditationes," 1520; no. 18
in "De Anima," 1520. The remainder were first published by Egenolff.
B.-Oblong CUTS [c. 69 x 74].
25. THE ADORATION OF THE MAGI.
26. THE CIRCUMCISION.
27. THE MASSACRE OF THE INNOCENTS.
28. THE NATIVITY OF THE VIRGIN.
29. ST. AUGUSTINE.
30. THE MASS OF ST. GREGORY.
31. THE BEHEADING OF ST. JOHN THE BAPTIST.
32. ST. JOHN THE EVANGELIST DESCENDING INTO THE GRAVE.
33. THE MARTYRDOM OF ST. LAURENCE (signed).
M 2
164 Early German and Flemish Woodcuts.-Part II.
34. THE MARTYRDOM OF ST. MATTHIAS.
35. ST. ROCH.
36. THE MARTYRDOM OF ST. STEPHEN.
37. ST. SIXTUS OR URBAN SURROUNDED BY OTHER SAINTS.¹
"Consortium Divorum" (Icones).
38. THE MARTYRDOM OF ST. AGNES.
39. ST. HELEN DISCOVERING THE TRUE CROSS.
40. ST. VERONICA.
41. A PROCESSION.
"Exaudi" (Icones).
42. THE FUNERAL OF A BISHOP.
Exequiæ" (Icones).
43. VENERATION OF RELICS. Reliquiæ" (Icones).
All are early impressions with the verso blank, except no. 25, which is from
"Novi Testamenti historia effigiata,” 1551.
In the inventory of 1837.
Nos. 25-27 were used in "Devotissimae Meditationes," 1520, no. 27 also in
Boccaccio," Furnemste Historien vnd Exempel von widerwertigen Glück," Augsburg,
1545 (fol. 163). Nos. 36, 41 and 43 were used in Polydorus Vergilius, "Von den
Erfindern der Ding," Augsburg, 1537 and 1544. The remainder were first published
in 1551.
[44-47.]
LARGER ILLUSTRATIONS TO DEVOTIONAL BOOKS. Rött. 28-30 (Copies).
Röttinger describes ten cuts [c. 91 × 70] belonging to this series, which is some-
what rough in execution." The order of subjects is as follows :—
1. David and Bathsheba.
2. The Annunciation.
3. The Angel appearing to the Shepherds.
4. The Circumcision.
5. The Flight into Egypt.
6. The Crucifixion.
7. Pentecost (Rött. 29).
8. The Trinity and the Blessed Virgin in Heaven.
9. The Virgin standing on the Crescent.
10. The Martyrdom of St. Vitus (properly St. John, "ante portam Latinam ").
According to Cahier, "Caractéristiques des Saints," p. 722, it was the custom in
some German dioceses to bless the new grapes on St. Sixtus' day, Aug. 6th. Cahier,
however, had never seen a representation of this saint with grapes as his emblem,
and the pope with grapes, represented in many South German pictures, is commonly
explained in that country as St. Urban. The other saints recognisable in this group
are SS. Andrew, Oswald (with a raven holding a ring) and Clara. The reason for
their association is obscure. In three cases the saint's day falls in August, but that
does not apply to St. Andrew.
2 For another connected with them, see p. 154, no. 48.
i
Division B.-School of Augsburg.—Weiditz.
165
The cuts are found scattered about various books ranging from 1523 to 1558. The
four represented here are from "Sanctorum Icones," 1551. They are copies of
originals, much finer in execution, which have not hitherto been described. These
cuts, nineteen in number, appeared in the Horae printed by S. Sylvius for P. Roffet,
Paris, 1527, described in Part 4 of the General Catalogue of J. and J. Leighton,
no. 2598, with a reproduction of the cut of David and Bathsheba. The book is now
in the library of Mr. C. W. Dyson Perrins, of Malvern, who was so kind as to lend it to
me for study.
6
The subjects are as follows:-(1) David and Bathsheba; (2) Stem of Jesse; (3)
Annunciation; (4) Visitation; (5) ´Angel appearing to the Shepherds (the original
has excelsis,' the copy exelsis'); (6) Adoration of the Shepherds; (7) Adoration of
the Magi; (8) Circumcision; (9) Flight into Egypt; (10) Raising of Lazarus; (11)
Christ on the Mount of Olives; (12) Crucifixion; (13) Pentecost; (14) The Trinity
and Blessed Virgin Mary in Heaven (the two lowest persons r. are in the original a
pope and a cardinal, in the copy they have no attributes); (15) Coronation of the
Virgin; (16) The Virgin as Queen of Heaven, standing; (17) Our Lady of the Seven
Sorrows; (18) St. John, "ante portam Latinam " (the copy is called St. Vitus in
"Sanctorum Icones "); (19) Mass of St. Gregory.
Alterations in several of the German copies are due to Protestant objections.
French copies in reverse of nos. 1--9, 11-13, 15 and 17 are found in various editions of
Regnault's Sarum Horae, 1530-1536; a few of these copies also occur in the "Great
Bible," London, April, 1539. The Horae of 1527 also contains the originals of seven
of the ten cuts illustrating the Commandments, of which copies appeared in Luther's
Betbüchlein," 1523 (Rött. 28).
44. DAVID AND BATHSHEBA.
45. THE CRUCIFIXION.
46. THE TRINITY AND THE BLESSED VIRGIN IN HEAVEN.
47. THE MARTYRDOM OF ST. VITUS.
In the inventory of 1837.
[48, 49.]
ILLUSTRATIONS SURROUNDED BY BORDERS. Rött. 31.
These two cuts [124 x 83] have borders containing birds, flowers and insects, in
the style of the borders used in "Devotissimae Meditationes." Here, however, the
border is not a passe-partout, but cut on the same block as the subject. These cuts
are only found in "Sanctorum Icones."
48. CHRIST APPEARING TO MARY MAGDALEN.
49. THE VIRGIN MARY STANDING, SURROUNDED BY EMBLEMS
(speculum, fons, rosa, lilium, hortus conclusus, porta, turris, etc.).
In the inventory of 1837.
50. THE FIVE WOUNDS OF CHRIST.
[71 x 67 (cut).] German text on the back, from the translation of the "Devotis-
simae Meditationes," entitled "Gebet vnd betrachtungen des lebens des mitlers gotes
Jesu Christi," Grimm and Wirsung, Augsburg, 15 Jan., 1521; 8vo.
In the inventory of 1837.
166
Early German and Flemish Woodcuts-Part II.
51. ST. ULRICH DEFEATING THE HUNGARIANS ON THE LECHFELD.
1520. B. vii, 286, 74. P. iii, 278, 109. Seidl. 8. Rött. 18. Muther," Verz.
d. Werke H. Burgkmair's," 500.
St. Ulrich on horseback, in episcopal vestments, with a nimbus of
rays round his head, is seen from the back, with his face in profile to r.
He raises his r. hand to receive a cross which an angel is bringing to him.
The Emperor Otto I., also on horseback, is seen r., looking up at the
angel. On either side are standards, one with the arms of Kyburg¹ and
another bearing an angel 1., and that of the empire, with the rampant
horse of the Saxon line, r. In the foreground a hand-to-hand fight is
going on between Germans and Hungarians, the latter being in the
XVI century national costume. On a shield 1. is the date 1520.
2
[168 × 127.] A rather late impression, cut close to the border.
In the inventory of 1837.
Attributed by B. to Cranach, and by P. to Burgkmair. There were at least two
different editions with German text. The Dresden impression, on a sheet measuring
360 × 230 mm., is headed "Sant Ulrichs Schlacht | So an dem 16. tag desz Hew-
monats in dem 955 Jar auff dem | Lechfelt wider die Ungern beschehen." Below
the woodcut are fourteen and a half lines, beginning "Als man zalt nach der geburt
Christi 955. Jar, etc.' The cut itself is enclosed in a passe-partout, with scrolls, birds
and fruit [246 x 225]. The (later) Berlin impression is headed "S. Ulrichs Schlacht."
Below the woodcut are sixteen and a half lines of text, beginning "Als man zehlt
955 Jahr.... Die Schlacht ist geschehen den 10 Augusti an S. Lorentzen tag in
obgeschribnen Jahr, etc." This is the edition described by Röttinger, who mentions
impressions at Munich, Nuremberg and Vienna (Albertina). It is also in the Huth
collection. A late impression at Coburg has the address, "Gedruckt zu Augspurg
bey Andream Aperger, 1624.” A copy, by, appeared in Meisterlin's Chronicle,
M. Ramminger, Augsburg, 1522.
3
The text states that the cross brought to St. Ulrich by the angel was still
preserved in his monastery at Augsburg, and mentions among the slain Duke Conrad
of Worms, son-in-law of Otto, Diebaldus, Count of Kyburg, St. Ulrich's brother, and
Reginbaldus, Duke of Suabia. The woodcut is closely allied to the contemporary
Trostspiegel" illustrations. The same subject is represented in the "Sanctorum
Icones" (no. 53, wrongly called Bonifacius).
52. THE VIRGIN AND CHILD ENTHRONED, BETWEEN SS. CORBINIAN
AND SIGISMUND.
P. iii, 201, 243.
•
On the canopy over Mary's head is the inscription AVE GRACIA · PL.
The names of the two saints are inscribed in full at the foot of the print.
At St. Corbinian's foot is his emblem, a bear which killed his mule, and
which he compelled as a punishment to carry the mule's pack. At
St. Sigismund's feet are the arms of Burgundy. At the Madonna's feet
are the arms of the diocese of Freising, and of the Bishop, Philip,
Count Palatine (1481–1540).
[234 × 191.] Good impression, on the back of the title-page of "Scamnalia s'm
ritum ac ordinē ec- clesie & diocesis Frisingen. | Pars estiualis," P. Liechtenstein
for J. Oswalt, Venice, 1520; fol. Over the cut are three lines of text beginning
Regina celi letare All'a." The same woodcut was used in "Missale s'm ritum et
"
1 Cf. the arms given to St. Ulrich on Beck's two cuts in "Uldarici, Symperti et
Aphrae Historiae," 1516. For Kyburg, see the Triumphal Arch.
2 Cf. "Trostspiegel," i, 23, "Sanctorum Icones," 67.
I am informed by Mr. Peartree that the cross is still (1904) in St. Ulrich's
church, preserved in a case of 1492, with niello ornament.
Division B.-School of Augsburg.-Weiditz.
167
ordinē ecclesie et diocesis Frisingen.," also printed by Liechtenstein for J. Oswalt in
the same year (Weale, "Cat. Miss.," p. 71; Rivoli, "Les Missels imprimés à Venise,”
p. 146). In both cases the large cut of the arms of the Bishop of Freising (below,
no. 138) is printed on the recto of the leaf.
Collection: Cornill d'Orville (blue stamp).
Purchased at the Cornill d'Orville sale, 1900.
Attributed by P. to Dürer. This cut has not hitherto been ascribed to Weiditz,
but I am convinced that it is his work, and any difficulty which may be felt in
recognising his style is occasioned partly by the unusual scale of the figures. The
resemblance is more obvious in the reduced reproduction on p. 147 of the Duc de
Rivoli's book. Attention may be called to two small but characteristic details, the
sun on St. Corbinian's mitre and the hatching along a fold of the drapery, exemplified
in the robes of both saints.
† THE VIRGIN STANDING, ON THE CRESCENT, IN AN ARCHITEC-
TURAL FRAME.
1521.
The Virgin, to 1., standing, with a crown of stars, and holding the
Child on her r. arm, is copied in reverse from Dürer's engraving of 1508
(B. 31). The faces and hands are clumsy and expressionless, and this
portion of the woodcut is hardly to be attributed to Weiditz; the figure
is drawn on a block of irregular shape inserted within the architectural
frame, which is the most important part of the woodcut and certainly by
Weiditz. The round arch, supported by double columns, under which the
Virgin stands, is flanked by walls containing four niches, which hold the
Evangelists and their emblems. The lion of St. Mark and the ox of St.
Luke (who carries a picture of the Virgin and Child) project beyond the
architecture. Over the flanking walls are two putti carrying cressets,
riding upon dolphins. The round arch is surmounted by a pediment,
containing a figure of Justice as a man enthroned, holding sword and
scales; a lion crouches at his feet; there is a goose 1. and a fox r.
The
whole structure rests upon a socle in three compartments, with bas-reliefs ;
1. a naked man seated on the ground, another riding; in the middle a
tablet with the date 1521, carried by a triton and a nereid; r. two men
sacrificing to an idol. On the lower margin is the address, "Gedruckt tzů
Augspurg durch Jobst de Necker fårmschneider," printed with movable
type.
Photograph (reduced) of the only known impression [341 × 223] in the Ducal
Museum, Gotha. See Mitt. d. ges. f. vervielf. Kunst, 1905, p. 67.
The attribution to Weiditz is my own. His style is easily recognised in the four
Evangelists (compare especially the angel of St. Matthew with SS. Agnes and Lucy
in the "Icones"), but the architecture and ornament are also characteristic
(compare, especially, "Trostspiegel ” ii, 176, and the portrait of Charles V, no. 54).
† THE VIRGIN AND CHILD, AFTER BURGKMAIR.
B. vii, 203, 12. Rött. 49.
Facsimile from Lippmann's "Engravings and Woodcuts by Old
Masters," x, 38 (= i, 39).
Dr. Röttinger is inaccurate in his account of this woodcut. Weiditz has added
not only the pilaster, but the Madonna's throne, with the griffin near her r. arm,
also the scroll with inscription in front. Moreover, the whole woodcut is a copy,
whereas Rött. speaks as if Weiditz had merely added decoration to an existing block.
B. 9 appears to be the true original by Burgkmair.
168
Early German and Flemish Woodcuts.-Part II.
!
II.-PORTRAITS, HISTORICAL AND OTHER SECULAR
SUBJECTS. Nos. 53-57.
53. MAXIMILIAN I IN AN ARCHITECTURAL FRAME, AFTER DURER.
1519.
B. vii, 162, 153.
See Vol. I, p. 335, no. 141.
+ CHARLES V.¹
First block. First state.
The young King of Spain is drawn half-length, three-quarter face to
1., wearing a wide-brimmed hat, turned up and trimmed on the under side
with ribands, to which a medallion, containing a nude child seated, is
attached. Over a shirt edged with a diaper pattern containing fleurs-de-
lis he wears a coat of brocade with slashed sleeves, and over this a mantle
of brocade with slit sleeves, trimmed with ermine, and the collar of the
Golden Fleece. In his r. hand he holds a pomegranate. His hands rest
on a parapet, from which a carpet falls without a fold, 75 mm. wide.
Over the hat is the (xylographic) title, "Karolus. Rex. Hispanie." The
portrait is flanked by columns with pseudo-Corinthian capitals and shafts
fluted half-way up, resting on socles with bas-reliefs in imitation of the
antique, representing 1. two naked boys mounted on a horse, and r. a naked
lad with long hair brandishing a whip with two lashes. The abacus of
each column is decorated with a flower, that on the 1. side having five
petals, the other six. The columns support a flat ceiling shaded with
horizontal lines. On the base of each column stands a boy-genius; the
boy 1. carries a cresset on a long pole, the other blows a trumpet.
The block described above measures 215 × 198 mm., not counting the
projection of the carpet below the border-line. Above it are the royal
arms of Spain2 on an escutcheon in the grasp of an eagle, flanked by
cornucopias containing pomegranates; a bow 1. and a sheaf of arrows r. are
suspended from the cornucopias. This design is cut on a separate block
without border [112 x 195]; the tail of the eagle impinges slightly on
the large block, from which a small piece has been cut away.
Collotype from the impression of this state at Dresden.
Presented by Mr. W. Mitchell, 1895.
[Sheet, 375 × 200.] At the foot of the large block, on either side of the projecting
carpet, is an inscription printed in ten lines: "Karolus vō gottes genade Künig
in Hispanie ein gewaltiger her vi küng võ viij künig reich zu Castilia zu
Leō zu Arragoni zu Cicilie zu Granaden zu Toledo zu Galicie zu den fünzehē
hundert inszselē her võ Valncie vō sardonie võ Catalonie vō Bisgnaye grafe zu Rossillon
ein gewaltiger her vnd künig in Cicilie ober Rome Napples poellien hertzog zu Callabre
künig zu Jerusalem ein gepornner Ertzhertzog in Osterreich vñ zu Burgundy zu
Lothreich zu Steir zu Brabandt zu Carinthe zu Cran zu Tyrol zu Limburg zu
Lutzēburg zu Gelder graf in flander zu Habspurg zu Phyritte zu Kyburg zu Arthois
zu Burgundy pfaltzgraf zu Hennegaw zu Holand zu Seeland zu Namen zu Sütphen
¹ On the various versions of this portrait see C. Dodgson, "Eine gruppe von
Holzschnittporträten Karls V um die Zeit der Kaiserwahl," Vienna Jahrbuch, 1905,
XXV, 238.
2 Per pale; dexter quarterly, Castile, Austria, Burgundy (lilies), Burgundy (three
bends); sinister quarterly of six, Leon, Aragon, Sicily, Granada, Austria, Alsace;
over all an inescutcheon, per pale, eagle of Tyrol and lion of Burgundy.
Division B.-School of Augsburg.-Weiditz.
169
Marckgraff des Heiligen Römischen Reich vnd zu Burgaw Lantgraff in Elsas herr von
Friesland bis auff die Windische Marck zu Portenaw zu Salin zu Mechelen etc.
Item diese gebildnus ist gemacht nach seiner gestalt 1518.
A reproduction of the Dresden impression, from a line block, appeared in the
Dürer Society's first portfolio. Another impression of the same state, but with
variations in the text, is at Bremen.
There is a second state of this portrait at Berlin (238-1884). Above the square
block, which is the same as in the Dresden impression, is an oblong block [117 × 197]
in quite a different style, not connected with Weiditz, which contains a griffin
supporting the imperial arms, flanked by lions supporting the arms of Spain, Sicily,
etc., and carrying standards with a bow 1. and sheaf of arrows r. Below, inserted in
the block on either side of the carpet, are two blocks each containing three escutcheons,
viz., 1. Dalmatia, Croatia, Bosnia, r. Seville, Galicia, the 1500 islands. A fragment
of this state, containing only the upper block and a piece of the portrait itself, is at
Wolfegg.
The portrait was formerly attributed both at Dresden and Berlin to Dürer, under
whose name Bartsch (app. 41), Heller (no. 2161) and Passavant (no. 334, b, c)
described a later copy (see below, no. 54a). On the attribution to Weiditz, see p. 171.
+ CHARLES V.
Second block. First state.
The attitude and the costume, with the exception of one detail, are the
same as on the first block. A piece has been added to each end of the hat,
making the outline convex instead of concave. There is a much more
important difference in the treatment of the face. The outlines are no
longer so round and youthful, and the artist has evidently attempted to
make the king look a year older by adding lines to the face. In the first
block there is no shading on the face except to model the outlines of
eyelids, lips and chin. In the second the brow is shaded with slanting
strokes over the r. eye, which are continued down the ridge of the nose;
the nose throws a shadow on the r. cheek, and the 1. cheek is carefully
modelled. The neck is also more fully modelled. Below the hands we
now see the upper surface of the parapet, instead of the front only, and
the carpet, which has a different border, though the same pattern in the
middle, is 120 mm. wide and is sharply bent where it falls over the edge
of the parapet. It no longer projects beyond the border-line, which is
continued without interruption along the bottom of the block, the spaces
under socles being shaded. The architectural frame remains the same as
far as the capitals of the columns. The latter no longer support a flat
ceiling, but a round arch springs from them, ornamented with a moulding
formed of SS, studded at intervals with projecting bosses in the form of
rosettes.¹ From two of the latter a garland of pomegranates and leaves
is suspended, and the bow and sheaf of arrows hang by cords from
the garland. The eagle grasping the Spanish shield (with different
quarterings²) is poised in the middle. Beneath it, over the king's hat, is
his device, the Pillars of Hercules, with the motto Noch Weiter. The
angles outside the round arch have ornament imitating a recessed frame.
Photograph of the impression in the Albertina.
[Cut, 318 × 199.] On the lower margin are printed the titles of Charles, in 7
lines:- Von gottes genaden wir Karoll Römischer Künig zu Hispanien Kastilien
To be compared with the boss in the middle of a buckler in the woodcut, B. vii,
203, 12 (see Rött. 49), and "Trostspiegel," i, 24.
2 Divided by pale; dexter quarterly, Castile, Leon, Sicily, Jerusalem; sinister,
Austria and Burgundy.
170 Early German and Flemish Woodcuts.-Part II.
:
Leon Arigon Cecilien Granaden Napols | Nauarra Cauarien der Siben Insel Maiorca
Sardenien Gallicien Valencia Boncue Morcue Toleiden Corsica Iherusalem Oran
Malcabi In affrica Hungern Dalmacien Croacien etc. Künig Ertzhertzog zu
Osterreych Hertzog zu Burgundi zu | Lottrigkh zu Brawant zu Steir zu Kerndten zu
Krain zu Lymburg zu Lützelburg vnd zu Geldern Landtgraue Im Elsas | Fürst zu
Schwaben Pfaltzgraue zu Habspurg vnd zu Henigaw gefürster Graff zu Burgundi zu
Flandern zu Tyroll zu Kathe | lonie Rossellon zu Gertz zu Arthoys zu Holand zu
Seland zu Phirdt zu Kyburg zu Namur vnnd zu Zütphen Marggraue des | hayligen
Römischen Reychs der Ens vnd zu Burgaw Herr zu Fryszland auff der windischen
margk zu mecheln zu Portenaw | vnd zu Salins etc.
This is the same cut as P. iii, 223, 334a, but a different edition. There is another
impression, imperfect at the bottom, at Maihingen, a third, coloured, without text,
at Bremen.
54. CHARLES V.
Second block. Second state.
P. iii, 223, 334a. Pr. 10911.
The same as the first state in all respects, except that the flower has
been removed from the abacus of each of the columns.
[Sheet, 346 × 193.] On vellum, richly coloured and gilt, but mutilated, being
cut on both sides and at the top, where everything beyond the round arch has been
cut away.
The last three letters of the word "Noch" and the 1. pillar have also
been cut away.
Purchased from Messrs. Colnaghi, 1862.
·
On the lower margin are printed, in the same type, that of Grimm and Wirsung,
the titles of Charles in eight lines (mutilated on 1. side):-Carl von gottes gnaden .
Römischer Künig. zu Castillien Aragon Leon, bayder Sicilien Hierusalem Nauarren
Granatē | (To)leten Valencien Gallicien Maioricarum Hispalen Sardinien Corduben
Corsicen Murcien Giennen Algarbien Alge- | (ri)en Gibraltaren, auch der Insulē
Canarie, Indien vnd des Lands Oceanischn Moers. etc. Künig. Ertzherzog zu
Osterreich (H)erzoge zu Burgundien, Lotreich Brabant Steyr Kernthen Crain
Limburg Lutzelburg. Geldren Calabrien Athenarum | (vn)d Nevpatrien. etc. Graue
zu Flandern Hapspurg Tyrol Bartzalon. Arthois vnd burgundien. etc. Pfaltzgraue zu
Henegaw | (Ho)land Seland Phyrt Kyburg Namur Rosillon Centhanie vnd Zutphen.
etc. Landgraue am Elsas. Margraue zu Burgaw (Or)istanen vnd Gocian. etc. des
heyligen reychs fürst zu Cathalonien Schwaben vnd Asturien . etc. herre zu Frieszland,
Bischay | Molinen. auff der Windischen marck zu Portenaw Salins vnd Mechelnn.
etc. Jost de Negker zu Augspurg 1519.
The other portrait of Charles V. cut by Jost de Negker, P. iii, 297, 3, has nothing
to do with this.
54a. CHARLES V.
B. app. 41. H. 2161. P. iii, 224, 334b.
Copy of second block. First state, before Dürer's monogram.
•
The architectural frame has disappeared. The face and costume are
copied pretty closely from no. 54, but the sleeves and mantle have been
extended to fill the gap caused by the removal of the columns. The block
is arched at the top, and within the border-line are, first, the xylographic
title "Karolus. Rex. Hispanie" (copied from the first block, then the date
1519 and the imperial arms (copied from the second cut in Faber, Rött. 17,
P. iii., 217, 303), flanked by shields, from which the bow and sheaf of
arrows are suspended. Over the hat are the Pillars of Hercules and motto
"Noch Weiter," as in 54 (xylographic in both cases).
1
[305 × 174.] Old, but not very early impression. Watermark, an escutcheon
containing a cross upon a triple mount.
Purchased from Messrs. Evans, 1858.
¹ Dexter shield, exactly the same as in the portrait dated 1518 at Dresden.
Sinister shield, quarterly, 1 and 4 Apulia and Jerusalem, 2 and 3 Aragon.
Division B.-School of Augsburg.-Weiditz.
171
Repr. (from an impression on bull's head paper) in the catalogue of Gutekunst's
59th auction, 1904, p. 33. On p. 35 of the same catalogue is reproduced yet another
portrait of Charles, of the same type, from a book printed at Nuremberg by Hölzel
in 1522 (Muther 1166). Here the mantle has been further prolonged, following the
circumference of a disc which bears sixteen small escutcheons surrounding that of
the empire. The second state of P. 334b, with Dürer's monogram inserted, is in
Derschau.
In spite of the account given by Thausing¹ of a design by Dürer for a medal of
Charles V, said to have been cut on wood in 1520, I do not believe that Dürer had
anything to do with the group of portraits described above. In proportions and
arrangement they are utterly unlike a design for a medal. Moreover, the woodcut
after Dürer is described as having the name and arms of the Emperor arranged
above the numbers 1 and 9, and a crown between the two pillars. No impression of such
a woodcut appears to be extant. Thausing's theory that the woodcut here numbered
54a is the original which Jost de Negker copied in 54 is contradicted not only by the
technical inferiority of the former, but also by its heraldic decoration, which betrays
an acquaintance not merely with one but with both of the other blocks, and
also with a third cut distinct from either, but drawn, on my theory, by the same
artist.
That artist is Hans Weiditz. I base the attribution, as in the case of the portrait
of Maximilian after Dürer, not on the actual portrait,2 but on the decorative frame,
which is an integral part of the woodcut and must have been drawn by the same
hand.3 The children on the bases of the columns, the fluted shafts, the cresset,
the rosettes, the border of the carpet (in Jost de Negker's cut) are all in his taste-
the children especially should be compared with those in the alphabet, Rött. 39-
but the most significant detail is the pair of reliefs in imitation of the antique on
the socles beneath the bases of the columns. These should be compared with
Trostspiegel," ii, 176, and the woodcut at Gotha described above. The tiny dots
for eyes on the faces of the two boys 1. and on the little figure in the medallion on
the hat are also characteristic of Weiditz.*
The question then arises whether both the blocks, square and arched, are to be
attributed to Weiditz, or whether one is a copy of the other. It is clear, as Dr.
Dörnhöffer pointed out to me in 1900, that Jost de Negker's cut, in the Albertina and
the British Museum, is superior to the other at Dresden, but it is also clear that the
latter is the earlier version, for the text is dated 1518 and the face is more boyish.
The characteristics of Weiditz appear in the square block. Not only are they
preserved, but new features equally characteristic appear for the first time, in the
arched block. Of the actual portrait, however, the second version is superior to the
first, and betrays the hand of Burgkmair. My conclusion is that the portrait drawn
a second time in 1519, after the election of Charles as King of the Romans, is the
joint work of the two artists.
The curtain below and the heraldic emblems above were now brought within the
rectangular border-line. The eagle was retained, but more powerfully drawn, the
pomegranates were arranged in a wreath, instead of cornucopias, the bow and sheaf
of arrows were made to hang from the wreath, and the motto was added. The
flowers at the top of the columns were retained at first, but removed by an after-
thought in the second state. The fact that the round arch is an addition is betrayed
by the survival of a thick stroke, representing the border-line of the square block,
between the capital of the r. column and the border.
There is a progress observable in the three printed lists of titles which confirms
this account of the order of origin. In the first block, Charles is called King of
Spain; in the first state of the second block he is already called King of the Romans.
In the first block eight kingdoms are expressly mentioned (after Spain); in the
I
Life of Dürer," E. T., ii, 158. Thausing's views are combated by Dr. Hebich
(Berlin Jahrbuch, 1906, xxvii, 21 ff.) by a line of argument independent of my own
but consistent with it.
2 Weiditz seems to have drawn no original portraits from life.
3 A parallel case is the woodcut of the Virgin and Child, B. vii, 203, 12, which is
a close copy of Burgkmair's original woodcut (B. 9) with ornamental additions by
Weiditz. See also p. 172, no. 55.
+ See p. 150, no. 16.
5 Bosses (see p. 169), ornament in spandrels (cf. " Trostspiegel," i, 41), tassels.
!
172 Early German and Flemish Woodcuts.-Part II.
24
second, twenty-four kingdoms are mentioned (after Rome and Spain). In the second
state of the second block, three new duchies appear (Calabria, Athens, Neopatria);
there are other changes, but the inscriptions on both states are much fuller than
that which accompanies the first block.
In the copy, the bow and sheaf of arrows, copied closely from the second block,
are suspended from shields, one of which reproduces exactly the quarterings of the
shield on the first block, while the other is new. The title is copied from the first
block, the device and motto from the second. The arms of the empire, supported
by griffins, here introduced for the first time, are copied from an independent work
of Hans Weiditz, the memorial tablet to Maximilian I (P. iii, 217, 303) in Faber's
"Oratio Funebris," published 26 July, 1519 (p. 150, no. 13).
The real authorship of the portrait remains an unsolved enigma, for Weiditz can
only have reproduced a drawing or miniature by another artist. Throughout 1518
Charles was in Spain.
+ CHARLES V.
Photograph of the title-page (at Berlin) of Trithemius, "Von den sieben Geistern
oder Engeln," H. Hölzel, Nuremberg 1522 (Muther 1166). See Dodgson, Vienna
Jahrbuch, xxv, 243.
55. MARTIN LUTHER, after Cranach. 1520.
Heller 655.
In the Augustinian habit, half length, standing, three-quarter face to
r., holding in both hands an open book of which one corner is cut off by
the border-line; it has a decorated binding and one leaf stands up loose.
Behind Luther's head is a niche, and on either side a pilaster with ornament
of candelabrum arrangement in outline on a white ground; in the middle
of these candelabra are tablets containing the divided date, (1.) 15—(r.) 20.
In a space below the portrait is the xylographic inscription:
ÆTERNA IPSA SVE MÆNTIS SIMVLACHRA LVTHERVS
EXPRIMIT AT VVLTVS CERA LVCA OCCIDVOS
This is followed by the date M.D.XXI., printed with type.
[168 × 115.] Good impression; on the back (recto of the leaf) is the following
title: Doctor Martini Luthers antwort auf Pfintztag, den. 18. tag Aprilis, im.
1521. vor Kay. Ma. vñ den Churfürsten | Fürsten vnd andern vil der stend des
Reychs of- fenlich besche- | hen (Augsburg, 1521). This is the second of the books
mentioned by Heller in which the portrait occurs.
Collection: Brentano (F. 50, blue).
Purchased at the Brentano sale, 1870.
55a. MARTIN LUTHER, after Cranach. 1520.
Second state.
Heller 655.
The margin below the portrait which contained the inscription has been
cut away, the height of the block being thus reduced to 149 mm.; the
width, in this impression, is 116.
On a sheet [290 × 215] containing German text headed "Ain
Christlich bekentnus oder Beycht ausz der hayligen geschrifft gezogen,
wolche | der mensch Got tåglich vnd offtmals ausz grundt seines hertzen
thůn soll." The text opens with an initial O [16 × 14] from the smallest
alphabet by Weiditz found in Steiner's books.
Purchased from Messrs. Graves, 1852.
In the second state the Habsburg dominions of Hungary, Dalmatia and Croatia
are omitted from the list of kingdoms, and the Spanish dominions are enumerated
in greater detail.
Division B-School of Augsburg.— Weiditz.
173
On this and similar woodcut portraits of Luther see Flechsig, "Cranachstudien,"
i, 58, where it is shown that all are derived from the engraving of Luther in a niche,
Lippmann 63, P. 8, which is itself a copy of an original engraving by Cranach, L. 61,
B. 5. The attribution of this version to Weiditz is due to Dr. Röttinger, who
communicated it to me in a letter of 17 September, 1906. The ornament on the
pilasters is entirely in the style of Weiditz, to be compared, especially, with the
woodcuts in Röttinger, no. 17 (1).
56. JOHANN, FREIHERR ZU SCHWARTZENBERG, after Dürer.
B. vii, 166, 157. H. 2178. P. iii, 174, 157. Nagl. Mon. i, 813, 1. Hirth, “Meister-
holzschnitte," xi, xii. Rött. 43.
Bust, three-quarter face to r., in a hat, in a circle enclosed in a
rectangular frame containing sixteen coats of arms and a device of two
arms issuing from clouds, clasping hands. In the lower corner r. is a
monogram, composed of I and B, which has generally been explained as
that of the woodcutter, but should probably be read as Johannes Beiditz.
[191 × 129.] Placed between two narrow ornamental panels by Weiditz, on the
back of the title of Cicero's "Officia," 1531.
In the inventory of 1837.
As Schwartzenberg died in 1528, aged 64, and his portrait was taken by Dürer at
the age of 50, it follows that the lost drawing was made in 1514. The date of the
woodcut is about 1520. This impression is from the first edition of the "Officia,"
16 Feb., 1531; there are slight differences in the text as compared with that of
April 29th. On the other books in which this portrait was used, see Nagler (loc. cit.).
Repr. Hirth, i, no. 504.
† MAXIMILIAN I HEARING MASS.
B. vii, 184, 31. H. 1889. P. iii, 207, 270 and 271, 99. Seidl. 6. Rött. 13.
From Lippmann's "Engravings and Woodcuts by Old Masters," viii,
43. Observe the arms of Grimm and Wirsung over the altar. The im-
pressions with Latin text are, of course, earlier than the German edition
issued by "Antony Formschneider zu Frankfurt," who merely reprinted
older Augsburg blocks.
57. VIEW OF AUGSBURG. 1521.
Seidl. 15. Rött. 38.
Large bird's-eye view of the city, printed from eight blocks. On a scroll
at top is the (xylographic) title, SACRI RO. IMP. CIVITAS AUGUSTA
VIDELICORY. Towards the r. is a richly decorated frame containing a printed
inscription in twelve lines: SACRI ROMANI IMPERII URBS AUGUSTA
PACEM, CONCORDIAM, ET SECVRITATEM
VINDELICORUM .
·
·
PRECATVR. Lower down on the same side is a smaller frame with printed
inscription in nine lines, ending: Georgius Seld Civis & aurif. Augu. ob
singulare in patria pietatem mensura posuit hacqz pictura absoluit.
M.D.XXI. In a similar frame 1. is a printed inscription in eight lines:
Sigismundus Grym phisicus, & Marcus Vuir- sung Cives August .
Spectatiss. oibus bonis qui aliquo Auguste urbis desiderio tenentur aut
fa- ma eius inclita ducunt, rem grata facere uoletes | Quo vel absētes aut
logo Interuallo semoti uoti | copotes effecti hacqz pictura ocl'os pascere
pos sint. Cōi Impensa assentiēte autore plurima ex- cusserunt exem-
plaria Auguste. An. M.D.XXI. Below in the centre are the arms of
Augsburg supported by two lions sejant, and at the top at the 1. are three
174
Early German and Flemish Woodcuts.-Part II.
'
large escutcheons with the arms of the empire and of the Spanish dominions.
of Charles V., quartered as in no. 54a, with the collar of the Golden
Fleece.
[808 × 1936.] Good impression, uncoloured, slightly damaged.
In the Department of Printed Books (Maps). Acquired 1875.
Rare. There is another copy of the Latin edition in the Maximiliansmuseum,
Augsburg, and one of the German edition in the Berlin Cabinet, both coloured. The
latter has the title, DES HEILIGEN RÖMISCHEN REICHS STAT AUGSPURG.
58. A BOYS' SCHOOL.
Five pupils sit on two benches looking up at the teacher, who stands in
a high pulpit, the front of which is decorated with an empty shield
surrounded by a wreath. An older pupil sits by himself r. under a round
window, and a boy in the foreground is being birched.
[155 × 95.] Late impression, no text on the back.
In the inventory of 1837.
In the style of the Cicero cuts; it was probably designed to form part of the
"Officia" series, but was not used. See Mitteilungen der Gesellschaft für verviel-
fältigende Kunst, 1905, p. 68, no. 12. A similar impression is in the Hofbibliothek
at Vienna.
III-ILLUSTRATIONS FROM THE "TROSTSPIEGEL."
Nos. 59-80.
See p. 144, no. 15. These, with the exception of one early proof, are loose cuts
from the "Trostspiegel" itself or later books, or in some cases quite late impressions,
which happen to be in the Department. Many of these, though originally intended
for Petrarch's "Trostspiegel" (called here "P."), were first used in Cicero's" Officia"
(called "C."), or Justin (called “ J.”).
59. A CALCULATOR AND A SIBYL.
C. 27 v.; P. i, 7.
[97 × 156.] Sharp, early proof on white paper; watermark, bull's head.
In the inventory of 1837.
I have seen in the collection of Mr. Huth a similar proof, in brilliant preservation,
of the cut attributed by Bartsch (vii, 188, 39) to Dürer, which occurs in the "Trost-
spiegel," i, 5 v.
60. A GENEALOGICAL TREE.
61. A MAN ASLEEP L.; VARIOUS COMBATS R.
62. A PAINTER'S STUDIO.
C. (16 Feb., 1531, only) 71 v.; P. i, 17.
C. 51 v.; P. i, 24.
C. 35 v.; P. i, 51 v.
C. 40; P. i, 60.
P. i, 74 v.
C. 47; P. i, 88 v.
63. A MAN RECEIVING HIS MASTER'S DEGREE.
64. A GARDEN IN WHICH WE SEE A MURDER, AN EXECUTION, AND
AN EMPEROR (TIBERIUS ?) GRAFTING A TREE.
65. MEN AND BOYS IN A ROOM.
66. THE KING WITH A STRONG SON (Priam and Hector? etc.). P. i, 91 v.
Division B.-School of Augsburg.—Weiditz.
175
67. THE SON WITH A KIND FATHER (the prodigal son receiving his patri-
mony?).
68. TWO ASTRONOMERS.
69. SOLON RELATING TO CRESUS THE STORY
CLEOBIS, THE SONS OF ARGIA (Herod. i, 31).
C. 43 v.; P. i, 99.
P. i, 102 v.
OF BITON AND
C. 16 v.; P. i, 128 v.
70. A NOBLEMAN RECEIVING A VISIT FROM A PRINCE.
71. A HOUSE BEING BUILT.
P. i, 138 v.
C. 33; J. 62 v.; P. i, 140.
72.
A MAN ATTACKED BY ROBBERS.
C. 53; P. ii, 17 v.
73. A TYRANT WITH A SWORD SUSPENDED OVER HIS HEAD.
74. PEOPLE ESCAPING FROM A HOUSE ON FIRE.
75. A MERCHANT IN HIS COUNTING-HOUSE.
76. FISHERMEN DRAWING IN THEIR NETS.
77. A SIEGE.
78. VARIOUS KINDS OF CAPITAL PUNISHMENT.
C. 82 v.; P. ii, 48.
P. ii, 65 v.
C. 36; P. ii, 66 v.
C. 75 v.; P. ii, 73 v.
C. 72 v.; J. 34; P. ii, 81.
C. 21 v.; P. ii, 162.
All the above are from books, except nos. 66 and 70, which have other woodcuts
printed on the back-different from those which occur in Steinmeyer-and no text.
No. 74 is from Steinmeyer. No. 60 was presented by Mr. Mitchell, 1895, the rest
are in the inventory of 1837.
79. A PHYSICIAN DRESSING A DISEASED LEG.
P. ii, 120 v.
On the title-page of "Der grossenn wundartzney Das ander Buch, Des ergründten
vnnd bewerten, bayder Artzney Doctors Paracelsi," H. Steiner, Augsburg, 1536.
Collection: W. Bell Scott.
Presented by Sir A. W. Franks, K.C.B., 1895.
80. SATIRE AGAINST THE CLERGY.
Very late impression, coloured brown to imitate a chiaroscuro.
Duplicate from the Berlin Cabinet.
Purchased from Mr. Gutekunst, 1876.
P. i, 13.
IV.-ILLUSTRATIONS FROM CICERO'S "OFFICIA."
Nos. 81-123.
See p. 143, no. 12. These are forty-three out of the sixty-four illustrations which
actually belong to the Cicero set and were not used in Petrarch.
81. JULIUS CAESAR AND EIGHT OTHERS IN COUNCIL, CICERO WRITING.
C. title-page.
82. AN ACCOMPLICE LOOKING ON AT THE MURDER OF A PILGRIM.
C. 5 v.
176 Early German and Flemish Woodcuts.—Part II.
83. QUINTUS FABIUS LABIO, ADJUDICATING ON THE DISPUTED
FRONTIER BETWEEN NOLA AND NAPLES, SECURES A STRIP
OF TERRITORY BETWEEN THE TWO FOR ROME.¹
C. 7 v.
84. ONE MAN GIVES ANOTHER A LIGHT; A THIRD POINTS OUT THE
WAY TO A TRAVELLER.
85. A PAINTER AT HIS EASEL.
C. 12.
C. 14.
86.
A MAN CROSSING A NARROW FOOTBRIDGE.
C. 15 v.
87. CICERO SETTING A WARRIOR IN THE SCALES AGAINST A CAPTIVE.
C. 19.
88. A GUARDIAN DEFRAUDING HIS WARD.
C. 20 v.
89. A KING, A PHILOSOPHER AND A MAN OF RANK.
C. 22 v.
90. MEN DRAGGING A CART UP A STEEP INCLINE.
C. 26 v.
91. A KNIGHT ON HORSEBACK AND HIS SON ON A HOBBY-HORSE.
C. 29.
92.
A MAN LOOKING AT A CONVEX MIRROR WHICH REFLECTS HEARTS
AND EYES.
C. 23.
93. A WOMAN STANDING, ALMOST NUDE.
C. 30 v.
94. A MAN TURNING AWAY FROM A LINENDRAPER'S SHOP TO THE
ARMOURER'S NEXT DOOR.
C. 31.
95. PRUDENCE WEIGHING THE GOOD THINGS OF THE BODY AGAINST
THOSE OF THE SOUL.
C. 62 v.
96. A WOMAN (Eloquence?) CARRYING IN HER R. HAND A KINDLY
TONGUE (over it a crown) AND IN HER L. HAND A MALICIOUS
TONGUE (over it a spider, as emblem of poison).
C. 32.
97. A MAN AND WOMAN PLAYING ON HARP AND LUTE IN A GARDEN.
C. 34 v.
98.
FOUR BEEHIVES AND A MAGPIE IN A CAGE (emblems of the social
and the solitary life).
C. 37.
99. FOUR FOOLS STRIVING TO SEPARATE HONESTY FROM PROFIT
(two strong-boxes chained together).
C. 40 v.
100. A SICK MAN TAKING A DRAUGHT; MINER, HUNTSMAN, BUILDER,
ETC., IN THE DISTANCE.
C. 41 v.
101. VARIOUS ARE THE CAUSES OF DEATH, BUT MAN'S MOST DEADLY
FOE IS MAN.
C. 42 v.
102. A TYRANT, WHO HAS PADLOCKED THE MOUTHS OF ALL HIS
MINISTERS.
C. 44.
103. SULLA CONFISCATING AND SELLING THE GOODS OF PROSCRIBED
CITIZENS.
C. 45 v.
¹ A late impression, with the forged dedication, "Amico suo H. Holbeinio
singulari J. Burgmairus anno S. 1520," written on the tablet.
Division B.-School of Augsburg.— Weiditz.
177
104. ROBBERS IN A WOOD DIVIDING THEIR BOOTY.
C. 49.
105. A MAN GIVING ALMS TO A POOR AND DESERVING FAMILY.
C. 55 v.
106. A HOUSEHOLDER RECEIVING GUESTS.
C. 56 v.
107. CICERO AND SCIPIO AFRICANUS.
C. 63.
108. A SURGEON CUTTING OFF A MAN'S LEG.
C. 68 v.
109. GYGES FINDING THE MAGIC RING.
C. 69 v.
110. ROMULUS KILLING REMUS.
C. 70 v.
111.
A RUNNING MATCH.
C. 71.
112. LUCIUS MUTIUS, SCIPIO AFRICANUS AND PAULUS AEMILIUS.
C. 59 v.
113. A MAN PLEADING BEFORE A JUDGE THAT HIS GOODS HAVE
BEEN TAKEN FROM HIM WRONGFULLY.
C. 60 v.
114. THE NARROW WAY WHICH LEADS TO SALVATION.
C. 65 v.
115. THEMISTOCLES AND ARISTIDES.
C. 73.
116.
A MERCHANT BRINGING CORN FROM ALEXANDRIA TO RHODES
IN TIME OF FAMINE (signed H W and H b b).
C. 73 v.
117. A MAN SELLING AT A HIGH PRICE A HOUSE WHICH HE
PRIVATELY KNOWS TO BE INFESTED WITH SNAKES.
C. 74 v.
118. A SICK MAN MAKING HIS WILL.
C. 79.
119. THE ROMAN PROVERB, "HE IS AN HONEST MAN, WITH WHOM
YOU CAN PLAY AT DICE WITHOUT A CANDLE."
C. 80.
120. A MAN TRANSFORMED BY EVIL PASSIONS INTO A BRUTE.
C. 81 v.
121. JULIUS CAESAR MISLED BY DECEITFULNESS INTO TYRANNY.
C. 81 v.
122. TWO SHIPWRECKED MEN, ONE OF WHOM IS A FOOL, CLING-
ING TO THE SAME PLANK.
C. 84.
123. A DESERTER FROM THE CAMP OF PYRRHUS OFFERS TO RE-
TURN AND POISON THE KING; CAIUS FABRICIUS WILL NOT
PERMIT THE TREACHERY.
C. 83.
†123a. REPRODUCTION OF A COPY OF THE LAST SUBJECT [133 × 111]
PUBLISHED IN VEGETIUS, “VIER BÜCHER DER ´RITTER-
SCHAFT," 1529 (Muther 1071).
See Rött., p. 87.
The above cuts were used in three editions of the "Officia" of the year 1531, viz.,
Feb. 16th, April 29th and Dec. 7th (the last being vol. 2 of Schwarzenberg's Works),
also in later editions of 1532, 1533, 1535, 1537, 1540 and 1545. Most of the present
impressions are from an edition later than the second.
N
178
Early German and Flemish Woodcuts.-Part II.
V.—TITLE-BORDERS, FRAMES, ORNAMENTAL AND
HERALDIC DESIGNS.
Nos. 124-139.
Rött. 8. Pr., Gr. & W.-A.
124. QUARTO BORDER WITH SEA-HORSES.
[177 × 130; opening, 120 × 85.] From "Defensio Ioan. Eckii contra amarulentas
D. Andreae Bodenstein Carolstatini
inuectiones," Grimm and Wirsung, Augs-
burg, 14 Aug., 1518; 4to. (Pr. 10880). See p. 148, no. 1. Repr. Butsch, i, 28.
Purchased from Mr. Gutekunst, 1874.
125. QUARTO BORDER WITH A ROUND ARCH AND FOUR WINGED
CHILDREN.
Seidl. 1. Rött. 9. Pr., Gr. & W.—B².
Second state.
[177 × 132.] Late impression, from Wolfgang Musculus, "Von dem Bäpstischen
Messz"; dated on the socle 1543.
Presented by Mr. W. Mitchell, 1895.
In the first state there was a pendent wreath and the date M.D.XVIII. The
wreath and date were then cut out and the block patched.
126. QUARTO BORDER WITH WHITE ARABESQUE AND SCALLOP
SHELL.
Seidl. 5, 17. Rött. 15. Pr., Gr. & W.-D.
[177 × 110; opening, 100 × 58.] From "Pauli Ricii Lepida. . . in psalmū
Beatus vir meditatio," Grimm and Wirsung, Augsburg, 15 April, 1519; 4to. (Pr.
10899 c). See p. 149, no. 8. Repr. Butsch, i, 27.
Collection: W. Bell Scott.
Presented by Sir A. W. Franks, K.C.B., 1895.
126a. QUARTO BORDER WITH WHITE ARABESQUE AND SCALLOP
SHELL.
Another impression, from Erasmus, “Ad reverendum in Christo p. & illustrem
principem Christophoru episcopu Basiliensem, epistola apologetica," S. Grimm,
Augsburg, 1522; 4to.
Presented by Mr. W. Mitchell, 1895.
127. QUARTO BORDER WITH CHAINED SATYRS.
H. 2117. P. iii, 217, 302. Seidl. 4. Rött. 17 (3). Pr., Gr. & W.-E.
[178 × 133; opening, 101 × 58.] From "Ad D. | Pauli Ricii Israeli | tæ de anima
cœli examina. Ioan. Eckij artium. | Iuris. & Theologiæ | Doctoris amica | responsio,"
Grimm and Wirsung, Augsburg (1519); 4to. (Pr. 10898). See p. 149, no. 10.
Purchased from Mr. Caspari, 1875.
128. QUARTO BORDER WITH THREE HALF-LENGTHS OF WILD MEN,
TWO OF THEM HOLDING TRUMPETS. R. 20. Pr., S. Otmar—G.
[180 × 127; opening, 97 × 78.] Printed from four blocks. From "Ain andechti-
ger, vnd zu besserung | sündigs lebens, nutzlicher Tractat des hailigen vnd
Christenlichen | lerers Aurelij Augustini, von | üppigkait der welt, neülich | ausz
Latein in Teütsch | gebracht. S. Otmar, Augsburg, 25 May, 1519; 4to. (an earlier
book than those mentioned by Rött. or Pr. as containing this border). See p. 150,
no. 14.
Collection: W. Bell Scott.
Presented by Sir A. W. Franks, K.C.B., 1895.
Division B.-School of Augsburg.- Weiditz.
179
129. FOLIO BORDER WITH CHILDREN AND TROPHIES OF ARMS.
Rött. 21. Pr., Gr. & W.-F.
[249 × 163; opening, 156 × 93.] From "Reperto | rium librorum tri | um Ioannis
Boemi de om | nium gentium ritibus," Grimm and Wirsung, Augsburg, 1520; fol.
(Pr. 10918). See p. 150, no. 18. Repr. Butsch, i, 29.
Purchased from Mr. Gutekunst, 1874.
A free reduced copy of this, by H, occurs in Vitellius, "Oratio in conventu
Augustensi," J. Miller, Augsburg (after 31 August), 1518; 4to. (Pr. 10843). Pr.,
Miller-C. [170 × 126]. The original cut, therefore, must be older than 1520.
130. QUARTO BORDER WITH WHITE ARABESQUE, CONTAINING TWO
CHERUB'S HEADS, ON A BLACK GROUND.
[149 x 104; opening, 87 × 54.] From "Ain Christlicher | Sendbrieff an die
Miltenberger. Johannes Carolstatt. | Vuittemberg | M.D.xxiiij." (H. Steiner?),
Augsburg, 1529; 4to. (Weller 2834).
Presented by Mr. W. Mitchell, 1895.
Described by Rött. See p. 143, no. 11, for other books in which this border was
used. Like many of the ornaments in white on black which Weiditz designed, it
appears not to have been used till after his departure from Augsburg.
131, PAGE BORDER FROM "DEVOTISSIMAE MEDITATIONES."
Below, a leopard and an owl; 1. a large caterpillar, and at the top a
parrot; flowers and fruit.
[123 × 84; opening, 88 × 53.] Used on the title-page of "Institu- | tionum
Gram- maticarum Ioan- | nis Riuij Atthen- | doriensis libri | octo. | Augustæ Vin- |
delicorum Philippus | Vlhardus excu- | debat." Originally used on sig. H 5 v. of the
"Meditationes" (1520).
From the Bagford collection (Harl. 5989-116).
Transferred from the Department of Printed Books, 1900.
132. ARCHITECTURAL FRAME TO BURGKMAIR'S SERIES OF HEROES
AND SAGES IN SUBJECTION TO WOMAN (B. 4-6, 73).
Rött. 46.
See p. 101, nos. 168-171.
133. ARCHITECTURAL FRAME TO BURGKMAIR'S SERIES OF HEROES
AND HEROINES (B. 64-69).
A duplicate of B. 66, the three Jewish heroes (see p. 102, no. 173).
In the inventory of 1837.
134 (1-4). FOUR ORNAMENTAL PANELS.
Rött. 47.
Two upright panels [216 x 16] with background shaded obliquely from
1. to r. No. (1) contains a flask, cornet and flute, two bucklers, cross-bones
and a coat of arms; no. (2) five children, one above the other.
Two oblong panels. No. (3), shaded horizontally, contains vases between
pairs of masks [21 x 119]; no. (4), with background irregularly shaded,
obliquely from 1. to r., contains three pairs of children [26 × 117].
The four panels enclose the arms of Anthony Sänftl, dated 1542
[156 × 116], not by Weiditz.
On the back of the title-page of Boccaccio, "Die Gantz Römisch histori,” H.
Steiner, Augsburg, 1542; fol. (Muther 1120).
From the collection of bookplates bequeathed by Sir A. W. Franks, K.C.B., 1897.
N 2
180
Early German and Flemish Woodcuts.-Part II.
!
These panels belong to a large number of ornaments, initial letters, etc., which
occur in books printed by Steiner, c. 1525–1545. They were evidently designed before
Weiditz left Augsburg, but appear not to have been used by Grimm and Wirsung.
134 (1-4)a. FOUR ORNAMENTAL PANELS.
The same panels enclosing the arms of Christophorus Bruno, also dated
1542 (not by Weiditz), from the same book.
From the collection of bookplates bequeathed by Sir A. W. Franks, K.C.B.
Sec Leiningen-Westerburg, "German Bookplates," 1901, p. 132, where the arms
of Bruno are wrongly described as a book-plate by Schäufelein, who died two years
before the date of the woodcut.
† SUMMER AND WINTER: A FRIEZE.
A group of winged children 1., carrying wreaths and branches of bay,
play with a hobby-horse, a squirt and other toys, round a large shield with
the imperial eagle which rests upon the ground, propped up from behind.
One of them carries on a pole a tablet inscribed "Sumer"; another blows
a trumpet. In the middle another group carries on a litter the arms of
Augsburg. To r. of this group one boy carries on a pole a tablet
inscribed “Wintter," another blows a trumpet, and a third carries a flaming
cresset. The remaining children are snowballing one another round a
shield with the arms of Castile, which balances the imperial shield on the
other side. In the distance the outline of a range of hills runs along the
whole length of the composition.
Photograph of the only known impression, in the Hof- und Staatsbibliothek,
Munich. See Mitt. d. Ges. f. vervielf. Kunst, 1905, p. 66, no. 10.
Presented by Prof. Max Lehrs, 1899.
The attribution to Weiditz is my own. I base it mainly on the resemblance of
the children to those in the well-known alphabet published by Jost de Negker in
1521 and formerly attributed to Dürer or Burgkmair (Rött. 39).
135. THE ARMS OF SIGISMUND GRIMM AND MAROUS WIRSUNG.
Rött. 17 (p. 70).
The arms of the two printers [124 × 125], without border, are placed
side by side. Over them is printed M.D.XIX, from a colophon, the rest
of which has been cut off.
From the collection of bookplates bequeathed by Sir A. W. Franks, K.C.B., 1897.
The device was first used in Alsaharavius, Liber theoricæ, etc., 24 March, 1519,
fol. (Pr. 10896); also in Pr. 10900, 10901, 10902, and 10906 c. When Wirsung left the
firm, Grimm continued to use his own arms (the savage man) alone as a device. A
different device was used, however, in the books printed for Grimm by S. Ruff.
136. THE ARMS OF CHRISTOPH VON SCHROVENSTEIN, BISHOP OF
BRIXEN.
Rött. 19.
[152×152.] No border. Below the woodcut is printed, "Reuerendissimo D. D.
Christophoro Episcopo Brixiensi D.D."
In the inventory of 1837.
Cut from the title-page of "Aristotelis Stagyritae Philosophi De anima Libri III.
Adiectis Eckij Commentarijs," Grimm and Wirsung, Augsburg, 16 March,
1520; fol. (Pr. 10914). Repr. in Hirth's Formenschatz, 1881, no. 87.
•
Division B.-School of Augsburg.—Weiditz.
181
137. THE ARMS OF CARDINAL MATTHÄUS LANG, ARCHBISHOP OF
SALZBURG.
Seidl. 10. Rött. 23.
Quarterly, 1 and 4 Salzburg, 2 and 3 Lang. The shield is surmounted
by a Latin cross, over which a cardinal's hat is held by two angels.
Printed in seven colours, red, black, grey, olive-green, dark blue, pink and
gold.¹
1
Presented by Mr. W. Mitchell, 1895.
[272 × 2062.] A very fine impression, cut to the edge of the colour-print.
From Senfel, "Liber selectarum cantionum, quas vulgo mutetas appellant, sex
quinque et quatuor vocum," Grimm and Wirsung, Augsburg (Nov.), 1520; fol., of
which a perfect copy, containing the colour-print, is in the Stuttgart library.
The woodcut occupies the front of the leaf (the second of two unnumbered leaves at
the beginning of the book). On the back is the dedication by the printers to
Cardinal Lang, of which the greater part is here preserved, viz. :-"Reuerendissimo
≈ Amplissimo Princi- | pi ac Domino, dño Matheo, Sanctae | Romanae ecclesiae Tituli
.s. Angeli Pres- | bytero Cardinali, et Archiepiscopo Saltz- | burgensi, Sacroqz sanctae
Sedis Apostoli- cae Legato. c. Domino nostro obseruan- | dissimo, Sigismundus
Grimmius Medi- cus, et Marcus Wyrsungus Augustani, qz | humilime sese com-
mendant. Cum Quintiliano authore Princeps et domine.
1
(33 lines omitted)
dignitatem studemus. Cui tu ipse amplissimo ornamento esse
leaf (in the Stuttgart copy) measures 430 x 275 mm.
• •
The whole
There are two different editions of the book. In the Berlin and Munich copies,
the woodcut printed in black from the outline block alone is placed on the back of
the title-page. Here the recto of the second leaf contains an index of contents; the
verso has the dedication, "Reuerendissimo, etc.," as in the other edition. The third
leaf is numbered 1.
This is the most elaborate colour-print of the German renaissance, and of great
technical interest. The shadow cast by the angels, the shield itself and the strings
of the cardinal's hat, has been very carefully cut on a block and printed in grey, a
most unusual colour. A special block has been used for the flesh-colour of the
angels, with the high lights cut out. One wing of each of the angels is printed in red.
The red block also produces a ruby in the middle of the cross, and the red tongues of
the heraldic lions, which are otherwise black with gold printed over them.
There is another and larger cut of Lang's arms in the Berlin Cabinet, printed in
black and red only, with yellow added by hand. It measures 320 × 415 mm.,
including the lettering at the top, "MATHEVS . M. Dª. S. ANGLI. DIAC. CARD.
| GURCEÑ . COADIVT. SALTZBVRGEN. ZC." The escutcheon is of a different
shape, and it is not surmounted by a cross or the angels with the cardinal's hat.
The woodcut by Weiditz was first described in the Allgemeine Zeitung, Beilage
175, 20 June, 1871, by E. Tross of Paris, who found the loose leaf, afterwards acquired
by Mr. Mitchell, bound up with a book of 1582. See Zahn's Jahrbücher für Kunst-
wissenschaft, iv, 352.
138. THE ARMS OF PHILIP, COUNT PALATINE, BISHOP OF FREISING
AND NAUMBURG.
P. iii, 202.
The Episcopal shield (quarterly, 1 and 4 Freising, 2 and 3 Naumburg,
bearing an inescutcheon with the arms of Bavaria and the Palatinate,
quarterly) is surmounted by the three crests of Freising, the Palatinate and
Naumburg. The shield stands between two columns, with mermaids
reclining near their bases; they support an arch of foliage, and a wreath is
suspended behind the chief crest. In the upper corners are cherub's heads.
¹ The silver mentioned by Seidlitz is only grey, printed from the same block as the
shadow. The discoverer, Tross, made eight colours by dividing light grey from dark
grey; there is but one shade.
2 Rött. gives the measurements as 270 x 206; Koehler, in a letter to me, as
269 × 204. The discrepancy is easily accounted for by inaccuracy of register in
printing from the colour blocks.
182
Early German and Flemish Woodcuts.—Part II.
[237 × 197.] On the title-page of "Scamnalia s'm ritum ac ordinē ec- clesie 7
diocesis Frisingen. Pars estiualis" (printed in red), P. Liechtenstein for J. Oswalt,
Venice, 1520; fol.
Purchased at the Cornill d'Orville sale, 1900.
Repr. (reduced) in Rivoli, "Les Missels imprimés à Venise," p. 148, and in
Warnecke, "Bücherzeichen des xv. u. xvi. Jahrhunderts, " Heft 3, no. 47. The
woodcut was also printed, with no. 52 (q.v.), in the Freising Missal of the same year.
Philip, Count Palatine (1480-1541), had been Bishop of Freising since 1498 and of
Naumburg since 1517.
DOUBTFUL.
139. THE BOOK-PLATE OF JOHANN VON ECK.
Nagl. Mon. iii, p. 309, no. 889. Warn. 423. Rött. 50.
The shield with the arms of Eck, azure, a triangle or, is surmounted by
helm and crest. To 1. of the plumes is seen God the Father, half-length,
emerging from clouds, with the sun over his head, and to r. the monogram
reproduced by Nagler, to be read, according to a note by Eck on a copy at
Munich, as Johannes Maioris (for Maier) Eckius Theologus. There is a
frame of boughs and foliage at the top, and a tablet at the foot, in which
the name ECKIVS is printed with movable type.
1
[168 × 108.] Good impression, coloured, with margin [3–6].
Duplicate from the collection of bookplates bequeathed by Sir A. W. Franks,
K.C.B., 1897. The use of separate impressions of this woodcut as bookplates is well
authenticated, but it was also printed as an integral part of at least one book, Eck's
"Elementarius Dialectice," J. Miller, Augsburg, 26 Dec., 1518; 4to. (Pr. 10844A).
Nagler says that it occurs also in the edition of 12 Feb., 1517 (Pr. 10838), but in the
British Museum copy the last page (on which the woodcut was printed in 1518) is
blank. Further literature on this woodcut is quoted by Rött. The attribution to
Weiditz is rejected by Dörnhöffer (loc. cit. pp. 62, 64). I think there is insufficient
evidence for Weiditz' authorship, but do not pronounce definitely against it.
I.
B.-STRASSBURG PERIOD.
TITLE-BORDERS. Nos. 140-146.
140. FOLIO BORDER WITH SUBJECTS FROM GENESIS.
Rött. 59.
A single block. At the top the Fall and the Expulsion from Eden; 1.
the death of Abel; r. Moses and the brazen serpent; below, Abraham's
Sacrifice.
[211 × 162; opening, 91 × 91.] From "Concordantiae Maiores Bibliae," J. Schott,
Strassburg, 3 Sept., 1530 (Ch. Schmidt, ii, 115).
Collection: W. Bell Scott (F. 489).
Presented by Sir A. Wollaston Franks, K.C.B., 1895.
The border was first used in "Concordantz des Newen Testaments zu teütsch,"
J. Schott, Strassburg, 17 June, 1524 (Krist. 466; Ch. Schmidt, ii, 85).
1 See Count Leiningen-Westerburg, "German Book-plates," 1901, p. 58. The
woodcut is reproduced on p. 124.
Division B.-School of Augsburg.— Weiditz.
183
141. FOLIO BORDER, WITH MEN, ANIMALS AND HERBS.
Rött. 75.
A single block. At the top are a scorpion, a basilisk, an owl, a monkey
playing the bagpipes and a dromedary. At the sides and at the bottom are
heroes and heroines of antiquity, accompanied by the plants with which
they are specially associated, and animals and birds with the medicinal
herbs to which they resort. Then at the sides we see Pompey with a sprig
of ebony, which he carried at his triumph after the war with Mithridates,
and Helen with nepenthe (Od. iv, 221). In the middle Mercury with
moly, and the Greek botanist Crateias and a companion, armed with a hoe
and spade. The animals and the plants associated with them are pigeons.
and bay, deer and elaphoboscon (wild parsnip), stork and origanum, weasel
and rue, cock and sideritis (ironwort or wall-sage), bear and arum, swallow
and chelidonia, snake and betony, goat and plantain, heron and bulrush,
stag and dittany. Below Helen's feet grows the fragrant plant cnaiorona
or cneorum, with the legend " Abstine sus, non tibi spiro."
[251 × 163; opening, 126 × 89.] From P. DIO | SCORIDE | PHARMACORUM | Sim-
plicium, reique Medicæ | LIBRI VIII. | Io. RVELLIO interprete, J. Schott, Strassburg,
28 Aug., 1529; fol. (Schmidt, ii, 111). The first two lines of the title and the names
of plants, etc., printed with type inserted in the block, are in red.
From the Bagford collection (Harl. MS. 5920, 127).
Transferred from the Department of Printed Books, 1900.
142. QUARTO BORDER WITH THE STORY OF ADAM AND EVE.
A single block, with opening, approximately square, representing a
scroll with the ends rolled up. On the 1. side, the creation of Eve; at the
top, the Fall; on the r. side, the Expulsion from Eden; at the bottom,
Adam tilling the ground, Eve seated r. holding up a baby in both hands
and surrounded by other children, one of whom carries a small uprooted
tree, in the background Cain chasing a stag.
[122 × 87 (cut); opening, 49 × 55.] From POSTIL- | LA LATINA, | Pro Christiana
Iuuentute, per Quæstiones explicata. | AVT. Ioanne Spangenbergio. | Apud
Northusanos Verbi | ministro. | FRANC. Apud Chr. Egenolphum.
From the Bagford collection (Harl. MS. 5992, 120).
Transferred from the Department of Printed Books, 1900.
Not described by Rött, but unmistakably by Weiditz. The book to which the
title-page belongs is not in the library. Egenolph (as he seems at first to have
written his name, afterwards Egenolff) left Strassburg for Frankfort in the autumn
of 1530. The subject of this border is the same as that of Egenolph's device, used
both at Strassburg ("Els. Bücherm.," xxi) and at Frankfort (“Frankf. Bücherm.,"
xxvii, verso).
143. OCTAVO BORDER WITH SS. PETER AND PAUL.
Steiff, "Der erste Buchdruck in Tübingen," 1881, p. 30, no. 6.
A single block. At the top, the Conversion of St. Paul; 1. St. Paul, r.
St. Peter, standing; at bottom, the dispersion of the twelve Apostles, who
fall into four groups, of three, four, two and three respectively; most of
them carry staves, the three to 1. are grouped round a fountain.
[130 × 85; opening, 70 × 47.] From IN OB | SCVRIORA ALI- QVOT CAPITA
GE-NESEOS PHILIP. ME- LANCH. ANNOTA- TIONES TVBINGAE. U. Morhard,
Tübingen, (Dec.) 1523 (Steiff, 93).
184
Early German and Flemish Woodcuts.-Part II.
From the Bagford collection (Harl. MS. 5994, 13).
Transferred from the Department of Printed Books, 1900.
Not described by Rött. The attribution to Weiditz needs no demonstration. The
border was used also in Melanchthon, "Annotationes in Evangelium Ioannis," July,
1523 (St. 91), Novum Testamentum, Sept., 1523 (St. 94), and Hanapus, "Exemplorum
liber," 1533 (St. 150 and 155). None of these books are in the Museum.
144. OCTAVO BORDER WITH SUBJECTS FROM THE ILIAD.
Rött. 65.
A single block. On 1. side Homer with a harp and Calliope with a
lute; at top, Hecuba and Priam looking out from the walls of Troy, and
a group of men comprising Deiphobus and Alexander; on r. side, Achilles
dragging Hector behind his chariot; at the bottom, combat between
Achilles and Hector.
Argent. apd'
[126 x 82; opening, 64 × 39.] From OMH- POT IAIAΣ
Vuolf. Cephal. | ANNO M.D.XXV. Between the title and the printer's address is the
device of Köpfel, a group of winged children lifting a stone on a shield [23 × 36], also
by Weiditz (Panzer, vi, 108, 716).
From the Bagford collection (Harl. MS. 5964, 54).
Transferred from the Department of Printed Books, 1900.
The whole title-page is reproduced by Heitz, "Elsäss. Bücherm.," xvi, 3, and by
Rött., pl. 22.
145. OCTAVO BORDER WITH BACCHANALIAN SUBJECTS.
Rött. 67.
Four blocks. At the top a wreath and tablet with the name BACHVS;
1. Bacchus and children on a vine-stem; r. children with wine-skins,
Bacchus seated; at bottom, Bacchus seated among children, one of whom
pours wine from a skin.
[128 × 85; opening, 84 × 52.] From Huttichius, Imperatorum Romanorum
Libellus," W. Köpfel, Strassburg, 1526 (Panzer, vi, 111, 737), but the original title
with a small device (repr. Heitz, xviii, 11) has been cut out and its place supplied
by a larger device of Köpfel (Heitz, xviii, 8) which does not belong to this book.
Purchased from Mr. Evans, 1849.
146. OCTAVO BORDER WITH THE DEVICE OF JOHANN SCHOTT.
Rött. 69.
A single block. At the top, a flaming cresset between two winged
demi-satyrs blowing trumpets; at the bottom, two winged female figures
ending in leaves, supporting a shield with Schott's device; on either side
a cornucopia, starting from the bottom of the shield. Background
partially shaded.
[125 × 85; opening, 72 × 51.] From LOCI | omnium ferme Capitum | Evangelij
secun- | dum | MATTHAE- | VM. | Argentorati apud Io- | annem Schottum. | Anno.
1527. B. R.
From the Bagford collection (Harl. MS. 5964, 59).
Transferred from the Department of Printed Books, 1900.
Repr. Butsch, i, 73a; Heitz, iv, 8.
Division B.-School of Augsburg.-Weiditz.
185
II. PRINTERS' MARKS AND ORNAMENTS.
147. DEVICE OF WOLFGANG KÖPFEL.
Nos. 147-149.
Rött. 56.
A standing youth, whose r. leg is that of a bear, points with his r.
hand to his heart, which is displayed in the cavity of his chest. In his
1. hand he holds a pole to which a large wreath is attached, with four
smaller wreaths suspended from it, each containing an empty tablet. On
the hem of his garment is the legend MORS ET VITA. Near his 1. leg
is a shield with three angel's heads, the device of Köpfel.
[131 x 92.] Late impression, after the removal from the tablets of the words
ESTAS, HYEMS, PROPE, LONGE.
Purchased from Messrs. Graves, 1858.
Repr. Heitz, xvi, 1. This device was used as early as 1523, and is therefore one
of the earliest works of Weiditz' Strassburg period. There is no break of continuity
between this and his Augsburg illustrations of 1521-22.
148. DEVICE OF CHRISTIAN EGENOLFF.
Landscape with a background of forest. Adam r. is tilling the ground
with a primitive hoe. Eve sits 1. under a date palm with a baby in her
lap. In the foreground two other children are rocking a third in its
cradle, and a fourth is filling a pail of water at a spring. In the distance
Cain is chasing a deer and a hare.
[57 × 48.] Cut from a book with German text.
Purchased from Mr. Bihn, 1875.
Repr. Heitz, xxi, 1, and "Frankfurter Büchermarken," pl. xxvii, verso.
Rött. does not describe this woodcut, but I see no reason to doubt that it is by
Weiditz. The subject is that of the border described above (no. 141), but the com-
position is different in all respects. The device occurs in books issued both before
and after Egenolph's removal from Strassburg to Frankfort in 1530. The second
book mentioned by Heitz is dated January, 1530. In 1535 this woodcut was used,
not as a printer's mark but as an illustration, in the "Chronica," illustrated chiefly
by Beham (Pauli, p. 484). It occurs also in "Biblische Historien," 1551.
149. DEVICE OF MATTHIAS BIENER (APIARIUS).
P. iii, 415, 134. Woltmann, ii, 196, 245.
A bear stands on its hind legs reaching up to a hollow in the side of a
fir-tree, which contains honey. A mallet hangs from a bough over the
bear's head, and there is a spider's web high up on the 1. side. Bees fly in
and out of the hole and settle on an open Bible, with Hebrew characters,
which lies open on the ground among flowering plants.
[85 x 58.] No border-line. The device is surrounded by printed quotations from
the Bible, one Greek and three Latin. Good impression, with margin (size of sheet,
248 × 175), probably from Hortus Sanitatis, 1536.
Presented by Mr. W. Mitchell, 1825.
Repr. Heitz, xxiv, 1 (no. 2 is obviously by the same artist). Rightly attributed
to Weiditz by Dr. Dörnhöffer, Kunstgeschichtliche Anzeigen, 1904, 57. Apiarius
printed at Strassburg 1533-36; in 1537 he removed to Berne, and is said to have
died in 1554. Woltmann's information about this device is inaccurate, and there is
no reason for attributing it to Holbein.
186
Early German and Flemish Woodcuts.-Part II.
150 (a, b). TWO ORNAMENTAL BORDERS.
From the Bagford collection (Harl. MS. 5917, 56).
Transferred from the Department of Printed Books, 1900.
These candelabra [92 x 16], here used as head and tail-pieces on a
folio page, belong to a numerous set of ornaments properly belonging to
the decoration of an octavo book.¹ The page in question is that contain-
ing the name of Weiditz in its Latinized form, Joannes Guidictius, in
Otto Brunfels' "Herbarum vivae Eicones," J. Schott, Strassburg, 1530,
1532, 1539 (Rött. 77, cf. p. 17). The coat of arms on the back of the
leaf, printed in red and black in the 1530 edition, but not here, is by
another hand; the helm and crest show that the arms are not those of
Strassburg, as Rött. supposes, but those of a private individual, presumably
Brunfels himself.
2
III. ILLUSTRATIONS. Nos. 151-152.
151.
A COOK IN HIS KITCHEN.
Rött. 78.
A stout cook in a cap stands in the middle, surrounded by all sorts of
cooking utensils and baskets of vegetables. Between his legs is the wood-
engraver's monogram MF.
[73 x 113 (cut, should be 74 x 118).] From the Bagford collection.
Transferred from the Dept. of MSS., 1814.
The cut in the first state, with the monogram, appears only to have been used in
the first edition of Platina, "Von allen Speisen vnd Gerichten," C. Egenolph, Strass-
burg, Jan., 1530. In the second state, without the monogram, it occurs in several of
Egenolph's books, from 1530 to 1564 (W. Reiff, "Lustgarten der gesundtheit," 1546,
89," Koch und Kellermeysterei," 1564, title-page). A copy [75 x 118] was used in
Steiner's editions of Platina, Augsburg, 14 Nov., 1530, and 3 July, 1531, and in
Platina, “Von der Eerlichē .... Wolust des leibs," Steiner, 4 March, 1542, fol. 45 v.
152. A COOK IN HIS KITCHEN.
A younger cook, bare-headed, stands in the midst of his kitchen,
turning to the right, and lifting the lid from a saucepan.
[79 x 114.] From the Bagford collection.
Transferred from the Dept. of MSS., 1814.
This woodcut is undescribed, and its provenance is at present unknown to me,
it is clearly by the same hand as no. 151.
but
1 ¹ They are used, for instance, in Brunfels' "Biblisch Bettbuchlin," 1531, fol. 6 v.
and 7.
2 Of the 24 verses by Joannes Sapidus the following four refer to the artist :—
Nunc & Joannes pictor Guidictius ille
Clarus Apellæo non minus ingenio,
Reddidit adfabras acri sic arte figuras,
Vt non nemo Herbas dixerit esse meras.
187
VI.-CHRISTOPH AMBERGER.
Christoph Amberger (b. about 1500?) entered the guild of painters
at Augsburg on 15 May, 1530; presented pupils 1536, 1538, 1542,
1546; earliest known painting a portrait of Charles V, 1532,
latest a religious picture, 1560, in church of St. Anne; d. at
Augsburg between 1 Nov., 1561, and 19 Oct., 1562.
Authorities :—
A. Woltmann in Meyer's Künstler-Lexikon, i, 600.
R. Vischer, "Studien zur Kunstgeschichte," 1886 (see index, p.
613).
Catalogue of the Vienna Gallery, 1896, p. 402.
Literature on David de Necker's series of landsknechts already
quoted on p. 106.
Amberger is not mentioned in the older literature as a designer
of woodcuts, but his name is expressly mentioned by David de
Necker as one of the three Augsburg painters who had drawn the
series of landsknechts cut by his father Jost. His exact share in the
work is uncertain, and can only be approximately fixed by internal
evidence. The only other woodcuts that can be definitely ascribed
to him are three, following seventy-nine cuts by Burgkmair, at
the end of Pappenheim's chronicle of the family of the Counts
Truchsess von Waldburg (P. iii, 274, 104; Muther in Repertorium, ix.
446). One of these is signed C.A. The date of Burgkmair's share
in the work is 1530; Amberger may have completed it after his
death in 1531. The series is very rare and not represented here.
WOODCUTS ATTRIBUTED TO AMBERGER.
1. A LANDSKNECHT THREE-QUARTER FACE TO R., LOOKING UP,
HOLDING A SPEAR.
D. de N. 1.
[262 × 152.] Good impression, cut at the top.
2. A LANDSKNECHT THREE-QUARTER FACE TO R., LOOKING UP,
HOLDING A HALBERD.
D. de N. 6. Pauli 1459.
[282 × 166.] Old impression, much torn and repaired.
3. TWO LANDSKNECHTS KNEELING, PLAYING AT DICE. D. de N., 13, 14.
[232 × 333.] Good old impression of the two blocks printed on one sheet.
188
Early German and Flemish Woodcuts.-Part II.
4. A LANDSKNECHT TO L. HOLDING A HALBERD IN HIS L. HAND.
D. de N. 23. Pauli 1458.
[275 × 123.] Good impression, cut close but well preserved.
5. A LANDSKNECHT TO L. HOLDING A SWORD BEHIND HIS NECK.
D. de N. 29.
[268 × 161.] Good impression.
6. A LANDSKNECHT FULL FACE, HOLDING A SPEAR, HIS R. HAND
ON HIS HIP.
D. de N. 34. Pauli 1455.
[268 × 150.] Good impression, cut close.
7. A LANDSKNECHT WALKING TO L. HOLDING A POLE IN HIS L.
D. de N. 36. Pauli 1456.
HAND.
[265 × 148.] Good impression.
8. A LANDSKNECHT IN A HAT WITH LONG FEATHERS, LOOKING
UP TO L.
[277 × 131.] Good impression.
D. de N. 39.
9. A LANDSKNECHT LOOKING TO R., HIS BODY DIRECTED TO THE
FRONT.
D. de N. 40.
[273 × 143.] Good impression.
10. A LANDSKNECHT TO L. HOLDING A POLE IN BOTH HANDS.
D. de N. 41.
[275 × 125.] Good impression; watermark, small high crown.
11.
A LANDSKNECHT TO R. WITH LONG BEARD, HOLDING HIS
HAT IN HIS R. HAND.
D. de N. 42.
[278 × 150.] Good impression.
12. A LANDSKNECHT IN PROFILE TO R. WITH ONE FEATHER IN
HIS HAT.
13.
14.
[273 × 140.] Good impression; watermark, small high crown.
D. de N. 44.
A LANDSKNECHT TO L. BRANDISHING A SPEAR IN HIS L. HAND.
D. de N. 45.
[268 × 156.] Good impression.
A LANDSKNECHT DRAWN FROM THE BACK, HIS HEAD TO R.,
WITH A PEACOCK'S FEATHER.
D. de N. 50.
[285 × 163.] Good impression.
Nos. 2-4 and 8-14 were purchased from Messrs. Smith, 1845; nos. 1 and 5-7 at
Gutekunst's auction, 1901. All are on early paper, without watermark except in the
case of nos. 10 and 12.
Nos. 1, 3, 5 and 8-14 are attributed to Amberger by H. A. Schmid and W. Schmidt.
Nos. 2, 4 and 7 are attributed by Schmid to Amberger, but by Schmidt to Beham;
Pauli rejects them. No. 6, not mentioned by Schmid, is treated in the same way by
Schmidt and Pauli. The whole of the woodcuts here described are almost certainly
by one draughtsman, and as they cannot be attributed to Burgkmair, Breu or
Beham, we arrive by the method of exclusion at the less-known Amberger.
189
VII. DANIEL HOPFER.
Daniel Hopfer, of Kaufbeuren, painter, etcher, and draughtsman
on wood; became a citizen of Augsburg 12 October, 1493; mentioned
in the same year as a master presenting a pupil to the guild of
painters; presented other pupils 1498, 1501, 1503; designed title-
pages for books printed by Johann Miller and Silvan Otmar, 1514-
20, and initial letters for the press of his brother-in-law Dr.
Sigismund Grimm, 1522-23; obtained a grant of arms signed by the
Archduke Ferdinand at Nuremberg, 28 January, 1524; various
documents mention him as enjoying a prosperous and honourable
position at Augsburg, where he died in 1536. His relationship to
the etchers Hieronymus and Lambert Hopfer is unknown.
Authorities
R. Weigel, "Holzschnitte berühmter Meister," 1851–54, no. 37.
R. Weigel, "Kunstkatalog," 1852, no. 18944.
G. Nagler, "Monogrammisten," 1860, ii, nos. 1131–32.
A. F. Butsch, "Bücherornamentik," 1878, i, 21-23, and text
(p. 64) to Taf. 20, 21, 23, 24, 26, 30.
R. Muther, "Bücherillustration," 1884, i, 159.
R. Vischer, "Studien zur Kunstgeschichte," 1886 (see index, p.
619).
C. Lützow, "Geschichte des deutschen Kupferstiches u. Holzsch-
nittes," 1891, 221.
R. Proctor, "Index to Early Printed Books in the British Museum,”
Pt. ii, 1903 (p. 81, borders A, B, D, F ; p. 84, border G).
H. Röttinger, "Hans Weiditz," 1904, p. 82, no. 32.
Hopfer's heavy renaissance ornament on a black ground is over-
praised by Butsch. The best example of his figure-drawing is the
title-page of "Chronicon Abbatis Urspergensis" (1515), which could
hardly be attributed to the same hand as the group in the "Chryso-
passus" title-page (1514), were the figures not drawn upon the same
block as a border undoubtedly by Hopfer. Even so, the collaboration
of another master is not impossible.
190
Early German and Flemish Woodcuts.—Part II.
BOOKS ILLUSTRATED BY HOPFER.
A. IN THE DEPARTMENT OF PRINTS AND DRAWINGS.
1. [GREGORY.] Divi Gregorii Nazanzeni sermones, Oecolampadio
interprete. Grimm and Wirsung, Augsburg, 22 May, 1519; 4to. (Pr.
10901).
Initials C, G, P, R, Q.
2. [CICERO.] Ciceronis büchlein võ dem Alter. S. Grimm, Augs-
burg, 1522; fol.
D 1. Initial H, ornamented with masks.
3. [TURNAUER.]
Von dem Jüdischen vnnd Jsraeli- | schen
volck vnnd | jren vorgeern. | Durch Casparn Tur- | nawer auss der Bi- | bel
gezogen. | M.D.XXVIII. (Augsburg, 1528); 4to.
Late impression of the border, Proctor, S. Otmar-F (repr. Butsch, pl. 26), used in
1517. The design is certainly by Hopfer, but it is an adaptation, possibly not by his
own hand, of the signed border A (Butsch, pl. 24).
B.-IN THE DEPARTMENT OF PRINTED BOOKS.
(Only the earliest book in which each border occurs is mentioned here. The
numbers of Proctor are quoted for repetitions down to 1520.)
1. [JOHANN VON ECK.] Chrysopassus. J. Miller, Augsburg, Nov.,
1514; fol. (Muther 939; Pr. 10824).
Cut on title-page (repr. Butsch, i, 20). See p. 191, no. 1.
2. [CONRADUS.] Chronicon Abbatis Urspergensis. J. Miller, Augs-
burg, 23 Oct. 1515; fol. (Muther 940; Pr. 10829A).
Cut on title-page, Nagl. Mon. ii, p. 437, no. 4 (repr. Butsch, i, 21).
3. [PINICIANUS.] Promptuarium vocabulorum. S. Otmar, Augs-
burg, 26 Jan., 1516; 4to. (Pr. 10754).
Signed title-border, Pr. A, Nagl. Mon. ii, p. 438, nos. 6, 7 (repr. Butsch, i, 24).
Repeated in Pr. 10757, 10765, 10769, 10781, 10784, 10785, 10795, 10796, 10808–10.
4. [SAXONY.] Sassenspegel. S. Otmar, Augsburg, 1 Feb., 1516;
fol. (Pr. 10755).
Signed title-border, Pr. B, Nagl. Mon. ii, p. 437, no. 3 (repr. Butsch, i, 23). Re-
peated in Pr. 10763.
5. [GERMAN THEOLOGY.] Theologia Teütsch. S. Otmar, Augs-
burg, 23 Sept., 1518; 4to. (Pr. 10766).
Title-border, Pr. D (repr. Butsch, i, 30). Repeated in Pr. 10770, 10797, 10811,
10812.
Division B.-School of Augsburg.-Hopfer.
191
6. [AUCTORES.] Ex probatissimis auctoribus vocabula. S. Otmar,
Augsburg, 1518; 4to. (Pr. 10772).
Title-border, Pr. F, perhaps a copy of Pr. A (repr. Butsch, i, 26). Repeated in
Pr. 10814.
7. [FABRI.] Declamationes divine de humane vite
humane vite miseria.
J. Miller, Augsburg, 8 Aug., 1520; fol. (Pr. 10855).
Title-border, Pr. G, Nagl. 5, copied from S. Otmar's border B. The monogram is
retained.
8. [BIBLE.] Psalter des küniglichen prophetten dauids geteutscht.
S. Grimm, Augsburg, 1523; 8vo. (see p. 154, no. 41).
Initials by Hopfer.
WOODCUTS BY HOPFER.
1. TITLE-PAGE OF ECK'S "CHRYSOPASSUS." 1514.
(See p. 190, no. 1.)
Jacob and Esau stand side by side under an arch. God, surrounded
by cherubim, holds a crown over Jacob's head. The inscriptions
CHRYSOPASSUS, THEODORUS, ALEXANDER, are xylographic, the remainder
printed with type.
[255 × 173.] Good impression with margin.
Presented by Mr. W. Mitchell, 1895.
2. TITLE-BORDER OF FOUR BLOCKS, WHITE ARABESQUE ON BLACK
GROUND (Pr. S. Otmar-D).
[174 × 122; opening, 91 x 72.] Not signed.
Not signed. From Luther, "Ain Sermon Von
dem Bañ," Augsburg, 1520; 4to. Repr. Butsch, i, pl. 30. For other books in which
the border was used (from 1518), see p. 190, no. 5.
Purchased from Mr. Gutekunst, 1874.
3. DEVICE OF JOHANN MILLER (Pr. C).
Nagl. Mon. ii, p. 437, no. 4.
An escutcheon, party per fess sable and or; a miller half-length
holding on his head half a millstone; mantling and crest of the same.
In the upper corners are cornucopiae. Single border-line.
[100 x 75.] Good impression, from Jornandes, "De rebus Gothorum," 21 March,
1515, in which the device was first used. It also occurs in "Chronicon Abbatis
Urspergensis," 1515, and "Fabri Declamationes," 1520.
Purchased from Mr. Asher, 1850.
Hopfer's connexion with Miller and the character of the ornament make Nagler's
attribution probable.
192
VIII. THE MASTER D S.
Unknown designer of ornaments, influenced by Hans Weiditz.
Two unsigned oblong panels, which occur frequently in books printed
by Steiner after 1530, were originally used about 1524 in title-borders,
composed of four blocks in different combinations, for books by
Urbanus Regius. One of the upright panels which occur in each
of these borders is signed D S. (See Nagler, Monogrammisten, ii,
p. 524, no. 1370, where the artist's work is dated too late.)
BOOKS WHICH CONTAIN WOODCUTS BY D S.
A.-IN THE DEPARTMENT OF PRINTS AND DRAWINGS.
1. [CICERO.] Officia. H. Steiner, Augsburg, 16 Feb., 1531; fol.
Fol. 58 v. Ornament on black ground, containing four children, two cornucopias,
and in the middle the initials "ih s," reversed, within a wreath.
Von der Artzney bayder Glück.
2. [PETRARCH.]
Augsburg, 9 Feb., 1532; fol.
H. Steiner,
Vol. i, end of the preface and fol. 144. Ornament of architectural character, with
three medallions, containing the head of a queen full face and two female heads in
profile. The central medallion is flanked by winged children seated on dolphins and
holding a wreath.
B.-IN THE DEPARTMENT OF PRINTED BOOKS.
1. [RHEGIUS.] Von volkomenhait vnd frucht des leidens Christi.
(Augsburg, n.d. 1522 ?); 4to. (W. 2253).
Architectural border of four pieces, the signed panel being on the left; the bottom
piece is the first of those described above.
2. [RHEGIUS.] Ob das new testament yetz recht verteutscht sey.
M.D.XXIIII. (Augsburg); 4to. (W. 3116).
Similar border, the signed panel r.; the bottom piece is the second of those
described above.
193
IX.—THE MASTER $
Unimportant draughtsman and copyist; worked about 1513-1530
at Leipzig and Augsburg. Only the Augsburg woodcuts are con-
sidered here, and the list of books containing them does not include
the numerous unsigned works which can be attributed to him on
grounds of style.
Authorities:
Nagler, "Monogrammisten," iii, no. 1449.
Muther, "Bücherillustration," i, 160.
Röttinger, "Hans Weiditz der Petrarkameister," 1904, p. 73.
BOOKS ILLUSTRATED BY $.
A. IN THE DEPARTMENT OF PRINTS AND DRAWINGS.
1. [CAPISTRANUS.] VITA JOHANNIS CAPISTRANI. | Ser-
mones eiusdem. J. Miller, Augsburg, 8 Jan., 1519; 4to. (Muther 947;
Pr. 10846).
Duplicate transferred from the Department of Printed Books, 1889.
On title-page, St. John Capistran preaching. In the foreground pointed shoes,
cards, dice and backgammon boards are being burnt. The monogram
pair of bellows [115 × 118].
is on a
This woodcut was ascribed by Bartsch (vii, 255, 36) to Schäufelein. Röttinger
(p. 74) suggests with great plausibility that this is a copy of an unknown woodcut by
Weiditz, to whose woodcuts of 1518 it has a marked affinity.
B.-IN THE DEPARTMENT OF PRINTED BOOKS.
1. [VITELLIUS.] Oratio in conventu Augustensi. J. Miller,
Augsburg (after 31 Aug., 1518); 4to. (Pr. 10843).
The border, Pr. Miller C, is a free reduced copy (signed) from Weiditz's folio
border, Rött. 21.
0
194
Early German and Flemish Woodcuts.-Part II.
2. [CHRONIK.] Ein Schöne Cronick vñ Hystoria (by S. Meisterlein).
M. Ramminger, Augsburg, 1522; fol.
All the woodcuts except the border, which is by Burgkmair (repr., Formenschatz,
1887). The signature occurs on a copy of the battle of St. Ulrich by Weiditz (Rött.
18). Nagl. Mon. iii, p. 587, no. 9.
3. [ALCIATUS.]
6 April, 1531; 8vo.
Emblematum Liber. H. Steiner, Augsburg,
The printer's mark of Steiner mentioned by Nagler, Muther and Röttinger as
occurring in Boner's Xenophon, 1540, is found nine years earlier on the last leaf of
this book. There can be no doubt that it represents Steiner's device, and that the
monogram consequently stands in this case for Heinrich Steiner, but just for this
reason it is extremely doubtful whether this woodcut has anything to do with the
artist with whom we are now concerned, who used a similar monogram for his own
signature.
WOODCUT BY þ$.
1. ST. JOHN CAPISTRAN PREACHING.
[120 × 118.] Late impression of the woodcut already described.
crack across the block 22 mm. from the top.
Purchased from Mr. Gutekunst, 1867.
B. vii, 255, 36.
There is a
On the lower margin is a MS. inscription (XVIII century ?), "Im Jahr Christi
M.CCCC.LII. seind, auf eines Cardinals, Ñahmens Johann Capistran, Predigt, die er
in Nürnberg, unter dem freyen Himel, vor unser Frauen Kapellen, gethan hat, 76.
Schlitten, 2640 Brettspiel, 40000 Würfel, und ein grosser Hauffe Kartenspiel, wie
auch unterschiedlich Geschmeid, vnd anders so zur Hoffart dienlich, auf dem Marck
offentlich verbrand worden."
(For another woodcut, see Vol. I, p. 349, no. 2b.)
195
X.-THE MASTER ·
··
Draughtsman; biography unknown; worked at Augsburg about
1516(?)–1522, then, perhaps, at Basle, and in 1526 at Cologne.
Authorities :-
F. Dörnhöffer, in Kunstgeschichtliche Anzeigen, 1904, pp. 60, 61.
See also Burlington Magazine, 1907, X, 319, and the literature
quoted on each of the woodcuts.
Except in the review quoted above, the connexion between the
scattered pieces of this master's work has never been recognised. Of
his few signed woodcuts one appeared at Cologne, while another has
always been associated, though on insufficient grounds, with Basle¹;
his principal Augsburg work, the set of 37 illustrations to Apuleius,
has been attributed to other artists (Burgkmair, Weiditz). It needs
insight and close study of the original woodcuts to accept, in face
of such obstacles, the evidence of style in favour of their common
authorship.
For the connexion of this artist with Augsburg there is the
following evidence. Illustrations by him appeared in Augsburg
books²; Büchlein von Complexion der Menschen (S. Otmar, 1518),
Maximilianus Transilvanus, Legatio (Grimm and Wirsung, 1519–20, a
German edition dated 29 March, 1520), Apuleius (Weissenhorn, 1538,
the cuts much earlier in date). The Apuleius illustrations are clearly
by the master who signed with his monogram a cut in the Passion
series printed at Cologne in 1526. The initials N H appear on the
woodcut of a battle of naked men in a wood, and the evidence of
style again proves the draughtsman to be the same. This last wood-
¹ The cut DIVISIO APOSTOLORVM, signed and dated 1522, which Passavant
describes (iii, 443, 1) without mentioning where he saw it, is unknown both to Dr.
Dörnhöffer and myself. I searched in vain at Basle in 1906 for P. 3, a design in the
manner of Holbein said to bear the monogram of N H.
2 The assertion of Prof. H. A. Schmid (Berlin Jahrbuch, xx, 246) that no woodcuts
by N H appeared at Augsburg, cannot be upheld after the evidence to the contrary
brought by Dr. Dörnhöffer.
02
196
Early German and Flemish Woodcuts.-Part II.
cut is accompanied, in one edition, by verses printed in the Augsburg
dialect.¹ It is signed, moreover, in another edition, by the wood-
engraver, in the form HANNS. LEVCZELLBVRGER. FVRMSCHNIDER .
1.5.2.2. The same engraver calls himself, on the proofs of
Holbein's Dance of Death initials, "Hanns Lutzelburger, form-
schnider, genant Franck." Now Hans Franck (Lützelburger), who
was engaged from the end of 1522 onwards in cutting Holbein's
1 I am indebted to Dr. Max Geisberg for a transcript of the verses printed in
three columns beneath the Dresden impression, of which only excerpts have hitherto
been printed, and that not without errors.
(First column.)
Ain Insel haiszt Vtopion
Die leyt nit ferr von Morian
Da gschach ain sollichs schlagen
Hundert tausent hort ich sagen
Doch ist es eben vil der Jar
Das ich gelaub es sey nit war
Wann wie wolt ain nackend man
Ain angelegten pawren bstan
Der maister der das hat erdicht
Der hat sein kunst dahin gericht
Das man erkennen müg da bey
Wasz hoher kunst im maalen sey
Ausz maalen kumpt gar vil zů druck
Durch formen schneyden manig stuck
Vnd welcher sollich kunst nit waisz
Der maalt ain Esel für ain gaisz
Vnd ain Teüfel für ain Engel
Ain wurst für ain pretzenstengel
Maalen kumpt von alter her
Maalen hat grosz lob vnd eer
Bey den alten offt erworben
Das zeügen die vor seind gestorben
Pythis Micon Timagor
(Second column.) Poligrot Appollodor
Der auch den ersten pensel fand
Cleophant gab farb dem gwand
Gyges nach dem schatten maalt
Prothagein die kunst nit faalt
Den doch Appelles über wand
Mit kluger lyni die er fand
Zensis die weinber maalt so fein
Das darzů flugen die vogelein
Vnd wolten daruon essen
Parrhasis sich nit vergessen
Der maalt ain tůch von kluger art
Daruon Zensis betrogen ward
Wer maalen will soll sein gelert
In künsten vil, als drinn begert
Die rechten kunst der maalerey
In perspectiua, Geometrey
Er soll auch gar mit nichte
Versaumen der Poeten dichte
Mit sinnen sey er gschwind vnd bhend
Den sinnen volgen nach die hend
Das er herfür künd bringen
Masz vnd gstalt in allen dingen
Division B.-School of Augsburg.-The Master NH. 197
designs at Basle, and cut alphabets in that same year for the Mentz
printer Schöffer, had been one of the group of wood-engravers
engaged at Augsburg under Jost de Negker in work for the Emperor
Maximilian I from 1516 to 1519.¹ It would seem that he remained
at Augsburg till 1522, and that the "Battle of Naked Men in a
Wood" is his earliest work of that year and his latest done at
Augsburg, which place both he and the draughtsman probably
quitted, like Hans Weiditz at the same date, on account of the
depression in the printing and illustrating trades, of which the failure
of Grimm and Wirsung was a symptom.2 On the other hand, it is
possible that N H himself, who seems later to have migrated to
Cologne, may have resided at Basle for a time in 1522, and that the
dialect may be explained by the recent residence of both designer and
engraver at Augsburg. Acquaintance with More's Utopia, which had
been printed by Froben in 1518, in itself proves no close connexion
with Basle.
In the Apuleius illustrations the designer, whether a native of
Augsburg or not, proves himself a thorough master of the Augsburg
style, akin to Burgkmair, Schäufelein, Breu and Weiditz; he
approaches the latter, at the period of the Celestina and Trostspiegel
illustrations, more nearly than any other artist. The signed work
of 1522 differs from the Apuleius by the excellence, that of 1526 by
(Third column.) Mit jr natur vnd aigenschafft
¹ See p. 208.
Vil farben macht er ausz dem safft
Grůn, plaw, praun, wie mans haben will
Wer maalen will der darff noch vil
Erfarung land vnd leüte
Berg vnd tal, hoch gebürg vnd weyte
Fisch, vogel, aller thier gestalt
Er kennen soll, wie manigfalt
Gott hat sy all gezieret
Den hymel vmbher fieret
Mit liechter vil entprennet
Dabey man wol erkennet
Den schopffer hooh ins hymels throne
Der alle gaben tailt gar schone
Mit rechter masz wer es begerte
Desz maalens seind nit vil gelerte
Darumb man billich loben soll
Den, der sein kunst beweiset wol
Als diser auch ain maister was
Doch ist jm lieber das wein glasz
Das braucht er für ain langen spiesz
Er thůe jms nach, den das verdriesz.
2 Woltmann (" Holbein," i, 193), His (Zahn's Jahrbücher, iii, 169) and Lippmann
("Engravings and Woodcuts by Old Masters," ii, 40), are in favour of the
woodcut having been produced at Augsburg. Lützow ("Gesch. d. deutschen Kupf.
u. Holzschn.," p. 149) holds that Lützelburger came from Augsburg, but calls the
master NH"oberrheinisch."
!
:
氟
​:
198
Early German and Flemish Woodcuts.-Part II.
the inferiority of the cutting; in the latter series, moreover, the
influence of Dürer shows itself; but the same personality may be
traced through all.¹
!
BOOKS ILLUSTRATED BY THE MASTER NH.
A—IN THE DEPARTMENT OF PRINTS AND DRAWINGS.
1. [PFINZING.]
Theuerdank.
J. Schönsperger, sen., Nurem-
burg, 1517; fol.
Cut no. 14. A bear hunt (the head of Fürwittig, r., corrected by Beck). Dr.
Dörnhöffer suggests that this cut (by Laschitzer's "unknown master E") may be a
work of the monogrammist. Comparison of the head of Ehrenhold (1.) with types in
the Apuleius and Maximilianus Transilvanus inclines me to the same opinion.
2. [PFINZING.] Theuerdank. J. Schönsperger, sen., Augsburg,
1519; fol.
The same cut repeated.
I
3. [CHELIDONIUS.] Passio Jesu Chri ama- | rulenta, certis &
primarijs effigiata locis, uario | carmine Benedicti Chelidonij, & tandem
Chri- stiani Ischyrij illustrata. P. Quentel, Cologne, 1526; 8vo.
Purchased from Mr. Bumstead, 1852.
Thirty-seven cuts [c. 84 × 60]. First mentioned by Dörnhöffer, loc. cit., p. 61;
omitted by Merlo and Muther.
(signed⋅ N
(1) A 3. The Man of Sorrows, standing. (2) A 4. The Fall of Man (signed·
•)
(For the bushes compare Apuleius, fol. 26 v., 27 v., etc.) (3) A 5. The Expulsion from
Eden. (4) A 6. The Annunciation. (5) A 7. The Nativity. (6) A 8. The Entry
into Jerusalem. (7) B 1. Christ purifying the Temple. (8) B 2. The Virgin, kneel-
ing. (9) B 3. The last Supper. (10) B 4. Christ washing the Apostles' feet
(compare types in Apuleius, fol. 10). (11) B 5. The Agony in the Garden. (12)
B 6. The Betrayal of Christ. (13) B 7. Christ before Annas. (14) B 8. Christ
before Caiaphas. (15) C 1. Christ mocked. (16) C 2. Christ before Pilate. (17) C 3.
Christ before Herod. (18) C. 4. Christ scourged (for the gaoler r. compare Apuleius
9, man in boat). (19) C 5. Christ crowned with thorns. (20) C 6. Ecce homo.
(21) C 7. Pilate washing his hands. (22) C 8. Christ bearing the Cross. [D 1.
The Man of Sorrows, seated, 78 × 61, probably by a different artist.] (23) D 2.
Christ fastened to the Cross (Apuleius trees). (24) D3. Christ on the Cross between
the Virgin and St. John. (25) D 4. Christ descending into Hell. (26) D 5. The
Descent from the Cross.. (27) D 6. The Lamentation beneath the Cross. (28) D 7.
The Entombment. (29) D 8. The Resurrection. (30) E 1. Christ appearing to
the Virgin. (31) E 2. Christ appearing to St. Mary Magdalen (trees and female
type as in Apuleius, fol. 33 v.). (32) E 3. The Supper at Emmaus. (33) E 4. The
incredulity of St. Thomas. (34) E 5. The Ascension. (35) E 6. The Descent of
the Holy Ghost. (36) E 7. The Last Judgment.
1 I attribute to the same master without hesitation a woodcut [84 × 58] of the
Nothelfer," among whom SS. George, Pantaleon, Erasmus, Christopher and
Catherine are the most conspicuous, in the Culemann collection at Hanover (Kestner
Museum). On the verso is Latin text in large type from sig. MM iiij of an exposition
of the liturgical gospels, ending “ odierno Euangelio, inter cætera." The
book, not identified, probably contains a series of illustrations by this master.
•
•
::
..

"]}\'<
PLATE XIII
THE MASTER NH
ILLUSTRATION TO APULEIUS
Division B.-School of Augsburg.-The Master N H. 199
B.-IN THE DEPARTMENT OF PRINTED BOOKS.
1. [MAXIMILIANUS TRANSILVANUS.] Legatio ad sacratis |
simum ac inuictu Cæsarem Diuu Carolū. in Molendino regio | Die
ultimo Novembris. Anno . M.D.XIX. (Grimm and Wirsung, Augsburg);
4to. (Pr. 10909. Dörnhöffer, p. 60).
Cut [150 × 102] on title-page. Frederick, Elector Palatine, approaches Charles V,
who is on his throne, attended by four courtiers. The architecture and the treat-
ment of heraldry suggest Weiditz, and the cutting is probably the work of a man
accustomed to work for that artist, but the types of face, especially of the two men
on either side of Charles, are characteristic of N H.
•
•
Herrn Carlen erwelten
2. [GERMANY.] Werbung an den
Römischen König . . durch . . Herrn Friderichen phaltzgrafen
bey Rein, etc. (Grimm and Wirsung), Augsburg, 29 March, 1520; 4to.
(Weller 1655; Muther 1057; Pr. 10915).
On the back of the title-page, the same cut as in no. 1.
3. [APULEIUS.] Ain Schön Lieblich auch kurtzweylig gedichte
Lucij Apuleij von ainem gulden Esel [translated by Joh. Sieder]. A. Weis-
senhorn, Augsburg, 1538; fol. (Muther 929; Röttinger (Weiditz) 3).
(Specimens of the illustrations are reproduced in both books.)
Thirty-seven cuts [c. 117 x 154] on ff. 1-33, one of which (f. 17 v.) is also used on
the title-page. Costume and style prove that this first part of the illustrations must
have been designed about 1520. Then, for some reason or other, the publication of
the book was postponed. When the project was resumed the publisher applied to
Schäufelein to complete the series; the remaining cuts are in the latest style of that
artist, and the date 1537 suits them very well. See p. 14, no. 32.
4. [HOMER.] Odyssea (translated by Simon Schaidenreisser, named
Minervius). A. Weissenhorn, Augsburg, 1538; fol.
On fol. 9 the cut from fol. 31 v. of Apuleius is used as an illustration to the third
book of the Odyssey. The seventeen remaining illustrations are by another hand,
much influenced by Breu.
200
Early German and Flemish Woodcuts.—Part II.
.
=
3
WOODCUT DESIGNED BY N H.
1. BATTLE OF NAKED MEN AGAINST PEASANTS IN A WOOD.
B. vii, 552, 1. P. iii, 443, 2. Nagl. Mon. iii. no. 1292.
The scene is a fir-wood in Utopia; in the battle 100,000 men are said
to have fallen, but the poet confesses his scepticism:
Doch ist es eben vil der Jar
Das ich gelaub es sey nit war
Wann wie wolt ain nackend man
Ain angelegten pawren bstan?
It does not appear whether the peasants, armed with flails, clubs,
scythes, axes, etc., are themselves Utopians or invaders assailing the
natives of the island, who, though naked, are armed with swords and
bucklers.¹ To 1., standing apart from the fray, and pointing with a
jagged stick to his monogram on a palette, H, is the artist him-
2
self, holding a blown wine-glass³ in his r. hand, to which allusion is made
in the text:
Als diser auch ain maister was
Doch ist jm lieber das wein glasz
Das braucht er für ain langen spiesz
Er thue jms nach, den das verdriesz.
The other nude man, running up with a can and also pointing, with
his hand, to the palette, is perhaps the engraver, Lützelburger himself.
Some close connexion with the wine-bibbing artist is obviously intended,
and the verses mention the engraver in addition to the painter :
Der maister der das hat erdicht
Der hat sein kunst dahin gericht.
Das man erkennen müg da bey
Wasz hoher kunst im maalen sey
Ausz maalen kumpt gar vil zů druck
Durch formen schneyden manig stuck, etc.
1 There is an allusion, of course, to the frequent armed risings of the German
peasants at this period.
2 A palette of similar shape is held by the painter in no. 26 of the Weisskunig.
3 For a similar vessel in actual use, see Apuleius, f. 10.
Division B.-School of Augsburg.—The Master N H. 201
[149 × 293.] Fine early impression, well preserved, but cut to the border-line.
A modern false margin has been added, wherein is inserted, in the middle, the tablet
[29 × 55] containing the engraver's name, HANNS · LEVCZELLBVRGER · FVRM-
SCHNIDER.¹ 1.5.2.2, which properly belongs to the 1. side, where it was placed
immediately under the border of the woodcut, with a tablet containing an alphabet
in the corresponding position r. (see repr. of the Munich impression in this state in
Hirth and Muther's Meisterholzschnitte, nos. 106, 107). The verses (68 lines in three
columns) from which extracts are quoted above, are found on the lower margin of
the impression at Dresden which does not contain Lützelburger's address and the
alphabet, and belongs accordingly to another, apparently later, edition. The Berlin
impression also has Lützelburger's name attached to it. The Lanna collection has
a fine early impression without margin (watermark, high crown).
Purchased from Mr. Obach, 1870.
2
It is evident from the verses that the draughtsman deliberately intended this
woodcut to be a masterpiece, and the wood-engraver has done his best to second him
in the effort. A very high place indeed must be assigned to it among all the pro-
ductions of the German school. The extreme finish of the cutting, indeed, is what
chiefly impedes the recognition of its essential unity in draughtsmanship with the
more carelessly executed Apuleius illustrations. A few of the more marked points of
resemblance may be pointed out. Man in hat, towards r., looking down: cf.
Apuleius, f. 12. Face on extreme 1. cf. bald man in same illustration. Peasant
with flail, treatment of drapery: cf. Apuleius, f. 18 v. Hair, like a wig: cf. Apuleius,
passim. Trees: cf. Apuleius, f. 20. The frontispiece to Maximilianus Transilvanus
also offers many analogies.
la. BATTLE OF NAKED MEN AGAINST PEASANTS IN A WOOD.
A fairly early impression, stained and ill preserved; no margin.
Bequeathed by the Rev. C. M. Cracherode.
1b. BATTLE OF NAKED MEN AGAINST PEASANTS IN A WOOD.
A much later impression, well preserved; no margin. Small heraldic watermark,
indistinct.
Presented by Mr. W. Mitchell, 1895.
¹ The two tablets only, without the woodcut itself, are said to be in the Paris
collection (Woltmann, i, 193).
Especially from the following lines:-
Des maalens seind nit vil gelerte
Darumb man billich loben soll
Den, der sein kunst beweiset wol
Als diser auch ain maister was, etc.
-.
:
202
:
XI.—ANONYMOUS WOODCUTS OF THE
AUGSBURG SCHOOL.
EARLY XVI CENTURY.
1. THE VIRGIN IN GLORY, CROWNED BY TWO ANGELS.
Schr. 2869.
White-line woodcut on black ground, with the symbols of the four
Evangelists (Schr. 2875) in medallions touching the corners of the
principal block.
[Chief woodcut, 152 × 96; medallions, diam. 39.] Good impression, on title-
page of "Stellarium Corone benedicte marie virginis," by Pelbartus de Temesvar, J.
Otmar, Augsburg, 1502 (Muther 966; Pr. 10658). Under the woodcut is a stamp of
the Buxheim Library.
Presented by Mr. W. Mitchell, 1895.
This woodcut has been attributed to the end of the XV century, but 1502 is the
date of its first publication, though it is thoroughly late-Gothic in spirit. It is not
in the Hagenau editions of 1498 and 1501. There has been much discussion of the
question whether it was cut on wood or metal. It is needless to suppose that it is
anything but a woodcut; the cross-hatching in white line in the medallions shows a
deliberate imitation of the metal-cutter's technique, but has not the delicacy that
work in that material itself would possess. Cf. Vol. I, pp. 154, 183.
The woodcut of the Virgin occurs again in Plutarch, "Von Zucht der Kinnder,"
1508 (Pr. 10669), and the medallions of the Evangelists in Geiler, Predigen
teütsch," 1510 (Pr. 10679), both printed by J. Otmar.
2. THE FRANCISCAN, PELBART OF TEMESVAR, STUDYING IN A
GARDEN.
White-line woodcut on black ground, as no. 1.
W.-E 7. Schr. 2876.
Here the corners of
the block are cut away and the four medallions encroach upon the space
that it would otherwise have filled.
[Chief woodcut, 178 x 119.] Fair impression, on title-page of "Pomerium de
sanctis, fratris Pelbarti ordinis sancti Francisci," J. Otmar, Augsburg, 1502
(Muther 965).
Purchased from Messrs. Smith, 1845.
2a. THE FRANCISCAN, PELBART OF TEMESVAR, STUDYING IN A
GARDEN.
Another impression, from another part of the same work, "Pomerium
de tempore." From a duplicate of the Munich library.
Presented by Mr. W. Mitchell, 1895.
On this woodcut see Passavant, i, 101, Hymans, "Documents iconographiques,”
etc., p. 21, Willshire, i, 320, Muther, Schreiber, and Koehler "White-line engraving
for relief printing," etc., p. 393. The woodcut is reproduced by Hymans, Butsch, i,
pl. 18, and Koehler (here from "Pomerium Quadragesimale"). Ed. Eyssen,
"Daniel Hopfer von Kaufbeuren," Heidelberg, 1904, p. 44, no. 1, attributes it to
Hopfer, whose first authenticated woodcut is twelve years later. Dr. Eyssen does
not mention the Virgin in Glory (no. 1).
1
Division B.-School of Augsburg.—Anonymous.
203
3. THE LAMENTATION FOR CHRIST.
The Virgin kneels in the foreground, three-quarter face to 1., with
clasped hands, bending over the body of Christ, which is so far supported
by St. John, 1., that only the feet rest on the ground. Both St. John and
the Saviour have long hair falling in ringlets. St. Mary Magdalen kneels r.,
behind the Virgin, holding a jar of ointment in both hands. On the hill
of Calvary, at a distance r., are the three crosses. A ladder stands erected
against the central one; the bodies of the crucified thieves still remain in
position. A tower stands on a hill across a lake; behind St. John is a clump
of trees. Single border line.
[146 (cut at top) x 118.] Damaged impression, occupying the r. portion of a
sheet, which contains 1. the poem "Maria Zart," in five stanzas, printed as prose,
with the heading "Fünnff andechtiger gesetz new gedicht,
mit zal der Reimen
vnd der melody ma | ria zart, Gesetzt vnd gedicht zů Haydelberg 1506" (5 11.). The
poem itself occupies 26 11. and is followed by the address, "Getruckt zů augspurg."
The printer, according to Proctor (10698), is Erhard Öglin. (See also Weller, suppl. 1,
358.) To 1. of the text is an upright panel of white renaissance ornament on black
ground, foliage with dolphins, springing from a vase. [145 (cut at top) × 25], in
Burgkmair's taste. [Size of sheet, 150 × 280.]
Purchased from Mr. Cohn, 1880.
I have seen other impressions of this rare and undescribed woodcut at Sigmaringen
and Munich (damaged, without text). It is one of exceptional artistic merit, and its
freedom of style, combined with the advanced renaissance character of the ornament
on the same sheet, inclines me to think that it may be some years later than 1506,
which is given, it must be observed, as the date of the composition of the poem. I
can make no suggestion with regard to the artist.
4. A MONSTROUS BIRTH AT ERTINGEN, 20 July, 1512.
On the front of the leaf the front view, on the reverse the back view,
of a female child with two heads, named respectively Elisabet and
Margareta.
[114 × 87.] The leaflet bearing the two woodcuts is attached by a hinge to the
middle of a broadside containing two columns of verse, each in 58 lines, with the
heading in three lines, "Im iar da man zalt tausent fünff hundert vnd zwolfften, ist
geborn ain solichs kind wie dise figur anzaigt in der herren von Werdenberg land in
dorff | Ertinge nechst by Riedlinge auf den zwaintzigste tag des Heumons, vñ sein
nam ist Elszgred." The type is that of Öglin (Pr. 10711). Šize of sheet, 277 × 150.
Purchased from Mr. Bigmore, 1876.
This is the prodigious birth commemorated by Dürer in a drawing now at
Oxford (L. 394). Dürer gives the same particulars about the date and place of the
occurrence, and the separate baptism of the united bodies under the name of
Elizabeth and Margaret, but he does not mention the amusing abbreviation
"Elszgred."
204
XII. AUGSBURG WOODCUTTERS.
(1) JOST DE NEGKER.
Jost, or Jobst, de Negker (de Necker, Dienecker), wood-engraver
and publisher, a native of Antwerp, worked at Augsburg 1508-1544.
He was the chief of a numerous group of wood-engravers employed in
the service of the Emperor Maximilian about 1512-1518 under the
direction of Conrad Peutinger, and carried the art of wood-engraving in
chiaroscuro to great perfection. The earliest dated work that bears
his monogram¹ appeared in March 1508 at Leyden.
Authorities:
Bartsch, P.-G., vii, 243.
Heller, "Zusätze," 96.
Passavant, P.-G., iii, 295.
Nagler, "Monogrammisten," ii, nos. 901, 1172.
Herberger, "Conrad Peutinger in seinem Verhältnisse zum Kaiser
Maximilian I.", 1851.
Chmelarz, "Jost de Negker's Helldunkelblätter," Vienna Jahrbuch,
XV, 391.
Rooses, in "Biographie Nationale publiée par l'Académie Royale de
Belgique," xv, 562.
Dodgson, "Zu Jost de Negker," Repertorium, xxi, 377.
Summary list of woodcuts by Jost de Negker.
A. Cut in the Netherlands.
1. St. Martin, designed by Lucas van Leyden, in Utrecht Breviary,
Leyden, 31 March, 1508. Repertorium, xxi, 37, 377, xviii, 146, 2. Signed
with monogram ft.
2. Perhaps the Temptation of St. Antony, related to an anonymous
engraving, dated 1520, Repertorium xxi, 381 (see p. 207, no. 1).
3. Undescribed musical broadside [463 × 307], part xylographic, part
printed with type, entitled "Principium et ars tocius musice," in the
¹ Jost de Negker used the monogram ft (for Jost), either alone or combined
with the initials dor de 11, when he introduced his signature on the block.
On the lower margin he frequently employed the full xylographic address,

Jose & Negfer Zü Augspurg
1
Division B.--School of Augsburg.-De Negker.
205
In
Culemann collection of "Einblätter," Kestner Museum, Hanover.¹
the middle is a large hand; to 1. is a tablet containing the dedication:
IO. FRAN. FERRARIEN. ORD. SERAPH. CAPP. DIAE ISAB. MANTVE.
MARCH. HOC. DEDIT.; at the top is a tablet with the second dedication
D. FREDERICO. PRIMO. GENITO MAR. MAN. DIC, and at the foot
a third tablet containing the signature in between the imperial arms
and those of Antwerp. The dedication to Federigo Gonzaga as heir to
the Marquis of Mantua gives a date between 1500 and 1517; this range
is narrowed to 1500-1508 by Jost de Negker's presence in the latter year
at Augsburg, which he did not leave again. The broadside is probably
copied from an Italian original earlier than the versions hitherto known,
B. Cut at Augsburg.
I. Works commissioned by the Emperor Maximilian.
1. The Genealogy. It is not proved that Jost de Negker cut the
blocks.
2. Der Weisskunig. Few of the blocks bear the engraver's name, and
that of Jost de Negker does not occur. There can be no doubt, however,
that he took an important share in the work.
3. Theuerdank. No. 70 has Jost de Negker's monogram in the early
proofs, but it was afterwards effaced.
4. The Triumphal Procession. Jost de Negker cut nos. 19, 20, 25,
26, 37, 42, 47, 50, 76, 79 and 131 (122 in edition of 1883-84).
5. The Austrian Saints. Jost de Negker cut nos. 17, 68, 75, 91, 112,
117 (edition of 1799).
II. Unofficial works.
A. After Amberger (Beham), Breu and Burgkmair.
Series of fifty landsknechts.
at Vienna by David de Necker.
Authority, preface to the edition printed.
B. After Burgkmair. (1) In chiaroscuro.-St. George, B. 23, and
Portrait of Maximilian I., B. 32, both 1508; the Lovers surprised by
Death, B. 40, 1510; Julius II., B. 33, 1511 (on a signed impression at
Brunswick, see p. 87); Hans Paumgartner, B. 34, 1512. There is no
direct evidence that Jost de Negker cut the portrait of Jakob Fugger,
P. 119, but there can be little doubt that it is by him, as well as the
anonymous chiaroscuro portrait at Berlin reproduced in the Jahrbuch x,
209, and Lützow, p. 223.
(2) In black only.-The Virgin and Child, B. 11 (copy of B. 9), signed
with monogram ft on the block and also (Vienna, Hofbibl.) with
xylographic address on margin; St. Sebastian, 1512, B. 25, signed with
monogram and initials; St. Clara, B. 17, with xylographic address on
margin (Vienna, Hofbibl.); Lamentation for Christ, Jahrbuch xii, 166, 4,
xylographic address on margin (Charlottenburg, Beuth-Schinkel Museum);
Influence of Women over Sages and Heroes, 1519, B. 4-6, 73, xylographic
A broadside of the same size and composition, published in ROMA PER
ANTONIO STRAMBI, is in the British Museum, (Music, I. 600 (49), under the name
IOANNES FRANCISCUS, Ferrariensis). Two other versions, a woodcut published in the
XVI century by Gadaldini at Modena, and a later engraved copy, are in the Liceo
Musicale at Bologna (Gaspari and Parisini, Catalogo, i, 220).
206
Early German and Flemish Woodcuts.-Part II.
address on margin of B. 6, first state (Basle); Heroes and Heroines, 1519,
B. 64-68, xylographic address on margin of first state (Paris, Vienna,
Albertina and Hofbibliothek); the Crucifixion, 1526, B. 19, Nagl.
Mon. iii, 242, 15, address forming part of xylographic inscription at foot
(see also p. 63, no. 23).
C. Probably after Burgkmair. Portrait of Louis XII. of France,
1519, P. iii, 297, 5, xylographic address on margin (London, Guildhall);
Portrait of Charles V., 1519, P. iii, 223, 334a, address printed below
(London); Imperial eagle, Nagl. Mon. ii, 456, 7, Dresden, collection of K.
Friedrich August II., printed in red and black, yellow and green added
by hand [sheet 290 × 390], below, 1. AVGSPVRG, r. Jobst de Necker.
D. After Schäufelein. Standard-bearer, B. 100. Signed with initials.
E. After Weiditz. Alphabet, 1521, Röttinger 39, P. iii, 282, 130.
Nine ornamental handles, B. vii, 223, 78, Kunstgeschichtliche Anzeigen,
1904, p. 64 (a perfect impression in the Hofbibliothek, Vienna, another,
cut in nine pieces, at Berlin). Architectural frame containing the four
Evangelists, dated 1521 (see p. 167). Probably also the ornamental
frames to woodcuts by Burgkmair, Röttinger 46, 47.
F. After unknown artists. The Prodigal Son, P. iii, 297, 2, Dresden;
Charles V., P. 3, and the Empress Isabella, P. 4, Bamberg; Mater Dolorosa
(not the large cut by Burgkmair), Nagl. Mon. ii, 456, 5. Caricature of a
bird-catcher, with an owl on his 1. hand, and an old woman, half-length,
dated 1526 [222 × 332], signed "Gedruckt zu Augspurg durch Jobst de
Necker Furmschneider" (Gotha, with others of the same set, unsigned).
G. Copies of engravings or woodcuts by other artists.
After Dürer (engraving, B. 31) the Virgin on the Crescent, B. vii, 243, 1,
P. iii, 297, 1, and (woodcut, B. 104) St. Christopher, Repertorium xxi, 381.
After Cranach (B. 58) St. Christopher, ibid.
After an unknown original, St. Christopher, ibid.
After Beham (cf. Pauli 1114), the Siege of Gricchisch Weissenburg,
1522, P. iii, 298, 6, Nagl. Mon. ii, 456, 8.¹
After Jan van Calcar, a skeleton, Nagl. Mon. ii, 456, 6; after the same?
"Anothomia oder abconterfectung eines Weybs leyb, wie er innwendig
gestaltet ist, Getruckt zu Augspurg durch Jobst de Negker Furmsnider in
M.D. xxxviij Jar," in the Albertina (Chmelarz, Vienna Jahrbuch xv, 397).
After Holbein, Dance of Death, 1544, Nagl. Mon. ii, p. 351.
¹ At Bamberg and Berlin (coloured, sheet 197 × 363; at top, ¶ Im Stetleyn ist
ain parfüsser Closter, auch noch ain kirchen da hat ain Rätzischer Byschoff seyn
wonung gehabt. ¶Getruckt zu Augspurg durch Jost Denecker, 1522). This is not
from the same block as the (larger) Derschau copy; here the boats are in outline,
whereas in Jost de Negker's cut they are solid black.
T
Division B.-School of Augsburg.-De Negker.
207
WOODCUTS BY JOST DE NEGKER.
A. -IN THE DEPARTMENT OF PRINTED BOOKS.
1. [DANCE OF DEATH.] Todtentanz. Augsburg durch Jobst Denecker, 1544,
fol. (Imperfect).
Forty-two woodcuts, of which 40 are after Holbein, coloured [196 × 147.] The
cut of the Duchess, F 2 v., has the date 1542, and that of the Advocate, D 3 v, has
the wood engraver's monogram HVE (Nagler, Mon. ii, 1798) from which it appears
that J. de Negker was only the publisher. The cut of the Adulterers, E 3 v, is the
earlier one described by Nagler, and not that which bears the monogram, Nagler ii,
901, in the second, undated edition. At Berlin is the edition of 1561, "Getruckt inn
der löblichen Reychstatt Augspurg, durch Dauidt Denecker, Formschneyder.'
B.-IN THE DEPARTMENT OF PRINTS AND DRAWINGS.
1. THE TEMPTATION OF ST. ANTONY.
The saint, in a monastic habit, sits r., raising his r. hand with two
fingers extended towards two nude women, who approach him, holding
metal vessels in their hands. An ape-like fiend crouches between them,
offering a bowl full of coin. Landscape background, with a stag standing
on a road in the middle distance. In front is St. Antony's pig with a bell
tied to its ear; his staff lies on the ground. In the middle in front is the
signature defen upon a tablet.
[370 × 260.] Good impression. Watermark, ox's head, with serpent and
tau cross.
Purchased from Mr. Gutekunst, 1875.
See Repertorium, xxi, 380, where this woodcut is described and reproduced on a
small scale. It contains the same composition, in reverse, with slight modifications,
as an anonymous engraving, dated 1520, in the Lanna collection at Prague (Singer
6712, repr. pl. x). It is difficult to believe, however, that the woodcut can be the
work of Jost de Negker, whose monogram it bears, unless it is much earlier than
1520. Both, accordingly, may be derived from a common original. The woman in
front is seen in the engraving, much more clearly than in the woodcut, to be derived
from Dürer's Nemesis.
† THE PRODIGAL SON CAROUSING.
P. iii, 297, 2.
Photograph of a large coloured woodcut at Dresden, "Die histori vom
verlornen Son. Lucas am xv. Capittel," with address "Gedruckt zu
Augspurg, durch Jobst de Negker, Formschneyder." I am unable to
attribute the design to a definite artist. It was copied in reverse by Hans
Rudolf Manuel Deutsch, with some variations, including the introduction
of a pack of cards and names for all the characters represented. The date
1552 occurs, with the monograms of draughtsman and woodcutter, in the
ornamental border. The copy is in this collection.
¹ Dimensions of the whole sheet, 1040 × 995, of the woodcut itself, 715 × 792, or
including the ornamental border, 990 × 992. The height of the text is 130 mm.
208
Early German and Flemish Woodcuts.-Part II.
(2) OTHER WOODCUTTERS.
Of the following little or nothing is known except that they
belonged to the group of woodcutters, partly Flemish, partly of
German birth, employed at Augsburg under the leadership of Jost de
Negker, who gave the finishing touches to their work.
JAN DE BONN (or BOM), cut nos. 21, 22, 31, 35, 39, 54, 60, 104,
117 of the Triumphal Procession (1883-84 edition).
HANS FRANCK, cut nos. 62, 87, 97-99, 103, 105, 109, 130 of the
Triumphal Procession, nos. 23 (?), 33, 38, 47, 65, 67, 96, 107, 108 of
the Austrian Saints (1799). He is, perhaps, the who cut woodcuts
after Schäufelein in the 1514 Plenarium, and is probably identical with
Hans Lützelburger "genannt Franck," who worked from 1522 to 1526
at Basle (see p. 196).
CORNELIUS LIEFRINCK,¹ cut no. 68 of the Weisskunig, nos. 2, 5,
16, 46, 50, 54 (?), 70, 85, 89, 101, 111, 116 of the Saints, and nos. 28, 33,
38, 46, 58, 96, 102, 127, 136 of the Triumphal Procession.
WILHELM LIEFRINCK,2 cut nos. 21, 49, 63 (?) 95 of the Saints,
and nos. 14, 18, 36, 43, 55, 56, 59, 69, 77, 81, 94, 111, 126, 135 of the
Triumphal Procession. Other woodcuts by him will be described in later
sections of this catalogue.
ALEXIUS LINDT, cut no. 56 of the Weisskunig, nos. 9-11, 13,
22 (?), 25, 28, 45, 53, 77, 93, 103, 114 of the Saints, and nos. 121, 125
of the Triumphal Procession.
JAKOB RUPP, cut nos. 113, 119 of the Triumphal Procession.
CLAUS SEMANN, cut no. 199 of the Weisskunig, nos. 12, 15, 30,
31, 35, 37, 44, 57, 59, 62, 66, 69, 71–73, 79, 83, 87, 104, 105, 110, 113 of
the Triumphal Procession.
JAN TABERITH, cut nos. 154, 207 of the Weisskunig, nos. 20, 32,
41, 58, 74, 102 of the Saints, and nos. 2, 23, 24, 29, 32, 44, 49, 52, 53,
88, 116, 118, 124, 129, 131 of the Triumphal Procession.
HIERONYMUS ANDREÄ and WOLFGANG RESCH, who also shared
in these works, were Nuremberg men.
(3) WOODCUTTERS KNOWN ONLY BY THEIR MONOGRAMS.
CH See pp. 11, 28.
See above, Hans Franck.
H
See p. 79.
M
See p. 29.
MA
See p. 31.
¹ See "Biographie Nationale publiée par l'Académie Royale de Belgique,” xii, 109
(article by Max Rooses).
2 Ibid. xii, 110 (by the same).
209
DIVISION C.-SCHOOLS OF SUABIA, BAVARIA,
AUSTRIA, AND POLAND.
The Suabian school, apart from Augsburg, is represented here
only by Matthias Gerung, a native of Nördlingen, whose affinities
are with the Augsburg group, and by a few fragments from books
printed within the limits of the modern kingdom of Würtemberg.
Ulm, which in the fifteenth century had been an important centre of
book illustration, held no such position after 1500, and it was only
in the latter half of the sixteenth century that a certain revival of
woodcutting took place in Suabian cities, notably at Ulm and
Tübingen.
The modern kingdom of Bavaria includes, of course, Nuremberg
and Augsburg, the two chief centres of South German illustration,
but to each of these a separate section has been devoted, and we are
here chiefly concerned with two bishoprics, Ratisbon and Passau,
which in the sixteenth century were no less independent of Bavarian
rule than the free cities of the Empire. Ratisbon, already the home.
of a famous school of miniature-painting, owes to the genius of
Altdorfer its importance in the history of the graphic arts, to which
the painter-engravers and woodcutters of the Danube contribute at
this period one of the most fascinating chapters. The study of the
Danube style, represented at Passau by Wolf Huber, would naturally
lead us on to Austria, but we must first turn back to consider the
art of Bavaria proper in the two capitals of the divided duchy,
Munich and Landshut, where the court painters occupied themselves,
however, only to a small extent with illustration or engraving.
Mair, the chief artist of Landshut, has been dealt with in the first
volume; his imitator, Hans Wurm, belongs to the first years of the
sixteenth century. The illustrations that issued from the press of
Weissenburger, the chief Landshut printer of this time, are very
varied in character, and include the work of Nuremberg and Augs-
burg artists in addition to woodcuts of the local school. The wood-
P
210
Early German and Flemish Woodcuts.-Part II.
cuts of another Bavarian centre of book production, the university
town of Ingolstadt, are sparingly represented here.
A Salzburg artist of small importance is placed next to Huber.
Austria itself, in the first half of the sixteenth century, contributes
very little to the great mass of German woodcutting and illustration.
Poland follows next, not only by its geographical position, but
because the printer Vietor emigrated from Vienna to Cracow and
took, apparently, his woodcutters with him. The art of both cities is
represented in this collection by very few examples.
Some readers may have expected to find other names included
in this division. A few words may explain their omission.
1
2
The Master of the Miracles of Maria Zell, who has been identified
with Huber, is represented in this collection only by reproductions.
of the original woodcuts at Berlin, which are not, however, unique,
since twenty-three of the twenty-five are in the Liechtenstein col-
lection at Vienna. They are the work of at least two hands, the
majority being by an artist of marked individuality and unmistakable
affinities with the school of the Danube, but distinct from Huber;
while two woodcuts, "Marggraff Hainrich in Märhern" and "Khünig
Ludwig in Ungern," stand apart from the rest and show the style of
Augsburg, where the whole set was very likely printed. The second
of these, at least, may be attributed to Jörg Breu the Elder; it bears
at the top the mark of the Augsburg woodcutter, M.*
3
Of the monogrammists, S B(1515),5 and ИS (1530)," we know too
little to be justified in placing them with the Bavarian school, though
certain stylistic features suggest such an attribution:
Another monogrammist, HWG,' whose work, as at present
recognised, consists of five woodcuts, three of which are represented
here, has of late been ranked much more positively among the
artists of the Danube school as a follower of Huber, to whom a
fourth woodcut, evidently by this artist, had already been attributed
by Passavant.8 In my opinion the influence of Altdorfer and
2
1 W. Schmidt, Repertorium, xvi, 254.
Die Wunder von Maria Zell," G. Hirth, Munich and Leipzig, 1883.
The attribution was first suggested to me by Dr. F. Dörnhöffer.
• See p. 29.
5 P. iv, 109, 1; Nagl., Mon., iv, no. 3957, 2. See Voss, Mitteilungen, 1909, p. 56.
6 B. vii, 494; Nagl., Mon., iv, no. 2544. The two pieces mentioned by B. are in
the Hofbibliothek, Vienna; the first (signed) piece, only, is here.
7 Nagl., Mon., iii, no. 1722.
8 P. iii, 306, 12. The fifth woodcut (at Berlin) is attributed by Passavant (iii,
263, 4) and Nagler (Mon., iii, 653, 30) to Lautensack. Nagler describes it again
(Mon., v, 271) under the name of Solis. On this monogrammist as a master of land-
scape, see Friedländer, Das Museum, iv, 21; Voss, "Der Ursprung des Donaustiles,"
p. 48, note 1, and Mitteilungen, 1909, p. 59; Riggenbach, "Wolf Huber," p. 43, note f;
Halm, Christliche Kunst, v, 65 ff.
Division C.-Schools of Suabia, etc.
211
Huber on this group of woodcuts has been exaggerated, though
in the little (unsigned) landscape with St. Jerome it undeniably
exists. The occurrence of the monogram of Virgil Solis on two
of the group points to Nuremberg as the place of their production,
and I have reserved them, accordingly, for treatment in a subsequent
section among the later woodcuts of Nuremberg. Whether the
artist who uses the monogram here reproduced is actually the
draughtsman, or a woodcutter working after Solis and perhaps
after a different draughtsman as well, is a question open to dispute.
P 2
212
I. MATTHIAS GERUNG.
Gerung described himself on a lost work (tapestry, dated 1543,
representing the Siege of Vienna, 1529) as "Mathias Gerung von
Nördlingen, Maler zu Lauging." He is first heard of in 1525 at
Lauingen, where his name occurs in the register of tax-payers for
the last time in 1568; from 1531 to 1567 he was weigh-master to
the town of Lauingen, where he died, probably in 1569. His earliest
work, a series of miniatures executed 1530-32 for Otto Heinrich of
Pfalz-Neuburg in a MS. New Testament, now at Gotha, proves his
dependence upon Dürer and Schäufelein; the dates on his woodcuts
extend from 1536 to 1558. In 1542 he illustrated the Protestant
"Kirchenordnung" for the Palatinate; this work was followed by
satires against the Roman Catholic clergy, and yet Gerung was
chosen to illustrate the missal printed at Dillingen in 1555 by
order of Cardinal Otto Truchsess von Waldburg, Bishop of Augsburg.¹
Pictures by Gerung exist at Carlsruhe (1543), Lauingen (1551, 1557)
and Hochstädt (1553); his chief painting (1551), in the Lauingen
Rathaus, represents the Council of that town doing homage to
harles V in his camp at Weihgay on the Danube, between
Lauen and Dillingen, during his campaign against the League of
Schmalkalde in that region in 1546.2
Gerung's affinities are with the Suabian rather than the Bavarian
school, and his artistic descent appears to be traced through
Schäufelein from the school of Augsburg. Lauingen, now in Bavaria,
belonged in his time to the Duchy of Neuburg, and its population
was of Suabian stock.
¹ A finely illuminated copy of this book, once the property of the Cardinal
himself, is preserved at Wolfegg in the possession of the present head of the family,
Prince Waldburg-Wolfegg-Waldsee. A similar copy is in the Munich library (20
L. impr. membr. 31). A clear survival of Gerung's style is to be seen in a Catholic
academical address (single sheet) printed by J. Mayer at Dillingen in 1613 (B.M.).
It is probable, indeed, that some of the blocks used for this purpose are old ones by
Gerung himself.
2 Exhibited at the Schwäbische Kreisausstellung at Augsburg, 1886. See
Zeitschr. f. bild. Kunst, xxii, 360, and Repertorium, x, 30. Tapestry designed by
Gerung, representing scenes on Otto Heinrich's pilgrimage to Jerusalem, was lent to
the same exhibition by the Historische Verein of Neuburg on the Danube. Other
tapestries executed for the same prince were dispersed in the XIX century.
1
Division C.-School of Suabia.-Gerung.
213
In the XVII century Gerung was confused with Grünewald,
who had used a similar monogram. An old collection of Gerung's
woodcuts illustrating the Apocalypse and satirical subjects exists in
Mr. Alfred Huth's collection, bound in book form in 1637 with the
name GRVNEWALT” on the black leather cover.¹ There can hardly
be a doubt that Sandrart, in 1675, was thinking of the same series
when he attributed to Grünewald, by no means positively, a set of
Apocalypse woodcuts.2 On no better evidence than this a consider-
able number of Nuremberg woodcuts has been attributed by two
recent writers to Grünewald.
Authorities:-
Bartsch, P.-G., ix, 158.
Passavant, P.-G., iii, 307.
Nagler, Mon., iv, 569, no. 1824.
Catalogue of the Huth Library, 1880, v, 1734.
Lützow, "Gesch. d. deutschen Kupf. u. Holzschnittes," 1891, 178.
Alois Wagner, "Mathis Gerung," Jahrbuch des Historischen
Vereins, Dillingen, ix. Jahrgang, 1896 (Dillingen, 1897), p. 69.
Dodgson, Jahrbuch der k. preuss. Kunstsammlungen, 1908, xxix, 195.
BOOKS ILLUSTRATED BY GERUNG.
IN THE DEPARTMENT OF PRINTED Books.
1. [LITURGIES.] Kirchenordnung, Wie es mit der Christlichen
Lehre, heiligen Sacramenten, vnd allerley andern Ceremonien, in
Herrn Otthainrichen, Pfaltzgrauen bey Rhein
gehalten wirt. J. Petreius, Nuremberg, 1543; fol.
Fürstenthumb
Der ander theyl, A i v. The Crucifixion, in a richly decorated frame, dated
MDXLII, signed. P. 10; N. 15.
2. [LITURGIES.] Missale secundum ritum Augustensis ecclesie.
S. Mayer, Dillingen, July, 1555; fol.
All the woodcut decorations are designed by Gerung. P. 11-14; N. 10-13. Title-
border; on verso, the Virgin and Child, with SS. Ulrich and Afra, signed, dated
1555; page-border (B. 8), facing fol. 1 and repeated ten times, with different small
cuts inserted in the socle; Christ on the Cross, with the Blessed Virgin and St.
John, before the Canon; and three ornamental alphabets, of different sizes, O(tho),
the first letter used of the largest alphabet, being signed (N. 23; Weigel, in
Naumann's Archiv, ii, 218). A pelican in her piety, with motto SIC HIS QVI
DILIGVNT, occurs repeatedly among the decorations of the missal.
1 Fully described in the Berlin Jahrbuch, 1908, pp. 202–204.
2 Teutsche Academie, II. Th. 3 Buch, p. 237. "Wiederum gehet in Holzschnitt
aus die Offenbarung des heiligen Johannes, ist aber übel zu bekommen, und solle
auch von dieser Hand seyn."
214
Early German and Flemish Woodcuts.-Part II.
i
3. HORTULUS Animæ. Der Seelen Garten. S. Mayer, Dillingen,
n.d. (1560); 8vo.
Twenty-six small cuts in the text, from fol. 229 v, onwards, repeated from the
Augsburg Missal, 1555 (no. 2). Other illustrations by several different hands. The
1572 edition of this Hortulus is in the Guildhall Library.
WOODCUTS BY GERUNG.
[1-4.]
SUBJECTS FROM THE GOSPELS.
1. THE ADORATION OF THE MAGI.
Jahrbuch, xxix, 199, 2.
The Virgin sits 1., holding the Child upon her lap; Joseph stands
behind her, and an angel stands at Mary's side, watching the presentation
of gold by the kneeling Caspar. Melchior bends his knee, while Balthasar,
still standing and crowned, leans forward, holding the vessel of myrrh in
both hands. The retinue of the three kings, r., look in through the door-
way and a gap in the wall. Three shepherds are seen through a window
in the background, two of whom look up at a second angel who appears
in clouds over the heads of the Holy Family, pointing to the star which
rests over the beams of the roof. No signature.
[690 × 1015.] Good impression, with slight inequalities of printing, on eight
sheets.
Purchased at the sale of the Lanna collection, May, 1909 (no. 1017). The only
other impressions at present known are in the Albertina and the Berlin Cabinet.
The Albertina also possesses the large upright "Nativity" described from the Berlin
impression in the Jahrbuch (xxix, 199, 1) and the "Last Supper" (ibid. no. 3). The
three woodcuts form a closely connected group, and contain many types highly
characteristic of Gerung.
2. CHRIST WASHING PETER'S FEET (fragment of a Last Supper).
Jahrbuch, xxix, 199, 3.
St. Peter sits 1., with his arms crossed upon his breast; his r. foot is
in a basin, while his 1., a little raised, is being washed by Christ, who
kneels. St. John holds a towel. Another Apostle is seen between John
and Peter, while six more are partly visible r. Through an arched
window r. we see the Agony in the Garden of Gethsemane. To 1., beyond
a pilaster which extends from top to bottom of the sheet, are two Apostles
seated, in profile to 1., and part of a third; these form a small portion of
the Last Supper, which, in a complete impression, would be the principal
subject of the woodcut.
[705 × 512.] Good impression, though not before some few cracks in the block;
printed on four sheets; no watermark.
Purchased from Messrs. Smith, 1845.
This anonymous woodcut was formerly placed under the name of Schäufelein. I
have no hesitation in attributing it to Gerung. The type of face, the drawing of the
hair and beard, the treatment of the nimbus, are the same as in his large signed wood-
cut, no. 4. The veining of the marble on the pilaster occurs again in nos. 3 and 8,
also in Huth 7. For St. John in the principal subject, compare the angel r. (with
sword) in Huth 34, dated 1553; for St. James and St. John in the background,
compare various types in Huth 17, or St. John in Huth 36.
The Berlin Cabinet possesses two impressions (one late) of the complete woodcut
[height varying from 695 to 700, width 990], with the Last Supper 1.
Division C.-School of Suabia.-Gerung.
215
3. CALVARY. 1542.
P. iii, 308, 10; Nagl., Mon., iv, 572, 15 and 17.
Christ on the cross between the two thieves. Mary stands 1., supported
by St. John, two women stand behind them; Mary Magdalen kneels,
clasping the cross, at the foot of which is a tablet with Gerung's mono-
gram. The traditional group of Jews, soldiers, etc., surrounds the cross.
The whole scene is framed in a portal of renaissance architecture, dated
below MDXLII; on the top are angels bearing the instruments of the
Passion.
[247 × 145.] Good impression. On the back is the title, Der ander theyl der
Kirchen-ordnung, etc. (8 Îl.), then the arms of the Palatinate [77 × 62] and date,
1543. See p. 213, no. 1.
Collections: C. R. (stamp, not in F.), Mitchell.
Presented by Mr. W. Mitchell, 1895.
Nagler describes this woodcut twice, confusing it in the second case, as Passavant
had done, with the Canon woodcut in the Missal printed at Dillingen in 1555. The
remaining illustrations in the Kirchenordnung (frontispiece to pts. 1 and 3, and
Last Supper, fol. 23 v. of pt. 2), are signed by Virgil Solis; the initial letters are by
Erhard Schön. The book was printed by Petreius at Nuremberg.
4. THE DESCENT FROM THE CROSS.
Nagl., Mon., iv, 571, 14.
Two men on ladders lower the body of Christ from the cross; a third
draws out the nail by which his feet were fastened, while Mary Magdalen,
in tears, holds the cloth by which the feet are covered. Another man 1.,
standing beyond Joseph of Arimathea, holds up both hands. R. the
Virgin Mary, fainting, is supported by two women; St. John and another
woman stand behind them. The two thieves are still on their crosses;
their bodies are only in part included in the limits of the design. The
monogram, without a date, is on the ground 1.
[1000 × 677.] Fine impression, perfectly preserved, printed on eight sheets.
Watermark, Gothic P, a small shield above the letter, and initials A H.
Collections: Caspari (sale, 1878, no. 386), Mitchell.
Presented by Mr. W. Mitchell, 1895.
4a. THE DESCENT FROM THE CROSS.
Another impression, less well preserved; same watermark.
Purchased from Messrs. Heussner and Lauser, 1878.
[5-13.]
N. 14.
ILLUSTRATIONS TO THE APOCALYPSE, SYMBOLICAL SUBJECTS, AND
SATIRES AGAINST THE CHURCH OF ROME.
These woodcuts, uniform for the most part in size, ranging in date
from 1536 to 1558, form a double series carried on by the artist
contemporaneously during a number of years, but with special intensity
from 1546 to 1548. It is not easy to draw the line between those which
are, strictly speaking, illustrations to the Apocalypse, and those which
are merely Protestant lampoons or Biblical subjects with an obvious
allusion to modern religious controversies. But it seems that out of a
total of sixty, twenty-six certainly, and in all probability twenty-eight
belong to the Apocalypse, the remainder falling under the other categories.
A
216
Early German and Flemish Woodcuts.-Part II.
No complete series is known. The Wolfenbüttel library possesses fifty-
four, the Huth library forty-eight, the Berlin Cabinet thirty-seven,
Maihingen fourteen, Dresden (Collection of K. Friedrich August II)
thirteen, while some few other collections contain a smaller number.
Only seven are described by Bartsch; Passavant adds two, his nos. 9 and
15; and Nagler three more, nos. 6, 7, 20. The catalogue of the Huth
collection describes forty-eight, and the whole series of sixty is described
in the Berlin Jahrbuch, 1908, xxix, 195 ff. An impression of no. 11, not
mentioned there, is in the Willshire collection at the Guildhall, while
nos. 25, 29, 34, 36–39, 43, 49, 54, 55, 57 and 59 are at Coburg.
1544.
5. ST. JOHN BEHOLDS THE SEVEN GOLDEN CANDLESTICKS.
B. ix, 158, 1; Nagler, 1; Huth, 23; Dodgson (Jahrbuch), 1.
[233 × 162.] Good impression, without margin; no watermark.
Presented by Mr. W. Mitchell, 1895.
6. ST. JOHN BEHOLDS THE THRONE OF GOD AND THE FOUR AND
TWENTY ELDERS. 1546. B. 2; N. 2; H. 25; D. (Jahrbuch), 2.
[233 x 163.] Good impression, with margin [2-7], on white paper with castle
gate watermark. This and the following number belong to the same issue as the
whole set at Wolfenbüttel and the majority of those in the Huth collection.
Collections: Benedict XIV (F. 614, 1., black), H. Buttstaedt (F. 253, blue),
Mitchell.
Presented by Mr. W. Mitchell, 1895.
7. THE ANGELS RESTRAINING THE FOUR WINDS. 1546.
B. 4; N. 4; H. 29; D. (Jahrbuch), 6.
[233 × 162.] Good impression, with margin [7], on the same paper as no. 6, but
without the watermark.
Collections: as no. 6.
Presented by Mr. W. Mitchell, 1895.
8. SYMBOLICAL SUBJECT. 1536.
1
H. 4; D. (Jahrbuch), 35.
A prophet stands with 1. arm extended, a staff in his r. hand, before a
large throne which contains two seats, one elevated above the other.
On the lower are seated two elderly and two youthful princes, on the
upper five children ¹ holding palms or flowering sprays in their hands.
To 1. and r. of the four rulers a sword and a bundle of rods are poised in
the air; the holy Dove is seen above clouds which descend to the top of
the throne. Low down r. are the monogram and date 1536.
[233 × 162.] Old impression without watermark, somewhat discoloured and
damaged.
Purchased from Mrs. Noseda, 1856.
Other impressions occur at Berlin, in the Huth library and at Wolfenbüttel.
9. SATIRICAL SUBJECT. 1548.
H. 8; D. (Jahrbuch), 39.
A mounted emperor pierces a prostrate pope with a lance; a cardinal,
a bishop and several monks bewail his fall under a tent r. In the
distance Elijah (HELIAS) is slaying the priests of Baal on the slopes of
Carmel. At the foot, towards the 1., are the monogram and date 1548.
¹ Possibly the "babes and sucklings" of Matth. xxi. 16.
}
Division C.-School of Suabia.-Gerung.
217
[215 (for 233) × 163.] Old impression, without watermark, discoloured, damaged
and cut at the top.
Purchased from Mr. Asher, 1853.
Other impressions occur in the Huth library and at Wolfenbüttel.
10. SATIRICAL SUBJECT (undated).
H. 13; D. (Jahrbuch), 44.
In the background a Gothic church is crashing down, though its apse
stands intact; a number of ecclesiastics are overwhelmed by the ruins; a
tiara, mitre, cardinal's hat, processional banner, monstrance, chalice, and
box of indulgences lie scattered on the ground; a panel with a painted
figure of St. Paul rests across a fragment of carved stone. To l. a crowd
of laymen, including a king, watch the catastrophe with dismay; a canon
stands in advance of them. Three demons fly in the air over the ruins,
and a book inscribed EVANG is about to fall upon the shattered roof of
the church. Monogram in 1. lower corner.
[233 × 162.] Good impression, but discoloured and repaired towards the top.
No watermark or margin.
Purchased from Mr. Gutekunst, 1867.
11. SATIRICAL SUBJECT (undated).
D. (Jahrbuch), 60.
In the background Christ, over whose head the Father and Holy
Ghost are seen, preaches to a crowd of humble listeners, men and women,
on the top of a rock from either end of which an angel is just pushing off
an unbeliever. In the foreground two large devils, crowned as Sultan
and Pope, with their tails intertwined, are raised over the pit of Hell.
Each draws into his mouth and chews a chain to which seven other chains
are attached, passing round the bodies or necks of Turks 1. and ecclesiastics
r. In the background are three demons, two of which perform on guitar
and fiddle. In the r. lower corner is the monogram.
[234 × 163.] Good impression, a little torn on r. side. No margin. Water-
mark, small high crown. On the back is written in an old hand, perhaps that of
the artist himself, Dasz. 21. vndt 22. caput | Seint noch zu inventirenn, meaning
probably, "The [illustrations to the] 21st and 22nd chapters [of Revelations] are yet
to be designed." An illustration to the 21st chapter exists, dated 1546, D. (Jahrbuch),
28, so that the present woodcut would have to be dated not later than`1546, with
which time its style agrees well.
Presented by Mr. W. Mitchell, 1895.
No other impression is known.
12. SMALLER SATIRICAL SUBJECT.
Towards the right is a round table, at which a cardinal and a bishop
(both vomiting) and three women are seated. The bishop lays both
hands on the shoulders of the women beside him, one of whom is receiving
rival addresses from a young layman. The cardinal is being assisted by
a monk who stands at his side holding a vessel. A woman seated by
herself r. is handing her cup to a man to be refilled. In the foreground I.
are three money-bags, a display of plate, several boxes, and a dog. In
the middle distance 1. a priest is seen standing between two devils, while
a third holds the papal tiara over his head. Smoke rises round this group
and divides it from a pair of lovers embracing and a third group, behind
the banqueters, consisting of four men and two women. Through the
చ
218 Early German and Flemish Woodcuts.-Part II.
windows are seen in the distance a soldier piercing a prostrate man with
his spear and a conflict between two squadrons of cavalry. No signature
or date.
[215 × 172.] Good impression, slightly damaged but with border-line preserved
on all sides. Watermark, letter P surmounted by the arms of Augsburg.
From the Holtrop collection, sold at Sotheby's, July, 1909.
This woodcut is uniform in every respect except size with the earlier portion
(before 1550) of the set of sixty described in the Berlin Jahrbuch in 1908. Its
dimensions differ, however, so markedly from those of the series that it cannot be
treated as belonging to it.
13. FRAGMENT OF A LARGE SATIRICAL SUBJECT.
First state.
Jahrbuch, xxix, 200, 4.
The complete woodcut [990 × 691], of which an impression, in a later
state, exists at Berlin, represents the Saviour with a banner standing at
the head of a staircase, between God the Father 1. and the Lamb
surrounded by angels r. At he foot of the staircase stands St. Peter,
holding a key in either hand, between St. Paul 1. and St. John the Baptist
r. Below, 1. and r., are the two sacraments of Baptism and the Lord's
Supper; the latter is administered in both kinds by two apostles. Farther
to r. Moses and Charles V stand in front of a crowd of blindfolded
Catholics, who are pressing on towards a pile of rocks by which all
approach to the staircase from the side is barred. A Jew (?) in a high
hat is trying to climb the rocks, a monk mounts a ladder, and another
falls back baffled in a shower of fiery hail. Other invaders make a similar
effort on the 1. side, but are repulsed by angels. Low down r. a boar's
head with fool's cap and papal tiara emerges from water. Near the
middle, beneath the groups of devout Protestants, is Gerung's monogram.
[481 × 352.] A fragment, being the r. lower portion of the whole woodcut
described above. Fine impression; watermark, small shield with the arms of
Augsburg.
Purchased from Mr. Daniell, 1866.
In both the known impressions pieces of the block have been cut out, evidently
in order to contain inscriptions, which, however, are wanting. These pieces are to
(1. and) r. of the second step above St. Peter's head (and on the hill below the
Lamb). In the second state, at Berlin, a piece of wood has been inserted containing
new headgear for Charles V, who now has a turban instead of the imperial crown, and
the cardinal by his side. The monk who is falling backward with hands spread out
above him has also received a new head.
14. A LEAF FROM THE AUGSBURG MISSAL. 1555.
B. ix, 160, 8.
An architectural frame containing, in a lunette, the Coronation of the
Virgin, flanked by statues of St. Paul 1. and St. Peter r. on columns. The
frame is a passe-partout, used frequently in the missal, and containing in
this case the Adoration of the Sacrament of the Altar by Apostles,
Evangelists and Doctors of the Church. In the lower part of the frame
is the Last Supper with Gerung's monogram beneath it.
[332 × 240.] Fair impression. On the back text printed in red and black, com-
mencing with "Accessus altaris," the last page of the preliminary matter; this
woodcut, in the missal, faces fol. 1.
From the Holtrop collection.
Presented by Messrs. Obach & Co., 1909.
219
II.-ANONYMOUS WOODCUTS FROM BOOKS
PRINTED IN WÜRTEMBERG.
SCHWÄBISCH HALL.
1. QUARTO TITLE-BORDER.
Explicatio Epistolæ | Pauli ad Galatas. | Autore Ioanne Brentio. |
Hale Suevorum per Petrum Frentium, | XLVI.
One piece, architectural. Below, in the centre, three coats-of-arms,
surrounded by a wreath.
[162 × 123; opening, 72. × 75.] Good impression.
From the Bagford Collection (Harl. MS. 5920–505).
Transferred from the Department of Printed Books, 1900.
2. FOLIO TITLE-BORDER.
•
Evangelii quod inscribitur, secun dum Ioannem, Vndecim posteriora
capita .
explicata. | Per Ioannem Brentium. |
・ ・ ・ ・ . . Halæ
Suevorum Excudebat Petrus Frentius, | Anno salutis, | M.D.XXXXVIII.
| Mense Maij.
One piece, architectural. Below, in the centre, a tablet containing
ornamental foliage and a bird.
[255 × 177; opening, 146 × 105.] Upper corners damaged.
From the Bagford Collection (Harl. MS. 5918–609).
Transferred from the Department of Printed Books, 1900.
TÜBINGEN.
3. THE ARMS OF JOHANNES NAUCLERUS (1516).
A boat sailing with an ecclesiastic at the helm, a blackamoor at the
prow, and another, holding a club, at the top of the mast. Crest, a
blackamoor holding a paddle in either hand.
[156 × 154.] Good impression, Latin text on the back, from the title-page of
"Memorabilium omnis aetatis et omni | um gentium chronici commentarii a
Ioanne Nau clero I. V. Doctore Tubing. Praeposito, & Vniversitatis Cancel-
lario, digesti in | annum Salutis M. D.," printed at Tübingen by Thomas Anshelm,
March 1516; fol. (Steiff,¹ 84; Pr. 11743). There is no other cut in the book.
From the Franks Collection, bequeathed 1897.
4. PORTRAIT OF JOHANNES STÖFFLER (1531).
P. iii, 392, 61.
Half-length, in profile to r., wearing a gown and fur-trimmed cap;
the r. elbow leans on a ledge, the 1. hand holds a roll of paper, the r. hand
¹ Karl Steiff," Der erste Buchdruck in Tübingen," 1881.
220
Early German and Flemish Woodcuts.-Part II.
To r.
a book.
Leaf and grape ornament at the sides and upper corners.
of the portrait are the type-printed words, EFFIGIES | IO. STOEF | LER
AN = | NORVM | LXXIX.
[113 × 97.] Fine impression, evidently a proof,¹ with margin [10–13].
Presented by Mr. W. Mitchell, 1895.
The mathematician Stöffler was born 10 December, 1452, and died 16 February,
1531; since his age is given as 79, the portrait must have been drawn after 10 Dec-
ember, 1530. It was first published, at least in book form, in "Ephemeridum Opus
Ioannis Stoefleri," second edition, printed by Ulrich Morhard, Tübingen, 1 February,
1533; 4to (Steiff, 149). In the first edition, 1 September, 1531 (Steiff, 142), a
different and inferior portrait was used. The present portrait was repeated in
"Almanach No = vum Petri Pitati Veronensis. TVBINGAE M.D. XLIIII. VL.
MOR." (British Museum) on the verso of the fourth (unnumbered) leaf, before
sig. A. The recto of the leaf has two Latin poems printed in italics. There is no
text on the portrait itself, but over it is printed EFFIGIES IO. STOEFLERI AN
norum LXXIX. There is no cut in the corresponding place of the 1552 edition.
At some later time the woodcut was reprinted with the addition of a second block,
printed in red.
•
This beautiful woodcut was attributed by Passavant to Holbein. The attribution
was rejected by Woltmann 2 and by His-Heusler. A more recent attribution to
Flötner meets the case no better.
4
ULM.
5. THE DEVICE OF THE PRINTER, HANS VARNIER THE ELDER.
The Tree of the Knowledge of Good and Evil, round the stem of
which a serpent is twined, holding in its mouth a skull. A skeleton lies
on the ground, which is strewn with skulls and bones. An axe lies at
the roots of the tree, which project above the ground. The name
"Hans
Varnier," printed with type, is divided by the stem of the tree.5
[102 × 62 (cut, border-line preserved only at the bottom).] Good impression ;
watermark, a hand surmounted by a flower.
In the inventory of 1857.
Varnier, whose family appears to have migrated from the Tyrol, one of them
being described at Ulm as "Athesinus," became a citizen of Ulm in 1531 and printed
there from that year till 1547, when he took to other forms of industry. He printed
chiefly the works of Protestant sectarians. The date of his death is unknown. His
name appears in Mr. L. Cust's index to artists of the German school, but I find no
evidence that he was himself a draughtsman or engraver. The device is extremely
well drawn and cut.
1
As printed in the book, Steiff 149, the after AN is wanting, and there is a line
over LXXIX. Moreover, the text of the title comes close to the upper and lower
border-lines. A second impression, derived from this book, is placed in the portrait
collection. The woodcut is reproduced in facsimile as the frontispiece to Steiff's
bibliography.
2 "Holbein und seine Zeit,” ii, 217.
3 Quoted by Steiff, p. 187.
• Karl Domanig, Jahrbuch der kunsthist. Samml. d. allerh. Kaiserhauses, 1895,
xvi, 32.
5 K. Steiff, in his article on Varnier in "Allgemeine Deutsche Biographie," xxxix,
499, describes this device, which he says occurs in two sizes. They are described
more fully by G. Veesenmeyer, "Miscellaneen" (Nuremberg, 1812), pp. 53 and 55.
In the smaller, used in 1535, the name HANS VARNIR ZV VLM is placed on a
scroll round the stem of the tree. The device above described is the larger, also used
in 1535. Neither of the books named by Veesenmeyer is in the British Museum.
Steiff suggests that the idea for Varnier's device was taken from Seb. Franck's book,
"Vom Baum des Wissens des Gutz und Bösz," printed by Varnier along with a
translation of Erasmus' "Moriae Encomium" and other pamphlets in 1535.
+
221
III. ALBRECHT ALTDORFER.
Painter, architect, engraver and draughtsman on wood; born
about 1480, place and exact date of birth unknown, perhaps son of
the painter Ulrich Altdorfer, a citizen of Ratisbon from 1478 to
1499; removed in 1505 from Amberg to Ratisbon, of which place he
became a citizen, being then aged at least twenty-five; earliest dated
engraving 1506,¹ earliest dated woodcut 1511, in which year he
travelled down the Danube to Austria; resided permanently at
Ratisbon, where he was architect to the municipality and a member
of the inner council from 1526 till his death, which occurred in
February, 1538.
2
Authorities:-
Bartsch, P.-G., viii, 73.
Passavant, P.-G., iii, 301.
Nagler, Mon., i, p. 38, no. 87.
Meyer, K.-L., i, 536 (biography by C. W. Neumann, critical
essays and catalogues by W. Schmidt).
"The Fall of Man, by A. A., edited by A. Aspland, with an
introduction by W. Bell Scott." The Holbein Society, 1876.
"A. A.'s Farbenholzschnitt, Die Madonna von Regensburg,"
Jahrbuch der k. preuss. Kunstsammlungen, 1886, vii, 154.
M. Friedländer, " A. A. der Maler von Regensburg," Leipzig, 1891,
especially pp. 34-39, 53-58.
T. Sturge Moore, "Altdorfer" (The Artist's Library), London, 1900.
T. Sturge Moore, "A. A., a Book of 71 Woodcuts" (Little En-
gravings, no. 1), London, 1902.
J. Meder, "A. A.'s Donaureise im Jahre 1511," Mitt. d. Ges. f.
vervielf. Kunst, 1902, 9 and 1907, 29.
H. Voss, "Der Ursprung des Donaustiles," Leipzig, 1907.
M. Friedländer in Thieme-Becker's "Lexicon,” i, 347.
H. Hildebrandt, "Die Architektur bei A. A.," Strassburg, 1908.
H. Voss, "A. Altdorfer und W. Huber" (Meister der Graphik,
no. 3), Leipzig, 1910.
¹ Dr. Friedländer (p. 170) divides Altdorfer's activity in the graphic arts into
periods in which he chiefly produced some special kind of work, as follows: 1506–
1511, engravings; 1511-1517, woodcuts; c. 1520, engravings, woodcuts and etchings;
1521-1526, chiefly engravings; after 1530, etchings. No woodcuts were produced
much, if at all, later than 1520. Most of Altdorfer's drawings belong, like the
majority of his woodcuts, to the years 1511-1517.
2 Hildebrandt endeavours to show that Altdorfer must have travelled to northern
Italy about the years 1520-22 by the alleged influence of definite buildings and
monuments in Verona, Padua and Venice upon his paintings and prints. It is a
hypothesis which lacks any definite proof; see Friedländer, Repertorium, xxxii, 362.
222
Early German and Flemish Woodcuts. --Part II.
BOOKS CONTAINING WOODCUTS BY ALTDORFER.¹
IN THE DEPARTMENT OF PRINTED BOOKS.
In
1. [DUERER.] Alberti Dureri Noriberg. German. Icones sacræ.
historiam Salutis humanæ per Redemptorem nostrum Jesum Christum
Dei & Mariæ filium instauratæ. Nunc primùm è tenebris in lucem
editæ. Georg Ludwig Frobenius, Hamburg, 1604; 4to.
Contains 38 cuts (omitting B. 38 and 40) of the little series, the Fall and
Redemption of Man, B. 1-40, erroneously published under Dürer's name and
arranged partly in the wrong order. Heinecken 2 asserted that some of the woodcuts
in this edition were copies; his statement, repeated by Bartsch³ and Heller,* is
controverted by Schmidt. The question is by no means an easy one to settle, but
after a close examination of the 1604 edition with three sets of early impressions at
hand for comparison, I have come to the conclusion that in no single case can it be
proved that a copy has been substituted for the original block. In several cases,
however, alterations have been made, and in one case the mark of the woodcutter
who made them has been inserted. The alterations occur, with one exception, in
places where a wide blank space on the original block facilitated the insertion of new
detail by which a subsequent engraver thought to improve upon Altdorfer;
I can
discover no alteration in the body of the work and find it incredible that a copyist
should have adhered so closely to the original. Any deterioration that is noticeable
can be explained by the wear and tear of the block, and such little defects as are
already present in early proofs never fail to reappear, often exaggerated, in the
impressions of 1604. The one exception alluded to above is in the case of B. 26,
Pilate washing his hands, where alterations may be noticed along the border-line,
which is narrower than in the early proofs, and perhaps added by the Wittenberg
wood-engraver, Jacobus Lucius, of Cronstadt in Transilvania, who has inserted his
mark, a trefoil, in the r. lower corner, at a place previously blank. In the early
proofs the boot of the man I., and the outermost spearhead touch the border-line;
there is a little variation in the cord by which the sounding-board over Pilate's
head is suspended; at the extreme r. side of this sounding-board are some short lines
of shading not present in the early proofs, so that on all four sides the border-line
may have been renewed. Of course, the simpler explanation would be that the
whole is a copy, but I cannot persuade myself that such is the case. The only other
instances in which alterations are noticeable are the following:-
B. 2. A tuft of hair has been added to Adam's head.
The r.
B. 3. A little piece of superfluous scrabble has been inserted at the top, 1.
B. 4. The monogram, removed from the 1., is now inserted beneath the r. wing
of the angel; just below it a superfluous and disconnected piece of foliage is put in.
The foliage which originally rose above Joachim's r. arm has been removed.
wing of the angel no longer touches the upper border-line 8 mm. from the r. side.
This is the one case explicitly mentioned by Heinecken as a copy; Schmidt describes
the transference of the monogram as a mark of late impressions.
B. 15. A little shading has been introduced, 1. and r., on the breast of Christ's
robe.
2. [BECKER.] Holzschnitte alter deutscher Meister. Gotha, 1808–
16; fol.
B. 60-66, seven woodcuts by Altdorfer, B. 41, 43, 44, 50, 53, 54, 57, printed from
the blocks preserved in the Derschau collection, now at Berlin. The same collection
includes the block of B. 56, which was not published by Becker.
¹ So far as we know, Altdorfer, unlike most of the contemporary painters, never
himself illustrated books.
2 "Dictionnaire des Artistes," 1778, i, 176.
3 P.-G., viii, 75.
4" Zusätze," 1854, p. 5.
Meyer's K.-L., i, 551.
Division C.-School of Ratisbon.—Altdorfer.
223
WOODCUTS BY ALTDORFER.
Since these extend over a few years only, and it is difficult to place
some of the undated cuts with any degree of certainty, a chronological
order has not in this case been adopted. The dated woodcuts are the
following:-
1511. The Massacre of the Innocents, B. 46; St. George slaying
the Dragon, B. 55; The Judgment of Paris, B. 60; Lovers
seated in a Wood, B. 63.
1512. The Resurrection of Christ, B. 47; The Beheading of St.
John the Baptist, B. 52.
1513. The Annunciation, B. 44; St. Christopher, B. 53; Pyramus
and Thisbe, B. 61.
1517. The Beheading of St. John the Baptist, S. 54.
To the year 1512 belongs a wood-block preserved at Munich (K. B.
Graphische Sammlung), with a drawing by Altdorfer of a Lamentation
for Christ [124 × 95], on which the woodcutter has just begun to work.¹
The earliest woodcuts by Altdorfer are the small set in the Hofbiblio-
thek at Vienna reproduced in " Altdorfer " (Little Engravings), pl. 1, and
described, though not under Altdorfer's name, by W. L. Schreiber.2 The
monogram appears on two of the seven, St. Achatius and St. Jerome. In
addition to these, there are two others, hitherto undescribed, in the same
collection, SS. Peter and Paul with the Sudarium, in a single circle [diam.
31, size of sheet, 31 × 32], and St. Bartholomew, half length, knife in r.
hand, in a double circle placed within a square [18 × 19; diam. (outer
circle) 14]. To these must be added the more mature work, St. John,
reproduced by T. S. Moore, pl. 2.
Among the later woodcuts not actually dated a group connected with
“die schöne Maria von Regensburg," can be referred with certainty to a
period between 1519, when the cult of this wonder-working Madonna
became popular, and 1523, when it was already on the decline, soon after
1520 being the most probable date for the production of the woodcuts.
The following approximate order is suggested by Dr. Friedländer for
the undated woodcuts; his reasons for so dating them are mentioned in
the course of the catalogue.
Early (1511 or later). St. George standing, B. 56; St. Christopher,
B. 54.
About 1514. St. Jerome in a cave, B. 57.
About 1515. The Fall and Redemption of Man, B. 1–40.³
Reproduced in W. Schmidt, "Handzeichnungen alter Meister im Kön. Kupfer-
stichkabinet zu München," Lief. ix, 1900, Bl. 164, and in T. S. Moore's "Altdorfer "
(Little Engravings, no. 1), pl. 3. No other blocks of the early German school with
uncut drawings upon them appear to be extant except those at Basle designed to
illustrate an edition of Terence, many of which, both cut and uncut, are reproduced
in D. Burckhardt's" Albrecht Dürer's Aufenthalt in Basel," 1892. A block drawn
upon by P. Brueghel the Elder is in the Figdor Collection at Vienna.
2" Manuel de l'Amateur," nos. 901, 939, 1174, 1183, 1269, 1572, 1669.
3 The compositions of two of the series were used in a painting dated 1517, still at
Ratisbon. See Hildebrandt, pp. 40 and 50.
224
Early German and Flemish Woodcuts. -Part II.
About 1516. The Adoration of the Shepherds, B. 45; St. Jerome,
in an ornamental border, B. 58.
A Standard-bearer, B. 62.
Before 1519.
About 1520. The Virgin and Child in a church, B. 48; Abraham's
Sacrifice, B. 41; the Return of Joshua and Caleb, B. 42; Jael and
Sisera, B. 43; a Suppliant kneeling before the Virgin and Child, B. 49;
the Holy Family at a fountain, B. 59.
Somewhat after 1520. The Beautiful Virgin of Ratisbon, B. 51;
An altar with figures of the Virgin and Saints, B. 50; ornamental wood-
cut, S. 68.1
Hildebrandt dates B. 48 and 59 before, the other woodcuts connected
with the Beautiful Virgin after the supposed Italian journey of c. 1520.
It may perhaps be suggested that Altdorfer, who manifestly took the
keenest interest in all connected with the cult of the Beautiful Virgin, is
not likely to have absented himself from the city just as that cult was
reaching its climax.
[1–40.]
THE FALL AND REDEMPTION OF MAN. B. viii, 73, 1–40.
S.2 1-40.
1. THE FALL.
B. 1. S. 1.
2. THE EXPULSION FROM EDEN.
B. 2. S. 2.
3. JOACHIM'S OFFERING REJECTED BY THE HIGH PRIEST. B. 3.
4. THE MESSAGE OF THE ANGEL TO JOACHIM.
5. THE EMBRACE OF JOACHIM AND ANNE AT THE
GATE.
6. THE PRESENTATION OF THE VIRGIN IN THE TEMPLE,
7. THE ANNUNCIATION.
8. THE VISITATION.
9. THE NATIVITY.
10. THE ADORATION OF THE MAGI.
S. 3.
B. 4. S. 4.
GOLDEN
B. 5. S. 5.
B. 6. S. 6.
B. 7. S. 7.
B. 8. S. 8.
11. THE CIRCUMCISION.
12. THE PRESENTATION OF CHRIST IN THE TEMPLE.
13. THE FLIGHT INTO EGYPT.
14. CHRIST DISPUTING WITH THE DOCTORS.
B. 9. S. 9.
B. 10. S. 10.
B. 11. S. 11.
B. 12. S. 12.
B. 13. S. 13.
B. 14, S. 14.
15. THE TRANSFIGURATION.
B. 15. S. 15.
16. CHRIST TAKING LEAVE OF HIS
MOTHER BEFORE
PASSION.
B. 16.
THE
S. 16.
B. 17. S. 17.
17. THE ENTRY INTO JERUSALEM.
¹ This has been reproduced, so far as I know for the first time, in Hildebrandt's
book, pl. 8, from the unique impression in the Dresden cabinet.
-
2 S. W. Schmidt, author of the catalogue of Altdorfer in Meyer's "Künstler-
Lexikon," i, 550–552.
Division C.-School of Ratisbon.—Altdorfer.
*
225
B. 18. S. 18.
18. THE LAST SUPPER.
19. CHRIST ON THE MOUNT OF OLIVES.
B. 19. S. 19.
20. THE BETRAYAL OF CHRIST.
21. CHRIST BEFORE CAIAPHAS.
22. CHRIST BEFORE PILATE.
23. CHRIST SCOURGED.
B. 20. S. 20.
B. 21. S. 21.
B. 22. S. 22.
B. 23. S. 23.
24. CHRIST CROWNED WITH THORNS.
B. 24. S. 24.
25. CHRIST SHOWN TO THE PEOPLE.
26. PILATE WASHING HIS HANDS.
27. CHRIST BEARING THE CROSS.
28. CHRIST NAILED TO THE CROSS.
29. THE RAISING OF THE CROSS.
30. CHRIST ON THE CROSS.
31. CHRIST TAKEN DOWN FROM THE CROSS.
32. THE LAMENTATION BENEATH THE CROSS.
33. THE ENTOMBMENT.
34. CHRIST DESCENDING INTO HELL.
B. 25. S. 25.
B. 26. S. 26.
B. 27. S. 27.
B. 28. S. 28.
B. 29. S. 29.
B. 30. S. 30.
B. 31. S. 31.
B. 32. S. 32.
B. 33. S. 33.
B. 34.
S. 34.
35. THE RESURRECTION.
B. 35.
S. 35.
36. CHRIST APPEARING TO ST. MARY MAGDALEN.
37. THE ASCENSION.
38. THE DEATH OF THE VIRGIN.
B. 36. S. 36.
B. 37. S. 37.
B. 38. S. 38.
39. THE LAST JUDGMENT.
B. 39. S. 39.
B. 40. S. 40.
40. THE VIRGIN AS QUEEN OF HEAVEN.
[72-73 × 48 mm.] Good impressions, not very early, with narrow margin
[3-4 mm.]. No watermark; white paper, but artificially stained in a few cases.
Collections: Liphart (F. 321, 1), Mitchell.
Presented by Mr. W. Mitchell, 1895.
The date suggested by Friedländer (p. 36) for this series is about 1515.
la-40a. THE FALL AND REDEMPTION OF MAN. SECOND SET.
Impressions of similar character, but more evenly printed and in some cases
superior to the first set. No margin.
Purchased from Messrs. Smith, 1845.
Impressions of this quality are by no means rare. An
exceptional set of proofs is that at Wolfegg, in which four
subjects are found printed on one sheet arranged as follows:
Each sheet measures about 225 x 150 mm. The woodcuts
approach within 2 or 3 mm. of the edge of the paper; the space
between 1 and 2 amounts to 48, that between 1 and 3 to 74 mm.
The ten sheets contain respectively the following numbers of
Bartsch: No. 1, B. 2, 3, 6, 7; no. 2, B. 15, 17, 19, 20; no. 3, B. 40,

2
3 4
¹ This subject should always follow immediately upon Christ's death on the
cross, as in the "Little Passion" of Dürer, but I have not thought it worth while
here to disturb the order which has been customary since the days of Bartsch.
Q
226
Early German and Flemish Woodcuts.-Part II.
1, 4, 5; no. 4, B. 16, 18, 22, 23; no. 5, B. 8, 9, 13, 12; no. 6, B. 10, 11, 14, 38; no. 7,
B. 23, 24, 27, 28; no. 8, B. 34, 31, 35, 36; no. 9, B. 32, 33, 37, 39; no. 10, B. 25, 26,
29, 30. The watermark is a bull's head with cross and flower. Early impressions
also occur in book form, in which each subject, with a wide margin, is printed on a
leaf measuring about 140 × 90 mm. A complete set of this kind in the Berlin
Cabinet has two watermarks, bull's head with cross and flower and "Reichsapfel."
Mr. Max Rosenheim possesses a similar but imperfect set (B. 1-7, 19-31, 34, 36, 40),
leaves measuring 135 × 86 mm., with bull's head, high crown, and cardinal's hat as
watermarks. This set had been bound in the XVI century as a book, with an early
inscription, Ce livr a partient a guilebert belart imagier de scaints (?) a mons (?).
Impressions of this series in chiaroscuro are said to occur (Meyer's "Kunstler-
lexikon," p. 551). The forty woodcuts are reproduced in the Holbein Society's
publication, 1876, in Hirth's "Liebhaber-Bibliothek alter Illustratoren,” xii, 1888,
and in Moore's Altdorfer ("Little Engravings").
41. ABRAHAM'S SACRIFICE.
B. viii, 76, 41. S. 41.
[122 × 95.] Good impression, without margin or watermark.
Presented by Mr. W. Mitchell, 1895.
About 1520 (Friedländer, p. 37).
42. THE RETURN OF JOSHUA AND CALEB.
B. viii, 76, 42. S. 42.
[122 × 95.] Good impression, without margin. Watermark, flower of four petals
(fragment).
Presented by Mr. W. Mitchell, 1895.
Companion to no. 41, about 1520 (Friedländer). The architecture is distinctly of
Renaissance character.
43. JAEL AND SISERA.
B. viii, 76, 43. S. 43.
[121 × 94.] Good impression, without margin or watermark.
Presented by Mr. W. Mitchell, 1895.
Probably belongs to the same set as nos. 41 and 42.
44. THE ANNUNCIATION.
1513.
B. viii, 76, 44. S. 44.
[122 × 95.] Good impression, but the table and part of Mary's dress are damaged
and restored. No watermark.
Presented by Mr. W. Mitchell, 1895.
In late impressions there is a crack on either side of the tablet containing
Altdorfer's monogram.
45. THE ADORATION OF THE SHEPHERDS.
B. viii, 77, 45. S. 45.
[122 × 95.] Good impression, without margin or watermark.
Presented by Mr. W. Mitchell, 1895.
Friedländer dates this woodcut about 1516, remarking on the deficiencies of the
Renaissance architecture as compared with the purer style of 1520.
46. THE MASSACRE OF THE INNOCENTS.
[193 × 147.] Good impression without margin.
surmounted by a star.
Collections: Drugulin (F. 535, blue), Mitchell.
Presented by Mr. W. Mitchell, 1895.
1511.
B. viii, 77, 46. S. 46.
Watermark, anchor in a circle,
47. THE HOLY FAMILY ON THE FLIGHT INTO EGYPT, AT A FOUNTAIN.
B. viii, 80, 59. S. 47.
[228 × 176.] Very fine impression without margin. Watermark, cardinal's hat.
Presented by Mr. W. Mitchell, 1895.
The Virgin in this subject is almost certainly the Beautiful Virgin of Ratisbon.
The date is therefore about 1520. Friedländer (p. 53) remarks on the perfection of
the technique as compared with the woodcuts of 1511-17. Repr. Lippmann, "En-
gravings and Woodcuts by Old Masters," ii, and Dürer Society, i, 21.
Division C.-School of Ratisbon.-Altdorfer.
227
48. THE RESURRECTION. 1512.
B. viii, 77, 47. S. 48.
[230 × 178.] Good impression without margin, worn thin in a few places.
Watermark, Gothic p.
Presented by Mr. W. Mitchell, 1895.
W. Bell Scott ("The Fall of Man," Holbein Society, 1876, p. 12) believed that
his own impression of this woodcut proved Altdorfer's acquaintance with the process
of "overlaying,'
""the entire figure of Christ being made to print dark, while the
clouds all round are relieved of the pressure, and made to print comparatively
fainter."
49. THE VIRGIN STANDING IN A CHURCH, WITH THE CHILD IN HER
ARMS.
B. viii, 77, 48. S. 49.
[122 × 94.] Good impression, without margin or watermark.
Presented by Mr. W. Mitchell, 1895.
This appears to be the earliest (1519-20) of the woodcuts representing the
Beautiful Virgin of Ratisbon (Friedländer, p. 53).
50. A SUPPLIANT KNEELING BEFORE THE VIRGIN AND CHILD.
B. viii, 77, 49. S. 50.
[168 × 121.] Good impression with narrow margin. No watermark.
Collections: Liphart (F. 328, 1), Mitchell.
Presented by Mr. W. Mitchell, 1895.
B. mentions a work by Angelus Fagius Sangrinus, "Carminum de pietate in
Deum divosque libri III," printed at Venice in 1570, in which this woodcut occurs.
The statement is confirmed by Schmidt. The book is not in the British Museum.
Friedländer (p. 57) remarks on the close agreement in technique between this wood-
cut and no. 47 (B. 59).
51. AN ALTAR WITH NICHES CONTAINING FIGURES OF THE VIRGIN
AND CHILD, SS. CHRISTOPHER, MARY MAGDALEN, GEORGE
AND CATHERINE.
B. viii, 78, 50. S. 51.
[Sheet, 305 × 218; woodcut, 295 × 213.] Good impression, without watermark.
Presented by Mr. W. Mitchell, 1895.
According to S., chiaroscuro impressions with two tone-blocks exist. Friedländer
suggests that this may have been a design for an altar in the new stone church of
the Beautiful Virgin. He is followed in this by Hildebrandt, and there is no reason
to doubt that they are right.
52. THE BEAUTIFUL VIRGIN OF RATISBON.
B. viii, 78, 51. S. 52.
Printed in black and five colours (pink, light and dark brown, yellow
and blue). The pink (a dull shade, verging on brown) is used for the
rim of the Virgin's nimbus, the rays of the nimbus of the Child (which
contains no fleur-de-lis, as in the Wolfegg impression), part of the Child's
tunic, the Virgin's left sleeve, the small upright rectangular panels on
the 1. and r. sides of the entablature, the shields containing Altdorfer's
signature and the arms of Ratisbon, and the initials of the inscription.
The light brown is only used for the Child's hair and a small portion of
the Virgin's veil, between her 1. cheek and her hood; this brown differs
very slightly from the pink and might be mistaken for it if the two
colours did not stand in close contact. The dark brown is used for the
greater part of the architectural frame, also for the Virgin's face and
hands, the Child's face and limbs. Yellow is used for the rays of the
Virgin's nimbus, the lining of her hood and mantle, the Child's sash, the
flowers, the medallions, the tall upright panels and the frame which
contains the inscriptions (all the parts which in the Wolfegg impression
are green). Dark slate-blue is used for the Virgin's hood and mantle
Q 2
228
Early German and Flemish Woodcuts.-Part II.
H
!
the vase, the frieze at the top, and the panels behind the monogram
and arms.
[340 × 247.] Late impression, printed rather badly out of register. Watermark
indistinct (eagle ?).
Collections: Coppenrath (Sale 1889, no. 200), Lanna (Singer, no. 647).
Purchased at the Lanna Sale, Stuttgart 1909, no. 265.
1
Making allowances for the obvious inaccuracy of Weigel's reproduction ¹ ("Holz-
schnitte berühmter Meister," Lief. 13), it seems probable that this is the impression
there published; it was then in the collection of J. Stiglmeier at Straubing, and had
been formerly in that of Kraenner at Ratisbon.
The "Beautiful Virgin " was an old miracle-working statue for which a new and
enthusiastic cult arose when it was erected, on 14 March, 1519, on an altar placed
among the ruins of the Synagogue recently destroyed. This figure is to be dis-
tinguished from the new statue by Erhard Haidenreich erected outside the temporary
wooden chapel built to contain the wonder-working image. The wooden chapel was
the first successor of the Synagogue, but was itself soon replaced by a stone church
in the Renaissance style, now the Protestant church of Ratisbon. A copy of the
medal commemorating the cult, in silver-gilt repoussé, with the inscription, TOTA
PVLCHRA ES 1519, is preserved in the K. K. Hofmuseum, Vienna, inserted in a
prayer-book which belonged to Ferdinand I. The Virgin, who has a distinct six-
pointed star on her head-dress and mantle, bears a general resemblance to the figure
shown in several of Altdorfer's woodcuts. Beneath the half-length figure is a shield
with the crossed keys of Ratisbon.²
·
The original woodcut is rare in any condition. I have seen other impressions at
Berlin (blue, yellow, two shades of brown, black), Coburg (dull blue, dull yellow,
brown and black), Vienna, Hofbibliothek (Fries collection, pink, brown, blue, yellow
and black), and Albertina (dark indigo, dark brown, dull light red, dull yellow and
black), Würzburg (black and four colours). There is another (pink, brown, light
blue, grey and black) in the collection of Altdorfer's works presented by G. A.
Peuchel in 1651 to the Ratisbon Council, now in the Hof- und Staatsbibliothek,
Munich (Cod. icon. 412 = Cim. 182).³ According to Bartsch, impressions occur in
black outline only; I have not seen them.
+ THE BEAUTIFUL VIRGIN OF RATISBON.
B. viii, 78, 51. S. 52.
Facsimile in chromolithography of the finest impression known, in the collection
of Prince Waldburg-Wolfegg, printed in black and five colours (crimson, pink, brown,
blue and green). The watermark of the original is a bull's head with serpent twined
round a cross; the woodcut measures 340 × 244 mm. (border-line).
The present reproduction is a proof of the facsimile published by Grote in the
Berlin Jahrbuch, 1886 (vii, 154), in C. v. Lützow's "Geschichte des deutschen Kupfer-
stiches und Holzschnittes," 1891 (after p. 176), and again, with slightly different
colouring, in Lippmann's " Engravings and Woodcuts by Old Masters," iv, 37.
53. THE BEHEADING OF ST. JOHN THE BAPTIST.
1512.
B. viii, 78, 52. S. 53.
[204 × 155.] Good impression, without margin or watermark.
Collections: Hausmann (F. 57), Mitchell.
Presented by Mr. W. Mitchell, 1895.
Another woodcut of this subject, dated 1517, S. 54, is only known to exist in the
Albertina. It is reproduced in Sturge Moore's "Altdorfer" (Little Engravings,
no. 1, 1902), pl. 12.
1 The impression is described as being from five plates, but only four are used in
the reproduction. The white trefoils in the medallions are an invention of the
copyist.
2 I have to thank Dr. Weixlgärtner for calling my attention to this rarity.
3 Dr. Leidinger kindly sent me a list of the contents of this volume. In addition
to two drawings it contains (in a different order) :—
Woodcuts:-S. 1–49, 51, 52, 55–57, 59, 60, 62–65.
Engravings:-S. 1–9, 11, 12, 14-24, 26, 28–38, 40-43, 45, 46, 49–51, 53, 54, 58, 60,
62, 63, 65-67, 70-76, 78, 79, 79a, 80-82, 84-91, 93-97, 99-101.
A

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h
PLATE XIV
ALBRECHT ALTDORFER
ST. CHRISTOPHER. B. 53
Division C.-School of Ratisbon.—Altdorfer.
229
54. ST. CHRISTOPHER STOOPING TO RAISE THE CHILD CHRIST.
B. viii, 79, 54. S. 55.
[123 × 95.] Good impression, without margin or watermark.
Presented by Mr. W. Mitchell, 1895.
An early work.
55. ST. CHRISTOPHER WADING WITH THE CHILD CHRIST UPON
HIS SHOULDERS. 1513.
B. viii, 79, 53. S. 56.
[169 × 122.] Fine, early impression with margin [2-3], on thin white paper,
watermark a cardinal's hat.
Presented by Mr. W. Mitchell, 1895.
56. ST. GEORGE SLAYING THE DRAGON. 1511. B. viii, 79, 55. S. 57.
[192 × 150.] Sharp, early impression, but damaged and cut within the border.
Watermark, anchor in a circle, surmounted by a star.
In the inventory of 1837.
56a. ST. GEORGE SLAYING THE DRAGON. 1511. B. viii, 79, 55. S. 57.
[196 × 150.] Old impression, somewhat damaged, no margin or watermark.
Presented by Mr. W. Mitchell, 1895.
On Altdorfer's journey down the Danube in 1511, see J. Meder in Mitteilungen
der Gesellschaft für vervielfältigende Kunst, 1902 and 1907. Dr. Meder (1902, p. 11)
identifies the castle in this woodcut with Aggstein below Melk. An anonymous
German picture at Piacenza based upon this woodcut is reproduced by H. Voss,
Mitteilungen, 1909, p. 75.
(57. ST. GEORGE STANDING.
B. viii, 79, 56. S. 58.)
The British Museum does not possess the original. A photograph of the only
impression known to me, a late one, at Vienna (Hofbibliothek), is inserted for
comparison with the copy, no. 57a.
57a. ST. GEORGE STANDING.
B. 56. S. 58.
Copy.
[135 × 101.] Late impression with false chiaroscuro tint, dull sage green,
applied by hand, white patches being left for the high lights.
Purchased from Messrs. Smith, 1845.
This impression was reproduced as Altdorfer's original woodcut in the "Little
Engravings" volume. Dr. Weixlgärtner was the first to recognise it as a copy.¹
Differences in detail are numerous; for instance, the shaft of the spear is shaded
along the left side, in the original, with short horizontal lines which are omitted in
the copy. For similar shading on the handle of the spear a curved line is substi-
tuted in the copy, which the original lacks. The copy, moreover, is larger, the
original measuring only 125 × 95 mm. The original itself is unsigned and its
authenticity is doubted by Friedländer (p. 35) and Weixlgärtner. The original block
is no. 426 in the Derschau collection of blocks at Berlin.
58. ST. JEROME IN PENITENCE, IN A CAVE.
B. viii, 79, 57. S. 59.
[169 × 120.] Good impression with narrow margin. No watermark.
upper corner has been inserted by a restorer.
Presented by Mr. W. Mitchell, 1895.
The 1.
The most remarkable achievement on the technical side among Altdorfer's wood-
cuts. Friedländer dates it 1514.
1
¹ Mitt. d. Ges. f. vervielf. Kunst, 1903, p. 47.
230
Early German and Flemish Woodcuts.-Part 11.
59. ST. JEROME IN PENITENCE, IN THE OPEN AIR.
B. viii, 80, 58. S. 60.
[66 × 45.] Late impression, enclosed in a passe-partout of Renaissance design,
also by Altdorfer [107 x 75; opening, 69 x 49].
Purchased from Messrs. Evans, 1857.
The woodcut is rare. Friedländer dates the border about 1516, remarking on the
signs of Dürer's influence which it bears.
60. THE JUDGMENT OF PARIS. 1511.
B. viii, 80, 60. S. 62.
1
[203 × 161.] Fine early impression, the same subject repeated on the back. No
margin. Watermark, a triangle (fragment, the rest indistinguishable).
Collections: Firmin-Didot (F. 21), Mitchell.
Presented by Mr. W. Mitchell, 1895.
61. PYRAMUS AND THISBE. 1513.
B. viii, 80, 61. S. 63.
[120 × 96.] Fair impression, not very clear. No margin or watermark.
Presented by Mr. W. Mitchell, 1895.
62. A STANDARD BEARER.
B. viii, 81, 62. S. 64.
[120 x 95.] Good impression, without margin or watermark.
Purchased from Messrs. Evans, 1853.
63. LOVERS SITTING IN A WOOD. 1511.
B. viii, 81, 63. S. 65.
[135 × 100.] Fair impression, without margin or watermark.
Purchased from Messrs. Evans, 1858.
A free imitation of this woodcut, in reverse [82 × 65], appeared in "Das untrew
Spiel," by Hans Sachs, "Gedruckt zu Nürnberg durch Herman Hamsing" (n.d.).
Of the remaining woodcuts enumerated by Schmidt, no. 54 has already
been mentioned, no. 61 (St. Catherine, P. iii, 304, 64) is unknown to me
as it was to Schmidt and Friedländer, no. 66 (repr. Butsch, i, 88), a title-
border signed A, is not by Altdorfer, no. 67 is a portion of the "Tross
at the end of the Triumphal Procession of Maximilian, no. 68, an orna-
mental doorway, not described by B. or P., is at Dresden.2
>>
64 (1-10). SUBJECTS DESIGNED BY ALTDORFER FOR THE TRIUMPHAL
ARCH OF THE EMPEROR MAXIMILIAN.3
On the Triumphal Arch see Vol. I, pp. 311-321. Altdorfer's share
in the work, consisting of ten of the scenes of Maximilian's private life on
the round towers at either end, and the decoration of the cupolas by
which these towers are surmounted, is described on pp. 313-315 and 317.
The subjects may be briefly repeated here.
¹ Schmidt mentions a similar double impression of B. 57 at Munich.
2 Repr., Hildebrandt, pl. 8.
3 First attributed to Altdorfer by W. Schmidt (Chronik für vervielfältigende
Kunst, 1891, iv, 12).
Division C.-School of Ratisbon.—Altdorfer.
231
Left Tower. — (1) i.
(2) ii.
(3) iii.
(4) iv.
(5) vi.²
Right Tower.-(6) vii.
(7) viii.
(8) ix.
(9) x.
(10) xi.
The foundation or incorporation of a church of the
Order of St. George.¹
Maximilian and the knights of St. George vowing
a crusade against the Turks.
Maximilian's improvements in artillery.
Maximilian conversing in seven languages.
Maximilian's prowess in the chase.
Maximilian engaged in tournaments and masque-
rades.
Maximilian's genealogical and heraldic studies.
The tomb erected by Maximilian for his father.
The imperial treasure.
Maximilian's interest in building.
¹ Since the publication of Vol. I important new material for the history of this
order has been published by Dr. Robert Eisler. (Jahrbuch der k.k. Zentralkom-
mission für kunst- und historische Denkmale, 1905, iii, 103-109.) The Abbey of
Millstatt, formerly Benedictine, was conferred upon the order at the time of its.
foundation by Frederick III. In 1471 followed the incorporation of Wiener
Neustadt, which had been the seat of a much earlier Order of St. George, founded in
1333 by Otto "der Fröhliche." From documents issued by Maximilian (17 Sep-
tember 1493), and Alexander VI (13 April 1494), we learn that what was formerly a
strictly religious order, with vows of chastity and obedience (not poverty), was.
transferred into a secular confraternity for both sexes, for the purpose of checking
the advance of the Turks. A donation qualified for admission to the confraternity,
but those who were willing to serve in person for a year in war against the Turks
obtained the title of crowned knights of St. George with certain privileges. Ordinary
members had their names read yearly from the pulpit of one of the churches of the
order, and if they were of knightly birth their arms were placed in the church; the
church at Millstatt is so decorated to this day. Rayn in Carinthia was bestowed
upon the order in 1493, and Victring in 1494; it is possible that one of these in-
corporations, as Dr. Eisler suggests (p. 103), may be the subject of the present
woodcut. The codex at Vienna, mentioned in Vol. I, p. 314, should have been
quoted as 3221, not 3301.
2 The fifth subject is by Dürer.
232
J
IV. MASTER OF THE "TROSS."
Unknown artist; worked presumably at Ratisbon about 1515.
A certain portion of the woodcuts which compose the Triumphal
Procession of the Emperor Maximilian' has for many years been
recognised as the work of an artist distinct from the others engaged
in preparing the designs. But whereas the hand of Dürer, Spring-
inklee, Burgkmair, Beck or Schäufelein is easily recognisable in this
or that group of the Triumph, no identification of the remaining artist
hitherto proposed has met with general acceptance. Schestag² and
Laschitzer ³ left him nameless; Dr. W. Schmidt and Dr. H. Röttinger
4
agree in naming him Altdorfer, though they base the attribution on
somewhat different grounds. The name of Hans Dürer has also been
proposed, though only recently, so far as I am aware, in print.
3
6
5
Before discussing these suggestions, it is necessary to define more
closely what share in the preparation of the blocks was assigned to
the unknown draughtsman. Nos. 57-88, a double series of riders.
bearing respectively the banners of the hereditary domains of Austria
and of those acquired through the Burgundian marriage, divided by
five ranks of mounted trumpeters, form a group apart, distinguished
from the rest of the Triumph by a set of numbers, 1 to 32, cut upon.
the block and printed in reverse low down to the right of the subject."
But it has been fully recognised since 1887 that another group of six
blocks at the end of the Triumph, nos. 132–137 in the latest edition,
must be attributed to the same draughtsman. This second group
represents the "Tross," or train of stragglers and packbearers
following with the baggage in the rear of the procession. It is dis-
tinguished from the rest of the Triumph by the fact that the throng
1 B. vii, 229, 81. On the Procession see Vol. I, pp. 332, 398, Vol. II, pp. 33,
96, 130.
2 Vienna Jahrbuch, i, 174 ff.
3 Vienna Jahrbuch, v, 167.
4 Kunstchronik, 1893, N.F. iv, 347.
5 Repertorium für Kunstwissenchaft, 1903, xxvi, 328.
• By H. Voss, in Mitteilungen der Gesellschaft für vervielfältigende Kunst, 1909,
p. 56, note 1.
On the early proofs in this collection nineteen of these numbers appear (2, 3,
6-8, 11-17, 19, 24, 27, 28, 30-32); as printed in 1796, two numbers (2, 12) are seen,
but the most recent edition shows that ten (2, 8, 11-13, 15-17, 24, 31) are still pre-
served upon the blocks.
Division C.-School of Ratisbon.-Master of the "Tross."
233
advances in an easy disorder, instead of being marshalled in compact
and formal ranks, and also by the presence of a complete landscape
background. So free, indeed, is the treatment that these picturesque
and lively inventions would hardly be recognised as conforming to
the general regulations of the Triumph were it not for the obligatory
wreath or lobkrennzl" on every head and the tablet carried by the
trossmaister."
1
The landscape affords the first clue to the authorship of the group
in question. No one who has studied the characteristics conveniently
summarised by the term "Donaustil" can fail to recognise in the
treatment of plants and trees the manner of the school of Ratisbon
and Passau. The mountain ridges, the curly outlines of the small
trees and shrubs, the habit of using a taller tree to mark the limit of
a picture (nos. 132-134, 136, 137), the artist's obvious delight in
woodland scenery, remind us of the drawings and woodcuts of
Altdorfer and Huber. The Romanesque architecture on nos. 135
and 136 is also characteristic of the Danube region. The first im-
pression is confirmed by study of the figures. The preference for
grotesque and eccentric types, the lean, bony faces of the men, the
rounder heads of the women, the strongly marked nose and carefully
drawn eyes of both sexes remind us of Ratisbon rather than
Nuremberg or Augsburg. The Bavarian love of curly lines and
continually indented contours betrays itself no less in the animal
than in the vegetable forms; hair and feathers are studied with the
same minuteness as the foliage by the wayside.
But though the draughtsman is obviously a countryman of
Altdorfer it is impossible to identify him with the chief of the
Ratisbon school. The days are past when everything produced in
that school was ascribed to Altdorfer, just as unsigned Nuremberg
woodcuts and drawings bore the name of Dürer and those of
Augsburg were attributed to Burgkmair. Altdorfer certainly bore
his part in carrying out the commissions of the Emperor Maximilian,
though it is exceedingly questionable whether he drew either of the
two groups of marginal decorations in the Besançon portion of the
Prayer-book of Maximilian which are assigned by different critics to
Altdorfer the group signed "A. A." or that signed "H. D."2 With
¹ On no. 132 not only the horses but even the ducks and running dog wear
wreaths.
2 It is notorious that the signatures in this book were added, not always discreetly,
by a later hand. Dr. Giehlow ascribes the "A. A." group to Altdorfer, the "H. D."
group to Hans Dürer; Dr. Röttinger gives the former to Huber, the latter to
Altdorfer himself. I am inclined to agree with Dr. Röttinger to the extent of
assigning these groups to two different artists of the Ratisbon school.
234
Early German and Flemish Woodcuts.-Part II.
I
regard to the portions of the "Ehrenpforte" attributed to him by
Schmidt no doubt is possible. But the test of comparison with
woodcuts and drawings signed by Altdorfer excludes his participation
in the Triumphal Procession no less surely than it confirms such a
participation in the Triumphal Arch. The miniatures for the Tross,
in the Hofbibliothek, Vienna, stand nearer to Altdorfer than the
woodcuts, and may be from the hand of the master himself.
The differentiation of the minor artists of this school has made
some progress, but is far from being complete. With the best known
of them, Wolf Huber, the Master of the Tross has more in common
than with Altdorfer. In the treatment of foliage he approaches
Huber closely, but there is a great divergence in the drawing of the
human figure between our anonymous draughtsman and the Passau
master.¹ His skill in depicting an animated crowd might suggest the
artist of the Pilgrimage to the Beautiful Virgin of Ratisbon, Michael
Ostendorfer, but there is no more than a superficial resemblance
between the popular types drawn by the two men. The draughtsman
"H. D." of the Besançon Prayer-book has a more serious claim to be
the Master of the Tross, and Dr. Röttinger has stated, perhaps over-
stated, a number of definite points of resemblance between the two
works. In my opinion those resemblances count for little as against
a far more radical divergence.
Neither in the works of any of the artists hitherto named, nor
among such drawings of the school of Ratisbon as have been pub-
lished do I find any parallel to the most characteristic peculiarities
of this master's style. Not only the Tross but the series of horses
and riders in nos. 57-88 of the Triumphal Procession, with the
women depicted on the banners above them, stand apart from any-
thing else in German illustration of the time. They are the work of
a considerable master whose individual talent is so easily recognised
and remembered that it is surprising that no other works by his
hand can be identified.
Against all this negative criticism of the existing attributions I
can set but one positive discovery that may tend towards the solution
of the problem. The woman on the third of the banners displayed in
no. 65 of the Triumph has the letters "HV" placed upon her bodice
in a form which suggests that they are the initials of the artist and
not intended merely for decoration, though it is always unsafe to
¹ The Berlin drawing published by Dr. Voss (Mitteilungen, 1909, p. 57) forms a
closer connecting link than had yet been found, but I would claim it for Huber and
not for the anonymous draughtsman.
Division C.-School of Ratisbon.—Master of the “Tross.” 235
take letters in such a position for a signature. Before the "H" there
may, perhaps, be a "W" partly hidden by the sleeve. No signature or
letters can be found anywhere else upon the two groups of woodcuts
by this master, except that on the same block, no. 65, the rider has
upon his leg the letter "W" four times repeated, in a form which
obviously does not betoken a signature. The other letters, till an
explanation of them can be offered, only serve as an additional argu-
ment for distinguishing this master from the known artists of Ratisbon.
1
It only remains to be added that the blocks of this portion of the
Triumphal Procession were cut, like all the rest, at Augsburg in the
workshop of Jost de Negker.
WOODCUTS BY THE MASTER OF THE "TROSS."
[1-32.]
THE ARMS OF THE HEREDITARY DOMAINS OF AUSTRIA AND OF
THOSE ACQUIRED THROUGH THE BURGUNDIAN MARRIAGE.
The woodcuts forming this series are numbered 57 to 88 in all editions
of the Triumph. The scheme throughout is uniform. Three cavaliers (in
nos. 74-76 two only), riding to the right, carry on their spears banners
which contain the arms of the respective countries or towns with helm
and crest. A woman, standing or seated, is also represented upon every
banner, carrying the same arms on a small flag and wearing a gown
embroidered with heraldic emblems to match. At the top of every
banner is a black strip which represents a place reserved upon the block
for inscriptions which were never cut. According to the programme of
the Triumph the knight who carries the banner is to wear armour if the
Emperor Maximilian has won a victory in the country of which he is the
representative; if not, he is to be richly dressed in the fashion of that
country, but not in armour. The bearers of the Burgundian banners are
not to wear armour.
In the following list only the arms displayed upon the banners are
mentioned, in order from right to left, as they are given in the programme.
For the elucidation of some doubtful points in heraldry I am indebted to
Mr. Max Rosenheim.
1 (57). AUSTRIA. OLD AUSTRIA. STYRIA.
2 (58). · CARINTHIA. CARNIOLA (Crain). SUABIA.
3 (59). ALSACE. HABSBURG. TIROL.
4 (60). GORITZ (Görz). PFIRT (Ferette). KYBURG.
5 (61). UPPER AUSTRIA (Land ob der Enns). BURGAU. CILLI.
¹ It may represent "weiss." Beneath it is a trefoil, possibly the leaf often used
as a symbol for green.
236
Early German and Flemish Woodcuts.-Part II.
6 (62). NELLENBURG. HOHENBERG. SECKINGEN AND URACH.¹
7 (63). GLARIS. SONNENBERG. FELDKIRCH,
8 (64). ORTENBURG. EHINGEN. ACHALM.2
9 (65). FREIBURG. BREGENZ. SAULGAU.
10 (66). WALDHAUSEN. RAVENSBURG. KIRCHBERG.
11 (67). TOGGENBURG. ANDECHS. FRIULI.
12 (68). TRIESTE. WINDISCHMARK. PORTENAU.
13 (69). TRIBERG. RHÄZUNS (Grisons). THURGAU.
14 (70). RHEINECK. ACHTGERICHT (one of the constituent parts of the later
Canton of Grisons). LIEBEN.
15 (71).
EHRENBERG. WEISSENHORN. HOHENSTAUFEN.
18 (72). RAPPERSWYL. SCHWARZWALD. NEUBURG ON THE INN.
TIBEIN. UPPER WALDSEE. LOWER WALDSEE.
17 (73).
18 (74). BURGENT (unexplained—not Burgundy). ZÄHRINGEN.
19 (75). BOHEMIA. ENGLAND.
20 (76). PORTUGAL. MORAVIA.
21 (77). TEN BURGUNDIAN MUSICIANS (five with "Pumharden,"5 and five
with trombones).
22 (78). FIVE BURGUNDIAN MUSICIANS (with trombones).
22a.
FIVE BURGUNDIAN MUSICIANS. Another impression. Very early
proof, showing none of the injuries to the block that appear even in the
1526 edition. The haunch of the last horse 1. is intact. Cut
[269 × 346]; the paper stained brown, no watermark. In the inventory
of 1837.
23 (79). TEN BURGUNDIAN MUSICIANS (with shawms and "Rauschpfeifen ").
24 (80). BURGUNDY (reversed). LORRAINE. BRABANT.
1 Or Aurach, a town in the Schwarzwald.
2 The arms of the Counts of Achalm are given by Sibmacher; in the Triumph
they are reversed.
3 These arms are given by Sibmacher (II, 14) as those of the Counts of Tryburg.
+ This is interpreted in the French version published in the 1796 edition as Duino,
a town at the head of the Adriatic, in the modern province of Küstenland, adjacent
to Carniola. The arms agree, however, very nearly with those given in a MS. of
about 1487, belonging to Mr. Rosenheim, as the arms of "Thwbin," one of "des richs
fier edle geschlecht." Rietstap gives the arms of the MS. as those of Trivisan, of
Padua, with the difference that the fesse is or instead of argent.
5 The instruments are described in the programme of the Triumph as Pumharten,
Schalmeien and Rauschpfeifen. These, as Mr. Barclay Squire informs me, are the
three slightly varying forms of wood-wind instruments shown in nos. 77-79 and do
not include the trombones (brass) shown in nos. 77 and 78. The shawm (schalmei)
is an old form of oboe; the Pumhard (pommer, bombarde, pomharte) is a bassoon;
the Rauschpfeife is closely allied to the other two.
6 These are not the right arms of Lorraine as generally understood, but are the
same as the arms of (new) Austria. The Austrian arms are given in Mr. Rosen-
heim's MS. (c. 1487) as those of "Hertzog zu hinder lutringen" (fol. 23 v.), but with a
different crest, while the correct arms of Lorraine ("Hertzog von lutringen ") are
given on folio 24, v. Grote, "Stammtafeln," p. 257, says that these arms were used
from 1509 onwards for "Nieder-Lothringen," and borne by the lords of Perweys in
Brabant as descendants of Godfrey of Bouillon.
Division C.-School of Ratisbon.-Master of the “Tross." 237
25 (81). LIMBURG. LUXEMBURG. GUELDRES.
26 (82). HAINAULT. BURGUNDY (i.e. Haute Bourgogne or Franche-Comté).¹
FLANDERS.
27 (83). NAMUR. ZUTPHEN. FRIESLAND.
28 (84). MALINES. SALINS. ANTWERP.
29 (85). CHAROLOIS. MACONNOIS. L'AUXERROIS.
30 (86). BOULOGNE. ALOST. SIMUM (?, not Chimay).
4
31 (87). OSTROBAN (?).³ ARCUS (Arkel). AUXONNE (Côte d'Or).
32 (88). TERREMONT (Tenremonde). FRANCKH (Franeker). BÉTHUNE.
33 (132). FIRST SHEET.
[33-38.]
THE "TROSS."
The procession is led by Jeronimus von Heremberg, "trossmaister"
(called on the miniature "Jheronimus von Herrenberg Drossmaister "),
who carries a tablet and a great scroll, destined to hold inscriptions which
were never cut. He is followed by two men riding with women
pillions behind them. A man runs holding up a flask in his 1. hand,
followed again by mounted men.
on
The block of this subject is lost; it is wanting, accordingly, in the edition of 1796.
34 (133). SECOND SHEET.
Meyer's K.-L. i, 552, 67 (2)—(as Altdorfer).
A man and two women walk in the foreground; the man leads a goat
laden with kitchen utensils. Beyond the goat walks a man with a pack
on his back and a dog standing on his shoulders; two women follow the
goat. On the far side of the road is a cart containing three persons;
others follow on horseback or on foot.
35 (134). THIRD SHEET.
Ibid. 67 (1).
In the middle are two mounted men, conversing with others on foot 1.
and r., one of whom (to 1.) is drinking from a gourd; another (to r.)
carries a cock slung by the legs over his shoulder.
36 (135). FOURTH SHEET.
Men and women marching, in the distance a village with a spire. A
conspicuous figure in the crowd is a soldier, walking arm in arm with a
young woman and carrying a flag.5
1 "Löwe gekr. g. in b. bestreuet mit g. Schindeln " (Grote, page 341).
2 Stumpf, Chronicle, i, 249, gives "Zymphen" (meaning Zutphen) with these arms.
³ Unexplained. The French version gives " Ostrevant.”
These arms are given in Mr. Rosenheim's MS. (fol. 70 v.) as "Her võ Erckel,'
and in Grote, p. 281, as Arkel (5-fach zinnenweise q.-gth. w. r.), a title of the Counts
of Egmond.
5 The object represented on the flag is not easy to explain. Dr. Meder suggested
to me the swaddling-clothes of a baby. In that case a satirical allusion to the loose
conduct of the soldiery and wenches, and its consequences, may be intended. It may,
however, be a very intimate article of masculine wearing apparel, such as is displayed
upon a roof in Lucas Moser's altar-piece at Tiefenbronn.
238
Early German and Flemish Woodcuts.-Part II.
37 (136). FIFTH SHEET.
Meyer's K.-L. i, 552, 67 (3).
Men and women marching. They carry packs and implements of
various kinds. In the middle is a square tower with a mountain beyond it.
The horses 1. do not belong, as Wessely supposed, to the cart in no. 34 (133),
but to that in no. 38 (137). The Berlin Cabinet possesses very beautiful proofs of
the three subjects which Wessely attributed to Altdorfer. Neither Wessely nor
Schmidt (in 1872) observed that they belong to the Triumphal Procession.
38 (137). SIXTH SHEET.
A cart drawn by four horses (two of which are in no. 37), containing
a chest, a tub, sacks, etc. A man walking in the foreground carries
shoes hanging from two long rods. Several other figures are seen upon
the road, which descends from a wood 1.
All the woodcuts described above except no. 22a are in the volume purchased in
1845 from Messrs. Smith. Nos. 1-18, 20-27, 30, 31, 33 and 36 belong to the edition
of 1526, nos. 19, 28, 29, 32, 34, 35, 37 to that of 1777, and no. 38 to that of 1796.
Later impressions of the whole set, except no. 33, are also to be found in the 1796
edition itself.
The block of no. 4 was cut by Jan de Bonn (or Bom), those of nos. 6 and 31 by
Hans Franck, of nos. 2 and 37 by Cornelius Liefrinck, of nos. 3, 13, 21, 25, and 36 by
Wilhelm Liefrinck, of nos. 20 and 23 by Jost de Negker, of no. 32 by Jan Taberith.
The remainder of the blocks are unsigned.
The six sheets of woodcuts are based upon two sheets of the series of miniatures
(by Altdorfer ?) at Vienna. The woodcuts reproduce in general the contents of the
miniatures, but the draughtsman has not scrupled, when making his drawings on
the block, to rearrange portions of the composition, to omit certain figures and add
others of his own invention. Both painter and draughtsman are good artists and
closely allied, but not identical. It would be inconsistent with Maximilian's usual
practice to allot these two tasks to the same man, and, moreover, there are diver-
gences in the treatment of trees, plants and grass too great to be explained only by
the use of another medium. Some innovations in the arrangement of the figures are
worth mentioning in detail. Herrenberg, in the miniature (without feathers), does
not lead the procession, but is preceded by the man on horseback with a woman, to
whom another man runs up, offering a flask. The dog (without a wreath) is more
conspicuously placed in the foreground. The two women just behind the " Tross-
maister" in no. 33, and the rider on the extreme left, are original additions of the
draughtsman, as are all the high trees which serve to vary the level of the composi-
tion. In no. 34 the goat walks on a level with the hind wheels of the cart, whereas
in the miniature he is beside the front wheel and the three women walk well in
advance of the cart. The third person in the cart faces to the front, in the minia-
ture, instead of turning backwards. In no. 35 the divergence is yet greater; the
striking figure on horseback, looking round to the left, is quite new, and the man
standing, with his arm in a sling, takes the place of a very different soldier in an
analogous position. In no. 36 the correspondence of figure to figure is somewhat
closer; the flag, in the miniature, displays no emblem. In no. 37 the church is
brought much nearer to the mountain; two women on horseback, who appear in the
background of the miniature, are omitted, and the dog is new. In no. 38 the men
carrying shoes are new, and the figure standing, with an open book, in a cart drawn
by two horses, takes the place of two seated figures in a cart drawn by one horse.
There are numerous differences besides those mentioned here.
239
I
V.-MICHAEL OSTENDORFER.
1
Painter and draughtsman on wood; place and date of birth
unknown; mentioned in 1519 as a master at Ratisbon, where he
continued to reside; his first wife, Anna Wechin, died 1550, and he
married again, unhappily; having fallen into poverty, he was
admitted in May, 1556, to an almshouse, where he died in December,
1559. Many of his letters written after 1550 to the civic authorities
and his patron, Dr. N. Hiltner, are extant. His most important
picture, the altar-piece painted in 1553-55 for the Protestant parish
church, is preserved in the collection of the Historical Society at
Ratisbon.
Authorities:-
i. Catalogues, etc.
Bartsch, P.-G., ix, 154.
Heller, "Zusätze," 100.
Passavant, P.-G., iii, 310.
Nagler, Mon., iv, 637, no. 2024 and 645, no. 2036.2
Wessely, Repertorium, iv, 150.
Schmidt, ibid., xv, 433.
Dodgson, Monatshefte für Kunstwissenschaft, i, 35 and 511.
ii, Biographical and critical notices.
Schuegraf, "Lebensgeschichtliche Nachrichten über den Maler
u. Burger M. O. in Regensburg," Verhandl. d. hist. Vereines
v. Oberpfalz u. Regensburg, 1850, xiv (N. F. vi), 1.
Janitschek, "Gesch. d. deutschen Malerei," 1890, 420.
Lützow, "Gesch. d. deutschen Kupferstiches u. Holzschnittes,"
1891, 177.
¹ According to Heller and Passavant he also etched, but Nagler (Mon., iv, 638)
asserts that the portrait of Caspar Othmayr, 1547, with his monogram (P. 1), is
merely copied from a woodcut (N. 14). Both woodcut and etching are at Berlin;
Dr. Elfried Bock tells me that the woodcut has more artistic merit than the etching;
the latter, only, is in this collection.
2
Nagler attributes a portion of the woodcuts, published at Ingolstadt, to Martin
Ostendorfer, portrait-painter to Duke William IV of Bavaria. There is no reason
for this separation. We have no evidence that Michael Ostendorfer resided at
Ingolstadt, but he can easily have illustrated books printed in that town without
leaving Ratisbon, situated lower down the Danube. The woodcuts designed for
Apian betray the same hand as the earlier works produced at Ratisbon, though the
monogram is changed. Other painters of the name of Ostendorfer, Heinrich, Ulrich,
Lienhard and Hans, are mentioned by Schuegraf, but their relationship to Michael
is unknown.
240
Early German and Flemish Woodcuts.-Part II.
By far the most interesting portion of Ostendorfer's work is the
earliest, produced at Ratisbon 1519-22, while the devotion to the
Beautiful Virgin was at its height. The woodcuts of this period
show the influence of Altdorfer and rank among the more important
productions of the Danube school. The monograms used on them
are of the type given by Nagler (inaccurately) at the end of the third
row. A Repose of the Holy Family, signed and dated 1523, is
known only by a description in Weigel's Kunstkatalog, no. 24551.
A second group of works, also full of character, with a different
monogram (last type but one in Nagler's second row),' appeared at
Ingolstadt, in books or on broadsides, in the years 1528-31. Osten-
dorfer's share in the illustration of Apian's books has been unduly
magnified by Weigel, whose attributions of unsigned works, like
those of other art-dealers and booksellers, are often ill-founded.2 A
third type of monogram makes its first appearance in 1533 (P. 7),³
and continues to be used with modifications (see Nagler's remaining
facsimiles) to the end. Ostendorfer's later woodcuts, issued after the
introduction of the Reformation, are inferior in artistic merit; they
consist, except the large religious subject, B. 1, of portraits, topo-
graphical subjects, small illustrations to Protestant catechisms, and
other kinds of ill-paid hackwork.
3
BOOKS ILLUSTRATED BY OSTENDORFER.
A. IN THE DEPARTMENT OF PRINTS AND DRAWINGS.
zum Methodo.
1. [GALLUS.] Catechismus Predigsweise gestelt, für die kirche zu
Regenspurg,
Durch Nic. Gallum. Hans Khol
(Kohl), Ratisbon, 1554; 4. P. iii, 313, 16-40; Nagl., Mon., iv,
640, 17.
Title-page and 23 illustrations [c. 120 x 95], of which all but no. 23 are signed,
(1). Title-page. Below, Christ preaching; above, in compartments (from 1. to r.),
Absolution, Mary Magdalen anointing Christ's feet, Christ and little
children, (centre) the arms of Ratisbon, Baptism, the Last Supper,
Communion [157 × 115]. P. 16.
(2) E 2.
(3) G2 v.
(4) 11v.
(5) M3 v.
(6) P3 v.
Moses breaking the tables of the law. P. 17.
The stoning of a blasphemer. P. 18.
Interior of a church at sermon time.
Ham mocking the nakedness of Noah.
Cain killing Abel. P. 21.
P. 19.
P. 20.
¹ The earliest work on which I have found this monogram is a title-border dated
1526 (p. 241, no. 1).
2 See Monatshefte für Kunstwissenschaft, i, 38.
Nagler gives a slightly different monogram with the date 1530, but mentions no
work on which it occurs.
Division C.-School of Ratisbon.—Ostendorfer.
241
David and Bathsheba.
P. 22.
Achan confessing his sin to Joshua. P. 23.
Susanna accused by the elders. P. 24.
Jacob peeling the rods. P. 25.
(7) R1v.
(8) T1v.
(9) Y1v.
(10) a 2.
(11) a 3.
(12) d3 v.
The Creation. P. 27.
(13) f1 v.
(15) 03 v.
(14) k 2.
(16) p4v
(17) r2 v.
Joseph and Potiphar's wife. P. 26.
Christ on the Cross. P. 28.
The Descent of the Holy Ghost. P. 29.
Christ teaching the Lord's Prayer to the Apostles. P. 30. Dated 1554.
(also q 4). Christians using the Lord's Prayer. P. 31, 32. (P. iii, 311, 6;
Nagl., Mon., iv, 638, 4.)
Christ bearing the Cross. P. 33.
The feeding of the five thousand. P. 34.
The parable of the unmerciful servant. P. 35.
The temptation of Christ. P. 36.
(18) s1v.
(19) s 4 v.
(20) t3 v.
(21) v2 v.
The woman of Canaan.
(22) z 1.
P. 37.
The Baptism of Christ. P. 38.
(23) Bb3 v. Absolution. P. 39.
(24) Dd3. Communion. P. 40.
Purchased from Messrs. Evans, 1853.
B.-IN THE DEPARTMENT OF PRINTED BOOKS.
1. [LUTHER.] Vier Trostliche Psalmen, An die Koni- gin zu
Hungern, auss- gelegt durch D. | Martinum | Luther. | Wittemberg. |
1. 5. 27. (n. p. d.) 4to.
Signed border, undescribed. A portal with a round arch resting on either side
upon two columns. Between each pair of columns stands an angel of Ostendorfer's
regular type, with a cross standing up prominently over the brow. From the
entablature supported by these columns hang two tablets containing the date, 15 (1.),
26 (r.). In the spandril at the top stand two angels holding cressets and supporting
shields, which contain (1.) Ostendorfer's monogram in its second form, and (r.) a
flower. [164 × 119; opening, 81 × 55.]
The border had probably been used in an earlier book. The construction of the
portal and decoration of the interior of the arch are strongly reminiscent of the
border by Hans Cranach reproduced on p. 228 of Flechsig's "Cranachstudien.”
2. [IOHANN, von Eck.] Christenliche auszlegung der Euangelienn.
Der Erste Tail. Ingolstadt, 1530; fol. Muther 1780.
86 (last leaf of Register). Christ on the cross, with Mary and John [93 × 66],
signed. P. iii, 311, 5; Nagl., Mon., iv, 638, 2.
The remaining woodcuts in the book are not, as Nagler and Muther say, by
Ostendorfer, but by H. S. Beham (see Vol. I, p. 442, no. 11). A bad copy of Osten-
dorfer's woodcut, in the same direction but without the monogram [91 x 62], occurs
in Pt. 4 of the same work (sig. d3 v.), April 1534, and on sig. B6 of "Evangeliorum
Textus, tam dominicalium, ut uocant, quam de Sanctis," A. Weissenhorn, Augsburg,
1534; 8°.
3. [BEDA.] Abacus atque vetustissima, veterum latinorum per
digitos manusque numerandi cōsuetudo, Ex beda, etc., J. Khol,
Ratisbon, 1532; 4to.
Three leaves (sig. B 1-3) contain numerous small woodcuts of hands and men
gesticulating with their hands to signify certain numbers; these are evidently by
Ostendorfer. On the last leaf is the armorial device of the printer Joannes Khol or
Kohl, signed M 0 [111 × 98]. See Nagler, Mon., iv, no. 2036, W. Schmidt, Reper-
torium, xix, 122, and A. Hagelstange, "Ein Schriftchen über Zeichensprache von
1532, mit Holzschnitten von M. Ostendorfer," in "Studien aus Kunst und Geschichte,
R
242
Early German and Flemish Woodcuts.—Part II.
Friedrich Schneider gewidmet," Freiburg i. B., 1906, p. 275, with reproductions of
all the woodcuts in the text.
4. [APIANUS.] Astronomicum Cæsareum. Ingolstadt, May 1540;
fol. F. van Ortroy, "Bibliographie de l'Euvre de P. Apian,"¹ no. 112;
Monatshefte für Kunstwissenschaft, i, 35.
Four different woodcuts of the arms of Apian are found in various copies of this
book.
(1) The old arms, with single-headed eagle, in a wreath [100 × 105]. This wood-
cut is found alone, with printed inscription above, Insignia Petri Apiani, Mathemat.
Ingolstadieñ., in the copy at Berlin (Kupf.-Kab.). This variety of the book is
mentioned by Weigel, Kunstkat., no. 19450, but not by F. van Ortroy.
(2) The old arms, with xylographic inscription, Insignia Petri Apiani, at the foot
[401 × 288]. By Ostendorfer, though not signed; the winged face at the top
sufficiently shows his hand. This woodcut alone occurs in the British Museum copy.
(3) The new arms, with double-headed eagle, in a wreath [105 x 105]. This is
found in some copies (e.g. Berlin, K. Bibl., collection of Mr. Max Rosenheim,
London) placed side by side with no. (2), with printed inscription above, Insignia P.
Apiani. Vtraque. | Priora. Posteriora. In these copies the large woodcut, no. (1),
is also used. The grant of these new arms to Apian is dated 24 July, 1541; the
sheet containing them was, therefore, an addition to the book, which was printed in
1540, and early copies were issued without it.
2
(4) The new arms, with Ostendorfer's monogram immediately beyond the point
of the shield, which rests upon a ledge. The shield and mantling cast a shadow
upon the background, which is otherwise blank, and is enclosed by a plain border-
line [349 × 289]. This coat-of-arms was acquired, as a loose sheet, by the Berlin
Cabinet in 1907. It is identical with that described by Nagler, Mon., iv, 642, 27.
The inscription, INSIGNIA PETRI APIANI SACRI PALATII COIS (cut away
from the Berlin impression), is printed with type beneath the woodcut, to which it
corresponds exactly in length. This cut is found in certain copies of the Astro-
nomicum Cæsareum (e.g. Brussels, Observatoire Royal and Paris, Bibliothèque
Nationale, Section des imprimés, Inv. Rés. v. 220, 221). Passavant, no. 15, describes
the signed arms as having the inscription which belongs to the unsigned arms; by a
further blunder, he describes the woodcut as belonging to the Instrument Buch,
instead of the Astronomicum.
No. 2 appears to be by Ostendorfer, in addition to no. 4. The following other
cuts in the Astronomicum are probably from Ostendorfer's design: 35 full page
plates, with handles of six different patterns, including the movable discs attached to
many of them; one of these discs, belonging to sig. G 3 v., is also used on the title-
page. Further, the small head of Christ (B 1), and four quarters of the globe with
figures of priest, cosmographer, poet and astronomer (F 3 v).
He is certainly not the author of the fine alphabet [48 × 47] with astronomers
and geometricians (22 letters, A, B, C, D, E, F, G, H, I, K, L, M, N, O, P, Q, R, S,
T, Y, Z and ☀) attributed to him by Weigel (Naumann's Archiv, ii, 206) and on
Weigel's authority by Passavant (no. 15) and Nagler (no. 29), nor of the smaller
alphabet [26 × 26] also mentioned by Nagler (17 letters, A, B, C, D, E, F, H, I,
N, O, P, QU, R, S, T, v, z). The large alphabet appears by the subjects represented
in it to have been designed expressly for this work, but it was ready some years
before the completion of the book, since some letters from it occur as early as 1533
(Q in Folium Populi and Introductio Geographica, 1533, A, C, E, N, O, Q, V in In-
scriptiones, 1534). It may have been prepared for the Astronomicum Imperatorium
(F. v. O., 96), the existence of which is only known by the allusion to it in Quadrans
Apiani Astronomicus, 1532. Letters from the small alphabet also occur in 1533 (Qu,
s in Folium Populi, A, M in Introductio Geographica, c in Horoscopion Generale).
Both alphabets, like the fine cartouche containing the title, show the hand of an
artist more skilled in ornament than Ostendorfer. I should be inclined to attribute
them to the artist who has signed a woodcut in one of Apian's books, Folium Populi,
with his monogram B, accompanied by a knife. The Torquetum, O 4 v., used
earlier in Introductio Geographica, 1 4 v., is by the same artist.
¹ Le Bibliographe Moderne, Paris, 1901, V. 89, 284..
2 44
Comes," according to Nagler, but this is impossible.
Division C.-School of Ratisbon.-Ostendorfer.
243
5. [RATISBON.] Ordnung eines Erbarn Raths der Statt Regenspurg,
Die Hebammen betreffende. H. Khol, Ratisbon, n.d. (acc. to Schuegraf,
1550); 4to.
On the title-page, Christ receiving a child at its birth, signed [98 × 92]; printed
in red and black. Schuegraf, p. 26; N. 15.
-6. [HESHUSIUS.] Kurtze . . . Anleitung. Wie die wahre gegen-
wertigkeit des leibs vnd bluts Jhesu Christi im heiligen Abentmal
zubeweisen sey. H. Geisler, Ratisbon, 1568; 4to.
On title-page, the arms of the city, supported by two child angels; dated
1558 and signed with monogram [52 × 106]. At the end, printer's mark in wreath,
diam. 71, perhaps also by Ostendorfer.
7. [ROSINUS.] Kurtze Fragen vnd Antwort vber die sechs Heubt-
stück des heiligen Catechismi Doctoris Martini Lutheri. J. Burger,
Ratisbon, 1581; 8vo. (Schuegraf, p. 45, describes the edition of 1589).
Five woodcuts by Ostendorfer, of which the first is signed. P. 41, 48, 43, 44, 45;
N. 18 (1, 8, 3, 4, 5).
8. [CHRISTIAN FAITH.] Ordenliche Vnd kurtze summa, der
Rechten waren Lehre vnsers heiligen Christlichen glaubens (by N. Gallus).
J. Burger, Ratisbon, 1587; 8vo.
Seven woodcuts by Ostendorfer, of which the first is signed. P. 41-47; N. 18
(1-7). S. and N. describe an earlier edition, 1574, which contains one more wood-
cut. A still earlier one, 1552, in this library, contains different woodcuts
(anonymous) of the same subjects.
9. [BECKER.] Holzschnitte alter deutscher Meister. Gotha, 1808–
16; fol.
C 14. Saturn and Mars, signed and dated 1533 [121 × 101]. P. 7; N. 5.
DOUBTFUL.
1. [MARY.] Wie die new Capell zu der schonen | Maria in Regens-
purg Erstlich auff kommen ist, | nach Christi geburt. M.CCCC. vñ. xix.
Jar. n. p. d. (H. Hölzel, Nuremberg) W. 1303; Pr. 11020; Weigel,
Kat. 18351; Muther 1777.
On title-page, back and front, an unsigned cut, possibly an early work of Osten-
dorfer, representing the Beautiful Virgin clasping the Child to her breast, with four
angels, two of whom hold the sun over her head, while two, armed with javelin and
trident, make war upon two serpents beneath the crescent at her feet [119 × 92].
Muther says that it is uncertain whether this cut is by Altdorfer or Ostendorfer; the
former name may be at once dismissed, the latter is problematical, especially if the
type is correctly identified by Proctor as Hölzel's. The writer in the Jahrbuch, vii,
155, mentions the woodcut only on hearsay. It is reproduced in Monatshefte f.
Kunstwissenschaft, i, 516.
Passavant (P.-G., iii, 313, 15) has misquoted Weigel (Kunstkatalog,
19450) to the effect that some of the woodcuts in Apian's Instrument
Buch (1533)—meaning, evidently, the Astronomicum Cæsareum (1540) —
are attributed to Ostendorfer by Doppelmair. Weigel says nothing of
R 2
244 Early German and Flemish Woodcuts.-Part II.
!!
the kind; he quotes the MS. notes in a "Handexemplar" of Doppelmair
in his possession as saying that Charles V himself helped to draw the
astronomical figures with his own hand; Ostendorfer is not mentioned.
No signature of Ostendorfer occurs in the following books, of which the
woodcuts have been attributed to him; nor can any of them be ascribed
to him with certainty. (See above, p. 242, no. 4, and Monatshefte, i, 38.)
2. [APIANUS.] Quadrans Apiani Astronomicus. Ingolstadt, 6 July,
1532; fol. F. v. O., 98.
The roughly executed cuts of the constellations and signs of the zodiac may be by
O. (compare Virgo, C 1 v., with the cuts in "Abacus," 1532). The finely executed
cuts are by the other artist employed by Apian, as are those in Horoscopion generale
(F. v. O., 100) and Introductio Geographica, 1533 (F. v. O., 101).
3. [APIANUS.]
F. v. O., 104.
Instrument
Buch.
Ingolstadt, 1533; fol.
The cut on the title-page is clearly by B, though not signed; on the verso are
the arms of J. W. von Loubemberg, as in Folium Populi. The constellations and
signs of the zodiac, used in no. 2, are repeated here.
4. [APIANUS.] Folium Populi. Ingolstadt, 22 Oct., 1533; fol.
F. v. O., 106 (also in the Department of Prints and Drawings).
The first cut is signed B (see Weigel, Kunstkat. no. 19449), and all the rest seem
to be by the same hand.
5. [APIANUS.] Inscriptiones sacrosanctæ vetustatis. Ingolstadt,
1534; fol. F. v. O., 109.
The cut on the title-page, Mercury, after a drawing by Dürer,' may safely be
attributed to the same artist as the first cut in nos. 3 and 4. Whether anything in
the book is by Ostendorfer, as stated by P. (no. 15), after Weigel (no. 18790), is very
doubtful.
6. [RATISBON.] Warhafftiger Bericht eines Erbern Camerers vnd
Rats der Stat Regenspurg, Warumb . . . sie des herrn Abentmal
bey jhnen, fürgenomen vnd auffgericht, etc. H. Khol, Ratisbon, 10 Oct.,
1542; 4°.
On title-page, the arms of Ratisbon [117 × 118], perhaps by Ostendorfer, who
worked much for this press.
WOODCUTS BY OSTENDORFER.
i. EARLY WOODCUTS CONNECTED WITH RATISBON, 1519-1522. Nos. 1-3.
1. THE PILGRIMAGE TO THE CHURCH OF THE BEAUTIFUL VIRGIN
AT RATISBON.
P. iii, 312, 13; Nagl., Mon., i, 42, 20 and iv, 641, 20.
On 21 February, 1519, the Jews were expelled from Ratisbon, and
their synagogue was shortly after pulled down. 2 An altar was erected in
¹ Lippmann, 420. See Thausing's Dürer, Engl. Tr., i, 288.
2 For an account of the influence of this event on art at Ratisbon, see Friedländer,
"Albrecht Altdorfer," 1891, p. 50 ff.
*
Division C.-School of Ratisbon.-Ostendorfer.
245
>>
the ruins and an old wooden statue of the Blessed Virgin Mary was set
up on 14 March. This image of the "Schöne Maria soon attained to
great celebrity as a worker of miracles, and an immense concourse of
pilgrims flocked to the shrine in 1519 and the following years, till 1523,
when their numbers decreased. In the same year, 1519, a temporary
wooden chapel was erected to the Beautiful Virgin, while plans were
prepared for a permanent stone church in her honour, of which the
foundation stone was laid on 9 September. A statue of the Virgin, not
wearing the distinctive dress of the "Beautiful" Virgin herself, was
erected before the door of the temporary church; this was the work
of Erhard Haidenreich, architect of Ratisbon Cathedral from 1514
to 1524. Two other representations of the Beautiful Virgin were made
for the temporary church: a banner, painted by Altdorfer, which is
shown in the woodcut now to be described, and a picture, painted by
Jörg Magk, which was set up over the alms-box, and may be identical,
according to Friedländer,¹ with a painting now preserved in the church
of St. John.
The woodcut shows the end of the wooden chapel with a brick tower,
containing one bell. The spire is surmounted by a cross. On little
pinnacles above the belfry are weather-cocks with the crossed keys of
Ratisbon. These pinnacles and the spire are printed from a separate
block. Altdorfer's banner, on which the Virgin stands behind the keys,
hangs to the right of the belfry. The approach to the chapel is protected
by a tiled porch or penthouse supported by wooden posts to which
numerous votive offerings are attached. In an open space before the
chapel Haidenreich's statue stands on a column on which votive candles
are stuck, before which on one side a railing is placed. Round the
statue is a group of devotees, clasping the column with their arms, raising
their hands towards it, or throwing themselves prostrate on the ground.
Four men, overcome either by illness or by paroxysms of religious mania,
lie on the ground nearer than this group, and a woman kneels beside
them, praying. On the left we see the rear of a procession of men, armed
with spears and pikes, who pass out of sight round the outside of the
church. On the right the front of the procession comes into view, headed
by a banner-bearer and a youth carrying an enormous candle with the
Bavarian arms on a (printed?) sheet attached to it. Young girls follow
wearing wreaths and crowns, two of them carrying tapers, then another
banner-bearer precedes the clergy who carry reliquaries. Near the group
of maidens two women support a girl who is, apparently, becoming rigid
in an access of frenzy. At the door of the chapel two streams of pilgrims
converge and pass into the interior, where a picture of the "Schöne
Maria is seen at the end of the aisle. They consist chiefly of peasant
women, carrying pitchforks, rakes, pails, sickles and the like, but on the
left we see a knight in armour and two men wearing nothing but hair-
shirts. On the side wall of an outhouse on the left which has a small
chimney is Ostendorfer's monogram in its earliest form, in which the O
""
¹ P. 168, note 68.
2
2 They are described in the text to the 1610 edition as having left their work
without pausing to lay down their tools, and hastened without pause for food or
sleep to the shrine.
246 Early German and Flemish Woodcuts.-Part II.
j:
is attached to the outside of one of the uprights of the M.¹ On either
side of the church are ruined buildings, connected no doubt with the
destroyed synagogue and the Jewish quarter round it.
•
2
[Size of sheet, 583 x 392; limits of woodcut, 551 x 390; the border line extends
to a height of 215 mm. 1. and 195 r.] Good impression, on white paper; watermark,
a large imperial eagle. In the lower margin are three lines printed in Gothic type:
O. insignem. et. benignam. dexterae. excelsi . mutationem. qua. iudaicae. super-
stitionis. sunagoga. Ratisponeñ. in. aedem. deo. sacram. iuxta. imaginem. hanc.
est. conuersa . vbi. lapis. perpetuae. virginitatis. sanctae. et. vndecumque.
pulchrae Mariae. diu. a. perfidis. reprobatus. nunc factus. in. caput. anguli .
a. christi. fidelibus | passim. et. cateruatim. magno. ac. inaudito. deuotionis .
feruore .confluentibus. pia. et. debita. veneratione. colitur. miraque. operatur.
(In the original "u" is printed instead of "n" in almost every case; in the transcript
these misprints have been corrected.)
Presented by Mr. W. Mitchell, 1895.
•
For a reduced reproduction, see Hirth, i, 45. An early impression of this woodcut
at Coburg bears an inscription in Dürer's handwriting, dated 1523 and signed,
recording a protest against this act of mariolatry. See G. Kinkel, in Zeitschr. f.
bild. Kunst, 1881, xvi, 334, Lange and Fuhse, "Dürer's Schriftlicher Nachlass," p.
381, and T. S. Moore, "Altdorfer," p. 13.
1a.
THE PILGRIMAGE TO THE CHURCH OF THE BEAUTIFUL VIRGIN
AT RATISBON. P. 13.
A later impression.
[548 × 388]. The border broken away in several places; the monogram, and the
arms of Ratisbon on the weather-cock to 1. of the tower, are no longer recognisable.
The paper is stained green with water-colour, the high lights being reserved, in
imitation of a chiaroscuro woodcut. At the foot, written in ink, WCS.CGS.
1713. Watermark, large shield with arms of Augsburg and two M's at top.
Purchased at the Brentano sale, 1870 (lot 498).
1b. THE PILGRIMAGE TO THE CHURCH OF THE BEAUTIFUL VIRGIN
AT RATISBON. P. 13.
A later impression.
[Sheet, 693 × 417]. There is now a conspicuous vertical crack passing through
the mantle of the child in the Virgin's arms, and extending to the foot of the block.
Part of the processional_banner seen in shadow has been broken off. Watermark,
small eagle in a circle. On a separate sheet attached to the foot of the woodcut is a
description of the devotion to the Beautiful Virgin in 17 lines, dated 1610 and headed
"Contrafactur der Kirchen zu Regenspurg, welche zu der schönen Maria genannt |
worden, mit Beschreibung und Verzeichniss, der wunderbarlichen und zuvor nie
erhörten Wollfahrt, so im Jahr 1519. daselbst geschehen."
Purchased from Messrs. Heussner and Lauser, 1873.
The impression at Gotha described by Passavant belongs to an earlier edition,
though it is also dated 1610. The banner is still intact, and there are the following
variations in the heading: comma after "Contrafactur," end of line after the first
syllable of " genannt, beschreibung vnnd verzeichnuss," "Wunderbarlichen,
vnnd," Wallfahrt," "1516." The text which follows occupies fifteen instead of
seventeen lines. Another impression with text was in the Lanna collection (Singer
5724).
¹ Passavant, Nagler, and Friedländer say that the woodcut is unsigned. They
had probably not seen an early impression. In the two later impressions here the
monogram is unrecognisable, and it is indistinct even in the earliest, but comparison
with the two following numbers enables us to recognise its form.
2 Pr. 12002.
Division C.-School of Ratisbon.-Ostendorfer.
247
2. THE NEW CHURCH OF THE BEAUTIFUL VIRGIN AT RATISBON.
Heller," Zusätze," p. 101; P. iii, 304, 65; Nagl., Mon., i, 42, 21 and iv, 641,
21; Wessely, Repertorium, iv, 150, 3; Dodgson, Monatshefte, i, 514.
Exterior view of the new stone church which was erected upon the
site of the Synagogue in succession to the temporary wooden structure
shown in no. 1. The church here exhibited corresponds, however, to the
wooden model still preserved in the Rathaus, and not to the building
actually erected from a modified design, which became, after the intro-
duction of the Reformation in 1542, the new Protestant parish church of
Ratisbon. The author of the design reproduced by Ostendorfer was
Hans Hieber, or Huber, of Augsburg, who was selected in preference to
Haidenreich, the cathedral architect, and to Hans Behaim of Nuremberg,
who also prepared a design.¹
The church, mainly in Renaissance style, but with late-Gothic
ornament in the windows and towers, stands upon a platform surrounded
by a balustrade. Between the summits of the two towers that flank the
short nave is a full length figure of the Beautiful Virgin, surrounded by
clouds. Ostendorfer's monogram, in its early form, the O attached to the
M on the right, is placed upon the rays of the halo, to r. of the Virgin's
head. At a lower elevation two flying angels carry shields with the arms
of the Empire 1. and of Ratisbon r. Lower still are clouds. The back-
ground is still occupied by ruinous buildings, as in no. 1. Round the
church several small figures, drawn in a manner very characteristic of the
Ratisbon school, are standing or walking. There is a double border-line
at the foot, a single one on either side to a height of 227 mm.
[Sheet, 647 × 538; limits of woodcut, 618 x 537.] Old, but not very early
impression; there is a vertical crack passing down through the rays of the Virgin's
glory on the 1. side, and extending across the tower as far as the foot of the upper-
most block. The presence of this crack, apparently, has given rise to the mistaken
statement of Passavant that a new piece of wood has been inserted, in which the
figure of the Virgin is drawn by Ostendorfer and bears his mark.2 There is no
evidence of any such insertion having been made; the drawing and monogram from
the first were those of Ostendorfer, not Altdorfer. The lower portion of the sheet is
made up of two pieces of paper placed side by side, meeting halfway across the r.
tower. Watermark, letter R upon an ornamental shield.
On either side of the figure of the Virgin are inscriptions printed with type.
(L.) Anno incarnationis Domini decimo nono supersesqui mil-lesimo Nono Calendas
Marcias gentem recutitam usura | Ratispone pepulit Quasq; habuit cryptas urbica
ira vetustas Penitus eradicavit quæ illicò pietate mota templum cujus ideam | Hic
cernis depictam suadente senatu fundere decrevit venustum | Quo Maria Virgo
formosa nuncupata verbis solummodo exosa | Christianorum & convolantem &
clamitantem catervam prodi-giorum miraculis (exorato filio) diu noctuq; lætificare
non | cessat.
¹ See Friedländer, " Altdorfer," 1891, p. 58. Hieber's model and its ground plan
are given in Dohme's "Geschichte der Deutschen Baukunst," pp. 293-6. The
model is also reproduced on pl. 4 of H. Hildebrandt's "Die Architektur bei
A. Altdorfer" (1908); the present woodcut is described and criticized at length on
pp. 17-21 of that work.
* Dr. A. Weixlgärtner has, unfortunately, resuscitated Passavant's error, quoting
an impression in the Albertina as being Altdorfer's monogram (Mitt. d. Gesellsch. f.
viervielf. Kunst, 1903, p. 47). I am assured by Dr. Röttinger that this monogram
is a forgery, produced with Indian ink. A second impression, with the genuine
monogram, is kept under Ostendorfer's name in the same collection.
248
Early German and Flemish Woodcuts.-Part II.
1
(R.) Alss man nach der Geburth Christi gezehlet hab,
Tausendt fünffhundert neunzehen Jahr also drab,
Sind vertriben an Sant Peter Stuelfeyer abend
Auss Regenspurg beschnitten wucherisch Knaben,
Die Judischheit, Weiber und Mann, Jung und alt ich main,
Auch an ihrer Synagog liess man gar kein stain,
Ain frumme Gmain und Ersamen weisen Rath,
Vnleidlich last des Wuchers Sy bewegt hat,
Demnach bald ein Capellen fürgenommen ward,
Zubauen nach diser Visier und Solcher Arth,
Gott und der Schönen Maria zu lob und Eern,
Gross Wunderzeichen täglich alda geschehen,
Alss unzehlich Pilgram bey ihrem Aydt sagent und schreyent,
Grumb, lahm, blindt, kranck, Sy seind all hertzlich erfreuent.
Presented by Mr. W. Mitchell, 1895.
Ostendorfer received twelve florins in 1519 for drawing the design for this
church upon the block. The latter is preserved in the Bavarian National Museum
at Munich. Passavant mentions impressions at Bamberg, Berlin, Vienna (Albertina)
and Frankfort-on-the-Main (this last, according to him, a later state, but he is
mistaken).
3. DESIGN FOR A TABERNACLE. 1521.
Wessely, Repertorium, iv, 150, 2.
The structure, designed throughout in Renaissance style, consists of
five members. (1) A slender shaft, resting on two plain and solid plinths,
the uppermost of which bears the date 1521, supports (2) the actual
tabernacle. This is an arched recess, destined to contain the monstrance
in which the reserved Host would be placed; it is closed in front by
a grating, and flanked by Corinthian pilasters. A torch-bearing angel
stands on either side upon a small detached column. Above the tabernacle
the structure expands, and takes the form of (3) a vaulted recess contain-
ing a plastic group of the Last Supper, seen through intervals between
four pillars. This member would be either hexagonal or octagonal, but
only three sides are visible. The pillars support an entablature resting
on round arches; the frieze is adorned with dolphins. Ostendorfer's
monogram, in its early form and somewhat indistinctly cut, the O
attached to the M on the left, is to be seen 1. on the shaded side, beneath
a seated apostle. Above this member the structure contracts again, and
we see (4) a flat arch-shaped tablet on which is a representation of the
Israelites gathering manna, set in an architectural frame. On either side
of the frame stands an angel, with wings uplifted and cross erect over the
brow, supporting a shield of florid pattern. At the top of this frame
rises an open arch with ornaments on the outer edge which culminate in
a cherub's head between two dolphins. The whole structure is crowned
by (5) a crucifix, the mound in which the cross is planted being visible
through the open lunette formed by the arch at the summit of the
preceding member. Figures of St. John (1.) and the Blessed Virgin (r.)
stand upon the ledge formed by the entablature of the frame beneath
them; they balance the two pairs of angels below, but are on a much
larger scale than the figure of Christ, and are placed in no very close
relationship to it.
According to Schuegraf, loc. cit. p. 7, but Nagler gives the date as 1520. The
payment appears to be entered in the church accounts for 1520 (Schuegraf, p. 23).
2 Friedländer, "Altdorfer," p. 169, note 76.
Division C.-School of Ratisbon.—Ostendorfer.
249
The whole is cut on two blocks and printed on two sheets, which meet
at the height of the capitals of the columns which surround the group of
the Last Supper.
[Sheet, 955 × 202; limits of woodcut, 934 × 200; no border-line.] Fine impression.
No watermark.
Purchased at the Brentano sale, 1870 (lot 499).
""
The tabernacle was meant to be executed either in metal, or, as is more probable,
on a larger scale in stone, carrying on the tradition of the Gothic "Sakraments-
häuschen common in South German churches. There can be little doubt that it was
intended, like Altdorfer's Renaissance altar, B. 50, for the new church of the
Beautiful Virgin, which in 1521 was in course of erection.¹
I have seen but one other good impression of this fine and rare woodcut, viz.
in the collection of Prince Liechtenstein at Vienna. That in the Albertina is much
later; the block had become worm-eaten.
ii. WOODCUTS PUBLISHED AT Ingolstadt, 1528–1540. Nos. 4, 5.
The earliest of this group, a genealogy of the Sultans to Soliman the
Magnificent (1527), published in 1528, is not represented in this
collection.2 According to Nagler Petrus Apianus suggested the idea,
but this statement is not borne out by the text, which is signed by Eck.
In 1530 Ostendorfer drew for Apian the Map of the World described
below, and in 1540 he contributed some of the woodcuts to the Astro-
nomicum Cæsareum. Whether any illustrations in other Ingolstadt
books of Apian can be attributed to Ostendorfer is uncertain.
4. APIAN'S MAP OF THE WORLD ON A HEART-SHAPED PROJECTION.
1530.
F. van Ortroy, no. 5.
The heart-shaped map is surrounded by twelve heads of winds drawn
in Ostendorfer's characteristic manner, nine being placed in the upper,
three in the lower portion of the sheet. The signs Cancer and Capricorn
are placed to the right on the lines of the tropics, Libra on the
line of the equator. Beneath the North wind is a cartouche contain-
ing the imperial privilege. In the r. lower corner is a cartouche
composed of clouds, containing a dedication to Leonhard von Eck
dated "Anno M.D.XXX. die. 9. Nou.," and in the 1. lower corner are
Eck's arms.
In the upper corners are busts of Ptolemy 1. and Vespucci
1 See Friedländer, "Altdorfer," 1891, p. 56.
❤
2 P. iii, 312, 11; Nagl., Mon., iv, 642, 24; Wessely, Repertorium, iv, 150, 1. There
are two editions of this woodcut at Berlin: a. With Latin text, headed AMIR
SVLTANI TVRCICI, CHRISTIA|ni Imperii pernicies, serie continua, vsque ad
Soleymannum Magnum | Qui modo magnis triumphis potenter regnat. Below is the
xylographic address, Ingolstadij, M.D. xxviij. This edition is also in the Liechten-
b. With German text, Der Türgkyszchen Keyser
stein collection, Vienna.
herkomen vnnd ge- schlecht bis auff den grossen Soleymannum welcher den nechst
vergangen | Summer den Künig vonn Hungern im feldt erschlagen hatt (Battle of
Mohacz, 29 Aug., 1526). Below, Ingolstat (xylographic), but no date. Both editions
contain the words, Eckius moestus (in the German ed., mestus) hosti P., as a
signature to the text. The woodcut is signed below 1. by the wood-engraver G A
(Nagl., Mon., ii, no. 2676, but here a different monogram), who may be Georg Apian
(see Nagl., Mon., i, no. 2193, ii, nos. 2685 and 2687), and r. by Ostendorfer, who uses
the monogram of his middle period, in which the middle portion of the M is prolonged
in a small loop for the O (last monogram but one in the second row of those given
by Nagler). The woodcut measures 365 x 191, the sheet (at Vienna) 390 × 254 mm.
250
Early German and Flemish Woodcuts.--Part II.
r., both in fantastic Oriental costume, with their hands laid on small
heart-shaped maps. The clouds from which these busts emerge bear on
both sides the monogram of Ostendorfer in the form in which the O is a
small loop attached to the middle portion of the M.
[Sheet, 558 × 398.] Good impression, no watermark.
Purchased from Mr. Quaritch (Cat. 362, no. 28142), 1885.
Preserved in the Department of Printed Books (Maps, S. 159 (17)).
This is the only known impression of this woodcut map, which has not yet been
mentioned in the literature on Ostendorfer. A facsimile was made for Prof. Hermann
Wagner, of Göttingen, who has published an appreciation of the map from the
geographer's point of view, in Nachr. v. d. kgl. Gesellsch. d. Wissenschaften u. d.
Georg-Augusts-Univ. zu Göttingen, 28 Dec. 1892, pp. 549–559. A reduced reproduc-
tion is given in Nordenskiold, "Periplus," pl. 44.
+ APIAN'S MAP OF THE WORLD. 1530.
See above. Facsimile presented by Professor Hermann Wagner, 1907.
5. AN ILLUSTRATION TO THE ASTRONOMICUM CAESAREUM OF
APIANUS. 1540.
The zodiac and fixed stars.
[Diam. 291, with projections; sheet, 300 × 305.] Good impression, not coloured.
In the inventory of 1837.
This diagram, cut to a circle and generally coloured, was used as a movable
revolving disc on Sig. B 3 of the Astronomicum.
iii. WOODCUTS CONNECTED WITH FREDERICK II, COUNT (AFTERWARDS
ELECTOR) PALATINE. Nos. 6, 7.
1
These woodcuts are derived from the following book: Warhafftige
beschreibung des andern Zugs in Osterreich wider den Turcken gemeyner
Christenheit Erbfeinde, vergangens funffzehenhundert zwei und dreissig-
sten jares thatlich beschehen. Und ytzund allererst in disem 1539 jar in
druck gefertiget mit lustigen abkondterfetten Figuren der landts gelegen-
heit, schlachtordnungen, etc. (Nuremberg), 1539; fol. (Berlin, Kupf.-
Kab., no. 2404; another edition, no. 2403, has the imprint, "Gedruckt
zu Nürenberg durch Jheronimum Formschneyder MDXXXIX."). Weigel,
Kunstkat., no. 12860. The book contains seven woodcuts: (1) A I v.
Arms of Frederick, Count Palatine [320 × 217]. (2) A 2. Equestrian
Portrait, no. 6. (3) Inserted between B 1 and B 2. Large folding view
of encampment outside Vienna; VIEN above 1., NVSDORF in centre, DER
COLEMBERG r. [338 × 487]. (4) Between C1 and C 2.
An army
marching to 1. away from Laxenburg [342 × 494]. (5) Between D1 and
D 2, no. 7. (6) Between D 2 and E I, Battle near Neustadt [334 × 970].
(7) Between E1 and D 3 Frederick's army marching towards Vienna,
Charles V riding out to meet him [338 × 960].
/ 6. EQUESTRIAN PORTRAIT OF FREDERICK II, COUNT (AFTERWARDS
ELECTOR) PALATINE. 1534.
B. ix, 155, 2; P. iii, 311, 2a; Nagl., Mon., iv, 639, 9.
In profile to 1., holding reins in 1. hand, commander's bâton in r. On
the border of his coat and on the caparison of the horse the letters Z C
7
Division C.-School of Ratisbon.-Ostendorfer.
251
!
1
occur repeatedly. The stem of a tree on either side serves as a frame.
From the branches, which meet in the middle, are suspended a tablet
with the date 1534, the collar of the Golden Fleece, and the escutcheons
of the Palatinate and Bavaria. On a tablet in the middle, below, is
Ostendorfer's monogram in its late shape, in which the O crosses the
middle strokes of the M.
[320 × 216.] Good impression, without margin or watermark.
Purchased from Messrs. Smith, 1845.
Frederick II, "The Wise," b. 1482, was in early life much associated with the
House of Habsburg, and became in 1522, jointly with the Archduke Ferdinand,
Statthalter or representative of Charles V in Germany. He commanded the Im-
perial troops against the Turks in Austria in 1529 and in the campaign of 1532, to
which the book quoted above relates. In 1535 he married Dorothea, daughter of
Christian II of Denmark. He became Elector Palatine on the death of his eldest
brother, Ludwig V, in 1544, and introduced the Reformation into his territories in
1545, but was reconciled with Charles V before his death in 1556.
✓ 7. FREDERICK II COMMANDING THE IMPERIAL FORCES AGAINST
THE TURKS.
P. iii, 311, 2e.
are
In the foreground the two main bodies of infantry (DER GEWALTIG
HAVF FVSKNECHT) and cavalry (DER GEWALTIG RAISIG ZEVG)
drawn up, commanded by Frederick (PHALTGRAF FRIDERICH OBERST
VELTHAVPTMON). In the midst of the cavalry may be seen the
standard with DE CELO VICTORIA. Two squadrons of Bohemian
cavalry r. are detached from the main force, while the artillery and
smaller bodies of troops are seen 1.; the followers of the army (DER
DROSS) wait r. The main body of the Turkish forces (DER DYRCK HAVE)
is advancing through a defile in the hills. In the distance r. Turkish
troopers are seen in flight (DER TVRCKE FLVCHT). No signature.
[340 × 490.] Good impression. Watermark, anchor in a circle.
Purchased from Messrs. Colnaghi, 1852.
iv. LATER WOODCUTS. Nos. 8, 9.
8. THE LAMENTATION FOR CHRIST. 1548.
B. ix, 154, 1; Nagl., Mon., iv, 638, 1.
The two thieves still hang on their respective crosses. The body of
Christ, beneath the central cross, is propped up by the Virgin, who is
herself supported by St. John, and by a standing man. Joseph of
Arimathea stands 1., the Magdalen kneels r., a holy woman stands behind
St. John, and a man who has aided in taking down the body from the
cross stands 1., with three nails in his hand. The monogram and date,
1548, are on a stone r.
¹ These initials, relating probably to a motto or device, appear as C Z in an anony-
mous equestrian portrait of Frederick, also in this Department, headed FREDERICVS
PRINCEPS PALATINVS PROIMPERATOR, in which he carries a banner of the
Bavarian colours with an angel holding a scroll, inscribed DE CELO VICTORIA
[152 × 104]. This woodcut is from Soiterus, De Bello Pannonico, A. Weissenhorn,
Augsburg, 1538, 4to. Neither this woodcut nor Ostendorfer's is mentioned in A.
Peltzer's list of portraits in "A. Dürer u. Friedrich II von der Pfalz,” 1905, p. 15f.
(for the device, "De Caelo Victoria," see pp. 18 and 48).
252
Early German and Flemish Woodcuts.-Part II.
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​[930 × 660.] Printed on eight sheets joined together. Old, though not very
early impression. Watermark, imperial eagle, having on its breast a shield with W;
below, I M.
Purchased from Messrs. Smith, 1845.
The block is preserved in the Derschau collection at Berlin.
9. FREDERICK II, ELECTOR PALATINE, CARRIED IN A LITTER.
1556.
B. ix, 456, 4; Nagl., Mon., iv, 639, 13.
The aged Elector, escorted by seven halberdiers, is carried to 1. in a
litter borne by two horses. On a stone near the centre are the monogram
and date, 1556. Frederick died on 26 February of that year.
[Sheet, 275 × 687.] Old impression, but after some injury to the block, including
the loss of the front of the canopy of the litter. Watermark, half-moon. On the
impression is written in ink in an early hand, Pfaltzgraf Friderich bey Rhein des
H. Röm: Reichs Ertztruchses Herzog in Bayren vnd Churfürst.
Purchased from Messrs. Smith, 1845.
Repr., Hirth, 998.
·
An undescribed woodcut of 1556, at Berlin, represents Cupid winding
up a cross-bow, with the legend, "SUPERANTUR INGENIO VIRES. ANNO
M.D.LVI.,” monogram 1. [66 × 53].
Several late portraits by Ostendorfer were published by Hans
Guldenmundt at Nuremberg. Charles V, N. 6, and Ferdinand I, N. 7,
are at Vienna (Hofbibl.), N. 6 also at Gotha, where is also another
portrait of Charles V by Ostendorfer. Isabella, daughter of Charles
V, 1544, is at Gotha. Frederick II, Elector Palatine, standing,
1544, is described by Nagler, no.
by Nagler, no. 12; his wife, Dorothea, 1547,
P. 10, N. 11, is in the Liechtenstein collection. Wolfgang, Count
Palatine, 1545, P. 8, N. 8 (repr., Hirth, 885), belongs to the same set;
George, Landgrave of Leuchtenberg, P. 9, N. 10, has the address of Hans
Daubmann.
In addition to the signed Herald, P. 49, N. 26, turning to r., with an
eagle on his tabard (repr., Hirth, 883), there is an unsigned companion
cut turning to 1., with a lion rampant on the tabard, also with Gulden-
mundt's address; both are at Gotha. By the form of the monogram,
they would seem to belong to an earlier period, c. 1530.
Other rare woodcuts described by Weigel are: 20471, Arms of
Reinhart, Graff zu Solms vnd Herr zu Minczenborgk, signed and dated
1543 (P. 50, N. 28); 23446, Aderlassmann, signed and dated 1555,
printed by H. Khol, Ratisbon; 20470, View of Ratisbon, signed and
dated 1558 (P. 12, N. 23).
On various views of the city of Ratisbon by Ostendorfer, see Nagler,
nos. 22, 23, and fuller particulars in Schuegraf, pp. 30-34.
7
253
VI.-WOLFGANG HUBER.
Painter and draughtsman on wood; b. at Feldkirch, probably
about 1490; influenced by Altdorfer, if not actually his pupil;
travelled on the Danube; was settled by 1515 at Passau, where he
chiefly resided during the remainder of his life, as court-painter to
Duke Ernest of Bavaria, administrator of the Diocese, 1517–40, and
his successor, the Prince-Bishop Wolfgang I von Salm. We learn,
however, from a complaint addressed to the latter by the guild
of painters, sculptors and glaziers, that Huber had long worked at
Passau with assistants and pupils without becoming a citizen, and
even after acquiring the rights of citizenship had not complied with
the regulations of the guild. The bishop's reply to this complaint
is dated 20 September 1542; 2 later documents are wanting till we
hear of Huber's death in 1553, apparently at the beginning of July.³
2
Authorities:-
1
Bartsch, P.-G., vii, 485.
Passavant, P.-G., iii, 305.
Nagler, Mon., v., p. 344.
Hirth-Muther, “Meisterholzschnitte," text to nos. 64–67.
Articles by W. Schmidt in Repertorium, xi. 358, xii. 40, xvi. 148,
254, xvii. 368, xix. 120, 287, Kunstchronik, 27 October, 1892;
Zeitschr. f. bild. Kunst, N. F. iii. 116; Allg. Zeitung, January,
1893, Beilage 9.
W. M. Schmid, "Zu W. Hueber," Repertorium, xxiv, 390.
G. Härtenberger, "Kunstgeschichtliches aus dem alten Feld-
kirch," Archiv f. Geschichte und Landeskunde Vorarlbergs,
1905, ii. 41.
C. Dodgson, Burlington Magazine, 1906, x. 54.
¹ Repertorium, xxiv, 390.
Riggenbach, p. 14.
Riggenbach explains away all dates on extant works after 1542, even the
obviously authentic date, 1544, on a woman's head at Vienna (Albertina publication,
no. 371). The drawing at Budapest dated 1549 (Repertorium, xix, 121, 20), he says, is
a copy; that dated 1545 (ibid. 19) has nothing to do with Huber; the date read as 1544
on a drawing at Wolfegg inscribed "Wolf Huber zu Bassau" is in reality 1542. The
earliest certain dates on drawings by Huber are 1510 (view of Mondsee, Nuremberg)
and 1512 (not 1502; on a drawing at Budapest, Albertina publication, no. 384; St.
Jerome, in the Vienna Academy, ibid., no. 576, is also dated 1512). A drawing in
the Ehlers collection, Göttingen, dated 1505, is perhaps a work of Huber's boyhood.
254
Early German and Flemish Woodcuts.—Part II.
H. Voss, "Der Ursprung des Donaustiles," Leipzig, 1907, pp.
13-45.
R. Riggenbach, "Der Maler und Zeichner W. Huber," Basle, 1907.
P. M. Halm, "Zu W. Huber," Monatshefte f. Kunstwissenschaft,
1908, i. 1123.
H. Voss, "Ein unbekanntes Bild W. Hubers," Amtliche Berichte
aus den königl. Kunstsammlungen, Berlin, Jan. 1909.
H. Voss, "Aus der Umgebung A. Altdorfers und W. Hubers,"
Mitteilungen der Gesellschaft f. vervielf. Kunst, 1909, 52, 73.
H. Voss, "A. Altdorfer und W. Huber" (Meister der Graphik,
no. 3), Leipzig, 1910.
The art of Huber has only in recent years received the attention
that it deserves. His drawings were for the most part ascribed to
Altdorfer; his paintings were wholly unknown. Only three signed
pictures are even now known to exist. The chief of these is the
'Lamentation for Christ,' dated 1521, in the parish church at Feld-
kirch, belonging to an altar-piece for which a commission was given
in 1515 by the confraternity of St. Anne to "Master Wolfgang
Hueber, of Feldkirch, now dwelling at Passau." According to a
tradition recorded by J. G. Prugger, "Historische Beschreibung der
Statt Veldkirch," 1685, p. 75, this altar-piece was the work of three
brothers, joiner, sculptor and painter. The other signed pictures are
the portraits of Anton Hundertpfundt and his wife, 1526, respectively
in the National Gallery of Ireland and in the collection of Sir J. C.
Robinson, C.B.2 Another work universally ascribed to him is the
'Christ taking leave of his Mother' (1519) in the Kaufmann
collection at Berlin, while his hand has more recently been recognised
in two Passion scenes at St. Florian, two pictures (nos. 1417, 1418)
in the Vienna gallery, and a Flight into Egypt' in the Kunstgewerbe-
museum at Berlin. Drawings by Huber are much more numerous,
and a considerable number have been reproduced in the Albertina,
Munich and Dresden publications, the Vasari Society, Ser. ii and iii,
and elsewhere.
The woodcuts described by Bartsch as the work of an unknown
master W. H. had been ascribed to "Wolfgang Hauber" in the
inventory of the Paul Behaim collection, 1618. The few additions
made since Bartsch's days to the catalogue of Huber's work on wood
¹ The original document is no longer to be found in the Feldkirch archives, but
its contents were published by M. Merkle in "Notizen über Feldkirch," Innsbruck,
1833, p. 21 (Repertorium, xvi, 148). P. M. Halm (loc. cit.) denies that the picture of
1521 now at Feldkirch is the altar-piece referred to in the document.
2 Exhibition of Early German Art, Burlington Fine Arts Club, 1906, nos. 49, 53.
The male portrait is reproduced in the illustrated edition of the catalogue (pl. 30)
and in the Burlington Magazine, ix, 265.
Division C.-School of Passau.-Huber.
255
are all described or mentioned below. The interesting discovery that
Huber was employed as the illustrator of a book printed by Peypus
at Nuremberg is due to a gift to this collection made by Mr. Mitchell
in 1904. It has not been possible, unfortunately, to identify the
book, which may have contained more illustrations than one.
The chief merit of Huber's woodcuts lies in the treatment of
landscape. They reproduce with fidelity and charm the mountain
and river scenery amidst which the artist was born and bred, and
even Altdorfer hardly equalled his disciple in the skill with which
he draws a windy sky, sunshine bursting through clouds, or the
reflection of the moon in water. Huber's study of light effects was
original and advanced. He exercised a considerable influence upon
artists of other schools, notably those of Nuremberg.
WOODCUTS BY WOLFGANG HUBER.
Only two of the woodcuts bear dates, 1515 and 1520 respectively.
The undescribed woodcuts in this collection are early, and so most
suitably placed at the beginning. The evidence for dating the
remainder is hardly sufficient to warrant a departure from the
customary arrangement by subject.
The following order is proposed by Dr. Riggenbach on the
evidence afforded by dated drawings:-
Pyramus and Thisbe, B. 9.
Christ on the Cross, B. 5.
Early, not dated. R., p. 38.
About 1517, or earlier. R., p. 35.
St. Christopher, B. 6. Rather before St. George.
St. George, B. 7. Dated 1520. R., p. 32.
Three Landsknechts, repr. Hirth-Muther, no. 67.
R., p. 33.
About 1520.
R., p. 44.
Christ on the Cross, repr. Hirth-Muther, no. 66.
About 1526.
R., p. 75.
Four subjects from the early life of Christ, B. 1-4.
About 1526–
30. R., p. 76.
Judgment of Paris, B. 8. After 1530. R., p. 77.
+ THREE LANDSKNECHTS. 1515.
Photograph of the only impression known [210 × 173], in the collection of Mr.
A. H. Huth, at Fosbury Manor, Hungerford, formerly in the Herryns Collection,
Antwerp. See Burlington Magazine, October, 1906, x, 54; Riggenbach, p. 54; Voss,
Mitteilungen, 1909, pp. 55, 56.
Another unique print of three landsknechts, signed but not dated, at Basle
[212 × 169], is well known by the reproduction in Hirth and Muther's "Meister-
Holzschnitte," no. 67. Riggenbach (p. 54) dates it about 1520. An unsigned coloured
256 Early German and Flemish Woodcuts.-Part II.
woodcut of a single landsknecht, by Huber, not belonging to this set, is in the
Liechtenstein collection at Vienna [231 x 156]. It is inaccurately reproduced in
Breunner-Enkevoërth's "Kriegsvölker," iii, 15. See W. Schmidt, Repertorium, xvii,
368; C. Dodgson, Mitteilungen der Gesellschaft f. vervielf. Kunst, 1905, 6, and Bur-
lington Magazine, x, 58; Riggenbach, p. 54.
1. CHRIST AT EMMAUS.
Christ sits, in the act of blessing and breaking bread, on the farther
side of a table placed in a long vaulted corridor of Gothic architecture,
leading at the far end to the open air. L. is a doorway, leading pre-
sumably to the interior of the house. In front of the table, 1., one of the
disciples sits on a bench, his back turned towards us, his head in profile
The other disciple sits on a stool to r. of the table. The head of
Christ is surrounded by long rays. Single border-line, no signature.
to r.
[91 × 64.] Good impression, with margin, from a book not identified. On the
back is the following text: "Dise Homilia oder Sermon, das er nit | bey dem
begrebnusz zü lang sey, mag | man wol bey stücken lesen, oder was ausz lassen, wie
das wirt | dem leser gefallen, zů nutz | der ihenigen die zů hổ-[ren, Wann ein we-|
nig mit fleysz ge- | hort, ist besser | dann vil | mit ver | driesz. | Gedruckt zů Nůrn-
berg durch Friderich Peypus."
Presented by Mr. W. Mitchell, 1904.
Comparison with the signed woodcuts, B. 1-4, makes it certain that this illustra-
tion is by Huber. It is ruder in execution and probably earlier in date (" about 1515,”
Riggenbach), though it was the custom of the period for less care to be bestowed on
book illustrations than on woodcuts destined for circulation as independent works of
art. The subject is one of infrequent occurrence in German art of this period.
Huber has evidently studied Dürer's woodcut, B. 48.
See Mitt. d. Ges. f. vervielf. Kunst, 1905, 12; Riggenbach, p. 40.
2. THE HOLY FAMILY.
The scene is laid in a Gothic building of which two walls are seen,
meeting at right angles slightly to 1. of the middle. The 1. wall is pierced
by an open door, the r. wall by an arcade of four pointed arches resting
on pairs of columns. Distant mountains are seen through the door, and
buildings through the arcade. On a bench beneath the arcade sits Mary,
holding the naked child upon her knees. He raises his r. hand to take
some object offered to him by St. Anne, who sits on another bench, facing
her daughter. Joachim stands 1. beside Anne, with his 1. foot raised and
placed on the bench. He looks round towards the Virgin and Child.
Joseph stands in the foreground r., carrying a staff over his r. shoulder.
At the top the First and Third Persons of the Trinity appear, surrounded
by clouds, which conceal the roof of the building. The Dove is encircled
by brilliant light which casts long rays downwards into the hall. Single
border-line, no signature.
[206 × 131.] Good impression, cut to border, on the back of a calendar for 1516
("Als man zelt nach Christi geburt, McccccXVI. Ist ain so . . .," etc.) printed in
red and black (Pr. 10831). The surviving portion of this calendar contains fragments
of several woodcuts and one complete cut [33 × 38] of an angel supporting the arms
of Salzburg and of the Archbishop Leonhard von Keutschach, which shows that the
calendar was printed for that diocese. Comparison with a calendar in the library
(8610, cc. 5 (1)), “Kalendarius teütsch maister Joannis Kungspergers” (Pr. 10842)
shows that the printer was J. Miller of Augsburg. No watermark.
In the inventory of 1837.
The ugly types of the Virgin and Joseph are most characteristic of Huber. The
latter has a strong resemblance to the man drawing tighter the cords round Christ's
·
PLATE XV
WOLF HUBER
THE HOLY FAMILY

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Division C.-School of Passau.—Huber.
257
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legs in the flagellation at St. Florian now attributed to Huber. The mountain
background closely resembles that on a drawing dated 1513 at Basle. The nimbus
on the head of St. Anne is like that of St. John in B. 5. The execution of this wood-
cut is again rough, and the design has, no doubt, lost considerably by the cutting.
Riggenbach, p. 40. Reproduced in this volume.
3. THE NATIVITY.
[3-6.]
THE EARLY LIFE OF CHrist.
B. vii, 485, 1.
The moon shines through the roof of a ruined building upon the child,
who lies on his back adored by Mary, kneeling 1., and Joseph r. A
shepherd approaches 1., another stands, with arms crossed upon his breast,
behind a cow. An ass stands at a little distance r.; beyond it, through
an arch, we see a tower with pointed roof. The initials of Huber are in
the foreground, near Joseph's knee.
[118 × 92.] Good impression, without margin. White paper; watermark, high
crown.
Purchased from Messrs. Graves, 1858.
3a. THE NATIVITY.
[118 x 92.] Another early impression, but soiled. No watermark.
Presented by Mr. W. Mitchell, 1895.
4. THE ADORATION OF THE MAGI.
B. 1.
B. vii, 485, 2.
Mary sits in a ruined church, holding the child in her lap. Caspar
kneels before him with folded hands; Melchior stands r. holding his hat
in his 1. hand, a vase of frankincense in his r. hand; Balthasar stands 1.
in profile to r. A fourth man approaches 1. In the distance are tall
buildings, and to r. a river, bridge, castle and distant mountain. Huber's
initials are on the ground between the bases of two pilasters.
[119 × 93.] Good impression, without margin. White paper; watermark, high
crown.
Presented by Mr. W. Mitchell, 1895.
4a. THE ADORATION OF THE MAGI.
Another early impression, but discoloured, narrow margin. No watermark.
Purchased from Messrs. Graves, 1854.
5. THE CIRCUMCISION OF CHRIST.
B. 2.
B. vii, 485, 3.
On a platform in the nave of a church-like building an aged priest
holds the Child Jesus in his arms. A younger priest performs the rite
of circumcision; a kneeling ministrant holds a dish beneath his hands,
and another stands 1., supporting a sacred vessel on his arm.
Mary and
Joseph stand at a little distance r., another person beyond them, while
more spectators survey the rite from a balcony. Huber's initials are
on a step r.
[119 x 94.] Very good impression, though apparently modern, on white paper,
without watermark.
Purchased from Messrs. Graves, 1858.
S
258 Early German and Flemish Woodcuts.-Part II.
5a. THE CIRCUMCISION OF CHRIST.
[118 × 93.] Old impression, cut close and discoloured.
Presented by Mr. W. Mitchell, 1895.
6. THE PRESENTATION OF CHRIST IN THE TEMPLE.
B. 3.
B. vii, 485, 4.
Mary kneels before a table in the nave of a Gothic church, offering
two doves in a cage. Simeon, near the end of the table, holds the Child
in his arms; a ministrant, near him, reads from a book, another holds a
taper. Joseph and the prophetess Anna stand 1. as spectators; in the
distance a man stands praying. Huber's initials are near the feet of
Simeon.
[117 × 93.] Good impression, without margin. White paper; watermark, high
crown.
Presented by Mr. W. Mitchell, 1895.
The kneeling Virgin is copied from Dürer's woodcut of the same subject, B. 88.
For other traces of Dürer's influence on this series, see Riggenbach, p. 76.
6a. THE PRESENTATION OF CHRIST IN THE TEMPLE.
B. 4.
[118 × 94.] Good modern impression, narrow margin. White paper; without
watermark.
Purchased from Messrs. Graves, 1858.
7. CHRIST ON THE CROSS.
St.
The cross and Christ himself upon it are seen in profile to r.
John stands 1., looking upwards, with both hands raised, and one of the
holy women is seen behind him. To r. two other holy women are
ministering to the Virgin Mary, who has fallen in a swoon. Behind
them is a clump of trees. Buildings and mountains are seen in the
distance. Huber's initials are on the ground near the foot of the cross.
[91 × 63.] Good impression, slightly damaged and repaired.
Purchased at the sale of the W. L. Schreiber collection, Vienna, 3-4 March, 1909
(no. 405). Repr., Hirth-Muther, no. 66, and p. 61 of Schreiber Sale Catalogue.
No other impression is known.
8. CHRIST ON THE CROSS.
B. vii, 485, 5; P. iii, 306, 10.
The cross is erected on a mound towards the r. in such a position that
Christ is directed three-quarter face to 1. He looks down upon St. John,
who stands with both hands raised, gazing with an agonized expression
upon the Saviour, who speaks to him. Mary stands 1., a little farther off,
with arms crossed upon her breast. Huber's initials are placed near her
feet. Behind the cross of Christ stands one other of unshaped wood,
from which the malefactor has been removed; a ladder stands against
the stem. Near the feet of Christ we see the sun, whose rays disperse
clouds which had lately darkened the sky.
In the distance 1. are
buildings on the slopes of a mountain.
[123 × 93.] Good impression, with margin [2-3]. Paper somewhat discoloured;
no watermark, but similar in make to the paper of no. 9.
In the inventory of 1837.
H. Voss, "Der Ursprung des Donaustiles," p. 183, reproduces this woodcut, the
spirit of which he compares very appositely with that of a Volkslied on the Cruci-
fixion, which he quotes at length. Like other renderings of the Crucifixion by Huber
Division C.-School of Passau.-Huber.
259
(woodcut no. 7, drawings in the Berlin Cabinet and in the collection of Mr.
Ricketts and Mr. Shannon, Vasari Society, ii, 30) the composition is unconven-
tional and full of pathos and imagination. This woodcut is also reproduced in Das
Museum, iv, 22 (text).
9. ST. CHRISTOPHER.
B. vii, 485, 6.
The Saint, carrying an uprooted tree in both hands, wades through
the river, carrying the infant Christ upon his shoulders. Huber's initials
are upon a stone on the near bank r. The hermit stands farther back,
under a tree, and holds a flaring torch. The moon is reflected in the
river. On the farther shore, 1., is a clump of trees.
[121 × 94.] Good impression, with margin [4-7]. Watermark, bull's head with
serpent.
In the inventory of 1837.
The treatment of clouds, differing from that on the other woodcuts, is exactly the
same as in no. 8, which approaches no. 9 very closely in other respects, and is printed
on the same paper.
10. ST. GEORGE AND THE DRAGON. 1520.
B. vii, 486, 7.
The Saint, an armed knight on horseback, with a huge plume of
feathers, raises his sword in his r. hand to smite at the dragon, which
crouches 1. with claws outspread and tail lifted high in the air. The
princess kneels 1. at some distance with folded arms; a lamb stands by
her side. St. George's spear lies broken on the ground near his horse's
hoofs; Huber's initials are on a stone r. There is a beautiful landscape
background with an old castle on a crag in the distance 1., a rock over-
grown with trees behind St. George, near which the sun shines low in the
heavens, and a tall tree r., cut off at the top of the print. The date 1520
is in the sky 1.
[202 × 151.] Good impression, without margin. Watermark, high crown.
In the inventory of 1837.
Dr. Meder speaks of the drawing of St. Eustace at Seebarn (Alb. Publ., no. 395) as
possibly a design for a counterpart to this woodcut, not carried out.
10a. ST. GEORGE AND THE DRAGON.
B. 7.
[201 × 149.] Another impression, cut slightly within the border-line. White
paper, without watermark.
Collections: Liphart (F. 328, 1), Mitchell.
Presented by Mr. W. Mitchell, 1895.
11. THE JUDGMENT OF PARIS.
B. vii, 486, 8.
Paris sits r., asleep, under a clump of trees, leaning his head on his r.
hand. Venus stands before him, holding in her 1. hand a pole, from
which a mirror hangs by a cord.¹ Near her feet are various vessels.
Mercury stands beside her, holding in his r. hand a globe (the apple of
¹ The object suspended, if not a mirror, can only be a framed painting, and not a
tablet containing the letter B, which Passavant (iii, 305) takes for the mark of the
wood-engraver. With a similar mistaken ingenuity one might point to an A in the
harness of St. George's horse on B. 7 (near the off hind-leg, in a circle). In this case
the resemblance to a letter is probably accidental; in the former case the resemblance
simply does not exist.
s 2
260
Early German and Flemish Woodcuts.-Part II.
discord?), and in his 1. hand a staff with which he points to Paris. Behind
Paris stands Juno, holding a covered cup, and in the centre, at a little
distance, Minerva, with spear in her 1. hand and helmet on the ground at
her feet. Near the helmet are Huber's initials. Cupid, in the sky,
a double dart at Paris.
[118 x 93.] Early impression, without margin or watermark.
Presented by Mr. W. Mitchell, 1895.
Repr., Hirth-Muther, no. 64.
11a. THE JUDGMENT OF PARIS.
[118 x 93.] A similar impression, better preserved.
In the inventory of 1837.
12. PYRAMUS AND THISBE.
aims
B. 8.
B. vii, 486, 9. Meyer, K.-L., i, 553, 10.
Pyramus lies on his back, awkwardly foreshortened, with head to 1.
under a pair of trees, his body pierced by a dagger. Thisbe stands 1.,
gazing at him. Beyond her, in the distance, the lion prowls; near her
feet is a flask bearing Huber's initials. There is a fine landscape back-
ground.
[119 × 93.] Good impression, cut a little close.
Presented by Mr. W. Mitchell, 1895.
Repr., Hirth-Muther, no. 65.
A drawing by Huber of the dead Pyramus, not immediately connected with the
woodcut, is at Budapest (Alb. Publ., no. 848).
12a. PYRAMUS AND THISBE.
[119 × 93.] Another impression, somewhat discoloured.
In the inventory of 1837.
B. 9.
>>
The only woodcuts signed by Huber that are missing in this collection
are the "Three Landsknechts," reproduced by Hirth-Muther (no. 67),
from the unique original in the Basle Museum, and a "St. Florian"
(P. iii, 306, 11), which I do not know. P. 12 is not by Huber, but
belongs to the group attributed to the Master HWG: see Friedländer
in Das Museum, iv, 21 (text), with a reproduction, Voss, "Der Ursprung,
etc., p. 48, note 1, and Riggenbach, p. 43, note f. The same wood-
cut is reproduced, wrongly attributed to Lautensack, in the catalogue of
Gutekunst's auction, no. 63, Stuttgart, 1907, p. 44. A coloured woodcut
of a landsknecht in the Liechtenstein collection, Vienna, is undoubtedly
by Huber (Schmidt, Repertorium xvii, 368, Riggenbach, p. 44). The
attribution of the "Miracles of Maria Zell" to Huber, proposed by W.
Schmidt in 1893 (Repertorium xvi, 254), is now discredited.¹
1 See p. 210.
261
VII.—THE MASTER ·CW
Worked at Salzburg, about 1550; his woodcuts occur in books.
printed by Hans Baumann.
Authorities:
Nagl., Mon., ii, p. 321, no. 825.
Passavant, P.-G., iii, 317.¹
The unknown draughtsman who uses this monogram is probably
not identical with C W, an artist of the school of Altdorfer, by
whom there is a drawing of Pyramus and Thisbe, dated 1518, in the
Brunswick Museum; in spite of the close dependence upon Altdorfer,
the drawing betrays a much more accomplished hand. He is certainly
not identical, on the other hand, with the painter (doubtless Suabian)
of the Nürtingen altar-piece, bearing the same monogram and dated
1516, in the Stuttgart gallery.2 Unless his woodcuts are much
earlier than the date of their publication, which the condition of the
blocks as they appear in Baumann's books does not preclude, he
represents a later generation of the "Danube" school than that of
Altdorfer and Huber, and is more nearly the contemporary of
Lemberger. His Last Supper is enlarged from Altdorfer's wood-
cut, B. 18.3
4
Haus Baumann, the first printer established at Salzburg, was a
native of Rothenburg on the Tauber. The earliest book from his
press mentioned by Süss is dated 1551; Nagler mentions one of
1544, but this is probably a mistake for 1554; an edition of
Hirspeck's sermons of the latter date is in the Munich library. At
some date after 1557 Baumann left Salzburg and settled at Würzburg,
taking with him his stock of wood-blocks, including some designed
by this artist.
1 Passavant translates Nagler inaccurately in two cases, and adds nothing from
an independent source except a description of the text accompanying the woodcut of
the Last Supper on its first publication.
2 Catalogue, 1907, nos. 78-80.
3 H. Voss, Mitteil. d. Gesellsch. f. vervielf. Kunst, 1909, p. 56.
4 (0
Beiträge zur Geschichte der Typographie in Salzburg," 1845, p. 4.
262
Early German and Flemish Woodcuts.-Part II.
BOOKS ILLUSTRATED BY CW
IN THE DEPARTMENT OF PRINTED Books.
1. [LITURGIES.] Libellus agendarum . . secundum antiquum
vsum Metropolitanæ Ecclesiæ Salisburgensis. Salisburgi excudebat Joan
Bauman, Año 1557. 8vo.
(1). Fol. 77, David and Bathsheba [65 × 47], signed. P. iii, 317, 1. Bathsheba's
two maids are in the background, as described by Nagler, not "devant elle" (P.).
(2). Fol. 121, St. John [66 × 46], signed. Undescribed. He stands under an
arch, holding the chalice with a serpent in his 1. hand. The artist's initials are on
the shaded side of the pilaster r. The remaining woodcuts in this book are by
different artists. The woodcut of Baptism (fol. 31) is reproduced by Diederichs,
no. 350, as a work of ⚫CW. The Munich library possesses three different editions
of this Agenda, all of 1557, one of which contains another woodcut by this artist,
hitherto undescribed, representing the Virgin and Child with St. Anne.
2. [LITURGIES.] Agenda Ecclesiastica, secundum usum Ecclesiæ
Wyrzeburgensis. J. Baumann, Würzburg, Sept. 1564. fol.
(1). Fol. 61. The Last Supper [138 × 109], signed. P. iii, 317, 2. Used earlier
in the sermons of Hirspeck, printed at Salzburg (not Ratisbon) in 1554.
(2). Fol. 104 v. Visiting the Sick [102 × 80]. Although not signed, this cut
may safely be attributed to C. W. by comparison with the St. John and the David
and Bathsheba,
(3). Fol. 220 v. St. John, as in the Salzburg Agenda.
3. [LITURGIES.] Agenda Ecclesiastica, sive Cæremoniarum, Bene-
dictionum aliorumque mysticorum rituum
liber. J. Baumann,
Würzburg, Sept. 1564. fol.
•
•
With the exception of a new title-page and preface, this is the same book as
no. 2, and contains the same woodcuts.
WOODCUT BY CW
1. THE MAN OF SORROWS, WITH TWO ANGELS.
Christ stands, three-quarter face to r., with his back to the stem of
the cross, pressing with his r. hand the wound in his side, while he
extends his 1. hand, showing the wounded palm. A triple scourge 1. and
bundle of rods r. hang from the arms of the cross, which are not
themselves visible. Two youthful angels, of whom only one, to 1., has
wings, kneel 1. and r., adoring Christ; one bears the sponge upon a reed,
the other the spear.
In the distance is a river; on it a boat, bearing
three men; trees and mountains rise from the farther shore. In the 1.
upper corner, near the scourge, are the artist's initials. Single border-line.
[138 x 110.] Good impression, cut to the border. On the back are the words
....Kirchen allerlay Ceremonj anndächtigklich bewey- | sen,. . Glaidtsman
für den stren-| gen Richterstul, des vatters sey, | Amen" (9 11.). Then "Getruckht
in der Ertz- | bischoflichen Statt Saltzburg, durch Hansen Bawman | jm M.D.Liiij.
The woodcut occurs on the last page of "Drey Predig, von dem | Hochwürdigen
Sacrament des Alltars. Durch Doctor Paulsen Hirsspeckhen, Thumbprediger zu
Regenspurg (Munich library; Dr. G. Leidinger kindly identified the book for me).
The words quoted are from the recto of the leaf. The book contains no other wood-
cuts. A different edition of these sermons, also dated 1554 (not 1544), at Munich,
contains on both the first and last leaf this artist's woodcut of the Last Supper.
Purchased from Mr. Gutekunst, 1867.
44
!
•
The composition was probably influenced by the woodcut on fol. 1 v. in Pinder's
'Speculum Passionis,” Nuremberg, 1507.
་
263
VIII. HANS WURM.
Woodcutter and printer, worked at Landshut about 1501-1504.
Authorities :—
Heller, "Geschichte der Holzschneidekunst," 123.
Nagler, K.-L., xxii, 131; Mon., i, 429, iii, 709, iv, 493.
Sotzmann, "Ueber ein unbekanntes xylographisches Ringerbuch,"
Serapeum, v, 33.
G. Leidinger," Chronik und Stamm der Pfalzgrafen bei Rhein und
Herzoge in Bayern, 1501" (Drucke u. Holzschn. des xv. u.
xvi. Jahrh. in getreuer Nachbildung, Heft vii), Heitz,
Strassburg, 1901, pp. 19–32.
The only certain existing work of Hans Wurm, of Landshut,
besides the woodcut now to be described, is the undated xylographic
wrestling-book, "Gedruckt zu landshut (arms of the town) Hanns
Wurm," of which the only copy known is in the Berlin Cabinet.¹
The biographical statements in some of the older books lack docu-
mentary confirmation. It is asserted, for instance, on unsatisfactory
evidence, that he had formerly lived at Ratisbon, that he was the
son-in-law of the printer Schön at Freising, and that he subsequently
emigrated to Nuremberg.2 A woodcut representing the marriage at
Cana, attributed to him in Westenrieder's Beyträge zur Vaterländ-
ischen Historie, 1788, i, 404, is unknown at the present time. The
woodcut with scenes from the Passion, signed H W, which Nagler
(Mon., iv., no. 1693) attributes to Wurm, is much later in date and of
inferior quality. Dr. Leidinger attributes to him, with considerable
plausibility but no convincing proof, the composition and cutting of
a pedigree of the Counts Palatine and Dukes of Bavaria preserved in
the Hof- und Staatsbibliothek at Munich; a second, and better,
¹ Specimens are reproduced by Sotzmann and by Schreiber, "Manuel," viii,
pl. 120.
2 A woodcut signed "Hanns Wurm in Nurnperg, 1423" (white letters on black),
is in the Berlin Cabinet; Schreiber (no. 2157) places it in the category of impostures.
A woodcutter of the same name was working at Nuremberg after 1559 (Leidinger,
p. 24).
264 Early German and Flemish Woodcuts.-Part II.
impression has since come to light in the Bavarian National Museum.
The woodcut, measuring 162 × 85 cm., has been reproduced by
Dr. Leidinger as a supplement to the facsimile of a rare book,
believed to be the first printed at Landshut, beginning "In dem jar
des hails Cristi des herren fünffzehenhundert vnd darnach in dem
ersten jare ward die Cronick vnd der fürstlich stamm der durch-
leüchtigen hochgepornen fürsten vñ herren pfalnntzgrafen bey Rein,
vnd herczog in Bairen, etc., loblich vollendt." Two copies of the
book are at Munich, a third in the British Museum (Pr. 11775).
Neither woodcut nor book is actually dated, but Leidinger concludes
that they were probably finished in 1501. The two are intimately
connected. The book has the colophon, "Gedruckt von . N. Wurm
zů lantzhůt." Leidinger's arguments for identifying
¹ ". N. Wurm
with Hans do not carry conviction. Nor can it be taken for certain
that our Hans Wurm, the woodcutter, is identical with "Meister
Hans Wurm, Seidensticker [embroiderer on silk] zu Landshut," who
is mentioned in 1514 in connection with the projected casting of one.
of the bronze statues for the Emperor Maximilian's tomb at Innsbruck.2
On other Wurms at Landshut from 1331 onwards, see Leidinger,
p. 29, note 2.
1
WOODCUT BY HANS WURM.
1. THE RECEPTION AT THE DOOR OF A GOTHIC HOUSE, AFTER MAIR
OF LANDSHUT.
R. Weigel, Kunstlagerkatalog, no. 9453; Nagler, K.-L., xxii, 131, Mon., i, p. 429,
iii, p. 709, iv, p. 493; Willshire, ii, 384; Lehrs, Repertorium, xvi, 339; Singer,
Catalogue of the Lanna Collection, no. 2.
A youthful gallant, crossing the threshold with a jaunty air, his r.
hand on his hip, is received by a young lady with downcast eyes, who
stands within the open door. A dog sits outside in front of the doorstep,
looking in. On either side of the porch is a barred window. Pillars,
projecting before these windows, support pedestals containing niches; on
each pedestal stands a warrior carrying a banner. In a large niche over
the centre of the porch is a seated figure; this niche is flanked by
truncated columns, but the small warriors who stand on these columns in
the original engraving are here omitted. The background is black. The
name HANS WVRM is placed on two tablets near the 1. and r. lower
corners respectively.
[226 × 162; size of sheet, 242 × 175]. Fine impression, with margin [6–8], well
preserved apart from a damaged portion on the r. side and two places near the top.
Watermark, large high crown.
¹ Anticipated by Nagler, Mon., iii, p. 709.
2 Vienna Jahrbuch, 1884, ii. pt. 2, LXVI, Reg. 1166. Leidinger, op. cit., p. 24.
་
Division C.-School of Landshut.— Wurm.
265
The whole sheet, margin included, has been covered before printing with a
reddish brown opaque ground. The woodcut itself is printed in black upon this
brown surface, and the artist has then put on the high lights in opaque white with
the point of his brush, greatly enhancing the effect; the curls of the young man's
hair, for instance, and the veil over the brow of the lady are inserted in white; the
hatching in fine white lines is delicate and artistic.
Collections: Liphart (F. 328), Lanna.
Purchased at the sale of the Lanna collection, Stuttgart, 1909 (no. 3036).
No other impression is known. The original engraving by Mair of Landshut¹ is
also of great rarity, only three impressions being known-in the Albertina, the
collection of Baron E. de Rothschild, Paris (formerly Durazzo and Felix collections),
and in the Louvre.2 In most collections the subject is represented by a deceptive,
but inferior, copy. All three impressions of the original are coloured by the artist,
while that in the Louvre is also dated 1499, a date which occurs on other engravings
by Mair and also on two of the three woodcuts in the British Museum collection."
The copy by Wurm cannot be much later than the original, but must belong to the
early years of the sixteenth century if the date given for his activity at Landshut,
1501-1504, be correct. The cutting, however, resembles so closely that of the
woodcuts signed by Mair, that the question suggests itself whether Wurm was not
actually the cutter of the three blocks in question, though his name is suppressed
and only that of the draughtsman appears. To this question there
To this question there can, of course, be
no positive answer. The present woodcut is not exactly parallel to the other three,
since it is not the original, authorized expression of Mair's idea in graphic form, but
a copy in a different medium of a composition already engraved on copper by Mair
himself.
The interest of this group of Landshut woodcuts as marking a preliminary stage
in the evolution of colour printing has already been discussed in this Catalogue.5
They are separated by very few years from the introduction of true colour printing
from wood-blocks, which was perfected almost simultaneously at Wittenberg and
Augsburg. They afford a parallel on wood to the engravings of Mair himself, or the
etchings of Hercules Segers, on copper. The woodcut by Wurm forms a very inter-
esting addition to the group by Mair. As regards the colouring, however, it should
be observed that Mair's woodcuts are tinted with a wash of transparent watercolour,
whereas Wurm has used opaque body colour. Mair himself used body-colour for
heightening his engravings with touches of white, yellow, green or red, but the
general surface, as a rule, was tinted with watercolour; Prof. Lehrs speaks, how-
ever, of "violettroth grundiertes Papier" in the case of an impression of P. 13, terms
which seem to imply the use of opaque pigment.
¹ P. ii, 157, 13.
3 B. vi, 370.
5 Ibid., 148.
2 Lehrs, Repertorium, xvi, 338.
4 Vol. I. 149, A 143–145.
• Ibid., 255.
266
IX.-CASPAR CLOFIGL.
Caspar Clofigl, or Clofligl, worked at Munich about 1516-1529
as court painter to Duke William IV.
Authorities:
Bartsch, P.-G., vii, 466.
Passavant, P.-G., iii, 299.
Nagler, Mon., i, no. 2372.
BOOKS ILLUSTRATED BY CLOFIGL.
IN THE DEPARTMENT OF PRINTED BOOKS.
1. [BAVARIA.] Das buech der gemeinen land | pot. . . . in
Obern, vnd Nidern | Bairn, Im Fünftzehn hundert vnd | Sechtzehendem
Jar aufgericht (xylographic title, printed in red; J. Schobser, Munich,
after 23 April, 1516) fol. (Pr. 11582).
On title-page, B. vii, 466, 1 [143 × 187].
2. [HIRSCHBERG.] Ettlich nottürfftig freihaitbrief vñ ordnung
über das handtgericht Hirsperg. (J. Schobser?, Munich?, after 10 April,
1518). fol. (Pr. 11592).
On title-page, the arms of Bavaria, the Palatinate and Hirschberg, with date
1518. See p. 267, no. 3.
3. [BAVARIA.] Reformacion der Bayrischn Lanndrecht (J.
Schobser, Munich, after 23 April, 1518); fol. (Pr. 11585).
On title-page, B. vii, 466, 1.
4. [BAVARIA.] Das buech der gemeinen Landpot... in Obern
vnnd Nidern Bairn Im Fünftzehenhündert vnnd Sechtzehendem
Jar aufgericht (xylographic title, printed in red; J. Schobser, Munich?
after 26 March 1520) fol. (Pr. 11594.)
On title-page, B. vii, 467, 2 [139 × 181]. This is the repetition of B. 1, in which
the two Dukes wear beards. It is probably, as Proctor says, a copy, rather than a
variant by the same artist.
5. [BAVARIA.]
Gerichtzordnung Im Fürst'nthumb Obern vnd
Nidern Bayrn Anno 1520 aufgericht. (J. Schobser, Munich, after
23 April 1520) fol. (Pr. 11591a).
On title-page, B. vii, 467, 3 [185 × 192].
Division C.-School of Munich.--Clofigl.
267
WOODCUTS BY CLOFIGL.
1. THE DUKES WILHELM AND LUDWIG OF BAVARIA IN ARMOUR,
STANDING.
B. vii, 466, 1.
The two Dukes, distinguished by their initials HW and HL on
tablets hanging near their heads, stand confronting one another, each
with a hand laid upon the Bavarian shield, in a building which rests on
columns and is open at both sides. They are beardless, and their chins
are covered. No signature.
[143 × 191.] On title-page of "Das büch der gemeinen lanndpot. | Landsord-
nung. Satzung, vnd ge-breuch, des Furstenthombs, in Obe-[ren vnd Niderñ
Bairn, im funftze-henhundert vund Sechtzehendem | Jar aufgericht." (Printed
with type in red, a different edition from Pr. 11582 and 11594.)
Purchased from Mr. Asher, 1849,
2. THE DUKES WILHELM AND LUDWIG OF BAVARIA SEATED.
B. vii, 467, 3; P. iii, 300, 1.
A table, the end of which is decorated with the shield of Bavaria
resting on a lion, is placed in a recess lighted by a window, at the end of
a hall or court of justice. Over the window is the date 1520. The
Dukes, distinguished as in no. 1 by their initials, sit on either side of the
table; a book-the code of laws-lies between them. Seven persons
stand on Duke William's, eight on Duke Ludwig's side of the room. The
signature C. C. is on a step leading to the platform on which the table
stands.
[185 x 192.] On title-page of "Gerichtzordnung Im fürst'n-[thumb Obern vnd
Nidern Bayrn Anno. 1.5.2.0. aufgericht (xylographic, printed in red).
Purchased from Mr. Asher, 1849.
The "
composition analogue" mentioned by Passavant is evidently the same
woodcut described a second time. It is more true of this, than of no. 1, that it is
treated in the style of Burgkmair; it shows the influence of the "Weisskunig."
3. THE ARMS OF THE PALATINATE, BAVARIA AND HIRSCHBERG. 1518.
The arms, with a tablet bearing the date 1518, are in a circle
representing a seal, suspended from a large tablet which contains the
title of the book (see p. 266 no 2). The whole is surrounded by a double
border-line, beyond which the end of a tassel projects. On the verso is a
proclamation by the Dukes Wilhelm and Ludwig, dated 10 April 1518.
[267 × 169.] Good impression.
Bequeathed by Sir A. Wollaston Franks, K.C.B., 1897.
This woodcut, hitherto undescribed, may safely be assigned to Clofigl on the
ground of its resemblance to the others, described by Bartsch, and its publication at
the same press and under the same official patronage.
268
X.--ANONYMOUS WOODCUTS FROM BOOKS PRINTED IN
BAVARIA AND AUSTRIA.¹
1. FOLIO TITLE-BORDER.
INGOLSTADT.
Der Fünft vnd letst | Tail Christenlicher Predig, etc, by Johann von
Eck. Georg Krapff, Ingolstadt, 1539.
One piece. At the corners, the four Evangelists in medallions; at
the top, the Almighty; below, the Virgin and child; at the sides,
SS. Peter, Paul, Willibald and Victor.
[234 × 164; opening, 140 × 95.] Good impression.
Presented by Mr. W. Mitchell, 1895.
LANDSHUT.
† ST. ANNE AND OTHER SAINTS.
St. Anne is seated on a throne; the Child Jesus, naked, stands on her
lap, while the Virgin Mary kneels with folded hands before him. St.
John stands 1., holding a chalice in his 1. hand, St. Nicholas r., in episcopal
vestments, holding the three balls of gold on a book in his r. hand. In
both the upper corners are garlands of leaves forming an arch with the
canopy of the throne in its centre. At the foot of the print is a tablet
with xylographic inscription: "Ora p nobis S. Anna:"
[175 x 114.] Photograph of the original cut in "St. Christophs Geburt und
Leben," J. Weissenburger, Landshut, 1520 (Weller 1347, Muther 1701), in the
Hof- und Staatsbibliothek, Munich.
Somewhat rough but vigorous and interesting work of the native Bavarian school.
The other illustrations in the book, including a St. Christopher [123 × 102] on the
title-page, which Muther does not mention,2 show more of the "Donaustil "influence.
Many illustrations in books printed by Weissenburger are of Nuremberg or
Augsburg origin.
2. QUARTO BORDER USED BY WEISSENBURGER.
Proctor A.
Copy of Holbein's earliest border designed for Froben, Woltmann 234
(Repr., Butsch, i, 41, and Heitz-Bernoulli, "Basler Büchermarken,"
1
An anonymous Bavarian woodcut of the beginning of the XVI century has been
described in Vol. I, pp. 53 (A 17) and 565. The copy of this woodcut occurs in
Proctor 11581.
2 This is not the same as a St. Christopher dated 1520, also of the Bavarian
school, in the Berlin Cabinet.
Division C.-School of Bavaria.-Anonymous.
269
no. 27). At the foot, in the place occupied in the original by Froben's
device and a frieze, are the arms of Bavaria and Landshut.
[177 × 121.] On title-page of "Exhortatio | ad Collatores benifi- ciorum eccle-
siasticorum," etc. (s.l.e.a., 6 11.).
Purchased from Messrs. Heussner & Lauser, 1875.
For other books in which the border occurs (only at Landshut, not at Nuremberg)
see Pr. 11803-4 (c. 1516). On the supposed authority of dates I described this border
in 1898 (Jahrbuch der k. preuss. Kunstsamml., xix, 160) as the original which
Holbein copied. Proctor assigns the printing of Scheurl's book, "Sacerdotum
defensorium," to a much later date than that of its composition, and regards the
Landshut border as a copy of that by Holbein, which is, indeed, much more
probable.
3. FRONTISPIECE TO DIETRICH VON PLENINGEN'S TRANSLATION
OF SALLUST.
H. 2090; P. iii, 212, 285.
In an arched recess between two pilasters of Renaissance architecture,
Maximilian I, in profile to r., holding a sceptre, receives a book from the
hands of the translator, who kneels. Duke Ludwig of Bavaria confronts
Maximilian and lays his r. hand on the book. The titles of the two
Sovereigns, MAXIMILIAN. IMP and H. LVDBIG, are on labels placed
above their escutcheons and across a border with white arabesque pattern
upon a black ground, which surrounds the whole.
[225 × 160.] Good impression with margin. On the back is the title, printed in
red, "Des hochberom pten Latinischen histori schrei-|bers Salustij: zwo schon
histo- rien. . . . Durch herrn Dieterichen von Pleningen. |getheutscht
(12 11.). J. Weissenburger, Landshut, 4 Sept. 1515, Pr. 11792.
Presented by Mr. W. Mitchell, 1895.
•
Formerly attributed to Dürer, but probably Augsburg work. The same cut
occurs in a second state, with the name of Duke Wilhelm instead of Duke Ludwig,
in the same author's translation of Pliny's Panegyric, 14 Dec. 1515, Pr. 11793. The
British Museum copy is defective and lacks this woodcut.
4. THE VIRGIN MARY, BY THE MONOGRAMMIST G. A. 1525.
Nagl., Mon., ii, p. 957, no. 2676.
The Virgin, in the costume of the Beautiful Virgin of Ratisbon,
stands under a round arch supported by pilasters which bear the date
15 (1.) 25 (r.). On her nimbus is inscribed S. MARIA. The initials G A
are on the shaded spandrils.
[108 × 80.] On the title-page of Enchiridion locorum comuniù aduersus
Lutteranos. Joanne Eckio Autore," Landshuti Baioarie, M.D.XXV, Mense Aprili
(Dept. of Printed Books).
The initials are perhaps those of the printer and wood-engraver Georg Apian,
who was connected with Landshut (Nagl., Mon., i, no. 2193), and afterwards removed
to Ingolstadt, where various decorative borders signed G A B (Georgius Apianus
Biener?) appeared 1530-40 in the astronomical and other learned works of Peter
Apian (Nagl., Mon., ii, nos. 2685, 2687). See p. 249.
270
Early German and Flemish Woodcuts.-Part II.
VIENNA.
[5-7.]
THREE WOODCUTS FROM SOLINUS.
The folio Solinus edited by J. Camers was printed by Johann Singriener
(Singrenius) at the expense of Lucas Alantsee, 1520. These fragments are from the
Bagford collection (Harl. MS. 5920-383, 5968-123, 5920-378) and were transferred
from the Dept. of Printed Books, 1900.
5. TITLE-PAGE.
From four blocks: (a) two busts of bearded warriors in wreaths,
between them a candelabrum [60 × 169], (b, c) columns [132 × 40],
(d) a shield with the device of Alantsee supported by putti [60 × 169].
On the back is an ornamental initial M [57 × 49].
6. DEVICE OF LUCAS ALANTSEE (sig. F 4).
A shield containing Alantsee's mark is suspended from the boughs of
an oak and supported by griffins [92 x 78]. Above the woodcut is the
colophon.
The brothers Leonhard (d. 1518) and Lucas Alantsee (d. 1522) were publishers
resident in Vienna, and books were printed at their expense at Hagenau, Strassburg
and Venice in addition to their own city. Heitz ("Elsäss. Büchermarken," Taf. 13)
reproduces the device, similar to this in design, used in books printed for the
brothers Alantsee by M. Schürer. The article on Lucas Alantsee in Nagler's
"Monogrammisten" (iv, no. 902) is utterly misleading.
7. DEVICE OF JOHANN SINGRIENER (sig. cc 3 v.).
A shield containing a florid monogram (I. S.) is supported by the
symbols of the four Evangelists [93 x 78]. Round this is printed in
large type the name IOANNES SINGRENIVS CALCOGRAPHVS VIENNENSIS,
enclosed by four narrow ornamental panels, the lowest of which contains
the name HANS REBELL.
Singriener printed at Vienna in partnership with Vietor 1510-14, then
independently till his death in 1546.
Hans Rebell, of whom I find no record, appears to have been employed in cutting
ornaments for Singriener's books, and to have worked afterwards for Vietor at
Cracow (see p. 272). The position of his name, in full, on the ornamental panel
mentioned above, and of his monogram on the letter M on fol. 2, v. of the Solinus,
suggests that he not only cut, but also designed the ornaments. A different mono-
gram composed of H and R appears on the book-plate of Dr. Gregorius Angrer,
Canon of Brixen and Vienna, 1521 (repr. Ex-Libris Zeitschr., 1892, ii, 5, and
Leiningen-Westerburg, "German Book-plates," 1901, p. 139). The decoration of
this book-plate agrees well with that of Singriener's Solinus, and it is probable that
the block was cut at Vienna by Hans Rebell. Another woodcut in the same style,
and signed with the same monogram, is reproduced by Diederichs, no. 555, from a
book printed by Singriener at Vienna in 1523, Judenkönig, "Unterweisung im
Lautenspiel"; on the same cut is a monogram composed of A and V.
271
XI.-WOODCUTS PUBLISHED AT CRACOW.
1. THE TABLE OF CEBES. 1519.
Willshire-D. 115a.
The hill of life, crowned at the summit by the castle of happiness, is
enclosed by three circular walls, one within the other. Beneath the
outermost wall a crowd of persons, "Ingredientes vita," from naked
children to youths and adults, of various nationalities, some being in
Turkish, Hungarian, and Slavonic costumes, approach the gate, “PORTA
VITAE," beside which "SVADELA" sits enthroned; she offers the cup
of error to a youth at the gate, who drinks of it. An aged man, standing
1. within the gate, extends a monitory finger and holds a scroll inscribed
"GENIus 1519." Within the first circle loose women, Voluptates,
Concupiscentiae, Opiniones," seduce the young from the right path. To
1. are seen the blind goddess of Fortune and those who lose or enjoy her
favours, “Fortuna & ei adherētes, & a q(ui)bus vocat'(ur) Fortuna mala,
Fortuna bona." To r. these who have received the gifts bestowed by
Fortuna are seduced by other vices, "Incontinentia, Luxuria, Auaritia,
Assentatio," and fall into punishment and grief, "Punitio, Tristitia,
Dolor, Maesticia, Bestiola, Luctus."
(C
CC
At the gate of the second circle sits "FALSA disciplina"; to 1.
within are her lovers, "Amatores falsae disciplinae," further described as
Musici, Voluptuarij, Oratores, Dialectici, Poetae, Astrologi, P(er)ipatetici,
Critici, Geometrae, Arithmetici.” “Vera disciplina” stands above, near
the gate of the third circle, upon a square stone (in contrast to the round
stone of Fortune), between two maidens, Veritas and Persuasio (not
named). The way of true discipline, "Via verae disciplinae," leads not
through the gate but over steep rocks, up which two pilgrims are climbing,
by the aid of "Continentia" and "Constantia," into the third circle,
"Fortunatorum domicilium."
To l., within, are Knowledge and her eight sisters, "Sciētiae sorores,
Sciētia, Fortitudo, Justicia, Probitas, T(em)p(er)atia, Modestia, Liberalitas,
Cōtine(tia), Masue(tudo)." There are the daughters of Happiness,
FELIcitas," who sits aloft on a throne and crowns a pilgrim who has
persevered to the end. Those who have attained happiness are then
taken to the place by which they entered, where the Virtues show them
the pursuits of the wicked, "VIRtutes monstrant studia improborum."
To 1. are seen the happy, wearing crowns, "Coronati," and the miserable,
"Incoronati," who have despaired and turned back from discipline, and
now wander, harassed by grief, anxiety and ignorance.
¹ These four words are printed in Gothic, all other inscriptions within the border
of the woodcut in Roman type.
272 Early German and Flemish Woodcuts.-Part II.
All the quotations, taken from the Latin version of the IIívag by
Lodovico Odassi,¹ are printed with type. At the top 1. is printed "Hoc |
pictasma sub | felicissimo Reuerendissimi | D. D. Petri epi | premislieñ."
Regni Polonie Vicecacel | larij, patroni sui gra | tiosi auspicio Hiero |
nymus Vietor in lucem dedit. Anno. a natali Christi, 1519.” Along
the foot of the sheet is printed in large Gothic type, "Tabula Cebetis ab
Hieronymo Vietore impressa Craccouie."
[386 × 291; margin with title and imprint, 16 x 291.] Good impression.
In the inventory of 1837.
Hieronymus Vietor (Binder) studied at Cracow 1497-99, printed at Vienna
1510-14 in partnership with Singriener, from 1515 onwards alone. In 1517 he
removed to Cracow, being succeeded at Vienna by his brother. Benedict and son
Florian, till 1531. He died in 1546.
""
The artist who designed this woodcut was evidently also the illustrator of Mathias
de Mechovia, “Chronica Polonorum," and Decius, "De Vetustatibus Polonorum,'
etc, printed by H. Vietor, Dec. 1521; fol.
2. PORTRAIT OF SIGISMUND I, KING OF POLAND. 1532.
Nagl., Mon., iii, 547, no. 1401.
Beardless, in profile to 1., wearing a cap and fur cape. Framed by an
arch, which contains in the spandrils the arms of Poland and Lithuania.
Beneath the former shield is an indistinct monogram, to be read,
apparently, as T G or | G, on the other side is the woodcutter's monogram,
HR. Double border line.
The woodcut [159 × 150] is placed on a sheet bordered with small
ornamental panels, six on each side, and containing text in 36 lines,
"SIGISMVNDVS eius nominis primus
Hier. Viet. | M.D.
XXXII."
[Sheet, 361 × 244.] Good impression, but not very early. Watermark, pair of
scales in a circle.
In the inventory of 1837.
An impression of this portrait in a different edition, in the Czartoryski Museum,
Cracow, has the following inscription above it :
Regia Sismundi facies Joue digna vel ipso
Juppiter est patrie nec minus ista suae.
In the Historical Museum at Basle is a framed impression on vellum, coloured
and gilt, with the MS. inscription, D: Bonifatio Amerbachio. H. Doctori. Joannes
à Lasc omisit. Above the portrait are two lines of verse, "Sigmundi Regis facies
Joue," etc. (the rest as at Cracow), and beneath it are eighteen lines of Latin prose.
A copy of this portrait, in the same direction, signed C. S., occurs in Z. Bielski's
Chronicle of the World (Polish), printed by Siebeneicher at Cracow, 1564.
The woodcutter may be Hans Rebell, who was employed by Singriener,
formerly Vietor's partner at Vienna, and may have followed Vietor to Cracow. The
same monogram occurs on a woodcut [118 × 96] in Andreae Cricii Episcopi
de negotio Prutenico epistola," Cracoviae per Hier. Vietorem.
Anno dni 1525 (Cracow, Czartoryski Museum).
Premislien.
¹ Editions of this version were printed by Singrenius at Vienna in 1519 and at
Cracow in 1524.
2 Peter Tomicki, Bishop of Premysl 1514-20, then translated to Posen and 1522
to Cracow, d. 1535.
3 See p. 270.
273
DIVISION D.-SCHOOL OF SAXONY.
The history of the graphic arts in Saxony begins with the arrival
at Wittenberg of the Franconian painter, Lucas Cranach, in 1505, for
the illustrations produced before that date at Leipzig and Erfurt are
insignificant and for the present purpose negligible. For the next
half-century, at least, the influence of Cranach remains predominant,
not only at Wittenberg and Leipzig, but also in Lower Saxon
districts farther to the north, though in some outlying places, such
as Halberstadt, minor artists flourished whose provincial art cannot
be traced to the main fountain-head.
It is interesting to observe the links that unite the school of
Saxony with that of the Danube region. All that we know of the
early years of Cranach himself connects him with Bavaria and
Austria, while two Bavarian artists, Georg Lemberger and Erhard
Altdorfer, emigrated a few years later from Landshut and Ratisbon
to the north, settling respectively at Leipzig and Rostock. Both
artists belong to the most notable illustrators of the school of
Cranach, but their woodcut style reveals, in Lemberger's case most
markedly, clear traces of their South German origin.
T
274
I-LUCAS CRANACH I.
Lucas Cranach, the Elder, painter, engraver and draughtsman on
wood; born at Kronach, 1472, travelled in Bavaria and Austria,
settled at Wittenberg early in 1505; married Barbara Brengbier,¹ of
Gotha (died 1541), and received a grant of arms in 1508, in which
year he travelled to the Netherlands, was court painter to the
Elector Frederick III, also to his successors John and John Frederick ;
was intimate with Luther and an active partisan of the Reformation;
in 1519 he became a member of the Wittenberg Council, in 1537
and 1540 burgomaster; he joined John Frederick, who had been
defeated by Charles V at Mühlberg, 1547, in his captivity at Augs-
burg,2 afterwards at Innsbruck; on their liberation in 1552 Cranach
accompanied the deposed Elector to Weimar, and there resided with
his son-in-law, Christian Brück, till his death on 16 October, 1553.
Both his sons, Hans and Lucas (q.v.] were painters.
Authorities:
i. Catalogues.
Bartsch, P.-G., vii, 279.
Heller, "Lucas Cranach's Leben und Werke,” 2. Auflage,
Nürnberg, 1854.
Schuchardt, "Lucas Cranach d. Ae. Leben und Werke,”
2. Teil, 1851, p. 192; 3. Teil, 1871, p. 212.
Passavant, P.-G., iv, 7.
Nagl., Mon., iv, no. 980.
Lippmann, "Lucas Cranach," Berlin, 1895 (first attempt at a
chronological order).
Flechsig, "Cranachstudien-I. Teil," Leipzig, 1900, pp. 291-
295 (comparative table of other catalogues, and chrono-
logical list of woodcuts 1500-1521).
ii. Biographical and critical literature.3
A. Biographical.
Heller and Schuchardt-see above.
M. B. Lindau, "Lucas Cranach. Ein Lebensbild aus dem
Zeitalter der Reformation," Leipzig, 1883.
¹ It is usually supposed that the marriage took place before 1505; for doubts
expressed on this point, see Kunstchronik, 1899, x, 375.
2 John Frederick's letter summoning Cranach to Augsburg, dated 2 August,
1547, is published in Repertorium, xxvi, 425.
3 A selection only, with special reference to woodcuts. For more, see Dodgson,
Bibliographie Critique de L. Cranach," Paris, 1900.
1
Division D.-School of Saxony.-L. Cranach I.
275
H. Michaelson, " Etwas aus Cranach des Aelteren Jugendzeit,"
Repert. f. Kunstw., 1899, xxii, 474.
K. Woermann, "Verzeichnis der Cranach-Ausstellung,”
Dresden, 1899, Einleitung, pp. 6–11.
J. Vogel, "Lucas Cranach in Wien," Monatshefte f. Kunstw.,
ii, 545.
B. Critical.
G. K. Nagler, "Über alte mit Gold und Silber gedruckte
Holzschnitte," etc., Naumann's Archiv, 1857, iii, 56.
C. Schuchardt, “Über Holzschnitt in Golddruck," ibid., 1858,
iv, 295.
J. D. Passavant, "Über einen sächsischen Silberdruck," ibid.,
1861, vii, 94.
Knaake, "Über Cranach's Presse," Centralbl. f. Bibliotheks-
wesen, 1890, vii, 196.
C. v. Lützow, "Gesch. d. deutsch. Kupf. u. Holzschn.," Berlin,
1891, 179-190.
G. Bauch, "Zur Cranach-Forschung," Repert. f. Kunstw.,
1894, xvii, 421.
F. Lippmann, "Farbenholzschnitte von L. C.," Berlin Jahrbuch,
1895, xvi, 138.
F. Lippmann, "L. C.-Sammlung von Nachbildungen seiner
vorzüglichsten Holzschnitte," etc., Berlin, 1895.
E. Flechsig," Cranachstudien-I. Teil,” Leipzig, 1900.
C. Dodgson, "L. C.'s Holzschnitt, 'Der Adel,'" Mitt. d. Ges.
f. vervielf. Kunst, 1901, 33.
H. Michaelson, "L. C. d. Ae." (Beiträge zur Kunstgeschichte,
N. F., no. 28), Leipzig, 1902.
M. J. Friedländer, "Die frühen Werke L. C.'s," Berlin
Jahrbuch, 1902, xxiii, 228.
C. Dodgson, "Fünf unbeschriebene Holzschnitte L. C.'s,"
Berlin Jahrbuch, 1903, xxiv, 284.
W. Schmidt, "Über die frühere Zeit von L. C.," Monatsberichte
über Kunstwissenschaft, 1903, iii, 117.
F. Dörnhöffer, "Ein Jugendwerk L. C.'s," Jahrbuch d. k. k.
Zentral-Kommission f. Erforschung u. Erhaltung d. Kunst-
u. histor. Denkmale, 1904, ii, 2, p. 175.
K. Simon, “Zu L. C.," Repert. f. Kunstw., 1904, xxvii, 515.
J. Beth, "Zu Cranach's Missalien-Holzschnitten," ibid., 1907,
XXX, 501.
C. Dodgson,
·
"Cranach's Kanonbild vom Jahre 1508," ibid.,
1908, xxxi, 247.
The earliest woodcuts of Cranach, produced before he settled at
Wittenberg, point, as do certain of his early pictures, to a temporary
residence in Austria. The painter who was destined in a few years.
to exert the strongest influence on art in Saxony and all Northern
Germany was thus of Franconian birth, and for a time associated
with the art of the Danube region. The period of his chief activity
T 2
276 Early German and Flemish Woodcuts.-Part II.
il
at Wittenberg as a draughtsman on wood, and occasionally as an
engraver on copper, extends from 1505 to about 1520. After that
time it is doubtful whether he took any direct share in the production
of woodcuts, though the output of title-borders, illustrations and
portraits which possess in varying degrees the characteristics of his
style continues to be large. So far as he spent his time at all in
purely artistic work it was mainly in painting, but his attention
must have been much distracted from art by his interest in the
progress of the Reformation, his duties as councillor and burgomaster
of Wittenberg, his various commercial enterprises, and the direction.
of a large workshop for the manufacture of pictures, in which his
elder son Hans, till his death in 1537, and then his younger son
Lucas, appear to have been his principal assistants.
The woodcuts here directly attributed to Cranach (nos. 1-124)
form an approximately complete collection, supplemented occasionally
by reproductions of missing originals, of the woodcuts which he is
believed to have drawn himself upon the block. There is no
satisfactory catalogue of Cranach existing, the woodcuts of the sons.
and other extraneous matter being mixed in all the older catalogues
with those of the father. The order adopted here is chronological,
slight departures being occasionally made from the strictly logical
sequence for the sake of convenience in grouping the woodcuts.
BOOKS ILLUSTRATED BY LUCAS CRANACH I.
A. IN THE DEPARTMENT OF PRINTS AND DRAWINGS.
1. [SCHEURL.] Libellus Doctoris Christoferi Scheurli Nu | rem
bergensis de sacerdotü et rerü ecclesiasticaru pstantia. W. Stöckel,
Leipzig, March 1511; 4to. (Pr. 11457).
From the collections of W. Pirkheimer, Lord Arundel, the Royal Society,
E. Gordon Duff and Sir A. Wollaston Franks, K.C.B.
Presented by Mr. Max Rosenheim, 1908.
On verso of last leaf (d 6), the arms of Scheurl and Tucher, formerly ascribed to
Dürer (H. 2147; P. iii, 221, 322), a cut which was also used as a book-plate
(Warnecke, no. 1896). P. iv, 21, 211. See p. 305, no. 80.
2. [POLLICARIUS.] Der heiligen XII. | Aposteln ankunfft, beruff,
glauben, | lere, leben vnd seliges absterben, etc. Successors of G. Rhaw,
Wittenberg, 1549; fol.
Purchased from Mr. Evans, 1851.
On the title-page, eleven statuettes of the apostles, each on a base [75 × 29], by
an artist of the school of Cranach. The twelfth (no. 5, St. Philip) represents the
1
1
Division D.-School of Saxony.-L. Cranach 1.
277
apostle himself standing on the ground, and does not belong to the same set. The
arrangement may have been suggested by an engraving of the Master E S, in which
the apostles are similarly disposed. The cut of the Creation, A 4, is not by Cranach.
Then follow (1-12) the Martyrdoms of the Twelve Apostles (B. 37–48); then (13)
St. Paul (B. 92, Sch. 107-90), from the Wittenberg relic-book.
B.-IN THE DEPARTMENT OF PRINTED BOOKS.
1. [LITURGIES.] Missale Pataviense. J. Winterburger, Vienna
25 May, 1503; fol. (Panzer, ix, 1, 4; Weale, Cat. Miss., 120; Dodgson,
Jahrb. d. k. preuss. Kunstsamml., 1903, xxiv, 289; Dörnhöffer, Jahrb. d. k.
k. Zentral-Kommission, 1904, II, 2, 182.
The first woodcut, St. Stephen, dated 1502 (coloured red, yellow and green), on
the back of the title-page, is certainly by Cranach, to whom the following cuts are
also attributed: small head of Christ, in the Canon, fol. 140, v. (Dörnhöffer, p. 182),
and twelve initials printed in red, which are enumerated by J. Beth, Repertorium f.
Kunstwissenschaft, 1907, xxx, 511. The Crucifixion in the Canon in this copy is
interpolated, and is not by Cranach; the woodcut properly belonging to the book is
reproduced in the Berlin Jahrbuch, xxiv, 287.
There are two different editions of this missal with the same date. The copies at
Vienna do not contain the St. Stephen, but do contain the Crucifixion by Cranach,
as well as an ornamental diagram in the Kalendar and initial T in the Canon, both
attributed to Cranach by Dr. Dörnhöffer.
2. [LITURGIES.] Missale Olomucense. J. Winterburger, Vienna,
14 March, 1505; fol. (Panzer, ix, 2, 5; Weale, 110; Dörnhöffer, ibid.
185). Imperfect.
The first leaf and the Crucifixion before the Canon are wanting; the initial T
and the round Agnus Dei in the Canon are those described by Dörnhöffer as not
being by Cranach. Cranach's table for finding the dominical letter, with an owl
in the centre, is on the eighth leaf, and the initials described by Beth occur through-
out the book.
3. [LITURGIES.] Missale Pragense.
August, 1508; fol. (Weale, 125; Pr. 11079).
G. Stuchs, Nuremberg, 8
At the beginning of the Canon, Christ on the Cross, between Mary and John, on
vellum, coloured; Sch. 30 (B. 21 is a copy of this). See Dodgson, "Bibliography,"
1900, p. 13, Beth, Repertorium, xxx, 501, and Dodgson, Repertorium, xxxi, 247. The
two articles last quoted establish the fact that the woodcut actually belongs to this
Missal; the connection had been doubted. The same woodcut was used for the
Prague Missal printed by M. Lotter at Leipzig in 1522, but the canon in that edition
consists of eight leaves instead of ten. The block was already at Leipzig in 1516;
the woodcut occurs in Lotter's Brandenburg Missal of that year (Berlin, K. Bibl.
Dq. 6614), printed on paper, beneath it the prayer, "Et faml'os tuos Papā Regē
Roanoz," etc. (2 lines). A small copy of this woodcut, perhaps by E. Schön, occurs
in "Wurtzgertlein der andechtigen übung," F. Peypus, Nuremberg, 24 March, 1516
(Berlin, Kunstgewerbemuseum and Kupf.-Kab.; Nuremberg, Stadtbibl.), and in
Dwanacte Artykuluow Wijry Křetianké kterež lugij Symbolum dwanácte Apostoluw,
etc., 1542 (Berlin, Kunstgewerbemuseum, Grisebach collection). On the full-sized
copy, Sch. 31, B. 21, see Beth, loc. cit., p. 503. For another copy, see p. 279, no. 16.
4. [SCHEURL.] Oratio doctoris Scheurli attingens litteraru prestan-
tiam, necnon laudem Ecclesie Collegiate Vittenburgensis. M. Landsberg,
Leipzig, Dec. 1509; 4to (Pr. 11284).
On the last page, C6 v., is the view of the Stiftskirche at Wittenberg [160 × 111],
which was also used in the Wittenberg Heiligthumsbuch of 1509. According to
=
278
Early German and Flemish Woodcuts.-Part II.
Flechsig, the condition of the block in the latter shows that the use in the "Oratio"
was earlier. Even here, however, the block already shows signs of wear. The
oration is preceded by the well-known letter of Chr. Scheurl, "Ad Lucam Chronum
Ducalem Saxonie pictorem ingeniosum celerem absolutumque."
5. [SIBUTUS.] Friderici & Ioannis Illustriss. Saxoniæ principū
torniamenta per Georg : Sibutū : Poe : & Ora: Lau: heroica celebritate
decantata. J. Grünenberg, Wittenberg, 1511; 4to (Pr. 11830).
On the title-page, the arms of the Elector of Saxony, from the Wittenberg Heilig-
thumsbuch; on the last page, E 4 v., the portrait of the poet laureate, Sibutus,
half-length, three-quarter face to r. [84 × 59]. See Repertorium, xvii, 433, and
p. 293.
6. [LITURGIES.] Missale Pataviense. J. Winterburger, Vienna,
13 May, 1512; fol. (Weale, 122; other references as for no. 1).
On the back of the title-page, the St. Stephen, dated 1502. The Crucifixion
Inserted in this copy is the woodcut by Traut, dated 1514, belonging to the edition
of that year printed by Gutknecht at Nuremberg (see Vol. I, 508, 12). The initial T
is neither by Cranach nor by Traut.
J.
7. [ADAM.] Eyn geystlich edles Buchleynn. von rechter vnder-
scheyd vnd vorstand... Was Adams vñ was gottis kind sey, etc.
Grünenberg, Wittenberg, 4 Dec., 1515; 4to (Pr. 11833).
On the title-page, Christ crucified [111 × 76], Sch. 136, from "Ein ser andechtig
Cristenlich Buchlei aus hailige schrifften vnd Lerern von Adam von Fulda in teutsch
reymenn gesetzt," S. Reinhart, Wittenberg, 1512 (Weigel, Kunstcat., 20775; Bauch,
Repertorium, xvii, 421; Flechsig, p. 65).
8. [LUTHER.] Resolutiones disputationum de Indulgētiarum virtute
(J. Grünenberg, Wittenberg, 1518), 4to (Pr. 11845).
On the title-page, Christ crucified, as in no. 7.
9. [BODENSTEIN.] Epitome Andree Carolostadij De impij iustifi-
catione. M. Lotter, Leipzig, 1519; 4to (Pr. 11380).
On the title-page, the arms of the Elector of Saxony, as in no. 5.
10. [LUTHER.] Eyn Sermon von der betrachtung der heyligen
leydens Christi D. Martini Luther zu Wittenberg. (J. Grünenberg)
Wittenberg, 1519; 4to (Pr. 11860).
On the title-page, Christ on the Cross, between the Virgin and St. John
[129 × 93], undescribed. Not very good, but it has so much of Cranach's own
style in it that it can hardly, at this date, be the work of a pupil. It is perhaps
earlier. The block is better printed in another edition of the same year, with
"Betrach- | tung," and colophon on A 5 v., instead of A 6 (Royal Society's library).
It occurs again in the edition of 1521 (4 leaves only, Grünenberg's name given in the
colophon on A 4 v.).
11. [LUTHER.] Von den guten | Wercken: | D.M. | L. (1 v., l. 3:
"Doringen"). M. Lotter, jun., Wittenberg, 1520; 4to (Pr. 11885).
On recto of last leaf, Christ crucified, as in nos. 7 and 8.
Division D.-School of Saxony.-L. Cranach I.
279
12. [LUTHER.] Same title, but "Duringē" (Pr. 11886).
The same woodcut. In Pr. 11887 the last leaf is wanting.
13. [MELANCHTHON.] Declamatiuncula in D. Pauli doctrinam.
M. Lotter, jun., Wittenberg, 1520; 4to (Pr. 11899).
On the title-page, the arms of the Elector of Saxony, as in nos. 5 and 9.
14. [BODENSTEIN.] Verba Dei, quanto candore, etc. M. Lotter,
jun., Wittenberg, 1520; 4to (Pr. 11901).
On G 3 v., the same cut as in nos. 5, 9 and 13.
15. [LUTHER.] Eyn Sermon von der Betrachtung des heiligenn
leydens Christi. D. Martini Luther tzu Wittenberg. (M. Lotter, jun.)
Wittenberg, 1520; 4to (Pr. 11902).
On the title-page, Christ crucified, as in nos. 7, 8 and 11.
16. [BIBLE.] Husz Postilla (by Luther, edited by Veit Dietrich).
S. Seelfisch, Wittenberg, 1582; fol.
Fol. 111-159, thirteen subjects (the Resurrection missing) from the Passion,
B. 7-20. Heller mentions the use of these blocks in an earlier edition, printed by
H. Krafft, 1570. Fol. 154, a copy (not Sch. 31) of the Crucifixion, Sch. 30, without
the serpent, and with plain background [250 × 158].
17. [FRANTZE.] Historischer Erzelung Der Beyden Heiligthümen,
nemblich eines, So in der Schloszkirchen zu Wittenberg im anfang der
Reformation Herrn D. LUTHERI vorhanden gewesen. Das Ander, So zu
Hall in Sachsen nach der angefangenen Reformation vollkomment-
licher gemacht worden Zum Druck befördert,
Franzium. Paul Helwig, Wittenberg, 1618; 4to.
•
Durch Wolffgang
The first part is illustrated by seventeen of the original blocks made for the
Wittenberg relic-book of 1509; six of the same blocks are used, with others not by
Cranach, in the second part.
WOODCUTS BY CRANACH.
UNSIGNED WOODCUTS, ABOUT 1500-1502.
The earliest group of woodcuts, attributed to Cranach only within the
last ten years,¹ belongs to the Austrian period of his Wanderjahre. It
consists of illustrations in liturgical books printed by Winterburger at
Vienna, and of two large single woodcuts of Calvary, the only known
impressions of which are at Berlin. The group is represented in this
Department only by reproductions; see also p. 277, nos. 1, 2.
¹ See Flechsig, 5 ff.; Friedländer, Jahrbuch d. k. preuss. Kunstsammlungen,
xxiii, 228; Dodgson, ibid, xxiv, 284; Dörnhöffer, Jahrbuch d. k. k. Zentral-
Kommission, II, 2, 1904, 181 ff.; Beth, Repertorium, xxx, 509 ff.; Vogel, Monatshefte
f. Kunstwissenschaft, ii, 545.
280
Early German and Flemish Woodcuts.-Part II.
+ CHRIST ON THE CROSS, BETWEEN THE VIRGIN AND ST. JOHN.
Nagl., Mon., iii, 580, 22.
Collotype from the coloured impression in the Dresden Cabinet. Published in
Jahrbuch d. k. preuss. Kunstsammlungen, xxiv, 286.
The exact provenance of this woodcut has not been ascertained, but there can be
no doubt that it is derived from the canon of a missal. The collection of K. Fried-
rich August II at Dresden contains another impression on vellum. The canon
woodcut of the Missale Pataviense (J. Winterburger, Vienna, 25 May, 1503), repro-
duced on p. 287 of the same volume, is closely allied to this in style, but rather more
advanced.
† ST. STEPHEN. 1502.
Process reproduction from the impression in the Hofbibliothek, Vienna. Pub-
lished, Jahrbuch, xxiv, 286. In the missal of 1503 the words "Sanctus Stephanus
prothomartyr" are not printed, as here, beneath the woodcut.
+ CALVARY. 1502.
P. iv, 40, 1.
[360 x 260.] Photograph of the Berlin impression [405 × 292], made at the
time of the Cranach exhibition at Dresden, 1899.
Presented by Professor Max Lehrs.
+ CALVARY.
P. iv, 40, 2.
[360 × 257.] Photograph, as above [size of original, 398 × 284]. Reduced
reproductions of both woodcuts are given by Flechsig; the first only is given, on a
larger scale, by Friedländer. P. 2 is evidently earlier than P. 1. Dörnhöffer regards
it as the second of the early group, following the canon woodcut at Dresden.
SIGNED WOODCUTS.
The woodcuts recognised as Cranach's work in the older catalogues of
Bartsch, Heller, Schuchardt and Lippmann were all produced at Witten-
berg after his appointment as court painter to the Elector Frederick the
Wise in 1505.2 It is probable that in the interval between his Vienna
and Wittenberg periods he resided in Bavaria, but no woodcuts of
this date are known. A painting of capital importance, the "Repose on
the Flight to Egypt" at Berlin, belongs to the year 1504.
The chronological order adopted for the woodcuts of Cranach's
maturity agrees, except in a few cases, with that of Flechsig, whose more
minute study of the subject has enabled him to correct, in many respects,
the first chronological order established by Lippmann.
¹ This was attributed to Cranach by R. Weigel in 1857 (Kunstcatalog, no. 21489).
2 The date 1504 has generally been accepted for this event, but see Dörnhöffer,
The Bavarian war,
p. 105. Gunderam says "in 1504 after the Bavarian war."
however, lasted till April 1505, and it was on 14 April, 1505, that Cranach received
his first payment from the Saxon court.
!
1
Division D.-School of Saxony.-L. Cranach I.
281
i. WOODCUTS SIGNED WITH THE MONOGRAM, 1505–1506. Nos. 1-6.
+ LANDSKNECHT. B. vii, 292, 120; H. 210, 257 (407); Sch. ii, 276, 119; L. 31.
+ LADY HOLDING PANSIES.
Reproduction.
Presented by Dr. Lippmann, 1902.
B. 121; H. 258 (408); Sch. 120; L. 31.
The two woodcuts form a pair. In the Albertina, Berlin and Dresden collections
the originals are printed side by side on one sheet, in the Hofbibliothek they have
been separated. Flechsig, p. 15, dates them before Cranach's appointment as
painter to the Saxon court, because the arms are omitted.
1. FOUR SAINTS ADORING CHRIST CRUCIFIED UPON THE SACRED
HEART. 1505.
B. vii, 287, 76; H. 171, 98 (245); Sch. ii, 233, 95; N. 82; L. 1.
Second state.
Upon a shield supported by four flying angels is displayed a heart,
surmounted by flames confined within a crown. Upon the heart is a
crucifix; an empty scroll passes in front of the stem of the cross;
descending flames form a pattern upon the r. (sinister) side only of the
heart. Beneath the shield is a landscape, containing a view of a castle
surrounded by a deer park. In the foreground are two pairs of kneeling
saints, the Blessed Virgin and St. John in the middle, St. Sebastian and
St. Roch behind them. The date 1505 is placed, within the monogram,
beneath St. John, and the two coats of arms of Saxony occupy the lower
corners, the electoral 1., the ducal r.
[380 × 284.] Good impression, without margin; defects in the border-line
disguised; the crack across the heart is not conspicuous. No watermark.
Collections: Firmin-Didot (F. 393), Mitchell.
Presented by Mr. W. Mitchell, 1895.
The two Saxon shields denoting Cranach's official appointment here make their
first appearance. The electoral shield with the two crossed swords has the earlier
form, in which the lower half of the field is sable, the upper argent. This arrange-
ment was reversed in the year 1507 or 1508,' and thereupon an alteration was made
upon the block of many of Cranach's woodcuts; in this case, however, the original
shield remains unaltered, even in late impressions.
In the first state the scroll bears the inscription VIRGO MATER MARIA. Only
two impressions are known, both in the collection of K. Frederick Augustus II at
Dresden (Flechsig, p. 23). Late impressions of the second state in the Dresden
Cabinet and the Liechtenstein collection have the names, S. SEBASTIANVS. S.
MARIA. S. IOHANNES. S. ROCHVS., printed on the lower margin.
la. FOUR SAINTS ADORING CHRIST CRUCIFIED UPON THE SACRED
HEART.
B. 76; H. 98 (245); Sch. 95; N. 82; L. 1.
Second state; another impression.
[375 × 276.] Good impression, but slightly cut on all sides; false border-line.
Watermark, a very small high crown.
Collection: Maberly (F. 363); sale 1851, lot 118.
Purchased from Messrs. Graves, 1852.
¹ Flechsig, p. 22. No official decree ordaining the alteration has yet been found.
282
Early German and Flemish Woodcuts.-Part II.
2. ST. GEORGE, STANDING. 1506.
B. vii, 285, 67; H. 165, 83 (224); Sch. ii, 223, 76; N. 68; L. 5.
Second state.
Three-quarter face to 1., in armour, but bareheaded, with very large
ornamental nimbus. His r. hand grasps a banner, the 1. rests on the
hilt of a sword. Two angels stand beside him, one of whom holds his
helmet, the other a portion of his armour. The dragon lies at his feet.
In the background the princess kneels, with a lamb beside her, while St.
George binds the defeated dragon with a rope; in another place the
princess is seen again, leading the dragon away. The monogram and date
are on a stone, r., the two Saxon shields in the sky; the electoral shield
has already been altered to the new form.
[375 × 273.] Good impression, but the paper much discoloured; no margin.
Watermark, high crown.
In the inventory of 1837.
The first state, with the old form of the electoral shield, occurs at Munich.
Flechsig observes (p. 18) that the crown of rue on the other shield is drawn here, as
in no. 1 (B. 76), with three leaves only, whereas Cranach on all later woodcuts draws
it with five; for this reason he gives the present woodcut precedence among those
dated 1506. The second state is reproduced by Lippmann.
2a. ST. GEORGE, STANDING. 1506.
Third state.
B. 67; H. 83 (224); Sch. 76; N. 68; L. 5.
The upper half of the corrected shield has been lost from the block.
[378 × 278.] Clean and well-preserved impression, without margin. Watermark,
arms of Basle.
Presented by Mr. W. Mitchell, 1895.
3. THE STAG HUNT.
B. vii, 292, 119; H. 213, 266 (416); Sch. ii, 281, 128; N. 107; L. 14.
Second state.
Three stags, in different parts of the deer forest, have taken to the
water, in which they are pursued by swimming hounds, while sportsmen
aim at them with crossbows. A fourth stag 1. stands at bay, and is just
receiving the coup de grâce from the sword of a mounted huntsman. In
the background 1. is seen a castle, near it a church. The two Saxon
shields are in the sky, the electoral shield already altered; the monogram,
without date, is on the ground, near the middle.
[379 × 513.] Fair impression, but uneven, the 1. sheet being paler than the other.
Watermark, ox's head with flower over it.
In the inventory of 1837.
The first state is in the Hofbibliothek, Vienna (Flechsig, p. 18, 20). According to
Weigel (Kunstcat. no. 19100, 50) the castle is that of Freyburg, near Naumburg.
4. THE TEMPTATION OF ST. ANTONY. 1506.
B. vii, 282, 56; H. 163, 77 (218); Sch. ii, 219, 70; N. 62; L. 2.
The Saint is suspended in the air, while his hair, beard, limbs and
raiment are plucked by demons. There is a landscape below, and the
hermit's cave is seen near a tree, to the branches of which the two shields
(the electoral shield already altered) are attached by straps.
gram and date are in the I. lower corner.
The mono-
!
I
Division D.-School of Saxony.-L. Cranach I.
283
[400 × 268.] Fair impression, but cut somewhat close. Watermark, high crown
of the same type as in no. 2.
Collections: Füssli (F. 196), Mitchell.
Presented by Mr. W. Mitchell, 1895.
The first state is at Basle.
5. THE ECSTASY OF ST. MARY MAGDALEN.
Third state.
1506.
B. vii, 286, 72; H. 169, 94 (237); Sch. ii, 231, 88; N. 79; L. 7.
The Saint, in a state of nudity, is carried into the air by seven angels;
her hands are folded in prayer. The monogram and date are on a stone
r., the two shields in the air. The electoral shield had been altered in the
second state to the new form; here, in the third, the upper part is
broken off.
[243 × 145.] Late impression, well preserved.
flowers.
Purchased 1834.
Watermark, vase containing
The first state is in the Hofbibliothek, Vienna; the second is reproduced by
Lippmann. On the subject see Vol. I., p. 285.
6. ST. MICHAEL. 1506.
B. vii, 286, 75; H. 167, 89 (230); Sch. ii, 228, 82; N. 74; L. 3.
Second state.
The Archangel stands, holding in his 1. hand a pair of scales. The 1.
scale, containing a human soul, sinks to the ground, in spite of a group of
devils who make frantic efforts to depress the other scale. Michael
threatens the demons with a sword. The electoral shield, already altered,
is in the 1. upper corner; the ducal shield in the corresponding position r.
The monogram and date are on the ground 1.
[245 × 143.] Good impression, no watermark.
In the inventory of 1837.
Impressions of the first state are at Berlin, Dresden (Coll. of K. Fred. Aug. II)
and Stuttgart (Flechsig, p. 20).
ii. WOODCUTS SIGNED WITH THE INITIALS, 1506-1508. Nos. 7-16.
7. THE MARTYRDOM OF ST. ERASMUS. 1506.
First state.
B. vii, 283, 59; H. 164, 80 (221); Sch. ii, 222, 73; N. 65; L. 4.
The Saint, lying on the ground, is being disembowelled by two
executioners who use a winch. The mitre near his head betokens his
rank. Four mounted spectators and three bystanders are present. In the
distance is a castle which has been identified with the fortress of Coburg.¹
The two shields are suspended by straps from the branches of a tree.
Cranach's initials are on the ground r., the date 1506 is beneath the 1.
hand of Erasmus.
[228 × 156.] Good impression, no watermark.
Presented by Mr. W. Mitchell, 1895.
Another impression of the first state is in the Albertina.
¹ First, as it seems, by Dr. K. Koetschau. See B. Ebhardt, "Deutsche Burgen,"
Berlin, 1900, Heft 3, p. 137; G. Voss, "Bau-und Kunstdenkmäler Thüringens," Jena,
1907, Heft 33, p. 485. The picture by Cranach at Dresden, no. 1906 B, is said to
show the same fortress.
284
Early German and Flemish Woodcuts.-Part II.
7a. THE MARTYRDOM OF ST. ERASMUS.
Second state.
B. 59; H. 80 (221); Sch. 73; N. 65; L. 4.
The original electoral shield has been replaced by a new one of simpler
outline, and with the sable field uppermost.
[224 x 158.] Late impression, no watermark.
Purchased, 1834.
8. A TOURNAMENT.
1506.
B. vii, 293, 124; H. 213, 267 (417); Sch. ii, 282, 129; N. 108: L. 10.
Second state.
The lists, strewn with straw, are set up in the square of a town.
They are thronged with combatants, and numerous spectators lounge or
gossip along the rails. The band may be seen at the 1. end. Ladies and
gentlemen of the Court watch the scene from a balcony in the middle,
which is decorated with two shields; the electoral arms are in the later
form. Cranach's initials and the date are over the door of an adjacent
house.
[257 × 372.] Good impression.
Presented by Mr. W. Mitchell, 1895.
An impression of the first state is at Dresden. According to Nagler this tourna-
ment was held at Dresden.
9. A BOY ON HORSEBACK.
1506.
B. vii, 292, 116; H. 211, 261 (411); Sch. ii, 278, 123; N. 102; L. 11.
Second state.
The lad, probably a young Saxon Prince, rides a pony; his r. hand is
raised. A castle in the background. The two shields-the electoral
arms altered to the later form-hang on a tree. The date 1506 is near
the pony's head, the artist's initials are placed near its foot.
[182 × 125.] Not an early impression, but well preserved. No watermark.
In the inventory of 1837.
The first state is at Budapest.
9a. A BOY ON HORSEBACK. B. 116; H. 261 (411); Sch. 123; N. 102; L. 11.
Second state.
[180 × 125.] An earlier impression, but slightly cut.
Presented by Mr. W. Mitchell, 1895.
10. A GENTLEMAN AND LADY RIDING TO THE CHASE. 1506.
B. vii, 292, 117; H. 211, 264 (414); Sch. ii, 280, 127; N. 103; L 12.
Second state.
Both ride on one horse towards the right; the gentleman leads a pair
of hounds in the leash. The two shields-the first already altered—are
in the sky; the initials on the ground in front of the horse, the date in
the r. lower corner.
[172 × 123.] Fair impression, but the corners have been restored and the date is
wanting; the border-line is false.
Purchased from Messrs. Evans, 1864.
An impression of the first state is at Dresden. Nagler describes impressions of
the second state printed within a border and with verses signed C.M.O.
Division D.-School of Saxony.-L. Cranach I.
285
10a. A GENTLEMAN AND LADY RIDING TO THE CHASE.
Third state.
B. 117; H. 264 (414); Sch. 127; L. 12.
The electoral shield has been removed from the block; the ducal shield
remains.
[175 × 125.] Fair impression, no watermark.
Presented by Mr. W. Mitchell, 1895.
11. A KNIGHT IN ARMOUR RIDING TOWARDS THE RIGHT.
Second state.
P. iv, 12, 169; Sch. ii, 279, 126; N. 105; L. 13.
He has the letters KLVE on a band round his r. arm. The two
shields—the first already altered-hang on a tree; the date 1506 is in the
1., the initials in the r. lower corner.
[174 × 118.] Early impression, but rather pale.
Presented by Mr. W. Mitchell, 1895.
No impression of the first state is known, but Flechsig is clearly right in describing
this as the second.
lla. A KNIGHT IN ARMOUR RIDING TOWARDS THE RIGHT.
Second state.
P. 169; Sch. 126; N. 105; L. 13.
[166 × 118.] Another impression, somewhat damaged and cut close.
Purchased from Messrs. Graves, 1856.
12. A BOAR HUNT.
B. vii, 292, 118; H. 211, 262 (412); Sch. ii, 278, 124; N. 103; L. 17.
Second state.
The huntsman, riding to the r. through a wood, thrusts his sword into
the neck of a boar which is attacked at the same moment by two hounds.
The initials, without date, are near the front hound. The shields-the
first already altered-are suspended from two different trees.
[180 x 124.] Good impression, no watermark.
Purchased from Messrs. Graves, 1856.
An impression of the first state is at Dresden. Flechsig has pointed out (p. 19)
that a fragment of the original electoral shield is still visible in the second state, on
the trunk of the tree to 1. of the ducal shield. The date of this woodcut is deter-
mined as 1506 or 1507 by the occurrence of the initials LC and (in the first state) of
the electoral shield in its early form.
12a. A BOAR HUNT.
Second state.
B. 118; H. 262 (412); Sch. 124; N. 103; L. 17.
[180 × 125.] Another good impression, but less evenly printed.
Collections: Drugulin (F. 535), Mitchell.
Presented by Mr. W. Mitchell, 1895.
13. MARCUS CURTIUS.
B. vii, 291, 112; H. 207, 254 (403); Sch. ii, 271, 116; N. 96; L. 18.
In the foreground Marcus Curtius, armed and mounted, is plunging
into the chasm. On a raised platform just beyond stands a little temple
open at the back to the country, with a domed roof resting on four
columns. The architrave is decorated with medallions representing the
labours of Hercules; other medallions, in the spandrils of the foremost
286
Early German and Flemish Woodcuts.—Part II.
.!
arch, contain busts in profile; a burning lamp is suspended from the
middle. On the platform 1. are a mounted warrior and three Romans,
almost nude, whose gestures express amazement and dismay at the action
of Curtius. To r. stand four other Romans, one of whom carries a
banner with an eagle. Another man stands apart, on a lower level,
nearer to the scene of action. There is a landscape background. Wild
duck in large numbers fly across the sky. Cranach's initials are near the
1. lower corner. The two shields-the electoral shield in the old form-
are on the front of the pavilion.
[335 × 235.] Good impression. Watermark, a jug.
In the inventory of 1837.
This woodcut is dated by Flechsig (p. 23), 1506 or 1507, being signed L C, while
the electoral arms (in all impressions) are in the old form.
The entire composition, apart from its landscape setting and the detached figure
on the right, is copied in reverse, as Lippmann first observed, from an Italian
plaquette attributed to Giovanni delle Opere, or delle Corniole, an example of which
is in the mediæval department of the British Museum. The date given to the Italian
artist by Molinier is c. 1470-1516. The plaquette is undoubtedly earlier than the
Cranach woodcut, not copied from it. The Renaissance architecture is remarkable
in a German woodcut so early as 1507, and the whole composition, in its strict
symmetry, has a foreign effect, which is fully explained by its direct derivation from
an Italian source. The landscape, on the other hand, is entirely original and in
Cranach's usual manner. The detached figure on the right is probably taken from
some other Italian work. The two Saxon shields are awkwardly interpolated, to the
detriment of the architecture; the perspective of the building is not so good as in
the plaquette, and inverted capitals are made to serve as bases.
14. ST. GEORGE. B. vii, 284, 65; H. 165, 82 (223); Sch. ii, 223, 75; N. 67; L. 20.
First state, with a second outline block, printed in gold.
The Saint rides to r., lance in hand. The dead dragon lies on its
back just beyond the horse's feet. In the background, r., is a castle on a
cliff; to 1. is a tree, from which hang the two shields, the electoral coat-
of-arms being still in its original condition.
The paper is tinted (with the brush) a dull blue, varying in depth;
the darkest part is the sky, on which the colour is not evenly laid but
lies in horizontal washes. On the paper so prepared has been printed, in
addition to the outline block in black, a second outline block in gold, by
which high lights are added on the sky (in horizontal streaks harmonizing
with the washes of colour on the paper), on the armour, plumes and lance
of St. George, on the neck, legs and trappings of his horse, the trunk of
the tree, the neck, breast and wing of the dragon, and the grass in the
foreground. The gold represents sunlight falling from the right. The
second outline block contains, finally, the artist's initials, which stand
between the horse's hoof and the dragon's head. This second block is
printed a little out of register, as appears most plainly by the outlines of
the two shields.
[234 × 160.] Fine impression, without margin, on thick paper, white at the
back, without watermark.
Presented by Mr. W. Mitchell, 1895. Mr. Mitchell obtained this proof from the
1 "Lucas Cranach," 1895, p. 2.
2 Molinier, "Les Plaquettes," 1886, i, 94, no. 139; repr. by Lippmann and in the
Berlin catalogue, "Beschreibung der Bildwerke der Christlichen Epochen," 2te Aufl..
ii, Taf. lvii, no. 958, here ascribed to a later artist, Gian Francesco di Boggio.
Division D.-School of Saxony.-L. Cranach I.
287
late Dr. Lippmann while he was still at Vienna; Lippmann had bought it from
Artaria.
From certain portions of the hills in the background the blue surface has been
scraped off, leaving the paper white and rough. This abrasion is most marked on
the front of the cliff above the horse's mane, where the paper is almost pierced;
it is slighter, but still conspicuous, on the side of the distant hill between
St. George's plumes and the tree, and it is very slight indeed on the cliff between
St. George's breastplate and his lance. It may be disputed whether these abrasions
are due to accidental damage to the proof, or were deliberately made by Cranach
himself, or another, with the artistic intention of adding still further to the high
lights already introduced by the printing in gold. One would like to accept the
latter hypothesis, and it is undeniable that these white lights occur in the right
places and have a happy effect, except in the first place mentioned, on the front of
the cliff, where the white patch is too conspicuous, and the frayed surface excites
pity rather than admiration.
This proof, as I have already pointed out in this Catalogue,' marks a stage of
extreme importance in the history of colour-printing from wood-blocks. The earliest
experiment, that of colouring the paper and then printing on it in black only, had
been made by Mair von Landshut.2 There is direct evidence, in Peutinger's letters
to the Elector Frederick and Duke George of Saxony, of 24 and 25 September, 1508,
respectively, that the next invention, that of printing in gold or silver from a second
outline block, was made by Cranach himself in the year 1507, and the description
can only apply to this very "St. George," to which that date is in every respect
suitable. The only other impression of the first state existing, at Dresden,³ is in a
less finished condition than ours, and consequently also of great interest as an
illustration of the technique employed. The paper was prepared with a sticky,
white material, in exactly the places to which the impression of the second block
with the gold (gold dust, not leaf gold) was to be applied. I have already vindicated
the genuineness of our impression against the doubts cast upon its early date by
Flechsig in consequence of the utterly misleading "facsimile" by which it has the
misfortune to be known. That writer's account of Cranach's early experiment in
colour-printing is admirable in all other respects. The next step, as taken at
Augsburg by Jost de Negker, has already been described in the section on Burgkmair
in this volume.
14a. ST. GEORGE.
Second state.
B. 65; H. 82 (223); Sch. 75; N. 67; L. 19.
[232 × 158.] Fine early impression from the black block alone, after the alteration
in the electoral shield. No watermark.
In the inventory of 1837.
14b. ST. GEORGE.
Second state.
B. 65; H. 82 (223); Sch. 75; N. 67; L. 19.
[232 × 164.] A later impression, printed in a slightly brownish ink. Water-
mark, an eagle.
Presented by Mr. W. Mitchell, 1895.
15. THE BEHEADING OF ST. JOHN THE BAPTIST.
B. vii, 283, 61; H. 166, 86 (227); Sch. ii, 226, 79; N. 71; L. 53.
The Baptist kneels in the foreground, in profile to r., his wrists bound
with a cord. A landsknecht, standing behind him, draws his sword from
its sheath with his r. hand, while he holds St. John's chin in his 1. hand.
1 Vol. I, p. 255, where all necessary references to Herberger, Lippmann and
Cranach are already given.
2 Vol. I, p. 148.
3 Schuchardt, iii, 225.
288
Early German and Flemish Woodcuts.-Part II.
Salome stands r., with a dish under her r. arm, attended by her mother
Herodias and three ladies of the court. Cranach's initials are seen upon
a wall in the background, at the top of which is a balcony in which a
number of men, of grotesque features and wearing a variety of fantastic
head-dresses, are assembled to witness the execution. The summit of the
wall, immediately beneath this balcony, is adorned with a frieze of
winged children disporting themselves amongst foliage or flying through
hoops.
[401 × 277.] Fine impression, but damaged in one place; the faces of Salome
and the woman just to 1. of her have been restored in facsimile.
In the inventory of 1837.
This woodcut is rather difficult to date, and looks strange at whatever stage of
Cranach's development it is placed. Lippmann puts it about 1516, and attributes
the Netherlandish elements in it to an acquaintanceship with the engravings of
Lucas van Leyden. I follow Flechsig in dating it much earlier, in consequence of
the signature with initials only. Flechsig's hypothesis (p. 16) that the block was
designed and cut in the Netherlands during Cranach's residence in that country in
the summer and autumn of 1508 is ingenious and attractive. In the design itself,
however, and the feminine costumes, there are no such direct traces of acquaintance
with the Italianizing art of Antwerp (Mabuse) as in the picture of 1509 now at
Frankfort on the Main.¹
16. THE JUDGMENT OF PARIS. 1508.
B. vii, 291, 114; H. 209, 256 (405); Sch. ii, 273, 118; N. 98; L. 21.
Paris, reclining 1. beneath a tree near a little waterfall, is roused from
sleep by Mercury, who taps him on the breastplate with his wand. On
Mercury's helmet is a cock; his 1. knee is winged. In his 1. hand he
holds the hand of Venus, who bends towards Paris; Juno stands erect,
holding a veil in her r. hand; Pallas, with her back turned to the
spectator, holds in both hands the ends of her drapery. The horse of
Paris stands 1., a dog lies at his feet. Above the dog is the apple of
contention; beneath it, Cranach's initials and the date 1508. Landscape
background. The two Saxon shields hang from a bough, the electoral
shield being, as in all impressions of this woodcut, in the later form.
[363 × 252.] Fine impression. Watermark, ox's head, Ha. 1.
Purchased 1834.
This is the earliest woodcut by Cranach in which the electoral shield from the
first has the new tinctures.
4
In the opinion of Passavant 2 and Schuchardt,' the suggestion of Rathgeber has
to be adopted, that this subject, as treated several times by Cranach, represented not
the Judgment of Paris, but an English legend of Alfred, King of Mercia, and the
three daughters of the knight of Albonack. This opinion, combated by Kugler," has
now been almost universally abandoned, and I have no desire to revive the contro-
versy. Schuchardt's arguments in support of his opinion are feeble, and no one has
been able to produce an authenticated representation of the Albonack legend earlier
than a picture by Benjamin West. I would merely observe that the three daughters
of the knight of Albonack, in the story told by Leland, are presented to Alfred not
2
1 Cf. Rieffel in Zeitschrift für bildende Kunst, 1906, N.F. xvii, 270.
iv, 7, 114.
3 iii, 48.
Beschreibung der herzogl. Gemäldegalerie zu Gotha," 1835, 179.
Krause
quotes a much earlier description of a Cranach picture under the new title in a sale
catalogue of 1812.
5 Deutsches Kunstblatt, 1852, 60.
Division D.-School of Saxony.-L. Cranach I.
289
by their father alone, but by their father, mother, and brother, and in the interior of
a castle. The two latter persons are wanting in every representation of the subject
in German art. The apple, again, cannot be explained on Schuchardt's hypothesis.
More recently Molinier¹ has given the title "Légende du roi de Mercie" to four
plaquettes which he describes under the numbers 710 to 713. There is no old
authority for such an interpretation, and they may equally with the woodcuts be
explained as the Judgment of Paris. If the costume of Mercury is utterly different
from that adopted by Cranach, it agrees, on the other hand, perfectly well with that
on the engraving by the Master of the Banderoles (Lehrs, pl. 3), which is identified
by the inscription as a Judgment of Paris.
2
In the Italian plaquettes Paris is confronted by the three goddesses alone, and
the god of love flies over them. The introduction of Mercury into the scene is
peculiar to German art, and the literary source from which it is derived has hitherto
been obscure. Ernst Krause has pointed out that Dares Phrygius, through whom
the story of Troy was chiefly known in the Middle Ages, represents the strife of the
three goddesses as a dream of Paris, and that Mercury is depicted with the wand
with which he summons dreams. The metamorphosis of the youthful messenger of
the gods into a bearded man of venerable aspect is explained by Krause as a
transference of ideas from Wotan, the chief divinity of Teutonic mythology, who had
already been identified by classical writers, such as Cæsar and Tacitus, with Mercury.
The customary introduction of a white horse, which belongs to Wotan, confirms this
interpretation. Krause seems, however, to be wrong in explaining the round object
held by this divinity as the orb of sovereignty instead of the apple of discord.
As regards the actual print now in question, there is direct evidence in a woodcut
at Oxford, dated 1511, that Cranach's composition was understood by contemporaries
in his own country as a Judgment of Paris. In the Douce collection of woodcuts in
the Bodleian (vol. viii, 133) is a reversed copy, by the artist with the monogram
of the lower part of Cranach's composition, omitting the landscape background
and the upper part of the trees [230 × 330]. On a scroll at the top is the title
ivdicivmˇpaRIDIS, and the characters (from 1. to r.) are identified by other
scrolls as PALLAS, ÍVNO, VENVS, MERCVRIVS, PARIS. The apple is en-
titled POMỸ CÖTENCIOIS. Instead of Cranach's initials we see the copyist's
monogram in the midst of the date 1511. He was working at that period at Leipzig,
whence he afterwards removed to Augsburg.
iii.
ILLUSTRATIONS OF THE YEARS 1508-1512. Nos. 17-53.
17. CHRIST ON THE CROSS, BETWEEN THE VIRGIN AND ST. JOHN.
H. 132, 21 (60); Sch. ii, 207, 30; N. 24.
Christ hangs on the cross, his head slightly inclined to 1. The
inscription INRI upon the board above his head is in reverse.
The Virgin
stands 1. with her hands folded, St. John r. with his hands clasped. The
serpent, drawn in solid black, is on the ground in front, at a distance of
16 mm. beneath St. John's r. foot.
[268 x 168.] Early, sharp impression on paper without watermark, slightly
discoloured.
Purchased at the sale of the W. L. Schreiber collection, Vienna, 3-4 March, 1909
(no. 203). Repr. Schreiber catalogue, pl. 30.
On the occurrence of this woodcut before the canon in missals of 1508, 1516 and
1522, see p. 277 (no. 3). This impression, being on paper, is probably derived from
the Brandenburg missal of 1516.
1 "Les Plaquettes," 1886, ii, 176.
Mercurius, der Schriftgott, in Deutschland." Zeitschr. f. Bücherfreunde,
1904, vii, 480 ff.
U
I
290
Early German and Flemish Woodcuts.-Part II.
17a. CHRIST ON THE CROSS, BETWEEN THE VIRGIN AND ST. JOHN.
B. vii, 281, 21; Sch. ii, 207, 31.
Copy.
The same composition, but the letters INRI are placed in the right
order. The serpent is between St. John's 1. foot and the border of the
woodcut.
[264 × 172.] Good impression, without watermark.
Purchased at the Lanna sale, Stuttgart, May 1909 (no. 1279).
[18-46.]
WOODCUTS FROM THE WITTENBERG HEILIGTHUMSBUCH. 1509.
Sch. ii, 255, 107.
The presence of the electoral shield in its original form on a number
of these woodcuts-here on nos. 21 and 24-27-proves that the work was
in course of preparation before 1508. Flechsig (p. 63) has rightly
vindicated their authenticity as works of Cranach himself in the fullest
sense, The woodcuts purport to represent reliquaries and other treasures
preserved in the Stiftskirche at Wittenberg, but it is obvious that
Cranach made no attempt at a realistic representation of the actual
objects. The designs for the reliquaries preserved in the Staats-Archiv
at Weimar give, probably, a more accurate representation of the metal
vessels than Cranach's woodcuts.¹
1
The Heiligthumsbuch itself is not in the Museum. It has been well
reproduced as no. 6 of Hirth's Liebhaber-Bibliothek alter Illustratoren,
1884. The woodcuts represented are described here as they are mounted
for decorative effect, and not in the original order of the book. Many of
them were reprinted in various editions of the Hortulus Animæ printed
by Rhaw.
18. THE RISEN CHRIST (Gang viii, 11).
B. vii, 290, 97; H. 104 (252); Sch. 107 (116).
19. BUST OF ST. SIGISMUND (Gang v, 10). H. 142 (290); Sch. 107 (71).
20. CHRIST ON THE MOUNT OF OLIVES (Gang vii, 10).
Sch. 107 (103); see also Sch. iii, 239, 115a.
Sch. 107 (59).
21. FOUR ANGELS KNEELING (Gang iv, 13).
These, in the book, support a lectern decorated with the symbols of the evange-
lists. This impression is cut to the size, 37 × 95.
22. AN ANGEL PLAYING THE HARP (Gang viii, 9).
23. ST. ANDREW (Gang vi, 12).
H. 137 (285); Sch. 107 (114).
B. 100; H. 106 (254); Sch. 107 (89).
¹ A small selection of these drawings is published in R. Bruck's "Friedrich der
Weise als Förderer der Kunst," Taf. 37–40. The Heiligthumsbuch itself is discussed
in the text, p. 208 ff.
Division D.-School of Saxony.-L. Cranach I.
291
24. ST. PETER (Gang vi, 16).
B. 93; H. 140 (288); Sch. 107 (93).
Over this impression is printed "S. Petrus"; there is text on the back. The
block was subsequently used as a book-plate by the town of Oehringen (Warnecke
1518). An impression is in the Franks collection with "Stadt Orngaw" printed over
the woodcut; the watermark is a very small high crown.
25. ST. BARTHOLOMEW (Gang vi, 11).
26. ST. PAUL (Gang vi, 14).
27. ST. PAUL (Gang vi, 13).
B. 104; H. 107 (255); Sch. 107 (87).
H. 117 (265); Sch. 107 (91).
B. 92; H. 141 (289); Sch. 107 (90).
This woodcut, like no. 24, was used at Oehringen as a book-plate. In the
Franks collection, "Predicatur zu Oringen," is printed over the woodcut; same
watermark.
28. ST. PETER (Gang vi, 15).
B. 99; H. 105 (253); Sch. 107 (92).
29. ST. JOHN THE BAPTIST (Gang vii, 2). B. 98; H. 118 (266); Sch. 107 (95).
30. THE VIRGIN OFFERING A BUNCH OF GRAPES TO THE CHILD
(Gang vii, 5).
B. 86; H. 129 (277); Sch. 107 (98).
B. 90; H. 103 (251); Sch. 107 (99).
31. THE INFANT CHRIST (Gang vii, 6).
In the Dresden Cabinet is a later state of this subject, in which the block has
been cut short just above the eyes of the owl, and a new border-line has been put on;
the height is reduced from 130 to 115 mm.
32. ST. MATTHEW (Gang vi, 2).
33. ST. MATTHIAS (Gang vi, 3).
34. ST. SIMON (Gang vi, 4).
35. ST. JUDE (Gang vi, 5).
36. ST. THOMAS (Gang vi, 6).
37. ST. JAMES THE LESS (Gang vi, 7).
38. ST. PHILIP (Gang vi, 8).
See Nagler, Mon., iv, p. 309, 95b, 28.
B. 110; H. 112 (260); Sch. 107 (78).
B. 106; H. 113 (261); Sch. 107 (79).
B. 108; H. 115 (263); Sch. 107 (80).
B. 109; H. 111 (259); Sch. 107 (81).
B. 105; H. 116 (264); Sch. 107 (82).
B. 107; H. 109 (257); Sch. 107 (83).
B. 103; H. 114 (262); Sch. 107 (84).
39. ST. JAMES THE GREATER (Gang vi, 9).
B. 101; H. 108 (256); Sch. 107 (85).
40. ST. JOHN THE EVANGELIST (Gang vi, 10).
B. 102; H. 110 (258); Sch. 107 (86).
41. A RELIQUARY WITH THE STEM OF JESSE (Gang vii, 9).
B. 85; H. 161 (309); Sch. 107 (102).
42. A CROSS: UPON IT THE VIRGIN AND CHILD (Gang iii, 10).
H. 167 (315); Sch. 107 (41).
43. A RELIQUARY WITH THE FALL OF MAN (Gang viii, 2).
B. 94; H. 157 (305); Sch. 107 (107).
44. A RELIQUARY WITH CALVARY (Gang iii, 14).
B. 82; H. 158 (306); Sch. 107 (45).
U 2
292
Early German and Flemish Woodcuts.—Part II.
45. A CRUCIFIX (Gang vii, 8).
B. 80; H. 164 (312); Sch. 107 (101).
A late impression. Above the woodcut is printed INRI, below it AD IMAGINEM
FILII DEI CRVCIFIXI VITVS VVINSHEMIVS D., then two poems, one of six, the
other (ALIVD) of four Latin elegiacs. Heller (p. 183) describes this edition. The
page with the woodcut forms part of an invitation to the funeral of Jeremias Schutz,
of Nuremberg, who died 30 January, 1556. The verses are by Nicolaus Selnecker.
A complete copy is at Bamberg.
46. A RELIQUARY WITH THE LAMENTATION FOR CHRIST (Gang viii, 1).
B. 84; H. 160 (308); Sch. 107 (106).
All the above, except nos. 24, 42 and 45, are from an edition of the Hortulus
Animæ, and are in the inventory of 1837. No. 24, also from a Hortulus, was pur-
chased from Mr. Bihn, 1875, no. 45 from Mr. Cohn, 1880; the provenance of no. 42
is not recorded.
[47-53.]
ILLUSTRATIONS, CHIEFLY FROM THE HORTULUS ANIMÆ.
These, though not actually used in the Wittenberg Heiligthumsbuch,
appear with the exception of nos. 47 and 51 to have been produced at the
same time, and they are most conveniently described in this place.
Except nos. 47, 50 and 53, these woodcuts are not known to have been
printed earlier than in Rhaw's Wittenberg edition of the Hortulus
Animæ, 1547 (48).¹
47. THE ANNUNCIATION.
B. 89.
The Virgin kneels r., with folded hands, at a desk. Gabriel stands
near her 1., with wings raised. At the back is a column under a round
arch. [112 × 72 (cut)].
This woodcut was first used in "Ein ser andechtig Cristenlich Buchlei aus
hailige schrifften vnd Lerern von Adam von Fulda in teutsch reymenn gesetzt," S.
Reinbart, Wittenberg, 1512, of which only two copies are known, at Berlin and
Hamburg (see Bauch, Repertorium, xvii, 421; Flechsig, p. 65). Our impression is
from the Hortulus Animæ.
48. THE VIRGIN AND CHILD, STANDING.
B. 87; H. 224 (375); Sch. 111; Flechsig, p. 64.
49. THE INFANT CHRIST (on the verso of no. 48).
Sch. 112.
50. THE VIRGIN AND CHILD, SEATED.
De
B. 88; H. 223 (374); Sch. 113; Flechsig, p. 64.
This woodcut was first used in "6 Elegidion Guolfi Cyclopii Cycnæi.
immaculata Conceptione, etc.," J. Grünenberg, Wittenberg, Sept. 1511 (Heller, p.
192).
51. ST. BERNARD ADORING THE MAN OF SORROWS.
52. THE HOLY TRINITY.
B. 57; H. 78 (219); Sch. 71 and 114; N. 63.
B. 81; H. 220 (370); Sch. 108; Flechsig, p. 64.
¹ On this, see Heller, pp. 194, 205; Schuchardt, ii, 220.
Division D.-School of Saxony.-L. Cranach I.
293
53. THE HOLY TRINITY.
God the Father, seated, supports with both hands the transverse
beam of the cross to which the Son is nailed; the Dove sits r. upon the
beam. In the four corners cherubs emerge from clouds.
[112 x 76.] Late impression, the border-line broken in several places. On the
back is part of the text of "Veni Creator" (Laua quod est sordidum | Flecte quod
est rigidum, etc.), printed in large type and accompanied by the music.
Purchased at the Lanna sale, 1909 (no. 374).
Originally used in the work by Adam von Fulda mentioned under no. 47
(Repertorium, xvii, 422, 1).
iv. Single Woodcuts of the YEAR 1509. THE PASSION. Nos. 54–76.
[54-56.]
TOURNAMENTS.
These three woodcuts commemorate the festivities held at Wittenberg
on 15 and 16 November 1508, and described by Sibutus in his Latin
poem published in 1511.¹ Cranach, who returned that autumn from a
mission to the Netherlands, must have been present at the tournaments,
and have made sketches which he did not work up into their definitive
form till the following year. For an account of the tournaments see G.
Bauch in Repertorium, xvii, 432.
54. THE TOURNAMENT WITH LANCES.
B. vii, 294, 125; H. 214, 269 (419); Sch. ii, 284, 131; N. 110; L. 28.
A mêlée in which a number of knights are engaged. Ladies and
courtiers watch the scene from a raised platform, r., and the steps leading
up to it. On the wall over which the spectators lean are the two Saxon
shields. A man and woman look through a window more to 1., and on
that side is a mounted band. The most conspicuous decorations on the
trappings of the horses are (1.) four couples dancing in a circle and (r.) a
kneeling woman who blows a fire with a pair of bellows. Cranach's
initials and the date 1509 are on the ground near the middle.
[292 × 416.] Good impression.
Presented by Mr. W. Mitchell, 1895.
Three of the women among the spectators r. wear a costume similar to that of
St. Anne in the Frankfort triptych of 1509.
55. THE TOURNAMENT WITH SWORDS.
B. vii, 294, 127; H. 214, 270 (420); Sch. ii, 284, 132; N. 111; L. 29.
A mêlée of knights armed with swords is watched by spectators in a
balcony at the back, before which the band is stationed. On the trappings
of the horses may be noticed a monkey seated, looking at a mirror, and
two little boys throwing buckets of water at a helmet on fire. The Saxon
shields are suspended on either side of the balcony; Cranach's initials and
the date 1509 are in the foreground.
[296 × 418.] Good impression, the corners a little restored.
In the inventory of 1837.
¹ See p. 278, no. 5.
294
Early German and Flemish Woodcuts.-Part 11.
56. THE TOURNAMENT WITH SAMSON AND THE LION.
B. vii, 294, 126; H. 213, 268 (418); Sch. ii, 283, 130; N. 109; L. 26.
Near the foreground two knights are tilting; the lance of one of the
opponents is broken; the other's horse has fallen under him, and the
lance which he has just dropped is picked up by a page from the ground.
Other mounted knights drawn up on either side are watching the tilters;
in the background, I., a combat is going on among a small group of knights
armed with staves and swords. The decorations on the horses' trappings
include several mythological subjects: a satyr family, Venus carrying a
cradle and leading Cupid by the hand, a centaur playing a fife, and
refugees from a burning town taking shelter in a cave, where their foes
attack them. A long balcony at the back contains the spectators, among
whom are two men who hold up shields containing the arms of two of the
combatants. Over the front of the balcony hangs a piece of tapestry
containing the subject of Samson breaking the lion's jaw. The two Saxon
shields are upon this tapestry itself. Near the end of the balcony, r., is
a tablet which contains the date 1509 and Cranach's initials with the
winged serpent, his armorial bearings, between them.
[295 × 419.] Good impression, with margin of 5 mm.
Presented by Mr. W. Mitchell, 1895.
This, according to Flechsig, is the first woodcut by Cranach on which he used as
part of his signature the winged serpent which he had received as his armorial
bearings in a grant of arms signed by Frederick the Wise, at Nuremberg, on
6 January 1508. It has since been proved, however, that another woodcut so signed,
the Crucifixion, Sch. 30, was published as early as August 1508.
The spectators in the balcony in this woodcut offer, perhaps, the nearest parallel
to the figures in the background in no. 15. Flechsig suggests that the knight in
front on the left was perhaps inspired by Burgkmair's equestrian portrait of
Maximilian of the year 1508.
57. ADAM AND EVE: THE FALL.
B. vii, 279, 1; H. 124, 1 (36); Sch. ii, 192, 1; N. 1; L. 22.
Adam sits under the tree, holding an apple in his r. hand. Eve, with
her r. arm round his neck, plucks with her 1. hand another apple from a
bough round which the serpent is coiled. A label containing date,
initials and serpent, is on the trunk of the tree, and the two Saxon shields
hang from a bough. Two wild duck fly beneath them. A lion and two
stags lie in the foreground; two other stags stand 1., and deer, sheep,
horses and a boar are seen at a greater distance r.
[334 x 228.] Good impression, but cut rather close.
Collections: Firmin-Didot (F. 21, black), Mitchell.
Presented by Mr. W. Mitchell, 1895.
Schuchardt (iii, 212) mentions a chiaroscuro impression in dull green, with the
outlines extremely sharp, in the library at Aschaffenburg.
58. THE REPOSE ON THE FLIGHT TO EGYPT.
B. vii, 279, 3; H. 125, 3 (39); Sch. ii, 195, 7; N. 4; L. 24.
The Virgin sits under an oak, with the babe at her breast; Joseph
stands I., holding the halter of the ass while it grazes. Child angels play
¹ See Flechsig, p. 25 ff., and on the successive shapes that the serpent assumed,
as drawn, painted or engraved by Cranach, p. 37 ff. Flechsig goes a little too far
in pressing the evidence afforded by these developments to its extreme logical
conclusion.
Division D.-School of Saxony.-L. Cranach I.
295
about a pool of water r., and pluck flowers in the foreground; another
group sing and play on a bough of the tree. An angel flies down with a
bird in his hands, and another, I., blows a trumpet to which a banner is
attached, having on it the two Saxon shields. The initials, serpent and
date are on a tablet, r.
[285 x 185.] Good impression, cut rather close, in chiaroscuro; the tone block
printed in light brown.
Purchased 1834.
In the Parma library (Stampe, vol. 94, no. 19709) is a somewhat interesting
drawing, dated 1522, which is a free copy of this woodcut. It is a pen drawing in
Indian ink, heightened with white, on a reddish-brown ground [295 × 202], and is
signed with a pen passing through the ear of a fool's cap, with a bell attached to it.
Compare the note on no. 87 (p. 309).
58a. THE REPOSE ON THE FLIGHT TO EGYPT.
B. 3; H. 3 (39); Sch. 7; N. 4; L. 23.
[285 × 189.] Impression from the outline block only, on thick white paper
without watermark. The condition of the block shows that this is later than the
chiaroscuro impression.
Presented by Mr. W. Mitchell, 1895.
59. DAVID AND ABIGAIL.
B. vii, 293, 122; H. 210, 259 (409); Sch. ii, 276, 121; N. 100; L. 25.
Abigail sits 1. under a tree and offers a flask in her 1. hand to David,
who stands r., armed with a halberd. Both are in the German costume
of Cranach's time. The Saxon shields are attached to the tree, the
initials, serpent and date on a tablet, r.
[243 × 172.] A fairly early impression; watermark, fleur-de-lis.
Presented by Mr. W. Mitchell, 1895.
Some impressions, as at Vienna (Hofbibliothek), have German verses by C.M.O.,
which explain the subject. According to Schuchardt, chiaroscuro impressions
exist.
598. DAVID AND ABIGAIL,. B. 122; H. 259 (409); Sch. 121; N. 100; L. 25.
[247 × 175.] A somewhat later and blacker impression.
Purchased from Messrs. Graves, 1856.
60. ST. JEROME IN PENITENCE.
B. vii, 284, 63; H. 165, 84 (225); Sch. ii, 224, 77; N. 69; L. 26.
In a beautiful landscape the Saint, bare to the waist, kneels r. before
a crucifix erected under a tree. The two Saxon shields are suspended
from a smaller tree, 1., the initials, serpent and date are on an inverted
tablet with rings attached to it, which lies, l., on the ground.
[335 × 226.] Very fine impression, without watermark.
Purchased 1834.
61. ST. CHRISTOPHER.
B. vii, 283, 58; H. 163, 79 (220); Sch. ii, 220, 72; N. 64; L. 6.
St. Christopher, with the infant Christ upon his 1. shoulder, holding
the trunk of a small tree in his left hand, is just landing, 1., after fording
the river. The two shields and a tablet containing initials, serpent and
the date 1506 are suspended from various branches of a tree, 1.
[282 × 193.] Fine chiaroscuro impression, with a very narrow margin except on
the 1. side. No watermark. The tone-block is printed in reddish-brown. Creased
I
296
Early German and Flemish Woodcuts.-Part II.
in the middle, and a tear across the figure of St. Christopher has been mended
otherwise well preserved.
Collections: St. John Dent (pink), Lanna.
Purchased at the Lanna sale, 1909, no. 1284.
6la. ST. CHRISTOPHER.
B. 58; H. 79 (220); Sch. 72; N. 64; L. 6.
[281 x 194.] Fairly sharp impression from the outline block only, after the
removal of the date, with margin of 4 mm. below, 14 mm. above, but none at the
sides. At the top is printed AD IMAGINEM DIVI | CHRISTOPHORI.
DIVI | CHRISTOPHORI. Watermark,
a narrow high crown with a star above, a horn below.
In the inventory of 1837.
In the Brunswick museum is a complete impression of the broadside of which
this is a fragment. The sheet measures 388 x 274 mm. Beneath the woodcut is
printed IN IMAGINEM DIVI CHRISTOPHORI; then follow twenty-six elegiac
verses in two columns:
"Tu quis es? ingenuè Christum profitentis imago,
Mecum habita, tecum vivere, vera salus.
Iohan. Stigelius."
In a column to r. of the woodcut are printed forty rhyming Latin couplets, headed
А OPIΣMOI MOIMENIKOI | AD PASTOREM THE ODORIENSEM.; at the
end, "Texos," then "Inter Montes Regis | Pastor Dei Plebis | 1554." The watermark
is an ox's head with staff and serpent. Heller describes an edition with the date
1560.
81b. ST. CHRISTOPHER.
B. 58; H. 79 (220); S. 72; N. 64; L. 6.
[285 × 202.] Good, but not early, chiaroscuro impression, with margin [7-9 mm.];
no watermark. The tone-block is printed in grey-brown, or light chocolate colour.
There is no date.
Collections: Alferoff (F. 342), Mitchell.
Presented by Mr. W. Mitchell, 1895.
61c. ST. CHRISTOPHER.
B. 58; H. 79 (220); S. 72; N. 64; L. 6.
[281 × 198.] Later chiaroscuro impression, also without the date. No margin;
no watermark. The tone-block is printed in a warm orange-brown.
Purchased 1834.
It is difficult to determine the order of the various issues of this woodcut. The
earliest are those with the date 1506; first-rate dated chiaroscuro impressions are at
Berlin and Dresden, black impressions with the date are at Berlin and in the
Albertina. I have seen at Coburg quite a late chiaroscuro impression still with the
date (dark grey-brown). In 1554 the black outline block, with the date removed, was
still in good condition. The majority of the chiaroscuro impressions, our own
(nos. 61b, 61c) among them, appear to be later than this.
In spite of the presence of the date 1506 on early impressions of the St. Christo-
pher and Venus, Flechsig (pp. 28-37) has brought forward convincing arguments
against the possibility of any earlier date than 1509 for the actual production of
these woodcuts. Most of these arguments apply equally to both. They may be
summarized as follows. 1. These woodcuts are signed with the serpent. The grant
of this serpent as Cranach's coat of arms is dated 1508, and no other case of its use
as part of his signature occurs before 1509.¹ 2. The electoral coat of arms shows,
even in the earliest impressions, the modification introduced in 1508. 3. Up to 1509
the sky in Cranach's woodcuts is always cloudless. 4. The shape of the wreath of
rue in the ducal shield agrees better with that on works of 1509 and later than with
earlier examples. 5. All the dated woodcuts, engravings and pictures of 1509 are
signed in the same way as these two woodcuts, with initials, serpent and date
¹ So Flechsig, but this must be modified, inasmuch as it has now been proved
that the Crucifixion so signed was published in August, 1508.
↓
Division D.-School of Saxony.-L. Cranach I.
297
combined.¹ (This mode of signature does not occur later, except on a picture of
1514.) The two Saxon shields, moreover, are attached to the boughs in the same
manner as in the Fall of Man and St. Jerome of 1509. Numerous other resemblances
in style to woodcuts of 1509 are mentioned by Flechsig. 6. It has been proved that
the invention of printing with two outline blocks, a precursor of the true chiaroscuro
technique, was made in 1507, and that the chiaroscuro technique itself was perfected
at Augsburg in 1508, apparently in the autumn. Cranach, who only returned from
the Netherlands in the late autumn of 1508, cannot have profited by the new
discovery before 1509.
The genuineness of the date 1506 cannot, after all these arguments, be maintained.
Its presence, however, is an inconvenient fact, for which one would like to see a
satisfactory explanation.2 Flechsig (p. 31) remarks that perhaps this will remain
for ever a puzzle. I am not myself prepared to offer any solution.
62. VENUS AND CUPID.
B. vii, 291, 113; H. 208, 255 (404); Sch. ii, 272, 117; N. 97; L. 9.
First state, before the correction in the shoulder.
Venus, treading on clouds, holds a scarf in her 1. hand, and extends
her r. hand towards the head of Cupid, who holds his bow and arrow.
The two Saxon shields hang on a tree, r. The serpent and date 1506,
between the initials L and C, are on a ten-sided tablet suspended from
the same tree.
[277 × 189.] Good impression, in chiaroscuro, the tone block printed in light
brown. The print has been cut close all round, and the existing border-line is the
work of a restorer, who has supplied a narrow margin, which he has coloured brown
instead of white. No watermark.
Collections: P. Gervais, 1860 (MS.), Firmin-Didot (F. 21), Mitchell.
Presented by Mr. W. Mitchell, 1895.
All the chiaroscuro impressions of this woodcut are early, with the outline block
in the first state. The Dresden impression is a very fine one, with a greenish-grey
tone. The Berlin collection has also a fine one with brown tone. Black impressions
of the outline block only, in the first state, are at Berlin and Cambridge.
62a. VENUS AND CUPID.
B. 113; H. 255 (404); Sch. 117; N. 97; L. text, p. 8.
Second state, after the correction.
[280 × 190.] A rather late, but well-preserved, impression from the outline block
only. The outline of the 1. shoulder of Venus, which was formerly too straight, has
been corrected. No watermark.
Purchased 1834.
Lippmann called attention to the similarity of the figure of Venus, as corrected,
with that of Juno in the Judgment of Paris, of 1508, and argued that the
chiaroscuro impressions, which are prior to this correction, are older than 1508.
Flechsig answers this on p. 32, calling attention to the different position of the arms
in the two cases.
An impression of the second state at Berlin has AD IMAGINEM VENERIS
printed below. The Albertina possesses both the editions with verses described by
Heller and Nagler. The first has, at the top, "Venus vnd jr Son Cupido"; below,
twelve German verses, in two columns, signed "C. M. O." On the back are two
columns of music with Latin text. The second has nothing at the top, but below
the woodcut IN IMAGINEM VENERIS and eighteen Latin verses, in two columns,
signed I. L. C. Heller believed the block to be extant. A quite late impression in
red is at Maihingen.
¹ Beth (Repertorium, xxx, 509) adds that none of the woodcuts before 1509 are
signed upon a shield or tablet.
2 See Repertorium, xxiv, 65 and xxx, 509.
298
Early German and Flemish Woodcuts.-Part II.
THE PASSION.
[63-76.]
B. vii, 280, 7–20; H. 127, 7–20; Sch. ii, 200, 16–29; N. 9–22.
The history of the editions, from 1509 to 1616 (Amsterdam), is given
most fully by Heller. An edition with German text, not mentioned by
him, is in the Berlin Cabinet: "Der Passion vnsers herren | Jhesu Cristi
mit vil schonen Be- | trachtūgen" (12 leaves, text printed on eight
pages only). It was purchased at Gutekunst's auction, 1899. The
edition mentioned last by Heller (p. 132), each woodcut in a passe-partout,
with a German quotation under it, is at Paris, in addition to a complete
set of proofs. This same edition in the passe-partout, with German text
and numbers from I. to XIIII., is in the Albertina and at Dresden; at
Dresden is also an earlier edition in the same passe-partout, in which the
cuts are printed back to back and the numbers are 1 to 14. At Dresden
is also an issue without text on the back, but with two lines of Latin
above each woodcut and German translation below; this appears to be
the earliest of the five issues represented at Dresden with the exception
of proofs.
Every woodcut in the series bears the two Saxon shields. No. 64
(B. 8) has, in addition, a tablet with initials, serpent and the date 1509,
while nos. 68 (B. 12)—in early impressions only--73 (B. 17) and 76
(B. 20) are signed with the serpent alone.
Only six subjects are represented in this collection by proofs. These
are supplemented by a complete set, nos. 63a-76a, made up from one or
other of the later editions, but the Museum possesses no edition of the
Passion as a whole. See p. 279, no. 16.
PROOFS.
66. CHRIST BEFORE CAIAPHAS.
B. 10; H. 10 (48); Sch. 19; N. 12.
The high priest, seated r., is in the act of rending his robe; this action
shows that Caiaphas, not Pilate (H., Sch., N.) is represented. In the
German edition at Paris the quotation beneath this woodcut is from
Matth. xxvi, 63.
[246 × 166.] Very sharp, early proof. Watermark, ox's head with cross and
flower.
70. CHRIST BEING SHOWN TO THE PEOPLE.
B. 14; H. 14 (52); Sch. 23; N. 16.
[249 × 171.] Fine, early proof. No watermark.
72. CHRIST BEARING THE CROSS.
B. 16; H. 16 (54); Sch. 25; N. 18.
[246 × 168.] Cut rather close and slightly restored. A crack is already visible
across the figure of Christ, exactly in the middle of the block. No watermark.
Collections: ? (F. 197), Mitchell.
73. CALVARY.
B. 17; H. 17 (55); Sch. 26; N. 19.
[248 × 170.] Fine, early proof, slightly damaged. Provenance, as no. 72.
74. THE LAMENTATION FOR CHRIST. B. 18; H. 18 (56); Sch. 27; N. 20.
[248 × 163.] Fine, early proof. Provenance, as no. 72.
Nos. 66, 70 and 72-74 were presented by Mr. W. Mitchell, 1895.
Division D.-School of Saxony.-L. Cranach I
299
75. THE ENTOMBMENT.
B. 19; H. 19 (58); Sch. 28; N. 21.
[249 x 170.] Fine, early proof; no watermark.
Purchased from Messrs. Obach & Co., 1909.
LATE IMPRESSIONS.
63a. CHRIST ON THE MOUNT OF OLIVES. B. 7; H. 7 (44); Sch. 16; N. 9.
[250 × 172.] Poor impression. German text on the back: "Es erschein (sic)
menschen tand."
63b. CHRIST ON THE MOUNT OF OLIVES.
[252 × 175.] Copy in the same direction, omitting the Saxon shields. The
signature IFM is near St. Peter's feet.
IFM
Purchased from Mr. Gaucia, 1850.
Ten of this series of copies are in the Bibliothèque Nationale, Paris (Ea. 12); the
copies of B. 10, 11, 15 and 18 are wanting. In the copy of B. 17 the serpent is
retained. The same woodcutter (French?) has signed copies after Burgkmair
(Vol. II, p. 84).
64a. CHRIST TAKEN CAPTIVE. 1509.
B. 8; H. 8 (46); Sch. 17; N. 10.
[247 × 168.] Impression before the text, but much damaged.
65a. CHRIST BEFORE ANNAS (?).
B. 9; H. 9 (47); Sch. 18; N. 11.
[250 × 172.] Poor impression. German text on the back: "Da das sahe Judas
Israeliter zu heissen.'
""
The older catalogues call this subject "Christ before Caiaphas," an interpretation
confirmed by the quotation in the edition with German text at Paris, which is from
John xviii, 20. But in that case Caiaphas is represented twice, for B. 10 applies
even more evidently to him.
66a. CHRIST BEFORE CAIAPHAS.
[246 × 167.] Fairly good impression. On the back is B. 11.
67a. CHRIST BEFORE HEROD.
[246 × 167.] On the back of no. 66a.
B. 10; H. 10 (48); Sch. 19; N. 12.
B. 11; H. ii (49); Sch. 20; N. 13.
The quotation in the German edition at Paris is from John xix, 11, words
addressed to Pilate, but the sceptre indicates Herod, and the costume of the seated
figure is utterly unlike that given to Pilate in the subsequent scenes.
68a.
CHRIST BEING SCOURGED.
B. 12; H. 12 (50); Sch. 21; N. 14.
[249 × 171.] Poor impression. German text on the back from a volume of
sermons: "krafft des Sacraments . . . . . Von dem an trachtet." In the middle:
"Die fünffte Predigt am Karfreitage, aus dem Euangelio Johannis am 19.
Capitel."
69a. CHRIST BEING CROWNED WITH THORNS.
B. 13; H. 13 (51); Sch. 22; N. 15.
[249 × 170.] Poor impression. On the back is B. 14.
70a. CHRIST BEING SHOWN TO THE PEOPLE.
[249 x 170.] Poor impression, on the back of no. 69a.
71a. PILATE WASHING HIS HANDS.
B. 14; H. 14 (52); Sch. 23; N. 16.
B. 15; H. 15 (53); Sch. 24; N. 17.
[249 × 171.] Poor impression. German text on the back: "Pilatus, wie er
Pilatus bekent."
Reproduced in the text of Lippmann's publication, p. 9.
I
300 Early German and Flemish Woodcuts.-Part II.
72a. CHRIST BEARING THE CROSS.
B. 16; H. 16 (54); Sch. 25; N. 18.
[248 × 171.] Poor impression. On the back is B. 17.
73a. CALVARY.
B. 17; H. 17 (55); Sch. 26; N. 19.
[247 × 168.] Rather good impression. On the back are two columns of German
verses; low down: "Betrachtung zu der Sext zeit. . . . Betrachtung zu der Non
zeit."
74a. THE LAMENTATION FOR CHRIST. B. 18; H. 18 (56); Sch. 27; N. 20.
[249 × 170.] Poor impression. On the back is B. 19.
75a. THE ENTOMBMENT.
[249 × 170.] Poor impression, on the back of no. 74a.
76a. THE RESURRECTION.
B. 19; H. 19 (58); Sch. 28; N. 21.
B. 20; H. 20 (59); Sch. 29; N. 22.
O herr von mir zu danck das
[247 × 169.] Fairly good impression. On the back two columns of German
verses: Herr Jhesus nach dem herben streit...
hab. Pater noster. | Aue Maria. | Ein Glawben."
All the above are in the inventory of 1837.
V.
UNDATED WOODCUTS, ABOUT 1509. Nos. 77-79.
77. THE MARTYRDOM OF ST. BARBARA.
B. vii, 285, 70; H. 168, 92 (234); Sch. ii, 230, 87; N. 78.
At the opening of a cave St. Barbara kneels to 1. Her father,
Dioscorus, grasps her hair in his 1. hand, and is about to behead her with
a sword. An aged man, probably the proconsul Marcian, witnesses the
scene, attended by several soldiers. To r. is a group of three peasants; a
boy holds the sheath of Dioscorus' sword.
[245 × 165.] Fine impression, but the border-line has been restored. Water-
mark, ox's head with cross and flower.
Purchased from Mr. Lauser, 1894.
This woodcut agrees so closely in style and dimensions with the Passion that it
must be ascribed to the same year. See Flechsig, p. 45-6. It was omitted by
Lippmann, but is reproduced in Hirth-Muther, no. 70, and in this Catalogue.
78. CHRIST AND THE WOMAN OF SAMARIA.
B. vii, 281, 22; H. 132, 22 (61); Sch. ii, 207, 32; N. 26, and vol. iv, no. 1406; L. 30.
First state.
Christ stands leaning against the 1. side of the well, and raises his
r. hand as he speaks to the Samaritan woman, who holds a bucket in
both hands. On the side of the well are the letters LV C, and on the
sloping roof the two Saxon shields. The Apostles are seen in the distance,
1., emerging from a wood and speaking to a beggar by the roadside.
[230 × 158.] Good impression. No watermark.
Presented by Mr. W. Mitchell, 1895.
This woodcut also is closely allied to the Passion. Heller's interpretation of the
letters on the well as an abbreviation of "Lucas von Cranach" is rejected by
Schuchardt (i, 56). Nagler admits the possibility of such an interpretation, but
guards against its being used in support of Cranach's supposed patent of nobility.
Lippmann reads the letters as an abbreviation for LVCAS, which seems, indeed, the
only possible solution. Flechsig's opinion, that this Lucas is not Lucas Cranach,
but the evangelist St. Luke, as author of the story, is refuted by the fact that the
PLATE XVI
LUCAS CRANACH I
THE MARTYRDOM OF ST. BARBARA. B. 70
(Reduced)

Bu
HD
Jiji
"

*
J
Division D.-School of Saxony.-L. Cranach I.
301
narrative only occurs in the Gospel of St. John. This was first pointed out by
K. Simon, Repertorium, 1904, xxvii, 515.
78a. CHRIST AND THE WOMAN OF SAMARIA.
Second state.
B. 22; H. 22 (61); Sch. 32; N. 26; L. 30.
[230 × 158.] A much later impression, after the disappearance of the electoral
shield from the block.
In the inventory of 1837.
At Paris is a still later impression, after the ducal shield has also disappeared.
79. THE HOLY FAMILY AND KINDRED.
B. vii, 280, 5; H. 126, 5 (43); Sch. ii, 198, 14; N. 6; L. 36.
The subject represented is the group known in German as "die heilige
Sippe," for which there is no recognised English equivalent. The central
figure is St. Anne, who according to a form of her legend, which was
evidently popular at the end of the middle ages, had three successive
husbands, Joachim, Cleophas and Salomas,¹ and by each a daughter named
¹ The following verses are quoted in the Dict. Christ. Biogr. (s.v. Anne) :-
Anna tribus nupsit Joachim, Cleophae Salomaeque,
Ex quibus ipsa viris peperit tres Anna Marias,
Quas duxere Joseph, Alphaeus, Zebedaeusque.
Prima Jesum; Jacobum Joseph cum Simone Judam
Altera dat; Jacobum dat tertia datque Joannem.
In the Legenda Aurea (ed. Graesse, Lipsiæ, 1850, p. 586) are different verses to
the same effect :-
"Anna tres viros habuisse dicitur, scilicet Joachim, Cleopham et Salome.
Anna solet dici tres concepisse Marias,
Quas genuere viri Joachim, Cleophas Salomeque.
Has duxere viri Joseph, Alpheus, Zebedaeus,
Prima parit Christum, Jacobum secunda minorem
Et Joseph Justum peperit cum Symone Judam,
Tertia majorem Jacobum volucremque Joannem."
In some well-known pictures of the "heiligo Sippe," as in the picture at Cologne
(no. 169), and the Artelshofen altar-piece by Traut at Munich (Nationalmuseum,
no. 400a), the various children are characterized by their attributes. That is not the
case here, or in the picture of 1509 by Cranach in the Städel Institute. I have
followed Rieffel (Zeitschr. f. bild. Kunst, N.F. xvii, 269) in his interpretation of the
personages on the latter work, which is not far removed in date from the woodcut
(note the similar costume of St. Anne). The group of three elderly men is the only
one that presents any difficulty. Rieffel and the authors of the Munich catalogue
call them, on the two pictures last mentioned, the three husbands of St. Anne. In
the earlier picture at Cologne they are not grouped together, as here, but form, with
Joseph, a series of four separate figures at regular intervals. Since two of them
happen to stand behind SS. Catherine and Barbara, who are here associated with
the kindred of Jesus, Aldenhoven calls them the fathers of these two saints.
Barbara's father, however, was not at all a saintly personage, and there can be no
doubt that here, too, these persons are the fathers of the two lesser Maries, named
after them Mary Cleophas and Mary Salome.
St.
Some valuable remarks on the origin and development of the "Sippenbild" will
be found in F. Back's "Mittelrheinische Kunst," Frankfurt a. M., 1910, p. 67. Two
pictures at Darmstadt are reproduced in this book in which the kindred of our Lord
is further enlarged by the inclusion of Esmeria, sister of St. Anne and mother of
Elizabeth, and her son, or descendant, St. Servatius. Such an extension of the group
would only occur in regions where St. Servatius was held in especial honour. In the
second picture at Darmstadt (Back, Taf. lxii) the third husband of St. Anne is named
Salomas," which would seem to be a more correct form of the name than that
adopted in the Golden Legend.
302 Early German and Flemish Woodcuts.-Part II.
Mary. The three husbands, the daughters, sons-in-law and grandchildren
of St. Anne compose the group.
St. Anne is seated in the middle, with the infant Christ on her lap
and the Virgin Mary at her side. Over their heads are carved angels,
two of which carry the two Saxon shields. Joseph stands 1., holding his
hat. Joachim and the two other husbands of Anne stand conversing r.
To 1. Alpheus, rod in hand, is teaching his two elder boys, Simon and
Judas Thaddeus, to read; James (the Less) sits on the floor, and the
youngest, Joseph Justus, is held on a cushion by his mother Mary
Cleophas. The group to r. consists of Zebedee, Mary Salome, and their
sons James (the Greater) and John. James holds a book and satchel.
On the ground is a tablet containing Cranach's initials and serpent.
[225 × 325.] Good impression without margin. Watermark, large bull's head
with serpent.
Presented by Mr. W. Mitchell, 1895.
Early impressions are found with verses below, in Latin or German, alluding to
the opening of the school term on St. Gregory's day, March 12th.
This explains
the fact that SS. Simon, Jude and James, the elder children among the cousins of
our Lord, are represented here as school-boys. The Latin edition, at Berlin and
Dresden (here coloured), has beneath the woodcut "Carmen quo solent pueruli
ad studium literarum in scholam evocari, die Gregorii, circa aequi | noctium
vernum. | Vos ad se pueri primis invitat ab annis | . . . Ad Christum monstrat nam
Schola nostra uiam (12 verses)." The German edition, also at Berlin, has "Das
Lied | Vos ad se Pueri &c. mit welchem zu Wittemberg die Kinder zur Schulen
wereden gefüret, | Am tag S. Gregorii, etc. Verdeutscht | Der Herre Christ, jr
Kindlein klein |.. Den weg zu Christo weiset klar. | C.M.Ö.”
·
On the dating of the woodcut see Flechsig, p. 45. The picture now at Frankfort
was not yet known when he wrote.
REPRODUCTIONS OF UNDESCRIBED WOODCUTS (c. 1511–1513).
+ THE ARMS OF DEGENHARD PFEFFINGER.
H. (Dürer) 2137; P. iii, 220, 316.
Photograph of a well-preserved impression [238 × 135] in the Albertina, belonging
to a different edition from that described by Passavant. The inscription at the top,
printed with type, is "Degenhardus Pfeffinger, Bauarie inferioris | Marscalcus
hereditarius zë.' P.'s description of the arms is accurate on the whole, but he
omits to mention that the lion, on the shield as in the crest, wears a mitre; the
other animal is a wolf, not a hound. The drum is not between peacock's feathers;
the feathers grow out of the drum, at the top. The "cordon formé de roses et
d'épées" is the collar of the Order of Cyprus.¹ P. omits to mention two other badges
which are seen, in addition to the Jerusalem Cross of the Order of the Holy Sepulchre.
To 1. of the drum is a sword and scroll, badge of the Order of Cyprus; to r. of the
lion crest a two-handled vase with three sprays of flowers, badge of the Aragonese
Order of Temperance.
The only other impression known to me, at Gotha, has the German superscription
quoted by Passavant; the first line ends with "in."
The family of Pfeffinger held the office of hereditary Marshal in Lower Bavaria
since the XIV century. Degenhart, son of Gentiflor Pfeffinger, was the last of the
line. He was born at Salbarnkirchen (now Salmanskirchen), on 3 February 1471.
He was "Truchsess" to the Duchess Hedwig of Burghausen, wife of George the
Rich, and in 1493 accompanied Frederick the Wise, Elector of Saxony, on his
journey to Palestine. According to the family chronicle of the Pfeffingers, preserved
1 See P. Ganz,
1905-6, p. 24.
2
Die Abzeichen der Ritterorden," Schweiz. Archiv f. Heraldik,
2 R. Röhricht, "Deutsche Pilgerreisen nach dem Heiligen Lande,” 1889, p. 188.
i
Division D.-School of Saxony.-L. Cranach I.
303
at Munich,¹ he was knighted at Jerusalem. He was chamberlain to Frederick the
Wise, and received from him in 1507 the gift of Schloss Waldsachsen near Coburg,
and at some date unknown, a house at Torgau. He resided chiefly at the Electoral
court, was sent on diplomatic missions to the court of the Emperor, and was employed
on his travels in collecting books for the Elector; he stood in intimate relations
with the humanists; 2 Spalatin calls him "Piorum, eruditorum, pauperum et
sacrorum patronus et Mæcenas optimus." In 1519 Pfeffinger accompanied
Frederick to Frankfort for the imperial election, and died there of an epidemic on
July 3rd. He was buried in the Barfüsserkirche, Frankfort, and monuments were
erected to him at Salmanskirchen and in the Wittenberg Stiftskirche. He left no
children by his marriage with Ehrentraut von Seiboltsdorf.
In a decree of 8 April, 1511, according to the family chronicle, Maximilian
conferred upon Pfeffinger a grant of the new coat-of-arms represented in this wood-
cut, "einen gevierteten Wappenschild—im 1. und 4. Feld mit einem Löwen; im
und 3. mit dem Wolf—zu führen, und das Wappen mit zwei Helmen, dem alten
und einem, aus dem der Löwe des Schildes herauswächst, zu krönen.” The second
animal has also been described as a hound; Beierlein³ calls it, writing of the old
arms, "den halben schwarzen Rüden im gelben Feld." Koetschau calls it (p. 314)
"ein halber anspringender Wolf... Wenn nicht die Beschreibung und Abbildung in
Siebmachers Wappenbuch, 6. Bd. 1. Abth. zu Hilfe käme, würde man wohl
zweifeln können, welches Tier dargestellt ist." See Siebmacher, loc. cit. p. 23, on the
new coat-of-arms. The old arms are represented on the reverse of Pfeffinger's medal,
reproduced by Koetschau, and by Fabriczy in his book on Italian Medals. The lion
is said in the "Wappenbrief" to be the original "Stammwappen," relinquished by
the family when they took over the office of hereditary Marshal, and with it the half
wolf sable on a field or, from the extinct Landsbergers.
The woodcut is probably to be dated soon after the grant of new arms in the year
1511. The fact that intimate relations subsisted between Pfeffinger and the Electoral
court confirms my belief, originally based on purely stylistic grounds, that the design
is to be attributed to Cranach, and not to Dürer or his school.
† THE PORTRAIT AND ARMS OF ERNEST OF SAXONY, ARCHBISHOP
OF MAGDEBURG AND BISHOP OF HALBERSTADT. (1513.)
The Archbishop, vested in cope and mitre, and holding his pastoral
staff under his r. arm, stands, leaning forward, and holding an open book
in both hands, behind a large shield surmounted by a small cross. The
shield contains: 1 Sachsen, 2 Thüringen, 3 Pfalz-Sachsen, 4 Mark-
grafschaft Meissen, with an inescutcheon, 1 and 4 Archbishopric of
Magdeburg, 2 and 3 Bishopric of Halberstadt.
Photograph of the illustration [142 × 94] on the title-page of the Magdeburg
breviary printed by Melchior Lotter, Leipzig, at the expense of Heinrich Widerker,
"alio nomine Propst civis Liptzensis," die Kunegundis (3 March), 1513; 8°. The
photograph was made from the copy in the Library of the RR. Pères Bollandistes,
Brussels; other copies of the book, in which the woodcut is defaced by scribbling,
are in the royal libraries of Berlin and Dresden.
Apart from the probability that Cranach would design such a portrait of the
1
¹ Historischer Verein von und für Oberbayern. The chronicle has not been
published, but information derived from it is given by E. Geiss, "Geschichte des
Schlosses Herzheim u. seiner Bewohner," Oberbayr. Archiv, Bd. vii, and by
K. Koetschau, "Die Medaille auf D. P.," Zeitschr. f. Numismatik, xx. 310. The
last-named article is at present the best source for Pfeffinger's biography.
² On his correspondence with Peutinger concerning woodcuts printed in gold, see
Vol. I, p. 255.
3 Medaillen auf ausgezeichnete und berühmte Bayern (Oberbayerischer Archiv f.
vaterländische Geschichte, x, Heft 2, p. 163, or p. 22 of the reprint.
4 Taf. 19. See text, p. 23.
5 Not in the article in the Berlin Jahrbuch, xxiv, 89, where only the obverse is
figured.
• See Siebmacher, Bd. i. Abth. 1, Taf. 26.
304
Early German and Flemish Woodcuts.-Part II.
3
!
i
Elector's brother for a book printed at Leipzig, his hand may clearly be recognised
in the features and drapery.
Ernest of Saxony, a younger brother of Frederick the Wise, b. 1466, became
Archbishop of Magdeburg in 1476 and died on 3 August 1513. His monument in
Magdeburg Cathedral is a celebrated work of Peter Vischer.
† THE PORTRAIT AND ARMS OF ERIC OF BRUNSWICK, BISHOP OF
PADERBORN AND OSNABRÜCK. (1513.)
The Bishop, wearing his mitre and holding his pastoral staff in his r.
hand, stands behind a large shield, on the top of which he lays his 1.
hand. The shield contains, 1 and 4 Bishopric of Paderborn, 2 and 3
Bishopric of Osnabrück, with the two leopards of Brunswick on an
inescutcheon.¹
Photograph of the illustration [112 (cut-originally c. 120?) × 88] on recto of
second leaf of the Paderborn breviary printed by Melchior Lotter, Leipzig, 1513, 8°.
Over the woodcut is printed: "Ericus ex ducibus Brunsuicen, Ecclesiaru | Pader-
bornen, ac Osnaburgeñ, Eps." In the only copy known to me of this rare book
(Berlin, Kgl. Bibl. Dq. 8º, 9720) the woodcut, tastefully coloured, is mutilated at the
bottom.
The portrait is very beautifully cut, and Cranach's drawing is plainly apparent in
the features. The work may be compared especially with some of the portrait heads
in the lower portion of the "Ladder of St. Bonaventura," L. 51.
Eric of Brunswick-Grubenhagen, b. 1476-78, became Bishop of Osnabrück in
February and of Paderborn in November, 1508; on 27 March 1532 he became
Bishop of Münster; he died on 14 May in the same year.
† TWO COATS-OF-ARMS FROM THE PADERBORN BREVIARY. (1513.)
The two shields, each suspended by a strap from a hook, are enclosed
by a single border-line. Over the first is printed: "Iohānes de
Ymmessen | Apostolice Sedis | prothonotarius"; over the second :
"Con-
radus de Vuipper | Curie Paderborneñ, | Officialis,”.
Photograph of the second woodcut [59 × 93], also coloured, at the end (Rr 4 v.)
of the same book.
† A CHILD ANGEL WITH THE ELECTORAL ARMS OF SAXONY.
Photograph of an undescribed woodcut in the collection of King Frederick
Augustus II, Dresden.
† A CHILD ANGEL WITH THE DUCAL ARMS OF SAXONY.
Photograph of an undescribed woodcut in the same collection.
These two woodcuts [each 93 × 50] are printed on the recto and verso of a leaf
[160 × 95], apparently from an octavo book, which is bound in at the end of the
Wittenberg relic-book of 1509. The second angel is in the style of the woodcut,
B. 68 (no. 82).
vi. OTHER UNDATED WOODCUTS, ABOUT 1510-1515. Nos. 80–118.
There is some difficulty about dating certain of these, and I am not
always in agreement with Dr. Flechsig. Nos. 81-85, for instance, appear
to me to form a closely connected group, whereas he divides some of these
by an interval of several years from the rest, and rejects others altogether
from the work of Cranach.
¹ See Siebmacher, Bd. i. Abth. 5, p. 124 and Taf. 203.
Division D.-School of Saxony.-L. Cranach I.
305
80. THE BOOK-PLATE OF CHRISTOPH SCHEURL.
H. 2147; P. iii, 221, 322; Warnecke 1896.
A young woman, richly attired, with ostrich feathers on her head-
dress, holds in her r. hand the arms of Scheurl and in her 1. those of
Tucher. Over her head are the verses:
HIC SCHEVRLINA SIMVL TVCHERINAQ SIGNA REFVLGENT
QVE DOCTOR GEMINI SCHEVRLE PARENTIS HABES.¹
[164 × 127.] Fine impression, the lines still sharp, but the border already broken
above the word SIGNA and in both lower corners. Tastefully coloured, the dress
brown and green, the plumes brown, green, blue and yellow; the upper part of sky
blue, the grass green, the coats of arms in their proper tinctures. Wide margin
[size of sheet, 273 × 193]; watermark, large bull's head. Had been used as book-
plate in a folio book.²
From the collection of "ex-libris " bequeathed by Sir A. W. Franks, K.C.B.,
1897. An approximate date for this woodcut is given by the fact that the block was
used in "Libellus Doctoris Christoferi Scheurli Nurembergensis de Sacerdotu et
rerū ecclesiasticarū pstantia," W. Stöckel, Leipzig, March 1511 (Pr. 11457), on verso
of the last leaf. In the book the border is still intact, and the separate impressions
used as book-plates must therefore be later, though they are more carefully printed
and the lines are sharper. Quite late impressions from the worn block are common.
The block itself forms part of the Scheurl collection purchased by the Germanic
Museum, Nuremberg, in 1866. The design is rightly attributed by Passavant to
Cranach, though he still describes it among the doubtful works of Dürer. It is not
mentioned by Flechsig. In presence of one of the rare early impressions it is
impossible to doubt that the woodcut is really by Cranach.
81. THE INFANT CHRIST AS REDEEMER.
B. vii, 286, 73; H. 170, 96 (240); Sch. ii, 232, 90; N. 80; L. 32.
He stands, nude, to front, blessing with his right hand and holding
the orb in his left hand, upon the tombstone placed aslant across the open
sepulchre. On the side of the tomb is the serpent, with wings erect,
slightly sketched. Landscape background. Cherubim and angels bearing
the instruments of the Passion form a semicircle in the sky.
[248 x 165.] Good impression without margin. No watermark.
In the inventory of 1837.
Flechsig (pp. 52–53, 295) dates this woodcut considerably later, after 1516, perhaps
after 1520. I find no great difference, except in the shape of the serpent, between it
and the woodcut of like dimensions, no. 82, which Flechsig dates about 1510–11.
The angels bear a strong resemblance to those on the Coronation of the Virgin
(L. 50), which Flechsig rejects. Early impressions with margin have the heading
"Das Kindlein Jesu " and twelve German verses in two columns below.
82. THE VIRGIN AND CHILD AND ST. ANNE.
B. vii, 285, 68; H. 167, 90 (231); Sch. ii, 228, 83; N. 75; L. 42.
The composition is pyramidal. St. Anne, standing 1., receives the
holy Child from the arms of his mother. Over them are the First and
Third Persons of the Blessed Trinity, in a halo of rays. L. and r. cherubim
in clouds. In the r. lower corner the serpent.
[247 × 168.] Good impression, without margin; watermark unrecognizable.
In the inventory of 1837.
Dated about 1510-11 by Flechsig (p. 48).
¹ See Vol. i, p. 516, note 1.
2 An impression similarly coloured is inserted in a Scheurl MS. belonging to
Mr. Rosenheim.
X
306
Early German and Flemish Woodcuts.-Part II.
83. THE LADDER OF ST. BONAVENTURA.
"}
B. vii, 287, 78; H. 172, 101 (249); Sch. ii, 235, 99; N. 85; L. 51.
The ladder, reaching from earth to heaven, consists of two uprights and
three rungs. These bear inscriptions, printed, like all the following, with
Gothic type. On the 1. upright, "Ich bin der weg, die warheit vnd das
leben. Niemand kompt zum Vater, deñ durch mich." Beneath this is
the serpent, simply formed. On the opposite upright, "Das ist das
ewige lebē, das sie dich, das du allein warer Gott bist vnd den du gesand
hast etc. Joh. 17." On the rungs are "Tauff.," " Abendmal Christi.,'
and "Vergebug der sünde." Beneath and above these are two scrolls,
inscribed "Furcht ewiger pein." and "Ewiges Leben." At the head of
the ladder is the Blessed Trinity, in two circles supported by the emblems
of the four Evangelists. The inscriptions on the circles are, "Ich bin der
HErr, vnd ist ausser mir kein Heiland, Esa. xliij. Ich bin der Erst,
vnd bin der Letzt, Esa. 44," and "Heilig, Heilig, Heilig ist Gott der
HErr, der allmechtige, der da war, vnd der da ist, vnd der da kompt!
Apoca. 4." On a scroll held above the Trinity by angels is printed
Heilig, Heilig, Heilig ist der HErr | Zebaoth, Alle Land sind seiner |
ehren vol, Esaie 6." In the upper corners, to 1. and r. of this, are the
two Saxon shields. God the Father holds in his hand a scroll inscribed
Kompt alle zu mir, die jr mit sünden seit beladen, Ich wil euch durch
meinen Son laben." On either side of the Trinity is a group of saints,
women 1., men r. A scroll enfolding both groups contains the words,
"Die welt haben wir gelassen, vnd auff Christum vns verlassen, drumb
frewē wir vns ewiglich, mit Gott in seinem, Himelreich." Below each of
these groups is a flying angel bearing a scroll with words addressed to
those on earth; 1., "Ringet darnach, das | jr durch die enge Pfor- | te
eingehet, Luce 13.", r., "Kompt herzu, last vns dem | HErrn frolocken,
jautzen dem Hort vnsers heils, Psal. 95."
(C
At the foot of the ladder are two groups, men 1., women r., who
represent the church militant. The men, partly kneeling, partly standing,
are of various ranks pope, emperor, bishop, cardinal, nobleman, etc.;
their leader is recognizable as a portrait of Frederick the Wise.¹ The
women are similarly characterised by variety of costume. Above the men
is a scroll with "Das Blut Jhesu Christi reinigt vns von allen sünden,”
above the women a scroll with "Hilff vns Gott durch Christu." On either
side is a devil trying to lead the Christians into temptation. The one to
1. holds a scroll with "So Gott kein gefallen hat in ewrem verderben, |
Was arbeit jr so hart in tugent bis auff ewr sterben?" On the women's
side the devil holds a scroll with "Der Teuffel spricht. | Hut dich mensch,
du bist schwacher natur. | Brauch in wollust, weil du lebst, Gottes
Creatur."
[389 × 292.] Good impression, though not very early, without margin. No
watermark.
In the inventory of 1837.
Schuchardt describes this edition, which is also at Gotha in a damaged impression
¹ According to H. Michaelson (Kunstchronik, 1899, N.F. x, 377) John (the
Constant) is seen behind Frederick, and on the other side his wife, Margaret of
Anhalt, to whom he was married on 13 November, 1513, but this identification is
extremely doubtful.
Division D.-School of Saxony.-L. Cranach I.
307
(watermark, high crown), and quotes the title, which is wanting here, as "Ein kurtz
andechtiges himelisch Leitterlein angegeben von dem heiligen Bonaventura An
welchem die Christglaubigen leichter steige mogen dem vehsten hochen Himmel."
He mentions another edition in the Albertina with the title "Das himlische Letter-
lein S. Bonauentura"; this has "Kompt alle" and "Apoca. 4," like the edition in
London; a second copy at Gotha, with the same title as the edition in the Albertina
(watermark, high crown) and inscriptions in Gothic letters, has "Apo. 4" and
Kumpt alle," instead of " Apoca. 4" and "Kompt alle." The edition published by
Lippmann differs from all three, and appears to be the earliest of all. Instead of
Kompt alle" or Kumpt alle," it has "Kübt all." The edition with the text in
Roman characters is much later.
The Trinity from this block, cut to a circle (diam. 93), was used on the title-page
of the 1616 edition of Cranach's Passion, printed at Amsterdam (Coburg, Stuttgart-
the round block by itself), described by Weigel, Kunstkat., no. 12712. Flechsig
(p. 49) compares this woodcut and the following, which belongs to it, with the
illustrations in "Ein ser andechtig Cristenlich Buchlein," by Adam von Fulda,
printed by S. Reinhardt, Wittenberg, 1512.
84. HELL.
P. iv, 10, 163; Sch. ii, 238, 100, and iii, 226; N. 86; L. 51a.
Men and women in flames, tormented by devils. On a long scroll
above the woodcut is a line of Gothic type, "Wir haben an vnsern leben
nicht wollen d yhymlische leitter stigen, darumb wirgefallen jn die Hell
mussen bey dem teuffel ewig bleiben."
[120 × 291, height of sheet 129.] Sharp, early impression; the upper corners,
containing the ends of the scroll, are lost, and restored in pen and ink. The border-
line at the top is wanting. This subject, as the dimensions and heading show, is
connected with the preceding, and would be found printed beneath it, if the sheet
were preserved intact. This is the case at Paris (late edition, the heading, "Gehet
hin," etc., printed in Latin type; repr. Lippmann 51a), and at Gotha (the second of
the impressions described under no. 83, an earlier edition than at Paris, later than our
own), where the heading of the lower subject is "Die erbarmliche Klage der Ver-
dampten, vom jmmer werende wehe der Hellen." Under the woodcut is printed,
on the Gotha copy, "O Jamer vnd not, O Hell vnd Tod, o Elend on end, O sterben
on sterben," etc.; there is no address or date. The woodcut in any edition is very
rare; Schuchardt, when he wrote the second part of his book, had only seen it at
Stuttgart. Our own impression of no. 84 belongs to an earlier edition than that of
no. 83; to judge by the condition of the block, it is probably the first issue.
Passavant quotes the same heading, with some variations of spelling, in his descrip-
tion of the Stuttgart impression.
+ THE ASSUMPTION AND CORONATION OF THE VIRGIN.
Sch. ii. 238, 101; P. iv, 10, 164; N. 87; L. 50.
Reproduction, from Lippmann's publication (Berlin, 1895).
Flechsig (p. 62) rejects this woodcut, surely on insufficient grounds,
from the work of the elder Cranach, without ascribing it to any other
artist, and dates it some ten or twelve years later than the group with
which it is here connected. Schuchardt regards it as forming one series
with the other woodcuts of like dimensions, his nos. 99 and 101a, and
this opinion is here adopted. It is signed in the same way as no. 99
(L. 51), and there is a strong resemblance between the angels in both.
The execution is certainly slighter and more sketchy in the present case.
† THE DEATH AND ASSUMPTION OF THE VIRGIN.
Photograph of the impression at Wolfegg.
Sch. iii, 228, 101a.
x 2
308
Early German and Flemish Woodcuts.-Part II.
85. THE DEATH OF THE VIRGIN.
Fragment of Sch. iii, 228, 101a.
The Virgin, propped up by a pillow, receives a lighted taper from the
hands of St. John, who stands beyond the bed. Next to him, on one
side, is an apostle who is wiping tears from his eyes, and on the other
side St. Peter, who holds a holy water sprinkler. Four apostles stand
behind St. Peter, five more kneel on the near side of the bed. Above
St. John's head Christ, surrounded by cherubim, receives the soul of the
Virgin in his arms. A border-line is preserved on the 1. and lower sides
only.
[88 × 102.] Sharp, early impression.
Presented by Mr. J. H. Anderdon, 1872.
Reproduced and described in Jahrbuch d. k. preuss. Kunstsammlungen, 1903,
xxiv, 290.
Since I published this woodcut I have ascertained that it is a fragment of a large
sheet, described by Schuchardt in the third part of his book, which is extant in two
impressions, at Paris and Wolfegg. The Wolfegg impression, better preserved than
that in the Bibliothèque Nationale, measures 399 × 282 mm. The arrangement of
subjects is best explained by a diagram. The ruled lines correspond to actual lines

16
12
8
15
11
14
13
6
7
1
2
تن
3
10
9
100
5
4
on the original, the dotted lines to less definite divisions between the subjects. The
lowest compartment contains four subjects, divided from one another by columns at
irregular intervals. The sequence begins from the left. 1. Mary, sitting in her
chamber, is visited by an angel, who brings her a branch of palm and announces her
approaching death. 2. She stands; the angel, after leaving the palm in her hands,
takes leave of her. 3. She sits on the step beside her bed, leaning her head on her
hand, awaiting the arrival of the apostles. 4. St. John, bearing the palm, receives
at the door of the Virgin's house St. Peter and eleven other apostles (including
St. Paul), who have arrived, miraculously borne on clouds, to be present at Mary's
death. 5. The death scene, described above (no. 85). 6. The apostles, led by
St. John, who bears the palm, carry the bier of the Virgin to the grave. The
sacrilegious high priest and his attendants fall to the ground convulsed with pain,
and the severed hands of one man remain fixed to the pall. 7. The twelve apostles
(excluding St. Thomas) are assembled round the empty tomb, from which (8) Mary
is borne up to heaven, surrounded by angels. 9. "Kindlen " (three boys and three
girls). 10. "Eelewth" (three married couples). 11. "Witwen "
(widows).
Division D.-School of Saxony.-L. Cranach I.
309
12. "
Beichtiger" (confessors). 13. Angelus" (angels). 14. "Archangel'” (arch-
angels). 15. "Virtutes " (virtues). 16. " Potestates" (powers).
In the cutting of the letters and in all other respects the complete woodcut
closely resembles Sch. 101. Further than that, it forms actually the lower half of
the same design. On placing it beneath Sch. 101 (L. 50), it will be seen that the
nine orders of angels, complete, run up the 1. side, matched by a corresponding
hierarchy of saints to r., while the Virgin, in the central column, is shown twice on
her passage from the tomb to heaven, where finally she is seen a third time at the
moment of her coronation. The absence of a signature on the lower half is explained
by the fact that the Saxon shields at the top of Sch. 101 are intended to cover the
entire double sheet.
Cranach has followed closely the second of the two versions of the story given in
the Golden Legend,' viz., that in which the hands of one of the high priest's
attendants are cut off. In the first version the high priest himself attempts to
throw down the coffin; his hands stick to the pall and wither, but are not severed.
86. THE SEVEN JOYS OF MARY.
The Virgin sits, turning a little to 1. holding a book half open on her
lap. She is surrounded by clouds, amongst which are seven medallions,
each enclosed by a double line, containing (1) the Annunciation, (2) the
Nativity, (3) the Adoration of the Magi, (4) the Finding of Christ in the
Temple, (5) the risen Christ appearing to the Virgin, (6) the Descent of
the Holy Ghost, (7) the Coronation. These subjects begin at the bottom
on the left, and end at the bottom on the right, the fourth being just
over the Virgin's head. No signature.
[152 × 141 (greatest dimensions-the sheet is cut irregularly).] Damaged and
discoloured.
From the Bagford collection. Transferred from the Department of MSS., 1814.
Reproduced and described in Jahrbuch d. k. preuss. Kunstsammlungen, 1903, xxiv,
288, 290.
Another impression, more perfectly preserved [157 × 147, including
border-line], was in a portion of the Holtrop collection, sold at Sotheby's in July,
1909. The principal figure looks somewhat earlier, but the small subjects harmonize
well in style with the group among which the woodcut is here placed.
87. A NOBLEMAN.
B. vii, 293, 123; H. 211, 263 (413); Sch. ii, 278, 125; N. 104; L. 35.
He rides to 1., fully armed, with large ostrich plumes; his face is only
partially seen through the open vizor of his helmet. On the caparison of
the horse is a pattern of pansies with the letter G upon a heart, frequently
repeated. The winged serpent is on the ground.
[243 × 164.] Fine impression, without watermark.
Presented by Mr. W. Mitchell, 1895.
Impressions with margin preserved have the title "Der Adel" printed above, and
twelve German verses by C.M.O. printed underneath. This woodcut is rejected by
Flechsig (p. 53), on insufficient grounds. It must be admitted that the horse's head
is too small for it, and its legs are badly out of drawing. But the attribution to
Hans Cranach (Flechsig, p. 250), who is supposed to have been born about 1500-1501,
is impossible, since a reversed copy of this woodcut appeared on 1 May, 1515, in N.
Marschalk's "Institutionum Reipublice Militaris ac civilis Libri novem," printed at
Rostock (repeated in "Historia aquatilium," 1520). The original and copy 2 are
reproduced in Mitteilungen der Gesellschaft für vervielfältigende Kunst, 1901, p. 35,
where I have discussed the whole question of authenticity in detail. I have only
now to add that the copy may be the work of the artist who signed in a very similar
manner the drawing at Parma, dated 1522, which is mentioned above under no. 58.
1
¹ J. à Voragine, "Legenda Aurea," ed. T. Graesse, Lipsiae, 1850, p. 520.
* Wrongly attributed to Erhard Altdorfer. P. iv, 51, 79.
310
Early German and Flemish Woodcuts.-Part II.
:
88. THE ANNUNCIATION.
B. vii, 279, 2; H. 125, 2 (37); Sch. ii, 194, 5; N. 3; L. 41.
The Virgin sits 1. with hands folded, a book in her lap, a pot of
flowers near her on the ground. Gabriel approaches from the r.; over
his head is the Holy Ghost. The serpent is placed in contact with the
lower border-line.
[243 × 166.] Good impression, but 1. upper corner mended.
In the inventory of 1837.
•
Flechsig (p. 44) dates this about 1511-12. An early impression at Berlin has
eight lines of German text below, "Zu disen nachfolgenden gebetten. Ave
Maria gratia plena." Late impressions, in the passe-partout described by Schuchardt,
are in the Albertina, at Berlin and at Coburg.
89. THE WEREWOLF.
B. vii, 291, 115; H. 210, 260 (410); Sch. ii, 277, 122; N. 101; L. 15.
A man turned brute walks on all fours towards the forest, carrying a
baby by the skin of its back between his teeth. The mangled remains of
several other victims of his cannibalism lie on the ground. A peasant
woman and her child stand at the door of a cottage 1.; a small boy runs
up dismayed at the loss of his baby brother; a dog runs out and barks;
the father looks out, roused by the noise, from the cowstall adjoining the
house. Over a window is the winged serpent; the two Saxon shields are
in the sky.
[162 × 126.] Good impression, but discoloured, and r. upper corner mended.
No watermark.
Purchased from Messrs. Graves, 1854.
90. ST. GEORGE SLAYING THE DRAGON.
B. vii, 284, 64; H. 164, 81 (222); Sch. ii, 222, 74; N. 66; L. 16.
St. George, on horseback, facing r., raises his sword to strike at the
dragon, which lies on its back, already wounded by a spear. The
princess kneels in the background. The two Saxon shields are suspended
from the branch of a tree.
[164 × 128.] Fine impression. No watermark.
Presented by Mr. W. Mitchell, 1895.
[91-102.]
THE MARTYRDOMS OF THE APOSTLES.
B. vii, 282, 37-48; H. 155, 58–69; Sch. ii, 210, 34-45; N. 41-52; L. 43–46.
Heller and Nagler describe several books in which this series was
used, much later than the probable date of its origin, about 1512.
woodcuts are only seen to advantage in the early impressions, without
text on the back and before injury to the blocks.
The
91. ST. PETER.
PROOFS.
B. 37; H. 58; Sch. 34; N. 41.
He is crucified head downwards. A wedge is being driven in, to hold
the cross erect.
Division D.-School of Saxony.-L. Cranach I.
311
92. ST. ANDREW.
B. 38; H. 59; Sch. 35; N. 42.
He speaks from the cross to an assemblage of men and women on the
right.
93. ST. JAMES THE GREATER.
B. 39; H. 60; Sch. 36; N. 43; L. 43.
He kneels, about to be beheaded. His cloak and hat lie on the
ground.
94. ST. JOHN.
B. 40; H. 61; Sch. 37; N. 44; L. 44.
Vested in a chasuble, he descends alive into the tomb prepared for
him behind the altar, as the acolyte extinguishes a taper after mass.
95. ST. PHILIP.
B. 41; H. 62; Sch. 38; N. 45; L. 45.
He hangs on the cross, surrounded by a throng of men, mounted and
on foot, who look up at him.
96. ST. BARTHOLOMEW.
B. 42; H. 63; Sch. 39; N. 46.
He is laid upon planks in the form of a cross and is being flayed.
97. ST. THOMAS.
B. 43; H. 64; Sch. 40; N. 47.
He is pierced with a spear as he stands at the altar.
98. ST. MATTHEW.
B. 44; H. 65; Sch. 41; N. 48.
He has been beheaded; water gushes forth from two places at which
his head has fallen on the ground.
99. ST. JAMES THE LESS.
B. 45; H. 66; Sch. 42; N. 49.
He is thrown down from a pulpit and smitten with a fuller's club.
100. ST. SIMON.
B. 46; H. 67; Sch. 43; N. 50.
He is sawn asunder.
101. ST. JUDE.
He is clubbed to death in a church.
102. ST. MATTHIAS.
He is beheaded with a guillotine.
B. 47; H. 68; Sch. 44; N. 51.
B. 48; H. 69; Sch. 45; N. 52; L. 46.
[c. 163 × 126.] Good impressions throughout, without margin; not quite
uniform.
Nos. 95 and 98 purchased at Prince de Paar's sale, 1854; no. 94 from Messrs.
Deprez and Gutekunst, 1891; the remaining nine from Messrs. Obach and Co.,
1904.
312
Early German and Flemish Woodcuts.-Part II.
LATE IMPRESSIONS.
91a. ST. PETER.
92a. ST. ANDREW,
93a. ST. JAMES THE GREATER.
94a. ST. JOHN.
95a. ST. PHILIP.
96a. ST. BARTHOLOMEW.
97a. ST. THOMAS.
98a. ST. MATTHEW.
99a. ST. JAMES THE LESS.
B. 37.
B. 38.
B. 39.
B. 40.
B. 41.
B. 42.
B. 43.
B. 44.
B. 45.
B. 46.
B. 47.
B. 48.
100a. ST. SIMON.
101a. ST. JUDE.
102a. ST. MATTHIAS.
Nos. 91a-101a are from the 1548 edition of Luther, "Das Symbolum der Heiligen
Aposteln," with German text on the back, the title being on the back of no. 91a.
These are from the Storck collection (Milan, 1797) and were purchased from Mr.
Tiffin, 1849. No. 102a, a later impression without text on the back, was presented
by Dr. Percy, F.R.S., 1858.
CHRIST AND THE APOSTLES.
[103-116.]
B. vii, 281, 23-36; H. 139, 44-57; Sch. ii, 215, 46-59; N. 27-40; L. 37-40.
103. CHRIST.
B. 23; H. 44; Sch. 46; N. 27.
He stands, in the act of blessing, holding an orb in his 1. hand.
Round his head is a cloud full of cherubim. On either side of Christ's
mantle are the two Saxon shields; on the ground 1. is the winged
serpent.
[329 × 184.] Good impression, on thin white paper; cut within the border-line,
as are all that follow. Watermark, a dog with post-horn on its back.
Purchased at Prince de Paar's sale, 1854.
104. ST. PETER, WITH BOOK AND KEY. B. 24; H. 45; Sch. 59; N. 28.
[309 × 182.] On the lower margin is printed: "I. Ich gleub an Gott Vater
allmechtigen, Schöpffer Himels vnd | der Erden." Watermark and provenance as
no. 103.
105. ST. ANDREW, WITH BOOK AND CROSS.
B. 25; H. 46; Sch. 48; N. 29; L. 38.
[312 × 187.] "II. Vnd an Jhesum Christum, seinen einigen Son, vnsern |
HErrn." Watermark, etc., as no. 103.
Division D.-School of Saxony.-L. Cranach I.
313.
گھر
106. ST. JAMES THE GREATER, AS A PILGRIM.
B. 26; H. 47; Sch. 49; N. 30; L. 39.
[313 × 185.] " III.
Der empfangen ist von dem heiligen Geist, Geborn aus |
Maria der Jungfrawen." Watermark, etc., as no. 103.
107. ST. JOHN, WITH A CHALICE. B. 27; H. 48; Sch. 50; N. 31; L. 40..
[302 × 182.] “III. Gelitten vnter Pontio Pilato, gecreutziget, gestorben vnd |
begraben." Watermark, a larger dog, without post-horn. Provenance as no. 103.
108. ST. PHILIP, WITH A CROSS.
B. 28; H. 49; Sch. 51; N. 32.
[304 × 182.] "V. Nidder gefaren zur Hellen, am dritten Tage wider auffer- |
standen von den todten." Watermark, small high crown. Provenance as no. 103.
109. ST. BARTHOLOMEW, WITH HIS FLAYED SKIN.
B. 29; H. 50; Sch. 52; N. 33.
[311 x 182.] "VI. Auffgefaren gen Himel, Sitzend zu der rechten Gottes des
Allmechtigen Vaters." Watermark and provenance as no. 103.
109a. ST. BARTHOLOMEW.
B. 29; H. 50; Sch. 52; N. 33..
[Woodcut, 315 × 188; sheet, 348 × 235.] A better preserved impression, from
another edition, with margin. Over the woodcut is the title, "S. Bartholomeus."
On the r. side a biographical notice in 28 lines, "Von diesem finde ich. . . vnd
endtlich köpffen lassen." Beneath the woodcut the same text as under no. 109, but
the first line ends with "all-." Watermark, high crown with a star at the top.
Purchased from Mr. Evans, 1849.
110. ST. THOMAS, WITH BOOK AND SPEAR.
B. 30; H. 51; Sch. 53; N. 34.
[310 × 184.] "VII. Von dannen er komen wird zu richten die Lebendigen vnd
die Todten." Watermark and provenance as no. 103.
111. ST. MATTHEW, WITH BOOK AND CARPENTER'S SQUARE.
B. 31; H. 52; Sch. 54; N. 35.
[310 × 183.] “VIII. Ich glaube an den heiligen Geist." No watermark.
Provenance as no. 103.
112. ST. JAMES THE LESS, WITH BOOK AND FULLER'S CLUB.
B. 32; H. 53; Sch. 55; N. 36.
[310 x 180.] "IX. Eine Heilige Christliche Kirche, die gemeine der Heiligen."
Watermark and provenance as no. 103.
113. ST. SIMON, WITH A SAW.
[312 × 185.] "X.
"X. Vergebung der Sünden."
above, post-horn beneath. Provenance as no. 103.
114. ST. JUDE, WITH A CLUB.
B. 33; H. 54; Sch. 56; N. 37.
Watermark, high crown with star
B. 34; H. 55; Sch. 57; N. 38.
Watermark as no. 113, but
[309 × 181.] "XI. Aufferstehung des Fleisches."
the post-horn is inside the lower outline of the crown, not beneath it. Provenance
as no. 103.
115. ST. MATTHIAS, WITH AN AXE.
B. 35; H. 56; Sch. 58; N. 39.
[309 × 182.] "XII. Vnd ein ewiges Leben, Amen." Watermark, high crown
without a horn. Provenance as no. 103.
314
Early German and Flemish Woodcuts.-Part II.
116. ST. PAUL, WITH TWO SWORDS. B. 36; H. 57; Sch. 47; N. 40; L. 37.
[302 × 180.] No margin. Watermark and provenance as no. 103.
Of this series there are several editions and several sets of copies, both most fully
represented at Berlin. For instance, B. 23. (1) Early impression without text, wide
margin; (2) Over the woodcut, "Jhesus Christus warhaff- tiger Gott vnd Mensch,"
at side, "AL so ist es geschrieben," etc. (17 lines). (3) Later impression without text,
cracks in the block. B. 24. (1) Early, without text. (2) At top, "S. Petrus," r.
"Ein Galileer," etc. (27 lines). (3) "I. S. Petrus. Apostel," with cracks. B. 25.
(1) Without text. (2) At top, "3 Andreas ; r. "Von Andrea," etc. (20 lines). (3) At
top, "S. Andreas"; r." Von Andrea Petri bru,” etc. (13 lines). (4) At top, " S. Andreas.
Apostel" (later impression). B. 26. (1) At top, "S. Jacob der grösser "; r. "Zebedei
Son," etc. (28 lines). (2) At top," S. Jacob der grösser"; r.
"Zebedei son, Johannis,
""
etc. (17 lines). (3) "S. Jacob der grösser . . Apostel." B. 27. (1) At top, "S. Johannes
der Euangelist," r. "Diesen hat,” etc. (30 lines). (2) At top, "S. Johannes der Euan-
gelist," r. "Diesen hat Domicia- |," etc. (18 lines). (3) "4. S. Johannes. Apostel.
vnd Euägelist." And so forth.
Among the copies the most interesting, on account of their early date, are the
reduced ones in reverse published in the "Hortulus Animae," printed by J. Schöffer,
Mainz, 1516. These were reprinted in "Catholica Nauseae," J. Schöffer, Mainz,
1529,¹ SS. Andrew, Matthew and Paul excepted, and again in the Hortulus Animae,
Dillingen, 1574.
Another set of copies produced at Augsburg appeared in two editions, accompanied
in each case by a border from the design of Weiditz. Both editions are represented
at Berlin, the first only by a single Apostle (194-1903, copy of B. 33). The first
edition has the fine architectural border, Röttinger 48, designed about 1519. The
second, of which twelve sheets are preserved at Berlin (830-2, etc., Christ and St.
Matthias, B. 35, are wanting), is in a border in the style of the Oecolampadius title-
borders of 1521, Röttinger, 40, 41. At the bottom on each side is a dolphin's head,
then an undulating pattern of large leaves, with a large five-petalled flower at top.
The background is shaded obliquely with black lines on a white ground. The r. side
repeats the 1. approximately. The height is 305 mm., the width of each side at the
bottom 30 mm., at the top 78 mm. 1. side, 100 mm. r. side. At the top the two sides
nearly meet, but there is a gap of 38 mm. just over the head of each Apostle. The
size of the sheet is 320 × 217 mm. At the top is a white margin on which the name
of the Apostle is printed. The copies described by Heller (Dürer), nos. 2221-2232,
are at Bremen. These are mentioned in Heller's Cranach catalogue, among other
copies, separately under the name of each Apostle, in the second place.
117. FREDERICK THE WISE IN PRAYER BEFORE THE VIRGIN AND
CHILD. B. vii, 287, 77; H. 171, 100 (247); Sch. ii, 234, 97; N. 84; L. 34.
The naked child sits 1. upon his mother's lap, holding a bunch of
grapes in his 1. hand. The Elector, r., three-quarter face to 1., wearing a
mantle with a fur collar, folds his hands in prayer. Across a low wall
we see a landscape, with a large tree r. A festoon of fruit is suspended
from the top. On a ledge in front lies a closed book; farther to r. is the
winged serpent, carefully drawn on a large scale.
[369 × 230.] Early impression, but grey and ineffectively printed, with margin
[10-15]. Watermark, large high crown.
In the inventory of 1837.
Flechsig (p. 50-51) dates this woodcut about 1514, calling attention to the fine
execution of the serpent and the resemblance to the large series of Apostles. He
remarks that this is the only woodcut by Cranach himself in which Frederick the
Wise is represented; I should add L. 51.
The fine impression of this extremely rare woodcut in the Albertina has the same
watermark as ours. At Gotha is an old, but late, coloured impression with the name
"Hans Guldenmundt"; an uncoloured impression of the same edition is reproduced
in the A. von Lanna sale catalogue, Stuttgart, 1909, pl. 8. In the Liechtenstein
collection is a coarse copy.
¹ A copy of this book is in the Department.
Division D.-School of Saxony.-L. Cranach I.
315
118. THE BEHEADING OF ST. JOHN THE BAPTIST.
B. vii, 284, 62; H. 166, 87 (228); Sch. ii, 226, 80; N. 72; L. 47.
The body lies prone upon a platform, where the executioner is
sheathing his sword. Three armed men stand near him, three others on
the floor below, one of whom picks up the Baptist's head, which had
fallen over the edge of the platform. The daughter of Herodias, with an
escort, descends some steps r., carrying the charger to receive the head.
A group of men watch the scene from a gallery above. The two Saxon
shields are suspended near them; the winged serpent is in the r. lower
corner.
[330 × 232.] Very fine impression.
Presented by Mr. W. Mitchell, 1895.
Flechsig (p. 50) dates this woodcut about 1514-15.
vii.
WOODCUTS-SOME DATED-1515–1520. Nos. 119-123.
† GEORG SPALATIN BEFORE A CRUCIFIX. 1515.
Sch. ii, 239, 102; P. iv, 10, 165; N. 88; L. 48.
Reproduction presented by Dr. Lippmann, 1902.
119. ST. JOHN THE BAPTIST PREACHING.
1516.
B. vii, 283, 60; H. 166, 85 (226); Sch. ii, 225, 78; N. 70; L. 49.
St. John stands 1. behind a rail which is supported by the fork of a
tree. He gesticulates with his r. hand as he addresses the crowded
congregation partly seated, partly standing to r. in a clearing of the
wood. The two Saxon shields are suspended from branches; a tablet
containing the serpent and date 1516 lies on the ground r.
[335 × 236.] Early impression, black.
Presented by Mr. W. Mitchell, 1895.
The chiaroscuro impressions, with the tone-block printed in yellow, are rare, but
bad and late. Specimens are in the Albertina and the Bibliothèque Nationale,
Paris.
120. A TOURNAMENT ("ANZOGEN-RENNEN ").¹ 1
B. vii, 188, 37; H. (Dürer) 2096; H. (Cranach) 235, 587; P. iii, 214, 287.
Of the two combatants one has a shoe as a device on his helm, the
other has the initial A repeated all over his shield and the trappings of
his horse. Both are unseated, and the lance of the first has splintered.
No signature.
[239 × 330.] Good impression.
Presented by Mr. W. Mitchell, 1895.
This woodcut was treated in the older catalogues of Dürer as belonging to the
latter's Freydal series. It does not correspond, however, to any subject among the
original miniatures for Freydal, and its dimensions are considerably larger than
those of the Freydal woodcuts. I attribute it without hesitation to Cranach, whose
style betrays itself in the hands, drapery, the treatment of the straw on the ground,
and, above all, in the clouds. The probable date is about 1516-17.3 Repr., Hirth,
475. There is a particularly good impression at Bremen.
¹ See Vol. I, p. 329.
2 Vol. I, p. 328 f., nos. 131-135.
3 See Repert. f. Kunstw. xxv, 449. I have recently observed that this woodcut had
already been attributed to Cranach in Rost's Catalogue xxi, p. 295 (quoted by Heller).
i
¿
316 Early German and Flemish Woodcuts.-Part II.
121. ST. BARBARA.
B. vii, 285, 69; H. 168, 91 (233); Sch. ii, 229, 84; N. 76.
She stands, three-quarter face to r., dressed as a gentlewoman of
Cranach's time; both her hands are covered with drapery, upon which a
chalice rests. To l. is a tower, upon which the winged serpent in the later
shape is drawn in solid black, not, as hitherto, in outline. In the clouds
to r. of St. Barbara's head is a human face; the clouds to 1. take the
semblance of a grotesque monster.
[215 × 126.] Good impression, with margin [16] at top, on which the name,
S. Barbara, is printed in large letters.
In the inventory of 1837.
This woodcut is the companion of the following, which is dated 1519. See
Flechsig, p. 55.
122. ST. CATHERINE. 1519.
B. vii, 286, 71; H. 168, 93 (235); Sch. ii, 230, 85; N. 77; L. 52.
She stands, three-quarter face to l., holding in both hands a book in
which she reads. Near her feet are a sword and portion of a wheel; on
the latter is the date 1519. The winged serpent, shaped as in no. 121, is
in the air above the wheel. Among the clouds a man's face may be seen
1. and a cherub's r.; the other clouds bear a vague resemblance to
animal forms.
[215 × 126.] Good impression, with margin [15] at top, on which the name,
Katharina, is printed in large letters.
In the inventory of 1837.
123. REPOSE OF THE HOLY FAMILY, WITH ANGELS DANCING.
B. vii, 280, 4; H. 125, 4 (40); Sch. ii, 196, 9; N. 5; L. 33.
The Virgin sits under a tree upon a rustic bench¹ like that which
occurs several times in the work of Dürer. The naked child dances on
her knee, holding an apple in his r. hand. St. Joseph stands behind
watching them, his 1. elbow resting on the fork of a branch. Angel
children dance in a circle round the Virgin and child; two others, on a
branch of the tree, are stealing the fledglings from a nest, to the
indignation of the parent birds. Landscape background. The two
Saxon shields are in the 1. upper corners, Cranach's serpent, in outline,
in the r. lower corner.
[338 x 236.] Fine impression, but with a crack already extending from the top
of the block to St. Joseph's head. Watermark, bull's head with trefoil on a stalk.
Presented by Mr. W. Mitchell, 1895.
Dated by Flechsig (pp. 52, 53, 295) about 1520.
124. LUTHER AS “JUNKER JÖRG.”
H. 222, 293a (527); Sch. ii, 310, 179, iii, 254; P. iv, 18, 193; N. 171; L. 54.
Second edition. Bare-headed, with moustache and beard; bust,
showing the r. shoulder, in three-quarter face to 1., looking upward.
Clouds in background; single border-line; unsigned.
¹ In German, Rasenbank.
Division D.-School of Saxony.-L. Cranach I.
317
[285 × 208.] Damaged impression (watermark small high crown), with margin
preserved only at the top. On this is printed the title :-
IMAGO MARTINI LVTHERI EO HABITV EX=
PRESSA, QVO REVERSVS EST EX PATHMO VVITTE=
BERGAM ANNO DOMINI 1522.
Collection: Cracherode.
In the inventory of 1837.
124a. LUTHER AS "JUNKER JÖRG."
H. 293a; Sch. 179; P. 193; N. 171; L. 54.
Second edition: another impression.
[Size of sheet, 326 × 207.] A finer impression (same watermark), the woodcut
itself well preserved, but with margin only at the bottom, containing the remainder
of the text. Beneath the centre of the portrait are the verses:
Quæsitus toties, toties tibi Roma petitus,
En ego per Christum uiuo Lutherus adhuc.
Vna mihi spes est, quo non fraudabor, Iesus,
Hunc mihi dum teneam, perfida Roma uale.
Below this, Latin text in three columns:
(Col. 1).
(Col. 2).
(Col. 3).
ANNVS CONFESSIONIS VVOR= | MACIÆ 1521.
Cæsaris ante peDes, proCeres stetIt ante potentes
ACCola qVà RhenI VangIo LIttVs aĎIt.
ANNVS PATHMI | 1521
A Rheno properans CapitVr, benè ConsCIa PathMI
TeCta, PAрæ fVgIens retIa strVCta, petit.
ANNVS REDITVS EX | PATHMO 1522.
CarLstaDII ob fVrIas aD SaXona teCta reCVrrIt,
FaVCIbVs ex sæVIs rVrsVs oVesqVe rapIt.
The letters printed in capitals (C, D, I, L, M, V, X) within the words, give, when
added together, the date required, except in the third column, where the date works
out as 1512; the x in "ex," if printed X, would correct this error.
Collections: Liphart, Mitchell.
Presented by Mr. W. Mitchell, 1895.
Luther, after leaving Worms on 26 April, 1521, was arrested near Altenburg on
May 4th by two masked knights (his friends) and removed to the Wartburg (called
here "Pathmos ") where he remained in retreat, dressed as a knight and letting his
beard grow, until 3 March, 1522. During this time, in the first week of December, he
paid a hasty visit to Wittenberg, where he remained a few days in strict seclusion,
seeing only Cranach, who recognised him in his disguise by his voice, and a few
other friends. During this visit Cranach painted, according to Dr. Flechsig,' the
portrait in oils which is now in the Stadtbibliothek at Leipzig, of which the present
woodcut, on Flechsig's theory, is a copy in reverse. I hold it, with Mr. Lionel
Cust,2 more probable that Cranach's original portrait was a drawing, reproduced
directly in the painting and in reverse in the woodcut. The latter has been very
highly praised by earlier writers on Cranach, and I see no reason why it should not
be retained in the list of his original works, in the sense that the drawing on the
block, even if it be a repetition of the picture (which I doubt), is by his own hand.
This may be inferred from the clouds, drawn entirely in his manner.
There are two editions of the woodcut. The earlier, reproduced by Lippmann, is
preserved at Dresden³ in a fine contemporary impression with broad margin [size
2 Burlington Magazine, xiv, 209.
1
¹ P. 63, 108.
³ Sch. iii, p. 254.
318
Early German and Flemish Woodcuts.-Part II.
of sheet, 422 × 312] on which is an old inscription in verse, in red chalk, running
round the woodcut. It has above the portrait only the name "Lutherus " (sic), and
beneath it the four verses, with different orthography. This edition must have
appeared before Luther's final return to Wittenberg, to which allusion is made in
the second edition.¹ In the first edition there is no break in the outline of the r.
shoulder. In the Berlin collection is an undescribed copy of this woodcut by Hans
Sebald Beham, in two states, the earlier having the date 1522; the late state is also
in the Hofbibliothek, Vienna (L. 6,129).
124b. LUTHER AS "JUNKER JÖRG.”
Copy.
In the same direction. To be distinguished by the more mechanical
regularity of the shading. In the upper margin is the name "Lutherus,"
showing that the copyist had the first edition before him.
[Size of sheet (much cut), 265 × 193.] Damaged impression. In the portrait
collection.
Purchased at the Brentano sale, 1870.
DOUBTFUL.
125. PORTRAIT OF GEORG RHAW.
Second state.
H. 228, 307 (541); Sch. ii, 318, 193; N. 199; L. p. 16.
Bust, in three-quarter face to l., wearing a cap and cloak lined with
fur, in a medallion, the border of which is inscribed: GEORGIVS RHAVVs
TYPOGRAPHVS WITTEMB. ANNO ÆTATIS SVÆ. LIIII.
[Diam. 100.] On recto of the last leaf of the Hortulus Animae printed by Rhaw,
1548. Beneath are four Latin verses.
Purchased from Mr. Bihn, 1875.
The first state (reproduced by Lippmann) was used in an earlier edition in which
the verses are the same, but the comma after "varios" in 1. 2 is lacking. The
xylographic ornaments on the back are smaller. In the second state the shading
along the rim and behind the head has been cut away, and much fine detail has been
removed from the face, especially about the eyes and on the upper lip. The portrait
of Luther in the same book was subjected to similar treatment.
This woodcut cannot be positively ascribed to the elder Cranach, but I agree with
Schuchardt and Lippmann in thinking it probable that he made the drawing with
his own hand after a long interval, in which he had refrained from designing wood-
cuts. The book contains, for the most part, reprints of early Cranach blocks; the
other portrait contemporary with the book itself, one of Luther standing, with
serpent and date 1548 (B. 147, Sch. 159), is certainly not to be attributed to Lucas
Cranach I.
APPENDIX TO LUCAS CRANACH I.
WOODCUT PORTRAITS AFTER ENGRAVINGS OR PICTURES BY THE ELDER
CRANACH.
Numerous woodcuts exist, especially portraits of Saxon princes,
which are commonly catalogued under the name of Cranach, but have,
at the best, no closer relation to him than that of copies from works
¹ See Lippmann, text, p. 15.
Division D.-School of Saxony.-L. Cranach I.
319
executed in other mediums, generally oil-paintings, by Cranach or his
assistants. Many of these portraits were produced at Nuremberg or else-
where, and are not works of the Saxon school at all. They are very
poorly represented in this collection as compared with those at Berlin,
Dresden or Gotha. Some of these are attributed, on account of style,
date or signature, to Lucas Cranach II. The anonymous woodcuts of
which no more can be said than that they are probably after Lucas
Cranach I are catalogued here.
126. LUTHER AS AN AUGUSTINIAN FRIAR.
H. 244, 653; Sch. ii, 312, 181; P. iv, 18, 194; N. 172.
Half-length, with tonsure and monastic habit, holding an open book.
He stands in front of a niche; on the wall, r., is the date 1520. Over
his head, on a separate block which completes the round arch of the niche,
is the dove of the Holy Ghost. On a tablet below, forming part of the
main block, is the xylographic inscription: EFFIGIES DOCTORIS
MARTINI LVtheri | AvgvSTINIANI WITTENBERGESIS~~:~~:~1520 ~:~
[205 × 123; height of upper block, 30.] Early impression, with fine contemporary
colouring; the hair and habit dark brown, book and wall pale pink, back of niche
green, tablet yellow.
Purchased from Messrs. Obach and Co., 1903.
This state is undescribed; Sch. and P. quote a German inscription, Doctor
Martinus Luther zu Wittenberg 1520. This is probably an inaccurate version of the
xylographic inscription, Doctor Martinvs Luther Avgvstiner | zv Wittenbergk
~:~ 1520.. which occurs on a fine impression (without the dove) at Berlin. That
impression has six German couplets, printed with type, below:-
Der Luther heyss ich, das ist wor,
Dañ mein leer lauter ist vnd klor, etc.
The whole sheet measures 227 × 122 mm.
On the numerous copies of this woodcut, see Schuchardt, and A. Hagelstange,
Zeitschrift für Bücherfreunde, 1907, xi, 97 (p. 104 for this woodcut). The copy re-
produced by Hagelstange, p. 99, is by Weiditz; another, which he omits to mention,
is by Baldung (Eis. 145).
The woodcut itself is evidently a copy of the engraving of Luther in a niche (P. 8),
signed with the Cranach serpent, reproduced in Lippmann's work as no. 63. The
draughtsman on wood, while he omits the hand, has inserted the architectural
framework to the niche. The engraving is unfavourably criticized by Flechsig,
p. 57, who attributes it (p. 250) to Hans Cranach, treating it as a copy of the father's
original engraving, L. 61.
126a. LUTHER AS AN AUGUSTINIAN FRIAR.
Copy.
H. 653; Sch. 181; P. 194; N. 172.
In the same direction, deceptive, but with a thick border-line at top
and bottom, where in the original there is a slightly marked division
between the portrait itself and the upper block, on the one hand, the
tablet on the other.
[154 × 123.] Good impression.
Purchased from Messrs. Colnaghi and Co., 1852.
On this copy, see Hagelstange, p. 105; it is reproduced on p. 100.
The same copy is found, but in a much worn state, the upper corners broken and
only "15" remaining of the date, in "Wider den newen | Abgot vnd alten Teůfell,
der zů | Meyssen sol erhaben werden. | M. Luther. | Wittemberg. | M.D. XXiiij.”
(Nuremberg) 4to.
320
Early German and Flemish Woodcuts.-Part II.
127. THE ELECTOR JOHN I, THE CONSTANT.
Bust, in three-quarter face to 1., wearing a cap. In the 1. upper
corner the two Saxon shields, in contact.
[272 × 219.] Modern impression.
Purchased from Mr. Durrell, 1848.
The block is in the Derschau collection, Becker, B 20. The connexion with
Cranach is remote. Probably a Nuremberg woodcut.
128. THE ELECTOR JOHN FREDERICK I, THE MAGNANIMOUS. H.608.
As a young man, before the scar on his cheek. Bust, in three-quarter
face to 1., bare-headed, wearing a fur cape.
On his collar are two rows of
s's embroidered in pearls. Över his shoulder, r., is Cranach's serpent.
In the 1. and r. upper corners are the electoral and ducal arms of Saxony.
[331 × 265.] Late, but not quite modern impression.
Purchased at the W. L. Schreiber sale, 1909.
129. SIBYLLA OF CLEVES.
Half-length, three-quarter face to r., with
embroidered in pearls upon her cap and collar.
the 1., those of Cleves in the r. upper corner.
Cranach's serpent.
H. 620.
the motto ALS IN EREN
The electoral arms are in
Over her shoulder, 1., is
[330 × 265.] Late, but not quite modern impression; a companion to no. 128.
Purchased at the W. L. Schreiber sale, 1909.
129a. SIBYLLA OF CLEVES.
H. 620.
[327 × 260.] Modern impression (Derschau, B 47, called in the text 48) from
the same block, which has been meanwhile repaired. The serpent has gone; the
upper border-line now touches the top of the electoral shield from which it was
removed, in no. 129, by an interval of 13 mm. The sharp corner, r., of the outer
collar, level with the chin, which was broken off, and in no. 129 made up with pen
and ink, has now been inserted by a patch on the block. The long vertical crack
beneath it remains visible as before, but has been partially closed up in the printing.
Purchased from Messrs. Colnaghi and Co., 1871.
130. THE ELECTOR JOHN FREDERICK I, THE MAGNANIMOUS.
Bust, in three-quarter face to left, with the scar on the 1. cheek, in
front of a niche. Near the upper corners are two coats-of-arms, duchy of
Saxony, with crown of rue, 1., and Thuringia r. In the lower corner r.
the date 1547.
[306 × 241.] Modern impression.
Purchased from Messrs. Smith, 1845.
131. DUKE JOHN ERNEST OF SAXONY.
Sch. ii, 309, 176.
Bust of a young man, clean-shaven, in a hat with feather, nearly full
face, but turned slightly to r. In the r. upper corner the arms of the
duchy of Saxony.
[325 x 267.] Modern impression (copy, Derschau, B 48-in the text, 47), uniform
with no. 129a.
Purchased from Messrs. Smith, 1850.
Division D.-School of Saxony.-L. Cranach I.
321
132. DUKE GEORGE, AFTERWARDS CALLED "THE BEARDED.”
Copy of B. vii, 298, 143.
Bust, three-quarter face to 1., with very short hair, a wreath on his
head, wearing the order of the Golden Fleece. In 1. upper corner the
arms of the duchy of Saxony, in r. those of Thuringia.
[335 × 265.] Modern impression of the copy (Derschau, B 23), uniform with
nos. 129a and 131.
Purchased from Mr. Buttler, 1873.
An old coloured impression of B. 143, at Dresden, has, above the portrait, "Von
gots genaden Georg Hertzog zu Sachssen, Lantgraff in Doringen, Margraff zu
Meissen," and below, "Zu Nürnberg bey Hanns Wandereisen" (no serpent). This
cut has five lines on the forehead where the Derschau cut has three, and the shape
of the shields is different. There is an impression of the other (Derschau) block
with the serpent.
133. MARTIN LUTHER.
Sch. iii, 257, 189 b.
Bust, three-quarter face to 1., looking upward; wearing a cap and coat
with high collar. Above the cap are lines reaching to the top of the
block, the purpose of which is not clear, but they are probably the
remains of a tablet which contained an inscription before the block was
mutilated.
[330 × 276.] Late impression.
In the inventory of 1837.
Repr. W. L. Schreiber Sale Catalogue, no. 231. This and nos. 134, 135 are
presumably after pictures by Cranach.
134. KATHARINA VON BORA.
Bust, three-quarter face to r., the hair in a net. She wears a gown
trimmed with fur, black bodice, white stomacher and collar. The arms
are seen to the elbow.
[328 × 273.] Late impression, similar to no. 133.
Purchased at the Brentano sale, 1870.
135. PHILIP MELANCHTHON.
Bust, three-quarter face to r., bare-headed, wearing a gown with the
pointed collar turned up.
[325 × 277.] Late impression, similar to nos. 133 and 134.
In the inventory of 1837.
Y
322
II. HANS CRANACH.
Hans, elder son of Lucas Cranach the Elder; b. after 1500
(date unknown), pupil of his father at Wittenberg; travelled in 1537
to Italy; d. at Bologna, 9 October 1537.
(<
Authorities—
J. Stigel, “In immaturum obitum ornatissimi juvenis et eximii
pictoris Johannis Cranachii, consulis Vittebergensis Lucae
Cranachii filii, qui in Italian profectus, Bononiae obiit,
Epicoedion" (Poemata Johannis Stigelii, Jenae 1572). In
the edition of 1577 the title is thus abridged: "In immaturum
obitum Johannis | Lucae F. Cranachii.”
M. Luther, "Tischreden," Leipzig, 1700 (the date of Hans Cranach's
death is wrongly given as 1536).
J. Heller, C. Schuchardt-see L. Cranach I.
M. B. Lindau, "Lucas Cranach," Leipzig, 1883, pp. 292–304.
E. Flechsig, "Die Lösung der Pseudogrünewald-Frage," Kunst-
chronik, 1899, N.F. x., 337.
H. Michaelson, "Hans Cranach," ibid., 373.
E. Flechsig, "Cranachstudien-I. Teil," Leipzig, 1900, pp. 110-250,
especially from p. 179 onwards.
The only authenticated work of Hans Cranach is a sketch-book
in the Kestner Museum at Hanover (Lippmann, "Cranach," pp. 4, 5).
His name has only come into prominence since 1899, when Dr. Eduard
Flechsig, at the opening of the Cranach exhibition at Dresden,
published in a summarized form his arguments for identifying the
Pseudo-Grünewald," an artist allied to, but distinct from Lucas
Cranach the Elder, with Hans Cranach. These arguments were
further developed in the "Cranachstudien" (1900), but Dr. Flechsig
has not fulfilled his promise to deal more fully with the work of
Hans, and especially his woodcuts, in a later part of the same
enquiry. The pictures need not here be considered, but it is on
woodcuts, the two portraits of Christian II of Denmark (1523), that
the argument really hinges. These are signed with the serpent, and
everything indicates that they were produced under Cranach's
immediate supervision; an old tradition even relates that Christian
Division D.-School of Saxony.-Hans Cranach.
323
resided in Cranach's house during his visit to Wittenberg. But the
serpent differs in form from that used by Lucas Cranach, and it is
universally agreed that the style of the woodcuts is not Lucas
Cranach's own. Does the serpent, then, hereby mean that the
woodcuts issued from Cranach's workshop? No, Flechsig replies; it
has its strict heraldic meaning as a distinctive mark of the Cranach
family, to whom it was granted as their heraldic bearings in 1508;
in 1523 no one had a right to use it except Cranach himself and his
The younger of these was aged eight; there only remains
the elder, Hans, whose age, unfortunately, is not recorded.¹
sons.
The two portraits of Christian II are inseparably connected with
certain groups of Wittenberg and Leipzig titlepages, and with the
Halle relic-book of 1520; Flechsig partly sketches, partly hints at,
a considerable œuvre to be attributed to the same artist. His identi-
fication was received at first with a good deal of scepticism, and it
was pointed out that his interpretation somewhat strains the language
of Stigel, our one authority for Hans Cranach's biography, with
regard to that artist's age, or rather his youth. One or two of
Flechsig's attributions, on the other hand, have been disproved.
But, in the main, a tendency is noticeable in the more recent
literature to accept Hans Cranach as the author of the group of
woodcuts, and at least a part of the pictures, attributed to him by
Dr. Flechsig.2 "Hans Cranach" is used here as a more appropriate
and convenient name than "Pseudo-Grünewald" for a certain young
Wittenberg artist working about 1520 under Cranach's influence, but
only with the distinct reservation that the identification of that
artist with Hans remains an hypothesis neither proved nor disproved
for want of paintings or woodcuts authenticated as Hans Cranach's
work. No attempt has been made to trace his hand throughout the
great mass of Wittenberg illustrations of the years 1520-37, but a
few new attributions are here included which seem to arise naturally
out of those already made by Flechsig.
¹ Arguing solely from the works attributed to "Hans Cranach," the earliest of
which is a picture at Aschaffenburg, dated 1516, Flechsig assumes that he was born
about 1500. Lucas was born in 1515, the youngest child Anna in 1520, and there is
reason for thinking that the other daughters were born between Lucas and Anna.
This leaves a surprising interval between Hans and Lucas, but it is quite possible
that several children may have been born during these years and died young, just as
in the Dürer family three children only survived, out of eighteen, and the junior
painter, Hans, was nineteen years younger than the senior, Albrecht.
2 The hypothesis is most fully accepted by E. Heyck in his book on Cranach
(Künstler-Monographien, no. 95), which deals with pictures only.
Y 2
324
Early German and Flemish Woodcuts.-Part II.
BOOKS ILLUSTRATED BY HANS CRANACH.
A. IN THE DEPARTMENT OF PRINTS AND DRAWINGS.
1. [LUTHER.] DE BONIS OPERI- | bus Docto. Martini |
|
Lutheri Li- | ber. J. Grünenberg, Wittenberg, 1521; 4to. (Dommer
192.)
Presented by Mr. W. Mitchell, 1904.
Flechsig's border 10, with birds, animals, printing-press, and monogram of J.
Grünenberg [165 × 125; opening, 85 × 63], Sch. ii, 290, 137; P. iv, 23, 214.
2. [LUTHER.] Auff des bocks zu | Leypczick Ant- | wort D. M.
Luther. |
Wittenberg. 1521. (J. Grünenberg, Wittenberg, 1521.-
Dommer 205.) 4to.
Purchased from Mr. Gutekunst, 1869.
The same border as in no. 1.
3. [LUTHER.] ANTITHESIS FIGVRATA VITAE | CHRISTI
ET ANTHICHRISTI. (J. Grünenberg, Wittenberg, 1521.-Dommer
237) 4to.
Purchased from Mr. Asher. 1851.
Flechsig's border 12, with a large vine-leaf and columns with tritons and nereids
at their bases [169 x 121]. Twenty-six illustrations [c. 118 x 96]. Sch. ii, 240, 104.
(1.) Christ fleeing from the Jews who wish to make him King.
(2.) The Pope asserting his superiority to the Emperor and denying him access.
Christ being crowned with Thorns.
(3.
4.
(5.
The Pope assuming the Triple Tiara.
Christ washing the Apostles' Feet.
(6.) The Emperor kissing the Pope's Toe.
Peter finding the Tribute Money in the Fish's Mouth and paying it at Christ's
command.
(8.) The Pope fulminating against an Emperor who receives Money from
Ecclesiastics.
(9.) Christ healing Cripples and Lepers.
(10.) The Pope watching a Tournament.
(11.) Christ bearing the Cross.
(12.
(13.)
The Pope carried in a Litter.
Christ preaching to the People.
(14.) The Pope and Bishops at a Banquet.
15.) Mary and Joseph adore the Infant lying in a Manger.
(16.) The Pope in command of an Army.
(17.) Christ's entry into Jerusalem, riding upon an Ass.
(18.) The Pope riding with a stately Retinue. Hell in the Distance.
(19.) Christ forbidding his Disciples to take Gold and Silver, or two Coats.
(20.) The Pope points out to a Bishop the stateliness of his Cathedral City.
(21.) Christ saying to the Pharisees, "The Kingdom of God cometh not with
observation."
(22.) The Pope giving his blessing to Monks and Nuns who kneel before him.
(23.) Christ expelling the Money-changers from the Temple.
(24.) The Pope enthroned in Church receiving Money for Indulgences.
(25.) The Ascension.
(26.) The fall of Antichrist into Hell.
The woodcuts have not hitherto been attributed to Hans Cranach, but they are
connected by several links with the group put together as his work by Flechsig.
Observe, especially, the resemblance of Christ in no. 25 with Christ in the Resurrec-
Division D.-School of Saxony. -Hans Cranach.
325
tion in "Eyn deutsch Theologia," 1518; in no. 26 the face of the devil on the right
resembles the masks of frequent occurrence in the Heiligthumsbuch and the title-
pages; the ornaments at the foot of the throne resemble those in the Heiligthums-
buch, sig. P 5 v.; the ornaments on sig. B3 are also characteristic of Hans Cranach.
It is impossible to attribute these illustrations to Lucas Cranach, though his influence
is strongly marked in them. No. 18 was used on the back of the title-page of "Eyn
Clag vnd bitt der deutsche | Nation an den almechtigen | gott umb erloszug | auss |
dem gefencknis des | Antichrist (n.p.d.), 4to.
4. [LUTHER.] Passional Christi vnd | Antichristi. (M. Maler,
Erfurt, 1521.-Dommer 238) 4to.
Presented by Mr. W. Mitchell, 1904.
Contains copies of the title-page and complete set of illustrations in no. 3.
Wittem-
5. [LUTHER.] Von men- | schen lere zu | meyden
berg, M.D.xxij. (J. Grünenberg, Wittenberg. 1522.-Dommer 280) 4to.
Presented by Mr. W. Mitchell, 1904.
Flechsig's border 5, containing 1. a man with a squirrel on his shoulder, r. a man
drinking, the arms of Saxony above and those of Wittenberg below. [158 × 118;
opening, 113 × 72].
6. [LUTHER.] Von eynsetzung vnnd | ordnung der diener der
kirchen (n.p.) 1524; 4to.
Transferred from the Department of Printed Books, 1887.
Copy of Flechsig's border 16 (for the original, see p. 329, no. 17).
7. [MELANCHTHON.] Eyn schrifft Phi- | lippi Melanchthon |
widder die arti- | kel der Bawr-schafft. (J. Grünenberg, Wittenberg,
1525) 4to.
Presented by Mr. W. Mitchell, 1904.
Flechsig's border 8, containing angels with musical instruments [160 x 119;
opening, 115 × 76], in the second state (Dommer 69 B). The electoral swords have
been removed from the upper shield, and the small Saxon arms with the crown of
rue from the lower one.
8. [LUTHER.] Eyn brieff an die | Christen Zu | Straspurg | widder
den schwer- mer geyst. (Cranach and Döring, Wittenberg, 1525) 4to.
(Knaake ¹ 32.)
1
Transferred from the Department of Printed Books, 1889.
Flechsig's border 17, with a portico and two angels holding a disc with Luther's
device of a rose, and on either side of it the initials M L in white [166 x 128;
opening, 61 × 59].
9. [LUTHER.] Eyn Sermon von | stercke vnd zunemen des
glaubens vnd der liebe. | Aus der Epistel S. | Pauli zun Ephe- | sern.
Mart. Luther. | Wittemberg. | M.D.XXVI. (M. Lotter jun., Witten-
berg, 1526) 4to.
Presented by Mr. W. Mitchell, 1904.
Border not described by Flechsig, with three stags and a hind below, male and
female monsters above, on either side of a vase, upon a background shaded from
right to left [171 x 120; opening, 77 x 59]. P. iv, 24, 123. Repr. Butsch i, 93 (from
a book of 1527).
1
Über Cranach's Presse," Centralbl. f. Bibliothekswesen, vii, 196 ff.
326
Early German and Flemish Woodcuts.-Part II.
10. [BIBLE.] Das naw testament nach lawt | der Christlichē
kirchen bewerte text, corrigirt, vñ wider | umb zu recht gebracht.
m.d.xxvij. (Emser's Catholic Version). W. Stöckel, Dresden (1527);
fol.
Purchased from Mr. Thorp, 1851.
Nineteen illustrations to the Apocalypse from the series first used at Wittenberg
in the September and December editions of Luther's translation, 1522 (p. 330, nos. 23,
24; see the remarks there made), Sch. ii, 208, 33. Emser applied to Lucas Cranach,
by order of Duke George of Saxony, for the use of the blocks to illustrate his trans-
lation of the New Testament, and paid forty thalers for the privilege. This only
proves that the blocks were Cranach's property. The two subjects not used in the
1527 edition were replaced by new woodcuts designed by Lemberger.
11. [MELANCHTHON.] Vnterricht | Philip. Melan. | Wider die
Lere der Widerteuffer aus dem | latin verdeudschet, durch | Just. Jonas
|
| Wittemberg | MDXXVIII. (N. Schirlentz, Wittenberg, 1528) 4to.
Presented by Mr. W. Mitchell, 1904.
On the title-page is the autograph of Veit Dietrich (Vitus Theodorij).
Border with the Trinity, two prophets, the Nativity, and three shields with the
devices of Luther, Melanchthon and Schirlentz. [172 × 120; opening, 63 x 48],
P. iv, 23, 119.
12. [POLLICARIUS.]
Der heiligen XII. | Aposteln ankunfft,
beruff, glauben, | lere, leben vnd seliges absterben, etc.
G. Rhaw, Wittenberg, 1549; fol.
Purchased from Mr. Evans, 1851.
Successors of
Eleven of the Apostles on the title-page (see p. 276, no. 2) may be by Hans Cranach,
assuming that they are much earlier than the date of this book. The Creation,
sig. A 4, 157 × 106, seems to be by the same hand as the border in no. 11 (P. 119).
On B 5 v. is the Resurrection, Sch. 94, P. 162, first used in 1518 (see p. 330, no. 20).
DOUBTFUL.
13. [LUTHER.] Der Erste Theil | Der Bücher, Schrifften, vnd |
Predigten D. Martin Luthers. V. Gaubisch, Eisleben, 1564; fol.
Purchased from Messrs. Heussner and Lauser, 1879.
(1-65.) Sixty-five woodcuts [80 × 60], representing the pope, the Catholic
hierarchy and the religious orders, by an artist of the school of Cranach, not recorded
as appearing earlier than 1557. Judging, however, by internal evidence, it would
seem that these woodcuts were produced at the time of the composition of Luther's
work, Das Pabstthum mit seinen Gliedern (1526), though the illustrations in the
editions of that year are by Beham (Pauli, 1124-1196). They strongly resemble the
illustrations to "Passional Christi und Antichristi," and may well be by the same
artist five years later. These illustrations themselves were formerly erroneously
attributed to Beham. (See Pauli, nos. 1124a-1196a.) They are printed from fifty-
six blocks, nine of which are used twice.
B.-IN THE DEPARTMENT OF PRINTED BOOKS.
Nos. 1-19 are quoted for their title-borders only. Their arrangement
is not strictly chronological, but follows the order adopted by Flechsig in
-
Division D.-School of Saxony.-Hans Cranach.
327
Nos. 1, 2, 5, 8 were
his enumeration of the Hans Cranach borders.1
printed by M. Lotter, sen., Leipzig, 3, 4, 7 by M. Lotter, jun., 6, 9, 10, 11,
13 by J. Grünenberg, 12, 14, 17, 18 by Cranach and Doring, 15, 16 and
19 by N. Schirlentz, Wittenberg.
1. [LANGIUS.] Oratio | Ioannis Langij Lembergij, Encomium
theologica disputationis cōplectens. M. Lotter, sen.; Leipzig,
27 July 1519; 4to (Pr. 11376).
Border with the Holy Family, St. Dorothy, and a group of children singing and
playing from a sheet of music, attributed by Flechsig, p. 221, to Hans Cranach.
Signed A (presumably the mark of the woodcutter). Wrongly attributed to Holbein
(Pass. iii, 411, 117). Repr. Butsch, i, 88. Proctor's border (M. Lotter, sen.) C.
Also used in Pr. 11558 and 11907 (M. Lotter, jun., Wittenberg).
2. [SUAVENIUS.] Petri Suaue nii Equitis | Pomerani | ad
Joanne Cellariu epistola Apologetica. (M. Lotter, sen., Leipzig,
1519) 4to (Pr. 11379).
Border with eleven half-lengths of musicians and nine poets round the Castalian
spring, attributed by Flechsig, p. 221, to Hans Cranach.
3. [LUTHER.] Appellatio D. Mar- tini Lutheri ad | Concilium a Į
Leone Decimo, denuo repetita & innouata. | Wittembergae. (M. Lotter,
jun., Wittenberg, 1520) 4to. (Dommer 182; Pr. 11896).
Border with a hermit and nun. Fl. 1; Dom. 77; Götze 159 = Butsch, i, 90. The
border was repeated in the following books of 1521-23, all in the library: Dommer
201 (Pr. 11908), 254, 266, 327, 334, 360. Also in the following not mentioned by
Dommer: [Luther] Evangelium | Von den tzehen ausz- | setzigen vordeutscht | vnd
ausgelegt | Mar. Luth. Wittenberg (earlier than Dommer 254), and [Luther] Das
eyn Christliche ver- samlung odder gemeyne | recht vnd macht habe: al- le lere
zu vrteylen, etc., M. Lotter, jun., Wittenberg, 1523; 4to. (Baer, Cat. 500, no. 736,
but with "Christeliche.")
Dommer 254 contains G, and D. 266 H, I, Q, V, of the alphabet designed by Hans
Cranach in the same style as the border (see Dommer, p. 239). D from the same
alphabet occurs on sig. a 3 of "Das Magnificat ver- teuschet vnd ausge- | legt
durch Mart. | Luther. | Wittemberg" (not in Dommer).
4. [LUTHER.] Rationis Latomia- | næ pro Incendiariis Louanien- |
sis Scholæ Sophistis red- ditæ, Lutheriana | Confutatio. | Vuittembergæ.
(M. Lotter, jun., Wittenberg, after 20 June, 1521) 4°. (Dommer 245).
Border with a man holding bottle and spoon, and a horned savage. Fl. 2; Dom.
78 Butsch i, 91. Initial E from Hans Cranach's alphabet. The border repeated
in Dommer 262 (1522), which contains initials O (used as Q), P, S, from the same
alphabet.
1 "Cranachstudien," pp. 221 (early borders without numbers), 202–220 (nos. 1–16),
227 (no. 17). Flechsig's no. 4 and the folio border are mentioned on p. 221. A border
not described by F., but clearly belonging to this group, occurs in "Des heylgen
Geysts, deutlicher warnungsbrieffe vnnd Brandtzeychen," etc. (n.p.d., 4to, 18 ll, sig. a-e),
in the library of the Royal Society. It is in one piece [168 × 118; opening, 82 × 65],
and contains at the top a bearded monster with two tails ending in foliage and
grasped by naked boys, at the sides square columns with four dolphins at the base
of each, and below two winged boys supporting an empty shield. Others in which,
perhaps, his influence rather than his own hand is to be detected, occur in "Eyn
trost brieff an die Christen zu Augspurg Martinus Luther Wittemberg. M.D.XXIIII.'
(Hans Lufft), and “ Eyn Schrecklich geschicht vnd gericht Gottes vber Thomas
Müntzer,” n.p.d. (1525).
328
Early German and Flemish Woodcuts.-Part II.
5. [LUTHER.] Sermo Mar- tini Lutheri de praepa | ratione ad
morien- dñ e vernaculo | in latinñ versus. M. Lotter, sen., Leipzig,
1520; 4to. (Dommer 115; Pr. 11563).
Border with monsters and birds issuing from cornucopias. Fl. 3 (repr. p. 205);
Dom. 91; Götze 170. This border was repeated in Pr. 11566 (= Dommer 106).
6. [LUTHER.] Ein heylsams Buch- | lein . . vō der Beicht
gemacht.
M.D.XX. J. Grünenberg, Wittenberg, 1520; 4to.
(Dommer 133; Pr. 11864).
Border with arms of Saxony and Wittenberg, a man with a rosary having a
squirrel on his back, and a naked man drinking. Fl. 5 (repr. p. 207); Dommer 70 A;
Götze 109. This border was repeated in Pr. 11872, 11875, 11878 (1520), and Dommer
211, 246, 273, 274, 280, 285 (1521-22), all of which are in the library. It was also
used later in an altered state (see Dommer, p. 235, no. 70 B).
7. [LUTHER.] Confitendi | Ratio D, Martini | Lutheri Augus- |
tiniani Wit-tenbergen. | Vuittenbergæ, apud Melchiorem | Lottherum
Iuniorem, Anno | M,D,XX. 4. (Pr. 11884).
Border with arms of Wittenberg at the top, children riding on monsters at the
sides, and two men supporting the device of Lotter at the foot; on a black ground.
Fl. 6 (repr. p. 209); Dommer 75 A; Götze 183. This border was also used in Dommer
61 Pr. 11914, 144 = Pr. 11900, 168 = Pr. 11916, in Pr. 11888, 11889, 11891, 11894,
11913, 11915, all of the year 1520, and in Dommer 203, 240 (1521). See Pr.'s remarks
(p. 162) about the cracks in the block and its different states.
A copy of this border was used by N. de Grave at Antwerp in 1520 (Justinianus,
Instituten). See W. Nijhoff, "L'Art Typographique dans les Pays-Bas," Livr. 2.
8. [ALVELD.]
Eyn gar fruchtbar vñ | nutzbarlich buchleyn | võ
dē Babstlichē stul: vnnd von sant Peter: |
. . durch bruder Augus-
tinu | Alweldt sant Francisci | ordens tzu Leiptzk. (M. Lotter, sen.,
Leipzig, 1520) 4to. (Pr. 11560).
Border with a drunkard reclining, a man playing the shawm, a fat man drinking,
and two men below supporting a shield with Lotter's device (wrongly attributed to
Holbein, P. iii, 407, 102). Fl. 7; Dommer 76; Götze 184. This border was also used
in Pr. 11559 (a weak impression), which has Lotter's name as printer, and also at
Wittenberg by M. Lotter, jun., in three editions of Luther, Von den guten Werken,
Dommer 146-148 (= Pr. 11887, 11885, 11886). Butsch, i, 92, reproduces an Augs-
burg copy which is perhaps by Weiditz.
9. [BIBLE.] Auszlegung des hūdert vnd neundten psalmen. |
Dixit dūs domino meo. | Doctoris Martini Lu- |ther, etc. J. Grünenberg,
Wittenberg, 1520; 4to. (Pr. 11866).
Border with electoral shield at top supported by two seated angels in breast-plates,
the arms of Wittenberg below between two angels eating grapes and two reclining,
angels playing musical instruments at the sides. Fl. 8; Dommer 69 A; Götze 112.
This border was also used in Pr. 11874. In 1523 it appeared in a second state with
the upper shield empty and the arms of Saxony removed from the lower one. It is
insignificant and badly cut, and the attribution to Hans Cranach, though defended
by Flechsig, is doubtful.
10. [LUTHER.] Von meñ | schenn lere zu | meyden. J. Grünen-
berg, Wittenberg, 1522) 4to. Dommer 281.
Border with candelabra supporting a man blowing the shawm, and a wolf in
monk's habit; below two angels supporting an empty shield. Fl. 9 (repr. p. 213);
Dommer 73. Also used in Dommer 292 (1522), and 377 (1523), all in the library.
Division D.-School of Saxony.-Hans Cranach.
329
|
11. [BODENSTEIN.] Von vormugen des Ablas. wider bruder |
Franciscus Seyler | parfuser ordens Andres Carol stat Doct.
J. Grünenberg, Wittenberg, 1520; 4to. (Pr. 11880).
Border (already worn and broken) with a printing press and the monogram of J.
Grünenberg, attributed to Lucas Cranach I (Sch. ii, 290, 137). Fl. 10; Dommer 71;
Götze 131. Repr. Butsch, i, 89. Also used in Dommer 192, 205, 232 (1521), 271,
279, 315 (1522), all in the library.
12. [LUTHER.] Vrsacb. vnd antt- wortt. das iungk- | frawē.
kloster. got lich vlassen muge. (Cranach and Döring, Wittenberg,
got-lich
1523); 4to. (Dommer 355).
Architectural border with three angels above, supporting shields. Fl. 11 (repr.
p. 217); Dommer 80; Götze 146. Knaake, p. 199. Also used in Dommer 361, 368
(July, 1523).
13. [JESUS CHRIST.] Passional Christi vnd | Antichristi.
(J. Grünenberg, Wittenberg, 1521) 4to. (Dommer 236).
Architectual border with nereids and tritons at the base of the columns, and a
large vine-leaf pierced with an opening to contain the title. Fl. 12; Dommer 72 A.
Also twenty-six woodcuts in the text, as in p. 324, no. 3.
14. [LUTHER.] Ordenūg eyns gemey- | nen kastens. | Radschlag
wie die gey-stlichen gutter zu han- | deln sind. (Cranach and Döring,
Wittenberg, 1523) 4to. (Dommer 375).
Border with a large vine-leaf and two lions. Fl. 13; Dommer 79 B (79 A is a copy
of this); Götze 164 ("Nachschnitt "); Knaake, p. 201. Also used in Dommer 386.
In the original the background is white; a copy with horizontal shading was used by
M. Lotter, jun.
15. [LUTHER.] Eyn Bett- buchlin vnd lesse bůchlin, Mar.
Luth. | Gemehret vnd ge- | bessert. N. Schirlentz, Wittenberg, 1523; 8ºº.
Border with two columns supporting an entablature and a mask below.
[134 × 84.] Fl. 14; Heyer¹ 59. This border was also used by J. Grünenberg.
16. [LUTHER.] Eyn Sermon | auff den Pfing- | stag. (N. Schir-
lentz, Wittenberg, 1523) 4to. (Dommer 358).
Border with a satyr, nude woman and two children. Fl. 15; Dommer 83 A. Also
used in Dommer 391 and 394.
17. [LUTHER.] De insti- | tuendis Ministris | Ecclesiæ, ad Claris-
simum Senatum Pragensem | Bohemiæ. (Cranach and Döring,
Wittenberg, 1523) 4to. (Dommer 385).
Border with three angels supporting an empty shield; the two outermost hold
the upper ends of two garlands, with fruit in the middle, of which a fourth angel is
tying the lower ends together. Below on either side is a reclining stag. Fl. 16;
Dommer 81; Götze 166; Knaake, p. 202. This border was also used in Knaake 14,
16, 17, 20. Dommer 385 contains a large initial P [56 × 51], with a child riding on
a dolphin, evidently by the same artist as the title-border.
1 "Lutherdrucke auf der Breslauer Stadtbibliothek," Centralbl. f. Bibliothek-
swesen, 1892, ix, 479, no. 59.
330
Early German and Flemish Woodcuts.—Part II.
18. [LUTHER.] Offinba- | rung des Endchrists | aus dem Prophe- |
ten Daniel wydder | Catharinum. (Cranach and Döring, Wittenberg,
1524) 4to. (Knaake 23).
Border with a portico and two angels holding a disc with Luther's device of a
rose, and on either side of it the initials M L in white. Flechsig 17; Götze 132;
Knaake, p. 203. Also used in Knaake 26, 28-33, 35, all in the library.
19. [LUTHER.] Formula | Missæ et Communionis | pro
| | Ecclesia
Vuittem- bergensi. Martini Lvther. Wittemberga. MDXXIII. (N.
Schirlentz, Wittenberg, 1523) 4to. (Dommer 388).
Border undescribed, but in the style of the preceding group, composed of four
pieces: (a) winged monsters, male and female, facing outwards, their tails linked
[42 × 117]; (b, c) columns [123 × 25]; (d) a console [30 × 67]. Background shaded
horizontally. On the verso of the last leaf is an Agnus Dei upon a vine-leaf [63 × 52],
clearly also by Hans Cranach. The same border was used in Dommer 380, and in
"Von B. Henrico ynn | Diedmar verbrand | sampt dem zehen- | den Psalmen |
ausgelegt durch | Mart. Luther. | Wittemberg. | 1525 Jar." 4to.
OTHER BOOKS, IN CHRONOLOGICAL ORDER.
20. [GERMAN THEOLOGY.] Eyn deutsch Theologia. J. Grünen-
berg, Wittenberg, 1518; 4to. (Pr. 11839).
On the title-page, the Resurrection of Christ and the Burial of the old Adam
[132 × 105], signed with the serpent. Sch. 94; Pass. 162. Flechsig (p. 54) discusses
the form of the serpent, denies any intimate connection with the genuine woodcuts
of Lucas Cranach, and attributes this cut (p. 250) to his son Hans. The woodcut
was reprinted in the edition of 28 Sept., 1520, Eyn Deutsch Theologia (Pr. 11869).
See also p. 326, no. 12. This cut should be compared with the "Ascension" in the
Passional Christi und Antichristi (1521).
|
21. [MAURICE.] Vortzeichnus vnd zceigung des hochlob |
wirdigen heiligthumbs | der Stifftkirchen der heiligen | Sanct Moritz vnd
Ma- rien Magdalenen zu Halle. Halle, 1520; 4to. (Pr. 11985).
Imperfect, wanting title-page and three other leaves.
For list of woodcuts by Hans Cranach, see Flechsig, p. 183. The remainder are
by Wolf Traut.
22. [BIBLE.] Deutsch Auszlegūg des sieben | vñ sechtzigstē Psalmē.
vō dem Ostertag. Hymelfart vnd Pfingsten. D. | Martinus L.
(n.p.d.-1521). 4to.
On title-page, David kneeling and playing the harp; the Almighty appears to him
1. [94 × 74]. Clearly by the same artist on the "Antithesis Figurata," cp. especially
C 2 v. (no. 19).
23. [BIBLE.] Das Newe Testa- ment Deutzsch. (xylographic).
Vuittemberg. (Melchior Lotter, September, 1522) fol. (Muther¹ 16).
¹ R. Muther," Die ältesten deutschen Bilder-Bibeln," Munich, 1883.
+
خیر

VIBRARIES
CHRISTIERNYSZ DEI GRA DANIE
SVENE NORVEGIE ZCREX DVX
SLFSVICEN HOLSATIE STORMARIE ET
DITMERSIE COMES IN OLDENBORGŹĆ
D
}
رماني
PLATE XVII
HANS CRANACH
CHRISTIAN II, KING OF DENMARK
Division D.-School of Saxony.-Hans Cranach.
331
The twenty-one woodcuts to the Apocalypse, which first appeared in this, the
original edition of Luther's translation of the N.T., are related to the style of the
elder Cranach in much the same degree as those of the "Antithesis Figurata," and
notably of the illustrations to the early editions of Luther's O.T. They differ among
themselves, not only in cutting but in draughtsmanship, so markedly that it seems
impossible to attribute all to the same designer. The last cut is signed with a
monogram H B, for which no satisfactory explanation has been found. Some of
the best of the series, nos. 1 (observe the ornament on the candlesticks), 2, 4 (compare
the corpse in Sch. 94), 10, 11, 12, 17, 18, 20, seem, however, to be by the artist here
identified with Hans Cranach; in other cases, perhaps, his style is only obscured by
the bad cutting.
24. [BIBLE.] (Same title as no. 23.) Melchior Lotter, Wittenberg
(December), 1522; fol. (Muther 17).
The same woodcuts to the Apocalypse. In three cases (nos. 11, 16, 17) a second
state has been produced, the triple crown having been converted into a single one.
25. [BIBLE.] Das All te Testament deutsch. | M. Luther. |
Vvittemberg. (M. Lotter, 1523) fol. (Muther 28).
25a. [BIBLE.] Das Ander (xylographic) | teyl des alten testa-
ments. Cranach and Doring?, Wittenberg, 1524) fol. (Muther 35).
25b. [BIBLE.] Das Dritte teyl des allten Testaments. M. Lotter,
Wittenberg, 1524; fol. (Muther 38).
The illustrations to these three parts of Luther's Bible are closely allied to those
of the Apocalypse, and there is the same possibility that a portion of them may be by
Hans Cranach. The title-page of the first part is by Lemberger; that of the third
part appears to be by a different hand altogether. The only illustration in the third
part is that belonging to the Book of Job.
26. [FREDERICK I.] Illustrissimi et potentissimi Principis
Domini Christierni. . . ad duas epistolas, quibus rationem belli aduersus
illum suscepti Illustrissimus Holsatiæ dux D. Fridericus illius patruus
reddere conatur, . . responsio. M. Lotter (Wittenberg), 1524; 4to.
27. [LUBECK.] Illustrissimi et invictissimi Principis, Domini
Christierni. ad emissos contra se Lubicensium articulos.... Responsio.
M. Lotter (Wittenberg), 1524; 4t.
On the title-page of each work, the arms of Christian II, King of Denmark [110 ×
72], undescribed. On the verso, the portrait of Christian II, signed with the serpent,
and dated 1523 (repr. Flechsig, p. 229). Sch. ii, 309, 177. On the importance of this
woodcut for the whole Hans Cranach question, see Flechsig, p. 230 ff. The books
also contain initials (C, E, I, I, V) from Hans Cranach's alphabet.
28. [LUTHER.] Eyn predigt vnd warnung, sech zu | hüten für
falschen Propheten, auff das Euangelion. Matthei. vii. G. Rhaw, Witten-
berg, 1525; 4to.
Border [167 × 128; opening, 75 × 59] containing the dispersal of the twelve
Apostles; St. John is filling his flask at a spring. Sch. ii, 293, 143; P. iv, 24, 120.
The cuts in this and the following books (nos. 29-31) are closely connected with those
in nos. 22-25.
1 For drawings at Pavia with a similar signature, see the Vasari Society's
publications, part iv. (1908–9), nos. 33, 34.
332
Early German and Flemish Woodcuts.-Part II.
29. [BIBLE.] Der Prophet Jona, aus- gelegt durch Mart. Luth.
Michel Lotter, Wittenberg, 1526; 4to.
Border [165 × 122; opening, 21 × 80] with five scenes from the story of Jonah.
30. [BIBLE.] Der Prophet Habacuc | ausgelegt durch Mart. Luth.
Michel Lotter, Wittenberg, 1526; 4to.
Border [163 x 120; opening, 22 × 70] in the same style as that of no. 29. Sch.
ii, 293, 141; P. iv, 23, 118.
31. [BIBLE.] Der Prophet Sachar Ia, ausge- | legt durch Mart.
Luther. Michel Lotter, Wittenberg, 1528; 4to.
Woodcut on title-page [161 × 118] in which Zechariah is represented in the act
of prophesying, with special reference to the Incarnation, the angel among the
myrtles (Zech. i, 8-11), the clothing of Joshua the high priest with a mitre and fair
raiment (Zech. ii, 3-5), and the entry of Christ into Jerusalem (Zech. ix, 9). Letters
E and I from an ornamental alphabet [38 x 38] by Lemberger.
32. [BIBLE.] Fragment of a Low German Old Testament [Dat
drüdde Deel des olden Testaments mit vlite gecorrigert], lacking title-
"" 8.
page, with colophon "Gedruckt dorch Michel Lotther. MDxxxij.'
Sig A3, illustration to the Book of Joh [121 x 85]. Border to Proverbs (De sproke
Salomo) exactly in the style of the quarto borders ascribed by Flechsig to Hans
Cranach, especially nos. 1, 3 and 4. At the top is a man in armour reclining, seen
from the back, over him a mask formed of leaves. Below is a vase of fruit. On either
side is a monster with a single head and curved beak, but divided into two bodies
ending in foliage [122 × 85; opening, 66 × 43].
33. [BIBLE.] Dat Nye | Testament. | Martini Luthers. H. Lufft,
Wittenberg, 1532 (titlepage dated 1533); 8vo.
The cuts illustrating the four Gospels, Epistle to the Galatians, and Epistles of
St. Peter and St. James, belong to the group attributed to Hans Cranach under
nos. 22-25 and 28-31. Other cuts are by Lemberger and various hands.
WOODCUTS BY HANS CRANACH.
i.
TITLE-PAGES. Nos. 1-11.
1. BORDER WITH THE HOLY FAMILY, SINGING ANGELS, AND ST.
DOROTHY.
P. iii, 411, 117 (as Holbein); Flechsig, p. 221.
[183 × 128; opening, 125 × 90.] Good impression, on title-page of "De Ratione
disputandi, praesertim in re Theologica, Pe-tri Mosellani Protegēsis oro." (M.
Lotter, Leipzig, 1520 ?) 4to. See p. 327, no. 1.
Presented by Mr. W. Mitchell, 1895.
The initial A (Nagl., Mon., i, no. 34?), which is visible in the foreground, is
presumably that of the woodcutter. Repr., Butsch, i, 88.
Division D.-School of Saxony.-Hans Cranach. 333
la. THE SAME BORDER.
Not so well printed, on title-page of "De ratiõe disputandi, præsertim in_re
Theologica, Petri Mo | sellani Protegensis oratio." (M. Lotter, Leipzig, 1520.-Pr.
11558).
Purchased from Messrs. Colnaghi and Co., 1871.
2. BORDER WITH A HERMIT AND NUN, VASE OF FRUIT, MASK AND
CORNUCOPIAS.
Flechsig, p. 202, no. 1.
[172 × 124; opening (arched) 108 x 75.] Good impression, on title-page of
"Van der fryheyt eynes | Christen mynschen. | D. Martiñus Luther. | wittemberch
Jm xxiij. Jare." (M. Lotter, Wittenberg) 4to. (Not mentioned by Dommer, nor
in the B.M.)
Presented by Mr. W. Mitchell, 1895.
Repr., Butsch, i, 90. Used in 1520 (see p. 327, no. 3).
3. BORDER WITH A MAN HOLDING A BOTTLE AND SPOON, AND A
HORNED SAVAGE.
Flechsig, p. 203, no. 2.
[171 × 120; opening (arched), 106 × 73.] Fair impression, on title-page of "De
abroganda missa | privata Marti- | ni Lutheri | senten- | tia. (M. Lotter, Witten-
berg, 1521).
Transferred from the Dept. of Printed Books, 1909.
Repr., Butsch, pl. 91. See p. 327, no. 4.
4. BORDER WITH THE ARMS OF WITTENBERG, CHILDREN RIDING
ON MONSTERS, AND TWO SOLDIERS SUPPORTING A SHIELD
WITH THE BRAZEN SERPENT,' UPON A BLACK GROUND.
Flechsig, p. 208, no. 6.
[177 × 120; opening, 109 × 68.] Fair impression, on title-page of “DESYDERII
ERASMI AD REVERENDISSIMVM Mo- | guntinensium Præsulem Epistola." (M.
Lotter, jun., Wittenberg, 1520.-Pr. 11894). See p. 328, no. 7. Repr., Flechsig,
p. 209.
Purchased from Mr. Caspari, 1875.
4a. THE SAME BORDER.
•
Later impression, with a crack across the two shields, on title-page of "Grund
vnnd vrsach al- | ler Artickel D. Marti. | Luther," etc. (1521, Dommer 203).
Purchased from Mr. Gutekunst, 1874.
5a. COPY OF BORDER WITH A MAN PLAYING THE SHAWM, A STOUT
MAN DRINKING, AND TWO SOLDIERS SUPPORTING A SHIELD
WITH THE BRAZEN SERPENT, UPON A BLACK GROUND.
P. iii, 407, 102 (as Holbein); Flechsig, p. 208, no. 7.
[176 × 121; opening, 107 × 68.] Fair impression, on title-page of "Ain Sermon
In der deutlich angezeygt, vnd geleert ist | .... 1. 5. 23. | D. Jac. Strauss zů Eyssenach
eccle." (Augsburg).
Purchased from Messrs. Colnaghi, 1871.
This copy, not the original, is reproduced by Butsch, i, 92. It has been attributed
to Weiditz, but I see nothing specially characteristic of him in the slight deviations
from the original design, which is clearly an invention of the Wittenberg artist, and
is closely connected with the other borders of this series. For the original, see p. 328,
no. 8.
¹ According to Flechsig the device of Melchior Lotter, and this is confirmed by
its presence in a border designed by Lemberger and used in "Der Cxxvij Psalm ..
Durch D. Mar. Luther ausgelegt," Michel Lotter, 1536; but it is also an emblem
specially associated with Melanchthon. See the border, P. iv, 23, 119, used by N.
Schirlentz, and that containing the initials and badges of five reformers, used by
Lufft.
334 Early German and Flemish Woodcuts.—Part II.
6. BORDER WITH BIRDS, ANIMALS, PRINTING PRESS, AND MONO-
GRAM OF JOHANN GRÜNENBERG.
P. iv, 22, 214; Sch. ii, 290, 137; Flechsig, p. 214, no. 10.
[166 × 124; opening, 85 × 61.] Good impression, on title-page of "Biblia noua |
Alueldē sis. | Wittenbergae. | ANNO M. D. XX." (not in Pr.).
Purchased from Messrs. Colnaghi and Co., 1871.
Repr., Butsch, i, 89, and Lippmann, Text, p. 16.
See p. 329, no. 11.
7a. COPY OF BORDER WITH A LARGE VINE-LEAF AND TWO LIONS
WITH THEIR TAILS CROSSED.
Flechsig, p. 218, no. 13.
[168 × 127; opening, 68 × 66.] Good impression, on title-page of " Von dem al |
ler nåttigisten, Wie man diener der kirchen we- | len vnd eynsetzen sol. | Mart.
Luther. ... Wittemberg. Im . xxiiij. iar.” (M. Lotter, jun., Wittenberg, 1524—
Dommer 79A.)
Presented by Mr. W. Mitchell, 1895.
In the original according to Flechsig (Dommer 79B, as copy) the background is
white. It was used by Cranach and Döring. See p. 329, no. 14.
8. BORDER WITH TWO DOLPHINS, A SATYR, NUDE WOMAN, AND
TWO CHILDREN.
Flechsig, p. 219, no. 15.
[172 × 123; opening, 95 × 59.] Good impression, on title-page of "Epistel
Sanct Petri gepredigt vnd ausgelegt | durch | Mart. Luther. | Vuittemberg. |
M.D. xxiij.” (N. Schirlentz, Wittenberg, 1523.-Dommer 394). See p. 329, no. 16.
Presented by Mr. W. Mitchell, 1895.
8a. THE SAME BORDER.
Later impression, on title-page of "Die ander Epistel | Sanct Petri, | vnd eine S.
Judas | gepredigt vñ aus- | gelegt durch | Mart. Luther | Vuittemberg."
Purchased from Mr. Gutekunst, 1874.
8b. COPY OF THE SAME BORDER.
tr
[170 × 121; opening, 93 × 58.] The horizontal shading of the background is
much closer. An isolated pebble which may be seen in the original on the ground
beneath the r. foot of the child by the woman's side, is omitted in the copy. On
title-page of " Ordenung vnd bericht wie es furterhin | mit ihe- | nen so das Hoch-
wirdig Sacrament empfahen wol- len gehalten sol | werden. . . . Martinus
Luther. Wittemberg. | MDXXV." (M. Lotter, jun., Wittenberg, 1525).
Purchased from Messrs. Colnaghi and Co., 1871.
9. BORDER WITH FOUR ANGELS HOLDING GARLANDS AND AN
EMPTY SHIELD, AND TWO RECLINING STAGS.
Flechsig, p. 219, no. 16.
[172 × 121; opening, 79 x 60.] Fair impression, on title-page of "DE INSTI- |
TVENDIS MINISTRIS | Ecclesiæ, ad Clarissimum Senatum Pragensem | Bohemiæ.
MARTINVS LVTHER. | Vuittemberge." (Cranach and Döring, Wittenberg, 1523.-
Dommer 385, Knaake 15). See p. 329, no. 17.
Purchased from Messrs. Colnaghi and Co., 1871.
9a. THE SAME BORDER.
I
Later but better impression on title-page of "Wie man trotzen sol | auffs Creutz
wid der alle wellt | zu stehen | bei dem Euangelio, an die Igler. | Paulus Speratus
nach der gefencknis zum newen Jar. | Gedruckt zu Wittemberg. | M.D. xxiiij."
Presented by Mr. W. Mitchell, 1895.
Division D.-School of Saxony-Hans Cranach.
335
10. BORDER WITH A PORTAL UNDER WHICH TWO ANGELS HOLD A
DISC WITH THE DEVICE OF LUTHER.
Knaake, p. 203; Flechsig, p. 227, no. 17.
[165 × 128; opening, 60 × 58.] Good impression, on title-page of "Der hundert
vnd | Sieben vnd zwen-zigst psalm ausge-legt an die Chri- sten zu Rigen | ynn
Liff- land. | Martinus Luther. | Wittemberg. | M.D. XXIIII." (Knaake 31).
p. 330, no. 18.
Presented by Mr. W. Mitchell, 1895.
See
DOUBTFUL.
11. BORDER WITH THE TRINITY, TWO PROPHETS, THE NATIVITY,
AND THE DEVICES OF LUTHER, MELANCHTHON AND SCHIR-
LENTZ.
Sch. ii, 293, 142; P. iv, 23, 119 (sic, for 219).
[169 × 118; opening, 62 × 49.] Fair impression, on title-page of
"Das
XXXVIII | vnd XXXIX | Capitel Hese- chiel vom | Gog. | Verdeudscht durch |
Mart. Luther, | Wittemberg. | MDXXX.'
Purchased from Mr. Gutekunst, 1874.
This border was used in 1526. It has not hitherto been ascribed to Hans Cranach,
but may be regarded as belonging to the group put together on pp. 330--332, nos.
22-25, 28-31.
ii. RELIGIOUS SUBJECTS. Nos. 12-14.
12. THE RESURRECTION OF CHRIST AND THE BURIAL OF THE OLD
H. 170, 97 (244); Sch. ii, 233, 94; P. iv, 10, 162.
ADAM.
Christ stands upon clouds, blessing with his r. hand and holding in
his 1. a cross to which a banner is attached. Angels float in the clouds.
Below r. is the empty tomb, to 1. of which four angels with pickaxes and
shovels are engaged in burying a corpse. Near the tombstone r. is the
serpent with a broad wing.
[132 × 104.] Fair impression. The text on the back is that of Pollicarius, but
not from the edition represented in the Museum (1549); it is probably from the
"Symbolum der Apostel," 1548.
In the inventory of 1837.
See p. 326, no. 12.
13. THE CREATION.
H. 169, 95 (238); Sch. ii, 231, 89.
In the innermost of three circles representing earth, water and air,
we see the creation of Eve. The Almighty, attended by angels, appears
again, half-length, above the clouds. In the corners are the four winds.
[158 × 107.] Text on the back, apparently from the same book as the preceding.
Purchased from Mr. Bihn, 1875.
See p. 326, no. 12.
14. ALLEGORY OF THE FALL AND THE ATONEMENT.
The oblong composition is in two compartments divided by a tree of
which the branches on the 1. side are withered, whereas those to r. are
full of leaves. In the background 1. is the Fall; in the sky the Last
Judgment. In the foreground Death, a skeleton armed with a spear, and
Sin, a monster with claws on hands and feet, are driving a naked man
into the flames of Hell, in which three lost souls, two men and a woman,
are burning. To r. are figures typifying the Law and the Prophets.
In the other compartment we see to 1. the Brazen Serpent in front of
336 Early German and Flemish Woodcuts.-Part II.
the tents of the Israelites, and more to r. the angel announcing to the
shepherds the Incarnation, which is further symbolized by a Child
bearing the cross who descends from Heaven towards Mary. In the
foreground 1. the same naked man is seen, to whom St. John the Baptist
points out Christ crucified, with the Lamb and flag beside him, on the
hill of Calvary. In a cave at the side of this hill is the sepulchre, from
which Christ rises, victorious over Sin and Death.
R.
On the upper margin is printed 1. "Ro. 1. Es wird offenbart gottes
zorn von hymel vber | aller menschen gottlos wesen vnd vnrecht.”
"Isaia. 7. Der Herr wird euch selbs ein zeichen geben, Sihe, eine Jung-
fraw | wird schwanger sein vnd einen son geperen.
""
On the lower margin are texts from scripture in six columns. (1).
"Sie sind alle zumal sundere, | vnd mangeln, das sie sich | gottes nicht
rhůmen mugen | Ro.. 3." (2).
|
"Die sunde ist des todes spies, | Aber das
gesetz ist der sunden | krafft 1. Co. 15. Das gesetz | richtet zorn an.
Ro. 4." (3). "Durchs gesetz kompt erkentnus | der sunden Ro.. 3. Das
ge-setz vnd die propheten gehen bis auff Johannes zeit. Math. 11.”
(4). "Der gerecht lebt seines glau- | bens Ro. 1. Wir halten das ein
mensch gerecht werde | durch den glauben, on werg | des gesetzs. Ro.. 3."
(5). "Sihe, das ist Gottes lamb, das der wellt sunde tregt S. Joh. bap.
Jo. 1. In der heyligunge des geystes, zum | gehorsam, vnd besprengung
des blutts Jhesu Christi 1. Pet. 1." (6). "Der tod ist verschlungen
ym sieg, Tod, wo ist dein spies? Helle, wo ist dein sieg? Danck
habe Gott, der vns den sieg gibt durch Jhe- | sum christū vnsern herrn
1. Cor."
Sheet, 270 × 325; woodcut, 233 × 324.] Fine impression; watermark, small
ox's head surmounted by a trefoil.
Presented by Mr. W. Mitchell, 1895.
The undescribed woodcut, well executed in a free and sketchy style, has much in
common with a pen and ink sketch by Lucas Cranach the Elder at Dresden,¹ and
with several pictures of the school of Cranach, one of the best known being that of
1529 in the Gotha museum.2 The drawing lacks the Fall, but the Last Judgment
and group of Man, Sin and Death, are almost exactly the same. The group of Law
and Prophets consists of five persons in the woodcut, as against three in the drawing.
On the other side, the group of Man and Baptist in the woodcut is identical with
that in the drawing, except in the arrangement of the Baptist's drapery, but there
the close resemblance ceases. In the drawing it is the Lamb, bearing the cross, that
triumphs over Sin and Death, and God the Father is seen in the sky, while Christ
and the smaller figures are omitted.
The invention may be ascribed to the elder Cranach, but the woodcut was
evidently not drawn by him on the block. Several types recall woodcuts which have
already been attributed to Hans. The risen Christ resembles the early woodcut
(1518) of the same subject (no. 12). The group of men to 1. of the trunk of the tree
seems to be by the draughtsman of the "Antithesis figurata Christi et Antichristi."
iii. PORTRAIT. No. 15.
15. PORTRAIT OF CHRISTIAN II, KING OF DENMARK. 1523.
Sch. ii, 310, 178; P. iv, 18, 192.
Half-length, three-quarter face to r., wearing a hat, fur-lined mantle,
and the collar of the Golden Fleece. Over his head is the date 1523.
¹ Sch. ii, 47, 243. Reproduced, Woermann, ii, 20.
2 Reproduced, Heyck," Lukas Cranach," Künstler-Monographien 95 (1908), p. 80.
Division D.-School of Saxony.-Hans Cranach.
337
His elbows rest on a stone sill, and he points with his 1. hand to his coat-
of-arms (quarterly, 1. Denmark, 2. Sweden, 3. Norway, 4. the kingdom
of the Wends or Vandals; on an inescutcheon, quarterly, 1. and 4.
Schleswig, 2. Holstein, 3. Stormarn; over all, Oldenburg), which has two
naked men, armed with clubs, as supporters. The King is placed under
a round arch which rests upon four columns, the two foremost of which
are ornamented with cherubs and lions' heads. On the base of the front
column 1. is the winged serpent of the Cranach family. A naked man
and a woman with a child at her side, who stand upon the capitals of the
front columns, hold in their hands a scroll which hides the top of the
arch and contains the titles of the King :- “Christiernus . 29. dei gracia .
Daniæ. Sueciæ. Noruegiæ. Vuan dalorum. Gotthorumque
Dux. Slesuicensis. Holsaciæ. | Stormarie. & . Dietmarsiæ. Comes.
in. Oldenborch. &cē.”
rex
[252 × 172.] Good impression, but both corners on 1. side damaged and restored.
No watermark.
Purchased from Mr. Weber, 1854.
Christian II visited Wittenberg for the first time on 10 October, 1523, and appears
to have spent a considerable time there, dwelling, according to tradition, in Cranach's
house. Flechsig (pp. 225-236) points out in detail the intimate connection which
exists between this woodcut and the other portrait of Christian II, dated 1523 (p. 331,
no. 26, reproduced in this volume), and between both portraits and the border, no. 10
above (no. 17 of Flechsig's list), which came into use in 1524. This little group is
linked, again, with earlier borders and with the woodcuts of the Halle relic-book.
The heraldic significance of the serpent compels us, as Flechsig argues, to recognise
in the designer of these works a member of the Cranach family, not merely of the
Cranach school, and as the group cannot, on stylistic grounds, be attributed to the
father, the only person who can, in 1523, have used this mark is his elder son, Hans.
The premises once granted, the conclusion follows inevitably, but some caution is
necessary in accepting this view of the meaning of the serpent, which at a later date
occurs on so many pictures that it can hardly be supposed that all were painted by
the elder or younger Lucas Cranach, and not by assistants in the workshop.
N
.
338
III.-LUCAS CRANACH II.
Lucas, second son of Lucas Cranach the Elder; b. Wittenberg,
4 October, 1515; pupil of his father, whose mark, the winged serpent
(in the form used since 1537) he adopted; married Barbara Brück,
1541, and secondly Magdalena Schurff, 1551; burgomaster of
Wittenberg, 1565; d. 25 January, 1586.
Authorities :
J. Heller, "L. Cranach's Leben und Werke," 2. Aufl., Nuremberg,
1854, pp. 289-311 (on the woodcuts, pp. 306–309).
Passavant, P.-G., iv, 24–32.
In the other catalogues (Bartsch, Schuchardt, Nagler) the wood-
cuts of the son are confused with those of the father ;
Schuchardt intended to deal with them separately, but did
not do so.
As a painter, the younger Lucas Cranach is well represented in
the Leipzig gallery. His earlier works have not been fully distin-
guished from those of his father and elder brother; he finished the
large allegorical picture in the town church at Weimar begun by the
elder Cranach. His woodcuts consist of religious subjects of a dis-
tinctly Protestant character and of portraits; none of them are of
much artistic merit.
BOOKS ILLUSTRATED BY LUCAS CRANACH II.
A. IN THE DEPARTMENT OF PRINTS AND DRAWINGS.
1. [MELANCHTHON.] Magister Philipps Melanchthon | Christ-
liche erinnerung, von den lieben Engeln, etc.
Į
G. Rhaw, Wittenberg,
1536; 4to.
Border with Samson and the lion. See p. 343, no. 13.
2. [SAXONY.] Illustrissimorum Ducum Saxoniae .
Effigies, ab
anno natiuitatis Christi 842. vsq'ad annum 1563. G. Schnellboltz,
Wittenberg, 1563; 4to.
Purchased from Mr. Asher, 1850.
Thirty-four portraits of Dukes of Saxony, including five-John Frederick I,
Sibylla of Cleves, John Frederick II, John William, John Frederick III (B. vii, 296,
136-140; H. 823, 826, 829, 832, 834)—signed with the serpent. B. 138 is also signed
Division D.-School of Saxony.-L. Cranach II. 339
by the woodcutter G (Nagl., Mon., I. 2487, p. 1031, no. 3). The remaining twenty-
nine woodcuts are also attributed to Cranach by H., nos. 836-864. There are reduced
and bad copies of this series in "Warhafftige Abcontrafactur vnd Bildnis aller Gross-
hertzogen, Chur vnd Fürsten, welche vom Jahr nach Christi geburt, 842. bis auff das
jetzige 1586. Jahr, das Landt Sachssen. ... regiret haben," G. Bergen, Dresden,
1586 (reprinted 1587); 4to.
B.-IN THE DEPARTMENT OF PRINTED BOOKS.
1. [AUERSWALD.] Ringer kunst: fünff vnd achtzig | stücke, zu
ehren Kurfürstlichen gna- | den zu Sachssen, &c. | Durch Fabian von
Auerswald zugericht. | M.D. xxxix. H. Lufft, Wittenberg, 1539; fol.
On title-page, the arms of Saxony; A3, portrait of the author, signed with the
serpent; A 4-H 4 v., eighty-six woodcuts, each representing the same pair of wrestlers,
Auerswald himself and a much younger opponent. B. vii, 298, 145; H. 270a (421–
503); Sch. i, 161 and ii, 288, 135.
2. [BIBLE.] Die Propheten alle Deudsch. D. Mart. Luth. (pt. 2 of
complete Bible). H. Lufft, Wittenberg, 1541; fol.
Title-border with Fall and Redemption of Man [301 × 209], perhaps by Cranach,
but not signed. On back of title-page, the arms of Anhalt (= Siebmacher, 1856,
Bd. i, Abth. 1, Taf. 97), in a rich architectural frame; below r. a black serpent with
wings sloping back [303 × 209]. H. 673 (LXXXV).
3. [BIBLE.] Biblia | Das ist die gantze | Heilige Schrifft, | Deudsch,
Auffs new | zugericht. | D. Mart. Luth. | Gedruckt zu Leipzig durch |
Nicolaum Wolrab. | M.D.XLI; (2 vols.).
In the N.T. are the full page woodcuts of the four Evangelists and SS. Paul, Peter
and James. B. vii, 282, 49–55; H. 70-76; Sch. ii, 219, 63-69. St. Paul, as well as St.
John, is signed; St. John is dated 1540. Other illustrations in the book, all of
which except the Apocalypse are ascribed by Passavant to Cranach, are by different
hands.
4. [PETSCH.] Ein schön Christlich Lied, Von dem Ehrwirdigen
Herren, D: Mart. Luth. vnd seiner Lere. 1546.
1546. Gemacht vnd Com-
poniret, durch M. Johan Friedrichen Petsch zu Wittemberg. G. Rhaw,
Wittenberg, 1546; 4to.
On back of title-page, the portrait of Luther, dated 1546. B. 150; H. 294 (529) ;
Sch. 182.
5. [LITURGIES.] Kercken ordeninge: Wo ydt mit Christlyker
Lere,.... Im Hertochdome tho Meckelenborch ze geholden werdt. L.
Dietz, Rostock, 1557; 4to.
On back of title-page, the arms of Mecklenburg [148 × 106], H. 675, P. iv, 32, 44,
with winged serpent in 1. lower corner. From 1559 onwards this woodcut was used
as a book-plate (Warnecke, 1264). According to Leiningen-Westerburg, p. 130, it was
originally used at the end of the Mecklenburg "Kirchenordnung" of 1552, but it is
not to be found in the editions of 1552 and 1554, printed by H. Lufft, Wittenberg,
both in this library. Passavant attributes to Cranach (no. 43) the small coat of arms
supported by lions [70 × 70], which occurs on the title-page of the present edition,
and quotes a document ¹ showing that "Lucas Maler," at Wittenberg, was paid for
drawing two coats of arms for the Duke of Mecklenburg, and also the wood-engraver
1
¹ Of 1552. Mecklenb. Jahrbuch, v, 227, 228.
z 2
340
Early German and Flemish Woodcuts.-Part II.
for cutting them. The small one, however, is not signed by Cranach, and bears no
evidence of his style. It appears, from the full account of these woodcuts given by
C. Teske,¹ that both were actually used in some copies, at least, of the Wittenberg
1552 edition. Teske reproduces, in addition to the original (nos. 1-3), a rather
deceptive copy (no. 10), also with the serpent.
6. [AGRICOLA.] Abcontrafactur Vnd Bildnis aller Groshertzogen,
Chur vnd Fürsten, welche . . . . bis auff das itzige 1563. Jar, das Land
Sachssen
regieret haben. G. Schnellboltz, Wittenberg, 1563; 4to.
•
The same woodcuts as in the Latin edition, p. 338, no. 2.
7. [GEORGE, oF ANHALT.] Reverendissimi .... Domini Georgii
Principis Anhaltini . . . . Conciones et scripta. L. Schwenck, Wittenberg,
1570; fol.
On back of title-page, full length portrait of Duke George of Anhalt, standing,
with five coats of arms [250 × 162], not signed. The arms, fol. 395 v., repeated
635 v., may also be by Cranach.
WOODCUTS BY LUCAS CRANACH II.
i. SACRED SUBJECTS AND TITLE-PAGES.
Nos. 1-14.
[1-7.]
EVANGELISTS AND APOSTLES.
1. ST. MATTHEW.
B. vii, 282, 49–55.
B. 49; H. 70; Sch. 63; N. 53.
Seated at a table, writing on a desk; the angel stands at the end of
the table; the Dove flies overhead; a landscape is seen through a
window.
2. ST. MARK.
B. 50; H. 71; Sch. 64; N. 54.
Seated r. before a sloping desk; a winged lion in the foreground.
Overhead, 1., a vision of the risen Christ.
3. ST. LUKE.
B. 51; H. 72; Sch. 65; N. 55.
Seated 1. writing; the forepart of the winged ox in the foreground.
Through a window is seen a vision of the Virgin and Child.
4. ST. JOHN.
B. 52; H. 73; Sch. 66; N. 56.
Seated r. on a stone, holding pen and book, and looking up at a vision
of the Blessed Trinity in the sky 1. The eagle is seen in front of a rock
1. On the stone r. is the winged serpent with the date 1540.
5. ST. PAUL.
B. 53; H. 74; Sch. 67; N. 57.
Seated r. at a table, writing. Two swords lie on the ground. The
winged serpent is on the base of the table 1.
1 "Das Mecklenburgische Wappen von L. Cranach d. Ä." Berlin, 1894.
Division D.-School of Saxony.-L. Cranach II.
341
6. ST. PETER.
B. 54; H. 75; Sch. 68; N. 58.
Seated 1. at a table, writing on a sloping desk.
7. ST. JAMES THE GREATER.
B. 55; H. 76; Sch. 69; N. 59.
Wearing a hat with scallop shell and pilgrim's staves, he sits behind a
table under a vine trellis, dipping his pen in an inkpot.
The series [c. 260 × 160] has text on the back from the German Bible printed by
N. Wolrab, Leipzig, 1541, vol. 2 (p. 339, no. 3). See H. 232, 561, where the date
MDLXI is evidently a misprint for MDXLÍ. The German verses there quoted
attribute the woodcuts to Cranach. The same woodcuts were used in Wolrab's
Latin Bible, 1544 (Weigel, Kunstkat. no. 15476).
8. TITLE-BORDER WITH THE FALL AND REDEMPTION OF MAN, OR
OLD AND NEW COVENANT.
The subjects are divided by a tree with green leaves r., withered
branches 1. To 1., in the middle, the Fall of Man; in the distance above,
the worship of the brazen serpent; and below, Death and the Devil driving
lost souls into hell. At the top of all, the Last Judgment.
To r.,
corresponding to these, we see Christ victorious over sin and death, the
Incarnation and Annunciation to the Shepherds, and, below, the saving
blood of Christ falling upon Adam, while John the Baptist stands at his
side.
[250 × 164; opening, 121 × 78.] From "Dat Nye Testa-|ment. | Vordudeschet
dorch D. Marti- | num Lutherum. | (5 lines omitted) | Tho Wittemberch. | M.D.XLI.
On the back is no. 9.
Presented by Mr. W. Mitchell, 1895.
The subject corresponds, except for one detail, the cardinal's hat, with Schuchardt's
description (iii, 246) of Lufft's variant of his no. 145 h.; the dimensions, however, are
smaller. This border cannot be attributed positively to the younger Cranach, and is
apparently a reduction of a larger version of the same subject. It is described here
on account of its connection with no. 9.
9. CHRIST AS REDEEMER.
Half-length, in full face. He blesses with his r. and holds the orb in
his 1. hand. He is surrounded by cherubim in clouds. Single border-
line.
[162 × 127.] On all four sides are printed texts in Low German. At the top:
Dyth ys myn leue Sone," etc. From the same Bible as no. 8.
Presented by Sir A. Wollaston Franks, K.C.B., 1895.
This Christ, of a dignified and sympathetic type, with high brow, may fairly be
attributed to the younger Cranach. The treatment of the clouds and cherubs is
very similar to that on no. 10, which must, however, be some years later and cut by
a different hand.
10. THE BAPTISM OF CHRIST.
H. 572; N. 7.
Christ stands, facing to the front, with both hands raised, immersed
to above his knees in the Jordan. St. John, also standing in the river,
to r., pours water on Christ's head with his r. hand. Above Christ is the
Dove, and higher yet God the Father, surrounded by cherubim. In the
background is a mountainous landscape. On the near shore the Elector
John Frederick I kneels 1. and Luther r. In the 1. lower corner is the
winged serpent. Cut on three blocks.
342
Early German and Flemish Woodcuts.-Part II.
[277 × 386.] Good impression. Watermark, a low crown.
In the inventory of 1837.
A rare woodcut, described by Heller only on hearsay, but accurately. John
Frederick already has the scar from his wound at the battle of Mühlberg, 1547, so
that the woodcut is later than the death of Luther.
11. CHRIST, AFTER JACOPO DE' BARBARI. 1553.
H. 821; P. iv, 9, 158 and 25, 1. ; L. p. 19.
Bust, nearly full face, showing both hands. With the r. hand he
blesses, in the 1. he holds a small cross. To 1., on the background, is the
date 1553 with the winged serpent below it.
[388 × 288.] Good impression. Watermark, small bull's head with caduceus.
Purchased from Mr. Richard Fisher, 1867.
11a. CHRIST.
Another impression.
H. 821; P. 1.
Beneath the woodcut is the inscription: EFFIGIES SALVATORIS
NOSTRI IESV | CHRISTI, ANTE L. ANNOS PICTA A PRAESTANTISSIMO
ARTIFICE IACOBO DE BARBARIS Italo, & recens de exemplo illo foeliciter
expressa | Vuitebergæ Anno 1553. Then, in two columns, a description
of our Lord's appearance, in Greek, by Nicephorus, and a Latin
translation by Melanchthon (reproduced, Berlin Jahrbuch, xiii, 145).
[Size of sheet, 510 x 286.] Early impression, with a German translation¹ of the
description of Christ written in MS. on the background behind the head. Water-
mark, small high crown.
Purchased from Mr. Tross, 1864.
The picture of Christ by Jacopo de' Barbari, painted according to the text of this
edition about 1503, is now in the Dresden Gallery (no. 57). See L. Cust, Berlin
Jahrbuch, xiii, 142. A somewhat similar picture, signed with Barbari's initials and
caduceus, is in the Weimar Gallery, but the Dresden picture is the original of
Cranach's woodcut. Barbari was in the service of Frederick the Wise as court
painter at Wittenberg (also Torgau and Lochau) from 1503 to 1505.³
Besides the impression of another edition at Gotha, described by Mr. Cust, I have
seen one, cut to the border-line, at Coburg, where there is also a copy [384 × 282],
without the date, but with the serpent, and having the background filled with a
nimbus of rays; the original woodcut is also at Dresden.
¹
12. FOLIO BORDER WITH CHRIST ON THE CROSS AND THE EMBLEMS
OF THE FOUR EVANGELISTS.
One piece. At the corners of the opening destined to contain the
title are roundels, enclosed by three lines, which contain the emblems of
the Evangelists, each of which has the name upon a scroll. The inter-
vening space is filled with clouds and cherubim upon a horizontally shaded
background, Beneath the opening is the crucifix with the Elector John
the Constant and Martin Luther kneeling 1. and r. upon the grass. The
clouds descend to the level of their shoulders. No signature.
¹ Not the same text as that printed on another edition of the broadside which is
preserved at Gotha (reproduced, Jahrbuch, xiii, 144). It was probably translated
independently from the Latin text by a former owner of this impression.
Repr. Bruck, "Friedrich der Weise als Förderer der Kunst," 1903, Taf. 14. On
the two pictures see the text, p. 168. Richard Fisher (“Introduction," etc., p. 292)
regarded the Weimar picture as the original of Cranach's woodcut.
3 Bruck, p. 164 ff.
• Herr Max Lössnitzer informs me (1909) that this may be a late state of the
original block with the rays inserted, since there is an interval between the nimbus
and the head, and the block is much worn. My own notes made on the spot in 1900
describe it as a copy.
Division D.-School of Saxony.-L. Cranach Il.
343
[260 × 162; opening, 127 x 85.] Good impression, but the title has been cut
out, and the book in which the border appeared has not been identified.
Presented by Mr. W. Mitchell, 1895.
13. QUARTO BORDER WITH SAMSON AND THE LION. Sch. ii, p. 295.
The opening for the text takes the form of a portal flanked by columns,
over which are cherubs' heads. Beneath the opening is Samson in the
act of breaking the lion's jaw; landscape background.
[159 × 110; opening, 75 × 61.] On the title-page of "Auslegung | D. Mart.
Luthers, vber das Lied Mose | an Zwey vnd Dreissigsten | Cap. Deutero. Vordeud- |
schet aus dem La-tin, durch | Justum Jonam. | Gedrückt zu Wittemberg | jm
M.D.XXXII."
Purchased from Mr. Gutekunst, 1874.
This seems to be a companion to the signed border, no. 14, and is therefore
attributed to Lucas Cranach, though it contains much that reminds us of the later
woodcuts here attributed to Hans.
13a. QUARTO BORDER WITH SAMSON AND THE LION.
A much later impression, on the title-page of "Summaria | vber das alte Testa- |
ment,
Durch M. Veiten Dieterich," etc.
•
Purchased from Mr. Bihn, 1875.
14. QUARTO BORDER WITH DAVID AND GOLIATH.
H. 309 (544); Sch. ii, 294, 145; P. iv, 22, 212; Nagl., Mon., ii, 114, 6.
Over the opening to contain the title is a pediment containing leaf
ornament. Beneath the title David stands, holding a long sword in both
hands, upon the body of the prostrate giant, who is clad in full armour.
The landscape rises high on both sides. To r. is a monogram composed of
the letters L C, given by Nagler as the second in the lowest row of the
monograms attributed to the elder Cranach.
[159 x 110; opening, 70 × 60.] Fair impression, on title-page of "Confessio |
fidei exhibita in Comicijs Augustæ. Anno. M.D.XXX,” (G. Rhaw) Witten-
berg, 1540.
·
Presented by Mr. W. Mitchell, 1895.
Heller mentions eight books in which this border was used, from 1532 to 1542.
ii. PORTRAITS. Nos. 15-36.
A series of portraits of princes is placed first; the remainder are
described in chronological order.
15. CHARLES V.
Copy.
H. 505. Copy of B. vii, 294, 128; Sch. ii, 296, 149.
Full length, standing, three-quarter face to r., holding a glove in r.,
sword in l. hand. In 1. upper corner, the pillars of Hercules with motto
PLVS. OVLTRE, in r. the arms of the Empire, with the Golden Fleece.
[333 × 225.] Late impression, from the Storck collection (Milan, 1796).
Purchased from Messrs. Smith, 1845.
The original, B. 128, H. 271 (504), Sch. 149, is signed with the serpent. H.
describes the six dots, instead of one, on the cross-piece beneath the handle of the
sword as the distinguishing mark of the copy. The original dates, presumably, from
1548, the year of the companion portrait of the Emperor's brother.
344 Early German and Flemish Woodcuts.-Part II.
16. FERDINAND I.
B. vii, 294, 129; H. 272 (506); Sch. 150; N. 138.
Full length, standing, three-quarter face to 1. holding gloves in r.,
sword in 1. hand. To 1. the eagle and crown of the King of the Romans,
to r. the shields of Hungary and Bohemia. Low down, r., the winged
serpent.
[312 × 216.] Late impression.
Purchased from Messrs. Colnaghi and Co., 1862.
17. DUKE JOHN WILLIAM OF SAXONY.
B. vii, 295, 133; H. 280 (514); Sch. ii, 298, 154.
Full length, standing, wearing a cap and feather and a short coat
lined with fur. His r. hand is held in front of his body, while his 1. hand
rests upon the hilt of his sword. The winged serpent is upon the ground
to 1. of his r. foot.
[320 × 210.] Late impression, cut irregularly within the border-line, except at
the foot. Watermark, two shields surmounted by a mitre and crozier.
Purchased at the sale of the W. L. Schreiber collection, 1909 (no. 224).
18. COUNT ALBRECHT VON MANSFELD.
H. 633; Sch. ii, 298, 155; P. iv, 14, 174; N. 165.
Full length, standing, three-quarter face to 1., holding sword in 1.
hand, coat-of-arms in r. upper corner; winged serpent low on same side.
[322 × 217.] Fairly old impression.
Purchased from Messrs. Graves, 1851.
19. SIBYLLA OF CLEVES.
H. 621.
Full length, standing, three-quarter face to 1., wearing a low hat with
feathers; her hands are clasped in front of her waist. In the i. upper
corner are the arms of Cleves; in the r. lower corner the winged serpent.
[328 × 214.] Old impression. Watermark, small high crown surmounted by
cross and star.
In the inventory of 1837.
Part of the same series as nos. 15-18.
20. THE ELECTOR JOHN FREDERICK I.
B. vii, 295, 130; H. 275 (509); Sch. ii, 304, 169 (2); N. 147.
Half-length, in elector's robes and ermine hat, holding a long sword
in both hands. Over his r. shoulder the winged serpent.
[156 × 137.] Good impression. Above and below the portrait the text described
by H. from the Bible printed by Lufft in 1545. On the reverse is the privilege
granted in 1534 to the booksellers M. Goltz, B. Vogel and C. Schramm, at Wittenberg,
to sell Luther's Bible, Psalter, New Testament and Postilla.
Presented by Mr. W. Mitchell, 1895.
This cut was used in Bibles of 1541, 1543, 1545 and many later editions.
21. SIBYLLA OF CLEVES.
1551.
H. 279a (513); Sch. ii, 307, 174; P. iv, 17, 188; N. 154.
Bust, three-quarter face to r., with hands clasped over a closed book.
Over her r. shoulder the serpent, in r. upper corner the arms of Cleves.
Division D.-School of Saxony.-L. Cranach 11.
345
[163 × 127; sheet, 258 × 132.] Good impression, with the inscriptions quoted
by H. above and below the portrait.
Presented by Mr. W. Mitchell, 1895.
The portrait (B. 137) in the book, p. 338, no. 2, is a fairly accurate copy of the
present woodcut, but in the original the hands are not resting on a table.
22. FABIAN VON AUERSWALD.
B. vii, 298, 145; H. 288 (519); Sch. ii, 288, 135; P. iv, 12, 171; N. 189.
Half-length, three-quarter face to l., holding his coat-of-arms in both
hands s; over his 1. shoulder the winged serpent.
[214 × 164.] Good impression, from sig. A iij of "Ringerkunst," H. Lufft,
Wittenberg, 1539; fol. (p. 339, no. 1).
Purchased from Messrs. Smith, 1846.
23. MARTIN LUTHER.
H. 660.
Bare-headed, three-quarter face to r., standing, holding a book in both
hands. Landscape with buildings in the background. In 1. upper corner
Luther's arms, heart marked with a tau cross in the centre of a rose.
[335 × 214.] Old impression, damaged; the 1. lower corner wanting, also a large
piece beneath the shield; the signature, which should be in one or other of these
places, is consequently missing.
In the inventory of 1837.
The landscape closely resembles in character that in no. 10.
24. MARTIN LUTHER.
H. 301 (536).
The figure of Luther is from the same drawing as that in no. 23, from
which the present woodcut is evidently copied, with the omission of the
background. The winged serpent is in the 1. lower corner; the ground to
1. of the feet is shaded. Above the woodcut is the name, Doctor Martin
Luther, and the margin to 1. of the woodcut contains the inscriptions quoted
by Heller, giving dates of events in Luther's life.
[329 × 134; size of sheet, 350 × 201.] Fair impression. Paper discoloured.
In the inventory of 1837.
25. MARTIN LUTHER. 1546.
B. vii, 299, 150; H. 294 (529); Sch. ii, 313, 182; N. 173.
Half-length, three-quarter-face to l., holding a book in both hands.
The date 15–46 is divided by the head, and the winged serpent is beneath
the figure 6.
•
[134 × 89; size of sheet, 241 x 124.] Beneath the portrait are fourteen elegiac
verses, "Cum lachrymis tristes Ecclesia funde querelas ... Nemo nocere pijs te
prohibente potest," headed "DE OBITU REVERENDISSIMI VI-I RI, DOMINI
D. MARTINI LVTHERI," and signed "A.L.”
Purchased from Messrs. Colnaghi and Co., 1862.
25a. MARTIN LUTHER. 1546.
B. 150; H. 294 (529); Sch. 182; N. 173.
[134 × 89.] Later impression. The lines are thickened. On the back is printed
a rhymed life of Luther in twelve verses.
Purchased from Messrs. Heussner and Lauser, 1875.
346 Early German and Flemish Woodcuts.-Part II.
25b. MARTIN LUTHER (1546).
Second state.
B. 150; H. 294 (529); Sch. 182; N. 173.
The date removed, portions of the hatching cut away from several
places.
[134 × 89.] From a book; German text on the back.
Purchased from Mr. Fawcett, 1877.
This state is mentioned by Schuchardt, who remarks that it could easily be
mistaken for a copy.
26. MARTIN LUTHER. 1548.
B. vii, 299, 147; H. 298 (533); Sch. ii, 271, 115 and 300, 159; N. 170.
Full length, standing, three-quarter face to r., holding a closed book in
both hands. In 1. upper corner Luther's arms, below 1. the serpent under
the date 1548.
[145 × 97.] Good impression; text of "Hortulus Animae
Purchased from Mr. Gutekunst, 1867.
27. CHRISTIAN BRÜCK. 1549.
on the back.
B. vii, 298, 144; H. 289 (521); Sch. ii, 317, 190; L. p. 18; N. 190.
Half-length, three-quarter face to r., wearing a low, soft hat; his
hands clasped. To 1. of the head is the date 1549, and beneath it the
winged serpent.
[173 × 151.] Late impression, cut to the innermost border-line of four.
Purchased from Mr. Tiffin, 1851.
The block is in the Derschau collection (Becker, B 46). Lippmann (p. 20)
remarks that the woodcut appears to reproduce a picture.
Dr. Christian Brück, son of the Electoral Chancellor Gregor Brück, married in
1541 Barbara, daughter of the elder Cranach, while the younger Cranach married in
the same year Christian's sister Barbaro In 1549 Christian Brück built himself a
house at Weimar, in which he received the elder Cranach on his return from sharing the
captivity of John Frederick the Magnanimous. Cranach resided with his son-in-law
during the remainder of his life. Brück was involved in the rebellion of Wilhelm
von Grumbach, with whom he was executed by quartering in the market-place at
Gotha on 18 April, 1567.
28. JOHANN FORSTER. 1556.
H. 293 and 865; P. iv, 26, 40; N. 196.
Half-length, bare-headed, with long beard, holding a book in both
hands. On the shaded background over the 1. shoulder are the serpent
and date 1556; in the 1. lower corner the monogram of the woodcutter
called, on insufficient grounds, Hans Bocksberger (Nagl., Mon., iii, no. 607),
followed by a knife.
[185 × 146.] Good impression, with the inscription quoted by H. beneath the
woodcut. Provenance not recorded.
This portrait of a Wittenberg professor appeared in a Hebrew dictionary printed
at Basle, according to Heller and Nagler in 1554, which is two years before the date
on the portrait; N. mentions, however, an edition of 1557.
29. PAUL EBER.
Half-length, bare-headed, seated at a table, turned to r., but looking
to the front, holding an open book in both hands.
Division D.-School of Saxony.-L. Cranach II.
347
[144 x 112.] Good impression, enclosed in a passe-partout [278 × 160] composed
of four blocks; at the foot a sleeping child with skull and hour-glass, holding a
tablet inscribed HODIE MIHI | CRAS TIBI. Over the portrait, "VIVA IMAGO
REVERENDI VIRI M. | PAVLI EBERI KITTHINGENSIS, PASTORIS ECCLESIÆ WITTE-
BERGENSIS. | ANNO ÆTATIS 48"; beneath it, seven elegiac couplets, signed "M. Iohan:
Schosserus. Wittebergæ 1559."
Purchased from Mr. Gutekunst, 1867.
Not signed, but attributed to Cranach by comparison with the following.
30. JOHANNES BUGENHAGEN.
N. 188.
Half-length, standing, bare-headed, holding an open book in both
hands. Over his 1. shoulder the winged serpent.
[142 × 109.] Good impression, in the same passe-partout as no. 29, but with a
different piece at the top. "Over the portrait, "Warhafftige Abcontrafactur des . . . .
Johannis Bugenhagij Pomerani," etc. Beneath it, four German couplets, "Wer
wissen wolt kürtzlich von wan.... auff diesem blat."
Purchased from Mr. Daniell, 1870.
31. PHILIPP MELANCHTHON.
H. 304 (538); N. 185; L. 55.
Bust, three-quarter face to r., in a coat lined with fur. Over the r.
shoulder is the winged serpent.
[267 × 194 (cut); height of sheet, 345.] Good impression, but cut within the
border-line on both sides. Above the portrait, "VIVA IMAGO REVERENDI
VIRI | D. PHILIPPI MELANTHONIS." Below it, eleven elegiac couplets, "Si tibi non
licuit coram spectare Philippum. Et quae dexteritas, totaque uita liquet,"
signed "HENRICVS MOLLERVS HESSVS. 1560.”
Collections: Firmin-Didot (F. 21), Mitchell.
Presented by Mr. W. Mitchell, 1895.
Lippmann reproduces another edition (that described by H.), entitled "War-
hafftige Abconterfeiung des Herrn Philippi Melanthonis," with German verses
below in three columns, ex latino." This edition was in the Theobald collection
(sale, Stuttgart 1910, no. 177). The same collection contained (no. 176) an earlier
Latin edition than that described here, the second line not being in italics.
31a. PHILIPP MELANCHTHON.
H. 304 (538); N. 185; L. 55.
Another impression [265 x 211], fully preserved but the border-line cut close.
Purchased from Messrs. Graves, 1851.
32. PHILIPP MELANCHTHON. 1561.
B. vii, 300, 153; H. 870; N. 182.
Full length, standing, bare-headed, holding his cap in his 1., a book in
his r. hand. On a shield in r. upper corner is a serpent wound about the
cross;
low down to 1. the date 1561 and Cranach's serpent. In the
shadow near the r. foot of Melanchthon is the mark of the woodcutter
Jacobus Lucius Transilvanus.
[251 × 153.] Fair impression, but the border already broken in three places.
Over the woodcut is printed "EFFIGIES REVERENDI VIRI, D. PHI- | LIPPI
MELANTHONIS, EXPRESSA VVITTEBER- | GAE, ANNO M.D.LXIII.”
Purchased from Mr. Bihn, 1875.
This portrait was used in various editions of Carion's Chronicle.
32a. PHILIPP MELANCHTHON.
1561.
B. 153; H. 870; N. 182.
[252 × 152.] Another impression, the border-line restored, with the same in-
scription but no italics, and the date M.D.LXXXII.
Purchased from Messrs. Colnaghi and Co., 1871.
1
348
Early German and Flemish Woodcuts.-Part II.
WOODCUTS AFTER LUCAS CRANACH II.
33. PHILIPP MELANCHTHON. 1561.
H. 867; P. iv, 26, 41.
Bust, three-quarter face to r., in an oval; over the 1. shoulder are the
date 1561 (not 1556) and the serpent. The portrait is enclosed in a
frame ornamented with cherubs' heads and fruit. The mark of the
woodcutter Jacobus Lucius Transilvanus, with a knife, is on a tablet
attached to the r. side.
[115 × 94.] Good impression, on title-page of "Chronicon Carionis,” J. Crato,
Wittenberg, 1572; fol.
Presented by Sir A. Wollaston Franks, K.C.B., 1896.
This portrait is clearly derived from no. 32, which, itself, is only a variant of
no. 31, on a smaller scale and increased to full length.
34. PHILIPP MELANCHTHON.
Bust, three-quarter face to r., in four-fold circular border; the three
outer lines are close together, the fourth (innermost) being removed by
over one millimetre from the third.
[Diam. 53.] Fair impression.
Purchased at the Brentano Sale, 1870.
A similar, but superior cut, of which this is a copy, is used on the title-page of
"Brevis narratio exponens quo fine vitam in terris suam clauserit reverendus vir
D. Philippus Melanthon," P. Seitz, Wittenberg, 1560; 4to. Yet another, still better,
occurs on the title-page of "Orationes, Epitaphia et Scripta, quae edita sunt de
morte Philippi Melanthonis omnia," J. Crato, Wittenberg, 1561 (2), 8°. In this the
border consists of three lines about equidistant, and the innermost line is further
removed (2 mm.) from the top of the head [diam. 55].
35. PHILIPP MELANCHTHON.
An almost exact repetition of no. 34, but not printed from the same
block.
[Diam. 53.] Late impression.
Presented by Sir A. Wollaston Franks, K.C.B., 1895.
36. PHILIPP MELANCHTHON.
Similar bust, in fourfold circular border, but the lines of the border
fall into two distinct pairs. On either side of the circle is the date
15-89.
[Diam. 51.] Poor impression.
Purchased from Mr. J. Marshall, 1876.
349
APPENDIX TO CRANACH.
TABLE I.-Bartsch Numbers.
(B. Bartsch; D. = Dodgson.)


B.
D.
B.
D.
B.
D.
B.
D.

1
57
39
93
77
117
115
89
2
88
40
94
78
83
116
9
3
58
41
95
79
117
10
4
123
42
96
80
45
118
12
5
79
43
97
81
52
119
3
6
44
98
82
44
120
† p. 281
7
63
45
99
83
121
8
64
46
100
84
46
122
59
9
65
47
101
85
41
123
87
10
66
48
102
86
30
124
8
11
67
49
p. 340, no. 1
87
48
125
54
12
68
50
2
88
50
126
56
""
13
69
51
3
89
47
127
55
"
14
70
52
4
90
31
128
p. 343, no. 15
15
71
53
5
91
20
129
""
p. 344, no. 16
16
72
54
p. 341, no. 6
92
27
130
""
20
17
73
55
341, 7
93
24
131
""
""
18
74
56
4
94
43
132
19
75
57
51
95
133
20
76
58
61
96
134
21
17a
59
7
97
18
135
""
22
78
60
119
98
29
136-140
p. 344, no. 17
Vol. I, p. 514, no. 5
""
'p. 338, no. 2
6
23
103
61
15
99
28
141
24
104
62
118
100
23
142
25
105
63
60
101
39.
143
132
26
106
64
90
102
40
144
p. 346, no. 27
27
107
65
14
103
38
145
p. 345, no. 22
28
108
66
104
25
146
29
109
67
2
105
36
147
p. 346, no. 26
30
110
68
82
106
33
148
31
111
69
121
107
37
149
32
112
70
77
108
34
150
p. 345, no. 25
33
113
71
122
109
35
151
34
114
72
5
110
32
152
Not by Cranach
35
115
73
81
111
153
p. 347, no. 32
36
116
74 p. 166, no. 51
112
13
154
37
91
75
6
113
62
155
38
92
76
1
114
16
350
Early German and Flemish Woodcuts-Part II.
TABLE II.-Schuchardt Numbers.
(SCH. Schuchardt; D. = Dodgson.)


SCH.
D.
SCH.
D.
SCH.
D.
SCH.
D.
1
57
49
106
104
p. 324, no. 3 149
p. 343, no. 15
2
50
107
p. 329, no. 13, 150
p. 344, no. 16
3
51
108
105
151
4
52
109
106
152
5
88
53
110
107
18-46
153
6
54
111
108
52
154
p. 344, no. 17
7
58
55
112
109
155
18
"}
56
113
110
156
9
123
57
114
111
48
157
10-13
58
115
112
49
158
14
79
59
104
113
50
159
p. 346, no. 26
15
60-62
114
51
160
16
63
63-69 p.340, nos. 1-7 115
p. 346, no. 26 161
17
64
70
4
116
13
162
18
65
71
51
117
62
163
19
66
72
61
118
16
164
20
67
73
7
119
† p. 281
165
21
68
74
90
120
166 Vol. I, p. 514, no. 5
22
69
75
14
121
59
167
23
70
76
2
122
89
168
24
71
77
60
123
9
169
p. 344, no. 20
25
72
78
119
124
12
170
26
73
79
15
125
87
171
27
74
80
118
126
11
172
28
75
81
127
10
173
29
76
82
6
128
3
174
p. 344, no. 21
30
17
83
82
129
8
175
31
17a
84
121
130
56
176
131
32
78
85
122
131
54
177
p. 331, nos. 26, 27
p. 326, no. 10
86
132
55
178
33
p. 330, no. 23
87
77
133
179
p. 336, no. 15
124
p. 331, no. 25
88
5
134
180
34
91
35
92
89 p. 335, no. 13 135
90
81
p. 339, no. 1
181
136
p. 278, no. 7
182
126
p. 345, no.
25
36
93
91-93
137
p. 334, no. 6|
183
37
94
94 p. 335, no. 12, 138
184
38
95
95
1
139
Lemberger
185
39
96
96 p. 166, no. 51 140
186
40
97
97
117
141
p. 332, no. 30
187
41
98
98
142
p. 335, no. 11
188
42
99
99
83
143
p. 331, no. 28
189
43
100
100
84
144
189b
44
101
101
† p. 307
145
p. 343, no. 14 190
133
p. 346, no. 27
45
102
101a
85
146
191
46
103
102
† p. 315
147
192
47
116
103
(Not by
148
193
125
48
105
Cranach
351
IV.—ANONYMOUS WOODCUTS OF THE SCHOOL OF
CRANACH.
1. ABRAHAM'S SACRIFICE.
The Angel, flying, grasps with his 1. hand the hilt of the sword with
which Abraham is about to smite off the head of Isaac, who kneels, facing
to r., on a pile of wood. To 1. is the ram caught by the horns in a
thicket, to which the angel points with his r. hand. In the foreground
trees, in the distance, r., buildings.
[233 x 159.] Late impression, coloured in imitation of a chiaroscuro, of the
second cut, between fol. 13 and 14, in the first folio edition of Luther's
translation of the Old Testament, pt. 1, Wittenberg, 1523. (See p. 331, no. 25.)
No text on the back.
Purchased from Messrs. Smith, 1845.
2. THE DEATH OF ELI.
To l., the ark in the Temple of Dagon, whose image is broken; in the
middle the plague of mice, and the death of Eli; to r. a battle.
[113 × 145.] Late impression, with text on the back (1 Sam. v), of the cut first
used in the first folio edition of Luther's translation of the Old Testament, pt. 2.
(See p. 331, no. 25a.)
Purchased from Mr. Miller, 1848.
3. THE AFFLICTION OF JOB.
Job, covered with sores, converses with his wife and friends. In the
background, behind a wall, we see the collapse of his house and the
raiding of his cattle.
[225 × 159.] Early impression, with text on the back, from the first folio edition
of Luther's translation of the Old Testament, pt. 3. (See p. 331, no. 25b.)
In the inventory of 1837.
4. THE CREATION OF EVE. P. iv, 26, 42b.
In the foreground the Almighty lifts Eve from the side of Adam, who
sleeps on the bank of a stream in which waterfowl swim and wade. In
the distance are seen the Creation of Adam, the Fall, the concealment of
Adam and Eve, and their Expulsion from Paradise.
[256 × 156.] Badly preserved; no text on the back.
In the inventory of 1837.
First used in Luther's Bible, printed by Nicolaus Wolrab at Leipzig, 1541. The
illustrations of this book are ascribed by Passavant en bloc to the younger Lucas
Cranach, but it is obvious that they are by various hands.
5. TWO JUDGES OF ISRAEL. P. iv, 27,
42h.
Both in armour; one wears a helmet, the other, to r., is bare-headed.
Near the feet of the first is a dog.
---
352
Early German and Flemish Woodcuts.-Part II.
í
[261 × 163.] Good impression, with text on the back.
Presented by Sir A. Wollaston Franks, K.C.B., 1895.
First used in the same book as no. 4. This is from a late edition.
6. BORDER WITH THE TRINITY, EIGHT ANGELS HOLDING THE
INSTRUMENTS OF THE PASSION, AND DAVID KNEELING IN A
LANDSCAPE, PLAYING THE HARP.
[266 × 176; opening, 124 × 107.] Good impression, on title-page of "Psalteriu
summi fū|ditoris et Egregij cytharedi Daui- | dis pphete excellētissimi filij Jesse :|
editu: Et per Diuu Aureliu Augustinu in tres | quinquagenas sagaciter diuisum
ad laudem cunctipotentis dei accura-te impressum." (Place and date
of printing unknown) fol.
·
.
•
Presented by Mr. W. Mitchell, 1895.
The artist is strongly influenced by Lucas Cranach. Some features suggest an
attribution to Hans, but it is rash to speak positively without knowledge of the place
and date of publication.
7. BOOK-PLATE OF CHRISTOPH SCHEURL.
Christoph Scheurl and his two sons, Georg and Christoph, kneel r.,
facing three-quarters to 1., before a crucifix. Behind the father is a large
tree, and on a hill in the distance is a castle. In the foreground 1. is a
large escutcheon with the arms, helm, mantling and crest of Scheurl;
beside it a small plain escutcheon with the arms of Fütterer, the family
of Scheurl's wife.
[231 x 142.] Late impression, without inscriptions, with margin.
Presented by Mr. W. Mitchell, 1895.
The early impressions actually used as book-plates (e.g. Franks collec-
tion, Berlin Cabinet, and pasted in a copy of Aretino's "Historia
Fiorentina," J. de Rubeis, Venice 1476, Hain 1562, which belonged to
William Morris, and was purchased at the sale of his library, December
1898, by Mr. Emery Walker) are coloured, and have texts from the
Psalms and Tobit printed on the margin. Within the limits of the cut
itself the following quotation is printed aslant: "Luc. 22 | Amo dico tibi,
hodie mecü eris in paradiso." At the bottom, beneath a verse from the
Psalms, is printed : "Liber Christ. Scheurli. I.V.D. qui natus est.
11. Nouemb. 1481. | Filij vero Georg. 19. April. 1532. & Christ.
3. August. 1535."
The arms, in their present form, were granted to Scheurl by the Emperor
in 1540. In 1541 he received further permission to use two flags in
addition to the griffin in the crest above the helmet. As these do not
appear, the date of the woodcut is fixed to the year 1540 or 1541. Scheurl
died in 1542.
The design appears to be by a Saxon, rather than a Nuremberg artist.
The block is in the Germanic Museum at Nuremberg (no. 35 of "Katalog
der im Germanischen Museum vorhandenen . . . Holzstöcke vom XV.-
XVIII. Jahrhunderte. Erster Teil." Nürnberg, 1892). Impressions
were taken from it in 1892, and were issued as a plate in Zeitschrift für
Bücherzeichen, ii, 4, Berlin, 1892, described p. 9 by G. A. Seyler. A
facsimile of a coloured impression was issued in the same journal. For
other Scheurl book-plates already described, see Vol. I., pp. 365, 516, and
Vol. II., p. 305.
353
V.-GEORG LEMBERGER.
((
Worked 1522-1537. Georgius Lemberger ex Lantshuth pictor"
became a citizen of Leipzig in 1523. Wustmann identifies him with
"Georg Maler," who in 1525 received twelve groschen "von eyner
forme etzlicher vorbotten pfennige zureyssen und schneyden," and
in 1529 six groschen "von eynem Moster des Rats wapen daruff
zereyssen." In that case he was also a woodcutter. In 1532¹ he was
expelled from Leipzig by the government of Duke George of Saxony
for his obstinate adherence to the Lutheran faith and participation in
proscribed services. He may have taken refuge at Wittenberg, but
it is rash to identify him, as Wustmann does (p. 41), with the Jörg
Formschneider who worked at Wittenberg in 1551. The dates on
his woodcuts, published at Leipzig, Wittenberg, Altenburg, Dresden
and Magdeburg, extend from 1522 to 1537,2 and I have discovered
no illustrations that are certainly of later date.³
Authorities:-
i. Partial catalogues of Lemberger's work.
Bartsch, P.-G., ix, 434.
Passavant, P.-G., iv, 59.
Nagler, Mon., iii, nos. 93, 94, 120, 121.
C. Schuchardt, "Lucas Cranach," iii, 116.
R. Muther, "Die ältesten deutschen Bilder-Bibeln," 1883,
nos. 20, 31, 36, 39.
R. Muther, “Die deutsche Bücher-Illustration," 1884, nos.
1604, 1615, 1662.
H. Röttinger, "Zum Holzschnittwerke G. Lembergers,"
Mitteil. d. Ges. f. vervielf. Kunst, 1906, Nr. 1, p. 1.
¹ Not 1530, as stated by Geyser, Naumann's Archiv, iii, 78, apparently on the
authority of Vogel's "Annalen,” pp. 115, 119. The Lutherans of Leipzig, Lemberger
among them, began in the summer of 1532 to attend the ministrations of a Protestant
clergyman appointed by the Elector to the parish of Holzhausen, close to Leipzig, but
situated in the electoral territory. They were denounced by spies to the Duke, and
proceedings against them were commenced in September and concluded in October.
The transactions are fully related by Seidemann, Beiträge zur Reformations-
geschichte," i, 121 and 209 ff.
* I cannot accept as Lemberger's work the woodcuts in a book printed at Mainz
in 1515 which are attributed to him by Röttinger (no. 1).
3 The large woodcuts in the Swedish Bible printed at Upsala, 1540-41, form a
possible exception, but it is likely that these had been previously used in Germany
in some book not yet recognised.
2 A
354
Early German and Flemish Woodcuts.-Part II.
ii. Biographical and critical notices.
G. Wustmann,“ Beiträge zur Geschichte der Malerei in
Leipzig," 1879, pp. 36-41.
W. Schmidt, Kunstchronik, 1890, N.F. i, 321.
A single picture, no. 609, in the Leipzig Museum, the Crucifixion,
dated 1522, commemorative of the Schmidburg family, can be attri-
buted with certainty to Lemberger. It is reproduced on pl. viii in
Heft 17 (edited by C. Gurlitt) of "Beschreibende Darstellung der
älteren Bau- und Kunstdenkmäler des Konigreiches Sachsen," Dresden,
1895, and in T. Schreiber, "Das Museum der bildenden Künste zu
Leipzig," 1906. W. Schmidt's attribution of a drawing at Windsor
cannot be accepted; apart from discrepancies in style, the signature
is to be read as L. C. or C. L.²
4
3
Lemberger signs his woodcuts either with a monogram upon a
tablet or with separate initials, often accompanied by dots or small
rings ornamentally disposed. The signature was interpreted by the
older writers since J. F. Christ as that of Gottfried Leigel, a fictitious
personage. The identification of the monogrammist with Lemberger
is attributed by Schmidt to Woltmann and Woermann, but they
had been anticipated by Seidemann in 1846. There can be no
reasonable doubt that this identification is correct. Though he
belongs not only by his place of residence but by the affinities of his
art to the Saxon school, Lemberger preserves many characteristics of
the Bavarian region whence he came, and his figures, as well as
his trees, skies and mountain backgrounds often remind us of Huber.
Schuchardt, who knew very little about "Gottfried Leigel's " work,
dwells on the resemblance of his woodcuts to Altdorfer, and under-
rates the influence of Cranach. A method of lightening the outline
of mountain peaks by breaking the line into a row of dots is distinc-
tive of Lemberger as compared with Altdorfer, Huber and their
immediate school, though imitations of the trick may be found on a
small scale in woodcuts by Brosamer and anonymous Saxon artists.5
Lemberger did much decorative work for the Saxon presses, especially
1 Röttinger, p. 7.
"See publications of the Vasari Society, v. 30, where this and another drawing
by the same artist are discussed.
3 "Geschichte der Malerei," ii, 433.
4
Beiträge zur Reformationsgeschichte," i, 121, quoted by Wustmann.
5 For instance, in the woodcut of the Temptation of Christ [105 × 76] by an
imitator of Lemberger on fol. 59 of "Deudsch Catechismus," G. Rhau, Wittenberg,
1530; 4°. In this same book, fol. 39, is the woodcut of the Creation attributed here
(p. 335, no. 13) to Hans Cranach. A series of ten woodcuts [112 × 75] in the first
part of the Catechism, illustrating breaches of the ten commandments, is evidently
by the same artist and should have been mentioned in Section II.
•

•M·D·XXVII ·
·G.L·
PLATE XVIII
GEORG LEMBERGER
THE DIVISION OF THE APOSTLES
Division D.-School of Saxony.-Lemberger.
355
1
that of Lotter and Blum at Leipzig, Lotter, Rhau and Lufft at
Wittenberg, and Kantz at Altenburg.¹ The few signed title-pages
contain architectural and ornamental motives that repeat themselves.
tiresomely, and are easily recognised on unsigned borders and on the
architectural parts of Bible illustrations; similar motives are found
on a smaller scale on the letters of several alphabets of different sizes
which have not yet been classified or described.
The earliest work of Lemberger, the frontispiece to the Prague
Missal printed by Lotter at Leipzig in November 1522,2 is the most
striking and original of his woodcuts; the decorative use of black
spaces in the design is unsurpassed in German illustration. In 1523
he was designing numerous illustrations to the Bible, which appeared
in that year and in 1524 in Lotter's octavo editions of the Old and
New Testaments in Luther's version. Some of these are excellent,
but like most of Lemberger's work, existing only in books which have
become scarce, they are little known. His principal series of illus-
trations is the very numerous set of woodcuts to the Old Testament
(at least 123) begun, apparently, in 1532 and first published in 1536
in a Low German Bible printed at Magdeburg. The cuts in that
Bible are for the most part admirably printed, but they have the
misfortune to be known chiefly by the late and very inferior im-
pressions in Bibles printed by Lufft at Wittenberg from 1550 onwards.
Apart from books, the selection of woodcuts by which Lemberger is
represented here is small and not particularly good.
BOOKS ILLUSTRATED BY LEMBERGER.
A.—IN THE DEPARTMENT OF PRINTS AND DRAWINGS.
1. [MUNTZER.] Bekentnus | Thomas Muntzers etwa | Pfarner zu
Alstedt geschehen in der guthe dinstags nach | Cantate. | .1525. |
Ein Sendbrieff Thomas Muntzers. (M. Blum, Leipzig, 1525?) 4¹º.
1
Presented by Mr. W. Mitchell, 1904.
Title-border [147 x 105; opening, 65 × 46] with six angels, two of whom carry a
wreath, two stand behind pillars, and two support an empty shield. Badly printed.
Röttinger 17 (described from a book of 1534). Also used in [TOLTZ] Eyn Šermonn |
der vilfeltigen frucht des gestorbnen weytzkorn | en... 1526, and in
[LUTHER.] Ob kriegsleute auch ynn selligem stande seyn | kunden. | Mar.
Luther. Wittemberg. | 1527.
von
2. [BIBLE.]
Das naw testament nach lawt | der Christlichē
¹ The productions of the last-named press, not mentioned by Röttinger, have not
yet been sufficiently explored.
2 Reproduced, Mitteilungen, 1906, p. 4.
2A2
356 Early German and Flemish Woodcuts.-Part II.
-
kirchen bewertē text, corrigirt, vñ wider | umb zu recht gebracht
m.d.xxvij. (Emser's Catholic version.) W. Stöckel, Dresden, 1527;
fol. Muther 1662.
Purchased from Mr. Thorp, 1851.
Woodcuts, partly described by Passavant, iv, p. 60, and more fully by Nagler,
Mon. iii, p. 41.¹
(1) Title-page [228 x 141, pierced in four places for type] containing the three
Persons of the Trinity, a group of Apostles, and the four Evangelists.
Signed and dated 1527. P. 1.
(2) Verso of fourth leaf (repeated 2 v.). A group containing Moses, David, St.
Paul, and other Apostles or Prophets standing before the Virgin and
Child enthroned; the Almighty appears in clouds. Initials and date on
steps of throne [208 × 141]. P. 2.
(3) Fol. 24 v. The Resurrection; a lion stands beside Christ on the slab of the
tomb [148 x 113].
(4) Fol. 38. The Presentation of Christ in the Temple [145 × 114].
(5) Fol. 61 v. The Trinity, floating in clouds over a landscape; on the clouds
an eagle. Signed and dated 1527 [148 × 115]. P. 3.
(6) Fol. 79 v. The Dispersion of the Apostles. Signed and dated 1527 [147 x
110]. P. 4.
(7) Fol. 103 v.
(8) Fol. 177.
The Conversion of Saul. Signed and dated 1527 [146 × 115}. P. 5.
The stars fall from heaven and the kings and rich men of the
earth hide themselves [148 × 114].
(9) Fol. 177 v. Angels restraining the four winds and marking the foreheads of
the elect. Signed and dated 1527 [149 × 115]. P. 6.
(10-13) Initials with the four Evangelists [c. 72 x 64] before the Gospels.
(14) Ornamental initial D, column, dolphin and leaves [58 x 56] before the Acts.
(15) Initial M with St. Paul [67 × 64] before the Epistle to the Hebrews.
|
3. [LUTHER.] Der hundert vnd zwelffte psalm Dauids
ge-predigt durch Mar. Luth. | Wittemberg 1. 5. 26. H. Weiss,
Wittenberg, 1526; 8°.
Duplicate transferred from the Department of Printed Books, 1889.
Title-border [118 × 84; opening, 61 × 42], undescribed. One piece. Columns at
the sides supporting balls and foliage and resting on the heads of seated monsters.
Two angels seated back to back at the top touch the leaves. Between the two
monsters at the foot an angel stands, supporting a shield with the monogram of
H. Weiss. Background shaded obliquely from r. to 1.
The same border is used in the following books in the Library: [LUTHER.]
"Sermon von | der heubtsum | ma Gottes gepots. . . Mar. Luth. | Wittemberg. 1. 5.
26," and [LUTHER.] Ein vnterrichtung wie sich die Chri- sten ynn Mosen
sollen | schicken Gepredi-get durch Mar. Luther. | Wittemberg | 1.5.26," both
without name of printer.
4. [RHEGIUS.] Selen ertz❘ney fur die gesunden vñ krancken |
zu diesen geferlichen zeit- ten, vnd ynn todes nôtten durch | Vrbanumi
Rhegium | M.D.XXX. (n.p.d.) 8vo.
Presented by Mr. W. Mitchell, 1904.
Title-border [122 × 85; opening, 74 × 44], undescribed. At the top two seated
children with shields containing the letters M and S.2 On either side a winged child
1 Nagler omits the initial S (St. Luke), no. 12, and no. 14, while he wrongly
includes the P, which is not by Lemberger, and comes from the first Wittenberg
edition of Luther's N.T., 1522.
2 These initials occur in an analogous position on a woodcut representing
St. Luke with the features of Melanchthon in an octavo Low German N.T. printed
by Hans Lufft at Wittenberg in 1527. But for that, it might be conjectured that
they stood for the initials of the printer.
Division D.-School of Saxony.—Lemberger.
357
•
standing on a base and supporting with both hands a column behind which another
winged child stands, blowing a long horn. At the foot, two winged children seated
on foliage, holding shields in both hands. Background closely shaded with oblique
lines, 1. to r.
5. [LUTHER.] Etliche | schöne Predig-|ten, Aus der ersten | Epistel
S. Jo-hannis. Von der Liebe. | D. Mart. Luth. | M.D.XXXIII. J. Klug,
Wittenberg (1533); 4to.
Presented by Mr. W. Mitchell, 1904.
Title-border [151 x 103; opening 68 × 49], with four warriors supporting shields
at the sides, and two winged children supporting the electoral arms of Saxony below.
Röttinger 9 (used in 1528).
6. [LUTHER.]
Ein Pre-digt von den | Engeln. Mart. Luth. |
Wittemberg. 1531. H. Lufft, Wittenberg, 1531; 4to.
Presented by Mr. W. Mitchell, 1904.
Title-border [160 × 119]. A portal with triangular gable under which wreaths
are suspended. To 1. of the gable four, to r. three winged children. At the sides
two boys, each of which carries a child astride upon his shoulders. At the foot two
winged children play with garlands, and a third is indistinctly seen r. Röttinger 5
(used in 1525).
7. [HUSS.] Etliche | Brieue Johan- nis Huss des Heiligen | Mert-
erers, aus dem ge|fengnis zu Costentz, | An die Behemen geschrieben. |
Mit einer Vorrhede Doct. Mart. Luthers. J. Klug, Wittenberg,
1537; 4to.
Duplicate transferred from the Department of Printed Books, 1889.
The same border as in no. 5.
8. [BIBLE.] Die Propheten | alle Deudsch. | Doct. Mart. Luth.
Gedruckt zu Wittem- berg, Durch Hans Lufft. 1555; fol. (Second
volume of a complete Bible.)
Purchased from Mr. Evans, 1850.
(1) fol. 149 v.
(2) 160.
(3)
""
(4)
""
""
161.
162 v.
164 v.
(6) 195 v.
""
(7) 223 v.
""
Judith in the tent of Holofernes.
The Worship of the Golden Calf; Tobit performing acts of mercy
(signed).
Tobit blinded by a swallow (signed).
Tobias catching the great fish.
Tobias curing his father's blindness.
A battle; illustration to 1 Macc. iv.
Daniel judging the elders.
Poor impressions from blocks which had been used in several earlier editions.
B.-IN THE DEPARTMENT OF PRINTED BOOKS.
1. [BIBLE.] Das All te Testament deutsch. | M. Luth. | Wit-
|
temberg (Melchior Lotter, Wittenberg, 1523) fol. (Muther, "Bilder-
Bibeln," 28).
Title-border [256 × 163], coloured, in the form of a portal, with eight angels on
the top of the arch, an angel on either side clinging to a ring attached to the shaft
of a column, and, below, a crucifix surrounded by angels seated or kneeling. Second
state; in the first state, with the date 1522 in the r. lower corner, the border had
been used in the Prague Missal presented by Melchior Lotter at Leipzig, 27 October
1522 (Röttinger, p. 1, no. 2). The initial D with Moses [72 × 60], sig. A 2, repeated
fol. 115, is also by Lemberger.
358
Early German and Flemish Woodcuts.-Part II.
2. [BIBLE.]
Das
Newe Testament Deutzsch. | Wittemberg.
Melchior and Michel Lotter, Wittenberg, 1524; fol. (Muther, B.-B., 18).
The same border as in no. 1. It was used later in Sweden; see no. 33.
3. [BIBLE.] Pentateuch (wants title; pt. 1 of Das allte testament
deutzsch), M. Lotter, jun., Wittenberg, 1524; 8vo. (imperfect). (Muther
1615.)
Ten cuts [146 × 95]. (1) D 6, Abraham's sacrifice; (2) E 6 v., Jacob's dream;
(3) G 5, Joseph expounding Pharaoh's dreams; (4-9) M 3-M 8 v., six cuts of the
Tabernacle and its furniture; (10) N 3, Aaron. Nos. 1, 3, 6 and 10 are signed G L
and dated 1523, no. 4 has the initials only. According to Muther this edition contains
thirteen cuts including the title-border, the Creation, and presumably some other
subject wanting in this copy.
4. [BIBLE.] Das newe | testament | deutzsch. | Mart. Luther.
| | M.
Lotter, jun., Wittenberg, 1524; 8°. (imperfect, wants title). (Muther
1604.)
Thirty-four cuts [c. 148 x 96]. (1-4) the four Evangelists; (5) the Descent of the
Holy Ghost; (6-9) four different cuts of St. Paul; (10) St. Peter; (11) St. John;
(12) St. James; (13) St. Jude; (14-34) twenty-one illustrations to the Apocalypse.
No. 8 is used twice, no. 9 seven times. Nos. 1 and 8 are signed and dated 1523,
nos. 2 and 3 are signed, nos. 14-16 are dated 1523. Among the initials four varieties
of P, d 2, g 4 v., k 2, 16, can be attributed to Lemberger.
Small copies in reverse [67 × 65] of all these woodcuts except nos. 4, 7, 8, appeared
in the octavo Low German N.T. printed by "Johannes Loersfels anders Paryser
genåmet" in 1526 (sine loco). A free copy of no. 4 [113 × 72] appeared in the octavo
editions of Emser's Version of the N.T. printed by V. Schumann, Leipzig, in 1528
and 1529. The other Evangelists in the books appear also to be indirectly from Lem-
berger's designs, and the Apocalypse cuts are reduced copies [88 × 65] from those in
this edition.
5. [EMSER.]
Canonis | Missae contra | Huldricū Zuing- | lium. |
Defensio. | M.D.XXIIII. (n.p., after 13 April, 1524); 4tº.
Border with the Mass of St. Gregory, in r. upper corner the words "ECCE HOMO.”
[159 × 118; opening, 57 × 60.] Röttinger, p. 2, no. 3. Repr., Diederichs, no. 351,
from "Missae Christianorum contra Lutheranum missandi formula Assertio," 1524.
6. [FREDERICK I., K. of Denmark.] Serenissimi Domini, D.
Friderici Daniæ, Norvegiæ Regis
ad Christierni Patruelis
calumnias, Responsio. (M. Lotter, jun., Wittenberg, 1524); 4t.
On title-page, the royal arms of Denmark [102 × 89]. Undescribed. The cut
may safely be ascribed to Lemberger by comparison with his ornamental work,
especially in alphabets.
7. [LINCK.] Dyalogus | Der Auszge- lauffen Münch. G. Kantz,
Altenburg, 1524; 4to.
Border composed of four pieces: (a) cherub's head with foliage on either side
[21 × 120]; (b, c) candelabra of different designs, with vegetable forms [106 × 24];
(d) a vase between two dragons [31 × 119]. Black ground throughout. Undescribed.
À 2 v., initial E [24 × 23].
8. [JAN, Hus.] Joan:
Joan Husz Von sched-lickeit der menschen
satzungen oder Tradition. | Verdeutsch durch Wentzeslaū | Linck.
Division D.-School of Saxony.- Lemberger.
359
Ecclesiasten zů | Aldenburgk. (At end, sig. A 4.) Gedruckt zu Alden-
burgk. (G. Kantz) Altenburg (1525); 4to.
Border composed of four pieces: (a) Two cornucopias saltire under a round arch
decorated with grapes [30 x 59]; (b, c) a pair of upright panels with crescents,
cornucopias, winged children facing to r. and 1. respectively, and scrolls of foliage
[130 × 31]; (d) a nereid holding an apple in her 1., a long leaf in her r. hand, and a
triton with a long leaf in his 1. hand, back to back; their bodies end in leaves from
which stalks project, bearing flowers and berries [40 × 118]. Black ground
throughout. Undescribed.
9. [BIBLE.] Dat Nye Te-stament důdesch gantz | vlytigen
gecorrigeret, mit eynem Register. | Martinus Luther. Wittemberch. |
M.D.XXV. Hans Lufft, Wittenberg, 1525; 4to.
Title-border with same motives as the folio border in no. 1, reduced to quarto
size [150 × 104], and twenty-one illustrations to the Apocalypse, repeated from the
edition of 1524.
An octavo copy of this title-border [127 x 87], not by Lemberger himself,
appeared in the Low German N.T. printed by Johannes Loersfels, 1526 (sine loco).
10. [LUTHER.] Ein Sermon von des Judischen reichs vnd der welt
ende. H. Lufft, Wittenberg, 1525; 4to.
Title-border [160 × 119], with irregular opening. A triangular gable, with four
angels 1., three r.; between the column and the pilaster on either side is an angel
who carries another on his back. In front of the socle are two children with gar-
lands; a third is seen in the lower corner on the right. Rött. 5. Repr., J. Luther,
"Die Titeleinfassungen der Reformationszeit," Lief. 1, 1909, Taf. 34. Also used in
[LUTHER.] Ob man | fur dem sterben fliehen | muge, 1527; Von Er|Lenhard
keiser | ynn Beyern vmb des Euan-gelij willen verbrandt. Eine selige geschicht,
1528; Ein Pre-digt von den | Engeln, 1531 and 1535.
11. [LUTHER.] De servo arbitrio. H. Lufft, Wittenberg, Dec.
1525; 8vo.
Architectural border [109 × 78], with three round openings in the vault of the
arch; below, an angel holding a shield with the device of Hans Lufft; opening
irregular. Rött. 6, repr. p. 5.
12. [LUTHER.] Zwo predigt | auff die Epistel S. Pauli. | 1. Tessa. 4.
1525; 8vo. (s.t.n.).
Architectural border. At top two nude men seated, each with his hand on a large
ball. At sides columns; below, a lion reclining in a semicircular recess [119 × 83;
opening, 59 × 40]. Undescribed.
13. [LUTHER.] Das der freie wille nichts sey. H. Lufft,
Wittenberg, 1526; 4to. (also in an edition without Lufft's name).
Architectural border [146 × 105], with triangular gable. At the top, five angels
on either side of the gable. Below, Christ on the cross between two angels swinging
censers. Opening irregular. Repr., J. Luther, "Die Titeleinfassungen der Reforma-
tionszeit," 1. Lief., Leipzig, 1909, Taf. 35.
14. [BIBLE.] Der Prophet Haba-cuc, ausge- legt durch | Martin. |
Luth. G. Kantz (Altenburg, n.d., 1526?) 8.
Border with eight little angels on a background shaded diagonally from 1. to r.
Two at the top flank a vase; four at the sides carry fruit and sprays of foliage in
their hands; two below support an escutcheon [122 × 82; opening, 70 × 42]. A
characteristic work, undescribed. On back of title page initial D [24 × 24].
360
Early German and Flemish Woodcuts.-Part II.
15. [LUTHER.] Tro-stunge an die | Christen zu | Halle. H. Lufft,
Wittenberg, 1527; 4to.
Architectural border. A round arch rests on columns which project in front of a
wall with three cornices; on the lowest of these stand two warriors, on the next sit
two nude men; on the third are five angels on either side [146 × 106; opening,
65 x 44]. Rött. 8.
Lichtenberger.] Die
|
weissa gunge
Johannis
16. [JOHANN,
Lichtenbergers deudsch, zugericht mit vleys. H. Lufft, Wittenberg,
1527; 4to.
Border as in no. 15 (Rött. 8). Forty-four illustrations of various sizes, first
ascribed to Lemberger by Röttinger, p. 7, note 2. His hand is not at first sight
very easily recognised in them, but those who know the putti on his title-pages will
discover analogies, and his style appears in the tree on sig. C 4, the mountains on
sig. L 3, and the ornaments of the throne on sig. O 1 v. The subjects are traditional
and were drawn by other artists of Lemberger's time, e.g., Breu and Anton von
Worms.
17. [BIBLE.]
Vber das Erst | buch Mose, pre-digete | Mart.
Luth. G. Rhau, Wittenberg, 1527 2; 4to.
Border with angels above holding the two devices, rose with heart and cross, and
Lamb and flag, and below Christ crucified between the two thieves; opening
irregular [171 × 120]. Rött. 13. Repr., J. Luther, "Die Titeleinfassungen der
Reformationszeit," Leipzig, 1909, Lief. 1, Taf. 29.
Repeated in [LUTHER.] Deudsch Catechismus, G. Rhau, Wittenberg, 1529; 4t°.
Also in [LUTHER.] Ein | Brieff an | den Cardinal Ertz-|bischoff zu Mentz. | Mart.
Luth. (G. Rhau, Wittenberg, not before 1530); 4°.
18. [LUTHER.]
Ein epistel aus dem Propheten Jere- mia, von
Christus reich | vnd Christlicher frey- heit . . . Wittemberg, 1527;
8vo. (ts..n.).
Architectural border; below, two angels hold a shield with device of a hand
grasping a fleur-de-lis [118 × 83; opening, 61 × 43]. Rött. 20 (described from a book
of 1544). The same border occurs in [LUTHER.] Am funff-|ten Sontag nach der
heiligen Dreykönigentag, Euangelion | Matthei xi, 1527. (s.t.n.).
19. [SAXONY.] Sachsenspiegel. auffs newe ge-|druckt. vñ ander-
weit mit vleysse | corrigiret. M. Lotter, sen., Leipzig, 2 Jan. 1528; fol.
Title-border dated 1525 with scenes from the Passion: the Scourging, Crowning
with thorns, and Mocking of Christ as he sits upon the cross while holes are being
drilled through the beam. In an upper storey a group of prophets and patriarchs,
including Moses, John the Baptist, and David [255 × 163; opening, 82×69]. Rött-
inger 7. The initials D, N, O, P, V of the larger alphabet used in this book [47 × 47]
are very characteristic; the small alphabet (22 letters) used throughout the book is
also attributed to L. by Röttinger; observe on sig. Ee 5 the inclination of the letter O
in both large and small initials. The same initials but not the border are used in
the "Sachssenspigell" printed by M. Lotter, Leipzig, 1535.
|
20. [BIBLE.] Der Prophet Jesaia Deudsch. H. Lufft, Witten-
berg, 1528; 4to.
On title-page, Isaiah's lips touched with a live coal from the altar [184 × 130; the
¹ See also Repertorium für Kunstwissenschaft, xxxi, 52.
2 On fol. 14 of this book is the Creation described on p. 335, no. 13.
Division D.-School of Saxony.-Lemberger.
361
height includes a space at the top designed to hold the title; in 1532 (no. 26) this
upper portion was cut off]. Rött. 10.
21. [LUTHER.] Eine be- richt an einen guten freund | von
Beider gestalt des Sacraments auffs Bi-schoffs zu Meissen | mandat.
J. Klug, Wittenberg, 1528; 4to.
Border containing a round arch, on either side of it a naked boy, holding a spray
of foliage; the pillars are divided into two storeys; on the cornices stand four
warriors holding the arms of Saxon territories; two angels below, in front of the
cornice, support the electoral shield [151 × 105; opening, 68 x 51]. Rött. 9. This
border was used very often. There is a good impression in [LUTHER.] Deudsch
Catechismus, G. Rhau, Wittenberg, 1530.
22. [LUTHER.] Was sich D. Mart. Luther | &c. mit Huldrichen
Zwinglin &c. der Streittigen Articul halb, vereint und verglichen,
auff den Conuocatz zu Marpurg, den dritten tag.
|
M.D.XXIX.
gro.
| Octob. |
Architectural border (of earlier date and much worn) with a square pillar on
either side supporting large garlands, between which is a vase. In front of each
square pillar is a round column with a ring which a nude boy is holding. Below are
four boys, one of whom has wings; the two middle ones play with a dog [123 × 90;
opening, 70 × 43]. Undescribed.
23. [BIBLE.] Der Pro-phet Daniel | Deudsch. | Martin Luther.
H. Lufft, Wittenberg, 1530; 4to.
Title-border [160 × 119], used in 1525, Röttinger, no. 5. E 4 v. and F 4, the
Vision of Nebuchadnezzar [162 × 116], Nagler, Mon., ii, no. 2179, rightly attributed
by Röttinger (p. 6, no. 14) to Lemberger (repr. p. 7).
24. [DUNGERSHEIM.] Wore widerlegung D. Hieronymi | Dun-
gerszheim vō Ochsenfart Des | falschen buchleins Martini Lu-|thers von
beyder gestald des Hochwir- digsten Sacraments. V. Schumann, Leipzig,
1530: 4to.
On the last leaf, a flying angel speaks to St. Matthew as he writes his gospel
[67 x 64]. Not absolutely certain, but the dotted outlines of the mountains, the
curly plants, the little flicks on the surface of the stone, and St. Matthew's features
are in the manner of Lemberger.
25. [AUGSBURG CONFESSION.] Apologia | der Confession aus
dem Latin ver-|deudschet, | durch | Justum Jonam | Wittemberg. G.
Rhau, Wittenberg, 1531; 4to.
Border formed of a round arch supported by two columns on either side. Angels
standing on the entablature hold shields containing the two devices of Melanchthon.
Below two Roman warriors support a wreath surrounding a crowned shield with
emblematical devices [153 × 106, opening irregular]. Rött. 15. Numerous initials.
26. [BIBLE.] Die Propheten | alle Deudsch. | D. Mart. Luth.
H. Lufft, Wittenberg, 1532; fol.
Title-border [228 × 150]; an arch with two round openings, supported on pillars;
in front of each is a smaller pillar; angels sitting or kneeling on the capitals pass
down vessels to others standing on the bases; in front of the socle is a vessel con-
taining grapes; four angels sit on the ground, holding wreaths. This border had
been used in 1528, see Röttinger, p. 5, no. 11.
362
Early German and Flemish Woodcuts.—Part II.
Isaiah, fol. 1, Isaiah's lips touched with a coal from the altar [155 × 130], first
used in 1528 (no. 20). Second state, the block cut short at the top.
Daniel, fol. 10, v., the Vision of Nebuchadnezzar [162 × 116], Nagler, Mon., ii,
no. 2179, first used in 1530 (no. 23).
27. [BIBLE.] Dat Nye Testament. Martini Luthers
temberch. M.D.XXXIII. H. Lufft, Wittenberg, 1532; 8vo.
Wit-
Three different cuts (g 8, k 7, r4) representing St. Paul despatching various epistles,
not signed [119 × 80].
28. [WITZEL.] Euange-lion Martini | Luters.
Welchs da lange
| zeyt vnterm banck gele-gen, Sampt seyner | kyrchen Historia. M.
Blum, Leipzig, 21 Aug. 1533; 4.
Border, Rött. 17 (see p. 355, no. 1), sig. A 2 v., tail-piece belonging to the set
mentioned under no. 30. Numerous initials from various alphabets.
29. [LUTHER.] Die kleine
nehestes Buch,
Antwort auff | H. Georgen |
Doctor Mart. | Luther. | Wittenberg.
Wittenberg, 1533; 4t.
H. Lufft,
Architectural border with suspended garlands and a couchant lion in a curved
Rött. 16 (see p. 373, no. 122).
recess.
30. [INNOCENT III.] Liber de contemptu mundi.
Leipzig, March, 1534.
M. Blum,
Sig. B, a tail-piece, two cornucopias [13 × 63] belonging to a set of which speci-
mens occur in several books printed by Blum. L. 4, Blum's device, a shield supported
by two angels, background obliquely shaded from r. to 1. [40 × 61], Rött. 18. Also
used (with border, Rött. 17) in Cochlaeus, "De Matrimonio Serenissimi Regis
Angliae," 1535.
31. [DOBNECK.] Pro Scotiae Regno apolo-gia Johannis |
Cochlei. M. Blum, Leipzig (after 13 August, 1534) 4to.
Architectural border. Two angels at the top hold a leaf-shaped empty shield ;
two others standing by the base of a column on either side blow horns [155 × 113;
opening, 75 × 52], Rött. 19. Also used in [DOBNECK.] Von der | heyligen Mess |
vnd Priester weyhe, Christ-licher bericht D. Jo. | Cocleus. M. Blum, Leipzig,
1534; 4to.
32. [BIBLE.] Korte vthlegginge der Episteln . . . . dorch Anton-
ium Coruinum. H. Walther, Magdeburg (1537); 8ºº.
Title-border with angels blowing trumpets above, six angels round a crucifix
below, two columns on either side; date M.D.XXXA (1537) and monogram on a tablet
at top [128 × 85], badly cut. The title of the second part has a border with Jacob's
dream, not by Lemberger, but the cut on the verso, St. Paul despatching one of his
epistles [115 × 77], is more in his manner. The third part, containing the Epistles
for festivals, has yet another title-border with oval opening, not by Lemberger.
33. [BIBLE.] Biblia, | Thet år, | All then Helgha | Scrifft, | p
Swensko. G. Richolff, Upsala, 1541; fol.
The title-border to both Old and New Testament is that used in the Prague
Missal, Leipzig, 1522, the Old Testament, Wittenberg, 1523 (no. 1), and the New
Testament, Wittenberg, 1524 (no. 2). The following undescribed cuts are fine
examples of Lemberger's style: (1) before the Book of Joshua (on verso of title-page
to pt. 2, dated 1540), Joshua standing, in armour, holding a sceptre in his 1. hand,
Division D.-School of Saxony.-Lemberger.
363
•
at his feet IOSVE on a tablet; four men to 1. and four to r. in civilian dress; in r. upper
corner, near a large tree, the signature G L· [225 × 152]; (2) before the Book of
Job (on verso of title-page to pt. 3, dated 1540), Job seated 1. under a tree receives the
tidings of successive disasters from three messengers, not signed [222 × 142]. The
cuts in the text are coarse copies of Saxon originals, some being after Lemberger;
the David at the beginning of the Psalter repeats his signature.
34. [BIBLE.] Biblia: dat ys: | de gantze Hillige Schrifft, Dů- |
desch, Vpt nye thogerichtet, | vnde mit vlite cor-rigert. H. Lufft,
Wittenberg, 1541; fol.
Illustrations by Lemberger in pt. 1, fol. 1 (dated 1532), 2, 3, 4 v., 6, 10, 11, 12 v.,
16, 17 v., 20 v., 23 v., 26, 27, 30, 30 v., 32 v. (dated 1532), 33 v., 34, 35, 37 v., 38, 38 v.,
39, 39 v., 40 v., 41, 41 v., 43 v., 44, 45, 46, 46 v., 47 v., 51, 51 v., 52, 52 v., 57, 57 v.,
59, 63, 80 v., 87 v., 89 v., 91 v., 92 v., 95, 96 v., 99 v., 105, 125 v., 126, 127 v., 128 v.,
131 v.,¹ 132, 140 v., 144 v., 145 v., 149, 150 v., 151, 151 v., 152 (2), 153, 153 v., 157,
159, 161 v., 164, 168 v., 169 v., 173, 176 v., 178, 180, 181 v., 184, 189, 191, 196, 197,
198 v., 199 v., 200, 200 v., 203, 204, 204 v., 208, 208 v., 210 v., 215, 217 v., 223, 225,
228, 237 v., 265, 271 v., 273, 279 v., 281 v., 338. In the Apocrypha, fol. 6, 7 v., 19 v.,
20, 22, 24, 87. The illustration to Exodus, ch. 26, is dated "xxxv." The illustrations
on fol. 10, 11, 20 v., 273, and Apocrypha, fol. 87, were not used in the edition of 1536.
35. [BIBLE.]
Biblia: Dat ys: | De
Vordůdt-schet dorch. | D. Marti. Luth.
1545; fol.
gantze Hillige Schrifft.
H. Walther, Magdeburg,
The same set of illustrations as in the Low German Bible printed by Lufft in
1541 (no. 34).
36. [BIBLE]
Biblia | Das ist: Die gantze | heilige Schrifft : |
Deudsch. Doct. Mart. Luth. H. Lufft, Wittenberg, 1556; fol.
|
The same set of cuts as in nos. 34 and 35, but in many cases the monogram has
been removed from the tablet. This was probably done for the edition of 1550. The
first cut, of the Creation, dated 1532, is wanting, and the date and monogram have
been removed from the cut of the Burial of Jacob, fol. 31.
:
37. [BIBLE.] Biblia: Das ist | Die gantze heilige Schrifft: |
Deudsch. Doct. Mart. Luther. H. Lufft, Wittenberg, 1558; fol.
The same cuts as in the edition of 1556.
38. [BIBLE.] Biblia, etc. (2 vols.). H. Lufft, Wittenberg, 1560 (so
in colophon of each vol., but vol. 1 is also dated 1558, vol. 2, 1561). fol.
(On vellum, illuminated).2
The same cuts as in the editions of 1556 and 1558.
39. [BIBLE.] Biblia | etc.
Vordůdeschet | dorch | D. Mart.
Luth. Successors of Georg Rhau, Wittenberg, 1561; fol.
Only fourteen of Lemberger's O.T. cuts occur in this edition. The initials G L
have been removed from the cut of Joshua, fol. 102, but the five dots remain.
¹ The cut of Joshua here is the same as on fol. 126. A bad copy of this cut occurs
on fol. 102 of the Low German Bible printed by Lufft in 1569.
2 Röttinger (p. 6) describes a similar illuminated copy on vellum, with title-page
engraved by Virgil Solis, as here, in the Hofbibliothek, Vienna.
364
Early German and Flemish Woodcuts.-Part II.
•
Successors of Georg Rhau, Wittenberg,
40. [BIBLE.] Biblia, etc.
1565; fol.
In this edition only nine cuts are by Lemberger, different illustrations being used
in the Apocrypha, except that to Susanna, which is again by Lemberger.
A few books illustrated by Lemberger not yet described may be
mentioned here, though they are not in the British Museum.
Ein Gesprech auff das kurtzt zwischē | eynem Christen vñ Juden. 1524
(s. 1. et nom. typ.). On the title-page, a group of six persons under two
trees 1., Moses and the Brazen Serpent r. [121 × 99]. Not signed.
Collection of Dr. Ginsburg.
|
Dat Ollde | Testament | Düdesch. | Martinus Luther | Wittemberch.
| M.D.XXViij.
Undescribed title-border: a portal with round arch pierced by round
openings, before the arch two angels supporting an empty shield; the
arch rests on pilasters, the 1. pilaster shaded obliquely, the r. white, both
irregularly spotted in Lemberger's manner; on the top of each pilaster is
a large ball; twisted columns supporting foliage stand in front of these
pilasters on the same socles; in the foreground, Christ crucified between
the two thieves [118 x 85; opening irregular]. Martin Breslauer,
Berlin (wanting 5 leaves at end), Anzeiger II, no. 624.
1. AARON.
WOODCUTS BY LEMBERGER.
i. EARLY BIBLE ILLUSTRATIONS (1523). Nos. 1-18.
Second state.
He stands, vested as high priest, with r. hand raised, 1. hand resting
on his hips. Landscape background with a castle on a high rock 1.,
mountains with dotted outline r. In the sky, 1., the initials G L. The
date, 1.5.23., which originally stood above them, has been removed.
[145 x 93.] Late impression, from the worn block, without text.
Presented by Sir A. Wollaston Franks, K.C.B., 1895.
This cut was used on sig. N 3 of the first octavo edition of Luther's O.T., pt. 1,
M. Lotter jun., Wittenberg, 1524 (p. 358, no. 3). The figure is copied freely from the
cut in the first folio edition, 1524, between fol. 55 and fol. 56, but the landscape is
original.
2. ST. LUKE.
Second state.
He sits 1. under a tree, writing in a book propped up on a desk which
is placed on a little stone bridge over a tiny stream. The winged ox lies
beyond the bridge. The initials G L, which originally were placed on
the sky near the r. upper corner, have been removed.
[146 x 94.] Late impression, without text.
Purchased from Messrs. Lennard and Co., 1876, with nos. 3 and 4.
Division D.-School of Saxony.-Lemberger.
365
This cut was used before the Gospel according to St. Luke in the octavo German
N.T. printed by M. Lotter jun. at Wittenberg in 1524 (p. 358, no. 4). It is repro-
duced (in the first state) in Muther, "Bücherillustration," Taf. 257, together with the
St. Mark from the same book.
3. ST. JOHN.
He sits 1., beneath a pollarded willow, dipping his pen in an inkstand.
The eagle stands r. A vision of the Virgin and Child appears in the sky
No signature.
r.
[145 x 94.] Late impression.
This illustration, inferior to the rest of the series in cutting, was used before the
Gospel according to St. John in the book mentioned under no. 2.
4. ST. PAUL.
He stands r. holding two long swords in his 1. hand, and pointing with
his r. hand in the direction (1.) in which a messenger is departing, who
carries a spear over his 1. shoulder. No signature.
[145 x 95.] Late impression.
This illustration was used before the Epistles to the Galatians, Ephesians,
Philippians, I Thessalonians, I and II Timothy, and Titus, in the book mentioned
under no. 2.
[5-18.]
ILLUSTRATIONS TO THE APOCALYPSE.
These are from a series of twenty-one, used in the octavo N.T. printed
by Melchior Lotter jun., Wittenberg, 1524, and in the quarto edition (Low
German) printed by Hans Lufft in 1525. In both of these editions the
cuts never occur back to back, with one exception, cuts 5 and 6, in 1525,
and the first illustration has the date 1523. The impressions here
described are from another (folio) edition which has not been identified.
5. ST. JOHN BEHOLDS THE SEVEN GOLDEN
(illustration no. 1).
CANDLESTICKS
Second state, after the removal of the date from the r. upper corner.
6. ST. JOHN BEHOLDS THE FOUR-AND-TWENTY ELDERS (no. 2).
7. THE RIDERS ON THE FOUR HORSES (no. 3).
Second state, 1523 removed from r. upper corner.
the fourth woodcut.
On the back,
8. THE ANGELS RESTRAINING THE FOUR WINDS (no. 6).
9. THE STAR WORMWOOD AND THE PLAGUE OF LOCUSTS (no. 8).
On the back is a fragment of the seventh woodcut.
10. THE DESTROYING ANGELS (no. 9).
On the back is a fragment of the tenth woodcut.
11. THE TWO WITNESSES (No. 11).
On the back is a fragment of the twelfth woodcut.
12. THE SEVEN-HEADED BEAST (No. 13).
ず
​366
Early German and Flemish Woodcuts.-Part II.
13. THE FALL OF BABYLON (no. 14).
On the back is a fragment of the fifteenth woodcut.
14. THE SEVEN ANGELS EMPTYING THEIR VIALS (no. 16).
15. THE WHORE OF BABYLON (no. 17).
On the back is a fragment of the eighteenth woodcut.
16. THE DESTRUCTION OF THE SEVEN-HEADED BEAST (no. 19).
17. THE ANGEL WITH THE KEY OF THE PIT (no. 20).
18. THE ANGEL SHOWING ST. JOHN THE NEW JERUSALEM (no. 21).
[c. 145 × 95.] Good impressions.
Purchased from Mr. G. Pogson, 1907.
ii. LATER BIBLE ILLUSTRATIONS (1532-36). Nos. 19-118.
These belong to a lengthy series of Old Testament Woodcuts, two of
which bear the date 1532, while another is dated xxxv. They appear
to have been first published in the Low German Bible printed by Michael
Lotter at Magdeburg in 1536. That edition, of which there is a copy in
the collection of Dr. W. Aldis Wright at Cambridge, contains 117 wood-
cuts of this series, but even so the number is not complete, for nos. 22, 26,
81 and 113 of the following list are omitted, and the edition of 1541 con-
tains two others, Abraham receiving the visit of the three men, and
Habakkuk bringing food to Daniel in the lion's den, which were not in
the edition of 1536. The illustrations fall into two groups, corresponding
by a perceptible difference in style to a difference in signature. The
illustrations to the Pentateuch, Job, the Psalter and the Prophets form
the first group, signed with a monogram upon a tablet; the second group,
signed with initials, often accompanied by ornamental dots or circles,
belongs to the books from Joshua to Esther and the Apocrypha (Judith
and Tobit). Other books in which these woodcuts were used will be found
on p. 363, nos. 34-40. The majority of these impressions are from a High
German Bible, printed, apparently, by Lufft, but not one of the editions
represented in the Museum; it may have been the edition of 1550. At
any rate it was printed subsequently to the removal of Lemberger's
initials or monogram from the blocks, which still appear in the original
state in the Low German Bible of 1545.
19. THE SACRIFICE OF CAIN AND ABEL; THE DEATH OF ABEL;
CAIN REPROVED BY GOD (Gen. 4).
Second state, the monogram removed from the tablet.
20. THE FLOOD (Gen. 7).
Second state.
21. SHEM AND JAPHET COVERING THE NAKEDNESS OF NOAH (Gen. 9).
Second state.
22. LOT AND HIS DAUGHTERS (Gen. 19).
First state, with the monogram, from the Low German Bible of
1541. This cut does not occur in the edition of 1536.
Division D.-School of Saxony.-Lemberger.
367
22a. LOT AND HIS DAUGHTERS.
Second state, the monogram removed.
23. ABRAHAM'S SACRIFICE (Gen. 22).
Second state.
24. JACOB STEALING ESAU'S BIRTHRIGHT (Gen. 27).
First state. From the Low German Bible of 1541.
25. JACOB'S DREAM (Gen. 28).
Second state.
26. JACOB WRESTLING WITH THE ANGEL (Gen. 32).
Second state. This cut does not occur in the edition of 1536.
27. JOSEPH PUT BY HIS BRETHREN INTO A PIT (Gen. 37).
28. JOSEPH FLEEING FROM POTIPHAR'S WIFE (Gen. 39).
Second state.
29. PHARAOH'S DREAM (Gen. 41).
30. JOSEPH SPEAKING TO HIS BRETHREN (Gen. 42).
Second state.
"
31. JOSEPH PRESENTING HIS FATHER AND BRETHREN TO PHARAOH
(Gen. 47).
This cut is not in the edition of 1536.
32. THE FUNERAL OF JACOB (Gen. 50).
Second state. In the first state the top of the farthest stone on the
right contained Lemberger's monogram, and the wide stone to 1. of it the
date DMXXXII. Passavant (iv, 39, 1) and Nagler (Mon., iv, no. 2253),
knowing only the second state, took the ornament to 1. of the name
IACOB for an artist's signature.
33. PHARAOH ORDERING THE DESTRUCTION OF THE HEBREW
MALE CHILDREN (Exod. 1).
34. THE FINDING OF MOSES (Exod. 2).
35. MOSES AND THE BURNING BUSH (Exod. 3).
36. THE ROD OF MOSES TURNED INTO A SERPENT (Exod. 7).
37. THE PLAGUE OF FROGS (Exod. 8).
Second state.
38. THE PLAGUE OF FLIES (Exod. 8).
39. MOSES SPRINKLING ASHES TOWARDS HEAVEN (Exod. 9).
40. THE PLAGUE OF HAIL (Exod. 9).
41. THE PLAGUE OF LOCUSTS (Exod. 10).
Second state.
42. THE DEATH OF THE FIRSTBORN (Exod. 12).
43. THE PASSOVER (Exod. 12).
368 Early German and Flemish Woodcuts.-Part II.
44. THE ISRAELITES CROSSING THE RED SEA (Exod. 14).
45. THE ISRAELITES GATHERING MANNA (Exod. 16).
46. MOSES STRIKING THE ROCK (Exod. 17).
46a. MOSES STRIKING THE ROCK.
Another impression.
47. THE ARMS OF MOSES SUSTAINED BY AARON AND HUR (Exod. 17).
First state, on the back of no. 46a.
47a. THE ARMS OF MOSES SUSTAINED BY AARON AND HUR.
Second state.
48. MOSES RECEIVING THE TABLES OF THE LAW (Exod. 19).
First state. From the Low German Bible of 1545.
48a. MOSES RECEIVING THE TABLES OF THE LAW.
Second state.
49. THE ARK AND MERCY SEAT (Exod. 25).
Second state.
50. THE CANDLESTICK AND TABLE FOR SHEWBREAD (Exod. 25).
Second state.
51. THE VEIL OF THE TABERNACLE (Exod. 26).
Dated xxxv.
Second state. The woodcut on the back of this,
representing the screens, open and shut, is not signed, but must be
attributed, like the two which follow it in the Bible, to Brosamer; the
roughly paved floor is precisely similar in all three, and does not occur on
those which are signed by Lemberger.
52. GOD SPEAKING TO MOSES ON SINAI (Exod. 32).
Second state.
53. THE DESTRUCTION OF THE TABLES OF THE LAW AND OF THE
GOLDEN CALF (Exod. 32).
Second state.
54. MOSES AGAIN RECEIVES THE TABLES OF THE LAW (Exod. 34).
First state. From the Low German Bible of 1541.
54a. MOSES AGAIN RECEIVES THE TABLES OF THE LAW.
Second state.
55. THE LORD SPEAKING TO MOSES (Num. 1).
Second state.
56. THE USE OF THE SILVER TRUMPETS (Num. 10).
Second state.
57. THE SPIES RETURNING WITH GRAPES FROM ESHCOL (Num. 13).
Second state.
58. THE DESTRUCTION OF KORAH, DATHAN AND ABIRAM (Num. 16).
Division D.-School of Saxony.—Lemberger.
369
59. THE CHIEFS OF THE TWELVE TRIBES BRINGING RODS (Num. 17).
60. THE BRAZEN SERPENT (Num. 21).
Second state.
61. ISRAEL DEFEATING THE AMORITES (Num. 21).
Second state. This woodcut belongs in the 1536 edition (Magdeburg)
to 1 Macc. 3. Here it is printed on the back of no. 60.
61a. ISRAEL DEFEATING THE AMORITES.
Another impression of no. 61, used as an illustration to 2 Chron. 14.
62. BALAAM'S ASS STOPPED BY THE ANGEL (Num. 22).
Second state.
63. MOSES LAYING HIS HAND ON JOSHUA (Num. 27).
Second state.
64. MOSES ADDRESSING THE ISRAELITES (Deut. 1).
65. THE BURIAL OF MOSES (Deut. 34).
Second state.
66. THE PASSAGE OF THE ARK THROUGH THE JORDAN (Josh. 3).
Second state.
67. THE SIEGE OF JERICHO (Josh. 6).
Second state.
68. JOSHUA AND HIS CAPTAINS VIEWING THE CORPSES OF THE
DEFEATED KINGS (Josh. 10).
Second state. In the original edition this cut is placed in ch. 10,
before no. 69, which it seems logically to follow; in the book from which
the impression here described is cut it was used in ch. 1, apparently
by way of a frontispiece to the book of Joshua.
69. THE FIVE KINGS HANGED ON TREES (Josh. 10).
Second state.
70. ISRAEL SLAYING THE CANAANITES AND PERIZZITES (Judg. 1).
71. GIDEON AND THE MEN THAT LAPPED WATER (Judg. 7).
72. THE STRATAGEM OF THE TRUMPETS AND LAMPS IN PITCHERS
(Judg. 7).
73. JEPHTHAH MET BY HIS DAUGHTER (Judg. 11).
74. SAMSON KILLS A YOUNG LION AT TIMNATH (Judg. 14).
Second state.
75. SAMSON BURNS THE CORN OF THE PHILISTINES (Judg. 15).
76. SAMSON SLAYS THE PHILISTINES WITH THE JAWBONE OF AN
ASS (Judg. 15).
77. WATER GUSHES OUT OF THE JAWBONE (Judg. 15).
78. SAMSON CARRIES OFF THE GATES OF GAZA (Judg. 16).
Second state.
2 B
370
Early German and Flemish Woodcuts.-Part II.
79. SAMSON BETRAYED BY DELILAH TO THE PHILISTINES (Judg. 16).
80. THE DEATH OF SAMSON (Judg. 16).
81. THE BATTLE OF GIBEAH (Judg. 20).
This woodcut does not occur in the edition of 1536.
82. RUTH GLEANING (Ruth, 2).
83. ELKANAH AND HIS TWO WIVES (1 Sam. 1).
Second state.
84. SAMUEL ANOINTS SAUL (1 Sam. 10).
85. SAMUEL ANOINTS DAVID (1 Sam. 16).
86. DAVID AIMS AT GOLIATH WITH HIS SLING (1 Sam. 17).
87. DAVID SLAYS THE PHILISTINES AT KEILAH AND CARRIES OFF
THEIR CATTLE (1 Sam. 23).
Second state.
88. DAVID, ACCOMPANIED BY HIS WIVES ABIGAIL AND AHINOAM,
HOLDS SAUL'S SPEAR (1 Sam. 26).
89. THE DEATH OF SAUL (1 Sam. 31).
90. JOAB KILLS ABNER (2 Sam. 3).
91. DAVID BRINGS THE ARK INTO ZION (2 Sam. 6).
92. DAVID BEHOLDS BATHSHERA (2 Sam. 11).
93. THE DEATH OF ABSALOM (2 Sam. 18).
94. JOAB KILLS AMASA (2 Sam. 20).
95. THE JUDGMENT OF SOLOMON (1 Kings, 3).
Second state.
96. SOLOMON'S TEMPLE (1 Kings, 6).
97. SOLOMON'S HOUSE (1 Kings, 7).
98. THE MOLTEN SEA (1 Kings, 7).
99. A LAVER ON ITS BASE (1 Kings, 7).
100. SOLOMON AND THE QUEEN OF SHEBA (1 Kings, 10).
101. SOLOMON ON HIS THRONE (1 Kings, 10).
"Hans
This woodcut was erroneously attributed by Röttinger,
Weiditz," 1904, p. ix, to Weiditz; see Mitteilungen der Ges. f. vervielf.
Kunst, 1906, p. 6 (note).
102. SOLOMON'S IDOLATRY (1 Kings, 11).
Second state.
103. THE WAR BETWEEN ASA AND BAASHA (1 Kings, 15).
The woodcut was used at this place in 1536, but in the edition from
which this impression comes it was used in Joshua, ch. 11.
Division D.-School of Saxony.-Lemberger.
371
103a. THE WAR BETWEEN ASA AND BAASHA (1 Kings, 15).
The same woodcut used as an illustration to 2 Chron. 11.
104. ZIMRI KILLS ELAH AND PERISHES BY FIRE IN THE PALACE
(1 Kings, 16).
In 1536 and also in later editions this woodcut was first used in
ch. 2, where it is much less appropriate; the scene in the background
clearly depicts the death of Zimri.
105. ELIJAH'S SACRIFICE ON MOUNT CARMEL (1 Kings, 18).
106. ELIJAH BESTOWS HIS MANTLE ON ELISHA; THE CHILDREN
THAT MOCKED ELISHA ARE DESTROYED BY BEARS (2 Kings, 2).
107. NAAMAN CURED OF HIS LEPROSY (2 Kings, 5).
108. ELISHA'S BONES RAISE UP A DEAD MAN (2 Kings, 13).
Second state.
109. AHAZ OFFERING SACRIFICE (2 Kings, 16).
Second state.
110. THE ANGEL OF THE LORD SLAYS THE ASSYRIANS (2 Kings, 19).
111. BENAIAH KILLS THE
(1 Chron. 11).
EGYPTIAN WITH HIS OWN SPEAR
112. NEHEMIAH ENQUIRES CONCERNING THE RUINOUS STATE OF
JERUSALEM (Nehem. 1).
113. THE RESTORATION OF JERUSALEM (Nchem. 4).
This cut does not occur in the 1536 edition.
114. THE FEAST OF AHASUERUS (Esther, 1).
115. THE CROWNING OF ESTHER (Esther, 2).
116. MESSENGERS BRING NEWS OF JOB'S DISASTERS (Job, 1).
Second state.
117. JOB SUBMITS HIMSELF UNTO GOD (Job, 42).
Second state.
118. DAVID PLAYING THE HARP (Ps. 1).
Second state. A copy of the first state, retaining the monogram, is
used in Part 3 (1540) of the Swedish Bible, Upsala 1541.
[c. 117 x 140.] Mediocre impressions, much inferior in clearness to those in the
Low German Bible of 1536. Nos. 22, 24, 47, 48 and 54 are in the first state. Nos.
19-21, 22a, 23, 25, 26, 28, 30, 32, 37, 41, 47a, 48a, 49-53, 54a, 55-57, 60-63, 65-69, 74,
78, 83, 87, 95, 102, 108, 109 and 116-118 are in the second state, after the removal
of the initials or monogram. Nos. 27, 29, 31, 33-36, 38-40, 42-46, 58, 59, 64, 70, 82,
88, 106, 107, 113 and 114 always have the monogram, while nos. 71-73, 75–77, 79–81,
84-86, 89-94, 96-101, 103-105, 110-112 and 115 appeared from the first without it.
Nos. 22, 24, 46a, 47, 48, 55 were presented by Sir A. Wollaston Franks, K.C.B., 1895,
the remainder were purchased from Mr. Miller in 1848.
2 B 2
372 Early German and Flemish Woodcuts.-Part II.
iii. TITLE-BORDERS. Nos. 119–122.
119. FOLIO BORDER WITH WILD MEN AND WOMEN. 1524.
A portal flanked by columns with hexagonal capitals, on each of
which a couchant lion rests, looking to the front; the capital to r. bears
the date 1524. Between the two lions, on the central cornice, lies a sheep.
Beneath the base of either column a plinth resting on three steps projects
far to the front. On the 1. plinth a naked wild man, brandishing a club
in his r. hand, rides on a rampant griffin. On the r. plinth a naked wild
woman, with garlands of leaves round her head and waist, brandishing a
bone in her 1. hand, rides on a rampant stag. On the ground in front of
this architectural structure a centaur, r., aims an arrow at a wild man,
dressed in a beast's skin and armed with a jawbone and the shell of a
tortoise, who stands in front of a naked woman, holding a bone, and a
child. A dog barks at the centaur. A number of plants grow on the
ground and a snail creeps among them. The background at the top
behind the lions is shaded horizontally; behind the mounted figures it is
white.
[253 × 160; opening, 114 × 67.] Good impression, from " Auslegüg der | Episteln
vnd Euangelien vom Aduent an | bis auff Ostern. | Anderweyt corrigirt durch
Martin Luther. | Daruber ein newes | Register. | Gedruckt zu Wittemberg. |
M.D.XXVij. (fol.). On the verso a dedication addressed by Luther to Albrecht, Count
Mansfelt.
Presented by Mr. W. Mitchell, 1895.
Though not signed and somewhat roughly cut, this vigorous and interesting
design may safely be attributed to Lemberger. The architectural structure, closely
shaded background, curly plants, and date inserted in small figures are all in his
manner.
120. FOLIO BORDER WITH ANGELS HANDING VESSELS TO ONE
ANOTHER. Rött. 11.
An arch with vaulted roof pierced by two round openings rests
upon square pillars in three storeys, the third of which is much shorter
than the two beneath it. In front of the lowest storey on each side stands
a round column upon a square base. An angel standing on the base to
1. receives upon his back a flask let down by its strings by a comrade
kneeling on the cornice just above him. An angel in a corresponding
position to r. receives in both hands a round vessel which an angel
sitting on the cornice above reaches down to him. A large vase con-
taining grapes stands beneath in the recess formed by the projecting socle
beneath the pillars. A large garland of ribands and fruit is held before
this vase by seated angels, who are divided by dolphins from a second
pair seated or crouching in the extreme corners. The corners at the top
are filled by garlands of fruit and foliage.
[228 × 149; opening irregular.] Rather late impression, showing defects in the
block, from "Auslegung der | Euangelien, an den fürne-misten Festen, ym gantzen |
iare, gepredigt durch | Martinum Luther. | Mit vleis vbersehen.....andern predigten
mehr" (G. Rhau, Wittenberg, 1528 or 1530).
Presented by Mr. W. Mitchell, 1895.
Röttinger mentions four books printed by Rhau, 1528-1530, in which this border
was used. It occurs again in "Die Propheten alle Deudsch," printed by Lufft, also
at Wittenberg, in 1532.
Division D.-School of Saxony.—Lemberger.
373
121. QUARTO BORDER WITH DRAGONS AND PEASANTS.
In the centre at the bottom is a vase; on either side of it stand
monsters with long birds' beaks, their tails ending in cornucopias on
which stand a peasant woman 1. and a man r. The woman carries a rake
and a flask, the man a pair of fowls head downwards; a boy sits on his
shoulder. In the upper corners 1. and r. are dragons; a child stands
between them. The background is shaded throughout from 1. to r.
[170 × 120; opening (arched at the top), 103 × 62.] Rather late impression, from
"Von dem Gemeinen nutze," Marburg, 1533. With this title-page are preserved the
next leaf (Aij) of the book, containing an initial E by Lemberger [34 × 33], and
the last leaf with the colophon, "Gedruckt zu Marpurg, durch Franciscum
Rhodum | Anno xxxiij, Am sechsten tag Semptembris."
Presented by Mr. W. Mitchell, 1895.
This title-border is reproduced by Butsch, i, pl. 96. It was first used by Michael
Sachs at Erfurt in 1525. In 1528 it was in the possession of Michel Lotter, as
appears from its use in a book printed by him, [LUTHER.] Aus-legung der Ze-hen
gebot.... Ein vnterricht wie | Moses zu leren ist. | 1528. | Wittemberg. It also
occurs in [LUTHER.] Wider Hans Worst, 1541. It has not hitherto been ascribed
to Lemberger, but the diagonally shaded background which Butsch mentions as
exceptional in the Saxon school is precisely characteristic of him, and the ornament
is closely allied to that in his initial letters, a specimen of which is actually found
associated with this border.
122. QUARTO BORDER WITH A COUCHANT LION.
Götze 120, Röttinger 16, Luther 37.
A round arch with two circular openings in its vault rests upon
square pillars and these in turn upon a projecting socle with a curved
recess in which a lion reclines. Heavy garlands hanging from a ring at
the top pass through the circular openings in the roof. The spandrels
are filled with foliage and dolphins upon a background diagonally shaded
from r. to 1.
[161 x 119; opening, 58 x 47.] Fair impression, from "Widder | den Meuchler | zu
Dresen gedruckt. | Mart. Luther. | Wittemberg. | 1531.", the earliest of the books
printed by Lufft at Wittenberg that Röttinger mentions. The border was used,
according to J. Luther, from 1531 to 1539.
Purchased from Mr. Gutekunst, 1874.
374
VI. ERHARD ALTDORFER.
Erhard, brother of Albrecht Altdorfer, in whose will of 1538 he
is mentioned as a citizen of Schwerin; painter, architect, engraver
and draughtsman on wood; born probably at Ratisbon,' 1480-90;
worked 1506-1561; entered the service of Duke Henry III of
Mecklenburg in 1512; accompanied that prince to a tournament
at Ruppin and in July, 1512, to Freiberg, visiting Wittenberg on the
same journey; painted an altar-piece at Sternberg, 1516; illustrated
the Lübeck Bible, 1533–34 (one of the cuts is dated 1530); received
a house in Schwerin as a grant from the Duke in 1537; mentioned
as court painter in 1547 and as architect in 1550; on the death of
Henry III in 1552 Altdorfer entered the service of his successor,
John Albert I; he is mentioned in Schwerin accounts as late as
1561.
Authorities:
Wiechmann-Kadow, Naumann's Archiv, ii, 132, 179.
Lisch, in Jahrbücher f. Mecklenb. Gesch. u. Alterthumskunde, xxi,
298.
Wiechmann-Kadow, ibid, xxiii, 113.
Nagler, Mon., ii, p. 567, no. 1495 and p. 569, no. 1498.
Passavant, P.-G., iv, 45.
Andresen, in Meyer's Künstler-Lexikon, i, 553,
Sarre, "Beiträge zur Mecklenburgischen Kunstgeschichte," Berlin,
1890, p. 62.
Friedländer, "Albrecht Altdorfer," 1891, pp. 3, 4, 9, 10 and 162,
note 4.
Maybaum, in Thieme and Becker's "Allg. Lexikon der bild.
Künstler," i, 348.
The earliest work of Erhard Altdorfer, ignored in both the
lexicons which give his biography and also by the writers who have
dealt specially with his woodcuts, is an engraving signed E A and
dated 1506, representing a woman sitting, with a cup in her right
1 See M. J. Friedländer, "Albrecht Altdorfer," 1891, p. 3, who points out the
close connection of the name Erhard and that of Aurelia, a sister of the two
artists, with Ratisbon. The painter Ulrich Altdorfer, who seems, as Friedländer
argues with great plausibility, to have been their father, was a citizen of Ratisbon
from 1478 to 1499; it is there that his sons, whose earliest works date from 1506,
must have been born.
Division D.-School of Saxony.-E. Altdorfer.
375
hand, and a coat-of-arms with a peacock. It is attributed to Alt-
dorfer conjecturally by Nagler and more positively by Dr. Friedländer,
who recognises its intimate connection with the earliest engravings
of Albrecht Altdorfer, dating from the same year. Its alleged
dependence on Cranach need not be seriously discussed. Another
engraving which belongs to the same group represents a young man
and two women in the interior of a room (Pass. iv, 205, 211); im-
pressions exist at Berlin and Hamburg. It is unsigned, but is more
likely to be the work of Erhard than of Albrecht Altdorfer. The
only etching by this artist is the landscape described by Bartsch
(no. 71) among the etchings of Albrecht Altdorfer, but signed with
a monogram identical with that which occurs on the xylographic
title, "De Propheten Alle | Dudesch," in the Lübeck Bible of
1533-34.2 A drawing in the Albertina that resembles this etching
is attributed to Erhard by Dr. Meder.3
4
•
The earliest woodcut that bears his signature is a large repre-
sentation of a tournament, on three sheets, dated 1513, P. 76. The
only impression known belonged, when described in 1856 by Wiech-
mann-Kadow, to Prof. Deecke at Lübeck. It has not been repro-
duced. Another unique woodcut, P. 77, unsigned but said by
Wiechmann-Kadow to be in exactly the same style, has been repro-
duced in Hirth, "Les Grands Illustrateurs" (Kulturgeschichtliches
Bilderbuch), i, 28. It represents a "Glückshafen" (a kind of lottery)
held at Rostock in 1518. It is by a very provincial artist of the
Lower Saxon type, and I find great difficulty in believing that it can
be by the illustrator of the Lübeck Bible. Still less can I accept as
the work of Erhard Altdorfer the woodcuts, l'. 78-80, published in
books of Nicolaus Marschalk at Rostock. Of one of these, P. 79, I
have already had occasion to speak in this volume (p. 309). The
illustrations to Reineke Fuchs appear to me also irreconcilable
with the signed works of Altdorfer. An attractive view of Lübeck,
of which a portion is reproduced in Diederichs, "Deutsches Leben.
der Vergangenheit in Bildern," no. 850, is there attributed to
Altdorfer.
"15
The illustrations to Dietz's Bible, by which alone Altdorfer is
¹ B. vi, 416, 1; P. iv, 40; Nagl. Mon. ii, p. 569, no. 1498; Willshire, ii, 245, I 21.
2 The etching is reproduced in the text of "Albrecht Altdorfer's Landschafts-
radierungen, herausgegeben von Max J. Friedländer,” 1906.
3 Handzeichnungen alter Meister aus der Albertina," etc., viii, no. 867.
• Naumann's Archiv, ii, 132.
5 On these see Wiechmann-Kadow in the Mecklenburg Jahrbücher, xxiii, 119.
They appeared at Rostock in various editions from 1539 to 1592. That of 1549 is in
the British Museum. The woodcuts are spirited and good.
376 Early German and Flemish Woodcuts.-Part II.
represented here, betray, like all Saxon Bible woodcuts, the influence
of the first Wittenberg illustrations to Luther's translation, but the
artist is not so closely akin to any member of Cranach's immediate
circle as to Georg Lemberger, to whom some of his woodcuts if seen
apart from their context might easily be attributed.
BOOKS ILLUSTRATED BY ERHARD ALTDORFER.
A. IN THE DEPARTMENT OF PRINTS AND DRAWINGS.
1. [BIBLE.] Biblia, Det er den gantske Hellige | Scrifft, vdsoet
paa | Danske
Prentit i Københaffn, aff Ludowich
•
Dietz. | M.D.L. fol.
1.
•
Imperfect, one leaf, AAA 6, with list of books in O.T. on recto, woodcut of the
Garden of Eden on verso, being supplied in facsimile. The copy in the Department
of Printed Books is also slightly imperfect.
Presented by Mr. Campbell Dodgson, 1910.
Portrait and arms of Denmark by Jakob Binck (Pass. iv, 97, 2) and seventy-nine
different woodcuts by Erhard Altdorfer (Pass. iv, 46, 1-75).¹ The average size of the
O.T. cuts is c. 126 x 153; exceptional dimensions are quoted. The N.T. cuts
measure c. 134 x 90.
(1) (AAA 1) Title-page.
The Old and New Covenant [276 x 197]. P. 1.
† (AAA 6 v.) The Garden of Eden [280 × 200]; facsimile. Omitted by P.
(2) Pt. 1, fol. 3 v. The Deluge, dated 1530; the initials D. K. N. (Nagl., Mon.,
ii, p. 466, no. 1188) denote "Der Kasten Noe
[145 × 155]. P. 2.
(8)
(9)
C
་
(10)
>>
(11)
(12)
(13)
(14)
(15)
""
(16)
(17) Pt. 2
"}
""
""
""
9.
12 v.
18 v.
33 v.
34.
34 v.
35.
35.
35 v.
36.
36 v.
37 v.
38 v.
Abraham's Sacrifice [145 x 155]. Omitted by P.
Jacob's Ladder [145 × 155]. P. 3.
Pharaoh's Dream [136 x 155]. P. 4.
The Ark with the Mercy-Seat and Cherubim [136 × 156].
P. 6.
The Table of Shewbread [153 × 133]. P. 7.
The seven-branched Candlestick [152 × 132]. P. 8.
The Boards of the Tabernacle [136 × 132]. P. 10.
The Curtain of Cherubim [154 x 132]. P. 9.
The Boards of the Tabernacle partly open [135 × 153].
P. 13.
The Court of the Tabernacle [135 x 152]. P. 14.
The Altar with four horns [135 × 153]. P. 12.
Aaron [260 × 183]. P. 15.
The Altar of Sacrifice, signed with monogram, Nagl., Mon.,
ii, p. 567, no. 1495 (2) [137 x 157]. P. 5.
The Laver [136 × 153]. P. 11.
Joshua [182 × 196]. P. 16.
The Ark passing through the Jordan [137 × 156]. P. 17.
The Walls of Jericho falling [134 × 153]. P. 18.
39.
"}
1.
3.
4.
6 v.
Joshua hangs the five kings. P. 19.
16.
(18)
(19)
(20)
(21)
(22
""
(23)
(24)
16 v.
20.
21.
Gideon and the fleece; the soldiers drinking.
Gideon's battle with the Midianites. P. 21.
Samson and the lion.
P. 22.
P. 20.
Samson and the ass's jaw-bone; the foxes firing the corn.
P. 23.
¹ Passavant described an imperfect copy.
PLATE XIX
ERHARD ALTDORFER
ST. JAMES

Alt

!
·
1
!
Division D.-School of Saxony.-E. Altdorfer.
377
(26)
(27
"
(28
28 v.
(29)
31.
(30)
34.
35.
""
(32)
41 v.
(33)
46.
""
(34)
50.
""
""
(35)
57.
""
""
(36)
(37)
""
"}
(38)
(39)
(40)
(41)
""
(42)
""
(43)
(44)
(45)
(46)
(47)
"1
(25) Pt. 2, fol. 21 v.
(31)
""
""
22.
22 v.
57 v.
58.
58 v.
59.
""
61.
""
1.
2.
Pt. 3. fol.
72 v.
Pt. 5, N.T., fol.
Samson carrying off the gates of Gaza. P. 24.
Samson's hair shorn by Delilah. P. 25.
Samson pulling down the Temple of Dagon. P. 26.
The death of Eli. Omitted by P.
Saul anointed king.
David anointed king.
David and Goliath.
P. 27.
P. 28.
P. 29.
The death of Saul. P. 30.
David and Bathsheba. P. 31.
The death of Absalom.
P. 32.
Solomon's Temple. P. 33.
The Temple and its courts. P. 34.
The brazen pillars. P. 35.
The molten sea. P. 37.
A laver and base. P. 36.
Solomon on his throne. P. 38.
No. 1 repeated.
The vision of Isaiah. P. 39.
Nebuchadnezzar's dream of a great image. P. 40.
Europe, Asia and Africa. P. 41.
No. 1 repeated.
St. Matthew. P. 42.
73 v.
1.
2.
"}
16 v.
St. Mark. P. 43.
""
25.
St. Luke. P. 44.
34.
(48)
65.
St. Paul, seated, gives a letter to a messenger.
(49)
(50)
81 v.
(51)
(52)
95.
""
(53)
104.
""
(54)
106.
"}
""
(55)
(56)
""
(57)
108.
(58)
"}
108 v.
(59)
""
""
(60)
""
""
108 v.
109 v.
51.
71 v.
87 v.
91.
107 v.
108.
St. John. P. 45.
No. 46 repeated.
P. 46.
St. Paul, standing, gives a letter to one of three men.
P. 47.
St. Paul, standing, with a youth behind him, gives a
letter to a messenger. P. 48.
No. 49 repeated.
St. Paul, seated, writing. P. 49.
St. Peter. P. 50.
St. James. P. 51.
St. John beholds the seven golden candlesticks. P. 52.
The four and twenty elders. P. 53.
The riders on the four horses. P. 54.
The angels clothe the righteous in white robes.
Omitted by P.
The opening of the sixth seal. Omitted by P.
The angels restraining the four winds. P. 55.
The angels with seven trumpets; the angel with
the censer. P. 56.
(61)
(62)
109 v.
110.
Hail and fire fall upon the earth. P. 57.
The mountain cast into the sea. P. 58.
>"
""
(63)
110.
,,
(64)
110 v.
(65)
110 v.
""
""
(66)
111.
""
(67)
111 v.
""
(68)
112.
"?
""
(69)
(70)
""
(71)
""
(72)
114.
29
""
(73)
114.
""
""
(74)
115.
(75)
""
(76)
112 v.
113.
113 v.
115 v.
116.
The star Wormwood falls from heaven. P. 59.
The angel crying "VE VE VE." P. 60.
VÆ
Crowned locusts issue from the smoke of the pit.
P. 61.
The four destroying angels. P. 62.
St. John commanded to eat the book. P. 63.
The dragon and the two witnesses. P. 64.
The woman clothed with the sun and the seven-
headed dragon. P. 65.
The beast with seven heads; the beast with lamb's
horns. P. 66.
The Lamb on Mount Sion; the fall of Babylon. P. 67.
Angels reaping and treading the winepress. P. 68.
The angels pour out their vials. P. 69.
The whore of Babylon. P. 70.
The millstone thrown into the sea. P. 71.
The beast cast into the lake of fire. P. 72.
378
Early German and Flemish Woodcuts.—Part II.
(77) Pt. 5, N.T., fol. 116 v.
(78)
(79)
"
""
17 (sic,
The angel with the key of the pit. P. 73.
for 117). The destruction of Gog and Magog. P. 74.
117 v. The angel shows St. John the New Jerusalem. P.75.
B.-IN THE DEPARTMENT OF PRINTED Books.
1. [BIBLE.] De Biblie | vth den vthleggin- | ge Doctoris Mar- | tini
Luthers yn dyth dudesche | vlitich vthgesettet, mit sun- | dergen vnder-
richtingen alse men seen mach. | Inn der Keyserliken Stadt Lübeck |
by Ludowich Dietz gedrücket | M.D.XXXiii. (Colophon dated 1 April,
1534). fol.
The same woodcuts as those described above in detail from the Danish Bible of
1550, the order being in a few cases different. The impressions in this first edition
are much sharper. The title to the Prophets, not repeated in the Danish Bible
owing to the difference of language, has Altdorfer's monogram inserted in the orna-
mental lettering.
2. [BIBLE.] Biblia Dat ys: | De gantze Hil-lige Schrifft, |
Düdesch. D. M. Luther. Magdeborch. | M.D.LXXVIII. Wolfgang
Kirchner, Magdeburg, 1578; fol.
|
This Bible contains almost the complete set of Altdorfer's illustrations, omitting
P. 21, 46-48, 51. The title-border, P. 1, is used here only for the Prophets.
1. JOSHUA.
WOODCUTS BY ERHARD ALTDORFER.
P. iv, 47, 16.
Bare-headed, in three-quarter face to r., sitting on a large stone against
which his axe and shield are propped up. He holds a sword in his r., a
helmet with large ostrich plumes in his 1. hand. Landscape background
with mountains 1., sea r. and mountains beyond with clouds over them.
[180 x 192.] Damaged at the corners.
In the inventory of 1837.
In the Kunsthalle at Bremen is a deceptive copy [180 × 192] of this woodcut
issued in or after 1536 as a portrait of the King of the Anabaptists, John of Leyden,
called here "Johan Bockhold." The woodcut is accompanied by a biography of
John of Leyden printed in two columns without any place or date of publication or
publisher's name. The entire sheet measures 383 x 300 mm. and is headed "His-
torische Erzehlung, und | Warhaffte Abbildung dess Königs von Münster, | Johan
Bockhold, gebohren zu Leyden in Holland, seines Handwercks ein Schneider," etc.
In the copy an upper outline, wanting in the original, has been supplied to the upper-
most cloud beginning (in the original) 33 mm. to r. of Joshua's beard, and two lines,
hooked at the end, have been inserted in the sky between the cloud and the beard.
Dr. Waldmann, of Bremen, kindly photographed this copy to enable me to compare
it with the original.
[2-13.]
ILLUSTRATIONS TO THE APOCALYPSE (INCOMPLETE).
2. THE STAR WORMWOOD FALLS FROM HEAVEN.
P. 59.
3. THE ANGEL CRYING "VE VÆ VE."
P. 60.
4. LOCUSTS ISSUE FROM THE SMOKE OF THE PIT.
P. 61.
Division D.-School of Saxony.— E. Altdorfer.
379
5. ST. JOHN COMMANDED TO EAT THE BOOK.
P. 63.
6. ANGELS REAPING AND TREADING THE WINEPRESS.
P. 68.
7. THE ANGELS POUR OUT THEIR VIALS.
8. THE WHORE OF BABYLON.
P. 69.
P. 70.
9. THE MILLSTONE THROWN INTO THE SEA.
10. THE BEAST CAST INTO THE LAKE OF FIRE.
11. THE ANGEL WITH THE KEY OF THE PIT.
12. THE DESTRUCTION OF GOG AND MAGOG.
P. 71.
P. 72.
P. 73.
P. 74.
P. 75.
13. THE ANGEL SHOWS ST. JOHN THE NEW JERUSALEM.
[134 x 90.] Impressions with Low German text on the back in Dietz's type, but
not from the Bible of 1533-34. At the head of each chapter is a "Summarium."
The cuts were used again in an octavo N.T. printed by L. Dietz at Rostock in 1540.
Purchased from Mr. G. Pogson, 1907.
380
.
VII.-HANS BROSAMER.
Hans Brosamer, or Brösamer, painter, engraver and woodcutter;
biography unknown; worked in Saxony, at Ingolstadt (?), at Erfurt,
at Fulda, and again at Erfurt, about 1520-1554.
Authorities:-
Bartsch, P.-G., viii, 466.
Passavant, P.-G., iv, 32.
Nagler, Mon., iii, nos. 654–656, 774.
R. Weigel, text to "Holzschnitte berühmter Meister," Lief. 12,
no. 59.
O. Eisenmann, "Allg. deutsche Biographie," iii, 363.
L. Rosenthal, on ornament woodcuts, in Deutsche Kunstzeitung,
xviii, nos. 32, 33, 36, quoted by O. Eisenmann, Zeitschr. f.
bild. Kunst, ix, 155.
R. Bergau, Kunstchronik, 1878, xiii, 494.
C. v. Lützow, "Gesch. d. deutschen Kupf. u. Holzschn.," 1891, p. 191.
Preface by F. Lippmann to the reprint of the "Kunstbüchlein,"
published by G. Grote, Berlin, 1882, and anonymous preface
to Quaritch's reprint, 1897.
A. v. Drach and G. Könnecke, "Die Bildnisse Philipps der
Grossmütigen," Marburg, 1905, pp. 16-17 and 28.
G. Pauli, in Thieme's "Allg. Lexikon der bildenden Künstler,"
Bd. v.
Nothing is really known of Brosamer except what can be gathered
from signatures, dates and inscriptions on his works themselves.
The evidence of these must be summarised. I do not propose here
to discuss his pictures; the earliest portraits attributed to him (1520,
1523) bear a monogram (Passavant, iv, 32, first form) which does
not occur on woodcuts before 1536 or on engravings before 1537.
The drawings ascribed to him in various collections, whether signed
or not, are for the most part doubtful; the numerous authentic
drawings at Berlin form an exception. The dates on Brosamer's
signed woodcuts range from 1528 to 1554, on engravings from 1536
to 1545. From 1528 to 1536 he used a monogram, or KB, in
which there is an imperfect lozenge (Raute), somewhat resembling a
"c" reversed, across the bar of the H.¹ 1 This was formerly read
Passavant, iv, p. 32, second form; Nagler, Mon., iv, no. 774. I have never seen
the third form of Passavant, or the first and second of Nagler, no. 654, in which the
diamond is complete, but Nagler says (p. 205) that the monogram in the first form
given by him occurs on a woodcut dated 1534 with the arms of Erfurt.
Division D.-School of Saxony.-Brosamer.
381
as a "c" and caused some confusion in the older writers between
Brosamer and Binck.¹ The early monogram occurs in books printed
at Wittenberg, 1530,2 at Ingolstadt, 1533,3 at Erfurt, 1534,* and
at Magdeburg, 1535.5 It also occurs on one engraving only, the
rare portrait of John, Count of Henneberg, Abbot of Fulda, 1536,
described by Passavant, iv, p. 35, no. 29, from impressions at Berlin
and Copenhagen. This engraving, Brosamer's earliest dated work
on copper, contains not only the monogram but also the full name
of the artist, accompanied by a woodcutter's knife (not mentioned
by Passavant). In the same year, 1536, the new and simpler
form of the monogram first makes its appearance, in the Low
German Bible printed by Lotter at Magdeburg. In some of the
woodcuts in this book it is normal, while in others (St. Luke, both
versions of St. Paul) it is much larger and the letters are "open,"
a form not reproduced by Passavant or Nagler. The illustrations in
this Bible are the only ones which lend any support to the theory
of Nagler and Weigel that Brosamer was a pupil of "Leigel
(Lemberger), but they do not prove more than a temporary influence
on the part of that artist, who was the chief collaborator in the
illustration of this important book. The title-page was merely
adapted by Brosamer from Erhard Altdorfer's Lübeck Bible of
1533-34.
6
7
""
Whether Brosamer was a native of Fulda, as is commonly said, is
matter of conjectures; his earliest woodcuts, at any rate, appeared at
Wittenberg, and are so much in the Saxon manner that a residence
at Wittenberg about 1528-30 may be inferred. His participation in
the illustration of Apian's books published at Ingolstadt 1532-34
was so extensive, if my attributions based upon the one signed
1 The only woodcut attributed to Binck by Bartsch (P.-G., viii, 298, 1) has the
early monogram of Brosamer, in the second form given here, and is evidently his
work, not Binck's. A late impression of this rare woodcut, from the cracked block,
is at Coburg.
3 P. 384, no. 2.
4 P. 386, no. 6.
2 P. 383, no. 1.
5 Luther's "Auslegung der Episteln vnd Evangelien," printed by M. Lotter,
Magdeburg, 1535, in three parts, the second of which is dated 1531. This book,
which I do not know, is described by Nagler, p. 206, and appears to be different
from the work mentioned by him on pp. 274, 275, since here 103 subjects are
mentioned. The woodcuts of 1535 cannot be, as Nagler says, the same as those in
the Bible of 1536, the latter being actually dated 1536 and inappropriate in subject
to the earlier book. Dr. Pauli mentions, without giving exact particulars, an
Auslegung der Evangelien" printed in 1531 by Lufft at Wittenberg; this is also
unknown to me.
• Mon., iii, p. 206.
7 Holzschnitte berühmter Meister," Lief. xii, no. 59.
8 Sandrart, "Teutsche Akademie," 2 Teil, p. 234, supposes Brosamer to have been
born at Fulda merely from the inscription on his large engraving of Christ on the
Cross, B. 6.
382
Early German and Flemish Woodcuts.-Part II.
woodcut are correct, that personal contact with Apian and a residence
of some duration at Ingolstadt must be assumed to explain it. The
publication at Erfurt in 1534 of the portraits of Philip of Hesse
(P. 32) and Eobanus Hessus (P. 34), and the existence of a woodcut
with the arms of Erfurt dated 1534, suggest that he was then residing
in that town. This is confirmed by the address, "Hans Brosamer
Formschneider zu Erffordt," at the foot of the large portrait of Philip
of Hesse (P. 33), adapted from a woodcut by Cranach, which is
evidently of about the same date as the small portrait.¹ In 1536
Brosamer appears to have taken up his residence at Fulda. This
may be inferred from the terms of the inscription, "ad imaginem
dominacionis sue Iohannes Brosamer sue D. clientulus faciebat "
on the portrait of the abbot already mentioned. The words
FVLDÆ DEGENS on the later engravings, B. 6 (1542) and B. 1
(1545), show that Brosamer long continued to reside at Fulda, but
also suggest, in my opinion, that he regarded himself as a temporary
sojourner in that place; if he were a native he would call himself
Fuldensis." All his engravings seem to have been produced at
Fulda. One woodcut work, the Kunstbüchlein, was produced during
his residence there, for its title includes the words "Durch Hansen
Brosamer, Maler zů Fuld, an tag gegeben," but neither the date nor
the place of its publication are known; it was probably printed, like
many of the late woodcuts by Brosamer, at Frankfort.2 The faces and
costumes of the goldsmiths on the title-page, and the treatment of the
walls and ceiling of their workshop, agree very well with woodcuts
(e.g., nos. 16 and 20 of Nagler's list, p. 210) in the Catechism printed
at Frankfort in 1550.
*
Between 1536 and 1548 few, if any, new woodcuts seem to have
appeared. Brosamer's activity during that period was chiefly con-
3
1 According to the older books only one impression of this portrait was known, at
Gotha, but a second exists at Munich, in a later edition published by Hans Gulden-
mund at Nuremberg (Drach and Könnecke, p. 17, note 1), A more trustworthy
reproduction than Weigel's of the first edition is given on Taf. 4 of Drach and
Könnecke's book. See pp. 17, 18 of that work for an interesting discussion of the
relation of this portrait to a woodcut by Cranach from which it is copied with slight
variations, and to a companion portrait of Ulrich of Würtemberg likewise existing
in two versions, the one by Cranach, the other to be attributed on internal evidence
to Brosamer. Verses composed by Eobanus Hessus for both portraits are in
existence; that on the Landgrave of Hesse was composed between June and
November, 1534.
The editor of Quaritch's reprint (1897) writes, "produced probably at Frankfurt
about 1548."
3 A possible exception is the Creation on fol. 1 of the 1545 Low German Bible,
but it is not certainly by Brosamer. The portraits of Hans Sachs and William, Duke
of Cleves, if admitted to be Brosamer's work, form further exceptions.
Division D.-School of Saxony.-Brosamer.
383
fined to engraving. In 1548 he illustrated a Hortulus Animae for
Gülfferich at Frankfort, in 1549–50 he produced his Bible illustrations
for Lufft at Wittenberg, and in the years 1549-53 numerous wood-
cuts by Brosamer appeared at Frankfort.¹ A woodcut of David was
published at Leipzig in 1553. In 1554 Brosamer's last dated work
appeared, the large woodcut of David and Bathsheba, P. iv, 36, 17,
issued with the address of Hans Gebitzer at Erfurt as publisher.
This is the only case in which the monogram of another cutter appears
upon a woodcut designed by Brosamer. It is signed with a monogram
composed of the letters M B (Nagler, Mon., iii, no. 655) accompanied
by a knife; this is supposed to be the mark of the Erfurt woodcutter
Martin Brosamer, a son (?) of Hans.
That Hans Brosamer was himself a woodcutter is certain. Not only
does he call himself " Formschneider" on the large portrait of Philip
of Hesse, but he has introduced a woodcutter's knife by the side of
his own signature on one woodcut (Folium Populi, 1533, P. 36) and,
what is more remarkable, on six engravings (P. 29-1536, B. 9 and
17-1537, B. 15--1538, B. 7-1540, B. 12-undated, 1540 ?).
The statement that Hans Brosamer died of the plague at Erfurt in
1552 is now discredited, on the twofold ground that there was no plague
at Erfurt in 1552, and that a woodcut exists, certainly the work of
Brosamer, which has the date 1554 immediately beneath his signature.
The attempt of Nagler to treat Brosamer of Erfurt and Brosamer
of Fulda as two separate persons led to great confusion in his various
articles in the "Monogrammisten." A consistent account of all the
works in question in their chronological development can be given on
the assumption that they are due to one artist; this view has been
taken by Dr. Pauli in his recent article in Becker and Thieme's
Lexicon and is followed here.
BOOKS ILLUSTRATED BY BROSAMER.
A. IN THE DEPARTMENT OF PRINTS AND DRAWINGS.
1. [BRENTZ.] IN PROPHETAM | AMOS, IOHANNIS
BRENTII EXPOSITIO. Cum præfatione Martini Lutheri. H.
Lufft, Wittenberg, 1530; 8°.
Purchased from Mr. Gutekunst, 1870.
Architectural border, very loosely constructed.
The child Christ sits below,
¹ Kleine Bibel, Egenolff, 1549, mentioned by L. Rosenthal, Repertorium, v, p. 390,
no. 31; Catechismus, Weigand Han, 1550, Nagler, p. 210, 2; Biblia Veteris Testa-
menti, etc., Gülfferich, 1552-3, Nagler 3 (the woodcuts in this may be partly the
same as those in the Hortulus Animae, which I do not know).
384
Early German and Flemish Woodcuts.—Part II.
between the bases of two columns, with his r. foot upon a serpent. He blesses
with his r. hand and carries a cross over his 1. shoulder. Near the serpent's tail is a
tablet with the monogram and on the base of the 1. column is the date 1528.
[119 x 81; opening, 50 x 36.] Very good impression. This is earlier than any
woodcut by Brosamer hitherto described.
2. [APIANUS.] Folium Populi. Ingolstadt, 22 October, 1533; fol.
Purchased from Mr. Gutekunst, 1870.
(1) On title-page, an ancient and a modern astronomer taking observations, cut on
two blocks; low down 1. the monogram
[185 × 175]. P. iv, 39, 36; see
also ibid. p.89.
KB
(2) A 1 v. The arms of Wilhelm von Loubemberg [226 × 148].
Ornamental initial, QV combined [25 × 40].
(3) A 2.
(4) A 3. Q [48 x 48]. On the alphabet to which this belongs see p. 242.
(5) Inserted between sig. B and C, diagram entitled
[299 × 248].
"Folium Populi "
3. [EOBANUS.] In funere clariss. et incomparabilis eruditionis uiri,
D. Erasmi Roterodami, Epicedion H. Eobani Hessi. E. Cervicornus,
Marburg, May, 1537; 8vo.
Presented by Mr. W. Mitchell, 1904.
On verso of the sixth and last leaf, the portrait of Helius Eobanus Hessus, signed
with monogram in 1. upper corner. P. iv, 38, 34. In this edition there is no lettering
above or below the woodcut. On the recto of the leaf are the words "Epicedion,'
then eight elegiac verses in italics, and "FINIS."
""
4. [BIBLE.] Biblia Veteris Testamenti et Historiæ, Artificiosis
picturis effigiata. Biblische Historien, Künstlich Fürgemalet. FRANC.
Apud Hermannum Gulffericum. Anno M.D.LIIII. 8vo.
4a. Novi Testamenti, Jesu Christi Historia effigiata. Vna cum alijs
quibusdam Iconibus. Das New Testament, vnd Histori Christi, fürgebildet.
FRANC. Apud. Herm. Gulffericum.¹ n.d.; 8vo.
4b. Apocalypsis S. Ioannis. Die Offenbarung S. Johannis. Franco-
furti Excudebat Hermannus Gulffericus. 1553; 8°.
Presented by Mr. W. Mitchell, 1904.
Though there is a separate title-page to each part, the three practically form one
book. An earlier edition appeared in 1552 (see p. 387, no. 10), and is described by
Nagler, Mon., iii, p. 211, no. 5. It seems to have been produced in rivalry with
Egenolff's triple volume of 1551, illustrated by Beham, Weiditz and an unknown
artist, in which the titles of the three parts are the same. The whole of the illus-
trations in the present case appear to be by Brosamer, who has made free use of
Holbein's O.T. illustrations and Dürer's Little Passion.
Woodcuts in no. 4. (1) Title-page with the Prophets Isaiah (JESAIAS) and Micah
(MICHEAL), and the Nativity; the architecture badly drawn; signed with the later,
small monogram [130 × 89].
(2-140) One hundred and thirty-nine unsigned illustrations to the O.T. [c. 62 × 71],
in part original but copied to a great extent from Holbein's Icones.
(141, 142) Two prophets facing one another, holding scrolls with Hebrew
characters [each 65 x 29].
(143) The heraldic device of Gülfferich [115 × 72]; Repr., Heitz, "Frankfurter
Bücherzeichen," pl. xxxiii, no. 24 (nos. 22 and 23, larger sizes, appear to be also by
Brosamer).
1 This looks at first sight like an unaltered re-issue of the equally undated first
edition (1552), but on sig. G 7 v. the "ss" in "nouissimo are joined; in 1552 they
were separate.
Division D.-School of Saxony.-Brosamer.
385
Woodcuts in no. 4a. (144-252) The four Evangelists and St. Paul, and one
hundred and four illustrations to the Gospels and Acts of the Apostles. No. 155
is copied from Dürer, B. 88; nos. 226--239 from Dürer, B. 25-37; no. 240 from
Dürer, B. 39; no. 242 from Dürer, B. 42; no. 244 from Dürer, B. 45; and no. 252
from Durer, B. 52. At the end, no. 143 repeated.
Woodcuts in no. 4b. (253) On the title-page, St. John writing the Apocalypse,
to 1. (different from no. 147, in which he faces to r.). Then (254-279) twenty-six
illustrations to the Apocalypse [c. 101 x 71].
5. [BIBLE.] Die Propheten | alle Deudsch. | Doct. Mart. Luth. |
Gedruckt |
zu Wittem-berg, Durch Hans Lufft. | 1555. fol. (Vol. ii of
a complete Bible; see p. 387, no. 13, 1556 edition.)
Purchased from Mr. Evans, 1850.
Fifty-two different woodcuts by Brosamer, first used in Lufft's Bible of 1550
[c. 106 × 146], all signed except nos. 8, 14, 27-49, 51 and 52. Nagler, Mon., iii,
p. 209, 1 (nos. 4-11).
(1) Fol. 5.
(2) 33.
(3) 54 v.
""
""
""
69.
89.
107.
(7) 108.
(8) 115.
(9)
(10)
11
""
""
119 v.
121 v.
125 v.
126 v.
128.
The prophecy of Isaiah.
The prophecy of Jeremiah.
Jeremiah let down into a dungeon (Jer. xxxvii).
The vision of Ezekiel.
The valley of dry bones (Ez. xxxvii).
The dream of Nebuchadnezzar (Dan. ii), dated 1549.
Shadrach, Meshach and Abednego in the furnace (Dan. iii).
The prophecy of Hosea.
The prophecy of Joel.
The prophecy of Amos.
The prophecy of Obadiah.
Jonah and the whale.
Micah prophesying the Nativity.
(12)
(13)
(14)
""
130 v.
The prophecy of Nahum.
(15) 132.
The prophecy of Habakkuk.
The prophecy of Zephaniah.
(16)
134.
(17)
(18
135 v.
137.
The prophecy of Haggai.
(19)
(20)
21
(22)
(23)
""
""
""
142 v.
227 v.
246.
257.
276 v.
(24) 313.
""
(25) 321.
(26) 352.
The prophecy of Zechariah.
The prophecy of Malachi.
St. Matthew, dated 1549.
St. Mark.
St. Luke, dated 1549 (repeated, fol. 291 v.).
St. John (repeated, fol. 356).
St. Paul despatching the Epistle to the Romans.
St. Paul despatching the First Epistle to the Corinthians,
(repeated, fol. 334 and 346 v.).
St. Peter despatching an Epistle.
(27-52) Fol. 369-381 v. Twenty-six illustrations to the Apocalypse, of which only
one, the twenty-fourth, is signed and dated 1550.
B.-IN THE DEPARTMENT OF PRINTED BOOKS.
1. [APIANUS.] Quadrans Apiani astronomicus et iam recens
inventus et nunc primum editus. Ingolstadt, "in officina Apiani," 6 July,
1532; fol.
The neater and more decorative of the diagrams in this and the following group
of books (nos. 2-5 and 7) appear to be by Brosamer (see pp. 242, 244, where the wrong
monogram has, unfortunately, been given). The initials M Z on sig. G are those of
Matthias Zymmermann, to whom the book was dedicated. In the "Instrumentbuch
this cut was used in a later state, with the arms of Loubemberg substituted for those
of Zymmermann.
2. [APIANUS.] Horoscopion Apiani generale. Ingolstadt, 1533 ; fol.
Diagram on title-page, also used in "Instrumentbuch," I 2 v.; initial C on verso
from small alphabet (see p. 242).
20
386
Early German and Flemish Woodcuts.-Part II.
3. [APIANVS.] Introductio Geographica. Ingolstadt, 1533; fol.
Cut on title-page [119 × 149] in the manner of the Folium Populi title-page
(notice the Loubemberg arms on the tower); on the back the coat-of-arms of
Loubemberg, also used in that book, Torquetum, 1 4 v., and other diagrams.
Initials from small and large alphabets.¹
4. [APIANUS.] Instrument Buch, durch Petrum Apianum erst von
new beschriben. Ingolstadt, 1533; fol.
The cut on the title-page [153 x 178] which represents five men using astro-
nomical and mathematical instruments, may safely be attributed to Brosamer by
comparison with the signed cut in "Folium Populi." On the back is the coat-of-
arms of Loubemberg, also used in that book. Some of the diagrams in the book are
by the same hand.
5. [APIANVS.] Inscriptiones sacrosanctæ vetustatis. Ingolstadt,
1534; fol.
The cut on the title-page, Mercury drawing four persons of various conditions by
the chains of his eloquence [151 x 160], after a drawing by Dürer now in the K. K.
Hofmuseum, Vienna (L. 420),2 may safely be attributed to Brosamer by comparison
with the signed cut in "Folium Populi." Initials from the small and large alphabets
occur.
6. [EOBANUS.] De Victoria Wirtember-gensi : Ad illustrem &
Inclytum Heroa Philippu | Hessorum omniu: ac finitimaru aliquot gentiū :|
Principe gratulatoria Acclamatio Authore | Helio Eobano Hesso. M.
Sachse, Erfurt, September 1534; 4".
On title-page, portrait of Philip of Hesse, P. iv, 38, 32; on verso of last leaf,
portrait of Eobanus Hessus, P. 34, in each case with the lettering quoted by
Passavant, except that the date is M.D.XXXIIII.
7. [APIANUS.]
Astronomicum Cæsareum.
Ingolstadt, May,
1540; fol.
On the woodcuts in this book that are to be attributed to Brosamer and not to
Ostendorfer, see p. 242, last paragraph.
8. [BIBLE.] Biblia: dat ys: | de gantze Hillige Schrifft, Dů-|desch,
Vpt nye thogerichtet, vnde mit vlite cor-rigert. | D. Mart. Luth. [
Gedruckt dorch Hans Lufft tho Wittemberg. D.M.XLI; fol.
In the O.T. pt. 1, two of the cuts illustrating the furniture of the tabernacle,
fol. 53, 53 v., have Brosamer's monogram, and the unsigned cut on fol. 52 v. goes
with them. In the N.T: seven cuts [120 x 140], P. iv, 37, 22-27 and one un-
described, representing the four Evangelists, St. Paul (fol. 99, 1 Corinthians, P. 27),
St. Paul (fol. 112, Galatians, undescribed), and St. Peter, are by Brosamer. All
except St. Matthew have his monogram; St. Mark and St. Luke are dated 1536.
All these cuts made their first appearance in the Bible printed at Magdeburg in
1536. They are much nearer in style to Lemberger than most of Brosamer's work.
9. [BIBLE.]
Biblia |
Dat ys: De gantze Hilli-ge Schrifft.
1 The aged astronomer in the C of the large alphabet is copied from the woodcut
in "Messahalah de scientia motus orbis," printed by Weissenburger, Nuremberg,
1504.
2 See Thausing's Dürer, Engl. Tr., i, 288.
Division D.-School of Sacony.-Brosamer.
387
Vordůdt-schet dorch. | D. Marti. Luth. |
Gedrücket tho Magde-
borch, | dorch Hans Walther, | M.D.XLV ; fol.
The same cuts as in the edition of 1541. The cut of the Creation [116 x 139] on
fol. 1, in which the Creator wears a triple tiara, seems also to be by Brosamer; it was
not in the 1541 Bible.
10. [BIBLE.] Biblia veteris Testamenti et Historiæ, Artificiosis
picturis effigiata. Biblische Historien, Künstlich Fürgemalet. H.
Gülfferich, Frankfort, 1552; 87°.
10a. [BIBLE.] Novi Testamenti, Jesu Christi Historia effigiata.
Vna cum alijs quibusdam Iconibus. Das New Testament, vnd Histori
Christi, fürgebildet. H. Gülfferich, Frankfort, n.d.; 8. (Imperfect,
lacking sig. G 8 with printer's device.)
The same woodcuts as in the 1554 edition, described p. 384, nos. 4, 4a. The
Apocalypse illustrations are wanting in this copy. According to Nagler, Mon., iii,
p. 211, no. 5, the first edition is dated 1553.
of
11. [GEORGE, OF ANHALT.] Auslegung des Sechzehenden Psalms,
Conserva me Domine. Durch Fürst Georgen zu Anhalt, etc.
Günter, Leipzig, 1553; 4to.
W.
Fol. a 4. David kneeling, playing the harp, signed [87 × 65]. Singer, Cat. of
Lanna collection, no. 1686. This book contains, besides other woodcuts, thirteen
copies of Dürer's Little Passion [80 × 58], dated 1552; they cannot be attributed to
Brosamer.
12. [BIBLE.] Argumentorum in
in Sacra Biblia, A Rudolpho
Gualthero carminibus comprehensorum Tomus prior
der Summarien.
•
Erste Theil
Mit schönen Figuren geziert, vnd in Reimen
verfasst, Durch Burckhardum Waldis.
II. Pars Argumentorum.
Ander Theil der Summarien .
Durch Bur. Wald. W. Han, Frankfort, 1556; 8ºº.
The same woodcuts as in no. 10. Part 1 has the same title-page, part 2 a different
also signed, with the mocking of Christ below, SS. Peter and Paul at the sides
[130 × 91; opening, 74 × 44]. B. viii, 469, 14; Nagler, Mon., iii, p. 211, no. 6.
one,
13. [BIBLE.] Biblia Das ist: Die gantze heilige Schrifft: |
Deudsch. | Doct. Mart. Luth. H. Lufft, Wittenberg, 1556; fol.
Facing fol. 1, the Creation, 1550 (B. 1); fol. 2, the Fall (B. 2); 50, 50 v., the
Tabernacle; nineteen illustrations to the Prophets; in the N.T. the four Evange-
lists, St. Paul (2), St. Peter, and twenty-six illustrations to the Apocalypse, of which
only one, the twenty-fourth, is signed and dated 1550. Several of the N.T. cuts are
dated 1549, and all were prepared for Lufft's 1550 Bible.
14. [BIBLE.] Biblia: Das ist | Die gantze heilige Schrifft: |
Deudsch. Doct. Mart. Luther. H. Lufft, Wittenberg, 1558; fol.
The same cuts as in the edition of 1556, and one more, the creation of Eve
[108 × 147], dated 1549 (P. 16).
15. [BIBLE.] Biblia, etc. (2 vols.). H. Lufft, Wittemberg, 1560 (so
in colophon of each vol., but vol. 1 is also dated 1558, vol. 2 1561); fol.
on vellum, illuminated).
The same cuts as in the 1556 edition, without the addition made in 1558.
2 c 2
388
Early German and Flemish Woodcuts.-Part II.
16. [BIBLE.] Biblia, etc. (Low German). Successors of G. Rhau,
Wittenberg, 1561; fol.
The cut of the Fall, fol. 2, is a deceptive copy of Brosamer's cut (B. 2) without
the monogram [106 × 148]. The twelve illustrations to the Minor Prophets are his
original cuts.
17. [BIBLE.] Biblia, etc. (Low German). Successors of G. Rhau,
Wittenberg, 1565; fol.
The cut of the Fall in this edition is the original. The only other cut by
Brosamer is the illustration to Ezekiel, ch. 37 (fol. 82). A different set of cuts
(after M S) is used to illustrate the Minor Prophets.
18. [BIBLE.] Biblia, etc. (Low German). H. Lufft, Wittenberg,
1569; fol.
Before Genesis, large cut of the Creation, signed and dated 1550 (B. 1); fol. 2,
the Fall (B. 2), signed [106 × 149].
WOODCUTS BY BROSAMER.
i. WOODCUTS WITH EARLY MONOGRAM. Nos. 1-3.
1. OCTAVO BORDER WITH SCENES FROM THE PASSION.
One piece. At the top, a group of Prophets and Patriarchs: Moses,
John the Baptist and David are recognisable by their attributes. At the
sides, in round-arched niches, the Crowning with Thorns 1. and scourging
Below, Christ is being laid upon the cross; his wrists are held by
landsknechts, one of whom carries a hammer. Between the other's foot
and the cross is the monogram.
r.
-page of
[124 × 84; opening, 56 × 37.] Late impression, cut on all sides, on title-p
COMMENTARII IN E- | PISTOLAM PAVLI AD ROMA- | NOS, RE- | cens scripti à |
PHILIPPO MELAN. | ANNO. | M.D.XXXII.
From the Bagford collection (Harl. MS. 5968-151). Transferred from the
Department of Printed Books, 1900.
The block is much worn and must have been used in some earlier book, to which
the Passion subjects would have been more appropriate. The book of which this is
the title-page was printed at Marburg in 1553-Excudebat Marpurgi in campo Elysio
Franciscus Rhodus anno M.D.XXXIII-K. Bibliothek, Berlin (Bt 2567). The Museum
possesses an octavo edition of this work of Melanchthon's, printed by J. Klug in 1532,
with a different border. In subject this border agrees with the folio border to the
third part of the O.T. printed by Lotter in 1524, the octavo border to the 1525
edition of the same work by Lemberger, and Lemberger's folio border, dated 1525
(Röttinger 7), but in style it is not near to any one of them; it is rather primitive
and bad.
2. PORTRAIT OF PHILIP, LANDGRAVE OF HESSE.
P. iv, 38, 32; Nagler, Mon., iii, p. 206.
Half length in hat, three-quarter face to 1., eyes to front; the hands
resting on a table. In the upper corners are two small coats-of-arms, 1.
Ziegenhain, r. Hesse, and attached to the r. border-line a square tablet
containing the monogram B.
Division D.-School of Saxony.—Brosamer.
389
•
•
| . .
•
•
[131 × 99; size of leaf, 193 x 141.] Good impression, on title-page of “DE
VICTORIA VVIRTEMBER-gensi.
Authore Helio
Eobano Hesso" (printed in red). Beneath the portrait, in black, is the couplet
"Rebus Alexandro similis: virtute Philippo
Talis post tria bis lustra Philippus erat."
Purchased from Messrs. Colnaghi and Co., 1871.
Philip I, Landgrave of Hesse (1504-1567), effected in 1534 the restoration of
Ulrich, the banished Duke of Würtemberg, to his dominions, which were usurped by
Austria. On 12-13 May he defeated the Pfalzgraf Philip, Statthalter of Ferdinand,
King of the Romans, at Lauffen. This is the Würtemberg victory which the portrait
and the poem of Eobanus Hessus commemorate.
The portrait is reproduced and discussed on p. 28 of Drach and Könnecke's book,
Die Bildnisse Philipps des Grossmütigen,” Marburg 1905. The authors believe it
to be not drawn from life, but founded on an original by Cranach. It agrees rather
closely, in reverse, with a portrait in the Wartburg, a painting of the late XVI
century, founded on Cranach. The portrait of the Landgravine, Christina, repro-
duced on p. 70 of the same book, looks like a work of Brosamer.
3. PORTRAIT OF HELIUS EOBANUS HESSUS.
P. iv, 38, 34; Nagler, Mon., iii, p. 206.
Half length, in hat, three-quarter face to r., the hands resting on a
table before him. Monogram in 1. upper corner, within a square attached
to the border line.
[131 × 98; size of leaf, 165 × 112]. On verso of last leaf (D 4) of the book
mentioned under no. 2. Over the portrait are the words "Anno ætatis XLV.", and
beneath it the couplet "Lustra nouem numerans. . talis eram :". On the back
(recto of the leaf) are verses and the colophon: "Erphurdiæ excudebat Melchiar
Saxus Anno | M.D.XXXIIII. Mense Septembri."
Presented by Mr. W. Mitchell, 1895.
For a short biography of Eobanus Hessus see Vol. I, p. 346. The present portrait
was used again at Marburg after the poet's death in 1536 (see p. 384, no. 3).
ii. EARLY BIBLE ILLUSTRATIONS (1536). Nos. 4-6.
4. FOLIO BORDER WITH THE FALL AND REDEMPTION OF MAN.
The space is divided into two parts, in a manner already traditional in
the school of Cranach, by a tree, the branches of which are bare on one
side, leafy on the other. A large upright tablet to contain the title is
affixed to the stem. Adam sits at the foot of the tree between a prophet
of the old dispensation and John the Baptist. On either side of these is
a tomb. That to 1. contains a corpse; from the other Christ has just risen,
setting his foot on Death. In the background we see 1. the Israelites and
the Brazen Serpent, r. the Annunciation to the Shepherds; higher up, 1.
the Fall of Man, r. Christ upon the cross and the Lamb and flag; above
these, 1. Moses receiving the Tables of the Law, r. the Incarnation.
[252 × 172; opening, 90 × 65.] Good impression, from title-page of "Aus-
legung der Euange- lien an den fürneme-sten Festen, von O- stern bis auffs |
Aduent. D. Mart. Luther | M.D.XLV." (N. Wolrab, Leipzig, 1545, fol.; a copy of
the book at Berlin, K. Bibliothek).
Presented by Mr. W. Mitchell, 1895.
This border was used three times in the Low German Bible (“Biblia, dat ys, de
gantze hillige Schrifft Sassesch corrigeret, na der lesten vordüdeschinge ") printed by
Michael Lotter at Magdeburg, 1536. That it is by Brosamer can be proved by com-
parison with the signed woodcuts by him in the same Bible. Note the resemblance
of the bushes near the tomb 1. to those on the two cuts next hereafter described, but
the high brows of Christ and Adam and Eve in the scene of the Fall are still more
characteristic. Compare especially Eve with the Virgin as she appears to St. Luke
390
Early German and Flemish Woodcuts.--Part 11.
in the woodcut before his Gospel (P. 25), signed and dated 1536. To those who do
not know the other woodcuts in this Bible the attribution may be surprising, for the
border is very unlike Brosamer's later and more familiar work of 1549-50. The
whole composition is taken with slight variations from Erhard Altdorfer's title-page
to the Low German Bible printed by L. Dietz at Lübeck, 1533–34 (P. iv, 46, 1).
5. THE HORNED ALTAR OF BURNT-OFFERING AND THE VESSELS
APPERTAINING THEREUNTO (Exod. 27).
[117 × 139.] Signed with monogram, 1. From a High German Bible, probably
Lufft's edition of 1550 (Wittenberg).
Purchased from Mr. Miller, 1848.
This and the following cut, with one which is not signed,' are the only contribu-
tions by Brosamer to the illustration of the O.T. in the Low German Bible of 1536,
the other woodcuts being by Lemberger. They were reprinted in 1541, 1545, and
many later editions.
6. THE COURT OF THE TABERNACLE (Exod. 27).
Second state.
[120 × 140.] Provenance in all respects as no. 5. In the first state, which still
existed in 1545, Brosamer's monogram was to be seen on the large stone half an inch
above the r. lower corner. It was removed, apparently, in 1550.
iii. LATER ILLUSTRATIONS (c. 1550). Nos. 7-26.
7. THE CREATION OF EVE. 1550.
B. viii, 466, 1; P. iv, 34, 1.
On a
The Almighty, bare-headed, bending forward, raises Eve from the side
of Adam. In the background, the Fall and the Expulsion.
tablet in the r. lower corner are the monogram and date, 1550.
[228 × 153.] Good impression, from a High German Bible, probably that printed
by Lufft in 1550, the edition for which this cut was designed.
Purchased from Mr. Miller, 1848.
8. THE CREATION OF EVE. 1549.
P. iv, 36, 16.
The Almighty, wearing an imperial crown, kneels on one knee as he
raises Eve from the side of Adam. On a tree 1. are the monogram and
date, 1549.
[107 × 146.] Good impression. Provenance as no. 7.
9. THE FALL OF MAN.
B. viii, 466, 2.
The tree of knowledge, marked with the monogram, divides the com-
position into two halves. To 1. Eve, prompted by the Serpent, takes an
apple from the tree to give to Adam; behind them are a horse, a sheep
and a boar. To r. Adam and Eve are seen hiding in the bushes from the
presence of God.
[106 × 149.] Good impression. Provenance as no. 7. A deceptive copy of this
cut without the monogram was used in the Low German Bible printed by the
successors of G. Rhau, Wittenberg, 1561; in the 1565 edition (same printers) the
original block was used, as in the Bibles printed by Lufft in 1556, 1558, 1560 and
1569.
10. DAVID.
Singer, Catalogue of A. von Lanna collection, no. 1686.
David, in kingly robes, in profile to 1., kneels and plays the harp,
¹ Here on the back of a woodcut by Lemberger, p. 368, no. 51.
Division D.-School of Saxony.— Brosamer.
391
looking up meanwhile at a vision of the Almighty in the sky. In the
background, in an arched recess, is a mullioned window with round panes.
In the 1. lower corner is the monogram.
[87 × 65.] Good impression, margin 4 mm., on toned paper, no text on the back.
Purchased at the Lanna sale, Stuttgart, May, 1909 (no. 1016).
For a book in which this cut occurs, see p. 387, no. 11. There it has text on the
back. This impression is shown by certain slight defects to be later.
11. CHRIST TEACHING THE APOSTLES TO SAY THE LORD'S PRAYER.
Christ stands r., in profile to 1., raising his r. hand, and speaks to the
Apostles who kneel 1. at the foot of a small hill. Above them God the
Father is seen in the clouds. In the distance r. are buildings and in the
r. lower corner the monogram.
[104 × 140.] Poor impression, from a book (unidentified) with German text.
Purchased from Miss Bury, 1877.
The subject is the same as Nagler, Mon., iii, p. 210, 2 (15), but the composition
and dimensions are different.
[12-25.]
ILLUSTRATIONS TO LUTHER'S CATECHISM (1550). Nagler, Mon., iii,
p. 210, 2 (11-24).
12. JOSEPH FLEEING FROM POTIPHAR'S WIFE.
N. 11.
Joseph, running to l., has grasped the handle of the door; Potiphar's
wife, sitting on her bed, holds him by the cloak. Near the foot of the
bed is the monogram.
[130 × 130.] Good impression, no text on the back. Over the woodcut: "Das
X. Du solt nicht begeren deines nechsten Weib."
In the inventory of 1837.
13. THE CREATION.
N. 12.
The Almighty blesses the universe; in the corners the four winds.
Not signed.
[129 × 130.] Very good impression (proof ?). No text on the back.
Purchased from Mr. Thibaudeau, 1882.
13a. THE CREATION.
N. 12.
Later impression, on a leaf of a book, apparently that described by Nagler,
"Catechismus Für die gemeine Pfarrherr und Prediger," Frankfort, 1550, but this
has not been verified.
No. 13a was purchased with nos. 14-25 from Mr. H. H. Peach, 1905.
14. CHRIST ON THE CROSS BETWEEN THE VIRGIN AND ST. JOHN.
N. 13.
[130 × 130.] Monogram on the stem of the cross.
15. THE DESCENT OF THE HOLY GHOST.
[130 × 131.] Monogram on the Virgin's seat.
N. 14.
16. CHRIST TEACHING THE APOSTLES TO SAY THE LORD'S PRAYER.
N. 15.
[130 x 130.] Monogram on the tree. Four apostles are seen to 1. and seven to
r. of Christ.
392
Early German and Flemish Woodcuts.-Part II.
17. A PREACHER ADDRESSING A CONGREGATION.
[129 × 130.] Monogram on a sheet of paper on the floor.
18. A MAN PRAYING NEAR HIS CHAMBER WINDOW.
[130 × 130.] Monogram on the step upon which he kneels.
no. 17.
19. CHRIST ON THE MOUNT OF OLIVES.
B. 13; N. 16.
P. 30; N. 17.
On the back of
N. 18.
[130 × 130.] Monogram on the ground near Christ's feet.
20. THE FEEDING OF THE FIVE THOUSAND.
[130 × 130.] Not signed.
N. 19.
21. THE PARABLE OF THE UNMERCIFUL SERVANT.
N. 20.
[130 × 130.] Monogram on a stone step.
22. THE
TEMPTATION OF CHRIST BY THE DEVIL DISGUISED AS
A MONK.
B. 5; N. 21.
[129 × 130.] Monogram on a stone near a tree 1.
23. CHRIST AND THE WOMAN OF CANAAN.
N. 22.
[130 × 130.] Monogram on a stone r. On the back of no. 22.
N. 23.
24. THE BAPTISM OF CHRIST.
[131 x 131.] Not signed. A different composition from P. 18.
25. THE LAST SUPPER.
P. 21; N. 24.
[132 × 134.] Monogram on a seat r. Passavant describes this woodcut as
occurring in a book entitled "Anleitung zur Beichte.”
26. CHRIST ON THE CROSS BETWEEN THE VIRGIN AND ST. JOHN.
Mary, her head covered by a veil, stands 1., her hands clasped.
John, in profile to 1, looks up; his hands are also clasped. At the foot of
the cross 1. is a skull; in the distance a large building with a cupola. In
the foreground near St. John's foot is a monogram formed of the letters
H and B.
[88 × 64.] Good impression, printed on the 1. half of a completely preserved
broadside, headed
"ELEGIA DE PASSIONE DOMINI NOS-
TRI IESV CHRISTI, DEDICATA DOCTRINA
prudentia atque Eloquentia, viris clarissimis Dominis consulibus, & Dominis
senatoribus,
vrbis Coloniæ ad Rhenum, Dominis suis perpetua obseruantia colendis."
Over the woodcut is printed: CHRISTVS REDEMPTOR HVMANO
GENERI." Beneath it are eighteen elegiac verses, followed by thirty-two on the
r. half of the sheet, then the word "FINIS" and the author's name, "Mauritius
Treutler M." The sheet measures 315 x 395 mm. No watermark.
Purchased from Mr. Cohn, 1880.
At first some caution seems to be required in attributing this undescribed wood-
cut to Brosamer, for the title suggests that it was published at Cologne, and we have
no evidence of a connection between Brosamer and any patron or publisher in that
city. On the other hand the monogram is exactly as Brosamer makes it, and I find
PLATE XX
HANS BROSAMER
CHRIST ON THE CROSS
DAVID

INRI
ROTEI

週
​[TTTTTELIJA
FB

-
ד.“
Division D.-School of Saxony.—Brosamer.
393
no artist at Cologne whom it would suit.' What is much more important, the three
figures agree almost line for line with the group in Brosamer's engraving of 1545,
B. 5.2 In the case of Mary and John the attitude and the whole cast of the drapery
are exactly the same, the only difference being in the arrangement of the fingers,
while Mary looks up in the engraving, down in the woodcut. The figure of
Christ is also exactly the same, except that the hair, in the woodcut, hangs down on
one side only of the face, and the end of the loin-cloth, between the cross and St.
John, turns upwards instead of downwards. The background is entirely new, and the
skull is further removed from the cross. The form of the nimbus is changed; the
face of St. John, though in pose the same, is later in style, and more nearly resembles
the type on the woodcut, N. 13 (no. 14 above), while the landscape has features
closely resembling the last-named work. All the additions are intelligent and cannot
be attributed to a mere copyist of the engraving, so that the monogram fulfils a
legitimate purpose. The cutting is much neater than that of the Catechism
illustrations. The hatching, resembling seams, on St. John's mantle, common on
woodcuts of the school of Dürer, is unusual in Brosamer's work, but something like
it occurs in the "Biblisch Historien” and an exact parallel is found in the " David
(no. 10). The appearance of the type, especially the second line in italics, suggests a
late date for the publication, nearer to 1560 than 1550.
Mauritius Treutler Hainensis (presumably of Grossenhain, in Saxony) matricu-
lated in 1551 at Leipzig, where he took his bachelor's degree in 1554 and master's in
1557 (Erler, "Die Matrikel der Universität Leipzig "). There can be little doubt that
this person is the author of the verses, and the presence of M (Magister) after his
name agrees with the approximate date assigned to the broadside. The latter is not
in the Stadtbibliothek at Cologne, nor is anything known there of a connection
between either Brosamer or Treutler and that city. The sheet may, perhaps, have
been printed at Leipzig.
† TITLE-PAGE OF "EIN NEW KUNSTBUCHLEIN.”
(Reproduction.)
Photograph of two pages (first and last) from an imperfect copy of the book (first
edition), containing 1. a vase and r. the four lines of text that form the title printed
over a woodcut representing the interior of a goldsmith's workshop with five men
employed in it. MS. corrections have been made in the lettering of the title.
Purchased 1877 from Mr. Pretorius; the whereabouts of the original is not
recorded, but it must have been photographed in England, possibly from the copy
recorded as having been formerly in the Bernal collection.
A copy of this exceedingly rare book in the K. Kupferstichkabinett, Berlin, was
reproduced in collotype by Frisch for Dr. Lippmann and published in 1878; a
facsimile of the second edition, made from a copy in private ownership and edited by
Lippmann, appeared in 1882 (G. Grote, Berlin). Another copy of the first edition,
from the Destailleur collection, now the property of Mr. Max Rosenheim, F.S.A, was
reproduced by Mr. B. Quaritch in 1897. In this copy the misprint "Godschmidt "
has been corrected by pasting a printed slip with the syllable "Gold" over the
letters "Gods"; a new error is thus introduced, for the word is now read as
Goldchmidt."
The first edition has 38 cuts (Berlin) or 39 (Dresden). The second edition has
46. In this the goldsmith's workshop is on the verso of the last page, and a cup is
on the title-page. There is also a fragment, in the Berlin print-room, showing six
vases printed on one sheet, with the words " lich gerissen und geschnitten
und die Jeni
ten lassen sehr dienstlich und nutzlich zu gebrauchen. Anno
Domini MDLxx. The impressions of the blocks on this fragment are still good
and sharp.
•
•
•
e
The title of the second edition is "Ein new kunstbuchlein | von mancherley
schönen Trinckgeschirren, | für die Goltschmiede, vnd für die jenigen die Silber-ne
Becher, Credentz, Flaschen, vn Kandeln mach-len wollen lassen, sehr dienstlich
vnd nutz-lich zu gebrauchen."
1 The monograms given by Nagler, i, no. 1877 from Cologne illustrations are
different from this and later.
2 Reproduced in the catalogue of the Lanna sale, part 1, Stuttgart 1909, pl. xv,
no. 927.
394 Early German and Flemish Woodcuts.-Part II.
i
iv. LARGE LATE WOODCUT. No. 27.
27. DAVID AND BATHSHEBA. 1554.
P. iv, 36, 17; Nagler, Mon., iii, no. 654 (end), 655; iv, no. 1650.
A Gothic fountain stands in the courtyard of David's palace, a
magnificent Renaissance building with landscape background 1. The water
falls into a shallow tank, at the edge of which Bathsheba is sitting 1. Her
1. leg is being rubbed by a maid, and a second, who stands near holding a
dish with sponge and soap, calls Bathsheba's attention to David, who is
looking on from a balcony, r., harp in hand. A Cupid on the top of the
fountain aims a shaft at the amorous king. A jester r. is drinking at one
of the spouts; a courtier plucks him by the sleeve; behind them lies a dog.
On the other side three women, handsomely dressed, stand behind
Bathsheba. Four angels flying in the sky, near the 1. upper corner, carry
an oblong tablet with the following inscription, cut on the block :
ALS DAVID YEZVND MVSSIG WAS,
DARDVRCH ER GOTS GEBOT VERGAS.
DAS ER MIT MORDT VND EEBRVCH SVNDT
ALS WARNVCS WEYS HIE WVRT VERKŶDT.
SOLCHS SOLLEN MERCKE WEIB VND MANN
VND GVTTER WERCK NIT MVSSIG STAN
WANN WER INN GVTEM RVWT VND STET
DES BOSEN SELTEN MYSSIG GET.
Round the whole is a decorative border with white ornament on a black
ground. An oblong tablet towards the right, within the border, contains
Brosamer's monogram with the date 1554 beneath it, and a monogram
composed of the letters M B, with a woodcutter's knife, probably the work
of Martin Brosamer, woodcutter, of Erfurt.
[800 × 976.] Fair but not very early impression, slightly damaged, without
margin, printed on nine sheets joined together.
Purchased from Messrs. Colnaghi and Co., 1860.
This elaborate work is very typical of Brosamer. It is rare, the only impressions
mentioned by Passavant and Nagler being those at Dresden and Gotha. The
Dresden impression was first mentioned in 1820 by Zani, “Enciclopedia Metodica,'
pt. 2, iii, 324, the Gotha impression by J. H. Schneider in Deutsches Kunstblatt, 1853,
iv, 214. The publisher's address on the latter is incorrectly quoted by Passavant as
Bebitzer or Cubitzer; the correct form of the address is "Gedruckt zu Erffurt bey
Hans Gebitzer.'
DOUBTFUL.
28. PORTRAIT OF HANS SACHS. 1545.
P. iii, 248, 4 and iv, 39, 35; Nagler, Mon., iii, p. 207.
Half length, three-quarter face to 1., in hat and fur-lined mantle. The
arms rest on a table; the r. hand holds a handkerchief, the 1. a manu-
script. On the table is the inscription (cut on the block): 1545: HANS.
SACHSN. ALTER · 51 · IAR. No signature.
[295 × 280 (cut, should be 309 × 280).] Modern impression, placed with portraits.
The block is in the Derschau collection, and impressions were published by R. Z.
Becker not only in his "Holzschnitte Alter Meister," but also in "Hans Sachs im
Gewande Seiner Zeit," 1821, and "Bildnisse der Urheber und Beförderer der
Religions-und Kirchenverbesserung," 1817. The old impression in the Gotha col-
·
Division D.-School of Saxony-Brosamer.
395
lection has the address "Jm 1546 Jar | Gedruckt durch Hanns Guldenmundt,” and
sixteen German verses by Johann Betz below, "Dise Abconterfaction | Zaigt Hanns
Sachsn von Nüremberg an," etc. Pasted on the other side is "Des Hanns Sachsen
bildnuss. | Leonardus Ketnerus lectori; " then sixteen Latin verses and the date
MDXLVI. There is another old impression, coloured, at Berlin, in which the verses
by Ketner are preserved in their original place at the top of the portrait.
The attribution of this woodcut to Brosamer is said by Becker ("Hans Sachs im
Gewande seiner Zeit") to be derived from Sandrart, but there is nothing about it in
the "Teutsche Akademie." In "Holzschnitte alter deutscher Meister," 3. Lief.,
Gotha, 1816, p. 5, no. 95, he says "handschriftliche Nachrichten sagen, dass es von
Hans Brosamer sey, der es dem Dichter zu seinem 51 sten Geburtstag verehrt habe."
One would like to know more about this "MS. information" before believing it. In
Becker and Nagler's opinion the attribution is confirmed by the internal evidence
of the portrait of Philip of Hesse; I find the resemblance in no way convincing.
The discovery that a second edition of that block was published by Guldenmund¹
establishes, indeed, the fact of some slight connection between Brosamer and Gulden-
mund, which has encouraged Dr. Geisberg to attribute to Brosamer the portrait of
Duke William of Cleves after Aldegrever at Gotha,2 the inscriptions on which are
printed with Guldenmund's type. On internal evidence I would sooner give the
Duke's portrait to Brosamer than the poet's, but the proof is in neither case entirely
convincing. It seems probable, indeed, that Brosamer cut a number of large portraits
of celebrities after originals by other artists; the cases at present discovered are
Philip of Hesse and Ulrich of Würtemberg, a pair, after Cranach, and William of
Cleves, after Aldegrever, but only the first of these has been found with Brosamer's
name. The Hans Sachs portrait is also accepted as Brosamer's work by Drach and
Könnecke, but in my opinion better evidence is required before it can be admitted
that Brosamer had any hand in this Nuremberg publication.
The woodcut has already been described under Guldenmund's name in Vol. I,
p. 551, no. 8.
ADDITIONAL BOOK.
(IN THE DEPARTMENT OF PRINTED Books.)
19. [FORTUNATUS.]. Fortunatus, | Von seinem Seckel, vnnd
Wůntschhůtlin, Jetzund von ne | wen mit schonen lustigen Figuren 1
zugericht. Sehr kurtzwei- | lig zu lesen. W. Han, Frankfort on Main,
n.d.; 8vo. (Imperfect, sig. A-M, the leaves unnumbered; completed by the
last sheet of a different and earlier edition, sig. R, pages numbered, from
73 on; at the end the device of Hermann Gülfferich. The cuts in both
parts are from the same set, the fragment at the end containing much
finer impressions than the rest; one cut, representing a tournament,
occurs in both and so enables a comparison to be made.)
The cuts [c. 52 × 70], though unsigned, are clearly by Brosamer, in the same
style as the small Bible subjects published by Gülfferich (p. 387, no. 10).
1 See Drach and Könnecke's "Bildnisse Philipps des Grossmuthigen," 1905,
P. 17.
2 Repr. Geisberg, Die Münsterischen Wiedertäufer und Aldegrever," 1907,
Taf. 13; see text, pp. 46, 47.
396
VIII. THE MASTER OF THE ADORATION OF THE
SHEPHERDS.
A name is required to distinguish a group of woodcuts which are
obviously the work of a single anonymous Saxon master, working,
presumably, at Wittenberg or Leipzig about 1530-40. I have chosen
the name of his principal work, which has hitherto been described
under a monogram which is obviously that of the woodcutter, not of
the draughtsman. The artist is readily recognised by certain strongly
marked types of countenance, in men, women, and children, which
occur in all the three woodcuts here attributed to him but in no
others with which I am acquainted. The three have not hitherto, to
my knowledge, been described as the work of a single artist.¹
1. THE ADORATION OF THE SHEPHERDS.
Zani, Encicl. Met., pt. 2, iv, p. 372, v; Heller, Cranach, p. 233, no. (571) ix;
P. iv, 222, 2; Nagler, Mon., v, p. 382.
The composition falls into two equal halves, printed on two sheets,
obviously from two blocks of equal size. To 1. the infant Saviour, placed
in a basket full of straw covered with a cloth, is worshipped by seven
little angels, by his kneeling mother, behind whom Joseph stands, holding
a lantern, by the ox and ass, and by five shepherds, three of whom kneel,
while the two others stand behind them. The star of Bethlehem rests over
a ruined building in the background, and a choir of angels is seen in the
sky, singing from a scroll of music. Another shepherd, accompanied by
his dog, approaches from the r., carrying a staff over his shoulder, and
takes off his hat. A family, father, mother and son, are climbing steps to
the level on which the principal scene is enacted. Numerous smaller
figures, standing in groups and conversing, are seen on a lower level, and
in the far distance the annunciation to the shepherds is represented on a
small scale. On an open square within the walls a man is sitting near a
fountain, which is covered by a stone slab. On this slab are cut the wood-
engraver's initials, W S.
[329 × 517.] Old and fairly good impression, damaged at the corners.
Purchased from Messrs. Graves, 1856.
Good, early impressions are of no great rarity. The collection at Coburg contains
two very good ones, as well as a late one, after the removal of the woodcutter's signa-
ture. The block is in the Derschau collection, and modern impressions are found in
1 When C. v. Lützow ("Gesch. d. deutschen Kupf. u. Holzchn," p. 193) says
that three woodcuts by this artist are known, he means, no doubt, the three woodcuts
signed "W S" which are described by Passavant; that is quite a different thing.
PLATE XXI
ANONYMOUS
THE ADORATION OF THE SHEPHERDS
(Detail, reduced)

د

-
.
-
!
7
...
Division D.-School of Saxony-Anonymous.
397
R. Z. Becker's "Holzschnitte alter deutscher Meister," 2. Lief., B 43, attributed to
Cranach, while the monogram is explained as that of Wolfgang Sieber. Heller and
Passavant say that it is interpreted in Paul Behaim's MS. catalogue (1618) as Wolf
Stuber or Stiber (1588-1597). This is an impossible date for the woodcut. The
latter appears to have nothing to do with the other works by one or more artists
using a similar monogram with which it is grouped by Passavant and Nagler. A
much more reasonable suggestion is Nagler's, that the initials may be those of "Wolff-
gang Stthürmer, Formschneyder zu Leipzig," who is mentioned by Schuchardt¹ as
having cut or published a portrait by Peter Gottland, dated 1548. Zani, who gives
otherwise an accurate description of the woodcut, says that the man in the distance
is seated on two stones, one of which bears the initials W S and the other a wood-
cutter's knife. This is obviously wrong, for the initials are not on the stone seat, but
on the top of the fountain, and there is no knife to be seen.
Becker, Nagler, and Passavant state that impressions are said to occur with the
second signature, L C, but do not quote an actual instance. C. v. Lützow has
reproduced an impression in the Academy of Art at Vienna which has the letters
LV C on the top of the wall in the foreground 1., in the large white space beneath
the end of the Virgin's dress. Lützow interprets these letters as the first syllable of
Lucas, the name of the Evangelist who describes the Adoration of the Shepherds.
The size of the woodcut alone makes it impossible that it should have appeared, as
Nagler says, in a Bible printed by N. Wolrab at Leipzig in 1561.
The group of angels and the Virgin's type of face are quite sufficient to show that
the artist derives from Cranach, but he has marked peculiarities of his own, the
small eyes and large nose, which distinguish him from the master himself and from
all other pupils or imitators of Cranach. The principal group is reproduced here on
a reduced scale.
2. CHRIST SHOWN TO THE PEOPLE.
Christ stands on a terrace, r., with a gaoler holding a rod at his
side, and is shown by Pilate, who wears a turban, to a crowd of Jews who
stand on another terrace 1., while soldiers armed with all manner of
weapons stand below.
A third crowd stands behind the three principal
figures; those in front lean over a balustrade ornamented with reliefs
containing centaurs and antique warriors in white upon a dark ground.
Printed from two blocks.
[318 x 494.] Late impression.
Purchased from Messrs. Smith, 1845.
Though not signed this woodcut can readily be recognised as the work of the
same artist as no. 1. The gaoler is a very similar type to one of the standing shep-
herds, and the men generally have the same ugly faces with large noses and small
eyes.
The reliefs on the front of the balustrade look at first sight rather Nether-
landish. The woodcut appears to be rare; the r. half is in the Berlin collection.
3. CHRIST BLESSING LITTLE CHILDREN. 1533.
First state.
Christ stands, a little to r., facing to the front, holding a child on his
1. arm and laying his r. hand upon a baby which a young woman 1., with
two long plaits of hair hanging down her back, carries on a cushion.
Three other women, on either side of Christ, hold babies in their arms,
and a fourth, to r., the mother of the child whom Jesus is holding, leads
her elder boy, who bestrides a hobby-horse, by the hand. Three other
children stand at Christ's feet; one of them carries a puppy; the second
has a toy dagger in his girdle; the third, a little girl, holds a doll. Four
men stand 1. behind the women. In the distance 1. are buildings on a
hill; near the tower is a flight of birds and there are many lines in the
sky indicating clouds.
"Lucas Cranach des Aeltern Leben und Werke," i, 250.
398
Early German and Flemish Woodcuts.-Part II.
[231 × 275 (cut at the ends).] Very early impression, the lines absolutely
sharp, but badly damaged, torn and injured by abrasion and damp. The paper has
been stained a bright green, which has turned brown in the parts affected by damp.
In several places the original surface has been scraped off.
Presented by Mr. G. Mayer, 1900.
The woodcut in this early state is exceedingly rare; I have seen only one other
impression, not so early as this, but perfectly preserved. That impression [238 × 310]
is in the Rijksprentenkabinet, Amsterdam; the watermark is a posthorn. Behind
the woman's dress r. underneath the angle of the wall (cut off in the London
impression) is the date 1533. The last two figures are curiously formed and one
might feel tempted to read them as "55," if they were not obviously differentiated
from the actual "5" which precedes them; the date 1533, moreover, is much more
suitable than 1555 to the style of the work. The cutting is remarkably good, and
there is a cordial homeliness and sincere feeling in the treatment of the subject,
which occurs frequently on paintings of the Saxon school but less often on wood-
cuts.¹ The types already familiar from nos. 1 and 2 occur again; see especially
the two old men conversing, the long nose of the woman in the background to 1.
of Christ, and the faces of the children.
† CHRIST BLESSING LITTLE CHILDREN. 1533.
Photograph of the Amsterdam impression of the first state.
3a. CHRIST BLESSING LITTLE CHILDREN.
Singer, Catalogue of A. von Lanna collection, no. 2828.
Second state, chiaroscuro.
The block has been cut at the top and at the r. end. The birds have
been removed from the sky, and all traces of the clouds are gone except
the horizontal lines 1. between the hill and the wall. A barred window
low down in the wall r., to r. of the head of the child with a hobby-horse,
has been removed from the block. A tone-block has been added, from
which the high lights on the faces, dresses and wall, the inner part of
Christ's nimbus, and new clouds in the sky have been cut out. The lines
of the outline block are very much thickened and coarsened and give no
idea of the delicacy of the work in its fresh condition.
[210 × 272.] Good impression, the tone-block printed in brownish red. Water-
mark, Gothic p.
Collections: A. Firmin-Didot 2 (F. 21), A. von Lanna.
Purchased at the Lanna sale, May 1909, no. 1323.
The woodcut in this state is not very rare, but, so far as I know, undescribed
except in the catalogue of the Lanna collection and in sale catalogues. An orange-
brown impression was in the Schreiber collection (Sale Catalogue, 1909, no. 538 ³). A
light chocolate coloured impression is at Wilton House; others in sage green are in
the Rijksprentenkabinet at Amsterdam and the University library at Innsbruck.
3b. CHRIST BLESSING LITTLE CHILDREN.
Second state, chiaroscuro.
[210 × 275.] A less clear impression, the tone-block printed in grey.
watermark as on 3a.
Purchased from Messrs. Graves, 1856.
1 See Schuchardt, ii, 199, 15.
2 Sale Catalogue, 1877, no. 1866,
dans le goût de H. Brosamer."
The same
• Attributed with a query to "Wolf Stüber," which probably implies a recognition
of its connection with no. 1 here.
399
IX.—THE MASTER A.
Unknown artist; Wittenberg (?) about 1530.
1. THE CONVERSION OF SAUL.
B. vii, 473, 1; Nagl., Mon., i, p. 23, no. 47.
Saul falls towards the r. from his horse, which has also fallen; he is
blinded by a flaming blast from heaven, in the midst of which our Lord
is seen holding a long sword in both hands with its hilt towards the
persecutor. Two riders in the retinue turn their faces from the dazzling
light while their horses plunge wildly about. The monogram is on a
tablet which leans against a stump near the 1. lower corner.
[128 × 94.] Fair, but not early impression. No watermark.
Purchased at H. Gutekunst's auction no. 68, May 1910, no. 472.
The woodcut is rare; other impressions are at Amsterdam and Gotha. Nagler
assigns the artist to the Augsburg school, but he is clearly Saxon, and the woodcut
recalls many illustrations of the school of Cranach, c. 1525-1535. It may be from a
book; in this case, at least, there is no text on the back. It is reproduced on p. 35
of Gutekunst's catalogue.
400
X.-THE MASTER
W
Unknown artist; worked at Wittenberg about 1535-1545.
Authorities:
Bartsch, P.-G., ix, 427.
Passavant, P.-G., iv, 62.
Nagler, Mon., i, p. 662, no. 1486.
Very few of the woodcuts mentioned are in the Museum.
ILLUSTRATED BOOK.
IN THE DEPARTMENT OF PRINTS AND DRAWINGS.
1. [LUTHER.] Der Gros | Catechismus | vnd Kinder Lere, | D. Mart.
Luth. G. Rhau, Wittenberg, 1544; 8.
Duplicate transferred from the Department of Printed Books.
The woodcuts by this artist [c. 100 × 67] are in part 2, on the creed; three are
repeated in parts 4 and 5, on the sacraments.
(1) Fol. 70. The Creation of Eve.
(2)
(3)
(5)
(6)
(7)
(8)
88.
88 v.
""
95.
95 v.
102.
,,
104.
1)
109 v.
(10)
(11)
,,
""
115 v.
The Annunciation.
The Nativity.
Christ on the cross; in the background Abraham's Sacrifice and
the Brazen Serpent, signed.
The Entombment; in the background Jonah swallowed by the
whale.
Christ descending into Hell, signed.
The Resurrection of Christ, signed. P. iv, 63, 5.
The Ascension.
The Last Judgment.
122. The descent of the Holy Ghost.
128, 248 v.
(12) 128 v., 249.
(13) 137, 242 v.
A preacher; on either side the two Lutheran sacraments.
The Last Supper.
Christ in the house of Simon the Pharisee.
WOODCUT.
1. BROADSIDE ON THE PROPERTIES OF RHUBARB.
At the head of the sheet is a woodcut of the imperial arms with
emblems of the Golden Fleece [61 × 50]. Then the printed title, “ Von
der tugent vnd krafft der edlen wurtzel Rebarbara," etc. (3 11.). Then an
ornamental initial Z ("Zu dem ersten," etc.) with a monogram
resembling that of the Saxon monogrammist, Nagler, Mon., i, p. 662, no.
1486, but inverted, and with a bar across the A. There are thirty-eight
lines of German text, exclusive of the title.
[Sheet, 299 × 197.] Good impression.
Presented by Mr. W. Mitchell, 1895.
It is very unusual for an initial letter to be signed, when meant for actual use,
but the position of the monogram admits of no other interpretation. Its explanation
is not easy. It would be read more naturally as A A V than as A W inverted, and
does not agree exactly with the monogram either of Anton von Worms or the anony-
mous Saxon artist. I attribute it with all reserve to the latter rather than to the
former, in preference to assuming the existence of a third monogrammist as its
author. It is, in any case, a rarity of no great interest or importance.
401
XI. THE MASTER
S (CONRAD DRAKE?).
Worked at Halberstadt about 1520.
Authorities:—
2
Bartsch, P.-G., vii, 472.
Passavant, P.-G., iv, 302.
Nagler, Mon., ii, nos. 65 and 2795.
Wiechmann-Kadow, in Naumann's Archiv, ii, 252.
Muther, "Die ältesten deutschen Bilder-Bibeln,” 15.
"Die Deutsche Bücher-Illustration," no. 1686.
""
On
The monogram has been read both as C G and CD. The latter
reading seems to be correct. It is generally said that this artist
worked for the press of Ludwig Trutebul,' but more recent authorities
assign the principal books in which his woodcuts appeared to other
printers, the Benedictine Missal to Lorenz Stuchs (Proctor 11968)
and the Low German Bible to Conrad Drake (British Museum
Catalogue, BIBLE, col. 211). It is suggested in the place last
mentioned that the initials are those of Conrad Drake himself.
two woodcuts, P. 3 and 4, they are introduced on the title-page and
after the colophon in a manner which suggests a printer's device,
but the same title-page had been used two years before in the Missal,
which, as already stated, is ascribed to another printer. Moreover
the monogram, as introduced in the woodcut of St. Jerome, B. 1,
suggests nothing of the kind, but merely the signature of the artist.
Was Conrad Drake, then, himself the artist, or was there some other
person living in Halberstadt to whom the monogram belonged?
There is no evidence to solve the doubt. The books mentioned by
Wiechmann-Kadow, Nagler and Passavant are in the British
Museum with the exception of Luther, "Van den guden Wercken,"
1521. The title-border to Tauler's Sermons is the only woodcut that
bears a date subsequent to 1520, and it cannot be attributed with
certainty to this artist.
¹ Trutebul began printing in 1520 and removed his press in 1523 to Erfurt,
according to P. Wackernagel, "Bibliographie zur Geschichte des deutschen Kirchen-
liedes," 1855, p. 59 (quoted by Wiechmann-Kadow). In 1528 he was at Goslar.
2 The recent essay on Halberstadt printing mentioned by Proctor is not accessible.
2 D
402
Early German and Flemish Woodcuts.-Part II.
BOOKS ILLUSTRATED BY
ह
IN THE DEPARTMENT OF PRINTED BOOKS.
1. [LITURGIES.] Missale consummatissimu | scď'm vsum sacra-
tissimi ordinis | diui Benedicti de Obseruantia per | Germania, etc. (11
lines). (L. Stuchs) Halberstadt, 1520; fol. (imperfect). Pr. 11968.
Title-border, P. 4 (in this copy the red lettering of the title is printed out of
register), and arms of Cardinal Albrecht of Brandenburg, P. 7, dated 1520 [194 × 157],
evidently by the same artist (observe especially the figures in the date). Passavant
described this woodcut as the arms of Tauler; it occurs again in Tauler's sermons,
1523.
2. [BIBLE.] Biblia dudesch | dat erste deell (dat ander | deell).
Halberstadt (no printer's name), 1522; fol.
(1) Passavant does not describe the very handsome border to the first part with
black background. It contains: at the top dolphins' heads and a shield and quiver,
at the sides candelabra, at the foot a nereid 1. and a triton r. with their backs turned
to a vase on which are the date 1520 and the monogram beneath it [332 × 241;
opening, 202 × 143]. By the same artist are: (2) St. Jerome, B. 1, used eighteen
times; (3) sig. a 1, the Creation of Eve [200 × 200], signed with date and initials,
indistinctly cut, on a tablet 1., undescribed; (4) sig. a 2 v., the Fall and Expulsion
from Eden, dated 1520 but not signed [123 × 193], P. iv, 302, 2; (5) the ornamental
device, P. 3, signed and dated, at end of either part; (6) the title-border to part 2,
P. 4.
3. [TAULER.] Joannis Tauleri. | des hillige lerers Predige. Halber-
stadt (no printer's name), 1523; fol. (the largest type is the same as that
used in no. 2).
(1) Title-border [251 × 163; opening, 160 × 94] dated 1521, described by Passa-
vant, no. 6. It is very inferior to the fine borders of 1520, and cannot be attributed
without hesitation to the same artist, but certain ornamental details, notably the
shading on the leaves in the wreaths and the elongated ovoid fluting on the bases of
the columns, are in his manner; notice also the long trumpets held by the angels, as
on P. 4. But it may be an imitator's work, and the architectural scheme suggests
Wittenberg models rather than the original Renaissance ornament of the Halber-
stadt monogrammist.
1
(2) Sig. c 6 v., the arms of Cardinal Albrecht of Brandenburg, P.7; a very inferior
impression to that in no. 1. Here the border-line is broken in several places and
there is text on the back (recto of leaf).
WOODCUTS BY
5.
1. FOLIO BORDER WITH FOUR ANGELS, TWO OF WHOM BLOW
TRUMPETS. 1520.
P. iv, 302, 4.
The ornaments consist of dolphins, cornucopias, foliage, wreaths and
candelabra upon a background shaded horizontally. In each of the four
corners an angel stands; those in the lower corners blow trumpets. At
the bottom, between a pair of dolphins, are two shields addorsed, contain-
ing the monogram and the date 1520.
¹ The general scheme of the portal, with wreaths passing through a round opening
in the vault, was frequently employed, later than this, by Lemberger.
Division D.-School of Saxony.—The Master C D. 403
[306 × 222; opening, 192 × 138.] Fair impression, rather grey, on title-page of
"Missale consummatissimu | scd'm vsum sacratissimi ordinis | diui Benedicti de
Obseruantia per | Germania," etc. (11 ll., in red), 1520 (Pr. 11968). Watermark, a
large anchor in a circle.
Presented by Mr. W. Mitchell, 1895.
This border was used again in the Low German Bible of 1522 (part 2).
2. ST. JEROME IN HIS STUDY. 1520.
B. vii, 472, 1.
St. Jerome sits, in profile to r., writing at a table in his study; the
lion is on the floor at his feet. The window, divided by a column, is
closed by a wicker screen; near the base of the column are a skull and a
tablet; a bird-cage hangs in the embrasure of the window; on the wall
above it are the date 1520 and the monogram S. On the wall beyond
St. Jerome hang a number of instruments, a brush and a hat. On the
extreme r. is a column with rams' heads on the capital.
[197 × 196.] Good impression, on the recto of the second leaf of the 1522 Bible
(before sig. a) containing St. Jerome's preface to the Pentateuch.
Purchased from Mr. Gutekunst, 1867.
The woodcut occurs seventeen times in all in the first part of the Halberstadt
"Biblia dudesch," and once in the second part (Acts of the Apostles).
3. HERALDIC DESIGN CONTAINING SEVEN CHILDREN. 1520.
P. iv, 302, 3.
In the centre of the design a boy, not winged, touches with either
hand a shield suspended by a strap from branches which cross one another
and are tied together over the boy's head. The dexter shield has, parted
per pale, a rose and a fesse; the sinister shield contains a winged fish.
On a tablet at the foot are the date 1520 and the separate initials of the
artist. On either side are three winged children.
[121 × 190.] Good impression, on the last printed page of the Bible of 1522
(sig. mm 4 v.), beneath the colophon in seventeen lines. The same design is also
printed at the end of the first part.
Presented by Mr. W. Mitchell, 1895.
2 D 2
404
XII.—THE MASTER M S.
Draughtsman and woodcutter (?); worked at Wittenberg 1532-34.
Authorities:-
Nagl., Mon., iv, nos. 2131 and 2151.
Weigel, in Naumann's Archiv, ii, 217.
This artist, whose initials have been explained without any
satisfactory evidence as Melchior Schwarzenberg, is only known as
the author of a complete set of 133 woodcuts-a title-page, 122
illustrations, and ten large initials-to the first complete edition of
Luther's Bible, printed by Hans Lufft at Wittenberg in 1534. Three
additional cuts appeared for the first time in the edition of 1535. In
the Bible of 1534 three woodcuts are signed with the initials and
dated 1532, three are signed but not dated, one (pt. 2, 103 v.) is
signed with a monogram instead of separate initials, two are dated
1532, one 1533, and two 1534 without a signature. In addition to
these, a single woodcut, the illustration to Daniel viii (P. iv, 64, 1),
is signed and dated 1534. There is nothing to warrant a
separation between this and the woodcuts signed with the other
initials or not signed at all; the style is very even throughout, the
performance generally neat and uninspired. Nagler was mistaken
in supposing this artist to have copied Brosamer.
Sand
BOOKS ILLUSTRATED BY M S.
IN THE DEPARTMENT OF PRINTED BOOKS.
1. [BIBLE.] Biblia, das ist, die
gantze Heilige Sch- rifft Deudsch.)
Mart. Luth. | Wittemberg. | Begnadet mit Kür-| furstlicher zu Sachsen
freiheit. Gedruckt durch Hans Lufft, M.D.XXXIIII. Wittenberg; fol.
|
Illustrated throughout by this artist; the cuts [c. 108 x 148] are coloured. Facing
Gen. i is a large cut of the Creator blessing the Heavens and the Earth [218 × 145].
The frontispiece to Joshua is from the first Wittenberg edition of the Old Testament.
2. [BIBLE.] Biblia, etc. H. Lufft, Wittenberg, 1535; fol.
Three new cuts appear in this edition: the Fall (Gen. i), the Sacrifice of Cain
and Abel (Gen. iv), David and Goliath (1 Sam. xvii). The cuts are coloured.
3. [BIBLE.] Biblia, etc. H. Lufft, Wittenberg, 1536; fol.
The same cuts, not coloured.
Division D.-School of Saxony.-The Master M S. 405
4. [BIBLE.] Three parts, only, Prophets, Apocrypha, and New
Testament, of the Bible printed by H. Lufft, Wittenberg, 1538-39; fol.
The same cuts, not coloured and well printed. The same title-page to the N.T.,
but a new one in the other parts.
5. [BIBLE.] _Biblia, etc. H. Lufft, Wittenberg, 1541 (pt. 1)-1540
(Prophets and N.T.); fol.
The same cuts; the large initials are used only in pt. 1.
6. [BIBLE.] Biblia, etc. H. Lufft, Wittenberg, 1541; fol. (larger).
The same cuts, but no initials or title-page by M S.
7. [BIBLE.] Biblia, etc. (Low German). H. Lufft, Wittenberg,
1541; fol.
The large woodcut of the Creation and a few illustrations (e.g. O.T. fol. 25, 54,
285, N.T. fol. 90, 135, and the Apocalypse cuts) are by this artist, but the majority
are by Lemberger and Brosamer.
8. [BIBLE.] Biblia, etc. (Low German) H. Walther, Magdeburg,
1545; fol.
The large woodcut of the Creation and sixty-three illustrations in the text are by
this artist; the majority of those in the O.T. are by Lemberger, a few in the N.T. by
Brosamer.
9, 10. [PIBLE.] Biblia, etc. (Low German).
Rhau, Wittenberg, 1561, 1565; fol.
Successors of G.
Both editions contain numerous deceptive copies of the illustrations by M S. The
cut on fol. 166 is dated 1559, that to Jeremiah (preface) 1561. The copy of Daniel's
vision is signed by the woodcutter C E and dated 1561.
11. [BIBLE.] Biblia etc. (Low German). H. Lufft, Wittenberg,
1569.
Also illustrated with the deceptive copies. The cut of Susanna and the elders is
dated 1561, instead of 1533.
WOODCUTS BY M S.
1. THE FALL OF MAN AND EXPULSION FROM EDEN.
2. THE SACRIFICE OF CAIN AND ABEL AND DEATH OF ABEL.
3. THE DELUGE.
4. THE RAINBOW AND THE DRUNKENNESS OF NOAH.
5. LOT LEAVING SODOM.
The block is split; in 1569 this subject was replaced by a copy.
6. ABRAHAM'S SACRIFICE.
7. JACOB'S LADDER.
8. JOSEPH AND POTIPHAR'S WIFE.
9. MOSES BREAKING THE TABLES OF THE LAW.
406 Early German and Flemish Woodcuts.—Part II.
10. JOSHUA HANGING THE FIVE KINGS.
11. SAMSON AND THE LION.
12. THE DEATH OF ELI.
13. DAVID AND GOLIATH.
14. THE DEATH OF AHAB.
15. THE WIDOW'S OIL MULTIPLIED BY ELISHA.
16. THE AFFLICTIONS OF JOB.
17. JEREMIAH, 1534.
18. JOEL.
19. AMOS.
20. HABAKKUK.
21. ZEPHANIAH.
22. HAGGAI.
23. THE BLINDING OF TOBIT (imperfect).
24.
SUSANNA AND THE ELDERS. 1533.
25. ST. MATTHEW.
26. ST. MARK.
27. ST. LUKE.
28. ST. JOHN.
29. ST. PAUL DESPATCHING A MESSENGER, IN THE OPEN AIR.
This woodcut was used in 1534 for Romans and 1 Thessalonians.
30. ST. PAUL SITTING IN HIS CHAMBER, INSTRUCTING A MESSENGER.
This woodcut was used for 1 Corinthians, Galatians, Colossians and
Timothy.
31. ST. PETER DESPATCHING A MESSENGER. 1532.
32. THE SEVENTH ILLUSTRATION TO REVELATIONS.
Seven angels with trumpets; the angel with a golden censer.
33. THE FOURTEENTH ILLUSTRATION TO REVELATIONS.
St. John swallowing the book.
[c. 108 × 148.] With the exception of nos. 25-28, which are fine impressions
from the first edition, these are poor impressions from a Bible later than 1541.
Nos. 1-24 and 29-33 were presented by Sir A. W. Franks, K.C.B., 1895, nos. 25-
28 by Mr. W. Mitchell in the same year.
34. TITLE-PAGE.
At the top, an aged prophet or apostle writing, in a balcony. Four
little angels near him carry books and documents.
Five others are
engaged in nailing up to the wall beneath a great sheet which contains the
title, "Das Newe Testament. | D. Mart. Luth. | Wittemberg | M.D.
XXXIIII." Two little angels in Roman armour stand on the capitals of the
Division D.-School of Saxony.-The Master M S. 407
flanking pillars and hold standards with the electoral and ducal arms of
Saxony. Fifteen angels sit or stand on the steps below round a sixteenth
who has a large book open on his lap.
[242 x 154.] Good impression.
Presented by Mr. W. Mitchell, 1895.
This border was used for Part 1 and for the Prophets, as well as the New Testa-
ment. It is clearly by the same artist as the illustrations (compare especially no. 17,
Propheten, 35 v.) and initials.
[35-41.]
INITIAL LETTERS.
35 A. Children carrying trophies and drawing a triumphal car.
A choir of angels within the letter.
The lion of St. Mark within the letter.
36. D.
37. D.
38. I.
The letter is flanked by two eagles.
39. N.
40. P.
Three children, one of whom climbs up the letter.
Children hunting a stag.
41. S. The winged ox of St. Luke.
[c. 60 x 58.] Good impression, from the first edition, 1534 (N.T.).
Presented by Mr. W. Mitchell, 1895.
Three more letters, P, with a child leading a bear, V, with five children, one of
whom plays a fiddle, and Z, a child with toys and a monkey, complete the alphabet
as used in 1534. Though used throughout the Bible, several of the letters were
evidently designed with special reference to the New Testament, D, D, S and I
belonging to the four Gospels, and the different forms of P to the epistles of St.
Paul and St. Peter. Z is only found in the book of Ruth.
The alphabet is described, and attributed to M S, in Naumann's Archiv, ii, 217.
Nagler (iv, p. 672) draws from Weigel's description the mistaken inference that the
letters are signed with that artist's monogram.
In the Bible of 1538-39 two new letters appear, D, with a child astride upon a
dolphin, holding a flag, and P, with a Roman warrior placing his foot upon a dolphin
and grasping its body with one hand. In this edition Z is used instead of S at the
commencement of St. Luke's Gospel.
408
XIII. MICHEL BUCHFÜRER.
Woodcutter (?) and printer, Erfurt; removed thence to Jena in
1523.
Authorities:
(C
Allgemeine deutsche Biographie," iii, 478.
Weller, "Repertorium Typographicum," 462.
1. THE VIRGIN AND CHILD.
WOODCUT.
The Virgin is represented in half-length, crowned, on the crescent,
with a plain circular nimbus and a glory of flames and rays bordered by
conventional clouds. The naked Child stands on her lap, placing his r.
hand on her neck and his 1. hand on a globe, representing the world, with
buildings and trees upon it, which Mary holds in her r. hand. In the
upper corners are r. God the Father, crowned, with orb and sceptre, 1. the
Dove, each in a glory of rays. In a strip 22 mm. wide at the foot is the
address, cut on the block in tall cursive characters: Michell Buchfürer
An vnser Lieben Frauenberg Zu Erffurdtt.
[346 × 242.] Good impression, without margin, coloured; the robe, crown and
hair of Mary, the Child's hair and nimbus, the crescent, the flames and part of the
rays, the Almighty's crown, his glory and that of the Holy Ghost, are yellow; the
Almighty's mantle and the Virgin's, the jewels in the Virgin's crown, and the Dove's
r. wing crimson; part of the rays a lighter red; the Virgin's cheeks and the Child's
body a pale pink; the hem of the Virgin's robe and mantle, the globe, the Almighty's
orb and the Dove's 1. wing, a bright green. Watermark, a hen on a shield, over the
shield a looped cord.
Collections: Michael Caspari (sale, Sotheby's, 13 June, 1878, no. 102), Mitchell.
Presented by Mr. W. Mitchell, 1895.
Undescribed and very rare; I have never seen another impression. Old-fashioned
and conventional work, quite in the fifteenth-century tradition, but probably about
1520. Weller and Panzer mention no books printed by Michel Buchfürer at Erfurt
earlier than 1523; his address was then "zu der Weinreben uff dem Nunnensack
(Panzer, 1795). He may have been a Briefmaler before he took to printing books.
409
XIV.
ANONYMOUS.
ILLUSTRATIONS AND TITLE-PAGES PRINTED AT ERFURT.
1. QUARTO BORDER WITH FIVE CHILDREN, BLACK GROUND (M.
Maler).
One piece. At the top a vase and wreath suspended at each end from
the top of the candelabra which fill the sides; below, a group of five
children; one of them, with a nimbus, plays a flute, sitting in a car drawn
or pushed by two of the others.
[152 × 114; opening, 93 × 66.] Good impression, on title-page of "Eccius dedo |
latus authore Joan | nefrancisco Cotta | lembergio Poe-ta laureato [by Wilibald
Pirkheimer].
Printed at Erfurt after 20 Feb. 1520, by Matthäus Maler (Proctor 11253, border
C; see Riederer, "Nachrichten,” iv, 397).
Presented by Mr. W. Mitchell, 1895.
2. QUARTO BORDER WITH MONOGRAM F B AND DATE 1520 (M.
Maler).
An arch supported by columns on which are two angels, one of
whom, l., holds a club in his hand. Beneath the 1. column is the date
1520 and on a vase, between two tritons, the monogram composed of F
and B. Background shaded horizontally.
[156 × 112; opening, 83 × 60.] Fair impression (block cracked) on title-page of
"Antwort Doctoris | Martini Luthers vor K. M. | vnd Fursten der Reichs | (4 11.
omitted) auf den Rei-] chstag gen | Wormbs. | Jm Jhar. M.D.xxj." (M. Maler,
Erfurt, 1521. Dommer, 221; border, Dommer 130 A.).
Purchased from Mr. Gutekunst, 1874.
A later impression is in a book in the Department, "Doctoris Mar. Lut ther
kurtz schlusz rede von den ge-lobdten vnnd | geystlichen | leben der | closter,"
1
(n. p. d.).
·
3. QUARTO BORDER, FOUR PIECES, WITH DEVICE OF HANS KNAPP.
Four pieces: (a) ribbon-wreaths and cherub's head; (b, c), candelabra
copied from the Pirkheimer border attributed to Dürer (Vol. I, p. 379),
with children holding flags at the top; (d) two angels holding shield
with HK monogram, between vases. Background black, dotted with
white.
[a, 24 × 122; b, c, 114 × 24; d, 34 × 119.] On title-page of "Liber Secūdus | D.
Bartholomei de Vsingen In quo respondet Culj samerice ofutationi," etc. Colo-
phon: "Joannes Canappus excudebat Erphordiae anno 1523.”
Presented by Mr. W. Mitchell, 1895.
Knapp's border Aa (Proctor, p. 118).
4. A PRIEST SHAKING HANDS WITH A PILGRIM.
In a street paved with cobbles, containing a column with a statue of
St. James as a pilgrim on the top, a priest r. is shaking hands with a
pilgrim who is apparently departing on a journey.
410
Early German and Flemish Woodcuts. -Part II.
!
[127 × 110.] Good impression, on title-page of "Eyn warhafftiges buchleyn
Irklerend was list dye Rho-mer brauchen mit Creyren viller Cardinåll auff dz sye
alle | Bistumb Deutscher landt vnder sich bryngen," (a translation of "Pasquillus
Exul”; n. p. d., but Erfurt, c. 1522; two editions in the library, s.v. PASQUINO).
Presented by Sir A. W. Franks, K.C.B., 1895.
An interesting woodcut, rather near to Cranach.
5. QUARTO BORDER WITH TWO HERONS (W. and G. Stürmer).
An architectural border representing a portal with a vase at the top
standing in a curved recess. On the front of the entablature are
medallions containing male heads in profile to r. and 1. Large vases stand
on the projecting socle below, and over each of these stands a heron in
front of, and almost hiding, the lateral column of the portal.
•
[154 x 113; opening, 77 × 56.] Good impression, on title-page of "Der Ein
vñ | Fünffzigste Psalm Dauids.
Ausgelegt durch den Ehr- wirdigen,
Hochgelarten, vnd in Gott seligen, D. Ca-] spar Creutziger (5 11. omitted)
Wolfgang and Gervasius Stürmer, Erfurt, 1549; 4to. (F. Krackowizer,
"Die Sammelbände aus der Reformationszeit im Landesarchiv in Linz,” 1904, p. 52,
no. 61 (15).)
M.D.XLIX."
Presented by Mr. W. Mitchell, 1895.
The book is not in the Museum. I am indebted to Dr. H. Röttinger for identi-
fying the place of publication. The design reminded both him and me to some
extent of Hans Sebald Beham.
411
XV.—ANONYMOUS.
ILLUSTRATIONS AND TITLE-PAGES PRINTED AT LEIPZIG.
1. ILLUSTRATION TO THE RHETORIC OF MARTIANUS CAPELLA. 1509.
A poet laureate (Johannes Rhagius Aesticampianus) sits 1. at a desk
on which a book lies open. Behind him is a brocaded hanging on the top
of which a swan stands with open beak as if in the act of singing. Two
putti, standing on pillars flanking the poet's throne, hold a wreath sus-
pended over the swan. Near the poet's desk stands Minerva, wearing a
helmet, with uplifted sword. To r. is a group of four persons; a youthful
poet or scholar in profile to l., wearing a long gown, a boy with a book in
both hands, and two men further back engaged in conversation, each
grasping a rope ¹ with both hands. Two men are walking on a steep hill-
side, crowned by a castle, in the background, and near them is a raven,
disproportionately large and entirely black, which seems to be flapping its
wings and croaking in opposition to the swan. Wide single border-line.
[200 × 152.] A piece torn from the r. side. On the back are 31 elegiac verses
(the top cut off) :—
1
(1) Percupiut studijs excoluisse nouis
Nec tibi dedecori pubes sit Theutona culti
Eloquij princeps
(30) Liuide perge mori funem cape: necte tigillo
Infelix collum, nempe disertus ero.
In the inventory of 1837.
This cut was printed on the title-page of a very rare book, the "Rhetoric" of
Martianus Capella, edited by Aesticampianus, printed by Martin Landsberg at
Leipzig, 1509, fol. (Panzer, Ann. Typ., vii, 165, 268). Above it is the title in six lines,
"FMC Scientissimi | et clarissimi Authoris | Rethorica. cuius forma: ars et vsus,
non multum In Germania est vel cognitus, vel receptus: | Nunc autem formam
eius, et pictor effigiauit, et Impressor excussit : et artem Rhetor Johannes | Aesti-
capianus edocebit, vsum vero Lector tibi comparabis amplectere itaque eam, vt
formosam, | addisce . vt artificiosam, vtere postremo. vt valde necessaria. et bene,
et diu vive." On the verso of the last leaf is the colophon, "Impressum Liptzick
per Baccalaureu Martinu Herbipolen: | sem. Anno dñi Millesimo quingentesimo
nono. The verses on the back of the title-page, headed "Ingenuis studiosoru |
Eloquentie Chorus," contain an allusion to the editor of the book,³ who may be
presumed to have composed them himself, since no other author is named.
37 2
The poet, Johannes Rhagius Aesticampianus, was teaching at Leipzig 1507–11.
1 ¹ The rope with which the envious man, in the verses, is exhorted to hang him-
self; the raven is evidently also an emblem of envy.
2 I am indebted for a description of this book to Dr. M. Hippe, of the Stadt-
bibliothek, Breslau, where a copy exists.
3 "Astat ab estiuo vates celeberrimus agro
Sustentans cana laurea serta coma,
Qui bene facunde dictabit verba puelle [sc. Minervae]
Dulcia, Germanis non repetita scholis."
412
Early German and Flemish Woodcuts.-Part II.
His epigrams were printed by Lotter in 1507 (4to, Panzer, Ann. Typ., vii, 158, 199.
Breslau, K. Univ.-Bibl.). An account of Aesticampianus and his friends is given by
G. Bauch in Archiv für Litteraturgeschichte, xii, 321, and in Beiheft xxii to the
Zentralblatt für Bibliothekswesen, "Der Früh-humanismus in Leipzig." Bauch
describes the book now under consideration on p. 176, but does not mention the
woodcut. Martianus Capella was also printed at Frankfort on the Oder in 1507.
2. THE ARMS OF GEORGE, DUKE OF SAXONY. 1514.
The date 1514 is on a scroll behind the head of a man in armour,
half-length, who stands behind the coat of arms and three crests.
[199 × 128.] On the back of the title-page of "Ad Georgiu inclytum | Saxoniae
ducē. Principē illustrissimũ xc | Ioannis Tuberini Erythropolitani Musithias de
Cælitibus, & sacris Historiis in Musas nouem digesta" (Melchior Lotter, Leipzig,
1514; fol.).
3. DELPHI AND PARNASSUS, WITH THE MUSES, BACCHUS AND
APOLLO. By
+$
1
PARNASUS BIVERTEX has two peaks, TITOREA and HIAMPEVM.
Between them the Muses, Εννεα θυγατερες μεγάλου Δίος, are gathered
round the fountain of Hippocrene. Bacchus lies 1., Apollo sits r.
Between them is the Delphic temple (Templu Apollinis DELPHI). Within
the door of the temple the artist's monogram is cut out in white upon a
black ground.
[96 × 139.] On the front of the leaf which contains no. 2.
4. CHRIST ON THE CROSS BETWEEN THE VIRGIN AND ST. JOHN.
[58 x 34.] Insignificant illustration, from "Declamatiuncula Phili | ppi Noue-
niani Hasfurtini de literaru | nostri temporis conditione," M. Landsberg, Leipzig,
1520 (see no. 6).
Presented by Sir A. Wollaston Franks, K.C.B., 1895.
Besides no. 5 I have met with the following cuts from the same series, which was
probably designed for a Hortulus Animae: St. John the Baptist, walking to r.
[57 x 34], on title-page of "Disputatio do- mini Johannis Eccij et | Pa. Martini
Luther in | studi Lipsensi futura (M. Landsberg, Leipzig) 1519; 40; St. Jerome in
penitence [57 x 34], on title-page of "Excusatio eckij ad ea que falso sibi Phi |
lippus Melanchthon. . . adscripsit (M. Landsberg, Leipzig, 1519; 4. Pr. 11309); St.
Augustine, as a bishop, with heart pierced by an arrow on a book, on title-page of
Disputatio et ex | cusatio Domini Joha | nis Eccii Aduersus cri- minationes, F.
Martini | Lutter ordis Eremita" (M. Landsberg, Leipzig, after 27 June, 1519, not
in Pr.), also in " Disputatio et excusatio Fratris Mar | tini Luther aduersus
Criminationes D. Johannis Eccij" (1519, Pr. 11299).
(C
5. ST. JAMES THE LESS.
In profile, walking to 1., r. hand extended, carrying a fuller's club over
1. shoulder; tree r.
[57 × 33.] Same provenance as no. 4. From sig. A 2.
6. QUARTO BORDER WITH AN OWL AND THE ARMS OF LEIPZIG
(M. Landsberger).
Four pieces, with black ground: (a) an owl attacked by small birds
with legend "M. H. A. V." (Mich hassen alle Vögel) on a scroll [28 × 74];
¹ See p. 193. Books in the library which contain woodcuts by this insignifican
artist are not enumerated here.
Division D.-School of Saxony-Anonymous.
413
(b, c) candelabra with a child at top and base of each [126 × 21];
(d) two winged children supporting the arms of Leipzig [38 × 118].
On title-page of "Declamatiuncula Philippi Noueniani," etc., 1520.
Presented by Sir A. W. Franks, K.C.B., 1895.
Proctor's border A and "device d" of Martin Landsberg. Also used in Pr.
11309-11312 and 11316. See Proctor on the relation of "device d" to borders used
by Schumann and Stürmer. Pr. did not understand the meaning of the letters; the
block cannot be called a printer's device at all.
7. QUARTO BORDER WITH ROUGHLY CROSS-HATCHED GROUND
(W. Stöckel).
Four pieces: (a) two winged boys holding the ends of a wreath
[25 × 116]; (b) a large flower in a vase, thrice repeated [121 × 13];
(c) two men, foot to foot, one upside down, each carrying a large
fleur-de-lis [123 x 23]; (d) two dragons with tails connected, each biting
at a fruit [23 × 115].
On title-page of "Apologia Petri Swavenij | Pomerani Petro Mosellano
pceptore con- tra Joannem Cel | larium," W. Stöckel, Leipzig, 1519 (Pr. 11480).
Proctor's border A of Stöckel, used in 1516 (Pr. 11466).
Presented by Sir A. W. Franks, K.C.B., 1895.
8. QUARTO BORDER WITH CHILDREN
(V. Schumann).
SINGING AND PLAYING
One piece, white ground. At the top, eight children at play round a
shield with the device of Valentin Schumann (Pr. b.); at the sides, two
angels playing musical instruments, with notes; below, seven children,
three of whom are singing from notes.
[115 × 80; opening, 63 × 44.] On the title-page of "Encomiu Ebrie- tatis
Christophoro He- gendorffino Authore," V. Schumann, Leipzig, 1519 (Pr. 11540).
Proctor's border C; no earlier use quoted by Pr., a later one is Pr. 11549a.
Purchased from Mr. Gaucia, 1850.
9. QUARTO BORDER WITH JUDITH (V. Schumann).
Four pieces, black ground: (a) two fantastic fish [27 × 71]; (b) a
scroll wound round a staff [149 × 13]; (c) Judith (IVDIT, white letters)
standing, with sword and head of Holofernes, behind her a column,
perhaps copied from some Italian original [149 × 28]; (d) under an arch
a child blowing a trumpet and holding a tablet with device consisting of
the letters H, K, and a cross [41 × 72].
On title-page of "Encomium | Somni_Christopho-|ro Hegēdorffino au- thore,”
V. Schumann, Leipzig, 1519 (Pr. 11545). Proctor suggests Hans Knapp (Erfurt) as
an explanation of the monogram.
Purchased from Mr. Gaucia, 1850.
10. CARICATURE OF LUTHER WITH SEVEN HEADS.
"}
Luther, in friar's habit, has seven small heads growing out of his neck
which are named (in type), " Doctor Martin' Luther' Ecclesiastes Suermer'
Visitator Barrabas." Bees are flying round the head named "Suermerus
(Schwärmer). Beneath the middle head is the general name "Martinus
Lutherus Septiceps."
[162 × 133.] Over the woodcut is the title of the book, "Septiceps Lutherus,
vbiq' sibi, suis | scriptis, cotrari', in Visitationē Saxonica, p D. D. Ioā. Cocleū,
editus" (printed by V. Schumann, Leipzig, 1529).
Purchased from Mr. Cohn, 1880.
414
XVI.-ANONYMOUS.
TITLE-PAGES PRINTED AT WITTENBERG.
1. QUARTO BORDER WITH SIX CHILDREN, TWO OF WHOM RIDE
ON DOLPHINS (H. Lufft).
One piece, background shaded horizontally. At the top, two naked
children seated, their hands on a wreath; a second wreath is suspended
through two round openings in the vault of an arch. At the sides,
clothed boys standing on irregular columns of which only the bases are
uniform; the feet of the one to r. rest on a winged globe. Below, two
naked children riding on dolphins.
[166 x 118; opening, 92 x 59.] Good impression, on title-page of "Widder | den
newen Abgott | vnd allten Teuffel der zu Meyssen | sol erhaben werden. | Martinus
Luther Wittemberg. | M.D.XXIIII."
Presented by Mr. W. Mitchell, 1895.
Used by Hans Lufft, 1523-42. Luther¹ 32, Götze 142, Dommer 86.
This border is attributed by Dr. Max Geisberg 2 to Lemberger. I consider it
much too bad for that artist and see only superficial resemblances in its ornamental
motives to those used by him.
2. QUARTO BORDER WITH ABRAHAM AND ISAAC GOING TO MOUNT
MORIAH (N. Schirlentz).
Two
One piece, background white. A round arch pierced by three openings
is supported by a naked boy 1. and girl r., who stand on socles.
cherubs blowing trumpets are poised over a tablet which contains the title.
Beneath this tablet Isaac walks to r., carrying a faggot, followed by
Abraham.
((
[169 × 120; opening, 49 × 54.] Good impression, on title-page of Predig
Andresen Boden. von Carolstatt tzu | Wittenberg, | Von empfahung des heiligen
Sacraments. Wittenberg.'
|
N. Schirlentz, Wittenberg, 1522.
Presented by Mr. W. Mitchell, 1895.
""
Used by Nickel Schirlentz, 1522-24. Luther 21,3 Götze 158.
3. QUARTO BORDER WITH
(N. Schirlentz).
CHILDREN
4
AND SLEEPING GIANT
One piece, background shaded horizontally. The giant sleeps on the
ground; near his feet is the date 23. Four children play with pieces of
his armour. Six winged children above kneel, stand or hang suspended,
holding tasselled cords.
1 J. Luther, "Die Titeleinfassungen der Reformationszeit," 1. Lief., 1909.
2 Monatshefte für Kunstwissenschaft, iii, 121.
3 Dr. M. Geisberg attributes Luther 9 and 22 to the same hand as 21.
+ Read as a monogram by Brulliot, ii, 2797a, and Nagler, Mon., v, 2132.
Division D.-School of Saxony-Anonymous.
415
[173 × 121; opening, 80 × 60.] Good impression, on title-page of "Eyn sermon
des wirdigen ynn Gott vatters, | Hern Georgen von Polentz | Bischoff zu Samland,
am Christag ynn der Thumkirch zu Königsperg ynn | Preussen ge | predigt,
Anno M.D.XXiiij. N. Schirlentz, Wittenberg, 1524.
Presented by Mr. W. Mitchell, 1895.
Used by N. Schirlentz, 1523-26. Luther 24.
3a. AUGSBURG COPY OF NO. 3 (H. Steiner).
Coarse copy in the same direction, reduced in size, date omitted.
[168 × 114; opening, 77 × 59.] Good impression, on title-page of " Ob kriegs-
leüt auch in selige stande sein künde. | Mar. Luther. | zu Wittemberg.
M.D.XXVII." On the reverse is an initial G by Weiditz [44 × 44].
Purchased from Mr. Gutekunst, 1874.
Used by H. Steiner, Augsburg, 1526-27. Luther 24a.
4. QUARTO BORDER WITH THE DECAPITATION OF ST. JOHN THE
BAPTIST (N. Schirlentz).
One piece, background white at sides, shaded horizontally (wall of
room) at top and bottom. At top, a king (Herod) and queen at table;
1. Salome with the Baptist's head; r. the executioner and St. John's
decapitated body; below, three couples engaged in a courtly dance, with
two musicians.
[159 × 118; opening, 86 x 66.] Good impression, on title-page of "Auff das
Ver- meint Keiserlich Edict, | Ansgangen jm 1531 jare, | nach dem Reichstage |
des 1530 jars. | Glosa. | D. Mart. Luthers. | Wittemberg. | DMXXXI.”
Purchased from Mr. Gutekunst, 1874.
Used by N. Schirlentz, 1530–1545. Luther 25, Götze 103, Diederichs 348. A
feeble work of the school of Cranach, described by Passavant, iv, 24, 121 and
Schuchardt, ii, 294, 144.
A later impression is in a book in the Department, [LUTHER.] "Verantwor-|
tung der auffgelegten | Auffrur, von Hertzog | Georgen," etc., 1533.
5. QUARTO BORDER WITH THE GOOD SHEPHERD (H. Lufft).
One piece. The Good Shepherd stands below with a sheep on his
shoulders; landscape background. Beneath the figure and round the top
and sides, connected by arabesques of foliage, are the initials and devices
of five reformers, Martin Luther, Philipp Melanchthon, Justus Jonas,
Johannes Bugenhagen, and Caspar Creutziger, surrounded by wreaths.
[162 × 115; opening, 61 × 47.] Late impression, on title-page of "Von den
Concilijs vnd | Kirchen. | D. Mart. Luth. | Wittemberg. | 1539.”
Collection: W. Bell Scott.
Presented by Sir A. Wollaston Franks, K.C.B., 1895.
Used by H. Lufft, 1533-39, by H. Weiss, 1534, and J. Klug, 1534-38. Luther 38.
A much better impression is in a book in the Department,
"Ein brieff D. Mart.
Luth. | Von seinem | Buch der Winckel | messen," etc., 1534.
Geisberg attributes this border, with Luther 30 and 31 (described above, p. 343,
nos. 13, 14) to Lemberger. I doubt whether it belongs to the same artist as the other
pair, though I was myself for a time inclined to put it with them. The face of Christ
is not so near to the immediate Cranach group, and the drawing of the trees and
landscape foreground is very inferior. In any case, I regard the attribution of any
of the three to Lemberger as impossible.
6. QUARTO BORDER WITH THE FALL AND REDEMPTION OF MAN
(P. Seitz).
One piece. The composition, in the manner usual in the Saxon school,
is divided by a tree, near which Moses stands 1. with the tables of the
416
Early German and Flemish Woodcuts.-Part II.
Law, which at the top he is receiving on Mount Sinai. On the 1. side are
the Fall and a sinner driven by devils into Hell. On the r. side are the
Annunciation, Christ on the cross, the Lamb and Flag, the risen Christ
triumphing over sin and death, John the Baptist pointing to the Lamb,
and in the distance the Annunciation to the Shepherds.
[157 × 107; opening, 84 × 63.] Fair impression, discoloured, on title-page of
In Iere- miam Prophe- tam Commentarium Iohannis | Bugenhagij Pomerani,
Do- ctoris & Pastoris Ec- clesiæ VVitem- bergensis. | Nunc primum edi- tum,
Anno M.D.XLVI. | Witebergæ. (Colophon: Witeberga | In officina Petri Seitz. |
Anno MDXLVI. Leipzig, Univ.-Bibl.)
From the Bagford collection (Harl. MS. 5920-432), transferred from the Depart-
ment of Printed Books, 1900.
A larger and superior border which seems to be by the same artist is in a book in
this Department, "Die drey | Symbola oder Be | kentnis des glau- bens Christi
jnn der Kirchen eintrechtig lich gebraucht. | Mart. Luther D. Wittemberg
M.D.XXXVIII." J. Weiss, Wittenberg, 1538; 4to. The contents are for the most part
the same, but at the top 1. is Christ with lily and sword and the banner of the
resurrection, instead of Moses. The Fall and Annunciation are differently repre-
sented. Christ triumphs over the law in addition to sin and death; he has here the
same peculiar form of nimbus. [158 × 112; opening, 77 × 58.]
417
APPENDIX TO DIVISION B.
SECTION I-HANS LEONHARD SCHÄUFELEIN.
ADDITIONAL BOOKS ILLUSTRATED BY SCHÄUFELEIN.
A. IN THE DEPARTMENT OF PRINTS AND DRAWINGS.
6a (see p. 8). [THUCYDIDES.] Thucidides, der aller thewrest vnd
dapfferest Historien | schreiber, von dem Peloponnenser krieg, etc.
(translated by Hieronymus Boner). H. Steiner, Augsburg, 16 June,
1533; fol. (Muther 925).
Presented by Mr. Campbell Dodgson, 1910.
Three of the woodcuts are by Schäufelein :—
(1) Fol. 8. Envoys addressing a seated ruler who wears a turban [95 × 155].
Signed. Repeated fol. 15, 17, 87, 146.
(2) Fol. 11. A sea-fight [93 × 153]. Signed. Repeated fol. 24, 88 v.
(3) Fol. 19. Archidamus, King of Sparta, seated on his throne [96 × 156].
Signed.
7a (see p. 8).
[CICERO.] Der Teutsch Cicero.
H. Steiner,
Augsburg, 4 March, 1535; fol.
Presented by the National Art-Collections Fund, 1907.
The illustrations have already been described, p. 13, no. 28.
ADDITIONAL NOTES ON WOODCUTS ALREADY
DESCRIBED.
P. 55. Appendix.
1. ABRAHAM'S SACRIFICE.
The first impression mentioned is now at Berlin.
2. THE STORY OF JOB.
An old impression [151 × 356] is at Coburg.
The following woodcut, perhaps a copy, is undescribed; though coarsely cut,
Schäufelein's late style is clearly apparent in the drawing.
11. THE SUBMISSIVE HUSBAND.
The housewife
A man r. stands at a table and beats linen (?) with a shovel.
stands 1., with a rod in her 1. hand, while her r. hand rests on her purse and keys; a
broom lies on the floor [250 × 220]. Coburg. On the back is an ornamental wood-
cut representing two columns.
2 E
418
Early German and Flemish Woodcuts.-Part II.
ADDITIONAL WOODCUTS BY SCHÄUFELEIN.
239. THE MATER DOLOROSA AND ST. JOSEPH.
B. vii, 248, 11.
The Virgin stands 1. with arms folded on her breast, which is pierced
by a sword. Joseph stands r. beside her, holding a staff in his 1. hand.
The two figures are seen through a round arch of stone. Beyond them is
a landscape background, with buildings on a hill 1.
[227 × 157.] Fairly good impression, but cut at the bottom; the signature,
consequently, is missing, and the border-line at foot is the work of a restorer.
Purchased from Messrs. Obach and Co., 1909.
On the group to which this rare woodcut belongs, see p. 20.
240. INTERIOR OF A CHAPEL.
Three men r. and seven women 1. (signed).
P. iii, 238, 173a.
[178 × 163.] Good impression, on title-page of "Schertz mit der Warheyt,"
C. Egenolff, Frankfort-on-Main, 1550; fol.
Purchased at the Lanna sale, 1909 (no. 1018).
The date of this woodcut is about 1536; it forms a companion to no. 136 (p. 42)
and is doubtless also an illustration to Boccaccio. On the back is a woodcut by
Burgkmair, p. 96, no. 100a (a different edition).
SECTION II-HANS BURGKMAIR.
ADDITIONAL BOOKS ILLUSTRATED BY BURGKMAIR.
A.--IN THE DEPARTMENT OF PRINTS AND DRAWINGS.
9a (see p. 59). [CANTZLEIBUECHLEIN.]
Cantzley büchlin.
Zaiget an | Wie man schreiben sol eim yeden, in was wurden, stadt oder
wesens er ist, Geistlich vnd | Weltlich, in kurtze form begryffen. H.
Steiner, Augsburg, 1528; 4t.
Presented by the National Art-Collections Fund, 1907.
The woodcut on the title-page is described on p. 105. The book having been
cropped in binding, the border-line on the r. side is cut off.
B.-IN THE DEPARTMENT OF PRINTED BOOKS.
19a (see p. 62). [ERKENNTNIS.] Von warer erkantnus dess
wetters. S. Otmar, Augsburg, n.d. (acc. to a MS. note by Proctor, after
1520); 4to.
On the title-page the signed cut of a seated astronomer holding an armillary
sphere [85 × 87], used earlier in three editions of the same book printed by J. Otmar
in 1510 (W. 611-613, Muther 978. Muther does not mention the signature or
attribute the woodcut to Burgkmair).
WOODCUTS ALREADY
ADDITIONAL NOTES ON WOODCUTS
DESCRIBED.
P. 60, no. 14. For "one hundred and nine" read "one hundred and ten" and insert
no. 144, which is drawn by Burgkmair and signed indistinctly with his initials
on the side of a boat.
Appendix to Division B.-Section II.-Burgkmair.
419
P. 68, no. 5. PORTRAIT OF CONRAD CELTIS.
P. 118.
This is not the second state, as had till recently been supposed, but the third.
A first state, hitherto undescribed, appeared in Gutekunst's Stuttgart auction, no. 63,
May 1907 (no. 145), and was bought by a Viennese collector for presentation to the
Albertina. The new state is described minutely and all three states are reproduced
side by side in Mitteilungen der Gesellschaft für vervielfältigende Kunst, 1908, p. 24.
The differences consist almost entirely of alterations in the inscriptions, the Latin
having originally been faulty. Instead of APOL the first state has APOLO;
instead of CVR MORS, etc., CVNCTOS VRNA SVPREMA VOCAT; instead of
RESOLVIS, RESOLIVS; instead of DOCTIS and VIRIS, DOCTOS and VIROS;
instead of CEL, CIL. The numbers 4, 4, 8, 4 after the titles of the books on which
Celtis lays his hands were inserted in the second state. An alteration of another
kind was made in the shading of the frame near the 1. upper corner.
On a monument to Johannes Aventinus adapted from this woodcut, see Die
Christliche Kunst, ii, 60.
Of the portrait from "Quatuor Libri Amorum," in the second state as altered
by Burgkmair, another impression exists in the collection of Baron Edmond de
Rothschild, Paris.
P. 70, no. 8. PILGRIMS CLIMBING A HILL.
M. 16.
This woodcut was also used on the last page (fol. 223 v.) of the Amandus (Diss
buch das da gedicht hat der erleücht Vater Amandus, genant Seüsz) printed by J.
Otmar in 1512 (Pr. 10689), a copy of which was presented to this Department by the
National Art-Collections Fund in 1907. Here it has two lines of inscription above,
“Ecce ascendimus hierosolimam," etc., and one line below, “Ascende ad me in
montem," etc.
P. 70, no. 9. PILGRIMS PASSING A WAYSIDE CROSS AND SHRINE.
B. 72.
Another impression (9a), from the first edition, was purchased at the A. von
Lanna sale, Stuttgart, 1909 (no. 1018). In the text beneath we read "pilgerschaft,"
not "pilgerschafft," volbringū," not "volbrinngen," etc. The good contemporary
colouring closely resembles that in the complete book (p. 61, no. 6).
Pp. 74-76, no. 14. ST. GEORGE.
B. 23.
III. A brilliant impression of the third state, printed in slate colour like that at
Cambridge, is in the University Library at Innsbruck (watermark, a bunch of grapes).
Pp. 74–77, no. 15. MAXIMILIAN I.
B. 32.
II. An impression of this state is in the collection of Baron Edmond de
Rothschild (watermark, large high crown).
III. I saw Baron Edmond de Rothschild's impression in October 1908; it is dull
green
in colour and the watermark is a small bull's head with tau cross. I came to
the conclusion that the O is false, that is to say, inserted by hand. It is doubtful,
therefore, whether this alleged third state should really be distinguished from the
fourth.
P. 78, no. 18. Other impressions of the copy described in the concluding paragraph
are at Coburg and Wolfegg.
P. 79, no. 19. THE VIRGIN AND CHILD UNDER A VINE TRELLIS.
B. 7.
A late impression (no. 19a), in a border by Weiditz, like that in the Hofbibliothek,
Vienna, was purchased from Messrs. Obach and Co. in 1909. It came from the
Holtrop collection. A similar impression is at Amsterdam.
P. 85, No. 46. THE LOVERS SURPRISED BY DEATH.
B. 40.
Herr Paul Davidsohn (Grunewald, Berlin) has an impression of the second state
printed in two shades of brown, with a black outline.
The collection of Baron Edmond de Rothschild contains an impression of the
third state in yellowish buff, green and black (watermark, large bull's head), and one
of the fourth state in buff, grey and black (watermark, large high crown).
2 E 2
420
Early German and Flemish Woodcuts.-Part II.
P. 89, no. 54. TITLE-PAGE OF JORNANDES, DE REBUS GOTHORUM.
B. 63 (not 53).
An early proof before the use of the woodcut as a book illustration, and with the
shield empty, was presented in 1910 by Professor Helferich (provenance, Montmorillon
sale, 1878, no. 185). Though unevenly printed the lines are for the most part
extremely sharp; the whole figure of Alboin and the wreath near the head of
Athanaric are seen to much greater advantage than in ordinary impressions.
[226 × 165.] Cut slightly within the border-line at the top; a large piece is want-
ing at the bottom.
P. 92. The first state of woodcut no. 46, at Berlin, has been reproduced in "Drei
Studien. I. Zum Weisskunig," by Campbell Dodgson, Jahrbuch d. Kunsthist.
Samml. d. Allerh. Kaiserhauses, 1910.
P. 96, no. 100. THE YOUNG WHITE KING AND HIS QUEEN.
M. 315.
Another impression of the second state (100b), on the back of the title-page of
"Schertz mit der Warheyt (Egenolff, Frankfort, 1550, fol.), was purchased at the
Lanna sale, 1909 (no. 1018). On the recto is a woodcut by Schäufelein, P. iii, 238,
173a (see p. 418, no. 240).
P. 105, 1. 11. The cut of the Resurrection mentioned here has been attributed by Dr.
Röttinger (Mitt. d. Ges. f. vervielfältigende Kunst, 1909, p. 9, no. 72) to the
younger Breu. He describes, however, the version signed R. See p. 437.
P. 105, no. 185. LOUIS XII.
A bronze in high relief from the same design, attributed to Jean Perréal, is in the
Wallace Collection (Gallery III, no. 312).
ADDITIONAL WOODCUTS BY BURGKMAIR.
192. THE PATRON SAINTS OF CONSTANCE.
Schr. 2022.
The Virgin stands, holding the Child in her hands, under a late
Gothic arch. To 1. stands St. Conrad, vested as a bishop, holding in both
hands a chalice with a spider in it, emblem of poison; to r. St. Pelagius,
wearing a mantle and hat lined with fur, holding a palm and sword. In
the foreground two kneeling angels support the arms of Hugo von
Hohenlandenberg, Bishop of Constance. Double border-line.
[251 × 165.] Good impression of the first state, before the alteration in the head
of St. Pelagius. Beneath the border-line is printed "S. Conradus. 1499 S.
Pelagius." The contemporary colouring (scarlet, yellow, green, pink, crimson, blue,
black, grey and brown) is gaudy and tasteless.
Watermark, a tall cross rising from a triple mount.
Purchased at the sale of the W. L. Schreiber Collection, Vienna, 2-4 March, 1909
(lot 40). On this woodcut see Jahrbuch der k. preuss. Kunstsammlungen, 1900, xxi,
208, and 1903, xxiv, 336; also F. Dörnhöffer in "Beiträge zur Kunstgeschichte,
Franz Wickhoff gewidmet," Vienna, 1903, p. 116, and this Catalogue, Vol. I, p. 219
and Vol. II, p. 65. My conjecture that the woodcut was intended for the Constance
Breviary printed by E. Ratdolt in 1499 (Hain 3830) has proved to be incorrect, for I
have examined a perfect copy of the book at Geneva which does not contain it. It
may have appeared in a Missal of that year, though no such edition is now known to
exist. The woodcut itself, especially in the first state, before the alteration in the
head of St. Pelagius, is very rare; only two impressions of this state have been
described till now, in the Albertina and at Stuttgart. The second state appeared in
the Constance Missal of 1505.
Appendix to Division B.-Section II.---Burgkmair.
421
193. FORTITUDE. DIE STERCK.
B. vii, 216, 52. M. 48.
The seventh of the series of Virtues. Second state of Bartsch, with
the double frame. Imperfect, the top panel of the outer frame being cut
off. The lowest panel contains the Latin title FORTID | VDO | VII.
[265 × 195.] Fair impression. Watermark, bull's head with cross and snake.
Collections: J. E. Wessely, A. von Lanna.
Purchased at the Lanna sale, 1909, no. 1006.
194. SAMSON AND THE LION. 1515.
B. vii, 201, 2. M. 148.
Samson is breaking the lion's jaw. His quiver, marked with the
initials H B, and bow hang from a tree 1.; the date 1515 is on the stem.
[115 x 82.] Very fine impression with narrow margin. Watermark, bull's head
with cross and snake.
Purchased at the Lanna sale, 1909, no. 995.
[195, 196.]
ADDITIONAL PROOFS OF THE WEISSKUNIG WOODCUTS.
195. THE MEETING OF THE OLD WHITE KING AND THE KING OF
FEUEREISEN (signed).
B. vii, 228, 11. B, p. 116.
[218 × 198.] Good impression, the r. upper corner cut off. No watermark.
Purchased from Messrs. Obach and Co., 1910.
This subject should follow no. 59 (p. 93).
196. THE BATTLE OF DIXMUDE (signed). A, no. 115. B, p. 254.
M. 237.
[219 × 197.] Very fine impression. Watermark, large high crown.
Purchased from Messrs. Obach and Co., 1910.
This subject should follow no. 75 (p. 94).
197. CHRIST ON THE CROSS, WITH THE VIRGIN MARY AND MOSES.
M. 811.
Christ hangs on a tau cross, at the foot of which are the initials H B.
Under his r. arm is Mary, emerging from clouds, half length, with her
1. hand on her breast. Under his 1. arm is a similar figure of Moses,
holding the tables of the Law. No border-line.
[142 × 132.] Fair impression. Over the block is printed "Exaltatio. S. Crucis."
On the recto of the leaf is the title of the book, "Ain Sermon võ | Den Hayltumbã
vi Ge-ziert mit überflusz, Vō hailigō Creütz jn | den kirchen. Geprediget von.
D. M.]. Luth. jm Jar.. M.D.XXII. | Wittenberg (M. Ramminger? Augsburg, 4to);
then a woodcut of Christ on the cross between Mary and John [49 × 36], the whole
enclosed by a border of four pieces.
Purchased at the Lanna sale, 1909 (no. 1018).
The book is in the library; for another in which this woodcut was used see p. 62,
no. 20.
[198-218.]
ILLUSTRATIONS TO THE APOCALYPSE.
These twenty-one woodcuts, incompletely described by Passavant, iii,
270, 87-98, completely by Nagler, Mon., iii, p. 247, no. 53, and Muther,
422 Early German and Flemish Woodcuts-Part II.
Repertorium, ix, 444, 812-832,¹ appeared in the folio German New
Testament printed by S. Othmar, Augsburg, 21 March and 11 June, 1523
and 7 June, 1524. Six of them had been published in an earlier undated
edition. All are signed.
198. ST. JOHN BEHOLDS THE SEVEN CANDLESTICKS.
199. THE FOUR-AND-TWENTY ELDERS.
P. 87; M. 812.
P. 88; M. 813.
200. THE RIDERS ON THE FOUR HORSES.
M. 814.
201. ANGELS CLOTHING THE SOULS OF THE JUST WITH WHITE
RAIMENT.
202. KINGS HIDING IN TERROR FROM THE EARTHQUAKE.
M. 815.
M. 816.
203. ANGELS RESTRAINING THE WINDS AND MARKING THE ELECT.
P. 89; M. 817.
204. THE SEVEN ANGELS RECEIVING TRUMPETS.
M. 818.
205. THE STAR WORMWOOD FALLS UPON THE EARTH.
206. THE FOUR DESTROYING ANGELS.
M. 819.
M. 820.
207. ST. JOHN COMMANDED TO SWALLOW THE BOOK. P.90; M. 821.
208. THE DRAGON AND THE TWO WITNESSES.
210. THE WORSHIP OF THE SEVEN-HEADED BEAST.
P. 91; M. 822.
209. THE SEVEN-HEADED BEAST AND THE WOMAN CLOTHED WITH
THE SUN.
P. 96; M. $23.
M. 824.
211. THE DESTRUCTION OF BABYLON AND WORSHIP OF THE LAMB.
M. 825.
212. THE ANGELIC VINTAGE AND HARVEST.
M. 826.
213. THE SEVEN ANGELS POUR OUT VIALS OF WRATH. P. 92; M. 827.
214. THE WHORE OF BABYLON.
P. 93; M. 828.
215. THE MILLSTONE FALLS INTO THE SEA.
P. 95; M. 829.
216. THE DESTRUCTION OF THE SEVEN-HEADED BEAST.
P. 94; M. 830.
217. THE DRAGON CAST INTO THE PIT.
P. 97; M. 831.
218. ST. JOHN BEHOLDS THE NEW JERUSALEM.
P. 98; M. 832.
Fair impressions, but not so good as those in the first edition; these are from
the third, dated 7 June, 1524.
Purchased at the W. L. Schreiber sale, 1909 (no. 189).
¹ See also Wiechmann-Kadow in Naumann's Archiv, ii., 158, and Muther, Bücher-
illustration, no. 893. Nos. 200 and 214 are reproduced by Muther, 2 Teil, Taf.
176, 177.
Appendix to Division B.-Section III.-Breu I and II. 423
SECTION III.—JÖRG BREU I AND II.
Additional authorities
H. Röttinger, "Zum Holzschnittwerke Jörg Breus d. Ä.," Repertorium für
Kunstwissenschaft, 1908, xxxi, 48.
H. Röttinger, "Das Holzschnittwerk Jörg Breus des Jüngeren," Mitteilungen d.
Ges. f. vervielf. Kunst, 1909, p. 1.
H. Röttinger, "Breu-Studien," Jahrbuch d. Kunsthist. Samml. d. Allerh. Kaiser-
hauses, 1909, xxviii (pp. 31-44 on the paintings of the elder, pp. 45-91 on the wood-
cuts, drawings and paintings of the younger Breu, with discussion of several wood-
cuts hitherto attributed to the elder).
H. Röttinger, in Thieme and Becker's "Allg. Lexikon der bild. Künstler," iv, 594.
When this section was written and printed no serious attempt had
been made to discriminate between the work of the father and the son
among woodcuts produced in the Breu workshop between 1530, the
earliest date at which the commencement of the son's activity at Augs-
burg can be placed, and 1537, the year of the father's death. The two
signed woodcuts of 1540 and 1541 had not been reproduced, and there
was no satisfactory starting-point for tracing the development of the
younger Breu either backwards or forwards. The measure of information
current three years ago even among those who had devoted most attention
to the work of the elder Breu may be gauged by the meagre space allotted
to his son on p. 120 of this volume. Dr. Röttinger's studies, published in
1908–9, have thrown fresh light on the whole question, and made it clear
that from 1530 onwards the father's powers were waning and the son's
influence had become predominant in the workshop even before he took sole
command of it in 1534. Dr. Röttinger has succeeded in showing that a
considerable number of book illustrations published by Steiner in 1531 and
the following years must be the work of the younger and more vigorous
artist, who was engaged from 1540 onwards chiefly in producing large
popular woodcuts of religious subjects, partly copied from Italian originals.
These are largely represented in this collection, and the negative
statement on p. 120 must therefore be revoked.
ADDITIONAL BOOKS ILLUSTRATED BY JÖRG BREU I.
A. IN THE DEPARTMENT OF PRINTS AND DRAWINGS.
la (see p. 109). [BREVIARIUM.] Breuiariñ iuxta ritum | et
ordinem alme eccl'ic Constan studiose ac puigili cura elaboratu.
E. Ratdolt, Augsburg, 1516; 8.
Presented by the National Art-Collections Fund, 1908.
Woodcuts by Breu (see p. 114):—
(1) On verso of second leaf. The Virgin and Child with SS. Conrad and Pelagius
and the arms of Hugo von Hohenlandenberg, Bishop of Constance, printed in red and
black with yellow added by hand [127 × 81]. Reproduced in this volume.
(2) Sig. A 1 v. David and Bathsheba [132 × 82].
(3, 4) Sig. A 2. Border with the tree of Jesse. On the same page, initial B,
David with his harp.
×
(5) Sig. a 2 v. The Annunciation [132 x 82].
424
Early German and Flemish Woodcuts.-Part II.
(6, 7) Sig. a 3, repeated sig. A A 3.
Border, dated 1515, with columns and
children. On the same page, initial D, the Last Judgment.
The Calling of St. Peter [132 × 82].
(8) Sig. a a 1 v.
(9, 10) Sig. a a 2.
Border, dated 1516, with St. George and the Dragon, columns
same page, initial I, SS. James (?) and Andrew.
SS. Peter and Paul [132 × 82].
Initial E, St. Luke.
and children. On the
(11) Sig. A A 2 v.
(12) Sig. A A 3.
At the end is the
device of Ratdolt, printed in red and black.
6a (see p. 110).
Peloponnenser krieg
Augsburg, 16 June,
xxxi, p. 58, no. 23).
[THUCYDIDES.]
[THUCYDIDES.]
Thucidides
(translated by Hieronymus Boner).
•
von dem
H. Steiner,
1533; fol. (Muther 1091. Röttinger, Repertorium,
Presented by Mr. Campbell Dodgson, 1910.
The following woodcuts are by J. Breu I:-
(1, 2). Facing fol. 1 and fol. 169 v. The two pairs of armed warriors (Röttinger 17).
(3). Fol. 63 v. Siege of a town [93 × 155]. Repeated, fol. 134.
(4). Fol. 67. Two men conversing in an arched room, a group of men to the left
with double windows behind them [94 × 154]. Repeated, fol. 69, 95 v.
6b (see p. 110). [CICERO.]
Augsburg, 4 March, 1535; fol.
Der Teutsch Cicero.
H. Steiner,
Presented by the National Art-Collections Fund, 1907.
Fifty-eight cuts-fol. 40 (repeated 142 v.), 83, 83 v., 91 v., 92, 93 (repeated 119 v.),
109, 120–132 v., 134–147 v., 161—are attributed by Röttinger (Mitteilungen, 1909, p. 3)
to the elder Breu. Four of these (the best) belong to the book "Von dem Zutrincken,"
three (140, in the second state, without the star, 140 v., 147 v.) are from "Ruth's
(Lichtenberger's) Practica, c. 1525, one (139 v.) is from Schwarzenberg's "Besch-
werung," 1525; the rest belong properly to this book (the section entitled "Memorial
der Tugent") and one of them is dated 1533. They are feeble as compared with most
of Breu's earlier work, and carelessly cut, but Röttinger has made it clear that they
are not by the younger Breu.
B.-IN THE DEPARTMENT OF PRINTED BOOKS.
3a (see p. 111). [BARTHEMA.] Die Ritterlich vi lobwirdig raysz
des gestrengen
herren Ludowico vartomans võ Bolonia. J. Miller,
•
Augsburg, 16 June, 1515; 4to (Pr. 10829).
The same cuts as in the later edition described on p. 109, no. 3.
10a (see p. 112). [RUTH, pseud., i.e. IOHANN LICHTEN-
BERGER.] Dyse Practica vnnd | Prenostication, Ist getruckt worden
zu Mentz in M.CCCC.XCII. Jar. vñ werdt biss man zelt M.DLXVII:
jar. (H. Steiner, Augsburg, 1524-5. Repertorium, xxxi, p. 51, no. 8 8; a
later edition is dated 1526).
Forty-four woodcuts, one repeated [c. 123 x 133, except A 2 v. and A 6 v., c. 190 × 132].
Röttinger mentions many repetitions; it may be added that the cut on fol. G 2
appears in a second state, cut down 1., on the title-page of Jacob Pflaum's "Practica,"
1527 (s.1.).
10b. [BESCHWERUNG.] Beschwerung der alten Teüfe | lischen
Schlangen mit dem Götlichen wort (by Johann von Schwarzenberg) New
Corrigiert, vnd besser Registeriert. (H. Steiner, Augsburg), 1525; 4to.
Ten cuts, after H. S. Beham (see Vol. I, 441, nos. 4, 5, and 487, nos. 163, 164.
Repertorium, xxxi, p. 52, no. 9).
Appendix to Division B.-Section III.--Breu I and II. 425
10c. [VEGETIUS.] Flauij Vegetii Renati, vier bücher der Ritter-
schafft. H. Steiner, Augsburg, 1529; fol.
A 2 v. Landsknecht in large feather hat, in profile to 1., holding up his r. hand.
In 1. lower corner a tablet with cherub's head [226 x 141]. Repr., Breunner-
Enkevöerth, iii, 12. Attributed by W. Schmidt (Repertorium, xvii, 368) to Amberger,
by Röttinger ("Breu-Studien," p. 59, note 1), to the elder Breu.
10d. [MARGARITHA.] Der gantz Jüdisch glaub. H. Steiner,
Augsburg, 7 April, 1530; 4to (second edition, the first being dated
16 March, 1530; Muther 1073).
On title-page a group of Jews disputing [98 × 108]. Repertorium, xxxi, p. 54,
no. 12.
10e. [LOBERA DE AVILA.] Vanquete de Nobles Cavalleros.
H. Steiner, Augsburg, 31 August, 1530; 4to.
On the title-page, the imperial arms between the pillars of Hercules [111 × 105].
Repertorium, xxxi, p. 54, no. 13. Also, Q 1, a cut from Fortunatus, and R 4 v., one
from Wartoman's Reise. The first cut was also used in "Pronostication Doctor
Joseph Grunpecks, Vom Zway vnd dreyssigsten Jar an, biss auff das Viertzigst
Jar," etc.
12a (see p. 112). [ALCIATUS.] Viri Clarissimi D. Andreæ Alciati
Emblematum Liber. H. Steiner, Augsburg, 6 April, 1531; 4tº.
Ninety-eight illustrations in the text [c. 36 × 60, or 60 × 36], attributed to Breu
by Giehlow and Röttinger (Repertorium, xxxi, p. 55, no. 15).
12b. [HERODIAN.] Der Fürtrefflich Griechisch geschichtschreiber
Herodianus. H. Steiner, Augsburg, 19 August, 1531; fol. (Muther
1078.)
On title-page, two armed men (Antoninus and Gordianus) to r. [176 × 158].
Companion to the two turning to 1. (Ninus and Alexander) on the title-page of
Justin, 1531 (Repertorium, xxxi, p. 56, no. 17). These are copies, as Röttinger points
out, from woodcuts by Burgkmair in the Pappenheim Chronicle, 1530.
12c. [PIRSTINGER.] Theologia Germanica. A. Weissenhorn,
Augsburg, 1531 ; fol. (Repertorium, xxxi, p 57, no 19).
Title-border with SS. Peter, Paul, Rudbertus and Augustine, used again in
[PIRSTINGER.] Tewtsch Rational über das Ambt heiliger mess (A. Weissenhorn,
Augsburg) 1535; fol. The border described on p. 268 of this volume, no. 1, is a
second state of this, with the emblem of St. Rudbertus defaced.
Another book by Pirstinger, "Tewtsche Theologey," Hans Schobser, Munich, 31
August, 1528, has a title-border with God the Father, the Virgin and Child, SS.
Peter and Paul, and the four evangelists, dated 1528, which is somewhat in Breu's
manner, but cannot be attributed to him.
12d. [ONUS.] Onus Ecclesiae (by J. Ebser. A. Weissenhorn,
Augsburg), 1531; fol.
The cut on verso of title-page may be attributed to the elder Breu. For further
particulars, see p. 428, no. 3.
12e. [IOHANN, VON ECK.] (1) Prima Pars Operum Johan. Eckii
contra Ludderum. A. Weissenhorn, Augsburg, 1530; fol.
Title-border (Repertorium, xxxi, p. 62, no. 30) representing the Almighty holding
the imperial and royal crowns over medallions of Charles V and Ferdinand respec-
tively; on either side fifteen, below sixteen (not eighteen) coats-of-arms.
426
Early German and Flemish Woodcuts.-Part II.
(2) Secunda Pars, etc., 1531.
On title-page the arms of Cardinal Campeggio, printed in red and black, dated
1531 (Röttinger, ibid.). The cuts on fol. 1, 61 v., and 68 are also by Breu (Röttinger,
p. 61, last two lines).
Parts 3 and 4 are wanting.
(3) Quinta Pars, etc.
A. Weissenhorn, Augsburg,
title-page and colophon).
Tomus primus. . . . secundus de Tempore.
1533; fol. (these two volumes have but one
Title-border with the Trinity, the B.V.M., St. John the Baptist and the Apostles,
in a lunette, then Patriarchs, Prophets, Martyrs, Confessors, Virgins, Widows, Holy
Innocents, and the faithful laity kneeling before an altar. The same border was
used in "Tertia pars " of this same work, 1533, in "Der Drit Tail Christenlicher
Predigen," 1533, in "Quintae Partis. . Tomus Tertius," 1536,' and in "Homiliarii
Eckiani adversus Sectas . . . Tomus Tertius de Sanctis" (another edition of the
Quintae Partis. . . Tomus Tertius" with different title).
•
•
(4) Quintae Partis, etc. Tomus Tertius de Sanctis. A. Weissenhorn,
Augsburg, 1536; fol.
Border as in (3). Also on fol. 19 v., 42 v., 86, 101 v., 114, 118, 120, 147, 170, the
nine cuts by Breu described by Röttinger, p. 61 (last paragraph). These were also
used in the edition entitled "Homiliarii Eckiani. Tomus Tertius de Sanctis."
(5) Quintae Partis, etc. Tomus Quartus de Septem Sacramentis (A. Weissen-
horn, Augsburg) 1535, 1540 (two editions); fol. The same title-page as in "Der
viert tail Christenlicher Predigen," 1534.
12f. [IOHANN, VON ECK.] (1) Der Drit Tail Christenlicher
Predigen. A. Weissenhorn, Augsburg, 1533 (so on title-page; date at
end, but before the colophon, 1531; Röttinger describes an edition of
1531); fol.
Border as in "Quintac Partis Operum . . . Tomus Tertius." Also on fol. 22 v., 50,
99 v., 117 v., 131, 138, 169, 195 v., eight of the cuts described by Röttinger, p. 61
(last paragraph). The ninth, which belongs to Trinity Sunday, was replaced in this
edition (fol. 135 v.) by a copy after Beham.
(2) Der viert tail Christenlicher Predigen. A. Weissenhorn, Augsburg,
April, 1534; fol.
Border [247 × 159; opening, 132 × 84] not described by Röttinger, containing at
the top the arms of the Elector of Mentz, with lions as supporters, and fourteen
other coats-of-arms with black leaf-ornament between them.
14a (see p. 113). [VEGETIUS.] Flauij Vegetij Renati, Vier
bücher der Ritterschafft. H. Steiner, Augsburg, 1534; fol.
On back of title-page, the same cut as in no. 10c. Röttinger mentions an edition
of 1536.
•
16a (see p. 113). [CHRISTENDOM.] Von der erpärmlichen
auch der gantzen Christenheit, sonderlich aber Teütscher nation nach-
theyligen erlegung, des Christlichen vñ Niderösterreychischen kriegs-
uolcks, von dem Türcken . . . iñ dē. M.D.XXXVII. jar, jämerlich
beschehë am ix. Octobris (Augsburg, after 9 October, 1537); 4.
1
On title-page the fight of Oriental cavalry from Wartoman's Reise.
Röttinger only describes an earlier edition of this volume, 1534, with a different
title-border, not by Breu.
Appendix to Division B.-Section III.-Breu I and II.
427
BOOKS ILLUSTRATED BY JÖRG BREU II.
A. IN THE DEPARTMENT OF PRINTS AND DRAWINGS.
1. [JUSTIN.] Justini warhafftige Hystorien. H. Steiner, Augs-
burg, 1531; fol.
Presented by Mr. W. Mitchell, 1904.
Ten cuts (excluding repetitions) by the younger Breu, of which eight properly
belong to this book. See Röttinger, Mitteilungen, 1909, p. 1, nos. 1-9 and 31.
(1) fol. 9 = 117 v., view of a town; a man ploughing with oxen in the fore-
ground, R. 31; (2) fol. 19, the Straits of Messina, R. 2; (3) fol. 21, a sea-fight, R. 3;
(4) fol. 38, Alexander, R. 1; (5) fol. 52 v., the death of Olympias, R. 4; (6) fol.
66 v. = 80 v., a cavalry fight; (7) fol. 68 v., Dionysius on his throne, R. 6; (8) fol.
70 v., a fight on the seashore, R. 7; (9) fol. 98, death of the mother and wife of
Attalus, R. 8; (10) fol. 99 v., the wife of Mithridates poisoned.
2. [CHARLES V.] Itinerarium | Wegraysz Kun. May. pot-schafft,
gen Constantinopel, zu dem | Türckischen keiser Soleyman. Anno xxx.
[By Benedict Curipeschitz] (H. Steiner, Augsburg) 1531; 4.
Transferred from the Department of Printed Books, 1889.
A fragment, sig. A only, containing one woodcut, R. 18, on the title-page. The
complete book is in the library.
..
3. [THUCYDIDES.] Thucidides ... von dem Peloponnenser Krieg
(translated by H. Boner). H. Steiner, Augsburg, 16 June, 1533; fol.
(Muther 1091, Röttinger, Mitteilungen, 1909, p. 2).
Presented by Mr. Campbell Dodgson, 1910.
The following cuts are by J. Breu II:-
(1) Title-page, R. 34; (2) fol. 6 (repeated fol. 94 v., 136 v.), R. 35; (3) fol. 26,
R. 36; (4) fol. 30 v., R. 37; (5) föl. 32 (repeated fol. 47 v., 56, 85, 101 v.,
128 v., 142 v.), R. 38; (6) fol. 34 v., R. 39; (7) fol. 38 v., R. 7; (8) fol. 45 v., R. 28;
(9) fol. 53 v., R. 5; (10) fol. 58 v., R. 25; (11) fol. 60 (repeated fol. 61, 65, 79 v., 92 v.,
108), R. 40; (12) fol. 71 v., R. 41; (13) fol. 121 v., R. 26; (14) fol. 139, R. 3.
4. [CICERO.] Der Teutsch Cicero. H. Steiner, Augsburg, 4 March,
1535; fol.
Presented by the National Art-Collections Fund, 1907.
The cut on fol. 8 v. is by the younger Breu. Sec Röttinger, Mitteilungen, 1909,
p. 4, no. 42, where repetitions in later books are mentioned.
5. [SCHEURL.] Einrit Keyser Carlen in die alten Keyserlichen
haubtstatt | Rom, 'den 5 Aprilis. 1536 (Augsburg, after 22 April, 1536);
4to.
Duplicate transferred from the Department of Printed Books, 1910.
On the title-page, equestrian portrait of Charles V [116 × 96]. Röttinger, no.
57, repr. Jahrbuch, xxviii, 59.
6. [VERGILIUS.] Polydorus Vergilius Urbinas. Von den Erfindern
der ding. H. Steiner, Augsburg, July, 1544; fol.
Purchased from Messrs. Sotheran, 1858.
The historian, fol. 15, is used in several other books printed by Steiner, first in
the Thucydides, 1533. See Röttinger, Mitteilungen, 1909, p. 3, no. 34. Other cuts
by the younger Breu are fol. 58 v., R. 31; fol. 118, Ř. 42; fol. 129, R. 78; fol. 157, R. 79.
428
Early German and Flemish Woodcuts.-Part II.
..
7. [STEINMEYER.] Newe Künstliche, Wohlgerissene vnnd in Holtz
geschnittene Figuren. Frankfort, 1620; 4to.
Presented by the National Art-Collections Fund, 1906.
The following cuts are by the younger Breu:-
(1) Sig. H h 2 = R. 32; (2) H h 3 = R. 37; (3) Ii 2 v. =
Hh
R. 24; (4) Kk 2 = R 33
(5) Kk 3 = R. 22. The book is defective at the end. It should contain R. 20 and 21.
B.-IN THE DEPARTMENT OF PRINTED BOOKS.
1. [ARISTOTLE.] Das aller edlest vi bewertest Regiment der
gesundheit. H. Steiner, Augsburg, 28 December, 1530; 4.
On verso of title-page, Alexander the Great [163 x 103] repeated in Justin, 1531,
fol. 38. See Röttinger, Mitteilungen, 1909, p. 1, no. 1, and reproduction in "Breu-
Studien," p. 54, fig. 15.
2. [CHARLES V.] Itinerarium Wegraysz Kün. May. potschafft,
gen Constantinopel, zu dem Türckischen keiser Soleyman. Anno xxx.
[By Benedict Curipeschitz.] (H. Steiner, Augsburg), 1531; 4.
Nine woodcuts, Röttinger 10-18; no. 18 occurs twice.
3. [ONVS.] Onus Ecclesiae temporibus hisce deplorandis Apo-
calypseos suis æque conueniens, etc. (17 11. By J. Ebser. A. Weissenhorn,
Augsburg), 1531; fol. (Colophon: Opus compilatum est anno 1519, sed
in lucem editum typisque excusum anno domini 1531).
Title-border, undescribed [233 x 162; opening, 122 x 94], one piece in four com-
partments, divided by small openings for text; (a) at top, the Almighty, with bundle
of rods in r., sword in 1. hand, background of flames and smoke; (b) 1. two opposition
preachers, a true and a false prophet, from whom the congregation turns away
bewildered; (c) r. a Turkish raid, cavalry in background; an archer aims at a little
child, a woman tries to save her baby from a Turk armed with a sabre; (d) below,
two processions, clergy and laity of various ranks, meet in the foreground.
An undescribed but typical specimen of the younger Breu's early style as
recognised by Dr. Röttinger in Aristotle, Justin, Curipeschitz, Barletius and
Thucydides (R. nos. 1-41). The cut on the verso, the devil unchained smiting the
towers of a church with club and sabre [210 × 152], is probably by the elder Breu;
it is a free copy from the cut [192 × 158] on the title-page of the edition of Onus
Ecclesiæ printed by Quentel at Cologne, 1531.
4. [BARLETIUS.] Des . . . . Herrn Georgen Castrioten, genañt
Scanderbeg, . . . . Ritterliche thaten. H. Steiner Augsburg, 21 February,
1533; fol. (Muther 1090).
Fifteen illustrations by Breu (excluding repetitions), of various sizes, coloured.
For details see Röttinger, Mitteilungen, 1909, p. 2, nos. 19-33.
5. [BRUNI.] Zwey Schöne Auch lustige Historien vnd Geschicht
bücher, der Rhömer krieg, wider die Carthaginenser. H. Steiner,
Augsburg, 7 October, 1540; fol.
Several cuts, all repeated from earlier books. R. 2, 3, 5, 7, 25, 27, 28, 30, 34-36,
38, 40, 41.
6. [TRAUT.] Türkischer Kayser Ankunfft, Krieg vnd Sig, wider
die Christen, etc. H. Steiner, Augsburg, 1543; fol. (Muther 1123).
Illustrations repeated from earlier books. See Röttinger, Mitteilungen, nos. 11.
18, 19, 24-28, 30, 32. The cut on fol. 6 is not mentioned by R.
Appendix to Division B.-Section III.-Breu I and II. 429
7. [BOCCACCIO.] De casibus virorum illustrium libri novem.
Ulhard, Augsburg, May, 1544; fol.
P.
On back of title-page, the arms of Leonhard Beck von Beckenstein, son of the
artist (see p. 122), R. 75.
[196 × 140.] On verso of last leaf, the device of Philipp Ulhard, R. 58.
8. [BOCCACCIO.] Fürnemste Historien vnd exempel von wider-
wertigem Glück. H. Steiner, Augsburg, 1545; fol. (Muther 1127).
In addition to repetitions from earlier books (Justin, R. 3, 6-8; Barletius,
R. 25, 30; Thucydides, R. 36, 37, 39) and the arms of Beck, R. 75, Röttinger describes
five cuts, Mitteilungen, p. 10, nos. 81-85, which he could not trace further back than
the present book, though they are evidently earlier.
9. [MOECKARD.] Ain Christliche ainfältige.... ermanung. . . .
was die kinder jren Eltern zuthun schuldig seind. V. Othmar, Augsburg,
1550; 4to.
On the title-page, the Sermon on the Mount [85 × 72], late impression, R. 80.
10. [BECKER.] Holzschnitte alter deutscher Meister. Gotha, 1808–
1816; fol.
In Lief. 2, E 11, is the copy, signed R, of Breu's large woodcut of the Resurrection
of Christ, R. 72.
ADDITIONAL NOTES ON BOOKS AND WOODCUTS
ALREADY DESCRIBED.
P. 10, no. 5. [JUSTIN.]
Röttinger attributes all the cuts named except 61 v., which he doubts, to the
younger Breu. He assigns to the same artist the cuts on fol. 52 v., 98, 99 v., which I
could never have attributed to the elder Breu. I see no reason to separate 61 v.
from the rest of the set. The cut on fol. 28 is from an earlier book, Aristotle,
Regiment der Gesundheit," 28 December, 1530. That on fol. 9 (repeated fol. 117 v.)
is also by the younger Breu, but properly belongs to the Scanderbeg series.
As the work of the elder Breu there remain the cut on the title-page, Repertorium,
xxxi, p. 56, no. 17a, also used in "Plutarchus Teutsch," 1534, and that on fol. 74,
ibid. p. 57, no. 18 (cf. remarks on p. 58, no. 23).
P. 110, no. 7. [PAULI.]
The cut on fol. 18 v., also from "Der Teutsch Cicero," should have been
mentioned.
P. 110, no. 9. [VERGILIUS.]
""
Fol. 5 v. (= 111) Beschwerung, 1525, fol. 83. The cut on fol. 15 is by the
younger Breu and was first used in Thucydides, 1533 (Röttinger, Mitteilungen, p. 3,
no. 34 (repetitions are quoted there). Fol. 27 and 75 v. belong to "Der Teutsch
Cicero.' The potter, fol. 56 v., is described in Repertorium, xxxi, 54, 11. The cuts
on fol. 58 v. and 118 are by the younger Breu. Fol. 100 v., 135
135 = Lichtenberger,
1525, sig. B 1, F 2 v. Fol. 115, 120, 132 v. =
Fol. 115, 120, 132 v. = Beschwerung, 1525, B 2 v., 65 v., 62.
On fol. 146 v. see Repertorium, xxxi, p. 57, no. 21. Fol. 148 v. is evidently by the
elder Breu. On fol. 156 v. see Repertorium, xxxi, p. 61, P. 8. Fol. 67 v., by the elder
Breu, is from Barletius, 1533, fol. 60.
P. 111, no. 3. [FORTUNATUS.]
Copies of the complete set of cuts, in the same direction, occur in Steiner's edition
of 21 June, 1530, "Von Fortunato vnd seinem Seckel auch Wunschelhütlin. Gantz
430
Early German and Flemish Woodcuts.-Part II.
kurtzweylig zelesen " (4to). Röttinger only describes the editions of 2 Jan., 1533, and
1548. The cuts of 1548 are described as copies of those of 1533; the latter, however,
are themselves only copies if they are identical, as is likely, with the cuts of 1530.
P. 112, no. 5. [LUTHER.]
The border is described by Röttinger, Repertorium, xxxi, p. 50, no. 5, from a later
book.
P. 112, no. 10. [ZWINGLI.]
See also Repertorium, xxxi, p. 50, no. 6.
P. 112, no. 11. [ARISTOTLE.]
The cut on the title-page is a second state of one used on sig. F 3 v. of Lichten-
berger's "Practica (1525). See Repertorium, xxxi, 52. The cut on the verso is by
the younger Breu; see Mitteilungen, 1909, p. 1, no. 1.
P. 113, no. 14. [BARLETIUS.]
According to Röttinger, Repertorium, xxxi, 57, 22, only five cuts are by the elder
Breu. One (fol. 46) is from Wartoman, one (fol. 7) from Justin, 1531, while three
(fol. 60, 70 v., S2) are new in this book and belong to the decadence of the master.
On the cuts by the younger Breu, sec Mitteilungen, 1909, p. 2. nos. 19-33.
P. 113, no. 15. [CICERO.]
See p. 424, no. 6b.
P. 113, no. 16. [WYLE.]
Röttinger (Repertorium, xxxi, p. 60, no. 28) attributes to Breu the four cuts
mentioned here and also a fifth, that on fol. 39 v. I find this last attribution difficult
to accept. The cut in question is reproduced in Baer's Frankfurter Bücherfreund,
1910, Heft 4, p. 110, from an earlier book (H. Steiner, Augsburg, c. 1522), entitled
"Ayn freuntlich gesprech, zwyschen ainem | Barfuesser Münch, auss der Prouyntz
Oster-[reych der Obseruantz, vnd aine Loeffel [macher, mit namen Hans Stoesser]
gar lustig zu leesen, vnnd ist | der recht grundt" (W. 1776). The title shows that
the cut was originally intended for this book.
P. 113, no. 17. [MELUSINA.]
Erratum: The dimensions of the first cut are 103 x 110 mm.
Sce Repertorium, xxxi, p. 60, no. 27.
P. 113, no. 19. [BOCCACCIO.]
For an analysis of the illustrations see Repertorium, xxxi, p. 59, no. 26. Röttinger
also attributes 75 cuts to the elder Breu, and quotes an edition of 3 February,
1543, in which they were repeated.
P. 113, no. 20.
[TRAUT.]
Erratum: For 15 read 14.
P. 113, no. 21. [BOCCACCIO.]
The cut on fol. 185 is from [MARGARITHA "Der Gantz Jüdisch Glaub," 1530
(Repertorium, xxxi, p. 54, no. 12).
P. 115, nos. 3-5. LANDSKNECHTS.
These are attributed by Röttinger, Mitteilungen, 1909, p. 4, nos. 47, 50, 52, to the
younger Breu. To the elder Breu, on the other hand, he attributes the group here
(p. 187) given to Amberger. See Vienna Jahrbuch, xxviii, 57–59, for his justification
of this change. The "Amberger ” group is certainly by the same hand as the wood-
cut ascribed here to the elder Breu, p. 117, no. 11, and not by the same hand as
Amberger's woodcuts in Pappenheim's chronicle of the Truchsess von Waldburg
family (photographed by Karl Teufel, Munich, nos. 4349, 4352, 4353).
Appendix to Division B.-Section III.-Breu 1 and II. 431
P. 116, no. 6 (note). On the painting at Wilton House, see Nevile R. Wilkinson,
"Wilton House Pictures," 1907, pp. 219-220, no. 188. The attribution of the picture
to Breu himself is somewhat hazardous.
P. 116, no. 7. THE JUDGMENT OF PARIS.
Attributed by Röttinger, rightly as I believe, to the younger Breu. The
italianizing elegance of the figures and the pose of the horse's head are especially
characteristic of the younger artist and alien to the late style of his father as it has
now been more clearly defined. Other impressions of the woodcut exist at Gotha
and Vienna (Albertina).
See Röttinger, Mitteilungen, 1909, p. 5, no. 56 (repr. p. 4), and Jahrbuch, xxviii,
61. He dates this woodcut immediately after the Lazarus. It had been attributed
by W. Schmidt (Meyer's K.-L., ii, 98, 11, after Ottley's "Notices of Engravers," 1831),
to Cornelis Anthoniszoon.
P. 116, no. 8. THE RICH MAN AND LAZARUS. 1535. Pauli (Beham) 1412.
Also attributed by Röttinger to the son, and here again I agree. In the light of
the larger material now collected it is evident that the resemblances to the earlier
work of J. Breu I do not prove his authorship of the later work. The guest seen in
profile with his back turned to the musicians is especially in the manner of the son.
See Röttinger, Mitteilungen, 1909, p. 4, no. 55, and Jahrbuch, xxviii, 61.
P. 116, no. 9. A GARDEN FÊTE AT VENICE.
Also by the younger Breu, and later, about 1540. See Röttinger, Mitteilungen,
1909, p. 6, no. 61, and Jahrbuch, xxviii, 61, 62, with reproduction (fol. xii) of a coloured
impression at Gotha with title, "Contrafectur aines Panckets vnd Tantz, so
gemainklich in Welschen landen gehalten werden," verses printed at the foot, and
the address, "Getruckt in der kaiserlichen statt Augspurg, durch Hanns Hofer, in
dem klainen Sachssen Gesslin." Hofer did not set up on his own account till 1539,
and the costume belongs to a date somewhat after the death of the elder Breu.
Details from this woodcut were copied by Cornelis Anthoniszoon in 1541. As to the
artist's alleged journey to Venice, Röttinger has shown (Jahrbuch, 42, note 1) how
improbable it is that Breu visited Italy later than about 1512-15; in 1534 he had
handed over the control of his workshop to his son, and his chronicle shows that he
was too much absorbed in local and religious affairs to take much interest in art,
still less in foreign travel, at the end of his life. The younger Breu was probably in
Italy towards 1530.
P. 117, no. 10. CHARLES V, KING FERDINAND AND THEIR CONSORTS
IN SLEDGES.
Dr. Röttinger (Jahrbuch, xxviii, pp. 59, 60, reproduction on pp. 56, 57) gives very
good reasons for thinking that this woodcut is due to the collaboration, in a certain
sense, of father and son, but was carried out in its final form by the latter. The
incident depicted undoubtedly belongs to 1530, the year of the Diet of Augsburg, and
the riders on the two sledges must have been sketched at that time by Breu the Elder.
The lady accompanying Charles V, according to Dr. Röttinger, is his sister Mary,
Queen of Bohemia and Hungary. The costumes of the runners who precede and
follow the sledges belong, however, to the period of 1540, and Dr. Röttinger has
pointed out definite resemblances to the woodcut of Susanna which bears that date.
He mentions other impressions of the woodcut at Basle, Berlin, Coburg, Munich, and
Vienna (Hofbibliothek).
P. 117, nos. 11-18. PORTIONS OF A MOUNTED PROCESSION.
Four of these, nos. 11, 12, 13, 16, have been described by Dr. Röttinger
(Repertorium, xxxi, 48, 1, a-d; Jahrbuch, xxviii, 55), who also attributes them to the
elder Breu, from impressions at Stuttgart. The Cardinal on no. 16 is the papal
legate Campeggio.
P. 118, no. 20. "VISION OF THE SIBYL."
This is by the younger Breu and represents the dream of Scanderbeg's mother
(Röttinger, Mitteilungen, 1909, p. 2, no. 21; repetitions are quoted by R.).
432
Early German and Flemish Woodcuts.-Part II.
P. 119, nos. 23-40. ILLUSTRATIONS FROM "MEMORIAL DER TUGENT.”
These are accepted by Röttinger as works of the elder Breu.
P. 120. The woodcut of the Rich Man and Lazarus (Wolfegg) mentioned here is
Röttinger's no. 66 (Mitteilungen) described by him from impressions at Gotha
and Vienna (Albertina), and reproduced in his "Breu-Studien,” p. 63.
ADDITIONAL WOODCUTS BY JÖRG BREU I.
41. ST. PETER.
He sits, in three-quarter face to r., wearing a cope and papal tiara,
holding an open book in his 1., two large keys in his r. hand. Near his
feet are the arms of the bishopric of Ratisbon and of the administrator of
the diocese, John, Count Palatine.
[125 x 44.] Fair impression, text on the back, from the Ratisbon Breviary
printed (by E.) for G. Ratdolt, Augsburg, 20 November, 1515; 8° (Pr. 10653).
From the Holtrop collection. Purchased from Messrs. Obach and Co., 1909.
See Jahrbuch d. k. preuss. Kunstsammlungen, 1900, xxi, 199, with reproduction.
42. SS. PETER AND PAUL.
St. Peter stands 1. with book in l., two large keys in r. hand. St.
Paul stands r. with book in r., sword in 1. hand. Behind them is a wall
pierced by an archway through which other buildings are seen. Double
border-line.
Incipit pars
[132 × 82.] Fair impression, text on the back, commencing "
Estiualis de Sanctis," from the Constance Breviary printed by E. Ratdolt,
Augsburg, 1516: 8°. (see p. 423, no. 1a).
From the Holtrop collection. Presented by Messrs. Obach and Co., 1909.
See Jahrbuch, 1900, xxi, 200, no. 5, and other literature quoted on p. 114 of this
volume. The Breviary in this Department (p. 423, no. 1a) contains the "Pars
hiemalis de sanctis," which is introduced by the Calling of St. Peter; the present
woodcut is evidently derived from the other volume of the same Breviary.
WOODCUTS BY JÖRG BREU II.
i. LANDSKNECHTS. Nos. 1-3.¹
See pp. 106, 115, 480 and, for the attribution to the younger Breu, Röttinger in
Mitteilungen, 1909, p. 14, and "Breu-Studien," Jahrbuch, 1909, pp. 57–59.
1. A LANDSKNECHT DRAWN FROM THE BACK, HIS FACE IN PROFILE
TO R., HIS L. HAND RAISED, R. HAND HOLDING A SWORD.
D. de N. 28; Hirth 453; R. 47.
[Sheet, 270 × 157.] Good impression; no watermark.
Purchased from Messrs. Smith, 1845.
Attributed to Breu the Elder by Schmidt, Stiassny and Dörnhöffer, to Breu the
Younger by Schmid and Röttinger.
1 ¹ P. 115, nos. 3–5,
Appendix to Division B.-Section III.-Breu I and II. 433
2. A LANDSKNECHT THREE-QUARTER FACE TO L., HOLDING AN
UPRIGHT POLE IN R. HAND, A PONIARD IN L. HAND.
D. de N. 43; R. 50.
[Sheet, 275 × 163.] As no. 1. This and no. 3 are attributed to Breu the Elder
by Schmidt and Dörnhöffer.
3. A LANDSKNECHT IN PROFILE TO L., BRANDISHING A POLE IN
RAISED R. HAND, A PONIARD IN L. HAND. D. de N. 47; R. 52.
[Sheet, 270 x 133.] As no. 11.
ii. ILLUSTRATIONS FROM Books. Nos. 4–6.
4. THE DREAM OF SCANDERBEG'S MOTHER.¹
[175 × 156.] Late impression, from Steinmeyer, 1620, Y 2.
Purchased from Miss Bury, 1877.
5. ST. PETER."
Probably by the younger Breu.
6. UNDESCRIBED ILLUSTRATION.
R. 21.
In the
A man in a flat wide-brimmed hat and mantle with fur collar sits 1.
under a canopy, in profile to r., holding a wand in his 1. hand.
background r. a window with diamond panes.
[116 × 64, cut on r. side.] From a book with German text. Style of R. 85.
Presented by Mr. Max Rosenheim, 1905.
iii. LARGE WOODCUTS.
7. THE RICH MAN AND LAZARUS. 1535.
Nos. 7-15.
R. 55.
Dives, on a balcony, is drinking the health of two guests to the sound
of trumpets. To r. a servant armed with a whip drives Lazarus down the
steps. The latter is seen again on a dung-hill before the stable with dogs
licking his wounds. In the background Lazarus appears in Abraham's
bosom, and the Rich Man in Hell. In the foreground huntsmen and
retainers bring in game and fish; a stag is being broken up and the
cellarer fetches wine. The parapet of the balcony is adorned with a frieze
containing Medusa's head and other classical motives; on the wall is a
tablet with the date 1535.
[385 × 555.] From two blocks. Good impression, formerly coloured, but washed.
Purchased from Messrs. Colnaghi and Co., 1862.
A portion is reproduced in the Berlin Jahrbuch, xxi, 213, the whole in Mitteilungen,
1909, p. 3. No other impression has been described. Two copies exist, undated and
with date 1508, both in the Albertina, the former also at Gotha, Wolfegg, and in the
British Museum (formerly in the Lanna collection, Singer 1409, Sale catalogue no.
808, Pauli, Beham-apocryphal-no. 1412). The undated copy is in reverse.
Röttinger has given examples of the influence of this woodcut on later artists. For
a discussion of this and the next subject, see his " Breu-Studien," Jahrbuch,
xxviii, 61.
¹ P. 118, no. 20, incorrectly described.
2 P. 119, no. 22.
2 F
434
Early German and Flemish Woodcuts. -Part II.
7a. THE RICH MAN AND LAZARUS.
Copy.
Pauli 1412.
A fairly accurate copy in reverse, with a few variations. The horse
which is being led out of a stable 1. has both its forelegs raised from the
ground. The tall pole held by a huntsman r., the same man's shoes, the
spears in the hands of the statues, and the straps across the shoulders of
several of the huntsmen, are all black instead of white, as in the original.
The tablet on the wall is empty.
[352 × 498.] From two blocks. Good early impression, well preserved, not
coloured. Watermark, Gothic p surmounted by a small shield containing a
"Reichsapfel," Briquet, 8823. Margin [2-25]. At the top is printed the inscription:
Das Euangelium von dem Reichen Mañ vnd Lazaro, Luce am xvi. | Der Reich in
grosser not sehr klagt, ein tropff wasser ward im versagt.
Collections: Santarelli, Lanna (see above).
Presented by the National Art-Collections Fund, 1910.
8. THE JUDGMENT OF PARIS.
To r. Mercury, a bearded
fountain under a large tree.
Cupid aims a shaft at Paris.
R. 56.
warrior, wakes Paris from his sleep near a
The three goddesses stand 1.; in the clouds
A horse stands r. in the shade of the tree, and
a stag is seen in a field beyond the grove. Buildings in the distance.
[380 × 550.] From two blocks. Good impression.
Purchased from Messrs. Heussner and Lauser, 1873.
Other impressions are at Bremen, Gotha and Vienna (Albertina). Repr. Mittei-
lungen, 1909, p. 4. Röttinger mentions adaptations from this woodcut by E. Schön
and V. Solis.
9. A BANQUET AT VENICE.
R. 61.
The scene is the garden of a patrician villa; the Piazzetta is seen in
the distance across the lagoon. Four gentlemen and two ladies sit at a
table 1. under a canopy embroidered with the lion of St. Mark. A third
lady advances from the house. In the foreground 1. a girl holds a wreath
over a young man's head and picks his pockets with her other hand; near
this couple are a jester and a servant pouring wine. In the centre three
couples are dancing; a senator converses r. with another nobleman.
Musicians sit on a raised terrace under a tree. In the distance the Doge
approaches, escorted by four senators; near the ducal gondola a servant
kneels as he passes.
[380 × 820.] From three blocks. Good impression.
Purchased from Mr. Dunthorne, 1885.
The central portion is reproduced in Hirth's "Bilderbuch " (ii, 991), the whole in
the Vienna Jahrbuch, xxviii, 60, pl. 12, from a complete impression, coloured, at
Gotha, published with the title, " Contrafectur aines Panckets vnd Tantz, so gemain-
klich in Welschen landen gehalten werden," and the address of Hans Hofer, Augsburg,
at the foot. Sec Jahrbuch, xxviii, 62.
10. CHARLES V AND HIS SISTER MARY, WITH KING FERDINAND
AND HIS CONSORT, ANNE, IN SLEDGES.
R. 64.
Two sledges, each drawn by a single horse richly caparisoned and
adorned with ostrich plumes, run side by side, preceded and followed by
running footmen. The Emperor's sister, Mary, widow of Louis II, King
of Hungary and Bohemia, sits in the farther sledge, which is a little in
advance of the nearer one, occupied by Anne, Queen of Hungary and
Appendix to Division B.-Section III.-Breu I and II. 435
Bohemia. The Emperor and King stand behind the respective Queens,
holding the reins. The pole of the nearer sledge bears the initials F and
A alternately, whereas on the side those letters are combined in a
monogram. The tall front of the Emperor's sledge bears the pillars of
Hercules and the motto PLVS VLTRE; his initial K is on the pole.
[248 × 752.] From two blocks. A rather late impression.
Provenance not recorded.
This woodcut was ascribed by Dr. W. Schmidt, in 1896 (Repertorium, xix, 286), to
the elder Breu, who may have sketched the imperial and royal couples at the Diet of
Augsburg in 1530. Dr. Röttinger regards it as a case of collaboration, in a certain
sense, between the father and son, believing that the younger Breu, who finally drew
the subject on the blocks about 1540, made use of sketches taken ten years before by
his father. The son, in his opinion, added the four runners, whose costume belongs
to the period about 1540. He discusses the subject in detail in the Vienna Jahrbuch,
xxviii, 59, 60. For the occasion of the publication he suggests the Emperor's visit to
Germany in 1541 after an absence of nine years. He mentions other impressions at
Basle, Berlin, Coburg, Munich and Vienna (Hofbibliothek).
11. DAVID AND BATHSHEBA.
P. iii, p. 296; R. 67.
Bathsheba sits r. bathing her feet in a fountain at the foot of a
column surmounted by Neptune bestriding a sea-horse. Her maid points
to David, who is seen 1. on a balcony. His messenger hands a letter to
Bathsheba over the railing which divides her garden from the paved court
of the palace. Inside the court a man stands back near a tall palm with
both hands on his belt; an armed man enters at the gate, beyond which a
camp is seen. Steps flanked by two obelisks lead to a higher level, where
two men stand under the arches which support David's balcony; a third
enters the palace.
•
[664 × 944; sheet, 894 × 997.] Printed from eight blocks. Good impression
with contemporary colouring. There is no title, but German verses in eight columns,
Das aylfft Capitel Samuel Sagt wie die kinder Israhel. Vnd kommen in dein
Ewig reich | Dich lobē sampt den Englen gleich.", are printed at the foot of the
woodcut, followed by the address: "Gedruckt zw Augspurg, durch Samson | De
Necker, Formschneyder."
Purchased from Mr. Cohn, 1880.
This woodcut was first recognised as the work of Breu by Röttinger; it is
reproduced in his "Breu-Studien," p. 64, from the Berlin impression, which is later
than this. He compares it especially with the large woodcut (repr. p. 63) of Dives
and Lazarus; in addition to the points which he mentions the crescent on the top
of a tower may be noticed. Samson de Necker is otherwise unknown; he was
presumably a son of Jost de Negker and brother of David.
11a. DAVID AND BATHSHEBA.
R. 67.
[640 × 940.] A much later impression, not coloured, with margin [15-25].
Purchased at the Firmin-Didot sale, 1877 (no. 2090).
12. THE ENTOMBMENT, AFTER MANTEGNA (B. 3).
R. 69.
1
The engraving of Mantegna is copied in the same direction, with very
few deviations from the original. The last word of the inscription on the
tomb is differently divided, REDEMP-ITORI instead of REDEMPTORI.
[625 × 965.] Printed from eight blocks. Good impression.
Purchased from Messrs. Colnaghi and Co., 1904.
I have seen other impressions at Wolfegg and in the collection of the Rev.
¹ Possibly after the reversed copy by Zoan Andrea, for a woodcut copy, if taken
directly from the original, is likely to be in reverse.
2 F 2
436
Early German and Flemish Woodcuts.-Part II.
Stopford Brooke. All three are without the letter R, which occurs in the r. lower
corner of the woodcut copy described by Zani," Encicl. Met.," pt. 2, ix, 17, Passavant,
v. 76, 3, copy D., and Nagler, Mon., iv, p. 1007, no. 3510, 1. The woodcut so signed is
probably a later copy from the present one. In the case of the Resurrection by Breu,
R. 72, two versions exist, with and without the signature R. (see p. 437, no. 14). On
the present woodcut see also A. M. Hind, "Catalogue of Early Italian Engravings,"
1910, p. 342, and Röttinger, "Breu-Studien,” p. 66.
13. THE DEATH OF THE RIGHTEOUS AND UNRIGHTEOUS.
R. 71.
In the lower part of the sheet are two death-beds, or rather one long
bed, at the 1. end of which lies the righteous, at the r. end the unrighteous
man. The former, clasping his hands in prayer, is attended by Faith,
Hope and Charity (GLAUB, HOFNVNG, LIEBE), and an angel leaning
over the end of the bed holds out a wreath of bay entitled ⱭANCKSAGVG.
Another angel stands in the background on a sloping field, which contains
sheep 1. and goats r., as emblems of the saved and lost respectively. To r.
the dying sinner wears an agonized expression. Death (dodt) standing
behind the bed holds up an hour glass and a flag seen over the end of the
bed, displaying a skull, jawbone and cross-bones. A devil rising out of
the flames of Hell in the r. lower corner seizes the 1. arm of the dying
Near the devil are two inscriptions: (1) Sind. nüchter. vnd .
wacker | Dan. Ewer. wider. sächer. | Der. teüfel. gadt. vmbher. | wie.
Ein. brülender Löw | Sücht. welchen . er. v'schlind. 1. pet. 5., (2)
Des. ist. das. ort. von . | den . die | godt. nit. | Erkendt . Job. xviii.
Behind the bed, with hands outstretched to 1., is the World, DIE . WELT,
a comely woman whose head is enclosed within a transparent crystal orb
surmounted by a cross, familiar as an emblem of the world in the hands of
a monarch, but seldom seen as a symbol of "the world" in the peculiar
scriptural sense intended here.
man.
•
In the upper part of the sheet Christ as Judge, with lily and sword, is
seated on a rainbow, his feet resting on the terrestrial globe. To 1. and r.,
in six medallions, are the acts of mercy: Clothing the Naked, Visiting the
Sick, Comforting the Prisoners, Giving Shelter to the Wayfarer, Giving
Drink to the Thirsty, Feeding the Hungry; in each of these groups
Christ, generally distinguished by a nimbus, is recognisable among those
who are receiving ministrations. To 1. and r. are angels with trumpets
proclaiming the day of judgment.
All the inscriptions quoted are cut on the block; those relating to
Hell and the Devil and the word "dodt" are in Gothic characters, the
rest in Roman capitals.
[970 × 650.] Printed from eight blocks. Good, early impression, but a large
piece wanting at the r. lower corner.
Purchased from Mr. Gutekunst, 1867.
Röttinger mentions other impressions of this woodcut (reproduced, Mitteilungen,
p. 7) at Gotha and Vienna (Albertina). It was attributed by Passavant (iii, 380, 30)
to Holbein, but the attribution was rejected by Woltmann. It then remained
anonymous till Röttinger discovered a more appropriate place for it in the work of
the younger Breu, of whom it may be called the finest and most typical example.
He dates it, perhaps, too late, relying ("Breu-Studien," pp. 66, 68) on the technical
excellence of this woodcut, St. Christopher and the Resurrection, as proof that Breu
had at length surmounted difficulties which had hampered him in earlier experiments
with woodcuts on this large scale, such as Susanna, Bathsheba, Lazarus and
Abraham's Sacrifice. The groups in the six medallions come very close, however, to
earlier illustrations, while both costumes and style speak in favour of a somewhat
earlier date, perhaps before 1540. The use of such medallions may possibly have
Appendix to Division B.-Section III.-Breu I and II. 437
been suggested by the Sorrows of the Virgin on Burgkmair's large woodcut of 1524
(p. 104, no. 183), though their arrangement in the composition is here more sym-
metrical and decorative.
A woodcut of the same subject by Cornelis Anthoniszoon, or Teunissen [424 × 379],
is also in the British Museum. There can be no doubt that it is a free copy from
Breu; the divergences from the original are almost invariably changes for the worse.
In the lower half these divergences are slight. Faith has a Flemish headdress and
holds a book in her r. hand. Hope stands towards the dying man and turns her
head only to the right. Death stands more upright and his whole arm carrying the
banner is seen. The sheep and goats are quite differently grouped. In the upper
half the changes are more marked and less successful. The lily and sword are held
by angels, outside the six medallions. The subjects in these are differently composed,
and the order described above is reversed. The angels with trumpets are omitted.
Other angels are introduced, welcoming the blessed-who emerge from a windmill-
on the 1., and repulsing the lost on the r. side. All the inscriptions are retained,
translated into Dutch. That referring to the Devil is missing in this impression,
which is a late one, taken after the blocks-two, of unequal size-had become
worm-eaten.
Röttinger mentions several other cases in which Anthoniszoon copied Breu, and
one, the Siege of Algiers, in which he believes that Breu was himself the copyist.2
14. THE RESURRECTION OF CHRIST.
R. 72.
The Roman soldiers, four to 1., four to r. and one behind the tomb,
start up in amazement as they behold Christ rising in clouds above the
stone which had covered the tomb and is now laid sideways athwart it.
An angel sits on the corner of the tomb with both hands extended. The
three Maries are seen in the background 1. approaching the sepulchre ;
behind them the sun rises over Jerusalem. Not signed.
[986 × 672.] Printed from eight blocks. Good, early impression.
Presented by Mr. Albert Way, 1839.
Of this woodcut there is a copy (Nagl., Mon., iv, p. 1007, no. 3510, 3), printed
from a different set of blocks, and signed R near the corner of the stone 1. upon which
one of the soldiers is sitting. It is reproduced by Röttinger, "Breu-Studien," p. 67,
and discussed p. 68. Late impressions of this copy are to be found in Becker's
"Holzschnitte alter deutscher Meister," Lief. 2, 1810, E 11. The unsigned version
is superior; the difference is most marked in such white spaces as interrupt the
rays of Christ's nimbus and of the sun, or the shading on the vault of the arch 1.; the
outlines of these white spaces are much more regular and mechanical on the signed
cut. The shoe of the first of the three women is white in the unsigned, black in the
signed cut. In the original long rays issue to 1. and r. from the face of the angel,
crossing his wings and 1. hand, and adding to the supernatural effect; these are
entirely omitted in the copy.
15. THE STORY OF JUDITH AND HOLOFERNES.
B. ix, 565, 1; Nagler, Mon., iii, p. 686, no. 1637.
To r. Judith and her maid are seen issuing from the gate of Bethulia.
A little further on they are seen again, each escorted by two soldiers. To
1. of a tall tree which divides the composition into two halves is the
camp of Holofernes. Judith is seen at table with Holofernes in front of an
open tent 1. To r. she appears again in front of another tent in the act of
placing the decapitated head in the bag held for it by her maid. In the
foreground r. is a battle of cavalry, in the distance 1. a battle of infantry.
Over the door of Holofernes' tent is a shield containing the monogram M.
¹ Signed near the feet of Charity. Not described by Schmidt or Moes. See
Röttinger," Breu-Studien," p. 86, note 4, where a fragment in the Amsterdam
print-room is mentioned. No other complete impression is known.
2 "Breu-Studien," p. 87. Details on certain other woodcuts are mentioned as
being borrowed from the Dutch artist.
438
Early German and Flemish Woodcuts.-Part II.
[675 × 973.] Printed from eight blocks. Good impression.
Purchased at the Firmin-Didot sale, 1877 (no. 2019).
This has not hitherto been attributed to Breu, but I find no difficulty in
recognising his hand. The trees, architecture, clouds, black ornament on the tents,
are all in his manner. Still more characteristic are the figures and horses on a small
scale in the background 1., which remind us of his earlier illustrations in Steiner's
books, 1530-35. The monogram is presumably that of the woodcutter; see p. 207 and
Nagler, Mon., ii., no. 1798, for a woodcut bearing a similar monogram produced at
Augsburg about 1542-44.
16. THE CONVERSION OF SAUL, AFTER AN ITALIAN WOODCUT (P. vi,
231, 43).
Saul, an elderly, bearded man, dressed as a Roman soldier, with a
short cloak, lies in the foreground. He is of enormous stature as
compared with the men near him. These, chiefly on horseback, turn in all
directions, seeking to hide their faces with shields or cloaks from the glare
which proceeds from a disc in the sky, containing the name of God in
Hebrew, Greek and Latin. Beneath this luminous disc an angel flies
down, bearing a cross.¹ Other angels are grouped round about in the
midst of clouds. The main body of the mounted force is entering a rocky
defile 1.
[720 × 1040.] Printed from eight blocks. Good impression.
Purchased from Mr. Gutekunst, 1856.
This was formerly placed among Italian woodcuts. The attribution to Breu is
due to Dr. G. F. Hartlaub, who favoured me with a photograph of a portion of the true
Italian original, which exists in two states at Bremen, for comparison. Both the
landscape and the human types support the hypothesis, which the format and style
of cutting would in themselves suggest, that this is one of the late works of the
Augsburg artist.
SECTION III (continued).-HANS TIROL.2
For the most recent literature on Hans Tirol see Röttinger's
"Breu-Studien," p. 56, note 1, and p. 71.
SECTION IV.-LEONHARD BECK.
Additional authorities :
F. Dörnhöffer, Article on Beck in Thieme and Becker's "Allg. Lexikon der bildenden
Künstler," iii, 140.
C. Dodgson, "Zum Weisskunig," Jahrb. d. kunsthist. Samml. d. Allerh. Kaiser-
hauses, 1910, xxix, i.
¹ This symbol replaces a figure of Christ himself in the original Venetian wood-
cut; the change was perhaps a concession to Protestant susceptibilities.
2 See p. 121.
Appendix to Division B.-Section IV-Beck.
439
ADDITIONAL NOTES ON WOODCUTS ALREADY
DESCRIBED.
P. 125, No. 7. DER WEISSKUNIG.
Dr. Dörnhöffer has made some corrections in the list of woodcuts designed by
Beck, as originally established by Schultz. Most of these emendations have been
anticipated here, but no. 144 should be deleted from the list of woodcuts by Beck,
being signed (indistinctly) by Burgkmair. In no. 59 the entire figure of the Young
White King has been re-drawn by Burgkmair and inserted in the block.
P. 126, no. 2a. A copy of the Freising Directorium was presented to the Depart-
ment of Prints and Drawings by the National Art-Collections Fund in 1908.
The woodcut has been independently attributed to Beck by Dörnhöffer and is
mentioned in his article quoted above.
ADDITIONAL WOODCUT BY BECK.
146. THE BLUE KING DEFEATING THE ERMINE KING.
A, no. 181; B, p. 244.
[217 × 195.] Good early proof of one of the Weisskunig woodcuts. Watermark,
large high crown.
Purchased from Messrs. Obach and Co., 1910.
This subject should follow no. 31 (p. 129).
† THE QUEEN OF THE STEEL PRESENTING AN EMBROIDERED
TUNIC TO THE YOUNG WHITE KING.
Photograph of an unpublished and unique woodcut in the Bibliothèque Nationale,
Paris. See Jahrbuch d. kunsthist. Samml. d. Allerh. Kaiserhauses, 1910, xxix, 3.
SECTION V.-HANS WEIDITZ.
ADDITIONAL BOOKS ILLUSTRATED BY WEIDITZ.
A. IN THE DEPARTMENT OF PRINTS AND DRAWINGS.
9a (see p. 142). [SPIEGEL.] Ein Spiegel der Blinden. wañ Chri-
stus der herr hat geredt. Ich wird mein glory vor den hoch | weisen
verberge, etc. (The same book as p. 59, no. 9, but with different title and
no indication of the author's name.) n. p. d. (Augsburg? 1522-23? Acc.
to Weller 2690, A. Cratander, Basle, 1523) 4to.
Presented by the National Art-Collections Fund, 1908.
Woodcut on title-page [118 x 94] attributed on internal evidence to Weiditz. A
blindfolded monk, standing in a pulpit inscribed with the name SCOTVS, holds a
mirror covered by a cloth towards a bishop, also blindfolded, who stands with a
priest in the same state at his side. Behind them two laymen raise their hands
ecstatically towards a vision of the Almighty in the sky attended by torch-bearing
angels. Repr. in J. Rosenthal's Catalogue 46, p. 116 (no. 1009).
440 Early German and Flemish Woodcuts.-Part II.
16a (see p. 144).
[CICERO.] Der Teutsch Cicero, H. Steiner,
Augsburg, 4 March, 1535; fol.
Presented by the National Art-Collections Fund, 1907.
The illustrations have already been described, p. 156, no. 60.
26a (see p. 147). [BRUNFELS.] Preca | tiones | Biblica | Sanctoru
Patrum, Illustri- um Virorü et Mulierum utriusq' Testamenti. | Oth.
Br. J. Schott, Strassburg (after 1 September) 1528; 8° (Rött. 73, note).
Presented by the National Art-Collections Fund, 1908.
Title-border [126 x 83; opening, 64 × 41] printed in red and black, with Hezekiah
on his sick-bed, turning his face to the wall, while Isaiah, holding a lump of figs,
points to the dial of a clock (II Kings, xx, 1-11; cf. fol. 89 v. of book). Page-borders
throughout the book and Schott's device, as in the edition of 1531 (p. 147, no. 27).
B.-IN THE DEPARTMENT OF PRINTED BOOKS.
15a (see p. 150). [CHARLES V.] Von der Chür vnnd Wal des
grossmächtigisten | Köings Karolum, wie Er jetz zů Franckfurt ver-|
schinen, zů römischen könig vnd künfftige Kayser erwôlt ist worden, etc.
(611.). H. Schobser, Munich, for Hans Haselberg, 20 September, 1519;
4to (Pr. 11590).
On the title-page, the portrait of Charles V afterwards used in Trithemius, "Von
den syben Geystern oder Engeln," Nuremberg, 1522 (repr. Jahrb. d. kunsthist.
Samml. d. Allerh. Kaiserhauses, 1905, xxv, 243).
15b. [ALOFRESANT.] Ain wunderliche Prophecey oder Weyssa-
gung, gemacht, practiciert, vnnd aussgeschriben durch den Hochgelerten
mayster Alofresant, etc. (1111.). H. Schobser, Munich, for Hans Hasel-
berg, 20 September, 1519; 4to (Pr. 11589).
The disc [diam. 71] containing sixteen small shields surrounding the arms of the
Empire, which is placed beneath the portrait of Charles V in the book described
above and again in 1522, is here printed alone upon the title-page. The portrait and
arms were, of course, cut on two separate blocks.
ADDITIONAL WOODCUTS BY WEIDITZ.
A. AUGSBURG PERIOD.
SMALL ILLUSTRATIONS TO DEVOTIONAL BOOKS. Rött. 19, 25, 27.
A. UPRIGHT CUTS (see p. 162).
18a. ST. CATHERINE OF ALEXANDRIA.
Rött. 19.
[85 × 51.] Early impression, on the page (sig. O 4), containing the colophon
(dated 17 March, 1520) of Aristotle, De Anima, printed by Grimm and Wirsung, fol.
(Pr. 10914-see p. 150, no. 17). On the same page, above the St. Catherine, is printed
another woodcut, the arms of Ernest, Count Palatine [116 × 118], which may be an
early work of Weiditz, but is not described by Röttinger. It had been used in
Aristotle's Acroases Physicae printed by Grimm and Wirsung, in June 1518 (Pr.
10873).
From the Holtrop collection.
Purchased from Messrs, Obach and Co., 1909.
Appendix to Division B.-Section V-Weiditz.
441
B.-OBLONG CUTS (see p. 163).
153. THE VISITATION.
154. THE BIRTH OF ST. JOHN THE BAPTIST.
155. ST. MATERNUS EXORCISING A DEMONIAC.
[c. 69 × 74.] Three additional subjects of the series partly described under
nos. 25-43. Early impressions, no text on the back. From the Holtrop collection.
Presented by Messrs. Obach and Co., 1909.
+ ALPHABET WITH CHILDREN. 1521. P. iii, 226, 346 and 282, 130; Rött. 39.
Facsimile on two sheets of the complete alphabet, from the impression at Basle.
Proof of the reproduction published in the Burlington Magazine, xii, 289.¹
Presented by Mr. Campbell Dodgson.
† SECOND DEVICE OF GRIMM AND WIRSUNG, WITH A TABLET
BETWEEN THE TWO CRESTS.
In this undescribed variant of the device the club wielded by the
savage on the arms and crest of Sigismund Grimm is held in his r. hand
and passes to the front over his head, whereas in the larger variant
described on p. 180, no. 135, the savage holds the club in his I. hand and
it is directed to the back, behind his head. Between the two crests is a
decorative tablet to contain the date (M.D.XXI), which is printed with
type.
[98 × 100.] Proof of a reduced facsimile made for Mr. G. W. Eve's "Heraldry
as Art," 1907.
Presented by Mr. B. T. Batsford.
The original, without border-line, measures 113 × 115 mm. It was used in two
works of Erasmus translated by Spalatin, Die Clage des Frids, 1521, and Die vnter-
weysung aines frummen vnd Christlichen Fürsten, after 11 April, 1521.
B.-STRASSBURG PERIOD.
156. THREE MEDALLION PORTRAITS.
P. iii, 412, 122; Rött. 55.
The uppermost medallion [diam. 44] contains two very indistinct heads
represented by white dots on a black ground and identified by the
inscription M. LVTHER: P. MELAN:. On either side are the letters
.vv. Beneath these two letters are the other medallions [diam. 60],
ERASMVS. ROTERODAMVS: and VLRICHVS. AB HVTTEN EQ. : Erasmus
being represented in profile to r., wearing a beret, and Hutten in three-
quarter face to 1., wearing a wreath of leaves; the background of each is
shaded with lines slanting from r. to 1.
Purchased at the Theobald sale, Stuttgart, 1910 (lot 387).
Good impression, on title-page of "Vlrichi ab | Hutten | cúm | Erasmo Roterodamo,
Presbytero, Theologo, | Expostulatio." (J. Schott, Strassburg, 1523: 4to. Böcking xlv. 1).
Repr. in Hirth, ii, p. v. Wrongly attributed by Passavant to Holbein.
157. OCTAVO BORDER WITH SAMSON SLAYING THE PHILISTINES.
Rött. 68.
Four blocks. At the top, God the father and angels; 1. and r.
¹ See p. 293 of the same volume for an account of two different editions of the
alphabet.
442
Early German and Flemish Woodcuts.-Part II.
ornaments and two coats-of-arms held by winged satyrs; below, Samson
slaying the Philistines. In the opening is Köpfel's small device, Heitz 10.
[130 × 82; opening, 84 x 49.] From Tpírov BIBλiwv μépos, W. Köpfel, Strassburg,
1526; 8°. Repr. in Heitz, "Elsässische Büchermarken," Taf. xviii, no. 10.
Presented by Mr. Lothian Nicholson, 1907.
158. OCTAVO BORDER WITH THE DEVICE OF JOHANN SECER. Rött. 70.
A single block. Twisted ribands with ten little heads wearing fool's
caps, and columns at the sides, the background shaded horizontally.
Below, the printer's monogram upon a shield.
[122 × 86; opening, 70 x 53.] Moderately good impression, from the first of
the books mentioned by Heitz, p. 140 (the border is reproduced, pl. lxix, no. 1),
"Contra Aristogitonem Demosthenis orationes duæ doctissimæ, à Philippo Melanch-
thone iam primum latinitate donatæ. Haganoæ per Iohan. Secerium Anno M.D.
xxvii. Mense Augusto."
Presented by Mr. Lothian Nicholson, 1907.
158a. OCTAVO BORDER WITH THE DEVICE OF JOHANN SECER. Rött. 70.
An inferior impression of the same border, from "Confessio fidei exhibita..
in Comicijs Augustæ. Anno M.D.xxx," Hagenau, 1535.
Presented by Mr. Lothian Nicholson, 1907.
•
SECTION VI.-CHRISTOPH AMBERGER.
1-14. LANDSKNECHTS.
This whole group is attributed by Röttinger (see p. 430) to the elder
Breu, with whose late style, as he has defined it, they well agree. They
cannot be by the same hand as the three woodcuts in the Pappenheim
chronicle (photographs by Teufel, Munich, nos. 4345, 4352, 4353), one of
which is actually signed by Amberger.
Amberger, accordingly, is not represented in this collection.
SECTION XI-ANONYMOUS WOODCUTS OF THE
AUGSBURG SCHOOL.
ADDITIONAL WOODCUTS.
5. THE LAST SUPPER.
A round table is laid in a chamber of Renaissance architecture.
Christ, with an ornamental cruciform nimbus, sitting under a canopy with
valance and tassels, is in the act of blessing the chalice. St. John leans
his head on Christ's 1. arm; six other apostles, one of whom is pouring
out wine, are seen to 1. and five to r. of Christ. Judas, sitting on a
stool r., grasps the money-bag in his r. hand and conceals it under his 1.
elbow.
Appendix to Division B.-Section XI-Augsburg School. 443
[490 × 597, cut; the Albertina impression measures 497 x 665.] From four
blocks. Rather late impression, lacking the 1. upper corner.
Purchased from Messrs. Obach and Co., 1910.
Other impressions of this rare and undescribed woodcut are at Coburg and Vienna
(Albertina). Its date may be about 1540, and it is probably a work of the Augsburg
school, like most of the large, popular woodcuts of its class and date.
6. CHRIST BEARING THE CROSS. 1527.
P. iii, 270, 83.
Christ advances towards the r., where Veronica kneels, waiting for
him to pass. A man is about to strike him with the end of a cord which
passes round his waist; behind this man is another who carries a ladder,
parallel to the arms of the cross. In the distance 1. are the walls of
Jerusalem, r. the hill of Calvary. In the lower margin is a long
inscription in four lines, "O herr Jesu Christe, ich ermane dich .
dz Wir nach disem lebe bei dir in ewigkait lebē mögen Amē,” cut on the
block, divided in the middle by a cartouche containing the date 1527.
[958 × 668.] Good impression.
Presented by Mr. Albert Way, 1839.
This fine woodcut forms part of the same set as the large religious woodcuts of
Burgkmair, p. 104, nos. 180-183, but cannot be attributed to that artist. No critic
has at present suggested a satisfactory name for it.
[7-8.]
TWO ILLUSTRATIONS TO A POEM WARNING AGAINST LITIGATION.
These two woodcuts are obviously by some Augsburg artist, influenced by Venice,
a contemporary of the younger Breu, and it would not be surprising if they occurred
in a book printed by Steiner. They form part, however, as Dr. Röttinger was kind
enough to inform me, of a broadside preserved at Gotha, in a badly coloured
impression, bearing the address, "Gedruckt zu Augspurg durch Dauid [ de Necker
Formschneyder." The sheet, of which Dr. Röttinger kindly gave me a photograph,
consists of three parts, measuring in all 486 by 1006 mm. At the top is printed, in
a single line: “Wer jetz will Rechten, in der Wellt, Bringt sich in vnrhu vnd vmbs
gellt. Muss sorgen ob man jn verfier, Das er sein Recht darzu verlier."
The story of two brothers who waste their father's fortune by going to law about
it is told in eleven woodcuts, printed from ten different blocks, set in an archi-
tectural frame. One of the illustrations, that representing the scene in court, is more
than twice the length of the others, since it occupies the space of two, in addition to
the space filled elsewhere by the pilaster that divides each pair of scenes. One of
the smaller cuts (no. 7 here) does double duty, as the sixth and eighth of the series;
it is really the eighth. Beneath each woodcut is a square tablet containing explan-
atory verses, and a long poem, drawing the moral of the tale, is printed in nine
columns at the foot of the sheet, followed by the publisher's address. Briefly
told, the story amounts to this. (1) A father dies, bidding his two sons divide his
fortune equally among them, and avoid strife. (2) The elder brother says, "I am the
eldest and mean to have the elder son's portion"; the younger refuses to agree,
and says he will go to law. (3) The elder brother goes to a lawyer, who promises to
see his case through, but stipulates that he shall be well paid. (4) The younger son
does the like; his counsel also promises success, and suggests "Ain kübel schmaltzs,
ain fass mit wein" as a good start towards winning the case. (5) Both litigants
with their counsel appear before the judge, who is exhorted by an angel to do justice,
and advises the young men to give way to one another and settle their differences
with the aid of God, and not by law. The lawyers, of course, recommend delay
and further legal proceedings. (6) The younger son tells his counsel that he is
disposed to yield (woodcut no. 7, here, in its first use); the lawyer advises obstinate
resistance, let it cost what it may. (7) The elder son tells his counsel that he is
inclined to act as his father wished and be reconciled to his brother; the lawyer
urges him to fight it out, and appeal if judgment be given against him. (8) The
444 Early German and Flemish Woodcuts.-Part II.
younger son, who is getting poor, offers his cloak as part payment to his counsel,
who again urges him to persevere and spare no money in fighting the case to the
end (woodcut no. 7 in its second and more apposite use). (9) The elder brother offers
his lawyer his coat, as money is getting scarce, and receives similar advice. (10) The
two brothers meet and acknowledge what fools they have been to let the lawyers
enrich themselves at their expense, instead of settling their own differences unaided.
(11) The last scene, a little irrelevant, introduces the lawyer, the usurer, and a
woman as the three deceivers who turn other people's losses to their own advantage.
The anonymous poet's words may here be quoted:
"Ein altes Sprüchwort gwesen ist
Das hab der rechtglert vnd Jurist
Darzü ain weyb mit yrem list
Vnd auch ain Jud deszgleich ain Christ
Ders nächsten güt mit wücher frist
Die gantzen wellt bringen inn gfar
Das ist auch yetzund layder war
Vnd vom Juristen offenbar
Ausz obgemeltem dicht so wirdt
Der Weyber vntrew täglich gspürt
Sampt dem der aygen nutz vnd gwin
Verkert manchs menschen hertz vnd sin."
Five of the woodcuts, nos. 1, 3, 4, 10 and 11 of those enumerated here, together
with a sixth which does not form part of the Gotha sheet, are in the Coburg
collection. Nos. 1, 3, 4 and 11 measure 131 × 129 mm., while no. 10 is slightly
smaller, 127 × 127. The sixth cut, representing an old man seated r. who dictates
to a secretary seated 1. at a desk, measures 139 x 140, and does not, therefore,
actually belong to the set. The slope of the floor is steeper. The cut bears, however,
a strong resemblance to the others in several respects, and it is clear that all the
blocks were preserved together when these late impressions were taken. The block of
this sixth subject was then already split. I am indebted to Mr. Max Lossnitzer for
some information on the Coburg cuts supplementing my own notes.
7. THE YOUNGER BROTHER AND HIS COUNSEL.
The eighth illustration. The younger brother, standing on a stone slab
in a hall with door opening on a landscape, has presented his cloak to the
lawyer, who stands before him 1. In the background r. is a statue of a
woman, partly draped but with bare legs, standing on a pedestal.
[130 × 127.] Rather lato impression, with no margin or text.
In the inventory of 1837.
8. THE PERFIDY OF LAWYERS, USURERS, AND WOMEN.
The eleventh illustration. An elderly man with a hood on his head
and a large purse under his cloak, holding a double cup in his r. hand,
stands a little way back between a young man who holds a book and a
young lady who advances from the r., holding out her r. hand as if taking
an oath. In the distance r., through a round arch, we see a domed
building and a gondola.
[130 x 128.] As no. 7. A similar impression is at Coburg.
In the inventory of 1837.
Appendix to Division B.-Section XII.-Augsburg Woodcutters. 445
SECTION XII.-AUGSBURG WOODCUTTERS.
(1) JOST DE NEGKER.
ADDITIONAL NOTES ON WOODCUTS ALREADY DESCRIBED.
P. 204. A 3. The musical broadside has been published, on a much reduced scale,
in the Burlington Magazine, October, 1910, xviii, 48. The arms are invisible in
the reproduction, but the monogram can be discerned.
P. 206. G. THE VIRGIN ON THE CRESCENT (after Dürer, B. 31). B. vii, 243, 1.
This woodcut is not copied directly from the engraving, but from another woodcut
[139 × 101], undescribed, of superior execution, a fine impression of which was
bought for the British Museum at the Lanna sale, May, 1909 (no. 1401). It is dis-
tinguished from Jost de Negker's copy, a photograph of which is placed near it for
comparison, by a more delicate and less mechanical treatment, especially of the rays
of the glory. These, in Jost de Negker's cut, have a tendency to fall into a regular
line at their inward termination; in the anonymous woodcut the outline is subtly
varied so as to avoid any monotonous regularity. The lines of the rays are all sharp
and generally become even sharper towards the extremity, whereas many of Jost de
Negker's lines become thicker towards the outside. The longest rays slanting down-
wards to r. in the Child's nimbus measure in the anonymous woodcut over 11 mm.
from the outline of the head; in Jost de Negker's copy they do not exceed 8 mm.
The border of the whole woodcut is in the original a rather wide single line; Jost de
Negker's copy has a double border, consisting of a narrow line within a wider one,
the two being connected at the corners except at the top r.
On the back of the woodcut formerly in the Lanna collection (Singer 3098), is the
pencil note "Klebeband," indicating that the print was formerly in the Eisgarn
volume which contained some of the greatest rarities of the Lanna collection (Singer,
preface, p. viii). It is probably a work of the Nuremberg school.
P. 206. G (should have been placed on p. 204 under A). ST. CHRISTOPHER,
after an unknown artist.
An impression of this woodcut, lacking the corner in which Jost de Negker's
monogram should appear, was acquired by the British Museum in 1910. It is fully
described and reproduced on a reduced scale in the Burlington Magazine, 1910, xviii,
44. The design is there attributed to an unknown Dutch artist, allied to Cornelis
Engelbrechtsen. There is no reason to suppose that it is copied from any other
engraving or woodcut. Impressions with the monogram are at Paris and Vienna
(Albertina).
P. 207. DANCE OF DEATH.
The woodcuts published by David de Necker at Leipzig in 1572 are a different set
from these.
P. 207. THE PRODIGAL SON.
P. iii, 297, 2.
The scene in the background, visible through the window, might well be by the
younger Breu, but it is difficult to attribute the large figures of the principal group
to that artist.
446
Early German and Flemish Woodcuts.-Part II.
(2) OTHER WOODCUTTERS.
DAVID DE NECKER.
A son of Jost de Negker, who worked first at Augsburg (1561), is then heard of at
Leipzig (1572), and afterwards settled at Vienna (1579), where another member of
the family, Hercules de Necker, supposed to be David's son, also resided.
Authorities:-
Nagler, "Künstler-Lexikon," x, 159.
Passavant, P.-G., iii, 296.
Repertorium für Kunstwissenschaft, xxvi, 117.
For woodcuts published by David de Necker, see the various groups of Lands-
knechts attributed to Burgkmair, Amberger (the attribution is revoked on p. 442),
and Jörg Breu I and II, also the anonymous woodcuts described on p. 444, nos.
7 and 8.
SAMSON DE NECKER.
Biography unknown, but presumably also a son of Jost de Negker.
For the only woodcut known to have been published by him, see p. 485, no. 11.
(3) WOODCUTTERS KNOWN ONLY BY THEIR
MONOGRAMS.
M. For a woodcut bearing this monogram, see the Judith and
Holofernes attributed to Jörg Breu II, p. 437, no. 15.
The same
monogram occurs on a woodcut of the Dance of Death series published at
Augsburg by Jost de Negker in 1544 (see p. 207, no. 1).
447
APPENDIX TO DIVISION C.
INTRODUCTION.
P. 210. MIRACLES OF MARIA ZELL.
Since this parapraph was printed Dr. Schmidt has re-affirmed (Repertorium für
Kunstwissenschaft, 1908, xxxi, 451) his attribution of this series of woodcuts to Wolf
Huber. I am still unconvinced. Dr. Schmidt has noticed the woodcutter's mark on
the subject connected with King Louis of Hungary, and attributes this subject (only)
to another artist, though still to one of the Bavarian school. Dr. Voss's attri-
bution of this series to Wolf Huber's brother, the sculptor, can hardly be taken
seriously.
SECTION 1.-MATTHIAS GERUNG.
P. 212. Two important woodcuts by Gerung in other collections, hitherto undescribed,
may be mentioned here. The second is his latest dated work.
1. ALLEGORICAL COMPOSITION.
A large crowd of men, holding all sorts of instruments, stand in sacks, with a
cord drawn round them. In front of the sacks is a tablet with the inscription:
NON JEST. EST. EST. To 1. is a man walking with the aid of two sticks; a fox
sits in front of him. To r. is a man pointing with a wand and riding a hobby-horse;
a bird (jay?) is on the ground before him. Over the crowd flies an angel, wearing a
crown of thorns and leaves, holding in his r. hand two snakes and in his 1. a heart in
flames, with a dial and a pair of scales over it. On a long scroll is the inscription:
"Al säck seind vol vntrü vnd list.
Darzu hab ich Das gifft vermischt.
Das hertz ich prin mach im vill uuehe.
Erman die wellt. Die stundt ist hie."
[338 × 488.] Wolfegg, in very fine preservation.
2. ALMSGIVING.
1561.
A group of eight persons advances to 1. from the door of a church r. The principal
figure is a lady who holds a purse in her 1. hand and gives the r. to a gentleman who
greets her and lays his 1. hand on her shoulder. She is followed by two maids, one of
whom carries clothing for the poor. A group of cripples, beggars and lepers advances
from the 1. towards them; others, including a mother with a baby, sit on the ground.
Further back, a blind man is led by a boy, both holding a stick; another cripple
limps after him. In the middle, near a crutch, is the date 1561. This scene is
divided from the background by a wall, pierced with an arch, over which is a
representation of Christ bearing the cross. Outside this wall a group of people is
assembled 1. near the door of a profane building; over them is a small scroll without
inscription. Just outside the door a well-dressed man, holding a glove, converses
with two men, one of whom points to the scene inside as if admonishing him to
follow the good example. Others, passing along to 1. as if to join the throng already
assembled, probably symbolize those who are indifferent to good works. Further in
the distance a battle is going on; the tents of the two armies are seen on either side
and flaming buildings in the distance.
[336 x 556, cut on two blocks.] Coburg, a rather late impression.
SECTION V.-MICHAEL OSTENDORFER.
Pp. 242 and 244. The monogram B was used in error instead of KB. Sce
pp. 384-386,
448
Early German and Flemish Woodcuts.-Part II.
i
SECTION XI.-WOODCUTS PRINTED AT CRACOW.
3. PORTRAIT OF ZACCARIA FERRERI, PAPAL LEGATE TO POLAND.
The Bishop of Guardia Alfiera is seated at a writing-table in his study
and pauses, pen in hand, while he looks up for inspiration to heaven,
whence streams of light pour in through the window. His mitre and
pastoral staff are seen beneath the window, and his coat-of-arms, a crowned
lion rampant (sable ?), surmounted by a mitre, is suspended over his head.
The back of the room is lined with book-shelves. Triple border line.
[151 × 109.] Beneath the woodcut is printed a quotation from Ps. 118, "Faciem
tua illumina," etc. The portrait stands on the verso of the title-page of the following
work: ORATIO LEGATI | apostolici habita Thorunij in | Prussia ad serenissimum
Polonie regem cōtra | errores Fratris | Martini Lu-jteri. Edictum eiusdem serenissimi
Regis contra Luterum. | Decretum eiusde Legati pro christiano | ritu in Lituania
seruando & ampliando. Concrematio Luterinarum tra- ditionum in Prussia
eiusdem legati mandato. | Edictum inuictissimi Cæsaris | Caroli in causa Luterina. |
M.D.XXI; (J. Haller, Cracow), 4to. Panzer, Ann. Typ., vi, 464; T. Wierzbowski,
Bibliographia Polonica," 1891, ii, 37, no. 981. The title is enclosed by a border
composed of columns and foliage, somewhat coarsely cut.
Purchased from Signor Stefani, 1889,
The Czartoryski Museum at Cracow, as I am informed by Prof. Marian Sokolowski,
contains a different edition of this book, with "contra," not "cotra," in the fourth
line of the title. This edition, consisting of sixteen leaves, is dated at the end
"APUD IOANNEM HALLER IN REGIA | VRBE CRACCOVIA III. KALENDAS
Julias. Anno a salutifero partu M.D.XXI," etc. (6 11.).
1
Zaccaria Ferreri (b. 1479, d. after 1525) is the subject of a monograph by Bernardo
Morsolin. He was sent by Leo X as papal legate to Poland and Lithuania, with the
threefold object of reconciling Sigismund I with Albert of Prussia, Grand Master of
the Teutonic Order, reforming the moral disorders of the Polish clergy, and com-
bating the errors of Luther. During his residence of two years in Poland the legate
was charged with the enquiries preliminary to the canonization of St. Casimir, and
as a rosult composed at Vilna in 1520 a biography of the saint, "Vita Beati Casimiri
Confessoris," which was printed by J. Haller at Cracow in the same year. Another
edition of the Life of St. Casimir is dated at the end: "Thorunii in Prussia, vii. Idus
Aprilis, M.D.XXI" (Wierzbowski, iii, 25, 2097). This second edition, as described to me
by Prof. Sokolowski, contains the portrait of Ferreri twice; it was presumably cut
originally for the first edition and belongs to the year 1520. Ferreri seems to have
taken the block with him to Italy, for Morsolin describes the portrait as occurring
in one of his later books, "De reformatione ecclesiae suasoria," printed "Venetiis
per Jo. Antonium & fratres de Stabio" (1523?). Two copies of this book are in the
British Museum; the woodcut is on sig. A 2 v. The date of Ferreri's death is
unknown; his latest book is the "Hymni Ecclesiastici " printed in 1525.
Prof. Sokolowski is of opinion that the design of the woodcut is by the hand, or
from the workshop, of the royal illuminator Stanislaus, a Cistercian monk of Mogila,
near Cracow, of whom there are many records in the accounts of King Sigismund's
court expenses. Specimens of his work are preserved in the prayer-books of Sigis-
mund I and Bona Sforza, in the British Museum and the Bodleian Library
respectively, that of Bishop Chojenski, in the National Museum, Munich, that of the
Polish Chancellor Christopher Srydtowiecki, divided between the Trivulziana and the
Ambrosiana at Milan, and other devotional MSS. at Warsaw and in the Capitular
Library at Cracow. The finest miniatures, in Prof. Sokolowski's opinion, and
probably by the hand of Stanislaus himself, are those at Oxford; in some books
other initials besides his appear. The prayer-book of Sigismund I in the British
Museum (MS. 15,281) is signed in three places, S.C., S.C.F., and S. Two of the three
principal miniatures in it are direct copies from Dürer. Prof. Sokolowski's
conjecture is not confirmed by this one specimen of the work of Stanislaus known to
me, but it is a priori a probable one, and is supported, in his opinion, by the character
of the ornament on the bishop's chair.
1
“Zaccaria Ferreri, episodio biographico del secolo decimosesto," Vicenza, 1877.
2 Panzer, Ann. Typ., vi, p. 462; Morsolin, p. 116; not mentioned by Wierzbowski.
449
:
APPENDIX TO DIVISION D.
SECTION III.-LUCAS CRANACH II.
ADDITIONAL WOODCUT BY LUCAS CRANACH II.
31b (see p. 347). PHILIPP MELANCHTHON.
H. 304 (538); N. 185; L. 55.
A later state, with German text, headed " Warhafftige Abconterfeiung | des
Herrn Philippi Melanthonis"; beneath the woodcut are forty-eight German verses
in three columns, "So sichs vielleicht so hett begeben
Gwest sey, vnd all
seins Lebens wandel. Ex Latino." Well preserved; watermark, a small and narrow
high crown. [Woodcut, 255 × 210; sheet, 343 × 210.]
•
Purchased at Gutekunst's auction, no. 68, Stuttgart, May, 1910 (no. 177).
This is the impression mentioned in the note to no. 31. It is not, however,
exactly the same as the edition reproduced by Lippmann. In the first place, the
block itself has been reduced in height, so that there is an interval of only 1 mm.
between the end of Melanchthon's hair and the border-line, instead of 14 mm., as in
nos. 31 and 31a, and also in the German edition reproduced by Lippmann and the
Latin edition reproduced in the catalogue of the Theobald sale. This cannot be due
to any tampering with the impression itself, for the paper is intact. Secondly, there
is a greater interval between the heading and the border-line than in Lippmann's
facsimile, and there are differences in the type; the capitals "W" and "A" and the
lower-case "h" are different. The second line is printed with larger type, being
90 instead of 71 mm. in length. Thirdly, there are variations in the text of the
verses, though the most part is the same, and printed with the same type. The
capital "S" in the first line is different; line 29 has "wullt," instead of "wůrds,"
and line 32 "Inn" instead of "In." The early Latin edition in the same sale
(no. 176, reproduced in the text) was acquired by the Hofbibliothek, Vienna.
2 G
450
SECTION VIII.-THE MASTER OF THE ADORATION OF
THE SHEPHERDS.
P. 397. Another impression (left half only) with the letters LVC on the top of
the wall is in the Fitzwilliam Museum at Cambridge. This impression is so very
sharp and excellent in every way that the presence of the three letters must be
regarded as the mark of the first state. There are thus three states: I. With the
letters LVC and WS; II. With WS only; III. Without WS. It is possible that
the letters LVC are the initials of the artist, but a warning must be given against
any attempt to interpret them as "Lucas von Cranach" (see Flechsig, "Cranach-
studien," I. p. 61, and p. 300 of the present volume. The objection there urged
against the reading of the letters as the first syllable of "Lucas," meaning St. Luke
the Evangelist, does not hold good in the present case).
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